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

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Speaker 2: And Daphne's Aniga an iHeartRadio podcast.

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Speaker 1: Hi ladies, Hi, good to see us. Welcome to another

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Speaker 1: recap of Still the Place.

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Speaker 3: Always Fun, Always fun. This is going to be a

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Speaker 3: good one.

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Speaker 1: Yes, So, Daphne, you've been reading some comments on Instagram

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Speaker 1: and you want to talk about what they're saying.

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Speaker 2: I just briefly want to say that we're trying this

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Speaker 2: new format and we hope that y'all.

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Speaker 4: We're glad that you're sticking with us.

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Speaker 2: Some of you are watching along, some of you are

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Speaker 2: just listening to the podcast, and we're going to give

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Speaker 2: this another.

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Speaker 4: Go and hopefully this will be clearer to people.

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Speaker 2: And that you are having fun with us, because we're

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Speaker 2: having a blast and this is a great episode.

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Speaker 1: We're trying something. It's a little less linear because we

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Speaker 1: kind of felt stuck, So stick with us. If it

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Speaker 1: doesn't work, we can always bring back stuff that worked

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Speaker 1: or didn't. But we just wanted to have it be

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Speaker 1: more free form so we could talk and tell stories

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Speaker 1: and just have more fun with it.

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Speaker 4: So just working.

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Speaker 1: Give us a second. None of us are fans of change,

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Speaker 1: but let's see how much fields. Give us a few

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Speaker 1: weeks see if we can get our footage. So this episode,

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Speaker 1: episode twenty five, it's so busy. I love it because

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Speaker 1: Jane and Michael are back in the episode, Amanda and

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Speaker 1: Billy are in the episode. Robstie's is in the episode

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Speaker 1: playing Sam Marcia Cross is back playing Kimberly.

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Speaker 3: Matt has a line, and Jake does he has a line?

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Speaker 4: No, he doesn't, I'll tell you.

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Speaker 1: I will do yeah, exactly what math is a line.

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Speaker 1: He's also roasting a marshmallow, which is very exciting. That's right.

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Speaker 5: I will tell you that he does have a line

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Speaker 5: in this episode, So that's exciting.

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Speaker 1: Go and Jake, unfortunately are not making out. We're all disappointed.

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Speaker 1: They're kind of support stuff in this episode.

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Speaker 3: They should considerable restraint.

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Speaker 2: I think the theme in this Courtney quite appropriately, I think,

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Speaker 2: is change, big time change.

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Speaker 1: For a lot of our character, bringing it back around,

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Speaker 1: and it's also being uncomfortable with change. So the show's

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Speaker 1: starts and we come in on Billy. It's directed by

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Speaker 1: Nancy Malone, who's one of our favorite directors, and she

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Speaker 1: does this shock coming in on Billy, who can't get

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Speaker 1: comfortable in Amanda's fancy apartment, which is, you know, a

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Speaker 1: metaphor for him not being comfortable in her life. And

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Speaker 1: the episode for Billy and Amanda is really about them

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Speaker 1: trying to find a way. He moves his chair and

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Speaker 1: she doesn't like his chair. She doesn't like his rules.

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Speaker 1: She's trying to be easy. He wants her to watch

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Speaker 1: a movie. She doesn't want to watch a movie. It's

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Speaker 1: them seeing if they can make it work together. We

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Speaker 1: find out whether or not they can by the end,

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Speaker 1: Alison and Keith, this will shock everyone. Allison's cranky and confused,

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Speaker 1: which I mean we all find very shocking, I know,

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Speaker 1: and Allison, and he's annoyingly. He's annoying. Alison's annoying. He

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Speaker 1: decides to move to Seattle with Keith, so stupid right.

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Speaker 3: Away, so super mad at her about that.

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Speaker 1: We're already mad at her. And she is going through

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Speaker 1: life just sort of steamrolling through the entire episode saying, yeah,

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Speaker 1: I'm moving to Seattle. I feel really good about it.

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Speaker 1: I'm moving to Seattle, I feel really good about it.

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Speaker 1: On Monday.

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Speaker 5: On Monday, why, Yeah, it's so funny, Conny, you just

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Speaker 5: said you said I'm moving to Seattle so fast I

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Speaker 5: thought you said, I'm just gonna settle.

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Speaker 3: I'm gonna settle. I'm going to Seattle. I'm like, yeah,

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Speaker 3: that's what she was doing.

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Speaker 4: And I was taking my notes.

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Speaker 1: It kept saying settle. I was like, yes, So Alison's

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Speaker 1: moving to Seattle. We're all super annoyed. She's presenting it

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Speaker 1: to everybody. There's a great scene where we'll talk about it.

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Speaker 1: But she comes in when Joe and Jake are helping

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Speaker 1: Billy move, which is so psyched as he's moving, and

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Speaker 1: she's gonna announce this. You know, I'm going too. I'm

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Speaker 1: going to Seattle. I think it's a really good idea.

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Speaker 1: I'm going to go get some boxes.

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Speaker 3: She's just gone.

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Speaker 1: Right now, what happened Alison and Amanda. Allison's already getting

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Speaker 1: really mad at Amanda because she's leaving D and D

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Speaker 1: because she's got this great idea to move to Seattle.

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Speaker 1: What could be wrong? Amanda is annoyed, and at one

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Speaker 1: point Allison says, you're jealous of me, and Amanda says

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Speaker 1: something like, well, I have Billy. So there's that conflict.

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Speaker 1: That relationship isn't working. Billion and Billy and Allison are

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Speaker 1: heartbreaking because Billy's leaving the apartment, Alison leaves, Billy watches

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Speaker 1: her leave. Then later on in the show, Allison's on

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Speaker 1: an airplane and Billy watches Hurley. It's heartbreaking all through it.

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Speaker 1: Alison and Billy are leading these parallel lives. And Billy

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Speaker 1: is trying to get Amanda to watch No Saratu and

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Speaker 1: he's going jogging in the same place in time they

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Speaker 1: used to go. Alison's trying to get Keith to watch

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Speaker 1: No Sparratu and she's going jogging in the same place, and.

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Speaker 2: You with massive piles of popcorn. They obviously have their

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Speaker 2: routine from the past.

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Speaker 3: They want to watch it in the same way, same world.

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Speaker 1: They should have done split screen right, like they're each

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Speaker 1: trying to and Keith is trying to kiss Alison and

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Speaker 1: we all just want to hit him in the head.

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Speaker 1: And Amanda is not paying any attention. She doesn't like it,

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Speaker 1: and you just, you know, you're screaming at the tv.

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Speaker 1: Just be together, Aga, go over yourself. Why can't they

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Speaker 1: just be together? And there's a scene that will also

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Speaker 1: address when Joe and Jake have dinner with Amanda and Billy,

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Speaker 1: which I'm furious about, but Jake gives Billy some great advice,

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Speaker 1: which is, don't like trade your life for her, like

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Speaker 1: you know what I mean, don't trade your life for her.

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Speaker 1: So that's kind of what we see going in everywhere,

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Speaker 1: people trading their lives for this idea. And then super

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Speaker 1: exciting Michael. Jane and Michael are back and Michael's old friend.

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Speaker 5: And they don't talk about where they've been, but they

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Speaker 5: were gone for.

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Speaker 1: A while, just behind closed doors. They were running it.

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Speaker 1: They were a target.

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Speaker 3: They were. Now they've got a very cool storyline and they're.

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Speaker 1: Now they're back. So Rob Esti's who is Josie's real

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Speaker 1: life husband, comes back as Sam, who's Michael's old college friend.

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Speaker 1: Michael's working so he can't go to dinner.

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Speaker 2: Josie and Rob just got married basically this now they're

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Speaker 2: doing these in real life.

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Speaker 1: Yeah, they were newly woods at the time, just insanely attractive.

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Speaker 1: Right when they're on a scene together, you're just like,

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Speaker 1: stop it. You're both your attractive.

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Speaker 4: So beautiful.

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Speaker 1: So Jane goes out to dinner with Sam and he

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Speaker 1: confesses his feelings and kisses her and she's not quite

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Speaker 1: resistant enough. And when Michael goes back to guess who's back.

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Speaker 1: Marsha Cross is Kimberly. So it's interesting how they set

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Speaker 1: that up because we know that something happens with Michael

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Speaker 1: and Kimberly. But they had Jane make the first mistake

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Speaker 1: right even though Sam kissed her, she kind of kissed

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Speaker 1: him back, so that gave him the out.

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Speaker 3: So so much.

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Speaker 1: Oh my god, there's so much. It's so exciting. Let's

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Speaker 1: talk about all of the relationships.

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Speaker 5: The title of this episode is Irreconcilable Similarities.

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Speaker 3: Also, it's written by Chuck.

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Speaker 5: Pratt, and it just is like such a All the

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Speaker 5: parallels that you described are so cool and irreconcilable Himilarity

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Speaker 5: is such a good title for Yeah.

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Speaker 2: And also I feel like the in a meta sort

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Speaker 2: of way, Melrose Place is now there were more Melrose moments,

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Speaker 2: the familiar Melrose It's like becoming more to the forefront.

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Speaker 4: Like there were a couple of lines.

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Speaker 2: I had that Amanda says to Alison, like when you

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Speaker 2: said when you said. Towards the beginning of the episode,

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Speaker 2: Allison's like, oh, yeah, I'm going to moving to Seattle

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Speaker 2: and has nothing to do with you and Billy, and

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Speaker 2: she's like, don't forget your raincoat, Like that was such

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Speaker 2: an Amanda line, don't forget, oh Alison, don't forget your raincoat,

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Speaker 2: And there were a couple other lines like that, and

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Speaker 2: then you know, so you see there were a few of.

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Speaker 4: Those Melrose uh kind of like what did she just say? Moment.

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Speaker 5: Well, it is the first time we're seeing Amanda's character

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Speaker 5: decide it's okay to be bitchy, Like I see her

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Speaker 5: as like coming into the scene trying to be nice

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Speaker 5: to Alison, like, hey, are we okay?

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Speaker 3: Is kind of how she started the scene.

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Speaker 5: But Allison's in her defensive mode and goes off without well,

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Speaker 5: I heard about how you've you know, treated other employees,

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Speaker 5: and nobody likes it. You're acting all professional and you

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Speaker 5: got your game face on, but nobody really likes it.

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Speaker 3: And Amanda says except for Billy.

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Speaker 1: Yeah, I wrote that line, dog because I liked it

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Speaker 1: so much. She says, the truth is that Allison says,

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Speaker 1: the truth is that everything you say is a disguise

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Speaker 1: for something else, and I'm tired of it. Everyone is

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Speaker 1: tired of it. And Amanda goes everyone except Billy game on, right,

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Speaker 1: I mean, starting to see Amanda really Amanda.

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Speaker 2: There they go, Then we'll see at the end of

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Speaker 2: this episode, you know, Allison has her say with Amanda

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Speaker 2: at the barbecue, at the bonfire, so it's it's really

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Speaker 2: picking up. And then the re entry of Marcia after

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Speaker 2: we haven't seen her since Christmas episode the.

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Speaker 4: Middle of this season.

