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Speaker 1: Still the Place with Laura Layton, Courtney thorn Smith.

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Speaker 2: And Daphne's Aniga and iHeartRadio podcast. Hi guys, Hi.

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Speaker 1: We are We're having another Still the Place recap.

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Speaker 2: Yeah, we're all like yapping away and Courtney's like.

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Speaker 3: Stop stop talking record for you people at home. These

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Speaker 3: ladies actually talk in real life. I keep saying, no,

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Speaker 3: we only talk when the cameras are rolling. Real relationships

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Speaker 3: are stupid souche okay stuff.

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Speaker 1: To say such a real life people.

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Speaker 2: Yes, we're so wasted in land. What we were saying

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Speaker 2: is maybe the fans want to know is death. We

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Speaker 2: are going to have our guests back, and you know,

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Speaker 2: not just once, and I think it'll be fun. Uh

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Speaker 2: you know, I have Vanessa back and we're Josie wouldn't

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Speaker 2: get back, and I start to do stuff with Jake.

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Speaker 2: We'll get you know, Grant back and all of this stuff.

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Speaker 2: I think it's great.

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Speaker 3: But as we're watching them, we're thinking, oh god, this

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Speaker 3: one that's coming up today. We wish Vanessa was back

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Speaker 3: to talk about this show. So we're going to look

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Speaker 3: ahead and have our friends back more often because it's fun.

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Speaker 3: We just saw Doug.

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Speaker 2: Do you think you can get it.

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Speaker 1: I think you'd be open to that.

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Speaker 2: Maybe if I call him, I think you should maybe,

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Speaker 2: Well that dog, he's so difficult.

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Speaker 3: Oh his Broadway career and all. It was so much

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Speaker 3: fun to have him. And you know, I know that

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Speaker 3: you guys have now heard the episode with him, but

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Speaker 3: I've talked reached out for a lot of my gay

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Speaker 3: friends were about my age and talked about what that

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Speaker 3: meant to them.

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Speaker 2: It meant so much to all of them.

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Speaker 3: And we talked about with Doug is that he refused

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Speaker 3: to answer whether he was gay or straight in real life,

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Speaker 3: and every single friend I've asked about that said it

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Speaker 3: meant so much to them because he wasn't distancing himself

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Speaker 3: from the gay character, so really impacted people.

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Speaker 2: I was really at him to be that age and

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Speaker 2: you know, that young and an actor who a young

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Speaker 2: actor who needs a job, and it's not like here

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Speaker 2: we are in twenty twenty four looking back on that

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Speaker 2: era that was happening for the first time, and he

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Speaker 2: made the decision to not tell anyone, even when Aaron

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Speaker 2: and you know, the network and everyone was encouraging him.

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Speaker 2: You know, just say that you're not gay, and it's

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Speaker 2: not like now to say that where people have done

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Speaker 2: it after him, you know, it's like he was on

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Speaker 2: the front lines of that. So yeah, so true.

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Speaker 3: I really do to tell you guys something funny. You

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Speaker 3: at home weren't in the room, so it's all of

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Speaker 3: us in the room with Doug. And it's so funny

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Speaker 3: because Laura was so quiet, and it's one of those

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Speaker 3: moments when it's like you know too much, like you're like,

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Speaker 3: I'm gonna let them ask questions because you know, everything.

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Speaker 2: Was so funny.

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Speaker 1: Well it really there was just so quiet. I mean,

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Speaker 1: I knew that she started and yeah, no, but it

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Speaker 1: honestly is his greatest It's the thing that he's most

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Speaker 1: proud of the experience of Melrose's Place is that he's

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Speaker 1: been able to have that impact and it still is

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Speaker 1: something that he hears from people about today. So he yeah,

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Speaker 1: he's really proud of that.

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Speaker 2: That's awesome. And you know what I'm learning from Melrose's

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Speaker 2: Place in general. This first season it really did tackle

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Speaker 2: the issues and I think Courtney, as you pointed out,

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Speaker 2: you know, it was a first really again, it wasn't

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Speaker 2: just turn in to tune out and be entertained and

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Speaker 2: in safe topics Melro's Place and Aaron Spelling and Darren

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Speaker 2: Starr and the writers really tackled these issues like the

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Speaker 2: gay bashing, and you know, I didn't know that.

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Speaker 1: I didn't know that.

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Speaker 2: So I'm really proud and impressed with, proud of and

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Speaker 2: impressed with Melo's Place and the creators at that time.

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Speaker 2: And I love that Doug stepped right up to that.

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Speaker 4: You know, that was real.

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Speaker 2: That was so much fun. Cool. He's so fun. Your

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Speaker 2: husband's so fun, Laura.

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Speaker 1: I think so too.

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Speaker 2: Yeah, I love that. So cool. Yeah, you loved it.

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Speaker 1: So I do think he'll be back. And we are

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Speaker 1: getting you know, one more recapped in We're riding around

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Speaker 1: the corner from Daphne coming up?

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Speaker 3: Are you after this one?

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Speaker 2: Fifteen? Daphney's in the next and Hope with your an

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Speaker 2: party for Joe.

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Speaker 1: I think we're going to but yeah, like I feel

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Speaker 1: like this episode, episode fourteen is the first one where

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Speaker 1: I started like yelling at the television, which I think

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Speaker 1: is a classic experience that Melrose viewers audience members were

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Speaker 1: having in subsequent seasons. But this episode is the first

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Speaker 1: time I was yelling at the TV, like don't do

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Speaker 1: what a stupid choice? Like she was to me, yeah, like,

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Speaker 1: but also like I was yelling at Keith, I was

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Speaker 1: yet like, let me say yelling, you don't what I mean, like, no,

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Speaker 1: what are you doing dude? Or yeah, you know that,

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Speaker 1: like that sort of thing, which I think that sort

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Speaker 1: of exasperation is indicative of what's down the line. But tonally,

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Speaker 1: I just found myself having that experience for the first

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Speaker 1: time in this episode.

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Speaker 2: Yeah.

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Speaker 3: It's like I think one of you guys made this

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Speaker 3: point last time, which is that it started before we

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Speaker 3: thought we thought of it. When you guys came on

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Speaker 3: and Heather came on that that's when it started to

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Speaker 3: get spicy. But it started getting spicy now because this

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Speaker 3: is the first time show ended, I really didn't want

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Speaker 3: to stop it.

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Speaker 2: I wanted to go to the next episode because I

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Speaker 2: was like, what's next.

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Speaker 3: I thought you guys started talking about I think the

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Speaker 3: last episode that it's starting to get serealized.

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Speaker 2: The cliffhanger more cliff well, because Courtney, you keep bringing

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Speaker 2: up how badly there was, how badly we were doing,

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Speaker 2: and how low the ratings are. So I think the writers,

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Speaker 2: you know, I mean, there are a lot jobs are

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Speaker 2: on the line. They're the success of the shows on

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Speaker 2: the line, so they kind of like we're ahead of

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Speaker 2: the you know, trying throwing stuff at the stories to

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Speaker 2: see what, would you know, tense things up, spice things.

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Speaker 3: Yeah, it really did get it got more exciting. I

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Speaker 3: was definitely yelling at the screen at myself, all right.

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Speaker 1: Well, let's get started. This one's episode fourteen. The title

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Speaker 1: is drawing the line. We open at nighttime at Keith's

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Speaker 1: beach house, which the cliffhanger from last episode was will

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Speaker 1: she or won't she decided to end things with Keith.

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Speaker 1: Allison had gone over to end it in the end

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Speaker 1: of episode thirteen, and now it's nighttime. She's on the

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Speaker 1: balcony pondering her complicated feelings when Keith comes out and

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Speaker 1: she tells him she has never felt so comfortable and loved.

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Speaker 3: Okay, so this scene, I remember the scene and I

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Speaker 3: just double checked to make sure the director was an editor.

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Speaker 3: And I'm not one of those actors who cries really easily,

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Speaker 3: like some actors. They just go tears and they pour

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Speaker 3: like I have to really work on it. I have

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Speaker 3: to listen to a torri Amos sad song for you

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Speaker 3: kids out there. Tori Amos was a singing star in

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Speaker 3: the nineties and I have to listen to a sad song.

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Speaker 3: So I in this opening scene cry all the time

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Speaker 3: in this episode. Know how hard this episode was to me,

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Speaker 3: But so I get it together and I cry and

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Speaker 3: I get it and I'm like, oh my god, that

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Speaker 3: you know, the tears starting, like, oh the party of

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Speaker 3: your brain is in the scene party of rings, like, oh,

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Speaker 3: thank god, the tears are coming. And the director came

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Speaker 3: up to me and I was like, oh, thank god

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Speaker 3: it he goes, he said, you know what and he

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Speaker 3: holds up the script. He goes, it says you cry

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Speaker 3: on this line.

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Speaker 2: Oh.

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Speaker 3: Literally, I was like, oh my god, I need to

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Speaker 3: back up right now as you can say now, I'm

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Speaker 3: sure some people can do it, right Emma Thompson can

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Speaker 3: probably cry on that Meryl Streep. I'm sure it can

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Speaker 3: have which a tear from which I I'm not that actor.

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Speaker 2: But also he was an editor, so he was an editor.

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Speaker 3: I literally say this, yeah, it says you cry on

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Speaker 3: this line. And I was relieved I wasn't connected to

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Speaker 3: the scene because I was crying happy tears. It wasn't

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Speaker 3: one of those where you go, oh, I know what

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Speaker 3: this is and I have a direct experience I can

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Speaker 3: connect to, so.

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Speaker 2: I had to.

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Speaker 3: I always had something completely fabricated in my mind to

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Speaker 3: even get me there.

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Speaker 1: Well, yeah, it's like, you know, it's not an acting

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Speaker 1: as an art, not a science, and you know, to

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Speaker 1: make it happen on a certain line is pretty tall order.

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Speaker 3: And that's why I can't some people that answer you guys,

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Speaker 3: are you guys like no criers?

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Speaker 1: Not like cry on this line?

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Speaker 2: No? Whoa I It depends on what you're going through. Like, yeah,

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Speaker 2: there were years where I could like cry, I just

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Speaker 2: turned on my mind. Was Cheryl Wheeler or uh, I

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Speaker 2: don't know. Just some heartaching.

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Speaker 1: Absolutely, But it's also hard with your crew standing by

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Speaker 1: and the pressure and it's time and it might be

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Speaker 1: lunch and whatever. There's a million.

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Speaker 3: Also sometimes there's a lot of pressure to the scene. Right,

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Speaker 3: I've been really connected to the scene where it literally

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Speaker 3: does happen on a line because you're so connected. This

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Speaker 3: wasn't that Like when I was rehearsing it on my own,

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Speaker 3: I'm like, I got nothing. Yeah, no that's not I

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Speaker 3: got nothing. So I have to really fabricate something.

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Speaker 2: And then I watched an interview with Sally Field once

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Speaker 2: and who I just love and loved her autobiography. But

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Speaker 2: she was saying, how you know you use something in

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Speaker 2: your own life that was very that's very sad, and

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Speaker 2: you just go there and the whole point is that

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Speaker 2: you really concentrate on it. She goes, but sometimes you know,

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Speaker 2: just Grandma onto the tractor just doesn't work anymore. I'm

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Speaker 2: all dry it up. You know, It's like, there does

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Speaker 2: become a point where that memory just doesn't It's so.

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Speaker 3: True, and you're going to access and you're like, healed.

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Speaker 2: I gotta find another trauma if I gonna.

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Speaker 1: Keep going, all right, So, speaking of trauma, Alison leaves

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Speaker 1: Keith and now she's coming back home to the apartment

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Speaker 1: early in the morning. Billy is awake and he's annoyed

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Speaker 1: because he says he stayed up late waiting for her.

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Speaker 1: And Ellison then tells Billy that Keith is leaving his

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Speaker 1: wife for her, plus he's the best in bed. I

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Speaker 1: know what you're thinking, she says to him, was that.

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Speaker 3: As uncomfortable for all of you?

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Speaker 2: That line she.

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Speaker 1: Seemed very She was defending herself on a lot of levels,

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Speaker 1: and Billy was rightfully annoyed.

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Speaker 2: That was a weird line, don't you know anyway?

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Speaker 1: Okay, go on, he's the best in bedding and I

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Speaker 1: know what you're thinking, which she doesn't necessarily, and then

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Speaker 1: she tells Billy that life and love don't come neatly packaged.

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Speaker 1: She walks out of the room. Alison is, by the way,

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Speaker 1: wearing a red sweater set.

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Speaker 2: Here, I'm just saying, yeah, I'm I clocked that too,

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Speaker 2: red sweater set. What's she going to do?

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Speaker 1: And Billy points out that she sounds like a dysfunctional

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Speaker 1: Hallmark card. She says, no, I'm in love and Keith

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Speaker 1: is in love with me, so yeah, it's.

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Speaker 3: Very young, right, I'm in love and that's all that matters,

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Speaker 3: and that is a anyway. I'm sure we all want

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Speaker 3: to shake Alison at this point.

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Speaker 2: Well, yeah, we just it's going back and forth a law.

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Speaker 1: Also, plus Billy is the voice of reason yeah in

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Speaker 1: these and you know, and we're like, yeah, Billy, you're

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Speaker 1: you're right, he's you know, this is a married man

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Speaker 1: and whatever and you've only just met and like he's

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Speaker 1: he's the voice of reason and love or not. He's

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Speaker 1: also just making sense. So you're we're just rooting for

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Speaker 1: Allison and Billy.

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Speaker 2: I like the line where you're like, I know what

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Speaker 2: you're thinking, I've said this before or whatever, and he's like,

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Speaker 2: I'm actually still working on He's so great in bed.

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Speaker 1: I'm like the processing that wordness, I mean, yeah, yeah,

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Speaker 1: I know Andrew is adorable in this episode.

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Speaker 2: Yeah.

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Speaker 1: And then the next scene there's a.

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Speaker 2: I cannot see these story not lines without seeing you

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Speaker 2: guys just going home and like being totally passionate or hilarious.

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Speaker 2: I just can't not see it anymore.

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Speaker 3: Corey hold and now awkward. You imagine how awkward that

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Speaker 3: was for Billy Moses, Like now we were like out

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Speaker 3: as a couple, we're completely a couple, and he's coming in, like,

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Speaker 3: let me make out with you in front of your

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Speaker 3: actual boyfriend.

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Speaker 1: Well, and it's confusing that Billy Moses, who's the actor

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Speaker 1: who's playing Keith, is named Billy, and the character of

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Speaker 1: Billy is played by Andrews. So like, even in my

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Speaker 1: notes a couple of times I wrote Billy when I

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Speaker 1: meant Keith, because it's just a million reasons to stage.

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Speaker 1: So anyway, as the next scene is, there's a knock

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Speaker 1: on Ronda's apartment door and it reveals and she is

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Speaker 1: going to wear a red suit, we might add, and

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Speaker 1: she's apparently there to see the apartment. She lays on

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Speaker 1: the compliments to Ronda's good taste in decore and her

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Speaker 1: great dancer body, and she tells Ronda, Wow, you really

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Speaker 1: got it together here. She hads Ronda her resume and

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Speaker 1: letters of references, listening to her responsible attributes and she's

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Speaker 1: very particular, and she explains to Ronda that she's an

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Speaker 1: organizing professional. And Ronda's like, Wow, you sound great and

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Speaker 1: clean and you can move in right away.

