Latest / I Am All In with Scott Patterson / I'm not scared, and I'm not waiting. I'm here. PART 2 (S7 E1 “The Long Morrow”)

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I'm not scared, and I'm not waiting. I'm here. PART 2 (S7 E1 “The Long Morrow”) · I Am All In with Scott Patterson

• 0:00
  Speaker 1: I am all in.
• 0:08
  Speaker 2: You.
• 0:16
  Speaker 3: I am all in with Scott Patterson, an iHeartRadio podcast.
• 0:21
  Speaker 1: All right, ketos, let's get into it part two.
• 0:24
  Speaker 3: What scene are we on now?
• 0:25
  Speaker 1: We are at the racketball court, which I thought was
• 0:27
  Speaker 1: a really funny.
• 0:28
  Speaker 3: This was good. And the only thing is if it
• 0:30
  Speaker 3: was today, it would have been pickleball. But yeah, it's
• 0:32
  Speaker 3: a racketball. That's what I was thinking.
• 0:34
  Speaker 1: Yeah, it was that was there was no privacy on
• 0:37
  Speaker 1: a racketball.
• 0:37
  Speaker 3: True, it was. That was very clever bit too, that
• 0:41
  Speaker 3: they're just sitting there and the people come in and
• 0:43
  Speaker 3: they're like, no, we have.
• 0:44
  Speaker 1: This court right, thank you appreciate it.
• 0:48
  Speaker 3: That was a that was a very gilmoury that felt
• 0:51
  Speaker 3: good to me.
• 0:52
  Speaker 1: I was like, I'm not like, yeah, you know, and
• 0:55
  Speaker 1: this is where you know, I really Lauren has such
• 1:00
  Speaker 1: great comedic timing and such great skills and an ease
• 1:05
  Speaker 1: of delivery, you know, and the speed of delivery it's
• 1:07
  Speaker 1: also great. And it's it's one I said in this scene,
• 1:10
  Speaker 1: I said, God, why just she had better stuff to do?
• 1:13
  Speaker 3: I also thought she I mean, and sorry for me
• 1:17
  Speaker 3: for judging. She looks amazing in this episode, like she's
• 1:21
  Speaker 3: getting prettier and cooler and just like physically looks so
• 1:28
  Speaker 3: lore liiish. That's why, like maybe some of the awkward parts,
• 1:31
  Speaker 3: I was like, this is awkward. But the racketball was good.
• 1:35
  Speaker 3: It felt authentic to me, it felt less weird. That's
• 1:39
  Speaker 3: sort of where I was at. I was like, okay,
• 1:41
  Speaker 3: that was That was my problem with the episode. I
• 1:44
  Speaker 3: was sort of felt like I was being you know,
• 1:46
  Speaker 3: step on the gas, off the gass. I'm like, you know,
• 1:47
  Speaker 3: like when someone's a bad driver. Because I'm like, that
• 1:50
  Speaker 3: was weird. No, that was great. That was weird. Why
• 1:52
  Speaker 3: why is part of this so off and part of
• 1:55
  Speaker 3: it isn't? Yeah?
• 1:57
  Speaker 1: And I could tell that Lauren is probably a very
• 2:00
  Speaker 1: good tennis player and very good racquetball player, but she
• 2:02
  Speaker 1: faked it. You could tell she was faking it.
• 2:07
  Speaker 3: That's funny.
• 2:08
  Speaker 1: It was hard for her to act like bad, to
• 2:11
  Speaker 1: be bad, that's funny.
• 2:13
  Speaker 3: That's funny.
• 2:13
  Speaker 1: You could tell she was good at it.
• 2:15
  Speaker 3: Because I sometimes see people playing tennis and TV shows
• 2:17
  Speaker 3: and you're like, oh, they had to really try to
• 2:20
  Speaker 3: act like they were good, and they had to like
• 2:26
  Speaker 3: like figure out how to shoot that so they seem good.
• 2:32
  Speaker 1: Right, there's all those tennis movies where people serve and
• 2:35
  Speaker 1: the ball goes about two miles an hour. That's like, oh,
• 2:38
  Speaker 1: there's an ace or like a bad baseball swing and
• 2:43
  Speaker 1: a baseball right.
• 2:45
  Speaker 3: You would so be like able to watch on a
• 2:47
  Speaker 3: baseball movie and be like that person doesn't even know
• 2:50
  Speaker 3: what they're doing, know what's going on.
• 2:53
  Speaker 1: She's hitting the eyeball with a racquetball.
• 2:56
  Speaker 3: Oh yes, yes, yes, yes, and she has the injury
• 2:59
  Speaker 3: and they're gonna put the peas on it, right, right, okay, right, injury. Actually,
• 3:05
  Speaker 3: she looked like so good with the injury.
• 3:07
  Speaker 1: I was like, oh wow, right, So then they're down,
• 3:10
  Speaker 1: she's down in the kitchen. She's getting and this is
• 3:12
  Speaker 1: when you start. I started feeling very uncomfortable about this.
• 3:15
  Speaker 1: She's getting rid of some of Luke Luke's things in
• 3:17
  Speaker 1: such a casual way, so weird, and it's just like
• 3:21
  Speaker 1: this is the episodes off, this is this doesn't feel
• 3:24
  Speaker 1: like the show anymore. You know, there's there's something being
• 3:28
  Speaker 1: forced upon us here.
• 3:30
  Speaker 4: Well, yeah, because again we've like obviously I've seen her
• 3:33
  Speaker 4: sleep with Chris and walk the whole ultimatum thing, but
• 3:37
  Speaker 4: they still haven't said it's over. So it's a little premature.
• 3:43
  Speaker 3: When do we get the awkward call from Christopher.
• 3:46
  Speaker 1: Oh well, well now we're at Lukes.
• 3:50
  Speaker 3: What else happens in that pea scene? Anything else significant?
• 3:54
  Speaker 3: For some reason, I can't remember getting rid of Luke's.
• 3:59
  Speaker 1: Bathroom. Oh yeah, yeah, weird his shaving creams.
• 4:03
  Speaker 4: Super We always start with the bathroom.
• 4:06
  Speaker 3: Nobody's doings goes.
• 4:09
  Speaker 1: Every day, and you'll always look.
• 4:11
  Speaker 3: Keen, nobody's doing that the next day.
• 4:13
  Speaker 1: By the way, Yeah, now let's move on, move on
• 4:19
  Speaker 1: to the red light event. The entire time Iconic is there.
