WEBVTT - Babies, Boats and Big... (S3 E8 "The Big Time") 

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<v Speaker 1>Hi, I'm Kristin Davis, and I want to know, are

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<v Speaker 1>you a Charlotte. Oh my goodness, you guys, we have

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<v Speaker 1>the most special guest. It's the return of Easton, our producer.

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<v Speaker 2>This is such a thrill. Thank you.

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<v Speaker 1>I love having you back and for this particular episode especially.

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<v Speaker 1>It's called The Big Time. It aired July thirtieth, two thousand.

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<v Speaker 1>It is directed by Alison Andrews, written by Jenny Biks

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<v Speaker 1>and I'm so excited to have a male perspective. Okay,

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<v Speaker 1>I'm excited to share. It's got some big topics in

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<v Speaker 1>this one. Big topics. Okay. So when I think of

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<v Speaker 1>this episode, I think of Charlotte storyline involving the boat.

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<v Speaker 1>Like you know how there are some things that I

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<v Speaker 1>remember really clearly, you know about about filming, and some

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<v Speaker 1>things I have no memory. A little. The boat I

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<v Speaker 1>definitely remember because it was very beautiful, very cold. There's

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<v Speaker 1>two scenes on the boat. One I'm not wearing a

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<v Speaker 1>rap and the other I have this like pashmina wrapped around.

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<v Speaker 1>I think, I like, couldn't stop shivering level cold. I'm

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<v Speaker 1>always cold, as you know, but it was gorgeous. But

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<v Speaker 1>another situation like the Staten Island Ferry. This was like

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<v Speaker 1>our boat season. For some reason. We start season three

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<v Speaker 1>with the stet Island Ferry. Now we're on this like

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<v Speaker 1>it's like a party boat, you know.

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<v Speaker 2>Like a small yacht or something.

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<v Speaker 1>Yeah, I mean it was pretty nice. I remember being

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<v Speaker 1>pretty nice. And we also had to do the thing

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<v Speaker 1>we did on the Stateland Ferry, which was turn the

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<v Speaker 1>boat around so that the background matched.

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<v Speaker 2>Oh yes, because you're.

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<v Speaker 1>Getting the city on one side and New Jersey on

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<v Speaker 1>the other. We were in the Hudson River, so you couldn't

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<v Speaker 1>just keep sailing down the river, right, you had to

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<v Speaker 1>turn back around so that it matched for each take, right,

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<v Speaker 1>And you know, it's such a pain. But it was

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<v Speaker 1>really pretty fun, except that it was really cold. But

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<v Speaker 1>I remember being really fun. And I remember it being

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<v Speaker 1>fun partly because Kyle at that point was this was

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<v Speaker 1>his second episode. Weird that he came in the middle

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<v Speaker 1>because we would have you know, a director would do

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<v Speaker 1>two at a time. Yes, right, so I guess he

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<v Speaker 1>came in the middle and did one with Alison, No, sorry,

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<v Speaker 1>one with Nicole, one with Alison. Anyway, he was brand new, right,

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<v Speaker 1>and this is the episode where you really see clearly

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<v Speaker 1>that the original idea for Trey was that he was

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<v Speaker 1>not interesting.

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<v Speaker 2>Yep.

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<v Speaker 1>Because he's telling the story of how he met He's

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<v Speaker 1>telling it so adorably right, and obviously I as Charlotte

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<v Speaker 1>and like just hang on every word, and I think

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<v Speaker 1>it's so cute and funny. And Carrie's voiceover is telling

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<v Speaker 1>us that she already remembers all the details because she's

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<v Speaker 1>heard it so many times, so that this I think

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<v Speaker 1>we abandon this after this episode because he's Kyle and

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<v Speaker 1>you just can't continue down this road of that he's

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<v Speaker 1>not that interesting and exciting.

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<v Speaker 2>Yeah, even when he's delivering this like boring story, he's

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<v Speaker 2>got that you know voice, I mean.

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<v Speaker 1>The voice and the kind of delivery, Like, he's got

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<v Speaker 1>a very interesting, off kilter delivery, which I think obviously

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<v Speaker 1>makes so much sense sense for you know, Twin Pine,

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<v Speaker 1>twin Peaks in the Pines whatever, toon Peaks, but also

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<v Speaker 1>for all the he just brings that with him, you know,

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<v Speaker 1>even though obviously very very different character, but it works

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<v Speaker 1>so perfectly also, which is also I think for me,

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<v Speaker 1>I just remember being so excited that we got him

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<v Speaker 1>right and thinking like, well, wait, we can't we can't

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<v Speaker 1>have him for just like three or five or whatever

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<v Speaker 1>it was supposed to be, right, because he's him, and

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<v Speaker 1>he's like so dreamy and so good and so nice. Yes,

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<v Speaker 1>like it's just rare, you know, it's just pretty rare,

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<v Speaker 1>I have to say. So obviously everyone agreed with me,

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<v Speaker 1>and therefore we have two seasons pretty much. I mean,

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<v Speaker 1>I can't remember exactly how many, but we have him

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<v Speaker 1>definitely for for third season and for a season.

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<v Speaker 2>I mean, when I look back at the Breath of

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<v Speaker 2>Sex and the City, I always think, like with Charlotte,

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<v Speaker 2>it's Harry and Trey, like those are the you know,

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<v Speaker 2>of course, yeah, like such a major.

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<v Speaker 1>There are unfortunately a lot of other guys in between them,

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<v Speaker 1>but they don't even really deserve a mention. I mean,

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<v Speaker 1>but you know that they that I do love about her.

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<v Speaker 1>And this is what I love about television as a viewer.

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<v Speaker 1>I love a long arc, yes, Like that's the joy

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<v Speaker 1>of television in my mind. It's not what we grew

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<v Speaker 1>up on though, you know, when we grew up it

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<v Speaker 1>was like sitcoms and soap oppers. I guess soap operas

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<v Speaker 1>is a long arc, but in a different way, right,

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<v Speaker 1>But like that's the joy of you know, HBO, that

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<v Speaker 1>they would let you just lean in to things that

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<v Speaker 1>weren't clear, you know. Obviously. Also we have such a

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<v Speaker 1>big episode with Carrie and Aiden and big again, Like

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<v Speaker 1>it's so good when you watch it back, and you

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<v Speaker 1>know most of the things that people say to me.

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<v Speaker 1>I did just meet a lady in Starbucks. She was

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<v Speaker 1>thirty one, so I don't know what I should call

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<v Speaker 1>a girl, a woman, a woman, a woman in Starbucks

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<v Speaker 1>and she told me she had just started watching.

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<v Speaker 2>Wow, I know, the first time, just now, and.

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<v Speaker 1>She said, yes, it's really it resonates. I'm like, good, yes,

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<v Speaker 1>I said, I'm really jealous. It's really fun to watch

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<v Speaker 1>it the first time. She's very sweet, and I almost

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<v Speaker 1>told her to listen to the podcast, but I didn't. Anyway,

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<v Speaker 1>maybe she'd find us.

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<v Speaker 2>I find you just start watching an episode then see Charlotte.

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<v Speaker 1>I know, I was talking to her dog. She had

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<v Speaker 1>a really cute dots and I was talking to her

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<v Speaker 1>dog for a little bit before she figured it out.

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<v Speaker 1>It was pretty funny. But also it's just so rare.

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<v Speaker 1>It's so rare and kind of wonderful that people would

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<v Speaker 1>just now be finding it. But one of the things

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<v Speaker 1>that I thought about when one of the things people

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<v Speaker 1>tell me and I thought about when I was rewatching

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<v Speaker 1>this episode. You know how they just if you're on

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<v Speaker 1>Netflix or on HBO Max, it just goes into the

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<v Speaker 1>next episode. It's very hard to turn it off. It is.

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<v Speaker 2>I fell into that trap.

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<v Speaker 1>Me and I should totally know what is going to happen,

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<v Speaker 1>but A I don't remember, and B you don't really

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<v Speaker 1>care if you know what's gonna happen, you just don't

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<v Speaker 1>want to stop. You don't want to stop. And I

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<v Speaker 1>think a lot of that, you know, and it's it's

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<v Speaker 1>all of us, I know. But like Sarah Jessica is

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<v Speaker 1>just so fucking good, Like yes, it is crazy to me,

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<v Speaker 1>Like I know her, I love her. Obviously, every time

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<v Speaker 1>she went an word, I was like the biggest clapper,

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<v Speaker 1>you know, like I always want her to win and

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<v Speaker 1>I think she deserves everything. But like even now, I

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<v Speaker 1>look back and I'm like the subtlety, the torn element

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<v Speaker 1>you know in Big, because this is the episode where

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<v Speaker 1>Big calls her when Aiden goes out to get a

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<v Speaker 1>coffee filter. What I had forgotten all of this right,

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<v Speaker 1>Like it's such a trip. But also John with his

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<v Speaker 1>little baby face. It's just I mean, oh my god.

