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Speaker 1: I am all in.

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Speaker 2: That's just you.

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Speaker 3: I am all in with Scott Patterson and iHeartRadio podcast.

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

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Speaker 1: eleven Productions. iHeart radio, iHeart media, iHeart podcasts. We are

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Speaker 1: gonna break down a year in the life Fall recap.

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Speaker 1: I'm joined by partial intrepid crew, but pretty darn intrepid

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Speaker 1: in their own right. Suzanne French, Tyre suit, Amy and

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Speaker 1: Danielle will be joining us momentarily. And uh, are we

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Speaker 1: gonna do a recap? Or you want to just get

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Speaker 1: right into this?

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Speaker 4: Should we start with overall thoughts?

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Speaker 1: Or should we Okay, So I'm going to chime in here.

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Speaker 1: I thoroughly enjoyed this. Yeah, I thought that it was

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Speaker 1: I always try to look at these as movies and

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Speaker 1: not to TV shows. It's an hour and a half.

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Speaker 1: It's a whole different structure, as I've said before. And

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Speaker 1: I thought Amy did a fantastic job of infusing all

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Speaker 1: of her influences, I mean, from Fellini to Fincher. I

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Speaker 1: saw her give a nod to so many different directors

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Speaker 1: in this film. I thought the Light and Death Brigade

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Speaker 1: stuff was magic. I thought the Luke and laurel ized

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Speaker 1: stuff was fraught with tension and just great. I thought

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Speaker 1: the Jess stuff was great. I thought a lot of it,

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Speaker 1: and I thought Alexis was great. I thought the entire

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Speaker 1: I thought the story or telling was spot on. I

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Speaker 1: think it's really hard and plus it didn't seem like

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Speaker 1: Gilmore Girls at all when it's in a film format,

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Speaker 1: because it's taking more time, it's breathing, it's more open.

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Speaker 1: You're getting close up of people reacting to things and

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Speaker 1: feeling things and emoting things. We can read thoughts without words.

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Speaker 1: And then at times it kicks in to our old

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Speaker 1: familiar Gilmour banter right to bring us back in to it.

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Speaker 1: It's like, oh, yes, this is but so it had

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Speaker 1: the DNA, but it also Amy infused it with her

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Speaker 1: love of dance, her love of cinema, because she's not

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Speaker 1: just a TV gal, right, I mean she's an erudite,

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Speaker 1: accomplished consumer of film and literature and anything pop culture obviously,

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Speaker 1: and it was all infused into this film. And I

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Speaker 1: thought as a film as a romantic comedy or a dramedy,

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Speaker 1: it worked on every level and I enjoyed every single

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Speaker 1: part of it. Blew me away Blew Me Away could

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Speaker 1: have stood alone if they released it as a film,

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Speaker 1: like here you go, fans, let's let's release it into

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Speaker 1: three thousand theaters. I bet it would have done pretty

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Speaker 1: darn well.

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Speaker 5: No, and you watched it before, I mean no, you haven't.

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Speaker 1: Okay, Well, I had to do a dr on our

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Speaker 1: you know, my big speech in the kitchen with Laura

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Speaker 1: when she returns from wilding. So i'd seen that before, Okay,

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Speaker 1: but that's pretty much it. I think I did a

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Speaker 1: little a dr on the just scene when the when

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Speaker 1: the flower broke over me oh h covered flower. Yeah,

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Speaker 1: but I hadn't seen anything else, and I was I

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Speaker 1: was shocked, surprised and delighted by all of it. Yeah,

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Speaker 1: I mean in the first act, I was just like wow, Wow, Wow,

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Speaker 1: what an accomplishment. And I was so happy for Amy

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Speaker 1: Sherman Palladino because somebody had given her the money and

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Speaker 1: the means to make what really, you know, goes on

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Speaker 1: in her head in a film makes sense and get

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Speaker 1: it up on screen. She had free life, pretty much,

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Speaker 1: free license to do what she wanted. I thought she

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Speaker 1: did a beautiful job, a beautiful job. Yeah, And I

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Speaker 1: think a real contribution to the Gilmour Cannon. I don't

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Speaker 1: see it as my whole opinion of these episodes has changed.

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Speaker 1: You know, some are week better than others. But this

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Speaker 1: was just wow, krem de la creme, and actually kind

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Speaker 1: of it was almost like, I hate to use the term.

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Speaker 1: I don't want to say autopsy of the series or

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Speaker 1: a post mortem of the series, but it kind of

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Speaker 1: rightfully ended it in a way, you know what I'm saying.

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Speaker 1: It's like, it's like all the loose ends were tied

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Speaker 1: up pretty much, except of course you've got this, yeah,

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Speaker 1: the cliffhanger, the four words at the end, right which

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Speaker 1: opens it all back up again. But I just thought,

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Speaker 1: what a delight, and they kept honoring Richard appropriately and

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Speaker 1: those were big moments. And I really do like how

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Speaker 1: they did the elopement and the wedding, but there's still

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Speaker 1: more room for storytelling. I just loved it all. I

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Speaker 1: loved it all anyway, I'll shut up you guys chime in.

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Speaker 5: I also loved it, and I also realized I hadn't

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Speaker 5: watched it in a really long time. I think I

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Speaker 5: kind of avoid it because it's like the end, like

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Speaker 5: the end, the end, kind of like how Amy avoided,

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Speaker 5: you know, the last episode of the series. But what

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Speaker 5: stood out to me, and again I agree with everything

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Speaker 5: you said, Scott, but I thought the directing, like the

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Speaker 5: camera work was so interesting that I actually looked up

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Speaker 5: and I noticed it was Amy who directed it, and

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Speaker 5: and the camera work was so interesting, the way like

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Speaker 5: it would turn or it was like kind of it

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Speaker 5: seemed like a handheld I don't know the like terminology of.

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Speaker 1: A lot of those shots were on a dolly, which

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Speaker 1: is actually like a train track. It's a mini train

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Speaker 1: track for yeah, for the platform that the camera sits

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Speaker 1: on so you can can it smoothly move And.

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Speaker 5: It's like my favorite scene and we'll get to it,

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Speaker 5: but was when Rory is alone in her grandparents' house,

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Speaker 5: Like that was my favorite scene, just the way it

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Speaker 5: was shot.

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Speaker 4: Are you talking about how this is the best episode ever?

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Speaker 6: Yes?

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Speaker 1: Amazing.

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Speaker 5: I wrote out of text to you last night. I

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Speaker 5: deleted it because I was like, I need to wait,

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Speaker 5: but I was like I needed to know what you

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Speaker 5: thought of the just.

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Speaker 2: I feel like he redeems it.

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Speaker 4: I cannot handle this episode. It was everything I needed

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Speaker 4: and then some. And I just wish all four were

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Speaker 4: like this because it was so Gilmore Girls in every heart,

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Speaker 4: every scene was Gilmore Girls, and I, oh my god,

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Speaker 4: I'm just so happy it ended this way, like so

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Speaker 4: thrilled me too.

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Speaker 1: Me too. I think it's the you know, it gave

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Speaker 1: me this. I mean, it opened up a whole new world.

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Speaker 1: It's like, why is an Amy Sherman Paladina writing and

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Speaker 1: directing films? I think she likes the immediacy of TV

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Speaker 1: and the length and the width and the breadth and

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Speaker 1: the depth of the storytelling that she can accomplish in

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Speaker 1: a short period of time with TV because she does

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Speaker 1: it at such a high level. But what she would

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Speaker 1: be a great film director too. Oh, I mean just

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Speaker 1: some of those like the shots like Tara, that shot

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Speaker 1: of Rory opening up her laptop in Richard's office and

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Speaker 1: starting to write her boss. The lighting there, it was gorgeous.

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Speaker 1: It was like the beautiful movie shots.

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Speaker 4: And there we was there was I feel like every

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Speaker 4: loop was closed, Like That's what I loved about it.

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Speaker 4: It's just every but then obviously left on a massive cliffhanger,

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Speaker 4: but it just felt like we got closure on a

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Speaker 4: lot on a loaned mm hmm.

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Speaker 3: It was definitely the most cinematic of the four episodes,

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Speaker 3: and I have to also, you know, give props to

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Speaker 3: the set decoration, Like absolutely, the whole Life and Death

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Speaker 3: Brigade thing, I thought that was a little drawn out,

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Speaker 3: but visually lighting with it, it was so stunning. And

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Speaker 3: then the whole wedding scene that's kind of the Alice

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Speaker 3: in Wonderland theme, Like it just was like this magical Wonderland.

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Speaker 1: Did not take your breath away. When Rory went into

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Speaker 1: the stars Hollow Gazette at night and she was having

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Speaker 1: that you know, this felliniesque experience outside with the crow

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Speaker 1: talking to her, Yeah, you know all that, and the

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Speaker 1: guy going by on a unicycle predicting doom and all stuff.

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Speaker 3: It was good.

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Speaker 1: It was It was so Italian noir.

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Speaker 4: There was a lot of references to other things as well,

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Speaker 4: like at the end of should we just jump into it, guys,

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Speaker 4: because I feel.

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Speaker 1: Like I wrote them down, but I mean that when

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Speaker 1: she's inside and then she and then the camera comes

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Speaker 1: around and gets a little bit behind her and we

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Speaker 1: see three of the Light and Death Brigades coming emerging

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Speaker 1: from the mist, it was like, wow, it was so beautiful.

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Speaker 1: I'm gonna watch this again to you.

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Speaker 4: I already watched twice. I'm gonna watch it third, fourth, Ye,

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Speaker 4: I want.

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Speaker 1: To watch it again.

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Speaker 5: It was I mean, I have to admit I want

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Speaker 5: to watch episode one again, like of the whole series

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Speaker 5: right after because I was like, it can't end.

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Speaker 4: This was like an hour and forty minutes. It was

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Speaker 4: the longest before. It felt like twenty It felt so short.

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Speaker 4: I don't know how to explain it. I was just

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Speaker 4: hooked and fully invested the whole.

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Speaker 1: What a gift, What a gift to the fans, you know,

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Speaker 1: I mean, what a gift. Thank you, thank you, thank you,

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Speaker 1: Amy Sherman peld you know, for this brilliant piece of filmmaking,

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Speaker 1: brilliant on every level. It's like, as witty as the

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Speaker 1: banter she creates, as funny as she can write, as

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Speaker 1: dramatic as she can write. She also knows what the

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Speaker 1: hell to do with a camera. She knows how to

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Speaker 1: move a camera. And it's like, wow, what a what

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Speaker 1: a what a talent? My gosh, my gosh. Anyway, should

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Speaker 1: we even bother synopsizing? Yeah, let's get into it.

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Speaker 3: Yeah, okay, so gosh, there is so much to talk about.

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Speaker 3: So we start out. Lorelai is doing wild in air quotes.

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Speaker 3: She's got this crazy backpack that is practically a character

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Speaker 3: by itself. And then uh, so we see Jason Ritter.

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Speaker 3: He's the first park ranger and of course probably most

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Speaker 3: people know they work together in Parenthood. There were all

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Speaker 3: there were like a lot of connections to Parenthood and.

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Speaker 5: It is I think we talked about it. Parenthood had

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Speaker 5: just ended because we had May Whitman. Then you have

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Speaker 5: Peter Krause in this episode as well, and then.

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Speaker 1: She's right, you also had Lauren's assistant. Yes, who was

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Speaker 1: who was the whale? Uh in the Whale Museum? Right.

