WEBVTT - Drama is Coming ("Picture Imperfect" S1 EP 21) 0:00:05.680 --> 0:00:09.320 Still the Place with Laura Layton, Courtney Thorne Smith. 0:00:09.400 --> 0:00:16.880 And Daphne's Aniga an iHeartRadio podcast. So thanks for joining us. Everyone. 0:00:16.920 --> 0:00:20.000 We're just discussing all the ins and outs and tech 0:00:20.160 --> 0:00:24.120 of doing this podcast for the actors and how Lucy, 0:00:24.320 --> 0:00:26.439 Laura's daughter, came on our press day and was like 0:00:26.520 --> 0:00:31.120 whoo boom and like reels and stories and editinging and music. 0:00:31.200 --> 0:00:32.199 It was amazing on her. 0:00:32.320 --> 0:00:35.559 She can do all the things. And we're you know, 0:00:35.600 --> 0:00:37.080 we're just figuring out as we go. 0:00:37.240 --> 0:00:38.239 I get my pencil. 0:00:38.560 --> 0:00:40.360 I mean, I've been asking Jack since he was eight 0:00:40.440 --> 0:00:44.240 years old, how do I just handed my phone? Because 0:00:44.280 --> 0:00:45.800 you know, when we were growing up, if you hit 0:00:45.840 --> 0:00:49.200 the wrong button, everything went away. Yeah, right, like these 0:00:49.280 --> 0:00:51.720 kids asked you, do you want to get rid of it? 0:00:51.760 --> 0:00:52.960 Do you want to get rid of it? We didn't 0:00:52.960 --> 0:00:54.560 have that. Do you remember hitting the wrong button and 0:00:54.600 --> 0:00:55.840 everything you were writing was gone? 0:00:55.960 --> 0:01:00.720 It was scary here. It was scary still is in 0:01:00.880 --> 0:01:05.200 certain ways. I think we just it's just. 0:01:04.040 --> 0:01:05.600 Well, we've just figured out zoom. 0:01:05.600 --> 0:01:07.360 Although I'm realizing I need to keep my hands in 0:01:07.360 --> 0:01:09.680 my lap because I still haven't turned off that setting 0:01:09.680 --> 0:01:12.399 that makes me give you like fireworks and greens by accident. 0:01:12.560 --> 0:01:14.600 So I'm just going to be here with the hands 0:01:14.600 --> 0:01:17.240 of my lap today for this recap. Daphane's got our recap. 0:01:17.360 --> 0:01:21.440 She's given us a rundown us. Heather Locklear's first appearance 0:01:21.480 --> 0:01:23.119 in this episode we're recapping today. 0:01:23.280 --> 0:01:27.600 Yeah. This is episode twenty one, season one, twenty. 0:01:27.360 --> 0:01:29.440 One where Amanda Woodward appears. 0:01:29.760 --> 0:01:32.760 It aired on January thirteenth, nineteen ninety three, and I 0:01:32.959 --> 0:01:34.880 you know, we're having such a blast watching this. I 0:01:34.880 --> 0:01:38.040 just want to encourage our listeners watch every single episode 0:01:38.040 --> 0:01:40.120 on Paramount Plus and if you just want to watch 0:01:40.160 --> 0:01:42.679 that and then listen to these comments. It's really fun 0:01:42.720 --> 0:01:43.479 for us, isn't it. 0:01:43.480 --> 0:01:45.280 It's a blast to watch the episode though. 0:01:45.480 --> 0:01:47.480 It's fun, and this is a great time to join 0:01:47.520 --> 0:01:49.520 in because the episodes are starting to pick up and 0:01:49.560 --> 0:01:52.520 it's sort of becoming what Melro's Place became. 0:01:53.360 --> 0:01:54.720 Let's good, right, can't wait? 0:01:54.760 --> 0:01:59.960 You guys, thank you so picture imperfect. This is episodewe 0:02:00.320 --> 0:02:03.520 one I'm trying to look here, directed by Nancy Malone. 0:02:03.640 --> 0:02:06.240 So for those of you remember Nancy, she was a 0:02:06.360 --> 0:02:10.119 child actress and a great director for us that came 0:02:10.120 --> 0:02:10.919 on and did a few of. 0:02:10.840 --> 0:02:13.240 These, and she kept everybody moving. 0:02:13.240 --> 0:02:14.640 I know we'll get to usy go by ses, but 0:02:14.720 --> 0:02:16.679 did you notice that, like sometimes it's just two people 0:02:16.760 --> 0:02:19.959 sitting in a chair talking, there was movement in every scene. 