Speaker 1: Welcome to desperately devoted Join us as we explore the
Speaker 1: human experience through the lens of the iconic show Desperate Housewives.
Speaker 2: I'm Terry Hatcher, I'm Andrea Bowen.
Speaker 3: And I'm Emerson Tenny.
Speaker 4: Well, we're back here we are. This week we're discussing
Speaker 4: episode eleven, Move On, which aired on January ninth, two
Speaker 4: thousand and five. And as I'm saying that, I'm realizing
Speaker 4: that I probably should have sung that intro because this
Speaker 4: is a great episode for theater. Not only do we
Speaker 4: have two amazing theater legends join us in the episode,
Speaker 4: but we also get an iconic performance of New York,
Speaker 4: New York, sung by Susan while she's handing Carl his ass.
Speaker 3: This performance actually was part of what got my mom,
Speaker 3: Terry Hatcher a nomination for the Emmy for Outstanding Lead
Speaker 3: Actress in a Comedy Series.
Speaker 4: So Cool and So deserved.
Speaker 1: Oh and missus Hooper's strange and off putting sister Felicia
Speaker 1: arrives on the lane. While Edie continues her pursuits of
Speaker 1: finding out what has happened to her friend, Brie goes
Speaker 1: on a date which she not so subtly rubs in
Speaker 1: Rex's face.
Speaker 3: Lynette suspects Tom may be attracted to their new nanny.
Speaker 4: And Gabrielle finds herself facing the harsh realities of job
Speaker 4: hunting while adjusting to life with Carlos and Jail, which
Speaker 4: leaves her spinning on a turntable in them all with
Speaker 4: a buick.
Speaker 1: So much to discuss, let's jump in.
Speaker 4: Okay, Okay, So I just want to say, because we
Speaker 4: do like to explain where the titles of the episodes
Speaker 4: come from, and this one is a Sondheim reference. It
Speaker 4: is a The title comes from a reference to Sunday
Speaker 4: in the Park with George, which I just am obsessed
Speaker 4: with that musical. I do think it's one of his
Speaker 4: greatest pieces of work ever in my opinion. And there
Speaker 4: is a lyric from this song that is the perfect
Speaker 4: underscore of this episode and so clearly why it was
Speaker 4: titled after the song, and that lyric is I chose
Speaker 4: and my world was shaken. So what the choice may
Speaker 4: have been mistaken? The choosing was not. You have to
Speaker 4: move on, And I just think it's so such a
Speaker 4: profound you.
Speaker 1: Say that again?
Speaker 4: Yeah, okay, sure, yes.
Speaker 3: And can you just does Burnett Peters Oh of course,
Speaker 3: yes she does.
Speaker 4: And there's an amazing there's an amazing performance of Burnet
Speaker 4: Ut Peters and Mandy potank And performing this to honor
Speaker 4: Stephen Sondheim on YouTube, and I highly recommend you all
Speaker 4: go watch it because it's so powerful and yeah, amazing.
Speaker 4: So the lyric is I chose and my world was shaken,
Speaker 4: So what the choice may have been mistaken? The choosing
Speaker 4: was not you have to move on?
Speaker 1: Wow.
Speaker 3: I have to say, I'm so glad you pointed this out,
Speaker 3: because move On. I mean, I'm a huge son time fan,
Speaker 3: but move On from Sunday in the Park with George
Speaker 3: is one of my all time favorite musical songs. Yeah,
Speaker 3: and I actually have it on playlists of like normal
Speaker 3: non musical music, and then move On just comes in
Speaker 3: and then I start crying in my car, and yeah,
Speaker 3: I really love this song too.
Speaker 1: Yeah.
Speaker 4: Yeah, And I love when it's so clearly lines up
Speaker 4: with what was happening in the story, and I just think, gosh,
Speaker 4: that's so cool that we were, that I was a
Speaker 4: part of a show, being such a theater kid, and
Speaker 4: having Sondheim be someone who was so influential in my life,
Speaker 4: like another person who raised me I feel like tie
Speaker 4: into this other show that was such a huge part
Speaker 4: of my life. I mean, that's so cool.
Speaker 1: Yeah, I just I mean I was going to get
Speaker 1: to this when we get to the restaurant and the
Speaker 1: karaoke party, which we will at the end. But since
Speaker 1: you said you were a theater kid, I just want
Speaker 1: to point this out to our audience. And I don't
Speaker 1: even Emerson, I don't know if you know this. So Andrea,
Speaker 1: am I right? You got your first role on Broadway
Speaker 1: as a six year old Yes in lay Miss Yes,
Speaker 1: and then follow that up at like seven with the
Speaker 1: Sound of Music, Yes, and then followed that up with
Speaker 1: was it a Disney show or no?
Speaker 4: It was. It was a musical adaptation, which is actually
Speaker 4: so incredible but sounds maybe strange, but it was a
Speaker 4: musical adaptation of the amazing novel Jane Eyre. Oh wow, Yeah.
Speaker 1: Okay, right, yeah, and then and and then so Desperate
Speaker 1: Housewives was basically like your first big TV thing. I mean,
Speaker 1: you did another pilot, but this was the first one
Speaker 1: that like, yes went.
Speaker 4: Because in New York, if you're a theater kid, the
Speaker 4: TV shows that you do are all in the Law
Speaker 4: and Order universe, Right, all around. So I did all
Speaker 4: of the Law and Order shows, and those were that
Speaker 4: was my like dipping my toe into the TV world,
Speaker 4: which I really did love. And honestly, my very first
Speaker 4: kind of amazing example of a woman on screen was
Speaker 4: Mariska Hargatee when I worked with her, and she was
Speaker 4: a great example of someone who was leading a television
Speaker 4: show with so much compassion, and you know, she was
Speaker 4: She's such a team player, and she commanded so much
Speaker 4: respect while also giving so much respect in return and
Speaker 4: being so gentle towards me. I was, you know, it
Speaker 4: was Lawn Order SVU. I were a little older when
Speaker 4: I did that, but yeah, I was young, and I
Speaker 4: was handling a very delicate storyline about having you know,
Speaker 4: been sexually abused as a child and all these things,
Speaker 4: and she just handed that also well. But she also
Speaker 4: came to see me in Jane Eyre and she brought
Speaker 4: me a beautiful bouquet of flowers and came backstage and
Speaker 4: she was so lovely and yeah, anyway, so that's amazing.
Speaker 3: Yeah, I have to say, listening to you talk about
Speaker 3: these beautiful female friendships and relationships forged in Hollywood or
Speaker 3: in New York, Theater on Broadway reminds me actually of
Speaker 3: the opening of this episode that Mary Alice narrates when
Speaker 3: she says Edie Britt never understood why she didn't have
Speaker 3: any female friends, and then this segues into us kind
Speaker 3: of understanding that maybe the reason Edie has been prying
Speaker 3: into Martha Hubert's disappearance is because as strange and as
Speaker 3: odd of a couple of friends as they kind of were,
Speaker 3: they were both these single women who were not able
Speaker 3: to kind of fall into the friendship of four women
Speaker 3: on the block that Susan and Brie and Gabby and
Speaker 3: Lynnette are. And I just I found this really interesting
Speaker 3: and I wanted to pose this question to both of
Speaker 3: you of what do you think about the trope of
Speaker 3: being like a girl's girl versus a girl who can't
Speaker 3: have female friendships. I feel like, I know some of
Speaker 3: my female friends were like, oh, it's just so hard
Speaker 3: for me to have girlfriends. Most of my friends are guys,
Speaker 3: and I just do have equal male and female friendships.
Speaker 3: Do you feel like that is a stereotype that you
Speaker 3: fall in time?
Speaker 1: I do. I mean it's interesting that you bring it
Speaker 1: up as something to dig into, because I mean, I
Speaker 1: have that written down here too, You know that, why
Speaker 1: do certain women seem to have a harder time like
Speaker 1: falling into those kinds of relationships than others? And is
Speaker 1: that fair? Or why does that happen? And is it
Speaker 1: because of jealousy or is it because of like controlling
Speaker 1: or you know what is it? Because when you look
Speaker 1: at it, like you could look at Edie as an
Speaker 1: example and you could go, Okay, she kind of comes
Speaker 1: off as like a know it all or like superior
Speaker 1: to everyone else. And whether she feels that way or not,
Speaker 1: maybe that's her defense mechanism or her safety mechanism. But
Speaker 1: she comes off with that sort of air of supremeness
Speaker 1: that I can imagine would be off putting for other
Speaker 1: people running to go, oh, I want to be your friend.
