Scream Queens ("My Way" S1 EP 7)

One of the Melrose Place gang lands a role in a horror flick, Michael's good deed backfires, and Billy tricks Alison into going to Palm Springs to meet his parents!

 

 

Ok, so maybe not a very drama-filled episode, but Sandy's audition for a horror film triggers memories for Courtney, Laura, and Daphne about their own horror stories, including Daphne's bizarre sorority house audition, the pressure Courtney felt to wear skimpy lingerie for a movie at the age of 17 without being forewarned, and rejection stories! 

 

 

Plus, the trio laughs over Billy and Alison's bed scene and Michael's near disaster in the kitchen! Of course, everything gets wrapped up neatly at the end, but we're halfway to Daphne!

See omnystudio.com/listener for privacy information.

Episode Transcript

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

Speaker 2 (00:09):
And Daphne's Aniga and iHeartRadio podcast.

Speaker 1 (00:13):
Guys, this is the first time we've done like not
sitting in the same room and we have to wave
from a distance there a little.

Speaker 3 (00:22):
I know, I got spoiled see you, guys, but this
is going to be very exciting as an adventuress.

Speaker 1 (00:26):
We'll be in person again.

Speaker 3 (00:28):
We will when we have a guest.

Speaker 1 (00:29):
Hey, I have to ask, are you guys having a
lot of spiders at your house right now?

Speaker 3 (00:34):
So many spiders.

Speaker 2 (00:36):
Might have so much everything.

Speaker 1 (00:37):
Okay, so it's not just my house.

Speaker 3 (00:39):
No, there was an article recently it's an extra crazy
spider year this year for la Yeah, maybe all the rain.

Speaker 2 (00:46):
I save them all. I put them all in a
glass with a little envelope and then and sometimes I
have to do two or three at a time and
like put it outside. Oh.

Speaker 3 (00:55):
I was going to say, save their lives.

Speaker 1 (00:58):
I don't deserve it, Spiker, Yeah, I don't save them.

Speaker 2 (01:02):
Like for a project later or anything. So David, at
the end.

Speaker 1 (01:05):
Of the day, did you say an ovelope? You put
them in an envelope?

Speaker 2 (01:09):
No, I said, I put a glass over it and
I slide an envelope or piece of paper. I take
them out, but there are so many that I have
to do two or three at the time.

Speaker 3 (01:19):
There are so many.

Speaker 1 (01:21):
Yeah, I'm having the kind of like if I'm the
first person out the door in the morning, like I
really have to check the door frame so that there's
not one dangling right in front my face, like mouth
level that I'm going to walk right into it.

Speaker 3 (01:32):
Right and there looking like like Georgie wanted. Georgie just
came in. She want to say this, sister. But I
took him out the other day and they walked through
a web and she had a huge spider on her head.

Speaker 2 (01:49):
Oh my god.

Speaker 1 (01:50):
Yeah, I'm not a fan, but I'm glad it's not
just my house because I was literally like this morning,
like you know, like clearing the doorways before fighter or everywhere.
I'm glad it's yeah, sorry.

Speaker 3 (02:02):
It's not just you. I'll find the article and send
it to you guys.

Speaker 1 (02:05):
Yeah, well, I hope the season passes soon because it's
a little disconcerting to walk, yeah, right into them.

Speaker 2 (02:12):
It's fun to escape it all though the yard. It's
fun to escape it with our Melrose Place with our gig.

Speaker 3 (02:20):
Yeah, so I gotta say, so, this is my second
time watching this episode because, as you guys know, I
watched the wrong episode last week because they switch it
on whatever I'm watching it on, they switch these two episodes.
It was even better on the second time. I watched
it again today, just you refresh.

Speaker 2 (02:35):
This is a really solid episode. I totally agree. All
the stories were like intriguing and juicy, and the relationships
were really full, and I don't know, I really thought
it was a solid for everybody, for all the characters,
you know, real even.

Speaker 3 (02:49):
Yeah, it feels like it's gelling and we're getting very
close to when you guys come.

Speaker 2 (02:53):
On, very get in there. We're like enjoying it.

Speaker 1 (02:57):
Halfway to Dashney. Things get left up, but we're still
in this sphace where the episodes are very self contained.
The storylines are self contained and sort of wrapped up
near the you know, at the end, the storylines come
to a little neat conclusion, which is an indication of

(03:20):
the early tone of the show. Sure so, yeah, so
we're on Melrose Place, episode number seven.

Speaker 3 (03:28):
Dix. If you're on Amazon, you're very confused.

Speaker 1 (03:32):
To confuse everybody. The title however, is called My Way,
And this episode opens on a wide open mouth screaming
a horror movie scream, and we pull out to find
that we are inside of Sandy's mouth as she's screaming

(03:54):
lovely teeth I mean, full commitment, and she is in
the middle of an audition for clearly some sort of
horror movie where she's required to scream, and there's a
bunch of people in room, the casting people and the producers,
and it's super awkward for Sandy.

Speaker 3 (04:12):
And didn't that bring you back to that when they're
just so disinterested, like they really sued it, disinterested working.

Speaker 1 (04:20):
It was so painful, and like just like that's how
auditions can be, right, I mean absolutely, And.

Speaker 2 (04:27):
Then she goes, can I do the next scene? And
they're like, oh, we cut that scene. Yeah, I read it.
I thought I had a meaty part. No, we got that.

Speaker 1 (04:36):
What they really just wanted is to see how good
her scream was. And we're going to find out that
pretty much, they just wanted her to scream well and
to look good because so blonde. Yeah, so, anyway, auditions
are humilie. Have you guys ever done a horror movie?

Speaker 3 (04:53):
Oh?

Speaker 2 (04:53):
Yeah, I started with a horror movie. And I have
a little bit of a story if you give me
a second. And my first horror film was Paramount, and
they flew me to Texas where we shot it. It was
called The Initiation. It took place in of course, a
sorority horror film. And I remember doing the scene. So
I was the lead of it. And I when there

(05:14):
was a shower scene, this like communal shower scene. I
put on a tube top. I put on like masking tape.
I wrapped the towel around it. I pretty much think, I,
you know, safety pinded and clamped it. I was just
like me in the shower post shower. And there were
the extras, and then there was this discussion about this
extra being topless in the back, and I went around

(05:37):
and I was telling all the girls, you know, you know,
you don't have to do this. If you don't want to,
you do not have to do this, like trying to
talk her out of doing this topless shower scene. I
wanted to save her dignity. I mean, if Sandy were there,
I would have been there going, Nope, you don't have
to do this is my first movie. I don't know
if she had to do it or not, but just
felt creepy. So she ended up doing it, I think,

(06:00):
and I was like, oh god, poor thing. And then
you know, but I was very protective in those early days. Anyway,
that was my That was one of my first experience
was that.

Speaker 1 (06:13):
Horror film off of Sandy's Scream. We cut to Billy
and Allison in the apartment, and Billy is bummed out
because he tells Alison the paper has gone out of business.
He's now out of a job. He assumes perhaps lack
of advertising, and he says, why does the apartment look different.
Allison reveals that she's been cleaning the apartment, at which

(06:35):
time Billy panics and he thinks, wait, wait, I had
something important. Did you throw away a little napkin? And
she's like, well, yeah, I was cleaning. It looked like junk,
and he was writing the idea for a short story
down this cocktail napkin that has now been cleaned and
thrown away.

Speaker 3 (06:50):
So yes, and Allison does that terrible thing where you
know I remember reading recently, Be careful of people who
blame you for a problem they create, like my threw
it away, and I'm like, well, you shouldn't have written
it so messily, like Alison, sorry, just say you're sorry.

Speaker 1 (07:09):
Yeah, Well, he's upset and she's off to work, and
so as she leaves, the phone rings and it goes
to the answering machine and it is Billy's mother and
she's leaving a message saying we're expecting you and Allison
and Palm Springs, don't forget it's your father's birthday. We're
expecting as to be there. So from there we go

(07:33):
to Michael and Jean's apartment and we do sort of
bring this storyline back where we're they're starting to prepare
for the baby since Jane is pregnant, and Michael is
trying to move furniture, trying to measure and find out
where the best place for the crib might be.

Speaker 3 (07:47):
And being very sweet, like I have to say, right,
like he's been sort of dismissive, but suddenly now that
she's pregnant, he's being very sweet and wanting to shape
very good care of her, which.

Speaker 2 (07:55):
I really so excited and gung ho, Yeah, you're so sweet, so.

