September 23, 2025 • 56 mins
Teri tells her sticky, ‘stripped down’ version of that infamous nude scene!
Find out why being naked for 6 hours in front of the crew WASN’T the hardest part about that scene! Plus, Teri and Emerson touch on a potentially sore subject, meeting your dad’s new wife! Hear how they handled this exact situation in real life. Meanwhile, Andrea spots an easter egg in black and white. Did you see it too?
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Hi, Welcome to Desperately Devoted the Ultimate Desperate Housewives rewatch,
hosted by Meat Terry Hatcher, my on screen daughter Andrea Boone,
and my real life daughter Emerson Tenny.
Speaker 2 (00:14):
So this is episode three, Pretty Little Picture, aired October seventeenth,
two thousand and.
Speaker 3 (00:19):
Four, another Sondhime lyric. Yes, pretty Little Picture comes from
a funny thing happened on the way to the forum.
Speaker 2 (00:28):
Did you see that? Were you in it?
Speaker 4 (00:29):
I did see it.
Speaker 5 (00:30):
I grew up listening to the album and it's great.
And you know, I've been trying to unpack what I
think the reference. I was going to say, Yeah, okay,
you stumped me a little bit. I mean yeah, it
stumped me a little.
Speaker 3 (00:42):
Bit with the reference in terms of the reference to
Sonhime or what. I totally figured this give it to Well,
it's all about appearances, this idea of what are the
appearances we keep up?
Speaker 6 (00:56):
And Pretty Little Picture, you know, wants this writer.
Speaker 2 (01:03):
She was able to unpack that with probably zero.
Speaker 6 (01:08):
The rest of the episodes.
Speaker 2 (01:09):
Yeah, what struck me, and my takeaway about a different
version of keeping up with the appearances is like something
that Mary Alice says, which is to live in fear
is to not live at all. And I think of
myself as a person who has always faces their fears,
(01:29):
like I'm not a runner from my fears, and I
also don't try to pretend like they don't exist.
Speaker 6 (01:36):
You're definitely not an avoidant personality.
Speaker 2 (01:38):
I'm not so I mean, I mean you obviously you
you know me so well because I burst you out.
Speaker 6 (01:45):
Of my body.
Speaker 2 (01:47):
What can you think of an example of me, not
of me facing my fears.
Speaker 3 (01:51):
Oh well, okay, this is something I don't know why.
This is the first thing that's coming to my head.
But this woman, my wonderful mother, loves to throw herself
into any body of water. And oftentimes it's not just like, oh,
we're in the tropical location, this is like a relaxing
body of water. It's like we're in the middle of
Africa and it's night and there's this crazy lake and
she's afraid there might be snakes in it, and she
(02:13):
she goes. It's it's kind of like a manufactured facing
of fear, not manufactured, but.
Speaker 4 (02:19):
It's not like she's prepared.
Speaker 3 (02:21):
She's not in a bathing Then she likes to she
likes to seek out scary bodies of water and then
face her fear and go into them.
Speaker 2 (02:30):
Jumping off high things. But this was you remember, this
was when we've been to Africa twice and we took
my her grandparents on this one trip and my dad
literally said, I will pay you money to not get
in that body of like I'm on this ship.
Speaker 6 (02:47):
Little show called Desperate.
Speaker 3 (02:53):
That counted, But you didn't stop you. You went in
and she kept her socks on. She said she was
that was the kind of barrier.
Speaker 2 (03:03):
Cart was, Yeah, it was. But I also, you know,
I once went to like a survival camp sort of
situation where you know, you have to build shelters and
learn navigation and kayak for miles and eat crickets and
squirrels and whatever again crazy and people said like, why
why are you doing that?
Speaker 6 (03:21):
Is it for TV?
Speaker 2 (03:22):
And I say, no, it's because I like to put
myself in these uncomfortable position positions and see if I
can survive.
Speaker 3 (03:29):
What do you feel like you learn on the other
side of that. I'm curious.
Speaker 2 (03:34):
That's interesting, and I'm sure it is going to lead
us back to the characters and Desperate Housewives. You know,
what are they learning? I feel like maybe I'm learning
that I can do hard things. Maybe I'm checking off
bucket list things. I do think that I am a
(03:57):
like life. Like right now, you can't see me, but
I'm taking my hands. I'm like, you know, grabbing like
the air, like I just I want to just get
a hold of it and like try to experience it all.
And and so maybe that's why, Yeah, maybe that's why.
Speaker 6 (04:13):
I think.
Speaker 5 (04:13):
My understanding of fearlessness in general has shifted over the
past few years. And I used to interpret it as
being someone who's not afraid versus someone like you who
recognizes the fear but doesn't let it stop them from
doing the thing. And since I retrained my brain to
understand what I think fearlessness is, I have become a
(04:35):
lot more fearless.
Speaker 4 (04:36):
I love them, and that feels good.
Speaker 6 (04:39):
I love that so much.
Speaker 2 (04:40):
But so I love this episode.
Speaker 6 (04:43):
I love this episode.
Speaker 4 (04:44):
Oh, I love this episode so much.
Speaker 6 (04:47):
I cannot wait to talk about it.
Speaker 3 (04:49):
There were so many iconic moments. I mean, potentially one
of your most iconic moments, one.
Speaker 5 (04:54):
Of the serious most I would say iconic moments. I
didn't realize it happened so early on, I.
Speaker 2 (04:59):
Know remembered that it had. Well, Okay, we'll get to
that later in the store. Okay, we'll get to that. Well.
Speaker 3 (05:04):
We start off with Mary Alice obviously narrating again from
the other side or beyond the grave, and I love
that she says she talks about in the eternity it's
best to travel light. Me too, and actually thinking about
our travels, I immediately thought of you, mom, and.
Speaker 2 (05:21):
Now you're yeah. And she literally can shove two weeks
of going to Paris in a tiny.
Speaker 4 (05:30):
I'm a carry on.
Speaker 2 (05:31):
Persons insane and it's almost like a clown car. Like
you get somewhere with her and she opens it and
she just has like fabulously like whatever whatever outfit that's
where we probably come out of.
Speaker 6 (05:45):
The suitcase's like where is it all covered?
Speaker 5 (05:48):
It's such a skill, though, and once you get once
you're like, I'm a carry on person lifestyle, it's very hard.
Speaker 4 (05:54):
To check a bag.
Speaker 2 (05:54):
Ever again, I'm I'm getting better. The last two you
are actually are gone on. I haven't packed, like and
it's because I went to went through one too many
experiences of losing my luggage.
Speaker 3 (06:05):
Like having it And I have to say, I do
get that panic when I check something and then I'm
waiting for it to even if I don't even care
about what's in there, even if I've been like hiking
for two weeks. Yeah, I go, oh my god, it
is a bag gone. Am I not going to find
what's in the back?
Speaker 2 (06:16):
You know? Do you have one trick of how to
not be a chronic overpacker?
Speaker 3 (06:21):
Yes?
Speaker 6 (06:21):
Actually I do.
Speaker 3 (06:23):
The one trick is if you can just bring one
pair of shoes that go with all of your outfits
and you wear them on the plane, then you can
fit everything else.
Speaker 5 (06:34):
But that's the rule for me, is that like you
have to have at least too so that you can
rotate them so your feet don't get sore if you're walking,
if you're in a really.
Speaker 2 (06:41):
Wear plane and bring one.
Speaker 3 (06:43):
Yeah, sometimes you could wear you know, you could wear
sneaker or boot on the plane and then you could
fit like a little sandal or a little ballet hat
in the bag. But sometimes if I travel somewhere in
the winter, I'll just wear a great pair of boots
that I love, and that's with everything. Yeah, well you
always look chic and put together flattered.
Speaker 2 (07:01):
Well, I am going back to uh Mary Alice and
being incinerated, and how great was the shot and the
edit of going from that to the smoke coming out
of the chimney. Yeah, I mean, yeah, there's just again
I want to back up and and and applaud the
neighborhood as a character. I cannot believe how this show
(07:25):
is shot. It is just so gorgeous and it is
the editing is so amazing. I just I sort of
sit there in awe when I'm watching it. I mean,
it really is. I totally am fun and it's and
it's totally holding up for.
Speaker 6 (07:40):
Oh my god.
Speaker 3 (07:41):
Yeah, I'm the use of color when you come into
the neighborhood. And then again in the flashbacks. I actually
noted that downhill everything becomes more muted in hindsight, and
then we're back into the present day.
Speaker 5 (07:50):
And asked in that early flashback where you, you know,
Mary Alice opens the door and we're on you in
present time, and then she opens the door, the camera turned,
you know, reverses and you see it's Mary Alice, and
we realize we're in a flashback, and then.
Speaker 4 (08:03):
You guys are all at the table together.
Speaker 5 (08:06):
I was so struck by the presence of Mary Alice
in that scene as one of the women, like what
dynamic isn't there amongst the rest of you that she
provided And I was just I really thought it was
nice seeing her with all of you in that way
and seeing that she sort of filled this space of
being steadfast and confident, and it definitely did not feel
(08:28):
like she was hiding anything, Like I can understand why
you guys, as her friends, were like, why the hell
did you know?
Speaker 4 (08:34):
Did this happen? And why did she do that? It
is such a mess, just seems so steady.
Speaker 3 (08:39):
And also the idea that you would plan a dinner,
you know, they find that this dinner in their calendar.
Speaker 2 (08:45):
I caught that mistake, did you?
Speaker 7 (08:46):
Guys?
Speaker 6 (08:47):
Can tell me?
Speaker 2 (08:48):
So? On the newspaper that Susan is reading, yes, it
says it's the fifteenth and that and and the line
that is that that that reminded her, And so she
goes to the calendar and then they go to the
table where you're talking about, Yeah, and she says that
(09:08):
dinner is going to be on the sixteenth.
Speaker 3 (09:11):
But do you think it reminds her that dinner's the
fat Well, I guess you're right.
Speaker 2 (09:14):
It doesn't make no I think it all takes place
on the same day. But maybe it doesn't. Maybe you're right,
maybe I got it wrong.
Speaker 5 (09:19):
But I also like maybe a good detective Terry. But
I also like that we're clearly in real time, like
the newspaper says October fifteenth, two thousand and four, and
this episode aired October seventeenth, two thousand and four.
Speaker 6 (09:31):
Oh my gosh, whoa. I love that I did not
pick that up at Allah. In terms of.
Speaker 3 (09:36):
Things that were missing, Yes, which I noticed after this flashback,
after we realized that she set the state for dinner
and then died. And it's you know, who would think
to set a dinner if you had plans to die?
Speaker 6 (09:48):
Yeah? Where did Lynette's baby go?
Speaker 4 (09:51):
I know, where is the baby?
Speaker 3 (09:53):
Where is does the baby? I haven't watched the show.
Does the baby come back?
Speaker 4 (09:57):
Well, I guess we're not that.
Speaker 3 (10:00):
I'm I'm worried about where is this baby?
Speaker 2 (10:04):
The baby takes a lot of now, baby.
Speaker 4 (10:06):
Takes the back. Someone did put baby in a corner.
Speaker 2 (10:10):
We sort of skipped over the iconic Brie ruining the
couch to make it less and less comfortable. Manipulate her words.
I really am. I'm empathizing, and I'm loving the dynamic
of this marriage. That's falling apart, and the therapy scenes,
(10:33):
and uh, the way both of these actors are are
performing this, I just I'm I just love it. I couldn't.
I couldn't. I also felt, did you guys feel this
was the first episode that the men the husband's really
popped out for me?
Speaker 6 (10:52):
Later in the episode, yeah.
Speaker 2 (10:54):
And all of them, and I want to I'm so curious.
It made me. I felt for the actors. I mean,
for Ricardo to have to play a character that is
so abusive, you know, and threatening. What did that feel
like for Doug, who I am. I am sure in
his real life is not so flippantly completely clueless as
(11:20):
to what his wife might be going through.
Speaker 6 (11:23):
But you know, there was just I just really felt
like I.
Speaker 2 (11:28):
Saw them stand out in their specific personality and character development.
And I got very excited about the men.
Speaker 6 (11:37):
I was really interesting.
Speaker 2 (11:38):
I agree.
Speaker 3 (11:39):
I was really interested in what you were saying about
Breede when she comes downstairs early and she wakes Rex up,
and she says, you know, get up. I don't want
to see how the kids see you sleeping on the couch.
And for me, that's where I kind of felt like
the Pretty Little Picture title came in this idea of
the lengths we go to to keep up appearances, and
what is the importance of keeping up appearances? You know,
(11:59):
do you side Rex that kind of feels like, you
know what, we're having meritable problems. Let the kids know
they're old enough tell them.
Speaker 6 (12:06):
Or Bree, who.
Speaker 3 (12:08):
Maybe goes to the opposite end of the extreme of saying,
I don't want anyone to even have the slightest whiff
that anything is going on between us, which of course
then becomes suspicious.
Speaker 2 (12:20):
Yeah, this jumps off into I think a pretty significant
problem we're still having in society with with you know,
social media as an example right now, that everyone is
portraying these fake, perfect lives and it is really hurting people.
It's hurting young people because they don't have the experience
(12:41):
to be able to differentiate, to be able to say
that's probably not real, or you know, they just intellectualize that,
you know, oh, there's probably another side of this. Corn
You get as old as me and you go like, yeah,
they're telling me this is the way it is, but
you know, I know, probably something else going on. But
even to me, you know, I I I feel that comparison.
(13:03):
I feel that it's shame, really, isn't it. It's it's
it's that it's it's the balance of where shame meets
expectation that we we expect this certain thing of ourselves
or we think the world expects it of us, and
we're unable to sustain it, and so are we honest
about that? Mostly no? And do we or Also.
Speaker 5 (13:26):
Everything is front facing, like it used to be that
certain industries were front facing and there and if you
elected to go into that field, you kind of knew
that that was a part of it, like in our
you know, and for us, for you and me as performers,
we kind of know that that's part of the game.
But now that there's such a presence online for anyone
and everyone, there is just this this difference in how
we care about perception and obviously that you know, there's a.
Speaker 2 (13:49):
Lot to talk about that, I mean, and it's real.