• 4:24
  Speaker 1: Patty start and Luke is driving Tailor's they're going to
• 4:31
  Speaker 1: do a demonstration.
• 4:32
  Speaker 3: He's driving Kirk is driving Tailor's sixty four T Bird. Yeah,
• 4:37
  Speaker 3: and he's beauty gloves on and he's.
• 4:39
  Speaker 1: All, yeah, he's eviling the whole thing, right.
• 4:42
  Speaker 3: God.
• 4:43
  Speaker 1: Then it starts.
• 4:45
  Speaker 5: And flashed three times in the eyes, goes blind from
• 4:52
  Speaker 5: the camera, flashes for red light camera, and takes a
• 4:57
  Speaker 5: sharp right turn right into Luke's diner, destroys the place.
• 5:02
  Speaker 1: I mean, how did they shoot that scene?
• 5:04
  Speaker 3: By the way, like, where was that? That's a great question.
• 5:06
  Speaker 1: That was Luke Stuner. They actually they.
• 5:08
  Speaker 3: Had to rebuild it really oh wow, but they didn't.
• 5:13
  Speaker 1: Yeah, they actually crashed the car. Oh wow.
• 5:16
  Speaker 6: I thought maybe it was a sound like just the
• 5:18
  Speaker 6: drive up was a sound stage or something.
• 5:20
  Speaker 7: Oh no, no, that that looked like they're just on
• 5:25
  Speaker 7: the set that we all have been to and just
• 5:28
  Speaker 7: were That's like a one take, like you have a good.
• 5:31
  Speaker 1: Point, that's pushing Jeff just in the lake. One take.
• 5:36
  Speaker 3: Yeah, yeah, that was.
• 5:41
  Speaker 1: Fledgehammer one take. Yeah, brutal.
• 5:43
  Speaker 6: It was like I thought, so bad, Like Luke never
• 5:48
  Speaker 6: wants to be involved in any of Taylor's stuff to
• 5:51
  Speaker 6: begin with, and now Lucas doesn't want Lucas, Yeah, he
• 5:57
  Speaker 6: doesn't want to be involved, and now this crash is
• 5:59
  Speaker 6: right into his Yeah, that was wrong.
• 6:02
  Speaker 1: But then but then we get the uh, the Luke victory,
• 6:06
  Speaker 1: I mean the Kirk victory coming out unscathed, uninjured. What
• 6:11
  Speaker 1: does he say? What does he say? I'm okay, oh yeah, okay.
• 6:17
  Speaker 3: I think it's later, But Lulu's like totally no, Like
• 6:20
  Speaker 3: all she cares about it is taking care of Kirk.
• 6:21
  Speaker 3: And like the entire diner is ruined and there's just
• 6:25
  Speaker 3: a car stuck in there, and it's just like had
• 6:30
  Speaker 3: some good moments in this too, well.
• 6:33
  Speaker 1: It's not the kind of thing you see on Gilmore Girls,
• 6:36
  Speaker 1: but here we have it. Here's yet another thing that
• 6:39
  Speaker 1: is foreign.
• 6:40
  Speaker 3: Yeah, but it felt that it's still just.
• 6:42
  Speaker 1: An actual, like you know, a crash.
• 6:45
  Speaker 3: Yeah, it was outlandish, but I still wasn't like, I
• 6:49
  Speaker 3: still was okay with it. I'm giving that a pass.
• 6:51
  Speaker 3: I had many other.
• 6:52
  Speaker 1: Yeah, that scene could have fit in in any other episode. Yeah, storyline.
• 6:58
  Speaker 6: I think here why I worked here is because you
• 7:00
  Speaker 6: already feel so bad for Luke, and so everything's happened.
• 7:03
  Speaker 6: Now you're like, yeah, this guy, this guy just can't
• 7:06
  Speaker 6: win today, like.
• 7:08
  Speaker 4: It is not his day, no month.
• 7:10
  Speaker 1: All right. Now we're back at Laurel's Alison, it's mother daughter, and.
• 7:21
  Speaker 6: So this is where I had a flag on the episode.
• 7:24
  Speaker 1: She tells Lorlai about the crash. Yeah, so that was
• 7:29
  Speaker 1: She continues tossing all of Luke's.
• 7:32
  Speaker 3: Stud gone running to the diner, like it just didn't rap.
• 7:38
  Speaker 6: I think it was really weird that Rory didn't have
• 7:42
  Speaker 6: any sympathy towards Luke. She to me, she was so
• 7:48
  Speaker 6: immature in this episode and like, yeah, it's funny, like
• 7:50
  Speaker 6: we're laughing about it, and now like oh my god,
• 7:52
  Speaker 6: like Kurt crash, but I think there was nothing like
• 7:57
  Speaker 6: it took Lorelai to say, wait, he ran into Luke's
• 8:02
  Speaker 6: like into Luke Steiner until where he's like.
• 8:04
  Speaker 3: Yeah, but like you know, he was fine or whatever.
• 8:07
  Speaker 6: She just acted like such a child there, and knowing
• 8:10
  Speaker 6: that last night her mom broke up with Luke, she
• 8:14
  Speaker 6: didn't say anything.
• 8:15
  Speaker 3: And she also loves the guy and he's like a
• 8:17
  Speaker 3: father doer.
• 8:18
  Speaker 6: Exactly, and so like, yeah, like Kirk crashing and because
• 8:22
  Speaker 6: this went wrong is funny. But the fact that she
• 8:25
  Speaker 6: just had zero sympathy is where I had to put
• 8:28
  Speaker 6: a flag in the writing because I was like, this
• 8:30
  Speaker 6: is so not like Rory.
• 8:31
  Speaker 1: I so agree with you. I'm gonna throw all my
• 8:33
  Speaker 1: flags after the fact, Yeah, to support that, because it's
• 8:38
  Speaker 1: like is this a cartoon flag? Well, is this a
• 8:41
  Speaker 1: cartoon or is it a serious drama? Is it a
• 8:43
  Speaker 1: light comedy? What is going on here?
• 8:46
  Speaker 3: Yeah?
• 8:46
  Speaker 1: Right? Because really it's like your terror, you're so right,
• 8:50
  Speaker 1: you really hit the nail on the head. Oh, I'm
• 8:52
  Speaker 1: just getting rid of all this stuff because I'm a
• 8:54
  Speaker 1: cartoon character. I don't have any feelings anymore. And we
• 8:56
  Speaker 1: didn't really had a full relationship for you know, ten
• 8:59
  Speaker 1: thousand in years.