0:02:19.960 --> 0:02:22.359 We had props doing things we didn't normally do. 0:02:22.680 --> 0:02:25.120 Oh so yeah, we were really encouraged to do that. 0:02:25.360 --> 0:02:28.320 A lot of shows this, you know, our dramas just 0:02:28.400 --> 0:02:30.880 kind of like really rely on the close up, the 0:02:30.919 --> 0:02:33.079 close ups and over the shoulders and so you're acting 0:02:33.120 --> 0:02:35.720 with kind of like your face. But she was very 0:02:35.800 --> 0:02:38.200 used to I think you're right. I noticed that, you know, 0:02:38.360 --> 0:02:41.880 encouraged like body movement and wider shots and things like that, 0:02:41.919 --> 0:02:42.359 which was. 0:02:42.360 --> 0:02:44.720 Yeah, use the room, cause the set. 0:02:45.120 --> 0:02:47.960 And on that note, we started D and D advertising 0:02:48.000 --> 0:02:50.440 and we are walking, Lucy and Allison are walking. 0:02:50.880 --> 0:02:52.920 Did you notice I'm sorry to interject so quickly, but 0:02:52.960 --> 0:02:55.360 I like there was a voice, a male voice over 0:02:55.400 --> 0:02:57.120 it as we're coming into D and D and it says, 0:02:57.360 --> 0:02:58.960 D and D may I help you? 0:02:59.040 --> 0:03:01.560 And I was like, NW, why Alison at the receptionist desk? 0:03:01.680 --> 0:03:02.920 And then we come into. 0:03:02.680 --> 0:03:05.440 This scene and we figure out why she's pulled her 0:03:05.440 --> 0:03:09.440 off the desk. So Lucy walks into office and Allison says, 0:03:09.440 --> 0:03:12.440 is something wrong and Lucy says, nope, take a seat, 0:03:12.639 --> 0:03:14.720 and she says that she had to let somebody go. 0:03:14.919 --> 0:03:17.799 Toby callup. Allison's getting kind of worried, like, am I next? 0:03:17.840 --> 0:03:20.960 And she says, I recommended you for the job assistant 0:03:21.000 --> 0:03:24.800 account executive, which is a bit of a promotion. I guess, well, yes, 0:03:24.880 --> 0:03:30.760 anything is from receptionist, right definitely. Lucy says, yeah, there's 0:03:30.800 --> 0:03:32.960 room for opportunity. You won't be getting much more than 0:03:33.000 --> 0:03:36.120 you're getting now, but it'll be really great. You're the 0:03:36.160 --> 0:03:39.160 liaison between the creative and the client. And she's so 0:03:39.320 --> 0:03:41.440 excited and she asks, oh boy, when do I start? 0:03:41.560 --> 0:03:45.000 She goes right now, and she says, we've lost our 0:03:45.040 --> 0:03:49.440 photographer for tomorrow's for the count of Maximum Advantage, which 0:03:49.480 --> 0:03:52.880 is a men's underwear, and we need a replacement for 0:03:52.920 --> 0:03:56.000 that photographer right now. So Lucy picks up the phone 0:03:56.040 --> 0:03:59.760 and asks for Amanda Woodward, the director on the account. 0:04:00.280 --> 0:04:02.640 You squeel when she said Amanda Woodward, I was. 0:04:02.640 --> 0:04:05.840 Like, huh. I wasn't shocked because this is the most 0:04:06.560 --> 0:04:11.200 casual entrance I think's. 0:04:09.680 --> 0:04:12.560 Apparently already been at the company, right. We just haven't 0:04:12.600 --> 0:04:15.400 met her yet, but she just in back office. 0:04:15.600 --> 0:04:19.320 We didn't notice her. So it's like the most low 0:04:19.440 --> 0:04:20.720 key entrance we've ever seen. 0:04:20.800 --> 0:04:22.640 But Alison's like, yeah, I know who she is. All right, 0:04:22.880 --> 0:04:24.320 yeah whatever here she comes. 