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<v Speaker 1>And Chris, because you know, in the beginning, we're so

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<v Speaker 1>so tortured. I felt as an audience and people are

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<v Speaker 1>gonna text me and be like, are you talking about

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<v Speaker 1>the show like it's real, And I'm like, yes, okay,

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<v Speaker 1>I'm sucked in you guys, all right, yeah, And now

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<v Speaker 1>it's real to me, I'm now understanding because all the

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<v Speaker 1>whole time that I wasn't rewatching people talk to me

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<v Speaker 1>and I'd be like, you know, you know, it's you know,

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<v Speaker 1>it's faked. People. Right now, I totally understand. It seems

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<v Speaker 1>so real. It seems so real because it's so well done.

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<v Speaker 1>Like our writers did such a great job in the writing,

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<v Speaker 1>and I mean all of us too, but like you

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<v Speaker 1>have to start with the writing in these type situations,

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<v Speaker 1>I think, you know, like it's key. So anyway, She's

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<v Speaker 1>just so good. And then when Chris, because we are

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<v Speaker 1>I felt so tortured by him in the first season,

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<v Speaker 1>like he's so withholding on and on and on. And

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<v Speaker 1>then one of her things and this is the big

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<v Speaker 1>theme of the episode that I need your male perspective

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<v Speaker 1>on is timing, which I think is a really good question,

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<v Speaker 1>really interesting question about people and relationships and what you're

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<v Speaker 1>ready for and what you're not ready for, and how

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<v Speaker 1>you can't really change that. Sometimes, you know, it's a

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<v Speaker 1>hard thing to be like, well, this person that I'm

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<v Speaker 1>with needs a baby, Like in the Stephen Miranda situation,

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<v Speaker 1>Steve wants a baby, and she's like, well, you're insane,

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<v Speaker 1>And I totally see her point, Like we were talking

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<v Speaker 1>about this before we started recording, like it does totally

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<v Speaker 1>change your life. And on the other hand, I feel

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<v Speaker 1>really bad for Steve.

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<v Speaker 2>I do, but I am. I had a hard time

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<v Speaker 2>to see you in this episode.

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<v Speaker 1>He does seeild, Yes, And.

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<v Speaker 2>I see this from men a lot that want a

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<v Speaker 2>baby and do not think anything beyond the like, oh, Gewis,

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<v Speaker 2>it's gonna be great to play catch with my kid,

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<v Speaker 2>won't it, And like they don't think about everything else

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<v Speaker 2>that comes with it. Yeah, and you know who that

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<v Speaker 2>falls on.

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<v Speaker 1>I do, mom, I certainly do know. I certainly do know.

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<v Speaker 1>I mean I'm a single parent, as you know, but

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<v Speaker 1>I mean it is I watch all my girlfriends go

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<v Speaker 1>through this too. I mean it's like, in some ways

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<v Speaker 1>I have it better because I don't have anybody to

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<v Speaker 1>be mad at you know what I'm saying, which is great,

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<v Speaker 1>I mean not County Hannah's husband. Yeah, but you know,

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<v Speaker 1>I feel for both of them. That The reason that

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<v Speaker 1>I feel for Steve is because I feel like when

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<v Speaker 1>you're in a relationship with a person, man or woman,

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<v Speaker 1>if that other person is having that baby feeling, you

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<v Speaker 1>know that it's like a calling, you know, in my mind, right,

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<v Speaker 1>you really have to honor it as the other person.

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<v Speaker 1>Now that might mean saying to them, I'm so sorry,

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<v Speaker 1>but I'm just not there, right, male or female. Sometimes

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<v Speaker 1>that happens. Like Miranda's definitely not there. Of course we

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<v Speaker 1>know what's gonna happen, but let's just go with this episode. Right,

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<v Speaker 1>she's not there. She's trying to be a partner at

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<v Speaker 1>her job. She's very focused. She also feels like he's

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<v Speaker 1>a child and she's not wrong, right, she is not

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<v Speaker 1>wrong at all. But on the other hand, I feel

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<v Speaker 1>like he's kind of he's so open, you know, he's

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<v Speaker 1>so open, his heart is so open, and he puts

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<v Speaker 1>up with her being kind of mean to him, you know,

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<v Speaker 1>and then he's like, we just you know, we would

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<v Speaker 1>be so great to have a baby, and like there's

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<v Speaker 1>a part of me where I'm just like, oh, he's

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<v Speaker 1>so pure, you know what I mean. But I can

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<v Speaker 1>also see her point very much so, and of course

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<v Speaker 1>we do know what does happen. But I have to say,

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<v Speaker 1>because anyone who's seen the whole show, Steve is a

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<v Speaker 1>great dat. Yes, yeah, he grows. He grows as a person,

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<v Speaker 1>for sure, But when you see him watching that Scooby Doo,

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<v Speaker 1>oh my goodness, I'm like, man, Miranda, hmm, you gotta.

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<v Speaker 1>I mean, I get it. I mean the all me

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<v Speaker 1>and mommy thing, and I mean we all do stuf

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<v Speaker 1>refer to mean mommy. Like like I'll be like, like

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<v Speaker 1>if we were working you know this this past past

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<v Speaker 1>show and my kids were with us or whatever, I'd

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<v Speaker 1>just be like, I was such a mean mommy. I

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<v Speaker 1>was a mean mommy this morning. Like we're still it's

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<v Speaker 1>like a lingo, you know what I mean, because we

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<v Speaker 1>all get it. We've all been there. We've all been there. Okay,

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<v Speaker 1>let's let's talk about Carrie's storyline. Yes, Okay, So they

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<v Speaker 1>start it's her and baby Face Aiden, which I think

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<v Speaker 1>is just what we should call it because it's like,

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<v Speaker 1>I mean, it's like almost like a different person. It's

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<v Speaker 1>super interesting, like really adorable, very adorable, so adorable, and

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<v Speaker 1>like like when I'm jumping around, but when he has

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<v Speaker 1>his dog, I also love that all these dogs are

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<v Speaker 1>showing up now and I'm about to get my dog too.

0:11:00.280 --> 0:11:02.440
<v Speaker 1>Like I don't know what came over our writers. They

0:11:02.480 --> 0:11:05.120
<v Speaker 1>were just like, does everyone get dogs? But I love it?

0:11:05.160 --> 0:11:09.679
<v Speaker 1>Of course. So Aiden's got his dog and Steve gets

0:11:10.080 --> 0:11:13.000
<v Speaker 1>his dog. In this episode, Charlotte doesn't have her dog yet,

0:11:13.040 --> 0:11:16.640
<v Speaker 1>but she's she's coming. But when he Carrie tells him

0:11:16.640 --> 0:11:18.600
<v Speaker 1>that she has to go on the boat party, and

0:11:18.640 --> 0:11:20.840
<v Speaker 1>he's out there by himself with the dog, and he's

0:11:20.920 --> 0:11:23.679
<v Speaker 1>just like, oh shucks, Like he's adorable.

0:11:24.559 --> 0:11:27.240
<v Speaker 2>That outfit he's wearing in that moment he looks just

0:11:27.320 --> 0:11:30.600
<v Speaker 2>up at a studio fifty four. Yeah, he's got this

0:11:30.720 --> 0:11:33.480
<v Speaker 2>like purple kind of shirt that's like unbuttoned a little bit.

0:11:33.520 --> 0:11:37.280
<v Speaker 2>He's like cool glasses. It's very groovy and that see.

0:11:37.360 --> 0:11:39.920
<v Speaker 1>I mean, John's pretty groovy. I would have to ask

0:11:40.080 --> 0:11:43.200
<v Speaker 1>Mollie who put what on him? At that point. I

0:11:43.240 --> 0:11:45.560
<v Speaker 1>do know, as I think I've said already, that John

0:11:45.600 --> 0:11:47.880
<v Speaker 1>has a lot of say in his wardrobe. Yes, and

0:11:47.960 --> 0:11:51.480
<v Speaker 1>John has a very unique, you know, sense of style.

0:11:51.640 --> 0:11:53.840
<v Speaker 2>Yeah, and I think his vibe it does.

0:11:53.960 --> 0:11:57.120
<v Speaker 1>It definitely matches his vibe. He's a very unique person.

