WEBVTT - Perfect Neighbors, Messy Truths (S1 E4 “Who’s That Woman”) 

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<v Speaker 1>Hi, Welcome to Desperately Devoted The Ultimate Desperate Housewives rewatch,

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<v Speaker 1>hosted by Meat Terry Hatcher, my on screen daughter Andrea Bowen,

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<v Speaker 1>and my real life daughter Emerson Tenney.

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<v Speaker 2>Wow.

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<v Speaker 3>Today we are discussing episode four, Who's That Woman which

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<v Speaker 3>could also potentially be called Mincemeat, and what an episode

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<v Speaker 3>it is. We have Lynette grappling with whether or not

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<v Speaker 3>to give her children medication for add.

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<v Speaker 2>And Susan is being blackmailed by missus Hooper, who claims

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<v Speaker 2>to know that the measuring cup found in Edie's fire

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<v Speaker 2>belongs to Susan and Julie.

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<v Speaker 4>Brie continuing to struggle with her marriage to Rex, and

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<v Speaker 4>Gabby continuing her affair with John as Carlos's suspicion grows

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<v Speaker 4>to the point of him assaulting a cable guy and

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<v Speaker 4>inadvertently committing a hate crime.

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<v Speaker 3>All extremely problematic in many ways. The episode wraps up

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<v Speaker 3>with Brie stealing Mary Alice's tapes from her therapist's office,

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<v Speaker 3>and the women gathering together to try to get to

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<v Speaker 3>the bottom of what is really going on in the

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<v Speaker 3>young house.

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<v Speaker 2>Well, let's find out. Let's find out what's going on.

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<v Speaker 3>So many things to say about episode four, which aired

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<v Speaker 3>October twenty fourth, two thousand and four. First of all,

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<v Speaker 3>I just have to say, and I don't know who

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<v Speaker 3>is what network you're watching this on or rewatching this on.

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<v Speaker 3>I'm rewatching it on Hulu. And this was the first

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<v Speaker 3>time that in the Hulu the recap that I presume

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<v Speaker 3>is happens for any if you watch it because it's

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<v Speaker 3>previously previously on And Mary Alice says it, And it's

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<v Speaker 3>the first time we actually hear Mary Alice say. As

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<v Speaker 3>we see Bree turn up the little spikes in the

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<v Speaker 3>pull out couch, she says, everyone has a little dirty laundry,

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<v Speaker 3>And this was the slogan of the first season in

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<v Speaker 3>all of the marketing, but it's the first time that

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<v Speaker 3>someone's actually said it on the show.

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<v Speaker 5>Yeah, you're right.

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<v Speaker 4>That was a big tagline.

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<v Speaker 3>It was a big tagline on the dry cleaning back.

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<v Speaker 2>Everyone on the Yeah, on the poster for your Everything,

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<v Speaker 2>everyone has a dirty well does everyone have a little

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<v Speaker 2>dirty laundry?

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

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<v Speaker 3>My hamper, No I do. My hamper was sold. I

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<v Speaker 3>had it forever and I kept throwing wet wash cloths

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<v Speaker 3>in it. And then in the couple of days clearly

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<v Speaker 3>and in a couple of days it would take Then

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<v Speaker 3>it like kind of ruined the bag, and then finally

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<v Speaker 3>decided to throw it away.

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<v Speaker 2>Yeah, just you because I live alone, and I have

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<v Speaker 2>like a first in the second floor, but you can

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<v Speaker 2>reach you can see over from the second floor down

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<v Speaker 2>to the first floor. I don't put my dirty clothes

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<v Speaker 2>and a hamper anymore either.

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<v Speaker 3>I do you do down the way?

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<v Speaker 2>And I threw the banister down to the first floor,

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<v Speaker 2>where eventually I will take them up the laundry room.

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<v Speaker 2>But I just yeah, no, it's really it's gone.

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<v Speaker 3>I have I have a pile to the shower right now,

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<v Speaker 3>and say this is.

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<v Speaker 2>Some reason someone should not live alone.

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<v Speaker 4>I love how quickly we turned right into something like

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<v Speaker 4>as literal as let's talk about our dirty laundry process.

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<v Speaker 3>Well, I certainly don't have any secrets.

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<v Speaker 2>You don't have any secrets.

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

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<v Speaker 4>obviously we're going to go over the Sondheim references because

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

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<v Speaker 4>this one happens to be from the show Follies. So

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<v Speaker 4>for those out there who listen and care about that.

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<v Speaker 4>Now you know who's.

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<v Speaker 2>Happy.

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<v Speaker 5>Yes, I know.

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<v Speaker 2>I found this to be and I really related to

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<v Speaker 2>this an episode that really circled around identities and like

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<v Speaker 2>how we identify ourselves. And I will admit that as

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<v Speaker 2>a six year old woman who has had her adult

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<v Speaker 2>daughter go off to begin her independent life. And even

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<v Speaker 2>more so now no, I mean you, no, I.

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<v Speaker 3>Love it because you say I feel like you've said

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<v Speaker 3>that for like, when I went to college, it was

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

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

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

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<v Speaker 3>she's beginning her adult life.

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<v Speaker 2>Should I say beginning, Well, I meant more like, I

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<v Speaker 2>feel like because you actually bring out points And I'm

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<v Speaker 2>saying this for all the empty nesting moms that might

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<v Speaker 2>be out there listening. I think I hear you. I

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<v Speaker 2>empathize with you that you know the rule The first

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

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<v Speaker 2>you have your child, and I mean there is like

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<v Speaker 2>what to expect when you're expecting, and what to expect

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

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<v Speaker 2>but nobody really tells you. It's hard to know how

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<v Speaker 2>you're going to evolve with your identity, and the identity

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<v Speaker 2>that becomes very easy, and that I think mothers in

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<v Speaker 2>general love is mom. Yeah, I'm a mom, and it

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<v Speaker 2>means something to me, and it means something even more

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

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<v Speaker 2>And then these are the stages when you go off

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<v Speaker 2>to college. It is one degree of no longer being

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<v Speaker 2>a mom. You're still a mom.

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<v Speaker 3>I still went with you to like help pass out

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<v Speaker 3>of my dorm.

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<v Speaker 2>Yeah, like, you know, I was still involved. I still

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<v Speaker 2>got calls when you had the flu and you know,

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<v Speaker 2>figuring it out.

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<v Speaker 3>However, flew a lot, and the first I was going

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<v Speaker 3>out too much.

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

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<v Speaker 2>and she she did not come home to live with me.

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<v Speaker 2>I mean she did a little bit because of COVID,

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<v Speaker 2>but like she as soon as she could went to

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<v Speaker 2>live in her own apartment. And now the next degree

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<v Speaker 2>is you're a real working professional and you're living with

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<v Speaker 2>your partner. Yeah, like so, I you know, I could

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<v Speaker 2>argue that I am pushed aside.

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<v Speaker 3>The redefined And.

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<v Speaker 2>This is what other women my age or you know

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<v Speaker 2>around my age.

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<v Speaker 3>That that are.

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<v Speaker 2>You get forced to redefine your identity. And it isn't

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<v Speaker 2>as easy as it sounds. Because when you take away mom,

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<v Speaker 2>if you're retired, which I am not, by the way,

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<v Speaker 2>anybody looking to hire a.

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<v Speaker 3>Finish an actress ready to work.

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<v Speaker 2>I'm ready to work. But when you push aside that

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<v Speaker 2>sort of day to day mom role, when you know,

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<v Speaker 2>are not going to work every second, you have less

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<v Speaker 2>and less things to sort of hang on to figure

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<v Speaker 2>out what is your identity. And I'm right in that

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<v Speaker 2>stage where I'm trying to figure it out. And so

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<v Speaker 2>I look at the women, the characters in this show,

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<v Speaker 2>and I really get it and I feel again, I'm

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<v Speaker 2>going to say, this is why a show like Desperate

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<v Speaker 2>Housewives is lasting over generations, because people can relate to

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

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<v Speaker 2>you know that is, you can still relate to it,

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<v Speaker 2>and that's why you buy in.

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<v Speaker 4>You know, I'm so struck because I'm sitting here and

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<v Speaker 4>I'm thinking, I'm about to put that identity on, you know,

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<v Speaker 4>of motherhood and becoming a mom, and you know, it's

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<v Speaker 4>it's I have thought about identity so much prior to

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<v Speaker 4>watching this particular episode, just in this transitional phase I'm

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<v Speaker 4>in in my life and kind of what type of

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<v Speaker 4>mother do I want to be? And how does being

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<v Speaker 4>Andrea now change when I become Andrea as a mom,

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<v Speaker 4>And what do I want to model for my daughter?

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<v Speaker 4>And how is she gonna look at me?

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<v Speaker 5>And what?

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<v Speaker 4>You know, all these things are.

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<v Speaker 2>All the right questions. Yeah, and you.

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<v Speaker 4>Know, I'm taking that and it's a good thing I'm

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<v Speaker 4>watching Desert Housewives because I can hold from that, you know.

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<v Speaker 2>The worst, what is so bad? How each is interesting to.

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<v Speaker 4>Do their motherhood, you know, with some of the themes

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<v Speaker 4>that I'm sure we'll we'll get into. But I do

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<v Speaker 4>agree that the general theme woven between all the characters

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<v Speaker 4>being routed around identity was really prevalent and has had

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<v Speaker 4>me thinking a lot too.

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<v Speaker 5>Yeah.

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<v Speaker 3>I really resonated with the identity idea also, and this

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<v Speaker 3>idea of labels. You know, with identity, we label ourselves.

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<v Speaker 3>You know, you're either how high power exec or you're

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<v Speaker 3>a stay at home mom. You're either Gabby the fashion

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<v Speaker 3>model a stay at home wife, or you're Susan the

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<v Speaker 3>working single mom. And I think I was thinking even

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<v Speaker 3>at my age, you know, people in their mid late twenties,

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<v Speaker 3>early thirties. I feel like today we're in a time

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<v Speaker 3>in society where a lot of I was gonna say

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<v Speaker 3>artists my age, but I think it's people my age

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<v Speaker 3>in general have more than one job and more than

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<v Speaker 3>one identity that comes with it. You know, you work

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<v Speaker 3>at a coffee shop and then you are an actor,

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<v Speaker 3>or you work in a restaurant and you're a writer,

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<v Speaker 3>or you have a marketing job and you're also pursuing producing.

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<v Speaker 3>And I mean even for me, like we're doing this

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<v Speaker 3>podcast and I'm also a screenwriter.

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<v Speaker 4>And everything's multi hypen it.

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<v Speaker 3>Yeah, everything is multi hyphen it. And I feel like

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<v Speaker 3>there is much more flexibility around labels, but also more

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

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<v Speaker 5>That's so interesting.

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<v Speaker 2>Yeah, I wonder if it's I mean, it would be

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<v Speaker 2>hard for you to answer if it's harder or easier,

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<v Speaker 2>you know, to lean into your identity as a crutch

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<v Speaker 2>or to sort of unburden yourself from having to be

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<v Speaker 2>any label. But then you also don't have the support

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<v Speaker 2>of what it means to be part of that group

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

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<v Speaker 3>Yeah, well, it's interesting. It's so interesting that you bring

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<v Speaker 3>up identity, because obviously this is a huge theme, especially

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<v Speaker 3>later in this episode, especially as a queer woman thinking

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

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

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<v Speaker 3>How do we identify? I was having a conversation with

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<v Speaker 3>my girlfriend earlier this week, and we were talking about

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<v Speaker 3>I was writing in a coffee shop and I overheard

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<v Speaker 3>these two young girls I I think they were It

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<v Speaker 3>seemed like they were seniors in high school or they

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<v Speaker 3>just graduated, and they were getting ready to go to college.

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<v Speaker 3>And one of them was talking about this girl that

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<v Speaker 3>she was dating and if they were going to stay

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<v Speaker 3>together when she went to college. And the other girl

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<v Speaker 3>was talking about how she kind of had a crush

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<v Speaker 3>on this non binary person and she said, oh, I

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<v Speaker 3>don't know if they want to kiss me or if

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<v Speaker 3>I want And I was just it doesn't really matter

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<v Speaker 3>what they were talking about. But I was listening to

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<v Speaker 3>them talk because I was really I'm such an eavesdropper.

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<v Speaker 3>I am a note or don't say coffee shops. I

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<v Speaker 3>don't say anything next to me in a coffee shop

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<v Speaker 3>because I am listening to you and I'm remembering it too.

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

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<v Speaker 2>But you're saying it doesn't matter, Well, it.

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<v Speaker 3>Was just I was really struck by the fluidity with

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<v Speaker 3>which they talked about who they were seeing, how they

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<v Speaker 3>identified what they saw for their futures. And you know, there,

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<v Speaker 3>I don't know, maybe twelve fifteen years younger than me,

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<v Speaker 3>and I thought, oh my gosh, I did not grow

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<v Speaker 3>up in high school with this level of fluidity around identity.

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<v Speaker 3>And I was so struck by these girls who weren't

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<v Speaker 3>that much younger than me, maybe they were only ten

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<v Speaker 3>years younger than me, having just such ease with the

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<v Speaker 3>way they moved between the way that they labeled themselves

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<v Speaker 3>and what they so offfer their futures and what they

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<v Speaker 3>suffer other people around them, And yeah, it was it

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<v Speaker 3>was very moving.

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<v Speaker 2>Well, I mean, the bringing up labels, it also brings

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<v Speaker 2>up judgment, you know, And so it's one thing to

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<v Speaker 2>have your own sense of self and purpose and you know, acceptance,

0:11:35.240 --> 0:11:38.040
<v Speaker 2>you know. But but we live in a world and

0:11:38.320 --> 0:11:41.000
<v Speaker 2>in this show, they live on a street and in

0:11:41.040 --> 0:11:43.760
<v Speaker 2>a neighborhood where there's a lot of judging going on,

0:11:43.920 --> 0:11:48.280
<v Speaker 2>and you know, starting off with Lynette thinking that she's

0:11:48.320 --> 0:11:51.480
<v Speaker 2>going to have possibly a good day until she gets

0:11:51.480 --> 0:11:54.600
<v Speaker 2>the phone call and you know her her children are

0:11:55.040 --> 0:12:00.120
<v Speaker 2>so badly behaved that she's offered the idea that they

0:12:00.160 --> 0:12:03.000
<v Speaker 2>need medication or they're going to get kicked out of

0:12:03.040 --> 0:12:07.719
<v Speaker 2>the school. Yeah, that's that's that's huge. And this happens

0:12:07.920 --> 0:12:09.959
<v Speaker 2>to people like I was trying to think. This did

0:12:10.040 --> 0:12:12.880
<v Speaker 2>not happen to me. I you know, as you can see,

0:12:12.960 --> 0:12:14.680
<v Speaker 2>I sort of have the perfect daughter.

0:12:15.080 --> 0:12:17.680
<v Speaker 3>Oh thank you so much. I was so well behaved.

0:12:17.720 --> 0:12:20.120
<v Speaker 3>I never got kicked out of a classroom. It's I

0:12:20.160 --> 0:12:22.000
<v Speaker 3>was an only child and I sat at the adult's

0:12:22.000 --> 0:12:25.400
<v Speaker 3>dinner table a lot growing up, and so I think, I, yeah,

0:12:25.440 --> 0:12:30.120
<v Speaker 3>everything was interior. I just had a very interior life.

0:12:30.160 --> 0:12:31.920
<v Speaker 3>I think that's probably why I'm a writer now. Yeah,

0:12:32.000 --> 0:12:33.160
<v Speaker 3>I feel like, yeah, that's true.