0:04:24.360 --> 0:04:27.280 Whatever weird. So she goes, I'll you know, Amanda, will 0:04:27.279 --> 0:04:30.080 you come in, Amanda will fill you in on the 0:04:30.080 --> 0:04:33.880 rest of the details. And Alison looks at Lucy, telling 0:04:33.960 --> 0:04:36.440 Lucy that she's floored, and Allison says, I don't know 0:04:36.480 --> 0:04:39.039 what to say, and Lucy says, don't let me down, 0:04:39.839 --> 0:04:40.320 that's all. 0:04:40.360 --> 0:04:43.000 But did you notice Like when when when I came 0:04:43.080 --> 0:04:44.599 into the scene, I thought, God, that's kind of a 0:04:44.600 --> 0:04:46.560 weird out. For like, I had this big white sweater 0:04:46.640 --> 0:04:48.640 belted of her white skirt and it seemed kind of 0:04:48.640 --> 0:04:51.960 frumpy and virginal. But then when Heather came in and 0:04:52.000 --> 0:04:54.440 I was like, oh, she's got on a power suit, right, 0:04:54.520 --> 0:04:58.360 I couldn't look more Midwest vulnerable And she comes in 0:04:58.360 --> 0:05:00.600 in this like lavender power suit. I was like, oh, 0:05:00.680 --> 0:05:02.280 with these big buttons, remember that, Like. 0:05:02.240 --> 0:05:03.920 She they were setting that contrast. 0:05:04.200 --> 0:05:06.839 They were setting that contrast because I thought Denise Wingetter 0:05:06.880 --> 0:05:08.920 crossed and we didn't do anything without thinking about it, 0:05:09.320 --> 0:05:10.920 and I was like, oh that's why. 0:05:11.160 --> 0:05:12.800 Yeah, that was a great contrast. 0:05:13.200 --> 0:05:16.800 So Amanda has come into the office. They've left Lucy's office, 0:05:16.839 --> 0:05:19.640 and our next scene is they're walking in to the 0:05:19.680 --> 0:05:23.520 offices where the general employees are and Alison is so 0:05:23.640 --> 0:05:26.080 excited and she says, oh, I get my own office 0:05:26.120 --> 0:05:29.400 and Amanda replies, yeah, it's more like your own veal 0:05:29.440 --> 0:05:35.560 fattening pen. And she shows here her cube and she's like, 0:05:35.720 --> 0:05:39.080 feel free to redecorate. I think she said. Alison go goes, 0:05:39.320 --> 0:05:41.520 have you met this Rex Welden, this tennis star that 0:05:41.520 --> 0:05:44.920 they're going to shoot for this campaign? And I've noticed 0:05:44.920 --> 0:05:47.599 that there's pictures of him on the cubes there. I 0:05:47.600 --> 0:05:51.080 guess she puts up whoever they're working on and he's 0:05:51.120 --> 0:05:53.240 this cute guy and she goes, yeah, I've met him once. 0:05:53.720 --> 0:05:56.640 And then Amanda says, you know, try not to dwell 0:05:56.640 --> 0:05:59.320 on how adorable Rex is, because the last thing you 0:05:59.360 --> 0:06:02.000 want to do is get with a client, and that 0:06:02.080 --> 0:06:05.080 the account usually disappears when the relationship is over, which 0:06:05.120 --> 0:06:07.000 is what happened to Toby Callow. 0:06:07.560 --> 0:06:08.280 According to the R. 0:06:10.160 --> 0:06:12.280 And do you remember, because I remembered that day I 0:06:12.320 --> 0:06:15.039 was watching that scene and being really nervous about Heather 0:06:15.120 --> 0:06:15.800 locked they were coming on. 0:06:15.920 --> 0:06:17.200 She was a really big star. 0:06:17.920 --> 0:06:19.320 And then I was looking at the first scenes and 0:06:19.400 --> 0:06:25.520 just remembering how funny and humble and warm and lovely 0:06:25.560 --> 0:06:25.840 she is. 0:06:26.080 --> 0:06:29.679 Yes, how she immediately puts everybody at ease. 0:06:29.880 --> 0:06:32.160 I just had that memory of, Oh, I remember her 0:06:32.279 --> 0:06:36.280 coming and looking insanely gorgeous as always, but just so 0:06:36.920 --> 0:06:40.400 down to earth and so lovely. And I had that 0:06:40.480 --> 0:06:44.159 memory of, oh, how she put everybody at ease. Yeah, 0:06:44.200 --> 0:06:46.799 her character joke, she's lovely to the crew. 0:06:47.080 --> 0:06:48.760 I just had that memory of having her there the 0:06:48.800 --> 0:06:50.479 first day and how wonderful it was. 0:06:50.839 --> 0:06:54.920 Yeah, her character gets like more sort of powerful and 0:06:55.000 --> 0:06:57.000 bossy as as it grows. 