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Speaker 1: Welcome to desperately devoted Join us as we explore the

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Speaker 1: human experience through the lens of the iconic show Desperate Housewives.

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Speaker 2: I'm Terry Hatcher, I'm Andrea Bowen.

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Speaker 3: And I'm Emerson Tenny.

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Speaker 4: Well, we're back here we are. This week we're discussing

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Speaker 4: episode eleven, Move On, which aired on January ninth, two

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Speaker 4: thousand and five. And as I'm saying that, I'm realizing

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Speaker 4: that I probably should have sung that intro because this

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Speaker 4: is a great episode for theater. Not only do we

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Speaker 4: have two amazing theater legends join us in the episode,

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Speaker 4: but we also get an iconic performance of New York,

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Speaker 4: New York, sung by Susan while she's handing Carl his ass.

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Speaker 3: This performance actually was part of what got my mom,

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Speaker 3: Terry Hatcher a nomination for the Emmy for Outstanding Lead

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Speaker 3: Actress in a Comedy Series.

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Speaker 4: So Cool and So deserved.

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Speaker 1: Oh and missus Hooper's strange and off putting sister Felicia

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Speaker 1: arrives on the lane. While Edie continues her pursuits of

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Speaker 1: finding out what has happened to her friend, Brie goes

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Speaker 1: on a date which she not so subtly rubs in

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Speaker 1: Rex's face.

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Speaker 3: Lynette suspects Tom may be attracted to their new nanny.

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Speaker 4: And Gabrielle finds herself facing the harsh realities of job

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Speaker 4: hunting while adjusting to life with Carlos and Jail, which

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Speaker 4: leaves her spinning on a turntable in them all with

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Speaker 4: a buick.

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Speaker 1: So much to discuss, let's jump in.

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Speaker 4: Okay, Okay, So I just want to say, because we

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Speaker 4: do like to explain where the titles of the episodes

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Speaker 4: come from, and this one is a Sondheim reference. It

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Speaker 4: is a The title comes from a reference to Sunday

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Speaker 4: in the Park with George, which I just am obsessed

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Speaker 4: with that musical. I do think it's one of his

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Speaker 4: greatest pieces of work ever in my opinion. And there

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Speaker 4: is a lyric from this song that is the perfect

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Speaker 4: underscore of this episode and so clearly why it was

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Speaker 4: titled after the song, and that lyric is I chose

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Speaker 4: and my world was shaken. So what the choice may

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Speaker 4: have been mistaken? The choosing was not. You have to

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Speaker 4: move on, And I just think it's so such a

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Speaker 4: profound you.

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Speaker 1: Say that again?

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Speaker 4: Yeah, okay, sure, yes.

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Speaker 3: And can you just does Burnett Peters Oh of course,

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Speaker 3: yes she does.

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Speaker 4: And there's an amazing there's an amazing performance of Burnet

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Speaker 4: Ut Peters and Mandy potank And performing this to honor

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Speaker 4: Stephen Sondheim on YouTube, and I highly recommend you all

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Speaker 4: go watch it because it's so powerful and yeah, amazing.

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Speaker 4: So the lyric is I chose and my world was shaken,

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Speaker 4: So what the choice may have been mistaken? The choosing

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Speaker 4: was not you have to move on?

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Speaker 1: Wow.

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Speaker 3: I have to say, I'm so glad you pointed this out,

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Speaker 3: because move On. I mean, I'm a huge son time fan,

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Speaker 3: but move On from Sunday in the Park with George

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Speaker 3: is one of my all time favorite musical songs. Yeah,

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Speaker 3: and I actually have it on playlists of like normal

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Speaker 3: non musical music, and then move On just comes in

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Speaker 3: and then I start crying in my car, and yeah,

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Speaker 3: I really love this song too.

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Speaker 1: Yeah.

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Speaker 4: Yeah, And I love when it's so clearly lines up

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Speaker 4: with what was happening in the story, and I just think, gosh,

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Speaker 4: that's so cool that we were, that I was a

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Speaker 4: part of a show, being such a theater kid, and

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Speaker 4: having Sondheim be someone who was so influential in my life,

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Speaker 4: like another person who raised me I feel like tie

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Speaker 4: into this other show that was such a huge part

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Speaker 4: of my life. I mean, that's so cool.

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Speaker 1: Yeah, I just I mean I was going to get

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Speaker 1: to this when we get to the restaurant and the

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Speaker 1: karaoke party, which we will at the end. But since

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Speaker 1: you said you were a theater kid, I just want

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Speaker 1: to point this out to our audience. And I don't

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Speaker 1: even Emerson, I don't know if you know this. So Andrea,

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Speaker 1: am I right? You got your first role on Broadway

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Speaker 1: as a six year old Yes in lay Miss Yes,

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Speaker 1: and then follow that up at like seven with the

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Speaker 1: Sound of Music, Yes, and then followed that up with

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Speaker 1: was it a Disney show or no?

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Speaker 4: It was. It was a musical adaptation, which is actually

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Speaker 4: so incredible but sounds maybe strange, but it was a

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Speaker 4: musical adaptation of the amazing novel Jane Eyre. Oh wow, Yeah.

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Speaker 1: Okay, right, yeah, and then and and then so Desperate

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Speaker 1: Housewives was basically like your first big TV thing. I mean,

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Speaker 1: you did another pilot, but this was the first one

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Speaker 1: that like, yes went.

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Speaker 4: Because in New York, if you're a theater kid, the

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Speaker 4: TV shows that you do are all in the Law

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Speaker 4: and Order universe, Right, all around. So I did all

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Speaker 4: of the Law and Order shows, and those were that

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Speaker 4: was my like dipping my toe into the TV world,

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Speaker 4: which I really did love. And honestly, my very first

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Speaker 4: kind of amazing example of a woman on screen was

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Speaker 4: Mariska Hargatee when I worked with her, and she was

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Speaker 4: a great example of someone who was leading a television

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Speaker 4: show with so much compassion, and you know, she was

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Speaker 4: She's such a team player, and she commanded so much

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Speaker 4: respect while also giving so much respect in return and

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Speaker 4: being so gentle towards me. I was, you know, it

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Speaker 4: was Lawn Order SVU. I were a little older when

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Speaker 4: I did that, but yeah, I was young, and I

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Speaker 4: was handling a very delicate storyline about having you know,

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Speaker 4: been sexually abused as a child and all these things,

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Speaker 4: and she just handed that also well. But she also

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Speaker 4: came to see me in Jane Eyre and she brought

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Speaker 4: me a beautiful bouquet of flowers and came backstage and

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Speaker 4: she was so lovely and yeah, anyway, so that's amazing.

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Speaker 3: Yeah, I have to say, listening to you talk about

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Speaker 3: these beautiful female friendships and relationships forged in Hollywood or

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Speaker 3: in New York, Theater on Broadway reminds me actually of

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Speaker 3: the opening of this episode that Mary Alice narrates when

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Speaker 3: she says Edie Britt never understood why she didn't have

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Speaker 3: any female friends, and then this segues into us kind

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Speaker 3: of understanding that maybe the reason Edie has been prying

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Speaker 3: into Martha Hubert's disappearance is because as strange and as

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Speaker 3: odd of a couple of friends as they kind of were,

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Speaker 3: they were both these single women who were not able

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Speaker 3: to kind of fall into the friendship of four women

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Speaker 3: on the block that Susan and Brie and Gabby and

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Speaker 3: Lynnette are. And I just I found this really interesting

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Speaker 3: and I wanted to pose this question to both of

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Speaker 3: you of what do you think about the trope of

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Speaker 3: being like a girl's girl versus a girl who can't

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Speaker 3: have female friendships. I feel like, I know some of

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Speaker 3: my female friends were like, oh, it's just so hard

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Speaker 3: for me to have girlfriends. Most of my friends are guys,

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Speaker 3: and I just do have equal male and female friendships.

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Speaker 3: Do you feel like that is a stereotype that you

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Speaker 3: fall in time?

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Speaker 1: I do. I mean it's interesting that you bring it

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Speaker 1: up as something to dig into, because I mean, I

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Speaker 1: have that written down here too, You know that, why

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Speaker 1: do certain women seem to have a harder time like

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Speaker 1: falling into those kinds of relationships than others? And is

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Speaker 1: that fair? Or why does that happen? And is it

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Speaker 1: because of jealousy or is it because of like controlling

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Speaker 1: or you know what is it? Because when you look

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Speaker 1: at it, like you could look at Edie as an

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Speaker 1: example and you could go, Okay, she kind of comes

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Speaker 1: off as like a know it all or like superior

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Speaker 1: to everyone else. And whether she feels that way or not,

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Speaker 1: maybe that's her defense mechanism or her safety mechanism. But

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Speaker 1: she comes off with that sort of air of supremeness

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Speaker 1: that I can imagine would be off putting for other

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Speaker 1: people running to go, oh, I want to be your friend.

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Speaker 1: But should it be you know? And should I don't know.

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Speaker 1: Should confidence and a high sense of self and worth

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Speaker 1: be the kind of thing that like drives other women

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Speaker 1: away from you?

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Speaker 3: Yeah?

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Speaker 4: Also, I think we see that Edie's capable of being

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Speaker 4: a good friend. You know, she doesn't always lead with

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Speaker 4: being necessarily what people assume often goes with that like

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Speaker 4: warm and welcoming and fuzzy and soft, like she's not

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Speaker 4: necessarily those things, but that doesn't mean you're not a

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Speaker 4: good friend. And I do think that's a very interesting

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Speaker 4: point that both of you are making about where does

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Speaker 4: that trope come from the idea that some women have

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Speaker 4: an easier time making friends with other women? And what

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Speaker 4: does that say? And honestly, I wonder if it's a

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Speaker 4: societal thing. I wonder if society has put women in

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Speaker 4: a category where instead of it being like there's a

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Speaker 4: room for everyone, there's often not. There hasn't been historically

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Speaker 4: room for every woman, and therefore there's inherently an idea

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Speaker 4: of competition or jealousy being brought into the fold when

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Speaker 4: often it's not about that. So I don't know. I

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Speaker 4: will say I have to answer your question directly. I

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Speaker 4: have so many amazing female friendships in my life. I

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Speaker 4: am so incredibly lucky and rich in that way definitely

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Speaker 4: outweighs the number of male friends that I have. I

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Speaker 4: do have several male fri friends that I also very

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Speaker 4: much cherish, but there is just something about having a

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Speaker 4: community of women around me that I feel so grateful for.

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Speaker 4: And I thought it was kind of nice that we

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Speaker 4: saw because we've joked about like, what strange, what a

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Speaker 4: strange pairing they are Edie and missus Huber. But seeing

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Speaker 4: that missus Huber was the first one to really extend

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Speaker 4: her hand and be welcoming to Edie when she moved

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Speaker 4: onto the lane, I was like, Oh, that's where it began. Yeah,

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Speaker 4: the other women weren't cold, but they waved from afar.

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Speaker 1: But that's and that's the part of like why you

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Speaker 1: know why? And I guess, Okay, you're making a TV show.

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Speaker 1: You've got to set up you've got to set up conflict.

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Speaker 1: You know, you can't have everybody like love each other,

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Speaker 1: there's no story to do. So but like in the

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Speaker 1: real world, I mean, if you took it off the

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Speaker 1: wisteria lane and go like, why why would those four women?

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Speaker 1: Like I almost blame the four women more than I

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Speaker 1: blame Edie, oh for sure, Like why would they stand

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Speaker 1: there and wave? And it can only be because she's

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Speaker 1: sexy and single, single and confident and they're jealous. I mean, yeah,

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Speaker 1: I can't think of another reason. I'm just And you

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Speaker 1: asked about our personal lives, you know, you were there.

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Speaker 1: But for my sixtieth birthday, which was truly my greatest

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Speaker 1: one of my greatest memories ever and the absolute perfect

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Speaker 1: way exactly how I would have wanted to spend my birthday.

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Speaker 1: I had nine of my girlfriends and one male friend

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Speaker 1: meet me come with me to Cornwall, England, which is

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Speaker 1: a very hard place to get to, which I say

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Speaker 1: that because it like speaks so much for my friends

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Speaker 1: who were willing to literally you know, planes, trains and automobiles,

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Speaker 1: that's what it is.

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Speaker 3: I was on the seven hour bus ride through the dark, rainy,

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Speaker 3: windy streets. Yeah it's true.

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Speaker 1: But we were there for five days and I mean

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Speaker 1: every single and some of them knew each other and

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Speaker 1: some of them didn't, and as they said, not me,

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Speaker 1: they were like not an asshole in the bunch. Like

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Speaker 1: it was just like everybody was so great and it

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Speaker 1: just could not have been better and made me just

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Speaker 1: you know, I felt like my sixtieth birthday was sort

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Speaker 1: of like this is the long haul. Like it's like

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Speaker 1: from here forward, it's probably not going to be the

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Speaker 1: easiest section of my life, and you want people in

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Speaker 1: it that are the most substantive, like supportive and energetic,

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Speaker 1: you know, whatever, it is, curious, whatever the love is

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Speaker 1: that capacity that it's a very specific thing that I

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Speaker 1: am so grateful for having. So Yeah, I have women

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Speaker 1: in my life that I would do anything for, and

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Speaker 1: I'm so grateful for that. But I do find this

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Speaker 1: sadly familiar of like times in my life where I

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Speaker 1: feel like I've been part of a times in my

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Speaker 1: life where i feel like I've sort of been ostracized

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Speaker 1: as part of a group. And it is interesting in hindsight,

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Speaker 1: you ask yourself, did you ostracize yourself? Like is Edie

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Speaker 1: ostracizing herself here? Or are they pushing her out? I

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Speaker 1: don't know, it's hard. How about you in your personal life?

