"THE IN-LAWS" recap!

Episode Transcript
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Speaker 2 (01:39):
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Speaker 3 (02:31):
It did. I'm sorry, You're right, I missed the countdown. Everybody, Hello,
this is this is I tis I, Pamela, Bob, How
are you guys? Everybody? Yeah, off to a great start today. Okay, welcome.

Speaker 4 (02:53):
Missing the countdown.

Speaker 5 (02:54):
That's I must have blinked and it.

Speaker 4 (02:58):
It was gone. All right, never mind.

Speaker 5 (03:01):
How are you all?

Speaker 3 (03:01):
I'm your hosts, Yes, creative, very Pamilah Bob. I am
here with our very bitch that we love allso much.
Alison Argram, Hello Allison, and of course our hashtag imagine
my boyfriend Dean Butler.

Speaker 5 (03:14):
How are you guys?

Speaker 4 (03:15):
Very good? Yeah? How things? How are things in New
York today?

Speaker 5 (03:20):
They're good?

Speaker 3 (03:21):
That things are. Weather is starting to work, you know,
little springs parying, the little buds are budding. That's so exciting.
And of course, any anytime it's above forty five degrees here,
it's like it's like the nectar of the gods have started.
It's just it's incredible. It feels like freedom, sweet freedom.

Speaker 4 (03:39):
And also, what's the weather in Paris right now?

Speaker 5 (03:42):
It's gorgeous today. It's it's been really cold and rain.

Speaker 1 (03:47):
And one of the towns I went to, we were
somewhere with some high altitude and we had snow and
it was it's like and it's finally finally started to
warm up last few days and today was gorgeous and
tomorrow is supposed to be nice, which is good because
I may be going to Paris Disney Like I'm a
sucker for Disney. I'm a sucker for Disney. And I've

(04:07):
got the Ratitue. We ride the Ratatue ride and it's
just like the airfare. I'm telling you, the ratitude.

Speaker 4 (04:13):
We ride to Los Angeles yesterday perfect and it's heading
towards the low seventies today. And have to say the spring,
I love that sort of the change of season, time
of year. You know. I love this time of year
because we're getting the light is changing and it is

(04:34):
the green is popping, fresh green popping. And I love
the fall because of the changing of leaves and so on.
This is a wonderful transitional time in our.

Speaker 3 (04:43):
Yeah, I'm much happier when the days are longer and
the light, Oh.

Speaker 4 (04:46):
It's getting yet. Daylight Saving Time is on, no question.

Speaker 1 (04:49):
Yeah, we're just creeping into the sixties here, just creeping
into the sixties.

Speaker 3 (04:53):
Ye, we're not there yet in New York, but Noyes
not Yeah. Wah wah. Oh it was also you know,
my birthday in March twenty four was celebrated.

Speaker 4 (05:03):
Yes, we all said you happy birthday.

Speaker 3 (05:07):
It was very sweet. And I forgot to mention last episode.
I forgot to mention that it was the one year
anniversary of Seami Valley, the fiftieth anniversary festival, and that
last day, that Sunday of that festival, was my birthday.
And it was a crazy, chaotic, wonderful, tired, thrilling birthday.
But I'll always remember that for you know, it was

(05:28):
a great it was a great time. I can't believe
it was a year ago. It feels also it feels
like it was like yesterday, And it also feels like
it was a lifetime ago, does it not.

Speaker 5 (05:37):
I'm still tired from Yes, I feel the same way.

Speaker 4 (05:41):
I feel like we've sprinting. We've been sprinting ever since.
And the and the sprint is, you know, is continuing,
maybe not quite you know, when you're we were all there,
I mean, the tempo it was crazy, so intense when
you're up, but the fall off is not huge. I mean,

(06:02):
everybody's moving right on with whatever else that they're doing.
And it's been a busy time in the world of
Little House so.

Speaker 3 (06:10):
Yeah, you knowing up once again, isn't it.

Speaker 4 (06:13):
Yeah, So we're talking about you know, we're we're doing
an event in Columbia, California, June sixth, seven and eight.
And the last episode we talked about, the camp Out
was shot extensively in Sonora and the episode that we're
going to talk about today was shot extensively in Sonora,
some of it in locations that will actually be utilized

(06:33):
for this event.

Speaker 3 (06:34):
So we're talking yea, that is so cool. Okay, we'll
get to it. Produced in the studios of ubn GO
in Burbank, California. This is the Little House on the
Prairie fiftieth Anniversary podcast in case you didn't know. Okay,

(07:05):
Dean hit it. What are we recapping to doing?

Speaker 4 (07:09):
Okay? So, as with our last episode, we are going
to Sonora today Tualamie County. We always referred to it
as going to Sonora because we always as a company,
we always stayed in the town of Sonora at the
Sonora Inn along you know, crazy, you're talking about traffic.
Highway forty nine going through Sonora is some of the

(07:32):
most intense traffic you'll ever step into. And it's still
that way because it's just a major it's a connector
to other places that people are going. Anyway, we're talking
today about episode nine of season seven, The in Laws,
and this is the.

Speaker 3 (07:48):
First episode we're recapping that it's later in the series.

Speaker 4 (07:52):
Yes, we're well, yes it is, right, Yeah, it is
the later episode, and we're doing it because of this,
because we're leading into there in Sonora, and uh so
we thought it would be. And there's so many beautiful
episodes we could talk about in regards to that particular
set of locations. Michael and Kent McCrae, our producer, loved

(08:15):
this area to shoot because they were very familiar with
it from the Bonanza years. Just the topography was beautiful,
nothing like Minnesota, but then Seemi Valley's nothing like Minnesota,
so it's like, okay, we're just in this different world.
But they loved this location. They had great relationships up there.
The Sierra Railroad was there, which was a huge feature

(08:39):
in a number of episodes. Kent McCrae loved the train,
he loved pretending to be the engineer. So you know,
we went to Sonora probably twice a year. All of
a sudden, I'm thinking it was.

Speaker 1 (08:51):
Probably once we do like a bunch of episodes, we go, well,
we have to fard some of the some of us
want to rank about. But so many episodes to the
one we're panning for gold, the camp out, of course,
I mean so many episodes on the course, the one
where Laura runs away and that.

Speaker 4 (09:08):
Means well, and there's a panning for gold fun thing
to do. In Colombia. They do gold panning right in Colombia,
so people will get a chance.

Speaker 6 (09:16):
To do that.

Speaker 3 (09:17):
But I find it interesting because these days you could
never get I mean, I guess we'll see it with
the Netflix adaptation right where. I think these days you
could never do Little House on Prairie and not actually
have it look like the prairie, right, Like, I don't
know why there was a an acceptance of a suspension
of belief during the.

Speaker 4 (09:36):
Time it was television.

Speaker 5 (09:39):
We were brilliant. We were just so brilliant.

Speaker 4 (09:41):
Yeah, but also it was just it was there was
an understanding that television was shot in Los Angeles.

Speaker 1 (09:46):
Huh.

Speaker 4 (09:47):
I mean right, there were a few shows that were
maybe done outside. I mean there were always this, okay,
there there were the there was the Hawaii five. Oh,
the Magnum p I. There was always a show in
San Francisco, probably one show in New York, but really
tricky to do New York because New York is so
crazy expensive to shoot in to go. Now, now the

(10:11):
industry is literally all over the world, and you you
have the opportunity to go to the places where these
things might naturally be set. And here with this new
with the new Netflix series which we are going to
be talking.

Speaker 3 (10:26):
Yeah, I mean, you could not have an authenticity to
that's I guess that's my point is that there was
a suspension of authenticity. You know, you're doing a little
house in the prairie in an area with mountains, right
like and California live oaks.

Speaker 4 (10:40):
Yeah, yes, no, exactly.

Speaker 1 (10:41):
We just come off the era of you know Hawaiian
I that was shot entirely on the soundstage.

Speaker 5 (10:46):
They didn't they didn't even go out.

Speaker 1 (10:48):
Side, didn't go to did they even know They shot
some stock footage for the opening credits, go outdoors, let alone,
like Hawaii and the first Hawaii five oh.

Speaker 5 (11:03):
Wasn't shot in Hawaii, and then they just shot at all. Yeah,
they used used to do that all the time. I'd like, no,
Catherine Old wife Jack Jack Lad who.