0:11:58.040 --> 0:11:59.400
<v Speaker 2>And one other thing I want to point out about

0:11:59.400 --> 0:12:02.080
<v Speaker 2>Aiden's room that I watching this. He has a Ouiji

0:12:02.200 --> 0:12:04.400
<v Speaker 2>board at the foot of his bed that like out

0:12:04.440 --> 0:12:06.240
<v Speaker 2>of He's using it as a counter for because there's

0:12:06.240 --> 0:12:08.120
<v Speaker 2>like a bowl of cereal it. He has a Wigi

0:12:08.160 --> 0:12:10.240
<v Speaker 2>board sitting down there. I'm like, what's Itiden doing in

0:12:10.280 --> 0:12:13.080
<v Speaker 2>the middle of the night. Is we submoning spirits who

0:12:13.120 --> 0:12:15.040
<v Speaker 2>just asually has a Wigi board sitting around there? Phone,

0:12:15.040 --> 0:12:15.480
<v Speaker 2>I don't.

0:12:15.280 --> 0:12:19.840
<v Speaker 1>Believe you notice that is so funny. I didn't even notice,

0:12:19.880 --> 0:12:23.040
<v Speaker 1>but I'm sure John Corbett was like, yes, yes, leave

0:12:23.120 --> 0:12:26.280
<v Speaker 1>the Ouiji board, the Oigi board stay. I mean, who

0:12:26.559 --> 0:12:29.000
<v Speaker 1>in set deck came up with that would be my

0:12:29.200 --> 0:12:31.400
<v Speaker 1>question for that. And I never ever noticed. But I

0:12:31.480 --> 0:12:35.240
<v Speaker 1>did notice that we see Charlotte's door in hallway. So

0:12:35.280 --> 0:12:38.920
<v Speaker 1>I'm getting more apartment. It's a good thing, you know.

0:12:39.120 --> 0:12:41.360
<v Speaker 1>I've moved away from the two flats that were in

0:12:41.400 --> 0:12:44.920
<v Speaker 1>my bedroom, even though previously we had that the time

0:12:44.960 --> 0:12:46.800
<v Speaker 1>where Samantha sleeps with my dormant and we had a

0:12:46.800 --> 0:12:48.839
<v Speaker 1>hallway with a bookcase in it. Yes, but that was

0:12:48.880 --> 0:12:50.800
<v Speaker 1>a real apartment that wasn't a set, and we never

0:12:50.840 --> 0:12:52.800
<v Speaker 1>see it again because I was like, wait, what is that?

0:12:53.080 --> 0:12:53.200
<v Speaker 2>Like?

0:12:53.320 --> 0:12:53.840
<v Speaker 1>What is that?

0:12:53.920 --> 0:12:54.120
<v Speaker 2>I mean?

0:12:54.200 --> 0:12:56.120
<v Speaker 1>Luckily it was white, right, so it wasn't like not

0:12:56.120 --> 0:12:57.920
<v Speaker 1>true to Charlotte. But I was like, I've never seen

0:12:57.960 --> 0:13:00.400
<v Speaker 1>that hallway. And then also when I am a man

0:13:00.840 --> 0:13:03.440
<v Speaker 1>and I take the picture, I hang it in a hallway. Yes,

0:13:03.480 --> 0:13:05.360
<v Speaker 1>but I was like, I don't know what that hallway

0:13:05.440 --> 0:13:08.240
<v Speaker 1>is either, where's that hallway? But maybe they got they

0:13:08.360 --> 0:13:11.360
<v Speaker 1>put my white flat in a hallway position. I don't know.

0:13:11.559 --> 0:13:15.080
<v Speaker 1>But this was an actual I feel like a set

0:13:15.760 --> 0:13:18.200
<v Speaker 1>of an apartment door. I don't think we were on location.

0:13:18.600 --> 0:13:21.120
<v Speaker 2>Okay, I think I figure that out when I'm watching

0:13:21.120 --> 0:13:23.680
<v Speaker 2>this and like, okay, this was a set. What was real?

0:13:24.800 --> 0:13:27.440
<v Speaker 2>I thought that for a second. I'm sorry, this is

0:13:27.440 --> 0:13:29.199
<v Speaker 2>so naive of me. I thought. When I was watching

0:13:29.240 --> 0:13:32.280
<v Speaker 2>the boat, I was like, are they actually because I

0:13:32.320 --> 0:13:35.000
<v Speaker 2>know it wasn't a The green screens were good at

0:13:35.000 --> 0:13:35.280
<v Speaker 2>that point.

0:13:35.320 --> 0:13:37.720
<v Speaker 1>Oh no, no, they were horrible. They were horrible. Okay, Oh,

0:13:37.960 --> 0:13:40.280
<v Speaker 1>this is like the year two thousand, so we could

0:13:40.320 --> 0:13:43.120
<v Speaker 1>never afford that it was like so expensive to us

0:13:43.120 --> 0:13:45.640
<v Speaker 1>a green screen or should do anything in posts? Like

0:13:45.679 --> 0:13:46.880
<v Speaker 1>when they would say like, oh we have to do

0:13:46.880 --> 0:13:49.760
<v Speaker 1>it in post, that meant everyone was having a breakdown.

0:13:50.080 --> 0:13:53.080
<v Speaker 1>You know what I'm saying. It like the digital of

0:13:53.160 --> 0:13:55.320
<v Speaker 1>it all had not happened, had not made it to

0:13:55.360 --> 0:13:56.520
<v Speaker 1>the screen, really, you know.

0:13:56.920 --> 0:13:58.840
<v Speaker 2>And I also thought for a second that the boat

0:13:58.880 --> 0:13:59.760
<v Speaker 2>was maybe just docked.

0:14:02.559 --> 0:14:04.960
<v Speaker 1>We're out there, we're out there, and that wind is blowing.

0:14:05.240 --> 0:14:06.120
<v Speaker 1>You can see my hair.

0:14:06.360 --> 0:14:08.199
<v Speaker 2>That was my next question is how much adr did

0:14:08.200 --> 0:14:09.079
<v Speaker 2>you have to do for that?

0:14:09.280 --> 0:14:10.880
<v Speaker 1>Oh? I might have had to do the whole thing.

0:14:11.000 --> 0:14:14.960
<v Speaker 1>I mean we are always body micd Now you might

0:14:15.080 --> 0:14:18.040
<v Speaker 1>ask where would we put those body mics because it

0:14:18.240 --> 0:14:22.520
<v Speaker 1>is a big challenge, Okay, big challenge. And I'm wearing

0:14:22.560 --> 0:14:25.280
<v Speaker 1>that little cheffon Doul chain to Gobana dress. I can

0:14:25.320 --> 0:14:27.280
<v Speaker 1>tell you for sure that mic is in a place

0:14:27.320 --> 0:14:31.480
<v Speaker 1>that we cannot discuss. That mic is hidden in a

0:14:31.520 --> 0:14:34.880
<v Speaker 1>place that's super uncomfortable, and that involves being in a

0:14:34.960 --> 0:14:38.760
<v Speaker 1>dressing room to do which is not normal for sets.

0:14:38.800 --> 0:14:40.480
<v Speaker 1>Like the sound guys want to come up and put

0:14:40.480 --> 0:14:42.440
<v Speaker 1>the mic on you on set. That's what they like.

0:14:42.920 --> 0:14:45.560
<v Speaker 1>But we just teach our guys, like, just put the

0:14:45.600 --> 0:14:48.880
<v Speaker 1>mic and the mic pack in my dressing room. I

0:14:48.920 --> 0:14:51.800
<v Speaker 1>know how to turn it on. Let us handle it

0:14:52.280 --> 0:14:56.240
<v Speaker 1>because it's going to be in some clothing in a

0:14:56.240 --> 0:14:58.920
<v Speaker 1>way that you can't can't get to, you know what

0:14:59.000 --> 0:15:01.280
<v Speaker 1>I mean. That's that's just how it was. I mean,

0:15:01.320 --> 0:15:05.560
<v Speaker 1>And back then the mike packs were like decently large,

0:15:05.680 --> 0:15:08.960
<v Speaker 1>so it was uncomfortable. They're much smaller now, thank god,

0:15:09.560 --> 0:15:13.680
<v Speaker 1>thank god it's a whole drama. But they never would

0:15:13.720 --> 0:15:16.400
<v Speaker 1>trust like a boom. I mean, we would have a

0:15:16.440 --> 0:15:19.600
<v Speaker 1>boom there because you're always trying to get double. And

0:15:19.640 --> 0:15:21.720
<v Speaker 1>then we did do a fair amount of ADR. But

0:15:21.760 --> 0:15:24.040
<v Speaker 1>when I watched the scene with Kyle, I didn't feel

0:15:24.040 --> 0:15:26.880
<v Speaker 1>like I didn't feel like it was ADR. But maybe

0:15:26.880 --> 0:15:28.680
<v Speaker 1>that's just how good we are. I'm not sure.

0:15:29.000 --> 0:15:31.480
<v Speaker 2>Yea, the perform felt like it was in the moment,

0:15:32.040 --> 0:15:34.040
<v Speaker 2>but it sounded really good. So I was like, they're

0:15:34.040 --> 0:15:35.400
<v Speaker 2>on that. I know they're on a windy boat.