0:12:33.400 --> 0:12:35.760
<v Speaker 4>But listen, I mean you're talking about how your identity

0:12:35.800 --> 0:12:36.160
<v Speaker 4>was formed.

0:12:36.160 --> 0:12:37.320
<v Speaker 5>It's it's so interesting.

0:12:37.679 --> 0:12:40.040
<v Speaker 4>I I when I was driving over here today, I

0:12:40.120 --> 0:12:43.520
<v Speaker 4>was thinking a lot about identity and like, how do

0:12:43.600 --> 0:12:45.840
<v Speaker 4>I identify and how is my identity formed? And all

0:12:45.880 --> 0:12:48.240
<v Speaker 4>these things right, and Desperate Housewise plays a big role

0:12:48.240 --> 0:12:50.400
<v Speaker 4>in it, right, because I had been an actor for

0:12:50.400 --> 0:12:51.959
<v Speaker 4>a long time by the time I started the show,

0:12:52.360 --> 0:12:56.120
<v Speaker 4>but arguably this was the most successful, you know, on

0:12:56.160 --> 0:13:00.040
<v Speaker 4>a grand scale thing that I had done. And and

0:13:00.040 --> 0:13:02.160
<v Speaker 4>and I think when you're a performer as a child,

0:13:02.600 --> 0:13:06.280
<v Speaker 4>your identity is really kind of told to you by

0:13:06.720 --> 0:13:08.679
<v Speaker 4>not only the roles you book, but also you're kind

0:13:08.720 --> 0:13:12.559
<v Speaker 4>of praised for. You get verbal affirmations for the things

0:13:12.640 --> 0:13:14.800
<v Speaker 4>that people like about you, and then you adopt them

0:13:14.800 --> 0:13:17.160
<v Speaker 4>as like, Okay, that's who I am, right, And so

0:13:18.040 --> 0:13:20.959
<v Speaker 4>being a good little adult as a kid when you're

0:13:21.000 --> 0:13:24.640
<v Speaker 4>in the industry is really valuable. I happen to kind

0:13:24.640 --> 0:13:26.439
<v Speaker 4>of like be predisposed to be somebody who is a

0:13:26.440 --> 0:13:29.200
<v Speaker 4>perfectionist and cared about showing up prepared and wanting to

0:13:29.200 --> 0:13:31.720
<v Speaker 4>do things well. But you know, I was also awarded

0:13:31.720 --> 0:13:34.520
<v Speaker 4>for that behavior, right, And so I always was. I

0:13:34.559 --> 0:13:37.480
<v Speaker 4>was always told like my whole adolescence and Julie's kind

0:13:37.480 --> 0:13:39.400
<v Speaker 4>of like this too, like, oh, you're so mature for

0:13:39.440 --> 0:13:44.000
<v Speaker 4>your age or whatever. Right, we're so related, And so

0:13:44.120 --> 0:13:47.040
<v Speaker 4>when you grow up, what happens to the identity of

0:13:47.040 --> 0:13:48.720
<v Speaker 4>your mature for your age as a thirty five year

0:13:48.720 --> 0:13:49.120
<v Speaker 4>old woman.

0:13:49.200 --> 0:13:49.320
<v Speaker 2>Right.

0:13:49.360 --> 0:13:51.520
<v Speaker 5>No one's telling me now that I'm mature for my age,

0:13:51.559 --> 0:13:54.960
<v Speaker 5>right right? I mean that would be weird. And at

0:13:55.000 --> 0:13:56.240
<v Speaker 5>this point, you know, yeah.

0:13:56.360 --> 0:13:57.319
<v Speaker 2>It's so interesting.

0:13:57.440 --> 0:14:00.480
<v Speaker 4>Yeah, but it was such a theme throughout me who

0:14:00.559 --> 0:14:00.839
<v Speaker 4>I am.

0:14:00.920 --> 0:14:03.040
<v Speaker 2>Do you know what came your mind for me? No?

0:14:04.240 --> 0:14:05.679
<v Speaker 2>But I would say, and I tell her this all

0:14:05.720 --> 0:14:09.880
<v Speaker 2>the time. Okay, this is the this is memportant. Just

0:14:09.920 --> 0:14:12.240
<v Speaker 2>that when I was younger, when I was forty, when

0:14:12.240 --> 0:14:14.880
<v Speaker 2>I was thirty forty, I was on the cover of magazines.

0:14:15.080 --> 0:14:17.440
<v Speaker 2>People told me all the time I was beautiful. That

0:14:17.640 --> 0:14:21.640
<v Speaker 2>was part of my identity. No one tells me that anymore.

0:14:23.320 --> 0:14:24.600
<v Speaker 5>Well, we'll tell you right now.

0:14:25.560 --> 0:14:30.160
<v Speaker 2>I'm just saying. So it is a transition like going

0:14:30.240 --> 0:14:34.080
<v Speaker 2>from the daily mom into the empty nester. And people

0:14:34.600 --> 0:14:38.600
<v Speaker 2>think that the state of their being is going to

0:14:38.760 --> 0:14:43.280
<v Speaker 2>last forever. Yeah, and and it isn't. And so you

0:14:43.400 --> 0:14:48.840
<v Speaker 2>really need to be present and really enjoy what gifts

0:14:48.880 --> 0:14:49.440
<v Speaker 2>you're given.

0:14:49.760 --> 0:14:51.880
<v Speaker 3>I think about that with Lynette's character, you know, did

0:14:51.960 --> 0:14:54.960
<v Speaker 3>she really feel present and enjoy when she was working

0:14:54.960 --> 0:14:55.800
<v Speaker 3>sixty hour weeks.

0:14:55.800 --> 0:14:58.080
<v Speaker 4>She's so wistful for it now because now she's so wistful.

0:14:58.480 --> 0:15:01.480
<v Speaker 3>I'm curious, Andrew, So, how did you or have you

0:15:01.800 --> 0:15:05.440
<v Speaker 3>worked to redefine yourself as not well, such a mature

0:15:05.480 --> 0:15:06.120
<v Speaker 3>young adult.

0:15:06.920 --> 0:15:07.200
<v Speaker 5>Yeah.

0:15:07.440 --> 0:15:09.800
<v Speaker 4>I'm just a really mature, put together thirty five years old,

0:15:10.560 --> 0:15:13.240
<v Speaker 4>I know, but I think I've released a lot of that.

0:15:13.360 --> 0:15:15.720
<v Speaker 4>I don't have that as like the moniker I wear

0:15:15.720 --> 0:15:17.200
<v Speaker 4>when I walk into a room anymore, but I will

0:15:17.200 --> 0:15:19.320
<v Speaker 4>say that something is kind of beautiful and sweet?

0:15:19.480 --> 0:15:19.720
<v Speaker 2>Is that?

0:15:19.800 --> 0:15:22.800
<v Speaker 4>My mom over the past couple of years has said

0:15:22.840 --> 0:15:25.680
<v Speaker 4>to me, you know, when the occasion arises or like

0:15:25.680 --> 0:15:28.680
<v Speaker 4>on my birthday, that she sees she's watching me get

0:15:28.720 --> 0:15:32.960
<v Speaker 4>younger as I get older, And I think that's really cool.

0:15:33.160 --> 0:15:33.440
<v Speaker 5>Yeah.

0:15:33.720 --> 0:15:39.480
<v Speaker 2>Is that because now that you don't feel the burden

0:15:39.640 --> 0:15:44.680
<v Speaker 2>of being like a perfect young actress who does everything right,

0:15:44.760 --> 0:15:48.040
<v Speaker 2>you know that you can actually be more playful and

0:15:48.080 --> 0:15:48.840
<v Speaker 2>get things wrong.

0:15:48.960 --> 0:15:49.400
<v Speaker 5>I think so.

0:15:49.720 --> 0:15:52.360
<v Speaker 4>I think that even though I wasn't necessarily beholden to

0:15:52.440 --> 0:15:53.960
<v Speaker 4>it at the time, in a way I was aware of.

0:15:54.720 --> 0:15:57.040
<v Speaker 4>I think that it served me. I liked it. I

0:15:57.080 --> 0:15:59.360
<v Speaker 4>really like being prepared. I like to do things.

0:15:59.440 --> 0:15:59.600
<v Speaker 2>You know.

0:15:59.640 --> 0:16:01.520
<v Speaker 4>In my mind, it's like I want to be perfect

0:16:01.560 --> 0:16:03.720
<v Speaker 4>at something I've never done, which is impossible, right, But

0:16:03.840 --> 0:16:07.560
<v Speaker 4>it's that like control thing, and I've definitely relinquished some

0:16:07.680 --> 0:16:10.000
<v Speaker 4>of that over the last few years, and I think

0:16:10.000 --> 0:16:13.200
<v Speaker 4>it's it's very freeing and yes, allows me to be

0:16:13.320 --> 0:16:16.040
<v Speaker 4>messier and more playful and all the things, and so well.

0:16:15.880 --> 0:16:17.800
<v Speaker 2>That's one of the things I do love about aging,

0:16:18.000 --> 0:16:20.720
<v Speaker 2>Like I don't care that nobody says I'm beautiful anymore.

0:16:20.760 --> 0:16:24.960
<v Speaker 2>Like I I'm so freed of all that stuff, Like

0:16:25.200 --> 0:16:27.040
<v Speaker 2>I I love that.

0:16:27.360 --> 0:16:31.360
<v Speaker 3>I love that. I mean, obviously, I am the youngest

0:16:31.400 --> 0:16:34.080
<v Speaker 3>one out of the three of us, but I I've

0:16:34.080 --> 0:16:36.960
<v Speaker 3>actually I've said this before. I feel like when I

0:16:37.040 --> 0:16:39.440
<v Speaker 3>because I also was really praised for being such a

0:16:39.480 --> 0:16:45.600
<v Speaker 3>mature young adult, praised you for thank you, no but

0:16:45.600 --> 0:16:48.800
<v Speaker 3>but for but for being mature and intellectual for my age.

0:16:49.120 --> 0:16:51.680
<v Speaker 3>And I feel like I always had this kind of

0:16:51.760 --> 0:16:53.840
<v Speaker 3>very concrete idea of what path I was going to

0:16:53.880 --> 0:16:55.560
<v Speaker 3>be on and when I was going to achieve things

0:16:55.600 --> 0:16:57.760
<v Speaker 3>by a certain age, and put a lot of pressure

0:16:57.800 --> 0:17:00.320
<v Speaker 3>on myself because I too, am so type a you know,

0:17:00.400 --> 0:17:03.400
<v Speaker 3>straight a student likes to know how to do everything,

0:17:03.400 --> 0:17:06.199
<v Speaker 3>even if I've never done it before, and I feel like,

0:17:06.760 --> 0:17:09.880
<v Speaker 3>I don't know, you know, the concurrent events. I feel

0:17:09.880 --> 0:17:13.600
<v Speaker 3>like when I turned twenty six, when I was like

0:17:13.760 --> 0:17:17.639
<v Speaker 3>over the hump of in my mid twenties or you know,

0:17:17.960 --> 0:17:21.359
<v Speaker 3>late mid twenties, and also I really kind of in

0:17:21.359 --> 0:17:24.600
<v Speaker 3>a more public way to my friends and family came out,

0:17:25.160 --> 0:17:29.639
<v Speaker 3>I felt this complete redefinition of my age. And I

0:17:29.720 --> 0:17:32.520
<v Speaker 3>have to say every year since then, I have felt

0:17:32.520 --> 0:17:35.679
<v Speaker 3>younger and younger, and I have felt, yeah, just like this,

0:17:36.119 --> 0:17:39.080
<v Speaker 3>it's so arbitrary, these rules that we put on ourselves,

0:17:39.160 --> 0:17:43.840
<v Speaker 3>and to just feel also maybe more confidence in my identity,

0:17:43.880 --> 0:17:47.240
<v Speaker 3>but also in my work and my voice.

0:17:47.000 --> 0:17:51.359
<v Speaker 4>And your value outside of it, and my perfect exactly exactly.

0:17:51.520 --> 0:17:54.320
<v Speaker 2>Neither of you ever did anything wrong at school. You

0:17:54.359 --> 0:17:55.840
<v Speaker 2>never painted anybody.

0:17:55.440 --> 0:17:59.560
<v Speaker 3>Blue or it's a great sejuct, but did.

0:17:59.440 --> 0:18:03.320
<v Speaker 2>I'm sure neither of you had medications either, But but

0:18:03.400 --> 0:18:07.480
<v Speaker 2>how do you feel? This was another daring, bold boundary break.

0:18:07.480 --> 0:18:09.840
<v Speaker 2>Early was to bring in in two thousand and four

0:18:10.359 --> 0:18:15.320
<v Speaker 2>a character who was considering is it adderall or.

0:18:15.400 --> 0:18:17.840
<v Speaker 4>Yeah, I'm medication but yeah.

0:18:18.400 --> 0:18:20.720
<v Speaker 2>But for eightyd, I know it was kind of the

0:18:20.760 --> 0:18:24.159
<v Speaker 2>beginning of more and more of your fellow students. I

0:18:24.160 --> 0:18:26.720
<v Speaker 2>feel like there were some kids at schools that I

0:18:26.800 --> 0:18:29.520
<v Speaker 2>was aware of that were maybe starting to do things

0:18:29.640 --> 0:18:31.960
<v Speaker 2>like that, but I felt like on television it was

0:18:32.000 --> 0:18:36.840
<v Speaker 2>sort of the first character that really was getting this question.

0:18:37.240 --> 0:18:40.359
<v Speaker 4>Yeah. I mean, you know, you feel for Lynette so

0:18:40.440 --> 0:18:43.960
<v Speaker 4>much because I thought, it's such a thing right, Or

0:18:43.960 --> 0:18:46.040
<v Speaker 4>you're trying to be such a good mom and you're

0:18:46.040 --> 0:18:47.560
<v Speaker 4>trying to do right by your children, and you just

0:18:47.560 --> 0:18:50.399
<v Speaker 4>don't know what right is Is it right to, you know,

0:18:51.440 --> 0:18:56.760
<v Speaker 4>give them the opportunity to silence these thoughts or to

0:18:57.119 --> 0:19:00.720
<v Speaker 4>dull whatever is making their antics act and then maybe

0:19:00.720 --> 0:19:03.200
<v Speaker 4>they're limited in school because of those things, or is

0:19:03.240 --> 0:19:05.359
<v Speaker 4>it right to let them be who they are and

0:19:06.080 --> 0:19:08.399
<v Speaker 4>see what happens if they don't interfere, you know? And

0:19:08.440 --> 0:19:10.880
<v Speaker 4>also if the thought isn't coming from you, but it's

0:19:10.880 --> 0:19:13.760
<v Speaker 4>coming from the school, it's coming from someone else, how

0:19:13.760 --> 0:19:17.520
<v Speaker 4>do you take that? If not feeling very judged or criticized,

0:19:17.640 --> 0:19:20.879
<v Speaker 4>or like being told you're not doing your job and

0:19:20.920 --> 0:19:22.800
<v Speaker 4>her job is such a thing right because she's like, oh,

0:19:22.800 --> 0:19:24.479
<v Speaker 4>I was so successful at the job that I did

0:19:24.560 --> 0:19:26.719
<v Speaker 4>before I was a mother. I was praised for how

0:19:26.720 --> 0:19:28.359
<v Speaker 4>good I was at it, and now I've given that

0:19:28.440 --> 0:19:31.000
<v Speaker 4>identity up to be this, and now I'm told I'm

0:19:31.000 --> 0:19:31.960
<v Speaker 4>not doing it well.

