1
00:00:00,760 --> 00:00:17,279
Speaker 1: I am all in. Oh, that's just you. I am

2
00:00:17,320 --> 00:00:20,600
Speaker 1: all in with Scott Patterson and I heart radio podcast.

3
00:00:21,280 --> 00:00:24,840
Speaker 1: All right, So here we are, guys. I finally have

4
00:00:25,680 --> 00:00:28,960
Speaker 1: my mike. Oh you sound amazing coming. It sounds better

5
00:00:29,040 --> 00:00:34,800
Speaker 1: rights Canada. It's it's a lovely place. And the people

6
00:00:34,920 --> 00:00:38,519
Speaker 1: are lovely. That's that's the word I'm using now for

7
00:00:39,600 --> 00:00:43,720
Speaker 1: they are very They are lovely. Yeah, they're very, really

8
00:00:43,840 --> 00:00:47,640
Speaker 1: nice people. What's the weather they're in Nova Scotia. It's

9
00:00:47,680 --> 00:00:50,400
Speaker 1: summary and it's warm. Yeah, it's hot and humid. It's

10
00:00:50,400 --> 00:00:54,880
Speaker 1: like eight five, eight seventy five. It's really nice. Humidity

11
00:00:54,960 --> 00:00:58,040
Speaker 1: is rough. Well yeah, I mean, look when you're working.

12
00:00:58,080 --> 00:01:01,720
Speaker 1: We're working downtown how Halifax yesterday, and it was it

13
00:01:01,800 --> 00:01:04,800
Speaker 1: was a little muggy, but it was okay. You know. Anyway,

14
00:01:04,840 --> 00:01:08,240
Speaker 1: let's get to this episode. How about the Big One.

15
00:01:09,000 --> 00:01:12,000
Speaker 1: Let's you know, Tara kick us off and we'll get

16
00:01:12,000 --> 00:01:15,000
Speaker 1: into this take over for Danielle. So she's out today

17
00:01:15,600 --> 00:01:17,800
Speaker 1: on a plane. Everybody, she's coming back from New York.

18
00:01:17,800 --> 00:01:21,039
Speaker 1: She'll be here next week. Yeah. So this is season three,

19
00:01:21,120 --> 00:01:24,880
Speaker 1: episode sixteen. The Big One air date was February two

20
00:01:24,920 --> 00:01:28,840
Speaker 1: thousand three. The synopsis is Laura Lai and Rory are

21
00:01:28,880 --> 00:01:33,319
Speaker 1: anxiously awaiting Rory's acceptance letter from Harvard, and surprisingly get

22
00:01:33,319 --> 00:01:37,200
Speaker 1: more than what she expected. Paris takes a big relationship

23
00:01:37,240 --> 00:01:39,920
Speaker 1: step forward with Jamie, but a step back when it

24
00:01:39,959 --> 00:01:42,880
Speaker 1: comes to Harvard. Meanwhile, the two of them have to

25
00:01:42,880 --> 00:01:46,039
Speaker 1: team up to give a speech for Chilton's by Centennial.

26
00:01:46,240 --> 00:01:48,920
Speaker 1: Max is back in the picture as Lorelei runs into

27
00:01:49,040 --> 00:01:52,560
Speaker 1: him at the pharmacy and speech event, but is he

28
00:01:52,760 --> 00:01:57,000
Speaker 1: really over her? M Okay, I'm just gonna say this

29
00:01:57,320 --> 00:02:01,240
Speaker 1: and then I'm gonna let you Amy take us through this, Okay,

30
00:02:01,280 --> 00:02:02,840
Speaker 1: but I just want to say this at the top

31
00:02:02,880 --> 00:02:09,000
Speaker 1: of the podcast. This episode was flawless, flawless. There wasn't

32
00:02:09,280 --> 00:02:13,400
Speaker 1: there wasn't a hole, there wasn't. I mean, it was

33
00:02:13,720 --> 00:02:18,280
Speaker 1: one of the best experiences I've had viewing any kind

34
00:02:18,320 --> 00:02:21,239
Speaker 1: of an episode, and definitely I think it's my number

35
00:02:21,280 --> 00:02:26,520
Speaker 1: one gilpisode so far. The same and we did not talk.

36
00:02:26,800 --> 00:02:29,760
Speaker 1: We did not talk last night to see if each

37
00:02:29,800 --> 00:02:34,120
Speaker 1: other liked it. I at the end walked out of

38
00:02:34,160 --> 00:02:37,280
Speaker 1: my bedroom into the kitchen and said, well, that's how

39
00:02:37,320 --> 00:02:41,120
Speaker 1: you do it. That's how you do it, that's bang,

40
00:02:41,800 --> 00:02:44,280
Speaker 1: that's like I mean where we separated at first, you

41
00:02:44,360 --> 00:02:50,160
Speaker 1: think maybe something what's going so because that was wow,

42
00:02:50,960 --> 00:02:57,080
Speaker 1: everything everything That is how you balance the humor which

43
00:02:57,120 --> 00:03:01,920
Speaker 1: was constant and great with a little bit of drama,

44
00:03:02,280 --> 00:03:04,160
Speaker 1: not a lot of drama. It had the right tone,

45
00:03:04,160 --> 00:03:07,600
Speaker 1: you know, a little bit um interesting that Emily was

46
00:03:07,639 --> 00:03:10,960
Speaker 1: not in this episode, even though even though she was

47
00:03:11,040 --> 00:03:13,560
Speaker 1: in the episode, because they referred to her, she right,

48
00:03:13,919 --> 00:03:16,840
Speaker 1: we didn't see her. Yeah. I don't know if it

49
00:03:16,960 --> 00:03:20,280
Speaker 1: was a relief or what it. I don't know if Emily,

50
00:03:20,320 --> 00:03:23,200
Speaker 1: you know, it makes me question whether when Emily comes

51
00:03:23,240 --> 00:03:26,720
Speaker 1: on screen everybody gets tense, you know what, what what

52
00:03:26,800 --> 00:03:31,920
Speaker 1: physiological effects she has on an audit. I look forward

53
00:03:31,960 --> 00:03:34,480
Speaker 1: to it. But I loved and here's what we're talking

54
00:03:34,480 --> 00:03:37,480
Speaker 1: about character rehab. When I when I texted you said,

55
00:03:37,480 --> 00:03:40,720
Speaker 1: asked me about this because it especially applies for Richard

56
00:03:40,720 --> 00:03:44,840
Speaker 1: and Paris, who I just I thought, ed heard and

57
00:03:45,160 --> 00:03:50,720
Speaker 1: gave the performance of in this episode and it wasn't

58
00:03:50,760 --> 00:03:55,200
Speaker 1: even super dramatic. It was just sort of his comedy skills,

59
00:03:55,920 --> 00:04:00,480
Speaker 1: just beautiful. Bravo lies a while. Is that how you

60
00:04:00,480 --> 00:04:04,000
Speaker 1: stay your last name? Yeah, Paris Geller, I mean that

61
00:04:04,080 --> 00:04:08,720
Speaker 1: performance like that was so amazing. Keep going about about

62
00:04:08,840 --> 00:04:11,800
Speaker 1: ed Herman, but we'll get to it. Well, let you

63
00:04:11,800 --> 00:04:14,160
Speaker 1: take us through the episode and I'll get to that stuff.

64
00:04:14,200 --> 00:04:16,200
Speaker 1: I don't want to just talk about what I love

65
00:04:16,279 --> 00:04:18,080
Speaker 1: so much about the episode right at the top, so

66
00:04:18,200 --> 00:04:21,360
Speaker 1: let's let's spread it out through it. Yeah, okay. So

67
00:04:21,400 --> 00:04:24,000
Speaker 1: the first scene we sort of get the setup that,

68
00:04:24,120 --> 00:04:29,040
Speaker 1: oh my gosh, the college acceptances are coming. And then

69
00:04:29,080 --> 00:04:33,840
Speaker 1: we encounter postman Kirk, which was always has a new

70
00:04:33,920 --> 00:04:39,680
Speaker 1: job and always sort of floundering at it. But a

71
00:04:39,720 --> 00:04:42,840
Speaker 1: big episode right off the top, because this is what

72
00:04:43,960 --> 00:04:48,160
Speaker 1: Laurel I has been doing for seventeen years, getting her

73
00:04:48,240 --> 00:04:50,880
Speaker 1: ready to get to Harvard. You know, I mean, this

74
00:04:50,960 --> 00:04:53,440
Speaker 1: is like a and it was the big one. That's

75
00:04:53,480 --> 00:04:57,200
Speaker 1: the big episode, the big one. It keep going and

76
00:04:57,240 --> 00:05:00,000
Speaker 1: some funny lines where they, you know, Loalize says something

77
00:05:00,279 --> 00:05:02,640
Speaker 1: to the effect of, if it's big, you're in. If

78
00:05:02,680 --> 00:05:06,360
Speaker 1: it's little, you'll have to marry Rich. Just very quick lines.

79
00:05:06,440 --> 00:05:09,279
Speaker 1: And then we also learned that Mrs Rita Flora has died.

80
00:05:09,800 --> 00:05:14,560
Speaker 1: She must be a stars Hollow Town member. We didn't

81
00:05:14,600 --> 00:05:17,479
Speaker 1: really know, So I'm going to Google readA Flora that's

82
00:05:17,480 --> 00:05:20,760
Speaker 1: got to be an historical reference somehow, ma he be.

83
00:05:20,920 --> 00:05:22,479
Speaker 1: I don't know. I just assumed she was someone that

84
00:05:22,520 --> 00:05:27,200
Speaker 1: lived in the town that Kirk cat or mail and

85
00:05:27,640 --> 00:05:30,600
Speaker 1: they call him Santa, which I thought was funny. And

86
00:05:30,680 --> 00:05:35,200
Speaker 1: his shirt says Mail Carrier, So you know, I love

87
00:05:35,279 --> 00:05:37,440
Speaker 1: Kirk as the as the postman. I thought that was

88
00:05:37,480 --> 00:05:42,320
Speaker 1: all great. So we go from there to Luke's, which

89
00:05:42,480 --> 00:05:48,680
Speaker 1: was quite a significant theme because we learn there are

90
00:05:48,720 --> 00:05:52,680
Speaker 1: new menus because of Nicole and that he's still with

91
00:05:52,800 --> 00:05:56,400
Speaker 1: Nicole like Nicole, and and then and it spawned one

92
00:05:56,400 --> 00:06:03,120
Speaker 1: of the great lines. You've been menu whipped. That was

93
00:06:03,160 --> 00:06:09,200
Speaker 1: a brilliant Luke Laurel scene. Yeah, because they're just king

94
00:06:09,279 --> 00:06:13,640
Speaker 1: pong like we love obviously they love each other. Even

95
00:06:13,640 --> 00:06:19,560
Speaker 1: though what was what was the menu item that Cristo? Yeah, yeah,

96
00:06:20,120 --> 00:06:22,080
Speaker 1: but I love that it was on the menu just

97
00:06:22,200 --> 00:06:24,919
Speaker 1: because it was maybe I could order it, not that

98
00:06:25,000 --> 00:06:29,200
Speaker 1: I ever had. He said, it's a it's a conversation piece.

99
00:06:29,279 --> 00:06:32,000
Speaker 1: You've eliminated a conversation piece. I actually didn't know what

100
00:06:32,040 --> 00:06:34,440
Speaker 1: a monna Cristo was. I had the mother is so good.

101
00:06:34,920 --> 00:06:37,000
Speaker 1: It's kind of like a is it like a reverse

102
00:06:37,120 --> 00:06:42,280
Speaker 1: grilled cheese, got tomato and ham and cheese. What do

103
00:06:42,320 --> 00:06:45,279
Speaker 1: you think of a tomato? I don't know, you know,

104
00:06:45,400 --> 00:06:49,680
Speaker 1: croake monster. I don't know how you say that. Yeah,

105
00:06:49,880 --> 00:06:51,800
Speaker 1: they I looked it up. So so there's like a

106
00:06:51,920 --> 00:06:54,400
Speaker 1: sandwich that's on menus croke monster, which I think is

107
00:06:54,440 --> 00:06:57,320
Speaker 1: a fancy way of saying grilled cheese. I think the

108
00:06:57,400 --> 00:07:01,400
Speaker 1: Monna Cristo is like the deep Yeah it's with ham,

109
00:07:01,440 --> 00:07:05,520
Speaker 1: turkey and Swiss cheese and it's dipped in egg batter

110
00:07:06,760 --> 00:07:10,720
Speaker 1: and deep fried. Yeah, so bad for you, but so yeah,

111
00:07:10,880 --> 00:07:13,720
Speaker 1: so good. I never had a Monic Crystal I've had

112
00:07:14,280 --> 00:07:17,600
Speaker 1: I've had one. Do they We're we're gonna need to

113
00:07:17,640 --> 00:07:26,840
Speaker 1: track down they have some amy, they have some of Disneyland. Disneyland, Yeah,

114
00:07:26,880 --> 00:07:30,240
Speaker 1: that's where I had it. Where um it's at uh.

115
00:07:30,520 --> 00:07:34,320
Speaker 1: I mean it's like if you want New Orleans Square

116
00:07:34,360 --> 00:07:37,880
Speaker 1: and you can dip it in like um, like like

117
00:07:37,920 --> 00:07:41,800
Speaker 1: a restaurant, but they now serve it outside of the

118
00:07:41,800 --> 00:07:43,840
Speaker 1: Blue Bike you so you don't have to make a reservation.

119
00:07:43,880 --> 00:07:45,720
Speaker 1: You can just order it and get it. And they

120
00:07:45,720 --> 00:07:47,720
Speaker 1: have like a jelly like a jam that you can

121
00:07:47,760 --> 00:07:50,800
Speaker 1: dip it in. Oh it's so good. Maybe I should

122
00:07:50,800 --> 00:07:53,200
Speaker 1: go maybe next time, Like you're here, Amy, I should

123
00:07:53,240 --> 00:07:56,200
Speaker 1: go get one and like bring it to you. Where

124
00:07:56,200 --> 00:07:58,960
Speaker 1: are you? Where are you near? Just I'm in San Francisco.

125
00:07:59,040 --> 00:08:01,080
Speaker 1: She's in l A. So you can go to Disneyland.

126
00:08:01,160 --> 00:08:03,000
Speaker 1: Wait are you going to Disneyland? Maybe we need to

127
00:08:03,000 --> 00:08:07,840
Speaker 1: make a video of you eating the I mean, can

128
00:08:07,880 --> 00:08:11,000
Speaker 1: you guys? Okay, great, I'm going on Saturday. Great? Can

129
00:08:11,040 --> 00:08:14,880
Speaker 1: you film yourself and doing the Monte Cristo so on

130
00:08:14,880 --> 00:08:21,280
Speaker 1: the Instagram? Sure? Oh that's nice. Okay, well okay, So Scott,

131
00:08:22,600 --> 00:08:26,239
Speaker 1: what do you think, Scott? What does Scott think about

132
00:08:26,280 --> 00:08:29,920
Speaker 1: the fact that Luke kind of did what Nicole wanted,

133
00:08:30,040 --> 00:08:33,880
Speaker 1: added salads and did new menus? What does Scott think

134
00:08:33,920 --> 00:08:42,199
Speaker 1: of that? I think that, Um, I think the seeds

135
00:08:42,240 --> 00:08:50,560
Speaker 1: of doom have been planted, because I mean because Laurel.

