Drama is Coming ("Picture Imperfect" S1 EP 21)

It's here - Amanda Woodward joins Melrose Place! 

 

 

MP is getting closer and closer to becoming the over-the-top guilty pleasure everyone remembers! Courtney, Daphne, and Laura are back with a breakdown of Heather Locklear's debut. Courtney reveals she was so nervous about working with Heather, what it was really like having her join the cast, the behind-the-scenes scoop on why this episode has more movement, and the Billy drink scene that had them all giggling uncontrollably! 

See omnystudio.com/listener for privacy information.

Episode Transcript

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

Speaker 2 (00:09):
And Daphne's Aniga an iHeartRadio podcast. So thanks for joining us. Everyone.
We're just discussing all the ins and outs and tech
of doing this podcast for the actors and how Lucy,
Laura's daughter, came on our press day and was like
whoo boom and like reels and stories and editinging and music.

(00:31):
It was amazing on her.

Speaker 3 (00:32):
She can do all the things. And we're you know,
we're just figuring out as we go.

Speaker 2 (00:37):
I get my pencil.

Speaker 4 (00:38):
I mean, I've been asking Jack since he was eight
years old, how do I just handed my phone? Because
you know, when we were growing up, if you hit
the wrong button, everything went away. Yeah, right, like these
kids asked you, do you want to get rid of it?
Do you want to get rid of it? We didn't
have that. Do you remember hitting the wrong button and
everything you were writing was gone?

Speaker 2 (00:55):
It was scary here. It was scary still is in
certain ways. I think we just it's just.

Speaker 3 (01:04):
Well, we've just figured out zoom.

Speaker 5 (01:05):
Although I'm realizing I need to keep my hands in
my lap because I still haven't turned off that setting
that makes me give you like fireworks and greens by accident.
So I'm just going to be here with the hands
of my lap today for this recap. Daphane's got our recap.
She's given us a rundown us. Heather Locklear's first appearance
in this episode we're recapping today.

Speaker 2 (01:23):
Yeah. This is episode twenty one, season one, twenty.

Speaker 3 (01:27):
One where Amanda Woodward appears.

Speaker 2 (01:29):
It aired on January thirteenth, nineteen ninety three, and I
you know, we're having such a blast watching this. I
just want to encourage our listeners watch every single episode
on Paramount Plus and if you just want to watch
that and then listen to these comments. It's really fun
for us, isn't it.

Speaker 3 (01:43):
It's a blast to watch the episode though.

Speaker 4 (01:45):
It's fun, and this is a great time to join
in because the episodes are starting to pick up and
it's sort of becoming what Melro's Place became.

Speaker 3 (01:53):
Let's good, right, can't wait?

Speaker 2 (01:54):
You guys, thank you so picture imperfect. This is episodewe
one I'm trying to look here, directed by Nancy Malone.
So for those of you remember Nancy, she was a
child actress and a great director for us that came
on and did a few of.

Speaker 1 (02:10):
These, and she kept everybody moving.

Speaker 4 (02:13):
I know we'll get to usy go by ses, but
did you notice that, like sometimes it's just two people
sitting in a chair talking, there was movement in every scene.

Speaker 1 (02:19):
We had props doing things we didn't normally do.

Speaker 2 (02:22):
Oh so yeah, we were really encouraged to do that.
A lot of shows this, you know, our dramas just
kind of like really rely on the close up, the
close ups and over the shoulders and so you're acting
with kind of like your face. But she was very
used to I think you're right. I noticed that, you know,
encouraged like body movement and wider shots and things like that,
which was.

Speaker 3 (02:42):
Yeah, use the room, cause the set.

Speaker 2 (02:45):
And on that note, we started D and D advertising
and we are walking, Lucy and Allison are walking.

Speaker 4 (02:50):
Did you notice I'm sorry to interject so quickly, but
I like there was a voice, a male voice over
it as we're coming into D and D and it says,
D and D may I help you?

Speaker 1 (02:59):
And I was like, NW, why Alison at the receptionist desk?
And then we come into.

Speaker 2 (03:02):
This scene and we figure out why she's pulled her
off the desk. So Lucy walks into office and Allison says,
is something wrong and Lucy says, nope, take a seat,
and she says that she had to let somebody go.
Toby callup. Allison's getting kind of worried, like, am I next?
And she says, I recommended you for the job assistant
account executive, which is a bit of a promotion. I guess, well, yes,

(03:24):
anything is from receptionist, right definitely. Lucy says, yeah, there's
room for opportunity. You won't be getting much more than
you're getting now, but it'll be really great. You're the
liaison between the creative and the client. And she's so
excited and she asks, oh boy, when do I start?
She goes right now, and she says, we've lost our

(03:45):
photographer for tomorrow's for the count of Maximum Advantage, which
is a men's underwear, and we need a replacement for
that photographer right now. So Lucy picks up the phone
and asks for Amanda Woodward, the director on the account.

Speaker 1 (04:00):
You squeel when she said Amanda Woodward, I was.

Speaker 2 (04:02):
Like, huh. I wasn't shocked because this is the most
casual entrance I think's.

Speaker 5 (04:09):
Apparently already been at the company, right. We just haven't
met her yet, but she just in back office.

Speaker 2 (04:15):
We didn't notice her. So it's like the most low
key entrance we've ever seen.

Speaker 5 (04:20):
But Alison's like, yeah, I know who she is. All right,
yeah whatever here she comes.

Speaker 2 (04:24):
Whatever weird. So she goes, I'll you know, Amanda, will
you come in, Amanda will fill you in on the
rest of the details. And Alison looks at Lucy, telling
Lucy that she's floored, and Allison says, I don't know
what to say, and Lucy says, don't let me down,
that's all.

Speaker 4 (04:40):
But did you notice Like when when when I came
into the scene, I thought, God, that's kind of a
weird out. For like, I had this big white sweater
belted of her white skirt and it seemed kind of
frumpy and virginal. But then when Heather came in and
I was like, oh, she's got on a power suit, right,
I couldn't look more Midwest vulnerable And she comes in
in this like lavender power suit. I was like, oh,

(05:00):
with these big buttons, remember that, Like.

Speaker 3 (05:02):
She they were setting that contrast.

Speaker 4 (05:04):
They were setting that contrast because I thought Denise Wingetter
crossed and we didn't do anything without thinking about it,
and I was like, oh that's why.

Speaker 3 (05:11):
Yeah, that was a great contrast.

Speaker 2 (05:13):
So Amanda has come into the office. They've left Lucy's office,
and our next scene is they're walking in to the
offices where the general employees are and Alison is so
excited and she says, oh, I get my own office
and Amanda replies, yeah, it's more like your own veal
fattening pen. And she shows here her cube and she's like,

(05:35):
feel free to redecorate. I think she said. Alison go goes,
have you met this Rex Welden, this tennis star that
they're going to shoot for this campaign? And I've noticed
that there's pictures of him on the cubes there. I
guess she puts up whoever they're working on and he's
this cute guy and she goes, yeah, I've met him once.
And then Amanda says, you know, try not to dwell

(05:56):
on how adorable Rex is, because the last thing you
want to do is get with a client, and that
the account usually disappears when the relationship is over, which
is what happened to Toby Callow.

Speaker 3 (06:07):
According to the R.

Speaker 4 (06:10):
And do you remember, because I remembered that day I
was watching that scene and being really nervous about Heather
locked they were coming on.

Speaker 1 (06:15):
She was a really big star.

Speaker 4 (06:17):
And then I was looking at the first scenes and
just remembering how funny and humble and warm and lovely
she is.

Speaker 1 (06:26):
Yes, how she immediately puts everybody at ease.

Speaker 4 (06:29):
I just had that memory of, Oh, I remember her
coming and looking insanely gorgeous as always, but just so
down to earth and so lovely. And I had that
memory of, oh, how she put everybody at ease. Yeah,
her character joke, she's lovely to the crew.

Speaker 1 (06:47):
I just had that memory of having her there the
first day and how wonderful it was.

Speaker 5 (06:50):
Yeah, her character gets like more sort of powerful and
bossy as as it grows.

Speaker 3 (06:56):
And as it goes on, but here her entrance, she's
just she.

Speaker 5 (06:59):
Is so lovely and her smile just lights up her
face and she just comes off with so kind and
warm and appealing.

Speaker 1 (07:05):
Yeah, it was fun to remember that day.

