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I Am All In…Again: The Good Fight (Season 1 E9 “Rory’s Dance”) · I Am All In with Scott Patterson

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  Speaker 1: I am all in again. Oh, let's you. I am
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  Speaker 1: all in again with Scott Patterson in iHeartRadio Podcast. Hey everybody,
• 0:22
  Speaker 1: Scott Patterson, I am all in Podcast, one of them
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  Speaker 1: productions iHeartRadio Media, iHeart Podcasts. We are recapping Season one,
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  Speaker 1: Episode nine, Rory's Dance. Air date December twenty year two thousand.
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  Speaker 1: That was twenty four years ago. Almost Oh gosh. Rory
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  Speaker 1: and Dean fall asleep together following a fairy tale evening
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  Speaker 1: at a formal dance, leading to a blow up between
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  Speaker 1: Lorelei and her mother over discipline. Leslie Linka Glader, who
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  Speaker 1: directed the pilot, directed this episode. Amy Sherman Palladino wrote
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  Speaker 1: this rather brilliants and I am joined by none other
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  Speaker 1: than Vanessa Morano, who played my lovely daughter. Welcome, how
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  Speaker 1: are you.
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  Speaker 2: I'm good.
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  Speaker 1: It's been a minute, right.
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  Speaker 2: A minute?
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  Speaker 1: Yeah, you were on what a couple of years ago?
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  Speaker 2: Has been a couple of years ago. I feel like
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  Speaker 2: last year was the All In live where you pummeled
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  Speaker 2: up with snow.
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  Speaker 1: That's right.
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  Speaker 2: I think it's the only way to describe that experience.
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  Speaker 1: No, that was just last year. That was last year,
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  Speaker 1: last year. Yeah, So it was just a year ago. Yeah,
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  Speaker 1: and yeah, we're doing another big shindig this year at
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  Speaker 1: Warner Brothers lovely to see. How have you been you've
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  Speaker 1: been I'm sure you've been busy.
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  Speaker 2: I've been good, been busy, very very excited for the
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  Speaker 2: end of the year, and just taking it easy at
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  Speaker 2: this point in time.
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  Speaker 1: Right, Yeah, iHeart podcasts.
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  Speaker 2: Listen on the iHeart Radio app.
• 2:02
  Speaker 1: Let's get into this thing. What did you think of
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  Speaker 1: this episode?
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  Speaker 2: Well, as you know, I'm such a huge Gilma Girls fan,
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  Speaker 2: so I've seen this episode upwards of probably thirty times.
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  Speaker 1: All Right, so let me let me ask you then
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  Speaker 1: if you're the expert here, because this is only the
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  Speaker 1: second time I've seen it. I know I ranked this
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  Speaker 1: because now I've seen it, and so I'm I'm able
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  Speaker 1: to sort of compare it and rank it. Got This
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  Speaker 1: is pretty high up there on the list for me.
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  Speaker 2: It's a great episode, and it's really it's one of
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  Speaker 2: those ones where, like I remember just from watching it
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  Speaker 2: live too, like it was a big one. Like I
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  Speaker 2: remember it was a big thing that there was going
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  Speaker 2: to be this big. It's the first real fight we
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  Speaker 2: see with laurele I and Rory, you know, in the pilot.
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  Speaker 2: Obviously there's the disagreement about school, but this is the
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  Speaker 2: first sort of like, especially from louralized perspective, like all
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  Speaker 2: of her you know, childhood for lack of a better term. Yes,
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  Speaker 2: it is really informing how she is feeling about this
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  Speaker 2: entire situation. Yes, obviously like the fear of like safety,
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  Speaker 2: my daughter didn't come home last night, but then it's
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  Speaker 2: about so much more than that, and Emily triggering her
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  Speaker 2: into that confrontation with Rory. It's just it's such like psychology,
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  Speaker 2: that's just like bubbling up. That really is the sweet
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  Speaker 2: spot where Gilmore Girls lives, in my opinion, right right,
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  Speaker 2: just mother daughter trauma over and over and over and
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  Speaker 2: over again.
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  Speaker 1: It's the three generations put inside that crucible and it explodes.
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  Speaker 1: It's it's just wonderful stuff. It's just so brought with
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  Speaker 1: drama and humor and dynamics. It's just it's great.
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  Speaker 2: All right.
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  Speaker 1: So we're Friday night dinner and uh, you know, as
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  Speaker 1: Friday night dinners go. I thought this was particularly great
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  Speaker 1: because it sees Laurel I acting throughout the episode, but
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  Speaker 1: especially here in a somewhat childish way, right and picking
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  Speaker 1: at her avocado and the tomato. But the the humor
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  Speaker 1: was elevated. Rory was a little you know, she was
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  Speaker 1: dismissive and ran and got a coke. But it's you know,
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  Speaker 1: the banter between mother, between Emily and Laurel I was
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  Speaker 1: was as good as it gets it at a Friday
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  Speaker 1: night dinner and minus Richard. And it's interesting because I
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  Speaker 1: wasn't in this episode. You know, the Fellas weren't really
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  Speaker 1: in this episode other than Dean and and Tris stan
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  Speaker 1: Cestine referred to him Tris stan and it and and it,
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  Speaker 1: and it really flowed for me, you know, it wasn't
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  Speaker 1: even though you miss Richard, of course, but you know,
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  Speaker 1: this mother daughter dynamic is powerful, and you're right, it is.
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  Speaker 1: It is the backbone of the show. It truly is.
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  Speaker 2: It is. And I obviously Laura and Rory we love,
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  Speaker 2: we watch, we adore, But for me watching Laurel I
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  Speaker 2: and Emily is one of the funnest things on the show.
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  Speaker 2: Whether they're fighting, whether they're it's humorous fighting, it's just
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  Speaker 2: two powerhouse actresses that are just playing in a way
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  Speaker 2: that is so fun. And what I loved about this
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  Speaker 2: Friday night dinner is it's one of the rare times
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  Speaker 2: where we end with Emily getting the last word, like
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  Speaker 2: a lot of times Laurel I is able to get
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  Speaker 2: the last word, and then Emily kind of rolls her
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  Speaker 2: eyes annoyed and is like, I'm not going further. But
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  Speaker 2: that last bit where she was like, the owls will live,
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  Speaker 2: and she's like, well, apparently they won't, Dear, It's like,
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  Speaker 2: that's why they need the donations. That's actually what the issue.
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  Speaker 1: Is, you know, in the hands of a lesser writer,
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  Speaker 1: and I would say nine percent of the writers out
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  Speaker 1: there are lesser writers than than Amy Sherman Palladino. Not
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  Speaker 1: to take anything away from those ninety nine point nine percent,
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  Speaker 1: because they're all done pretty dark good. But Amy's like,
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  Speaker 1: you know, she's she's special, uh, And in the in
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  Speaker 1: the hands of a lesser writer, that scene doesn't work.
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  Speaker 1: She makes that stuff work, you know, with all the verbiage,
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  Speaker 1: the word count, all that, it just works.
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  Speaker 2: And it blows my mind too, and it must blow
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  Speaker 2: your mind as well, just like you know, being in
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  Speaker 2: television for so long and working on so many shows
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  Speaker 2: and knowing the restrictions that writers are under, especially in
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  Speaker 2: a network setting as well. Man she got away with
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  Speaker 2: what she was able to.
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  Speaker 1: Do is you know what you bring up probably the
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  Speaker 1: most salient point of all. How did she do it?
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  Speaker 1: How did she do it? Because, Yeah, I've been on
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  Speaker 1: a series regular in four or series now and it
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  Speaker 1: is a it's it's it's a cage fight trying to
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  Speaker 1: get a line changed. You know that, it's a it's
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  Speaker 1: just brutal. And the thing is is, you know a
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  Speaker 1: lot of actors aren't great writers, but there are some
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  Speaker 1: actors that are pretty pretty good writers, and they kind
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  Speaker 1: of know and you know, and like, hey, this isn't
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  Speaker 1: going to work because of this reason. And it doesn't.
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  Speaker 1: You don't really need to say that line. I can
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  Speaker 1: act it, you know. Now it's better if I just
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  Speaker 1: act it. And what can we drop that? This has
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  Speaker 1: no logical reason to be in the scene. This is repetitive,
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  Speaker 1: it's redundant, whatever the reason is, right, cut it, just
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  Speaker 1: cut it. Less is more or less's more or less
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  Speaker 1: is more. So Yeah, she did that, and she did
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  Speaker 1: it because she didn't back down. The courage and the
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  Speaker 1: courage of that woman, you know, defending her favorite children,
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  Speaker 1: not only us, but her words, right, her characters. Man,
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  Speaker 1: nobody was going to get near us. She protected us
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  Speaker 1: tooth and nail for six seasons until she just you know,
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  Speaker 1: got her heart broken. You know, wow, yeah, how do
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  Speaker 1: you do it? Well? It takes a special kind of person, right,
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  Speaker 1: it takes it takes a person who believes in their
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  Speaker 1: vision so strongly that they're willing to die on that hill.
