Caught in the Act! (S1 EP 30 "Carpe Diem")

Shame, shame, shame....Michael got caught cheating on Jane! This recap is chock full of infidelity, lies, and toenail clippings??? The ladies discuss every delicious Melrose Moment, including TWO shirtless scenes! Plus, Courtney has a very interesting theory about Kimberly's evil master plan. 

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:05):
Still the Place with Laura Layton, Courtney Thorn Smith.

Speaker 2 (00:09):
And Daphne Zuniga an iHeartRadio podcast. Hey guys, Hey everyone,
hiy on ourselves together for this.

Speaker 1 (00:21):
We have a very good recap episode this week.

Speaker 2 (00:25):
Yeah, it's a good episode. It's funny because I'll lead
us in the recap and I found some cool trivia
right at the top.

Speaker 1 (00:32):
Let's attributa tell us.

Speaker 2 (00:33):
Well, okay, so this was directed This is episode thirty
Carpe DM. It aired on April twenty eighth, nineteen ninety three,
and it was directed by Richard Lang. And I knew
that Richard Lang did. He did seventeen Melrose episode.

Speaker 3 (00:47):
Yet he get us out by lunch very recurring.

Speaker 2 (00:51):
Yes. Well, what I learned about him was that his father,
Walter Lang, was very close friends with Clark Gable and
Carol Lombard. And in fact they were our Richard Lang's godparents. Wow,
And I mean I knew them on set. We're just
like these you don't know in that era who you're

(01:11):
working with.

Speaker 3 (01:11):
Really, we couldn't we google anything?

Speaker 2 (01:14):
You can't google? Yeah, and when is your time is running?
In between sets? And I just said, god, here we
could have sat down play a Gable you know dinners
and family dinners and stuff.

Speaker 1 (01:27):
But what cool old Hollywood insight.

Speaker 2 (01:31):
I wish we'd had that, I know, I know, it's
it's and especially that era where the people that we
were working with in TV had had film careers. And
then this Richard Lang's father, Walter Lang, was in the
silent era. I mean, the guy was born in like
eighteen ninety six, completely missed us. Yeah, they helped create
this whole business, and we had them at the in

(01:53):
the years when they were doing you know, directing and
TV and stuff.

Speaker 1 (01:57):
And we were in our years where we were too
dumb to like we were starting. Yeah, we were just clue.

Speaker 3 (02:03):
Yeah.

Speaker 2 (02:04):
Yeah. So it's a really kind of cool crossover time
era back then. And I mentioned that to my husband,
who was like, none of your listeners are going to
even know. None of your listeners are gonna who Clark Gable.

Speaker 1 (02:15):
Was and will Yes they will.

Speaker 3 (02:18):
What do you think we our kids won't, But our
listeners do have a grown up audience. Yeah.

Speaker 2 (02:26):
So anyway, kind of cool to bring us into this episode,
which was a very cool episode, but it opens up
with this wonderful, very melrosy uh montage of the Avenue,
you know, nineteen ninety three. We start on Snakeskin cowboy boots.
I'm sure you guys lit up.

Speaker 1 (02:44):
I think those boots have walked the opening shots before, but.

Speaker 3 (02:49):
I feel like they I think this is when we
started bringing in original music. I noticed a couple of
original songs, like when when artists wanted to be played
on Melroe's place, I was like, that's really, that's a
new song.

Speaker 1 (03:01):
There's still there's still yeah, some some surprising music moments.
But I also think that a lot of the the
rights to the songs weren't available for this streaming version,
So I have a feeling some songs had to be changed,
like for the actual rights of those original now right.
But they're trying to match the tone of it with

(03:21):
interesting music that's like you know, stock and available.

Speaker 2 (03:26):
Well, the music for the original Melrose was iconic, you know,
especially the title music for sure, the theme song for sure,
theme song for sure. But also it became a place
where lots of bands and artists, what what would want
their stuff, you know, like the Goo Goo Dolls or
whoever they they would I think come on and be
a part of the show. Not known for that, it's

(03:47):
music so, yeah, we were cool. And it's corny shoulder pads,
but those are the two things.

Speaker 1 (03:58):
They were. They were like a costar. They a little
separate billing it.

Speaker 2 (04:02):
So as the camera comes in on Billy and Allison's apartment,
and he's so excitedly cooking breakfast. I mean, he's just
got the spring of this stuff. He's so excited.

Speaker 1 (04:12):
Well, remind us what had happened the night before.

Speaker 2 (04:14):
Well, the night before I believe she was standing in
the doorway with a very oversized men's shirt with nothing underneath.

Speaker 3 (04:23):
No pants. Alison's signature, look no pants.

Speaker 1 (04:25):
It is Alison no pants previously maybe shoulder pads.

Speaker 2 (04:29):
I'm not sure if he's seducing him at any rate.
They end up kissing, and right after they kissed, Billy's
like seeing stars and she's like, good night, Billy. He
goes into her room.

Speaker 1 (04:39):
So they kissed for the first time. But that's it.
And so now this is the morning after last night.

Speaker 2 (04:44):
This is the morning after, and as he's very excitedly
making breakfast, Alison enters and I want to know, Courtney,
if you had any comments on your beige skirt and jacket.

Speaker 3 (04:56):
Said, this is a repeat. This jacket. All I'm screaming
at the TV as I'm watching it. It's tailor it,
tailor it. I just want things more fitted. Amanda walks
around in these beautifully tailored things, and it looks like
I'm borrowing things from a relative who's a completely different size.

Speaker 1 (05:14):
Your's this sort of amazing. There was something about that
era that that was like a style that was an
acceptable style. Because I have photographs, like just personal photographs
of how I was dressing around this time, and I
had a huge oversized blazer for what reason. It was

(05:34):
like this men's boxy thing, Like why did I? I'm
a small person, why did I?

Speaker 3 (05:39):
That's true. So I think there was a style that's
the seventies. No, you're right, it was. It was the style.
You shouldn't wear it on TV because everything looks bigger.

Speaker 1 (05:49):
Anyway, Well, now we know, right, we learn, you know
many years later in now now we know, but we
probably still thought it was cool at the time when
we when we saw it on TV.

Speaker 3 (05:58):
But anyway I noticed about this is how sweetly shy
they are. Like I really want them to just be
they finally had their first kiss. I want them to
be all over each other. But this entire scene, they're
acting like an old married couple.

Speaker 2 (06:10):
No Alison. Alison is putting the brakes on Alison like,
You're like, we should talk about last night. We've talked enough. Well,
we've been living together a year. That's slow. It's already,
you know, ready to go. And he's like handing you
breakfast and wanting to kiss you, and you're like, I.

Speaker 3 (06:30):
Know she's reading is disinterested, which I'm not a fan of.

Speaker 1 (06:33):
Well, it was likers. It struck me as like nervous
and scared and a little bit like all of a
sudden self conscious about it, Like, okay, it came. It
became self conscious because before it was like she wanted
to be spontaneous, and then all of a sudden, now
that they've kissed and now that it's real thing, all
of a sudden, she's panicking and sort of self conscious
about it. And she's she's like, well, I hate you know.

(06:54):
When she's putting on the break she's suggesting they go
on a real date first. Yeah, He's like, we.

Speaker 2 (06:59):
Haven't even been on a So he's like, well, great,
what are your plans tonight? I'm taking out to the
most romantic night Basically he says. So he's like, whatever
you want, let's just keep this thing going. It's so
cute cut. So I feel like they're it's so interesting
those two. They're always like stop and go, stop and go,
you know what I mean, Like it gets going, and

(07:19):
the breaks around they get going and the so but
they're very adorable in this one. And then we're gonna
after he says, Okay, I'm taking you out on romantic
night tonight, so you get ready for our first date.
Then we cut to the next scene is the devil
I mean, Michael shaving and his beautiful loving wife is
nuzzling up behind him in the mirror in the bathroom

(07:41):
and wanting to get frisky and saying I miss you, Michael,
And he says, well, tomorrow night's our anniversary, so you know,
let's wait till then, and she's like, I want you
and he's like.

