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Speaker 1: I am all in.

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Speaker 2: Oh, let's GISs you. I am all in with Scott

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Speaker 2: Patterson an iHeartRadio podcast.

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Speaker 1: Hey everybody, Scott Patterson, I Am all in podcast. We're

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Speaker 1: going to keep talking about winter. So stay tuned.

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Speaker 3: iHeart podcasts.

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Speaker 1: Listen on the iHeartRadio app.

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Speaker 3: So then we go back to the present time and

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Speaker 3: Rory said the same thing. She's like, you couldn't have said,

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Speaker 3: you know, he took you, he bought you a book

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Speaker 3: or something.

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Speaker 2: And so I love when we go back to the

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Speaker 2: couch and right because.

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Speaker 3: Rory's like, what you show me this?

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Speaker 2: You breathe because you're like, oh, thank god because that

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Speaker 2: was so gnarly that. Thank god we're out of that.

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Speaker 2: And then it is sort of you get that moment

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Speaker 2: of levity with yeah lurline. You're like, oh my god.

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Speaker 3: And then how jarring was it to see Kirk sitting

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Speaker 3: at Emily's dinner table.

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Speaker 2: Yeah, amazing, Like that whole thing for me, him at

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Speaker 2: the table, him playing soccer, The whole.

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Speaker 1: Thing was like his line. And thank god I'm a

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Speaker 1: loud crier. Otherwise erto wouldn't have heard me and I

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Speaker 1: wouldn't have been rescued. Lord knows what could have happened.

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Speaker 1: Here's here's the issue. Here's here's a red flag fag

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Speaker 1: for me in terms of characterization. And I know Laura

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Speaker 1: l I goes through the you know, the you know,

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Speaker 1: Dante's layers of hell every time she passes through that

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Speaker 1: foyer into the Gilmour household. Okay, so she's ridiculed and

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Speaker 1: abused by Richard and Emily on a regular basis. I felt, however,

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Speaker 1: that Luke coming in and having just you know, trying

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Speaker 1: to hug Emily and she snaps at him about her hair,

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Speaker 1: and then he has to stand there. They don't even

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Speaker 1: offer him a seat. He stands there with a plate,

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Speaker 1: eating and trying. They're trying to converse with him the.

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Speaker 2: Part of the bit because he's not supposed to understand.

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Speaker 1: I get it, But but get the guy a chair, right,

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Speaker 1: I mean, I don't think it's funny to treat a

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Speaker 1: character like that on the same level as it's It's

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Speaker 1: like Luke was being reduced to a Kirk level where

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Speaker 1: he's just not worthy of respect.

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Speaker 2: Intentional.

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Speaker 1: It's intentional, Yeah, why why would you do that to

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Speaker 1: that character? But Laurela I is sitting there, like, Mom,

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Speaker 1: get Luke a chair, what do you what are you doing?

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Speaker 1: I mean her staff does anything that Emily says, and

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Speaker 1: laurel I didn't even speak up for him, and he's

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Speaker 1: standing going to.

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Speaker 2: Be honest because the bit it plays better how it

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Speaker 2: was because you realize, like I think it's amusing to

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Speaker 2: see the awkwardness between Emily and Luke, right, and then

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Speaker 2: Richard's chair. That's an important moment, or even Lorlai with

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Speaker 2: the eyes there, you know, the whole thing, it's a

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Speaker 2: part of the scene. I think it's important.

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Speaker 1: I actually thought it was unfortunate because it made Emily

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Speaker 1: just look like a vindictatory.

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Speaker 2: That's the whole point. I think that that is the point, Like.

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Speaker 1: It's too much, it's laying it on too thick for me.

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Speaker 2: It tracks with her, and it's why because if she

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Speaker 2: did all the right things, then we're gonna like her more.

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Speaker 2: In this case, we understand why there's so much friction

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Speaker 2: between Lorelai and Emily because she behaves that way. If

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Speaker 2: she behaved perfectly, then we're gonna be like, Loralai, you

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Speaker 2: need to be nicer to your mother. But we don't

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Speaker 2: do that because we're like, oh no, she lore Li's right,

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Speaker 2: So that's just my opinion on it. But that's an.

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Speaker 3: Interesting point that you make, Scott, and I hadn't thought

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Speaker 3: about that, but I did notice it. Back at the

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Speaker 3: funeral scene, it did catch my eye that when Luke

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Speaker 3: was leaving to take word to the airport, he hugged

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Speaker 3: Emily and it wasn't an awkward hug like it seemed normal.

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Speaker 3: And then in this back in the present time when

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Speaker 3: they're at the dinner and he comes up to her

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Speaker 3: and like kind of hugs her again and messes up

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Speaker 3: her hair. To me, that was like, oh, okay, I

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Speaker 3: guess Emily has finally accepted Luke, because that's Emily, not weird.

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Speaker 3: But then, but you do make a good point about

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Speaker 3: the chair, like he should have been offered to see.

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Speaker 3: I mean, the staff should have made another's bring up.

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Speaker 2: That's Emily. The character is so polarizing, and that's why.

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Speaker 1: But she doesn't see Luke as a serious person. She

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Speaker 1: doesn't see she's like she does that is not your

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Speaker 1: partner in life. He's a roommate because you haven't been married.

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Speaker 2: Sometimes she does.

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Speaker 1: She doesn't respect him well, sometimes.

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Speaker 2: She does, sometimes she doesn't, which to me, the character's

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Speaker 2: written very well. Because if she was one or the other,

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Speaker 2: we would either love her or we would hate her.

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Speaker 2: And because she's written so complicated, like sometimes she does

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Speaker 2: the right thing, sometimes she says the right thing, sometimes

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Speaker 2: she says the wrong thing. You're like drawn into this

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Speaker 2: character that you're like, sometimes you really like her.

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Speaker 1: But that's not Luke in that scene. That is that.

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Speaker 1: It's a puppet. It's a it's a bad imitation of Luke.

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Speaker 1: Luke comes in and he doesn't take that, he says,

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Speaker 1: Luke says, he says, can I get a chair please?

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Speaker 2: No, he doesn't. I disagree with you.

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Speaker 1: I totally disagree with you on this. He walks in

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Speaker 1: there and says, like, could I get a chair please?

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Speaker 1: It's not rude to ask for a chair when somebody

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Speaker 1: hands you a place.

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Speaker 2: He's not going to do that. He's just he's not

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Speaker 2: going to do that. No, he's not because he's way

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Speaker 2: too deferential to her. That's his mother in law ish

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Speaker 2: and he's just not going to. He's just not going to.

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Speaker 2: He's not going to. I don't think it's emasculating that

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Speaker 2: he is just kind of like, chill about it.

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Speaker 1: I don't there's another point of view where he's just

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Speaker 1: he knows what he's getting into and it doesn't bother room.

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Speaker 1: And it's like, of course this is going to happen,

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Speaker 1: and it doesn't.

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Speaker 2: Exactly right, that's exactly right.

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Speaker 1: And he walks out of the house like, thank god,

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Speaker 1: I'm out of there. You know, I know what I'm

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Speaker 1: I know what I'm going to get in there.

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Speaker 2: To me, and he just knows, and it's like and

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Speaker 2: it doesn't And I don't think it does bother him

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Speaker 2: because he's not there for Emily. He's there for Lorelai,

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Speaker 2: and he's always if it doesn't.

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Speaker 1: Bother anxious, why is he?

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Speaker 2: Uh, you know, because it's still uncomfortable, because you're still

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Speaker 2: going to be uncomfortable. But he's just like, you know what,

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Speaker 2: this is what I deal with with this woman. Same

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Speaker 2: thing with Lorelai. If this woman was so amazing and

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Speaker 2: Luke thought she was fantastic, it makes Lorelai not getting

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Speaker 2: along with her Laura Li's fault. It's not realized fault.

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Speaker 2: That's just how I see it. He doesn't care. He's

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Speaker 2: not there to get a chair or deal with Emily.

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Speaker 2: He's there because.

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Speaker 1: I just think he's very comfortable in his own skin.