Speaker 1 (07:59):
Happy and enthusiastic to figure out a little.

Speaker 2 (08:01):
Overly, so she's not even showing she just found out
she's pregnant and he's moving furniture to fit the cribbon.

Speaker 3 (08:07):
I know. It's really cute though.

Speaker 1 (08:09):
And she's like, I'm not. I'm not that I can
move something. I can help. I can, and but he
goes to try to move the dresser and hurts himself.
I'm I gotta ask.

Speaker 2 (08:21):
He's moving the.

Speaker 1 (08:22):
Dresser with his hands on the dresser and with his
upper body, and yet he hurts his ankle and he
had to rewind it and go back because he hurts
his ankle so badly that he flings himself on the
bed and she's like, oh, no, oh, no, you know,
are you okay? We must go to the hospital. I thought, well,
that wow, that serious injury. They're off to the hospital
for this, and I had to rewind it and go

(08:43):
He didn't even touch.

Speaker 3 (08:44):
His he must have missed step off camp angle.

Speaker 1 (08:49):
I think, yeah, maybe the take where he hurt his
ankle maybe wasn't the take that they used. Maybe yeah, so,
but I thought that was pretty funny. He was very
hurt and she was very con and so off they
go to the hospital to handle this injury. And then
we cut back to D and D and Billy is
showing up at Allison's work to bring her flowers to apologize.

Speaker 3 (09:10):
I have to say I was pretty impressed with Alison
on those phones, like that's so good. I'm not a
great prop actress, so I was pretty impressed with work
in this phone.

Speaker 1 (09:19):
It's the apparently you are because you were. I was
impressed with the same thing you were answering your.

Speaker 2 (09:24):
Talking to him for years you had that were you
did you get better at it? Was it awkward for you?

Speaker 3 (09:29):
I don't even remember it? So I was like, oh,
look at me, prop act I was.

Speaker 2 (09:33):
Really, oh, yeah, you like, I'm not as bad as I.

Speaker 1 (09:35):
Thought, because because the hard thing is and people might
not realize, like nobody's actually talking on the other end
of the phone, and you as the actress need to
like fake this phone call like somebody's saying something to
you in your ear, which they're not. And then also
the person across the desk, which is Billy, he's talking
to you and he's presenting flowers. There's a lot going on,
and you were juggling.

Speaker 2 (09:53):
Pushing the right button, all that whole thing.

Speaker 3 (09:56):
Yeah, yes, which is why I like to not have
any props and just talk to people while I'm sitting
down and in this I had a lot going on.

Speaker 1 (10:03):
It was a lot, and you sold it girls, great,
thank you. We all noticed the very same thing, and
this is what we sold it better than Michael sold
break in his ankle. Well, it's yeah, but all these
things are hard. It's hard to fake an injury too.

Speaker 3 (10:18):
It is true, It's so true.

Speaker 1 (10:20):
Those are tough things. Screaming is hard and so uh yeah.
So Billy is apologizing and he brings her He says,
I knew roses were your favorite. However, he's brought carnations
and but that's where he pops the question of hey,
you want to go to Palm Springs with me for
the weekend.

Speaker 3 (10:40):
And he does say, they asked me to bring a friend,
and you're my friend. But even so, like going away
for a weekend, that's a big step.

Speaker 2 (10:48):
Yeah, yeah, I love how you guys are again since
I wasn't there, but I love seeing how this whole
progression of you guys are still friends, you're still on
there for just the friends stage. And so he's saying,
I told him, you know you're a friend, and you're like, okay,
I'll go as a friend. And you know, this is
like you can see it all developing and what's going

(11:10):
on here, which is cool. It's kind of a it's
a very cool sort of setup for drama.

Speaker 3 (11:16):
Yeah, it's very sweet, like I can I can see
the chemistry already.

Speaker 1 (11:19):
It's very so, yeah, you can see where it's headed,
and it's you know, obviously Billie's said something to his
parents to have them say, oh, bring Alison, and yeah,
it's all very cute and we all are here for it.
We want to see it happen. So from there we
go to Shooters where Sandy is serving beers and Jake
wants to hear about the audition and she's like, not

(11:40):
optimistic about it at all. Ronda comes in and Sandy
wants to know if anybody has called, if she got
any messages, because she's waiting to hear about the audition,
and Ronda sort of teases he at first and says, no, no,
nobody called, and then she's like, no except for the
one message that says you got the bard And they're all.

Speaker 3 (11:55):
Very excited for and don't you feel like Jake is
really turning it on Like that feels like really intense
flirting between the two of them.

Speaker 2 (12:02):
To me, I get Yeah. I thought there was a
lot of juice between them in this episode all the
way through, which I liked. I like there, Yeah, we'll
see as we go on.

Speaker 1 (12:10):
This is the relationship that maybe they're you know, headed towards.

Speaker 3 (12:13):
So yeah, I mean I was wondering if it was
Grant and Amy making that choice, if it was in
the script, like did they choose to play this thing?

Speaker 1 (12:25):
So shooters, uh, Jake and Sandy were noticing there's all
of a sudden a little flirty vibe with them. Maybe that's,
you know, a sign of things to come. But we
find out that Sandy's just gotten this job and that.

Speaker 3 (12:36):
Was a sweet moment.

Speaker 2 (12:38):
Yeah, because Ronda heard it on the voice message.

Speaker 3 (12:42):
They remember answering the answering remember signs, Yes, like you
couldn't wait to get home to check the answering machine, you.

Speaker 1 (12:49):
Know, Yeah, important news would be left on your tape.

Speaker 3 (12:52):
Yeah, yeah, and you'd have to go home and wait
to see I remember that so clearly.

Speaker 1 (12:57):
Yeah, or like if you the call, you know, like
it has to be that's the only way to know
that you missed the call is somebody has to choose
to leave the message. Yes, and so nice that she
heard it that way that they left them as a
john her machine for it. Then from there, Lily and

(13:20):
Alison are driving to Palm Springs and Billy informs her
upon arriving that, oh, by the way, it's just going
to be the two of us. I know it's my
dad's birthday weekend, and I told you it was a thing,
but it's just going to be the two of us.
And Alison is pissed, and she says she wouldn't missed.

Speaker 3 (13:38):
However, I remember that outfit and I really liked it,
and had on the white shorts and that blue and
white top which I remember, and the boots. Did you
notice like those boots I had on with the shorts
and that I remember that outfit had that detail.

Speaker 2 (13:52):
Don't you remember how big those were? That like little
flower kind of sewn in detail.

Speaker 1 (13:58):
They'll applicate thing.

Speaker 2 (13:59):
I did the application. Yeah, Oh, those were so big.

Speaker 3 (14:02):
I love I remember the boots. I remember just loving
that outfit.

Speaker 2 (14:05):
Well, you looked a door. Do you remember where you
shot it? Did you guys go out to Palm Springs?
Probably not somewhere.

Speaker 3 (14:11):
In an apartment building in the probably Santa Cia. I
was going to say the Valley, but maybe Santa Crita.

Speaker 1 (14:17):
Yeah, yeah, because it looked like a little like cul
de sac, you know, like complex, right right, you pull
a little condo complex. Yeah, yeah, so it could have
been lots of places. Probably wasn't. Actually, there's a lot
of those here in southern California, like all over there,
so many. Yeah, and so Allison's upset because she doesn't
want to send the wrong message, like, hey, wait, you

(14:37):
know you told me I was just coming as your friend,
and I wouldn't have come if it was just us. This
is kind of awkward. And then sure enough when Billy's
parents come to the door, Uh, it's clear that. Oh,
by the way, I also told my parents that you're
my girlfriend in.

Speaker 2 (14:53):
The door open. Yeah, but yeah, that was a brief,
little palm spring scene.

Speaker 1 (14:58):
Yeah, so that's that's our That's where Alison learns that
Billy has told his parents that Alison is his girlfriend,
and again she's upset by that. So then we're back
in the apartment where Sandy is studying her lines and
Ronda's music is too loud for her, so she asks
Ronda to leave the apartment. That's annoying for Ronda. Sandy

(15:18):
reveals she has eight lines and three screams.

Speaker 3 (15:23):
But I did notice that because there's no one there
to say to her. There are no small parts, only
small actors when they're going to tell her, you don't
count your line, Sweetene.

Speaker 1 (15:32):
Yeah, and did you notice that by this episode, Sandy's
accent is completely gone?