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Speaker 3: I recommended the voice immediately because he was in that

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Speaker 3: other episode. He was the one that wanted the steel

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Speaker 3: cut oats. She's six sometime. Yeah, so lot lots of callbacks.

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Speaker 3: So okay, Booker movie, she doesn't have her permit. Oh

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Speaker 3: that's right. They were all going to start again the

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Speaker 3: next day because the conditions were bad for boot throwing,

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Speaker 3: So they all go back to their motel and then

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Speaker 3: this is the part that you were talking about, Scott,

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Speaker 3: where they're back at the Gazette and first Rory gets

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Speaker 3: that message on her computer like this is like pre

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Speaker 3: I am I guess she's she's got like the message

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Speaker 3: on her computer. Ready says ready, and then the pedal

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Speaker 3: the pig runs by, So you already know like, okay, something,

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Speaker 3: this is going to be like super literal. There's gonna

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Speaker 3: be some sort of fantasy elements here. And then we

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Speaker 3: go to the diner scene. I loved the diner scene

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Speaker 3: with Jess and Luke and everybody's on their laptops.

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Speaker 4: And I said this after the last episode, where is

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Speaker 4: Jess and Luke that was missing and I'm finally.

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Speaker 3: I told you to stay tuned, Remember.

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Speaker 4: You did, and it was a great payoff.

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Speaker 3: Yeah, it was. I love that scene. And you know,

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Speaker 3: Luke is all confused and off balance and funny little

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Speaker 3: thing about how the vegetable cult kicked out TJ because

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Speaker 3: they were two heard and then they have they have

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Speaker 3: that nice conversation about Lorelei, you know, what is her

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Speaker 3: ultimate intent with you know, leaving town and going out

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Speaker 3: on this hike, and so that was that was just

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Speaker 3: a great, a great moment between them, and so we

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Speaker 3: seen it.

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Speaker 4: There was a lot that was in that scene though.

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Speaker 4: You you saw that Luke was come to terms that

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Speaker 4: with the fact that Laurla may leave him right because

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Speaker 4: you know, there was rockiness there and Jess can sniff

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Speaker 4: that out like a mile away that something was going

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Speaker 4: on with Luke, and Luke just revealed, you know, he

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Speaker 4: revealed his biggest fear, that Laura I was going to

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Speaker 4: leave him. I thought that was super powerful.

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Speaker 3: Yeah, And it was such a role reversal too, because

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Speaker 3: in the original series, it was always Luke trying to

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Speaker 3: help Jess, and now it's completely the opposite, Like Jess

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Speaker 3: is the adult and he's trying to help Luke through

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Speaker 3: think through this situation. I really love Jess in that scene.

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Speaker 4: And then he like the Internet.

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Speaker 1: That was so funny.

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Speaker 5: I'll also laugh about bagels split four ways.

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Speaker 3: Really yeah, just a great scene all around. And then

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Speaker 3: we go back to the motel where laurel I is

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Speaker 3: with the other hikers and they're sitting around the fire

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Speaker 3: pit talking about their stories. I really liked Lorelei's line

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Speaker 3: when they asked her what her story was and she says, oh,

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Speaker 3: there's no story, just a punchline like that kind of

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Speaker 3: sums up her story, like it how she kind of

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Speaker 3: uses humor to push other things away and to put

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Speaker 3: up that wall around herself, and it really just in

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Speaker 3: her mind, everything just boils down to a punchline. I

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Speaker 3: thought that was powerful.

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Speaker 4: I didn't even pick that up, but you're right, you're

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Speaker 4: very right.

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Speaker 3: Yeah, yeah, And let's see. So they all are talking about,

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Speaker 3: you know, they all want to get some insight from this,

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Speaker 3: which I think that's just the theme of Wild is,

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Speaker 3: you know, everybody wants to get some insight from that height,

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Speaker 3: whether it's you know, theoretical or physical. And just like

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Speaker 3: we saw in the last scene with Luke talking about

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Speaker 3: his fears, now we're seeing Laurel I talking about her fears.

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Speaker 3: You know, she thought she had everything figured out and

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Speaker 3: now she's not so sure anymore.

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Speaker 1: You know, before we got your father's a little behind

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Speaker 1: the scenes stuff that I should have shared. While we're

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Speaker 1: talking about the Luke and Jess scene. How did how

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Speaker 1: did they get the flower on me? Oh? Yeah, there

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Speaker 1: was somebody back there. I forget who it was. It

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Speaker 1: might have been Robert Lee. Somebody was back there, and

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Speaker 1: they poured it on me every take. Gosh, I had

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Speaker 1: to try to close my eyes and then they dumped

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Speaker 1: it on you, and then I dacked forrassled walkout and.

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Speaker 2: Did you have to change your clothes. Hi, everybody, Sorry

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Speaker 2: I was late. Hi, I missed you all. Did you

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Speaker 2: have to change your clothes and restart the front part?

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Speaker 2: They got the flower off of you.

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Speaker 1: Uh well, I emerge with the flower on, so I

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Speaker 1: always have it on.

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Speaker 2: Go back there, okay, because we just hear you okay.

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Speaker 1: Oh gosh. I don't think we had to do it.

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Speaker 1: I only think we had to do it the one time,

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Speaker 1: maybe one or two times. It wasn't knocked right. I

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Speaker 1: mean it's like with the with the push in the

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Speaker 1: in the water, it's one take. With this was one take.

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Speaker 1: You know, it's all easy. It's all easy.

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Speaker 2: Ry sort of dryness. I don't know what the like

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Speaker 2: right where it is the dry sarcasm of the scenes

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Speaker 2: with you and Mila. They always have that sort of

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Speaker 2: like there's a sarcasm, there's sort of a it's very understated,

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Speaker 2: it's never overacted. And both of you play. I literally

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Speaker 2: remember when I was watching Fall, thinking these two are buds, right,

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Speaker 2: like you see it in the episode like and I

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Speaker 2: want to talk all about Milo in this episode. I

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Speaker 2: love Fall, It's my favorite one of all the movies.

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Speaker 2: But I because it made me think about the podcast

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Speaker 2: episode where we had Milo on the friendship and the

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Speaker 2: sort of like bromance between the two of you is

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Speaker 2: so obvious. It's obvious in this episode, and it's obvious

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Speaker 2: when we had him on just the love that you

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Speaker 2: guys have for each other.

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Speaker 4: So jealous, I want a bromance with Milo.

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Speaker 1: He also looked extra for Buff this episode. He was jazzed, I.

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Speaker 5: Think in the in this in the scene in the house,

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Speaker 5: I was like, man, he's.

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Speaker 2: A real highlight to this episode, and I know, well,

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Speaker 2: I don't know what I missed. The scene at his

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Speaker 2: sort of final moment looking in on Rory.

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Speaker 4: At it, real emotional.

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Speaker 1: The whole episode was like that cried multiple times.

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Speaker 2: Really was better this time, Susanne, you were so right

303
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Speaker 2: watching it multiple times because for me when I whatever,

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Speaker 2: I don't know, I don't want to give the end,

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00:19:13,000 --> 00:19:16,359
Speaker 2: but like I have a total different take on the

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Speaker 2: end now than I did eight years ago.

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Speaker 1: M hm. And the.

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Speaker 2: Writing of the new series in my head where the

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Speaker 2: baby is Logan's but Milo is the is the boyfriend

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Speaker 2: is just everywhere.

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Speaker 4: For me right now, like we have to we have

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Speaker 4: to talk about it. I completely disagree. Oh, I feel

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Speaker 4: like that was that an actual spin off, Like, no,

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Speaker 4: I'm making it up to me.

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Speaker 2: To me, the Logan is the baby daddy, but she's

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Speaker 2: reconcile with Jess and that is a series. I'm like,

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Speaker 2: I am, why do you hate that?

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Speaker 4: No, I just I don't think. I think this is

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Speaker 4: going to say really weird, but I think Jess is

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00:20:02,160 --> 00:20:04,520
Speaker 4: too good for Rorri. Now. I don't think he's going back.

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Speaker 4: I think he's moved on. I think he's on his path.

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Speaker 4: And say that except for the way he looks, I know,

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Speaker 4: but it's it's that look that he gave is. I

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Speaker 4: will always love her, but we're not meant to be.

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Speaker 2: I didn't.

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Speaker 4: I will always love her.

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Speaker 2: I love her.

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Speaker 1: That. I don't know if I got the it's not

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Speaker 1: meant to be part.

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Speaker 2: See, I agree with you, Scott, I got Yeah, I

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Speaker 2: love her and this is fun to speculate.

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Speaker 4: I did want to do that on this episode. I

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Speaker 4: wanted to speculate on what's next, Like what if if

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Speaker 4: there was one more uh year in the life, what

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00:20:40,560 --> 00:20:41,200
Speaker 4: that would look like?

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Speaker 1: Well, I mean with a with a Logan baby and

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Speaker 1: being together with Jess. That's history repeating itself, right, That's

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Speaker 1: that's Christopher. And then Luke, and it's.

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Speaker 2: It's Dean and Jess mirrors it's also Dean and Jess.

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Speaker 2: It's like, look, this show doesn't doesn't shy away from

341
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Speaker 2: trying right. It loves a triangle everything in the show,

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Speaker 2: which is like a whole psychology of this show. But

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Speaker 2: the triangle of Grandma, mother daughter, the triangle of Christopher, Lorli, Luke, Dean, Jesse, Rory.

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Speaker 2: Like we had triangles throughout this series, and fans like triangles. Yeah, yeah,

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Speaker 2: the tale is oldest time. Guys. Wait what did I miss?

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Speaker 2: By the way, how far did we get?

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Speaker 4: Not that far?

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Speaker 1: Not that far.

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Speaker 3: We're just coming up to the scene where they were

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Speaker 3: the Life and Death Brigade.

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Speaker 1: And we were lavishing Fall with excessive praise to the

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Speaker 1: point where it all made us sick.

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Speaker 3: So yeah, it was a significant amount of life.

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Speaker 2: If you will indulge me, If you will indulge me,

355
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Speaker 2: I agree. Fall is great.

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Speaker 1: Great.

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00:21:51,480 --> 00:21:56,959
Speaker 2: Fall is great from start to finish. The hair has

358
00:21:57,040 --> 00:21:57,880
Speaker 2: totally improved.

359
00:21:58,240 --> 00:22:01,960
Speaker 1: I'm sorry, except from my hair piece. I'm sorry that

360
00:22:02,200 --> 00:22:03,440
Speaker 1: it wasn't that bad.

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00:22:03,640 --> 00:22:04,440
Speaker 2: It's not great.

362
00:22:04,600 --> 00:22:07,520
Speaker 1: The camera move around at the gazebo and the wedding,

363
00:22:08,160 --> 00:22:11,199
Speaker 1: and that looked like it fell from about ten thousand

364
00:22:11,240 --> 00:22:13,400
Speaker 1: feet and splatted on top of my head. I'm sorry,

365
00:22:14,040 --> 00:22:14,800
Speaker 1: not terrible.

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00:22:15,080 --> 00:22:17,280
Speaker 2: It's not terrible that here.

367
00:22:17,440 --> 00:22:22,200
Speaker 1: I really noticed it though the other scene, right it

368
00:22:22,280 --> 00:22:22,960
Speaker 1: looked okay, but.

369
00:22:23,040 --> 00:22:27,320
Speaker 2: That Lauren Lorelei's hair is totally improved back to normal.

370
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Speaker 1: I looked like Earl Shibe, you know, selling paint. It

371
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Speaker 1: was it was. It was bad. Go ahead, all right.