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Speaker 2: Now we're in episode what twenty five or something, but

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Speaker 2: Marsha's back, Kimberly's back, and she's very Kimberly like, and it.

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Speaker 5: Gives those relationships every reason to think about like, hmmm,

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Speaker 5: this other person over here is the grass greener, and

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Speaker 5: this irreconcilable similarities theme really shows, and all the relationships.

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Speaker 1: And everybody making these crazy decisions, like you see that

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Speaker 1: Billy's making this crazy decision to move into the Amanda

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Speaker 1: without really thinking because he doesn't know what to do

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Speaker 1: with Allison. And then she goes to Seattle. We've got

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Speaker 1: everybody leaving. There's a big going away party. And did

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Speaker 1: you guys notice I'm going back to the scene with

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Speaker 1: Alison and Amanda because I didn't understand this when Amanda lee, oh,

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Speaker 1: it's raincoats. I was just going, why did you say,

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Speaker 1: don't forget your ring and.

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Speaker 3: It's raincoat?

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Speaker 1: It just literally just can't take bad notes.

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Speaker 4: Ring your auto spelling is.

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Speaker 1: A little let's don't forget your ring.

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Speaker 3: Those are just bad notes.

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Speaker 1: Don't forget your ring.

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Speaker 2: I wish Billy would just put a ring on it,

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Speaker 2: for God's sakes, but then we wouldn't have a show.

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Speaker 4: I guess.

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Speaker 1: Oh, I really wanted to know, Duff because I'm furious

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Speaker 1: about it. What are Joe and Jake doing at dinner

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Speaker 1: with Billy and Amanda?

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Speaker 2: Well, I have an answer for you because the scene before,

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Speaker 2: you said I'm going to Seattle bye, and you kind

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Speaker 2: of just looked at us, and I think in Allison's

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Speaker 2: protection with just saying like I'm out, I'm out of here.

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Speaker 4: And I said, well, when have you told your boss?

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Speaker 1: What about your work?

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Speaker 4: What about us? Based when you say it.

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Speaker 2: Was the ugliest lamp from like the buglest Lamp, and that's.

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Speaker 4: Supposed to be enough.

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Speaker 3: Oh my gosh.

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Speaker 4: Anyways, so it was just dinner. So then we had

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Speaker 4: dinner with Amanda.

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Speaker 1: So you're looking for a new friend. You think maybe

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Speaker 1: Amanda will be your new friend.

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Speaker 3: But the funniest part years later, you guys are.

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Speaker 2: Wait, we should have asked Chuck when he was here

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Speaker 2: just a couple episodes ago, because he wrote this thing.

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Speaker 4: But I think, but don't you guys, I think like this,

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Speaker 4: let's let's talk about the chair. It's not just this chair.

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Speaker 4: It's a squeaky old ugly chair.

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Speaker 2: Like there should be a name for that, the squeaky

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Speaker 2: old ugly chair suit.

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Speaker 1: Kind of like Fraser. Remember in Fraser, the dad had

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Speaker 1: that chair. Well, Billy's version of the Fraser chair. It's

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Speaker 1: I don't think it's a bad looking chair. It's a

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Speaker 1: big leather chair.

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Speaker 5: Big leather, but it's squeak, the metaphor for their you

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Speaker 5: know first.

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Speaker 2: But yeah, and at that dinner scene every time, like

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Speaker 2: it squeaks like the sound.

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Speaker 4: Guy was like.

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Speaker 2: And then Amanda sits on his lap trying to be

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Speaker 2: coy and it's like.

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Speaker 3: Eh, they're both in it together.

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Speaker 1: Yeah, and during that dinner party they decide to throw

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Speaker 1: the chair away, like Billy concedes about thrawinway. So I actually,

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Speaker 1: little Sidner, I thought a good idea for Meloy's men.

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Speaker 1: It would be when you've had to merge your houses

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Speaker 1: with a partner, because I have a lot of stories

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Speaker 1: about that. That would be fun. Stick a pin in it.

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Speaker 1: But so he's moving it out and Jake is following

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Speaker 1: him and giving him some really good advice. Right, he's saying,

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Speaker 1: you know, Jake is saying, you gotta be careful, Billy, like,

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Speaker 1: you don't want to give it all away. This is

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Speaker 1: a woman who likes control. You don't want to give

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Speaker 1: it all away. Didn't you think that was some really

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Speaker 1: solid advice?

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Speaker 2: Yeah, he said, Well, he says, what what's next? You're

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Speaker 2: sacrificing this this old chair that's so comfortable to you.

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Speaker 2: It's your comfort, it's your world, it's who you are.

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Speaker 2: So are the old things that t shirts that you

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Speaker 2: wear around the house, Like that's you, that's not her.

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Speaker 5: But also like, yeah, what's she gonna ask you to

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Speaker 5: give up next guys night, you know, night with the

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Speaker 5: guys or whatever.

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Speaker 3: And what's she given up for you? Is the last

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Speaker 3: question he and.

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Speaker 1: Billy says relationships are about sacrifice. I'm like, well, they

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Speaker 1: should be a fun and.

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Speaker 4: Love and compromise, not compromise. Yeah, not sacrifice. I like

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Speaker 4: compromise better, yeah yeah.

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Speaker 1: And then Billy goes, I'm not keeping score, and Jake goes,

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Speaker 1: if I were you, i'd start Yeah, maybe I should.

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Speaker 1: Apparently he's not a huge fan of Amanda and Apparently.

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Speaker 2: He can talk because his girlfriend and he live right

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Speaker 2: next door to each other and they don't have to

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Speaker 2: sacrifice anything because of each other. O an apartment in

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Speaker 2: their own decorp nice. Easy for you to say, Jake, helpful.

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Speaker 2: But you guys are equal, don't you think?

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Speaker 1: Like Joe and Jake, the sweet thing about them is

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Speaker 1: their equals. And I think what he's seeing with Amanda

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Speaker 1: and Billy is that it's It's so funny because as

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Speaker 1: I start saying it, I like, I have so much

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Speaker 1: rage about that relationship, and it really comes up like

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Speaker 1: that's stupid relationship. It's so stupid.

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Speaker 4: And then I hope you have a good therapist because

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Speaker 4: I don't want you to relive this.

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Speaker 1: You imagine I got the therapy and I said I

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Speaker 1: need to talk about Billy and Amanda. She'd be like, who,

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Speaker 1: I'm like their characters on a TV show for thirty

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Speaker 1: years ago. I really need to talk about it.

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Speaker 3: They're still pissing me off.

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Speaker 1: They keep kissing. It really makes me that she kind

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Speaker 1: of treats Billy like a little boy, which is really

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Speaker 1: shown by he sits on the floor like none of

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Speaker 1: the furnit, the finah is all is pretty but uncomfortable,

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Speaker 1: so he ends up sitting on the floor, as it

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Speaker 1: is more than coffee on the floor.

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Speaker 5: More than one scene he's sitting on the floor in

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Speaker 5: this episode, and I didn't have a Boxers mentioning that.

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Speaker 3: She treats him like a child.

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Speaker 5: Well, he actually sort of speaks to her in his

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Speaker 5: like a little little cutesy baby voice too, just sort

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Speaker 5: of incongruous with their like what seems like her sophistication whatever.

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Speaker 4: It's sort of.

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Speaker 3: Illuminated by him going, oh, what did it?

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Speaker 5: And he's like just all cute and I don't know,

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Speaker 5: kind of like a little baby.

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Speaker 2: Well.

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Speaker 1: This this is also that great moment that where they're

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Speaker 1: showing like they did move too quickly, so they had

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Speaker 1: things they liked about each other. Obviously, they're both super attractive,

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Speaker 1: they're both sexy. They move in and then they start

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Speaker 1: to see the differences, like she thought she would help

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Speaker 1: him grow up, he thought he would help her loosen up,

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Speaker 1: but they find neither of them wants to do that.

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Speaker 1: So then you're at this. We've all been in those relationships,

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Speaker 1: I'm sure where you each have this idea of I'm

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Speaker 1: just going to do a few tweaks here, but there

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Speaker 1: are things that the other person doesn't want to change.

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Speaker 5: Well, he really came to that conclusion, like super out

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Speaker 5: loud by the end of his story arc and by

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Speaker 5: the end of the episode when he really has to

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Speaker 5: confront her and say, hey, I don't think this was

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Speaker 5: a great idea.

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Speaker 3: Is moving in together?

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Speaker 5: This all went to quickly, and you know, while I'm

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Speaker 5: being honest, I don't think I like you very much.

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Speaker 5: He was like, Oh, now that I've gotten to know you,

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Speaker 5: I don't think I like it. Like he really like, yeah,

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Speaker 5: all of it just well.

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Speaker 1: He said that, but he blew up after she insulted Allison,

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Speaker 1: and I wrote it down, said I love this line

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Speaker 1: so much. She says, kind of apropos of nothing. She says,

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Speaker 1: I'm glad I'm not Alison. I'm glad I'm not some ditzy,

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Speaker 1: indecisive little Midwestern nitwith Yeah.

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Speaker 3: That was a lot.

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Speaker 2: I mean, I really say things. I would say things

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Speaker 2: like that if you're in a fight already. But these

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Speaker 2: guys were like letting each other have it, getting in

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Speaker 2: like that's what led to the fight, Like, you know,

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Speaker 2: I think, which goes back to my argument about the chair.

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Speaker 4: I think the chair was more than a chair because

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Speaker 4: she was like, in your ugly effing chair, you know,

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Speaker 4: like that's.

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Speaker 3: Really what the chair is more than a chair? Well

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Speaker 3: it was, so it is like the subtitle.

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Speaker 1: And then symbolizes him like he wants to bring in

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Speaker 1: his full self. She doesn't want it. She wants this

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Speaker 1: handsome young guy that she thinks she's going to make

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Speaker 1: into the man her husband wants her father not her husband. Upsy,

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Speaker 1: there's a little forty.

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Speaker 3: Oops what I mean.

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Speaker 1: Father wants him to be, but he doesn't want it.

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Speaker 1: And that's why it's so sweet. This Chuck did such

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Speaker 1: a great job on this, this spread of how much

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Speaker 1: Billy and Elison really have common and they're trying to

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Speaker 1: make their partners be each other and it's just not

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Speaker 1: because there's a scene they run into each other running

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Speaker 1: at the same time, same neighborhood, and.

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Speaker 2: Well, wait to hold on, and they only they run

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Speaker 2: into each other court because he leaves the marina where

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Speaker 2: he's living with Amanda to go. He goes, I'm going running,

358
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Speaker 2: and she goes, well, why are you taking your car?

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Speaker 2: He's like, because I'm going back to Melrose. So he's

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Speaker 2: going to see her at the right time.

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Speaker 1: She noticed running. Yeah, so she knows, and they literally

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Speaker 1: run into each other and it's so cute, but they

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Speaker 1: each say that they're trying to get their partners to

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Speaker 1: watch it and neither like Amanda doesn't want butter on

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Speaker 1: a popcorn and keep this hitting on Alison like it's

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Speaker 1: all wrong. They're both so frustrated and obviously.

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Speaker 3: Hitting on her. He's like climbing on her.

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Speaker 4: He is climbing, he is.

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Speaker 3: He's like draping him and us.

