1 00:00:01,639 --> 00:00:04,880 Speaker 1: Hi. I'm Kristin Davis, and I want to know are 2 00:00:04,880 --> 00:00:11,840 Speaker 1: you a Charlotte? Hi? Hi, everyone, We're back. This is 3 00:00:12,200 --> 00:00:14,640 Speaker 1: Are You a Charlotte? And we are now looking and 4 00:00:14,680 --> 00:00:19,440 Speaker 1: at season one, episode two. It's called Models and Mortals. 5 00:00:19,760 --> 00:00:24,119 Speaker 1: Oh my goodness, me, I watched this last night. I'm 6 00:00:24,239 --> 00:00:28,360 Speaker 1: still in shock. I have more questions than I have answers. 7 00:00:29,480 --> 00:00:33,080 Speaker 1: There's a lot to dig into here. I honestly just 8 00:00:33,159 --> 00:00:36,479 Speaker 1: don't even really, I really am not sure what to 9 00:00:36,479 --> 00:00:39,680 Speaker 1: say about. This episode is super fascinating, though, So let 10 00:00:39,680 --> 00:00:42,239 Speaker 1: me just kind of go back in time a little bit. 11 00:00:43,680 --> 00:00:47,400 Speaker 1: I Charlotte only has one scene in this episode, and 12 00:00:47,440 --> 00:00:49,519 Speaker 1: it's a really fun and funny scene that I do 13 00:00:49,560 --> 00:00:53,000 Speaker 1: have a lot of memories about. And someone asked me, oh, 14 00:00:53,000 --> 00:00:55,080 Speaker 1: did you remember that you only had one scene? And 15 00:00:55,120 --> 00:00:57,480 Speaker 1: I didn't remember. And part of the reason that I 16 00:00:57,520 --> 00:01:01,120 Speaker 1: didn't remember is that one of the things, and I 17 00:01:01,160 --> 00:01:04,040 Speaker 1: don't really know if we're the only show who does those, 18 00:01:04,120 --> 00:01:06,559 Speaker 1: we probably aren't. But one of the interesting things about 19 00:01:06,600 --> 00:01:08,480 Speaker 1: how we film, and this is still true to this 20 00:01:08,600 --> 00:01:12,880 Speaker 1: day on and just like that, is that we crossboard 21 00:01:13,120 --> 00:01:16,360 Speaker 1: two episodes at a time, so we're always filming two 22 00:01:16,400 --> 00:01:20,000 Speaker 1: episodes simultaneously. And part of the reason for that is 23 00:01:20,000 --> 00:01:22,399 Speaker 1: that locations in New York City are so expensive. So 24 00:01:22,720 --> 00:01:25,240 Speaker 1: let's say you get a restaurant for the day. That 25 00:01:25,360 --> 00:01:27,080 Speaker 1: takes you know, a lot of money. You have to 26 00:01:27,360 --> 00:01:29,479 Speaker 1: get into all kinds of arrangements. You have to arrange 27 00:01:29,520 --> 00:01:34,000 Speaker 1: with the Mayor's Office of Location Management for parking and 28 00:01:34,080 --> 00:01:36,960 Speaker 1: for all the trucks, and it's a whole big to do, right, So, 29 00:01:37,360 --> 00:01:40,520 Speaker 1: if you get a location, you would divide it up, 30 00:01:40,560 --> 00:01:42,479 Speaker 1: Like let's say you got a restaurant, you might film 31 00:01:42,520 --> 00:01:44,400 Speaker 1: in front of the restaurant, and then you might also 32 00:01:44,440 --> 00:01:47,840 Speaker 1: film a different scene from a different episode inside the restaurant, 33 00:01:48,200 --> 00:01:53,040 Speaker 1: So you know, you're kind of cross purposing those actual locations. 34 00:01:53,360 --> 00:01:57,040 Speaker 1: So when you're filming, you're filming two episodes at once. Now, 35 00:01:57,520 --> 00:02:00,360 Speaker 1: sometimes it gets out of hand, Like I remember one time, 36 00:02:00,440 --> 00:02:05,040 Speaker 1: maybe season three of Sex and the City. Towards the end, 37 00:02:05,160 --> 00:02:08,880 Speaker 1: we had all these unfinished scenes and we had I 38 00:02:08,919 --> 00:02:11,960 Speaker 1: think four units filming, and we had to make T shirts, 39 00:02:12,120 --> 00:02:14,400 Speaker 1: different colored T shirts for the different crews on the 40 00:02:14,440 --> 00:02:17,320 Speaker 1: different units and all the actors. We just had to 41 00:02:17,360 --> 00:02:20,000 Speaker 1: run from soundstage to soundstage to do the different things 42 00:02:20,000 --> 00:02:21,800 Speaker 1: that we needed to do to finish the episode like 43 00:02:21,840 --> 00:02:24,079 Speaker 1: that was crazy times, and then just his past year 44 00:02:24,160 --> 00:02:25,680 Speaker 1: on and just like that. I think there was a 45 00:02:25,720 --> 00:02:28,919 Speaker 1: time when the call sheet had six different episodes listed 46 00:02:28,919 --> 00:02:31,160 Speaker 1: for Charlotte of things that I had to finish. So 47 00:02:32,000 --> 00:02:35,520 Speaker 1: this particular episode, I have a different storyline for the 48 00:02:35,560 --> 00:02:37,760 Speaker 1: next episode that I was also doing, so it's not 49 00:02:37,800 --> 00:02:40,120 Speaker 1: like I was just sitting around the whole time. But 50 00:02:40,240 --> 00:02:42,160 Speaker 1: I also didn't really remember that I only had the 51 00:02:42,280 --> 00:02:45,680 Speaker 1: one episode and my thoughts on that, which, you know, 52 00:02:45,919 --> 00:02:47,440 Speaker 1: I don't know if we're ever going to find out, 53 00:02:47,440 --> 00:02:52,600 Speaker 1: you guys, why they tried to demote me, As one 54 00:02:52,600 --> 00:02:55,160 Speaker 1: of our current writers said, because you know, the funny 55 00:02:55,200 --> 00:02:57,320 Speaker 1: thing about the reaction, I mean, there's many funny things 56 00:02:57,320 --> 00:02:59,880 Speaker 1: about the reaction to the first two podcasts. One is 57 00:03:00,080 --> 00:03:02,720 Speaker 1: that a lot of my closest friends don't even know 58 00:03:02,760 --> 00:03:05,000 Speaker 1: the stories that I told you guys. They're like, what 59 00:03:05,560 --> 00:03:07,800 Speaker 1: you know? And some of our current you know, very 60 00:03:07,880 --> 00:03:11,960 Speaker 1: beloved crew members and writers and directors and everybody don't 61 00:03:12,040 --> 00:03:15,320 Speaker 1: know that story. So everyone's just like, why what happened? 62 00:03:15,360 --> 00:03:17,400 Speaker 1: What happened? I don't know if we'll ever know. I 63 00:03:17,440 --> 00:03:20,240 Speaker 1: really don't know. I don't know the answer to it, 64 00:03:20,680 --> 00:03:23,160 Speaker 1: I feel when I look back on it now from 65 00:03:23,200 --> 00:03:28,440 Speaker 1: the perspective of twenty seven years later or whatever, having 66 00:03:28,520 --> 00:03:32,240 Speaker 1: read Candace's book, which was based on Candace's column, And 67 00:03:32,280 --> 00:03:35,120 Speaker 1: the thing that's important for this particular episode to remember 68 00:03:35,240 --> 00:03:38,840 Speaker 1: is that Candace's column in The Observer called Sex and 69 00:03:38,880 --> 00:03:43,520 Speaker 1: the City was I believe, based in true stories that 70 00:03:43,560 --> 00:03:47,320 Speaker 1: she was hearing and or participating in, but also hearing 71 00:03:47,680 --> 00:03:50,920 Speaker 1: around town that were true stories, right, So she wouldn't 72 00:03:51,200 --> 00:03:53,640 Speaker 1: use the names. She might imply who they were, so 73 00:03:53,680 --> 00:03:56,080 Speaker 1: that if you were, like you know, ran in this 74 00:03:56,200 --> 00:03:58,280 Speaker 1: circle of friends in New York, you might know who 75 00:03:58,320 --> 00:04:00,360 Speaker 1: the stories were, but you might also not know and 76 00:04:00,440 --> 00:04:05,960 Speaker 1: just you know, read it for some interesting like social archaeology. 77 00:04:06,120 --> 00:04:08,640 Speaker 1: I guess maybe I'm going to try not to say 78 00:04:08,720 --> 00:04:11,040 Speaker 1: like so much, because I did see the comment from 79 00:04:11,040 --> 00:04:13,200 Speaker 1: one of our listeners that I say like too much. 80 00:04:13,240 --> 00:04:17,200 Speaker 1: So I just said, like, I'm really sorry. I'm going 81 00:04:17,279 --> 00:04:20,039 Speaker 1: to do my best. It's not going to be easy 82 00:04:20,080 --> 00:04:22,640 Speaker 1: because I'm just sitting here by myself yaking, okay, but 83 00:04:22,839 --> 00:04:26,160 Speaker 1: thank you for being with me and understanding. So Candace 84 00:04:26,240 --> 00:04:28,840 Speaker 1: is writing this column in the nineties in New York 85 00:04:28,880 --> 00:04:33,000 Speaker 1: City and she is writing things she's hearing happened, or 86 00:04:33,400 --> 00:04:36,400 Speaker 1: was there for when they happened, or both or neither, 87 00:04:36,480 --> 00:04:39,360 Speaker 1: I guess, but you know, that's the genesis of all 88 00:04:39,400 --> 00:04:42,840 Speaker 1: of this. So when I watched this episode, episode two, 89 00:04:43,200 --> 00:04:45,839 Speaker 1: which was the first episode we filmed once the show 90 00:04:45,839 --> 00:04:51,799 Speaker 1: had been picked up, I'm assuming that this really insane 91 00:04:52,000 --> 00:04:59,880 Speaker 1: storyline about this character that Gabriel Mock plays Barkley film 92 00:05:00,120 --> 00:05:03,719 Speaker 1: these models. I'm just going to go with the fact 93 00:05:03,760 --> 00:05:06,920 Speaker 1: that this is something Candice heard about that happened and 94 00:05:07,040 --> 00:05:09,559 Speaker 1: put in her column and thus ended up in her book, 95 00:05:09,720 --> 00:05:12,320 Speaker 1: and thus ended up in our show because Darren Starr 96 00:05:12,360 --> 00:05:15,720 Speaker 1: optioned her book, Sex and the City. So that's what 97 00:05:15,760 --> 00:05:18,000 Speaker 1: I'm going to go with. I'm going to go with 98 00:05:18,120 --> 00:05:20,640 Speaker 1: the fact that they didn't just make this up or 99 00:05:20,680 --> 00:05:24,200 Speaker 1: whatever for the show. I'm not sure because at this 100 00:05:24,320 --> 00:05:28,120 Speaker 1: point also the important thing to remember for me is 101 00:05:28,160 --> 00:05:32,120 Speaker 1: that the writers were all in Los Angeles. They did 102 00:05:32,200 --> 00:05:35,480 Speaker 1: not come We did not know them very unlike how 103 00:05:35,520 --> 00:05:38,120 Speaker 1: the show went on to develop, where the writers were 104 00:05:38,120 --> 00:05:40,359 Speaker 1: with us every day. The writers were part of our lives. 105 00:05:40,520 --> 00:05:42,400 Speaker 1: They were very close friends of ours, still are a 106 00:05:42,440 --> 00:05:44,960 Speaker 1: very close friend of ours. You're going to be meeting 107 00:05:44,960 --> 00:05:48,600 Speaker 1: them along the way. They're wonderful, these particular group of writers. 108 00:05:48,680 --> 00:05:50,200 Speaker 1: Some of them I would not know them if I 109 00:05:50,240 --> 00:05:52,320 Speaker 1: saw them. If I ran into them and they told 110 00:05:52,400 --> 00:05:54,279 Speaker 1: me I wrote an episode of Sex and City for 111 00:05:54,320 --> 00:05:56,320 Speaker 1: the first season, I would just say, like, okay, I 112 00:05:56,320 --> 00:05:58,279 Speaker 1: would believe them, because I don't know what they look like. 113 00:05:58,760 --> 00:06:04,240 Speaker 1: We were in Los Angeles after the pilot, Darren, myself, 114 00:06:05,120 --> 00:06:08,280 Speaker 1: and then strangely Sarah Jessica. This is a funny story. 