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Speaker 4: You sound amazing.

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Speaker 3: And everyone in the world goes, oh, this is not

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Speaker 3: Oh yeah, this is not going to end well.

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Speaker 2: But you know, I thought it was really stretched. I

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Speaker 2: don't know if you guys knew her back. I knew

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Speaker 2: ray Don a little bit in the eighties and nineties,

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Speaker 2: and you know, i've seen her more recently, and she's

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Speaker 2: so full of life and so you know, joyful and

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Speaker 2: open hearted, and I just thought I was wondering if

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Speaker 2: this was a stretch for her to be, Like, she's

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Speaker 2: like all those callers, and you know, she's a professional organizer,

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Speaker 2: like from hell, and I just was.

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Speaker 3: Well, that's before it was a thing, right, she was saying,

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Speaker 3: I'm an organized a professional, I'm an OP and then

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Speaker 3: Ronda says, o B And I thought that's before it

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Speaker 3: was a thing like now someone says a professional organizer,

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Speaker 3: you know what it is. But I was also thinking

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Speaker 3: I will pull my covers a little bit. I was like, Oh,

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Speaker 3: that's a good idea.

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Speaker 2: I like that.

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Speaker 3: I like that, lazy Susan, that is a very good

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Speaker 3: way to do your candidate. Really, you should say my pantry.

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Speaker 3: It looked a little bit like that. I was like, oh,

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Speaker 3: I have my spices alphabetized.

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Speaker 2: I relate to that.

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Speaker 1: Yeah, So it looks like it's all going to be

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Speaker 1: great between the two, and Ronda's maybe has a new roommate.

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Speaker 1: So moving on, Matt is in a meeting with an

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Speaker 1: attorney and he's telling her that he was fired for

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Speaker 1: discrimination because he's gay.

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Speaker 4: And the attorney warns Matt that the.

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Speaker 1: Invasion of privacy and pursuing such a lawsuit is tough,

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Speaker 1: but she's willing to take the case on contingency, and

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Speaker 1: she will also need five thousand dollars for costs upfront,

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Speaker 1: So like, if she's taking the case on contingency, she's

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Speaker 1: going to do the work without the hourly and sort

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Speaker 1: of postpone in her face.

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Speaker 3: But just so you know, it's twelve thousand dollars today, right,

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Speaker 3: So that just kind of because why he that's a

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Speaker 3: five thousands a lot, but twelve thousand dollars is a lot,

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Speaker 3: a lot, a lot.

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Speaker 1: Yeah, Yeah, sure enough his face falls at the mention

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Speaker 1: of that needing to come up with that money.

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Speaker 3: And we're a little worried because he came in. Doug

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Speaker 3: came in so vulnerable, and I just thought, is she

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Speaker 3: going to say no? I was relieved when she didn't

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Speaker 3: say no, because there was a real concern. He played

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Speaker 3: so well the resistance to saying happened, and I felt

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Speaker 3: like in his playing, I heard the anticipation of her

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Speaker 3: not taking him seriously. She did, but I think because

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Speaker 3: if there was a cat well he played it.

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Speaker 2: I was nervous with him that she wouldn't.

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Speaker 1: Yeah, And we go from there to the courtyard where

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Speaker 1: Michael is on a ladder. He's replacing some roof tiles,

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Speaker 1: and again we see that very cloudy sky scrim up

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Speaker 1: above the building. And while Billy helps and he fills

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Speaker 1: in Michael and Jane about Alison being in love with Keith,

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Speaker 1: who was apparently ending his marriage for her. Jane is

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Speaker 1: appalled and she can't believe Alison would break up someone's marriage.

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Speaker 1: She says it's so wrong, and Billy says Alison has changed.

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Speaker 4: Michael tells Jane.

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Speaker 1: Not to overdramatize, and when Jane calls Alison homewrecker, and

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Speaker 1: Jane's like, well, I'm just calling it like I see it.

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Speaker 1: Just call him like I see him, she says, and

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Speaker 1: she walks away.

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Speaker 3: I was so glad that we finally had this real

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Speaker 3: conversation that I thought it was sweet in last episode

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Speaker 3: when Jane was concerned about Alison, but I also I

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Speaker 3: want her to be mad, so I like this felt

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Speaker 3: really authentic to me.

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Speaker 2: She calls you on it more than one yes, which

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Speaker 2: I love.

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Speaker 3: I think it's great that she's finally having this really

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Speaker 3: authentic reaction because you know, especially once you're married, like

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Speaker 3: when you're young and saying you don't quite understand what

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Speaker 3: it means to break up a marriage, but once you're married,

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Speaker 3: you really understand how sacred that bond is.

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Speaker 1: Well, Michael, I mean, yeah, he's calling her. Michael, You're

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Speaker 1: just being dramatic. Stop calling her a homewrecker and just like, yeah,

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Speaker 1: that's kind of exactly what it is, you know, And

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Speaker 1: he's doesn't see it that way.

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Speaker 2: He said, he's laying the.

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Speaker 3: I think it's fine to have affairs, no offense, it's fine.

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Speaker 1: Oh you're so dramatic not being so dramatic about her

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Speaker 1: being a homewrecker.

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Speaker 2: Didn't you read Esquire it's a normal thing. Wife.

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Speaker 1: So then we cut to an outdoor patio restaurant where

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Speaker 1: Matt is a new employee. He's learning the ropes and

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Speaker 1: wondering how much money he can make it his new

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Speaker 1: job when he sees Jake at a table, who teases

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Speaker 1: him about his work shirt, and Matt sort of rolls

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Speaker 1: society and says, hey, it's a living though. He might

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Speaker 1: actually consider heading up his parents for the legal fees

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Speaker 1: at this rate, he says, And.

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Speaker 2: He's workshirt saying bikini burgers on. Yeah, it's got kind

355
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Speaker 2: of where he's working.

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Speaker 3: And I love that Jake is in this scene, but

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Speaker 3: I saw him like he's really underused. I know his

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Speaker 3: storyline picks up, especially when you come in death, but

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Speaker 3: I was like, he's really.

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Speaker 2: Like used in these few episodes.

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Speaker 3: Yeah, he's gearing up to come back, but I bet

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Speaker 3: he was frustrated.

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Speaker 2: Well, I feel like also with an ensemble like this,

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Speaker 2: what they tend to do is like story heavy a

365
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Speaker 2: few like with his Mom and Sandy, like story heavy,

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Speaker 2: and then like you know, Alison's story and Billy story

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Speaker 2: heavy right now, and then someone else will be and

368
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Speaker 2: that kind of like what you tend to do throughout

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Speaker 2: the season. I mean, that's just what I was because

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Speaker 2: I agree, And then I thought, well, he just had,

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Speaker 2: you know, some strong episodes.

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Speaker 3: Yeah, no, and he's coming in when you come in

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Speaker 3: and hit they really he gets a lot to do.

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Speaker 1: So here he's being Matt's number one supporter and he says, well,

375
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Speaker 1: what's stopping you from asking your parents for the money,

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Speaker 1: And Matt says, well, my parents don't always follow the

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Speaker 1: no strings attached path and Jake asks if they know

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Speaker 1: that he's gay. Mats says, yeah, they know, but let's

379
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Speaker 1: just say it's seldom discussed. And then Matt's female coworker

380
00:18:26,800 --> 00:18:29,760
Speaker 1: comes up to Matt and she sort of sides lept

381
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Speaker 1: to him and calls him cutie and lets him know

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Speaker 1: that he has a new table, and Jake sort of

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Speaker 1: smiles and teases him and said, I think you've got

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Speaker 1: an admirer.

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Speaker 4: Very cute, And.

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Speaker 1: Then we cut to the courtyard where it's pouring rain,

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Speaker 1: dumping rain rain in California.

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Speaker 3: Do you remember when they did rain in the set?

389
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Speaker 2: They machines and the I don't remember that. I thought,

390
00:18:52,680 --> 00:18:53,600
Speaker 2: that's so weird.

391
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Speaker 3: They bring in the rain machines. It's a huge effect.

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Speaker 3: It's hugely expensive and really dramatic, and bring in the

393
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Speaker 3: rain action on rain.

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Speaker 1: Very and it's all that episode for a few scenes.

395
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Speaker 2: It's all that pressure too for the actor to get

396
00:19:10,840 --> 00:19:13,399
Speaker 2: it right because it's a total reset. They have to

397
00:19:13,480 --> 00:19:16,280
Speaker 2: dry everything, you know, because just to the fans, I've

398
00:19:16,280 --> 00:19:18,639
Speaker 2: been asked this over the years. Was it a real courtyard?

399
00:19:18,720 --> 00:19:21,240
Speaker 2: Was it outside? No, it's inside, and so all that

400
00:19:21,400 --> 00:19:25,720
Speaker 2: was fake. Yeah, so, and I thought, I saw how

401
00:19:25,760 --> 00:19:28,240
Speaker 2: opportune that Josie has to go check the mail in

402
00:19:28,320 --> 00:19:29,680
Speaker 2: this thunderstorm, like.

403
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Speaker 3: They were really going to use it. They had to

404
00:19:31,280 --> 00:19:32,879
Speaker 3: set up they were really going to use it, but

405
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Speaker 3: all outside.

406
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Speaker 1: But you also know that that that scene where Josie

407
00:19:37,320 --> 00:19:39,879
Speaker 1: had to go check the mail and she runs out

408
00:19:39,920 --> 00:19:44,320
Speaker 1: through the rainy courtyard. We also you also shot Courtney's

409
00:19:44,440 --> 00:19:48,000
Speaker 1: coming home in the rain and Keith running to the

410
00:19:48,040 --> 00:19:49,720
Speaker 1: door in the rain, like all the scenes that take

411
00:19:49,720 --> 00:19:51,399
Speaker 1: place in the rain. They're probably going to use the

412
00:19:51,480 --> 00:19:53,760
Speaker 1: rain all on one day, like the machines there, and

413
00:19:53,760 --> 00:19:56,320
Speaker 1: they're going to shoot all those exterior scenes back to back,

414
00:19:56,440 --> 00:19:59,000
Speaker 1: like get those all done. Get the rain done, you know,

415
00:19:59,119 --> 00:20:03,240
Speaker 1: so that they're non consecutive to the actors and everybody else,

416
00:20:03,280 --> 00:20:04,760
Speaker 1: but just get it done for the sake of the

417
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Speaker 1: machine and the cor Yeah.

418
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Speaker 3: And then once you're inside, they just have a little

419
00:20:08,440 --> 00:20:12,679
Speaker 3: tiny rain machine outside the window. So if you're seeing anysings,

420
00:20:14,880 --> 00:20:17,240
Speaker 3: so then that's much easier once you're inside.

421
00:20:17,640 --> 00:20:21,480
Speaker 1: Yeah, so pouring rain over the courtyard. Jane exits her

422
00:20:21,520 --> 00:20:24,480
Speaker 1: apartment door and hurries across the courtyard to the mailboxes

423
00:20:24,720 --> 00:20:28,120
Speaker 1: and then under the awning there in the vestibule, Alison

424
00:20:28,280 --> 00:20:31,359
Speaker 1: is coming in from the street, and Jane sort of

425
00:20:31,480 --> 00:20:35,520
Speaker 1: very dully congratulates Allison, saying, yeah, Billy told me the

426
00:20:35,520 --> 00:20:39,200
Speaker 1: good news, and Alison notes that Jane does not sound

427
00:20:39,280 --> 00:20:41,240
Speaker 1: very sincere and she wishes her friends would be happy

428
00:20:41,280 --> 00:20:43,560
Speaker 1: for her, and Jane tries to go back to her apartment,

429
00:20:43,600 --> 00:20:46,120
Speaker 1: but Alison asks her, no, tell me what you really think,

430
00:20:46,200 --> 00:20:50,960
Speaker 1: and Jane says, I don't think you have considered enough

431
00:20:51,359 --> 00:20:54,800
Speaker 1: of this and about the other people involved, And Alison

432
00:20:54,800 --> 00:20:57,320
Speaker 1: thinks Jane has taken the relationship with Keith personally, is

433
00:20:57,359 --> 00:20:59,960
Speaker 1: if she's the one who's losing a husband. Jane says,

434
00:21:00,080 --> 00:21:02,560
Speaker 1: Alison is treating Keith's wife not as a person but

435
00:21:02,600 --> 00:21:05,440
Speaker 1: as an obstacle in her own way, which.

436
00:21:05,280 --> 00:21:06,000
Speaker 2: Is so true.

437
00:21:06,080 --> 00:21:10,240
Speaker 3: And how does Alison not Alison so like dim witted

438
00:21:10,280 --> 00:21:15,719
Speaker 3: in this scene she's blinded by her love's.

439
00:21:15,000 --> 00:21:18,679
Speaker 2: Also, man, she does that whole guilt thing. Well, thanks

440
00:21:18,680 --> 00:21:22,240
Speaker 2: for being a great friend. I mean, how supportive of you.

441
00:21:22,320 --> 00:21:26,199
Speaker 2: It's really a gaslighting little moment for Allison, you know,

442
00:21:26,280 --> 00:21:29,240
Speaker 2: like she says, because Jane doesn't want to tell her

443
00:21:29,400 --> 00:21:31,360
Speaker 2: you remember that. So Jane's like, no, I don't want

444
00:21:31,440 --> 00:21:33,480
Speaker 2: you know whatever, and she's like, no, I want to

445
00:21:33,480 --> 00:21:36,439
Speaker 2: hear how you feel. And then she tells her on

446
00:21:36,640 --> 00:21:38,640
Speaker 2: how she feels honestly, and then she's like, oh, well,

447
00:21:38,640 --> 00:21:41,239
Speaker 2: thanks for she punishes her for that, and it's like

448
00:21:41,359 --> 00:21:43,560
Speaker 2: such a kind of common thing that people do when

449
00:21:43,560 --> 00:21:46,119
Speaker 2: they manipulate and they want to still, you know, not

450
00:21:46,160 --> 00:21:49,280
Speaker 2: feel the pain of being making that choice.

451
00:21:49,840 --> 00:21:52,439
Speaker 3: Well, also, it's a very addicty moment. Right, It's like

452
00:21:52,480 --> 00:21:54,400
Speaker 3: she's in this love thing in us. They say new

453
00:21:54,440 --> 00:21:56,639
Speaker 3: love is like cocaine in the brain. And someone saying,

454
00:21:57,160 --> 00:21:59,040
Speaker 3: you know that you're not being realistic about this.

455
00:21:59,280 --> 00:22:01,520
Speaker 2: You just don't want me to be happy. It's like

456
00:22:01,680 --> 00:22:05,680
Speaker 2: so defensive. It's on you. They're putting it on you. Yes,

457
00:22:06,080 --> 00:22:09,600
Speaker 2: so responsibility for that. And you asked someone to be

458
00:22:09,680 --> 00:22:12,440
Speaker 2: honest if you don't want them to be honest, and

459
00:22:12,520 --> 00:22:14,080
Speaker 2: don't ask them to be honest. I want you to

460
00:22:14,119 --> 00:22:16,200
Speaker 2: honestly tell me what I want to hear. I want

461
00:22:16,200 --> 00:22:17,480
Speaker 2: you honestly to tell me how.