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Speaker 5: Pretty soon she's got a pillow over her. She's like,

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Speaker 5: more padding, more, start the pillow.

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Speaker 1: She started with the barrier, the pillow barrier.

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Speaker 2: I think, Courtney, you playing Allison and Keith story must

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Speaker 2: have been so hard because it was like a pendulum constantly.

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Speaker 4: One scene, you're like, I'm gonna move with you.

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Speaker 2: You're in the car together and I'm gonna move with you,

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Speaker 2: and yes, of course I'm in love with you.

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Speaker 4: Of course I've been thinking about you. And the next

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Speaker 4: minute you just keep going goingugh, what stop.

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Speaker 1: She's trying to talk herself because in the car, she says,

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Speaker 1: it's so hard to have a conversation because you always

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Speaker 1: say the right thing.

383
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Speaker 3: Yeah, I did appreciate it.

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Speaker 1: That's the right thing, right, Like she's trying to make

385
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Speaker 1: this thing work, but it doesn't really. There's a time

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Speaker 1: when they're at the beach and he says he's moving

387
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Speaker 1: in on her and she's trying to get some space,

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Speaker 1: and he says, when I find something that's right that

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Speaker 1: I know that I want, I grab onto it and

390
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Speaker 1: I don't let it get away. And I was like, oh,

391
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Speaker 1: it's stalker one oh one.

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Speaker 2: Yeah.

393
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Speaker 3: He also like there was that was the scene on

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Speaker 3: the beach.

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Speaker 5: By the way, you're wearing the cutest baseball You look

396
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Speaker 5: a door horrible. You got jeans and a baseball hat

397
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Speaker 5: on on the beach.

398
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Speaker 3: You're so cute. And then but you.

399
00:18:06,440 --> 00:18:09,120
Speaker 5: Were like Allison was trying to be sort of playful

400
00:18:09,119 --> 00:18:11,760
Speaker 5: with him at one point, and like you literally got

401
00:18:11,800 --> 00:18:14,880
Speaker 5: down into like pounce position and you were like gonna

402
00:18:14,960 --> 00:18:17,680
Speaker 5: be playful, and then he ruined it by saying something

403
00:18:17,720 --> 00:18:19,159
Speaker 5: about like, oh, this is what it's like in a

404
00:18:19,160 --> 00:18:20,119
Speaker 5: marriage or something like that.

405
00:18:20,160 --> 00:18:22,440
Speaker 3: He dropped the word marriage, and you're like, no.

406
00:18:22,000 --> 00:18:23,720
Speaker 4: No, no, no.

407
00:18:22,400 --> 00:18:25,960
Speaker 5: No, Now you've gotten blown it by talking about marriage.

408
00:18:26,200 --> 00:18:29,800
Speaker 1: Yeah, she's trying to bring up some really true concerns

409
00:18:29,800 --> 00:18:32,720
Speaker 1: about this is scary, we're moving so fast, and then

410
00:18:32,720 --> 00:18:35,520
Speaker 1: you just gas slights her and says you're crazy. Of

411
00:18:35,560 --> 00:18:38,359
Speaker 1: course it's normal to move to Seattle on Monday. Of

412
00:18:38,359 --> 00:18:40,920
Speaker 1: course that's a perfectly normal thing to leave your job

413
00:18:41,240 --> 00:18:43,160
Speaker 1: and your friends. But you can see it, like especially

414
00:18:43,160 --> 00:18:46,720
Speaker 1: in the scene when Alison's talking to Joe and Jake

415
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Speaker 1: and Billy, that she's just rushing through it, that she

416
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Speaker 1: can't stand to see him moving out, and so she's

417
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Speaker 1: going to go too, because you know, my guess is

418
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Speaker 1: part of it. She can't stand to be in that

419
00:18:56,920 --> 00:19:01,080
Speaker 1: apartment alone, right, She can't stand to sit in the life,

420
00:19:01,200 --> 00:19:03,639
Speaker 1: in her real life with Billy missing. So she and

421
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Speaker 1: he's a geographic and she's going to She's going to

422
00:19:06,320 --> 00:19:07,840
Speaker 1: blow up her entire life.

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Speaker 4: Yeah.

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00:19:08,760 --> 00:19:11,159
Speaker 2: Yeah, I feel like it reminds me so much of

425
00:19:11,240 --> 00:19:14,680
Speaker 2: when I was young, where I think when we're young,

426
00:19:14,840 --> 00:19:19,000
Speaker 2: we tend to think about love and coupling up and

427
00:19:19,119 --> 00:19:23,040
Speaker 2: being in a romantic scenario. It has it has to

428
00:19:23,080 --> 00:19:25,080
Speaker 2: do with a certain amount of you not being you,

429
00:19:25,320 --> 00:19:29,040
Speaker 2: a certain amount of this idealization and this fantasy feeling

430
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Speaker 2: and like he's going to be like this and I'm

431
00:19:31,000 --> 00:19:32,480
Speaker 2: going to be and all I have to do is

432
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Speaker 2: just do this and Okay, I'll get it.

433
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Speaker 4: I did this constantly. We'll talk about in Melroe's minute.

434
00:19:36,800 --> 00:19:40,320
Speaker 2: But like she's like, you're like, you're saying, I can't

435
00:19:40,359 --> 00:19:43,720
Speaker 2: just sit home and be me. I mean it's working

436
00:19:43,760 --> 00:19:45,880
Speaker 2: for Billy to go off and be with Amanda. I'm

437
00:19:46,040 --> 00:19:48,080
Speaker 2: supposed to go off and be somebody else, Like I'm.

438
00:19:47,920 --> 00:19:49,680
Speaker 4: Supposed this is me being an adult.

439
00:19:50,040 --> 00:19:52,120
Speaker 1: You know, as much as she keeps saying, Like there's

440
00:19:52,160 --> 00:19:54,439
Speaker 1: a scene too in the apartment when she's saying, but

441
00:19:54,480 --> 00:19:55,960
Speaker 1: I want to work and I want to keep doing

442
00:19:55,960 --> 00:19:57,159
Speaker 1: this and I want to keep living my life, and

443
00:19:57,160 --> 00:19:59,359
Speaker 1: he goes, of course you should do that. But I

444
00:19:59,400 --> 00:20:03,400
Speaker 1: think the audience knows he really is trying to control her,

445
00:20:03,400 --> 00:20:05,280
Speaker 1: Like she keeps bringing it up and he kind of

446
00:20:05,280 --> 00:20:08,520
Speaker 1: gaslights her and says that's not true. But she's really

447
00:20:08,600 --> 00:20:12,040
Speaker 1: trying to be heard and he keeps saying the right thing.

448
00:20:12,119 --> 00:20:14,240
Speaker 1: But we all know, we're like he's not, like he's

449
00:20:14,280 --> 00:20:15,840
Speaker 1: not saying it the right way, like.

450
00:20:15,840 --> 00:20:18,600
Speaker 5: Right, because he also said there's tons of time to

451
00:20:18,640 --> 00:20:20,920
Speaker 5: get a job. You take a couple of months, Like yes,

452
00:20:21,040 --> 00:20:23,159
Speaker 5: who has time to like do that.

453
00:20:23,280 --> 00:20:24,720
Speaker 3: Like you know, she's already.

454
00:20:24,440 --> 00:20:26,159
Speaker 5: Said I need to make a living. I need to

455
00:20:26,240 --> 00:20:27,560
Speaker 5: you know, I need to have money. I need to

456
00:20:27,560 --> 00:20:30,959
Speaker 5: have work. I need to be somebody who works. It's like, oh,

457
00:20:31,040 --> 00:20:34,000
Speaker 5: there's time, tons of time, you know, there's not Yeah.

458
00:20:34,040 --> 00:20:36,640
Speaker 1: When Allison sends her an email over the baker over

459
00:20:36,680 --> 00:20:39,520
Speaker 1: the weekend, Lucy's trying to tell her, like what are

460
00:20:39,560 --> 00:20:42,040
Speaker 1: you doing? Why are you there's telephones like, say Lucy

461
00:20:42,080 --> 00:20:46,120
Speaker 1: the boss. Yeah, Deborah Dare who we adore, And she's

462
00:20:46,160 --> 00:20:49,159
Speaker 1: trying to tell her, and she says, just tell me

463
00:20:49,200 --> 00:20:51,399
Speaker 1: what is in Seattle that you're not getting here? And

464
00:20:51,440 --> 00:20:54,920
Speaker 1: Alison goes Keith and Lucy does. Deborah is the biggest

465
00:20:55,000 --> 00:20:57,920
Speaker 1: I roll like her entire can't you pick.

466
00:20:57,800 --> 00:20:58,640
Speaker 4: Up the phone?

467
00:20:58,960 --> 00:21:00,160
Speaker 3: Like big mistake?

468
00:21:00,359 --> 00:21:01,600
Speaker 1: Current, Like I.

469
00:21:01,600 --> 00:21:04,520
Speaker 2: Made a note about that that Lucy is always giving

470
00:21:04,560 --> 00:21:06,880
Speaker 2: you great advice.

471
00:21:07,119 --> 00:21:10,199
Speaker 4: Yeah, She's always willing to promote you, believe in you,

472
00:21:10,560 --> 00:21:11,199
Speaker 4: encourage you.

473
00:21:12,080 --> 00:21:17,159
Speaker 2: And all Alison does is dismiss her advice, take advantage

474
00:21:17,200 --> 00:21:20,560
Speaker 2: of her, trying to give her promotions and things and

475
00:21:20,680 --> 00:21:23,360
Speaker 2: the responsibility that comes along with that at work.

476
00:21:23,200 --> 00:21:25,399
Speaker 4: Like she's trying she sees her as a Lucy.

477
00:21:25,680 --> 00:21:28,240
Speaker 2: Lucy sees you as a younger version and really trying

478
00:21:28,240 --> 00:21:31,560
Speaker 2: to help you. And all Alison does is like it's

479
00:21:31,600 --> 00:21:33,680
Speaker 2: she says to her, it's complicated.

480
00:21:34,440 --> 00:21:37,120
Speaker 4: It's not fucking complicated. It never is.

481
00:21:37,359 --> 00:21:41,200
Speaker 2: It's just you say that so that you don't understand,

482
00:21:41,560 --> 00:21:43,480
Speaker 2: you know what I mean, Like nobody understands me.

483
00:21:43,600 --> 00:21:44,480
Speaker 4: No, we understand.

484
00:21:44,920 --> 00:21:47,800
Speaker 1: It's just it's not that Younique bring you way back

485
00:21:47,840 --> 00:21:49,200
Speaker 1: to a time. Yeah, I don't know if you guys

486
00:21:49,200 --> 00:21:50,840
Speaker 1: ever did bring me back to It's one of my

487
00:21:50,920 --> 00:21:56,240
Speaker 1: first movies, and I was trying to tell the director

488
00:21:56,400 --> 00:22:00,239
Speaker 1: that I had to leave early because my boyfriend was

489
00:22:00,320 --> 00:22:01,920
Speaker 1: like he was on the movie too, and he had

490
00:22:01,920 --> 00:22:03,440
Speaker 1: to leave the next day. And I kept saying, I

491
00:22:03,480 --> 00:22:05,520
Speaker 1: want to leave, I want to leave. My boyfriend's leaving,

492
00:22:05,840 --> 00:22:08,879
Speaker 1: And finally his assistant took me aside and said, just

493
00:22:08,960 --> 00:22:13,000
Speaker 1: so you know, this is not professional, Like you don't

494
00:22:13,000 --> 00:22:16,040
Speaker 1: go to the director of your movie and say, let

495
00:22:16,040 --> 00:22:19,520
Speaker 1: me out early to see my boyfriend. And I still cringe,

496
00:22:19,680 --> 00:22:24,240
Speaker 1: like I was only yah, maybe eighteen, and I still cringe.

