December 9, 2025 • 48 mins
Someone is having a dry spell, and we’re not talking about a character on the show!
The ‘sex-centered’ episode 10 prompts a steamy discussion about opening up in bed. From OnlyFans to BDSM, our nice hosts have the naughtiest discussion of the season!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Welcome to desperately devoted Join us as we explore the
human experience through the lens of the iconic show Desperate Housewives.
I'm Terry Hatcher, I'm Andrea Bowen, and I'm Emerson Tenny.
Speaker 2 (00:11):
Well, we have something to talk about in episode ten, and.
Speaker 3 (00:15):
It's sex, sex and more sex.
Speaker 2 (00:18):
Some people aren't getting it from where they should be,
and some people aren't getting it at all. And some
people could be getting it if they could only figure
out how to stop getting cock blocked by their ex.
Speaker 1 (00:28):
I'm gonna guess you're talking about Susan. I say.
Speaker 4 (00:33):
Rex is revealed to be having an S and M affair,
while the affairs of the Scavo household involve their high
grade nanny, making Lynette feel inferior and unable to relax
in her newly acquired free time.
Speaker 2 (00:45):
Susan and Mike's intimate intentions are foiled by Carl and
Julie and Zach.
Speaker 1 (00:53):
Gabby ways the benefit of money over love and the
truth and when trust is broken on Wisteria Elane, we
find that it is a very fragile thing. When it's lost,
it can be hard to recover.
Speaker 2 (01:06):
We will not break our trust to you because we
are here for another episode.
Speaker 3 (01:12):
Let's get started, all right.
Speaker 1 (01:14):
Well, hi you guys. Hello, here we are talking about
season one, episode ten, come Back to Me. This episode title,
come back to Me, comes from a song from the
nineteen sixty five musical On a clear Day, you can
see Forever, I can hear it. Yes, Mazy Gibbons. We
open the episode on circling back. I feel like I
(01:36):
had kind of lost sight of her as the pretentious
mom in the school, and now we find out that
she's a BDSM escort.
Speaker 4 (01:45):
Okay, So I had a question for you because I
kind of did remember this storyline I remembered when we.
Speaker 5 (01:51):
Saw Sharon Morris.
Speaker 1 (01:53):
Yeah.
Speaker 5 (01:54):
Yeah, what does that say about me?
Speaker 1 (01:56):
You were impressionable?
Speaker 4 (01:57):
Yes, I was very impressionable, But I did rememberer Sharon
Lawrence's storyline being more than just what it appeared when
she first showed up on the show a few episodes ago.
And so, but for you, Emerson, yes, you just probably
thought she was going to be this high strung PTA
mom this the whole time if she ever reappeared, and
she came back in.
Speaker 5 (02:15):
A big way this episode. So did that catch you
off guard?
Speaker 1 (02:18):
It totally caught me off guard and immediately hooked me.
And I think honestly speaks to something we've been talking
about in a lot of themes of this episode, which
is that there is always more going on behind closed doors.
There's always another identity behind the mask that we present
to the world or the forward facing part of ourselves.
(02:38):
And I mean, I really took the roller coaster ride
of this because at first I saw it was Mazy Gibbons,
I go, oh, my god, Mazi Gibbons is an escort,
Oh my god, she's a BDSM escort, and then Rex
is her client. Yeah. Ah. In the first couple of minutes.
Speaker 2 (02:54):
Did you guys get the sense that she was just
doing it for her own sort of power ego, control,
satisfaction or were they actually paying her?
Speaker 4 (03:07):
Oh?
Speaker 5 (03:07):
I think that she was being paid.
Speaker 1 (03:09):
I thought she was being paid. I also felt like
maybe because she talks about how she her husband maybe
lost his job and she they had to stop going
to their country club. So I felt like maybe this
was something that she picked up partially to make money.
Speaker 2 (03:22):
Money, right, And yeah, I thought that too. But then
as I thought about it and just kind of sat
with it, I thought, oh, maybe I had made that assumption,
but it was she because they do make the point
of saying that they were having financial trouble and they
got kicked out of the country club, and right, so
that's why she decided to start doing this.
Speaker 5 (03:41):
But I think it evolved.
Speaker 4 (03:42):
For her at least, you know, we when character analyzing her.
I think that you're right that the journey for her
maybe started with a need to bring in some extra
money and her creative way of doing that. But then
I think she gets off on the fact that she's
holding everyone. See it's as she says, there's like a
power in it for her that she's keeping all of
(04:03):
these John's secrets.
Speaker 1 (04:05):
Yeah, and especially the secret Rex feels extra loaded because
she makes the comment that when she did get kicked
out of the country club, we realize the woman who
was condescending and sort of pitying to her was Brie,
classic Brie. And now this is her idea of revenge
or a secret of her own.
Speaker 2 (04:26):
Do you guys have feelings about prostitution and its legality
and you know where it's place in history or whatever.
I mean, I'll just admit that while it seems like,
oh this is the I admit this is the time
I tell you that I was a prostitute. No, I
just that word admit sounded so much stronger than.
Speaker 1 (04:47):
I intended to be.
Speaker 5 (04:49):
This is when I reveal.
Speaker 3 (04:50):
This is when I reveal. But I I it didn't.
It seemed you don't have.
Speaker 2 (04:58):
This show does a great job at writing this tightrope
of between like satire and soap and something that feels grounded,
and I think they usually do it really well, and
I felt like this is an example of that, and
it made me, I don't know, feel like not that
(05:21):
judgmental about her, like that she was providing a service
that everybody was above board. I mean, you could be
lying to your spouse, but I mean the people in
the interaction, and it was servicing a need and it
was fulfilling what she needed. And I don't know, it
(05:41):
made me think about an industry that I guess I've
always thought, you know, well that's not great and that's
sort of frowned upon. But it made me look at
it a little differently, well.
Speaker 1 (05:53):
I think, I mean, I do. I think this stood
out to me as a very I mean, we're thinking
about the show airing in two thousand and four, stood
out to me as a very modern take on sex
work and the legitimacy of sex work. You know, this
is an industry that I think has had a lot
of stigma, and of course, in certain scenarios, still does
exist in a place where women are disempowered. But I
(06:15):
think in a lot of scenarios, especially when you like
look at you know, technology today, and I think exists
in a place where women are really actively choosing something
that feels empowered.
Speaker 2 (06:26):
What's the site where everybody's making a bazillion dollars? Right?
Speaker 3 (06:31):
Yeah, Oh my gosh.
Speaker 2 (06:33):
I mean, I guess that's the modern day version of this,
doesn't it.
Speaker 4 (06:36):
I do agree that in this episode we seem to
be the thing that's incriminating is the fact that she
is having an affair with Bree's husband. It's not necessarily
that we're judging her for doing this service or providing
the service to the people in the neighborhood.
Speaker 5 (06:51):
We as an audience and the writers who wrote it.
Speaker 4 (06:54):
The thing that fuels our fire about having an opinion
over it is just because she's wronging Brie.
Speaker 1 (07:00):
I don't really have an opinion. I mean, I don't
have any judgment of her. I'm judgmental of Rex. He's
the one who's married, who's making the choice.
Speaker 2 (07:09):
Like when there's an affair, and the one that's getting
cheated on seems to classically direct their ire at the
female instead of the actual husband partner that is doing
the cheating.
Speaker 3 (07:22):
And I've never understood that.
Speaker 4 (07:23):
I know, Yeah, I know, And I was just going
to say that I'm infuriated because, as we talked about
a couple of episodes ago, when Bree so bravely and
vulnerably goes to Rex and says, I can tell that
there's something you're not getting, and please give me the
opportunity to provide that to you, and he doesn't, and
now we see it playing out like this, and it
(07:44):
just makes me.
Speaker 5 (07:44):
So mad at me.
Speaker 1 (07:45):
I know, I actually wrote down, Oh my gosh, Rex
is such a gas lighter when he says, oh, I
could never tell Brie. I could never tell my wife
about these things that I want to explore that clearly
he's exploring with Mazie, and I thought, no, you could.
She held the door open episodes ago for you to
tell her if something was missing. She point blank said,
(08:08):
is something missing? I want to give that to you,
and he was too much of a coward to reveal
that part of himself to her, which I do think.
You know, I think there's a lot of vulnerability in
admitting a kink or admitting something that you want to explore,
specifically sexually, because I think it opens the door up
(08:28):
to be rejected and to be judged in a way
that there's already so much taboo around sex. To then
receive that immediate judgment from your partner may make someone
like Rex just feel like they absolutely couldn't withstand the rejection.
Speaker 4 (08:43):
And to Mazy's credit, she actually very much is sympathetic
to breathe. I felt right. She talks to Rex and says,
you should talk to your wife about this.
Speaker 5 (08:53):
You clearly still are in love with her. I thought
that was really interesting.
Speaker 3 (08:57):
Yeah you did too.
Speaker 2 (08:58):
I was going to say, like, I'm not going to
ask anybody to like divulge their kink.
Speaker 5 (09:02):
Or you have to use your special voice. Oh I
do have to do.
Speaker 3 (09:06):
So what do you like?
Speaker 5 (09:08):
But I will say.
Speaker 2 (09:11):
About myself, I mean, you know, I haven't been intimate
in a long time, and you know, of course I've
done years of therapy to sort of, you know, figure
out what I could potentially be afraid of. But it's like,
when there's a story like this, it does make me think, like,
(09:32):
have I felt safe enough with a partner too? I
don't know, be able to be honest, Like, is that
something that people typically feel or I think maybe sadly
they maybe don't. Right.
Speaker 4 (09:45):
Yeah, I think in a lot of cases, in a
lot of relationships, it's still a real thing that people
aren't entirely open with one another out of fear of
judgment or just maybe they have a lot of self
judgment about the things that they're into and they are
scared to share that with someone else. Society is not
always on the side of making us all feel included,
and so I think it's still a problem. But I
(10:08):
also kind of feel like I'm getting the sense from
younger generations that it's getting better.
Speaker 1 (10:12):
I have to say, I think a show that just
recently really handled this idea so well and explored it
was dying for sex, That TV show with Michelle Willis right.
Speaker 3 (10:22):
I loved that show. They were great, and you're.
Speaker 1 (10:25):
Right, yeah, And so many different characters, whether obviously it's
Michelle Williams herself or character actors like Robbie Hoffman, who
I adore all of these different actors and characters playing
out in this show, the idea of the vulnerability it
takes to really say I want to investigate what turns
me on and what sex means to me.
Speaker 2 (10:44):
And now that show was That show was actually brilliant
and I and I loved it, I think specifically for
me because yeah, I felt like it kind of broadened
what I could imagine my ability might be if I
ever got into an intimate, really relationship with somebody again,
which you know, other than my cat.
Speaker 3 (11:03):
Away moving on.
Speaker 2 (11:06):
Yeah, so so also after this discovery of his affair,
and by the way, did anybody think the stilettos were
going to go right into his spine when she walks
on his back?
Speaker 4 (11:17):
I just kept thinking out, yeah, out, well, I think,
my gosh, that's what he liked.
Speaker 2 (11:22):
Yes, I thought, like, not just the pain, but like
it to me, it felt like they were going how
did they not puncture alung?
Speaker 1 (11:30):
Like?
Speaker 5 (11:30):
That's well, but maybe they did.
Speaker 3 (11:33):
I mean, that's true. He did have a heart attack.
Speaker 1 (11:36):
He did have to have surgery, right, they pick up
that that's where.
Speaker 3 (11:38):
It came from. Okay, So then we go to Gabby.