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Speaker 1: He knows who he is, and he doesn't let people

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Speaker 1: do that.

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Speaker 2: Yeah, I agree with you.

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Speaker 1: He never lets people do this.

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Speaker 2: But I think I agree with you up until the

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Speaker 2: he doesn't let people do that to him. He's so

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Speaker 2: comfortable in his own skin and knows who she is,

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Speaker 2: doesn't care this does.

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Speaker 1: Then why is he anxious about it?

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Speaker 2: Because it's just Emily. That's just how I feel.

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Speaker 1: I don't know.

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Speaker 2: Okay, So then I mean, yeah, you can everyone can

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Speaker 2: see it different because I'm sure there's people that don't

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Speaker 2: see Emily the way I see Emily.

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Speaker 1: Yeah, there's a lot I would not. I would if

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Speaker 1: if my live in if I was living with somebody

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Speaker 1: and they came into my mother's house and my mother

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Speaker 1: didn't offer them a chair, I would speak up. Anybody

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Speaker 1: would that happened that had any kind of upbringing and.

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Speaker 2: Tail as old as time mother in laws and son

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Speaker 2: in laws and talk about mother in laws and daughter.

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Speaker 1: But he is he isn't a son in law roommate.

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Speaker 2: Well, we can get into that.

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Speaker 1: Luke got the Kirk treatment and I thought, I think

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Speaker 1: it's bad for the character.

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Speaker 2: Got a chair.

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Speaker 1: He placed, He didn't even chair. Okay, here's here's the

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Speaker 1: point Luke doesn't get a seat at the table. That's

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Speaker 1: the message. Okay, he's not included. Oh he's only he's

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Speaker 1: only so good if if Kirk vacates his chair, then

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Speaker 1: maybe he could sit.

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Speaker 2: And I only disagree because he was the dunt chair,

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Speaker 2: the dunce chair. Get he wasn't even there for dinner.

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Speaker 2: He's coming to pick them up. He's not. It's not

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Speaker 2: like he was an invited guest and didn't have a chair.

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Speaker 1: It's give him a plate of food, but not a chair,

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Speaker 1: a seat at the table.

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Speaker 2: It's also for the bit.

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Speaker 1: It's just like I know, I get it, but it's

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Speaker 1: like it doesn't track. It doesn't track track perfectly.

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Speaker 2: Don't sit in Richard's chair and then as soon as

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Speaker 2: Kirk goes to play he sits there.

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Speaker 1: Just it doesn't make Laurel I look very good. But

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Speaker 1: that saying hey, Mom, get him a chair, or getting.

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Speaker 2: Up to Mom, get him a chair. She should get

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Speaker 2: up and get a chair. That's like that guy.

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Speaker 1: Standing there like some kind of a jackass.

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Speaker 2: You would never say, hey Mom, get him a chair.

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Speaker 2: She's like a seventy la the staff or Laura, I

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Speaker 2: should get up and get you a chair. Yes, that's

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Speaker 2: my po just all the awkwardness. It's just all the

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Speaker 2: awkwardness that for me, it makes the scene track because

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Speaker 2: that's Emily, the awkward hug, the messing, the hair, the

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Speaker 2: whole thing, and it tracks that at the funeral, she

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Speaker 2: wasn't like that, because she is the queen of hot, cold, push, pull, good,

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Speaker 2: bad at any rate.

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Speaker 3: They all pile in the truck and go back to

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Speaker 3: the diner, and this is where we find out that

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Speaker 3: April wrote a letter to Luke. She went to MIT

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Speaker 3: and they start talking about having a fresh kid, fresh kid,

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Speaker 3: a fresh kid. So little tiny red flag on this

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Speaker 3: scene is when Laura, I said, made some comment to

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Speaker 3: Luke about don't you want to see your kids graduation?

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Speaker 3: But he would have gone to April's graduations, so he

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Speaker 3: did go to his. He did see his kids graduation worse,

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Speaker 3: and she'd had multiple graduations by that point.

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Speaker 2: So I'm kind of storyline, I think, because this storyline

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Speaker 2: would have been really good. Two years later, I will

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Speaker 2: say to you, they are writing for just like you said,

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Speaker 2: they didn't pay attention to season seven. They're writing for

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Speaker 2: a show that was shortly after they wrapped the original series,

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Speaker 2: and it all makes all If you think of it

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Speaker 2: that way, all the storylines make really good sense.

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Speaker 1: So but here's another example of pragmatic Luke, who's not

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Speaker 1: all in the time changes people. He's halfway in. He's

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Speaker 1: got to change it. He's like, nah, I do you know?

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Speaker 1: He used to be all in and now he's like, well,

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Speaker 1: you know, you don't get everything you want in life,

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Speaker 1: and so I got it pretty good. You know, I

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Speaker 1: have a kid, and I have a job, and I

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Speaker 1: have you, and that's you know, it's all positive and

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Speaker 1: Sonny and all that glass half full. But actually, really

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Speaker 1: Luke and he doesn't want a kid not buying.

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Speaker 2: It, Well, it's a kid.

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Speaker 1: She's a kid buying it. Well, I'm not buying that.

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Speaker 1: They're having this conversation eight years later.

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Speaker 2: I already agree with you again. I agree with you

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Speaker 2: there completely. But I don't think he sees his relationship

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Speaker 2: with her less than because they did not have a

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Speaker 2: kid together.

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Speaker 3: I agree. And when you when you made that comment, Scott,

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Speaker 3: when I said before that one of my favorite lines

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Speaker 3: in the entire series is in this episode that was

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Speaker 3: it is when he says nobody gets to have everything

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Speaker 3: they want in life all in all, I think I

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Speaker 3: did pretty good. Line chokes me up every time I thought.

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Speaker 3: It's like, I think the definition of all in changes

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Speaker 3: as we get older, and I think whether or not

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Speaker 3: they should have had the kid conversation five, six, seven

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Speaker 3: years ago or not. I think he's like at the

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Speaker 3: point in his life as an adult that he's like, hey,

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Speaker 3: this is I'm fine with this. I've got the woman

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Speaker 3: I love, you know, I've got Rory, I've got April.

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Speaker 3: I just really liked that line, and so I pluly

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Speaker 3: agree that this should not be the first time they're

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Speaker 3: discussing having children. I think that absolutely would have in

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Speaker 3: reality happened years earlier. So I'd completely agree with that part.

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Speaker 3: But at the same time, like it was kind of

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Speaker 3: nice to see Luke finally acknowledging happiness because Luke is

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Speaker 3: he's just had so much crap happened to him, like

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Speaker 3: he lost his parents young and then his sister's a deadbeat,

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Speaker 3: and you know, all this stuff happens to him over

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Speaker 3: his life, and now he's like, kind of, for me,

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Speaker 3: he kind of like reached an equilibrium with.

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Speaker 1: All of it.

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Speaker 3: So that that's one of my favorite Luke lines in line.

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Speaker 1: I just I think they missed a lot of storytelling

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Speaker 1: and a lot of fan satisfaction when they chose to

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Speaker 1: give Suki children Lane children. Everybody's having children all over

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Speaker 1: the place, but the focal, the most important relationship in

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Speaker 1: the entire series, Luke and Lreli. There's no life, there's

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Speaker 1: no growing, there's no children. I think you're going to

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Speaker 1: have a lot, no generations of them, you know what

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Speaker 1: I mean?

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Speaker 2: I just think I do. Yeah, I do not agree.

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Speaker 2: I'm sorry.

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Speaker 1: I think it's a missed opportunity. I do not thought

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Speaker 1: it was a massive missed opportunity, and to reduce it,

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Speaker 1: to reduce the character to the point where he makes

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Speaker 1: this pragmatic little speech, albe are so much. I thought

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Speaker 1: it was a massive storytelling missed opportunity.

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Speaker 2: Okay, it was the exact opposite, right and again because

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Speaker 2: we come from two different perspectives on this, but I

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Speaker 2: thought it just hit me right in the heart when

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Speaker 2: he says I got it pretty good, like it's not perfect,

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Speaker 2: but he's so satisfied. He's so content. He's not wanting more,

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Speaker 2: wanting more, or wishing this or wishing that. He's like,

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Speaker 2: I have you, I've got April, I've got Rory like

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Speaker 2: I've got it all, Like he's going, I've got it all.