136
00:08:51,120 --> 00:08:55,760
Speaker 1: Laurels level of ridicule is the bell weather for his life,

137
00:08:56,520 --> 00:09:02,480
Speaker 1: isn't it right? Oh my god? I so agree. It's like,

138
00:09:02,720 --> 00:09:06,880
Speaker 1: oh no, he's adding salads. They're over. It's going to

139
00:09:06,920 --> 00:09:09,520
Speaker 1: be over. That's what I thought said, because Luke doesn't

140
00:09:09,720 --> 00:09:11,320
Speaker 1: even though he's doing it, he's really doing it to

141
00:09:11,320 --> 00:09:14,800
Speaker 1: be sweet. He really likes her. But no, Laura, I

142
00:09:14,840 --> 00:09:20,600
Speaker 1: would never ever ever make Luke add salads to the menu,

143
00:09:20,640 --> 00:09:23,480
Speaker 1: and that's why he got so irritated, because he knows

144
00:09:23,520 --> 00:09:26,880
Speaker 1: he's in the wrong relationship. It wasn't a conversation about

145
00:09:26,960 --> 00:09:29,760
Speaker 1: the menu. It was a conversation about you're you're with

146
00:09:29,840 --> 00:09:33,480
Speaker 1: the wrong girl. I'm the right girl. All subconscious, right,

147
00:09:33,559 --> 00:09:37,760
Speaker 1: all subliminal. I totally agree, right, like I would. Basically

148
00:09:37,800 --> 00:09:41,640
Speaker 1: she's saying I wouldn't try to change you. So, you

149
00:09:41,640 --> 00:09:44,920
Speaker 1: know what I loved about that scene, the subtlety they

150
00:09:44,920 --> 00:09:52,760
Speaker 1: get the menus, this looks different, like so, and then

151
00:09:52,800 --> 00:09:56,160
Speaker 1: you're like like, are we at Luke's what's happening here?

152
00:09:56,200 --> 00:09:59,440
Speaker 1: You know? And then he's like what I had all

153
00:09:59,440 --> 00:10:03,320
Speaker 1: my doodle And then because these new menus the plastic

154
00:10:03,400 --> 00:10:05,360
Speaker 1: is to discourage the doodling. I mean to me, I

155
00:10:05,400 --> 00:10:08,960
Speaker 1: thought it was like I love the whole scene. Yeah.

156
00:10:09,880 --> 00:10:12,560
Speaker 1: Oh and then oh my god, what is the part

157
00:10:12,600 --> 00:10:17,040
Speaker 1: where they say girlfriend and you say, no, Nicole is

158
00:10:17,080 --> 00:10:20,280
Speaker 1: the woman I am dating? That's it, which is like

159
00:10:20,880 --> 00:10:25,120
Speaker 1: also just telling me this woman is going to be gone.

160
00:10:25,320 --> 00:10:29,480
Speaker 1: Yeah she's going, that's for sure. Yeah she's she's having

161
00:10:29,520 --> 00:10:36,600
Speaker 1: an undo influence on Luke. And that and Laura line

162
00:10:36,640 --> 00:10:38,960
Speaker 1: has to leap into action and make sure she writes

163
00:10:39,080 --> 00:10:42,600
Speaker 1: the ship. Yes, And really I don't know if it's

164
00:10:42,880 --> 00:10:45,640
Speaker 1: so much born of her wanting to be with him.

165
00:10:45,720 --> 00:10:49,280
Speaker 1: It's just really like her world is built around these things, right,

166
00:10:49,640 --> 00:10:54,240
Speaker 1: did you try to change? This is not happening? Uh?

167
00:10:55,200 --> 00:10:58,360
Speaker 1: You know what? I think? It's kind of interesting. So

168
00:10:58,480 --> 00:11:00,760
Speaker 1: you know what in and out there's like secret menu items.

169
00:11:01,000 --> 00:11:03,559
Speaker 1: Why weren't the salad just why can't Nicole just order

170
00:11:03,600 --> 00:11:06,120
Speaker 1: the salad? Like did it have to be on the

171
00:11:06,240 --> 00:11:10,840
Speaker 1: menu because you know, I don't know, she's an attorney.

172
00:11:10,960 --> 00:11:14,160
Speaker 1: She maybe she just wants to take over. She's looking

173
00:11:14,200 --> 00:11:17,319
Speaker 1: at Luke and she's beginning like maybe his clothes will

174
00:11:17,440 --> 00:11:20,600
Speaker 1: change to addressed differently, you know what I mean? Maybe

175
00:11:20,640 --> 00:11:22,880
Speaker 1: she's suggesting, why do you wear the hat all the time?

176
00:11:23,400 --> 00:11:26,439
Speaker 1: You know? Now if that came off, I mean all

177
00:11:26,520 --> 00:11:34,319
Speaker 1: hell would break loose. It's just over. Yea. So we

178
00:11:34,520 --> 00:11:40,199
Speaker 1: now go from Luke Steiner to Chiltern. Now I'm really

179
00:11:40,280 --> 00:11:45,120
Speaker 1: hungry what happened? So we learn there's a new teacher,

180
00:11:45,240 --> 00:11:48,120
Speaker 1: which I didn't know. I didn't recognize that teacher, and

181
00:11:48,240 --> 00:11:52,160
Speaker 1: then we learn that there is the children by Centennial celebration,

182
00:11:52,200 --> 00:11:57,199
Speaker 1: and there's the speech competition. Brad Langford has returned. Who

183
00:11:57,280 --> 00:12:02,120
Speaker 1: got the Hickey? Which that was uh, Louise, that was

184
00:12:03,200 --> 00:12:09,520
Speaker 1: It's Louise and made yeah uh. And we learned that

185
00:12:09,600 --> 00:12:12,439
Speaker 1: this the winner of the speech sort of competition will

186
00:12:12,440 --> 00:12:17,000
Speaker 1: be on c SPAN, which I love, Like I'm jumping ahead,

187
00:12:17,080 --> 00:12:19,640
Speaker 1: but I love Richard's love of the vote in the

188
00:12:20,000 --> 00:12:26,400
Speaker 1: like literally he's all, oh, it's fascinated. So Paris is

189
00:12:26,600 --> 00:12:33,559
Speaker 1: in rare form just being so vile Brad. Yeah, but

190
00:12:33,640 --> 00:12:35,840
Speaker 1: it was fine. It was fine, But I also totally

191
00:12:36,040 --> 00:12:38,880
Speaker 1: I also was wondering, like, how did Brad finished school

192
00:12:39,080 --> 00:12:42,760
Speaker 1: while on Broadway? Maybe he was just doing he was

193
00:12:42,880 --> 00:12:46,959
Speaker 1: doing a theater school. What's that called TV school? Theater school? Yeah,

194
00:12:47,000 --> 00:12:48,920
Speaker 1: they have this, and in New York they're really good,

195
00:12:49,200 --> 00:12:52,079
Speaker 1: and I'm sure they're good everywhere, but New York. Yeah.

196
00:12:52,240 --> 00:12:54,240
Speaker 1: And I do think there was an inside joke there

197
00:12:54,240 --> 00:12:56,800
Speaker 1: because I actually think he went to do into the

198
00:12:56,840 --> 00:13:00,440
Speaker 1: woods if I remember, yeah, it was to the Woods,

199
00:13:00,520 --> 00:13:03,880
Speaker 1: you but Brad Langford went to the Woods. But so

200
00:13:04,480 --> 00:13:07,679
Speaker 1: the actor if I remember, you know what, Yeah, we

201
00:13:07,800 --> 00:13:11,480
Speaker 1: had him on, didn't we that? Yeah? Yeah he did.

202
00:13:12,240 --> 00:13:16,760
Speaker 1: It was it was Amy Amy's opportunity to uh to

203
00:13:16,920 --> 00:13:20,079
Speaker 1: express her love of musical theater, which has love for you.

204
00:13:20,559 --> 00:13:24,360
Speaker 1: My favorite line was do you need a five, six, seven, eight,

205
00:13:26,400 --> 00:13:28,480
Speaker 1: get out of my way? Reading moreno or no? What

206
00:13:28,559 --> 00:13:33,520
Speaker 1: did he say? Rivera? Out of my Wayeta Rivera? So

207
00:13:33,720 --> 00:13:37,079
Speaker 1: that sort of sets up. That was a great scene.

208
00:13:37,160 --> 00:13:39,240
Speaker 1: That just sort of sets up like, Okay, we're gonna

209
00:13:39,280 --> 00:13:41,760
Speaker 1: have this competition. This is a major thing in this episode.

210
00:13:42,120 --> 00:13:46,160
Speaker 1: And now it's also paris Is back. We haven't back

211
00:13:46,360 --> 00:13:48,640
Speaker 1: paris Is back. We've seen her, but not in her

212
00:13:48,840 --> 00:13:51,959
Speaker 1: in her like mean elements. But right now she's like

213
00:13:52,120 --> 00:13:56,040
Speaker 1: full guns again the way she was when we first met.

214
00:13:56,160 --> 00:13:59,000
Speaker 1: And we see that she's still feuding with Rory, which

215
00:13:59,559 --> 00:14:02,120
Speaker 1: Weeks would have needed to be reminded. They have clearly

216
00:14:02,240 --> 00:14:05,559
Speaker 1: not made up, which makes the sort of moment that

217
00:14:05,679 --> 00:14:11,400
Speaker 1: we'll get to. She's she's like the Mohammed Ali of

218
00:14:11,880 --> 00:14:15,960
Speaker 1: private school girls versus the Joe Frasier of private school

219
00:14:16,000 --> 00:14:21,240
Speaker 1: girls in Glory, where Mohammed Ali's talking, talking all the

220
00:14:21,320 --> 00:14:24,080
Speaker 1: smack and then he gets in the ring and gets

221
00:14:24,160 --> 00:14:27,320
Speaker 1: knocked out. I love the boxing reference that most of

222
00:14:27,440 --> 00:14:31,920
Speaker 1: us did not get. But yeah, nobody's heard of Muhammad Ali, right, No,

223
00:14:32,080 --> 00:14:34,840
Speaker 1: that when I knew that, I'm assuming Mohammad Ali was

224
00:14:35,000 --> 00:14:38,840
Speaker 1: the that, you know, like a butterfly, sting, like a

225
00:14:38,920 --> 00:14:42,920
Speaker 1: b guy whatever. And then with Joe Frasier quiet, subtle, nice,

226
00:14:43,160 --> 00:14:45,080
Speaker 1: you don't think he's going to have bark to his

227
00:14:45,200 --> 00:14:48,400
Speaker 1: bite kind of a thing. I don't think I got

228
00:14:48,440 --> 00:14:55,960
Speaker 1: any of those phrases right. Ali verbally abused and humiliated

229
00:14:56,040 --> 00:14:59,800
Speaker 1: Joe Frasier during the marketing campaign for the for the fight.

230
00:15:00,840 --> 00:15:04,280
Speaker 1: He was he was big at promotion and and Joe

231
00:15:04,400 --> 00:15:10,840
Speaker 1: took it very personally one and Joe knocked him out. Also,

232
00:15:10,920 --> 00:15:13,320
Speaker 1: sorry for the interrupting. I see you Instagram. I'm working

233
00:15:13,360 --> 00:15:16,720
Speaker 1: on it and working. I just get excited. I get it, okay.

234
00:15:17,040 --> 00:15:20,640
Speaker 1: So then we go to the inn and Suki is

235
00:15:20,680 --> 00:15:25,160
Speaker 1: in the kitchen and we immediately know something is wrong.

236
00:15:25,720 --> 00:15:28,800
Speaker 1: The food tastes bad. That's not like suki. No, and

237
00:15:28,880 --> 00:15:31,920
Speaker 1: it tastes like sewage, and the whole kitchen staff knows.

238
00:15:32,000 --> 00:15:36,360
Speaker 1: I thought the background acting there it was it was

239
00:15:36,520 --> 00:15:39,120
Speaker 1: very musical theater. When Roy came in and wanted to

240
00:15:39,160 --> 00:15:43,680
Speaker 1: eat something and they go that was like being on Broadway.

241
00:15:43,840 --> 00:15:46,920
Speaker 1: That was a Broadway stick, right, That whole scene was

242
00:15:47,040 --> 00:15:51,200
Speaker 1: so choreographed to because she thinks the food is fine,

243
00:15:51,360 --> 00:15:54,320
Speaker 1: and you immediately know the whole kitchen staff knows the

244
00:15:54,440 --> 00:16:00,240
Speaker 1: food is not fine. So that was just all amused saying,

245
00:16:00,840 --> 00:16:04,400
Speaker 1: and uh, that was really that was so much happening,

246
00:16:05,120 --> 00:16:08,720
Speaker 1: really great reveal for her pregnancy. I thought that scene

247
00:16:08,800 --> 00:16:13,720
Speaker 1: was remarkably heartwarming and fun and just just happy and

248
00:16:14,520 --> 00:16:16,320
Speaker 1: what a great way. I mean, she just comes running

249
00:16:16,320 --> 00:16:19,720
Speaker 1: out I'm pregnant, and I knew because I assumed Lord

250
00:16:19,800 --> 00:16:23,400
Speaker 1: I was looking at the calendar or something. The sudden

251
00:16:23,480 --> 00:16:25,840
Speaker 1: realization of like, oh my god, and also just like

252
00:16:25,920 --> 00:16:28,000
Speaker 1: food tasting different and stuff like that. I don't know

253
00:16:28,000 --> 00:16:29,960
Speaker 1: if she was looking at the calendar. I felt like

254
00:16:30,120 --> 00:16:32,000
Speaker 1: Loya I was looking at the calendar. She went to

255
00:16:32,080 --> 00:16:34,680
Speaker 1: the computer, right, and she's doing something which looked like

256
00:16:34,720 --> 00:16:36,840
Speaker 1: a new computer. By the way, did anyone else think

257
00:16:36,880 --> 00:16:41,120
Speaker 1: they've kind of upgraded their technology there at the Maybe

258
00:16:41,240 --> 00:16:44,640
Speaker 1: maybe they did. So she's the whole thing. There's so

259
00:16:44,800 --> 00:16:47,080
Speaker 1: much movement in that scene because think about it, we

260
00:16:47,200 --> 00:16:50,400
Speaker 1: start in the kitchen, we've got the plates out, which

261
00:16:50,440 --> 00:16:53,520
Speaker 1: I actually thought the plates didn't look as beautiful it

262
00:16:53,640 --> 00:16:55,680
Speaker 1: as a presentation as I would expect but if the

263
00:16:55,760 --> 00:16:58,920
Speaker 1: food look good. It did, but it looked it didn't

264
00:16:58,960 --> 00:17:02,320
Speaker 1: look plated as I would assume. Suki insist that the

265
00:17:02,360 --> 00:17:05,240
Speaker 1: food we plated, but I thought it that was my

266
00:17:05,359 --> 00:17:07,440
Speaker 1: only bone to pick. Oh, we forgot to start with

267
00:17:07,520 --> 00:17:09,600
Speaker 1: our bones to pick because we have barely any but

268
00:17:09,720 --> 00:17:12,360
Speaker 1: that movie my one. We're out of the bone yard

269
00:17:12,440 --> 00:17:18,560
Speaker 1: on this episode exactly. So then we go So then

270
00:17:18,720 --> 00:17:23,400
Speaker 1: Rory be bops in and she's sort of explaining her

271
00:17:23,520 --> 00:17:26,800
Speaker 1: situation versus Paris with the speech, and we're learning about

272
00:17:26,840 --> 00:17:28,840
Speaker 1: that wall that we're doing this dance in the kitchen

273
00:17:28,920 --> 00:17:31,080
Speaker 1: with the plates in the Then no, then we go

274
00:17:31,240 --> 00:17:34,240
Speaker 1: out to the front desk. I swear Laura went in

275
00:17:34,320 --> 00:17:36,639
Speaker 1: her purse and did she get candy? And he handed

276
00:17:36,720 --> 00:17:38,720
Speaker 1: like a chocolate bar and she handed it to Rory

277
00:17:38,760 --> 00:17:41,520
Speaker 1: and she ate it the whole time. She gave her

278
00:17:41,800 --> 00:17:46,240
Speaker 1: what was it a tick tack or looks like a

279
00:17:46,320 --> 00:17:52,000
Speaker 1: kick kat or essen kit kat. So she and all

280
00:17:52,119 --> 00:17:54,159
Speaker 1: the movements, so she's in the purse, she grabs it,

281
00:17:54,240 --> 00:17:57,679
Speaker 1: she hands the candy. Rory's eating the candy, still telling

282
00:17:57,800 --> 00:18:01,800
Speaker 1: the story about the speech. All we're simultaneously in the

283
00:18:01,840 --> 00:18:05,399
Speaker 1: back of our minds thinking about why does the food

284
00:18:05,480 --> 00:18:09,040
Speaker 1: taste grows? I mean, there was so much happening. It

285
00:18:09,160 --> 00:18:11,400
Speaker 1: was like you could be spinning. And then she goes

286
00:18:11,440 --> 00:18:13,560
Speaker 1: to the computer. Oh my god, I'm pregnant. Suki comes

287
00:18:13,600 --> 00:18:17,119
Speaker 1: out pregnant. I mean, the whole scene was just like

288
00:18:17,600 --> 00:18:19,800
Speaker 1: but that's why it's great. There's so much going on.