Speaker 2 (11:42):
And Carlos and all of the ladies supporting him in
court finding out that he's not going to get bail
because he doesn't have his passport and.
Speaker 5 (11:51):
He's a light risk, I guess, And I thought, oh.
Speaker 1 (11:54):
My god, who misplaces their passport? Like, that's my worst
fear that I lose a passport or on a trip,
that I can't find it in my house. And it
feels I mean, and I think will ultimately potentially come
to be revealed, but it feels suspicious that you can't
find your passport in your own house.
Speaker 2 (12:12):
Right, And in this case, it ends up being hidden
in a secret panel.
Speaker 5 (12:16):
Yes, so awfully convenient, but he can't find it.
Speaker 2 (12:20):
You have Lynette, who now this is the first episode
where she scored in the last episode the high Grade Nanny. Yes,
she's got the new nanny. She's now got some free time.
I actually kind of remember this. I mean, I just
remember feeling how difficult it was as a mom to
(12:42):
take time for myself, even when I had a support
system in place to allow me to do that.
Speaker 1 (12:48):
Why was that? Did you feel guilty?
Speaker 2 (12:50):
Did you feel guilt? I think it's guilt. I think also,
I think you get very wrapped up in your identity
as a mom, so much so that you forget how
to just be you.
Speaker 3 (13:02):
You forget how to.
Speaker 2 (13:05):
Walk walk out into the world and not be seen
as a mom carrying a baby, or a mom holding
the hand of a toddler, or a mom picking up
goldfish off the ground or a mom wiping you know,
yogurt off of a off of a shirt like this
is how you interact with the world and then to
suddenly go, Okay, I'm gonna go just be myself.
Speaker 5 (13:30):
It's it's just the story.
Speaker 2 (13:33):
It's disorienting and it's unpracticed, and as a mom about
to be in hindsight, I would encourage young moms to
not let that happen, you know, to find time to continue,
even if it's little amounts of time, to continue to
have a sense of your identity that is separate.
Speaker 4 (13:55):
You know, this is making me think of something so
interesting and relevant to not only the conversation we're having,
but also the fact that we are involving this show
Desperate Housewives, because I recently had dinner with Joy who
played Marsha's daughter, Yes, who played Danielle, and she is
a new mom, and we were talking obviously about this
(14:16):
chapter of my life, in this chapter of her life,
and she basically said that same thing to me. She said,
this is not I don't know if you're going to
hear this advice a lot, and I don't even know
if it's popular advice. I think she actually said it
is unpopular advice from her experience, but that she feels
it's really important to leave early on, like practice leaving
(14:37):
your baby earlier than you think, earlier than you feel
ready to, and earlier than maybe someone else should tell you,
know tells you you should because of that, because of
the feeling of it's very hard and disorienting to take
that identity off, even though you never really do.
Speaker 5 (14:54):
But and I appreciated it.
Speaker 4 (14:56):
I actually made a note as well about this particular thing,
and I said, I so appreciate the writers giving this
amount of thought to the struggle and often opposing feelings
that come from being in your house with your children.
Speaker 5 (15:07):
And out of your house without your children.
Speaker 4 (15:08):
It's like Lynette clearly was begging for support and begging
for the opportunity to have some time to herself, and
then when she gets it, she's totally paralyzed. She doesn't
know what to do. So she has that scene with breathe.
That's really interesting, And yeah, I thought that was cool
that our writers were giving such a well rounded example
of the complications of parenting.
Speaker 2 (15:28):
I think sometimes in the pursuit of being like the
perfect mom, you forget that by demonstrating imperfection, you're actually
allowing your child to unconsciously understand that they don't have
to be perfect in this essence of leaving, you know,
(15:52):
having your child see you take care of yourself is
unconsciously telling them that they are worthy of taking care
of themselves. And it's a tricky thing because no mom
is running around trying to be perfect, giving, giving, given, giving,
never making any time for herself because she's trying to
do damage on the kid. But it is kind of
(16:16):
a byproduct that if they don't see you practice your
self care, they don't know where to learn that from.
Speaker 1 (16:24):
Right question though, for you and all this fantastic parenting advice, yes, nanny.
Speaker 5 (16:37):
Cam oh, yes or nay?
Speaker 1 (16:39):
Okay?
Speaker 2 (16:40):
Well, well yes, so I think I think nanny cam yay.
And you know I recently because you guys know that
I take care of my ninety year old parents.
Speaker 1 (16:50):
Yes, I put.
Speaker 2 (16:53):
Nana Cams granted cam grannycams. I put grannycams, and because
I every night when I get in bed, my house
is like down the street. But I look at the
ring camera and I can see what time they went
to sleep, if they went to sleep. I can see
if I get like an alert from the alarm company.
(17:15):
I can see if my parents just forgot and opened
the door, or if, like God forbid, there was a
break in.
Speaker 3 (17:22):
But it gives me a lot of peace.
Speaker 2 (17:25):
And it was actually how when my mom was in
the hospital and I couldn't get a caregiver for my dad,
who has dementia, and he forgot that he had already
taken his pills because he has dementia, and he took
them all a second time. I witnessed that on the
ring camera and was able to call the doctor and
make sure that we had the right help in case
(17:47):
my dad got sick from doubling up on pills.
Speaker 3 (17:50):
And so I love the ring camera.
Speaker 2 (17:55):
Proing, but I think, you know, if you're going to
have one, I think you have to approach it with
respecting privacy. Like I'm not trying to invade my parents' privacy.
I'm trying to give them as much independence as I can,
but still keep them safe, right, and so that is
the way in which I use it.
Speaker 4 (18:12):
I think I had the same question. I'm curious to
hear your thoughts as well, Emerson. I think that when
it comes to nanny cams, I think that as long
as you disclose that someone's being recorded inside your home,
then I guess it's okay. I don't have any I
(18:33):
don't know if I have plans to have a camera inside,
you know, that my house when it comes to assistance
with the baby and things like that. I did find
the montage where Lynette is holding the little bear that
she's stashed the camera in, and she's doing all of
the different ideas, playing all of them out of like
and loving, a loving nanny rocking the bear, and then
(18:56):
a crazy nanny like shaking the bear. I thought that
was a very very very.
Speaker 5 (19:00):
Funny and well done.
Speaker 4 (19:02):
But yeah, I think I get uncomfortable with just cameras
in the world in general these days, Like I buck
up against the fact that it's kind of impossible to
walk down the street and not have someone recording something,
and you just happen to be in the background of
someone's video and you don't consent to that, and you know,
or like I am aware of it if I'm doing
it and there's someone and I'm thinking, well, they're now
(19:23):
just on my phone and I don't know them, and
they didn't say that was okay, And that's just kind
of everywhere. So maybe I take too I give it
too much thought, and I get too trapped in this
idea of it's not respectful of someone else's privacy. So
I think the big thing of disclosing, hey, you're on
candid camera.
Speaker 3 (19:41):
I we never had one like with for you, Yeah,
I never had one.
Speaker 5 (19:46):
Are you pro nannycam or anti nannycam or somewhere in between.
Speaker 1 (19:49):
I think I fall on your side, Andrew. I know
that I didn't grow up with a nanny cam. I
do feel weird about invading someone else's privacy, but I
also like when it comes to my future children and
knowing what is going on with them. I think disclosing
you know, just you know, we have cameras in our
house and working here means that you may be filmed
(20:14):
while you're here. I think that is feels like the
best of both worlds, where you are able to monitor things.
Maybe you also have a sense of like if you
were the nanny, you have a sense of self censorship
if you think that you're being viewed. I mean, I
hope you wouldn't do anything even if you weren't being watched.
But sometimes that does, you know, make people think twice
about their response or behavior to things.
Speaker 4 (20:35):
Speaking of wanting to know what's going on with your
kid in the house, then that kind of leads us
into Susan and Julie.
Speaker 1 (20:41):
Wow, okay, which I have to say the takeout scene
with Mike and Susan and Julie. At first, I'm just
it's everything that I've wanted for Mike and Susan. They're
so cute. I know, they're such a cute couple. They're
eating out of each other's takeout boxes. I don't know why,
like Chinese takeout box are so romantic to me. Oh,
(21:02):
there's just this whimsy and this kind of feeling of
you could have just moved into a place with your partner.
Speaker 5 (21:08):
Because we always see it.
Speaker 4 (21:09):
It's in like every movie and TV show and people
are having their first night in their new place, or
they're staying up late in the office and romantic sparks
are flying. It's always over Chinese takeout, and they're always
using chopsticks to like, oh, I'm just gonna pluck this out,
and you know I'm gonna feed you. Now.
Speaker 5 (21:22):
It's like messaging we have received. So now we are like, yep,
those are romance.
Speaker 1 (21:26):
That's romance, right exactly, Low Maane is romance. And and
speaking of using your chopsticks, Julie is loading up her plate.
And I wrote, Okay, now, how could Julie be hiding
Zach this whole time? I'm shocked. I'm shocked that Susan
(21:47):
as a mother, never once goes in her daughter's room.
I'm shocked at the room is big enough that he
could be hiding in there. How is he using the bathroom?
I mean obvious some of these questions do get answered
later in this episode, or you know, he gets exposed.
But I found this believable and far fetched.
Speaker 3 (22:10):
Yeah, far fetched is the right word. I mean, do
we have a sense of how long this is?
Speaker 4 (22:14):
No?
Speaker 5 (22:14):
I also wrote how long has this been going on?
Speaker 2 (22:16):
Because because in other people's time, you know, like in
other characters in like Carlos being in jail or you know,
Rex having an affair, like it actually feels like quite
a bit of time. If you just went and looked
at the last episode, I think that was when Zach
broke out, right, like, so it or maybe two episodes ago.
Speaker 3 (22:37):
Yeah, so it maybe hasn't been.
Speaker 2 (22:39):
But it does feel like if Mike and Susan are
now at the almost I love viewpoint, like and they're
they're having sex, or they're at least.
Speaker 5 (22:46):
Trying to have sex desperately trying to happen.
Speaker 2 (22:48):
It does feel like it's been more than days. So
I think that that might be down to that the
writing is happening in real time that I sought a
sort of recall.
Speaker 3 (23:00):
I mean, I know.
Speaker 2 (23:03):
That the train comes off the tracks at some point.
It may not be until season two, but there was
a point where and we'll have to get Dina in here,
who was my hairdresser, to talk to.
Speaker 5 (23:15):
Me about it.
Speaker 3 (23:16):
We want to tell her all.
Speaker 2 (23:17):
Things hair on the show, because the hair played a
big part. But also just like behind the scenes, there
were times when we would show up at five thirty
in the morning for hair and makeup, and we would
be in my trailer and there would be no scene
written and they would say, so, yeah, if you could
get ready and then go to set at like six
thirty and we'd go like, okay, well we could get ready,
(23:37):
but like, if the scene is I come out of
the shower in a towel, that's going to dictate one look.
And if the scene is I'm going to the grocery store,
that would be a different look like and we don't know.
Speaker 3 (23:50):
So it's hard. We're here, but it's hard for us
to really get ready.
Speaker 2 (23:54):
And then they would we would go to the set
to Susan's house and be standing there with a director
and a crew and no scene, and then eventually a
scene would come. They would hand it to you. You
would literally learn it in thirty seconds, try to block
through something, and then go back and get ready and
then come back and shoot. And so I know that
(24:15):
we are and it'll be interesting to see if we
if we see that in the work, because I do
think everyone involved in this show is a super high
level of talent, and it was kind of like, you know,
people were able to pull it together, but it certainly
isn't an ideal thing?
Speaker 1 (24:30):
Is this because you were just one episode ahead each
week that you were filming episodes that then were airing
one or two weeks out.