• 9:00
  Speaker 3: He's also her best friend.
• 9:02
  Speaker 1: It's like crashed in the diner. Oh well, I'm still
• 9:05
  Speaker 1: getting rid of his stuff. Let's get rid of the
• 9:06
  Speaker 1: bobbit and all the you know, what is happening with this?
• 9:10
  Speaker 1: This breakup is so abrupt, it's so cold. Yeah, so final.
• 9:16
  Speaker 1: There's no emotion in it, there's no any kind of
• 9:19
  Speaker 1: find it.
• 9:20
  Speaker 4: But like also like not at the same time, it.
• 9:24
  Speaker 3: Just happened yesterday.
• 9:25
  Speaker 4: Like that's the other thing is like time has it
• 9:27
  Speaker 4: didn't even happened?
• 9:29
  Speaker 3: Can I say something to see what you guys think?
• 9:31
  Speaker 1: And I gave him an ultimatum and he didn't tell me,
• 9:34
  Speaker 1: just you know this kind of thing, and then that's
• 9:36
  Speaker 1: it and I'm done and it's over.
• 9:38
  Speaker 3: It's an een sewen seed jump the shark, Like what's happening?
• 9:43
  Speaker 1: Mm hmmm. Yeah.
• 9:45
  Speaker 6: You think they just wanted to move ahead? Do you
• 9:47
  Speaker 6: think because season seven, episode one starts the day after
• 9:51
  Speaker 6: they just kind of wanted to like skip over a
• 9:53
  Speaker 6: bunch because like we didn't come back from summer break
• 9:55
  Speaker 6: this season.
• 9:58
  Speaker 3: You mean like kind of just get some just get
• 10:00
  Speaker 3: through it.
• 10:01
  Speaker 1: Yeah, I don't know, I don't know, so maybe maybe
• 10:03
  Speaker 1: the studio thought that the you know, the Luke wasn't
• 10:07
  Speaker 1: that important a character, this relationship wasn't that important to
• 10:10
  Speaker 1: the show. They're going to toss it away and and
• 10:15
  Speaker 1: and Laura le and Rory are going to be have
• 10:17
  Speaker 1: go along the path heavily after after and just an
• 10:21
  Speaker 1: afterthought and just get rid of it and all that,
• 10:23
  Speaker 1: because that's the cartoonish nature of it for me. Yeah,
• 10:27
  Speaker 1: it doesn't track.
• 10:28
  Speaker 6: I think mainly they just want to get through this
• 10:31
  Speaker 6: breakup storyline and then move on to what the next,
• 10:34
  Speaker 6: like whether getting back together or whatever it is. It
• 10:36
  Speaker 6: just felt like, said very.
• 10:38
  Speaker 1: Rush, Well, why would they want to get through something
• 10:40
  Speaker 1: like this that the fans have invested so much into
• 10:43
  Speaker 1: for so long, And if they're going to do it,
• 10:45
  Speaker 1: do it right. I mean, take the name with it.
• 10:48
  Speaker 1: This is like the kind of stuff where you know,
• 10:51
  Speaker 1: people get nominated with that because the writing is so
• 10:54
  Speaker 1: rich and the feelings are so deep, and there's so
• 10:57
  Speaker 1: much humor that could come so handled by an Amy
• 11:01
  Speaker 1: and Dan. Right, this is a different.
• 11:03
  Speaker 3: Episode, A little messy. This episode. It's a little messy.
• 11:06
  Speaker 3: Here's something I find interesting.
• 11:09
  Speaker 1: Season emotional logic.
• 11:14
  Speaker 3: Yeah, it just logic.
• 11:17
  Speaker 1: It's emotionally illogical.
• 11:20
  Speaker 3: Season seven lost two million, two million viewers.
• 11:26
  Speaker 1: Oh is that right?
• 11:27
  Speaker 3: From the end of season six. And here's what's interesting
• 11:31
  Speaker 3: about that. It's not like they watched this episode and
• 11:35
  Speaker 3: then never came back. They didn't come back from season six, Like,
• 11:41
  Speaker 3: it's not like they watched it like we are and
• 11:44
  Speaker 3: we're like, this sucks. I don't want to watch this
• 11:46
  Speaker 3: show anymore. They just gave up after season six.
• 11:53
  Speaker 1: I mean, the people were watching this show because they
• 11:57
  Speaker 1: believed so strongly in this relationship between Luke and Laurel,
• 12:02
  Speaker 1: I of idyllic love, idealized love, the perfect love, right
• 12:11
  Speaker 1: almost the perfect man who will suffer endlessly for his love,
• 12:19
  Speaker 1: and when he finally gets it and they are finally together,
• 12:22
  Speaker 1: this is what they do. They don't even let them
• 12:24
  Speaker 1: get married. This is what they do. So it must
• 12:28
  Speaker 1: have felt like, and we can talk to the fans
• 12:30
  Speaker 1: about this and they'll respond, how big a betrayal this
• 12:33
  Speaker 1: must have been for their loyalty and for their you know,
• 12:39
  Speaker 1: their dedication to the show. It must have felt like
• 12:43
  Speaker 1: they were just getting stabbed in the back, Like what
• 12:46
  Speaker 1: did I what did I spend six years? What just happened?
• 12:50
  Speaker 1: I just spent six years giving this show every good
• 12:53
  Speaker 1: feeling and every hope and every aspiration that I had
• 12:56
  Speaker 1: for romantic love, and they're doing this. His stuff is
• 13:01
  Speaker 1: getting thrown in the garbage after she cheats on him.
• 13:04
  Speaker 1: I mean, that is right, right as a nuclear bomb
• 13:08
  Speaker 1: on the dropped on the audience. It seems like sensibilities
• 13:12
  Speaker 1: on the morals of the audience.
• 13:14
  Speaker 3: People really saw Season seven on DVD and on streaming
• 13:17
  Speaker 3: because they didn't really watch it in its first run.
• 13:21
  Speaker 3: I mean, only four four and a half million people
• 13:24
  Speaker 3: watched it, and we know that it's had such a
• 13:27
  Speaker 3: bigger life on DVD and streaming. I don't know, it's
• 13:29
  Speaker 3: interesting to think about, Like, I don't know. Look, I
• 13:33
  Speaker 3: like Season seven more than I liked the movies. I
• 13:35
  Speaker 3: hate to say. I mean, I know, we're what twenty
• 13:39
  Speaker 3: four weeks from talking about the movies. I had a
• 13:41
  Speaker 3: lot of issues with the movies.