0:06:56.760 --> 0:06:58.600 And as it goes on, but here her entrance, she's 0:06:58.800 --> 0:06:59.280 just she. 0:06:59.320 --> 0:07:01.800 Is so lovely and her smile just lights up her 0:07:01.800 --> 0:07:03.520 face and she just comes off with so kind and 0:07:04.120 --> 0:07:04.880 warm and appealing. 0:07:05.760 --> 0:07:07.800 Yeah, it was fun to remember that day. 0:07:08.320 --> 0:07:13.160 Yeah, nice, I totally agree. So before Amanda leaves, she 0:07:13.200 --> 0:07:14.760 says she well, she's going to go look at some 0:07:14.760 --> 0:07:16.880 more portfolios, but she says, you know, we got to 0:07:16.880 --> 0:07:19.320 get on this thing. So she really introduces that there's 0:07:19.320 --> 0:07:21.480 a time crunch that that Alison has her first gig. 0:07:21.520 --> 0:07:24.000 It's like all this stuff, you're you're working now, you're 0:07:24.040 --> 0:07:26.480 working on something that's happening tomorrow. And we have a 0:07:26.520 --> 0:07:31.280 time crunch and here's Amanda and go and Alice's just like, well, 0:07:31.280 --> 0:07:33.520 I'll be right here, you know, sitting at her desk. 0:07:33.600 --> 0:07:35.840 She's so excited. She has a cubicle. 0:07:36.720 --> 0:07:37.400 She loves it. 0:07:37.800 --> 0:07:40.640 She loves it. So the next scene is that shooters 0:07:40.680 --> 0:07:43.040 and we have a really cool high shot looking down 0:07:43.080 --> 0:07:48.800 on the group. Yeah, were you thinking, I'm thinking, you know, 0:07:48.920 --> 0:07:52.040 Nancy's you know, creativity. She's like, okay, how do you 0:07:52.040 --> 0:07:54.440 get the message across At everyone's cheerings, they were all 0:07:54.520 --> 0:07:59.120 cheerings of your promotion, toasting your promotion. So Billy says, well, 0:07:59.200 --> 0:08:02.760 cheers on your brilliant new career. Dreams do come true 0:08:02.840 --> 0:08:05.400 and he kisses you on the cheek and everyone else disappears, 0:08:05.480 --> 0:08:08.680 and Alison and Billy sit together at the bar and 0:08:08.720 --> 0:08:11.680 Billy's like, well, you won't need a roommate anymore now 0:08:11.680 --> 0:08:13.600 that you're making the big box and she's like, yeah, 0:08:13.600 --> 0:08:17.000 it's fifty dollars extra month. You want to calculate that. 0:08:17.080 --> 0:08:21.760 Courtney in today's buddy. Let's just get it's probably the same. 0:08:21.800 --> 0:08:23.320 It's just two hundred, right. 0:08:23.680 --> 0:08:25.480 In any case, Billy's not going anywhere. 0:08:25.560 --> 0:08:27.720 Yeah, Billy's not going anywhere. 0:08:28.400 --> 0:08:30.040 So he says, well, I'm really proud of you. And 0:08:30.080 --> 0:08:32.960 then Michael comes over and pulls Billy aside and to 0:08:33.040 --> 0:08:37.000 go play pool. And then Joe comes in and takes 0:08:37.000 --> 0:08:39.760 his seat and is prepared to chat with you. But 0:08:39.920 --> 0:08:44.800 over at the pool table Michael and Billy, Michael asked, Billy, 0:08:44.800 --> 0:08:46.640 are you seeing anyone? And Michael says, I think I 0:08:46.679 --> 0:08:50.000 have someone to set you up with as he's playing pool, 0:08:50.040 --> 0:08:52.120 and Billy's like, well, who is she? Well, her name 0:08:52.160 --> 0:08:54.520 is Lydia Perkins and she's a nurse at the hospital. 0:08:54.800 --> 0:08:57.960 Very sweet and he's like sweet, Well, which famous person 0:08:58.040 --> 0:08:58.840 does she look like? 0:08:59.520 --> 0:09:01.720 Yeah? He wants to know more. Sweet maybe not be 0:09:01.880 --> 0:09:02.800 enough of a description. 