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Speaker 2: And I actually think there's something kind of significant about

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Speaker 2: this love and this partnership that they have of they

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Speaker 2: didn't need children to solidify that, like they have this

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Speaker 2: iconic relationship. I just don't think again that because they

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Speaker 2: didn't have children together they are any less them.

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Speaker 3: I think you're both right. I think I think it

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Speaker 3: would have been great for this episode to open with

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Speaker 3: Luke and laurel I having a five year old running

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Speaker 3: around like that would have been my perfect thing. But

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Speaker 3: since we didn't get that, at least we got some

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Speaker 3: expression that Luke is, you know, said satisfied in his

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Speaker 3: relationship with Lorelei. So if I couldn't have but I wanted,

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Speaker 3: at least I got, you know, And I.

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Speaker 2: So validate what you're saying. I validate what you're saying,

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Speaker 2: and yet I see it so differently. I love that

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Speaker 2: this couple didn't have kids like that they they had kids,

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Speaker 2: like she has a kid, he has a kid. They

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Speaker 2: are together despite all the things that kind of got

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Speaker 2: in the way over the seven years, they're still together

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Speaker 2: and they have this great relationship which not only are

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Speaker 2: they best friends. They are still like attracted to each other,

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Speaker 2: and yes, we have some conflict coming. Sorry sorry, sorry,

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Speaker 2: but to me, they are the ultimate couple and they

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Speaker 2: are the heart of this series, these four movies, these

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Speaker 2: four episodes, and as you go through it, I think

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Speaker 2: you'll see that. I think that's to me, the movies

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Speaker 2: are about Emily and Lorli and Luke and Loreli, and

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Speaker 2: that's why I sort of think Rory is a bit

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Speaker 2: of a caricature, but we'll get into that. This is

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Speaker 2: about them.

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Speaker 1: Yeah.

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Speaker 3: So then I totally.

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Speaker 1: Feels as a generation dies off, a new generation is

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Speaker 1: brought into the world. I think that's better storytelling. I

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Speaker 1: think Richard passes, but then there's a child between Luke

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Speaker 1: and Laurela. I think that's more balanced. That's all I'm saying.

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Speaker 1: Continue to continue the bloodline, continue it, continue it.

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Speaker 2: And again, I respect where you and Susanna are at

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Speaker 2: because you're coming at it from like you're bringing your

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Speaker 2: own perspective into it, which I totally validate. But I

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Speaker 2: think there's something kind of amazing about this couple being

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Speaker 2: this couple. I don't think it makes them less than

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Speaker 2: that they didn't have kid together.

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Speaker 1: At the table, he doesn't want a kid. Give me

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Speaker 1: a break. What are you talking about? You want to

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Speaker 1: destroying this guy. They're destroying this character.

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Speaker 2: I disagree.

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Speaker 1: He's not Luke. It does. He doesn't act like Luke,

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Speaker 1: he doesn't sound like Luke.

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Speaker 2: He never said he didn't want a kid.

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Speaker 1: He where is his self respect that he's subjecting himself

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Speaker 1: at this age? How old is he now? How he's

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Speaker 1: in his fifties, he's well into his fifties. And he

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Speaker 1: walks into a house of a woman that he's living

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Speaker 1: with and gets disrespected to that degree. Are you kidding me?

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Speaker 1: He's gonna he's not thirty, he's not twenty five. He's

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Speaker 1: a grown ass man. And he gets he doesn't get

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Speaker 1: a seat at the table. He wasn't even and that's okay,

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Speaker 1: and he just accepts it, and he's like bigger than that.

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Speaker 2: I just see it so differently. That's just to make

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Speaker 2: Emily Emily. He was there to pick them up. He's

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Speaker 2: there to sort of save the day because of Kirk

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Speaker 2: super it's all sort of like a little bit lighter.

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Speaker 1: I understand that, But you don't put that character in

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Speaker 1: that situation. That's all I'm saying. It makes everybody look bad.

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Speaker 2: It's say it makes only one person look bad.

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Speaker 1: It only makes Emily look bad. It made Laurel I

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Speaker 1: look bad, and it made Luke look.

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Speaker 2: In my opinion, I disagree, that makes one person look bad, Emily,

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Speaker 2: and that was the intention. Is not to make Luke

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Speaker 2: look like weak. It's just to make Emily be Emily,

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Speaker 2: because if Emily does everything perfectly, we're gonna love her

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Speaker 2: and we're not meant to.

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Speaker 3: So there in Paris's office, starting the surrogate conversation, and

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Speaker 3: that ends with Luke like he's out, he doesn't want

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Speaker 3: any part of the surrogate thing.

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Speaker 2: Then we bought just to say it totally tracks that

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Speaker 2: Paris is the top surrogacy doctor. Like all of how

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Speaker 2: she turned out totally turned out exactly how you would think.

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Speaker 3: Yeah, yeah, exactly what we expect. So then it goes

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Speaker 3: to London. Now we can meet Naomi Shropshire, who's the

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Speaker 3: woman that Rory wrote the article about. She's stealing everybody's food.

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Speaker 3: But it's a good conversation. They're going to write a

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Speaker 3: book and it's going to be fifty to fifty.

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Speaker 2: Then we see that was all kind of whatever for me,

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Speaker 2: Like yeah, I like it from er, I like her

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Speaker 2: from me R.

358
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Speaker 1: But it was like, yeah, I don't care about I

359
00:19:24,400 --> 00:19:28,600
Speaker 1: think we're you know, we missed a major midpoint. The

360
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Speaker 1: midpoint scene halfway through dissected this in two halves right.

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Speaker 1: It ended the conversation between Luke and Laurela about having

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Speaker 1: a kid, because he just she walked out. He walked

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Speaker 1: out first, she walked out, there was no dialogue, and

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Speaker 1: then he just said no and he walked off and

365
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Speaker 1: that was it. So the character destruction is complete for him.

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Speaker 1: And now we moved to London, okay, which I thought

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Speaker 1: was I was greatly relieved because I was no longer

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Speaker 1: witnessing this destruction of this character. I was now with

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Speaker 1: Alex Kingston and the great Alex Kingston and Rory in

370
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Speaker 1: London stealing food from waiters, which I thought was hysterically funny.

371
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Speaker 2: Right, Scott, that we were ready for a little bit

372
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Speaker 2: of levity, a little bit of a different like take

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Speaker 2: us to a different place. They did.

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Speaker 1: The scene was funny and it was the Yaya. But

375
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Speaker 1: it's like we got to see Paris, yeah wow, and

376
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Speaker 1: we got to see Luke with about an eighty IQ.

377
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Speaker 2: You know, start where I agree with you, Scott, this

378
00:20:36,920 --> 00:20:40,120
Speaker 2: was Luke at his worst. I don't I haven't seen

379
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Speaker 2: it until basically now, but this is where I was

380
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Speaker 2: like this.

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Speaker 1: I do take it personally because I invested a lot

382
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Speaker 1: in this character for seven years, put a lot of care.

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Speaker 1: I mean, it dominated my life from two thousand and

384
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Speaker 1: two thousand and seven. Then I see this, it's like, boy,

385
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Speaker 1: it's it's not it's not easy. I apologize to the

386
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Speaker 1: fans if i'm I'm being a little redundant, but it's

387
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Speaker 1: it's hard to watch it, you know.

388
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Speaker 2: No, I think you were right to go and try

389
00:21:06,840 --> 00:21:08,800
Speaker 2: and say this is not what this character would do,

390
00:21:09,400 --> 00:21:14,000
Speaker 2: because it's also like, I don't know what the word

391
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Speaker 2: is for him thinking like he's going to sleep with

392
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Speaker 2: these people. Not only is it buffoonish, it's also like

393
00:21:21,280 --> 00:21:26,800
Speaker 2: making Sacy clowney and there's nothing clowny about it. Yeah,

394
00:21:27,320 --> 00:21:30,359
Speaker 2: so it's like, yeah, I agree with you that this

395
00:21:30,520 --> 00:21:32,800
Speaker 2: is the writing where I'm like, why would they do that?