• 13:43
  Speaker 6: I'm actually upset Amy. I actually usually stop watching Season seven.
• 13:47
  Speaker 6: I enjoyed the movies.
• 13:48
  Speaker 3: So do you rewatch the movies? I have, Yeah, I've
• 13:52
  Speaker 3: only watched them all once and had there were moments,
• 13:55
  Speaker 3: But man, there are things I hate.
• 13:57
  Speaker 6: I mean, there are definitely things I don't like about
• 13:59
  Speaker 6: the movies. But I think that and going back to
• 14:02
  Speaker 6: what you said about how many people dropped off after
• 14:04
  Speaker 6: season six, Like when I watched when we recap the
• 14:08
  Speaker 6: last episode, I was like, I don't want to watch
• 14:11
  Speaker 6: the next episode because it's so sad, like I don't
• 14:13
  Speaker 6: want to see what's coming. And for us it's just
• 14:17
  Speaker 6: two weeks later. For other people it's I don't know,
• 14:21
  Speaker 6: four or five months later, and it's like, no, I'm
• 14:24
  Speaker 6: disappointed in what happened and I don't want to come
• 14:26
  Speaker 6: back to it. Yeah, but I think the difference with
• 14:29
  Speaker 6: the movies is it was more of nostalgia and that's
• 14:32
  Speaker 6: why I like going back.
• 14:32
  Speaker 3: I think, yes, I was way more excited about the movies. Wait,
• 14:35
  Speaker 3: this seems like a good moment, Danielle, will you read
• 14:37
  Speaker 3: what Suzanne's Even though Suzanne can't talk, we did have
• 14:40
  Speaker 3: her give her thoughts and then we can talk about
• 14:42
  Speaker 3: that as a Scott continues to go through them.
• 14:44
  Speaker 4: So Suzanne, she said, overall, the episode made me profoundly sad.
• 14:49
  Speaker 4: Luke and Lourlai both want the same thing each other,
• 14:52
  Speaker 4: but they've both screwed it up so badly that they
• 14:55
  Speaker 4: can't see the way out. More specifically, Loreli's analogy about
• 14:59
  Speaker 4: hanging on the bumper was perfect, but she should have
• 15:02
  Speaker 4: been saying it to Luke. I love the visual metaphor
• 15:05
  Speaker 4: of Laura I sitting in her empty living room and
• 15:07
  Speaker 4: Luke sitting at the diner with all the debris around him,
• 15:11
  Speaker 4: a true representation of their lives. And the scene where
• 15:14
  Speaker 4: she tells him she slept with Chris is brutal. Definitely
• 15:18
  Speaker 4: some of Scott's best work in the entire series.
• 15:21
  Speaker 3: What a nice thing.
• 15:23
  Speaker 1: Wow, all get that raise. He's a crafty negotiator.
• 15:32
  Speaker 3: Her, she's in quotes sick.
• 15:39
  Speaker 1: It's a tactic from the law from us. Act like
• 15:43
  Speaker 1: you're sick, compliment them, you'll get what you want, all right.
• 15:55
  Speaker 1: So now we're at the house and Laurel lies telling
• 15:58
  Speaker 1: Rory to go to London. She said, like, just go right,
• 16:03
  Speaker 1: who cares what the rocket means, Just go to London.
• 16:07
  Speaker 1: Get on a planet. I can go to Lund. Yeah,
• 16:08
  Speaker 1: you can go all right. So then so now we
• 16:10
  Speaker 1: have the scene after that, Luke sitting amongst the wreckage
• 16:15
  Speaker 1: of his life, as I wrote down, and I thought
• 16:19
  Speaker 1: that was a very poignant moment. And I'm glad they
• 16:21
  Speaker 1: didn't linger on it because it was the perfect amount
• 16:23
  Speaker 1: of time for the camera just to pan by him
• 16:26
  Speaker 1: and there you go. You get it. Great storytelling, love
• 16:30
  Speaker 1: the stuff that tells the story without the dialogue, because
• 16:34
  Speaker 1: there's so much dialogue, and that's rare when you see
• 16:38
  Speaker 1: a scene like that in this show. Uh so, now
• 16:42
  Speaker 1: this is so we have Rory and Laurel I in
• 16:49
  Speaker 1: whose bedroom is she in? They're in?
• 16:51
  Speaker 2: Oh?
• 16:52
  Speaker 3: Yes? Is this where she runs up to Laura's bedroom
• 16:54
  Speaker 3: and tells her I know what the rocket.
• 16:56
  Speaker 1: Is right exactly. She'd been doing a research the Twilight
• 16:59
  Speaker 1: Zone episod so suspended Animation, True Love, Rocket Boy the
• 17:02
  Speaker 1: whole time.
• 17:03
  Speaker 3: That was cool.
• 17:04
  Speaker 1: That was that was good. Yeah, she's researching her theory
• 17:10
  Speaker 1: late to know what's the rocket mean.
• 17:12
  Speaker 3: She's googling it up and down, relating.
• 17:15
  Speaker 1: It to Logan's favorite Twilight Center.
• 17:17
  Speaker 3: Good acting by her by Rory. Alexis being ecstatic when
• 17:22
  Speaker 3: you figure it out. And not only are ecstatic, you
• 17:25
  Speaker 3: figured out it's such a lovely sentiment. So I was like, Okay,
• 17:29
  Speaker 3: I'm all jazz. This is great. Go to London, go
• 17:32
  Speaker 3: call it right.
• 17:33
  Speaker 1: So it's a good it's a good way to set
• 17:35
  Speaker 1: us up for what's about to happen, which is the
• 17:37
  Speaker 1: phone call.
• 17:38
  Speaker 3: She just was a balloon pop what sure was?
• 17:41
  Speaker 1: And I'm thinking, man, I'd like to go to Paris
• 17:44
  Speaker 1: in Rome for two weeks and on a getaway. That
• 17:47
  Speaker 1: sounds good to make, but for a young girl, I
• 17:50
  Speaker 1: guess that's not what she wanted.
• 17:51
  Speaker 4: But she no, she doesn't want it. She just doesn't
• 17:54
  Speaker 4: want it six months or not even then seven eight
• 17:56
  Speaker 4: months from now.
• 17:58
  Speaker 3: I think it just made her anxious too.
• 17:59
  Speaker 1: To be Yeah, he just needed to step up and
• 18:04
  Speaker 1: be very clear, I want you here.
• 18:07
  Speaker 3: Yeah, she could have too and just said, hey, I
• 18:09
  Speaker 3: want to come down. I didn't think about this earlier.