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Speaker 3: I mean, I do have I have two best friends

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Speaker 3: who I've known from the time I was under one

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Speaker 3: year old because our moms met in Mommy and me,

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Speaker 3: and we grew up together. And we never went to

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Speaker 3: the same schools and we didn't go to the same colleges,

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Speaker 3: but we have stayed in each other's orbit through all

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Speaker 3: of that, and I really feel like, you know, the

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Speaker 3: three of us are on a group text together, we

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Speaker 3: have matching tattoos, we could call each other at any

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Speaker 3: moment and would show up for each other. And then

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Speaker 3: I have some other really great girlfriends who I've made

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Speaker 3: a little bit later in my life, you know, a

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Speaker 3: couple from high school, though I don't have very many

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Speaker 3: friends from high school, and then a few from college,

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Speaker 3: and quite a few that I've made, you know, in

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Speaker 3: my adult life. But I will say I also have

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Speaker 3: a high not maybe exactly equal, but almost close to

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Speaker 3: equal number of male friends who mean the world to

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Speaker 3: me also and who I think really just offer a

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Speaker 3: slightly different perspective, and I really appreciate the perspective that

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Speaker 3: they're and the energy that they bring into my life,

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Speaker 3: which is not better or worse, but is different than

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Speaker 3: my female friendship. So I'm definitely pro cultivating both girlfriends

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Speaker 3: and guy friends equally because I think I think it

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Speaker 3: can be a really valuable resource for perspective in my life.

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Speaker 4: I think that's really cool. And I was thinking about

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Speaker 4: how sometimes you have that built in into your family, right,

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Speaker 4: Like if I am lucky enough to have two sisters

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Speaker 4: who I'm really close with, and then that makes me think,

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Speaker 4: of course, of the fact that missus Hooper has a

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Speaker 4: sister who shows up on the street. Oh my goodness,

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Speaker 4: does she show up with She just she just comes

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Speaker 4: straight out of the gate with some singers and with

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Speaker 4: a bunch of personality, and of course she's played by

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Speaker 4: the amazing Harriet Sampson Harris, whom I've just loved and

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Speaker 4: benefited at first. So we talk about.

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Speaker 1: How much I fann girled out on her because when

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Speaker 1: Emerson was little, we lived in New York and I

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Speaker 1: used to take her to as much theater as a

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Speaker 1: young four year old could go to.

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Speaker 3: Which was staggeringly a lot.

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Speaker 1: We want to see hairspray, and I like, did her

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Speaker 1: hair up in the in the fifties things bufon thing like.

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Speaker 1: We really went for it. So I think probably our

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Speaker 1: favorite show was thoroughly modern Milly and Harriet played the

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Speaker 1: you know madam yes whatever, it was, the bad guy

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Speaker 1: and she, oh, she was so good and we I

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Speaker 1: think we went and saw it twice and then and

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Speaker 1: then we listened to that. We knew every word of everything.

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Speaker 3: I was thinking every word too, But the fact is.

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Speaker 4: Everything is there really mud check your personality?

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Speaker 3: Gosh, we're nerves.

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Speaker 1: Broadways anyway, So when she came on the set, I

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Speaker 1: don't even think I was working with her. I certainly

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Speaker 1: not in this episode.

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Speaker 4: So probably at the table read you saw her.

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Speaker 1: I made sure that I pulled her aside and was like,

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Speaker 1: you don't know my daughter, and I love you so much.

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Speaker 1: We think you're this the greatest thing ever.

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Speaker 4: Well also, I mean it's going to turn into like

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Speaker 4: a whole love letter to Harriet Harris. But I my

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Speaker 4: favorite television show growing up was Frasier. I was a

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Speaker 4: very big Fraser fan, and she played his manager Bbie,

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Speaker 4: and that was just another incredible performance of hers. So

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Speaker 4: I was also like totally awestruck that she was on

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Speaker 4: our show because of that. So this was a big episode.

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Speaker 3: Yeah, And I have to say Felicia as a character

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Speaker 3: is bonkers. I mean in the best possible way. She

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Speaker 3: comes in and she just says and I actually do think.

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Speaker 3: I mean, it's fascinating that the twist is, you know,

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Speaker 3: she hated her sister. But there is a thing that

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Speaker 3: I see. I mean, I don't have a sibling. I'm

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Speaker 3: an only child, but I see with my friends who

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Speaker 3: do have siblings, especially twins, although that's its own kind

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Speaker 3: of intense connection where they really will like the phone

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Speaker 3: will ring across the room and they'll go, oh, that's

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Speaker 3: my sister, like before they see who's calling, and it

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Speaker 3: will be And I think this idea that Felicia felt

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Speaker 3: that Martha Hooper died and she and she knows, and

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Speaker 3: she's so unquestioning. Even though Edie is saying, no, we're

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Speaker 3: gonna find her. Really don't worry. You can't think like that.

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Speaker 3: She's like, no, I know my sister's dead. And it's

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Speaker 3: I just I love a character that comes in and

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Speaker 3: just cuts right to the core of their beliefs. I

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Speaker 3: think is fascinating. And she plays that so well.

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Speaker 4: And I did get a big, big old belly laugh

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Speaker 4: when she called her a wretched pig, a wretched pig

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Speaker 4: of a woman who was just like wow, wow. Sometimes

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Speaker 4: sister's words can really wound.

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Speaker 3: Speaking of characters that other characters are thinking are wretched,

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Speaker 3: Rex is being released to go home, and Bree says

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Speaker 3: that she doesn't want to take him back in, although

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Speaker 3: she ends up ultimately relenting to her kid's pressure. But

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Speaker 3: this is really where my best line Award once again

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Speaker 3: has to go to breathe because her son says Andrew.

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Speaker 3: Andrew says, I cannot wait until you get old and

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Speaker 3: I can put you in a nursing home. And she says,

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Speaker 3: I'm sorry to disappoint you, Andrew, but my plan is

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Speaker 3: to have an embolism and to die young. And that

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Speaker 3: really perfectly delivered amazing, amazing line and did also open

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Speaker 3: a larger conversation topic for me that I was thinking

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Speaker 3: about in terms of kids putting their parents in nursing homes,

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Speaker 3: but also the responsibility of taking care of a partner

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Speaker 3: who suddenly falls unexpectedly seriously, Ill, what did this bring

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Speaker 3: up for either of you? I mean, Mom, I know

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Speaker 3: you and I have had lots of conversations about putting

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Speaker 3: if we should, if we shouldn't, put Grandma and Grandpa

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Speaker 3: into a home. They really resist that idea, and you've

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Speaker 3: really done everything you can to facilitate them not having

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Speaker 3: to go to a nursing home. But what do you

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Speaker 3: both think?

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Speaker 1: Well, I think there were, you know, a couple issues

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Speaker 1: here that, like, the caregiving is real. You know that.

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Speaker 1: I've started a little video series on my Instagram called

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Speaker 1: Sandwich about the Sandwich generation that is taking care of

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Speaker 1: their elderly parents and what that feels like to be

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Speaker 1: obligated to that and it's difficult and it's pervasive, and

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Speaker 1: being a caregiver of somebody you don't like, which is

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Speaker 1: what we bring you know, somebody that you have animosity towards,

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Speaker 1: which is the situation pri is finding herself in, you know,

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Speaker 1: is even even harder. And I think at the end

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Speaker 1: of the day, a character like Bri and people who

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Speaker 1: find themselves in this situation, ultimately you'res not doing it

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Speaker 1: for the person. You're doing it for yourself. You're doing

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Speaker 1: it for who you want to be when you look

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Speaker 1: in the mirror. You know, I actually, you know, my

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Speaker 1: parents have been pretty great lately, Like I don't know

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Speaker 1: what's happening, but they've been kinder and gentler and whatever.

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Speaker 1: But like my good friends, the ones we were talking about,

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Speaker 1: would tell you, like, you know, your parents don't deserve you,

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Speaker 1: you know, like I'm not sure it's been reciprocal, like

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Speaker 1: what I'm giving and what I've sort of received over

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Speaker 1: my life. But for me, in the end, that's who

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Speaker 1: I am. I want to be a person, and that

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Speaker 1: is doing the all I can do to take care

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Speaker 1: of this these people that have been in my life,

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Speaker 1: my whole life. And I think that's how Brie must

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Speaker 1: feel here, and she's also doing it for her children.

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Speaker 1: I did think it brought up an interesting thing which

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Speaker 1: neither of you, I guess will really be able to

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Speaker 1: answer because you're not parents yet. But how many times

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Speaker 1: parents like eat their own feelings on behalf of protecting

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Speaker 1: their children, right, And that felt really deep and really

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Speaker 1: relatable to me, that this character is, you know, not

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Speaker 1: saying that the dad had an affair, and you know,

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Speaker 1: trying everything she can to not say that, to not

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Speaker 1: throw the dad under the bus, but yet she's still

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Speaker 1: living with this great betrayal and these deep, deep wounds.

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Speaker 1: And I think a lot of parents do.

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Speaker 3: That, and I think we see that come up, I

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Speaker 3: mean to jump Ahat had a bit in the episode

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Speaker 3: to come up. When Brie really can't hold it in anymore,

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Speaker 3: and Andrew confronts her when she's on the date with

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Speaker 3: the pharmacist and she blurts out, you know that your

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Speaker 3: father's been having an affair. And then later the next

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Speaker 3: day Andrew comes to her and says, you know, I'm

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Speaker 3: on your side, And he's finally on her side. I mean,

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Speaker 3: he's been so against her actions all the time, and

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Speaker 3: he says, you should throw him out of the house.

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Speaker 3: And I think it's a beautiful scene. It's a beautiful scene. Yeah,

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Speaker 3: when Brie says, you know, I and I'm paraphrasing because

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Speaker 3: I don't have it written down, but she says, you know,

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Speaker 3: I am hurt, and I'm going to divorce your father

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Speaker 3: and I may go on to marry someone else, but

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Speaker 3: your father was and may always be like the love

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Speaker 3: of my life and the father of my children, and

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Speaker 3: you're not going to disrespect him.

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Speaker 4: It's so illustrative of how much Bree is holding, how

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Speaker 4: many big feelings she's holding all at once. You know,

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Speaker 4: she's grappled with the fact that she's been so guus.

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Speaker 1: They all are the feelings. They're in that big beehive

401
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Speaker 1: haird oh.

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Speaker 4: I know when she embodies that perfect nineteen fifties they're

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Speaker 4: stacked up in that hairdoo. Yeah, you're right, you're right,

404
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Speaker 4: But it really is. It's a very powerful scene. And

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Speaker 4: I think that that and we see Rex overhearing it,

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Speaker 4: and I don't know what that will do in terms

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Speaker 4: of how much. I don't know how it will impact

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Speaker 4: the way he treats her moving forward, but I imagine

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Speaker 4: that would be a really amazing thing to overhear knowing

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Speaker 4: that you have just hurt your partner so deeply that

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Speaker 4: you did not act with that type of loyalty and

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Speaker 4: reverence and respect that she is now offering Rex and

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Speaker 4: he's standing there overhearing this. I imagine it's going to

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Speaker 4: land with him in some big way. But yeah, I

415
00:22:49,680 --> 00:22:51,359
Speaker 4: thought it was a really powerful moment. Her arc in

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Speaker 4: this episode is is really fun to watch the date

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Speaker 4: that she goes on with George the pharmacist played by

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Speaker 4: Roger Bart, who is another amazing theater actor.

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Speaker 1: Now what has I know he? What has he been in?

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Speaker 4: Okay, so well, I first fell in love with Roger

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Speaker 4: Bart when he was in You're a Good Man Charlie

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Speaker 4: Brown on Broadway and he played Snoopy and he has

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Speaker 4: just some incredible moments and performances in that musical. Another

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Speaker 4: thing people should go on YouTube. But I was so

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Speaker 4: excited when he came onto the show. I was really

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Speaker 4: really excited. He's very talented in general, talented theater actor,

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Speaker 4: talented television performer, so he's great.

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Speaker 1: There was a plethora of theater people because Mark came

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Speaker 1: out of theater and I think when he could, he

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Speaker 1: wanted to put those kinds of people. He wanted to

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Speaker 1: surround himself with those kinds of people.

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Speaker 3: Yeah, I have to say that is a dream of

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Speaker 3: mine as a filmmaker, and to think to think about

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Speaker 3: the community I have of friends, be it actors or

435
00:23:49,359 --> 00:23:52,720
Speaker 3: directors or producers, but specifically, I think you can see

436
00:23:52,720 --> 00:23:56,720
Speaker 3: it really concretely illustrated with actors, to think, oh gosh,

437
00:23:56,400 --> 00:23:59,680
Speaker 3: I dream of the day that I am in a

438
00:23:59,680 --> 00:24:03,040
Speaker 3: position of power where I create something or I'm directing something,

439
00:24:03,080 --> 00:24:07,679
Speaker 3: and I get to put my friends in it and

440
00:24:07,840 --> 00:24:11,400
Speaker 3: celebrate their talent in that collaborative kind of way. I'm

441
00:24:11,440 --> 00:24:12,840
Speaker 3: sure that was really fun for Mark.