0:19:33.400 --> 0:19:36.359
<v Speaker 2>It is interesting when you're in control of a situation

0:19:36.520 --> 0:19:39.480
<v Speaker 2>like Lynette was at work. You know, when she had

0:19:39.480 --> 0:19:42.480
<v Speaker 2>it her way, that she could excel at it. And

0:19:42.520 --> 0:19:46.080
<v Speaker 2>as soon as you add a variable where you don't

0:19:46.119 --> 0:19:49.400
<v Speaker 2>have the predictability, you don't have the control. I mean

0:19:49.440 --> 0:19:53.359
<v Speaker 2>it is she's really questioning if she can even make

0:19:53.400 --> 0:19:55.320
<v Speaker 2>the right decision. I feel a lot of empathy for her.

0:19:55.400 --> 0:19:56.320
<v Speaker 2>Al I feel a.

0:19:56.320 --> 0:19:57.960
<v Speaker 3>Lot of empathy for her too, and I really feel

0:19:58.000 --> 0:20:00.480
<v Speaker 3>like there is not a right choice. I think I

0:20:00.520 --> 0:20:02.919
<v Speaker 3>bumped up against a little bit in this episode. I

0:20:03.040 --> 0:20:07.680
<v Speaker 3>kind of felt like the writing around her character portrayed

0:20:07.800 --> 0:20:12.760
<v Speaker 3>her choice to ultimately not medicate them as the noble one,

0:20:13.040 --> 0:20:15.320
<v Speaker 3>like the right choice. Oh, She's going to embrace the

0:20:15.400 --> 0:20:17.960
<v Speaker 3>chaos and let them be who they are. And I think,

0:20:18.080 --> 0:20:21.760
<v Speaker 3>especially because attention deficit disorder wasn't something that was talked

0:20:21.760 --> 0:20:24.640
<v Speaker 3>about a lot at the time, I found it maybe

0:20:24.760 --> 0:20:31.359
<v Speaker 3>understandable but also potentially problematic choice to paint the choice

0:20:31.359 --> 0:20:36.680
<v Speaker 3>of using medication for people who have ADD or ADHD

0:20:36.920 --> 0:20:39.800
<v Speaker 3>as a cop out or as a negative.

0:20:40.040 --> 0:20:42.040
<v Speaker 2>And you think that's how somebody might see it now,

0:20:42.119 --> 0:20:43.040
<v Speaker 2>who's viewing it now?

0:20:43.160 --> 0:20:46.400
<v Speaker 3>Because I was watching it and I kind of felt

0:20:46.480 --> 0:20:49.760
<v Speaker 3>like there was a level of moral high grounds that

0:20:49.840 --> 0:20:52.400
<v Speaker 3>Lynette took when she said, I'm not going to give

0:20:52.400 --> 0:20:53.000
<v Speaker 3>this to you guys.

0:20:53.080 --> 0:20:55.600
<v Speaker 2>Well, it's interesting just the way you were describing it

0:20:55.760 --> 0:20:58.680
<v Speaker 2>like that, weighing out what is right. I never really

0:20:58.680 --> 0:21:01.879
<v Speaker 2>thought about it that if you did give the child

0:21:01.920 --> 0:21:04.400
<v Speaker 2>the medication and they were able to sort of quiet

0:21:04.520 --> 0:21:07.359
<v Speaker 2>some of the noise, they might have the potential to

0:21:07.400 --> 0:21:10.919
<v Speaker 2>have more opportunity in school or wherever that they wouldn't

0:21:10.960 --> 0:21:12.119
<v Speaker 2>get if they didn't have.

0:21:12.240 --> 0:21:15.080
<v Speaker 3>I mean, I thought you talking about that this with parenting,

0:21:15.400 --> 0:21:18.520
<v Speaker 3>not in terms of taking medication or not, but in

0:21:18.600 --> 0:21:20.440
<v Speaker 3>terms of when you see like a very very young

0:21:20.520 --> 0:21:23.359
<v Speaker 3>kid at a fancy restaurant and the kid is acting

0:21:23.400 --> 0:21:25.560
<v Speaker 3>out or crying or running around and kind of like

0:21:25.600 --> 0:21:28.720
<v Speaker 3>disturbing the restaurant for other people. Something that you've said

0:21:28.800 --> 0:21:32.560
<v Speaker 3>before to me, mom, is that's so unfortunate that the

0:21:32.680 --> 0:21:35.119
<v Speaker 3>parents put their kid in a situation that they weren't

0:21:35.119 --> 0:21:36.000
<v Speaker 3>set up for success.

0:21:36.920 --> 0:21:38.919
<v Speaker 2>I was a big one on that that that I

0:21:39.000 --> 0:21:44.680
<v Speaker 2>felt like I always took my parenting responsibility as part

0:21:44.680 --> 0:21:48.600
<v Speaker 2>of that was to not put Emerson in situations where

0:21:48.720 --> 0:21:51.879
<v Speaker 2>she wasn't ready to succeed, not that you have to

0:21:51.920 --> 0:21:55.760
<v Speaker 2>be not. In fact, I made you keep jumping. I

0:21:55.760 --> 0:21:57.760
<v Speaker 2>would not let you give up on jumping rope when

0:21:57.800 --> 0:21:58.679
<v Speaker 2>that was frustrate.

0:21:58.760 --> 0:22:00.560
<v Speaker 3>Oh my god, I was so bad at jump I

0:22:00.600 --> 0:22:01.720
<v Speaker 3>was I do it?

0:22:01.760 --> 0:22:03.479
<v Speaker 2>I I was like a five or six year old

0:22:03.560 --> 0:22:03.840
<v Speaker 2>or something.

0:22:03.920 --> 0:22:04.120
<v Speaker 4>Yeah.

0:22:04.119 --> 0:22:07.440
<v Speaker 3>I remember distinctly standing in the hallway with my jump

0:22:07.520 --> 0:22:10.600
<v Speaker 3>rope trying to practice jumping rope, and I would trip

0:22:10.640 --> 0:22:13.760
<v Speaker 3>every single step and I cried. I was fully melt down.

0:22:13.880 --> 0:22:14.919
<v Speaker 3>I could not do it.

0:22:14.880 --> 0:22:16.760
<v Speaker 2>And you wanted to give up, and I wouldn't let you. Yeah,

0:22:16.800 --> 0:22:19.080
<v Speaker 2>but that's my point. So it's felt like I made

0:22:19.440 --> 0:22:22.679
<v Speaker 2>everything easy. But I do think being aware of what

0:22:22.720 --> 0:22:24.840
<v Speaker 2>you're asking, Like I think the restaurant's a good example.

0:22:24.960 --> 0:22:27.199
<v Speaker 2>Don't ask your three year old to come to like

0:22:27.240 --> 0:22:30.439
<v Speaker 2>a fancy dinner course dinner and sit there. It's just

0:22:30.880 --> 0:22:33.960
<v Speaker 2>you're you're setting them up to fail, and that's not good.

0:22:34.040 --> 0:22:35.879
<v Speaker 3>So yeah, and so this idea that maybe you know

0:22:35.920 --> 0:22:38.359
<v Speaker 3>you need to maybe there are tools that set your

0:22:38.440 --> 0:22:41.560
<v Speaker 3>kid up to succeed that are kind of being ignored potentially.

0:22:41.840 --> 0:22:44.480
<v Speaker 4>Yeah, and she Lynette has that one line that I

0:22:44.520 --> 0:22:46.320
<v Speaker 4>thought was so it just really tugged at my heart

0:22:46.640 --> 0:22:49.080
<v Speaker 4>where she's holding the mug and she's talking about you know,

0:22:49.480 --> 0:22:51.359
<v Speaker 4>and at first I didn't realize that the mug was

0:22:51.359 --> 0:22:53.560
<v Speaker 4>going to be a point of anything in the scene.

0:22:53.560 --> 0:22:54.760
<v Speaker 4>I thought it was just a prop and I thought,

0:22:54.760 --> 0:22:56.320
<v Speaker 4>oh God, the prop department is so good because I

0:22:56.359 --> 0:22:59.800
<v Speaker 4>get that perfectly childhood, you know, child made mug. But anyway,

0:23:00.119 --> 0:23:02.320
<v Speaker 4>when she says, I'm afraid if I change the bad stuff,

0:23:02.320 --> 0:23:04.000
<v Speaker 4>I'm going to change the good stuff, and I thought

0:23:04.000 --> 0:23:06.240
<v Speaker 4>that was a really nice line. And I feel like

0:23:06.240 --> 0:23:09.000
<v Speaker 4>we all feel versions of that, like if if we

0:23:09.040 --> 0:23:10.879
<v Speaker 4>correct this thing, is it going to how is it

0:23:10.880 --> 0:23:13.280
<v Speaker 4>going to impact the other things? Like maybe I don't interfere,

0:23:13.359 --> 0:23:15.880
<v Speaker 4>maybe I don't intervene and try to control it.

0:23:15.920 --> 0:23:17.280
<v Speaker 2>Sounds like we had a lot of empathy.

0:23:18.520 --> 0:23:29.080
<v Speaker 3>Yeah, yeah, so we had.

0:23:29.080 --> 0:23:32.000
<v Speaker 2>In the last episode we had Gabby getting blackmailed, and

0:23:32.040 --> 0:23:37.000
<v Speaker 2>now in this episode we have Susan getting blackmail. I mean,

0:23:37.080 --> 0:23:40.040
<v Speaker 2>I just is that is that the go to drama blackmailed?

0:23:40.080 --> 0:23:41.560
<v Speaker 2>The next Who's getting black.

0:23:41.359 --> 0:23:43.240
<v Speaker 4>Male is running rampant?

0:23:44.000 --> 0:23:47.600
<v Speaker 3>Okay? Yes? And also just to you know, it's not

0:23:48.040 --> 0:23:51.000
<v Speaker 3>just a soap opera where everyone's getting blackmailed. I think

0:23:51.040 --> 0:23:55.280
<v Speaker 3>there's a really interesting layer underneath the blackmail of these women,

0:23:55.520 --> 0:24:02.640
<v Speaker 3>these housewives, especially missus Hubert. I God, I have such

0:24:02.680 --> 0:24:07.240
<v Speaker 3>a love hate relationship with her mainship in this episode. Yeah,

0:24:07.280 --> 0:24:09.840
<v Speaker 3>but they are looking for ways to have control in

0:24:09.880 --> 0:24:15.600
<v Speaker 3>their lives, and turns out blackmail is a way to

0:24:15.600 --> 0:24:16.160
<v Speaker 3>have control.

0:24:16.359 --> 0:24:17.800
<v Speaker 5>Low hanging right apparently.

0:24:18.240 --> 0:24:20.639
<v Speaker 3>Yeah, And oh god, I feel for Susan in the

0:24:20.680 --> 0:24:24.159
<v Speaker 3>grocery store when Miss Hoover comes up and then she

0:24:24.160 --> 0:24:27.600
<v Speaker 3>she says no to Mike to go see the Hitchcock

0:24:27.680 --> 0:24:32.560
<v Speaker 3>movie and then she pays for her groceries and stand

0:24:32.680 --> 0:24:33.440
<v Speaker 3>up for yourselves.

0:24:33.480 --> 0:24:37.480
<v Speaker 4>And there's that moment between us between Susan and Julie

0:24:37.520 --> 0:24:39.639
<v Speaker 4>in the kitchen where you had come clean, you know,

0:24:39.640 --> 0:24:41.280
<v Speaker 4>you wake Julie up and you tell her I think

0:24:41.320 --> 0:24:43.960
<v Speaker 4>I'm being blackmailed, and then we go down. And I

0:24:44.000 --> 0:24:45.960
<v Speaker 4>thought it was so. I thought it was kind of

0:24:45.960 --> 0:24:49.280
<v Speaker 4>a nice thing because so often our dynamic is like

0:24:49.920 --> 0:24:52.159
<v Speaker 4>Julie tries to be the voice of reason, right, like

0:24:52.200 --> 0:24:57.360
<v Speaker 4>that's something that that's maybe her way she identifies and uh,

0:24:57.480 --> 0:25:00.760
<v Speaker 4>and you actually, Susan, to her credit, it wants to

0:25:00.760 --> 0:25:02.639
<v Speaker 4>do the right thing by going to the cops, and

0:25:02.720 --> 0:25:04.000
<v Speaker 4>Julie is the one who's.

0:25:03.800 --> 0:25:09.480
<v Speaker 2>Like, well, this is interesting. I'm gonna just sigde tangential

0:25:09.640 --> 0:25:12.680
<v Speaker 2>to this relationship. I mean, not necessarily just from this episode,

0:25:12.720 --> 0:25:15.240
<v Speaker 2>because this is another way that I was a different mom.

0:25:15.280 --> 0:25:17.560
<v Speaker 2>So people always think that I can't cook because Susan

0:25:17.600 --> 0:25:19.920
<v Speaker 2>can't cook, And people think that I'm a klutz because

0:25:19.960 --> 0:25:22.760
<v Speaker 2>Susan fell down, and I'm a dancer. So there's a

0:25:22.800 --> 0:25:25.480
<v Speaker 2>lot of differ and I always met I was the

0:25:25.480 --> 0:25:28.760
<v Speaker 2>only breadwinner. Nobody ever bought, you know, like paid for

0:25:28.840 --> 0:25:31.840
<v Speaker 2>my way or whatever. Anyways, lots of different things, but

0:25:32.359 --> 0:25:35.440
<v Speaker 2>one of the things here that I had to accept

0:25:35.440 --> 0:25:38.760
<v Speaker 2>that I thought was charming in the context of Desperate

0:25:38.800 --> 0:25:43.480
<v Speaker 2>Housewives and the Julie Susan relationship that I would never

0:25:43.640 --> 0:25:47.600
<v Speaker 2>do because of my relationship with my own mother, is

0:25:47.760 --> 0:25:53.040
<v Speaker 2>I have been overly cautious to not put you taking

0:25:53.080 --> 0:25:56.320
<v Speaker 2>care of me. You Emerson. I'm pointing at Emerson to

0:25:56.440 --> 0:26:01.000
<v Speaker 2>our life, like, because I feel like my mother needed

0:26:01.040 --> 0:26:02.840
<v Speaker 2>a lot of emotional.

0:26:02.320 --> 0:26:04.000
<v Speaker 3>Care from me too much.

0:26:04.200 --> 0:26:08.760
<v Speaker 2>She needed me to fulfill something that she couldn't fulfill herself.

0:26:08.800 --> 0:26:13.800
<v Speaker 2>And I think that is a really regrettable, not great

0:26:13.840 --> 0:26:17.719
<v Speaker 2>thing to do to your child if you cannot do it.

0:26:17.760 --> 0:26:22.359
<v Speaker 2>And I do feel like Susan leaned on Julie way

0:26:22.400 --> 0:26:26.640
<v Speaker 2>too much, yea. And that was a quality about her

0:26:27.359 --> 0:26:30.240
<v Speaker 2>that I didn't love as as the mother that I am.

0:26:31.000 --> 0:26:33.960
<v Speaker 2>But I loved it in the television show and I

0:26:34.000 --> 0:26:37.280
<v Speaker 2>loved it in the dynamo dynamic of how a character

0:26:37.320 --> 0:26:39.359
<v Speaker 2>has to grow and what the relationship.

0:26:38.800 --> 0:26:40.159
<v Speaker 3>With it was.

