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Speaker 1: Hi, Welcome to Desperately Devoted The Ultimate Desperate Housewives rewatch,

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Speaker 1: hosted by Meat Terry Hatcher, my on screen daughter Andrea Bowen,

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Speaker 1: and my real life daughter Emerson Tenney.

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Speaker 2: Wow.

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Speaker 3: Today we are discussing episode four, Who's That Woman which

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Speaker 3: could also potentially be called Mincemeat, and what an episode

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Speaker 3: it is. We have Lynette grappling with whether or not

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Speaker 3: to give her children medication for add.

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Speaker 2: And Susan is being blackmailed by missus Hooper, who claims

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Speaker 2: to know that the measuring cup found in Edie's fire

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Speaker 2: belongs to Susan and Julie.

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Speaker 4: Brie continuing to struggle with her marriage to Rex, and

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Speaker 4: Gabby continuing her affair with John as Carlos's suspicion grows

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Speaker 4: to the point of him assaulting a cable guy and

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Speaker 4: inadvertently committing a hate crime.

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Speaker 3: All extremely problematic in many ways. The episode wraps up

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Speaker 3: with Brie stealing Mary Alice's tapes from her therapist's office,

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Speaker 3: and the women gathering together to try to get to

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Speaker 3: the bottom of what is really going on in the

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Speaker 3: young house.

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Speaker 2: Well, let's find out. Let's find out what's going on.

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Speaker 3: So many things to say about episode four, which aired

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Speaker 3: October twenty fourth, two thousand and four. First of all,

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Speaker 3: I just have to say, and I don't know who

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Speaker 3: is what network you're watching this on or rewatching this on.

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Speaker 3: I'm rewatching it on Hulu. And this was the first

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Speaker 3: time that in the Hulu the recap that I presume

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Speaker 3: is happens for any if you watch it because it's

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Speaker 3: previously previously on And Mary Alice says it, And it's

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Speaker 3: the first time we actually hear Mary Alice say. As

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Speaker 3: we see Bree turn up the little spikes in the

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Speaker 3: pull out couch, she says, everyone has a little dirty laundry,

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Speaker 3: And this was the slogan of the first season in

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Speaker 3: all of the marketing, but it's the first time that

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Speaker 3: someone's actually said it on the show.

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Speaker 5: Yeah, you're right.

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Speaker 4: That was a big tagline.

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Speaker 3: It was a big tagline on the dry cleaning back.

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Speaker 2: Everyone on the Yeah, on the poster for your Everything,

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Speaker 2: everyone has a dirty well does everyone have a little

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Speaker 2: dirty laundry?

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Speaker 3: I do, because I actually don't have a hamper right now.

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Speaker 3: My hamper, No I do. My hamper was sold. I

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Speaker 3: had it forever and I kept throwing wet wash cloths

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Speaker 3: in it. And then in the couple of days clearly

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Speaker 3: and in a couple of days it would take Then

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Speaker 3: it like kind of ruined the bag, and then finally

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Speaker 3: decided to throw it away.

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Speaker 2: Yeah, just you because I live alone, and I have

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Speaker 2: like a first in the second floor, but you can

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Speaker 2: reach you can see over from the second floor down

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Speaker 2: to the first floor. I don't put my dirty clothes

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Speaker 2: and a hamper anymore either.

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Speaker 3: I do you do down the way?

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Speaker 2: And I threw the banister down to the first floor,

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Speaker 2: where eventually I will take them up the laundry room.

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Speaker 2: But I just yeah, no, it's really it's gone.

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Speaker 3: I have I have a pile to the shower right now,

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Speaker 3: and say this is.

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Speaker 2: Some reason someone should not live alone.

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Speaker 4: I love how quickly we turned right into something like

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Speaker 4: as literal as let's talk about our dirty laundry process.

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Speaker 3: Well, I certainly don't have any secrets.

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Speaker 2: You don't have any secrets.

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Speaker 4: So this episode title is another song we're gonna you know,

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Speaker 4: obviously we're going to go over the Sondheim references because

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Speaker 4: it's such a cool part of this show. And anyway,

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Speaker 4: this one happens to be from the show Follies. So

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Speaker 4: for those out there who listen and care about that.

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Speaker 4: Now you know who's.

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Speaker 2: Happy.

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Speaker 5: Yes, I know.

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Speaker 2: I found this to be and I really related to

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Speaker 2: this an episode that really circled around identities and like

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Speaker 2: how we identify ourselves. And I will admit that as

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Speaker 2: a six year old woman who has had her adult

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Speaker 2: daughter go off to begin her independent life. And even

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Speaker 2: more so now no, I mean you, no, I.

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Speaker 3: Love it because you say I feel like you've said

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Speaker 3: that for like, when I went to college, it was

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Speaker 3: like she's going off to college. When I graduated, it

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Speaker 3: was like she's graduating, She's beginning her adult life. Now

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Speaker 3: I'm looking at twenty eight coming up, and she's like

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Speaker 3: she's beginning her adult life.

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Speaker 2: Should I say beginning, Well, I meant more like, I

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Speaker 2: feel like because you actually bring out points And I'm

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Speaker 2: saying this for all the empty nesting moms that might

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Speaker 2: be out there listening. I think I hear you. I

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Speaker 2: empathize with you that you know the rule The first

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Speaker 2: of all, there's no rule book to motherhood. You know,

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Speaker 2: you have your child, and I mean there is like

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Speaker 2: what to expect when you're expecting, and what to expect

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Speaker 2: in the first five years. There's that kind of stuff,

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Speaker 2: but nobody really tells you. It's hard to know how

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Speaker 2: you're going to evolve with your identity, and the identity

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Speaker 2: that becomes very easy, and that I think mothers in

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Speaker 2: general love is mom. Yeah, I'm a mom, and it

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Speaker 2: means something to me, and it means something even more

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Speaker 2: importantly to other people, and there's a value in it.

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Speaker 2: And then these are the stages when you go off

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Speaker 2: to college. It is one degree of no longer being

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Speaker 2: a mom. You're still a mom.

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Speaker 3: I still went with you to like help pass out

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Speaker 3: of my dorm.

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Speaker 2: Yeah, like, you know, I was still involved. I still

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Speaker 2: got calls when you had the flu and you know,

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Speaker 2: figuring it out.

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Speaker 3: However, flew a lot, and the first I was going

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Speaker 3: out too much.

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Speaker 2: Then you graduate, so then that's another degree, like, oh okay,

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Speaker 2: and she she did not come home to live with me.

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Speaker 2: I mean she did a little bit because of COVID,

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Speaker 2: but like she as soon as she could went to

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Speaker 2: live in her own apartment. And now the next degree

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Speaker 2: is you're a real working professional and you're living with

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Speaker 2: your partner. Yeah, like so, I you know, I could

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Speaker 2: argue that I am pushed aside.

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Speaker 3: The redefined And.

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Speaker 2: This is what other women my age or you know

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Speaker 2: around my age.

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Speaker 3: That that are.

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Speaker 2: You get forced to redefine your identity. And it isn't

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Speaker 2: as easy as it sounds. Because when you take away mom,

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Speaker 2: if you're retired, which I am not, by the way,

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Speaker 2: anybody looking to hire a.

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Speaker 3: Finish an actress ready to work.

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Speaker 2: I'm ready to work. But when you push aside that

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Speaker 2: sort of day to day mom role, when you know,

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Speaker 2: are not going to work every second, you have less

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Speaker 2: and less things to sort of hang on to figure

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Speaker 2: out what is your identity. And I'm right in that

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Speaker 2: stage where I'm trying to figure it out. And so

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Speaker 2: I look at the women, the characters in this show,

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Speaker 2: and I really get it and I feel again, I'm

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Speaker 2: going to say, this is why a show like Desperate

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Speaker 2: Housewives is lasting over generations, because people can relate to

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Speaker 2: it for as kind of stereotypical and what's the word satirish,

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Speaker 2: you know that is, you can still relate to it,

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Speaker 2: and that's why you buy in.

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Speaker 4: You know, I'm so struck because I'm sitting here and

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Speaker 4: I'm thinking, I'm about to put that identity on, you know,

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Speaker 4: of motherhood and becoming a mom, and you know, it's

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Speaker 4: it's I have thought about identity so much prior to

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Speaker 4: watching this particular episode, just in this transitional phase I'm

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Speaker 4: in in my life and kind of what type of

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Speaker 4: mother do I want to be? And how does being

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Speaker 4: Andrea now change when I become Andrea as a mom,

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Speaker 4: And what do I want to model for my daughter?

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Speaker 4: And how is she gonna look at me?

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Speaker 5: And what?

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Speaker 4: You know, all these things are.

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Speaker 2: All the right questions. Yeah, and you.

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Speaker 4: Know, I'm taking that and it's a good thing I'm

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Speaker 4: watching Desert Housewives because I can hold from that, you know.

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Speaker 2: The worst, what is so bad? How each is interesting to.

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Speaker 4: Do their motherhood, you know, with some of the themes

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Speaker 4: that I'm sure we'll we'll get into. But I do

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Speaker 4: agree that the general theme woven between all the characters

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Speaker 4: being routed around identity was really prevalent and has had

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Speaker 4: me thinking a lot too.

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Speaker 5: Yeah.

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Speaker 3: I really resonated with the identity idea also, and this

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Speaker 3: idea of labels. You know, with identity, we label ourselves.

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Speaker 3: You know, you're either how high power exec or you're

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Speaker 3: a stay at home mom. You're either Gabby the fashion

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Speaker 3: model a stay at home wife, or you're Susan the

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Speaker 3: working single mom. And I think I was thinking even

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Speaker 3: at my age, you know, people in their mid late twenties,

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Speaker 3: early thirties. I feel like today we're in a time

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Speaker 3: in society where a lot of I was gonna say

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Speaker 3: artists my age, but I think it's people my age

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Speaker 3: in general have more than one job and more than

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Speaker 3: one identity that comes with it. You know, you work

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Speaker 3: at a coffee shop and then you are an actor,

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Speaker 3: or you work in a restaurant and you're a writer,

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Speaker 3: or you have a marketing job and you're also pursuing producing.

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Speaker 3: And I mean even for me, like we're doing this

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Speaker 3: podcast and I'm also a screenwriter.

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Speaker 4: And everything's multi hypen it.

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Speaker 3: Yeah, everything is multi hyphen it. And I feel like

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Speaker 3: there is much more flexibility around labels, but also more

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Speaker 3: emphasis on how you identify yourself. And it's this weird paradox.

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Speaker 5: That's so interesting.

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Speaker 2: Yeah, I wonder if it's I mean, it would be

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Speaker 2: hard for you to answer if it's harder or easier,

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Speaker 2: you know, to lean into your identity as a crutch

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Speaker 2: or to sort of unburden yourself from having to be

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Speaker 2: any label. But then you also don't have the support

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Speaker 2: of what it means to be part of that group

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Speaker 2: of other people who are Bearista's, you know or what.

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Speaker 3: Yeah, well, it's interesting. It's so interesting that you bring

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Speaker 3: up identity, because obviously this is a huge theme, especially

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Speaker 3: later in this episode, especially as a queer woman thinking

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Speaker 3: about identity. Now, I'm just jumping completely from what you

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Speaker 3: do or if you're a mom or not, like what it?

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Speaker 3: How do we identify? I was having a conversation with

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Speaker 3: my girlfriend earlier this week, and we were talking about

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Speaker 3: I was writing in a coffee shop and I overheard

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Speaker 3: these two young girls I I think they were It

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Speaker 3: seemed like they were seniors in high school or they

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Speaker 3: just graduated, and they were getting ready to go to college.

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Speaker 3: And one of them was talking about this girl that

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Speaker 3: she was dating and if they were going to stay

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Speaker 3: together when she went to college. And the other girl

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Speaker 3: was talking about how she kind of had a crush

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Speaker 3: on this non binary person and she said, oh, I

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Speaker 3: don't know if they want to kiss me or if

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Speaker 3: I want And I was just it doesn't really matter

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Speaker 3: what they were talking about. But I was listening to

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Speaker 3: them talk because I was really I'm such an eavesdropper.

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Speaker 3: I am a note or don't say coffee shops. I

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Speaker 3: don't say anything next to me in a coffee shop

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Speaker 3: because I am listening to you and I'm remembering it too.

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Speaker 3: I'm like too, so, yeah, beware everyone on the east side.

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Speaker 2: But you're saying it doesn't matter, Well, it.

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Speaker 3: Was just I was really struck by the fluidity with

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Speaker 3: which they talked about who they were seeing, how they

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Speaker 3: identified what they saw for their futures. And you know, there,

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Speaker 3: I don't know, maybe twelve fifteen years younger than me,

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Speaker 3: and I thought, oh my gosh, I did not grow

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Speaker 3: up in high school with this level of fluidity around identity.

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Speaker 3: And I was so struck by these girls who weren't

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Speaker 3: that much younger than me, maybe they were only ten

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Speaker 3: years younger than me, having just such ease with the

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Speaker 3: way they moved between the way that they labeled themselves

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Speaker 3: and what they so offfer their futures and what they

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Speaker 3: suffer other people around them, And yeah, it was it

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Speaker 3: was very moving.

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Speaker 2: Well, I mean, the bringing up labels, it also brings

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Speaker 2: up judgment, you know, And so it's one thing to

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Speaker 2: have your own sense of self and purpose and you know, acceptance,

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Speaker 2: you know. But but we live in a world and

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Speaker 2: in this show, they live on a street and in

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Speaker 2: a neighborhood where there's a lot of judging going on,

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Speaker 2: and you know, starting off with Lynette thinking that she's

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Speaker 2: going to have possibly a good day until she gets

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Speaker 2: the phone call and you know her her children are

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Speaker 2: so badly behaved that she's offered the idea that they

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Speaker 2: need medication or they're going to get kicked out of

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Speaker 2: the school. Yeah, that's that's that's huge. And this happens

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Speaker 2: to people like I was trying to think. This did

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Speaker 2: not happen to me. I you know, as you can see,

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Speaker 2: I sort of have the perfect daughter.

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Speaker 3: Oh thank you so much. I was so well behaved.

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Speaker 3: I never got kicked out of a classroom. It's I

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Speaker 3: was an only child and I sat at the adult's

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Speaker 3: dinner table a lot growing up, and so I think, I, yeah,

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Speaker 3: everything was interior. I just had a very interior life.