Speaker 5 (24:39):
I do think that played a part.
Speaker 2 (24:42):
I think things got really got really cramped up and
this you know, I don't know that this is completely
unique to Desperate Housewives. I think it was a pretty
extreme example like as it went on, but you know,
like I think Doug was sort of alluding to like
you didn't know if it was going to be a
big hit, like he was talking about his contract negotiations
(25:03):
and like and Mark saying, we don't know if it's
going to be a hit.
Speaker 3 (25:06):
You know, we don't And so I think.
Speaker 2 (25:10):
When if you don't know, there could be the thing
of where it just all happened so fast and so
intensely and so huge with such a big light on
it that it.
Speaker 1 (25:21):
Just like and that's also live TV. I mean, now
you look at how a TV show gets developed, and
there's no way that you're going to start filming until
almost most of the scripts are done. It's also most
TV shows are ten episodes for eight episodes, yeah.
Speaker 5 (25:34):
Twenty three.
Speaker 4 (25:35):
I keep getting this image in my head of like
a roller coaster going up that all the way up
to the top and then not knowing, like not knowing
where what's coming on that other edge. It's just like now,
We've made it here, and now what comes next? Is
there a track or is there not a track? Is
there a loop coming up? You know?
Speaker 5 (25:54):
That's kind of how I feel like.
Speaker 2 (25:55):
It's so so I think this Zach thing is definitely
like a I don't know if you we don't have
to call it like an error or whatever, but it's
like a hole that that, like you said, fart, doesn't
quite make sense.
Speaker 1 (26:05):
Well, So, speaking of Zach, you have Mike and Susan,
who seemed desperate to have sex again. Susan won't have
sex in Mike's house because she says, I like to
have my things around me.
Speaker 5 (26:18):
Yeah, I think that's reasonable. I think that's so it's
annoying too.
Speaker 4 (26:22):
We should point out that the thing that really sends
them into the whole sex plan kind of off the
rails is because Carl.
Speaker 5 (26:29):
Damn Carl always Heart the Heart, the Heart.
Speaker 3 (26:33):
Want to come over that weekend.
Speaker 4 (26:35):
So Julie shares that he and Brandy may have broken up,
which is kind of a big point.
Speaker 5 (26:41):
It's kind of an interesting thing, right.
Speaker 4 (26:42):
Because that's who he left Susan for, and that he's
he's now he's dealing with that, and so he can't
take Julie anymore. So now Julie is going to be home,
and that is spoiling Susan and Mike's sex plans.
Speaker 1 (26:55):
Yes, because Susan does not all want to go over
to Mike's house and Julie is at home.
Speaker 5 (26:59):
But probably making out upstairs by the way, I herself, So.
Speaker 2 (27:04):
Wait, behind the scenes were Julian and Zach. Was it
the one kiss and then no more?
Speaker 4 (27:10):
I believe it was probably the one kiss and no
more at this point. That's what I'm assuming was going on,
because I think there was just there's Julie is such
a good girl, even though she's hiding this big secret
right now, like to her core, I think she was
probably not prepared to go from one caught off guard
kiss to like being comfortable with a boy in her
(27:30):
room just making out. So I think it was probably
pretty tame up there, just actually sharing Chinese food.
Speaker 1 (27:34):
I agree, And so we have on the other side Susan,
who's dressed up in super sexy blue lingerie. She's turning
on music. Mike's gonna come over because Julie's.
Speaker 5 (27:44):
Out, Al Green's come and take me. I thought that
was a great choice.
Speaker 1 (27:49):
And I think you singing that scene, Ma is so genius,
and she leaves, and Susan leaves the little note on
the door that says come on in, and of course
then she hears poor Zach who's caught in the middle
trying to sneak out, but she thinks it's Mike coming
up the hallway. Eventually Mike does come in. Susan has
(28:09):
this snaff who where she now thinks there's someone breaking in,
which there kind of is accidentally ends up hitting Mike
in the.
Speaker 5 (28:15):
Face with a thigh master.
Speaker 3 (28:17):
Do you know what a thigmester is?
Speaker 1 (28:18):
Yes, Suzanne Summer, Oh.
Speaker 5 (28:22):
Yeah, maybe I didn't see that weapon of choice and
understand what it was.
Speaker 1 (28:26):
I understood what it was. I have to say, my
good friend Violet is actually Suzanne Summer's granddaughter. Oh so
I a little inside knowledge to knowing who created the
thigh master. Okay, hits Mike in the face with the
thigh master, which is so funny, and then of course
they both look up to see Zach. Do you remember mom,
(28:47):
what shooting that scene was like? It's such good again
physical comedy.
Speaker 2 (28:52):
It's that kind of memory. And you're talking about the
lingerie and the and the singing and the roses and yeah,
it's it's loose sometimes memories for me, I don't know
if you guys feel this way, like they go right
into like good or bad, like you have no specificity.
(29:14):
But like so if you see somebody you haven't seen
in a really long time and you don't remember their
name and you don't really remember how you met them,
but you know that you've had an interaction and and
you're and I will get this thing of like I
know this is good, like whatever I had with this
person which I can't remember, is good. Or I'll feel like,
oh this was not good, like whatever this was awkward.
(29:36):
So I'm having a lot of good feelings about it.
I feel like, again, these kinds of scenes are for
me in the show were very discovered and choreographed, and
that work was done with either the steady cam or
the or like a camera on a dolly. And I
(30:02):
remember probably being very you know, I'm pretty shy when
it comes like I've never walked around. I wish actually
my whole life that I'd walked around with more confidence
in my body, Like I never was the person that.
Speaker 1 (30:15):
Was just like I have a killer body, which is crazy,
but I I.
Speaker 2 (30:19):
Yeah, I'm well, thanks, I guess, And it was a
waste of time for sure, because the point is it
doesn't matter if if anybody else thinks you have a
killer body or not. You should feel that you have
one because it's yours and it can do magical things
and it's awesome. But I never really felt that way
about myself, So I'm sure that I was quite self
conscious and making sure that I was, like, probably I
(30:40):
didn't eat the day before or something.
Speaker 5 (30:42):
You know, she's like when they call cut, she's using
the time ass.
Speaker 2 (30:49):
But all of I agree with you that I loved
the work that I did. I the choice to sing,
I'm sure that was mine. It's so playful, It's really playful.
It fell it felt truthful, like it felt like private,
you know what I mean. It felt like how you
would maybe behave when you thought you were alone and
(31:09):
excited about something.
Speaker 1 (31:11):
I've had that I've had, the like dance around my
kitchen excited to go on a date, singing to myself.
Speaker 5 (31:18):
I totally have done that kind of giddy internal moment.
Speaker 3 (31:21):
It's a beautiful moment, and it is.
Speaker 4 (31:23):
So funny when Mike comes around the corner, thinking I mean,
you've set the groundwork for him to assume he's walking
in for sex. Yes, probably, just so excited. And then
he rounds the corner and gets smacked upside the head.
I mean, wow, talk about mixed signals.
Speaker 1 (31:38):
Yeah, well, I mean just to follow this storyline through
a little bit. Then we have, of course, things are foiled.
We discover that Julie in fact has been hiding Zach,
and we have this conversation between Julie and Susan, which
I really thought this scene was so interesting because Julie
(31:59):
is sitting downstairs and Susan comes downstairs in her pajamas,
and Julie is upset at Susan. And as a writer,
I was looking at how the scene not just was
written but was also directed, and all of the elements
of how it was directed, the wardrobe, the set design,
the postures that both of you take, and I thought
(32:21):
it so beautifully illustrated the inversion of roles between Susan
and Julie, because we have Julie sitting in an armchair
that kind of looks like a place an adult parent
would be sitting reading a book, which feels like very
adult action, and we have Susan sort of trepidaciously creeping
down the stairs, almost like she is the teenager getting
(32:44):
caught by her mom. And even in the wardrobe, I
think Susan looks like a teenager in this scene. She
has this which is so wide twok, this short sleeve
shirt with a long sleeve striped shirt underneath it, and
I'm like, I feel like I wore that when I
was twelve or thirteen. And then Julie is kind of
in like a cardigany sweater, and I just thought, wow,
(33:06):
the dynamic of feeling like Julie is the mom and
Susan is the teenager, which is then sort of the
content of the scene too, is it's what Julie says
and is almost scolding Susan for doing what I think
any parent would do, which to say, you can't hide
your friend in your room.
Speaker 2 (33:25):
Yeah, but she goes back and she talks about, you know,
how bad I was when the divorce happened, and how
absent I was as a mother with this example and
that example, and yeah, I'm this is another way, so
Susan can't cook, and Susan was not as good of a.
Speaker 3 (33:43):
Mother as well.
Speaker 1 (33:44):
I just I mean, and I think it's really smart
how this whole scene was pieced together to not just
in the dialogue, but in every bit of action really
reflect this strange inverted dynamic between I reallylie.
Speaker 4 (33:59):
I love that you were able to view it from
all those different angles, and that for you, all of
those different components really made it ring true and feel
very grounded. I think that this narrative for Susan and
Julie kind of continues if I remember throughout the show
a bit with this idea of obviously we've talked about
(34:20):
the dynamic between them being often more like peers or
friends than it is parent child or mother daughter. And
I do think it's fair what Julie says. I think
it's fair for her to say, Hey, you are now
taking this parental role and this moral high ground here,
but I don't feel comfortable listening to you right now
(34:42):
because it doesn't feel like that is a role you've
often occupied, is certainly recently and I but to Susan's
credit in this particular episode, she doesn't just get defensive
and say, well, you're wrong, and I'm your mom and
I made the decision and that's the law. She does
reflect because we see her later go to Mike and say,
(35:03):
she's kind of right. I leaned pretty heavily on her,
and it's because she's the person who's around and sharing
my space and I needed someone and you know. So
it's not like I think that they're the dynamic we
have notes on in the sense of for her how
she could be a better mother.
Speaker 5 (35:20):
But I think that it also has.
Speaker 4 (35:23):
So informed how strong their bond is, that they did
have that kind of level of openness, and that Julie
obviously kind of likes taking care of Susan in a
way too. It gives her a sense of purpose and identity.
So I'm excited to see obviously where their relationship continues
to grow and unfold.
Speaker 5 (35:42):
But I thought it was kind of a I.
Speaker 2 (35:44):
Think it's, you know, you're giving all of these families
on with Seria Lane a problem, you know, and I
think Susan, other than like she has no love life,
you know, is the it's the least problematic, do you
know what I mean? And so I think it's actually
a good flaw for Susan. I think it's a reasonable
(36:09):
flaw that she leans too heavily into her daughter as
a friend and a support system and that's not a
great conscious choice for a parent to make of their child,
at least in my judgment. But you don't want your
characters to be perfect. You want them to be flawed.
You want them to be able to grow. So, I mean,
(36:32):
I don't remember where this goes. It's not entirely with
confidence that I believe that the payoff is going to
be correct, but I'm willing to watch.
Speaker 1 (36:49):
Obviously, we have so many flawed characters. And speaking of
flawed characters, I think we have to give a little
time to talk about Gabby and Carlos's relationship. You know,
we have Carlos is now in jail and Gabby is
looking for the passport while the government starts seizing Carlos's assets,
and I love I think. I don't know if this
(37:10):
is my favorite line award, but it's my favorite line
mixed with the direction. Okay, when Gabby says, people don't
just become poor overnight, and then we hardcut to the
tow truck outside of their house, loading on her sports
car onto the tow truck, and she runs out and
(37:31):
she's so proud that she yells after the tow truck
as it's going away, and the neighbors across the street
are kind of watching. She goes, you call that a
paint job, don't bring it back and tell it's perfect.