0:15:35.520 --> 0:15:37.240
<v Speaker 1>I know I would because you can see my hair

0:15:37.320 --> 0:15:38.720
<v Speaker 1>is going crazy. Because I was gonna say, I wonder

0:15:38.760 --> 0:15:40.560
<v Speaker 1>if they put up a wind screen, because sometimes they'll

0:15:40.600 --> 0:15:43.240
<v Speaker 1>put up like just off camera, like a windscreen that

0:15:43.360 --> 0:15:46.360
<v Speaker 1>someone's holding like, oh, you know, but my hair is

0:15:46.600 --> 0:15:51.760
<v Speaker 1>obviously very much wind blown, and Kyle's is like slightly

0:15:51.800 --> 0:15:53.720
<v Speaker 1>wind blown, but not as much as mine because I'm

0:15:53.720 --> 0:15:55.800
<v Speaker 1>on the edge, you know, the railing of the boat.

0:15:56.160 --> 0:15:57.880
<v Speaker 1>I don't Yeah, I don't know. I need to watch

0:15:57.920 --> 0:15:59.640
<v Speaker 1>it now again to tell you. Easton. I'm not sure,

0:16:00.080 --> 0:16:03.680
<v Speaker 1>but I think it's the body mic. I mean, if

0:16:03.680 --> 0:16:06.400
<v Speaker 1>we looped it, we did. We did really well, yeah,

0:16:06.480 --> 0:16:08.200
<v Speaker 1>let's put it that way. But I mean I do

0:16:08.240 --> 0:16:10.960
<v Speaker 1>feel like there was looping for every episode. I'd say

0:16:11.000 --> 0:16:13.120
<v Speaker 1>at that point, like like we would go in and

0:16:13.160 --> 0:16:15.720
<v Speaker 1>we knew our guys and we you know, it was

0:16:15.760 --> 0:16:17.280
<v Speaker 1>like part of it, you know what I'm saying, It's.

0:16:17.120 --> 0:16:17.800
<v Speaker 2>Part of the process.

0:16:17.880 --> 0:16:21.480
<v Speaker 1>Totally, totally. Okay. So Carrie, we start in bed with

0:16:21.520 --> 0:16:24.760
<v Speaker 1>the baby faced Aiden and they're like they're never leaving,

0:16:25.120 --> 0:16:27.200
<v Speaker 1>They've got food. She says, when do you think they're

0:16:27.200 --> 0:16:29.320
<v Speaker 1>going to send someone to get us? And he's like

0:16:29.840 --> 0:16:34.080
<v Speaker 1>maybe when spring thaw comes or something. Adorable. It's very adorable,

0:16:34.520 --> 0:16:38.320
<v Speaker 1>so it's obviously going very very well. Then she goes

0:16:38.520 --> 0:16:42.080
<v Speaker 1>she goes out this crazy outfit with these lavender tights

0:16:42.160 --> 0:16:44.800
<v Speaker 1>up to her her waist, which I feel like someone

0:16:45.000 --> 0:16:49.400
<v Speaker 1>just dresses Halloween And did you see that, Hannah? Oh,

0:16:49.480 --> 0:16:51.520
<v Speaker 1>it was on our social I think that someone wore

0:16:51.560 --> 0:16:55.200
<v Speaker 1>it for Halloween. That particular outfit. It's like shorts or

0:16:55.800 --> 0:16:59.480
<v Speaker 1>a skirt. It's a skirt over some purple tights with

0:16:59.520 --> 0:17:02.440
<v Speaker 1>high high heels and some kind of a mid drift

0:17:02.480 --> 0:17:05.200
<v Speaker 1>bearing situation. I don't know. It's adorable. It's not one

0:17:05.200 --> 0:17:07.359
<v Speaker 1>that I remember, but I do need to ask Molly

0:17:07.359 --> 0:17:09.800
<v Speaker 1>about it because it's really funny and good. It's like

0:17:09.840 --> 0:17:11.119
<v Speaker 1>a six year old my dress.

0:17:11.240 --> 0:17:16.600
<v Speaker 2>Yes, And I love the wide shot of her like exasperated,

0:17:16.840 --> 0:17:18.480
<v Speaker 2>was stomping away from the dry clear.

0:17:20.440 --> 0:17:23.120
<v Speaker 1>It's pretty good. And the funny thing I think when

0:17:23.119 --> 0:17:29.640
<v Speaker 1>I watch those moments, Sarah is so physical. Her comedic

0:17:29.680 --> 0:17:33.639
<v Speaker 1>timing and her physicality is so good, and over time

0:17:33.800 --> 0:17:37.480
<v Speaker 1>I feel like I feel I don't know if I

0:17:37.520 --> 0:17:40.240
<v Speaker 1>should say this, but I feel like she didn't want

0:17:40.280 --> 0:17:42.000
<v Speaker 1>to do that as much or whatever, but back in

0:17:42.040 --> 0:17:43.879
<v Speaker 1>the day she was so free with it, you know.

0:17:44.040 --> 0:17:46.320
<v Speaker 1>And it's really good because that shot across the street.

0:17:46.680 --> 0:17:49.280
<v Speaker 1>There's a lot of what I love about Allison's direction

0:17:49.359 --> 0:17:52.119
<v Speaker 1>this particular episode especially, there's a lot of two shots

0:17:52.119 --> 0:17:54.240
<v Speaker 1>and a lot of masters, as we would call them,

0:17:54.600 --> 0:17:56.800
<v Speaker 1>that they just keep in the master for a decent

0:17:56.840 --> 0:17:59.440
<v Speaker 1>amount of time. Like there's a whole scene with Carrie

0:17:59.440 --> 0:18:01.080
<v Speaker 1>and Big when they first bump into each other in

0:18:01.119 --> 0:18:02.879
<v Speaker 1>the boat. I think they're in the master for a

0:18:02.880 --> 0:18:04.960
<v Speaker 1>while because this guy kind of jostles them and they

0:18:04.960 --> 0:18:07.159
<v Speaker 1>fall into each other. But then we cut into her

0:18:07.200 --> 0:18:09.239
<v Speaker 1>face and you could just see her looking at him

0:18:09.280 --> 0:18:12.160
<v Speaker 1>with such powerful eyes, you know, and then they when

0:18:12.160 --> 0:18:14.040
<v Speaker 1>we go back and we see them again on the boat,

0:18:14.280 --> 0:18:16.439
<v Speaker 1>there's a master for kind of a bit of time,

0:18:17.040 --> 0:18:19.480
<v Speaker 1>just to see their body language. It's so good, And

0:18:19.520 --> 0:18:23.720
<v Speaker 1>I remember really wanting to do that a lot more.

0:18:24.040 --> 0:18:30.400
<v Speaker 1>And then someone somewhere, possibly HBO people, wanted to cut

0:18:30.440 --> 0:18:34.000
<v Speaker 1>into two close ups. But I remember Sir Jessica used

0:18:34.000 --> 0:18:36.919
<v Speaker 1>to always say, you know, we need the distant shots

0:18:36.920 --> 0:18:38.639
<v Speaker 1>so that you can see the whole outfit and the

0:18:38.680 --> 0:18:40.480
<v Speaker 1>shoes and really get a feeling of the city.

0:18:40.880 --> 0:18:43.879
<v Speaker 2>Yes. Yes, And to me as a viewer, those shots

0:18:43.960 --> 0:18:45.679
<v Speaker 2>feel I feel like I'm there at the party. I

0:18:45.680 --> 0:18:47.480
<v Speaker 2>feel like I'm part of this, you know, as watching

0:18:47.560 --> 0:18:49.160
<v Speaker 2>TV shows, right, like if you were there.

0:18:48.920 --> 0:18:52.440
<v Speaker 1>The party and you just looked over like you're a person. Yeah, yeah, yeah,

0:18:52.440 --> 0:18:54.600
<v Speaker 1>that's true. That does feel like that. I totally felt

0:18:54.600 --> 0:18:56.680
<v Speaker 1>that way too, and I was there, but I still

0:18:56.720 --> 0:18:59.679
<v Speaker 1>totally felt that way. So we're with Aiden, we're with

0:18:59.720 --> 0:19:01.560
<v Speaker 1>Aid and Carry, and they're in bed and they're not

0:19:01.600 --> 0:19:03.520
<v Speaker 1>going to get out and they have to send people.

