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Speaker 1: I am all in.

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Speaker 2: Let's kiss you. I am all in with Scott Patterson

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Speaker 2: and iHeartRadio Podcast.

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

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Speaker 1: eleven productions. iHeart Radio, iHeart Media, iHeart podcast, what Else?

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Speaker 1: I heart what I heard, ice Cream, I what Else?

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Speaker 1: I heart Coleslaw, heart Gilmore Girls, I heart Out. Yeah

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Speaker 1: there we go. Uh fire up the fire up the

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Speaker 1: legal apartment. We're sending in subpoenas. This is season six,

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Speaker 1: episode thirteen, Friday Nights, all right for fighting. I am

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Speaker 1: joined by my intrepid crew, the one and only Susanne French,

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Speaker 1: the one and only Taras Suit, and the inimitable Amy

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Speaker 1: Sugarman Gang. Let's talk about our event on January seventeen

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Speaker 1: in Burbank, California, live from the iHeart Radio Theater, which

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Speaker 1: actually stoked Johnny Carson's old sound stage. Isn't it's his studio.

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Speaker 3: I actually I am very excited about it because I think

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Speaker 3: the lineup is amazing. But I also like the secret

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Speaker 3: sort of bells and whistles we have that people don't

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Speaker 3: know about yet. I kind of revealed it's going to snow,

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Speaker 3: but there's.

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Speaker 1: Keeping stuff from me too. Write you're not obviously.

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Speaker 3: I am, of course, because I want people to like

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Speaker 3: realize they're coming in it's not just like what they're

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Speaker 3: going to see on stage.

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Speaker 2: It's all the things that are going to be in

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Speaker 2: the whole theater.

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Speaker 3: And the coolest thing is like it's our theater, so

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Speaker 3: we can do whatever we want with it.

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Speaker 1: One thing I've learned about Amy is that she's got

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Speaker 1: some aces up her sleeve at all times.

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Speaker 2: I try.

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Speaker 1: There might be a full deck of ass up there.

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Speaker 3: And they'll get you know, everyone's going to get the

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Speaker 3: photos they want, They're going to get the merged they want,

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Speaker 3: They're gonna get all the Gilmore.

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Speaker 1: Oh, it's gonna be just a just a Wonderland of

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Speaker 1: Gilmore celebration. It's gonna be like a Gilmore Amusement park

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Speaker 1: with live people.

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Speaker 2: Thousand percent.

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Speaker 3: I think it would be such a good Christmas gift

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Speaker 3: if I got this as a Christmas gift, tickets to

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Speaker 3: this show and like either you know, with the DVDs

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Speaker 3: or maybe like you know, a Gilmore Girls book or

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Speaker 3: right or merge like that would be yeah, an amazing

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Speaker 3: Christmas gifts.

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Speaker 2: Like a gift whatever.

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Speaker 1: Gets you get my uh my phone is filled with

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Speaker 1: text messages hit me up for tickets. It's just spilled.

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Speaker 1: And that's like I have. I have as many requests

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Speaker 1: as there are seats, and I'm like texting the back guys.

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Speaker 1: I can't have like everybody in the audience, like my

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Speaker 1: friends and family. I can't do that.

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Speaker 2: You know, I have the same thing happening right right right.

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Speaker 2: It's funny, Like people love this show, they really do.

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Speaker 3: And thank you to the people that said nice things

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Speaker 3: about the lineup being awesome, because we agree, like we've

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Speaker 3: got something for everybody in the guests. And also, I

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Speaker 3: will say, your castmates they all said yes, like right away,

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Speaker 3: like we sent the emails and within minutes they all

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Speaker 3: said yes, like they love you, they love each other,

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Speaker 3: and they love the fans.

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Speaker 2: It's like, and I was so nice.

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Speaker 1: We have so many high powered, highly charged, magnetic personalities

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Speaker 1: coming on that we had to book somebody that could

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Speaker 1: calm it all down. So we got Sebastian bach quiet

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Speaker 1: on assuming Charlyn he's there, you know, so he's going

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Speaker 1: to help out balance that out. No, it's very exciting.

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Speaker 1: Go to veeps, dot events, backslash, I H and M

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Speaker 1: hyphen all hyphen in.

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Speaker 3: Yeah, make sure if you want the live ticket, it

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Speaker 3: says like to go to the live show, click here,

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Speaker 3: and then you have to come here.

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Speaker 2: So yes, we're making here. Yeah, we're making you work

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Speaker 2: for it a little bit.

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Speaker 1: You gotta find it. But that's that's like on the

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Speaker 1: IT side, and that's kind of how it came out.

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Speaker 1: And Amy, you said you've been talking to him about

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Speaker 1: a little bit make it easier.

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Speaker 2: But that's yeah, we're gonna and we're going to keep

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Speaker 2: giving you little hints of all the surprises that will

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Speaker 2: be happening there.

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Speaker 3: And oh my gosh, somebody is coming from South Carolina.

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Speaker 3: I saw like people are coming from far away.

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Speaker 1: Oh yeah, oh yeah, now they're going to travel awesome.

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Speaker 2: You won't be disappointed. It's actually gonna be.

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Speaker 1: Can't wait to meet I can't wait to meet people

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Speaker 1: in the meet and greet. I love that stuff. I

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Speaker 1: love meeting the fans. It's gonna be.

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Speaker 2: I can't wait to go to Dosi's Market because we're

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Speaker 2: going to have a Doses market in there.

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Speaker 1: I might we might have it out in there. I'll

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Speaker 1: tell you there could be raves in there.

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Speaker 3: I know Doc's Market is not is prominent in this episode.

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Speaker 2: But Taylor's window to the diner.

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Speaker 1: Maybe that might go in my number one scene of

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Speaker 1: the six seasons. That was the funniest. See how great

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Speaker 1: Sally Strothers is. She comes in and just kills it.

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Speaker 3: So I also agree there's a scene in this episode

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Speaker 3: that might be the best of all six seasons, but

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Speaker 3: it's a different scene in this episode, to me, is

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Speaker 3: one of the best episodes in the whole series.

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Speaker 2: Oh yeah, do you know which one I'm talking?

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Speaker 1: Yeah, no, I don't. I'm gonna take off the headphones.

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Speaker 1: I don't want to know.

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Speaker 2: No, you're gonna find out this hour.

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Speaker 1: I know. Oh really from this episode.

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Speaker 2: From this episode, I thought.

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Speaker 1: You liked the Preston Sturgis Scorsese John Frankenheimer thing at

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Speaker 1: the end. Yeah, you love that.

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Speaker 3: I love the way Kenny Ortega directs your show, Like

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Speaker 3: every time he is involved.

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Speaker 2: Episode is amazing. Actually retired.

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Speaker 4: I actually went back to like double check it was Kenny,

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Speaker 4: because the second I saw that scene, I was like,

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Speaker 4: this feels like a Kenny directing scene.

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Speaker 2: I did the same thing.

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Speaker 5: It's like, wait, who's responsible for this?

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Speaker 2: He doesn't really get a enough credit. I mean, maybe

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Speaker 2: he doesn't. I'm just like clueless, but like high school

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Speaker 2: musical is amazing.

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Speaker 1: Oh yeah, he's kind of a big deal.

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Speaker 4: Yes, books, hocus Pocus?

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Speaker 2: Did he direct Hocus?

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Speaker 4: Yeah?

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Speaker 2: You didn't know that. Oh my gosh, I did not.

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Speaker 3: I discover things he directed like all the time, and

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Speaker 3: I'm always sort of shocked.

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Speaker 4: Descendants hocus Pocus worst Descendants.

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Speaker 2: That that makes perfect?

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Speaker 1: Yes, well, he was fun. He's fun on set. He's

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Speaker 1: really yet, he's you know, he's crisp and he's really

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Speaker 1: got his act together. His great No, you know, he

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Speaker 1: speaks the language of theater, so it's easy to yeah,

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Speaker 1: have a have a have a dialogue with him. So

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Speaker 1: and he doesn't make you speak terribly fast when you're

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Speaker 1: talking to him. So that's relief. What are we gonna do?

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Speaker 1: You want to?

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Speaker 4: You want to?

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Speaker 1: You want to get rocking and rolling?

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Speaker 2: Yeah? Okay, so yeah, Tara Tara Tarah, thanks Suzanne's doing

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Speaker 2: and does it from her car today? He got a

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Speaker 2: work mobile.

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Speaker 6: Synopsizing Today, Season six, episode thirteen, Friday Nights all Right

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Speaker 6: for Fighting aired on January thirty first, two thousand and six.

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Speaker 6: Emily and Richard find out about Christopher paying for Yale

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Speaker 6: and don't take it well at all, but they end

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Speaker 6: up gathering for Friday night dinner anyways, and it's a

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Speaker 6: big fight. Luke and April are spending more time together

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Speaker 6: without larele I. Meanwhile, Laurela I decides not to cancel

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Speaker 6: everything after postponing the wedding with Luke, and Rory saves

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Speaker 6: the Yale Daily News with the help of Logan.

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Speaker 4: Oh my gosh, this episode is It was a good episode.

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Speaker 2: It is so good.

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Speaker 1: So many things to like about it, so many things

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Speaker 1: to like about it.

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Speaker 2: Especially especially my logan.

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Speaker 1: Yeah, now he was. I said to myself, if I

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Speaker 1: had a daughter, I would want her to bring that

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Speaker 1: man home with her if.

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Speaker 2: He's so redeems himself in this episode.

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Speaker 3: And people can fight me on it, but guess what,

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Speaker 3: he's twenty years old.

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Speaker 2: He's not going to be perfect, and he totally redeems himself.

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Speaker 1: In ladies and gentlemen in the audience. We've strapped on

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Speaker 1: the gloves. We're fighting for Logan now, so we begin.

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Speaker 2: I was a little nervous with the opening, like what

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Speaker 2: is she doing? Why is she seeking out? What's going on? Yeah,

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Speaker 2: I'm kind of uncomfortable.

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Speaker 1: Right, Yeah, what do you think of that? What do

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Speaker 1: you think of the collision? What do you think of that? Well?

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Speaker 2: Forced a little bit not your best body acting, but

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Speaker 2: it was it was a little bit like big.

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Speaker 1: God, I totally agree with you. I thought it was terrible, Bunny.

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Speaker 2: It was not your best. The seem like that.

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Speaker 3: That was sort of hard because it was like she's

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Speaker 3: trying to be so sneaky and I was kind of nervous.

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Speaker 3: And then you're like you don't really know that she's

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Speaker 3: so bummed about postponing, and it's just like, oh no.

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Speaker 3: And then there's the like you're trying to get up

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Speaker 3: and be so sweet. I'm like, he's so sweet, weird, awkward, fake.

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Speaker 1: Crash and the thing that she talked to me about

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Speaker 1: it was like I didn't even know what the heck

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Speaker 1: happened with the bad body acting. And and then I

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Speaker 1: supposedly smash her in the nose somehow. Is this that, yes,

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Speaker 1: she held her nose or mouth or something, or did.

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Speaker 2: You mess that up? Like is that was that part

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Speaker 2: of it that you were going to hurt her.

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Speaker 1: Nose or did you Actually I'm taking the fifth on this.

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Speaker 1: I I do not recall Senator for me pleaded the

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Speaker 1: Fifth Amendment on this your.

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Speaker 2: Face acting as oscar Worthy, your body acting is like kind.

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Speaker 1: Of a body acting. I really just although.

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Speaker 2: Your body acting with April was excellent, excellent sort of

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Speaker 2: movement and sort of fatheriness this one. Yeah, there's something

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Speaker 2: in this episode that I can wait to talk about.