Speaker 3 (07:52):
Well, this is the second scene when he's shaving and
rejecting her. I'm like, this is a theme. I'm not
a fan of the theme.

Speaker 2 (07:58):
Yes, right, oh, and I love our producer has put
out that reels that said red flag. He's shaving on
his day off.

Speaker 1 (08:05):
Yeah, total red flag. And he's turning down his wife.
And he's standing in only a towel in this scene,
which I mean this is a little bit of foreshadowing.
We'll get to that later. He's just wearing a towel
in the well and turning down his beautiful wife.

Speaker 2 (08:20):
And he's turning down this beautiful, sweet wife and they've
only been married a couple of years. So he scoots
her out of the bathroom now scoot, scoot, scoot, like
shuts the door, and she's like, uh okay. So you
start to see that she's unhappy, kind of like wheels
maybe turning in her well.

Speaker 3 (08:36):
Remember in the last episode he said he was at
work all day and she found sand in his shoes.
So she's got this playing in the back of her
mind something.

Speaker 1 (08:44):
Yeah, what's up with him? And is he always telling
me the pieces together?

Speaker 2 (08:47):
Isn't she? Yeah? I think she's a little flow. But
then we are back at the rom com of the episode.
Billy and Allison are each in their own closets to
some of that great melose music. We were talking about
throwing things out of the on the bed, like what
should I wear? They're both like what should I wear?
What do I wear? It's a date. It's an actual
date with my roommate.

Speaker 1 (09:05):
And they're literally across the hall from each other, and
they're so across but both getting ready.

Speaker 2 (09:10):
Alison like goes, oh, and she walks out and she
knocks on his door. She goes, what are you wearing?
What should I wear for tonight's date?

Speaker 1 (09:17):
Like?

Speaker 2 (09:17):
Is this fancy? Is this cash? And he's like, well, sexy,
but demure, you know, he's very general and she's like, oh,
you're a lot of help. And he says, well, I
want to be surprised when I pick you up, and
she goes.

Speaker 3 (09:32):
It sort of spoils a mystery when you have to
wait for a date to finish clipping his tonnails before
you can put your makeup on, which is so true.

Speaker 1 (09:39):
I think it's such as it's disgusting and funny, very roommating.
The funny thing is that it goes on from there
where she's saying, well, how do we get this suspense?
You know, if I'm waiting for you to finish clipping
your tons it is like, speaking of makeup, you might
want to take it a little easy on the makeup
because you know it contend to get heavy when you

(10:00):
go out and I'm like, what what you yeah me
to like have their first date.

Speaker 2 (10:07):
It's a weird moment because they've turned a corner and
so now they're just saying stuff, do you know to me? Like, well,
now that we're gonna be together, like you know you
by the way you wear too much makeup when you
go out?

Speaker 1 (10:17):
Yes, excuse me, there may just being a date. Yeah.

Speaker 3 (10:21):
Yeah, it's not looking good. They're not handling any of
this well.

Speaker 2 (10:25):
So the cutest moment is when she goes, look, mister,
and she walks right up to him, where are you
taking me? And then he's like, to the park for
jazz Fest And then she turns and she goes, oh perfect.
So she goes, I'll grab some jeans out of the dryer,
and as she leaves, he goes, Okay, I'm picking you
up in fifteen minutes. He's gonna go outside and knock

(10:48):
on the door of their apartment or has to knock
on her bedroom door. I don't know, but it's hilarious.
They're trying to like play real grown ups on a
date with their roommates. So hurry up, I'm picking you
up in fifteen minutes. Very cute scene. And as we
said she's gonna go downstairs to the laundroom and get
some dryers out of the dryer. So who does she

(11:08):
run into there? Jane. She starts talking all of a
sudden to Alison. They're like, hey, hey, And of course
we know that Alison has seen Michael kissing Kimberly in
the last episode in the hospital parking lot, and all
of a sudden, Jane's like talking about marriage and she's
been thinking about it and you know how old couple
stay together and it's just supposed to be hard in

(11:30):
the first two years, which is what she's in. But
you know, we have our anniversary dinner and I'm excited
about that and she's like, okay, well, have a good
anniversary dinner.

Speaker 1 (11:42):
Alison doesn't say anything, right, she has an opportunity and
she doesn't take it.

Speaker 2 (11:45):
Here she doesn't take it.

Speaker 1 (11:47):
And the other thing that like, by now we've seen
because Michael has gone to the hospital this day after
he's finished shaving whatever, and we've already seen the audience
has seen it, as is him arriving at the hospital
and Kimberly greeting him in the parking lot and giving
him a kiss. So by the time Jane and Alison
see each other in the parking lot or I mean

(12:08):
in the laundry room. They've seen each other in the
parking lot for the audience that we've already seen him
being deceitful again and like confirming that they're still doing this.
They're kissing in the parking lot. They're trying to, you know,
maybe make a plan when they can get together, and
and you know, Michael is revealing, well, hang on, it's,

(12:29):
you know, my anniversary, but maybe I can figure this
out because you know, and only my anniversary, my two
year anniversary. It wasn't it just the last episode where
she said I'll have you any way I can, like,
I don't care. I know that you're married, but I
just need to have you, like you need to.

Speaker 2 (12:49):
Yeah.

Speaker 1 (12:49):
So all of a sudden, now she's like, this is
not good. I don't want to sneak around and this
is not me and it's mad. So so when Jane
and Alison see each other in the room after that,
it's even more like, eh, that's right that Alison doesn't
say something because we're you know, we're definitely seeing that
this affair is on.

Speaker 2 (13:09):
Yes, which leads us to this next scene where they're
actually Alison and Billy are on their date, and it's
really now weighing on Alison's She's so preoccupied with do
I tell because I just went into Jane and you're right,
I've seen them early. You know what. It's such a.

Speaker 3 (13:26):
Cute scene, like they're sitting in this outside park, they've
got a picnic and there's it really is sweet and
romantic and I'm just screaming, shut up and kiss him
like what we are Michael, woh, just stop it, Alison,
And it's adorable.

Speaker 2 (13:41):
Boy.

Speaker 3 (13:42):
It's driving me because honestly, you guys know what it's
like to be in a new relationship. All you want
to do is make out. So the fact that she
can't like it would be so far out of her mind.
That's what's driving me crazy about this storyline. It's like
they have kissed. It was great. It was a sweet kiss.
We saw it. So I feel like in reality that

(14:02):
would supersede all of this stuff. The fact that you
or unless, as to Laura's point, she's picking fights because
she's scared. That's I'm gonna use that as a way
to make sense of it, because maybe she keeps bringing
this up because she's so scared about actually getting together
with Billy. Yeah, otherwise it's crazy time.

Speaker 2 (14:20):
Well it is.

Speaker 1 (14:21):
She's so preoccupied with it. She just can't get it
out of her mind, which seems crazy at this moment
for her relationship. But she does admit to Billy that
she couldn't bring herself to tell Jane in the lowndroom,
like she's honest about it, like that's bugging her that
she hasn't been able to, you know, come clean about it,
and she feels really responsible for that.

Speaker 3 (14:41):
Yeah. And then Billy says, it's almost like you don't
want to move forward, and then she blames him and
picks a fight and storms off.

Speaker 2 (14:49):
Well, he says, it's because I don't think you want
to sleep with me, meaning moving forward, and she's like, yes, thanks,
you like took out the romance of this.

Speaker 3 (14:57):
Whole whole life coucher out the romance, excuse me right?