Speaker 1: But should it be you know? And should I don't know.
Speaker 1: Should confidence and a high sense of self and worth
Speaker 1: be the kind of thing that like drives other women
Speaker 1: away from you?
Speaker 3: Yeah?
Speaker 4: Also, I think we see that Edie's capable of being
Speaker 4: a good friend. You know, she doesn't always lead with
Speaker 4: being necessarily what people assume often goes with that like
Speaker 4: warm and welcoming and fuzzy and soft, like she's not
Speaker 4: necessarily those things, but that doesn't mean you're not a
Speaker 4: good friend. And I do think that's a very interesting
Speaker 4: point that both of you are making about where does
Speaker 4: that trope come from the idea that some women have
Speaker 4: an easier time making friends with other women? And what
Speaker 4: does that say? And honestly, I wonder if it's a
Speaker 4: societal thing. I wonder if society has put women in
Speaker 4: a category where instead of it being like there's a
Speaker 4: room for everyone, there's often not. There hasn't been historically
Speaker 4: room for every woman, and therefore there's inherently an idea
Speaker 4: of competition or jealousy being brought into the fold when
Speaker 4: often it's not about that. So I don't know. I
Speaker 4: will say I have to answer your question directly. I
Speaker 4: have so many amazing female friendships in my life. I
Speaker 4: am so incredibly lucky and rich in that way definitely
Speaker 4: outweighs the number of male friends that I have. I
Speaker 4: do have several male fri friends that I also very
Speaker 4: much cherish, but there is just something about having a
Speaker 4: community of women around me that I feel so grateful for.
Speaker 4: And I thought it was kind of nice that we
Speaker 4: saw because we've joked about like, what strange, what a
Speaker 4: strange pairing they are Edie and missus Huber. But seeing
Speaker 4: that missus Huber was the first one to really extend
Speaker 4: her hand and be welcoming to Edie when she moved
Speaker 4: onto the lane, I was like, Oh, that's where it began. Yeah,
Speaker 4: the other women weren't cold, but they waved from afar.
Speaker 1: But that's and that's the part of like why you
Speaker 1: know why? And I guess, Okay, you're making a TV show.
Speaker 1: You've got to set up you've got to set up conflict.
Speaker 1: You know, you can't have everybody like love each other,
Speaker 1: there's no story to do. So but like in the
Speaker 1: real world, I mean, if you took it off the
Speaker 1: wisteria lane and go like, why why would those four women?
Speaker 1: Like I almost blame the four women more than I
Speaker 1: blame Edie, oh for sure, Like why would they stand
Speaker 1: there and wave? And it can only be because she's
Speaker 1: sexy and single, single and confident and they're jealous. I mean, yeah,
Speaker 1: I can't think of another reason. I'm just And you
Speaker 1: asked about our personal lives, you know, you were there.
Speaker 1: But for my sixtieth birthday, which was truly my greatest
Speaker 1: one of my greatest memories ever and the absolute perfect
Speaker 1: way exactly how I would have wanted to spend my birthday.
Speaker 1: I had nine of my girlfriends and one male friend
Speaker 1: meet me come with me to Cornwall, England, which is
Speaker 1: a very hard place to get to, which I say
Speaker 1: that because it like speaks so much for my friends
Speaker 1: who were willing to literally you know, planes, trains and automobiles,
Speaker 1: that's what it is.
Speaker 3: I was on the seven hour bus ride through the dark, rainy,
Speaker 3: windy streets. Yeah it's true.
Speaker 1: But we were there for five days and I mean
Speaker 1: every single and some of them knew each other and
Speaker 1: some of them didn't, and as they said, not me,
Speaker 1: they were like not an asshole in the bunch. Like
Speaker 1: it was just like everybody was so great and it
Speaker 1: just could not have been better and made me just
Speaker 1: you know, I felt like my sixtieth birthday was sort
Speaker 1: of like this is the long haul. Like it's like
Speaker 1: from here forward, it's probably not going to be the
Speaker 1: easiest section of my life, and you want people in
Speaker 1: it that are the most substantive, like supportive and energetic,
Speaker 1: you know, whatever, it is, curious, whatever the love is
Speaker 1: that capacity that it's a very specific thing that I
Speaker 1: am so grateful for having. So Yeah, I have women
Speaker 1: in my life that I would do anything for, and
Speaker 1: I'm so grateful for that. But I do find this
Speaker 1: sadly familiar of like times in my life where I
Speaker 1: feel like I've been part of a times in my
Speaker 1: life where i feel like I've sort of been ostracized
Speaker 1: as part of a group. And it is interesting in hindsight,
Speaker 1: you ask yourself, did you ostracize yourself? Like is Edie
Speaker 1: ostracizing herself here? Or are they pushing her out? I
Speaker 1: don't know, it's hard. How about you in your personal life?
Speaker 3: I mean, I do have I have two best friends
Speaker 3: who I've known from the time I was under one
Speaker 3: year old because our moms met in Mommy and me,
Speaker 3: and we grew up together. And we never went to
Speaker 3: the same schools and we didn't go to the same colleges,
Speaker 3: but we have stayed in each other's orbit through all
Speaker 3: of that, and I really feel like, you know, the
Speaker 3: three of us are on a group text together, we
Speaker 3: have matching tattoos, we could call each other at any
Speaker 3: moment and would show up for each other. And then
Speaker 3: I have some other really great girlfriends who I've made
Speaker 3: a little bit later in my life, you know, a
Speaker 3: couple from high school, though I don't have very many
Speaker 3: friends from high school, and then a few from college,
Speaker 3: and quite a few that I've made, you know, in
Speaker 3: my adult life. But I will say I also have
Speaker 3: a high not maybe exactly equal, but almost close to
Speaker 3: equal number of male friends who mean the world to
Speaker 3: me also and who I think really just offer a
Speaker 3: slightly different perspective, and I really appreciate the perspective that
Speaker 3: they're and the energy that they bring into my life,
Speaker 3: which is not better or worse, but is different than
Speaker 3: my female friendship. So I'm definitely pro cultivating both girlfriends
Speaker 3: and guy friends equally because I think I think it
Speaker 3: can be a really valuable resource for perspective in my life.
Speaker 4: I think that's really cool. And I was thinking about
Speaker 4: how sometimes you have that built in into your family, right,
Speaker 4: Like if I am lucky enough to have two sisters
Speaker 4: who I'm really close with, and then that makes me think,
Speaker 4: of course, of the fact that missus Hooper has a
Speaker 4: sister who shows up on the street. Oh my goodness,
Speaker 4: does she show up with She just she just comes
Speaker 4: straight out of the gate with some singers and with
Speaker 4: a bunch of personality, and of course she's played by
Speaker 4: the amazing Harriet Sampson Harris, whom I've just loved and
Speaker 4: benefited at first. So we talk about.
Speaker 1: How much I fann girled out on her because when
Speaker 1: Emerson was little, we lived in New York and I
Speaker 1: used to take her to as much theater as a
Speaker 1: young four year old could go to.
Speaker 3: Which was staggeringly a lot.
Speaker 1: We want to see hairspray, and I like, did her
Speaker 1: hair up in the in the fifties things bufon thing like.
Speaker 1: We really went for it. So I think probably our
Speaker 1: favorite show was thoroughly modern Milly and Harriet played the
Speaker 1: you know madam yes whatever, it was, the bad guy
Speaker 1: and she, oh, she was so good and we I
Speaker 1: think we went and saw it twice and then and
Speaker 1: then we listened to that. We knew every word of everything.
Speaker 3: I was thinking every word too, But the fact is.
Speaker 4: Everything is there really mud check your personality?
Speaker 3: Gosh, we're nerves.
Speaker 1: Broadways anyway, So when she came on the set, I
Speaker 1: don't even think I was working with her. I certainly
Speaker 1: not in this episode.
Speaker 4: So probably at the table read you saw her.
Speaker 1: I made sure that I pulled her aside and was like,
Speaker 1: you don't know my daughter, and I love you so much.
Speaker 1: We think you're this the greatest thing ever.
Speaker 4: Well also, I mean it's going to turn into like
Speaker 4: a whole love letter to Harriet Harris. But I my
Speaker 4: favorite television show growing up was Frasier. I was a
Speaker 4: very big Fraser fan, and she played his manager Bbie,
Speaker 4: and that was just another incredible performance of hers. So
Speaker 4: I was also like totally awestruck that she was on
Speaker 4: our show because of that. So this was a big episode.