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  Speaker 2: It takes a person who survived the Roseanne writer's room.
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  Speaker 1: What that must have been like, Oh yeah.
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  Speaker 2: Because anyone who's worked in that writer's room is like
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  Speaker 2: a powerhouse person.
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  Speaker 1: Right, do you know? Do you know the players involved
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  Speaker 1: in that writer's room.
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  Speaker 2: A little bit? I've worked with a lot of them
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  Speaker 2: throughout the years, Like I did a pilot with Rob
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  Speaker 2: Ullin who was there at the same time as Dan
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  Speaker 2: and me. And yeah, it's funny. You just come across
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  Speaker 2: a lot of writers who you know, have all worked
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  Speaker 2: in the same rooms more or less through the years.
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  Speaker 2: In television, I mean, television is kind of a small pool,
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  Speaker 2: even with new and people coming in. But it is
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  Speaker 2: an interesting thing to think about because obviously it's kind
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  Speaker 2: of notoriously known that that was a difficult room and
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  Speaker 2: again because personalities and because network restrictions, and they were
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  Speaker 2: doing something by groundbreaking at that time as well, which
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  Speaker 2: is always really really difficult, right, But I think when
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  Speaker 2: it comes to to Amy, like you see with the
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  Speaker 2: care that she has for Gilmore Girls and the care
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  Speaker 2: that she has for the writing, and I mean like
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  Speaker 2: not a piece of exposition in sight, which again I
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  Speaker 2: think is very difficult to do on a network show
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  Speaker 2: where you have to remind people after everyecial break where we.
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  Speaker 1: Are oh my goodness, oh man, yeah, it's all there.
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  Speaker 1: I'm fighting these battles right now. I've been fighting these
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  Speaker 1: battles for three years with the exposition, with the repetition,
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  Speaker 1: and it's just boy, it's tough.
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  Speaker 2: And you see that in I think this episode in
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  Speaker 2: general too, like when you finally get to that big
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  Speaker 2: scene where they have that fight with Emily and Laura
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  Speaker 2: I and she's saying, I'm not gonna let you were
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  Speaker 2: like allow Rory to ruin her life the way that
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  Speaker 2: you ruined your life, and she's like, look around, this
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  Speaker 2: is a life. Like it's just it's just beautiful. It's
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  Speaker 2: beautifully written and heartbreaking and again not like pointing to
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  Speaker 2: anything you've gone through this entire episode where Laura I
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  Speaker 2: has sort of regressed into whether it be the pain
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  Speaker 2: medication she's on for. But she's allowed herself to regress
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  Speaker 2: to sort of a child's state and let her mom
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  Speaker 2: take care of her. And Laura I never lets her
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  Speaker 2: mom take care of her. And you see this joy
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  Speaker 2: that Emily has in being allowed to take care of
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  Speaker 2: her daughter, like loving being a mom, which is a
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  Speaker 2: very interesting side of Emily to see. And how quickly
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  Speaker 2: that fuse blows when just one one domino falls.
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  Speaker 1: Even though you know it's coming, it still surprised me.
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  Speaker 1: It still surprised me at the ferocity of that blow
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  Speaker 1: up at the end. And it was so good, and
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  Speaker 1: that's you know, that's a Palladino signature episode where it
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  Speaker 1: is light and funny, light and funny with a little
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  Speaker 1: bit of drama on the way. Light and funny, light
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  Speaker 1: and funny, delightful, humorous, actually hysterical. There were so many
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  Speaker 1: great gags in this and then boom, they nail you
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  Speaker 1: at the end. They just get you, and it's just
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  Speaker 1: so powerful. It's such a great formula. Anyway, for those
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  Speaker 1: listening that aren't aware of the protocols of network television,
• 11:56
  Speaker 1: let's tell people a little bit about that. And it
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  Speaker 1: shouldn't take two long. Writers submit scripts, the studios read
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  Speaker 1: the scripts. The department the TV division heads and read
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  Speaker 1: those and they give notes, and since they're paying for
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  Speaker 1: the show, you're going to implement their notes, right. I
• 12:18
  Speaker 1: think it's a lot more collaborative than I'm making out. Actually,
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  Speaker 1: I think there's a lot more respect going back and forth,
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  Speaker 1: phone calls, emails, Hey, I got your notes. I don't
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  Speaker 1: think that's going to you know this kind of thing, right.
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  Speaker 1: I don't know that it's always so contentious, but I
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  Speaker 1: think it can get contentious. I think it's more, you know,
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  Speaker 1: there's a lot of smart people going back and forth forth,
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  Speaker 1: and maybe there's some less experienced smart people that aren't
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  Speaker 1: writers per se, and that the network and the advertisers
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  Speaker 1: need a certain thing put into a scene or an
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  Speaker 1: episode because you know the reason and I don't want
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  Speaker 1: to say it. So there's pressure brought to bear on
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  Speaker 1: the writer's room or on the showrunner to implement this,
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  Speaker 1: and that's where the wars begin.
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  Speaker 2: Well, and I think also the why it can get
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  Speaker 2: I'm not even gonna say contentious, I'm gonna say exhausted, right,
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  Speaker 2: because the thing with network television, especially at that time,
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  Speaker 2: is right, you're living in twenty four episodes. That is
• 13:20
  Speaker 2: a lot to be putting together before you're even starting
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  Speaker 2: to shoot. Before that first script is written for the
• 13:25
  Speaker 2: first episode of whatever season you're in, right those writers
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  Speaker 2: are in a room breaking the whole season, figuring out
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  Speaker 2: we're going to get from this point to this point
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  Speaker 2: to this point by our midpoint, by episode twelve thirteen,
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  Speaker 2: that has to be a big episode because Christmas is around, Matt,
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  Speaker 2: we're going to be off for a few weeks, then
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  Speaker 2: we're going to come back for the back nine, back ten, whatever,
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  Speaker 2: and then lead to a finale. So it's this whole
• 13:51
  Speaker 2: situation of like figuring out, for twenty something episodes how
• 13:55
  Speaker 2: that story goes. So you are breaking that, getting that
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  Speaker 2: network right, and then episode by episode you're outlining it
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  Speaker 2: and getting seen approval basically. So then by the time
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  Speaker 2: you are writing the actual dialogue that gets you there,
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  Speaker 2: you're kind of on the same page with whatever executives
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  Speaker 2: about what's going to happen. But then you're also like, well,
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  Speaker 2: we got to cut to the clock and make sure
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  Speaker 2: that we're in this commercial break by this time, so you.
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  Speaker 1: Don't have that much time right right right, get.
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  Speaker 2: To that place either. So it's I would say, the
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  Speaker 2: restrictions that everyone sort of under is what can lead
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  Speaker 2: to the back and forth and lead to the battles,
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  Speaker 2: so to speak.
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  Speaker 1: Right, and then there's the the inevitable uh situations on
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  Speaker 1: set in rehearsal and like this makes no sense. Uh oh,
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  Speaker 1: this has to be changed or this can be improved, right,
• 14:50
  Speaker 1: And then it's just it has to go off the
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  Speaker 1: chain of command or showrunner makes it on the spot
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  Speaker 1: decision says yes, okay or no, you know, and then
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  Speaker 1: you're kind of forced to So so all all these
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  Speaker 1: different choices are being made in an instant that are
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  Speaker 1: all like the worst ones can completely alter an intention
• 15:07
  Speaker 1: of a scene or your your intention, and it's very
• 15:10
  Speaker 1: very difficult to perform that way, very difficult. Anyway, it's
• 15:15
  Speaker 1: an interesting process, it really is. Can be fraught with
• 15:20
  Speaker 1: tension and drama on the other side of the camera too,
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  Speaker 1: at the executive level. So it's an interesting and it
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  Speaker 1: is amazing And I'm really glad you brought this up
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  Speaker 1: about how brave, how courageous Amy always was in the
• 15:33
  Speaker 1: face of all of this, because she just she fought
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  Speaker 1: for choices and you got to respect the hell out
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  Speaker 1: of that because you do.