462
00:22:19,840 --> 00:22:21,879
Speaker 1: Yeah, she was not ready to receive it because she's

463
00:22:22,080 --> 00:22:22,879
Speaker 1: offended by it.

464
00:22:22,960 --> 00:22:24,000
Speaker 4: She leaves.

465
00:22:24,280 --> 00:22:27,280
Speaker 1: She exits the vestibule, saying sarcastically, thanks for being such

466
00:22:27,320 --> 00:22:28,639
Speaker 1: a nice and supportive friend.

467
00:22:28,680 --> 00:22:29,800
Speaker 2: And Jane then.

468
00:22:29,760 --> 00:22:31,400
Speaker 1: Follows her out into the reading and says, I thought

469
00:22:31,480 --> 00:22:34,199
Speaker 1: you wanted to be me to be honest, and Alison

470
00:22:34,240 --> 00:22:36,800
Speaker 1: angrily tells Jane that Keith loves me. His leaving his

471
00:22:36,920 --> 00:22:40,480
Speaker 1: wife makes Jane feel insecure about her own marriage, and

472
00:22:40,560 --> 00:22:43,920
Speaker 1: Jane says, no, Alison, if you understood marriage, you'd know

473
00:22:44,040 --> 00:22:47,439
Speaker 1: what comes around goes around. And I think he's going

474
00:22:47,480 --> 00:22:49,600
Speaker 1: to leave you too, So that's how that scene is.

475
00:22:49,680 --> 00:22:52,040
Speaker 1: So Alison enters her apartment. She's still reeling. She's so

476
00:22:52,080 --> 00:22:54,560
Speaker 1: angry from this conversation, and Billy, who's warm and dry,

477
00:22:54,640 --> 00:22:59,200
Speaker 1: suggests take out and she says, not tonight, I have plans,

478
00:22:59,240 --> 00:23:04,680
Speaker 1: And she's angry, pissed and sarcastically says or he sarcastically says, ah,

479
00:23:04,720 --> 00:23:05,760
Speaker 1: it must be love.

480
00:23:06,280 --> 00:23:08,320
Speaker 2: Well because she plans to go back out. And my

481
00:23:08,440 --> 00:23:10,960
Speaker 2: first thought is no, not, you live in la and

482
00:23:11,000 --> 00:23:14,000
Speaker 2: it's pouring. You're not going anywhere because nobody drives.

483
00:23:13,680 --> 00:23:14,320
Speaker 4: In La here.

484
00:23:14,359 --> 00:23:16,120
Speaker 1: But she says, plants, I'm going back.

485
00:23:16,320 --> 00:23:18,680
Speaker 2: Oh, I get to cancel because it's raining because there's

486
00:23:18,680 --> 00:23:20,239
Speaker 2: a little bit of a drop. That's how we are

487
00:23:20,240 --> 00:23:22,920
Speaker 2: in La. Oh, you have plants. She's going back out

488
00:23:22,920 --> 00:23:26,080
Speaker 2: in that she's not pouring, but she's in love.

489
00:23:28,320 --> 00:23:30,800
Speaker 1: The phone rings and it's Keith and he's telling Alison

490
00:23:30,840 --> 00:23:32,240
Speaker 1: that he can't make it tonight.

491
00:23:32,359 --> 00:23:34,240
Speaker 4: Something has come up.

492
00:23:34,560 --> 00:23:37,040
Speaker 3: And it's so good because we see the silhouette of

493
00:23:37,080 --> 00:23:38,720
Speaker 3: a woman behind him.

494
00:23:39,720 --> 00:23:44,200
Speaker 1: Even more we see the actual woman moving about the

495
00:23:44,280 --> 00:23:45,439
Speaker 1: room in the background.

496
00:23:45,520 --> 00:23:50,560
Speaker 3: Yeah, she's sweated, right, that's what I remember back there.

497
00:23:50,640 --> 00:23:56,360
Speaker 1: Yeah, So Allison is disappointed, hangs at the phone, and

498
00:23:56,440 --> 00:23:59,600
Speaker 1: she's in the next scene, she's at the window watching

499
00:23:59,640 --> 00:24:03,199
Speaker 1: the rain, sad, while Billy is making some food and

500
00:24:03,240 --> 00:24:07,560
Speaker 1: he is expressing his suspicions of Keith counseling, canceling, and

501
00:24:07,800 --> 00:24:10,800
Speaker 1: Allison says, well, if you don't have something nice to say,

502
00:24:11,040 --> 00:24:15,160
Speaker 1: just shut up. And then all of a sudden, Yeah,

503
00:24:15,200 --> 00:24:19,000
Speaker 1: what's the old saying? Getos Yeah, all of a sudden,

504
00:24:19,080 --> 00:24:21,160
Speaker 1: Keith appears at the door in the rain. He runs

505
00:24:21,160 --> 00:24:24,119
Speaker 1: by the window, covering himself from the continuing down for it,

506
00:24:24,240 --> 00:24:27,359
Speaker 1: and he appears at the door and he says that

507
00:24:27,440 --> 00:24:30,160
Speaker 1: his wife has shown up and he's just not sure

508
00:24:30,320 --> 00:24:36,000
Speaker 1: what she wanted. Well, she's your wife, so but anyway.

509
00:24:36,000 --> 00:24:38,960
Speaker 1: He goes on to say that Lily says to him

510
00:24:39,000 --> 00:24:41,800
Speaker 1: that she deserved another chance and the marriage can't end

511
00:24:41,800 --> 00:24:46,080
Speaker 1: this way, and she broke into pieces, and Allison is,

512
00:24:46,400 --> 00:24:48,480
Speaker 1: you know, inviting Keith in get out of the rain,

513
00:24:48,680 --> 00:24:51,600
Speaker 1: and Keith is just telling her the story and he's

514
00:24:51,640 --> 00:24:52,240
Speaker 1: acting like.

515
00:24:52,320 --> 00:24:53,800
Speaker 4: He's the victim in this scenario.

516
00:24:54,200 --> 00:24:54,280
Speaker 3: Si.

517
00:24:54,440 --> 00:24:57,000
Speaker 1: Yeah, like she kicked me out of my own house.

518
00:24:57,119 --> 00:25:01,719
Speaker 1: Uh yeah, can you believe? I mean, the two of you,

519
00:25:04,119 --> 00:25:06,480
Speaker 1: and he says, you know, she'll probably just burn down,

520
00:25:06,520 --> 00:25:09,960
Speaker 1: burn everything I own, and Alison is so sympathetic, going,

521
00:25:10,040 --> 00:25:15,320
Speaker 1: I'm so sorry, baby, you poor baby, I know, says well,

522
00:25:15,400 --> 00:25:18,119
Speaker 1: under the circumstances, I couldn't insist on staying, not that

523
00:25:18,160 --> 00:25:20,720
Speaker 1: I wanted to, as if the real problem is that

524
00:25:20,760 --> 00:25:23,480
Speaker 1: he's been kicked out of his house anyway, that's just

525
00:25:23,520 --> 00:25:28,000
Speaker 1: me editorializing again, Okay. And then Alison says, no, you should, no,

526
00:25:28,200 --> 00:25:31,400
Speaker 1: absolutely you should stay here, and Billy's in the background.

527
00:25:31,480 --> 00:25:33,960
Speaker 1: He can hear all of this, and he's completely disgusted

528
00:25:34,000 --> 00:25:34,520
Speaker 1: and annoyed.

529
00:25:34,720 --> 00:25:36,879
Speaker 2: Especially Yes, I love that She's like, not only that

530
00:25:36,960 --> 00:25:40,000
Speaker 2: you should stay here in my tiny apartment with yeah, Lily,

531
00:25:40,119 --> 00:25:43,359
Speaker 2: but it's also and you're pouring and you're sopping wet.

532
00:25:43,400 --> 00:25:44,920
Speaker 2: You can wear something, Billy will.

533
00:25:44,840 --> 00:25:47,520
Speaker 1: Load, you can just you can just borrow some of

534
00:25:47,560 --> 00:25:48,560
Speaker 1: Billy's clothes to wear.

535
00:25:48,840 --> 00:25:49,760
Speaker 2: Oh my gosh.

536
00:25:49,960 --> 00:25:52,439
Speaker 1: And Keith is just very in time. It's like, all right, thanks, Billy,

537
00:25:52,920 --> 00:25:57,240
Speaker 1: so clueless read the room. Oh my gosh, So this

538
00:25:57,320 --> 00:25:58,600
Speaker 1: is this is the scene that I made that I

539
00:25:58,640 --> 00:26:00,639
Speaker 1: was like yelling at the scene all the you know.

540
00:26:01,240 --> 00:26:06,359
Speaker 2: Yeah.

541
00:26:06,440 --> 00:26:11,240
Speaker 1: So then as Keith is exited. Billy stops Alison and says, wait,

542
00:26:12,119 --> 00:26:15,840
Speaker 1: we can't harbor a fugitive from a marriage. What if

543
00:26:15,880 --> 00:26:18,399
Speaker 1: the children's wife shows up and kills us all in

544
00:26:18,440 --> 00:26:21,760
Speaker 1: the night. And by the way, there's a third party

545
00:26:21,880 --> 00:26:24,920
Speaker 1: that Alison, you haven't even considered. But Alison is super

546
00:26:24,920 --> 00:26:30,080
Speaker 1: annoyed and says this is temporary, and then we she

547
00:26:30,160 --> 00:26:32,760
Speaker 1: storms away and we see her in the bedroom as we.

548
00:26:32,720 --> 00:26:34,000
Speaker 4: Can hear the shower in the background.

549
00:26:34,080 --> 00:26:37,280
Speaker 1: We see her picking up all of Keith's discarded clothing,

550
00:26:37,320 --> 00:26:39,520
Speaker 1: which he's carelessly dropped all over the floor on his

551
00:26:39,560 --> 00:26:40,560
Speaker 1: way to the shower.

552
00:26:40,560 --> 00:26:42,280
Speaker 3: Which is a red flag, but it's one of so

553
00:26:42,320 --> 00:26:43,480
Speaker 3: many red flags.

554
00:26:43,119 --> 00:26:45,840
Speaker 2: That we don't even know many. I don't even notice

555
00:26:45,920 --> 00:26:48,320
Speaker 2: him anymore, Like everything's red. They're in a red room.

556
00:26:48,359 --> 00:26:50,040
Speaker 2: Whenever he's round, it's just red.

557
00:26:50,680 --> 00:26:55,520
Speaker 1: So and she takes this moment to notice that his

558
00:26:55,600 --> 00:26:57,879
Speaker 1: wallet is there, and she takes a beat to snoop

559
00:26:57,920 --> 00:27:02,119
Speaker 1: inside it and examine a picture of Keith and his

560
00:27:02,160 --> 00:27:03,040
Speaker 1: wife that he keeps in.

561
00:27:03,040 --> 00:27:05,280
Speaker 2: His wallet, and it looks like they're on their honeymoon. Right,

562
00:27:05,320 --> 00:27:05,800
Speaker 2: She's got on.

563
00:27:05,800 --> 00:27:08,360
Speaker 4: A Hawaiian Yeah, some Hawaiian vacation.

564
00:27:08,520 --> 00:27:09,440
Speaker 2: Hawaiian vacation.

565
00:27:10,359 --> 00:27:12,040
Speaker 1: So then Keith comes out of the shower. It doesn't

566
00:27:12,040 --> 00:27:14,359
Speaker 1: appear that he catches her looking at the wallet, but

567
00:27:14,640 --> 00:27:17,040
Speaker 1: he's in his towel and Allison goes to him and

568
00:27:17,080 --> 00:27:20,240
Speaker 1: they kiss, and the minor music that likes kind of

569
00:27:20,280 --> 00:27:23,840
Speaker 1: like it's all in a minder key in the background

570
00:27:23,880 --> 00:27:26,280
Speaker 1: music which has been playing under the scene, it magically

571
00:27:26,280 --> 00:27:27,399
Speaker 1: turns to major as.

572
00:27:27,280 --> 00:27:29,160
Speaker 4: His towel drops to the floor.

573
00:27:29,240 --> 00:27:32,240
Speaker 1: It literally makes like the magic sound of and it

574
00:27:32,359 --> 00:27:34,640
Speaker 1: like resolves in this like magic court and.

575
00:27:34,600 --> 00:27:35,200
Speaker 4: They make out.

576
00:27:35,359 --> 00:27:38,400
Speaker 2: That's weird, they do.

577
00:27:38,440 --> 00:27:43,199
Speaker 1: They make out, well, well, it goes the shot is

578
00:27:43,200 --> 00:27:45,840
Speaker 1: on their feet because he's dropped his towel and it's

579
00:27:45,840 --> 00:27:46,480
Speaker 1: off of them.

580
00:27:46,560 --> 00:27:47,760
Speaker 2: Yeah, okay.

581
00:27:48,119 --> 00:27:55,080
Speaker 1: Anyway, that is now at dinner at his parents' home,

582
00:27:55,280 --> 00:27:57,919
Speaker 1: where he's asking to borrow the five thousand dollars that

583
00:27:57,960 --> 00:27:59,520
Speaker 1: he needs, and when he tells them that it's for

584
00:27:59,560 --> 00:28:03,159
Speaker 1: a loss suit after being fired for being gay, Matt's

585
00:28:03,160 --> 00:28:06,320
Speaker 1: father says, well, I'm not surprised because of the lifestyle

586
00:28:06,400 --> 00:28:07,119
Speaker 1: you have chosen.

587
00:28:08,800 --> 00:28:11,240
Speaker 3: Matt tells him, yeah, and did you notice that fancy

588
00:28:11,600 --> 00:28:13,560
Speaker 3: like fancy that dining room is like it was a

589
00:28:13,600 --> 00:28:15,919
Speaker 3: great way to just sort of establish that he comes

590
00:28:15,960 --> 00:28:19,320
Speaker 3: from a wealthy family, and.

591
00:28:21,560 --> 00:28:26,120
Speaker 1: Yeah, yes, did you feel like the dining room setting

592
00:28:26,560 --> 00:28:29,960
Speaker 1: was very similar to like the Billy's when he when

593
00:28:30,000 --> 00:28:31,480
Speaker 1: Billy went home, and it was like kind of a

594
00:28:31,480 --> 00:28:33,600
Speaker 1: formal dining room and there's like one parent one end

595
00:28:33,640 --> 00:28:34,560
Speaker 1: and one parent at the other.

596
00:28:34,640 --> 00:28:38,720
Speaker 2: Was it the same all these rich parents are letting

597
00:28:38,760 --> 00:28:43,000
Speaker 2: their kids live in the West Hollywood cool apartment.

598
00:28:43,200 --> 00:28:45,600
Speaker 3: Billy's parents that aren't wealthy, right, they have a friend.

599
00:28:46,840 --> 00:28:50,360
Speaker 1: But I just felt like the dining room setting and

600
00:28:50,480 --> 00:28:52,760
Speaker 1: like that environment was very similar, like this is how

601
00:28:52,760 --> 00:28:54,040
Speaker 1: it goes, like this is the family.

