March 24, 2025 • 45 mins
Doctor Mancini feels betrayed, Billy feels belittled, and Amanda feels like being a B***!
There is A LOT to unpack in this recap, and we're not just talking about Billy's ugly old chair.
Find out what the girls have to say about Jane sorta kissing her husband's bestie- played by Rob Estes, and what they think about Doctor Shaw waiting in the wings for her chance with Michael. Plus, all about the BIG breakup we all saw coming!
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
Still the Place with Laura Layton, Courtney Thorn Smith.
Speaker 2 (00:09):
And Daphne's Aniga an iHeartRadio podcast.
Speaker 1 (00:14):
Hi ladies, Hi, good to see us. Welcome to another
recap of Still the Place.
Speaker 3 (00:20):
Always Fun, Always fun. This is going to be a
good one.
Speaker 1 (00:23):
Yes, So, Daphne, you've been reading some comments on Instagram
and you want to talk about what they're saying.
Speaker 2 (00:28):
I just briefly want to say that we're trying this
new format and we hope that y'all.
Speaker 4 (00:32):
We're glad that you're sticking with us.
Speaker 2 (00:33):
Some of you are watching along, some of you are
just listening to the podcast, and we're going to give
this another.
Speaker 4 (00:37):
Go and hopefully this will be clearer to people.
Speaker 2 (00:41):
And that you are having fun with us, because we're
having a blast and this is a great episode.
Speaker 1 (00:45):
We're trying something. It's a little less linear because we
kind of felt stuck, So stick with us. If it
doesn't work, we can always bring back stuff that worked
or didn't. But we just wanted to have it be
more free form so we could talk and tell stories
and just have more fun with it.
Speaker 4 (00:57):
So just working.
Speaker 1 (00:58):
Give us a second. None of us are fans of change,
but let's see how much fields. Give us a few
weeks see if we can get our footage. So this episode,
episode twenty five, it's so busy. I love it because
Jane and Michael are back in the episode, Amanda and
Billy are in the episode. Robstie's is in the episode
playing Sam Marcia Cross is back playing Kimberly.
Speaker 3 (01:19):
Matt has a line, and Jake does he has a line?
Speaker 4 (01:25):
No, he doesn't, I'll tell you.
Speaker 1 (01:28):
I will do yeah, exactly what math is a line.
He's also roasting a marshmallow, which is very exciting. That's right.
Speaker 5 (01:35):
I will tell you that he does have a line
in this episode, So that's exciting.
Speaker 1 (01:38):
Go and Jake, unfortunately are not making out. We're all disappointed.
They're kind of support stuff in this episode.
Speaker 3 (01:43):
They should considerable restraint.
Speaker 2 (01:45):
I think the theme in this Courtney quite appropriately, I think,
is change, big time change.
Speaker 1 (01:52):
For a lot of our character, bringing it back around,
and it's also being uncomfortable with change. So the show's
starts and we come in on Billy. It's directed by
Nancy Malone, who's one of our favorite directors, and she
does this shock coming in on Billy, who can't get
comfortable in Amanda's fancy apartment, which is, you know, a
metaphor for him not being comfortable in her life. And
(02:12):
the episode for Billy and Amanda is really about them
trying to find a way. He moves his chair and
she doesn't like his chair. She doesn't like his rules.
She's trying to be easy. He wants her to watch
a movie. She doesn't want to watch a movie. It's
them seeing if they can make it work together. We
find out whether or not they can by the end,
Alison and Keith, this will shock everyone. Allison's cranky and confused,
(02:35):
which I mean we all find very shocking, I know,
and Allison, and he's annoyingly. He's annoying. Alison's annoying. He
decides to move to Seattle with Keith, so stupid right.
Speaker 3 (02:47):
Away, so super mad at her about that.
Speaker 1 (02:49):
We're already mad at her. And she is going through
life just sort of steamrolling through the entire episode saying, yeah,
I'm moving to Seattle. I feel really good about it.
I'm moving to Seattle, I feel really good about it.
On Monday.
Speaker 5 (02:59):
On Monday, why, Yeah, it's so funny, Conny, you just
said you said I'm moving to Seattle so fast I
thought you said, I'm just gonna settle.
Speaker 3 (03:08):
I'm gonna settle. I'm going to Seattle. I'm like, yeah,
that's what she was doing.
Speaker 4 (03:11):
And I was taking my notes.
Speaker 1 (03:12):
It kept saying settle. I was like, yes, So Alison's
moving to Seattle. We're all super annoyed. She's presenting it
to everybody. There's a great scene where we'll talk about it.
But she comes in when Joe and Jake are helping
Billy move, which is so psyched as he's moving, and
she's gonna announce this. You know, I'm going too. I'm
going to Seattle. I think it's a really good idea.
I'm going to go get some boxes.
Speaker 3 (03:30):
She's just gone.
Speaker 1 (03:31):
Right now, what happened Alison and Amanda. Allison's already getting
really mad at Amanda because she's leaving D and D
because she's got this great idea to move to Seattle.
What could be wrong? Amanda is annoyed, and at one
point Allison says, you're jealous of me, and Amanda says
something like, well, I have Billy. So there's that conflict.
(03:53):
That relationship isn't working. Billion and Billy and Allison are
heartbreaking because Billy's leaving the apartment, Alison leaves, Billy watches
her leave. Then later on in the show, Allison's on
an airplane and Billy watches Hurley. It's heartbreaking all through it.
Alison and Billy are leading these parallel lives. And Billy
is trying to get Amanda to watch No Saratu and
(04:14):
he's going jogging in the same place in time they
used to go. Alison's trying to get Keith to watch
No Sparratu and she's going jogging in the same place, and.
Speaker 2 (04:22):
You with massive piles of popcorn. They obviously have their
routine from the past.
Speaker 3 (04:28):
They want to watch it in the same way, same world.
Speaker 1 (04:31):
They should have done split screen right, like they're each
trying to and Keith is trying to kiss Alison and
we all just want to hit him in the head.
And Amanda is not paying any attention. She doesn't like it,
and you just, you know, you're screaming at the tv.
Just be together, Aga, go over yourself. Why can't they
just be together? And there's a scene that will also
address when Joe and Jake have dinner with Amanda and Billy,
(04:53):
which I'm furious about, but Jake gives Billy some great advice,
which is, don't like trade your life for her, like
you know what I mean, don't trade your life for her.
So that's kind of what we see going in everywhere,
people trading their lives for this idea. And then super
exciting Michael. Jane and Michael are back and Michael's old friend.
Speaker 5 (05:16):
And they don't talk about where they've been, but they
were gone for.
Speaker 1 (05:20):
A while, just behind closed doors. They were running it.
They were a target.
Speaker 3 (05:24):
They were. Now they've got a very cool storyline and they're.
Speaker 1 (05:26):
Now they're back. So Rob Esti's who is Josie's real
life husband, comes back as Sam, who's Michael's old college friend.
Michael's working so he can't go to dinner.
Speaker 2 (05:37):
Josie and Rob just got married basically this now they're
doing these in real life.
Speaker 1 (05:43):
Yeah, they were newly woods at the time, just insanely attractive.
Right when they're on a scene together, you're just like,
stop it. You're both your attractive.
Speaker 4 (05:50):
So beautiful.
Speaker 1 (05:51):
So Jane goes out to dinner with Sam and he
confesses his feelings and kisses her and she's not quite
resistant enough. And when Michael goes back to guess who's back.
Marsha Cross is Kimberly. So it's interesting how they set
that up because we know that something happens with Michael
and Kimberly. But they had Jane make the first mistake
(06:12):
right even though Sam kissed her, she kind of kissed
him back, so that gave him the out.
Speaker 3 (06:16):
So so much.
Speaker 1 (06:18):
Oh my god, there's so much. It's so exciting. Let's
talk about all of the relationships.
Speaker 5 (06:23):
The title of this episode is Irreconcilable Similarities.
Speaker 3 (06:29):
Also, it's written by Chuck.
Speaker 5 (06:30):
Pratt, and it just is like such a All the
parallels that you described are so cool and irreconcilable Himilarity
is such a good title for Yeah.
Speaker 2 (06:41):
And also I feel like the in a meta sort
of way, Melrose Place is now there were more Melrose moments,
the familiar Melrose It's like becoming more to the forefront.
Speaker 4 (06:53):
Like there were a couple of lines.
Speaker 2 (06:54):
I had that Amanda says to Alison, like when you
said when you said. Towards the beginning of the episode,
Allison's like, oh, yeah, I'm going to moving to Seattle
and has nothing to do with you and Billy, and
she's like, don't forget your raincoat, Like that was such
an Amanda line, don't forget, oh Alison, don't forget your raincoat,
(07:14):
And there were a couple other lines like that, and
then you know, so you see there were a few of.
Speaker 4 (07:20):
Those Melrose uh kind of like what did she just say? Moment.
Speaker 5 (07:25):
Well, it is the first time we're seeing Amanda's character
decide it's okay to be bitchy, Like I see her
as like coming into the scene trying to be nice
to Alison, like, hey, are we okay?
Speaker 3 (07:37):
Is kind of how she started the scene.
Speaker 5 (07:39):
But Allison's in her defensive mode and goes off without well,
I heard about how you've you know, treated other employees,
and nobody likes it. You're acting all professional and you
got your game face on, but nobody really likes it.
Speaker 3 (07:50):
And Amanda says except for Billy.
Speaker 1 (07:52):
Yeah, I wrote that line, dog because I liked it
so much. She says, the truth is that Allison says,
the truth is that everything you say is a disguise
for something else, and I'm tired of it. Everyone is
tired of it. And Amanda goes everyone except Billy game on, right,
I mean, starting to see Amanda really Amanda.
Speaker 2 (08:09):
There they go, Then we'll see at the end of
this episode, you know, Allison has her say with Amanda
at the barbecue, at the bonfire, so it's it's really
picking up. And then the re entry of Marcia after
we haven't seen her since Christmas episode the.
Speaker 4 (08:25):
Middle of this season.
Speaker 2 (08:26):
Now we're in episode what twenty five or something, but
Marsha's back, Kimberly's back, and she's very Kimberly like, and it.
Speaker 5 (08:34):
Gives those relationships every reason to think about like, hmmm,
this other person over here is the grass greener, and
this irreconcilable similarities theme really shows, and all the relationships.
Speaker 1 (08:49):
And everybody making these crazy decisions, like you see that
Billy's making this crazy decision to move into the Amanda
without really thinking because he doesn't know what to do
with Allison. And then she goes to Seattle. We've got
everybody leaving. There's a big going away party. And did
you guys notice I'm going back to the scene with
Alison and Amanda because I didn't understand this when Amanda lee, oh,
it's raincoats. I was just going, why did you say,
don't forget your ring and.
Speaker 3 (09:11):
It's raincoat?
Speaker 1 (09:14):
It just literally just can't take bad notes.
Speaker 4 (09:18):
Ring your auto spelling is.
Speaker 1 (09:20):
A little let's don't forget your ring.
Speaker 3 (09:25):
Those are just bad notes.
Speaker 1 (09:26):
Don't forget your ring.
Speaker 2 (09:27):
I wish Billy would just put a ring on it,
for God's sakes, but then we wouldn't have a show.
Speaker 4 (09:31):
I guess.
Speaker 1 (09:32):
Oh, I really wanted to know, Duff because I'm furious
about it. What are Joe and Jake doing at dinner
with Billy and Amanda?
Speaker 2 (09:41):
Well, I have an answer for you because the scene before,
you said I'm going to Seattle bye, and you kind
of just looked at us, and I think in Allison's
protection with just saying like I'm out, I'm out of here.
Speaker 4 (09:55):
And I said, well, when have you told your boss?
Speaker 1 (09:58):
What about your work?
Speaker 4 (09:59):
What about us? Based when you say it.
Speaker 2 (10:03):
Was the ugliest lamp from like the buglest Lamp, and that's.
Speaker 4 (10:10):
Supposed to be enough.
Speaker 3 (10:14):
Oh my gosh.
Speaker 4 (10:15):
Anyways, so it was just dinner. So then we had
dinner with Amanda.
Speaker 1 (10:18):
So you're looking for a new friend. You think maybe
Amanda will be your new friend.
Speaker 3 (10:23):
But the funniest part years later, you guys are.
Speaker 2 (10:27):
Wait, we should have asked Chuck when he was here
just a couple episodes ago, because he wrote this thing.
Speaker 4 (10:35):
But I think, but don't you guys, I think like this,
let's let's talk about the chair. It's not just this chair.
It's a squeaky old ugly chair.
Speaker 2 (10:45):
Like there should be a name for that, the squeaky
old ugly chair suit.
Speaker 1 (10:50):
Kind of like Fraser. Remember in Fraser, the dad had
that chair. Well, Billy's version of the Fraser chair. It's
I don't think it's a bad looking chair. It's a
big leather chair.