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  Speaker 2: Because no one makes it easy, even the easiest person
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  Speaker 2: to work with, even a network executive who has your back,
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  Speaker 2: which there are plenty of people who will fight for
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  Speaker 2: their writers, it's still, you know, for you to dig
• 15:51
  Speaker 2: your heels in and know, like, if I change this
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  Speaker 2: one thing, it ruins the music of the scene, It
• 15:59
  Speaker 2: ruins the it ruins the thing that ultimately with Gilmer
• 16:02
  Speaker 2: Girls has stood the test of time. That coziness of
• 16:05
  Speaker 2: it isn't just the snow and the pumpkins and all
• 16:08
  Speaker 2: that stuff too, It is the music of how the
• 16:12
  Speaker 2: dialogue works is comforting. And you know, a change to
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  Speaker 2: any of that can ruin that situation. And yeah, could
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  Speaker 2: it just be easier to just get into in that
• 16:25
  Speaker 2: Friday night dinner opening scene, none of the stuff about
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  Speaker 2: the avocado and the tomato and us just get right
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  Speaker 2: into Rory. You have a dance and you're not going
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  Speaker 2: to the dance. Yes, it's easier to just get right
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  Speaker 2: to that, but you're missing the magic of the dynamic,
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  Speaker 2: which is the show.
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  Speaker 1: Right. I'm so glad you brought this up. This crucial
• 16:44
  Speaker 1: to the success of this show is that her voice,
• 16:47
  Speaker 1: Dan's voice were protected they protected it, and that's why
• 16:52
  Speaker 1: she was such a boss, and that's why she is
• 16:57
  Speaker 1: getting so many accolades and so many awards, because that
• 17:01
  Speaker 1: woman is not an employee. She's a boss running the show.
• 17:05
  Speaker 1: That's a real show runner right there, right, She's uncompromised.
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  Speaker 1: She is not compromising her vision, and she's willing to
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  Speaker 1: go to the mat for her vision. She's willing to
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  Speaker 1: defend her actors. She's willing to say bye bye after
• 17:21
  Speaker 1: six years, like no, I'm not going to do that
• 17:24
  Speaker 1: because you did this, you know. And just an amazing
• 17:29
  Speaker 1: legacy that she has left us and still continues to
• 17:34
  Speaker 1: create brilliant TV. And I can't wait to see this
• 17:36
  Speaker 1: new Oneoile this dance. They're in Paris and New York
• 17:42
  Speaker 1: and it's it takes place in the world of bell.
• 17:43
  Speaker 2: I'm so excited because, you know, Bunheads was on ABC
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  Speaker 2: Family at the same time my show Switched at Birth
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  Speaker 2: was on ABC Family, and so I hadn't seen Amy
• 17:53
  Speaker 2: and Dan in like so long, but we went to
• 17:55
  Speaker 2: the up runs and they saw both of them there
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  Speaker 2: for that show. But I love bun Heads too, I
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  Speaker 2: just think and the world of dance is so personal
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  Speaker 2: to her. Like, I had no idea that her mother
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  Speaker 2: was in ballet and was in dance.
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  Speaker 1: I didn't know that. I knew she was, but I didn't.
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  Speaker 1: I guess it makes sense there was as well.
• 18:14
  Speaker 2: If I'm by the way, it's been years since I
• 18:17
  Speaker 2: had this conversation, so let's also just everybody take that
• 18:20
  Speaker 2: with a grand assault if I'm incorrect, giving us a
• 18:22
  Speaker 2: little grace. But I'm pretty sure her mom was in
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  Speaker 2: dance as well. So again, like in the Gilmore Girls
• 18:31
  Speaker 2: of it all, mother daughter relationships dance being so important,
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  Speaker 2: like there there's definitely a you know, an Amy Sherman
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  Speaker 2: Palladino like core to to what her storytelling is and
• 18:45
  Speaker 2: what is important to her.
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  Speaker 1: Right, she's the most unique character of them all. And
• 18:49
  Speaker 1: then she's got a million a million voices in there.
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  Speaker 2: But I already know I'm going to eat that show
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  Speaker 2: up with a spoon, like I'm so excited. I'm so excited.
• 19:07
  Speaker 1: All right, So now we're in Dosis Market and you
• 19:11
  Speaker 1: know there's that delightful scene, you know, the thing that
• 19:14
  Speaker 1: I marveled at in that walk and talk out in
• 19:17
  Speaker 1: stars Hollow to to Dosie's Market with Lane and Rory
• 19:21
  Speaker 1: is just how damn wintery it looked. I mean their
• 19:25
  Speaker 1: ice on the street, I mean, they did a fantastic job.
• 19:30
  Speaker 1: And that's probably an eighty five degree day, or maybe
• 19:33
  Speaker 1: it's maybe it's a seventy five degree days because it
• 19:35
  Speaker 1: was a little overcast, it seemed. And you really don't
• 19:38
  Speaker 1: see the Warner Brothers a lot overcast very often, and
• 19:42
  Speaker 1: that's no trick they did in post production. That was like,
• 19:46
  Speaker 1: that was a cloudy day. So it's perfect and it
• 19:48
  Speaker 1: just looks so cold and wintery and great, you know,
• 19:51
  Speaker 1: and what a fantastic job, very very nice scene. I
• 19:54
  Speaker 1: love these early episodes. They are establishing what is to come,
• 19:58
  Speaker 1: and I think there's some of the fun is crafted
• 20:01
  Speaker 1: most finely crafted episodes. So she goes in and she
• 20:07
  Speaker 1: nervously asked Dean if she he wants to go to
• 20:12
  Speaker 1: the dance with her? And does she not look like
• 20:15
  Speaker 1: she was just like five years old? She looks so both.
• 20:21
  Speaker 2: Of them, by the way, both of them babies.
• 20:33
  Speaker 1: Oh he uh, you know, he's a cool city kid, right.
• 20:38
  Speaker 1: He knows what she's getting that he's playing it a
• 20:40
  Speaker 1: little cool. He says, well, do you want to go?
• 20:42
  Speaker 1: You know, he's I really am liking Dean after this
• 20:47
  Speaker 1: episode a lot. I think they're well suited.
• 20:50
  Speaker 2: I know this is this is this is our this
• 20:52
  Speaker 2: is our good Dean period. We know what's to come,
• 20:57
  Speaker 2: so we will you know, wait for that. But yes, uh,
• 21:03
  Speaker 2: this like beginning first romance is very very very sweet,
• 21:07
  Speaker 2: and Alexis just has like this fabulous sort of natural
• 21:13
  Speaker 2: like effortlessness about it, and like there was just this
• 21:17
  Speaker 2: one point where she like looked away and then like
• 21:21
  Speaker 2: look back to like be like I don't know, I
• 21:23
  Speaker 2: mean if you did it, like just so like it
• 21:27
  Speaker 2: was it was such a uh such a smart girl
• 21:31
  Speaker 2: uh thing right where it's like, this is a girl
• 21:33
  Speaker 2: who has been so insular so in her books so
• 21:36
  Speaker 2: like and but she is she is a beautiful like social,
• 21:41
  Speaker 2: like interesting vivacious mother has obviously gotten some vivacious qualities
• 21:44
  Speaker 2: from her, but she has been living sort of like
• 21:48
  Speaker 2: that you know, book reader sort of life, and it
• 21:52
  Speaker 2: is interesting to see this character grow into who she
• 21:57
  Speaker 2: will eventually be, which is so so much more.
• 21:59
  Speaker 1: Comfort bowl right.
• 22:01
  Speaker 2: But yeah, I love I love these these little moments
• 22:04
  Speaker 2: when when Dean is being quite the sweet boyfriend and
• 22:07
  Speaker 2: like reading between the lines too, like which I was like, oh,
• 22:11
  Speaker 2: well that was an impressive teenage boy at that point
• 22:14
  Speaker 2: for him to realize that, like, she's not saying what
• 22:16
  Speaker 2: she actually wants. I was like, wow, Dean, we uh,
• 22:19
  Speaker 2: we're more put.
• 22:21
  Speaker 1: Together than I exactly exactly, and the universe, the universality
• 22:26
  Speaker 1: of it, it's like it's I'm a sixty six year
• 22:30
  Speaker 1: old man and I'm watching you, a fifteen sixteen year
• 22:35
  Speaker 1: old girl, be all a Twitter, and I'm fully engaged
• 22:40
  Speaker 1: in this. This is not my demo, this is not
• 22:42
  Speaker 1: my kind of thing, but it is because it's like
• 22:46
  Speaker 1: I've been in this situation. I'm sure you've been in
• 22:49
  Speaker 1: this situation. Everybody's been in this situation, and they're just
• 22:54
  Speaker 1: acting out all of these classic scenes in a very
• 22:57
  Speaker 1: unique way that we've never seen before. But it's just
• 23:00
  Speaker 1: familiar blueprint, right, So it's very comfortable.
• 23:03
  Speaker 2: And then my hero of the series, Lane being no
• 23:06
  Speaker 2: but this is my entertainment for the week, Like we
• 23:08
  Speaker 2: got rid of the television, I have to be.
• 23:10
  Speaker 1: Watch she's jumping up and down, she's so happy.
• 23:16
  Speaker 2: I don't know if you noted that this stuck out
• 23:19
  Speaker 2: to me in the episode where the little clips in
• 23:21
  Speaker 2: Lane's hair, because it was very much like, okay, we're
• 23:26
  Speaker 2: Alexis looks so young, so let's put these clips in right,
• 23:33
  Speaker 2: make hair to make sure that they look because.
