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Therapy Session (Part 2) · I Am All In with Scott Patterson

0:00
Speaker 1: I am all in. I am all in with Scott
0:18
Speaker 1: Patterson and I heart radio podcast. Okay, everybody here we are,
0:23
Speaker 1: and we have a very special guest coming up, Kim Kirk.
0:26
Speaker 1: She's a psychologist, therapist, and she was on her prior
0:30
Speaker 1: episode and you know, I said to Amy, I said,
0:33
Speaker 1: we've got to get Kim back on to talk about
0:35
Speaker 1: this Paris thing, because, uh, you know, I was having
0:39
Speaker 1: some issues with Paris and I've worked them out now. Um,
0:44
Speaker 1: but Kim's gonna come on. We're gonna have a talk.
0:47
Speaker 1: She's always fascinating, she's always uh really cuts right to
0:51
Speaker 1: the heart of what is going on and and she's
0:53
Speaker 1: going to do the same with Paris though, so so
0:56
Speaker 1: tune in and uh we'll be back with Kim work
1:01
Speaker 1: after these words. Yeah, Jim Kirk, Hi, how are you doing.
1:10
Speaker 1: Good to see you again. I'm so glad you could
1:13
Speaker 1: join us. Um, listen, we gotta get into this Paris storyline.
1:18
Speaker 1: It's a it's it's jangling my brain around a little bit.
1:23
Speaker 1: I you know, how would you describe Paris? First of all?
1:31
Speaker 1: Mm hmmm, Uh, Paris so polarizing and I know you
1:37
Speaker 1: have such adoration for her because I've been listening to
1:40
Speaker 1: the podcast. Paris reminds me of Um and I have
1:46
Speaker 1: I have affection for her, but I've watched the series
1:49
Speaker 1: several times, so I know the trajectory of her story.
1:53
Speaker 1: But it is it's I'm not surprised when you react
1:56
Speaker 1: to her that way because the signs that she's putting
1:59
Speaker 1: off it evoke those feelings. She's not a she doesn't
2:03
Speaker 1: put off as a safe person. And so I don't
2:06
Speaker 1: know if this is a good UM example because it's
2:09
Speaker 1: a dated movie. But one example that comes to mind
2:14
Speaker 1: is um Glen Garry Glenn Ross movie, that iconic scene
2:22
Speaker 1: with Alec Baldwin where always be closing is you know,
2:28
Speaker 1: it's very fowl. The language is not but but it's
2:33
Speaker 1: it's basically, um, if you if you get to this destination,
2:40
Speaker 1: you will get this and if you don't meet this destination,
2:43
Speaker 1: you will be annihilated. And you can imagine, you know, my,
2:47
Speaker 1: my Glen Garry. Like, I don't know how relatable that
2:49
Speaker 1: is to a lot of our if that's a good
2:51
Speaker 1: analogy or not with people, but but it's all another
2:54
Speaker 1: analogy I think of with Paris, and if she was
2:57
Speaker 1: like injected with some serum and she's got to get
2:59
Speaker 1: to this destination in this period of time or your
3:02
Speaker 1: whole family will die and you will die. It's that
3:05
Speaker 1: level of um laser focus and everything, everything in my
3:10
Speaker 1: path is either going to be a support or it's
3:14
Speaker 1: going to be against me. And you're either with me
3:16
Speaker 1: or you're against me. It's that absolute. So when and
3:20
Speaker 1: like you said, um, when we compare her to somebody
3:23
Speaker 1: like Rory, and they may be equals intellectually, Rory has
3:28
Speaker 1: especially with Loralae and then with the town, and then
3:31
Speaker 1: we've added in her grandparents. Um, she has people for her.