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Speaker 2: Zan was.

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Speaker 1: Was leading the charge here.

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Speaker 3: Great, I was trying to We keep getting distracted though,

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Speaker 3: because we keep going off. I mean, that's just what

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Speaker 3: we do.

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Speaker 1: We got It's what we do. It's Tangent City. Our

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00:22:48,760 --> 00:22:52,439
Speaker 1: love for Fall makes us visit Tangent City so often

379
00:22:52,560 --> 00:22:53,960
Speaker 1: now so we have.

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Speaker 3: We were talking about how there's so many throwbacks in

381
00:22:57,880 --> 00:23:01,400
Speaker 3: this episode to the original show, and I I realized

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00:23:01,520 --> 00:23:03,159
Speaker 3: we already missed one of them. And that was at

383
00:23:03,200 --> 00:23:05,640
Speaker 3: the very opening scene where she's got the backpackage. She's

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00:23:05,680 --> 00:23:07,359
Speaker 3: on the phone leaving a message for Luke and she

385
00:23:07,440 --> 00:23:10,120
Speaker 3: makes a comment about how all parts of the tree

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Speaker 3: are edible, and that was from she had a conversation

387
00:23:13,720 --> 00:23:16,560
Speaker 3: with Jess about that when he was cleaning out the gutters.

388
00:23:17,680 --> 00:23:19,879
Speaker 3: And I know that's a pop culture reference. It's from

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Speaker 3: her book. I don't we maybe.

390
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Speaker 1: Me?

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00:23:23,600 --> 00:23:24,080
Speaker 4: And then.

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Speaker 3: So in this scene we have the gorilla masks are back.

393
00:23:29,720 --> 00:23:32,600
Speaker 3: Remember R's in missile encounter with the Life and Death

394
00:23:32,600 --> 00:23:35,200
Speaker 3: Brigade was the girl and the gorilla mask in the bathroom.

395
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Speaker 4: I will say, like with the computer and the pig

396
00:23:38,720 --> 00:23:41,879
Speaker 4: and like all that, I didn't piece it together that

397
00:23:42,520 --> 00:23:45,200
Speaker 4: they were coming back. But then when I saw them,

398
00:23:45,280 --> 00:23:45,679
Speaker 4: I was like.

399
00:23:46,160 --> 00:23:52,240
Speaker 6: Yeah, yeah, yes, yes, yes, I need another Life and

400
00:23:52,320 --> 00:23:55,640
Speaker 6: Death Brigade like throw I needed that again.

401
00:23:56,080 --> 00:23:59,120
Speaker 2: Yeah, you know that some people don't love it, which

402
00:23:59,160 --> 00:24:01,240
Speaker 2: I think is look because I saw in the comments

403
00:24:01,280 --> 00:24:03,720
Speaker 2: when we were all talking about the musical that people

404
00:24:03,800 --> 00:24:06,760
Speaker 2: were like, I know, Amy's gonna love this part and

405
00:24:06,880 --> 00:24:08,160
Speaker 2: it's so cringey.

406
00:24:08,800 --> 00:24:10,600
Speaker 4: Whatever, I don't like this.

407
00:24:11,520 --> 00:24:14,199
Speaker 2: Some people don't. I mean that was my inference, if

408
00:24:14,240 --> 00:24:18,440
Speaker 2: that's a word inference, inference inference from their comments, because

409
00:24:18,440 --> 00:24:20,840
Speaker 2: they didn't come out and say it. They said, oh,

410
00:24:21,000 --> 00:24:23,639
Speaker 2: they're gonna like this or they're not gonna like this whatever.

411
00:24:25,440 --> 00:24:28,399
Speaker 2: I love it so much that I YouTube just this

412
00:24:28,600 --> 00:24:31,879
Speaker 2: scene all the time. I love the music, I love

413
00:24:31,920 --> 00:24:33,560
Speaker 2: the dancing, I love the mist, I love.

414
00:24:33,480 --> 00:24:34,600
Speaker 3: The dark miss.

415
00:24:36,760 --> 00:24:39,600
Speaker 2: The way they yeah, the way they're revealed.

416
00:24:40,280 --> 00:24:40,800
Speaker 3: I love her.

417
00:24:40,880 --> 00:24:44,160
Speaker 2: I love that blue coat. I literally have been scouring

418
00:24:44,200 --> 00:24:46,080
Speaker 2: the internet for that blue.

419
00:24:47,280 --> 00:24:51,600
Speaker 1: Right. And it's stuff, it's film, it's cinema, it's actual

420
00:24:52,200 --> 00:24:56,920
Speaker 1: high level cinema or homage to high level cinema.

421
00:24:56,800 --> 00:24:58,760
Speaker 2: Right, fol Dancing with the Stars number.

422
00:24:59,359 --> 00:25:01,560
Speaker 4: We were at the Tata Club a little too long.

423
00:25:01,800 --> 00:25:05,239
Speaker 4: It could have been a little I did. I did

424
00:25:05,440 --> 00:25:05,720
Speaker 4: love it.

425
00:25:06,560 --> 00:25:13,040
Speaker 2: I wanted Matt Zuger and Alexis to learn a full dance.

426
00:25:13,359 --> 00:25:15,159
Speaker 2: I could have stayed longer, Thank you, Scott.

427
00:25:15,240 --> 00:25:19,720
Speaker 4: I just thought I thought dance was so bad.

428
00:25:20,960 --> 00:25:22,960
Speaker 3: They both looked awkward to me, like.

429
00:25:26,000 --> 00:25:29,520
Speaker 1: World class dancers that were hired. How are they going

430
00:25:29,600 --> 00:25:30,399
Speaker 1: to shine? You know?

431
00:25:30,560 --> 00:25:31,360
Speaker 3: I love those.

432
00:25:33,359 --> 00:25:38,320
Speaker 2: Yeah, I love the jokes of their just like astonishing privilege, right,

433
00:25:38,520 --> 00:25:43,200
Speaker 2: just buying this and buying that, and then it ends.

434
00:25:43,520 --> 00:25:46,040
Speaker 3: With my heartbreaking like.

435
00:25:48,200 --> 00:25:52,200
Speaker 2: Rory, It's almost like it's just painful. And even though

436
00:25:52,200 --> 00:25:55,800
Speaker 2: I'm like, yes, and even though he's such a cheater, cheater,

437
00:25:55,920 --> 00:25:59,480
Speaker 2: pumpkin eater, I'm so like forgiving of it. And she's

438
00:25:59,640 --> 00:26:02,280
Speaker 2: like they're both wrong, but like it's.

439
00:26:02,200 --> 00:26:06,960
Speaker 1: So right, and you just it takes on, you know

440
00:26:07,160 --> 00:26:09,080
Speaker 1: a lot of what Rory was doing what was going

441
00:26:09,160 --> 00:26:11,880
Speaker 1: on in this is it was taking on tragic proportions

442
00:26:12,720 --> 00:26:13,960
Speaker 1: and it's.

443
00:26:14,880 --> 00:26:18,439
Speaker 4: So well done, so you just want one of them

444
00:26:18,480 --> 00:26:21,200
Speaker 4: so badly to be like can we be together? And

445
00:26:21,480 --> 00:26:24,720
Speaker 4: I feel like Rory gave that her shot by saying,

446
00:26:25,160 --> 00:26:26,000
Speaker 4: are you really going to.

447
00:26:26,080 --> 00:26:26,760
Speaker 6: Marry your debt?

448
00:26:26,920 --> 00:26:31,240
Speaker 4: Like, yeah, she tried to go there. She gave it

449
00:26:31,840 --> 00:26:34,400
Speaker 4: the shot that it needed. And I think that's why

450
00:26:34,520 --> 00:26:38,040
Speaker 4: she's so easily able to move on because she gave

451
00:26:38,080 --> 00:26:41,200
Speaker 4: it the shot and realized that it's not happening, that

452
00:26:41,320 --> 00:26:43,199
Speaker 4: that's that that's not happening.

453
00:26:43,760 --> 00:26:44,000
Speaker 2: Yeah.

454
00:26:44,200 --> 00:26:47,800
Speaker 3: I want to spend a second on that because I

455
00:26:47,920 --> 00:26:53,320
Speaker 3: always see on comments on social media people say things like, oh,

456
00:26:53,680 --> 00:26:57,200
Speaker 3: you know, Logan would have been Logan would have left

457
00:26:57,280 --> 00:26:59,480
Speaker 3: Odette if Rory had asked him to.

458
00:26:59,840 --> 00:27:03,760
Speaker 4: She did then shed, and that to me, that was her.

459
00:27:03,760 --> 00:27:06,800
Speaker 3: Giving him an opening and she said are you really

460
00:27:06,880 --> 00:27:08,680
Speaker 3: going to marry her? That would have been the perfect

461
00:27:08,720 --> 00:27:10,959
Speaker 3: time for him to say something flip like, well, make

462
00:27:11,080 --> 00:27:14,240
Speaker 3: me a better offer or something like that, and he doesn't.

463
00:27:14,440 --> 00:27:17,760
Speaker 3: He says that's the dynastic plan. He to me, that's

464
00:27:17,920 --> 00:27:21,600
Speaker 3: totally a cop out, and you know he's in his

465
00:27:21,800 --> 00:27:24,440
Speaker 3: mid thirties. Now he doesn't have to marry who Mommy

466
00:27:24,480 --> 00:27:26,639
Speaker 3: and Daddy tell him to marry. If he wants to

467
00:27:26,720 --> 00:27:29,879
Speaker 3: be with Rory, he can leave Odette without her telling

468
00:27:29,960 --> 00:27:33,280
Speaker 3: him to, like, he can make that choice, and he doesn't.

469
00:27:33,560 --> 00:27:36,320
Speaker 2: But here's why that doesn't happen. Sorry, I don't want

470
00:27:36,320 --> 00:27:36,800
Speaker 2: to interrupt you.

471
00:27:36,880 --> 00:27:41,280
Speaker 1: Right to withdraw his stock options.

472
00:27:41,359 --> 00:27:43,840
Speaker 3: Well, no, God, he's got the best of both worlds

473
00:27:43,920 --> 00:27:46,000
Speaker 3: right now. He's got his cake and he's eating it.

474
00:27:46,240 --> 00:27:49,960
Speaker 2: So storytelling wise, here's why I think that doesn't happen

475
00:27:51,080 --> 00:27:54,600
Speaker 2: because if he says to her, then I want to

476
00:27:54,640 --> 00:27:57,120
Speaker 2: be with you, we don't have our end of mom

477
00:27:57,200 --> 00:27:59,680
Speaker 2: I'm pregnant. It would be like I'm marrying Logan and

478
00:27:59,800 --> 00:28:03,320
Speaker 2: I'm pregnant. It's just a totally different mic drop. So

479
00:28:03,520 --> 00:28:07,200
Speaker 2: for me, it's all part of this story, right, and

480
00:28:07,280 --> 00:28:10,920
Speaker 2: we're left with a huge cliffhanger essentially. So I think

481
00:28:11,080 --> 00:28:15,000
Speaker 2: the storytelling is because he doesn't say like no, never,

482
00:28:15,640 --> 00:28:17,920
Speaker 2: It's like he sort of gives that answer Susanne. I

483
00:28:17,960 --> 00:28:20,720
Speaker 2: think you said it like that's the plan. That doesn't

484
00:28:20,760 --> 00:28:22,919
Speaker 2: mean yes, he said that's the plan.