Speaker 3: Yeah, And I have to say Felicia as a character
Speaker 3: is bonkers. I mean in the best possible way. She
Speaker 3: comes in and she just says and I actually do think.
Speaker 3: I mean, it's fascinating that the twist is, you know,
Speaker 3: she hated her sister. But there is a thing that
Speaker 3: I see. I mean, I don't have a sibling. I'm
Speaker 3: an only child, but I see with my friends who
Speaker 3: do have siblings, especially twins, although that's its own kind
Speaker 3: of intense connection where they really will like the phone
Speaker 3: will ring across the room and they'll go, oh, that's
Speaker 3: my sister, like before they see who's calling, and it
Speaker 3: will be And I think this idea that Felicia felt
Speaker 3: that Martha Hooper died and she and she knows, and
Speaker 3: she's so unquestioning. Even though Edie is saying, no, we're
Speaker 3: gonna find her. Really don't worry. You can't think like that.
Speaker 3: She's like, no, I know my sister's dead. And it's
Speaker 3: I just I love a character that comes in and
Speaker 3: just cuts right to the core of their beliefs. I
Speaker 3: think is fascinating. And she plays that so well.
Speaker 4: And I did get a big, big old belly laugh
Speaker 4: when she called her a wretched pig, a wretched pig
Speaker 4: of a woman who was just like wow, wow. Sometimes
Speaker 4: sister's words can really wound.
Speaker 3: Speaking of characters that other characters are thinking are wretched,
Speaker 3: Rex is being released to go home, and Bree says
Speaker 3: that she doesn't want to take him back in, although
Speaker 3: she ends up ultimately relenting to her kid's pressure. But
Speaker 3: this is really where my best line Award once again
Speaker 3: has to go to breathe because her son says Andrew.
Speaker 3: Andrew says, I cannot wait until you get old and
Speaker 3: I can put you in a nursing home. And she says,
Speaker 3: I'm sorry to disappoint you, Andrew, but my plan is
Speaker 3: to have an embolism and to die young. And that
Speaker 3: really perfectly delivered amazing, amazing line and did also open
Speaker 3: a larger conversation topic for me that I was thinking
Speaker 3: about in terms of kids putting their parents in nursing homes,
Speaker 3: but also the responsibility of taking care of a partner
Speaker 3: who suddenly falls unexpectedly seriously, Ill, what did this bring
Speaker 3: up for either of you? I mean, Mom, I know
Speaker 3: you and I have had lots of conversations about putting
Speaker 3: if we should, if we shouldn't, put Grandma and Grandpa
Speaker 3: into a home. They really resist that idea, and you've
Speaker 3: really done everything you can to facilitate them not having
Speaker 3: to go to a nursing home. But what do you
Speaker 3: both think?
Speaker 1: Well, I think there were, you know, a couple issues
Speaker 1: here that, like, the caregiving is real. You know that.
Speaker 1: I've started a little video series on my Instagram called
Speaker 1: Sandwich about the Sandwich generation that is taking care of
Speaker 1: their elderly parents and what that feels like to be
Speaker 1: obligated to that and it's difficult and it's pervasive, and
Speaker 1: being a caregiver of somebody you don't like, which is
Speaker 1: what we bring you know, somebody that you have animosity towards,
Speaker 1: which is the situation pri is finding herself in, you know,
Speaker 1: is even even harder. And I think at the end
Speaker 1: of the day, a character like Bri and people who
Speaker 1: find themselves in this situation, ultimately you'res not doing it
Speaker 1: for the person. You're doing it for yourself. You're doing
Speaker 1: it for who you want to be when you look
Speaker 1: in the mirror. You know, I actually, you know, my
Speaker 1: parents have been pretty great lately, Like I don't know
Speaker 1: what's happening, but they've been kinder and gentler and whatever.
Speaker 1: But like my good friends, the ones we were talking about,
Speaker 1: would tell you, like, you know, your parents don't deserve you,
Speaker 1: you know, like I'm not sure it's been reciprocal, like
Speaker 1: what I'm giving and what I've sort of received over
Speaker 1: my life. But for me, in the end, that's who
Speaker 1: I am. I want to be a person, and that
Speaker 1: is doing the all I can do to take care
Speaker 1: of this these people that have been in my life,
Speaker 1: my whole life. And I think that's how Brie must
Speaker 1: feel here, and she's also doing it for her children.
Speaker 1: I did think it brought up an interesting thing which
Speaker 1: neither of you, I guess will really be able to
Speaker 1: answer because you're not parents yet. But how many times
Speaker 1: parents like eat their own feelings on behalf of protecting
Speaker 1: their children, right, And that felt really deep and really
Speaker 1: relatable to me, that this character is, you know, not
Speaker 1: saying that the dad had an affair, and you know,
Speaker 1: trying everything she can to not say that, to not
Speaker 1: throw the dad under the bus, but yet she's still
Speaker 1: living with this great betrayal and these deep, deep wounds.
Speaker 1: And I think a lot of parents do.
Speaker 3: That, and I think we see that come up, I
Speaker 3: mean to jump Ahat had a bit in the episode
Speaker 3: to come up. When Brie really can't hold it in anymore,
Speaker 3: and Andrew confronts her when she's on the date with
Speaker 3: the pharmacist and she blurts out, you know that your
Speaker 3: father's been having an affair. And then later the next
Speaker 3: day Andrew comes to her and says, you know, I'm
Speaker 3: on your side, And he's finally on her side. I mean,
Speaker 3: he's been so against her actions all the time, and
Speaker 3: he says, you should throw him out of the house.
Speaker 3: And I think it's a beautiful scene. It's a beautiful scene. Yeah,
Speaker 3: when Brie says, you know, I and I'm paraphrasing because
Speaker 3: I don't have it written down, but she says, you know,
Speaker 3: I am hurt, and I'm going to divorce your father
Speaker 3: and I may go on to marry someone else, but
Speaker 3: your father was and may always be like the love
Speaker 3: of my life and the father of my children, and
Speaker 3: you're not going to disrespect him.
Speaker 4: It's so illustrative of how much Bree is holding, how
Speaker 4: many big feelings she's holding all at once. You know,
Speaker 4: she's grappled with the fact that she's been so guus.
Speaker 1: They all are the feelings. They're in that big beehive
Speaker 1: haird oh.
Speaker 4: I know when she embodies that perfect nineteen fifties they're
Speaker 4: stacked up in that hairdoo. Yeah, you're right, you're right,
Speaker 4: But it really is. It's a very powerful scene. And
Speaker 4: I think that that and we see Rex overhearing it,
Speaker 4: and I don't know what that will do in terms
Speaker 4: of how much. I don't know how it will impact
Speaker 4: the way he treats her moving forward, but I imagine
Speaker 4: that would be a really amazing thing to overhear knowing
Speaker 4: that you have just hurt your partner so deeply that
Speaker 4: you did not act with that type of loyalty and
Speaker 4: reverence and respect that she is now offering Rex and
Speaker 4: he's standing there overhearing this. I imagine it's going to
Speaker 4: land with him in some big way. But yeah, I
Speaker 4: thought it was a really powerful moment. Her arc in
Speaker 4: this episode is is really fun to watch the date
Speaker 4: that she goes on with George the pharmacist played by
Speaker 4: Roger Bart, who is another amazing theater actor.
Speaker 1: Now what has I know he? What has he been in?
Speaker 4: Okay, so well, I first fell in love with Roger
Speaker 4: Bart when he was in You're a Good Man Charlie
Speaker 4: Brown on Broadway and he played Snoopy and he has
Speaker 4: just some incredible moments and performances in that musical. Another
Speaker 4: thing people should go on YouTube. But I was so
Speaker 4: excited when he came onto the show. I was really
Speaker 4: really excited. He's very talented in general, talented theater actor,
Speaker 4: talented television performer, so he's great.
Speaker 1: There was a plethora of theater people because Mark came
Speaker 1: out of theater and I think when he could, he
Speaker 1: wanted to put those kinds of people. He wanted to
Speaker 1: surround himself with those kinds of people.
Speaker 3: Yeah, I have to say that is a dream of
Speaker 3: mine as a filmmaker, and to think to think about
Speaker 3: the community I have of friends, be it actors or
Speaker 3: directors or producers, but specifically, I think you can see
Speaker 3: it really concretely illustrated with actors, to think, oh gosh,
Speaker 3: I dream of the day that I am in a
Speaker 3: position of power where I create something or I'm directing something,
Speaker 3: and I get to put my friends in it and
Speaker 3: celebrate their talent in that collaborative kind of way. I'm
Speaker 3: sure that was really fun for Mark.