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Speaker 1: She's slapping pigs, she's milking cows.

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Speaker 2: Yeah, that was so random.

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Speaker 3: And then like once she tells you what she's doing,

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Speaker 3: then I wasn't as sort of irritated by it. I

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Speaker 3: was like, oh, no, wonder she didn't want to tell them.

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Speaker 3: She just got to go to the flower mart, and

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Speaker 3: like the wedding's not even.

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Speaker 1: Happening, right, exactly right?

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Speaker 2: And then you were so you were I actually okay.

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Speaker 3: I actually thought, other than your crash, you were better

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Speaker 3: acting in this scene than Lauren. For some reason, Lauren

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Speaker 3: didn't feel lower liash for a minute. Even a line

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Speaker 3: hurts so good, mister Mellen, camp like felt a little forced.

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Speaker 2: Yeah, I agree with you.

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Speaker 4: I feel like the first scene just didn't I don't know,

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Speaker 4: it just got better from there, do.

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Speaker 1: You know what I think it was? I think it

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Speaker 1: was one of these situations where she probably felt too

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Speaker 1: anchored in one place. What I mean and here's the thing.

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Speaker 1: When you have that much work to do every single day,

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Speaker 1: you get exhausted. Yeah, and then maybe once in a while,

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Speaker 1: I just want to plant yourself. I don't want to

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Speaker 1: move around. I don't want to do activities. I don't

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Speaker 1: want to, you know, really, you know, act out this

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Speaker 1: scene to its potential, because god darn it, I'm going

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Speaker 1: to create all this coverage for myself, create all these

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Speaker 1: camera angles, and they're going to have to do close

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Speaker 1: ups here and close ups there. Oh interesting, it just

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Speaker 1: takes so much longer to do it. So so every

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Speaker 1: once in a while, when you're overworked and you're sort

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Speaker 1: of dealing with it with your director in the rehearsal phase,

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Speaker 1: you go, I feel good here. I just want to

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Speaker 1: stand here and deliver. I think this is you know,

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Speaker 1: and maybe I.

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Speaker 2: Think if I think you're making an interesting call out,

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Speaker 2: because I actually think if she was moving around, it

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Speaker 2: might have been a little bit more real, because like right, because.

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Speaker 1: You know what I mean, if she was deflecting, deflecting

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Speaker 1: and being nervous, she'd be moving around that room doing things.

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Speaker 1: But I think but for whatever reason, you know, that

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Speaker 1: wasn't going to happen, and so yeah.

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Speaker 2: You were more natural because you were in bed waking up,

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Speaker 2: although you were like awake.

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Speaker 1: Talking to her and she shot up, right, so she

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Speaker 1: was kind of manic moving around and didn't know how

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Speaker 1: to really have this conversation and you know, just sort

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Speaker 1: of telling me white lies all over the place. Then

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Speaker 1: it would have been easier for me to execute a

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Speaker 1: body acting maneuver like running into her because she'd be

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Speaker 1: a moving target.

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Speaker 2: Yeah, right, you're not going to crash into a hole.

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Speaker 1: Right, Is the fact that she was stationary made it awkward?

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Speaker 2: Right? Because that's less like right, that's a good note,

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Speaker 2: Like there's something about the scene that's great and something

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Speaker 2: about it that isn't as great.

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Speaker 1: I can't remember too static.

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Speaker 3: Yeah, I don't think it's here. I think there's another

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Speaker 3: bedroom scene where we see the bathroom, which I have

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Speaker 3: some comments on. I think that comes later where we

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Speaker 3: really see the full bathroom, which is quite large and beautiful.

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Speaker 2: But I have a one criticism of that bathroom later. Okay,

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Speaker 2: so now comes my biggest question for you, Scott and

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Speaker 2: possibly Suzanne. We go to Libby's Flowers. We're at the

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Speaker 2: flower mart. Laura lies in her beanie puffer and Suki's

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Speaker 2: in a great floral jacket with a scarf. What's with

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Speaker 2: the green tape?

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Speaker 1: The green tape on the scarf.

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Speaker 2: There was a green tape on the scarf, and Laura

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Speaker 2: I has green tape on her white puffer.

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Speaker 1: God that says that probably says Sukie on it. That's

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Speaker 1: the wardrobe department forgot to take it off, and.

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Speaker 2: They got to take it off. Lauren, I don't know that.

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Speaker 1: I don't think so.

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Speaker 6: I think it's the the flower market, ah sometimes, but

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Speaker 6: sometimes I think it's.

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Speaker 2: Yeah, I think it's supposed to be.

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Speaker 6: I think it's diligence on the part of the prop

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Speaker 6: department to make it look like they were actually at

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Speaker 6: a flower market.

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Speaker 2: That's, oh my gosh, Suzanne.

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Speaker 1: Here I am throwing the wardrobe department under the bus

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Speaker 1: and they're actually doing extra work to make this believable.

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Speaker 2: I for sure thought I was with Scott. This is

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Speaker 2: some sort of an error, This is some sort of.

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Speaker 3: A green screen they have to have in rehearsals.

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Speaker 2: Suzanne, I didn't because they.

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Speaker 6: I think if it was, if it was a wardrobe mistake,

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Speaker 6: it would be weird that they did it twice, like

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Speaker 6: bread on.

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Speaker 2: Both exactly.

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Speaker 5: Flowers.

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Speaker 1: Why couldn't it be green flowers with a logo on

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Speaker 1: it FM flower Mark? You know, why can't it be that?

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Speaker 1: Then we know for sure what it is exactly.

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Speaker 2: It was so true. So who's been to a flower Mark?

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Speaker 2: I've never been to a.

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Speaker 4: Flower I have, but I don't remember getting like a

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Speaker 4: stick or anything.

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Speaker 1: Well that's small town Connecticut, you know, That's that's what

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Speaker 1: they did. Because people just can randomly walk in. Why

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Speaker 1: would you? I guess you have to pay to get.

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Speaker 6: In or because they're like they're the wholesale market, so

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Speaker 6: you pay like an admission and then you Mike, I

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Speaker 6: have a family member who used to do wedding flowers

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Speaker 6: and she had a wholesale license, and so it was

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Speaker 6: like that kind of thing, like you'd have to show

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Speaker 6: that you're I don't I don't know that Suki and

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Speaker 6: Laurel I would have had to do it. But they

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Speaker 6: charged admissions because you're getting a discounted price, and then

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Speaker 6: you have to.

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Speaker 2: Reddit agrees that many people were befuddled and felt like

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Speaker 2: you and I and Tara did Scott like, oh, there's

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Speaker 2: some sort of a error.

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Speaker 3: But yet the other half of Reddit is with Suzanne

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Speaker 3: and correcting it.

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Speaker 2: He's saying it's an entrance to the flower mart. So funny.

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Speaker 3: Wow, and thank you Reddit for having a dialogue about

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Speaker 3: this exact topic.

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Speaker 1: She's got cold feet in the flower marks. She got

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Speaker 1: to put some socks on.

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Speaker 3: So the green tape was distracting me. But I'm glad

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Speaker 3: she told Suki. I couldn't have gone on longer on

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Speaker 3: that one either.

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Speaker 6: I felt bad for her when she said the wedding's

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Speaker 6: been postponed, and Suki immediately launches into oh no, what

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Speaker 6: did you do? Like, yeah, she automatically La, she looked

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Speaker 6: a little sad about that.

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Speaker 2: Yeah, but it was That's what I would have said too. Well, no,

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Speaker 2: it's not a Sueri.

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Speaker 4: Yeah, no, her history and stuff I think Suki was

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Speaker 4: it was fifty to fifties.

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Speaker 2: She was either right or wrong. Kay.

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Speaker 6: Yeah, I mean it's understandable why she said it. But

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Speaker 6: I still felt kind of bad for Laura because.

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Speaker 2: She don't feel bad for Laura like so many times

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Speaker 2: in this episode.

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Speaker 3: Yeah, but she comes you know, he has a kid,

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Speaker 3: Luke has a kid. I felt worse when Suki made

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Speaker 3: it about herself.

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Speaker 1: For I was just about to say, I was like,

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Speaker 1: what is this tangent. You know, your friends in pain,

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Speaker 1: she's in flames. Helped put her out. She's feeling burned here,

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Speaker 1: and let's apply some aloe here instead of talking about

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Speaker 1: your the possibilities that Jackson could have an illegitimate kid

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Speaker 1: walking around.

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Speaker 2: He has a set back.

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Speaker 1: There's no such thing as an illegitimate kid. There just aren't.

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Speaker 1: They're all legitimate.

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Speaker 3: Yes, but yeah, she really kind of made it about herself,

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Speaker 3: and that was sort of like, really, like, I get it,

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Speaker 3: that would be your first reaction was like, oh.

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Speaker 2: If this happened, elude, could this be everybody?

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Speaker 3: Then I actually felt, I don't know what the word

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Speaker 3: is when Laura lies like maybe I should not cancel everything,

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Speaker 3: and that that was very like I think that was

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Speaker 3: very genuine and vulnerable and how I would be too, like, oh,

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Speaker 3: maybe this is going to work out.

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Speaker 1: Yeah, yeah, it's it's starting out, you know, with a

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Speaker 1: little bit of I don't know, it's a little tragic,

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Speaker 1: it's a.

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Speaker 2: Little sad, it's a lot of sad.

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Speaker 1: It didn't It didn't hit me until I saw Luke

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Speaker 1: and April in the diner through the tailor's window that

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Speaker 1: I realized that, you know what, probably not a bad

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Speaker 1: ideata post pump. Yeah, I stand now. I understand how

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Speaker 1: he's got to get to know his kid. This is priority.

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Speaker 1: Right now.

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Speaker 2: I agree with you. I think postponing is the right

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Speaker 2: thing to do. Yeah, because it's.

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Speaker 3: No different really than Loralai not wanting to set a

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Speaker 3: date till she was right with Rory. Yeah, and Luke

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Speaker 3: really it hurt him. That hurt him, let's admit it.

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Speaker 3: But he went along with it and was supportive. And

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Speaker 3: I think she's trying to do the same thing. But

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Speaker 3: I don't see how you suddenly have I mean, I

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Speaker 3: get it six months away, but still.

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Speaker 2: I would probably postpone too.

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Speaker 1: Yeah. Well, you know, her anxiety stems from the fact that,

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Speaker 1: you know, like she said, he could wake up tomorrow

375
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Speaker 1: and he could wake up at six months and change

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Speaker 1: his mind. You know, she's a little anxious about that.

377
00:20:12,160 --> 00:20:14,360
Speaker 2: Yeah, that's the right She's anxious.

378
00:20:14,680 --> 00:20:18,520
Speaker 1: She's anxious now. Yeah, tables have turned a little bit,

379
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Speaker 1: you know, it's on it. You know, it's just sort

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Speaker 1: of how life plays out at times.

381
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Speaker 2: So and she's trying hard to sort of do the right.

382
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Speaker 1: Thing, right right. Yeah, she's muddling through the days.

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Speaker 2: Right, Yeah, trying to.

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Speaker 1: Get through the day and do her job and be

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Speaker 1: the fiance.

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Speaker 2: And she's definitely, Yeah, she's definitely not being you know,

387
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Speaker 2: the word that was in the last episode that you

388
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Speaker 2: were a little shocked was in the last episode, the

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Speaker 2: B word. She's not being. Yes, she's not being that

390
00:20:56,760 --> 00:20:58,520
Speaker 2: at all, do you know what I mean?

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Speaker 3: Like she's even when like the message is on the

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Speaker 3: machine and says like, oh, April will be here five

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Speaker 3: to eight, so come by after eight, and that could

394
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Speaker 3: have been even more hurtful, But she's trying so hard

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Speaker 3: to be understanding and put on a brave face.

