1 00:00:00,720 --> 00:00:03,120 Speaker 1: I am all in. 2 00:00:08,640 --> 00:00:08,680 Speaker 2: You. 3 00:00:16,960 --> 00:00:20,920 Speaker 3: I am all in with Scott Patterson, an iHeartRadio podcast. 4 00:00:21,160 --> 00:00:24,040 Speaker 1: All right, ketos, let's get into it part two. 5 00:00:24,400 --> 00:00:25,680 Speaker 3: What scene are we on now? 6 00:00:25,680 --> 00:00:27,440 Speaker 1: We are at the racketball court, which I thought was 7 00:00:27,440 --> 00:00:28,080 Speaker 1: a really funny. 8 00:00:28,160 --> 00:00:29,960 Speaker 3: This was good. And the only thing is if it 9 00:00:30,000 --> 00:00:32,480 Speaker 3: was today, it would have been pickleball. But yeah, it's 10 00:00:32,479 --> 00:00:34,159 Speaker 3: a racketball. That's what I was thinking. 11 00:00:34,360 --> 00:00:37,040 Speaker 1: Yeah, it was that was there was no privacy on 12 00:00:37,120 --> 00:00:37,760 Speaker 1: a racketball. 13 00:00:37,880 --> 00:00:41,320 Speaker 3: True, it was. That was very clever bit too, that 14 00:00:41,360 --> 00:00:43,519 Speaker 3: they're just sitting there and the people come in and 15 00:00:43,560 --> 00:00:44,480 Speaker 3: they're like, no, we have. 16 00:00:44,440 --> 00:00:47,440 Speaker 1: This court right, thank you appreciate it. 17 00:00:48,240 --> 00:00:51,840 Speaker 3: That was a that was a very gilmoury that felt 18 00:00:51,920 --> 00:00:52,360 Speaker 3: good to me. 19 00:00:52,440 --> 00:00:55,200 Speaker 1: I was like, I'm not like, yeah, you know, and 20 00:00:55,240 --> 00:00:59,760 Speaker 1: this is where you know, I really Lauren has such 21 00:01:00,000 --> 00:01:04,960 Speaker 1: great comedic timing and such great skills and an ease 22 00:01:05,040 --> 00:01:07,800 Speaker 1: of delivery, you know, and the speed of delivery it's 23 00:01:07,840 --> 00:01:10,760 Speaker 1: also great. And it's it's one I said in this scene, 24 00:01:10,800 --> 00:01:13,200 Speaker 1: I said, God, why just she had better stuff to do? 25 00:01:13,560 --> 00:01:17,480 Speaker 3: I also thought she I mean, and sorry for me 26 00:01:17,560 --> 00:01:21,840 Speaker 3: for judging. She looks amazing in this episode, like she's 27 00:01:21,880 --> 00:01:27,000 Speaker 3: getting prettier and cooler and just like physically looks so 28 00:01:28,040 --> 00:01:31,920 Speaker 3: lore liiish. That's why, like maybe some of the awkward parts, 29 00:01:31,959 --> 00:01:35,399 Speaker 3: I was like, this is awkward. But the racketball was good. 30 00:01:35,880 --> 00:01:39,759 Speaker 3: It felt authentic to me, it felt less weird. That's 31 00:01:39,800 --> 00:01:41,559 Speaker 3: sort of where I was at. I was like, okay, 32 00:01:41,600 --> 00:01:44,000 Speaker 3: that was That was my problem with the episode. I 33 00:01:44,080 --> 00:01:46,120 Speaker 3: was sort of felt like I was being you know, 34 00:01:46,160 --> 00:01:47,880 Speaker 3: step on the gas, off the gass. I'm like, you know, 35 00:01:47,960 --> 00:01:50,080 Speaker 3: like when someone's a bad driver. Because I'm like, that 36 00:01:50,200 --> 00:01:52,600 Speaker 3: was weird. No, that was great. That was weird. Why 37 00:01:52,800 --> 00:01:54,960 Speaker 3: why is part of this so off and part of 38 00:01:55,000 --> 00:01:56,320 Speaker 3: it isn't? Yeah? 39 00:01:57,080 --> 00:02:00,280 Speaker 1: And I could tell that Lauren is probably a very 40 00:02:00,280 --> 00:02:02,400 Speaker 1: good tennis player and very good racquetball player, but she 41 00:02:02,480 --> 00:02:06,880 Speaker 1: faked it. You could tell she was faking it. 42 00:02:07,920 --> 00:02:08,600 Speaker 3: That's funny. 43 00:02:08,800 --> 00:02:11,800 Speaker 1: It was hard for her to act like bad, to 44 00:02:11,840 --> 00:02:12,840 Speaker 1: be bad, that's funny. 45 00:02:13,000 --> 00:02:13,560 Speaker 3: That's funny. 46 00:02:13,600 --> 00:02:15,160 Speaker 1: You could tell she was good at it. 47 00:02:15,160 --> 00:02:17,960 Speaker 3: Because I sometimes see people playing tennis and TV shows 48 00:02:17,960 --> 00:02:20,880 Speaker 3: and you're like, oh, they had to really try to 49 00:02:20,919 --> 00:02:26,960 Speaker 3: act like they were good, and they had to like 50 00:02:26,960 --> 00:02:29,840 Speaker 3: like figure out how to shoot that so they seem good. 51 00:02:32,680 --> 00:02:35,360 Speaker 1: Right, there's all those tennis movies where people serve and 52 00:02:35,400 --> 00:02:38,119 Speaker 1: the ball goes about two miles an hour. That's like, oh, 53 00:02:38,160 --> 00:02:43,400 Speaker 1: there's an ace or like a bad baseball swing and 54 00:02:43,400 --> 00:02:45,720 Speaker 1: a baseball right. 55 00:02:45,760 --> 00:02:47,800 Speaker 3: You would so be like able to watch on a 56 00:02:47,800 --> 00:02:50,080 Speaker 3: baseball movie and be like that person doesn't even know 57 00:02:50,080 --> 00:02:52,600 Speaker 3: what they're doing, know what's going on. 58 00:02:53,440 --> 00:02:56,359 Speaker 1: She's hitting the eyeball with a racquetball. 59 00:02:56,680 --> 00:02:59,680 Speaker 3: Oh yes, yes, yes, yes, and she has the injury 60 00:02:59,760 --> 00:03:05,359 Speaker 3: and they're gonna put the peas on it, right, right, okay, right, injury. Actually, 61 00:03:05,480 --> 00:03:07,200 Speaker 3: she looked like so good with the injury. 62 00:03:07,200 --> 00:03:10,480 Speaker 1: I was like, oh wow, right, So then they're down, 63 00:03:10,600 --> 00:03:12,760 Speaker 1: she's down in the kitchen. She's getting and this is 64 00:03:12,760 --> 00:03:15,359 Speaker 1: when you start. I started feeling very uncomfortable about this. 65 00:03:15,440 --> 00:03:17,679 Speaker 1: She's getting rid of some of Luke Luke's things in 66 00:03:17,760 --> 00:03:20,880 Speaker 1: such a casual way, so weird, and it's just like 67 00:03:21,560 --> 00:03:24,519 Speaker 1: this is the episodes off, this is this doesn't feel 68 00:03:24,600 --> 00:03:28,239 Speaker 1: like the show anymore. You know, there's there's something being 69 00:03:28,280 --> 00:03:29,480 Speaker 1: forced upon us here. 70 00:03:30,040 --> 00:03:33,000 Speaker 4: Well, yeah, because again we've like obviously I've seen her 71 00:03:33,040 --> 00:03:37,520 Speaker 4: sleep with Chris and walk the whole ultimatum thing, but 72 00:03:37,560 --> 00:03:43,320 Speaker 4: they still haven't said it's over. So it's a little premature. 73 00:03:43,480 --> 00:03:46,000 Speaker 3: When do we get the awkward call from Christopher. 74 00:03:46,240 --> 00:03:50,240 Speaker 1: Oh well, well now we're at Lukes. 75 00:03:50,720 --> 00:03:53,880 Speaker 3: What else happens in that pea scene? Anything else significant? 76 00:03:54,120 --> 00:03:57,280 Speaker 3: For some reason, I can't remember getting rid of Luke's. 77 00:03:59,200 --> 00:04:02,880 Speaker 1: Bathroom. Oh yeah, yeah, weird his shaving creams. 78 00:04:03,000 --> 00:04:05,000 Speaker 4: Super We always start with the bathroom. 79 00:04:06,080 --> 00:04:08,880 Speaker 3: Nobody's doings goes. 80 00:04:09,360 --> 00:04:12,040 Speaker 1: Every day, and you'll always look. 81 00:04:11,880 --> 00:04:13,840 Speaker 3: Keen, nobody's doing that the next day. 82 00:04:13,920 --> 00:04:19,520 Speaker 1: By the way, Yeah, now let's move on, move on 83 00:04:19,600 --> 00:04:24,280 Speaker 1: to the red light event. The entire time Iconic is there. 84 00:04:24,560 --> 00:04:31,400 Speaker 1: Patty start and Luke is driving Tailor's they're going to 85 00:04:31,480 --> 00:04:32,120 Speaker 1: do a demonstration. 86 00:04:32,160 --> 00:04:37,400 Speaker 3: He's driving Kirk is driving Tailor's sixty four T Bird. Yeah, 87 00:04:37,680 --> 00:04:40,039 Speaker 3: and he's beauty gloves on and he's. 88 00:04:39,880 --> 00:04:42,760 Speaker 1: All, yeah, he's eviling the whole thing, right. 89 00:04:42,920 --> 00:04:43,200 Speaker 3: God. 90 00:04:43,680 --> 00:04:45,520 Speaker 1: Then it starts. 