115 00:06:09,240 --> 00:06:12,279 Speaker 1: I was renting a house at the time in a 116 00:06:12,320 --> 00:06:15,400 Speaker 1: little canyon in the west side of Los Angeles, not 117 00:06:15,520 --> 00:06:20,159 Speaker 1: a particularly popular canyon, and one day I had gotten 118 00:06:20,160 --> 00:06:22,120 Speaker 1: a puppy and I was walking down the street and 119 00:06:22,160 --> 00:06:25,200 Speaker 1: we are in the waiting period of waiting to hear 120 00:06:25,320 --> 00:06:27,800 Speaker 1: if HBO was going to pick the show up, and 121 00:06:27,839 --> 00:06:31,400 Speaker 1: they had I feel like they had eighteen months to 122 00:06:31,520 --> 00:06:34,880 Speaker 1: decide something like that, maybe just a year. Whatever. It 123 00:06:34,960 --> 00:06:37,960 Speaker 1: was felt like eternity. And I would call my poor 124 00:06:38,000 --> 00:06:40,560 Speaker 1: manager Dave every day and be like, did you hear anything, 125 00:06:40,640 --> 00:06:42,680 Speaker 1: did you hear anything? Did you hear anything? And then 126 00:06:42,680 --> 00:06:44,360 Speaker 1: I would call my lawyer Jason, and I would say 127 00:06:44,400 --> 00:06:46,839 Speaker 1: did you hear anything? Did you hear anything? And It 128 00:06:46,960 --> 00:06:48,760 Speaker 1: just went on and on and on the waiting, and 129 00:06:48,839 --> 00:06:50,839 Speaker 1: sometimes I think I would call Darren Starr say like, 130 00:06:50,839 --> 00:06:55,000 Speaker 1: did you hear anything? I wasn't close enough to Sara 131 00:06:55,080 --> 00:06:56,919 Speaker 1: Jessica at this point to have her number to be 132 00:06:56,960 --> 00:06:59,000 Speaker 1: calling a buggy herm, which is probably a good thing. 133 00:06:59,320 --> 00:07:01,240 Speaker 1: But one day walking down the street in this little 134 00:07:01,279 --> 00:07:03,320 Speaker 1: neighborhood that I've rented a house in, and I'm walking 135 00:07:03,360 --> 00:07:06,919 Speaker 1: my new puppy, and who drives down this empty street 136 00:07:06,920 --> 00:07:10,720 Speaker 1: with Sara Jusica Parker in a rented Lexus And I'm like, hey, 137 00:07:11,240 --> 00:07:13,680 Speaker 1: you know what I mean? And she's like, Hi, what 138 00:07:13,720 --> 00:07:15,080 Speaker 1: are you doing here? And I said, I just rented 139 00:07:15,080 --> 00:07:16,680 Speaker 1: the house over here. What are you doing here? And 140 00:07:16,680 --> 00:07:19,040 Speaker 1: she said, oh, Matthew's here doing a movie, so I'm 141 00:07:19,080 --> 00:07:21,960 Speaker 1: here with him while he's filming this movie. And I said, 142 00:07:22,000 --> 00:07:25,360 Speaker 1: did you hear anything? She was like no, and she 143 00:07:25,400 --> 00:07:28,880 Speaker 1: didn't seem she didn't seem as anxious about it as 144 00:07:28,920 --> 00:07:31,040 Speaker 1: I was. And I was like, what do you think 145 00:07:31,120 --> 00:07:33,480 Speaker 1: is happening? You know what was going on? And she goes, oh, 146 00:07:33,600 --> 00:07:36,640 Speaker 1: I don't know, you know, I don't know. And I said, 147 00:07:36,680 --> 00:07:38,680 Speaker 1: what don't you wanted to be picked up? And she 148 00:07:38,760 --> 00:07:41,720 Speaker 1: said something like yeah, but I could tell she was 149 00:07:41,800 --> 00:07:43,520 Speaker 1: just trying to please me, you know what I mean. 150 00:07:43,920 --> 00:07:46,600 Speaker 1: I thought, oh, no, Sara Jusica doesn't want to do it. 151 00:07:46,640 --> 00:07:49,480 Speaker 1: I don't know. And I do think now, you know, 152 00:07:49,480 --> 00:07:51,880 Speaker 1: knowing her all these many, many years, that this was 153 00:07:52,000 --> 00:07:56,720 Speaker 1: back to her kind of reticence to being committed to 154 00:07:56,960 --> 00:07:58,800 Speaker 1: a show. Because, as I told you before, we did 155 00:07:58,800 --> 00:08:02,200 Speaker 1: have these massive, in your long contracts, which is the 156 00:08:02,240 --> 00:08:05,760 Speaker 1: norm for any kind of pilot. So for her, she'd 157 00:08:05,760 --> 00:08:08,680 Speaker 1: been kind of just this, you know, journeyman actress in 158 00:08:08,720 --> 00:08:12,080 Speaker 1: a way, like doing Broadway, you know, doing movies like 159 00:08:12,640 --> 00:08:15,400 Speaker 1: Honeymoon in Vegas. Most actors don't really want to be 160 00:08:15,440 --> 00:08:18,920 Speaker 1: committed one to one job forever. So anyway, Sarah Jessica, 161 00:08:19,040 --> 00:08:22,440 Speaker 1: I believe her nervousness was do I really want to 162 00:08:22,440 --> 00:08:24,680 Speaker 1: be committed? Do I want to be tied down? It 163 00:08:24,720 --> 00:08:27,920 Speaker 1: wasn't something that most actors like you didn't start to 164 00:08:27,960 --> 00:08:29,880 Speaker 1: be an actor because you wanted to do one job 165 00:08:29,880 --> 00:08:32,600 Speaker 1: for thirty years. That just wasn't even really a possibility. 166 00:08:32,800 --> 00:08:36,840 Speaker 1: And obviously for us has turned into this incredible opportunity. 167 00:08:37,080 --> 00:08:40,400 Speaker 1: But never, never, never, never, never, never would we have 168 00:08:40,440 --> 00:08:43,880 Speaker 1: thought of that at the time, I mean never, never, 169 00:08:44,320 --> 00:08:47,720 Speaker 1: Like we were just wanting to be picked up for thirteen episodes. 170 00:08:47,760 --> 00:08:50,400 Speaker 1: That was our dream. Like I remember Darren and I 171 00:08:50,440 --> 00:08:52,000 Speaker 1: when we did get picked up, we used to make 172 00:08:52,120 --> 00:08:55,720 Speaker 1: jokes about how maybe one day we could get nominated 173 00:08:55,720 --> 00:08:58,079 Speaker 1: for a Cable Ace Award. That was the highest our 174 00:08:58,120 --> 00:09:00,880 Speaker 1: hopes were. There's this thing there gone they were called 175 00:09:00,880 --> 00:09:03,000 Speaker 1: the Cable Ace Awards. They were just for shows on 176 00:09:03,040 --> 00:09:06,680 Speaker 1: cable because at that point, no cable show had ever 177 00:09:06,720 --> 00:09:09,320 Speaker 1: been nominated for an Emmy, much less one in Emmy. 178 00:09:09,559 --> 00:09:11,959 Speaker 1: So it wasn't even in our mind that that could happen. 179 00:09:12,200 --> 00:09:14,800 Speaker 1: But obviously it did later on happen, which is a miracle. 180 00:09:14,840 --> 00:09:17,680 Speaker 1: There's so many miracles involved in our show. Anyway, back 181 00:09:17,720 --> 00:09:22,160 Speaker 1: to this episode. So this episode to me is super 182 00:09:22,200 --> 00:09:25,080 Speaker 1: fascinating for so many different reasons. So we have a 183 00:09:25,120 --> 00:09:29,760 Speaker 1: different DP at this point. Her name is Maurice Albert Ti. 184 00:09:29,960 --> 00:09:31,800 Speaker 1: She's French, and I used to butcher her name all 185 00:09:31,840 --> 00:09:34,040 Speaker 1: the time, and for any French people, I'm really sorry 186 00:09:34,200 --> 00:09:37,400 Speaker 1: if I have butchered it again. But she was incredible, 187 00:09:37,720 --> 00:09:40,760 Speaker 1: and we also have this really interesting director, Alison McClain. 188 00:09:41,040 --> 00:09:46,840 Speaker 1: Now what I remember of the first season Okay, wait, 189 00:09:46,880 --> 00:09:48,400 Speaker 1: I didn't get to the point that they did finally 190 00:09:48,400 --> 00:09:51,319 Speaker 1: pick us up obviously. I guess that's obvious. So maybe 191 00:09:51,360 --> 00:09:54,120 Speaker 1: like a year of waiting and then we get picked 192 00:09:54,160 --> 00:10:07,520 Speaker 1: up finally. I also think, and when I watched this 193 00:10:07,640 --> 00:10:11,720 Speaker 1: episode two, I really really seriously think this that you know, 194 00:10:12,520 --> 00:10:16,080 Speaker 1: it was a really different, different time in our culture, 195 00:10:16,679 --> 00:10:21,560 Speaker 1: certainly in our entertainment landscape. HBO at that point was 196 00:10:21,640 --> 00:10:25,720 Speaker 1: known for having boxing. Yes, boxing, that was their claim 197 00:10:25,760 --> 00:10:29,120 Speaker 1: to fame, boxing and movies, right. That was why you 198 00:10:29,160 --> 00:10:32,560 Speaker 1: paid the hefty price to have HBO cable pay cable 199 00:10:32,800 --> 00:10:35,280 Speaker 1: on your television at home, because no one had iPads 200 00:10:35,320 --> 00:10:38,480 Speaker 1: because they weren't invented. It's crazy to think about, you guys. Crazy. Okay. 201 00:10:38,920 --> 00:10:43,040 Speaker 1: So they had had a show called dream On on HBO, 202 00:10:43,160 --> 00:10:49,319 Speaker 1: and on dream On every episode a different actress would 203 00:10:49,360 --> 00:10:52,679 Speaker 1: show her breasts. That was just part of the show 204 00:10:53,160 --> 00:10:57,760 Speaker 1: and it was theoretically to please the men who were 205 00:10:57,800 --> 00:11:01,400 Speaker 1: watching HBO to watch the boxing. I believe, I mean, 206 00:11:01,600 --> 00:11:03,319 Speaker 1: no one ever said these words to me, but this 207 00:11:03,360 --> 00:11:05,160 Speaker 1: is what I believe to be true. So I think 208 00:11:05,240 --> 00:11:07,640 Speaker 1: when we came along, one of the things that I 209 00:11:07,640 --> 00:11:11,400 Speaker 1: think is super interesting to think about for the first season. 210 00:11:12,320 --> 00:11:14,960 Speaker 1: Nothing had aired yet at this point, and back in 211 00:11:14,960 --> 00:11:17,400 Speaker 1: the olden days, we used to put a show on 212 00:11:17,440 --> 00:11:20,080 Speaker 1: the air and see the reaction as it went. Like 213 00:11:20,080 --> 00:11:23,080 Speaker 1: if you were on, say, for instance, a multi camera show, 214 00:11:23,320 --> 00:11:26,440 Speaker 1: you would start filming, they would come on the air, 215 00:11:26,480 --> 00:11:28,600 Speaker 1: you'd still be filming, right, so you could kind of 216 00:11:30,480 --> 00:11:33,000 Speaker 1: change and shift based on the audience reaction to things. 217 00:11:33,559 --> 00:11:37,960 Speaker 1: Back when we started, we filmed the whole thirteen without 218 00:11:38,000 --> 00:11:40,560 Speaker 1: anything ever being on the air, which was really unusual 219 00:11:40,600 --> 00:11:42,439 Speaker 1: at the time. Now with streaming, people do it all 220 00:11:42,440 --> 00:11:44,640 Speaker 1: the time. But no one knew what we were doing. 221 00:11:44,800 --> 00:11:47,360 Speaker 1: We didn't really know what we were doing. I remember 222 00:11:47,440 --> 00:11:51,240 Speaker 1: that someone made, probably production I guess, made a hat 223 00:11:51,280 --> 00:11:54,120 Speaker 1: for us to start. It was like a welcome, you know, 224 00:11:54,200 --> 00:11:56,400 Speaker 1: a welcome you get like swag right in the beginning, 225 00:11:56,640 --> 00:11:59,480 Speaker 1: and it said sex on the front of the baseball cap. 226 00:12:00,120 --> 00:12:03,320 Speaker 1: Back of the baseball cap it said and the city. Now. 227 00:12:03,360 --> 00:12:07,920 Speaker 1: I wore this hat all over Manhattan. Okay. So I 228 00:12:07,960 --> 00:12:11,280 Speaker 1: remember being into Starbucks one time with his sex hat on, 229 00:12:11,840 --> 00:12:14,200 Speaker 1: and some man is ahead of me in line and 230 00:12:14,240 --> 00:12:17,640 Speaker 1: he turns and he's like interesting hat, and I'm like, oh, yeah, 231 00:12:17,679 --> 00:12:20,960 Speaker 1: it's a show. And he said, oh, and I said, 232 00:12:21,000 --> 00:12:23,320 Speaker 1: you know, it's a show on HBO. It's a new show. 233 00:12:23,679 --> 00:12:26,160 Speaker 1: He said, are you on it? And I said I am, Yeah, 234 00:12:26,160 --> 00:12:28,680 Speaker 1: I am. And he said, oh, is it Real Sex? 235 00:12:28,880 --> 00:12:31,920 Speaker 1: And I was like, no, there was a show on 236 00:12:32,520 --> 00:12:35,200 Speaker 1: HBO in the wee hours of the morning, you guys 237 00:12:35,920 --> 00:12:40,319 Speaker 1: literally basically like porn. Okay. I only saw it once, 238 00:12:40,400 --> 00:12:42,480 Speaker 1: and I was like, what, Oh my god, So this 239 00:12:42,559 --> 00:12:45,800 Speaker 1: man in the Starbucks thinks that I, personally Kristen am 240 00:12:45,880 --> 00:12:48,400 Speaker 1: on this show called Real Sex in the wee hours 241 00:12:48,559 --> 00:12:50,520 Speaker 1: on HBO. And I didn't know what it was at 242 00:12:50,520 --> 00:12:52,360 Speaker 1: the time, but I was like, no, no, it's a comedy. 