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

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Speaker 2: Daphne's Aniga an iHeartRadio podcast. So we've had a fan

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Speaker 2: question about shooting in front of the iconic exterior of

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Speaker 2: Melrose Place. The exterior was actually I think in Los Felis.

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Speaker 2: I never had a scene out there outside of that

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Speaker 2: wherever it is in Los Felis. I know we had

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Speaker 2: a piece of it on like the inside of the

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Speaker 2: exterior we had on on the soundstage.

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Speaker 1: Yeah, but we did shoot like the first in the pilot,

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Speaker 1: Andrew and I had that scene where he's I'm getting

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Speaker 1: out of my car and he's trying to talk to me.

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Speaker 1: That was in front. It must have been most feelis

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Speaker 1: we were driving how far we drove all the time,

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Speaker 1: Like our locations were all over town. We had a

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Speaker 1: location over an hour away in Oxnard, So I guess

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Speaker 1: it was just you get the call sheet, you look

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Speaker 1: it up on your Thomas Guide, remember the Thomas Guide

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Speaker 1: pre gps. You have to try to figure out where

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Speaker 1: you're going. And we went there, so I guess we did.

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Speaker 3: And for the building, I think they just picked this

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Speaker 3: great looking Spanish apartment complex and it just happened to

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Speaker 3: be in Las Filas. So they shot establishing shots and

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Speaker 3: then just used them over and over as stocks farded.

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Speaker 2: So maybe someone walking.

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Speaker 3: Yeah, when we're going to arrive at the court aired first,

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Speaker 3: we're going to use this establishing shot that we shot

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Speaker 3: a long time ago in front of the actual apartment,

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Speaker 3: which is the Las Fela. So when you confuse people,

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Speaker 3: I think, like down the line, when fans would come

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Speaker 3: to Los Angeles and they'd be like, I want to

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Speaker 3: see Melros place, they'd go, you know there, it's not

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Speaker 3: actually it's a it's not Yeah, mel Re's place itself

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Speaker 3: is not going to.

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Speaker 2: Have never lived there and yeah never we've never shot

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Speaker 2: there really, but.

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Speaker 3: That establishing shot comes up in our episode that we're

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Speaker 3: about to.

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Speaker 2: Recapt Yeah, the title, Yeah, We're ready for Love Money,

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Speaker 2: We're ready, season ready, Season one, episode four.

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Speaker 3: We're only on episode four. We have a long ways to.

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Speaker 2: Go, lad, Yes, we did thirty six years.

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Speaker 3: We need to go like if okay, So this was July.

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Speaker 3: This one aired July twenty ninth, nineteen ninety two, and

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Speaker 3: I did look it up. There were Summer Olympics going

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Speaker 3: on in nineteen ninety two, just.

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Speaker 2: Like, oh no, that was summer.

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Speaker 1: Yeah, I didn't know that.

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Speaker 3: Do you want to know what what songs are popular? I?

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Speaker 2: Do you do? My god?

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Speaker 3: Well, I just have one for you and you may

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Speaker 3: you may remember this that made ring a bell Sir,

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Speaker 3: Mix a lot, Baby got back?

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Speaker 2: Do you know that one?

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Speaker 1: I can't believe it was that long ago. Wow, that

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Speaker 1: feels more recent.

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Speaker 3: Or maybe it's just like on a loop in your

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Speaker 3: mind when I say the title, Wow, I like.

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Speaker 2: I'm like looking at my notes, going, did she look that? Well?

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Speaker 3: I just thought, you know, like, let's get looked it up,

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Speaker 3: Let's get us let's back to that.

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Speaker 1: Let's like I was thinking about, like thinking about the

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Speaker 1: exterior night shoots. I was thinking, you know, it's so

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Speaker 1: funny because back then, you know, none of us had kids,

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Speaker 1: were all kids. I don't remember thinking about how late

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Speaker 1: it was, like, you know, call time at ten o'clock

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Speaker 1: in those feelers, okay, right, Like we didn't question it.

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Speaker 1: We just sort of showed. I got my store mix

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Speaker 1: a lot in my car.

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Speaker 2: I'm just driving off cassette player, right Like, I don't.

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Speaker 1: Remember questioning the schedule. You're just there from you know,

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Speaker 1: six a m. Till midnight. You don't think twice about it.

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Speaker 2: M hmm. Yeah, we just did well because it was

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Speaker 2: ensemble and each of our scenes were separate, right like

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Speaker 2: you might have a call from six am to whatever noon,

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Speaker 2: and I would have one from three at three, and

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Speaker 2: you would have one at you know, six at night.

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Speaker 2: I mean there were just sometimes in the most arbitrary

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Speaker 2: in the middle of the day.

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Speaker 1: But also just the sheer number of hours. I just

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Speaker 1: I just brought me back to think about that time.

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Speaker 1: And Yow didn't even question it, like I didn't like

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Speaker 1: now I would look at and how late am I working?

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Speaker 1: What am I doing? It? Just show up there there's

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Speaker 1: nothing paying youthful and youthful. And also remember so I

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Speaker 1: know we're getting right into the episode, but we open

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Speaker 1: on D and D advertising, which was spelling for the exterior.

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Speaker 3: Of actual spelling productions. Yes, yeah, on Willshall Wiltshire Boulevard?

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Speaker 3: Is that the Is it only me? I cannot say

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Speaker 3: boulevard When I first said, I just say the whole

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Speaker 3: thing will Boulevard. It's two times in house.

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Speaker 2: Okay, now you dab you no, But when you came here,

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Speaker 2: when you came here from the Midwest, did you first

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Speaker 2: pronounce it will Shire? No, I didn't, but I didn't

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Speaker 2: put it.

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Speaker 3: I will say there's something wrong with it because also

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Speaker 3: when we started doing like the promos and we'd have

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Speaker 3: to go, hi, it's Laure Lane from Melrose Place, I'd

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Speaker 3: be hi, it's Laure Lane from Moo's place, like what,

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Speaker 3: I couldn't get it out. So Wilshire Boulevard, maybe you

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Speaker 3: just shouldn't say I just need to announciate.

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Speaker 1: Just stay around it gay the street.

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Speaker 3: You know that sounds like right down right down the

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Speaker 3: center of Beverly Hills.

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Speaker 2: Okay.

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Speaker 3: So this episode for Lover Money Season one, episode four

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Speaker 3: aired July twenty nine, nineteen ninety two, and we open

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Speaker 3: on Jake working on his motorcycle in the courtyard and

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Speaker 3: Jane and Michael are returning from their run. How about

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Speaker 3: that they're just like running along the streets of.

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Speaker 1: Melrose and U.

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Speaker 3: Michael immediately notices that Jake's motorcycle is dripping oil in

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Speaker 3: the courtyard and he warns him that he's going to

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Speaker 3: need to move that and oh, by the way, drop

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Speaker 3: off your rent check, which is where when we find

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Speaker 3: out that Jake is having trouble.

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Speaker 1: Finding jobs, and Jake is do how immediately he was

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Speaker 1: defensive and angry, like I'm like, wow, you're just out

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Speaker 1: of the gate.

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Speaker 2: Bad ye madam yep, already already angry, And Michael said

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Speaker 2: exactly what I was thinking. He's like, dude's oil all

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Speaker 2: over the pool.

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Speaker 3: Yeah, and just like okay, okay, just maybe you know

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Speaker 3: what this is where people make out.

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Speaker 1: What are you doing fixing your motorcycles?

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Speaker 2: This is the makeup you're going yard, dummy. Well, he

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Speaker 2: just broke up with the sixteen year old, so he's like,

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Speaker 2: I don't he's doing it on purpose.

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Speaker 3: But that's where we learned that's Jake's going to need

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Speaker 3: to go find a job. He's got to pay his rent.

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Speaker 3: So that's establishing what we're going to do in this episode.

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Speaker 3: So then going to D and D Advertising, Allison our

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Speaker 3: little advertising I want to be exect. She's making all

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Speaker 3: the right moves answering the phone, and she's congratually an

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Speaker 3: executive on the phone on this on a stock split.

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Speaker 3: She's like, I know what to say and I'm going

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Speaker 3: to say it and.

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Speaker 2: I'm going to get some ends with the higher ups.

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Speaker 3: And Rick from the mail room notices her phone etiquette,

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Speaker 3: compliments her on it, and also hands her a donut.

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Speaker 2: Yes, very flirting.

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Speaker 1: Zach Gallaghan who we remember like and yeah, I'm now

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Speaker 1: a very recognizable.

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Speaker 3: Fakemlin Yes fromtally like years before, like nineteen eighty four

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Speaker 3: or something like.

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Speaker 2: And he's had a long career and it was really

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Speaker 2: fun to see him as.

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Speaker 3: Your flirty, flirty co worker baby.

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Speaker 2: It was a super cute and flirty scene.

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Speaker 1: Adorable.

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Speaker 3: So then we find that Jake's looking for a job

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Speaker 3: at a coffee shop. Goes up to one of the

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Speaker 3: staff and saying, hey, I can do this. I know machines,

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Speaker 3: I can I can operate that espresso machine. But the

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Speaker 3: guy assumes Jake is an actor writer or model, which

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Speaker 3: is like a quintessential La reference. You know, a good

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Speaker 3: looking guy, you must be you must be an actor model.

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Speaker 2: Yes, And also it's annoying and you don't want to

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Speaker 2: hire them because they're going to leave. If they have

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Speaker 2: an audition, they'll just leave. The cappuccino overflowing. I mean

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Speaker 2: they have like they come and go. So he's like no,

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Speaker 2: He's like, oh no, gross, I make you know.

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Speaker 3: He's like, no, I work on instruction. I'll be perfectly

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Speaker 3: suited for this to operate. His fresh machine, but the

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Speaker 3: coffee guy, he's also had a long career Simon Tuppleman.

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Speaker 2: He was the kind of recognized them. Yeah, I thought

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Speaker 2: he was great.

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Speaker 3: Actually he was great. Yeah, he's done a lot of voiceover,

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Speaker 3: big voiceover guy in gaming.

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Speaker 1: I think he's funny.

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Speaker 2: Yeah, I thought it was funny.

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Speaker 3: He was very skeptical of Jake's ability to make a

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Speaker 3: coffee and it gives him a shot. Anyway, we'll see

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Speaker 3: how that turns out. And then back at the exterior

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Speaker 3: of D and D again on what Bulvard on Wilshire Boulevard,

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Speaker 3: Laura nicely said, very enunciated. That's where Alison is sitting

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Speaker 3: outside at Lune with this new little UH co worker.

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Speaker 1: Ris seems very promising, you know, at first.

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Speaker 3: Yes, that's very cute, very flirty.

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Speaker 2: Turns out he's the boss's son.

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Speaker 3: Yep, he's the son of the client that they're trying

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Speaker 3: to get this advertising campaign right for sun Ray sunscreen.

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Speaker 3: And that's where we're also introduced to Lucy Cabot, who

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Speaker 3: is Deborah Dare and she's one of the D and D.

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Speaker 3: Is she your boss at D and D?

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Speaker 1: Alison, she's a vice president at D and D who

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Speaker 1: also had a long career in soap operas before she

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Speaker 1: came to us.

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Speaker 3: Didn't she actually have a soap opera at the same

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Speaker 3: time as she was doing Melrose Like in later seasons?

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Speaker 3: Didn't she overlap and both.

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Speaker 1: Of these jobs simultaneously sounds so familiar.

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Speaker 2: Crazy, she was a proan imagine she was great.

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Speaker 1: I cannot imagine.

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Speaker 3: Well, so she's she's the she's the boss that Allison

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Speaker 3: is trying to she's trying to sort of grow into

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Speaker 3: her shoes, and she looks up to her as a mentor,

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Speaker 3: and and she's becoming friends with this coworker Rick. And

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Speaker 3: then Rick asks Alison out to dinner and she's a

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Speaker 3: little wary, like, I don't know, officer romances. Doesn't sound

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Speaker 3: like risky business. Also a reference to a nineties movie.

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Speaker 3: But then we here's the first time we see Alison

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Speaker 3: in a vest. Did you guys notice her vest?

