Latest / I Am All In with Scott Patterson / I Am All In…Again: The Ultimate Bad Guy Floyd Stiles (Season 4 E18 “Tick, Tick, Tick, Boom!)

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I Am All In…Again: The Ultimate Bad Guy Floyd Stiles (Season 4 E18 “Tick, Tick, Tick, Boom!) · I Am All In with Scott Patterson

• 0:00
  Speaker 1: I am all in again.
• 0:09
  Speaker 2: Let's just do.
• 0:17
  Speaker 3: I am all in again with Scott Patterson and iHeartRadio Podcast.
• 0:22
  Speaker 1: Hey everybody, Scott Patterson, I am all in Podcasts, one
• 0:25
  Speaker 1: of them productions. iHeartRadio Media, iHeart podcast. We have a
• 0:29
  Speaker 1: very special recap episode eighteen seams four tick tick tick boom,
• 0:34
  Speaker 1: and we're also very special guest mister Lawrence Pressman, who
• 0:38
  Speaker 1: played none other than the very determined or steely Floyd Styles,
• 0:44
  Speaker 1: Jason's father and an unforgettable, albeit two brief performance. Lawrence,
• 0:50
  Speaker 1: you normally don't watch your own shows, from what we.
• 0:53
  Speaker 4: Understand why we watched this several years later.
• 0:57
  Speaker 1: But what was it like watching your episode back this time?
• 1:03
  Speaker 3: It's weird, you know, when this is sixty five or
• 1:08
  Speaker 3: sixty six years of a career and I've done a
• 1:11
  Speaker 3: lot of TV. Most often don't watch because I came
• 1:19
  Speaker 3: from the theater, and I think it's just something theater
• 1:22
  Speaker 3: people have trouble with. But it was completely surprising. All
• 1:29
  Speaker 3: I remember about it really is I knew Kelly Bishop
• 1:33
  Speaker 3: from before we had done a pilot together, and I
• 1:36
  Speaker 3: knew her a little bit of New York and I
• 1:38
  Speaker 3: was a great admirer of Ed Herman's and I just
• 1:41
  Speaker 3: remembered ed Herman and I on the golf course. That's
• 1:47
  Speaker 3: what I remember about it about the episode, So watching
• 1:51
  Speaker 3: it was like watching something totally new. I don't remember
• 1:56
  Speaker 3: any of it. I don't remember being such a bastard.
• 1:59
  Speaker 3: I mean a bad guy. That guy I play a
• 2:03
  Speaker 3: lot of those guys.
• 2:03
  Speaker 1: Was the writing right?
• 2:05
  Speaker 3: Well, I've known Amy for a long time. She had
• 2:09
  Speaker 3: my son for friends, and so I knew her for years,
• 2:13
  Speaker 3: way before Gilmore Girls.
• 2:15
  Speaker 1: Okay, so you've been at this many decades. What strikes
• 2:19
  Speaker 1: you the most about Gilmore Girls.
• 2:23
  Speaker 3: Of all the shows I've done. When somebody recognizes me
• 2:28
  Speaker 3: from that short brief episode in a quarter that I did,
• 2:34
  Speaker 3: because that's basically what that was, I would say that's
• 2:38
  Speaker 3: the most hysterical reception. It's usually young women. It's often
• 2:45
  Speaker 3: young women who have studied Gilmore Girls in school. There
• 2:49
  Speaker 3: are courses at UCLA about it. I was accosted by
• 2:53
  Speaker 3: a covey of young women out of Starbucks years ago
• 2:58
  Speaker 3: who were screaming like I thought it was a rock star.
• 3:02
  Speaker 4: And it had nothing to do with me, but it had
• 3:04
  Speaker 4: to do to do with gilm workers. And I think
• 3:08
  Speaker 4: it's it's touched.
• 3:10
  Speaker 3: It must have touched a real place in young women
• 3:16
  Speaker 3: because it was, I.
• 3:17
  Speaker 4: Guess the first show that sort of dealt.