Look at the Coldplay incident, you know that happened like
a while ago. I mean, those two people's lives were
absolutely derailed.
Speaker 3 (13:59):
Totally, absolutely, And also in terms of everyone having a phone,
most people having social media, yeah, I mean almost everybody.
It's one of the reasons that I mean I have
an Instagram, but I do not have it on my phone,
and I have recently stopped pretty much for the most part,
posting on there. And I was talking to my friend
about my decision to delete it off my phone and say,
for all you know, what's the expression all intents and purposes?
Speaker 6 (14:24):
Yeah?
Speaker 5 (14:24):
Wait, intense intense like intention, intense and purpose purposes.
Speaker 6 (14:29):
Yeah, for all intents and purposes.
Speaker 2 (14:31):
But it does wrong.
Speaker 6 (14:32):
Yeah.
Speaker 3 (14:32):
I was like, here, I'm going to go mispronounce this
right now in the middle of talking on the podcast,
but thank you, Andrew. No, for all intents and purposes,
I feel like I don't have an Instagram right now.
And I was talking to my friend about why I
got rid of it, and I said, you know, honestly,
I am and I don't even post that much comparative
to a lot of people who do. But I was like,
I'm really tired of this idea of an alternate version
(14:56):
of my life and image of myself that I am
maintaining and have this expectation to maintain. You know, I'll
be out doing something in the world and I'll think, oh,
I should take a picture of this, because then I
might want to post it and it's almost like having
this pet. All of the thought that goes into maintaining
this alternate version of yourself as opposed to just being
present in your life. It makes me think about Brie
(15:17):
all the time of her day that's going into protecting
the appearance of what her day is, even from from her.
Speaker 6 (15:23):
Children, yeah, as opposed to just being in her day.
Speaker 5 (15:25):
And I think the the crux of it for her
is that of course she can't hide it from her children,
right and we know that Andrew clearly always know everything
right away, Yeah, they have children, and yeah, yeah, And
I think that even though she's trying so hard to
control the situation and to protect her kids and protect
the image that she so you know, curates, it's it's
(15:49):
not gonna work out. I think this is a perfect
example of why I do think Desperate Housewives continues to
resonate and is reaching out to you know, new generations
and new fans, people virginized like yours.
Speaker 2 (16:01):
But because you know, at its time, you know, first
of all, there was a lot of it was reality
shows was what was really dominating television, and and but
this kind of like campy satire and almost like that
the way Mark used the expression of housewives to sort
(16:22):
of crack open that there's like this dark place underneath
where all isn't exactly as it appears. And I do
think that that shame is still real.
Speaker 3 (16:36):
It's the idea of what is behind the veneer. Even
more so maybe now today was at the time, and
so you.
Speaker 2 (16:42):
Can come watch this show now. And even though it
is it's in this tone of a little bit over
the top, it's still it still reaches you, it still touches.
Speaker 5 (16:52):
You on a much more superficial note. I also will
say that I've been noticing that a lot of the
fashion is not entirely like it's aged.
Speaker 6 (17:10):
Well y TWK is coming back.
Speaker 4 (17:12):
I A lot of outfits are pretty cute.
Speaker 6 (17:16):
I like them, Oh my god, and the hair sweaters.
Speaker 5 (17:21):
There's a scene with you anyway, Yeah, I agree, And
I was wondering if you felt like red jeans.
Speaker 6 (17:26):
I mean, come on, I don't know.
Speaker 3 (17:28):
I think it works to come too feels or yeah
wear wearing Oh, I mean, it's what they're looking for
in Crossroads and like going through the thrift start.
Speaker 5 (17:43):
Another thing that happened in this episode is we meet Carl.
Speaker 6 (17:47):
Oh my god, Richard. It was so great.
Speaker 2 (17:51):
Okay, so when we get to that scene more, but
I do I I had a question for you. There
was it back just in the in the and these
are little moments, but because we're here in that newspaper
scene where they were I first have a noteb thing
and you reach over and you wipe the food from
my cheek, I was, do you remember did you come
(18:13):
up with that idea?
Speaker 6 (18:14):
Did I come up with that idea? Was that in
the script?
Speaker 5 (18:16):
Like so I wrote just because I was also so
curious about this moment. I wrote, Julie wiping Susan's face
while eating breakfast. I don't remember if that was scripted
or behavior that Terry and I came up with.
Speaker 4 (18:28):
Because we were proud of this moment.
Speaker 5 (18:32):
This was such great physical behavior. It's such a small,
little moment, but again, it really established the dynamic between
the two of us. And it's not all it's not verbal,
it's just a little.
Speaker 2 (18:41):
I feel like it might have been me.
Speaker 4 (18:43):
Yeah, and the.
Speaker 2 (18:46):
Confident it wasn't in the script. I mean, we try
to go back and look, but I'm pretty sure it wasn't.
But I feel like I was always trying to find
nonscripted like like I was mentioning in the other episode,
the thing of where I pulled the sweater over my
for us because I'm embarrassed in comparison that my boobs
aren't as good as Eadie's booths.
Speaker 6 (19:05):
Uh.
Speaker 2 (19:06):
I feel like I was always trying to find things,
So maybe that was me.
Speaker 6 (19:10):
I think it.
Speaker 2 (19:11):
Probably was it.
Speaker 6 (19:11):
But I love that. I just love her.
Speaker 2 (19:15):
I know you. But but here's the thing. I was
like an old actress, like I should have been. I mean,
if I was good, I should have been good. So
there's just I don't get any extra credit, but you
I don't.
Speaker 3 (19:27):
We're a kid, and you were just she's amazing you are.
And obviously we're only three episodes.
Speaker 6 (19:34):
I have notes.
Speaker 4 (19:34):
I have notes for myself.
Speaker 6 (19:36):
You know.
Speaker 5 (19:38):
It's kind of weird, right, Like getting to do this
experience with you guys is so fun, and I'm watching
it so much more as a viewer than I am
as someone who was a participant of the show. I've
thought about so much, how and you know, when we
first sat down to record our first episode, how you
were talking about like, I can't believe I got to
be in this. And it's one thing to hear you
say that because you were just so much a part
of it, Like the whole thing is established, you know,
(19:59):
with you was this ginormous part of it.
Speaker 4 (20:01):
But I really feel that way as well. When I
watch it, I'm like, oh my god, I can't believe
I was in this.
Speaker 5 (20:05):
But but I definitely watch it as a viewer and
not as much. But every now and again I'll be like, oh,
I have an actor note for younger and but it's
but it's sweet and it's great, and thank you for that.
Speaker 2 (20:16):
Okay, So another beautiful shot of Warria Lane was the
paper route that got the kid running through. I'm just
not going to get off the newspaper part of this story.
It's a big part at the beginning. But like, so
I had a paper route as a kid. Did you
have a paper route? Right?
Speaker 6 (20:36):
Okay?
Speaker 2 (20:37):
And you didn't.
Speaker 6 (20:38):
Certainly not in studio.
Speaker 2 (20:39):
No, I definitely had one where you would get up
and that was a real thing. You drive your bike
around at four in the morning and throw.
Speaker 6 (20:46):
You delivered papers. I really did you had a paper route.
I had a paper route.
Speaker 2 (20:49):
That's how I made money when I was like, for you,
probably twelve, and I had like a banana seat bicycle
with the little purple almost like the one that Gabby
buys for the black failing blackmailer failer.
Speaker 6 (21:03):
I totally should we just talk about it now.
Speaker 2 (21:06):
So you've got Brion Rex in marriage counsel. You've got
Lynette and Tom. You've got Tom who is is You've
got Lynette who's pushed to her limits and dealing with
her crazy kids, and right, so we don't know what,
but all the sort of shame of that, and also
Tom really not showing up in any reasonable way.
Speaker 6 (21:29):
And then yeah, you have Susan.
Speaker 2 (21:31):
Well, you have Susan who gets confronted with the girlfriend
and what did you think of that can kicking moment?
Speaker 6 (21:37):
Well, I what do you also think?
Speaker 2 (21:39):
Because like your mom, yes, okay, when your dad started dating,
somebody did I I mean, I'm sure I did.
Speaker 6 (21:49):
I don't know.
Speaker 2 (21:50):
It's very hard to be the the the ex and
it was hard for me to watch that. I mean,
in hindsight, I'm so happy your dad is happy, and
I'm and they're happy and it's great, but it is
everybody moves on at different paces. And you know, in
the story of Desperate Housewives, I think Susan had been divorced.
Speaker 6 (22:12):
A year, which feels like a short amount, which.
Speaker 2 (22:15):
Feels kind of like a short time. But I think
that first moment when you start getting introduced to the
new girlfriend or the new wife, you know, people don't
talk about this enough. And I am willing if our
viewers are interested in like they want, they want to
hear more about this. I think it's an incredibly vulnerable
tightrope balancing act whatever, especially when there's a child involved,
(22:40):
where you're giving up control that maybe you don't want
to give up. And also somebody that you have no
investment in is now introduced in such a large way
to your life. It is a very tricky thing which
leads to petulant behavior or can, and that's Susan's case.
Speaker 6 (23:01):
It certainly did. And what was your takeaway? Was she
an asshole or not?
Speaker 3 (23:06):
I mean, I I feel lucky that you never kicked
any hands around, that's what you think, at least not directly.
And also we never did custody day switches in front
of the house, so maybe the opportunity just didn't really
present itself. I feel like I was dropped off at
school and then picked up after school, but with Susan
(23:26):
and Brandy, and for Brandy when she finally tries to
talk to Susan, mispronounces her last night to.
Speaker 5 (23:35):
Have a counter like you need to have a Meyer
being pronounced wrong, I think we're at meer Mayor.
Speaker 2 (23:41):
I think I think Edy pronounced it wrong. Yeah in
another episode.
Speaker 6 (23:44):
No, I mean, I mean a public opinion might decide
it's mayor.
Speaker 5 (23:49):
Yeah, I about the two people who are in the family.
Speaker 2 (23:52):
I really do think people people I think mayor would
be the vote.
Speaker 4 (23:56):
So I guess it's okay.
Speaker 3 (23:59):
I'm going to stick to my are just out of respect,
which is something that feels like Susan is certainly not given.
In this scene when Brandy throws her soda can.
Speaker 6 (24:09):
And I feel Brandy comes off.
Speaker 3 (24:11):
Which I think is intentional. So much younger, yeah than Susan.
I mean, she almost feels like a teenager level of behavior.
And it's so catty because in you know, if you're
going to think about it in these terms, she's one.
You know, She's Carl Ray are together. Why are you
now throwing your trash at the woman that Carl left
(24:35):
to be with you? So I and it's not just
because you're my mom. I think I side with Susan
in this moment when she doesn't, you know, I don't
want her to pick up the can. That feels wrong.
I feel like I'm the kind of person that definitely
if someone I've seen people on the freeway, you know,
throw a soda can or something out the window, and
I think you if you did that, you should, well, one,
(24:58):
you should get a giant ticket for a little on
the freeway, but you should. You know, if you're on it,
you should pull over and you should go and you
should get it.
Speaker 2 (25:04):
Not on the freeway, but you know that there's only
two things you could throw out of your without getting arrested.
Or water.
Speaker 6 (25:12):
Water not ice.
Speaker 2 (25:13):
It's feathers, feathers and water.
Speaker 3 (25:16):
And it's because chicken truck crazy. No chicken trucks that
transport chickens would have so many feathers flying off.
Speaker 2 (25:22):
Yet, but that it couldn't be That sounds great, but.
Speaker 6 (25:25):
I know I do.
Speaker 3 (25:26):
I love this moment because I feel for Susan. I
feel like we empathize with her, and then she takes
it a little too far.
Speaker 5 (25:32):
Maybe they both put the moment where he says the
checks and the mail and then you're standing by the
mailbox and you look in the mail and you say.
Speaker 3 (25:38):
No, he's not so good, so good, and then she
of course, then she gets caught by Mike.
Speaker 6 (25:43):
And I think that is a genious button to that
scene that we.
Speaker 2 (25:48):
Embarrassment and she says later, you know, I feel so
stupid that I acted like that, and I don't act
like that around anybody, but Carl. You know, have you
guys ever do you have that does that feel familiar
to you that there's one person that can really push
your button?
Speaker 5 (26:05):
There are people in my life that push my buttons,
and you know, it's like they just have the key,
whatever the key is to that part of me that
they get sadly or gets you know, gets under my skin.
Speaker 2 (26:15):
I mean, see, I've removed most of those people. That's
just aging, is that you know that they get they
go by the wayside sooner.
Speaker 5 (26:25):
Or later or just we're still here.
Speaker 4 (26:27):
We've made the cut.
Speaker 6 (26:28):
Yes, yeah, thank goodness.
Speaker 5 (26:29):
But yeah, I also just because we're I think right
after that scene we get a glimpse of I really
appreciate these little one off moments that we get when
we see just like a smaller coupling of the of
the women together, like the scene with Susan and Lynette. Yes,
And I think that's when you say I hate behaving
that way. He just he brings it out of me
(26:49):
and I hate that. And I I loved getting a
little insight into their individual dynamic and I love it
so honest and like you really would be friends. It
was just a brief, little moment, but it was great.
Speaker 3 (27:01):
I love that too, And I actually I really liked
that idea of what they're connecting over because Lynette is obviously,
like you know, at her wits end with her husband
not acknowledging everything that she does, and Susan's just been
at her wits end with her ex husband and his
new girlfriend. And they have this connection over living with bitterness,
(27:21):
you know, like not wanting to be the type of
people that hang on to bitterness, except they do accept
it's human nature. It's really hard not to. And I
was so, I mean, I'm interested for both of you.
Oh obviously we all struggle with this to some degree.
But do you feel like, do you hold on to bitterness?
Is it easier for you to let go of do
you have certain tools that you turn to when you
(27:44):
want to let go of it? Because I just found
this really interesting.
Speaker 2 (27:48):
Yeah, yeah, I mean, I've had some big things in
my life that have have really amounted to a serious
amount of hurt feelings, bitter feelings, I guess. And you know,
this is a funny thing that I that I have
(28:08):
have taken to doing that. And I have a friend
who has an issue with her neighbor, So I'll use
that as an example, like over a fence line, you know.