Speaker 1 (15:00):
Well first, and he also says, you know, hey, some
some relationships can survive this kind of thing, and which
sort of rubs Alison wrong too, like wait a minute,
are him like is this are you defending him? And
they end up in this bickering that ruins their date
and they have to leave the park, like they just
can't enjoy what was right in front of them.

Speaker 2 (15:19):
This was a chance for them to get close and
make out and feel like, you know, a date, and
then it was thwarted and they go off. They end
the scene fire.

Speaker 3 (15:29):
Alison thwarts it, thwarts.

Speaker 2 (15:31):
It, anything to prevent his tongue from entering her mouth.
He's so happy, it's so cute, and you're just I know, well,
so clearly not method acting there, right, and I think
I have here. The next morning, Allison comes into Billy's

(15:52):
room in her iconic blue bathrobe with the stars.

Speaker 3 (15:56):
Yeah, because she wants to be sexy. So she picks
a big, huge love like how many times did you
walk into his room and a T shirt and underwear?
And now it's like, but you don't have today. It
really feels like she's trying to put distance. Maybe maybe
that's it. I'm going to give myself credit and say
that's what I was playing.

Speaker 2 (16:14):
Well, you have to this character has I don't know
how long they end up staying together, but they can
grow into it. But yeah, I mean, yeah, if it
were me and I turned on my remain we started
something all the dolls would be gone from my shelf.

Speaker 3 (16:30):
Exactly, the dolls. Remember Allison with Keith that episode, Like,
clearly she has a libido. They barely talked in that episode.
Every seat they were making out why is she hiding
that from Billy anyway?

Speaker 1 (16:43):
Sorry, well, I think also it's an example of story
that you just like, Okay, that's what's in the script,
and that's what I have to play it for the
sake of story, right like, and.

Speaker 2 (16:53):
I'm trying to.

Speaker 3 (16:53):
They're trying to stretch it out, make it you need
as long as possible.

Speaker 1 (16:57):
Yeah, they needed to get the conflict with Jane and Michael,
and this is that worked into like Alison not having
told and so it had to become stories. So all
of a sudden, you're playing something that's not necessarily you know, believable. Yeah,
like organic or what you what you think like this
other story points. So give your you know, give yourself
a break.

Speaker 3 (17:16):
And it does, like the audience was probably yelling at
the TV. That is fun for the audience, right because
you're just like they're so close to get on with it.

Speaker 2 (17:25):
Yeah, like he said, not supposed to be realistic, and
the writers know when they want you to you know,
they know they're manipulating the writers just like us.

Speaker 1 (17:32):
We're all doing already, dragging it out, and they're.

Speaker 2 (17:36):
Going to tune in next week to see if they
do it, and they're gonna turn the following week.

Speaker 3 (17:39):
Yeah it's so true.

Speaker 1 (17:40):
Okay, but the conversation the next morning after this date
was thwarted at right, And then she comes out in
her robe. The conversation in the kitchen is so fun.

Speaker 3 (17:48):
In the bedroom in weldroom is.

Speaker 2 (17:50):
It the bedroom?

Speaker 1 (17:50):
Okay, we're oh yeah, yeah, yeah, And they're starting to
compare what they were dreaming about.

Speaker 2 (17:54):
That's so cute.

Speaker 1 (17:56):
Oh my god.

Speaker 2 (17:57):
Yeah, flowers opening.

Speaker 3 (17:59):
And Alice those crashing waves.

Speaker 1 (18:03):
I was doing that, waves crashing on the floor on
the shore. And when Billy says flowers opening up, I'm like,
you know, oh that must have been those things for Andrews, Like,
I'm gonna say this.

Speaker 2 (18:17):
But then you have Alison, who you know, has come
into apologize and she's like, well, let's give it another
try tonight. Let's stay in and have wine and pizza
and maybe sex. Do the deed.

Speaker 3 (18:28):
I can't possibly do it. Now, both of us dig
my robot. That couldn't possibly happen.

Speaker 1 (18:34):
Yeah, let's make a plan. Let's talk about it, and
let's make a plan, and let's let's take all the
sexiness out of the whole thing.

Speaker 3 (18:41):
No, you know what, our sex life needs a plan.

Speaker 1 (18:45):
Let's discuss it.

Speaker 2 (18:46):
Well, but he's like, okay, take two.

Speaker 1 (18:50):
But they agree that it will be no talk of
the neighbors this time. No talking about the neighbors.

Speaker 2 (18:56):
Because I won't talk about the neighborhood.

Speaker 1 (18:57):
College. Okay, good plan.

Speaker 2 (19:03):
We're at the beach with a big bed of lingerie models, uh,
posing and lounging on the side.

Speaker 3 (19:10):
Like did they have to like, did they have to
fill a beach day?

Speaker 1 (19:13):
A four poster bed, four.

Speaker 3 (19:15):
Poster wooden bed and a and a bedside table.

Speaker 1 (19:18):
By dresser and two bedside tables, an entire bedroom set,
the entire front on the sand.

Speaker 2 (19:25):
Yeah. I remember we did shoot this in Santa Monica, right,
I think near the pier. But no one questioned it.
I don't remember anyone going like is this a weird setup?
It was just ninety three like, lingerie models on a
four post bed on the beach.

Speaker 1 (19:40):
It was just another Tuesday.

Speaker 2 (19:41):
It's just a catalog shot. What's the issue? Whatever? There maybe,
you know, I think it was like a Victoria's Secret
type of thing or something. And we have one of
the lead the lead model is Karen, who's played by
Vanessa Angel, and she and Joe are doing this banter
and I washed this a couple of time, and I'm like, ah,
there's all of this sort of like double on tandras

(20:03):
teasing like with between the two women. You know. But
she's saying Joe's like being all very you know. I
guess I was doing what I thought photographers did, like
oh yeah you're hot baby, so good, yeah, beautiful, gorgeous, gorgeous.

Speaker 3 (20:20):
I guess yeah, yeah.

Speaker 2 (20:23):
I didn't do a ton of research. I just did
what I I.

Speaker 3 (20:27):
Bought a photo shoots. They want you feel good about yourself.
There was crazy on music. Yeah you're saying beautiful, beautiful, great, yeah, great,
arch your back. I was like, yeah, I've heard all
those yeah.

Speaker 2 (20:37):
Arch your back. That was yeah, archier back.

Speaker 3 (20:39):
Yeah.

Speaker 2 (20:40):
So that's what I'm saying, really.

Speaker 3 (20:41):
Should say to Alison to get things moving.

Speaker 1 (20:44):
You're beautiful, drop that robe off your shoulder, arch your back.
I think, shut your mouth, arch your back.

Speaker 2 (20:54):
She's like, wait, what art your back? Alison? Stop talking
I'm listening to you. You're you're saying very important things
just hurt you back. But Vanessa, my model, goes yes, ma'am.
It works for her. So she's like, you should go
out with us tonight. So we're setting up that Joe's
going to hang out with these models in the whole

(21:15):
like fashion world gang that night, and uh yeah. So
the very last thing is, hey, we're not done here,
get back on that bed, and Karen says yes, ma'am.
H So little foreshadowing there, I think, little tease. Then
we're in the opposite of that energy in the hospital
changing room where Kimberly now apologizes for getting so upset

(21:38):
she did earlier, and he kind of I think this
is where he likes quietly says I have a plan
against the lockers because for some reason, like four people
come into the room in this small little room and he's.

Speaker 1 (21:50):
Ye, and they're still going to have this conversation. Yeah.

Speaker 2 (21:53):
Does this where he has the plan to want you
to beat me at my anniversary dinner?

Speaker 1 (21:57):
Yeah, the pagrio it's.