3:36
Speaker 1: We're cheering her along, we want this for her, we
3:40
Speaker 1: celebrate this with her. She knows she's smart. But there's
3:44
Speaker 1: also safety internally, and it's like Paris is. Safety is
3:48
Speaker 1: going to be, like you said, if I get to
3:50
Speaker 1: this destination, then I will live. What an what an
3:55
Speaker 1: important and insightful analysis, because if you don't have that safety,
4:00
Speaker 1: you can fail miserably. I mean you can still succeed,
4:04
Speaker 1: but at what price to others around you? But yeah,
4:07
Speaker 1: that's safety is so crucial. But that safety also allows
4:11
Speaker 1: you to make mistakes because I know if I make
4:14
Speaker 1: a mistake, which is which is critical. It's absolutely it's
4:17
Speaker 1: not just gonna happen. It's necessary to happen, because if
4:20
Speaker 1: I make a mistake and I get back up again,
4:24
Speaker 1: I know I don't get annihilated. I've got room to grow,
4:29
Speaker 1: I've got room to look around. And Paris is just
4:32
Speaker 1: so singlely focused. And I you made a good point
4:34
Speaker 1: as well. When I have no safety in here and
4:38
Speaker 1: I have no control, I am going to seek it
4:40
Speaker 1: out externally. And that's what she does. She seeks it
4:43
Speaker 1: out externally, which is you know, she's young, she's a teenager.
4:47
Speaker 1: They're disregulated. We're expecting her to be disregulated. But anytime
4:51
Speaker 1: I see anybody that's absolutely desperate to exert control externing,
4:55
Speaker 1: and I'm like, I know they feel powerless inside, absolutely powerless,
4:59
Speaker 1: right right, Wow, Landing, How was this landing for you?
5:05
Speaker 1: Because I know you've had some some understandably um I
5:11
Speaker 1: don't want to say heart but very direct criticisms of her,
5:17
Speaker 1: and I think it's understandable. She doesn't put out the
5:21
Speaker 1: warm and fuzzies, so some of it is due to
5:24
Speaker 1: uh not, It's it's not against Liza Wheel personally. I
5:29
Speaker 1: think she's wonderful actress, wonderful, wonderful person. She did a
5:32
Speaker 1: great job. Absolutely, Um, It's just I was the thing
5:37
Speaker 1: I was reacting to was the character itself losing whatever
5:44
Speaker 1: um value it had to threaten and intimidate, uh rory
5:52
Speaker 1: because as a currency, that character had a lot of
5:56
Speaker 1: power and started out as saying this really drastic threat,
6:02
Speaker 1: and then it became a little bit cartoonish for me,
6:05
Speaker 1: and I was disappointed in that, you know, as the
6:09
Speaker 1: story progressed, and I so, I wonder why they did that.
6:12
Speaker 1: So so the criticism isn't it's it's not against Paris.
6:16
Speaker 1: I guess it's I don't know, maybe I thought I
6:20
Speaker 1: thought they just went a little overboard and made it
6:24
Speaker 1: made Paris so off the charts, ridiculous, wacko, off the
6:30
Speaker 1: wall without allowing us to have I mean, if I
6:33
Speaker 1: think it would have been more powerful storytelling if we
6:35
Speaker 1: had a little bit of compassion for if we knew
6:38
Speaker 1: a little bit more about or give us a little
6:40
Speaker 1: background and not just one shot of her mother at
6:42
Speaker 1: a locker who's detached and kind of piss because she
6:45
Speaker 1: has to be there or whatever, but you know, give
6:48
Speaker 1: us something that we can hang our hat on, so
6:51
Speaker 1: we can so we can just see another dimension of Paris.