And I think this is actually not that uncommon, like
I think people. I know, we're doing a show, but
I do really think that that that people sometimes do
get into issues with their neighbors and you can't quite
(28:30):
run away from it because you both own your house
and so you're sort of stuck there. But something I've
tried to take to doing is if I have an
issue with somebody and I don't seem to really be
able to fix it, like for whatever reason, the communication
or whatever the opportunities are, I can't really change what's happening.
I try to remember that someone loves them, that not
(28:52):
just one person, but probably a lot of people love
that person that you have this bitter feeling with, the
same way that if they're feeling bitter about me, lots
of people love me and when you start to understand
that the person you have an issue with has a
bunch of people around them that probably think they're like
(29:13):
the funniest person or like they're so charming when they
read children's books, or they make the best oatmeal or
whatever it is that they somebody thinks that about them,
and it somehow dissipates my ability to be angry, and
I just end up feeling like maybe a little melancholy,
like I wish this wasn't the way it is, but
(29:35):
it lets go of a little bit of my personal
like internal bitterness, and that's helped me a lot. Yeah,
it helped me a lot.
Speaker 6 (29:41):
I really love that you can try.
Speaker 4 (29:43):
That's great advice.
Speaker 7 (29:44):
Thank you, Okay, and real daughter, that's great.
Speaker 6 (29:55):
So now let's get to Gabby.
Speaker 3 (29:57):
You're speaking of your neighbor people that you can't get
rid of.
Speaker 5 (30:03):
That quick pan over to those that little girl's face
in the window, Oh that girl, she was so perfect.
And I really truly didn't remember any of this, So
I actually initially wrote down like who is that child?
Speaker 2 (30:20):
Did you look at it? No?
Speaker 5 (30:21):
But I meant in the context of the show, like
I was like, who is that I was as jumped
as Gabby and John as to like, who is this
person who's spying on them?
Speaker 2 (30:30):
And the fear I have no recollection by the way
of them being in multiple episodes, so I don't know.
They yeah, kind of like their new neighbors, and you're
like where I think they're hanging out with somewhere.
Speaker 3 (30:43):
Like kind of vaguely behind the bushes, to the side
of Gabby's house. You kind of see them go back there.
Speaker 4 (30:47):
I have a question.
Speaker 5 (30:48):
Okay, so I had a question for both of you
about this takeaway. I'm I'm sort of grappling with about
interpreting Gabrielle's character. So you know, there's in this episode
we're kind of faced again with the fact that she's
covering up this affair she's having right with.
Speaker 2 (31:04):
A child, by the way, who's in algebra classes. Oh
my god, I again, I'm sorry, I have to again.
I wrote I wrote down all caps. Oh MFG. Question,
our question, our exclamation point. The Gabby John relationship is
just so problematic. I don't know what else to say.
Speaker 5 (31:24):
I know, I know he's in algebra class and on
the soccer and then he's later yeah, on the track field.
Speaker 6 (31:30):
And yeah, I know it's it's that's he has tube socks.
Speaker 5 (31:33):
Yeah, she wants she wants him to leave.
Speaker 6 (31:36):
His gym clothes on, you know, it's all you really.
Speaker 2 (31:38):
Yeah.
Speaker 5 (31:39):
But I'm wondering because we're seeing this side, and I
know we can talk more about the specifics, about the
way the husband's characters are more defined this episode, and
I think that we've shared this. I didn't remember feeling
like Carlos was as threatening as he is. Yeah, and
he really is, and he's a very domineering, you know, presence.
(31:59):
And I'm wondering, as I'm sort of re getting to
know Gabrielle as a new character, do we think that
she's going to these extreme lengths to cover up her affair,
because obviously she doesn't want him to know.
Speaker 4 (32:13):
But do we think that.
Speaker 5 (32:13):
She is afraid of losing her lifestyle more or afraid
of her husband?
Speaker 6 (32:20):
Hmmm.
Speaker 2 (32:21):
Wow, that's an interesting question.
Speaker 5 (32:22):
Because I've been trying to think about it because I
don't know that I have an answer yet. I feel
like she is so strong with him, you know, and
she pushes back so much to him, she doesn't necessarily
clue him in that she would be afraid of him.
So then that makes me think, oh, well, maybe it's
more that she has set herself up to live this
life that she thought she wanted and now she's afraid
(32:43):
of what it looks like if it all goes away.
Speaker 3 (32:45):
Yeah, I mean, I feel like that has been my
instinct with her character. Was also that she has this
amazing lifestyle, she has all this money. They seem to
throw money, or Carlos throws money at their marriage problems,
and I'm curious in the same way I'm curious about
breeze backstory, I'm curious about Gabby's backstory asides from being,
you know, this model that we hear about, where does
(33:08):
she come from and what does that life look like
and did she I get the sense that it feels
like she did not grow up with the memes that
she now has with Carlos, and so she's kind of
afforded a lifestyle that is maybe somewhat new, but maybe
not because if you're working in high fashion, maybe you
are getting paid well. Like It's an interesting conundrum that
(33:30):
I definitely have not fully cracked.
Speaker 2 (33:32):
I don't know if I'm just like Pollyanna or whatever,
but I think it was the pilot where there was
a flashback to when those two characters met and when
he asked her to marry him, like on the third day. Yeah,
and how giddily excited she was that I I want
(33:52):
to believe that she really did fall in love with him,
and and that maybe the stuff was great, but that
that she really did think that she was in love
with him, that it wasn't just like a gold digger,
that she really was in love with optimistic. I know,
I'm really I'm not sure that they deserve it, but
(34:12):
I'm sort of trying to hang onto that.
Speaker 5 (34:14):
I'm so excited to see how their relationship evolves, because,
like I said, I didn't remember this part of him,
and so I think you might be onto something that
I was.
Speaker 2 (34:23):
Really struck by how much the Carlos character, the threateningness
of him, and how that's adding up right, you know,
always looking for the little nitpicky stuff, you know. I
don't really remember that. But then this is part of
the I think I brought this up before. I'm not
in it all, and you know, and so this part
(34:46):
of the story is like watching a show I'm not in.
Like I wasn't there when they shot that. I don't
know what they discussed. This is why I'm so interested
to have Mark on, and I think we're going to
get to have Ricardo on too, which I'm excited about.
So exciting because I want to know, like, especially for
something as big as that, like what did he feel
(35:06):
like as an actor? Was that uncomfortable? Like where did
he find the groundingness of like what did he think
of that? So hopefully we'll get to get some of
those answers.
Speaker 6 (35:16):
Yeah, yeah, I'm curious.
Speaker 2 (35:18):
Okay, So now I think we have to talk about
the iconic scene.
Speaker 3 (35:21):
Yes, a little girl, the little Girls bribe, she gets
her by Yabby runs along, godles her.
Speaker 6 (35:31):
Yeah, the most iconic moment. I just have to say
I have had questions about this.
Speaker 3 (35:37):
I know, I mean I was like, I know this,
I know what's about to happen. I feel like I
visited set the day that you filmed something involving duct tape.
Speaker 2 (35:46):
Yes, yeah, yeah, I'll talk about that, but it is
I think in my career the idea of being real
and spectacular from being Jerry Seinfeld's girlfriend and this moment,
they really are. Like I think if you're looking at
spectacular television moments like this has got to be one
of them.
Speaker 6 (36:05):
I mean the comedic time.
Speaker 3 (36:06):
It's so choreographed, which obviously your background isn't dance. You
are so good at nailing that timing.
Speaker 5 (36:13):
The side stepping, the little side stepping to the side.
Speaker 4 (36:18):
Had me just dying.
Speaker 5 (36:20):
I mean, I had remembered how great it was, but
there's no way, you know, to really get it until
you're watching it again. You are so funny, you are
so good, and it's so earned because you're just you're
feeling so high and mighty, you know, like you are
the moral high ground and you are standing there and
you you know you've got the power, and then he
just strips it, literally strips it from you in like
(36:41):
an instant.
Speaker 2 (36:43):
And it was a great scene. I mean, this is
why you become an actress, like and this is why
a nod to the writing, you know, like.
Speaker 6 (36:51):
This, do you remember reading the scene? Oh yeah.
Speaker 2 (36:54):
And the thing is when you're thinking about this as
an actress, you're thinking about this build. This starts at
the dining table. This scene starts at the dining room table,
you know, like like where just that that vulnerable thing
of like I'm gonna try to be a good human being.
I'm going to try to do the big thing. I'm
really gonna do it. Oh, this is where I wanted
to talk about Richard Bergery. And I don't know if
(37:14):
you remember this, this guy, he would have the crew in,
just the whole crew, the line the heart wants what
the heart wants. We must have said this line as
a crew for months, four years, possibly four years. When
you think about lines that like go on and on
(37:35):
and nobody ever forgets the heart wants what the heart wants.
I mean people would go like, you know, what are
you gonna have for lunch today? I don't know, the heart.
Speaker 6 (37:41):
Wants what the heart wants?
Speaker 2 (37:42):
Like it was just a thing that nobody could go
and Richard's thing that he would do with his body.
He was always like he would stick his hand up
his shirt and he was always like it was just
he I mean, he just brought it. And so anyways,
my point is the whole payoff to the outside naked
(38:03):
stuff is all started at that bat kitchen table. And
as an actress, you're thinking, if I don't do this right,
then none of this is going to be funny, like
like like yeah, and and and it is like, I mean,
you see how excited I am. I just I hope
in my lifetime I get a chance to play a
scene like this again, that kind of comedy that is
(38:24):
rooted in truth, that even rooted and but the vulnerability
and whatever, it is so honest. Then you can be
crazy and fall in a bush and and do a
little jig across the lawn and it doesn't seem ridiculous
because it's earned.
Speaker 5 (38:40):
Like you said, you know, and even him showing up
when you told him, like, hey, when you drop her
off tomorrow, you know, and he just walks over all
your boundaries. He just feel like tears into your life
and then you know, and so yeah, by the time
you get to that point.
Speaker 4 (38:54):
It's just it's so good. The payoff is so good,
and you are so so good.
Speaker 2 (38:58):
The physicality of it was what you're remembering about the
duct tape, so tell us about So. I think that
they had gotten for some reason, we had gotten a
new wardrobe person that day. Her name was Susan. She
was lovely, she was with the show for the whole time.
I just I love and adore her. She'd been to
my house many time for parties, and I would give
(39:19):
anything for the crew. And I think they knew that
we had that kind of relationship anyways. But I do
think it was Susan's first day for some reason, because
she maybe she came on as an extra person, or
maybe they replaced somebody. I don't really know, but it
was her first day. And it was basically like, Hi,
nice to meet you. Can you cover my private parts?
And because I wanted I always go the extra mile,
(39:44):
and I wanted the director to have as much freedom
to shoot me as he could. So I didn't want
to wear a thong because I wanted him to be
able to shoot the side of my body.
Speaker 6 (39:53):
But you do see when you're leaning out from that whole.
Speaker 2 (39:56):
But if I had born underwear.
Speaker 4 (39:57):
You you, they would have had to shoot around it, would.
Speaker 2 (39:59):
Have around it. And I just think, so what we
did is we put kleenex over like the nipples and
over like the other parts, the other bits, and then
we put duct tape over the kleenex so that it
just went basically like a strip, you know, like a
tiny strip and a tiny other strip. And and I.
Speaker 6 (40:25):
Mean, how was that on there?
Speaker 2 (40:27):
That Cleenextut Country shot that scene for probably at least
six hours because it's a lot of sides of the house,
and I mean, it was the whole day, really, and
I do remember the whole backs of my legs from
falling in the bushes were like cut up and bruised up.
But you know, you don't feel any of that when
you're doing it. You're just so in it. And there
(40:48):
was a stunt girl who probably did the main fall
into the bushes, even though I'm sure I did some
version of it.
Speaker 4 (40:54):
I'm sure you did. You always did. I always did
your stuff.
Speaker 2 (40:57):
But they definitely had a stunt person and.
Speaker 4 (41:00):
Uh yeah, she's also wearing Kleenex and doctor.
Speaker 2 (41:03):
That I don't remember. She just did the falling in
the bushes, But I kind of have this loose memory.
This would be a good question for a crew member
for Paul.
Speaker 6 (41:16):
We've talked about Paul.
Speaker 2 (41:17):
I feel like I remember the crew sort of like
applauding the whole thing, like when we finished the whole thing,
it was this is another like fun history of of
behind the scenes. It's like that is a collaboration with
the steady cam operator, with the props department, with the
(41:40):
wardrobe department, with the lighting department. You know, you can't
do that by yourself, and you can have these and
obviously the director, you can have these ideas, but you know,
it takes this group. It's just a it's just a
priceless example of when it all works.
Speaker 6 (41:59):
Yeah.
Speaker 2 (42:00):
So it's really neat that I get to have a
lifetime where I have that as one of my memories. Yeah,
and that have in this episode and it was probably
one of the best scenes I ever did in seven years.
Speaker 6 (42:09):
Yeah, yeah, I mean it's really amazing. I watched it
a few times.
Speaker 3 (42:13):
I just thought it is I mean, because it was
it was this beautifully choreographed dance.
Speaker 6 (42:19):
And Mike showing up.
Speaker 5 (42:20):
At the end also so funny, right, because we know
where things are on the set, right, so like, I
know where he.
Speaker 4 (42:27):
Found you, and I'm thinking, why was Mike walking on
the side of the house, you know, from a viewers.
Speaker 2 (42:34):
I think though, it's because he went and tried the
front door and it was locked and nobody answered, and
so he probably hadn't.
Speaker 5 (42:40):
Been able to reach you to say I want to
come to dinner. That's probably why, And so really he
was did you know what there? That's you being another
that's you being a good actor again. Yeah, and then
him finding you and then you know, you crossing your
legs it's all just so funny.
Speaker 2 (42:59):
I had a sex dream the other night. It was
the first one I'd had in a long time.
Speaker 6 (43:06):
Oh my god, we've gone totally off the rail.
Speaker 4 (43:09):
Terry's revealing.
Speaker 2 (43:11):
I was really happy to have it because I have
them often, like.
