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Speaker 1: I am all in again.

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Speaker 2: Oh let's.

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Speaker 3: Hi.

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Speaker 1: I am all in again with Scott Patterson and iHeartRadio Podcast.

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Speaker 1: Hey everybody, Scott Patterson, I Am all in Podcast one

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Speaker 1: eleven productions. iHeartRadio Media, iHeart Podcast. We are gonna recap

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Speaker 1: Season one, episode fifteen. Christopher returns with the one and

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Speaker 1: only Grant Lee Phillips, who was, as you know, the

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Speaker 1: town Troubadour. Grant is here, A welcome friend.

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Speaker 2: Good to see you again. You're over the.

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Speaker 1: World playing your word songs to adoring audiences. It's good

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Speaker 1: to have you. Thank you for your time. I know

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Speaker 1: you watched this episode. What was your overall impression of

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Speaker 1: this episode?

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Speaker 2: Goodness? I yea christ talking. Christopher returns. I gotta say, Scott,

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Speaker 2: I found it, uh somewhat bittersweet. The bitter part being

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Speaker 2: that I was not in this episode, and I feel

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Speaker 2: very bitter about it. The sweet part being that, you know,

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Speaker 2: it had a lot of other great things going for it. No,

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Speaker 2: this is this is really early on in the in

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Speaker 2: the pageant of Gimire girls, isn't it.

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Speaker 1: Christopher returns, Uh, you know, Rory's happy that her dad's back,

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Speaker 1: and right Laurliz is a little hesitant, but seems kind

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Speaker 1: of like open minded and somewhat positive about it.

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Speaker 2: But right, but I think overall.

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Speaker 1: She remained skeptical, skeptical and questioning why he's really there.

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Speaker 1: Richard has more faith in Christopher, according to Laura La

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Speaker 1: and she keeps telling Rory this and and and he

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Speaker 1: comes in like mister motorcycle, cool guy. Let me ask

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Speaker 1: you this, do you think they were setting up Christopher

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Speaker 1: because that's a big entrance. And I was discussing this

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Speaker 1: earlier with the podcast team with Jackie and and Emma,

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Speaker 1: and we all agreed that they really set up this

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Speaker 1: entrance for Christopher to come in like this, you know,

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Speaker 1: like almost like Marlon.

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Speaker 2: Brando automobile cycle.

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Speaker 1: Yeah, but I mean like like obviously softer version, but

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Speaker 1: super cool, super hot guy. Right, and he gets off

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Speaker 1: his Indian motorcycle and hey, I'm here with my perfect

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Speaker 1: hair and my chisel giant all this kind of stuff.

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Speaker 1: Do you think that they were trying to make this

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Speaker 1: guy because we know how the fans feel about him,

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Speaker 1: and it's not good, not good.

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Speaker 2: I can see that.

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Speaker 1: Do you think that Amy and Dan were setting him

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Speaker 1: up to be a legitimate rival to Luke or to

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Speaker 1: whomever she ends up with, or do you think they

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Speaker 1: knew that, you know, he was he was not going

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Speaker 1: to be well received by fans.

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Speaker 2: I believe they well, I think at the same time,

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Speaker 2: he rides in, like you say, right on the white Horse.

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Speaker 2: But on the other hand, we see that he's not

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Speaker 2: necessarily being upfront, maybe with Laura Lyon right his family,

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Speaker 2: with Richard Emily. We also see you know, the sort

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Speaker 2: of the unconscious of the town, a tailor on his

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Speaker 2: very large cell phone or whatever, the walkie talking. So

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Speaker 2: there's you know, it's kind of like the town. It's

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Speaker 2: kind of a sweet sweet element has their back and

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Speaker 2: they're watching making sure they're like the family kind of

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Speaker 2: like looking over like is this we don't know about

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Speaker 2: this guy? So we're getting our signals from those who

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Speaker 2: are very close, you know, that we maybe shouldn't have

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Speaker 2: complete trust and Christopher just yet, you know, right.

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Speaker 1: Well, we'll get back to that. But that's the opening question,

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Speaker 1: right It's like, is this intentional? Because he does have

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Speaker 1: some obvious flaws and they reveal themselves that he cannot

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Speaker 1: be trusted, that he lies in this kind of thing. Still,

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Speaker 1: still the question remains, all right, so now We're experiencing

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Speaker 1: some small town of softball game. Luke's on the mound,

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Speaker 1: Dean is coming to the plate, and Rory brings and

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Speaker 1: you know, Sean Gunn is there doing this hilarious interpretation

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Speaker 1: of hackling both Jared and myself until Luke has had

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Speaker 1: enough and he's he's like, all right, that's my favorite.

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Speaker 1: Eric runs away, but Christopher shows up with Dean meets him.

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Speaker 1: You know, it's all this like, how is this guy

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Speaker 1: going to fit into this town?

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Speaker 2: Right?

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Speaker 1: Yeah, Miss Patty meets him. She does her usual you know,

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Speaker 1: uh look, looks over the attractive young man, but then

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Speaker 1: she pulls out her phone once they walk away, like hey,

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Speaker 1: you know, which really adds to the small town flavor

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Speaker 1: and charm of the show. That's kind of exactly how

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Speaker 1: it happens in it, and painful to watch was when

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Speaker 1: they go into the bookstore and he tries to buy

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Speaker 1: her the English Oxford Dictionary, right, and his card has declined, right,

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Speaker 1: and it's like, boy, gosh, it's just this guy and

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Speaker 1: this is the first time we've seen him. Nobody knows

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Speaker 1: what to expect. So they bring in this sort of

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Speaker 1: perfect guy on a motorcycle. The you know, the perfect

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Speaker 1: kind of metro sctual guy, right, all cleaned up, right,

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Speaker 1: there's there's no there's no metallica t shirts torn and

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Speaker 1: and there's no beard, there's no long hair, there's no attitude,

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Speaker 1: there's no chain wallet. You know, it's just like friendly

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Speaker 1: guy and he can't pay for the darn dictionary. Let's

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Speaker 1: his daughter down right away. So now I'm beginning to

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Speaker 1: think this is all intentional. They were trying to create

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Speaker 1: the most unlikable character on the show and in recent

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Speaker 1: television memory. I think they really are aware of how

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Speaker 1: the audience reacts so at this point, because you can't

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Speaker 1: give this guy this many flaws and expect anybody to

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Speaker 1: root for him, right, or that relationship right anyway, So

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Speaker 1: all right, so we going to the diner. Yeah, and

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Speaker 1: Luke immediately dislikes Christopher.

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Speaker 2: Oh yeah, oh yeah, you.

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Speaker 1: Know, calls him a punk. He uses a cell phone.

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Speaker 1: It's just like it's so obviously just to set up

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Speaker 1: for future conflict. Yeah, and the guy just completely disregards

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Speaker 1: the rules, doesn't care. Nobody can be this uptight. I'm

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Speaker 1: just going to use my cell phone. And then I

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Speaker 1: think the most interesting part of that scene was that Laurel.

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Speaker 1: I actually took the phone and talked on the phone

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Speaker 1: in violation of Luke's rules. Right, it's sort of disrespecting the.

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Speaker 2: Man, right, right, right, because you know, you just.

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Speaker 1: Don't do that there, right. What do you think of

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Speaker 1: all this so far? Are you liking him? How are

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Speaker 1: you feeling about Christopher so far?

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Speaker 2: Well? I feel like there's an obvious amount of deflection

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Speaker 2: going on with Christopher. You know, we really don't get

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Speaker 2: to know him. There's always some kind of you know,

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Speaker 2: something that that occurs, the conversation will shift, so we

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Speaker 2: never really find out what Christopher has going on out

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Speaker 2: in California or what he doesn't have going on, right,

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Speaker 2: you know, we don't really know him. I guess it's

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Speaker 2: the case, you know, before he comes forth and proposes,

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Speaker 2: right presents all of this, you.

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Speaker 1: Know, I mean, that's a desperate active as desperate man.

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Speaker 2: Right, true, true, Yeah, And we don't know Strob or Francine,

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Speaker 2: and I don't feel like I'm guessing maybe they did

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Speaker 2: they come back on the on.

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Speaker 1: The I can't imagine that they would would appear after that.

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Speaker 1: I mean, Richard literally grabbed strobes lapels and pulled him

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Speaker 1: in and.