396
00:21:33,640 --> 00:21:37,680
Speaker 1: Yeah, because they are iconoclasts. Nothing is sacred, and that's

397
00:21:38,000 --> 00:21:40,160
Speaker 1: as well it should be to be able to write

398
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Speaker 1: the way they write. Okay, yeah, that's why it's so funny.

399
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Speaker 2: I guess this wasn't funny to me, it was idiotic,

400
00:21:49,960 --> 00:21:52,960
Speaker 2: but whatever, it was buffoony. It was so buffoony. I'm like,

401
00:21:53,359 --> 00:21:56,720
Speaker 2: this guy's not a buffoon. He knows exactly what surrogacy is.

402
00:21:57,400 --> 00:22:00,760
Speaker 2: And also so do we. So it's like just definitely

403
00:22:00,920 --> 00:22:02,400
Speaker 2: clowned up. Yeah.

404
00:22:03,200 --> 00:22:05,760
Speaker 3: And and like I said, the first time, it was

405
00:22:05,880 --> 00:22:08,119
Speaker 3: kind of funny, like, oh, he doesn't understand what it is.

406
00:22:08,240 --> 00:22:10,960
Speaker 3: But then like he keeps like repeating it over and over.

407
00:22:11,000 --> 00:22:14,159
Speaker 3: I'm like, that's it's just dumb, Like let that go.

408
00:22:15,640 --> 00:22:17,880
Speaker 3: I didn't appreciate that they kept repeating it over and over.

409
00:22:19,119 --> 00:22:22,200
Speaker 3: So then at the end of the day, we go

410
00:22:22,359 --> 00:22:24,760
Speaker 3: to an apartment. We don't know whose apartment it was

411
00:22:25,160 --> 00:22:27,960
Speaker 3: at first a great reveal.

412
00:22:28,800 --> 00:22:34,480
Speaker 1: Yes, I know who she was talking to, right exactly

413
00:22:35,280 --> 00:22:36,720
Speaker 1: is she talking to Laura La on the phone, and

414
00:22:36,800 --> 00:22:37,200
Speaker 1: what's going on?

415
00:22:38,440 --> 00:22:40,200
Speaker 2: See it? I mean I obviously know it was coming

416
00:22:40,240 --> 00:22:43,000
Speaker 2: this time. The first time you see it. Had I

417
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Speaker 2: been in the movie theater, I think I would have applauded.

418
00:22:46,520 --> 00:22:53,680
Speaker 1: Yeah, applauded, Yes, definitely. We lost her. She said that

419
00:22:54,280 --> 00:22:56,720
Speaker 1: go find the applause, you'll find him there you go,

420
00:22:57,400 --> 00:22:58,320
Speaker 1: Logan's on screen.

421
00:22:59,200 --> 00:23:01,960
Speaker 3: Yeah, So then we find out that it's Logan's apartment.

422
00:23:03,520 --> 00:23:07,640
Speaker 3: What happens in Vegas stays in Vegas about finding another

423
00:23:07,680 --> 00:23:09,760
Speaker 3: woman's things in the closet, so we kind of get

424
00:23:09,760 --> 00:23:10,240
Speaker 3: the feeling.

425
00:23:10,640 --> 00:23:14,719
Speaker 1: Yeah again again, the magic of this relationship is now

426
00:23:15,000 --> 00:23:25,280
Speaker 1: completely null. Now we're talking about casual relations on both

427
00:23:25,600 --> 00:23:26,880
Speaker 1: parts of these characters.

428
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Speaker 2: It totally tracks for me with something Rory would do.

429
00:23:30,680 --> 00:23:32,840
Speaker 2: That's my thing with it. It's like, first of all,

430
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Speaker 2: I love the reveal of Logan's.

431
00:23:34,119 --> 00:23:36,240
Speaker 1: It's not Gilmore Girls, it's.

432
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Speaker 2: Something, but so is Gilmore Girls because.

433
00:23:38,760 --> 00:23:44,160
Speaker 1: A friendly, friendly whole show. And now it's like modern.

434
00:23:44,400 --> 00:23:47,639
Speaker 2: It's exactly what she did with Dean. It's really not different.

435
00:23:47,760 --> 00:23:52,920
Speaker 2: She's definitely got some like relationship issue, right, we're dealing

436
00:23:52,960 --> 00:23:55,600
Speaker 2: with that. She's got this Paul guy who she can't

437
00:23:55,640 --> 00:23:59,960
Speaker 2: even remember. It's totally ridiculous. And she's obviously like still

438
00:24:00,320 --> 00:24:03,399
Speaker 2: entangled with Logan. And there's more to come with all this,

439
00:24:03,680 --> 00:24:07,280
Speaker 2: but like, I love the reveal of it, and I

440
00:24:07,359 --> 00:24:14,760
Speaker 2: love the complexity of Rory's messes up relationships constantly, constantly,

441
00:24:15,080 --> 00:24:16,960
Speaker 2: And I don't know if it's because she's got like

442
00:24:17,040 --> 00:24:20,479
Speaker 2: a messed up daddy issue with Christopher, like it all

443
00:24:20,640 --> 00:24:23,240
Speaker 2: tracks like some psychologists would have a field day because

444
00:24:24,000 --> 00:24:29,240
Speaker 2: she constantly sabotages her own relationships and situation.

445
00:24:29,359 --> 00:24:30,240
Speaker 1: She watched her mom do.

446
00:24:30,320 --> 00:24:37,280
Speaker 2: It, Yeah, correct, correct, we watched her mom.

447
00:24:37,240 --> 00:24:41,000
Speaker 1: Do it for seven years. Yeah. The Maxes and the

448
00:24:41,080 --> 00:24:44,399
Speaker 1: Diggers and the Christopher's and who the who you know,

449
00:24:44,440 --> 00:24:45,280
Speaker 1: whoever you know?

450
00:24:45,480 --> 00:24:48,879
Speaker 3: Yeah, Well, Rory seems to think she can have her

451
00:24:48,960 --> 00:24:51,320
Speaker 3: cake and eat it too. Like there's multiple times where

452
00:24:51,359 --> 00:24:55,280
Speaker 3: she's got two guys at the same time and I

453
00:24:56,000 --> 00:24:59,520
Speaker 3: can't remember. I don't think we really saw Loralai doing that, except,

454
00:24:59,600 --> 00:25:02,919
Speaker 3: you know, maybe when she slept with Christopher after the ultimatum.

455
00:25:03,000 --> 00:25:06,399
Speaker 3: But I think it's a little bit different. Rory's always

456
00:25:06,440 --> 00:25:08,000
Speaker 3: on this pecifically.

457
00:25:07,520 --> 00:25:11,639
Speaker 2: Doesn't mind, Like she's obviously sort of quote cheating on

458
00:25:11,760 --> 00:25:15,880
Speaker 2: this Paul guy, and we obviously don't know now.

459
00:25:15,920 --> 00:25:19,240
Speaker 1: She doesn't remember him. He evaporates in her memory, so

460
00:25:19,280 --> 00:25:21,280
Speaker 1: it's not really cheating technically.

461
00:25:20,960 --> 00:25:27,200
Speaker 2: So stupid, but she knows that Logan's obviously got others

462
00:25:27,520 --> 00:25:30,480
Speaker 2: or someone else who don't know at this point, But

463
00:25:30,600 --> 00:25:34,040
Speaker 2: she doesn't have any problem with fit. And that's where

464
00:25:34,080 --> 00:25:34,520
Speaker 2: you're like, this.

465
00:25:34,680 --> 00:25:38,560
Speaker 3: Character is so flawed. Yeah, Like she keeps saying, Oh,

466
00:25:38,600 --> 00:25:40,040
Speaker 3: I keep forgetting to break up with Paul.

467
00:25:40,119 --> 00:25:41,560
Speaker 2: Well, you know, Paul.

