1 00:00:00,720 --> 00:00:04,080 Speaker 1: I am all in again. 2 00:00:09,880 --> 00:00:10,400 Speaker 2: Let's do. 3 00:00:17,239 --> 00:00:20,560 Speaker 1: H. I am all in again with Scott Patterson and 4 00:00:20,800 --> 00:00:24,520 Speaker 1: iHeartRadio Podcast. Hey everybody, Scott Patterson, I am all in 5 00:00:24,560 --> 00:00:29,640 Speaker 1: Podcasts one eleven productions. iHeartRadio Media, iHeart Podcast. We are 6 00:00:30,520 --> 00:00:36,680 Speaker 1: gonna recap swan song. It's season three, episode fourteen with 7 00:00:37,000 --> 00:00:40,519 Speaker 1: choun Celia Party. Let me tell you a little bit 8 00:00:40,560 --> 00:00:44,800 Speaker 1: about him. He's an actor best known for playing Michael 9 00:00:44,920 --> 00:00:50,640 Speaker 1: Squintz Palladoros in the ninety three film The Sandlot, which 10 00:00:50,680 --> 00:00:55,040 Speaker 1: was a pretty big film. He began acting as a 11 00:00:55,080 --> 00:00:58,360 Speaker 1: child and appeared in several popular TV shows, including Gilmore Girls, 12 00:00:58,400 --> 00:01:02,960 Speaker 1: Boy Meets World, and Geeks and Er Johnson. Welcome to 13 00:01:03,000 --> 00:01:03,360 Speaker 1: the show. 14 00:01:03,920 --> 00:01:04,720 Speaker 2: Thanks for having me. 15 00:01:05,160 --> 00:01:07,840 Speaker 1: You got it? Uh, what do you think of the episode? 16 00:01:08,400 --> 00:01:12,080 Speaker 2: It's a fun one. You know, the show is a 17 00:01:13,240 --> 00:01:15,640 Speaker 2: it's such a beloved fan favorite. You know. I was 18 00:01:15,720 --> 00:01:18,040 Speaker 2: fortunate in my career to do a lot of like 19 00:01:19,600 --> 00:01:24,479 Speaker 2: smaller roles and things that kind of built the cult following. 20 00:01:24,920 --> 00:01:27,480 Speaker 2: And Gilmore Girls is right up there. I mean, you 21 00:01:27,520 --> 00:01:31,240 Speaker 2: guys had a crazy run and people that love this 22 00:01:31,319 --> 00:01:32,600 Speaker 2: show just really love it, you. 23 00:01:32,560 --> 00:01:35,680 Speaker 1: Know, they really do. It's a it's a very very 24 00:01:36,840 --> 00:01:41,720 Speaker 1: dedicated involved fan base for sure. All right, let's let 25 00:01:41,720 --> 00:01:44,840 Speaker 1: me synopsize this episode. Rory tries to integrate Jess More 26 00:01:44,840 --> 00:01:46,800 Speaker 1: into her life by having him join her for Friday 27 00:01:46,840 --> 00:01:49,280 Speaker 1: night dinner, and when he shows up with a black eye, 28 00:01:49,400 --> 00:01:51,680 Speaker 1: she assumes it was from Dean, but really it was 29 00:01:51,680 --> 00:01:56,040 Speaker 1: from another unpredictable source. Uh. Laura like gets worried about 30 00:01:56,080 --> 00:02:01,400 Speaker 1: the pace of Rory's physical relationship with Jess. Directed by 31 00:02:01,520 --> 00:02:06,280 Speaker 1: Chris Long, written by Dan Palladino. You know, at the opening, 32 00:02:06,360 --> 00:02:10,959 Speaker 1: we see the three Gilmore girls at Friday night dinner 33 00:02:12,040 --> 00:02:16,600 Speaker 1: and Rory tells confesses finally, and Emily already knows that 34 00:02:16,639 --> 00:02:21,040 Speaker 1: she isn't seeing Dean anymore. So Emily invites Jess over 35 00:02:21,240 --> 00:02:25,000 Speaker 1: for Friday night dinner because understandably, she wants to get 36 00:02:25,160 --> 00:02:29,799 Speaker 1: to meet him and then judge him what she likes 37 00:02:29,840 --> 00:02:32,040 Speaker 1: to do even more than meeting people. She loves to 38 00:02:32,160 --> 00:02:35,960 Speaker 1: judge people. And then Rory brings it up to Jess. 39 00:02:36,000 --> 00:02:41,200 Speaker 1: She reluctantly, He reluctantly agrees. If you've been following the show, 40 00:02:41,480 --> 00:02:44,799 Speaker 1: jahn Cy, what did you think of this dynamic at 41 00:02:44,800 --> 00:02:49,480 Speaker 1: the top of this show where where Jess is resistant, 42 00:02:49,840 --> 00:02:51,440 Speaker 1: It's like, gosh, I don't really want. 43 00:02:51,320 --> 00:02:51,720 Speaker 2: To do that. 44 00:02:51,880 --> 00:02:54,560 Speaker 1: Get somebody she has never met me, So gets somebody 45 00:02:54,600 --> 00:02:57,880 Speaker 1: that somebody else, and you know, fake her out. And 46 00:02:58,120 --> 00:03:00,360 Speaker 1: what difference does it make? What do you think that? 47 00:03:02,360 --> 00:03:05,919 Speaker 2: I think that, you know what, the Dean and Jess 48 00:03:05,960 --> 00:03:10,040 Speaker 2: situation has always been a very conflicted thing, Rory. She's 49 00:03:10,080 --> 00:03:14,800 Speaker 2: a it's almost like getting pulled in two different directions, 50 00:03:15,320 --> 00:03:17,359 Speaker 2: you know. I feel like sometimes the heart is a 51 00:03:19,000 --> 00:03:20,480 Speaker 2: it's crazy in that manner, you know. 52 00:03:22,160 --> 00:03:26,320 Speaker 1: Well, it's like Jess is having some problems adjusting to 53 00:03:28,320 --> 00:03:32,960 Speaker 1: her friendship with Dean, can't let it go. It constantly 54 00:03:33,080 --> 00:03:37,080 Speaker 1: nags at him. His jealousy rears its ugly head a 55 00:03:37,120 --> 00:03:41,280 Speaker 1: couple times in this episode, and Rory gets innocently pulled 56 00:03:41,280 --> 00:03:46,400 Speaker 1: into Miss Patty's rehearsal for her one woman show by 57 00:03:46,600 --> 00:03:48,920 Speaker 1: Miss Patty, not by Dean. But she ends up sitting 58 00:03:48,920 --> 00:03:51,120 Speaker 1: next to Dean because you know, why not they're friends. 