485
00:28:23,160 --> 00:28:25,960
Speaker 1: And it doesn't mean no on Logan's part either. There's

486
00:28:26,000 --> 00:28:28,440
Speaker 1: still storytelling to be had there.

487
00:28:28,720 --> 00:28:31,840
Speaker 2: Yeah, right, you're right, You're right, And then we get

488
00:28:31,960 --> 00:28:35,760
Speaker 2: to this end because the end, everything is leading to

489
00:28:35,920 --> 00:28:39,440
Speaker 2: the end, right, we're heartbroken for her. Oh gosh, I

490
00:28:39,840 --> 00:28:43,280
Speaker 2: clearly he's the daddy, right, Like there's nothing It's never

491
00:28:43,400 --> 00:28:45,320
Speaker 2: been more obvious to me than on this rewatch that

492
00:28:45,720 --> 00:28:50,920
Speaker 2: he is the father. Yeah, but that's why we're left.

493
00:28:51,040 --> 00:28:55,280
Speaker 2: That's why she's so brilliant Amy, because that's why we

494
00:28:55,440 --> 00:28:58,120
Speaker 2: have that moment with Jess of him looking in the

495
00:28:58,200 --> 00:28:59,920
Speaker 2: window and all of us going, oh my god, he

496
00:29:00,120 --> 00:29:04,160
Speaker 2: because otherwise why would Luke say, is that is that over?

497
00:29:04,360 --> 00:29:04,440
Speaker 1: Oh?

498
00:29:04,560 --> 00:29:07,200
Speaker 4: Yeah, that's over? And then he looks at her like,

499
00:29:08,560 --> 00:29:10,880
Speaker 4: we'll get into it, and and I do. At the

500
00:29:10,960 --> 00:29:13,280
Speaker 4: end of this, stew want to talk about what we

501
00:29:13,520 --> 00:29:17,280
Speaker 4: all think is coming up, because I think the we'll

502
00:29:17,280 --> 00:29:20,880
Speaker 4: talk about it. The scene with Christopher was very important too.

503
00:29:21,720 --> 00:29:24,280
Speaker 4: There's a lot in there. There's a lot in there

504
00:29:24,440 --> 00:29:26,120
Speaker 4: about Yeah, so we'll get.

505
00:29:26,040 --> 00:29:29,400
Speaker 2: Into this scene scene and then I want to let

506
00:29:29,440 --> 00:29:30,040
Speaker 2: you finish.

507
00:29:31,440 --> 00:29:35,640
Speaker 4: What I love about about this part though, is I

508
00:29:36,560 --> 00:29:39,680
Speaker 4: I actually as a fake, as a as a viewer

509
00:29:39,760 --> 00:29:42,600
Speaker 4: who's been watching this in season one, I have never

510
00:29:42,800 --> 00:29:44,760
Speaker 4: liked Rory. I will be the first person to say

511
00:29:44,880 --> 00:29:48,320
Speaker 4: I have been saying that I loved her so much

512
00:29:48,440 --> 00:29:50,480
Speaker 4: in this scene because she was like, you know what,

513
00:29:50,600 --> 00:29:52,360
Speaker 4: I'm going to get my own car and I'm going

514
00:29:52,440 --> 00:29:54,320
Speaker 4: to get the hell out of here and I'm going

515
00:29:54,400 --> 00:29:56,360
Speaker 4: to start doing things for myself. And I feel like

516
00:29:56,520 --> 00:29:59,720
Speaker 4: we finally saw the wheels start to turn in her

517
00:29:59,760 --> 00:30:03,400
Speaker 4: brain and this, and I really really love that. I

518
00:30:03,440 --> 00:30:05,520
Speaker 4: don't know, I just got to give like kudos to

519
00:30:05,640 --> 00:30:06,120
Speaker 4: Rory here.

520
00:30:06,200 --> 00:30:06,640
Speaker 6: I just do.

521
00:30:08,240 --> 00:30:11,680
Speaker 1: Yeah, yeah, And she didn't take the keys and she's

522
00:30:11,720 --> 00:30:12,560
Speaker 1: the keys.

523
00:30:12,400 --> 00:30:15,000
Speaker 4: And she fad and I love that she was like

524
00:30:15,160 --> 00:30:17,160
Speaker 4: I know where I want to write this, and I'm like,

525
00:30:17,200 --> 00:30:18,720
Speaker 4: where is she going to write this? And then we

526
00:30:18,800 --> 00:30:22,480
Speaker 4: get the payoff, you know, like there's oh god, Amy

527
00:30:22,680 --> 00:30:25,880
Speaker 4: is such a freaking genius. All this stuff is just.

528
00:30:27,520 --> 00:30:32,800
Speaker 1: Shows real growth as a character and real maturity as

529
00:30:33,200 --> 00:30:37,440
Speaker 1: as as a character. I mean, it's it's yeah, it's

530
00:30:37,480 --> 00:30:38,200
Speaker 1: wonderful to watch.

531
00:30:38,320 --> 00:30:43,560
Speaker 2: Think you also really feel like Amy Sherman Palladino loves

532
00:30:43,720 --> 00:30:47,400
Speaker 2: these characters right, because she did right by them all

533
00:30:47,560 --> 00:30:49,560
Speaker 2: pretty much, except for the one joke that I just

534
00:30:49,720 --> 00:30:52,920
Speaker 2: was like, he doesn't think that's how surrogacy works. But whatever,

535
00:30:52,960 --> 00:30:58,880
Speaker 2: we'll get to that. She really did not other than

536
00:30:58,960 --> 00:31:02,920
Speaker 2: that one line, she really didn't write by all the characters,

537
00:31:03,720 --> 00:31:07,440
Speaker 2: all of them, and I, frankly, we can argue this.

538
00:31:08,960 --> 00:31:11,280
Speaker 2: I'm not mad about how they get married. I thought

539
00:31:11,320 --> 00:31:17,800
Speaker 2: it was beautiful and I'm frank Yeah, so we'll get

540
00:31:17,840 --> 00:31:19,480
Speaker 2: to that. But anyway, Susanne, I wanted to let you

541
00:31:19,560 --> 00:31:21,280
Speaker 2: finish your thought.

542
00:31:21,440 --> 00:31:22,800
Speaker 1: Still have a big wedding.

543
00:31:23,240 --> 00:31:25,960
Speaker 2: They're having a party, the party is not canceled.

544
00:31:27,360 --> 00:31:30,760
Speaker 1: There's more story to be told her. I I completely agree.

545
00:31:30,960 --> 00:31:36,000
Speaker 2: They just needed that they ceremony to be so intimate

546
00:31:37,120 --> 00:31:40,080
Speaker 2: and just when you're and you're like, oh, Michelle's there

547
00:31:40,320 --> 00:31:44,080
Speaker 2: and Lane's there, this is It gives me chills. I

548
00:31:44,280 --> 00:31:47,480
Speaker 2: was so pleased. I was just like, this is and

549
00:31:47,800 --> 00:31:52,200
Speaker 2: that and she's walking through and then to not end

550
00:31:52,280 --> 00:31:55,000
Speaker 2: on that scene that you end on the morning after

551
00:31:55,200 --> 00:31:59,200
Speaker 2: before the big celebration with this bomb drop. But anyway, Susanne,

552
00:31:59,240 --> 00:32:01,920
Speaker 2: keep talking about because I don't want to not acknowledge

553
00:32:01,920 --> 00:32:05,680
Speaker 2: your frustration with logan, even though I saw great meaning

554
00:32:05,800 --> 00:32:05,960
Speaker 2: in it.

555
00:32:06,840 --> 00:32:09,120
Speaker 3: Yeah, I think I made my point. I just was

556
00:32:09,200 --> 00:32:12,000
Speaker 3: saying that, you know, a lot of people think that

557
00:32:12,600 --> 00:32:15,800
Speaker 3: Rory needs to tell Logan to leave Odette and then

558
00:32:15,840 --> 00:32:17,920
Speaker 3: he will be with her. But my point was really

559
00:32:17,960 --> 00:32:21,080
Speaker 3: that he is making a choice to be with Odette

560
00:32:21,120 --> 00:32:22,440
Speaker 3: and not Rory because.

561
00:32:22,200 --> 00:32:24,719
Speaker 4: Of the ball here he got. She was leading him

562
00:32:24,760 --> 00:32:27,480
Speaker 4: to water and he didn't take like she she was

563
00:32:27,560 --> 00:32:29,840
Speaker 4: doing it. I did want to say in this scene.

564
00:32:29,880 --> 00:32:32,320
Speaker 4: It was a callback that I wanted to bring up.

565
00:32:32,680 --> 00:32:35,640
Speaker 4: When she was saying bye to the three was Wizard

566
00:32:35,720 --> 00:32:37,280
Speaker 4: of Oz? Did anybody?

567
00:32:37,800 --> 00:32:38,000
Speaker 5: Yeah?

568
00:32:38,560 --> 00:32:38,760
Speaker 3: Yeah?

569
00:32:39,480 --> 00:32:39,720
Speaker 2: Yeah?

570
00:32:39,800 --> 00:32:42,040
Speaker 4: And I was literally I was like, this is she

571
00:32:42,120 --> 00:32:45,880
Speaker 4: was saying by the tin man and the lie exactly?

572
00:32:46,200 --> 00:32:47,240
Speaker 4: It was exactly it.

573
00:32:48,080 --> 00:32:49,160
Speaker 3: Yeah, that's dumb.

574
00:32:50,040 --> 00:32:51,480
Speaker 2: Yeah, guys, I did not get that.

575
00:32:51,760 --> 00:32:54,880
Speaker 4: Okay, really maybe watch it, watch it back Amy.

576
00:32:55,080 --> 00:32:57,000
Speaker 2: Just now maybe Susanne, I don't know if you have

577
00:32:57,160 --> 00:33:01,320
Speaker 2: the what she says, but natural when she's saying her yeah,

578
00:33:01,320 --> 00:33:03,000
Speaker 2: I know right where it is now and I'm now

579
00:33:03,120 --> 00:33:06,560
Speaker 2: getting it and the whole you know, I felt, you

580
00:33:06,600 --> 00:33:08,240
Speaker 2: can alsoy one thing really fast and then I'll shut

581
00:33:08,280 --> 00:33:11,560
Speaker 2: the hell up. This scene. I don't know if I

582
00:33:11,760 --> 00:33:14,360
Speaker 2: love it so much because it resonates so much with me.

583
00:33:14,840 --> 00:33:18,160
Speaker 2: Have you ever had that night, that that night with

584
00:33:18,320 --> 00:33:21,240
Speaker 2: the person you love and you're surrounded by these like

585
00:33:21,840 --> 00:33:24,840
Speaker 2: the cool kids, and the whole thing's just firing on

586
00:33:24,920 --> 00:33:27,360
Speaker 2: all cylinders and you love this night, and yet you

587
00:33:27,480 --> 00:33:29,960
Speaker 2: keep looking at your watch because you're like, oh god,

588
00:33:30,000 --> 00:33:31,959
Speaker 2: we only have seven more hours. Oh god, we only

589
00:33:32,000 --> 00:33:35,120
Speaker 2: have six more hours. And I just felt that and

590
00:33:35,240 --> 00:33:38,440
Speaker 2: it's like, oh gosh, that was three nights.

591
00:33:38,280 --> 00:33:39,880
Speaker 1: A week when I lived in New York City. I

592
00:33:39,960 --> 00:33:40,480
Speaker 1: mean that was like.