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Speaker 3: I think that's probably why I'm a writer now. Yeah,

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Speaker 3: I feel like, yeah, that's true.

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Speaker 4: But listen, I mean you're talking about how your identity

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Speaker 4: was formed.

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Speaker 5: It's it's so interesting.

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Speaker 4: I I when I was driving over here today, I

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Speaker 4: was thinking a lot about identity and like, how do

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Speaker 4: I identify and how is my identity formed? And all

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Speaker 4: these things right, and Desperate Housewise plays a big role

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Speaker 4: in it, right, because I had been an actor for

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Speaker 4: a long time by the time I started the show,

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Speaker 4: but arguably this was the most successful, you know, on

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Speaker 4: a grand scale thing that I had done. And and

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Speaker 4: and I think when you're a performer as a child,

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Speaker 4: your identity is really kind of told to you by

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Speaker 4: not only the roles you book, but also you're kind

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Speaker 4: of praised for. You get verbal affirmations for the things

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Speaker 4: that people like about you, and then you adopt them

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Speaker 4: as like, Okay, that's who I am, right, And so

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Speaker 4: being a good little adult as a kid when you're

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Speaker 4: in the industry is really valuable. I happen to kind

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Speaker 4: of like be predisposed to be somebody who is a

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Speaker 4: perfectionist and cared about showing up prepared and wanting to

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Speaker 4: do things well. But you know, I was also awarded

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Speaker 4: for that behavior, right, And so I always was. I

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Speaker 4: was always told like my whole adolescence and Julie's kind

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Speaker 4: of like this too, like, oh, you're so mature for

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Speaker 4: your age or whatever. Right, we're so related, And so

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Speaker 4: when you grow up, what happens to the identity of

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Speaker 4: your mature for your age as a thirty five year

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Speaker 4: old woman.

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Speaker 2: Right.

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Speaker 5: No one's telling me now that I'm mature for my age,

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Speaker 5: right right? I mean that would be weird. And at

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Speaker 5: this point, you know, yeah.

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Speaker 2: It's so interesting.

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Speaker 4: Yeah, but it was such a theme throughout me who

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Speaker 4: I am.

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Speaker 2: Do you know what came your mind for me? No?

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Speaker 2: But I would say, and I tell her this all

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Speaker 2: the time. Okay, this is the this is memportant. Just

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Speaker 2: that when I was younger, when I was forty, when

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Speaker 2: I was thirty forty, I was on the cover of magazines.

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Speaker 2: People told me all the time I was beautiful. That

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Speaker 2: was part of my identity. No one tells me that anymore.

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Speaker 5: Well, we'll tell you right now.

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Speaker 2: I'm just saying. So it is a transition like going

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Speaker 2: from the daily mom into the empty nester. And people

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Speaker 2: think that the state of their being is going to

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Speaker 2: last forever. Yeah, and and it isn't. And so you

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Speaker 2: really need to be present and really enjoy what gifts

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Speaker 2: you're given.

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Speaker 3: I think about that with Lynette's character, you know, did

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Speaker 3: she really feel present and enjoy when she was working

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Speaker 3: sixty hour weeks.

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Speaker 4: She's so wistful for it now because now she's so wistful.

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Speaker 3: I'm curious, Andrew, So, how did you or have you

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Speaker 3: worked to redefine yourself as not well, such a mature

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Speaker 3: young adult.

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Speaker 5: Yeah.

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Speaker 4: I'm just a really mature, put together thirty five years old,

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Speaker 4: I know, but I think I've released a lot of that.

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Speaker 4: I don't have that as like the moniker I wear

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Speaker 4: when I walk into a room anymore, but I will

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Speaker 4: say that something is kind of beautiful and sweet?

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Speaker 2: Is that?

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Speaker 4: My mom over the past couple of years has said

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Speaker 4: to me, you know, when the occasion arises or like

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Speaker 4: on my birthday, that she sees she's watching me get

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Speaker 4: younger as I get older, And I think that's really cool.

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Speaker 5: Yeah.

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Speaker 2: Is that because now that you don't feel the burden

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Speaker 2: of being like a perfect young actress who does everything right,

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Speaker 2: you know that you can actually be more playful and

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Speaker 2: get things wrong.

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Speaker 5: I think so.

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Speaker 4: I think that even though I wasn't necessarily beholden to

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Speaker 4: it at the time, in a way I was aware of.

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Speaker 4: I think that it served me. I liked it. I

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Speaker 4: really like being prepared. I like to do things.

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Speaker 2: You know.

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Speaker 4: In my mind, it's like I want to be perfect

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Speaker 4: at something I've never done, which is impossible, right, But

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Speaker 4: it's that like control thing, and I've definitely relinquished some

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Speaker 4: of that over the last few years, and I think

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Speaker 4: it's it's very freeing and yes, allows me to be

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Speaker 4: messier and more playful and all the things, and so well.

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Speaker 2: That's one of the things I do love about aging,

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Speaker 2: Like I don't care that nobody says I'm beautiful anymore.

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Speaker 2: Like I I'm so freed of all that stuff, Like

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Speaker 2: I I love that.

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Speaker 3: I love that. I mean, obviously, I am the youngest

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Speaker 3: one out of the three of us, but I I've

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Speaker 3: actually I've said this before. I feel like when I

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Speaker 3: because I also was really praised for being such a

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Speaker 3: mature young adult, praised you for thank you, no but

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Speaker 3: but for but for being mature and intellectual for my age.

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Speaker 3: And I feel like I always had this kind of

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Speaker 3: very concrete idea of what path I was going to

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Speaker 3: be on and when I was going to achieve things

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Speaker 3: by a certain age, and put a lot of pressure

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Speaker 3: on myself because I too, am so type a you know,

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Speaker 3: straight a student likes to know how to do everything,

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Speaker 3: even if I've never done it before, and I feel like,

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Speaker 3: I don't know, you know, the concurrent events. I feel

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Speaker 3: like when I turned twenty six, when I was like

355
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Speaker 3: over the hump of in my mid twenties or you know,

356
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Speaker 3: late mid twenties, and also I really kind of in

357
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Speaker 3: a more public way to my friends and family came out,

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Speaker 3: I felt this complete redefinition of my age. And I

359
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Speaker 3: have to say every year since then, I have felt

360
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Speaker 3: younger and younger, and I have felt, yeah, just like this,

361
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Speaker 3: it's so arbitrary, these rules that we put on ourselves,

362
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Speaker 3: and to just feel also maybe more confidence in my identity,

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Speaker 3: but also in my work and my voice.

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Speaker 4: And your value outside of it, and my perfect exactly exactly.

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Speaker 2: Neither of you ever did anything wrong at school. You

366
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Speaker 2: never painted anybody.

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Speaker 3: Blue or it's a great sejuct, but did.

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Speaker 2: I'm sure neither of you had medications either, But but

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Speaker 2: how do you feel? This was another daring, bold boundary break.

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Speaker 2: Early was to bring in in two thousand and four

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Speaker 2: a character who was considering is it adderall or.

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Speaker 4: Yeah, I'm medication but yeah.

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Speaker 2: But for eightyd, I know it was kind of the

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Speaker 2: beginning of more and more of your fellow students. I

375
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Speaker 2: feel like there were some kids at schools that I

376
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Speaker 2: was aware of that were maybe starting to do things

377
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Speaker 2: like that, but I felt like on television it was

378
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Speaker 2: sort of the first character that really was getting this question.

379
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Speaker 4: Yeah. I mean, you know, you feel for Lynette so

380
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Speaker 4: much because I thought, it's such a thing right, Or

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Speaker 4: you're trying to be such a good mom and you're

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Speaker 4: trying to do right by your children, and you just

383
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Speaker 4: don't know what right is Is it right to, you know,

384
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Speaker 4: give them the opportunity to silence these thoughts or to

385
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Speaker 4: dull whatever is making their antics act and then maybe

386
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Speaker 4: they're limited in school because of those things, or is

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Speaker 4: it right to let them be who they are and

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Speaker 4: see what happens if they don't interfere, you know? And

389
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Speaker 4: also if the thought isn't coming from you, but it's

390
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Speaker 4: coming from the school, it's coming from someone else, how

391
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Speaker 4: do you take that? If not feeling very judged or criticized,

392
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Speaker 4: or like being told you're not doing your job and

393
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Speaker 4: her job is such a thing right because she's like, oh,

394
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Speaker 4: I was so successful at the job that I did

395
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Speaker 4: before I was a mother. I was praised for how

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Speaker 4: good I was at it, and now I've given that

397
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Speaker 4: identity up to be this, and now I'm told I'm

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Speaker 4: not doing it well.

399
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Speaker 2: It is interesting when you're in control of a situation

400
00:19:36,520 --> 00:19:39,480
Speaker 2: like Lynette was at work. You know, when she had

401
00:19:39,480 --> 00:19:42,480
Speaker 2: it her way, that she could excel at it. And

402
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Speaker 2: as soon as you add a variable where you don't

403
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Speaker 2: have the predictability, you don't have the control. I mean

404
00:19:49,440 --> 00:19:53,359
Speaker 2: it is she's really questioning if she can even make

405
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Speaker 2: the right decision. I feel a lot of empathy for her.

406
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Speaker 2: Al I feel a.

407
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Speaker 3: Lot of empathy for her too, and I really feel

408
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Speaker 3: like there is not a right choice. I think I

409
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Speaker 3: bumped up against a little bit in this episode. I

410
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Speaker 3: kind of felt like the writing around her character portrayed

411
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Speaker 3: her choice to ultimately not medicate them as the noble one,

412
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Speaker 3: like the right choice. Oh, She's going to embrace the

413
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Speaker 3: chaos and let them be who they are. And I think,

414
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Speaker 3: especially because attention deficit disorder wasn't something that was talked

415
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Speaker 3: about a lot at the time, I found it maybe

416
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Speaker 3: understandable but also potentially problematic choice to paint the choice

417
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Speaker 3: of using medication for people who have ADD or ADHD

418
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Speaker 3: as a cop out or as a negative.

419
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Speaker 2: And you think that's how somebody might see it now,

420
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Speaker 2: who's viewing it now?

421
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Speaker 3: Because I was watching it and I kind of felt

422
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Speaker 3: like there was a level of moral high grounds that

423
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Speaker 3: Lynette took when she said, I'm not going to give

424
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Speaker 3: this to you guys.

425
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Speaker 2: Well, it's interesting just the way you were describing it

426
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Speaker 2: like that, weighing out what is right. I never really

427
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Speaker 2: thought about it that if you did give the child

428
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Speaker 2: the medication and they were able to sort of quiet

429
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Speaker 2: some of the noise, they might have the potential to

430
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Speaker 2: have more opportunity in school or wherever that they wouldn't

431
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Speaker 2: get if they didn't have.

432
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Speaker 3: I mean, I thought you talking about that this with parenting,

433
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Speaker 3: not in terms of taking medication or not, but in

434
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Speaker 3: terms of when you see like a very very young

435
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Speaker 3: kid at a fancy restaurant and the kid is acting

436
00:21:23,400 --> 00:21:25,560
Speaker 3: out or crying or running around and kind of like

437
00:21:25,600 --> 00:21:28,720
Speaker 3: disturbing the restaurant for other people. Something that you've said

438
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Speaker 3: before to me, mom, is that's so unfortunate that the

439
00:21:32,680 --> 00:21:35,119
Speaker 3: parents put their kid in a situation that they weren't

440
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Speaker 3: set up for success.

441
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Speaker 2: I was a big one on that that that I

442
00:21:39,000 --> 00:21:44,680
Speaker 2: felt like I always took my parenting responsibility as part

443
00:21:44,680 --> 00:21:48,600
Speaker 2: of that was to not put Emerson in situations where

444
00:21:48,720 --> 00:21:51,879
Speaker 2: she wasn't ready to succeed, not that you have to

445
00:21:51,920 --> 00:21:55,760
Speaker 2: be not. In fact, I made you keep jumping. I

446
00:21:55,760 --> 00:21:57,760
Speaker 2: would not let you give up on jumping rope when

447
00:21:57,800 --> 00:21:58,679
Speaker 2: that was frustrate.

448
00:21:58,760 --> 00:22:00,560
Speaker 3: Oh my god, I was so bad at jump I

449
00:22:00,600 --> 00:22:01,720
Speaker 3: was I do it?

450
00:22:01,760 --> 00:22:03,479
Speaker 2: I I was like a five or six year old

451
00:22:03,560 --> 00:22:03,840
Speaker 2: or something.

452
00:22:03,920 --> 00:22:04,120
Speaker 4: Yeah.

453
00:22:04,119 --> 00:22:07,440
Speaker 3: I remember distinctly standing in the hallway with my jump

454
00:22:07,520 --> 00:22:10,600
Speaker 3: rope trying to practice jumping rope, and I would trip

455
00:22:10,640 --> 00:22:13,760
Speaker 3: every single step and I cried. I was fully melt down.

456
00:22:13,880 --> 00:22:14,919
Speaker 3: I could not do it.

457
00:22:14,880 --> 00:22:16,760
Speaker 2: And you wanted to give up, and I wouldn't let you. Yeah,

458
00:22:16,800 --> 00:22:19,080
Speaker 2: but that's my point. So it's felt like I made

459
00:22:19,440 --> 00:22:22,679
Speaker 2: everything easy. But I do think being aware of what

460
00:22:22,720 --> 00:22:24,840
Speaker 2: you're asking, Like I think the restaurant's a good example.

461
00:22:24,960 --> 00:22:27,199
Speaker 2: Don't ask your three year old to come to like

462
00:22:27,240 --> 00:22:30,439
Speaker 2: a fancy dinner course dinner and sit there. It's just

463
00:22:30,880 --> 00:22:33,960
Speaker 2: you're you're setting them up to fail, and that's not good.

464
00:22:34,040 --> 00:22:35,879
Speaker 3: So yeah, and so this idea that maybe you know

465
00:22:35,920 --> 00:22:38,359
Speaker 3: you need to maybe there are tools that set your

466
00:22:38,440 --> 00:22:41,560
Speaker 3: kid up to succeed that are kind of being ignored potentially.