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Speaker 2: Said you know, he nearly came to fisticofs it. Really,

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Speaker 2: Richard would duel. I think ed Herman was so great

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Speaker 2: in this God that that was really really nice to

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Speaker 2: see Edward up there. Yeah.

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Speaker 1: What a master craftsman, What a master of his craft. Yeah,

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Speaker 1: just everything was pitch perfect. The guy was just so great.

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Speaker 1: So now Emily invites the phone person. The purpose of

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Speaker 1: the phone call that violates Luke's rules is Emily inviting

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Speaker 1: Christopher and Fred knight dinner. It's a family gathering. And

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Speaker 1: then we cut immediately to them all standing outside waiting

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Speaker 1: to cross into the cross the door into a into

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Speaker 1: that strange Gilmour world that they all fear so much.

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Speaker 1: But it is it's you know, it's it's imbued with

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Speaker 1: all of these uh you know, positive memories and very

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Speaker 1: negative memories for for especially for Christopher and Lorelaia of

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Speaker 1: what happened. This is when we find out what happened.

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Speaker 1: This is the characteristic of this script of this episode.

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Speaker 1: I mean, there there are some laugh out loud lines.

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Speaker 1: There just not very many of them, you know, if

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Speaker 1: you if you were to count them, and I sometimes

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Speaker 1: I count them my favorite episodes and where I think

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Speaker 1: this operates best is as a light comedy with overwhelming

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Speaker 1: amount of great humor. This wasn't that this was right,

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Speaker 1: This was this very serious episode. It just had a

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Speaker 1: totally different tone.

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Speaker 2: True.

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Speaker 1: Richard Emily are obviously thrilled to see Christopher, right, and

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Speaker 1: Ed wants to hear about the company, and Christopher's evasive

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Speaker 1: and he doesn't want to jinx the good success that

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Speaker 1: he's been experiencing and he's got, according to him, hundreds

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Speaker 1: of employees. What he described it made me very suspicious

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Speaker 1: in the beginning, right, because I know too much about him.

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Speaker 2: Right, although we do enjoy, you know, the trademark references

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Speaker 2: that are so Gilmore. We got a shout out to

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Speaker 2: Fred and Mertz right, the offspring, you know, I think

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Speaker 2: me and you mentioned metallic, I think Metallica.

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Speaker 1: Right, right, Metallica, He's an offspring.

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Speaker 2: Yeah, Tolstoy, I mean, you know.

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Speaker 1: Goodness, all of it. Right, What do you think about

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Speaker 1: this whole scene? I loved the scene. I thought I

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Speaker 1: think I thought it was great dramatic writing, you know,

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Speaker 1: the big blow up scene. What do you think about this?

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Speaker 2: The blow up scene? Are you talking about Richard.

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Speaker 1: Emily's uh yeah, when Christopher and Rory and Laurel I

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Speaker 1: walk into the living room and have drinks with Richard

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Speaker 1: Emily and then Strobe and Francine show up and it

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Speaker 1: all turns.

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Speaker 2: Basically just shows them the door, right sort of. Yeah,

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Speaker 2: I mean you get you get a real strong sense

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Speaker 2: of of who Richard is, you know, what it means

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Speaker 2: to be a Gilmore as you know he might say,

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Speaker 2: and his sense of pride, his you know, he talks

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Speaker 2: about it the protection of his family, you know, but

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Speaker 2: it's also kind of his family is, you know, in

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Speaker 2: terms of him and his identity as well. Yeah, that

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Speaker 2: was I mean, that was meaningful. Also interesting to see

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Speaker 2: this this other softer dynamic with Emily, who can be

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Speaker 2: obviously somewhat cold and harsh in terms of Laurli, but

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Speaker 2: with Rory there's that really there's a really meaningful moment

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Speaker 2: where she tells Laura Lai, you know that yeh, family

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Speaker 2: has you know, we have our problems, but it's not

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Speaker 2: you are not to blame, you know. I thought that's

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Speaker 2: a great, great thing because I think kids often do

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Speaker 2: kind of internalize such things, right we Yeah, I thought

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Speaker 2: that was a really great moment.

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Speaker 1: Amazing, The amazing part of this scene was that it

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Speaker 1: had such a blind spot in it, and the blind

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Speaker 1: spot was from everybody's point of view except for Strobe

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Speaker 1: and Freancy. Everybody had this sort of blind spot that

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Speaker 1: they didn't factor in that Strobe was going to come

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Speaker 1: in and do what he did, and that was he

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Speaker 1: justified in doing it. This is, you know, he doesn't

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Speaker 1: have a lot of contact with his son, right he

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Speaker 1: considers his son of failure. He comes in immediately Laurel

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Speaker 1: I is, you know, trying to drop some jokes that

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Speaker 1: you can tell that. It's like, wait a minute, she's

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Speaker 1: they're inappropriately rude with her right away when they're standing up.

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Speaker 1: So it's like, why we love this character. We love

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Speaker 1: law She's she's she's done this, she's raised this great kid. Yeah,

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Speaker 1: you know, she's she's she suffered a horrible fate at

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Speaker 1: the hand of her her parents, and and this guy's

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Speaker 1: laying into her man and so is the mothers. You know,

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Speaker 1: just judging, judging, judging. We didn't did you see this coming? This, this,

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Speaker 1: this Strobe attack on Lorelei. No kind of makes sense,

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Speaker 1: doesn't it. It's like, if he's going to lash out

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Speaker 1: at somebody, here's his opportunity. Emily didn't see it. Richard

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Speaker 1: didn't see it when they made the invite, and he said,

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Speaker 1: we used to be uh, very very close with this couple,

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Speaker 1: but we haven't seen them in years.

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Speaker 2: He wonder why. Yeah, And it is one of those

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Speaker 2: things where it's it's sometimes easier to to focus all

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Speaker 2: of you your bad feelings, not on your own your

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Speaker 2: own offspring, but on Laurai, you know, kind of blaming

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Speaker 2: Lauraai for whatever course Christopher's life is.

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Speaker 1: Well. I think Strobe has had plenty of those discussions

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Speaker 1: with Christopher. Well, probably so, and I think he will

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Speaker 1: continue to look at his own son as somebody who's

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Speaker 1: just ruined all of their lives. Yeah, with one stupid act.

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Speaker 1: But now is his chance to really fix his sights

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Speaker 1: on LAURREALI do you think it was justified?

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Speaker 2: Was Stroke justified in his Yes?

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Speaker 1: Was he justified?

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Speaker 2: Oh? No, I don't believe so, not at all, No,

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Speaker 2: not at all, you know, And I think you kind

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Speaker 2: of see this particular note being struck throughout, you know,

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Speaker 2: throughout the episode. But you know, you know, it would

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Speaker 2: be quite easy for a character like Laurli to be

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Speaker 2: to be judged by society she's single woman raising her daughter,

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Speaker 2: and uh, you know, she's irreverent and she has to

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Speaker 2: you know, deal with all deal with all of the

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Speaker 2: blowback from that, you know, all of this kind of

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Speaker 2: class stuff that the Strobe, the Strobe and France scene

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Speaker 2: with her, and then her own parents as well. You know.

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Speaker 2: But you know, Lorelai is like a great number of us,

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Speaker 2: just trying to trying to get by and do her life,

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Speaker 2: and her her real kind of heart is with raising

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Speaker 2: her daughter and experiencing her life. And I think that

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Speaker 2: that really resonates man. You know.

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Speaker 1: So the Strobe character and his speech.

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Speaker 2: To her, his abuse of her, yeah.

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Speaker 1: In front of her own daughter, Yeah, and parents, is

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Speaker 1: exactly why she left the Fold in the first place.

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Speaker 2: Yeah, yeah, I think so.

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Speaker 1: Because that's what Emily and Richard.

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Speaker 2: Were like, Yeah, yeah, right. It is kind of funny right.

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Speaker 1: Now Richard has to experience it himself instead of doling

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Speaker 1: out the abuse as you can only imagine sixteen years

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Speaker 1: prior to the volume and the ferocity of that abuse.