593
00:33:42,400 --> 00:33:44,600
Speaker 4: I just kind of blew my mind a little bit. Sorry,

594
00:33:45,800 --> 00:33:48,160
Speaker 4: But back to the whole Wizard of Oz thing. If

595
00:33:48,160 --> 00:33:51,440
Speaker 4: you think about uh, Wizard of Oz and Rory and

596
00:33:51,560 --> 00:33:55,440
Speaker 4: this is Dorothy, she's saying goodbye to these you know,

597
00:33:55,560 --> 00:33:58,880
Speaker 4: the line and the tin Man and the Scarecrow, and

598
00:33:59,760 --> 00:34:02,640
Speaker 4: she is going back home, right, So she's staying back,

599
00:34:02,960 --> 00:34:06,640
Speaker 4: saying bye to this like beautiful land of Oz or whatever,

600
00:34:06,880 --> 00:34:09,759
Speaker 4: and is going back home. I feel like that is

601
00:34:09,880 --> 00:34:12,360
Speaker 4: literally what Rory's doing in the scene. She's saying goodbye

602
00:34:12,480 --> 00:34:15,399
Speaker 4: to the Life and Death Brigade but going back home

603
00:34:15,520 --> 00:34:18,440
Speaker 4: to write her book. Like there's a lot of something

604
00:34:18,520 --> 00:34:19,120
Speaker 4: there I don't know.

605
00:34:19,440 --> 00:34:21,759
Speaker 3: And the whole point and we're getting a little bit

606
00:34:21,760 --> 00:34:23,560
Speaker 3: ahead because we're actually not at that scene yet, but

607
00:34:25,200 --> 00:34:27,880
Speaker 3: the whole point in the Wizard of Oz was that

608
00:34:28,080 --> 00:34:31,759
Speaker 3: Dorothy had the power the whole time. She didn't need

609
00:34:31,880 --> 00:34:34,239
Speaker 3: the Wizard, she didn't need to go on this whole

610
00:34:34,320 --> 00:34:36,880
Speaker 3: physical journey. She had the power the whole time. It's

611
00:34:36,960 --> 00:34:39,560
Speaker 3: kind of the same thing with Rory, like she's always

612
00:34:39,600 --> 00:34:43,480
Speaker 3: had that internal power and now she's going to exercise.

613
00:34:42,880 --> 00:34:46,040
Speaker 4: It and go, you know, you, guys, this is so good.

614
00:34:46,200 --> 00:34:47,759
Speaker 4: I can't even handle it.

615
00:34:47,840 --> 00:34:50,240
Speaker 2: Yeah, it's so good, so much.

616
00:34:59,280 --> 00:35:01,680
Speaker 3: Before we leave the tango club or the Yeah, the

617
00:35:01,719 --> 00:35:07,680
Speaker 3: tango club, I just wanted to club. So the cigarette

618
00:35:07,760 --> 00:35:12,120
Speaker 3: girl was Amy shrim Palladino's mom. I don't know if

619
00:35:13,280 --> 00:35:17,200
Speaker 3: that or not really, Yeah, And then the other thing.

620
00:35:17,560 --> 00:35:22,759
Speaker 3: I realized this last night for the first time. The room,

621
00:35:23,120 --> 00:35:25,560
Speaker 3: like the physical room at the studio where they shot

622
00:35:25,680 --> 00:35:28,439
Speaker 3: that scene, I realized last night is the same room,

623
00:35:29,760 --> 00:35:32,879
Speaker 3: a different end of it where Luke and LORLEI had

624
00:35:33,040 --> 00:35:36,160
Speaker 3: the I am all in conversation. One end of that

625
00:35:36,360 --> 00:35:39,719
Speaker 3: room was the restaurant where they went on that date

626
00:35:39,880 --> 00:35:43,440
Speaker 3: and said I am all in. And I figured it

627
00:35:43,520 --> 00:35:47,560
Speaker 3: out because when we were on the lot for the

628
00:35:47,840 --> 00:35:51,440
Speaker 3: coffee event back in January, we went in there and

629
00:35:51,520 --> 00:35:53,960
Speaker 3: you were, Scott, you were talking about how yeah, this

630
00:35:54,120 --> 00:35:56,200
Speaker 3: is where we filmed that scene. I took a picture,

631
00:35:57,200 --> 00:35:59,560
Speaker 3: and when I was watching the episode last.

632
00:35:59,480 --> 00:36:01,040
Speaker 2: Night, I'm like, wait a minute, did you go back

633
00:36:01,040 --> 00:36:02,000
Speaker 2: the same stairs?

634
00:36:02,239 --> 00:36:06,400
Speaker 3: And so I pulled up when Rory and Logan are

635
00:36:06,440 --> 00:36:09,600
Speaker 3: standing there like on a balcony and the ceiling is

636
00:36:09,640 --> 00:36:12,120
Speaker 3: really low and they're like leaning over the rail looking

637
00:36:12,160 --> 00:36:14,160
Speaker 3: out at the dancers, and then they go down the stairs.

638
00:36:14,640 --> 00:36:17,320
Speaker 3: I went back and looked at my picture. It's exactly

639
00:36:17,400 --> 00:36:18,320
Speaker 3: the same staircase.

640
00:36:18,880 --> 00:36:23,280
Speaker 1: Does that Did that room seem large enough to shoot

641
00:36:23,320 --> 00:36:25,200
Speaker 1: all that tango club scene?

642
00:36:26,040 --> 00:36:30,239
Speaker 3: Really, the dancing was from a different angle, so the

643
00:36:30,400 --> 00:36:32,759
Speaker 3: dancing may have been in a different place, but when

644
00:36:33,440 --> 00:36:36,759
Speaker 3: when they're coming down those steps, that was in that

645
00:36:37,360 --> 00:36:38,840
Speaker 3: same room as the restaurant.

646
00:36:39,000 --> 00:36:41,600
Speaker 1: By the way, speaking of coffee events at Warner Brothers,

647
00:36:41,640 --> 00:36:45,640
Speaker 1: we just had another one to launch the Fall Blend

648
00:36:46,080 --> 00:36:50,360
Speaker 1: and it was eruptive. It was fantastic. I got the

649
00:36:50,440 --> 00:36:53,680
Speaker 1: surprise fifty fans from the tour. It was really great,

650
00:36:53,840 --> 00:36:54,880
Speaker 1: serve them all coffee.

651
00:36:55,400 --> 00:36:57,680
Speaker 2: You can see the videos are so great.

652
00:36:57,920 --> 00:37:01,080
Speaker 1: We had such a good time. Anyway back anyway, so

653
00:37:01,160 --> 00:37:01,799
Speaker 1: I just wanted to.

654
00:37:02,040 --> 00:37:04,200
Speaker 3: Say those two things about the Tango Club so then

655
00:37:04,239 --> 00:37:07,600
Speaker 3: they go to the inn, which, if you look closely,

656
00:37:07,840 --> 00:37:11,560
Speaker 3: that was the Dragonfly. They just repainted it and put

657
00:37:11,640 --> 00:37:14,759
Speaker 3: some furniture in some different places, but the inn in

658
00:37:14,840 --> 00:37:16,879
Speaker 3: New Hampshire that they all go to was the Dragon

659
00:37:16,960 --> 00:37:17,400
Speaker 3: dragon Fly.

660
00:37:18,880 --> 00:37:19,120
Speaker 1: Wow.

661
00:37:19,800 --> 00:37:22,879
Speaker 3: And then so then there was after that. They get

662
00:37:22,960 --> 00:37:26,520
Speaker 3: to the inn and they go up to Logan's room.

663
00:37:28,120 --> 00:37:30,560
Speaker 3: Then there was a short quick scene back at the

664
00:37:30,600 --> 00:37:34,680
Speaker 3: motel with Lorelei and her new friends that was just

665
00:37:34,800 --> 00:37:37,080
Speaker 3: kind of filler. They're all coming back out for the

666
00:37:37,160 --> 00:37:37,719
Speaker 3: next round.

667
00:37:38,000 --> 00:37:39,719
Speaker 2: You guys might have already said this, but I was

668
00:37:40,040 --> 00:37:46,440
Speaker 2: happily surprised because in my memory Wild took way too long,

669
00:37:46,960 --> 00:37:48,080
Speaker 2: but it actually doesn't.

670
00:37:48,239 --> 00:37:48,720
Speaker 1: It doesn't.

671
00:37:49,080 --> 00:37:51,839
Speaker 2: In my memory, I was like, oh, Wild, And now

672
00:37:51,920 --> 00:37:56,080
Speaker 2: I'm like, actually, Wild was fine. It was totally appropriately long.

673
00:37:56,080 --> 00:38:02,280
Speaker 1: And i'll tell you appropriately short. That phone call to Emily, Wow,

674
00:38:02,880 --> 00:38:09,359
Speaker 1: I know, wow, what a performance I know. I mean,

675
00:38:09,800 --> 00:38:14,120
Speaker 1: Gez Chock put that in the top five of of

676
00:38:14,320 --> 00:38:17,160
Speaker 1: Lauren Graham scenes. I mean, that was something that was

677
00:38:17,280 --> 00:38:19,160
Speaker 1: some display of good.

678
00:38:19,760 --> 00:38:23,160
Speaker 3: It was really amazing, and it was it was so real,

679
00:38:23,400 --> 00:38:25,600
Speaker 3: like you could tell the emotion was real.

680
00:38:27,160 --> 00:38:30,040
Speaker 5: I also think Amy and Dan wrote that or Amy

681
00:38:30,160 --> 00:38:32,480
Speaker 5: wrote it so well because you could picture it like

682
00:38:33,040 --> 00:38:36,080
Speaker 5: every like every word she said in that monologue, I

683
00:38:36,160 --> 00:38:38,800
Speaker 5: could like picture Richard and her as a little girl

684
00:38:38,920 --> 00:38:40,719
Speaker 5: and them at the mall and the pretzels, like it

685
00:38:40,840 --> 00:38:45,600
Speaker 5: was just so perfectly explained and it was a beautiful

686
00:38:45,640 --> 00:38:46,200
Speaker 5: story told.

687
00:38:46,760 --> 00:38:48,959
Speaker 4: I literally had chills talking about it. Again.

688
00:38:51,000 --> 00:38:55,920
Speaker 1: That's so great that that Emily has. She just listens. Yeah,

689
00:38:56,760 --> 00:38:57,800
Speaker 1: that's how powerful it was.

690
00:38:58,000 --> 00:38:59,880
Speaker 4: And they just hung up at the end, like there

691
00:39:00,120 --> 00:39:02,279
Speaker 4: there didn't she just knew.

692
00:39:02,560 --> 00:39:04,759
Speaker 2: She just thank you, right, she just thank you for

693
00:39:04,880 --> 00:39:05,279
Speaker 2: telling me.

694
00:39:05,560 --> 00:39:08,600
Speaker 4: And I do love that because I think Emily needed

695
00:39:08,680 --> 00:39:10,560
Speaker 4: that from Lauralai so bad.

696
00:39:10,880 --> 00:39:15,840
Speaker 1: You know, they needed to another major on from that moment.

697
00:39:16,160 --> 00:39:20,239
Speaker 5: Yeah, it was it was like what she needed back

698
00:39:20,320 --> 00:39:22,520
Speaker 5: at the funeral, that she that's what that's the story

699
00:39:22,600 --> 00:39:23,560
Speaker 5: she wanted at the funeral.