442
00:24:13,240 --> 00:24:17,560
Speaker 4: And in that scene where Brie is getting ready for

443
00:24:17,600 --> 00:24:20,639
Speaker 4: her date and George shows up and she welcomes him in,

444
00:24:20,680 --> 00:24:23,119
Speaker 4: and she's clearly obviously flaunting the fact that she is

445
00:24:23,400 --> 00:24:26,639
Speaker 4: trying to move on in Rex's face because Rex is

446
00:24:26,680 --> 00:24:29,879
Speaker 4: sitting there the whole time, and then yeah, which is

447
00:24:29,880 --> 00:24:31,760
Speaker 4: so funny. I mean, it's just a great dynamic. But

448
00:24:31,800 --> 00:24:35,199
Speaker 4: he has that amazing line. I mean, really, Bri and

449
00:24:35,240 --> 00:24:38,119
Speaker 4: Rex have some killer moments in this episode. But Rex says,

450
00:24:38,440 --> 00:24:42,720
Speaker 4: after George calls him mister Van de Camp, he says, please,

451
00:24:42,760 --> 00:24:47,880
Speaker 4: you're dating my wife, call me Rex. Just fantastic.

452
00:24:55,960 --> 00:24:59,400
Speaker 3: Gabby is losing her power and all of her things.

453
00:24:59,480 --> 00:25:00,960
Speaker 3: Although I have I have to say, I caught an

454
00:25:00,960 --> 00:25:06,159
Speaker 3: inconsistency when she is meeting with the lawyers in her house.

455
00:25:06,680 --> 00:25:10,440
Speaker 3: All of her furniture is back in the house, including

456
00:25:10,680 --> 00:25:13,800
Speaker 3: the image of the paintings of herself on the wall.

457
00:25:14,240 --> 00:25:16,240
Speaker 2: Uh oh oh was it?

458
00:25:16,320 --> 00:25:17,320
Speaker 4: That's a faux pas.

459
00:25:18,040 --> 00:25:20,560
Speaker 1: So I caught it in a different way. I noticed

460
00:25:20,640 --> 00:25:24,399
Speaker 1: later in the episode that Andrew and Brie were in

461
00:25:24,440 --> 00:25:26,080
Speaker 1: their garage and I was like, how do they fit

462
00:25:26,119 --> 00:25:27,960
Speaker 1: in this garage? All of gabby stuff's in there?

463
00:25:28,280 --> 00:25:30,280
Speaker 3: Oh? Interesting, we all of Gabby's stuff is back in

464
00:25:30,320 --> 00:25:30,720
Speaker 3: her house.

465
00:25:30,880 --> 00:25:34,520
Speaker 4: And I caught another little mistake in this episode, which

466
00:25:34,560 --> 00:25:36,479
Speaker 4: was that you could see the boom mic really clearly

467
00:25:36,800 --> 00:25:39,119
Speaker 4: in the scene that we were just talking about with

468
00:25:39,160 --> 00:25:43,000
Speaker 4: Rex and Brie and George. There's a moment where you

469
00:25:43,000 --> 00:25:46,280
Speaker 4: can really see it reflected in the background in across

470
00:25:46,320 --> 00:25:49,879
Speaker 4: like a closet door. So wow, a couple little bumps

471
00:25:49,880 --> 00:25:50,840
Speaker 4: in this one, I guess.

472
00:25:50,880 --> 00:25:52,680
Speaker 3: And you know what, we just have to move on

473
00:25:52,920 --> 00:25:54,400
Speaker 3: from those inconsistencies.

474
00:25:55,040 --> 00:25:57,760
Speaker 1: You just move on, just move on. And how do

475
00:25:57,800 --> 00:26:00,240
Speaker 1: we think the furniture got back? I mean in the

476
00:26:00,320 --> 00:26:02,840
Speaker 1: last episode, was was that where there was a scene

477
00:26:02,880 --> 00:26:05,639
Speaker 1: where they the FBI or whatever came and they were like,

478
00:26:05,680 --> 00:26:07,640
Speaker 1: we're gonna take all your stuff, and she's like, it's

479
00:26:07,680 --> 00:26:10,359
Speaker 1: not here, there's not really that's what happened.

480
00:26:10,400 --> 00:26:10,960
Speaker 3: And then I so.

481
00:26:11,080 --> 00:26:13,119
Speaker 1: Then we just assumed that that went away, and so

482
00:26:13,240 --> 00:26:15,600
Speaker 1: now she got her stuff. I guess we presume they're

483
00:26:15,640 --> 00:26:19,760
Speaker 1: not gonna come. She thinks, come once, and then they

484
00:26:19,760 --> 00:26:20,400
Speaker 1: don't come again.

485
00:26:20,560 --> 00:26:23,240
Speaker 3: I guess, but they do. I mean they do show

486
00:26:23,280 --> 00:26:26,280
Speaker 3: off the electricity, which prompts her to go, and I like,

487
00:26:26,440 --> 00:26:29,000
Speaker 3: I like how she is, you know, says I relied

488
00:26:29,040 --> 00:26:32,360
Speaker 3: on my ability to make money before I married Carlos.

489
00:26:32,440 --> 00:26:36,280
Speaker 3: I'm gonna do it again. But of course, in this

490
00:26:37,240 --> 00:26:40,520
Speaker 3: fictional place that with Steria Lane exists in there's one

491
00:26:40,960 --> 00:26:44,080
Speaker 3: modeling in quotes for boat shows.

492
00:26:43,760 --> 00:26:45,600
Speaker 1: And car car.

493
00:26:47,160 --> 00:26:49,560
Speaker 4: The same glamorous lifestyle she was living in New York

494
00:26:49,560 --> 00:26:50,320
Speaker 4: City and Milan.

495
00:26:50,680 --> 00:26:53,679
Speaker 3: Yeah, and she swallows her pride and gets up on

496
00:26:53,880 --> 00:26:59,280
Speaker 3: the spinning turntable with the buick in the Fairview Mall,

497
00:26:59,600 --> 00:27:03,760
Speaker 3: which is actually for people who are you know, in

498
00:27:03,800 --> 00:27:07,639
Speaker 3: California and Los Angeles, is actually the Westfield Fashioned Square

499
00:27:07,760 --> 00:27:09,920
Speaker 3: Mall in Sherman Oaks, which.

500
00:27:10,200 --> 00:27:11,360
Speaker 1: We have frequented a lot.

501
00:27:11,440 --> 00:27:12,600
Speaker 4: I was gonna say, I think it's a lot of

502
00:27:12,640 --> 00:27:15,080
Speaker 4: our like main moll, I mean, that's where I go

503
00:27:15,200 --> 00:27:18,520
Speaker 4: for stocking stuffers. Yeah, that's where alert.

504
00:27:18,400 --> 00:27:24,639
Speaker 1: Yeah, seven year olds listening spoiler alert, that's where I

505
00:27:24,640 --> 00:27:27,200
Speaker 1: go for talking to There's a Sea's Candy there.

506
00:27:27,320 --> 00:27:29,120
Speaker 3: I was gonna say, I cannot walk in there without

507
00:27:29,119 --> 00:27:30,520
Speaker 3: getting a sample from Reeze Candy.

508
00:27:30,600 --> 00:27:32,639
Speaker 4: I know, we all pretend with Seas that we're going

509
00:27:32,720 --> 00:27:35,040
Speaker 4: to buy something, and we just go in and accept

510
00:27:35,040 --> 00:27:37,160
Speaker 4: their free truffle and walk right on out.

511
00:27:37,280 --> 00:27:40,560
Speaker 3: I honestly, I'm past don't do that. I'm past even

512
00:27:40,600 --> 00:27:41,960
Speaker 3: pretending that I'm gonna buy something.

513
00:27:42,040 --> 00:27:42,200
Speaker 1: Oh.

514
00:27:42,320 --> 00:27:44,440
Speaker 3: I walk in and I go, can I try this one?

515
00:27:44,480 --> 00:27:46,000
Speaker 3: And they go yeah, and I go thank you, and

516
00:27:46,040 --> 00:27:48,680
Speaker 3: then I tell you I still pretend.

517
00:27:48,760 --> 00:27:50,600
Speaker 4: I'm like, oh, I'm looking for a gift, and then

518
00:27:50,640 --> 00:27:52,439
Speaker 4: I wait, and then they finally offer me one, and

519
00:27:52,440 --> 00:27:53,920
Speaker 4: then I'm like, oh, I don't think I need that

520
00:27:53,960 --> 00:27:54,560
Speaker 4: gift anymore.

521
00:27:55,240 --> 00:27:57,119
Speaker 3: Oh well, I also think, I mean, I think we

522
00:27:57,200 --> 00:27:59,679
Speaker 3: talked about this in our in our teaser episode, and

523
00:27:59,760 --> 00:28:02,840
Speaker 3: this is maybe not the actual, not the mall in

524
00:28:02,880 --> 00:28:04,919
Speaker 3: Sherman Oaks that we used to do this in, although

525
00:28:04,920 --> 00:28:06,840
Speaker 3: there are two and they're fairly close to each other.

526
00:28:06,840 --> 00:28:10,200
Speaker 3: And this is one of the big ones. When around

527
00:28:10,280 --> 00:28:12,959
Speaker 3: two thousand and five, when this episode aired and Desperate

528
00:28:12,960 --> 00:28:18,040
Speaker 3: Housewives was starting to kind of skyrocket into its stardom,

529
00:28:18,320 --> 00:28:22,560
Speaker 3: that really was huge. There were a ton of paparazzi

530
00:28:22,840 --> 00:28:25,359
Speaker 3: often camped outside of our house, as I'm sure they

531
00:28:25,359 --> 00:28:29,280
Speaker 3: were camped outside of all of the stars houses, and

532
00:28:29,359 --> 00:28:33,680
Speaker 3: we used to drive into the underground parking garage of

533
00:28:33,720 --> 00:28:36,800
Speaker 3: one of these Sherman Oaks malls to meet talking about

534
00:28:36,840 --> 00:28:41,160
Speaker 3: my long term childhood best friends from before I was one.

535
00:28:41,400 --> 00:28:44,120
Speaker 3: My best friend Sammy's mom would meet us there and

536
00:28:44,160 --> 00:28:47,200
Speaker 3: we would switch cars with her and drive out so

537
00:28:47,400 --> 00:28:51,360
Speaker 3: the paparazzi would stop following your car. And I don't know,

538
00:28:51,400 --> 00:28:52,440
Speaker 3: this mall made me made me.

539
00:28:52,480 --> 00:28:57,440
Speaker 1: Crazy that way. Yeah, malls, and it's crazy, that's crazy.

540
00:28:57,520 --> 00:29:01,080
Speaker 1: I yeah, I just I just can't believe we survived that.

541
00:29:01,680 --> 00:29:04,000
Speaker 3: Yeah, did you deal with papazzi like that?

542
00:29:04,160 --> 00:29:04,280
Speaker 1: No?

543
00:29:04,320 --> 00:29:06,680
Speaker 4: I mean, can you know they weren't that interested in

544
00:29:06,720 --> 00:29:10,200
Speaker 4: what I was doing. Let's just be honest about that.

545
00:29:10,680 --> 00:29:14,240
Speaker 4: I was busy in ceas trying to get free candy. No,

546
00:29:14,440 --> 00:29:16,680
Speaker 4: I mean, I definitely had moments of it, but it

547
00:29:16,760 --> 00:29:18,800
Speaker 4: was always catching me off guard. I never had to

548
00:29:18,840 --> 00:29:22,120
Speaker 4: really prepare for it. I had some weird encounters, though.

549
00:29:22,240 --> 00:29:24,680
Speaker 4: One thing I will say, because this was a particularly

550
00:29:24,800 --> 00:29:27,240
Speaker 4: strange fan moment for me as a kid. I was

551
00:29:27,280 --> 00:29:30,440
Speaker 4: in Ikea with my family and an older woman who

552
00:29:30,560 --> 00:29:34,560
Speaker 4: was foreign recognized me from the show and was trying

553
00:29:34,600 --> 00:29:36,440
Speaker 4: to effusively tell me how much she loved it. But

554
00:29:36,480 --> 00:29:38,000
Speaker 4: of course there was a bit of a language barrier,

555
00:29:38,160 --> 00:29:40,880
Speaker 4: and so she just kept kind of going on and

556
00:29:40,880 --> 00:29:42,120
Speaker 4: on about how much she loved it, and I couldn't

557
00:29:42,120 --> 00:29:43,760
Speaker 4: really understand, but I thought it was positive. And then

558
00:29:43,800 --> 00:29:46,040
Speaker 4: she grabbed me on either side of my face and

559
00:29:46,080 --> 00:29:46,960
Speaker 4: kissed me on the mouth.

560
00:29:47,080 --> 00:29:49,920
Speaker 2: Oh my god, that's horrible.

561
00:29:50,000 --> 00:29:52,600
Speaker 4: Yeah it was. It was, And I was a you know,

562
00:29:52,920 --> 00:29:56,080
Speaker 4: fourteen year old and I just stood there thinking, I know,

563
00:29:56,160 --> 00:29:58,720
Speaker 4: this is super inappropriate and weird, but also I can

564
00:29:58,720 --> 00:30:01,920
Speaker 4: tell she meant it with love and you know, kindness.

565
00:30:01,960 --> 00:30:06,400
Speaker 4: But yeah, oh my god, I know's all in Ikeia,

566
00:30:07,120 --> 00:30:09,520
Speaker 4: And yeah, it really is like a vortex into another

567
00:30:09,640 --> 00:30:10,760
Speaker 4: planet Akia.