And it's this sad attempt to kind of hold on
to the lifestyle that is starting to crumble around her
that she's really not in control of. And I think
(37:53):
this leads her to really try to hold onto her
lifestyle by taking everything in the house.
Speaker 3 (38:01):
That's the funny scene.
Speaker 1 (38:02):
It is such a funny scene that they could possibly seize,
including the pop art photos of her selle of them,
all three of them. I'm like, I don't know that
they're going to take those and wheeling it across the streets.
Speaker 5 (38:17):
That is what I gave my most desperate moment for
this episode.
Speaker 3 (38:20):
She couched down the street.
Speaker 4 (38:21):
The wheeling the furniture cart piled high with all the things,
shoving it down the street over to Breeze Girl.
Speaker 2 (38:27):
Eyes wondering how she did that, Like what, like if
there was wires or something out of frame on the
other side, like helping her pull it. It seemed like
a lot for her to push by herself, didn't it.
Speaker 1 (38:40):
Yeah, I mean I feel like.
Speaker 2 (38:41):
I kind of was also concerned that it was all
going to fall all over the place, but I mean
it didn't. So it must have been positioned well to
be able to shoot that over and over.
Speaker 1 (38:51):
Yeah, or glued on there somehow, I mean. And I
have to say they are really good, the writers about
giving Eva and Gabby this again. It reminds me of
when she's mowing the lawn in her ball gown. You know,
she's always in these fabulous heels and this little outfit,
and now she's pushing like a couch and a dining
table and all the chairs and all this art down
the street.
Speaker 4 (39:11):
And I think it's made funnier by the fact that
she's so tiny, you know, she's such a teeny tiny person,
and so she's so dwarfed by these things that it's
just funny. It sets us up to find that very funny.
Speaker 1 (39:22):
I mean, and we Brie, who has enough issues of
her own, because she has just found out that her
husband is cheating on her and that he's had a
heart attack and now he's in the hospital, and when
she goes to meet him, she sees the person who
signed him in is Mazy Gibbons.
Speaker 5 (39:38):
Yeah, can you imagine.
Speaker 4 (39:39):
I mean, also, I want to go back to the
very beginning of this episode, because that's where my favorite
line from the episode comes from, which is in the
very beginning, Brion rex Are. They have a scene at
home and Brie asks him, were you with a woman?
She because she smells his jacket. Yeah, and she says,
were you with a woman? And then they have this
moment where she's sort of realizing that yes, he is
(40:02):
maybe seeing other women, and she gets incensed that he's
bringing that kind of energy into their house and all
these things, and she yells out Andrew Danielle, Daddy's gonna
fordicate for us, And yeah, that was my favorite line
of this episode. It was just it was just so great.
Speaker 2 (40:18):
Mine was actually when she is finally in his hospital
room and you know, she's like committed to helping nursing
him back to health, but only because she goes over
and tells him that she is literally getting the best
lawyer and she's going to take everything from him and
et cetera, et cetera. And then she says, I'm so
(40:41):
glad you didn't die before I got a chance to
tell you that.
Speaker 5 (40:45):
Yeah, I know, I know.
Speaker 1 (40:47):
At the end of this episode, Bree goes evil and
I have to say. Gabby also goes a little evil.
You know. We have Carlos tell her about the hidden
panel in the back of the closet where he's keeping
his passport.
Speaker 3 (40:59):
Tell her what pas.
Speaker 5 (41:01):
Oh yeah, that was amazing me too.
Speaker 3 (41:03):
I love that scene.
Speaker 2 (41:04):
So we've got Gabby and Carlos in the in this
sort of room where you can go in a jail
where you can talk to, you know, somebody from the outside,
and they're not allowed to touch, but somehow they're allowed
to lean in and kiss.
Speaker 1 (41:17):
Well, they have to keep their hands on the table
to keep their.
Speaker 2 (41:19):
Hands on the table, and so when they lean in
to kiss, Carlos gives her all the secret information that
she needs.
Speaker 3 (41:28):
And I just I thought that scene was incredible and.
Speaker 1 (41:30):
I thought it was such an interesting turn for Gabby
because Gabby actually feels very repentant over her affair with John.
She seems like she's actually really missing Carlos's presence in
the house. And when they first kiss, it's so genuine
on her end. It feels like she really has missed him.
And then he whispers in her ear and you watch her,
I mean, Eva does this really well? You watch her
(41:53):
turn and go, oh my god, you're not leaning in
to genuinely kiss me, you're leaning in to ask me
to cover up for you.
Speaker 2 (42:00):
And yeah, and also, you're not a good guy. You're
not a good guy who got taken by Tanaka your boss.
Speaker 3 (42:06):
You're actually the bad guy.
Speaker 4 (42:07):
You're part of the problem. And it's after he gives
her the compliment. It's after the kiss. Comes from the
fact that he says, I didn't know how you would
handle something like this. I didn't know what you were capable,
essentially of. And I'm amazed by how strong you are.
And you are a good wife. And of course, all
the way up until this point, she's been thinking she's
a terrible wife because she's having this affair with you
(42:29):
know whatever. But he says that, and then they have
she says, I'm going to kiss my husband, and so
she thinks it's this tender, romantic moment to your point, Emerson,
and then he reveals that he's been He's in on it.
Speaker 5 (42:43):
He's in on it, and she's like what.
Speaker 1 (42:45):
And she one ups him. She goes and she gets
the papers in the passport, but then she doesn't burn
the papers. She burns the passport and I'm really left
wondering what does this mean for her intentions about the
future of their marriage.
Speaker 2 (42:59):
Well, we're to find out when she gets you know,
when it gets real with where money ends up in
her life.
Speaker 3 (43:06):
Yeah, or the lack thereof.
Speaker 1 (43:08):
And well, speaking of finding things out, we jumping back
to Lynette. She has installed the nanny cam. Yes, and
she watches the best montage. When she gets in bed
with popcorn, she plugs it in and she watches Claire
the Nanny be Super Nanny so so so well, no, well.
Speaker 3 (43:28):
First she watched at first.
Speaker 2 (43:29):
Okay, so at first she watches this nanny be Super
Nanny and she's die is so threatening and so you
know she you can just see her like I've lost
my place, I've lost my specialness. I don't matter and
I love this scene so much. So she decides I'm
gonna throw this nanny under the bus, and she gives
(43:51):
the nanny the task of getting her kids to eat
Brussels sprouts.
Speaker 1 (43:55):
Which we've set up at the beginning. They hate eating
because we've seen her not be able to get them
even when she does the cheese trick.
Speaker 2 (44:02):
Yes, yeah, and so there and they're by the way,
they're frozen Brussels sprouts, which I don't know who would
eat frozen Brussels scouts, But she's trying to get her
kids seed.
Speaker 3 (44:11):
So that actually brings me to the food that I
brought in for this episode.
Speaker 2 (44:14):
I made so at Thanksgiving, I make a really lovely
roasted Brussels sprouts with dates and pumpkin seeds and a
balsamic and olive oil sort of situation. And so I
brought those in and we'll have that recipe up online
and it'll be in time for the holidays, which is
when everybody should be eating Brussels sprouts, which are such
a good food for you, and they're so delicious.
Speaker 5 (44:37):
I am unlike the Scavo boys.
Speaker 4 (44:39):
I love Brussels sprouts, and I think obviously they've had
a very big resurgence and rebranding. I mean, Brussels sprouts
used to be hated by everyone universally, and now they're
on like every gastropub menu, every fancy restaurant, every everything
you know.
Speaker 5 (44:52):
So and I'm sure yours are going to be phenomenal.
Speaker 2 (44:54):
But so when she does finally get in bed at
the end of the episode, and she's like ready to
review the camera and she sees the nanny having just
as much trouble, if not more, than she did trying
to get the boys to eat Brussels sprouts. She's gleefully
happy and popping down her popcorn and serving up the
(45:14):
best movie that she can imagine.
Speaker 1 (45:16):
I know, and I mean I feel for her. I
really understand because I feel for her. In the scene
before she says, Okay, this is how I'm gonna, you know,
bring Claire the super Nanny back to Earth. You know,
who can make balloon animals and have triloquist dummies. I'm
gonna task her with Brussels sprouts. But I love that
before she decides to do that, she tries to spend
(45:39):
the day with her kids and read to them from
the book. And she starts to read and they go, well,
Claire does funny voices, and she goes, oh, okay, and
so then she does a funny voice, and Felicity does
this so well, she does a funny voice, and they go,
that's not a funny voice. And she goes, and this
is my favorite line of the episode. I'm just getting
warmed up.
Speaker 4 (46:00):
Well, kids are the toughest critics, aren't they. I mean,
I feel like they can just cut you down to
size so quickly.
Speaker 1 (46:05):
Yeah, yeah, and so she I like that. Lynette gets
the moment of seeing that everyone is just a human
being like herself, even Claire couldn't get them to eat
the Brussels sprouts.
Speaker 2 (46:16):
And then we sort of end on as Zach finally
gets brought home after he gets discovered in the Julie bedroom,
where we don't know where he was fitting under the
bed or in the closet, but he gets discovered and
Mike decides with Susan that the best move is to
take him home, take him across the street.
Speaker 1 (46:36):
I like Mike stepping up in this moment. I feel
like I was like, oh, thank god, Susan finally has
another adult who's not Julie, who's gonna kind of have
her back.
Speaker 2 (46:46):
And he does say that to her when she's admitting,
when Susan is admitting that she, you know, probably did
lean too hard on Julie and she didn't have anybody else,
and he says, well, now you have me, yea, which
is really lovely.
Speaker 5 (46:59):
It is so lovely. It fuels their connection, which is
really nice.
Speaker 1 (47:02):
And he really steps up for Zach too, you know,
he says, yes, I'm bringing you back to your dad,
but also call me. You know, here's my number. I'm
here for you anytime. And of course, yeah, then we
get Zach and Paul having the strangest dinner. At first,
I kind of felt for Paul because he seemed so
genuinely sad and happy to have his son back, and
(47:25):
then he starts force feeding him potatoes.
Speaker 4 (47:29):
Yeah.
Speaker 5 (47:29):
How many times does he ask movie wants potatoes in
that scene?
Speaker 1 (47:32):
Three?
Speaker 5 (47:32):
Yeah, we have this weird scene with.
Speaker 4 (47:35):
Paul and Zach, and their dynamic continues to feel off
putting and uncomfortable, and because we know, obviously as an
audience as well, that Paul is still trying to hide
the fact that Missus Hooper is missing, and Edie in
this episode kind of gets pushed to the point where
she's gonna involve the police, and we have this final
shot of Edie standing outside of Missus Hooper's house and
(47:59):
the police knocking on her door. So we can only
imagine where that's gonna go.
Speaker 1 (48:03):
I know, I know, it's a it's a big, juicy episode,
like they all are.
Speaker 2 (48:09):
I almost made potatoes, by the way, it was. It
was a tough call between mashed potatoes and the Brussels sprouts,
but I went with Brussels sprouts.
Speaker 5 (48:18):
I'm glad you went with brussel sprouts. Okay, I love that.
Speaker 3 (48:20):
Well, that was another great episode.
Speaker 5 (48:21):
Yeah, I know.
Speaker 1 (48:22):
And I hope I hope that your people are writing
in to Desperately Devoted Podcast on Instagram d m us
your questions, your favorite moments from the episodes. If you
would cover up for your partner if they were in jail.
Speaker 5 (48:36):
If how long do you think Julie held Zach up
in her room?