• 18:13
  Speaker 6: But also could be like she doesn't want to interfere
• 18:16
  Speaker 6: with him and his dad, right, But she didn't.
• 18:19
  Speaker 1: She didn't really, she's not afraid of his dad. She's
• 18:21
  Speaker 1: not afraid of his dad that well, but but his
• 18:26
  Speaker 1: relationship with right and I think his future as well. Yeah,
• 18:30
  Speaker 1: So how committed is she right to at least have
• 18:35
  Speaker 1: the talk? And I think there's some missing pieces here
• 18:38
  Speaker 1: that we all recognize that we wish we had its cover,
• 18:42
  Speaker 1: but we don't have them.
• 18:44
  Speaker 3: We did.
• 18:46
  Speaker 4: Forget to mention that Christopher called and asked her to dinner.
• 18:52
  Speaker 1: Oh, I think I was so stunned. It was didn't
• 18:54
  Speaker 1: even and I just sort of dropped the pen like.
• 18:59
  Speaker 4: It was like, at least he's not one world Christopher.
• 19:05
  Speaker 1: It's illusion.
• 19:09
  Speaker 4: Is he's so delusional that he does not know what
• 19:12
  Speaker 4: is happening.
• 19:15
  Speaker 6: Just amazing, like you think you're back together this woman
• 19:19
  Speaker 6: even if it was like let's say hypothetically, if it
• 19:22
  Speaker 6: was something in the future, she just broke up her engagement.
• 19:30
  Speaker 1: He's not aware that he is.
• 19:32
  Speaker 3: I mean, look, I would rather him call to not call,
• 19:40
  Speaker 3: Like we don't want him to not call. Then he's
• 19:42
  Speaker 3: just like kind of a jerk. But he really is
• 19:46
  Speaker 3: so into her and she's so not right now.
• 19:52
  Speaker 6: I'd rather him not call, like they're going to talk eventually.
• 19:55
  Speaker 4: But if he's gonna call, say hey, like are you
• 19:59
  Speaker 4: doing okay?
• 20:01
  Speaker 2: Yeah?
• 20:01
  Speaker 3: Right, well that would have been better.
• 20:02
  Speaker 1: But I mean, what do you expect. Is this guy
• 20:05
  Speaker 1: ever played his cards right? However, in any situation new
• 20:09
  Speaker 1: this guy's dealt aces in his life and he keeps
• 20:12
  Speaker 1: just blowing. It keeps folding.
• 20:15
  Speaker 4: Hey, Laura, want to go to dinner?
• 20:17
  Speaker 6: No, it's always.
• 20:19
  Speaker 1: Lor Maybe you come by I'm making something. My hair's
• 20:24
  Speaker 1: getting a little long. Maybe you give me another buzz cut. Yeah, anyway,
• 20:31
  Speaker 1: so now we have the uh now have it just breaks?
• 20:36
  Speaker 1: This is this scene where the steak goes into the
• 20:39
  Speaker 1: heart of the vampire and finally kills it. Uh Luke
• 20:44
  Speaker 1: uh makes it, pulls up in his truck like Jed
• 20:49
  Speaker 1: Klampet in the Beverly Hill Bills and says, you know, Laura, al,
• 20:52
  Speaker 1: I'm gonna get you out of here, take you to.
• 20:54
  Speaker 3: This is blurred, this scene, the two Luke scenes. I've
• 20:58
  Speaker 3: got them.
• 20:58
  Speaker 1: Soard make you to Mariland to marry it, and then
• 21:02
  Speaker 1: we're gonna go for a month for a week, and
• 21:03
  Speaker 1: we're gonna set up tents, have our honeymoon. And it's
• 21:07
  Speaker 1: just like God, I did not recognize that man.
• 21:13
  Speaker 3: I recognized him coming and.
• 21:15
  Speaker 6: Trying, but not what he said about Marilyn and looping.
• 21:19
  Speaker 3: Right and just like right and just like almost I
• 21:24
  Speaker 3: don't almost caving. Right. It's like, be true to the
• 21:30
  Speaker 3: fact that you have a kid and this is difficult,
• 21:32
  Speaker 3: and that's okay. Do you know what I'm saying? Like
• 21:34
  Speaker 3: you don't need to just do a one to eighty,
• 21:37
  Speaker 3: Like stay true to the fact, but communicate it. I
• 21:41
  Speaker 3: love you, You're everything to me. I'm so it's not
• 21:45
  Speaker 3: even overwhelmed. I'm so like I'm lost in my situation
• 21:50
  Speaker 3: right now.
• 21:50
  Speaker 1: It's so big, and this is why it doesn't track.
• 21:54
  Speaker 1: One of the reasons this doesn't track is because what
• 21:57
  Speaker 1: were Amy and Dan so clever about. They always did
• 22:01
  Speaker 1: the small thing when in the big moment, the big thing.
• 22:06
  Speaker 1: In the small moment, they always did the opposite. They
• 22:08
  Speaker 1: always gave you something you never saw coming, never expected,
• 22:13
  Speaker 1: So that the move here so true would be that
• 22:17
  Speaker 1: Luke breaks it off because he sees how unhappy she is.
• 22:22
  Speaker 1: It's the noble thing to do because I really need
• 22:26
  Speaker 1: to get to know my kid better. This isn't fair
• 22:29
  Speaker 1: to you, So I'm going to break this off so
• 22:33
  Speaker 1: you can go live your life. And it's the hardest
• 22:35
  Speaker 1: thing I ever did. It would have been the greatest
• 22:36
  Speaker 1: scene ever written.
• 22:37
  Speaker 3: That is a really great all out. They did the
• 22:42
  Speaker 3: small thing. And I think that's why this episode is
• 22:46
  Speaker 3: so weird, because it's like not there's like some subtleties
• 22:52
  Speaker 3: that are missing, Whereas in the end of season six,
• 22:56
  Speaker 3: we want him to do the big thing, we want
• 22:59
  Speaker 3: him no stop, but he doesn't do it because that's
• 23:04
  Speaker 3: not what he does.
• 23:05
  Speaker 1: Right. Not only does he not fight for her in
• 23:08
  Speaker 1: the right way, he lets her dump him right. So
• 23:13
  Speaker 1: he's out of touch. So they're completely disconnected because of
• 23:15
  Speaker 1: his kid. No, do the noble thing. It saves her character,
• 23:19
  Speaker 1: it gives her dignity. She retains her dignity, He retains
• 23:23
  Speaker 1: his dignity. Yeah, you're right. Jumping the shark a little bit.