568
00:30:10,880 --> 00:30:12,479
Speaker 3: Yeah, are you okay?

569
00:30:12,960 --> 00:30:13,400
Speaker 1: You know what?

570
00:30:13,560 --> 00:30:17,720
Speaker 4: I think The jury is still out on that. Yeah,

571
00:30:17,760 --> 00:30:20,320
Speaker 4: so paparazzi, but a lot of older women coming up

572
00:30:20,360 --> 00:30:21,200
Speaker 4: and kissing me on the mouth.

573
00:30:21,400 --> 00:30:25,440
Speaker 3: Jeez. Well wait, okay, we'll talk about invasive. Yeah, that

574
00:30:25,760 --> 00:30:28,320
Speaker 3: is I already know what to say.

575
00:30:28,560 --> 00:30:31,200
Speaker 1: Almost as crazy as all of these neighbors wandering out

576
00:30:31,240 --> 00:30:33,719
Speaker 1: into the woods to look for Martha Hooper's body.

577
00:30:33,800 --> 00:30:36,400
Speaker 4: Yeah, okay, so we go on a mission, a quest

578
00:30:36,440 --> 00:30:40,720
Speaker 4: of a neighborhood, a neighborhood hunt to find anything we

579
00:30:40,760 --> 00:30:44,520
Speaker 4: can find for tracking down missus Hooper's whereabouts. I also noticed,

580
00:30:44,720 --> 00:30:47,040
Speaker 4: just as a brief quick aside, that in two scenes

581
00:30:47,080 --> 00:30:51,040
Speaker 4: in this episode, Julie and Tom Scavo are paired together.

582
00:30:51,400 --> 00:30:53,160
Speaker 3: Yeah. Did you notice that?

583
00:30:53,280 --> 00:30:55,560
Speaker 4: I know, and I just am so fascinated by how

584
00:30:55,560 --> 00:30:57,320
Speaker 4: that happened. And then did Doug and I just kind

585
00:30:57,320 --> 00:30:58,840
Speaker 4: of like make our way towards each other because we're

586
00:30:58,920 --> 00:31:02,160
Speaker 4: kind of just glorified background actors for those scenes, and

587
00:31:02,200 --> 00:31:04,640
Speaker 4: what on earth were we talking about? Anyway? I thought

588
00:31:04,680 --> 00:31:06,160
Speaker 4: it was so funny, so funny.

589
00:31:06,240 --> 00:31:07,520
Speaker 3: Yeah, I noticed that too.

590
00:31:07,960 --> 00:31:08,160
Speaker 1: Yeah.

591
00:31:08,400 --> 00:31:11,080
Speaker 3: I also noticed that Susan is wearing the cutest little

592
00:31:11,080 --> 00:31:14,560
Speaker 3: gloves while they're walking through the woods, and I thought,

593
00:31:15,480 --> 00:31:19,920
Speaker 3: I can't imagine it was that cold when they were

594
00:31:19,920 --> 00:31:22,800
Speaker 3: filming this, although maybe I don't know. If it's early morning, we.

595
00:31:22,840 --> 00:31:26,880
Speaker 1: Definitely shot it. There were moments where we fell cold

596
00:31:26,960 --> 00:31:29,080
Speaker 1: or definitely hot or whatever. It all seems to be

597
00:31:29,120 --> 00:31:31,000
Speaker 1: the reverse. It's like when you're supposed to have no

598
00:31:31,080 --> 00:31:33,760
Speaker 1: clothes on your outside in the freezing and then when

599
00:31:33,800 --> 00:31:36,000
Speaker 1: you have all the coats on somehow it's you know,

600
00:31:36,120 --> 00:31:36,800
Speaker 1: ninety five degrees.

601
00:31:36,840 --> 00:31:38,880
Speaker 4: I may be wrong. I thought the gloves were given

602
00:31:38,960 --> 00:31:43,160
Speaker 4: to the searchers so that they didn't contaminate evidence.

603
00:31:43,240 --> 00:31:46,600
Speaker 3: They looked like cashmere. I mean, that was a nice

604
00:31:46,680 --> 00:31:49,840
Speaker 3: big spenders for the for the searchers to not contaminate thing.

605
00:31:49,920 --> 00:31:52,600
Speaker 1: Well, this gets me close to one line that sort

606
00:31:52,600 --> 00:31:54,040
Speaker 1: of jumped out at me, and I wonder what you

607
00:31:54,040 --> 00:31:56,760
Speaker 1: guys thought of it. So in this scene, everybody's searching

608
00:31:57,440 --> 00:32:04,239
Speaker 1: and Susan ends up saying to Lynette and Breathe that, uh,

609
00:32:05,680 --> 00:32:08,240
Speaker 1: that she has some good news that Mike let slip

610
00:32:08,320 --> 00:32:12,400
Speaker 1: that he loves her, and they go, oh my god.

611
00:32:12,520 --> 00:32:15,720
Speaker 1: And then everybody like thinks that they found the body

612
00:32:16,120 --> 00:32:18,840
Speaker 1: and and they're like, no, no, it's nothing, just Susan

613
00:32:18,880 --> 00:32:21,960
Speaker 1: had good news. And then you know the rest of

614
00:32:22,000 --> 00:32:25,880
Speaker 1: the crowd like wanders back off and Edie says, oh,

615
00:32:26,120 --> 00:32:28,240
Speaker 1: you know, leave it to her, and this is the

616
00:32:28,240 --> 00:32:32,560
Speaker 1: line that she manages to make it all about her. Okay,

617
00:32:32,640 --> 00:32:38,240
Speaker 1: so this line gets repeated a few times like, oh,

618
00:32:38,280 --> 00:32:41,320
Speaker 1: and that character makes it all about them, Well.

619
00:32:41,200 --> 00:32:44,600
Speaker 3: It's already been said once about Edie. About Edie when

620
00:32:44,600 --> 00:32:49,080
Speaker 3: they have the gathering with the neighbors to announce the search,

621
00:32:49,440 --> 00:32:51,520
Speaker 3: and Edie is talking about how much she actually, in

622
00:32:51,560 --> 00:32:54,400
Speaker 3: a touching way cared for Martha, and she starts crying,

623
00:32:54,400 --> 00:32:56,400
Speaker 3: and I think it's Gabby who leans over the girls

624
00:32:56,440 --> 00:32:58,280
Speaker 3: and goes leave it to Edie to have her make

625
00:32:58,320 --> 00:33:00,360
Speaker 3: it all about her kind of struck me, Like.

626
00:33:02,040 --> 00:33:05,440
Speaker 1: Is that something anyone would say, like like would you

627
00:33:05,520 --> 00:33:10,160
Speaker 1: ever be with your girlfriends or something? And like see

628
00:33:10,200 --> 00:33:13,640
Speaker 1: some behavior and then Lena omrgo, oh, you know what

629
00:33:13,680 --> 00:33:17,000
Speaker 1: their character trait is, They always make everything about them,

630
00:33:17,200 --> 00:33:21,360
Speaker 1: Like I just I feel like when it was like

631
00:33:21,480 --> 00:33:24,560
Speaker 1: a button, like I feel like, maybe we'll see when

632
00:33:24,560 --> 00:33:28,800
Speaker 1: we keep watching the episodes that this felt like a

633
00:33:28,840 --> 00:33:33,320
Speaker 1: personal button for Susan really not terry, but like that

634
00:33:33,480 --> 00:33:38,160
Speaker 1: like somehow her character like is always making everything about

635
00:33:38,200 --> 00:33:42,840
Speaker 1: her And I just resist that so much and I'm

636
00:33:42,920 --> 00:33:46,400
Speaker 1: defensive of that so much, and I don't know why

637
00:33:46,960 --> 00:33:49,040
Speaker 1: it like poked me like that, Why did it poke

638
00:33:49,160 --> 00:33:49,600
Speaker 1: me like that?

639
00:33:50,800 --> 00:33:54,640
Speaker 3: I mean, I'm Dumb'm not. I don't know. Maybe if

640
00:33:54,720 --> 00:33:56,920
Speaker 3: that's is for your therapist.

641
00:33:56,600 --> 00:34:00,600
Speaker 4: But what are you though? I do you think that

642
00:34:01,080 --> 00:34:01,680
Speaker 4: I got.

643
00:34:01,600 --> 00:34:05,720
Speaker 1: Very defensive of the accusation being that you make everything

644
00:34:05,760 --> 00:34:09,480
Speaker 1: about yourself. Yeah, well I think it's I think it's

645
00:34:12,080 --> 00:34:17,440
Speaker 1: not true, right, but also feels super mean. It feels

646
00:34:17,640 --> 00:34:20,120
Speaker 1: mean for women to say that about other women.

647
00:34:20,239 --> 00:34:22,399
Speaker 3: Okay, I'm going to push back. I'm going to push

648
00:34:22,440 --> 00:34:25,120
Speaker 3: back on this. I agree that it's being said between

649
00:34:25,120 --> 00:34:28,080
Speaker 3: a lot of people in a more derogatory or demeaning

650
00:34:28,160 --> 00:34:30,799
Speaker 3: way in this episode, because I think a lot of

651
00:34:30,840 --> 00:34:35,600
Speaker 3: people are having relatively large outbursts, even Carl showing up,

652
00:34:35,680 --> 00:34:38,680
Speaker 3: you know, with Brandy, you know, leaving there's I think

653
00:34:38,680 --> 00:34:40,960
Speaker 3: there's lots of moments where we could argue that someone

654
00:34:41,040 --> 00:34:45,360
Speaker 3: is making a situation about their feelings about the situation.

655
00:34:45,960 --> 00:34:49,560
Speaker 3: But I want to say, and you know, as totally

656
00:34:49,600 --> 00:34:54,200
Speaker 3: not your therapist, I would like to offer that maybe

657
00:34:54,280 --> 00:34:58,239
Speaker 3: when the feeling of defensiveness, of feeling like it's a

658
00:34:58,280 --> 00:35:00,520
Speaker 3: really mean thing for someone to say, oh, you're making

659
00:35:00,560 --> 00:35:04,879
Speaker 3: this about you, I agree, I agree, I totally get that,

660
00:35:05,080 --> 00:35:08,239
Speaker 3: and I wonder if maybe there's a reframe of do

661
00:35:08,239 --> 00:35:11,600
Speaker 3: you know what it is okay to take up space?

662
00:35:12,120 --> 00:35:17,520
Speaker 3: It is okay, it's okay to have your feelings be

663
00:35:18,040 --> 00:35:22,399
Speaker 3: recognized and hold space in a room. And if someone

664
00:35:22,480 --> 00:35:25,799
Speaker 3: wants to call that making it all about you, why

665
00:35:25,960 --> 00:35:29,240
Speaker 3: is the assumption that something should never be about us

666
00:35:29,440 --> 00:35:31,600
Speaker 3: or what we're feeling or what we're going through.

667
00:35:31,880 --> 00:35:33,840
Speaker 1: I love that so much.

668
00:35:33,960 --> 00:35:38,839
Speaker 4: Maybe Emerson is your therapy, is my therapist.

669
00:35:38,000 --> 00:35:40,720
Speaker 3: In the main, Well take that with you, if.

670
00:35:41,480 --> 00:35:44,359
Speaker 1: That so much, because I do say it again the

671
00:35:44,440 --> 00:35:46,279
Speaker 1: beginning part, just that.

672
00:35:46,239 --> 00:35:49,240
Speaker 3: It is okay space, It's okay to take up space.

673
00:35:49,320 --> 00:35:51,960
Speaker 1: Man, I feel like a lot of women and maybe

674
00:35:51,960 --> 00:35:55,080
Speaker 1: this is where our generations. I mean, if if I'm

675
00:35:55,200 --> 00:35:58,200
Speaker 1: like the we're like Goldilocks and the Three Bears, where

676
00:35:58,239 --> 00:36:01,040
Speaker 1: I'm the hot, you're the media, and you're the like

677
00:36:01,200 --> 00:36:06,160
Speaker 1: better or something that I feel like in my generation,

678
00:36:07,719 --> 00:36:10,319
Speaker 1: it was really frowned upon to take up space to

679
00:36:10,400 --> 00:36:13,080
Speaker 1: talk about yourself or talk about that and just to

680
00:36:13,200 --> 00:36:16,120
Speaker 1: feel large and to be seen and to want to

681
00:36:16,120 --> 00:36:20,640
Speaker 1: be counted and to you know, I think it was

682
00:36:20,800 --> 00:36:27,399
Speaker 1: more lauded when women were you know, invisible and didn't

683
00:36:27,440 --> 00:36:30,880
Speaker 1: really have needs and you know, could just jocky around

684
00:36:31,440 --> 00:36:35,839
Speaker 1: and handle the goods and the bads and didn't really

685
00:36:35,840 --> 00:36:37,799
Speaker 1: have to make too much commotion about any of it

686
00:36:37,880 --> 00:36:41,080
Speaker 1: and just sort of tolerated at all. But like we're small,

687
00:36:41,960 --> 00:36:46,680
Speaker 1: I feel like and quiet and quiet and I and

688
00:36:47,000 --> 00:36:50,400
Speaker 1: I that means a lot to me, Like I feel

689
00:36:50,440 --> 00:36:53,600
Speaker 1: like I can use that in my life right now,

690
00:36:53,800 --> 00:36:57,240
Speaker 1: like in the instances where I feel like it's okay

691
00:36:57,400 --> 00:37:01,280
Speaker 1: for me to take up some space. Yeah, that's so interesting.