Speaker 1 (48:39):
Yeah, if you're pron
Speaker 2 (48:41):
To leave it and we'll keep your secret, and you
know why, because we are desperately devoted to you
Welcome to desperately devoted Join us as we explore the
human experience through the lens of the iconic show Desperate Housewives.
I'm Terry Hatcher, I'm Andrea Bowen, and I'm Emerson Tenny.
Speaker 2 (00:11):
Well, we have something to talk about in episode ten, and.
Speaker 3 (00:15):
It's sex, sex and more sex.
Speaker 2 (00:18):
Some people aren't getting it from where they should be,
and some people aren't getting it at all. And some
people could be getting it if they could only figure
out how to stop getting cock blocked by their ex.
Speaker 1 (00:28):
I'm gonna guess you're talking about Susan. I say.
Speaker 4 (00:33):
Rex is revealed to be having an S and M affair,
while the affairs of the Scavo household involve their high
grade nanny, making Lynette feel inferior and unable to relax
in her newly acquired free time.
Speaker 2 (00:45):
Susan and Mike's intimate intentions are foiled by Carl and
Julie and Zach.
Speaker 1 (00:53):
Gabby ways the benefit of money over love and the
truth and when trust is broken on Wisteria Elane, we
find that it is a very fragile thing. When it's lost,
it can be hard to recover.
Speaker 2 (01:06):
We will not break our trust to you because we
are here for another episode.
Speaker 3 (01:12):
Let's get started, all right.
Speaker 1 (01:14):
Well, hi you guys. Hello, here we are talking about
season one, episode ten, come Back to Me. This episode title,
come back to Me, comes from a song from the
nineteen sixty five musical On a clear Day, you can
see Forever, I can hear it. Yes, Mazy Gibbons. We
open the episode on circling back. I feel like I
(01:36):
had kind of lost sight of her as the pretentious
mom in the school, and now we find out that
she's a BDSM escort.
Speaker 4 (01:45):
Okay, So I had a question for you because I
kind of did remember this storyline I remembered when we.
Speaker 5 (01:51):
Saw Sharon Morris.
Speaker 1 (01:53):
Yeah.
Speaker 5 (01:54):
Yeah, what does that say about me?
Speaker 1 (01:56):
You were impressionable?
Speaker 4 (01:57):
Yes, I was very impressionable, But I did rememberer Sharon
Lawrence's storyline being more than just what it appeared when
she first showed up on the show a few episodes ago.
And so, but for you, Emerson, yes, you just probably
thought she was going to be this high strung PTA
mom this the whole time if she ever reappeared, and
she came back in.
Speaker 5 (02:15):
A big way this episode. So did that catch you
off guard?
Speaker 1 (02:18):
It totally caught me off guard and immediately hooked me.
And I think honestly speaks to something we've been talking
about in a lot of themes of this episode, which
is that there is always more going on behind closed doors.
There's always another identity behind the mask that we present
to the world or the forward facing part of ourselves.
(02:38):
And I mean, I really took the roller coaster ride
of this because at first I saw it was Mazy Gibbons,
I go, oh, my god, Mazi Gibbons is an escort,
Oh my god, she's a BDSM escort, and then Rex
is her client. Yeah. Ah. In the first couple of minutes.
Speaker 2 (02:54):
Did you guys get the sense that she was just
doing it for her own sort of power ego, control,
satisfaction or were they actually paying her?
Speaker 4 (03:07):
Oh?
Speaker 5 (03:07):
I think that she was being paid.
Speaker 1 (03:09):
I thought she was being paid. I also felt like
maybe because she talks about how she her husband maybe
lost his job and she they had to stop going
to their country club. So I felt like maybe this
was something that she picked up partially to make money.
Speaker 2 (03:22):
Money, right, And yeah, I thought that too. But then
as I thought about it and just kind of sat
with it, I thought, oh, maybe I had made that assumption,
but it was she because they do make the point
of saying that they were having financial trouble and they
got kicked out of the country club, and right, so
that's why she decided to start doing this.
Speaker 5 (03:41):
But I think it evolved.
Speaker 4 (03:42):
For her at least, you know, we when character analyzing her.
I think that you're right that the journey for her
maybe started with a need to bring in some extra
money and her creative way of doing that. But then
I think she gets off on the fact that she's
holding everyone. See it's as she says, there's like a
power in it for her that she's keeping all of
(04:03):
these John's secrets.
Speaker 1 (04:05):
Yeah, and especially the secret Rex feels extra loaded because
she makes the comment that when she did get kicked
out of the country club, we realize the woman who
was condescending and sort of pitying to her was Brie,
classic Brie. And now this is her idea of revenge
or a secret of her own.
Speaker 2 (04:26):
Do you guys have feelings about prostitution and its legality
and you know where it's place in history or whatever.
I mean, I'll just admit that while it seems like,
oh this is the I admit this is the time
I tell you that I was a prostitute. No, I
just that word admit sounded so much stronger than.
Speaker 1 (04:47):
I intended to be.
Speaker 5 (04:49):
This is when I reveal.
Speaker 3 (04:50):
This is when I reveal. But I I it didn't.
It seemed you don't have.
Speaker 2 (04:58):
This show does a great job at writing this tightrope
of between like satire and soap and something that feels grounded,
and I think they usually do it really well, and
I felt like this is an example of that, and
it made me, I don't know, feel like not that
(05:21):
judgmental about her, like that she was providing a service
that everybody was above board. I mean, you could be
lying to your spouse, but I mean the people in
the interaction, and it was servicing a need and it
was fulfilling what she needed. And I don't know, it
(05:41):
made me think about an industry that I guess I've
always thought, you know, well that's not great and that's
sort of frowned upon. But it made me look at
it a little differently, well.
Speaker 1 (05:53):
I think, I mean, I do. I think this stood
out to me as a very I mean, we're thinking
about the show airing in two thousand and four, stood
out to me as a very modern take on sex
work and the legitimacy of sex work. You know, this
is an industry that I think has had a lot
of stigma, and of course, in certain scenarios, still does
exist in a place where women are disempowered. But I
(06:15):
think in a lot of scenarios, especially when you like
look at you know, technology today, and I think exists
in a place where women are really actively choosing something
that feels empowered.
Speaker 2 (06:26):
What's the site where everybody's making a bazillion dollars? Right?
Speaker 3 (06:31):
Yeah, Oh my gosh.
Speaker 2 (06:33):
I mean, I guess that's the modern day version of this,
doesn't it.
Speaker 4 (06:36):
I do agree that in this episode we seem to
be the thing that's incriminating is the fact that she
is having an affair with Bree's husband. It's not necessarily
that we're judging her for doing this service or providing
the service to the people in the neighborhood.
Speaker 5 (06:51):
We as an audience and the writers who wrote it.
Speaker 4 (06:54):
The thing that fuels our fire about having an opinion
over it is just because she's wronging Brie.
Speaker 1 (07:00):
I don't really have an opinion. I mean, I don't
have any judgment of her. I'm judgmental of Rex. He's
the one who's married, who's making the choice.
Speaker 2 (07:09):
Like when there's an affair, and the one that's getting
cheated on seems to classically direct their ire at the
female instead of the actual husband partner that is doing
the cheating.
Speaker 3 (07:22):
And I've never understood that.
Speaker 4 (07:23):
I know, Yeah, I know, And I was just going
to say that I'm infuriated because, as we talked about
a couple of episodes ago, when Bree so bravely and
vulnerably goes to Rex and says, I can tell that
there's something you're not getting, and please give me the
opportunity to provide that to you, and he doesn't, and
now we see it playing out like this, and it
(07:44):
just makes me.
Speaker 5 (07:44):
So mad at me.
Speaker 1 (07:45):
I know, I actually wrote down, Oh my gosh, Rex
is such a gas lighter when he says, oh, I
could never tell Brie. I could never tell my wife
about these things that I want to explore that clearly
he's exploring with Mazie, and I thought, no, you could.
She held the door open episodes ago for you to
tell her if something was missing. She point blank said,
(08:08):
is something missing? I want to give that to you,
and he was too much of a coward to reveal
that part of himself to her, which I do think.
You know, I think there's a lot of vulnerability in
admitting a kink or admitting something that you want to explore,
specifically sexually, because I think it opens the door up
(08:28):
to be rejected and to be judged in a way
that there's already so much taboo around sex. To then
receive that immediate judgment from your partner may make someone
like Rex just feel like they absolutely couldn't withstand the rejection.
Speaker 4 (08:43):
And to Mazy's credit, she actually very much is sympathetic
to breathe. I felt right. She talks to Rex and says,
you should talk to your wife about this.
Speaker 5 (08:53):
You clearly still are in love with her. I thought
that was really interesting.
Speaker 3 (08:57):
Yeah you did too.
Speaker 2 (08:58):
I was going to say, like, I'm not going to
ask anybody to like divulge their kink.
Speaker 5 (09:02):
Or you have to use your special voice. Oh I
do have to do.
Speaker 3 (09:06):
So what do you like?
Speaker 5 (09:08):
But I will say.
Speaker 2 (09:11):
About myself, I mean, you know, I haven't been intimate
in a long time, and you know, of course I've
done years of therapy to sort of, you know, figure
out what I could potentially be afraid of. But it's like,
when there's a story like this, it does make me think, like,
(09:32):
have I felt safe enough with a partner too? I
don't know, be able to be honest, Like, is that
something that people typically feel or I think maybe sadly
they maybe don't. Right.
Speaker 4 (09:45):
Yeah, I think in a lot of cases, in a
lot of relationships, it's still a real thing that people
aren't entirely open with one another out of fear of
judgment or just maybe they have a lot of self
judgment about the things that they're into and they are
scared to share that with someone else. Society is not
always on the side of making us all feel included,
and so I think it's still a problem. But I
(10:08):
also kind of feel like I'm getting the sense from
younger generations that it's getting better.
Speaker 1 (10:12):
I have to say, I think a show that just
recently really handled this idea so well and explored it
was dying for sex, That TV show with Michelle Willis right.
Speaker 3 (10:22):
I loved that show. They were great, and you're.
Speaker 1 (10:25):
Right, yeah, And so many different characters, whether obviously it's
Michelle Williams herself or character actors like Robbie Hoffman, who
I adore all of these different actors and characters playing
out in this show, the idea of the vulnerability it
takes to really say I want to investigate what turns
me on and what sex means to me.
Speaker 2 (10:44):
And now that show was That show was actually brilliant
and I and I loved it, I think specifically for
me because yeah, I felt like it kind of broadened
what I could imagine my ability might be if I
ever got into an intimate, really relationship with somebody again,
which you know, other than my cat.
Speaker 3 (11:03):
Away moving on.
Speaker 2 (11:06):
Yeah, so so also after this discovery of his affair,
and by the way, did anybody think the stilettos were
going to go right into his spine when she walks
on his back?
Speaker 4 (11:17):
I just kept thinking out, yeah, out, well, I think,
my gosh, that's what he liked.
Speaker 2 (11:22):
Yes, I thought, like, not just the pain, but like
it to me, it felt like they were going how
did they not puncture alung?
Speaker 1 (11:30):
Like?
Speaker 5 (11:30):
That's well, but maybe they did.
Speaker 3 (11:33):
I mean, that's true. He did have a heart attack.
Speaker 1 (11:36):
He did have to have surgery, right, they pick up
that that's where.
Speaker 3 (11:38):
It came from. Okay, So then we go to Gabby.
Speaker 2 (11:42):
And Carlos and all of the ladies supporting him in
court finding out that he's not going to get bail
because he doesn't have his passport and.
Speaker 5 (11:51):
He's a light risk, I guess, And I thought, oh.