6:54
Speaker 1: That's all. That's all I was saying. You don't need
6:56
Speaker 1: a lot, you know, just just give me something. Extead
6:59
Speaker 1: of this carton. Now she's getting just completely ridiculous and
7:02
Speaker 1: you kind of laugh at her instead of with her
7:05
Speaker 1: at times, and I didn't want to do that. Um yeah,
7:09
Speaker 1: and I see, you know, and what to me, you
7:12
Speaker 1: know what you're talking about on on some of the
7:14
Speaker 1: other characters on the show that the supporting stuff, like
7:16
Speaker 1: a Taylor and a and a Kirk, you know, or
7:20
Speaker 1: they just kind of come in. They're exaggerated. I know,
7:23
Speaker 1: people will say they recognize those kind of people from
7:25
Speaker 1: the town. They're usually exaggerated, but they are kind of
7:28
Speaker 1: cartoonish and they kind of come in and zip in
7:30
Speaker 1: and zip out. And her, she's going to be a
7:32
Speaker 1: much more sensitive character on this show side. But I
7:36
Speaker 1: think I think all of the characters are. I think
7:40
Speaker 1: I think all of the characters elevated and not necessarily cartoonish,
7:45
Speaker 1: but they do come and they do sort of exist
7:49
Speaker 1: in this sort of unreality. I mean, have you have
7:52
Speaker 1: you ever known I mean, can you even imagine in
7:56
Speaker 1: real life Rory and a Laurelai with all the answer
8:00
Speaker 1: going back and forth walking to a diner, I mean,
8:04
Speaker 1: or the conversations they have crossing, crossing in front the
8:09
Speaker 1: go to the diner a version of that, okay, right right?
8:13
Speaker 1: Not not so well choreographed, of course, this this and
8:17
Speaker 1: this banter that there's no us and trail off distraction.
8:23
Speaker 1: It's just so perfect and well written, right, it's just
8:25
Speaker 1: so neat. Um so yeah, I mean I think we're
8:30
Speaker 1: they're training the audience to expect heightened reality. Yeah, it's
8:35
Speaker 1: called fiction. Um so yeah, dummy, it's called fiction. Uh
8:40
Speaker 1: So this begs another conversation about winning? Is it healthy?
8:47
Speaker 1: What is it? What's the famous all things in moderation? Right, right,
8:51
Speaker 1: all things? Well, because you know, like your point is
8:54
Speaker 1: getting into Harvard, it's an amazing goal. But then you know,
8:59
Speaker 1: we've on people that have worked really really hard to
9:02
Speaker 1: achieve something so specific and then they get there and
9:06
Speaker 1: then what, yeah, is is the if if her goal
9:09
Speaker 1: is I'm going to get to this destination and I
9:12
Speaker 1: will finally be loved and it's not met, then what happens? Yeah? Yeah,
9:20
Speaker 1: then then what happens that single focus? And when you
9:23
Speaker 1: were talking about like is winning everything it is to
9:26
Speaker 1: her right now? What is what is that? But she's
9:30
Speaker 1: sixteen too, which which then we bring in. Wouldn't it
9:33
Speaker 1: be nice for someone who's not sixteen too much older
9:36
Speaker 1: than sixteen could give her some perspective that she can't
9:39
Speaker 1: see right now, You're gonna burn yourself out. You're going, yeah,
9:44
Speaker 1: she's you know, I look at Paris and she's like
9:47
Speaker 1: simultaneously attacking and defending at the same time. So you
9:50
Speaker 1: may go, you know, I want to help her, and
9:53
Speaker 1: then you go over there and you get the part
9:56
Speaker 1: of her that's really suspicious of what do you want,
9:58
Speaker 1: and you might go, all right, I'm I'm out. I
10:00
Speaker 1: don't know. So it's kind of that self perpetuating problem
10:05
Speaker 1: of I want this, but I'm so protected of myself
10:10
Speaker 1: that I'm actually pushing it away and she can't see
10:12
Speaker 1: that either. Um. You know, we see Paris often giving
10:21
Speaker 1: Rory the secrets to her success? Why is she doing that?
10:24
Speaker 1: If she's a rival? That's always yeah, I heard you
10:28
Speaker 1: post that before. It's interesting because I wonder that too,
10:32
Speaker 1: Like is she I think I always wondered too, Like
10:36
Speaker 1: before Rory got there, how many other rivals have she?
10:38
Speaker 1: Just you know knocked aside, Um, Madeleine and Louise to
10:43
Speaker 1: me are more support staff ladies in waiting versus friends.