Speaker 5 (10:58):
Big leather, but it's squeak, the metaphor for their you
know first.
Speaker 2 (11:02):
But yeah, and at that dinner scene every time, like
it squeaks like the sound.
Speaker 4 (11:09):
Guy was like.
Speaker 2 (11:11):
And then Amanda sits on his lap trying to be
coy and it's like.
Speaker 3 (11:14):
Eh, they're both in it together.
Speaker 1 (11:17):
Yeah, and during that dinner party they decide to throw
the chair away, like Billy concedes about thrawinway. So I actually,
little Sidner, I thought a good idea for Meloy's men.
It would be when you've had to merge your houses
with a partner, because I have a lot of stories
about that. That would be fun. Stick a pin in it.
But so he's moving it out and Jake is following
him and giving him some really good advice. Right, he's saying,
(11:41):
you know, Jake is saying, you gotta be careful, Billy, like,
you don't want to give it all away. This is
a woman who likes control. You don't want to give
it all away. Didn't you think that was some really
solid advice?
Speaker 2 (11:50):
Yeah, he said, Well, he says, what what's next? You're
sacrificing this this old chair that's so comfortable to you.
It's your comfort, it's your world, it's who you are.
So are the old things that t shirts that you
wear around the house, Like that's you, that's not her.
Speaker 5 (12:05):
But also like, yeah, what's she gonna ask you to
give up next guys night, you know, night with the
guys or whatever.
Speaker 3 (12:11):
And what's she given up for you? Is the last
question he and.
Speaker 1 (12:14):
Billy says relationships are about sacrifice. I'm like, well, they
should be a fun and.
Speaker 4 (12:19):
Love and compromise, not compromise. Yeah, not sacrifice. I like
compromise better, yeah yeah.
Speaker 1 (12:26):
And then Billy goes, I'm not keeping score, and Jake goes,
if I were you, i'd start Yeah, maybe I should.
Apparently he's not a huge fan of Amanda and Apparently.
Speaker 2 (12:36):
He can talk because his girlfriend and he live right
next door to each other and they don't have to
sacrifice anything because of each other. O an apartment in
their own decorp nice. Easy for you to say, Jake, helpful.
But you guys are equal, don't you think?
Speaker 1 (12:50):
Like Joe and Jake, the sweet thing about them is
their equals. And I think what he's seeing with Amanda
and Billy is that it's It's so funny because as
I start saying it, I like, I have so much
rage about that relationship, and it really comes up like
that's stupid relationship. It's so stupid.
Speaker 4 (13:06):
And then I hope you have a good therapist because
I don't want you to relive this.
Speaker 1 (13:10):
You imagine I got the therapy and I said I
need to talk about Billy and Amanda. She'd be like, who,
I'm like their characters on a TV show for thirty
years ago. I really need to talk about it.
Speaker 3 (13:17):
They're still pissing me off.
Speaker 1 (13:19):
They keep kissing. It really makes me that she kind
of treats Billy like a little boy, which is really
shown by he sits on the floor like none of
the furnit, the finah is all is pretty but uncomfortable,
so he ends up sitting on the floor, as it
is more than coffee on the floor.
Speaker 5 (13:37):
More than one scene he's sitting on the floor in
this episode, and I didn't have a Boxers mentioning that.
Speaker 3 (13:42):
She treats him like a child.
Speaker 5 (13:43):
Well, he actually sort of speaks to her in his
like a little little cutesy baby voice too, just sort
of incongruous with their like what seems like her sophistication whatever.
Speaker 4 (13:53):
It's sort of.
Speaker 3 (13:53):
Illuminated by him going, oh, what did it?
Speaker 5 (13:55):
And he's like just all cute and I don't know,
kind of like a little baby.
Speaker 2 (13:59):
Well.
Speaker 1 (13:59):
This this is also that great moment that where they're
showing like they did move too quickly, so they had
things they liked about each other. Obviously, they're both super attractive,
they're both sexy. They move in and then they start
to see the differences, like she thought she would help
him grow up, he thought he would help her loosen up,
but they find neither of them wants to do that.
So then you're at this. We've all been in those relationships,
(14:21):
I'm sure where you each have this idea of I'm
just going to do a few tweaks here, but there
are things that the other person doesn't want to change.
Speaker 5 (14:30):
Well, he really came to that conclusion, like super out
loud by the end of his story arc and by
the end of the episode when he really has to
confront her and say, hey, I don't think this was
a great idea.
Speaker 3 (14:40):
Is moving in together?
Speaker 5 (14:41):
This all went to quickly, and you know, while I'm
being honest, I don't think I like you very much.
He was like, Oh, now that I've gotten to know you,
I don't think I like it. Like he really like, yeah,
all of it just well.
Speaker 1 (14:54):
He said that, but he blew up after she insulted Allison,
and I wrote it down, said I love this line
so much. She says, kind of apropos of nothing. She says,
I'm glad I'm not Alison. I'm glad I'm not some ditzy,
indecisive little Midwestern nitwith Yeah.
Speaker 3 (15:09):
That was a lot.
Speaker 2 (15:11):
I mean, I really say things. I would say things
like that if you're in a fight already. But these
guys were like letting each other have it, getting in
like that's what led to the fight, Like, you know,
I think, which goes back to my argument about the chair.
Speaker 4 (15:25):
I think the chair was more than a chair because
she was like, in your ugly effing chair, you know,
like that's.
Speaker 3 (15:31):
Really what the chair is more than a chair? Well
it was, so it is like the subtitle.
Speaker 1 (15:37):
And then symbolizes him like he wants to bring in
his full self. She doesn't want it. She wants this
handsome young guy that she thinks she's going to make
into the man her husband wants her father not her husband. Upsy,
there's a little forty.
Speaker 3 (15:49):
Oops what I mean.
Speaker 1 (15:52):
Father wants him to be, but he doesn't want it.
And that's why it's so sweet. This Chuck did such
a great job on this, this spread of how much
Billy and Elison really have common and they're trying to
make their partners be each other and it's just not
because there's a scene they run into each other running
at the same time, same neighborhood, and.
Speaker 2 (16:13):
Well, wait to hold on, and they only they run
into each other court because he leaves the marina where
he's living with Amanda to go. He goes, I'm going running,
and she goes, well, why are you taking your car?
He's like, because I'm going back to Melrose. So he's
going to see her at the right time.
Speaker 1 (16:30):
She noticed running. Yeah, so she knows, and they literally
run into each other and it's so cute, but they
each say that they're trying to get their partners to
watch it and neither like Amanda doesn't want butter on
a popcorn and keep this hitting on Alison like it's
all wrong. They're both so frustrated and obviously.
Speaker 3 (16:48):
Hitting on her. He's like climbing on her.
Speaker 4 (16:51):
He is climbing, he is.
Speaker 3 (16:52):
He's like draping him and us.
Speaker 5 (16:58):
Pretty soon she's got a pillow over her. She's like,
more padding, more, start the pillow.
Speaker 1 (17:03):
She started with the barrier, the pillow barrier.
Speaker 2 (17:07):
I think, Courtney, you playing Allison and Keith story must
have been so hard because it was like a pendulum constantly.
Speaker 4 (17:14):
One scene, you're like, I'm gonna move with you.
Speaker 2 (17:16):
You're in the car together and I'm gonna move with you,
and yes, of course I'm in love with you.
Speaker 4 (17:20):
Of course I've been thinking about you. And the next
minute you just keep going goingugh, what stop.
Speaker 1 (17:25):
She's trying to talk herself because in the car, she says,
it's so hard to have a conversation because you always
say the right thing.
Speaker 3 (17:31):
Yeah, I did appreciate it.
Speaker 1 (17:33):
That's the right thing, right, Like she's trying to make
this thing work, but it doesn't really. There's a time
when they're at the beach and he says he's moving
in on her and she's trying to get some space,
and he says, when I find something that's right that
I know that I want, I grab onto it and
I don't let it get away. And I was like, oh,
it's stalker one oh one.
Speaker 2 (17:54):
Yeah.
Speaker 3 (17:54):
He also like there was that was the scene on
the beach.
Speaker 5 (17:57):
By the way, you're wearing the cutest baseball You look
a door horrible. You got jeans and a baseball hat
on on the beach.
Speaker 3 (18:04):
You're so cute. And then but you.
Speaker 5 (18:06):
Were like Allison was trying to be sort of playful
with him at one point, and like you literally got
down into like pounce position and you were like gonna
be playful, and then he ruined it by saying something
about like, oh, this is what it's like in a
marriage or something like that.
Speaker 3 (18:20):
He dropped the word marriage, and you're like, no.
Speaker 4 (18:22):
No, no, no.
Speaker 5 (18:22):
No, Now you've gotten blown it by talking about marriage.
Speaker 1 (18:26):
Yeah, she's trying to bring up some really true concerns
about this is scary, we're moving so fast, and then
you just gas slights her and says you're crazy. Of
course it's normal to move to Seattle on Monday. Of
course that's a perfectly normal thing to leave your job
and your friends. But you can see it, like especially
in the scene when Alison's talking to Joe and Jake
(18:46):
and Billy, that she's just rushing through it, that she
can't stand to see him moving out, and so she's
going to go too, because you know, my guess is
part of it. She can't stand to be in that
apartment alone, right, She can't stand to sit in the life,
in her real life with Billy missing. So she and
he's a geographic and she's going to She's going to
blow up her entire life.
Speaker 4 (19:08):
Yeah.
Speaker 2 (19:08):
Yeah, I feel like it reminds me so much of
when I was young, where I think when we're young,
we tend to think about love and coupling up and
being in a romantic scenario. It has it has to
do with a certain amount of you not being you,
a certain amount of this idealization and this fantasy feeling
(19:29):
and like he's going to be like this and I'm
going to be and all I have to do is
just do this and Okay, I'll get it.
Speaker 4 (19:34):
I did this constantly. We'll talk about in Melroe's minute.
Speaker 2 (19:36):
But like she's like, you're like, you're saying, I can't
just sit home and be me. I mean it's working
for Billy to go off and be with Amanda. I'm
supposed to go off and be somebody else, Like I'm.
Speaker 4 (19:47):
Supposed this is me being an adult.
Speaker 1 (19:50):
You know, as much as she keeps saying, Like there's
a scene too in the apartment when she's saying, but
I want to work and I want to keep doing
this and I want to keep living my life, and
he goes, of course you should do that. But I
think the audience knows he really is trying to control her,
Like she keeps bringing it up and he kind of
gaslights her and says that's not true. But she's really
trying to be heard and he keeps saying the right thing.
(20:12):
But we all know, we're like he's not, like he's
not saying it the right way, like.
Speaker 5 (20:15):
Right, because he also said there's tons of time to
get a job. You take a couple of months, Like yes,
who has time to like do that.
Speaker 3 (20:23):
Like you know, she's already.
Speaker 5 (20:24):
Said I need to make a living. I need to
you know, I need to have money. I need to
have work. I need to be somebody who works. It's like, oh,
there's time, tons of time, you know, there's not Yeah.
Speaker 1 (20:34):
When Allison sends her an email over the baker over
the weekend, Lucy's trying to tell her, like what are
you doing? Why are you there's telephones like, say Lucy
the boss. Yeah, Deborah Dare who we adore, And she's
trying to tell her, and she says, just tell me
what is in Seattle that you're not getting here? And
Alison goes Keith and Lucy does. Deborah is the biggest
(20:55):
I roll like her entire can't you pick.
Speaker 4 (20:57):
Up the phone?
Speaker 3 (20:58):
Like big mistake?
Speaker 1 (21:00):
Current, Like I.
Speaker 2 (21:01):
Made a note about that that Lucy is always giving
you great advice.
Speaker 4 (21:07):
Yeah, She's always willing to promote you, believe in you,
encourage you.
Speaker 2 (21:12):
And all Alison does is dismiss her advice, take advantage
of her, trying to give her promotions and things and
the responsibility that comes along with that at work.
Speaker 4 (21:23):
Like she's trying she sees her as a Lucy.
Speaker 2 (21:25):
Lucy sees you as a younger version and really trying
to help you. And all Alison does is like it's
she says to her, it's complicated.
Speaker 4 (21:34):
It's not fucking complicated. It never is.
Speaker 2 (21:37):
It's just you say that so that you don't understand,
you know what I mean, Like nobody understands me.
Speaker 4 (21:43):
No, we understand.
Speaker 1 (21:44):
It's just it's not that Younique bring you way back
to a time. Yeah, I don't know if you guys
ever did bring me back to It's one of my
first movies, and I was trying to tell the director
that I had to leave early because my boyfriend was
like he was on the movie too, and he had
to leave the next day. And I kept saying, I
want to leave, I want to leave. My boyfriend's leaving,
(22:05):
And finally his assistant took me aside and said, just
so you know, this is not professional, Like you don't
go to the director of your movie and say, let
me out early to see my boyfriend. And I still cringe,
like I was only yah, maybe eighteen, and I still cringe.