497
00:22:24,280 --> 00:22:26,000
Speaker 1: And again like we learn on the job when we

498
00:22:26,000 --> 00:22:29,960
Speaker 1: started early, but I still cringe about that because right

499
00:22:30,040 --> 00:22:33,000
Speaker 1: in that moment, the boyfriend was more important than my job.

500
00:22:33,080 --> 00:22:35,040
Speaker 1: I didn't you don't go to the director and say

501
00:22:35,080 --> 00:22:37,520
Speaker 1: can I go see my boyfriend? Like it was so weird.

502
00:22:37,560 --> 00:22:41,040
Speaker 5: But I'm good for that assistant for sharing that with

503
00:22:41,080 --> 00:22:42,160
Speaker 5: you that you just didn't.

504
00:22:42,200 --> 00:22:43,919
Speaker 4: Yes, that assistant was Lucy.

505
00:22:44,000 --> 00:22:47,040
Speaker 2: Don't you understand that was Lucy And she was talking

506
00:22:47,119 --> 00:22:48,320
Speaker 2: to Courtney.

507
00:22:48,320 --> 00:22:51,000
Speaker 5: It was like, you're saying, daff like she's always giving

508
00:22:51,440 --> 00:22:54,439
Speaker 5: so much for Allison, and she said, you know there

509
00:22:54,520 --> 00:22:59,520
Speaker 5: is something called notice, giving notice like that, you didn't

510
00:22:59,520 --> 00:23:01,240
Speaker 5: even give me notice for the job, like talk about it.

511
00:23:01,240 --> 00:23:01,880
Speaker 3: I'm professional.

512
00:23:01,880 --> 00:23:04,720
Speaker 5: And yet at the end of that conversation with her,

513
00:23:05,040 --> 00:23:07,159
Speaker 5: she says, let me know if you need a recommendation.

514
00:23:07,800 --> 00:23:11,719
Speaker 5: She's still willing to like support you and root for you,

515
00:23:12,080 --> 00:23:14,159
Speaker 5: even though you've just done all the wrong things with

516
00:23:14,280 --> 00:23:16,080
Speaker 5: the way you've left the job.

517
00:23:16,119 --> 00:23:18,160
Speaker 3: Won't be there if you want to come back, she says.

518
00:23:18,280 --> 00:23:20,480
Speaker 1: And you can see that hit Alison when she says,

519
00:23:20,520 --> 00:23:22,400
Speaker 1: I'll give you a recommendation. You can see this. There's

520
00:23:22,440 --> 00:23:25,679
Speaker 1: so many moments when you think Alison might come to

521
00:23:25,720 --> 00:23:30,120
Speaker 1: her senses, right, like especially at the end, so when

522
00:23:30,119 --> 00:23:32,440
Speaker 1: you're wishing and Keith are waiting to go to the

523
00:23:32,480 --> 00:23:34,920
Speaker 1: airport and their car isn't showing up, and Billy drives

524
00:23:35,000 --> 00:23:36,840
Speaker 1: up with his chair attached to the top of his

525
00:23:36,920 --> 00:23:39,440
Speaker 1: cab because he's a great showing Amanda's and we're still

526
00:23:40,440 --> 00:23:42,160
Speaker 1: I don't remember any of this obviously he was thirty

527
00:23:42,200 --> 00:23:44,959
Speaker 1: years ago, and then thinking yay, he's going to come out.

528
00:23:44,960 --> 00:23:48,119
Speaker 1: They're going to walk back into the apartment, and Alison's

529
00:23:48,160 --> 00:23:50,000
Speaker 1: not going to go with Keith, but they Keith and

530
00:23:50,040 --> 00:23:51,920
Speaker 1: Allison get in the car to go to the airport,

531
00:23:53,160 --> 00:23:56,120
Speaker 1: and Alison and Billy are talking and Keith keeps saying, Alison,

532
00:23:56,200 --> 00:23:57,720
Speaker 1: we have to go. Alice, don't you want to just

533
00:23:57,760 --> 00:24:01,160
Speaker 1: slap him? It's like Keith, shut up, yeah.

534
00:24:00,880 --> 00:24:02,920
Speaker 3: And he just loads the bags in the car. I

535
00:24:02,920 --> 00:24:03,280
Speaker 3: don't know.

536
00:24:03,480 --> 00:24:08,200
Speaker 5: I thought that the airport scene was shot really well too,

537
00:24:08,560 --> 00:24:12,480
Speaker 5: where after he drives you go. After Billy drives Keith

538
00:24:12,520 --> 00:24:15,479
Speaker 5: and Allison to the airport in his cab since their

539
00:24:15,520 --> 00:24:18,080
Speaker 5: shuttle didn't show up, then he also says, hey, I'm

540
00:24:18,080 --> 00:24:20,239
Speaker 5: going to walk you to the gate. And then it

541
00:24:20,280 --> 00:24:23,919
Speaker 5: gave them an opportunity to have another private conversation because

542
00:24:24,000 --> 00:24:26,439
Speaker 5: Alison says, Keith, why don't you go get us seats

543
00:24:26,440 --> 00:24:30,160
Speaker 5: on the plane. So Keith disappears, thank you, and then

544
00:24:30,520 --> 00:24:35,159
Speaker 5: Billy and Alison have this really great you know, honest

545
00:24:35,160 --> 00:24:38,480
Speaker 5: that he's saying, don't do it, don't go. They're walking

546
00:24:38,560 --> 00:24:41,640
Speaker 5: parallel with the fence in between them as she's approaching

547
00:24:41,640 --> 00:24:42,320
Speaker 5: the plane.

548
00:24:42,040 --> 00:24:44,600
Speaker 3: And walking with her. Do you remember if that was

549
00:24:44,640 --> 00:24:47,720
Speaker 3: a Bourbank It looked it was Bourbank. It looked like

550
00:24:47,760 --> 00:24:48,480
Speaker 3: Bourbank Airport.

551
00:24:48,480 --> 00:24:50,159
Speaker 1: Did it look like a real airport to you? The

552
00:24:50,160 --> 00:24:52,399
Speaker 1: front of the airport looked like someone had hand painted

553
00:24:52,400 --> 00:24:54,920
Speaker 1: a sign and put it on top of the Valley Airport.

554
00:24:55,480 --> 00:24:57,639
Speaker 5: It looked a lot like Yeah, they it was a

555
00:24:57,680 --> 00:24:59,639
Speaker 5: made up name for an airport. They called it Valley,

556
00:25:00,080 --> 00:25:02,880
Speaker 5: but I think it was Burbank Airport where the layout

557
00:25:03,040 --> 00:25:07,479
Speaker 5: was shot. And that little half fence strikes me is

558
00:25:07,520 --> 00:25:10,080
Speaker 5: like the way you approach an airplane whatever.

559
00:25:10,119 --> 00:25:11,240
Speaker 3: It was just a really great way to.

560
00:25:11,240 --> 00:25:14,240
Speaker 5: Shoot the scene, to be able to see Billy and

561
00:25:14,280 --> 00:25:17,679
Speaker 5: Allison having this conversation. He was coming out and saying it,

562
00:25:17,760 --> 00:25:19,280
Speaker 5: don't do it, don't leave.

563
00:25:19,680 --> 00:25:23,160
Speaker 4: Did you guys just see that Bob Dylan movie. It's

564
00:25:23,200 --> 00:25:24,320
Speaker 4: so good. I've seen it twice.

565
00:25:24,359 --> 00:25:26,760
Speaker 2: But there's a scene like that in the airport where

566
00:25:27,040 --> 00:25:29,800
Speaker 2: the cycling fence is high. So they're like this, but

567
00:25:29,840 --> 00:25:31,520
Speaker 2: they're talking to each other and they just have this

568
00:25:31,600 --> 00:25:32,320
Speaker 2: heartbreaking thing.

569
00:25:32,359 --> 00:25:34,600
Speaker 4: And I saw this scene, I'm like, I wonder if

570
00:25:34,600 --> 00:25:36,320
Speaker 4: he stole that from Melrose Place.

571
00:25:36,560 --> 00:25:39,840
Speaker 1: We have a huge, a huge influence on the world

572
00:25:39,880 --> 00:25:43,160
Speaker 1: of movie, right, he's on the film world. I think

573
00:25:43,200 --> 00:25:46,119
Speaker 1: that scene's been done a lot. But it's this sweet

574
00:25:46,160 --> 00:25:48,440
Speaker 1: thing when he's saying please don't go, and you really

575
00:25:48,480 --> 00:25:50,960
Speaker 1: think for a minute she's not going to. They have that,

576
00:25:51,040 --> 00:25:54,640
Speaker 1: Like how many sweet heartbreaking hugs are Billy and Allison?

577
00:25:55,400 --> 00:25:58,479
Speaker 2: Well, listen another line that he said there, which was

578
00:25:58,720 --> 00:26:03,320
Speaker 2: so revelatiyor to me. He says, you can't go and

579
00:26:03,359 --> 00:26:05,639
Speaker 2: she's like, you know something like what's here? And he's like, no,

580
00:26:05,760 --> 00:26:08,200
Speaker 2: these are like the best people you met in your

581
00:26:08,200 --> 00:26:11,120
Speaker 2: whole life. I know, because they are the best people I've.

582
00:26:10,960 --> 00:26:12,159
Speaker 4: Met in my life.

583
00:26:12,240 --> 00:26:16,600
Speaker 2: Yes, And I was like wow, it just like made

584
00:26:16,600 --> 00:26:18,639
Speaker 2: me feel really good, Like, Okay, these people are good

585
00:26:18,680 --> 00:26:19,080
Speaker 2: for each other.

586
00:26:19,080 --> 00:26:21,040
Speaker 4: And they had a big influence on Billy, do you

587
00:26:21,080 --> 00:26:21,480
Speaker 4: know what I mean?

588
00:26:21,520 --> 00:26:24,080
Speaker 2: Because that whole apartment thing, because we all just do

589
00:26:24,160 --> 00:26:26,600
Speaker 2: stuff to each other, but like, they are really great

590
00:26:26,680 --> 00:26:28,720
Speaker 2: for each other. This is the time in life where

591
00:26:29,000 --> 00:26:30,760
Speaker 2: we depend on each other and we really have these

592
00:26:30,800 --> 00:26:31,480
Speaker 2: good friendships.

593
00:26:31,640 --> 00:26:34,480
Speaker 5: And she doesn't really have a strong enough response to

594
00:26:34,520 --> 00:26:34,880
Speaker 5: it either.