Speaker 4 (11:15):
Went after it went to Hawaii three times to.

Speaker 5 (11:17):
Shoot what you're talking about? The wife iote with Jack Lord.

Speaker 4 (11:21):
Yes, was there one before that?

Speaker 5 (11:23):
There was a Hawaii.

Speaker 1 (11:25):
Yeah, completely not in Hawaii, That's what was So, Yeah,
they were obsessed. There was a whole era because if
you watch like seventy seven Sunset Strip where they actually
used that part of Sunset Strip which is in seventy seven.

Speaker 5 (11:35):
But there you go Dino's.

Speaker 1 (11:36):
But there's were a bunch of shows, well, I mean
and the Mary Tyler Moore show, will go shoot the
opening credits in Minneapolis and then tire things.

Speaker 3 (11:47):
But not only was it a company, but it was
set indoors.

Speaker 5 (11:50):
It's not like.

Speaker 3 (11:52):
On the prairie like is in the title.

Speaker 5 (11:57):
Verry flat flat.

Speaker 4 (12:00):
All right, so let's let's let's just keep going with
a description about it. Yes, we're talking about the in
laws and the lawered on Oh did I do this?
Not right? It was?

Speaker 6 (12:14):
It was.

Speaker 4 (12:17):
It was premiered on November twenty fourth, written by Don
Ballock again directed by William F. Claxton. And so now the.

Speaker 1 (12:27):
Synopsis, who was way wait, I looked at the credits here,
now off this here in law show.

Speaker 5 (12:32):
I'm just wait my tickname. I'm going to have to
look again because am I losing my mind?

Speaker 4 (12:37):
I thought Michael directing it, but it was directed.

Speaker 3 (12:41):
I think it's a Michael episode. The the comedy in
it seems very Michael.

Speaker 1 (12:47):
Because it super duper goofy, goofy. Okay, let me see
there was some credit on this. It was like losing
my mind that who was involved in this episode? Is
all credits here Claxton? That makes it all cast and crew.

Speaker 5 (13:04):
Somebody was honest.

Speaker 1 (13:05):
This was directed by Yes, it was directed by Clacten.
It's absolutely says it's Claxton absolutely Saysn't that okay?

Speaker 4 (13:12):
I remembered it being Michael. But I think one of
the reasons I remembered it that way is because we
added a scene for Sweet sixteen in while we were
there shooting, because the episode was short, and we added
a scene and Michael took over and directed, and then
and then Bill came back and came, wait.

Speaker 3 (13:34):
You added a scene for Sweet sixteen or you added
a scene for this one?

Speaker 4 (13:39):
No for Sweet sixteen, which Michael directed, and it was
during this particular trip oh oh oh that was done
because it was it came in a little it came in.
I guess it came in a little short or he
just decided. They just knew that they were going to
add this scene, and so Michael stepped in and directed.

Speaker 3 (13:56):
I think it wasn't Sweet sixteen and season it was.

Speaker 4 (14:01):
It's sorry, sorry, it was a different thing. No, you're
exactly right.

Speaker 5 (14:04):
It was Sweet sixteen was really knew and season seven
was going to be.

Speaker 6 (14:11):
Right.

Speaker 4 (14:12):
I'm flipping my road trips around.

Speaker 5 (14:16):
Getting your road trips. Yeah, okay, I don't worry, I
normally do.

Speaker 3 (14:24):
Anyway, it's okay.

Speaker 5 (14:25):
Okay, episode Okay, here it is which two episodes?

Speaker 2 (14:34):
That's Allison, all right.

Speaker 1 (14:37):
I'm just losing my mind because there's an episode I thought, No,
it's nothing aff Okay, losing my mind here, okay.

Speaker 5 (14:42):
So indeed, indeed the.

Speaker 1 (14:44):
Loss new in last Charles, and also it spanned their
business by delivering good sleepy Eye, they go from partners
to competitors, well actually about five seconds last making a
wager about the quickest way to get there and who
can get their first, producing frustration and mean and a
lesson that honesty is the best policy and pride.

Speaker 5 (15:04):
Go it before a fall. May I just say that's
whole episode is Pride go it before a Fall. I
feel there in Caroline Ingles saying that, but it is
the point of this It is that here exactly.

Speaker 4 (15:13):
That is the big lesson of this of this episode. Yeah, yeah,
all right, it's fun and you know, it establishes right
away which I had forgotten because I hadn't watched the
whole thing in a long time, is that they really
established that there was this push and pull tension between
always much Paw and Almonzo. Yes, and he played on that,

(15:37):
and they wrote it that way that people talk about
al Manzo as being sort of, you know, stubborn, and
I never it never occurred to me that that's what
was being plagued. But there is some of that in there,
no question.

Speaker 3 (15:53):
I literally wrote in my notes, Almonzo is the only
person on the planet who thinks Paw needs to be
down and not right, Like he's the only person who
has beef with Charles Ingalls, well except when we get
to Kavanash, but Cavin whatever his face is Cavendish later
in the episode. But it's so funny the tension between

(16:17):
and also they're they're frenemies right like they are best
friends they're so similar, and yet it's that constant butting
of the heads. It's it's silly and it's fun.

Speaker 1 (16:29):
Stirs the pot because there was a pot, stir because
it's me and you know what's a big posture in this.

Speaker 5 (16:38):
World.

Speaker 1 (16:40):
By giving both of them grief about their work and
their lives, like they're not cutting. It starts really like
super like weird passive grussive undercutting.

Speaker 5 (16:50):
He doesn't like Shay, I think you two are familis.
He starts going, well, I don't know.

Speaker 3 (16:58):
In the meantime, was living in a shack and a bunk.
But okay, but okay, like, give me.

Speaker 5 (17:06):
Them about their and last do I checked? The bill
was going great guns? What what the hell is he talking?

Speaker 1 (17:11):
He worked at the maill what's he talking about? Well,
I suppose, I mean, I don't see you making anybody?
What what is he going to show them bitcoin next?

Speaker 5 (17:21):
What is gonna be.

Speaker 1 (17:25):
Making enough money and harrassing them about their until they go, well,
I guess I guess we're gonna do this thing that
I'm like a problem.

Speaker 3 (17:34):
Is Well, Jonathan's moved on. He's in the big.

Speaker 5 (17:36):
City now, you know that he's.

Speaker 4 (17:40):
What's happening yeah, exactly right.

Speaker 3 (17:43):
So so right, So Jonathan proposed to, hey, they should
think about starting their own freight service, which actually is
not a bad idea at all.

Speaker 4 (17:53):
They should be and wilder alphabetic order.

Speaker 5 (17:59):
My boy, and we just talked about alphabetical order recently,
did we? Not mean and talking about feeling and nice
and con personally like alphabetical order. But I'm biased and
I always do well. I do well on alphabetical order.
We're all there, but.

Speaker 7 (18:16):
I always do I'm okay, and I'm just like, yeah,
it's both of them right away, get over their heads
with this whole, like like Pride go with before Paulding,
where they both just start making stupid decisions like Scene one.

Speaker 5 (18:32):
Media Scene one.

Speaker 1 (18:34):
They both start making completely idiotic decisions which get.

Speaker 5 (18:37):
Worse and worse as the episode goes on. Sure it does.
Now this is my beef.

Speaker 3 (18:42):
There's so much patriarchy going on in this episode, I
mean creating right, and I know it was of the time.
I know it, I'm I know that everybody. However, they
make a bet to see who can get the fastest,

(19:02):
and the bet is my wife will cook you cooking.
We'll do the cooking.

Speaker 1 (19:11):
Actual, he says, how about a wager? And Caroline says,
as she always does, and quite rightly, because this was
a thing, gambling, gambling, and many many times has come up.
Charles does not gamble. The Eagles do not gamble. It
is not appropriate. It is not respected in their church.

Speaker 5 (19:30):
Or in that town.

Speaker 1 (19:31):
There's no there's no casino in the town. There's no
saloon with a you know, a wheel of fortune and
a thing. There's no gambling going on in the town.
It's like illegal. And so no, we do not gamble,
and he goes, oh, no, it's okay because it's not
for money.

Speaker 5 (19:44):
I'm just going to make you do this. I'm going
to make that cal against gambling participate by being part
of the price.