59 00:03:52,160 --> 00:03:57,080 Speaker 1: And then we know that's going to pay dividends down 60 00:03:57,120 --> 00:03:58,960 Speaker 1: the line, and it does when Jess shows up at 61 00:03:58,960 --> 00:04:04,400 Speaker 1: Friday night dinner with a black eye and Rory just 62 00:04:04,480 --> 00:04:07,480 Speaker 1: goes right to the Dean thing, and was it you 63 00:04:07,600 --> 00:04:10,080 Speaker 1: got in a fight with Dean? And that was a 64 00:04:10,080 --> 00:04:13,520 Speaker 1: little rough. Those scenes were a little rough. Emily was 65 00:04:13,560 --> 00:04:20,000 Speaker 1: getting Emily. We're not used to seeing Emily be treated 66 00:04:20,240 --> 00:04:27,919 Speaker 1: so dismissively by anybody, really, I mean except Lorelei. But 67 00:04:28,080 --> 00:04:30,760 Speaker 1: now there's a lot of SaaS coming at it, even 68 00:04:30,800 --> 00:04:34,839 Speaker 1: even at the top of the show with the three girls, 69 00:04:34,839 --> 00:04:38,760 Speaker 1: there's a lot of sas coming at of coming out 70 00:04:38,800 --> 00:04:41,080 Speaker 1: of Rory now towards her grandmother, and we haven't really 71 00:04:41,080 --> 00:04:45,120 Speaker 1: seen that before. So I guess she's asserting her independence 72 00:04:45,160 --> 00:04:49,360 Speaker 1: and growing up a little bit. But the black eye 73 00:04:49,400 --> 00:04:55,440 Speaker 1: thing became quite the topic at dinner and led to 74 00:04:56,960 --> 00:05:00,480 Speaker 1: just storming out. What did you think of this fight? 75 00:05:01,160 --> 00:05:03,599 Speaker 1: Did you think that Rory was pushing him too hard 76 00:05:04,240 --> 00:05:07,960 Speaker 1: or that he overreacted and just should have just calm 77 00:05:07,960 --> 00:05:08,520 Speaker 1: the situation. 78 00:05:08,680 --> 00:05:13,400 Speaker 2: Yeah, yeah, I mean I can't say you really blamed him, 79 00:05:13,760 --> 00:05:20,080 Speaker 2: but obviously the expectations on the side is is warranted 80 00:05:20,120 --> 00:05:22,800 Speaker 2: as well. But you know, you know, he's a kid 81 00:05:22,800 --> 00:05:26,880 Speaker 2: with a tough pass that's trying to find his way, 82 00:05:27,160 --> 00:05:28,960 Speaker 2: and you know, I kind of sympathize with that in 83 00:05:29,279 --> 00:05:30,120 Speaker 2: a sense as well. 84 00:05:30,200 --> 00:05:35,360 Speaker 1: You know, he could have just told her, Yeah, I mean, 85 00:05:35,360 --> 00:05:38,200 Speaker 1: it's not that big a deal. A swan, you know, 86 00:05:38,360 --> 00:05:42,520 Speaker 1: got me in the eye, beat me. So what I mean, 87 00:05:42,520 --> 00:05:45,839 Speaker 1: he's a big boy, right, he can It's not that embarrassing. 88 00:05:45,880 --> 00:05:47,400 Speaker 1: I mean it's a little bit embarrassing, but it's not 89 00:05:47,400 --> 00:05:50,560 Speaker 1: that big a deal. Just tell her, yeah, instead to 90 00:05:50,640 --> 00:05:53,520 Speaker 1: have this big fight, which, well, there you go. 91 00:05:53,720 --> 00:05:56,000 Speaker 2: Easier said than done, you know, in those moments, like 92 00:05:58,120 --> 00:06:01,080 Speaker 2: you know, as a man, it's hard to let go 93 00:06:01,200 --> 00:06:03,480 Speaker 2: of that pride sometimes, especially when you feel like you're 94 00:06:03,520 --> 00:06:06,280 Speaker 2: being challenged in those situations. So I think I can 95 00:06:06,320 --> 00:06:08,080 Speaker 2: sympathize on both parties. 96 00:06:07,920 --> 00:06:14,839 Speaker 1: At seventeen and then he storms out, he leaves, and 97 00:06:14,880 --> 00:06:18,719 Speaker 1: then Emily doesn't really care. She didn't like him in 98 00:06:18,760 --> 00:06:21,719 Speaker 1: the first place, doesn't think he's appropriate. Of course, he's 99 00:06:21,760 --> 00:06:25,600 Speaker 1: attached to Luke, so how could he be appropriate? And 100 00:06:26,000 --> 00:06:30,560 Speaker 1: Luke has a chat with Jess about avoiding Rory, you know, 101 00:06:30,560 --> 00:06:32,600 Speaker 1: while they're on the lake looking for the swan, which 102 00:06:32,640 --> 00:06:35,400 Speaker 1: is a pretty funny scene, and he wants to give 103 00:06:35,440 --> 00:06:40,320 Speaker 1: him a little advice like, hey, you know, stop ignoring her. 104 00:06:40,600 --> 00:06:45,240 Speaker 1: You know, she's a good girl. Just doesn't seem to care. 105 00:06:46,680 --> 00:06:50,279 Speaker 1: You think he's kind of acting like a punk, you know. 106 00:06:50,320 --> 00:06:54,400 Speaker 2: Yeah, he is. 107 00:06:54,440 --> 00:06:56,680 Speaker 1: He in a sense sabotaging the relationship. 108 00:06:58,040 --> 00:07:01,600 Speaker 2: Yeah, maybe self sabotaging just of it's easier to let 109 00:07:01,600 --> 00:07:03,919 Speaker 2: it go than to deal with it, you know. I 110 00:07:03,920 --> 00:07:06,880 Speaker 2: think we all do that in life sometimes, where it's 111 00:07:08,680 --> 00:07:11,080 Speaker 2: out of sight, out of mind, it's easier to take 112 00:07:11,160 --> 00:07:15,640 Speaker 2: the stance of you know, defensiveness than to just be 113 00:07:15,760 --> 00:07:18,160 Speaker 2: open and honest with what you want. Right. I don't 114 00:07:18,200 --> 00:07:21,720 Speaker 2: think that's what he actually wants, but I think he's 115 00:07:21,760 --> 00:07:23,880 Speaker 2: it's easier for him in his life to walk away 116 00:07:23,920 --> 00:07:27,000 Speaker 2: from things than to take them head on. And that's 117 00:07:27,080 --> 00:07:29,240 Speaker 2: kind of the struggle with his character throughout the arc 118 00:07:29,280 --> 00:07:29,800 Speaker 2: of the story. 119 00:07:29,880 --> 00:07:32,480 Speaker 1: Right, he gets overwhelmed very easily. 