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Speaker 1: I did? I wrote that down vest over a tea.

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Speaker 3: It was kind of a bad vest. It wasn't a

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Speaker 3: cute vest.

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Speaker 1: It's a lot going on. There's a lot going on,

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Speaker 1: but it was. It was definitely a sign of the time.

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Speaker 2: But vests were big then, vests were very cho wore

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Speaker 2: some best I wore vests, and well this is later,

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Speaker 2: let's I know a few months later. But they're back now,

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Speaker 2: aren't they? Yeahs coming back.

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Speaker 3: But I didn't find that there were enough vests in

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Speaker 3: this episode alone that I made kind of a vest count.

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Speaker 2: Count.

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Speaker 3: Yeah, we have a kiss counter shirtless count. This is

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Speaker 3: actually a vest count.

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Speaker 2: Episode, and this is the first vest I really liked

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Speaker 2: the wardrobe in this in this episode for many reasons. Yeah,

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Speaker 2: I don't know the vest we all noticed it.

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Speaker 3: So then back at the coffee shop Jack Jake is

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Speaker 3: foaming the milk he's learned how to operate that little

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Speaker 3: steamer thing, and his boss Kurt is hovering giving him

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Speaker 3: a hard time, and Jake is rolling his eyes, like

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Speaker 3: why can't we just have like regular just coffee? Do

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Speaker 3: we need the half cap cappuccino all the thing? But

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Speaker 3: in walks uh a girl who looks an awful lot

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Speaker 3: like Winona Writer in this moment.

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Speaker 2: It's not Michelle Johnson. And she came back because I

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Speaker 2: was surprised to see her because I had stuff with

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Speaker 2: her later.

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Speaker 3: As joke the character, Yeah, because she came back.

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Speaker 2: She was like Jake's bad boy, his hou, his past.

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Speaker 2: She was bad news.

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Speaker 3: She's going to come back, but this is the first time. Yep,

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Speaker 3: she's going to come back. And then they have that

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Speaker 3: line another sort of noir reference. So the in last

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Speaker 3: week's episode, we had like the whole noir opening for

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Speaker 3: episode three, and then there's there's this line when she

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Speaker 3: walks in and she's like all the cappuccino joins in l.

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Speaker 2: A you had to walk in.

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Speaker 1: I noticed a line. I noticed the line she said,

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Speaker 1: did you get this one? I love the way you

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Speaker 1: bury that nozzle?

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Speaker 3: Super awkward, but it started, it started with a casablancaes

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Speaker 3: for reference, and then we then we seek right.

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Speaker 2: Down, let's her mind is where we really are? And

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Speaker 2: then I do remember though she Michelle had a she

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Speaker 2: was discovered and put in Do you remember that movie eighties?

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Speaker 2: I think it was a eighties movie. Blame it on Rio,

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Speaker 2: Blame on Rio. She was like the girl to me.

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Speaker 2: Moore was in that too, Michael Caine.

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Speaker 3: It was a huge movie and she was the teenager

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Speaker 3: with Michael Caine, fresh new thing who and then she

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Speaker 3: again also a super well yep, not making that movie today, No, no,

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Speaker 3: thank you. But yeah. So so Jake is feeling a

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Speaker 3: little defensive of his job and no, I'm you know,

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Speaker 3: and she says, wait, I might have an opportunity that

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Speaker 3: you would be interested in to make a lot more money.

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Speaker 3: He's like, no, I'm I'm good here, I'm just I'm

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Speaker 3: just gonna he made this coffee for whatever. But he

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Speaker 3: does learn that Perry is an art dealer in this scene,

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Speaker 3: so we'll see where that goes. Back at the apartment building,

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Speaker 3: Rnda and Matt are at the mailboxes, So makes his

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Speaker 3: first appearance and Ronda is complaining about her bills. Matt

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Speaker 3: is upset because they're cutting funding from the Halfway House

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Speaker 3: where he is volunteering, and Ronda offers to help out.

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Speaker 3: He's going to be making meals for kids teens, and

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Speaker 3: she offers to help out. And Sandy walks by with

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Speaker 3: address for Alison's date. So a lot is happening in

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Speaker 3: the courtyard all at the same time, and Ronda media

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Speaker 3: is like squirrel.

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Speaker 2: Shy object for a second.

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Speaker 3: I'm talking to Matt dress.

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Speaker 2: I'm all going to help you. I'm totally dedicated. You

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Speaker 2: can trust me. Oh what's up? Yeah that was Rhonda?

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Speaker 2: Do you know what?

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Speaker 1: Matt volunteers at the halfway House where he works at

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Speaker 1: the Halfway House. I am not even sure worked at

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Speaker 1: the halfway House.

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Speaker 3: He must, you must have some He's definitely a do gooder.

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Speaker 3: That must be his actual job, not just volunteering.

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Speaker 1: But I think that is his job.

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Speaker 3: Yeah, but that's how that's where we sort of learned

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Speaker 3: the first thing about Matt besides him just being everybody's

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Speaker 3: nice neighbor.

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Speaker 2: Here's what he does.

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Speaker 3: He's the do gooder and he is a good guy,

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Speaker 3: and he did I think when Rhonda had that squirrel moment,

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Speaker 3: he sort of like was like kind of his out

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Speaker 3: on that scene.

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Speaker 2: Was Matt going like what the heck was that? You know?

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Speaker 3: And Doug's watching the episode with me and he's like,

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Speaker 3: I remember there were a lot of scenes where I

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Speaker 3: sort of like finished on a like what just happened?

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Speaker 2: Yeah, Well, because the dress was called the come and

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Speaker 2: Get Me Dressed? Yeah yeah, and so Sandy's like, I'm

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Speaker 2: loaning my come get me dressed to Jane, and Ron

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Speaker 2: is like, that's my come get me dressed.

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Speaker 3: Yeah. It was a lot, so he he got to

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Speaker 3: have a justified eye roll or a head shaking out.

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Speaker 3: And then back in Allison's bedroom, she is trying on

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Speaker 3: the dress, thanking Sandy for the dress, wondering if it's

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Speaker 3: really right for her for her date with Rick. When

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Speaker 3: Billy walks in shirtless, right, was that the first shirtless

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Speaker 3: I did.

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Speaker 1: I did write down a shirtless for that, and I

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Speaker 1: was like, well, why just because we need to there's

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Speaker 1: several people in the house, I'm going to walk out

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Speaker 1: without my shirt, Like, yeah, for a long it's a

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Speaker 1: long scene to be shirtless. That's before they started putting

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Speaker 1: the kibosh on the shirtless and like, all right.

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Speaker 2: Sure, yeah.

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Speaker 3: Andrew's like, all right, that's what they tell me. We're

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Speaker 3: all just two hours and shirtless for no apparent reason

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Speaker 3: except I know I'm gonna be answering to the door

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Speaker 3: and it's gonna be another guy.

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Speaker 1: It made sense later then I was like, oh, that's why.

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Speaker 1: But for most of the scene, I'm like, I mean,

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Speaker 1: it's nice, but why he just hanging around shirtless?

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Speaker 2: I just thought it was funny to see like all

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Speaker 2: four of you in this tiny little room, and like,

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Speaker 2: it just felt so funny to me. Awkward. You usually

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Speaker 2: see like two people in a scene and you know

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Speaker 2: it's in the courtyard and you're someone's leaving and someone's

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Speaker 2: going and then they all come in here, and can

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Speaker 2: I just tell you what I thought was really weird?

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Speaker 2: And I want you to answer it. The doll, the

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Speaker 2: shelf of dolls in your bedroom? Did you notice the

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Speaker 2: shelf crammed with dolls? Floor to see dolls? Forget the

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Speaker 2: teddy Bear on the bed. I'm just saying, like, what

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Speaker 2: were they saying? Do you remember this at all?

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Speaker 1: Those were my dolls? Thinking about this like no, no, no,

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Speaker 1: because I think Billy makes a joke about it at

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Speaker 1: some point. It was like one of those strong character

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Speaker 1: choices that just was never really dressed.

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Speaker 3: But because it's a big like you didn't make the

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Speaker 3: character choice, so we're assuming, like set.

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Speaker 1: I did make a choice. Was it was written in

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Speaker 1: It was like that I had. It was kind of Allison's,

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Speaker 1: you know, her control her organization, like I have the

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Speaker 1: shelf of dolls, Everything has my label on it. It

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Speaker 1: was part of that initial character.

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Speaker 2: I was really wondering choices because there's so many ways

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Speaker 2: to show that, and I just thought, what are these dolls?

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Speaker 1: It'll be interesting we should pay attention to when they

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Speaker 1: just disappear. I'd I don't never really day it just

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Speaker 1: sort of somebody came in and the night and just

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Speaker 1: removed men.

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Speaker 3: Address these. Let's get rid of this.

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Speaker 2: I mean, there's so many dolls. You need to have

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Speaker 2: a story about them or something we're not going to.

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Speaker 3: Tell you about. This is where they should go.

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Speaker 2: Nobody mentioned the dolls.

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Speaker 3: I want to be honest, I didn't notice them, So

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Speaker 3: now I'm going to start looking for it.

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Speaker 2: You didn't, I didn't.

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Speaker 1: I didn't notice them either.

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Speaker 3: I didn't know well, but imber so if they're still there,

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Speaker 3: I'm going.

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Speaker 2: To be looking. I mean, because there's a small room

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Speaker 2: and the reason I think I noticed and that there

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Speaker 2: are four of you in there and you can't really move,

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Speaker 2: so they're just there behind you. And I'm like, what

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Speaker 2: is with these fifty dollars she has?

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Speaker 3: It gives us something to look for.

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Speaker 1: That so funny.

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Speaker 2: Definitely will they or will they not be? The will disappear?

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Speaker 1: So and uh.

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Speaker 3: Anyway, so she's getting ready for this date, trying to

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Speaker 3: decide if the dress is too much, and Billy is

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Speaker 3: giving her advice, saying, just keep it to business, just

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Speaker 3: stick to business, just talk about business, and then he

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Speaker 3: of course has to go answer the door when Rick

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Speaker 3: is knocking, and he answers shirtless in a towel, not

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Speaker 3: only as you shure, he's just wearing the towel, which

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Speaker 3: you know has a full conversation doing that, which exactly is.

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Speaker 2: In a full on suit like he's going to a mixture.

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00:17:06,560 --> 00:17:06,959
Speaker 2: But he did.

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Speaker 3: He did have like the eyeball, like the shot where

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Speaker 3: he had to like thing didn't tell that about yes, yeah,

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Speaker 3: what do I know? We watched his eyes go yees, yeah,

382
00:17:18,960 --> 00:17:20,520
Speaker 3: got it, he noticed.

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00:17:21,720 --> 00:17:27,200
Speaker 2: But Billy just listened to his tie right then or something,

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Speaker 2: just to confuse us. Where is this going?

385
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Speaker 3: But yeah, so Billy uh says No, I'm just the

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Speaker 3: roommate and just have Alison back by one thirty at

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Speaker 3: the latest, which is yeah, that's a very late bedtime

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Speaker 3: for a working girl.

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Speaker 1: It's so late girl. I said, how about nine fifteen. Yeah,

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Speaker 1: I'm going on my pajamas by nine thirty.

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Speaker 2: By ten, yeah, please give me back a way earlier

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Speaker 2: than that.

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Speaker 1: Rick.

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Speaker 3: But there they go. They go out on their date.

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Speaker 3: It's a very romantic restaurant with white tip cloth and

396
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Speaker 3: and they're getting to know each other.

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Speaker 1: It felt weird to see us out on a date

398
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Speaker 1: like in a restaurant I think grown up. That feels

399
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Speaker 1: very grown up. It did. I thought, oh, that looks

400
00:18:08,000 --> 00:18:10,680
Speaker 1: very grown up to me. Yeah, which, of course we

401
00:18:10,720 --> 00:18:12,480
Speaker 1: were in our twenties. We were going on dates like that.

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00:18:12,680 --> 00:18:15,840
Speaker 3: Yeah, but you as if he's the son of the

403
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Speaker 3: sun ray sunscreen, like maybe he's got money money.