467
00:22:41,840 --> 00:22:44,480
Speaker 4: Yeah, and she Lynette has that one line that I

468
00:22:44,520 --> 00:22:46,320
Speaker 4: thought was so it just really tugged at my heart

469
00:22:46,640 --> 00:22:49,080
Speaker 4: where she's holding the mug and she's talking about you know,

470
00:22:49,480 --> 00:22:51,359
Speaker 4: and at first I didn't realize that the mug was

471
00:22:51,359 --> 00:22:53,560
Speaker 4: going to be a point of anything in the scene.

472
00:22:53,560 --> 00:22:54,760
Speaker 4: I thought it was just a prop and I thought,

473
00:22:54,760 --> 00:22:56,320
Speaker 4: oh God, the prop department is so good because I

474
00:22:56,359 --> 00:22:59,800
Speaker 4: get that perfectly childhood, you know, child made mug. But anyway,

475
00:23:00,119 --> 00:23:02,320
Speaker 4: when she says, I'm afraid if I change the bad stuff,

476
00:23:02,320 --> 00:23:04,000
Speaker 4: I'm going to change the good stuff, and I thought

477
00:23:04,000 --> 00:23:06,240
Speaker 4: that was a really nice line. And I feel like

478
00:23:06,240 --> 00:23:09,000
Speaker 4: we all feel versions of that, like if if we

479
00:23:09,040 --> 00:23:10,879
Speaker 4: correct this thing, is it going to how is it

480
00:23:10,880 --> 00:23:13,280
Speaker 4: going to impact the other things? Like maybe I don't interfere,

481
00:23:13,359 --> 00:23:15,880
Speaker 4: maybe I don't intervene and try to control it.

482
00:23:15,920 --> 00:23:17,280
Speaker 2: Sounds like we had a lot of empathy.

483
00:23:18,520 --> 00:23:29,080
Speaker 3: Yeah, yeah, so we had.

484
00:23:29,080 --> 00:23:32,000
Speaker 2: In the last episode we had Gabby getting blackmailed, and

485
00:23:32,040 --> 00:23:37,000
Speaker 2: now in this episode we have Susan getting blackmail. I mean,

486
00:23:37,080 --> 00:23:40,040
Speaker 2: I just is that is that the go to drama blackmailed?

487
00:23:40,080 --> 00:23:41,560
Speaker 2: The next Who's getting black.

488
00:23:41,359 --> 00:23:43,240
Speaker 4: Male is running rampant?

489
00:23:44,000 --> 00:23:47,600
Speaker 3: Okay? Yes? And also just to you know, it's not

490
00:23:48,040 --> 00:23:51,000
Speaker 3: just a soap opera where everyone's getting blackmailed. I think

491
00:23:51,040 --> 00:23:55,280
Speaker 3: there's a really interesting layer underneath the blackmail of these women,

492
00:23:55,520 --> 00:24:02,640
Speaker 3: these housewives, especially missus Hubert. I God, I have such

493
00:24:02,680 --> 00:24:07,240
Speaker 3: a love hate relationship with her mainship in this episode. Yeah,

494
00:24:07,280 --> 00:24:09,840
Speaker 3: but they are looking for ways to have control in

495
00:24:09,880 --> 00:24:15,600
Speaker 3: their lives, and turns out blackmail is a way to

496
00:24:15,600 --> 00:24:16,160
Speaker 3: have control.

497
00:24:16,359 --> 00:24:17,800
Speaker 5: Low hanging right apparently.

498
00:24:18,240 --> 00:24:20,639
Speaker 3: Yeah, And oh god, I feel for Susan in the

499
00:24:20,680 --> 00:24:24,159
Speaker 3: grocery store when Miss Hoover comes up and then she

500
00:24:24,160 --> 00:24:27,600
Speaker 3: she says no to Mike to go see the Hitchcock

501
00:24:27,680 --> 00:24:32,560
Speaker 3: movie and then she pays for her groceries and stand

502
00:24:32,680 --> 00:24:33,440
Speaker 3: up for yourselves.

503
00:24:33,480 --> 00:24:37,480
Speaker 4: And there's that moment between us between Susan and Julie

504
00:24:37,520 --> 00:24:39,639
Speaker 4: in the kitchen where you had come clean, you know,

505
00:24:39,640 --> 00:24:41,280
Speaker 4: you wake Julie up and you tell her I think

506
00:24:41,320 --> 00:24:43,960
Speaker 4: I'm being blackmailed, and then we go down. And I

507
00:24:44,000 --> 00:24:45,960
Speaker 4: thought it was so. I thought it was kind of

508
00:24:45,960 --> 00:24:49,280
Speaker 4: a nice thing because so often our dynamic is like

509
00:24:49,920 --> 00:24:52,159
Speaker 4: Julie tries to be the voice of reason, right, like

510
00:24:52,200 --> 00:24:57,360
Speaker 4: that's something that that's maybe her way she identifies and uh,

511
00:24:57,480 --> 00:25:00,760
Speaker 4: and you actually, Susan, to her credit, it wants to

512
00:25:00,760 --> 00:25:02,639
Speaker 4: do the right thing by going to the cops, and

513
00:25:02,720 --> 00:25:04,000
Speaker 4: Julie is the one who's.

514
00:25:03,800 --> 00:25:09,480
Speaker 2: Like, well, this is interesting. I'm gonna just sigde tangential

515
00:25:09,640 --> 00:25:12,680
Speaker 2: to this relationship. I mean, not necessarily just from this episode,

516
00:25:12,720 --> 00:25:15,240
Speaker 2: because this is another way that I was a different mom.

517
00:25:15,280 --> 00:25:17,560
Speaker 2: So people always think that I can't cook because Susan

518
00:25:17,600 --> 00:25:19,920
Speaker 2: can't cook, And people think that I'm a klutz because

519
00:25:19,960 --> 00:25:22,760
Speaker 2: Susan fell down, and I'm a dancer. So there's a

520
00:25:22,800 --> 00:25:25,480
Speaker 2: lot of differ and I always met I was the

521
00:25:25,480 --> 00:25:28,760
Speaker 2: only breadwinner. Nobody ever bought, you know, like paid for

522
00:25:28,840 --> 00:25:31,840
Speaker 2: my way or whatever. Anyways, lots of different things, but

523
00:25:32,359 --> 00:25:35,440
Speaker 2: one of the things here that I had to accept

524
00:25:35,440 --> 00:25:38,760
Speaker 2: that I thought was charming in the context of Desperate

525
00:25:38,800 --> 00:25:43,480
Speaker 2: Housewives and the Julie Susan relationship that I would never

526
00:25:43,640 --> 00:25:47,600
Speaker 2: do because of my relationship with my own mother, is

527
00:25:47,760 --> 00:25:53,040
Speaker 2: I have been overly cautious to not put you taking

528
00:25:53,080 --> 00:25:56,320
Speaker 2: care of me. You Emerson. I'm pointing at Emerson to

529
00:25:56,440 --> 00:26:01,000
Speaker 2: our life, like, because I feel like my mother needed

530
00:26:01,040 --> 00:26:02,840
Speaker 2: a lot of emotional.

531
00:26:02,320 --> 00:26:04,000
Speaker 3: Care from me too much.

532
00:26:04,200 --> 00:26:08,760
Speaker 2: She needed me to fulfill something that she couldn't fulfill herself.

533
00:26:08,800 --> 00:26:13,800
Speaker 2: And I think that is a really regrettable, not great

534
00:26:13,840 --> 00:26:17,719
Speaker 2: thing to do to your child if you cannot do it.

535
00:26:17,760 --> 00:26:22,359
Speaker 2: And I do feel like Susan leaned on Julie way

536
00:26:22,400 --> 00:26:26,640
Speaker 2: too much, yea. And that was a quality about her

537
00:26:27,359 --> 00:26:30,240
Speaker 2: that I didn't love as as the mother that I am.

538
00:26:31,000 --> 00:26:33,960
Speaker 2: But I loved it in the television show and I

539
00:26:34,000 --> 00:26:37,280
Speaker 2: loved it in the dynamo dynamic of how a character

540
00:26:37,320 --> 00:26:39,359
Speaker 2: has to grow and what the relationship.

541
00:26:38,800 --> 00:26:40,159
Speaker 3: With it was.

542
00:26:40,520 --> 00:26:43,000
Speaker 2: But if you were if we went around and we

543
00:26:43,000 --> 00:26:50,960
Speaker 2: were like, what did Susan, Gabby, Bree, and Lynette do wrong?

544
00:26:51,119 --> 00:26:56,880
Speaker 2: As mothers would put on this Susan list would be

545
00:26:58,320 --> 00:27:01,639
Speaker 2: treated Julie like an equal as I can or as

546
00:27:01,680 --> 00:27:04,240
Speaker 2: a friend way too much. Yeah, what do you guys think?

547
00:27:04,480 --> 00:27:04,760
Speaker 5: Yeah?

548
00:27:04,840 --> 00:27:08,359
Speaker 4: I think that's a fair assessment. I also think I

549
00:27:08,440 --> 00:27:11,680
Speaker 4: understand from a your standpoint, it's a very charming dynamic.

550
00:27:11,720 --> 00:27:14,720
Speaker 4: Like you said, like I watch it now and I think, oh,

551
00:27:14,840 --> 00:27:17,399
Speaker 4: they're so sweet, Like they're so cute, and they're you know,

552
00:27:17,720 --> 00:27:21,080
Speaker 4: like committing crimes together and they're you know, and it's sweet.

553
00:27:21,200 --> 00:27:24,200
Speaker 4: It's sweet and charming and ridiculous. It's not how I

554
00:27:24,240 --> 00:27:26,720
Speaker 4: would say suggest someone use it as a how to

555
00:27:26,760 --> 00:27:30,000
Speaker 4: parent Handbook. But I think you know, and it's interesting

556
00:27:30,000 --> 00:27:32,280
Speaker 4: because you were a real life single mom at the

557
00:27:32,320 --> 00:27:35,080
Speaker 4: same time and who was doing things very very differently.

558
00:27:35,320 --> 00:27:39,479
Speaker 4: So yeah, but I I do think by your are

559
00:27:39,680 --> 00:27:43,639
Speaker 4: Susan's arc in this episode. Something I thought was so

560
00:27:44,240 --> 00:27:46,960
Speaker 4: great is again the payoff, you know, when you do

561
00:27:47,400 --> 00:27:50,200
Speaker 4: find your backbone and you stand up to Martha Huber.

562
00:27:50,680 --> 00:27:52,719
Speaker 5: It's just it's so satisfied.

563
00:27:52,760 --> 00:27:55,640
Speaker 2: Okay, But we kind of back up to how we

564
00:27:55,680 --> 00:27:58,679
Speaker 2: get there in the first place, which is because I

565
00:27:58,760 --> 00:28:00,640
Speaker 2: know you said you had something to say about what

566
00:28:00,720 --> 00:28:02,040
Speaker 2: I've made here for Oh.

567
00:28:02,040 --> 00:28:04,680
Speaker 3: My gosh, Oh my gosh. Well there's there's so many

568
00:28:04,720 --> 00:28:08,560
Speaker 3: things to say, but we're staying with Missus Hooper's blackmail

569
00:28:08,920 --> 00:28:14,440
Speaker 3: when she shows up at Susan's house with the mince

570
00:28:14,520 --> 00:28:19,000
Speaker 3: meat comment I wrote in my notes also again in

571
00:28:19,040 --> 00:28:25,880
Speaker 3: all caps. Okay, Missus Hooper is all caps off the

572
00:28:26,000 --> 00:28:30,479
Speaker 3: rails in this scene exclamation point no, because she is.

573
00:28:30,640 --> 00:28:37,399
Speaker 3: I mean, she's she comes in and she's saying, mince meat, Lady,

574
00:28:39,160 --> 00:28:41,760
Speaker 3: I'm gonna make mince meat. That's what she's actually saying.

575
00:28:41,760 --> 00:28:46,080
Speaker 3: I'm gonna make mince meat out of you. I'm gonna, yes,

576
00:28:46,560 --> 00:28:49,160
Speaker 3: that was an expression, and I just I have to

577
00:28:49,200 --> 00:28:53,240
Speaker 3: say I felt like the tone of the show shifted

578
00:28:53,440 --> 00:28:57,920
Speaker 3: into a different place for a moment in that scene

579
00:28:58,600 --> 00:29:02,160
Speaker 3: because I and this is totally not a slight at

580
00:29:02,200 --> 00:29:06,080
Speaker 3: the actor playing Missus Huber, but I feel like there

581
00:29:06,120 --> 00:29:08,840
Speaker 3: is a level of even though the circumstances are very heightened,

582
00:29:08,880 --> 00:29:11,600
Speaker 3: there's a level of the way most of the women

583
00:29:11,680 --> 00:29:15,080
Speaker 3: are playing their scenes with each other that feels very

584
00:29:15,760 --> 00:29:18,120
Speaker 3: grounded in the reality of how we speak and what

585
00:29:18,240 --> 00:29:22,000
Speaker 3: is conversational. And Missus Hooper comes into Susan's house and

586
00:29:22,040 --> 00:29:25,360
Speaker 3: it's like a portal's been opened into this other world

587
00:29:25,400 --> 00:29:29,840
Speaker 3: where like the witch from next Door into the Woods

588
00:29:30,240 --> 00:29:34,360
Speaker 3: comes in and is talking about mince meat in this

589
00:29:34,600 --> 00:29:39,800
Speaker 3: over articulation, and it just it was fascinating.

590
00:29:40,880 --> 00:29:42,920
Speaker 2: But across the tone for you a little no.

591
00:29:42,880 --> 00:29:46,080
Speaker 3: I mean it did I bumped up against I love it,

592
00:29:46,120 --> 00:29:48,360
Speaker 3: go off, go off, tell me, Because I.

593
00:29:48,680 --> 00:29:51,920
Speaker 4: Think every neighborhood in this kind of perfect world right

594
00:29:52,080 --> 00:29:55,600
Speaker 4: has a crazy, zany neighbor, you know, like Missus Huber,

595
00:29:55,960 --> 00:29:58,480
Speaker 4: and I think that we kind of established that in

596
00:29:58,520 --> 00:30:05,480
Speaker 4: the pilot right where she clearly and she's she takes

597
00:30:05,480 --> 00:30:08,520
Speaker 4: the nosy neighbor role to the nth degree, right, And

598
00:30:08,760 --> 00:30:11,280
Speaker 4: yes it is very heightened, and yes it's very campy.

599
00:30:11,320 --> 00:30:14,880
Speaker 4: I happen to love camp I love I'm here for But.