Speaker 4: And in that scene where Brie is getting ready for
Speaker 4: her date and George shows up and she welcomes him in,
Speaker 4: and she's clearly obviously flaunting the fact that she is
Speaker 4: trying to move on in Rex's face because Rex is
Speaker 4: sitting there the whole time, and then yeah, which is
Speaker 4: so funny. I mean, it's just a great dynamic. But
Speaker 4: he has that amazing line. I mean, really, Bri and
Speaker 4: Rex have some killer moments in this episode. But Rex says,
Speaker 4: after George calls him mister Van de Camp, he says, please,
Speaker 4: you're dating my wife, call me Rex. Just fantastic.
Speaker 3: Gabby is losing her power and all of her things.
Speaker 3: Although I have I have to say, I caught an
Speaker 3: inconsistency when she is meeting with the lawyers in her house.
Speaker 3: All of her furniture is back in the house, including
Speaker 3: the image of the paintings of herself on the wall.
Speaker 2: Uh oh oh was it?
Speaker 4: That's a faux pas.
Speaker 1: So I caught it in a different way. I noticed
Speaker 1: later in the episode that Andrew and Brie were in
Speaker 1: their garage and I was like, how do they fit
Speaker 1: in this garage? All of gabby stuff's in there?
Speaker 3: Oh? Interesting, we all of Gabby's stuff is back in
Speaker 3: her house.
Speaker 4: And I caught another little mistake in this episode, which
Speaker 4: was that you could see the boom mic really clearly
Speaker 4: in the scene that we were just talking about with
Speaker 4: Rex and Brie and George. There's a moment where you
Speaker 4: can really see it reflected in the background in across
Speaker 4: like a closet door. So wow, a couple little bumps
Speaker 4: in this one, I guess.
Speaker 3: And you know what, we just have to move on
Speaker 3: from those inconsistencies.
Speaker 1: You just move on, just move on. And how do
Speaker 1: we think the furniture got back? I mean in the
Speaker 1: last episode, was was that where there was a scene
Speaker 1: where they the FBI or whatever came and they were like,
Speaker 1: we're gonna take all your stuff, and she's like, it's
Speaker 1: not here, there's not really that's what happened.
Speaker 3: And then I so.
Speaker 1: Then we just assumed that that went away, and so
Speaker 1: now she got her stuff. I guess we presume they're
Speaker 1: not gonna come. She thinks, come once, and then they
Speaker 1: don't come again.
Speaker 3: I guess, but they do. I mean they do show
Speaker 3: off the electricity, which prompts her to go, and I like,
Speaker 3: I like how she is, you know, says I relied
Speaker 3: on my ability to make money before I married Carlos.
Speaker 3: I'm gonna do it again. But of course, in this
Speaker 3: fictional place that with Steria Lane exists in there's one
Speaker 3: modeling in quotes for boat shows.
Speaker 1: And car car.
Speaker 4: The same glamorous lifestyle she was living in New York
Speaker 4: City and Milan.
Speaker 3: Yeah, and she swallows her pride and gets up on
Speaker 3: the spinning turntable with the buick in the Fairview Mall,
Speaker 3: which is actually for people who are you know, in
Speaker 3: California and Los Angeles, is actually the Westfield Fashioned Square
Speaker 3: Mall in Sherman Oaks, which.
Speaker 1: We have frequented a lot.
Speaker 4: I was gonna say, I think it's a lot of
Speaker 4: our like main moll, I mean, that's where I go
Speaker 4: for stocking stuffers. Yeah, that's where alert.
Speaker 1: Yeah, seven year olds listening spoiler alert, that's where I
Speaker 1: go for talking to There's a Sea's Candy there.
Speaker 3: I was gonna say, I cannot walk in there without
Speaker 3: getting a sample from Reeze Candy.
Speaker 4: I know, we all pretend with Seas that we're going
Speaker 4: to buy something, and we just go in and accept
Speaker 4: their free truffle and walk right on out.
Speaker 3: I honestly, I'm past don't do that. I'm past even
Speaker 3: pretending that I'm gonna buy something.
Speaker 1: Oh.
Speaker 3: I walk in and I go, can I try this one?
Speaker 3: And they go yeah, and I go thank you, and
Speaker 3: then I tell you I still pretend.
Speaker 4: I'm like, oh, I'm looking for a gift, and then
Speaker 4: I wait, and then they finally offer me one, and
Speaker 4: then I'm like, oh, I don't think I need that
Speaker 4: gift anymore.
Speaker 3: Oh well, I also think, I mean, I think we
Speaker 3: talked about this in our in our teaser episode, and
Speaker 3: this is maybe not the actual, not the mall in
Speaker 3: Sherman Oaks that we used to do this in, although
Speaker 3: there are two and they're fairly close to each other.
Speaker 3: And this is one of the big ones. When around
Speaker 3: two thousand and five, when this episode aired and Desperate
Speaker 3: Housewives was starting to kind of skyrocket into its stardom,
Speaker 3: that really was huge. There were a ton of paparazzi
Speaker 3: often camped outside of our house, as I'm sure they
Speaker 3: were camped outside of all of the stars houses, and
Speaker 3: we used to drive into the underground parking garage of
Speaker 3: one of these Sherman Oaks malls to meet talking about
Speaker 3: my long term childhood best friends from before I was one.
Speaker 3: My best friend Sammy's mom would meet us there and
Speaker 3: we would switch cars with her and drive out so
Speaker 3: the paparazzi would stop following your car. And I don't know,
Speaker 3: this mall made me made me.
Speaker 1: Crazy that way. Yeah, malls, and it's crazy, that's crazy.
Speaker 1: I yeah, I just I just can't believe we survived that.
Speaker 3: Yeah, did you deal with papazzi like that?
Speaker 1: No?
Speaker 4: I mean, can you know they weren't that interested in
Speaker 4: what I was doing. Let's just be honest about that.
Speaker 4: I was busy in ceas trying to get free candy. No,
Speaker 4: I mean, I definitely had moments of it, but it
Speaker 4: was always catching me off guard. I never had to
Speaker 4: really prepare for it. I had some weird encounters, though.
Speaker 4: One thing I will say, because this was a particularly
Speaker 4: strange fan moment for me as a kid. I was
Speaker 4: in Ikea with my family and an older woman who
Speaker 4: was foreign recognized me from the show and was trying
Speaker 4: to effusively tell me how much she loved it. But
Speaker 4: of course there was a bit of a language barrier,
Speaker 4: and so she just kept kind of going on and
Speaker 4: on about how much she loved it, and I couldn't
Speaker 4: really understand, but I thought it was positive. And then
Speaker 4: she grabbed me on either side of my face and
Speaker 4: kissed me on the mouth.
Speaker 2: Oh my god, that's horrible.
Speaker 4: Yeah it was. It was, And I was a you know,
Speaker 4: fourteen year old and I just stood there thinking, I know,
Speaker 4: this is super inappropriate and weird, but also I can
Speaker 4: tell she meant it with love and you know, kindness.
Speaker 4: But yeah, oh my god, I know's all in Ikeia,
Speaker 4: And yeah, it really is like a vortex into another
Speaker 4: planet Akia.
Speaker 3: Yeah, are you okay?
Speaker 1: You know what?
Speaker 4: I think The jury is still out on that. Yeah,
Speaker 4: so paparazzi, but a lot of older women coming up
Speaker 4: and kissing me on the mouth.
Speaker 3: Jeez. Well wait, okay, we'll talk about invasive. Yeah, that
Speaker 3: is I already know what to say.
Speaker 1: Almost as crazy as all of these neighbors wandering out
Speaker 1: into the woods to look for Martha Hooper's body.
Speaker 4: Yeah, okay, so we go on a mission, a quest
Speaker 4: of a neighborhood, a neighborhood hunt to find anything we
Speaker 4: can find for tracking down missus Hooper's whereabouts. I also noticed,
Speaker 4: just as a brief quick aside, that in two scenes
Speaker 4: in this episode, Julie and Tom Scavo are paired together.
Speaker 3: Yeah. Did you notice that?
Speaker 4: I know, and I just am so fascinated by how
Speaker 4: that happened. And then did Doug and I just kind
Speaker 4: of like make our way towards each other because we're
Speaker 4: kind of just glorified background actors for those scenes, and
Speaker 4: what on earth were we talking about? Anyway? I thought
Speaker 4: it was so funny, so funny.