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Speaker 1: Since a sixteen year old girl who made a mistake,

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Speaker 1: who didn't want to marry that guy, all just perfectly understandable,

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Speaker 1: just wants to get away from this insanity and these

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Speaker 1: crazy people like Strobe, like Richard was, like Emily was,

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Speaker 1: you know, yeah, just wow, Richard, I guess, I guess

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Speaker 1: I've been excommunicated by this family if I don't go

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Speaker 1: along with their dictates. So I'm going to go here

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Speaker 1: into a very safe place and have a lovely little life, yeah,

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Speaker 1: where I get to experience all of the things that

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Speaker 1: I never had as a child. I was given plenty

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Speaker 1: of material things I was we had all the money

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Speaker 1: in the world, and the trips to Europe and this

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Speaker 1: and that, but it's not what fed me, not what

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Speaker 1: not what I needed. So I think it's like that

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Speaker 1: town raised laurel I as much as it raised Rory.

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Speaker 1: It gave that town and those people gave them everything

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Speaker 1: they needed so that larel I could be a great mother.

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Speaker 1: It's actually very moving, it is. I think it's a

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Speaker 1: very very important scene. And I think the purpose of

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Speaker 1: this episode was to really let the audience know early

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Speaker 1: on what awful people these are.

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Speaker 2: Yeah, I agree, I agree, Yeah.

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Speaker 1: This this generation like and I used to defend it

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Speaker 1: on the first go round. I used to defend it,

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Speaker 1: but now I see, having seen the seven episodes, now

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Speaker 1: now I see what an extraordinary, uh person lorel I is,

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Speaker 1: and what an extraordinary daughter, and how awful awful these

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Speaker 1: people are to her all of the time. And the

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Speaker 1: classified is just so stark because it's like she's not

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Speaker 1: even their daughter anymore. It's like she's cut off any

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Speaker 1: DNA that she shares with her mother and father. It's like,

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Speaker 1: there's no chance I'm going to end up like this anyway.

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Speaker 2: Very interesting it is, you know, And I think in

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Speaker 2: that moment where Richard observes all of this happening their home,

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Speaker 2: there's an opportunity for him to see himself and for

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Speaker 2: Emily to see herself and Francine is true and you

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Speaker 2: know a little bit of a little mini character evolution there,

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Speaker 2: you know, like wow, is that? Like you know, maybe

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Speaker 2: later that night they went that's not right. Maybe we

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Speaker 2: maybe we did think about like you know.

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Speaker 1: But also when she when she goes into Richard's study

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Speaker 1: and thanks him for defending her, Yeah, he stands up

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Speaker 1: and he does the unexpected you know, save it and

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Speaker 1: do you know what you put us through?

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Speaker 2: Oh? Right now, that was an unexpected turn. I did

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Speaker 2: not I did not see that coming.

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Speaker 1: But great writing, just great and and you know, he

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Speaker 1: he lays it out on the line for her. He said,

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Speaker 1: do you know what this did to your mother? She

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Speaker 1: couldn't get out of bed for a month, As if

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Speaker 1: that was the important part of what happened. It wasn't

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Speaker 1: about caring for their daughter. It wasn't about doing the

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Speaker 1: right thing for their daughter and listening to her and

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Speaker 1: dealing with the problem as a family who cared for

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Speaker 1: each other. It was about Emily's issue. It's like, Okay,

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Speaker 1: where is the nurturing, supportive mother of a sixteen year

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Speaker 1: old who's in crisis? Right, who's having a real life crisis.

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Speaker 1: I mean, wow, So that just shows you. I mean,

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Speaker 1: I don't want to be doctor Scott diagnosing people on

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Speaker 1: I mean, is she a little bit of a narcissist?

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Speaker 1: I would say, so, don't tell anybody.

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Speaker 2: Yeah, yeah, I mean I think that's just what what

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Speaker 2: you know has. I don't know, you know a lot

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Speaker 2: of times I have I've been asking why, what what

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Speaker 2: is it about this show that continues to bring in viewers?

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Speaker 2: You know, I think it's because at its core, it's

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Speaker 2: such good writing, and it is it resonates, you know,

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Speaker 2: we we identify some of these uh, these archetypes, some

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Speaker 2: of these personality works.

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Speaker 1: There's a lot of Emily's out there in many different forms.

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Speaker 1: Oh yeah, everywhere. Yeah, it's always about them.

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Speaker 2: Yeah.

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Speaker 1: And then when if they perceive rejection, if they perceive

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Speaker 1: they are being rejected anyway, they flip out. Yeah, the

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Speaker 1: mask comes off. You know. Interesting boy, interesting characterizations, interesting characters,

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Speaker 1: well thought out. Yeah, all right, now Christopher and Laurela.

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Speaker 1: I end up on the balcony.

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Speaker 2: Oh yeah, of her old with a bottle of booze.

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Speaker 1: But of course, you know, he pulls out a bottle

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Speaker 1: of the bottle of bathtub gin. Thanks Christopher, how did

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Speaker 1: you afford? I guess, I guess that was the last

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Speaker 1: charge on his card before it went belly up, bought

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Speaker 1: a bottle of booze. Did this scene make you particularly

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Speaker 1: nauseous as it did as it did me? Uh?

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Speaker 2: Yeah, I would say a wee bid. Yeah, it's a tragedy,

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Speaker 2: a romance comedy at that.

347
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Speaker 1: But you know, oh, I.

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Speaker 2: Can't have one without the other. I guess, I don't.

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Speaker 1: Know, And it was I don't know. There's just something

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Speaker 1: about that scene. It's just it's very what do they

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Speaker 1: say today, cringe? Very cringe? Right, I think, very difficult

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Speaker 1: for her to play. You know, it just does something

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Speaker 1: to her character that well, I'm just gonna say it. It

354
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Speaker 1: was kind of gross. It really was. Let's just face it.

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Speaker 1: It was. It was up to that point in the series.

356
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Speaker 1: You're like, you know, you haven't felt nauseous before, but

357
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Speaker 1: that was nauseating to take that wonderful character and place

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Speaker 1: her with such a shlub that it's like, Wow, that's

359
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Speaker 1: just gross.

360
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Speaker 2: I'm sensing all of this, this great tension and what

361
00:23:59,600 --> 00:24:03,879
Speaker 2: you know, sparks between Luke and Loralai in this in

362
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Speaker 2: this particular episode. I mean, this is season one, right,

363
00:24:07,320 --> 00:24:11,040
Speaker 2: so I mean, oh, yeah, they're setting that up. They're

364
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Speaker 2: setting it up, right, she they're setting up that up.

365
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Speaker 2: Who does doing everything up for her morning? Joe and

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Speaker 2: her pajamas? Still the scene just after.

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Speaker 1: Right, But I like but I like her reaction. The

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Speaker 1: thing that's redeeming about the the gross scene was that

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Speaker 1: she realized that she'd made a huge mistake. Yeah, and

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Speaker 1: that you know, listen, first loves, they're tough, right, You

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Speaker 1: never forget about those people. You never stop thinking about

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Speaker 1: those people from time to time, I guess, and that

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Speaker 1: was hers Whether we like it or not, you know,

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Speaker 1: and in defense of her character, you know, what a

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Speaker 1: what a what a position to be in after having

376
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Speaker 1: gone through that kind of again, right, that had to

377
00:25:02,600 --> 00:25:06,320
Speaker 1: have triggered her. So it's sort of maybe put her

378
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Speaker 1: back in her childhood trauma at sixteen because Strobe Richard

379
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Speaker 1: or Emily yelling at her in the same way that

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Speaker 1: Strobe did. You know, as you can just hear Emily

381
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Speaker 1: and Richard screaming at her, You've ruined our lives, You've

382
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Speaker 1: ruined your life. Why won't you marry this man? And

383
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Speaker 1: I mean, are you kidding me? You're going to raise

384
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Speaker 1: the baby and it's going to ruin our lives. It's

385
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Speaker 1: pretty much all about them. So here she is reverting

386
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Speaker 1: back to that old behavior. And when she when it's over,

387
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Speaker 1: when it's finished, she's Laurel I again, she's a mother.

388
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Speaker 1: She she she gets out of her trauma a little

389
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Speaker 1: bit and says, oh, okay, this was stupid, this was

390
00:25:47,560 --> 00:25:51,280
Speaker 1: a bad idea. Let's get out of here. And they're

391
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Speaker 1: silent on the car ride home basically, but Rory picks

392
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Speaker 1: it up. She can pick it up. She senses something happened. Yeah, well,

393
00:26:01,440 --> 00:26:04,560
Speaker 1: and then it all comes out in the kitchen, right,

394
00:26:05,840 --> 00:26:10,440
Speaker 1: It all comes out in the Metallica versus Offspring conflict

395
00:26:10,520 --> 00:26:14,840
Speaker 1: scene between Christopher and Lorelei. He admits that he lied

396
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Speaker 1: about his company, and it's just such a letdown. I mean,

397
00:26:18,840 --> 00:26:22,520
Speaker 1: the guy's such a letdown right away. So I mean,

398
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Speaker 1: if we were, if we were to paint a picture

399
00:26:26,359 --> 00:26:30,520
Speaker 1: of a cool modern dude, you know it would be him.