289
00:18:19,920 --> 00:18:23,960
Speaker 1: There's there's all these narratives running around, and it's the

290
00:18:24,320 --> 00:18:26,840
Speaker 1: the audience is a little bit behind the story, which

291
00:18:26,920 --> 00:18:28,720
Speaker 1: they need to be. If we get out in front

292
00:18:28,760 --> 00:18:31,800
Speaker 1: of it, we're bored if we're behind it, So that

293
00:18:32,000 --> 00:18:34,840
Speaker 1: so Amy is just like loading on stuff and great

294
00:18:34,960 --> 00:18:36,920
Speaker 1: lines and and and we just like we're on the

295
00:18:37,000 --> 00:18:39,800
Speaker 1: edge of our seat, like what's next. And I caught

296
00:18:39,880 --> 00:18:43,080
Speaker 1: something and I don't think it was a real deep

297
00:18:43,160 --> 00:18:46,959
Speaker 1: personal insult against her mother, but she said something very

298
00:18:47,000 --> 00:18:50,119
Speaker 1: funny to her mother. Tell me, wait, so Rory says

299
00:18:50,200 --> 00:18:53,159
Speaker 1: something to Loure Lie. Yeah, and this is the thing

300
00:18:53,359 --> 00:18:55,120
Speaker 1: I need to was the scene like three more times

301
00:18:55,160 --> 00:18:59,440
Speaker 1: because there's so much happening, so retain it. Roy said,

302
00:18:59,520 --> 00:19:00,960
Speaker 1: you know, she had bitted to her mother that she

303
00:19:01,080 --> 00:19:03,879
Speaker 1: wanted to win this competition because she wanted to give

304
00:19:03,920 --> 00:19:07,840
Speaker 1: the speech on on c span right, So she said, uh,

305
00:19:07,960 --> 00:19:09,680
Speaker 1: I really want to do that, mom, I want to

306
00:19:09,920 --> 00:19:12,639
Speaker 1: I really want to beat Paris and I want to

307
00:19:12,720 --> 00:19:14,560
Speaker 1: run around the circles and said I went, I went,

308
00:19:14,600 --> 00:19:17,919
Speaker 1: I yes, And Laurel I says, well, that's great. You're

309
00:19:17,960 --> 00:19:20,240
Speaker 1: becoming more like me. Now, this isn't that she and

310
00:19:20,320 --> 00:19:22,159
Speaker 1: she goes, yeah, I know it's a kind of creepy

311
00:19:22,240 --> 00:19:24,240
Speaker 1: and petty, but you know, dad, And I'm like, wow,

312
00:19:24,359 --> 00:19:31,080
Speaker 1: is that a backhanded slapper? But Laurela I didn't take

313
00:19:31,119 --> 00:19:34,280
Speaker 1: it that way. And I'm sure it wasn't end of

314
00:19:34,359 --> 00:19:36,920
Speaker 1: a dig. I would have never unless you said that,

315
00:19:36,960 --> 00:19:39,920
Speaker 1: I probably wouldn't have noticed. Yeah I noticed. I do

316
00:19:40,200 --> 00:19:44,720
Speaker 1: know what you're talking about. I don't think. I don't

317
00:19:44,720 --> 00:19:47,159
Speaker 1: want to make a big thing, you know, No, But

318
00:19:47,240 --> 00:19:49,240
Speaker 1: it's a little it's funny. It's funny, like a little

319
00:19:49,280 --> 00:19:52,320
Speaker 1: bit of a dig, a compliment dig. It's sort of

320
00:19:52,400 --> 00:19:57,280
Speaker 1: like it's a backhanded compliment, right, And it's like their

321
00:19:57,760 --> 00:20:00,240
Speaker 1: relationship is so solid and so tight that you could

322
00:20:00,280 --> 00:20:04,920
Speaker 1: just sort of but it's sort of like when someone

323
00:20:05,000 --> 00:20:07,040
Speaker 1: says like, oh, you look good, have you lost weight?

324
00:20:07,359 --> 00:20:13,399
Speaker 1: And then you're like, wait, yeah, no, I just had

325
00:20:13,480 --> 00:20:15,800
Speaker 1: that conversation with someone because like I usually don't wear

326
00:20:15,880 --> 00:20:17,920
Speaker 1: like a lot of makeup on these rooms and almost like, wow,

327
00:20:18,000 --> 00:20:20,560
Speaker 1: you look great, and I put like mascara on and

328
00:20:20,720 --> 00:20:23,719
Speaker 1: like my line and I'm like, yeah, I actually tried, right,

329
00:20:23,800 --> 00:20:26,720
Speaker 1: So you're like I look and look bad brother day.

330
00:20:28,400 --> 00:20:31,600
Speaker 1: But but but these are the kinds of comments that

331
00:20:31,680 --> 00:20:34,000
Speaker 1: can end relationships. I mean, you know what I mean

332
00:20:34,080 --> 00:20:39,239
Speaker 1: if you're not so close the yeah anyway, I think.

333
00:20:39,480 --> 00:20:43,800
Speaker 1: But it's also great. It's that's ultimate sort of compliment,

334
00:20:44,080 --> 00:20:48,800
Speaker 1: but not like, okay, so great scene. And then so

335
00:20:48,920 --> 00:20:53,920
Speaker 1: now we've got another humongous plot something what do you

336
00:20:54,040 --> 00:20:57,879
Speaker 1: call it? Thing? Because now Suki is pregnant. So it's like,

337
00:20:58,160 --> 00:21:01,719
Speaker 1: oh my god, we're waiting for the college acceptances. Now

338
00:21:01,800 --> 00:21:04,480
Speaker 1: we've got this sort of secondary storyline of this speech.

339
00:21:04,720 --> 00:21:10,560
Speaker 1: Suki is pregnant. It's like, oh my okay. So now

340
00:21:11,440 --> 00:21:14,960
Speaker 1: the kids at Chiltern are all kind of getting ready

341
00:21:15,040 --> 00:21:18,760
Speaker 1: to do their audition speeches. I guess I don't know

342
00:21:18,760 --> 00:21:21,320
Speaker 1: what you'd call it, Like they're they're doing their tryout speeches,

343
00:21:21,680 --> 00:21:24,720
Speaker 1: and Paris is just intimidating the whole line, just going

344
00:21:24,800 --> 00:21:28,560
Speaker 1: down the line. She just it was one after another.

345
00:21:29,280 --> 00:21:30,680
Speaker 1: All right, so I want to tell you a story.

346
00:21:31,560 --> 00:21:35,680
Speaker 1: And this is a common technique adopted by people who

347
00:21:35,960 --> 00:21:40,280
Speaker 1: are hmm, I don't know if I want to say insecure,

348
00:21:41,280 --> 00:21:43,560
Speaker 1: just just people that want to psych out a room.

349
00:21:43,920 --> 00:21:46,600
Speaker 1: And I did this one time in an audition and

350
00:21:47,160 --> 00:21:51,840
Speaker 1: there was a uh an, extremely beautiful woman there at

351
00:21:51,880 --> 00:21:53,760
Speaker 1: this one audition, and there was a lot of guys

352
00:21:53,840 --> 00:21:56,080
Speaker 1: in the room. And I actually knew this girl and

353
00:21:56,160 --> 00:22:01,440
Speaker 1: I knew her boyfriend. So I told her, I said, listen,

354
00:22:01,760 --> 00:22:05,440
Speaker 1: don't you know, like recognize me and I won't recognize you,

355
00:22:06,320 --> 00:22:08,439
Speaker 1: but I want let's do something to them. Because there

356
00:22:08,480 --> 00:22:10,119
Speaker 1: were a lot of a lot of girls. There are

357
00:22:10,119 --> 00:22:12,040
Speaker 1: a lot of guys auditioning. It was a big part.

358
00:22:12,119 --> 00:22:13,600
Speaker 1: It was like in the it was I don't know,

359
00:22:13,640 --> 00:22:17,080
Speaker 1: it was in like the mid to late nineties. And

360
00:22:18,240 --> 00:22:22,200
Speaker 1: I said, every single guy in this room is staring

361
00:22:22,320 --> 00:22:25,920
Speaker 1: at you. Okay, they all want to ask you out.

362
00:22:26,600 --> 00:22:28,440
Speaker 1: I said, why don't I just come up to you

363
00:22:29,160 --> 00:22:33,680
Speaker 1: start chatting you up. That'll start getting into their heads, right,

364
00:22:34,359 --> 00:22:39,320
Speaker 1: it will, And then I will take you outside and

365
00:22:39,520 --> 00:22:42,119
Speaker 1: we will run lines, so we'll help each other with

366
00:22:42,200 --> 00:22:44,040
Speaker 1: the audition because I want to run lines and I'm

367
00:22:44,040 --> 00:22:47,119
Speaker 1: sure you want to run lines because it was the

368
00:22:47,240 --> 00:22:49,640
Speaker 1: part was to be opposite each other as a boyfriend

369
00:22:49,680 --> 00:22:53,400
Speaker 1: and girlfriend. Um, and it'll it'll freak all these guys

370
00:22:53,440 --> 00:22:55,920
Speaker 1: out and give it'll give you the edge. It'll give

371
00:22:56,359 --> 00:22:58,520
Speaker 1: really me a bigger edge. And when I get in

372
00:22:58,560 --> 00:23:00,880
Speaker 1: the room, because I'll be the I'll be the cool guy.

373
00:23:01,320 --> 00:23:05,280
Speaker 1: I'll be the cool guy that like, you know, this work.

374
00:23:06,760 --> 00:23:10,000
Speaker 1: I did get the part. Yes, she said, yes, let's

375
00:23:10,040 --> 00:23:12,000
Speaker 1: do it. She said, let's let's do it. So we

376
00:23:12,119 --> 00:23:14,600
Speaker 1: went outside and they could see us because it was

377
00:23:14,720 --> 00:23:18,520
Speaker 1: these these windows, these uh, ceiling to floor windows, and

378
00:23:18,560 --> 00:23:20,919
Speaker 1: then the shades weren't drawn, so they saw us out

379
00:23:20,960 --> 00:23:25,760
Speaker 1: there laughing and talking and oh my god, and they

380
00:23:25,840 --> 00:23:28,480
Speaker 1: got tighter and tighter and tighter and tighter. And I

381
00:23:28,600 --> 00:23:31,560
Speaker 1: walked in loose, loose and prepared and got and got

382
00:23:31,640 --> 00:23:33,359
Speaker 1: the offer. You you know, it's so funny. It's the

383
00:23:33,400 --> 00:23:35,240
Speaker 1: first time. I mean, I think I've probably thought about

384
00:23:35,240 --> 00:23:39,040
Speaker 1: this before. But like when you're yes, acting is not

385
00:23:39,240 --> 00:23:41,719
Speaker 1: just about the skill, but you're also like up against

386
00:23:41,760 --> 00:23:45,800
Speaker 1: these other people and they're all good actors too, they're

387
00:23:45,880 --> 00:23:51,159
Speaker 1: all good cutthroat. Oh yeah, it is, oh yeah, the

388
00:23:51,280 --> 00:23:53,639
Speaker 1: pressure in those waiting rooms reminds me of like the

389
00:23:53,800 --> 00:23:59,280
Speaker 1: doctor's office. Wait, that's all that's everybody's like, Am I dying? Right?

390
00:23:59,560 --> 00:24:01,200
Speaker 1: That's why I wanted That's how I wanted to go

391
00:24:01,400 --> 00:24:04,560
Speaker 1: more to Lucy Lucy goosey and loud and how did

392
00:24:04,640 --> 00:24:07,680
Speaker 1: you do that one? Same? I didn't. I didn't do

393
00:24:08,000 --> 00:24:10,160
Speaker 1: mind games so much in that one, but I walked

394
00:24:10,200 --> 00:24:11,680
Speaker 1: in the room and I was just sort of like

395
00:24:11,880 --> 00:24:15,920
Speaker 1: free and loud and how you doing? What's happening? And

396
00:24:16,000 --> 00:24:18,119
Speaker 1: it is better to go in not caring if you

397
00:24:18,200 --> 00:24:20,000
Speaker 1: get it or not. I mean, if you can mentally

398
00:24:20,080 --> 00:24:25,920
Speaker 1: do that, Yeah, that's best. Yeah, it's it's it's it's

399
00:24:25,960 --> 00:24:30,199
Speaker 1: actually a good idea. If you no, you're not going

400
00:24:30,240 --> 00:24:32,399
Speaker 1: to get it, don't care if you're going to get it,

401
00:24:32,800 --> 00:24:35,520
Speaker 1: but you're prepared. Yeah. Wait, so do you You didn't?

402
00:24:35,560 --> 00:24:37,600
Speaker 1: You don't audition anymore? Did you audition for this job

403
00:24:37,640 --> 00:24:39,200
Speaker 1: you have now? Now? Oh? No, no, no, it was

404
00:24:39,200 --> 00:24:42,320
Speaker 1: a phone call. Yeah, when's the last audition? He went on,

405
00:24:42,680 --> 00:24:44,879
Speaker 1: Oh jeez, I well they do them on tape now,

406
00:24:45,000 --> 00:24:48,040
Speaker 1: So I I put an audition on tape for Natalie

407
00:24:48,119 --> 00:24:52,120
Speaker 1: Portman to play opposite her in this series. She's doing

408
00:24:53,160 --> 00:24:55,840
Speaker 1: that cool or to be her, to be not not

409
00:24:56,040 --> 00:24:59,840
Speaker 1: her love interest, but her, to be her maybe maybe

410
00:24:59,880 --> 00:25:04,160
Speaker 1: her boss. Oh that's cool. Yeah, I wouldn't. I'm putting

411
00:25:04,240 --> 00:25:06,760
Speaker 1: myself on tape. I can't even answer. Yeah, it's a

412
00:25:06,800 --> 00:25:09,760
Speaker 1: whole different world. That's a whole different world. Yeah, I

413
00:25:09,960 --> 00:25:13,399
Speaker 1: want to get a picture taken. It's like, okay, alright,

414
00:25:13,480 --> 00:25:17,919
Speaker 1: so we digress a great story. So Paris, that Paris

415
00:25:17,960 --> 00:25:20,960
Speaker 1: has got some game in your same she's got some game.

416
00:25:21,200 --> 00:25:25,760
Speaker 1: She's I love Rory kind of like again Rory's it's

417
00:25:25,840 --> 00:25:28,399
Speaker 1: it's like good cop, bad cop or something like Garris

418
00:25:28,520 --> 00:25:33,120
Speaker 1: is so unhinged and Rory's like, go go get him, Brad,

419
00:25:33,240 --> 00:25:35,480
Speaker 1: You'll do great, and like don't listen to her and

420
00:25:35,560 --> 00:25:37,399
Speaker 1: like and then trying to go up against Paris, and

421
00:25:37,480 --> 00:25:42,200
Speaker 1: it's just they're so they make for great rivals. But

422
00:25:42,320 --> 00:25:45,119
Speaker 1: I think but I think that Rory said less but

423
00:25:45,240 --> 00:25:49,840
Speaker 1: had more impact and actually one that little tep I agree,

424
00:25:50,119 --> 00:25:54,480
Speaker 1: I because she was on the side of right, yes, yes,

425
00:25:54,640 --> 00:25:59,080
Speaker 1: and we need this because of what we're coming to.