0:19:03.680 --> 0:19:05.439
<v Speaker 1>Then she's going to go to this party for a

0:19:05.480 --> 0:19:09.240
<v Speaker 1>magazine called Gab, which obviously made up right like what

0:19:09.400 --> 0:19:11.920
<v Speaker 1>on Earth? And then she dropped some very funny names

0:19:11.920 --> 0:19:13.800
<v Speaker 1>when they're on that boat. But she's going to go

0:19:13.840 --> 0:19:16.719
<v Speaker 1>to the magazine party, and then Aiden basically says like

0:19:16.960 --> 0:19:20.080
<v Speaker 1>I don't want to go, which is adorable and odd

0:19:20.200 --> 0:19:22.240
<v Speaker 1>a little bit, but obviously we need to see big

0:19:22.320 --> 0:19:25.400
<v Speaker 1>so it's fine. Then she tries to get her clothes

0:19:25.480 --> 0:19:29.080
<v Speaker 1>from the dry cleaner in the funny outfit. She tries

0:19:29.119 --> 0:19:31.920
<v Speaker 1>twice and they're like no, which I also feel. The

0:19:32.000 --> 0:19:33.960
<v Speaker 1>drag cleaner's in New York City, for some reason, are

0:19:33.960 --> 0:19:36.480
<v Speaker 1>never open and it makes no sense, like everything is

0:19:36.480 --> 0:19:38.320
<v Speaker 1>supposed to be open, just like we say on the show.

0:19:38.440 --> 0:19:40.399
<v Speaker 1>I've had this experience myself. You walk by in the

0:19:40.440 --> 0:19:42.879
<v Speaker 1>middle of the day, the drag cleaner's closed, like why, why?

0:19:42.960 --> 0:19:46.880
<v Speaker 1>It's odd? Anyway, I feel what carry's going through. So

0:19:46.960 --> 0:19:50.880
<v Speaker 1>then we're at the boat and for some reason Natasha

0:19:51.000 --> 0:19:54.800
<v Speaker 1>is not there, which he never explains, and she never

0:19:54.880 --> 0:19:58.120
<v Speaker 1>really presses, which is also interesting. But she also kind

0:19:58.119 --> 0:19:59.680
<v Speaker 1>of get the feeling that he came to see her

0:20:00.240 --> 0:20:02.520
<v Speaker 1>where she feels, but then she doesn't know because she's

0:20:02.560 --> 0:20:06.280
<v Speaker 1>all like trying to be appropriate and whatnot, you know,

0:20:06.400 --> 0:20:08.480
<v Speaker 1>slightly aloof and she walks away from him, which I

0:20:08.520 --> 0:20:11.959
<v Speaker 1>thought was so great, right, And he's very you know,

0:20:12.720 --> 0:20:16.119
<v Speaker 1>charming basically in his way, and he asked her if

0:20:16.160 --> 0:20:19.639
<v Speaker 1>they're seeing someone, and she says yes and that he's perfect,

0:20:19.720 --> 0:20:25.960
<v Speaker 1>and I'm like, so then this part I didn't remember

0:20:26.000 --> 0:20:28.800
<v Speaker 1>this at all. And it's so funny to think about

0:20:28.920 --> 0:20:32.640
<v Speaker 1>voicemail machines that we all used to have. But when

0:20:32.720 --> 0:20:35.000
<v Speaker 1>you go to play the voicemail machine, everyone in the

0:20:35.080 --> 0:20:38.280
<v Speaker 1>room can hear it, Like how mortifying? How do we

0:20:38.320 --> 0:20:38.920
<v Speaker 1>live through this?

0:20:39.560 --> 0:20:41.639
<v Speaker 2>It's funny I think about, like when you play it

0:20:41.640 --> 0:20:43.160
<v Speaker 2>back when we can hear And also if you're at

0:20:43.160 --> 0:20:45.560
<v Speaker 2>home with friends and someone calls her like, oh, let

0:20:45.600 --> 0:20:47.600
<v Speaker 2>the machine get it, they're going to hear it.

0:20:47.840 --> 0:20:51.840
<v Speaker 1>Absolutely absolutely. I mean I can't believe more problems didn't

0:20:51.880 --> 0:20:54.960
<v Speaker 1>happen like you know, it's like, wow, it's a lot.

0:20:55.200 --> 0:20:58.520
<v Speaker 1>So Carrie, Carrie comes home with Aiden, and Aiden says

0:20:58.560 --> 0:21:00.800
<v Speaker 1>something vague about like I'm going to set the timer,

0:21:00.800 --> 0:21:03.080
<v Speaker 1>and I was like timer, does he have a child

0:21:03.119 --> 0:21:05.120
<v Speaker 1>who has iPad? Time? Like That's what went through my head.

0:21:05.160 --> 0:21:06.520
<v Speaker 1>I was like, where did they didn't go? But the

0:21:06.560 --> 0:21:09.600
<v Speaker 1>other funny thing is that her apartment's really tiny, so

0:21:09.680 --> 0:21:12.360
<v Speaker 1>he just walks to the little kitchenette area. He could

0:21:12.400 --> 0:21:15.480
<v Speaker 1>totally have heard Big yes, but he acts like he doesn't.

0:21:15.520 --> 0:21:19.640
<v Speaker 1>And he says, you know, they do. They also cut

0:21:20.000 --> 0:21:23.400
<v Speaker 1>to him from her angle right that looks like he's

0:21:23.440 --> 0:21:25.920
<v Speaker 1>far away. He's so not far away, which I think

0:21:25.960 --> 0:21:27.879
<v Speaker 1>we all know right, like now that we know her

0:21:27.920 --> 0:21:30.240
<v Speaker 1>apartment like the back of her hand. But she's right

0:21:30.280 --> 0:21:32.800
<v Speaker 1>there by the door playing and BIG's like loud like

0:21:33.200 --> 0:21:35.720
<v Speaker 1>I carry him downstairs or whatever. I'm on your corner.

0:21:36.080 --> 0:21:38.040
<v Speaker 1>He says something like in a panic. He sounds like

0:21:38.160 --> 0:21:40.199
<v Speaker 1>panic for him, right, and she's like ah and she

0:21:40.240 --> 0:21:43.520
<v Speaker 1>stops it. So then Aiden says, you're out of coffee filters,

0:21:43.720 --> 0:21:46.440
<v Speaker 1>and I think he says, does he say he's going

0:21:46.480 --> 0:21:48.600
<v Speaker 1>to the Korean to get it? He says something weird.

0:21:48.680 --> 0:21:53.159
<v Speaker 2>That is what he said. Jumped out at me. As

0:21:53.200 --> 0:21:55.679
<v Speaker 2>not having been a New Yorker in the two thousands,

0:21:55.720 --> 0:21:56.760
<v Speaker 2>I was like, I.

0:21:56.680 --> 0:22:01.760
<v Speaker 1>Assume Bodega, yes, Bodega, Aiden, do you not know? And

0:22:01.800 --> 0:22:04.520
<v Speaker 1>I guess the truth is he might not. He's Aiden,

0:22:05.040 --> 0:22:09.119
<v Speaker 1>he's from Virginia where he's from, right, like you know

0:22:10.720 --> 0:22:14.040
<v Speaker 1>Woods totally. I was like, that's so funny that you're

0:22:14.040 --> 0:22:16.840
<v Speaker 1>going to Korean but okay, So he's going to the

0:22:16.920 --> 0:22:19.320
<v Speaker 1>Korean to get it, to get a coffee filter and

0:22:19.359 --> 0:22:23.160
<v Speaker 1>then he there, he leaves and then there's not knocking.

0:22:23.240 --> 0:22:25.280
<v Speaker 1>She opens the door. She thinks it's Aidan, but it's Big.

0:22:25.440 --> 0:22:29.800
<v Speaker 1>Oh my god. Panic. I felt panic. And then she says,

0:22:29.840 --> 0:22:31.359
<v Speaker 1>what are you doing here? And he says, didn't you

0:22:31.359 --> 0:22:35.320
<v Speaker 1>get my message? And she goes, what wait? I paused it?

0:22:35.359 --> 0:22:38.480
<v Speaker 1>And then he says, was that the guy the perfect boyfriend?

0:22:38.480 --> 0:22:40.760
<v Speaker 1>And she was like yes, and he's coming back. And

0:22:40.800 --> 0:22:44.359
<v Speaker 1>I felt very stressed, very stressed, even though I couldn't

0:22:44.359 --> 0:22:46.400
<v Speaker 1>really remember what happened. I was like, I don't think

0:22:46.400 --> 0:22:48.879
<v Speaker 1>Aiden comes back and finds him, but I mean he

0:22:49.040 --> 0:22:52.040
<v Speaker 1>totally could. What the heck? Right? And then Big is

0:22:52.080 --> 0:22:54.960
<v Speaker 1>all like I'm so fucked up. I was like, oh,

0:22:55.040 --> 0:22:57.000
<v Speaker 1>that is lame, man, what did you think?

0:22:57.400 --> 0:23:00.560
<v Speaker 2>I had the exact same reaction. I was like, you know,

0:23:00.760 --> 0:23:06.800
<v Speaker 2>I remember acting like this when I was like seventeen. Yeah, yeah,

0:23:07.000 --> 0:23:09.639
<v Speaker 2>like doing some big dramatic the drama.