Speaker 2 (07:08):
Yeah, nice, I totally agree. So before Amanda leaves, she
says she well, she's going to go look at some
more portfolios, but she says, you know, we got to
get on this thing. So she really introduces that there's
a time crunch that that Alison has her first gig.
It's like all this stuff, you're you're working now, you're
working on something that's happening tomorrow. And we have a
time crunch and here's Amanda and go and Alice's just like, well,

(07:31):
I'll be right here, you know, sitting at her desk.
She's so excited. She has a cubicle.

Speaker 1 (07:36):
She loves it.

Speaker 2 (07:37):
She loves it. So the next scene is that shooters
and we have a really cool high shot looking down
on the group. Yeah, were you thinking, I'm thinking, you know,
Nancy's you know, creativity. She's like, okay, how do you
get the message across At everyone's cheerings, they were all
cheerings of your promotion, toasting your promotion. So Billy says, well,

(07:59):
cheers on your brilliant new career. Dreams do come true
and he kisses you on the cheek and everyone else disappears,
and Alison and Billy sit together at the bar and
Billy's like, well, you won't need a roommate anymore now
that you're making the big box and she's like, yeah,
it's fifty dollars extra month. You want to calculate that.
Courtney in today's buddy. Let's just get it's probably the same.

Speaker 1 (08:21):
It's just two hundred, right.

Speaker 3 (08:23):
In any case, Billy's not going anywhere.

Speaker 1 (08:25):
Yeah, Billy's not going anywhere.

Speaker 2 (08:28):
So he says, well, I'm really proud of you. And
then Michael comes over and pulls Billy aside and to
go play pool. And then Joe comes in and takes
his seat and is prepared to chat with you. But
over at the pool table Michael and Billy, Michael asked, Billy,
are you seeing anyone? And Michael says, I think I
have someone to set you up with as he's playing pool,

(08:50):
and Billy's like, well, who is she? Well, her name
is Lydia Perkins and she's a nurse at the hospital.
Very sweet and he's like sweet, Well, which famous person
does she look like?

Speaker 3 (08:59):
Yeah? He wants to know more. Sweet maybe not be
enough of a description.

Speaker 4 (09:03):
I remember like blind, d you know you would always
get a picture of somebody right, like then you were
really blind, Like people didn't have a saywater, You couldn't
say let me take a picture for your date.

Speaker 1 (09:13):
You just said to believe the person you were talking to, or.

Speaker 2 (09:15):
You couldn't just say what's her name again? And then
look it up all ye, he's getting the name out
of his mind. He so, you know, who does he
look like? And he Michael says, oh, Cindy Crawford and
he's like really and he's like, no, she looks like
herself and she's great. And he goes, well, suspiciously, why
can't you get a real date? And he sinks the

(09:36):
ball and says, well why can't you? And he's like damn,
and which is a good question. Why can't he?

Speaker 1 (09:42):
Because well, because he's in love with Alison. Are you
guys not watching the show?

Speaker 3 (09:47):
He's trying everything to avoid the truth.

Speaker 1 (09:50):
Yeah, yes, he can't yeh yes.

Speaker 2 (09:54):
So we're back at the bar where Joe has come
in and she's sitting there drinking her white wine and
and moaning about unemployment. And Alison says, well, you know,
I was hoping that the receptions job would lead to something,
but you know, here it is, and you might want
to show me some of your photography. I might want

(10:15):
us because I could maybe help you. And she's like, really,
that would be amazing. You know, people are afraid of
trying something new. Everyone wants to do the same old thing.
Alison tells Joe that she would like to help her
if she can, and she goes, well, come on over,
look at my photographs. We cut right to the apartment.
So this is the one where the portfolio where we
start close and we pull back on these guys playing

(10:37):
volleyball on the beach, and then Alison's wow, your photography
is so cool. These are great. Did you get anyone
any of their numbers? And Joe's like, yeah, no, a few.
But then she's like, no, I'm not looking for numbers.
My hands are full with Jake and the last thing
I need is to pick up guys at the beach.
And Alison says, well, what's going on with you and Jake? Well,

(11:00):
and it's slow, you know, it's hard, but I know
it's best for me. And Allison's like, in this one take,
Jake is a really great guide, Joe, and you're good
for him. I can tell. And she's like really anyway,
Then she keeps looking at the photos and she sees
some very avant garde black and white ones. Wow, these

(11:20):
are cool, and there were ones that she took in
New York for some magazine and she's like, wow, I'm
going to bring these into the office. Because they're great.
Then we're in D and D advertising and now Amanda's
looking through Joe's portfolio and she's like, Wow, did you
guys think these photos were really great? Because like everyone
is bowled over and I'm just asking you as audience members,

(11:44):
were they really great? Like they didn't really stand out
to me?

Speaker 5 (11:48):
I know, yeah, I think it's probably pretty hard to
get to the punchline of this story, right. The punchline
is that Joe's going to want to do something a
little different, And how do you say that in this
first part with just her photographs, Like this is how
Joe is artistic and different, right, I mean I think.

Speaker 2 (12:07):
That's great, Like they're emphasizing how great these are.

Speaker 3 (12:11):
She's fantastic.

Speaker 5 (12:11):
Well, and also they're desperate they need to hire a
photographer immediately, and Alison has presented.

Speaker 3 (12:18):
Them with their solution. Right, here's this woman.

Speaker 5 (12:20):
She's available tomorrow and her photographs aren't true right there.
It's not that they're like greater than ten other people
that are options for tomorrow. It's like Joe is available
tomorrow and her photography is great.

Speaker 2 (12:31):
Yeah yeah, yeah yeah. And also it's an advertising D
and D is for advertising so they're usually very basic,
straightforward commercials that are showing a product period, good lighting,
show the product, and you know, that's what they're used to,
and these are kind of different, some of them more creative.
So Amanda is going, wow, I love these. Who's her agent?

(12:53):
And she's like, well, you know, she doesn't have one
And Amanda's I thought that.

Speaker 4 (12:57):
Was a good cover, Alison, she doesn't have one out
here yet.

Speaker 1 (13:01):
Ah, yeah, pretty good in the moment qualifying it, Yeah,
uh huh.

Speaker 2 (13:05):
He's an ally, She's very good, okay, And Amanda says, wow,
this might be the lucky break that we need. So
I'm going to show this stuff to Lucy. And then
Amanda asked her do you want to come along? And
she's like yes, And then we cut to Lucy walking
down the hallway and looking at Joe's photos and she's like, wow,
these are great. They're so dynamic. What do you think, Alison?

Speaker 3 (13:27):
Did you see Alison is sort of like hurrying.

Speaker 2 (13:30):
To keep up.

Speaker 3 (13:30):
Did you notice the way you were walking?

Speaker 5 (13:33):
Is like Lucy's walking very confidently striding down the hall
and here comes Amanda. She's very confidently striding, but like
Alison had this like little.

Speaker 3 (13:42):
Scurry like she was hurrying to keep up.

Speaker 2 (13:44):
It was very mud so creat So she but she's
a good mentor. She's asking you, you know, what do
you think? And Alison says, well, I think that we
should give her a shot. And Amanda reminds Lucy that
the clock is ticking, so boom, take her in my
office this afternoon.

Speaker 1 (14:02):
What could possibly go wrong?

Speaker 3 (14:03):
This is gonna be great.

Speaker 2 (14:05):
It's gonna be great. We are in the kitchen of
a restaurant and Terrence and Ronda are there tasting pastries,
and Ronda's like, oh, these are better than sex?

Speaker 1 (14:17):
Can you think? Oh? Tell you, at least it is
better than sex with you.

Speaker 2 (14:25):
Well, then, Terrence, do you remember Terrence goes tastes it
and goes almost like correcting her.

Speaker 1 (14:33):
Yeah.

Speaker 2 (14:34):
Well, but then Terrence says that Nancy is a gifted
pastry chef and wants her to make the cake for
the wedding. So I thought this right when I saw this.
Do you remember the star celebrity chef of the nineties, Nancy.
Nancy Silverton was huge. She gave us the restaurants of

(14:55):
Campanilely and you know, most Son stuff. But she created
Ray Bakery.

Speaker 5 (15:00):
Which they made this character Nancy the chef carrecs Nancy,
and I looked at it was an extra.

Speaker 2 (15:06):
She didn't have a line or anything, but I looked
and she looked like Nancy Silverton. And you know, Darren
wrote this, and Darren's into all that stuff and food
and stuff, so I thought that was almost a cameo.
But it's a nod to yeah, yeah, yeah, to LA's
like new celebrity chef, and and that Terrence can afford
her and wants He's on the top of the pulse
of everything, you know, making this a great wedding. So

(15:28):
we're going to have her make the cake. And Ron
is like, well, my mom wanted to make the cake.
Is a part of her gift. And Terrence is like
for two hundred people.