120 00:07:32,920 --> 00:07:36,080 Speaker 2: Yeah, anytime he's challenged, you know. Yeah, when you don't 121 00:07:36,080 --> 00:07:40,240 Speaker 2: know how to emotionally regulate those situations and be honest 122 00:07:40,280 --> 00:07:44,080 Speaker 2: with yourself and with others, you can cut and run, 123 00:07:44,200 --> 00:07:44,360 Speaker 2: you know. 124 00:07:46,040 --> 00:07:49,360 Speaker 1: Yeah, that's always that's always an option cut and the 125 00:07:49,400 --> 00:07:50,679 Speaker 1: thing people least expect. 126 00:07:51,680 --> 00:07:52,160 Speaker 2: Yeah. 127 00:07:52,360 --> 00:07:55,920 Speaker 1: Do you think Rory's over apologizing for not believing Jess. 128 00:07:57,120 --> 00:08:03,760 Speaker 2: I think she just feels, you know, she knows that 129 00:08:03,800 --> 00:08:11,280 Speaker 2: he's a very fragile emotionally, and she's obviously women developed 130 00:08:11,400 --> 00:08:16,840 Speaker 2: faster than men, and she's more emotionally stable and has 131 00:08:16,880 --> 00:08:21,240 Speaker 2: a better coordinate group around her with the women in 132 00:08:21,240 --> 00:08:23,560 Speaker 2: her life to be able to express her emotions. So, 133 00:08:24,280 --> 00:08:31,720 Speaker 2: you know, I feel like she's a you know, wants 134 00:08:31,720 --> 00:08:37,239 Speaker 2: to express that she's okay being wrong and being apologetic 135 00:08:37,320 --> 00:08:40,440 Speaker 2: for it. You know, maybe he doesn't deserve it, but 136 00:08:40,920 --> 00:08:45,199 Speaker 2: at least she's she's doing her part of the work 137 00:08:45,840 --> 00:08:47,880 Speaker 2: and letting him know that she was out of line. 138 00:08:57,200 --> 00:09:00,160 Speaker 1: All right, Now we get into a section where there's, uh, 139 00:09:00,440 --> 00:09:05,640 Speaker 1: we're going to explore these awkward run ins. Alex and 140 00:09:05,720 --> 00:09:11,520 Speaker 1: Loreley played by Billy Burke, Uh go on a date. 141 00:09:11,559 --> 00:09:13,840 Speaker 1: They're kissing at the door. Rory opens the door, she 142 00:09:13,880 --> 00:09:17,439 Speaker 1: sees him. It's awkward. Luke recommends New York City walking 143 00:09:17,440 --> 00:09:21,680 Speaker 1: toward books for Laurelized trip. And did you find it 144 00:09:21,720 --> 00:09:28,400 Speaker 1: odd about Luke's knowledge of lorealized winter wardrobe the way 145 00:09:28,440 --> 00:09:31,800 Speaker 1: he just lists all of the colors of the sweaters 146 00:09:31,840 --> 00:09:36,800 Speaker 1: and the jackets and the scar I mean, what, what 147 00:09:36,840 --> 00:09:37,480 Speaker 1: the heck. 148 00:09:37,360 --> 00:09:41,840 Speaker 2: Was that to the detail. He's obviously paying more attention 149 00:09:41,960 --> 00:09:43,800 Speaker 2: than we give him credit for. 150 00:09:43,880 --> 00:09:48,080 Speaker 1: You know, I guess I thought she was gonna like 151 00:09:48,320 --> 00:09:51,680 Speaker 1: come back with a zinger about you know, fashion look, 152 00:09:51,760 --> 00:09:57,400 Speaker 1: but shouldn't do it. But anyway, she goes upstairs to 153 00:09:57,480 --> 00:10:00,400 Speaker 1: get the Walk in New York City, walking toward book 154 00:10:00,400 --> 00:10:04,240 Speaker 1: that Luke recommended, and she walks in on on Jess 155 00:10:04,280 --> 00:10:07,160 Speaker 1: and Rory getting hot and heavy on the couch. Another 156 00:10:07,200 --> 00:10:13,360 Speaker 1: awkward run in. And now we see that that Lurlai 157 00:10:13,720 --> 00:10:18,120 Speaker 1: is is a little freaked out about how her daughter 158 00:10:18,240 --> 00:10:21,319 Speaker 1: is growing up, and she's got certain needs and feelings 159 00:10:21,360 --> 00:10:25,439 Speaker 1: and she may, you know, want to consummate this relationship 160 00:10:25,480 --> 00:10:30,160 Speaker 1: with Jess, and oh boy, is this history repeating itself? 161 00:10:30,200 --> 00:10:34,080 Speaker 1: And you know they're eating that the Chinese food and 162 00:10:34,160 --> 00:10:36,560 Speaker 1: silence on the couch, not looking at each other. And 163 00:10:36,600 --> 00:10:38,880 Speaker 1: then it was a nice moment where Laurai put her 164 00:10:38,960 --> 00:10:43,360 Speaker 1: arm around Rory and then Rory puts her arm around 165 00:10:43,400 --> 00:10:48,760 Speaker 1: Laura's waist, like very nice. Love those scenes with no dialogue, 166 00:10:48,800 --> 00:10:49,720 Speaker 1: let's say so much. 167 00:10:51,280 --> 00:10:52,280 Speaker 2: There's not many of them. 168 00:10:52,600 --> 00:10:55,359 Speaker 1: There's not, no, not a lot in that show. No, 169 00:10:57,840 --> 00:11:04,160 Speaker 1: that's for sure. Yeah, can you tell us and go 170 00:11:04,320 --> 00:11:07,560 Speaker 1: back in your memory, Chauncey about being a teenager and 171 00:11:07,640 --> 00:11:11,880 Speaker 1: having to go through this, do you remember any similar 172 00:11:11,920 --> 00:11:13,480 Speaker 1: situations from your past? 173 00:11:14,280 --> 00:11:15,960 Speaker 2: I think I can relate to it more as a 174 00:11:16,000 --> 00:11:20,160 Speaker 2: father now than I can as a child. You know, 175 00:11:20,520 --> 00:11:23,280 Speaker 2: as a boy, things are a little bit different, you know. 176 00:11:23,880 --> 00:11:29,280 Speaker 2: I mean I can be more in jestice position, more 177 00:11:29,320 --> 00:11:34,240 Speaker 2: experience in that position of it being awkward for you know, 178 00:11:34,360 --> 00:11:38,360 Speaker 2: the mother of another young woman developing and coming