700
00:39:23,840 --> 00:39:26,360
Speaker 4: But she accepted it this time, which I feel like

701
00:39:26,520 --> 00:39:31,320
Speaker 4: in normal Emily what you know, uh, in her normal behavior,

702
00:39:31,400 --> 00:39:34,600
Speaker 4: she would have been like, Okay, Laura, I well you know.

703
00:39:36,160 --> 00:39:37,439
Speaker 2: What, you should have told me this then?

704
00:39:38,000 --> 00:39:41,640
Speaker 4: Yeah, yeah, how nice of you to bring this up now,

705
00:39:41,880 --> 00:39:45,040
Speaker 4: you know, like I some kind of backhanded remark. And

706
00:39:45,120 --> 00:39:47,400
Speaker 4: I feel like the fact that she accepted it was

707
00:39:47,480 --> 00:39:50,760
Speaker 4: so beautiful. There was just something really sweet to that moment.

708
00:39:51,040 --> 00:39:53,680
Speaker 1: You know what was beautiful about this entire episode? It

709
00:39:53,840 --> 00:39:58,360
Speaker 1: was completely lacking and correct me if I'm wrong. It

710
00:39:58,520 --> 00:40:03,000
Speaker 1: was completely lacking in what we grew grew very used to,

711
00:40:03,120 --> 00:40:07,040
Speaker 1: which was all of this conflict. It was just it

712
00:40:07,200 --> 00:40:11,200
Speaker 1: was an entire hour and forty minutes of resolution and

713
00:40:12,360 --> 00:40:15,759
Speaker 1: coming to terms and accepting reality and letting things go

714
00:40:16,480 --> 00:40:21,000
Speaker 1: and opening your heart and new horizons opening up and

715
00:40:21,160 --> 00:40:25,319
Speaker 1: getting married, and it was just all a celebration. Uh,

716
00:40:25,800 --> 00:40:32,080
Speaker 1: wonderful style, just wonderful, shockingly great episode, shocking, shockingly great film.

717
00:40:32,120 --> 00:40:33,520
Speaker 2: I agree, it's so good.

718
00:40:33,840 --> 00:40:34,480
Speaker 1: It's so good.

719
00:40:35,719 --> 00:40:38,880
Speaker 3: So then we go back to the scene at the

720
00:40:39,200 --> 00:40:43,480
Speaker 3: end and this is this is where Rory and Logan

721
00:40:43,600 --> 00:40:48,440
Speaker 3: are in bed and she he gives, she gives.

722
00:40:48,360 --> 00:40:50,680
Speaker 2: Unsee that it's a dragon fly. Now I'm sorry, I

723
00:40:50,719 --> 00:40:54,319
Speaker 2: can I literally cannot keep going.

724
00:40:55,000 --> 00:40:57,759
Speaker 3: Had this is where the Wizard of Oz moment was.

725
00:40:58,000 --> 00:41:00,840
Speaker 3: Was when they're getting ready to leave the end and

726
00:41:01,400 --> 00:41:03,640
Speaker 3: they have their nice little moment. He puts the hat

727
00:41:03,760 --> 00:41:08,600
Speaker 3: on her, they kiss. Yeah, that was And I'm not

728
00:41:08,719 --> 00:41:10,560
Speaker 3: even a team Logan person, it was.

729
00:41:10,719 --> 00:41:14,680
Speaker 1: I was choked. But I mean, for those four three guys,

730
00:41:15,680 --> 00:41:20,600
Speaker 1: Finn and I'm sorry, the Dames, Sister and Robert, Robert,

731
00:41:20,760 --> 00:41:26,160
Speaker 1: Colin Finn just impeccable work. I mean, it was just

732
00:41:26,400 --> 00:41:31,799
Speaker 1: perfect that the blocking, the timing, the delivery of all

733
00:41:31,840 --> 00:41:33,880
Speaker 1: the lines. It was just the.

734
00:41:35,520 --> 00:41:39,279
Speaker 2: Way that they move is so good but smooth, like yeah,

735
00:41:39,360 --> 00:41:39,759
Speaker 2: they were.

736
00:41:40,200 --> 00:41:44,080
Speaker 1: It was like it was like a brilliantly rehearsed Broadway play.

737
00:41:44,360 --> 00:41:48,120
Speaker 2: I totally the five, all five of them, Matt, Alexis

738
00:41:48,160 --> 00:41:51,400
Speaker 2: and then the three guys. They really nail every moment.

739
00:41:51,520 --> 00:41:54,080
Speaker 2: And in my mind, I know it's not like that's this,

740
00:41:54,280 --> 00:41:59,640
Speaker 2: but in my mind it's one long, ongoing shot that

741
00:41:59,840 --> 00:42:02,879
Speaker 2: just never stops that it's just like here they come

742
00:42:03,000 --> 00:42:06,200
Speaker 2: in the mass and out she goes and oh my gosh,

743
00:42:06,320 --> 00:42:08,520
Speaker 2: and into the car and the back of that rumble

744
00:42:08,640 --> 00:42:10,920
Speaker 2: seat and boom, boom boom, and we're in the club

745
00:42:10,960 --> 00:42:13,279
Speaker 2: and it's a damn And to me, it just was

746
00:42:13,400 --> 00:42:17,279
Speaker 2: like the whole thing flowed, like, oh, I just I

747
00:42:17,400 --> 00:42:20,239
Speaker 2: love that scene. I know people there's not but.

748
00:42:20,360 --> 00:42:24,239
Speaker 4: I love magical about the Life and Death Brigade. There's

749
00:42:24,320 --> 00:42:27,160
Speaker 4: just some magic that it just brings to this show.

750
00:42:27,800 --> 00:42:32,239
Speaker 4: Even back in the original series, especially during this this episode.

751
00:42:32,320 --> 00:42:34,960
Speaker 3: It's Yeah, I didn't really care for them in the

752
00:42:35,080 --> 00:42:38,440
Speaker 3: original series because they just to me, they just came

753
00:42:38,520 --> 00:42:41,879
Speaker 3: off like spoiled brats. But in this I loved them,

754
00:42:42,000 --> 00:42:44,120
Speaker 3: Like I totally love the scenes with them.

755
00:42:45,239 --> 00:42:47,000
Speaker 2: I loved them from the start, but I love them

756
00:42:47,000 --> 00:42:48,800
Speaker 2: in this And I love how they dragged in the

757
00:42:48,920 --> 00:42:55,200
Speaker 2: lady from the paper. Yeah they got her all flash light. Now,

758
00:42:55,320 --> 00:42:57,720
Speaker 2: Jackie's saying the scene took a few months to shoot,

759
00:42:57,760 --> 00:42:59,600
Speaker 2: But I don't see how that's possible since the whole

760
00:43:00,239 --> 00:43:02,560
Speaker 2: he guys only shot the whole series for a few months,

761
00:43:03,600 --> 00:43:05,040
Speaker 2: she says, because of schedule.

762
00:43:05,239 --> 00:43:06,800
Speaker 1: I mean they did it intermittently.

763
00:43:06,920 --> 00:43:10,040
Speaker 2: They know, they did it over throughout. They didn't shoot

764
00:43:10,080 --> 00:43:11,120
Speaker 2: it all like shoot a.

765
00:43:11,160 --> 00:43:14,080
Speaker 1: Piece here and a piece there and a piece there. Yeah,

766
00:43:14,360 --> 00:43:15,920
Speaker 1: it was a three and a half month shoot. By

767
00:43:15,960 --> 00:43:17,480
Speaker 1: the way, for all well, Matt.

768
00:43:17,440 --> 00:43:22,840
Speaker 2: Was really a part of this entire four movies, you know,

769
00:43:22,960 --> 00:43:27,560
Speaker 2: Like it wasn't like Matt was like Milo, right, It's

770
00:43:27,600 --> 00:43:31,400
Speaker 2: like Matt is really integrated into this whole thing, Like

771
00:43:31,480 --> 00:43:34,440
Speaker 2: I know how at the very end, it's like Lauren Graham,

772
00:43:35,120 --> 00:43:39,480
Speaker 2: Alexis Bludell, Scott Patterson, and Emily Bishop it's like Matt

773
00:43:39,800 --> 00:43:42,680
Speaker 2: really deserved to be right after that, and I know

774
00:43:42,760 --> 00:43:45,799
Speaker 2: you couldn't put him in there, but like he's very

775
00:43:46,440 --> 00:43:49,640
Speaker 2: major in these movies. Yeah.

776
00:43:52,400 --> 00:43:56,120
Speaker 3: So then after that, then it cuts back to this,

777
00:43:56,600 --> 00:44:02,080
Speaker 3: the the second attempt to hike the trail, and now

778
00:44:02,160 --> 00:44:07,040
Speaker 3: we see this Peter Krause. Yeah, yeah, as the park

779
00:44:07,160 --> 00:44:09,800
Speaker 3: ranger irritated me a lot.

780
00:44:09,920 --> 00:44:13,560
Speaker 2: Less this time. The first time I was so irritated

781
00:44:13,640 --> 00:44:14,240
Speaker 2: by this scene.

782
00:44:14,280 --> 00:44:17,440
Speaker 4: I was like, yeah, she forgot her registration or whatever.

783
00:44:17,560 --> 00:44:20,480
Speaker 2: It's just like it just goes on and on. But

784
00:44:20,560 --> 00:44:22,520
Speaker 2: this time I was like, that's kind of fine, and

785
00:44:22,680 --> 00:44:23,800
Speaker 2: I love Peter Krause.

786
00:44:23,920 --> 00:44:24,320
Speaker 1: Was cute.

787
00:44:24,480 --> 00:44:28,839
Speaker 3: Another another Parenthood reference. I always this scene always makes

788
00:44:28,880 --> 00:44:33,120
Speaker 3: me laugh because, like personal story here, my husband is

789
00:44:34,120 --> 00:44:37,240
Speaker 3: a scout master for our Boy Scout Troop. My oldest

790
00:44:37,320 --> 00:44:41,239
Speaker 3: is about to get his Eagle Scout and he goes

791
00:44:41,360 --> 00:44:44,360
Speaker 3: to the meetings. He puts on the boy Scout uniform.

792
00:44:44,400 --> 00:44:46,280
Speaker 3: I tell him he looks like a park ranger.

793
00:44:48,880 --> 00:44:51,040
Speaker 2: And so every time is he's you.

794
00:44:51,040 --> 00:44:53,440
Speaker 3: Know, leaving the to go to the meetings and he's like,

795
00:44:53,480 --> 00:44:54,759
Speaker 3: you know, i'll be back in an hour. I'm like,

796
00:44:54,760 --> 00:44:58,399
Speaker 3: all right, park, and oh, it's just kind of that's

797
00:44:58,520 --> 00:45:10,360
Speaker 3: funny in our house. With both of the ranger scenes,

798
00:45:10,440 --> 00:45:13,560
Speaker 3: the physical comedy from Lauren, I thought was hilarious, Like

799
00:45:13,600 --> 00:45:15,919
Speaker 3: she's trying to wrangle this giant backpack and she bends

800
00:45:15,960 --> 00:45:18,719
Speaker 3: over and the whole thing falls over her head. I

801
00:45:19,080 --> 00:45:20,200
Speaker 3: thought those scenes were funny.

802
00:45:20,280 --> 00:45:22,920
Speaker 1: I thought there was a lot of comedic value there,

803
00:45:23,360 --> 00:45:26,400
Speaker 1: a lot of comedic stuff on her own, just with

804
00:45:26,520 --> 00:45:31,560
Speaker 1: a backpack, right exactly, Yeah, yeah, she really pulled it off.