468
00:25:42,200 --> 00:25:44,480
Speaker 3: Maybe maybe she doesn't see it as cheating because she

469
00:25:44,600 --> 00:25:47,600
Speaker 3: keeps forgetting about Paul. But I think Paul would probably

470
00:25:47,600 --> 00:25:50,840
Speaker 3: see it as cheating if we were to ask him.

471
00:25:51,119 --> 00:25:54,840
Speaker 2: It's just weird Rory doesn't. She just is so like

472
00:25:55,600 --> 00:26:00,280
Speaker 2: self centered and not caring about other someone else. It's like,

473
00:26:00,280 --> 00:26:01,760
Speaker 2: I don't know. I thought it was very telling about

474
00:26:01,760 --> 00:26:03,960
Speaker 2: the character, but also I like it.

475
00:26:04,160 --> 00:26:07,880
Speaker 1: I mean, I want to she's dating the guy two years. Yeah,

476
00:26:10,400 --> 00:26:13,080
Speaker 1: and she doesn't remember the guy. I mean, that's that's

477
00:26:13,880 --> 00:26:19,600
Speaker 1: that doesn't sound like she's mentally all there. It sounds

478
00:26:19,680 --> 00:26:23,200
Speaker 1: like she's is there's some kind of disease where she

479
00:26:23,280 --> 00:26:25,720
Speaker 1: can date somebody for two years and like actually not

480
00:26:26,000 --> 00:26:29,920
Speaker 1: remember them because there's is it because there's so many

481
00:26:30,040 --> 00:26:31,399
Speaker 1: people that she's dating that.

482
00:26:32,640 --> 00:26:34,159
Speaker 2: This is very weird and.

483
00:26:35,720 --> 00:26:36,240
Speaker 1: Very odd.

484
00:26:36,880 --> 00:26:39,680
Speaker 2: She's that self centered. It's like, oh my god.

485
00:26:40,560 --> 00:26:44,880
Speaker 3: Anyway, Okay, So then Luke's diner the Wi Fi password

486
00:26:45,000 --> 00:26:50,560
Speaker 3: keeps changing. That is funny. Barra Casey in that scene.

487
00:26:51,680 --> 00:26:54,520
Speaker 1: She was she was in that first table by herself.

488
00:26:55,200 --> 00:26:59,520
Speaker 1: She's she's sick because the casting director of seasons two

489
00:27:00,119 --> 00:27:03,960
Speaker 1: through seven, and then episodes as well. She was marrak

490
00:27:04,040 --> 00:27:09,120
Speaker 1: Casey did not cast the pilot, but she did come

491
00:27:09,200 --> 00:27:11,800
Speaker 1: on season two. She came on season two.

492
00:27:12,600 --> 00:27:15,680
Speaker 2: So hysterical bit with the Wi Fi password and it's

493
00:27:15,720 --> 00:27:16,920
Speaker 2: like me a minute to get it.

494
00:27:17,040 --> 00:27:19,960
Speaker 3: It was awesome. Oh, that was so funny, so funny,

495
00:27:20,320 --> 00:27:23,440
Speaker 3: and it was great to see Luke, you know, because

496
00:27:23,480 --> 00:27:26,600
Speaker 3: Taylor and Luke always butted heads through the whole seven seasons,

497
00:27:26,640 --> 00:27:28,080
Speaker 3: and so it was kind of fun to see them

498
00:27:28,160 --> 00:27:31,199
Speaker 3: like coming together on something when Taylor kind of does

499
00:27:31,320 --> 00:27:33,840
Speaker 3: Luke this favor by screaming at everybody about the Wi

500
00:27:33,960 --> 00:27:37,000
Speaker 3: Fi and so then like Luke does him a solid by.

501
00:27:37,400 --> 00:27:39,080
Speaker 2: And just a funny why. I mean, at first it

502
00:27:39,119 --> 00:27:41,480
Speaker 2: took me a minute. He's just like, it's Hamburger five

503
00:27:41,560 --> 00:27:44,199
Speaker 2: four to two? Did you put the exclamation by?

504
00:27:44,320 --> 00:27:49,080
Speaker 1: Like it's so funny, But it was so dumb right

505
00:27:49,200 --> 00:27:50,600
Speaker 1: that he doesn't know what a Sarah it is, But

506
00:27:50,680 --> 00:27:51,600
Speaker 1: he's clever enough.

507
00:27:51,520 --> 00:27:55,359
Speaker 2: To thank you. That's why I agreed. Look, you and

508
00:27:55,400 --> 00:27:56,919
Speaker 2: I are on the same page on the surrogate thing.

509
00:27:57,040 --> 00:27:57,840
Speaker 2: It's absurd.

510
00:27:58,359 --> 00:28:00,639
Speaker 1: Yeah, well, it's nice to finally be on a page

511
00:28:00,680 --> 00:28:04,000
Speaker 1: with you. Amy back where I belong.

512
00:28:13,160 --> 00:28:16,560
Speaker 3: We have Paris in the diner, Rory comes to the diner,

513
00:28:17,600 --> 00:28:22,919
Speaker 3: Rory in Paris on Yeah, okay, so the Troubadour's sister.

514
00:28:23,160 --> 00:28:24,480
Speaker 3: Did you guys see who that was?

515
00:28:24,600 --> 00:28:31,080
Speaker 1: That's that's Sam Phillips. No, it's not Sam. Sam Phillips sounded.

516
00:28:30,880 --> 00:28:34,800
Speaker 3: Like it's Louise Goffin. Who's that Carol King's daughter?

517
00:28:35,320 --> 00:28:43,360
Speaker 2: Oh? Yes, yes, who actually sings the theme song? Right right.

518
00:28:45,000 --> 00:28:47,360
Speaker 3: I loved that. I thought it was that was the

519
00:28:48,520 --> 00:28:49,760
Speaker 3: Troubadour was chasing her.

520
00:28:50,040 --> 00:28:53,840
Speaker 1: I associate a Goffin's voice with Sam Phillips because I

521
00:28:53,920 --> 00:28:56,280
Speaker 1: hear that. I hear that song so often. You think.

522
00:28:59,000 --> 00:29:02,479
Speaker 3: So that that was a fun, a fun cameo.

523
00:29:02,680 --> 00:29:04,640
Speaker 2: There lots of good Easter eggs.

524
00:29:05,520 --> 00:29:10,840
Speaker 1: She's a nifty singer too, and a guitar player. Yeah.

525
00:29:11,080 --> 00:29:16,480
Speaker 3: Yeah. So then Paris and Rory are riding around on

526
00:29:16,840 --> 00:29:18,080
Speaker 3: Kirk's uber cart.

527
00:29:19,080 --> 00:29:19,600
Speaker 2: Hilarious.

528
00:29:20,000 --> 00:29:22,600
Speaker 3: And then we find out that Paris and Doyle split up.

529
00:29:22,720 --> 00:29:25,360
Speaker 3: That was a bummer because I thought they were perfect together.

530
00:29:26,120 --> 00:29:29,080
Speaker 2: There's a little sort of wink wink somewhere where it's

531
00:29:29,120 --> 00:29:31,280
Speaker 2: mentioned he's a screenwriter because he is.

532
00:29:32,880 --> 00:29:37,600
Speaker 3: Yes, and then they pull into the driveway at Lane's house.

533
00:29:37,680 --> 00:29:40,479
Speaker 3: Did you see they almost out on that cart? They

534
00:29:40,520 --> 00:29:44,920
Speaker 3: almost went flying. I missed that. Bob and the two

535
00:29:45,040 --> 00:29:46,400
Speaker 3: women were like grabbing the sides.

536
00:29:47,200 --> 00:29:51,480
Speaker 2: Lane has moved to Suki's house. Yes, I'd like to

537
00:29:51,520 --> 00:29:53,840
Speaker 2: see them almost eat it. I need to go back

538
00:29:53,880 --> 00:29:54,320
Speaker 2: and watch that.