• 23:28
  Speaker 3: Now, jump in the shark a little bit stuff sharks,
• 23:32
  Speaker 3: jumping us the diner stuff tracked when he's in the
• 23:36
  Speaker 3: diner and they're like, do him move the car, keep
• 23:38
  Speaker 3: the car, and move the car, keep the car, And
• 23:40
  Speaker 3: he's not talking about the car at all. Yeah, he's like,
• 23:43
  Speaker 3: I can't make these decisions. This is so hard for me.
• 23:45
  Speaker 3: Obviously we know it's not about the car. He doesn't
• 23:47
  Speaker 3: give a crap about the car or the diner or
• 23:50
  Speaker 3: any of it right now. So that was I like
• 23:56
  Speaker 3: that that parallel. We've seen that with Luke before, so
• 24:00
  Speaker 3: that was sort of interesting. But you're right, it's too
• 24:05
  Speaker 3: much for us with Luke with the truck all filled
• 24:07
  Speaker 3: with weird crap and like let's just go now, and
• 24:10
  Speaker 3: it's like, no, you should be a little mad, actually, Luke,
• 24:16
  Speaker 3: that she broke up with you and gave you this
• 24:19
  Speaker 3: aull tomt it like, I don't know that not mad,
• 24:22
  Speaker 3: but hurt is a better word.
• 24:25
  Speaker 1: Maybe you know it's unfortunate. And I'm gonna make a
• 24:27
  Speaker 1: blanket statement. Here's probably gonna get me in a lot
• 24:29
  Speaker 1: of trouble. But here's what I think. I think productions,
• 24:36
  Speaker 1: whether they're in film and television, who value the opinions
• 24:40
  Speaker 1: of their cast and versus those who don't. I think
• 24:47
  Speaker 1: you get better television and film when people, directors, producers, whoever,
• 24:54
  Speaker 1: studios are open to the ideas of their cast.
• 24:58
  Speaker 3: It's so interesting.
• 24:59
  Speaker 1: And I know, I know Lauren had a million.
• 25:01
  Speaker 3: Ideas and they didn't do them.
• 25:04
  Speaker 1: I don't know whether they did them or not, but
• 25:06
  Speaker 1: I know she was very, very vocal, and you know,
• 25:10
  Speaker 1: I had some issues at times. But you need to
• 25:16
  Speaker 1: be in an environment where that kind of thing is
• 25:18
  Speaker 1: welcome because it's kind of rare.
• 25:21
  Speaker 3: It's interesting you say that. I was listening to the
• 25:24
  Speaker 3: Glee Rewatched podcast and Amber Riley talked about this the
• 25:28
  Speaker 3: other day, where they wanted her character to do something
• 25:31
  Speaker 3: and she went in and stead no. And I think
• 25:34
  Speaker 3: they tried to convince her and again I'm paraphrasing, and
• 25:38
  Speaker 3: she said no, when the character didn't do it, They
• 25:40
  Speaker 3: went with what the actor felt was authentic to the character.
• 25:46
  Speaker 3: And I thought, oh, that's pretty.
• 25:47
  Speaker 1: Cool because you know, they may have their ideas. Even
• 25:51
  Speaker 1: if they created the character and they write the character,
• 25:56
  Speaker 1: doesn't necessarily mean all of the time that they know
• 25:59
  Speaker 1: the character better than the person that's portraying the character.
• 26:04
  Speaker 3: M do you think a show is better like Barry
• 26:17
  Speaker 3: for example, where somebody give me his name, Henry Winkler,
• 26:21
  Speaker 3: and the guy from Saturday Night Live that plays Barry,
• 26:24
  Speaker 3: he wins all those awards. Come on, somebody, somebody, Bill Hayter,
• 26:28
  Speaker 3: thank you so much. So Bill Hayter, like is the
• 26:31
  Speaker 3: star of the show, writes the show and directs the show. Right,
• 26:37
  Speaker 3: It probably is. It's such a hugely successful show and
• 26:42
  Speaker 3: so critically acclaimed because like you're saying, the actor is
• 26:48
  Speaker 3: the character, he's also writing the and directing it, right,
• 26:52
  Speaker 3: So you're not. And I'm sure if he got notes,
• 26:55
  Speaker 3: he'd be like, thank you for your notes, ignored. Do
• 26:57
  Speaker 3: you know what I mean? I don't want to speak
• 26:58
  Speaker 3: for Bill Hater, but you see what I'm saying is like,
• 27:00
  Speaker 3: I wonder if Lauren wrote the show and was directing it,
• 27:05
  Speaker 3: if it would have felt more authentic to the character.
• 27:08
  Speaker 3: It does feel a little screwy here.
• 27:10
  Speaker 1: No, not necessarily right, the show just let's have a talk.
• 27:16
  Speaker 1: This is how I feel where the character should go.
• 27:19
  Speaker 1: Some of these narratives just don't work for me. I'm
• 27:22
  Speaker 1: concerned about it. You can't really open your mouth unless
• 27:25
  Speaker 1: you're a producer on the show.
• 27:27
  Speaker 3: Right, would you have felt scared to do it?
• 27:31
  Speaker 1: It's politically risky and you know, has that changed over time? Actually?
• 27:41
  Speaker 1: I had a lot of freedom on the first year
• 27:42
  Speaker 1: of Sullivan's Crossing, and I think the results in terms
• 27:47
  Speaker 1: of what I was doing are apparent for all to see.
• 27:51
  Speaker 1: And I noticed it second seasons a little more difficult
• 27:55
  Speaker 1: because then there's more studios involved. Now now it's a hit,
• 27:58
  Speaker 1: and now it's like, well, you know, so your voice
• 28:01
  Speaker 1: gets sort of cut me muted, muted, you know, it's
• 28:04
  Speaker 1: better way.
• 28:05
  Speaker 3: It's interesting.
• 28:06
  Speaker 1: But that's but if you're not a producer on the show,
• 28:08
  Speaker 1: it's hard to have your input, you know, taken in
• 28:14
  Speaker 1: all of the time, or even a little bit of
• 28:16
  Speaker 1: the time.
• 28:16
  Speaker 3: So I get that because too, Like if you think
• 28:20
  Speaker 3: about like if you've got bills to pay and kids
• 28:23
  Speaker 3: sent to college, you're a little bit more hesitant to
• 28:26
  Speaker 3: be that guy or girl that's like the hey, no, no, no,
• 28:32
  Speaker 3: because you don't want to lose your job.