426
00:25:59,600 --> 00:26:01,399
Speaker 1: I mean, I know I never went into rooms and

427
00:26:01,440 --> 00:26:03,760
Speaker 1: tried to bring anybody down that was that I was

428
00:26:04,560 --> 00:26:07,879
Speaker 1: going to somebody and being like you suck man. Yeah, man, hey,

429
00:26:08,160 --> 00:26:10,200
Speaker 1: you're not going to remember those lines. Jase, that's a

430
00:26:10,320 --> 00:26:15,320
Speaker 1: big paragraph. Did you have trouble like I did? Don't

431
00:26:15,359 --> 00:26:17,080
Speaker 1: you hate it when you get tense in the room

432
00:26:17,119 --> 00:26:19,600
Speaker 1: and you just freeze up. I hate that. I think

433
00:26:19,720 --> 00:26:22,639
Speaker 1: that happened to you, buddy. The scene that we're getting

434
00:26:23,040 --> 00:26:26,760
Speaker 1: at the end of the episode was so much more

435
00:26:26,920 --> 00:26:29,480
Speaker 1: significant because of these scenes leading up to it. Okay,

436
00:26:29,560 --> 00:26:32,359
Speaker 1: so absolutely absolutely. We get lower Lye on the phone

437
00:26:32,400 --> 00:26:35,200
Speaker 1: with Suki and they're a you know, loyally is asking

438
00:26:35,240 --> 00:26:38,680
Speaker 1: how did it go when you told Jackson? And we

439
00:26:38,840 --> 00:26:44,879
Speaker 1: learned that Jackson is completely freaking out losing his mind,

440
00:26:45,720 --> 00:26:51,560
Speaker 1: which I actually found sweet. Oh boy, oh boy. I

441
00:26:51,680 --> 00:26:53,720
Speaker 1: think I think a lot of dad's go through this.

442
00:26:54,760 --> 00:26:59,800
Speaker 1: Id you. Yeah, but I didn't start babyproofing the house

443
00:27:00,960 --> 00:27:04,719
Speaker 1: until throwing away knives. Yeah, I mean I I did

444
00:27:04,800 --> 00:27:08,399
Speaker 1: it pretty quick. Uh wait, did you did you actually

445
00:27:08,440 --> 00:27:11,000
Speaker 1: like freak out and start buying things for plugs? And

446
00:27:11,840 --> 00:27:14,520
Speaker 1: oh sure, well I didn't freak out. I just you know,

447
00:27:14,760 --> 00:27:17,199
Speaker 1: we just bought what we needed to get the plastic

448
00:27:17,280 --> 00:27:18,600
Speaker 1: things in the plugs, and there were a lot of

449
00:27:18,640 --> 00:27:23,800
Speaker 1: plugs in that house bags full of them. Oh those

450
00:27:23,840 --> 00:27:27,159
Speaker 1: things are so annoying. I cannot get them out. And

451
00:27:27,359 --> 00:27:29,360
Speaker 1: we have plugs on the floor too. I mean they're

452
00:27:29,400 --> 00:27:33,200
Speaker 1: all have those plug things all over our one of

453
00:27:33,280 --> 00:27:35,320
Speaker 1: our houses and it's like I can't get them up.

454
00:27:36,080 --> 00:27:39,359
Speaker 1: Did you baby proof before the baby was born? No,

455
00:27:40,119 --> 00:27:44,200
Speaker 1: when he started walking, we had the plugs, of course,

456
00:27:44,720 --> 00:27:46,160
Speaker 1: but he was you know, he was in a crib

457
00:27:46,400 --> 00:27:48,840
Speaker 1: for a year or what did you do all those things?

458
00:27:49,040 --> 00:27:51,200
Speaker 1: You can't open a drawer, you know those things, so

459
00:27:51,320 --> 00:27:54,240
Speaker 1: like the baby proof the drawers and then adults cannot

460
00:27:54,280 --> 00:27:56,960
Speaker 1: open again. No, but we had to. We we tried

461
00:27:57,040 --> 00:28:00,400
Speaker 1: to really subtle ones that go inside the drawer there

462
00:28:00,840 --> 00:28:02,720
Speaker 1: and they really work and there's there. They could be

463
00:28:02,760 --> 00:28:04,240
Speaker 1: a pain in the as. Then we ripped those out.

464
00:28:04,560 --> 00:28:08,480
Speaker 1: So this we can't we can't even figure out. So

465
00:28:08,600 --> 00:28:12,080
Speaker 1: we got the big plastic, ugly white ones that actually work.

466
00:28:12,119 --> 00:28:14,159
Speaker 1: It looks like a bike lock. So we had them

467
00:28:14,160 --> 00:28:16,920
Speaker 1: all over, all over the kitchen, all over. Brother has

468
00:28:17,200 --> 00:28:20,760
Speaker 1: baby gates like everywhere. Oh yeah, you have to. I

469
00:28:21,400 --> 00:28:23,320
Speaker 1: just have to climb over them because I cannot be

470
00:28:23,560 --> 00:28:28,880
Speaker 1: the baby. Yeah, it's easily, But we had we had

471
00:28:28,920 --> 00:28:31,719
Speaker 1: as in the old house with this big sunken living room.

472
00:28:31,760 --> 00:28:34,560
Speaker 1: We stepped down into a couple of stuff. But those

473
00:28:34,680 --> 00:28:38,520
Speaker 1: steps had corners. They didn't go across the whole the

474
00:28:38,560 --> 00:28:41,200
Speaker 1: whole way, so they were so they were like sharp

475
00:28:41,440 --> 00:28:45,520
Speaker 1: edges on those steps. So I would get the pillows

476
00:28:45,640 --> 00:28:48,240
Speaker 1: that were on the couch that I didn't think we're

477
00:28:48,280 --> 00:28:51,040
Speaker 1: particularly attractive in the first place. They were my wife's choice,

478
00:28:51,400 --> 00:28:54,560
Speaker 1: and I would I would. I would cover those edges

479
00:28:54,840 --> 00:28:56,640
Speaker 1: up all over the living room because it was on

480
00:28:56,720 --> 00:29:00,800
Speaker 1: the dining room side and for your side, and I

481
00:29:00,960 --> 00:29:03,120
Speaker 1: put the pillows there so if he ever fell, he'd

482
00:29:03,160 --> 00:29:07,880
Speaker 1: fall on the pillow. Smart and crazy, Yeah, no, no,

483
00:29:08,040 --> 00:29:10,760
Speaker 1: it's what you do. You anticipate as a father. You

484
00:29:10,880 --> 00:29:15,080
Speaker 1: anticipate and protect. Well, you don't. You don't wait for

485
00:29:15,160 --> 00:29:17,320
Speaker 1: the bad thing to happen. You play all the bad

486
00:29:17,400 --> 00:29:20,960
Speaker 1: things out in your mind. Every possible scenario is just

487
00:29:21,200 --> 00:29:23,760
Speaker 1: clear everything out. It is funny, though, what people do

488
00:29:23,920 --> 00:29:25,760
Speaker 1: for the first kid and then by the third kid.

489
00:29:27,000 --> 00:29:31,960
Speaker 1: Hanging my sister in law was really like no TV,

490
00:29:32,640 --> 00:29:36,520
Speaker 1: no sugar, like none of that for the first kid,

491
00:29:36,600 --> 00:29:38,560
Speaker 1: and then a little bit on the second. By the

492
00:29:38,640 --> 00:29:41,240
Speaker 1: time my niece Roxy was born, it was like here's

493
00:29:41,240 --> 00:29:48,680
Speaker 1: an iPad, here's a cup. Kid were going to say,

494
00:29:48,920 --> 00:29:51,240
Speaker 1: I was gonna say, I love how Jackson's thinking about

495
00:29:51,320 --> 00:29:54,240
Speaker 1: this and like it hasn't even comprehended that like a baby.

496
00:29:54,280 --> 00:29:56,400
Speaker 1: He wanted, what was it? Five and five? Is that? What?

497
00:29:56,840 --> 00:30:00,360
Speaker 1: Four and four? Four and four? And he's like, because

498
00:30:00,480 --> 00:30:02,400
Speaker 1: I'm thinking like then, I mean, we're jumping ahead a

499
00:30:02,400 --> 00:30:04,080
Speaker 1: little bit. But like the knife thing, it's like that,

500
00:30:04,240 --> 00:30:08,800
Speaker 1: you have years until the kids climbing together the kitchen counter. Oh,

501
00:30:08,880 --> 00:30:12,200
Speaker 1: you'd be surprised how they can climb pretty quick. Yeah,

502
00:30:12,400 --> 00:30:17,000
Speaker 1: it's it's boys are nuts. Like they are on top

503
00:30:17,080 --> 00:30:21,600
Speaker 1: of the couch upside down. Yes, they are real fast. Yeah.

504
00:30:21,720 --> 00:30:25,000
Speaker 1: Nick was like Spider Man. It was something. She was

505
00:30:25,040 --> 00:30:30,240
Speaker 1: on the ceiling one, So how did you get up there? Okay,

506
00:30:30,360 --> 00:30:33,160
Speaker 1: so now we have sort of a what I think

507
00:30:33,320 --> 00:30:37,080
Speaker 1: is a I guess I'll just we'll talk about it

508
00:30:37,120 --> 00:30:40,240
Speaker 1: because she has to go to doses to look for

509
00:30:40,320 --> 00:30:44,640
Speaker 1: the allergy medicine for it to not be there, I suppose,

510
00:30:44,720 --> 00:30:46,240
Speaker 1: so that we have a reason for her to go

511
00:30:46,360 --> 00:30:49,640
Speaker 1: in the CBS at Hartford or whatever whichever it was at.

512
00:30:50,000 --> 00:30:51,800
Speaker 1: But it was still a funny scene with Dean and

513
00:30:51,920 --> 00:30:54,160
Speaker 1: Kirk and Kirk's on the ground with the male and

514
00:30:54,880 --> 00:30:56,880
Speaker 1: it was sort of just a mess. But it was

515
00:30:56,960 --> 00:31:00,240
Speaker 1: sort of a nothing scene. It was random because I

516
00:31:00,360 --> 00:31:04,600
Speaker 1: was like, who needed the medication? She did? She had allergies,

517
00:31:05,240 --> 00:31:07,960
Speaker 1: So it was just was random. Yeah, it was just

518
00:31:08,120 --> 00:31:12,440
Speaker 1: like a plot. Don't you don't you flog my flawless episode.

519
00:31:12,600 --> 00:31:15,760
Speaker 1: There was nothing wrong with it. That's my bones pick,

520
00:31:16,240 --> 00:31:25,680
Speaker 1: that's my bones pick A little we are in a

521
00:31:25,800 --> 00:31:34,840
Speaker 1: salmon you know something any bones today bumps right into Max.

522
00:31:35,560 --> 00:31:38,680
Speaker 1: I forgot I forgot the drugstore and her for Harvard.

523
00:31:38,800 --> 00:31:42,240
Speaker 1: I'm assumed it was like yeah, right and Max and

524
00:31:42,360 --> 00:31:46,920
Speaker 1: I thought, oh, what do you guys think I forgot?

525
00:31:47,040 --> 00:31:49,680
Speaker 1: This even happens like I with a second I saw him, like,

526
00:31:49,720 --> 00:31:52,440
Speaker 1: oh my god, that's right. He comes back like I forgot.

527
00:31:52,560 --> 00:31:54,520
Speaker 1: So it was kind of a nice surprise for me.

528
00:31:54,640 --> 00:31:56,760
Speaker 1: But I think Max will always I don't know, he

529
00:31:56,880 --> 00:32:00,520
Speaker 1: has like out of all the besides Luke, out of

530
00:32:00,560 --> 00:32:06,120
Speaker 1: all the random boyfriends, like he was my favorite. Wow, Okay, yeah,

531
00:32:06,200 --> 00:32:08,560
Speaker 1: I liked him coming back, and I you know, I

532
00:32:08,640 --> 00:32:14,120
Speaker 1: love Scott Colin and I think he's terrific. And yeah

533
00:32:14,240 --> 00:32:17,880
Speaker 1: he got he got the whammy and he got out

534
00:32:17,920 --> 00:32:19,520
Speaker 1: of there and he's over it. You could tell he

535
00:32:19,640 --> 00:32:21,600
Speaker 1: was over it. You could tell she wasn't over it.

536
00:32:23,680 --> 00:32:26,520
Speaker 1: Terrific acting job on her part because she really did

537
00:32:26,720 --> 00:32:29,600
Speaker 1: what she really was glowing that whole scene is just

538
00:32:29,840 --> 00:32:34,480
Speaker 1: kind of smiling at him and she was flush in

539
00:32:34,560 --> 00:32:39,280
Speaker 1: this whole episode. Was so pretty in the whole episode.

540
00:32:39,640 --> 00:32:43,920
Speaker 1: See that's the subtlety of of what the what the

541
00:32:44,280 --> 00:32:47,200
Speaker 1: really strong actors do is you can is what she

542
00:32:47,400 --> 00:32:49,560
Speaker 1: was doing in that scene. She was really happy to

543
00:32:49,640 --> 00:32:52,280
Speaker 1: see him, and you can tell physically, you could tell.

544
00:32:52,440 --> 00:32:54,600
Speaker 1: And when he left, she didn't want him to go,

545
00:32:55,880 --> 00:32:58,440
Speaker 1: but he's like, okay, like goodn to see you, and

546
00:32:58,600 --> 00:33:00,880
Speaker 1: she was like you could tell she wanted ten more hours.

547
00:33:01,680 --> 00:33:03,200
Speaker 1: Very funny when he says he's in he was in

548
00:33:03,240 --> 00:33:08,720
Speaker 1: California and she's all calibunga dude, and then the jokes

549
00:33:08,720 --> 00:33:12,600
Speaker 1: about Stanford. I just thought, okay, good, yeah, I just

550
00:33:13,200 --> 00:33:14,920
Speaker 1: at that point he was over all the you know,

551
00:33:15,080 --> 00:33:17,680
Speaker 1: the stand up comedian that she is. It's like, oh God,

552
00:33:17,760 --> 00:33:20,120
Speaker 1: here we go again. You know, she she was using

553
00:33:20,240 --> 00:33:22,920
Speaker 1: maybe using that the real back in. You know, he

554
00:33:23,080 --> 00:33:29,680
Speaker 1: wasn't going for it, uh not really apparently not as

555
00:33:29,760 --> 00:33:35,000
Speaker 1: he says, you know, so we'll get to that. She's powerful. Right.

556
00:33:35,280 --> 00:33:38,000
Speaker 1: We go to Friday Night Dinner, which I thought was

557
00:33:38,480 --> 00:33:41,800
Speaker 1: hilarious because it's so Richard, it's we get so there.

558
00:33:41,840 --> 00:33:44,760
Speaker 1: You're right, it is interesting. There's no Emily in this episode,

559
00:33:44,760 --> 00:33:49,320
Speaker 1: and you Friday Night Night Dinner is much lighter, much funnier.

560
00:33:49,480 --> 00:33:51,800
Speaker 1: He just like didn't know like what like like the

561
00:33:51,880 --> 00:33:53,560
Speaker 1: phone was ringing in He's like, all right, I have

562
00:33:53,600 --> 00:33:56,320
Speaker 1: to answer the phone. Oh my god, Laurel, I prank

563
00:33:56,400 --> 00:34:00,480
Speaker 1: calling from the Oh but wait a minute. Her a line.

564
00:34:01,480 --> 00:34:04,240
Speaker 1: When he opened the door, she goes, boy, mom's getting you.