0:23:09.760 --> 0:23:11.440
<v Speaker 1>Drama. Yeah, the drama is a lot.

0:23:11.600 --> 0:23:14.119
<v Speaker 2>I can't imagine hearing that. That's like how old is

0:23:14.119 --> 0:23:17.200
<v Speaker 2>big supposed to be? Like it is like forties. Yeah.

0:23:17.720 --> 0:23:19.720
<v Speaker 2>I was like, come on, man, what are you doing?

0:23:20.240 --> 0:23:21.679
<v Speaker 1>I mean, for sure that's who he is.

0:23:21.760 --> 0:23:23.400
<v Speaker 2>Yes, I guess that's it is who he is.

0:23:23.320 --> 0:23:25.800
<v Speaker 1>But it did I did think about the drama, and

0:23:25.840 --> 0:23:30.000
<v Speaker 1>I did think about like, huh, like I don't really

0:23:30.040 --> 0:23:33.359
<v Speaker 1>remember this, but it works, right because I think the

0:23:33.440 --> 0:23:36.280
<v Speaker 1>reason that it works, or that it seems like it

0:23:36.320 --> 0:23:39.880
<v Speaker 1>could happen, is that he is so withholding and covered

0:23:40.600 --> 0:23:45.480
<v Speaker 1>that then like he's not fluid, you know, he doesn't

0:23:45.480 --> 0:23:50.679
<v Speaker 1>know how to communicate really, and she seems to understand

0:23:50.720 --> 0:23:53.679
<v Speaker 1>that somehow, you know, which is kind of sweet, but

0:23:53.720 --> 0:23:54.680
<v Speaker 1>then also really not.

0:23:56.040 --> 0:23:59.920
<v Speaker 2>Does he leave the message? The message is before the

0:24:00.359 --> 0:24:04.680
<v Speaker 2>party on the boat, okay, because I'm wondering, like how

0:24:04.760 --> 0:24:09.720
<v Speaker 2>much of his overflow of emotion and passion for Carrie

0:24:09.880 --> 0:24:12.280
<v Speaker 2>is from seeing her and learning that she has someone

0:24:12.320 --> 0:24:14.600
<v Speaker 2>new in the idea that even though he's with Natasha,

0:24:14.760 --> 0:24:16.560
<v Speaker 2>she is now even more entertainable.

0:24:16.960 --> 0:24:20.240
<v Speaker 1>I mean, yeah, Easton, you're right on. I didn't even

0:24:20.240 --> 0:24:22.280
<v Speaker 1>think about all those things. I mean, for me, what

0:24:22.359 --> 0:24:25.119
<v Speaker 1>I thought, because I'm a woman, I was like, Oh,

0:24:25.160 --> 0:24:28.560
<v Speaker 1>he's just been pining. He's just been pining and trying

0:24:28.560 --> 0:24:30.280
<v Speaker 1>to figure out how to see her. So he gets

0:24:30.359 --> 0:24:32.159
<v Speaker 1>he goes to this party thinking he's going to see her.

0:24:32.160 --> 0:24:34.919
<v Speaker 1>It doesn't bring his wife because he's pining. Right, I

0:24:34.920 --> 0:24:37.560
<v Speaker 1>didn't even think about the whole unobtainable But that's so true.

0:24:37.640 --> 0:24:40.000
<v Speaker 2>I mean, I agree that he did probably go without

0:24:40.080 --> 0:24:42.720
<v Speaker 2>Natasha to see her, but then then the extra layer

0:24:42.720 --> 0:24:45.720
<v Speaker 2>of like maybe the reality of seeing her coupled with

0:24:45.880 --> 0:24:47.520
<v Speaker 2>she has a boyfriend that she thinks is perfect.

0:24:47.920 --> 0:24:50.320
<v Speaker 1>Yeah, I mean that can hurt. That can hurt good

0:24:50.359 --> 0:24:53.840
<v Speaker 1>time for sure. And I think he definitely seems to

0:24:53.960 --> 0:24:56.240
<v Speaker 1>be And I don't know if this is true for

0:24:56.280 --> 0:24:57.919
<v Speaker 1>all men. I know there are some people who think

0:24:58.000 --> 0:24:59.760
<v Speaker 1>this is true for all men. But you know, he's

0:24:59.720 --> 0:25:02.119
<v Speaker 1>seen to be the type of man who needs a

0:25:02.160 --> 0:25:03.920
<v Speaker 1>bit of a chase situation.

0:25:04.200 --> 0:25:04.760
<v Speaker 2>Yes, he does.

0:25:05.080 --> 0:25:08.560
<v Speaker 1>But yeah, but that's what I think about that. But

0:25:08.640 --> 0:25:10.000
<v Speaker 1>I mean, do you think that's all men.

0:25:11.160 --> 0:25:14.680
<v Speaker 2>I don't think that's all men, but I think it's

0:25:15.240 --> 0:25:19.639
<v Speaker 2>a large majority. And I don't know if this is

0:25:19.680 --> 0:25:22.399
<v Speaker 2>the right. Like I've seen this. I don't personally believe this,

0:25:22.400 --> 0:25:23.679
<v Speaker 2>but I have seen this out there the whole like

0:25:24.480 --> 0:25:27.639
<v Speaker 2>men are hunters. They want to you know, like I

0:25:27.680 --> 0:25:30.439
<v Speaker 2>think that's kind of it's dumb, but like part of

0:25:30.480 --> 0:25:31.959
<v Speaker 2>me is like, h God, is there any is there

0:25:32.000 --> 0:25:32.520
<v Speaker 2>truth to that?

0:25:32.640 --> 0:25:34.560
<v Speaker 1>I don't know. I don't know if there's truth to

0:25:34.640 --> 0:25:36.560
<v Speaker 1>it either. I wonder about that. I mean, they're very

0:25:36.600 --> 0:25:38.760
<v Speaker 1>well might be truth. I mean it's also like you

0:25:38.800 --> 0:25:45.000
<v Speaker 1>remember when Charlotte dates are a handyman. Yeah, because there's something

0:25:45.000 --> 0:25:47.800
<v Speaker 1>adorable about a guy fixing things in your apartment. Like

0:25:47.880 --> 0:25:51.760
<v Speaker 1>that's such a very old school kind of thing. But

0:25:51.880 --> 0:25:53.680
<v Speaker 1>I mean I relate to it.

0:25:53.680 --> 0:25:58.720
<v Speaker 2>It's true. I can't. I'll fix the WiFi. My wife doesn't.

0:25:59.480 --> 0:26:01.160
<v Speaker 2>She does not react at.

0:26:01.119 --> 0:26:02.680
<v Speaker 1>All but positive.

0:26:03.480 --> 0:26:05.880
<v Speaker 2>She's excited, she's happy, but she's not like but if

0:26:05.920 --> 0:26:09.600
<v Speaker 2>I man, I I've changed a light fixture the first time.

0:26:09.760 --> 0:26:13.159
<v Speaker 2>That was another level. You know, when it's like something.

0:26:12.960 --> 0:26:18.120
<v Speaker 1>You know, I know that's adorable. It's nice. It's definitely nice.

0:26:18.320 --> 0:26:20.639
<v Speaker 1>I had a boyfriend once who was frustrated with the

0:26:20.720 --> 0:26:23.639
<v Speaker 1>door in my old New York apartment because it was

0:26:23.800 --> 0:26:26.520
<v Speaker 1>like off or so I don't know something, and he

0:26:26.600 --> 0:26:29.399
<v Speaker 1>took it off the hinges and he standed it and

0:26:29.440 --> 0:26:35.480
<v Speaker 1>I took a lot of pictures wow, because it was

0:26:35.640 --> 0:26:38.960
<v Speaker 1>so cute. Yeah, so I totally know what you're saying.

0:26:39.000 --> 0:26:40.679
<v Speaker 1>I totally know what you're saying. And what is that? Like,

0:26:40.720 --> 0:26:41.760
<v Speaker 1>where does that come from?

0:26:41.840 --> 0:26:42.040
<v Speaker 2>You know?

0:26:42.080 --> 0:26:45.720
<v Speaker 1>It's so interesting, like is that socialization or is that

0:26:45.800 --> 0:26:49.760
<v Speaker 1>like innately in our brain, I wants.

0:26:49.560 --> 0:26:51.040
<v Speaker 2>To take care of me and make sure make me

0:26:51.040 --> 0:26:52.200
<v Speaker 2>feel safe.

0:26:52.200 --> 0:26:55.040
<v Speaker 1>I don't really want that, right, So it's interesting because technically,

0:26:55.119 --> 0:26:57.800
<v Speaker 1>intellectually I don't actually want that, but then yet my

0:26:57.800 --> 0:27:01.760
<v Speaker 1>brain still responds, know what I mean exactly. It's wacky.