0:26:40.520 --> 0:26:43.000
<v Speaker 2>But if you were if we went around and we

0:26:43.000 --> 0:26:50.960
<v Speaker 2>were like, what did Susan, Gabby, Bree, and Lynette do wrong?

0:26:51.119 --> 0:26:56.880
<v Speaker 2>As mothers would put on this Susan list would be

0:26:58.320 --> 0:27:01.639
<v Speaker 2>treated Julie like an equal as I can or as

0:27:01.680 --> 0:27:04.240
<v Speaker 2>a friend way too much. Yeah, what do you guys think?

0:27:04.480 --> 0:27:04.760
<v Speaker 5>Yeah?

0:27:04.840 --> 0:27:08.359
<v Speaker 4>I think that's a fair assessment. I also think I

0:27:08.440 --> 0:27:11.680
<v Speaker 4>understand from a your standpoint, it's a very charming dynamic.

0:27:11.720 --> 0:27:14.720
<v Speaker 4>Like you said, like I watch it now and I think, oh,

0:27:14.840 --> 0:27:17.399
<v Speaker 4>they're so sweet, Like they're so cute, and they're you know,

0:27:17.720 --> 0:27:21.080
<v Speaker 4>like committing crimes together and they're you know, and it's sweet.

0:27:21.200 --> 0:27:24.200
<v Speaker 4>It's sweet and charming and ridiculous. It's not how I

0:27:24.240 --> 0:27:26.720
<v Speaker 4>would say suggest someone use it as a how to

0:27:26.760 --> 0:27:30.000
<v Speaker 4>parent Handbook. But I think you know, and it's interesting

0:27:30.000 --> 0:27:32.280
<v Speaker 4>because you were a real life single mom at the

0:27:32.320 --> 0:27:35.080
<v Speaker 4>same time and who was doing things very very differently.

0:27:35.320 --> 0:27:39.479
<v Speaker 4>So yeah, but I I do think by your are

0:27:39.680 --> 0:27:43.639
<v Speaker 4>Susan's arc in this episode. Something I thought was so

0:27:44.240 --> 0:27:46.960
<v Speaker 4>great is again the payoff, you know, when you do

0:27:47.400 --> 0:27:50.200
<v Speaker 4>find your backbone and you stand up to Martha Huber.

0:27:50.680 --> 0:27:52.719
<v Speaker 5>It's just it's so satisfied.

0:27:52.760 --> 0:27:55.640
<v Speaker 2>Okay, But we kind of back up to how we

0:27:55.680 --> 0:27:58.679
<v Speaker 2>get there in the first place, which is because I

0:27:58.760 --> 0:28:00.640
<v Speaker 2>know you said you had something to say about what

0:28:00.720 --> 0:28:02.040
<v Speaker 2>I've made here for Oh.

0:28:02.040 --> 0:28:04.680
<v Speaker 3>My gosh, Oh my gosh. Well there's there's so many

0:28:04.720 --> 0:28:08.560
<v Speaker 3>things to say, but we're staying with Missus Hooper's blackmail

0:28:08.920 --> 0:28:14.440
<v Speaker 3>when she shows up at Susan's house with the mince

0:28:14.520 --> 0:28:19.000
<v Speaker 3>meat comment I wrote in my notes also again in

0:28:19.040 --> 0:28:25.880
<v Speaker 3>all caps. Okay, Missus Hooper is all caps off the

0:28:26.000 --> 0:28:30.479
<v Speaker 3>rails in this scene exclamation point no, because she is.

0:28:30.640 --> 0:28:37.399
<v Speaker 3>I mean, she's she comes in and she's saying, mince meat, Lady,

0:28:39.160 --> 0:28:41.760
<v Speaker 3>I'm gonna make mince meat. That's what she's actually saying.

0:28:41.760 --> 0:28:46.080
<v Speaker 3>I'm gonna make mince meat out of you. I'm gonna, yes,

0:28:46.560 --> 0:28:49.160
<v Speaker 3>that was an expression, and I just I have to

0:28:49.200 --> 0:28:53.240
<v Speaker 3>say I felt like the tone of the show shifted

0:28:53.440 --> 0:28:57.920
<v Speaker 3>into a different place for a moment in that scene

0:28:58.600 --> 0:29:02.160
<v Speaker 3>because I and this is totally not a slight at

0:29:02.200 --> 0:29:06.080
<v Speaker 3>the actor playing Missus Huber, but I feel like there

0:29:06.120 --> 0:29:08.840
<v Speaker 3>is a level of even though the circumstances are very heightened,

0:29:08.880 --> 0:29:11.600
<v Speaker 3>there's a level of the way most of the women

0:29:11.680 --> 0:29:15.080
<v Speaker 3>are playing their scenes with each other that feels very

0:29:15.760 --> 0:29:18.120
<v Speaker 3>grounded in the reality of how we speak and what

0:29:18.240 --> 0:29:22.000
<v Speaker 3>is conversational. And Missus Hooper comes into Susan's house and

0:29:22.040 --> 0:29:25.360
<v Speaker 3>it's like a portal's been opened into this other world

0:29:25.400 --> 0:29:29.840
<v Speaker 3>where like the witch from next Door into the Woods

0:29:30.240 --> 0:29:34.360
<v Speaker 3>comes in and is talking about mince meat in this

0:29:34.600 --> 0:29:39.800
<v Speaker 3>over articulation, and it just it was fascinating.

0:29:40.880 --> 0:29:42.920
<v Speaker 2>But across the tone for you a little no.

0:29:42.880 --> 0:29:46.080
<v Speaker 3>I mean it did I bumped up against I love it,

0:29:46.120 --> 0:29:48.360
<v Speaker 3>go off, go off, tell me, Because I.

0:29:48.680 --> 0:29:51.920
<v Speaker 4>Think every neighborhood in this kind of perfect world right

0:29:52.080 --> 0:29:55.600
<v Speaker 4>has a crazy, zany neighbor, you know, like Missus Huber,

0:29:55.960 --> 0:29:58.480
<v Speaker 4>and I think that we kind of established that in

0:29:58.520 --> 0:30:05.480
<v Speaker 4>the pilot right where she clearly and she's she takes

0:30:05.480 --> 0:30:08.520
<v Speaker 4>the nosy neighbor role to the nth degree, right, And

0:30:08.760 --> 0:30:11.280
<v Speaker 4>yes it is very heightened, and yes it's very campy.

0:30:11.320 --> 0:30:14.880
<v Speaker 4>I happen to love camp I love I'm here for But.

0:30:14.880 --> 0:30:16.800
<v Speaker 2>Yeah, when you look at any I mean, I'm trying

0:30:16.840 --> 0:30:19.320
<v Speaker 2>to think of a comedy that's on television right now

0:30:19.600 --> 0:30:22.320
<v Speaker 2>that that rides this line.

0:30:22.800 --> 0:30:23.280
<v Speaker 3>It.

0:30:23.280 --> 0:30:25.800
<v Speaker 2>It is something I was always aware of and and

0:30:25.920 --> 0:30:30.680
<v Speaker 2>sometimes I feel like the writing supported uh me, and

0:30:30.720 --> 0:30:33.720
<v Speaker 2>sometimes I felt like it fell short. And I mean

0:30:33.760 --> 0:30:37.400
<v Speaker 2>for Susan's character, at least up till now four episodes in,

0:30:38.040 --> 0:30:41.840
<v Speaker 2>I'm not seeing that, but I definitely recall in later seasons,

0:30:41.880 --> 0:30:44.200
<v Speaker 2>you know, feeling like Susan wouldn't say this, This is right,

0:30:44.320 --> 0:30:49.800
<v Speaker 2>like that kind of comedy is is to me, it's

0:30:49.840 --> 0:30:52.680
<v Speaker 2>the best, but it's also like a tight rope. It's

0:30:52.720 --> 0:30:55.520
<v Speaker 2>the hardest, and it's the hardest. It's the hardest to write.

0:30:55.960 --> 0:30:58.760
<v Speaker 2>Always had to responding to act.

0:30:58.880 --> 0:31:02.720
<v Speaker 3>You're responding so authentically. I would say, in the heightened

0:31:02.760 --> 0:31:04.120
<v Speaker 3>scenario of that you.

0:31:04.120 --> 0:31:05.440
<v Speaker 5>Open your mouth that she's feeding.

0:31:05.880 --> 0:31:07.520
<v Speaker 3>I know, it's okay.

0:31:07.680 --> 0:31:09.840
<v Speaker 2>Can we just talk about what I The beautiful thing

0:31:09.880 --> 0:31:15.240
<v Speaker 2>I have here, first of all, mince meat is do

0:31:15.280 --> 0:31:19.200
<v Speaker 2>you guys know what a mince meat. Okay, so mince

0:31:19.280 --> 0:31:22.680
<v Speaker 2>meat typically was a traditional meat pie. Like it's like

0:31:22.720 --> 0:31:24.959
<v Speaker 2>if you think about we went to Cornwall last year,

0:31:24.960 --> 0:31:27.240
<v Speaker 2>if you think about like the Cornish Pasti's or whatever.

0:31:27.640 --> 0:31:31.600
<v Speaker 2>It's a way to incorporate meat into a pie, like

0:31:31.720 --> 0:31:34.600
<v Speaker 2>so that you're getting a meal in one thing. And

0:31:34.680 --> 0:31:36.840
<v Speaker 2>so when you make I have made for you a

0:31:37.000 --> 0:31:40.360
<v Speaker 2>fruit mince meat, which is what which is what missus

0:31:40.360 --> 0:31:41.400
<v Speaker 2>Whober claimed to make.

0:31:41.520 --> 0:31:43.680
<v Speaker 3>That's what she said. I'm going to be real not

0:31:45.880 --> 0:31:46.680
<v Speaker 3>I know it was dark.

0:31:47.480 --> 0:31:51.000
<v Speaker 2>This mince meat pie is three different kinds of apples.

0:31:51.080 --> 0:31:54.200
<v Speaker 2>One of the apples brands are not brand what do

0:31:54.200 --> 0:31:54.480
<v Speaker 2>you call it?

0:31:58.040 --> 0:31:59.360
<v Speaker 5>A apple?

0:32:00.040 --> 0:32:03.160
<v Speaker 2>I have the apple varieties is called the Envy apple.

0:32:03.320 --> 0:32:05.680
<v Speaker 3>And I was like, well, I have to use that.

0:32:05.720 --> 0:32:07.920
<v Speaker 3>I have to say the apples are I've been getting

0:32:07.920 --> 0:32:09.680
<v Speaker 3>them in the grocery store to like the best kind.

0:32:09.840 --> 0:32:14.320
<v Speaker 2>Yeah, so this is honey crisp, green apple, and Envy apples.

0:32:14.360 --> 0:32:18.440
<v Speaker 2>They are I think they are chopped uniformly in the

0:32:18.480 --> 0:32:20.680
<v Speaker 2>same size that you would have a piece of steak.

0:32:20.960 --> 0:32:23.720
<v Speaker 2>So that is what you're trying to mimic. If you're

0:32:23.760 --> 0:32:29.920
<v Speaker 2>doing im Wow, it's got a lot of warm seasoning, cinnamon, nutmeg, allspice.

0:32:30.960 --> 0:32:35.400
<v Speaker 2>There's orange zest, there's ginger zest, and there's some raisins,

0:32:35.480 --> 0:32:37.479
<v Speaker 2>which I went light on the raisins because I know,

0:32:37.640 --> 0:32:40.160
<v Speaker 2>God bless you, we always have the argument over carrot

0:32:40.160 --> 0:32:41.960
<v Speaker 2>cake of like raisin snow raisins.

0:32:45.440 --> 0:32:47.360
<v Speaker 3>Caras.

0:32:47.600 --> 0:32:50.560
<v Speaker 2>So anyways, it's delicious and I think it will be

0:32:50.600 --> 0:32:53.040
<v Speaker 2>delicious anyways, so I made it. I put a little

0:32:53.040 --> 0:32:54.360
<v Speaker 2>heart on there just because I love you, guys.

0:32:54.360 --> 0:32:55.760
<v Speaker 3>And now we're just going to get to stare at

0:32:55.760 --> 0:32:57.280
<v Speaker 3>that we're talking about this.

0:32:58.040 --> 0:33:03.080
<v Speaker 2>But that scene was is a crazy scene and definitely

0:33:03.880 --> 0:33:06.800
<v Speaker 2>set up I think Susan feeling like she was getting

0:33:06.840 --> 0:33:10.280
<v Speaker 2>mincemeat made of her, yeah, as she kept putting up

0:33:10.280 --> 0:33:12.640
<v Speaker 2>with this woman until she finally conquers her.

0:33:12.720 --> 0:33:15.160
<v Speaker 3>I do have to say, though, I mean, obviously this

0:33:15.320 --> 0:33:19.200
<v Speaker 3>is being used as a blackmail intimidation tactic, which we

0:33:19.240 --> 0:33:21.960
<v Speaker 3>see a lot of different versions of intimidation tactics in

0:33:22.000 --> 0:33:27.080
<v Speaker 3>this episode. But I did think missus Hooper's phrasing of saying,

0:33:27.120 --> 0:33:28.840
<v Speaker 3>you know, I really want to help you. I didn't

0:33:28.840 --> 0:33:31.600
<v Speaker 3>help you enough when Carl left you, and now I

0:33:31.640 --> 0:33:34.600
<v Speaker 3>want to help you. Get Mike on your side and

0:33:35.000 --> 0:33:37.240
<v Speaker 3>go out with Mike. It actually made me think about

0:33:37.240 --> 0:33:40.760
<v Speaker 3>something I studied in a social psychology class at Brown,

0:33:41.160 --> 0:33:43.360
<v Speaker 3>which was this really interesting study that I think about

0:33:43.400 --> 0:33:48.920
<v Speaker 3>a lot that talked about people actually like you more

0:33:49.840 --> 0:33:52.520
<v Speaker 3>after you ask them to do something for you.

0:33:53.000 --> 0:33:53.280
<v Speaker 2>Ah.

0:33:53.400 --> 0:33:57.800
<v Speaker 3>Yes, the psychology of that. That the idea of feeling

0:33:57.840 --> 0:33:59.960
<v Speaker 3>which I think plays back into this question of IDENTI

0:34:00.400 --> 0:34:03.240
<v Speaker 3>and labels. The idea of feeling needed.

0:34:03.000 --> 0:34:06.479
<v Speaker 2>People buy someone, Yeah, makes them like I told her

0:34:06.480 --> 0:34:09.120
<v Speaker 2>about relationships growing up. Now we're just gonna this is now,

0:34:09.520 --> 0:34:12.080
<v Speaker 2>this is atitary, mother Emerson.

0:34:11.800 --> 0:34:13.560
<v Speaker 3>How did you do it? No?

0:34:13.640 --> 0:34:16.680
<v Speaker 2>But this was another thing I said, is that don't

0:34:16.719 --> 0:34:19.080
<v Speaker 2>a lot of women these days, I think, go around

0:34:19.120 --> 0:34:23.160
<v Speaker 2>thinking independence is everything, Like, you know, I'm going to

0:34:23.239 --> 0:34:25.640
<v Speaker 2>do it myself. You know I can do it myself.

0:34:25.960 --> 0:34:29.040
<v Speaker 2>And what I would offer her, the idea of is,

0:34:29.120 --> 0:34:32.680
<v Speaker 2>you know, let your partner do something for you.

0:34:32.760 --> 0:34:35.160
<v Speaker 3>People like to feel needed.