539
00:29:54,480 --> 00:29:57,480
Speaker 3: Yeah, go back to it because it's pretty funny. I

540
00:29:57,520 --> 00:29:59,440
Speaker 3: don't think that was planned, but they both had to

541
00:29:59,560 --> 00:30:01,440
Speaker 3: grab at it sides and Alexis almost fell off.

542
00:30:03,680 --> 00:30:06,200
Speaker 1: I'm going to go back to uh because we missed

543
00:30:06,720 --> 00:30:09,240
Speaker 1: a really great Luke line when he called Laura l

544
00:30:09,280 --> 00:30:13,040
Speaker 1: I when Paris came in. He said, I've got uh

545
00:30:14,120 --> 00:30:18,640
Speaker 1: two arm wrestling breeders here, and tell Laura, I've got

546
00:30:18,680 --> 00:30:21,479
Speaker 1: two arm wrestling breeders here in Mischel. It's the only

547
00:30:21,560 --> 00:30:23,960
Speaker 1: time I've ever seen Michelle at a loss for words.

548
00:30:24,000 --> 00:30:30,960
Speaker 1: He goes because because two of her breeders were in there,

549
00:30:31,080 --> 00:30:33,120
Speaker 1: she brought him. We'll move forward.

550
00:30:33,600 --> 00:30:38,000
Speaker 3: Yeah, that was good, and Luke is always a good there's.

551
00:30:37,760 --> 00:30:41,080
Speaker 1: Always He's never been at a loss for words until

552
00:30:41,120 --> 00:30:42,320
Speaker 1: that moment. Yeah.

553
00:30:44,480 --> 00:30:47,520
Speaker 3: So Lane and Zach's house, now we've got the band, right,

554
00:30:47,600 --> 00:30:48,880
Speaker 3: We've got gies.

555
00:30:49,560 --> 00:30:50,480
Speaker 1: That was pretty great.

556
00:30:50,960 --> 00:30:55,440
Speaker 2: It was very almost suddenly happening without shoving it in

557
00:30:55,520 --> 00:30:56,120
Speaker 2: our faces.

558
00:30:56,400 --> 00:30:59,280
Speaker 1: Right, It was so gradual. They were just showing up

559
00:30:59,320 --> 00:31:01,200
Speaker 1: and they played us song and it was like a

560
00:31:01,320 --> 00:31:02,560
Speaker 1: Joe Jackson song.

561
00:31:02,920 --> 00:31:09,280
Speaker 3: Yeah, exactly. One important point that was in this scene

562
00:31:09,280 --> 00:31:14,960
Speaker 3: that was very small was Lurlai calls Rory and Rory

563
00:31:15,120 --> 00:31:21,840
Speaker 3: says she stayed at her friend Beatie's. So she's lying

564
00:31:21,960 --> 00:31:22,600
Speaker 3: to Laura.

565
00:31:25,560 --> 00:31:26,720
Speaker 2: In London.

566
00:31:27,400 --> 00:31:31,520
Speaker 3: In London, and she said, I stayed with Dede. So

567
00:31:31,720 --> 00:31:35,400
Speaker 3: we see Rory lying to Laura I about being with Logan.

568
00:31:35,640 --> 00:31:41,040
Speaker 3: So that's an important informational point is that Laura I

569
00:31:41,200 --> 00:31:45,080
Speaker 3: does not know about that because we don't We don't

570
00:31:45,160 --> 00:31:49,280
Speaker 3: know when Logan and Rory started seeing each other again,

571
00:31:49,480 --> 00:31:50,760
Speaker 3: like or did it right?

572
00:31:50,880 --> 00:31:52,600
Speaker 2: We don't know anything, so.

573
00:31:55,320 --> 00:31:55,719
Speaker 1: That I did.

574
00:31:55,800 --> 00:31:59,360
Speaker 3: I noted that when I was watching it this time. Okay,

575
00:31:59,440 --> 00:32:02,440
Speaker 3: So then one of my favorite scenes, we go back

576
00:32:02,480 --> 00:32:05,080
Speaker 3: to Emily and Richard's house and Emily's wearing the.

577
00:32:06,680 --> 00:32:08,480
Speaker 2: I tried so hard to find that, Sure, you have

578
00:32:08,600 --> 00:32:10,800
Speaker 2: no idea. I've been trying to find all the clothes,

579
00:32:10,840 --> 00:32:12,480
Speaker 2: which I'll tell everybody about later, but.

580
00:32:14,560 --> 00:32:18,600
Speaker 3: H but she's still wearing it with her pretty gold

581
00:32:18,680 --> 00:32:22,320
Speaker 3: necklace that she wore throughout her personal I loved it

582
00:32:22,400 --> 00:32:24,440
Speaker 3: with the T shirt. Is this classic?

583
00:32:25,000 --> 00:32:25,560
Speaker 2: Looking good?

584
00:32:27,480 --> 00:32:30,960
Speaker 3: Yeah? And so they have a conversation. Yeah, it's a

585
00:32:31,000 --> 00:32:33,800
Speaker 3: good conversation about decluttering her life and Laurel wise like you.

586
00:32:33,920 --> 00:32:38,320
Speaker 2: There's a shout out to to what's her face Marie Condo, Yes,

587
00:32:39,480 --> 00:32:42,000
Speaker 2: which I was like, Marie Conda was eight years ago.

588
00:32:42,400 --> 00:32:45,040
Speaker 2: Feels like I know it was like two years ago.

589
00:32:45,440 --> 00:32:50,200
Speaker 3: Okay. And then Emily talks about the envelope in the

590
00:32:50,280 --> 00:32:52,479
Speaker 3: safe that's marked body shipping cash.

591
00:32:53,600 --> 00:32:54,800
Speaker 2: God, that was so fun.

592
00:32:54,920 --> 00:32:58,080
Speaker 3: Oh my, that whole scene was greatly.

593
00:32:58,880 --> 00:33:02,040
Speaker 2: I didn't have and Emily and the jeans shook the

594
00:33:02,120 --> 00:33:04,320
Speaker 2: world at the time too. It was great.

595
00:33:05,080 --> 00:33:06,480
Speaker 3: Scott, what did you think of that scene?

596
00:33:07,240 --> 00:33:10,040
Speaker 1: I don't know. The discussion of going to Washington State

597
00:33:10,160 --> 00:33:12,360
Speaker 1: to be euthanized is morbid to me.

598
00:33:12,880 --> 00:33:13,600
Speaker 2: Yeah, that was rap.

599
00:33:13,720 --> 00:33:18,200
Speaker 1: Yeah, I don't want to hear that. It's not the

600
00:33:18,400 --> 00:33:21,440
Speaker 1: it's not the show. Sorry, it's just this is a film.

601
00:33:21,600 --> 00:33:26,000
Speaker 1: This is a some scenes just I thought, hmm.

602
00:33:26,640 --> 00:33:29,600
Speaker 2: I know, you're You're right. There are things about these

603
00:33:29,680 --> 00:33:32,880
Speaker 2: movies that are awesome and I'm so glad we have them.

604
00:33:33,560 --> 00:33:38,760
Speaker 2: And then there's things that you're like, yeah, so I

605
00:33:38,920 --> 00:33:40,920
Speaker 2: remember not liking it. The first time I watched this.

606
00:33:41,080 --> 00:33:45,160
Speaker 2: I was so disappointed. I was like that, this is

607
00:33:45,320 --> 00:33:47,760
Speaker 2: not good, and I kept hanging on, like this is

608
00:33:47,840 --> 00:33:49,080
Speaker 2: going to be good, This is going to be good.

609
00:33:50,000 --> 00:33:52,440
Speaker 2: Now there, I think they're much much better.

610
00:33:53,000 --> 00:33:56,560
Speaker 1: I think the real takeaway from the scene is that

611
00:33:56,840 --> 00:34:00,320
Speaker 1: Emily woke or lie up a little bit about the

612
00:34:00,400 --> 00:34:02,800
Speaker 1: true nature of relationship with Blue because that you guys

613
00:34:02,840 --> 00:34:07,640
Speaker 1: aren't real partners, you're just roommates. Yeah, she said, I

614
00:34:07,840 --> 00:34:10,719
Speaker 1: had a real partner for fifty years. Yeah, he's gone

615
00:34:10,800 --> 00:34:13,240
Speaker 1: on and we had something real. You don't have anything

616
00:34:13,640 --> 00:34:14,719
Speaker 1: just awful, awful that.