Speaker 2 (22:01):
Just anyway, Yeah, I had this anniversary dinner. I had
this plan, you know, wait for this certain time. They
plan a time and then I want you to beat
me and then I'm gonna have to come into the
hospital because I'm on call, and you know, and she's like,
I feel so guilty though you're at your dinner and
he's like, don't feel guilty. We're just being true to
our feelings. Yeah.

Speaker 3 (22:19):
Yeah, she totally afflicted, like she's cold at first and
she feels conflicted, but then in the end she'll like
in this one, she said, all I've been thinking about
is you anniversary or not? Or He says that. He says,
all I've been thinking about is you anniversary or not?
And then that sort of opens the door for her again.

Speaker 1 (22:33):
So yeah, he's he's so fine with it, like like
literally interrupting its anniversary dinner to go spend the evening
with her. And he says, there's nobody I'd rather spend
the night with than you. And just for people who
don't understand what beeping is, right, pagers, we wore these
little things that like you call the number and it

(22:57):
would it vibrates her beeps and that's your te so
you have to return the call to that phone number
or whatever, so you're getting beeped.

Speaker 2 (23:04):
It's high tack by you had to at the time
A yep, we're a pager pager. Then we cut to
Alison and Amanda are arguing. Surprise, surprise, were d and
d Ad. They're arguing in the open workspace, and Lucy
walks up and says to Alison, I want you to
come into my office, and then she tells her, look,

(23:24):
you cannot keep arguing with Amanda in the workspace. You're
coming to our work retreat and we're leaving tonight, which I.

Speaker 3 (23:30):
Thought was such an Alison starts to say in grand
Alice in faction, but I have a day, and then
thank god, she catches herself. I was like, could you
please shut.

Speaker 1 (23:40):
Off your She goes so far as to almost say
and then.

Speaker 2 (23:48):
Wait, oh my god, but Lucy. It's only because Lucy
gives her this look like are you really wanting to
finish the sentence?

Speaker 3 (23:55):
Dumb?

Speaker 2 (23:55):
After Lucy, do you know do you remember how many
times I had your back and you actually still have
a job. And then she goes, oh, yeah, no, tonight's perfect.
I'm fine. I can go out to Palm Springs and
start this work retreat, which she didn't know about a
second earlier. So so yes, So she agrees, you're going
to come out to this workspace, this work retreat, and

(24:17):
this is we're going to work on conflict in the workspace.
Then we cut to we are in shooters and Joe's
surrounded by a few models and she's smoking with the
models because again in the nineties, this is what all
the models did. Chane smoked at the inside inside Wild.

(24:38):
So anyway, Karen the lead model is saying, you know,
I loved working with you, and no one's going to
shoot me except for you here on out, and which
is you know, a great thing for Joe to hear.
And then Jake walks in and they're all so impressed.

Speaker 3 (24:52):
Wow, are they super admiring of him. Well played Joe,
which is.

Speaker 2 (24:56):
Very good coming from these very these beautiful models. So
he's got his arm around Joe and he's like, hey,
you have to come out with us tonight, and he's like, well,
I can't go. And he's like, Joe, you've been smoking.

Speaker 3 (25:12):
Because he has a very realistic bike repair emergency. Yeah,
because there was an emergency bike repair that came in,
So I can't that couldn't women beautiful women, because you
know how that happens. It's the same thing as being
beeped as a doctor, except that it's a motorcycle that
needs an emergency repair.

Speaker 2 (25:30):
Why do I know that Grant totally had this script
and went up to the rise of guard. Are you
an idiot? Why would I not go out with these
people models? You know? How do I say this with
the straight face?

Speaker 1 (25:41):
Although I thought he did a good job in this
scene playing the part where he's supposed to be a
little bit wary of this sort of dynamic with these models,
who I am around them? Yeah, like that that seems
a little bit suspect about, like is this a good idea?
So I thought he did a good job playing that
note in this.

Speaker 3 (25:58):
Scene that he did, And I think, you know, he
was sort of annoyed, Like I think he was like
he didn't want to hang out with Joe with those
people because he didn't like who Joe was with.

Speaker 1 (26:07):
Yeah, well he didn't like what he saw necessarily.

Speaker 3 (26:10):
Yeah right, And She's like me, are you saying it
wasn't an emergency bike repair.

Speaker 1 (26:15):
Laura, I'm not going to go that far. I think
still an emergency bike repair is a very realistic thing
on the place.

Speaker 2 (26:25):
And I and Jay was different. You can tell that
she's acting differently besides the smoking. She's all, you know,
she's like, we're going to this place called the black
Hole with heavy metal and singles.

Speaker 3 (26:34):
And made along heavy metal. That was funny.

Speaker 2 (26:36):
So Jake was like, Okay, I'm not going. Doesn't sound
appealing to him. But he's a supportive of her going
out with the girls, but he's a little bit like
who's that they leave? Right? And he's sitting there just
kind of going like okay, which you know, I think, Uh,
I don't know about you guys, but there is there's
another kind of interesting thing is like how much do

(26:58):
you have of your own social life when you're married
or when you're with someone and you live together, and
does each person go out and have their you know,
continue with these friendships that they each knew before they
got together. Absolutely do you kind of fold into this
like oh, you know, I mean, I would hope you
have permission.

Speaker 1 (27:15):
You don't need permission, And Jake and Joe don't live together.
In fact, he even says, hey, you if it's not
too late, swing by my place when you get home,
if it's not too late, right right, Yeah, they have
a very.

Speaker 2 (27:27):
Healthy you know, I mean comparatively speaking to the other
folks and not building they have a very healthy relationship.

Speaker 3 (27:33):
I yeah, granted it's a very low bar.

Speaker 2 (27:35):
Yeah, so very low bar. Yeah, so far. So we
leave the shooters and we are at the anniversary dinner
that we've been hearing so much about. They are there
and enjoying champagne, and we hear that appropriate music and
you're just wishing as you're watching this, going, oh, I
just wish this would last, you know, like, can we

(27:56):
just cut the lines that are coming and have the
two of them enjoy their anniversary dinner?

Speaker 3 (28:00):
But no, Well, especially because Jane is so vulnerable and
she's saying, you know, she feels down because she misses him,
and we're just like, oh, yeah, yeah.

Speaker 2 (28:09):
And it's weird.

Speaker 1 (28:09):
It's like she's trying to get him to admit something
and she's not coming out and saying I feel like
something might be going on. She's still just she's really
just saying I feel lonely, and he doesn't take any.

Speaker 2 (28:22):
Suspect at this point. To be honest, I.

Speaker 1 (28:24):
Feel like she has questioned, like, why, you know, why
is he not at work when he says he's going
to be at work there's enough for her to feel
like insecure and questioning, but he is so confident and
good at lying. He just doesn't even blink about anybody.
He's like, oh no, honey, I love you, and like
all the stuff. He's so good at faking.

Speaker 2 (28:46):
Well, she says, she said, you know, I feel like
the hospital seems to be taking you away from us,
and he's like, well, that's the price I pay, sweetie.
So it's like, this is what you signed up for.
I can't help it type of thing. Yeah, he's a
Primo Master gaslight, which we will see later. This is
just his go too for sure. But they're there and

(29:07):
then the guy comes up for dessert, and you know,
she's like, no, I just want coffee. He's like, for
some reason, he says, no, I have something fattening. You
deserve it. I didn't get that line. I didn't know
why that was placed there. But she's like, well, okay,
I guess I'll get chocolate. But then the beeper goes
off and you the audience are just like no, because
we know who it is. And so he leaves and

(29:30):
she gets the check. Yeah, he leaves.

Speaker 1 (29:34):
The table to go return the call. I'm really sorry.
And he gets up and walks out.

Speaker 2 (29:38):
She's like check please, yeah, very sad, yeah, very divorce,
divorce already. We don't even need to see anymore as
far as I'm concerned. Done. So we move off of her.
She's upset and sad, and then we come to Allison
is leaving the apartment and Billy's being such a sport

(30:00):
about it, you know, and she's like, I'm so sorry,
We're not We're not going to have our pizza date.