And again like we learn on the job when we
(22:26):
started early, but I still cringe about that because right
in that moment, the boyfriend was more important than my job.
I didn't you don't go to the director and say
can I go see my boyfriend? Like it was so weird.
Speaker 5 (22:37):
But I'm good for that assistant for sharing that with
you that you just didn't.
Speaker 4 (22:42):
Yes, that assistant was Lucy.
Speaker 2 (22:44):
Don't you understand that was Lucy And she was talking
to Courtney.
Speaker 5 (22:48):
It was like, you're saying, daff like she's always giving
so much for Allison, and she said, you know there
is something called notice, giving notice like that, you didn't
even give me notice for the job, like talk about it.
Speaker 3 (23:01):
I'm professional.
Speaker 5 (23:01):
And yet at the end of that conversation with her,
she says, let me know if you need a recommendation.
She's still willing to like support you and root for you,
even though you've just done all the wrong things with
the way you've left the job.
Speaker 3 (23:16):
Won't be there if you want to come back, she says.
Speaker 1 (23:18):
And you can see that hit Alison when she says,
I'll give you a recommendation. You can see this. There's
so many moments when you think Alison might come to
her senses, right, like especially at the end, so when
you're wishing and Keith are waiting to go to the
airport and their car isn't showing up, and Billy drives
up with his chair attached to the top of his
cab because he's a great showing Amanda's and we're still
(23:40):
I don't remember any of this obviously he was thirty
years ago, and then thinking yay, he's going to come out.
They're going to walk back into the apartment, and Alison's
not going to go with Keith, but they Keith and
Allison get in the car to go to the airport,
and Alison and Billy are talking and Keith keeps saying, Alison,
we have to go. Alice, don't you want to just
slap him? It's like Keith, shut up, yeah.
Speaker 3 (24:00):
And he just loads the bags in the car. I
don't know.
Speaker 5 (24:03):
I thought that the airport scene was shot really well too,
where after he drives you go. After Billy drives Keith
and Allison to the airport in his cab since their
shuttle didn't show up, then he also says, hey, I'm
going to walk you to the gate. And then it
gave them an opportunity to have another private conversation because
(24:24):
Alison says, Keith, why don't you go get us seats
on the plane. So Keith disappears, thank you, and then
Billy and Alison have this really great you know, honest
that he's saying, don't do it, don't go. They're walking
parallel with the fence in between them as she's approaching
the plane.
Speaker 3 (24:42):
And walking with her. Do you remember if that was
a Bourbank It looked it was Bourbank. It looked like
Bourbank Airport.
Speaker 1 (24:48):
Did it look like a real airport to you? The
front of the airport looked like someone had hand painted
a sign and put it on top of the Valley Airport.
Speaker 5 (24:55):
It looked a lot like Yeah, they it was a
made up name for an airport. They called it Valley,
but I think it was Burbank Airport where the layout
was shot. And that little half fence strikes me is
like the way you approach an airplane whatever.
Speaker 3 (25:10):
It was just a really great way to.
Speaker 5 (25:11):
Shoot the scene, to be able to see Billy and
Allison having this conversation. He was coming out and saying it,
don't do it, don't leave.
Speaker 4 (25:19):
Did you guys just see that Bob Dylan movie. It's
so good. I've seen it twice.
Speaker 2 (25:24):
But there's a scene like that in the airport where
the cycling fence is high. So they're like this, but
they're talking to each other and they just have this
heartbreaking thing.
Speaker 4 (25:32):
And I saw this scene, I'm like, I wonder if
he stole that from Melrose Place.
Speaker 1 (25:36):
We have a huge, a huge influence on the world
of movie, right, he's on the film world. I think
that scene's been done a lot. But it's this sweet
thing when he's saying please don't go, and you really
think for a minute she's not going to. They have that,
Like how many sweet heartbreaking hugs are Billy and Allison?
Speaker 2 (25:55):
Well, listen another line that he said there, which was
so revelatiyor to me. He says, you can't go and
she's like, you know something like what's here? And he's like, no,
these are like the best people you met in your
whole life. I know, because they are the best people I've.
Speaker 4 (26:10):
Met in my life.
Speaker 2 (26:12):
Yes, And I was like wow, it just like made
me feel really good, Like, Okay, these people are good
for each other.
Speaker 4 (26:19):
And they had a big influence on Billy, do you
know what I mean?
Speaker 2 (26:21):
Because that whole apartment thing, because we all just do
stuff to each other, but like, they are really great
for each other. This is the time in life where
we depend on each other and we really have these
good friendships.
Speaker 5 (26:31):
And she doesn't really have a strong enough response to
it either.
Speaker 3 (26:34):
She's like, I have to go, I have to get
on the plane, and.
Speaker 5 (26:38):
Like whatever that is insider her that makes her feel
like she has to follow through with what she said
she was going to do, and.
Speaker 1 (26:42):
She well, it's Billy. It's that Billy's with Amanda. Because
I heard that line, this might be my self centered
because I was like, that's really about Alison trying to
project everything I can. But I thought, because it's the thought,
I thought he was saying the micro version of the
best person I've ever met. Like I think it was
about by.
Speaker 5 (27:00):
That time he said that he's moved out and they're over.
I'm just arguing with this logic here for you, of course,
but that's.
Speaker 1 (27:06):
What I'm saying, like he's saying a moment, don't go again.
This is my rewriting of the scene, don't go. I
wish I thought I wrote it down. I can't find it.
Speaker 4 (27:16):
No, it's I I mean I can.
Speaker 2 (27:18):
You know, you can think of what you want, project
aw you want. But I think he really did me
because if you think about it, even in this episode
where he lives with Amanda, he still has had these
moments with these people.
Speaker 4 (27:30):
They've had scenes of moving helping him move the chair.
Speaker 2 (27:32):
He's had talks with with Grant, who's been there for him.
Speaker 4 (27:36):
He's, you know, like, these are great people. That's how
I read it, and I just.
Speaker 1 (27:40):
I think the show Yeah, yeah, no, I think you're
totally right.
Speaker 2 (27:45):
But he could have been covering it like you're my
best person, don't leave.
Speaker 1 (27:49):
He could have been that's that's what I'm doing, That's
that's the story.
Speaker 3 (27:53):
Yeah.
Speaker 5 (27:54):
And but but that she in her response is just
like I have to go. There's not like we don't
understand that as an audience, we.
Speaker 3 (28:01):
Can't understand why do you have to go?
Speaker 5 (28:03):
When this guy is just finished saying he's done with Amanda,
he's you know, saying you can't go. I want you
to stay these people and me and us where all
the best people will ever know, don't get on the
plane like he's been like laying it all out, and
she still goes, I have to go. And I wanted
to say, why why do you have to go?
Speaker 1 (28:26):
Well, because she's sort of moving ahead, she's got her
blinders on, she's not taking the time. It's just like
Daphne said about why Joe is probably annoyed with Allison
because she just said, I have to go. Even at
the goodbye party, like they're not she's not really talking
to her friends. She and Amanda are having this really
intense conversation.
Speaker 4 (28:44):
Amanda have it.
Speaker 5 (28:45):
Yeah, she's doing before I go, I just need to
tell you all these things.
Speaker 2 (28:49):
Yeah, and you know what, Amanda, I really don't care
what you think of me. And that sets her free,
you know, like think say whatever you want about me, don't.
Speaker 5 (28:56):
It also sets it up because we know obviously Ali's
going to come back, because there's lots more seasons of Melrose.
Speaker 4 (29:02):
Does she live? Does she live in this apartment?
Speaker 3 (29:04):
I thought she moved, Well she's got made it back
both out.
Speaker 4 (29:06):
Then who's who's paying the rent? Like someone else should
move in there.
Speaker 5 (29:10):
It also opened the door for like, all right, game
on with all these relationships. Now I've told you, but
I think of you, and now all bets are off.
It's just going to We're going to come back. This
this my nemesis. This is these are enemies. These are
not like all these new relationships of Amanda being allowed
to be a bitch, and Alison's saying, well, here's what
I think of you. We've already said it, so now
(29:31):
we can't like unsee it. And I think it's like
a tonal shift to like moving forward. We get to
do all that now, we get to see that Michael's
thinking about maybe having an affair and all that stuff,
Like all these things sort of turned the quint.
Speaker 2 (29:45):
It makes me remember what Chuck was saying when he
was our guest on the show of Like, you know,
he's he's from the soap world. He's from turning things
on its head like constantly, and these relations look blowing
them up and then bringing them back, you know what
I mean.
Speaker 4 (29:59):
Like that's what he just did with Alison and Billy.
Speaker 2 (30:03):
Like he's gone, she's gone, and even though he sucked
you in, they're jogging together. They love all the same things,
but it's just boom, and then he's going to very skillfully,
you know, bring it all back in a different shape.
Speaker 4 (30:17):
I mean, he just constantly he has to do this.
This is the kind of writer he is.
Speaker 1 (30:21):
Well yeah, and it's nobody being able to say what
they really feel, like Alison. I think all the outrage
Alison has an Amanda is really she's so heard about Billy.
There's a great line at the end of the party
when Amanda says something about all these great friends and
Alison says, I've never seen you with many friends of
your own. Yeah, and Amanda says cheap shot, and Alison
goes right on target, and she's just so furious. But
(30:43):
what she can't say to Billy is I want to
be with you. So it's all of this anger directed
at Amanda. So speaking of not saying directly, let's talk
a little bit about Michael, who stopped like there in bed.
It's very sweet. We see them very happy. They get
(31:03):
the call from Sam Michael can't do dinner, so Jane
decides to go out with Sam.
Speaker 3 (31:09):
Well, Michael suggests that she didn't.
Speaker 1 (31:12):
So what did you think of that dinner?
Speaker 5 (31:14):
Like?
Speaker 1 (31:14):
How how many.
Speaker 4 (31:16):
Dinner between Sam and between Sam and Jay?
Speaker 5 (31:18):
Well, first of all, their natural.
Speaker 4 (31:22):
With the roses, and she got a kiss even no
matter who was it was.
Speaker 5 (31:28):
Well, she was going to be in a convertible driving
her a little convertible. She needed a hat when Sydney
all the all the scenes in this episode, she had
her hair pulled back off of her face, either with
a headband or her hav and stuff. So maybe that
was just her transition. I mean, she's so gorgeous in
(31:48):
every darn scene. Yeah, and the chemistry between Josie and
Rob in the scene playing Jane and Sam was I
mean undeniable, and.
Speaker 4 (32:01):
They look beautiful, so beautiful.
Speaker 3 (32:03):
Together, and that was, like we said, her husband at
the time.
Speaker 2 (32:06):
But what do you think about this friend, old friend
of her husband's. Not But even before the kiss and
then what gave him did he feel like.
Speaker 4 (32:14):
He had permission to kiss her? Did was there a
flirt that I mean.
Speaker 1 (32:18):
Well he was talking about he was saying, you know,
she goes, yeah, you can never find anybody basically because
nobody held a candle to you. Yeah, and he's sort
of crossing the lines at dinner. That's why I'm saying, Like.
Speaker 4 (32:29):
That's true, that's true.
Speaker 1 (32:30):
Yeah, did you find yourself sort of voting for them
or like stop it, that's so inappropriate.
Speaker 4 (32:35):
But wait a second.
Speaker 2 (32:36):
So they dated before and Michael said, go on out
with my old friend who you used to date.
Speaker 1 (32:42):
They didn't date, No, Michael and Jane were always together
and Sam was Michael's best friend, right, which Sam, it's
It's like the Love Actually Seen where the best friend
holds a torch for his friend's wife.
Speaker 2 (32:54):
So he says, no one could hold a candle to you,
because I see you through my best friend.
Speaker 5 (32:58):
They were talking about all of his old exes, like
all the people he dated, and how Jane never seemed
to approve of them, and she was like, yeah, they
were you know whatever, and he goes, well, good. The
truth is, I didn't feel like they were enough like you.
That's why I never found the ones, because no one
was you. And he drops that bomb at the dinner.
Speaker 2 (33:19):
So this is making me see it that this is
a complicated situation unlike Alison's, because you're making me remember
that it wasn't It wasn't Michael's idea.
Speaker 4 (33:31):
It was Jane's idea. The scene before to have dinner with.
Speaker 1 (33:34):
His Michael, it was Jane.
Speaker 2 (33:38):
She said, I'll see him. He goes, I can't. Jane goes,
i'll see him. I'll go, and then he goes, oh,
Jane will go, yeah, she's doing great something.
Speaker 4 (33:47):
No, I don't.