91 00:04:45,040 --> 00:04:52,240 Speaker 5: And flashed three times in the eyes, goes blind from 92 00:04:52,279 --> 00:04:56,919 Speaker 5: the camera, flashes for red light camera, and takes a 93 00:04:57,000 --> 00:05:01,920 Speaker 5: sharp right turn right into Luke's diner, destroys the place. 94 00:05:02,200 --> 00:05:04,159 Speaker 1: I mean, how did they shoot that scene? 95 00:05:04,200 --> 00:05:06,360 Speaker 3: By the way, like, where was that? That's a great question. 96 00:05:06,480 --> 00:05:08,400 Speaker 1: That was Luke Stuner. They actually they. 97 00:05:08,600 --> 00:05:12,960 Speaker 3: Had to rebuild it really oh wow, but they didn't. 98 00:05:13,600 --> 00:05:15,720 Speaker 1: Yeah, they actually crashed the car. Oh wow. 99 00:05:16,240 --> 00:05:17,880 Speaker 6: I thought maybe it was a sound like just the 100 00:05:18,440 --> 00:05:20,280 Speaker 6: drive up was a sound stage or something. 101 00:05:20,640 --> 00:05:25,280 Speaker 7: Oh no, no, that that looked like they're just on 102 00:05:25,320 --> 00:05:27,960 Speaker 7: the set that we all have been to and just 103 00:05:28,080 --> 00:05:31,919 Speaker 7: were That's like a one take, like you have a good. 104 00:05:31,760 --> 00:05:36,360 Speaker 1: Point, that's pushing Jeff just in the lake. One take. 105 00:05:36,640 --> 00:05:38,840 Speaker 3: Yeah, yeah, that was. 106 00:05:41,200 --> 00:05:43,560 Speaker 1: Fledgehammer one take. Yeah, brutal. 107 00:05:43,760 --> 00:05:48,720 Speaker 6: It was like I thought, so bad, Like Luke never 108 00:05:48,760 --> 00:05:51,240 Speaker 6: wants to be involved in any of Taylor's stuff to 109 00:05:51,320 --> 00:05:57,120 Speaker 6: begin with, and now Lucas doesn't want Lucas, Yeah, he 110 00:05:57,120 --> 00:05:59,280 Speaker 6: doesn't want to be involved, and now this crash is 111 00:05:59,360 --> 00:06:01,239 Speaker 6: right into his Yeah, that was wrong. 112 00:06:02,279 --> 00:06:05,960 Speaker 1: But then but then we get the uh, the Luke victory, 113 00:06:06,400 --> 00:06:11,120 Speaker 1: I mean the Kirk victory coming out unscathed, uninjured. What 114 00:06:11,160 --> 00:06:17,640 Speaker 1: does he say? What does he say? I'm okay, oh yeah, okay. 115 00:06:17,240 --> 00:06:20,280 Speaker 3: I think it's later, But Lulu's like totally no, Like 116 00:06:20,400 --> 00:06:21,920 Speaker 3: all she cares about it is taking care of Kirk. 117 00:06:21,920 --> 00:06:25,599 Speaker 3: And like the entire diner is ruined and there's just 118 00:06:25,680 --> 00:06:30,800 Speaker 3: a car stuck in there, and it's just like had 119 00:06:30,839 --> 00:06:32,880 Speaker 3: some good moments in this too, well. 120 00:06:33,480 --> 00:06:36,080 Speaker 1: It's not the kind of thing you see on Gilmore Girls, 121 00:06:36,080 --> 00:06:39,039 Speaker 1: but here we have it. Here's yet another thing that 122 00:06:39,200 --> 00:06:39,720 Speaker 1: is foreign. 123 00:06:40,279 --> 00:06:42,200 Speaker 3: Yeah, but it felt that it's still just. 124 00:06:42,080 --> 00:06:45,000 Speaker 1: An actual, like you know, a crash. 125 00:06:45,080 --> 00:06:49,000 Speaker 3: Yeah, it was outlandish, but I still wasn't like, I 126 00:06:49,000 --> 00:06:51,440 Speaker 3: still was okay with it. I'm giving that a pass. 127 00:06:51,600 --> 00:06:52,760 Speaker 3: I had many other. 128 00:06:52,800 --> 00:06:58,000 Speaker 1: Yeah, that scene could have fit in in any other episode. Yeah, storyline. 129 00:06:58,680 --> 00:07:00,640 Speaker 6: I think here why I worked here is because you 130 00:07:00,680 --> 00:07:03,640 Speaker 6: already feel so bad for Luke, and so everything's happened. 131 00:07:03,680 --> 00:07:06,200 Speaker 6: Now you're like, yeah, this guy, this guy just can't 132 00:07:06,240 --> 00:07:07,200 Speaker 6: win today, like. 133 00:07:08,000 --> 00:07:11,240 Speaker 4: It is not his day, no month. 134 00:07:10,440 --> 00:07:20,360 Speaker 1: All right. Now we're back at Laurel's Alison, it's mother daughter, and. 135 00:07:21,480 --> 00:07:23,920 Speaker 6: So this is where I had a flag on the episode. 136 00:07:24,560 --> 00:07:29,560 Speaker 1: She tells Lorlai about the crash. Yeah, so that was 137 00:07:29,800 --> 00:07:32,360 Speaker 1: She continues tossing all of Luke's. 138 00:07:32,080 --> 00:07:36,160 Speaker 3: Stud gone running to the diner, like it just didn't rap. 139 00:07:38,520 --> 00:07:42,440 Speaker 6: I think it was really weird that Rory didn't have 140 00:07:42,640 --> 00:07:48,040 Speaker 6: any sympathy towards Luke. She to me, she was so 141 00:07:48,080 --> 00:07:50,760 Speaker 6: immature in this episode and like, yeah, it's funny, like 142 00:07:50,760 --> 00:07:52,320 Speaker 6: we're laughing about it, and now like oh my god, 143 00:07:52,440 --> 00:07:56,680 Speaker 6: like Kurt crash, but I think there was nothing like 144 00:07:57,720 --> 00:08:02,280 Speaker 6: it took Lorelai to say, wait, he ran into Luke's 145 00:08:02,320 --> 00:08:04,760 Speaker 6: like into Luke Steiner until where he's like. 146 00:08:04,840 --> 00:08:07,160 Speaker 3: Yeah, but like you know, he was fine or whatever. 147 00:08:07,200 --> 00:08:10,600 Speaker 6: She just acted like such a child there, and knowing 148 00:08:10,680 --> 00:08:14,320 Speaker 6: that last night her mom broke up with Luke, she 149 00:08:14,360 --> 00:08:15,320 Speaker 6: didn't say anything. 150 00:08:15,760 --> 00:08:17,360 Speaker 3: And she also loves the guy and he's like a 151 00:08:17,360 --> 00:08:18,240 Speaker 3: father doer. 152 00:08:18,320 --> 00:08:22,160 Speaker 6: Exactly, and so like, yeah, like Kirk crashing and because 153 00:08:22,160 --> 00:08:25,440 Speaker 6: this went wrong is funny. But the fact that she 154 00:08:25,600 --> 00:08:28,760 Speaker 6: just had zero sympathy is where I had to put 155 00:08:28,760 --> 00:08:30,520 Speaker 6: a flag in the writing because I was like, this 156 00:08:30,600 --> 00:08:31,720 Speaker 6: is so not like Rory. 157 00:08:31,800 --> 00:08:33,360 Speaker 1: I so agree with you. I'm gonna throw all my 158 00:08:33,440 --> 00:08:38,120 Speaker 1: flags after the fact, Yeah, to support that, because it's 159 00:08:38,200 --> 00:08:41,120 Speaker 1: like is this a cartoon flag? Well, is this a 160 00:08:41,160 --> 00:08:43,720 Speaker 1: cartoon or is it a serious drama? Is it a 161 00:08:43,840 --> 00:08:46,199 Speaker 1: light comedy? What is going on here? 162 00:08:46,280 --> 00:08:47,360 Speaker 3: Yeah? 163 00:08:46,920 --> 00:08:50,199 Speaker 1: Right? Because really it's like your terror, you're so right, 164 00:08:50,280 --> 00:08:52,400 Speaker 1: you really hit the nail on the head. Oh, I'm 165 00:08:52,440 --> 00:08:54,040 Speaker 1: just getting rid of all this stuff because I'm a 166 00:08:54,080 --> 00:08:56,600 Speaker 1: cartoon character. I don't have any feelings anymore. And we 167 00:08:56,640 --> 00:08:59,560 Speaker 1: didn't really had a full relationship for you know, ten 168 00:08:59,640 --> 00:09:00,720 Speaker 1: thousand in years. 169 00:09:00,960 --> 00:09:02,440 Speaker 3: He's also her best friend. 170 00:09:02,520 --> 00:09:05,160 Speaker 1: It's like crashed in the diner. Oh well, I'm still 171 00:09:05,160 --> 00:09:06,840 Speaker 1: getting rid of his stuff. Let's get rid of the 172 00:09:06,840 --> 00:09:10,679 Speaker 1: bobbit and all the you know, what is happening with this? 173 00:09:10,679 --> 00:09:15,319 Speaker 1: This breakup is so abrupt, it's so cold. Yeah, so final. 174 00:09:16,000 --> 00:09:19,520 Speaker 1: There's no emotion in it, there's no any kind of 175 00:09:19,600 --> 00:09:19,960 Speaker 1: find it. 176 00:09:20,000 --> 00:09:22,480 Speaker 4: But like also like not at the same time, it. 177 00:09:24,080 --> 00:09:25,440 Speaker 3: Just happened yesterday. 