Speaker 3: Yeah, I noticed that too.
Speaker 1: Yeah.
Speaker 3: I also noticed that Susan is wearing the cutest little
Speaker 3: gloves while they're walking through the woods, and I thought,
Speaker 3: I can't imagine it was that cold when they were
Speaker 3: filming this, although maybe I don't know. If it's early morning, we.
Speaker 1: Definitely shot it. There were moments where we fell cold
Speaker 1: or definitely hot or whatever. It all seems to be
Speaker 1: the reverse. It's like when you're supposed to have no
Speaker 1: clothes on your outside in the freezing and then when
Speaker 1: you have all the coats on somehow it's you know,
Speaker 1: ninety five degrees.
Speaker 4: I may be wrong. I thought the gloves were given
Speaker 4: to the searchers so that they didn't contaminate evidence.
Speaker 3: They looked like cashmere. I mean, that was a nice
Speaker 3: big spenders for the for the searchers to not contaminate thing.
Speaker 1: Well, this gets me close to one line that sort
Speaker 1: of jumped out at me, and I wonder what you
Speaker 1: guys thought of it. So in this scene, everybody's searching
Speaker 1: and Susan ends up saying to Lynette and Breathe that, uh,
Speaker 1: that she has some good news that Mike let slip
Speaker 1: that he loves her, and they go, oh my god.
Speaker 1: And then everybody like thinks that they found the body
Speaker 1: and and they're like, no, no, it's nothing, just Susan
Speaker 1: had good news. And then you know the rest of
Speaker 1: the crowd like wanders back off and Edie says, oh,
Speaker 1: you know, leave it to her, and this is the
Speaker 1: line that she manages to make it all about her. Okay,
Speaker 1: so this line gets repeated a few times like, oh,
Speaker 1: and that character makes it all about them, Well.
Speaker 3: It's already been said once about Edie. About Edie when
Speaker 3: they have the gathering with the neighbors to announce the search,
Speaker 3: and Edie is talking about how much she actually, in
Speaker 3: a touching way cared for Martha, and she starts crying,
Speaker 3: and I think it's Gabby who leans over the girls
Speaker 3: and goes leave it to Edie to have her make
Speaker 3: it all about her kind of struck me, Like.
Speaker 1: Is that something anyone would say, like like would you
Speaker 1: ever be with your girlfriends or something? And like see
Speaker 1: some behavior and then Lena omrgo, oh, you know what
Speaker 1: their character trait is, They always make everything about them,
Speaker 1: Like I just I feel like when it was like
Speaker 1: a button, like I feel like, maybe we'll see when
Speaker 1: we keep watching the episodes that this felt like a
Speaker 1: personal button for Susan really not terry, but like that
Speaker 1: like somehow her character like is always making everything about
Speaker 1: her And I just resist that so much and I'm
Speaker 1: defensive of that so much, and I don't know why
Speaker 1: it like poked me like that, Why did it poke
Speaker 1: me like that?
Speaker 3: I mean, I'm Dumb'm not. I don't know. Maybe if
Speaker 3: that's is for your therapist.
Speaker 4: But what are you though? I do you think that
Speaker 4: I got.
Speaker 1: Very defensive of the accusation being that you make everything
Speaker 1: about yourself. Yeah, well I think it's I think it's
Speaker 1: not true, right, but also feels super mean. It feels
Speaker 1: mean for women to say that about other women.
Speaker 3: Okay, I'm going to push back. I'm going to push
Speaker 3: back on this. I agree that it's being said between
Speaker 3: a lot of people in a more derogatory or demeaning
Speaker 3: way in this episode, because I think a lot of
Speaker 3: people are having relatively large outbursts, even Carl showing up,
Speaker 3: you know, with Brandy, you know, leaving there's I think
Speaker 3: there's lots of moments where we could argue that someone
Speaker 3: is making a situation about their feelings about the situation.
Speaker 3: But I want to say, and you know, as totally
Speaker 3: not your therapist, I would like to offer that maybe
Speaker 3: when the feeling of defensiveness, of feeling like it's a
Speaker 3: really mean thing for someone to say, oh, you're making
Speaker 3: this about you, I agree, I agree, I totally get that,
Speaker 3: and I wonder if maybe there's a reframe of do
Speaker 3: you know what it is okay to take up space?
Speaker 3: It is okay, it's okay to have your feelings be
Speaker 3: recognized and hold space in a room. And if someone
Speaker 3: wants to call that making it all about you, why
Speaker 3: is the assumption that something should never be about us
Speaker 3: or what we're feeling or what we're going through.
Speaker 1: I love that so much.
Speaker 4: Maybe Emerson is your therapy, is my therapist.
Speaker 3: In the main, Well take that with you, if.
Speaker 1: That so much, because I do say it again the
Speaker 1: beginning part, just that.
Speaker 3: It is okay space, It's okay to take up space.
Speaker 1: Man, I feel like a lot of women and maybe
Speaker 1: this is where our generations. I mean, if if I'm
Speaker 1: like the we're like Goldilocks and the Three Bears, where
Speaker 1: I'm the hot, you're the media, and you're the like
Speaker 1: better or something that I feel like in my generation,
Speaker 1: it was really frowned upon to take up space to
Speaker 1: talk about yourself or talk about that and just to
Speaker 1: feel large and to be seen and to want to
Speaker 1: be counted and to you know, I think it was
Speaker 1: more lauded when women were you know, invisible and didn't
Speaker 1: really have needs and you know, could just jocky around
Speaker 1: and handle the goods and the bads and didn't really
Speaker 1: have to make too much commotion about any of it
Speaker 1: and just sort of tolerated at all. But like we're small,
Speaker 1: I feel like and quiet and quiet and I and
Speaker 1: I that means a lot to me, Like I feel
Speaker 1: like I can use that in my life right now,
Speaker 1: like in the instances where I feel like it's okay
Speaker 1: for me to take up some space. Yeah, that's so interesting.
Speaker 1: How do you does it?
Speaker 4: Yeah, well, I was just going to say, I think
Speaker 4: that we're also context matters and the fact that you
Speaker 4: were sharing Susan was sharing this really sweet life update
Speaker 4: with her friends, and yes, they happened to be on
Speaker 4: a walk in the woods looking for a dead body,
Speaker 4: but you know, she was sharing this big moment. Hey,
Speaker 4: you guys, the guy that I'm seeing told me he's
Speaker 4: in love with me. He told me he loves me,
Speaker 4: and this is this big moment and so yeah, that's
Speaker 4: totally a wonderful thing to share with people and shout
Speaker 4: from the rooftops. And you know, I think that obviously,
Speaker 4: in this episode, it's set up to be kind of
Speaker 4: a funny thing where they're volleying back and forth. Who
Speaker 4: makes it about them? But I do. I think that's
Speaker 4: a beautiful thing you just said, Emerson, and I think
Speaker 4: that that's very true. And hopefully we're getting better and
Speaker 4: bigger and louder and more comfortable taking up that space
Speaker 4: as women.
Speaker 3: Amen to that. Well, just staying on Susan's storyline for
Speaker 3: a little bit, the Susan Mike Carl love triangle of
Speaker 3: it all I think is so palpably interesting in this episode. Isaac,
Speaker 3: of course, he shows up because he broke up with
Speaker 3: Brandy because the heart wants what the heart carl, and
Speaker 3: I find it really interesting. I mean, Richard is so
Speaker 3: good in this scene, and I really feel for Susan
Speaker 3: and her moment of empathy for Carl because he seems
Speaker 3: so sad, even though of course he is the one
Speaker 3: who left her for Brandy in the first place, and she,
Speaker 3: Susan feels it's her responsibility to somehow shoulder his sadness,
Speaker 3: and she ends up inviting him to the birthday party
Speaker 3: that she's going to with Mike, And it really brought
Speaker 3: up for me on a macro scale, why and maybe
Speaker 3: this is fitting into smallness or not, but why do
Speaker 3: we often as women, feel it is our responsibility to
Speaker 3: make people feel better about their uncomfortable feelings when we
Speaker 3: didn't cause they're uncomfortable feelings.
Speaker 4: Their uncomfortable feelings are actually a result of their own
Speaker 4: actions in the first place.
Speaker 3: Carl left Susan, and now Susan is feeling guilty for
Speaker 3: not including him because he is the one going through
Speaker 3: a breakup with the person he left her for.