Speaker 2 (15:38):
Mm hmm.

Speaker 3 (15:39):
And I thought I was paying attention. I thought it
was sort of fading. I thought she was sort of
fading it out. There's a hint gradually, but by the
next episode there's none.

Speaker 1 (15:48):
Yeah, I felt like it was pretty pretty not present
in this one, which I think makes it just makes
it easier. It just felt more comfortable.

Speaker 2 (15:58):
I feel like it came back a little when she
was with Jake seen later in the courtyard. It kind
of comes when she does this, you know, Damsel in
distress or this kind of Hollywood stole that thing. She could, yeah,
yet into it. But but I didn't even think about
it this time watching it. Yeah, I did notice. If
we can just go talk about the the the apartment itself,

(16:22):
you know, it's very Rhonda. There's a lot of sort
of like ethnic African fabric, and you know, of course
her wardrobes kind of like that all funky, and but
I just overall noticed how everybody's apartment was very different
and full and colorful and distinctive, you know, like the
Michael and Jane they had all this stuff in the kitchen,

(16:47):
all foods and supplies, where these girls there was nothing
in the refrigerator really except for the cake that they're
gonna eat. But I just noticed like each apartment was
very distinctive, which I Yeah, our set designer was wonderful.

Speaker 3 (16:59):
I'm going to remember her name. She decorated my first house.

Speaker 1 (17:03):
Oh that's reallyazing.

Speaker 3 (17:04):
Yeah, I was remembering that that first house I had
on North Nole, and like Callywood, I bought it because
it was up the street from the house rought Andrews
shared with his four roommates. And that's how I found.
I was driving home from his house one day and
I saw this house a quarter of a mile from
the house where he lived. And then she did the decorating.
To me, she was wonderful. I'm going to look up

(17:25):
her name.

Speaker 2 (17:25):
As we said, Oh that's great. Did it look like
any of the apartments.

Speaker 3 (17:30):
Like no, but it really it felt very me so
what we're trying. She's really good at seeing a personality
and putting it together. Yeah, I loved that house. Yeah,
she did a great job.

Speaker 1 (17:40):
Very cool. Well, that's the thing about the sets, because
they would just have like a one bedroom apartment as
like a blank slate, and then they would dress it
for whatever scenes they were shooting that day. They would
dress it for if it was Ronda's apartment or if
it was Matt's apartment, like whoever's apartment was a one bedroom,
they would redress. When when Sydney had an apartment, it

(18:03):
was not always that space was not always Sydney's. The
interior of it r It's just according to what set
decorating was there. So it was really cool that they
could really completely change a space with because if you.

Speaker 2 (18:15):
Look if you're out in the courtyard and you look
at the exterior of all the apartments, all of them
are not full apartments like Joe's. When you're on the
courtyard and you look up to where I moved into
where Ronda and Sandy I believe live now, it's just
a facade, that's just a door. There's nothing behind there.
So they actually had to borrow another apartment that was

(18:35):
fully there, So they did that, and they had to
have a good memory of what goes.

Speaker 3 (18:40):
Now, So which one were you? Because the first flour
apartments were all working apartments and upstairs were all just facades.
So when you were in your apartment, which downstairs apartment
did you use? Because it might have been because it
was right below. Yeah, but yours was full of makes sense.

Speaker 2 (18:55):
Yeah, it might have been Jakes. I've never remember going
into what was you know, Michael and James and using
that as mine. Ever, it was a mind out that
was yours. Yeah, okay, of course you okay, we're not
going to go too far ahead, but yeah, but interesting
it's how they, you know, interchange these spaces that are
just sets that it's.

Speaker 1 (19:14):
All in the decor, yeah, to make them individual. So yeah,
so Sandy's you know, she's trying to study, and she's anxious,
and she's asking Ronda to be quieter and actually maybe
you could just leave, And she doesn't even want Randa
to use her phone because she thinks she won't answer
the call waiting soon enough, and she's really anxious about
like making sure that she doesn't miss any calls or
messages from her new job. Then we go to Palm Springs,

(19:39):
where Billy's parents are excited to learn about Alison. And
they are at the table and Allison can see that
Billy has told his parents all sorts of things about
her that aren't exactly accurate, including like the nature of
their relationship, how they met. Billy tells Allison then that

(20:00):
his dad wants him to come to work at the
furniture store.

Speaker 3 (20:05):
Yeah, and he picture as a literary agent. There's this
whole Personnelity's kind of fighting it but almost saying things
and then getting interrupted. There's a line where we go
outside and I'm so mad at him and I say,
you say, I am really going to kill you for this.
He was like, you're not thinking kill you? It was
so yeah, I am going to rip off you like you.

Speaker 1 (20:30):
But what I want to say is you're in trouble
with me.

Speaker 2 (20:36):
Yeah.

Speaker 1 (20:36):
I love that subjects from nature. I love the whole
rom com nature of it. This is such a great situation,
you know, like, do.

Speaker 2 (20:45):
You have a minute we can talk? And you walk
in the other room and you're like, come out, Hi,
Billy's parents, how are you?

Speaker 3 (20:52):
You know?

Speaker 2 (20:53):
It's I just love that. This is so not the
Melrose we came into Laura.

Speaker 1 (20:58):
It's so great it's very cute and Billy Billy is
saying that because his dad wanted him to, you know,
inherit this furniture business if he wasn't successful as a
writer after one year. He really thought that at least
by presenting Alison as his girlfriend, that would please his
parents enough and maybe distract them from like sort of
laying down the gauntlet and saying he needed to come

(21:18):
be the furniture store manager.

Speaker 3 (21:20):
Well, yeah, and his girlfriend the literary agent is all
sorts of then, yeah.

Speaker 1 (21:25):
Twisting the truth a little bit. So that's that's Billy's agenda.
And so at the dinner table, we learned that Billy's sister, Stephanie,
you know, has the sauce thing down that his mom's
really good at. But Billy's dad says, well, Billy has
the salesman thing according to him.

Speaker 3 (21:45):
Yeah, and it's so sweet, right because his dad is
coming from a really loving, sweet place, like we share this.

Speaker 1 (21:52):
Yeah, And that's where he asked of her professional opinion
as a literary agent about what do you think? Yeah,
but sir on the spot about that and what is
the time frame for his success sort of thing.

Speaker 2 (22:05):
In a couple of months.

Speaker 1 (22:07):
Allison's really put on the spot. She's like, well, it depends,
you know. Poor Billy doesn't feel like it's quite enough
of a supportive answer. But Allison was kind of put
on the spot. Absolutely, And I feel like outside of
our business when he says a couple of years, like
that's almost unbelievable. In our business, that's not unbelievable. That

(22:28):
would be amazing if it happened.

Speaker 2 (22:30):
In a couple of years. Well, you could support yourself
with this business. Yeah, But every other industry, I guess
moves faster because sometimes it takes forever to get your break.

Speaker 3 (22:40):
Yeah, it's really hard. When Jake was talking to Sandy
about you know, there's a lot of rejection in that business,
it's I just went, oh, boy, is there right? And
in a successful career, there's so much rejection you have
to deal with. Like, say you get one out of
twenty jobs, that's a great average, and you've gotten rejected
nineteen times.

Speaker 2 (22:59):
Yeah.

Speaker 1 (23:00):
Yeah.

Speaker 2 (23:00):
Well, like if you look at anyone's resume and you
know them from one or two or maybe three projects,
you don't see the other one hundred in there where
they had a one liner or a couple of you know,
episodes and just didn't get the job or didn't get it,
And that's not even counting those A.

Speaker 3 (23:17):
Lot of the times when you get really really close
and then like you don't get at your heart. So
you've already planned what you're going to buy with the money,
make the.

Speaker 2 (23:25):
Job, planned how your career is going to go.

Speaker 3 (23:29):
You're twenty years in the future, like, wait, what this
is my first step?

Speaker 1 (23:33):
No?

Speaker 3 (23:33):
Yeah, she played that well to the vulnerability and the
heartbreak of that well.

Speaker 1 (23:43):
Back with Sandy, she's getting ready for a Hollywood party
she's going to with the people that she's been hired,
you know, the producer, the casting person is going to
take her out to this party, and she's borrowed address
of Ronda's without asking, so Ronda's getting annoyed about, you know,
the way Sandy's all of a sudden, you know, prioritizing

(24:04):
her job over everything else. And there's a knock at
the door and Sandy assumes it's her person picking her
up for this party, but it turns out it's the
Melrose Place Gang, surprising Sandy getting the part, gradulating her
forgetting which was so sweet.