243 00:12:52,679 --> 00:12:54,839 Speaker 1: And he was like, oh, it looked like he didn't 244 00:12:54,840 --> 00:12:57,200 Speaker 1: believe me, So I kind of quit wearing that hat. 245 00:12:57,360 --> 00:13:02,160 Speaker 1: But these this is where we're at at this point, 246 00:13:02,240 --> 00:13:04,520 Speaker 1: right we're just kind of at a vacuum, you know, 247 00:13:05,000 --> 00:13:07,559 Speaker 1: so we're operating in a vacuum. We're trying to figure 248 00:13:07,559 --> 00:13:09,840 Speaker 1: out what we're doing. All the writers are back in 249 00:13:09,880 --> 00:13:13,000 Speaker 1: Los Angeles. Writer Darren had had a writer's room back 250 00:13:13,000 --> 00:13:15,640 Speaker 1: in LA which is kind of you know, like how 251 00:13:15,679 --> 00:13:18,520 Speaker 1: writers work, they have a writer's room, they pitch ideas. 252 00:13:18,800 --> 00:13:22,640 Speaker 1: I'm sure they were using Candace's book. Maybe Candace was involved, 253 00:13:22,679 --> 00:13:26,040 Speaker 1: I don't know, but they then they have the scripts, 254 00:13:26,600 --> 00:13:28,520 Speaker 1: and then they already have the scripts when we come 255 00:13:28,559 --> 00:13:31,280 Speaker 1: to work basically or the scripts are primarily done. Michael 256 00:13:31,280 --> 00:13:33,200 Speaker 1: Patrick King is the person that we will ask about 257 00:13:33,200 --> 00:13:37,560 Speaker 1: this because Michael Patrick's King. King's name appears on this 258 00:13:37,640 --> 00:13:40,840 Speaker 1: episode for the first time, hallelujah, and we get to 259 00:13:40,840 --> 00:13:42,959 Speaker 1: talk to him very soon. And man, the list of 260 00:13:43,040 --> 00:13:45,680 Speaker 1: questions is going to be long, you guys, I mean 261 00:13:46,160 --> 00:13:49,960 Speaker 1: so long, like things that I literally am. I feel 262 00:13:49,960 --> 00:13:51,480 Speaker 1: like I've never seen the show. When I watched these 263 00:13:51,520 --> 00:13:55,080 Speaker 1: early episodes, I feel like I don't remember this. I 264 00:13:55,120 --> 00:13:59,200 Speaker 1: don't know what's happening. I'm fascinated. But wow. So Michael 265 00:13:59,200 --> 00:14:01,400 Speaker 1: can hopefully answer some of these questions for us. I'm 266 00:14:01,440 --> 00:14:05,440 Speaker 1: sure that he can, and he is on. His name 267 00:14:05,559 --> 00:14:08,120 Speaker 1: is on, not as a writer Darren wrote this episode, 268 00:14:08,240 --> 00:14:11,440 Speaker 1: but he definitely is on as a co executive producer. 269 00:14:11,480 --> 00:14:16,560 Speaker 1: So that's super interesting. So this episode, Hey gosh, where 270 00:14:16,559 --> 00:14:21,800 Speaker 1: to begin? This episode has so many fascinating, fascinating points 271 00:14:21,800 --> 00:14:25,440 Speaker 1: to it, which you know, I really seriously need to 272 00:14:25,480 --> 00:14:29,480 Speaker 1: hear all of your feedback on it. Because of two reasons. 273 00:14:29,640 --> 00:14:34,120 Speaker 1: Number one, how does it seem to you if you've 274 00:14:34,120 --> 00:14:36,560 Speaker 1: seen it, like in the last couple of years, for instance, 275 00:14:36,840 --> 00:14:39,160 Speaker 1: does it seem really shocking to you in terms of 276 00:14:39,160 --> 00:14:42,480 Speaker 1: this storyline of men who only date models, And then 277 00:14:42,520 --> 00:14:45,560 Speaker 1: there's this one and they're they're kind of like, you know, 278 00:14:45,680 --> 00:14:48,760 Speaker 1: unembarrassed about it all, you know, like, yeah, of course, 279 00:14:48,840 --> 00:14:52,000 Speaker 1: you know, I just love beautiful women, you know, like 280 00:14:52,280 --> 00:14:57,120 Speaker 1: it's very interesting. And then also there's this one particular character, 281 00:14:57,400 --> 00:15:02,120 Speaker 1: bark Lee, who filmed these models that he's having sex 282 00:15:02,120 --> 00:15:06,240 Speaker 1: with secretly and tells Carrie that this is his real 283 00:15:06,760 --> 00:15:09,760 Speaker 1: art because he is also a painter. He's splashing some 284 00:15:09,840 --> 00:15:14,520 Speaker 1: paint and you know, like kind of in a slightly 285 00:15:14,600 --> 00:15:17,440 Speaker 1: Jackson Pollock way but not really on a big canvas 286 00:15:17,440 --> 00:15:20,000 Speaker 1: with Carrie talking about models. And then he's like, but 287 00:15:20,040 --> 00:15:22,040 Speaker 1: this is my real art, and he shows her this 288 00:15:22,120 --> 00:15:25,760 Speaker 1: wall of like super old fashioned, like nineteen sixties televisions, 289 00:15:26,080 --> 00:15:30,520 Speaker 1: and then shows Carrie the video of him having sex 290 00:15:30,560 --> 00:15:32,960 Speaker 1: with these different women who are models, who Carrie says, 291 00:15:33,200 --> 00:15:36,320 Speaker 1: it is like the entire fragrance section of Vogue magazine, 292 00:15:36,440 --> 00:15:39,640 Speaker 1: and you know what on earth I mean? I Ah, 293 00:15:40,920 --> 00:15:43,680 Speaker 1: I'm just still in Shock. Obviously he would be in 294 00:15:43,760 --> 00:15:48,000 Speaker 1: jail if this happened now, which you know, this is progress, okay, 295 00:15:48,160 --> 00:15:52,280 Speaker 1: But also Carrie has to really be like so kind 296 00:15:52,320 --> 00:15:57,600 Speaker 1: of game, like she just sits there and she's like, oh, 297 00:15:57,760 --> 00:16:00,400 Speaker 1: you know, And I just wonder what on earth Sir 298 00:16:00,480 --> 00:16:03,480 Speaker 1: Jusica was thinking. And I'm also wondering what on earth 299 00:16:03,520 --> 00:16:07,760 Speaker 1: Gabriel Mocked was thinking. I mean, he gets, in my 300 00:16:07,920 --> 00:16:12,080 Speaker 1: mind so much credit because his likability factor is so 301 00:16:12,360 --> 00:16:17,160 Speaker 1: high that he somehow makes this character likable almost I 302 00:16:17,160 --> 00:16:19,240 Speaker 1: mean not really, because no one doing this could really 303 00:16:19,280 --> 00:16:21,960 Speaker 1: be likable, but like you really are. You're kind of 304 00:16:22,000 --> 00:16:24,160 Speaker 1: with him and then you're like, oh my gosh. But 305 00:16:24,280 --> 00:16:26,880 Speaker 1: like then we see him again at the fashion show 306 00:16:26,880 --> 00:16:29,880 Speaker 1: and Carrie's like, hey, you know, like it's really fascinating. 307 00:16:30,000 --> 00:16:32,440 Speaker 1: And I honestly think if it were not Gabriel Mocked 308 00:16:32,440 --> 00:16:34,440 Speaker 1: to play that character, I just don't even know how. 309 00:16:34,880 --> 00:16:36,920 Speaker 1: I just don't even I just can't even picture it 310 00:16:37,000 --> 00:16:41,800 Speaker 1: even being remotely palatable in any way. So credit to you, 311 00:16:42,000 --> 00:16:45,320 Speaker 1: mister Mocked. I can totally see how you have a 312 00:16:45,440 --> 00:16:48,680 Speaker 1: very successful career on suits and all the other things. 313 00:16:49,280 --> 00:16:51,240 Speaker 1: I don't even know, And I really wish I had 314 00:16:51,280 --> 00:16:53,840 Speaker 1: gotten to work with you because you were great, but wow, 315 00:16:53,920 --> 00:16:56,120 Speaker 1: I'm sorry you had to play this part. You can 316 00:16:56,160 --> 00:16:59,040 Speaker 1: tell how I feel about this, this character and this storyline, 317 00:16:59,040 --> 00:17:01,680 Speaker 1: and I just also feel for Sarah Jessica and I 318 00:17:01,760 --> 00:17:04,400 Speaker 1: just can't wait to ask her, you know, what on 319 00:17:04,440 --> 00:17:06,280 Speaker 1: earth were you thinking when you had to do this 320 00:17:06,359 --> 00:17:09,119 Speaker 1: and be fine with it? And what I think about 321 00:17:09,160 --> 00:17:13,040 Speaker 1: it is that one of the things I think as 322 00:17:13,080 --> 00:17:16,919 Speaker 1: a kind of a thematic idea of watching the beginning 323 00:17:16,960 --> 00:17:20,760 Speaker 1: of the beginning of the show is one of the 324 00:17:20,760 --> 00:17:23,120 Speaker 1: things that we were struggling with, though I don't think 325 00:17:23,119 --> 00:17:24,680 Speaker 1: we would have had the words for it at the time, 326 00:17:25,560 --> 00:17:32,480 Speaker 1: was whose gaze is this story or show for and 327 00:17:32,800 --> 00:17:34,520 Speaker 1: or by? Is it the male gaze? Is it the 328 00:17:34,520 --> 00:17:40,440 Speaker 1: female gaze? Are we trying to be somehow filling this 329 00:17:41,880 --> 00:17:44,480 Speaker 1: area that HBO has carved out for itself of having 330 00:17:44,560 --> 00:17:49,760 Speaker 1: like kind of funny and slightly titillating shows like dream On. 331 00:17:50,080 --> 00:17:52,760 Speaker 1: Are we trying to do that for the men viewers? 332 00:17:52,960 --> 00:17:55,640 Speaker 1: Or are we trying to make a show about strong 333 00:17:55,680 --> 00:17:59,840 Speaker 1: women navigating relationships in New York City, which obviously is 334 00:18:00,119 --> 00:18:03,760 Speaker 1: we turned into Thank Goodness, But at the time I 335 00:18:03,800 --> 00:18:05,920 Speaker 1: don't think that we really knew. And part of the 336 00:18:05,960 --> 00:18:07,720 Speaker 1: reason I bring this up is that coming up in 337 00:18:07,760 --> 00:18:11,720 Speaker 1: a couple episodes is going to be a storyline where 338 00:18:11,920 --> 00:18:17,920 Speaker 1: Charlotte is in a situation that I saw happening one 339 00:18:17,960 --> 00:18:19,920 Speaker 1: way and the director saw happening in a very very 340 00:18:19,920 --> 00:18:22,399 Speaker 1: different way. And I ended up having to lock myself 341 00:18:22,400 --> 00:18:24,359 Speaker 1: in a dressing room and call my manager and it 342 00:18:24,400 --> 00:18:26,320 Speaker 1: was like two am. So Michael Patrick wasn't there, Sir 343 00:18:26,440 --> 00:18:28,000 Speaker 1: Jessca wasn't there. No one was there to help me, 344 00:18:28,040 --> 00:18:29,879 Speaker 1: and I just had to like hide and call my 345 00:18:29,880 --> 00:18:31,600 Speaker 1: manager and be like what I do? What shud I do? 346 00:18:31,720 --> 00:18:38,280 Speaker 1: What's happening? And it was very similar the more active 347 00:18:39,080 --> 00:18:42,800 Speaker 1: as this storyline that Carrie finds herself in terms of 348 00:18:42,840 --> 00:18:49,200 Speaker 1: like something that normally I think you wouldn't see on television, right. 