805
00:45:32,000 --> 00:45:37,000
Speaker 2: Yeah, and then uh so then she we.

806
00:45:37,040 --> 00:45:41,239
Speaker 3: See the Halfway House cafe, which is another thing that

807
00:45:41,360 --> 00:45:45,759
Speaker 3: was from Parenthood. Actually when oh really yeah, when I

808
00:45:45,800 --> 00:45:48,600
Speaker 3: can't remember the daughter's name, May Whitman's character when she

809
00:45:48,719 --> 00:45:50,239
Speaker 3: ran away, that was where they found her.

810
00:45:51,960 --> 00:45:53,520
Speaker 2: Par It's a great show, by the way, I don't

811
00:45:53,520 --> 00:45:56,759
Speaker 2: know if aout that. I loved it so good, you'll

812
00:45:56,840 --> 00:45:58,759
Speaker 2: cry like a baby. It's kind of this is Us

813
00:45:58,840 --> 00:46:04,200
Speaker 2: before this is Us. Yeah, watched it could could fly

814
00:46:04,480 --> 00:46:07,879
Speaker 2: because Parenthood locked or whatever. The saying is like yeah, yeah, yeah.

815
00:46:08,640 --> 00:46:11,800
Speaker 3: And so this is where where we have the scene

816
00:46:11,920 --> 00:46:17,760
Speaker 3: with the monologue about Lorelai and Richard the mall great moment.

817
00:46:18,040 --> 00:46:20,560
Speaker 3: We just talked about that. Oh, and she talked about

818
00:46:21,000 --> 00:46:25,080
Speaker 3: the one of the movies they watched was An Unmarriaged Woman,

819
00:46:25,680 --> 00:46:28,120
Speaker 3: which was a Kelly Bishop movie, so it was kind of.

820
00:46:28,320 --> 00:46:28,719
Speaker 2: I didn't know that.

821
00:46:29,040 --> 00:46:29,760
Speaker 1: Jill Clayburg.

822
00:46:32,640 --> 00:46:37,560
Speaker 3: Jill Clayburg, Wow, I didn't see it. Maybe it's from

823
00:46:37,600 --> 00:46:41,560
Speaker 3: that era. I laughed. When she goes up to the

824
00:46:41,600 --> 00:46:44,360
Speaker 3: cafe and she tries the door knob and it's locked,

825
00:46:44,440 --> 00:46:45,880
Speaker 3: and then she's like, I hate nature.

826
00:46:47,480 --> 00:46:48,439
Speaker 1: Yeah, she's doing wild.

827
00:46:49,520 --> 00:46:52,680
Speaker 2: These scenes played much better this round than they did

828
00:46:52,760 --> 00:46:55,360
Speaker 2: for me when I watched it eight years ago. It's like,

829
00:46:55,440 --> 00:46:56,160
Speaker 2: all just better.

830
00:46:57,360 --> 00:47:00,120
Speaker 3: Yeah, because the first time you watch it, you're just

831
00:47:00,200 --> 00:47:02,160
Speaker 3: so thrown off by how different it is, and then

832
00:47:02,160 --> 00:47:03,759
Speaker 3: the second time you're kind of like over that.

833
00:47:03,960 --> 00:47:05,520
Speaker 2: And yes, yes, I.

834
00:47:07,040 --> 00:47:09,120
Speaker 1: Said, that's the first time I've seen it. I wasn't

835
00:47:09,160 --> 00:47:11,400
Speaker 1: thrown at all. I was. I was delighted by it.

836
00:47:12,560 --> 00:47:15,120
Speaker 1: I'm so happy for I was so happy for it,

837
00:47:15,400 --> 00:47:15,560
Speaker 1: you know.

838
00:47:18,040 --> 00:47:21,279
Speaker 3: And I love this scene like that whole, the whole.

839
00:47:22,440 --> 00:47:25,600
Speaker 3: Lauren was great in this scene. And then the one thing,

840
00:47:25,920 --> 00:47:27,400
Speaker 3: and I don't know that this scene would have been

841
00:47:27,440 --> 00:47:29,439
Speaker 3: the place to put it in, could have gone somewhere else.

842
00:47:29,800 --> 00:47:34,080
Speaker 3: The one resolution I feel like we didn't get was

843
00:47:34,400 --> 00:47:39,920
Speaker 3: any kind of acknowledgment from Emily of her role in

844
00:47:40,520 --> 00:47:42,560
Speaker 3: any of the problems with Laura.

845
00:47:42,680 --> 00:47:47,239
Speaker 1: I oh, I think that's I think that's just at

846
00:47:47,320 --> 00:47:48,840
Speaker 1: this point, that would be cruel.

847
00:47:49,400 --> 00:47:51,200
Speaker 2: I think we're just the I think that's asking to

848
00:47:51,280 --> 00:47:52,879
Speaker 2: be And that's what I said.

849
00:47:52,880 --> 00:47:55,000
Speaker 3: I don't think this scene was the place for that.

850
00:47:55,280 --> 00:47:58,680
Speaker 3: But nowhere in the revival. I just mean, for me,

851
00:47:58,920 --> 00:48:00,520
Speaker 3: that's an unresolved.

852
00:48:00,480 --> 00:48:02,960
Speaker 2: Thing, correct, because she's not going to be different, Like

853
00:48:03,040 --> 00:48:04,759
Speaker 2: it's not like when we see these people again. It's

854
00:48:04,760 --> 00:48:06,160
Speaker 2: not like Emily is just suddenly going to be the

855
00:48:06,239 --> 00:48:08,520
Speaker 2: perfect mother to me. If there was some sort of

856
00:48:08,560 --> 00:48:11,880
Speaker 2: acknowledgment of it, it would just come across trite. The

857
00:48:12,040 --> 00:48:16,400
Speaker 2: most we got was in the we get a little

858
00:48:16,600 --> 00:48:19,000
Speaker 2: we get little glimpses of that, and then I think

859
00:48:19,040 --> 00:48:22,239
Speaker 2: we get a little glimpse of that when she wants

860
00:48:22,320 --> 00:48:25,319
Speaker 2: the money to expand the in But Emily's not going

861
00:48:25,400 --> 00:48:26,640
Speaker 2: to become a different person.

862
00:48:28,280 --> 00:48:28,880
Speaker 1: I didn't know.

863
00:48:29,160 --> 00:48:31,240
Speaker 3: That's not what I'm asking for. I don't want Emily

864
00:48:31,320 --> 00:48:35,120
Speaker 3: to become a different person. I just would have liked

865
00:48:35,200 --> 00:48:38,680
Speaker 3: for her to acknowledge that maybe she made lorealized life

866
00:48:38,760 --> 00:48:39,799
Speaker 3: difficult once in a while.

867
00:48:40,040 --> 00:48:41,759
Speaker 4: I just don't think she would be the person to.

868
00:48:41,960 --> 00:48:44,279
Speaker 5: Yeah, it was like she's not the person to she'd

869
00:48:44,320 --> 00:48:46,279
Speaker 5: throw it under the rug. But I don't think she'd

870
00:48:46,320 --> 00:48:48,520
Speaker 5: ever come and be like it was my fault. I

871
00:48:48,560 --> 00:48:49,080
Speaker 5: just don't think.

872
00:48:51,040 --> 00:48:52,319
Speaker 3: Again, Okay, I.

873
00:48:54,040 --> 00:48:56,640
Speaker 4: Understand what you actually do. Understand what you're saying. I

874
00:48:56,800 --> 00:48:59,920
Speaker 4: think the moment with the phone call did that for me.

875
00:49:00,680 --> 00:49:04,000
Speaker 4: I think it kind of like made them at peace.

876
00:49:04,560 --> 00:49:07,440
Speaker 3: Yeah, and she says thank you, right, well, she I

877
00:49:07,520 --> 00:49:09,920
Speaker 3: mean she got an apology from Laura I, which is

878
00:49:10,040 --> 00:49:13,360
Speaker 3: basically what that whole call was was, you know, in

879
00:49:13,360 --> 00:49:19,440
Speaker 3: a kind of an apology from Laura I. Well, Carline

880
00:49:19,640 --> 00:49:22,759
Speaker 3: put all that out there, and then Emily said thank you,

881
00:49:23,080 --> 00:49:25,040
Speaker 3: which I guess is all we can expect from her.

882
00:49:25,480 --> 00:49:27,920
Speaker 3: But I didn't feel like she gave anything back to

883
00:49:28,000 --> 00:49:28,320
Speaker 3: Laura I.

884
00:49:28,840 --> 00:49:31,720
Speaker 1: That's all I'm saying. I think the most we could expect,

885
00:49:32,640 --> 00:49:35,719
Speaker 1: I think it would even almost be too much, is

886
00:49:35,800 --> 00:49:38,120
Speaker 1: if we knew as an audience that she was beginning

887
00:49:39,280 --> 00:49:42,839
Speaker 1: to start that conversation or she was starting to open

888
00:49:42,960 --> 00:49:44,880
Speaker 1: up a little bit before she even said anything, and

889
00:49:44,960 --> 00:49:48,120
Speaker 1: then stopped herself. Right. I think that's I think that

890
00:49:48,239 --> 00:49:50,839
Speaker 1: stays true to her character. I do. I do agree

891
00:49:50,880 --> 00:49:52,359
Speaker 1: with you though, that it could have been a very

892
00:49:52,440 --> 00:49:56,600
Speaker 1: powerful moment had she done it. But it's like, where

893
00:49:56,719 --> 00:49:58,759
Speaker 1: is she going to do it? When is she going

894
00:49:58,840 --> 00:50:01,400
Speaker 1: to do it, because I think after she loses Richard,

895
00:50:02,520 --> 00:50:05,319
Speaker 1: you know, it's hard to you know, call her onto

896
00:50:05,400 --> 00:50:07,799
Speaker 1: the carpet and say, apologize for what you've been.

897
00:50:09,080 --> 00:50:10,040
Speaker 2: We got what we could get.

898
00:50:10,080 --> 00:50:14,320
Speaker 3: Yeah, And you know, obviously I'm not the writer, so

899
00:50:14,440 --> 00:50:15,880
Speaker 3: I don't know where I would have put it, But

900
00:50:16,040 --> 00:50:18,680
Speaker 3: it just would have been nice to, you know, talking

901
00:50:18,760 --> 00:50:22,400
Speaker 3: about how this whole episode is about resolutions and closing

902
00:50:22,480 --> 00:50:23,080
Speaker 3: the loop.

903
00:50:22,920 --> 00:50:25,880
Speaker 2: And I just would have liked to have just like

904
00:50:26,040 --> 00:50:28,160
Speaker 2: throw me a bone on that, like, just you know

905
00:50:28,239 --> 00:50:28,960
Speaker 2: a lot, I think.

906
00:50:29,040 --> 00:50:30,800
Speaker 1: But I think that's what Laurel. I did it.

907
00:50:30,960 --> 00:50:31,480
Speaker 4: It it.