692
00:37:01,360 --> 00:37:02,520
Speaker 1: How do you does it?

693
00:37:02,640 --> 00:37:04,319
Speaker 4: Yeah, well, I was just going to say, I think

694
00:37:04,400 --> 00:37:08,160
Speaker 4: that we're also context matters and the fact that you

695
00:37:08,239 --> 00:37:11,840
Speaker 4: were sharing Susan was sharing this really sweet life update

696
00:37:11,880 --> 00:37:14,520
Speaker 4: with her friends, and yes, they happened to be on

697
00:37:14,560 --> 00:37:16,640
Speaker 4: a walk in the woods looking for a dead body,

698
00:37:17,280 --> 00:37:20,759
Speaker 4: but you know, she was sharing this big moment. Hey,

699
00:37:20,800 --> 00:37:23,680
Speaker 4: you guys, the guy that I'm seeing told me he's

700
00:37:23,719 --> 00:37:25,239
Speaker 4: in love with me. He told me he loves me,

701
00:37:25,239 --> 00:37:28,399
Speaker 4: and this is this big moment and so yeah, that's

702
00:37:28,440 --> 00:37:31,840
Speaker 4: totally a wonderful thing to share with people and shout

703
00:37:31,840 --> 00:37:34,759
Speaker 4: from the rooftops. And you know, I think that obviously,

704
00:37:34,800 --> 00:37:36,560
Speaker 4: in this episode, it's set up to be kind of

705
00:37:36,560 --> 00:37:40,279
Speaker 4: a funny thing where they're volleying back and forth. Who

706
00:37:40,280 --> 00:37:42,960
Speaker 4: makes it about them? But I do. I think that's

707
00:37:42,960 --> 00:37:44,919
Speaker 4: a beautiful thing you just said, Emerson, and I think

708
00:37:44,920 --> 00:37:47,960
Speaker 4: that that's very true. And hopefully we're getting better and

709
00:37:48,000 --> 00:37:51,320
Speaker 4: bigger and louder and more comfortable taking up that space

710
00:37:51,440 --> 00:37:51,880
Speaker 4: as women.

711
00:37:52,040 --> 00:37:55,040
Speaker 3: Amen to that. Well, just staying on Susan's storyline for

712
00:37:55,080 --> 00:37:59,279
Speaker 3: a little bit, the Susan Mike Carl love triangle of

713
00:37:59,320 --> 00:38:05,560
Speaker 3: it all I think is so palpably interesting in this episode. Isaac,

714
00:38:05,760 --> 00:38:08,200
Speaker 3: of course, he shows up because he broke up with

715
00:38:08,280 --> 00:38:12,719
Speaker 3: Brandy because the heart wants what the heart carl, and

716
00:38:13,120 --> 00:38:15,880
Speaker 3: I find it really interesting. I mean, Richard is so

717
00:38:16,040 --> 00:38:20,480
Speaker 3: good in this scene, and I really feel for Susan

718
00:38:20,560 --> 00:38:23,880
Speaker 3: and her moment of empathy for Carl because he seems

719
00:38:24,320 --> 00:38:28,359
Speaker 3: so sad, even though of course he is the one

720
00:38:28,400 --> 00:38:32,600
Speaker 3: who left her for Brandy in the first place, and she,

721
00:38:32,840 --> 00:38:38,440
Speaker 3: Susan feels it's her responsibility to somehow shoulder his sadness,

722
00:38:38,480 --> 00:38:40,800
Speaker 3: and she ends up inviting him to the birthday party

723
00:38:40,800 --> 00:38:44,279
Speaker 3: that she's going to with Mike, And it really brought

724
00:38:44,320 --> 00:38:46,680
Speaker 3: up for me on a macro scale, why and maybe

725
00:38:46,680 --> 00:38:49,560
Speaker 3: this is fitting into smallness or not, but why do

726
00:38:49,680 --> 00:38:54,520
Speaker 3: we often as women, feel it is our responsibility to

727
00:38:54,600 --> 00:38:58,560
Speaker 3: make people feel better about their uncomfortable feelings when we

728
00:38:58,800 --> 00:39:01,680
Speaker 3: didn't cause they're uncomfortable feelings.

729
00:39:01,840 --> 00:39:04,720
Speaker 4: Their uncomfortable feelings are actually a result of their own

730
00:39:05,640 --> 00:39:07,040
Speaker 4: actions in the first place.

731
00:39:07,200 --> 00:39:10,799
Speaker 3: Carl left Susan, and now Susan is feeling guilty for

732
00:39:10,920 --> 00:39:14,759
Speaker 3: not including him because he is the one going through

733
00:39:14,760 --> 00:39:16,399
Speaker 3: a breakup with the person he left her for.

734
00:39:16,600 --> 00:39:20,040
Speaker 1: Yeah, and it feels very familiar to women's roles of

735
00:39:20,080 --> 00:39:24,880
Speaker 1: where we're just sort of constantly picking up, you know,

736
00:39:25,320 --> 00:39:28,840
Speaker 1: the the mush, you know, like whether we created it

737
00:39:28,960 --> 00:39:30,759
Speaker 1: or not, Like, Okay, I can be a part of

738
00:39:31,280 --> 00:39:34,040
Speaker 1: making this better, you know. And again, I guess you

739
00:39:34,520 --> 00:39:38,560
Speaker 1: if you want to behave that way because you want

740
00:39:38,600 --> 00:39:43,279
Speaker 1: to be that person, then you know, I think good

741
00:39:43,320 --> 00:39:46,680
Speaker 1: for you. But I think Susan isn't that conscious about it.

742
00:39:46,719 --> 00:39:49,960
Speaker 1: I think it's reactionary of like from a guilt place,

743
00:39:50,040 --> 00:39:53,440
Speaker 1: you know, like, oh, I better, you know, I better

744
00:39:53,520 --> 00:39:56,000
Speaker 1: just fix this. I better, you know. I don't deserve

745
00:39:56,160 --> 00:40:00,200
Speaker 1: to have my own space. I don't deserve to be

746
00:40:00,320 --> 00:40:02,520
Speaker 1: here going like so are you going through that?

747
00:40:03,160 --> 00:40:06,480
Speaker 4: In this episode really highlights that back and forth for

748
00:40:06,520 --> 00:40:11,480
Speaker 4: Susan of trying to realize or recognize how much do

749
00:40:11,520 --> 00:40:15,960
Speaker 4: I let Carl still get to me? How much power

750
00:40:16,040 --> 00:40:19,760
Speaker 4: does he still hold? Do I have feelings about Carl,

751
00:40:19,760 --> 00:40:22,279
Speaker 4: whether that's romantic or not, you know, And we get

752
00:40:22,280 --> 00:40:26,439
Speaker 4: to watch her sort of realize in this episode. No,

753
00:40:26,760 --> 00:40:29,040
Speaker 4: he doesn't make me. He doesn't make me feel like

754
00:40:29,120 --> 00:40:29,800
Speaker 4: that anymore.

755
00:40:37,520 --> 00:40:42,640
Speaker 3: Kudos to Mike for holding space for Susan to explore

756
00:40:42,640 --> 00:40:44,279
Speaker 3: that when he first says I love you, and she goes,

757
00:40:44,320 --> 00:40:45,400
Speaker 3: that's great.

758
00:40:46,440 --> 00:40:48,960
Speaker 1: You know, what ever happened to you? Did anybody ever

759
00:40:49,000 --> 00:40:50,919
Speaker 1: say I love you to you that you weren't ready

760
00:40:50,920 --> 00:40:51,520
Speaker 1: to say it back?

761
00:40:51,640 --> 00:40:52,040
Speaker 4: Yes?

762
00:40:52,360 --> 00:40:55,279
Speaker 3: I have said I love you to someone and they

763
00:40:55,320 --> 00:40:56,520
Speaker 3: haven't set it back to me.

764
00:40:56,840 --> 00:40:57,239
Speaker 1: How was that?

765
00:40:58,360 --> 00:41:02,120
Speaker 3: Well, they went on to cheat on me shortly after.

766
00:41:01,880 --> 00:41:04,480
Speaker 4: That, numbers and addresses.

767
00:41:04,680 --> 00:41:07,440
Speaker 3: Honestly, we're still friends. Like if he hears this, like

768
00:41:07,560 --> 00:41:10,400
Speaker 3: I he is a friend of mine. We were young, like,

769
00:41:10,440 --> 00:41:11,120
Speaker 3: we moved past it.

770
00:41:11,120 --> 00:41:13,200
Speaker 4: We had friend of mine, we got back.

771
00:41:13,040 --> 00:41:17,080
Speaker 3: Together, we dated again, we then we broke up more.

772
00:41:17,320 --> 00:41:21,839
Speaker 3: You know whatever. Consensually. But and I've actually and I've

773
00:41:21,840 --> 00:41:23,680
Speaker 3: done it. I've done it twice. I've done it twice

774
00:41:23,680 --> 00:41:26,840
Speaker 3: the other time was not as like scarring, but where

775
00:41:27,000 --> 00:41:29,920
Speaker 3: I felt ready to say I love you and the

776
00:41:30,000 --> 00:41:33,600
Speaker 3: person was like, oh, like I really haven't, like like

777
00:41:34,120 --> 00:41:35,799
Speaker 3: that really means a lot to me and I and

778
00:41:35,840 --> 00:41:37,719
Speaker 3: I feel like, I, you know, I really really care

779
00:41:37,760 --> 00:41:40,120
Speaker 3: about you, but I don't use that word a lot,

780
00:41:40,160 --> 00:41:41,440
Speaker 3: and I just kind of need to sit on it.

781
00:41:41,480 --> 00:41:45,040
Speaker 3: And it's a little bit what Susan responds. And I

782
00:41:45,080 --> 00:41:47,319
Speaker 3: think in the second time that this happened to me,

783
00:41:47,920 --> 00:41:50,839
Speaker 3: I would like to think that I took kind of

784
00:41:51,360 --> 00:41:55,400
Speaker 3: Mike's position of saying, that's okay, like I want to

785
00:41:55,440 --> 00:41:58,400
Speaker 3: tell you what I am feeling, but it's not going

786
00:41:58,480 --> 00:42:00,520
Speaker 3: to be a rejection. Saying I love you is a

787
00:42:00,560 --> 00:42:03,160
Speaker 3: big deal, and it's what I'm feeling right now. But

788
00:42:03,200 --> 00:42:05,960
Speaker 3: if it's not a place that you're ready to be

789
00:42:06,080 --> 00:42:09,200
Speaker 3: in yet, that's fine, and it doesn't need to spoil

790
00:42:09,480 --> 00:42:13,600
Speaker 3: our relationship or what we're discovering with each other. And

791
00:42:13,680 --> 00:42:16,520
Speaker 3: I think people do show up to relationships on their

792
00:42:16,560 --> 00:42:19,839
Speaker 3: own timelines, with their own complexities and things that they're

793
00:42:19,840 --> 00:42:23,440
Speaker 3: working through. As Mike so aptly points out to Susan,

794
00:42:23,880 --> 00:42:26,400
Speaker 3: you know, he goes, well, maybe you still have feelings

795
00:42:26,560 --> 00:42:28,800
Speaker 3: for Carl and you're sorting through this and your whatever.

796
00:42:28,840 --> 00:42:31,160
Speaker 3: And of course she rejects that she has feelings for Carl,

797
00:42:31,280 --> 00:42:35,040
Speaker 3: But I love that he is so confident in himself

798
00:42:35,160 --> 00:42:38,160
Speaker 3: and what he feels for her that he is able to,

799
00:42:38,280 --> 00:42:42,759
Speaker 3: in a totally not defensive, self conscious way, give her

800
00:42:42,840 --> 00:42:47,560
Speaker 3: the space to come to saying that those words back

801
00:42:47,600 --> 00:42:50,040
Speaker 3: to him on her own timeline when it feels right

802
00:42:50,120 --> 00:42:50,279
Speaker 3: to her.

803
00:42:50,320 --> 00:42:52,680
Speaker 4: And it's also so sweet because he says it spontaneously.

804
00:42:53,160 --> 00:42:55,880
Speaker 4: It's like he can't really did it well.

805
00:42:55,920 --> 00:42:56,400
Speaker 1: He did.

806
00:42:57,000 --> 00:42:59,279
Speaker 4: It was so tender and sweet and adorable.

807
00:42:59,320 --> 00:43:02,600
Speaker 2: And wait, you had somebody say it.

808
00:43:02,640 --> 00:43:05,720
Speaker 4: I have had someone say it to me, and uh,

809
00:43:05,800 --> 00:43:08,839
Speaker 4: and I didn't feel it? Yeah, and I and I well,

810
00:43:08,880 --> 00:43:11,560
Speaker 4: and not only did it, it was not like I thought.

811
00:43:11,600 --> 00:43:15,759
Speaker 4: That's where I didn't think that the relationship was at

812
00:43:15,760 --> 00:43:19,360
Speaker 4: the level of saying that or even heading in that direction. Okay,

813
00:43:19,440 --> 00:43:22,760
Speaker 4: And so I think I responded with, no, you don't

814
00:43:24,800 --> 00:43:27,520
Speaker 4: because you don't really even know me well enough to

815
00:43:27,840 --> 00:43:28,960
Speaker 4: know that information.