349 00:18:49,240 --> 00:18:50,760 Speaker 1: I think that was kind of the thing too, Like 350 00:18:50,800 --> 00:18:53,359 Speaker 1: we were trying to push the boundaries, and I feel 351 00:18:53,359 --> 00:18:57,080 Speaker 1: like Candice in her column was also like trying to 352 00:18:57,280 --> 00:19:00,680 Speaker 1: push the boundaries, but investigate, like what is going on here? 353 00:19:00,760 --> 00:19:02,879 Speaker 1: You know, can women have sex like men? You know? 354 00:19:03,000 --> 00:19:06,240 Speaker 1: What do you make of modelizers? You know? Is it 355 00:19:06,400 --> 00:19:10,120 Speaker 1: worth trying to like push through that with a man 356 00:19:10,240 --> 00:19:12,160 Speaker 1: let's see you meet a man in New York, which 357 00:19:12,200 --> 00:19:15,439 Speaker 1: could still happen. Okay, these dudes are one hundred percent 358 00:19:15,480 --> 00:19:17,840 Speaker 1: still there. I mean there are some famous ones. I 359 00:19:17,920 --> 00:19:19,520 Speaker 1: am not going to say their name. I know you 360 00:19:19,560 --> 00:19:22,040 Speaker 1: all know who I mean. Like, I think it's really 361 00:19:22,080 --> 00:19:24,920 Speaker 1: fascinating and I don't know that it's been answered yet, 362 00:19:24,960 --> 00:19:29,840 Speaker 1: Like why, like why why would a man only date models? 363 00:19:29,880 --> 00:19:34,240 Speaker 1: That is interesting? Okay, is it, like Carrie says about 364 00:19:34,240 --> 00:19:38,280 Speaker 1: the status, you know, is it making them feel stronger, 365 00:19:38,480 --> 00:19:43,880 Speaker 1: more powerful better that they have kind of a trophy 366 00:19:44,000 --> 00:19:47,359 Speaker 1: kind of person on their on their arm. But I 367 00:19:47,400 --> 00:19:51,399 Speaker 1: also feel like there is this storyline kind of uh 368 00:19:51,680 --> 00:19:54,440 Speaker 1: sub subtext going on, or actually I think we actually 369 00:19:54,480 --> 00:19:56,040 Speaker 1: say it in the episode of like that they're not 370 00:19:56,119 --> 00:20:00,120 Speaker 1: that bright because the whole storyline with Josh Pace, who's 371 00:20:00,160 --> 00:20:03,080 Speaker 1: so funny as Nick, who is the main modelizer of 372 00:20:03,119 --> 00:20:06,399 Speaker 1: the episode, who takes Miranda on a date because his 373 00:20:06,640 --> 00:20:09,160 Speaker 1: friends gang up on him and tell him that they 374 00:20:09,240 --> 00:20:11,600 Speaker 1: want him to bring a woman who can actually have 375 00:20:11,640 --> 00:20:15,720 Speaker 1: a conversation, which is kind of funny, and so he 376 00:20:15,800 --> 00:20:19,800 Speaker 1: brings Miranda and then she finds out and then it 377 00:20:19,840 --> 00:20:23,120 Speaker 1: shows these beautiful women that he's previously brought and they 378 00:20:23,160 --> 00:20:27,800 Speaker 1: can't even really converse with his friends who are not models. Right, 379 00:20:27,840 --> 00:20:30,199 Speaker 1: So it does kind of continue on this kind of 380 00:20:30,240 --> 00:20:32,800 Speaker 1: idea that the beautiful women can't be smart, which is 381 00:20:32,840 --> 00:20:36,320 Speaker 1: not fair either. Right. So, like we've got some different 382 00:20:36,320 --> 00:20:38,600 Speaker 1: things that we're toying with in this episode, which I 383 00:20:38,640 --> 00:20:42,399 Speaker 1: think are fascinating, but also I don't know that we 384 00:20:42,440 --> 00:20:44,719 Speaker 1: go deep enough. I think that's I think that's what 385 00:20:44,800 --> 00:20:47,360 Speaker 1: I think. I mean. I love these two beautiful women 386 00:20:47,400 --> 00:20:49,640 Speaker 1: because we're still in the talking to the camera phase, right. 387 00:20:49,840 --> 00:20:51,520 Speaker 1: So at one point we got cut to a restaurant 388 00:20:51,520 --> 00:20:54,280 Speaker 1: and they're two beautiful women, and one of them says, 389 00:20:54,960 --> 00:20:57,600 Speaker 1: oh god, I was hopeful for a second. She goes, 390 00:20:57,640 --> 00:20:59,920 Speaker 1: you know, I mean people just don't think we're smart. 391 00:21:00,080 --> 00:21:02,280 Speaker 1: And I read all the time, and I'm like yay. 392 00:21:02,600 --> 00:21:05,440 Speaker 1: And then she says, I read sometimes a magazine from 393 00:21:05,480 --> 00:21:08,840 Speaker 1: cover to cover, and I'm like boo. So, like, you know, 394 00:21:08,920 --> 00:21:11,000 Speaker 1: this whole episode for me was really up and down, 395 00:21:11,119 --> 00:21:14,400 Speaker 1: really up and down. Now let's cut two for a second. 396 00:21:15,240 --> 00:21:18,720 Speaker 1: We now have the transition happening of Sir Jessica's hair. 397 00:21:19,000 --> 00:21:22,760 Speaker 1: It's brown in the pilot, which I personally love. Maybe 398 00:21:22,800 --> 00:21:26,680 Speaker 1: selfishly because obviously I'm a brunette and she's now blonde, 399 00:21:26,720 --> 00:21:28,560 Speaker 1: but it's not as blond as she ends up, right, 400 00:21:28,600 --> 00:21:31,399 Speaker 1: it's kind of in transition. She's got like really light 401 00:21:31,480 --> 00:21:33,760 Speaker 1: highlights around her face. I think it's so adorable, and 402 00:21:33,800 --> 00:21:46,120 Speaker 1: at one point she has ponytails and it's so cute. 403 00:21:47,320 --> 00:21:49,800 Speaker 1: This is when we get Pat Field as our costume designer, 404 00:21:50,119 --> 00:21:55,159 Speaker 1: so you don't totally see Pat's influence straight out in 405 00:21:55,240 --> 00:21:59,639 Speaker 1: this episode, and I remember it being very much a 406 00:21:59,760 --> 00:22:03,760 Speaker 1: pro right, like Pat, I had never really done a 407 00:22:03,800 --> 00:22:08,440 Speaker 1: television show. She does not think like a regular costume 408 00:22:08,520 --> 00:22:11,359 Speaker 1: designer at all. She thinks like a fashion designer, but 409 00:22:11,400 --> 00:22:15,159 Speaker 1: also like kind of an avant garde fashion designer. So like, 410 00:22:15,240 --> 00:22:18,879 Speaker 1: for me, in one scene that I'm in, I'm wearing 411 00:22:18,880 --> 00:22:22,720 Speaker 1: my own clothes. Okay, now they're not good. All right, 412 00:22:22,800 --> 00:22:26,760 Speaker 1: They're really not good, and I'm sorry. I apologize, And 413 00:22:26,920 --> 00:22:31,119 Speaker 1: very soon in this in real life, Darren takes me 414 00:22:31,119 --> 00:22:34,439 Speaker 1: out to dinner. Maybe these two episodes or maybe the 415 00:22:34,480 --> 00:22:38,320 Speaker 1: next two episodes. I'm not sure, because I'd started going 416 00:22:38,320 --> 00:22:44,920 Speaker 1: to my fittings with Pat and it was stressful. Okay, 417 00:22:45,000 --> 00:22:46,920 Speaker 1: I don't know how else to put it It was stressful 418 00:22:46,920 --> 00:22:51,160 Speaker 1: for me because I came from you know, more traditional 419 00:22:51,240 --> 00:22:57,480 Speaker 1: theater and TV and more traditional costume designers, and you 420 00:22:57,520 --> 00:23:00,879 Speaker 1: would go, you would have a fitting in a costume 421 00:23:01,000 --> 00:23:04,240 Speaker 1: room at a studio or you know, wherever you were filming, 422 00:23:04,520 --> 00:23:06,199 Speaker 1: and there'd be closed there and you'd try them on. 423 00:23:06,440 --> 00:23:08,480 Speaker 1: Pat did not work like that. I remember going to 424 00:23:08,520 --> 00:23:15,720 Speaker 1: stores with Pat and Rebecca her assistant slash girlfriend, slash wife, 425 00:23:16,280 --> 00:23:18,919 Speaker 1: and Mollie Rogers, who's still our costumes that are now 426 00:23:19,200 --> 00:23:21,320 Speaker 1: was also around, and we're going to talk to Molly 427 00:23:21,440 --> 00:23:24,160 Speaker 1: soon and I cannot wait. Okay, I cannot wait, because 428 00:23:24,160 --> 00:23:27,879 Speaker 1: she was around for all of it. But it was 429 00:23:27,920 --> 00:23:31,240 Speaker 1: a process with Pat. And I remember going to stores 430 00:23:32,200 --> 00:23:36,040 Speaker 1: and you would have a stack of cash in their 431 00:23:36,080 --> 00:23:38,359 Speaker 1: hand that they couldn't hold in their hand. It was 432 00:23:38,440 --> 00:23:41,159 Speaker 1: a big stack of cash, okay, and they'd carry it 433 00:23:41,160 --> 00:23:42,960 Speaker 1: in a bag. And the reason I remember this is 434 00:23:43,000 --> 00:23:46,080 Speaker 1: because at one point we left it somewhere we had 435 00:23:46,119 --> 00:23:49,399 Speaker 1: to go I can get it. I mean, like what 436 00:23:49,560 --> 00:23:52,200 Speaker 1: on Earth? Alright? One on Earth? It's so crazy to 437 00:23:52,240 --> 00:23:54,800 Speaker 1: think about, but like we would go to like Burgdorf 438 00:23:55,200 --> 00:23:58,639 Speaker 1: and I would just be like, uh, just be just 439 00:23:58,720 --> 00:24:01,399 Speaker 1: so riddled with Anxiet. We'd be looking at all the 440 00:24:01,720 --> 00:24:04,280 Speaker 1: you know, Dulja Gabon and whatever, and I didn't think 441 00:24:04,320 --> 00:24:06,640 Speaker 1: I could wear this, you know. And also we didn't 442 00:24:06,680 --> 00:24:10,000 Speaker 1: really know who Charlotte was. Charlotte. As I said last time, 443 00:24:10,480 --> 00:24:15,240 Speaker 1: when you read the book of Candace's column, she's not formed, 444 00:24:15,320 --> 00:24:19,760 Speaker 1: she's not cohesive. And later on I think Candace either 445 00:24:19,800 --> 00:24:21,600 Speaker 1: told me or said in an interview, I have no 446 00:24:21,640 --> 00:24:25,840 Speaker 1: idea that she. Charlotte was based on numerous different friends, 447 00:24:26,000 --> 00:24:29,280 Speaker 1: so it was really hard to tell, you know, who 448 00:24:29,359 --> 00:24:32,120 Speaker 1: exactly is Charlotte. Like, part of the reason I think 449 00:24:32,119 --> 00:24:35,320 Speaker 1: I only have one scene is that, you know whatever, 450 00:24:35,359 --> 00:24:39,360 Speaker 1: this idea was to make me a recurring role instead 451 00:24:39,400 --> 00:24:41,720 Speaker 1: of a series regular role, which I probably should have 452 00:24:41,920 --> 00:24:46,240 Speaker 1: explained in more detail because there are some whacked headlines 453 00:24:46,280 --> 00:24:49,439 Speaker 1: out there, which I find so frustrating because I just 454 00:24:49,480 --> 00:24:51,880 Speaker 1: want to come on here and talk freely to you 455 00:24:51,920 --> 00:24:55,760 Speaker 1: guys who loved the show. Ah. I somehow thought that 456 00:24:55,800 --> 00:24:58,360 Speaker 1: if it was me talking that they would not misinterpret 457 00:24:58,440 --> 00:25:01,240 Speaker 1: what I was saying. But I guess that that was naive. 