into 179 00:11:38,400 --> 00:11:42,280 Speaker 2: her own and that dynamic. But as a father, yeah, 180 00:11:42,400 --> 00:11:46,920 Speaker 2: I mean, there are always your babies and to come 181 00:11:46,960 --> 00:11:50,199 Speaker 2: to grips with the fact that they are growing up 182 00:11:50,400 --> 00:11:55,120 Speaker 2: and that this far off day that is now we 183 00:11:55,200 --> 00:11:58,520 Speaker 2: know as inevitable, but we always think is way in 184 00:11:58,559 --> 00:12:01,760 Speaker 2: the future from when it actually is. When you get 185 00:12:01,760 --> 00:12:04,120 Speaker 2: those moments, I mean, there's so much dynamic as a 186 00:12:04,200 --> 00:12:09,640 Speaker 2: human being with your own your own grasp of what 187 00:12:09,679 --> 00:12:11,920 Speaker 2: that means for you, what that means for the dynamic 188 00:12:11,960 --> 00:12:15,720 Speaker 2: of this relationship, how it's evolving and arcing. You know, 189 00:12:15,800 --> 00:12:20,280 Speaker 2: it's it's a in the in the moment as a kid, 190 00:12:20,720 --> 00:12:23,720 Speaker 2: it doesn't seem as big from a parent's perspective, it's 191 00:12:24,000 --> 00:12:26,720 Speaker 2: it's such a bigger dynamic because there's so much more, 192 00:12:26,800 --> 00:12:28,719 Speaker 2: you know, we have to come to grips with our 193 00:12:28,760 --> 00:12:33,000 Speaker 2: own aging and the arc of everything that's going on 194 00:12:33,080 --> 00:12:35,400 Speaker 2: in this life and coming to terms with the fact 195 00:12:35,400 --> 00:12:37,440 Speaker 2: that they're going to leave the nest, and this is 196 00:12:38,160 --> 00:12:40,640 Speaker 2: an inevitable thing, and it's been such a big part 197 00:12:40,640 --> 00:12:44,160 Speaker 2: of your life for so long, and you know, the 198 00:12:44,200 --> 00:12:47,120 Speaker 2: era of time keeps marching forward regardless of how we 199 00:12:47,160 --> 00:12:47,760 Speaker 2: feel about it. 200 00:12:48,960 --> 00:12:53,960 Speaker 1: All right, Lane Laine in her band. This provided some 201 00:12:54,040 --> 00:12:59,880 Speaker 1: pretty pretty good humor here. Everybody's over. Zach and Brian 202 00:13:00,040 --> 00:13:03,880 Speaker 1: and then Dave Rigalski are over in the Lorelei's kitchen 203 00:13:03,920 --> 00:13:07,880 Speaker 1: having snacks, and lorele I almost spills that Dave and 204 00:13:07,960 --> 00:13:13,080 Speaker 1: Lane will only want to play love songs, and Zach 205 00:13:13,160 --> 00:13:18,480 Speaker 1: and Brian don't catch it, and then missus Kim and 206 00:13:18,559 --> 00:13:21,560 Speaker 1: probably the funniest scene in the whole thing sees Dave, 207 00:13:21,640 --> 00:13:24,640 Speaker 1: Zach and Brian in the station wagon loaded up with 208 00:13:24,760 --> 00:13:30,080 Speaker 1: the guitars and symbols and drum stands and all kinds 209 00:13:30,120 --> 00:13:32,920 Speaker 1: of things, and greets David, greets missus Kim and she 210 00:13:33,000 --> 00:13:39,080 Speaker 1: tells him Lane has a crush and she wanted to 211 00:13:39,120 --> 00:13:47,120 Speaker 1: prepare Dave so that he isn't shocked. And then Zach 212 00:13:47,200 --> 00:13:51,280 Speaker 1: and Brian confront Lane and Dave and I think it's 213 00:13:51,280 --> 00:13:54,040 Speaker 1: about them dating, but it's really about him being a 214 00:13:54,440 --> 00:13:59,840 Speaker 1: Christian rocker and their feeling that he wasn't embracing it, 215 00:14:00,120 --> 00:14:02,760 Speaker 1: or that he was hiding the fact that he was Christian, 216 00:14:04,400 --> 00:14:07,840 Speaker 1: and they assure him that it's okay, and Zach you know, 217 00:14:07,920 --> 00:14:11,560 Speaker 1: seals it with a fist pump Christian's rock, you know, Yeah, 218 00:14:11,960 --> 00:14:17,360 Speaker 1: so good stuff. Now, do you think Layne and Dave 219 00:14:17,400 --> 00:14:20,560 Speaker 1: should be upfront to the band about their relationship or 220 00:14:21,800 --> 00:14:22,800 Speaker 1: or does it matter? 221 00:14:23,560 --> 00:14:26,880 Speaker 2: I don't think it matters. It's nobody's business. But also, 222 00:14:28,640 --> 00:14:32,720 Speaker 2: you know, in a time, it's a very I think 223 00:14:32,800 --> 00:14:37,160 Speaker 2: that it affects the dynamic of the band's relationship together 224 00:14:38,280 --> 00:14:45,040 Speaker 2: and that can be a a very weird thing to 225 00:14:45,120 --> 00:14:49,560 Speaker 2: navigate around. You know. Yeah, obviously honesty is always the 226 00:14:49,560 --> 00:14:52,000 Speaker 2: best policy, but in a lot of terms, the fear 227 00:14:52,080 --> 00:14:56,440 Speaker 2: of of the the change of how people react to 228 00:14:56,520 --> 00:15:00,520 Speaker 2: that is Ah, I get it, I understand, you know 229 00:15:01,720 --> 00:15:04,760 Speaker 2: why people like to keep things quiet in certain scenarios. 230 00:15:04,800 --> 00:15:07,120 Speaker 2: You know, at the end of the day, that's basically 231 00:15:07,400 --> 00:15:11,360 Speaker 2: a workplace relationship, right and you know, it can be 232 00:15:11,400 --> 00:15:14,480 Speaker 2: frowned upon or people can have their feelings about it 233 00:15:14,880 --> 00:15:18,440 Speaker 2: anytime energy has entered into that as a you know, 234 00:15:18,480 --> 00:15:19,680 Speaker 2: it can be a touchy subject. 235 00:15:19,880 --> 00:15:22,560 Speaker 1: Yeah, it's broken up. A lot of the best bands 236 00:15:22,560 --> 00:15:23,040 Speaker 1: that we know. 237 00:15:23,600 --> 00:15:28,520 Speaker 2: Yeah, yeah, made some good music though, made some absolutely 238 00:15:28,960 --> 00:15:31,120 Speaker 2: you know Fleetwood mac is there. 