Speaker 1 (33:48):
I remember Michael saying, but you you should go to
dinner with him, don't you. I think I think I
think we're I think we're all right right now, and yeah,
let's look at it.
Speaker 3 (33:58):
But deaf, I think you're right. I think she casually is.
Speaker 5 (34:00):
Like I can go, like what but it was assumed
to be platonic.
Speaker 3 (34:05):
That's how I interpreted it.
Speaker 2 (34:06):
Well, so you're presuming though, because now we're digging up
their past, right, So let's think about it reality wise.
Speaker 3 (34:12):
You know, in that moment it was played, I bought
it as.
Speaker 5 (34:17):
Platonic and for sure, oh that it came as a
surprise during the dinner when Sam decided to drop that bomb,
and then it opens the door of the conversation where
she admits, yeah, you know, I guess there was a
second one. I thought about you too, But that is
all well in our past. I'm married to Michael. He's
a great guy, and Sam's like, yep, he's the best,
he's a great guy and whatever. And then he's still
(34:38):
persist in like sort of ambushing her with a kiss,
and then he doesn't exactly hate yeah, but.
Speaker 1 (34:44):
He doesn't pull away super fast.
Speaker 4 (34:47):
Oh you okay.
Speaker 5 (34:49):
I mean I think she had a sense of I
think Jane had a sense.
Speaker 4 (34:51):
Of absolutely she was shocked.
Speaker 5 (34:53):
Yeah, no, I think this was absolutely not okay, like
this is I'm married to somebody else, but it's but
I think the idea that like there had been something
in their past, even if it was just imagined, like
it didn't sound like because this was your original question,
had they dated when they were earlier? Now we're discussing
imaginary history. But it seemed like what they spelled out
(35:15):
was that they didn't date, but they both admitted that
they thought about it, and he thought about it to
a much higher degree than she did.
Speaker 1 (35:22):
Yeah, and when he goes to kiss her, she doesn't
say absolutely not, and he makes a joke about it. I
guess I shouldn't invite you up, and she doesn't say no.
She says it would be way too tempting.
Speaker 4 (35:31):
That's right, that's the next clue, and she had Yeah,
so there's chemistry there.
Speaker 3 (35:36):
Yep.
Speaker 2 (35:36):
So I guess the overall question is and we could
talk about in Meloer's minute, or we can just bring
it up right now quickly.
Speaker 4 (35:42):
You know, do you take that dinner if there's chemistry.
Speaker 2 (35:45):
Jane knew there was chemistry when she said I'll go
and Michael goes, Okay, Michael.
Speaker 1 (35:49):
I don't think she did then.
Speaker 3 (35:52):
I don't think she intended to.
Speaker 4 (35:54):
Oh, so he pops up.
Speaker 2 (35:56):
He's so gorgeous, and he's like, I guess I can't
ask you up, and she's it would be too tempting.
Speaker 4 (36:01):
It's just right there. Well, he says to each other forever.
Speaker 5 (36:04):
When he drops the bomb in the scene, he says,
confession time, I'm about to tell you I've always loved you.
Speaker 3 (36:10):
And this is a subtext. None of those girls were.
Speaker 5 (36:13):
Good enough because none of them were you. That's what
he confesses to her, so he drops the bomb. I
don't think she anticipated that at all. I think she
was just like, I'm going to dinner with our old
friend Sam, and that was that.
Speaker 3 (36:26):
And even if she has in the back.
Speaker 2 (36:27):
Of round they if listen, guys, if we have a
history here of these three people, I don't believe that
this is the first time that this chemistry is being
Well maybe it's the first time there he's acting on it,
but I don't think it's the first time she's felt it.
Speaker 1 (36:46):
I mean, maybe it is their first time, like really alone.
And he says that maybe it's been a sort of fun,
unsaid flirtation, like we have guy friends who sort of
flirt with but it remains unsaid exactly, And because you know,
even though they seemed to beginning along this episode, they've
been having a bumpy time. So maybe she's more open
(37:06):
to it than she would be, because when they have
their fight at the end of this episode, you really
see why she's created with Michael.
Speaker 4 (37:15):
Yeah, and I mean he's the one that initiated it.
Speaker 2 (37:19):
He's the one that brought it up verbally and then
kissed her and then you know, so it's on him.
Speaker 4 (37:25):
And in my book, did.
Speaker 5 (37:28):
You think he went to the hospital knowing that Michael
may not have heard about the kiss from Jane, but
that he was going to tell Michael anyway.
Speaker 1 (37:37):
Oh yeah, So we're jumping ahead of it. So so
Jane doesn't Jane's she doesn't tell Michael. She acts like
nothing happened, so that later when Sam goes to tell Michael, look,
I'm sure Jane told you. I'm so sorry Michael hadn't heard.
So here's it for the first time. And do you
think Sam do that to drop a bomb in the relationship, like.
Speaker 5 (37:56):
To yeah, to cause problems? Do you think he did?
Speaker 4 (38:01):
I think he. I think he wanted to be clean,
so that.
Speaker 2 (38:08):
If she had already told her, if Dane had already
told Michael, like, look, he kissed me and nothing else happened,
had already told him at least he'd be clean, like
I'm admitting it too, and we can go on being buddies.
And I'm so sorry. I hope you still want to
be my friend. It will never happen again. But if
she didn't say it, he's the first one to say it.
(38:30):
So I think it was a selfish, self centered. I
want to preserve was risky, but I think it was
self centered move, just like kissing her was a self
centered move.
Speaker 5 (38:39):
And also but prior to that, just deciding to do
that confession at all, to say I've.
Speaker 3 (38:45):
Always loved you all that self that.
Speaker 5 (38:47):
Makes me, that makes me not as close as nothing
to he was just h yeah, just telling Michael to
clear his conscience. It was I think he's also got
an agenda, So yeah, I think he's.
Speaker 4 (39:01):
Being I think it's hard to know, self centered and
you know.
Speaker 2 (39:04):
And then of course Jane gets the backlash because she
chose not to tell him because it was nothing, and she.
Speaker 1 (39:10):
She didn't more than choose not to tell him, she
sort of doubled down and made dinner was super super
nice because she's so uncomfortablebout the whole thing. Yeah, maybe
we see that famous Michael temper, right, and he's like,
why did you not tell me? And I love it.
She had this great line and she said this is why.
Speaker 4 (39:28):
This is why. Because he goes.
Speaker 1 (39:30):
Instead of saying you have I'm so scared, he said,
I felt like a complete ass any rageous and then
she says, it's always how you feel, keeping Michael happy,
that's what this marriage is about. And he goes and
what the hell is wrong with that? She goes everything. Yeah,
you start to see these real because his rage is
a real issue. And then he goes to the hospital
and guess who's there, yep, yeah, and she says, no
(39:53):
questions asked.
Speaker 5 (39:54):
Kimberly's there, and she says we can have breakfast, no
questions asked. And that just sounds like a really appealing alternative.
Speaker 4 (40:00):
I'm starting to realize.
Speaker 2 (40:01):
When I was getting to that scene at the end,
I was like, I don't know if I can handle
this show, because it's really all these people believe. I
don't know how people hung in there for fives us
because it's so wrong how they're acting like that in
this marriage you just want them to communicate so that
whatever happens forces on the outside at work or an
(40:22):
old friend, you're stronger, you know, like I we want
with our partners like we're a team no matter what happens.
Speaker 1 (40:30):
And yeah, well it's that old thing and my wife
doesn't understand me, right, So it goes to the hospital
and he says to Kimberly, how come it's so easy
to talk to you? And then I blow it at
home so I don't know what home is anymore? And
she says exactly the line you're talking Aboutlaura. Home is
where you're appreciated. We're son by breakfast, no questions asked,
and yeah, all right, let me do it.
Speaker 5 (40:50):
Yeah, yeah your definition of home.
Speaker 1 (40:54):
Yeah, like terrible to stand me, but you we have
everything in common. And she is just rare into go
like she is fully available. She's making no bones about it.
Speaker 2 (41:03):
And you know how Thomas is playing this is so like,
oh the dufist, you know what I mean, like the
evil dufist, like evils.
Speaker 3 (41:12):
Come on, not a Midwestern but an evil dufist.
Speaker 4 (41:16):
Michael Mancini is such an evil dufus.
Speaker 2 (41:19):
He says to Kimberlay, how come there's there's not working
at home, as if she's not gonna step into that
and take advantage of this dufus you evil dufus home.
Speaker 4 (41:29):
Let me buy you a breakfast.
Speaker 1 (41:30):
That's what every cheater starts with, right. My wife doesn't
understand me. Our marriage is over anyway, it's we have
an understanding or whatever we could get.
Speaker 4 (41:38):
Yes, we put into all the lands. Yeah.
Speaker 5 (41:42):
Again, this was a really great episode of irreconcilable shimilarities, similarities.
Speaker 1 (41:50):
Chuck is great at like the lines right, Like I
wrote down so many lines he did. It was really fun.
Speaker 2 (41:56):
And there's a nice balance of each of the different
couples and their their path but also the rom com
with the Alison and Billie of it all.
Speaker 4 (42:08):
The rom com vibe and the stick it to you
Melrose vibe. Like it was a great balance of those.
Speaker 1 (42:14):
Yeah, and did you notice more shorter scenes. There were
so many scenes people weaving and not like it moved.
Speaker 3 (42:20):
Yeah.
Speaker 1 (42:20):
Remember in the beginning we have like four long scenes.
It was moving so fast and everybody got woven in,
like even though like obviously Ronda and Matt didn't have
much and Joe didn't have as much as normal, but
still they were all throughout.
Speaker 5 (42:35):
I forgot to tell you where Matt's line was. It
was at the campfire and some And Ronda has her
second line of the episode. Her first is when she
comes over Ronda's and she comes over and says, after
Michael and janea fought, she knocks on their door and
she walks in.
Speaker 3 (42:49):
She's like, Hey, which one of us is driving the party?
Speaker 5 (42:51):
Yeah, And that's a super awkward moment because obviously Michael
and Jane are Friday.
Speaker 3 (42:55):
That's her first line.
Speaker 5 (42:56):
Then her second line is, hey, did anybody bring any
Does anybody remember their old camp fire songs?
Speaker 3 (43:00):
That was their second line.
Speaker 5 (43:01):
And Matt has his first line where he says, nope,
I left my ukulele at home.
Speaker 4 (43:06):
I don't remember it at all.
Speaker 3 (43:09):
Yeah.
Speaker 4 (43:10):
I think I was waiting.
Speaker 2 (43:11):
To see what Amanda and Allison, We're going to stay
over in the corner to each other that fight.
Speaker 1 (43:18):
I in my memory, Alison was much more passive. I
like that she's got this spice. I didn't remember fighting.
Speaker 3 (43:25):
She said, but she thought enjoying it.
Speaker 5 (43:27):
And I think that that that really sets us up
for the next episodes. It's like game on because these
relationships people have kind of said what they think now,
and now I feel like, okay, yeah, I get to
go be these other versions in the.
Speaker 2 (43:41):
I feel like I can't wait for the next The
wagon's kind of going off the tracks, you know what
I mean, Like because Kimberly is in.
Speaker 4 (43:47):
I don't know if she's in the next one or not,
but I have a feeling she is.
Speaker 2 (43:50):
Keith has taken Alison off like things are just kind
of anything can happen.
Speaker 1 (43:55):
I don't remember being in Seattle.
Speaker 4 (43:58):
It probably was Anna Karita. The funny thing.
Speaker 1 (44:04):
I know we have to end, But one more funny
thing did you notice in it? Like the first scene
when we were we come from the ceiling and Billy's
uncomfortable and Amanda walks in and goes, look at this
gorgeous day. We're living in paradise, And she looks like
she's going to open the curtains, but it opens a
little bit and you see it's just a cement patio,
so she doesn't actually open the curtains.
Speaker 5 (44:23):
They went.
Speaker 1 (44:25):
Curtains.
Speaker 4 (44:28):
I know, it's so funny.
Speaker 2 (44:29):
It's so funny because that that part of the marina
is such a beautiful part to show. But that was
just like the outside shots, you know, the exteriors, boom
into her fancy apartment and then boom or did in
sound Karita and there's.
Speaker 1 (44:42):
It should be the ocean and she pretends to open it.
Speaker 4 (44:45):
Yeah, close it yeah.
Speaker 2 (44:47):
And also the idea that no, we didn't pay for
that view.
Speaker 4 (44:50):
Oh my boyfriend's on the floor.
Speaker 3 (44:52):
Okay, I'll focus on that a big deal. All right, Well,
this was fun and it's super fun if.
Speaker 5 (44:59):
You watch in the episodes, because we're learning so much
by watching these episodes, and.
Speaker 2 (45:03):
Really, don't forget to subscribe, right, subscribe and download.