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Speaker 1: Terrible. The tough position for Lorelei to be in. She's

397
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Speaker 1: got to get to know and be liked by this

398
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Speaker 1: child or there's real trouble in River City. You know,

399
00:21:27,320 --> 00:21:30,840
Speaker 1: it's a you know, you don't you don't marry a person,

400
00:21:30,880 --> 00:21:36,359
Speaker 1: you marry their family. And and that's now his family,

401
00:21:36,400 --> 00:21:38,600
Speaker 1: that's going to be part of her family. So there's

402
00:21:38,640 --> 00:21:39,840
Speaker 1: some trepidation there.

403
00:21:39,880 --> 00:21:42,040
Speaker 2: So great, and you wait a long time to introduce

404
00:21:42,840 --> 00:21:45,960
Speaker 2: that person to your kid, right, like a lot of

405
00:21:45,960 --> 00:21:48,840
Speaker 2: people do, some people don't, and no judgments, but a

406
00:21:48,840 --> 00:21:53,080
Speaker 2: lot of people wait, right, So he's got to get

407
00:21:53,080 --> 00:21:58,480
Speaker 2: to know his kid. Yeah, right, right, he can't be

408
00:21:58,600 --> 00:21:59,840
Speaker 2: throwing so much at her.

409
00:22:00,200 --> 00:22:03,800
Speaker 3: I guess I guess he could because the situation is

410
00:22:03,880 --> 00:22:07,520
Speaker 3: so weird that I guess he could have said, I'm

411
00:22:07,560 --> 00:22:10,560
Speaker 3: getting to know you, and because of this weird circumstance,

412
00:22:10,720 --> 00:22:13,920
Speaker 3: you're sort of immediately also getting to know my fiance.

413
00:22:15,200 --> 00:22:17,200
Speaker 3: But I sort of lean towards the way he's doing

414
00:22:17,280 --> 00:22:20,240
Speaker 3: it is probably maybe the healthier option.

415
00:22:21,600 --> 00:22:26,320
Speaker 1: And you have to take April into consideration one hundred percent,

416
00:22:26,680 --> 00:22:29,600
Speaker 1: because how is that going to affect her? You know,

417
00:22:29,680 --> 00:22:32,120
Speaker 1: she's got to get to know him too, and it's

418
00:22:32,119 --> 00:22:34,200
Speaker 1: going to take some time, and we have she has

419
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Speaker 1: to set the pace for this. It's not really Luke.

420
00:22:37,000 --> 00:22:38,840
Speaker 1: Setting the pace for this is like, what kind of

421
00:22:38,880 --> 00:22:43,040
Speaker 1: frequency are we talking about here? Good point that April

422
00:22:43,119 --> 00:22:43,800
Speaker 1: can handle?

423
00:22:44,200 --> 00:22:44,920
Speaker 2: Good point?

424
00:22:45,240 --> 00:22:47,960
Speaker 1: How often? How much time does she want to spend

425
00:22:48,000 --> 00:22:51,040
Speaker 1: with him? And that's going to depend on how each meeting,

426
00:22:51,240 --> 00:22:55,880
Speaker 1: each of these initial meetings go. Hmm. Yeah, you got

427
00:22:55,880 --> 00:22:58,920
Speaker 1: to give it time, you know, and then you can

428
00:22:58,960 --> 00:23:01,720
Speaker 1: introduce once you're nice and comfortable. You know, something like

429
00:23:01,760 --> 00:23:03,000
Speaker 1: that can take the year.

430
00:23:03,119 --> 00:23:09,640
Speaker 2: While Yeah, so six months does seem quick.

431
00:23:10,840 --> 00:23:15,000
Speaker 3: To have the wedding and because think about it practically, right,

432
00:23:15,280 --> 00:23:17,840
Speaker 3: So say say they were moving forward with the wedding, Well,

433
00:23:18,359 --> 00:23:20,840
Speaker 3: he's not going to have he's not going to not

434
00:23:20,960 --> 00:23:24,320
Speaker 3: have April there. But it's way too early to suddenly

435
00:23:24,320 --> 00:23:26,080
Speaker 3: be like, come to my wedding and you're in the

436
00:23:26,119 --> 00:23:28,160
Speaker 3: wedding and likes.

437
00:23:27,440 --> 00:23:29,920
Speaker 1: Nice to meet you. You know, we're having a wedding

438
00:23:29,960 --> 00:23:32,359
Speaker 1: this week and I'm marrying this girl. Why don't you

439
00:23:32,359 --> 00:23:34,240
Speaker 1: come by for cake after? You know?

440
00:23:35,280 --> 00:23:39,960
Speaker 3: Right, It's like there's you know, I actually, first of all,

441
00:23:39,960 --> 00:23:41,080
Speaker 3: I don't hate the storyline.

442
00:23:41,080 --> 00:23:45,359
Speaker 2: And number two, I'm not as mad at Luke as

443
00:23:45,359 --> 00:23:50,159
Speaker 2: others I know right now, I'm not either. I agree.

444
00:23:50,280 --> 00:23:54,000
Speaker 4: It's like you wouldn't want you would want April there,

445
00:23:54,119 --> 00:23:55,800
Speaker 4: but you would want time to get to know her

446
00:23:56,160 --> 00:23:57,840
Speaker 4: if she's attending your wedding.

447
00:23:57,960 --> 00:23:59,200
Speaker 2: Right, you can't be like high, nice to meet you

448
00:23:59,200 --> 00:24:01,720
Speaker 2: want to be the flower girl. It's so weird. Yeah,

449
00:24:01,760 --> 00:24:02,720
Speaker 2: that's true.

450
00:24:03,119 --> 00:24:06,199
Speaker 6: I kind of see it from a different angle, like

451
00:24:06,760 --> 00:24:09,440
Speaker 6: the whole thing makes me feel a certain kind of way,

452
00:24:09,480 --> 00:24:13,280
Speaker 6: Like to me, if she's going to get to know Luke,

453
00:24:14,160 --> 00:24:17,439
Speaker 6: she needs to get to know Luke's life and the

454
00:24:17,480 --> 00:24:22,320
Speaker 6: whole package and Luke and LORELEI go together and correct.

455
00:24:22,359 --> 00:24:25,880
Speaker 6: So I understand that she needs some time and he

456
00:24:25,920 --> 00:24:28,160
Speaker 6: needs something like they need time together as the two

457
00:24:28,200 --> 00:24:31,720
Speaker 6: of them to form a bond. But at the same time,

458
00:24:32,400 --> 00:24:36,479
Speaker 6: I don't agree with him holding Lorelai at arm's length.

459
00:24:36,920 --> 00:24:40,160
Speaker 6: Mm hmm, fair saying you can't be.

460
00:24:40,240 --> 00:24:43,199
Speaker 5: Around the kid at all. I just I had a

461
00:24:43,240 --> 00:24:45,320
Speaker 5: hard time with that because she's she's part of.

462
00:24:45,320 --> 00:24:47,600
Speaker 1: The package that you.

463
00:24:48,640 --> 00:24:50,200
Speaker 2: He doesn't want her to come to the diner.

464
00:24:50,720 --> 00:24:53,760
Speaker 6: He didn't say it in so many words at the

465
00:24:53,800 --> 00:24:57,040
Speaker 6: point that we're at now, but he did say, you know,

466
00:24:57,119 --> 00:24:59,199
Speaker 6: she's going to be here from five to eight, so

467
00:24:59,240 --> 00:25:01,960
Speaker 6: I'll see you after a That's right. It wasn't like

468
00:25:02,040 --> 00:25:04,040
Speaker 6: comes to the diary and hang out with us.

469
00:25:04,280 --> 00:25:06,120
Speaker 1: Come on, he give the guy a break. He's got

470
00:25:06,119 --> 00:25:07,159
Speaker 1: to get to know his kid.

471
00:25:07,280 --> 00:25:09,520
Speaker 2: Yeah, I'm giving it. I'm giving you the body. He shouldn't.

472
00:25:09,560 --> 00:25:11,880
Speaker 6: I'm not saying he shouldn't. I'm saying that she can

473
00:25:11,920 --> 00:25:14,639
Speaker 6: get to know both of them. I'm saying that the

474
00:25:14,760 --> 00:25:17,160
Speaker 6: April can get to know both Luke and Laurlai.

475
00:25:17,280 --> 00:25:19,040
Speaker 3: But doesn't that make it harder on Luke If we're

476
00:25:19,040 --> 00:25:22,439
Speaker 3: really having this conversation, right, Luke's trying to get to

477
00:25:22,520 --> 00:25:26,679
Speaker 3: know her. You add Lorali into the mix. Suddenly Luke's

478
00:25:26,680 --> 00:25:31,280
Speaker 3: concerned about Lorali and what he's doing is facilitating Loralai

479
00:25:31,359 --> 00:25:32,360
Speaker 3: getting to know April.

480
00:25:32,640 --> 00:25:36,200
Speaker 2: He still has to get to know her, like he

481
00:25:36,280 --> 00:25:38,560
Speaker 2: really he doesn't even know she's a reader and all

482
00:25:38,600 --> 00:25:40,159
Speaker 2: these you know, all the things that we're starting to

483
00:25:40,240 --> 00:25:42,760
Speaker 2: learn because think about it.

484
00:25:42,800 --> 00:25:44,840
Speaker 3: Think about like, say, Suzanne, you and I go to

485
00:25:44,840 --> 00:25:47,760
Speaker 3: dinner with my friend. My job is to sort of

486
00:25:47,840 --> 00:25:51,639
Speaker 3: get you to know my friend and instead of focusing

487
00:25:51,760 --> 00:25:57,080
Speaker 3: on so imagine it's a stranger. Basically, I have to

488
00:25:57,119 --> 00:25:59,840
Speaker 3: beat team Luke so far. Like I kind of agree

489
00:26:00,080 --> 00:26:03,119
Speaker 3: with I know everyone's gonna hate. I also don't know

490
00:26:03,160 --> 00:26:05,760
Speaker 3: that I'm that mad at him for sort of not

491
00:26:05,880 --> 00:26:08,159
Speaker 3: telling right away. I hope I would have been different,

492
00:26:08,160 --> 00:26:11,240
Speaker 3: but I'm not furious at him. Yeah, maybe I am

493
00:26:11,640 --> 00:26:12,359
Speaker 3: team Luke.

494
00:26:12,720 --> 00:26:16,399
Speaker 2: I don't I'm not mad at him.

495
00:26:16,440 --> 00:26:20,639
Speaker 4: I also I am team Luke. Also that he wants

496
00:26:20,680 --> 00:26:24,199
Speaker 4: to spend time with April without Loralai. I feel like

497
00:26:24,320 --> 00:26:29,560
Speaker 4: that's fair because Lorelai is a part of his life,

498
00:26:29,640 --> 00:26:33,320
Speaker 4: but he needs to learn about his daughter, you know

499
00:26:33,359 --> 00:26:35,200
Speaker 4: what I mean, Like, I really agree with that.

500
00:26:35,240 --> 00:26:38,600
Speaker 2: Actually, yeah, that girl that.

501
00:26:40,320 --> 00:26:42,439
Speaker 1: Sorry, that little girl needs a space and the time

502
00:26:43,680 --> 00:26:48,439
Speaker 1: to get to know him, ask him questions. You know.

503
00:26:48,600 --> 00:26:54,439
Speaker 1: That's a deeply personal and very important starting point for

504
00:26:54,640 --> 00:26:57,960
Speaker 1: that relationship to flourish. They have to build a trust.