Speaker 3 (15:36):
He mocks her. He like laughs at that, like.

Speaker 2 (15:38):
Guffaw, like yeah, yeah, no ways, little tremors are kind
of like and here's another one. Rond is like, two
hundred people, I wanted to have an intimate wedding.

Speaker 4 (15:52):
Well, but last remember, I think episode before last, she's
talking to Matt and saying that it was a hundred
maybe we need one hundred and fifty. So then she
was getting into the big wedding member.

Speaker 3 (16:03):
Yeah, now it's two hundred. It's even more than last week.

Speaker 5 (16:07):
And she's like, wait, we wait, and like, wait, my
mom wanted to make the cake and yeah, yeah.

Speaker 4 (16:12):
Even if her mom was making it for one hundred
and fifty, that's also a lot of people.

Speaker 1 (16:15):
So a lot.

Speaker 2 (16:16):
Yeah, that's a lot of we're seeing there. There's a
lot of different ideas, you know, and uh yeah, so
you know, she's like, and then he comes back with, well,
this is I want the wedding to be about us, ironically,
not what our parents think it should be. And that's

(16:37):
kind of like said with irony, I thought, because he's
controlling anyway, She's like, okay, you're right. It gives him
a big kiss. I don't know, we'll see what's happening there. Okay,
So now we're back in D and D and Lucy
walks into the office with Alison and Amanda.

Speaker 4 (16:50):
Walking behind her like ducks, are you still in.

Speaker 1 (16:54):
The back waddling along?

Speaker 2 (16:57):
Well, Alison, keep up this new career. And he walks
in and he introduces them to Rex Weldon, our hotty
tennis star played by Mitchell Anderson, who did a lot
of stuff and I recently saw him a year or
two ago and one man played that he wrote and started.

Speaker 4 (17:14):
Really he's I had this visceral reaction to him because
he was such a nice man. Yeah, he came like,
oh I remember him. I remember having really nice, long
conversations with him. What a nice man.

Speaker 2 (17:28):
Yeah, and very smart and a real artist, you know.
And he was one of the people that Doug mentioned,
do you remember that, Laura?

Speaker 5 (17:35):
And he went on to do another show in the
nineties called Party of Five, and yeah, he's done a
ton of stuff.

Speaker 2 (17:40):
So he's there. Lucy pulls Arnold, his boss basically aside
and manager first clients. Yeah, we have a whole new
we have a hot new photographer and we're you know,
meeting them this afternoon and he's like, oh, what's the
name Joe Reynolds, And Arnold's like, oh, I think I've
heard of her.

Speaker 3 (18:01):
That great line, just wanting to want to be I
know everything.

Speaker 1 (18:05):
I've heard of him for sure.

Speaker 2 (18:07):
Totally. He's the suit basically, and Rex in the meantime
is in the background if you notice, like totally hitting
hard on Alison, Like no moment there, he's on it.
They're talking and he's like, so you're the one scheduled
to babysit to shoot tomorrow. Huh. And he says, I'm
staying in this hotel in Century City and I'm just

(18:29):
going to die of boredom if you please don't show
me take me somewhere tonight. And she's like, I don't know,
and he's like, come on, name the place, Alison, I'm yours.
I mean, he's really showing who he is and making
her feel uncomfortable already. I mean, that was a little
I don't barking up the wrong tree with Alison. So

(18:50):
then we cut to Shooters and he's still hitting on Alison.
They're sitting at the table, agreed.

Speaker 3 (18:55):
To take him out, and so Shooters, it is this is.

Speaker 2 (18:58):
Her La, her home.

Speaker 4 (18:59):
When you're making someone out a cool person out to
a night spot Shooters which.

Speaker 1 (19:03):
Apparently the only bar in.

Speaker 3 (19:04):
La Shooters, because everyone's going to be there.

Speaker 2 (19:06):
You watched the only spot that Alison knows that this
gang knows. It's so funny. He was thinking like clubs
downtown and like this.

Speaker 1 (19:13):
And that, and do you remember when the studio we
got Shooters glasses love those Shooters. So recently, wow, so recently.

Speaker 2 (19:22):
You gave them away.

Speaker 3 (19:24):
I think my sister in law has some somebody wanted him. Yeah,
they're cute, little drinking glass tumbler.

Speaker 2 (19:29):
That was cute. So he's sitting there hitting on Alison
and you know, ha, did someone so young and beautiful
as her ended up end up as a high powered
at EXAC? Oh I'm not high powered, she says. Rex
tells Alison, well, you're the one who should be modeling
the underwear. I mean this would not go today.

Speaker 1 (19:51):
Very flirty, very flirty with Alison.

Speaker 2 (19:55):
Yeah, and she's like oh. She keeps looking off and
laughing at it off and he's like, well we could
do it together, and very inappropriate, annoying stuff. And then
she waves to the waitress and she puts the credit
card down. Look how official she is.

Speaker 3 (20:12):
She knows that the calling it is supposed to pay.

Speaker 2 (20:16):
I'll get this. So and he's like, what are you doing.
It's only seven thirty. Come on, let me take you
out to dinner. The guy's relentless.

Speaker 4 (20:25):
And I got to say today, at this point in
my life, I'd like to be in my pajamas by
seven thirty. So I'm with Alison, I'm like, why am
I still dressed?

Speaker 1 (20:33):
What is happening. Why am I in real pain?

Speaker 5 (20:35):
Well, she was time to call it a night with
this guy, like, let's call this when at seven thirty.

Speaker 2 (20:41):
But Courtney's I feel you at court It's like, anybody,
I'm glad I got that done when I was younger
in the eighties exactly, nothing happening now. He's like, it's
only seven thirty, and she's like, but you know, I
want to keep this professional, which is what Amanda advised.
He puts his hand on her and says, well, this
doesn't look like the office. I mean, this guy is.
It's so funny. It's always like the really nice actor

(21:03):
you know who's playing these these really Yeah. Yeah, So
we cut from there where you get out of that situation,
I guess, and we are right back in Billy and
Allison's apartment and you are laying in the same clothes
on the couch going on.

Speaker 4 (21:15):
That's what I was talking about, like Nancy Malone, like
we're not just sitting at a table, like I'm laying
on the couch talking to the ceiling. He's moving around
the apartment. It really is so well directed.

Speaker 3 (21:24):
Yeah, interesting staging and tells the story really well.

Speaker 2 (21:28):
I love kind of you sort of paralleled like you're
at your therapist's office. I thought, like, you're all that's
good daring off and and of course Billy is your
your therapist. We've we've established the past. And you know,
you're going on and on not about what a jerky was,
but how you didn't go out. You're like complaining, like
why did I go out with him? Any woman would

(21:48):
go out with Rex Weldon? And he's getting ready and
she doesn't notice she's going on and on, and he's like, oh,
you're being over dramatic. Come on, no, women don't say
men don't say no to men like that. And he's like, well,
you showed no willpower and she's like, no, it was
a coward back and forth. At one point here he

(22:12):
chooses to pull the chair right up and puts his
foot up on right next to her head and starts
tying his shoe and uh, and he's saying, look, you know,
this is your first big chance at your job and
you just don't want to blow it, which I think
is obviously great advice. And then he gets up to
leave and she jumps up, where are you going? And

(22:34):
he goes on a blind date and I think then
she like moves in on him and she's all coquettish
and she starts adjusting his hair and his collar and like.

Speaker 4 (22:42):
Oh, I didn't see coquettish. You didn't I saw, audience member,
I was like, shut up and kiss him. But I
think that as the character.

Speaker 2 (22:51):
She just she's so close.

Speaker 1 (22:52):
She's like, let me straighten your tie. How fun on
your date?

Speaker 3 (22:55):
Plus, like he said to her in this scene that
you know, she says, why am I so right?

Speaker 5 (23:00):
Just le principled, and Billy says, well, some of that
some of us like that about you, which is so sweet,
like oh sweet actually saying I like these qualities about you.
And then she's also returning it. When he's going out
on a date. She's like, go have fun, and she's
like they're supporting each other and they're like you know, Safey, yeah,

(23:20):
Like he's he's choosing to go on a date and
instead of going you shouldn't be doing that. She's like, Okay,
go have fun, you know, go for it, don't don't
make the mistake I did, you know, just go for
it or whatever.