239 00:15:31,160 --> 00:15:31,800 Speaker 1: He got. 240 00:15:33,480 --> 00:15:36,720 Speaker 2: Nothing like a little love triangle to make some classics. 241 00:15:36,920 --> 00:15:40,400 Speaker 1: Oh my goodness. All right, So now we're getting down 242 00:15:40,520 --> 00:15:45,360 Speaker 1: to Jess talks to Rory as she's leaving dosies and 243 00:15:45,440 --> 00:15:49,200 Speaker 1: they make up. All right. He comes out of diner 244 00:15:49,240 --> 00:15:51,080 Speaker 1: and they kind of make up. She should trust to 245 00:15:52,120 --> 00:15:54,280 Speaker 1: He said, next time I go to your grandmother's, I 246 00:15:54,280 --> 00:15:58,840 Speaker 1: won't have a black eye. But then just tells Rory 247 00:15:58,920 --> 00:16:01,520 Speaker 1: a lie about the black guy. He was throwing a 248 00:16:01,560 --> 00:16:05,920 Speaker 1: football and got hit in the eye. And they make 249 00:16:06,000 --> 00:16:12,040 Speaker 1: out and keep thinking about quote unquote it it being 250 00:16:12,120 --> 00:16:16,280 Speaker 1: what we know it is, and then Roy goes home 251 00:16:16,360 --> 00:16:19,720 Speaker 1: tells her mother it might happen. He's been thinking about 252 00:16:19,720 --> 00:16:22,440 Speaker 1: it. It's awkward after the conversation as they eat their Jenni's food, 253 00:16:22,440 --> 00:16:26,200 Speaker 1: which we discussed. Now, which story did you believe when 254 00:16:26,240 --> 00:16:29,680 Speaker 1: you were watching this? Was it the swan or was 255 00:16:29,720 --> 00:16:32,920 Speaker 1: it the football? I mean, did you believe him when 256 00:16:32,920 --> 00:16:34,840 Speaker 1: he said the football because you weren't aware yet of 257 00:16:35,720 --> 00:16:38,120 Speaker 1: that it was a swan? Did you believe him. 258 00:16:38,920 --> 00:16:45,560 Speaker 2: Now he doesn't. He's just it's just not unbelievable. You know, 259 00:16:45,800 --> 00:16:49,520 Speaker 2: there's always some element of sketch to jests, you know, 260 00:16:50,920 --> 00:16:54,920 Speaker 2: being open with himself, let alone, let alone the world. 261 00:16:54,960 --> 00:16:58,280 Speaker 2: You know, so you always feel like there's more to 262 00:16:58,360 --> 00:17:00,440 Speaker 2: the story with him. He's an onion that is, you know, 263 00:17:00,520 --> 00:17:05,479 Speaker 2: peeled back. Hm, you know, one one, one Pio at 264 00:17:05,480 --> 00:17:05,800 Speaker 2: a time. 265 00:17:05,920 --> 00:17:09,840 Speaker 1: So you were in five episodes. Yeah, tell us about 266 00:17:09,920 --> 00:17:11,159 Speaker 1: landing that role of Kyle. 267 00:17:12,000 --> 00:17:15,640 Speaker 2: Well, it was supposed to be a guest star, and uh, 268 00:17:15,760 --> 00:17:19,240 Speaker 2: we came in for the big the big the Kaeger, 269 00:17:19,440 --> 00:17:21,960 Speaker 2: the big party. The party was at my house obviously, 270 00:17:22,080 --> 00:17:25,200 Speaker 2: and uh, you know they get into the fight there, 271 00:17:25,359 --> 00:17:29,520 Speaker 2: justin and and him and uh, it was a great 272 00:17:29,560 --> 00:17:34,240 Speaker 2: scene and then fun fun. Shoot. You know, anytime you 273 00:17:34,280 --> 00:17:37,640 Speaker 2: get to have a you know, a house party on 274 00:17:37,680 --> 00:17:39,720 Speaker 2: the Warner Brothers a lot, it's it's it's it's a 275 00:17:39,760 --> 00:17:42,439 Speaker 2: good time. So it was cool. Me and Milo had 276 00:17:42,560 --> 00:17:44,560 Speaker 2: history together, we had known each other for a while, 277 00:17:44,600 --> 00:17:48,000 Speaker 2: so that was also fun to you know, come into 278 00:17:48,200 --> 00:17:52,560 Speaker 2: anytime you're a guest appearing actor on a show, you're 279 00:17:52,600 --> 00:17:55,879 Speaker 2: coming into another families world kind of deal, you know, 280 00:17:56,320 --> 00:18:00,600 Speaker 2: and there can be ah, it can be awkward sometimes 281 00:18:00,600 --> 00:18:04,600 Speaker 2: as an actor, you know, people are accustomed, they're already 282 00:18:04,600 --> 00:18:07,560 Speaker 2: in their motion. You're coming in as an outsider getting 283 00:18:08,000 --> 00:18:10,680 Speaker 2: accustomed to the rhythm of things. Kilmore Girls is also 284 00:18:10,800 --> 00:18:14,040 Speaker 2: a tough It was a tough show in the sense 285 00:18:14,080 --> 00:18:16,960 Speaker 2: of the pace of it is very fast. The words. 286 00:18:17,080 --> 00:18:19,200 Speaker 2: I come from a film background, and like we said 287 00:18:19,200 --> 00:18:22,000 Speaker 2: about there not being a lot of dead time, you 288 00:18:22,000 --> 00:18:24,520 Speaker 2: know what it is. It's the words are exactly like 289 00:18:24,560 --> 00:18:26,960 Speaker 2: they are on the page, and everybody's lines come one 290 00:18:26,960 --> 00:18:30,760 Speaker 2: after another, so there's an adjustment to that. But I was, 291 00:18:32,640 --> 00:18:34,840 Speaker 2: you know, happy to be welcomed in. Obviously having a 292 00:18:34,880 --> 00:18:39,919 Speaker 2: background with Milos was helpful. You know, I would go 293 00:18:39,920 --> 00:18:41,679 Speaker 2: to lunch with them and feel like part of the 294 00:18:41,680 --> 00:18:44,600 Speaker 2: gang with them and Alexis, So that was a cool experience. 