602
00:28:54,680 --> 00:28:56,920
Speaker 3: Yeah, but it was good. They said a lot in

603
00:28:56,960 --> 00:28:58,920
Speaker 3: that short scene, like the part you just mentioned Laura

604
00:28:58,960 --> 00:29:00,880
Speaker 3: about He says, you know, he's worried when you chose

605
00:29:00,920 --> 00:29:04,600
Speaker 3: this lifestyle and it's not a choice, you don't choose it,

606
00:29:04,600 --> 00:29:06,040
Speaker 3: which is a good way to just sort of.

607
00:29:06,000 --> 00:29:09,160
Speaker 2: Make that point. This isn't I like how they.

608
00:29:10,560 --> 00:29:12,640
Speaker 3: They pepper his scenes with these things, right, They didn't

609
00:29:12,680 --> 00:29:14,000
Speaker 3: have to hit the nail on the head. It's a

610
00:29:14,040 --> 00:29:16,760
Speaker 3: part of the scene, but it makes the most important point.

611
00:29:17,160 --> 00:29:17,440
Speaker 2: Yeah.

612
00:29:17,480 --> 00:29:20,000
Speaker 1: His father in this scene also says, Matt, I don't

613
00:29:20,000 --> 00:29:23,120
Speaker 1: think you've considered the negative publicity from a lawsuit.

614
00:29:23,800 --> 00:29:24,040
Speaker 4: Though.

615
00:29:24,120 --> 00:29:26,000
Speaker 1: Matt is saying, well, I think it's worth it, and

616
00:29:26,120 --> 00:29:29,560
Speaker 1: I'll take that chance, but his father says he.

617
00:29:29,400 --> 00:29:30,320
Speaker 4: Can't take that chance.

618
00:29:31,000 --> 00:29:34,000
Speaker 1: Yes, and Matt realizes he's not going to have the

619
00:29:34,000 --> 00:29:36,400
Speaker 1: support of his parents, and he gets up from the table.

620
00:29:36,400 --> 00:29:39,240
Speaker 4: He kisses his mother and he leaves.

621
00:29:39,280 --> 00:29:43,360
Speaker 2: Having not been in this situation, you just really I mean,

622
00:29:43,400 --> 00:29:45,600
Speaker 2: I've heard over the years and my friends have talked

623
00:29:45,640 --> 00:29:47,960
Speaker 2: about it, but how hard it is. This isn't a

624
00:29:48,000 --> 00:29:51,200
Speaker 2: coming out scene. But then what comes after that, you know,

625
00:29:51,320 --> 00:29:53,400
Speaker 2: even if you come out to your parents and your

626
00:29:53,440 --> 00:29:56,560
Speaker 2: family finally, which I know at least in that day

627
00:29:56,800 --> 00:30:00,400
Speaker 2: and earlier, it was very hard, if not impossible, but

628
00:30:00,440 --> 00:30:04,240
Speaker 2: then to get kind of like conditional support, conditional love.

629
00:30:04,360 --> 00:30:06,760
Speaker 2: I mean, but for him, you just feel like, I

630
00:30:06,800 --> 00:30:11,040
Speaker 2: think this really emphasizes how difficult it is like for

631
00:30:11,120 --> 00:30:14,760
Speaker 2: him to assume he's making this life lifestyle choice, for

632
00:30:14,840 --> 00:30:19,560
Speaker 2: him to assume that you know, just who he is,

633
00:30:19,800 --> 00:30:22,600
Speaker 2: I'm not fully supportive. It just makes you really empathize

634
00:30:22,600 --> 00:30:24,840
Speaker 2: with him. You know, we don't have that problem.

635
00:30:25,560 --> 00:30:27,480
Speaker 3: Well, that's the thing when you when you project this

636
00:30:27,560 --> 00:30:30,880
Speaker 3: thing of it's a consequence of the choice you made.

637
00:30:31,000 --> 00:30:32,800
Speaker 2: It's not a choice, as if if you'd made a

638
00:30:32,800 --> 00:30:35,080
Speaker 2: different choice, you wouldn't be dealing with this. No, because

639
00:30:35,200 --> 00:30:36,040
Speaker 2: this is who he is.

640
00:30:36,720 --> 00:30:38,440
Speaker 1: And Matt says it as if he's had to say

641
00:30:38,440 --> 00:30:39,440
Speaker 1: that a million times before.

642
00:30:39,560 --> 00:30:43,560
Speaker 2: Yes, exactly right. And the choice do you think I

643
00:30:43,600 --> 00:30:44,280
Speaker 2: would choose this?

644
00:30:44,560 --> 00:30:47,040
Speaker 1: Like it's ard I've said it before, but I'm going

645
00:30:47,080 --> 00:30:47,680
Speaker 1: to say it again.

646
00:30:47,960 --> 00:30:49,920
Speaker 4: It's not a choice, Dad. Yeah.

647
00:30:50,080 --> 00:30:50,600
Speaker 2: Yeah.

648
00:30:50,800 --> 00:30:53,600
Speaker 1: So then we're back at stormy Melrose Place. Alison is

649
00:30:53,640 --> 00:30:57,280
Speaker 1: waking up naked with Keith also naked beside her in bed,

650
00:30:57,280 --> 00:31:00,400
Speaker 1: and we quickly realize she is dreaming because a third

651
00:31:00,400 --> 00:31:03,120
Speaker 1: person is sitting on the bed next to her, wearing

652
00:31:03,120 --> 00:31:03,880
Speaker 1: a Hawaiian lay.

653
00:31:04,320 --> 00:31:06,920
Speaker 2: Actually, we don't realize she's dreaming quite yet.

654
00:31:07,280 --> 00:31:11,120
Speaker 1: Well, yeah, well we're hoping because that's freaking weird. It

655
00:31:11,240 --> 00:31:15,200
Speaker 1: looks up there's a third person in there. Yeah, and yep,

656
00:31:15,280 --> 00:31:18,800
Speaker 1: it's the white And here's where it cans even more weird.

657
00:31:19,480 --> 00:31:22,600
Speaker 1: The White Lily describes she starts describing the breakdown of

658
00:31:22,600 --> 00:31:25,680
Speaker 1: her marriage to Keith, and she says, it's all because

659
00:31:25,720 --> 00:31:26,440
Speaker 1: of you, Allison.

660
00:31:26,560 --> 00:31:30,440
Speaker 4: You're responsible, you and you alone, and.

661
00:31:30,560 --> 00:31:33,240
Speaker 3: When she gives her some information that's interesting about I

662
00:31:33,280 --> 00:31:34,120
Speaker 3: was just working.

663
00:31:34,280 --> 00:31:35,040
Speaker 2: I didn't know.

664
00:31:35,440 --> 00:31:38,520
Speaker 3: Like it's very it doesn't feel it sort of dream

665
00:31:39,280 --> 00:31:41,920
Speaker 3: exaggerated things that happened in dreams. It's like she's giving

666
00:31:41,920 --> 00:31:43,760
Speaker 3: her the facts of what it's like.

667
00:31:43,800 --> 00:31:45,880
Speaker 1: It feels a very knowledgeable dream.

668
00:31:45,960 --> 00:31:49,360
Speaker 2: Mm hmm. Yeah. And then well I also the take

669
00:31:49,400 --> 00:31:51,680
Speaker 2: there is a really beat a second that I really

670
00:31:51,720 --> 00:31:54,720
Speaker 2: love Courtney when she goes, oh, and you make him laugh.

671
00:31:54,880 --> 00:31:56,840
Speaker 2: You have a sense of humor in this, and and

672
00:31:56,880 --> 00:32:01,840
Speaker 2: then there's a shot off Alison. She's like, well, it

673
00:32:01,960 --> 00:32:06,160
Speaker 2: is her own dream, like you know, the wife complimenting

674
00:32:06,200 --> 00:32:11,600
Speaker 2: her hilarious and she heard a little bit of what

675
00:32:11,640 --> 00:32:12,280
Speaker 2: she needed to hear.

676
00:32:14,080 --> 00:32:16,640
Speaker 3: Dream I love it true.

677
00:32:16,640 --> 00:32:19,160
Speaker 1: But she she wakes up with a flash of lightning.

678
00:32:19,240 --> 00:32:22,280
Speaker 1: She wakes up horrified, and Keith, of course, is sleeping

679
00:32:22,320 --> 00:32:26,280
Speaker 1: soundly next to her. So then in the morning, Ronda

680
00:32:26,560 --> 00:32:31,240
Speaker 1: is in her kitchen. She's looking through her beautifully organized cabinets,

681
00:32:31,400 --> 00:32:34,280
Speaker 1: though she can't seem to find her own vitamins because

682
00:32:34,440 --> 00:32:36,520
Speaker 1: Carrie seems to have moved them, and she soon learns

683
00:32:36,600 --> 00:32:40,560
Speaker 1: that Carrie has alphabetized the kitchen pantry items and oh,

684
00:32:40,560 --> 00:32:44,040
Speaker 1: by the way, purchased a new kitchen caddy, which she demonstrates.

685
00:32:43,440 --> 00:32:45,720
Speaker 4: To her much like Van of Whitewood. And it goes

686
00:32:45,800 --> 00:32:47,120
Speaker 4: like this, and it's.

687
00:32:47,040 --> 00:32:49,920
Speaker 3: Very funny because she's saying, like the new model is better,

688
00:32:50,000 --> 00:32:51,200
Speaker 3: this is last year's model.

689
00:32:52,320 --> 00:32:53,600
Speaker 2: Specific it's just.

690
00:32:53,600 --> 00:32:56,560
Speaker 1: A lot for a plastic kitchen caddy. And Ronda is

691
00:32:56,640 --> 00:32:57,160
Speaker 1: not so sure.

692
00:32:57,440 --> 00:33:00,120
Speaker 2: Partey, I'm waiting for you to say, well, duh, I

693
00:33:00,160 --> 00:33:01,960
Speaker 2: appetize my kitchen doesn't.

694
00:33:01,960 --> 00:33:04,880
Speaker 3: Ever I realized no, I realized I jumped the gun

695
00:33:04,920 --> 00:33:06,640
Speaker 3: because I said that in the first thing. And this

696
00:33:06,720 --> 00:33:08,479
Speaker 3: is the scene where you see it. But I'm thinking,

697
00:33:09,160 --> 00:33:13,920
Speaker 3: just say thank you.

698
00:33:18,960 --> 00:33:22,760
Speaker 1: So in Billy and Allison's apartment, Keith enters the room

699
00:33:22,960 --> 00:33:26,280
Speaker 1: an overalls wearing. Billy comments to Alison, all looks like

700
00:33:26,920 --> 00:33:28,080
Speaker 1: with no shirt.

701
00:33:27,840 --> 00:33:32,000
Speaker 2: Underneath, with no shirt but if over to kind of

702
00:33:32,040 --> 00:33:33,160
Speaker 2: cover the bare arms.

703
00:33:33,200 --> 00:33:37,000
Speaker 3: Thing like Andrew never cared. He's like with a israella.

704
00:33:37,080 --> 00:33:38,640
Speaker 3: He put it on, he went and did his job.

705
00:33:38,720 --> 00:33:41,440
Speaker 3: He never had any opinion, he didn't care.

706
00:33:42,160 --> 00:33:46,880
Speaker 2: It was a weird thing. Did guys wear with no

707
00:33:47,000 --> 00:33:48,080
Speaker 2: shirt on underneath?

708
00:33:48,320 --> 00:33:50,720
Speaker 1: And then I have a feeling. I think it's seem

709
00:33:50,800 --> 00:33:53,560
Speaker 1: like sometimes you come out in wardrobe and they're like yeah, no,

710
00:33:53,640 --> 00:33:55,680
Speaker 1: this one's not working. So they quickly make an adjustment,

711
00:33:55,680 --> 00:33:59,680
Speaker 1: like maybe the whole wardrobe choice was the overalls with

712
00:33:59,680 --> 00:34:02,800
Speaker 1: no sh and then that the flannel over it was

713
00:34:02,800 --> 00:34:04,840
Speaker 1: an afterthought like yeah, this doesn't look good.

714
00:34:04,840 --> 00:34:05,800
Speaker 4: Oh just throw a shirt on.

715
00:34:05,760 --> 00:34:08,360
Speaker 1: Over, you know, like that was the fix, and it

716
00:34:08,440 --> 00:34:11,440
Speaker 1: just was one more weird thing. It was weird, it

717
00:34:11,480 --> 00:34:17,759
Speaker 1: was weird, got weirder. But he's commenting to Alison, looks

718
00:34:17,800 --> 00:34:19,560
Speaker 1: like somebody didn't get enough to sleep last night, and

719
00:34:19,600 --> 00:34:22,480
Speaker 1: Allison can't seem to stop smiling just thinking about it.

720
00:34:25,200 --> 00:34:29,160
Speaker 1: And then when Keith enters kissing Allison and acting like

721
00:34:29,440 --> 00:34:32,680
Speaker 1: Billy is the one infringing on his space, he says

722
00:34:32,680 --> 00:34:35,000
Speaker 1: to Alison, you know, Allison, we just need to get

723
00:34:35,040 --> 00:34:37,959
Speaker 1: away from it all, and throws a glance at Billy

724
00:34:38,040 --> 00:34:40,560
Speaker 1: like meaning this guy from.

725
00:34:40,560 --> 00:34:43,080
Speaker 3: And that's where they say, what do you need and

726
00:34:43,120 --> 00:34:44,800
Speaker 3: Billy goes thicker walls.

727
00:34:45,200 --> 00:34:49,400
Speaker 1: Yes, yes, yes, like some more comments about them having

728
00:34:52,280 --> 00:34:55,960
Speaker 1: and then so right in front of Billy, Keith and

729
00:34:56,000 --> 00:34:59,440
Speaker 1: Allison make a plan to go on a camping getaway,

730
00:35:00,360 --> 00:35:02,440
Speaker 1: and Keith leaves the apartment and Billy reminds Alison, you

731
00:35:02,480 --> 00:35:06,880
Speaker 1: don't even like camping, but he very magnanimously says, you know,

732
00:35:07,000 --> 00:35:10,960
Speaker 1: but I'm happy for you, Allison. Then Alison tells Billy

733
00:35:11,040 --> 00:35:14,640
Speaker 1: about her dream and she admits that the dream made

734
00:35:14,640 --> 00:35:17,480
Speaker 1: her feel guilty and she feels like she has to

735
00:35:17,600 --> 00:35:22,680
Speaker 1: see Keith's wife in person, and Billy doesn't think that's

736
00:35:22,760 --> 00:35:26,040
Speaker 1: such a great idea, but off she goes to do that.

737
00:35:27,680 --> 00:35:30,560
Speaker 3: It actually is good. How they bit by bit by

738
00:35:30,640 --> 00:35:34,160
Speaker 3: bit show Alison coming to the realization late, but she's

739
00:35:34,160 --> 00:35:36,640
Speaker 3: coming to it that this is a real person. Yeah,

740
00:35:36,680 --> 00:35:38,640
Speaker 3: at his ex wife. And I think Jane said it

741
00:35:38,640 --> 00:35:40,719
Speaker 3: at one point. You know, she's not just an obstacle,

742
00:35:41,120 --> 00:35:43,520
Speaker 3: She's a person. I think it's finally connecting.

743
00:35:43,280 --> 00:35:46,920
Speaker 1: Yeah, Alice, and it's it's really entered her conscience too,

744
00:35:47,000 --> 00:35:49,640
Speaker 1: at her subconscience standard she's dreaming about it, and now

745
00:35:49,640 --> 00:35:52,160
Speaker 1: she's like, nope, I gotta yeah.