Speaker 3 (24:19):
Yeah, so sweet, wasn't it?

Speaker 2 (24:20):
With balloons and Yeah, bring.

Speaker 3 (24:23):
The big hug. It's adorable.

Speaker 1 (24:25):
And Sandy's so so distracted about, you know, wanting to
make the right impression for this Hollywood producer that she
tells them to hide the balloons. Sorry, I don't have
time for cake, and I gotta go to this party.
And it's sort of disappointing for everybody, especially for Ronda.
She's disappointed.

Speaker 3 (24:42):
And I will say, the way Amy played it, I
really had compassion for her. Like she wasn't being dismissive
or braddy. She was just saying, I can't have this
right now. I'm trying to make a good impression and
this makes me seem needy or whatever her story was.
But I felt for her. I thought that, I know
Rond is reacting to her getting a big head, but
I didn't see that. I thought she played it so

(25:04):
vulnerably that I was thinking that Ronda was overreacting.

Speaker 2 (25:08):
Yeah, I think I agree. I felt like it was
more in the story, in the writing that she was
getting a big head and that and this is a
crossroads that a lot of us go through when you
start to do well in your career and other people aren't.
I mean, as we were just saying how hard it is.
And we've all had roommates or something when we get

(25:29):
a job and you kind of and people will say
this to you, like, oh, you're getting a big head
or something. I think it's very relatable in our industry,
but I didn't see it happening. I felt like it
was more of a story point that the writer.

Speaker 3 (25:42):
Maybe it's just trying to get launch it vulnerable.

Speaker 1 (25:44):
Yeah, and for her it's a big deal and she
really just wants it to go well. And yeah. So
back at the Palm Springs drama unfolding, where Billy comes
out to the patio to talk to his father and
he wants to tell Immy he doesn't really you know, no,
if he wants to do this furniture thing, he really

(26:05):
wants to keep pursuing his writing thing. And his father
says he just wants Billy to come around and stop
indulging himself in the writing thing and asks Billy to
give the furniture store a shot, and then we cut
to the I think it's the basement where Billy's mom
is showing Alice in the place where she and Billy

(26:27):
are going to share the pull out couch and sleep
for the night. Billy's already in the bed. He seems unfazed.

Speaker 3 (26:35):
He sless scene number twoss and not just shirtless, in
which Alison doesn't seem to notice. I'm like, are you
not seeing what we're seeing? Allison?

Speaker 1 (26:49):
And I saw that you brought your your very thick robe.
That's apparently it was Chilli and Tom Springs. I need
a huge Jeffie rope? Did you? Did you notice it?

Speaker 2 (27:01):
She says?

Speaker 1 (27:02):
Sleeping in the same bed with and for the weekend
and whatever with Billy is Allison's worst nightmare. She go,
my worst nightmare. I'm like, honey, if that is your
worst nightmare, you.

Speaker 3 (27:13):
Had a pretty charmed life.

Speaker 1 (27:14):
Yeah.

Speaker 3 (27:15):
If that's the worst thing that ever happy.

Speaker 1 (27:16):
Wait, so what's your best no eyes?

Speaker 3 (27:21):
What's wrong with you?

Speaker 2 (27:24):
Yeah? And I and the and and the irony was
you know, a capture by the director, the wide shot
and he's naked and good looking. It's this little bed,
this little privacy, and you're like in your robe and
like the nightmare.

Speaker 1 (27:37):
I mean, it was just this is my worst nightmare.

Speaker 2 (27:39):
It was great. Pull it up high to my neck.

Speaker 3 (27:41):
I'm lying next from all stiff, it all pulled up
hide to my neck.

Speaker 1 (27:45):
It or Alison.

Speaker 3 (27:46):
Maybe she needs contact. Maybe the storyline we don't know.
She really can't see anything.

Speaker 1 (27:51):
I think it was just a sign that Courtney the
actress was acting her pants off.

Speaker 3 (27:56):
Because the camera we were making out like crazy.

Speaker 1 (28:01):
For you guys, like he love it totally, So I, yeah,
I have to act really incensed by this. And Billy's
bummed and tells Alison he's bummed that she didn't really
come to his defense at dinner and admits that he
really doesn't want to break his dad's heart, but.

Speaker 2 (28:21):
Which is so sweet.

Speaker 1 (28:22):
Yeah. So then Sandy's coming home from her party. She's
coming through the courtyard.

Speaker 2 (28:28):
Is she drunk?

Speaker 1 (28:30):
Is she just acting drunk? She seems it's I wasn't sure,
but she was seemed like she really wanted to exude.
I had such a great time, it was amazing.

Speaker 3 (28:44):
Confused, I think she was that was playing drunk.

Speaker 1 (28:48):
Yeah he actually was coming home drunk.

Speaker 3 (28:51):
Yeah, didn't you think that's what she was playing?

Speaker 2 (28:54):
Well?

Speaker 1 (28:54):
It was confusing. I definitely when she turned to she
definitely wanted him to know she had a great Hollywood night,
you know, like I'm on my way.

Speaker 2 (29:06):
That's what I felt like. She was like talking all that.

Speaker 1 (29:09):
Up, right, But I my question was, like, I know
she wanted him to think that, and so you could
see that she was like really pushing so that he
would see that it was great, I had a great time.
She was almost throwing it in his face a little bit,
like weaponizing it a little bit. But I guess my
I wondered because like she even exits the scene and

(29:30):
she sort of like laughs at him and saying, well,
you know, he invites her to midnight swim and she says, no,
you know, you had your chance, ha ha ha, and
she sort of like leaves and she leaves the scene
with kind of a laughing at him and whatever. And
I was like, what it is is that her just
wanting to show Jake that she had a great time?

(29:51):
Did she actually have a great time when she didn't
see it?

Speaker 3 (29:53):
And when she came in, he didn't know he was there,
So I don't think she was doing it for him.

Speaker 1 (29:57):
Right, He came out after right, But then like once
that conversation started, that's why I started going, are you
actually drunk or are you like just wanting him to
see a certain thing, like wanting to present a certain way.

Speaker 2 (30:10):
Anyway, it was a little confusing, but I do think
that it's on that point. Throughout this whole script, I
was waiting for some more definition with her experience with
the Hollywood group, you know, like, I know that there
was mixed and probably most of it wasn't good, but

(30:30):
you tell yourself it was a great night and he
felt really out of it anyway, So I think you're
always gonna it wasn't really clear. We actually never saw
anyone else. We never saw a guy, a producer or
anyone else, so who knows what it was like.

Speaker 1 (30:45):
Yeah, But then we're back with Alison and Billy, and
Alison is watching Billy as he is preparing to go
to the furniture store, and Billy still feels like he's
owing it to his dad, and you know, says, what
would you do if it if it was your dad?
And Allison's response is sort of interesting here. She says, well, Verry,

(31:06):
I guess we've had different experiences, very crazy.

Speaker 3 (31:10):
Yeah, And I didn't realize I know, Lady Allison had
a very complicated relationship with her dad. I didn't realize
that we knew this at this point. I was like, oh,
that's really.

Speaker 1 (31:20):
Well, yeah, I mean, you must not have known these
details yet as an actor, even like what that story
was going to be because.

Speaker 3 (31:26):
Right, no, yeah, I wonder if they told me. I
wonder if I did know, because that was very loaded
the way I.

Speaker 1 (31:31):
Would say, definitely loaded.

Speaker 2 (31:33):
Yeah, I would say I would guess I don't know, Court,
but I would guess not because I think writers, they
will draw it an outline for the whole season, you know,
but they don't. I don't think we find out about
your father and what really went down this even season
it's way down in the future, so you know, they're

(31:54):
just trying to like hint at things were different, and
as writers, my guess is we'll flesh it in later
what really happens.

Speaker 3 (32:01):
Yeah, it's good writing though, to drop that pebble there. Yeah, right,
and you get.

Speaker 1 (32:05):
You get you get a sense of like her in
her life and how she's you know, sort of witnessing
what Billy's choices are and just how she can't sort
of understand his choices based on her own experience, that
it's just been very, very different from her.

Speaker 3 (32:20):
Yeah, and why she feels alone in it, like why
when she couldn't make the rent, she didn't call her parents,
like she feels alone in the world for some reason.