Speaker 1 (11:54):
My god, who misplaces their passport? Like, that's my worst
fear that I lose a passport or on a trip,
that I can't find it in my house. And it
feels I mean, and I think will ultimately potentially come
to be revealed, but it feels suspicious that you can't
find your passport in your own house.
Speaker 2 (12:12):
Right, And in this case, it ends up being hidden
in a secret panel.
Speaker 5 (12:16):
Yes, so awfully convenient, but he can't find it.
Speaker 2 (12:20):
You have Lynette, who now this is the first episode
where she scored in the last episode the high Grade Nanny. Yes,
she's got the new nanny. She's now got some free time.
I actually kind of remember this. I mean, I just
remember feeling how difficult it was as a mom to
(12:42):
take time for myself, even when I had a support
system in place to allow me to do that.
Speaker 1 (12:48):
Why was that? Did you feel guilty?
Speaker 2 (12:50):
Did you feel guilt? I think it's guilt. I think also,
I think you get very wrapped up in your identity
as a mom, so much so that you forget how
to just be you.
Speaker 3 (13:02):
You forget how to.
Speaker 2 (13:05):
Walk walk out into the world and not be seen
as a mom carrying a baby, or a mom holding
the hand of a toddler, or a mom picking up
goldfish off the ground or a mom wiping you know,
yogurt off of a off of a shirt like this
is how you interact with the world and then to
suddenly go, Okay, I'm gonna go just be myself.
Speaker 5 (13:30):
It's it's just the story.
Speaker 2 (13:33):
It's disorienting and it's unpracticed, and as a mom about
to be in hindsight, I would encourage young moms to
not let that happen, you know, to find time to continue,
even if it's little amounts of time, to continue to
have a sense of your identity that is separate.
Speaker 4 (13:55):
You know, this is making me think of something so
interesting and relevant to not only the conversation we're having,
but also the fact that we are involving this show
Desperate Housewives, because I recently had dinner with Joy who
played Marsha's daughter, Yes, who played Danielle, and she is
a new mom, and we were talking obviously about this
(14:16):
chapter of my life, in this chapter of her life,
and she basically said that same thing to me. She said,
this is not I don't know if you're going to
hear this advice a lot, and I don't even know
if it's popular advice. I think she actually said it
is unpopular advice from her experience, but that she feels
it's really important to leave early on, like practice leaving
(14:37):
your baby earlier than you think, earlier than you feel
ready to, and earlier than maybe someone else should tell you,
know tells you you should because of that, because of
the feeling of it's very hard and disorienting to take
that identity off, even though you never really do.
Speaker 5 (14:54):
But and I appreciated it.
Speaker 4 (14:56):
I actually made a note as well about this particular thing,
and I said, I so appreciate the writers giving this
amount of thought to the struggle and often opposing feelings
that come from being in your house with your children.
Speaker 5 (15:07):
And out of your house without your children.
Speaker 4 (15:08):
It's like Lynette clearly was begging for support and begging
for the opportunity to have some time to herself, and
then when she gets it, she's totally paralyzed. She doesn't
know what to do. So she has that scene with breathe.
That's really interesting, And yeah, I thought that was cool
that our writers were giving such a well rounded example
of the complications of parenting.
Speaker 2 (15:28):
I think sometimes in the pursuit of being like the
perfect mom, you forget that by demonstrating imperfection, you're actually
allowing your child to unconsciously understand that they don't have
to be perfect in this essence of leaving, you know,
(15:52):
having your child see you take care of yourself is
unconsciously telling them that they are worthy of taking care
of themselves. And it's a tricky thing because no mom
is running around trying to be perfect, giving, giving, given, giving,
never making any time for herself because she's trying to
do damage on the kid. But it is kind of
(16:16):
a byproduct that if they don't see you practice your
self care, they don't know where to learn that from.
Speaker 1 (16:24):
Right question though, for you and all this fantastic parenting advice, yes, nanny.
Speaker 5 (16:37):
Cam oh, yes or nay?
Speaker 1 (16:39):
Okay?
Speaker 2 (16:40):
Well, well yes, so I think I think nanny cam yay.
And you know I recently because you guys know that
I take care of my ninety year old parents.
Speaker 1 (16:50):
Yes, I put.
Speaker 2 (16:53):
Nana Cams granted cam grannycams. I put grannycams, and because
I every night when I get in bed, my house
is like down the street. But I look at the
ring camera and I can see what time they went
to sleep, if they went to sleep. I can see
if I get like an alert from the alarm company.
(17:15):
I can see if my parents just forgot and opened
the door, or if, like God forbid, there was a
break in.
Speaker 3 (17:22):
But it gives me a lot of peace.
Speaker 2 (17:25):
And it was actually how when my mom was in
the hospital and I couldn't get a caregiver for my dad,
who has dementia, and he forgot that he had already
taken his pills because he has dementia, and he took
them all a second time. I witnessed that on the
ring camera and was able to call the doctor and
make sure that we had the right help in case
(17:47):
my dad got sick from doubling up on pills.
Speaker 3 (17:50):
And so I love the ring camera.
Speaker 2 (17:55):
Proing, but I think, you know, if you're going to
have one, I think you have to approach it with
respecting privacy. Like I'm not trying to invade my parents' privacy.
I'm trying to give them as much independence as I can,
but still keep them safe, right, and so that is
the way in which I use it.
Speaker 4 (18:12):
I think I had the same question. I'm curious to
hear your thoughts as well, Emerson. I think that when
it comes to nanny cams, I think that as long
as you disclose that someone's being recorded inside your home,
then I guess it's okay. I don't have any I
(18:33):
don't know if I have plans to have a camera inside,
you know, that my house when it comes to assistance
with the baby and things like that. I did find
the montage where Lynette is holding the little bear that
she's stashed the camera in, and she's doing all of
the different ideas, playing all of them out of like
and loving, a loving nanny rocking the bear, and then
(18:56):
a crazy nanny like shaking the bear. I thought that
was a very very very.
Speaker 5 (19:00):
Funny and well done.
Speaker 4 (19:02):
But yeah, I think I get uncomfortable with just cameras
in the world in general these days, Like I buck
up against the fact that it's kind of impossible to
walk down the street and not have someone recording something,
and you just happen to be in the background of
someone's video and you don't consent to that, and you know,
or like I am aware of it if I'm doing
it and there's someone and I'm thinking, well, they're now
(19:23):
just on my phone and I don't know them, and
they didn't say that was okay, And that's just kind
of everywhere. So maybe I take too I give it
too much thought, and I get too trapped in this
idea of it's not respectful of someone else's privacy. So
I think the big thing of disclosing, hey, you're on
candid camera.
Speaker 3 (19:41):
I we never had one like with for you, Yeah,
I never had one.
Speaker 5 (19:46):
Are you pro nannycam or anti nannycam or somewhere in between.
Speaker 1 (19:49):
I think I fall on your side, Andrew. I know
that I didn't grow up with a nanny cam. I
do feel weird about invading someone else's privacy, but I
also like when it comes to my future children and
knowing what is going on with them. I think disclosing
you know, just you know, we have cameras in our
house and working here means that you may be filmed
(20:14):
while you're here. I think that is feels like the
best of both worlds, where you are able to monitor things.
Maybe you also have a sense of like if you
were the nanny, you have a sense of self censorship
if you think that you're being viewed. I mean, I
hope you wouldn't do anything even if you weren't being watched.
But sometimes that does, you know, make people think twice
about their response or behavior to things.
Speaker 4 (20:35):
Speaking of wanting to know what's going on with your
kid in the house, then that kind of leads us
into Susan and Julie.
Speaker 1 (20:41):
Wow, okay, which I have to say the takeout scene
with Mike and Susan and Julie. At first, I'm just
it's everything that I've wanted for Mike and Susan. They're
so cute. I know, they're such a cute couple. They're
eating out of each other's takeout boxes. I don't know why,
like Chinese takeout box are so romantic to me. Oh,
(21:02):
there's just this whimsy and this kind of feeling of
you could have just moved into a place with your partner.
Speaker 5 (21:08):
Because we always see it.
Speaker 4 (21:09):
It's in like every movie and TV show and people
are having their first night in their new place, or
they're staying up late in the office and romantic sparks
are flying. It's always over Chinese takeout, and they're always
using chopsticks to like, oh, I'm just gonna pluck this out,
and you know I'm gonna feed you. Now.
Speaker 5 (21:22):
It's like messaging we have received. So now we are like, yep,
those are romance.
Speaker 1 (21:26):
That's romance, right exactly, Low Maane is romance. And and
speaking of using your chopsticks, Julie is loading up her plate.
And I wrote, Okay, now, how could Julie be hiding
Zach this whole time? I'm shocked. I'm shocked that Susan
(21:47):
as a mother, never once goes in her daughter's room.
I'm shocked at the room is big enough that he
could be hiding in there. How is he using the bathroom?
I mean obvious some of these questions do get answered
later in this episode, or you know, he gets exposed.
But I found this believable and far fetched.
Speaker 3 (22:10):
Yeah, far fetched is the right word. I mean, do
we have a sense of how long this is?
Speaker 4 (22:14):
No?
Speaker 5 (22:14):
I also wrote how long has this been going on?
Speaker 2 (22:16):
Because because in other people's time, you know, like in
other characters in like Carlos being in jail or you know,
Rex having an affair, like it actually feels like quite
a bit of time. If you just went and looked
at the last episode, I think that was when Zach
broke out, right, like, so it or maybe two episodes ago.
Speaker 3 (22:37):
Yeah, so it maybe hasn't been.
Speaker 2 (22:39):
But it does feel like if Mike and Susan are
now at the almost I love viewpoint, like and they're
they're having sex, or they're at least.
Speaker 5 (22:46):
Trying to have sex desperately trying to happen.
Speaker 2 (22:48):
It does feel like it's been more than days. So
I think that that might be down to that the
writing is happening in real time that I sought a
sort of recall.
Speaker 3 (23:00):
I mean, I know.
Speaker 2 (23:03):
That the train comes off the tracks at some point.
It may not be until season two, but there was
a point where and we'll have to get Dina in here,
who was my hairdresser, to talk to.
Speaker 5 (23:15):
Me about it.
Speaker 3 (23:16):
We want to tell her all.
Speaker 2 (23:17):
Things hair on the show, because the hair played a
big part. But also just like behind the scenes, there
were times when we would show up at five thirty
in the morning for hair and makeup, and we would
be in my trailer and there would be no scene
written and they would say, so, yeah, if you could
get ready and then go to set at like six
thirty and we'd go like, okay, well we could get ready,
(23:37):
but like, if the scene is I come out of
the shower in a towel, that's going to dictate one look.
And if the scene is I'm going to the grocery store,
that would be a different look like and we don't know.
Speaker 3 (23:50):
So it's hard. We're here, but it's hard for us
to really get ready.
Speaker 2 (23:54):
And then they would we would go to the set
to Susan's house and be standing there with a director
and a crew and no scene, and then eventually a
scene would come. They would hand it to you. You
would literally learn it in thirty seconds, try to block
through something, and then go back and get ready and
then come back and shoot. And so I know that
(24:15):
we are and it'll be interesting to see if we
if we see that in the work, because I do
think everyone involved in this show is a super high
level of talent, and it was kind of like, you know,
people were able to pull it together, but it certainly
isn't an ideal thing?
Speaker 1 (24:30):
Is this because you were just one episode ahead each
week that you were filming episodes that then were airing
one or two weeks out.
Speaker 5 (24:39):
I do think that played a part.