Speaker 2 (23:30):
Exactly. They're just being so.

Speaker 3 (23:32):
Good to each other and the audience is going, just
look at.

Speaker 1 (23:35):
Each other and see the love of God right there
in front of you.

Speaker 2 (23:41):
But you know what I thought she heard last line.
I thought was kind of minimized what he was doing
because she's jealous, because she's also in love with him,
but won't admit it.

Speaker 4 (23:51):
She'll tell me I play, I remember this exactly thirty
years ago, and I remember, No, I don't.

Speaker 3 (23:56):
But I didn't.

Speaker 2 (23:59):
I don't.

Speaker 1 (24:00):
I had that complicated a thought at the well, the
line I love that you're putting that in there. That's good,
thank you.

Speaker 2 (24:06):
Well the line was that you say to Billy is
look at you Billy's great adventure? Do you remember that?

Speaker 1 (24:14):
Yes?

Speaker 2 (24:14):
And he's like And to me, it just felt like
kind of Billy's great adventure, like that kind of like
minimize it, does it in a way that she can
handle it. I don't know. I just felt like it
was a little and minimizing.

Speaker 1 (24:27):
Oh that's funny. I didn't read it that way. And
I thought she was saying, like, go for it, because
I didn't.

Speaker 4 (24:31):
Yeah, right, I didn't go for it. With Rex Wolden's
great name, by the way, I didn't go.

Speaker 1 (24:35):
For it, but you should go for it.

Speaker 2 (24:37):
Yeah she did. And then she said that other one.
But at any rate, I'm very sensitive to these things.
So cut to exterior of a big high rise apartment
and then we cut into the apartment hallway and he's
looking for a door and then he knocks. Then Lydia
opens the door and waves him into her apartment.

Speaker 4 (24:57):
And we're supposed to think something, but you know, it's
like this this moment they freeze on him, and I think,
I don't know what the moment is.

Speaker 1 (25:06):
Well, I think he was like drammatically one way or another.

Speaker 3 (25:09):
I think it was like this blind the blind element
right the door reveals what he's been waiting to seize.
What does she look like? Does she look like.

Speaker 5 (25:16):
Cindy Crawford, whatever, And it's like what is he expecting?
And he sort of takes this moment to assess her.
She's cute and maybe just not what he was expecting
or whatever. But I think that that seemed to be
the look that I was noting. Is like he's seeing
her for the first time on this blind date and
decided that's maybe not what I was expecting or whatever,

(25:37):
but like she's perfectly cute and whatever, and she invites
him in and he's like, all right, we're doing this,
and he, you know, steps in going Okay, let's see
what this is going to be.

Speaker 2 (25:46):
Yeah, I think that, but I think they did make
a definite decision because they put her on pearls. She
has short, curly hair with pearls and a lace collar.
And he was promised, even jokingly Cindy Crawford. So they
went totally opposite on per like you're supposed to. Yeah,
like you said, she's cute, but not Melrose plays high,
you know what I mean.

Speaker 5 (26:05):
And it's his expectation, right, he doesn't know what it's
like what We don't know what he was expecting either,
because he's just entering something blind and so the door
opening is the reveal.

Speaker 3 (26:14):
So like they just had this moment of like, this
is who you're dating tonight, you know.

Speaker 2 (26:18):
Yeah, that whole blind date thing. Yeah, and the next
scene is really cute. I thought it was one of
those like a Nancy Malone it was. It was to me.
It seemed like a real comedy, a lot of physical
comedy in it. You see, we're in our Japanese restaurant.
Billy and Lydia are sitting side by side, so they're
facing the camera and they're eating dinner and he opens
up by him saying soccer and writing, you know, writing

(26:40):
in soccer, like the most unscintillating conversation into and she says, oh,
postmodern dance or something.

Speaker 3 (26:49):
Watching it, yeah, yes, I don't do it.

Speaker 1 (26:51):
I watched it.

Speaker 4 (26:52):
And you notice she had chopsticks and she was you
had one any chance she was stabbing her food. It
was really cute, completely cool, really funny, really cute.

Speaker 2 (27:00):
Yeah. I thought it was really great, Like I could
just the banter. It was just a really great scene.
And they are they played it so well, do me
not miserable, Like it didn't bring you down, like so uncomfortable.
But it was uncomfortable but funny at the same time.

Speaker 5 (27:15):
Because they're not matching and he's you know, she's quirky,
and she's you know, just sort of funny, and the
funny physicality of the scene of the awkwardnesses, I.

Speaker 2 (27:24):
Mean, and then they try it, but they're trying, right
then they're acknowledging that they're trying, like he's like, you know, well,
what else do you like to do? And then suddenly
and she's poking her food like you said, But then
she like can't even lift the damn thing. But then
two drinks come in, big fruity drinks right in front
of their faces, and they're like, oh okay, and they
toast that and say to blind dates, and Billy just

(27:48):
looks off camera.

Speaker 3 (27:49):
He's like, okay, is this gonna be over? Yeah?

Speaker 2 (27:56):
So maybe in Malro's minute, we'll talk about if anyone
had any bad blind days. Blind dates worked out.

Speaker 3 (28:01):
Well for me, since that's so much to cover, But
we don't have time.

Speaker 1 (28:08):
If you're writing, we don't have time right now. We
don't have to talk right now.

Speaker 2 (28:15):
The next day, in Allison and Billy's apartment, Allison is
there and then Billy walks in and she's really nervous.
She's like, oh my god, I keep having these nightmares.
It's about this photo shoot. It's going wrong.

Speaker 1 (28:26):
Allison is completely worked up.

Speaker 4 (28:28):
I was just like, this is where you had a
couple of scenes like this. I go, I wish I'd
knew enough to find some layers. Like just from beginning
to end of this scene, it was like everything he
says upsets me, like one to ten, I'm at a
ninth the entire scene.

Speaker 3 (28:44):
I stressed out about this new position, her promotion.

Speaker 1 (28:48):
Because you thought you could be fine played the one note.
I'm like, here's my note in the scene stress you.

Speaker 2 (28:56):
Excity, and Billy's like hellowing you out, Like what.

Speaker 1 (29:01):
Was that movie about? Everybody played a different emotion. I
was just anxiety, inside out, outside, inside out, inside out. Yes, yes,
I was anxiety in this scene.

Speaker 2 (29:13):
Yeah, I was eleven. The entire city's common sense for you.
You know, well, can I make you some No? No,
I can't. I can't eat. I can't eat. Then she's
like picking out his bagel and the coffee thing.

Speaker 4 (29:25):
And my only thought when I'm eating the bagel is, oh,
I didn't know I couldn't eat gluten then, because it
gives me migraines. I was saying, I wonder if I
got a migraine after that scene, because I didn't know
then that that was one of the things that gave
me migraines.

Speaker 5 (29:37):
Billy's wise line here he goes he warns Allison that
it's too early in her career to self destruct.

Speaker 3 (29:44):
Yeah, that's just ready to say, calm yourself down. This
is really to do this.

Speaker 2 (29:51):
Then he picks up the paper and and she's like,
I'm just afraid that Joe's gonna do something wrong and
he stops. He's like, what, well, Joe's doing it, O Jesus,
not helpful.

Speaker 3 (30:04):
I wonder you're stressed out. She's a mess.

Speaker 2 (30:07):
I just love how Billy is just held on to
this resentment because she calls him Bill. She thinks he
stinks when he goes on a date.

Speaker 1 (30:15):
What's that smell?

Speaker 2 (30:16):
And and she's always, you know, sending him away. And
he's like, oh, she's terrible. She's gonna wreck everything, doesn't
listen to the rules, she's difficult, she's going to cause
all kinds of problems. He says, way to unstress her.

Speaker 1 (30:31):
Yeah, he's not helping at all.

Speaker 5 (30:32):
No, so is a little right, just saying maybe a
little foreshadowing. Maybe he's an oracle.

Speaker 2 (30:40):
Annoying, but maybe he's an oracle and anyway anyway, So
then she says, you know, how is the date? And
he goes, well, it was okay, that's it fine, And
I told her I would call her, but I won't,
like all in one sentence, and she's.

Speaker 6 (30:58):
Like, what, oh, I hate that about it, because again
we're at eleven. So I know, right, I'm gonna stress
about you, about the jobs I am about Joe.

Speaker 2 (31:10):
And now you're being Yeah, it's really funny. So he
she just gets upset. She's like, I hate it when
the guys don't call. You don't even like the guy,
but it's just the point that he doesn't call makes
you upset, which is true.