Speaker 3 (19:53):
It's awful. And they're fine with it apparently, but it's awful.

Speaker 1 (19:58):
I mean, we're we're excited to make the bet, but
we didn't ask you about it. You don't think we
should be making the bet, but we're going to make
you participate. Yeah, you have to take care of the winn.
Did I get now? They did both They were kind.

Speaker 5 (20:12):
Of like, did I agree to that?

Speaker 4 (20:14):
Wait?

Speaker 3 (20:15):
What?

Speaker 1 (20:16):
There is clearly something wrong. They're both kind of looking
him funny. Because it is like, how how did they
get dragged into this stupid thing that they know?

Speaker 8 (20:23):
Yeah, and of course they have a good deal of
fun when they realized that two women are I mean,
this wonderful scene with with Karen and Oh I love this.
Everyone is laughing at the mistakes that the guys are
about to make and they're just having a field day.

Speaker 3 (20:41):
With It's actually the most animated I've ever seen Karen
on the show is that scene between her and Melissa,
And it's so uh honest in the laughter, and I
was thinking, oh, maybe she's using a little substitution work
on laughing about pop Perhaps.

Speaker 5 (20:59):
Yeah, I don't think that's it. They go the idiots
aren't going to get there.

Speaker 1 (21:04):
They're neither they're going to get there on time, and
he's going to be cooking dinner. Okay, this is like, yeah,
we ain't cooking anybody dinner.

Speaker 3 (21:10):
Them lose.

Speaker 5 (21:11):
If they lose, then it's it.

Speaker 4 (21:14):
Caroline who says that if you both neither get the
you get dinner, or there will cook dinner. I think
I think I say that.

Speaker 1 (21:23):
Yeah, there's a wedding thing though about Charles saying, oh,
like I don't normally cook constantly the episode, Oh, I
never cook, I never cooked cooked. Now we've established before
Charles has cooked dinner. There happened when Charles cooked and
he was fine.

Speaker 3 (21:39):
And then remember the episode where.

Speaker 5 (21:41):
Maa was teaching, was the teacher.

Speaker 3 (21:43):
She comes home and he's like, don't worry.

Speaker 5 (21:49):
And if you get back to the books.

Speaker 1 (21:51):
Al Manso had his little bachelor of shanty with his
brother Alanza cooked all the time. Almanza was actually well
in historically apparently was quite the cook.

Speaker 4 (22:00):
Well, he grew up in a home with some wonderful
cooking going on, so he learned.

Speaker 3 (22:07):
The patriarchy is strong in this episode, as is Albert's
peach fuzz.

Speaker 5 (22:17):
The peach fuzz.

Speaker 3 (22:18):
Why did no one to start shaving?

Speaker 5 (22:20):
Yeah, yeah, he's getting awkward adolescent Like what you.

Speaker 3 (22:24):
Want to say to like the fourth I don't know
how old he is. I'm just guessing, like, you know,
fourteen year old boy. You just want to be like,
it's time to shave because that doesn't look good. But
no one said that to him, and he has this
awkward peach fuzz mustache in this episode. Maybe that morning
he might what he wanted to look mature, like he might.

Speaker 5 (22:45):
Have woken up that way, like the day literally that
day happen, that click that morning. That's nine.

Speaker 3 (22:55):
I think boys don't realize they don't look mature with
the peach fuzz because it's peach fuzz. Just shave it,
just save it, just shave it. Okay, then we move
on this, right, we move on. They go on their trip.
Not Paw has decided he's come up with a with
a short cut the prairie. Yes, and Almonzo has decided

(23:17):
he's going to go up a ginormous.

Speaker 1 (23:19):
Hill because they're both idiots loaded wagons.

Speaker 4 (23:25):
Yeah, yeah, it's completely dom Yeah. So yeah, it's all that.
You know that the episode is all about the mechanics.

Speaker 3 (23:33):
Of how they're getting to sleepia dealing.

Speaker 4 (23:36):
With these things. And you know there's a lot of
this one with the you know, with the wagons racing
towards the hill. You know, my wonderful double Danny Ducette
was was driving the wagon. He had the wagon and
the whole thing, and he did it. He did a
really nice job. I could do some parts of it

(23:57):
what they would let me do, but Danny does all
of that. And it's the you know, the just we've
got to get our comeuppance all the time. We've got
to realize what I really like about Charles and Charleston
and al Manzil were ridden quite differently. Here. Almanzo says
to his horses when they can't make it up the throat,

(24:19):
he doesn't get he said, you did the best you couldn't.
I can't ask any more than that. And you know,
and Charles is it's like and it's so interesting. Anybody
who drives wagons would know. I mean you just you wouldn't.
You wouldn't when the horse stops pulling, you don't keep

(24:42):
saying let's go. I mean you don't, because that's just
not The horse is not going to help you there,
and you're going to ruin the horse if you push
it and he can't pull the load. The horse wants
to pull the load, but if they can't move it,
they can't move it. And you want to let them
off the hook because you don't want them quitting on you.

Speaker 2 (25:02):
Right.

Speaker 4 (25:02):
So anyway, there are things that are like a stuck
truck that we're playing here that there's just not the
way you would treat it. So horsemen out there, horse late,
horsewomen out there, horse people, we know that we shouldn't
have done it that way. You don't courage the horse
to pull when it can't pull the load.

Speaker 3 (25:22):
Yeah yeah, yeah, yeah.

Speaker 1 (25:23):
Okay, so Amonzo dumps the stuff at the time, don't
it later. But let's keep in mind now it's not
his stuff, it's not his stuff. Else just purchased this,
is paying for this, and it belongs to.

Speaker 4 (25:38):
Them, which great, Okay, so you know you're you're jumping
to the giving it away.

Speaker 5 (25:45):
Yeah.

Speaker 4 (25:46):
Yeah, he's.

Speaker 5 (25:48):
Just miraculously arrive out in the middle of nowhere and go.

Speaker 1 (25:51):
They're trying to get the next and they're starving, they
have no fit and they're like, we don't know, God
will provide them. They go, it's a miracle. Someone has
left a ham and several weeks worth of groceries, and
and of course they take them because he's And then
it's just a train wreck.

Speaker 5 (26:08):
A train wreck.

Speaker 1 (26:09):
I do like when you come in with the piece
of wooden, you're going to murder the whole family till
you realize, oh my god, it's a family. It's a
bunch of kids.

Speaker 5 (26:15):
It's like them.

Speaker 4 (26:20):
Yeah, it's so like the bed is over, I mean, because.

Speaker 5 (26:25):
I'm like, he just gave up and said, screw it,
I'm having dinner with these paper does.

Speaker 4 (26:29):
I'm not going to make it, and he's going to
give them the Yeah, I've always liked that bursting in
the door scene. I like that, you know, from a
locket perspective, I liked, you know, they're very They're not
a lot of things that I do in the show
that I like when I look at them. But yeah,

(26:49):
but you know, but it's just it is what it is.
But that moment of recognition, I like that. That felt
very organic to me looking seeing what was going on
at the table, looking at a little boy, the little
blonde boy sitting at the table, looks like what a
dreadcasting that was?

Speaker 5 (27:09):
Those kids, Yeah, they looked like urchins.

Speaker 4 (27:12):
They were just like, Yeah, it's sweet kids, but how
could you not give them anything that they needed?

Speaker 5 (27:20):
The heads?

Speaker 3 (27:22):
Let me ask about that though. Did you feel while
you were filming that things didn't feel authentic and that's
why you don't like it? Or is that looking back
at it now, you as a more you know, experienced
person can look and sort of pick apart your performance.

Speaker 4 (27:43):
Yeah, I think it's I think I think I was
probably picking it apart then too, But I you know,
there's so much looping in this episode. The looping was
a killer for me, and so much of that work
and the summer. Yeah, and it's you know, I look

(28:04):
at people who looped, well, I mean even even you know,
even Michael had some looping. In the last episode. We
did the camp out where he's in the barn and
he had to loop that. He couldn't sink what he
he couldn't sink what he said is a nightmare about
missus Olsen coming on the camping trip, and it just.

Speaker 3 (28:23):
Why did they have to loop that scene? Was that outside?