565
00:34:04,280 --> 00:34:06,480
Speaker 1: What do you saying? What do you say? What is

566
00:34:06,560 --> 00:34:09,560
Speaker 1: something about? Wasn't about to help the maide, Yeah, they're

567
00:34:09,600 --> 00:34:15,960
Speaker 1: certainly looking. It was great. Let's see, let's see if

568
00:34:15,960 --> 00:34:19,440
Speaker 1: our crack staff anyone remember. I did not remember because

569
00:34:19,480 --> 00:34:23,719
Speaker 1: I was so that was a drawn over all, the strokes,

570
00:34:24,160 --> 00:34:27,239
Speaker 1: the strokes and the d A R. But they made

571
00:34:27,280 --> 00:34:29,880
Speaker 1: it funny. She Amy made it really funny with the

572
00:34:29,960 --> 00:34:32,160
Speaker 1: strokes and the strokes on top of strokes, and people

573
00:34:32,239 --> 00:34:34,160
Speaker 1: falling to remind us that they had strokes, you know,

574
00:34:34,200 --> 00:34:38,919
Speaker 1: they had strokes. And one of them says to each

575
00:34:38,920 --> 00:34:49,759
Speaker 1: other or strokes stroke it so happy and then uh

576
00:34:51,160 --> 00:34:53,880
Speaker 1: dying to tell Rory that she just bumped into Max.

577
00:34:54,280 --> 00:34:57,239
Speaker 1: And I thought that it was so funny when Rory says, yeah,

578
00:34:57,320 --> 00:35:01,560
Speaker 1: he was on loan somewhere her own somewhere. From that

579
00:35:01,719 --> 00:35:05,640
Speaker 1: whole everything about it was awesome because that's where we

580
00:35:05,680 --> 00:35:09,040
Speaker 1: get the c span line do where Richard's like, oh,

581
00:35:09,160 --> 00:35:13,200
Speaker 1: I love a televised house. The school can change if

582
00:35:13,239 --> 00:35:18,680
Speaker 1: the school can change the time, right right, Rory Alexis

583
00:35:18,800 --> 00:35:23,040
Speaker 1: is acting is so perfectly. But I love the ease

584
00:35:23,440 --> 00:35:26,759
Speaker 1: and uh and the joy with which ed Herman was

585
00:35:26,840 --> 00:35:29,839
Speaker 1: acting in that scene, you know, going over to get

586
00:35:29,880 --> 00:35:32,480
Speaker 1: the drink and then sitting down and just you know,

587
00:35:32,600 --> 00:35:34,759
Speaker 1: he he just is such a He was such a

588
00:35:34,840 --> 00:35:37,759
Speaker 1: wonderful actor. He really you tell me about that, Like

589
00:35:38,360 --> 00:35:41,600
Speaker 1: he makes it look like he's not acting or working right.

590
00:35:42,080 --> 00:35:45,000
Speaker 1: Everything is that there's no sharp edges to it. It's

591
00:35:45,040 --> 00:35:49,200
Speaker 1: all very smooth and it flows, and he's and he's

592
00:35:49,360 --> 00:35:52,840
Speaker 1: you know, he's so alive and present and and and

593
00:35:53,719 --> 00:35:56,560
Speaker 1: just enjoying what he's doing. I mean, and you believe

594
00:35:56,640 --> 00:35:58,440
Speaker 1: everything and even to the point where he stopped and

595
00:35:58,520 --> 00:36:00,480
Speaker 1: turned around listen to it and then he realize he

596
00:36:00,520 --> 00:36:02,799
Speaker 1: had to go answer the phone. I mean, it's all,

597
00:36:03,200 --> 00:36:05,560
Speaker 1: it all has the quality of what Stanislawski used to

598
00:36:05,600 --> 00:36:08,040
Speaker 1: call the quality of the first time. So it's like,

599
00:36:08,440 --> 00:36:11,320
Speaker 1: it all seems very spontaneous when he's doing, like what

600
00:36:11,440 --> 00:36:14,360
Speaker 1: everybody's doing. But but but ed Herman was such a

601
00:36:14,440 --> 00:36:16,920
Speaker 1: wonderful actor, and I know I was. I was hard

602
00:36:17,000 --> 00:36:20,560
Speaker 1: on him last week. It wasn't him the actor, it

603
00:36:21,560 --> 00:36:23,960
Speaker 1: was it was the situations that he was placed. And

604
00:36:24,040 --> 00:36:27,640
Speaker 1: you're only as good as you're writing, Okay, you're just

605
00:36:27,760 --> 00:36:32,920
Speaker 1: criticizing the fact that Richard, the Richard we know would

606
00:36:33,000 --> 00:36:36,520
Speaker 1: have stood up for Emily and would have stood up

607
00:36:36,920 --> 00:36:40,800
Speaker 1: to Tricks. That's why I find that I find that

608
00:36:41,920 --> 00:36:44,359
Speaker 1: you go, no, no, I do not get that part

609
00:36:44,560 --> 00:36:49,440
Speaker 1: of his character, you know, I don't. I find so

610
00:36:49,719 --> 00:36:56,320
Speaker 1: fascinating is that Richard would only be that way with

611
00:36:56,480 --> 00:37:00,440
Speaker 1: his mother, meaning he would stand up to anybody, work

612
00:37:00,640 --> 00:37:05,640
Speaker 1: at wherever. But his mother has power over him. And

613
00:37:05,760 --> 00:37:09,960
Speaker 1: I find that to be very believable. But she but Tricks.

614
00:37:10,000 --> 00:37:14,880
Speaker 1: She has Tricks has no redeeming qualities. Where are her

615
00:37:15,000 --> 00:37:19,359
Speaker 1: redeeming qualities? I think I've not seen them. She has

616
00:37:19,440 --> 00:37:22,440
Speaker 1: no empathy, and people that have no empathy, you know what,

617
00:37:22,560 --> 00:37:28,840
Speaker 1: we call them narcissists. Yeah, yeah, even worse, even worse.

618
00:37:29,719 --> 00:37:34,160
Speaker 1: A narcissist can empathy. A narcissist can have some empathy,

619
00:37:34,520 --> 00:37:41,600
Speaker 1: but a sociopath and a psychopath cannot. I think I

620
00:37:41,760 --> 00:37:44,800
Speaker 1: think that is an interesting debate. If there's anything likable

621
00:37:44,880 --> 00:37:49,560
Speaker 1: about brand Tricks, I think that we will. I think

622
00:37:49,640 --> 00:37:52,440
Speaker 1: she has. I think there's more to it there. I

623
00:37:52,520 --> 00:37:56,560
Speaker 1: don't think she's full villain. I think that Richard tricks

624
00:37:56,680 --> 00:37:59,800
Speaker 1: dynamic I think hurts his character. You can't hurt her character,

625
00:37:59,880 --> 00:38:02,520
Speaker 1: and more than than she already is. I mean, she's

626
00:38:02,920 --> 00:38:06,000
Speaker 1: she's in a fixed state of bad. But yeah, but

627
00:38:06,480 --> 00:38:09,840
Speaker 1: Richard's character, how he bounces off of her, I think it.

628
00:38:11,560 --> 00:38:14,680
Speaker 1: That's what I was objecting to. But there's an element

629
00:38:14,760 --> 00:38:16,400
Speaker 1: of him that's a bit of a mama's boy, and

630
00:38:16,480 --> 00:38:19,000
Speaker 1: I'm okay with that. It's not like I don't love it.

631
00:38:19,080 --> 00:38:22,120
Speaker 1: I don't admire it. It's not, but it it makes

632
00:38:22,200 --> 00:38:24,960
Speaker 1: sense to him. It goes against everything that he is about.

633
00:38:25,320 --> 00:38:28,680
Speaker 1: It goes against everything that That's where we disagree. I

634
00:38:28,760 --> 00:38:30,680
Speaker 1: think that's the part where we disagree because I think

635
00:38:31,800 --> 00:38:36,040
Speaker 1: I don't find it an interesting character quirk. It's it's

636
00:38:36,120 --> 00:38:38,800
Speaker 1: there's something larger at play than that I don't like

637
00:38:39,080 --> 00:38:44,239
Speaker 1: about I love him. I love him most of the time.

638
00:38:44,320 --> 00:38:49,160
Speaker 1: His acting is just the it's the writing you are criticizing.

639
00:38:49,280 --> 00:38:53,600
Speaker 1: But will continue this debate because Tricks is not going away.

640
00:38:54,200 --> 00:38:58,000
Speaker 1: So we've got more of that. So quickly, we have

641
00:38:58,160 --> 00:39:00,640
Speaker 1: the scene on the porch with Laura I am Suki.

642
00:39:00,880 --> 00:39:04,640
Speaker 1: Quick brief scene, but we're realizing, Okay, like Jackson is

643
00:39:04,680 --> 00:39:08,080
Speaker 1: a good guy. He's just trying to there was there

644
00:39:08,120 --> 00:39:12,400
Speaker 1: ever any doubt? Nope, no, And and even though he

645
00:39:12,520 --> 00:39:16,120
Speaker 1: didn't get excited and Suki didn't have her moment with

646
00:39:16,320 --> 00:39:19,640
Speaker 1: him of just being so happy, what we're realizing is like,

647
00:39:19,760 --> 00:39:23,919
Speaker 1: this guy is taking this seriously. Let her drive, want

648
00:39:24,080 --> 00:39:26,080
Speaker 1: drive more than seven miles per hour. It's like two

649
00:39:26,160 --> 00:39:29,320
Speaker 1: hours to get home for the doctor's scene. That's a

650
00:39:29,400 --> 00:39:32,680
Speaker 1: funny joke of itself. It's very dangerous in real life

651
00:39:32,719 --> 00:39:38,400
Speaker 1: to drive seven. And that scene where they're in the

652
00:39:38,520 --> 00:39:42,640
Speaker 1: bed and sort of Jackson comes around, you really appreciate

653
00:39:42,760 --> 00:39:46,360
Speaker 1: their relationship and the whole thing, and that was a

654
00:39:46,440 --> 00:39:50,400
Speaker 1: great They are important characters in this show, really important.

655
00:39:56,640 --> 00:39:58,920
Speaker 1: So yeah, I thought the way that all played out,

656
00:39:58,960 --> 00:40:01,160
Speaker 1: I thought was great. So okay, so now we get

657
00:40:01,239 --> 00:40:06,320
Speaker 1: the three way phone call, which is hilarious that the

658
00:40:06,640 --> 00:40:11,680
Speaker 1: assistant is calling Rory and Paris with Headmaster Charleston to

659
00:40:11,840 --> 00:40:15,120
Speaker 1: let them know that he's changed the rules and they

660
00:40:15,160 --> 00:40:18,080
Speaker 1: are going to do the speech together. I like how

661
00:40:18,120 --> 00:40:20,800
Speaker 1: they're silent with each other when they were waiting to connect,

662
00:40:21,280 --> 00:40:24,560
Speaker 1: like they just both didn't say a word, and they're

663
00:40:24,600 --> 00:40:27,160
Speaker 1: so polite to head Master Charleston even though they're like,

664
00:40:27,200 --> 00:40:30,040
Speaker 1: al so, why is he calling at night? I don't know,

665
00:40:30,200 --> 00:40:32,680
Speaker 1: in on like a Friday night. Was Friday night, right

666
00:40:32,800 --> 00:40:37,520
Speaker 1: like probably nine o'clock to probably give them the most

667
00:40:37,719 --> 00:40:40,560
Speaker 1: possible time to begin working on a combined speed. And

668
00:40:40,640 --> 00:40:42,920
Speaker 1: what's that guy still doing at school at nine o'clock

669
00:40:43,000 --> 00:40:46,319
Speaker 1: on a Friday night. Maybe it's what you think, you think,

670
00:40:46,360 --> 00:40:52,719
Speaker 1: being a headmaster at a fancy private schools up all

671
00:40:52,760 --> 00:40:56,160
Speaker 1: those calls to the Ivy League institutions talking about this

672
00:40:56,280 --> 00:41:00,279
Speaker 1: student that student. My god, So Paris and Rory talk

673
00:41:00,400 --> 00:41:02,439
Speaker 1: and okay, they're going to do the speech over the phone,

674
00:41:02,520 --> 00:41:04,719
Speaker 1: and suddenly, knock, knock, knock, Paris Is at the door,

675
00:41:06,840 --> 00:41:10,080
Speaker 1: and we learned she has slept with Jamie. You know,

676
00:41:10,280 --> 00:41:14,120
Speaker 1: that scene scared me because she is so disconnected from

677
00:41:14,160 --> 00:41:18,240
Speaker 1: her own feelings and it was just kind of chilling

678
00:41:18,600 --> 00:41:21,360
Speaker 1: actually when she you know, I slept with Jamie and

679
00:41:21,800 --> 00:41:23,440
Speaker 1: I don't know how I should feel about it, and

680
00:41:23,520 --> 00:41:25,400
Speaker 1: I'm numb and how Rory, I want to tell you

681
00:41:25,480 --> 00:41:28,040
Speaker 1: about this and how should I feel about this? But

682
00:41:28,120 --> 00:41:31,360
Speaker 1: I feel like that's a conversation that like teenage girls have,

683
00:41:31,600 --> 00:41:33,320
Speaker 1: like you go to your friend, you need to confine

684
00:41:33,440 --> 00:41:35,760
Speaker 1: your friend. I thought it was pretty spot on, actually

685
00:41:36,840 --> 00:41:38,960
Speaker 1: just kind of thought. Yes, I thought that it was

686
00:41:39,080 --> 00:41:43,400
Speaker 1: very spot on. But Scott is right that Paris is

687
00:41:43,560 --> 00:41:48,680
Speaker 1: unhinged essentially all the time, Like she this happened, and

688
00:41:48,920 --> 00:41:51,920
Speaker 1: she's really trying to figure out how she feels about it,

689
00:41:52,040 --> 00:41:56,240
Speaker 1: like this is what human beings do, but it happened

690
00:41:56,280 --> 00:41:58,520
Speaker 1: to me, and I don't know how to feel about it?

691
00:41:58,920 --> 00:42:03,239
Speaker 1: Right him Right, We did have one of the best lines, though,

692
00:42:03,640 --> 00:42:07,240
Speaker 1: so she so obviously Rory in Paris are on the phone,

693
00:42:07,280 --> 00:42:08,600
Speaker 1: and then Paris come to the door and tells me

694
00:42:08,719 --> 00:42:15,280
Speaker 1: she's love with Jamie, and Roy Saupp was something that said, yeah, okay,

695
00:42:15,440 --> 00:42:19,360
Speaker 1: so then we have this scene is so important because

696
00:42:20,600 --> 00:42:23,239
Speaker 1: we we we obviously knew she didn't sleep with Dane,

697
00:42:23,280 --> 00:42:24,880
Speaker 1: she didn't sleep with Jess, even though we had are

698
00:42:24,960 --> 00:42:27,160
Speaker 1: like weird, know you guys put a little bit of

699
00:42:27,200 --> 00:42:31,040
Speaker 1: te It was Danielle's first time watching too, and I

700
00:42:31,200 --> 00:42:34,280
Speaker 1: had a weird moment. But and then Lora Lyne listening

701
00:42:34,400 --> 00:42:40,160
Speaker 1: in and being so terrified and then so ecstatic and

702
00:42:40,280 --> 00:42:42,879
Speaker 1: she raised her daughter right. I got the good kid.

703
00:42:43,239 --> 00:42:45,920
Speaker 1: And do you know what actors hate the most is

704
00:42:45,960 --> 00:42:48,200
Speaker 1: when they have to do those lines at the end

705
00:42:48,280 --> 00:42:52,640
Speaker 1: of scenes. I have a great kid. You look at

706
00:42:52,680 --> 00:42:55,800
Speaker 1: that and you go, oh no, I have to say that,

707
00:42:55,960 --> 00:42:58,000
Speaker 1: and I have to make that work. That's the hardest

708
00:42:58,280 --> 00:43:04,200
Speaker 1: job you have is to sell that line. She sold

709
00:43:04,239 --> 00:43:07,160
Speaker 1: it beautifully. Oh God, she sold it beautiful. And it's

710
00:43:07,200 --> 00:43:10,560
Speaker 1: the hardest, the hardest thing to do. I feel myself

711
00:43:10,719 --> 00:43:14,320
Speaker 1: right now getting emotional. I was so emotional watching it.