Speaker 5 (45:08):
Thanks for listening and hanging with us, and we can't
wait to see you next time. Thank you every since
already Sa
Still the Place with Laura Layton, Courtney Thorn Smith.
Speaker 2 (00:09):
And Daphne's Aniga an iHeartRadio podcast.
Speaker 1 (00:14):
Hi ladies, Hi, good to see us. Welcome to another
recap of Still the Place.
Speaker 3 (00:20):
Always Fun, Always fun. This is going to be a
good one.
Speaker 1 (00:23):
Yes, So, Daphne, you've been reading some comments on Instagram
and you want to talk about what they're saying.
Speaker 2 (00:28):
I just briefly want to say that we're trying this
new format and we hope that y'all.
Speaker 4 (00:32):
We're glad that you're sticking with us.
Speaker 2 (00:33):
Some of you are watching along, some of you are
just listening to the podcast, and we're going to give
this another.
Speaker 4 (00:37):
Go and hopefully this will be clearer to people.
Speaker 2 (00:41):
And that you are having fun with us, because we're
having a blast and this is a great episode.
Speaker 1 (00:45):
We're trying something. It's a little less linear because we
kind of felt stuck, So stick with us. If it
doesn't work, we can always bring back stuff that worked
or didn't. But we just wanted to have it be
more free form so we could talk and tell stories
and just have more fun with it.
Speaker 4 (00:57):
So just working.
Speaker 1 (00:58):
Give us a second. None of us are fans of change,
but let's see how much fields. Give us a few
weeks see if we can get our footage. So this episode,
episode twenty five, it's so busy. I love it because
Jane and Michael are back in the episode, Amanda and
Billy are in the episode. Robstie's is in the episode
playing Sam Marcia Cross is back playing Kimberly.
Speaker 3 (01:19):
Matt has a line, and Jake does he has a line?
Speaker 4 (01:25):
No, he doesn't, I'll tell you.
Speaker 1 (01:28):
I will do yeah, exactly what math is a line.
He's also roasting a marshmallow, which is very exciting. That's right.
Speaker 5 (01:35):
I will tell you that he does have a line
in this episode, So that's exciting.
Speaker 1 (01:38):
Go and Jake, unfortunately are not making out. We're all disappointed.
They're kind of support stuff in this episode.
Speaker 3 (01:43):
They should considerable restraint.
Speaker 2 (01:45):
I think the theme in this Courtney quite appropriately, I think,
is change, big time change.
Speaker 1 (01:52):
For a lot of our character, bringing it back around,
and it's also being uncomfortable with change. So the show's
starts and we come in on Billy. It's directed by
Nancy Malone, who's one of our favorite directors, and she
does this shock coming in on Billy, who can't get
comfortable in Amanda's fancy apartment, which is, you know, a
metaphor for him not being comfortable in her life. And
(02:12):
the episode for Billy and Amanda is really about them
trying to find a way. He moves his chair and
she doesn't like his chair. She doesn't like his rules.
She's trying to be easy. He wants her to watch
a movie. She doesn't want to watch a movie. It's
them seeing if they can make it work together. We
find out whether or not they can by the end,
Alison and Keith, this will shock everyone. Allison's cranky and confused,
(02:35):
which I mean we all find very shocking, I know,
and Allison, and he's annoyingly. He's annoying. Alison's annoying. He
decides to move to Seattle with Keith, so stupid right.
Speaker 3 (02:47):
Away, so super mad at her about that.
Speaker 1 (02:49):
We're already mad at her. And she is going through
life just sort of steamrolling through the entire episode saying, yeah,
I'm moving to Seattle. I feel really good about it.
I'm moving to Seattle, I feel really good about it.
On Monday.
Speaker 5 (02:59):
On Monday, why, Yeah, it's so funny, Conny, you just
said you said I'm moving to Seattle so fast I
thought you said, I'm just gonna settle.
Speaker 3 (03:08):
I'm gonna settle. I'm going to Seattle. I'm like, yeah,
that's what she was doing.
Speaker 4 (03:11):
And I was taking my notes.
Speaker 1 (03:12):
It kept saying settle. I was like, yes, So Alison's
moving to Seattle. We're all super annoyed. She's presenting it
to everybody. There's a great scene where we'll talk about it.
But she comes in when Joe and Jake are helping
Billy move, which is so psyched as he's moving, and
she's gonna announce this. You know, I'm going too. I'm
going to Seattle. I think it's a really good idea.
I'm going to go get some boxes.
Speaker 3 (03:30):
She's just gone.
Speaker 1 (03:31):
Right now, what happened Alison and Amanda. Allison's already getting
really mad at Amanda because she's leaving D and D
because she's got this great idea to move to Seattle.
What could be wrong? Amanda is annoyed, and at one
point Allison says, you're jealous of me, and Amanda says
something like, well, I have Billy. So there's that conflict.
(03:53):
That relationship isn't working. Billion and Billy and Allison are
heartbreaking because Billy's leaving the apartment, Alison leaves, Billy watches
her leave. Then later on in the show, Allison's on
an airplane and Billy watches Hurley. It's heartbreaking all through it.
Alison and Billy are leading these parallel lives. And Billy
is trying to get Amanda to watch No Saratu and
(04:14):
he's going jogging in the same place in time they
used to go. Alison's trying to get Keith to watch
No Sparratu and she's going jogging in the same place, and.
Speaker 2 (04:22):
You with massive piles of popcorn. They obviously have their
routine from the past.
Speaker 3 (04:28):
They want to watch it in the same way, same world.
Speaker 1 (04:31):
They should have done split screen right, like they're each
trying to and Keith is trying to kiss Alison and
we all just want to hit him in the head.
And Amanda is not paying any attention. She doesn't like it,
and you just, you know, you're screaming at the tv.
Just be together, Aga, go over yourself. Why can't they
just be together? And there's a scene that will also
address when Joe and Jake have dinner with Amanda and Billy,
(04:53):
which I'm furious about, but Jake gives Billy some great advice,
which is, don't like trade your life for her, like
you know what I mean, don't trade your life for her.
So that's kind of what we see going in everywhere,
people trading their lives for this idea. And then super
exciting Michael. Jane and Michael are back and Michael's old friend.
Speaker 5 (05:16):
And they don't talk about where they've been, but they
were gone for.
Speaker 1 (05:20):
A while, just behind closed doors. They were running it.
They were a target.
Speaker 3 (05:24):
They were. Now they've got a very cool storyline and they're.
Speaker 1 (05:26):
Now they're back. So Rob Esti's who is Josie's real
life husband, comes back as Sam, who's Michael's old college friend.
Michael's working so he can't go to dinner.
Speaker 2 (05:37):
Josie and Rob just got married basically this now they're
doing these in real life.
Speaker 1 (05:43):
Yeah, they were newly woods at the time, just insanely attractive.
Right when they're on a scene together, you're just like,
stop it. You're both your attractive.
Speaker 4 (05:50):
So beautiful.
Speaker 1 (05:51):
So Jane goes out to dinner with Sam and he
confesses his feelings and kisses her and she's not quite
resistant enough. And when Michael goes back to guess who's back.
Marsha Cross is Kimberly. So it's interesting how they set
that up because we know that something happens with Michael
and Kimberly. But they had Jane make the first mistake
(06:12):
right even though Sam kissed her, she kind of kissed
him back, so that gave him the out.
Speaker 3 (06:16):
So so much.
Speaker 1 (06:18):
Oh my god, there's so much. It's so exciting. Let's
talk about all of the relationships.
Speaker 5 (06:23):
The title of this episode is Irreconcilable Similarities.
Speaker 3 (06:29):
Also, it's written by Chuck.
Speaker 5 (06:30):
Pratt, and it just is like such a All the
parallels that you described are so cool and irreconcilable Himilarity
is such a good title for Yeah.
Speaker 2 (06:41):
And also I feel like the in a meta sort
of way, Melrose Place is now there were more Melrose moments,
the familiar Melrose It's like becoming more to the forefront.
Speaker 4 (06:53):
Like there were a couple of lines.
Speaker 2 (06:54):
I had that Amanda says to Alison, like when you
said when you said. Towards the beginning of the episode,
Allison's like, oh, yeah, I'm going to moving to Seattle
and has nothing to do with you and Billy, and
she's like, don't forget your raincoat, Like that was such
an Amanda line, don't forget, oh Alison, don't forget your raincoat,
(07:14):
And there were a couple other lines like that, and
then you know, so you see there were a few of.
Speaker 4 (07:20):
Those Melrose uh kind of like what did she just say? Moment.
Speaker 5 (07:25):
Well, it is the first time we're seeing Amanda's character
decide it's okay to be bitchy, Like I see her
as like coming into the scene trying to be nice
to Alison, like, hey, are we okay?
Speaker 3 (07:37):
Is kind of how she started the scene.
Speaker 5 (07:39):
But Allison's in her defensive mode and goes off without well,
I heard about how you've you know, treated other employees,
and nobody likes it. You're acting all professional and you
got your game face on, but nobody really likes it.
Speaker 3 (07:50):
And Amanda says except for Billy.
Speaker 1 (07:52):
Yeah, I wrote that line, dog because I liked it
so much. She says, the truth is that Allison says,
the truth is that everything you say is a disguise
for something else, and I'm tired of it. Everyone is
tired of it. And Amanda goes everyone except Billy game on, right,
I mean, starting to see Amanda really Amanda.
Speaker 2 (08:09):
There they go, Then we'll see at the end of
this episode, you know, Allison has her say with Amanda
at the barbecue, at the bonfire, so it's it's really
picking up. And then the re entry of Marcia after
we haven't seen her since Christmas episode the.
Speaker 4 (08:25):
Middle of this season.
Speaker 2 (08:26):
Now we're in episode what twenty five or something, but
Marsha's back, Kimberly's back, and she's very Kimberly like, and it.
Speaker 5 (08:34):
Gives those relationships every reason to think about like, hmmm,
this other person over here is the grass greener, and
this irreconcilable similarities theme really shows, and all the relationships.
Speaker 1 (08:49):
And everybody making these crazy decisions, like you see that
Billy's making this crazy decision to move into the Amanda
without really thinking because he doesn't know what to do
with Allison. And then she goes to Seattle. We've got
everybody leaving. There's a big going away party. And did
you guys notice I'm going back to the scene with
Alison and Amanda because I didn't understand this when Amanda lee, oh,
it's raincoats. I was just going, why did you say,
don't forget your ring and.
Speaker 3 (09:11):
It's raincoat?
Speaker 1 (09:14):
It just literally just can't take bad notes.
Speaker 4 (09:18):
Ring your auto spelling is.
Speaker 1 (09:20):
A little let's don't forget your ring.
Speaker 3 (09:25):
Those are just bad notes.
Speaker 1 (09:26):
Don't forget your ring.
Speaker 2 (09:27):
I wish Billy would just put a ring on it,
for God's sakes, but then we wouldn't have a show.
Speaker 4 (09:31):
I guess.
Speaker 1 (09:32):
Oh, I really wanted to know, Duff because I'm furious
about it. What are Joe and Jake doing at dinner
with Billy and Amanda?
Speaker 2 (09:41):
Well, I have an answer for you because the scene before,
you said I'm going to Seattle bye, and you kind
of just looked at us, and I think in Allison's
protection with just saying like I'm out, I'm out of here.
Speaker 4 (09:55):
And I said, well, when have you told your boss?
Speaker 1 (09:58):
What about your work?
Speaker 4 (09:59):
What about us? Based when you say it.
Speaker 2 (10:03):
Was the ugliest lamp from like the buglest Lamp, and that's.
Speaker 4 (10:10):
Supposed to be enough.
Speaker 3 (10:14):
Oh my gosh.
Speaker 4 (10:15):
Anyways, so it was just dinner. So then we had
dinner with Amanda.
Speaker 1 (10:18):
So you're looking for a new friend. You think maybe
Amanda will be your new friend.
Speaker 3 (10:23):
But the funniest part years later, you guys are.
Speaker 2 (10:27):
Wait, we should have asked Chuck when he was here
just a couple episodes ago, because he wrote this thing.
Speaker 4 (10:35):
But I think, but don't you guys, I think like this,
let's let's talk about the chair. It's not just this chair.
It's a squeaky old ugly chair.
Speaker 2 (10:45):
Like there should be a name for that, the squeaky
old ugly chair suit.
Speaker 1 (10:50):
Kind of like Fraser. Remember in Fraser, the dad had
that chair. Well, Billy's version of the Fraser chair. It's
I don't think it's a bad looking chair. It's a
big leather chair.
Speaker 5 (10:58):
Big leather, but it's squeak, the metaphor for their you
know first.
Speaker 2 (11:02):
But yeah, and at that dinner scene every time, like
it squeaks like the sound.