• 28:34
  Speaker 1: There are a lot of people involved in this business
• 28:37
  Speaker 1: that have no idea what good storytelling is. Who are
• 28:43
  Speaker 1: in positions of power. That's the problem, because let me
• 28:49
  Speaker 1: tell you one thing. The great actors, the serious actors,
• 28:54
  Speaker 1: no storytelling better than all of them. They just do.
• 29:00
  Speaker 1: And I think if they're listened to, their productions improved
• 29:06
  Speaker 1: by a magnitude, by a magnitude. That's what all interesting. Yeah,
• 29:12
  Speaker 1: they're part of They have to be part of the
• 29:13
  Speaker 1: creative process. If you want a great product, if you
• 29:17
  Speaker 1: want a great show or a great film, they have
• 29:20
  Speaker 1: to be part of the conversation. Their input has to
• 29:23
  Speaker 1: be listening.
• 29:23
  Speaker 3: Yeah, I almost would have thought that in season seven
• 29:26
  Speaker 3: you lose Amy and Dan, you know, obviously the guy
• 29:29
  Speaker 3: that took over is great and knows what he's doing.
• 29:33
  Speaker 3: I think I would have been like, hey, this is
• 29:35
  Speaker 3: gnarly scary, Like we just lost our writer, director, creator.
• 29:41
  Speaker 3: Let's all put our heads together and figure out how
• 29:44
  Speaker 3: to make the best show. I think you would have
• 29:45
  Speaker 3: thought they would have wanted the actors at that point
• 29:48
  Speaker 3: more because you know, the character is better than anybody
• 29:51
  Speaker 3: other than probably Amy and Dan.
• 29:53
  Speaker 1: You know what. Nobody wants to listen to the actors
• 29:58
  Speaker 1: most of the time because the writers, you know, they
• 30:01
  Speaker 1: feel like they're smarter than everybody, and you know they'll
• 30:08
  Speaker 1: be damned if they're going to take a note from
• 30:10
  Speaker 1: an actor. That's kind of how they look at And
• 30:13
  Speaker 1: I think the reason that happens is writers, for the
• 30:19
  Speaker 1: most part, are the most looked down upon a group
• 30:26
  Speaker 1: in the creative process in the business. Oh, they're not
• 30:31
  Speaker 1: giving a great deal of respect. They're interchangeable. Actors are
• 30:34
  Speaker 1: interchangeable writers actors, you know.
• 30:38
  Speaker 3: And that brings me back to my Bill Hayder theory
• 30:41
  Speaker 3: that like, if you are the writer who's also the star,
• 30:43
  Speaker 3: you'd be so much more open to hearing from the actors.
• 30:47
  Speaker 1: But if you're a writer, director, creator, producer, then you
• 30:52
  Speaker 1: get respect. Okay, Oh interesting, if you're just a writer
• 30:56
  Speaker 1: and you're on a staff, you're not getting a lot
• 30:58
  Speaker 1: of respect. If you're just an actor and you're not
• 31:00
  Speaker 1: a producer, if you're not a huge star. You're not
• 31:03
  Speaker 1: getting a lot of RS.
• 31:04
  Speaker 3: And Gilmour was a show where you say every word
• 31:06
  Speaker 3: the way it is written. Yes, yeah, so that's kind
• 31:10
  Speaker 3: of interesting.
• 31:11
  Speaker 1: And you know what, it wasn't a problem because the
• 31:13
  Speaker 1: words were so great, right right, right, you know what
• 31:16
  Speaker 1: I mean. It's like, yeah, I get to say that.
• 31:19
  Speaker 1: It was like Aliens in America didn't really do anything
• 31:23
  Speaker 1: ratings wise, but we got to say those words, and
• 31:25
  Speaker 1: it was a thrill to go home and read those scripts.
• 31:27
  Speaker 1: You know, you're like, wow, I get to say these words.
• 31:29
  Speaker 1: This is really cool, great writing, you know, great writers.
• 31:36
  Speaker 1: But when that isn't the case, and it doesn't you know,
• 31:42
  Speaker 1: and it's these are subtle gradations. I mean, it doesn't
• 31:44
  Speaker 1: take a lot to ruin a script right, well.
• 31:49
  Speaker 3: Early, because this is almost a great episode.
• 31:52
  Speaker 1: Yeah see yet how much great stuff there is in it, right,
• 31:56
  Speaker 1: and how darn entertaining it is.
• 31:58
  Speaker 3: I enjoyed it, right. I definitely had my time where
• 32:02
  Speaker 3: I was like, I would rather have five more seasons
• 32:05
  Speaker 3: of this than end at season seven. But it's not
• 32:12
  Speaker 3: the same.
• 32:13
  Speaker 1: But they wrecked the wreck. They wrecked the love story
• 32:16
  Speaker 1: for seven million people.
• 32:19
  Speaker 3: And I've never had the ick from Christopher until now.
• 32:23
  Speaker 1: I'm just saying calamine lotion helps helps with that.
• 32:26
  Speaker 3: Have we finished the episode?
• 32:28
  Speaker 1: Yeah?
• 32:29
  Speaker 3: Yeah, yeah, yeah, So what do we think of it?
• 32:33
  Speaker 1: Luke takes in the I slept a question for Lyne.
• 32:36
  Speaker 1: He takes that in verbally yep out.
• 32:40
  Speaker 6: I don't blame him, lad, that was a Yeah.
• 32:45
  Speaker 3: That's not a great She did not make a great
• 32:48
  Speaker 3: call on that.
• 32:50
  Speaker 4: Yeah.
• 32:54
  Speaker 1: I just feel bad for the fans back in two
• 32:56
  Speaker 1: thousand and seven, two thousand and six they had to
• 32:59
  Speaker 1: go through.
• 33:00
  Speaker 3: I feel they didn't even show up to watch it.
• 33:02
  Speaker 3: That's what I think is so interesting too. I mean
• 33:04
  Speaker 3: that two million.
• 33:04
  Speaker 1: Of who's ever been exposed to that I feel bad for.