Speaker 1 (32:28):
So we're learning, we're learning about both of them through
this storyline. And then we're at the furniture store where
Billy is trying to sell a couple on a sofa
and he's suggesting the floral Chintz and he's got a
giant blazer on with huge shoulders and he marches off
to go pull down this fabric and his dad is
watching him and he thinks Billy's doing great, and Billy

(32:48):
just feels uncomfortable selling the couple on any of it.

Speaker 3 (32:51):
He's like, but he's saying, chintz and pine. Do you
remember chintz and pine?

Speaker 1 (32:55):
Absolutely?

Speaker 3 (32:56):
I had so much of that. Do you remember on
Venice Boulevard there were all those stories sold this pine furniture.
I had so much of it that was that time.

Speaker 1 (33:05):
Yeah, shabby chic and all that light pine.

Speaker 3 (33:08):
Yeah.

Speaker 2 (33:08):
I actually French.

Speaker 1 (33:09):
She was French country, an Irish country. Yes, I had that.
The fabric store that they were shooting in it looked
Did it look like an actual fabric store to you
guys or a set furniture store like furniture store, yeah, right,
because it had all the walls of fabric. Did you
think it was like, I wonder where that was. At first,
I was thinking of Calico Corners. Do you remember that place? No,

(33:30):
that's right, I think that's just so. It was maybe
just like a sofa you love or something.

Speaker 2 (33:35):
You wouldn't know the cal for all these years, Laura, I.

Speaker 1 (33:39):
Remember the names of stores for sure, you know them
all so so then that then he's he's uncomfortable. Billy's
uncomfortable with it, and he's talking to his dad, and
his dad is defending it. And here's where he said.
His Billy's father says to him, there's nothing wrong with
being a furniture salesman. That isn't wrong with being anyone else.

(34:02):
And I had to rewind that one again and go
play that back. What did he just say? Yeah, let
me repeat it for you. There's nothing wrong with being
a furniture salesman. That isn't wrong with being anyone else.

Speaker 2 (34:15):
Yeah, he just says it twice.

Speaker 3 (34:17):
He does words to live by it.

Speaker 1 (34:20):
It was tough. I mean, I think I think just
as an actor, even like memorizing that line would be hard, like,
but yeah, it did. It was sort of a head tilting.

Speaker 3 (34:31):
He probably came in and said, can I reword this,
and we're.

Speaker 1 (34:34):
Like, oh, no, you can't, No, no, you can't do
that here, No say it like, say it just the
way it's written.

Speaker 2 (34:41):
You know, a lot of things make sense on paper
that never makes sense coming out of somebody's mouth. That's
a big kind of like a big thing about this
about this industry that you know, we all know because
we have to sell something that looked great on paper,
and sometimes it just doesn't work coming out of somebody's mouth, doesn't.

Speaker 3 (35:00):
I one time I had an audition and I didn't
get the job partly because I said this line and
started laughing, and it was I'm not cannon fodder in
your fight with your father? Oh And I just said
and I just still laughing. I was like, can't you
fight with your fadder? And there was a writer director
and he was like, and you're done here.

Speaker 2 (35:19):
And imagine how many people he fired that day.

Speaker 3 (35:26):
You think he would hear it and go, yes, I
need to change that. I think he blamed me. It's like,
that's not on me.

Speaker 1 (35:34):
It's very different in writing and actually saying it. Yeah,
I loud, it can be, yes, ye can be.

Speaker 3 (35:41):
So.

Speaker 1 (35:41):
Then Jane and Michael we find them in their apartment
where Michael is attempting to cook for Jane and he's
got one foot in the air and he's standing at
the stove, doesn't want any help from Jane. Must to
do it all. Don't you hurt yourself, don't you strain yourself?
And then he ends up dropping the pan, hiding himself
on fire, and Keane is like what She pulls the

(36:04):
sink host she douses him and he's sopping wet and
he goes full Jerry Lewis and crumples on the floor.

Speaker 3 (36:10):
Yeah, that and that was quite a stunt, and throw
it in the sink, throw it in the sink, holding
it up, and she spray She sprays him.

Speaker 1 (36:19):
The whole kitchen everything.

Speaker 3 (36:21):
He goes like the camera, did you notice the camera?

Speaker 2 (36:25):
The water is right on the camera. The cut right
away from it exactly, They cut back to the pyrotechnics.
I'm like, this was a whole stunt, afternoon, you could
tell it took the stunt.

Speaker 1 (36:36):
A lot happened to just say, here's what we want
to say is that Michael is trying to do something
nice for Dana and really lights himself and the whole
place on.

Speaker 3 (36:44):
Fire, and he's trying to make her the super healthy
veggie dish, and she says she just wants a quarter pounder.

Speaker 2 (36:50):
Yeah, yes, surprised he didn't run after her. No, you
can't put that in your body.

Speaker 3 (36:55):
We're growing the child.

Speaker 1 (36:59):
So but luckily they put the fire out and all's well.
That ends well and.

Speaker 3 (37:05):
Jies go to get a quarter pounder, which was great,
good for her.

Speaker 2 (37:08):
Yep, but you're noticing in this, you're noticing screen script wise,
Michael's trying too hard. Everything. He's just you know, with
the with he breaks his he twists his ankle, moving
the furniture, he's over eager with the cooking. He's just
trying so hard.

Speaker 1 (37:26):
He's been a total from two episodes ago where he's like, no,
I don't want a kid. I'm not ready for a kid.
Now he doesn't even want to see her, and like,
you know, So then Billy is coming home and he
he actually has to repeat the line to Alison there's
nothing wrong with being a furniture salesman. That isn't isn't

(37:50):
wrong anybody. Allison is saying, huh, but yeah, so that
was He's just repeating that to himself and to talk
himself into that and the reference that Allison says, congratulations, Billy,
you've just won a million dollars, because Ed McMahon says, so, yes,

(38:10):
it's sweet.

Speaker 2 (38:11):
That's still going on.

Speaker 1 (38:13):
That takes things that would come in the mail.

Speaker 3 (38:15):
I don't know, but I remember my mom was so
convinced that she had actually won. That would just so
not like her. But I just really feel good that
we Like, she brought a TV to our vacation house,
which didn't have a TV, because she just this is
the year anyway, sadly did not. Yeah, but didn't you
kind of every time you open it you thought, why
not me?

Speaker 1 (38:35):
It's an exciting possibility?

Speaker 2 (38:36):
Sure, yeah, big check seepstakes?

Speaker 1 (38:41):
Does that you come knocking on the door, Yes, with
this giant check. So then we're back with Rhonda and
Sandy and they are fighting and Sandy says, fine, you know,
I'll just move out. I'm you know, whatever, This isn't
working anyway, and and Ronda's upset. She's like, I just
feel like everybody's, you know, fed up with you.

Speaker 2 (39:02):
Sandy.

Speaker 1 (39:02):
You're blowing off your friends and and you know you're
you're just getting a big head. And this is where
it all comes to they're fighting about it, and Sandy says, well,
you know, I just think everyone's jealous and you're not
supportive because I'm making my dreams happen, and you know,
just because you don't have anything going on, you know,
And didn't you cringe? And she said talking about it,
I was like, Oh, that's so sixth grade.

Speaker 3 (39:25):
Everyone's talking about how horrible you are.

Speaker 1 (39:27):
It's like, oh yeah, and it was, and both of
their both their cringing.

Speaker 2 (39:32):
Yeah yeah, And I loved how I loved that before
that blow up though, them rehearsing the the lines and
the way that Ronda.

Speaker 3 (39:39):
Is running them so disinterested.

Speaker 2 (39:41):
Yeah yeah. And then like Sandy's like it doesn't say that,
she goes, oh, I guess I got carried away. They
did her.

Speaker 3 (39:46):
Own edit toil rolling her eyes.

Speaker 2 (39:49):
Yeah. I mean it's really it's really, uh the struggle
of the actor.

Speaker 1 (39:56):
Partner.

Speaker 2 (39:57):
You have to like make all this stuff real in
your mind, and you're surrounded by people who don't get it,
and they like do really bad line readings. But she's
trying to help Ron, just trying to be supportive.