• 23:36
  Speaker 1: As we know, Kiko was twenty seven at that time.
• 23:40
  Speaker 2: Luckily did not look it looks like a baby as well.
• 23:44
  Speaker 1: Didn't that look it?
• 23:45
  Speaker 2: You could see again, not to get too insidery, you
• 23:48
  Speaker 2: could see the network notes at play of like take
• 23:51
  Speaker 2: her down, take her down, take her down, and the
• 23:52
  Speaker 2: hair department's like yellow and red.
• 23:55
  Speaker 1: Clap right right right, right right right, all right. So
• 23:59
  Speaker 1: now we're now they're making the dress. Laura's making her dress,
• 24:09
  Speaker 1: and it's a it's a great scene because there's like
• 24:11
  Speaker 1: there's there's you know, prap falls and the the mannequin
• 24:15
  Speaker 1: falls on top of Laurla she slips in, it falls.
• 24:17
  Speaker 1: I mean, it's just really hard to do and pull
• 24:21
  Speaker 1: it off, and she she makes it looks effortless, makes
• 24:25
  Speaker 1: it look like an accident. That's hard to do. What's
• 24:29
  Speaker 1: the think of this scene? There was a lot in
• 24:31
  Speaker 1: this scene. Let's uh, let's let's talk about this. I mean,
• 24:34
  Speaker 1: we've got we've got Suki, we got Emily, we got
• 24:38
  Speaker 1: we've got all kinds of stuff. It take us through
• 24:40
  Speaker 1: let's stay here.
• 24:41
  Speaker 2: I mean, what was fun about, you know, the the
• 24:47
  Speaker 2: Suki of it, all, right, is that idea of I'm
• 24:53
  Speaker 2: coming over to help, right, and I actually can't help
• 24:57
  Speaker 2: at all. Again, just like placing a character in there
• 25:05
  Speaker 2: who's like, okay, if it all goes according to plan,
• 25:08
  Speaker 2: Emily's not staying over. We're not going to get her
• 25:10
  Speaker 2: there the next day. Like Lore lies lived enough of
• 25:13
  Speaker 2: a life at this point in time where she knows
• 25:15
  Speaker 2: how to keep her mother out of her house. We've
• 25:17
  Speaker 2: weakened her with the back issue, but Suki is there
• 25:21
  Speaker 2: to help. It's going to be fine, and within two seconds.
• 25:26
  Speaker 2: Because I also and you should knowing that Suki is
• 25:29
  Speaker 2: so clumsy, you should see that hairspray moment coming. But
• 25:32
  Speaker 2: again didn't see it.
• 25:34
  Speaker 1: Didn't see that's so good at all. She's whipped out
• 25:38
  Speaker 1: four bottles of pills.
• 25:40
  Speaker 2: Yeah, so I know that was so great, right, just
• 25:43
  Speaker 2: like I got it all because I'm constantly injured, right
• 25:46
  Speaker 2: right right?
• 25:47
  Speaker 1: And uh yeah, the spraying in the eyes was you
• 25:50
  Speaker 1: just I replayed that three or four times and just roared.
• 25:53
  Speaker 1: I mean, it's easy to go. Amy and Dan must
• 25:56
  Speaker 1: sit there and go, how do we make this hysterically fun,
• 25:59
  Speaker 1: because this is just a scene about you know whatever,
• 26:02
  Speaker 1: and it's a nice scene and we've written it well,
• 26:05
  Speaker 1: but how do we enhance this? You know, it's so good,
• 26:08
  Speaker 1: it's so good. And then Emily.
• 26:10
  Speaker 2: Calls, oh, yeah that's right, so sorry, we're I jumped ahead. Yeah,
• 26:14
  Speaker 2: you're right. No, there's the uh her actually falling with
• 26:17
  Speaker 2: Mannekin and then yeah, her calling to try to get
• 26:19
  Speaker 2: in on the entire situation. What I love about how
• 26:22
  Speaker 2: that particular scene worked is I love how that was shot.
• 26:25
  Speaker 2: I loved that Laura I was getting further and further
• 26:30
  Speaker 2: and further towards the ground to the she finally gives
• 26:36
  Speaker 2: up and says, oh, you know, I am would you
• 26:41
  Speaker 2: like to come over and see her get ready for
• 26:44
  Speaker 2: the dance? And it's just it's not until she is
• 26:47
  Speaker 2: fully on her back on the floor that she has
• 26:50
  Speaker 2: she's she's accepted defeat. I just thought that was a
• 26:54
  Speaker 2: really clever way of doing that.
• 26:58
  Speaker 1: She needs, she needs a Suki delivered muscle relaxer in
• 27:03
  Speaker 1: order to get her to comply with Emily. That she
• 27:07
  Speaker 1: gets off. It's hysterical, all right. Now here we we
• 27:16
  Speaker 1: go to Chiltern and Tristan notices that Paris's hair is shorter. Well,
• 27:27
  Speaker 1: here we are confronted with my gosh, this guy.
• 27:32
  Speaker 2: You can say it, this guy. That's how I feel
• 27:35
  Speaker 2: about it, this guy.
• 27:36
  Speaker 1: Have you ever known a guy like this?
• 27:38
  Speaker 2: Of course?
• 27:40
  Speaker 1: Wow, what produces such a person?
• 27:44
  Speaker 2: Well, wealth, upsete amounts of wealth apparently the thing. I mean,
• 27:49
  Speaker 2: you know, it's obviously all insecurity. Yeah, but I love
• 27:55
  Speaker 2: when Paris says, grory, he was being totally nice to
• 27:59
  Speaker 2: you when you were a to him. It's like Paris,
• 28:01
  Speaker 2: who hurt you? That seems nice? Like Paris.
• 28:10
  Speaker 3: I gotta say the dialogue, just like putting Tristan in
• 28:16
  Speaker 3: his place was some of the best words ever to
• 28:21
  Speaker 3: come out of her mouth.
• 28:23
  Speaker 1: I mean I replayed that scene many times.
• 28:27
  Speaker 2: Yeah, it's great. It's great again, like the the opposite
• 28:30
  Speaker 2: of like comfortability too, like seeing her sort of you know,
• 28:33
  Speaker 2: shy and afraid the Dean thinks and all that, and
• 28:36
  Speaker 2: then her just not giving two cares in a world.
• 28:41
  Speaker 1: What I mean, is there a better way to call
• 28:45
  Speaker 1: somebody stupid, slimy and a weasel? Those three elements I
• 28:51
  Speaker 1: mean just brilliant, absolutely brilliant. I mean the fact that
• 28:54
  Speaker 1: he hung in there for so long and took those blows.
• 28:59
  Speaker 2: Because he's not And this is why again she's in
• 29:02
  Speaker 2: the right. He's not hearing her, he's not listening to her.
• 29:06
  Speaker 2: He's like, oh, it doesn't compute in his brain that
• 29:08
  Speaker 2: he's not going to get what he wants. And so
• 29:11
  Speaker 2: it's just she's not being heard or listened to. And
• 29:14
  Speaker 2: then finally it's almost like it's not the actual words
• 29:18
  Speaker 2: that gets them to leave. It's like him being like, well,
• 29:21
  Speaker 2: this is taking too long.
• 29:28
  Speaker 1: He tries at least at least she won't be buying
• 29:33
  Speaker 1: the tickets or some lame.
• 29:36
  Speaker 2: Ticket.
• 29:38
  Speaker 1: Oh god, it's so fun. It's so fun. I think
• 29:43
  Speaker 1: I my love for Amy deepened after watching this show.
• 29:48
  Speaker 1: I mean after watching the scene, yea, I thought, Okay,
• 29:51
  Speaker 1: that's that's her message to these types of guys.
• 29:53
  Speaker 2: Absolutely, and then again like.
• 29:56
  Speaker 1: I because it's because it's a type. They're out there,
• 29:58
  Speaker 1: they're kind of well.
• 30:00
  Speaker 2: And that's the thing is, you know, again, in what
• 30:04
  Speaker 2: this show has done for young women especially, is it
• 30:10
  Speaker 2: it takes those sort of types of guys and but
• 30:13
  Speaker 2: it never really lives in a world of a type
• 30:16
  Speaker 2: of girl like again, that Paris character, those Madeline Louise characters.
• 30:21
  Speaker 2: We've seen those mean girls over and over and over
• 30:23
  Speaker 2: and over again, and the choice, the choice to make
• 30:27
  Speaker 2: Paris who she is is just fantastic, Like you cannot
• 30:32
  Speaker 2: point to another sort of like female opposition foe, and like, yes,
• 30:38
  Speaker 2: obviously in that moment, is it about the guy? Is
• 30:40
  Speaker 2: it about Paris has always had a thing for Tristian.