• 33:08
  Speaker 3: Of course, but like it's weird that two million people
• 33:10
  Speaker 3: just didn't even come show up. And I wonder, like
• 33:14
  Speaker 3: if you if we talk to the writers, like I
• 33:16
  Speaker 3: wonder if they were so stressed, because like we've talked about,
• 33:21
  Speaker 3: you said, Amy and Dan took their grade scripts and
• 33:25
  Speaker 3: polished them up, and like here's what I can tell you,
• 33:28
  Speaker 3: and like everybody can be like Amy sucks, but like
• 33:31
  Speaker 3: we take things, Danielle and I. Our job is we
• 33:34
  Speaker 3: take things that our team writes right, and we polished
• 33:38
  Speaker 3: them up, and sometimes they come to us kind of
• 33:42
  Speaker 3: like mediocre at best, right, And I'm not tooting our horns,
• 33:47
  Speaker 3: but like our that is our job. We are paid
• 33:49
  Speaker 3: to do that, to polish it up. And they lost
• 33:52
  Speaker 3: their polishers, so maybe they were so stressed and maybe
• 33:57
  Speaker 3: they even are like, hey, we're not bringing our A
• 34:00
  Speaker 3: game because we don't even are. This is our a game.
• 34:04
  Speaker 3: They took it to the A plus yeah, and now
• 34:07
  Speaker 3: they don't have that.
• 34:08
  Speaker 4: I wonder if Amy and Dan came back, what would
• 34:12
  Speaker 4: have happened this season.
• 34:16
  Speaker 1: They weren't coming back, but if they did.
• 34:19
  Speaker 4: What how Gilmour Girls would have ended versus how it
• 34:22
  Speaker 4: actually did.
• 34:23
  Speaker 3: Well, we know how it would have ended, because they
• 34:26
  Speaker 3: they ended the movies in the way they wanted to
• 34:29
  Speaker 3: end the series. And what I can tell you is
• 34:33
  Speaker 3: the way they end the movie would have been comic
• 34:37
  Speaker 3: way to end this. No, I'm not gonna give it away.
• 34:39
  Speaker 3: The way they end the movies to me would have
• 34:41
  Speaker 3: been the most iconic way and the series it would
• 34:44
  Speaker 3: have been epic. It's weird how they ended up movies.
• 34:49
  Speaker 3: Scott's like Tillie God. Also, you know how the movies
• 34:54
  Speaker 3: end there.
• 34:56
  Speaker 4: I'm assuying something with the daddy not knowing who the
• 34:59
  Speaker 4: daddy is.
• 35:00
  Speaker 3: I'm not telling you anything. I'm just telling you it
• 35:02
  Speaker 3: would have been a great end of season seven where
• 35:04
  Speaker 3: you're like.
• 35:06
  Speaker 6: What, so basically the movies, the movies should have been
• 35:09
  Speaker 6: season seven, is what you're saying.
• 35:11
  Speaker 3: Well, no, because there's weird things in the movies too,
• 35:13
  Speaker 3: but just the very end is.
• 35:16
  Speaker 1: The show should have ended after season six and then
• 35:21
  Speaker 1: that's it. No season seven.
• 35:23
  Speaker 3: You guys, there's so many things coming you're gonna hate
• 35:26
  Speaker 3: so much more than this episode.
• 35:29
  Speaker 1: So it's going to be fun.
• 35:32
  Speaker 3: This one.
• 35:32
  Speaker 4: Seven out of ten?
• 35:33
  Speaker 3: What we give? What we Yeah? What are you giving this?
• 35:35
  Speaker 3: Seven out of ten? Scrambled eggs? Yeah, I'm yeah. I
• 35:39
  Speaker 3: think I'm seven. I was gonna say six point five,
• 35:42
  Speaker 3: but I think i'm seven. Red light cameras, so I'll
• 35:44
  Speaker 3: say six point eight red light cameras.
• 35:48
  Speaker 6: Danielle, what was your measuring stick?
• 35:50
  Speaker 4: Scrambled eggs?
• 35:51
  Speaker 6: Damn, Okay, that's mine. I'm going to give it a
• 35:57
  Speaker 6: six point five t birds.
• 36:00
  Speaker 3: Oh good, good one. But it's our lowest scores ever.
• 36:04
  Speaker 1: Yeah, I'm giving it an absolute nuclear zero. No, it
• 36:10
  Speaker 1: did not register at all. Destruction of two main characters.
• 36:14
  Speaker 1: I mean obliteration, the fallout of that, the radiation.
• 36:18
  Speaker 3: Should we not even have Emily and Richard? That was weird? No,
• 36:21
  Speaker 3: it didn't like that. That all.
• 36:24
  Speaker 1: We didn't need them in this episode.
• 36:25
  Speaker 3: I think they could have helped.
• 36:28
  Speaker 1: They would.
• 36:29
  Speaker 4: Richard's credited in it, so they're.
• 36:33
  Speaker 3: Both in the always in the opening credits.
• 36:34
  Speaker 1: But think they wanted to say what they wanted to
• 36:38
  Speaker 1: save Emily and Richard to bring the body bags, clean
• 36:42
  Speaker 1: up the mess. Uh sorry, I think some high jinks
• 36:46
  Speaker 1: and some funny moments cannot make up one iota for
• 36:50
  Speaker 1: the destruction of these two characters and this relationship. Yeah,
• 36:55
  Speaker 1: and you know, you know now it's in negative to us.
• 36:58
  Speaker 3: Have we not seen it off before?
• 37:00
  Speaker 1: Is that Jesus?
• 37:08
  Speaker 3: I mean I come back because there's parts of Christopher
• 37:10
  Speaker 3: I actually like, we're all right, sounds like that's like
• 37:15
  Speaker 3: I need it.
• 37:15
  Speaker 1: Can we just like just bail out of this thing? Uh?
• 37:19
  Speaker 1: Sorry kids that you had to watch this. We sympathize
• 37:22
  Speaker 1: and now we're gonna need therapy after watch them all
• 37:26
  Speaker 1: the best best fans on the planet. Sorry you had
• 37:28
  Speaker 1: to take all those knives in the back from this episode.
• 37:31
  Speaker 1: But that's just the nature of fandom. I guess I
• 37:34
  Speaker 1: don't know.
• 37:37
  Speaker 6: Uh.
• 37:37
  Speaker 1: I love you guys, thanks for the downloads, keep the
• 37:39
  Speaker 1: cards and letters coming, and all you bots out there
• 37:43
  Speaker 1: just to raise yourself. We have a technology.
• 37:47
  Speaker 3: Okay, I can take it. I can take it. I
• 37:48
  Speaker 3: can take it.
• 37:50
  Speaker 2: By day safe kids, Jase, Hey, everybody, and don't forget.
• 38:21
  Speaker 1: Follow us on Instagram at I Am all In podcast
• 38:25
  Speaker 1: and email us at Gilmore at iHeartRadio dot com.