Speaker 1 (40:09):
Except she is sort of trying to real issue. She's
helping to run her lines but it's also an opportunity
to tell her what she really thinks, like really yeah,
and then sure enough ends in a fight that that
leaves Sandy saying, fine, I'm moving out. I've wanted to
live alone anyway. So they end on that, and then
we cut to the set where Sandy is filming, and

(40:33):
she is screaming her way through we're in the forest,
this movie set forest, Yeah, and she's doing that big
scream again, and the female director asks for another take
and she pulls the male actors, the monster guy who's
the bad guy, and says, on this one, I want

(40:56):
you to rip Sandy's blouse open, one button at a time.
And Sandy overhears this direction and this clearly was not
direction that was in the script, and Sandy's face totally falls,
but to her credit, she asked the director like why
this wasn't in the script and why do we have
to do it that way? Why is that a thing?

(41:18):
And the director says, well, if you don't want to
do it, I'll just recast it, because basically there's a
million other blondes who would be happy to do it.
So what's it going to be? Are you going to
do it?

Speaker 3 (41:28):
This way or yeah, And this scene brought me right
back one of my first movie. I was seventeen years
old and I was in Tahoe, and the storyline was
I was seventeen and I was playing against this guy
who was in his late thirties. The script. We did
sleep together in the script, and I wore his one

(41:50):
of his button down shirts afterwards, and I got to
set that day. I'm in Tahoe and I got to
set that date and there's this really sexy negligee in
my room. Again I'm seventeen, and I went to the
director and I said, this isn't what was written. And
he said, well, it doesn't matter. It doesn't matter. I
had no nudity clause, which we had, right, you have
no nudity clauses in your contract now, which you're probably

(42:11):
harder to get now that everybody's naked and everything. But
and he goes, you know, I said, but the way
it was cut, like I was very busty. Then I said,
the way it's cut, something will show. And I also
had this mindset of I'm seventeen of an almost year old,
Like I knew it was kind of off, but the
shirt made it feel right and this came up. I
remembered this when all the Weinstein stuff was happening and

(42:34):
women were talking about how their agent sent them to
this hotel room, and I called my agent. My agent
flew or drove up to Lake Tahoe to support me,
and they said, don't do it. If you're not comfortable,
don't do it. And like this scene, the producer came
into my room and said, the whole crew is talking
about what a baby you're being. Oh, they all think
you're being such a baby.

Speaker 2 (42:57):
And I am, well, yeah, I had.

Speaker 3 (43:01):
Enough of a somehow, And I think it's because I
was so supported Alisa Adler. God bless, I'm still with
that agency today. They so had my back. They didn't
say just do it, they said hold on. They came
to support me, And I feel reading this, I feel
so grateful that I had that kind of support because
the pressure they put on me. It was a young

(43:23):
young woman and I'm so grateful. And they were furious,
and there was and I ended up wearing his button
down shirt and.

Speaker 1 (43:30):
I scripped it.

Speaker 3 (43:31):
Grateful because they just trapped me. I walked into my
room and there was this really sexy lingerie.

Speaker 2 (43:37):
So coordinated, how did they wait while they drive up
to Tahoe or did it happen? Did you put a
poda on us Stapen.

Speaker 3 (43:45):
Like that's what I'm thinking, like it must have. First
of all, they said, don't do anything. You're not comfortable
with my agent right, one hundred percent on my side,
and they either backed down, but I remember they were
really annoyed with me and I and the crew. But
I will say this, it lied about the crew. Every
single member of the crew came up and he said,
good for you, good for you. They were so cruise

(44:09):
are amazing, as you guys know right, Cruise are amazing.

Speaker 2 (44:13):
Yeah, and they.

Speaker 3 (44:13):
Really had my back. But I know I just got
the connection right. Why I was so annoyed when Ronda said,
everybody's annoyed with you, because that's what happened to me
on that set. The crew thinks you being a baby. Yeah,
and it wasn't true. And thank god they had my back.
So good support is so hugely important because they tried

(44:36):
to brushure me into doing it. And here's part of
it too. They said there won't be nudity, But what
I was I was like, something's going to fall out,
and I thought in my mind to thought and you're
gonna film whether you use it here or not. I
don't want to not have it. Yeah, I'm so grateful
I had that ability to stand up for myself at
that age. I'm amazed at I had that ability at

(44:56):
that age. Yeah.

Speaker 2 (44:57):
I had an experience like that too. I had wasn't
in the script, and I had a We were out
of the country and the director came in into my
trailer and tried to convince me to shoot a nude
and uh, I was like no. And I had a
big agency, but I felt very trapped because this is
way back when there were no cell phones. You're in

(45:19):
a trailer in another country and there's this big producer
director and you think everyone's you know. In hindsight, I
look back and I see, oh, you know he was
told to come in and once they have you away
from the protection of your big agents. So I love
that you know your agents protected you. I ended up
not doing it, and I somehow reached somebody. But again,

(45:44):
you're so young and you feel that pressure from someone
who's supposed to trust you know, And here we are
post me too, and we're we're seeing this way back then,
and you're you're talking about a time that happened even
before that, and it happened before this rose play scene,
and I experienced it back in the eighties. And what

(46:06):
I didn't like about what I thought was so odd
about this script is why did they make the director
a woman an Asian?

Speaker 3 (46:14):
We consciously did because.

Speaker 1 (46:16):
I felt like it was, you know, like to try
to it was.

Speaker 2 (46:20):
I didn't like it.

Speaker 1 (46:21):
It seemed it seemed like the saying this is not
just a male thing, this is a Hollywood thing, but
it's saying this was a female director asked a girl.

Speaker 2 (46:31):
Was yeah, because I've never been pressured by a female director,
and it's certainly never been a woman of color. I mean,
that's just not who does it well.

Speaker 3 (46:41):
No, But there was something recently on that show The
Affair and that extraordinary Actreacy start on that she she
had problems with the female user, who she said was
writing gratuitous sex scenes. And there were a ton of
gratuitous in you like they would. She'd be having a
conversation scene, she's talking, we don't need to see her breasts,

(47:03):
so it does happen. I think they were rarely. I
agree with Laura that they were trying to say, it's
not about this man being creepy. It's about her being pressured.

Speaker 1 (47:13):
By by Hollywood and the and the demands of Hollywood.

Speaker 3 (47:16):
By Hollywood, I think it was a really conscious choice
to make her be a woman. But I agree with you,
it's more rare, right, I think it's more rare. I
think for the most part, female directors are much more
conscious of being respectful of women.

Speaker 2 (47:28):
Yeah, I feel like I felt like it was a
cheap shot. I didn't interesting because here's a woman, an
Asian actress who how many offers does she get anyway?
And then she plays like the bad guy director who
talks tries to talk a young actress and to taken
off our top. So I just thought it was.

Speaker 3 (47:47):
Sneaky.

Speaker 2 (47:47):
I just didn't like it. And this writer is a woman,
you know, Darren co write it. Co wrote it maybe
or oversaw it, but it was a woman ton Tony Graff,
who does outlineder. She's done a ton of stuff. But
I noticed that. I don't know, I just didn't know
where that direction came from or that casting.

Speaker 3 (48:04):
But interesting, Yeah, it is interesting.

Speaker 1 (48:08):
So and you know, Sandy at the time didn't have
any support. She had to make the decision in the
moment right are you here?

Speaker 2 (48:13):
Are you?

Speaker 1 (48:13):
Interview out? It's basically what the director asks her and
she has to make a choice. And so we see
her begin the scene and she's obviously doing it with
a lot of trepidation and she's you know, not happy,
but she has she.

Speaker 2 (48:26):
Goes through with it.

Speaker 1 (48:27):
She feels really pressured. She didn't want to lose a job.

Speaker 2 (48:29):
Well, we don't know if she cut through with it,
because they cut the scene right.

Speaker 1 (48:33):
Well, you see that, you see the knife right then
the scene like opening up the thing and the director
encouraging her to go ahead and let the tears, go
ahead and cry and then it kindly want to see
her as a victim.

Speaker 3 (48:45):
Yeah, Well, based on her reaction after though, you assumed
she went through with it, because.

Speaker 2 (48:50):
She's well no, she I mean, okay, we haven't gotten
there yet, But she didn't go through with it.

Speaker 3 (48:55):
We know that she didn't me not keeping up okay,
but what she.

Speaker 2 (48:59):
Tells Jake, So she didn't go through with it.

Speaker 1 (49:01):
But at any rate, you think she's did at this
but she you know, she she was willing to do
the next take, and because we do see her do that,
she was willing to go, Okay, I'm going to try.
And so she goes to do the next take and
she's going through the wood. She does the scream, and
then the guy comes and does cut the top. But
I don't really see what happens after that.