Speaker 3 (31:24):
So you should call her. You should call it.

Speaker 2 (31:26):
Yeah, you should call you should call you guys.

Speaker 4 (31:28):
Remember like they did a thing on Mower's Place on
on Saturday Night Live, and then the Billy Allison thing.
Billy's saying Alison, Allison, I miss Allison, and I'm saying
I can't talk.

Speaker 1 (31:39):
I've got a very important job at D and D.
I'm very busy at D and D. And this scene,
may you remember that very important job D and D?

Speaker 2 (31:47):
Like that now it's now it's even more important, superciou,
It's like the most important. How about?

Speaker 5 (31:54):
I thought the way this scene ended was so funny
and weird too, because we hear Joe yelling through the car, come.

Speaker 3 (32:00):
On, Allison, let's go. Like she's coming down the stairs shouting.

Speaker 5 (32:04):
Instead of like knocking on Alison's door or whatever on
the way by, she just shouts it through the courtyard,
come on, Allison, let's go.

Speaker 1 (32:12):
She doesn't know that Allison's nerves are afraid.

Speaker 2 (32:16):
Looking at her is not going to make things better.
I mean, it would have been great if they had
all known all of our thoughts going into this, if
you had gone like and Billy could go, told you,
but no, but no. Allison goes out into the courtyard
and Joe's coming down the stairs with all of her equipment,

(32:38):
and there's Jake going, oh, what's all this? And Joe says,
that's the job. Would they pay me actual money? And
Allison got it for me, starting to pay off to
live in this building, like the only payds so for
and Jake's like, oh, congratulation. Is there anything I can do?
Alison comes up and says, okay, let's go, so they

(32:58):
take off.

Speaker 1 (33:00):
There's nothing you can do, have a very important day
of work.

Speaker 3 (33:02):
I thought that was a strange line, is there anything
I can do?

Speaker 1 (33:05):
Like?

Speaker 3 (33:05):
What?

Speaker 2 (33:06):
Why? I thought it was a strange scene.

Speaker 3 (33:07):
Why didn't like why didn't he just sayengratinations?

Speaker 2 (33:10):
And then out they go, yeah, what are they setting up?
Which it felt like such.

Speaker 3 (33:13):
An unnecessary Is there anything I can Maybe we were
short on time.

Speaker 1 (33:16):
I don't know.

Speaker 3 (33:18):
I don't know what it was.

Speaker 2 (33:19):
I know lunch was happening whatever, but.

Speaker 5 (33:23):
The Cruxes, congratulations, you got a job that Elison helped
you get by I have a good day bye, and
they leave.

Speaker 2 (33:29):
So and then we cut right into the middle of
this photo shoot and the music, some great nineties music
is pounding, and there.

Speaker 1 (33:38):
Lamora Mitchell.

Speaker 4 (33:40):
Underwear like having to remember, like, if you're not watching
the show, remember those scenes on like Charlie's Angels, but they're.

Speaker 1 (33:45):
Doing photo shoots and everything. He's having to dance around
in his underwear. Oh, that's just guys milking it.

Speaker 3 (33:53):
Like he He's like, if I'm going to do this,
I'm just gonna committed.

Speaker 5 (33:56):
Yeah, all these poses he's in a tiny little like
colored like red or blue or whatever, but like super
tiny bikini underwear and posing like what he was like,
he just like hammed it up and committed.

Speaker 2 (34:16):
Like stuff is hard him, it's really hard. But he
was really responding to his photographer if I might, because
Joe was like on the floor, oh yes, baby, oh god,
oh another one. And then she ends up by saying
You've done this before and he's like, nope, virgin. I
mean it was all a metaphor for sex. Obviously, She's like, Okay,

(34:41):
I need a break. Let's powder Rex and get me
a ladder. She's gonna set up some other yeah, and
a fan.

Speaker 1 (34:47):
Yes.

Speaker 2 (34:48):
Yes, And Alison walks over and by the way, we
might say that Lucy and the suits are really enjoying it.
I think we've got it. This is great. They're all
excited because they're all lined up in those rector chairs
cast chairs.

Speaker 4 (35:01):
By the way, they never say I think we've got it.
It's finally the actor's rep comes in and says we're done,
because they always want more and more and more.

Speaker 2 (35:09):
Right.

Speaker 1 (35:09):
Have you ever had them say.

Speaker 5 (35:10):
Yeah, we're good, you can go Yeah, No, right, never,
but they do say that it's wonderful and before they
get up.

Speaker 3 (35:17):
Yeah, they have to get up to leave because like
maybe lunch for them or whatever. Yeah, they still getting it.

Speaker 2 (35:24):
And Alison walks over to Joe and says, you know,
that was really wonderful. This is great. And then Joe,
who should, in my opinion, just go great, awesome, we
got it. That client's happy. She should just wrap things up.

Speaker 5 (35:37):
But no.

Speaker 2 (35:38):
She pulls Alison aside and she says, hey, I want
you to open your mind and I want to try
something a little bizarre, something different, call it extra credit Allison.

Speaker 1 (35:51):
And then and Alison, I think she says I trust you,
which you know famous lost words.

Speaker 2 (35:56):
Yeah, maybe she did say I go for it. And
then she makes mistake of saying go for it, and
then she leaves. And then we have Joe climbing the
ladder and she says to Rex, lose the braves.

Speaker 1 (36:09):
Yeah, which you know.

Speaker 3 (36:12):
Me happening nowadays.

Speaker 2 (36:15):
Uh huh, yeah, I know how, but this was the
early nineties.

Speaker 5 (36:21):
But he looked very pleased and like, oh yeah, right,
he came on and he drops his drawers.

Speaker 2 (36:27):
Yeah, he's like, finally a girl who wants to play.

Speaker 3 (36:31):
Let's do this.

Speaker 2 (36:35):
So now we are in Shooters and it's nighttime, and
Billy and Jake are at the bar drinking.

Speaker 5 (36:40):
Margarita's, and Billie's is a fruity strawberry margarita hysterical, which
I don't know if you've noticed. All through the scene,
he leaves it on the bar and if he needs
to take a drink, he leans towards it and he's
like looking for the straw and he's like drink like
that where Grant knows enough pick up the drink and
drink like a normal person.

Speaker 3 (37:02):
But Andrew's like mind the strawn as red fruit is margarita.

Speaker 2 (37:07):
Oh, acting is hard, like all these things. You got
to know how to do things exactly right.

Speaker 1 (37:13):
Because funny.

Speaker 2 (37:17):
So they're sitting there at the bar and Billy is
telling Jake that he called Lydia and she, you know,
after the first date, and she invited him over for dinner.
So now he's trapped, and Jake says to Billy, well,
your first mistake was saying that you would call, and
the second mistake was listening to Alison. So I guess
because she's a woman, she's in that position and of

(37:38):
course she's going to say that or something.

Speaker 3 (37:39):
I don't know.

Speaker 2 (37:40):
Anyway, Billy uh says, relationships are a mistake.

Speaker 5 (37:44):
They're just doubling down like you know. Well, yeah, guys,
all relationships are a mistake. Yeah, yeah, Billy, I would.

Speaker 2 (37:55):
Road talk at the bar with the relations good. I'm
never gonna a straw.

Speaker 3 (38:04):
I don't use straws anywhere to self, Okay, take the
straw out.

Speaker 2 (38:13):
Just behind them. We see Joe walking in with Rex
after that shoot.

Speaker 3 (38:18):
Because everybody comes to shooters.

Speaker 4 (38:21):
Because with a new guy, you want to go to
your ex boyfriend's bar. You want to go to the
current boyfriend's bar, because again, only bar in La.

Speaker 5 (38:30):
And also the same bar you went to with a
different girl last night, and you're only in down for
a couple of.

Speaker 2 (38:34):
Nights anyway, and what Rex is game? Man? I'm in La.
I don't even live here, a floridnis camp. I've been here.

Speaker 1 (38:44):
She really should have said, why am I back at
this bar?

Speaker 5 (38:48):
As Strawberry Margarita is a really good here.