Speaker 1: Yeah, and it feels very familiar to women's roles of
Speaker 1: where we're just sort of constantly picking up, you know,
Speaker 1: the the mush, you know, like whether we created it
Speaker 1: or not, Like, Okay, I can be a part of
Speaker 1: making this better, you know. And again, I guess you
Speaker 1: if you want to behave that way because you want
Speaker 1: to be that person, then you know, I think good
Speaker 1: for you. But I think Susan isn't that conscious about it.
Speaker 1: I think it's reactionary of like from a guilt place,
Speaker 1: you know, like, oh, I better, you know, I better
Speaker 1: just fix this. I better, you know. I don't deserve
Speaker 1: to have my own space. I don't deserve to be
Speaker 1: here going like so are you going through that?
Speaker 4: In this episode really highlights that back and forth for
Speaker 4: Susan of trying to realize or recognize how much do
Speaker 4: I let Carl still get to me? How much power
Speaker 4: does he still hold? Do I have feelings about Carl,
Speaker 4: whether that's romantic or not, you know, And we get
Speaker 4: to watch her sort of realize in this episode. No,
Speaker 4: he doesn't make me. He doesn't make me feel like
Speaker 4: that anymore.
Speaker 3: Kudos to Mike for holding space for Susan to explore
Speaker 3: that when he first says I love you, and she goes,
Speaker 3: that's great.
Speaker 1: You know, what ever happened to you? Did anybody ever
Speaker 1: say I love you to you that you weren't ready
Speaker 1: to say it back?
Speaker 4: Yes?
Speaker 3: I have said I love you to someone and they
Speaker 3: haven't set it back to me.
Speaker 1: How was that?
Speaker 3: Well, they went on to cheat on me shortly after.
Speaker 4: That, numbers and addresses.
Speaker 3: Honestly, we're still friends. Like if he hears this, like
Speaker 3: I he is a friend of mine. We were young, like,
Speaker 3: we moved past it.
Speaker 4: We had friend of mine, we got back.
Speaker 3: Together, we dated again, we then we broke up more.
Speaker 3: You know whatever. Consensually. But and I've actually and I've
Speaker 3: done it. I've done it twice. I've done it twice
Speaker 3: the other time was not as like scarring, but where
Speaker 3: I felt ready to say I love you and the
Speaker 3: person was like, oh, like I really haven't, like like
Speaker 3: that really means a lot to me and I and
Speaker 3: I feel like, I, you know, I really really care
Speaker 3: about you, but I don't use that word a lot,
Speaker 3: and I just kind of need to sit on it.
Speaker 3: And it's a little bit what Susan responds. And I
Speaker 3: think in the second time that this happened to me,
Speaker 3: I would like to think that I took kind of
Speaker 3: Mike's position of saying, that's okay, like I want to
Speaker 3: tell you what I am feeling, but it's not going
Speaker 3: to be a rejection. Saying I love you is a
Speaker 3: big deal, and it's what I'm feeling right now. But
Speaker 3: if it's not a place that you're ready to be
Speaker 3: in yet, that's fine, and it doesn't need to spoil
Speaker 3: our relationship or what we're discovering with each other. And
Speaker 3: I think people do show up to relationships on their
Speaker 3: own timelines, with their own complexities and things that they're
Speaker 3: working through. As Mike so aptly points out to Susan,
Speaker 3: you know, he goes, well, maybe you still have feelings
Speaker 3: for Carl and you're sorting through this and your whatever.
Speaker 3: And of course she rejects that she has feelings for Carl,
Speaker 3: But I love that he is so confident in himself
Speaker 3: and what he feels for her that he is able to,
Speaker 3: in a totally not defensive, self conscious way, give her
Speaker 3: the space to come to saying that those words back
Speaker 3: to him on her own timeline when it feels right
Speaker 3: to her.
Speaker 4: And it's also so sweet because he says it spontaneously.
Speaker 4: It's like he can't really did it well.
Speaker 1: He did.
Speaker 4: It was so tender and sweet and adorable.
Speaker 2: And wait, you had somebody say it.
Speaker 4: I have had someone say it to me, and uh,
Speaker 4: and I didn't feel it? Yeah, and I and I well,
Speaker 4: and not only did it, it was not like I thought.
Speaker 4: That's where I didn't think that the relationship was at
Speaker 4: the level of saying that or even heading in that direction. Okay,
Speaker 4: And so I think I responded with, no, you don't
Speaker 4: because you don't really even know me well enough to
Speaker 4: know that information.
Speaker 1: So we've gotten very confused in my long terminal singleness
Speaker 1: about the word itself, like the the only you know
Speaker 1: as it applies to Emerson. I'm very very clear, right
Speaker 1: what what that means and thank god, Yes I know,
Speaker 1: and I and as it applies to my loved ones,
Speaker 1: I would put you in that category. My girlfriends. Yeah,
Speaker 1: I think it would take a lot for me to
Speaker 1: have a significant other that I got that close to
Speaker 1: that I would say those words. I think I'm very
Speaker 1: far away from that. Yeah, I you know, Yeah, I
Speaker 1: don't know. It feels like it's been so long, like
Speaker 1: it's quite a mystery.
Speaker 4: I also think, and this came up recently with some
Speaker 4: of my friends, but I think, and you guys can
Speaker 4: weigh in here. I think saying I love you for
Speaker 4: the first time is hard. It's a big deal, or
Speaker 4: it can be. It doesn't have to be hard necessarily,
Speaker 4: but it's a big moment.
Speaker 3: Right.
Speaker 4: However, I think saying I love you the second time
Speaker 4: is way harder. I think that you build up, yeah,
Speaker 4: you build up this to this moment in your relationship
Speaker 4: where you look at each other and you go, oh,
Speaker 4: you know, I want to tell this person I love
Speaker 4: them or they are telling me they love them, and
Speaker 4: then you have to do it again. I think that
Speaker 4: second time, every.
Speaker 1: Time you hang up the phone love you. Yeah.
Speaker 3: So interesting. Well, so you know, we have Susan grappling
Speaker 3: with as Mike points out, does she still a feelings
Speaker 3: for Carl? Does she not? Does she feel guilty? Whatever?
Speaker 3: She ends up inviting him to Julia's birthday, which so
Speaker 3: many things to say about this scene. Where was the shot?
Speaker 3: Tell us more about singing Andrea Mom, tell us more
Speaker 3: about what it takes to submit a performance to get
Speaker 3: nominated for an Emmy, because I think this was the scene.
Speaker 1: Okay, just before we get there, I have to step
Speaker 1: back and acknowledge one of the best long lasting bloopers
Speaker 1: that happened to me anyway, with.
Speaker 4: My dialogue, I love this one.
Speaker 1: Yeah. This was almost as pervasive in its future as
Speaker 1: The Heart Wants with the Heart Wants. When Carl is
Speaker 1: exiting that first time, when he's first saying, you know,
Speaker 1: I've I've I've broken up, he's about to tell you know,
Speaker 1: Susan that he's broken up with Brandy, and but before
Speaker 1: he does, you know, he's talking to her about the
Speaker 1: Julie's party and he's you know, and he's like, okay, well,
Speaker 1: so I'm going to leave, and and Susan says, give
Speaker 1: my best to Brandy, and that's what him to go. Well,
Speaker 1: we're actually not together anymore.
Speaker 4: But what did you say?
Speaker 1: What I said on film with the cameras rolling was
Speaker 1: give my breast to Brandy.
Speaker 3: Oh my god.
Speaker 1: I did not live down give my breast to Brandy
Speaker 1: for a really long time. Yeah, it was a good one.
Speaker 4: It was a good one in.
Speaker 1: Your blooper reels. I love that my breast to Brandy.
Speaker 4: Yeah, okay, so really quickly, I just want to mention
Speaker 4: because you said, where was it filmed? Okay, so this
Speaker 4: was filmed at the Smokehouse, which is a pretty historical
Speaker 4: restaurant in Burbank, California. It was established in nineteen forty six.
Speaker 4: I looked it up because it's been there for a
Speaker 4: long time.
Speaker 1: It's been dinner with Clooney there once, I know, I said,
Speaker 1: I said, I wait, said that again. I've just remember
Speaker 1: I said that, Remember I said. A couple episodes, I said,
Speaker 1: we'll get there. Yeah, it's going to be so slow though, Oh.
Speaker 4: My gosh, she's dropping little little moments.
Speaker 1: At George Clooney.
Speaker 4: Okay, well, among George Clooney.
Speaker 3: Staring at each other.