600
00:30:14,880 --> 00:30:16,800
Speaker 2: Yeah, when you look at any I mean, I'm trying

601
00:30:16,840 --> 00:30:19,320
Speaker 2: to think of a comedy that's on television right now

602
00:30:19,600 --> 00:30:22,320
Speaker 2: that that rides this line.

603
00:30:22,800 --> 00:30:23,280
Speaker 3: It.

604
00:30:23,280 --> 00:30:25,800
Speaker 2: It is something I was always aware of and and

605
00:30:25,920 --> 00:30:30,680
Speaker 2: sometimes I feel like the writing supported uh me, and

606
00:30:30,720 --> 00:30:33,720
Speaker 2: sometimes I felt like it fell short. And I mean

607
00:30:33,760 --> 00:30:37,400
Speaker 2: for Susan's character, at least up till now four episodes in,

608
00:30:38,040 --> 00:30:41,840
Speaker 2: I'm not seeing that, but I definitely recall in later seasons,

609
00:30:41,880 --> 00:30:44,200
Speaker 2: you know, feeling like Susan wouldn't say this, This is right,

610
00:30:44,320 --> 00:30:49,800
Speaker 2: like that kind of comedy is is to me, it's

611
00:30:49,840 --> 00:30:52,680
Speaker 2: the best, but it's also like a tight rope. It's

612
00:30:52,720 --> 00:30:55,520
Speaker 2: the hardest, and it's the hardest. It's the hardest to write.

613
00:30:55,960 --> 00:30:58,760
Speaker 2: Always had to responding to act.

614
00:30:58,880 --> 00:31:02,720
Speaker 3: You're responding so authentically. I would say, in the heightened

615
00:31:02,760 --> 00:31:04,120
Speaker 3: scenario of that you.

616
00:31:04,120 --> 00:31:05,440
Speaker 5: Open your mouth that she's feeding.

617
00:31:05,880 --> 00:31:07,520
Speaker 3: I know, it's okay.

618
00:31:07,680 --> 00:31:09,840
Speaker 2: Can we just talk about what I The beautiful thing

619
00:31:09,880 --> 00:31:15,240
Speaker 2: I have here, first of all, mince meat is do

620
00:31:15,280 --> 00:31:19,200
Speaker 2: you guys know what a mince meat. Okay, so mince

621
00:31:19,280 --> 00:31:22,680
Speaker 2: meat typically was a traditional meat pie. Like it's like

622
00:31:22,720 --> 00:31:24,959
Speaker 2: if you think about we went to Cornwall last year,

623
00:31:24,960 --> 00:31:27,240
Speaker 2: if you think about like the Cornish Pasti's or whatever.

624
00:31:27,640 --> 00:31:31,600
Speaker 2: It's a way to incorporate meat into a pie, like

625
00:31:31,720 --> 00:31:34,600
Speaker 2: so that you're getting a meal in one thing. And

626
00:31:34,680 --> 00:31:36,840
Speaker 2: so when you make I have made for you a

627
00:31:37,000 --> 00:31:40,360
Speaker 2: fruit mince meat, which is what which is what missus

628
00:31:40,360 --> 00:31:41,400
Speaker 2: Whober claimed to make.

629
00:31:41,520 --> 00:31:43,680
Speaker 3: That's what she said. I'm going to be real not

630
00:31:45,880 --> 00:31:46,680
Speaker 3: I know it was dark.

631
00:31:47,480 --> 00:31:51,000
Speaker 2: This mince meat pie is three different kinds of apples.

632
00:31:51,080 --> 00:31:54,200
Speaker 2: One of the apples brands are not brand what do

633
00:31:54,200 --> 00:31:54,480
Speaker 2: you call it?

634
00:31:58,040 --> 00:31:59,360
Speaker 5: A apple?

635
00:32:00,040 --> 00:32:03,160
Speaker 2: I have the apple varieties is called the Envy apple.

636
00:32:03,320 --> 00:32:05,680
Speaker 3: And I was like, well, I have to use that.

637
00:32:05,720 --> 00:32:07,920
Speaker 3: I have to say the apples are I've been getting

638
00:32:07,920 --> 00:32:09,680
Speaker 3: them in the grocery store to like the best kind.

639
00:32:09,840 --> 00:32:14,320
Speaker 2: Yeah, so this is honey crisp, green apple, and Envy apples.

640
00:32:14,360 --> 00:32:18,440
Speaker 2: They are I think they are chopped uniformly in the

641
00:32:18,480 --> 00:32:20,680
Speaker 2: same size that you would have a piece of steak.

642
00:32:20,960 --> 00:32:23,720
Speaker 2: So that is what you're trying to mimic. If you're

643
00:32:23,760 --> 00:32:29,920
Speaker 2: doing im Wow, it's got a lot of warm seasoning, cinnamon, nutmeg, allspice.

644
00:32:30,960 --> 00:32:35,400
Speaker 2: There's orange zest, there's ginger zest, and there's some raisins,

645
00:32:35,480 --> 00:32:37,479
Speaker 2: which I went light on the raisins because I know,

646
00:32:37,640 --> 00:32:40,160
Speaker 2: God bless you, we always have the argument over carrot

647
00:32:40,160 --> 00:32:41,960
Speaker 2: cake of like raisin snow raisins.

648
00:32:45,440 --> 00:32:47,360
Speaker 3: Caras.

649
00:32:47,600 --> 00:32:50,560
Speaker 2: So anyways, it's delicious and I think it will be

650
00:32:50,600 --> 00:32:53,040
Speaker 2: delicious anyways, so I made it. I put a little

651
00:32:53,040 --> 00:32:54,360
Speaker 2: heart on there just because I love you, guys.

652
00:32:54,360 --> 00:32:55,760
Speaker 3: And now we're just going to get to stare at

653
00:32:55,760 --> 00:32:57,280
Speaker 3: that we're talking about this.

654
00:32:58,040 --> 00:33:03,080
Speaker 2: But that scene was is a crazy scene and definitely

655
00:33:03,880 --> 00:33:06,800
Speaker 2: set up I think Susan feeling like she was getting

656
00:33:06,840 --> 00:33:10,280
Speaker 2: mincemeat made of her, yeah, as she kept putting up

657
00:33:10,280 --> 00:33:12,640
Speaker 2: with this woman until she finally conquers her.

658
00:33:12,720 --> 00:33:15,160
Speaker 3: I do have to say, though, I mean, obviously this

659
00:33:15,320 --> 00:33:19,200
Speaker 3: is being used as a blackmail intimidation tactic, which we

660
00:33:19,240 --> 00:33:21,960
Speaker 3: see a lot of different versions of intimidation tactics in

661
00:33:22,000 --> 00:33:27,080
Speaker 3: this episode. But I did think missus Hooper's phrasing of saying,

662
00:33:27,120 --> 00:33:28,840
Speaker 3: you know, I really want to help you. I didn't

663
00:33:28,840 --> 00:33:31,600
Speaker 3: help you enough when Carl left you, and now I

664
00:33:31,640 --> 00:33:34,600
Speaker 3: want to help you. Get Mike on your side and

665
00:33:35,000 --> 00:33:37,240
Speaker 3: go out with Mike. It actually made me think about

666
00:33:37,240 --> 00:33:40,760
Speaker 3: something I studied in a social psychology class at Brown,

667
00:33:41,160 --> 00:33:43,360
Speaker 3: which was this really interesting study that I think about

668
00:33:43,400 --> 00:33:48,920
Speaker 3: a lot that talked about people actually like you more

669
00:33:49,840 --> 00:33:52,520
Speaker 3: after you ask them to do something for you.

670
00:33:53,000 --> 00:33:53,280
Speaker 2: Ah.

671
00:33:53,400 --> 00:33:57,800
Speaker 3: Yes, the psychology of that. That the idea of feeling

672
00:33:57,840 --> 00:33:59,960
Speaker 3: which I think plays back into this question of IDENTI

673
00:34:00,400 --> 00:34:03,240
Speaker 3: and labels. The idea of feeling needed.

674
00:34:03,000 --> 00:34:06,479
Speaker 2: People buy someone, Yeah, makes them like I told her

675
00:34:06,480 --> 00:34:09,120
Speaker 2: about relationships growing up. Now we're just gonna this is now,

676
00:34:09,520 --> 00:34:12,080
Speaker 2: this is atitary, mother Emerson.

677
00:34:11,800 --> 00:34:13,560
Speaker 3: How did you do it? No?

678
00:34:13,640 --> 00:34:16,680
Speaker 2: But this was another thing I said, is that don't

679
00:34:16,719 --> 00:34:19,080
Speaker 2: a lot of women these days, I think, go around

680
00:34:19,120 --> 00:34:23,160
Speaker 2: thinking independence is everything, Like, you know, I'm going to

681
00:34:23,239 --> 00:34:25,640
Speaker 2: do it myself. You know I can do it myself.

682
00:34:25,960 --> 00:34:29,040
Speaker 2: And what I would offer her, the idea of is,

683
00:34:29,120 --> 00:34:32,680
Speaker 2: you know, let your partner do something for you.

684
00:34:32,760 --> 00:34:35,160
Speaker 3: People like to feel needed.

685
00:34:35,200 --> 00:34:35,360
Speaker 2: You know.

686
00:34:35,400 --> 00:34:39,080
Speaker 4: It makes me think of Brion Rex and how she says,

687
00:34:39,120 --> 00:34:41,239
Speaker 4: you know, in college we were the perfect couple and

688
00:34:41,280 --> 00:34:43,759
Speaker 4: everyone wanted to be us, and what happened And he says,

689
00:34:43,760 --> 00:34:45,160
Speaker 4: you won't even let me, You can't even let me

690
00:34:45,200 --> 00:34:46,080
Speaker 4: pack my own suitcase.

691
00:34:46,640 --> 00:34:49,600
Speaker 2: Yeah, yeah, that that dynamic has gotten really off for them.

692
00:34:50,280 --> 00:34:52,520
Speaker 2: I still think that line stuck out to me Again,

693
00:34:52,560 --> 00:34:54,920
Speaker 2: I think I said this before, which is I'm still

694
00:34:54,960 --> 00:34:59,120
Speaker 2: having a hard time understanding where Bree came from. I'm

695
00:34:59,160 --> 00:35:02,600
Speaker 2: having an art she when she said that line as

696
00:35:02,640 --> 00:35:05,520
Speaker 2: the actress. I mean, I thought it was a lovely performance.

697
00:35:05,600 --> 00:35:09,759
Speaker 2: I believed, you know her her pain in saying like

698
00:35:09,800 --> 00:35:12,040
Speaker 2: when we were in college, you know, everybody thought we'd

699
00:35:12,120 --> 00:35:14,760
Speaker 2: be great, Like what has happened to us? I totally

700
00:35:14,800 --> 00:35:19,640
Speaker 2: believed that, but the the text of it didn't. I

701
00:35:19,760 --> 00:35:21,600
Speaker 2: just I'm still not can't take sure all the.

702
00:35:21,640 --> 00:35:23,160
Speaker 3: Questions what has happened?

703
00:35:23,239 --> 00:35:23,399
Speaker 2: Right?

704
00:35:23,520 --> 00:35:25,280
Speaker 3: We want to know what did happen?

705
00:35:26,480 --> 00:35:26,759
Speaker 2: I don't.

706
00:35:26,800 --> 00:35:29,440
Speaker 4: And sticking with the Breeze story, a little arc in

707
00:35:29,480 --> 00:35:33,080
Speaker 4: this episode with with Andrew and Danielle her children and

708
00:35:33,200 --> 00:35:38,920
Speaker 4: obviously how he is. Andrew is angry. He's angry that

709
00:35:39,360 --> 00:35:43,840
Speaker 4: Rex has left. He's angry at Bree theoretically for driving

710
00:35:44,200 --> 00:35:46,880
Speaker 4: their dad away. And you know, it made me think

711
00:35:47,080 --> 00:35:50,719
Speaker 4: how often it is that, you know, the woman in

712
00:35:50,760 --> 00:35:53,640
Speaker 4: the situation is blamed maybe quicker than the man, right,

713
00:35:54,800 --> 00:35:57,919
Speaker 4: and uh, then it leads obviously to the hilarity of

714
00:35:58,160 --> 00:35:59,920
Speaker 4: him as going off to the trip club and then

715
00:36:00,040 --> 00:36:02,560
Speaker 4: free perfect bree in her you know, buttoned up shirt

716
00:36:02,600 --> 00:36:04,720
Speaker 4: sitting next to him and ruining his night and ruining

717
00:36:04,760 --> 00:36:05,480
Speaker 4: the guy next to them.

718
00:36:05,520 --> 00:36:09,080
Speaker 2: Tonight, I got that speach that that character makes about

719
00:36:09,320 --> 00:36:11,239
Speaker 2: who's that girl? And she's got a mother?

720
00:36:13,360 --> 00:36:14,880
Speaker 3: And then well the guy to lean over at the

721
00:36:14,960 --> 00:36:16,560
Speaker 3: end to go, you gotta get her out of here.

722
00:36:17,080 --> 00:36:18,399
Speaker 5: She kill all of us.

723
00:36:18,480 --> 00:36:21,520
Speaker 4: I know, I know it was it so funny, but honestly,

724
00:36:21,560 --> 00:36:24,560
Speaker 4: we've come a long way with conversations around sex work.

725
00:36:24,600 --> 00:36:25,640
Speaker 5: I think since this episode.

726
00:36:25,880 --> 00:36:28,080
Speaker 3: Well, I was going to say, have either of you

727
00:36:28,120 --> 00:36:30,640
Speaker 3: ever been to a strip club? What are your thoughts?

728
00:36:31,000 --> 00:36:32,440
Speaker 4: All a great strip club story?

729
00:36:32,520 --> 00:36:33,000
Speaker 5: Actually?

730
00:36:33,360 --> 00:36:35,839
Speaker 4: Please, I wasn't planning. I mean I didn't even think

731
00:36:35,880 --> 00:36:37,759
Speaker 4: about it, But now that you just prompted this, I did.

732
00:36:37,760 --> 00:36:38,040
Speaker 5: Okay.

733
00:36:38,080 --> 00:36:42,080
Speaker 4: So there's a strip club in Los Angeles, and uh,

734
00:36:42,280 --> 00:36:45,200
Speaker 4: just one, just one, No.