Speaker 4 (11:09):
Guy was like.
Speaker 2 (11:11):
And then Amanda sits on his lap trying to be
coy and it's like.
Speaker 3 (11:14):
Eh, they're both in it together.
Speaker 1 (11:17):
Yeah, and during that dinner party they decide to throw
the chair away, like Billy concedes about thrawinway. So I actually,
little Sidner, I thought a good idea for Meloy's men.
It would be when you've had to merge your houses
with a partner, because I have a lot of stories
about that. That would be fun. Stick a pin in it.
But so he's moving it out and Jake is following
him and giving him some really good advice. Right, he's saying,
(11:41):
you know, Jake is saying, you gotta be careful, Billy, like,
you don't want to give it all away. This is
a woman who likes control. You don't want to give
it all away. Didn't you think that was some really
solid advice?
Speaker 2 (11:50):
Yeah, he said, Well, he says, what what's next? You're
sacrificing this this old chair that's so comfortable to you.
It's your comfort, it's your world, it's who you are.
So are the old things that t shirts that you
wear around the house, Like that's you, that's not her.
Speaker 5 (12:05):
But also like, yeah, what's she gonna ask you to
give up next guys night, you know, night with the
guys or whatever.
Speaker 3 (12:11):
And what's she given up for you? Is the last
question he and.
Speaker 1 (12:14):
Billy says relationships are about sacrifice. I'm like, well, they
should be a fun and.
Speaker 4 (12:19):
Love and compromise, not compromise. Yeah, not sacrifice. I like
compromise better, yeah yeah.
Speaker 1 (12:26):
And then Billy goes, I'm not keeping score, and Jake goes,
if I were you, i'd start Yeah, maybe I should.
Apparently he's not a huge fan of Amanda and Apparently.
Speaker 2 (12:36):
He can talk because his girlfriend and he live right
next door to each other and they don't have to
sacrifice anything because of each other. O an apartment in
their own decorp nice. Easy for you to say, Jake, helpful.
But you guys are equal, don't you think?
Speaker 1 (12:50):
Like Joe and Jake, the sweet thing about them is
their equals. And I think what he's seeing with Amanda
and Billy is that it's It's so funny because as
I start saying it, I like, I have so much
rage about that relationship, and it really comes up like
that's stupid relationship. It's so stupid.
Speaker 4 (13:06):
And then I hope you have a good therapist because
I don't want you to relive this.
Speaker 1 (13:10):
You imagine I got the therapy and I said I
need to talk about Billy and Amanda. She'd be like, who,
I'm like their characters on a TV show for thirty
years ago. I really need to talk about it.
Speaker 3 (13:17):
They're still pissing me off.
Speaker 1 (13:19):
They keep kissing. It really makes me that she kind
of treats Billy like a little boy, which is really
shown by he sits on the floor like none of
the furnit, the finah is all is pretty but uncomfortable,
so he ends up sitting on the floor, as it
is more than coffee on the floor.
Speaker 5 (13:37):
More than one scene he's sitting on the floor in
this episode, and I didn't have a Boxers mentioning that.
Speaker 3 (13:42):
She treats him like a child.
Speaker 5 (13:43):
Well, he actually sort of speaks to her in his
like a little little cutesy baby voice too, just sort
of incongruous with their like what seems like her sophistication whatever.
Speaker 4 (13:53):
It's sort of.
Speaker 3 (13:53):
Illuminated by him going, oh, what did it?
Speaker 5 (13:55):
And he's like just all cute and I don't know,
kind of like a little baby.
Speaker 2 (13:59):
Well.
Speaker 1 (13:59):
This this is also that great moment that where they're
showing like they did move too quickly, so they had
things they liked about each other. Obviously, they're both super attractive,
they're both sexy. They move in and then they start
to see the differences, like she thought she would help
him grow up, he thought he would help her loosen up,
but they find neither of them wants to do that.
So then you're at this. We've all been in those relationships,
(14:21):
I'm sure where you each have this idea of I'm
just going to do a few tweaks here, but there
are things that the other person doesn't want to change.
Speaker 5 (14:30):
Well, he really came to that conclusion, like super out
loud by the end of his story arc and by
the end of the episode when he really has to
confront her and say, hey, I don't think this was
a great idea.
Speaker 3 (14:40):
Is moving in together?
Speaker 5 (14:41):
This all went to quickly, and you know, while I'm
being honest, I don't think I like you very much.
He was like, Oh, now that I've gotten to know you,
I don't think I like it. Like he really like, yeah,
all of it just well.
Speaker 1 (14:54):
He said that, but he blew up after she insulted Allison,
and I wrote it down, said I love this line
so much. She says, kind of apropos of nothing. She says,
I'm glad I'm not Alison. I'm glad I'm not some ditzy,
indecisive little Midwestern nitwith Yeah.
Speaker 3 (15:09):
That was a lot.
Speaker 2 (15:11):
I mean, I really say things. I would say things
like that if you're in a fight already. But these
guys were like letting each other have it, getting in
like that's what led to the fight, Like, you know,
I think, which goes back to my argument about the chair.
Speaker 4 (15:25):
I think the chair was more than a chair because
she was like, in your ugly effing chair, you know,
like that's.
Speaker 3 (15:31):
Really what the chair is more than a chair? Well
it was, so it is like the subtitle.
Speaker 1 (15:37):
And then symbolizes him like he wants to bring in
his full self. She doesn't want it. She wants this
handsome young guy that she thinks she's going to make
into the man her husband wants her father not her husband. Upsy,
there's a little forty.
Speaker 3 (15:49):
Oops what I mean.
Speaker 1 (15:52):
Father wants him to be, but he doesn't want it.
And that's why it's so sweet. This Chuck did such
a great job on this, this spread of how much
Billy and Elison really have common and they're trying to
make their partners be each other and it's just not
because there's a scene they run into each other running
at the same time, same neighborhood, and.
Speaker 2 (16:13):
Well, wait to hold on, and they only they run
into each other court because he leaves the marina where
he's living with Amanda to go. He goes, I'm going running,
and she goes, well, why are you taking your car?
He's like, because I'm going back to Melrose. So he's
going to see her at the right time.
Speaker 1 (16:30):
She noticed running. Yeah, so she knows, and they literally
run into each other and it's so cute, but they
each say that they're trying to get their partners to
watch it and neither like Amanda doesn't want butter on
a popcorn and keep this hitting on Alison like it's
all wrong. They're both so frustrated and obviously.
Speaker 3 (16:48):
Hitting on her. He's like climbing on her.
Speaker 4 (16:51):
He is climbing, he is.
Speaker 3 (16:52):
He's like draping him and us.
Speaker 5 (16:58):
Pretty soon she's got a pillow over her. She's like,
more padding, more, start the pillow.
Speaker 1 (17:03):
She started with the barrier, the pillow barrier.
Speaker 2 (17:07):
I think, Courtney, you playing Allison and Keith story must
have been so hard because it was like a pendulum constantly.
Speaker 4 (17:14):
One scene, you're like, I'm gonna move with you.
Speaker 2 (17:16):
You're in the car together and I'm gonna move with you,
and yes, of course I'm in love with you.
Speaker 4 (17:20):
Of course I've been thinking about you. And the next
minute you just keep going goingugh, what stop.
Speaker 1 (17:25):
She's trying to talk herself because in the car, she says,
it's so hard to have a conversation because you always
say the right thing.
Speaker 3 (17:31):
Yeah, I did appreciate it.
Speaker 1 (17:33):
That's the right thing, right, Like she's trying to make
this thing work, but it doesn't really. There's a time
when they're at the beach and he says he's moving
in on her and she's trying to get some space,
and he says, when I find something that's right that
I know that I want, I grab onto it and
I don't let it get away. And I was like, oh,
it's stalker one oh one.
Speaker 2 (17:54):
Yeah.
Speaker 3 (17:54):
He also like there was that was the scene on
the beach.
Speaker 5 (17:57):
By the way, you're wearing the cutest baseball You look
a door horrible. You got jeans and a baseball hat
on on the beach.
Speaker 3 (18:04):
You're so cute. And then but you.
Speaker 5 (18:06):
Were like Allison was trying to be sort of playful
with him at one point, and like you literally got
down into like pounce position and you were like gonna
be playful, and then he ruined it by saying something
about like, oh, this is what it's like in a
marriage or something like that.
Speaker 3 (18:20):
He dropped the word marriage, and you're like, no.
Speaker 4 (18:22):
No, no, no.
Speaker 5 (18:22):
No, Now you've gotten blown it by talking about marriage.
Speaker 1 (18:26):
Yeah, she's trying to bring up some really true concerns
about this is scary, we're moving so fast, and then
you just gas slights her and says you're crazy. Of
course it's normal to move to Seattle on Monday. Of
course that's a perfectly normal thing to leave your job
and your friends. But you can see it, like especially
in the scene when Alison's talking to Joe and Jake
(18:46):
and Billy, that she's just rushing through it, that she
can't stand to see him moving out, and so she's
going to go too, because you know, my guess is
part of it. She can't stand to be in that
apartment alone, right, She can't stand to sit in the life,
in her real life with Billy missing. So she and
he's a geographic and she's going to She's going to
blow up her entire life.
Speaker 4 (19:08):
Yeah.
Speaker 2 (19:08):
Yeah, I feel like it reminds me so much of
when I was young, where I think when we're young,
we tend to think about love and coupling up and
being in a romantic scenario. It has it has to
do with a certain amount of you not being you,
a certain amount of this idealization and this fantasy feeling
(19:29):
and like he's going to be like this and I'm
going to be and all I have to do is
just do this and Okay, I'll get it.
Speaker 4 (19:34):
I did this constantly. We'll talk about in Melroe's minute.
Speaker 2 (19:36):
But like she's like, you're like, you're saying, I can't
just sit home and be me. I mean it's working
for Billy to go off and be with Amanda. I'm
supposed to go off and be somebody else, Like I'm.
Speaker 4 (19:47):
Supposed this is me being an adult.
Speaker 1 (19:50):
You know, as much as she keeps saying, Like there's
a scene too in the apartment when she's saying, but
I want to work and I want to keep doing
this and I want to keep living my life, and
he goes, of course you should do that. But I
think the audience knows he really is trying to control her,
Like she keeps bringing it up and he kind of
gaslights her and says that's not true. But she's really
trying to be heard and he keeps saying the right thing.
(20:12):
But we all know, we're like he's not, like he's
not saying it the right way, like.
Speaker 5 (20:15):
Right, because he also said there's tons of time to
get a job. You take a couple of months, Like yes,
who has time to like do that.
Speaker 3 (20:23):
Like you know, she's already.
Speaker 5 (20:24):
Said I need to make a living. I need to
you know, I need to have money. I need to
have work. I need to be somebody who works. It's like, oh,
there's time, tons of time, you know, there's not Yeah.
Speaker 1 (20:34):
When Allison sends her an email over the baker over
the weekend, Lucy's trying to tell her, like what are
you doing? Why are you there's telephones like, say Lucy
the boss. Yeah, Deborah Dare who we adore, And she's
trying to tell her, and she says, just tell me
what is in Seattle that you're not getting here? And
Alison goes Keith and Lucy does. Deborah is the biggest
(20:55):
I roll like her entire can't you pick.
Speaker 4 (20:57):
Up the phone?
Speaker 3 (20:58):
Like big mistake?
Speaker 1 (21:00):
Current, Like I.
Speaker 2 (21:01):
Made a note about that that Lucy is always giving
you great advice.
Speaker 4 (21:07):
Yeah, She's always willing to promote you, believe in you,
encourage you.
Speaker 2 (21:12):
And all Alison does is dismiss her advice, take advantage
of her, trying to give her promotions and things and
the responsibility that comes along with that at work.
Speaker 4 (21:23):
Like she's trying she sees her as a Lucy.
Speaker 2 (21:25):
Lucy sees you as a younger version and really trying
to help you. And all Alison does is like it's
she says to her, it's complicated.
Speaker 4 (21:34):
It's not fucking complicated. It never is.
Speaker 2 (21:37):
It's just you say that so that you don't understand,
you know what I mean, Like nobody understands me.
Speaker 4 (21:43):
No, we understand.
Speaker 1 (21:44):
It's just it's not that Younique bring you way back
to a time. Yeah, I don't know if you guys
ever did bring me back to It's one of my
first movies, and I was trying to tell the director
that I had to leave early because my boyfriend was
like he was on the movie too, and he had
to leave the next day. And I kept saying, I
want to leave, I want to leave. My boyfriend's leaving,
(22:05):
And finally his assistant took me aside and said, just
so you know, this is not professional, Like you don't
go to the director of your movie and say, let
me out early to see my boyfriend. And I still cringe,
like I was only yah, maybe eighteen, and I still cringe.