178 00:09:25,559 --> 00:09:27,400 Speaker 4: Like that's the other thing is like time has it 179 00:09:27,400 --> 00:09:28,319 Speaker 4: didn't even happened? 180 00:09:29,280 --> 00:09:31,760 Speaker 3: Can I say something to see what you guys think? 181 00:09:31,880 --> 00:09:34,560 Speaker 1: And I gave him an ultimatum and he didn't tell me, 182 00:09:34,640 --> 00:09:36,520 Speaker 1: just you know this kind of thing, and then that's 183 00:09:36,559 --> 00:09:37,760 Speaker 1: it and I'm done and it's over. 184 00:09:38,160 --> 00:09:43,200 Speaker 3: It's an een sewen seed jump the shark, Like what's happening? 185 00:09:43,600 --> 00:09:44,640 Speaker 1: Mm hmmm. Yeah. 186 00:09:45,360 --> 00:09:47,560 Speaker 6: You think they just wanted to move ahead? Do you 187 00:09:47,559 --> 00:09:51,000 Speaker 6: think because season seven, episode one starts the day after 188 00:09:51,000 --> 00:09:53,680 Speaker 6: they just kind of wanted to like skip over a 189 00:09:53,720 --> 00:09:55,880 Speaker 6: bunch because like we didn't come back from summer break 190 00:09:55,960 --> 00:09:57,400 Speaker 6: this season. 191 00:09:58,040 --> 00:10:00,720 Speaker 3: You mean like kind of just get some just get 192 00:10:00,800 --> 00:10:01,120 Speaker 3: through it. 193 00:10:01,520 --> 00:10:03,640 Speaker 1: Yeah, I don't know, I don't know, so maybe maybe 194 00:10:03,679 --> 00:10:07,400 Speaker 1: the studio thought that the you know, the Luke wasn't 195 00:10:07,400 --> 00:10:10,680 Speaker 1: that important a character, this relationship wasn't that important to 196 00:10:10,720 --> 00:10:15,280 Speaker 1: the show. They're going to toss it away and and 197 00:10:15,280 --> 00:10:17,640 Speaker 1: and Laura le and Rory are going to be have 198 00:10:17,960 --> 00:10:21,000 Speaker 1: go along the path heavily after after and just an 199 00:10:21,040 --> 00:10:23,000 Speaker 1: afterthought and just get rid of it and all that, 200 00:10:23,120 --> 00:10:27,319 Speaker 1: because that's the cartoonish nature of it for me. Yeah, 201 00:10:27,400 --> 00:10:28,240 Speaker 1: it doesn't track. 202 00:10:28,600 --> 00:10:30,920 Speaker 6: I think mainly they just want to get through this 203 00:10:31,200 --> 00:10:34,000 Speaker 6: breakup storyline and then move on to what the next, 204 00:10:34,040 --> 00:10:36,560 Speaker 6: like whether getting back together or whatever it is. It 205 00:10:36,640 --> 00:10:38,480 Speaker 6: just felt like, said very. 206 00:10:38,480 --> 00:10:40,440 Speaker 1: Rush, Well, why would they want to get through something 207 00:10:40,520 --> 00:10:43,200 Speaker 1: like this that the fans have invested so much into 208 00:10:43,320 --> 00:10:45,319 Speaker 1: for so long, And if they're going to do it, 209 00:10:45,559 --> 00:10:48,280 Speaker 1: do it right. I mean, take the name with it. 210 00:10:48,600 --> 00:10:51,600 Speaker 1: This is like the kind of stuff where you know, 211 00:10:51,679 --> 00:10:54,720 Speaker 1: people get nominated with that because the writing is so 212 00:10:54,960 --> 00:10:57,720 Speaker 1: rich and the feelings are so deep, and there's so 213 00:10:57,840 --> 00:11:00,960 Speaker 1: much humor that could come so handled by an Amy 214 00:11:01,000 --> 00:11:03,679 Speaker 1: and Dan. Right, this is a different. 215 00:11:03,360 --> 00:11:06,360 Speaker 3: Episode, A little messy. This episode. It's a little messy. 216 00:11:06,920 --> 00:11:08,760 Speaker 3: Here's something I find interesting. 217 00:11:09,760 --> 00:11:12,679 Speaker 1: Season emotional logic. 218 00:11:14,320 --> 00:11:17,000 Speaker 3: Yeah, it just logic. 219 00:11:17,679 --> 00:11:19,640 Speaker 1: It's emotionally illogical. 220 00:11:20,320 --> 00:11:26,720 Speaker 3: Season seven lost two million, two million viewers. 221 00:11:26,840 --> 00:11:27,600 Speaker 1: Oh is that right? 222 00:11:27,920 --> 00:11:31,440 Speaker 3: From the end of season six. And here's what's interesting 223 00:11:31,440 --> 00:11:35,720 Speaker 3: about that. It's not like they watched this episode and 224 00:11:35,760 --> 00:11:41,520 Speaker 3: then never came back. They didn't come back from season six, Like, 225 00:11:41,840 --> 00:11:43,880 Speaker 3: it's not like they watched it like we are and 226 00:11:44,280 --> 00:11:46,360 Speaker 3: we're like, this sucks. I don't want to watch this 227 00:11:46,440 --> 00:11:51,760 Speaker 3: show anymore. They just gave up after season six. 228 00:11:53,679 --> 00:11:57,360 Speaker 1: I mean, the people were watching this show because they 229 00:11:57,480 --> 00:12:02,720 Speaker 1: believed so strongly in this relationship between Luke and Laurel, 230 00:12:02,800 --> 00:12:11,080 Speaker 1: I of idyllic love, idealized love, the perfect love, right 231 00:12:11,760 --> 00:12:18,600 Speaker 1: almost the perfect man who will suffer endlessly for his love, 232 00:12:19,640 --> 00:12:22,160 Speaker 1: and when he finally gets it and they are finally together, 233 00:12:22,679 --> 00:12:24,839 Speaker 1: this is what they do. They don't even let them 234 00:12:24,880 --> 00:12:28,160 Speaker 1: get married. This is what they do. So it must 235 00:12:28,160 --> 00:12:30,160 Speaker 1: have felt like, and we can talk to the fans 236 00:12:30,160 --> 00:12:33,880 Speaker 1: about this and they'll respond, how big a betrayal this 237 00:12:33,960 --> 00:12:38,640 Speaker 1: must have been for their loyalty and for their you know, 238 00:12:39,160 --> 00:12:43,000 Speaker 1: their dedication to the show. It must have felt like 239 00:12:43,040 --> 00:12:46,440 Speaker 1: they were just getting stabbed in the back, Like what 240 00:12:46,480 --> 00:12:50,280 Speaker 1: did I what did I spend six years? What just happened? 241 00:12:50,320 --> 00:12:53,440 Speaker 1: I just spent six years giving this show every good 242 00:12:53,440 --> 00:12:56,640 Speaker 1: feeling and every hope and every aspiration that I had 243 00:12:56,679 --> 00:13:01,440 Speaker 1: for romantic love, and they're doing this. His stuff is 244 00:13:01,480 --> 00:13:04,200 Speaker 1: getting thrown in the garbage after she cheats on him. 245 00:13:04,360 --> 00:13:07,800 Speaker 1: I mean, that is right, right as a nuclear bomb 246 00:13:08,200 --> 00:13:11,880 Speaker 1: on the dropped on the audience. It seems like sensibilities 247 00:13:12,040 --> 00:13:13,600 Speaker 1: on the morals of the audience. 248 00:13:14,679 --> 00:13:17,600 Speaker 3: People really saw Season seven on DVD and on streaming 249 00:13:17,960 --> 00:13:21,920 Speaker 3: because they didn't really watch it in its first run. 250 00:13:21,920 --> 00:13:24,600 Speaker 3: I mean, only four four and a half million people 251 00:13:24,640 --> 00:13:27,720 Speaker 3: watched it, and we know that it's had such a 252 00:13:27,720 --> 00:13:29,880 Speaker 3: bigger life on DVD and streaming. I don't know, it's 253 00:13:29,920 --> 00:13:33,800 Speaker 3: interesting to think about, Like, I don't know. Look, I 254 00:13:33,840 --> 00:13:35,640 Speaker 3: like Season seven more than I liked the movies. I 255 00:13:35,679 --> 00:13:39,160 Speaker 3: hate to say. I mean, I know, we're what twenty 256 00:13:39,160 --> 00:13:41,720 Speaker 3: four weeks from talking about the movies. I had a 257 00:13:41,760 --> 00:13:43,079 Speaker 3: lot of issues with the movies. 258 00:13:43,280 --> 00:13:47,679 Speaker 6: I'm actually upset Amy. I actually usually stop watching Season seven. 259 00:13:47,800 --> 00:13:48,840 Speaker 6: I enjoyed the movies. 