Speaker 4 (28:26):
It was outside, it was in the barn. The barn
was outside. They shot it. Yeah, they did have the
bard on the sound stage, but yeah, just particularly they
also have that on the location.

Speaker 3 (28:34):
Yeah, yeah, yeah, got it.

Speaker 4 (28:35):
And it was in the approach pattern of three major airports,
and so there was always an airplane overhead. There was
a seventh every thirty seconds going over, and.

Speaker 1 (28:45):
There'd be some crow would always gout. I always when
I went into loop, I'd listen to the thing and
some crow would.

Speaker 4 (28:50):
Like my mother, Yeah right, no, exactly. So anytime there
was a genuine of harness, anytime there was you know,
today there is a I think there's a much more
of a commitment to recording natural sound and having it
be natural. This was the era where if there was

(29:12):
anything that interrupted the actual the actual dialogue, you re
recorded everything. So everything was recreated in order to get
a sound where a sound where the actor's voice on
the three inch speaker that everyone was listening to this
on could be clearly heard. It's a it's just a

(29:33):
different it's a different emphasis today than it was then.

Speaker 5 (29:38):
We had a big boom mic wind. We had wind,
and you had this big boom mic and the wind.

Speaker 4 (29:46):
Of Leers Pamela. I mean there were no lobs. This
was overhead booms on the stage. It was the boom
on the try you know, on the tripod thing where
they were flipping it like a like a sitcom or
a you know. And out on location it was a
fish pole. Everything was done high or low fish pole
and that's how everything was recorded.

Speaker 3 (30:08):
Yeah, I can and I and looping is a drag,
especially when they're full scenes. It's different if it's one
or two words or align every now and then. But yeah,
because you're not in the moment, you're not actually doing it.

Speaker 5 (30:19):
We would go back to you.

Speaker 4 (30:21):
Yeah, you could go back and do. I mean the
expectation was because there was so much looping that you
would goe and Michael was brilliant at it, Melissa was
brilliant at Allison. You obviously got really good at it
doing it, but you'd be uncommon to go in and
do seventy loops in twenty minutes.

Speaker 5 (30:41):
Yes, there's what. I'm trying to remember which episode it was,
and it may it's just one of the school ones.
I swear.

Speaker 1 (30:48):
I think we looped the whole damn episode because it
was outdoors where most of it was happening in the school,
and there was wind and there was a plane and
there was a bird and there was crunchy gravel sounds,
which is like, am I looping this entire episode?

Speaker 4 (30:58):
This entire episode is so we just finished doing previously
the campaign, it would have been at the river, all
of that would have been looped.

Speaker 5 (31:07):
Yes, yes, yes, yes, all looked.

Speaker 3 (31:11):
Yeah that's a bummer. That's a bummer.

Speaker 4 (31:13):
So I think the nuance of performance really suffers in
that situation, and I think it put really puts a
premium on skill, uh to to not have it destroy
what you've done. For real. Got it? Yeah, got it.

Speaker 5 (31:33):
I have a question.

Speaker 3 (31:34):
I have another question for you, Dean. Did you know
how to ride? Did you need a lesson on riding wagons?
Because there's one moment where you have your foot out
like out of the seat on the break.

Speaker 4 (31:47):
That's that's that's Danny doing That's Danny doing that, and
that's how you did the break. If you had to
have both hands on the lines, you did use your
foot for the break. I don't think I was ever
in a position where I had to do that. I
certainly could have done that. That would that would not
have been Yeah, yeah, No, I had never driven, I'd

(32:09):
never driven a team. I'd done a lot of on
the back of a horse riding, so that was very
it was very comfortable with that I had never driven
a team. I would say, you know, our teams were
so well trained. These horses, you know, they were very willing,
they were very well trained. They were well rewarded for
doing what they were being asked to do. So yeah, yeah, yeah,

(32:34):
so yeah, I don't think we ever really worried about
It's not that things couldn't happen, because they could, but
but the horses were not going to be the source
of the problem by sort of misbehaving.

Speaker 3 (32:46):
That was never going to happen, all right, because that
was a precarious foot on break moment. Doule got it, okay,
So then let's cut to Paw and Paw.

Speaker 4 (32:58):
Has is it?

Speaker 3 (33:02):
Well? This is another one that I'll talk about this
in one moment. First, I'll just say he picks up
a stranger at along the way. Strangers, yes, hilarious one
of them. So the character's name is Cavendish, he's he's

(33:23):
he's a funny old straggler.

Speaker 5 (33:26):
And Pap picks him up.

Speaker 3 (33:27):
And here's the note that I wrote if I were
in a wagon with a stranger, because then Pa, you know,
goes off the road and he's cutting across the prairie
and Cavendish is like, what are you doing? And he's like,
I'm just taking a shortcut. If I was in a
wagon with a stranger and he makes a sharp.

Speaker 6 (33:44):
Right to go off the road through the wilderness, I
would be sure that I was with a serial killer, like,
no doubt I would.

Speaker 3 (33:55):
I would be sure that I was with someone who
was about to kill me hard.

Speaker 4 (34:00):
That's interesting me. The whole thing was out in the
middle of nowhere, so just you know, was less the prairie.

Speaker 5 (34:07):
But my note was picked up a complete stranger Hitshaker.

Speaker 1 (34:12):
This were must be where the girls get it and
why they're always getting into wagons?

Speaker 5 (34:17):
Stranger married with Johnny Cash baby did where not know?
Just get in the won and the guy's really here.
It's like, where are you going? Well, I'm going down there.
He's like crazy and he lets him in the know.
And this guy I saw Dean.

Speaker 1 (34:34):
You make notes about this, You made big notes about
this actor because, oh my god, he was in vaudeville
as a child. He's in Differ every seven episodes of
Little House. He was in everything. And there's some quote
from rhymdd goes, well, it's hard in auditions, no one remembers,
but I wasn't over a hundred films.

Speaker 4 (34:55):
It's amazing. And as an adult at a certain point
in his life he was running a ball alley. Ed
Eddie Quillen. Eddie Quillen was the original cabin boy in
the First Mutiny on the Bouty Wow.

Speaker 5 (35:10):
Crazy, the Max Senate movies. He was hired.

Speaker 4 (35:13):
He was everybody did Yeah, he did dozens of these
two reelers Crazy.

Speaker 1 (35:23):
In the Grapes, brig Dune forgot it is mister Chicken.
Of course, I love all those kinds of things. He
was on everything, and then yes he the Little House
of the Breed. I think it was like seven episodes
of The Little House happened, Michael.

Speaker 3 (35:38):
But I wonder how and where they met?

Speaker 4 (35:40):
Do you have I'm sure, I'm sure Eddie Quillen did
Bonanza's have done Bonanza just like this guy was every thing.
This was the same thing with lou Airs, where Michael
always hired lou Airs. Later in lu Are's life he
did not work. Lou Airs won an Academy Award for
All Quiet on the Western Front is a seventeen year

(36:01):
old Wow, you know, and and what's the rest of
his life going to be? And lu Ayris was lu
Ayris was always working with Michael. I think this was
a part of Michael that was this was a really
special part of who Michael was, that he had these

(36:22):
people that he knew would deliver. And he wrote, I
mean you just know that when he when he and
Don Ballack are breaking that story, Michael saying I want
you to write it. I want you to write something
for Eddie Quillen here, yeah, and there you go. And
the rhythm of it was so great for him. And

(36:44):
this is what he always did.

Speaker 3 (36:46):
This character was always what he I know, it was
a recurring character, even though he was different. He was
a different person, but the same character. And hilarious, freaking hilarious.

Speaker 4 (36:56):
Always funny, always funny and wonderful. Yeah, I love I
love the scene when you know, when they when they
ride it, when they're when the wagon is in the
middle of the stream. That was an interesting horse moment. Yes,
And well see I grew up around horses, and I
remember when they we they drove the wagon down that

(37:18):
steep hill into the creek bed. Obviously this was not
Michael driving the wagon at that point, but they drove
Hal Burton was driving or one of the wranglers. They
kept the shot low so you didn't know who was
driving the wagon. And the horses were out in the
middle of the stream and they called lunch and and

(37:41):
I'm thinking, well, are you going to take the horses
out of the stream and the water is freezing cold? Yes,
And I went to I, you know, this was one
of those mistakes that I made. I approached, I approached
Michael said, you know, shouldn't we take them? Shouldn't the
horses come out? And Michael said, you know, I'm riding something.