746
00:35:52,600 --> 00:35:57,520
Speaker 3: Because the dream wife was so nice and complimentary. Really yeah, yeah,

747
00:35:57,960 --> 00:36:00,319
Speaker 3: So she goes and sees her off.

748
00:36:00,320 --> 00:36:03,080
Speaker 1: She goes, but so we see her in a steakout,

749
00:36:03,120 --> 00:36:05,520
Speaker 1: like literally outside the house in her car like a

750
00:36:05,719 --> 00:36:08,880
Speaker 1: steak out, and she's watching as Lily in a bathroom

751
00:36:08,960 --> 00:36:12,600
Speaker 1: is picking up her newspaper outside and Lily turns and

752
00:36:12,640 --> 00:36:16,360
Speaker 1: notices this car and this woman inside watching from the car, and.

753
00:36:16,239 --> 00:36:23,600
Speaker 3: She, Lily in her silk slipper, towered her silk like lady,

754
00:36:24,680 --> 00:36:26,959
Speaker 3: she walks straight at her.

755
00:36:28,680 --> 00:36:33,160
Speaker 2: The sorry, the the She had a floral silk, kind

756
00:36:33,160 --> 00:36:38,800
Speaker 2: of very feminine womanly bath robe compared to Alison's big, fluffy,

757
00:36:38,920 --> 00:36:40,879
Speaker 2: light blue one with the moon in the back.

758
00:36:40,960 --> 00:36:43,160
Speaker 3: Like, yeah, but it looked like what my grandma wore,

759
00:36:43,239 --> 00:36:47,560
Speaker 3: sort of formal slippers, Like they're not at least slinky, toady,

760
00:36:47,960 --> 00:36:52,400
Speaker 3: flinty toad white silk slippers did not look comfortable.

761
00:36:54,080 --> 00:36:57,320
Speaker 1: Yeah, Is it meant to garner like sort of sympathy

762
00:36:57,520 --> 00:37:00,239
Speaker 1: for like, oh, this nice lady, This must be a

763
00:37:00,320 --> 00:37:03,120
Speaker 1: nice lady who wears a robe and slippers.

764
00:37:02,760 --> 00:37:03,520
Speaker 2: Like yeah, I don't know.

765
00:37:03,560 --> 00:37:07,120
Speaker 3: It seems strangely old to me. Maybe she's the grown

766
00:37:07,160 --> 00:37:08,799
Speaker 3: up one and I'm the little girl. But I know

767
00:37:08,880 --> 00:37:11,720
Speaker 3: this is about Alison coming to the realization and stalking

768
00:37:11,760 --> 00:37:14,520
Speaker 3: and everything. But I noticed, is my hair looks good?

769
00:37:15,320 --> 00:37:16,160
Speaker 3: That's what I noticed.

770
00:37:16,440 --> 00:37:20,680
Speaker 2: Something. You know what I noticed? I noticed your eyeline.

771
00:37:20,719 --> 00:37:23,040
Speaker 2: You're not even hiding, You're like right there in front

772
00:37:23,080 --> 00:37:25,320
Speaker 2: of her. And I'm like, if you're gonna spy on someone,

773
00:37:25,400 --> 00:37:27,719
Speaker 2: pull back and behind a bush, maybe, but you're just

774
00:37:27,960 --> 00:37:30,320
Speaker 2: why she looks right at you, and you're like, I

775
00:37:30,800 --> 00:37:31,359
Speaker 2: thought I was.

776
00:37:31,320 --> 00:37:33,960
Speaker 3: Going to go talk to her and then I chickened out. Yeah,

777
00:37:34,000 --> 00:37:36,560
Speaker 3: but I do feel like this is the episode where

778
00:37:37,120 --> 00:37:40,160
Speaker 3: I stopped scrunching my hair and started brushing it out

779
00:37:40,160 --> 00:37:40,960
Speaker 3: while I was drawing it.

780
00:37:41,000 --> 00:37:42,600
Speaker 2: So that's what this episode's about to me.

781
00:37:42,719 --> 00:37:45,040
Speaker 3: Yeah, your hair, because I'm very deep.

782
00:37:45,600 --> 00:37:47,520
Speaker 1: All right, Well, no, those things matter.

783
00:37:48,400 --> 00:37:52,000
Speaker 2: Yeah, see the wife, your hair better look good.

784
00:37:52,080 --> 00:37:52,719
Speaker 3: That's a good play.

785
00:37:52,800 --> 00:37:53,880
Speaker 2: She do want to look good for that.

786
00:37:54,360 --> 00:37:56,880
Speaker 1: Yeah, even if you're not, if you're gonna chicken out

787
00:37:56,880 --> 00:37:58,239
Speaker 1: and drive away, exactly.

788
00:37:59,239 --> 00:38:00,600
Speaker 4: I think a lady with very.

789
00:38:00,560 --> 00:38:02,760
Speaker 1: Nice hair came to look at me today in the driveway.

790
00:38:05,040 --> 00:38:08,399
Speaker 1: So Allison and Jane now next are in the laundry room.

791
00:38:08,480 --> 00:38:11,120
Speaker 1: Jane is obviously still not feeling very warm and fuzzy

792
00:38:11,120 --> 00:38:15,040
Speaker 1: towards Alison, and Allison says, Jane, what is your problem?

793
00:38:15,280 --> 00:38:18,160
Speaker 1: And Jane says, you know, I just can't pretend to

794
00:38:18,280 --> 00:38:22,200
Speaker 1: like what you're doing Allison, and Allison says, and she

795
00:38:22,239 --> 00:38:25,040
Speaker 1: says Alison should have bailed the second she found out

796
00:38:25,080 --> 00:38:27,759
Speaker 1: that Keith was married. She says, the toughest thing in

797
00:38:27,760 --> 00:38:29,799
Speaker 1: a marriage is keeping a commitment. It doesn't look like

798
00:38:29,960 --> 00:38:34,400
Speaker 1: Keith can do that, and Jane says, however, our friendship

799
00:38:34,480 --> 00:38:37,719
Speaker 1: is important to me, and I'm just worried that you're

800
00:38:37,760 --> 00:38:38,359
Speaker 1: gonna get hurt.

801
00:38:38,880 --> 00:38:41,319
Speaker 3: I also, I don't think that's accurate. The toughest thing

802
00:38:41,320 --> 00:38:44,879
Speaker 3: in a marriage is keeping the commitment, right, Like, there

803
00:38:44,880 --> 00:38:47,360
Speaker 3: are either one thing about a marriage.

804
00:38:47,360 --> 00:38:50,560
Speaker 2: But what I noticed in this scene was because I'm

805
00:38:50,600 --> 00:38:55,360
Speaker 2: really interested into this friend dynamic, was you know, Jane

806
00:38:55,360 --> 00:38:58,680
Speaker 2: says how she's feeling, and then Alison says, well, who

807
00:38:58,719 --> 00:39:03,200
Speaker 2: asked you? I'm like, you did dummy asking her? I'm

808
00:39:03,320 --> 00:39:08,600
Speaker 2: asking her. Yes, It's like, it's just so interesting. We

809
00:39:08,640 --> 00:39:10,880
Speaker 2: do that with our our friends, you know what we

810
00:39:11,000 --> 00:39:12,279
Speaker 2: really want to hear.

811
00:39:12,480 --> 00:39:14,759
Speaker 3: Think, Well, it's that thing of I love that you're

812
00:39:14,800 --> 00:39:17,440
Speaker 3: bringing this up, Jephney. It's it's your job is to

813
00:39:17,440 --> 00:39:19,319
Speaker 3: support me. It's like, not when I know you're making

814
00:39:19,360 --> 00:39:21,200
Speaker 3: a mistake, right, It's the same thing I was talking

815
00:39:21,200 --> 00:39:23,800
Speaker 3: about about the addicts, right, Like, I'm worried about your drinking.

816
00:39:24,040 --> 00:39:24,959
Speaker 2: How dare you?

817
00:39:25,160 --> 00:39:27,960
Speaker 3: Instead of hearing that someone's worried and they're saying I'm

818
00:39:27,960 --> 00:39:29,759
Speaker 3: worried about this relationship for you.

819
00:39:29,640 --> 00:39:30,560
Speaker 2: You're going to get hurt.

820
00:39:30,600 --> 00:39:33,080
Speaker 3: Also, I disagree with what you're doing.

821
00:39:33,280 --> 00:39:34,759
Speaker 2: I don't think it's morally right.

822
00:39:35,080 --> 00:39:36,960
Speaker 3: And then at the end of the scene, Allison's going

823
00:39:37,000 --> 00:39:41,160
Speaker 3: camping and Jaying goes leave your merit badges at home.

824
00:39:43,560 --> 00:39:45,480
Speaker 2: Yeah, constantly line.

825
00:39:47,080 --> 00:39:49,200
Speaker 1: Pointing out like this is. Yeah, it's not the most

826
00:39:49,280 --> 00:39:51,719
Speaker 1: upstanding thing you've ever done. And I love you and

827
00:39:51,760 --> 00:39:55,040
Speaker 1: I still care about you. I just think you were

828
00:39:55,080 --> 00:39:56,640
Speaker 1: making lots of mistakes and I don't want to see

829
00:39:56,640 --> 00:39:58,719
Speaker 1: you get hurt. So I also like that she ends

830
00:39:58,719 --> 00:40:00,919
Speaker 1: this scene by saying, I just don't want to see

831
00:40:00,920 --> 00:40:01,200
Speaker 1: you get.

832
00:40:01,160 --> 00:40:02,520
Speaker 4: Hurt, and I do care about this friendship.

833
00:40:02,680 --> 00:40:06,520
Speaker 1: Yeah, that that's why I'm telling you this, and sorry

834
00:40:06,520 --> 00:40:07,160
Speaker 1: it hurts.

835
00:40:07,560 --> 00:40:07,759
Speaker 4: Yeah.

836
00:40:07,800 --> 00:40:10,719
Speaker 3: And also, we shouldn't support our friends no matter what,

837
00:40:10,960 --> 00:40:13,000
Speaker 3: if they do something that we really think is a

838
00:40:13,040 --> 00:40:16,200
Speaker 3: mistake or morally reprehensible, or or.

839
00:40:16,160 --> 00:40:17,880
Speaker 2: Even lushit reprehend the truth.

840
00:40:18,160 --> 00:40:21,040
Speaker 3: You don't have to withdraw your love, but it's important

841
00:40:21,040 --> 00:40:23,160
Speaker 3: to be able to be authentic and say I don't

842
00:40:23,280 --> 00:40:24,320
Speaker 3: agree with what you're doing.

843
00:40:24,800 --> 00:40:27,839
Speaker 2: Right, I agree with what you're saying Courtney about friend

844
00:40:27,840 --> 00:40:29,680
Speaker 2: It's not agreed, that's why you're a friend.

845
00:40:32,960 --> 00:40:36,360
Speaker 1: We're back to the lawyer's office where Matt is coming

846
00:40:36,600 --> 00:40:39,440
Speaker 1: in and he's got a piece paper he's handing over

847
00:40:39,480 --> 00:40:42,960
Speaker 1: the pink slip to his car to the attorney is collateral,

848
00:40:43,040 --> 00:40:47,759
Speaker 1: and Matt is telling the attorney passionately and vehemently, I

849
00:40:47,840 --> 00:40:49,920
Speaker 1: know that it's not the five thousand dollars you ask for,

850
00:40:50,000 --> 00:40:52,040
Speaker 1: but I desperately want to pursue this case so that

851
00:40:52,120 --> 00:40:54,839
Speaker 1: the next gay person that comes along doesn't lose their

852
00:40:54,880 --> 00:40:56,320
Speaker 1: job and have the same experience.

853
00:40:56,360 --> 00:40:58,719
Speaker 4: I really want this to stop here.

854
00:40:59,440 --> 00:41:02,920
Speaker 1: And the lawyer, whose name is apparently Sarah, is very

855
00:41:02,960 --> 00:41:06,239
Speaker 1: moved by his passion, and she says, you know what,

856
00:41:06,680 --> 00:41:09,120
Speaker 1: Matt Keith the pink slip, you're going to need it.

857
00:41:09,640 --> 00:41:12,759
Speaker 1: I'm going to take this case, and Matt, you're going

858
00:41:12,800 --> 00:41:14,799
Speaker 1: to need to dig in and get involved, and she

859
00:41:14,880 --> 00:41:16,800
Speaker 1: says she'll get the firm to do it pro bono.

860
00:41:16,920 --> 00:41:21,080
Speaker 1: She's very motivated to help him, and also she reveals

861
00:41:21,080 --> 00:41:24,200
Speaker 1: that she's motivated to make a name for herself, since

862
00:41:24,239 --> 00:41:25,759
Speaker 1: she says this is likely to stir up a lot

863
00:41:25,760 --> 00:41:29,160
Speaker 1: of publicity, at which time Matt says, well, I'm not

864
00:41:29,400 --> 00:41:32,520
Speaker 1: interested in the publicity, and she says, well, it goes

865
00:41:32,560 --> 00:41:35,160
Speaker 1: with the territory, and Matt looks a little bit sick

866
00:41:35,160 --> 00:41:38,680
Speaker 1: to a stomach. It's kind of what his dad was

867
00:41:39,280 --> 00:41:42,799
Speaker 1: commenting on and she's now saying it too, so he's

868
00:41:42,840 --> 00:41:45,840
Speaker 1: realizing maybe what he's in for, and you know, a

869
00:41:45,880 --> 00:41:49,200
Speaker 1: little bit of dread. And now we're cut to Ronda,

870
00:41:49,200 --> 00:41:53,839
Speaker 1: who's coming home from work. She's finding plastic runners all

871
00:41:53,880 --> 00:41:58,680
Speaker 1: over the carpets throughout her apartment, and not only that

872
00:41:59,239 --> 00:42:03,000
Speaker 1: that weirdness, but she finds her own closet empty, filled

873
00:42:03,000 --> 00:42:06,080
Speaker 1: with empty hangers. Carrie appears explaining with a smile that

874
00:42:06,120 --> 00:42:08,720
Speaker 1: all of Ronda's clothes are at the very best Beverly

875
00:42:08,760 --> 00:42:12,280
Speaker 1: Hill Strike cleaner, and her shoes all have deodorizeds in them.

876
00:42:12,719 --> 00:42:15,560
Speaker 1: Super weird, but she's super pleased with herself about it.

877
00:42:15,600 --> 00:42:18,880
Speaker 1: And Ronda is exactly the opposite of pleased, and she

878
00:42:19,000 --> 00:42:20,799
Speaker 1: tells Carrie that you do not need to be so

879
00:42:20,840 --> 00:42:24,840
Speaker 1: tidy with my things, and eza, babe, Carrie says, I

880
00:42:24,880 --> 00:42:27,759
Speaker 1: was just trying to be helpful. And it's a very

881
00:42:27,840 --> 00:42:30,799
Speaker 1: sort of passive, aggressive and loaded exchange between these two.

882
00:42:31,120 --> 00:42:37,359
Speaker 1: Carrie says, I understand when to stop, and Ronda says, good.