712
00:43:14,400 --> 00:43:18,200
Speaker 1: I don't know why. Right from this moment until the

713
00:43:18,360 --> 00:43:23,400
Speaker 1: end of the episode, I believe because Liza played that

714
00:43:24,080 --> 00:43:28,640
Speaker 1: plays Paris so well. No, there's another reason. Can I

715
00:43:28,840 --> 00:43:33,040
Speaker 1: can I expound? Yes, here's what I think it is,

716
00:43:33,120 --> 00:43:34,480
Speaker 1: and this is what it is for me. This is

717
00:43:34,520 --> 00:43:38,120
Speaker 1: the experience I'm having with this show. Paris hasn't been

718
00:43:38,160 --> 00:43:40,759
Speaker 1: around in a while, and I've been super critical of

719
00:43:40,840 --> 00:43:44,359
Speaker 1: her right as a character, not as an actress, as

720
00:43:44,400 --> 00:43:48,800
Speaker 1: a character. I missed her. She came back and I

721
00:43:48,920 --> 00:43:51,440
Speaker 1: was like, Ah, Paul is right in the world and

722
00:43:51,520 --> 00:43:54,400
Speaker 1: the Gilmour world, because she's back and she's she's you know,

723
00:43:54,520 --> 00:43:59,320
Speaker 1: full Monty insulting everybody and being funny about it. These

724
00:43:59,520 --> 00:44:02,399
Speaker 1: characters or Is grow on us. They are be they

725
00:44:02,520 --> 00:44:07,120
Speaker 1: become our friends. Hence this level of addiction, because these

726
00:44:07,239 --> 00:44:11,200
Speaker 1: characters are so extreme and so unpredictable and so smart

727
00:44:11,360 --> 00:44:15,320
Speaker 1: and so driven and so on maybe so much like

728
00:44:15,560 --> 00:44:17,480
Speaker 1: people we know, all at the same time being so

729
00:44:17,760 --> 00:44:21,800
Speaker 1: unlike anybody we've ever met. And that's hard to balance,

730
00:44:21,840 --> 00:44:23,440
Speaker 1: and they do it so beautifully on the show with

731
00:44:23,560 --> 00:44:26,719
Speaker 1: these characters, because they're all very reminiscent of people that

732
00:44:26,840 --> 00:44:29,319
Speaker 1: we sort of know and have run into, but they're

733
00:44:29,440 --> 00:44:31,560
Speaker 1: nothing like anybody we know at the same time. So

734
00:44:32,120 --> 00:44:34,960
Speaker 1: I missed them. I missed Richard. I missed the old Richard.

735
00:44:35,000 --> 00:44:38,400
Speaker 1: I missed that I bulliant Richard. I missed Paris. I

736
00:44:38,560 --> 00:44:42,080
Speaker 1: love seeing Paris rehabilitate herself. I love and as chilling

737
00:44:42,160 --> 00:44:44,640
Speaker 1: as I thought that scene was. I love that she

738
00:44:44,800 --> 00:44:47,200
Speaker 1: opened up to to Rory, and I love the breakdown,

739
00:44:47,200 --> 00:44:50,480
Speaker 1: see all that stuff. I love these people. These are

740
00:44:50,640 --> 00:44:54,560
Speaker 1: my friends now, I think. God, I think because even

741
00:44:54,719 --> 00:44:59,560
Speaker 1: Max Max is back. I think when you're saying that,

742
00:45:00,080 --> 00:45:03,720
Speaker 1: think you're so spot on. I missed Paris and Rory

743
00:45:04,200 --> 00:45:08,000
Speaker 1: getting along. Yes, I'm gonna like I know I always cry,

744
00:45:08,040 --> 00:45:17,080
Speaker 1: but it's like that scene was so unbelievable and so beautiful.

745
00:45:18,520 --> 00:45:22,320
Speaker 1: I think I missed them. I like their sort of

746
00:45:23,200 --> 00:45:25,840
Speaker 1: always going head to head, but I missed those moments

747
00:45:26,280 --> 00:45:31,319
Speaker 1: where because they were really becoming friends. Dare I say

748
00:45:31,520 --> 00:45:35,120
Speaker 1: they are in a sense. They're not laying and Rory,

749
00:45:35,200 --> 00:45:38,160
Speaker 1: but they are best friends in a way. And so

750
00:45:40,440 --> 00:45:45,040
Speaker 1: it was. I mean, that scene just gutted me. I

751
00:45:45,080 --> 00:45:47,680
Speaker 1: don't keep going, keep going, No, no, I want I

752
00:45:47,719 --> 00:45:49,279
Speaker 1: want to hear what you said. You don't know. It

753
00:45:49,440 --> 00:45:52,480
Speaker 1: reminds me of a quote from one of the great

754
00:45:52,560 --> 00:45:56,120
Speaker 1: directors or a couple of different great directors of all time,

755
00:45:56,200 --> 00:45:59,920
Speaker 1: and they we're talking about what a great script is

756
00:46:00,160 --> 00:46:02,680
Speaker 1: or what a great movie is, and you know, they

757
00:46:02,760 --> 00:46:06,200
Speaker 1: simplify it down to you know, what a great film

758
00:46:06,360 --> 00:46:10,279
Speaker 1: is or great television. You know what it is. It's

759
00:46:10,320 --> 00:46:14,719
Speaker 1: a couple of moments between two people. That's it. That's

760
00:46:14,880 --> 00:46:17,919
Speaker 1: and the rest of it is not important. What gets

761
00:46:18,200 --> 00:46:21,200
Speaker 1: it's important how they get there, and boy did they?

762
00:46:22,360 --> 00:46:24,719
Speaker 1: What what a circuitous route it was to get to

763
00:46:24,840 --> 00:46:27,759
Speaker 1: that moment. And the two three and a half, two

764
00:46:27,800 --> 00:46:29,960
Speaker 1: and a half seasons. What are we in season three now? Yeah,

765
00:46:30,200 --> 00:46:32,040
Speaker 1: three and two and a half seasons to get there,

766
00:46:32,040 --> 00:46:33,600
Speaker 1: two and three quarters season to get there. But we

767
00:46:33,760 --> 00:46:37,000
Speaker 1: got there, and how beautifully we got there. That was

768
00:46:37,080 --> 00:46:40,840
Speaker 1: a real moment between two people. Even though I don't

769
00:46:40,960 --> 00:46:47,000
Speaker 1: think that Paris would have been so disheveled on television

770
00:46:47,080 --> 00:46:49,600
Speaker 1: and in front of the school, I do think her

771
00:46:49,680 --> 00:46:53,200
Speaker 1: reaction to not getting into Harvard and having slept with

772
00:46:53,320 --> 00:46:55,800
Speaker 1: her high you know, she's in high school, he's in college.

773
00:46:55,960 --> 00:47:01,560
Speaker 1: Having slept with this guy, that part, Oh, I think

774
00:47:01,719 --> 00:47:08,880
Speaker 1: that would send anyone, especially Paris, just spiraling, like her saying,

775
00:47:09,000 --> 00:47:13,120
Speaker 1: like I had sex, which is the most shocking thing ever,

776
00:47:13,320 --> 00:47:16,640
Speaker 1: and I didn't get into Harvard. No one would have

777
00:47:16,719 --> 00:47:21,480
Speaker 1: ever thought that would be the what happened? I have

778
00:47:21,719 --> 00:47:25,640
Speaker 1: I have a bone to pick, tell us first bone. Sorry,

779
00:47:25,800 --> 00:47:28,040
Speaker 1: It's okay. There There can always be a bone. Okay,

780
00:47:28,120 --> 00:47:30,520
Speaker 1: here's here's a potential bone, and you guys can talk

781
00:47:30,600 --> 00:47:33,160
Speaker 1: me out of the bone yard after I after I

782
00:47:33,280 --> 00:47:38,560
Speaker 1: picked this bone. Um, what would have the headmaster or

783
00:47:38,640 --> 00:47:41,560
Speaker 1: even Richard or anybody who saw Paris and that state

784
00:47:41,880 --> 00:47:44,400
Speaker 1: allowed her to go up on stage? I totally, I

785
00:47:44,520 --> 00:47:47,120
Speaker 1: totally agree with you. I think Rory would have said,

786
00:47:47,239 --> 00:47:50,279
Speaker 1: you look a mess, what is going on? They all

787
00:47:50,360 --> 00:47:55,080
Speaker 1: just let her. That would have never happened. Ever, I agree,

788
00:47:55,520 --> 00:48:00,600
Speaker 1: And I also think Paris, the pair us we know,

789
00:48:01,719 --> 00:48:04,759
Speaker 1: would not have donald to begin with. She would have

790
00:48:04,880 --> 00:48:09,840
Speaker 1: never been late. Like it just started from that. Go ahead, sorry, no,

791
00:48:09,920 --> 00:48:11,319
Speaker 1: I was going to say. And then like you would

792
00:48:11,360 --> 00:48:13,600
Speaker 1: think that, you know, let's say she did storm the

793
00:48:13,640 --> 00:48:15,440
Speaker 1: stage and get up on there. They wouldn't let her

794
00:48:15,520 --> 00:48:17,600
Speaker 1: continue for like as long as she was sitting there

795
00:48:17,600 --> 00:48:19,799
Speaker 1: would have been like, all right, let's pause, let's get

796
00:48:19,800 --> 00:48:21,960
Speaker 1: her off stage. And I thought, Laura Lie. There was

797
00:48:22,000 --> 00:48:23,759
Speaker 1: a moment where I thought, oh, Lourea Lie is going

798
00:48:23,840 --> 00:48:26,520
Speaker 1: to go up and not not you know, Lorea Lee

799
00:48:26,560 --> 00:48:29,160
Speaker 1: would go up and get her, and then Rory would

800
00:48:29,160 --> 00:48:33,400
Speaker 1: give the speech. The way it transpired was I loved.

801
00:48:34,320 --> 00:48:36,960
Speaker 1: But yes, I think it's a fair bone depict because

802
00:48:37,160 --> 00:48:40,680
Speaker 1: that no one's no. But it made out of school

803
00:48:40,760 --> 00:48:46,600
Speaker 1: like children. She wasn't exactly made for great TV. It

804
00:48:46,760 --> 00:48:50,959
Speaker 1: was a moment, honestly, like between you know, her saying

805
00:48:51,040 --> 00:48:53,680
Speaker 1: she's loved with Jamie and then her getting rejected, all

806
00:48:53,920 --> 00:48:57,320
Speaker 1: within two scenes of each other, was like, damn, you

807
00:48:57,400 --> 00:49:00,320
Speaker 1: feel you feel for her. You now feel what she's feeling,

808
00:49:00,440 --> 00:49:02,759
Speaker 1: and like her showing up in those sweats and that's

809
00:49:02,920 --> 00:49:04,840
Speaker 1: sweater which, by the way, I left her turnal necklace.

810
00:49:04,840 --> 00:49:07,920
Speaker 1: You were two of on this episode. Um, you know

811
00:49:08,120 --> 00:49:11,239
Speaker 1: you you just feel for her, and I think that

812
00:49:11,400 --> 00:49:14,320
Speaker 1: we're always so team Rory and now you're kind of

813
00:49:14,560 --> 00:49:18,880
Speaker 1: feeling what Paris is going through. Well, yeah, and as

814
00:49:18,920 --> 00:49:21,839
Speaker 1: soon as you see Paris walking down the hall, you go, oh,

815
00:49:22,600 --> 00:49:24,840
Speaker 1: what the hell happened? What happened? So I started And

816
00:49:25,000 --> 00:49:28,400
Speaker 1: that's that's good television because all of a sudden, you're like,

817
00:49:28,480 --> 00:49:32,000
Speaker 1: you're fearful of what it could have been. You know

818
00:49:32,040 --> 00:49:36,399
Speaker 1: what I thought. I thought that that Jamie guy either

819
00:49:36,560 --> 00:49:40,560
Speaker 1: dumped her her had done something horrible to it. And

820
00:49:40,640 --> 00:49:43,920
Speaker 1: it was like, oh God, she needs either medical attention,

821
00:49:44,120 --> 00:49:47,160
Speaker 1: or she needs she needs to go talk to a psychologist,

822
00:49:47,239 --> 00:49:50,360
Speaker 1: or you know she she's in bad shape right away,

823
00:49:50,400 --> 00:49:52,840
Speaker 1: and so you know you're thinking, as an audience, like

824
00:49:53,120 --> 00:49:57,040
Speaker 1: what is going to happen? So the anticipation was, yes,

825
00:49:57,640 --> 00:50:00,560
Speaker 1: so agree with you. You're like going a So normally

826
00:50:00,600 --> 00:50:02,920
Speaker 1: when we watch, right, I take my notes and I'm

827
00:50:02,920 --> 00:50:05,640
Speaker 1: always doing this. I sat back. I don't remember what

828
00:50:05,719 --> 00:50:08,319
Speaker 1: I was eating, but I sat back in bed, put

829
00:50:08,400 --> 00:50:12,759
Speaker 1: my legal path to the side, and just watched and

830
00:50:13,000 --> 00:50:18,640
Speaker 1: was like nervous, anxious edge in my seat, like what.

831
00:50:20,719 --> 00:50:23,320
Speaker 1: It also just shows you, like, like going back to

832
00:50:23,520 --> 00:50:26,120
Speaker 1: that they're actually really friends. It's not like Rory and Lane,

833
00:50:26,160 --> 00:50:28,759
Speaker 1: but they're friends. But when Rory you know, pulls her

834
00:50:28,800 --> 00:50:30,960
Speaker 1: off stage and she kind of like talks her like

835
00:50:31,080 --> 00:50:32,959
Speaker 1: you know, like Paris, like you know it's gonna be okay,

836
00:50:33,040 --> 00:50:37,240
Speaker 1: you know, that just shows their friendship and like parents,

837
00:50:37,320 --> 00:50:40,800
Speaker 1: I'm sorry, Rory can have two best friends in Paris

838
00:50:40,920 --> 00:50:45,520
Speaker 1: is one of them? Yes, this like they were like

839
00:50:48,400 --> 00:50:50,400
Speaker 1: I don't want to say sisters, but they were like

840
00:50:51,000 --> 00:50:54,920
Speaker 1: sisters in the moment because she and it was like

841
00:50:56,960 --> 00:51:00,840
Speaker 1: in that particular case, Rory Rory had it. Y's you know,

842
00:51:01,040 --> 00:51:04,879
Speaker 1: Rory's handling it with the speech. Rory's the together one

843
00:51:06,200 --> 00:51:08,640
Speaker 1: and then you know, she just grabs her and likes her,

844
00:51:08,960 --> 00:51:11,200
Speaker 1: and you don't get a minute of Rory being or

845
00:51:11,360 --> 00:51:15,040
Speaker 1: is not mad at her, nor's not disappointed that he

846
00:51:15,239 --> 00:51:18,680
Speaker 1: was concerned for her friend. Yeah. So so yeah, And

847
00:51:18,800 --> 00:51:21,640
Speaker 1: it was on top of all of the anticipation and

848
00:51:21,719 --> 00:51:26,480
Speaker 1: attention that that created. Uh, it was also very funny, totally.

849
00:51:26,719 --> 00:51:28,359
Speaker 1: She was very funny and so we got some big

850
00:51:28,440 --> 00:51:31,000
Speaker 1: laughs out of it. But here's the thing I think, Um,

851
00:51:32,000 --> 00:51:34,880
Speaker 1: you know, I think Rory because the Rory Paris friendship

852
00:51:34,960 --> 00:51:38,279
Speaker 1: is odd and it seems like it's so unlikely and

853
00:51:39,000 --> 00:51:42,200
Speaker 1: uh so, uh, you know, opposite ends of the spectrum.

854
00:51:42,400 --> 00:51:44,960
Speaker 1: I don't think so. I think they're both outsiders in

855
00:51:45,040 --> 00:51:47,800
Speaker 1: their own way. Obviously, Rory's an outside because she stars

856
00:51:47,840 --> 00:51:50,600
Speaker 1: hollow and you know, she's got the mom that she does.