Speaker 4: Yes, yeah, there's okay, all right, we'll wait anxiously for
Speaker 4: more of that story. But it is a pretty iconic
Speaker 4: place in Burbank and it's been around for a long time.
Speaker 4: A ton of movies and television shows have been filmed there.
Speaker 4: And the reason that I just want to bring it
Speaker 4: up really quickly is because, as we discussed earlier, it
Speaker 4: ties into the whole assisted living and independent living and
Speaker 4: homes and nursing facilities. My mother in law lives at
Speaker 4: an assisted living facility up the street from my husband
Speaker 4: and I and it's a great place and it's wonderful,
Speaker 4: and there is a resident there who is one hundred
Speaker 4: and six years old. Yes, his name is Joe, and
Speaker 4: he is a World War Two VETT who fought at
Speaker 4: the Battle of the Bulge and is just incredible in
Speaker 4: so many ways. And my husband Josh will strike up
Speaker 4: conversations with him when he's visiting his mom because he
Speaker 4: finds this man so interesting. And one point, this guy
Speaker 4: shared with Josh that he once a month goes swing
Speaker 4: dancing at the Smokehouse in Burbank. Still and so recently
Speaker 4: Josh comes home and he had been visiting his mom
Speaker 4: and he said, I talked to Joe. Tonight's the night
Speaker 4: he's going to the Smokehouse to swing dance. We gotta go.
Speaker 4: And and you know, Josh and I were like prepared
Speaker 4: to be in for the night. I'm pretty pregnant and
Speaker 4: it was like, oh gosh, we have but we were like, no,
Speaker 4: you're right, we have to go witness this one hundred
Speaker 4: and six year old war veteran swing dance. And so
Speaker 4: we went to the smokehouse. Your pictures on the wall, Terry,
Speaker 4: Yes it is, I pointed it out, not knowing that
Speaker 4: I was.
Speaker 1: About to watch my episode.
Speaker 4: Yeah, no, George cloudy. But and and sure enough he
Speaker 4: got up. He had fancy black and white shoes on.
Speaker 4: He moved and grooved, and I just thought, man, that
Speaker 4: is inspiring.
Speaker 1: That is really inspiring.
Speaker 4: Yeah, so I wanted to I know. So here's to
Speaker 4: Joe being an incredible swing dancer at one hundred inspired.
Speaker 1: So just you're never you're never. It's never too late,
Speaker 1: You're never too old.
Speaker 4: No, that's you're only as old as your mind set.
Speaker 1: Amazing.
Speaker 2: Yeah, okay, okay, So do you have.
Speaker 1: Like on the day memories?
Speaker 4: I mean, I wanted to sing more. I wuld sang more.
Speaker 4: And also there's a girl in the scene with me
Speaker 4: who's playing my friend. Her name's Ashley rose Orr and
Speaker 4: she wasn't Sound of Music on Broadway with me, and
Speaker 4: then she was playing my friend in this little moment,
Speaker 4: and I wish we could have sung more, but but
Speaker 4: I do.
Speaker 1: Was Eric Viatro there? Yes?
Speaker 4: Eric was there?
Speaker 1: Okay, we leave Eric listeners. We have this wonderful, wonderful
Speaker 1: vocal coach to the stars in common throughout decades of
Speaker 1: all of our lives.
Speaker 3: Now we've all taken singing listens to the Eric viature.
Speaker 3: Who I actually, I have to say, Eric Vitro is
Speaker 3: also Ariana Grande's vocal coach.
Speaker 4: Yeah, well everyone, I mean everyone coach.
Speaker 1: Yeah, like he really did? He blew up more on
Speaker 1: Instagram after the whole wicked thing. I mean, He's always
Speaker 1: been a very big piece of Selena's I think, you know,
Speaker 1: just everybody I think anyways, but I have known him
Speaker 1: on and off for working on musicals. Every time I've
Speaker 1: ever sung in a in a show, you know, I'll
Speaker 1: go work with him, which I've done quite a few times.
Speaker 1: And and you worked with him when you were doing
Speaker 1: musicals in high school.
Speaker 3: I did, I mean, and god.
Speaker 4: I started I started working with him just when I
Speaker 4: moved out from New York. I had had a big
Speaker 4: community there of people that I could go and train with,
Speaker 4: but I didn't know who the person was here and
Speaker 4: someone point he's very much.
Speaker 1: He's a wonderful guy. So I mean, so you know,
Speaker 1: when when for me, anyway, when I get a signed
Speaker 1: singing in any kind of role, the first thing I
Speaker 1: do is called Eric Vitro and and get him to
Speaker 1: help me work on it. The most recent musical I
Speaker 1: did was about three years ago. I did more Tesha
Speaker 1: Adams in the Adams Family.
Speaker 4: She was so good, Terry, you were so good.
Speaker 1: Dancing is a really fun show.
Speaker 4: It you were a fun show.
Speaker 1: But like I don't keep that tool up to par
Speaker 1: I don't keep it.
Speaker 4: I should you're not working out that muschle.
Speaker 1: I don't. I'm not. I don't. I should sing every
Speaker 1: day and whatever, and I don't. So it's for me.
Speaker 1: And eric Al says this to me, He's like, I
Speaker 1: wish you would get to the point where you could
Speaker 1: stop like panic coming in here. You know what I mean,
Speaker 1: Like if you would just sing on a regular basis,
Speaker 1: it wouldn't always be like starting at zero, because basically
Speaker 1: what it's like is if you don't go to the gym, ever,
Speaker 1: and then someone says, hey, you're going to play a weightlifter,
Speaker 1: and then you're in like a mad rush to like
Speaker 1: create your biceps and you know, get yourself looking like that.
Speaker 1: That's what it's like for your voice. Yeah, And so
Speaker 1: I sort of have a tool, like I have pulled
Speaker 1: off singing decently in some things, but it isn't something
Speaker 1: that I keep in check to like readily do. And
Speaker 1: I should because I love being on stage and I
Speaker 1: love I love the craft of singing and dancing and
Speaker 1: just telling stories that way.
Speaker 4: Well, you're so good at it and in this scene
Speaker 4: you are so amazing, and I really I would love
Speaker 4: to hear more about how this scene went for you.
Speaker 4: And uh yeah, I mean you were singing live.
Speaker 1: Yeah yeah, yeah.
Speaker 4: I think Nicolette's singing because that happens right before you,
Speaker 4: and I remember I was there, and I think she was.
Speaker 4: I don't know if that was her. I don't know
Speaker 4: if that was her or not.
Speaker 1: I mean she was singing to it, but I don't
Speaker 1: know if she was singing to her.
Speaker 4: I think she was.
Speaker 2: I actually thought she did a great job. Yeah, oh yeah,
Speaker 2: I thought she was.
Speaker 1: I thought, and I thought the is dichotomy the right
Speaker 1: word between Edie and Susan between her song and my
Speaker 1: song and like the sort of melancholy thing she had
Speaker 1: Marilyn Monroe thing going on, and then my thing, which
Speaker 1: was more boisterous. I again, you know, if you go
Speaker 1: to the running across the yard naked or whatever, you know,
Speaker 1: I look at these like a puzzle. I look at
Speaker 1: the nervous breakdown of it as like, okay, where where
Speaker 1: does that start? You know, where does the timing of
Speaker 1: like where do you come out of? Like when does
Speaker 1: the thought that's the that's the thing. As an actor
Speaker 1: like that, you got to decide when am I in
Speaker 1: the middle of sink trying to sing this song which
Speaker 1: I tried to do the little motion with the these
Speaker 1: vagabond shoes, like like, Okay, that's gonna be okay. I'm
Speaker 1: gonna try to sing this song and I'm gonna try
Speaker 1: to have fun doing it. And then it's like nope,
Speaker 1: I can't, you know, And and then you try to
Speaker 1: like go back to it and it's like nope, I
Speaker 1: just can't do it, and and like and finding that
Speaker 1: I think I had a little bit of notes for
Speaker 1: myself as I watched it in a highly Yeah, I thought,
Speaker 1: I thought maybe I went too big, too fast. I
Speaker 1: don't know.
Speaker 4: No, oh gosh, I have no notes for you. Okay,
Speaker 4: I have no notes.
Speaker 1: Other than to tell you your regards to the Emmys. So, yes,
Speaker 1: how does that win the Emmys? So I I won
Speaker 1: the Golden Globe, and I won the Screen Actress Guild
Speaker 1: that year, and I was nominated for an Emmy. But
Speaker 1: Felicity one, rightfully, so with your favorite scene and the
Speaker 1: whole show so far going into the pool to get
Speaker 1: her children out with her clothes on in the pilot.