617
00:34:14,760 --> 00:34:18,320
Speaker 2: She says that awful. Yeah, I agree, horrendous.

618
00:34:19,960 --> 00:34:23,400
Speaker 3: I did like, now, Amy, did you're from northern California?

619
00:34:23,680 --> 00:34:27,080
Speaker 3: Did you catch the Winchester Mystery Family rest?

620
00:34:27,200 --> 00:34:30,040
Speaker 2: Of course, yes, of course that seems like a very

621
00:34:30,440 --> 00:34:35,920
Speaker 2: hour specific two hours from my house. Yeah, I've actually

622
00:34:36,040 --> 00:34:36,600
Speaker 2: never been there.

623
00:34:37,200 --> 00:34:41,960
Speaker 3: I never have either. Yeah, it's just a very California

624
00:34:42,040 --> 00:34:44,520
Speaker 3: specific reference. So I thought it was interesting that Laura like,

625
00:34:44,600 --> 00:34:47,120
Speaker 3: we don't go because it's like it would be challenging

626
00:34:47,200 --> 00:34:49,640
Speaker 3: to go because like where am I It's too far

627
00:34:49,880 --> 00:34:52,360
Speaker 3: to just like go from here too far to go

628
00:34:52,480 --> 00:34:54,399
Speaker 3: to la and you're like, am I staying in San

629
00:34:54,480 --> 00:34:56,080
Speaker 3: Luis obispo, Like I don't want to do that?

630
00:34:56,320 --> 00:34:57,560
Speaker 1: What right? Yeah?

631
00:34:59,800 --> 00:35:02,319
Speaker 3: I just thought that was just excited. I didn't think

632
00:35:02,320 --> 00:35:04,640
Speaker 3: it was something that Laurela I would necessarily have known about.

633
00:35:04,719 --> 00:35:07,879
Speaker 3: But anyways, we couldn't talk about that in culture maybe.

634
00:35:08,640 --> 00:35:13,160
Speaker 3: So then the final scene of the episode is back

635
00:35:13,239 --> 00:35:15,919
Speaker 3: in the town square. We've got cute little towns, people

636
00:35:16,000 --> 00:35:21,520
Speaker 3: walking around in snowflake costumes, the Troubadours singing fountains of

637
00:35:21,560 --> 00:35:24,680
Speaker 3: Wayne's song. The dog is dressed as Luke.

638
00:35:24,800 --> 00:35:28,080
Speaker 2: That was like the best planka and that is the

639
00:35:28,160 --> 00:35:32,120
Speaker 2: original Polenka. That is the original Polanka fourteen years old.

640
00:35:33,800 --> 00:35:34,279
Speaker 3: I love that.

641
00:35:34,440 --> 00:35:35,000
Speaker 2: It's great.

642
00:35:37,040 --> 00:35:38,759
Speaker 3: So this is the nail in the coffin of the

643
00:35:39,040 --> 00:35:43,719
Speaker 3: surrogate idea. Laurel I tells uh Paris that it's off.

644
00:35:46,000 --> 00:35:48,800
Speaker 3: Kirk has now moved on to another career because his

645
00:35:49,000 --> 00:35:50,040
Speaker 3: uber career.

646
00:35:50,000 --> 00:35:51,280
Speaker 2: Is getting sued by Uber.

647
00:35:52,760 --> 00:35:59,839
Speaker 3: Yes, and then the therapy conversation Emily, Emily totally baited.

648
00:35:59,560 --> 00:36:04,480
Speaker 2: Larela Luke knew and Luke's like I tried to warn you.

649
00:36:04,840 --> 00:36:08,080
Speaker 3: Yeah, He's like waving his hands I thought it was

650
00:36:08,120 --> 00:36:10,279
Speaker 3: a cute ending, and then we get very good ending,

651
00:36:10,440 --> 00:36:13,920
Speaker 3: so you can't go wrong and parton song, I.

652
00:36:14,160 --> 00:36:17,920
Speaker 2: Literally wanted to cry because I'm like, oh man, it

653
00:36:18,080 --> 00:36:22,240
Speaker 2: made me feel I don't know the word other than melancholy,

654
00:36:22,560 --> 00:36:25,320
Speaker 2: like I was happy, I was sad, I was like

655
00:36:25,600 --> 00:36:28,000
Speaker 2: or bitter sweet. It was like I loved it and

656
00:36:28,040 --> 00:36:30,480
Speaker 2: then I'm like, oh no, and in my heart, I

657
00:36:30,600 --> 00:36:33,960
Speaker 2: just it's sank because I'm like, I need more of this.

658
00:36:35,200 --> 00:36:38,040
Speaker 3: Yeah, I was you want to know what's gonna what

659
00:36:38,160 --> 00:36:39,280
Speaker 3: else is going to come next?

660
00:36:40,320 --> 00:36:44,040
Speaker 2: Well, and I need more now, I don't know. It

661
00:36:44,120 --> 00:36:45,439
Speaker 2: made me feel a lot of things.

662
00:36:47,920 --> 00:36:52,239
Speaker 1: Oh boy, that's all right. Are going to rate this?

663
00:36:53,239 --> 00:36:53,719
Speaker 1: It's a lot.

664
00:36:53,880 --> 00:36:54,359
Speaker 2: It's a lot.

665
00:36:54,440 --> 00:36:57,800
Speaker 1: It's a lot, Suzanne, what are you going to give it?

666
00:36:59,160 --> 00:37:02,120
Speaker 3: I'm gonna I'm going to give this it's a whole.

667
00:37:01,960 --> 00:37:07,120
Speaker 1: New criteria now because it's a film, nothing we have

668
00:37:07,520 --> 00:37:11,520
Speaker 1: nothing to measure it against yet, right, I can't.

669
00:37:11,400 --> 00:37:13,279
Speaker 2: Just give it one score. I feel like I have

670
00:37:13,360 --> 00:37:18,200
Speaker 2: to give it like a few scores, like a nostalgia score,

671
00:37:18,760 --> 00:37:23,080
Speaker 2: a score, a score if I only watched this, a

672
00:37:23,200 --> 00:37:25,239
Speaker 2: score like I've got a lot.

673
00:37:25,160 --> 00:37:28,440
Speaker 1: Of Okay, how about a score a nostalgia score, hearkening

674
00:37:28,600 --> 00:37:31,359
Speaker 1: back to is it similar to Gilmore Girls? And did

675
00:37:31,400 --> 00:37:34,280
Speaker 1: it make you give you the field? And then another score?

676
00:37:35,640 --> 00:37:38,920
Speaker 1: Do you think it succeeded in defining its own space

677
00:37:39,840 --> 00:37:42,480
Speaker 1: as a modern Gilmore Girl? So let's those are the

678
00:37:42,600 --> 00:37:45,840
Speaker 1: two scores as a film. Do you think it was

679
00:37:45,840 --> 00:37:51,279
Speaker 1: successful as a film? Okay? The confusing enough, I have more.

680
00:37:51,600 --> 00:37:53,359
Speaker 3: I know. I had to write it down. What we're

681
00:37:53,400 --> 00:38:03,000
Speaker 3: doing here for nostalgia's fake. I loved seeing the town

682
00:38:03,040 --> 00:38:06,319
Speaker 3: people again. I liked seeing Jason Styles again. So I'm

683
00:38:06,360 --> 00:38:10,319
Speaker 3: going to give that an eight. I have to pick

684
00:38:10,360 --> 00:38:13,360
Speaker 3: a measuring stick, don't I. Oh yeah, I am going

685
00:38:13,440 --> 00:38:13,920
Speaker 3: to give that.

686
00:38:16,640 --> 00:38:16,839
Speaker 2: Eight.

687
00:38:17,160 --> 00:38:21,480
Speaker 3: Singing Rabbi dolls at Loralized House.