857
00:51:51,000 --> 00:51:55,560
Speaker 1: Paris is more on inside baseball with that crowd. But

858
00:51:56,160 --> 00:51:59,919
Speaker 1: in that crowd, she's not accepted, is she she fear

859
00:52:01,040 --> 00:52:04,560
Speaker 1: She has a reputation as being you know, obsessive, compulsive

860
00:52:04,719 --> 00:52:07,560
Speaker 1: and studies all the time. But does she have friends

861
00:52:07,680 --> 00:52:12,279
Speaker 1: cool or popular at all? But everyone knows her everybody right,

862
00:52:12,360 --> 00:52:16,839
Speaker 1: She's notorious, right, So she's an outsider in her own way.

863
00:52:17,320 --> 00:52:19,920
Speaker 1: So I think that's what makes those two come together.

864
00:52:20,320 --> 00:52:22,680
Speaker 1: I so agree with you. And they both are at

865
00:52:22,719 --> 00:52:25,279
Speaker 1: the top of their game because arguably they both are

866
00:52:25,440 --> 00:52:28,000
Speaker 1: the smartest. They both are the president, the vice president,

867
00:52:28,040 --> 00:52:30,479
Speaker 1: they both got picked to do the speech. They both

868
00:52:30,640 --> 00:52:35,560
Speaker 1: are the top. They're just going about it so differently.

869
00:52:37,520 --> 00:52:41,279
Speaker 1: Can I share with you my all time favorite Richard

870
00:52:41,360 --> 00:52:46,480
Speaker 1: Gilmour moment. It came in this scene because they when

871
00:52:46,560 --> 00:52:49,040
Speaker 1: she was in the middle of her meltdown up there,

872
00:52:49,680 --> 00:52:53,920
Speaker 1: they cut they cut to Richard and he was doing this. Ready,

873
00:52:54,200 --> 00:52:55,960
Speaker 1: he's just doing this. He was like this, he went,

874
00:52:59,239 --> 00:53:02,759
Speaker 1: he looked, his eyes were closed at this turn. No,

875
00:53:02,960 --> 00:53:06,040
Speaker 1: he was not asleep. He was like, I don't want

876
00:53:06,040 --> 00:53:08,879
Speaker 1: to be here. This is horrible. Oh my god. Wait,

877
00:53:09,280 --> 00:53:12,880
Speaker 1: oh no, it was hysterical. Wait, it was the best.

878
00:53:13,200 --> 00:53:16,399
Speaker 1: It was the best choice I've seen an actor make

879
00:53:16,760 --> 00:53:24,440
Speaker 1: in a situation like that that he wasn't he was asleep.

880
00:53:25,840 --> 00:53:28,479
Speaker 1: Oh my god, Scott, I think you might be wrong

881
00:53:28,719 --> 00:53:32,279
Speaker 1: because I am convinced he's think he was asleep. Yeah,

882
00:53:32,520 --> 00:53:35,560
Speaker 1: is why he has no idea what happened, because there's

883
00:53:35,760 --> 00:53:38,600
Speaker 1: a moment later didn't know what happened. No, there's a

884
00:53:38,680 --> 00:53:43,080
Speaker 1: moment later I thought I thought he was like he

885
00:53:43,239 --> 00:53:45,880
Speaker 1: was sound asleep, because there's a moment later when he

886
00:53:45,920 --> 00:53:51,359
Speaker 1: says to Lorela, Okay, that was great sleep. I think

887
00:53:51,360 --> 00:53:56,400
Speaker 1: he got bored. How is working so much? Yeah, but

888
00:53:56,520 --> 00:54:00,120
Speaker 1: it was It was just rory until Paris showed so

889
00:54:00,360 --> 00:54:03,279
Speaker 1: prouple of lines. He was all excited to be there.

890
00:54:04,280 --> 00:54:07,160
Speaker 1: He's been working so late, with the calls to Japan

891
00:54:07,320 --> 00:54:10,880
Speaker 1: or whatever. I been taking care of the house and

892
00:54:10,960 --> 00:54:13,480
Speaker 1: take here. So it is my bone to pick, though,

893
00:54:16,520 --> 00:54:22,560
Speaker 1: because right Richard would have never fallen asleep. I agree.

894
00:54:22,600 --> 00:54:25,759
Speaker 1: It was my It's my it's my second. He was

895
00:54:25,840 --> 00:54:28,520
Speaker 1: all excited and energized, and they sat down. She only

896
00:54:28,719 --> 00:54:30,719
Speaker 1: said a couple of lines of speech, and he would

897
00:54:30,719 --> 00:54:33,480
Speaker 1: have he would have been alerted that Paris was in

898
00:54:33,560 --> 00:54:35,600
Speaker 1: some kind of trouble. He's seeing this girl up there

899
00:54:35,920 --> 00:54:38,919
Speaker 1: was crazy. I think they did it. This is my gut,

900
00:54:39,040 --> 00:54:42,719
Speaker 1: and everybody can. Everybody can debate this, and I think

901
00:54:42,840 --> 00:54:46,400
Speaker 1: they did it as comedic relief, probably because they didn't

902
00:54:46,480 --> 00:54:49,360
Speaker 1: need it so intense. I totally agree. I thought it's

903
00:54:49,360 --> 00:54:51,520
Speaker 1: a bone to pick for me. I don't Richard Gilmore

904
00:54:51,520 --> 00:54:53,919
Speaker 1: would have never fallen asleep at that thing, and Richard

905
00:54:53,960 --> 00:54:56,440
Speaker 1: Gilmore would have never been clueless. He would have never

906
00:54:56,520 --> 00:54:59,640
Speaker 1: said to Lorala, well that was a great, great event

907
00:55:00,040 --> 00:55:03,360
Speaker 1: eight speech. Laurel I just goes along with it. It's like, no,

908
00:55:03,719 --> 00:55:09,359
Speaker 1: he would have totally had wise words or yeah, saying

909
00:55:09,400 --> 00:55:12,359
Speaker 1: at all because I thought it was weird. Oh my god,

910
00:55:12,600 --> 00:55:15,239
Speaker 1: I'm sorry this episode still goes in the Hall of

911
00:55:15,320 --> 00:55:19,720
Speaker 1: Fame because it's still agree It's still in my mind flawless.

912
00:55:20,680 --> 00:55:22,879
Speaker 1: Look I'm gonna go I'm gonna go to my grave

913
00:55:23,040 --> 00:55:25,640
Speaker 1: thinking Richard was not asleep and that he was just grimacing.

914
00:55:25,760 --> 00:55:28,200
Speaker 1: I am fine with having a few flaws, even in

915
00:55:28,239 --> 00:55:30,920
Speaker 1: a perfect episode. Okay, so we have a few more

916
00:55:31,000 --> 00:55:33,600
Speaker 1: things before we get to the end of this. The

917
00:55:33,800 --> 00:55:43,040
Speaker 1: joke the coat lady said was epic. She's like, there's

918
00:55:43,160 --> 00:55:45,840
Speaker 1: coats in there. Otherwise the staircase to the roof is

919
00:55:45,920 --> 00:55:49,160
Speaker 1: on the right, and and they let it hang, you

920
00:55:49,239 --> 00:55:50,920
Speaker 1: know what I mean, Like they gave us that moment.

921
00:55:51,600 --> 00:55:54,799
Speaker 1: And then Laurel I says, oh my god, two years

922
00:55:54,840 --> 00:55:59,440
Speaker 1: and someone finally cracked a joke that was just amazing.

923
00:56:00,360 --> 00:56:03,240
Speaker 1: I have one more little bone to pick with Max.

924
00:56:04,080 --> 00:56:06,799
Speaker 1: I will tell you this is a third bone. Yeah,

925
00:56:06,840 --> 00:56:10,280
Speaker 1: I think I've had three and it's hard of one. Really,

926
00:56:10,440 --> 00:56:13,799
Speaker 1: I didn't love the line. Now, you guys can tell

927
00:56:13,840 --> 00:56:17,080
Speaker 1: me I'm wrong, and maybe I'm being too like about

928
00:56:19,800 --> 00:56:21,239
Speaker 1: I didn't love the line when he said, oh, it's

929
00:56:21,280 --> 00:56:26,680
Speaker 1: hard to be a girl. I'm shut Max. He said, yeah,

930
00:56:29,680 --> 00:56:33,359
Speaker 1: when they're in the coat room and it's hard. Right

931
00:56:33,440 --> 00:56:35,800
Speaker 1: before they kiss, he says, because they're talking about what

932
00:56:36,280 --> 00:56:38,080
Speaker 1: Rory and Paris are going through and all the things.

933
00:56:38,120 --> 00:56:41,600
Speaker 1: You know, Obviously that was a moment. I just thought,

934
00:56:42,400 --> 00:56:46,520
Speaker 1: it's not about being a girl, Max. But I don't know,

935
00:56:46,640 --> 00:56:50,560
Speaker 1: I might be being too you know whatever, I I

936
00:56:50,680 --> 00:56:53,960
Speaker 1: can let it slide completely, but I did, right, I

937
00:56:54,120 --> 00:56:57,040
Speaker 1: love that line. I loved the kiss though. I mean

938
00:56:59,040 --> 00:57:01,439
Speaker 1: I was there for it. How do you feel, Scott

939
00:57:01,640 --> 00:57:12,279
Speaker 1: about the kiss? Well, that explains it. I think you

940
00:57:12,440 --> 00:57:15,640
Speaker 1: gotta you gotta keep that thing going. You gotta somehow,

941
00:57:16,720 --> 00:57:19,160
Speaker 1: you know, you gotta keep it going. I think that

942
00:57:19,440 --> 00:57:23,600
Speaker 1: that it's it's hard. Poor Max. I mean he didn't

943
00:57:23,600 --> 00:57:27,280
Speaker 1: have a chance. I mean, she's so attractive and wonderful,

944
00:57:28,120 --> 00:57:32,640
Speaker 1: and obviously he could tell that she was that he

945
00:57:32,800 --> 00:57:37,160
Speaker 1: had psychological advantage at this point between the two of them, Right,

946
00:57:37,600 --> 00:57:40,120
Speaker 1: I mean she was eating out of his hand. Um.

947
00:57:40,720 --> 00:57:43,280
Speaker 1: She was filled with regret, she was filled with she

948
00:57:45,000 --> 00:57:47,840
Speaker 1: was still physical, she was still physically turned on by

949
00:57:47,960 --> 00:57:51,880
Speaker 1: him because she talks about you look great, you look great,

950
00:57:52,000 --> 00:57:54,760
Speaker 1: you look great, you look right where To me, it

951
00:57:54,840 --> 00:57:57,480
Speaker 1: looked like he'd lost weight from the prior episodes and

952
00:57:57,880 --> 00:58:00,160
Speaker 1: didn't look as great. But he looked pretty much much

953
00:58:00,200 --> 00:58:04,960
Speaker 1: the same and still great. Um. But yeah, I think

954
00:58:05,040 --> 00:58:10,320
Speaker 1: it's hard to resist that, right, how do you resist that?

955
00:58:10,920 --> 00:58:13,840
Speaker 1: And he never was over it? No, No, I think

956
00:58:14,080 --> 00:58:16,040
Speaker 1: him coming in and we just we kind of knew

957
00:58:16,120 --> 00:58:22,680
Speaker 1: something was going to happen, you know, freaking yeah, I know.

958
00:58:22,840 --> 00:58:26,640
Speaker 1: I bring this up every episode and I hope no

959
00:58:26,720 --> 00:58:32,400
Speaker 1: one gets annoyed. We always have this amazing scene, this

960
00:58:32,600 --> 00:58:35,400
Speaker 1: huge crescendo, and then you think, you take a breath,

961
00:58:35,440 --> 00:58:39,640
Speaker 1: and you think, okay, it's over the episodes ending. Nope,

962
00:58:40,400 --> 00:58:45,880
Speaker 1: Rory got the Big End Club. Yeah, three of them,

963
00:58:46,280 --> 00:58:50,760
Speaker 1: And that scene was like, oh my god. It was

964
00:58:50,920 --> 00:58:54,560
Speaker 1: done so well, like because it wasn't like this, oh

965
00:58:54,640 --> 00:58:56,720
Speaker 1: my god, look like you know you run in with

966
00:58:56,960 --> 00:58:59,120
Speaker 1: like you know, from from the mail in the house,

967
00:58:59,240 --> 00:59:03,280
Speaker 1: Like it was just so heartwarming because they were at

968
00:59:03,360 --> 00:59:06,200
Speaker 1: the mailbox together and they didn't see one, but they

969
00:59:06,240 --> 00:59:10,840
Speaker 1: saw three and you realize and I think Laura La

970
00:59:10,960 --> 00:59:17,000
Speaker 1: even says everything you've worked for is now coming true

971
00:59:18,280 --> 00:59:23,240
Speaker 1: and here we go and it was like whoa. That's

972
00:59:23,240 --> 00:59:26,560
Speaker 1: when I just went Wow. This episode just did me in.

973
00:59:26,720 --> 00:59:35,800
Speaker 1: It was so good, so good. So let me ask

974
00:59:35,840 --> 00:59:38,480
Speaker 1: you a few questions from our notes. So for everyone listening,

975
00:59:38,520 --> 00:59:41,720
Speaker 1: we obviously we we we put work into this, so

976
00:59:41,920 --> 00:59:45,440
Speaker 1: we obviously planned things ahead. So Scott had a few

977
00:59:45,480 --> 00:59:47,959
Speaker 1: notes and I really want to share that with you guys.

978
00:59:48,120 --> 00:59:53,000
Speaker 1: So my first question is, Um, we talked about how

979
00:59:53,360 --> 00:59:56,760
Speaker 1: Laura Lie feels about Richard showing up for Rory, and

980
00:59:56,800 --> 00:59:58,760
Speaker 1: I'd love to get your thoughts on that. I think

981
00:59:58,880 --> 01:00:02,920
Speaker 1: she's it's just it's more proof positive that she's such

982
01:00:03,000 --> 01:00:08,160
Speaker 1: a mature woman, UM. And that she's accepted that she's

983
01:00:08,240 --> 01:00:11,320
Speaker 1: not going to get much out of her parents. UM,

984
01:00:11,480 --> 01:00:13,440
Speaker 1: So in return, why should she put so much in?

985
01:00:13,560 --> 01:00:15,920
Speaker 1: But when it comes to her daughter, she does. She's

986
01:00:16,000 --> 01:00:19,800
Speaker 1: she's a woman enough to a big enough person to

987
01:00:19,880 --> 01:00:22,120
Speaker 1: appreciate the fact that Richard shows up and then Emily

988
01:00:22,200 --> 01:00:24,680
Speaker 1: is going to show up and she's truly grateful for

989
01:00:24,800 --> 01:00:29,280
Speaker 1: that and knows that she's no, she's no longer playing

990
01:00:29,320 --> 01:00:31,840
Speaker 1: that Hey what about me? Card? You know, why aren't

991
01:00:31,880 --> 01:00:35,200
Speaker 1: you there for me? So it seems like she's moved

992
01:00:35,240 --> 01:00:37,080
Speaker 1: on from it, and it's and it's nice to see.

993
01:00:37,400 --> 01:00:39,680
Speaker 1: And I always love how Richard has a check because

994
01:00:39,720 --> 01:00:46,320
Speaker 1: my grandpa did that every single Okay, So then you

995
01:00:46,400 --> 01:00:48,800
Speaker 1: were going to tell us about the camera work during

996
01:00:48,920 --> 01:00:54,160
Speaker 1: the Paris meltdown, crying the crying scene. There's a very

997
01:00:54,240 --> 01:00:58,920
Speaker 1: difficult scenes and those were obviously real tears and uh

998
01:01:00,040 --> 01:01:06,880
Speaker 1: stunningly deep performance from from Liza Um really heartbreaking and

999
01:01:08,160 --> 01:01:12,040
Speaker 1: really dead on and true. And and here's another thing,

1000
01:01:12,200 --> 01:01:15,560
Speaker 1: and I'm going to say it again, I think there

1001
01:01:15,640 --> 01:01:21,280
Speaker 1: were a lot of reasons, uh to nominate uh lead actors,

1002
01:01:21,360 --> 01:01:25,440
Speaker 1: guest actors, UH series regulars and and and recurring players,

1003
01:01:25,880 --> 01:01:29,360
Speaker 1: and that everybody got overlooked. And this is here's another

1004
01:01:30,040 --> 01:01:33,800
Speaker 1: here's another performance that got overlooked, you know what I'm saying.