Speaker 2 (39:00):
She's all excited. She's like, I'm gonna make your butt
famous and he's like it already is, and he is
flirting and but she's she's kind of flirting, but she's saying,
no chance, it's not gonna happen, and he's like, oh yeah,
And then she says something about, you know, you can
play mozart with a mountpiece mouthpiece and it's still now.
So she's having very strong boundaries. But Jake, who sees them,

(39:24):
doesn't hear the boundaries being made and gets up from
the bar and he's all huffy and putting on a
jacket to leave, and Joe sees him and he's like, wait, Jake, Jake,
where are you going? And he just said, it's tough
to watch. You know, you're over there with this guy,
and I'm gonna leave, and Billy's look. Billy looks back. Joe, Joe,

(39:46):
She's trouble. She's causing trouble all the time. I love
the line that I say to Jake, like, what's like
you hang out with Rusty?

Speaker 3 (39:55):
Rusty sounds like he's from the work of the But
it must be a.

Speaker 1 (39:58):
Woman, right, otherwise why would you to make that point?

Speaker 2 (40:00):
Yeah? Oh, like this tattered up with I don't know,
but I thought it was so funny. Rusty's never been
mentioned before. But anyway, so we leave this whole trouble
place and we come back to the courtyard and Allison
is looking up Joe's door and like, huh, she's not there.
Walks to Jake's apartment and says, you know, Joe disappeared

(40:25):
after the photo shoot and is Joe in there with you?
And Jake says no, that she was at Shooters with Rex,
and Allison is like, oh, no, she should be developing
the film. I need it tomorrow. We have a deadline.
And just then Joe and Rex walk in.

Speaker 5 (40:42):
Rex the wonderstud as Jake refers to him as Rex
the wonderstud.

Speaker 2 (40:48):
Rex the Wonderstood. They walk in, laughing and this is
not good for her boundaries and saying that it was
just a just a work good optics here, not good optics.
Rex to Alison, Wow, it's a small world. Are you
following us? And she's like, no, I live here. And
then she looks at Joe and she's like, you know,
should be working on the proofs of the photos tonight.

(41:10):
And then Joe's like, okay, get the message and says
you got to go and gives Rex, gives her a
kiss on the cheek and leaves. And then she says
good night and turns to her friends and says all
and she stomps upstairs, and Jake and Allison look after her.

(41:30):
So she's already a troublemaker.

Speaker 5 (41:33):
Yeah, she seems annoyed that Alison and Jake are like
kind of irritated about the whole thing too, like what
totally and but Alison and Jake are you know, disappointed
and it's clearly not good optics. And and Jake even
tries to tell him, hey, buddy, you know, like beat it,

(41:53):
sort of like because Rex sort of tries to say, well, hey,
maybe we can.

Speaker 3 (41:57):
And before he can even finish.

Speaker 5 (41:59):
The sentence, Jake cut some off and he's like yeah
some other time, like yeah, Hike, get out of here.
And Joe's like, I'm mad about that, you know that,
Like Jake is whatever inserting himself in this situation.

Speaker 2 (42:13):
And I'm imagining, because I Daphne am watching this going
she is so irresponsible. She is causing trouble. She is
putting her friend who gave her this first job, you know,
her job in Jeopardy. And I'm thinking, well, maybe this
is her New York. This is how they do it
in New York. You know they all they shoot photographs
and they you know, for magazines, and they go out
and have drinks and party all night. Maybe that's just

(42:36):
her a difference for her. It's not here. I don't know.
It does seem like I'm pissed at Joe right now.
I'm getting I love it.

Speaker 5 (42:43):
Like when we watch these show, like we watch these episodes,
it's all such a different perspective to look at it
as an audience member.

Speaker 3 (42:49):
And like you don't remember shooting it or like okay
that you know obviously.

Speaker 5 (42:53):
It's in the script and so you have to play it,
you know, whatever the way you choose to play it
and whatever you're telling, the story that you've been has
to tell and stuff. But like watching it later as
an audience member, you're like, oh, what an annoying thing
that that character's doing right now, And you just see
it totally differently watching it back, like yes.

Speaker 2 (43:10):
Yeah, because you can't when you're playing it. You can't
have these judgments or third eye about it or yeah,
you totally messed up from yeah, you can't mess yourself up,
that's true. Alison knocks on the door, says, we're the pictures.
She's like, Jesus, you're up early. And she comes in
and I need coffee and then she's like, look, I
was up all night doing the pictures. Allison says, look,

(43:32):
I hope it went well the rest of the shoot,
and she's like, yeah, Rex and I had a good time.
And then Allison's like, you know, he asked me out too,
this little jealousy thing, oh, Patty and Jake didn't appreciate
it and all this stuff, and she's like, what is
your problem between me and Jake? And then she goes,
you know, Amanda says that you don't socialize with the client.

(43:55):
She's like, who else, who's the hell's Amanda because it's
the first time Joe's heard of her post of advertising. Uh. Anyway,
so they have this thing and she's like, don't worry
about it. That's between me and Jake and you will.
You'll get the photos this afternoon. Then we are in
the suburbs at the very, very big house and Terrence

(44:15):
is bringing Ronda to this house in this neighborhood and
he she goes, oh, I'm not even dressed for this.
It looks so fancy, and he's like, you might be
dressed for this, and then he goes to unlock the
door and she's like, why are you unlocking the door
to this great, the strange, huge house. And Terrence tells
Ronda that you know, step in, it's yours, madam. What

(44:37):
she finds out that he wants to buy this house.
There's no rush, but he does want to hope to
sort of family here, but there's no rush.

Speaker 4 (44:44):
So do we think, like as if they'd never talked
about it, like maybe we'll have a family with it,
Like aren't these conversations you have before you marry someone,
like do we want kids?

Speaker 1 (44:53):
That's a big resight.

Speaker 5 (44:54):
It really seemed to slam RNDA here like the reality
of what a future with this skuy I is going
to be and maybe look like and feel like, because
like just being in that big house and hearing him
talk about it, she was not liking that picture.

Speaker 2 (45:07):
She was set, Yeah, totally rushed and everything was too.

Speaker 3 (45:11):
Much, all that adding up to the uncomfortable for her.

Speaker 4 (45:14):
Yeah.

Speaker 2 (45:16):
So then we're in D and D and Amanda and
Allison are eating lunch takeout at the desk and Alice's like, well,
they should be here, they should be here the photos,
the photos should be here, and She's like, yeah, you've
been saying that for the last hour. And then this
messenger kid comes in with earphones on, bopping away and
I guess you can hear the music through his earphones

(45:38):
guns n' roses, which I think is funny about because
Heather takes it and it's kind of like Heather saying
it to him, you know, guns and roses will make
the impotent.

Speaker 3 (45:48):
Yea, Amanda says it to him. He can't hear any
like nods Its fine cool packaged by.

Speaker 2 (45:56):
Anyway. She pulls open this package of these slides Joe
has sent over and in every single one. Rex is
naked in every single photo, and Alison freaks, oh my god,
and then Amanda is looking at them and oh my god,
I'm going to kill her, so slam cut too. We
are now Alison as Joe's apartment and that's when we're

(46:18):
in the developing room and she's developing more photos and
she's like furious at her, at Joe, and Joe explains
that she didn't do it to embarrass you, but I
just made a professional judgment and we wanted something fresh
and original. And besides, he is holding the underwear they
read this hip, they're at his ankle, and she's like,
this is not funny, and which she has every right

(46:42):
to be furious. Obviously. Alison asked Joe, I want to
see the slides with her him actually wearing the underwear,
and she tries to convince her no.

Speaker 4 (46:53):
Why she goes, I want to say, no, really no,
Why you're being so weird Ellison, so weird?

Speaker 2 (46:59):
Yeah, you're gonna ring, She says, doesn't want a part
of you like the unexpected, and he's she says, this
is business. I'm new, Like, screw the unexpected. I want
the opposite of that. Do I have to point this
out to you? And she's like okay, and she goes

(47:20):
over and she gives him the slides and she goes,
all right, it's your choice.

Speaker 3 (47:24):
Pretty passive aggressive for her to say, well, you admit it.
These are great.

Speaker 5 (47:28):
Don't you think they would have grabbed you and maybe
even made you laugh if you weren't so panic about
breaking a rule? For instance, She's sort of like making
it about Alison being too conservative or straight or born.

Speaker 1 (47:40):
It's very young, right, like what are you scared?

Speaker 5 (47:43):
Yeah, like Kamara, you know these are better and and
and she just keeps trying to say, but it's not
what the client wanted, and Joe just keeps pushing like.

Speaker 3 (47:52):
But they're better.

Speaker 5 (47:53):
Is this about you being so you know, straight laced
and stuff, and just really challenging Alison to go, oh,
you know, yeah, my friend's gonna judge me if I,
you know, choose this route or whatever. You just kind
of like surprisingly like judge towards Alison and stuff, like

(48:14):
challenging her to choose the unexpected because it's cooler.