And again like we learn on the job when we
(22:26):
started early, but I still cringe about that because right
in that moment, the boyfriend was more important than my job.
I didn't you don't go to the director and say
can I go see my boyfriend? Like it was so weird.
Speaker 5 (22:37):
But I'm good for that assistant for sharing that with
you that you just didn't.
Speaker 4 (22:42):
Yes, that assistant was Lucy.
Speaker 2 (22:44):
Don't you understand that was Lucy And she was talking
to Courtney.
Speaker 5 (22:48):
It was like, you're saying, daff like she's always giving
so much for Allison, and she said, you know there
is something called notice, giving notice like that, you didn't
even give me notice for the job, like talk about it.
Speaker 3 (23:01):
I'm professional.
Speaker 5 (23:01):
And yet at the end of that conversation with her,
she says, let me know if you need a recommendation.
She's still willing to like support you and root for you,
even though you've just done all the wrong things with
the way you've left the job.
Speaker 3 (23:16):
Won't be there if you want to come back, she says.
Speaker 1 (23:18):
And you can see that hit Alison when she says,
I'll give you a recommendation. You can see this. There's
so many moments when you think Alison might come to
her senses, right, like especially at the end, so when
you're wishing and Keith are waiting to go to the
airport and their car isn't showing up, and Billy drives
up with his chair attached to the top of his
cab because he's a great showing Amanda's and we're still
(23:40):
I don't remember any of this obviously he was thirty
years ago, and then thinking yay, he's going to come out.
They're going to walk back into the apartment, and Alison's
not going to go with Keith, but they Keith and
Allison get in the car to go to the airport,
and Alison and Billy are talking and Keith keeps saying, Alison,
we have to go. Alice, don't you want to just
slap him? It's like Keith, shut up, yeah.
Speaker 3 (24:00):
And he just loads the bags in the car. I
don't know.
Speaker 5 (24:03):
I thought that the airport scene was shot really well too,
where after he drives you go. After Billy drives Keith
and Allison to the airport in his cab since their
shuttle didn't show up, then he also says, hey, I'm
going to walk you to the gate. And then it
gave them an opportunity to have another private conversation because
(24:24):
Alison says, Keith, why don't you go get us seats
on the plane. So Keith disappears, thank you, and then
Billy and Alison have this really great you know, honest
that he's saying, don't do it, don't go. They're walking
parallel with the fence in between them as she's approaching
the plane.
Speaker 3 (24:42):
And walking with her. Do you remember if that was
a Bourbank It looked it was Bourbank. It looked like
Bourbank Airport.
Speaker 1 (24:48):
Did it look like a real airport to you? The
front of the airport looked like someone had hand painted
a sign and put it on top of the Valley Airport.
Speaker 5 (24:55):
It looked a lot like Yeah, they it was a
made up name for an airport. They called it Valley,
but I think it was Burbank Airport where the layout
was shot. And that little half fence strikes me is
like the way you approach an airplane whatever.
Speaker 3 (25:10):
It was just a really great way to.
Speaker 5 (25:11):
Shoot the scene, to be able to see Billy and
Allison having this conversation. He was coming out and saying it,
don't do it, don't leave.
Speaker 4 (25:19):
Did you guys just see that Bob Dylan movie. It's
so good. I've seen it twice.
Speaker 2 (25:24):
But there's a scene like that in the airport where
the cycling fence is high. So they're like this, but
they're talking to each other and they just have this
heartbreaking thing.
Speaker 4 (25:32):
And I saw this scene, I'm like, I wonder if
he stole that from Melrose Place.
Speaker 1 (25:36):
We have a huge, a huge influence on the world
of movie, right, he's on the film world. I think
that scene's been done a lot. But it's this sweet
thing when he's saying please don't go, and you really
think for a minute she's not going to. They have that,
Like how many sweet heartbreaking hugs are Billy and Allison?
Speaker 2 (25:55):
Well, listen another line that he said there, which was
so revelatiyor to me. He says, you can't go and
she's like, you know something like what's here? And he's like, no,
these are like the best people you met in your
whole life. I know, because they are the best people I've.
Speaker 4 (26:10):
Met in my life.
Speaker 2 (26:12):
Yes, And I was like wow, it just like made
me feel really good, Like, Okay, these people are good
for each other.
Speaker 4 (26:19):
And they had a big influence on Billy, do you
know what I mean?
Speaker 2 (26:21):
Because that whole apartment thing, because we all just do
stuff to each other, but like, they are really great
for each other. This is the time in life where
we depend on each other and we really have these
good friendships.
Speaker 5 (26:31):
And she doesn't really have a strong enough response to
it either.
Speaker 3 (26:34):
She's like, I have to go, I have to get
on the plane, and.
Speaker 5 (26:38):
Like whatever that is insider her that makes her feel
like she has to follow through with what she said
she was going to do, and.
Speaker 1 (26:42):
She well, it's Billy. It's that Billy's with Amanda. Because
I heard that line, this might be my self centered
because I was like, that's really about Alison trying to
project everything I can. But I thought, because it's the thought,
I thought he was saying the micro version of the
best person I've ever met. Like I think it was
about by.
Speaker 5 (27:00):
That time he said that he's moved out and they're over.
I'm just arguing with this logic here for you, of course,
but that's.
Speaker 1 (27:06):
What I'm saying, like he's saying a moment, don't go again.
This is my rewriting of the scene, don't go. I
wish I thought I wrote it down. I can't find it.
Speaker 4 (27:16):
No, it's I I mean I can.
Speaker 2 (27:18):
You know, you can think of what you want, project
aw you want. But I think he really did me
because if you think about it, even in this episode
where he lives with Amanda, he still has had these
moments with these people.
Speaker 4 (27:30):
They've had scenes of moving helping him move the chair.
Speaker 2 (27:32):
He's had talks with with Grant, who's been there for him.
Speaker 4 (27:36):
He's, you know, like, these are great people. That's how
I read it, and I just.
Speaker 1 (27:40):
I think the show Yeah, yeah, no, I think you're
totally right.
Speaker 2 (27:45):
But he could have been covering it like you're my
best person, don't leave.
Speaker 1 (27:49):
He could have been that's that's what I'm doing, That's
that's the story.
Speaker 3 (27:53):
Yeah.
Speaker 5 (27:54):
And but but that she in her response is just
like I have to go. There's not like we don't
understand that as an audience, we.
Speaker 3 (28:01):
Can't understand why do you have to go?
Speaker 5 (28:03):
When this guy is just finished saying he's done with Amanda,
he's you know, saying you can't go. I want you
to stay these people and me and us where all
the best people will ever know, don't get on the
plane like he's been like laying it all out, and
she still goes, I have to go. And I wanted
to say, why why do you have to go?
Speaker 1 (28:26):
Well, because she's sort of moving ahead, she's got her
blinders on, she's not taking the time. It's just like
Daphne said about why Joe is probably annoyed with Allison
because she just said, I have to go. Even at
the goodbye party, like they're not she's not really talking
to her friends. She and Amanda are having this really
intense conversation.
Speaker 4 (28:44):
Amanda have it.
Speaker 5 (28:45):
Yeah, she's doing before I go, I just need to
tell you all these things.
Speaker 2 (28:49):
Yeah, and you know what, Amanda, I really don't care
what you think of me. And that sets her free,
you know, like think say whatever you want about me, don't.
Speaker 5 (28:56):
It also sets it up because we know obviously Ali's
going to come back, because there's lots more seasons of Melrose.
Speaker 4 (29:02):
Does she live? Does she live in this apartment?
Speaker 3 (29:04):
I thought she moved, Well she's got made it back
both out.
Speaker 4 (29:06):
Then who's who's paying the rent? Like someone else should
move in there.
Speaker 5 (29:10):
It also opened the door for like, all right, game
on with all these relationships. Now I've told you, but
I think of you, and now all bets are off.
It's just going to We're going to come back. This
this my nemesis. This is these are enemies. These are
not like all these new relationships of Amanda being allowed
to be a bitch, and Alison's saying, well, here's what
I think of you. We've already said it, so now
(29:31):
we can't like unsee it. And I think it's like
a tonal shift to like moving forward. We get to
do all that now, we get to see that Michael's
thinking about maybe having an affair and all that stuff,
Like all these things sort of turned the quint.
Speaker 2 (29:45):
It makes me remember what Chuck was saying when he
was our guest on the show of Like, you know,
he's he's from the soap world. He's from turning things
on its head like constantly, and these relations look blowing
them up and then bringing them back, you know what
I mean.
Speaker 4 (29:59):
Like that's what he just did with Alison and Billy.
Speaker 2 (30:03):
Like he's gone, she's gone, and even though he sucked
you in, they're jogging together. They love all the same things,
but it's just boom, and then he's going to very skillfully,
you know, bring it all back in a different shape.
Speaker 4 (30:17):
I mean, he just constantly he has to do this.
This is the kind of writer he is.
Speaker 1 (30:21):
Well yeah, and it's nobody being able to say what
they really feel, like Alison. I think all the outrage
Alison has an Amanda is really she's so heard about Billy.
There's a great line at the end of the party
when Amanda says something about all these great friends and
Alison says, I've never seen you with many friends of
your own. Yeah, and Amanda says cheap shot, and Alison
goes right on target, and she's just so furious. But
(30:43):
what she can't say to Billy is I want to
be with you. So it's all of this anger directed
at Amanda. So speaking of not saying directly, let's talk
a little bit about Michael, who stopped like there in bed.
It's very sweet. We see them very happy. They get
(31:03):
the call from Sam Michael can't do dinner, so Jane
decides to go out with Sam.
Speaker 3 (31:09):
Well, Michael suggests that she didn't.
Speaker 1 (31:12):
So what did you think of that dinner?
Speaker 5 (31:14):
Like?
Speaker 1 (31:14):
How how many.
Speaker 4 (31:16):
Dinner between Sam and between Sam and Jay?
Speaker 5 (31:18):
Well, first of all, their natural.
Speaker 4 (31:22):
With the roses, and she got a kiss even no
matter who was it was.
Speaker 5 (31:28):
Well, she was going to be in a convertible driving
her a little convertible. She needed a hat when Sydney
all the all the scenes in this episode, she had
her hair pulled back off of her face, either with
a headband or her hav and stuff. So maybe that
was just her transition. I mean, she's so gorgeous in
(31:48):
every darn scene. Yeah, and the chemistry between Josie and
Rob in the scene playing Jane and Sam was I
mean undeniable, and.
Speaker 4 (32:01):
They look beautiful, so beautiful.
Speaker 3 (32:03):
Together, and that was, like we said, her husband at
the time.
Speaker 2 (32:06):
But what do you think about this friend, old friend
of her husband's. Not But even before the kiss and
then what gave him did he feel like.
Speaker 4 (32:14):
He had permission to kiss her? Did was there a
flirt that I mean.
Speaker 1 (32:18):
Well he was talking about he was saying, you know,
she goes, yeah, you can never find anybody basically because
nobody held a candle to you. Yeah, and he's sort
of crossing the lines at dinner. That's why I'm saying, Like.
Speaker 4 (32:29):
That's true, that's true.
Speaker 1 (32:30):
Yeah, did you find yourself sort of voting for them
or like stop it, that's so inappropriate.
Speaker 4 (32:35):
But wait a second.
Speaker 2 (32:36):
So they dated before and Michael said, go on out
with my old friend who you used to date.
Speaker 1 (32:42):
They didn't date, No, Michael and Jane were always together
and Sam was Michael's best friend, right, which Sam, it's
It's like the Love Actually Seen where the best friend
holds a torch for his friend's wife.
Speaker 2 (32:54):
So he says, no one could hold a candle to you,
because I see you through my best friend.
Speaker 5 (32:58):
They were talking about all of his old exes, like
all the people he dated, and how Jane never seemed
to approve of them, and she was like, yeah, they
were you know whatever, and he goes, well, good. The
truth is, I didn't feel like they were enough like you.
That's why I never found the ones, because no one
was you. And he drops that bomb at the dinner.
Speaker 2 (33:19):
So this is making me see it that this is
a complicated situation unlike Alison's, because you're making me remember
that it wasn't It wasn't Michael's idea.
Speaker 4 (33:31):
It was Jane's idea. The scene before to have dinner with.
Speaker 1 (33:34):
His Michael, it was Jane.
Speaker 2 (33:38):
She said, I'll see him. He goes, I can't. Jane goes,
i'll see him. I'll go, and then he goes, oh,
Jane will go, yeah, she's doing great something.
Speaker 4 (33:47):
No, I don't.
Speaker 1 (33:48):
I remember Michael saying, but you you should go to
dinner with him, don't you. I think I think I
think we're I think we're all right right now, and yeah,
let's look at it.
Speaker 3 (33:58):
But deaf, I think you're right. I think she casually is.