0:27:01.800 --> 0:27:04.400
<v Speaker 1>It's wacky. So with big, I think you're absolutely right.

0:27:04.440 --> 0:27:07.320
<v Speaker 1>All the different things play in for sure, And I

0:27:07.400 --> 0:27:11.360
<v Speaker 1>also feel like the drama plays in of like I'm

0:27:11.400 --> 0:27:15.280
<v Speaker 1>on the corner, Like that's not that's like I don't

0:27:15.359 --> 0:27:17.159
<v Speaker 1>like that, Like I would want someone to call me

0:27:17.200 --> 0:27:20.440
<v Speaker 1>and be like I'm on your corner. Yeah, you know

0:27:20.480 --> 0:27:23.840
<v Speaker 1>what I mean. But obviously they're not us, right, But

0:27:24.320 --> 0:27:27.200
<v Speaker 1>it's very high drama, Like he's making it high drama.

0:27:27.680 --> 0:27:30.000
<v Speaker 2>Yeah, he's doing this like street.

0:27:29.760 --> 0:27:34.840
<v Speaker 1>Car name definitely so streetcar, so streetcar. And then he

0:27:34.880 --> 0:27:37.560
<v Speaker 1>waits till he leaves, and I mean it's a lot

0:27:37.600 --> 0:27:40.080
<v Speaker 1>of drama. But this is back to Sara Jessca. I mean,

0:27:40.080 --> 0:27:42.160
<v Speaker 1>I think everybody's very good in this, but like, yes,

0:27:42.280 --> 0:27:49.199
<v Speaker 1>the way that she doesn't overplay somehow, like she's one

0:27:49.240 --> 0:27:53.359
<v Speaker 1>hundred percent grounded and there and her eyes are saying

0:27:53.400 --> 0:27:57.920
<v Speaker 1>so much, but she's also just very she just trusts

0:27:58.040 --> 0:28:00.320
<v Speaker 1>the material and the writing and the situation a wait,

0:28:00.520 --> 0:28:02.760
<v Speaker 1>and she doesn't overdo it in any way because if

0:28:02.760 --> 0:28:05.439
<v Speaker 1>she had, it would be bad. Yes, you know, like

0:28:05.520 --> 0:28:09.760
<v Speaker 1>it makes me really appreciate her, the intelligent way that

0:28:09.840 --> 0:28:10.920
<v Speaker 1>she looks at material.

0:28:11.160 --> 0:28:14.680
<v Speaker 2>Yes, it's it's a it's a masterclass. I really watching it,

0:28:15.560 --> 0:28:16.320
<v Speaker 2>really really is.

0:28:16.359 --> 0:28:18.679
<v Speaker 1>And she's so funny in the early and so charming,

0:28:18.720 --> 0:28:20.920
<v Speaker 1>and then she's so real and like so panicked, and

0:28:21.200 --> 0:28:24.160
<v Speaker 1>you know she does have the amazing Aiden at this point,

0:28:24.280 --> 0:28:27.159
<v Speaker 1>especially super amazing Aiden, right, like really none of his

0:28:27.720 --> 0:28:28.880
<v Speaker 1>things have shown up yet.

0:28:29.080 --> 0:28:32.000
<v Speaker 2>No, I'm a very public and longtime Aiden. I know,

0:28:32.240 --> 0:28:34.680
<v Speaker 2>I know which I've talked to your ear off about

0:28:34.880 --> 0:28:37.520
<v Speaker 2>watching this episode, and you know, trin this episode on

0:28:37.560 --> 0:28:40.160
<v Speaker 2>and I go, this is an eight episode, and here

0:28:40.200 --> 0:28:42.760
<v Speaker 2>we go, get let's fire up some hating and then no,

0:28:43.080 --> 0:28:45.560
<v Speaker 2>he's he has not committed any since to at.

0:28:45.440 --> 0:28:48.440
<v Speaker 1>This point, that really doesn't I don't think it's until

0:28:48.520 --> 0:28:51.240
<v Speaker 1>the wall. Yes, I think the wall is when we

0:28:51.280 --> 0:28:53.840
<v Speaker 1>get the first taste of like the oddities of Aiden

0:28:53.960 --> 0:28:56.760
<v Speaker 1>or whatever. But he means, well, I mean I haven't

0:28:56.760 --> 0:28:58.760
<v Speaker 1>gotten to rewatch that yet. I only have the veguess

0:28:58.800 --> 0:29:00.680
<v Speaker 1>of memory. But it's kind of like what we're saying

0:29:00.680 --> 0:29:04.560
<v Speaker 1>that the positives of him just kind of gone too far.

0:29:05.040 --> 0:29:09.000
<v Speaker 2>Yes, right, exactly right. I think in a different excep

0:29:09.120 --> 0:29:11.400
<v Speaker 2>thinking about this, I'm like, normally I would be on

0:29:11.600 --> 0:29:13.800
<v Speaker 2>him for not going with her to the party. I know, like,

0:29:14.400 --> 0:29:16.640
<v Speaker 2>it wasn't that it wasn't that big of a deal

0:29:16.680 --> 0:29:18.560
<v Speaker 2>to her, so that he didn't come. She didn't, She

0:29:18.600 --> 0:29:19.120
<v Speaker 2>wasn't mad.

0:29:19.000 --> 0:29:21.840
<v Speaker 1>She was it's not her part. I mean, she's her party.

0:29:22.120 --> 0:29:24.400
<v Speaker 2>She's just gonna go. She's not super excited about the

0:29:24.400 --> 0:29:28.080
<v Speaker 2>GAB party. But I think there's another version where I'm like,

0:29:28.360 --> 0:29:29.800
<v Speaker 2>he should have gone with her that party and then

0:29:29.840 --> 0:29:32.240
<v Speaker 2>this big thing wouldn't have happened. I didn't. I did

0:29:32.240 --> 0:29:34.560
<v Speaker 2>not react that way. But I could see that, and

0:29:34.600 --> 0:29:36.200
<v Speaker 2>I was trying to think, like, why didn't I react

0:29:36.240 --> 0:29:38.400
<v Speaker 2>that way? Because Aiden is fine at this point.

0:29:49.120 --> 0:29:51.080
<v Speaker 1>Well, the other thing I think about it that I

0:29:51.240 --> 0:29:53.080
<v Speaker 1>liked about it because also I was like, well, why

0:29:53.080 --> 0:29:56.040
<v Speaker 1>didn't he go? I think it's because I think it's

0:29:56.040 --> 0:29:59.080
<v Speaker 1>because they're very different. And part of what we like

0:29:59.120 --> 0:30:01.400
<v Speaker 1>about him is that he's different from her, right, because

0:30:01.520 --> 0:30:04.480
<v Speaker 1>Big is similar to her. I mean, he's a much

0:30:04.800 --> 0:30:10.200
<v Speaker 1>more big deal than her, meaning the way the characters

0:30:10.240 --> 0:30:12.040
<v Speaker 1>are at that point in their lives. Right. But like,

0:30:12.320 --> 0:30:14.400
<v Speaker 1>you know, he goes to those parties because he's in

0:30:14.440 --> 0:30:16.440
<v Speaker 1>the business, which she makes a little side joke. And

0:30:16.480 --> 0:30:18.640
<v Speaker 1>I don't know if people realize who he's based on

0:30:18.720 --> 0:30:22.080
<v Speaker 1>that he was, you know, a publisher person. But you know,

0:30:22.440 --> 0:30:24.680
<v Speaker 1>the idea of Big is that he was like a

0:30:24.800 --> 0:30:29.040
<v Speaker 1>very successful person in her same social circles, right, and

0:30:29.040 --> 0:30:32.840
<v Speaker 1>then Aiden is totally out of her social circles, a

0:30:32.920 --> 0:30:36.640
<v Speaker 1>furniture maker from some country place that we don't know.

0:30:37.000 --> 0:30:39.480
<v Speaker 1>Maybe they said it somewhere I have to look back.

0:30:39.760 --> 0:30:41.920
<v Speaker 1>But you know, he's different, and I think that's what's

0:30:41.960 --> 0:30:44.640
<v Speaker 1>kind of nice, right, And I think that's why Aiden

0:30:44.720 --> 0:30:47.080
<v Speaker 1>doesn't want to go. And he's not saying I need

0:30:47.120 --> 0:30:49.320
<v Speaker 1>to be with you all the time, which is actually

0:30:49.680 --> 0:30:50.800
<v Speaker 1>nice from Aiden.

0:30:51.280 --> 0:30:54.840
<v Speaker 2>Right, allowing her to have this separate part of her life. Right,

0:30:55.080 --> 0:30:57.560
<v Speaker 2>And he's not jealous, Yeah, exactly, very secure.

0:30:57.640 --> 0:30:59.120
<v Speaker 1>Yeah, he's not like who are you going to meet?