595
00:26:34,920 --> 00:26:37,080
Speaker 3: She's like, I have to go, I have to get

596
00:26:37,080 --> 00:26:38,200
Speaker 3: on the plane, and.

597
00:26:38,240 --> 00:26:40,160
Speaker 5: Like whatever that is insider her that makes her feel

598
00:26:40,160 --> 00:26:41,600
Speaker 5: like she has to follow through with what she said

599
00:26:41,640 --> 00:26:42,440
Speaker 5: she was going to do, and.

600
00:26:42,400 --> 00:26:45,840
Speaker 1: She well, it's Billy. It's that Billy's with Amanda. Because

601
00:26:45,840 --> 00:26:47,880
Speaker 1: I heard that line, this might be my self centered

602
00:26:48,119 --> 00:26:51,359
Speaker 1: because I was like, that's really about Alison trying to

603
00:26:51,400 --> 00:26:54,680
Speaker 1: project everything I can. But I thought, because it's the thought,

604
00:26:54,720 --> 00:26:56,800
Speaker 1: I thought he was saying the micro version of the

605
00:26:56,840 --> 00:26:59,520
Speaker 1: best person I've ever met. Like I think it was

606
00:26:59,600 --> 00:27:00,359
Speaker 1: about by.

607
00:27:00,200 --> 00:27:03,000
Speaker 5: That time he said that he's moved out and they're over.

608
00:27:03,280 --> 00:27:05,920
Speaker 5: I'm just arguing with this logic here for you, of course,

609
00:27:05,960 --> 00:27:06,520
Speaker 5: but that's.

610
00:27:06,359 --> 00:27:10,760
Speaker 1: What I'm saying, like he's saying a moment, don't go again.

611
00:27:10,880 --> 00:27:14,080
Speaker 1: This is my rewriting of the scene, don't go. I

612
00:27:14,119 --> 00:27:15,960
Speaker 1: wish I thought I wrote it down. I can't find it.

613
00:27:16,119 --> 00:27:18,760
Speaker 4: No, it's I I mean I can.

614
00:27:18,920 --> 00:27:20,800
Speaker 2: You know, you can think of what you want, project

615
00:27:20,840 --> 00:27:23,320
Speaker 2: aw you want. But I think he really did me

616
00:27:23,800 --> 00:27:26,360
Speaker 2: because if you think about it, even in this episode

617
00:27:26,359 --> 00:27:28,520
Speaker 2: where he lives with Amanda, he still has had these

618
00:27:28,560 --> 00:27:29,720
Speaker 2: moments with these people.

619
00:27:30,359 --> 00:27:32,480
Speaker 4: They've had scenes of moving helping him move the chair.

620
00:27:32,560 --> 00:27:36,400
Speaker 2: He's had talks with with Grant, who's been there for him.

621
00:27:36,480 --> 00:27:39,800
Speaker 4: He's, you know, like, these are great people. That's how

622
00:27:39,840 --> 00:27:40,800
Speaker 4: I read it, and I just.

623
00:27:40,880 --> 00:27:44,280
Speaker 1: I think the show Yeah, yeah, no, I think you're

624
00:27:44,320 --> 00:27:45,200
Speaker 1: totally right.

625
00:27:45,480 --> 00:27:47,560
Speaker 2: But he could have been covering it like you're my

626
00:27:47,680 --> 00:27:49,080
Speaker 2: best person, don't leave.

627
00:27:49,160 --> 00:27:52,040
Speaker 1: He could have been that's that's what I'm doing, That's

628
00:27:52,720 --> 00:27:53,600
Speaker 1: that's the story.

629
00:27:53,960 --> 00:27:54,320
Speaker 3: Yeah.

630
00:27:54,600 --> 00:27:57,399
Speaker 5: And but but that she in her response is just

631
00:27:57,440 --> 00:28:00,520
Speaker 5: like I have to go. There's not like we don't

632
00:28:00,600 --> 00:28:01,960
Speaker 5: understand that as an audience, we.

633
00:28:01,920 --> 00:28:03,520
Speaker 3: Can't understand why do you have to go?

634
00:28:03,560 --> 00:28:06,920
Speaker 5: When this guy is just finished saying he's done with Amanda,

635
00:28:07,640 --> 00:28:10,840
Speaker 5: he's you know, saying you can't go. I want you

636
00:28:10,880 --> 00:28:14,600
Speaker 5: to stay these people and me and us where all

637
00:28:14,600 --> 00:28:16,600
Speaker 5: the best people will ever know, don't get on the

638
00:28:16,640 --> 00:28:19,919
Speaker 5: plane like he's been like laying it all out, and

639
00:28:19,960 --> 00:28:23,119
Speaker 5: she still goes, I have to go. And I wanted

640
00:28:23,119 --> 00:28:25,920
Speaker 5: to say, why why do you have to go?

641
00:28:26,760 --> 00:28:29,359
Speaker 1: Well, because she's sort of moving ahead, she's got her

642
00:28:29,400 --> 00:28:31,600
Speaker 1: blinders on, she's not taking the time. It's just like

643
00:28:31,680 --> 00:28:34,159
Speaker 1: Daphne said about why Joe is probably annoyed with Allison

644
00:28:34,200 --> 00:28:35,600
Speaker 1: because she just said, I have to go. Even at

645
00:28:35,640 --> 00:28:39,640
Speaker 1: the goodbye party, like they're not she's not really talking

646
00:28:39,680 --> 00:28:42,800
Speaker 1: to her friends. She and Amanda are having this really

647
00:28:42,840 --> 00:28:44,360
Speaker 1: intense conversation.

648
00:28:44,480 --> 00:28:45,240
Speaker 4: Amanda have it.

649
00:28:45,400 --> 00:28:47,560
Speaker 5: Yeah, she's doing before I go, I just need to

650
00:28:47,600 --> 00:28:48,560
Speaker 5: tell you all these things.

651
00:28:49,360 --> 00:28:51,520
Speaker 2: Yeah, and you know what, Amanda, I really don't care

652
00:28:51,600 --> 00:28:54,400
Speaker 2: what you think of me. And that sets her free,

653
00:28:54,480 --> 00:28:56,840
Speaker 2: you know, like think say whatever you want about me, don't.

654
00:28:56,880 --> 00:29:00,280
Speaker 5: It also sets it up because we know obviously Ali's

655
00:29:00,280 --> 00:29:02,720
Speaker 5: going to come back, because there's lots more seasons of Melrose.

656
00:29:02,800 --> 00:29:04,479
Speaker 4: Does she live? Does she live in this apartment?

657
00:29:04,520 --> 00:29:06,360
Speaker 3: I thought she moved, Well she's got made it back

658
00:29:06,400 --> 00:29:06,840
Speaker 3: both out.

659
00:29:06,920 --> 00:29:09,640
Speaker 4: Then who's who's paying the rent? Like someone else should

660
00:29:09,720 --> 00:29:10,280
Speaker 4: move in there.

661
00:29:10,440 --> 00:29:12,800
Speaker 5: It also opened the door for like, all right, game

662
00:29:12,840 --> 00:29:15,040
Speaker 5: on with all these relationships. Now I've told you, but

663
00:29:15,120 --> 00:29:17,680
Speaker 5: I think of you, and now all bets are off.

664
00:29:17,720 --> 00:29:19,640
Speaker 5: It's just going to We're going to come back. This

665
00:29:19,720 --> 00:29:22,360
Speaker 5: this my nemesis. This is these are enemies. These are

666
00:29:22,360 --> 00:29:26,640
Speaker 5: not like all these new relationships of Amanda being allowed

667
00:29:26,680 --> 00:29:29,640
Speaker 5: to be a bitch, and Alison's saying, well, here's what

668
00:29:29,680 --> 00:29:31,840
Speaker 5: I think of you. We've already said it, so now

669
00:29:31,840 --> 00:29:34,520
Speaker 5: we can't like unsee it. And I think it's like

670
00:29:34,560 --> 00:29:36,560
Speaker 5: a tonal shift to like moving forward. We get to

671
00:29:36,560 --> 00:29:39,000
Speaker 5: do all that now, we get to see that Michael's

672
00:29:39,040 --> 00:29:41,760
Speaker 5: thinking about maybe having an affair and all that stuff,

673
00:29:41,800 --> 00:29:45,720
Speaker 5: Like all these things sort of turned the quint.

674
00:29:45,800 --> 00:29:48,040
Speaker 2: It makes me remember what Chuck was saying when he

675
00:29:48,200 --> 00:29:50,320
Speaker 2: was our guest on the show of Like, you know,

676
00:29:50,440 --> 00:29:53,200
Speaker 2: he's he's from the soap world. He's from turning things

677
00:29:53,240 --> 00:29:57,160
Speaker 2: on its head like constantly, and these relations look blowing

678
00:29:57,200 --> 00:29:59,200
Speaker 2: them up and then bringing them back, you know what

679
00:29:59,280 --> 00:29:59,600
Speaker 2: I mean.

680
00:29:59,720 --> 00:30:03,680
Speaker 4: Like that's what he just did with Alison and Billy.

681
00:30:03,880 --> 00:30:09,040
Speaker 2: Like he's gone, she's gone, and even though he sucked

682
00:30:09,080 --> 00:30:11,600
Speaker 2: you in, they're jogging together. They love all the same things,

683
00:30:11,600 --> 00:30:14,960
Speaker 2: but it's just boom, and then he's going to very skillfully,

684
00:30:15,080 --> 00:30:17,600
Speaker 2: you know, bring it all back in a different shape.

685
00:30:17,640 --> 00:30:19,760
Speaker 4: I mean, he just constantly he has to do this.

686
00:30:19,760 --> 00:30:21,120
Speaker 4: This is the kind of writer he is.

687
00:30:21,560 --> 00:30:23,280
Speaker 1: Well yeah, and it's nobody being able to say what

688
00:30:23,320 --> 00:30:25,520
Speaker 1: they really feel, like Alison. I think all the outrage

689
00:30:25,520 --> 00:30:29,000
Speaker 1: Alison has an Amanda is really she's so heard about Billy.

690
00:30:29,040 --> 00:30:30,719
Speaker 1: There's a great line at the end of the party

691
00:30:30,760 --> 00:30:33,480
Speaker 1: when Amanda says something about all these great friends and

692
00:30:33,520 --> 00:30:36,400
Speaker 1: Alison says, I've never seen you with many friends of

693
00:30:36,440 --> 00:30:39,560
Speaker 1: your own. Yeah, and Amanda says cheap shot, and Alison

694
00:30:39,600 --> 00:30:43,120
Speaker 1: goes right on target, and she's just so furious. But

695
00:30:43,200 --> 00:30:46,680
Speaker 1: what she can't say to Billy is I want to

696
00:30:46,680 --> 00:30:49,000
Speaker 1: be with you. So it's all of this anger directed

697
00:30:49,120 --> 00:30:57,680
Speaker 1: at Amanda. So speaking of not saying directly, let's talk

698
00:30:57,720 --> 00:31:01,840
Speaker 1: a little bit about Michael, who stopped like there in bed.