Speaker 6 (43:14):
A good one, yesh with who it was?
Speaker 2 (43:17):
Not anybody I knew. It was a man that would
have been like appropriately my age, A handsome man, a
handsome one who was kind of like weathered wrinkles, but
like still handsome, but like appropriate, like somebody I would date,
but like completely not a movie starter.
Speaker 5 (43:31):
You've actually seen this person before. Sometimes I wonder if
the strangers that appear in our dreams are like people
we've seen on the street and clocked.
Speaker 3 (43:36):
And you are an appropriately aged, handsome man with a
weathered face.
Speaker 6 (43:40):
Find my mother.
Speaker 4 (43:43):
Write in beautiful note because she's waiting for you.
Speaker 6 (43:47):
Because I have duct tape. Okay, so it's just amazing.
Then I think we have to build to what I've
brought here today.
Speaker 3 (43:52):
Yes, then they do go to dinner that none of
I just I loved that none of the husbands want
to go to this dinner. Yeah, and all the women, Yes,
of course we're going to do this. We're going to
do this in her honor. We all want to go,
and every single one of the husband's in their own way,
except of course Mike, who's excited just to be with
Susan and he's not a husband yet they all don't
(44:18):
want to go. And I thought this was such an
interesting split of the masculine versus the feminine.
Speaker 6 (44:24):
Yeah, I love a dinner.
Speaker 3 (44:26):
Party, and I feel like a lot of my male
or more masculine identifying friends also love a dinner party,
but there is a kind of different excitement amongst my girlfriends.
Speaker 2 (44:38):
Well, I have a book club that's all women and
we love getting together. And you know me, I throw
a lot of parties. Yes, I feel like that's been
one of my identities.
Speaker 6 (44:48):
Is party throw is an amazing person and I love.
Speaker 2 (44:51):
Cooking meals for people. So it is funny. I really
in my real life, I am sort of a combination
of Breed and Susan. I think i'm and maybe I'm
a combination of all of these.
Speaker 3 (45:01):
Well, you also definitely have the Lynette. I mean, at
least the working at the time that she was working
for a.
Speaker 2 (45:10):
Like breadwinner or whatever. Well, so all of our characters
find themselves at this dinner.
Speaker 5 (45:16):
At another iconic scene another except except for Paul, Well Paul.
Speaker 4 (45:22):
And uh and Tom. Yeah he has to stay.
Speaker 6 (45:25):
On he stays home with the sugar.
Speaker 4 (45:28):
And who looks beautiful at that dress.
Speaker 2 (45:30):
I thought she was great in that dress.
Speaker 4 (45:32):
Another timeless, you know moment of fashion from the show.
Speaker 2 (45:35):
Always jealous of people like you Emerson that can wear
that have like little breasts and you can wear those backs.
I would like, I I honestly. But the spectacular yeah,
but a huge part they're not really real and spectacular.
I mean, they are really real, but they're certainly not
spectacular even I'm not sure they ever were spectacular, certainly
(45:57):
not out of a brawl. They might have been spectacular
in a bra, but they've never been spectacular out of
the bra. But there's still real and now they're not
even spectacular on a bra, so like, don't even it
doesn't even matter anymore. But that said, I've always wanted
to be flat chested so that I could wear those
kind of like dresses.
Speaker 3 (46:13):
I have to say, I have a friends, I have
friends who felt self conscious about being flat chested, and
I never did because growing up with you, you always said,
I'm so jealous, you can wear the message.
Speaker 2 (46:25):
So that was actually a good body image thing.
Speaker 6 (46:27):
I think it was. It was a very good body
That's great.
Speaker 2 (46:29):
Because usually moms like crush their their tea.
Speaker 6 (46:34):
I love it.
Speaker 4 (46:35):
Yeah, but this scene, Yes.
Speaker 2 (46:37):
So what I've made here, this is a vegan carrot
ginger soup. Wow, it's really delicious. I I'm going to
serve it to you with a little bit of coconut
cream and chopped parsley over the top.
Speaker 6 (46:51):
This is a soup that.
Speaker 2 (46:52):
No one eats. So much tension at this table that
the soup just sits there being lovely, but we're going
to eat it.
Speaker 3 (47:04):
This is this really is the dinner party from hell
in the sense of the silence around the table and
everyone kind of trying. And then I love I love
the moment of shared humanity that happens before Brie completely
you know it says what she says about Rat.
Speaker 5 (47:26):
To go back just a bit, because I want to say, like,
the reason that this is the tension so thick is
because Brie has made this big deal to her husband
about keeping their secret that they're.
Speaker 6 (47:36):
In marriage with Tennis lessons.
Speaker 5 (47:37):
They have the facade up about they go to tennis lessons.
She brings her tennis gear to therapy, which is hysterical,
and so she's made a big point to Rex about
we're not talking about this. You're not going to drink
because you get loose lipped, and it's our secret.
Speaker 3 (47:50):
And she has that one amazing one liner when she goes,
my backhand is improving immensely, but you're still having trouble
with your serfs.
Speaker 2 (47:55):
Yes, do I just get to say, Marsha, Marsha Marshall.
I just to not get over her comedic delivery on
some of these things.
Speaker 6 (48:08):
That was my favorite line.
Speaker 5 (48:09):
Yeah, I know, it's so so great, and so again
just like sums up their dynamic. He's like, of course,
of course that would be the backstory you come up
with for us. So then cut to him at the
dinner party talking to Carlos. Carlos does that thing which
everyone hates when you're trying to lie and someone just
keeps asking you questions and you have to recommit to
the lie every time, and he finally breaks. It doesn't
(48:31):
take him long, but he breaks, and he reveals that
they are in fact in marriage counseling, and Bree is horrified.
Speaker 3 (48:36):
Right, he drops that tray of these little cucumbers go everywhere.
Speaker 5 (48:40):
And so now we're sitting at the dinner table and
Susan's the one to break the tension by her camaraderie
and sharing her story.
Speaker 3 (48:47):
And yes, and then and then Lynette follows with an
amazing story about how her and her husband got kicked
off of the Mister Toad's Wild Ride, which I love that.
Speaker 6 (48:58):
Yeah, you brot on that.
Speaker 3 (49:00):
Oh my god, Yeah, that ridland. Honestly, that was one
of my favorite rides growing up.
Speaker 2 (49:03):
And it's very it's very steamy and hot because.
Speaker 6 (49:06):
You go to Hell Point. I mean, this ride is
definitely weird.
Speaker 2 (49:14):
Oh I think they might have already gone. I'm not sure.
I was just there.
Speaker 3 (49:17):
I feel like we were there like a year or
so ago and it was still there, Okay, And many
people say this is their favorite ride. But you you
get into a car, you're mister Toad, You're wreaking havoc,
you're getting drunk, You drive onto a train track.
Speaker 6 (49:31):
You after causing a lot of may you.
Speaker 3 (49:32):
Get hit by a train, and then you come to
in Hell because that's the end of the ride. You
go through Hell and then you come out and the ride's.
Speaker 5 (49:42):
Over and getting it on and on in there.
Speaker 2 (49:45):
Well, it seems like a ride where people have gotten
it off.
Speaker 6 (49:47):
I mean, yeah, there is. It is amazing.
Speaker 2 (49:51):
There and if you do the wrong thing, you probably
do get purp walked down main Street like those characters did.
But I don't think it stopped. I'm sure there's percentage
of people that have done that. So they did that.
And then Gary talks about breaking a water bread. You
know my parents had water bread.
Speaker 6 (50:07):
Oh my god, really was their seventies.
Speaker 2 (50:11):
My parents had a big, giant, king sized.
Speaker 5 (50:14):
Water crazy that someone created a waterbed and the country
was like, yep.
Speaker 3 (50:20):
The standard hotel used to have those waterbeds that were
in the dome up on the rooftop along the pool.
Speaker 6 (50:26):
It was like a white dome and there was a.
Speaker 3 (50:28):
Waterbed inside instead of the cabanas or something.
Speaker 6 (50:31):
It was crazy.
Speaker 2 (50:33):
So this is all leading to share.
Speaker 6 (50:36):
Softens.
Speaker 3 (50:37):
Well, it feels like, okay, amazing, they've saved this. Everyone
was vulnerable. We got pretty pictures. They're all sharing humiliating stories.
And then Andrew do you want.
Speaker 7 (50:46):
To say it?
Speaker 4 (50:47):
I would like you to say it.
Speaker 3 (50:48):
Oh great, I really my love it for that one.
And then says that Rex cries after he comes that well,
he actually says after he ejaculates.
Speaker 2 (51:02):
You know.
Speaker 5 (51:02):
I remember, Okay, so obviously when we shot, you know,
the first season, I was fourteen by this point, and
so my parents would read the scripts too. It wasn't
just me who would read them. And I remember my
dad coming into the kitchen after reading that and he was,
I mean, he thought it was so funny and he
was so shocked that they were saying this on network TV.
Speaker 3 (51:21):
Wow.
Speaker 4 (51:21):
Yeah, And he was and my dad's like not.
Speaker 5 (51:24):
Easily flappable, like he's he's hip, he's cool, he's not
like a prude or anything, but he was just he
thought it was so amazing, amazing.
Speaker 4 (51:32):
Yeah, And that.
Speaker 2 (51:34):
Was some definite boundary pushing.
Speaker 4 (51:36):
I mean, wow, he like pushed back at all.
Speaker 2 (51:39):
They probably did, probably did, which we you know, we'd
have to ask Mark.
Speaker 6 (51:42):
I would imagine still today.
Speaker 3 (51:44):
I mean, I was just on a notes call today
about a project I'm writing, and we were talking about
how there's one scene where, for one second I wrote
that a character comes out and joins another character on
the porch and lights a cigarette. And the producer's note was, oh,
make sure you don't have any smoking because we just
don't want to have to deal with the studio notes
on this for this.
Speaker 6 (52:00):
Type of wow.
Speaker 3 (52:02):
And it's fascinating how pervasive the attention to certain moments
like that, right still is. So to think about saying
something like ejaculate is really I can only imagine.
Speaker 2 (52:11):
I mean, but also I mean it is so explosive,
so boundary breaking, but also like, can you think of
anything that would have been.
Speaker 6 (52:27):
More humiliated humiliated.
Speaker 2 (52:29):
To him than that to him?
Speaker 3 (52:32):
In particularly Yeah, I mean it apps, I mean, it
just like cuts through every piece of everything.
Speaker 4 (52:39):
It's just such a it's like it's.
Speaker 5 (52:41):
Such a powerful moment because it's so funny, it's so shocking,
and it also for their individual characters, like him, the
way that that would wound him, but her taking taking
a moment to say something that biting and that it does,
it does break her facade a little bit, like the
way that she is because of herself, is not someone
who would say something like that, right, So, like, so
(53:03):
much happens, so much.
Speaker 3 (53:04):
Is charged in yeah, Yeah, she is still deflecting away
from herself. You know, she is still not owning owning
something she's done.
Speaker 5 (53:14):
That's right, they're humanizing themselves to her to try to
make her feel better about being in marriage counseling. And
instead of her going like, oh yeah, well, thank you
guys for you know, doing that, she punches with that
and it is just.
Speaker 4 (53:25):
Yeah, it's interesting, it's interesting.
Speaker 2 (53:27):
She's got guns. Oh man, yeah, metaphor I know, oh
my god, that ner a line and the other episode, yeah,
for episode one was hilarious. And so then right after this,
she steals mary Alice's tape.
Speaker 3 (53:41):
Well she yeah, she goes to her therapist and she
finds she's looking for her husband's tape again, crossing another
boundary finds mary Alice, and she's.
Speaker 5 (53:49):
So horrible and desperate to use the word but in
that scene of like I need you to tell me
what it is, like what can I do?
Speaker 2 (53:56):
You know? And then she is like I can't.
Speaker 6 (53:57):
Yeah, well yeah, and I mean as a good therapist.
Speaker 2 (54:00):
Yeah. And then Paul puts the house up for sale,
and then Lynette asks are we happy? And I think, like,
that's just you know, as we kind of wrap this
up with our carrot ginger soup, but we're.
Speaker 4 (54:11):
Very well, we will actually do that.
Speaker 2 (54:15):
I mean that I wonder if in relationships, like I'm
not in a relationship, but like I do sometimes say
to you, like, are we good? Like sometimes I'll just
say that, you know, like not like.
Speaker 3 (54:28):
My girlfriend sometimes she always says, I say it completely
out of the blue.
Speaker 6 (54:31):
We're having a fantastic tag do you love me? Very
happy with me?
Speaker 2 (54:35):
And I guess there there should be room in a
relationship to just take the pulse of totally of it.
And I think if you, I think the fear is
if you don't take the pulse periodically, something is going
to get away from you.
Speaker 5 (54:53):
And also different people have different metrics for what happy is,
and so you know you're in a marriage, it's a
collective relationship, but there's two individuals with their own things
going on, and so the need to check in and say, like, hey,
how are we as a unit? I think is vital
to the health of a relationship. But also such a
(55:14):
vulnerable moment for Minette.
Speaker 3 (55:15):
And it takes a lot to bring back what you
were saying at the beginning of this episode, this theme
of living in fear and what do we live in fear?
It takes a lot of bravery to ask the question
are we happy? And to open the door to what
that answer might be, you know, and we end on
the image of Paul putting the first sale sign up
in his house. It's like the complete opposite of looking
(55:36):
at what's going on underneath. He's trying to run away from.
Speaker 4 (55:39):
It and doing it under the cloak of darkness.
Speaker 5 (55:42):
You know, you guys are all in bed, and then
it's it's kind of everyone hearing that same clunk clunk, sum.
Speaker 4 (55:48):
Yeah, just another banger of an episode.
Speaker 6 (55:50):
I know, my god, I can't wait to see what
happens next.
Speaker 2 (55:53):
It does keep you coming back for more. You guys
will want to keep coming back for more, and keep
visiting the US and keep watching with us, and keep
hanging and talking with us, and check out our recipes
because I wish everyone was here to share.
Speaker 6 (56:07):
This soup with us. I know, I cannot wait to
dig in.