735
00:36:45,320 --> 00:36:47,360
Speaker 5: There's many. This one happens to be called the Body

736
00:36:47,360 --> 00:36:48,360
Speaker 5: Show by the Airport.

737
00:36:48,920 --> 00:36:53,040
Speaker 4: It's the one on Sunset anyway, And I never it

738
00:36:53,080 --> 00:36:53,799
Speaker 4: wasn't like my thing.

739
00:36:53,840 --> 00:36:54,200
Speaker 2: I was not.

740
00:36:54,400 --> 00:36:56,600
Speaker 4: I mean, no one's surprised, but I was not like

741
00:36:56,640 --> 00:37:00,160
Speaker 4: a big goer outer as a as an adolescent.

742
00:37:00,360 --> 00:37:02,000
Speaker 3: You were so much for your age.

743
00:37:03,600 --> 00:37:06,239
Speaker 4: But when I was in my twenties, we went out

744
00:37:06,360 --> 00:37:08,480
Speaker 4: and the night ended at the strip club. And it

745
00:37:08,520 --> 00:37:10,680
Speaker 4: was me and my girlfriends, right, and we were there

746
00:37:11,200 --> 00:37:15,560
Speaker 4: and there was a stripper who was obviously in a

747
00:37:15,640 --> 00:37:19,000
Speaker 4: state of undress, and she did her thing, and then

748
00:37:19,000 --> 00:37:21,680
Speaker 4: she hopped off and she came over to me and

749
00:37:21,719 --> 00:37:23,760
Speaker 4: she told me that she was a fan of Desperate

750
00:37:23,800 --> 00:37:26,920
Speaker 4: Housewives and she was naked and she was a fan

751
00:37:26,960 --> 00:37:29,840
Speaker 4: of Desperate Housewives. And this is where it gets really good. Okay,

752
00:37:30,000 --> 00:37:32,400
Speaker 4: that this isn't her only job. She's also a stylist

753
00:37:32,440 --> 00:37:34,800
Speaker 4: and if I'm ever in need of clothes, clothing or

754
00:37:34,840 --> 00:37:37,759
Speaker 4: styling for an event, to give her a call, and

755
00:37:37,800 --> 00:37:39,080
Speaker 4: that she was going to give me her card. And

756
00:37:39,120 --> 00:37:40,960
Speaker 4: I thought it was so funny because she was standing

757
00:37:40,960 --> 00:37:42,440
Speaker 4: there in front of me naked, and I was.

758
00:37:42,400 --> 00:37:45,080
Speaker 5: Like, well, I can't judge how you'd style me, but

759
00:37:45,360 --> 00:37:46,600
Speaker 5: you know that's pretty good.

760
00:37:47,640 --> 00:37:48,000
Speaker 3: God.

761
00:37:48,560 --> 00:37:50,440
Speaker 2: Yeah, okay, that's her true story.

762
00:37:50,600 --> 00:37:54,279
Speaker 3: Labels everyone having multiple labels and that they carry with

763
00:37:54,400 --> 00:37:57,640
Speaker 3: us all the time and multiple jobs. I love that.

764
00:37:57,840 --> 00:38:00,520
Speaker 2: Ye yeah, I love that. I have been into a

765
00:38:00,560 --> 00:38:03,560
Speaker 2: strip club. I mean I was a couple of times.

766
00:38:03,600 --> 00:38:05,800
Speaker 2: I think I went to a strip club in Vegas

767
00:38:05,880 --> 00:38:08,480
Speaker 2: a long time ago, and I went to a strip

768
00:38:08,520 --> 00:38:10,520
Speaker 2: club in New Orleans. When I was doing the movie

769
00:38:10,520 --> 00:38:13,359
Speaker 2: Heaven's Prisoners, I wanted to kind of actually research, so

770
00:38:13,400 --> 00:38:16,040
Speaker 2: that was kind of a more of a research stripper. No,

771
00:38:16,120 --> 00:38:19,160
Speaker 2: but I played a person who was involved with strippers

772
00:38:19,200 --> 00:38:21,400
Speaker 2: in that sort of life, and so I kind of

773
00:38:21,440 --> 00:38:24,399
Speaker 2: wanted to see what that was like. And then I

774
00:38:24,440 --> 00:38:28,480
Speaker 2: did stripping on on Desperate Housewise.

775
00:38:28,280 --> 00:38:29,440
Speaker 3: Stay tuned for that stage.

776
00:38:29,600 --> 00:38:33,440
Speaker 2: I remember that and yeah, that's much later, but that happens.

777
00:38:33,960 --> 00:38:40,719
Speaker 2: And then, uh, I used to take stripping class for exercise,

778
00:38:41,080 --> 00:38:43,759
Speaker 2: like part of the S factor. I was part of

779
00:38:43,800 --> 00:38:48,600
Speaker 2: the Oprah. I was on Oprah showing Oprah how to do.

780
00:38:50,160 --> 00:38:50,759
Speaker 5: A poll.

781
00:38:50,880 --> 00:38:53,680
Speaker 2: I also did it on Jay Leno, not the man

782
00:38:53,800 --> 00:39:00,440
Speaker 2: the show we want to pull m not on himself anyways.

783
00:39:00,600 --> 00:39:07,359
Speaker 2: So I, you know, I tend to imbue this with

784
00:39:07,520 --> 00:39:10,800
Speaker 2: like I want to empower these women. You know. I

785
00:39:11,800 --> 00:39:14,960
Speaker 2: the painting that Brie was painting that this is so

786
00:39:15,080 --> 00:39:18,920
Speaker 2: bad and her mom must be disappointed, and you know, because.

787
00:39:18,800 --> 00:39:20,000
Speaker 4: A humiliating thing.

788
00:39:20,200 --> 00:39:25,040
Speaker 2: Whatever. I resist that as a as a modern day story.

789
00:39:25,600 --> 00:39:28,719
Speaker 2: Now I wouldn't want to project that. I mean, that

790
00:39:28,840 --> 00:39:32,200
Speaker 2: might be the truth for sure, but I wouldn't want

791
00:39:32,239 --> 00:39:35,239
Speaker 2: to project that. I still am in the lane of

792
00:39:35,280 --> 00:39:38,080
Speaker 2: like hoping that women are doing what they're doing because

793
00:39:38,080 --> 00:39:38,960
Speaker 2: they want to be doing it.

794
00:39:39,040 --> 00:39:41,960
Speaker 3: Yeah, and they feel empowered that. I agree. And the

795
00:39:42,040 --> 00:39:46,040
Speaker 3: truth is, so many women with so many jobs, you know,

796
00:39:46,280 --> 00:39:51,320
Speaker 3: walk around carrying various forms of trauma and childhood trauma

797
00:39:51,360 --> 00:39:54,440
Speaker 3: and some of the experiences that Bree talks about in

798
00:39:54,480 --> 00:39:59,399
Speaker 3: that speech, many many women have and it does not

799
00:39:59,520 --> 00:40:02,760
Speaker 3: result in choosing a particular line of work. It feels

800
00:40:02,760 --> 00:40:05,600
Speaker 3: like a very misplaced Yeah, but it makes sense.

801
00:40:05,400 --> 00:40:08,640
Speaker 4: For it makes sense for the character, It makes total

802
00:40:08,680 --> 00:40:12,000
Speaker 4: sense for her, and and comedically it was great. And

803
00:40:12,000 --> 00:40:13,719
Speaker 4: and then she says later in the episode, well, if

804
00:40:13,719 --> 00:40:15,719
Speaker 4: you think that, you know, I feel bad about pulling

805
00:40:15,760 --> 00:40:17,360
Speaker 4: you out of a strip club like that. I consider

806
00:40:17,400 --> 00:40:22,600
Speaker 4: that one of my greatest moments. Yeah, I was going

807
00:40:22,640 --> 00:40:26,000
Speaker 4: to say, we've got Carlos, Yeah, We've got more Carlos.

808
00:40:26,560 --> 00:40:28,960
Speaker 2: I mean, I want to start in the bathtub with

809
00:40:29,040 --> 00:40:31,400
Speaker 2: the rubber ducky because I feel like that's going to

810
00:40:31,440 --> 00:40:33,800
Speaker 2: be the same comment as the algebra class.

811
00:40:33,880 --> 00:40:40,120
Speaker 3: And yeah, I don't know, he might do that I

812
00:40:40,120 --> 00:40:41,120
Speaker 3: haven't seen that far.

813
00:40:41,400 --> 00:40:42,120
Speaker 5: Yeah, I know.

814
00:40:43,680 --> 00:40:46,800
Speaker 2: But when he says I'm usually playing with my rubber

815
00:40:46,880 --> 00:40:49,960
Speaker 2: ducky and now I have more to play with or whatever.

816
00:40:49,960 --> 00:40:52,360
Speaker 3: I mean, I'm on the floor shocked.

817
00:40:52,440 --> 00:40:55,920
Speaker 2: But yeah, line, I mean, I hope doubling down on

818
00:40:56,040 --> 00:40:57,960
Speaker 2: the you've got to be underagee.

819
00:40:58,320 --> 00:41:00,680
Speaker 3: Well, they were having fun in the right, I was.

820
00:41:00,719 --> 00:41:03,320
Speaker 3: I was. I was watching that scene, and I was thinking,

821
00:41:04,120 --> 00:41:07,920
Speaker 3: people are riffing with these lines, and they're really enjoying

822
00:41:07,960 --> 00:41:10,239
Speaker 3: coming up with what they're coming up with. And now

823
00:41:10,320 --> 00:41:14,799
Speaker 3: I am watching it and I'm horrified, and I'm horrified

824
00:41:14,880 --> 00:41:19,279
Speaker 3: for Gabby and for John and and ultimately for many

825
00:41:19,280 --> 00:41:22,799
Speaker 3: more people. As Carlos gets more and more suspicious that

826
00:41:22,800 --> 00:41:23,800
Speaker 3: Gabby's having an affair.

827
00:41:24,239 --> 00:41:26,120
Speaker 4: Of course, Okay, so they're in the tub, and then

828
00:41:26,120 --> 00:41:28,880
Speaker 4: the doorbell rings, and then John freaks out because he

829
00:41:28,920 --> 00:41:31,919
Speaker 4: thinks that Carlos is home, and she has the line

830
00:41:31,920 --> 00:41:32,480
Speaker 4: of like, well.

831
00:41:32,360 --> 00:41:34,400
Speaker 5: He wouldn't ring the doorbell, which I thought was funny.

832
00:41:34,600 --> 00:41:37,759
Speaker 4: And then and then it's the cable guy, the cable guys,

833
00:41:37,800 --> 00:41:40,439
Speaker 4: and he's been late, yeah, show up late, yes, yes,

834
00:41:40,560 --> 00:41:42,880
Speaker 4: And so then you know, John takes off, right, he

835
00:41:42,960 --> 00:41:47,279
Speaker 4: takes off and forgets a sock, leaves a little sock behind.

836
00:41:48,000 --> 00:41:52,719
Speaker 3: Which Gabby so geniusly quick thinking. So I honestly, I

837
00:41:52,800 --> 00:41:55,600
Speaker 3: was kind of and I just felt like it spoke

838
00:41:55,680 --> 00:41:59,920
Speaker 3: to something about Gabby's backstory that she immediately thought, like

839
00:42:00,160 --> 00:42:02,160
Speaker 3: she done this before, I don't know, to take the

840
00:42:02,239 --> 00:42:05,320
Speaker 3: socks and go put them down by the washing machine

841
00:42:05,680 --> 00:42:09,400
Speaker 3: and say that that is what the housekeeper uses.

842
00:42:09,440 --> 00:42:12,000
Speaker 2: It's because Gabby's as smart as she is beautiful, right,

843
00:42:12,760 --> 00:42:15,680
Speaker 2: she says, all the tools, right, I mean, I'm going

844
00:42:15,680 --> 00:42:16,360
Speaker 2: to figure.

845
00:42:16,120 --> 00:42:19,839
Speaker 3: Out not a split second waisted, how to.

846
00:42:19,760 --> 00:42:21,279
Speaker 2: Do with this sock, like I'm going to solve this

847
00:42:21,320 --> 00:42:22,200
Speaker 2: problem instantly.

848
00:42:22,320 --> 00:42:24,480
Speaker 4: Yeah, I mean, it's really it's impressive, you know what.

849
00:42:24,560 --> 00:42:27,320
Speaker 2: It's a character trait though that that I think comes

850
00:42:27,360 --> 00:42:28,840
Speaker 2: from having to protect yourself.

851
00:42:28,920 --> 00:42:31,399
Speaker 3: I was about to say it speaks to a survival instincts.

852
00:42:31,080 --> 00:42:34,399
Speaker 2: So it must. I don't remember if we ever get

853
00:42:34,440 --> 00:42:37,960
Speaker 2: to a backstory about that character, but it says to

854
00:42:38,120 --> 00:42:42,759
Speaker 2: me that that was a character who who survives.

855
00:42:42,880 --> 00:42:44,400
Speaker 3: Yeah, yeah, yeah.

856
00:42:44,320 --> 00:42:46,520
Speaker 2: And they and and that's why they developed all that

857
00:42:46,600 --> 00:42:49,200
Speaker 2: quick on their feet yeah behavior.

858
00:42:48,920 --> 00:42:51,600
Speaker 4: Oh gosh, and then and then well then quick on their.

859
00:42:52,600 --> 00:42:54,760
Speaker 5: To put on a sock as she's dusting the banister.

860
00:42:55,000 --> 00:42:56,560
Speaker 2: It kind of made me want to try it. I

861
00:42:56,760 --> 00:42:58,440
Speaker 2: was like, it sort of seems like a good idea.

862
00:42:59,280 --> 00:43:00,960
Speaker 2: You could just spray the banister and then just have

863
00:43:01,120 --> 00:43:04,319
Speaker 2: it and then your rather than having to hold a rag,

864
00:43:04,400 --> 00:43:05,719
Speaker 2: you could just like, I think we.

865
00:43:06,560 --> 00:43:09,000
Speaker 3: All have socks that we don't use any Well.

866
00:43:08,960 --> 00:43:13,040
Speaker 4: There's always back to the laundry, Back to the laundry,

867
00:43:13,160 --> 00:43:14,479
Speaker 4: there's the one rogue sock.

868
00:43:14,760 --> 00:43:18,239
Speaker 2: And now we have a right that's when you're one

869
00:43:18,320 --> 00:43:20,120
Speaker 2: rogue sock, make it a dust rag.