0:09:03.640 --> 0:09:06.160 I remember like blind, d you know you would always 0:09:06.160 --> 0:09:08.559 get a picture of somebody right, like then you were 0:09:08.600 --> 0:09:11.960 really blind, Like people didn't have a saywater, You couldn't 0:09:11.960 --> 0:09:13.440 say let me take a picture for your date. 0:09:13.480 --> 0:09:15.559 You just said to believe the person you were talking to, or. 0:09:15.520 --> 0:09:17.319 You couldn't just say what's her name again? And then 0:09:17.360 --> 0:09:20.920 look it up all ye, he's getting the name out 0:09:20.960 --> 0:09:23.600 of his mind. He so, you know, who does he 0:09:23.679 --> 0:09:26.599 look like? And he Michael says, oh, Cindy Crawford and 0:09:26.679 --> 0:09:29.160 he's like really and he's like, no, she looks like 0:09:29.200 --> 0:09:33.640 herself and she's great. And he goes, well, suspiciously, why 0:09:33.720 --> 0:09:36.480 can't you get a real date? And he sinks the 0:09:36.480 --> 0:09:39.760 ball and says, well why can't you? And he's like damn, 0:09:41.160 --> 0:09:42.800 and which is a good question. Why can't he? 0:09:42.840 --> 0:09:45.520 Because well, because he's in love with Alison. Are you 0:09:45.520 --> 0:09:46.720 guys not watching the show? 0:09:47.920 --> 0:09:50.360 He's trying everything to avoid the truth. 0:09:50.800 --> 0:09:54.199 Yeah, yes, he can't yeh yes. 0:09:54.960 --> 0:09:57.400 So we're back at the bar where Joe has come 0:09:57.440 --> 0:10:00.280 in and she's sitting there drinking her white wine and 0:10:00.280 --> 0:10:05.040 and moaning about unemployment. And Alison says, well, you know, 0:10:05.120 --> 0:10:09.320 I was hoping that the receptions job would lead to something, 0:10:09.440 --> 0:10:13.200 but you know, here it is, and you might want 0:10:13.240 --> 0:10:15.480 to show me some of your photography. I might want 0:10:15.520 --> 0:10:18.400 us because I could maybe help you. And she's like, really, 0:10:18.800 --> 0:10:21.240 that would be amazing. You know, people are afraid of 0:10:21.280 --> 0:10:24.199 trying something new. Everyone wants to do the same old thing. 0:10:24.559 --> 0:10:26.880 Alison tells Joe that she would like to help her 0:10:26.880 --> 0:10:28.920 if she can, and she goes, well, come on over, 0:10:28.960 --> 0:10:32.240 look at my photographs. We cut right to the apartment. 0:10:32.520 --> 0:10:34.680 So this is the one where the portfolio where we 0:10:34.840 --> 0:10:37.280 start close and we pull back on these guys playing 0:10:37.320 --> 0:10:40.760 volleyball on the beach, and then Alison's wow, your photography 0:10:40.920 --> 0:10:43.040 is so cool. These are great. Did you get anyone 0:10:43.320 --> 0:10:47.400 any of their numbers? And Joe's like, yeah, no, a few. 0:10:47.520 --> 0:10:50.120 But then she's like, no, I'm not looking for numbers. 0:10:50.160 --> 0:10:52.640 My hands are full with Jake and the last thing 0:10:52.679 --> 0:10:54.720 I need is to pick up guys at the beach. 0:10:55.920 --> 0:10:59.640 And Alison says, well, what's going on with you and Jake? Well, 0:11:00.160 --> 0:11:02.800 and it's slow, you know, it's hard, but I know 0:11:02.840 --> 0:11:06.679 it's best for me. And Allison's like, in this one take, 0:11:07.559 --> 0:11:11.320 Jake is a really great guide, Joe, and you're good 0:11:11.320 --> 0:11:15.960 for him. I can tell. And she's like really anyway, 0:11:16.000 --> 0:11:17.800 Then she keeps looking at the photos and she sees 0:11:17.840 --> 0:11:20.880 some very avant garde black and white ones. Wow, these 0:11:20.920 --> 0:11:23.160 are cool, and there were ones that she took in 0:11:23.240 --> 0:11:27.040 New York for some magazine and she's like, wow, I'm 0:11:27.080 --> 0:11:29.360 going to bring these into the office. Because they're great. 