• 3:20
  Speaker 3: With feminist issues and certainly the relationship between a young
• 3:27
  Speaker 3: mother and a teenage daughter. I mean, that's the fascinating
• 3:34
  Speaker 3: paradigm of that of that show to me.
• 3:37
  Speaker 1: Well, let's get into the synopsis here. Floyd Styles makes
• 3:41
  Speaker 1: an epic return and turns the tables on Richard Jason's
• 3:45
  Speaker 1: new business while revealing the truth about Jason and Laurel I. Meanwhile,
• 3:49
  Speaker 1: Dean is getting close with Rory again, and Kirk is
• 3:52
  Speaker 1: going crazy looking for the lost Easter eggs in the
• 3:55
  Speaker 1: town square, but Luke comes to his rescue. Director by
• 3:59
  Speaker 1: Daniel Paladine, written by Daniel Palladino. Richard and Emily having
• 4:04
  Speaker 1: dinner with Floyd Styles. Richard Jason are acquiring a company
• 4:08
  Speaker 1: a man named Bob. They go golfing with him to
• 4:11
  Speaker 1: close the deal, but Floyd comes over says hello. They
• 4:14
  Speaker 1: decide his schedule dinner. Everybody's excited for it. Maybe it
• 4:18
  Speaker 1: means peace between father and son, Jason and Floyd. It's
• 4:24
  Speaker 1: the night of the dinner. Laurel I is dressed up
• 4:26
  Speaker 1: and the styles come over and they start the night
• 4:28
  Speaker 1: on the patio, remembering each other's drinks and everything is complementary.
• 4:31
  Speaker 1: It's all going well. But then the men have cigars
• 4:34
  Speaker 1: post dinner and study and it's where Floyd says he
• 4:37
  Speaker 1: is suing Richard because Digger, his son, broke the non
• 4:41
  Speaker 1: compete clause. Floyd knew this because he hired a private
• 4:44
  Speaker 1: investigator to follow Jason. Floyd storms out of the study.
• 4:49
  Speaker 1: The men are arguing and he tells everyone that because
• 4:51
  Speaker 1: of the PI, Jason is dating lral I, Emily and
• 4:54
  Speaker 1: Richard are in disbelief. To throw Jason away like that
• 5:00
  Speaker 1: is just ruthless. Did Richard have no choice?
• 5:04
  Speaker 4: I think it's a gray area.
• 5:05
  Speaker 3: I think I think he's still pissed off obviously, and
• 5:11
  Speaker 3: it revenge is sweet, even if it means losing a
• 5:15
  Speaker 3: few bucks. As how, I got it when I saw
• 5:18
  Speaker 3: it right right.
• 5:20
  Speaker 1: Tell us about working with that hermit, just the first
• 5:23
  Speaker 1: time you've worked with that.
• 5:24
  Speaker 3: First, the first time I've ever met him. Great admirer.
• 5:27
  Speaker 3: I've seen the Roosevelt series because it was directed by
• 5:31
  Speaker 3: a friend of ours, John Nerman directed it, and it
• 5:35
  Speaker 3: was a fabulous series, and Ed was the embodiment of Roosevelt.
• 5:40
  Speaker 4: He was just great in it.
• 5:42
  Speaker 3: Jane Alexander, Ed and I can't think who else was
• 5:47
  Speaker 3: in it right now, But so I had been a
• 5:50
  Speaker 3: long time admirer, and we just had never crossed paths,
• 5:53
  Speaker 3: which happens a lot in this business. You know, you
• 5:56
  Speaker 3: can love somebody's work and never work with them, or
• 6:01
  Speaker 3: you can love somebody's work and work with them two
• 6:04
  Speaker 3: or three times or once, as I did with Ed,
• 6:07
  Speaker 3: which was a real pleasure. He was a very He
• 6:12
  Speaker 3: was the kind of actor you play with. You know,
• 6:15
  Speaker 3: there are actors who are set and you kind of
• 6:18
  Speaker 3: there a ball and you kind of bounce the ball
• 6:21
  Speaker 3: off the wall, and then there are actors who catch
• 6:24
  Speaker 3: the ball and you throw the ball back and forth.