400
00:26:30,520 --> 00:26:34,480
Speaker 1: But boy do they There's so many flaws to this guy.

401
00:26:34,880 --> 00:26:39,479
Speaker 1: He's not really redeemable. And I think they it's a

402
00:26:39,520 --> 00:26:42,960
Speaker 1: smart thing to do for a character because it adds

403
00:26:43,000 --> 00:26:48,600
Speaker 1: so much negative tension to the narrative. And you actually

404
00:26:48,720 --> 00:26:53,080
Speaker 1: do want people hating on him. You do want that

405
00:26:54,400 --> 00:26:56,560
Speaker 1: because then they just root harder for Luke and Moreley.

406
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Speaker 2: Right.

407
00:26:59,400 --> 00:27:01,800
Speaker 1: Anyway, that was that was a pretty epic fight. I

408
00:27:01,840 --> 00:27:06,959
Speaker 1: thought when it got into the Metallica h Offspring thing,

409
00:27:07,000 --> 00:27:10,600
Speaker 1: it got a little silly because it was it was supposed.

410
00:27:10,640 --> 00:27:15,120
Speaker 1: I wanted to escalate further, you know, and keep it real. Yeah,

411
00:27:15,200 --> 00:27:19,120
Speaker 1: because she was really rejecting him. She was like reclaiming

412
00:27:19,160 --> 00:27:22,560
Speaker 1: her adulthood, she was reclaiming her life and why she

413
00:27:22,640 --> 00:27:26,880
Speaker 1: walked away from all of it, from him, from her

414
00:27:26,920 --> 00:27:30,400
Speaker 1: parents and made a great life for herself and her daughter.

415
00:27:30,520 --> 00:27:32,960
Speaker 1: I mean, she's doing great. Her daughter's in you know, Yale,

416
00:27:33,320 --> 00:27:35,840
Speaker 1: going to Yale, she's going to private school. Yeah, you know,

417
00:27:36,600 --> 00:27:41,160
Speaker 1: she shouldn't need this guy. Yeah, she shouldn't need this BS. Yeah,

418
00:27:41,320 --> 00:27:46,800
Speaker 1: from this creepy, gross guy, right, you need it? In fact,

419
00:27:47,160 --> 00:27:50,080
Speaker 1: she doesn't really need a man, does she does?

420
00:27:50,160 --> 00:27:50,200
Speaker 3: She?

421
00:27:50,880 --> 00:27:53,080
Speaker 2: Laura's a very strong character.

422
00:27:53,000 --> 00:27:55,520
Speaker 1: You need or want need versus one, right. I mean

423
00:27:55,520 --> 00:27:58,720
Speaker 1: it's like she's kind of in this perfect place and

424
00:27:58,760 --> 00:28:01,119
Speaker 1: then this guy and you know, the Luke luc and

425
00:28:01,160 --> 00:28:03,600
Speaker 1: Laurel a discovering each other and it's it's kind of

426
00:28:03,600 --> 00:28:07,400
Speaker 1: fun to watch, you know. Yeah, and you know, we'll

427
00:28:07,440 --> 00:28:10,880
Speaker 1: see how that plays out. But she doesn't need this guy.

428
00:28:12,200 --> 00:28:13,920
Speaker 1: I mean, all he's going to do is drag her down.

429
00:28:14,040 --> 00:28:16,840
Speaker 1: Marry me with his little puppy dog face, right, marry me.

430
00:28:17,119 --> 00:28:23,280
Speaker 1: It's like what marry you? He disappeared for sixteen years

431
00:28:23,280 --> 00:28:25,360
Speaker 1: what you call once a week? Do you think that's

432
00:28:25,359 --> 00:28:26,000
Speaker 1: being a father?

433
00:28:26,600 --> 00:28:30,200
Speaker 2: Yeah? Right? Does he have a sidecar on his ev.

434
00:28:36,000 --> 00:28:38,600
Speaker 1: If there's one thing I can't stand, it's crap fathers

435
00:28:39,200 --> 00:28:41,880
Speaker 1: I can't stand, and he is one.

436
00:28:42,360 --> 00:28:45,040
Speaker 2: It's interesting that I mean, she is a very strong character,

437
00:28:45,560 --> 00:28:48,840
Speaker 2: and yet it demonstrates that you can be a strong

438
00:28:48,920 --> 00:28:55,400
Speaker 2: character and still have doubt, insecurities, be faced with all

439
00:28:55,440 --> 00:29:00,320
Speaker 2: the challenges that we you know, any of us in

440
00:29:00,360 --> 00:29:02,680
Speaker 2: our life. But it's like that thing where you know,

441
00:29:03,120 --> 00:29:07,160
Speaker 2: a person who's heroic isn't isn't necessarily that they aren't

442
00:29:07,200 --> 00:29:11,360
Speaker 2: aware of the dangers before the more the challenges, you know,

443
00:29:11,560 --> 00:29:15,640
Speaker 2: or their own limitations just how we deal with those things,

444
00:29:15,680 --> 00:29:15,880
Speaker 2: you know.

445
00:29:16,360 --> 00:29:20,280
Speaker 1: But I mean they have to give her some flaws. Yeah,

446
00:29:20,440 --> 00:29:23,320
Speaker 1: she's just sup perfect up to this point. Yeah, and

447
00:29:23,400 --> 00:29:25,760
Speaker 1: here it is. Here's her Achilles heel. Here it is,

448
00:29:26,440 --> 00:29:30,360
Speaker 1: here's how it went down. We're gonna gross you out

449
00:29:30,400 --> 00:29:38,160
Speaker 1: with this scene. And she ain't perfect, which is good.

450
00:29:38,440 --> 00:29:41,640
Speaker 2: Yeah, and it would it could be very difficult to resist,

451
00:29:43,400 --> 00:29:46,280
Speaker 2: you know, someone like Christopher when you have parents like

452
00:29:46,720 --> 00:29:52,080
Speaker 2: Emily and Richard. You know, I'm sure that's the case,

453
00:29:52,120 --> 00:29:52,360
Speaker 2: you know.

454
00:29:54,320 --> 00:29:56,800
Speaker 1: I mean he couldn't even stand up to his own

455
00:29:56,880 --> 00:30:00,760
Speaker 1: mother when she was berating him over his time. Yeah,

456
00:30:00,840 --> 00:30:03,320
Speaker 1: it's to for fix your tie the way.

457
00:30:03,120 --> 00:30:05,320
Speaker 2: They That was sad. That was a sad scene.

458
00:30:05,440 --> 00:30:08,200
Speaker 1: I mean, this is a thirty two year old guy. Yeah,

459
00:30:08,320 --> 00:30:13,160
Speaker 1: he's thirty two and he's still being shamed by his parents.

460
00:30:13,480 --> 00:30:19,360
Speaker 2: He's thirty two and Lorelei's sixteen in this particular.

461
00:30:18,880 --> 00:30:22,240
Speaker 1: Episode, right, I think they both were sixteen in this people.

462
00:30:22,640 --> 00:30:25,720
Speaker 2: I didn't realize that slowing the math.

463
00:30:27,240 --> 00:30:33,720
Speaker 1: Oh yeah, anyway, you know, now we talk about a

464
00:30:33,760 --> 00:30:37,640
Speaker 1: little bit. It really was maybe one of the deepest

465
00:30:37,680 --> 00:30:41,800
Speaker 1: explorations into both their psychees and giving us this historic

466
00:30:42,120 --> 00:30:46,680
Speaker 1: historical background, which is really important for the storytelling. Yeah,

467
00:30:46,720 --> 00:30:51,400
Speaker 1: and it was just beautifully, beautifully acted and beautifully written.

468
00:30:52,960 --> 00:30:56,040
Speaker 1: But boy, they're really setting they continue to set the

469
00:30:56,080 --> 00:31:02,840
Speaker 1: table for future episodes. Yeah, it's just great storytelling. These

470
00:31:02,600 --> 00:31:05,520
Speaker 1: these two are just such great storytellers.