404
00:18:22,960 --> 00:18:24,280
Speaker 1: Also, I think we spend so much from in the

405
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Speaker 1: courtyard in the apartment that to see us out in

406
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Speaker 1: the world on a real looking date, it was fun

407
00:18:29,040 --> 00:18:29,360
Speaker 1: to see.

408
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Speaker 3: And it was an actual restaurant, wasn't it.

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Speaker 1: It was an actual restaurant people walking by on Melrose

410
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Speaker 1: and it was on Melrose Avenues. It was outside you

411
00:18:36,720 --> 00:18:38,280
Speaker 1: could see the Great Greek restaurant.

412
00:18:40,040 --> 00:18:40,240
Speaker 3: Yeah.

413
00:18:40,600 --> 00:18:42,520
Speaker 2: Well, I think it was one of the first times

414
00:18:42,640 --> 00:18:47,000
Speaker 2: on the show there was there were you anyone was

415
00:18:47,080 --> 00:18:49,360
Speaker 2: in a restaurant. So I know later over the course

416
00:18:49,440 --> 00:18:52,119
Speaker 2: of all our years there were tons of restaurants scenes.

417
00:18:52,400 --> 00:18:53,960
Speaker 3: But yeah, but I think they shot on Melrose a

418
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Speaker 3: lot early on. It was like, use as much of

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Speaker 3: Melrose as do you remember the restaurant?

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Speaker 1: It was no, but it was read across the Green

421
00:19:00,080 --> 00:19:02,000
Speaker 1: Greek probably look it up. But I do remember the

422
00:19:02,080 --> 00:19:05,520
Speaker 1: excitement of shooting there, Like first we would shoot there

423
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Speaker 1: and and I had I was in an acting class

424
00:19:09,680 --> 00:19:15,040
Speaker 1: on Melrose Avenue who sometimes Greco was his name, and

425
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Speaker 1: uh so I would be an acting class sometimes when

426
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Speaker 1: you guys were shooting, and I would come out of

427
00:19:20,359 --> 00:19:22,320
Speaker 1: my acting class and see you guys shooting my gos

428
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Speaker 1: like time warp.

429
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Speaker 3: It was always like because shooting on a place like Melrose,

430
00:19:28,840 --> 00:19:30,600
Speaker 3: you know, they have to bring all those trailers and

431
00:19:30,680 --> 00:19:33,359
Speaker 3: all those like set up like base camp, like somewhere

432
00:19:33,359 --> 00:19:35,880
Speaker 3: in the neighborhood. It was a big like high we're here,

433
00:19:36,200 --> 00:19:38,639
Speaker 3: wasn't really subtle, So the whole neighborhood is like, what

434
00:19:38,840 --> 00:19:41,320
Speaker 3: is going on when there's a you know, a TV

435
00:19:41,480 --> 00:19:43,159
Speaker 3: or movie shoot on a busy street like that?

436
00:19:43,359 --> 00:19:44,640
Speaker 2: And was it at night?

437
00:19:45,400 --> 00:19:48,800
Speaker 1: It was at night. And the shift from before we

438
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Speaker 1: were on TV, and people like what do you you

439
00:19:50,640 --> 00:19:52,639
Speaker 1: have to explain it? Like with this the show it's

440
00:19:52,640 --> 00:19:55,600
Speaker 1: a DV sho to when it became more popular, was

441
00:19:55,720 --> 00:19:58,560
Speaker 1: so it was so severe, like the people that would stop,

442
00:19:58,600 --> 00:19:59,840
Speaker 1: they had to keep the crowds away. There was a

443
00:20:00,040 --> 00:20:01,640
Speaker 1: lot of noise. There was a lot of people wanting

444
00:20:01,680 --> 00:20:03,800
Speaker 1: to come close. It was so different. But I'm sure

445
00:20:03,840 --> 00:20:05,960
Speaker 1: here we just sat there nobody cared. People walked by it.

446
00:20:06,000 --> 00:20:08,360
Speaker 1: It was fine because we probably shot it before we're

447
00:20:08,359 --> 00:20:08,960
Speaker 1: even on the air.

448
00:20:09,160 --> 00:20:09,360
Speaker 3: Yeah.

449
00:20:09,440 --> 00:20:09,840
Speaker 2: Probably.

450
00:20:10,080 --> 00:20:12,000
Speaker 3: Yeah, it's really fun to see those locations and and

451
00:20:12,119 --> 00:20:15,440
Speaker 3: there you are having your little romantic sort of get

452
00:20:15,480 --> 00:20:18,840
Speaker 3: to know each other. And Alison decides to tell Rick

453
00:20:18,840 --> 00:20:23,320
Speaker 3: about an idea she had for for a campaign idea

454
00:20:23,400 --> 00:20:27,840
Speaker 3: for the sunscreen company. Yep, I mean I can't say

455
00:20:28,440 --> 00:20:29,280
Speaker 3: I was surprised.

456
00:20:29,720 --> 00:20:32,720
Speaker 1: Yeah, keep it inside, Alison, don't take the quiet part

457
00:20:32,760 --> 00:20:35,240
Speaker 1: out loud. But you know she was just just assuming

458
00:20:35,280 --> 00:20:41,040
Speaker 1: a naive and trusting and trusting. She's from Wisconsin. Alison

459
00:20:41,760 --> 00:20:43,520
Speaker 1: dolls have a doll next at.

460
00:20:43,400 --> 00:20:50,639
Speaker 2: The table, and then next they come back to the

461
00:20:50,720 --> 00:20:53,879
Speaker 2: courtyard and Rick is walking Alison back to her apartment

462
00:20:53,920 --> 00:20:55,399
Speaker 2: and they start making it.

463
00:20:57,760 --> 00:20:58,679
Speaker 3: Yeah, Alison made.

464
00:20:58,520 --> 00:21:02,199
Speaker 1: The kiss out since first makeout in the courtyard, there

465
00:21:02,240 --> 00:21:04,600
Speaker 1: were many, but this is my first guest star they

466
00:21:04,680 --> 00:21:06,080
Speaker 1: brought in for me to make out with.

467
00:21:06,640 --> 00:21:07,760
Speaker 2: Billy's Piero's.

468
00:21:07,920 --> 00:21:09,800
Speaker 3: We should start is how many guest stars did you

469
00:21:09,840 --> 00:21:10,480
Speaker 3: get to make out with?

470
00:21:13,200 --> 00:21:14,200
Speaker 2: My brain doesn't remember.

471
00:21:15,040 --> 00:21:18,720
Speaker 1: I'm gonna do my own very best. Because there was

472
00:21:18,760 --> 00:21:23,040
Speaker 1: a time when everyone talked about what a slut Amanda

473
00:21:23,160 --> 00:21:25,000
Speaker 1: was was sled. Amanda was, but she and I actually

474
00:21:25,040 --> 00:21:27,320
Speaker 1: did account. I'd actually made out with more people. But

475
00:21:27,400 --> 00:21:29,360
Speaker 1: because they brought guest stars in for me to make

476
00:21:29,400 --> 00:21:31,119
Speaker 1: out with, you didn't count them as much. But because

477
00:21:31,119 --> 00:21:33,800
Speaker 1: she was sleeping around in the apartment building of characters

478
00:21:34,800 --> 00:21:38,440
Speaker 1: and it sort of stuck to her, I was like people, No,

479
00:21:38,520 --> 00:21:40,919
Speaker 1: I was because I kind of didn't stick to Alison.

480
00:21:40,960 --> 00:21:42,520
Speaker 1: She still got to be the nice girl. But I

481
00:21:42,600 --> 00:21:44,040
Speaker 1: was like, are we not? Is no one paying attention?

482
00:21:44,119 --> 00:21:45,840
Speaker 1: They bring in a new guest star every other week

483
00:21:46,160 --> 00:21:47,960
Speaker 1: for me to make out with in the courtyard, which

484
00:21:47,960 --> 00:21:50,159
Speaker 1: we should nickname the Kissing Courtyard because that's well there.

485
00:21:50,200 --> 00:21:51,840
Speaker 3: And I think it's a good time to start the count.

486
00:21:52,200 --> 00:21:54,440
Speaker 1: I'm starting my own will I will be in charge of.

487
00:21:54,520 --> 00:22:02,000
Speaker 1: I'm starting a new list of Allison's guest star makeout opportunity, Allison's.

488
00:22:03,000 --> 00:22:06,359
Speaker 2: Conquest star opportunities. The star kisses.

489
00:22:08,400 --> 00:22:10,080
Speaker 1: That's adorable. I'm going to think of something better.

490
00:22:10,119 --> 00:22:11,480
Speaker 2: You get to us.

491
00:22:11,560 --> 00:22:12,879
Speaker 3: We we'll find out what the title of this.

492
00:22:13,240 --> 00:22:17,520
Speaker 2: Alice's out Okay, I think you should keep looking for.

493
00:22:20,840 --> 00:22:23,760
Speaker 3: Billy notices. He peeks out the window shades, because if

494
00:22:23,760 --> 00:22:24,879
Speaker 3: you're going to kiss in the courtyard.

495
00:22:25,000 --> 00:22:26,399
Speaker 2: Somebody's going to see you so and he.

496
00:22:26,400 --> 00:22:30,040
Speaker 1: Sees some kissing your platonic boy, probably everybody, probably all

497
00:22:30,080 --> 00:22:32,199
Speaker 1: everybody's looking out their window like who's doing it now?

498
00:22:32,240 --> 00:22:35,040
Speaker 1: Because it was a constant kiss your board lookouts to

499
00:22:35,119 --> 00:22:35,720
Speaker 1: use making out.

500
00:22:37,080 --> 00:22:38,480
Speaker 3: But then, can we talk about the next thing that

501
00:22:38,520 --> 00:22:43,320
Speaker 3: happened in the courtyard the next day? Yeah, Ronda is

502
00:22:43,520 --> 00:22:47,960
Speaker 3: rehearsing her new workout routine by the pool, but she's

503
00:22:48,080 --> 00:22:53,120
Speaker 3: doing it full onto the camera. Yeah, like onto the camera,

504
00:22:53,200 --> 00:22:56,040
Speaker 3: and she's like booking and she's looking at the camera.

505
00:22:56,320 --> 00:22:57,320
Speaker 3: It's very strange.

506
00:22:58,320 --> 00:22:59,200
Speaker 1: I don't know why it was.

507
00:22:59,400 --> 00:23:01,879
Speaker 2: That seemed like a direction thing, yes, you know, and

508
00:23:01,960 --> 00:23:03,399
Speaker 2: I don't know. I didn't it was.

509
00:23:03,560 --> 00:23:05,200
Speaker 3: It was an odd direction because it was a little

510
00:23:05,280 --> 00:23:07,600
Speaker 3: jarring to go to the courtyard and then all of

511
00:23:07,600 --> 00:23:09,480
Speaker 3: a sudden she's doing this boogie down routine. But she

512
00:23:09,640 --> 00:23:12,520
Speaker 3: was like fully committed and did her thing. But just

513
00:23:12,600 --> 00:23:14,760
Speaker 3: the the shooting of at the angle, like to have

514
00:23:14,840 --> 00:23:17,160
Speaker 3: her square to the camera, sent her frame and looking

515
00:23:17,359 --> 00:23:19,800
Speaker 3: in the lens was bizarre, a little jarring.

516
00:23:20,560 --> 00:23:21,840
Speaker 2: And Allison's leaving for work.

517
00:23:22,440 --> 00:23:25,160
Speaker 3: Sandy comes downstairs in a bikini asks about the date

518
00:23:25,520 --> 00:23:29,639
Speaker 3: and suggests maybe that she should model for Sunray Sunscreen.

519
00:23:29,760 --> 00:23:32,119
Speaker 3: And then Matt comes out of the apartment reminds Rhonda,

520
00:23:32,359 --> 00:23:33,720
Speaker 3: don't forget five pm.

521
00:23:33,840 --> 00:23:37,160
Speaker 2: You're coming to help me, make you committed. You're coming,

522
00:23:38,000 --> 00:23:39,000
Speaker 2: and in.