699
00:31:01,880 --> 00:31:03,800
Speaker 1: It's very sweet. We see them very happy. They get

700
00:31:03,840 --> 00:31:07,120
Speaker 1: the call from Sam Michael can't do dinner, so Jane

701
00:31:07,120 --> 00:31:08,600
Speaker 1: decides to go out with Sam.

702
00:31:09,320 --> 00:31:10,960
Speaker 3: Well, Michael suggests that she didn't.

703
00:31:12,520 --> 00:31:14,080
Speaker 1: So what did you think of that dinner?

704
00:31:14,160 --> 00:31:14,240
Speaker 5: Like?

705
00:31:14,360 --> 00:31:16,560
Speaker 1: How how many.

706
00:31:16,520 --> 00:31:18,760
Speaker 4: Dinner between Sam and between Sam and Jay?

707
00:31:18,800 --> 00:31:22,040
Speaker 5: Well, first of all, their natural.

708
00:31:22,720 --> 00:31:26,120
Speaker 4: With the roses, and she got a kiss even no

709
00:31:26,160 --> 00:31:26,920
Speaker 4: matter who was it was.

710
00:31:28,200 --> 00:31:32,360
Speaker 5: Well, she was going to be in a convertible driving

711
00:31:32,360 --> 00:31:35,959
Speaker 5: her a little convertible. She needed a hat when Sydney

712
00:31:36,560 --> 00:31:40,120
Speaker 5: all the all the scenes in this episode, she had

713
00:31:40,120 --> 00:31:41,960
Speaker 5: her hair pulled back off of her face, either with

714
00:31:42,000 --> 00:31:44,400
Speaker 5: a headband or her hav and stuff. So maybe that

715
00:31:44,520 --> 00:31:48,480
Speaker 5: was just her transition. I mean, she's so gorgeous in

716
00:31:48,560 --> 00:31:53,840
Speaker 5: every darn scene. Yeah, and the chemistry between Josie and

717
00:31:54,000 --> 00:31:58,720
Speaker 5: Rob in the scene playing Jane and Sam was I

718
00:31:58,760 --> 00:32:02,120
Speaker 5: mean undeniable, and.

719
00:32:01,040 --> 00:32:03,800
Speaker 4: They look beautiful, so beautiful.

720
00:32:03,280 --> 00:32:05,479
Speaker 3: Together, and that was, like we said, her husband at

721
00:32:05,480 --> 00:32:06,080
Speaker 3: the time.

722
00:32:06,040 --> 00:32:08,920
Speaker 2: But what do you think about this friend, old friend

723
00:32:09,080 --> 00:32:12,240
Speaker 2: of her husband's. Not But even before the kiss and

724
00:32:12,280 --> 00:32:14,200
Speaker 2: then what gave him did he feel like.

725
00:32:14,200 --> 00:32:17,360
Speaker 4: He had permission to kiss her? Did was there a

726
00:32:17,400 --> 00:32:18,640
Speaker 4: flirt that I mean.

727
00:32:18,720 --> 00:32:20,640
Speaker 1: Well he was talking about he was saying, you know,

728
00:32:20,720 --> 00:32:23,240
Speaker 1: she goes, yeah, you can never find anybody basically because

729
00:32:23,240 --> 00:32:26,200
Speaker 1: nobody held a candle to you. Yeah, and he's sort

730
00:32:26,200 --> 00:32:28,920
Speaker 1: of crossing the lines at dinner. That's why I'm saying, Like.

731
00:32:29,280 --> 00:32:30,520
Speaker 4: That's true, that's true.

732
00:32:30,720 --> 00:32:33,000
Speaker 1: Yeah, did you find yourself sort of voting for them

733
00:32:33,120 --> 00:32:35,080
Speaker 1: or like stop it, that's so inappropriate.

734
00:32:35,120 --> 00:32:35,920
Speaker 4: But wait a second.

735
00:32:36,000 --> 00:32:40,320
Speaker 2: So they dated before and Michael said, go on out

736
00:32:40,360 --> 00:32:42,560
Speaker 2: with my old friend who you used to date.

737
00:32:42,640 --> 00:32:45,320
Speaker 1: They didn't date, No, Michael and Jane were always together

738
00:32:45,360 --> 00:32:48,480
Speaker 1: and Sam was Michael's best friend, right, which Sam, it's

739
00:32:48,680 --> 00:32:51,360
Speaker 1: It's like the Love Actually Seen where the best friend

740
00:32:51,520 --> 00:32:54,080
Speaker 1: holds a torch for his friend's wife.

741
00:32:54,400 --> 00:32:56,760
Speaker 2: So he says, no one could hold a candle to you,

742
00:32:56,800 --> 00:32:58,320
Speaker 2: because I see you through my best friend.

743
00:32:58,600 --> 00:33:01,720
Speaker 5: They were talking about all of his old exes, like

744
00:33:01,880 --> 00:33:04,520
Speaker 5: all the people he dated, and how Jane never seemed

745
00:33:04,520 --> 00:33:06,440
Speaker 5: to approve of them, and she was like, yeah, they

746
00:33:06,480 --> 00:33:08,920
Speaker 5: were you know whatever, and he goes, well, good. The

747
00:33:08,960 --> 00:33:12,160
Speaker 5: truth is, I didn't feel like they were enough like you.

748
00:33:12,480 --> 00:33:15,080
Speaker 5: That's why I never found the ones, because no one

749
00:33:15,320 --> 00:33:19,240
Speaker 5: was you. And he drops that bomb at the dinner.

750
00:33:19,920 --> 00:33:22,320
Speaker 2: So this is making me see it that this is

751
00:33:22,320 --> 00:33:28,320
Speaker 2: a complicated situation unlike Alison's, because you're making me remember

752
00:33:28,400 --> 00:33:30,959
Speaker 2: that it wasn't It wasn't Michael's idea.

753
00:33:31,200 --> 00:33:34,600
Speaker 4: It was Jane's idea. The scene before to have dinner with.

754
00:33:34,520 --> 00:33:38,040
Speaker 1: His Michael, it was Jane.

755
00:33:38,160 --> 00:33:41,080
Speaker 2: She said, I'll see him. He goes, I can't. Jane goes,

756
00:33:41,240 --> 00:33:44,320
Speaker 2: i'll see him. I'll go, and then he goes, oh,

757
00:33:44,480 --> 00:33:47,240
Speaker 2: Jane will go, yeah, she's doing great something.

758
00:33:47,400 --> 00:33:47,840
Speaker 4: No, I don't.

759
00:33:48,040 --> 00:33:50,640
Speaker 1: I remember Michael saying, but you you should go to

760
00:33:50,680 --> 00:33:53,600
Speaker 1: dinner with him, don't you. I think I think I

761
00:33:53,600 --> 00:33:56,320
Speaker 1: think we're I think we're all right right now, and yeah,

762
00:33:56,520 --> 00:33:57,720
Speaker 1: let's look at it.

763
00:33:58,040 --> 00:34:00,840
Speaker 3: But deaf, I think you're right. I think she casually is.

764
00:34:00,760 --> 00:34:03,760
Speaker 5: Like I can go, like what but it was assumed

765
00:34:03,800 --> 00:34:04,680
Speaker 5: to be platonic.

766
00:34:05,280 --> 00:34:06,440
Speaker 3: That's how I interpreted it.

767
00:34:06,520 --> 00:34:09,359
Speaker 2: Well, so you're presuming though, because now we're digging up

768
00:34:09,480 --> 00:34:12,640
Speaker 2: their past, right, So let's think about it reality wise.

769
00:34:12,760 --> 00:34:17,000
Speaker 3: You know, in that moment it was played, I bought

770
00:34:17,000 --> 00:34:17,560
Speaker 3: it as.

771
00:34:17,440 --> 00:34:20,239
Speaker 5: Platonic and for sure, oh that it came as a

772
00:34:20,280 --> 00:34:24,240
Speaker 5: surprise during the dinner when Sam decided to drop that bomb,

773
00:34:24,400 --> 00:34:26,560
Speaker 5: and then it opens the door of the conversation where

774
00:34:26,600 --> 00:34:28,279
Speaker 5: she admits, yeah, you know, I guess there was a

775
00:34:28,320 --> 00:34:30,160
Speaker 5: second one. I thought about you too, But that is

776
00:34:30,200 --> 00:34:33,520
Speaker 5: all well in our past. I'm married to Michael. He's

777
00:34:33,520 --> 00:34:35,600
Speaker 5: a great guy, and Sam's like, yep, he's the best,

778
00:34:35,680 --> 00:34:38,720
Speaker 5: he's a great guy and whatever. And then he's still

779
00:34:38,920 --> 00:34:41,959
Speaker 5: persist in like sort of ambushing her with a kiss,

780
00:34:41,960 --> 00:34:44,560
Speaker 5: and then he doesn't exactly hate yeah, but.

781
00:34:44,960 --> 00:34:46,960
Speaker 1: He doesn't pull away super fast.

782
00:34:47,280 --> 00:34:48,960
Speaker 4: Oh you okay.

783
00:34:49,360 --> 00:34:50,800
Speaker 5: I mean I think she had a sense of I

784
00:34:50,800 --> 00:34:51,840
Speaker 5: think Jane had a sense.

785
00:34:51,640 --> 00:34:53,120
Speaker 4: Of absolutely she was shocked.

786
00:34:53,480 --> 00:34:55,960
Speaker 5: Yeah, no, I think this was absolutely not okay, like

787
00:34:56,000 --> 00:34:58,200
Speaker 5: this is I'm married to somebody else, but it's but

788
00:34:58,280 --> 00:35:02,320
Speaker 5: I think the idea that like there had been something

789
00:35:02,360 --> 00:35:05,960
Speaker 5: in their past, even if it was just imagined, like

790
00:35:06,360 --> 00:35:08,560
Speaker 5: it didn't sound like because this was your original question,

791
00:35:08,800 --> 00:35:11,400
Speaker 5: had they dated when they were earlier? Now we're discussing

792
00:35:11,400 --> 00:35:15,120
Speaker 5: imaginary history. But it seemed like what they spelled out

793
00:35:15,160 --> 00:35:18,560
Speaker 5: was that they didn't date, but they both admitted that

794
00:35:18,560 --> 00:35:20,680
Speaker 5: they thought about it, and he thought about it to

795
00:35:20,719 --> 00:35:22,120
Speaker 5: a much higher degree than she did.

796
00:35:22,800 --> 00:35:24,800
Speaker 1: Yeah, and when he goes to kiss her, she doesn't

797
00:35:24,840 --> 00:35:27,040
Speaker 1: say absolutely not, and he makes a joke about it. I

798
00:35:27,040 --> 00:35:29,480
Speaker 1: guess I shouldn't invite you up, and she doesn't say no.

799
00:35:29,600 --> 00:35:31,440
Speaker 1: She says it would be way too tempting.

800
00:35:31,560 --> 00:35:34,680
Speaker 4: That's right, that's the next clue, and she had Yeah,

801
00:35:34,719 --> 00:35:35,959
Speaker 4: so there's chemistry there.

802
00:35:36,360 --> 00:35:36,600
Speaker 3: Yep.