295 00:18:44,880 --> 00:18:47,240 Speaker 2: And then yeah, that episode was great, and they wrote 296 00:18:47,280 --> 00:18:49,719 Speaker 2: me into the next into the next episode to kind 297 00:18:49,760 --> 00:18:53,680 Speaker 2: of clean up the aftermath of the party. And then 298 00:18:53,800 --> 00:18:57,000 Speaker 2: just sporadically we would get calls about being written back 299 00:18:57,000 --> 00:18:59,040 Speaker 2: in that people like this character. And you know, I 300 00:18:59,080 --> 00:19:03,320 Speaker 2: went off, went off to the Navy, and then I 301 00:19:03,400 --> 00:19:07,800 Speaker 2: came back and was there again, you know, roommting with Dean, 302 00:19:07,960 --> 00:19:12,800 Speaker 2: and uh, it was funny. The last episode I was 303 00:19:12,800 --> 00:19:15,919 Speaker 2: reading through the script, you know, glancing over it like 304 00:19:15,960 --> 00:19:17,959 Speaker 2: you do when you're coming back into projects. You know, 305 00:19:18,000 --> 00:19:20,439 Speaker 2: you're you're kind of in and out when you're just 306 00:19:20,840 --> 00:19:26,399 Speaker 2: a recurring character. And there was a joke about a 307 00:19:26,400 --> 00:19:31,000 Speaker 2: one armed man throwaway and I just I was like, well, 308 00:19:31,000 --> 00:19:35,280 Speaker 2: that was weird, and I totally didn't get the concept 309 00:19:35,359 --> 00:19:38,359 Speaker 2: of it. And then my agent called and said, uh, 310 00:19:38,440 --> 00:19:40,879 Speaker 2: you gotta go downtown and get fitted for a prosthetic 311 00:19:40,920 --> 00:19:43,800 Speaker 2: for Gilmore Girls. And I was like, a prosthetic for what? 312 00:19:44,040 --> 00:19:45,720 Speaker 2: And they were like, you didn't read the script. You 313 00:19:45,720 --> 00:19:49,760 Speaker 2: lost your arm in war. And I went back and 314 00:19:49,800 --> 00:19:52,159 Speaker 2: I said, oh, man, now that one armed man choke up. 315 00:19:54,240 --> 00:19:56,639 Speaker 2: Now that makes that makes a little more sense, you know. 316 00:19:57,560 --> 00:20:02,679 Speaker 2: But yeah, overall, great experience. Obviously a very talented cast, 317 00:20:02,840 --> 00:20:06,480 Speaker 2: and people have gone on to great heights after the show. Yeah, 318 00:20:06,480 --> 00:20:08,640 Speaker 2: it was a it's a fun show. 319 00:20:18,359 --> 00:20:20,760 Speaker 1: We have to talk about the sandlot. I mean, the 320 00:20:20,880 --> 00:20:26,000 Speaker 1: legacy of this film is immeasurable. How did you feel 321 00:20:26,920 --> 00:20:29,359 Speaker 1: about and how do you feel about being part of 322 00:20:29,359 --> 00:20:30,040 Speaker 1: something like this? 323 00:20:30,600 --> 00:20:36,760 Speaker 2: It's a blessing anything that becomes multi generational and touches 324 00:20:36,800 --> 00:20:40,040 Speaker 2: people's lives for that's the magic of film is that 325 00:20:40,880 --> 00:20:44,280 Speaker 2: you can do a project that may seem good at 326 00:20:44,320 --> 00:20:46,480 Speaker 2: the time and you never really know where they end up. 327 00:20:46,520 --> 00:20:49,600 Speaker 2: But when they stand the test of time and somehow 328 00:20:49,680 --> 00:20:53,560 Speaker 2: stay current and relevant, that's the beauty of film, you know, 329 00:20:53,720 --> 00:20:58,160 Speaker 2: to be able to share with people for thirty three 330 00:20:58,240 --> 00:21:05,520 Speaker 2: years now, it is incredible and sam Lot, you know, 331 00:21:05,600 --> 00:21:08,320 Speaker 2: David Mickey Evans wrote and directed it. It was his baby. 332 00:21:10,960 --> 00:21:13,040 Speaker 2: He had come off a radio flyer that he wrote, 333 00:21:13,040 --> 00:21:15,480 Speaker 2: which was you know, I think was one of the 334 00:21:15,560 --> 00:21:18,119 Speaker 2: highest selling scripts. He came out of college and it 335 00:21:18,200 --> 00:21:21,359 Speaker 2: was his first first writing job and they let him 336 00:21:21,400 --> 00:21:24,760 Speaker 2: direct it, and two weeks in they pulled the plug 337 00:21:24,800 --> 00:21:30,000 Speaker 2: on him, put Richard Donner in there, let rich direct 338 00:21:30,040 --> 00:21:34,359 Speaker 2: the film and recast of the whole film, and David 339 00:21:34,400 --> 00:21:38,040 Speaker 2: said that it's the best thing that ever happened to him, really, 340 00:21:38,119 --> 00:21:41,480 Speaker 2: because he had no idea what he was doing. He 341 00:21:41,520 --> 00:21:45,200 Speaker 2: was a young kid, obviously a great writer, very talented, 342 00:21:45,240 --> 00:21:49,320 Speaker 2: but he didn't have any background in making a major 343 00:21:49,560 --> 00:21:54,520 Speaker 2: studio motion picture. And sitting behind you know, Richard and 344 00:21:54,560 --> 00:22:00,000 Speaker 2: watching him a master of his craft, really really probably 345 00:22:00,119 --> 00:22:03,199 Speaker 2: made Sandlot what it was because going back into that, 346 00:22:03,480 --> 00:22:06,000 Speaker 2: he watched somebody and was able to soak up so 347 00:22:06,119 --> 00:22:09,640 Speaker 2: much from a director's chair and what some could call 348 00:22:09,680 --> 00:22:14,320 Speaker 2: a very humbling or you know, that could go either way. 349 00:22:14,520 --> 00:22:17,399 Speaker 2: You could you know, never recover from it, or you 350 00:22:17,440 --> 00:22:20,560 Speaker 2: could go on to make a classic because of it. 351 00:22:20,600 --> 00:22:23,280 Speaker 2: And I think that David put that energy in the 352 00:22:23,320 --> 00:22:25,560 Speaker 2: right place and sucked it up and sat there and 353 00:22:25,600 --> 00:22:27,440 Speaker 2: watched and try to learn as much as he could 354 00:22:27,440 --> 00:22:31,080 Speaker 2: and paid it forward. And the world got Sandlot because 355 00:22:31,080 --> 00:22:33,160 Speaker 2: of that experience with Radio Fire. 356 00:22:34,080 --> 00:22:35,920 Speaker 1: And you survived the recasting. 