260 00:13:48,920 --> 00:13:52,400 Speaker 3: So do you rewatch the movies? I have, Yeah, I've 261 00:13:52,400 --> 00:13:55,800 Speaker 3: only watched them all once and had there were moments, 262 00:13:55,840 --> 00:13:57,480 Speaker 3: But man, there are things I hate. 263 00:13:57,559 --> 00:13:59,520 Speaker 6: I mean, there are definitely things I don't like about 264 00:13:59,520 --> 00:14:02,360 Speaker 6: the movies. But I think that and going back to 265 00:14:02,400 --> 00:14:04,360 Speaker 6: what you said about how many people dropped off after 266 00:14:04,400 --> 00:14:08,640 Speaker 6: season six, Like when I watched when we recap the 267 00:14:08,679 --> 00:14:11,520 Speaker 6: last episode, I was like, I don't want to watch 268 00:14:11,559 --> 00:14:13,840 Speaker 6: the next episode because it's so sad, like I don't 269 00:14:13,920 --> 00:14:17,200 Speaker 6: want to see what's coming. And for us it's just 270 00:14:17,400 --> 00:14:20,960 Speaker 6: two weeks later. For other people it's I don't know, 271 00:14:21,240 --> 00:14:24,200 Speaker 6: four or five months later, and it's like, no, I'm 272 00:14:24,200 --> 00:14:26,320 Speaker 6: disappointed in what happened and I don't want to come 273 00:14:26,360 --> 00:14:29,040 Speaker 6: back to it. Yeah, but I think the difference with 274 00:14:29,120 --> 00:14:32,040 Speaker 6: the movies is it was more of nostalgia and that's 275 00:14:32,040 --> 00:14:32,880 Speaker 6: why I like going back. 276 00:14:32,960 --> 00:14:35,520 Speaker 3: I think, yes, I was way more excited about the movies. Wait, 277 00:14:35,560 --> 00:14:37,120 Speaker 3: this seems like a good moment, Danielle, will you read 278 00:14:37,160 --> 00:14:40,000 Speaker 3: what Suzanne's Even though Suzanne can't talk, we did have 279 00:14:40,040 --> 00:14:42,040 Speaker 3: her give her thoughts and then we can talk about 280 00:14:42,080 --> 00:14:44,240 Speaker 3: that as a Scott continues to go through them. 281 00:14:44,520 --> 00:14:49,280 Speaker 4: So Suzanne, she said, overall, the episode made me profoundly sad. 282 00:14:49,720 --> 00:14:52,280 Speaker 4: Luke and Lourlai both want the same thing each other, 283 00:14:52,400 --> 00:14:54,920 Speaker 4: but they've both screwed it up so badly that they 284 00:14:55,000 --> 00:14:59,160 Speaker 4: can't see the way out. More specifically, Loreli's analogy about 285 00:14:59,200 --> 00:15:02,320 Speaker 4: hanging on the bumper was perfect, but she should have 286 00:15:02,400 --> 00:15:05,600 Speaker 4: been saying it to Luke. I love the visual metaphor 287 00:15:05,680 --> 00:15:07,600 Speaker 4: of Laura I sitting in her empty living room and 288 00:15:07,680 --> 00:15:10,600 Speaker 4: Luke sitting at the diner with all the debris around him, 289 00:15:11,520 --> 00:15:14,760 Speaker 4: a true representation of their lives. And the scene where 290 00:15:14,760 --> 00:15:18,240 Speaker 4: she tells him she slept with Chris is brutal. Definitely 291 00:15:18,320 --> 00:15:20,560 Speaker 4: some of Scott's best work in the entire series. 292 00:15:21,680 --> 00:15:22,560 Speaker 3: What a nice thing. 293 00:15:23,960 --> 00:15:32,040 Speaker 1: Wow, all get that raise. He's a crafty negotiator. 294 00:15:32,600 --> 00:15:34,720 Speaker 3: Her, she's in quotes sick. 295 00:15:39,960 --> 00:15:43,520 Speaker 1: It's a tactic from the law from us. Act like 296 00:15:43,560 --> 00:15:55,400 Speaker 1: you're sick, compliment them, you'll get what you want, all right. 297 00:15:55,440 --> 00:15:57,960 Speaker 1: So now we're at the house and Laurel lies telling 298 00:15:58,040 --> 00:16:01,000 Speaker 1: Rory to go to London. She said, like, just go right, 299 00:16:03,080 --> 00:16:06,280 Speaker 1: who cares what the rocket means, Just go to London. 300 00:16:07,040 --> 00:16:08,680 Speaker 1: Get on a planet. I can go to Lund. Yeah, 301 00:16:08,680 --> 00:16:10,520 Speaker 1: you can go all right. So then so now we 302 00:16:10,640 --> 00:16:15,040 Speaker 1: have the scene after that, Luke sitting amongst the wreckage 303 00:16:15,240 --> 00:16:19,000 Speaker 1: of his life, as I wrote down, and I thought 304 00:16:19,080 --> 00:16:21,800 Speaker 1: that was a very poignant moment. And I'm glad they 305 00:16:21,800 --> 00:16:23,920 Speaker 1: didn't linger on it because it was the perfect amount 306 00:16:23,960 --> 00:16:26,440 Speaker 1: of time for the camera just to pan by him 307 00:16:26,440 --> 00:16:30,680 Speaker 1: and there you go. You get it. Great storytelling, love 308 00:16:30,760 --> 00:16:34,080 Speaker 1: the stuff that tells the story without the dialogue, because 309 00:16:34,080 --> 00:16:38,480 Speaker 1: there's so much dialogue, and that's rare when you see 310 00:16:38,480 --> 00:16:41,360 Speaker 1: a scene like that in this show. Uh so, now 311 00:16:42,360 --> 00:16:48,520 Speaker 1: this is so we have Rory and Laurel I in 312 00:16:49,800 --> 00:16:51,600 Speaker 1: whose bedroom is she in? They're in? 313 00:16:51,840 --> 00:16:51,960 Speaker 2: Oh? 314 00:16:52,040 --> 00:16:54,400 Speaker 3: Yes? Is this where she runs up to Laura's bedroom 315 00:16:54,400 --> 00:16:56,480 Speaker 3: and tells her I know what the rocket. 316 00:16:56,200 --> 00:16:59,520 Speaker 1: Is right exactly. She'd been doing a research the Twilight 317 00:16:59,560 --> 00:17:02,840 Speaker 1: Zone episod so suspended Animation, True Love, Rocket Boy the 318 00:17:02,880 --> 00:17:03,240 Speaker 1: whole time. 319 00:17:03,360 --> 00:17:03,920 Speaker 3: That was cool. 320 00:17:04,080 --> 00:17:09,399 Speaker 1: That was that was good. Yeah, she's researching her theory 321 00:17:10,160 --> 00:17:12,280 Speaker 1: late to know what's the rocket mean. 322 00:17:12,560 --> 00:17:16,160 Speaker 3: She's googling it up and down, relating. 323 00:17:15,680 --> 00:17:17,680 Speaker 1: It to Logan's favorite Twilight Center. 324 00:17:17,840 --> 00:17:22,840 Speaker 3: Good acting by her by Rory. Alexis being ecstatic when 325 00:17:22,880 --> 00:17:24,920 Speaker 3: you figure it out. And not only are ecstatic, you 326 00:17:25,000 --> 00:17:29,080 Speaker 3: figured out it's such a lovely sentiment. So I was like, Okay, 327 00:17:29,200 --> 00:17:32,120 Speaker 3: I'm all jazz. This is great. Go to London, go 328 00:17:32,240 --> 00:17:32,960 Speaker 3: call it right. 329 00:17:33,320 --> 00:17:35,760 Speaker 1: So it's a good it's a good way to set 330 00:17:35,840 --> 00:17:37,560 Speaker 1: us up for what's about to happen, which is the 331 00:17:37,600 --> 00:17:38,080 Speaker 1: phone call. 332 00:17:38,240 --> 00:17:40,639 Speaker 3: She just was a balloon pop what sure was? 333 00:17:41,000 --> 00:17:44,719 Speaker 1: And I'm thinking, man, I'd like to go to Paris 334 00:17:44,760 --> 00:17:47,119 Speaker 1: in Rome for two weeks and on a getaway. That 335 00:17:47,240 --> 00:17:50,040 Speaker 1: sounds good to make, but for a young girl, I 336 00:17:50,040 --> 00:17:51,359 Speaker 1: guess that's not what she wanted. 337 00:17:51,440 --> 00:17:54,280 Speaker 4: But she no, she doesn't want it. She just doesn't 338 00:17:54,280 --> 00:17:56,800 Speaker 4: want it six months or not even then seven eight 339 00:17:56,840 --> 00:17:57,560 Speaker 4: months from now. 340 00:17:58,119 --> 00:17:59,640 Speaker 3: I think it just made her anxious too. 341 00:17:59,640 --> 00:18:04,399 Speaker 1: To be Yeah, he just needed to step up and 342 00:18:04,600 --> 00:18:06,840 Speaker 1: be very clear, I want you here. 343 00:18:07,000 --> 00:18:09,679 Speaker 3: Yeah, she could have too and just said, hey, I 344 00:18:09,720 --> 00:18:13,680 Speaker 3: want to come down. I didn't think about this earlier. 