0:11:29.800 --> 0:11:33.960 Then we're in D and D advertising and now Amanda's 0:11:34.000 --> 0:11:37.839 looking through Joe's portfolio and she's like, Wow, did you 0:11:37.920 --> 0:11:40.800 guys think these photos were really great? Because like everyone 0:11:40.920 --> 0:11:44.040 is bowled over and I'm just asking you as audience members, 0:11:44.200 --> 0:11:47.080 were they really great? Like they didn't really stand out 0:11:47.120 --> 0:11:47.320 to me? 0:11:48.240 --> 0:11:52.360 I know, yeah, I think it's probably pretty hard to 0:11:52.559 --> 0:11:55.400 get to the punchline of this story, right. The punchline 0:11:55.480 --> 0:11:58.040 is that Joe's going to want to do something a 0:11:58.040 --> 0:12:00.640 little different, And how do you say that in this 0:12:00.720 --> 0:12:03.960 first part with just her photographs, Like this is how 0:12:04.200 --> 0:12:08.040 Joe is artistic and different, right, I mean I think. 0:12:07.920 --> 0:12:11.240 That's great, Like they're emphasizing how great these are. 0:12:11.320 --> 0:12:11.960 She's fantastic. 0:12:11.960 --> 0:12:14.480 Well, and also they're desperate they need to hire a 0:12:14.480 --> 0:12:18.400 photographer immediately, and Alison has presented. 0:12:18.000 --> 0:12:19.960 Them with their solution. Right, here's this woman. 0:12:20.320 --> 0:12:24.000 She's available tomorrow and her photographs aren't true right there. 0:12:24.240 --> 0:12:26.720 It's not that they're like greater than ten other people 0:12:26.760 --> 0:12:29.040 that are options for tomorrow. It's like Joe is available 0:12:29.080 --> 0:12:31.080 tomorrow and her photography is great. 0:12:31.440 --> 0:12:35.320 Yeah yeah, yeah yeah. And also it's an advertising D 0:12:35.360 --> 0:12:38.840 and D is for advertising so they're usually very basic, 0:12:38.880 --> 0:12:43.040 straightforward commercials that are showing a product period, good lighting, 0:12:43.080 --> 0:12:45.360 show the product, and you know, that's what they're used to, 0:12:45.360 --> 0:12:48.240 and these are kind of different, some of them more creative. 0:12:49.800 --> 0:12:52.840 So Amanda is going, wow, I love these. Who's her agent? 0:12:53.080 --> 0:12:55.920 And she's like, well, you know, she doesn't have one 0:12:55.960 --> 0:12:57.079 And Amanda's I thought that. 0:12:57.080 --> 0:12:59.960 Was a good cover, Alison, she doesn't have one out 0:13:00.160 --> 0:13:00.760 here yet. 0:13:01.520 --> 0:13:04.840 Ah, yeah, pretty good in the moment qualifying it, Yeah, 0:13:04.960 --> 0:13:05.280 uh huh. 0:13:05.280 --> 0:13:09.120 He's an ally, She's very good, okay, And Amanda says, wow, 0:13:09.200 --> 0:13:12.880 this might be the lucky break that we need. So 0:13:12.880 --> 0:13:15.360 I'm going to show this stuff to Lucy. And then 0:13:15.480 --> 0:13:17.800 Amanda asked her do you want to come along? And 0:13:17.840 --> 0:13:20.280 she's like yes, And then we cut to Lucy walking 0:13:20.320 --> 0:13:23.319 down the hallway and looking at Joe's photos and she's like, wow, 0:13:23.360 --> 0:13:27.400 these are great. They're so dynamic. What do you think, Alison? 0:13:27.920 --> 0:13:30.640 Did you see Alison is sort of like hurrying. 0:13:30.240 --> 0:13:30.800 To keep up. 0:13:30.880 --> 0:13:32.720 Did you notice the way you were walking? 0:13:33.240 --> 0:13:36.800 Is like Lucy's walking very confidently striding down the hall 0:13:36.880 --> 0:13:39.320 and here comes Amanda. She's very confidently striding, but like 0:13:41.280 --> 0:13:42.880 Alison had this like little. 0:13:42.600 --> 0:13:44.440 Scurry like she was hurrying to keep up. 0:13:44.440 --> 0:13:47.959 It was very mud so creat So she but she's 0:13:48.000 --> 0:13:50.280 a good mentor. She's asking you, you know, what do 0:13:50.320 --> 0:13:54.080 you think? And Alison says, well, I think that we 0:13:54.080 --> 0:13:57.280 should give her a shot. And Amanda reminds Lucy that 0:13:57.320 --> 0:14:00.760 the clock is ticking, so boom, take her in my 0:14:00.840 --> 0:14:01.920 office this afternoon. 0:14:02.160 --> 0:14:03.560 What could possibly go wrong? 0:14:03.960 --> 0:14:04.920 This is gonna be great. 