908
00:50:32,960 --> 00:50:37,680
Speaker 1: Released. She was releasing Emily from any obligation to do

909
00:50:37,880 --> 00:50:41,000
Speaker 1: that in the future because of the intimate nature of

910
00:50:41,040 --> 00:50:43,840
Speaker 1: the and the length of that story and the emotion

911
00:50:43,960 --> 00:50:47,520
Speaker 1: attached to it. And I think that's the reaction gave

912
00:50:47,800 --> 00:50:52,160
Speaker 1: was one of pure delight and relief, and she was

913
00:50:52,239 --> 00:50:58,400
Speaker 1: completely moved and it was all sins are forgiven. That

914
00:50:58,680 --> 00:51:02,200
Speaker 1: that speech was all sins are forgiven on both sides

915
00:51:02,680 --> 00:51:06,400
Speaker 1: and now we can start anew You know, it's like

916
00:51:06,480 --> 00:51:10,720
Speaker 1: maybe the first moment I've ever seen those two, maybe

917
00:51:10,880 --> 00:51:14,400
Speaker 1: before the bad stuff happened when she was fifteen or sixteen,

918
00:51:15,080 --> 00:51:20,440
Speaker 1: where there it was a moment of just utter motherly

919
00:51:20,560 --> 00:51:25,160
Speaker 1: love and open heartedness toward her daughter. Yeah.

920
00:51:26,719 --> 00:51:28,880
Speaker 3: Yeah, I mean, I guess I just have it different.

921
00:51:29,840 --> 00:51:34,319
Speaker 1: Incredibly and incredibly powerful moment, incredibly and great acting from

922
00:51:34,960 --> 00:51:42,399
Speaker 1: from Kelly. The nonverbal stuff is just the hardest, so great. Yeah. Wow,

923
00:51:44,560 --> 00:51:44,920
Speaker 1: all right.

924
00:51:45,080 --> 00:51:48,520
Speaker 3: So then we go back to Luke and Laurelai's kitchen

925
00:51:48,600 --> 00:51:51,200
Speaker 3: and the scene where Luke is cooking the steak for this.

926
00:51:51,400 --> 00:51:57,879
Speaker 2: Is such an amazing scene. Scott, you are no good

927
00:51:57,960 --> 00:51:58,120
Speaker 2: in this.

928
00:52:01,280 --> 00:52:04,239
Speaker 3: Yeah, I know, I Scott. I'll let you talk about

929
00:52:04,280 --> 00:52:06,799
Speaker 3: the scene because this was probably some of the most

930
00:52:06,960 --> 00:52:12,000
Speaker 3: powerful Luke material in the entire series.

931
00:52:12,640 --> 00:52:15,720
Speaker 1: I think the hard the hard part was on Lauren.

932
00:52:16,680 --> 00:52:22,640
Speaker 1: You know, the difficult part about like when Lauren would

933
00:52:22,719 --> 00:52:26,760
Speaker 1: deliver a speech to me, right, the many long speeches

934
00:52:26,880 --> 00:52:30,719
Speaker 1: she would she would deliver to me, What you don't

935
00:52:30,800 --> 00:52:35,520
Speaker 1: want to do as a scene partner is screw her up, right,

936
00:52:35,719 --> 00:52:37,920
Speaker 1: because you have a little word here and there that

937
00:52:38,120 --> 00:52:39,759
Speaker 1: can often She had.

938
00:52:39,680 --> 00:52:43,680
Speaker 2: Those sort of funny comedy relief moments, right, and and she.

939
00:52:44,000 --> 00:52:46,040
Speaker 1: The balance of it and the timing of it is

940
00:52:46,120 --> 00:52:50,200
Speaker 1: all so crucial so as not to step on what

941
00:52:50,320 --> 00:52:53,600
Speaker 1: I'm saying and keep the momentum going, but also get

942
00:52:53,640 --> 00:52:57,000
Speaker 1: in you know, her intention, which is equally as important

943
00:52:57,160 --> 00:52:59,040
Speaker 1: as the you know, the chunks of dialogue that I

944
00:52:59,160 --> 00:53:02,800
Speaker 1: am saying. And she did it beautifully and it really

945
00:53:02,960 --> 00:53:06,120
Speaker 1: made the scene fly. So it's thank you for the

946
00:53:06,200 --> 00:53:09,600
Speaker 1: nice comments. It was a tough scene to do, you know,

947
00:53:09,680 --> 00:53:13,279
Speaker 1: it's a very emotional thing, but it was easy. It

948
00:53:13,400 --> 00:53:16,440
Speaker 1: was much easier because I knew I had a partner

949
00:53:16,480 --> 00:53:21,520
Speaker 1: who could knows what the shot is that I'm making

950
00:53:21,640 --> 00:53:24,640
Speaker 1: and hits the ball back where I can continue, We

951
00:53:24,719 --> 00:53:29,040
Speaker 1: can continue to volley the ball back and forth. And

952
00:53:29,719 --> 00:53:32,640
Speaker 1: that's what she's also so good at, which is why

953
00:53:32,760 --> 00:53:38,879
Speaker 1: those scenes really pop. So I commend her for being

954
00:53:39,040 --> 00:53:41,680
Speaker 1: so astute and so focused and so concentrated, because you

955
00:53:41,800 --> 00:53:46,279
Speaker 1: really have to focus harder not to trip the other

956
00:53:46,520 --> 00:53:49,319
Speaker 1: actor up when they have volumes of dialogue that they

957
00:53:49,400 --> 00:53:51,360
Speaker 1: have to execute, you know it.

958
00:53:51,440 --> 00:53:54,080
Speaker 2: And they have to be in a certain like mindset

959
00:53:54,200 --> 00:53:56,480
Speaker 2: or place because it's so emotional and you feel like,

960
00:53:56,760 --> 00:53:59,360
Speaker 2: I just thought that scene is so good, and I

961
00:53:59,440 --> 00:54:03,520
Speaker 2: actually her little sort of like moments of it where

962
00:54:03,560 --> 00:54:05,840
Speaker 2: she's kind of being a little bit funny and like

963
00:54:06,040 --> 00:54:07,200
Speaker 2: it's just just so good.

964
00:54:07,239 --> 00:54:11,200
Speaker 1: From thee From a technical point of view, what she

965
00:54:11,360 --> 00:54:14,680
Speaker 1: had to deal with was not get distracted by what

966
00:54:14,800 --> 00:54:17,000
Speaker 1: I was saying, but feel it because she has to

967
00:54:17,080 --> 00:54:20,160
Speaker 1: feel it as the character, but not miss her cues

968
00:54:20,160 --> 00:54:21,960
Speaker 1: because she had a bunch of cues in there where

969
00:54:22,000 --> 00:54:23,480
Speaker 1: she had to throw in a line or a look

970
00:54:23,560 --> 00:54:27,120
Speaker 1: or whatever. Right, And it's hard when somebody's you know,

971
00:54:27,440 --> 00:54:32,879
Speaker 1: delivering with with real intensity something coming at you, it's

972
00:54:32,920 --> 00:54:34,560
Speaker 1: easy to get caught up in that and get lost

973
00:54:34,600 --> 00:54:37,319
Speaker 1: and oh shoot, I forgot my line, so sorry, well

974
00:54:37,360 --> 00:54:40,400
Speaker 1: we'll have to do it again. You get that, So

975
00:54:40,520 --> 00:54:44,960
Speaker 1: it's able to split focus within how you're focusing and

976
00:54:45,680 --> 00:54:49,160
Speaker 1: and staying character, but while still being technical. It's it's

977
00:54:49,239 --> 00:54:52,480
Speaker 1: it's incredibly difficult, and she just did such a great job,

978
00:54:52,960 --> 00:54:53,439
Speaker 1: such a boat.

979
00:54:53,480 --> 00:54:55,000
Speaker 5: How many times did you guys have to do that?

980
00:54:55,080 --> 00:54:58,200
Speaker 1: Do you remember? It was a few, Yeah, it was

981
00:54:58,239 --> 00:55:01,480
Speaker 1: a few. I remember being quite aust after that. But yeah,

982
00:55:02,520 --> 00:55:06,400
Speaker 1: but you know Amy as a director, you know, you

983
00:55:06,480 --> 00:55:09,960
Speaker 1: know she knows which moments are going to be really

984
00:55:10,320 --> 00:55:14,160
Speaker 1: you know, the fireworks moments, and you really want to

985
00:55:14,239 --> 00:55:18,640
Speaker 1: nail those. And I don't know that we did it.

986
00:55:19,080 --> 00:55:21,279
Speaker 1: I think we did three or four takes, five takes

987
00:55:21,360 --> 00:55:24,320
Speaker 1: maybe at the most, because it was going well. I

988
00:55:24,440 --> 00:55:27,320
Speaker 1: remember it was going well right from the beginning. But

989
00:55:27,400 --> 00:55:30,560
Speaker 1: there's always little adjustments and things like that, you know. Yeah,

990
00:55:30,880 --> 00:55:34,960
Speaker 1: so there's some lighting things. There's always lighting issues and

991
00:55:35,560 --> 00:55:38,280
Speaker 1: that's to be expected. But it went very very smoothly,

992
00:55:38,400 --> 00:55:42,040
Speaker 1: very well that scene. Yeah, yeah, actually fun to do.

993
00:55:42,760 --> 00:55:45,560
Speaker 2: And it's such a nice resolution in that scene, and

994
00:55:45,640 --> 00:55:48,880
Speaker 2: I'm so glad, like that's not the end of the show, right,

995
00:55:49,080 --> 00:55:52,319
Speaker 2: Like it's like it's so cool that you're like, oh,

996
00:55:52,480 --> 00:55:55,719
Speaker 2: what a relief, and then we get to have some fun,

997
00:55:55,840 --> 00:55:56,480
Speaker 2: do you know what I mean?

998
00:55:56,640 --> 00:55:59,240
Speaker 3: Like that was sort of how I know, because at first,

999
00:55:59,280 --> 00:56:01,200
Speaker 3: like the first time you watch it, you don't know

1000
00:56:01,320 --> 00:56:02,399
Speaker 3: what she's gonna say.

1001
00:56:02,600 --> 00:56:05,240
Speaker 2: You don't know, like here we go again.

1002
00:56:05,200 --> 00:56:07,880
Speaker 3: See I'm out of here, like I'm leaving, Like you

1003
00:56:07,960 --> 00:56:10,719
Speaker 3: don't know what conclusion she has reached inside her head.

1004
00:56:10,800 --> 00:56:12,440
Speaker 3: And so then when she says I think we should

1005
00:56:12,440 --> 00:56:16,640
Speaker 3: get married, then you're like, yes, yeah, so yeah, that

1006
00:56:16,840 --> 00:56:18,680
Speaker 3: was that was a great scene. And then he's got

1007
00:56:18,840 --> 00:56:21,359
Speaker 3: he's still got the same engagement ring and he gives

1008
00:56:21,400 --> 00:56:23,160
Speaker 3: it back to her and I thought that was cute

1009
00:56:24,000 --> 00:56:24,400
Speaker 3: and he.

1010
00:56:24,760 --> 00:56:31,640
Speaker 4: Just had a handy yeah, right there waiting for that moment.

1011
00:56:32,920 --> 00:56:35,680
Speaker 1: All right, gang, we're loving Fall so much, we're gonna

1012
00:56:35,719 --> 00:56:37,719
Speaker 1: split it up into two because we can't stop gab it.

1013
00:56:37,880 --> 00:56:40,160
Speaker 1: So we're gonna we're gonna bring part one to an

1014
00:56:40,320 --> 00:57:12,520
Speaker 1: end and stay tuned for part two. Hey, everybody tell again.

1015
00:57:12,600 --> 00:57:16,600
Speaker 1: Follow us on Instagram at I Am all In podcast

1016
00:57:16,760 --> 00:57:21,120
Speaker 1: and email us at Gilmore at iHeartRadio dot com.