• 6:27
  Speaker 3: And he was definitely a ball catcher and throw her.
• 6:32
  Speaker 3: You know, it's really a duet whenever you played with.
• 6:36
  Speaker 1: Him, you know, going off off the reservation here a
• 6:39
  Speaker 1: little bit. You mentioned Jane Alexander. She was always a
• 6:42
  Speaker 1: favorite of mine. Well, I don't really see anybody like her,
• 6:47
  Speaker 1: since she's very unique. Tell me a little bit about
• 6:52
  Speaker 1: working or seeing her, working with her, knowing her.
• 6:57
  Speaker 4: A little bit.
• 6:57
  Speaker 3: I knew her just a little bit. I knew her
• 7:00
  Speaker 3: husband and Sharon much better.
• 7:04
  Speaker 4: I would say that there was a whole group of
• 7:07
  Speaker 4: actors like the actresses like that.
• 7:10
  Speaker 3: One was a friend of mine, Kittie Wynn, who was
• 7:15
  Speaker 3: a friend of James obviously, and very similar to that.
• 7:21
  Speaker 4: These were These.
• 7:22
  Speaker 3: Were the times when women were.
• 7:25
  Speaker 4: Ladies in the theater. Right, We've lost that.
• 7:29
  Speaker 3: We lost that probably years ago, and I think Jane
• 7:33
  Speaker 3: was the last of that group. But she was a
• 7:36
  Speaker 3: sensational actress and could do anything. She really I saw
• 7:41
  Speaker 3: her many times in the theater. I knew her first
• 7:44
  Speaker 3: husband because he worked at theater that I worked in
• 7:49
  Speaker 3: when she was in Washington. He was in Boston with me,
• 7:52
  Speaker 3: and they have one son, Jase. But I think that
• 7:57
  Speaker 3: that whole area of women being ladies and and.
• 8:05
  Speaker 4: Sort of above the fray has could have gone.
• 8:08
  Speaker 3: They're just there. Isn't that anymore? For whatever the reason.
• 8:12
  Speaker 3: I think it's partly because of women's liberation.
• 8:15
  Speaker 1: Well, she was just she was effervescent and all right, Well,
• 8:20
  Speaker 1: let's get back to the show.
• 8:22
  Speaker 5: Jason and loralized.
• 8:23
  Speaker 1: Relationship has been a secret until now, and it was
• 8:27
  Speaker 1: dramatic for it to be revealed by Floyd. Could you
• 8:32
  Speaker 1: have imagined it going another way as far as revealing
• 8:36
  Speaker 1: that or what.
• 8:38
  Speaker 5: Do you think, What do you think of that?
• 8:39
  Speaker 3: I don't think so, given his relationship with Floyd's dad, No,
• 8:45
  Speaker 3: I don't think so. I think I think it was
• 8:48
  Speaker 3: you know, I don't mean to be political here, but
• 8:52
  Speaker 3: you know, we're in an age of political retribution, about
• 8:57
  Speaker 3: political attribution. I kind of think that was what was
• 9:00
  Speaker 3: on his mind, you know, from the beginning, was it
• 9:04
  Speaker 3: was just to get him, you know, as it meant
• 9:09
  Speaker 3: sacrificing his son and the son's relationship all the better.
• 9:14
  Speaker 3: Two birds of poostone. I think that's the kind of
• 9:17
  Speaker 3: guy he is.
• 9:18
  Speaker 1: I don't see, you know, just because you're somebody's father,
• 9:21
  Speaker 1: you're not gonna let your son destroy your business. There
• 9:24
  Speaker 1: wasn't noncompete in those things. You know, they have some teeth.
• 9:27
  Speaker 1: So you know, I don't know what Jason was thinking
• 9:30
  Speaker 1: about in the first place. I mean, it's a it's
• 9:31
  Speaker 1: a it's a gaping hole. You know, he walked through
• 9:35
  Speaker 1: that door.