345 00:18:13,680 --> 00:18:15,960 Speaker 6: But also could be like she doesn't want to interfere 346 00:18:16,000 --> 00:18:19,200 Speaker 6: with him and his dad, right, But she didn't. 347 00:18:19,200 --> 00:18:21,120 Speaker 1: She didn't really, she's not afraid of his dad. She's 348 00:18:21,160 --> 00:18:26,160 Speaker 1: not afraid of his dad that well, but but his 349 00:18:26,280 --> 00:18:30,520 Speaker 1: relationship with right and I think his future as well. Yeah, 350 00:18:30,920 --> 00:18:35,159 Speaker 1: So how committed is she right to at least have 351 00:18:35,280 --> 00:18:38,400 Speaker 1: the talk? And I think there's some missing pieces here 352 00:18:38,440 --> 00:18:41,840 Speaker 1: that we all recognize that we wish we had its cover, 353 00:18:42,000 --> 00:18:44,080 Speaker 1: but we don't have them. 354 00:18:44,600 --> 00:18:45,200 Speaker 3: We did. 355 00:18:46,720 --> 00:18:52,040 Speaker 4: Forget to mention that Christopher called and asked her to dinner. 356 00:18:52,359 --> 00:18:54,960 Speaker 1: Oh, I think I was so stunned. It was didn't 357 00:18:54,960 --> 00:18:59,520 Speaker 1: even and I just sort of dropped the pen like. 358 00:18:59,520 --> 00:19:03,399 Speaker 4: It was like, at least he's not one world Christopher. 359 00:19:05,200 --> 00:19:06,440 Speaker 1: It's illusion. 360 00:19:09,600 --> 00:19:11,959 Speaker 4: Is he's so delusional that he does not know what 361 00:19:12,080 --> 00:19:14,400 Speaker 4: is happening. 362 00:19:15,400 --> 00:19:18,960 Speaker 6: Just amazing, like you think you're back together this woman 363 00:19:19,920 --> 00:19:22,680 Speaker 6: even if it was like let's say hypothetically, if it 364 00:19:22,760 --> 00:19:27,040 Speaker 6: was something in the future, she just broke up her engagement. 365 00:19:30,040 --> 00:19:32,679 Speaker 1: He's not aware that he is. 366 00:19:32,760 --> 00:19:40,560 Speaker 3: I mean, look, I would rather him call to not call, 367 00:19:40,760 --> 00:19:42,560 Speaker 3: Like we don't want him to not call. Then he's 368 00:19:42,600 --> 00:19:46,199 Speaker 3: just like kind of a jerk. But he really is 369 00:19:46,240 --> 00:19:51,560 Speaker 3: so into her and she's so not right now. 370 00:19:52,160 --> 00:19:54,960 Speaker 6: I'd rather him not call, like they're going to talk eventually. 371 00:19:55,040 --> 00:19:59,680 Speaker 4: But if he's gonna call, say hey, like are you 372 00:19:59,720 --> 00:20:00,240 Speaker 4: doing okay? 373 00:20:01,160 --> 00:20:01,400 Speaker 2: Yeah? 374 00:20:01,680 --> 00:20:02,800 Speaker 3: Right, well that would have been better. 375 00:20:02,960 --> 00:20:04,920 Speaker 1: But I mean, what do you expect. Is this guy 376 00:20:05,000 --> 00:20:08,800 Speaker 1: ever played his cards right? However, in any situation new 377 00:20:09,320 --> 00:20:12,280 Speaker 1: this guy's dealt aces in his life and he keeps 378 00:20:12,680 --> 00:20:14,960 Speaker 1: just blowing. It keeps folding. 379 00:20:15,000 --> 00:20:16,359 Speaker 4: Hey, Laura, want to go to dinner? 380 00:20:17,040 --> 00:20:19,760 Speaker 6: No, it's always. 381 00:20:19,600 --> 00:20:24,879 Speaker 1: Lor Maybe you come by I'm making something. My hair's 382 00:20:24,880 --> 00:20:30,959 Speaker 1: getting a little long. Maybe you give me another buzz cut. Yeah, anyway, 383 00:20:31,040 --> 00:20:36,360 Speaker 1: so now we have the uh now have it just breaks? 384 00:20:36,640 --> 00:20:39,439 Speaker 1: This is this scene where the steak goes into the 385 00:20:39,440 --> 00:20:43,840 Speaker 1: heart of the vampire and finally kills it. Uh Luke 386 00:20:44,440 --> 00:20:49,320 Speaker 1: uh makes it, pulls up in his truck like Jed 387 00:20:49,400 --> 00:20:51,919 Speaker 1: Klampet in the Beverly Hill Bills and says, you know, Laura, al, 388 00:20:52,000 --> 00:20:54,200 Speaker 1: I'm gonna get you out of here, take you to. 389 00:20:54,000 --> 00:20:58,440 Speaker 3: This is blurred, this scene, the two Luke scenes. I've 390 00:20:58,440 --> 00:20:58,800 Speaker 3: got them. 391 00:20:58,840 --> 00:21:01,959 Speaker 1: Soard make you to Mariland to marry it, and then 392 00:21:02,000 --> 00:21:03,760 Speaker 1: we're gonna go for a month for a week, and 393 00:21:03,760 --> 00:21:07,360 Speaker 1: we're gonna set up tents, have our honeymoon. And it's 394 00:21:07,359 --> 00:21:12,920 Speaker 1: just like God, I did not recognize that man. 395 00:21:13,119 --> 00:21:15,280 Speaker 3: I recognized him coming and. 396 00:21:15,400 --> 00:21:20,040 Speaker 6: Trying, but not what he said about Marilyn and looping. 397 00:21:19,960 --> 00:21:24,639 Speaker 3: Right and just like right and just like almost I 398 00:21:24,680 --> 00:21:30,000 Speaker 3: don't almost caving. Right. It's like, be true to the 399 00:21:30,040 --> 00:21:32,080 Speaker 3: fact that you have a kid and this is difficult, 400 00:21:32,200 --> 00:21:34,480 Speaker 3: and that's okay. Do you know what I'm saying? Like 401 00:21:34,840 --> 00:21:36,600 Speaker 3: you don't need to just do a one to eighty, 402 00:21:37,520 --> 00:21:41,240 Speaker 3: Like stay true to the fact, but communicate it. I 403 00:21:41,320 --> 00:21:45,720 Speaker 3: love you, You're everything to me. I'm so it's not 404 00:21:45,760 --> 00:21:50,240 Speaker 3: even overwhelmed. I'm so like I'm lost in my situation 405 00:21:50,480 --> 00:21:50,880 Speaker 3: right now. 406 00:21:50,920 --> 00:21:54,080 Speaker 1: It's so big, and this is why it doesn't track. 407 00:21:54,160 --> 00:21:56,919 Speaker 1: One of the reasons this doesn't track is because what 408 00:21:57,040 --> 00:22:01,720 Speaker 1: were Amy and Dan so clever about. They always did 409 00:22:01,880 --> 00:22:05,800 Speaker 1: the small thing when in the big moment, the big thing. 410 00:22:06,000 --> 00:22:08,760 Speaker 1: In the small moment, they always did the opposite. They 411 00:22:08,880 --> 00:22:13,760 Speaker 1: always gave you something you never saw coming, never expected, 412 00:22:13,880 --> 00:22:17,400 Speaker 1: So that the move here so true would be that 413 00:22:17,640 --> 00:22:21,879 Speaker 1: Luke breaks it off because he sees how unhappy she is. 414 00:22:22,520 --> 00:22:26,080 Speaker 1: It's the noble thing to do because I really need 415 00:22:26,080 --> 00:22:29,800 Speaker 1: to get to know my kid better. This isn't fair 416 00:22:29,840 --> 00:22:33,040 Speaker 1: to you, So I'm going to break this off so 417 00:22:33,119 --> 00:22:35,160 Speaker 1: you can go live your life. And it's the hardest 418 00:22:35,160 --> 00:22:36,639 Speaker 1: thing I ever did. It would have been the greatest 419 00:22:36,640 --> 00:22:37,479 Speaker 1: scene ever written. 420 00:22:37,680 --> 00:22:42,119 Speaker 3: That is a really great all out. They did the 421 00:22:42,160 --> 00:22:46,159 Speaker 3: small thing. And I think that's why this episode is 422 00:22:46,200 --> 00:22:51,960 Speaker 3: so weird, because it's like not there's like some subtleties 423 00:22:52,040 --> 00:22:55,720 Speaker 3: that are missing, Whereas in the end of season six, 424 00:22:56,640 --> 00:22:59,520 Speaker 3: we want him to do the big thing, we want 425 00:22:59,560 --> 00:23:04,160 Speaker 3: him no stop, but he doesn't do it because that's 426 00:23:04,200 --> 00:23:05,200 Speaker 3: not what he does. 427 00:23:05,720 --> 00:23:08,320 Speaker 1: Right. Not only does he not fight for her in 428 00:23:08,359 --> 00:23:12,879 Speaker 1: the right way, he lets her dump him right. So 429 00:23:13,000 --> 00:23:15,800 Speaker 1: he's out of touch. So they're completely disconnected because of 430 00:23:15,880 --> 00:23:19,320 Speaker 1: his kid. No, do the noble thing. It saves her character, 431 00:23:19,960 --> 00:23:23,680 Speaker 1: it gives her dignity. She retains her dignity, He retains 432 00:23:23,680 --> 00:23:29,000 Speaker 1: his dignity. Yeah, you're right. Jumping the shark a little bit. 433 00:23:28,960 --> 00:23:32,520 Speaker 3: Now, jump in the shark a little bit stuff sharks, 434 00:23:32,600 --> 00:23:36,239 Speaker 3: jumping us the diner stuff tracked when he's in the 435 00:23:36,280 --> 00:23:38,240 Speaker 3: diner and they're like, do him move the car, keep 436 00:23:38,280 --> 00:23:39,880 Speaker 3: the car, and