816
00:43:30,360 --> 00:43:35,560
Speaker 1: So we've gotten very confused in my long terminal singleness

817
00:43:35,760 --> 00:43:39,799
Speaker 1: about the word itself, like the the only you know

818
00:43:39,880 --> 00:43:43,520
Speaker 1: as it applies to Emerson. I'm very very clear, right

819
00:43:43,680 --> 00:43:46,879
Speaker 1: what what that means and thank god, Yes I know,

820
00:43:47,000 --> 00:43:51,720
Speaker 1: and I and as it applies to my loved ones,

821
00:43:51,880 --> 00:43:55,040
Speaker 1: I would put you in that category. My girlfriends. Yeah,

822
00:43:55,120 --> 00:43:57,759
Speaker 1: I think it would take a lot for me to

823
00:43:57,840 --> 00:44:00,840
Speaker 1: have a significant other that I got that close to

824
00:44:01,000 --> 00:44:03,919
Speaker 1: that I would say those words. I think I'm very

825
00:44:03,960 --> 00:44:07,480
Speaker 1: far away from that. Yeah, I you know, Yeah, I

826
00:44:07,480 --> 00:44:11,120
Speaker 1: don't know. It feels like it's been so long, like

827
00:44:11,160 --> 00:44:12,600
Speaker 1: it's quite a mystery.

828
00:44:13,000 --> 00:44:15,600
Speaker 4: I also think, and this came up recently with some

829
00:44:15,640 --> 00:44:17,960
Speaker 4: of my friends, but I think, and you guys can

830
00:44:18,280 --> 00:44:21,360
Speaker 4: weigh in here. I think saying I love you for

831
00:44:21,400 --> 00:44:23,319
Speaker 4: the first time is hard. It's a big deal, or

832
00:44:23,320 --> 00:44:25,040
Speaker 4: it can be. It doesn't have to be hard necessarily,

833
00:44:25,040 --> 00:44:26,120
Speaker 4: but it's a big moment.

834
00:44:26,239 --> 00:44:26,439
Speaker 3: Right.

835
00:44:26,960 --> 00:44:29,560
Speaker 4: However, I think saying I love you the second time

836
00:44:29,920 --> 00:44:34,200
Speaker 4: is way harder. I think that you build up, yeah,

837
00:44:34,239 --> 00:44:36,719
Speaker 4: you build up this to this moment in your relationship

838
00:44:36,719 --> 00:44:38,000
Speaker 4: where you look at each other and you go, oh,

839
00:44:38,160 --> 00:44:40,040
Speaker 4: you know, I want to tell this person I love

840
00:44:40,080 --> 00:44:41,920
Speaker 4: them or they are telling me they love them, and

841
00:44:41,920 --> 00:44:43,960
Speaker 4: then you have to do it again. I think that

842
00:44:44,120 --> 00:44:45,080
Speaker 4: second time, every.

843
00:44:44,920 --> 00:44:47,080
Speaker 1: Time you hang up the phone love you. Yeah.

844
00:44:47,080 --> 00:44:51,640
Speaker 3: So interesting. Well, so you know, we have Susan grappling

845
00:44:51,760 --> 00:44:53,920
Speaker 3: with as Mike points out, does she still a feelings

846
00:44:53,960 --> 00:44:56,200
Speaker 3: for Carl? Does she not? Does she feel guilty? Whatever?

847
00:44:56,320 --> 00:45:00,279
Speaker 3: She ends up inviting him to Julia's birthday, which so

848
00:45:00,360 --> 00:45:03,320
Speaker 3: many things to say about this scene. Where was the shot?

849
00:45:03,440 --> 00:45:06,799
Speaker 3: Tell us more about singing Andrea Mom, tell us more

850
00:45:06,800 --> 00:45:10,160
Speaker 3: about what it takes to submit a performance to get

851
00:45:10,200 --> 00:45:13,440
Speaker 3: nominated for an Emmy, because I think this was the scene.

852
00:45:13,640 --> 00:45:16,680
Speaker 1: Okay, just before we get there, I have to step

853
00:45:16,719 --> 00:45:20,719
Speaker 1: back and acknowledge one of the best long lasting bloopers

854
00:45:20,960 --> 00:45:23,840
Speaker 1: that happened to me anyway, with.

855
00:45:23,920 --> 00:45:25,520
Speaker 4: My dialogue, I love this one.

856
00:45:25,640 --> 00:45:30,520
Speaker 1: Yeah. This was almost as pervasive in its future as

857
00:45:30,560 --> 00:45:33,839
Speaker 1: The Heart Wants with the Heart Wants. When Carl is

858
00:45:33,920 --> 00:45:37,840
Speaker 1: exiting that first time, when he's first saying, you know,

859
00:45:38,120 --> 00:45:42,960
Speaker 1: I've I've I've broken up, he's about to tell you know,

860
00:45:43,080 --> 00:45:46,240
Speaker 1: Susan that he's broken up with Brandy, and but before

861
00:45:46,280 --> 00:45:49,759
Speaker 1: he does, you know, he's talking to her about the

862
00:45:50,080 --> 00:45:52,680
Speaker 1: Julie's party and he's you know, and he's like, okay, well,

863
00:45:52,719 --> 00:45:57,120
Speaker 1: so I'm going to leave, and and Susan says, give

864
00:45:57,160 --> 00:46:01,080
Speaker 1: my best to Brandy, and that's what him to go. Well,

865
00:46:01,760 --> 00:46:03,560
Speaker 1: we're actually not together anymore.

866
00:46:03,640 --> 00:46:04,799
Speaker 4: But what did you say?

867
00:46:04,920 --> 00:46:09,040
Speaker 1: What I said on film with the cameras rolling was

868
00:46:09,680 --> 00:46:10,960
Speaker 1: give my breast to Brandy.

869
00:46:12,280 --> 00:46:13,560
Speaker 3: Oh my god.

870
00:46:13,640 --> 00:46:17,400
Speaker 1: I did not live down give my breast to Brandy

871
00:46:17,760 --> 00:46:20,239
Speaker 1: for a really long time. Yeah, it was a good one.

872
00:46:20,360 --> 00:46:21,600
Speaker 4: It was a good one in.

873
00:46:21,520 --> 00:46:23,960
Speaker 1: Your blooper reels. I love that my breast to Brandy.

874
00:46:24,239 --> 00:46:27,480
Speaker 4: Yeah, okay, so really quickly, I just want to mention

875
00:46:27,480 --> 00:46:29,640
Speaker 4: because you said, where was it filmed? Okay, so this

876
00:46:29,880 --> 00:46:32,719
Speaker 4: was filmed at the Smokehouse, which is a pretty historical

877
00:46:32,880 --> 00:46:37,000
Speaker 4: restaurant in Burbank, California. It was established in nineteen forty six.

878
00:46:37,040 --> 00:46:38,319
Speaker 4: I looked it up because it's been there for a

879
00:46:38,320 --> 00:46:38,719
Speaker 4: long time.

880
00:46:39,040 --> 00:46:41,919
Speaker 1: It's been dinner with Clooney there once, I know, I said,

881
00:46:42,000 --> 00:46:45,760
Speaker 1: I said, I wait, said that again. I've just remember

882
00:46:45,800 --> 00:46:48,560
Speaker 1: I said that, Remember I said. A couple episodes, I said,

883
00:46:48,600 --> 00:46:51,760
Speaker 1: we'll get there. Yeah, it's going to be so slow though, Oh.

884
00:46:51,640 --> 00:46:54,800
Speaker 4: My gosh, she's dropping little little moments.

885
00:46:54,440 --> 00:46:55,960
Speaker 1: At George Clooney.

886
00:46:56,040 --> 00:46:58,880
Speaker 4: Okay, well, among George Clooney.

887
00:46:58,680 --> 00:46:59,600
Speaker 3: Staring at each other.

888
00:47:00,200 --> 00:47:04,440
Speaker 4: Yes, yeah, there's okay, all right, we'll wait anxiously for

889
00:47:04,520 --> 00:47:07,960
Speaker 4: more of that story. But it is a pretty iconic

890
00:47:08,040 --> 00:47:10,239
Speaker 4: place in Burbank and it's been around for a long time.

891
00:47:10,280 --> 00:47:13,440
Speaker 4: A ton of movies and television shows have been filmed there.

892
00:47:14,000 --> 00:47:16,239
Speaker 4: And the reason that I just want to bring it

893
00:47:16,320 --> 00:47:19,440
Speaker 4: up really quickly is because, as we discussed earlier, it

894
00:47:19,480 --> 00:47:22,080
Speaker 4: ties into the whole assisted living and independent living and

895
00:47:22,160 --> 00:47:24,799
Speaker 4: homes and nursing facilities. My mother in law lives at

896
00:47:24,840 --> 00:47:27,920
Speaker 4: an assisted living facility up the street from my husband

897
00:47:27,960 --> 00:47:32,120
Speaker 4: and I and it's a great place and it's wonderful,

898
00:47:32,120 --> 00:47:35,399
Speaker 4: and there is a resident there who is one hundred

899
00:47:35,440 --> 00:47:38,560
Speaker 4: and six years old. Yes, his name is Joe, and

900
00:47:38,640 --> 00:47:41,000
Speaker 4: he is a World War Two VETT who fought at

901
00:47:41,000 --> 00:47:43,960
Speaker 4: the Battle of the Bulge and is just incredible in

902
00:47:44,120 --> 00:47:47,319
Speaker 4: so many ways. And my husband Josh will strike up

903
00:47:47,360 --> 00:47:49,360
Speaker 4: conversations with him when he's visiting his mom because he

904
00:47:49,360 --> 00:47:53,600
Speaker 4: finds this man so interesting. And one point, this guy

905
00:47:53,760 --> 00:47:57,000
Speaker 4: shared with Josh that he once a month goes swing

906
00:47:57,080 --> 00:48:01,880
Speaker 4: dancing at the Smokehouse in Burbank. Still and so recently

907
00:48:02,840 --> 00:48:04,839
Speaker 4: Josh comes home and he had been visiting his mom

908
00:48:04,840 --> 00:48:07,120
Speaker 4: and he said, I talked to Joe. Tonight's the night

909
00:48:07,360 --> 00:48:10,239
Speaker 4: he's going to the Smokehouse to swing dance. We gotta go.

910
00:48:10,680 --> 00:48:12,640
Speaker 4: And and you know, Josh and I were like prepared

911
00:48:12,640 --> 00:48:15,000
Speaker 4: to be in for the night. I'm pretty pregnant and

912
00:48:15,040 --> 00:48:16,920
Speaker 4: it was like, oh gosh, we have but we were like, no,

913
00:48:16,960 --> 00:48:18,840
Speaker 4: you're right, we have to go witness this one hundred

914
00:48:18,840 --> 00:48:21,319
Speaker 4: and six year old war veteran swing dance. And so

915
00:48:21,360 --> 00:48:24,000
Speaker 4: we went to the smokehouse. Your pictures on the wall, Terry,

916
00:48:24,560 --> 00:48:26,640
Speaker 4: Yes it is, I pointed it out, not knowing that

917
00:48:26,680 --> 00:48:26,960
Speaker 4: I was.

918
00:48:26,880 --> 00:48:28,280
Speaker 1: About to watch my episode.

919
00:48:28,960 --> 00:48:33,120
Speaker 4: Yeah, no, George cloudy. But and and sure enough he

920
00:48:33,200 --> 00:48:35,160
Speaker 4: got up. He had fancy black and white shoes on.

921
00:48:35,640 --> 00:48:38,680
Speaker 4: He moved and grooved, and I just thought, man, that

922
00:48:38,760 --> 00:48:39,400
Speaker 4: is inspiring.

923
00:48:39,640 --> 00:48:41,120
Speaker 1: That is really inspiring.

924
00:48:41,320 --> 00:48:43,880
Speaker 4: Yeah, so I wanted to I know. So here's to

925
00:48:44,000 --> 00:48:47,280
Speaker 4: Joe being an incredible swing dancer at one hundred inspired.

926
00:48:47,840 --> 00:48:50,319
Speaker 1: So just you're never you're never. It's never too late,

927
00:48:50,400 --> 00:48:51,760
Speaker 1: You're never too old.

928
00:48:51,920 --> 00:48:54,120
Speaker 4: No, that's you're only as old as your mind set.

929
00:48:54,400 --> 00:48:54,760
Speaker 1: Amazing.

930
00:48:54,840 --> 00:48:57,880
Speaker 2: Yeah, okay, okay, So do you have.

931
00:48:57,880 --> 00:48:59,800
Speaker 1: Like on the day memories?

932
00:48:59,840 --> 00:49:04,719
Speaker 4: I mean, I wanted to sing more. I wuld sang more.

933
00:49:04,719 --> 00:49:06,600
Speaker 4: And also there's a girl in the scene with me

934
00:49:06,600 --> 00:49:09,239
Speaker 4: who's playing my friend. Her name's Ashley rose Orr and

935
00:49:09,280 --> 00:49:11,480
Speaker 4: she wasn't Sound of Music on Broadway with me, and

936
00:49:11,520 --> 00:49:13,600
Speaker 4: then she was playing my friend in this little moment,

937
00:49:13,640 --> 00:49:15,719
Speaker 4: and I wish we could have sung more, but but

938
00:49:15,840 --> 00:49:16,480
Speaker 4: I do.

939
00:49:16,880 --> 00:49:18,479
Speaker 1: Was Eric Viatro there? Yes?

940
00:49:18,600 --> 00:49:19,600
Speaker 4: Eric was there?