523
00:23:39,119 --> 00:23:43,960
Speaker 3: Walks Perry looking for Jake, yes, and knocking on the

524
00:23:44,040 --> 00:23:46,919
Speaker 3: door of his apartment. Sandy's sunning herself in her bikini

525
00:23:47,040 --> 00:23:48,760
Speaker 3: tells Perry that Jake isn't home.

526
00:23:48,880 --> 00:23:51,800
Speaker 2: When can I tell him? Who's call in? Just tell

527
00:23:51,880 --> 00:23:54,119
Speaker 2: him that Perry with a secretary.

528
00:23:55,240 --> 00:23:57,560
Speaker 3: There's there's a little bit she bantered there between.

529
00:23:57,320 --> 00:24:00,439
Speaker 2: These and you know, I love anyone noticed her choker

530
00:24:00,800 --> 00:24:04,960
Speaker 2: so nineties Perry's yes, she wore it more than one scene.

531
00:24:05,000 --> 00:24:06,680
Speaker 2: She wore in the next one too, which with that

532
00:24:06,840 --> 00:24:10,000
Speaker 2: fabulous outfit in the art gallery with the collar to

533
00:24:10,080 --> 00:24:13,880
Speaker 2: hear and yeah, stretchy pants up to hear. Oh yeah, yeah, yeah.

534
00:24:14,840 --> 00:24:19,280
Speaker 2: But she had this classic uh choker from the nineties,

535
00:24:19,359 --> 00:24:22,680
Speaker 2: like this thick black band with this like a star

536
00:24:22,840 --> 00:24:25,520
Speaker 2: or something hanging like we're like so big back then,

537
00:24:25,600 --> 00:24:27,719
Speaker 2: and yeah, like they're just I don't think that's translated.

538
00:24:27,840 --> 00:24:30,119
Speaker 2: I don't think they're in now with this kind of

539
00:24:30,200 --> 00:24:33,240
Speaker 2: resurgence of the nineties. But I just totally remember Joe.

540
00:24:33,119 --> 00:24:35,639
Speaker 3: Wore some of those oh yeah chokers back in then.

541
00:24:36,160 --> 00:24:39,520
Speaker 3: Sidney probably woh yeah, Sidney wore everything in style or not,

542
00:24:39,640 --> 00:24:43,959
Speaker 3: she was the choker this she's the arts one Sydney

543
00:24:44,040 --> 00:24:46,640
Speaker 3: when she comes on the scene. But also like Sandy's

544
00:24:46,680 --> 00:24:50,639
Speaker 3: bikini in this same very like vintage up. Yeah, like

545
00:24:50,960 --> 00:24:53,760
Speaker 3: very cute, styly but vintage not at all in the nineties.

546
00:24:54,000 --> 00:24:56,119
Speaker 2: Like she's advocating for herself. I'd be good for the

547
00:24:56,200 --> 00:24:58,160
Speaker 2: sunscreen modeling, don't you think?

548
00:24:58,440 --> 00:25:00,840
Speaker 3: I did notice that her her she got darker and

549
00:25:00,920 --> 00:25:03,280
Speaker 3: darker as like as the scene went on, like her

550
00:25:03,320 --> 00:25:04,520
Speaker 3: body makeup got reapplied.

551
00:25:04,640 --> 00:25:06,240
Speaker 2: As I really close up, it.

552
00:25:06,280 --> 00:25:07,680
Speaker 3: Was like, whoa, she's gotten a lot of sun in

553
00:25:07,720 --> 00:25:09,240
Speaker 3: the forty seconds.

554
00:25:11,080 --> 00:25:14,399
Speaker 2: She really Wow, that's such an inclusing thing.

555
00:25:14,480 --> 00:25:15,240
Speaker 3: You noticed, dolls.

556
00:25:15,320 --> 00:25:19,320
Speaker 2: I noticed there's things. There's so much chopped up.

557
00:25:20,240 --> 00:25:22,480
Speaker 3: So Alison gets to work and there's an envelope with

558
00:25:22,760 --> 00:25:25,600
Speaker 3: a rose on her desk and in walks her boss,

559
00:25:25,960 --> 00:25:29,800
Speaker 3: Lucy Cabot, and you take this up. Alison takes her

560
00:25:29,960 --> 00:25:32,359
Speaker 3: that opportunity to introduce herself, tells her that she's excited

561
00:25:32,359 --> 00:25:35,359
Speaker 3: about the sunscreen account. Do you remember the first scenes

562
00:25:35,400 --> 00:25:36,680
Speaker 3: in D and D, like, does it feel like the

563
00:25:36,720 --> 00:25:38,000
Speaker 3: same D and D or does it feel like a

564
00:25:38,080 --> 00:25:41,840
Speaker 3: different version than than where it kind of landed?

565
00:25:43,320 --> 00:25:46,320
Speaker 1: Well, because I moved into the bullpen. Oh true, right,

566
00:25:46,800 --> 00:25:49,520
Speaker 1: you're the receptionist. Yeah, that's what it was. Yeah, And

567
00:25:49,600 --> 00:25:51,400
Speaker 1: I think then we must have had a set by then,

568
00:25:51,960 --> 00:25:54,560
Speaker 1: right when it moved into the office, And so.

569
00:25:54,880 --> 00:25:56,639
Speaker 3: Was the when you were shooting the scenes at the

570
00:25:56,680 --> 00:25:59,920
Speaker 3: receptionist desk? Was it like it wasn't a full set?

571
00:26:00,240 --> 00:26:02,639
Speaker 3: Was that like a did they set that up like

572
00:26:02,720 --> 00:26:03,359
Speaker 3: in our production?

573
00:26:03,600 --> 00:26:06,680
Speaker 1: Suggestible? I feel like it was there. Maybe it's not.

574
00:26:06,800 --> 00:26:08,440
Speaker 1: Maybe we just did the of course we did the

575
00:26:08,600 --> 00:26:12,720
Speaker 1: X years there. It must have been on the sound stages.

576
00:26:12,800 --> 00:26:14,720
Speaker 1: It's just funny. I remember it as being there, But

577
00:26:14,800 --> 00:26:15,560
Speaker 1: that can't be right.

578
00:26:15,920 --> 00:26:19,280
Speaker 2: Because soundstage, because it looked like it was a sound stage.

579
00:26:19,320 --> 00:26:21,440
Speaker 2: But was it a whole set or I just I

580
00:26:21,560 --> 00:26:22,159
Speaker 2: don't remember.

581
00:26:22,240 --> 00:26:26,359
Speaker 1: I was thinking it was about a block at the

582
00:26:26,440 --> 00:26:30,280
Speaker 1: spelling offices. I think I'm just so naive that it's suggestible.

583
00:26:30,320 --> 00:26:31,720
Speaker 1: I think, well, we walked in the front door, it

584
00:26:31,800 --> 00:26:33,680
Speaker 1: must be in there. Oh, but I think you must

585
00:26:33,720 --> 00:26:35,120
Speaker 1: be right. It must have been. It must have been video.

586
00:26:35,160 --> 00:26:40,080
Speaker 1: I don't remember I remember Deborah being at at Santa Clarita,

587
00:26:40,320 --> 00:26:42,040
Speaker 1: so it must have been there, because why would she

588
00:26:42,119 --> 00:26:43,680
Speaker 1: get ready there if we weren't shooting there.

589
00:26:43,880 --> 00:26:45,240
Speaker 2: Definitely huh.

590
00:26:45,680 --> 00:26:45,720
Speaker 1: So.

591
00:26:45,880 --> 00:26:48,199
Speaker 3: Then so Matt comes into the teen shelter. He's got

592
00:26:48,200 --> 00:26:50,280
Speaker 3: his scucies, is already for this big night and he

593
00:26:50,359 --> 00:26:52,720
Speaker 3: needs his help. And Ronda shows up and he and

594
00:26:53,040 --> 00:26:55,840
Speaker 3: but not to help. She's showing up to say she

595
00:26:55,960 --> 00:26:58,960
Speaker 3: can't help that, I'm double booked and I've got to

596
00:26:58,960 --> 00:27:01,880
Speaker 3: teach in the rugby's class. And she lets him down

597
00:27:01,920 --> 00:27:05,720
Speaker 3: and he's clearly disappointed. Yes, But back at D and D,

598
00:27:05,960 --> 00:27:11,560
Speaker 3: Allison is overhearing Rick pitching her sunscreen idea to Lucy

599
00:27:11,760 --> 00:27:14,440
Speaker 3: and seeing that they're responding positively to it, and she

600
00:27:14,520 --> 00:27:17,000
Speaker 3: knows it's her idea. But I was very proud of Alison.

601
00:27:18,080 --> 00:27:21,399
Speaker 3: She stands up for herself, Yes, right away, and she

602
00:27:21,520 --> 00:27:24,119
Speaker 3: confronts him, even if he's going into the men's room

603
00:27:24,119 --> 00:27:25,560
Speaker 3: to try to get away from her. She goes into

604
00:27:25,560 --> 00:27:27,320
Speaker 3: the men's room after him and says, how Dario is

605
00:27:27,480 --> 00:27:28,520
Speaker 3: very proud of her for doing that.

606
00:27:29,119 --> 00:27:33,080
Speaker 1: Yeah, before hr she goes right to the boss and

607
00:27:33,400 --> 00:27:36,280
Speaker 1: Lucy says, you got to get a tougher skin, which

608
00:27:36,480 --> 00:27:38,600
Speaker 1: I think was really true of the times, right, you

609
00:27:38,680 --> 00:27:40,359
Speaker 1: had nowhere to go. You had to just tough en

610
00:27:40,440 --> 00:27:42,080
Speaker 1: up if you wanted to be a woman in business,

611
00:27:42,760 --> 00:27:44,720
Speaker 1: and you had to just definitely the.

612
00:27:44,800 --> 00:27:47,359
Speaker 2: Son of the times. Yeah, like you don't get away

613
00:27:47,359 --> 00:27:50,880
Speaker 2: with that anymore. It's like, no, you changed the density

614
00:27:50,920 --> 00:27:53,000
Speaker 2: of your skin. Yeah, mine's fine.

615
00:27:54,960 --> 00:27:56,840
Speaker 1: Well yeah, but I think it actually was good advice.

616
00:27:56,880 --> 00:27:58,879
Speaker 1: I think it was good advice, like you're going to

617
00:27:58,920 --> 00:28:00,119
Speaker 1: have to grow up if you want to be in

618
00:28:00,200 --> 00:28:01,440
Speaker 1: this in this kind of world.

619
00:28:01,600 --> 00:28:04,480
Speaker 3: And she also points out that like, ooh, this is

620
00:28:04,560 --> 00:28:07,720
Speaker 3: delicate because Rick is, you know, this big client. It's

621
00:28:07,760 --> 00:28:09,680
Speaker 3: the son, and I don't want to rock the boat.

622
00:28:09,840 --> 00:28:12,160
Speaker 3: So you're gonna have to be you know, you're gonna

623
00:28:12,160 --> 00:28:13,919
Speaker 3: have to toughen up, and you've got to take this one.

624
00:28:13,960 --> 00:28:15,840
Speaker 3: You got to take one for the team here. Yeah,

625
00:28:15,840 --> 00:28:18,879
Speaker 3: but it's because Rick is the son of the client

626
00:28:18,920 --> 00:28:21,320
Speaker 3: that they're trying to impress, and so, you know, would

627
00:28:21,320 --> 00:28:23,320
Speaker 3: it have been the same response had it not been

628
00:28:23,680 --> 00:28:25,399
Speaker 3: that sort of tricky situation, if it had just been

629
00:28:25,400 --> 00:28:27,680
Speaker 3: another co worker stealing your idea, I don't know.

630
00:28:28,040 --> 00:28:29,639
Speaker 1: Well, but it's like a being a parent and you

631
00:28:29,680 --> 00:28:31,240
Speaker 1: have two kids and one because they did it, they

632
00:28:31,320 --> 00:28:33,480
Speaker 1: did it, who do you believe? So she's kind of like, look,

633
00:28:33,600 --> 00:28:36,399
Speaker 1: he brought the idea to me, yep, and you should have.