• 30:43
  Speaker 2: He doesn't look at her, he looks at Rory, But
• 30:45
  Speaker 2: we know on an even deeper level she's afraid of
• 30:49
  Speaker 2: what Rory threatens in her education, which is a crazy
• 30:54
  Speaker 2: thing to be also like tied into this entire situation
• 31:00
  Speaker 2: of what these girls are are feuding over. Uh and
• 31:03
  Speaker 2: just again, the anger in Paris. It's very hard to
• 31:09
  Speaker 2: make anger funny and looks just like it's hysterical every
• 31:15
  Speaker 2: single time. One of my favorite characters in this series.
• 31:19
  Speaker 1: Just yeah, one of the great scenes of the entire
• 31:22
  Speaker 1: when she's.
• 31:23
  Speaker 2: So upset that she won't wait for the change. She's like,
• 31:27
  Speaker 2: I will not keep this change.
• 31:29
  Speaker 1: Right, just so good?
• 31:41
  Speaker 2: All right?
• 31:41
  Speaker 1: So, now Rory's getting ready for the dance, Emily shows up,
• 31:45
  Speaker 1: Sukie's there. This is when all that hairspray happens. But
• 31:51
  Speaker 1: it's nice to see them all together and it's nice
• 31:53
  Speaker 1: to and then Emily, you know, Emily does her thing,
• 31:56
  Speaker 1: She does her Emily thing, demands that and has horn
• 32:00
  Speaker 1: honking and silence ever been so funny.
• 32:04
  Speaker 2: So great, And you know what's so hilarious in this
• 32:06
  Speaker 2: moment is Emily's not wrong.
• 32:09
  Speaker 1: Emily's not wrong. You can't disagree with that.
• 32:12
  Speaker 2: You can't disagree with that. And because I was sitting
• 32:14
  Speaker 2: there and I was like, in a normal situation, Laurrea
• 32:17
  Speaker 2: I would be like would oh it would be like, no,
• 32:20
  Speaker 2: that's not happening Rory Leaf and Laura I kind of
• 32:23
  Speaker 2: sits a little bit back a I think because of
• 32:25
  Speaker 2: the pain, Like she just doesn't have the energy to
• 32:27
  Speaker 2: fight with her mother. But he I was like, oh,
• 32:31
  Speaker 2: is there a little small part of Laura I that's like, yeah,
• 32:34
  Speaker 2: I already met him yet it's fine, but a little
• 32:35
  Speaker 2: bit of like, you know, Laura's very untrusting of all
• 32:38
  Speaker 2: the boyfriends, and even though Dean's the one that she
• 32:40
  Speaker 2: liked the most. I wondered, was there a little part
• 32:43
  Speaker 2: of her that was like, well, I'm not gonna fight
• 32:45
  Speaker 2: too hard on this because you know, we should kind
• 32:48
  Speaker 2: of come inside, Like what was the line that Emily
• 32:50
  Speaker 2: said where she was like, you're not.
• 32:52
  Speaker 1: A you're not a fast food. Yeah, you're right, you're
• 32:56
  Speaker 1: not in order of chicken or something like something like that.
• 32:59
  Speaker 1: That sounds something, but I don't know. I think Laurel
• 33:03
  Speaker 1: Lai is you know, she's so the anti she's so
• 33:06
  Speaker 1: the antithesis of her mother. Yet there's always that you know,
• 33:10
  Speaker 1: the DNA, and you know there's got to fight that,
• 33:13
  Speaker 1: right so until you can't anymore. But she's yeah, she's
• 33:17
  Speaker 1: in a very vulnerable state. She's on medication and muscle relaxers.
• 33:21
  Speaker 2: So every every hill that Suki had in her.
• 33:26
  Speaker 1: Right, the only way to deal with Emily is to
• 33:29
  Speaker 1: get like lit up a little bit, you know, just
• 33:32
  Speaker 1: go to an altered state of consciousness and maybe you
• 33:34
  Speaker 1: could throw it. But really, really really love this scene.
• 33:39
  Speaker 1: These are these are classic scenes, beautifully shot, beautifully acted,
• 33:44
  Speaker 1: beautifully written, back to back to back to back to back.
• 33:49
  Speaker 1: There isn't a weak thread here. I mean, it's just
• 33:52
  Speaker 1: it just keeps coming at And I thought to myself,
• 33:58
  Speaker 1: how nice for the audience to witness this, the three
• 34:01
  Speaker 1: generations coming together and all reacting in different ways to
• 34:06
  Speaker 1: Dean and his Uh you know his lack of manners,
• 34:12
  Speaker 1: would you say or he's just following instruction? He said,
• 34:16
  Speaker 1: but you said that to do this, I did it.
• 34:18
  Speaker 2: You know. It's teenage boy simplicity, right.
• 34:22
  Speaker 1: Right, just fantastic and the and then you top it,
• 34:28
  Speaker 1: just when you think it couldn't get any better, they
• 34:31
  Speaker 1: get into this Baccarat crystal thing with the monkey lamp,
• 34:35
  Speaker 1: and it's like, where do they get this stuff? It's fantastic.
• 34:38
  Speaker 2: What store was selling both of those items? What store
• 34:43
  Speaker 2: was selling the back crystal candlesticks that you could go
• 34:46
  Speaker 2: and be like, but I'm going to replace it with
• 34:48
  Speaker 2: the monkey lamb?
• 34:49
  Speaker 1: Right, there's there's there's an inconsistency there.
• 34:52
  Speaker 2: Well, I just was like, I was like, look, I
• 34:54
  Speaker 2: think it could happen, and I think there's a north
• 34:56
  Speaker 2: Strom situation where that could be going down.
• 34:58
  Speaker 1: But maybe it's a pawnche up. You mentioned.
• 35:06
  Speaker 2: That could happen. I agree with you.
• 35:09
  Speaker 1: And then she pocketed the rest of the money because
• 35:11
  Speaker 1: you know that's not equal value, not now worth a
• 35:15
  Speaker 1: dance and and it and it really it really uh uh.
• 35:22
  Speaker 1: It shows the difference between these two mm hmm. You know,
• 35:26
  Speaker 1: and from Emily's point of view, she's fallen so far
• 35:28
  Speaker 1: down where she came from, and from lorealized point of view,
• 35:31
  Speaker 1: it's like I found my freedom and my joy all
• 35:35
  Speaker 1: right now we're at the dance and they made it there.
• 35:40
  Speaker 1: Take us through this, madel Louise spot him, and Louise
• 35:45
  Speaker 1: is very forward with Dean about his height. Mm hmmm
• 35:48
  Speaker 1: uh that is a very bold and that shows a
• 35:53
  Speaker 1: level of total disrespect toward Rory from these from Louise.
• 35:59
  Speaker 2: That that Dean handles brilliantly, very well. But again also
• 36:05
  Speaker 2: Matt just in her own of like really fixated on
• 36:11
  Speaker 2: my mom doesn't know how to make anything. That's just
• 36:12
  Speaker 2: so well, this this blatant show of like disrespect of
• 36:18
  Speaker 2: happening right in front of her, and she's just like,
• 36:20
  Speaker 2: I don't think she could make anything. It just doesn't
• 36:22
  Speaker 2: forget Again, that's just like the brilliance of where Gilmer
• 36:25
  Speaker 2: Girls lives is like those two things can be happening
• 36:28
  Speaker 2: at once, and that like elevates the scene.
• 36:30
  Speaker 1: You know, it is rather amazing to watch a sixteen
• 36:34
  Speaker 1: year old girl, Rory handle all of these arrows coming
• 36:37
  Speaker 1: at her all the time. I mean, if it's not
• 36:39
  Speaker 1: if it's not Tristan, it's it's it's Paris and now
• 36:43
  Speaker 1: it's Louise. I mean, it's just like full of disrespect.
• 36:47
  Speaker 2: But I feel like that was sort of a universal
• 36:51
  Speaker 2: feeling as a teenage girl. I think you did feel
• 36:54
  Speaker 2: like you had and I think probably for teenage boys
• 36:56
  Speaker 2: as well. I think just girl tend to be, for
• 37:01
  Speaker 2: whatever reason, a little bit more aware at that stage.
• 37:05
  Speaker 2: It's probably has something to do with whatever hormones are
• 37:08
  Speaker 2: happening to both at the same time. But I do
• 37:11
  Speaker 2: think it feels like you have so much going at
• 37:13
  Speaker 2: you in so many directions and you're navigating, and so
• 37:17
  Speaker 2: to see someone navigate it, well, it was very inspiring.