883
00:42:38,400 --> 00:42:40,520
Speaker 3: This reminds me of we used to sing the soul

884
00:42:40,640 --> 00:42:42,719
Speaker 3: remember that song from Free to You and Me. Some

885
00:42:42,800 --> 00:42:44,560
Speaker 3: kind of help is the kind of help that helping

886
00:42:44,760 --> 00:42:46,680
Speaker 3: we all could do with all, But some kind of

887
00:42:46,719 --> 00:42:50,200
Speaker 3: help is the kind of help we all could do without. Yep,

888
00:42:50,440 --> 00:42:54,680
Speaker 3: people who are overly helpful? What's that great saying? Unasked

889
00:42:54,680 --> 00:42:59,640
Speaker 3: for advice is always criticism, which is sounds.

890
00:42:59,360 --> 00:43:03,680
Speaker 2: Like a code of an anonymous meeting, which I should

891
00:43:03,680 --> 00:43:08,000
Speaker 2: be in code of. Like all I do is I

892
00:43:08,080 --> 00:43:10,760
Speaker 2: just I get. I'm like, God, if she'd only listen

893
00:43:10,840 --> 00:43:13,479
Speaker 2: to me, her whole life would be fixed. No, God,

894
00:43:13,560 --> 00:43:15,799
Speaker 2: if he would just do this in fact, I just

895
00:43:15,840 --> 00:43:17,600
Speaker 2: say it. And it's like, then I think of that

896
00:43:17,640 --> 00:43:21,520
Speaker 2: thing that there's a saying like, only give advice when

897
00:43:21,520 --> 00:43:24,400
Speaker 2: it's asked for, And I'm like, unsolicited advice, that's what it?

898
00:43:25,320 --> 00:43:28,520
Speaker 2: Solicited advice? Yeah, I think just if you see someone

899
00:43:28,600 --> 00:43:30,879
Speaker 2: that could do better, let him know how.

900
00:43:30,840 --> 00:43:32,520
Speaker 3: Well you know it's a better way to do it,

901
00:43:32,560 --> 00:43:34,360
Speaker 3: which might be a middle ground for you. Sweet you

902
00:43:34,360 --> 00:43:38,440
Speaker 3: can say would you like to hear what I think? Okay,

903
00:43:38,480 --> 00:43:40,759
Speaker 3: but then there's a fifty to fifty But then if

904
00:43:40,760 --> 00:43:42,680
Speaker 3: they say no, you can't say okay.

905
00:43:42,680 --> 00:43:46,800
Speaker 2: Point taken. So here's my point. I feel. Yeah, that's

906
00:43:46,840 --> 00:43:47,520
Speaker 2: the hard part.

907
00:43:48,719 --> 00:43:51,000
Speaker 3: That's the hard part. But this is boundaries. This is

908
00:43:51,080 --> 00:43:54,120
Speaker 3: very advanced. We weren't even talking about boundaries then. Yeah,

909
00:43:54,280 --> 00:43:56,479
Speaker 3: but ahead of its time again Melroy's Place.

910
00:43:56,640 --> 00:43:57,919
Speaker 2: Yeah, ahead of its time.

911
00:43:58,400 --> 00:44:03,040
Speaker 1: But the dynamic between Carrie and Ronda is starting to deteriorate,

912
00:44:03,920 --> 00:44:08,520
Speaker 1: and it's surprising to all of us. Yeah, And then

913
00:44:08,960 --> 00:44:11,680
Speaker 1: we cut to Keith and Allison on their camping trip.

914
00:44:11,680 --> 00:44:15,920
Speaker 1: There around the campfire, and Keith is talking about their

915
00:44:15,960 --> 00:44:18,960
Speaker 1: future together, starting with Alison needs to move out of

916
00:44:18,960 --> 00:44:22,840
Speaker 1: her apartment complex, get away from this Billy the kid.

917
00:44:23,800 --> 00:44:24,760
Speaker 2: He's just a kid.

918
00:44:25,000 --> 00:44:25,840
Speaker 4: He's just a kid.

919
00:44:26,880 --> 00:44:29,759
Speaker 1: And Keith says they should move in together once this

920
00:44:30,480 --> 00:44:37,120
Speaker 1: business with his wife is settled. And I have shatted

921
00:44:37,160 --> 00:44:42,600
Speaker 1: something at this moment, and then Alison is then she.

922
00:44:42,840 --> 00:44:45,080
Speaker 4: Asks him, well, how did you and Lily meet?

923
00:44:45,160 --> 00:44:47,160
Speaker 1: And she learns that they had met in high school

924
00:44:47,360 --> 00:44:50,120
Speaker 1: they've been together since then, but that he was feeling

925
00:44:50,160 --> 00:44:54,279
Speaker 1: stifled by the stability and he has now found happiness

926
00:44:54,560 --> 00:44:55,320
Speaker 1: with Allison.

927
00:44:56,840 --> 00:45:00,920
Speaker 3: It's like and Alison better not get stable Keith.

928
00:45:01,800 --> 00:45:04,319
Speaker 1: Keith says it will be tough, though, to tell his

929
00:45:04,360 --> 00:45:05,320
Speaker 1: own parents, since.

930
00:45:05,160 --> 00:45:07,840
Speaker 4: They are very role model perfect parents.

931
00:45:07,880 --> 00:45:10,680
Speaker 1: They've been together, married for forty years. And when he

932
00:45:10,719 --> 00:45:15,320
Speaker 1: asks Alison about her parents, she says her parents were ordinary,

933
00:45:15,400 --> 00:45:19,319
Speaker 1: her problems never stemmed from too much stability.

934
00:45:19,960 --> 00:45:21,520
Speaker 4: I thought that was a very interesting answer.

935
00:45:22,400 --> 00:45:24,239
Speaker 1: Keith wants to know more about that. Allison says she

936
00:45:24,239 --> 00:45:26,000
Speaker 1: doesn't really want to bore him with the details. We

937
00:45:26,040 --> 00:45:28,560
Speaker 1: can tell there's way more under their stuff that she's

938
00:45:28,640 --> 00:45:31,680
Speaker 1: keeping from him, and she doesn't want to talk about it.

939
00:45:31,680 --> 00:45:34,359
Speaker 1: And when Keith suggests the midnight hike, Allison says maybe later.

940
00:45:34,520 --> 00:45:35,840
Speaker 4: She was very lost in thought.

941
00:45:36,000 --> 00:45:38,360
Speaker 2: Who wants to get out of her? Who wants to

942
00:45:38,360 --> 00:45:40,120
Speaker 2: go for midnight hike? Has anyone heard of that?

943
00:45:40,200 --> 00:45:42,120
Speaker 1: I mean he said it would be romantic, and didn't

944
00:45:42,160 --> 00:45:43,560
Speaker 1: he say it would also be harry?

945
00:45:43,800 --> 00:45:45,880
Speaker 3: So, out of all we know about Keith, daphneys this

946
00:45:45,880 --> 00:45:47,600
Speaker 3: is the thing that really bothers you about him.

947
00:45:47,680 --> 00:45:48,279
Speaker 2: She's like, this is.

948
00:45:48,200 --> 00:45:49,160
Speaker 3: Where I drop a lot?

949
00:45:51,040 --> 00:45:55,000
Speaker 2: Are you an idiot? Read the room? I'm cozy, I

950
00:45:55,040 --> 00:46:02,320
Speaker 2: have a mug of coffee and hot chocolate, which you idiot?

951
00:46:02,600 --> 00:46:05,520
Speaker 2: I'm out a little fair thing.

952
00:46:05,560 --> 00:46:09,360
Speaker 1: It's so stupid. But wait, there's more, because in the morning,

953
00:46:10,200 --> 00:46:13,440
Speaker 1: Keith comes, and the hunter gatherer that he is, he

954
00:46:13,480 --> 00:46:16,239
Speaker 1: comes and he brings Alison a fresh trout for breakfast,

955
00:46:16,920 --> 00:46:18,279
Speaker 1: and she's very nice.

956
00:46:18,280 --> 00:46:20,839
Speaker 3: Who doesn't want a fresh trout out of the midnight hike?

957
00:46:21,280 --> 00:46:24,359
Speaker 2: Yeah, this guy's starting to look like bad news.

958
00:46:24,600 --> 00:46:26,680
Speaker 1: Not only is she uncomfortable with the idea of eating

959
00:46:26,760 --> 00:46:29,719
Speaker 1: trout for breakfast, but she looks also very uncomfortable when

960
00:46:29,719 --> 00:46:32,319
Speaker 1: he touches her and she sort of moves away, and

961
00:46:32,719 --> 00:46:35,040
Speaker 1: she says she doesn't feel well, telling Keith that she

962
00:46:35,200 --> 00:46:37,840
Speaker 1: thinks she should just go home. Keith is very confused,

963
00:46:38,640 --> 00:46:42,080
Speaker 1: but he agrees to take her home. So she's obviously

964
00:46:42,120 --> 00:46:45,480
Speaker 1: spent a very bad night thinking about all this and

965
00:46:45,520 --> 00:46:51,680
Speaker 1: having serious second thoughts. So then we're in Ronda's apartment

966
00:46:51,760 --> 00:46:54,680
Speaker 1: where she's making a very elaborate breakfast. Carrie enters, saying, oh,

967
00:46:54,760 --> 00:46:57,680
Speaker 1: smells delicious. Ronda tells her sit down, relax and enjoy.

968
00:46:57,719 --> 00:46:58,440
Speaker 1: Don't lift a finger.

969
00:46:58,520 --> 00:46:59,040
Speaker 4: I got this.

970
00:47:00,480 --> 00:47:03,440
Speaker 1: Carrie notices immediately that Ronda has used one of her

971
00:47:03,600 --> 00:47:06,760
Speaker 1: super special pants cooking pants.

972
00:47:06,600 --> 00:47:08,799
Speaker 3: Copper pants, and those of you at home who know

973
00:47:08,840 --> 00:47:09,799
Speaker 3: what copper pans are.

974
00:47:09,760 --> 00:47:12,239
Speaker 1: Very super special, and she pops right up to get

975
00:47:12,239 --> 00:47:15,399
Speaker 1: it soaking. Ronda stops her very firmly and tells her

976
00:47:15,640 --> 00:47:16,399
Speaker 1: sit back down.

977
00:47:17,280 --> 00:47:18,839
Speaker 2: I got this, I will clean it.

978
00:47:19,520 --> 00:47:23,000
Speaker 1: And so for the rest of the scene, Carrie can

979
00:47:23,280 --> 00:47:28,160
Speaker 1: hardly restrain herself from jumping up and cleaning her pant.

980
00:47:28,680 --> 00:47:32,080
Speaker 2: There's this wonderful shot to emphasize it that it's in

981
00:47:32,120 --> 00:47:35,880
Speaker 2: the foreground. This pan is on the island in the foreground,

982
00:47:35,920 --> 00:47:37,080
Speaker 2: and you see Carrie.

983
00:47:36,880 --> 00:47:39,759
Speaker 1: Him back, just staring at it, can't stop looking at

984
00:47:39,760 --> 00:47:40,160
Speaker 1: this pant.

985
00:47:40,200 --> 00:47:40,520
Speaker 2: Clean this.

986
00:47:41,320 --> 00:47:44,520
Speaker 1: I thought she was brilliant in this scene. I mean,

987
00:47:44,800 --> 00:47:48,440
Speaker 1: the character is ridiculous and obnoxious and dopey and whatever,

988
00:47:48,640 --> 00:47:52,000
Speaker 1: but she totally dove in and I thought was so

989
00:47:52,200 --> 00:47:56,000
Speaker 1: funny on the connection she had with like, I have

990
00:47:56,040 --> 00:47:58,520
Speaker 1: to clean that parent round like she could. She couldn't

991
00:47:58,560 --> 00:47:59,359
Speaker 1: stop herself from.

992
00:47:59,440 --> 00:48:02,960
Speaker 3: Yeah, Vanessa and ray Dawn played against each other so well.

993
00:48:02,960 --> 00:48:04,799
Speaker 3: This was and it was really this was well done

994
00:48:04,800 --> 00:48:08,640
Speaker 3: because of this very intense storyline with Keith wants to

995
00:48:08,680 --> 00:48:12,319
Speaker 3: take Alison on a midnight hike god forbid, and these

996
00:48:12,360 --> 00:48:14,920
Speaker 3: two women. It was such good comic relief, so funny,

997
00:48:14,960 --> 00:48:17,000
Speaker 3: You're whole funny together.

998
00:48:17,320 --> 00:48:20,200
Speaker 1: So good and and Carrie's trying to like distract herself

999
00:48:20,239 --> 00:48:21,839
Speaker 1: by babbling on about oh, you know, I wouldn't want

1000
00:48:21,840 --> 00:48:24,160
Speaker 1: to do anything to jeopardize our relationship. Wow, good roommates

1001
00:48:24,200 --> 00:48:26,239
Speaker 1: are so hard to find. But she's like manic and

1002
00:48:26,360 --> 00:48:29,239
Speaker 1: she can't stop looking at her beloved pan.

1003
00:48:29,840 --> 00:48:31,480
Speaker 3: I got to say, I feel that way every time

1004
00:48:31,600 --> 00:48:34,640
Speaker 3: Jack takes out a metal spatula with my nonstick cookwear,

1005
00:48:34,960 --> 00:48:36,839
Speaker 3: like no, well.

1006
00:48:36,520 --> 00:48:39,840
Speaker 1: That's yeah kind of critical, or like cutting anything but

1007
00:48:39,920 --> 00:48:41,960
Speaker 1: fabric with my fabric scissors, don't.

1008
00:48:41,800 --> 00:48:46,160
Speaker 3: Do it, just telling you right now only fabric people.

1009
00:48:46,840 --> 00:48:49,759
Speaker 2: Well, are you guys? So I'm of the philosophy of

1010
00:48:50,280 --> 00:48:54,160
Speaker 2: clean as you go when you cook dinner. Her husband isn't.

1011
00:48:54,560 --> 00:48:59,000
Speaker 2: He's changed, he's adounded. But some people are like, no,

1012
00:48:59,040 --> 00:49:01,680
Speaker 2: I'm going to cook now, clean after we eat, and

1013
00:49:01,719 --> 00:49:04,240
Speaker 2: I it's like no, because then we have a whole

1014
00:49:04,560 --> 00:49:08,000
Speaker 2: sink full of dishes dirty to do after I enjoy dinner.

1015
00:49:08,320 --> 00:49:10,320
Speaker 2: Or are you with this? Guys?

1016
00:49:10,360 --> 00:49:13,080
Speaker 3: Do you clean as you cook or do you just cook?

1017
00:49:13,560 --> 00:49:13,799
Speaker 2: Again?

1018
00:49:14,080 --> 00:49:16,520
Speaker 3: I do, but if there's a lot of stuff happening,

1019
00:49:17,040 --> 00:49:19,560
Speaker 3: then just the cooking is the most important thing. So

1020
00:49:19,640 --> 00:49:22,040
Speaker 3: you get everything done and ready and everything done at

1021
00:49:22,040 --> 00:49:24,200
Speaker 3: the same time, like at a big dinner party last

1022
00:49:24,200 --> 00:49:25,440
Speaker 3: week and.

1023
00:49:25,960 --> 00:49:28,279
Speaker 2: Were you were you there, Laura, I wasn't there. I

1024
00:49:28,600 --> 00:49:29,440
Speaker 2: must have lost that.

1025
00:49:29,719 --> 00:49:34,120
Speaker 3: Yeah, I've been inviting years.