505
00:26:57,960 --> 00:27:01,159
Speaker 1: They have to start building a relationship and a trust

506
00:27:01,160 --> 00:27:05,000
Speaker 1: with one another. Yeah, And it's delicate, and it's you know,

507
00:27:05,119 --> 00:27:09,440
Speaker 1: fraught with all kinds of complications since you know, he's

508
00:27:09,640 --> 00:27:15,879
Speaker 1: obviously not with uh Anna. So she's gonna you know,

509
00:27:15,920 --> 00:27:19,320
Speaker 1: Anna's gonna feel a certain way when April comes home,

510
00:27:19,440 --> 00:27:23,119
Speaker 1: and April's going to have maybe a little frustration that Anna,

511
00:27:23,280 --> 00:27:26,320
Speaker 1: her own mother didn't bring you know, why, She's gonna

512
00:27:26,320 --> 00:27:27,960
Speaker 1: have all those questions, Mom, why aren't you.

513
00:27:27,880 --> 00:27:30,719
Speaker 2: Guys together totally? Why didn't you tell me?

514
00:27:31,200 --> 00:27:33,560
Speaker 1: He could have been my daddy, you know, and he

515
00:27:33,600 --> 00:27:35,080
Speaker 1: could have been my dad and I really want to

516
00:27:35,080 --> 00:27:35,800
Speaker 1: spend time with.

517
00:27:35,800 --> 00:27:37,280
Speaker 2: Him, And why didn't you tell me?

518
00:27:37,720 --> 00:27:39,719
Speaker 1: Why didn't you tell me? Right? Yeah, So there's all

519
00:27:39,880 --> 00:27:41,679
Speaker 1: there are a lot of more is twelve.

520
00:27:41,840 --> 00:27:43,960
Speaker 2: We also have to take into account she's twelve.

521
00:27:44,359 --> 00:27:47,400
Speaker 3: That's not the that's not five, that's not five years old, right,

522
00:27:47,600 --> 00:27:49,080
Speaker 3: that's like a little bit more of.

523
00:27:49,040 --> 00:27:53,400
Speaker 2: An age where like you really need to be like sensitive,

524
00:27:54,200 --> 00:27:56,840
Speaker 2: right that kid, right.

525
00:27:56,720 --> 00:27:59,800
Speaker 1: And because you don't want to throw her off her

526
00:28:00,160 --> 00:28:03,440
Speaker 1: her track. Yeah, and this could spin her out and

527
00:28:03,720 --> 00:28:06,720
Speaker 1: get her off her path totally. So he wants to

528
00:28:06,720 --> 00:28:09,760
Speaker 1: be really really mindful of that and very careful with

529
00:28:09,840 --> 00:28:13,560
Speaker 1: it and very very deliberate about this process. And I

530
00:28:13,840 --> 00:28:14,880
Speaker 1: totally respect it.

531
00:28:15,160 --> 00:28:18,359
Speaker 6: Totally respect And I'm not saying that they shouldn't have

532
00:28:18,760 --> 00:28:21,600
Speaker 6: that just one on one time with each other. I'm

533
00:28:21,640 --> 00:28:25,240
Speaker 6: just saying he shouldn't be acting like lare Light doesn't

534
00:28:25,280 --> 00:28:30,520
Speaker 6: even exist, and it is. It gets I may be

535
00:28:30,680 --> 00:28:33,680
Speaker 6: projecting forward because it's gonna get worse, but yeah, yeah,

536
00:28:33,680 --> 00:28:35,760
Speaker 6: where it starts is in this episode.

537
00:28:36,600 --> 00:28:39,360
Speaker 3: I feel like so far he is being quite sensitive

538
00:28:39,400 --> 00:28:41,680
Speaker 3: to Lorelight, that we really see that in the opening

539
00:28:41,760 --> 00:28:46,640
Speaker 3: scene despite its awkwardness, and look, yes it's a little

540
00:28:46,640 --> 00:28:48,920
Speaker 3: bit of a dagger when he's like, April will be

541
00:28:48,920 --> 00:28:50,520
Speaker 3: here from five to eight, so come to the diner

542
00:28:50,560 --> 00:28:55,160
Speaker 3: after eight. Even though that's rough, he's still saying come

543
00:28:55,200 --> 00:28:59,200
Speaker 3: to the diner, like let me see you, Like, can

544
00:28:59,240 --> 00:29:01,240
Speaker 3: I can't stuf? What can I do?

545
00:29:01,440 --> 00:29:04,280
Speaker 2: Like I don't I'm not He hasn't done anything yet.

546
00:29:04,480 --> 00:29:09,920
Speaker 1: Right right, Hey, I'm I've got to protect my kid.

547
00:29:10,120 --> 00:29:13,520
Speaker 1: I gotta This is delicate, and you know I love you.

548
00:29:14,280 --> 00:29:18,800
Speaker 1: Yeah right, we're solid, Right, we're solid. We were gonna

549
00:29:18,840 --> 00:29:21,560
Speaker 1: get married, but I gotta love my kid now. And

550
00:29:21,600 --> 00:29:25,120
Speaker 1: I've never loved my kid before. So I got it right.

551
00:29:25,480 --> 00:29:27,720
Speaker 1: I got to give her a lot of this love

552
00:29:27,800 --> 00:29:30,440
Speaker 1: that I would be giving you, and I'm still giving

553
00:29:30,440 --> 00:29:32,760
Speaker 1: it to you, but I got I gotta see because

554
00:29:32,760 --> 00:29:34,840
Speaker 1: your heart opens up once you know you have a kid.

555
00:29:35,040 --> 00:29:38,400
Speaker 1: I mean his heart, his heart changed, his capacity for

556
00:29:38,520 --> 00:29:42,640
Speaker 1: love increased because now he has a kid. It's earth chattering.

557
00:29:43,440 --> 00:29:43,720
Speaker 2: Yeah.

558
00:29:43,760 --> 00:29:47,680
Speaker 3: And I think you nailed it when you said he's

559
00:29:49,560 --> 00:29:53,760
Speaker 3: very much telling her we're good like he I don't.

560
00:29:53,760 --> 00:29:56,040
Speaker 3: He hasn't had any indication to her that things aren't

561
00:29:56,040 --> 00:29:57,960
Speaker 3: good with her or given her any indication.

562
00:29:58,600 --> 00:29:58,920
Speaker 1: M hm.

563
00:29:59,560 --> 00:30:04,200
Speaker 3: He's better solid on that while simultaneously navigating this very

564
00:30:04,280 --> 00:30:09,880
Speaker 3: challenging thing. And how soon she may be forgetting he

565
00:30:10,320 --> 00:30:12,680
Speaker 3: was there for her through the whole rory thing like

566
00:30:12,720 --> 00:30:16,720
Speaker 3: a rock. Probably the reason they're engaged. She owes him

567
00:30:16,760 --> 00:30:17,200
Speaker 3: that too.

568
00:30:17,880 --> 00:30:21,400
Speaker 1: Yes, I agree, And she can't be looking at it

569
00:30:21,440 --> 00:30:24,440
Speaker 1: through a lens. And I'm sure she's sort of feeling

570
00:30:24,520 --> 00:30:28,160
Speaker 1: this way at times, like who's this April? She was

571
00:30:28,240 --> 00:30:31,680
Speaker 1: always very attractive according to Sally, and I mean Anna,

572
00:30:32,840 --> 00:30:36,160
Speaker 1: I mean yeah, I'm sorry Anna Nardini and yeah, in

573
00:30:36,160 --> 00:30:37,640
Speaker 1: that scene we find out so.

574
00:30:38,040 --> 00:30:40,440
Speaker 2: That was that was rough.

575
00:30:40,680 --> 00:30:44,480
Speaker 1: Trust your man, he's he's never really has he really

576
00:30:44,480 --> 00:30:48,200
Speaker 1: ever done anything to her? No that would call him

577
00:30:48,240 --> 00:30:50,680
Speaker 1: to question his loyalty and his No.

578
00:30:50,800 --> 00:30:53,360
Speaker 3: But I did think let's talk about that scene because

579
00:30:53,760 --> 00:30:55,040
Speaker 3: we'll go out of order for a second, because I.

580
00:30:55,000 --> 00:30:58,440
Speaker 1: Think that agree with you, I think I so I

581
00:30:58,520 --> 00:31:02,480
Speaker 1: understand there they're trying kind of bombardis with obstacles, and

582
00:31:02,520 --> 00:31:04,960
Speaker 1: Larela is getting triggered and oh my god, a little

583
00:31:04,960 --> 00:31:07,680
Speaker 1: insecure and all that stuff, which is only natural, and

584
00:31:07,720 --> 00:31:11,360
Speaker 1: they're showing that side of her and not showing the

585
00:31:11,480 --> 00:31:14,920
Speaker 1: side where isn't that a lovely moment between father and

586
00:31:15,040 --> 00:31:18,640
Speaker 1: daughter And isn't that a beautiful thing to watch? That

587
00:31:18,800 --> 00:31:21,800
Speaker 1: is a father getting to know his daughter that he

588
00:31:21,840 --> 00:31:25,680
Speaker 1: didn't need to have. That's an extraordinarily touching, delicate moment

589
00:31:25,800 --> 00:31:29,280
Speaker 1: there to the point where the entire town is pressing

590
00:31:29,320 --> 00:31:32,760
Speaker 1: their noses up against the glass. Yep, but they're all

591
00:31:32,800 --> 00:31:34,880
Speaker 1: it's all framed and Oh, what's how's Laura I going

592
00:31:34,920 --> 00:31:36,560
Speaker 1: to react and a local loyal are still going to

593
00:31:36,640 --> 00:31:39,920
Speaker 1: get married. This is secondary compared to what between father

594
00:31:39,920 --> 00:31:40,320
Speaker 1: and John.

595
00:31:40,600 --> 00:31:42,440
Speaker 2: So I didn't see it framed that way.

596
00:31:42,640 --> 00:31:44,880
Speaker 3: I think it was the town being the town, and

597
00:31:44,920 --> 00:31:47,600
Speaker 3: if I lived in a small, tiny town and suddenly

598
00:31:48,000 --> 00:31:50,560
Speaker 3: the main proprietor of the town finds out he's got

599
00:31:50,560 --> 00:31:53,120
Speaker 3: a long lost kid, I too would be pressing my

600
00:31:53,440 --> 00:31:57,200
Speaker 3: nose up against the ice cream shoppy window to see.

601
00:31:57,320 --> 00:32:01,280
Speaker 2: But for the right reasons, for gossipy reasons.

602
00:32:01,520 --> 00:32:04,240
Speaker 4: Yeah, I feel like they just all know so much

603
00:32:04,320 --> 00:32:07,240
Speaker 4: about each other's lives that it didn't seem abnormal. It

604
00:32:07,280 --> 00:32:08,480
Speaker 4: seemed like something they would all do.

605
00:32:09,680 --> 00:32:12,880
Speaker 6: I was looking at it in a very literal but

606
00:32:12,960 --> 00:32:16,680
Speaker 6: also symbolic way that there is a physical wall there

607
00:32:16,800 --> 00:32:21,440
Speaker 6: between Luke and April and Laurel I, and she's interesting

608
00:32:21,720 --> 00:32:25,320
Speaker 6: on outside looking in, and she is sitting there with

609
00:32:25,400 --> 00:32:29,440
Speaker 6: the town, not part of creating a family with Luke

610
00:32:29,480 --> 00:32:30,000
Speaker 6: and April.

611
00:32:30,280 --> 00:32:35,160
Speaker 2: So okay, great, really cool call out. I think the

612
00:32:35,200 --> 00:32:37,880
Speaker 2: thing that was hard for me about that scene, the

613
00:32:37,920 --> 00:32:39,880
Speaker 2: town's behaving, is the way I would expect the town

614
00:32:39,880 --> 00:32:40,280
Speaker 2: to behave.