Speaker 3 (48:19):
Everybody's doing it.

Speaker 2 (48:20):
Yeah, yeah, which are real things. This is real things,
real topics, you know, I mean, they're just trying to
really show how edgy and out there Joe is and
we'll risks whatever and look at her life. It's pretty
like and not what Alison vibes. All right. So we
are now back in Lydia's apartment, remember her and Billy's there.

(48:43):
They're on their second date, another ill advised date.

Speaker 4 (48:47):
You know how as we calls her to say, I
just it was great to meet you, but I'm not
going to take it further, and then ends up at
dinner talk about lack of boundaries.

Speaker 5 (48:56):
They somehow both agreed to have another date. Yeah, we're
not sure a dinner.

Speaker 4 (49:00):
I do not.

Speaker 1 (49:00):
I don't know. That was horrible, all right, Yeah, yeah.

Speaker 2 (49:06):
So funny. And he's serving, she's serving dinner, and she's like,
oh yeah, Gilson's is great, isn't it. So she's right
up front about I don't cook. This is all prepared food.

Speaker 1 (49:15):
Yeah, yeah, I do want to come over for some
prepared food.

Speaker 2 (49:18):
Gilson's does have great prepared and uh and but Lydia
observes that Billy's been stuffing his face for the last
half hour and talking about the food, so you don't
have to talk to me, and he's like, no, no,
restaurant right at all. And she's like, look, I know
that you're not my type. I prefer someone more substantial,
she says, and he says, you mean fat. She's like, no,

(49:43):
I mean someone who's more established and you know, older,
and he's like, yeah, well you're not my type either.
So they're starting to get really honest, and Lydia says, well,
why did you ask me out?

Speaker 5 (49:55):
And Billy's like well, they both sort of agree, yeah,
like well why did you ask me out? And he says, yeah,
well why did you say yes? And they both sort
of acknowledge they could have saved themselves all this trouble
if they've just been avoiding, you know, trying to not avoid,
you know, don't hurt anybody's feelings, feeling just like safe.

Speaker 4 (50:10):
Yeah. Yeah.

Speaker 2 (50:11):
Then she's like, well you're here. Helson makes great A Claire.
So you want some dessert and he's like, oh, yeah, sure,
and then she walks to get the Claes and he's
like chocolate and she's like, vanilla.

Speaker 1 (50:22):
Are there Vanilla Claires? I've only heard of chocolate A claires.

Speaker 2 (50:25):
Me too. I don't know. I guess Lydia found them.

Speaker 3 (50:28):
I mean, I don't know. Yeah, I'm surprised Billy didn't
ask for strawberry all the air.

Speaker 1 (50:34):
I mean they red fruit, trying to eat it without
his hands.

Speaker 2 (50:37):
Yeah, I didn't say I have a fruity drink for you,
because I would have done them.

Speaker 5 (50:44):
But we're to conclude here that there is just nothing
that they They just have nothing in common, ready to
say it.

Speaker 3 (50:50):
Their tastes are just completely opposite. So she offers to
just walk him to his car. Can I see you out?
Here's your hat?

Speaker 2 (50:57):
What's your hir And So now we're in the basement
in the laundry room, and Matt is doing his laundry.

Speaker 1 (51:09):
He is here, he has to appear on enough's my problem.

Speaker 2 (51:13):
I mean I think they're paying him per week, so
they got to put him in something, right, So yeah,
he needs more to do that, but he's he's kind
of down on Rondo. Ronda comes down and starts unloading
and confiding that she's worried about you know, Terrence, and
it's too much and I'm not ready and you know,
she does this with Matt and and he's not into it.
He's like, well, just you know, what about your other life?

(51:36):
What about this new life? And She's like, what other life,
you know, and you know you're volunteer and all that. Oh,
I don't know, you know, I'll do that and this,
And he just doesn't want to hear. You just don't
want to hear from her. I feel like he was
his feelings were hurt. Did you guys feel that that
his feelings were hurt this time? But he's the one
that said to go for it.

Speaker 3 (51:57):
I got in this scene.

Speaker 5 (51:58):
I got more that, Like, she wants to tell him
the truth, and she starts by saying, Matt, I'm in trouble,
and he's like, wait what, And she starts to tell
him about the house and that it seemed too big
and it just didn't seem right, and he says, well,
maybe you can just tell him the house isn't right
for you, and she then says, well, that's not just it.
It's I think that two people about to start a

(52:18):
life together would want the same things, and that the
house was just not just a house. But it just
felt like she was being swallowed by all that. And
then he realizes the depth that what she's really saying
like her much more than the house. And yeah, that's
when he asks her, Yeah, well, do you love him?

Speaker 2 (52:32):
And she's like, well, this and that, and he goes, yeah,
but do you He says it twice.

Speaker 5 (52:35):
And yeah, and she realizes maybe she doesn't know, and
but you know, Matt's the person she confides these feelings in.

Speaker 2 (52:42):
Yeah, yeah, and yeah, that's.

Speaker 5 (52:44):
That's what I got that she was just like really
admitting she doesn't even know if this is the right
thing to be doing and she doesn't know.

Speaker 3 (52:52):
If she loves him. It's weeks, yeah, weeks.

Speaker 2 (52:57):
So now we are in Alice and Billy's apartment and
it's morning and Allison is looking at the photo negatives
at her desk while Billy comes in drinking his orange juice,
and Billy tells Allison that he and Lydia mutually agree
to never see each other again. That was so bad.

Speaker 3 (53:15):
Let's never play eyes on each other again.

Speaker 2 (53:18):
Like they shook hands on it. It was the agreement
that's so funny. And so Allison says, well, don't worry.
Someone will come.

Speaker 1 (53:25):
Along, might be someone right under your nose.

Speaker 2 (53:32):
So Allison asked Billy his opinion about the naked photos
of Rex and asked Billy if he thinks it's too risky,
and then He's so helpful by saying, look, you're an executive,
now you'll figure it out. And I think he walks
away great, and.

Speaker 5 (53:47):
He's like, well, I warned you, but anyway, you'll have
to figure this one out.

Speaker 2 (53:52):
Alison the Oracle figured it out. So now we're in
D and D advertising and Allison is showing a Manda
the options for the names, and Alison tells Amanda that
the naked sharts are better, and Amanda's like yes, but
Amanda says, uh, this is a campaign for sports briefs

(54:12):
and that the client will hate these photos. And Alison
asks Amanda, so I should play it safe, and she's like,
play it smart, Demi and walks away. So obviously she
is saying, show the ones with the underwear on. And
now we're in the conference room and there's a slide
projector and we're seeing these huge photos on the wall
on a projector screen. Alison is presenting the photos with

(54:35):
the underwear and everyone's loving it. Their clients are smiling
and great, yeah, these are wonderful and it's the ones
that we saw her taking in the beginning of the
shoot and then very excellent. Everyone's like, wow, we do
we got it again. They're so happy, and Lucy says
Alison because the screen is now white, and Lucy says,

(54:57):
are there any more photos to show? And Alison thinks
about it, and this is the big decision. Do I
show him or not? And she says, yes, there are
a few more, so she takes that risk and she
shows the naked photos of Rex and they start getting
all upset. They're like, this is not what we talked about.

Speaker 3 (55:18):
What They're immediately horrified.

Speaker 2 (55:20):
He's fuck naked? What are you doing? And then Lucy's like, okay,
turns on the light. That was just a stab of humor,
and then she says Allison, please stick around afterwards. And
Amanda looks at her.

Speaker 1 (55:34):
And she's like, she does a finger across the throat.
You're dead.

Speaker 2 (55:39):
You're dead, dummy.

Speaker 1 (55:40):
Yeah, that was good, dummy.

Speaker 2 (55:43):
And then we are back at the Rodeo Collection on
Rodeo Drive. Ronda and Terrence are looking at invitations for
their invites and they're looking at fancy stuff with real
lavender in there. It smells that they're imported from the
south of France, and Ronda's overwhelmed again even more so
it's and Terrence is like what's the matter. You don't

(56:05):
like it, Well, we can go for another kind of
more simple invite, and rondes, look, I'm not ready for this.
She realizes this is it's either now or never. They're
doing the invites for the wedding and I can't go
forward with this. And he's what. Terrence says, well, you
just have cold feet, that's normal, and she apologizes that
he wants her to be Yeah. She takes the ring

(56:28):
off and it's so sad. It's a close up on
her beautiful fingernail, but the ring is in the hand
and yeah, and she leaves, You're making a mistake and
she just has them there so hard. And then here
we are Alison and Billie's apartment and Joe is at
Allison's apartment and Alison is recounting her experience uh with Lucy,

(56:51):
and Joe's like, oh my god, Oh my god, she
fired you. She fired you. And She's like, no, Alison
said that Lucy thinks that I have, you know, courage
and imagination, but just lack judgment in that situation. But
I still have my job. Oh thank god.