Speaker 2 (49:19):
Yeah, I don't see if she went like that or
whatever exactly.

Speaker 1 (49:24):
So, but then the next morning, she's upset. She's packing
her things to move out, and Ronda says to her,
you know, she sort of apologizes and she didn't mean that, Sandy, didn't.
You know, she didn't need to leave right away. And
Sandy says, that's okay. I've got this great guest house
waiting for me, and you know, somebody from this movie
I've got. She's sort of telling lies about how great

(49:46):
her opportunities are and she's going to move into the
guest house. Things seem to be moving really fast. I
guess it went okay on the set, Miranda and Sandy
lies says it was great, and yeah, so yeah, so
she's lying to herself, flying to Ronda.

Speaker 2 (50:01):
She's bounced. Man, she's she's had her Hollywood moment. I mean,
this is a real down. This happens to so many
realities and yeah, in different ways to actors too.

Speaker 3 (50:13):
A lot of people quit after something like this. Exactly
doing this again, exactly so true.

Speaker 1 (50:18):
So yeah. So back at the furniture store, there is
a lady bouncing on a couch and tagonizing Billy for
the pricing at the store, and Billy is annoyed. He
finally just sort of loses his patience with the lady
and offends her a little bit. And his dad has
witnessed this and he has to come over and try
to fix it and apologize to the lady.

Speaker 3 (50:35):
And and the lady is Liz Sheridan, who played Beld's mom,
which oh so much fun to see her so crazy.

Speaker 1 (50:43):
Right, yes, yep, And that scene just opens it.

Speaker 3 (50:47):
She's yeah funny in this She's funny and everything.

Speaker 1 (50:51):
Yeah, it's awesome. And Billy's dad says, how are you
ever going to the discipline to last one week at
this job and apologizes and said that working here was
just a bad idea and he leaves. Billy leaves. So
then Jake catches Sandy as she's leaving the building in

(51:11):
the courtyard. She's got all her stuff and he misinterprets
her leaving is like sort of leaving everyone in the dust.
He's like, you're just leaving everyone in the dust, and
he's angry with her, and Sandy's like, no, that's you.
You don't understand. Here's what happened. And she ends up
telling him the whole story and she's very emotional telling it.

(51:31):
She's honest. Instead of the lies that she was telling Arona,
she's actually telling Jake what did happen? And she said
she's feeling exploited. She feels exploited every day and she
doesn't really know who she is and how to just
be herself.

Speaker 2 (51:46):
But she just said I couldn't go through with it.
That's where she says I couldn't go through with it,
and he goes, well, what's wrong with that? That's great,
and she's like, I know, but that's but that's when
she says, I exploit myself every day and I don't
know who I am and maybe that's why I'm an actor.
I just want to start over. It's funny because the
business and the acting itself gets into your head and
messes with you. Who am I? You know? Who am
I supposed to be? Who do they want me to be? Who?

(52:07):
So she's like, I just got to leave and start
over fresh.

Speaker 1 (52:10):
And can I do this here? Like is this even
possible to be myself and to be you know, true
to myself? And is this all it's ever going to be?
But she says, you know, she thinks maybe she needs
new friends and a new life and that's why she's leaving.
And so Jake is angry and says, if you know,
if you think you can just walk out of here
and no one will miss you, you're wrong. So so

(52:33):
she leaves, and then we're back at D and D.
Billy's showing up at D and D and telling Alice
quit the furniture store, and he's just watched a movie
in the middle of the day time. Do you remember
what movie he watched?

Speaker 3 (52:46):
Did he say what movie?

Speaker 1 (52:47):
The Beautiful and the Damned?

Speaker 3 (52:50):
No, no, no, he said, you know this is because
that was my favorite line. He said, you know who's
in movie theaters during the day The beautyful?

Speaker 1 (52:56):
Okay, So I thought, oh, all right, yeah, I'm a.

Speaker 3 (53:00):
Great movie title though it is Young.

Speaker 2 (53:02):
New Bile Women.

Speaker 1 (53:04):
Why is that not Billy's next movie? You know, I
used to go to matinees all the time.

Speaker 3 (53:10):
I love matinees.

Speaker 2 (53:11):
I never saw I noticed maybe I was one of
those young new boths.

Speaker 1 (53:15):
But like coming out of the movie theater in the day,
like when it's still light outside sort of disorienting. It's
been dark inside and you come out and you're like.

Speaker 3 (53:23):
Especially in La there are so many creative people who
don't work all the time, so a lot of people
are out during the day, right, And.

Speaker 2 (53:31):
There are a lot of theaters here. I used to
go to like the you know, the art houses, the
little indies, and I would see like double features sometimes
because you know, yeah, and of course you'd check your
phone in between.

Speaker 1 (53:43):
Just in case, check your answering machine, and so yeah,
Allison says, you know, I knew that wasn't right for you,
and and Billy's like, well, why didn't Why didn't you
tell me that in the first place, And she's like, what,
I don't think I did.

Speaker 3 (53:57):
But anyway, she says, and I thought this was really
good boundaries. She basically said, it's not for me to
tell you what to do. Yeah, were you seeking out
co codependin Anada's meetings? Like that's a pretty good that's
a really good message, which is, you know, it's your life.
You get to live your life.

Speaker 1 (54:13):
And he sort of knew it too, like he just
wasn't being honest with himself about it.

Speaker 3 (54:17):
But he had to learn it in himself right, And
even if she'd said he would have been, it would
have been a fight, like, yeah, we have to learn
our own lesson. That is a truism.

Speaker 2 (54:30):
As I said before, I'm trying to see all the
writing aspects of this, and so that scene to me
was like the first time someone he says, why didn't
you say? And you say, what am I the all
wise person? Like so she is, but she supports him
and like, you know, you know, you don't have to
do it, and then we're going to see you know,
this starts the tie up, the tie you know, the

(54:51):
neatly tiedbos where someone bestows some wisdom on the other
character in the scene. And that's coming up with Sandy
and Rohnda.

Speaker 1 (54:58):
Yeah, so that one, that one's pretty well wrapped up.
And then Jane is back at the apartment and now
she is cooking for Mumble, who's on the couch recovering
his foot is up and he's telling Jane.

Speaker 2 (55:10):
He's not really very hungry.

Speaker 1 (55:12):
Don't make very much food. I'm not really hungry and
he reveals that he's having some anxiety over having this baby.
What if he doesn't know what to say to him,
what if he doesn't know who he is? And Jane
is awfully sweet and saying, you're going to be great,
You're going to be a great dad, and so they're
sort of coming to terms with their little struggles.

Speaker 3 (55:33):
And then he says to her, it's such a sweet moment.
He says, how are you so wise? And she says,
I have to be I'm going to be someone's mom.
And the way she delivered it, I just want oh,
it was so sweet. She's so good at those moments.
I was just like, oh, that was beautifully delivered.

Speaker 2 (55:50):
And again there's that word, the wise thing. I love that.
I love that now that I'm thinking about it, like
these are as you've always said, Court, like young people
trying to make it, give it a go, Like what
do they know? It's mostly you fall into potholes and
you're freaking out. But there is wisdom in them, you know.
We saw it with the with the Billy and the
Alison just now, and now we see it with Jane

(56:12):
and Michael. They don't know what's coming, but there is
that wisdom, which I really I think that's the whole
theme of the show so far.

Speaker 1 (56:21):
Yeah, what lessons can we learn from this? And there's
always a good lesson.

Speaker 2 (56:25):
Yeah, there's always support and the wisdom comes from the
supporting each other and being there for each other.

Speaker 1 (56:30):
Speaking of which sand Ln Sandy comes back to the
apartment and asks Ronda if she will take her back.
They both apologize for their fight, and they decide to
celebrate by eating their celebration cake that had come the
night that they were trying to congratulate Sandy. Sandy apologizes again,
saying I am an unbalanced personality, aren't I?

Speaker 3 (56:53):
But again, she doesn't seem super imbalanced. She handled it
pretty well, actually.

Speaker 1 (56:57):
Yeah yeah, And then Ronda says, yeah, but we balance
each other out. But they're back to being roommates and
friends again. And then Billy needs to resolve his stuff
with his dad. He goes back to his dad's office
late at night and the store is closed and his
father's m glad you're back. Buill, didn't think you were
that kind of a quitter, and but Billy says that
he didn't come back to ask for the job back,

(57:18):
and he tells them that he wants to start doing
things his own way, and that even though he knows
his dad wanted him to follow in his footsteps, it
doesn't seem like the right thing for himself. So, you know,
his dad reveals, well, you know, I guess I expected
you to get the same thrill out of the store
that I got was handed down to me for my father.