615
00:32:40,400 --> 00:32:42,760
Speaker 3: Oh my god, the gossip can you believe has got

616
00:32:42,760 --> 00:32:45,080
Speaker 3: this kid? And we remember Anna and.

617
00:32:45,000 --> 00:32:51,000
Speaker 2: She was so pretty. Yeah, they're assuming that Lrelai is

618
00:32:51,080 --> 00:32:55,200
Speaker 2: totally in it, immersed in it with Luke by asking

619
00:32:55,240 --> 00:32:58,200
Speaker 2: her all those questions. The painful part for me was

620
00:32:58,320 --> 00:33:02,400
Speaker 2: she doesn't know the answers because she's he hasn't brought

621
00:33:02,400 --> 00:33:03,520
Speaker 2: her in completely.

622
00:33:05,400 --> 00:33:09,120
Speaker 5: So yeah, and she doesn't even know Anna. So the

623
00:33:09,160 --> 00:33:11,120
Speaker 5: town actually knows more than she does.

624
00:33:20,320 --> 00:33:26,680
Speaker 1: Here's another aspect of how they portray this relationship between

625
00:33:27,200 --> 00:33:31,880
Speaker 1: Luke and April. It's like, where, where's the development of

626
00:33:31,880 --> 00:33:36,479
Speaker 1: this relationship? Why is this relationship just simply being used

627
00:33:37,760 --> 00:33:40,280
Speaker 1: as a wedge between Luke and Laurel and I create

628
00:33:40,480 --> 00:33:44,320
Speaker 1: sort of not necessarily negative tensions, but a little bit

629
00:33:44,360 --> 00:33:47,920
Speaker 1: of stress, right because they need the dramatic tension for

630
00:33:47,960 --> 00:33:52,280
Speaker 1: some reason. Why aren't we in close actually having scenes

631
00:33:52,400 --> 00:33:57,640
Speaker 1: with Lucy developing a relationship and developing his character along

632
00:33:57,640 --> 00:34:01,959
Speaker 1: with hers, And how wonderful you know a guy he

633
00:34:01,960 --> 00:34:05,440
Speaker 1: he is becoming So where so you know what I'm saying,

634
00:34:05,520 --> 00:34:09,200
Speaker 1: And I think that because that's lacking, and that's not

635
00:34:09,520 --> 00:34:14,719
Speaker 1: there is is why so much vitriol was aimed at

636
00:34:14,719 --> 00:34:18,640
Speaker 1: a point because the audience was trained to see this

637
00:34:18,880 --> 00:34:23,720
Speaker 1: as an obstacle because Lorela I wasn't getting what she wanted,

638
00:34:23,719 --> 00:34:26,440
Speaker 1: and the fans weren't getting the wedding that they wanted,

639
00:34:26,480 --> 00:34:28,960
Speaker 1: and so on and so forth, instead of focusing in

640
00:34:29,000 --> 00:34:32,279
Speaker 1: on this guy who's been there, the solid guy that's

641
00:34:32,280 --> 00:34:36,279
Speaker 1: loved her and you know, through all these phases in

642
00:34:36,320 --> 00:34:38,200
Speaker 1: her life with her and her daughter and her parents

643
00:34:38,200 --> 00:34:40,640
Speaker 1: and all the all the slings and arrows that he

644
00:34:40,680 --> 00:34:43,040
Speaker 1: has suffered over the years, and now he's finally at

645
00:34:43,040 --> 00:34:46,480
Speaker 1: a point and this is being portrayed as something of

646
00:34:46,520 --> 00:34:50,080
Speaker 1: a negative where he's being like this really solid guy

647
00:34:51,040 --> 00:34:53,719
Speaker 1: just found out he has a daughter, and he's doing

648
00:34:53,760 --> 00:34:56,239
Speaker 1: the right thing by her, you know what I mean. Yeah,

649
00:34:56,800 --> 00:34:58,400
Speaker 1: so I think so, I think it was unfair. I

650
00:34:58,440 --> 00:35:02,680
Speaker 1: think it was unfair to my character and to April

651
00:35:02,719 --> 00:35:05,040
Speaker 1: as well. In terms of storytelling, it's like developed that

652
00:35:05,120 --> 00:35:06,400
Speaker 1: a little bit, you know.

653
00:35:06,760 --> 00:35:12,359
Speaker 6: Yeah, I think in this episode it's there's not as

654
00:35:12,440 --> 00:35:15,719
Speaker 6: much of that, but coming up in further episodes, there's

655
00:35:15,840 --> 00:35:18,839
Speaker 6: some really good like Luke April development going on. There's

656
00:35:18,840 --> 00:35:19,720
Speaker 6: some really good scenes.

657
00:35:20,120 --> 00:35:24,680
Speaker 3: I think it's a very interesting storyline. Like there's that's

658
00:35:24,680 --> 00:35:27,759
Speaker 3: the thing I love about this episode. Every single storyline

659
00:35:27,800 --> 00:35:34,920
Speaker 3: to me, it's it's Luke April with Lowerli, Logan, Rory

660
00:35:35,800 --> 00:35:38,600
Speaker 3: with a dabble of Paris, but really Rory and Logan

661
00:35:39,080 --> 00:35:44,840
Speaker 3: and then the four core Gilmore's each of them great storylines.

662
00:35:44,960 --> 00:35:48,960
Speaker 3: So let's let's talk about Logan. So Rory is there's

663
00:35:49,000 --> 00:35:51,120
Speaker 3: another bit of sort of physical acting. It wasn't super

664
00:35:51,160 --> 00:35:53,640
Speaker 3: crazy about here. When Rory's with her books and.

665
00:35:53,560 --> 00:35:55,040
Speaker 2: She's the coffee cart.

666
00:35:55,320 --> 00:35:59,239
Speaker 3: Her body acting was kind of the opposite. It was

667
00:35:59,320 --> 00:36:03,080
Speaker 3: like two good like those people are dodging her and

668
00:36:03,280 --> 00:36:04,320
Speaker 3: diving out of the ways.

669
00:36:04,320 --> 00:36:07,400
Speaker 2: It was a little sort of you know whatever.

670
00:36:08,160 --> 00:36:12,440
Speaker 3: But then it was all I erased my dislike of

671
00:36:12,480 --> 00:36:15,600
Speaker 3: that the minute we see Logan and he's like stop

672
00:36:15,960 --> 00:36:19,040
Speaker 3: and he's so cute in the puffer coat and he's

673
00:36:19,080 --> 00:36:21,200
Speaker 3: standing by the coffee cart because he knows that's where

674
00:36:21,200 --> 00:36:24,000
Speaker 3: he'll see her, and she was really cute and the

675
00:36:24,000 --> 00:36:26,440
Speaker 3: interaction was really cute, and they're going to have dinner

676
00:36:26,480 --> 00:36:28,120
Speaker 3: Thursday night at seven thirty.

677
00:36:28,120 --> 00:36:31,319
Speaker 2: And just for me because I like Logan the whole I.

678
00:36:31,320 --> 00:36:35,640
Speaker 6: Have a flag on the waving the coffee cups around,

679
00:36:35,960 --> 00:36:37,319
Speaker 6: like you can clearly.

680
00:36:37,000 --> 00:36:40,600
Speaker 5: Tell that there is no actual liquid in the coffee cups,

681
00:36:40,680 --> 00:36:43,120
Speaker 5: and I noticed in the last step it's empty too.

682
00:36:43,400 --> 00:36:47,040
Speaker 6: When when Logan was doing it, he's he had two

683
00:36:47,160 --> 00:36:48,920
Speaker 6: cuts stacked on top of each other and he's like

684
00:36:48,960 --> 00:36:52,279
Speaker 6: holding him at a forty five degree angle. And then

685
00:36:52,560 --> 00:36:54,080
Speaker 6: Rory was doing it in this episode.

686
00:36:54,120 --> 00:36:54,719
Speaker 5: I'm like, couldn't it.

687
00:36:54,680 --> 00:36:58,520
Speaker 6: Play water in the cups so they had some weight

688
00:36:58,760 --> 00:37:03,720
Speaker 6: so they yeah.

689
00:37:02,760 --> 00:37:07,000
Speaker 2: Yeah, Sam, when actors roll luggage, I was just going

690
00:37:07,080 --> 00:37:08,719
Speaker 2: to say, it's a weird share a brain.

691
00:37:08,800 --> 00:37:13,080
Speaker 1: What's going on every time I'm roll luggage. If the

692
00:37:13,120 --> 00:37:15,400
Speaker 1: luggage is too light, you know, come on, put something in.

693
00:37:16,719 --> 00:37:17,400
Speaker 4: That's so funny.

694
00:37:17,440 --> 00:37:20,360
Speaker 3: Likes the reason Scott they don't put water in the cups.

695
00:37:20,400 --> 00:37:22,720
Speaker 3: Is it like they just the mess of it or something, or.

696
00:37:22,760 --> 00:37:26,280
Speaker 1: It's no, it's just an oversight. It's it's it's almost

697
00:37:26,320 --> 00:37:30,000
Speaker 1: the actor's responsibility to make sure that it's real and

698
00:37:30,040 --> 00:37:32,560
Speaker 1: that it's the weight of as what it should be

699
00:37:32,640 --> 00:37:35,239
Speaker 1: in real life, because too many times you see that

700
00:37:35,360 --> 00:37:39,000
Speaker 1: and like somebody's drinking a big cup with a from

701
00:37:39,000 --> 00:37:40,799
Speaker 1: a big cup and it's like super light and they're

702
00:37:40,800 --> 00:37:42,560
Speaker 1: waving it around. You can tell there's nothing in it.

703
00:37:42,560 --> 00:37:48,520
Speaker 1: It's kind of silly. So you know, there you go, we.

704
00:37:48,600 --> 00:37:50,000
Speaker 2: Saw it exactly, there you go.

705
00:37:50,280 --> 00:37:54,000
Speaker 3: So his puffer coat, the great puffers in this whole thing, right,

706
00:37:54,040 --> 00:37:58,279
Speaker 3: great puffers. So then we go back and now we

707
00:37:58,440 --> 00:38:01,520
Speaker 3: are back with Anka Mommy's home.

708
00:38:02,280 --> 00:38:04,640
Speaker 1: They agreed she she gonna go out on Tate with him.

709
00:38:04,640 --> 00:38:06,680
Speaker 2: Now, yeah, seven thirty Thursday.

710
00:38:06,440 --> 00:38:10,680
Speaker 1: Seven thirty Thursday. So I marked it down on my calendar. Actually,

711
00:38:10,840 --> 00:38:12,040
Speaker 1: I was so excited about it.

712
00:38:12,160 --> 00:38:15,160
Speaker 2: Next to June third. I now I can't unsee June third.

713
00:38:15,360 --> 00:38:18,880
Speaker 1: Somebody in the solidus guest said, what the hell is that?

714
00:38:19,080 --> 00:38:21,440
Speaker 1: What do you mean that's you know, Rory's getting back

715
00:38:21,480 --> 00:38:23,960
Speaker 1: together with Logan. I'm excited. Put the calendar.

716
00:38:25,040 --> 00:38:28,440
Speaker 3: Then we go to the house and paul Anka has

717
00:38:28,480 --> 00:38:30,800
Speaker 3: she's in the orange vest again.

718
00:38:30,920 --> 00:38:32,440
Speaker 2: Cute puffer, a lot of puffers.

719
00:38:33,160 --> 00:38:34,600
Speaker 1: Uh ba.