0:34:35.200 --> 0:34:35.360
<v Speaker 2>You know.

0:34:35.400 --> 0:34:39.080
<v Speaker 4>It makes me think of Brion Rex and how she says,

0:34:39.120 --> 0:34:41.239
<v Speaker 4>you know, in college we were the perfect couple and

0:34:41.280 --> 0:34:43.759
<v Speaker 4>everyone wanted to be us, and what happened And he says,

0:34:43.760 --> 0:34:45.160
<v Speaker 4>you won't even let me, You can't even let me

0:34:45.200 --> 0:34:46.080
<v Speaker 4>pack my own suitcase.

0:34:46.640 --> 0:34:49.600
<v Speaker 2>Yeah, yeah, that that dynamic has gotten really off for them.

0:34:50.280 --> 0:34:52.520
<v Speaker 2>I still think that line stuck out to me Again,

0:34:52.560 --> 0:34:54.920
<v Speaker 2>I think I said this before, which is I'm still

0:34:54.960 --> 0:34:59.120
<v Speaker 2>having a hard time understanding where Bree came from. I'm

0:34:59.160 --> 0:35:02.600
<v Speaker 2>having an art she when she said that line as

0:35:02.640 --> 0:35:05.520
<v Speaker 2>the actress. I mean, I thought it was a lovely performance.

0:35:05.600 --> 0:35:09.759
<v Speaker 2>I believed, you know her her pain in saying like

0:35:09.800 --> 0:35:12.040
<v Speaker 2>when we were in college, you know, everybody thought we'd

0:35:12.120 --> 0:35:14.760
<v Speaker 2>be great, Like what has happened to us? I totally

0:35:14.800 --> 0:35:19.640
<v Speaker 2>believed that, but the the text of it didn't. I

0:35:19.760 --> 0:35:21.600
<v Speaker 2>just I'm still not can't take sure all the.

0:35:21.640 --> 0:35:23.160
<v Speaker 3>Questions what has happened?

0:35:23.239 --> 0:35:23.399
<v Speaker 2>Right?

0:35:23.520 --> 0:35:25.280
<v Speaker 3>We want to know what did happen?

0:35:26.480 --> 0:35:26.759
<v Speaker 2>I don't.

0:35:26.800 --> 0:35:29.440
<v Speaker 4>And sticking with the Breeze story, a little arc in

0:35:29.480 --> 0:35:33.080
<v Speaker 4>this episode with with Andrew and Danielle her children and

0:35:33.200 --> 0:35:38.920
<v Speaker 4>obviously how he is. Andrew is angry. He's angry that

0:35:39.360 --> 0:35:43.840
<v Speaker 4>Rex has left. He's angry at Bree theoretically for driving

0:35:44.200 --> 0:35:46.880
<v Speaker 4>their dad away. And you know, it made me think

0:35:47.080 --> 0:35:50.719
<v Speaker 4>how often it is that, you know, the woman in

0:35:50.760 --> 0:35:53.640
<v Speaker 4>the situation is blamed maybe quicker than the man, right,

0:35:54.800 --> 0:35:57.919
<v Speaker 4>and uh, then it leads obviously to the hilarity of

0:35:58.160 --> 0:35:59.920
<v Speaker 4>him as going off to the trip club and then

0:36:00.040 --> 0:36:02.560
<v Speaker 4>free perfect bree in her you know, buttoned up shirt

0:36:02.600 --> 0:36:04.720
<v Speaker 4>sitting next to him and ruining his night and ruining

0:36:04.760 --> 0:36:05.480
<v Speaker 4>the guy next to them.

0:36:05.520 --> 0:36:09.080
<v Speaker 2>Tonight, I got that speach that that character makes about

0:36:09.320 --> 0:36:11.239
<v Speaker 2>who's that girl? And she's got a mother?

0:36:13.360 --> 0:36:14.880
<v Speaker 3>And then well the guy to lean over at the

0:36:14.960 --> 0:36:16.560
<v Speaker 3>end to go, you gotta get her out of here.

0:36:17.080 --> 0:36:18.399
<v Speaker 5>She kill all of us.

0:36:18.480 --> 0:36:21.520
<v Speaker 4>I know, I know it was it so funny, but honestly,

0:36:21.560 --> 0:36:24.560
<v Speaker 4>we've come a long way with conversations around sex work.

0:36:24.600 --> 0:36:25.640
<v Speaker 5>I think since this episode.

0:36:25.880 --> 0:36:28.080
<v Speaker 3>Well, I was going to say, have either of you

0:36:28.120 --> 0:36:30.640
<v Speaker 3>ever been to a strip club? What are your thoughts?

0:36:31.000 --> 0:36:32.440
<v Speaker 4>All a great strip club story?

0:36:32.520 --> 0:36:33.000
<v Speaker 5>Actually?

0:36:33.360 --> 0:36:35.839
<v Speaker 4>Please, I wasn't planning. I mean I didn't even think

0:36:35.880 --> 0:36:37.759
<v Speaker 4>about it, But now that you just prompted this, I did.

0:36:37.760 --> 0:36:38.040
<v Speaker 5>Okay.

0:36:38.080 --> 0:36:42.080
<v Speaker 4>So there's a strip club in Los Angeles, and uh,

0:36:42.280 --> 0:36:45.200
<v Speaker 4>just one, just one, No.

0:36:45.320 --> 0:36:47.360
<v Speaker 5>There's many. This one happens to be called the Body

0:36:47.360 --> 0:36:48.360
<v Speaker 5>Show by the Airport.

0:36:48.920 --> 0:36:53.040
<v Speaker 4>It's the one on Sunset anyway, And I never it

0:36:53.080 --> 0:36:53.799
<v Speaker 4>wasn't like my thing.

0:36:53.840 --> 0:36:54.200
<v Speaker 2>I was not.

0:36:54.400 --> 0:36:56.600
<v Speaker 4>I mean, no one's surprised, but I was not like

0:36:56.640 --> 0:37:00.160
<v Speaker 4>a big goer outer as a as an adolescent.

0:37:00.360 --> 0:37:02.000
<v Speaker 3>You were so much for your age.

0:37:03.600 --> 0:37:06.239
<v Speaker 4>But when I was in my twenties, we went out

0:37:06.360 --> 0:37:08.480
<v Speaker 4>and the night ended at the strip club. And it

0:37:08.520 --> 0:37:10.680
<v Speaker 4>was me and my girlfriends, right, and we were there

0:37:11.200 --> 0:37:15.560
<v Speaker 4>and there was a stripper who was obviously in a

0:37:15.640 --> 0:37:19.000
<v Speaker 4>state of undress, and she did her thing, and then

0:37:19.000 --> 0:37:21.680
<v Speaker 4>she hopped off and she came over to me and

0:37:21.719 --> 0:37:23.760
<v Speaker 4>she told me that she was a fan of Desperate

0:37:23.800 --> 0:37:26.920
<v Speaker 4>Housewives and she was naked and she was a fan

0:37:26.960 --> 0:37:29.840
<v Speaker 4>of Desperate Housewives. And this is where it gets really good. Okay,

0:37:30.000 --> 0:37:32.400
<v Speaker 4>that this isn't her only job. She's also a stylist

0:37:32.440 --> 0:37:34.800
<v Speaker 4>and if I'm ever in need of clothes, clothing or

0:37:34.840 --> 0:37:37.759
<v Speaker 4>styling for an event, to give her a call, and

0:37:37.800 --> 0:37:39.080
<v Speaker 4>that she was going to give me her card. And

0:37:39.120 --> 0:37:40.960
<v Speaker 4>I thought it was so funny because she was standing

0:37:40.960 --> 0:37:42.440
<v Speaker 4>there in front of me naked, and I was.

0:37:42.400 --> 0:37:45.080
<v Speaker 5>Like, well, I can't judge how you'd style me, but

0:37:45.360 --> 0:37:46.600
<v Speaker 5>you know that's pretty good.

0:37:47.640 --> 0:37:48.000
<v Speaker 3>God.

0:37:48.560 --> 0:37:50.440
<v Speaker 2>Yeah, okay, that's her true story.

0:37:50.600 --> 0:37:54.279
<v Speaker 3>Labels everyone having multiple labels and that they carry with

0:37:54.400 --> 0:37:57.640
<v Speaker 3>us all the time and multiple jobs. I love that.

0:37:57.840 --> 0:38:00.520
<v Speaker 2>Ye yeah, I love that. I have been into a

0:38:00.560 --> 0:38:03.560
<v Speaker 2>strip club. I mean I was a couple of times.

0:38:03.600 --> 0:38:05.800
<v Speaker 2>I think I went to a strip club in Vegas

0:38:05.880 --> 0:38:08.480
<v Speaker 2>a long time ago, and I went to a strip

0:38:08.520 --> 0:38:10.520
<v Speaker 2>club in New Orleans. When I was doing the movie

0:38:10.520 --> 0:38:13.359
<v Speaker 2>Heaven's Prisoners, I wanted to kind of actually research, so

0:38:13.400 --> 0:38:16.040
<v Speaker 2>that was kind of a more of a research stripper. No,

0:38:16.120 --> 0:38:19.160
<v Speaker 2>but I played a person who was involved with strippers

0:38:19.200 --> 0:38:21.400
<v Speaker 2>in that sort of life, and so I kind of

0:38:21.440 --> 0:38:24.399
<v Speaker 2>wanted to see what that was like. And then I

0:38:24.440 --> 0:38:28.480
<v Speaker 2>did stripping on on Desperate Housewise.

0:38:28.280 --> 0:38:29.440
<v Speaker 3>Stay tuned for that stage.

0:38:29.600 --> 0:38:33.440
<v Speaker 2>I remember that and yeah, that's much later, but that happens.

0:38:33.960 --> 0:38:40.719
<v Speaker 2>And then, uh, I used to take stripping class for exercise,

0:38:41.080 --> 0:38:43.759
<v Speaker 2>like part of the S factor. I was part of

0:38:43.800 --> 0:38:48.600
<v Speaker 2>the Oprah. I was on Oprah showing Oprah how to do.

0:38:50.160 --> 0:38:50.759
<v Speaker 5>A poll.

0:38:50.880 --> 0:38:53.680
<v Speaker 2>I also did it on Jay Leno, not the man

0:38:53.800 --> 0:39:00.440
<v Speaker 2>the show we want to pull m not on himself anyways.

0:39:00.600 --> 0:39:07.359
<v Speaker 2>So I, you know, I tend to imbue this with

0:39:07.520 --> 0:39:10.800
<v Speaker 2>like I want to empower these women. You know. I

0:39:11.800 --> 0:39:14.960
<v Speaker 2>the painting that Brie was painting that this is so

0:39:15.080 --> 0:39:18.920
<v Speaker 2>bad and her mom must be disappointed, and you know, because.

0:39:18.800 --> 0:39:20.000
<v Speaker 4>A humiliating thing.

0:39:20.200 --> 0:39:25.040
<v Speaker 2>Whatever. I resist that as a as a modern day story.

0:39:25.600 --> 0:39:28.719
<v Speaker 2>Now I wouldn't want to project that. I mean, that

0:39:28.840 --> 0:39:32.200
<v Speaker 2>might be the truth for sure, but I wouldn't want

0:39:32.239 --> 0:39:35.239
<v Speaker 2>to project that. I still am in the lane of

0:39:35.280 --> 0:39:38.080
<v Speaker 2>like hoping that women are doing what they're doing because

0:39:38.080 --> 0:39:38.960
<v Speaker 2>they want to be doing it.

0:39:39.040 --> 0:39:41.960
<v Speaker 3>Yeah, and they feel empowered that. I agree. And the

0:39:42.040 --> 0:39:46.040
<v Speaker 3>truth is, so many women with so many jobs, you know,

0:39:46.280 --> 0:39:51.320
<v Speaker 3>walk around carrying various forms of trauma and childhood trauma

0:39:51.360 --> 0:39:54.440
<v Speaker 3>and some of the experiences that Bree talks about in

0:39:54.480 --> 0:39:59.399
<v Speaker 3>that speech, many many women have and it does not

0:39:59.520 --> 0:40:02.760
<v Speaker 3>result in choosing a particular line of work. It feels

0:40:02.760 --> 0:40:05.600
<v Speaker 3>like a very misplaced Yeah, but it makes sense.

0:40:05.400 --> 0:40:08.640
<v Speaker 4>For it makes sense for the character, It makes total

0:40:08.680 --> 0:40:12.000
<v Speaker 4>sense for her, and and comedically it was great. And

0:40:12.000 --> 0:40:13.719
<v Speaker 4>and then she says later in the episode, well, if

0:40:13.719 --> 0:40:15.719
<v Speaker 4>you think that, you know, I feel bad about pulling

0:40:15.760 --> 0:40:17.360
<v Speaker 4>you out of a strip club like that. I consider

0:40:17.400 --> 0:40:22.600
<v Speaker 4>that one of my greatest moments. Yeah, I was going

0:40:22.640 --> 0:40:26.000
<v Speaker 4>to say, we've got Carlos, Yeah, We've got more Carlos.

0:40:26.560 --> 0:40:28.960
<v Speaker 2>I mean, I want to start in the bathtub with

0:40:29.040 --> 0:40:31.400
<v Speaker 2>the rubber ducky because I feel like that's going to

0:40:31.440 --> 0:40:33.800
<v Speaker 2>be the same comment as the algebra class.

0:40:33.880 --> 0:40:40.120
<v Speaker 3>And yeah, I don't know, he might do that I

0:40:40.120 --> 0:40:41.120
<v Speaker 3>haven't seen that far.

0:40:41.400 --> 0:40:42.120
<v Speaker 5>Yeah, I know.

0:40:43.680 --> 0:40:46.800
<v Speaker 2>But when he says I'm usually playing with my rubber

0:40:46.880 --> 0:40:49.960
<v Speaker 2>ducky and now I have more to play with or whatever.

0:40:49.960 --> 0:40:52.360
<v Speaker 3>I mean, I'm on the floor shocked.

0:40:52.440 --> 0:40:55.920
<v Speaker 2>But yeah, line, I mean, I hope doubling down on

0:40:56.040 --> 0:40:57.960
<v Speaker 2>the you've got to be underagee.

0:40:58.320 --> 0:41:00.680
<v Speaker 3>Well, they were having fun in the right, I was.

0:41:00.719 --> 0:41:03.320
<v Speaker 3>I was. I was watching that scene, and I was thinking,

0:41:04.120 --> 0:41:07.920
<v Speaker 3>people are riffing with these lines, and they're really enjoying

0:41:07.960 --> 0:41:10.239
<v Speaker 3>coming up with what they're coming up with. And now

0:41:10.320 --> 0:41:14.799
<v Speaker 3>I am watching it and I'm horrified, and I'm horrified

0:41:14.880 --> 0:41:19.279
<v Speaker 3>for Gabby and for John and and ultimately for many

0:41:19.280 --> 0:41:22.799
<v Speaker 3>more people. As Carlos gets more and more suspicious that

0:41:22.800 --> 0:41:23.800
<v Speaker 3>Gabby's having an affair.

0:41:24.239 --> 0:41:26.120
<v Speaker 4>Of course, Okay, so they're in the tub, and then

0:41:26.120 --> 0:41:28.880
<v Speaker 4>the doorbell rings, and then John freaks out because he

0:41:28.920 --> 0:41:31.919
<v Speaker 4>thinks that Carlos is home, and she has the line

0:41:31.920 --> 0:41:32.480
<v Speaker 4>of like, well.