Speaker 3: Well, it's a great scene.
Speaker 1: It's a great scene, and she's great and absolutely should
Speaker 1: have won. I mean all of it's it's every year.
Speaker 1: It's so, it's every year everyone should win, like they're all.
Speaker 1: It's impossible to choose. Everybody's got great moments and performances.
Speaker 1: It's it's silly, but that's it. You do decide, You
Speaker 1: decide the episode that you want to submit as the actor.
Speaker 4: As the actor, the show though, decides to submit.
Speaker 1: The show decides to submit you as what you are submitted.
Speaker 1: So they submitted Felicity and I as lead actress, right,
Speaker 1: And I and Marcia and and I. I don't know
Speaker 1: if they submitted Eva and Nicolette or if they submitted
Speaker 1: them into supporting. I'm not sure. How about work, I,
Speaker 1: you know, I don't know.
Speaker 4: But then you get to pick which episodes speak for behind.
Speaker 1: So I know that Felicity submitted the pilot and I don't.
Speaker 1: I I didn't submit the pilot because I knew that
Speaker 1: she submitted the pilot and I thought, well, you know,
Speaker 1: we're all and I think Marcia submitted something. I don't
Speaker 1: know what episode she picked, and I think I just
Speaker 1: thought of sort of thought, well, let's let's let them
Speaker 1: see a range, you know, or whatever. But yeah, so
Speaker 1: that so I actually submitted that episode the But based
Speaker 1: on that, then the Emmys decided to put me as
Speaker 1: one of the nominees. Right, So it's kind of like
Speaker 1: a two handed thing.
Speaker 4: To find that really interesting how that actually works.
Speaker 3: Yeah, I did not know that.
Speaker 1: Oh yeah, yeah, you thought that the Emmy department just
Speaker 1: like looked at it all and picked one episode that
Speaker 1: they thought you were great.
Speaker 4: And I don't and highlight one episode.
Speaker 3: Yeah, I thought the show nominated. I didn't realize that
Speaker 3: the actor had that much control over picking what was
Speaker 3: submitted or not submitted, but I'm glad that you did
Speaker 3: because it is just it is I mean, and this
Speaker 3: scene is such a good The whole episode is so
Speaker 3: good because I have to say the backup after the
Speaker 3: aftermath of the singing breakdown, when Carl comes over to
Speaker 3: Susan's house the next day, of this scene, and I
Speaker 3: almost would say, this is the scene of the reason
Speaker 3: that I would have submitted you in this episode, even
Speaker 3: more than the singing breakdown, which is obviously fantastic. But
Speaker 3: he comes over and he says, you know, come on
Speaker 3: like we always had, you know, when we fought, like
Speaker 3: we fought, but when we were good, we were so good.
Speaker 3: And I'm just like, oh God, this is such a dude.
Speaker 4: Also so toxic. Your assessment of that, that's what makes
Speaker 4: a relationship good and healthy.
Speaker 3: God, and I love that Susan, which it feels like
Speaker 3: Susan's character could fall for this. She is sometimes, you know, susceptible,
Speaker 3: and she doesn't and she goes, oh, that's so good
Speaker 3: to hear, and she's like, it's so good. I don't
Speaker 3: feel anything. I don't feel anything. And she runs across
Speaker 3: the street, which and you have such you know, girlish,
Speaker 3: gleeful energy in this just so.
Speaker 1: Much joy and I want to run like that.
Speaker 3: No, you know, And of course we have the ten
Speaker 3: of the fact that Paul Young has gone and dug
Speaker 3: up Martha Hoover's body and taken off her jewelry and
Speaker 3: planted it in Mike's garage to make him look so much.
Speaker 4: Because Mike's like, he's got stuff, skeletons in the closet anyway,
Speaker 4: I know, or in the garage, I should say. And
Speaker 4: now he's got more I know.
Speaker 3: And the cops are there, not yet knowing about the
Speaker 3: planted jewelry, but they're just interviewing him. So you got
Speaker 3: this kind of wonderful gun under the table tension.
Speaker 1: Oh I love that description. Gun under the table.
Speaker 3: Well, you know that screenwriting that's a screenwriting expression. Well
Speaker 3: it's called Chekhov's gun, which is the idea of if
Speaker 3: you introduce a gun in a scene, it always has
Speaker 3: to be it has to go off right later. And
Speaker 3: so then I think that has morphed into the expression
Speaker 3: of a gun under the table is something that the
Speaker 3: audience knows, but the characters don't know yet. So we
Speaker 3: know that this is planted, but the characters don't know,
Speaker 3: and it's you know, builds a lot of tension. And
Speaker 3: you have Susan running so free and gleefully across the
Speaker 3: street and she knocks on the door and he opens
Speaker 3: it and she tells him that she loves him, and
Speaker 3: they kiss, and then she looks over her shoulder at
Speaker 3: the police. She goes, I love him. You can write
Speaker 3: that in your little book. And I just love that.
Speaker 1: I hope that someday I'll fall in love and be
Speaker 1: able to do a scene like that, do you know
Speaker 1: what I mean, Like in my life, not on TV. Yeah,
Speaker 1: that would be pretty neat for me to get to
Speaker 1: be in love like that.
Speaker 4: Again, I hope so for you too. Yeah.
Speaker 3: Yeah, it's so romantic and you know what, Okay, speaking
Speaker 3: of love.
Speaker 4: We didn't get to talk too much about Lynette and
Speaker 4: Tom in this episode.
Speaker 3: Is that where you were going Lynette and Tom and
Speaker 3: Claire and her breast?
Speaker 1: Yes, right, there got a hot nanny in her breast,
Speaker 1: and and you have Lynette like really clued in on
Speaker 1: the fact that Tom thinks that nanny is hot and it's.
Speaker 3: And then he sees her naked yep, And I got
Speaker 3: to say that is a really interesting thing that happens
Speaker 3: where he sees her naked and then go upstairs and
Speaker 3: has sex with Lynette.
Speaker 4: Right, It's like he goes down to turn the coffee
Speaker 4: pot on, but actually he gets turned on, and he
Speaker 4: goes upstairs and uses the fact that the source material
Speaker 4: for him being turned on was not his wife. In fact,
Speaker 4: it was their hot nanny. But she's none the wiser.
Speaker 4: She has no idea. Lynnette has no idea. She just
Speaker 4: knows her husband comes upstairs and all of a sudden
Speaker 4: is ready to go.
Speaker 3: Yeah, And what do you guys think about that? Like
Speaker 3: do you think that? Because she is upset when she
Speaker 3: finds it out later and then he kind of, I
Speaker 3: feel like, responds really authentically when they're at the mall
Speaker 3: after they see poor Gabby, who's you know, hiding the
Speaker 3: fact that she's working with the buick.
Speaker 1: So well, Clynette's instincts come to fruition when you finally
Speaker 1: do have Tom staring at Claire's breast and slow, I're
Speaker 1: sort of like jiggling around in slow and he calls
Speaker 1: it yeah, and he says we're going to have to
Speaker 1: find and the cops to it.
Speaker 4: Earlier, he doesn't cop to being attracted. He says that
Speaker 4: I'm not attracted and if I were, I would you know,
Speaker 4: I would admit so? Or was she she is attracted,
Speaker 4: That doesn't mean I may track to her.
Speaker 1: And I think it's another reason we keep coming back
Speaker 1: to Tom and Lynette as sort of our favorite example
Speaker 1: of a married couple, because these are things that happen
Speaker 1: you're in a monogamous, long term relationship. People are going
Speaker 1: to be attracted to other people and that has to
Speaker 1: be communicated through and conquered in an honest way. You
Speaker 1: can't pretend like you're not attracted to somebody. You can't
Speaker 1: lie about it and cheat like you have to kind
Speaker 1: of come clean and as a team make a commitment
Speaker 1: to do the choice that keeps you in your monogamous relationship.
Speaker 1: And I just think Tom and Lynette continue to exemplify
Speaker 1: a complicated, not perfect, but truly grounded marriage.
Speaker 3: I totally agree.
Speaker 1: So next week we'll see if they're still together. Anyways,
Speaker 1: we hope that you are finding love in your life,
Speaker 1: that somebody makes you want to run across the street
Speaker 1: and say I love you and we love you because
Speaker 1: we are desperately.
Speaker 3: Devoted to you, and hey give my breast to Brandy.
Speaker 1: I want those back.