458 00:25:01,880 --> 00:25:04,959 Speaker 1: A little bit of Charlotte happening here because there's some 459 00:25:05,200 --> 00:25:07,760 Speaker 1: very strange, first strange headlines in the world about what 460 00:25:07,800 --> 00:25:09,840 Speaker 1: I said last time. So I hope you guys are 461 00:25:09,880 --> 00:25:11,760 Speaker 1: just here with me. I'm going to try to explain 462 00:25:11,800 --> 00:25:16,280 Speaker 1: the contract thing a little bit more. Basically, the big 463 00:25:16,359 --> 00:25:18,920 Speaker 1: contract that you have to sign before you test for 464 00:25:18,960 --> 00:25:25,080 Speaker 1: a pilot is very negotiated, very lengthy for seven years 465 00:25:25,359 --> 00:25:27,720 Speaker 1: because they want to lock you up because if you 466 00:25:27,840 --> 00:25:30,040 Speaker 1: are on a show that turns into a hit, that's 467 00:25:30,080 --> 00:25:32,320 Speaker 1: obviously incredibly important for a network, and they need to 468 00:25:32,440 --> 00:25:36,359 Speaker 1: keep the players you know, available to them. Right. So, 469 00:25:36,600 --> 00:25:40,359 Speaker 1: back then, especially pre streaming, this was very important. So 470 00:25:40,720 --> 00:25:44,760 Speaker 1: when they knocked on my door and said, oh, we 471 00:25:44,840 --> 00:25:47,959 Speaker 1: have this, this paperwork you need to sign. Had I 472 00:25:48,080 --> 00:25:51,760 Speaker 1: signed the paperwork, it would have made my big seven 473 00:25:51,840 --> 00:25:55,760 Speaker 1: year contract null and void. That's why I didn't sign it. 474 00:25:56,560 --> 00:25:59,920 Speaker 1: So it's not that they only paid me five thousand 475 00:26:00,320 --> 00:26:02,080 Speaker 1: for the pilot, which I think is some headline. I 476 00:26:02,080 --> 00:26:04,760 Speaker 1: don't know. That's not true because I did not sign 477 00:26:04,880 --> 00:26:07,480 Speaker 1: the five thousand dollars paperwork, right. I was like, no, 478 00:26:07,960 --> 00:26:10,040 Speaker 1: I don't know what you're talking about. What paperwork? What 479 00:26:10,119 --> 00:26:11,960 Speaker 1: I left at home? Oh my god, I did a 480 00:26:11,960 --> 00:26:14,000 Speaker 1: lot of acting. Okay, there's a lot of acting in 481 00:26:14,000 --> 00:26:17,439 Speaker 1: my trailer about that paperwork. I knew. I knew that 482 00:26:17,480 --> 00:26:21,439 Speaker 1: it was a risk because clearly there was some thought 483 00:26:21,520 --> 00:26:25,360 Speaker 1: that maybe Charlotte wasn't integral to the story of Sex 484 00:26:25,400 --> 00:26:27,840 Speaker 1: and the City, and I felt like she was. And I'm, 485 00:26:28,040 --> 00:26:30,160 Speaker 1: you know, grateful that I had that confidence. I don't 486 00:26:30,160 --> 00:26:32,440 Speaker 1: know why I have that confidence or had that confidence, 487 00:26:32,480 --> 00:26:36,040 Speaker 1: but I'm very very grateful that I did. It came 488 00:26:36,119 --> 00:26:40,800 Speaker 1: from above, I guess, I don't know. But they basically 489 00:26:42,160 --> 00:26:46,919 Speaker 1: would have only used me when they felt they had 490 00:26:46,920 --> 00:26:49,960 Speaker 1: a storyline, I think, is the point. Right, So recurring 491 00:26:50,040 --> 00:26:55,760 Speaker 1: means that you wouldn't you were not booked for all thirteen, 492 00:26:56,040 --> 00:26:57,960 Speaker 1: So I would have gone home to LA and waited 493 00:26:58,000 --> 00:27:00,000 Speaker 1: for them to call me and say, like, oh wait, 494 00:27:00,080 --> 00:27:03,320 Speaker 1: a storyline for you in episode five or whatever something 495 00:27:03,359 --> 00:27:05,480 Speaker 1: like that. Right, So, like when I see myself in 496 00:27:05,520 --> 00:27:08,760 Speaker 1: this one scene in this episode, which I didn't even 497 00:27:08,800 --> 00:27:10,760 Speaker 1: remember at all, but when I see myself in this 498 00:27:10,760 --> 00:27:12,520 Speaker 1: one scene, I'm like, Oh, they did not know what 499 00:27:12,640 --> 00:27:16,520 Speaker 1: to do with Charlotte, which I also from this vantage 500 00:27:16,560 --> 00:27:20,439 Speaker 1: point understand because she makes no sense in the book. Really, 501 00:27:20,480 --> 00:27:24,080 Speaker 1: you don't the whole wanting to get married her coming 502 00:27:24,080 --> 00:27:26,600 Speaker 1: from a more traditional background and wanting to recreate that 503 00:27:26,640 --> 00:27:29,000 Speaker 1: her going to Smith. She's from Connecticut. All things that 504 00:27:29,040 --> 00:27:31,600 Speaker 1: we know about Charlotte now, we did not know that then, 505 00:27:32,040 --> 00:27:34,399 Speaker 1: so she was not formed. We didn't know how to 506 00:27:34,520 --> 00:27:37,400 Speaker 1: dress her. I remember being with Pat and Rebecca in 507 00:27:37,600 --> 00:27:40,200 Speaker 1: one of these stores and They've got this beaded dulce 508 00:27:41,040 --> 00:27:43,760 Speaker 1: tight wiggle skirt, as Pat would say, and I was like, 509 00:27:43,840 --> 00:27:46,440 Speaker 1: I can't wear this, and She's like, yes, you can, 510 00:27:46,920 --> 00:27:49,040 Speaker 1: and you know she was right. Of course she was right. 511 00:27:49,280 --> 00:27:51,080 Speaker 1: And so at some point Darren Starr takes me out 512 00:27:51,119 --> 00:27:54,000 Speaker 1: to dinner and he says, Kristen, you have got to 513 00:27:54,080 --> 00:27:56,040 Speaker 1: let Pat Field dress you. You've got to just do 514 00:27:56,119 --> 00:27:59,560 Speaker 1: what she says. And I'm like, okay, all right, I'm just, 515 00:27:59,600 --> 00:28:02,719 Speaker 1: you know, nervous. I don't know these clothes. I just 516 00:28:03,440 --> 00:28:04,919 Speaker 1: I don't know if I can pull it off, you know, 517 00:28:05,040 --> 00:28:07,800 Speaker 1: which was all totally true. And he says, doesn't matter. 518 00:28:07,920 --> 00:28:09,840 Speaker 1: You know, she is gonna dress you better than you're 519 00:28:09,880 --> 00:28:13,159 Speaker 1: gonna dress yourself. And I was like, oh, okay, you 520 00:28:13,240 --> 00:28:17,880 Speaker 1: know sure. So when I see myself in that episode 521 00:28:17,880 --> 00:28:20,400 Speaker 1: wearing my own outfit, which I believe I went out 522 00:28:20,400 --> 00:28:23,399 Speaker 1: and got at Fred Siegel, which is also kind of 523 00:28:23,440 --> 00:28:26,560 Speaker 1: adorable and funny in so nineties, any of you who 524 00:28:26,840 --> 00:28:29,639 Speaker 1: are my age remember Fred Siegel and how that was 525 00:28:29,680 --> 00:28:33,600 Speaker 1: like the spot for all of us people in Los 526 00:28:33,640 --> 00:28:37,680 Speaker 1: Angeles to go and spend our money. I just think 527 00:28:37,720 --> 00:28:39,800 Speaker 1: it was a whole process with Pat. And when I 528 00:28:39,880 --> 00:28:43,120 Speaker 1: see Sarah Jessica wearing the incredible dress that she wears 529 00:28:43,160 --> 00:28:45,160 Speaker 1: to the fashion shows, like a black dress with these 530 00:28:45,400 --> 00:28:48,720 Speaker 1: kind of silver jewelry chain pieces that hang off the back, 531 00:28:49,280 --> 00:28:52,520 Speaker 1: oh god that she ends up with them up Derek 532 00:28:52,600 --> 00:28:55,160 Speaker 1: in which we've got to talk about Derek. Oh my gosh, 533 00:28:55,160 --> 00:28:58,840 Speaker 1: you guys. So she ends up she goes Okay, backtrack 534 00:28:58,920 --> 00:29:02,200 Speaker 1: to the episode. So we've met the Gabriel Mocked character. 535 00:29:02,800 --> 00:29:06,040 Speaker 1: Carrie's trying to do her research on modelizers. She goes 536 00:29:06,080 --> 00:29:08,600 Speaker 1: to a modelizer to ask him about this. This is 537 00:29:08,600 --> 00:29:12,280 Speaker 1: Gabriel Mock, who is I guess like an uber modelizer. 538 00:29:12,400 --> 00:29:18,120 Speaker 1: Let's go with that. Okay, slash artist, just being kind, 539 00:29:18,160 --> 00:29:20,760 Speaker 1: all right. So then she goes to a fashion show 540 00:29:20,880 --> 00:29:24,800 Speaker 1: with Samantha and they run into Gabriel Mack's character Barkley 541 00:29:25,040 --> 00:29:27,560 Speaker 1: at this fashion show, and Carrie is wearing this fantastic 542 00:29:27,600 --> 00:29:29,640 Speaker 1: dress that then she then wears to the after party, 543 00:29:29,680 --> 00:29:32,840 Speaker 1: where she runs into Big, which is so incredibly likable. 544 00:29:32,880 --> 00:29:35,920 Speaker 1: I have to say, the two of them, I really 545 00:29:36,000 --> 00:29:39,440 Speaker 1: liked them a lot, and it was nice to remember 546 00:29:39,880 --> 00:29:44,520 Speaker 1: their original kind of chemistry and the way that it 547 00:29:44,600 --> 00:29:47,280 Speaker 1: was written where they just kind of keep running into 548 00:29:47,320 --> 00:29:49,959 Speaker 1: each other, but it's like casual, but then you can 549 00:29:50,000 --> 00:29:52,720 Speaker 1: see that she lights up whenever she sees him. I mean, 550 00:29:52,920 --> 00:29:55,000 Speaker 1: I really liked it. I really liked it, and I 551 00:29:55,040 --> 00:29:56,880 Speaker 1: was surprised that I really liked it because it's a 552 00:29:56,920 --> 00:29:59,800 Speaker 1: long time ago and I didn't really remember how c 553 00:30:00,120 --> 00:30:05,520 Speaker 1: leverly it unfolds. You know, it's not really it's not 554 00:30:05,640 --> 00:30:09,320 Speaker 1: like a television storyline. It's more like a film storyline, 555 00:30:09,600 --> 00:30:12,680 Speaker 1: but also set against this backdrop of Manhattan, right where 556 00:30:12,720 --> 00:30:16,120 Speaker 1: like you would theoretically run into people in your same 557 00:30:16,160 --> 00:30:19,480 Speaker 1: social circle out an event and whatnot. Anyway, back to 558 00:30:19,520 --> 00:30:24,120 Speaker 1: the modelizer, so they run into Gabriel Mark's character Barklay 559 00:30:24,280 --> 00:30:29,440 Speaker 1: at this fashion show, and Samantha really with incredible confidence, 560 00:30:30,320 --> 00:30:34,200 Speaker 1: decides that you know, she is up to the challenge 561 00:30:34,200 --> 00:30:36,920 Speaker 1: of dating someone who literally only has sex with models, 562 00:30:36,960 --> 00:30:40,000 Speaker 1: as Carrie tells her, and you know, you gotta really 563 00:30:41,160 --> 00:30:47,240 Speaker 1: have a lot of respect for how Kim plays Samantha 564 00:30:47,280 --> 00:30:51,200 Speaker 1: with such kind of a light touch, but also this 565 00:30:51,360 --> 00:30:56,440 Speaker 1: incredible confidence that yes, she is going to seduce this 566 00:30:56,600 --> 00:30:59,880 Speaker 1: modelizer even though she's not a model, and that she 567 00:31:00,240 --> 00:31:03,320 Speaker 1: likes that challenge. And then when Carrie tells her later no, no, 568 00:31:03,400 --> 00:31:06,320 Speaker 1: you can't do that because he secretly films the people 569 00:31:06,720 --> 00:31:08,640 Speaker 1: yes sex with She's like, yeah, yeah, I'm going to 570 00:31:08,720 --> 00:31:12,760 Speaker 1: do that, like it's crazy, and she does it so lightly, 571 00:31:13,000 --> 00:31:16,280 Speaker 1: like with with ease. Is what I was thinking when 572 00:31:16,320 --> 00:31:19,800 Speaker 1: I was watching her, And obviously, wow, you know, I 573 00:31:19,840 --> 00:31:23,680 Speaker 1: still can't quite get over the whole filming situation. But 574 00:31:23,800 --> 00:31:26,920 Speaker 1: you know what I think, I think what's happening? And 575 00:31:26,960 --> 00:31:30,120 Speaker 1: I you know, I guess we'll have to ask everybody, 576 00:31:30,240 --> 00:31:37,040 Speaker 1: But what's happening I think is that Candice in originally 577 00:31:37,040 --> 00:31:39,840 Speaker 1: in her column, is trying to say, you know that 578 00:31:39,960 --> 00:31:44,200 Speaker 1: we need to like pull the cover off of sexuality 579 00:31:44,320 --> 00:31:47,880 Speaker 1: and relationships and what's really going on and talk about it, 580 00:31:48,000 --> 00:31:51,400 Speaker 1: which obviously our show then did as well over the 581 00:31:51,520 --> 00:31:55,080 Speaker 1: years in different ways. And here in this early early 582 00:31:55,120 --> 00:31:58,880 Speaker 1: early version, like Samantha saying like, no, no, I want 583 00:31:58,880 --> 00:32:01,400 Speaker 1: to do this, I'm doing the on purpose because I'm 584 00:32:01,520 --> 00:32:06,640 Speaker 1: choosing to do this. I think