10:47
Speaker 1: They're not really friends. So so I always wonder with Rory,
10:55
Speaker 1: maybe there's a level of and you were an athlete
10:58
Speaker 1: and you know, like very driven. Is there a level
11:01
Speaker 1: of does it take you to a higher level when
11:04
Speaker 1: you've got a good competitor? Is that one aspect of it?
11:09
Speaker 1: And is there another aspect that part of her like Rory,
11:13
Speaker 1: part of her wouldn't mind if Rory, like there can
11:16
Speaker 1: only be one, but maybe it would be nice if
11:19
Speaker 1: you kind of hung around with me on this race.
11:23
Speaker 1: Inevitably I'm gonna win, but maybe it's kind of nice
11:26
Speaker 1: to have your rounds. I don't know. I don't know.
11:28
Speaker 1: It's an interesting question. So, um, that's that's kind of
11:31
Speaker 1: how I view it. Like there's a lot of mixed
11:33
Speaker 1: feelings about it, and I think she kind of likes her.
11:36
Speaker 1: I think it's the first time she's felt threatened that
11:39
Speaker 1: somebody could overtake her. Ryan back down. Yet Rory is
11:45
Speaker 1: so emotionally mature because she's pretty much had to raise
11:48
Speaker 1: her mother at times. I mean, who's who's the parent
11:51
Speaker 1: and who's the child in that relationship. I think it
11:53
Speaker 1: switches back and forth. Right, So, Rory has a tremendous
11:57
Speaker 1: amount of experience dealing with uh overwrought emotions coming from
12:04
Speaker 1: a caregiver, you know, her mother. So here she's dealing
12:09
Speaker 1: with a sixteen year old when she's been dealing with
12:12
Speaker 1: you know, her mother her whole life, because you know,
12:15
Speaker 1: you can only imagine the outbursts and the and the
12:18
Speaker 1: insecurities and the conversations that don't get written about or
12:23
Speaker 1: or appear on on the series if you're taking this
12:28
Speaker 1: that seriously. But with in Paris's case, I think, you know,
12:32
Speaker 1: I think Rory sees her as somebody at this point
12:36
Speaker 1: who she has dismissed on a certain level, as this
12:40
Speaker 1: girl really isn't arrival. This girl is not my enemy.
12:46
Speaker 1: This girl is going to provide me a chance to
12:49
Speaker 1: show the same level of compassion uh and emotional maturity
12:53
Speaker 1: that I've had too shown to get through certain periods
12:56
Speaker 1: of my life with my mother, my own mother. So
12:59
Speaker 1: I have experience ants in this field, um uh. And
13:06
Speaker 1: and now she's to the point where, like this in
13:08
Speaker 1: Paris is so toxic that I do need to create distance.
13:11
Speaker 1: I can't. She realizes she can't be friends with her,
13:15
Speaker 1: and and Paris is on a complete different track, like
13:18
Speaker 1: still trying to ingratiate herself, still trying to have her friend,
13:22
Speaker 1: because if she's rejected by Rory, I mean, that's that's
13:25
Speaker 1: like being rejected by her mother or her father. You know,
13:28
Speaker 1: It's it's the same level of of rejection and disappointment
13:32
Speaker 1: and self loathing. And she doesn't want to experience that.
13:35
Speaker 1: So she maybe she's just fighting so hard to keep
13:38
Speaker 1: Rory in the fold, and she's doing it in her
13:40
Speaker 1: in inevitable style, showing up at the door. Yeah, that's
13:46
Speaker 1: it's a it's it's a yeah, really interesting in perspective
13:49
Speaker 1: of that. I wonder too, Rory um, Rory, is that
13:54
Speaker 1: really scared of her? Like she you know, she was
13:57
Speaker 1: taken aback by her initially, and she stood up to
14:01
Speaker 1: a couple of times, and you know, just like anybody
14:03
Speaker 1: else that you're around, there's there, there's I don't want
14:07
Speaker 1: to say there's no, there's all bark and no bite.