Speaker 5 (56:10):
So yeah, catch it next week and next next time.
Speaker 1 (56:15):
Yeah, because why Because we're destinly devoted, voted, We are
Speaker 6 (56:19):
Desperately devoted to you and each other.
Hi, Welcome to Desperately Devoted the Ultimate Desperate Housewives rewatch,
hosted by Meat Terry Hatcher, my on screen daughter Andrea Boone,
and my real life daughter Emerson Tenny.
Speaker 2 (00:14):
So this is episode three, Pretty Little Picture, aired October seventeenth,
two thousand and.
Speaker 3 (00:19):
Four, another Sondhime lyric. Yes, pretty Little Picture comes from
a funny thing happened on the way to the forum.
Speaker 2 (00:28):
Did you see that? Were you in it?
Speaker 4 (00:29):
I did see it.
Speaker 5 (00:30):
I grew up listening to the album and it's great.
And you know, I've been trying to unpack what I
think the reference. I was going to say, Yeah, okay,
you stumped me a little bit. I mean yeah, it
stumped me a little.
Speaker 3 (00:42):
Bit with the reference in terms of the reference to
Sonhime or what. I totally figured this give it to Well,
it's all about appearances, this idea of what are the
appearances we keep up?
Speaker 6 (00:56):
And Pretty Little Picture, you know, wants this writer.
Speaker 2 (01:03):
She was able to unpack that with probably zero.
Speaker 6 (01:08):
The rest of the episodes.
Speaker 2 (01:09):
Yeah, what struck me, and my takeaway about a different
version of keeping up with the appearances is like something
that Mary Alice says, which is to live in fear
is to not live at all. And I think of
myself as a person who has always faces their fears,
(01:29):
like I'm not a runner from my fears, and I
also don't try to pretend like they don't exist.
Speaker 6 (01:36):
You're definitely not an avoidant personality.
Speaker 2 (01:38):
I'm not so I mean, I mean you obviously you
you know me so well because I burst you out.
Speaker 6 (01:45):
Of my body.
Speaker 2 (01:47):
What can you think of an example of me, not
of me facing my fears.
Speaker 3 (01:51):
Oh well, okay, this is something I don't know why.
This is the first thing that's coming to my head.
But this woman, my wonderful mother, loves to throw herself
into any body of water. And oftentimes it's not just like, oh,
we're in the tropical location, this is like a relaxing
body of water. It's like we're in the middle of
Africa and it's night and there's this crazy lake and
she's afraid there might be snakes in it, and she
(02:13):
she goes. It's it's kind of like a manufactured facing
of fear, not manufactured, but.
Speaker 4 (02:19):
It's not like she's prepared.
Speaker 3 (02:21):
She's not in a bathing Then she likes to she
likes to seek out scary bodies of water and then
face her fear and go into them.
Speaker 2 (02:30):
Jumping off high things. But this was you remember, this
was when we've been to Africa twice and we took
my her grandparents on this one trip and my dad
literally said, I will pay you money to not get
in that body of like I'm on this ship.
Speaker 6 (02:47):
Little show called Desperate.
Speaker 3 (02:53):
That counted, But you didn't stop you. You went in
and she kept her socks on. She said she was
that was the kind of barrier.
Speaker 2 (03:03):
Cart was, Yeah, it was. But I also, you know,
I once went to like a survival camp sort of
situation where you know, you have to build shelters and
learn navigation and kayak for miles and eat crickets and
squirrels and whatever again crazy and people said like, why
why are you doing that?
Speaker 6 (03:21):
Is it for TV?
Speaker 2 (03:22):
And I say, no, it's because I like to put
myself in these uncomfortable position positions and see if I
can survive.
Speaker 3 (03:29):
What do you feel like you learn on the other
side of that. I'm curious.
Speaker 2 (03:34):
That's interesting, and I'm sure it is going to lead
us back to the characters and Desperate Housewives. You know,
what are they learning? I feel like maybe I'm learning
that I can do hard things. Maybe I'm checking off
bucket list things. I do think that I am a
(03:57):
like life. Like right now, you can't see me, but
I'm taking my hands. I'm like, you know, grabbing like
the air, like I just I want to just get
a hold of it and like try to experience it all.
And and so maybe that's why, Yeah, maybe that's why.
Speaker 6 (04:13):
I think.
Speaker 5 (04:13):
My understanding of fearlessness in general has shifted over the
past few years. And I used to interpret it as
being someone who's not afraid versus someone like you who
recognizes the fear but doesn't let it stop them from
doing the thing. And since I retrained my brain to
understand what I think fearlessness is, I have become a
(04:35):
lot more fearless.
Speaker 4 (04:36):
I love them, and that feels good.
Speaker 6 (04:39):
I love that so much.
Speaker 2 (04:40):
But so I love this episode.
Speaker 6 (04:43):
I love this episode.
Speaker 4 (04:44):
Oh, I love this episode so much.
Speaker 6 (04:47):
I cannot wait to talk about it.
Speaker 3 (04:49):
There were so many iconic moments. I mean, potentially one
of your most iconic moments, one.
Speaker 5 (04:54):
Of the serious most I would say iconic moments. I
didn't realize it happened so early on, I.
Speaker 2 (04:59):
Know remembered that it had. Well, Okay, we'll get to
that later in the store. Okay, we'll get to that. Well.
Speaker 3 (05:04):
We start off with Mary Alice obviously narrating again from
the other side or beyond the grave, and I love
that she says she talks about in the eternity it's
best to travel light. Me too, and actually thinking about
our travels, I immediately thought of you, mom, and.
Speaker 2 (05:21):
Now you're yeah. And she literally can shove two weeks
of going to Paris in a tiny.
Speaker 4 (05:30):
I'm a carry on.
Speaker 2 (05:31):
Persons insane and it's almost like a clown car. Like
you get somewhere with her and she opens it and
she just has like fabulously like whatever whatever outfit that's
where we probably come out of.
Speaker 6 (05:45):
The suitcase's like where is it all covered?
Speaker 5 (05:48):
It's such a skill, though, and once you get once
you're like, I'm a carry on person lifestyle, it's very hard.
Speaker 4 (05:54):
To check a bag.
Speaker 2 (05:54):
Ever again, I'm I'm getting better. The last two you
are actually are gone on. I haven't packed, like and
it's because I went to went through one too many
experiences of losing my luggage.
Speaker 3 (06:05):
Like having it And I have to say, I do
get that panic when I check something and then I'm
waiting for it to even if I don't even care
about what's in there, even if I've been like hiking
for two weeks. Yeah, I go, oh my god, it
is a bag gone. Am I not going to find
what's in the back?
Speaker 2 (06:16):
You know? Do you have one trick of how to
not be a chronic overpacker?
Speaker 3 (06:21):
Yes?
Speaker 6 (06:21):
Actually I do.
Speaker 3 (06:23):
The one trick is if you can just bring one
pair of shoes that go with all of your outfits
and you wear them on the plane, then you can
fit everything else.
Speaker 5 (06:34):
But that's the rule for me, is that like you
have to have at least too so that you can
rotate them so your feet don't get sore if you're walking,
if you're in a really.
Speaker 2 (06:41):
Wear plane and bring one.
Speaker 3 (06:43):
Yeah, sometimes you could wear you know, you could wear
sneaker or boot on the plane and then you could
fit like a little sandal or a little ballet hat
in the bag. But sometimes if I travel somewhere in
the winter, I'll just wear a great pair of boots
that I love, and that's with everything. Yeah, well you
always look chic and put together flattered.
Speaker 2 (07:01):
Well, I am going back to uh Mary Alice and
being incinerated, and how great was the shot and the
edit of going from that to the smoke coming out
of the chimney. Yeah, I mean, yeah, there's just again
I want to back up and and and applaud the
neighborhood as a character. I cannot believe how this show
(07:25):
is shot. It is just so gorgeous and it is
the editing is so amazing. I just I sort of
sit there in awe when I'm watching it. I mean,
it really is. I totally am fun and it's and
it's totally holding up for.
Speaker 6 (07:40):
Oh my god.
Speaker 3 (07:41):
Yeah, I'm the use of color when you come into
the neighborhood. And then again in the flashbacks. I actually
noted that downhill everything becomes more muted in hindsight, and
then we're back into the present day.
Speaker 5 (07:50):
And asked in that early flashback where you, you know,
Mary Alice opens the door and we're on you in
present time, and then she opens the door, the camera turned,
you know, reverses and you see it's Mary Alice, and
we realize we're in a flashback, and then.
Speaker 4 (08:03):
You guys are all at the table together.
Speaker 5 (08:06):
I was so struck by the presence of Mary Alice
in that scene as one of the women, like what
dynamic isn't there amongst the rest of you that she
provided And I was just I really thought it was
nice seeing her with all of you in that way
and seeing that she sort of filled this space of
being steadfast and confident, and it definitely did not feel
(08:28):
like she was hiding anything, Like I can understand why
you guys, as her friends, were like, why the hell
did you know?
Speaker 4 (08:34):
Did this happen? And why did she do that? It
is such a mess, just seems so steady.
Speaker 3 (08:39):
And also the idea that you would plan a dinner,
you know, they find that this dinner in their calendar.
Speaker 2 (08:45):
I caught that mistake, did you?
Speaker 7 (08:46):
Guys?
Speaker 6 (08:47):
Can tell me?
Speaker 2 (08:48):
So? On the newspaper that Susan is reading, yes, it
says it's the fifteenth and that and and the line
that is that that that reminded her, And so she
goes to the calendar and then they go to the
table where you're talking about, Yeah, and she says that
(09:08):
dinner is going to be on the sixteenth.
Speaker 3 (09:11):
But do you think it reminds her that dinner's the
fat Well, I guess you're right.
Speaker 2 (09:14):
It doesn't make no I think it all takes place
on the same day. But maybe it doesn't. Maybe you're right,
maybe I got it wrong.
Speaker 5 (09:19):
But I also like maybe a good detective Terry. But
I also like that we're clearly in real time, like
the newspaper says October fifteenth, two thousand and four, and
this episode aired October seventeenth, two thousand and four.
Speaker 6 (09:31):
Oh my gosh, whoa. I love that I did not
pick that up at Allah. In terms of.
Speaker 3 (09:36):
Things that were missing, Yes, which I noticed after this flashback,
after we realized that she set the state for dinner
and then died. And it's you know, who would think
to set a dinner if you had plans to die?
Speaker 6 (09:48):
Yeah? Where did Lynette's baby go?
Speaker 4 (09:51):
I know, where is the baby?
Speaker 3 (09:53):
Where is does the baby? I haven't watched the show.
Does the baby come back?
Speaker 4 (09:57):
Well, I guess we're not that.
Speaker 3 (10:00):
I'm I'm worried about where is this baby?
Speaker 2 (10:04):
The baby takes a lot of now, baby.
Speaker 4 (10:06):
Takes the back. Someone did put baby in a corner.
Speaker 2 (10:10):
We sort of skipped over the iconic Brie ruining the
couch to make it less and less comfortable. Manipulate her words.
I really am. I'm empathizing, and I'm loving the dynamic
of this marriage. That's falling apart, and the therapy scenes,
(10:33):
and uh, the way both of these actors are are
performing this, I just I'm I just love it. I couldn't.
I couldn't. I also felt, did you guys feel this
was the first episode that the men the husband's really
popped out for me?
Speaker 6 (10:52):
Later in the episode, yeah.
Speaker 2 (10:54):
And all of them, and I want to I'm so curious.
It made me. I felt for the actors. I mean,
for Ricardo to have to play a character that is
so abusive, you know, and threatening. What did that feel
like for Doug, who I am. I am sure in
his real life is not so flippantly completely clueless as
(11:20):
to what his wife might be going through.
Speaker 6 (11:23):
But you know, there was just I just really felt
like I.
Speaker 2 (11:28):
Saw them stand out in their specific personality and character development.
And I got very excited about the men.
Speaker 6 (11:37):
I was really interesting.
Speaker 2 (11:38):
I agree.
Speaker 3 (11:39):
I was really interested in what you were saying about
Breede when she comes downstairs early and she wakes Rex up,
and she says, you know, get up. I don't want
to see how the kids see you sleeping on the couch.
And for me, that's where I kind of felt like
the Pretty Little Picture title came in this idea of
the lengths we go to to keep up appearances, and
what is the importance of keeping up appearances? You know,
(11:59):
do you side Rex that kind of feels like, you
know what, we're having meritable problems. Let the kids know
they're old enough tell them.
Speaker 6 (12:06):
Or Bree, who.
Speaker 3 (12:08):
Maybe goes to the opposite end of the extreme of saying,
I don't want anyone to even have the slightest whiff
that anything is going on between us, which of course
then becomes suspicious.
Speaker 2 (12:20):
Yeah, this jumps off into I think a pretty significant
problem we're still having in society with with you know,
social media as an example right now, that everyone is
portraying these fake, perfect lives and it is really hurting people.
It's hurting young people because they don't have the experience
(12:41):
to be able to differentiate, to be able to say
that's probably not real, or you know, they just intellectualize that,
you know, oh, there's probably another side of this. Corn
You get as old as me and you go like, yeah,
they're telling me this is the way it is, but
you know, I know, probably something else going on. But
even to me, you know, I I I feel that comparison.
(13:03):
I feel that it's shame, really, isn't it. It's it's
it's that it's it's the balance of where shame meets
expectation that we we expect this certain thing of ourselves
or we think the world expects it of us, and
we're unable to sustain it, and so are we honest
about that? Mostly no? And do we or Also.
Speaker 5 (13:26):
Everything is front facing, like it used to be that
certain industries were front facing and there and if you
elected to go into that field, you kind of knew
that that was a part of it, like in our
you know, and for us, for you and me as performers,
we kind of know that that's part of the game.
But now that there's such a presence online for anyone
and everyone, there is just this this difference in how
we care about perception and obviously that you know, there's a.
Speaker 2 (13:49):
Lot to talk about that, I mean, and it's real.
Look at the Coldplay incident, you know that happened like
a while ago. I mean, those two people's lives were
absolutely derailed.
Speaker 3 (13:59):
Totally, absolutely, And also in terms of everyone having a phone,
most people having social media, yeah, I mean almost everybody.