• 37:23
  Speaker 2: And you know, again in the world where we put
• 37:26
  Speaker 2: Dean on a pedestal as like the perfect boyfriend at
• 37:28
  Speaker 2: this point, like to be like, oh, she has sort
• 37:31
  Speaker 2: of a partner in crime backing her up right here
• 37:35
  Speaker 2: was a comforting thing again, lulling us into this false
• 37:39
  Speaker 2: sense of security and comfort that will be disrupted by
• 37:43
  Speaker 2: the end of the episode.
• 37:45
  Speaker 1: M Yeah, she's very strong, isn't she. Rory has some real,
• 37:48
  Speaker 1: really good coping skills. You know, she doesn't take things personally,
• 37:53
  Speaker 1: but it's hard. I mean, it all builds up and
• 37:55
  Speaker 1: you know, anybody could break. But she says, very well,
• 37:58
  Speaker 1: for somebody so young.
• 37:59
  Speaker 2: Well again, like if you're going into also like an
• 38:02
  Speaker 2: absent father, to you get those hoping skills of not
• 38:06
  Speaker 2: letting people get to you, probably quite early on, because
• 38:10
  Speaker 2: you've had to not let your father get to you.
• 38:13
  Speaker 1: Right. And now we see in Paris meets Dean and
• 38:16
  Speaker 1: it's very brief and it's not terribly memorable.
• 38:20
  Speaker 2: And then Jacob Richard we've seen there, all right.
• 38:27
  Speaker 1: And then it's later in that scene he asked for
• 38:29
  Speaker 1: a number, isn't it Jacob comes up to her summer cousin.
• 38:33
  Speaker 1: All right, So now we're back at Lorealiz's house and
• 38:37
  Speaker 1: Emily's made a mash bananas and toast for Lorelei, and
• 38:41
  Speaker 1: that is a would you say, that's a strange thing
• 38:44
  Speaker 1: to make for an adult mash bananas and toast.
• 38:47
  Speaker 2: It's certainly a strange thing to make for an adult,
• 38:50
  Speaker 2: but understandably so of like, oh, you're never an adult
• 38:54
  Speaker 2: to your mom, right sure, So like she's I just
• 38:57
  Speaker 2: love the idea of like Emily, who's going through a
• 39:00
  Speaker 2: million maids and a million cooks, right, right, one thing
• 39:03
  Speaker 2: she did when she was by herself, probably with a
• 39:07
  Speaker 2: sick child, and overwhelmed, was like, if I take this
• 39:10
  Speaker 2: banana and I mash it onto bread, then it's a meal.
• 39:16
  Speaker 1: We're gonna pick off right where we left off. She's
• 39:19
  Speaker 1: she's not sixteen anymore, she's not pregnant. She's a little girl,
• 39:22
  Speaker 1: and I'm in control and I'm gonna make her feel good.
• 39:25
  Speaker 2: And again the idea too of giving, Like when she
• 39:28
  Speaker 2: was like, I would make it for you when you
• 39:29
  Speaker 2: were sick all the time, it was like, okay, well
• 39:31
  Speaker 2: hold on. So if it's if it's a head cold,
• 39:33
  Speaker 2: that's so weird. We're not doing soup. We're doing we're
• 39:35
  Speaker 2: doing but I guess there's potassium, all right, I got you.
• 39:38
  Speaker 2: If it was a stomach thing, that seems like a
• 39:41
  Speaker 2: horrible idea.
• 39:42
  Speaker 1: Mm hmmm mm hmmm. Yes, absolutely, it was just you know,
• 39:47
  Speaker 1: she was just a back pain exactly. So she's being
• 39:52
  Speaker 1: very motherly to Laurela, and she's loving every minute of this.
• 39:56
  Speaker 1: I mean it's also you know, she's she's back in
• 39:59
  Speaker 1: her element. She's getting to relive the past, maybe right
• 40:03
  Speaker 1: some rights, some wrongs here. She evens and Laurel I
• 40:09
  Speaker 1: even says, thank you, mommy. And then she brushes her
• 40:11
  Speaker 1: hair away that I mean, so yeah, everybody in this
• 40:14
  Speaker 1: scene is regressing.
• 40:15
  Speaker 2: Now absolutely, And that great moment where again Laurel I
• 40:19
  Speaker 2: so trained, where it's like I can do everything by myself.
• 40:21
  Speaker 2: Just give me the burrito, I'll eat it cold, and
• 40:23
  Speaker 2: you could just see Emily wanting to caregive, wanting to caregive,
• 40:26
  Speaker 2: wanting to care give, and then Loral I goes fine,
• 40:30
  Speaker 2: hots better though, and Kelly Bishop's performance of be right
• 40:35
  Speaker 2: back like that little three to go do that was
• 40:39
  Speaker 2: so fantastic, so absolutely wonderful. And yeah, you know when
• 40:42
  Speaker 2: she's you know, finally asleep and letting her in and
• 40:46
  Speaker 2: and I think really that that moment where she finally
• 40:50
  Speaker 2: feels comfortable enough to say, hey, mom, I made the dress,
• 40:53
  Speaker 2: like I didn't just go out and buy it. And
• 40:57
  Speaker 2: Emily takes a moment to really let that in and
• 41:01
  Speaker 2: not be her usual Emily, you know, putting her down
• 41:06
  Speaker 2: to say you did a lovely job, and you did
• 41:09
  Speaker 2: a lovely job with Rory and the dress, and that moment,
• 41:12
  Speaker 2: you're like, show's over, We're healed now, right, these two
• 41:15
  Speaker 2: are come together. It's fine, she's accepted it. They're gonna
• 41:19
  Speaker 2: fight a path forward. This is wonderful. This is great,
• 41:22
  Speaker 2: Like they're never able to have a conversation like this,
• 41:25
  Speaker 2: Emily's never able to say you did a good kid,
• 41:30
  Speaker 2: and that just that moment allows Laura if for the
• 41:34
  Speaker 2: thank you mommy, for the moment she lets her be
• 41:37
  Speaker 2: her mother right.
• 41:39
  Speaker 1: And just what a wonderful arc for Kelly to act
• 41:43
  Speaker 1: for that episode. I mean, just she must have just
• 41:47
  Speaker 1: been so thrilled when she read that episode, like, Wow,
• 41:50
  Speaker 1: this is gonna be fun because of all the riches
• 41:53
  Speaker 1: that she brings to a performance, you know, absolutely, Yeah,
• 41:57
  Speaker 1: and Amy setting us up for the big fight scene.
• 42:01
  Speaker 1: Just let's get them together. Let's get everybody teary.
• 42:04
  Speaker 2: Eyed and lulled into that false security.
• 42:10
  Speaker 1: That's so good. It's a now where it's a dance.
• 42:15
  Speaker 1: Paris is angry that Roy knows her date is is
• 42:19
  Speaker 1: her cousin. She's embarrassed and she kind of outs herself.
• 42:21
  Speaker 1: That's a really funny scene, and you know, Roy just says, well,
• 42:26
  Speaker 1: I don't have to say it, You've just told everybody. Yeah,
• 42:31
  Speaker 1: and uh oh oh, Dean called him DRIs Dan. What
• 42:37
  Speaker 1: is Dristane is what?
• 42:38
  Speaker 2: I'm so glad you asked that. I was like when
• 42:40
  Speaker 2: he says, oh, very clever, I was like, this is
• 42:43
  Speaker 2: going above my head. This is this is Amy and
• 42:45
  Speaker 2: Dan being.
• 42:46
  Speaker 1: No, no, this is something I grew up with, DRIs Dan,
• 42:49
  Speaker 1: and I think it's I think it's a headache remedy, okay,
• 42:54
  Speaker 1: or it's something it's it's something to get rid of headaches.
• 42:58
  Speaker 1: Hang on, let me, I'm gonna google this real fast.
• 43:01
  Speaker 2: Because I'm so glad you brought that one up because
• 43:03
  Speaker 2: I was like.
• 43:03
  Speaker 1: This one, DRIs Dan.
• 43:05
  Speaker 2: This one above above my pay grade of under.
• 43:08
  Speaker 1: You know I misspelled it. Darn it. I just start
• 43:10
  Speaker 1: over sinus and nasal decongestant. I think that's okay, Chris Dan,
• 43:26
  Speaker 1: Oh that's clever. He called it a sinus and nasal decongestant.
• 43:32
  Speaker 1: What a thing? What a thing? And you know when
• 43:35
  Speaker 1: you see those two kissing on the dance floor and
• 43:38
  Speaker 1: DRIs Stan is in the background just like and then
• 43:42
  Speaker 1: his date comes out.
• 43:43
  Speaker 2: I'm gonna say this entire sequence could be recut. That
• 43:47
  Speaker 2: Dean and Tristan are actually in love with each other,
• 43:51
  Speaker 2: right like that. You could easily recut this scene. That's
• 43:54
  Speaker 2: what struck me when I was watching it. I was like,
• 43:56
  Speaker 2: there is helpable chemistry between Shad Michael Burry injured.