941
00:49:19,600 --> 00:49:24,520
Speaker 1: Okay, we leave Eric listeners. We have this wonderful, wonderful

942
00:49:24,920 --> 00:49:30,359
Speaker 1: vocal coach to the stars in common throughout decades of

943
00:49:30,400 --> 00:49:31,200
Speaker 1: all of our lives.

944
00:49:31,200 --> 00:49:33,680
Speaker 3: Now we've all taken singing listens to the Eric viature.

945
00:49:33,719 --> 00:49:35,880
Speaker 3: Who I actually, I have to say, Eric Vitro is

946
00:49:35,920 --> 00:49:37,560
Speaker 3: also Ariana Grande's vocal coach.

947
00:49:37,640 --> 00:49:40,879
Speaker 4: Yeah, well everyone, I mean everyone coach.

948
00:49:40,960 --> 00:49:44,080
Speaker 1: Yeah, like he really did? He blew up more on

949
00:49:44,120 --> 00:49:47,280
Speaker 1: Instagram after the whole wicked thing. I mean, He's always

950
00:49:47,320 --> 00:49:50,719
Speaker 1: been a very big piece of Selena's I think, you know,

951
00:49:50,840 --> 00:49:55,160
Speaker 1: just everybody I think anyways, but I have known him

952
00:49:55,360 --> 00:50:01,839
Speaker 1: on and off for working on musicals. Every time I've

953
00:50:01,880 --> 00:50:05,319
Speaker 1: ever sung in a in a show, you know, I'll

954
00:50:05,360 --> 00:50:07,720
Speaker 1: go work with him, which I've done quite a few times.

955
00:50:07,760 --> 00:50:09,919
Speaker 1: And and you worked with him when you were doing

956
00:50:10,000 --> 00:50:11,560
Speaker 1: musicals in high school.

957
00:50:11,640 --> 00:50:13,240
Speaker 3: I did, I mean, and god.

958
00:50:13,480 --> 00:50:15,400
Speaker 4: I started I started working with him just when I

959
00:50:15,400 --> 00:50:17,480
Speaker 4: moved out from New York. I had had a big

960
00:50:17,520 --> 00:50:19,560
Speaker 4: community there of people that I could go and train with,

961
00:50:19,560 --> 00:50:21,319
Speaker 4: but I didn't know who the person was here and

962
00:50:21,360 --> 00:50:22,719
Speaker 4: someone point he's very much.

963
00:50:22,840 --> 00:50:24,920
Speaker 1: He's a wonderful guy. So I mean, so you know,

964
00:50:25,120 --> 00:50:27,960
Speaker 1: when when for me, anyway, when I get a signed

965
00:50:28,040 --> 00:50:31,759
Speaker 1: singing in any kind of role, the first thing I

966
00:50:31,800 --> 00:50:35,560
Speaker 1: do is called Eric Vitro and and get him to

967
00:50:35,640 --> 00:50:38,640
Speaker 1: help me work on it. The most recent musical I

968
00:50:38,680 --> 00:50:40,800
Speaker 1: did was about three years ago. I did more Tesha

969
00:50:40,800 --> 00:50:42,080
Speaker 1: Adams in the Adams Family.

970
00:50:42,239 --> 00:50:45,799
Speaker 4: She was so good, Terry, you were so good.

971
00:50:47,000 --> 00:50:48,600
Speaker 1: Dancing is a really fun show.

972
00:50:48,680 --> 00:50:49,839
Speaker 4: It you were a fun show.

973
00:50:50,000 --> 00:50:54,839
Speaker 1: But like I don't keep that tool up to par

974
00:50:55,239 --> 00:50:56,080
Speaker 1: I don't keep it.

975
00:50:56,440 --> 00:50:58,359
Speaker 4: I should you're not working out that muschle.

976
00:50:58,400 --> 00:51:01,160
Speaker 1: I don't. I'm not. I don't. I should sing every

977
00:51:01,200 --> 00:51:03,480
Speaker 1: day and whatever, and I don't. So it's for me.

978
00:51:03,920 --> 00:51:06,160
Speaker 1: And eric Al says this to me, He's like, I

979
00:51:06,239 --> 00:51:08,000
Speaker 1: wish you would get to the point where you could

980
00:51:08,040 --> 00:51:10,600
Speaker 1: stop like panic coming in here. You know what I mean,

981
00:51:10,920 --> 00:51:13,240
Speaker 1: Like if you would just sing on a regular basis,

982
00:51:13,280 --> 00:51:16,600
Speaker 1: it wouldn't always be like starting at zero, because basically

983
00:51:16,600 --> 00:51:18,920
Speaker 1: what it's like is if you don't go to the gym, ever,

984
00:51:19,400 --> 00:51:22,080
Speaker 1: and then someone says, hey, you're going to play a weightlifter,

985
00:51:22,480 --> 00:51:24,799
Speaker 1: and then you're in like a mad rush to like

986
00:51:25,160 --> 00:51:28,360
Speaker 1: create your biceps and you know, get yourself looking like that.

987
00:51:28,360 --> 00:51:30,239
Speaker 1: That's what it's like for your voice. Yeah, And so

988
00:51:30,320 --> 00:51:32,880
Speaker 1: I sort of have a tool, like I have pulled

989
00:51:32,920 --> 00:51:38,400
Speaker 1: off singing decently in some things, but it isn't something

990
00:51:39,160 --> 00:51:42,040
Speaker 1: that I keep in check to like readily do. And

991
00:51:42,080 --> 00:51:44,680
Speaker 1: I should because I love being on stage and I

992
00:51:44,760 --> 00:51:49,080
Speaker 1: love I love the craft of singing and dancing and

993
00:51:49,239 --> 00:51:50,600
Speaker 1: just telling stories that way.

994
00:51:50,719 --> 00:51:52,800
Speaker 4: Well, you're so good at it and in this scene

995
00:51:52,880 --> 00:51:55,880
Speaker 4: you are so amazing, and I really I would love

996
00:51:55,920 --> 00:51:59,600
Speaker 4: to hear more about how this scene went for you.

997
00:52:00,120 --> 00:52:02,839
Speaker 4: And uh yeah, I mean you were singing live.

998
00:52:03,320 --> 00:52:04,600
Speaker 1: Yeah yeah, yeah.

999
00:52:04,920 --> 00:52:09,520
Speaker 4: I think Nicolette's singing because that happens right before you,

1000
00:52:09,560 --> 00:52:12,840
Speaker 4: and I remember I was there, and I think she was.

1001
00:52:13,160 --> 00:52:14,560
Speaker 4: I don't know if that was her. I don't know

1002
00:52:14,600 --> 00:52:15,279
Speaker 4: if that was her or not.

1003
00:52:15,320 --> 00:52:16,919
Speaker 1: I mean she was singing to it, but I don't

1004
00:52:16,920 --> 00:52:17,799
Speaker 1: know if she was singing to her.

1005
00:52:17,840 --> 00:52:18,239
Speaker 4: I think she was.

1006
00:52:19,280 --> 00:52:21,399
Speaker 2: I actually thought she did a great job. Yeah, oh yeah,

1007
00:52:21,440 --> 00:52:22,160
Speaker 2: I thought she was.

1008
00:52:23,200 --> 00:52:26,160
Speaker 1: I thought, and I thought the is dichotomy the right

1009
00:52:26,200 --> 00:52:28,880
Speaker 1: word between Edie and Susan between her song and my

1010
00:52:29,000 --> 00:52:32,480
Speaker 1: song and like the sort of melancholy thing she had

1011
00:52:32,520 --> 00:52:35,680
Speaker 1: Marilyn Monroe thing going on, and then my thing, which

1012
00:52:35,760 --> 00:52:41,480
Speaker 1: was more boisterous. I again, you know, if you go

1013
00:52:41,640 --> 00:52:45,480
Speaker 1: to the running across the yard naked or whatever, you know,

1014
00:52:45,560 --> 00:52:47,880
Speaker 1: I look at these like a puzzle. I look at

1015
00:52:47,920 --> 00:52:52,680
Speaker 1: the nervous breakdown of it as like, okay, where where

1016
00:52:52,719 --> 00:52:55,160
Speaker 1: does that start? You know, where does the timing of

1017
00:52:55,239 --> 00:52:57,279
Speaker 1: like where do you come out of? Like when does

1018
00:52:57,280 --> 00:52:59,440
Speaker 1: the thought that's the that's the thing. As an actor

1019
00:52:59,560 --> 00:53:01,680
Speaker 1: like that, you got to decide when am I in

1020
00:53:01,760 --> 00:53:05,520
Speaker 1: the middle of sink trying to sing this song which

1021
00:53:05,560 --> 00:53:08,240
Speaker 1: I tried to do the little motion with the these

1022
00:53:08,360 --> 00:53:12,080
Speaker 1: vagabond shoes, like like, Okay, that's gonna be okay. I'm

1023
00:53:12,080 --> 00:53:13,880
Speaker 1: gonna try to sing this song and I'm gonna try

1024
00:53:13,920 --> 00:53:15,680
Speaker 1: to have fun doing it. And then it's like nope,

1025
00:53:15,719 --> 00:53:19,440
Speaker 1: I can't, you know, And and then you try to

1026
00:53:19,480 --> 00:53:20,920
Speaker 1: like go back to it and it's like nope, I

1027
00:53:21,320 --> 00:53:24,480
Speaker 1: just can't do it, and and like and finding that

1028
00:53:25,000 --> 00:53:26,759
Speaker 1: I think I had a little bit of notes for

1029
00:53:26,880 --> 00:53:29,720
Speaker 1: myself as I watched it in a highly Yeah, I thought,

1030
00:53:30,760 --> 00:53:33,319
Speaker 1: I thought maybe I went too big, too fast. I

1031
00:53:33,320 --> 00:53:33,719
Speaker 1: don't know.

1032
00:53:34,200 --> 00:53:36,920
Speaker 4: No, oh gosh, I have no notes for you. Okay,

1033
00:53:37,000 --> 00:53:38,000
Speaker 4: I have no notes.

1034
00:53:37,760 --> 00:53:40,600
Speaker 1: Other than to tell you your regards to the Emmys. So, yes,

1035
00:53:40,800 --> 00:53:44,000
Speaker 1: how does that win the Emmys? So I I won

1036
00:53:44,000 --> 00:53:46,280
Speaker 1: the Golden Globe, and I won the Screen Actress Guild

1037
00:53:46,320 --> 00:53:48,920
Speaker 1: that year, and I was nominated for an Emmy. But

1038
00:53:48,960 --> 00:53:53,319
Speaker 1: Felicity one, rightfully, so with your favorite scene and the

1039
00:53:53,320 --> 00:53:57,239
Speaker 1: whole show so far going into the pool to get

1040
00:53:57,280 --> 00:53:59,840
Speaker 1: her children out with her clothes on in the pilot.

1041
00:54:00,040 --> 00:54:00,839
Speaker 3: Well, it's a great scene.

1042
00:54:01,000 --> 00:54:04,440
Speaker 1: It's a great scene, and she's great and absolutely should

1043
00:54:04,440 --> 00:54:06,560
Speaker 1: have won. I mean all of it's it's every year.

1044
00:54:06,880 --> 00:54:10,880
Speaker 1: It's so, it's every year everyone should win, like they're all.

1045
00:54:10,920 --> 00:54:14,560
Speaker 1: It's impossible to choose. Everybody's got great moments and performances.

1046
00:54:14,560 --> 00:54:20,480
Speaker 1: It's it's silly, but that's it. You do decide, You

1047
00:54:20,560 --> 00:54:23,440
Speaker 1: decide the episode that you want to submit as the actor.

1048
00:54:23,560 --> 00:54:26,000
Speaker 4: As the actor, the show though, decides to submit.

1049
00:54:26,560 --> 00:54:29,719
Speaker 1: The show decides to submit you as what you are submitted.

1050
00:54:29,800 --> 00:54:33,759
Speaker 1: So they submitted Felicity and I as lead actress, right,

1051
00:54:33,960 --> 00:54:40,319
Speaker 1: And I and Marcia and and I. I don't know

1052
00:54:40,400 --> 00:54:44,040
Speaker 1: if they submitted Eva and Nicolette or if they submitted

1053
00:54:44,080 --> 00:54:48,160
Speaker 1: them into supporting. I'm not sure. How about work, I,

1054
00:54:48,200 --> 00:54:48,880
Speaker 1: you know, I don't know.

1055
00:54:49,000 --> 00:54:52,640
Speaker 4: But then you get to pick which episodes speak for behind.

1056
00:54:52,800 --> 00:54:59,719
Speaker 1: So I know that Felicity submitted the pilot and I don't.

1057
00:54:59,800 --> 00:55:03,120
Speaker 1: I I didn't submit the pilot because I knew that

1058
00:55:03,200 --> 00:55:05,920
Speaker 1: she submitted the pilot and I thought, well, you know,

1059
00:55:05,960 --> 00:55:08,279
Speaker 1: we're all and I think Marcia submitted something. I don't

1060
00:55:08,280 --> 00:55:10,279
Speaker 1: know what episode she picked, and I think I just

1061
00:55:10,320 --> 00:55:13,279
Speaker 1: thought of sort of thought, well, let's let's let them

1062
00:55:13,320 --> 00:55:16,120
Speaker 1: see a range, you know, or whatever. But yeah, so

1063
00:55:16,200 --> 00:55:20,800
Speaker 1: that so I actually submitted that episode the But based

1064
00:55:20,800 --> 00:55:23,560
Speaker 1: on that, then the Emmys decided to put me as

1065
00:55:23,600 --> 00:55:26,840
Speaker 1: one of the nominees. Right, So it's kind of like

1066
00:55:26,880 --> 00:55:30,200
Speaker 1: a two handed thing.