move the car, keep the car, And 437 00:23:40,080 --> 00:23:43,080 Speaker 3: he's not talking about the car at all. Yeah, he's like, 438 00:23:43,160 --> 00:23:45,480 Speaker 3: I can't make these decisions. This is so hard for me. 439 00:23:45,960 --> 00:23:47,760 Speaker 3: Obviously we know it's not about the car. He doesn't 440 00:23:47,760 --> 00:23:49,960 Speaker 3: give a crap about the car or the diner or 441 00:23:50,000 --> 00:23:56,280 Speaker 3: any of it right now. So that was I like 442 00:23:56,480 --> 00:24:00,720 Speaker 3: that that parallel. We've seen that with Luke before, so 443 00:24:00,800 --> 00:24:04,880 Speaker 3: that was sort of interesting. But you're right, it's too 444 00:24:05,119 --> 00:24:07,560 Speaker 3: much for us with Luke with the truck all filled 445 00:24:07,560 --> 00:24:10,479 Speaker 3: with weird crap and like let's just go now, and 446 00:24:10,520 --> 00:24:15,760 Speaker 3: it's like, no, you should be a little mad, actually, Luke, 447 00:24:16,359 --> 00:24:19,720 Speaker 3: that she broke up with you and gave you this 448 00:24:19,760 --> 00:24:22,760 Speaker 3: aull tomt it like, I don't know that not mad, 449 00:24:22,880 --> 00:24:25,040 Speaker 3: but hurt is a better word. 450 00:24:25,080 --> 00:24:27,439 Speaker 1: Maybe you know it's unfortunate. And I'm gonna make a 451 00:24:27,440 --> 00:24:29,359 Speaker 1: blanket statement. Here's probably gonna get me in a lot 452 00:24:29,400 --> 00:24:36,280 Speaker 1: of trouble. But here's what I think. I think productions, 453 00:24:36,320 --> 00:24:40,760 Speaker 1: whether they're in film and television, who value the opinions 454 00:24:40,960 --> 00:24:47,800 Speaker 1: of their cast and versus those who don't. I think 455 00:24:47,840 --> 00:24:54,120 Speaker 1: you get better television and film when people, directors, producers, whoever, 456 00:24:54,320 --> 00:24:58,240 Speaker 1: studios are open to the ideas of their cast. 457 00:24:58,280 --> 00:24:58,919 Speaker 3: It's so interesting. 458 00:24:59,400 --> 00:25:02,000 Speaker 1: And I know, I know Lauren had a million. 459 00:25:01,720 --> 00:25:03,760 Speaker 3: Ideas and they didn't do them. 460 00:25:04,280 --> 00:25:05,919 Speaker 1: I don't know whether they did them or not, but 461 00:25:06,000 --> 00:25:10,520 Speaker 1: I know she was very, very vocal, and you know, 462 00:25:10,600 --> 00:25:16,199 Speaker 1: I had some issues at times. But you need to 463 00:25:16,240 --> 00:25:18,639 Speaker 1: be in an environment where that kind of thing is 464 00:25:18,680 --> 00:25:20,920 Speaker 1: welcome because it's kind of rare. 465 00:25:21,119 --> 00:25:24,440 Speaker 3: It's interesting you say that. I was listening to the 466 00:25:24,480 --> 00:25:28,159 Speaker 3: Glee Rewatched podcast and Amber Riley talked about this the 467 00:25:28,200 --> 00:25:30,680 Speaker 3: other day, where they wanted her character to do something 468 00:25:31,480 --> 00:25:34,719 Speaker 3: and she went in and stead no. And I think 469 00:25:34,800 --> 00:25:37,959 Speaker 3: they tried to convince her and again I'm paraphrasing, and 470 00:25:38,000 --> 00:25:40,600 Speaker 3: she said no, when the character didn't do it, They 471 00:25:40,640 --> 00:25:46,040 Speaker 3: went with what the actor felt was authentic to the character. 472 00:25:46,080 --> 00:25:48,280 Speaker 3: And I thought, oh, that's pretty. 473 00:25:47,960 --> 00:25:51,640 Speaker 1: Cool because you know, they may have their ideas. Even 474 00:25:51,680 --> 00:25:55,400 Speaker 1: if they created the character and they write the character, 475 00:25:56,520 --> 00:25:59,359 Speaker 1: doesn't necessarily mean all of the time that they know 476 00:25:59,480 --> 00:26:03,679 Speaker 1: the character better than the person that's portraying the character. 477 00:26:04,280 --> 00:26:17,280 Speaker 3: M do you think a show is better like Barry 478 00:26:17,359 --> 00:26:21,560 Speaker 3: for example, where somebody give me his name, Henry Winkler, 479 00:26:21,680 --> 00:26:24,240 Speaker 3: and the guy from Saturday Night Live that plays Barry, 480 00:26:24,359 --> 00:26:28,760 Speaker 3: he wins all those awards. Come on, somebody, somebody, Bill Hayter, 481 00:26:28,840 --> 00:26:31,399 Speaker 3: thank you so much. So Bill Hayter, like is the 482 00:26:31,440 --> 00:26:35,000 Speaker 3: star of the show, writes the show and directs the show. Right, 483 00:26:37,720 --> 00:26:42,520 Speaker 3: It probably is. It's such a hugely successful show and 484 00:26:42,560 --> 00:26:48,080 Speaker 3: so critically acclaimed because like you're saying, the actor is 485 00:26:48,160 --> 00:26:51,920 Speaker 3: the character, he's also writing the and directing it, right, 486 00:26:52,080 --> 00:26:54,960 Speaker 3: So you're not. And I'm sure if he got notes, 487 00:26:55,000 --> 00:26:57,359 Speaker 3: he'd be like, thank you for your notes, ignored. Do 488 00:26:57,359 --> 00:26:58,440 Speaker 3: you know what I mean? I don't want to speak 489 00:26:58,440 --> 00:26:59,879 Speaker 3: for Bill Hater, but you see what I'm saying is like, 490 00:27:00,240 --> 00:27:04,960 Speaker 3: I wonder if Lauren wrote the show and was directing it, 491 00:27:05,200 --> 00:27:07,560 Speaker 3: if it would have felt more authentic to the character. 492 00:27:08,000 --> 00:27:10,280 Speaker 3: It does feel a little screwy here. 493 00:27:10,600 --> 00:27:16,399 Speaker 1: No, not necessarily right, the show just let's have a talk. 494 00:27:16,560 --> 00:27:18,520 Speaker 1: This is how I feel where the character should go. 495 00:27:19,040 --> 00:27:22,280 Speaker 1: Some of these narratives just don't work for me. I'm 496 00:27:22,320 --> 00:27:25,280 Speaker 1: concerned about it. You can't really open your mouth unless 497 00:27:25,280 --> 00:27:27,040 Speaker 1: you're a producer on the show. 498 00:27:27,119 --> 00:27:31,879 Speaker 3: Right, would you have felt scared to do it? 499 00:27:31,400 --> 00:27:40,800 Speaker 1: It's politically risky and you know, has that changed over time? Actually? 500 00:27:41,040 --> 00:27:42,760 Speaker 1: I had a lot of freedom on the first year 501 00:27:42,760 --> 00:27:47,040 Speaker 1: of Sullivan's Crossing, and I think the results in terms 502 00:27:47,080 --> 00:27:51,480 Speaker 1: of what I was doing are apparent for all to see. 503 00:27:51,800 --> 00:27:55,440 Speaker 1: And I noticed it second seasons a little more difficult 504 00:27:55,440 --> 00:27:58,400 Speaker 1: because then there's more studios involved. Now now it's a hit, 505 00:27:58,520 --> 00:28:01,000 Speaker 1: and now it's like, well, you know, so your voice 506 00:28:01,000 --> 00:28:04,560 Speaker 1: gets sort of cut me muted, muted, you know, it's 507 00:28:04,600 --> 00:28:05,280 Speaker 1: better way. 508 00:28:05,320 --> 00:28:05,880 Speaker 3: It's interesting. 509 00:28:06,160 --> 00:28:08,520 Speaker 1: But that's but if you're not a producer on the show, 510 00:28:08,600 --> 00:28:13,320 Speaker 1: it's hard to have your input, you know, taken in 511 00:28:14,600 --> 00:28:16,320 Speaker 1: all of the time, or even a little bit of 512 00:28:16,359 --> 00:28:16,720 Speaker 1: the time. 513 00:28:16,800 --> 00:28:20,280 Speaker 3: So I get that because too, Like if you think 514 00:28:20,280 --> 00:28:23,040 Speaker 3: about like if you've got bills to pay and kids 515 00:28:23,600 --> 00:28:26,520 Speaker 3: sent to college, you're a little bit more hesitant to 516 00:28:26,560 --> 00:28:32,600 Speaker 3: be that guy or girl that's like the hey, no, no, no, 517 00:28:32,680 --> 00:28:34,440 Speaker 3: because you don't want to lose your job. 518 00:28:34,920 --> 00:28:37,800 Speaker 1: There are a lot of people involved in this business 519 00:28:37,840 --> 00:28:43,120 Speaker 1: that have no idea what good storytelling is. Who are 520 00:28:43,120 --> 00:28:49,280 Speaker 1: in positions of power. That's the problem, because let me 521 00:28:49,320 --> 00:28:53,960 Speaker 1: tell you one thing. The great actors, the serious actors, 522 00:28:54,120 --> 00:28:58,120 Speaker 1: no storytelling better than all of them. They just do. 523 00:29:00,720 --> 00:29:05,520 Speaker 1: And I think if they're listened to, their productions improved 524 00:29:06,600 --> 00:29:11,719 Speaker 1: by a magnitude, by a magnitude. That's what all interesting. Yeah, 525 00:29:12,040 --> 00:29:13,800 Speaker 1: they're part of They have to be part of the 526 00:29:13,880 --> 00:29:17,760 Speaker 1: creative process. If you want a great product, if you 527 00:29:17,800 --> 00:29:19,960 Speaker 1: want a great show or a great film, they have 528 00:29:20,040 --> 00:29:23,080 Speaker 1: to be part of the conversation. Their input has to 529 00:29:23,120 --> 00:29:23,480 Speaker 1: be listening. 