(38:06):
Don't bother me. Go talk to Denny if you want
to talk. So I went and spoke to them. McLean,
who was the wrangler, our lead wrangler, and Denny, I
think quite rightly said to me, for the horses, having
them their feet in cold water is actually really a
good thing for them. It's it's it moisturizes their hoofs.

(38:32):
They it's it's not a bad thing at all. Now
the horses stood in that cold water for an hour, well,
everyone had their had their I'm not sure how the
wranglers felt about this, but Denny assured me it was okay.
I don't know that I really believe that. If there
was a warm mud pile, then I'd say, sure, that's

(38:54):
great have them stand in warm mud for an hour.
But freezing cold water for an hour I thought was
maybe a problem. But Denny assured me it was okay.
Danny was a great guy. So if Denny said it
was okay, I had to sort of, you know, say okay,
this is this is all right.

Speaker 7 (39:11):
Hot.

Speaker 4 (39:12):
Well, it was hot outside outside, but water was very cold.

Speaker 3 (39:19):
Like yay, Well, yeah, I mean I was thinking maybe
if the horse has been working a lot that day
and hot, and maybe maybe being in the cold water
would help any kind of swelling they might have had
in their legs or their who knows.

Speaker 4 (39:32):
You remember, that's one thing you wouldn't not have want.
You would not have wanted to put a horse that
was heavily sweating into cold water and leave them standing there.
That you would not have done. So these horses were
not Look, these horses worked in bursts, and it was
twenty seconds here and then, so these were real. This

(39:54):
was probably more work than our teams normally did during
this particular episode because there was so much driving, but
the horses were generally working in very short bursts, and
this would have been one of the things where they
would have worked in a very short situation. But so,
I know I came off like a complete softy when

(40:14):
I was, you know, concerned about the horse's cold feet.
And as I said, I'd been around horses my whole life.
I had never seen horses standing in cold water cold,
and this was really you know, it was up a
gulp there, it was you know, up their shin the water.
They were standing in that water and it was rocky
at the in that creek bed, so they were, you know,

(40:36):
standing on stones in the water. So anyway, it was
just one of those things. But look it all worked
out well. I love the scene jumping past that was
the horse moment jumping past that. I love this improvised
moment where Michael puts Eddie on his shoulders.

Speaker 3 (40:54):
When that's improvised.

Speaker 2 (40:56):
This process really good there, Yes, totally one was no
one was.

Speaker 4 (41:04):
You know, the camera's looking up and you know they're
they've got a little bit there's a little shaky cam
going on there and Michael's shuffling his Eddie's clinging to him,
and they said, okay, now put your hand here. Now
put your hand I mean what he at one point
had his finger in Michael's mouth. I thought that was really,
what have you been eating, old man? And you know

(41:26):
all that. I mean, this was the kind of stuff.
This was Michael's humor to a t.

Speaker 1 (41:31):
This is that's when the whole episode said, Okay, we're
just going full slapstick. Nobody even cares what the heck
is happening to this episode anymore.

Speaker 3 (41:38):
We've just given up and that's your beef with this episode,
isn't it Allison.

Speaker 1 (41:44):
It's like, Okay, would al mans who have said this
or said that or done this, would Paul have said
this or something that would monitor They've just said to.

Speaker 5 (41:51):
Heck with it, this is what we're doing.

Speaker 1 (41:53):
And oh yes, and Eddie quickly he was Eddie was
absolutely on but asa so yes, like back in sixty two,
so of course, yes, that's totally worth.

Speaker 3 (41:59):
Episode is pure entertainment for entertainment.

Speaker 1 (42:02):
Well, and then we have flashback, you know, to the
Belly's Hotel right around this time.

Speaker 3 (42:08):
Okay, should take a break, and then we're going to
talk more about patriarchy and this Nelly and Percival moment
because it makes me so upset I can't even say it.
All Right, we'll be right back.

Speaker 1 (42:23):
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(42:45):
the Little House fiftieth Anniversary.

Speaker 5 (42:47):
Tour at Big Sky Movie Ranch.

Speaker 1 (42:49):
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House fiftieth anniversary podcast.

Speaker 4 (43:12):
And we're back.

Speaker 3 (43:13):
And we are also back now to Nellie's restaurant, and
we see a very pregnant Nellie there who is eating
the classic pickles and ice cream pickle giant pickle scream.
She is pregnant, so good, she's she.

Speaker 5 (43:33):
Does She's the thing again, you don't know.

Speaker 1 (43:37):
And Percival has a fit because personal is doing this again,
ultra modern thing. Percival has jumped ahead and is thinking
about gestational diabetes and things and complications that nobody was
thinking about in eighteen seventies them. He's saying, well, you're
getting too much.

Speaker 4 (43:52):
Did you have this conversation where he's talking about gestational diabetes.

Speaker 1 (43:56):
No, but he's gone ultramater saying you're gaining too much.
But I'm having a baby. But yeah, but the baby
weighe what six seven pounds, you've gained too much weight
even though you're pregnant, which is a very very super
ultra modern take working about complicated excessive weight. Whereas the
doctor would have just said, are you breathing, The baby's breathing, great,
We're good.

Speaker 5 (44:15):
He was at heartbeat good good. Didn't like that would
have been it.

Speaker 1 (44:18):
But what Percival does not realize, even if it's saying
you are gaining excessive weighting and too much baby, I'm
having twins.

Speaker 5 (44:25):
And if you recall they were rather enormous twins by
the time we saw them, it up because denise snewborn's
are big babies.

Speaker 3 (44:30):
He did not know that.

Speaker 1 (44:32):
So even if he made all these scientific calculations, but
exactly how much extra weight was supposed to gain, he'd
been off because I was caring too particularly large twins,
which he was unaware of.

Speaker 5 (44:45):
So he was sitting there going, she's having one tiny
little baby.

Speaker 3 (44:48):
What that why she got all the.

Speaker 1 (44:49):
So yeah, so he was confused, but he's also got
really harsh about Now, for the record, I love pickles,
I love ice cream, and I love paple syrup, And
that was one of the most gorgeou lovely kosher dill.

Speaker 5 (45:01):
Pickles, like, I don't know what I got it from
a good hell.

Speaker 1 (45:04):
It was a goodye of mine. It was so good
and the ice cream was freshman alized on a comb.

Speaker 5 (45:10):
Oh my god.

Speaker 1 (45:10):
Go on Facebook the ten thousand million word arguments about
whether we had ice cream cones yet in eighteen eighty
one or not. Ice Cream cones were invented, but not
really normal.

Speaker 4 (45:23):
Ice cream, a real treat ice cream.

Speaker 5 (45:26):
Wouldn't think cones exist. It was like the World's Fair of.

Speaker 1 (45:29):
Nineteen blue lah oh love about eighteen whatever. Cones existed,
but like in Paris in France, I wait them there now.

Speaker 4 (45:36):
I don't know.

Speaker 1 (45:37):
Did missus Olsen personally order ice cream cones from France
to have in the mercantile so that I could do
ice cream cone?

Speaker 5 (45:43):
Maybe that's the backstre.

Speaker 3 (45:44):
And I don't know, ten dollars.

Speaker 1 (45:46):
It was highly unlikely that someone would have had a
cone in Minnesota at that point, maybe in about five
years that it had a cone to cones.

Speaker 5 (45:53):
Okay, but I had one. It was delicious.

Speaker 4 (45:56):
Well, it really became a real ice cream was a
very special thing, and you made it and ate it.
It wasn't like you didn't sit around how many with
the ice and the rock salt and all that, and
once you came before we had refrigeration at our family
place where we cranked ice cream when we were when

(46:19):
I was a little person, and still do. But you
could put it now you can put it in the freezer.
Then you had to get back in ice and you know,
all of that to get it to firm up because
it came out pretty late. The dasher came out, it
was soft.

Speaker 1 (46:32):
Still it was it was delicious, And so he comes
now the reason there was a second sequence of maple
syrup giving more chances for person.

Speaker 5 (46:42):
And by the way, I'm.

Speaker 3 (46:43):
Letting Alison be nice about it before I come in with.