• 9:35
  Speaker 4: So picture to their father's son relationship.
• 9:38
  Speaker 3: You know, a son who's been the under the thumb
• 9:42
  Speaker 3: of a very powerful guy wants to make his own turf.
• 9:48
  Speaker 3: I can see it from the son's point of view,
• 9:50
  Speaker 3: but also from the father's point of view. It's not allowed.
• 9:54
  Speaker 3: As you say, it's a gaping hole. You can't do it.
• 9:57
  Speaker 3: It's it's business business is, isn't it.
• 10:00
  Speaker 1: You can't do it.
• 10:02
  Speaker 4: You can't do it, you get into trouble that way.
• 10:05
  Speaker 1: The impact of hearing Jason and Laurel I dating for
• 10:08
  Speaker 1: the Gilmore's is just complete disbelief, and everybody goes silent.
• 10:14
  Speaker 1: As the Styles family leaves, Emily stairs at Laurel I,
• 10:19
  Speaker 1: Jason comes back and defend himself to Richard. They try
• 10:22
  Speaker 1: to come up with a plan. Jason as Richard's trust
• 10:25
  Speaker 1: to figure something out, and Jason and Laurel I leave
• 10:29
  Speaker 1: together and get drunk in his apartment. They have a
• 10:31
  Speaker 1: few too many, I would say. Richard tells Emily it's
• 10:33
  Speaker 1: going to be okay. Richard then goes golfing with Floyd
• 10:36
  Speaker 1: and they work out a deal where Richards come back
• 10:38
  Speaker 1: to the company under his own umbrella and Jason is out.
• 10:53
  Speaker 1: What do you think of that turn of events? For
• 10:55
  Speaker 1: me personally, it's very satisfying storytelling. What'd you think of it?
• 10:59
  Speaker 3: I think it's I think it ties up. Then you
• 11:02
  Speaker 3: know it puts the bow on the box.
• 11:06
  Speaker 1: Right.
• 11:06
  Speaker 3: Uh, it's it's correct. You're back in family uh, unity
• 11:13
  Speaker 3: of some kind.
• 11:15
  Speaker 4: Uh.
• 11:16
  Speaker 3: And and you've forgiven the sins, which is the most
• 11:20
  Speaker 3: important thing in a relationship, any relationship. If you can
• 11:24
  Speaker 3: forgive the other person's perceived sins.
• 11:29
  Speaker 4: You you you can you can go on from there. Uh. I.
• 11:34
  Speaker 3: Since I since I wasn't not a television watcher, I
• 11:39
  Speaker 3: don't know what happened eventually to that their relationship, but
• 11:45
  Speaker 3: to his relationship with with Lauren's character, but I would
• 11:49
  Speaker 3: guess that it made it a little bit easier on
• 11:52
  Speaker 3: their on their relationship as well. Right, we guess all right,
• 11:57
  Speaker 3: I can tell you you made me let you on
• 12:00
  Speaker 3: that episode. Since I've not watched it before, you've made
• 12:03
  Speaker 3: me laugh a lot. I just like that guy. I've
• 12:08
  Speaker 3: known that guy before. I came from a small town myself,
• 12:11
  Speaker 3: and I've known that guy who just says, no, you
• 12:14
  Speaker 3: order now, or you don't get it out of my right, right.
• 12:18
  Speaker 4: I just love that.
• 12:20
  Speaker 3: That's cool, very funny.
• 12:21
  Speaker 1: Yeah, that's a very you know to me, he was
• 12:24
  Speaker 1: always a very familiar Northeastern, totally post world guy. He
• 12:30
  Speaker 1: does that there a diamond does like that out.
• 12:33
  Speaker 4: There exactly are you from there?
• 12:35
  Speaker 1: No, No, I'm from I was born in Philadelphia, raised
• 12:37
  Speaker 1: New Jersey.
• 12:39
  Speaker 4: New York. Yeah, so Philly's my favorite towne Yeah, you know.