that she Samantha, and 585 00:32:06,760 --> 00:32:09,360 Speaker 1: the show, I guess, is like trying to take the 586 00:32:09,480 --> 00:32:12,920 Speaker 1: power back. I think I'm not sure. I want to 587 00:32:12,920 --> 00:32:15,320 Speaker 1: know what you guys think about this, because obviously this 588 00:32:15,480 --> 00:32:17,760 Speaker 1: is something where you can say, oh, wow, look at 589 00:32:17,800 --> 00:32:20,200 Speaker 1: that show filmed in like basically I want to say 590 00:32:20,280 --> 00:32:23,719 Speaker 1: nineteen ninety eight, and how different things are now that 591 00:32:23,720 --> 00:32:27,840 Speaker 1: that would not be okay to secretly film people and 592 00:32:27,880 --> 00:32:30,480 Speaker 1: consider it your art, like you're going to eventually show 593 00:32:30,520 --> 00:32:34,160 Speaker 1: someone like it's very whacked, right. I mean, I'm pretty 594 00:32:34,200 --> 00:32:36,040 Speaker 1: sure that everyone feels this. And the other thing I 595 00:32:36,080 --> 00:32:37,920 Speaker 1: thought about when I was watching it is that I 596 00:32:37,960 --> 00:32:41,080 Speaker 1: do tend to think like sometimes I'll meet young women 597 00:32:42,280 --> 00:32:46,240 Speaker 1: or my friend's daughters and they'll say like, oh, I've 598 00:32:46,280 --> 00:32:47,720 Speaker 1: just started watching the show and I love it, And 599 00:32:47,720 --> 00:32:49,440 Speaker 1: I'll be like, oh, thank you, I'm so glad you 600 00:32:49,480 --> 00:32:50,960 Speaker 1: love it, Like are you learning a lot? And I'll 601 00:32:50,960 --> 00:32:53,520 Speaker 1: say yes, I mean I watched this show and I'm like, 602 00:32:53,560 --> 00:32:57,840 Speaker 1: oh no, they're watching this. Oh no, you know, it 603 00:32:57,880 --> 00:33:03,920 Speaker 1: doesn't seem it doesn't seem necessarily like the most empowering 604 00:33:05,000 --> 00:33:09,800 Speaker 1: situation that we're showing here. So it is really interesting 605 00:33:09,840 --> 00:33:12,360 Speaker 1: to me, and I'm just dying to know what you 606 00:33:12,360 --> 00:33:15,920 Speaker 1: guys all think, whatever age you are, young, old, please 607 00:33:15,920 --> 00:33:28,600 Speaker 1: tell me your thoughts on this whole situation. Let me 608 00:33:28,640 --> 00:33:30,400 Speaker 1: get my paper out because we are going to talk 609 00:33:30,440 --> 00:33:35,040 Speaker 1: about Skipper and Miranda. I mean, wow, you know, there's 610 00:33:35,280 --> 00:33:39,840 Speaker 1: so much here. My biggest favorite thing, Oh my gosh, 611 00:33:39,880 --> 00:33:41,880 Speaker 1: Carrie's wearing her coat. Let's talk about the coat for 612 00:33:41,920 --> 00:33:44,120 Speaker 1: a second as well. This is when we first see 613 00:33:44,160 --> 00:33:47,160 Speaker 1: Carrie wearing her vintage for a coat that Pat got her. 614 00:33:47,360 --> 00:33:49,360 Speaker 1: I think they found it in like just a really 615 00:33:49,880 --> 00:33:54,480 Speaker 1: no name store. We did recently get it back out 616 00:33:54,520 --> 00:33:57,520 Speaker 1: on and just like that, and it was a true, 617 00:33:57,600 --> 00:34:01,400 Speaker 1: true vintage for a coat. And I hope I'm allowed 618 00:34:01,440 --> 00:34:03,240 Speaker 1: to say this. I'm really sorry if I'm not, but 619 00:34:03,720 --> 00:34:05,680 Speaker 1: we eventually did get in a lot of trouble with 620 00:34:05,680 --> 00:34:08,399 Speaker 1: Pete about it. I don't really like to wear fur. 621 00:34:09,640 --> 00:34:11,800 Speaker 1: I think I'm okay to say this as well. Pat 622 00:34:12,280 --> 00:34:15,480 Speaker 1: back in the day really really really loved for and 623 00:34:15,719 --> 00:34:19,160 Speaker 1: every year, what would happen with us scheduling wise, is 624 00:34:19,160 --> 00:34:22,799 Speaker 1: that we'd come back to work in roughly February to 625 00:34:22,880 --> 00:34:25,800 Speaker 1: start filming. The show would come on HBO in June 626 00:34:26,200 --> 00:34:28,719 Speaker 1: and then play through the summer. So we had to 627 00:34:28,760 --> 00:34:32,000 Speaker 1: pretend in February like it was summer weather, but obviously 628 00:34:32,600 --> 00:34:37,799 Speaker 1: it really really was not right. So pat would always think, like, 629 00:34:38,760 --> 00:34:40,560 Speaker 1: wouldn't it be great to put them in some fun 630 00:34:40,600 --> 00:34:42,480 Speaker 1: for coats. I could try to do my patent impression, 631 00:34:42,480 --> 00:34:45,120 Speaker 1: but I don't want to really annoy you guys. She 632 00:34:45,160 --> 00:34:47,319 Speaker 1: has a very distinctive voice, I'm sure you know. But 633 00:34:47,840 --> 00:34:50,799 Speaker 1: every year, every year, at the beginning, she would try 634 00:34:50,800 --> 00:34:52,880 Speaker 1: to get me into a fur coat. And every year 635 00:34:52,920 --> 00:34:55,280 Speaker 1: I beg or please Pat no, please, Pat no, please, 636 00:34:55,360 --> 00:34:58,480 Speaker 1: please no, please know anything anything but that, and but 637 00:34:58,600 --> 00:35:00,279 Speaker 1: she'd be like, all of you are go to be 638 00:35:00,320 --> 00:35:02,360 Speaker 1: in fart It's going to be great. And I remember 639 00:35:02,440 --> 00:35:06,360 Speaker 1: having to go to I can't remember which store, like 640 00:35:06,400 --> 00:35:09,640 Speaker 1: a burgdor for maybe Barney's, but I don't think Barney's 641 00:35:09,640 --> 00:35:11,600 Speaker 1: had a first section. It was like a whole section 642 00:35:11,719 --> 00:35:14,719 Speaker 1: of fur coats, and she was like, you have to 643 00:35:14,760 --> 00:35:19,120 Speaker 1: come here. So I go. She puts this chinchilla wrap 644 00:35:19,440 --> 00:35:24,040 Speaker 1: cape on me, and she's like, it's fabulous. Her favorite 645 00:35:24,040 --> 00:35:32,360 Speaker 1: compliment was to say it's d So I go to 646 00:35:32,400 --> 00:35:35,200 Speaker 1: this store, I put on this chinchilla rap and she's 647 00:35:35,239 --> 00:35:38,279 Speaker 1: like it's so de and I'm like, oh God, help me. 648 00:35:38,600 --> 00:35:41,239 Speaker 1: So I'm like, I go home. I literally have nightmares 649 00:35:41,360 --> 00:35:43,800 Speaker 1: that the chinchillas have come alive and that they're crawling 650 00:35:43,840 --> 00:35:46,200 Speaker 1: all over me. So I go to work the next 651 00:35:46,280 --> 00:35:49,560 Speaker 1: day and I'm like, please, bad, I guess sleep think 652 00:35:49,600 --> 00:35:53,439 Speaker 1: about those chinchillas. Please. I'm begging and begging. So what 653 00:35:53,560 --> 00:35:57,200 Speaker 1: she would compromise on is that I would wear shearling. 654 00:35:57,360 --> 00:36:00,759 Speaker 1: So like, there's a really popular pink shearling jacket that 655 00:36:00,840 --> 00:36:03,440 Speaker 1: I wear one year that people still love to this day, 656 00:36:03,440 --> 00:36:06,000 Speaker 1: which for me seems very random out of all of 657 00:36:06,000 --> 00:36:08,520 Speaker 1: the fantastic things I ever wore, that they love this 658 00:36:08,640 --> 00:36:11,480 Speaker 1: pink cher link coat. But that was Pat's compromise that 659 00:36:11,560 --> 00:36:14,319 Speaker 1: I didn't have to wear like mink or chinchilla or 660 00:36:14,320 --> 00:36:18,640 Speaker 1: whatever it was. But we initially see Carrie in her 661 00:36:18,840 --> 00:36:23,719 Speaker 1: really fabulous Okay, I can totally understand that this was 662 00:36:23,719 --> 00:36:29,200 Speaker 1: a special coat. And of course, sir, Jessica has this 663 00:36:30,040 --> 00:36:35,560 Speaker 1: unbelievable gift of style, like just innate personal style, where 664 00:36:36,040 --> 00:36:38,160 Speaker 1: you know she can wear a pair of sweatpants and 665 00:36:38,200 --> 00:36:40,320 Speaker 1: you do not realize that they're sweatpants because of whatever 666 00:36:40,360 --> 00:36:42,759 Speaker 1: she has done to them and put with them and 667 00:36:43,320 --> 00:36:46,640 Speaker 1: a cessorized with them. They just look amazing. This is 668 00:36:46,760 --> 00:36:51,239 Speaker 1: just her personal like special talent. Okay, obviously you all 669 00:36:51,280 --> 00:36:54,520 Speaker 1: know that, but in terms of this vintage fur, that's 670 00:36:54,560 --> 00:36:56,600 Speaker 1: definitely what's happening here. Like if you or I went 671 00:36:56,640 --> 00:36:58,759 Speaker 1: into this door and saw this vintage fur and we 672 00:36:58,840 --> 00:37:01,400 Speaker 1: put it on, I don't know that it would be 673 00:37:01,440 --> 00:37:05,359 Speaker 1: so so fantastic. Also coming up, I think soon they 674 00:37:05,400 --> 00:37:08,200 Speaker 1: put me in a vintage outfit. I love vintage clothes. 675 00:37:08,239 --> 00:37:11,080 Speaker 1: You guys always have love vintage clothes. One of the 676 00:37:11,160 --> 00:37:14,440 Speaker 1: two notes that I know of coming from HBO is 677 00:37:14,880 --> 00:37:21,240 Speaker 1: do not put Charlotte in vintage. Very interesting. You're gonna 678 00:37:21,280 --> 00:37:24,319 Speaker 1: see why when we get to it. It did not. 679 00:37:24,480 --> 00:37:26,319 Speaker 1: It did not play so well on the camera. I don't. 680 00:37:26,360 --> 00:37:27,880 Speaker 1: I don't. I mean, I'm sure we could have figured 681 00:37:27,920 --> 00:37:29,880 Speaker 1: it out, but they were like, do not put Charlotte 682 00:37:29,920 --> 00:37:31,960 Speaker 1: and vintage. And I also kind of understand, like it's like, 683 00:37:32,600 --> 00:37:34,799 Speaker 1: you know, like kind of too on point in a 684 00:37:34,800 --> 00:37:37,160 Speaker 1: weird way. But that was kind of sad for me 685 00:37:37,160 --> 00:37:39,600 Speaker 1: because I do love vintage. But the first time that 686 00:37:39,640 --> 00:37:42,759 Speaker 1: we see the coat, Carrie is walking with Skipper down 687 00:37:42,800 --> 00:37:46,200 Speaker 1: the street and Skipper is going on about Miranda and 688 00:37:46,200 --> 00:37:48,360 Speaker 1: how much he loves her and how he's been calling 689 00:37:48,400 --> 00:37:50,520 Speaker 1: her and calling her and calling her and she won't 690 00:37:50,560 --> 00:37:52,760 Speaker 1: call him back. And then he gets out the most 691 00:37:52,800 --> 00:37:55,160 Speaker 1: hysterical cell phone you've ever seen in your life, which 692 00:37:55,160 --> 00:37:58,440 Speaker 1: I have such memories of, and Carrie pulls the antenna 693 00:37:58,520 --> 00:38:01,960 Speaker 1: up with her teeth, which is like so enjoyable, you guys, 694 00:38:02,239 --> 00:38:05,000 Speaker 1: and he flips open the thing like it's just so great. 695 00:38:05,040 --> 00:38:07,520 Speaker 1: And I remember these things so well, and for us, 696 00:38:07,560 --> 00:38:10,920 Speaker 1: we were just so thrilled to have them, like, you know, 697 00:38:11,000 --> 00:38:13,960 Speaker 1: to have an actual cell phone as clunky and strange 698 00:38:14,000 --> 00:38:17,279 Speaker 1: as it was very exciting in the day. So they 699 00:38:17,320 --> 00:38:20,560 Speaker 1: call her together and Carrie looks kind of nervous, like 700 00:38:20,640 --> 00:38:24,560 Speaker 1: she understands that Skipper is being like too needy and 701 00:38:24,560 --> 00:38:26,560 Speaker 1: that Miranda is not going to be into it, but 702 00:38:27,400 --> 00:38:30,600 Speaker 1: she doesn't quite know how to tell Skipper because he's like, 703 00:38:30,800 --> 00:38:34,680 Speaker 1: you know, very puppy energy and you know, like pick me. 704 00:38:35,320 --> 00:38:38,680 Speaker 1: And so then you know that Miranda has gone out 705 00:38:38,680 --> 00:38:41,799 Speaker 1: with a modelizer, right, which is obviously not a wise choice, 706 00:38:41,800 --> 00:38:44,120 Speaker 1: but how was she to know? And so she kicks 707 00:38:44,200 --> 00:38:46,720 Speaker 1: him to the curb, thank goodness, and she's so funny. 