870
00:43:20,239 --> 00:43:22,960
Speaker 5: But then Carlos ends up committing hate crime.

871
00:43:23,040 --> 00:43:26,240
Speaker 3: Well, yes, okay, so because the cable guy slips and

872
00:43:26,560 --> 00:43:28,680
Speaker 3: the paramedics have to come because he hits his head

873
00:43:28,719 --> 00:43:31,960
Speaker 3: really bad, and Carlos is suspicious about why was he

874
00:43:32,000 --> 00:43:35,919
Speaker 3: there so late? And he asks John, who obviously trying

875
00:43:35,920 --> 00:43:37,600
Speaker 3: to cover his own tracks.

876
00:43:37,120 --> 00:43:44,240
Speaker 4: Quick on his feet, he's just barely out of algebra, and.

877
00:43:45,719 --> 00:43:49,600
Speaker 3: Yeah, he kind of bumbles that response, but at least

878
00:43:49,640 --> 00:43:53,200
Speaker 3: he's in birkenstocks at that point, staging.

879
00:43:53,239 --> 00:43:54,879
Speaker 5: Well, I mean they're really.

880
00:43:54,600 --> 00:43:57,879
Speaker 3: Back, I know, just walk them into silver Lake. And

881
00:43:57,920 --> 00:44:00,719
Speaker 3: then and then Carlos, I know we talked about this

882
00:44:00,800 --> 00:44:03,440
Speaker 3: last time we talked about episode three h Carlos kind

883
00:44:03,440 --> 00:44:08,160
Speaker 3: of feeling increasingly scary and intimidating and kind of domineering,

884
00:44:08,680 --> 00:44:12,520
Speaker 3: and then he actually goes and assaults someone. And I

885
00:44:12,560 --> 00:44:15,240
Speaker 3: have I have so many thoughts about this scene.

886
00:44:15,800 --> 00:44:16,239
Speaker 5: Tell us.

887
00:44:25,200 --> 00:44:27,400
Speaker 3: I mean, you know, it's funny. I was talking to

888
00:44:27,400 --> 00:44:29,920
Speaker 3: my girlfriend about this scene because I said, because she

889
00:44:30,000 --> 00:44:34,279
Speaker 3: actually watched Desperate Housewives with her mom. She was a kid,

890
00:44:34,320 --> 00:44:37,239
Speaker 3: I mean, not quite as young, maybe somewhat retroactively a

891
00:44:37,239 --> 00:44:41,799
Speaker 3: little bit later, but she remembered this scene and I

892
00:44:42,000 --> 00:44:44,920
Speaker 3: was describing it and I said, okay, So Carlos shows

893
00:44:44,960 --> 00:44:46,520
Speaker 3: up at the cable guy's house. He thinks he's going

894
00:44:46,520 --> 00:44:48,279
Speaker 3: to teach him a lesson, you know, he punches him,

895
00:44:48,560 --> 00:44:51,040
Speaker 3: and it is I have to say from comedic writing,

896
00:44:51,480 --> 00:44:54,839
Speaker 3: it is a very funny beat. He punches the guy.

897
00:44:54,880 --> 00:44:56,840
Speaker 3: The guy's on the floor, He's like, why are you

898
00:44:56,920 --> 00:45:02,920
Speaker 3: doing this? And Carlos scared the apartment and he sees

899
00:45:03,000 --> 00:45:05,880
Speaker 3: a gypsy God bless Mark Cherry. He sees a gypsy

900
00:45:05,880 --> 00:45:08,160
Speaker 3: poster on the wall, and then he sees a picture

901
00:45:08,280 --> 00:45:11,200
Speaker 3: of the cable guy and his partner who is a man,

902
00:45:11,800 --> 00:45:16,880
Speaker 3: and he goes, you're gay with a question mark because

903
00:45:17,160 --> 00:45:20,759
Speaker 3: he's surprised, and the guy goes, is that why you're

904
00:45:20,840 --> 00:45:26,680
Speaker 3: doing this? And Carlos goes, uh, yes, and then leaves yeah,

905
00:45:27,200 --> 00:45:29,719
Speaker 3: And then it immediately becomes a story that we see

906
00:45:29,760 --> 00:45:32,920
Speaker 3: on the news of this hate crime committed against a

907
00:45:32,960 --> 00:45:36,600
Speaker 3: gay rights activist. The cableman turns out to be who

908
00:45:36,760 --> 00:45:41,360
Speaker 3: was advocating for the same rights, which I found incredibly interesting.

909
00:45:42,000 --> 00:45:44,560
Speaker 3: He's a gay rights activist who's currently working on making

910
00:45:44,560 --> 00:45:48,120
Speaker 3: sure same sex couples have the same rights as married

911
00:45:48,160 --> 00:45:51,279
Speaker 3: people in general, well in general, I thought it was

912
00:45:51,320 --> 00:45:54,359
Speaker 3: same sex partners being recognized as having the same rights

913
00:45:54,400 --> 00:45:56,880
Speaker 3: in their partnership, which at the time, gay marriage was

914
00:45:56,920 --> 00:46:00,879
Speaker 3: not legalized, right, so it didn't happen, so you had

915
00:46:00,880 --> 00:46:05,560
Speaker 3: to really work to find other loopholes to have your partnership,

916
00:46:05,560 --> 00:46:07,640
Speaker 3: you know, the ability to visit in a hospital, the

917
00:46:07,680 --> 00:46:10,279
Speaker 3: ability to have things that married couples have.

918
00:46:10,280 --> 00:46:14,840
Speaker 2: A way a tiny two line exchange of a scene,

919
00:46:15,080 --> 00:46:20,800
Speaker 2: another groundbreaking ahead of its time moment. Yeah, not to

920
00:46:20,880 --> 00:46:21,560
Speaker 2: interest you, no, and.

921
00:46:21,680 --> 00:46:24,680
Speaker 3: Really commenting on the state of the queer community at

922
00:46:24,680 --> 00:46:27,200
Speaker 3: that time that this was made. And I think the

923
00:46:27,239 --> 00:46:30,560
Speaker 3: reason that it's interesting we're watching it right now, but

924
00:46:30,560 --> 00:46:33,200
Speaker 3: that this episode sat so much with me is with

925
00:46:33,320 --> 00:46:37,439
Speaker 3: our current administration talking about repealing the right to gay

926
00:46:37,440 --> 00:46:40,399
Speaker 3: marriage right now, which has obviously been a right since

927
00:46:40,400 --> 00:46:42,160
Speaker 3: two thousand and eight. And my mom and I were

928
00:46:42,200 --> 00:46:44,480
Speaker 3: just talking about this. She sent me a TikTok at

929
00:46:44,480 --> 00:46:47,160
Speaker 3: like eleven thirty at night. Cool when all of the

930
00:46:47,200 --> 00:46:50,160
Speaker 3: best all of the best ideas come from TikTok, And

931
00:46:50,239 --> 00:46:53,360
Speaker 3: she said, actually, I mean, it does make me really sad,

932
00:46:53,440 --> 00:46:55,759
Speaker 3: but she said, you know, you might want to file

933
00:46:55,800 --> 00:46:58,400
Speaker 3: this away. This is a gay rights lawyer talking about

934
00:46:58,400 --> 00:47:00,880
Speaker 3: the nine documents. You need to have your partner so

935
00:47:00,920 --> 00:47:04,040
Speaker 3: you can still my god, I'm gonna be emotional, so

936
00:47:04,080 --> 00:47:07,560
Speaker 3: you can still have your partnership recognized if they repeel

937
00:47:07,600 --> 00:47:10,000
Speaker 3: the right to gay marriage, which my girlfriend and I

938
00:47:10,040 --> 00:47:12,440
Speaker 3: are not married, but obviously you know, we're in a

939
00:47:12,440 --> 00:47:15,959
Speaker 3: serious partnership and that's the things that we're talking about. Yeah. Sorry,

940
00:47:15,960 --> 00:47:18,200
Speaker 3: I'm emotional. But it was really interesting to see this

941
00:47:18,440 --> 00:47:21,680
Speaker 3: come up in such a convenient beat that I appreciated,

942
00:47:21,960 --> 00:47:24,160
Speaker 3: But that really kind of cut to the quick of

943
00:47:24,200 --> 00:47:28,319
Speaker 3: our current political times right now. Yeah, yeah, yeah, yeah.

944
00:47:28,440 --> 00:47:34,120
Speaker 2: And amazing that the Carlos character cared less about his

945
00:47:34,239 --> 00:47:38,560
Speaker 2: abusiveness right. I mean, cares really out, cared less about

946
00:47:39,040 --> 00:47:42,799
Speaker 2: being a hate crime than he did about his abusiveness.

947
00:47:42,440 --> 00:47:44,279
Speaker 4: Talk about the labels. He was like, I'm fine with

948
00:47:44,360 --> 00:47:47,279
Speaker 4: being like, right.

949
00:47:47,680 --> 00:47:50,000
Speaker 2: With being a hate crime, but you know, not not

950
00:47:50,000 --> 00:47:52,279
Speaker 2: someone who would be cheated, who would be cheated.

951
00:47:52,040 --> 00:47:54,840
Speaker 4: On an emasculated husband. Yeah, God forbid God.

952
00:47:55,000 --> 00:47:56,840
Speaker 3: I mean, yeah, that's exactly what it is.

953
00:47:56,880 --> 00:47:58,360
Speaker 2: That's what I was trying to say. You did it

954
00:47:58,400 --> 00:48:00,040
Speaker 2: better because I kind.

955
00:47:59,880 --> 00:48:02,359
Speaker 4: Of no, no, no, that's right though. You're saying that

956
00:48:02,440 --> 00:48:05,000
Speaker 4: he would rather be labeled as someone who would commit

957
00:48:05,040 --> 00:48:07,520
Speaker 4: a hate crime against a gay person than he would

958
00:48:07,600 --> 00:48:08,880
Speaker 4: be an emasculated husband.

959
00:48:09,000 --> 00:48:10,960
Speaker 2: Yeah, And I think that's why when we get to

960
00:48:10,960 --> 00:48:13,400
Speaker 2: the end of this episode, between this and the last

961
00:48:13,440 --> 00:48:19,319
Speaker 2: episode where he responding to what the famous ejaculation line,

962
00:48:19,600 --> 00:48:23,000
Speaker 2: you know, he says, Man, if my woman said anything

963
00:48:23,080 --> 00:48:24,640
Speaker 2: like that, that'd be the last time, you know.

964
00:48:24,640 --> 00:48:26,000
Speaker 3: She would only say that one.

965
00:48:26,040 --> 00:48:29,279
Speaker 2: You know, Like, we've gotten now to this episode where

966
00:48:29,280 --> 00:48:33,120
Speaker 2: I just feel like and we we're just really sitting

967
00:48:33,120 --> 00:48:39,520
Speaker 2: with this very heavy, dominating character. And again maybe it's

968
00:48:39,520 --> 00:48:42,960
Speaker 2: because I know we'recarded, like we got to get well

969
00:48:43,080 --> 00:48:45,239
Speaker 2: because over the years, like he and I have had dinner.

970
00:48:45,280 --> 00:48:47,200
Speaker 2: We had dinner at Kids Met a couple of years ago.

971
00:48:47,280 --> 00:48:50,160
Speaker 2: He's actually doing a play right now in Minnesota that

972
00:48:50,200 --> 00:48:52,680
Speaker 2: I might go see. It's about to open, and like,

973
00:48:52,719 --> 00:48:55,000
Speaker 2: so we keep in touch, and I think of him

974
00:48:55,040 --> 00:48:57,880
Speaker 2: as this, like he's a dad, he builds stuff in

975
00:48:57,920 --> 00:48:58,520
Speaker 2: his house.

976
00:48:58,920 --> 00:49:00,160
Speaker 3: He's a very sweet guy.

977
00:49:00,239 --> 00:49:03,960
Speaker 2: Yeah, and obviously I can cook Susan can't cook, like

978
00:49:03,960 --> 00:49:08,880
Speaker 2: like he doesn't have to. But it is interesting I

979
00:49:08,960 --> 00:49:12,480
Speaker 2: do not have the recollection of that character being this intent.

980
00:49:12,640 --> 00:49:13,680
Speaker 5: I know what is that.

981
00:49:13,719 --> 00:49:16,080
Speaker 4: It's like our minds kind of corrected him in our heads.

982
00:49:16,080 --> 00:49:18,200
Speaker 4: I think because maybe we love Ricardo and.

983
00:49:18,960 --> 00:49:20,600
Speaker 3: Or maybe because you weren't in those scenes with him.

984
00:49:20,719 --> 00:49:23,680
Speaker 4: I mean maybe that's or also just because I'm looking

985
00:49:23,719 --> 00:49:26,680
Speaker 4: at it not as you know, a child anymore. But

986
00:49:26,760 --> 00:49:30,320
Speaker 4: I'm thinking about this idea of like taking stepping crossing

987
00:49:30,320 --> 00:49:32,960
Speaker 4: the line too far, just in general, like obviously he

988
00:49:33,040 --> 00:49:34,920
Speaker 4: crossed a line way too far by showing up at

989
00:49:34,920 --> 00:49:36,239
Speaker 4: that man's house and abusing him.

990
00:49:36,280 --> 00:49:36,440
Speaker 2: Right.

991
00:49:38,040 --> 00:49:41,080
Speaker 4: I have noticed that I inherently am on the women's

992
00:49:41,200 --> 00:49:43,879
Speaker 4: side almost all the time, like in their independent storylines,

993
00:49:43,920 --> 00:49:46,720
Speaker 4: like if it's them against you know, if it's Lynette

994
00:49:46,719 --> 00:49:49,560
Speaker 4: against the teacher, or it's you know, Gabby against Carlos,

995
00:49:49,640 --> 00:49:52,040
Speaker 4: or if it's pre against Rex, Like, I'm having to

996
00:49:52,160 --> 00:49:54,879
Speaker 4: really think about the perspective of the other character because

997
00:49:54,880 --> 00:49:58,080
Speaker 4: I'm inherently on our hero's side, right, even when they're

998
00:49:58,120 --> 00:50:01,280
Speaker 4: doing something very wrong. I think that's really smart writing.