634
00:28:36,560 --> 00:28:38,320
Speaker 1: You should have brought the idea to me like it

635
00:28:38,400 --> 00:28:40,560
Speaker 1: was on you. I think it was actually a good lesson. Yeah,

636
00:28:40,760 --> 00:28:41,640
Speaker 1: tough enough, Alison.

637
00:28:42,320 --> 00:28:45,960
Speaker 3: So then back at the coffee shop, Jake's boss Kurt

638
00:28:46,080 --> 00:28:47,600
Speaker 3: is giving him a hard time, telling him he's making

639
00:28:47,640 --> 00:28:49,520
Speaker 3: the coffee wrong, and he's like, I've had.

640
00:28:49,440 --> 00:28:50,120
Speaker 2: It, forget it.

641
00:28:50,360 --> 00:28:54,000
Speaker 1: Shockingly, Jake is mad yep, takes off his apron, throws

642
00:28:54,040 --> 00:28:54,960
Speaker 1: it down, and walks out.

643
00:28:55,080 --> 00:28:57,080
Speaker 3: He's been there only a couple hours. I don't think

644
00:28:57,320 --> 00:29:00,120
Speaker 3: I'm a couple. It's only been a couple hours. But

645
00:29:00,200 --> 00:29:01,600
Speaker 3: he's had it, and he says, I don't need your

646
00:29:01,680 --> 00:29:05,040
Speaker 3: five dollars, And that was probably gonna happen. Yeah, but

647
00:29:05,160 --> 00:29:08,840
Speaker 3: it really only took a couples. This was not a cliffhanger.

648
00:29:09,360 --> 00:29:11,040
Speaker 3: We did not need to do each other next episode

649
00:29:11,080 --> 00:29:12,920
Speaker 3: to find out. But five dollars an hour. He said,

650
00:29:12,920 --> 00:29:14,880
Speaker 3: I don't need your five dollars an hour, which is

651
00:29:15,320 --> 00:29:16,360
Speaker 3: personally my sign of the.

652
00:29:16,360 --> 00:29:17,160
Speaker 2: Times for the episode.

653
00:29:17,240 --> 00:29:17,440
Speaker 1: Yeah.

654
00:29:18,600 --> 00:29:20,760
Speaker 3: Well, but then another sign of the times. He goes

655
00:29:20,760 --> 00:29:23,520
Speaker 3: to a payphone to call Parry and says, let's talk.

656
00:29:23,800 --> 00:29:26,080
Speaker 3: So turns out he wants to hear about her idea.

657
00:29:26,160 --> 00:29:29,360
Speaker 3: After all, He's desperate, so he goes to Perry's art gallery,

658
00:29:29,920 --> 00:29:33,160
Speaker 3: where Perry tells Jake about her idea, that she's actually

659
00:29:33,200 --> 00:29:35,680
Speaker 3: made a small fortune selling paintings to this guy and

660
00:29:35,800 --> 00:29:38,120
Speaker 3: his friends. And I think, you know, we should scam

661
00:29:38,280 --> 00:29:40,840
Speaker 3: these guys. You should pretend like you're the artist. You're

662
00:29:40,880 --> 00:29:43,240
Speaker 3: hot new artist. Trust me, they'll believe it. It's a

663
00:29:43,280 --> 00:29:46,360
Speaker 3: great idea. We'll make tons of money. Here's how we're going.

664
00:29:46,360 --> 00:29:46,640
Speaker 2: To do it.

665
00:29:46,880 --> 00:29:49,760
Speaker 3: And she starts painting him, painting his t shirt.

666
00:29:50,560 --> 00:29:52,920
Speaker 2: Yeah, they start mixing each other up with paint. And

667
00:29:53,080 --> 00:29:55,600
Speaker 2: let's put it this way. They had a real painting date.

668
00:29:56,920 --> 00:29:59,760
Speaker 2: They had the painting date that Alison Billy, the opposite

669
00:29:59,800 --> 00:30:02,520
Speaker 2: of Alison and Billy had on that episode when they

670
00:30:02,560 --> 00:30:05,480
Speaker 2: were like go up and down, go up and down.

671
00:30:05,760 --> 00:30:08,080
Speaker 2: In this they painted each other and end up against

672
00:30:08,120 --> 00:30:08,800
Speaker 2: the wall and.

673
00:30:09,680 --> 00:30:13,320
Speaker 1: There were visible tongues there. She came and she had

674
00:30:13,360 --> 00:30:16,640
Speaker 1: her tongue out about three feet from wows we got

675
00:30:16,720 --> 00:30:17,600
Speaker 1: to keep it in a little bit.

676
00:30:17,720 --> 00:30:21,880
Speaker 3: There was no intimacy coordinator, no intimacy coordinator, and he

677
00:30:22,120 --> 00:30:24,280
Speaker 3: lifts her up but against the wall and they make.

678
00:30:24,520 --> 00:30:25,880
Speaker 1: I mean that is something to talk about. Like with

679
00:30:26,000 --> 00:30:28,480
Speaker 1: kissing scenes, I always like working with people. A lot

680
00:30:28,480 --> 00:30:30,160
Speaker 1: of experiences go what do you think? Like, what is

681
00:30:30,200 --> 00:30:32,280
Speaker 1: your idea about kissing scenes? Some people really kiss, some

682
00:30:32,320 --> 00:30:35,080
Speaker 1: people close mouth. My vote is open mouth, no tongue,

683
00:30:35,280 --> 00:30:37,000
Speaker 1: because they want to look like a real kiss, but

684
00:30:37,080 --> 00:30:38,680
Speaker 1: you don't want to like she.

685
00:30:38,760 --> 00:30:41,160
Speaker 2: Did it on purpose. I felt like it was very like.

686
00:30:42,640 --> 00:30:45,120
Speaker 3: It and let's shoot it right close up.

687
00:30:45,200 --> 00:30:48,000
Speaker 2: Yeah, but it was the characters. I mean, they're trying.

688
00:30:48,040 --> 00:30:49,880
Speaker 2: They're doing everything to show.

689
00:30:49,600 --> 00:30:51,680
Speaker 1: Us something to say is the character and another to

690
00:30:51,760 --> 00:30:55,000
Speaker 1: go out another actor with your tongue like that, Well

691
00:30:55,040 --> 00:30:56,000
Speaker 1: it's really.

692
00:30:56,240 --> 00:30:58,360
Speaker 2: Well, I mean, let's let's this is some sign of

693
00:30:58,400 --> 00:30:59,120
Speaker 2: the times as well.

694
00:30:59,240 --> 00:30:59,400
Speaker 1: Well.

695
00:30:59,480 --> 00:31:02,040
Speaker 2: We didn't have intimacy coordinators and pretty much actors could

696
00:31:02,040 --> 00:31:04,040
Speaker 2: do whatever they want and you had to like say stop.

697
00:31:04,280 --> 00:31:06,160
Speaker 3: And it's a really awkward thing for the director advocate.

698
00:31:06,200 --> 00:31:09,240
Speaker 2: But it's funny court because Grant said to me early

699
00:31:09,400 --> 00:31:12,240
Speaker 2: on when I came on the show, He's like, we

700
00:31:12,400 --> 00:31:15,600
Speaker 2: do proper kissing, which is open mouth and no tongue.

701
00:31:15,680 --> 00:31:18,240
Speaker 2: And I'm like, okay, so I think you were like,

702
00:31:20,000 --> 00:31:22,480
Speaker 2: I don't know anyway. I was like, I wasn't planning on,

703
00:31:23,000 --> 00:31:27,720
Speaker 2: Like I've been doing this for a while too. I

704
00:31:27,840 --> 00:31:31,120
Speaker 2: know that you open mouthed, no tongue. Okay, well, but she.

705
00:31:31,200 --> 00:31:33,600
Speaker 1: Didn't have It looks bad if you have this passionate

706
00:31:33,640 --> 00:31:35,640
Speaker 1: scene and their mouths are pursed and it looks like

707
00:31:35,680 --> 00:31:39,880
Speaker 1: they're kissing, right, But it's also a lot if they're

708
00:31:39,960 --> 00:31:41,720
Speaker 1: like really making out. You're like, oh my.

709
00:31:41,720 --> 00:31:43,920
Speaker 2: Goodnessney, because I would think it would be a censor

710
00:31:44,040 --> 00:31:48,520
Speaker 2: thing too, But I just listen. I also think it

711
00:31:48,640 --> 00:31:51,200
Speaker 2: was very right for the characters. I mean, listen, they

712
00:31:51,240 --> 00:31:53,600
Speaker 2: have all this energy to get up. They clearly are

713
00:31:54,040 --> 00:31:56,680
Speaker 2: these grifter, edgy people from the past.

714
00:31:56,800 --> 00:31:58,680
Speaker 1: I agree, But you create the illusion.

715
00:31:58,960 --> 00:32:01,920
Speaker 2: Yeah okay, I'm just saying, but what they don't.

716
00:32:01,760 --> 00:32:04,080
Speaker 1: Put your tongue out as you're walking through the door

717
00:32:04,280 --> 00:32:05,320
Speaker 1: heading for the kids.

718
00:32:05,480 --> 00:32:07,640
Speaker 3: You have to like, like, we could have probably gotten

719
00:32:07,680 --> 00:32:09,479
Speaker 3: that amount of pass She did it more than one.

720
00:32:09,800 --> 00:32:11,280
Speaker 2: They did it, and I didn't see him do it

721
00:32:11,440 --> 00:32:13,920
Speaker 2: because he came from the soap operas. Heap opera kissing.

722
00:32:14,320 --> 00:32:16,880
Speaker 3: Well, he knew the ground rules, I wonder should but

723
00:32:16,960 --> 00:32:19,640
Speaker 3: then they ended up all over this canvas.

724
00:32:19,320 --> 00:32:22,040
Speaker 1: With their paint and everywhere, and paint is paint button

725
00:32:22,080 --> 00:32:23,000
Speaker 1: marks on the canvas.

726
00:32:23,120 --> 00:32:25,600
Speaker 3: Yes, we're going to get there, and we're totally on

727
00:32:25,680 --> 00:32:28,320
Speaker 3: the same page about this. First but first, hang on that.

728
00:32:28,400 --> 00:32:30,040
Speaker 3: We find out that Ronda is trying to talk to

729
00:32:30,120 --> 00:32:31,880
Speaker 3: Matt while he's swimming in the pool, and I have

730
00:32:32,000 --> 00:32:34,240
Speaker 3: to say Matt was having his first storyline in this

731
00:32:34,280 --> 00:32:36,680
Speaker 3: episode because he keeps appearing he's actually having.

732
00:32:38,080 --> 00:32:39,520
Speaker 1: Shirtless scene and the pool.

733
00:32:39,360 --> 00:32:44,800
Speaker 3: Shirtless stude, right, and he's like, he's he's angry, he's

734
00:32:44,880 --> 00:32:47,680
Speaker 3: he's disappointed, and he tells Ronda that she's self absorbed,

735
00:32:47,880 --> 00:32:51,959
Speaker 3: and she says in retaliation, well, we can't all be saints, Matt,

736
00:32:52,920 --> 00:32:55,960
Speaker 3: which was like sort of an interesting accusation that leaves

737
00:32:56,040 --> 00:32:59,880
Speaker 3: him thinking about hmm. But then back in Allison's room,

738
00:33:00,200 --> 00:33:01,760
Speaker 3: she's in bed eating ice cream.

739
00:33:02,560 --> 00:33:05,000
Speaker 1: With a teddy giant wooden spoon.

740
00:33:05,080 --> 00:33:07,800
Speaker 3: Giant I mean not a little bit of a regular spoon.

741
00:33:08,520 --> 00:33:12,080
Speaker 1: Huge, I know, and not like a pint of ice cream,

742
00:33:12,200 --> 00:33:14,320
Speaker 1: like a half gallon of ice cream with a huge

743
00:33:14,440 --> 00:33:15,480
Speaker 1: wooden spoon.

744
00:33:15,240 --> 00:33:21,320
Speaker 4: And c yeah yeah, and the Teddy Bear? Yeah camera,

745
00:33:21,400 --> 00:33:26,520
Speaker 4: were the dolls trauma in our own way?