708 00:38:46,920 --> 00:38:48,919 Speaker 1: I mean, oh, I didn't even talk about the group scene. 709 00:38:48,960 --> 00:38:51,080 Speaker 1: Oh my gosh, you guys welcome to my mind. So 710 00:38:51,239 --> 00:38:53,200 Speaker 1: we have to back up. We have to back up 711 00:38:53,239 --> 00:38:55,120 Speaker 1: to the group scene, the one scene that Charlotte's said. 712 00:38:55,320 --> 00:38:57,840 Speaker 1: I do have so many memories of the scene because 713 00:38:58,480 --> 00:39:00,280 Speaker 1: it was the first time that we're in Carrie's apart. 714 00:39:00,280 --> 00:39:04,279 Speaker 1: We have Carrie's real apartment, though it also shows the 715 00:39:04,320 --> 00:39:07,719 Speaker 1: coffee shop sign and Neon from the pilot, so it's 716 00:39:07,760 --> 00:39:11,719 Speaker 1: an interesting jextaposition of the old with the new. But 717 00:39:11,800 --> 00:39:15,480 Speaker 1: it is Carrie's apartment, though it's not fully worked out yet, 718 00:39:15,480 --> 00:39:19,239 Speaker 1: but it's like the blueprint the set that we would 719 00:39:19,280 --> 00:39:22,960 Speaker 1: come to know and love, and we're all together. It 720 00:39:23,040 --> 00:39:25,680 Speaker 1: is the one and only time that we were told 721 00:39:25,840 --> 00:39:29,640 Speaker 1: that we could add lib. After that, it never happened again. 722 00:39:30,040 --> 00:39:33,400 Speaker 1: It was very, very very frowned upon after this. But 723 00:39:33,960 --> 00:39:37,200 Speaker 1: it was the sweetest reason why in this particular scene, 724 00:39:37,320 --> 00:39:40,799 Speaker 1: we're talking about models and men who only date women 725 00:39:40,840 --> 00:39:45,160 Speaker 1: who are models, and you know how we feel about 726 00:39:45,160 --> 00:39:47,040 Speaker 1: that or whatever? Does it make us feel less than 727 00:39:47,080 --> 00:39:49,239 Speaker 1: I think it's something like that, Carrie asked us, and 728 00:39:49,280 --> 00:39:52,839 Speaker 1: then we were each supposed to say what we felt 729 00:39:52,920 --> 00:39:55,440 Speaker 1: insecure about, and the writers didn't want to write that 730 00:39:55,520 --> 00:39:58,080 Speaker 1: on paper, so that was very sweet of them not 731 00:39:58,120 --> 00:40:00,040 Speaker 1: to want to write what they thought that we you 732 00:40:00,080 --> 00:40:02,399 Speaker 1: would feel self conscious about, to let us add lib 733 00:40:02,440 --> 00:40:05,080 Speaker 1: what we felt self conscious about, which was really kind. 734 00:40:05,320 --> 00:40:07,279 Speaker 1: It was also like four in the morning. This was 735 00:40:07,320 --> 00:40:09,840 Speaker 1: the beginning of our well, no, the pilot. Actually, I 736 00:40:09,840 --> 00:40:11,640 Speaker 1: think when I'm on the stairs of the met is 737 00:40:11,680 --> 00:40:14,440 Speaker 1: like four in the morning. We filmed all night long, 738 00:40:15,200 --> 00:40:18,640 Speaker 1: almost all the time. We would start Monday f five am, 739 00:40:18,960 --> 00:40:21,480 Speaker 1: and each day would get longer and longer because we 740 00:40:21,520 --> 00:40:23,920 Speaker 1: had night exteriors. Because as you remember a lot of 741 00:40:23,960 --> 00:40:26,359 Speaker 1: the show in the beginning, especially, we're out and about 742 00:40:26,400 --> 00:40:28,239 Speaker 1: at night. We're on the streets at night blah blah 743 00:40:28,239 --> 00:40:30,200 Speaker 1: blah blah blah. So we had to wait for nighttime, 744 00:40:30,200 --> 00:40:31,799 Speaker 1: which meant we had to film later and later as 745 00:40:31,800 --> 00:40:33,279 Speaker 1: the week went on. So as the week went on, 746 00:40:33,400 --> 00:40:36,359 Speaker 1: like we'd film probably Wednesday night till two, Thursday night 747 00:40:36,440 --> 00:40:38,400 Speaker 1: till four. By the time we got to Friday night, 748 00:40:38,440 --> 00:40:40,560 Speaker 1: we would film until the sun came up on Saturday 749 00:40:41,000 --> 00:40:43,560 Speaker 1: every single week, and then you'd have to turn yourself 750 00:40:43,600 --> 00:40:46,439 Speaker 1: back around by Monday morning to go to work at five. 751 00:40:47,000 --> 00:40:52,759 Speaker 1: It was a lot, okay. And also back then, we 752 00:40:52,880 --> 00:40:55,480 Speaker 1: really felt like we could never say this publicly like that. 753 00:40:55,520 --> 00:40:57,960 Speaker 1: We just had to be like, we're fine, We're great, 754 00:40:58,280 --> 00:40:59,719 Speaker 1: we love our show so much, and we're having so 755 00:40:59,800 --> 00:41:01,640 Speaker 1: much fun, because that's what everyone wild always say, like 756 00:41:01,680 --> 00:41:03,640 Speaker 1: is there so much fun? You'd be like yes, now, 757 00:41:03,800 --> 00:41:05,920 Speaker 1: mind you. Also, on the weekend, I had a pair 758 00:41:05,960 --> 00:41:07,640 Speaker 1: of shoes that was the whole size too big because 759 00:41:07,640 --> 00:41:10,000 Speaker 1: my feet would be so swollen because I wasn't used 760 00:41:10,040 --> 00:41:12,439 Speaker 1: to wearing these shoes. Everyone always says like, oh, the shoes. 761 00:41:12,480 --> 00:41:14,920 Speaker 1: I'm like, yeah, it's hard. It's a thing. It's not 762 00:41:15,160 --> 00:41:17,399 Speaker 1: just like easy. And this is obviously a long time ago. 763 00:41:17,719 --> 00:41:19,719 Speaker 1: So I would have a certain pair of shoes I 764 00:41:19,760 --> 00:41:21,480 Speaker 1: would wear all weekend that my feet could just be 765 00:41:21,520 --> 00:41:24,600 Speaker 1: swollen in. And then hopefully by the end of the weekend, 766 00:41:24,719 --> 00:41:27,759 Speaker 1: the short weekend, they would be back ready at five 767 00:41:27,800 --> 00:41:30,680 Speaker 1: am on Monday to be putting those minolas back on. 768 00:41:30,960 --> 00:41:32,600 Speaker 1: But it did take Pat a little while to get 769 00:41:32,640 --> 00:41:35,400 Speaker 1: me in the minolo's. So right when we see this 770 00:41:35,440 --> 00:41:38,480 Speaker 1: first episode, I'm wearing some boots. I think they're mine. 771 00:41:38,840 --> 00:41:42,600 Speaker 1: I don't know, They're not good Okay, Pat has not 772 00:41:42,680 --> 00:41:45,879 Speaker 1: worked her magic on me yet. It's begune and I'm 773 00:41:45,880 --> 00:41:48,360 Speaker 1: stressing about it, but it has not really fully happened. 774 00:41:48,640 --> 00:41:51,760 Speaker 1: So when we do do this scene in Sara Juska 775 00:41:51,800 --> 00:41:58,440 Speaker 1: Carrie's apartment, sorry, I can't keep us straight. It is 776 00:41:58,480 --> 00:42:01,520 Speaker 1: the wee hours and we are living and absolutely Kim 777 00:42:01,600 --> 00:42:04,200 Speaker 1: ad libs like she like touches Cynthia's face at one 778 00:42:04,200 --> 00:42:06,440 Speaker 1: point or whatever. I mean, it was really I just 779 00:42:06,480 --> 00:42:09,520 Speaker 1: remember giggling and that it was fun and exciting. And 780 00:42:09,560 --> 00:42:12,600 Speaker 1: then I also thought, and this is just because I'm 781 00:42:12,600 --> 00:42:13,960 Speaker 1: the only one here right now, I'm going to tell 782 00:42:13,960 --> 00:42:17,080 Speaker 1: you my own thoughts on myself. Previous to this show, 783 00:42:17,120 --> 00:42:19,319 Speaker 1: I had been on well, I had done some guest 784 00:42:19,320 --> 00:42:22,080 Speaker 1: star things in between, but I'd been on Melroe's Place, 785 00:42:22,160 --> 00:42:24,640 Speaker 1: Darren's other show, right, and when you were on and 786 00:42:24,719 --> 00:42:28,600 Speaker 1: Aaron Spelling Soap Opera, there were a lot of rules, 787 00:42:28,840 --> 00:42:33,000 Speaker 1: and the rules were non negotiable, and the rules had 788 00:42:33,040 --> 00:42:35,440 Speaker 1: to do with the fact that they wanted to do 789 00:42:35,520 --> 00:42:38,040 Speaker 1: three sizes of a camera shot on you, one of 790 00:42:38,080 --> 00:42:41,239 Speaker 1: which was a super close up that would literally cut 791 00:42:41,280 --> 00:42:43,840 Speaker 1: your hairline off right like be like your eyes and 792 00:42:43,880 --> 00:42:47,200 Speaker 1: your mouth, and to do that you had to hold 793 00:42:47,239 --> 00:42:50,720 Speaker 1: really still. So I played this character Brook who worked 794 00:42:50,719 --> 00:42:55,120 Speaker 1: in this office with Billy and Allison on Heatherlockler's character, 795 00:42:55,600 --> 00:42:57,480 Speaker 1: and I used to say like, oh, couldn't I have 796 00:42:57,560 --> 00:42:59,400 Speaker 1: some props? And they'd say like, well, why would you 797 00:42:59,400 --> 00:43:01,640 Speaker 1: want some prop? And I'd be like, well, we're working right, 798 00:43:01,760 --> 00:43:05,040 Speaker 1: Like like should I write something down? It'd be like no, no, 799 00:43:05,160 --> 00:43:07,560 Speaker 1: don't do that. They'd be like why why why wouldn't 800 00:43:07,560 --> 00:43:09,440 Speaker 1: I write something down? Aren't I supposed to be working? 801 00:43:09,440 --> 00:43:11,759 Speaker 1: And they were like, well, you can't look down? And 802 00:43:11,800 --> 00:43:13,319 Speaker 1: I'm like, what do you mean? What do you mean 803 00:43:13,360 --> 00:43:15,680 Speaker 1: I can't look down now? Mind you, I'd spent the 804 00:43:15,760 --> 00:43:18,720 Speaker 1: last fifteen years in acting class where they're just trying 805 00:43:18,719 --> 00:43:21,200 Speaker 1: to talk to you about being natural and doing things 806 00:43:21,239 --> 00:43:23,480 Speaker 1: and you know, being not self conscious or whatever, and 807 00:43:23,520 --> 00:43:24,920 Speaker 1: so then you're on a show that's like, no, you 808 00:43:24,960 --> 00:43:27,760 Speaker 1: can't look down, you can't have props, you can't do anything. 