0:41:32.360 --> 0:41:34.400
<v Speaker 5>He wouldn't ring the doorbell, which I thought was funny.

0:41:34.600 --> 0:41:37.759
<v Speaker 4>And then and then it's the cable guy, the cable guys,

0:41:37.800 --> 0:41:40.439
<v Speaker 4>and he's been late, yeah, show up late, yes, yes,

0:41:40.560 --> 0:41:42.880
<v Speaker 4>And so then you know, John takes off, right, he

0:41:42.960 --> 0:41:47.279
<v Speaker 4>takes off and forgets a sock, leaves a little sock behind.

0:41:48.000 --> 0:41:52.719
<v Speaker 3>Which Gabby so geniusly quick thinking. So I honestly, I

0:41:52.800 --> 0:41:55.600
<v Speaker 3>was kind of and I just felt like it spoke

0:41:55.680 --> 0:41:59.920
<v Speaker 3>to something about Gabby's backstory that she immediately thought, like

0:42:00.160 --> 0:42:02.160
<v Speaker 3>she done this before, I don't know, to take the

0:42:02.239 --> 0:42:05.320
<v Speaker 3>socks and go put them down by the washing machine

0:42:05.680 --> 0:42:09.400
<v Speaker 3>and say that that is what the housekeeper uses.

0:42:09.440 --> 0:42:12.000
<v Speaker 2>It's because Gabby's as smart as she is beautiful, right,

0:42:12.760 --> 0:42:15.680
<v Speaker 2>she says, all the tools, right, I mean, I'm going

0:42:15.680 --> 0:42:16.360
<v Speaker 2>to figure.

0:42:16.120 --> 0:42:19.839
<v Speaker 3>Out not a split second waisted, how to.

0:42:19.760 --> 0:42:21.279
<v Speaker 2>Do with this sock, like I'm going to solve this

0:42:21.320 --> 0:42:22.200
<v Speaker 2>problem instantly.

0:42:22.320 --> 0:42:24.480
<v Speaker 4>Yeah, I mean, it's really it's impressive, you know what.

0:42:24.560 --> 0:42:27.320
<v Speaker 2>It's a character trait though that that I think comes

0:42:27.360 --> 0:42:28.840
<v Speaker 2>from having to protect yourself.

0:42:28.920 --> 0:42:31.399
<v Speaker 3>I was about to say it speaks to a survival instincts.

0:42:31.080 --> 0:42:34.399
<v Speaker 2>So it must. I don't remember if we ever get

0:42:34.440 --> 0:42:37.960
<v Speaker 2>to a backstory about that character, but it says to

0:42:38.120 --> 0:42:42.759
<v Speaker 2>me that that was a character who who survives.

0:42:42.880 --> 0:42:44.400
<v Speaker 3>Yeah, yeah, yeah.

0:42:44.320 --> 0:42:46.520
<v Speaker 2>And they and and that's why they developed all that

0:42:46.600 --> 0:42:49.200
<v Speaker 2>quick on their feet yeah behavior.

0:42:48.920 --> 0:42:51.600
<v Speaker 4>Oh gosh, and then and then well then quick on their.

0:42:52.600 --> 0:42:54.760
<v Speaker 5>To put on a sock as she's dusting the banister.

0:42:55.000 --> 0:42:56.560
<v Speaker 2>It kind of made me want to try it. I

0:42:56.760 --> 0:42:58.440
<v Speaker 2>was like, it sort of seems like a good idea.

0:42:59.280 --> 0:43:00.960
<v Speaker 2>You could just spray the banister and then just have

0:43:01.120 --> 0:43:04.319
<v Speaker 2>it and then your rather than having to hold a rag,

0:43:04.400 --> 0:43:05.719
<v Speaker 2>you could just like, I think we.

0:43:06.560 --> 0:43:09.000
<v Speaker 3>All have socks that we don't use any Well.

0:43:08.960 --> 0:43:13.040
<v Speaker 4>There's always back to the laundry, Back to the laundry,

0:43:13.160 --> 0:43:14.479
<v Speaker 4>there's the one rogue sock.

0:43:14.760 --> 0:43:18.239
<v Speaker 2>And now we have a right that's when you're one

0:43:18.320 --> 0:43:20.120
<v Speaker 2>rogue sock, make it a dust rag.

0:43:20.239 --> 0:43:22.960
<v Speaker 5>But then Carlos ends up committing hate crime.

0:43:23.040 --> 0:43:26.240
<v Speaker 3>Well, yes, okay, so because the cable guy slips and

0:43:26.560 --> 0:43:28.680
<v Speaker 3>the paramedics have to come because he hits his head

0:43:28.719 --> 0:43:31.960
<v Speaker 3>really bad, and Carlos is suspicious about why was he

0:43:32.000 --> 0:43:35.919
<v Speaker 3>there so late? And he asks John, who obviously trying

0:43:35.920 --> 0:43:37.600
<v Speaker 3>to cover his own tracks.

0:43:37.120 --> 0:43:44.240
<v Speaker 4>Quick on his feet, he's just barely out of algebra, and.

0:43:45.719 --> 0:43:49.600
<v Speaker 3>Yeah, he kind of bumbles that response, but at least

0:43:49.640 --> 0:43:53.200
<v Speaker 3>he's in birkenstocks at that point, staging.

0:43:53.239 --> 0:43:54.879
<v Speaker 5>Well, I mean they're really.

0:43:54.600 --> 0:43:57.879
<v Speaker 3>Back, I know, just walk them into silver Lake. And

0:43:57.920 --> 0:44:00.719
<v Speaker 3>then and then Carlos, I know we talked about this

0:44:00.800 --> 0:44:03.440
<v Speaker 3>last time we talked about episode three h Carlos kind

0:44:03.440 --> 0:44:08.160
<v Speaker 3>of feeling increasingly scary and intimidating and kind of domineering,

0:44:08.680 --> 0:44:12.520
<v Speaker 3>and then he actually goes and assaults someone. And I

0:44:12.560 --> 0:44:15.240
<v Speaker 3>have I have so many thoughts about this scene.

0:44:15.800 --> 0:44:16.239
<v Speaker 5>Tell us.

0:44:25.200 --> 0:44:27.400
<v Speaker 3>I mean, you know, it's funny. I was talking to

0:44:27.400 --> 0:44:29.920
<v Speaker 3>my girlfriend about this scene because I said, because she

0:44:30.000 --> 0:44:34.279
<v Speaker 3>actually watched Desperate Housewives with her mom. She was a kid,

0:44:34.320 --> 0:44:37.239
<v Speaker 3>I mean, not quite as young, maybe somewhat retroactively a

0:44:37.239 --> 0:44:41.799
<v Speaker 3>little bit later, but she remembered this scene and I

0:44:42.000 --> 0:44:44.920
<v Speaker 3>was describing it and I said, okay, So Carlos shows

0:44:44.960 --> 0:44:46.520
<v Speaker 3>up at the cable guy's house. He thinks he's going

0:44:46.520 --> 0:44:48.279
<v Speaker 3>to teach him a lesson, you know, he punches him,

0:44:48.560 --> 0:44:51.040
<v Speaker 3>and it is I have to say from comedic writing,

0:44:51.480 --> 0:44:54.839
<v Speaker 3>it is a very funny beat. He punches the guy.

0:44:54.880 --> 0:44:56.840
<v Speaker 3>The guy's on the floor, He's like, why are you

0:44:56.920 --> 0:45:02.920
<v Speaker 3>doing this? And Carlos scared the apartment and he sees

0:45:03.000 --> 0:45:05.880
<v Speaker 3>a gypsy God bless Mark Cherry. He sees a gypsy

0:45:05.880 --> 0:45:08.160
<v Speaker 3>poster on the wall, and then he sees a picture

0:45:08.280 --> 0:45:11.200
<v Speaker 3>of the cable guy and his partner who is a man,

0:45:11.800 --> 0:45:16.880
<v Speaker 3>and he goes, you're gay with a question mark because

0:45:17.160 --> 0:45:20.759
<v Speaker 3>he's surprised, and the guy goes, is that why you're

0:45:20.840 --> 0:45:26.680
<v Speaker 3>doing this? And Carlos goes, uh, yes, and then leaves yeah,

0:45:27.200 --> 0:45:29.719
<v Speaker 3>And then it immediately becomes a story that we see

0:45:29.760 --> 0:45:32.920
<v Speaker 3>on the news of this hate crime committed against a

0:45:32.960 --> 0:45:36.600
<v Speaker 3>gay rights activist. The cableman turns out to be who

0:45:36.760 --> 0:45:41.360
<v Speaker 3>was advocating for the same rights, which I found incredibly interesting.

0:45:42.000 --> 0:45:44.560
<v Speaker 3>He's a gay rights activist who's currently working on making

0:45:44.560 --> 0:45:48.120
<v Speaker 3>sure same sex couples have the same rights as married

0:45:48.160 --> 0:45:51.279
<v Speaker 3>people in general, well in general, I thought it was

0:45:51.320 --> 0:45:54.359
<v Speaker 3>same sex partners being recognized as having the same rights

0:45:54.400 --> 0:45:56.880
<v Speaker 3>in their partnership, which at the time, gay marriage was

0:45:56.920 --> 0:46:00.879
<v Speaker 3>not legalized, right, so it didn't happen, so you had

0:46:00.880 --> 0:46:05.560
<v Speaker 3>to really work to find other loopholes to have your partnership,

0:46:05.560 --> 0:46:07.640
<v Speaker 3>you know, the ability to visit in a hospital, the

0:46:07.680 --> 0:46:10.279
<v Speaker 3>ability to have things that married couples have.

0:46:10.280 --> 0:46:14.840
<v Speaker 2>A way a tiny two line exchange of a scene,

0:46:15.080 --> 0:46:20.800
<v Speaker 2>another groundbreaking ahead of its time moment. Yeah, not to

0:46:20.880 --> 0:46:21.560
<v Speaker 2>interest you, no, and.

0:46:21.680 --> 0:46:24.680
<v Speaker 3>Really commenting on the state of the queer community at

0:46:24.680 --> 0:46:27.200
<v Speaker 3>that time that this was made. And I think the

0:46:27.239 --> 0:46:30.560
<v Speaker 3>reason that it's interesting we're watching it right now, but

0:46:30.560 --> 0:46:33.200
<v Speaker 3>that this episode sat so much with me is with

0:46:33.320 --> 0:46:37.439
<v Speaker 3>our current administration talking about repealing the right to gay

0:46:37.440 --> 0:46:40.399
<v Speaker 3>marriage right now, which has obviously been a right since

0:46:40.400 --> 0:46:42.160
<v Speaker 3>two thousand and eight. And my mom and I were

0:46:42.200 --> 0:46:44.480
<v Speaker 3>just talking about this. She sent me a TikTok at

0:46:44.480 --> 0:46:47.160
<v Speaker 3>like eleven thirty at night. Cool when all of the

0:46:47.200 --> 0:46:50.160
<v Speaker 3>best all of the best ideas come from TikTok, And

0:46:50.239 --> 0:46:53.360
<v Speaker 3>she said, actually, I mean, it does make me really sad,

0:46:53.440 --> 0:46:55.759
<v Speaker 3>but she said, you know, you might want to file

0:46:55.800 --> 0:46:58.400
<v Speaker 3>this away. This is a gay rights lawyer talking about

0:46:58.400 --> 0:47:00.880
<v Speaker 3>the nine documents. You need to have your partner so

0:47:00.920 --> 0:47:04.040
<v Speaker 3>you can still my god, I'm gonna be emotional, so

0:47:04.080 --> 0:47:07.560
<v Speaker 3>you can still have your partnership recognized if they repeel

0:47:07.600 --> 0:47:10.000
<v Speaker 3>the right to gay marriage, which my girlfriend and I

0:47:10.040 --> 0:47:12.440
<v Speaker 3>are not married, but obviously you know, we're in a

0:47:12.440 --> 0:47:15.959
<v Speaker 3>serious partnership and that's the things that we're talking about. Yeah. Sorry,

0:47:15.960 --> 0:47:18.200
<v Speaker 3>I'm emotional. But it was really interesting to see this

0:47:18.440 --> 0:47:21.680
<v Speaker 3>come up in such a convenient beat that I appreciated,

0:47:21.960 --> 0:47:24.160
<v Speaker 3>But that really kind of cut to the quick of

0:47:24.200 --> 0:47:28.319
<v Speaker 3>our current political times right now. Yeah, yeah, yeah, yeah.

0:47:28.440 --> 0:47:34.120
<v Speaker 2>And amazing that the Carlos character cared less about his

0:47:34.239 --> 0:47:38.560
<v Speaker 2>abusiveness right. I mean, cares really out, cared less about

0:47:39.040 --> 0:47:42.799
<v Speaker 2>being a hate crime than he did about his abusiveness.

0:47:42.440 --> 0:47:44.279
<v Speaker 4>Talk about the labels. He was like, I'm fine with

0:47:44.360 --> 0:47:47.279
<v Speaker 4>being like, right.

0:47:47.680 --> 0:47:50.000
<v Speaker 2>With being a hate crime, but you know, not not

0:47:50.000 --> 0:47:52.279
<v Speaker 2>someone who would be cheated, who would be cheated.

0:47:52.040 --> 0:47:54.840
<v Speaker 4>On an emasculated husband. Yeah, God forbid God.

0:47:55.000 --> 0:47:56.840
<v Speaker 3>I mean, yeah, that's exactly what it is.

0:47:56.880 --> 0:47:58.360
<v Speaker 2>That's what I was trying to say. You did it

0:47:58.400 --> 0:48:00.040
<v Speaker 2>better because I kind.

0:47:59.880 --> 0:48:02.359
<v Speaker 4>Of no, no, no, that's right though. You're saying that

0:48:02.440 --> 0:48:05.000
<v Speaker 4>he would rather be labeled as someone who would commit

0:48:05.040 --> 0:48:07.520
<v Speaker 4>a hate crime against a gay person than he would

0:48:07.600 --> 0:48:08.880
<v Speaker 4>be an emasculated husband.

0:48:09.000 --> 0:48:10.960
<v Speaker 2>Yeah, And I think that's why when we get to

0:48:10.960 --> 0:48:13.400
<v Speaker 2>the end of this episode, between this and the last

0:48:13.440 --> 0:48:19.319
<v Speaker 2>episode where he responding to what the famous ejaculation line,

0:48:19.600 --> 0:48:23.000
<v Speaker 2>you know, he says, Man, if my woman said anything

0:48:23.080 --> 0:48:24.640
<v Speaker 2>like that, that'd be the last time, you know.

0:48:24.640 --> 0:48:26.000
<v Speaker 3>She would only say that one.

0:48:26.040 --> 0:48:29.279
<v Speaker 2>You know, Like, we've gotten now to this episode where

0:48:29.280 --> 0:48:33.120
<v Speaker 2>I just feel like and we we're just really sitting

0:48:33.120 --> 0:48:39.520
<v Speaker 2>with this very heavy, dominating character. And again maybe it's

0:48:39.520 --> 0:48:42.960
<v Speaker 2>because I know we'recarded, like we got to get well

0:48:43.080 --> 0:48:45.239
<v Speaker 2>because over the years, like he and I have had dinner.

0:48:45.280 --> 0:48:47.200
<v Speaker 2>We had dinner at Kids Met a couple of years ago.