14:09
Speaker 1: She bites a little bit, but she hasn't been hard
14:12
Speaker 1: enough yet that Roy has been injured by that, and
14:15
Speaker 1: she's every time she's stood up for herself. It seems
14:18
Speaker 1: to have worked um with Paris to a degree. Um,
14:25
Speaker 1: I I can't completely let go that they kind of
14:28
Speaker 1: like each other on some level, some level they get
14:34
Speaker 1: each other. I think she you know, initially, no, I
14:37
Speaker 1: don't think they like each other. Wasn't much there. But
14:40
Speaker 1: there's some connection there that they're having. That's that's unspoken
14:43
Speaker 1: and maybe neither one of them are that aware of
14:45
Speaker 1: it yet. The competition part is is interesting for them.
14:48
Speaker 1: They kind of I would imagine they kind of keep
14:50
Speaker 1: each other in check. Um, And I think you're right
14:53
Speaker 1: too about Paris doesn't think Roy's gonna win, But as
14:58
Speaker 1: this season is showing, you're seeing her getting a little
15:00
Speaker 1: bit more uncertain about You're saying that, But what was
15:04
Speaker 1: your question? Uh? Maybe maybe, um, maybe Rory sees a
15:10
Speaker 1: little bit of her mom in Paris. Interesting. I I
15:17
Speaker 1: brought this up last time I talked to you guys,
15:19
Speaker 1: and I don't I don't know how this lands with y'all.
15:22
Speaker 1: Paris reminds me a lot of Emily. She reminds me
15:29
Speaker 1: a lot of Emily. What about like on the the
15:34
Speaker 1: Bracebridge dinner, Remember when Laurela was making the rounds and
15:39
Speaker 1: she goes by, and her dad's you know, being unusually
15:42
Speaker 1: gracious and appreciative of this dinner, and Emily goes, you
15:47
Speaker 1: need to press your dress, and then go around checks
15:51
Speaker 1: on Paris, and then Paris points out everything that's inaccurate
15:56
Speaker 1: about the period. I was almost like, and Laurel, I
15:59
Speaker 1: just okay. So so I wonder too if Emily is
16:05
Speaker 1: not competing with Rory. So it's a different relationship. But
16:10
Speaker 1: like what your your point is not just mom, but grandma.
16:13
Speaker 1: These may not be scary people to her. Yeah, she
16:17
Speaker 1: may be like been there, done that, yeaher versions than you. Yeah,
16:24
Speaker 1: And she's able to communicate with if you notice, she's
16:27
Speaker 1: kind of able to hone in some places with Paris
16:30
Speaker 1: where she calms all of herself down and they can
16:33
Speaker 1: have like a real quick human to human contact, and
16:37
Speaker 1: then Paris gotta resumed wherever she's at. Um. Yeah, so
16:41
Speaker 1: I I there's there's something there. There's I think there's
16:45
Speaker 1: a lot there. Maybe maybe we're maybe we're both right.
16:55
Speaker 1: What um in your experience when you have had patients
17:01
Speaker 1: that are like Paris, what ultimately ends up happening to
17:06
Speaker 1: them as they get older? Well, I haven't worked with
17:11
Speaker 1: anyone quite like her. But I've worked with with driven
17:15
Speaker 1: people and if you know, and you know in my world,
17:18
Speaker 1: what what do you want to work on is what
17:21
Speaker 1: they're coming in for. So I'm not gonna, you know,
17:23
Speaker 1: tell people where they need to be, where they need
17:25
Speaker 1: to go. Um. But when I see somebody like her
17:29
Speaker 1: and we're able to really look inward and see what's
17:32
Speaker 1: going on and see what's important about this behavior? Would
17:35
Speaker 1: it be would it be nice if we could turn
17:38
Speaker 1: this down and turn this up? Um? They're incredibly powerful people,
17:44
Speaker 1: incredibly powerful people. If they don't do anything different than
17:48
Speaker 1: I would see the trajectory of just complete total burnout
17:51
Speaker 1: and disappointment and trying to find something else to chase.