688
00:38:22,080 --> 00:38:22,560
Speaker 2: And then.

689
00:38:24,160 --> 00:38:27,239
Speaker 3: Rating it just as a film kind of on its

690
00:38:27,280 --> 00:38:28,040
Speaker 3: own merit.

691
00:38:28,800 --> 00:38:29,200
Speaker 1: Mm hmm.

692
00:38:30,360 --> 00:38:36,040
Speaker 3: I'm going to give it seven a Candies T shirts.

693
00:38:37,640 --> 00:38:37,960
Speaker 1: Amy.

694
00:38:39,120 --> 00:38:41,920
Speaker 2: Okay, so this is so complicated for me. I'm going

695
00:38:41,960 --> 00:38:45,279
Speaker 2: to give it like an eight for nostalgia. Also, I

696
00:38:45,400 --> 00:38:47,080
Speaker 2: was so happy, like there were so many things. I

697
00:38:47,160 --> 00:38:49,600
Speaker 2: love the fashion and there's so many things. I love

698
00:38:49,719 --> 00:38:51,960
Speaker 2: the seeing all these people. I love the Logan reveal.

699
00:38:51,960 --> 00:38:54,600
Speaker 2: I'll give it eight. Logan reveals right, like there's something

700
00:38:54,680 --> 00:38:58,120
Speaker 2: in this that I'm just like so happy about as

701
00:38:58,200 --> 00:39:01,680
Speaker 2: a whole. I have one more thing to add to

702
00:39:01,760 --> 00:39:04,160
Speaker 2: it as a whole. I'll also give it an eight,

703
00:39:04,280 --> 00:39:08,360
Speaker 2: like it was like, yeah, I like this crew to

704
00:39:08,520 --> 00:39:13,320
Speaker 2: Gilmore sort of how I feel about it wholeistically like

705
00:39:13,440 --> 00:39:17,400
Speaker 2: Bird's Eye View seven. There's some things that are wrong

706
00:39:17,480 --> 00:39:20,319
Speaker 2: with it, but then like for my heart, I still

707
00:39:20,360 --> 00:39:22,200
Speaker 2: give it a ten. So I'm kind of giving it

708
00:39:22,239 --> 00:39:24,960
Speaker 2: all these scores because it's just too complicated for me

709
00:39:25,080 --> 00:39:26,680
Speaker 2: to just give it one score.

710
00:39:27,120 --> 00:39:30,800
Speaker 1: Yeah, for an esnalgia score, I'm going to give it

711
00:39:30,840 --> 00:39:35,200
Speaker 1: a sixer a five because of his character instruction two

712
00:39:35,239 --> 00:39:45,040
Speaker 1: of the main characters, Rory and Luke Pigs, I'll give

713
00:39:45,080 --> 00:39:51,560
Speaker 1: it to five. Pick pigs, okay, five Kirk picks. As

714
00:39:51,600 --> 00:39:57,000
Speaker 1: a standalone film, drama, edy film, I'm going to give

715
00:39:57,080 --> 00:40:04,839
Speaker 1: it Actually it's more of a comedy. Well, it's drama, drama, dramedy. Yeah,

716
00:40:05,680 --> 00:40:08,200
Speaker 1: I'm going to rate it much higher. I'm going to

717
00:40:08,280 --> 00:40:11,719
Speaker 1: give it a a nine. As a standalone I think

718
00:40:11,760 --> 00:40:15,879
Speaker 1: it really I just think some of the performances were

719
00:40:15,920 --> 00:40:19,239
Speaker 1: all so solid. I think the look of it was superior.

720
00:40:21,120 --> 00:40:23,439
Speaker 1: It's a world that I would, you know, I would

721
00:40:23,480 --> 00:40:26,239
Speaker 1: go watch the sequel if it was a standalone I would,

722
00:40:26,560 --> 00:40:28,560
Speaker 1: you know, I wouldn't want to know more about these characters,

723
00:40:28,760 --> 00:40:32,000
Speaker 1: and I want to laugh more and and I want

724
00:40:32,160 --> 00:40:34,840
Speaker 1: and I that level of drama. It's it's rare to

725
00:40:34,960 --> 00:40:39,400
Speaker 1: get such a deep level and such frequent comedy out

726
00:40:39,440 --> 00:40:46,960
Speaker 1: of something that can also be so smartly dramatic, really

727
00:40:47,200 --> 00:40:52,400
Speaker 1: really well done. So I'll give it, you know, you know,

728
00:40:53,480 --> 00:40:58,520
Speaker 1: Emily ten, What did I say? Ten? Did I say ten? Nine? Emily,

729
00:40:59,080 --> 00:41:00,480
Speaker 1: Emily pairs of genes.

730
00:41:00,719 --> 00:41:02,439
Speaker 2: I also think eight years ago I would have given

731
00:41:02,440 --> 00:41:04,239
Speaker 2: it a four, and now I give it an eight.

732
00:41:04,360 --> 00:41:07,759
Speaker 2: I really did not like it eight years ago, so

733
00:41:09,000 --> 00:41:11,120
Speaker 2: eight years from now it is gonna be really good.

734
00:41:12,400 --> 00:41:16,840
Speaker 1: It definitely crackled with energy. It crackled with the comedic

735
00:41:17,000 --> 00:41:21,160
Speaker 1: energy throughout. No matter what the situation, you were going

736
00:41:21,239 --> 00:41:24,400
Speaker 1: to get rewarded with crackling comedy.

737
00:41:25,239 --> 00:41:28,680
Speaker 2: I understand why everyone wanted to do it, like you go,

738
00:41:29,080 --> 00:41:30,839
Speaker 2: I get it, I get it. You know it does.

739
00:41:31,280 --> 00:41:34,279
Speaker 2: There is a hint for me of sex in the

740
00:41:34,360 --> 00:41:38,479
Speaker 2: City to the and just like that, where at first

741
00:41:38,560 --> 00:41:40,719
Speaker 2: I was like, I hate this because it's not sex

742
00:41:40,800 --> 00:41:43,400
Speaker 2: in the City, but now I like it, so I

743
00:41:43,440 --> 00:41:47,080
Speaker 2: think that's happening for me too, Like is it the same? No,

744
00:41:47,440 --> 00:41:50,320
Speaker 2: but it has enough of the same that I'm that

745
00:41:50,360 --> 00:41:52,040
Speaker 2: I'm super into it and want more.

746
00:41:55,239 --> 00:41:58,719
Speaker 1: All Right, that's going to wrap her up Winter episode

747
00:41:58,880 --> 00:42:06,239
Speaker 1: one of the seasons from Netflix. Thank you, Susanne, Thank

748
00:42:06,280 --> 00:42:12,080
Speaker 1: you waymy. It's always a pleasure. Rattling swords, sparring, and joy.

749
00:42:12,600 --> 00:42:14,800
Speaker 2: I'm happy to be sparring again. We really did not

750
00:42:14,920 --> 00:42:17,480
Speaker 2: spar all of season seven, and I think that's because

751
00:42:18,320 --> 00:42:22,400
Speaker 2: it was kind of season seven sort of just chugs along,

752
00:42:23,920 --> 00:42:24,319
Speaker 2: but it's not.

753
00:42:24,520 --> 00:42:27,839
Speaker 1: So there's there's some really strong episodes and in season seven.

754
00:42:28,239 --> 00:42:31,680
Speaker 1: I have to give it credit anyway, that's gonna do it.

755
00:42:31,840 --> 00:42:34,200
Speaker 1: Thanks for your downloads, your cards and letters. We love you,

756
00:42:34,280 --> 00:42:39,040
Speaker 1: we need you, UH can't live without you. And that's

757
00:42:39,080 --> 00:42:42,799
Speaker 1: going to do it. And remember we and I I'm

758
00:42:42,920 --> 00:43:14,719
Speaker 1: all in, Stay safe, everybody off again. Follow us on

759
00:43:14,880 --> 00:43:19,160
Speaker 1: Instagram at I Am all In podcast, and email us

760
00:43:19,360 --> 00:43:22,719
Speaker 1: at Gilmore at iHeartRadio dot com.