746
00:33:27,120 --> 00:33:28,160
Speaker 3: Were the dolls in that scene?

747
00:33:28,200 --> 00:33:29,720
Speaker 2: I have to know they're opposite.

748
00:33:29,920 --> 00:33:31,040
Speaker 3: Okay, so they were off camera?

749
00:33:31,120 --> 00:33:33,480
Speaker 2: Bear, you knew they were there. The Teddy Bear was

750
00:33:33,600 --> 00:33:33,960
Speaker 2: right here.

751
00:33:34,160 --> 00:33:34,360
Speaker 1: Yeah.

752
00:33:34,960 --> 00:33:38,160
Speaker 2: And Billy comes in and just like my poor girl,

753
00:33:38,280 --> 00:33:39,920
Speaker 2: what with the wooden spoon girl?

754
00:33:41,440 --> 00:33:43,240
Speaker 3: All the other ones are in the dishwasher.

755
00:33:44,000 --> 00:33:46,040
Speaker 2: That seemed like a situation where the props like this

756
00:33:46,160 --> 00:33:47,640
Speaker 2: is all we have. Let's just go with it.

757
00:33:47,840 --> 00:33:50,200
Speaker 3: Yeah, okay, and she sort of tries to blame Billy, well,

758
00:33:50,200 --> 00:33:51,680
Speaker 3: you told me to talk about business and then this

759
00:33:51,840 --> 00:33:53,720
Speaker 3: happened whatever, and he gives her a pep talk and

760
00:33:53,800 --> 00:33:56,280
Speaker 3: says you can go back to work and show them

761
00:33:56,320 --> 00:33:58,200
Speaker 3: what you made up. So it gives her another pep talk,

762
00:33:59,040 --> 00:34:01,120
Speaker 3: so off she goes. She goes back to work, and

763
00:34:02,360 --> 00:34:05,520
Speaker 3: Lucy is sort of now Lucy the boss is telling

764
00:34:05,840 --> 00:34:08,480
Speaker 3: coming to her and sort of apologizing like, hey, listen.

765
00:34:08,280 --> 00:34:09,759
Speaker 2: I don't want you to be disgruntled.

766
00:34:10,840 --> 00:34:16,600
Speaker 3: Oh But instead of being annoyed by that, Allison is like, well,

767
00:34:16,960 --> 00:34:20,640
Speaker 3: actually I have more ideas, and to her credit, Lucy says, great,

768
00:34:21,520 --> 00:34:24,319
Speaker 3: want but why don't you work with Rick on them

769
00:34:24,600 --> 00:34:26,719
Speaker 3: and present them, which can.

770
00:34:26,680 --> 00:34:28,120
Speaker 2: Then come to the thing.

771
00:34:29,320 --> 00:34:32,600
Speaker 1: I love this, Yes, very satisfying.

772
00:34:32,719 --> 00:34:36,480
Speaker 3: Yeah, seeing Alison standing up for herself and getting how

773
00:34:36,520 --> 00:34:39,800
Speaker 3: to take things into her own hands. So back of

774
00:34:39,840 --> 00:34:41,319
Speaker 3: the art gallery, here's where we get to talk about

775
00:34:41,360 --> 00:34:44,800
Speaker 3: this art. So Perry, Perry comes into the art gallery.

776
00:34:44,840 --> 00:34:48,280
Speaker 3: It's the night of the presentation. There got these potential buyers.

777
00:34:48,160 --> 00:34:50,920
Speaker 2: And she's snorting cocaine and we're.

778
00:34:50,840 --> 00:34:53,680
Speaker 3: Not going but first she's introducing Jake is the new

779
00:34:53,760 --> 00:34:56,480
Speaker 3: artist right to this potential buyer. And here's where we

780
00:34:56,600 --> 00:34:58,759
Speaker 3: reveal the canvas and it's just got these blobs of

781
00:34:58,800 --> 00:35:01,839
Speaker 3: color the that are all these round prints.

782
00:35:01,640 --> 00:35:03,120
Speaker 2: Which yeah, what did you think they were?

783
00:35:03,280 --> 00:35:03,600
Speaker 1: Butts?

784
00:35:03,719 --> 00:35:04,120
Speaker 2: Boobs?

785
00:35:04,239 --> 00:35:04,359
Speaker 3: Right?

786
00:35:04,520 --> 00:35:06,879
Speaker 2: What did you think they were? Deaf? Totally boobs and butts. Yeah,

787
00:35:07,560 --> 00:35:09,680
Speaker 2: like cocaine but.

788
00:35:09,840 --> 00:35:13,040
Speaker 1: Not like they were making like they were doing but yeah,

789
00:35:13,280 --> 00:35:15,440
Speaker 1: like like let me lift you out there.

790
00:35:16,840 --> 00:35:19,279
Speaker 2: And also what did the prop guy actually do to

791
00:35:19,400 --> 00:35:21,080
Speaker 2: make that art? Do you think he just like went

792
00:35:21,160 --> 00:35:24,440
Speaker 2: around like put this on the floor and yeah, like

793
00:35:24,560 --> 00:35:27,120
Speaker 2: what was that to like? Was it they kind of

794
00:35:27,320 --> 00:35:29,120
Speaker 2: like pillow a sponge.

795
00:35:30,640 --> 00:35:35,360
Speaker 3: It's all at illusion, it's art making art making in

796
00:35:35,480 --> 00:35:38,440
Speaker 3: every color like primary color, butts and boobs on this

797
00:35:38,640 --> 00:35:42,080
Speaker 3: art campus. So then after they do that and then

798
00:35:42,120 --> 00:35:43,880
Speaker 3: present the art, we go back to D and D

799
00:35:44,360 --> 00:35:46,920
Speaker 3: and we see that Rick and Allison are having this

800
00:35:47,120 --> 00:35:51,799
Speaker 3: like brainstorming meeting, and we find out that Rick doesn't actually.

801
00:35:51,760 --> 00:35:53,719
Speaker 1: Have any ideas, not much of a brain there.

802
00:35:53,960 --> 00:35:58,480
Speaker 3: M yeah, you go, Allison exactly. But here's another vest.

803
00:35:58,640 --> 00:36:01,120
Speaker 2: She was wearing a vest in the sea.

804
00:36:02,760 --> 00:36:06,560
Speaker 1: It was the times. I remember those very fitted T shirts, right,

805
00:36:06,600 --> 00:36:09,719
Speaker 1: I remember those very fitted, like stretchy white T shirt.

806
00:36:09,520 --> 00:36:11,479
Speaker 3: With a giant vest.

807
00:36:11,640 --> 00:36:11,800
Speaker 1: It was.

808
00:36:12,480 --> 00:36:17,280
Speaker 2: It was like an oversized Yeah, bodysuits, remember bodysuits.

809
00:36:16,800 --> 00:36:18,799
Speaker 1: Yes, those are back in style.

810
00:36:18,920 --> 00:36:20,000
Speaker 2: Thouit.

811
00:36:20,560 --> 00:36:23,640
Speaker 3: But Alison is showing her grit. She's got moxie, she's

812
00:36:23,680 --> 00:36:25,560
Speaker 3: got an idea. So then we get back to the

813
00:36:25,920 --> 00:36:28,680
Speaker 3: art gallery where Jake walks in on Perry finding that

814
00:36:28,760 --> 00:36:31,920
Speaker 3: she's snorting cocaine in the back room after they've presented

815
00:36:31,920 --> 00:36:32,279
Speaker 3: this art.

816
00:36:32,239 --> 00:36:34,520
Speaker 1: Which she very graciously offers to him because she's a

817
00:36:34,560 --> 00:36:37,400
Speaker 1: good hostess, and he is like, absolutely.

818
00:36:36,960 --> 00:36:39,600
Speaker 2: Not I want offered her anymore everything.

819
00:36:40,160 --> 00:36:42,400
Speaker 3: Here's here's another Like you said, daft, this was That

820
00:36:42,520 --> 00:36:45,040
Speaker 3: was another scene there's a huge room, a ton of

821
00:36:45,120 --> 00:36:49,360
Speaker 3: background actors, Like they populated that art gallery like a.

822
00:36:49,560 --> 00:36:53,400
Speaker 2: Crowd of people, all the hipstery kind of artsy nineties.

823
00:36:54,040 --> 00:36:56,520
Speaker 3: Yeah, it wasn't a club so much, but it was

824
00:36:57,480 --> 00:37:03,319
Speaker 3: populated with a ton of back card actors. And then

825
00:37:04,080 --> 00:37:06,400
Speaker 3: so Jake refuses to cocaine, says, she's pathetic. I'm not

826
00:37:06,440 --> 00:37:08,640
Speaker 3: going to sync that low. In fact, I'm odd of here.

827
00:37:08,680 --> 00:37:10,720
Speaker 3: And he goes and he has another angry moment. Instead

828
00:37:10,719 --> 00:37:13,200
Speaker 3: of just saying I'm out of here, he's got to

829
00:37:13,280 --> 00:37:15,440
Speaker 3: like take the art off the wall and you know,

830
00:37:15,600 --> 00:37:17,960
Speaker 3: demonstrate just how pissed he is, Like I don't even

831
00:37:18,040 --> 00:37:20,319
Speaker 3: want to, you know, follow through with this plan.

832
00:37:20,600 --> 00:37:23,000
Speaker 1: I see him having a lot of road rage incidents.

833
00:37:23,080 --> 00:37:25,040
Speaker 1: I think he's probably a part of his life.

834
00:37:25,239 --> 00:37:28,040
Speaker 3: I think, yeah, he's he might be shooting himself in

835
00:37:28,080 --> 00:37:30,399
Speaker 3: the foot here, like could he have maybe walked out

836
00:37:30,480 --> 00:37:33,600
Speaker 3: and still gotten the money, But no, he needs to like,

837
00:37:33,800 --> 00:37:35,759
Speaker 3: you know, stand up for what he believes in and

838
00:37:35,920 --> 00:37:38,640
Speaker 3: show everybody that no, he's not not going to do

839
00:37:38,840 --> 00:37:44,520
Speaker 3: this in this way. So Matt's working in the courtyard.

840
00:37:44,560 --> 00:37:47,320
Speaker 3: He's got a book of stuff in preparation for his

841
00:37:47,520 --> 00:37:50,799
Speaker 3: next assignment at work, and Alison walks in and they

842
00:37:50,800 --> 00:37:52,080
Speaker 3: have a conversation about work.

843
00:37:52,400 --> 00:37:54,719
Speaker 2: And this next scene in D and D I just love.

844
00:37:55,160 --> 00:37:59,759
Speaker 2: So Allison is in there and she and Rick are

845
00:37:59,800 --> 00:38:02,359
Speaker 2: with his dad, the client right of the Sun's sun

846
00:38:02,480 --> 00:38:07,000
Speaker 2: Ray sunscreen, and also Lucy's in there too. It's time

847
00:38:07,040 --> 00:38:09,920
Speaker 2: to present their ideas, and they present their ideas. Allison

848
00:38:10,000 --> 00:38:13,840
Speaker 2: goes first, and she presents a fantastic one. Oh and

849
00:38:13,920 --> 00:38:16,520
Speaker 2: then he as goes first. She has this whole thing.

850
00:38:16,600 --> 00:38:19,359
Speaker 2: There's a family and all on the beach and she's

851
00:38:19,480 --> 00:38:22,279
Speaker 2: up there standing in front of them with an excellent presentation,

852
00:38:22,640 --> 00:38:26,920
Speaker 2: very unique, you're so welcome and all that extra work

853
00:38:27,000 --> 00:38:30,640
Speaker 2: you do for our shooting. But Rick's idea was and

854
00:38:30,760 --> 00:38:35,080
Speaker 2: then and then so he loves it, shoots to the dad.