Speaker 5 (34:00):
Like I can go, like what but it was assumed
to be platonic.
Speaker 3 (34:05):
That's how I interpreted it.
Speaker 2 (34:06):
Well, so you're presuming though, because now we're digging up
their past, right, So let's think about it reality wise.
Speaker 3 (34:12):
You know, in that moment it was played, I bought
it as.
Speaker 5 (34:17):
Platonic and for sure, oh that it came as a
surprise during the dinner when Sam decided to drop that bomb,
and then it opens the door of the conversation where
she admits, yeah, you know, I guess there was a
second one. I thought about you too, But that is
all well in our past. I'm married to Michael. He's
a great guy, and Sam's like, yep, he's the best,
he's a great guy and whatever. And then he's still
(34:38):
persist in like sort of ambushing her with a kiss,
and then he doesn't exactly hate yeah, but.
Speaker 1 (34:44):
He doesn't pull away super fast.
Speaker 4 (34:47):
Oh you okay.
Speaker 5 (34:49):
I mean I think she had a sense of I
think Jane had a sense.
Speaker 4 (34:51):
Of absolutely she was shocked.
Speaker 5 (34:53):
Yeah, no, I think this was absolutely not okay, like
this is I'm married to somebody else, but it's but
I think the idea that like there had been something
in their past, even if it was just imagined, like
it didn't sound like because this was your original question,
had they dated when they were earlier? Now we're discussing
imaginary history. But it seemed like what they spelled out
(35:15):
was that they didn't date, but they both admitted that
they thought about it, and he thought about it to
a much higher degree than she did.
Speaker 1 (35:22):
Yeah, and when he goes to kiss her, she doesn't
say absolutely not, and he makes a joke about it. I
guess I shouldn't invite you up, and she doesn't say no.
She says it would be way too tempting.
Speaker 4 (35:31):
That's right, that's the next clue, and she had Yeah,
so there's chemistry there.
Speaker 3 (35:36):
Yep.
Speaker 2 (35:36):
So I guess the overall question is and we could
talk about in Meloer's minute, or we can just bring
it up right now quickly.
Speaker 4 (35:42):
You know, do you take that dinner if there's chemistry.
Speaker 2 (35:45):
Jane knew there was chemistry when she said I'll go
and Michael goes, Okay, Michael.
Speaker 1 (35:49):
I don't think she did then.
Speaker 3 (35:52):
I don't think she intended to.
Speaker 4 (35:54):
Oh, so he pops up.
Speaker 2 (35:56):
He's so gorgeous, and he's like, I guess I can't
ask you up, and she's it would be too tempting.
Speaker 4 (36:01):
It's just right there. Well, he says to each other forever.
Speaker 5 (36:04):
When he drops the bomb in the scene, he says,
confession time, I'm about to tell you I've always loved you.
Speaker 3 (36:10):
And this is a subtext. None of those girls were.
Speaker 5 (36:13):
Good enough because none of them were you. That's what
he confesses to her, so he drops the bomb. I
don't think she anticipated that at all. I think she
was just like, I'm going to dinner with our old
friend Sam, and that was that.
Speaker 3 (36:26):
And even if she has in the back.
Speaker 2 (36:27):
Of round they if listen, guys, if we have a
history here of these three people, I don't believe that
this is the first time that this chemistry is being
Well maybe it's the first time there he's acting on it,
but I don't think it's the first time she's felt it.
Speaker 1 (36:46):
I mean, maybe it is their first time, like really alone.
And he says that maybe it's been a sort of fun,
unsaid flirtation, like we have guy friends who sort of
flirt with but it remains unsaid exactly, And because you know,
even though they seemed to beginning along this episode, they've
been having a bumpy time. So maybe she's more open
(37:06):
to it than she would be, because when they have
their fight at the end of this episode, you really
see why she's created with Michael.
Speaker 4 (37:15):
Yeah, and I mean he's the one that initiated it.
Speaker 2 (37:19):
He's the one that brought it up verbally and then
kissed her and then you know, so it's on him.
Speaker 4 (37:25):
And in my book, did.
Speaker 5 (37:28):
You think he went to the hospital knowing that Michael
may not have heard about the kiss from Jane, but
that he was going to tell Michael anyway.
Speaker 1 (37:37):
Oh yeah, So we're jumping ahead of it. So so
Jane doesn't Jane's she doesn't tell Michael. She acts like
nothing happened, so that later when Sam goes to tell Michael, look,
I'm sure Jane told you. I'm so sorry Michael hadn't heard.
So here's it for the first time. And do you
think Sam do that to drop a bomb in the relationship, like.
Speaker 5 (37:56):
To yeah, to cause problems? Do you think he did?
Speaker 4 (38:01):
I think he. I think he wanted to be clean,
so that.
Speaker 2 (38:08):
If she had already told her, if Dane had already
told Michael, like, look, he kissed me and nothing else happened,
had already told him at least he'd be clean, like
I'm admitting it too, and we can go on being buddies.
And I'm so sorry. I hope you still want to
be my friend. It will never happen again. But if
she didn't say it, he's the first one to say it.
(38:30):
So I think it was a selfish, self centered. I
want to preserve was risky, but I think it was
self centered move, just like kissing her was a self
centered move.
Speaker 5 (38:39):
And also but prior to that, just deciding to do
that confession at all, to say I've.
Speaker 3 (38:45):
Always loved you all that self that.
Speaker 5 (38:47):
Makes me, that makes me not as close as nothing
to he was just h yeah, just telling Michael to
clear his conscience. It was I think he's also got
an agenda, So yeah, I think he's.
Speaker 4 (39:01):
Being I think it's hard to know, self centered and
you know.
Speaker 2 (39:04):
And then of course Jane gets the backlash because she
chose not to tell him because it was nothing, and she.
Speaker 1 (39:10):
She didn't more than choose not to tell him, she
sort of doubled down and made dinner was super super
nice because she's so uncomfortablebout the whole thing. Yeah, maybe
we see that famous Michael temper, right, and he's like,
why did you not tell me? And I love it.
She had this great line and she said this is why.
Speaker 4 (39:28):
This is why. Because he goes.
Speaker 1 (39:30):
Instead of saying you have I'm so scared, he said,
I felt like a complete ass any rageous and then
she says, it's always how you feel, keeping Michael happy,
that's what this marriage is about. And he goes and
what the hell is wrong with that? She goes everything. Yeah,
you start to see these real because his rage is
a real issue. And then he goes to the hospital
and guess who's there, yep, yeah, and she says, no
(39:53):
questions asked.
Speaker 5 (39:54):
Kimberly's there, and she says we can have breakfast, no
questions asked. And that just sounds like a really appealing alternative.
Speaker 4 (40:00):
I'm starting to realize.
Speaker 2 (40:01):
When I was getting to that scene at the end,
I was like, I don't know if I can handle
this show, because it's really all these people believe. I
don't know how people hung in there for fives us
because it's so wrong how they're acting like that in
this marriage you just want them to communicate so that
whatever happens forces on the outside at work or an
(40:22):
old friend, you're stronger, you know, like I we want
with our partners like we're a team no matter what happens.
Speaker 1 (40:30):
And yeah, well it's that old thing and my wife
doesn't understand me, right, So it goes to the hospital
and he says to Kimberly, how come it's so easy
to talk to you? And then I blow it at
home so I don't know what home is anymore? And
she says exactly the line you're talking Aboutlaura. Home is
where you're appreciated. We're son by breakfast, no questions asked,
and yeah, all right, let me do it.
Speaker 5 (40:50):
Yeah, yeah your definition of home.
Speaker 1 (40:54):
Yeah, like terrible to stand me, but you we have
everything in common. And she is just rare into go
like she is fully available. She's making no bones about it.
Speaker 2 (41:03):
And you know how Thomas is playing this is so like,
oh the dufist, you know what I mean, like the
evil dufist, like evils.
Speaker 3 (41:12):
Come on, not a Midwestern but an evil dufist.
Speaker 4 (41:16):
Michael Mancini is such an evil dufus.
Speaker 2 (41:19):
He says to Kimberlay, how come there's there's not working
at home, as if she's not gonna step into that
and take advantage of this dufus you evil dufus home.
Speaker 4 (41:29):
Let me buy you a breakfast.
Speaker 1 (41:30):
That's what every cheater starts with, right. My wife doesn't
understand me. Our marriage is over anyway, it's we have
an understanding or whatever we could get.
Speaker 4 (41:38):
Yes, we put into all the lands. Yeah.
Speaker 5 (41:42):
Again, this was a really great episode of irreconcilable shimilarities, similarities.
Speaker 1 (41:50):
Chuck is great at like the lines right, Like I
wrote down so many lines he did. It was really fun.
Speaker 2 (41:56):
And there's a nice balance of each of the different
couples and their their path but also the rom com
with the Alison and Billie of it all.
Speaker 4 (42:08):
The rom com vibe and the stick it to you
Melrose vibe. Like it was a great balance of those.
Speaker 1 (42:14):
Yeah, and did you notice more shorter scenes. There were
so many scenes people weaving and not like it moved.
Speaker 3 (42:20):
Yeah.
Speaker 1 (42:20):
Remember in the beginning we have like four long scenes.
It was moving so fast and everybody got woven in,
like even though like obviously Ronda and Matt didn't have
much and Joe didn't have as much as normal, but
still they were all throughout.
Speaker 5 (42:35):
I forgot to tell you where Matt's line was. It
was at the campfire and some And Ronda has her
second line of the episode. Her first is when she
comes over Ronda's and she comes over and says, after
Michael and janea fought, she knocks on their door and
she walks in.
Speaker 3 (42:49):
She's like, Hey, which one of us is driving the party?
Speaker 5 (42:51):
Yeah, And that's a super awkward moment because obviously Michael
and Jane are Friday.
Speaker 3 (42:55):
That's her first line.
Speaker 5 (42:56):
Then her second line is, hey, did anybody bring any
Does anybody remember their old camp fire songs?
Speaker 3 (43:00):
That was their second line.
Speaker 5 (43:01):
And Matt has his first line where he says, nope,
I left my ukulele at home.
Speaker 4 (43:06):
I don't remember it at all.
Speaker 3 (43:09):
Yeah.
Speaker 4 (43:10):
I think I was waiting.
Speaker 2 (43:11):
To see what Amanda and Allison, We're going to stay
over in the corner to each other that fight.
Speaker 1 (43:18):
I in my memory, Alison was much more passive. I
like that she's got this spice. I didn't remember fighting.
Speaker 3 (43:25):
She said, but she thought enjoying it.
Speaker 5 (43:27):
And I think that that that really sets us up
for the next episodes. It's like game on because these
relationships people have kind of said what they think now,
and now I feel like, okay, yeah, I get to
go be these other versions in the.
Speaker 2 (43:41):
I feel like I can't wait for the next The
wagon's kind of going off the tracks, you know what
I mean, Like because Kimberly is in.
Speaker 4 (43:47):
I don't know if she's in the next one or not,
but I have a feeling she is.
Speaker 2 (43:50):
Keith has taken Alison off like things are just kind
of anything can happen.
Speaker 1 (43:55):
I don't remember being in Seattle.
Speaker 4 (43:58):
It probably was Anna Karita. The funny thing.
Speaker 1 (44:04):
I know we have to end, But one more funny
thing did you notice in it? Like the first scene
when we were we come from the ceiling and Billy's
uncomfortable and Amanda walks in and goes, look at this
gorgeous day. We're living in paradise, And she looks like
she's going to open the curtains, but it opens a
little bit and you see it's just a cement patio,
so she doesn't actually open the curtains.
Speaker 5 (44:23):
They went.
Speaker 1 (44:25):
Curtains.
Speaker 4 (44:28):
I know, it's so funny.
Speaker 2 (44:29):
It's so funny because that that part of the marina
is such a beautiful part to show. But that was
just like the outside shots, you know, the exteriors, boom
into her fancy apartment and then boom or did in
sound Karita and there's.
Speaker 1 (44:42):
It should be the ocean and she pretends to open it.
Speaker 4 (44:45):
Yeah, close it yeah.
Speaker 2 (44:47):
And also the idea that no, we didn't pay for
that view.
Speaker 4 (44:50):
Oh my boyfriend's on the floor.
Speaker 3 (44:52):
Okay, I'll focus on that a big deal. All right, Well,
this was fun and it's super fun if.
Speaker 5 (44:59):
You watch in the episodes, because we're learning so much
by watching these episodes, and.
Speaker 2 (45:03):
Really, don't forget to subscribe, right, subscribe and download.
Speaker 5 (45:08):
Thanks for listening and hanging with us, and we can't
wait to see you next time. Thank you every since
already Sa
Hosts And Creators
Laura Leighton
Daphne Zuniga
Courtney Thorne-Smith
Popular Podcasts
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com