471
00:31:05,880 --> 00:31:08,880
Speaker 2: I always found that to be a fascinating dynamic about

472
00:31:09,000 --> 00:31:14,000
Speaker 2: Gilmore Girls, that you have this sort of that dynamic

473
00:31:14,080 --> 00:31:19,840
Speaker 2: of Laura Lai and her parents l and Rory. How,

474
00:31:19,480 --> 00:31:24,600
Speaker 2: how how her relationship with her parents, how it filters everything,

475
00:31:24,680 --> 00:31:27,400
Speaker 2: the things that she avoids, the things that she might

476
00:31:27,440 --> 00:31:31,360
Speaker 2: not you know, immediately recognize, you know, all of that.

477
00:31:31,520 --> 00:31:33,960
Speaker 2: You know, it's sort of that generational type of thing.

478
00:31:34,040 --> 00:31:34,280
Speaker 2: You know.

479
00:31:36,640 --> 00:31:41,720
Speaker 1: She wakes up right, Yeah, she runs the diner. She

480
00:31:41,800 --> 00:31:47,360
Speaker 1: apologizes to look right, and he realizes why, and she's

481
00:31:47,480 --> 00:31:53,400
Speaker 1: not gonna lie to them. I like that she's not

482
00:31:53,440 --> 00:31:58,040
Speaker 1: gonna lie to them. Something came up someone he knew.

483
00:31:58,080 --> 00:32:00,840
Speaker 1: They didn't have to talk about it. He knew, right right,

484
00:32:01,600 --> 00:32:07,240
Speaker 1: he knows what he's up against. She's this extraordinary woman, strong, independent,

485
00:32:08,200 --> 00:32:13,440
Speaker 1: you know, brilliant, beautiful, and he knows, he knows.

486
00:32:14,360 --> 00:32:14,920
Speaker 2: Is that dumb?

487
00:32:17,000 --> 00:32:19,959
Speaker 1: And that was that he just went went inside. And

488
00:32:20,000 --> 00:32:23,600
Speaker 1: that's a little depressing because we were on the luke

489
00:32:23,720 --> 00:32:30,160
Speaker 1: morelight train there and stopped, and you know, we feel

490
00:32:30,160 --> 00:32:33,440
Speaker 1: a certain way about that. But then she comes. The

491
00:32:33,560 --> 00:32:35,960
Speaker 1: very last scene was very moving. I played it three

492
00:32:36,040 --> 00:32:36,920
Speaker 1: or four times.

493
00:32:37,520 --> 00:32:37,720
Speaker 2: You know.

494
00:32:39,080 --> 00:32:42,960
Speaker 1: We cut to Luke walking down the street looking into

495
00:32:42,960 --> 00:32:47,480
Speaker 1: his diner, opening the door, and there's Laurel I paint

496
00:32:47,560 --> 00:32:51,560
Speaker 1: all over her face, having done the job for him.

497
00:32:51,720 --> 00:32:56,560
Speaker 1: It was a beautiful gesture and it meant I'm still here.

498
00:32:57,880 --> 00:33:04,800
Speaker 1: I like you, I want to continue this. I'm sorry. Yeah,

499
00:33:04,920 --> 00:33:08,320
Speaker 1: that was a huge gesture. And I don't care who

500
00:33:08,360 --> 00:33:12,400
Speaker 1: you are. You know, you're you're gonna you're gonna like

501
00:33:12,480 --> 00:33:16,680
Speaker 1: that gesture. You're gonna be like that's impressive. Yeah, And

502
00:33:16,760 --> 00:33:20,640
Speaker 1: that's just again great writing. So anyway, you know, Laura,

503
00:33:20,800 --> 00:33:24,680
Speaker 1: Laura La I rehabilitating the situation and showing that she

504
00:33:24,840 --> 00:33:28,760
Speaker 1: cares for this man and and wants to be a

505
00:33:28,800 --> 00:33:33,000
Speaker 1: great friend, and you know, you know, maybe there's some

506
00:33:33,080 --> 00:33:35,400
Speaker 1: potential there. She doesn't know, she's she's not in a

507
00:33:35,440 --> 00:33:38,640
Speaker 1: place right now where she wants to dive into a relationship,

508
00:33:38,640 --> 00:33:44,400
Speaker 1: but she certainly sees some value in this man, right right. Yeah,

509
00:33:44,640 --> 00:33:48,800
Speaker 1: interesting foreshadowing because I think in the next episode we're

510
00:33:48,800 --> 00:33:50,280
Speaker 1: going to see Rachel show up.

511
00:33:50,200 --> 00:33:54,680
Speaker 2: For remind me, Rachel is a past Luke's ex.

512
00:33:54,840 --> 00:33:59,360
Speaker 1: Yeah, broke his heart, busted his hard to put. Uh huh.

513
00:33:59,640 --> 00:34:00,920
Speaker 2: What kind a vehicle that she drive?

514
00:34:02,080 --> 00:34:06,720
Speaker 1: I do not I don't know. She's a she's a

515
00:34:06,800 --> 00:34:10,480
Speaker 1: world traveling photographer. Oh right, okay, I don't know what

516
00:34:10,560 --> 00:34:14,480
Speaker 1: kind of vehicles she drives. Probably a rental car, I

517
00:34:14,520 --> 00:34:20,280
Speaker 1: don't know. Uh, But anyway, Christopher and maybe an even

518
00:34:20,960 --> 00:34:33,719
Speaker 1: grocer scene. They're really grossy what that lessing? I'm leaving? Yeah,

519
00:34:34,440 --> 00:34:39,279
Speaker 1: because you see it's so painful to watch, because I

520
00:34:39,400 --> 00:34:43,280
Speaker 1: really feel sorry for Rory. I mean, this is her dad.

521
00:34:43,600 --> 00:34:47,359
Speaker 1: Her dad is just like the guy ain't interested in her,

522
00:34:47,640 --> 00:34:49,440
Speaker 1: you know, he's just like playing.

523
00:34:49,120 --> 00:34:50,000
Speaker 2: It being a dad.

524
00:34:50,440 --> 00:34:52,240
Speaker 1: He was interested in her. He would have been interested

525
00:34:52,280 --> 00:34:55,160
Speaker 1: in her from day one. Yeah, and help her and

526
00:34:55,360 --> 00:34:58,600
Speaker 1: made sure he was there in town and raise her.

527
00:34:58,719 --> 00:35:01,440
Speaker 2: So he gets on the motorbike first, he says.

528
00:35:01,120 --> 00:35:04,400
Speaker 1: No, no, no matter what anybody told him, whether to stay away,

529
00:35:04,440 --> 00:35:06,600
Speaker 1: I'm gonna do this on my own. He would have

530
00:35:06,760 --> 00:35:10,560
Speaker 1: found a way to ingratiate himself and to make himself.

531
00:35:12,480 --> 00:35:13,000
Speaker 2: Helpful.

532
00:35:13,400 --> 00:35:16,880
Speaker 1: And even if it's in the periphery. Yeah, you know,

533
00:35:17,040 --> 00:35:19,760
Speaker 1: you got a fight to be in your kid's life sometimes, right.

534
00:35:19,880 --> 00:35:24,279
Speaker 2: Right, Yeah, Yeah, that's a good fight. Yeah, I was.

535
00:35:24,840 --> 00:35:28,800
Speaker 2: I found that my my blood pressure, my pulse was racing,

536
00:35:28,880 --> 00:35:32,320
Speaker 2: my heart was racing. As Christopher the final scene, he

537
00:35:32,360 --> 00:35:35,480
Speaker 2: gets on the motorcycle, right and it's like wow, and

538
00:35:35,520 --> 00:35:38,960
Speaker 2: they have that that moment where he does rory something

539
00:35:39,000 --> 00:35:41,640
Speaker 2: and he just say, well, you give it another you

540
00:35:41,719 --> 00:35:45,120
Speaker 2: give me a chance. He's like, nope, Metallica, it's still

541
00:35:45,239 --> 00:35:49,240
Speaker 2: you know the joke, and then you all right, hops

542
00:35:49,239 --> 00:35:53,480
Speaker 2: in the motorbike and it's ready to sail up. I

543
00:35:53,480 --> 00:35:56,000
Speaker 2: I leapt to the conclusion, and I'm glad I was

544
00:35:56,040 --> 00:35:58,640
Speaker 2: wrong that we were going to go to the end

545
00:35:58,719 --> 00:36:03,080
Speaker 2: of the movie Pollock where you see Christopher right off,

546
00:36:03,120 --> 00:36:07,480
Speaker 2: and then cut to Christopher in a ravine or.