Speaker 5 (46:45):
The Okay, I tell her, don't tell them what was
that she gives you up. I know I wanted to.
I went to eat that pickle and ice cream.

Speaker 1 (47:04):
And that was the famous episode where Michael comes up
and says, Okay, we have a bucket here, so you
can spit out because I don't know how many takes
it's going to be. You can spit out the pickle
and ice cream because you don't have to eat it all.
And I said, well, when if you see me do
more than like two taches and besides pickles and ice cream,
you see me lunch. And he was like, hurumph, Well,
of course I did it in one day. And we

(47:25):
did the pickle and the ice cream and did it.
And then I finished my pickle my ice cream, and
of course I went kind of like a ha ha
in your face, which you know what happens if you
do that to Michael, right, So that's why.

Speaker 5 (47:37):
Had you dip it in the Maples. Addition, I showed
up for work the next day.

Speaker 1 (47:46):
I went here and suddenly I was having pickles and
maple syrup, which was not in the crypt until I
was audacious enough to make a crack about the ice
cream and the thing on it and then and so
I had to eat it to dare me. Basically, I
will raise the ante. I dare you to eat this pickle.
Of course I'm alone, and I thought it was freaking
it was pure real maple rup because our man never skipped,

(48:06):
and it.

Speaker 5 (48:07):
Was freaking delicious.

Speaker 1 (48:09):
So the heavy acting really was for Steve Tracy trying
to pretend it tasted back because.

Speaker 5 (48:13):
It was actually really good.

Speaker 4 (48:14):
Yeah, exactly.

Speaker 3 (48:15):
Okay, here we go about this whole.

Speaker 1 (48:19):
Story.

Speaker 5 (48:23):
Hold on, let me.

Speaker 3 (48:24):
Let me make sure I'm.

Speaker 4 (48:26):
Okay.

Speaker 3 (48:27):
Here we go, just making sure I'm lubricated so I'm
ready for this. Okay, when you are pregnant, and it
doesn't matter how big your baby is, I had two
little six pound babies right.

Speaker 5 (48:42):
There, was pregnant.

Speaker 3 (48:44):
You are ravenously hungry twenty four seven.

Speaker 5 (48:49):
I ate like a trucker. You're a lot of money.
You are starving.

Speaker 3 (48:56):
Your body is working so hard on making this person
inside of you. You are ravenous. I mean ravenous. You
can't go an hour without eating and eating a lot,
a lot, a lot. So this whole thing of like
Doc Baker says, you're eating too much, I call bass

(49:16):
on that, because you want to be eating. There is
no fear of gating too much weight.

Speaker 5 (49:21):
Are you kidding me?

Speaker 6 (49:22):
Like?

Speaker 3 (49:23):
Is this a vanity thing? Like you're getting fat? He
says to her, you're getting fat? I mean, what the
hell kind of patriarchal crap is this going on? Right now?

Speaker 4 (49:32):
Then?

Speaker 5 (49:34):
It is so awful, I think for a pregnant woman.

Speaker 1 (49:37):
I weighed ten pounds with a pillow under my dress,
and he's going, you're getting fat.

Speaker 9 (49:43):
And then for mom to get in on it also
it's like she should know better, she's had children. She
rating is so actually quite upsetting to me, Like the
doctor is wrong, Perceval. It's the only time I want
to slap Perceval across the base.

Speaker 3 (50:03):
Like he's wrong, it's awful. He treats her like a
He sends her to her room because she's eating too.

Speaker 5 (50:10):
Much, because she's.

Speaker 3 (50:15):
So it was very clearly written by a man, and
I mean it was very clearly written by a man.

Speaker 5 (50:23):
And I I'm sure even remember, oh my god, I got.

Speaker 4 (50:27):
A bond that because.

Speaker 3 (50:35):
Also she's eating pickles.

Speaker 6 (50:37):
It's not like a high calorico you give me a break,
twelve calories.

Speaker 3 (50:42):
This is just a moment in this episode where it
actually drives me absolutely crazy.

Speaker 5 (50:48):
It's so wrong.

Speaker 3 (50:50):
I mean, it's it's medically inaccurate, and it's also like
just emotionally.

Speaker 1 (50:58):
I was nineteen eighteen, nineteen years old at this time,
when I was really really young, and the reality was
I was underweight if anything at that age, was going
to my doctor and it's like could you could you? Yeah? Yeah,
I mean I was like ridiculously skinny when I was
eighteen nineteen, and then I have a pillow choved up
my dress. So yeah, so the id that person was,

(51:18):
you're eating too much. If I weighed that little while pregnant,
they'd put me in the hospital.

Speaker 3 (51:24):
Which is if anyone ever says to a pregnant woman
you're eating too much, automatically, you're out like done.

Speaker 4 (51:33):
You are.

Speaker 3 (51:33):
I cannot explain to you, guys, how ravenously hungry you
are when you are pregnant.

Speaker 5 (51:39):
It is another weird people really do that.

Speaker 3 (51:43):
Yeah, it's NonStop, ravenous hunger that never ends, that never ends.

Speaker 4 (51:50):
So I think you should, we should. We need to
chalk this up on the charitable side. We need to
chalk that job for looking for a way to get
to a moment that was going to be funny.

Speaker 5 (52:04):
Pickles stick with pickles, stick like you have to.

Speaker 4 (52:10):
You have to chalk it up to that because no
one was doing something designed to be patriotically hateful.

Speaker 3 (52:17):
I know, but that's what I'm saying is that they
were completely unaware of how wrong it all was.

Speaker 9 (52:23):
Right.

Speaker 5 (52:23):
I mean, you even just telling the.

Speaker 3 (52:25):
Pregnant woman you're eating too much and you're getting fat,
It's just like, what are you? You could have made
a comic bit out of eating pickles and ice.

Speaker 5 (52:32):
Cream were born, had personal turnaround and go, there's two
of them.

Speaker 3 (52:36):
No wonder you were eating so exactly exactly that that moment.

Speaker 4 (52:42):
Was, you know, look, in episodic television, the reality of
the episode is the reality of the episode, but very
rarely are people held to that reality in future episodes.
It's there are strings that get pulled. Yes, literally, you're
re racking to neutral at the beginning of any new episode.

Speaker 1 (53:01):
Again, episode was about weird, slapsticky things that had people
doing things that were kind of out of character.

Speaker 5 (53:10):
Lying.

Speaker 1 (53:10):
Okay, the Paul with the gambling, then the lying, then
there's the line and then Percval who is straight up
but generally loves Nellie to twice twice hassle her for
a pickle.

Speaker 5 (53:22):
Right, they're they're weird for it to do shake this episode.
They're written hard.

Speaker 3 (53:28):
Okay, that's my rant.

Speaker 4 (53:30):
We'll move on.

Speaker 3 (53:31):
Okay, weird.

Speaker 5 (53:34):
Paul lies like a.

Speaker 3 (53:38):
Lot of out of character moments for yes, yes, yes,
so anyway, so they boot tooose, right, they both At
first Charles convinces Almonzo that he actually was there and
makes him feel really.

Speaker 4 (53:51):
Bad about Alonzo being the you know, the gullible, honest
fellow that he was very honest.

Speaker 3 (53:58):
Yes, and he was very honest and arrived too just like,
well I was.

Speaker 4 (54:01):
Wrong, you're right, yeah it was yeah. And along with that,
there's no no yeah, no hesitation to say maybe I
need to tell the truth.

Speaker 1 (54:16):
There no One of my favorite things about this episode
because they have a phone. Many many, many episodes, especially
in the first couple of years, almost eighty percent of
the drama is things that could have been prevented if
anyone had had a telephone in those days.

Speaker 5 (54:31):
They're all things where people don't hear from each other
for days.

Speaker 1 (54:34):
Weeks, months, when how long paws out with the dynamite
where people can't communicate for days or weeks at the time,
and there's no way to let someone know that so
and so sick or someone says died or whatever terrible
thing is going on, and the drama is all about
the fact that you can't find out.

Speaker 5 (54:48):
You go, wow, they had phones. Then they have a phone.
They have a phone. Maw has already been on the
phone to Jonathan.

Speaker 1 (54:56):
Garvey and no nobody got there, you know, thanks for
there's a phone.

Speaker 4 (55:02):
And then.

Speaker 5 (55:04):
To call her up on said phone, so he like
knows there's a.