720
00:38:34,719 --> 00:38:36,480
Speaker 2: BET's on the phone. There was a crash in the

721
00:38:36,480 --> 00:38:38,359
Speaker 2: living room. The books are everywhere.

722
00:38:39,040 --> 00:38:42,840
Speaker 1: That Bet on the phone still just like a genius.

723
00:38:43,440 --> 00:38:45,800
Speaker 3: So I think that we sort of had that setup

724
00:38:45,840 --> 00:38:49,480
Speaker 3: so that she's she's listening almost what Scott said earlier.

725
00:38:49,640 --> 00:38:50,760
Speaker 2: She's physically got.

726
00:38:50,560 --> 00:38:53,680
Speaker 3: Something to do while she's listening to the messages. And

727
00:38:53,719 --> 00:38:56,880
Speaker 3: then Richard comes on about the mistake about Yale with

728
00:38:57,120 --> 00:39:03,879
Speaker 3: the check and YadA YadA, And then she calls Rory, Hey,

729
00:39:04,000 --> 00:39:04,520
Speaker 3: it's mom.

730
00:39:04,680 --> 00:39:07,560
Speaker 2: You know you've got your study voice going. We need

731
00:39:07,600 --> 00:39:12,239
Speaker 2: to address this check situation. We got to tell them

732
00:39:13,040 --> 00:39:14,799
Speaker 2: that your dad's paying for Yale.

733
00:39:14,880 --> 00:39:18,120
Speaker 3: I actually thought Loura I came from a surprisingly sort

734
00:39:18,120 --> 00:39:20,440
Speaker 3: of good place with her parents, Like, even though they

735
00:39:20,560 --> 00:39:24,080
Speaker 3: drive her crazy, she has respect for them and the

736
00:39:24,160 --> 00:39:26,919
Speaker 3: relationship and the family and the whole thing.

737
00:39:28,360 --> 00:39:30,319
Speaker 4: Did you think of it as because it's how I

738
00:39:30,360 --> 00:39:32,880
Speaker 4: took it When she got the call from Richard saying

739
00:39:32,960 --> 00:39:35,160
Speaker 4: like the check bounce, do you think.

740
00:39:35,000 --> 00:39:40,120
Speaker 2: She felt the check didn't bounce. I'm sorry they returned it. Yeah,

741
00:39:40,160 --> 00:39:41,839
Speaker 2: they returned it because it was already paid for.

742
00:39:42,600 --> 00:39:46,200
Speaker 4: You do you think that she felt like I wish

743
00:39:46,320 --> 00:39:50,200
Speaker 4: my parents were still paying for Yale instead of Christopher.

744
00:39:50,960 --> 00:39:51,400
Speaker 2: No.

745
00:39:51,400 --> 00:39:55,080
Speaker 3: No, I think she felt like I got to tell

746
00:39:55,080 --> 00:39:57,239
Speaker 3: them the truth because it's the right thing to do.

747
00:39:57,480 --> 00:40:00,000
Speaker 4: Yeah. I just thought she felt a little bad about it,

748
00:40:00,080 --> 00:40:01,920
Speaker 4: which I did stant she did.

749
00:40:02,040 --> 00:40:03,560
Speaker 1: I think she felt bad that she had to make

750
00:40:03,600 --> 00:40:05,200
Speaker 1: a phone call to her parents.

751
00:40:04,920 --> 00:40:09,240
Speaker 4: Also, like why wouldn't why wouldn't they tell Why wouldn't

752
00:40:09,239 --> 00:40:12,279
Speaker 4: they tell them before like they just thought like.

753
00:40:12,719 --> 00:40:14,439
Speaker 2: It's paid for. I'm sure they sort of did.

754
00:40:14,800 --> 00:40:18,239
Speaker 6: Rory never handled her business, no, no, never, you get

755
00:40:18,320 --> 00:40:21,200
Speaker 6: other people to do her, you know what, for her.

756
00:40:21,440 --> 00:40:24,120
Speaker 6: So I think that's what it was, because Rory should

757
00:40:24,160 --> 00:40:27,080
Speaker 6: have told them not lurlei exactly.

758
00:40:27,120 --> 00:40:30,880
Speaker 3: And I think Loralai feels bad because they're going to

759
00:40:30,920 --> 00:40:34,239
Speaker 3: feel bad. Yeah, it's very counterintuitive, like you'd think that

760
00:40:35,040 --> 00:40:36,520
Speaker 3: somebody would be like, oh, I don't have to pay

761
00:40:36,520 --> 00:40:36,759
Speaker 3: for it.

762
00:40:36,800 --> 00:40:37,040
Speaker 2: Cool.

763
00:40:37,440 --> 00:40:40,920
Speaker 3: It's so important to them to pay for school because

764
00:40:40,920 --> 00:40:46,040
Speaker 3: it is their connection to the family, the girls, and

765
00:40:46,080 --> 00:40:51,040
Speaker 3: I think they know there's risk if they're not paying

766
00:40:51,160 --> 00:40:54,440
Speaker 3: that they don't have that connection. And Loralai knows how

767
00:40:54,440 --> 00:40:57,640
Speaker 3: important that is to them, and she acknowledges it. This

768
00:40:57,719 --> 00:41:00,400
Speaker 3: is gonna be rough, like they're not going to be happy.

769
00:41:02,200 --> 00:41:03,040
Speaker 2: They're not happy.

770
00:41:03,400 --> 00:41:05,520
Speaker 6: She knows it's going to be a scene now because

771
00:41:06,080 --> 00:41:09,879
Speaker 6: they're finding out like not they didn't find out up front.

772
00:41:10,840 --> 00:41:13,200
Speaker 2: Well, to me, it's not even that Oh sorry, Scott,

773
00:41:13,239 --> 00:41:14,040
Speaker 2: you no.

774
00:41:14,120 --> 00:41:16,520
Speaker 1: I mean too bad. I mean it's her kid to

775
00:41:16,719 --> 00:41:21,879
Speaker 1: do what she wants. It's her kid. As long as

776
00:41:21,880 --> 00:41:24,800
Speaker 1: college is paid for, it's probably better situation for them anyway,

777
00:41:24,840 --> 00:41:28,800
Speaker 1: because then they're you know, not under the lash and obligated,

778
00:41:28,920 --> 00:41:33,200
Speaker 1: and you know, Richard and Emily are you know, can't

779
00:41:33,200 --> 00:41:38,200
Speaker 1: they be genuinely warm and welcoming and maybe one day

780
00:41:38,360 --> 00:41:41,160
Speaker 1: somebody will want to come to Friday night dinner of

781
00:41:41,200 --> 00:41:43,440
Speaker 1: their own fool, you know exactly.

782
00:41:43,680 --> 00:41:46,600
Speaker 6: Yeah, they wouldn't need Tony to manipulate their family.

783
00:41:47,920 --> 00:41:52,919
Speaker 1: Yeah, yeah, I didn't. I didn't think that it sat

784
00:41:53,080 --> 00:41:55,880
Speaker 1: very well on on Richard and Emily this episode. I

785
00:41:55,880 --> 00:41:58,120
Speaker 1: thought it made them look very very very petty.

786
00:41:58,400 --> 00:41:59,920
Speaker 2: Oh see, very good.

787
00:42:00,280 --> 00:42:02,800
Speaker 4: There was one part I have to say, do you

788
00:42:02,840 --> 00:42:04,239
Speaker 4: mind if I jump ahead a little bit?

789
00:42:04,320 --> 00:42:06,439
Speaker 2: Or should I wish? No? Not do it? Okay, There's

790
00:42:06,480 --> 00:42:07,160
Speaker 2: one part that.

791
00:42:07,120 --> 00:42:09,880
Speaker 4: I did agree with Emily when she said when was

792
00:42:10,000 --> 00:42:12,440
Speaker 4: Christopher ever a father to you? Because there was a

793
00:42:12,480 --> 00:42:14,560
Speaker 4: part where she's like, well, I want my dad to

794
00:42:14,600 --> 00:42:16,520
Speaker 4: pay for it. And Emily had a really good point

795
00:42:16,560 --> 00:42:20,040
Speaker 4: like all these years he hadn't been anywhere and suddenly

796
00:42:20,120 --> 00:42:23,799
Speaker 4: like he's your father because he's paying. I actually did

797
00:42:23,800 --> 00:42:25,239
Speaker 4: agree with her on that well.

798
00:42:25,239 --> 00:42:29,680
Speaker 3: And I understand Emily and Richard they want to pay

799
00:42:29,719 --> 00:42:34,000
Speaker 3: for school, they want to like I know that because

800
00:42:34,040 --> 00:42:38,000
Speaker 3: I have that same relationship with my grandparents, like they

801
00:42:38,160 --> 00:42:42,040
Speaker 3: want to pay for school because there's so much significance

802
00:42:42,080 --> 00:42:45,319
Speaker 3: in that my grandparents paid for my college, right, and

803
00:42:47,320 --> 00:42:52,600
Speaker 3: I think they there's something deeper than just the check.

804
00:42:53,120 --> 00:42:59,040
Speaker 2: It's not just the money. Yeah, it's the honor of

805
00:42:59,120 --> 00:43:02,800
Speaker 2: paying for school, which is a weird word. It's the duty.

806
00:43:03,440 --> 00:43:09,160
Speaker 2: It's the giving something to your grandchild forever.

807
00:43:09,520 --> 00:43:09,719
Speaker 1: Right.

808
00:43:10,120 --> 00:43:14,799
Speaker 2: That means so much. So it is heartbreaking in a

809
00:43:14,920 --> 00:43:17,920
Speaker 2: way for them that they are no.

810
00:43:18,520 --> 00:43:22,359
Speaker 1: Yeah, that means the family's broken up. Their version, their

811
00:43:22,480 --> 00:43:25,520
Speaker 1: vision of a family is broken up. Now, well, there's

812
00:43:25,560 --> 00:43:29,600
Speaker 1: something about a legacy control. Yeah, there's there's something about

813
00:43:29,600 --> 00:43:32,600
Speaker 1: the legacy. I guess that's the right word of grandparents

814
00:43:32,640 --> 00:43:33,520
Speaker 1: paying for college.

815
00:43:33,560 --> 00:43:33,719
Speaker 2: Right.

816
00:43:34,120 --> 00:43:36,120
Speaker 3: It's not about the check, because they could just give

817
00:43:36,160 --> 00:43:39,040
Speaker 3: her the same money for something else. It's not about that.

818
00:43:39,080 --> 00:43:43,000
Speaker 3: It's saying it's forever. I know that my grandparents paid

819
00:43:43,000 --> 00:43:46,240
Speaker 3: for my education. And then this happened, and this happened,

820
00:43:46,239 --> 00:43:48,800
Speaker 3: and this happened, and this happened all as a result

821
00:43:49,000 --> 00:43:51,200
Speaker 3: of what they did. So even though ooh, it makes

822
00:43:51,239 --> 00:43:54,240
Speaker 3: me want to cry, even though my grandparents aren't here anymore,

823
00:43:56,080 --> 00:43:56,920
Speaker 3: that lives on.

824
00:43:57,840 --> 00:44:00,239
Speaker 2: It's so important, right, and you'll never forget that.

825
00:44:09,600 --> 00:44:16,480
Speaker 1: Here's another aspect that laurl I perhaps didn't think about.