17:55
Speaker 1: And I mean your body when you're sixteen, We'll give
17:58
Speaker 1: you energy to do this, but it'll it'll stop after
18:02
Speaker 1: a while. It's kind of like your your your body
18:04
Speaker 1: gets kind of smart about now we did that before
18:07
Speaker 1: and I got nothing for that. I'm not doing that anymore. So. UM,
18:10
Speaker 1: it's almost like an addiction, like addictive behavior. We always
18:14
Speaker 1: see the person with the addiction. We get up all
18:17
Speaker 1: hours in the morning and walk from wherever to wherever
18:21
Speaker 1: to to seek something um and we're like, where did
18:24
Speaker 1: that energy come from? But at some point it's not sustainable.
18:26
Speaker 1: I would love to have that level of confidence that
18:29
Speaker 1: she has. Well, that just comes from hard work, That
18:33
Speaker 1: comes from just cheer, grit and studying and reading and
18:38
Speaker 1: reading over and over and over. I mean, she just
18:40
Speaker 1: nails everything. But she's not afraid. And maybe this is
18:46
Speaker 1: something you can identify with two maybe on the the
18:48
Speaker 1: both athlete and the actor parts of you. She's not
18:51
Speaker 1: afraid of you to own or no, she didn't do
18:53
Speaker 1: it anyway. I mean, that's that's an admirable thing, especially
18:58
Speaker 1: for a lot of females though were not. I mean
19:00
Speaker 1: I can't speak for a lot of people. I can
19:02
Speaker 1: speak for myself. Not as comfortable with that, soho, that's
19:05
Speaker 1: pretty admirable though to to you know, she's gonna do
19:08
Speaker 1: it anyway. Now she can encroach upon your boundaries and
19:11
Speaker 1: basically bust down the door, and that's gonna get her
19:14
Speaker 1: in trouble and it's not going to make her a
19:15
Speaker 1: very likable person to you. But if you could turn
19:19
Speaker 1: some of that down and turn and turn up maybe
19:22
Speaker 1: some of her sense of whose space am I in?
19:27
Speaker 1: There's other people calling in my voice. But but if
19:32
Speaker 1: we could calibrate some of these, she's an incredibly she's
19:37
Speaker 1: an incredibly powerful person that would be unstoppable with anything, right,
19:42
Speaker 1: I mean that's my opinion. What do you think? No,
19:44
Speaker 1: no question, But she has displayed a very vulnerable side,
19:48
Speaker 1: a very needy side, um as well. So it's one
19:51
Speaker 1: of the you get one of the other and you
19:53
Speaker 1: rarely get the vulnerable side, but it's there in absolute. Yeah,
19:56
Speaker 1: that's not safe though, And who where do we normally
20:00
Speaker 1: see the vulnerable side with her? When do you see it?
20:03
Speaker 1: When have you seen that? When she's out of her element,
20:05
Speaker 1: when she's surrounded by Rory's people that you know, the
20:09
Speaker 1: Bracebridge Genner is a perfect example. Um. Again, family encroaches
20:13
Speaker 1: in this episode where no, I can't celebrate with you
20:16
Speaker 1: afterwards and do what you want to do that nutty
20:18
Speaker 1: stuff go over everything after reminant family and we were
20:22
Speaker 1: going to go back. Yeah, it was like, this is absurd, right,
20:27
Speaker 1: she's not considering anybody else and like we have we
20:30
Speaker 1: have these facts. She doesn't have family obligations, she's not
20:32
Speaker 1: busy with family doesn't exist for her. Yeah, and not Yeah,
20:36
Speaker 1: that's not safe for her. Interesting, just fascinating, fascinating. And
20:39
Speaker 1: then and it's interesting where you know she I mean,
20:42
Speaker 1: it's the show We're set and stars hollow, so it's
20:44
Speaker 1: kind of obvious, but but it's interesting where she feels
20:47
Speaker 1: safe for the same places that Laura life feels safe
20:50
Speaker 1: in the same places that Rory was brought up and
20:52
Speaker 1: has this inherent sense of safety right in this in
20:58
Speaker 1: this quirky little town with these people that just like you,
21:02
Speaker 1: just like you for you, celebrate with you. Yeah, but
21:07
Speaker 1: in Terris is um in in her just being. It's
21:12
Speaker 1: funny because she, you know, like Rory may ask her
21:15
Speaker 1: a question, it's just a question, why do you want
21:17
Speaker 1: to know that? Yeah, It's like before I answer, wait
21:21
Speaker 1: a minute, what is this for? So she you know she,
21:23
Speaker 1: I think Paris can't perceive that you don't have an agenda.