1005
01:01:34,000 --> 01:01:36,440
Speaker 1: And maybe they thought there wasn't there wasn't enough of

1006
01:01:36,560 --> 01:01:41,920
Speaker 1: that kind of behavior from the Paris character. It was

1007
01:01:42,000 --> 01:01:44,720
Speaker 1: like too much of this. But I mean, you cannot

1008
01:01:44,800 --> 01:01:47,400
Speaker 1: deny the skill level of these actors. I mean, it's

1009
01:01:47,880 --> 01:01:50,320
Speaker 1: just as good as it gets. So anyway, So I

1010
01:01:50,360 --> 01:01:53,840
Speaker 1: want to discuss how they how I think Jamie babbittt

1011
01:01:53,880 --> 01:01:58,560
Speaker 1: decided to shoot that. Yes, Paris crying scenes, Yes, yes

1012
01:01:58,960 --> 01:02:02,000
Speaker 1: we got some sidetracked. One thing that is so so

1013
01:02:02,400 --> 01:02:08,040
Speaker 1: incredibly difficult is to break down to that degree in

1014
01:02:08,160 --> 01:02:11,280
Speaker 1: front of a camera. That's hard to do. You need

1015
01:02:11,360 --> 01:02:14,600
Speaker 1: to have a skill set that's finally honed, um and

1016
01:02:14,720 --> 01:02:18,920
Speaker 1: an instrument that's finally tuned yourself right. So, so to

1017
01:02:19,160 --> 01:02:23,200
Speaker 1: do that on a in front of a camera several

1018
01:02:23,360 --> 01:02:28,800
Speaker 1: different times from several different camera angles is daunting. Yes, yes,

1019
01:02:29,360 --> 01:02:31,200
Speaker 1: it's like, well, you gotta do it in the master shot.

1020
01:02:31,280 --> 01:02:33,160
Speaker 1: Then we're gonna, you know, take twenty minutes and set

1021
01:02:33,240 --> 01:02:34,960
Speaker 1: up this camera over here, so we catch your left

1022
01:02:35,040 --> 01:02:37,360
Speaker 1: profile and then the right profile. We're gonna set up another.

1023
01:02:37,440 --> 01:02:41,440
Speaker 1: And So when I think Jamie Babbitt did, I think she.

1024
01:02:41,800 --> 01:02:45,240
Speaker 1: I definitely think she did. Is she shot Um, she

1025
01:02:45,440 --> 01:02:49,040
Speaker 1: did dual cameras over so she shot two cameras at

1026
01:02:49,080 --> 01:02:51,280
Speaker 1: the same time. It's hard to do it if it's

1027
01:02:51,520 --> 01:02:54,360
Speaker 1: cameras facing each other because then you see the other cameras, right, So,

1028
01:02:55,080 --> 01:02:57,040
Speaker 1: so it had to be angled in a certain way.

1029
01:02:57,160 --> 01:03:00,040
Speaker 1: So that, and it's always because I was in this

1030
01:03:00,160 --> 01:03:05,760
Speaker 1: situation yesterday on the show where I said, listen, this

1031
01:03:06,000 --> 01:03:09,800
Speaker 1: is a big scene and it's a highly emotional scene,

1032
01:03:10,440 --> 01:03:13,920
Speaker 1: and the DP had already taken care of he'd already read,

1033
01:03:14,040 --> 01:03:17,200
Speaker 1: he'd already anticipated that. You know, I'm not going to

1034
01:03:17,320 --> 01:03:21,560
Speaker 1: make Scott do this time. I'm gonna he's gonna do

1035
01:03:21,680 --> 01:03:23,800
Speaker 1: it once or twice, and we're going to cover it.

1036
01:03:24,280 --> 01:03:28,040
Speaker 1: And so he designed a shot, a camera sequence, and

1037
01:03:28,080 --> 01:03:32,520
Speaker 1: a camera positioning that allowed me to do that. Thank you, Eric. Yea,

1038
01:03:33,120 --> 01:03:37,000
Speaker 1: it makes sense. That makes sense because that she could

1039
01:03:37,160 --> 01:03:41,440
Speaker 1: never I mean, I'm sure someone could, but I just

1040
01:03:41,560 --> 01:03:45,920
Speaker 1: feel like the reason that scene was so amazing is

1041
01:03:46,120 --> 01:03:49,200
Speaker 1: you're right, we probably got we probably watching the first time.

1042
01:03:49,320 --> 01:03:52,880
Speaker 1: Second time she did it right. And I will say, like,

1043
01:03:54,280 --> 01:03:57,240
Speaker 1: I think if a girl forget the c span part,

1044
01:03:57,480 --> 01:03:59,680
Speaker 1: but a girl sleeps with her boyfriend and then doesn't

1045
01:03:59,680 --> 01:04:02,080
Speaker 1: get an to the college of her dreams, that is

1046
01:04:02,160 --> 01:04:06,600
Speaker 1: exactly what would happen crying on a stairwells stairwell with

1047
01:04:06,720 --> 01:04:10,920
Speaker 1: your best friend. It just felt like yep, and you're

1048
01:04:10,960 --> 01:04:13,720
Speaker 1: all confused and you don't know what the hell life

1049
01:04:13,760 --> 01:04:16,880
Speaker 1: has no meaning? What am I doing. And I think

1050
01:04:18,160 --> 01:04:20,160
Speaker 1: her thinking she didn't get into Harvard because she's loved

1051
01:04:20,160 --> 01:04:22,680
Speaker 1: with him is really what a teenager would think. She

1052
01:04:22,880 --> 01:04:25,720
Speaker 1: definitely didn't get the credit for how good she was

1053
01:04:27,440 --> 01:04:31,360
Speaker 1: throughout the series, but in this episode, this episode was

1054
01:04:32,480 --> 01:04:35,880
Speaker 1: It was stunning. This episode was stunning. I cried. I cried,

1055
01:04:36,200 --> 01:04:39,320
Speaker 1: my favorite so far because it was the perfect perfect

1056
01:04:39,360 --> 01:04:45,960
Speaker 1: balance of um, emotional impact and humor. And that's what

1057
01:04:46,120 --> 01:04:49,000
Speaker 1: I want from it. I want to feel. I wanna

1058
01:04:49,600 --> 01:04:51,560
Speaker 1: you know, I don't necessarily want to tear up all

1059
01:04:51,600 --> 01:04:53,840
Speaker 1: over the place, but I want to feel for these characters,

1060
01:04:54,160 --> 01:04:56,800
Speaker 1: and I want to have some chuckles, you know. I

1061
01:04:56,920 --> 01:05:01,720
Speaker 1: want to be delighted and surprised and moved. And it

1062
01:05:01,880 --> 01:05:05,680
Speaker 1: does all those things. It's beautiful episode, Absolutely beautiful episode.

1063
01:05:06,080 --> 01:05:11,440
Speaker 1: Bravo to Amy Sherman Pellatino. Bravo Jamie. Jamie Babbott, who

1064
01:05:11,800 --> 01:05:13,600
Speaker 1: we had a nick We had a nickname for Jamie

1065
01:05:13,640 --> 01:05:16,439
Speaker 1: bapp she She's like we called her take animick take.

1066
01:05:16,640 --> 01:05:19,320
Speaker 1: She did a lot of takes sometimes, you know, she

1067
01:05:19,480 --> 01:05:23,520
Speaker 1: did she did thirty takes script e too. Don't forget

1068
01:05:24,040 --> 01:05:27,360
Speaker 1: she drift and take an take so so so. Jamie

1069
01:05:27,480 --> 01:05:30,960
Speaker 1: loved to do a lot of coverage, okay, And I

1070
01:05:31,080 --> 01:05:33,520
Speaker 1: think that's to her credit because I think the demands

1071
01:05:33,560 --> 01:05:36,280
Speaker 1: from the editors of that show, We're like, you know,

1072
01:05:36,840 --> 01:05:39,120
Speaker 1: you know the first episode you did, we didn't have enough.

1073
01:05:39,440 --> 01:05:41,800
Speaker 1: You didn't shoot enough coverage, and we didn't have enough

1074
01:05:41,800 --> 01:05:45,000
Speaker 1: stuff to to build a scene around. So just give

1075
01:05:45,080 --> 01:05:46,640
Speaker 1: us more than we need. And I think that was

1076
01:05:46,760 --> 01:05:50,480
Speaker 1: the the dictate coming from on high. Um. You know

1077
01:05:50,600 --> 01:05:52,400
Speaker 1: the Jess walk and talk before I pushed him into

1078
01:05:52,400 --> 01:05:55,360
Speaker 1: the lake? That was a Jamie babbittt episode. Did we

1079
01:05:55,680 --> 01:05:59,200
Speaker 1: We did thirty takes of that? Oh my god, we

1080
01:05:59,320 --> 01:06:01,160
Speaker 1: did thirty two. I said that walk and talk before

1081
01:06:01,200 --> 01:06:02,920
Speaker 1: I pushed it. We did one or two takes of that.

1082
01:06:03,360 --> 01:06:06,440
Speaker 1: I think Malo told us too, But you did the

1083
01:06:06,560 --> 01:06:12,280
Speaker 1: other parts. Wow, yeah, yeah, Yeah, it's a great episode.

1084
01:06:12,280 --> 01:06:15,400
Speaker 1: It's just a great it's great show. So my notes

1085
01:06:15,440 --> 01:06:18,600
Speaker 1: are telling me there's there wasn't a lot in this

1086
01:06:18,760 --> 01:06:20,960
Speaker 1: week that that sort of stood out. So the in

1087
01:06:21,000 --> 01:06:24,440
Speaker 1: the cold open, I asked myself what book Laurel I

1088
01:06:24,600 --> 01:06:26,640
Speaker 1: was reading at the top of this episode, and it's

1089
01:06:26,760 --> 01:06:30,000
Speaker 1: I'm with the Band to Tell All by Pamela de Bars. Remember,

1090
01:06:30,080 --> 01:06:33,640
Speaker 1: Rory referred to loyalize Pamela de Bars when z was

1091
01:06:33,760 --> 01:06:37,280
Speaker 1: hitting on her and Laurela out of water the book okay,

1092
01:06:37,360 --> 01:06:40,000
Speaker 1: number two, clown pillow in the scene when Rory and

1093
01:06:40,200 --> 01:06:45,320
Speaker 1: Paris are on the phone with Headmaster Charleston. So there

1094
01:06:45,360 --> 01:06:50,240
Speaker 1: you go. The best line, according to notes, is Roy's

1095
01:06:50,320 --> 01:06:54,680
Speaker 1: dragging Paris off the stage after speech. Pack your chastity belt,

1096
01:06:54,720 --> 01:07:01,280
Speaker 1: go more, you're going to Harvard. Yeah, and Jamie did

1097
01:07:01,360 --> 01:07:03,880
Speaker 1: such a great job. And it's like directing is like

1098
01:07:05,320 --> 01:07:09,920
Speaker 1: it's knowing where to put the camera, and I think

1099
01:07:10,640 --> 01:07:16,040
Speaker 1: she put the camera in every best position in every

1100
01:07:16,160 --> 01:07:21,240
Speaker 1: single part of every scene. So I really saw her

1101
01:07:21,360 --> 01:07:26,160
Speaker 1: talent run amuck in this episode. Um So when you

1102
01:07:26,240 --> 01:07:28,920
Speaker 1: get that combined with the great script and the great acting,

1103
01:07:29,000 --> 01:07:33,960
Speaker 1: it's like, hello, perfect, perfect, perfect way to spend forty

1104
01:07:34,000 --> 01:07:37,760
Speaker 1: minutes on net and not for nothing, female director. I

1105
01:07:37,920 --> 01:07:40,320
Speaker 1: like it. Oh she was. She was great. She's super

1106
01:07:40,400 --> 01:07:44,240
Speaker 1: smart and super soulful and she's just a wonderful talent.

1107
01:07:45,320 --> 01:07:48,640
Speaker 1: So bravo for the whole thing. Anyway, I guess that's it, right,

1108
01:07:48,720 --> 01:07:51,640
Speaker 1: Let's right. What's next week? Yeah? God, what's next week? God?

1109
01:07:51,680 --> 01:07:54,160
Speaker 1: I don't even know what is it? Next episode is

1110
01:07:54,240 --> 01:07:57,560
Speaker 1: the Tales A Tale of Pose and a Tale of

1111
01:07:57,640 --> 01:08:01,880
Speaker 1: Pose and Fire, Season three, episode at seven. Oh, I

1112
01:08:01,920 --> 01:08:03,960
Speaker 1: know what I know this episode. I know this episode

1113
01:08:04,200 --> 01:08:08,280
Speaker 1: Tale of Pose as in Edgar, Allan, Poe and Fire.

1114
01:08:08,840 --> 01:08:10,880
Speaker 1: All right, everybody, we'll see you next week. Thanks every

1115
01:08:11,120 --> 01:08:16,120
Speaker 1: Thanks Tara, Thank you Amy. On my interrupting as I

1116
01:08:16,160 --> 01:08:19,320
Speaker 1: interrupt you, I'll work on interrupting instin I'm supposed to

1117
01:08:19,360 --> 01:08:21,400
Speaker 1: stop doing it. I'm working on who's telling you just

1118
01:08:21,439 --> 01:08:26,920
Speaker 1: stopped taking it, everybody? But also, really, the best Instagram

1119
01:08:27,080 --> 01:08:30,120
Speaker 1: ever somebody wrote, because you know I read all the comments. Somebody,

1120
01:08:30,400 --> 01:08:33,000
Speaker 1: for the love of God, Amy, stop interrupting or something

1121
01:08:33,040 --> 01:08:36,720
Speaker 1: like that. I'll get so excited. I apologize because I

1122
01:08:37,040 --> 01:08:38,760
Speaker 1: am so much and I want to hear. I want

1123
01:08:38,800 --> 01:08:42,040
Speaker 1: to converse. I love I love the back and forth.

1124
01:08:42,960 --> 01:08:48,360
Speaker 1: We don't have to stop interrupting. Why Okay, alright, fine, okay, fine,

1125
01:08:48,479 --> 01:08:51,080
Speaker 1: I'll take the I'll take the heat on the I'll

1126
01:08:51,120 --> 01:08:54,240
Speaker 1: take the heat because now I'm saying I want the interrupting.

1127
01:08:54,600 --> 01:08:56,920
Speaker 1: So now, because we get so excited, we want to like,

1128
01:08:57,320 --> 01:08:59,080
Speaker 1: but what about things? What about this? Al Right? We

1129
01:08:59,240 --> 01:09:00,920
Speaker 1: don't want to forget. We want to make our points,

1130
01:09:01,000 --> 01:09:03,799
Speaker 1: you know, I'll try and take a breath. Yeah. Thanks everybody,

1131
01:09:03,960 --> 01:09:36,240
Speaker 1: See you next time. Hey everybody, and don't forget follow

1132
01:09:36,360 --> 01:09:40,200
Speaker 1: us on Instagram at I Am all In podcast and

1133
01:09:40,360 --> 01:09:44,519
Speaker 1: email us at Gilmore at I heart radio dot com.

1134
01:09:45,080 --> 01:09:46,600
Speaker 1: Oh you gil More fans. If you're looking for the

1135
01:09:46,640 --> 01:09:48,640
Speaker 1: best cup of coffee in the world, go to my

1136
01:09:49,200 --> 01:09:52,320
Speaker 1: website for my company scott ep dot com, s c

1137
01:09:52,479 --> 01:09:54,920
Speaker 1: O T t y P dot com, scotty p dot

1138
01:09:54,960 --> 01:09:57,839
Speaker 1: com Grade one Specialty Coffee