547
00:36:07,440 --> 00:36:09,800
Speaker 1: Something like that.

548
00:36:10,080 --> 00:36:16,879
Speaker 2: Christopher was a head on collision truck something something really

549
00:36:16,880 --> 00:36:19,560
Speaker 2: brutal like that. And it's like, but they didn't go

550
00:36:19,680 --> 00:36:24,320
Speaker 2: that rat that's kind of It's probably for the best, right.

551
00:36:24,200 --> 00:36:26,600
Speaker 1: But the thing I found most disturbing in this entire

552
00:36:26,680 --> 00:36:30,520
Speaker 1: episode was in that scene was that he used his

553
00:36:30,600 --> 00:36:35,359
Speaker 1: daughter that he doesn't particularly care no to send a

554
00:36:35,400 --> 00:36:39,520
Speaker 1: message to Glorile I trying to be all cutesy, right,

555
00:36:40,160 --> 00:36:42,560
Speaker 1: and then she sent a message back. I mean that's

556
00:36:42,600 --> 00:36:45,480
Speaker 1: when I really wanted to volop. Yeah, It's like, is

557
00:36:45,520 --> 00:36:52,000
Speaker 1: this guy kidding? Yeah, And it's it's just go away,

558
00:36:52,200 --> 00:36:54,400
Speaker 1: you know, getting her hopes up like that, instead of

559
00:36:54,440 --> 00:36:57,759
Speaker 1: being a man about it and and you know, really

560
00:36:57,800 --> 00:37:00,959
Speaker 1: earning that spot. Yeah, you know, being a solid guy,

561
00:37:01,120 --> 00:37:05,560
Speaker 1: like like you know, move there, get a regular job,

562
00:37:05,719 --> 00:37:09,000
Speaker 1: be in town, be there, right, you know, don't be

563
00:37:09,160 --> 00:37:11,840
Speaker 1: this hand grenade that shows.

564
00:37:11,640 --> 00:37:14,759
Speaker 2: Up every once in a while, right right, with.

565
00:37:14,840 --> 00:37:18,520
Speaker 1: This needy, desperate, whiny stuff. I just God triys me crazy.

566
00:37:19,080 --> 00:37:21,759
Speaker 2: Is this also Scott or is this also Luke?

567
00:37:22,640 --> 00:37:22,960
Speaker 1: Both?

568
00:37:23,400 --> 00:37:24,600
Speaker 2: Both? Yeah?

569
00:37:24,760 --> 00:37:26,759
Speaker 1: I hate deadbeat dads. I can't stand him.

570
00:37:27,320 --> 00:37:28,640
Speaker 2: Yeah, there ought.

571
00:37:28,520 --> 00:37:31,919
Speaker 1: To be laws against these people. You bring a child

572
00:37:32,000 --> 00:37:35,040
Speaker 1: into the world, you know, step up.

573
00:37:35,239 --> 00:37:36,799
Speaker 2: I'm with you. Step up.

574
00:37:37,760 --> 00:37:39,799
Speaker 1: Yeah, it's a life you have to tend to.

575
00:37:41,280 --> 00:37:41,760
Speaker 2: Yeah.

576
00:37:49,080 --> 00:37:54,200
Speaker 1: Anyway, Grant, Yes, your first appearance was episode fourteen, the

577
00:37:54,200 --> 00:37:56,640
Speaker 1: one before Damn Don and Reed. How did you get

578
00:37:56,960 --> 00:37:59,719
Speaker 1: this job? Tell us a little bit about how you

579
00:37:59,760 --> 00:38:04,120
Speaker 1: got Did she call you?

580
00:38:04,120 --> 00:38:09,759
Speaker 2: No? No? My My understanding is is that Amy and

581
00:38:09,880 --> 00:38:13,400
Speaker 2: Dan they were fans of Grantly Buffalo, the band that

582
00:38:13,440 --> 00:38:17,120
Speaker 2: I had, you know, before I went off on my own.

583
00:38:18,000 --> 00:38:21,080
Speaker 2: They were, you know, they were following what was just

584
00:38:21,120 --> 00:38:26,640
Speaker 2: the beginning of my solo career, you know, uh the

585
00:38:26,760 --> 00:38:31,879
Speaker 2: nineties were was spent with Grantly Buffalo on the road

586
00:38:31,960 --> 00:38:37,680
Speaker 2: recording this and that, and right there around y two

587
00:38:37,760 --> 00:38:40,439
Speaker 2: K kind of went off on my own, and uh

588
00:38:40,480 --> 00:38:42,319
Speaker 2: so I was kind of wide open, you know, I

589
00:38:42,320 --> 00:38:46,240
Speaker 2: had a new record. I was just very very open

590
00:38:46,280 --> 00:38:49,120
Speaker 2: to like whatever whatever was going to come my way.

591
00:38:49,160 --> 00:38:52,279
Speaker 2: And that's when I happened to get that that call

592
00:38:52,360 --> 00:38:55,840
Speaker 2: that would I be interested in this part? And it

593
00:38:55,880 --> 00:38:58,320
Speaker 2: was It really came out of that that that organic

594
00:39:00,320 --> 00:39:03,239
Speaker 2: and I had no idea that it would you know,

595
00:39:03,440 --> 00:39:07,800
Speaker 2: kind of snowball into several several episodes, several seasons.

596
00:39:07,920 --> 00:39:10,040
Speaker 1: You know, can you do me a favorite? Can you

597
00:39:10,120 --> 00:39:12,000
Speaker 1: lean into the microphone and said, whatever is going to

598
00:39:12,040 --> 00:39:12,799
Speaker 1: come my way again?

599
00:39:13,280 --> 00:39:14,799
Speaker 2: Whatever's going to come my way.

600
00:39:15,160 --> 00:39:18,400
Speaker 1: That's why you're at what you do, because you can

601
00:39:18,480 --> 00:39:23,719
Speaker 1: just say something and it sounds like a lyric. That's remarkable.

602
00:39:23,800 --> 00:39:29,359
Speaker 2: We're never gonna come man than you.

603
00:39:29,960 --> 00:39:31,560
Speaker 1: Are you still living down in Nashville.

604
00:39:32,160 --> 00:39:35,000
Speaker 2: Yeah, yeah, you can kind of see this is this

605
00:39:35,040 --> 00:39:37,560
Speaker 2: is what it's been looking like. Here my my, my

606
00:39:37,760 --> 00:39:41,960
Speaker 2: zoom background. Yeah. Yeah, we've we've got a little bit

607
00:39:41,960 --> 00:39:45,640
Speaker 2: of snow still on the ground. It's beautiful, you know. Yeah,

608
00:39:45,800 --> 00:39:49,400
Speaker 2: I do. I do get very homesick for what was

609
00:39:49,440 --> 00:39:54,399
Speaker 2: my home in Burbank. So when I watch Gilmore, well,

610
00:39:54,440 --> 00:39:56,439
Speaker 2: I'm seeing, yeah, the light and I'm seeing the town,

611
00:39:56,480 --> 00:40:00,800
Speaker 2: and I'm remembering that I could have drove off around

612
00:40:00,920 --> 00:40:03,680
Speaker 2: Miss Patty's and down the lane and I could have

613
00:40:03,719 --> 00:40:06,279
Speaker 2: been home in Burbank in about five minutes from there.

614
00:40:06,280 --> 00:40:09,400
Speaker 2: I would have stopped by Piqito Moss and got my

615
00:40:09,440 --> 00:40:10,920
Speaker 2: Moscallattas or whatever.

616
00:40:11,000 --> 00:40:11,200
Speaker 1: You know.

617
00:40:12,600 --> 00:40:15,759
Speaker 2: I miss I missed the great Mexican food and uh,

618
00:40:16,000 --> 00:40:18,920
Speaker 2: you know, but yeah, I miss it all. Yeah, I

619
00:40:18,920 --> 00:40:22,200
Speaker 2: brought good, good memories watching last night, and I haven't

620
00:40:22,239 --> 00:40:26,720
Speaker 2: seen all of the episodes, but I wasn't in so boy,

621
00:40:27,000 --> 00:40:28,600
Speaker 2: I've got a lot of catching up to do.