21:27
Speaker 1: I have an agenda. Trust issues, but I have an agenda.
21:31
Speaker 1: You all have an agenda. Which is a very young
21:34
Speaker 1: way of thinking too, kind of how kids think, not
21:39
Speaker 1: just not I don't know I'm talking about teenagers, but
21:41
Speaker 1: it's it's a very very young way. I think this way.
21:44
Speaker 1: I like chocolate ice cream. Why don't you like chocolate
21:46
Speaker 1: ice doesn't make any sense to me. And so Paris,
21:51
Speaker 1: you'll see that that almost that little girl park come
21:54
Speaker 1: out to lots of ages. But yeah, yeah, that's a
21:59
Speaker 1: that's a case of a rested emotional development. For sure,
22:02
Speaker 1: her brain is developing, but her her emotional like you,
22:05
Speaker 1: is very low. It's very very very young, and it
22:09
Speaker 1: doesn't have and and again it's hard to grow. And
22:12
Speaker 1: I think we talked about this before when we were
22:14
Speaker 1: talking about Lorala. It's hard to grow when there's not safety.
22:19
Speaker 1: You know, I don't in Paris, doesn't play. You don't
22:22
Speaker 1: play when there's not safety. You don't really get curious.
22:26
Speaker 1: You know. We'd say she's brilliant and she studies, but
22:29
Speaker 1: that's not really curiosity. That's that's learned this No, this
22:36
Speaker 1: recite this that that's not curious learning learning for the
22:41
Speaker 1: wrong reasons. It's it's important, but it's not. It's not
22:46
Speaker 1: all there is though, But it's not safe for her. Again,
22:49
Speaker 1: it's not safe for her um to do this. And
22:51
Speaker 1: it's not even on the radar. She is like this,
22:56
Speaker 1: this laser pointed armored car, very sensitized alarm system with
23:03
Speaker 1: every type of defense on it, that just plows through
23:07
Speaker 1: on a fast track, the fastest track possible to Harvard. Right,
23:11
Speaker 1: whatever Harvard says, I'm going to do and I'm going
23:13
Speaker 1: to be a manufactured person. Yes, and then and then
23:17
Speaker 1: we like we like you were asking, you know what,
23:20
Speaker 1: what what's inside of her head? I don't know if
23:23
Speaker 1: she's ever thought about what happens the day after, what
23:28
Speaker 1: happens to the next day, right, right, doesn't think about
23:30
Speaker 1: the consequences, doesn't think long term. There's no long term thinking. Interesting, Kim,
23:35
Speaker 1: we have to break it off. The session. Um fascinating.
23:39
Speaker 1: It's always fascinating to talk to you. I could talk
23:41
Speaker 1: to you for hours and hours and hours, my god. Um,
23:47
Speaker 1: any we thank you for coming on. Thank you. It's
23:51
Speaker 1: always it's always the most interesting part of this. And uh,
23:54
Speaker 1: I'd love to have you back again. And all the
23:57
Speaker 1: best to you. We'll see you next time. Okay, thank
23:59
Speaker 1: you so much. Right, a lot of fun. Thank you
24:02
Speaker 1: so much. Hey, everybody, and don't forget follow us on
24:34
Speaker 1: Instagram at I Am all In podcast and email us
24:38
Speaker 1: at Gilmore at I heart radio dot com. Oh you,
24:43
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