1026
00:49:34,160 --> 00:49:35,040
Speaker 2: I won't even hear it.

1027
00:49:35,080 --> 00:49:36,680
Speaker 3: I've been trying to get you guys here. I wish

1028
00:49:36,719 --> 00:49:37,160
Speaker 3: you were here.

1029
00:49:37,320 --> 00:49:40,239
Speaker 1: You keep saying you've been inviting us for thirty Look

1030
00:49:40,239 --> 00:49:41,520
Speaker 1: back through my inbox.

1031
00:49:41,600 --> 00:49:45,440
Speaker 3: I'm getting I yes, I may not have actual dates,

1032
00:49:45,520 --> 00:49:47,279
Speaker 3: and we are going to do it. And then you

1033
00:49:47,280 --> 00:49:49,200
Speaker 3: guys don't judge me for not cleaning as they go

1034
00:49:49,239 --> 00:49:51,800
Speaker 3: because at the end, the most important thing is getting

1035
00:49:51,800 --> 00:49:53,840
Speaker 3: everything out at the same time. So I won't stop

1036
00:49:53,920 --> 00:49:57,400
Speaker 3: to clean something if I'm getting everything out at the

1037
00:49:57,400 --> 00:49:58,520
Speaker 3: same time, because that's.

1038
00:49:58,520 --> 00:50:01,160
Speaker 2: Maybe I'll be in the kitchen and cleaning right behind you.

1039
00:50:01,239 --> 00:50:03,200
Speaker 2: Will Will you invite me then if I clean?

1040
00:50:05,239 --> 00:50:07,160
Speaker 1: I also think one of the unspoken rules is like

1041
00:50:07,280 --> 00:50:10,280
Speaker 1: if if you cooked it, other people should be helping

1042
00:50:10,280 --> 00:50:13,040
Speaker 1: you clean it. Like whether it happens during or.

1043
00:50:12,960 --> 00:50:16,799
Speaker 2: After, that's just the rules. But yeah, well, you guys

1044
00:50:16,800 --> 00:50:19,080
Speaker 2: cook for kids and family and stuff.

1045
00:50:19,160 --> 00:50:22,239
Speaker 1: I mean, and apparently Courtney cooks for many people at

1046
00:50:22,239 --> 00:50:24,440
Speaker 1: her dinner parties that we have, the parties that we

1047
00:50:24,440 --> 00:50:27,480
Speaker 1: don't go to but I will bring my wooden utensils

1048
00:50:27,600 --> 00:50:29,880
Speaker 1: if you invite me the next time.

1049
00:50:30,880 --> 00:50:32,600
Speaker 3: All Right, I'm taking that.

1050
00:50:32,640 --> 00:50:34,319
Speaker 2: I'm taking that. We'll stop guilting her.

1051
00:50:34,680 --> 00:50:37,160
Speaker 3: I've been trying to get everybody together. But maybe that's silly.

1052
00:50:37,160 --> 00:50:38,480
Speaker 3: That's I should learn my lesson.

1053
00:50:38,480 --> 00:50:42,160
Speaker 2: That's impossible. Well, who are your real friends? Who's here?

1054
00:50:42,600 --> 00:50:43,040
Speaker 2: You guys?

1055
00:50:43,080 --> 00:50:44,880
Speaker 3: Obviously that's it.

1056
00:50:44,960 --> 00:50:51,640
Speaker 2: It's done. Get ready to carry all right.

1057
00:50:51,719 --> 00:50:54,040
Speaker 1: So Billy is at home and he's writing when Alison

1058
00:50:54,080 --> 00:50:57,000
Speaker 1: returns home from a camping trip and the rain has

1059
00:50:57,040 --> 00:50:59,920
Speaker 1: stopped by the way, and she wonders aloud, what is

1060
00:51:00,360 --> 00:51:03,760
Speaker 1: wrong with me? I'm She's so confused, she says, because

1061
00:51:03,760 --> 00:51:07,799
Speaker 1: now her relationship with Keith just feels so wrong, and

1062
00:51:07,880 --> 00:51:11,080
Speaker 1: Billy thinks Alison falls in love with people who are unattainable,

1063
00:51:11,120 --> 00:51:13,520
Speaker 1: then loses interest in them when she gets what she wants.

1064
00:51:13,760 --> 00:51:18,960
Speaker 1: Allison says, that's not it, and she doesn't believe that

1065
00:51:18,960 --> 00:51:21,239
Speaker 1: that's it, and then she reveals to Billy the backstory

1066
00:51:21,239 --> 00:51:24,240
Speaker 1: with her parents that she was unwilling to share with Keith.

1067
00:51:26,000 --> 00:51:28,440
Speaker 2: She tells me, I liked how Billy. Sorry to interrupt,

1068
00:51:28,480 --> 00:51:31,040
Speaker 2: but I really liked this scene. I watched this episode

1069
00:51:31,080 --> 00:51:36,640
Speaker 2: twice and because I'm a good be plus student, but

1070
00:51:36,719 --> 00:51:39,360
Speaker 2: I really liked how he I think Andrew was a

1071
00:51:39,400 --> 00:51:41,839
Speaker 2: good listener. It's hard to listen in scenes. I think

1072
00:51:41,880 --> 00:51:44,239
Speaker 2: he was a good listener in this scene as an

1073
00:51:44,280 --> 00:51:46,799
Speaker 2: actor because you had most of the dialogue and very

1074
00:51:46,840 --> 00:51:52,120
Speaker 2: sort of really revealing stuff as Alison. But I also

1075
00:51:52,320 --> 00:51:54,680
Speaker 2: like how he's your you know, they have a lot

1076
00:51:54,680 --> 00:51:57,640
Speaker 2: of banter and a lot of like this, but he listened.

1077
00:51:58,080 --> 00:52:00,359
Speaker 2: You really open up to him in this, you know,

1078
00:52:00,520 --> 00:52:04,000
Speaker 2: and you're about what Laura will tell us, what you say.

1079
00:52:04,400 --> 00:52:06,520
Speaker 2: But I just really liked the scene. It was a

1080
00:52:06,600 --> 00:52:12,160
Speaker 2: very solid kind of scene that would move the relationship forward, not.

1081
00:52:12,239 --> 00:52:13,239
Speaker 1: Just a banter thing.

1082
00:52:13,400 --> 00:52:16,480
Speaker 3: It's the first time Alison talks about her parents' relationships

1083
00:52:16,480 --> 00:52:19,399
Speaker 3: and she says that her father cheated on her mother,

1084
00:52:19,480 --> 00:52:22,319
Speaker 3: and it's it's it's just took forever to get here.

1085
00:52:22,360 --> 00:52:24,040
Speaker 3: But this is when I was yelling at this girl.

1086
00:52:24,080 --> 00:52:27,640
Speaker 3: It was like, finally she finally is able to put

1087
00:52:27,680 --> 00:52:31,120
Speaker 3: herself in her mother's shoes.

1088
00:52:31,200 --> 00:52:35,080
Speaker 2: And feel realized that, yeah, it realizes that you're the

1089
00:52:35,160 --> 00:52:37,760
Speaker 2: other woman and what you're revealing is that your father

1090
00:52:37,840 --> 00:52:40,120
Speaker 2: had affairs with these other women. And what I love

1091
00:52:40,160 --> 00:52:43,279
Speaker 2: about it is that you say, as a little girl,

1092
00:52:43,719 --> 00:52:47,120
Speaker 2: you always like idolized and fantasized and projected onto these

1093
00:52:47,120 --> 00:52:51,719
Speaker 2: women because they got all of his attention. So classic.

1094
00:52:52,400 --> 00:52:55,240
Speaker 3: Yeah, it was such a good, pretty deep for Melrose,

1095
00:52:55,320 --> 00:52:57,880
Speaker 3: right like they really it was really I really like

1096
00:52:57,960 --> 00:52:59,080
Speaker 3: this scene too, and I agree.

1097
00:52:59,120 --> 00:52:59,600
Speaker 2: I thought it was.

1098
00:53:00,160 --> 00:53:03,960
Speaker 3: Andrew did a great job and the connection got deeper.

1099
00:53:04,000 --> 00:53:08,440
Speaker 1: It was very very grounded and a very supportive and

1100
00:53:08,520 --> 00:53:13,520
Speaker 1: good listener everything he said, yes, And that's that's when

1101
00:53:13,520 --> 00:53:16,680
Speaker 1: she reveals that to him. She realizes that she is

1102
00:53:16,719 --> 00:53:18,760
Speaker 1: the other woman and she doesn't like what she sees.

1103
00:53:20,280 --> 00:53:23,480
Speaker 1: Then she goes to the beach house. She is arriving

1104
00:53:23,600 --> 00:53:25,839
Speaker 1: to tell Keith that she wants to end it. She's

1105
00:53:25,960 --> 00:53:29,400
Speaker 1: arriving to say, Keith, we need to talk and I

1106
00:53:29,440 --> 00:53:33,040
Speaker 1: can't see you anymore. And then she says, I need

1107
00:53:33,040 --> 00:53:37,040
Speaker 1: to feel right about myself. Keith says, because he's a

1108
00:53:37,080 --> 00:53:39,680
Speaker 1: selfish idiot, that he shouldn't have told her he was

1109
00:53:39,760 --> 00:53:43,560
Speaker 1: leaving his wife. Alison says, that's not it, that being

1110
00:53:44,080 --> 00:53:47,160
Speaker 1: your mistress wouldn't have been any better, and that although

1111
00:53:47,200 --> 00:53:50,080
Speaker 1: being with Keith scares her, being without him scares her

1112
00:53:50,120 --> 00:53:54,840
Speaker 1: even more, and Keith against says, well, what about me? Basically,

1113
00:53:55,160 --> 00:53:57,000
Speaker 1: you know, because if we break up, I'm not going

1114
00:53:57,040 --> 00:54:01,080
Speaker 1: back to Lily, And Allison says it's your business and goodbye,

1115
00:54:01,160 --> 00:54:04,360
Speaker 1: and she starts to walk away, at which time Keith

1116
00:54:04,400 --> 00:54:11,960
Speaker 1: grabs her arm very hard and living room and it

1117
00:54:12,080 --> 00:54:17,320
Speaker 1: hurts and it's firm, and she he calls her selfish

1118
00:54:17,440 --> 00:54:19,279
Speaker 1: and he yells at her that if you can't make

1119
00:54:19,320 --> 00:54:20,840
Speaker 1: it work with me, you're not going to be with

1120
00:54:21,120 --> 00:54:22,719
Speaker 1: be able to make it work with anybody.

1121
00:54:23,320 --> 00:54:26,480
Speaker 2: Yeah, that's a real clue to what's coming right right,

1122
00:54:26,680 --> 00:54:29,800
Speaker 2: like he snaps, and rich, by the way, just taking

1123
00:54:29,800 --> 00:54:33,080
Speaker 2: a poll among you ladies, how many times have you

1124
00:54:33,120 --> 00:54:35,239
Speaker 2: broken up with somebody and they've said something that.

1125
00:54:35,320 --> 00:54:37,560
Speaker 3: I was like, I've been in that moment, like where

1126
00:54:37,600 --> 00:54:40,120
Speaker 3: someone said good luck finding someone better than me, and

1127
00:54:40,239 --> 00:54:41,400
Speaker 3: like I feel pread about it.

1128
00:54:42,600 --> 00:54:45,000
Speaker 1: Well, yeah, I think odds are pretty good here for

1129
00:54:45,600 --> 00:54:48,919
Speaker 1: Allison that she's gonna yeah, because angry womanizing narciss sister

1130
00:54:49,120 --> 00:54:52,160
Speaker 1: are not you know, the easiest people to live with.

1131
00:54:52,320 --> 00:54:54,880
Speaker 1: So yeah, I think she's gonna be fine.

1132
00:54:56,680 --> 00:54:56,919
Speaker 2: Yeah.

1133
00:54:57,040 --> 00:54:59,160
Speaker 1: She manages to free her arm, and she says, well,

1134
00:54:59,200 --> 00:55:01,399
Speaker 1: at least I'll be a to live with myself. And

1135
00:55:01,480 --> 00:55:05,680
Speaker 1: she's able to leave, escaping him, and I'm screaming, please run, Allison.

1136
00:55:06,480 --> 00:55:09,160
Speaker 3: I was just like, finally I did feel this moment

1137
00:55:09,200 --> 00:55:10,120
Speaker 3: of victory for her.

1138
00:55:10,200 --> 00:55:12,000
Speaker 2: I was like, yeah, well that was hard one.

1139
00:55:12,080 --> 00:55:14,640
Speaker 1: But she said all the things to say, yeah, yes,

1140
00:55:14,920 --> 00:55:18,440
Speaker 1: I got it. She's yeah, and we're just so relieved

1141
00:55:18,440 --> 00:55:23,480
Speaker 1: for her that she's getting herself exactly. Then we see Ronda.

1142
00:55:23,840 --> 00:55:26,400
Speaker 1: She's napping on her couch and she wakes up to

1143
00:55:26,520 --> 00:55:30,440
Speaker 1: Carrie holding her copper pant directly in front of Randa's face,

1144
00:55:32,200 --> 00:55:35,759
Speaker 1: and Carrie angrily is showing her a spot that she

1145
00:55:35,920 --> 00:55:38,719
Speaker 1: missed cleaning the pan. There's some egg on here, and

1146
00:55:38,800 --> 00:55:42,600
Speaker 1: Ronna calls Carrie a nut, and Carrie then calls Rnda

1147
00:55:42,640 --> 00:55:46,120
Speaker 1: a slob, and Ronda says, Carrie, this is not working

1148
00:55:46,120 --> 00:55:49,040
Speaker 1: out and you need to find another place.

1149
00:55:48,800 --> 00:55:51,520
Speaker 3: To live, which is kind of a bummer because they're

1150
00:55:51,600 --> 00:55:52,560
Speaker 3: so funny.

1151
00:55:52,200 --> 00:55:54,200
Speaker 1: Together, such a funny dynamics.

1152
00:55:54,280 --> 00:55:56,080
Speaker 3: Too bad this couldn't have been more of an ARC

1153
00:55:56,239 --> 00:55:57,520
Speaker 3: because really, yeah.

1154
00:55:58,000 --> 00:56:03,320
Speaker 2: Yeah, well she may come back, wants to come back.

1155
00:56:04,320 --> 00:56:05,839
Speaker 1: We're gonna have to tune in and find out.

1156
00:56:05,880 --> 00:56:07,799
Speaker 3: Oh my gosh, I'm so excited.

1157
00:56:08,840 --> 00:56:14,160
Speaker 2: Just like your arm grabby married man might come. He

1158
00:56:14,480 --> 00:56:19,000
Speaker 2: might just stops on people and doesn't mean it's over.

1159
00:56:20,560 --> 00:56:23,120
Speaker 1: But here we are at the final scene of this

1160
00:56:23,200 --> 00:56:25,200
Speaker 1: episode where Allison is crossing the courtyard.

1161
00:56:25,239 --> 00:56:27,239
Speaker 4: She's entering her apartment, and.