357 00:22:36,640 --> 00:22:39,879 Speaker 2: I survived the recasting. Yeah. So Sandlot was cast younger 358 00:22:39,920 --> 00:22:43,119 Speaker 2: actually to begin with, and then they didn't think it worked. 359 00:22:43,800 --> 00:22:47,680 Speaker 2: And then there was kind of a pretty vigorous casting 360 00:22:47,720 --> 00:22:50,280 Speaker 2: process because I went on like four or five callbacks, 361 00:22:50,840 --> 00:22:53,000 Speaker 2: and then we did like a two week period of 362 00:22:53,040 --> 00:22:57,080 Speaker 2: like screen testing, mixing and matching characters and then going 363 00:22:57,080 --> 00:23:02,040 Speaker 2: to play baseball in a We were doing like screen 364 00:23:02,040 --> 00:23:04,399 Speaker 2: test stuff at Sportsman's Lodge all day and then in 365 00:23:04,440 --> 00:23:07,479 Speaker 2: the afternoons we would go play baseball and encino at 366 00:23:07,480 --> 00:23:09,400 Speaker 2: It's Little League feeld to make sure that we were 367 00:23:09,400 --> 00:23:13,000 Speaker 2: meshing together or that they thought that we could, you know, 368 00:23:13,119 --> 00:23:16,720 Speaker 2: handle it right. And then we went out to Utah 369 00:23:16,760 --> 00:23:19,119 Speaker 2: where we shot the film, and I guess the story 370 00:23:19,240 --> 00:23:23,240 Speaker 2: is that Fox only gave him two weeks and they 371 00:23:23,240 --> 00:23:26,000 Speaker 2: were nervous right away, and they brought in Kathleen Summers, 372 00:23:26,000 --> 00:23:28,640 Speaker 2: the producer, to kind of come on set and make 373 00:23:28,680 --> 00:23:30,840 Speaker 2: sure that they were going to finish this picture because 374 00:23:31,760 --> 00:23:33,239 Speaker 2: they didn't know if they were going to let him 375 00:23:33,240 --> 00:23:36,600 Speaker 2: see it through. So yeah, somewhere in an alternate universe 376 00:23:38,320 --> 00:23:41,359 Speaker 2: they pull the plug and the world doesn't get that film. 377 00:23:41,400 --> 00:23:45,919 Speaker 2: You know, there was a lot of moving pieces, right. Yeah. 378 00:23:46,119 --> 00:23:50,439 Speaker 2: I think the longevity is it's obviously a film that 379 00:23:50,560 --> 00:23:52,960 Speaker 2: was made in the nineties but set in the sixties. 380 00:23:54,040 --> 00:23:58,720 Speaker 2: And Tony Richmond was the director of photography, and do 381 00:23:58,760 --> 00:24:02,040 Speaker 2: you remember the old Kodak chromatic film from the sixties. 382 00:24:02,840 --> 00:24:06,000 Speaker 2: There was just this uh this for those that don't know, 383 00:24:06,119 --> 00:24:08,800 Speaker 2: or this is uh, you know, before them, there was 384 00:24:08,840 --> 00:24:11,879 Speaker 2: a certain type of Kodak crank camera that had a 385 00:24:11,960 --> 00:24:16,440 Speaker 2: chromatic look to it. And David had these old stills 386 00:24:16,560 --> 00:24:20,119 Speaker 2: and he showed Tony Richmond, the director of photography, and 387 00:24:20,160 --> 00:24:21,919 Speaker 2: he said, I want the film to look like this, 388 00:24:23,200 --> 00:24:25,239 Speaker 2: and I thought he did a great job. And I 389 00:24:25,280 --> 00:24:28,160 Speaker 2: think that the reason it's still watchable because a lot 390 00:24:28,200 --> 00:24:30,919 Speaker 2: of the nineties. Stuff looks very dated obviously when you 391 00:24:30,960 --> 00:24:33,520 Speaker 2: look at it now is because of that. It's a 392 00:24:33,520 --> 00:24:37,280 Speaker 2: period piece with a certain look that, for whatever reason 393 00:24:37,720 --> 00:24:43,400 Speaker 2: just is continued to stay current and still look visually 394 00:24:43,600 --> 00:24:47,080 Speaker 2: like it belongs in any in any era, you know, 395 00:24:47,760 --> 00:24:50,720 Speaker 2: and a perfect storm of things with the right with 396 00:24:50,760 --> 00:24:53,960 Speaker 2: the right people, and uh yeah, it's a you know, 397 00:24:54,760 --> 00:24:58,879 Speaker 2: a pop culture phenomenon, which is, you know, cool to 398 00:24:58,920 --> 00:25:00,640 Speaker 2: be a part of something, and all of us are 399 00:25:00,760 --> 00:25:02,880 Speaker 2: all the guys are still alive and we still get 400 00:25:02,920 --> 00:25:05,280 Speaker 2: to you know, go do signings together and stuff. So 401 00:25:05,760 --> 00:25:07,040 Speaker 2: it's it's been a lot of fun. 402 00:25:07,160 --> 00:25:10,320 Speaker 1: Yeah, that's great. That's that's really great. You guys do 403 00:25:10,680 --> 00:25:14,440 Speaker 1: conventions together, especial, Yeah, we do conventions. 404 00:25:14,880 --> 00:25:17,120 Speaker 2: The cool part about sand Loot is since it's sports 405 00:25:17,240 --> 00:25:20,200 Speaker 2: inspired and it's pop culture, we get to do all 406 00:25:20,200 --> 00:25:26,520 Speaker 2: types of cool stuff, you know, baseball games, showings, sports signings, 407 00:25:26,560 --> 00:25:30,000 Speaker 2: pop culture signings. You know, it really hits all of 408 00:25:30,080 --> 00:25:34,200 Speaker 2: the elements of the collectible market. So it's been a 409 00:25:34,320 --> 00:25:37,520 Speaker 2: it's been a big blessing for us to get to 410 00:25:37,520 --> 00:25:41,240 Speaker 2: meet up and hang out and and share our you know, 411 00:25:41,440 --> 00:25:42,320 Speaker 2: our lives together. 