(57:40):
But he accepts the fact that maybe it's just not
for Billy. So they hug it out and he seems
to be okay with Billy's decision, and they're back to
being okay with each other.

Speaker 2 (57:50):
Yeah, very sweet, very sweet, seeing very sweet. And I
think this is a real universal theme, don't you, about
parents wanting really letting their child be who they are.
I hear stories of, like, you know, a person trying
to live up to at least for a while til
they get older, maybe, but trying to live up to
their parents' expectations, or like their parents just want them

(58:12):
to be safe. Holly wants them to be safe and secure,
you know. And it's so scary to be a writer,
you know, in Hollywood. So but it seems like a
real universal theme to me, standing up to your parents
saying I'm me, I love you. Isn't that enough? Yeah?

Speaker 3 (58:29):
Well, and it works so well for him, right, His father,
Billy's father's father, gave it to him and he thought, well,
this is great. I have this thing to give you.
I remember my dad. My dad had a market research
and consulting company for the computer industry. And before he
sold it, he said, and I was a working actor,
like I was in my thirties, and he said, do
you want the company? Like? And it was he said,

(58:52):
I know the answer is probably no. But he had
built this thing and he would love, would have loved
to give it to me or my sister, but neither
of us wanted it. And it was. He ended up
selling it quite well.

Speaker 2 (59:03):
But I had that.

Speaker 3 (59:04):
I was the oh what a sweet moment, Like what
if I was an actor? But I dreamed of working
in the market research community. Right, Maybe that was my secret?

Speaker 1 (59:15):
Could have been Yeah, you couldn't And.

Speaker 2 (59:19):
Reminds me, I realized I have my own story. My
dad was a professor and he said, I dropped out
of UCLA just do my first that horror film I
told you about where I was going to go and
start it. I was a junior and I had uh
and my father said to me years later, I was
working with Lucille Ball mel Brooks, like on my way

(59:41):
getting paid, I think maybe maybe about my first house, like,
and he said, don't you want to go back and
get your degree?

Speaker 1 (59:49):
Don't you want to go finish your degree and get
just so you're a graduate of college.

Speaker 2 (59:53):
And I tried twice just to please him, thinking like
what am I going to do with these extra you know,
what am I going to do with that degree? But
he just wanted me to be safe and I never
got it. And then one of the directors I was
working with with the Lucille Ball movie was the dean
of the School of Arts at UCLA for a year.

(01:00:13):
Can't you ask him for an honorary degree? And I
was like, I'll get back to you. I'm just let
me get my lines down and working with like the
greatest comedian of all and you know, and I never
asked George for an honorary degree, and so I'm still
a dropout. But you know, it's that parent thing wanting Laura,
do you have a story like that from your parents? Well?

Speaker 1 (01:00:34):
I do think like as parents, we all want something
for our children, and it's not always what they want
for themselves or like, you know, I think even when
I was deciding to be an actor, I think it
was my mom's probably worst nightmare, like what you know,
like just such a such an unstable and unknown thing

(01:00:56):
to do, like no guarantees at all anything that was
sort of horrifying because I had I had left Iowa
and moved out to California and you know, sort of
decided to also drop out of college and like pursue
what I was pursuing. And it was like, oh, you know,
like just not having something stable to rely on or

(01:01:17):
feel like is more reliable. I think it's really scary
for a parent. But and you know, I feel like
we're all like the success stories, like we're lucky, like
we're you know, it's a very difficult business, and like
I think I think everybody has quite a bit of
luck to have it all work out, you know. I
just I feel really lucky. It could have gone a

(01:01:39):
million ways, and I lucky. But also I was told
early on from a manager I had. He said, you
have to have tenacity, period.

Speaker 2 (01:01:48):
And I had a friend of mine who said to
me he was a producer, and he said, there are
no failures, just quitters. So whenever I had down times
or I wasn't working and I was worrying about stuff,
it was like I just had these things in my mind,
like I just can't quit period, you know, And I

(01:02:11):
have to have be tenacious, I have to have that persistence,
just keep on going. And it's true, it's true always.
I think you know so well.

Speaker 1 (01:02:21):
And we talked about at the beginning, like the amount
of rejection in this business, Like you have to want
to do it so badly that you can't be talked
out of it, you know. And I think that's that's
something we always try to tell people who say, oh,
I I you know, I think I might want to
be an actor, and like and Doug and I always

(01:02:41):
tell people like or our kids or whatever, like you
have to want to do it so badly that I'm
going to I'm going to talk you out of it
and tell you all the reasons you shouldn't and you
should still want to do it. And then that's the
indication that like you have the fortitude and the desire
and the passion to do it, because it's brutally.

Speaker 2 (01:02:59):
To do it.

Speaker 1 (01:03:00):
Yeah, it's just hard. A lot of rejection more than
anything and you have to want to be able to
fight through that and want to do it.

Speaker 2 (01:03:06):
And I feel like you have to want to do
it because you love the doing of it, Like I
always tell I've always told younger people like you have
to want to do it, whether it's on a local
community stage or geeing it, or it's summer stock or
and then if the break comes and you get to
do it on Broadway or in front of a camera, awesome.
But if you got to love to make these movies

(01:03:29):
and make your own little movies, especially now with phones,
you can, but you have to love the doing of
it because we don't know what the result is going
to be.

Speaker 1 (01:03:37):
Yeah, And I think that is the story that Billy
and his dad are having. You know. His dad is like, yes,
just this great reliable thing, this furniture store. And so
actually that our last scene, Allison is in the courtyard,
she's grilling, and Billy comes home and says, you know,
I told my dad and it went really well, and
thank you for the encouragement. And I'm telling him the truth.

(01:03:57):
This is my truth. Yes, right, a writing career going
to be hard, But I didn't want the furniture business.
And and so that was great, and he told his
parents the truth about that. But then he reveals to Alison.

Speaker 2 (01:04:11):
But oh, actually, she asks him, did I tell him
about the truth about us?

Speaker 3 (01:04:17):
Yeah?

Speaker 1 (01:04:17):
Did you clear up the bit about like I'm not
your girlfriend? He's like, oh, yeah, no about that. No,
I didn't tell them that. We can. We can tell
them that the next time we take a trip with him,
which is by the way, like Powell for this family trip,
and we'll tell him then Houseboat, we're all getting on
a hospital and she's like, what, there's a very cute
episode out where we it's a very like you said,

(01:04:38):
rom com ending where they go bickering about So give
me the I'm gonna call him and tell him myself.

Speaker 2 (01:04:45):
And she leaves. She goes in and he's She's like,
what's the phone number? I'm telling them now? And he's
like no, and he follows her, and you hear it.
I love it. The camera pulls out cue you just
hear them so super cute number. What's the you know,
very funny? Yeah, give me the phone, give me the number,
Give me the phone, give me the number. And you
know those two are going to get together any deal.

Speaker 1 (01:05:07):
Well, we can only hope And yeah, so that's that.
That's episode number seven. That's a rep on another Still
the Place recap. We're halfway to Daphne, we're turning the core.

Speaker 3 (01:05:20):
With then a third of the way to Laura and.

Speaker 2 (01:05:25):
On the way to it becoming a totally different show.
We're only a.

Speaker 1 (01:05:29):
Few episodes away from Sweeps, which is where like the
first order of thirteen episodes, right if we're on seven now,
around twelve and thirteen, they were hitting those episodes around
Sweeps week and trying to get like really good ratings
for this section of time and also to find out
if they were going to get picked up for their
back nine order.

Speaker 3 (01:05:49):
Yeah, and what I see, Like we talked about this
episode gelling in the last one, like it's kind of
so nice that we were under the radar for so long,
we were getting to know each other because then we really
were friends when it took off. That's really lucky, right,
if it had taken off right away, might have fractured.

Speaker 1 (01:06:05):
But at this point you must not have been so
sure because the ratings weren't great, and you know you're
approaching that.

Speaker 3 (01:06:10):
Rattings weren't great and getting towards.

Speaker 1 (01:06:12):
Us, Yeah, getting towards the end of thirteen. You don't
know if you have any more episodes after that. It
might just end up thirteen, unless all righty, we'll pick
you up, so tune in next week. I'm still the
place to find out, all right, See you next week.