• 44:00
  Speaker 1: How lucky really, I think.
• 44:03
  Speaker 2: Because you're looking obviously, you know, with context clues. He's
• 44:06
  Speaker 2: looking at the dance floor. He's clearly looking at Rory.
• 44:09
  Speaker 2: But I'm telling you the twenty twenty four version of
• 44:11
  Speaker 2: this show, the reveal is he's in love with Dean.
• 44:17
  Speaker 1: But he's still just doant either way.
• 44:20
  Speaker 2: Yeah, either way, either way, he's a nasal de congested.
• 44:22
  Speaker 1: He's a nasal d congested. Very very satisfying to see this.
• 44:35
  Speaker 1: You know that this is another iconic universal experience that
• 44:41
  Speaker 1: everybody witnesses at a dance when they were growing up.
• 44:44
  Speaker 1: We've all seen this.
• 44:46
  Speaker 2: I'm gonna have to take your word for it because.
• 44:48
  Speaker 1: I never saw that well that this chick was homeschooled.
• 44:51
  Speaker 2: So this is my window into is this what idt you?
• 44:57
  Speaker 1: Oh yeah, yeah, I've seen this a couple of times.
• 45:01
  Speaker 1: This is what happens, you know, there's guy fights over girls,
• 45:06
  Speaker 1: and uh it was very satisfying, and I thought, I
• 45:08
  Speaker 1: thought Dean acquitted himself very well. He said, you don't
• 45:12
  Speaker 1: want to fight me, Tristan, I will kill you, and
• 45:16
  Speaker 1: uh you.
• 45:17
  Speaker 2: Right, you, which, by the way, ultimately right. We know,
• 45:22
  Speaker 2: Dean's from Chicago. He's a city kid. Yeah, yeah, yeah, right,
• 45:25
  Speaker 2: right right, I really want to get down to it.
• 45:28
  Speaker 2: This is the you know, nice guy from the Midwest
• 45:31
  Speaker 2: versus like, you know, losty kid from.
• 45:33
  Speaker 1: Connecticut, right exactly.
• 45:37
  Speaker 2: Neither one of these guys are that hard, you know
• 45:39
  Speaker 2: what I mean?
• 45:39
  Speaker 1: Mm hmmm hm. But it's it's it's great stuff and
• 45:46
  Speaker 1: it really brings the Rory and Dean closer together. She
• 45:49
  Speaker 1: refers to Hi as her boyfriend and he's like, but
• 45:51
  Speaker 1: that's later on anyway. So they're walking home and uh,
• 45:55
  Speaker 1: they happened upon after dancing around the word boyfriend with Dean,
• 46:03
  Speaker 1: and she finally asked him if he is her boyfriend,
• 46:09
  Speaker 1: and then they go to Miss Patty's. So it's progressing,
• 46:11
  Speaker 1: the relationships progressing. This is a perfect first date for them.
• 46:16
  Speaker 1: They go in to Miss Patties and they fall asleep.
• 46:21
  Speaker 1: They fall asleep and as kids do, right, and never
• 46:25
  Speaker 1: happened to me, but it's it's possible.
• 46:29
  Speaker 2: The problem is Rory's so immune to coffee at this point, right,
• 46:32
  Speaker 2: like they're they're they're walking and getting coffee, but it
• 46:35
  Speaker 2: doesn't matter. She's like an Italian that was like her
• 46:38
  Speaker 2: evening espresso, you know what, I go to sleep afterwards, like.
• 46:43
  Speaker 1: All right, So they fall asleep on the bean bags
• 46:46
  Speaker 1: and Miss Patties And next morning Miss Patty comes in
• 46:49
  Speaker 1: with a group of older women at five thirty am
• 46:52
  Speaker 1: to her studio. I guess they're doing a jazz or
• 46:54
  Speaker 1: size or something or a yoga no dance, it's a
• 46:57
  Speaker 1: dancing right, she doesn't dance.
• 46:58
  Speaker 2: Well, I think I think it was a yoga clash.
• 47:00
  Speaker 2: She's a dance teacher, but I think it was. I
• 47:03
  Speaker 2: believe so because of the mats.
• 47:05
  Speaker 1: But you know, right, and there they are passed out,
• 47:09
  Speaker 1: Rory freaks out. Dean insists he's gonna come with Rory
• 47:12
  Speaker 1: to explain to Laura lines and.
• 47:15
  Speaker 2: Liz Torres has that brilliant line reading of like it's
• 47:18
  Speaker 2: five thirty in the morning. She's like, Rory sweeting, worry
• 47:23
  Speaker 2: sweet sometimes it's five thirty in the morning. Just so
• 47:26
  Speaker 2: like nice to Rory and so like we don't trust you,
• 47:30
  Speaker 2: new kid. But yeah, and then all the running with Dean,
• 47:35
  Speaker 2: where she's he's like, I'll explain, and she's like you
• 47:37
  Speaker 2: cannot be anywhere near right, And I think that's such
• 47:42
  Speaker 2: intense reaction to again, no exposition needed. We got what
• 47:48
  Speaker 2: this means. Like, we know the one thing Rory has
• 47:52
  Speaker 2: grown up with her entire life is to not be
• 47:57
  Speaker 2: in the same position that her mother was in. That
• 47:59
  Speaker 2: is the one thing that Laurai and Emily both can
• 48:02
  Speaker 2: agree on. Then Rory knows what the stakes of that
• 48:05
  Speaker 2: are and what the stakes of her losing her mother's
• 48:08
  Speaker 2: trust are, so that you know, super intense reaction isn't
• 48:13
  Speaker 2: about I'm gonna get in trouble like it would be
• 48:15
  Speaker 2: with any other teenager. It's about, oh, this is like
• 48:20
  Speaker 2: something that is going to hurt my mother on a
• 48:22
  Speaker 2: level that like nobody else gets but me. Yeah.
• 48:25
  Speaker 1: I love that scene if Rory running past looks you know,
• 48:29
  Speaker 1: it's like a wide shot of her just running down
• 48:32
  Speaker 1: the street to her home yelling, Oh no, I gotta go,
• 48:35
  Speaker 1: you can't come with me? Just great, just great. And
• 48:41
  Speaker 1: then Emily wakes up Laurala I and then it all begins.
• 48:46
  Speaker 1: This all begins, this big scene, this big shootout at
• 48:50
  Speaker 1: the OK Corral begins, and everybody's freaking out and Emily's
• 48:55
  Speaker 1: freaking out, and Mom stop yelling at me. I know,
• 48:57
  Speaker 1: I know she's missing, and I'm calling and where's the
• 49:00
  Speaker 1: phone I'm looking for the you know, the whole thing.
• 49:02
  Speaker 1: It was just terrific tension ratchet up. We as an
• 49:06
  Speaker 1: audience knows she's safe, but it's still creating some anxiety
• 49:11
  Speaker 1: watching these two freaking out because boy, you know, as
• 49:15
  Speaker 1: a father, I can relate to that, right, being in
• 49:18
  Speaker 1: a situation where you don't know where your kid is.
• 49:20
  Speaker 1: So that's that's terrifying. Uh And there's nothing in life
• 49:24
  Speaker 1: more terrifying than that. And then it all begins. What
• 49:29
  Speaker 1: was your impression of this?
• 49:31
  Speaker 2: I mean, love love, love love, It's it's it's a
• 49:35
  Speaker 2: perfect scene, it really is. It's it's so layered, it's
• 49:41
  Speaker 2: and and again we've been joking. You know, the whole
• 49:44
  Speaker 2: episode lolows into a full sense of security. But because
• 49:46
  Speaker 2: it does, and you said something so great, Scott, we
• 49:49
  Speaker 2: all know everything is actually okay, but it doesn't matter.
• 49:53
  Speaker 4: The damage is done. And and again it's just the history.
• 49:57
  Speaker 4: It's the history that comes out in that argument between
• 50:00
  Speaker 4: Emily and Lorlai and between Kelly and Lauren. It's just
• 50:04
  Speaker 4: like a masterclass like acting the hell out of it.
• 50:06
  Speaker 4: When Lauren just grabs that coffee pot, which she says
• 50:10
  Speaker 4: no she's not.