0:31:00.360 --> 0:31:03.680
<v Speaker 1>Which is good, which is very good, very good. So yeah,

0:31:03.720 --> 0:31:06.320
<v Speaker 1>Aiden's super interesting at this point to me. So then

0:31:07.320 --> 0:31:11.680
<v Speaker 1>Big comes, he's up mess self and she's very sweet

0:31:11.680 --> 0:31:14.560
<v Speaker 1>to him, and she basically says at the very end

0:31:15.320 --> 0:31:19.600
<v Speaker 1>that oh he leaves after he says himself up. And

0:31:19.640 --> 0:31:22.760
<v Speaker 1>then Carrie listens to the message that he left on

0:31:22.800 --> 0:31:25.160
<v Speaker 1>the machine and he says he misses her and he

0:31:25.200 --> 0:31:28.600
<v Speaker 1>can't stop thinking about her. And she says, this is

0:31:28.640 --> 0:31:32.920
<v Speaker 1>exactly what I wanted to hear a year ago. Oh man,

0:31:33.080 --> 0:31:36.360
<v Speaker 1>I felt that. I mean, like, this is the timing situation,

0:31:36.560 --> 0:31:38.480
<v Speaker 1>and this is what I think if I could say,

0:31:38.560 --> 0:31:40.240
<v Speaker 1>I have like a list of things that I would

0:31:40.280 --> 0:31:42.280
<v Speaker 1>like to say to younger women, and this is one

0:31:42.320 --> 0:31:44.640
<v Speaker 1>of them. And I have at some point said this

0:31:44.680 --> 0:31:47.480
<v Speaker 1>to different younger women. I know, but here's the chance

0:31:47.480 --> 0:31:51.040
<v Speaker 1>to say it to more. I think that one of

0:31:51.080 --> 0:31:56.720
<v Speaker 1>the biggest things that I didn't understand was the timing

0:31:57.280 --> 0:32:01.160
<v Speaker 1>of like where people are in life and how that

0:32:01.320 --> 0:32:04.320
<v Speaker 1>is going to relate to a relationship. I felt like,

0:32:05.000 --> 0:32:08.520
<v Speaker 1>if the feeling is strong enough, that is going to

0:32:08.760 --> 0:32:12.480
<v Speaker 1>dictate what someone is ready for. But I do not

0:32:12.600 --> 0:32:16.200
<v Speaker 1>think that's true. Now very Charlotte, I mean so Charlotte,

0:32:16.320 --> 0:32:20.040
<v Speaker 1>so Charlotte. But also I think Charlotte thinks that she's

0:32:20.800 --> 0:32:22.880
<v Speaker 1>only going to meet people that she's going to know

0:32:23.120 --> 0:32:25.680
<v Speaker 1>and meet people who want what she wants, yes, right,

0:32:25.800 --> 0:32:27.800
<v Speaker 1>and she makes a lot of efforts for that to happen,

0:32:27.840 --> 0:32:30.120
<v Speaker 1>like her wacky episode where she's like, I'm going to

0:32:30.200 --> 0:32:33.680
<v Speaker 1>call the married guys of my friends or whatever. She's

0:32:33.760 --> 0:32:36.400
<v Speaker 1>just like, huh what what friends like what? But I

0:32:36.440 --> 0:32:38.960
<v Speaker 1>guess Charlotte has other friends and then that doesn't go

0:32:39.040 --> 0:32:41.560
<v Speaker 1>that well. But that's how she meets Trey. But you know,

0:32:41.640 --> 0:32:44.720
<v Speaker 1>like she has her her different methodologies that she's going

0:32:44.720 --> 0:32:46.280
<v Speaker 1>to try to use to get that. But I think

0:32:46.320 --> 0:32:50.920
<v Speaker 1>she just assumes in an interesting way that you know,

0:32:52.280 --> 0:32:54.720
<v Speaker 1>these other guys want to you know, settle down and

0:32:54.720 --> 0:32:57.560
<v Speaker 1>get married and have you know, two point five kids

0:32:57.600 --> 0:33:00.000
<v Speaker 1>and live in a big apartment or whatever she wants.

0:33:00.280 --> 0:33:01.800
<v Speaker 1>You know what I'm saying, isn't that what she wants?

0:33:02.720 --> 0:33:02.880
<v Speaker 2>Yeah?

0:33:02.960 --> 0:33:05.239
<v Speaker 1>Yeah, I mean I do think that's naive, right, But

0:33:05.280 --> 0:33:08.240
<v Speaker 1>I also think at the time, and I see this

0:33:08.400 --> 0:33:10.000
<v Speaker 1>in the writing of the show in a way that

0:33:10.080 --> 0:33:12.960
<v Speaker 1>I wasn't aware of, but I really notice it now

0:33:13.000 --> 0:33:17.040
<v Speaker 1>from twenty twenty five perspective. The background of the show,

0:33:17.120 --> 0:33:20.560
<v Speaker 1>even with Miranda, who I never thought of as being

0:33:20.640 --> 0:33:22.640
<v Speaker 1>like this, And I've actually said to Cynthia, like, did

0:33:22.680 --> 0:33:24.800
<v Speaker 1>you remember that Miranda used to talk about trying to

0:33:24.840 --> 0:33:29.520
<v Speaker 1>get married? She's like what, I'm like, there's multiple episodes

0:33:29.920 --> 0:33:33.320
<v Speaker 1>where you just got not Like. What I remember Miranda

0:33:33.480 --> 0:33:35.160
<v Speaker 1>is that she's super independent and she wants to be

0:33:35.200 --> 0:33:37.720
<v Speaker 1>a partner, and she's you know, strong in all those things,

0:33:37.800 --> 0:33:40.240
<v Speaker 1>and that she is worried about dying alone. Yes, And

0:33:40.280 --> 0:33:44.120
<v Speaker 1>I feel like that makes perfect emotional sense. There's that

0:33:44.160 --> 0:33:47.080
<v Speaker 1>one where her interior designer gets married to the guy

0:33:47.200 --> 0:33:49.240
<v Speaker 1>and she's like, that should have been me, and now

0:33:49.560 --> 0:33:51.320
<v Speaker 1>no one's going to be with me. No, no, no,

0:33:51.360 --> 0:33:55.120
<v Speaker 1>And I'm like, who's that person? But I think The

0:33:55.160 --> 0:33:58.440
<v Speaker 1>background of the conversation in the year two thousand and

0:33:58.760 --> 0:34:01.880
<v Speaker 1>nineteen ninety nine was that all women want to get married.

0:34:02.360 --> 0:34:05.360
<v Speaker 1>That was the background, right, So that's where we're coming from.

0:34:05.400 --> 0:34:07.959
<v Speaker 1>So then like, that's why Samantha is like an outlier,

0:34:08.160 --> 0:34:11.680
<v Speaker 1>like a total complete outlier. Whereas now in twenty twenty five,

0:34:12.120 --> 0:34:16.040
<v Speaker 1>the statistics of the unmarried women are different. They were

0:34:16.120 --> 0:34:18.239
<v Speaker 1>changing already, right, And that's why they put us on

0:34:18.280 --> 0:34:20.200
<v Speaker 1>the cover of the Time magazine and wrote who needs

0:34:20.200 --> 0:34:22.640
<v Speaker 1>a husband? Which is one of my most favorite things ever,

0:34:23.000 --> 0:34:26.759
<v Speaker 1>as I think I say more than once. But now

0:34:26.840 --> 0:34:30.440
<v Speaker 1>the statistics match it, right, And especially like women over forty,

0:34:30.480 --> 0:34:32.239
<v Speaker 1>there's so many who've gotten divorced, and they're just like,

0:34:32.320 --> 0:34:34.400
<v Speaker 1>I don't have time for that. I have my own income,

0:34:34.480 --> 0:34:36.480
<v Speaker 1>I can travel, I can do what I want, and

0:34:36.520 --> 0:34:38.920
<v Speaker 1>I love it. I love it so much. But that

0:34:39.080 --> 0:34:42.080
<v Speaker 1>was just starting in the year two thousand. You know,

0:34:42.120 --> 0:34:47.759
<v Speaker 1>it wasn't like the background noise. The background noise was

0:34:48.000 --> 0:34:54.160
<v Speaker 1>all women want to get married. Yes, it's interesting, Yes, okay, everybody,

0:34:54.360 --> 0:34:56.480
<v Speaker 1>thanks for hanging with me in Easton. We have so

0:34:56.560 --> 0:34:58.560
<v Speaker 1>much to talk about that we are going to come

0:34:58.600 --> 0:35:01.600
<v Speaker 1>back later in the week. Please join US Easton and

0:35:01.680 --> 0:35:02.600
<v Speaker 1>i On. Are you a

0:35:02.719 --> 0:35:04.319
<v Speaker 2>Charlotte, We'll see you there, yeah,