Speaker 2 (24:42):
I think things got really got really cramped up and
this you know, I don't know that this is completely
unique to Desperate Housewives. I think it was a pretty
extreme example like as it went on, but you know,
like I think Doug was sort of alluding to like
you didn't know if it was going to be a
big hit, like he was talking about his contract negotiations
(25:03):
and like and Mark saying, we don't know if it's
going to be a hit.
Speaker 3 (25:06):
You know, we don't And so I think.
Speaker 2 (25:10):
When if you don't know, there could be the thing
of where it just all happened so fast and so
intensely and so huge with such a big light on
it that it.
Speaker 1 (25:21):
Just like and that's also live TV. I mean, now
you look at how a TV show gets developed, and
there's no way that you're going to start filming until
almost most of the scripts are done. It's also most
TV shows are ten episodes for eight episodes, yeah.
Speaker 5 (25:34):
Twenty three.
Speaker 4 (25:35):
I keep getting this image in my head of like
a roller coaster going up that all the way up
to the top and then not knowing, like not knowing
where what's coming on that other edge. It's just like now,
We've made it here, and now what comes next? Is
there a track or is there not a track? Is
there a loop coming up? You know?
Speaker 5 (25:54):
That's kind of how I feel like.
Speaker 2 (25:55):
It's so so I think this Zach thing is definitely
like a I don't know if you we don't have
to call it like an error or whatever, but it's
like a hole that that, like you said, fart, doesn't
quite make sense.
Speaker 1 (26:05):
Well, So, speaking of Zach, you have Mike and Susan,
who seemed desperate to have sex again. Susan won't have
sex in Mike's house because she says, I like to
have my things around me.
Speaker 5 (26:18):
Yeah, I think that's reasonable. I think that's so it's
annoying too.
Speaker 4 (26:22):
We should point out that the thing that really sends
them into the whole sex plan kind of off the
rails is because Carl.
Speaker 5 (26:29):
Damn Carl always Heart the Heart, the Heart.
Speaker 3 (26:33):
Want to come over that weekend.
Speaker 4 (26:35):
So Julie shares that he and Brandy may have broken up,
which is kind of a big point.
Speaker 5 (26:41):
It's kind of an interesting thing, right.
Speaker 4 (26:42):
Because that's who he left Susan for, and that he's
he's now he's dealing with that, and so he can't
take Julie anymore. So now Julie is going to be home,
and that is spoiling Susan and Mike's sex plans.
Speaker 1 (26:55):
Yes, because Susan does not all want to go over
to Mike's house and Julie is at home.
Speaker 5 (26:59):
But probably making out upstairs by the way, I herself, So.
Speaker 2 (27:04):
Wait, behind the scenes were Julian and Zach. Was it
the one kiss and then no more?
Speaker 4 (27:10):
I believe it was probably the one kiss and no
more at this point. That's what I'm assuming was going on,
because I think there was just there's Julie is such
a good girl, even though she's hiding this big secret
right now, like to her core, I think she was
probably not prepared to go from one caught off guard
kiss to like being comfortable with a boy in her
(27:30):
room just making out. So I think it was probably
pretty tame up there, just actually sharing Chinese food.
Speaker 1 (27:34):
I agree, And so we have on the other side Susan,
who's dressed up in super sexy blue lingerie. She's turning
on music. Mike's gonna come over because Julie's.
Speaker 5 (27:44):
Out, Al Green's come and take me. I thought that
was a great choice.
Speaker 1 (27:49):
And I think you singing that scene, Ma is so genius,
and she leaves, and Susan leaves the little note on
the door that says come on in, and of course
then she hears poor Zach who's caught in the middle
trying to sneak out, but she thinks it's Mike coming
up the hallway. Eventually Mike does come in. Susan has
(28:09):
this snaff who where she now thinks there's someone breaking in,
which there kind of is accidentally ends up hitting Mike
in the.
Speaker 5 (28:15):
Face with a thigh master.
Speaker 3 (28:17):
Do you know what a thigmester is?
Speaker 1 (28:18):
Yes, Suzanne Summer, Oh.
Speaker 5 (28:22):
Yeah, maybe I didn't see that weapon of choice and
understand what it was.
Speaker 1 (28:26):
I understood what it was. I have to say, my
good friend Violet is actually Suzanne Summer's granddaughter. Oh so
I a little inside knowledge to knowing who created the
thigh master. Okay, hits Mike in the face with the
thigh master, which is so funny, and then of course
they both look up to see Zach. Do you remember mom,
(28:47):
what shooting that scene was like? It's such good again
physical comedy.
Speaker 2 (28:52):
It's that kind of memory. And you're talking about the
lingerie and the and the singing and the roses and yeah,
it's it's loose sometimes memories for me, I don't know
if you guys feel this way, like they go right
into like good or bad, like you have no specificity.
(29:14):
But like so if you see somebody you haven't seen
in a really long time and you don't remember their
name and you don't really remember how you met them,
but you know that you've had an interaction and and
you're and I will get this thing of like I
know this is good, like whatever I had with this
person which I can't remember, is good. Or I'll feel like,
oh this was not good, like whatever this was awkward.
(29:36):
So I'm having a lot of good feelings about it.
I feel like, again, these kinds of scenes are for
me in the show were very discovered and choreographed, and
that work was done with either the steady cam or
the or like a camera on a dolly. And I
(30:02):
remember probably being very you know, I'm pretty shy when
it comes like I've never walked around. I wish actually
my whole life that I'd walked around with more confidence
in my body, Like I never was the person that.
Speaker 1 (30:15):
Was just like I have a killer body, which is crazy,
but I I.
Speaker 2 (30:19):
Yeah, I'm well, thanks, I guess, And it was a
waste of time for sure, because the point is it
doesn't matter if if anybody else thinks you have a
killer body or not. You should feel that you have
one because it's yours and it can do magical things
and it's awesome. But I never really felt that way
about myself, So I'm sure that I was quite self
conscious and making sure that I was, like, probably I
(30:40):
didn't eat the day before or something.
Speaker 5 (30:42):
You know, she's like when they call cut, she's using
the time ass.
Speaker 2 (30:49):
But all of I agree with you that I loved
the work that I did. I the choice to sing,
I'm sure that was mine. It's so playful, It's really playful.
It fell it felt truthful, like it felt like private,
you know what I mean. It felt like how you
would maybe behave when you thought you were alone and
(31:09):
excited about something.
Speaker 1 (31:11):
I've had that I've had, the like dance around my
kitchen excited to go on a date, singing to myself.
Speaker 5 (31:18):
I totally have done that kind of giddy internal moment.
Speaker 3 (31:21):
It's a beautiful moment, and it is.
Speaker 4 (31:23):
So funny when Mike comes around the corner, thinking I mean,
you've set the groundwork for him to assume he's walking
in for sex. Yes, probably, just so excited. And then
he rounds the corner and gets smacked upside the head.
I mean, wow, talk about mixed signals.
Speaker 1 (31:38):
Yeah, well, I mean just to follow this storyline through
a little bit. Then we have, of course, things are foiled.
We discover that Julie in fact has been hiding Zach,
and we have this conversation between Julie and Susan, which
I really thought this scene was so interesting because Julie
(31:59):
is sitting downstairs and Susan comes downstairs in her pajamas,
and Julie is upset at Susan. And as a writer,
I was looking at how the scene not just was
written but was also directed, and all of the elements
of how it was directed, the wardrobe, the set design,
the postures that both of you take, and I thought
(32:21):
it so beautifully illustrated the inversion of roles between Susan
and Julie, because we have Julie sitting in an armchair
that kind of looks like a place an adult parent
would be sitting reading a book, which feels like very
adult action, and we have Susan sort of trepidaciously creeping
down the stairs, almost like she is the teenager getting
(32:44):
caught by her mom. And even in the wardrobe, I
think Susan looks like a teenager in this scene. She
has this which is so wide twok, this short sleeve
shirt with a long sleeve striped shirt underneath it, and
I'm like, I feel like I wore that when I
was twelve or thirteen. And then Julie is kind of
in like a cardigany sweater, and I just thought, wow,
(33:06):
the dynamic of feeling like Julie is the mom and
Susan is the teenager, which is then sort of the
content of the scene too, is it's what Julie says
and is almost scolding Susan for doing what I think
any parent would do, which to say, you can't hide
your friend in your room.
Speaker 2 (33:25):
Yeah, but she goes back and she talks about, you know,
how bad I was when the divorce happened, and how
absent I was as a mother with this example and
that example, and yeah, I'm this is another way, so
Susan can't cook, and Susan was not as good of a.
Speaker 3 (33:43):
Mother as well.
Speaker 1 (33:44):
I just I mean, and I think it's really smart
how this whole scene was pieced together to not just
in the dialogue, but in every bit of action really
reflect this strange inverted dynamic between I reallylie.
Speaker 4 (33:59):
I love that you were able to view it from
all those different angles, and that for you, all of
those different components really made it ring true and feel
very grounded. I think that this narrative for Susan and
Julie kind of continues if I remember throughout the show
a bit with this idea of obviously we've talked about
(34:20):
the dynamic between them being often more like peers or
friends than it is parent child or mother daughter. And
I do think it's fair what Julie says. I think
it's fair for her to say, Hey, you are now
taking this parental role and this moral high ground here,
but I don't feel comfortable listening to you right now
(34:42):
because it doesn't feel like that is a role you've
often occupied, is certainly recently and I but to Susan's
credit in this particular episode, she doesn't just get defensive
and say, well, you're wrong, and I'm your mom and
I made the decision and that's the law. She does
reflect because we see her later go to Mike and say,
(35:03):
she's kind of right. I leaned pretty heavily on her,
and it's because she's the person who's around and sharing
my space and I needed someone and you know. So
it's not like I think that they're the dynamic we
have notes on in the sense of for her how
she could be a better mother.
Speaker 5 (35:20):
But I think that it also has.
Speaker 4 (35:23):
So informed how strong their bond is, that they did
have that kind of level of openness, and that Julie
obviously kind of likes taking care of Susan in a
way too. It gives her a sense of purpose and identity.
So I'm excited to see obviously where their relationship continues
to grow and unfold.
Speaker 5 (35:42):
But I thought it was kind of a I.
Speaker 2 (35:44):
Think it's, you know, you're giving all of these families
on with Seria Lane a problem, you know, and I
think Susan, other than like she has no love life,
you know, is the it's the least problematic, do you
know what I mean? And so I think it's actually
a good flaw for Susan. I think it's a reasonable
(36:09):
flaw that she leans too heavily into her daughter as
a friend and a support system and that's not a
great conscious choice for a parent to make of their child,
at least in my judgment. But you don't want your
characters to be perfect. You want them to be flawed.
You want them to be able to grow. So, I mean,
(36:32):
I don't remember where this goes. It's not entirely with
confidence that I believe that the payoff is going to
be correct, but I'm willing to watch.
Speaker 1 (36:49):
Obviously, we have so many flawed characters. And speaking of
flawed characters, I think we have to give a little
time to talk about Gabby and Carlos's relationship. You know,
we have Carlos is now in jail and Gabby is
looking for the passport while the government starts seizing Carlos's assets,
and I love I think. I don't know if this
(37:10):
is my favorite line award, but it's my favorite line
mixed with the direction. Okay, when Gabby says, people don't
just become poor overnight, and then we hardcut to the
tow truck outside of their house, loading on her sports
car onto the tow truck, and she runs out and
(37:31):
she's so proud that she yells after the tow truck
as it's going away, and the neighbors across the street
are kind of watching. She goes, you call that a
paint job, don't bring it back and tell it's perfect.