999
00:50:01,280 --> 00:50:03,480
Speaker 4: And it also just shows like because we're kind of

1000
00:50:03,520 --> 00:50:05,960
Speaker 4: supposed to be rooting for them. But I was a

1001
00:50:06,000 --> 00:50:08,600
Speaker 4: little appalled about them all sitting around listening to Mary

1002
00:50:08,640 --> 00:50:11,680
Speaker 4: Alice's therapy tapes, and I wanted to know what you

1003
00:50:11,719 --> 00:50:14,919
Speaker 4: guys thought about that invasion of someone's privacy, especially after

1004
00:50:14,960 --> 00:50:17,920
Speaker 4: they've since passed and they're sitting there kind of trying

1005
00:50:17,960 --> 00:50:20,359
Speaker 4: to find out information that she never readily shared with them,

1006
00:50:20,400 --> 00:50:23,160
Speaker 4: and that she only shared with in the confines of

1007
00:50:23,160 --> 00:50:27,759
Speaker 4: a therapist's office, And that is to.

1008
00:50:27,800 --> 00:50:29,320
Speaker 5: Know, what do you think of that?

1009
00:50:29,400 --> 00:50:33,080
Speaker 2: I didn't really snag on it, but now that you're

1010
00:50:33,120 --> 00:50:36,200
Speaker 2: bringing it up, it is kind of like, I mean,

1011
00:50:36,239 --> 00:50:38,600
Speaker 2: I guess I must have made an excuse for it

1012
00:50:38,640 --> 00:50:40,560
Speaker 2: in that maybe they're just trying to.

1013
00:50:40,520 --> 00:50:44,520
Speaker 3: Solve the issue, but you're right, it is very.

1014
00:50:44,360 --> 00:50:48,839
Speaker 2: Wrong, and none of them really put do I don't

1015
00:50:48,880 --> 00:50:50,759
Speaker 2: remember did any of them push back and be like,

1016
00:50:50,800 --> 00:50:51,960
Speaker 2: we shouldn't be listening to this.

1017
00:50:52,080 --> 00:50:53,960
Speaker 4: Was that no, I think, I mean Gabby says like, oh,

1018
00:50:54,000 --> 00:50:57,399
Speaker 4: it's weird hearing mary Alice's race. But I don't think

1019
00:50:57,400 --> 00:51:00,160
Speaker 4: any one of them raises an issue necessarily.

1020
00:51:00,440 --> 00:51:01,480
Speaker 3: Interesting this idea.

1021
00:51:01,640 --> 00:51:04,000
Speaker 2: If someone did, it would be Lynette. I think Lynette

1022
00:51:04,000 --> 00:51:05,560
Speaker 2: would go, I can't believe you got this out of

1023
00:51:05,560 --> 00:51:08,400
Speaker 2: the therapist, right. That sounds like something she could have said, Yeah.

1024
00:51:08,200 --> 00:51:10,880
Speaker 3: Well obviously, Yeah, there's the stealing from the therapist office,

1025
00:51:10,920 --> 00:51:12,560
Speaker 3: and then there's the listening to it. And I feel

1026
00:51:12,560 --> 00:51:15,920
Speaker 3: like there is something interesting about when does the line?

1027
00:51:16,480 --> 00:51:16,680
Speaker 2: You know?

1028
00:51:16,920 --> 00:51:20,920
Speaker 3: I bet they would feel more morally outraged about listening

1029
00:51:20,920 --> 00:51:23,480
Speaker 3: to it while Mary Alice was alive and then they

1030
00:51:23,480 --> 00:51:26,080
Speaker 3: had to see her and hold on to the secret

1031
00:51:26,360 --> 00:51:30,040
Speaker 3: that they knew her personal information. Then they do feel

1032
00:51:30,120 --> 00:51:33,399
Speaker 3: listening to it now that she's dead, right and they're

1033
00:51:33,440 --> 00:51:35,759
Speaker 3: trying to solve something. And I do think there is

1034
00:51:35,840 --> 00:51:38,920
Speaker 3: some I mean, come and correct me on this, because

1035
00:51:38,960 --> 00:51:41,640
Speaker 3: I am no lawyer, but I feel like in certain

1036
00:51:41,719 --> 00:51:46,000
Speaker 3: cases therapists can be subpoena to have to give up

1037
00:51:46,440 --> 00:51:50,800
Speaker 3: notes or recordings, you know, if someone commits a homicide

1038
00:51:50,920 --> 00:51:53,880
Speaker 3: or something you know, like in certain mysteries.

1039
00:51:53,920 --> 00:51:56,560
Speaker 4: I don't think not by banda camp, no, but.

1040
00:51:56,560 --> 00:51:58,880
Speaker 3: Certainly not by people stealing the tape out of their office.

1041
00:51:59,239 --> 00:51:59,880
Speaker 5: I think you're right.

1042
00:52:00,200 --> 00:52:02,359
Speaker 4: I think there there might be certain occasions when it's

1043
00:52:02,480 --> 00:52:03,800
Speaker 4: when it's permitted legally.

1044
00:52:04,000 --> 00:52:04,160
Speaker 3: Yea.

1045
00:52:04,960 --> 00:52:06,920
Speaker 5: But I also fascinated.

1046
00:52:06,400 --> 00:52:09,319
Speaker 4: By the recurring nightmare thing, like I, you know, that's

1047
00:52:09,360 --> 00:52:12,800
Speaker 4: what she's saying on the tape, and that her name's Angela,

1048
00:52:12,800 --> 00:52:13,759
Speaker 4: which I've forgot.

1049
00:52:13,520 --> 00:52:14,600
Speaker 2: Or by the way, yeah I've forgot.

1050
00:52:15,440 --> 00:52:16,080
Speaker 3: I've never seen it.

1051
00:52:16,200 --> 00:52:18,640
Speaker 5: Excited to know what that means later, and I feel.

1052
00:52:18,400 --> 00:52:20,200
Speaker 2: Like you win because you've never seen it, Like we

1053
00:52:20,320 --> 00:52:21,640
Speaker 2: just do a lot of we forgotten.

1054
00:52:21,719 --> 00:52:22,920
Speaker 5: Yeah, we forgot.

1055
00:52:22,920 --> 00:52:25,319
Speaker 3: Fall new to me because it is.

1056
00:52:25,520 --> 00:52:28,760
Speaker 4: Yeah, But also it made me think about recurring nightmares

1057
00:52:28,920 --> 00:52:31,680
Speaker 4: in general, like do you have you guys had recurring nightmares?

1058
00:52:31,719 --> 00:52:36,719
Speaker 4: I certainly have had some weird recurring nightmare since I

1059
00:52:36,760 --> 00:52:39,399
Speaker 4: was little. Some involved cockroaches, which is just probably because

1060
00:52:39,400 --> 00:52:42,120
Speaker 4: I grew up in Manhattan. I have another one about

1061
00:52:42,120 --> 00:52:43,400
Speaker 4: being tied to train tracks.

1062
00:52:43,520 --> 00:52:44,080
Speaker 3: Oh my god.

1063
00:52:44,239 --> 00:52:47,840
Speaker 4: Yeah, and I always wake up before the train gets

1064
00:52:47,880 --> 00:52:51,160
Speaker 4: too close. But I feel the wind on my face

1065
00:52:51,239 --> 00:52:53,560
Speaker 4: and I see that like lights of the train and

1066
00:52:53,560 --> 00:52:55,040
Speaker 4: that's how I wake up. And I've had that dream

1067
00:52:55,080 --> 00:52:55,720
Speaker 4: more than once.

1068
00:52:56,000 --> 00:52:58,520
Speaker 3: Wow, have you looked into what that means?

1069
00:52:58,640 --> 00:53:01,880
Speaker 4: No, because I'm terrified of knowing. Okay, crazy that makes.

1070
00:53:01,719 --> 00:53:03,719
Speaker 3: Me not about recurring nightmares. But I thought you were

1071
00:53:03,760 --> 00:53:05,200
Speaker 3: going to say, because I feel like we have to

1072
00:53:05,200 --> 00:53:08,040
Speaker 3: touch on it, when you talked about crossing a moral line,

1073
00:53:08,440 --> 00:53:12,040
Speaker 3: I thought you were going to talk about yourself crawling

1074
00:53:12,040 --> 00:53:16,120
Speaker 3: through the doggy door to steal back the measuring.

1075
00:53:15,680 --> 00:53:17,520
Speaker 5: Corh gosh, that is so funny.

1076
00:53:17,600 --> 00:53:20,680
Speaker 4: I love that scene, and I will say so, I

1077
00:53:20,719 --> 00:53:23,760
Speaker 4: actually do remember filming that scene, and the reason being

1078
00:53:24,280 --> 00:53:27,240
Speaker 4: I have terrible hand eye coordination and I was really

1079
00:53:27,280 --> 00:53:29,160
Speaker 4: nervous to have to toss the frisbee back and forth

1080
00:53:29,200 --> 00:53:31,320
Speaker 4: with you in front of our crew because I knew

1081
00:53:31,320 --> 00:53:32,520
Speaker 4: that I was going to drop it a lot and

1082
00:53:32,560 --> 00:53:34,400
Speaker 4: I knew it was going to be bad. And anyway,

1083
00:53:34,440 --> 00:53:37,719
Speaker 4: I'm sure I did, and they edited it. Well, you

1084
00:53:37,760 --> 00:53:42,960
Speaker 4: look like an extras You're good YEA like through my golf?

1085
00:53:43,400 --> 00:53:46,359
Speaker 4: Really yeah, wow, I didn't get that.

1086
00:53:46,280 --> 00:53:47,280
Speaker 3: From frisbee golf.

1087
00:53:47,560 --> 00:53:49,719
Speaker 2: It's like you throwing the frisbee like to get it

1088
00:53:49,760 --> 00:53:51,520
Speaker 2: to a flag, you know, to get it like the

1089
00:53:51,560 --> 00:53:52,520
Speaker 2: same my silf.

1090
00:53:52,680 --> 00:53:55,440
Speaker 3: She explains this to me, like, are you even my daughter?

1091
00:53:55,600 --> 00:53:59,480
Speaker 3: You don't know what frisbee golf? But we did play

1092
00:53:59,520 --> 00:54:02,320
Speaker 3: frisbee at the beach. I know, I'm not intimidated.

1093
00:54:02,360 --> 00:54:05,400
Speaker 4: Well, I am intimidated by frisbee and little Andrea was.

1094
00:54:05,480 --> 00:54:07,080
Speaker 5: And anyway, can we.

1095
00:54:07,000 --> 00:54:10,439
Speaker 2: Talk about how great Nicolette was in that scene? Oh

1096
00:54:10,640 --> 00:54:13,399
Speaker 2: my god, yeah, yeah, I I so.

1097
00:54:13,400 --> 00:54:18,880
Speaker 3: It, And how upsetting and heartbreaking Susan is. I was yelling, like, stop.

1098
00:54:18,680 --> 00:54:21,480
Speaker 4: Giving your data, I know, but Nicolette in that scene,

1099
00:54:21,560 --> 00:54:23,359
Speaker 4: it is so good when she she has that moment

1100
00:54:23,360 --> 00:54:25,839
Speaker 4: where she does the hand gesture after it's like one

1101
00:54:25,880 --> 00:54:28,640
Speaker 4: too many, when she basically is saying to Susan, you know,

1102
00:54:29,080 --> 00:54:30,799
Speaker 4: I don't stop throwing it in my face, and then

1103
00:54:30,800 --> 00:54:33,120
Speaker 4: it just keeps happening, and she like turns to walk

1104
00:54:33,120 --> 00:54:35,120
Speaker 4: away and she puts her hand out and it's so funny.

1105
00:54:35,200 --> 00:54:37,880
Speaker 2: No, she's really really, really good in it, and it

1106
00:54:38,239 --> 00:54:41,000
Speaker 2: kind of brought up I remember just that like it

1107
00:54:41,080 --> 00:54:43,960
Speaker 2: was it was an interesting thing about how some people

1108
00:54:44,040 --> 00:54:46,399
Speaker 2: used to feel like it was four housewives or it

1109
00:54:46,440 --> 00:54:49,240
Speaker 2: was five housewives. I remember that, and I remember really

1110
00:54:49,320 --> 00:54:52,439
Speaker 2: on early on being like it's five housewives, you guys,

1111
00:54:52,440 --> 00:54:54,360
Speaker 2: it has to be five. She has to be included,

1112
00:54:54,440 --> 00:54:57,840
Speaker 2: you know. I think there's even a USA article, like

1113
00:54:57,880 --> 00:55:01,000
Speaker 2: a USA Today article where I said that really like yeah,

1114
00:55:01,000 --> 00:55:04,000
Speaker 2: I was one of the first women to actually say it, like,

1115
00:55:04,239 --> 00:55:07,000
Speaker 2: you know, she's so good. Yeah, she totally is. And

1116
00:55:07,040 --> 00:55:11,560
Speaker 2: it's just it rounded out that Nope, the way you

1117
00:55:11,600 --> 00:55:15,280
Speaker 2: were talking about Missus Hooper sort of like pushing that

1118
00:55:15,280 --> 00:55:18,320
Speaker 2: that that line a little bit, that tone. I feel

1119
00:55:18,360 --> 00:55:21,040
Speaker 2: like the Eaedy character also does that. I mean the

1120
00:55:21,480 --> 00:55:24,600
Speaker 2: classic like car washing, she's putting anybody.

1121
00:55:25,520 --> 00:55:29,120
Speaker 4: There's two lines from that storyline that I just loved.

1122
00:55:29,160 --> 00:55:31,120
Speaker 4: One of them happens to be mine, So I'll just

1123
00:55:31,160 --> 00:55:33,120
Speaker 4: give myself back on the butt.

1124
00:55:33,280 --> 00:55:34,800
Speaker 5: You better get over there. She's wearing cotton.

1125
00:55:35,400 --> 00:55:38,440
Speaker 4: Yeah, that's a great line. I think that's more the

1126
00:55:38,719 --> 00:55:40,279
Speaker 4: writing than the way I delivered it. But I did

1127
00:55:40,360 --> 00:55:43,120
Speaker 4: love that. And then Nick let this is the way

1128
00:55:43,160 --> 00:55:45,520
Speaker 4: she delivered it and the writing. But when she says

1129
00:55:45,920 --> 00:55:49,360
Speaker 4: every time, I hate Susan Mayer another count for the

1130
00:55:49,480 --> 00:55:52,160
Speaker 4: mispronounciation of our name. Right, yeah, we did, we need

1131
00:55:52,200 --> 00:55:54,560
Speaker 4: a button. But when she comes in and she says

1132
00:55:54,600 --> 00:55:58,080
Speaker 4: I hate Susan every time, I see those big dough

1133
00:55:58,120 --> 00:55:59,919
Speaker 4: eyes of hers, I swear to god, I just want

1134
00:55:59,920 --> 00:56:01,000
Speaker 4: to go out and shoot a deer.