Speaker 1 (57:09):
She goes.

Speaker 2 (57:10):
Joe's like so happy, Great, what's our next job? Which
is a great uh joke. Alison goes, yeah, my next
assignment is okay, I'm not gonna include you. My next
assignment is Oakum's Sausage Links and you're not getting near it.
Good joke there, And then we're at Jake's apartment and

(57:33):
Joe knocks on the door with a bag of Chinese food.

Speaker 1 (57:35):
And Jake's Joe's on her apology tour.

Speaker 5 (57:38):
Totally right, Apartment one, Dary, I almost got you fired
and oh yeah, I'm sorry.

Speaker 2 (57:45):
I hurt your feelings, was being a jerk.

Speaker 3 (57:47):
Here's Chinese food, Here's Chinese food.

Speaker 2 (57:49):
And he's like, how come you always? How come you
make me mad? And we get in a fight and
then you always show up with food and she's like,
I don't know. And they go in and she starts
setting it up and he says to her, you just
can't come in and out of my life like this,
and she's like, look, and then she tells her truth,
which is interesting, right like Billy and Allison did, then

(58:10):
Rohnda did, now Joe is and it's I like you
so much, it just scares me. That's my truth and
my first instinct is to run to which he takes
her face and kisses her passionately.

Speaker 1 (58:22):
Yummy yep, and she's like, Okay, why do I run?

Speaker 3 (58:29):
They seem to be back on track.

Speaker 2 (58:30):
They're back on track for now. And then we're at
Alison and Billy's apartment and it's still nighttime and Billy's
heating up the microwave and there's a knock on the door.
Billy opens the door. Who's this Amanda in a red
suit with her big, beautiful smile, And he's like, I

(58:52):
just thought it was a great setup, Like this is
a great scene because like it's a blind date ish esque,
Oh strange woman just go up and opens the door
and he opens it and.

Speaker 1 (59:04):
Maybe this is really well.

Speaker 5 (59:06):
He opens the door and he likes sweaty seas and
you can just see it on both of their faces.

Speaker 3 (59:11):
It's like, oh, what a nice surprise.

Speaker 1 (59:13):
Who were you? But did you? Like I thought, oh,
they started with this. I knew that that Amanda and
Billy dated at some point, I didn't remember this is
where it started.

Speaker 3 (59:24):
The Yeah, they established it's too soon for me, I'm
not ready right, think.

Speaker 5 (59:30):
In the very episode where Billy is looking for someone
to date, right, and then at the end, the woman appears.

Speaker 2 (59:37):
But he's like, yeah, Amanda arrived, but I thought they
dated after you guys, Billy Allison for a while. Maybe
he went around for sloppy seconds.

Speaker 4 (59:48):
No, because afterwards, I remember remember that scene I talked
about when were Lake Staic and we were water that
that was the end of the first season because we
were all crying.

Speaker 1 (59:55):
Because we're getting picked up.

Speaker 3 (59:58):
Oh that was that scene.

Speaker 4 (01:00:00):
So yeah, because we're at episode twenty one, yeah, that
was what it was, probably thirty thirty two.

Speaker 3 (01:00:06):
But this is a super cute, like cute for them, like.

Speaker 1 (01:00:10):
They're that's enough, Laura, that's free.

Speaker 2 (01:00:13):
It is the is the kind of haggard I think
it's by Laura means.

Speaker 3 (01:00:18):
The obstacle in between Amanda Woodward. Here she is, she's arrived,
and she's like, oh, Amna, Allison never mentioned you, and
he's like, yeah, she never mentioned you either.

Speaker 2 (01:00:31):
Well she want to come in from us.

Speaker 1 (01:00:33):
Yeah.

Speaker 4 (01:00:34):
In Alison's defense, she's never mentioned Amanda till anyone, no
one until this episode of Friend Amanda.

Speaker 3 (01:00:42):
She's been in D and D all the time, just
in the other room. I don't need to mention her.

Speaker 2 (01:00:46):
But this is a great ending to an episode and
it's a great ending to Heather's first you know, uh, first.

Speaker 1 (01:00:53):
Show with us, first episode.

Speaker 4 (01:00:55):
Yeah, they really like she's sort of snuck in as
like Allison's friend in this nice tour and D and
D and then this happened.

Speaker 1 (01:01:02):
This is the new Melrose though that it happens quickly.
We go from one side together very quickly, like it's
still fast.

Speaker 5 (01:01:10):
Yeah, because he even like, as she's there clearly to
just deliver something to Alison, he invites her, Hey, well,
why don't you come in for a drink, And she
looks like she's tempted, like she would love to say us,
but she's like, oh, I can't.

Speaker 3 (01:01:22):
I have so much work to do. And he's like,
well how about dinner.

Speaker 5 (01:01:24):
It's like he's really establishing right away that there's this
you know, interest from both of them, and she looks
tempted every time he sort of pushes and yeah, and
she finally says, well, I really have to go, and
as she's leaving instead, she turns back and she's like, well,
how about a rain check?

Speaker 3 (01:01:40):
You know, like there's the door is still open.

Speaker 2 (01:01:43):
He's like, yeah, anytime, thrill.

Speaker 5 (01:01:45):
Yeah, but did you know like when Yeah, So he's like, great, yeah,
anytime on that rain check. And then as she's turning
to go, she's walking towards the cameron, she says, very quietly,
did you catch this?

Speaker 3 (01:01:57):
She's walking away, smiling.

Speaker 5 (01:01:58):
We can see him in the background watching her walk away,
and she says very quietly, yeah, real soon.

Speaker 1 (01:02:06):
No you didn't hear that?

Speaker 5 (01:02:08):
Yeah, And I go back and hear it again, and
I think that's what she says, and she says it
to herself super quiet, but like the frame is both
of them facing the camera and he's in the background
watching her, and she's walking out going yeah really, yeah,
that's so razing.

Speaker 1 (01:02:24):
And I don't remember.

Speaker 4 (01:02:26):
I think that she was booked for a number of
episodes and then obviously the show exploded with her on it,
but I don't remember if this was the arc, if
like she was there to create something between Alison and Billy.

Speaker 5 (01:02:41):
I feel like you mentioned that from the beginning they
wanted that to be Amanda, to be a problem between
Billy and Alison, and that even though knowing that the
audience all wanted the Billy and Allison thing, like the
longer you prolong it and likes.

Speaker 3 (01:02:56):
Like you just pulling the audience in of like I
want this, I want this and make it hard.

Speaker 2 (01:03:01):
I mean, I don't remember the next episode, but I'm
wonder if Alice is gonna be all over Billy, you
know what I mean, and very protective. It's like the
tables are turned, you know.

Speaker 5 (01:03:08):
Yeah, well, I can't wait to see the next one. Guys,
we have a you know, we'll have another recap soon.
We're gonna have Heather.

Speaker 3 (01:03:17):
On very very soon.

Speaker 2 (01:03:18):
Excited to see her.

Speaker 5 (01:03:20):
Everybody, Yeah, don't forget to subscribe and you'll get the
Melrose minutes that we have at the end of the weeks,
and you'll have every episode in your inbox, including our.

Speaker 3 (01:03:29):
Upcoming very exciting guests.

Speaker 2 (01:03:31):
Yeah, find out what happens.

Speaker 3 (01:03:33):
In the next episode with all show.

Speaker 4 (01:03:36):
Remember like sheow remember what she was signed for. I
do remember that the second season when she was irregular,
we all got better trailers. Like I remember she came,
it got better for all of us because it was
all favored nations.

Speaker 1 (01:03:48):
We all got the same and it's like that's a
real upgrade.

Speaker 5 (01:03:51):
Thanks Heather Well, we can't wait to talk to her,
and she'll be coming on very very soon, very soon.

Speaker 3 (01:04:00):
Thanks for listening again, and as always thanks for listening
to Still the Place.

Speaker 1 (01:04:05):
Bye guys, see you guys soon.

Speaker 3 (01:04:08):
H