• 12:43
  Speaker 1: And that that is that is ah, that is just
• 12:48
  Speaker 1: a classic uh yes, sort of male dominant, alpha, steely outside,
• 12:56
  Speaker 1: softy on the inside.
• 12:57
  Speaker 3: Kind of the thing about don't want me to be bothered,
• 13:03
  Speaker 3: just don't wanting to be bothered.
• 13:08
  Speaker 4: Made me laugh.
• 13:11
  Speaker 1: That's good, good stuff, good stuff. Well, we know one
• 13:14
  Speaker 1: thing about Luke. He's not terribly fond of babies making
• 13:18
  Speaker 1: noise in his diner. And then Taylor comes in with
• 13:20
  Speaker 1: a two pay saying there's an odor in the town.
• 13:24
  Speaker 1: Everybody says they smelled at two and other places. Kirk
• 13:27
  Speaker 1: gets enthusiastic about the odor, but doesn't reveal what he knows.
• 13:31
  Speaker 1: Kirk then goes to the soda shop looking bothered. He
• 13:35
  Speaker 1: confesses smell is coming from easter eggs he hit and
• 13:37
  Speaker 1: can't find them again because he didn't make an egg
• 13:40
  Speaker 1: map tailor. Taylor holds a meeting looking for Easter eggs.
• 13:45
  Speaker 1: The residents keep coming on his two pay. Kirk fires
• 13:50
  Speaker 1: everyone up to find the eggs with his verse and
• 13:53
  Speaker 1: the two thousand and four Howard Dean disaster speech meltdown, which.
• 14:00
  Speaker 4: I'll never forget.
• 14:02
  Speaker 1: And Dean was doing really well at that time. That's
• 14:04
  Speaker 1: why he was so fired up. He really thought he
• 14:06
  Speaker 1: was going to get the nomination. But man, that was
• 14:09
  Speaker 1: short lived. Taylor and Kirk fight that Luke Stanner. There's
• 14:13
  Speaker 1: twelve bags left and Kirk is going crazy. Later that night,
• 14:16
  Speaker 1: Kirk wanders around town square endlessly. Luke shows up at
• 14:20
  Speaker 1: least twelve bags. We get the iconic Kirk line, I
• 14:23
  Speaker 1: love you, Luke Danes all right. Kirk doing the Howard
• 14:28
  Speaker 1: Dean speech is very current since that was in two
• 14:34
  Speaker 1: thousand and four election and it aired in two thousand
• 14:37
  Speaker 1: and it's so hilarious, along with the two page choke,
• 14:39
  Speaker 1: two page jokes.
• 14:41
  Speaker 4: Who plays the mayor Michael Winters?
• 14:44
  Speaker 5: He's on the West.
• 14:46
  Speaker 1: Coast classical actor.
• 14:49
  Speaker 4: I know him, I knew him.
• 14:52
  Speaker 1: Yeah, he's terrific. He's terrific. So was this the levity
• 14:57
  Speaker 1: we needed for this batic episode?
• 15:00
  Speaker 3: Oh yeah, you have to balance off that. I mean,
• 15:05
  Speaker 3: the thing that happened between Ed and me and my
• 15:07
  Speaker 3: son was extremely mean.
• 15:11
  Speaker 4: And darker than most shows of this.
• 15:15
  Speaker 3: Nature went in those days, which I think is again
• 15:19
  Speaker 3: what Gilmore Girls must have done that was different than
• 15:23
  Speaker 3: what was being done other places.
• 15:25
  Speaker 4: But yeah, I think you have to have the balance.
• 15:28
  Speaker 3: I mean, Shakespeare always had a balance, you know, Macbeth
• 15:32
  Speaker 3: as a very funny scene in the middle with the
• 15:34
  Speaker 3: drunken watchman.
• 15:36
  Speaker 4: You know.