1135
00:56:01,120 --> 00:56:04,359
Speaker 2: Yeah, it was so good. The line is so good,

1136
00:56:04,360 --> 00:56:06,440
Speaker 2: but the way she delivered her so good too, because

1137
00:56:07,080 --> 00:56:09,399
Speaker 2: because you thought it was going to be. Because every

1138
00:56:09,400 --> 00:56:11,600
Speaker 2: time I see those big dough eyes, I want to

1139
00:56:11,680 --> 00:56:14,040
Speaker 2: punch her in the face. I want to slap her

1140
00:56:14,080 --> 00:56:17,040
Speaker 2: across the cheek. I want You're just sure that that's

1141
00:56:17,080 --> 00:56:19,080
Speaker 2: what it's going to be, and it's shooted deer and

1142
00:56:20,480 --> 00:56:26,920
Speaker 2: of the greatest punchline. It's like great, it was so

1143
00:56:27,200 --> 00:56:27,920
Speaker 2: there dynamic.

1144
00:56:27,960 --> 00:56:29,919
Speaker 4: We get to see that friendship again, which we talked

1145
00:56:29,920 --> 00:56:32,440
Speaker 4: about I think last week or maybe the week episode before,

1146
00:56:32,760 --> 00:56:37,640
Speaker 4: but about the weird Missus Hooper kind of strength.

1147
00:56:37,680 --> 00:56:42,400
Speaker 2: They're like the two the two kind of ostracized people

1148
00:56:42,400 --> 00:56:45,359
Speaker 2: that like find each other because there's nobody else. But

1149
00:56:45,440 --> 00:56:47,760
Speaker 2: you know, they they're sort of like the the almost

1150
00:56:47,760 --> 00:56:49,759
Speaker 2: like the third wheel, but it's it's a it's a

1151
00:56:49,960 --> 00:56:52,120
Speaker 2: it's a seventh and an eighth wheel or whatever. Yeah,

1152
00:56:52,120 --> 00:56:53,359
Speaker 2: I mean, they're they're.

1153
00:56:53,040 --> 00:56:56,200
Speaker 3: Well I find it so interesting because they say and

1154
00:56:56,200 --> 00:56:59,440
Speaker 3: and Edie says this a lot in that scene. She's like,

1155
00:56:59,719 --> 00:57:04,520
Speaker 3: you're throwing yourself at Mike. But she's literally standing washing

1156
00:57:04,520 --> 00:57:08,280
Speaker 3: her car, dumping soapy water all over her in tiny

1157
00:57:08,280 --> 00:57:11,000
Speaker 3: little shorts. And I find it so funny that Susan

1158
00:57:11,080 --> 00:57:13,520
Speaker 3: is the one who kind of gets creamed for throwing

1159
00:57:13,560 --> 00:57:16,840
Speaker 3: herself at him. But I question to the group, are

1160
00:57:16,920 --> 00:57:19,720
Speaker 3: you a hard to get or a beg to love

1161
00:57:20,240 --> 00:57:22,080
Speaker 3: kind of person? Oh?

1162
00:57:22,200 --> 00:57:24,880
Speaker 2: So Susan's begged to love and the edy is hard

1163
00:57:24,920 --> 00:57:25,360
Speaker 2: to get.

1164
00:57:25,600 --> 00:57:28,720
Speaker 3: I think they're both begging for love, but they seem

1165
00:57:28,840 --> 00:57:32,280
Speaker 3: to be throwing stones at each other saying well more,

1166
00:57:32,440 --> 00:57:34,920
Speaker 3: Edie throwing stones at Susan saying you're begging him to

1167
00:57:34,960 --> 00:57:38,480
Speaker 3: love you. What personally do you feel like you take

1168
00:57:38,520 --> 00:57:40,080
Speaker 3: a position of to get?

1169
00:57:40,360 --> 00:57:41,040
Speaker 5: Baby? Oh?

1170
00:57:41,120 --> 00:57:42,680
Speaker 4: Yeah, you guys?

1171
00:57:42,760 --> 00:57:44,080
Speaker 2: Are you guys hard to get?

1172
00:57:44,760 --> 00:57:45,000
Speaker 5: Yeah?

1173
00:57:45,200 --> 00:57:47,560
Speaker 3: I mean I I think so. I think I think

1174
00:57:47,560 --> 00:57:53,160
Speaker 3: I keep a level of miss mystery, at least initially.

1175
00:57:53,320 --> 00:57:54,160
Speaker 4: Yeah.

1176
00:57:53,920 --> 00:57:54,440
Speaker 5: Yeah, I.

1177
00:57:58,080 --> 00:58:00,920
Speaker 4: Would pride myself on it. I mean to a bad degree.

1178
00:58:01,000 --> 00:58:03,480
Speaker 4: You know, like I so hard to get.

1179
00:58:03,600 --> 00:58:05,360
Speaker 3: I never got got.

1180
00:58:05,280 --> 00:58:08,120
Speaker 5: Anyone, Yeah, because it was too hard.

1181
00:58:08,200 --> 00:58:11,840
Speaker 2: No, but from your belly you got gott.

1182
00:58:11,640 --> 00:58:14,200
Speaker 4: But I will say it wasn't until I kind of

1183
00:58:14,280 --> 00:58:17,240
Speaker 4: dropped that, you know, to to it wasn't until I

1184
00:58:17,520 --> 00:58:23,000
Speaker 4: dropped the idea that you know, having power meant something

1185
00:58:23,080 --> 00:58:26,240
Speaker 4: more than it should you know that. Then Look, it's

1186
00:58:26,240 --> 00:58:29,360
Speaker 4: like anything, right, Vulnerability is really where everything connects, Where

1187
00:58:29,400 --> 00:58:31,280
Speaker 4: true connection links is being vulnerable.

1188
00:58:31,280 --> 00:58:31,600
Speaker 5: And so.

1189
00:58:34,280 --> 00:58:37,000
Speaker 2: Like these five women, Like that's what I was saying.

1190
00:58:37,040 --> 00:58:40,560
Speaker 2: I really do think the Edi character rounds it out

1191
00:58:40,800 --> 00:58:46,160
Speaker 2: because you know she I don't, you know, I guess

1192
00:58:46,160 --> 00:58:50,080
Speaker 2: so Gabby and Edie both don't have children, but Edie's

1193
00:58:50,120 --> 00:58:54,960
Speaker 2: not married or is divorced, and and and then Susan

1194
00:58:55,480 --> 00:58:59,280
Speaker 2: and Lynette and Brie have children, but Susan has a

1195
00:58:59,280 --> 00:59:02,080
Speaker 2: failed marriage, and you know, the other two like they

1196
00:59:02,160 --> 00:59:05,040
Speaker 2: all I think you need it. I think you needed

1197
00:59:05,480 --> 00:59:07,040
Speaker 2: the fifth woman.

1198
00:59:07,480 --> 00:59:09,200
Speaker 3: That label represented.

1199
00:59:09,560 --> 00:59:15,160
Speaker 2: And I see I see that character as a really

1200
00:59:15,240 --> 00:59:22,160
Speaker 2: great vehicle to express sexuality and confidence. And because I

1201
00:59:22,160 --> 00:59:24,280
Speaker 2: don't see that and any I mean, even Gabby is

1202
00:59:24,320 --> 00:59:29,280
Speaker 2: obviously beautiful and sexual, but it still seems connected to

1203
00:59:29,360 --> 00:59:34,120
Speaker 2: a man sort of. And I feel like Edie's power

1204
00:59:34,360 --> 00:59:39,320
Speaker 2: just feels almost just grounded in herself. Yeah, totally, which

1205
00:59:39,360 --> 00:59:42,160
Speaker 2: is which is very cool of the character and also

1206
00:59:42,240 --> 00:59:44,000
Speaker 2: of the actress who brought it to I.

1207
00:59:44,000 --> 00:59:46,760
Speaker 4: Mean, I really think, yeah, there's so much. There's so

1208
00:59:46,840 --> 00:59:51,240
Speaker 4: much Nicolette does with that character that makes it, you know,

1209
00:59:51,520 --> 00:59:55,320
Speaker 4: just makes it so substantial, and like, you know, it

1210
00:59:55,320 --> 00:59:57,400
Speaker 4: wasn't in the last episode, and I felt her absence.

1211
00:59:57,480 --> 01:00:02,480
Speaker 2: Oh that's inea. Yeah, yeah, that's interest. Well should we

1212
01:00:02,480 --> 01:00:02,920
Speaker 2: dig into this?

1213
01:00:03,120 --> 01:00:06,840
Speaker 3: Yeah, I've been dying to try this pie, I mean

1214
01:00:07,480 --> 01:00:10,520
Speaker 3: time for pie. We end? So we end this episode?

1215
01:00:10,560 --> 01:00:14,120
Speaker 3: How do we? We end with Paul again the mystery

1216
01:00:14,240 --> 01:00:17,320
Speaker 3: continuing hiring someone because they give him the.

1217
01:00:17,240 --> 01:00:19,760
Speaker 4: Note, right, because after they listen to the tapes.

1218
01:00:19,560 --> 01:00:20,960
Speaker 3: They say that we have to give him the note.

1219
01:00:21,000 --> 01:00:22,640
Speaker 3: He's selling his house. He's selling it for such a

1220
01:00:22,680 --> 01:00:23,080
Speaker 3: low price.

1221
01:00:23,080 --> 01:00:25,400
Speaker 2: You're gonna have to talk about how great this crust is.

1222
01:00:25,440 --> 01:00:29,240
Speaker 3: Go ahead, Oh, she's got a great crust. Ladies and gentlemen,

1223
01:00:29,320 --> 01:00:33,360
Speaker 3: Oh my god. And yes, we end with him hiring

1224
01:00:33,400 --> 01:00:37,480
Speaker 3: a private detective of some sort to try to decipher

1225
01:00:37,520 --> 01:00:40,440
Speaker 3: the note, which I just had this thinking suspicion and

1226
01:00:40,520 --> 01:00:43,440
Speaker 3: don't tell me as you know, okay, that he knows

1227
01:00:43,520 --> 01:00:46,000
Speaker 3: what the note is. I don't think he's surprised by

1228
01:00:46,080 --> 01:00:48,040
Speaker 3: the note. And I feel like Lynette says this as well,

1229
01:00:48,280 --> 01:00:51,240
Speaker 3: but that's just you know, that's for me to see

1230
01:00:51,280 --> 01:00:52,640
Speaker 3: as the show reveals itself.

1231
01:00:52,800 --> 01:00:56,160
Speaker 4: Yeah, but it does. It does reveal the fact that

1232
01:00:56,200 --> 01:00:58,760
Speaker 4: he doesn't he you know, he says that Mary Alice

1233
01:00:58,760 --> 01:01:01,200
Speaker 4: sent it to herself, and by hiring someone, we're clearly

1234
01:01:01,200 --> 01:01:03,880
Speaker 4: getting insight that she did not, Yes, which I think

1235
01:01:03,920 --> 01:01:06,600
Speaker 4: we knew, but now we as an audience get to see, well,

1236
01:01:06,640 --> 01:01:07,280
Speaker 4: who the heck did?

1237
01:01:07,320 --> 01:01:07,440
Speaker 2: Then?

1238
01:01:07,480 --> 01:01:08,439
Speaker 3: Yeah, who the heck did?

1239
01:01:08,560 --> 01:01:11,280
Speaker 4: Yeah, Christine Esterbrook, we eat this in your honor?

1240
01:01:11,360 --> 01:01:14,280
Speaker 5: Okay, oh did you put booze?

1241
01:01:14,320 --> 01:01:15,320
Speaker 3: And this is very boosy.

1242
01:01:15,440 --> 01:01:18,720
Speaker 2: It's a little rum, not a little rum. And it's cooked,

1243
01:01:19,000 --> 01:01:23,480
Speaker 2: baby cooked, It's totally cooked. There's also really good vanilla.

1244
01:01:23,880 --> 01:01:24,440
Speaker 5: Is there clove?

1245
01:01:26,480 --> 01:01:26,640
Speaker 2: Oh?

1246
01:01:27,080 --> 01:01:27,400
Speaker 3: Wow?

1247
01:01:28,560 --> 01:01:30,520
Speaker 2: Right? It is? Holiday is right?

1248
01:01:30,600 --> 01:01:31,760
Speaker 5: I know it's making me.

1249
01:01:31,720 --> 01:01:35,840
Speaker 3: Ready for I'm desperately devoted to this mince meat.

1250
01:01:36,840 --> 01:01:39,600
Speaker 2: Which is a thing you thought you would never say,

1251
01:01:39,840 --> 01:01:40,479
Speaker 2: really something.

1252
01:01:40,520 --> 01:01:43,360
Speaker 4: I got to bring that expression back single handedly with

1253
01:01:43,360 --> 01:01:44,040
Speaker 4: our podcast.

1254
01:01:44,760 --> 01:01:45,320
Speaker 2: I'm going to make.

1255
01:01:47,080 --> 01:01:49,080
Speaker 4: And make mince meat out of someone this way, not

1256
01:01:49,120 --> 01:01:51,680
Speaker 4: really make mince meat for someone.

1257
01:01:52,080 --> 01:01:53,440
Speaker 3: But yes, okay.

1258
01:01:53,520 --> 01:01:57,160
Speaker 2: So, as always, we are desperately devoted to you and

1259
01:01:57,240 --> 01:02:00,840
Speaker 2: everything that you want to know about about this show

1260
01:02:01,080 --> 01:02:05,160
Speaker 2: or about relationships, lives, and so thank you for.

1261
01:02:05,160 --> 01:02:07,480
Speaker 3: Joining us again. Thanks for right to us. I want

1262
01:02:07,480 --> 01:02:10,080
Speaker 3: our questions to start coming in. I'm excited to invite

1263
01:02:10,120 --> 01:02:12,280
Speaker 3: the audience. I know me too well until then.

1264
01:02:12,440 --> 01:02:14,160
Speaker 5: Until then, see you next time.