1162
00:56:27,200 --> 00:56:30,320
Speaker 1: She tells Billy, who's yet again there on the couch,

1163
00:56:30,560 --> 00:56:33,000
Speaker 1: that he should fire up the hot chocolate because leaving

1164
00:56:33,080 --> 00:56:36,080
Speaker 1: Keith was the hardest thing she's ever done. And here

1165
00:56:36,120 --> 00:56:41,560
Speaker 1: again he's super genuine and grounded and sympathetic and he

1166
00:56:42,239 --> 00:56:44,680
Speaker 1: Allison begins to cry and Billy comes and he holds

1167
00:56:44,719 --> 00:56:47,080
Speaker 1: her at the door while she cries, and the episode

1168
00:56:47,160 --> 00:56:48,440
Speaker 1: ends on them.

1169
00:56:48,680 --> 00:56:49,880
Speaker 3: That was very sweet.

1170
00:56:50,000 --> 00:56:52,240
Speaker 2: I like that ending and it was just a sweet

1171
00:56:52,320 --> 00:56:52,960
Speaker 2: hug at the end.

1172
00:56:53,239 --> 00:56:54,799
Speaker 3: Yeah, very good, really loving.

1173
00:56:54,920 --> 00:56:59,600
Speaker 1: Yeah, so that's episode fourteen, People, Episode fourteen.

1174
00:57:00,200 --> 00:57:02,720
Speaker 3: Yeah, things are really kicking up. It's really fun.

1175
00:57:03,080 --> 00:57:03,560
Speaker 1: They are.

1176
00:57:03,680 --> 00:57:05,520
Speaker 4: We have we have a couple of fan questions.

1177
00:57:05,640 --> 00:57:07,919
Speaker 2: Well, they just asked for pictures. We didn't have cell

1178
00:57:07,920 --> 00:57:09,840
Speaker 2: phones back then, so it would have to mean like

1179
00:57:10,120 --> 00:57:13,040
Speaker 2: find something from the company, or when someone came on

1180
00:57:13,120 --> 00:57:15,800
Speaker 2: to do interviews, there might be some video. You know,

1181
00:57:15,840 --> 00:57:17,440
Speaker 2: I know MTV a lot of people have come on

1182
00:57:17,520 --> 00:57:20,360
Speaker 2: to interview us, but it's not like you could just

1183
00:57:20,360 --> 00:57:23,280
Speaker 2: whip out. I do have some of us set.

1184
00:57:23,360 --> 00:57:27,520
Speaker 3: I remember taking pictures on set. I remember bringing pictures

1185
00:57:28,000 --> 00:57:30,480
Speaker 3: of my dogs, shocking, I know to all who know me.

1186
00:57:30,760 --> 00:57:33,880
Speaker 3: I remember bringing pictures of my dogs to show people

1187
00:57:33,960 --> 00:57:36,520
Speaker 3: on set, polaroids. I remember carrying polars around making you

1188
00:57:36,520 --> 00:57:39,680
Speaker 3: all look at my dog pictures, which all that has

1189
00:57:39,720 --> 00:57:42,720
Speaker 3: not changed, different dogs, but I'm still trying to make I.

1190
00:57:42,760 --> 00:57:45,600
Speaker 2: Do have one a couple of behind the scenes it's

1191
00:57:45,640 --> 00:57:48,440
Speaker 2: not of an episode that doesn't happen for another I

1192
00:57:48,480 --> 00:57:49,800
Speaker 2: don't know three yeah fo years.

1193
00:57:49,840 --> 00:57:53,480
Speaker 1: I have very few and far between actual photographs because

1194
00:57:53,560 --> 00:57:55,320
Speaker 1: there were no cell phone cameras at the time, it

1195
00:57:55,360 --> 00:57:57,680
Speaker 1: wasn't as easy to have them. But the ones that

1196
00:57:57,720 --> 00:58:00,640
Speaker 1: I have are for much later episodes than we will

1197
00:58:00,680 --> 00:58:02,200
Speaker 1: definitely share them when it's.

1198
00:58:03,160 --> 00:58:06,960
Speaker 4: Kind of closer to the lasts. Yeah, and we we liked.

1199
00:58:06,920 --> 00:58:08,480
Speaker 1: And some of the you know, some of the magazine

1200
00:58:08,480 --> 00:58:10,880
Speaker 1: shoots and stuff, those are our kind of our behind

1201
00:58:10,880 --> 00:58:12,760
Speaker 1: the scenes too, because that was going on on the

1202
00:58:12,800 --> 00:58:15,480
Speaker 1: side or on the weekends for us while we were shooting.

1203
00:58:16,040 --> 00:58:19,840
Speaker 1: One other little sort of statistic is that the credits

1204
00:58:19,960 --> 00:58:23,920
Speaker 1: in episode fourteen were the shortest they will ever be,

1205
00:58:24,200 --> 00:58:29,240
Speaker 1: with only seven regular characters names mentioned, right, right, because

1206
00:58:29,480 --> 00:58:34,240
Speaker 1: one short Now that Sandy's character has left and we're.

1207
00:58:34,120 --> 00:58:36,320
Speaker 3: Not the first. Daphne starts next week.

1208
00:58:36,400 --> 00:58:39,280
Speaker 2: Yeah right, But do you guys notice how long.

1209
00:58:39,040 --> 00:58:42,120
Speaker 3: The credits are because there was more time, Like now,

1210
00:58:42,440 --> 00:58:44,520
Speaker 3: you don't even have credits. They show the title of

1211
00:58:44,560 --> 00:58:46,960
Speaker 3: the show and you go into it. Yeah, it was

1212
00:58:47,040 --> 00:58:50,400
Speaker 3: really The credits were probably thirty seconds.

1213
00:58:50,000 --> 00:58:50,960
Speaker 1: And they were great.

1214
00:58:51,400 --> 00:58:54,080
Speaker 2: I mean, we're watching this. I'm watching this every week

1215
00:58:54,360 --> 00:58:57,320
Speaker 2: a couple of times, and it always says skip intro

1216
00:58:57,440 --> 00:58:59,240
Speaker 2: and I'm like, no, I don't want to. I love

1217
00:58:59,360 --> 00:59:03,520
Speaker 2: that open on the show. Yeah, the song is great,

1218
00:59:04,080 --> 00:59:07,800
Speaker 2: and I love that Sean's kind of grainy of Melrose.

1219
00:59:08,160 --> 00:59:09,920
Speaker 3: I can't wait to see yours because they must have

1220
00:59:10,000 --> 00:59:11,920
Speaker 3: tried to match the feel of the other one. I

1221
00:59:11,920 --> 00:59:14,400
Speaker 3: guess you probably will turn into camera. I'm very excited.

1222
00:59:14,560 --> 00:59:17,040
Speaker 2: Yeah they did that. I do remember. I know there's

1223
00:59:17,080 --> 00:59:19,160
Speaker 2: one of me walking with you guys, so I think

1224
00:59:19,200 --> 00:59:22,520
Speaker 2: that we at some point did some of us walking.

1225
00:59:22,720 --> 00:59:26,600
Speaker 3: Yes, so you came on as a regular, yes, right,

1226
00:59:26,760 --> 00:59:29,000
Speaker 3: a regular? And then Laura when you came on, did

1227
00:59:29,040 --> 00:59:31,280
Speaker 3: you come on as a guest star and then they

1228
00:59:31,320 --> 00:59:33,120
Speaker 3: expanded it to regular or did you know.

1229
00:59:33,120 --> 00:59:35,480
Speaker 1: You're right, I came on as a guest star. So

1230
00:59:35,520 --> 00:59:37,800
Speaker 1: that's that brings up an interesting point. And I love

1231
00:59:37,880 --> 00:59:41,600
Speaker 1: that the fan who brought this statistic to our attention

1232
00:59:41,840 --> 00:59:44,840
Speaker 1: noticed this, and I know that fans also noticed through

1233
00:59:44,880 --> 00:59:49,200
Speaker 1: the course of the seasons when the Amanda character was

1234
00:59:49,560 --> 00:59:52,480
Speaker 1: Heather was credited as a special guest star, not as

1235
00:59:52,640 --> 00:59:55,200
Speaker 1: not in the same sort of yes to your question,

1236
00:59:55,840 --> 00:59:58,960
Speaker 1: Sidney came in as a guest only, and so I

1237
00:59:59,040 --> 01:00:02,880
Speaker 1: was not credited in the opening credits until I can't

1238
01:00:02,920 --> 01:00:04,760
Speaker 1: remember if it's sometime in season two, and then they

1239
01:00:04,800 --> 01:00:07,880
Speaker 1: folded me in and they didn't do like the walking

1240
01:00:07,920 --> 01:00:12,000
Speaker 1: and whatever. I think they just stole shots, turning scenes,

1241
01:00:12,040 --> 01:00:14,320
Speaker 1: turning over whatever like, and then they just folded it

1242
01:00:14,320 --> 01:00:16,800
Speaker 1: in and built new credit sequences because don't you remember,

1243
01:00:16,880 --> 01:00:21,000
Speaker 1: like in the later seasons, we didn't shoot credit sequences

1244
01:00:21,440 --> 01:00:23,080
Speaker 1: they and that all just.

1245
01:00:23,240 --> 01:00:27,160
Speaker 2: I think is contract related. So what you're talking about

1246
01:00:27,200 --> 01:00:30,919
Speaker 2: is contract related. You know you have said, and also

1247
01:00:31,000 --> 01:00:33,520
Speaker 2: Marcia has said that you guys came in as arcs,

1248
01:00:34,000 --> 01:00:37,880
Speaker 2: so they didn't have you as regular and they didn't

1249
01:00:38,200 --> 01:00:40,880
Speaker 2: to expand it, they would add you later, but it's

1250
01:00:40,920 --> 01:00:44,440
Speaker 2: a it's a contract thing to say. And you know,

1251
01:00:44,560 --> 01:00:46,960
Speaker 2: like I've had in my contract either alphabetical, which I

1252
01:00:46,960 --> 01:00:49,840
Speaker 2: think the show is, and then Meloy's places, and then

1253
01:00:49,960 --> 01:00:53,960
Speaker 2: and as is. You know, it's every job in your career,

1254
01:00:54,120 --> 01:00:57,560
Speaker 2: every job is. It's what the lawyers work out and

1255
01:00:57,600 --> 01:00:58,520
Speaker 2: the agents work out.

1256
01:00:58,680 --> 01:01:00,680
Speaker 3: Yeah, and then the standpoint I had to pick it

1257
01:01:00,840 --> 01:01:02,120
Speaker 3: had there got to be whatever she wanted to. If

1258
01:01:02,120 --> 01:01:04,080
Speaker 3: he was you're still a guest star, it's because that's

1259
01:01:04,080 --> 01:01:06,400
Speaker 3: what she wanted to, because she had her own card

1260
01:01:06,440 --> 01:01:09,400
Speaker 3: at the end. It was special guest Star, and she

1261
01:01:09,520 --> 01:01:11,600
Speaker 3: picked it because she's a super smart business woman.

1262
01:01:12,120 --> 01:01:15,840
Speaker 1: And the fan pointed out that, yeah, that you get

1263
01:01:16,760 --> 01:01:19,000
Speaker 1: at some point in later seasons they had as many

1264
01:01:19,000 --> 01:01:24,560
Speaker 1: as thirteen regular characters upfront. So this is the fewest

1265
01:01:24,640 --> 01:01:27,440
Speaker 1: in episode fourteen season one with only seven, and there

1266
01:01:27,520 --> 01:01:29,160
Speaker 1: was as many as thirteen down the line.

1267
01:01:29,840 --> 01:01:33,840
Speaker 3: I hope thank doing this when we do season six

1268
01:01:33,880 --> 01:01:36,000
Speaker 3: and seven that we weren't in, because then we'll really.

1269
01:01:35,760 --> 01:01:39,360
Speaker 2: Be who are these people? So many away?

1270
01:01:39,560 --> 01:01:41,680
Speaker 3: Come explain it to us what happened.

1271
01:01:42,600 --> 01:01:45,440
Speaker 2: We're gonna constantly have all these guests on, but uh,

1272
01:01:46,040 --> 01:01:51,880
Speaker 2: I mean most shows this these days are so fewer episodes,

1273
01:01:51,920 --> 01:01:53,320
Speaker 2: like we have thirty a.

1274
01:01:53,360 --> 01:01:58,280
Speaker 3: Year, right, and so more than thirty busy at least

1275
01:01:58,280 --> 01:02:00,040
Speaker 3: thirty two or thirty four, thirty two.

1276
01:02:00,000 --> 01:02:02,400
Speaker 2: Something like that, thirty two, thirty four, so like do

1277
01:02:02,480 --> 01:02:03,000
Speaker 2: the whole lucky.

1278
01:02:03,840 --> 01:02:08,120
Speaker 1: It's so many that we don't win. No, yeah, we

1279
01:02:08,160 --> 01:02:11,760
Speaker 1: don't even know. All right, well, we're very right to

1280
01:02:11,880 --> 01:02:16,080
Speaker 1: have gotten all the way to episode fifteen, which is

1281
01:02:16,160 --> 01:02:18,720
Speaker 1: our next weekap and that will be our next episode

1282
01:02:18,720 --> 01:02:19,520
Speaker 1: of Still the Place.

1283
01:02:20,320 --> 01:02:23,760
Speaker 2: Don't forget to download and come to really come and

1284
01:02:23,800 --> 01:02:26,840
Speaker 2: watch and listen to the podcast it's and watch the

1285
01:02:26,920 --> 01:02:29,800
Speaker 2: show if you can, especially next week, because I come to.

1286
01:02:29,880 --> 01:02:31,880
Speaker 3: Know what people keep telling to me, which is true.

1287
01:02:31,880 --> 01:02:33,400
Speaker 3: They keep saying it just sounds like you guys are

1288
01:02:33,400 --> 01:02:36,480
Speaker 3: having fun. We're genuinely having funs because.

1289
01:02:36,200 --> 01:02:38,200
Speaker 2: We will see you guys next week. I'll be on

1290
01:02:38,240 --> 01:02:40,400
Speaker 2: the hot seat and have to watch myself, and I'm

1291
01:02:40,440 --> 01:02:41,960
Speaker 2: sure I'm gonna have a lot of chrism because i

1292
01:02:41,960 --> 01:02:42,880
Speaker 2: haven't seen it yet.

1293
01:02:43,000 --> 01:02:45,720
Speaker 1: So but remember you're coming next week, but then you're

1294
01:02:45,720 --> 01:02:49,080
Speaker 1: here to stay. It's not like you're you know, we

1295
01:02:49,120 --> 01:02:50,000
Speaker 1: get to have you every week.

1296
01:02:50,040 --> 01:02:52,960
Speaker 2: Now, I know but it's like Forty's been saying, like,

1297
01:02:52,960 --> 01:02:54,680
Speaker 2: I'm just gonna see all. My voice is so high

1298
01:02:54,760 --> 01:02:57,120
Speaker 2: and the criticisn't coming to do it, so we'll see

1299
01:02:57,600 --> 01:02:59,920
Speaker 2: you might or you might say, wow, I nailed it.

1300
01:03:00,320 --> 01:03:04,880
Speaker 1: We'll step all so well, We will see you all

1301
01:03:05,000 --> 01:03:05,520
Speaker 1: next week.

1302
01:03:05,640 --> 01:03:07,840
Speaker 2: Here on still the bye everyone, guys.

1303
01:03:07,920 --> 01:03:09,640
Speaker 1: By