855
00:38:35,239 --> 00:38:38,480
Speaker 2: He loves it, and she's really impressed. And then he's like,

856
00:38:38,600 --> 00:38:42,560
Speaker 2: well interesting, interesting, So son, what do you got And

857
00:38:42,640 --> 00:38:45,759
Speaker 2: he's like, oh yeah. He gets up there with this

858
00:38:46,000 --> 00:38:52,160
Speaker 2: pathetic two paneled Well, here's someone before sunscreen cancer, and

859
00:38:52,239 --> 00:38:55,560
Speaker 2: then here's someone after they use our product, this wonderful sunscreen,

860
00:38:56,400 --> 00:38:59,960
Speaker 2: beautiful regular face. It's like everyone looks at each other,

861
00:39:00,040 --> 00:39:04,120
Speaker 2: You're going, holy crap. Who is this loser. Eddie goes

862
00:39:04,680 --> 00:39:08,120
Speaker 2: thanks son anything else, and that's when you step in

863
00:39:08,280 --> 00:39:12,239
Speaker 2: and say, well Rick, what about this idea? And he's like,

864
00:39:12,440 --> 00:39:16,120
Speaker 2: oh yeah, well Rick had this wonderful idea. And then

865
00:39:16,200 --> 00:39:17,760
Speaker 2: you come in and save his ash.

866
00:39:17,880 --> 00:39:21,120
Speaker 3: She saves the day in a very giving, very generous way.

867
00:39:21,719 --> 00:39:22,560
Speaker 2: Yeah, she gives it.

868
00:39:22,680 --> 00:39:24,360
Speaker 3: I don't know what, and this sneaks in her.

869
00:39:24,560 --> 00:39:27,920
Speaker 2: Then you even explain why you have all the pages

870
00:39:28,960 --> 00:39:30,840
Speaker 2: because you're like, well he left them here, here are

871
00:39:30,840 --> 00:39:33,520
Speaker 2: your pages again. And so he's like, thank you.

872
00:39:33,960 --> 00:39:35,719
Speaker 3: Very very grateful bailing him out.

873
00:39:36,680 --> 00:39:39,320
Speaker 1: Yeah, maybe maybe didn't have to do that, but you

874
00:39:39,400 --> 00:39:41,319
Speaker 1: know that's who you are.

875
00:39:41,440 --> 00:39:43,440
Speaker 3: But I think again, this is an indication of like

876
00:39:43,760 --> 00:39:46,320
Speaker 3: neatly wrapping up, like everybody's learned a lesson here, and

877
00:39:46,440 --> 00:39:48,160
Speaker 3: we need to all finish on a high note, like

878
00:39:48,760 --> 00:39:50,320
Speaker 3: let's just make a feel good moment.

879
00:39:50,400 --> 00:39:53,560
Speaker 1: Before breaking bad. You could have a bad guy hero,

880
00:39:53,719 --> 00:39:57,960
Speaker 1: you could have an anti hero, because I would have

881
00:39:58,080 --> 00:40:00,839
Speaker 1: liked it better, honestly, if she had just done her

882
00:40:01,080 --> 00:40:03,080
Speaker 1: good job and then just sat and let him hang

883
00:40:03,160 --> 00:40:05,680
Speaker 1: himself out, hang himself and not have to step in

884
00:40:05,800 --> 00:40:08,920
Speaker 1: and protect his ego, because what's the lesson there? Here

885
00:40:09,080 --> 00:40:11,399
Speaker 1: Lucy's saying you have to toughen up and be tough.

886
00:40:11,480 --> 00:40:12,840
Speaker 1: She should have just left it. You don't have to

887
00:40:12,920 --> 00:40:15,560
Speaker 1: be mean, as we say, like say what you mean,

888
00:40:15,600 --> 00:40:19,279
Speaker 1: but don't mean, but you can still like sit back.

889
00:40:19,400 --> 00:40:20,759
Speaker 1: So I'm sorry we had to it. But that was

890
00:40:20,800 --> 00:40:22,759
Speaker 1: sort of like at the time, and we see it

891
00:40:22,800 --> 00:40:25,360
Speaker 1: in show. It's a little sachrony. It was a sign

892
00:40:26,120 --> 00:40:28,720
Speaker 1: kind of leaned on that in the beginning.

893
00:40:28,800 --> 00:40:30,479
Speaker 3: For a second, we were gonna have this lesson about

894
00:40:30,480 --> 00:40:32,880
Speaker 3: being ruthless at work, right, and then she goes in

895
00:40:33,000 --> 00:40:35,000
Speaker 3: and she's gonna do that for a second, but then

896
00:40:35,160 --> 00:40:37,800
Speaker 3: it's like softened by going, oh, but I can't actually

897
00:40:37,880 --> 00:40:38,359
Speaker 3: be like all.

898
00:40:38,560 --> 00:40:41,560
Speaker 1: But also doing a good job and not rescuing people

899
00:40:41,640 --> 00:40:43,239
Speaker 1: isn't being ruthless. So I think it's kind of a

900
00:40:43,280 --> 00:40:46,000
Speaker 1: complicated thing, like she wasn't really being ruthless, she was

901
00:40:46,600 --> 00:40:50,360
Speaker 1: doing a good job. Her his bad job spoke for itself.

902
00:40:50,560 --> 00:40:53,720
Speaker 3: Yeah, so yeah, And also did you notice so John McCann,

903
00:40:53,920 --> 00:40:58,040
Speaker 3: the actor who played the mister dan Worth, the dad

904
00:40:58,120 --> 00:41:02,560
Speaker 3: the client, he turns up later. He will turn up

905
00:41:02,640 --> 00:41:06,919
Speaker 3: later another season as a completely different character. He does

906
00:41:07,040 --> 00:41:09,520
Speaker 3: in seasons two and four. I think he's gonna come.

907
00:41:09,600 --> 00:41:11,319
Speaker 3: This is I'm just like giving you a heads up.

908
00:41:11,440 --> 00:41:13,359
Speaker 3: He's going to be in seasons two and four as

909
00:41:13,400 --> 00:41:16,560
Speaker 3: an attorney, like a recurring attorney character that some of

910
00:41:16,600 --> 00:41:19,200
Speaker 3: our characters that need attorneys down the line. Had a

911
00:41:19,239 --> 00:41:22,400
Speaker 3: great I'm not exactly sure like what the story like,

912
00:41:22,719 --> 00:41:25,920
Speaker 3: but he's going to show you. Yeah, that's great. So

913
00:41:26,000 --> 00:41:27,880
Speaker 3: they liked him enough as mister dan Worth, but they

914
00:41:27,920 --> 00:41:31,040
Speaker 3: thought we'll bring him back as somebody else later. So yeah,

915
00:41:31,080 --> 00:41:31,480
Speaker 3: then we go.

916
00:41:31,680 --> 00:41:34,040
Speaker 2: We cut to Ronda dancing and I saying that she

917
00:41:34,160 --> 00:41:35,799
Speaker 2: was working out. She's doing amazing.

918
00:41:36,200 --> 00:41:39,080
Speaker 3: Did you guys jaide, did you hold your breath a

919
00:41:39,120 --> 00:41:39,480
Speaker 3: little bit?

920
00:41:39,560 --> 00:41:39,600
Speaker 1: Like?

921
00:41:39,719 --> 00:41:43,440
Speaker 2: Please? No extreme close up please, Like I was holding

922
00:41:43,520 --> 00:41:46,800
Speaker 2: my breath like, please, Matt, don't walk in with stretchy.

923
00:41:47,680 --> 00:41:50,600
Speaker 3: Man doing Ronda's moves. I don't want to say that,

924
00:41:50,760 --> 00:41:53,000
Speaker 3: And Matt was holding her. Doug was holding his breath

925
00:41:53,120 --> 00:41:55,360
Speaker 3: like because I may watch the episode with me. He's like, no,

926
00:41:55,800 --> 00:41:57,800
Speaker 3: I didn't have am I gonna dances like?

927
00:42:00,440 --> 00:42:00,759
Speaker 1: But yeah?

928
00:42:00,880 --> 00:42:03,960
Speaker 3: There that again. I think that that set is the

929
00:42:04,000 --> 00:42:06,759
Speaker 3: production offices of our testage. That would just they put

930
00:42:06,800 --> 00:42:08,759
Speaker 3: the ballet bar up and that was really good.

931
00:42:08,800 --> 00:42:12,640
Speaker 2: Well, all the Neon signs and had all those pastel colors. Yep,

932
00:42:12,719 --> 00:42:14,399
Speaker 2: it's just the colors of that era.

933
00:42:14,719 --> 00:42:16,680
Speaker 3: But again they're like, they have to work on this

934
00:42:16,800 --> 00:42:19,040
Speaker 3: choreography and do all this like prep work just to

935
00:42:19,080 --> 00:42:21,800
Speaker 3: shoot those scenes with the aerobics happening and stuff. And

936
00:42:21,920 --> 00:42:24,200
Speaker 3: sure enough, like we said, Matt walks in to apologize

937
00:42:24,239 --> 00:42:25,880
Speaker 3: to Ronda her being a little bit too hard on

938
00:42:25,960 --> 00:42:27,959
Speaker 3: her and that he doesn't want to lose his best friend.

939
00:42:28,040 --> 00:42:30,440
Speaker 3: So they make up and and Ronda makes him join

940
00:42:30,480 --> 00:42:32,839
Speaker 3: the class, which is when he like reluctantly starts trying

941
00:42:32,880 --> 00:42:35,240
Speaker 3: to do the moves and whatever. My son Jack walked

942
00:42:35,280 --> 00:42:40,560
Speaker 3: in that really he's like, oh my god, dad, it's

943
00:42:40,640 --> 00:42:42,680
Speaker 3: every Sun's you know, favorite thing to make fun of

944
00:42:42,719 --> 00:42:43,040
Speaker 3: their dad.

945
00:42:43,160 --> 00:42:45,320
Speaker 2: So that was that was a good guffaw out of

946
00:42:45,600 --> 00:42:47,280
Speaker 2: oh so cute.

947
00:42:47,360 --> 00:42:50,160
Speaker 3: Yeah, watching Doug Dancy, but I thought Doug was very cute,

948
00:42:50,840 --> 00:42:54,160
Speaker 3: so cute. And then wrapping up the d and D story,

949
00:42:54,440 --> 00:42:57,640
Speaker 3: Lucy approaches Alison saying, I know what you did, and

950
00:42:57,840 --> 00:43:01,400
Speaker 3: you build him out and yeah, Alison admits she did it,

951
00:43:01,680 --> 00:43:05,800
Speaker 3: but she did it for herself, but she knows she

952
00:43:05,880 --> 00:43:06,719
Speaker 3: took herself.

953
00:43:06,440 --> 00:43:09,240
Speaker 2: Off the pass track and then we have Jake talking

954
00:43:09,320 --> 00:43:11,640
Speaker 2: to Sandy offers to buy him a burger. You know,

955
00:43:11,719 --> 00:43:13,759
Speaker 2: it's so funny that whole longing between the two of them.

956
00:43:13,760 --> 00:43:16,160
Speaker 2: They have a nice chemistry. So I don't know what

957
00:43:16,239 --> 00:43:18,719
Speaker 2: we're going to see ahead with them, but we start

958
00:43:18,800 --> 00:43:21,879
Speaker 2: this whole series with them having had a pass, which

959
00:43:21,920 --> 00:43:24,399
Speaker 2: isn't on the show, but they imply it all the time.

960
00:43:24,520 --> 00:43:28,600
Speaker 1: Right, Well, she definitely likes him. Yeah, it feels very

961
00:43:28,680 --> 00:43:29,280
Speaker 1: one sided.

962
00:43:29,360 --> 00:43:30,520
Speaker 3: It doesn't. Yeah, well, I feel like.

963
00:43:30,520 --> 00:43:32,879
Speaker 2: They had a fling at least because she's always saying, well,

964
00:43:32,920 --> 00:43:34,600
Speaker 2: you like he dumped her.

965
00:43:35,360 --> 00:43:37,520
Speaker 1: Yeah, that's how fair. It feels like she still carries

966
00:43:37,560 --> 00:43:38,120
Speaker 1: the torch for him.

967
00:43:38,120 --> 00:43:42,719
Speaker 2: I'm saying, yeah, yeah, yeah, that they had something. But anyway, but.