826
00:44:17,719 --> 00:44:22,360
Speaker 1: Would it be more beneficial for Richard and to continue

827
00:44:22,400 --> 00:44:29,240
Speaker 1: to send checks because he's involved now in a real sense,

828
00:44:30,280 --> 00:44:33,840
Speaker 1: using his influence and his power and his relationships at

829
00:44:33,920 --> 00:44:40,360
Speaker 1: Yale to protect Laurie sorry Rory, to to make sure

830
00:44:40,440 --> 00:44:45,000
Speaker 1: she gets the best opportunities and the best professor is

831
00:44:45,040 --> 00:44:48,520
Speaker 1: in the best attention, and then post grad if she

832
00:44:48,560 --> 00:44:50,880
Speaker 1: wants to pursue an advanced degree or get out in

833
00:44:50,880 --> 00:44:55,839
Speaker 1: the job. You know, he's fully invested in every single way.

834
00:44:55,960 --> 00:44:58,279
Speaker 2: Yeah, something to what you're saying, and that.

835
00:44:58,280 --> 00:45:00,760
Speaker 1: Should have been taken into consideration. Gris what the hell's

836
00:45:00,960 --> 00:45:05,120
Speaker 1: you know? And yeah, and really is the Christopher decision?

837
00:45:05,200 --> 00:45:06,640
Speaker 1: Now I think about it a little bit. Is it

838
00:45:06,680 --> 00:45:08,840
Speaker 1: really that wise? Because he could blow the money in

839
00:45:08,920 --> 00:45:12,480
Speaker 1: a Vegas weekend or on some crazy business venture and

840
00:45:12,520 --> 00:45:17,359
Speaker 1: it's like I can't pay anymore. There's true because he's

841
00:45:17,360 --> 00:45:20,040
Speaker 1: got a history of it. So it is an odd

842
00:45:20,080 --> 00:45:21,320
Speaker 1: decision in that sense.

843
00:45:21,520 --> 00:45:22,680
Speaker 2: There's truth to what you're saying.

844
00:45:22,719 --> 00:45:26,799
Speaker 3: And what I think about is my parents could have

845
00:45:26,920 --> 00:45:30,680
Speaker 3: paid for my college, right just like Christopher can pay

846
00:45:31,239 --> 00:45:36,720
Speaker 3: for Rory's but there was a deeper something there. Having

847
00:45:36,760 --> 00:45:39,880
Speaker 3: my grandparents pay for all our educations, right.

848
00:45:40,480 --> 00:45:47,720
Speaker 2: My siblings, my cousins. It's more than just the check. Yeah, right,

849
00:45:47,920 --> 00:45:51,279
Speaker 2: So I think you're right, You're you're getting into something.

850
00:45:51,360 --> 00:45:53,879
Speaker 2: There's also the fact that Richard went to Yale. There's

851
00:45:53,920 --> 00:45:57,480
Speaker 2: just a lot of significance in it, not just sort

852
00:45:57,480 --> 00:46:01,400
Speaker 2: of like yeah, yeah, there's a lot of deep.

853
00:46:01,400 --> 00:46:03,760
Speaker 1: That guy can pick up a telephone and make things happen.

854
00:46:04,040 --> 00:46:05,680
Speaker 1: He can make he can pick up a telephone and

855
00:46:05,719 --> 00:46:09,760
Speaker 1: make things happen for her, the waysh you know, Logan

856
00:46:10,400 --> 00:46:12,400
Speaker 1: or mitcham Hunsberger cannot or will not.

857
00:46:13,440 --> 00:46:16,080
Speaker 3: Yeah, or even the connection, like you know when they

858
00:46:16,080 --> 00:46:18,799
Speaker 3: came into the well, I'm skipping ahead, we'll get to it.

859
00:46:18,800 --> 00:46:22,160
Speaker 3: But you know, the they come into the living room

860
00:46:22,200 --> 00:46:23,280
Speaker 3: and he's reading the book.

861
00:46:23,880 --> 00:46:27,600
Speaker 2: Yeah, I almost was waiting for Rory to bond over

862
00:46:27,640 --> 00:46:28,040
Speaker 2: the book.

863
00:46:28,200 --> 00:46:29,759
Speaker 4: Oh I was too. That's so funny.

864
00:46:29,880 --> 00:46:32,560
Speaker 3: Why are they not connecting? And that's what Yale is

865
00:46:32,600 --> 00:46:35,560
Speaker 3: to them. Yeah, it's such a deeper thing than the check.

866
00:46:35,640 --> 00:46:38,120
Speaker 3: It's the connection, which I think is what you're saying, Scott.

867
00:46:38,200 --> 00:46:43,320
Speaker 1: It is it is it's the family legacy, and let's

868
00:46:43,440 --> 00:46:48,240
Speaker 1: you know, let's let's gain theory it out. When Rory

869
00:46:48,320 --> 00:46:50,879
Speaker 1: has her children and they're grown and they're seventeen, they're

870
00:46:50,920 --> 00:46:53,520
Speaker 1: going off to college. And then Richard can you know,

871
00:46:53,640 --> 00:46:56,239
Speaker 1: he maybe he's still around and he wants to help,

872
00:46:56,320 --> 00:46:57,160
Speaker 1: and there.

873
00:46:57,239 --> 00:47:02,680
Speaker 2: Go or Christopher. So that to me is when Christopher,

874
00:47:04,560 --> 00:47:05,400
Speaker 2: who knows.

875
00:47:05,600 --> 00:47:07,560
Speaker 1: If you're a gambling woman, I mean, if and you're

876
00:47:07,560 --> 00:47:09,080
Speaker 1: playing the odds, you're sticking with Richard.

877
00:47:09,120 --> 00:47:12,120
Speaker 3: But you know what Christopher could have done. I'm so

878
00:47:12,239 --> 00:47:13,440
Speaker 3: say that, say that.

879
00:47:13,400 --> 00:47:17,160
Speaker 2: We understood and Rory understood more the importance of Emily

880
00:47:17,200 --> 00:47:20,840
Speaker 2: and Richard paying for school. Christopher could have said, Okay,

881
00:47:20,880 --> 00:47:23,600
Speaker 2: your grandparents are paying for your school. I'm going to

882
00:47:23,640 --> 00:47:27,759
Speaker 2: set up now a trust fund with this money so

883
00:47:27,920 --> 00:47:31,799
Speaker 2: your children's college. And that's what he should have done too.

884
00:47:31,920 --> 00:47:36,840
Speaker 3: That that is family, that is legacy, That is doing

885
00:47:36,920 --> 00:47:38,040
Speaker 3: something for your kid.

886
00:47:38,120 --> 00:47:41,000
Speaker 2: That's beyond So I don't know, I have.

887
00:47:41,200 --> 00:47:45,160
Speaker 1: You know, yeah, not enough detail there. So Christopher could

888
00:47:45,160 --> 00:47:46,919
Speaker 1: have put it in an account college account and that

889
00:47:46,960 --> 00:47:49,759
Speaker 1: it would all been paid for lockstock and barrel, no

890
00:47:49,880 --> 00:47:50,560
Speaker 1: questions asked.

891
00:47:50,680 --> 00:47:51,600
Speaker 2: And then it goes down.

892
00:47:51,680 --> 00:47:55,840
Speaker 1: You go off and start a casino and.

893
00:47:55,320 --> 00:47:58,360
Speaker 3: Right, and it's right, the money's safe, secure, it's done, it's.

894
00:47:58,320 --> 00:48:00,959
Speaker 1: Right right, and he can go blow the rest was what? Right?

895
00:48:01,360 --> 00:48:07,080
Speaker 3: So okay, so let's switch to uh Logan, Paris, Rory,

896
00:48:07,200 --> 00:48:10,840
Speaker 3: the paper, all that mess. What do y'all think in

897
00:48:10,880 --> 00:48:14,239
Speaker 3: general about the Paris paper situation?

898
00:48:15,080 --> 00:48:18,400
Speaker 4: I mean, Paris is always over the top, but this

899
00:48:19,239 --> 00:48:22,440
Speaker 4: really was over the top. But I don't know what

900
00:48:22,560 --> 00:48:26,160
Speaker 4: it is. It's I think she's the only character that

901
00:48:26,200 --> 00:48:28,680
Speaker 4: for me can pull it off being that annoying. And

902
00:48:28,719 --> 00:48:30,200
Speaker 4: I still enjoy watching.

903
00:48:29,880 --> 00:48:35,560
Speaker 1: Her, you know, she I was really grooving on her

904
00:48:35,800 --> 00:48:38,440
Speaker 1: character there a little bit for a couple of seasons,

905
00:48:38,480 --> 00:48:42,239
Speaker 1: now appreciating it, getting the chuckles. But this is like

906
00:48:42,320 --> 00:48:45,319
Speaker 1: now she's back to being like committed to an institution.

907
00:48:45,960 --> 00:48:46,680
Speaker 4: I enjoyed her.

908
00:48:46,960 --> 00:48:49,440
Speaker 1: This is this is like crazy, this is insanity.

909
00:48:49,800 --> 00:48:51,920
Speaker 2: Yeah, I agree, I only love it because of what

910
00:48:52,000 --> 00:48:54,880
Speaker 2: it brought out in Rory and Logan. Ye, so to me,

911
00:48:54,960 --> 00:48:56,000
Speaker 2: it's a means to an end.

912
00:48:56,360 --> 00:49:01,000
Speaker 1: But like shes no, she has no business leading anything.

913
00:49:01,200 --> 00:49:04,759
Speaker 1: I mean, she needs to be in therapy to unhinged

914
00:49:05,360 --> 00:49:06,920
Speaker 1: someone abusive.

915
00:49:07,560 --> 00:49:10,320
Speaker 3: And she would never let the paper go to print

916
00:49:10,440 --> 00:49:14,320
Speaker 3: with a photo missing. So that was like not even

917
00:49:14,800 --> 00:49:16,200
Speaker 3: that was insane.

918
00:49:16,400 --> 00:49:19,040
Speaker 2: I'm like, what she cares way too much about the paper?

919
00:49:19,280 --> 00:49:21,960
Speaker 1: Are going to are we going to find out? Uh,

920
00:49:23,040 --> 00:49:24,360
Speaker 1: don't tell me what it is, but if we're going

921
00:49:24,440 --> 00:49:28,840
Speaker 1: to find out, something some earthquake happened in her life

922
00:49:29,560 --> 00:49:32,759
Speaker 1: in ensuing episodes to justify this behavior, because this is

923
00:49:32,840 --> 00:49:37,239
Speaker 1: just so off the chain, She's a mess.

924
00:49:37,600 --> 00:49:39,680
Speaker 2: That being said, the habs did make me well.

925
00:49:39,719 --> 00:49:43,600
Speaker 1: You had that character say that he wanted to do

926
00:49:43,680 --> 00:49:45,800
Speaker 1: to her what people did.

927
00:49:45,600 --> 00:49:49,440
Speaker 2: The Mussolini Is that Bill about Bill? Right?

928
00:49:49,880 --> 00:49:52,279
Speaker 1: Yeah? No. The kid that was sitting there with the

929
00:49:52,360 --> 00:49:54,879
Speaker 1: yo yo said I not only I don't only want

930
00:49:54,880 --> 00:49:56,560
Speaker 1: to kill her, I want to drag her body through

931
00:49:56,600 --> 00:50:01,920
Speaker 1: an hand terrible right to Mussolini here, And I was like, ah,

932
00:50:01,960 --> 00:50:05,000
Speaker 1: that is a very strong statement. That's almost as bad

933
00:50:05,040 --> 00:50:07,280
Speaker 1: as the biomedical itch.

934
00:50:08,320 --> 00:50:14,320
Speaker 2: Yeah, how about her weird beautiful mind cubicle? Oh my god,

935
00:50:14,400 --> 00:50:15,799
Speaker 2: my god, it was.

936
00:50:17,200 --> 00:50:18,000
Speaker 1: Oh man.

937
00:50:19,880 --> 00:50:20,600
Speaker 4: Was beautiful.