0:48:47.280 --> 0:48:50.160
<v Speaker 2>He's actually doing a play right now in Minnesota that

0:48:50.200 --> 0:48:52.680
<v Speaker 2>I might go see. It's about to open, and like,

0:48:52.719 --> 0:48:55.000
<v Speaker 2>so we keep in touch, and I think of him

0:48:55.040 --> 0:48:57.880
<v Speaker 2>as this, like he's a dad, he builds stuff in

0:48:57.920 --> 0:48:58.520
<v Speaker 2>his house.

0:48:58.920 --> 0:49:00.160
<v Speaker 3>He's a very sweet guy.

0:49:00.239 --> 0:49:03.960
<v Speaker 2>Yeah, and obviously I can cook Susan can't cook, like

0:49:03.960 --> 0:49:08.880
<v Speaker 2>like he doesn't have to. But it is interesting I

0:49:08.960 --> 0:49:12.480
<v Speaker 2>do not have the recollection of that character being this intent.

0:49:12.640 --> 0:49:13.680
<v Speaker 5>I know what is that.

0:49:13.719 --> 0:49:16.080
<v Speaker 4>It's like our minds kind of corrected him in our heads.

0:49:16.080 --> 0:49:18.200
<v Speaker 4>I think because maybe we love Ricardo and.

0:49:18.960 --> 0:49:20.600
<v Speaker 3>Or maybe because you weren't in those scenes with him.

0:49:20.719 --> 0:49:23.680
<v Speaker 4>I mean maybe that's or also just because I'm looking

0:49:23.719 --> 0:49:26.680
<v Speaker 4>at it not as you know, a child anymore. But

0:49:26.760 --> 0:49:30.320
<v Speaker 4>I'm thinking about this idea of like taking stepping crossing

0:49:30.320 --> 0:49:32.960
<v Speaker 4>the line too far, just in general, like obviously he

0:49:33.040 --> 0:49:34.920
<v Speaker 4>crossed a line way too far by showing up at

0:49:34.920 --> 0:49:36.239
<v Speaker 4>that man's house and abusing him.

0:49:36.280 --> 0:49:36.440
<v Speaker 2>Right.

0:49:38.040 --> 0:49:41.080
<v Speaker 4>I have noticed that I inherently am on the women's

0:49:41.200 --> 0:49:43.879
<v Speaker 4>side almost all the time, like in their independent storylines,

0:49:43.920 --> 0:49:46.720
<v Speaker 4>like if it's them against you know, if it's Lynette

0:49:46.719 --> 0:49:49.560
<v Speaker 4>against the teacher, or it's you know, Gabby against Carlos,

0:49:49.640 --> 0:49:52.040
<v Speaker 4>or if it's pre against Rex, Like, I'm having to

0:49:52.160 --> 0:49:54.879
<v Speaker 4>really think about the perspective of the other character because

0:49:54.880 --> 0:49:58.080
<v Speaker 4>I'm inherently on our hero's side, right, even when they're

0:49:58.120 --> 0:50:01.280
<v Speaker 4>doing something very wrong. I think that's really smart writing.

0:50:01.280 --> 0:50:03.480
<v Speaker 4>And it also just shows like because we're kind of

0:50:03.520 --> 0:50:05.960
<v Speaker 4>supposed to be rooting for them. But I was a

0:50:06.000 --> 0:50:08.600
<v Speaker 4>little appalled about them all sitting around listening to Mary

0:50:08.640 --> 0:50:11.680
<v Speaker 4>Alice's therapy tapes, and I wanted to know what you

0:50:11.719 --> 0:50:14.919
<v Speaker 4>guys thought about that invasion of someone's privacy, especially after

0:50:14.960 --> 0:50:17.920
<v Speaker 4>they've since passed and they're sitting there kind of trying

0:50:17.960 --> 0:50:20.359
<v Speaker 4>to find out information that she never readily shared with them,

0:50:20.400 --> 0:50:23.160
<v Speaker 4>and that she only shared with in the confines of

0:50:23.160 --> 0:50:27.759
<v Speaker 4>a therapist's office, And that is to.

0:50:27.800 --> 0:50:29.320
<v Speaker 5>Know, what do you think of that?

0:50:29.400 --> 0:50:33.080
<v Speaker 2>I didn't really snag on it, but now that you're

0:50:33.120 --> 0:50:36.200
<v Speaker 2>bringing it up, it is kind of like, I mean,

0:50:36.239 --> 0:50:38.600
<v Speaker 2>I guess I must have made an excuse for it

0:50:38.640 --> 0:50:40.560
<v Speaker 2>in that maybe they're just trying to.

0:50:40.520 --> 0:50:44.520
<v Speaker 3>Solve the issue, but you're right, it is very.

0:50:44.360 --> 0:50:48.839
<v Speaker 2>Wrong, and none of them really put do I don't

0:50:48.880 --> 0:50:50.759
<v Speaker 2>remember did any of them push back and be like,

0:50:50.800 --> 0:50:51.960
<v Speaker 2>we shouldn't be listening to this.

0:50:52.080 --> 0:50:53.960
<v Speaker 4>Was that no, I think, I mean Gabby says like, oh,

0:50:54.000 --> 0:50:57.399
<v Speaker 4>it's weird hearing mary Alice's race. But I don't think

0:50:57.400 --> 0:51:00.160
<v Speaker 4>any one of them raises an issue necessarily.

0:51:00.440 --> 0:51:01.480
<v Speaker 3>Interesting this idea.

0:51:01.640 --> 0:51:04.000
<v Speaker 2>If someone did, it would be Lynette. I think Lynette

0:51:04.000 --> 0:51:05.560
<v Speaker 2>would go, I can't believe you got this out of

0:51:05.560 --> 0:51:08.400
<v Speaker 2>the therapist, right. That sounds like something she could have said, Yeah.

0:51:08.200 --> 0:51:10.880
<v Speaker 3>Well obviously, Yeah, there's the stealing from the therapist office,

0:51:10.920 --> 0:51:12.560
<v Speaker 3>and then there's the listening to it. And I feel

0:51:12.560 --> 0:51:15.920
<v Speaker 3>like there is something interesting about when does the line?

0:51:16.480 --> 0:51:16.680
<v Speaker 2>You know?

0:51:16.920 --> 0:51:20.920
<v Speaker 3>I bet they would feel more morally outraged about listening

0:51:20.920 --> 0:51:23.480
<v Speaker 3>to it while Mary Alice was alive and then they

0:51:23.480 --> 0:51:26.080
<v Speaker 3>had to see her and hold on to the secret

0:51:26.360 --> 0:51:30.040
<v Speaker 3>that they knew her personal information. Then they do feel

0:51:30.120 --> 0:51:33.399
<v Speaker 3>listening to it now that she's dead, right and they're

0:51:33.440 --> 0:51:35.759
<v Speaker 3>trying to solve something. And I do think there is

0:51:35.840 --> 0:51:38.920
<v Speaker 3>some I mean, come and correct me on this, because

0:51:38.960 --> 0:51:41.640
<v Speaker 3>I am no lawyer, but I feel like in certain

0:51:41.719 --> 0:51:46.000
<v Speaker 3>cases therapists can be subpoena to have to give up

0:51:46.440 --> 0:51:50.800
<v Speaker 3>notes or recordings, you know, if someone commits a homicide

0:51:50.920 --> 0:51:53.880
<v Speaker 3>or something you know, like in certain mysteries.

0:51:53.920 --> 0:51:56.560
<v Speaker 4>I don't think not by banda camp, no, but.

0:51:56.560 --> 0:51:58.880
<v Speaker 3>Certainly not by people stealing the tape out of their office.

0:51:59.239 --> 0:51:59.880
<v Speaker 5>I think you're right.

0:52:00.200 --> 0:52:02.359
<v Speaker 4>I think there there might be certain occasions when it's

0:52:02.480 --> 0:52:03.800
<v Speaker 4>when it's permitted legally.

0:52:04.000 --> 0:52:04.160
<v Speaker 3>Yea.

0:52:04.960 --> 0:52:06.920
<v Speaker 5>But I also fascinated.

0:52:06.400 --> 0:52:09.319
<v Speaker 4>By the recurring nightmare thing, like I, you know, that's

0:52:09.360 --> 0:52:12.800
<v Speaker 4>what she's saying on the tape, and that her name's Angela,

0:52:12.800 --> 0:52:13.759
<v Speaker 4>which I've forgot.

0:52:13.520 --> 0:52:14.600
<v Speaker 2>Or by the way, yeah I've forgot.

0:52:15.440 --> 0:52:16.080
<v Speaker 3>I've never seen it.

0:52:16.200 --> 0:52:18.640
<v Speaker 5>Excited to know what that means later, and I feel.

0:52:18.400 --> 0:52:20.200
<v Speaker 2>Like you win because you've never seen it, Like we

0:52:20.320 --> 0:52:21.640
<v Speaker 2>just do a lot of we forgotten.

0:52:21.719 --> 0:52:22.920
<v Speaker 5>Yeah, we forgot.

0:52:22.920 --> 0:52:25.319
<v Speaker 3>Fall new to me because it is.

0:52:25.520 --> 0:52:28.760
<v Speaker 4>Yeah, But also it made me think about recurring nightmares

0:52:28.920 --> 0:52:31.680
<v Speaker 4>in general, like do you have you guys had recurring nightmares?

0:52:31.719 --> 0:52:36.719
<v Speaker 4>I certainly have had some weird recurring nightmare since I

0:52:36.760 --> 0:52:39.399
<v Speaker 4>was little. Some involved cockroaches, which is just probably because

0:52:39.400 --> 0:52:42.120
<v Speaker 4>I grew up in Manhattan. I have another one about

0:52:42.120 --> 0:52:43.400
<v Speaker 4>being tied to train tracks.

0:52:43.520 --> 0:52:44.080
<v Speaker 3>Oh my god.

0:52:44.239 --> 0:52:47.840
<v Speaker 4>Yeah, and I always wake up before the train gets

0:52:47.880 --> 0:52:51.160
<v Speaker 4>too close. But I feel the wind on my face

0:52:51.239 --> 0:52:53.560
<v Speaker 4>and I see that like lights of the train and

0:52:53.560 --> 0:52:55.040
<v Speaker 4>that's how I wake up. And I've had that dream

0:52:55.080 --> 0:52:55.720
<v Speaker 4>more than once.

0:52:56.000 --> 0:52:58.520
<v Speaker 3>Wow, have you looked into what that means?

0:52:58.640 --> 0:53:01.880
<v Speaker 4>No, because I'm terrified of knowing. Okay, crazy that makes.

0:53:01.719 --> 0:53:03.719
<v Speaker 3>Me not about recurring nightmares. But I thought you were

0:53:03.760 --> 0:53:05.200
<v Speaker 3>going to say, because I feel like we have to

0:53:05.200 --> 0:53:08.040
<v Speaker 3>touch on it, when you talked about crossing a moral line,

0:53:08.440 --> 0:53:12.040
<v Speaker 3>I thought you were going to talk about yourself crawling

0:53:12.040 --> 0:53:16.120
<v Speaker 3>through the doggy door to steal back the measuring.

0:53:15.680 --> 0:53:17.520
<v Speaker 5>Corh gosh, that is so funny.

0:53:17.600 --> 0:53:20.680
<v Speaker 4>I love that scene, and I will say so, I

0:53:20.719 --> 0:53:23.760
<v Speaker 4>actually do remember filming that scene, and the reason being

0:53:24.280 --> 0:53:27.240
<v Speaker 4>I have terrible hand eye coordination and I was really

0:53:27.280 --> 0:53:29.160
<v Speaker 4>nervous to have to toss the frisbee back and forth

0:53:29.200 --> 0:53:31.320
<v Speaker 4>with you in front of our crew because I knew

0:53:31.320 --> 0:53:32.520
<v Speaker 4>that I was going to drop it a lot and

0:53:32.560 --> 0:53:34.400
<v Speaker 4>I knew it was going to be bad. And anyway,

0:53:34.440 --> 0:53:37.719
<v Speaker 4>I'm sure I did, and they edited it. Well, you

0:53:37.760 --> 0:53:42.960
<v Speaker 4>look like an extras You're good YEA like through my golf?

0:53:43.400 --> 0:53:46.359
<v Speaker 4>Really yeah, wow, I didn't get that.

0:53:46.280 --> 0:53:47.280
<v Speaker 3>From frisbee golf.

0:53:47.560 --> 0:53:49.719
<v Speaker 2>It's like you throwing the frisbee like to get it

0:53:49.760 --> 0:53:51.520
<v Speaker 2>to a flag, you know, to get it like the

0:53:51.560 --> 0:53:52.520
<v Speaker 2>same my silf.

0:53:52.680 --> 0:53:55.440
<v Speaker 3>She explains this to me, like, are you even my daughter?

0:53:55.600 --> 0:53:59.480
<v Speaker 3>You don't know what frisbee golf? But we did play

0:53:59.520 --> 0:54:02.320
<v Speaker 3>frisbee at the beach. I know, I'm not intimidated.

0:54:02.360 --> 0:54:05.400
<v Speaker 4>Well, I am intimidated by frisbee and little Andrea was.

0:54:05.480 --> 0:54:07.080
<v Speaker 5>And anyway, can we.

0:54:07.000 --> 0:54:10.439
<v Speaker 2>Talk about how great Nicolette was in that scene? Oh

0:54:10.640 --> 0:54:13.399
<v Speaker 2>my god, yeah, yeah, I I so.

0:54:13.400 --> 0:54:18.880
<v Speaker 3>It, And how upsetting and heartbreaking Susan is. I was yelling, like, stop.

0:54:18.680 --> 0:54:21.480
<v Speaker 4>Giving your data, I know, but Nicolette in that scene,

0:54:21.560 --> 0:54:23.359
<v Speaker 4>it is so good when she she has that moment

0:54:23.360 --> 0:54:25.839
<v Speaker 4>where she does the hand gesture after it's like one

0:54:25.880 --> 0:54:28.640
<v Speaker 4>too many, when she basically is saying to Susan, you know,

0:54:29.080 --> 0:54:30.799
<v Speaker 4>I don't stop throwing it in my face, and then

0:54:30.800 --> 0:54:33.120
<v Speaker 4>it just keeps happening, and she like turns to walk

0:54:33.120 --> 0:54:35.120
<v Speaker 4>away and she puts her hand out and it's so funny.

0:54:35.200 --> 0:54:37.880
<v Speaker 2>No, she's really really, really good in it, and it

0:54:38.239 --> 0:54:41.000
<v Speaker 2>kind of brought up I remember just that like it

0:54:41.080 --> 0:54:43.960
<v Speaker 2>was it was an interesting thing about how some people

0:54:44.040 --> 0:54:46.399
<v Speaker 2>used to feel like it was four housewives or it

0:54:46.440 --> 0:54:49.240
<v Speaker 2>was five housewives. I remember that, and I remember really

0:54:49.320 --> 0:54:52.439
<v Speaker 2>on early on being like it's five housewives, you guys,

0:54:52.440 --> 0:54:54.360
<v Speaker 2>it has to be five. She has to be included,

0:54:54.440 --> 0:54:57.840
<v Speaker 2>you know. I think there's even a USA article, like

0:54:57.880 --> 0:55:01.000
<v Speaker 2>a USA Today article where I said that really like yeah,

0:55:01.000 --> 0:55:04.000
<v Speaker 2>I was one of the first women to actually say it, like,

0:55:04.239 --> 0:55:07.000
<v Speaker 2>you know, she's so good. Yeah, she totally is. And

0:55:07.040 --> 0:55:11.560
<v Speaker 2>it's just it rounded out that Nope, the way you

0:55:11.600 --> 0:55:15.280
<v Speaker 2>were talking about Missus Hooper sort of like pushing that

0:55:15.280 --> 0:55:18.320
<v Speaker 2>that that line a little bit, that tone. I feel

0:55:18.360 --> 0:55:21.040
<v Speaker 2>like the Eaedy character also does that. I mean the

0:55:21.480 --> 0:55:24.600
<v Speaker 2>classic like car washing, she's putting anybody.