530 00:29:23,560 --> 00:29:25,800 Speaker 3: Yeah, I almost would have thought that in season seven 531 00:29:26,480 --> 00:29:29,840 Speaker 3: you lose Amy and Dan, you know, obviously the guy 532 00:29:29,840 --> 00:29:32,480 Speaker 3: that took over is great and knows what he's doing. 533 00:29:33,120 --> 00:29:35,840 Speaker 3: I think I would have been like, hey, this is 534 00:29:35,880 --> 00:29:40,800 Speaker 3: gnarly scary, Like we just lost our writer, director, creator. 535 00:29:41,200 --> 00:29:44,080 Speaker 3: Let's all put our heads together and figure out how 536 00:29:44,080 --> 00:29:45,840 Speaker 3: to make the best show. I think you would have 537 00:29:45,880 --> 00:29:48,160 Speaker 3: thought they would have wanted the actors at that point 538 00:29:48,240 --> 00:29:51,360 Speaker 3: more because you know, the character is better than anybody 539 00:29:51,920 --> 00:29:53,760 Speaker 3: other than probably Amy and Dan. 540 00:29:53,880 --> 00:29:58,000 Speaker 1: You know what. Nobody wants to listen to the actors 541 00:29:58,040 --> 00:30:01,000 Speaker 1: most of the time because the writers, you know, they 542 00:30:01,000 --> 00:30:08,040 Speaker 1: feel like they're smarter than everybody, and you know they'll 543 00:30:08,080 --> 00:30:10,080 Speaker 1: be damned if they're going to take a note from 544 00:30:10,120 --> 00:30:13,440 Speaker 1: an actor. That's kind of how they look at And 545 00:30:13,520 --> 00:30:19,040 Speaker 1: I think the reason that happens is writers, for the 546 00:30:19,080 --> 00:30:25,640 Speaker 1: most part, are the most looked down upon a group 547 00:30:26,040 --> 00:30:31,400 Speaker 1: in the creative process in the business. Oh, they're not 548 00:30:31,400 --> 00:30:34,280 Speaker 1: giving a great deal of respect. They're interchangeable. Actors are 549 00:30:34,280 --> 00:30:36,400 Speaker 1: interchangeable writers actors, you know. 550 00:30:38,920 --> 00:30:40,960 Speaker 3: And that brings me back to my Bill Hayder theory 551 00:30:41,000 --> 00:30:43,640 Speaker 3: that like, if you are the writer who's also the star, 552 00:30:43,760 --> 00:30:47,360 Speaker 3: you'd be so much more open to hearing from the actors. 553 00:30:47,600 --> 00:30:52,200 Speaker 1: But if you're a writer, director, creator, producer, then you 554 00:30:52,240 --> 00:30:56,200 Speaker 1: get respect. Okay, Oh interesting, if you're just a writer 555 00:30:56,800 --> 00:30:58,680 Speaker 1: and you're on a staff, you're not getting a lot 556 00:30:58,680 --> 00:31:00,520 Speaker 1: of respect. If you're just an actor and you're not 557 00:31:00,560 --> 00:31:03,440 Speaker 1: a producer, if you're not a huge star. You're not 558 00:31:03,480 --> 00:31:04,280 Speaker 1: getting a lot of RS. 559 00:31:04,280 --> 00:31:06,520 Speaker 3: And Gilmour was a show where you say every word 560 00:31:06,720 --> 00:31:10,520 Speaker 3: the way it is written. Yes, yeah, so that's kind 561 00:31:10,520 --> 00:31:11,040 Speaker 3: of interesting. 562 00:31:11,080 --> 00:31:13,760 Speaker 1: And you know what, it wasn't a problem because the 563 00:31:13,800 --> 00:31:16,200 Speaker 1: words were so great, right right, right, you know what 564 00:31:16,280 --> 00:31:18,600 Speaker 1: I mean. It's like, yeah, I get to say that. 565 00:31:19,000 --> 00:31:22,080 Speaker 1: It was like Aliens in America didn't really do anything 566 00:31:23,160 --> 00:31:25,320 Speaker 1: ratings wise, but we got to say those words, and 567 00:31:25,360 --> 00:31:27,760 Speaker 1: it was a thrill to go home and read those scripts. 568 00:31:27,760 --> 00:31:29,520 Speaker 1: You know, you're like, wow, I get to say these words. 569 00:31:29,560 --> 00:31:34,800 Speaker 1: This is really cool, great writing, you know, great writers. 570 00:31:36,080 --> 00:31:42,080 Speaker 1: But when that isn't the case, and it doesn't you know, 571 00:31:42,200 --> 00:31:44,920 Speaker 1: and it's these are subtle gradations. I mean, it doesn't 572 00:31:44,960 --> 00:31:49,240 Speaker 1: take a lot to ruin a script right, well. 573 00:31:49,160 --> 00:31:51,960 Speaker 3: Early, because this is almost a great episode. 574 00:31:52,080 --> 00:31:56,200 Speaker 1: Yeah see yet how much great stuff there is in it, right, 575 00:31:56,480 --> 00:31:58,560 Speaker 1: and how darn entertaining it is. 576 00:31:58,640 --> 00:32:02,240 Speaker 3: I enjoyed it, right. I definitely had my time where 577 00:32:02,440 --> 00:32:05,800 Speaker 3: I was like, I would rather have five more seasons 578 00:32:05,800 --> 00:32:09,720 Speaker 3: of this than end at season seven. But it's not 579 00:32:12,280 --> 00:32:12,800 Speaker 3: the same. 580 00:32:13,360 --> 00:32:16,320 Speaker 1: But they wrecked the wreck. They wrecked the love story 581 00:32:16,520 --> 00:32:18,360 Speaker 1: for seven million people. 582 00:32:19,400 --> 00:32:22,520 Speaker 3: And I've never had the ick from Christopher until now. 583 00:32:23,840 --> 00:32:26,640 Speaker 1: I'm just saying calamine lotion helps helps with that. 584 00:32:26,920 --> 00:32:28,440 Speaker 3: Have we finished the episode? 585 00:32:28,560 --> 00:32:28,720 Speaker 1: Yeah? 586 00:32:29,720 --> 00:32:32,840 Speaker 3: Yeah, yeah, yeah, So what do we think of it? 587 00:32:33,040 --> 00:32:35,960 Speaker 1: Luke takes in the I slept a question for Lyne. 588 00:32:36,520 --> 00:32:39,920 Speaker 1: He takes that in verbally yep out. 589 00:32:40,600 --> 00:32:45,360 Speaker 6: I don't blame him, lad, that was a Yeah. 590 00:32:45,080 --> 00:32:48,240 Speaker 3: That's not a great She did not make a great 591 00:32:48,560 --> 00:32:50,120 Speaker 3: call on that. 592 00:32:50,920 --> 00:32:54,040 Speaker 4: Yeah. 593 00:32:54,080 --> 00:32:56,600 Speaker 1: I just feel bad for the fans back in two 594 00:32:56,640 --> 00:32:59,760 Speaker 1: thousand and seven, two thousand and six they had to 595 00:32:59,760 --> 00:33:00,160 Speaker 1: go through. 596 00:33:00,360 --> 00:33:02,280 Speaker 3: I feel they didn't even show up to watch it. 597 00:33:02,320 --> 00:33:04,240 Speaker 3: That's what I think is so interesting too. I mean 598 00:33:04,240 --> 00:33:05,160 Speaker 3: that two million. 