938
00:50:21,719 --> 00:50:24,799
Speaker 1: She's like you know she's that was Ted's Ted Kaczynski tear.

939
00:50:24,960 --> 00:50:28,560
Speaker 2: Yeah, it was like very she's scaring me so and

940
00:50:28,560 --> 00:50:29,759
Speaker 2: then there were ear muffs.

941
00:50:29,760 --> 00:50:32,360
Speaker 3: And the thing that I do love about it, like

942
00:50:32,400 --> 00:50:35,000
Speaker 3: I said, is it just brings out the best in Rory,

943
00:50:35,360 --> 00:50:39,160
Speaker 3: and you see like Rory's thriving again, and then it

944
00:50:39,320 --> 00:50:41,759
Speaker 3: levels up Logan Logan coming in.

945
00:50:41,840 --> 00:50:44,080
Speaker 2: First of all, I know we're skipping that. Let's just

946
00:50:44,120 --> 00:50:44,840
Speaker 2: play through.

947
00:50:44,640 --> 00:50:47,120
Speaker 3: This because this episode has so much to talk about.

948
00:50:47,719 --> 00:50:51,560
Speaker 3: First of all, his smile acting. Oh my god, I

949
00:50:51,719 --> 00:50:53,000
Speaker 3: die had to watch it three.

950
00:50:53,040 --> 00:50:54,880
Speaker 1: That would fall in the category face act.

951
00:50:54,719 --> 00:50:55,840
Speaker 2: Face acting exactly.

952
00:50:56,360 --> 00:50:59,360
Speaker 1: So the scene now you're creating categories for eyes.

953
00:50:59,400 --> 00:51:04,160
Speaker 2: And he comes into the paper exactly reacting. This is

954
00:51:04,200 --> 00:51:06,880
Speaker 2: this is ear acting, I acting chin acting.

955
00:51:07,360 --> 00:51:10,680
Speaker 3: So he comes into the paper, she realizes she forgot

956
00:51:10,680 --> 00:51:15,000
Speaker 3: her date, but he's so cute and there to help

957
00:51:15,080 --> 00:51:16,160
Speaker 3: and sort of why didn't you call me?

958
00:51:16,200 --> 00:51:18,080
Speaker 2: But before that, he's just listening to her.

959
00:51:18,040 --> 00:51:20,239
Speaker 3: Blah blah blah blah lah lah, and he's just got

960
00:51:20,239 --> 00:51:22,520
Speaker 3: this smile and he sort of touches his face like

961
00:51:23,000 --> 00:51:26,520
Speaker 3: his chin or his nose, so cute, like everything about him.

962
00:51:26,560 --> 00:51:29,600
Speaker 2: I just was like, swoon, swoon.

963
00:51:30,239 --> 00:51:36,480
Speaker 3: And then he really contributes, so I was just like, yes,

964
00:51:36,880 --> 00:51:37,719
Speaker 3: I'm so in.

965
00:51:39,000 --> 00:51:41,640
Speaker 4: The one thing I it made me cringe a little

966
00:51:41,680 --> 00:51:44,480
Speaker 4: bit was when he made the phone call, like when

967
00:51:44,520 --> 00:51:46,600
Speaker 4: the paper was late and he was stalling and he

968
00:51:46,680 --> 00:51:48,879
Speaker 4: was just like it only made me cringe because he's

969
00:51:48,920 --> 00:51:51,760
Speaker 4: like so entitled and he's like, oh yeah, my father,

970
00:51:52,000 --> 00:51:52,480
Speaker 4: like you know that.

971
00:51:52,640 --> 00:51:54,879
Speaker 2: But he knew it would work. He knew it would work.

972
00:51:54,920 --> 00:51:56,680
Speaker 4: Well, I don't know why. It just bugs me about it.

973
00:51:58,000 --> 00:51:58,520
Speaker 2: I didn't mind.

974
00:51:58,560 --> 00:52:00,480
Speaker 3: Did you guys see Danny Putty in there by the way,

975
00:52:00,520 --> 00:52:02,480
Speaker 3: you know, the actor Danny Putty, he was in the

976
00:52:02,560 --> 00:52:06,200
Speaker 3: He's he's gone on to do a lot, uh that

977
00:52:06,239 --> 00:52:06,560
Speaker 3: show with.

978
00:52:06,600 --> 00:52:10,879
Speaker 2: Joel McHale and Chevy Chase. Anyway, I'm sure we'll talk

979
00:52:10,880 --> 00:52:11,520
Speaker 2: about it either.

980
00:52:11,360 --> 00:52:15,120
Speaker 1: Way, Tara. He was just trying to impress Rory. Yep,

981
00:52:15,320 --> 00:52:20,240
Speaker 1: that was that was a move to get his girl back. Really, yes,

982
00:52:20,560 --> 00:52:23,359
Speaker 1: really he had to be the hero and carry it

983
00:52:23,400 --> 00:52:27,319
Speaker 1: through and he just played the dad card and it.

984
00:52:27,280 --> 00:52:30,480
Speaker 2: Worked and to save the he got the kiss from

985
00:52:30,520 --> 00:52:30,879
Speaker 2: the girl.

986
00:52:31,239 --> 00:52:33,560
Speaker 4: Also, it was so not realistic the way he was

987
00:52:33,640 --> 00:52:37,680
Speaker 4: talling and she's like typing like one letter at a time, Like, was.

988
00:52:37,360 --> 00:52:40,400
Speaker 1: Was anything realistic in that scene?

989
00:52:40,480 --> 00:52:40,840
Speaker 2: No?

990
00:52:40,840 --> 00:52:44,239
Speaker 1: None of It's got an insane human being that needs

991
00:52:44,280 --> 00:52:48,080
Speaker 1: to be taken away in a in a van, yeah,

992
00:52:48,760 --> 00:52:52,600
Speaker 1: you know, in restraints, you know. And then so there

993
00:52:52,640 --> 00:52:56,440
Speaker 1: was really you know, the stage was set for unreality.

994
00:52:55,920 --> 00:52:58,120
Speaker 4: He's like, and then you open your computer and then

995
00:52:58,160 --> 00:53:00,200
Speaker 4: you go And she's like just looking at Logans was

996
00:53:00,280 --> 00:53:01,960
Speaker 4: pressing like one button at the time.

997
00:53:02,000 --> 00:53:04,200
Speaker 2: I'm like, she's not getting anything done.

998
00:53:04,760 --> 00:53:07,360
Speaker 3: Where did he get those sandwiches? All of a sudden,

999
00:53:07,360 --> 00:53:10,480
Speaker 3: there's two break Deli sandwiches coming out of the bag.

1000
00:53:10,480 --> 00:53:12,200
Speaker 1: And two glasses and a bottle of wine.

1001
00:53:12,440 --> 00:53:13,480
Speaker 2: I love everything.

1002
00:53:15,080 --> 00:53:17,200
Speaker 1: In Sugarman parlance.

1003
00:53:17,239 --> 00:53:20,880
Speaker 2: He's baller, totally totally baller.

1004
00:53:24,000 --> 00:53:25,080
Speaker 4: So cute.

1005
00:53:25,680 --> 00:53:26,520
Speaker 1: That was a great scene.

1006
00:53:26,560 --> 00:53:27,480
Speaker 2: That was love.

1007
00:53:28,480 --> 00:53:31,240
Speaker 1: That was a great interaction between the great coming together.

1008
00:53:32,400 --> 00:53:37,799
Speaker 1: Enjoy him. He's just the guy's magic. I love I

1009
00:53:37,840 --> 00:53:41,479
Speaker 1: love mere Man. He's just lights up and then he doesn't.

1010
00:53:41,480 --> 00:53:44,680
Speaker 1: He just light up the scenes. Yes, charming, Yes gone.

1011
00:53:44,800 --> 00:53:48,359
Speaker 3: He lights up the scene and he brings out in her.

1012
00:53:48,640 --> 00:53:50,200
Speaker 3: I don't know if it's Rory or Alexis.

1013
00:53:50,239 --> 00:53:56,040
Speaker 2: I don't know, a light and energy the scenes like,

1014
00:53:56,040 --> 00:53:58,160
Speaker 2: there's just not that. I don't love her.

1015
00:53:58,200 --> 00:54:02,359
Speaker 3: Scene in the in the cool cafeteria dining hall room

1016
00:54:03,280 --> 00:54:06,120
Speaker 3: where I thought we're gonna dress crazy and she says,

1017
00:54:06,120 --> 00:54:08,759
Speaker 3: I'm going to dinner with Logan tonight and Laura's talking

1018
00:54:08,760 --> 00:54:09,920
Speaker 3: about I talked to your grandparents.

1019
00:54:09,920 --> 00:54:13,200
Speaker 2: We're going to dinner. It's a great scene, but there's

1020
00:54:13,360 --> 00:54:15,400
Speaker 2: something you canize.

1021
00:54:16,360 --> 00:54:20,200
Speaker 1: The chemistry between them. You can read it's electric. Yeah,

1022
00:54:20,280 --> 00:54:23,799
Speaker 1: you can feel it. And when he pulls her close

1023
00:54:23,880 --> 00:54:27,760
Speaker 1: to him, you can really feel the sexual It's real.

1024
00:54:29,040 --> 00:54:31,520
Speaker 3: I will say on a note, just because you know,

1025
00:54:31,560 --> 00:54:34,160
Speaker 3: we've got a lot to cover still, that scene where

1026
00:54:34,200 --> 00:54:37,560
Speaker 3: Lorelai and Ry are in the dining hall and she

1027
00:54:37,719 --> 00:54:41,160
Speaker 3: talks about that they had just moved from Hertford and

1028
00:54:41,200 --> 00:54:44,080
Speaker 3: they are at the inn and she got the invite

1029
00:54:44,080 --> 00:54:46,600
Speaker 3: to the annual Christmas party and she didn't go, and

1030
00:54:46,640 --> 00:54:49,080
Speaker 3: she acknowledges it should have gone.

1031
00:54:49,480 --> 00:54:53,080
Speaker 2: Everything could have been different, and I thought, wow, very

1032
00:54:53,160 --> 00:54:56,839
Speaker 2: quick little mention, but what a powerful thing.

1033
00:54:57,760 --> 00:55:01,920
Speaker 3: And she's sort of writing that by saying, I know

1034
00:55:02,000 --> 00:55:03,160
Speaker 3: you don't want to go, but we're going.

1035
00:55:03,840 --> 00:55:04,320
Speaker 2: We're going.

1036
00:55:04,640 --> 00:55:09,400
Speaker 1: All right, hey, everybody, Due to this viral a diarrhea

1037
00:55:09,440 --> 00:55:12,520
Speaker 1: of the mouth syndrome that we all have on this episode,

1038
00:55:13,200 --> 00:55:15,080
Speaker 1: we're gonna have to break this up into a couple

1039
00:55:15,120 --> 00:55:17,799
Speaker 1: of parts, at least two parts, maybe three parts, because

1040
00:55:17,840 --> 00:55:20,040
Speaker 1: we only got ten minutes into the episode and we've

1041
00:55:20,080 --> 00:55:23,960
Speaker 1: already been recording for an hour. Oh joy, Oh joy.

1042
00:55:24,560 --> 00:55:26,600
Speaker 1: The season anyway, So we're gonna take a little break

1043
00:55:26,600 --> 00:55:57,080
Speaker 1: and we'll come back with Part two. Hey everybody, and

1044
00:55:57,160 --> 00:56:00,760
Speaker 1: don't forget Follow us on Instagram at i Am all

1045
00:56:00,800 --> 00:56:16,080
Speaker 1: In Podcast and email us at Gilmore at iHeartRadio dot com.