809 00:43:27,920 --> 00:43:30,480 Speaker 1: You have to just stare at the other person like 810 00:43:30,680 --> 00:43:34,160 Speaker 1: hardcore okay. And you can't change your hair. That was 811 00:43:34,200 --> 00:43:35,839 Speaker 1: the other Aaron Spelling thing, because he didn't want hair 812 00:43:35,840 --> 00:43:38,480 Speaker 1: in your face because you wanted to see your eyes. Okay, now, 813 00:43:38,520 --> 00:43:40,920 Speaker 1: I kind of get it because eyes are the windows 814 00:43:40,960 --> 00:43:43,120 Speaker 1: to the soul. But on the other hand, as an actor, 815 00:43:43,200 --> 00:43:45,640 Speaker 1: it's pretty hard. It's pretty hard to do that. So 816 00:43:45,680 --> 00:43:48,160 Speaker 1: when I watch myself in the scene with everybody in 817 00:43:48,200 --> 00:43:51,040 Speaker 1: the group scene, I'm just trying to be natural. I'm 818 00:43:51,040 --> 00:43:54,120 Speaker 1: just trying to be present. I'm eating, I'm touching my hair, 819 00:43:54,160 --> 00:43:56,520 Speaker 1: I'm touching my face. I'm you know, just trying to 820 00:43:56,560 --> 00:44:01,719 Speaker 1: be like un self conscious and in the show that 821 00:44:01,760 --> 00:44:04,840 Speaker 1: we're trying to make, which is much more realistic, you 822 00:44:04,880 --> 00:44:08,200 Speaker 1: know what I'm saying, like not like TV in the 823 00:44:08,239 --> 00:44:12,200 Speaker 1: way that I was, you know previously in So that 824 00:44:12,320 --> 00:44:14,400 Speaker 1: was one of the things I thought about watching watching 825 00:44:14,400 --> 00:44:16,879 Speaker 1: the Four of Us with the Chinese food, like, yes, 826 00:44:16,960 --> 00:44:19,399 Speaker 1: I'm eating. That was a big thing on our show. Yes, 827 00:44:19,480 --> 00:44:22,719 Speaker 1: we always ate, No, we almost, I don't. I can't 828 00:44:22,760 --> 00:44:24,640 Speaker 1: think of a time we had a spit bucket because 829 00:44:24,680 --> 00:44:27,239 Speaker 1: we're in a scene. You can't stop and spit food 830 00:44:27,280 --> 00:44:30,040 Speaker 1: out in a spit bucket. That doesn't work. You have 831 00:44:30,080 --> 00:44:32,840 Speaker 1: to keep talking. As you know, it's going to be 832 00:44:32,880 --> 00:44:35,919 Speaker 1: a Miranda like signature. I mean, you know, they would 833 00:44:36,000 --> 00:44:38,680 Speaker 1: like challenge her like how much food can you get 834 00:44:38,719 --> 00:44:41,440 Speaker 1: in your mouth? And Cynthia was ready. She was ready. 835 00:44:41,480 --> 00:44:42,960 Speaker 1: She's like, I'm going to go for it. We'd I'll 836 00:44:43,000 --> 00:44:45,160 Speaker 1: be like, oh my god, maybe it's too much. She'd 837 00:44:45,200 --> 00:44:47,560 Speaker 1: be like no, But it was so much fun to watch, 838 00:44:47,560 --> 00:44:49,840 Speaker 1: so to me that all of that is there in 839 00:44:49,880 --> 00:44:54,640 Speaker 1: the beginning, Okay, Skipper, Skipper, Skipper Skipper, and Miranda are adorable, 840 00:44:55,080 --> 00:44:58,640 Speaker 1: So he's there, he is. I don't even know that 841 00:44:58,719 --> 00:45:01,440 Speaker 1: we ever have a guy care character who is like him. Again, 842 00:45:01,840 --> 00:45:03,960 Speaker 1: I don't think we do. Where he's just like calling 843 00:45:03,960 --> 00:45:05,880 Speaker 1: her and calling her and calling her and kind of needy, 844 00:45:06,320 --> 00:45:10,400 Speaker 1: and everyone's thinking it's not going to work out. Then 845 00:45:10,400 --> 00:45:12,359 Speaker 1: they run into each other in the bodega, which is 846 00:45:12,440 --> 00:45:16,959 Speaker 1: also so New York and so adorable, and he very 847 00:45:17,000 --> 00:45:21,839 Speaker 1: beautifully tells her at the checkout that she's luminous, and 848 00:45:21,920 --> 00:45:25,360 Speaker 1: she is luminous and it just melts her cold heart. 849 00:45:27,560 --> 00:45:31,239 Speaker 1: So it's such a great, great, great scene and I 850 00:45:31,280 --> 00:45:33,680 Speaker 1: love it so much. And then he wants to finish 851 00:45:33,760 --> 00:45:36,839 Speaker 1: paying for his Captain crunch I believe or something, and 852 00:45:36,880 --> 00:45:40,719 Speaker 1: she's like, there's cereal at my house, which is so great. 853 00:45:40,760 --> 00:45:43,200 Speaker 1: There's cereal at my apartment, I believe. She says it's 854 00:45:43,280 --> 00:45:49,839 Speaker 1: so classic and great. So for me, there are such great, great, 855 00:45:49,880 --> 00:45:53,480 Speaker 1: great moments in this episode where you really see this 856 00:45:53,600 --> 00:45:56,800 Speaker 1: huge potential. But then there's also just really really strange 857 00:45:56,800 --> 00:45:59,319 Speaker 1: things like this dude who's filming model secretly having sex 858 00:45:59,360 --> 00:46:02,319 Speaker 1: with him. Right, So it's a very mixed thing. But oh, 859 00:46:02,360 --> 00:46:03,759 Speaker 1: the other thing I was gonna say is that, so 860 00:46:03,800 --> 00:46:07,520 Speaker 1: we filmed these whole we'd done the pilot obviously, and 861 00:46:07,520 --> 00:46:10,279 Speaker 1: then we filmed twelve more episodes before anything came on 862 00:46:10,280 --> 00:46:12,719 Speaker 1: the air. And one of the great things is that 863 00:46:12,920 --> 00:46:17,279 Speaker 1: HBO allowed us to find ourselves, right, So like we 864 00:46:17,320 --> 00:46:20,440 Speaker 1: would kind of, you know, shift this way and shift 865 00:46:20,480 --> 00:46:24,880 Speaker 1: that way, and one script might seem more pushing the boundaries, 866 00:46:24,880 --> 00:46:27,160 Speaker 1: like I would say this episode, and then a different 867 00:46:27,160 --> 00:46:31,520 Speaker 1: script might seem more comedic. And remember Darren, sometimes he 868 00:46:31,560 --> 00:46:35,080 Speaker 1: would come down the writer's rooms in the studio where 869 00:46:35,080 --> 00:46:36,719 Speaker 1: we were in Silver Cup at this point on Long 870 00:46:36,760 --> 00:46:38,239 Speaker 1: Island City. It's still there. It used to be a 871 00:46:38,280 --> 00:46:40,719 Speaker 1: bread factory. It's a very charming place. It's kind of 872 00:46:40,719 --> 00:46:42,920 Speaker 1: falling down, but we love it. And he would come 873 00:46:42,960 --> 00:46:45,600 Speaker 1: down sometimes and he'd be like, you know, you guys 874 00:46:45,600 --> 00:46:48,080 Speaker 1: got to be sexy. You gotta be sexy. And I'd 875 00:46:48,120 --> 00:46:51,400 Speaker 1: say like me, really me, are you sure me? And 876 00:46:51,400 --> 00:46:52,799 Speaker 1: he'd be like, yes, all of you, all of you. 877 00:46:53,040 --> 00:46:55,160 Speaker 1: And we'd be like okay. We kind of look at 878 00:46:55,160 --> 00:46:57,040 Speaker 1: each other. And then a different week he'd come down 879 00:46:57,080 --> 00:46:58,960 Speaker 1: and he'd be like, you guys, gotta be funny. You 880 00:46:59,000 --> 00:47:04,120 Speaker 1: gotta be funny. And we'd be like, okay, uh, are 881 00:47:04,160 --> 00:47:07,040 Speaker 1: you is there a rewrite? Like did something change in 882 00:47:07,040 --> 00:47:08,720 Speaker 1: the script? You'd be like, no, just make it funny. 883 00:47:08,880 --> 00:47:11,680 Speaker 1: We'd be like, okay, okay, Darren, Okay. So there was, 884 00:47:11,880 --> 00:47:16,759 Speaker 1: you know, definitely a growing period of the show and 885 00:47:16,880 --> 00:47:20,400 Speaker 1: the fact that HBO allowed us to kind of, you know, 886 00:47:21,120 --> 00:47:23,360 Speaker 1: slightly flail around a bit. I hope it's okay that 887 00:47:23,400 --> 00:47:25,960 Speaker 1: I'm saying this, because when I watch them, I am 888 00:47:26,000 --> 00:47:29,440 Speaker 1: really just like, it's been a long time. I vaguely, 889 00:47:29,520 --> 00:47:32,399 Speaker 1: vaguely remember this stuff, but like I one percent did 890 00:47:32,400 --> 00:47:35,160 Speaker 1: not remember this filming the model secretly part like it 891 00:47:35,239 --> 00:47:39,360 Speaker 1: is crazy. But I do also feel like, you know, 892 00:47:39,400 --> 00:47:41,560 Speaker 1: we've come a long way in some of these areas. 893 00:47:41,680 --> 00:47:43,680 Speaker 1: I mean, some of these areas we haven't, and then 894 00:47:43,760 --> 00:47:46,560 Speaker 1: some of these areas we have. And I think back then, 895 00:47:47,239 --> 00:47:54,440 Speaker 1: you know, I think that relationships and sexuality were kind 896 00:47:54,440 --> 00:47:58,040 Speaker 1: of seen from the male gaze more often than not, 897 00:47:58,680 --> 00:48:01,600 Speaker 1: at least in entertainment, so like in films, because that's 898 00:48:01,640 --> 00:48:04,560 Speaker 1: really where you saw sexuality. You didn't really see it 899 00:48:04,560 --> 00:48:06,719 Speaker 1: in television so much, right, So that was kind of 900 00:48:06,760 --> 00:48:09,600 Speaker 1: one of the ways that we started pushing that boundary. 901 00:48:09,840 --> 00:48:12,680 Speaker 1: And then what I think happened my perspective on it 902 00:48:12,719 --> 00:48:16,840 Speaker 1: is that as we kind of found ourselves and Michael 903 00:48:16,840 --> 00:48:20,200 Speaker 1: Patrick came, and other writers came, more women writers came, 904 00:48:20,760 --> 00:48:26,520 Speaker 1: we became more grounded in the fact that we were 905 00:48:27,719 --> 00:48:32,800 Speaker 1: about investigating things from the female perspective and not from 906 00:48:32,880 --> 00:48:36,880 Speaker 1: the male gaze, not from the male perspective, where we're 907 00:48:36,920 --> 00:48:39,000 Speaker 1: just trying to kind of deal with it and make 908 00:48:39,040 --> 00:48:40,680 Speaker 1: the best of it as we can, which is what 909 00:48:40,760 --> 00:48:42,360 Speaker 1: I feel like poor Kerrie's trying to do in that 910 00:48:42,400 --> 00:48:46,040 Speaker 1: one scene with the dude. You know, she's like hah, 911 00:48:46,120 --> 00:48:48,919 Speaker 1: you know, like kind of nervously laughing, but she's sitting there, 912 00:48:49,040 --> 00:48:52,160 Speaker 1: you know, it's very fascinating. But then she definitely tells 913 00:48:52,160 --> 00:48:54,279 Speaker 1: Samantha like, do not go there, you know what I mean. 914 00:48:54,360 --> 00:48:56,719 Speaker 1: So it's not like she thought, oh, it's fine, right, 915 00:48:57,239 --> 00:48:59,719 Speaker 1: So it's I think a very interesting thing, and I 916 00:48:59,760 --> 00:49:03,560 Speaker 1: think something that we'll be talking about more. And I'm 917 00:49:03,880 --> 00:49:08,000 Speaker 1: super curious what you guys think of it, meaning those 918 00:49:08,080 --> 00:49:12,880 Speaker 1: points of like, you know, did you feel uncomfortable watching 919 00:49:12,960 --> 00:49:15,880 Speaker 1: that or did you feel like, oh, yeah, this stuff 920 00:49:15,920 --> 00:49:20,520 Speaker 1: happens and let's uncover it, let's see it, let's see 921 00:49:20,560 --> 00:49:22,080 Speaker 1: it for what it is. And I do think also 922 00:49:22,320 --> 00:49:24,880 Speaker 1: that it should be said that I think that Candice 923 00:49:25,080 --> 00:49:29,200 Speaker 1: had a very non judgmental, you know quality. She was like, 924 00:49:29,400 --> 00:49:33,080 Speaker 1: I'm a social anthropologist and I'm uncovering what's going on 925 00:49:33,120 --> 00:49:35,160 Speaker 1: and I'm not judging it. And in that way, she 926 00:49:35,280 --> 00:49:37,680 Speaker 1: was kind of ahead of her time. I would say, 927 00:49:38,000 --> 00:49:40,640 Speaker 1: you know, I feel like now, in many ways, society's 928 00:49:40,760 --> 00:49:45,239 Speaker 1: much more non judgmental and like, well, this is what 929 00:49:45,280 --> 00:49:50,200 Speaker 1: you're into, but also there has to be consent hopefully. 930 00:49:51,000 --> 00:49:54,480 Speaker 1: I mean that's how I feel, at least as someone 931 00:49:54,520 --> 00:49:56,719 Speaker 1: with the daughter. I think we're there. I don't know 932 00:49:57,040 --> 00:49:58,759 Speaker 1: what do you guys think? I want to know from 933 00:49:58,800 --> 00:50:04,960 Speaker 1: you guys. All right? Those were my's dream of consciousness 934 00:50:05,000 --> 00:50:12,320 Speaker 1: thoughts about episode two, Season one, Models and Mortals. Thanks 935 00:50:12,320 --> 00:50:14,680 Speaker 1: for being with me everyone. Next week we have an 936 00:50:14,760 --> 00:50:20,120 Speaker 1: amazing guest. I can't wait. All right, bye,