Speaker 3 (30:05):
And this is one of this comes out in her
voluminous pleated pants, which are a favorite of mine.

Speaker 1 (30:13):
We know you're not a fan of coster ball.

Speaker 3 (30:17):
The luminous pants and the huge jacket, it looks like
I'm trying to hide a pregnancy. What is happening?

Speaker 1 (30:24):
It was the style.

Speaker 2 (30:26):
Oh I don't know, you're like, I mean, if you
had walked out in a tight black dress, that would
have been like such a bomber for him. So hi bye,
I'm leaving everyone else going to see anyway.

Speaker 3 (30:36):
I just such a sport.

Speaker 2 (30:39):
He's like, well, we've waited this long. We can wait
a little bit longer. So he leaves to go to
this retreat.

Speaker 3 (30:46):
Well, but then there's this little like kiss on the forehead.
I'm like, yeah, where is the kiss? That's like the
promise of things to come right all of a sudden,
they really seem like cousins.

Speaker 2 (30:56):
It's the weirdest thing to kissing and not even kissing cousins.

Speaker 3 (31:00):
Yeah, cousins like a kiss on the like.

Speaker 1 (31:04):
They really don't know how to transition from Jess being
I was gonna go, well, then don't kiss, then don't
kiss at all.

Speaker 3 (31:11):
The kiss on the forehead is so chaste.

Speaker 2 (31:14):
But Alison leaves and then she bumps into Jane in
the courtyard. In the courtyard who Jane's coming home from
her aborted anniversary dinner very down. It's at night, it's
after the dinner, and it's at night, and and you know,
she's so bummed, but she's again sort of making excuses

(31:34):
about it. Oh well, you know, it just hurts, that's all.
And then Alison finally says, Jane, I have to tell
you something.

Speaker 3 (31:42):
And she decides she's racing off to a business dinner.
It's like talking about just hit and run. She tells her.
Jane has the horrible reaction we all dread, horrible immediately turns.
Then Alison goes, listen, I got it. Run here's the
hotel where I've say, what weird?

Speaker 1 (32:01):
I don't know? It made sense to me though that
She's like, I have to get I can't not, I
can't hold this any longer.

Speaker 2 (32:08):
I have to tell you makes sense.

Speaker 1 (32:09):
This is awful, Like I need to tell you this.
But Jane is so immediately doubting the truth of what
Allison's saying. She's like, that can possibly be true. I'm
sure you must have misunderstood. You don't know what you
were seeing. She completely thinks everything that Allison is saying
is total crap, and she's angry.

Speaker 2 (32:27):
She says, exactly what that's crap? Basically, you are lying,
not even like, are you sure?

Speaker 1 (32:33):
Exactly what her own doubts.

Speaker 2 (32:35):
In her head. With having the sand having come out
of the sneaker last episode, she still is like, I
was shocked. I was surprised at how vehemently she pushed
back and attacked.

Speaker 1 (32:46):
Alice absolutely didn't want to believe it or here, even
though she's been like sort of kind of I think,
questioning it and doubting it herself, like when she actually
heard it, she immediately lashed out at Alison and I think.

Speaker 3 (32:57):
That's what it is, Laura. When she actually heard it,
like heard her fears voiced, it was too scary to
process because I thought Josie did a great job of
like that shift of just immediately getting defensive and putting
it on Alison because she couldn't take it in even
though she's having her own doubts, she couldn't take it in.

Speaker 1 (33:15):
Yeah.

Speaker 2 (33:16):
So now we are in this is a funny scene.
We are in the hotel in the desert at the
work retreat, and now Alison and Amanda have to be roommates,
which is hilarious, and they're, you know, Amanda's like, I
can't believe it. You know, I was supposed to get
my own room, and they have this wonderful banter. You know,
Amanda's taken out all her clothes and Alice's like, oh

(33:38):
my god, where are you gonna wear all that? Aren't
they there's you know, and she's like, Amanda has some
great lines. So you know, she's like, well, I've never
believed in the virtue of packing lightly, or maybe I
just don't have your flair for making one outfit work
three different ways.

Speaker 3 (33:56):
Do you remember those articles at the time that were
in every fashion magazine, like how to make this work
three different ways? That's that reminded me of I still
do that, but he's been every magazine. And then and
then Amanda puts her stuff away and she says to Allison,
feel free to borrow anything you can squeeze into. Yeah,
and feel free to borrow my voluminous pantaloons.

Speaker 2 (34:17):
But that's shouldn't feel free to borrow these if you
want to.

Speaker 3 (34:22):
You can make two dresses out of my pants.

Speaker 1 (34:25):
Do you want to try my boxy jacket?

Speaker 2 (34:28):
I have some shoulder pads for you on a retreat
in Palm Springs.

Speaker 1 (34:33):
But it's also like just after they decided, you know
what this this cat for? This like fighting, and we
sound like a couple of high school girls that we
just need to figure out a way to get along. Okay,
can we just agree to bury the hatchet? And they agree,
and then is Amanda's lying, feel free to borrow anything
you can squeeze into.

Speaker 2 (34:49):
So much so much. Yeah, but they agree to kind
of get along for this weekend. At least they're gonna try,
right anyway, She leaves as she throws out one liner
at you and then is like thanks, you know like
she's she knows she got one in on her and
this is not going to bury any hatchet anyway. Michael
comes home close to just before six am, and Jane

(35:13):
has been awake. She's sitting in her bed with you know,
tea or coffee and she's just awing herself waiting up.
And she comes out into the kitchen and it's like,
what you know it took so long and what's what happened?
And whoa you know, I'm only.

Speaker 3 (35:31):
And he gives her this icky kiss. I didn't kiss
on her cheek? Did you notice that? Yes?

Speaker 2 (35:37):
And I'm like, we know where your mouth has just
been you discussed.

Speaker 1 (35:40):
Yes, horrible, And he's totally fine being that guy.

Speaker 2 (35:45):
He's totally fine.

Speaker 1 (35:46):
Yes.

Speaker 2 (35:46):
And this is a scene where he becomes a master
gas lighter like the actual movie where a gaslight, that
black and white movie, where he just makes her think
like she's crazy.

Speaker 1 (35:57):
Yeah yeah, because she says, I miss you. You seem
to have been in call awful lot and I really
miss you. And she comes right out and asks him, says,
are you having an affair?

Speaker 3 (36:08):
And then he.

Speaker 2 (36:08):
Laughs and he goes, what we're coming from, of course?
Not what would make you say that, yeah.

Speaker 1 (36:16):
Yeah.

Speaker 2 (36:17):
Immediately you turn it around and you make them feel
ridiculed and like they're idiots, and that's what he's doing.
He goes, what made you say this? So? I think
that's where Jane says, you know, well Alison told.

Speaker 1 (36:32):
Me, yeah exactly. She gives the examples that, well, I
called the hospital, you were supposed to be there and
you weren't, and also the sand in your shoes, and
he laughs at that, like, oh that's.

Speaker 2 (36:41):
Nothing, so kill me, so assume me.

Speaker 1 (36:44):
So I've spent my lunch at the beach, sorry, you know.
And then that's when she starts to say that Alison,
you know, told her something that she saw and and
he finishes her sentence like blows her off and complete
the gas light, like you're saying.

Speaker 2 (37:01):
And then goes to blame it on another person, which
would be Allison. She's like, well, why would she lie
to me? And he says, will you remember that I
her thing with that married man. Well, now she wants
to hurt you by breaking us up because she's telling
you I'm having an affair. He just deflects and blames
and she's so confused. You just watch her go, oh,

(37:24):
who do I believe and he goes, honey, you believe me,
don't you?