• 15:37
  Speaker 3: I think it's a balanced thing that audiences want. They
• 15:41
  Speaker 3: don't want it all dark, and I don't think they
• 15:43
  Speaker 3: want it all funny either. I think that's one thing
• 15:46
  Speaker 3: modern comedy has given us is that it can be
• 15:50
  Speaker 3: serious and real and still funny, right. I think the
• 15:54
  Speaker 3: one thing about about Amy and Dan that is pretty
• 15:59
  Speaker 3: clear from that show is that the writing that episode
• 16:05
  Speaker 3: is extremely tight and extremely funny and extremely fast.
• 16:11
  Speaker 4: So things are boom boom boom, boom, boom, boom.
• 16:13
  Speaker 3: Boom, and you don't have a chance to really breathe
• 16:18
  Speaker 3: at any of it, which I think is a wonderful
• 16:20
  Speaker 3: quality for a show. We don't have anything like that
• 16:23
  Speaker 3: these days.
• 16:24
  Speaker 1: Well, really, it really wasn't television, wasn't It was It
• 16:27
  Speaker 1: was really theaters more theater, or really theater or film,
• 16:32
  Speaker 1: because I can't tell you how many times these scenes
• 16:36
  Speaker 1: work in a mastershot where you don't really even need
• 16:39
  Speaker 1: to do coverage because the you know, the blocking and
• 16:43
  Speaker 1: the choreography of the scene was just so good. And
• 16:48
  Speaker 1: you know, we would get together and you know, really
• 16:52
  Speaker 1: because I come from theater too, and you know, most
• 16:56
  Speaker 1: people in this cast do, and we would get in
• 16:58
  Speaker 1: there and rehearsal and and just knock it out the
• 17:02
  Speaker 1: way you do in a theater rehearsal. It may have
• 17:05
  Speaker 1: taken a while, but it added hours to day, but
• 17:08
  Speaker 1: it was certainly worth it doing, and it's the only
• 17:11
  Speaker 1: way that I'll do it well.
• 17:13
  Speaker 3: I think when the writing is that good, you can
• 17:16
  Speaker 3: relax and let the writing.
• 17:19
  Speaker 4: Do it for you.
• 17:21
  Speaker 3: And you can do that in the theater, and you
• 17:22
  Speaker 3: can't do that all the time on television or in movies.
• 17:26
  Speaker 4: First of all, were at.
• 17:28
  Speaker 3: A time often with minimal dialogue in film too, I notice.
• 17:35
  Speaker 3: I mean I saw the Odyssey and that has a
• 17:38
  Speaker 3: lot of a lot of action, but not a lot
• 17:42
  Speaker 3: of dialogue, even in that kind of epic kind of thing.
• 17:47
  Speaker 3: But all good theater writing, I think, all good writing
• 17:51
  Speaker 3: is rhythmic, and the Fillmore Girl's rhythms were just.
• 17:56
  Speaker 4: On the nose.
• 17:58
  Speaker 1: Yeah, yeah, yeah. It was remarkably easy to remember all
• 18:03
  Speaker 1: the dialogue because of that fact, and it also had
• 18:05
  Speaker 1: that sort of Shakespearean emotional logic to it, which made
• 18:10
  Speaker 1: that far easier to memorize than any other large chunks
• 18:15
  Speaker 1: of writing that were you know, you know, not a student.
• 18:19
  Speaker 4: Came out of a real place.
• 18:21
  Speaker 3: These were the Other thing that's that's really good about
• 18:24
  Speaker 3: the writing, for my observation is that every every character
• 18:31
  Speaker 3: had their own rhythm and that's own voice, and their
• 18:35
  Speaker 3: own color, you know, each color kind of came in
• 18:39
  Speaker 3: and it made it just it just these wonderful.
• 18:42
  Speaker 1: Portraits that to me, and I've mentioned it here on
• 18:45
  Speaker 1: the show many many times about the uniqueness of each
• 18:50
  Speaker 1: character and their voice and how rare that is, especially
• 18:55
  Speaker 1: in television writing. You know, there's there's eighteen to twenty
• 19:00
  Speaker 1: thirty distinctive voices going on, and you know, how are
• 19:04
  Speaker 1: you going to capture that when it's not coming out
• 19:06
  Speaker 1: of you? And I thought he did a remarkable job,
• 19:10
  Speaker 1: even though you know he's he's not inside Amy's head.