• 50:11
  Speaker 2: And like the build of the no, she's not, No,
• 50:14
  Speaker 2: she's not. No, she's not. No, she's not. No, she's not. No,
• 50:16
  Speaker 2: she's not And then she gets a little like almost
• 50:19
  Speaker 2: childish again, which I think was such an important choice
• 50:23
  Speaker 2: because again she's sitting there arguing with her mother about
• 50:28
  Speaker 2: her own child, but it is still about something. They're
• 50:31
  Speaker 2: not arguing about Rory. They're arguing about Laura I and
• 50:35
  Speaker 2: all the Ultimately, no matter what, can they have a
• 50:41
  Speaker 2: nice relationship eventually if both of them just give a
• 50:44
  Speaker 2: little absolutely, But it doesn't change the fact that neither
• 50:48
  Speaker 2: one of them has dealt with the pain of that situation,
• 50:51
  Speaker 2: and so it will forever be the thing that is
• 50:55
  Speaker 2: under both of them in any situation. And then again
• 51:00
  Speaker 2: her really really standing up for Rory and standing up
• 51:02
  Speaker 2: for themselves. Emily leaves, Rory comes in, Rory thinks it's
• 51:10
  Speaker 2: gonna be okay, And the flip of like her losing
• 51:16
  Speaker 2: her strength in that moment of you're absolutely right, just
• 51:19
  Speaker 2: being from a parent of not knowing where your kid is.
• 51:22
  Speaker 2: But again what that her getting into her own insecurities
• 51:27
  Speaker 2: about what that means too, Like she knows Rory is okay,
• 51:31
  Speaker 2: and once she knows Rory is okay, it's about something
• 51:36
  Speaker 2: not scarier than your kid being dead. Obviously, you're so
• 51:39
  Speaker 2: happy your child is fine. But it becomes about something deeper,
• 51:44
  Speaker 2: which is what Rory calls her out on, which is like,
• 51:47
  Speaker 2: I screwed up and I did it in front of Grandma,
• 51:49
  Speaker 2: and you're the one who got nailed for it.
• 51:50
  Speaker 1: Right right, right, right, yeah, boy. And we thought that
• 51:58
  Speaker 1: that was the thing. We thought that that falling asleep
• 52:02
  Speaker 1: in Miss Patty's was the scene. We thought that was
• 52:05
  Speaker 1: the thing. No, it was just a catalyst to get
• 52:07
  Speaker 1: these two women at each other's throats and really dig
• 52:10
  Speaker 1: into what was really going on. Can you imagine a
• 52:14
  Speaker 1: more powerful narrative to a predominantly female audience that this
• 52:18
  Speaker 1: show represents other than dealing with this directly in this way?
• 52:24
  Speaker 1: I mean, what a powerful.
• 52:26
  Speaker 2: Hook, Absolutely a powerful hook. And again, like you know,
• 52:29
  Speaker 2: you're dealing with the the sex of it all and
• 52:33
  Speaker 2: all of that too, but with the core of the show,
• 52:36
  Speaker 2: which is always the mother daughter relationship, dealing with something
• 52:40
  Speaker 2: that I think is a very nuanced thing, which is
• 52:43
  Speaker 2: what it means to be a mother and a daughter,
• 52:45
  Speaker 2: which is you're so connected rite any mother and child.
• 52:50
  Speaker 2: You know, obviously you've raised the kid in a way
• 52:54
  Speaker 2: that is very very unique to you, being able to
• 52:57
  Speaker 2: you know, birth the child, and even again mothers who
• 52:59
  Speaker 2: are doing that too, but just the mother nurturing is
• 53:02
  Speaker 2: a very very unique sort of experience, but specifically with
• 53:05
  Speaker 2: mothers and daughters. What it is about, like Emily's self
• 53:10
  Speaker 2: worth is in Laurel I. And because Laura I didn't
• 53:13
  Speaker 2: live her life the way that Emily thinks she should,
• 53:17
  Speaker 2: that has hurt Emily in a way. And in many
• 53:19
  Speaker 2: ways we see that with Laura I and Rory. Even
• 53:22
  Speaker 2: though Laura I, you know, says that that's not what
• 53:25
  Speaker 2: she does. She gives Rory space, she talks to Rory,
• 53:28
  Speaker 2: and that is so true like with any sort of
• 53:31
  Speaker 2: psychle trauma, right, you hope that the next generation does
• 53:33
  Speaker 2: a little bit better and LAURAI does a lot better, but.
• 53:36
  Speaker 1: Again it does do a lot better.
• 53:37
  Speaker 2: But if Rory screws up, and if Rory doesn't go
• 53:42
  Speaker 2: to an Ivy League school and Rory doesn't have the
• 53:45
  Speaker 2: life that Laura I was supposed to have, does that
• 53:48
  Speaker 2: mean Laura I failed? And what does that mean to
• 53:51
  Speaker 2: Laura I? Is the exact same journey that Emily's having.
• 53:54
  Speaker 1: It's the big question of the show. It's a big question.
• 53:57
  Speaker 1: It really is a very exactly what I thought of
• 54:00
  Speaker 1: was that because they do talk about that, they do
• 54:03
  Speaker 1: argue about that, and then we know from the episodes
• 54:06
  Speaker 1: what happens, right, because her life does go off the
• 54:09
  Speaker 1: rails a little bit. Right, Man, What an episode? What
• 54:15
  Speaker 1: a scene? What a scene? All right, here's some fun
• 54:19
  Speaker 1: facts and a various student analysis. By the way, Vanessa,
• 54:23
  Speaker 1: very rare.
• 54:24
  Speaker 2: I've only spent you know, twenty something years rewatching this show.
• 54:34
  Speaker 1: All right. There's some fun facts that the dance, they
• 54:35
  Speaker 1: talk about Dean's height, and I was bumping against this
• 54:38
  Speaker 1: a little bit. As they say up here in Canada.
• 54:42
  Speaker 1: He's actually six four. He's he's a tall drink of water.
• 54:44
  Speaker 1: He's not six too, he's taller than six two. And
• 54:47
  Speaker 1: he's nineteen twenty years old at the time, I think
• 54:51
  Speaker 1: it was eighteen or nineteen. I guess it was nineteen.
• 54:55
  Speaker 1: And this is the first episode, as we mentioned, not
• 54:57
  Speaker 1: to feature Luke Dane spoiler. Rory and Dean physically fall
• 55:03
  Speaker 1: asleep together at Miss Patties, and Rory has to explain
• 55:06
  Speaker 1: to her mom that they were just innocently sleeping. In
• 55:09
  Speaker 1: a later season, they actually do sleep together at Miss Patties.
• 55:14
  Speaker 2: They do all yeah, and.
• 55:17
  Speaker 1: I thought this was the episode. I thought, Oh, this
• 55:19
  Speaker 1: is the episode where they actually do. But I think
• 55:23
  Speaker 1: a great use of sets and a great use of
• 55:25
  Speaker 1: Miss Patties, right, Why create a whole separate set when
• 55:27
  Speaker 1: you can just when love can bloom in Miss Patties
• 55:31
  Speaker 1: where it often does. Anyway, So all right, Veness, what
• 55:36
  Speaker 1: are you getting up to now? You? What do you?
• 55:38
  Speaker 1: What are you doing?
• 55:39
  Speaker 2: I mean, I've been producing mostly, which has been really,
• 55:44
  Speaker 2: really lovely. I did a Christmas movie not too long
• 55:46
  Speaker 2: ago that I believe you can watch on Discovery Plus
• 55:49
  Speaker 2: or Max called One delicious Christmas film I produce called
• 55:53
  Speaker 2: The Royal Treatment is on Netflix. My sister stars in that.
• 55:56
  Speaker 2: It's very very fun. I highly recommend. Yeah. So I've
• 56:01
  Speaker 2: been doing that, been doing some writing. Hopefully I'll come
• 56:04
  Speaker 2: back on this podcast and I can actually tell you
• 56:06
  Speaker 2: what I've been writing. But again, yes, in the world
• 56:09
  Speaker 2: of how this entertainment industry works, you are hired to
• 56:13
  Speaker 2: do something and then you can't actually talk about it
• 56:15
  Speaker 2: because they may not make.
• 56:16
  Speaker 1: It all right right, exactly exactly well, it was a
• 56:19
  Speaker 1: lot of fun catching up and thanks for coming on. Yes,
• 56:22
  Speaker 1: we will have you back and when you can talk
• 56:24
  Speaker 1: about these things, maybe even if you can't.
• 56:27
  Speaker 2: Yeah, yeah, yeah, have me back anytime, you know. I'll
• 56:29
  Speaker 2: rewatch you, Morgles. I'm already doing it, Scott, right.
• 56:32
  Speaker 1: Right, right right, Why not talk about it on this
• 56:35
  Speaker 1: platform anyway? Thank you so much for your time. Always
• 56:39
  Speaker 1: at delight, Ladies and gentlemen, I give you Vanessa Morano,
• 56:44
  Speaker 1: the one and only. Thanks so much. All right, everybody,
• 56:47
  Speaker 1: we will see you next time, and remember where you lead,
• 56:51
  Speaker 1: we will follow. Stay safe, my Augusta. Hey everybody, and
• 57:22
  Speaker 1: don't forget Follow us on Instagram at I Am all
• 57:25
  Speaker 1: In podcast and email us at Gilmore at iHeartRadio dot com.