803
00:35:36,760 --> 00:35:39,000
Speaker 2: So I guess the overall question is and we could

804
00:35:39,040 --> 00:35:40,799
Speaker 2: talk about in Meloer's minute, or we can just bring

805
00:35:40,840 --> 00:35:41,800
Speaker 2: it up right now quickly.

806
00:35:42,400 --> 00:35:44,920
Speaker 4: You know, do you take that dinner if there's chemistry.

807
00:35:45,040 --> 00:35:47,360
Speaker 2: Jane knew there was chemistry when she said I'll go

808
00:35:47,719 --> 00:35:49,759
Speaker 2: and Michael goes, Okay, Michael.

809
00:35:49,560 --> 00:35:52,040
Speaker 1: I don't think she did then.

810
00:35:52,920 --> 00:35:54,120
Speaker 3: I don't think she intended to.

811
00:35:54,719 --> 00:35:56,239
Speaker 4: Oh, so he pops up.

812
00:35:56,320 --> 00:35:58,919
Speaker 2: He's so gorgeous, and he's like, I guess I can't

813
00:35:58,960 --> 00:36:01,600
Speaker 2: ask you up, and she's it would be too tempting.

814
00:36:01,680 --> 00:36:04,680
Speaker 4: It's just right there. Well, he says to each other forever.

815
00:36:04,920 --> 00:36:06,840
Speaker 5: When he drops the bomb in the scene, he says,

816
00:36:06,960 --> 00:36:10,640
Speaker 5: confession time, I'm about to tell you I've always loved you.

817
00:36:10,719 --> 00:36:14,120
Speaker 3: And this is a subtext. None of those girls were.

818
00:36:13,960 --> 00:36:16,640
Speaker 5: Good enough because none of them were you. That's what

819
00:36:16,719 --> 00:36:19,080
Speaker 5: he confesses to her, so he drops the bomb. I

820
00:36:19,080 --> 00:36:21,440
Speaker 5: don't think she anticipated that at all. I think she

821
00:36:21,560 --> 00:36:23,799
Speaker 5: was just like, I'm going to dinner with our old

822
00:36:23,800 --> 00:36:26,000
Speaker 5: friend Sam, and that was that.

823
00:36:26,400 --> 00:36:27,799
Speaker 3: And even if she has in the back.

824
00:36:27,719 --> 00:36:31,200
Speaker 2: Of round they if listen, guys, if we have a

825
00:36:31,280 --> 00:36:35,480
Speaker 2: history here of these three people, I don't believe that

826
00:36:35,600 --> 00:36:38,160
Speaker 2: this is the first time that this chemistry is being

827
00:36:39,040 --> 00:36:41,319
Speaker 2: Well maybe it's the first time there he's acting on it,

828
00:36:41,760 --> 00:36:45,879
Speaker 2: but I don't think it's the first time she's felt it.

829
00:36:46,400 --> 00:36:52,600
Speaker 1: I mean, maybe it is their first time, like really alone.

830
00:36:52,800 --> 00:36:54,719
Speaker 1: And he says that maybe it's been a sort of fun,

831
00:36:54,840 --> 00:36:57,319
Speaker 1: unsaid flirtation, like we have guy friends who sort of

832
00:36:57,320 --> 00:37:01,960
Speaker 1: flirt with but it remains unsaid exactly, And because you know,

833
00:37:02,040 --> 00:37:04,080
Speaker 1: even though they seemed to beginning along this episode, they've

834
00:37:04,120 --> 00:37:06,760
Speaker 1: been having a bumpy time. So maybe she's more open

835
00:37:06,760 --> 00:37:09,160
Speaker 1: to it than she would be, because when they have

836
00:37:09,320 --> 00:37:12,120
Speaker 1: their fight at the end of this episode, you really

837
00:37:12,160 --> 00:37:15,200
Speaker 1: see why she's created with Michael.

838
00:37:15,880 --> 00:37:19,600
Speaker 4: Yeah, and I mean he's the one that initiated it.

839
00:37:19,719 --> 00:37:21,839
Speaker 2: He's the one that brought it up verbally and then

840
00:37:21,960 --> 00:37:25,719
Speaker 2: kissed her and then you know, so it's on him.

841
00:37:25,880 --> 00:37:28,440
Speaker 4: And in my book, did.

842
00:37:28,320 --> 00:37:33,720
Speaker 5: You think he went to the hospital knowing that Michael

843
00:37:33,760 --> 00:37:35,600
Speaker 5: may not have heard about the kiss from Jane, but

844
00:37:35,640 --> 00:37:37,280
Speaker 5: that he was going to tell Michael anyway.

845
00:37:37,360 --> 00:37:40,759
Speaker 1: Oh yeah, So we're jumping ahead of it. So so

846
00:37:40,880 --> 00:37:43,360
Speaker 1: Jane doesn't Jane's she doesn't tell Michael. She acts like

847
00:37:43,440 --> 00:37:47,200
Speaker 1: nothing happened, so that later when Sam goes to tell Michael, look,

848
00:37:47,200 --> 00:37:50,440
Speaker 1: I'm sure Jane told you. I'm so sorry Michael hadn't heard.

849
00:37:51,080 --> 00:37:53,480
Speaker 1: So here's it for the first time. And do you

850
00:37:53,520 --> 00:37:56,520
Speaker 1: think Sam do that to drop a bomb in the relationship, like.

851
00:37:56,520 --> 00:37:58,759
Speaker 5: To yeah, to cause problems? Do you think he did?

852
00:38:01,840 --> 00:38:06,240
Speaker 4: I think he. I think he wanted to be clean,

853
00:38:06,520 --> 00:38:06,879
Speaker 4: so that.

854
00:38:08,360 --> 00:38:11,320
Speaker 2: If she had already told her, if Dane had already

855
00:38:11,320 --> 00:38:15,440
Speaker 2: told Michael, like, look, he kissed me and nothing else happened,

856
00:38:15,640 --> 00:38:19,319
Speaker 2: had already told him at least he'd be clean, like

857
00:38:19,560 --> 00:38:22,240
Speaker 2: I'm admitting it too, and we can go on being buddies.

858
00:38:22,239 --> 00:38:24,400
Speaker 2: And I'm so sorry. I hope you still want to

859
00:38:24,440 --> 00:38:26,799
Speaker 2: be my friend. It will never happen again. But if

860
00:38:26,840 --> 00:38:30,600
Speaker 2: she didn't say it, he's the first one to say it.

861
00:38:30,640 --> 00:38:32,960
Speaker 2: So I think it was a selfish, self centered. I

862
00:38:32,960 --> 00:38:36,279
Speaker 2: want to preserve was risky, but I think it was

863
00:38:36,360 --> 00:38:38,560
Speaker 2: self centered move, just like kissing her was a self

864
00:38:38,600 --> 00:38:39,160
Speaker 2: centered move.

865
00:38:39,320 --> 00:38:43,600
Speaker 5: And also but prior to that, just deciding to do

866
00:38:43,760 --> 00:38:45,520
Speaker 5: that confession at all, to say I've.

867
00:38:45,440 --> 00:38:47,839
Speaker 3: Always loved you all that self that.

868
00:38:47,760 --> 00:38:50,319
Speaker 5: Makes me, that makes me not as close as nothing

869
00:38:50,360 --> 00:38:55,080
Speaker 5: to he was just h yeah, just telling Michael to

870
00:38:55,520 --> 00:38:58,600
Speaker 5: clear his conscience. It was I think he's also got

871
00:38:58,600 --> 00:39:01,320
Speaker 5: an agenda, So yeah, I think he's.

872
00:39:01,200 --> 00:39:03,600
Speaker 4: Being I think it's hard to know, self centered and

873
00:39:04,200 --> 00:39:04,400
Speaker 4: you know.

874
00:39:04,480 --> 00:39:06,800
Speaker 2: And then of course Jane gets the backlash because she

875
00:39:06,920 --> 00:39:11,240
Speaker 2: chose not to tell him because it was nothing, and she.

876
00:39:10,800 --> 00:39:12,640
Speaker 1: She didn't more than choose not to tell him, she

877
00:39:12,719 --> 00:39:15,160
Speaker 1: sort of doubled down and made dinner was super super

878
00:39:15,239 --> 00:39:18,120
Speaker 1: nice because she's so uncomfortablebout the whole thing. Yeah, maybe

879
00:39:19,000 --> 00:39:22,279
Speaker 1: we see that famous Michael temper, right, and he's like,

880
00:39:22,320 --> 00:39:23,839
Speaker 1: why did you not tell me? And I love it.

881
00:39:23,880 --> 00:39:28,200
Speaker 1: She had this great line and she said this is why.

882
00:39:28,400 --> 00:39:30,720
Speaker 4: This is why. Because he goes.

883
00:39:30,800 --> 00:39:33,560
Speaker 1: Instead of saying you have I'm so scared, he said,

884
00:39:33,680 --> 00:39:36,400
Speaker 1: I felt like a complete ass any rageous and then

885
00:39:36,440 --> 00:39:39,960
Speaker 1: she says, it's always how you feel, keeping Michael happy,

886
00:39:40,120 --> 00:39:42,759
Speaker 1: that's what this marriage is about. And he goes and

887
00:39:42,800 --> 00:39:45,719
Speaker 1: what the hell is wrong with that? She goes everything. Yeah,

888
00:39:45,760 --> 00:39:48,279
Speaker 1: you start to see these real because his rage is

889
00:39:48,320 --> 00:39:50,560
Speaker 1: a real issue. And then he goes to the hospital

890
00:39:50,560 --> 00:39:53,600
Speaker 1: and guess who's there, yep, yeah, and she says, no

891
00:39:53,719 --> 00:39:54,520
Speaker 1: questions asked.

892
00:39:54,680 --> 00:39:57,080
Speaker 5: Kimberly's there, and she says we can have breakfast, no

893
00:39:57,239 --> 00:40:00,560
Speaker 5: questions asked. And that just sounds like a really appealing alternative.

894
00:40:00,800 --> 00:40:01,920
Speaker 4: I'm starting to realize.

895
00:40:01,960 --> 00:40:03,640
Speaker 2: When I was getting to that scene at the end,

896
00:40:03,640 --> 00:40:04,960
Speaker 2: I was like, I don't know if I can handle

897
00:40:04,960 --> 00:40:08,239
Speaker 2: this show, because it's really all these people believe. I

898
00:40:08,280 --> 00:40:12,279
Speaker 2: don't know how people hung in there for fives us

899
00:40:12,320 --> 00:40:16,759
Speaker 2: because it's so wrong how they're acting like that in

900
00:40:16,800 --> 00:40:19,400
Speaker 2: this marriage you just want them to communicate so that

901
00:40:19,480 --> 00:40:22,600
Speaker 2: whatever happens forces on the outside at work or an

902
00:40:22,600 --> 00:40:26,439
Speaker 2: old friend, you're stronger, you know, like I we want

903
00:40:26,480 --> 00:40:29,759
Speaker 2: with our partners like we're a team no matter what happens.