1067
00:55:29,000 --> 00:55:31,280
Speaker 4: To find that really interesting how that actually works.

1068
00:55:31,400 --> 00:55:32,319
Speaker 3: Yeah, I did not know that.

1069
00:55:32,719 --> 00:55:35,880
Speaker 1: Oh yeah, yeah, you thought that the Emmy department just

1070
00:55:35,920 --> 00:55:38,440
Speaker 1: like looked at it all and picked one episode that

1071
00:55:38,480 --> 00:55:39,520
Speaker 1: they thought you were great.

1072
00:55:39,280 --> 00:55:41,320
Speaker 4: And I don't and highlight one episode.

1073
00:55:41,400 --> 00:55:43,799
Speaker 3: Yeah, I thought the show nominated. I didn't realize that

1074
00:55:43,840 --> 00:55:47,000
Speaker 3: the actor had that much control over picking what was

1075
00:55:47,040 --> 00:55:49,520
Speaker 3: submitted or not submitted, but I'm glad that you did

1076
00:55:49,600 --> 00:55:52,520
Speaker 3: because it is just it is I mean, and this

1077
00:55:52,640 --> 00:55:55,000
Speaker 3: scene is such a good The whole episode is so

1078
00:55:55,040 --> 00:55:59,000
Speaker 3: good because I have to say the backup after the

1079
00:55:59,160 --> 00:56:02,960
Speaker 3: aftermath of the singing breakdown, when Carl comes over to

1080
00:56:03,000 --> 00:56:05,520
Speaker 3: Susan's house the next day, of this scene, and I

1081
00:56:05,600 --> 00:56:08,680
Speaker 3: almost would say, this is the scene of the reason

1082
00:56:08,719 --> 00:56:11,520
Speaker 3: that I would have submitted you in this episode, even

1083
00:56:11,640 --> 00:56:14,880
Speaker 3: more than the singing breakdown, which is obviously fantastic. But

1084
00:56:15,680 --> 00:56:17,560
Speaker 3: he comes over and he says, you know, come on

1085
00:56:17,680 --> 00:56:19,880
Speaker 3: like we always had, you know, when we fought, like

1086
00:56:19,960 --> 00:56:22,200
Speaker 3: we fought, but when we were good, we were so good.

1087
00:56:22,239 --> 00:56:24,320
Speaker 3: And I'm just like, oh God, this is such a dude.

1088
00:56:24,480 --> 00:56:28,000
Speaker 4: Also so toxic. Your assessment of that, that's what makes

1089
00:56:28,000 --> 00:56:29,880
Speaker 4: a relationship good and healthy.

1090
00:56:30,160 --> 00:56:34,640
Speaker 3: God, and I love that Susan, which it feels like

1091
00:56:34,680 --> 00:56:38,480
Speaker 3: Susan's character could fall for this. She is sometimes, you know, susceptible,

1092
00:56:38,760 --> 00:56:41,719
Speaker 3: and she doesn't and she goes, oh, that's so good

1093
00:56:41,719 --> 00:56:43,800
Speaker 3: to hear, and she's like, it's so good. I don't

1094
00:56:43,800 --> 00:56:46,760
Speaker 3: feel anything. I don't feel anything. And she runs across

1095
00:56:46,800 --> 00:56:51,000
Speaker 3: the street, which and you have such you know, girlish,

1096
00:56:51,400 --> 00:56:54,239
Speaker 3: gleeful energy in this just so.

1097
00:56:54,239 --> 00:56:56,200
Speaker 1: Much joy and I want to run like that.

1098
00:56:56,320 --> 00:56:59,880
Speaker 3: No, you know, And of course we have the ten

1099
00:57:00,600 --> 00:57:03,960
Speaker 3: of the fact that Paul Young has gone and dug

1100
00:57:04,040 --> 00:57:06,759
Speaker 3: up Martha Hoover's body and taken off her jewelry and

1101
00:57:06,840 --> 00:57:10,840
Speaker 3: planted it in Mike's garage to make him look so much.

1102
00:57:10,680 --> 00:57:14,440
Speaker 4: Because Mike's like, he's got stuff, skeletons in the closet anyway,

1103
00:57:14,640 --> 00:57:16,440
Speaker 4: I know, or in the garage, I should say. And

1104
00:57:16,480 --> 00:57:17,800
Speaker 4: now he's got more I know.

1105
00:57:17,840 --> 00:57:21,120
Speaker 3: And the cops are there, not yet knowing about the

1106
00:57:21,160 --> 00:57:24,280
Speaker 3: planted jewelry, but they're just interviewing him. So you got

1107
00:57:24,280 --> 00:57:26,520
Speaker 3: this kind of wonderful gun under the table tension.

1108
00:57:26,640 --> 00:57:28,800
Speaker 1: Oh I love that description. Gun under the table.

1109
00:57:28,880 --> 00:57:33,600
Speaker 3: Well, you know that screenwriting that's a screenwriting expression. Well

1110
00:57:33,720 --> 00:57:36,960
Speaker 3: it's called Chekhov's gun, which is the idea of if

1111
00:57:37,000 --> 00:57:39,840
Speaker 3: you introduce a gun in a scene, it always has

1112
00:57:39,960 --> 00:57:43,480
Speaker 3: to be it has to go off right later. And

1113
00:57:43,880 --> 00:57:46,000
Speaker 3: so then I think that has morphed into the expression

1114
00:57:46,000 --> 00:57:47,760
Speaker 3: of a gun under the table is something that the

1115
00:57:47,840 --> 00:57:51,680
Speaker 3: audience knows, but the characters don't know yet. So we

1116
00:57:51,760 --> 00:57:54,280
Speaker 3: know that this is planted, but the characters don't know,

1117
00:57:54,360 --> 00:57:56,520
Speaker 3: and it's you know, builds a lot of tension. And

1118
00:57:56,560 --> 00:57:59,880
Speaker 3: you have Susan running so free and gleefully across the

1119
00:58:00,040 --> 00:58:03,000
Speaker 3: street and she knocks on the door and he opens

1120
00:58:03,040 --> 00:58:05,800
Speaker 3: it and she tells him that she loves him, and

1121
00:58:05,840 --> 00:58:08,320
Speaker 3: they kiss, and then she looks over her shoulder at

1122
00:58:08,320 --> 00:58:10,880
Speaker 3: the police. She goes, I love him. You can write

1123
00:58:10,880 --> 00:58:16,560
Speaker 3: that in your little book. And I just love that.

1124
00:58:17,320 --> 00:58:19,440
Speaker 1: I hope that someday I'll fall in love and be

1125
00:58:19,520 --> 00:58:21,400
Speaker 1: able to do a scene like that, do you know

1126
00:58:21,440 --> 00:58:24,280
Speaker 1: what I mean, Like in my life, not on TV. Yeah,

1127
00:58:24,360 --> 00:58:26,200
Speaker 1: that would be pretty neat for me to get to

1128
00:58:26,240 --> 00:58:26,920
Speaker 1: be in love like that.

1129
00:58:27,040 --> 00:58:29,080
Speaker 4: Again, I hope so for you too. Yeah.

1130
00:58:29,400 --> 00:58:32,240
Speaker 3: Yeah, it's so romantic and you know what, Okay, speaking

1131
00:58:32,320 --> 00:58:33,160
Speaker 3: of love.

1132
00:58:33,240 --> 00:58:36,040
Speaker 4: We didn't get to talk too much about Lynette and

1133
00:58:36,040 --> 00:58:36,880
Speaker 4: Tom in this episode.

1134
00:58:36,880 --> 00:58:38,800
Speaker 3: Is that where you were going Lynette and Tom and

1135
00:58:38,840 --> 00:58:40,200
Speaker 3: Claire and her breast?

1136
00:58:40,280 --> 00:58:45,000
Speaker 1: Yes, right, there got a hot nanny in her breast,

1137
00:58:45,080 --> 00:58:48,640
Speaker 1: and and you have Lynette like really clued in on

1138
00:58:48,680 --> 00:58:51,920
Speaker 1: the fact that Tom thinks that nanny is hot and it's.

1139
00:58:51,800 --> 00:58:54,400
Speaker 3: And then he sees her naked yep, And I got

1140
00:58:54,400 --> 00:58:58,120
Speaker 3: to say that is a really interesting thing that happens

1141
00:58:58,240 --> 00:59:00,600
Speaker 3: where he sees her naked and then go upstairs and

1142
00:59:00,600 --> 00:59:01,600
Speaker 3: has sex with Lynette.

1143
00:59:01,720 --> 00:59:04,040
Speaker 4: Right, It's like he goes down to turn the coffee

1144
00:59:04,040 --> 00:59:05,960
Speaker 4: pot on, but actually he gets turned on, and he

1145
00:59:06,000 --> 00:59:08,760
Speaker 4: goes upstairs and uses the fact that the source material

1146
00:59:08,800 --> 00:59:10,919
Speaker 4: for him being turned on was not his wife. In fact,

1147
00:59:10,960 --> 00:59:13,680
Speaker 4: it was their hot nanny. But she's none the wiser.

1148
00:59:13,920 --> 00:59:16,000
Speaker 4: She has no idea. Lynnette has no idea. She just

1149
00:59:16,040 --> 00:59:17,680
Speaker 4: knows her husband comes upstairs and all of a sudden

1150
00:59:17,760 --> 00:59:18,280
Speaker 4: is ready to go.

1151
00:59:19,000 --> 00:59:20,880
Speaker 3: Yeah, And what do you guys think about that? Like

1152
00:59:20,960 --> 00:59:23,160
Speaker 3: do you think that? Because she is upset when she

1153
00:59:23,240 --> 00:59:26,440
Speaker 3: finds it out later and then he kind of, I

1154
00:59:26,440 --> 00:59:29,560
Speaker 3: feel like, responds really authentically when they're at the mall

1155
00:59:29,680 --> 00:59:32,480
Speaker 3: after they see poor Gabby, who's you know, hiding the

1156
00:59:32,520 --> 00:59:34,320
Speaker 3: fact that she's working with the buick.

1157
00:59:34,120 --> 00:59:38,280
Speaker 1: So well, Clynette's instincts come to fruition when you finally

1158
00:59:38,280 --> 00:59:42,280
Speaker 1: do have Tom staring at Claire's breast and slow, I're

1159
00:59:42,360 --> 00:59:45,280
Speaker 1: sort of like jiggling around in slow and he calls

1160
00:59:45,320 --> 00:59:47,720
Speaker 1: it yeah, and he says we're going to have to

1161
00:59:48,080 --> 00:59:49,280
Speaker 1: find and the cops to it.

1162
00:59:49,320 --> 00:59:51,800
Speaker 4: Earlier, he doesn't cop to being attracted. He says that

1163
00:59:52,040 --> 00:59:55,520
Speaker 4: I'm not attracted and if I were, I would you know,

1164
00:59:55,800 --> 00:59:59,040
Speaker 4: I would admit so? Or was she she is attracted,

1165
00:59:59,080 --> 01:00:00,680
Speaker 4: That doesn't mean I may track to her.

1166
01:00:00,840 --> 01:00:03,400
Speaker 1: And I think it's another reason we keep coming back

1167
01:00:03,440 --> 01:00:06,000
Speaker 1: to Tom and Lynette as sort of our favorite example

1168
01:00:06,080 --> 01:00:08,960
Speaker 1: of a married couple, because these are things that happen

1169
01:00:09,280 --> 01:00:11,960
Speaker 1: you're in a monogamous, long term relationship. People are going

1170
01:00:12,040 --> 01:00:15,240
Speaker 1: to be attracted to other people and that has to

1171
01:00:15,280 --> 01:00:21,080
Speaker 1: be communicated through and conquered in an honest way. You

1172
01:00:21,120 --> 01:00:24,680
Speaker 1: can't pretend like you're not attracted to somebody. You can't

1173
01:00:24,760 --> 01:00:28,200
Speaker 1: lie about it and cheat like you have to kind

1174
01:00:28,200 --> 01:00:31,800
Speaker 1: of come clean and as a team make a commitment

1175
01:00:32,280 --> 01:00:35,640
Speaker 1: to do the choice that keeps you in your monogamous relationship.

1176
01:00:35,720 --> 01:00:40,720
Speaker 1: And I just think Tom and Lynette continue to exemplify

1177
01:00:41,320 --> 01:00:45,440
Speaker 1: a complicated, not perfect, but truly grounded marriage.

1178
01:00:45,600 --> 01:00:47,160
Speaker 3: I totally agree.

1179
01:00:47,640 --> 01:00:53,320
Speaker 1: So next week we'll see if they're still together. Anyways,

1180
01:00:53,320 --> 01:00:55,920
Speaker 1: we hope that you are finding love in your life,

1181
01:00:56,000 --> 01:00:58,320
Speaker 1: that somebody makes you want to run across the street

1182
01:00:58,360 --> 01:01:01,040
Speaker 1: and say I love you and we love you because

1183
01:01:01,160 --> 01:01:03,400
Speaker 1: we are desperately.

1184
01:01:02,920 --> 01:01:05,880
Speaker 3: Devoted to you, and hey give my breast to Brandy.

1185
01:01:07,320 --> 01:01:08,120
Speaker 1: I want those back.