622
00:40:28,800 --> 00:40:32,160
Speaker 1: Yeah, let me ask you this. Did Amy or Dan

623
00:40:32,680 --> 00:40:36,920
Speaker 1: give you any or a lot of direction for the characters?

624
00:40:36,960 --> 00:40:39,680
Speaker 1: You pretty much have creative freedom on what to do?

625
00:40:40,719 --> 00:40:47,360
Speaker 2: Uh? Well, I think uh, I think it was it

626
00:40:47,480 --> 00:40:51,839
Speaker 2: was all on the page generally, you know. I came

627
00:40:51,880 --> 00:40:54,960
Speaker 2: in like everyone else and did the table read. But

628
00:40:55,120 --> 00:40:59,279
Speaker 2: otherwise I showed up, you know, dressed myself, and I

629
00:40:59,360 --> 00:41:02,840
Speaker 2: kind of felt like, Okay, well I'm I'm as I understand,

630
00:41:02,920 --> 00:41:05,839
Speaker 2: I'm a troubadour. I'm a you know, I'm a folk

631
00:41:05,920 --> 00:41:09,080
Speaker 2: singer on the street corner, sort of a one man

632
00:41:09,280 --> 00:41:13,920
Speaker 2: Greek choir. Sometimes the songs that I sing dovetail with

633
00:41:14,000 --> 00:41:17,680
Speaker 2: the drama and the storyline. But I'm also in that

634
00:41:17,840 --> 00:41:20,359
Speaker 2: legacy of the you know, seeing my shirt, I have

635
00:41:20,440 --> 00:41:26,200
Speaker 2: a listen to Woody Guthrie. Uh, listen to Woody Guthrie.

636
00:41:26,400 --> 00:41:30,560
Speaker 2: So it's that, you know, it's that really wonderful character

637
00:41:30,600 --> 00:41:33,680
Speaker 2: to play. And when I initially showed up, I had

638
00:41:33,760 --> 00:41:37,000
Speaker 2: built this rig a microphone that was attached to a

639
00:41:37,000 --> 00:41:40,440
Speaker 2: harmonica holder and it had a strap going to a

640
00:41:40,440 --> 00:41:44,640
Speaker 2: pig nose amp and my guitar and the whole contraption

641
00:41:44,840 --> 00:41:48,160
Speaker 2: was kind of just clumsy. But i'd I'd seen some

642
00:41:48,200 --> 00:41:51,439
Speaker 2: great performers down in Venice Beach do that type of thing.

643
00:41:51,480 --> 00:41:53,200
Speaker 2: You know. Harry Perry was when of the we used

644
00:41:53,239 --> 00:41:55,960
Speaker 2: to skateboard around and he wore a turban and played

645
00:41:55,960 --> 00:41:58,439
Speaker 2: an electric guitar. So I thought, that's that's the kind

646
00:41:58,480 --> 00:42:01,880
Speaker 2: of spirit this guy. He's in essents, you know, just

647
00:42:02,239 --> 00:42:04,759
Speaker 2: that you want to do that. You know. I had

648
00:42:04,800 --> 00:42:06,360
Speaker 2: done some of it when I was young, you know,

649
00:42:06,400 --> 00:42:10,160
Speaker 2: and I even did it on Venice Beach before I

650
00:42:10,160 --> 00:42:12,440
Speaker 2: ever signed a record deal for one day and I

651
00:42:12,480 --> 00:42:14,920
Speaker 2: got very badly sunburned, and I said, enough of this.

652
00:42:18,120 --> 00:42:22,160
Speaker 2: But because it's always it's always autumn and stars hollow,

653
00:42:22,239 --> 00:42:24,880
Speaker 2: you know, I didn't have that issue much much more

654
00:42:24,880 --> 00:42:28,880
Speaker 2: of the opposite. Playing the guitar at five in the morning,

655
00:42:28,960 --> 00:42:31,560
Speaker 2: with the streets being hosed down to make sure that

656
00:42:31,600 --> 00:42:34,839
Speaker 2: it was there was enough black ice, you know, and

657
00:42:35,280 --> 00:42:39,040
Speaker 2: all of that. But yeah, they said, uh, you know,

658
00:42:39,360 --> 00:42:40,200
Speaker 2: read these words.

659
00:42:40,960 --> 00:42:43,239
Speaker 1: Those busking days make your bulletproof, don't they?

660
00:42:43,920 --> 00:42:47,120
Speaker 2: Yeah, you know what when I was. When I was

661
00:42:47,160 --> 00:42:52,480
Speaker 2: a teenager, I did a fair amount of acting in

662
00:42:52,520 --> 00:42:56,399
Speaker 2: a just a wonderful, wonderful theater. It was called Pollardville,

663
00:42:56,719 --> 00:43:02,560
Speaker 2: and we would perform Vaudeville type sketches, so sketch comedy

664
00:43:03,120 --> 00:43:07,200
Speaker 2: and you know, the olio. It's kind of like a

665
00:43:07,280 --> 00:43:09,840
Speaker 2: variety show. And I do that don't feel high school

666
00:43:10,000 --> 00:43:12,240
Speaker 2: and you know, and before that, I had been a magician,

667
00:43:12,719 --> 00:43:15,600
Speaker 2: so I'd kind of grown up and as though I

668
00:43:15,719 --> 00:43:20,560
Speaker 2: were living in the eighteen hundreds anyhow, So that was

669
00:43:20,640 --> 00:43:24,040
Speaker 2: that was kind of my preparation for this character. And

670
00:43:24,440 --> 00:43:26,960
Speaker 2: in some ways I had I had no idea, but

671
00:43:27,040 --> 00:43:28,239
Speaker 2: it sort of was though.

672
00:43:28,360 --> 00:43:32,240
Speaker 1: You know, all right, so if the show we're still

673
00:43:32,239 --> 00:43:34,799
Speaker 1: on today, if we've had a twenty we're entering our

674
00:43:34,840 --> 00:43:41,040
Speaker 1: twenty fifth season, which probably could have happened if we

675
00:43:41,120 --> 00:43:45,280
Speaker 1: hung in there, what song would you love to perform

676
00:43:45,600 --> 00:43:48,840
Speaker 1: today as the town Troubadour. Let's say you were going

677
00:43:48,840 --> 00:43:53,120
Speaker 1: to work tomorrow to film episode you know two thousand

678
00:43:53,520 --> 00:43:57,719
Speaker 1: of that would be too, episode four hundred or five

679
00:43:57,840 --> 00:43:59,919
Speaker 1: hundred of Gilmore Girl.

680
00:44:00,920 --> 00:44:02,280
Speaker 2: Oh that's a good question.

681
00:44:03,680 --> 00:44:04,399
Speaker 1: What are your own?

682
00:44:05,120 --> 00:44:09,000
Speaker 2: I mean I mostly performed my own songs, you know,

683
00:44:09,600 --> 00:44:12,080
Speaker 2: you don't do a lot of covers. I know. I

684
00:44:12,200 --> 00:44:14,320
Speaker 2: never You know, it don't always seem like an exotic

685
00:44:14,360 --> 00:44:16,320
Speaker 2: thing to be in a band that played cover songs.

686
00:44:16,520 --> 00:44:18,759
Speaker 2: But I just could could never pull that off. So

687
00:44:18,840 --> 00:44:21,640
Speaker 2: I've I've just always written my own songs. But I

688
00:44:21,760 --> 00:44:26,080
Speaker 2: did play a couple of covers on the show. You

689
00:44:26,080 --> 00:44:28,640
Speaker 2: Know Me and Julio down by the school Yard was one, right,

690
00:44:28,800 --> 00:44:32,600
Speaker 2: one of the covers. Uh, what's the song? The great

691
00:44:33,520 --> 00:44:34,640
Speaker 2: Paul Simon's song.

692
00:44:35,719 --> 00:44:37,040
Speaker 1: Briche over Tarbo Waters.