It's one of the reasons that I mean I have
an Instagram, but I do not have it on my phone,
and I have recently stopped pretty much for the most part,
posting on there. And I was talking to my friend
about my decision to delete it off my phone and say,
for all you know, what's the expression all intents and purposes?
Speaker 6 (14:24):
Yeah?
Speaker 5 (14:24):
Wait, intense intense like intention, intense and purpose purposes.
Speaker 6 (14:29):
Yeah, for all intents and purposes.
Speaker 2 (14:31):
But it does wrong.
Speaker 6 (14:32):
Yeah.
Speaker 3 (14:32):
I was like, here, I'm going to go mispronounce this
right now in the middle of talking on the podcast,
but thank you, Andrew. No, for all intents and purposes,
I feel like I don't have an Instagram right now.
And I was talking to my friend about why I
got rid of it, and I said, you know, honestly,
I am and I don't even post that much comparative
to a lot of people who do. But I was like,
I'm really tired of this idea of an alternate version
(14:56):
of my life and image of myself that I am
maintaining and have this expectation to maintain. You know, I'll
be out doing something in the world and I'll think, oh,
I should take a picture of this, because then I
might want to post it and it's almost like having
this pet. All of the thought that goes into maintaining
this alternate version of yourself as opposed to just being
present in your life. It makes me think about Brie
(15:17):
all the time of her day that's going into protecting
the appearance of what her day is, even from from her.
Speaker 6 (15:23):
Children, yeah, as opposed to just being in her day.
Speaker 5 (15:25):
And I think the the crux of it for her
is that of course she can't hide it from her children,
right and we know that Andrew clearly always know everything
right away, Yeah, they have children, and yeah, yeah, And
I think that even though she's trying so hard to
control the situation and to protect her kids and protect
the image that she so you know, curates, it's it's
(15:49):
not gonna work out. I think this is a perfect
example of why I do think Desperate Housewives continues to
resonate and is reaching out to you know, new generations
and new fans, people virginized like yours.
Speaker 2 (16:01):
But because you know, at its time, you know, first
of all, there was a lot of it was reality
shows was what was really dominating television, and and but
this kind of like campy satire and almost like that
the way Mark used the expression of housewives to sort
(16:22):
of crack open that there's like this dark place underneath
where all isn't exactly as it appears. And I do
think that that shame is still real.
Speaker 3 (16:36):
It's the idea of what is behind the veneer. Even
more so maybe now today was at the time, and
so you.
Speaker 2 (16:42):
Can come watch this show now. And even though it
is it's in this tone of a little bit over
the top, it's still it still reaches you, it still touches.
Speaker 5 (16:52):
You on a much more superficial note. I also will
say that I've been noticing that a lot of the
fashion is not entirely like it's aged.
Speaker 6 (17:10):
Well y TWK is coming back.
Speaker 4 (17:12):
I A lot of outfits are pretty cute.
Speaker 6 (17:16):
I like them, Oh my god, and the hair sweaters.
Speaker 5 (17:21):
There's a scene with you anyway, Yeah, I agree, And
I was wondering if you felt like red jeans.
Speaker 6 (17:26):
I mean, come on, I don't know.
Speaker 3 (17:28):
I think it works to come too feels or yeah
wear wearing Oh, I mean, it's what they're looking for
in Crossroads and like going through the thrift start.
Speaker 5 (17:43):
Another thing that happened in this episode is we meet Carl.
Speaker 6 (17:47):
Oh my god, Richard. It was so great.
Speaker 2 (17:51):
Okay, so when we get to that scene more, but
I do I I had a question for you. There
was it back just in the in the and these
are little moments, but because we're here in that newspaper
scene where they were I first have a noteb thing
and you reach over and you wipe the food from
my cheek, I was, do you remember did you come
(18:13):
up with that idea?
Speaker 6 (18:14):
Did I come up with that idea? Was that in
the script?
Speaker 5 (18:16):
Like so I wrote just because I was also so
curious about this moment. I wrote, Julie wiping Susan's face
while eating breakfast. I don't remember if that was scripted
or behavior that Terry and I came up with.
Speaker 4 (18:28):
Because we were proud of this moment.
Speaker 5 (18:32):
This was such great physical behavior. It's such a small,
little moment, but again, it really established the dynamic between
the two of us. And it's not all it's not verbal,
it's just a little.
Speaker 2 (18:41):
I feel like it might have been me.
Speaker 4 (18:43):
Yeah, and the.
Speaker 2 (18:46):
Confident it wasn't in the script. I mean, we try
to go back and look, but I'm pretty sure it wasn't.
But I feel like I was always trying to find
nonscripted like like I was mentioning in the other episode,
the thing of where I pulled the sweater over my
for us because I'm embarrassed in comparison that my boobs
aren't as good as Eadie's booths.
Speaker 6 (19:05):
Uh.
Speaker 2 (19:06):
I feel like I was always trying to find things,
So maybe that was me.
Speaker 6 (19:10):
I think it.
Speaker 2 (19:11):
Probably was it.
Speaker 6 (19:11):
But I love that. I just love her.
Speaker 2 (19:15):
I know you. But but here's the thing. I was
like an old actress, like I should have been. I mean,
if I was good, I should have been good. So
there's just I don't get any extra credit, but you
I don't.
Speaker 3 (19:27):
We're a kid, and you were just she's amazing you are.
And obviously we're only three episodes.
Speaker 6 (19:34):
I have notes.
Speaker 4 (19:34):
I have notes for myself.
Speaker 6 (19:36):
You know.
Speaker 5 (19:38):
It's kind of weird, right, Like getting to do this
experience with you guys is so fun, and I'm watching
it so much more as a viewer than I am
as someone who was a participant of the show. I've
thought about so much, how and you know, when we
first sat down to record our first episode, how you
were talking about like, I can't believe I got to
be in this. And it's one thing to hear you
say that because you were just so much a part
of it, Like the whole thing is established, you know,
(19:59):
with you was this ginormous part of it.
Speaker 4 (20:01):
But I really feel that way as well. When I
watch it, I'm like, oh my god, I can't believe
I was in this.
Speaker 5 (20:05):
But but I definitely watch it as a viewer and
not as much. But every now and again I'll be like, oh,
I have an actor note for younger and but it's
but it's sweet and it's great, and thank you for that.
Speaker 2 (20:16):
Okay, So another beautiful shot of Warria Lane was the
paper route that got the kid running through. I'm just
not going to get off the newspaper part of this story.
It's a big part at the beginning. But like, so
I had a paper route as a kid. Did you
have a paper route? Right?
Speaker 6 (20:36):
Okay?
Speaker 2 (20:37):
And you didn't.
Speaker 6 (20:38):
Certainly not in studio.
Speaker 2 (20:39):
No, I definitely had one where you would get up
and that was a real thing. You drive your bike
around at four in the morning and throw.
Speaker 6 (20:46):
You delivered papers. I really did you had a paper route.
I had a paper route.
Speaker 2 (20:49):
That's how I made money when I was like, for you,
probably twelve, and I had like a banana seat bicycle
with the little purple almost like the one that Gabby
buys for the black failing blackmailer failer.
Speaker 6 (21:03):
I totally should we just talk about it now.
Speaker 2 (21:06):
So you've got Brion Rex in marriage counsel. You've got
Lynette and Tom. You've got Tom who is is You've
got Lynette who's pushed to her limits and dealing with
her crazy kids, and right, so we don't know what,
but all the sort of shame of that, and also
Tom really not showing up in any reasonable way.
Speaker 6 (21:29):
And then yeah, you have Susan.
Speaker 2 (21:31):
Well, you have Susan who gets confronted with the girlfriend
and what did you think of that can kicking moment?
Speaker 6 (21:37):
Well, I what do you also think?
Speaker 2 (21:39):
Because like your mom, yes, okay, when your dad started dating,
somebody did I I mean, I'm sure I did.
Speaker 6 (21:49):
I don't know.
Speaker 2 (21:50):
It's very hard to be the the the ex and
it was hard for me to watch that. I mean,
in hindsight, I'm so happy your dad is happy, and
I'm and they're happy and it's great, but it is
everybody moves on at different paces. And you know, in
the story of Desperate Housewives, I think Susan had been divorced.
Speaker 6 (22:12):
A year, which feels like a short amount, which.
Speaker 2 (22:15):
Feels kind of like a short time. But I think
that first moment when you start getting introduced to the
new girlfriend or the new wife, you know, people don't
talk about this enough. And I am willing if our
viewers are interested in like they want, they want to
hear more about this. I think it's an incredibly vulnerable
tightrope balancing act whatever, especially when there's a child involved,
(22:40):
where you're giving up control that maybe you don't want
to give up. And also somebody that you have no
investment in is now introduced in such a large way
to your life. It is a very tricky thing which
leads to petulant behavior or can, and that's Susan's case.
Speaker 6 (23:01):
It certainly did. And what was your takeaway? Was she
an asshole or not?
Speaker 3 (23:06):
I mean, I I feel lucky that you never kicked
any hands around, that's what you think, at least not directly.
And also we never did custody day switches in front
of the house, so maybe the opportunity just didn't really
present itself. I feel like I was dropped off at
school and then picked up after school, but with Susan
(23:26):
and Brandy, and for Brandy when she finally tries to
talk to Susan, mispronounces her last night to.
Speaker 5 (23:35):
Have a counter like you need to have a Meyer
being pronounced wrong, I think we're at meer Mayor.
Speaker 2 (23:41):
I think I think Edy pronounced it wrong. Yeah in
another episode.
Speaker 6 (23:44):
No, I mean, I mean a public opinion might decide
it's mayor.
Speaker 5 (23:49):
Yeah, I about the two people who are in the family.
Speaker 2 (23:52):
I really do think people people I think mayor would
be the vote.
Speaker 4 (23:56):
So I guess it's okay.
Speaker 3 (23:59):
I'm going to stick to my are just out of respect,
which is something that feels like Susan is certainly not given.
In this scene when Brandy throws her soda can.
Speaker 6 (24:09):
And I feel Brandy comes off.
Speaker 3 (24:11):
Which I think is intentional. So much younger, yeah than Susan.
I mean, she almost feels like a teenager level of behavior.
And it's so catty because in you know, if you're
going to think about it in these terms, she's one.
You know, She's Carl Ray are together. Why are you
now throwing your trash at the woman that Carl left
(24:35):
to be with you? So I and it's not just
because you're my mom. I think I side with Susan
in this moment when she doesn't, you know, I don't
want her to pick up the can. That feels wrong.
I feel like I'm the kind of person that definitely
if someone I've seen people on the freeway, you know,
throw a soda can or something out the window, and
I think you if you did that, you should, well, one,
(24:58):
you should get a giant ticket for a little on
the freeway, but you should. You know, if you're on it,
you should pull over and you should go and you
should get it.
Speaker 2 (25:04):
Not on the freeway, but you know that there's only
two things you could throw out of your without getting arrested.
Or water.
Speaker 6 (25:12):
Water not ice.
Speaker 2 (25:13):
It's feathers, feathers and water.
Speaker 3 (25:16):
And it's because chicken truck crazy. No chicken trucks that
transport chickens would have so many feathers flying off.
Speaker 2 (25:22):
Yet, but that it couldn't be That sounds great, but.
Speaker 6 (25:25):
I know I do.
Speaker 3 (25:26):
I love this moment because I feel for Susan. I
feel like we empathize with her, and then she takes
it a little too far.
Speaker 5 (25:32):
Maybe they both put the moment where he says the
checks and the mail and then you're standing by the
mailbox and you look in the mail and you say.
Speaker 3 (25:38):
No, he's not so good, so good, and then she
of course, then she gets caught by Mike.
Speaker 6 (25:43):
And I think that is a genious button to that
scene that we.
Speaker 2 (25:48):
Embarrassment and she says later, you know, I feel so
stupid that I acted like that, and I don't act
like that around anybody, but Carl. You know, have you
guys ever do you have that does that feel familiar
to you that there's one person that can really push
your button?
Speaker 5 (26:05):
There are people in my life that push my buttons,
and you know, it's like they just have the key,
whatever the key is to that part of me that
they get sadly or gets you know, gets under my skin.
Speaker 2 (26:15):
I mean, see, I've removed most of those people. That's
just aging, is that you know that they get they
go by the wayside sooner.
Speaker 5 (26:25):
Or later or just we're still here.
Speaker 4 (26:27):
We've made the cut.
Speaker 6 (26:28):
Yes, yeah, thank goodness.
Speaker 5 (26:29):
But yeah, I also just because we're I think right
after that scene we get a glimpse of I really
appreciate these little one off moments that we get when
we see just like a smaller coupling of the of
the women together, like the scene with Susan and Lynette. Yes,
And I think that's when you say I hate behaving
that way. He just he brings it out of me
(26:49):
and I hate that. And I I loved getting a
little insight into their individual dynamic and I love it
so honest and like you really would be friends. It
was just a brief, little moment, but it was great.
Speaker 3 (27:01):
I love that too, And I actually I really liked
that idea of what they're connecting over because Lynette is obviously,
like you know, at her wits end with her husband
not acknowledging everything that she does, and Susan's just been
at her wits end with her ex husband and his
new girlfriend. And they have this connection over living with bitterness,
(27:21):
you know, like not wanting to be the type of
people that hang on to bitterness, except they do accept
it's human nature. It's really hard not to. And I
was so, I mean, I'm interested for both of you.
Oh obviously we all struggle with this to some degree.
But do you feel like, do you hold on to bitterness?
Is it easier for you to let go of do
you have certain tools that you turn to when you
(27:44):
want to let go of it? Because I just found
this really interesting.
Speaker 2 (27:48):
Yeah, yeah, I mean, I've had some big things in
my life that have have really amounted to a serious
amount of hurt feelings, bitter feelings, I guess. And you know,
this is a funny thing that I that I have
(28:08):
have taken to doing that. And I have a friend
who has an issue with her neighbor, So I'll use
that as an example, like over a fence line, you know.