Speaker 1 (37:28):
And he comes up and.

Speaker 2 (37:29):
He'll see being so sweet, and of.

Speaker 3 (37:32):
Course she wants to believe him so much. Of course
she does.

Speaker 2 (37:35):
So then she takes him his head. He puts his
head down vulnerably right like I'm just a little boy,
don't you believe me, nuzzles his head into her neck,
so her arms go around his head as a tear
falls down her face, and you're just like, so not
only that gas lighting, then he becomes this vulnerable, wounded
animal and she's supposed to now take care of him,
and I just just drove me crazy. But he's the

(37:58):
writers are very good.

Speaker 1 (38:00):
And Michaels yeah, but he definitely painted a picture that
Alison is just gossiping and she completely made this story up,
and there's just that's it's how horrible of her to
be such a bad friend. And so he just completely
wrote a different story for Jane and and made Alison
the bad guy.

Speaker 2 (38:20):
Back of the retreat, Lucy's talking to everyone. The boss
of everyone. Lucy of course says we're gonna do some
role playing. So this is one of the exercises.

Speaker 3 (38:30):
And so here in your heart, like of everything you've
ever been to like this and said we're going to
break into small groups. Didn't your heart just sink?

Speaker 2 (38:37):
Well?

Speaker 1 (38:37):
And role playing that moment, no playing of all things,
not like trust exercises or something.

Speaker 2 (38:43):
But but immediately Amanda's reaction is like I'm going out
for a coffee or something. She goes to leave and
Alison's like, what do you mean? I think we should
play this? And Amanda's walking out to avoid the whole thing,
and Alison follows her and starts role playing. She's her acting,
saying things, yeah, Alison, this work is horrible. It's so slipshot.

(39:06):
You put no work and effort into it. And then
Amanda getses her. She turns around, she's got her attention
and she's like what oh, and they start going into it.
What was Alan? What was Amanda saying? As Alison, let's see,
I don't know if you guys remember, but it was
really wonderful back and forth. I thought you guys did that.
It was so fun.

Speaker 1 (39:26):
It was just this yeah, I mean for role playing moment.
She was also like I am not that bad. I'm
not that hard on you, and Allison's like, oh, yes,
you are and and you know whatever they're they're trying
to be.

Speaker 3 (39:38):
And then Amanda gets vulnerable and says, well, look what happened,
Like I asked you if I could date Billy. You
said yes, And just when I start to get attached
to him, we start having a relationship, you come back
and I, you know, i'd never Maybe it's my own
point of view, I should ask you, guys, because you're
a little more objective. I never really bought that it
was a real relationship, but maybe it was. Did you
feel like Amanda cared about Billy and was really hurt

(40:02):
when it ended? Because I never gave it any credence.

Speaker 1 (40:05):
But again, I think I think that's a fair question,
and I think that this episode, to Heather's credit, like
I think she really sold that part of the story
that like we believe it, like oh, she really did
have feeling or I believe it here, like even if
it seemed like a fleeting moment at the time, like oh,
it's just a blip and it's over so far. She

(40:26):
actually is saying, listen, look at it. From my point
of view, I don't trust you, and you're so competitive
with me.

Speaker 2 (40:35):
So excuse me, but I don't trust you at all. Yeah,
and I think you're right Courtney, like this is the
first time, and listen, this happens in episodes like maybe
that maybe the writers didn't do that relationship justice right,
like we it did seem sort of like about a
chair and they just didn't get on. There was humor
in it and it was short. It was just sure
seeing the the heart that Amanda really felt about it,

(40:57):
and I love this. I love that side of her.
And but before she gets all vulnerable and honest, she said, see,
I don't know. There's something that Allison says as Amanda,
I mean, look at those shoes. Who taught you to dress?
Barbara Bush? Sorry, I just had to get that because

(41:17):
Alison does have some pretty clunky shoes I've noticed, but
really clunky. It was the nineties, it was who knows.
And then we are at the park with Jake and
Billy kicking around a soccer ball and Billy's like going
on about how we were supposed to get together and
we're supposed to have a date but it didn't work, so.

Speaker 3 (41:38):
We well, they're not really kicking the soccer ball because
Jake is walking in his jeans and Andrew's knees, head, neck.

Speaker 1 (41:45):
Like, yeah, he's juggling.

Speaker 3 (41:48):
It's like Jake brought his son to the park to.

Speaker 2 (41:50):
Play with a soccer ball.

Speaker 3 (41:52):
Yeah. It's a houlnerable, right, because it's a true skill
Andrew has. But I thought they wanted to like work
in the soccer.

Speaker 1 (41:58):
I love when they worked it in because they're taking
advantage of something that Andrew can do and not not
anybody else on the show.

Speaker 3 (42:04):
And it's like played professional soccer.

Speaker 1 (42:06):
Yeah, and it also gives us the impression that like
Billy can't sit still, like he has to be like,
you know, bouncing around.

Speaker 2 (42:14):
Which he's very much like.

Speaker 4 (42:15):
Yeah, It's very good for his character and funny because
Jake is like, you haven't slept together, and it maybe
remember the beginning of Jake and Joe and you guys
were all over each other, which is what I want
for Billy and Allison.

Speaker 2 (42:26):
So Jake is like, what do.

Speaker 3 (42:27):
You just kiss?

Speaker 2 (42:28):
Like?

Speaker 3 (42:28):
You idiot?

Speaker 2 (42:29):
What are you? What are you waiting for?

Speaker 3 (42:30):
Is He's saying, you're gonna miss the window, right and
you guys are going to go right back into being friends.
And I'm so glad somebody is saying that to one
of them.

Speaker 1 (42:39):
Yeah, don't don't make such plans.

Speaker 2 (42:44):
We had second plans for tonight. And he's like, well,
what happened while she's out of a retreat in the desert?
And I think Jake is like, well, go get her. Yeah.
I don't want to think about too much because then
we'll both get scared. So he's like, well, can I
borrow your motorcycle? Absolutely not, I'll give you a until
I'll give you a used one from the shot. Yeah.

(43:07):
And then we're into Alison apologizing to Amanda, which was
really good. She met her there at that honesty and said,
you know, I'm really sorry for how all this happened.
I didn't plan it that way, but and can we
be friends at least for now?

Speaker 1 (43:19):
Yeah.

Speaker 3 (43:20):
It was a sweet moment. It felt like there could
be real progress in their friendship for a minute.

Speaker 1 (43:24):
For a second.

Speaker 2 (43:26):
So that friends is about to end because Billy comes
into the lobby. Nobody sees him yet, but he's like, oh,
you know, I need to talk to Alison.

Speaker 1 (43:38):
They're in this retreat, but he's wearing his biker gear
because he's taken this motorcycle to the retreat, so he's
wearing biker gear when he comes up to the counter.

Speaker 2 (43:45):
Yeah, and he puts his helmet down and says, well,
can I get a note in there? He writes this
note and he says, can you please someone please take
this into there since she can't come out.

Speaker 3 (43:56):
Take it into beautiful blonde?

Speaker 2 (43:58):
A beautiful blonde?

Speaker 3 (44:00):
Wrong?

Speaker 2 (44:00):
Yep, we know exactly, but there's got to be other
extras that were beautiful blonde.

Speaker 3 (44:06):
I'm sure it's California. There's only two, yeah, Amanda.

Speaker 2 (44:11):
And Allison, so, of course, so much for their friendship.
Amanda of course intercepts the note and.

Speaker 1 (44:18):
Because the valet guy picks the wrong beautiful blonde, are
you Alison Parker?

Speaker 2 (44:24):
No, but I can take this to her. Then reads
the note and it says an excellent handwriting. I might
add that Billy has Oh my god, I couldn't wait.
I'm in the lobby Billy, And so she goes out
to the bill. She goes out to find Billy and
says that you can't see her. Lucy's not letting her go.