904
00:40:30,040 --> 00:40:33,040
Speaker 1: And yeah, well it's that old thing and my wife

905
00:40:33,080 --> 00:40:34,960
Speaker 1: doesn't understand me, right, So it goes to the hospital

906
00:40:34,960 --> 00:40:37,480
Speaker 1: and he says to Kimberly, how come it's so easy

907
00:40:37,520 --> 00:40:39,080
Speaker 1: to talk to you? And then I blow it at

908
00:40:39,160 --> 00:40:41,920
Speaker 1: home so I don't know what home is anymore? And

909
00:40:41,960 --> 00:40:44,520
Speaker 1: she says exactly the line you're talking Aboutlaura. Home is

910
00:40:44,560 --> 00:40:47,840
Speaker 1: where you're appreciated. We're son by breakfast, no questions asked,

911
00:40:47,840 --> 00:40:50,480
Speaker 1: and yeah, all right, let me do it.

912
00:40:50,560 --> 00:40:53,960
Speaker 5: Yeah, yeah your definition of home.

913
00:40:54,360 --> 00:40:57,040
Speaker 1: Yeah, like terrible to stand me, but you we have

914
00:40:57,160 --> 00:40:59,920
Speaker 1: everything in common. And she is just rare into go

915
00:41:00,400 --> 00:41:03,440
Speaker 1: like she is fully available. She's making no bones about it.

916
00:41:03,480 --> 00:41:08,080
Speaker 2: And you know how Thomas is playing this is so like,

917
00:41:08,200 --> 00:41:10,319
Speaker 2: oh the dufist, you know what I mean, like the

918
00:41:10,400 --> 00:41:13,520
Speaker 2: evil dufist, like evils.

919
00:41:12,719 --> 00:41:15,920
Speaker 3: Come on, not a Midwestern but an evil dufist.

920
00:41:16,239 --> 00:41:18,720
Speaker 4: Michael Mancini is such an evil dufus.

921
00:41:19,120 --> 00:41:22,280
Speaker 2: He says to Kimberlay, how come there's there's not working

922
00:41:22,320 --> 00:41:24,960
Speaker 2: at home, as if she's not gonna step into that

923
00:41:25,080 --> 00:41:28,959
Speaker 2: and take advantage of this dufus you evil dufus home.

924
00:41:29,560 --> 00:41:30,640
Speaker 4: Let me buy you a breakfast.

925
00:41:30,800 --> 00:41:33,480
Speaker 1: That's what every cheater starts with, right. My wife doesn't

926
00:41:33,520 --> 00:41:36,440
Speaker 1: understand me. Our marriage is over anyway, it's we have

927
00:41:36,520 --> 00:41:38,759
Speaker 1: an understanding or whatever we could get.

928
00:41:38,840 --> 00:41:41,759
Speaker 4: Yes, we put into all the lands. Yeah.

929
00:41:42,120 --> 00:41:48,319
Speaker 5: Again, this was a really great episode of irreconcilable shimilarities, similarities.

930
00:41:50,239 --> 00:41:52,759
Speaker 1: Chuck is great at like the lines right, Like I

931
00:41:52,760 --> 00:41:56,319
Speaker 1: wrote down so many lines he did. It was really fun.

932
00:41:56,200 --> 00:42:00,320
Speaker 2: And there's a nice balance of each of the different

933
00:42:00,320 --> 00:42:05,920
Speaker 2: couples and their their path but also the rom com

934
00:42:06,040 --> 00:42:07,920
Speaker 2: with the Alison and Billie of it all.

935
00:42:08,040 --> 00:42:11,120
Speaker 4: The rom com vibe and the stick it to you

936
00:42:11,239 --> 00:42:14,359
Speaker 4: Melrose vibe. Like it was a great balance of those.

937
00:42:14,480 --> 00:42:17,440
Speaker 1: Yeah, and did you notice more shorter scenes. There were

938
00:42:17,480 --> 00:42:20,040
Speaker 1: so many scenes people weaving and not like it moved.

939
00:42:20,200 --> 00:42:20,520
Speaker 3: Yeah.

940
00:42:20,680 --> 00:42:23,520
Speaker 1: Remember in the beginning we have like four long scenes.

941
00:42:24,440 --> 00:42:27,040
Speaker 1: It was moving so fast and everybody got woven in,

942
00:42:27,239 --> 00:42:30,840
Speaker 1: like even though like obviously Ronda and Matt didn't have

943
00:42:30,920 --> 00:42:33,279
Speaker 1: much and Joe didn't have as much as normal, but

944
00:42:33,320 --> 00:42:34,680
Speaker 1: still they were all throughout.

945
00:42:35,040 --> 00:42:37,960
Speaker 5: I forgot to tell you where Matt's line was. It

946
00:42:38,040 --> 00:42:41,279
Speaker 5: was at the campfire and some And Ronda has her

947
00:42:41,320 --> 00:42:43,239
Speaker 5: second line of the episode. Her first is when she

948
00:42:43,280 --> 00:42:46,400
Speaker 5: comes over Ronda's and she comes over and says, after

949
00:42:46,480 --> 00:42:48,759
Speaker 5: Michael and janea fought, she knocks on their door and

950
00:42:48,800 --> 00:42:49,239
Speaker 5: she walks in.

951
00:42:49,320 --> 00:42:51,080
Speaker 3: She's like, Hey, which one of us is driving the party?

952
00:42:51,480 --> 00:42:54,719
Speaker 5: Yeah, And that's a super awkward moment because obviously Michael

953
00:42:54,719 --> 00:42:55,319
Speaker 5: and Jane are Friday.

954
00:42:55,480 --> 00:42:56,239
Speaker 3: That's her first line.

955
00:42:56,320 --> 00:42:58,759
Speaker 5: Then her second line is, hey, did anybody bring any

956
00:42:58,920 --> 00:43:00,759
Speaker 5: Does anybody remember their old camp fire songs?

957
00:43:00,760 --> 00:43:01,640
Speaker 3: That was their second line.

958
00:43:01,800 --> 00:43:04,320
Speaker 5: And Matt has his first line where he says, nope,

959
00:43:04,400 --> 00:43:06,320
Speaker 5: I left my ukulele at home.

960
00:43:06,880 --> 00:43:09,239
Speaker 4: I don't remember it at all.

961
00:43:09,560 --> 00:43:09,960
Speaker 3: Yeah.

962
00:43:10,080 --> 00:43:12,200
Speaker 4: I think I was waiting.

963
00:43:11,920 --> 00:43:14,279
Speaker 2: To see what Amanda and Allison, We're going to stay

964
00:43:14,280 --> 00:43:16,279
Speaker 2: over in the corner to each other that fight.

965
00:43:18,320 --> 00:43:22,480
Speaker 1: I in my memory, Alison was much more passive. I

966
00:43:22,640 --> 00:43:25,480
Speaker 1: like that she's got this spice. I didn't remember fighting.

967
00:43:25,560 --> 00:43:27,080
Speaker 3: She said, but she thought enjoying it.

968
00:43:27,560 --> 00:43:30,080
Speaker 5: And I think that that that really sets us up

969
00:43:30,080 --> 00:43:33,600
Speaker 5: for the next episodes. It's like game on because these

970
00:43:33,680 --> 00:43:36,520
Speaker 5: relationships people have kind of said what they think now,

971
00:43:36,600 --> 00:43:39,560
Speaker 5: and now I feel like, okay, yeah, I get to

972
00:43:39,640 --> 00:43:41,759
Speaker 5: go be these other versions in the.

973
00:43:41,960 --> 00:43:43,600
Speaker 2: I feel like I can't wait for the next The

974
00:43:43,640 --> 00:43:45,800
Speaker 2: wagon's kind of going off the tracks, you know what

975
00:43:45,840 --> 00:43:47,480
Speaker 2: I mean, Like because Kimberly is in.

976
00:43:47,520 --> 00:43:48,880
Speaker 4: I don't know if she's in the next one or not,

977
00:43:48,960 --> 00:43:50,080
Speaker 4: but I have a feeling she is.

978
00:43:50,239 --> 00:43:54,080
Speaker 2: Keith has taken Alison off like things are just kind

979
00:43:54,080 --> 00:43:55,200
Speaker 2: of anything can happen.

980
00:43:55,440 --> 00:43:58,440
Speaker 1: I don't remember being in Seattle.

981
00:43:58,800 --> 00:44:04,799
Speaker 4: It probably was Anna Karita. The funny thing.

982
00:44:04,840 --> 00:44:06,640
Speaker 1: I know we have to end, But one more funny

983
00:44:06,640 --> 00:44:08,480
Speaker 1: thing did you notice in it? Like the first scene

984
00:44:08,480 --> 00:44:10,480
Speaker 1: when we were we come from the ceiling and Billy's

985
00:44:10,520 --> 00:44:13,160
Speaker 1: uncomfortable and Amanda walks in and goes, look at this

986
00:44:13,280 --> 00:44:15,920
Speaker 1: gorgeous day. We're living in paradise, And she looks like

987
00:44:15,960 --> 00:44:17,520
Speaker 1: she's going to open the curtains, but it opens a

988
00:44:17,560 --> 00:44:19,600
Speaker 1: little bit and you see it's just a cement patio,

989
00:44:19,719 --> 00:44:22,120
Speaker 1: so she doesn't actually open the curtains.

990
00:44:23,640 --> 00:44:24,040
Speaker 5: They went.

991
00:44:25,840 --> 00:44:26,760
Speaker 1: Curtains.

992
00:44:28,320 --> 00:44:29,440
Speaker 4: I know, it's so funny.

993
00:44:29,520 --> 00:44:33,000
Speaker 2: It's so funny because that that part of the marina

994
00:44:33,080 --> 00:44:35,440
Speaker 2: is such a beautiful part to show. But that was

995
00:44:35,520 --> 00:44:38,840
Speaker 2: just like the outside shots, you know, the exteriors, boom

996
00:44:39,000 --> 00:44:41,040
Speaker 2: into her fancy apartment and then boom or did in

997
00:44:41,160 --> 00:44:42,360
Speaker 2: sound Karita and there's.

998
00:44:42,360 --> 00:44:44,840
Speaker 1: It should be the ocean and she pretends to open it.

999
00:44:45,040 --> 00:44:47,680
Speaker 4: Yeah, close it yeah.

1000
00:44:47,880 --> 00:44:49,839
Speaker 2: And also the idea that no, we didn't pay for

1001
00:44:49,880 --> 00:44:50,279
Speaker 2: that view.

1002
00:44:50,640 --> 00:44:52,000
Speaker 4: Oh my boyfriend's on the floor.

1003
00:44:52,200 --> 00:44:56,520
Speaker 3: Okay, I'll focus on that a big deal. All right, Well,

1004
00:44:56,560 --> 00:44:59,799
Speaker 3: this was fun and it's super fun if.

1005
00:44:59,680 --> 00:45:01,719
Speaker 5: You watch in the episodes, because we're learning so much

1006
00:45:01,840 --> 00:45:03,319
Speaker 5: by watching these episodes, and.

1007
00:45:03,640 --> 00:45:07,640
Speaker 2: Really, don't forget to subscribe, right, subscribe and download.

1008
00:45:08,040 --> 00:45:10,080
Speaker 5: Thanks for listening and hanging with us, and we can't

1009
00:45:10,080 --> 00:45:12,359
Speaker 5: wait to see you next time. Thank you every since

1010
00:45:12,680 --> 00:45:13,920
Speaker 5: already Sa