And I think this is actually not that uncommon, like
I think people. I know, we're doing a show, but
I do really think that that that people sometimes do
get into issues with their neighbors and you can't quite
(28:30):
run away from it because you both own your house
and so you're sort of stuck there. But something I've
tried to take to doing is if I have an
issue with somebody and I don't seem to really be
able to fix it, like for whatever reason, the communication
or whatever the opportunities are, I can't really change what's happening.
I try to remember that someone loves them, that not
(28:52):
just one person, but probably a lot of people love
that person that you have this bitter feeling with, the
same way that if they're feeling bitter about me, lots
of people love me and when you start to understand
that the person you have an issue with has a
bunch of people around them that probably think they're like
(29:13):
the funniest person or like they're so charming when they
read children's books, or they make the best oatmeal or
whatever it is that they somebody thinks that about them,
and it somehow dissipates my ability to be angry, and
I just end up feeling like maybe a little melancholy,
like I wish this wasn't the way it is, but
(29:35):
it lets go of a little bit of my personal
like internal bitterness, and that's helped me a lot. Yeah,
it helped me a lot.
Speaker 6 (29:41):
I really love that you can try.
Speaker 4 (29:43):
That's great advice.
Speaker 7 (29:44):
Thank you, Okay, and real daughter, that's great.
Speaker 6 (29:55):
So now let's get to Gabby.
Speaker 3 (29:57):
You're speaking of your neighbor people that you can't get
rid of.
Speaker 5 (30:03):
That quick pan over to those that little girl's face
in the window, Oh that girl, she was so perfect.
And I really truly didn't remember any of this, So
I actually initially wrote down like who is that child?
Speaker 2 (30:20):
Did you look at it? No?
Speaker 5 (30:21):
But I meant in the context of the show, like
I was like, who is that I was as jumped
as Gabby and John as to like, who is this
person who's spying on them?
Speaker 2 (30:30):
And the fear I have no recollection by the way
of them being in multiple episodes, so I don't know.
They yeah, kind of like their new neighbors, and you're
like where I think they're hanging out with somewhere.
Speaker 3 (30:43):
Like kind of vaguely behind the bushes, to the side
of Gabby's house. You kind of see them go back there.
Speaker 4 (30:47):
I have a question.
Speaker 5 (30:48):
Okay, so I had a question for both of you
about this takeaway. I'm I'm sort of grappling with about
interpreting Gabrielle's character. So you know, there's in this episode
we're kind of faced again with the fact that she's
covering up this affair she's having right with.
Speaker 2 (31:04):
A child, by the way, who's in algebra classes. Oh
my god, I again, I'm sorry, I have to again.
I wrote I wrote down all caps. Oh MFG. Question,
our question, our exclamation point. The Gabby John relationship is
just so problematic. I don't know what else to say.
Speaker 5 (31:24):
I know, I know he's in algebra class and on
the soccer and then he's later yeah, on the track field.
Speaker 6 (31:30):
And yeah, I know it's it's that's he has tube socks.
Speaker 5 (31:33):
Yeah, she wants she wants him to leave.
Speaker 6 (31:36):
His gym clothes on, you know, it's all you really.
Speaker 2 (31:38):
Yeah.
Speaker 5 (31:39):
But I'm wondering because we're seeing this side, and I
know we can talk more about the specifics, about the
way the husband's characters are more defined this episode, and
I think that we've shared this. I didn't remember feeling
like Carlos was as threatening as he is. Yeah, and
he really is, and he's a very domineering, you know, presence.
(31:59):
And I'm wondering, as I'm sort of re getting to
know Gabrielle as a new character, do we think that
she's going to these extreme lengths to cover up her affair,
because obviously she doesn't want him to know.
Speaker 4 (32:13):
But do we think that.
Speaker 5 (32:13):
She is afraid of losing her lifestyle more or afraid
of her husband?
Speaker 6 (32:20):
Hmmm.
Speaker 2 (32:21):
Wow, that's an interesting question.
Speaker 5 (32:22):
Because I've been trying to think about it because I
don't know that I have an answer yet. I feel
like she is so strong with him, you know, and
she pushes back so much to him, she doesn't necessarily
clue him in that she would be afraid of him.
So then that makes me think, oh, well, maybe it's
more that she has set herself up to live this
life that she thought she wanted and now she's afraid
(32:43):
of what it looks like if it all goes away.
Speaker 3 (32:45):
Yeah, I mean, I feel like that has been my
instinct with her character. Was also that she has this
amazing lifestyle, she has all this money. They seem to
throw money, or Carlos throws money at their marriage problems,
and I'm curious in the same way I'm curious about
breeze backstory, I'm curious about Gabby's backstory asides from being,
you know, this model that we hear about, where does
(33:08):
she come from and what does that life look like
and did she I get the sense that it feels
like she did not grow up with the memes that
she now has with Carlos, and so she's kind of
afforded a lifestyle that is maybe somewhat new, but maybe
not because if you're working in high fashion, maybe you
are getting paid well. Like It's an interesting conundrum that
(33:30):
I definitely have not fully cracked.
Speaker 2 (33:32):
I don't know if I'm just like Pollyanna or whatever,
but I think it was the pilot where there was
a flashback to when those two characters met and when
he asked her to marry him, like on the third day. Yeah,
and how giddily excited she was that I I want
(33:52):
to believe that she really did fall in love with him,
and and that maybe the stuff was great, but that
that she really did think that she was in love
with him, that it wasn't just like a gold digger,
that she really was in love with optimistic. I know,
I'm really I'm not sure that they deserve it, but
(34:12):
I'm sort of trying to hang onto that.
Speaker 5 (34:14):
I'm so excited to see how their relationship evolves, because,
like I said, I didn't remember this part of him,
and so I think you might be onto something that
I was.
Speaker 2 (34:23):
Really struck by how much the Carlos character, the threateningness
of him, and how that's adding up right, you know,
always looking for the little nitpicky stuff, you know. I
don't really remember that. But then this is part of
the I think I brought this up before. I'm not
in it all, and you know, and so this part
(34:46):
of the story is like watching a show I'm not in.
Like I wasn't there when they shot that. I don't
know what they discussed. This is why I'm so interested
to have Mark on, and I think we're going to
get to have Ricardo on too, which I'm excited about.
So exciting because I want to know, like, especially for
something as big as that, like what did he feel
(35:06):
like as an actor? Was that uncomfortable? Like where did
he find the groundingness of like what did he think
of that? So hopefully we'll get to get some of
those answers.
Speaker 6 (35:16):
Yeah, yeah, I'm curious.
Speaker 2 (35:18):
Okay, So now I think we have to talk about
the iconic scene.
Speaker 3 (35:21):
Yes, a little girl, the little Girls bribe, she gets
her by Yabby runs along, godles her.
Speaker 6 (35:31):
Yeah, the most iconic moment. I just have to say
I have had questions about this.
Speaker 3 (35:37):
I know, I mean I was like, I know this,
I know what's about to happen. I feel like I
visited set the day that you filmed something involving duct tape.
Speaker 2 (35:46):
Yes, yeah, yeah, I'll talk about that, but it is
I think in my career the idea of being real
and spectacular from being Jerry Seinfeld's girlfriend and this moment,
they really are. Like I think if you're looking at
spectacular television moments like this has got to be one
of them.
Speaker 6 (36:05):
I mean the comedic time.
Speaker 3 (36:06):
It's so choreographed, which obviously your background isn't dance. You
are so good at nailing that timing.
Speaker 5 (36:13):
The side stepping, the little side stepping to the side.
Speaker 4 (36:18):
Had me just dying.
Speaker 5 (36:20):
I mean, I had remembered how great it was, but
there's no way, you know, to really get it until
you're watching it again. You are so funny, you are
so good, and it's so earned because you're just you're
feeling so high and mighty, you know, like you are
the moral high ground and you are standing there and
you you know you've got the power, and then he
just strips it, literally strips it from you in like
(36:41):
an instant.
Speaker 2 (36:43):
And it was a great scene. I mean, this is
why you become an actress, like and this is why
a nod to the writing, you know, like.
Speaker 6 (36:51):
This, do you remember reading the scene? Oh yeah.
Speaker 2 (36:54):
And the thing is when you're thinking about this as
an actress, you're thinking about this build. This starts at
the dining table. This scene starts at the dining room table,
you know, like like where just that that vulnerable thing
of like I'm gonna try to be a good human being.
I'm going to try to do the big thing. I'm
really gonna do it. Oh, this is where I wanted
to talk about Richard Bergery. And I don't know if
(37:14):
you remember this, this guy, he would have the crew in,
just the whole crew, the line the heart wants what
the heart wants. We must have said this line as
a crew for months, four years, possibly four years. When
you think about lines that like go on and on
(37:35):
and nobody ever forgets the heart wants what the heart wants.
I mean people would go like, you know, what are
you gonna have for lunch today? I don't know, the heart.
Speaker 6 (37:41):
Wants what the heart wants?
Speaker 2 (37:42):
Like it was just a thing that nobody could go
and Richard's thing that he would do with his body.
He was always like he would stick his hand up
his shirt and he was always like it was just
he I mean, he just brought it. And so anyways,
my point is the whole payoff to the outside naked
(38:03):
stuff is all started at that bat kitchen table. And
as an actress, you're thinking, if I don't do this right,
then none of this is going to be funny, like
like like yeah, and and and it is like, I mean,
you see how excited I am. I just I hope
in my lifetime I get a chance to play a
scene like this again, that kind of comedy that is
(38:24):
rooted in truth, that even rooted and but the vulnerability
and whatever, it is so honest. Then you can be
crazy and fall in a bush and and do a
little jig across the lawn and it doesn't seem ridiculous
because it's earned.
Speaker 5 (38:40):
Like you said, you know, and even him showing up
when you told him, like, hey, when you drop her
off tomorrow, you know, and he just walks over all
your boundaries. He just feel like tears into your life
and then you know, and so yeah, by the time
you get to that point.
Speaker 4 (38:54):
It's just it's so good. The payoff is so good,
and you are so so good.
Speaker 2 (38:58):
The physicality of it was what you're remembering about the
duct tape, so tell us about So. I think that
they had gotten for some reason, we had gotten a
new wardrobe person that day. Her name was Susan. She
was lovely, she was with the show for the whole time.
I just I love and adore her. She'd been to
my house many time for parties, and I would give
(39:19):
anything for the crew. And I think they knew that
we had that kind of relationship anyways. But I do
think it was Susan's first day for some reason, because
she maybe she came on as an extra person, or
maybe they replaced somebody. I don't really know, but it
was her first day. And it was basically like, Hi,
nice to meet you. Can you cover my private parts?
And because I wanted I always go the extra mile,
(39:44):
and I wanted the director to have as much freedom
to shoot me as he could. So I didn't want
to wear a thong because I wanted him to be
able to shoot the side of my body.
Speaker 6 (39:53):
But you do see when you're leaning out from that whole.
Speaker 2 (39:56):
But if I had born underwear.
Speaker 4 (39:57):
You you, they would have had to shoot around it, would.
Speaker 2 (39:59):
Have around it. And I just think, so what we
did is we put kleenex over like the nipples and
over like the other parts, the other bits, and then
we put duct tape over the kleenex so that it
just went basically like a strip, you know, like a
tiny strip and a tiny other strip. And and I.
Speaker 6 (40:25):
Mean, how was that on there?
Speaker 2 (40:27):
That Cleenextut Country shot that scene for probably at least
six hours because it's a lot of sides of the house,
and I mean, it was the whole day, really, and
I do remember the whole backs of my legs from
falling in the bushes were like cut up and bruised up.
But you know, you don't feel any of that when
you're doing it. You're just so in it. And there
(40:48):
was a stunt girl who probably did the main fall
into the bushes, even though I'm sure I did some
version of it.
Speaker 4 (40:54):
I'm sure you did. You always did. I always did
your stuff.
Speaker 2 (40:57):
But they definitely had a stunt person and.
Speaker 4 (41:00):
Uh yeah, she's also wearing Kleenex and doctor.
Speaker 2 (41:03):
That I don't remember. She just did the falling in
the bushes, But I kind of have this loose memory.
This would be a good question for a crew member
for Paul.
Speaker 6 (41:16):
We've talked about Paul.
Speaker 2 (41:17):
I feel like I remember the crew sort of like
applauding the whole thing, like when we finished the whole thing,
it was this is another like fun history of of
behind the scenes. It's like that is a collaboration with
the steady cam operator, with the props department, with the
(41:40):
wardrobe department, with the lighting department. You know, you can't
do that by yourself, and you can have these and
obviously the director, you can have these ideas, but you know,
it takes this group. It's just a it's just a
priceless example of when it all works.
Speaker 6 (41:59):
Yeah.
Speaker 2 (42:00):
So it's really neat that I get to have a
lifetime where I have that as one of my memories. Yeah,
and that have in this episode and it was probably
one of the best scenes I ever did in seven years.
Speaker 6 (42:09):
Yeah, yeah, I mean it's really amazing. I watched it
a few times.
Speaker 3 (42:13):
I just thought it is I mean, because it was
it was this beautifully choreographed dance.
Speaker 6 (42:19):
And Mike showing up.
Speaker 5 (42:20):
At the end also so funny, right, because we know
where things are on the set, right, so like, I
know where he.
Speaker 4 (42:27):
Found you, and I'm thinking, why was Mike walking on
the side of the house, you know, from a viewers.
Speaker 2 (42:34):
I think though, it's because he went and tried the
front door and it was locked and nobody answered, and
so he probably hadn't.
Speaker 5 (42:40):
Been able to reach you to say I want to
come to dinner. That's probably why, And so really he
was did you know what there? That's you being another
that's you being a good actor again. Yeah, and then
him finding you and then you know, you crossing your
legs it's all just so funny.
Speaker 2 (42:59):
I had a sex dream the other night. It was
the first one I'd had in a long time.
Speaker 6 (43:06):
Oh my god, we've gone totally off the rail.
Speaker 4 (43:09):
Terry's revealing.
Speaker 2 (43:11):
I was really happy to have it because I have
them often, like.
Speaker 6 (43:14):
A good one, yesh with who it was?