0:55:25.520 --> 0:55:29.120
<v Speaker 4>There's two lines from that storyline that I just loved.

0:55:29.160 --> 0:55:31.120
<v Speaker 4>One of them happens to be mine, So I'll just

0:55:31.160 --> 0:55:33.120
<v Speaker 4>give myself back on the butt.

0:55:33.280 --> 0:55:34.800
<v Speaker 5>You better get over there. She's wearing cotton.

0:55:35.400 --> 0:55:38.440
<v Speaker 4>Yeah, that's a great line. I think that's more the

0:55:38.719 --> 0:55:40.279
<v Speaker 4>writing than the way I delivered it. But I did

0:55:40.360 --> 0:55:43.120
<v Speaker 4>love that. And then Nick let this is the way

0:55:43.160 --> 0:55:45.520
<v Speaker 4>she delivered it and the writing. But when she says

0:55:45.920 --> 0:55:49.360
<v Speaker 4>every time, I hate Susan Mayer another count for the

0:55:49.480 --> 0:55:52.160
<v Speaker 4>mispronounciation of our name. Right, yeah, we did, we need

0:55:52.200 --> 0:55:54.560
<v Speaker 4>a button. But when she comes in and she says

0:55:54.600 --> 0:55:58.080
<v Speaker 4>I hate Susan every time, I see those big dough

0:55:58.120 --> 0:55:59.919
<v Speaker 4>eyes of hers, I swear to god, I just want

0:55:59.920 --> 0:56:01.000
<v Speaker 4>to go out and shoot a deer.

0:56:01.120 --> 0:56:04.359
<v Speaker 2>Yeah, it was so good. The line is so good,

0:56:04.360 --> 0:56:06.440
<v Speaker 2>but the way she delivered her so good too, because

0:56:07.080 --> 0:56:09.399
<v Speaker 2>because you thought it was going to be. Because every

0:56:09.400 --> 0:56:11.600
<v Speaker 2>time I see those big dough eyes, I want to

0:56:11.680 --> 0:56:14.040
<v Speaker 2>punch her in the face. I want to slap her

0:56:14.080 --> 0:56:17.040
<v Speaker 2>across the cheek. I want You're just sure that that's

0:56:17.080 --> 0:56:19.080
<v Speaker 2>what it's going to be, and it's shooted deer and

0:56:20.480 --> 0:56:26.920
<v Speaker 2>of the greatest punchline. It's like great, it was so

0:56:27.200 --> 0:56:27.920
<v Speaker 2>there dynamic.

0:56:27.960 --> 0:56:29.919
<v Speaker 4>We get to see that friendship again, which we talked

0:56:29.920 --> 0:56:32.440
<v Speaker 4>about I think last week or maybe the week episode before,

0:56:32.760 --> 0:56:37.640
<v Speaker 4>but about the weird Missus Hooper kind of strength.

0:56:37.680 --> 0:56:42.400
<v Speaker 2>They're like the two the two kind of ostracized people

0:56:42.400 --> 0:56:45.359
<v Speaker 2>that like find each other because there's nobody else. But

0:56:45.440 --> 0:56:47.760
<v Speaker 2>you know, they they're sort of like the the almost

0:56:47.760 --> 0:56:49.759
<v Speaker 2>like the third wheel, but it's it's a it's a

0:56:49.960 --> 0:56:52.120
<v Speaker 2>it's a seventh and an eighth wheel or whatever. Yeah,

0:56:52.120 --> 0:56:53.359
<v Speaker 2>I mean, they're they're.

0:56:53.040 --> 0:56:56.200
<v Speaker 3>Well I find it so interesting because they say and

0:56:56.200 --> 0:56:59.440
<v Speaker 3>and Edie says this a lot in that scene. She's like,

0:56:59.719 --> 0:57:04.520
<v Speaker 3>you're throwing yourself at Mike. But she's literally standing washing

0:57:04.520 --> 0:57:08.280
<v Speaker 3>her car, dumping soapy water all over her in tiny

0:57:08.280 --> 0:57:11.000
<v Speaker 3>little shorts. And I find it so funny that Susan

0:57:11.080 --> 0:57:13.520
<v Speaker 3>is the one who kind of gets creamed for throwing

0:57:13.560 --> 0:57:16.840
<v Speaker 3>herself at him. But I question to the group, are

0:57:16.920 --> 0:57:19.720
<v Speaker 3>you a hard to get or a beg to love

0:57:20.240 --> 0:57:22.080
<v Speaker 3>kind of person? Oh?

0:57:22.200 --> 0:57:24.880
<v Speaker 2>So Susan's begged to love and the edy is hard

0:57:24.920 --> 0:57:25.360
<v Speaker 2>to get.

0:57:25.600 --> 0:57:28.720
<v Speaker 3>I think they're both begging for love, but they seem

0:57:28.840 --> 0:57:32.280
<v Speaker 3>to be throwing stones at each other saying well more,

0:57:32.440 --> 0:57:34.920
<v Speaker 3>Edie throwing stones at Susan saying you're begging him to

0:57:34.960 --> 0:57:38.480
<v Speaker 3>love you. What personally do you feel like you take

0:57:38.520 --> 0:57:40.080
<v Speaker 3>a position of to get?

0:57:40.360 --> 0:57:41.040
<v Speaker 5>Baby? Oh?

0:57:41.120 --> 0:57:42.680
<v Speaker 4>Yeah, you guys?

0:57:42.760 --> 0:57:44.080
<v Speaker 2>Are you guys hard to get?

0:57:44.760 --> 0:57:45.000
<v Speaker 5>Yeah?

0:57:45.200 --> 0:57:47.560
<v Speaker 3>I mean I I think so. I think I think

0:57:47.560 --> 0:57:53.160
<v Speaker 3>I keep a level of miss mystery, at least initially.

0:57:53.320 --> 0:57:54.160
<v Speaker 4>Yeah.

0:57:53.920 --> 0:57:54.440
<v Speaker 5>Yeah, I.

0:57:58.080 --> 0:58:00.920
<v Speaker 4>Would pride myself on it. I mean to a bad degree.

0:58:01.000 --> 0:58:03.480
<v Speaker 4>You know, like I so hard to get.

0:58:03.600 --> 0:58:05.360
<v Speaker 3>I never got got.

0:58:05.280 --> 0:58:08.120
<v Speaker 5>Anyone, Yeah, because it was too hard.

0:58:08.200 --> 0:58:11.840
<v Speaker 2>No, but from your belly you got gott.

0:58:11.640 --> 0:58:14.200
<v Speaker 4>But I will say it wasn't until I kind of

0:58:14.280 --> 0:58:17.240
<v Speaker 4>dropped that, you know, to to it wasn't until I

0:58:17.520 --> 0:58:23.000
<v Speaker 4>dropped the idea that you know, having power meant something

0:58:23.080 --> 0:58:26.240
<v Speaker 4>more than it should you know that. Then Look, it's

0:58:26.240 --> 0:58:29.360
<v Speaker 4>like anything, right, Vulnerability is really where everything connects, Where

0:58:29.400 --> 0:58:31.280
<v Speaker 4>true connection links is being vulnerable.

0:58:31.280 --> 0:58:31.600
<v Speaker 5>And so.

0:58:34.280 --> 0:58:37.000
<v Speaker 2>Like these five women, Like that's what I was saying.

0:58:37.040 --> 0:58:40.560
<v Speaker 2>I really do think the Edi character rounds it out

0:58:40.800 --> 0:58:46.160
<v Speaker 2>because you know she I don't, you know, I guess

0:58:46.160 --> 0:58:50.080
<v Speaker 2>so Gabby and Edie both don't have children, but Edie's

0:58:50.120 --> 0:58:54.960
<v Speaker 2>not married or is divorced, and and and then Susan

0:58:55.480 --> 0:58:59.280
<v Speaker 2>and Lynette and Brie have children, but Susan has a

0:58:59.280 --> 0:59:02.080
<v Speaker 2>failed marriage, and you know, the other two like they

0:59:02.160 --> 0:59:05.040
<v Speaker 2>all I think you need it. I think you needed

0:59:05.480 --> 0:59:07.040
<v Speaker 2>the fifth woman.

0:59:07.480 --> 0:59:09.200
<v Speaker 3>That label represented.

0:59:09.560 --> 0:59:15.160
<v Speaker 2>And I see I see that character as a really

0:59:15.240 --> 0:59:22.160
<v Speaker 2>great vehicle to express sexuality and confidence. And because I

0:59:22.160 --> 0:59:24.280
<v Speaker 2>don't see that and any I mean, even Gabby is

0:59:24.320 --> 0:59:29.280
<v Speaker 2>obviously beautiful and sexual, but it still seems connected to

0:59:29.360 --> 0:59:34.120
<v Speaker 2>a man sort of. And I feel like Edie's power

0:59:34.360 --> 0:59:39.320
<v Speaker 2>just feels almost just grounded in herself. Yeah, totally, which

0:59:39.360 --> 0:59:42.160
<v Speaker 2>is which is very cool of the character and also

0:59:42.240 --> 0:59:44.000
<v Speaker 2>of the actress who brought it to I.

0:59:44.000 --> 0:59:46.760
<v Speaker 4>Mean, I really think, yeah, there's so much. There's so

0:59:46.840 --> 0:59:51.240
<v Speaker 4>much Nicolette does with that character that makes it, you know,

0:59:51.520 --> 0:59:55.320
<v Speaker 4>just makes it so substantial, and like, you know, it

0:59:55.320 --> 0:59:57.400
<v Speaker 4>wasn't in the last episode, and I felt her absence.

0:59:57.480 --> 1:00:02.480
<v Speaker 2>Oh that's inea. Yeah, yeah, that's interest. Well should we

1:00:02.480 --> 1:00:02.920
<v Speaker 2>dig into this?

1:00:03.120 --> 1:00:06.840
<v Speaker 3>Yeah, I've been dying to try this pie, I mean

1:00:07.480 --> 1:00:10.520
<v Speaker 3>time for pie. We end? So we end this episode?

1:00:10.560 --> 1:00:14.120
<v Speaker 3>How do we? We end with Paul again the mystery

1:00:14.240 --> 1:00:17.320
<v Speaker 3>continuing hiring someone because they give him the.

1:00:17.240 --> 1:00:19.760
<v Speaker 4>Note, right, because after they listen to the tapes.

1:00:19.560 --> 1:00:20.960
<v Speaker 3>They say that we have to give him the note.

1:00:21.000 --> 1:00:22.640
<v Speaker 3>He's selling his house. He's selling it for such a

1:00:22.680 --> 1:00:23.080
<v Speaker 3>low price.

1:00:23.080 --> 1:00:25.400
<v Speaker 2>You're gonna have to talk about how great this crust is.

1:00:25.440 --> 1:00:29.240
<v Speaker 3>Go ahead, Oh, she's got a great crust. Ladies and gentlemen,

1:00:29.320 --> 1:00:33.360
<v Speaker 3>Oh my god. And yes, we end with him hiring

1:00:33.400 --> 1:00:37.480
<v Speaker 3>a private detective of some sort to try to decipher

1:00:37.520 --> 1:00:40.440
<v Speaker 3>the note, which I just had this thinking suspicion and

1:00:40.520 --> 1:00:43.440
<v Speaker 3>don't tell me as you know, okay, that he knows

1:00:43.520 --> 1:00:46.000
<v Speaker 3>what the note is. I don't think he's surprised by

1:00:46.080 --> 1:00:48.040
<v Speaker 3>the note. And I feel like Lynette says this as well,

1:00:48.280 --> 1:00:51.240
<v Speaker 3>but that's just you know, that's for me to see

1:00:51.280 --> 1:00:52.640
<v Speaker 3>as the show reveals itself.

1:00:52.800 --> 1:00:56.160
<v Speaker 4>Yeah, but it does. It does reveal the fact that

1:00:56.200 --> 1:00:58.760
<v Speaker 4>he doesn't he you know, he says that Mary Alice

1:00:58.760 --> 1:01:01.200
<v Speaker 4>sent it to herself, and by hiring someone, we're clearly

1:01:01.200 --> 1:01:03.880
<v Speaker 4>getting insight that she did not, Yes, which I think

1:01:03.920 --> 1:01:06.600
<v Speaker 4>we knew, but now we as an audience get to see, well,

1:01:06.640 --> 1:01:07.280
<v Speaker 4>who the heck did?

1:01:07.320 --> 1:01:07.440
<v Speaker 2>Then?

1:01:07.480 --> 1:01:08.439
<v Speaker 3>Yeah, who the heck did?

1:01:08.560 --> 1:01:11.280
<v Speaker 4>Yeah, Christine Esterbrook, we eat this in your honor?

1:01:11.360 --> 1:01:14.280
<v Speaker 5>Okay, oh did you put booze?

1:01:14.320 --> 1:01:15.320
<v Speaker 3>And this is very boosy.

1:01:15.440 --> 1:01:18.720
<v Speaker 2>It's a little rum, not a little rum. And it's cooked,

1:01:19.000 --> 1:01:23.480
<v Speaker 2>baby cooked, It's totally cooked. There's also really good vanilla.

1:01:23.880 --> 1:01:24.440
<v Speaker 5>Is there clove?

1:01:26.480 --> 1:01:26.640
<v Speaker 2>Oh?

1:01:27.080 --> 1:01:27.400
<v Speaker 3>Wow?

1:01:28.560 --> 1:01:30.520
<v Speaker 2>Right? It is? Holiday is right?

1:01:30.600 --> 1:01:31.760
<v Speaker 5>I know it's making me.

1:01:31.720 --> 1:01:35.840
<v Speaker 3>Ready for I'm desperately devoted to this mince meat.

1:01:36.840 --> 1:01:39.600
<v Speaker 2>Which is a thing you thought you would never say,

1:01:39.840 --> 1:01:40.479
<v Speaker 2>really something.

1:01:40.520 --> 1:01:43.360
<v Speaker 4>I got to bring that expression back single handedly with

1:01:43.360 --> 1:01:44.040
<v Speaker 4>our podcast.

1:01:44.760 --> 1:01:45.320
<v Speaker 2>I'm going to make.

1:01:47.080 --> 1:01:49.080
<v Speaker 4>And make mince meat out of someone this way, not

1:01:49.120 --> 1:01:51.680
<v Speaker 4>really make mince meat for someone.

1:01:52.080 --> 1:01:53.440
<v Speaker 3>But yes, okay.

1:01:53.520 --> 1:01:57.160
<v Speaker 2>So, as always, we are desperately devoted to you and

1:01:57.240 --> 1:02:00.840
<v Speaker 2>everything that you want to know about about this show

1:02:01.080 --> 1:02:05.160
<v Speaker 2>or about relationships, lives, and so thank you for.

1:02:05.160 --> 1:02:07.480
<v Speaker 3>Joining us again. Thanks for right to us. I want

1:02:07.480 --> 1:02:10.080
<v Speaker 3>our questions to start coming in. I'm excited to invite

1:02:10.120 --> 1:02:12.280
<v Speaker 3>the audience. I know me too well until then.

1:02:12.440 --> 1:02:14.160
<v Speaker 5>Until then, see you next time.