• 19:16
  Speaker 1: A very very difficult task and I thought a lot
• 19:18
  Speaker 1: of those episodes in season seven we were absolutely terrific.
• 19:23
  Speaker 3: Now, his season seven, the one that was still on
• 19:27
  Speaker 3: WBM before you guys did the revivals.
• 19:31
  Speaker 1: Oh yeah, yeah, that was two thousand and seven and
• 19:33
  Speaker 1: then and then we did the revival in twenty sixteen.
• 19:37
  Speaker 4: Right, so we.
• 19:38
  Speaker 1: Had a nine year sit before.
• 19:40
  Speaker 4: But he did the last season.
• 19:41
  Speaker 3: I didn't I didn't know that. I didn't remember that.
• 19:45
  Speaker 1: David Rosenthal did the last season as showrunner. Yeah, because
• 19:49
  Speaker 1: Amy and Dan left. Jelsuki, Lorelei, and Taylor argue over
• 20:04
  Speaker 1: a bookshelf placement. Well, Dean is helping to move it. Meanwhile,
• 20:09
  Speaker 1: Lindsey comes in and gets the keys from Dean and
• 20:11
  Speaker 1: they admire how cute they are. Dean shows up to
• 20:16
  Speaker 1: Rory's dorm and the bookcase doesn't fit anywhere. He tells
• 20:20
  Speaker 1: Rory's taking a semester or two offs so he can
• 20:23
  Speaker 1: work to buy a townhouse with Lindsay, and Roy gets
• 20:26
  Speaker 1: upset and doesn't support the idea.
• 20:28
  Speaker 4: They fight.
• 20:28
  Speaker 1: He leaves with the bookcase Dean does. Rory is in
• 20:32
  Speaker 1: Town's lane. There at Dozie's Market, Rory fens about Dean
• 20:36
  Speaker 1: not going to college and complains about Lindsay not working.
• 20:39
  Speaker 1: Lindsey deuberhears it and storms out. Dean stops Rory in
• 20:45
  Speaker 1: her car and they go into an alley to talk.
• 20:49
  Speaker 1: He apologizes for the fight. She tells us about the
• 20:51
  Speaker 1: stuff Dozie's Dean says Lindsay doesn't want him talking to her,
• 20:57
  Speaker 1: but also he doesn't want that to happen. All right,
• 21:02
  Speaker 1: things are heating up between Rory and Dean, and we
• 21:05
  Speaker 1: see what's coming from a mile away. Should Rory respect
• 21:10
  Speaker 1: that Dean is married and put a stop to this
• 21:13
  Speaker 1: developing relationship?
• 21:16
  Speaker 4: Oh boy, kids, right, kids? I you know, it's classic.
• 21:23
  Speaker 3: Wrong com from the viewer's point of view. You know,
• 21:29
  Speaker 3: people marrying are about to marry the wrong people when
• 21:33
  Speaker 3: clearly we the audience know who the right people are.
• 21:38
  Speaker 1: M h, Well, a lot of people have opinions about
• 21:44
  Speaker 1: who the right person is for Rory, and that debate
• 21:49
  Speaker 1: rages on even to this day.
• 21:52
  Speaker 3: They'll be happy and the other two people probably will
• 21:56
  Speaker 3: be miserable. So saving them from the fate worse than
• 22:02
  Speaker 3: you know, nothing's worse than a bad relationship, God.
• 22:08
  Speaker 4: And bad relationship.
• 22:11
  Speaker 2: Yeah, but you know, I guess, uh, I guess the
• 22:16
  Speaker 2: fans will just have to wait and wait and wait
• 22:20
  Speaker 2: for maybe some resolution to these questions that.