Speaker 3 (55:07):
Phone and goes we're staying overnight and oh yeah, blah blah,
out of character.

Speaker 4 (55:18):
Though, Yeah, no, that's an it's an interesting it's an
interesting little bit that fuels some fun. Yes, but it's it.
It's I think as I as I always watch those scenes.
It was the way the way he played those scenes,

(55:38):
the the the conniving came very easily. Yes, you know,
it was just it was he didn't struggle with it
at all. There would be another way to do that
if you were struggling with that decision, but you didn't
struggle with that decision. It's sort of it's sort of

(56:00):
an interesting it's an interesting thing. And I think this
is a function of you know, look, you reach a
point where I think for someone, for someone who is
create cranking out so much content, you're looking for ways
to pull threads that will make something work. And it

(56:22):
did work. I mean, you know, it absolutely worked. But
I don't know that he was as conscious about the
message that he was sending sure making it work, No,
it was, it was it was.

Speaker 3 (56:39):
It was made to work for comedy sake, right, It
wasn't it wasn't made to work for actual Would this
character have actually done this and morality and YadA YadA.
Yeah no, this was a slapstick Laurel and Hardy type
of episode, right, This is ki in the face episode.

Speaker 4 (56:57):
And he could get away. He really did that.

Speaker 3 (57:00):
Well, he was funny.

Speaker 4 (57:01):
He was funny and he did that kind of he
just did that kind of back and forth banter really
really well.

Speaker 1 (57:13):
Yeah, yep, ye naughty Charles can be naughty, but he
was being naughty, right, Yeah, there's gonna struggle like I.

Speaker 5 (57:20):
Can't I cannot lie to Carolyn, but I cannot lose face. Okay,
I'm gonna lie to Carolyn.

Speaker 1 (57:27):
He and then he's like, hey, Garby, could you also
get in on this and lie tell a bunch of
lies for me in this story?

Speaker 5 (57:34):
Gary was like sure, even though Gary Garvey Garci.

Speaker 1 (57:43):
Already told her, oh okay, So Garby's going sure, Charles,
And when he's already spoken several hours ago to Carolyn
and said yeah, none of them are here, then here
he's here, and she already knows it was well past
one thirty nobody was there, and he's going, oh, yeah, Charles,
I will totally tell her that.

Speaker 5 (58:00):
And he's like, oh, I could tell her that, And he.

Speaker 1 (58:02):
Somehow in the whole ride home forgot, forgot even though
he said phone to lie some more that there was
a phone and that she could have easily have spoken
to someone.

Speaker 3 (58:12):
So so Paul convinces Almonzo that he actually won. So
he makes Almonso take.

Speaker 4 (58:19):
Pay for dinner.

Speaker 3 (58:20):
Paw and Mary we get we get to to marry
in this episode, out to a very fancy restaurant.

Speaker 5 (58:29):
The restaurant this is the right place for Mary, like,
we can't take supposed to be saying take her here.

Speaker 4 (58:42):
So yeah, I don't.

Speaker 3 (58:44):
I don't know.

Speaker 4 (58:47):
Because I didn't. I didn't hear there, you know, I
didn't hear the rink you take piano going from the
you know, and the glasses smash.

Speaker 3 (58:54):
And oh and where Mary is also like, oh come on,
I never get taken ever.

Speaker 5 (59:00):
Get to go out now.

Speaker 4 (59:07):
The cool thing about some putting the story aside, The
cool thing about that restaurant is that restaurant, the Bell
Union is there in Columbia. That's this was on the
streets of Columbia. The whole scene what they meet on
the street and they step into the restaurant, that is
exactly like that. Today our event coming up in Columbia.
All of our VIP meals will be served in that restaurant. Cool, yeah,

(59:33):
in that restaurant, and we will probably have a sign
on that table that this is where the Inlook, someone's
going to be sitting at that table and uh and
it's exactly as it was today.

Speaker 3 (59:45):
Okay, so they're in the restaurant and lo and behold,
who's there?

Speaker 5 (59:49):
Way mister, Now that's funny.

Speaker 1 (59:55):
It looks like ton just snarky.

Speaker 3 (01:00:02):
Snark's totally totally calls out. Pa totally calls out, So
also knows he's lying and he has lied. Hilarious. So
now Paw has to pay for a dinner. So and
of course this is this was my other favorite part
almost like oh, I'll have the.

Speaker 5 (01:00:18):
Steak with two eggs and the potatoes.

Speaker 3 (01:00:20):
And Mary's like.

Speaker 4 (01:00:23):
He's like, oh my god, where you going to put
all that food?

Speaker 5 (01:00:27):
We had previous episode where Mary ate like a truck
driver happened.

Speaker 3 (01:00:32):
I was like, okay, Mary, guess she wants to take
home a dunky bag tonight.

Speaker 5 (01:00:39):
No, that's right, that's it.

Speaker 3 (01:00:43):
Nobody ever takes out. She's gonna get the steak and
the works with it. All the food absolutely so and
then of course Charles doesn't have enough money for all that.

Speaker 4 (01:00:52):
Oh and then he goes to the Garvy's and Andy
bust him saying, gonna take another shortcut to the outhouse.
The thing that's I also.

Speaker 3 (01:01:02):
Discussed what was the choice Andy is topless in his
little bunk bed. What was that choice of not putting
a pajama top on him?

Speaker 1 (01:01:12):
And I have no idea, but that was the time
period when both Matt Lapperto and Pat Laborato were in
Tiger Beat and.

Speaker 5 (01:01:21):
A half minutes.

Speaker 3 (01:01:23):
Oh my god, and he wakes up in that bunk
bed and I was like, why is he topless? What
he's naked in that bed?

Speaker 5 (01:01:29):
Because he was like hot dude.

Speaker 3 (01:01:31):
Yeah, he was like yeah, you peak teen magazine idol guy.

Speaker 4 (01:01:35):
Right. No, Pat was pretty well worked out in those days.
I would say, you know, Matt was, you know, never
been a physical specimen, but but Pat really worked out
and he was we went.

Speaker 5 (01:01:48):
From door key kid like overnight to like bodybuilder.

Speaker 3 (01:01:54):
I was just kind of like, what Andy is okay?

Speaker 5 (01:01:57):
And is it was in the early eighties. There's endless
pictures of them in like short yeah, yeah, oh I
have looked like everywhere.

Speaker 4 (01:02:07):
And it was.

Speaker 5 (01:02:08):
It would have been around that year.

Speaker 4 (01:02:09):
So yeah, yeah, that was such as uh my s
a Richard Simmons look from work, which is like, oh come.

Speaker 3 (01:02:19):
On, Richard Simmons didn't even wear those crop tops.

Speaker 4 (01:02:22):
Oh yeah, yeah he did.

Speaker 3 (01:02:24):
Yeah, I know he wore the shorty shorts.

Speaker 4 (01:02:25):
I remember talking.

Speaker 5 (01:02:27):
So, did you wear sexy outfits in the eighties and
post for pictures?

Speaker 4 (01:02:30):
I don't. I don't think that I ever went to
that dream. I think when I was doing Gidget, I did.
There was a there was a photo shoot that I did,
but it was fully clothed, but it was you know,
it was a sort of you know, hot with with
a hot model in the different wearing the different clothing,
which was great. I thought this was a you know

(01:02:51):
pretty well. I don't want to go into too much
detail on that, but you know, but this was really
fun to do.

Speaker 1 (01:02:57):
From nineteen eighty to nineteen eighty four, I basically wore
a real every day.

Speaker 5 (01:03:06):
Yeah, it was either fabray nothing.

Speaker 3 (01:03:10):
Did Michael Landon like Wax's chest, tell me give me
the down low.

Speaker 5 (01:03:15):
Body hair.

Speaker 1 (01:03:16):
I do not believe he did, because I know that
when he had to grow a beard in that weird
episode where he took the beard.

Speaker 5 (01:03:23):
They faked it out. They clearly.

Speaker 3 (01:03:28):
You see the glue.

Speaker 1 (01:03:30):
Yeah, because when we're not shaved, because I remember him coming,
I remember him using electric shaver in the morning.

Speaker 5 (01:03:36):
It took him days to get what there's she has.