(44:47):
She's on probation. She lies, That's why I'm totally lying.
That's why I'm going to make you.

Speaker 3 (44:53):
Think of Animal House and super Secret Probation, Super secret
probation to make you think of that, that's what I
thought of.

Speaker 1 (45:00):
I love it, I will now, but I didn't.

Speaker 2 (45:02):
And then yeah, so so that's that. She makes sure
that Billie can't see Alison.

Speaker 1 (45:10):
Yeah, but Lizon says that it was that. Allison says
she's too busy, like it's.

Speaker 2 (45:15):
All a lie. Yeah, and just literally thirty seconds before
she's saying, yeah, let's be friends, like this honest moment.
So these people just can't be friends no matter what.
No one can keep up a let's bury the hatchet deal.
And then we are at Jake's and Joe comes flying
in the door. She's so excited about her night out
with the model girls last night and all the fashion people, and.

Speaker 3 (45:37):
She says, and at first I thought it was the
night of the party because she seems sort of buzzed
because she's so excited, and I realized it's the next night.

Speaker 2 (45:45):
It's the next ning.

Speaker 3 (45:46):
Know, did Joe go the entire day without checking in?
She said come bye after the party, And I don't
think Joe not only didn't come buy after the party,
she didn't come buy until the next night. And excited energy.

Speaker 1 (45:59):
Right like she's just now getting back from the whole.

Speaker 3 (46:02):
You know, that's a lot of time to go between contact.

Speaker 2 (46:06):
Yeah, well I'll tell you because I'll just tell you
what happened to Joe. She got in at five am,
and she just took her advil and Exceegrian PM and
slept all and then wanted to get out refreshed and
probably had brunch with the girls maybe, and then she
finally came up to you.

Speaker 1 (46:22):
She Yeah, Jaffe has a lot of confidence about how
that might have gone exactly. I feel like that's a
very familiar scenario.

Speaker 2 (46:29):
There was some research in the eighties. I must say,
I know exactly what Joe did.

Speaker 3 (46:33):
I appreciate your Joe comes bounding in and goes and
takes it. I think the last beer out of the fridge.

Speaker 2 (46:39):
Is not oblivious that it's that thing with when you
meet new people and you meet a whole vibe, and
hers is going to possibly lead to a whole career
in the fashion world, you know, So it's very exciting
to her. It doesn't have to do with, like, you know,
her boyfriend and the apartment and struggling and stuff. It's
just very exciting for her, So she does she's not

(46:59):
doesn't even notice that she takes the last beer, and
she wants.

Speaker 1 (47:03):
To tell Jake all about like this opportunity she has,
like how she met this video editor who wants to
hire her too. Now she's gonna have all these job opportunities.
Is just so happy to share it with them, and
and she notices that he's not very excited to be
hearing about this, like whit, you don't look happy for me,
and he's.

Speaker 2 (47:20):
Like, oh, well, yeah no, And then he'll come he'll
like better his response later because he'll realize that he
could have been a little more excited for me. Yeah.

Speaker 3 (47:30):
Well, Jake isn't though, because he doesn't like the people.

Speaker 1 (47:32):
And this is where he tells her that, well, maybe.

Speaker 3 (47:35):
They're not as sophisticated as the grease monkeys you love that.

Speaker 2 (47:39):
Ye whoa, Maybe they're not as sophisticated and well rounded
as the grease monkeys you were.

Speaker 3 (47:45):
Yeah.

Speaker 1 (47:45):
It turns into an argument that's like Joe is not
very nice and her like retaliation.

Speaker 3 (47:50):
Carry on in another episode because it's just sort of
dropped and it does this carries on, Yeah, you.

Speaker 2 (47:57):
Know again, we have this happy couple, but it's Melrose's place,
so we're gonna i'd to start the scene happy and
end it with the fight. That's what we do. Yeah,
She's like no, and then she turns it into all
of a sudden, you're just not happy for my success
and you know, so screw you. I'm out. He's like whoa, whoa, whoa. No,
I'm gone, and she just leaves like she does so
many times before. And then we are with in Jane

(48:19):
and Michael's apartment and Jane comes into a dark apartment,
nobody's there, and she's calling and it's just and she's like, Michael, Michael,
of course she's not there. So she calls the hospital
and she's expected, you know, to find him there, and
the woman's the receptionist says, well, he's on break till eleven,
and she immediately is like, well, it's in a family emergency.

(48:42):
Can you please give me Kimberly Shaw's address or phone number?
And she's like no, we can't give that out. And
she's like, well, it's in a family emergency and I
need to they're working on a project together and I
need to speak with him. So she is like no more,
miss nice guy. You know what I mean. She's just
doing what she can and lying manipulating and she's going
to get that address.

Speaker 1 (49:02):
Well, but doesn't the scene end where she just has
to tell the nurse to just leave a message for
the hospital to cage Michael, and that's how they leave it.

Speaker 3 (49:11):
Like, yeah, but she's got an address, Well, she hasn't
gotten it.

Speaker 1 (49:14):
They has not gotten the address. That's what's confusing because.

Speaker 3 (49:18):
Because they say they can't give it to her.

Speaker 2 (49:20):
Back at the hotel in Palm Springs and Alison and
Amanda are laughing and having a good time, which is
also and Hader told.

Speaker 3 (49:26):
A story that I promise you she made up. She improvised,
and then he threw up in the hot job.

Speaker 2 (49:35):
Story. That's another improv.

Speaker 1 (49:38):
That was Yeah, we have to to make nineteen ninety three.

Speaker 2 (49:42):
Yeah, that was that was Yeah, that's amazing that you're right,
I remember that improv.

Speaker 1 (49:53):
But conveniently, Lucy comes to the table, is so happy
to see them like laughing together, and she's like, I
need throat lousages. Alison offers to go out to the
parking lot to Lucy's car to get these throat lozenges
for Lucy, which we all know where this is going
to go, and sure enough, that's where she goes up
to the parking lot and Billy is still in the
parking lot getting ready to leave on the bike and.

Speaker 3 (50:15):
Which luckily has broken down. One wonders if it's the
emergency bike repair, maybe this was the bike previous need.

Speaker 2 (50:23):
Well, what's interesting is that he's trying to do it
with the kickstarter, but it's it's a he doesn't know
that's a thing, so he's really just flooding the damn thing.
But some bikes you start like that with your foot.

Speaker 3 (50:34):
Yeah, Lauren and I totally caught that. Lauren and I
both totally caught that. So that was.

Speaker 2 (50:39):
So the valet guy Cod just comes and pushes the button.
It's hilarious. It starts right away, but you're right, it's
given us time to have Alison walk up and go, Billy,
what are you doing here? What? She's happy? Which I
was so happy that she was happy. Yeah, I'm leaving,
and she's like, what do you mean what? Mess said, Well,

(51:01):
you didn't want me here. I didn't even know you
were here. Amanda. Oh that's right, Amanda. Amanda has always
lies and always is in the middle of things. So
they figured out and Billy goes, I have an idea,
I'm going to get a room and then when you've
done your retreat thing, you come join me when you

(51:22):
finish your party, because there's going to be a cocktail
party or something. And Alison goes, what party. She's finally
excited to go. Yeah, spend the night with him in
this hotel. So he's going to go.

Speaker 3 (51:33):
And then they kiss and I put in my notes
way too chastely because I'm.

Speaker 1 (51:38):
Well again, they're still making a plan at this point,
there's still in place. Yeah, they're at.

Speaker 2 (51:43):
A hotel making a plan on a hotel. Yes, the
plan is, I'm going to go get a room.

Speaker 1 (51:49):
Here's a plan.

Speaker 2 (51:50):
Now, when has there ever been an extra room if
there's a corporate retreat going on, I don't know. But
in this little apartment, in this little hotel, we got a.