• 22:25
  Speaker 1: Are running around the Gilmour universe, one of one of
• 22:27
  Speaker 1: which the most prominent, more prominent, maybe not most, but
• 22:30
  Speaker 1: is uh you know who's Who's Who's Who's the baby
• 22:35
  Speaker 1: daddy for Rory's kid? Well, we ever going to see
• 22:38
  Speaker 1: Rory's kid? Or we ever going to see more episodes?
• 22:41
  Speaker 4: I don't know.
• 22:41
  Speaker 1: They don't tell me anything. Do they tell you anything?
• 22:44
  Speaker 1: Do you hear anything on the streets about a revival
• 22:48
  Speaker 1: part two of Gilmore Girls from your sources?
• 22:52
  Speaker 4: No? But that you know the comeback is third comeback? Uh?
• 22:59
  Speaker 3: You know Lisa Kudro show, Right. I think it's possible.
• 23:04
  Speaker 3: There's certain shows that have resonance that can continue to
• 23:09
  Speaker 3: have resonance and continue to be current.
• 23:14
  Speaker 4: Some shows live.
• 23:15
  Speaker 3: In the in the one time, I think Mary Tyler
• 23:18
  Speaker 3: Moore Show was a great show and I flew out.
• 23:21
  Speaker 4: I was flown out to do it, uh.
• 23:24
  Speaker 3: And it was a fantastic experience because that cast, like
• 23:28
  Speaker 3: the Gilmore cast, was filling with different voices.
• 23:32
  Speaker 4: Distinctive voices.
• 23:33
  Speaker 1: Yes, Ted Night at Asnyeah fantastic.
• 23:36
  Speaker 3: It was Jim Brooks and Alan Burns and they were.
• 23:40
  Speaker 4: Just at the top of their game.
• 23:43
  Speaker 3: But that show I don't think would have residence today.
• 23:48
  Speaker 3: Women have come too far. Mary was the beginning of
• 23:53
  Speaker 3: what the Gilmores flowered into. You can't imagine Mary having
• 23:59
  Speaker 3: a child with no father, or of having that child
• 24:06
  Speaker 3: have a have a baby that we don't know who
• 24:09
  Speaker 3: the dad is. You just get this is not going
• 24:12
  Speaker 3: to happen in the Mary Talamoor universe. But it happens.
• 24:16
  Speaker 3: But I think there's a I think there's a connection.
• 24:22
  Speaker 3: There's there's a connection that goes through them, Mary being
• 24:26
  Speaker 3: at the beginning of it, maybe Marlowe Thomas even at
• 24:29
  Speaker 3: the beginning of that, and then Mary and then.
• 24:33
  Speaker 4: The possibility of the girl Gilmore.
• 24:36
  Speaker 3: Girls, and then the reality of it as the as
• 24:41
  Speaker 3: you get well, you know, nothing gives you courage like success,
• 24:46
  Speaker 3: you know, bringing you when you start to make your
• 24:50
  Speaker 3: points and you and you're very beloved as a show.
• 24:54
  Speaker 3: Seven seasons is a big number. You just you just
• 25:00
  Speaker 3: know that shows has residents. People still will think about
• 25:05
  Speaker 3: it today here we are talking about it today.
• 25:09
  Speaker 1: And we're going to continue talking about it. It's going
• 25:11
  Speaker 1: to have to be another time. Please come back. We've
• 25:14
  Speaker 1: run out of time.
• 25:15
  Speaker 4: Just enjoyed it.
• 25:16
  Speaker 1: Fascinating insights and thank you for sharing, and remember you
• 25:20
  Speaker 1: are the best fans on the planet. Keep those cards
• 25:23
  Speaker 1: and letters coming. We read every one and we appreciate
• 25:27
  Speaker 1: every single one of them. And remember, where you lead,
• 25:31
  Speaker 1: we will follow.
• 25:32
  Speaker 5: Stay safe everyone.
• 26:02
  Speaker 4: Hey, everybody, and don't forget.
• 26:03
  Speaker 1: Follow us on Instagram at i Am All In podcast
• 26:07
  Speaker 1: and email us at Gilmore at iHeartRadio dot com