Speaker 2 (43:17):
Not anybody I knew. It was a man that would
have been like appropriately my age, A handsome man, a
handsome one who was kind of like weathered wrinkles, but
like still handsome, but like appropriate, like somebody I would date,
but like completely not a movie starter.
Speaker 5 (43:31):
You've actually seen this person before. Sometimes I wonder if
the strangers that appear in our dreams are like people
we've seen on the street and clocked.
Speaker 3 (43:36):
And you are an appropriately aged, handsome man with a
weathered face.
Speaker 6 (43:40):
Find my mother.
Speaker 4 (43:43):
Write in beautiful note because she's waiting for you.
Speaker 6 (43:47):
Because I have duct tape. Okay, so it's just amazing.
Then I think we have to build to what I've
brought here today.
Speaker 3 (43:52):
Yes, then they do go to dinner that none of
I just I loved that none of the husbands want
to go to this dinner. Yeah, and all the women, Yes,
of course we're going to do this. We're going to
do this in her honor. We all want to go,
and every single one of the husband's in their own way,
except of course Mike, who's excited just to be with
Susan and he's not a husband yet they all don't
(44:18):
want to go. And I thought this was such an
interesting split of the masculine versus the feminine.
Speaker 6 (44:24):
Yeah, I love a dinner.
Speaker 3 (44:26):
Party, and I feel like a lot of my male
or more masculine identifying friends also love a dinner party,
but there is a kind of different excitement amongst my girlfriends.
Speaker 2 (44:38):
Well, I have a book club that's all women and
we love getting together. And you know me, I throw
a lot of parties. Yes, I feel like that's been
one of my identities.
Speaker 6 (44:48):
Is party throw is an amazing person and I love.
Speaker 2 (44:51):
Cooking meals for people. So it is funny. I really
in my real life, I am sort of a combination
of Breed and Susan. I think i'm and maybe I'm
a combination of all of these.
Speaker 3 (45:01):
Well, you also definitely have the Lynette. I mean, at
least the working at the time that she was working
for a.
Speaker 2 (45:10):
Like breadwinner or whatever. Well, so all of our characters
find themselves at this dinner.
Speaker 5 (45:16):
At another iconic scene another except except for Paul, Well Paul.
Speaker 4 (45:22):
And uh and Tom. Yeah he has to stay.
Speaker 6 (45:25):
On he stays home with the sugar.
Speaker 4 (45:28):
And who looks beautiful at that dress.
Speaker 2 (45:30):
I thought she was great in that dress.
Speaker 4 (45:32):
Another timeless, you know moment of fashion from the show.
Speaker 2 (45:35):
Always jealous of people like you Emerson that can wear
that have like little breasts and you can wear those backs.
I would like, I I honestly. But the spectacular yeah,
but a huge part they're not really real and spectacular.
I mean, they are really real, but they're certainly not
spectacular even I'm not sure they ever were spectacular, certainly
(45:57):
not out of a brawl. They might have been spectacular
in a bra, but they've never been spectacular out of
the bra. But there's still real and now they're not
even spectacular on a bra, so like, don't even it
doesn't even matter anymore. But that said, I've always wanted
to be flat chested so that I could wear those
kind of like dresses.
Speaker 3 (46:13):
I have to say, I have a friends, I have
friends who felt self conscious about being flat chested, and
I never did because growing up with you, you always said,
I'm so jealous, you can wear the message.
Speaker 2 (46:25):
So that was actually a good body image thing.
Speaker 6 (46:27):
I think it was. It was a very good body
That's great.
Speaker 2 (46:29):
Because usually moms like crush their their tea.
Speaker 6 (46:34):
I love it.
Speaker 4 (46:35):
Yeah, but this scene, Yes.
Speaker 2 (46:37):
So what I've made here, this is a vegan carrot
ginger soup. Wow, it's really delicious. I I'm going to
serve it to you with a little bit of coconut
cream and chopped parsley over the top.
Speaker 6 (46:51):
This is a soup that.
Speaker 2 (46:52):
No one eats. So much tension at this table that
the soup just sits there being lovely, but we're going
to eat it.
Speaker 3 (47:04):
This is this really is the dinner party from hell
in the sense of the silence around the table and
everyone kind of trying. And then I love I love
the moment of shared humanity that happens before Brie completely
you know it says what she says about Rat.
Speaker 5 (47:26):
To go back just a bit, because I want to say, like,
the reason that this is the tension so thick is
because Brie has made this big deal to her husband
about keeping their secret that they're.
Speaker 6 (47:36):
In marriage with Tennis lessons.
Speaker 5 (47:37):
They have the facade up about they go to tennis lessons.
She brings her tennis gear to therapy, which is hysterical,
and so she's made a big point to Rex about
we're not talking about this. You're not going to drink
because you get loose lipped, and it's our secret.
Speaker 3 (47:50):
And she has that one amazing one liner when she goes,
my backhand is improving immensely, but you're still having trouble
with your serfs.
Speaker 2 (47:55):
Yes, do I just get to say, Marsha, Marsha Marshall.
I just to not get over her comedic delivery on
some of these things.
Speaker 6 (48:08):
That was my favorite line.
Speaker 5 (48:09):
Yeah, I know, it's so so great, and so again
just like sums up their dynamic. He's like, of course,
of course that would be the backstory you come up
with for us. So then cut to him at the
dinner party talking to Carlos. Carlos does that thing which
everyone hates when you're trying to lie and someone just
keeps asking you questions and you have to recommit to
the lie every time, and he finally breaks. It doesn't
(48:31):
take him long, but he breaks, and he reveals that
they are in fact in marriage counseling, and Bree is horrified.
Speaker 3 (48:36):
Right, he drops that tray of these little cucumbers go everywhere.
Speaker 5 (48:40):
And so now we're sitting at the dinner table and
Susan's the one to break the tension by her camaraderie
and sharing her story.
Speaker 3 (48:47):
And yes, and then and then Lynette follows with an
amazing story about how her and her husband got kicked
off of the Mister Toad's Wild Ride, which I love that.
Speaker 6 (48:58):
Yeah, you brot on that.
Speaker 3 (49:00):
Oh my god, Yeah, that ridland. Honestly, that was one
of my favorite rides growing up.
Speaker 2 (49:03):
And it's very it's very steamy and hot because.
Speaker 6 (49:06):
You go to Hell Point. I mean, this ride is
definitely weird.
Speaker 2 (49:14):
Oh I think they might have already gone. I'm not sure.
I was just there.
Speaker 3 (49:17):
I feel like we were there like a year or
so ago and it was still there, Okay, And many
people say this is their favorite ride. But you you
get into a car, you're mister Toad, You're wreaking havoc,
you're getting drunk, You drive onto a train track.
Speaker 6 (49:31):
You after causing a lot of may you.
Speaker 3 (49:32):
Get hit by a train, and then you come to
in Hell because that's the end of the ride. You
go through Hell and then you come out and the ride's.
Speaker 5 (49:42):
Over and getting it on and on in there.
Speaker 2 (49:45):
Well, it seems like a ride where people have gotten
it off.
Speaker 6 (49:47):
I mean, yeah, there is. It is amazing.
Speaker 2 (49:51):
There and if you do the wrong thing, you probably
do get purp walked down main Street like those characters did.
But I don't think it stopped. I'm sure there's percentage
of people that have done that. So they did that.
And then Gary talks about breaking a water bread. You
know my parents had water bread.
Speaker 6 (50:07):
Oh my god, really was their seventies.
Speaker 2 (50:11):
My parents had a big, giant, king sized.
Speaker 5 (50:14):
Water crazy that someone created a waterbed and the country
was like, yep.
Speaker 3 (50:20):
The standard hotel used to have those waterbeds that were
in the dome up on the rooftop along the pool.
Speaker 6 (50:26):
It was like a white dome and there was a.
Speaker 3 (50:28):
Waterbed inside instead of the cabanas or something.
Speaker 6 (50:31):
It was crazy.
Speaker 2 (50:33):
So this is all leading to share.
Speaker 6 (50:36):
Softens.
Speaker 3 (50:37):
Well, it feels like, okay, amazing, they've saved this. Everyone
was vulnerable. We got pretty pictures. They're all sharing humiliating stories.
And then Andrew do you want.
Speaker 7 (50:46):
To say it?
Speaker 4 (50:47):
I would like you to say it.
Speaker 3 (50:48):
Oh great, I really my love it for that one.
And then says that Rex cries after he comes that well,
he actually says after he ejaculates.
Speaker 2 (51:02):
You know.
Speaker 5 (51:02):
I remember, Okay, so obviously when we shot, you know,
the first season, I was fourteen by this point, and
so my parents would read the scripts too. It wasn't
just me who would read them. And I remember my
dad coming into the kitchen after reading that and he was,
I mean, he thought it was so funny and he
was so shocked that they were saying this on network TV.
Speaker 3 (51:21):
Wow.
Speaker 4 (51:21):
Yeah, And he was and my dad's like not.
Speaker 5 (51:24):
Easily flappable, like he's he's hip, he's cool, he's not
like a prude or anything, but he was just he
thought it was so amazing, amazing.
Speaker 4 (51:32):
Yeah, And that.
Speaker 2 (51:34):
Was some definite boundary pushing.
Speaker 4 (51:36):
I mean, wow, he like pushed back at all.
Speaker 2 (51:39):
They probably did, probably did, which we you know, we'd
have to ask Mark.
Speaker 6 (51:42):
I would imagine still today.
Speaker 3 (51:44):
I mean, I was just on a notes call today
about a project I'm writing, and we were talking about
how there's one scene where, for one second I wrote
that a character comes out and joins another character on
the porch and lights a cigarette. And the producer's note was, oh,
make sure you don't have any smoking because we just
don't want to have to deal with the studio notes
on this for this.
Speaker 6 (52:00):
Type of wow.
Speaker 3 (52:02):
And it's fascinating how pervasive the attention to certain moments
like that, right still is. So to think about saying
something like ejaculate is really I can only imagine.
Speaker 2 (52:11):
I mean, but also I mean it is so explosive,
so boundary breaking, but also like, can you think of
anything that would have been.
Speaker 6 (52:27):
More humiliated humiliated.
Speaker 2 (52:29):
To him than that to him?
Speaker 3 (52:32):
In particularly Yeah, I mean it apps, I mean, it
just like cuts through every piece of everything.
Speaker 4 (52:39):
It's just such a it's like it's.
Speaker 5 (52:41):
Such a powerful moment because it's so funny, it's so shocking,
and it also for their individual characters, like him, the
way that that would wound him, but her taking taking
a moment to say something that biting and that it does,
it does break her facade a little bit, like the
way that she is because of herself, is not someone
who would say something like that, right, So, like, so
(53:03):
much happens, so much.
Speaker 3 (53:04):
Is charged in yeah, Yeah, she is still deflecting away
from herself. You know, she is still not owning owning
something she's done.
Speaker 5 (53:14):
That's right, they're humanizing themselves to her to try to
make her feel better about being in marriage counseling. And
instead of her going like, oh yeah, well, thank you
guys for you know, doing that, she punches with that
and it is just.
Speaker 4 (53:25):
Yeah, it's interesting, it's interesting.
Speaker 2 (53:27):
She's got guns. Oh man, yeah, metaphor I know, oh
my god, that ner a line and the other episode, yeah,
for episode one was hilarious. And so then right after this,
she steals mary Alice's tape.
Speaker 3 (53:41):
Well she yeah, she goes to her therapist and she
finds she's looking for her husband's tape again, crossing another
boundary finds mary Alice, and she's.
Speaker 5 (53:49):
So horrible and desperate to use the word but in
that scene of like I need you to tell me
what it is, like what can I do?
Speaker 2 (53:56):
You know? And then she is like I can't.
Speaker 6 (53:57):
Yeah, well yeah, and I mean as a good therapist.
Speaker 2 (54:00):
Yeah. And then Paul puts the house up for sale,
and then Lynette asks are we happy? And I think, like,
that's just you know, as we kind of wrap this
up with our carrot ginger soup, but we're.
Speaker 4 (54:11):
Very well, we will actually do that.
Speaker 2 (54:15):
I mean that I wonder if in relationships, like I'm
not in a relationship, but like I do sometimes say
to you, like, are we good? Like sometimes I'll just
say that, you know, like not like.
Speaker 3 (54:28):
My girlfriend sometimes she always says, I say it completely
out of the blue.
Speaker 6 (54:31):
We're having a fantastic tag do you love me? Very
happy with me?
Speaker 2 (54:35):
And I guess there there should be room in a
relationship to just take the pulse of totally of it.
And I think if you, I think the fear is
if you don't take the pulse periodically, something is going
to get away from you.
Speaker 5 (54:53):
And also different people have different metrics for what happy is,
and so you know you're in a marriage, it's a
collective relationship, but there's two individuals with their own things
going on, and so the need to check in and say, like, hey,
how are we as a unit? I think is vital
to the health of a relationship. But also such a
(55:14):
vulnerable moment for Minette.
Speaker 3 (55:15):
And it takes a lot to bring back what you
were saying at the beginning of this episode, this theme
of living in fear and what do we live in fear?
It takes a lot of bravery to ask the question
are we happy? And to open the door to what
that answer might be, you know, and we end on
the image of Paul putting the first sale sign up
in his house. It's like the complete opposite of looking
(55:36):
at what's going on underneath. He's trying to run away from.
Speaker 4 (55:39):
It and doing it under the cloak of darkness.
Speaker 5 (55:42):
You know, you guys are all in bed, and then
it's it's kind of everyone hearing that same clunk clunk, sum.
Speaker 4 (55:48):
Yeah, just another banger of an episode.
Speaker 6 (55:50):
I know, my god, I can't wait to see what
happens next.
Speaker 2 (55:53):
It does keep you coming back for more. You guys
will want to keep coming back for more, and keep
visiting the US and keep watching with us, and keep
hanging and talking with us, and check out our recipes
because I wish everyone was here to share.
Speaker 6 (56:07):
This soup with us. I know, I cannot wait to
dig in.
Speaker 5 (56:10):
So yeah, catch it next week and next next time.
Speaker 1 (56:15):
Yeah, because why Because we're destinly devoted, voted, We are
Speaker 6 (56:19):
Desperately devoted to you and each other.
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