412 00:25:42,680 --> 00:25:45,240 Speaker 1: Yeah, that is fun. I get to do that too 413 00:25:45,280 --> 00:25:47,240 Speaker 1: with some of the Gilmore cast because they do conventions 414 00:25:47,280 --> 00:25:50,119 Speaker 1: with them too, and I run into them, yeah frequently, 415 00:25:50,240 --> 00:25:52,680 Speaker 1: and it is it is a lot of fun to catch. 416 00:25:52,560 --> 00:25:54,880 Speaker 2: Yeah, because you know, as an actor, you you come 417 00:25:54,880 --> 00:25:56,440 Speaker 2: in and out of projects, and there was a big 418 00:25:56,440 --> 00:25:58,440 Speaker 2: period of our lives where we didn't see each other 419 00:25:58,440 --> 00:26:01,320 Speaker 2: for twenty years. You know, all of a sudden, you 420 00:26:01,359 --> 00:26:04,320 Speaker 2: see each other every weekend or you know, when you're busy, 421 00:26:05,119 --> 00:26:08,720 Speaker 2: and it's cool to get to you know, have some 422 00:26:08,760 --> 00:26:11,240 Speaker 2: sort of fraternity and get to share each other's lives. 423 00:26:11,320 --> 00:26:13,520 Speaker 2: And as you age, you know, it's hard to keep 424 00:26:13,600 --> 00:26:16,399 Speaker 2: up with people because we all have our own lives 425 00:26:16,400 --> 00:26:19,199 Speaker 2: and children and work and things. So it's cool to 426 00:26:19,200 --> 00:26:22,400 Speaker 2: be able to come together for a shared purpose and 427 00:26:22,560 --> 00:26:25,080 Speaker 2: it makes sense and get to share that time together. 428 00:26:25,720 --> 00:26:28,440 Speaker 1: Well, it certainly has been fun having you on, and 429 00:26:29,520 --> 00:26:34,960 Speaker 1: please come back and thank you for sharing your thoughts. 430 00:26:35,480 --> 00:26:40,440 Speaker 1: We do appreciate it. And good luck out there, and 431 00:26:40,480 --> 00:26:42,520 Speaker 1: maybe I'll see you on the convention circuit. 432 00:26:43,119 --> 00:26:44,560 Speaker 2: Yeah, yeah, sooner than later. 433 00:26:44,560 --> 00:26:48,000 Speaker 1: I'm sure I'm out there this year quite a bit. 434 00:26:48,840 --> 00:26:49,080 Speaker 2: Good. 435 00:26:50,200 --> 00:26:53,680 Speaker 1: Yeah, I know, right, lucky, ye, lucky, because they're hard 436 00:26:53,680 --> 00:26:54,000 Speaker 1: to get. 437 00:26:54,800 --> 00:26:57,520 Speaker 2: Yeah, yeah, you never know, but I feel like the 438 00:26:57,560 --> 00:27:00,960 Speaker 2: market is alive and well, which is good in this economy, 439 00:27:01,000 --> 00:27:04,200 Speaker 2: and it's good. It's good to meet the fans and 440 00:27:04,400 --> 00:27:08,040 Speaker 2: share the stories and take the pictures and it's always 441 00:27:08,520 --> 00:27:10,960 Speaker 2: a group of people and these things that is like, 442 00:27:11,840 --> 00:27:16,320 Speaker 2: I find myself in the oddest and the oddest things, 443 00:27:16,359 --> 00:27:18,320 Speaker 2: but it's it's it's really incredible, you know. 444 00:27:19,280 --> 00:27:21,679 Speaker 1: Yeah. I found myself at one convention, like early on 445 00:27:21,720 --> 00:27:23,440 Speaker 1: when I started doing them about I don't know, nine 446 00:27:23,480 --> 00:27:26,280 Speaker 1: years ago, that I was sitting in a green room 447 00:27:26,320 --> 00:27:31,200 Speaker 1: with some of my heroes, you know, and they were 448 00:27:31,240 --> 00:27:33,600 Speaker 1: just like regular guys and gals. You know. It's like 449 00:27:33,680 --> 00:27:38,240 Speaker 1: there's Edward James almost and he's saying hello, and there's 450 00:27:38,400 --> 00:27:47,439 Speaker 1: William Shatner over here, and it's like wait a minute, yeah. 451 00:27:45,760 --> 00:27:46,359 Speaker 2: And uh. 452 00:27:47,880 --> 00:27:51,560 Speaker 1: But yeah, they're they're fun to do and they are 453 00:27:52,920 --> 00:27:55,720 Speaker 1: and the fans love them. Yeah, just the fans have 454 00:27:55,920 --> 00:28:01,800 Speaker 1: so much fun and they really, uh, you know, they're 455 00:28:01,920 --> 00:28:07,199 Speaker 1: very they're very celebratory and joyful. And you know, if 456 00:28:07,200 --> 00:28:09,280 Speaker 1: your energy is flagging at the end of the day, 457 00:28:09,520 --> 00:28:13,679 Speaker 1: because you know, there can be some long days, you know, 458 00:28:13,760 --> 00:28:16,320 Speaker 1: you always get that, you always get that group of 459 00:28:16,359 --> 00:28:18,600 Speaker 1: fans that comes in and just injects you with all 460 00:28:18,640 --> 00:28:22,960 Speaker 1: this joy and energy and fun because they're so there's 461 00:28:23,080 --> 00:28:27,920 Speaker 1: it's just so happy to be there. All right, Be well, 462 00:28:27,960 --> 00:28:32,639 Speaker 1: my friend, and we'll talk again, hopefully not in not 463 00:28:32,760 --> 00:28:36,200 Speaker 1: too long a period of time. And that's gonna wrap 464 00:28:36,280 --> 00:28:38,640 Speaker 1: us up here. Kids. Thanks for the downloads, keep the 465 00:28:38,640 --> 00:28:43,360 Speaker 1: cards and letters coming, and best fans on the planet 466 00:28:43,760 --> 00:28:46,400 Speaker 1: and the Sandlot fans too. Let's let's include those people 467 00:28:46,400 --> 00:28:51,400 Speaker 1: too in the group. Yeah, and where you lead, we 468 00:28:51,480 --> 00:29:22,160 Speaker 1: will follow. Stay safe everyone, i AST dot Hey, everybody, 469 00:29:22,160 --> 00:29:25,560 Speaker 1: and don't forget Follow us on Instagram at I Am 470 00:29:25,600 --> 00:29:30,560 Speaker 1: all In podcast and email us at Gilmore at iHeartRadio 471 00:29:30,880 --> 00:29:40,040 Speaker 1: dot com.