599 00:33:04,880 --> 00:33:07,840 Speaker 1: Of who's ever been exposed to that I feel bad for. 600 00:33:08,000 --> 00:33:10,560 Speaker 3: Of course, but like it's weird that two million people 601 00:33:10,720 --> 00:33:14,280 Speaker 3: just didn't even come show up. And I wonder, like 602 00:33:14,520 --> 00:33:16,560 Speaker 3: if you if we talk to the writers, like I 603 00:33:16,560 --> 00:33:21,160 Speaker 3: wonder if they were so stressed, because like we've talked about, 604 00:33:21,560 --> 00:33:25,400 Speaker 3: you said, Amy and Dan took their grade scripts and 605 00:33:25,560 --> 00:33:28,200 Speaker 3: polished them up, and like here's what I can tell you, 606 00:33:28,480 --> 00:33:31,040 Speaker 3: and like everybody can be like Amy sucks, but like 607 00:33:31,160 --> 00:33:34,600 Speaker 3: we take things, Danielle and I. Our job is we 608 00:33:34,640 --> 00:33:38,800 Speaker 3: take things that our team writes right, and we polished 609 00:33:38,800 --> 00:33:42,440 Speaker 3: them up, and sometimes they come to us kind of 610 00:33:42,520 --> 00:33:47,120 Speaker 3: like mediocre at best, right, And I'm not tooting our horns, 611 00:33:47,120 --> 00:33:48,960 Speaker 3: but like our that is our job. We are paid 612 00:33:49,000 --> 00:33:52,000 Speaker 3: to do that, to polish it up. And they lost 613 00:33:52,080 --> 00:33:57,400 Speaker 3: their polishers, so maybe they were so stressed and maybe 614 00:33:57,480 --> 00:34:00,600 Speaker 3: they even are like, hey, we're not bringing our A 615 00:34:00,760 --> 00:34:04,280 Speaker 3: game because we don't even are. This is our a game. 616 00:34:04,360 --> 00:34:07,640 Speaker 3: They took it to the A plus yeah, and now 617 00:34:07,640 --> 00:34:08,600 Speaker 3: they don't have that. 618 00:34:08,719 --> 00:34:12,120 Speaker 4: I wonder if Amy and Dan came back, what would 619 00:34:12,239 --> 00:34:13,880 Speaker 4: have happened this season. 620 00:34:16,680 --> 00:34:19,120 Speaker 1: They weren't coming back, but if they did. 621 00:34:19,280 --> 00:34:22,600 Speaker 4: What how Gilmour Girls would have ended versus how it 622 00:34:22,680 --> 00:34:23,200 Speaker 4: actually did. 623 00:34:23,239 --> 00:34:25,359 Speaker 3: Well, we know how it would have ended, because they 624 00:34:26,200 --> 00:34:28,960 Speaker 3: they ended the movies in the way they wanted to 625 00:34:29,120 --> 00:34:32,840 Speaker 3: end the series. And what I can tell you is 626 00:34:33,880 --> 00:34:36,960 Speaker 3: the way they end the movie would have been comic 627 00:34:37,080 --> 00:34:39,080 Speaker 3: way to end this. No, I'm not gonna give it away. 628 00:34:39,320 --> 00:34:41,360 Speaker 3: The way they end the movies to me would have 629 00:34:41,360 --> 00:34:44,480 Speaker 3: been the most iconic way and the series it would 630 00:34:44,480 --> 00:34:48,520 Speaker 3: have been epic. It's weird how they ended up movies. 631 00:34:49,880 --> 00:34:54,720 Speaker 3: Scott's like Tillie God. Also, you know how the movies 632 00:34:54,840 --> 00:34:55,680 Speaker 3: end there. 633 00:34:56,560 --> 00:34:59,040 Speaker 4: I'm assuying something with the daddy not knowing who the 634 00:34:59,120 --> 00:34:59,640 Speaker 4: daddy is. 635 00:35:00,280 --> 00:35:02,239 Speaker 3: I'm not telling you anything. I'm just telling you it 636 00:35:02,280 --> 00:35:04,480 Speaker 3: would have been a great end of season seven where 637 00:35:04,520 --> 00:35:04,960 Speaker 3: you're like. 638 00:35:06,000 --> 00:35:09,040 Speaker 6: What, so basically the movies, the movies should have been 639 00:35:09,080 --> 00:35:10,520 Speaker 6: season seven, is what you're saying. 640 00:35:11,000 --> 00:35:13,120 Speaker 3: Well, no, because there's weird things in the movies too, 641 00:35:13,160 --> 00:35:15,000 Speaker 3: but just the very end is. 642 00:35:16,280 --> 00:35:21,000 Speaker 1: The show should have ended after season six and then 643 00:35:21,120 --> 00:35:23,440 Speaker 1: that's it. No season seven. 644 00:35:23,560 --> 00:35:26,000 Speaker 3: You guys, there's so many things coming you're gonna hate 645 00:35:26,120 --> 00:35:28,879 Speaker 3: so much more than this episode. 646 00:35:29,719 --> 00:35:30,880 Speaker 1: So it's going to be fun. 647 00:35:32,040 --> 00:35:32,359 Speaker 3: This one. 648 00:35:32,520 --> 00:35:33,399 Speaker 4: Seven out of ten? 649 00:35:33,840 --> 00:35:35,880 Speaker 3: What we give? What we Yeah? What are you giving this? 650 00:35:35,960 --> 00:35:39,880 Speaker 3: Seven out of ten? Scrambled eggs? Yeah, I'm yeah. I 651 00:35:39,920 --> 00:35:42,120 Speaker 3: think I'm seven. I was gonna say six point five, 652 00:35:42,120 --> 00:35:44,600 Speaker 3: but I think i'm seven. Red light cameras, so I'll 653 00:35:44,600 --> 00:35:46,840 Speaker 3: say six point eight red light cameras. 654 00:35:48,800 --> 00:35:50,080 Speaker 6: Danielle, what was your measuring stick? 655 00:35:50,440 --> 00:35:51,240 Speaker 4: Scrambled eggs? 656 00:35:51,480 --> 00:35:57,120 Speaker 6: Damn, Okay, that's mine. I'm going to give it a 657 00:35:57,239 --> 00:36:00,000 Speaker 6: six point five t birds. 658 00:36:00,600 --> 00:36:03,640 Speaker 3: Oh good, good one. But it's our lowest scores ever. 659 00:36:04,000 --> 00:36:10,040 Speaker 1: Yeah, I'm giving it an absolute nuclear zero. No, it 660 00:36:10,160 --> 00:36:14,600 Speaker 1: did not register at all. Destruction of two main characters. 661 00:36:14,840 --> 00:36:18,840 Speaker 1: I mean obliteration, the fallout of that, the radiation. 662 00:36:18,920 --> 00:36:21,759 Speaker 3: Should we not even have Emily and Richard? That was weird? No, 663 00:36:21,800 --> 00:36:23,319 Speaker 3: it didn't like that. That all. 664 00:36:24,200 --> 00:36:25,920 Speaker 1: We didn't need them in this episode. 665 00:36:25,960 --> 00:36:27,080 Speaker 3: I think they could have helped. 666 00:36:28,040 --> 00:36:28,399 Speaker 1: They would. 667 00:36:29,440 --> 00:36:33,240 Speaker 4: Richard's credited in it, so they're. 668 00:36:33,040 --> 00:36:34,680 Speaker 3: Both in the always in the opening credits. 669 00:36:34,680 --> 00:36:38,000 Speaker 1: But think they wanted to say what they wanted to 670 00:36:38,000 --> 00:36:42,200 Speaker 1: save Emily and Richard to bring the body bags, clean 671 00:36:42,360 --> 00:36:46,280 Speaker 1: up the mess. Uh sorry, I think some high jinks 672 00:36:46,280 --> 00:36:49,720 Speaker 1: and some funny moments cannot make up one iota for 673 00:36:50,239 --> 00:36:55,359 Speaker 1: the destruction of these two characters and this relationship. Yeah, 674 00:36:55,400 --> 00:36:58,600 Speaker 1: and you know, you know now it's in negative to us. 675 00:36:58,640 --> 00:37:00,560 Speaker 3: Have we not seen it off before? 676 00:37:00,600 --> 00:37:07,680 Speaker 1: Is that Jesus? 677 00:37:08,120 --> 00:37:10,120 Speaker 3: I mean I come back because there's parts of Christopher 678 00:37:10,160 --> 00:37:15,160 Speaker 3: I actually like, we're all right, sounds like that's like 679 00:37:15,200 --> 00:37:15,640 Speaker 3: I need it. 680 00:37:15,960 --> 00:37:18,879 Speaker 1: Can we just like just bail out of this thing? Uh? 681 00:37:19,680 --> 00:37:22,560 Speaker 1: Sorry kids that you had to watch this. We sympathize 682 00:37:22,800 --> 00:37:26,799 Speaker 1: and now we're gonna need therapy after watch them all 683 00:37:26,840 --> 00:37:28,759 Speaker 1: the best best fans on the planet. Sorry you had 684 00:37:28,760 --> 00:37:31,920 Speaker 1: to take all those knives in the back from this episode. 685 00:37:31,960 --> 00:37:34,840 Speaker 1: But that's just the nature of fandom. I guess I 686 00:37:34,840 --> 00:37:35,200 Speaker 1: don't know. 687 00:37:37,400 --> 00:37:37,560 Speaker 6: Uh. 688 00:37:37,800 --> 00:37:39,880 Speaker 1: I love you guys, thanks for the downloads, keep the 689 00:37:39,880 --> 00:37:42,960 Speaker 1: cards and letters coming, and all you bots out there 690 00:37:43,080 --> 00:37:47,239 Speaker 1: just to raise yourself. We have a technology. 691 00:37:47,320 --> 00:37:48,680 Speaker 3: Okay, I can take it. I can take it. I 692 00:37:48,680 --> 00:37:49,640 Speaker 3: can take it. 693 00:37:50,000 --> 00:38:21,440 Speaker 2: By day safe kids, Jase, Hey, everybody, and don't forget. 694 00:38:21,480 --> 00:38:25,520 Speaker 1: Follow us on Instagram at I Am all In podcast 695 00:38:25,600 --> 00:38:38,640 Speaker 1: and email us at Gilmore at iHeartRadio dot com.