0:14:05.160 --> 0:14:10.080 It's gonna be great. We are in the kitchen of 0:14:10.080 --> 0:14:14.000 a restaurant and Terrence and Ronda are there tasting pastries, 0:14:14.360 --> 0:14:16.960 and Ronda's like, oh, these are better than sex? 0:14:17.559 --> 0:14:22.800 Can you think? Oh? Tell you, at least it is 0:14:22.840 --> 0:14:23.880 better than sex with you. 0:14:25.200 --> 0:14:28.840 Well, then, Terrence, do you remember Terrence goes tastes it 0:14:28.880 --> 0:14:32.840 and goes almost like correcting her. 0:14:33.960 --> 0:14:34.240 Yeah. 0:14:34.320 --> 0:14:38.480 Well, but then Terrence says that Nancy is a gifted 0:14:38.520 --> 0:14:41.240 pastry chef and wants her to make the cake for 0:14:41.280 --> 0:14:45.120 the wedding. So I thought this right when I saw this. 0:14:45.280 --> 0:14:49.000 Do you remember the star celebrity chef of the nineties, Nancy. 0:14:49.680 --> 0:14:54.800 Nancy Silverton was huge. She gave us the restaurants of 0:14:55.640 --> 0:14:59.280 Campanilely and you know, most Son stuff. But she created 0:15:00.080 --> 0:15:01.320 Ray Bakery. 0:15:00.880 --> 0:15:04.920 Which they made this character Nancy the chef carrecs Nancy, 0:15:05.000 --> 0:15:06.240 and I looked at it was an extra. 0:15:06.360 --> 0:15:07.960 She didn't have a line or anything, but I looked 0:15:08.000 --> 0:15:10.920 and she looked like Nancy Silverton. And you know, Darren 0:15:10.960 --> 0:15:13.880 wrote this, and Darren's into all that stuff and food 0:15:13.960 --> 0:15:17.400 and stuff, so I thought that was almost a cameo. 0:15:17.520 --> 0:15:20.280 But it's a nod to yeah, yeah, yeah, to LA's 0:15:20.320 --> 0:15:23.800 like new celebrity chef, and and that Terrence can afford 0:15:23.840 --> 0:15:25.720 her and wants He's on the top of the pulse 0:15:25.760 --> 0:15:28.040 of everything, you know, making this a great wedding. So 0:15:28.080 --> 0:15:30.680 we're going to have her make the cake. And Ron 0:15:30.840 --> 0:15:32.840 is like, well, my mom wanted to make the cake. 0:15:33.200 --> 0:15:35.160 Is a part of her gift. And Terrence is like 0:15:35.280 --> 0:15:36.760 for two hundred people. 0:15:36.720 --> 0:15:38.560 He mocks her. He like laughs at that, like. 0:15:38.840 --> 0:15:44.240 Guffaw, like yeah, yeah, no ways, little tremors are kind 0:15:44.280 --> 0:15:48.760 of like and here's another one. Rond is like, two 0:15:48.800 --> 0:15:51.920 hundred people, I wanted to have an intimate wedding. 0:15:52.480 --> 0:15:55.960 Well, but last remember, I think episode before last, she's 0:15:56.040 --> 0:16:00.280 talking to Matt and saying that it was a hundred 0:16:00.280 --> 0:16:01.720 maybe we need one hundred and fifty. So then she 0:16:01.920 --> 0:16:03.400 was getting into the big wedding member. 0:16:03.880 --> 0:16:07.040 Yeah, now it's two hundred. It's even more than last week. 0:16:07.080 --> 0:16:10.160 And she's like, wait, we wait, and like, wait, my 0:16:10.200 --> 0:16:12.440 mom wanted to make the cake and yeah, yeah. 0:16:12.400 --> 0:16:14.080 Even if her mom was making it for one hundred 0:16:14.080 --> 0:16:15.840 and fifty, that's also a lot of people. 0:16:15.920 --> 0:16:16.400 So a lot. 0:16:16.640 --> 0:16:19.600 Yeah, that's a lot of we're seeing there. There's a 0:16:19.640 --> 0:16:24.520 lot of different ideas, you know, and uh yeah, so 0:16:25.880 --> 0:16:29.440 you know, she's like, and then he comes back with, well, 0:16:29.760 --> 0:16:32.680 this is I want the wedding to be about us, ironically, 0:16:32.840 --> 0:16:37.160 not what our parents think it should be. And that's 0:16:37.280 --> 0:16:40.040 kind of like said with irony, I thought, because he's 0:16:40.240 --> 0:16:42.880 controlling anyway, She's like, okay, you're right. It gives him 0:16:42.920 --> 0:16:45.720 a big kiss. I don't know, we'll see what's happening there. Okay, 0:16:45.800 --> 0:16:48.160 So now we're back in D and D and Lucy 0:16:48.320 --> 0:16:50.760 walks into the office with Alison and Amanda. 