968
00:43:42,760 --> 00:43:44,800
Speaker 3: Here's where he comes to terms with his lesson, like

969
00:43:44,960 --> 00:43:47,000
Speaker 3: lesson learned that is, you know, his past came back

970
00:43:47,040 --> 00:43:49,759
Speaker 3: to tempt him. Yeah, and seemed like a good place

971
00:43:49,840 --> 00:43:52,360
Speaker 3: to hide. And Sandy says, well, she became an actress

972
00:43:52,400 --> 00:43:55,080
Speaker 3: to hide from her past. And that's when Jake concludes

973
00:43:55,120 --> 00:43:56,680
Speaker 3: he's going to need to sell his motorcycle for money

974
00:43:56,680 --> 00:43:59,600
Speaker 3: because he's super desperate. One of the exteriors it might

975
00:43:59,600 --> 00:44:04,160
Speaker 3: have been them or shoes. I thought I spotted Scottie Shooters.

976
00:44:04,200 --> 00:44:04,759
Speaker 2: I spotted it.

977
00:44:04,880 --> 00:44:07,479
Speaker 3: Was it shooters. Yeah, did you see Scotty did the cross.

978
00:44:07,520 --> 00:44:10,960
Speaker 3: It was like an establishing shot and it was right.

979
00:44:11,160 --> 00:44:12,840
Speaker 3: And so they shot these estalishing shots.

980
00:44:12,960 --> 00:44:13,960
Speaker 2: They used crew members.

981
00:44:14,080 --> 00:44:15,719
Speaker 3: Yeah, and they would just throw the crew members at there.

982
00:44:16,000 --> 00:44:19,160
Speaker 2: And it was also the pool guy opening and when

983
00:44:19,200 --> 00:44:21,520
Speaker 2: you come into a scene cleaning the pool, that always

984
00:44:21,560 --> 00:44:23,040
Speaker 2: he was off in the pool. That's so funny.

985
00:44:23,040 --> 00:44:25,920
Speaker 3: All right, I'm glad it wasn't just imagine gay more attention.

986
00:44:26,080 --> 00:44:27,879
Speaker 1: Oh that's so fun Yeah, be guys are good.

987
00:44:28,120 --> 00:44:31,719
Speaker 3: You'll see it again because it's absolutely will Yeah. So

988
00:44:31,800 --> 00:44:33,879
Speaker 3: then at the bike shop, Jake is trying to sell

989
00:44:33,920 --> 00:44:37,360
Speaker 3: his bike, but he's saying, there's not really enough. You know,

990
00:44:37,400 --> 00:44:39,120
Speaker 3: I can't really offer him enough money for it.

991
00:44:39,280 --> 00:44:40,960
Speaker 2: I have all these other bikes I have to sell.

992
00:44:41,040 --> 00:44:41,800
Speaker 2: And then he looks at it.

993
00:44:41,880 --> 00:44:45,399
Speaker 3: It's like a beautifully done bike, and he decides, well,

994
00:44:45,719 --> 00:44:47,399
Speaker 3: you know, maybe you could tell the mechanic he could

995
00:44:47,400 --> 00:44:49,520
Speaker 3: have a job here, because it's really nicely done.

996
00:44:49,880 --> 00:44:52,080
Speaker 2: Whoever built this bike, you know, they built them up from.

997
00:44:52,040 --> 00:44:55,960
Speaker 3: The so this could be the beginning of a beautiful relationship.

998
00:44:56,719 --> 00:44:59,640
Speaker 1: He seems the mechanic mechanic than a resta.

999
00:45:00,080 --> 00:45:02,480
Speaker 2: Totally, this is the right place for him to be.

1000
00:45:03,480 --> 00:45:05,600
Speaker 1: Works on the bikes, shirtless he is.

1001
00:45:05,719 --> 00:45:09,480
Speaker 3: I imagine there'll be an opportunity face when do I start. Yeah,

1002
00:45:09,560 --> 00:45:11,880
Speaker 3: So that wraps up his story neatly. He's got a

1003
00:45:12,080 --> 00:45:14,400
Speaker 3: job and it's right where he should be. And then

1004
00:45:14,440 --> 00:45:17,200
Speaker 3: wrapping up the Matt storyline. Back at the teen shelter,

1005
00:45:17,680 --> 00:45:20,160
Speaker 3: he's working in the kitchen when Rohnda and the Sandy

1006
00:45:20,760 --> 00:45:22,640
Speaker 3: and Alison come in. Can you talk to us about

1007
00:45:22,680 --> 00:45:23,720
Speaker 3: your entrance in that scene?

1008
00:45:23,840 --> 00:45:27,520
Speaker 2: That was well this really I was.

1009
00:45:27,560 --> 00:45:30,120
Speaker 1: Looking at that thinking that because it's so not the

1010
00:45:30,200 --> 00:45:34,040
Speaker 1: Melrose we remember, right, Yeah, three of us coming in together,

1011
00:45:34,200 --> 00:45:36,320
Speaker 1: were standing there in a row, there to help, And

1012
00:45:36,360 --> 00:45:39,400
Speaker 1: I've got a play cherry tomatoes. I'm like one of

1013
00:45:39,440 --> 00:45:42,359
Speaker 1: my offering cherry tomatoes and pickles church mids and all

1014
00:45:42,400 --> 00:45:44,680
Speaker 1: of I think, I say to these kids, I'm offering

1015
00:45:44,880 --> 00:45:45,360
Speaker 1: these like.

1016
00:45:45,400 --> 00:45:49,480
Speaker 3: A Mediterranean you know. Yeah, but do you remember the

1017
00:45:49,560 --> 00:45:51,839
Speaker 3: song you were singing? Do you remember that you had

1018
00:45:51,880 --> 00:45:53,880
Speaker 3: to sing almost the entire verse.

1019
00:45:53,880 --> 00:45:55,600
Speaker 2: Of what do you mean should be singing a song?

1020
00:45:55,719 --> 00:45:56,239
Speaker 2: Oh my god?

1021
00:45:56,360 --> 00:45:59,440
Speaker 3: The three of you were singing yeah, and you had

1022
00:45:59,520 --> 00:46:02,359
Speaker 3: kept having entire bart walked it out. Yes, you had

1023
00:46:02,400 --> 00:46:04,520
Speaker 3: to walk into the kitchen, walk around the camera, coming

1024
00:46:04,600 --> 00:46:06,640
Speaker 3: on the other side, going ah, be the like you

1025
00:46:06,760 --> 00:46:11,279
Speaker 3: guys are all yes, yeah, And that's like and not

1026
00:46:11,520 --> 00:46:13,600
Speaker 3: just that much of the song you did, like a

1027
00:46:13,680 --> 00:46:14,040
Speaker 3: lot of it.

1028
00:46:14,440 --> 00:46:16,640
Speaker 1: It's right, right, right, we did a lot. And that's

1029
00:46:16,680 --> 00:46:18,880
Speaker 1: the kind of thing like that was that kind of

1030
00:46:20,000 --> 00:46:22,720
Speaker 1: all coming together or doing a show in the barn

1031
00:46:23,000 --> 00:46:27,320
Speaker 1: ending that wouldn't happen anymore, because what is strange because

1032
00:46:27,320 --> 00:46:29,080
Speaker 1: in the beginning it was as if we were the

1033
00:46:29,160 --> 00:46:32,359
Speaker 1: only eight people in the world and everything happened among us, right,

1034
00:46:32,680 --> 00:46:35,680
Speaker 1: we do everything together with friends together, and then our

1035
00:46:35,760 --> 00:46:37,000
Speaker 1: lives started outside.

1036
00:46:37,080 --> 00:46:39,279
Speaker 3: But at the end of the episode, everybody just like, oh,

1037
00:46:39,360 --> 00:46:41,640
Speaker 3: it's been a good week. We all resolved our things.

1038
00:46:41,680 --> 00:46:45,560
Speaker 3: I got my job, Yes, you taught your coworker a lesson,

1039
00:46:46,440 --> 00:46:50,080
Speaker 3: and Ronda and mad are still friends all as well.

1040
00:46:50,239 --> 00:46:52,319
Speaker 1: And it's also why not a ton of people were

1041
00:46:52,360 --> 00:46:53,440
Speaker 1: watching it at this point.

1042
00:46:53,880 --> 00:46:56,160
Speaker 2: I mean, I have to say that that was that

1043
00:46:56,719 --> 00:47:00,600
Speaker 2: last scene in this episode was a perfect example of

1044
00:47:01,080 --> 00:47:05,640
Speaker 2: the before y yeah, three of you showing.

1045
00:47:05,440 --> 00:47:08,360
Speaker 3: Up resolve cute. It wasn't a meat cute. It was

1046
00:47:08,360 --> 00:47:09,160
Speaker 3: a resolved.

1047
00:47:08,920 --> 00:47:12,440
Speaker 1: Resolved Yes, it's a wonder we weren't all there together, right,

1048
00:47:12,520 --> 00:47:14,319
Speaker 1: like everybody didn't come to help out.

1049
00:47:14,480 --> 00:47:18,920
Speaker 3: Yeah, and Billy sing the rest of the song together. Well, okay,

1050
00:47:19,000 --> 00:47:21,680
Speaker 3: So overall, I noticed this was the episode of the vests.

1051
00:47:22,920 --> 00:47:25,640
Speaker 2: So that was I think outfits all together. It wasn't

1052
00:47:25,719 --> 00:47:27,960
Speaker 2: just vast like. I really thought that that one that

1053
00:47:28,160 --> 00:47:30,560
Speaker 2: Perry was wearing in the art gallery, with that white

1054
00:47:30,680 --> 00:47:33,239
Speaker 2: collar that went halfway down all our I mean that

1055
00:47:33,440 --> 00:47:37,920
Speaker 2: was so nineties. Yeah, and with her stretchy black pants

1056
00:47:37,960 --> 00:47:39,600
Speaker 2: that went all the way up to here and then

1057
00:47:39,680 --> 00:47:44,560
Speaker 2: the blouse, yeah, very art and choker again. I just

1058
00:47:44,640 --> 00:47:47,960
Speaker 2: thought that was so arty nine yes, archy style.

1059
00:47:48,719 --> 00:47:51,719
Speaker 1: I thought of it as like our workplace episode, like

1060
00:47:51,840 --> 00:47:56,000
Speaker 1: everybody had a work conflict and it felt so sort

1061
00:47:56,040 --> 00:48:00,040
Speaker 1: of yeah, big work, this conflict, and I just but

1062
00:48:00,200 --> 00:48:02,959
Speaker 1: there was no drama, like nobody had a real drama.

1063
00:48:03,040 --> 00:48:04,239
Speaker 1: There was the tongue. There was a little bit of

1064
00:48:04,280 --> 00:48:07,279
Speaker 1: drama with the drama, but there wasn't any like nothing

1065
00:48:07,360 --> 00:48:10,640
Speaker 1: that we didn't have any big steaks anywhere, right, That's

1066
00:48:10,680 --> 00:48:14,080
Speaker 1: where we're missing. There were no big emotionals, and it

1067
00:48:14,200 --> 00:48:17,160
Speaker 1: wrapped up so neatly, so I'm I'm getting really ready

1068
00:48:17,200 --> 00:48:19,760
Speaker 1: for you guys to come on we Attle.

1069
00:48:20,000 --> 00:48:21,680
Speaker 3: We're gonna, yeah, we have a little ways to go.

1070
00:48:22,000 --> 00:48:23,040
Speaker 2: We bring some drama.

1071
00:48:24,960 --> 00:48:27,839
Speaker 3: But I was happy that. I was happy to see

1072
00:48:27,840 --> 00:48:30,439
Speaker 3: that Matt had a storyline. I know, yeah, a couple

1073
00:48:30,440 --> 00:48:32,160
Speaker 3: of cool T shirts. We're learning a little bit about

1074
00:48:32,160 --> 00:48:34,359
Speaker 3: Matt here, so like, hopefully it'll be more to come.

1075
00:48:34,880 --> 00:48:37,359
Speaker 1: There will definitely be more to come. Yes, good times.

1076
00:48:37,400 --> 00:48:40,480
Speaker 3: We'll see you next time, all right, Yay,