Speaker 1 (51:57):
Really nice room too. But first we have to find
Jane walking through the hallway of Kimberly's apartment, which we
have no idea how she got the address.

Speaker 2 (52:04):
Well, I think the lady gave it to her, but whatever, your.

Speaker 3 (52:08):
Yeah, she worked it out.

Speaker 2 (52:10):
So she's walking down this hallway and she she's just
got this. She's nervous, but she knows where she's going,
and she knocks, and you hear from inside, Yeah, who
is it? And she says Jane. And then they cut
to inside and it's Kimberly making dinner or salad or something.
And she doesn't have a reaction like oh shit, you.

Speaker 1 (52:31):
Know, she sort of calmly answers the door, like, oh, hey, hey.

Speaker 2 (52:34):
Jane, what can I do for you? She's so calm,
She's like she and Michael are made from the same cloth.
She's like, oh, what can I do for you? She's like, well,
is my husband here? No, of course not. Well he's
supposed to be on break and he's not at the hospital,
and oh, maybe it's that crappy coffee shop near the
hospital that we all have to go to. And right

(52:55):
then we hear and see Michael walk in behind her.

Speaker 1 (53:00):
Hey owl, only a towel, Yeah, and a towel for
the second time this episode.

Speaker 2 (53:06):
Yeah, and.

Speaker 1 (53:07):
He just stops in his tracks and he sees Jane's
face at the door, and everybody.

Speaker 2 (53:12):
Just is busted and we're finally thrilled.

Speaker 3 (53:17):
Finally Jane says, thank you, That's all I needed to know.
But didn't you wonder like, can we talk about casual
kimberlewis she could have said, Michael, it's Jane, stay hidden.
I wonder the sort of Mockia Elliott. Or she could
have come out of the hallway the door, because then
they'd be found out. I think that maybe she meant
to Kimberly meant that, No, I do, I think so.

(53:41):
How could she not say Michael, Jane's It's not like
there's an and she opens it. She knows it's Jane,
but she doesn't say to him it's Jane Hyde. She
opens the door, takes all the one thing.

Speaker 2 (53:54):
Yeah, I don't know why.

Speaker 3 (53:56):
She she wants to be found out so she can
have Michael because that blows up their marriage.

Speaker 1 (54:01):
Well, it's definitely blowing up here, definitely blowing up. Jane
leaves and he runs out after her in his towel,
trying to keep it on as he's running, like we
Michael or wait, Jane, Oh.

Speaker 3 (54:14):
It's just so, And Kimberly looks very annoyed that he
ran after her. That was not in her master plan.

Speaker 1 (54:22):
But back at the hotel, where Brian Ellison's plan is
finally coming to fruition.

Speaker 2 (54:30):
With beautifully romantic the plan to make another plan let's
discuss this further romantic pink Rose on the bed, But they.

Speaker 3 (54:40):
Do discuss it a little further because Alison says, can
I tell you something that's like, oh, for the love
of God, can you shut?

Speaker 1 (54:46):
Yeah?

Speaker 2 (54:46):
Oh she did? What did she say?

Speaker 3 (54:48):
She says, I'm nervous, which is very sweet. And then
he says she says, he said, I'm excited. That was adorable, and.

Speaker 2 (54:55):
Then he puts her purse on a chair.

Speaker 1 (54:57):
He still has to like take her purse off of
herst like it's okay, like enter this room and let's
it's very.

Speaker 2 (55:03):
Slow, very yeah.

Speaker 3 (55:05):
This is where I did think, because maybe this is,
you know, being against Joe and Jake. We're so hot
and sexy. Maybe the point is that this is sweet
because it was so sweet and slow. And did you
notice the music take me to an everlasting love? And
I assume loaur it was the time but maybe right there,
but it was so like endless lovey.

Speaker 1 (55:27):
The long well, it's maybe the longest love scene montage
we will ever see in the history of long of Melrose.
Because I thought it was really long. I thought it
was lovely still long to me.

Speaker 3 (55:41):
I thought it was perfect length.

Speaker 1 (55:43):
I thought it was, guys.

Speaker 3 (55:45):
It was endless.

Speaker 2 (55:48):
It wasn't even you guys making out. It was like
close up on the shoes, coming up, close up on
this and we all know what love wanted to make
it lest right, very like stop and go, and they
want all these other shots and it's not as like
this smooth, ongoing lovely thing that's fun to do. It's
very stop and go.

Speaker 1 (56:05):
Yeah, it was the pieces of the clothing coming off,
and then some more kissing and then another article of
clothing and we're kissing. I thought it was lovely and
like they made a really and that it was.

Speaker 3 (56:16):
And then at the end were lying on the bed
and Andrew comes down on top of me and then
I was like, oh, I stroked his back for America,
like I always.

Speaker 1 (56:23):
Say, that was so nice.

Speaker 2 (56:26):
That was nice of you.

Speaker 3 (56:27):
It really was sweet. Yeah, you're welcome, very nice.

Speaker 2 (56:29):
Finally you made us like wait for it, but fine.

Speaker 3 (56:32):
Really I really made you wait for it. But I
thought it was really sweet, like you felt like it
was a real love scene, Like, yeah, it was.

Speaker 2 (56:38):
Very much a love scene. No, they put a lot
of time and money into it, obviously, because the longer
it is, the more of that shooting day. It took
and it was important to those.

Speaker 3 (56:47):
Yeah, it was sweeter that the kiss was really sweet,
like I thought. I thought. I didn't say it'd been
a good payoff with the audience.

Speaker 2 (56:54):
Yeah for sure. I mean it would be such a
drag for a short little and then pan out. Yeah,
out of off for all of this that would have
been the kids on the forehead and then fade to
the audience waited.

Speaker 1 (57:05):
Thirty episodes for this, Yeah, like thirty episodes.

Speaker 2 (57:08):
Let's make a real.

Speaker 3 (57:09):
You know exactly it was and I did.

Speaker 2 (57:11):
I don't think I said this at the top, but
this was written by Frank South and Darren Starr. Those
are the guys that wrote this particular episode. So, and
this was a big This is the main couple, you
know what I mean that they lived together, Billy and Allison.
Well they ever get together, and this is the episode
where they finally do. We'll see how long it lasts,
we see how we'll see how it goes. But this
was it. And yeah it ends with the whole episode

(57:34):
ends with the your my ever lasting love and.

Speaker 1 (57:37):
Yeah, lots of juicy stuff in this one.

Speaker 3 (57:40):
That's really fun, very satisfying ending to this episode yeah.

Speaker 1 (57:44):
It just ends and story begins.

Speaker 2 (57:47):
I love how one story is like building and beautiful
and people yay, and the other one that's the demise
of whatever they had, their marriage, their relationship. It's just
ends so sickly, sickeningly where she just says, that's all
I need to know. There was a great close up
I thought there was a great close up of Michael

(58:07):
there where you just see James. She's so open and
Voldemore like, oh my god, and then you just see
him like, oh god. There wasn't defense. I just thought
it was really smart to be like, oh, Jane, you
just see softness for a second.

Speaker 1 (58:20):
And only two more episodes left in this season of
season one of Melroe's Place.

Speaker 2 (58:26):
Amazing, So we're gonna have a couple more episodes and
also we have some cool guests coming up.

Speaker 3 (58:30):
Two more we do, Yeah, we do.

Speaker 2 (58:33):
All right, ladies, thank you.

Speaker 1 (58:35):
We'll see you on the next one.

Speaker 3 (58:37):
I know. We'll see you for Milrah's Minute and again
next week.

Speaker 2 (58:40):
For the weekend.

Speaker 1 (58:41):
All right, Bye guy, by guys, Bye bye, super happy
to peek.

Speaker 3 (58:46):
Okay, hold on