Speaker 1 (01:03:39):
Just some guys they shaved in the morning and by
noon they got like a whole black stuble thing, you know,
Fallly you guys, and then there's people he could if
he stopped shaving, it would have taken him days to
get like a good five o'clock shadow going.

Speaker 5 (01:03:52):
You don't have a lot of hair. If he did
not have a lot of body hair, I don't know
if he watched you would have had if you would
have had.

Speaker 3 (01:03:59):
To have waxed that all off, if you did topless shots.

Speaker 4 (01:04:02):
Well no, I did one shot in an episode. I
guess when John, when John Carter and I go to the.

Speaker 3 (01:04:09):
Japanese job, I guess this was also magnum. You could
have you could have.

Speaker 5 (01:04:18):
Yeah, Harry, Michael did not a lot. It wasn't like
a Harry guy Janeta Harry. So he may not have
been waxing. He may have just been That was what
you got with the teeny little bit. Yeah, yeah, but
bonny people had Harry.

Speaker 3 (01:04:29):
Chest like for days back then. Yeah yeah, this is
the only opportunity I would ever be able to say
command and Wax's chest.

Speaker 2 (01:04:36):
I don't know.

Speaker 5 (01:04:37):
Anyway, let's look that for a little people, you know,
hang out.

Speaker 3 (01:04:45):
Yeah yeah, yeah, yeah, Okay. Anyway, so now we're back
at home. The men have to cook dinner for the ladies.

Speaker 4 (01:04:55):
You know, where the lie continues. Okay, I came down
on the other and we met and all bets are off.

Speaker 5 (01:05:03):
What a want of a lie?

Speaker 1 (01:05:06):
Now now he tells a giant lie and it all
falls apart spectacularly.

Speaker 4 (01:05:12):
And then and then you know, then then yes, and
that's fine, and there the Carolyn and Carolyn and Laura
are enjoying that moment. And then there, of course is
the the dinner scene. And I loved doing that scene
with Michael because that's just becomes there's no rehearsal on that,
that's just we just go.

Speaker 3 (01:05:32):
And how did the all the smoke, that black smoke
coming out of them, that was you know.

Speaker 9 (01:05:40):
That was Luke.

Speaker 4 (01:05:40):
That was Luke Tilman, our special effects guy. I mean,
he could make black smoke appear anywhere, so good. Yeah, yeah,
so yeah, charred in the back and forth, and why
didn't you put water in it? And the you can't
do I have to tell you to put water. All
those things became very That was all improvised.

Speaker 5 (01:05:59):
There was no now the black shoke.

Speaker 1 (01:06:02):
At the time, we were that black smoke was better
for you than the black smoke they used to use
in the fifties and sixties. However, right today's standards, it's
a fairly terrible for you.

Speaker 4 (01:06:13):
Oh sorry, that's interesting. Yeah, yeah, I'm sure that. Well
it wasn't. Didn't We have this conversation we talked about
Fuller's Earth, and now it was the safe thing and
not so much, right? Yeah?

Speaker 3 (01:06:28):
Was it really a burnt roast?

Speaker 4 (01:06:30):
Or was it what it was? It was? You know,
but it was it was certainly it was charred within
an inch of its life. I got to believe that,
you know, the prop guys just put a blow torch
on this. Yeah, yeah, yeah, turned into something else. I
love how look, I love the moment at the end
of this so as we're like flailing in the kitchen

(01:06:51):
and Carolyn says, I think Nellie's is serving till nine
and they wonderful moment. That is a war wonderful moment
when they leave the house and they're laughing together as
they head towards town to have this moment and all
is fun. You know, there's all the lies are forgotten.
All of this is like the guys got what was

(01:07:12):
coming to them. We're gonna still have a good dinner.

Speaker 3 (01:07:14):
Just so silly, those boys.

Speaker 4 (01:07:16):
Yes, yes, uh, you know, look all all in this
was this was fun. Lots of driving, beautiful scenery, a
silly a silly story, you know strong Uh what what
did you say, Allison? You described this as, you know,

(01:07:38):
something to a fall at the beginning of the wonderful
phrase about before a fall, and the whole episode is
about that. Yeah.

Speaker 3 (01:07:50):
I like this episode. It's so silly. I mean, it's
such a departure from although I guess later on in
don't you think season seven, certainly eight and nine, well, no, seven,
don't you think it sort of departed more into fantasy,
real fantasy world, like really veered off the actual prairie

(01:08:12):
into its own.

Speaker 8 (01:08:15):
Fiction Prairie's what's interesting about that?

Speaker 4 (01:08:20):
So then and by the time we can we'll talk
more about this later. My feeling always was in looking
back on it that as we were getting As we
stepped into season nine with the new beginning, everything was dying.

Speaker 3 (01:08:34):
Yeah, you know, I mean it was an.

Speaker 4 (01:08:36):
Interesting way to start over again and have everything dying.
Everyone's dying all over the place in the last season.
And I think this was the show was heading towards
its conclusion. I think this was season seven. Was was
fun and silly and at moments and was the new marriage.

(01:09:01):
You had divorce Walnut Grove style, and you had this
in Law's episode, and you had and so Alison, you're pregnant.
It's season marry personal. Yeah. Yeah, So there was a
lot of Yeah, there was a lot of silliness. I
think the show was changing because it just it needed

(01:09:24):
it needed to do something else, just by just because
you've been doing what you've been doing for so long.
I've always believed or felt watching what I watched, and
I'm watching more of it, and it's confirming my belief
that in those first early seasons the show was so

(01:09:49):
on target with what it was about and the energy
that gave it birth, and it was you know, it's
it's lung, young Laura and young Mary and young Care
and young Nelly and this very honest, but it's but
it was, but it was, but it was also so
heartfelt too. It was you know, there were these youthful

(01:10:13):
where everything is, everything is so serious and important when
you're being wronged and the lessons that you learn as
a young person or the lessons that stay with you
your whole life. And I think this is where the
show was at its absolute strongest. It was where it's

(01:10:34):
just where it was what it was. It was where
the show was designed to be. It's what the source
material was about, it was you know, it was all
of that. So but look, we all had fun the art.

Speaker 3 (01:10:48):
I'm not saying I didn't like the fantasy, but it
very clearly veered off that path. Yes, sure, yeah, yeah,
but I wonder if my I wonder if Michael thought, like,
maybe we should hang it up now, like after season seven, right,
or it's interesting that he wanted to keep going.

Speaker 4 (01:11:10):
Well, it was too good, it was, it was too
successful to not keep going. I see at that point,
I think after I think I think, you know, part
early into season eight, I think he realized that it
was time that he needed to step away because he'd
done everything that he could do. He'd done all of

(01:11:32):
those stories with children and that he loved doing that,
the audience loved him doing you know. So he was
reinventing children like crazy at that with James and Cassandra
and of course you got the wonderful Jason Bateman and
you know, Missy Francis. And yeah, but he felt like, Okay,
I can't do those scenes with Laura sitting on my

(01:11:54):
lap anymore. Those scenes are gone, you know, the pig
tails are gone. Laura's woman, she's married. Now. What he did,
that flavor that he brought that was so important paternally
was he couldn't play that anymore, you know, And so

(01:12:15):
I think it was time to move it on. And
then but when it changed and then you changed the
cast and there are so we're getting off on it.
We're really digressing here into the sort of the macro
of all this. But yeah, I'm glad we got a
laugh out of.

Speaker 3 (01:12:34):
The Yeah, so he sure did. All right, we'll wrap
things up.

Speaker 4 (01:12:39):
Then a great picklet happen.

Speaker 1 (01:12:47):
I wouldn't gotten the pickles and found out the pickles
on my ice cream pickles, maple syrup bar.

Speaker 3 (01:12:52):
There's our takeaway. Yeah, there's the takeaway. All right, everybody,
Thank you so much for joining us today.

Speaker 5 (01:12:57):
We had so much fun with this.

Speaker 3 (01:12:59):
I really had fun with this episode. Join us on
Patreon if you haven't yet, please like and subscribe. Tell
your friends. The more you tell, the more you like
our videos and the podcast, the more the more we
can get it around, so we appreciate all that. Join
us on our socials, Little House fifty Podcast or website,
Littlehouse fifty podcast dot com. Bob get the wig, Let's

(01:13:20):
fly Buddy,

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