And it's this sad attempt to kind of hold on
to the lifestyle that is starting to crumble around her
that she's really not in control of. And I think
(37:53):
this leads her to really try to hold onto her
lifestyle by taking everything in the house.
Speaker 3 (38:01):
That's the funny scene.
Speaker 1 (38:02):
It is such a funny scene that they could possibly seize,
including the pop art photos of her selle of them,
all three of them. I'm like, I don't know that
they're going to take those and wheeling it across the streets.
Speaker 5 (38:17):
That is what I gave my most desperate moment for
this episode.
Speaker 3 (38:20):
She couched down the street.
Speaker 4 (38:21):
The wheeling the furniture cart piled high with all the things,
shoving it down the street over to Breeze Girl.
Speaker 2 (38:27):
Eyes wondering how she did that, Like what, like if
there was wires or something out of frame on the
other side, like helping her pull it. It seemed like
a lot for her to push by herself, didn't it.
Speaker 1 (38:40):
Yeah, I mean I feel like.
Speaker 2 (38:41):
I kind of was also concerned that it was all
going to fall all over the place, but I mean
it didn't. So it must have been positioned well to
be able to shoot that over and over.
Speaker 1 (38:51):
Yeah, or glued on there somehow, I mean. And I
have to say they are really good, the writers about
giving Eva and Gabby this again. It reminds me of
when she's mowing the lawn in her ball gown. You know,
she's always in these fabulous heels and this little outfit,
and now she's pushing like a couch and a dining
table and all the chairs and all this art down
the street.
Speaker 4 (39:11):
And I think it's made funnier by the fact that
she's so tiny, you know, she's such a teeny tiny person,
and so she's so dwarfed by these things that it's
just funny. It sets us up to find that very funny.
Speaker 1 (39:22):
I mean, and we Brie, who has enough issues of
her own, because she has just found out that her
husband is cheating on her and that he's had a
heart attack and now he's in the hospital, and when
she goes to meet him, she sees the person who
signed him in is Mazy Gibbons.
Speaker 5 (39:38):
Yeah, can you imagine.
Speaker 4 (39:39):
I mean, also, I want to go back to the
very beginning of this episode, because that's where my favorite
line from the episode comes from, which is in the
very beginning, Brion rex Are. They have a scene at
home and Brie asks him, were you with a woman?
She because she smells his jacket. Yeah, and she says,
were you with a woman? And then they have this
moment where she's sort of realizing that yes, he is
(40:02):
maybe seeing other women, and she gets incensed that he's
bringing that kind of energy into their house and all
these things, and she yells out Andrew Danielle, Daddy's gonna
fordicate for us, And yeah, that was my favorite line
of this episode. It was just it was just so great.
Speaker 2 (40:18):
Mine was actually when she is finally in his hospital
room and you know, she's like committed to helping nursing
him back to health, but only because she goes over
and tells him that she is literally getting the best
lawyer and she's going to take everything from him and
et cetera, et cetera. And then she says, I'm so
(40:41):
glad you didn't die before I got a chance to
tell you that.
Speaker 5 (40:45):
Yeah, I know, I know.
Speaker 1 (40:47):
At the end of this episode, Bree goes evil and
I have to say. Gabby also goes a little evil.
You know. We have Carlos tell her about the hidden
panel in the back of the closet where he's keeping
his passport.
Speaker 3 (40:59):
Tell her what pas.
Speaker 5 (41:01):
Oh yeah, that was amazing me too.
Speaker 3 (41:03):
I love that scene.
Speaker 2 (41:04):
So we've got Gabby and Carlos in the in this
sort of room where you can go in a jail
where you can talk to, you know, somebody from the outside,
and they're not allowed to touch, but somehow they're allowed
to lean in and kiss.
Speaker 1 (41:17):
Well, they have to keep their hands on the table
to keep their.
Speaker 2 (41:19):
Hands on the table, and so when they lean in
to kiss, Carlos gives her all the secret information that
she needs.
Speaker 3 (41:28):
And I just I thought that scene was incredible and.
Speaker 1 (41:30):
I thought it was such an interesting turn for Gabby
because Gabby actually feels very repentant over her affair with John.
She seems like she's actually really missing Carlos's presence in
the house. And when they first kiss, it's so genuine
on her end. It feels like she really has missed him.
And then he whispers in her ear and you watch her,
I mean, Eva does this really well? You watch her
(41:53):
turn and go, oh my god, you're not leaning in
to genuinely kiss me, you're leaning in to ask me
to cover up for you.
Speaker 2 (42:00):
And yeah, and also, you're not a good guy. You're
not a good guy who got taken by Tanaka your boss.
Speaker 3 (42:06):
You're actually the bad guy.
Speaker 4 (42:07):
You're part of the problem. And it's after he gives
her the compliment. It's after the kiss. Comes from the
fact that he says, I didn't know how you would
handle something like this. I didn't know what you were capable,
essentially of. And I'm amazed by how strong you are.
And you are a good wife. And of course, all
the way up until this point, she's been thinking she's
a terrible wife because she's having this affair with you
(42:29):
know whatever. But he says that, and then they have
she says, I'm going to kiss my husband, and so
she thinks it's this tender, romantic moment to your point, Emerson,
and then he reveals that he's been He's in on it.
Speaker 5 (42:43):
He's in on it, and she's like what.
Speaker 1 (42:45):
And she one ups him. She goes and she gets
the papers in the passport, but then she doesn't burn
the papers. She burns the passport and I'm really left
wondering what does this mean for her intentions about the
future of their marriage.
Speaker 2 (42:59):
Well, we're to find out when she gets you know,
when it gets real with where money ends up in
her life.
Speaker 3 (43:06):
Yeah, or the lack thereof.
Speaker 1 (43:08):
And well, speaking of finding things out, we jumping back
to Lynette. She has installed the nanny cam. Yes, and
she watches the best montage. When she gets in bed
with popcorn, she plugs it in and she watches Claire
the Nanny be Super Nanny so so so well, no, well.
Speaker 3 (43:28):
First she watched at first.
Speaker 2 (43:29):
Okay, so at first she watches this nanny be Super
Nanny and she's die is so threatening and so you
know she you can just see her like I've lost
my place, I've lost my specialness. I don't matter and
I love this scene so much. So she decides I'm
gonna throw this nanny under the bus, and she gives
(43:51):
the nanny the task of getting her kids to eat
Brussels sprouts.
Speaker 1 (43:55):
Which we've set up at the beginning. They hate eating
because we've seen her not be able to get them
even when she does the cheese trick.
Speaker 2 (44:02):
Yes, yeah, and so there and they're by the way,
they're frozen Brussels sprouts, which I don't know who would
eat frozen Brussels scouts, But she's trying to get her
kids seed.
Speaker 3 (44:11):
So that actually brings me to the food that I
brought in for this episode.
Speaker 2 (44:14):
I made so at Thanksgiving, I make a really lovely
roasted Brussels sprouts with dates and pumpkin seeds and a
balsamic and olive oil sort of situation. And so I
brought those in and we'll have that recipe up online
and it'll be in time for the holidays, which is
when everybody should be eating Brussels sprouts, which are such
a good food for you, and they're so delicious.
Speaker 5 (44:37):
I am unlike the Scavo boys.
Speaker 4 (44:39):
I love Brussels sprouts, and I think obviously they've had
a very big resurgence and rebranding. I mean, Brussels sprouts
used to be hated by everyone universally, and now they're
on like every gastropub menu, every fancy restaurant, every everything
you know.
Speaker 5 (44:52):
So and I'm sure yours are going to be phenomenal.
Speaker 2 (44:54):
But so when she does finally get in bed at
the end of the episode, and she's like ready to
review the camera and she sees the nanny having just
as much trouble, if not more, than she did trying
to get the boys to eat Brussels sprouts. She's gleefully
happy and popping down her popcorn and serving up the
(45:14):
best movie that she can imagine.
Speaker 1 (45:16):
I know, and I mean I feel for her. I
really understand because I feel for her. In the scene
before she says, Okay, this is how I'm gonna, you know,
bring Claire the super Nanny back to Earth. You know,
who can make balloon animals and have triloquist dummies. I'm
gonna task her with Brussels sprouts. But I love that
before she decides to do that, she tries to spend
(45:39):
the day with her kids and read to them from
the book. And she starts to read and they go, well,
Claire does funny voices, and she goes, oh, okay, and
so then she does a funny voice, and Felicity does
this so well, she does a funny voice, and they go,
that's not a funny voice. And she goes, and this
is my favorite line of the episode. I'm just getting
warmed up.
Speaker 4 (46:00):
Well, kids are the toughest critics, aren't they. I mean,
I feel like they can just cut you down to
size so quickly.
Speaker 1 (46:05):
Yeah, yeah, and so she I like that. Lynette gets
the moment of seeing that everyone is just a human
being like herself, even Claire couldn't get them to eat
the Brussels sprouts.
Speaker 2 (46:16):
And then we sort of end on as Zach finally
gets brought home after he gets discovered in the Julie bedroom,
where we don't know where he was fitting under the
bed or in the closet, but he gets discovered and
Mike decides with Susan that the best move is to
take him home, take him across the street.
Speaker 1 (46:36):
I like Mike stepping up in this moment. I feel
like I was like, oh, thank god, Susan finally has
another adult who's not Julie, who's gonna kind of have
her back.
Speaker 2 (46:46):
And he does say that to her when she's admitting,
when Susan is admitting that she, you know, probably did
lean too hard on Julie and she didn't have anybody else,
and he says, well, now you have me, yea, which
is really lovely.
Speaker 5 (46:59):
It is so lovely. It fuels their connection, which is
really nice.
Speaker 1 (47:02):
And he really steps up for Zach too, you know,
he says, yes, I'm bringing you back to your dad,
but also call me. You know, here's my number. I'm
here for you anytime. And of course, yeah, then we
get Zach and Paul having the strangest dinner. At first,
I kind of felt for Paul because he seemed so
genuinely sad and happy to have his son back, and
(47:25):
then he starts force feeding him potatoes.
Speaker 4 (47:29):
Yeah.
Speaker 5 (47:29):
How many times does he ask movie wants potatoes in
that scene?
Speaker 1 (47:32):
Three?
Speaker 5 (47:32):
Yeah, we have this weird scene with.
Speaker 4 (47:35):
Paul and Zach, and their dynamic continues to feel off
putting and uncomfortable, and because we know, obviously as an
audience as well, that Paul is still trying to hide
the fact that Missus Hooper is missing, and Edie in
this episode kind of gets pushed to the point where
she's gonna involve the police, and we have this final
shot of Edie standing outside of Missus Hooper's house and
(47:59):
the police knocking on her door. So we can only
imagine where that's gonna go.
Speaker 1 (48:03):
I know, I know, it's a it's a big, juicy episode,
like they all are.
Speaker 2 (48:09):
I almost made potatoes, by the way, it was. It
was a tough call between mashed potatoes and the Brussels sprouts,
but I went with Brussels sprouts.
Speaker 5 (48:18):
I'm glad you went with brussel sprouts. Okay, I love that.
Speaker 3 (48:20):
Well, that was another great episode.
Speaker 5 (48:21):
Yeah, I know.
Speaker 1 (48:22):
And I hope I hope that your people are writing
in to Desperately Devoted Podcast on Instagram d m us
your questions, your favorite moments from the episodes. If you
would cover up for your partner if they were in jail.
Speaker 5 (48:36):
If how long do you think Julie held Zach up
in her room?
Speaker 1 (48:39):
Yeah, if you're pron
Speaker 2 (48:41):
To leave it and we'll keep your secret, and you
know why, because we are desperately devoted to you
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