0:16:50.480 --> 0:16:54.360 Walking behind her like ducks, are you still in. 0:16:54.280 --> 0:16:56.560 The back waddling along? 0:16:57.440 --> 0:17:01.520 Well, Alison, keep up this new career. And he walks 0:17:01.520 --> 0:17:04.720 in and he introduces them to Rex Weldon, our hotty 0:17:04.840 --> 0:17:08.600 tennis star played by Mitchell Anderson, who did a lot 0:17:08.640 --> 0:17:11.280 of stuff and I recently saw him a year or 0:17:11.280 --> 0:17:14.280 two ago and one man played that he wrote and started. 0:17:14.080 --> 0:17:18.040 Really he's I had this visceral reaction to him because 0:17:18.080 --> 0:17:21.119 he was such a nice man. Yeah, he came like, 0:17:21.520 --> 0:17:24.679 oh I remember him. I remember having really nice, long 0:17:24.720 --> 0:17:27.879 conversations with him. What a nice man. 0:17:28.359 --> 0:17:31.439 Yeah, and very smart and a real artist, you know. 0:17:31.560 --> 0:17:34.440 And he was one of the people that Doug mentioned, 0:17:34.720 --> 0:17:35.800 do you remember that, Laura? 0:17:35.840 --> 0:17:37.480 And he went on to do another show in the 0:17:37.560 --> 0:17:40.119 nineties called Party of Five, and yeah, he's done a 0:17:40.200 --> 0:17:40.720 ton of stuff. 0:17:40.920 --> 0:17:45.720 So he's there. Lucy pulls Arnold, his boss basically aside 0:17:45.800 --> 0:17:51.560 and manager first clients. Yeah, we have a whole new 0:17:51.600 --> 0:17:54.600 we have a hot new photographer and we're you know, 0:17:54.800 --> 0:17:58.159 meeting them this afternoon and he's like, oh, what's the 0:17:58.280 --> 0:18:00.640 name Joe Reynolds, And Arnold's like, oh, I think I've 0:18:00.680 --> 0:18:01.080 heard of her. 0:18:01.560 --> 0:18:04.560 That great line, just wanting to want to be I 0:18:04.600 --> 0:18:05.359 know everything. 0:18:05.400 --> 0:18:06.400 I've heard of him for sure. 0:18:07.560 --> 0:18:11.320 Totally. He's the suit basically, and Rex in the meantime 0:18:11.400 --> 0:18:13.800 is in the background if you notice, like totally hitting 0:18:13.920 --> 0:18:19.160 hard on Alison, Like no moment there, he's on it. 0:18:19.840 --> 0:18:23.320 They're talking and he's like, so you're the one scheduled 0:18:23.320 --> 0:18:27.160 to babysit to shoot tomorrow. Huh. And he says, I'm 0:18:27.200 --> 0:18:29.159 staying in this hotel in Century City and I'm just 0:18:29.160 --> 0:18:31.400 going to die of boredom if you please don't show 0:18:31.440 --> 0:18:35.280 me take me somewhere tonight. And she's like, I don't know, 0:18:35.480 --> 0:18:39.080 and he's like, come on, name the place, Alison, I'm yours. 0:18:39.160 --> 0:18:44.320 I mean, he's really showing who he is and making 0:18:44.320 --> 0:18:47.159 her feel uncomfortable already. I mean, that was a little 0:18:47.359 --> 0:18:50.800 I don't barking up the wrong tree with Alison. So 0:18:50.840 --> 0:18:53.720 then we cut to Shooters and he's still hitting on Alison. 0:18:54.560 --> 0:18:56.240 They're sitting at the table, agreed. 0:18:55.960 --> 0:18:58.680 To take him out, and so Shooters, it is this is. 0:18:58.640 --> 0:18:59.600 Her La, her home. 0:18:59.640 --> 0:19:01.600 When you're making someone out a cool person out to 0:19:01.640 --> 0:19:03.280 a night spot Shooters which. 0:19:03.080 --> 0:19:04.240 Apparently the only bar in. 0:19:04.359 --> 0:19:06.440 La Shooters, because everyone's going to be there. 0:19:06.600 --> 0:19:09.239 You watched the only spot that Alison knows that this 0:19:09.359 --> 0:19:11.880 gang knows. It's so funny. He was thinking like clubs 0:19:11.880 --> 0:19:13.280 downtown and like this. 0:19:13.240 --> 0:19:16.000