693
00:44:37,440 --> 00:44:40,080
Speaker 2: No, I wouldn't be going for those super high notes

694
00:44:41,320 --> 00:44:44,360
Speaker 2: my little town know that song? Oh sure, that's a

695
00:44:44,360 --> 00:44:46,200
Speaker 2: great one, although it's a little bit dark come to

696
00:44:46,239 --> 00:44:48,160
Speaker 2: think of it. You know nothing about the dead and

697
00:44:48,239 --> 00:44:54,160
Speaker 2: dying back in my little town. Never mind, this is why,

698
00:44:54,239 --> 00:44:55,960
Speaker 2: this is why I don't get to do the covers

699
00:44:56,560 --> 00:44:58,759
Speaker 2: I would. I would probably do a song off my

700
00:44:59,200 --> 00:45:04,120
Speaker 2: upcoming record heard Scott, thank you for that that bridge

701
00:45:05,640 --> 00:45:07,920
Speaker 2: plug away Now, I haven't. I have a new album

702
00:45:07,920 --> 00:45:10,320
Speaker 2: coming out, and it's going to be out and it

703
00:45:10,400 --> 00:45:13,439
Speaker 2: looks like the Fall. I haven't haven't quite announced it yet,

704
00:45:13,480 --> 00:45:16,680
Speaker 2: but I've got a tour getting all lined up and nice,

705
00:45:16,880 --> 00:45:19,720
Speaker 2: hitting the road, going to Europe, going around the States

706
00:45:20,520 --> 00:45:24,040
Speaker 2: in the Hour of Dust, yeah is the title, and

707
00:45:24,160 --> 00:45:27,280
Speaker 2: yeah it's a dusty number, one of those I'll boppy.

708
00:45:27,880 --> 00:45:31,560
Speaker 1: Okay, ready, So where are you going to be touring

709
00:45:31,800 --> 00:45:33,080
Speaker 1: in Europe when when.

710
00:45:33,440 --> 00:45:37,920
Speaker 2: The first dates? Uh, we'll probably, as I understand, being

711
00:45:37,920 --> 00:45:42,200
Speaker 2: the UK. And I'm you know, I've got a great,

712
00:45:42,719 --> 00:45:47,440
Speaker 2: great fan base there Scandinavia and off off and running

713
00:45:47,480 --> 00:45:51,359
Speaker 2: you know, all over the place, you know, and I'm

714
00:45:51,400 --> 00:45:54,960
Speaker 2: still discovering places that I never have I got to yet,

715
00:45:55,080 --> 00:45:58,720
Speaker 2: you know, here in the States and abroad. The fact

716
00:45:58,719 --> 00:46:03,040
Speaker 2: that I could, I could be in Burbank and you know,

717
00:46:03,440 --> 00:46:07,280
Speaker 2: five minutes later, I'm in Starslow, which is a wonderful

718
00:46:07,360 --> 00:46:11,880
Speaker 2: gift as well, you know, And because I wasn't on

719
00:46:11,920 --> 00:46:16,799
Speaker 2: the road, I could be working on the show. You know.

720
00:46:16,840 --> 00:46:18,959
Speaker 2: Even though it's it's you know, compared to the time

721
00:46:19,000 --> 00:46:21,360
Speaker 2: that the rest of you, you know, you spent on

722
00:46:21,440 --> 00:46:24,400
Speaker 2: the show, it's still you know, it made a major

723
00:46:24,480 --> 00:46:28,600
Speaker 2: impact in terms of the quality of life. You know,

724
00:46:30,400 --> 00:46:33,160
Speaker 2: it's because it is difficult to tour as as wonderful

725
00:46:33,400 --> 00:46:36,200
Speaker 2: as it is. A step on any stage, you know,

726
00:46:36,360 --> 00:46:37,960
Speaker 2: and see the world and all of that stuff.

727
00:46:38,000 --> 00:46:41,200
Speaker 1: But you're going to hit UK. You're going to be

728
00:46:41,239 --> 00:46:42,200
Speaker 1: in Scandinavia.

729
00:46:43,120 --> 00:46:47,440
Speaker 2: Yeah, the US, Oh goodness. These days I try to

730
00:46:47,440 --> 00:46:52,120
Speaker 2: make it to France and Italy and I haven't been

731
00:46:52,160 --> 00:46:55,640
Speaker 2: to Australia, And sometime I try not to think too

732
00:46:55,680 --> 00:46:58,000
Speaker 2: much about it because, as you said, if I, if

733
00:46:58,000 --> 00:47:00,440
Speaker 2: I see those dates lined up forever and never and

734
00:47:00,480 --> 00:47:03,399
Speaker 2: it just looks like the titles to Star Wars where

735
00:47:03,400 --> 00:47:05,759
Speaker 2: they just kind of go off into the distance, I

736
00:47:05,800 --> 00:47:09,520
Speaker 2: get a little anxious. The vergo in me as you

737
00:47:09,640 --> 00:47:10,880
Speaker 2: as you can understand. H.

738
00:47:11,760 --> 00:47:15,719
Speaker 1: Yeah, so we'll have a wonderful tour.

739
00:47:16,000 --> 00:47:18,759
Speaker 2: Yeah, thank you.

740
00:47:18,840 --> 00:47:21,520
Speaker 1: What's your website so people can download your music because

741
00:47:21,560 --> 00:47:22,760
Speaker 1: it's wonderful stuff.

742
00:47:23,200 --> 00:47:25,879
Speaker 2: Oh, thank you, Scott. You can go to Grantlyphillips dot

743
00:47:25,920 --> 00:47:29,200
Speaker 2: com and you find the music of Grantly Phillips. And,

744
00:47:30,360 --> 00:47:33,000
Speaker 2: speaking of myself an alert person, that's so weird on

745
00:47:33,080 --> 00:47:37,200
Speaker 2: all of your you know, your various platforms, you know, streaming.

746
00:47:36,800 --> 00:47:41,239
Speaker 1: Platforms, guys and gals, do yourself a favor. Yeah, and

747
00:47:41,600 --> 00:47:45,880
Speaker 1: introduce yourself if you haven't already. Uh to this man's

748
00:47:46,040 --> 00:47:53,280
Speaker 1: incredible music, incredibly personal, incredible, incredibly lofty songwriting, A real

749
00:47:53,320 --> 00:47:59,120
Speaker 1: talent and I'm jealous of you Europeans. I'm still yet

750
00:47:59,160 --> 00:48:00,759
Speaker 1: to see one of your Why are you going to

751
00:48:00,800 --> 00:48:01,759
Speaker 1: perform in the United States?

752
00:48:01,800 --> 00:48:07,239
Speaker 2: Oh gosh, I it'd be. The first dates are in September,

753
00:48:07,280 --> 00:48:09,960
Speaker 2: as I understand, kind of coincide with the release of

754
00:48:10,000 --> 00:48:13,879
Speaker 2: the new album. Yeah, what about California? Yeah, yeah, I'll

755
00:48:13,880 --> 00:48:16,400
Speaker 2: do some dates in California. I was out there in

756
00:48:16,440 --> 00:48:19,520
Speaker 2: November where I recorded and played a show at McCabe's

757
00:48:20,000 --> 00:48:22,120
Speaker 2: a couple months back, and that was great. All right,

758
00:48:22,320 --> 00:48:24,360
Speaker 2: now where are you at? Are you in California these days?

759
00:48:24,560 --> 00:48:27,040
Speaker 1: I am I'm a Southern California. We got out of LA,

760
00:48:27,120 --> 00:48:29,920
Speaker 1: but we're still in southern California. Nice. Closer to the

761
00:48:29,960 --> 00:48:31,600
Speaker 1: closer the beach, buddy, close to the beach.

762
00:48:31,840 --> 00:48:32,359
Speaker 2: There you go.

763
00:48:34,160 --> 00:48:39,320
Speaker 1: Yeah, all the best, my friend, Thank you the time greatly. Phillips,

764
00:48:39,520 --> 00:48:44,600
Speaker 1: Ladies and Gentlemen. Next episode star Crossed Lovers and Other Strangers,

765
00:48:44,600 --> 00:48:47,160
Speaker 1: Episode sixteen, Season one. We will see you next time,

766
00:48:47,480 --> 00:48:49,560
Speaker 1: and remember where you lead.

767
00:48:49,840 --> 00:49:01,279
Speaker 3: We will follow all the best day safe dotcase.

768
00:49:20,760 --> 00:49:24,839
Speaker 1: Everybody'll forget. Follow us on Instagram at I Am all

769
00:49:24,920 --> 00:49:39,000
Speaker 1: In podcast and email us at Gilmore at iHeartRadio dot com.