HE LOVES ME, HE LOVES ME NOT (PART 1) RECAP!

Episode Transcript
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Speaker 1 (00:01):
If you're listening right now to the Little House fiftieth
Anniversary Podcast, we know something about you. We know that
you're obsessed with Little House of the Prairie.

Speaker 2 (00:10):
For more than half a century, Little House on the Prairie,
the series, and the books have been bright lights for
people all over the world who seek out goodness, decency,
and human connection.

Speaker 3 (00:22):
Here on the Little House fiftieth Anniversary Podcast, we celebrate
everything that made Little House so special.

Speaker 2 (00:28):
The stories, the characters, the actors, and the messages that
have made Little House iconic family television.

Speaker 1 (00:35):
And a perfect counterpoint to a world that feels like
it's going off the rails every day.

Speaker 3 (00:40):
Where's Michael Landon when we need him most?

Speaker 1 (00:43):
I'm your host, Pamela Bob And I'm your Prairie bitch
Alice at.

Speaker 2 (00:47):
Aringrem and I'm Dean Butler.

Speaker 3 (00:50):
Our hashtag imaginary boyfriend. Join us for our loving, quirky,
and often irreverent conversations about the finest family drama in
the history of television.

Speaker 1 (01:01):
And the imperfect people who made it that way.

Speaker 3 (01:04):
In this third season, we are extremely grateful for the
support of visit Seemi Valley dot com for their continuing
sponsorship of Little House on the Prairie and The Little
House fiftieth Anniversary podcast. Well, hello, everybody, how are you
bonnet heads?

Speaker 4 (01:20):
Hi?

Speaker 3 (01:20):
I'm Pamela Bobb, your host, Creators Star Have Living on
a Prairie and super fan. I am here. Oh, she's
sipping some delicious virage. Is it a cappuccino? What is that?
It's our prairie bitch. We'll find out in a second,
Our prairie bitch. We love her. Alison Aringram's here, yes,
and Dean sipping on some sort. I don't know what
he's sipping on. Everyone's sipping on something.

Speaker 4 (01:41):
I haven't no, this is coffee. I make coffee in
my office.

Speaker 3 (01:44):
I already had my coffee. But anyway, he's here, our
hasefriend Dean Butler, both caffeinating. Hi, guys, how are you?

Speaker 1 (01:55):
What are you drinking espresso with? Uh? I think this
one's Cuban. I forget they're from all different countries. I
saw these little little cubes and you put them in
and you order them, and it's it's the pair of something,
and this one's the Cuban, this and the African maths
and the whatever. It's fabulous, and then me and then
you put the big French that's your technical term sugar.

(02:18):
It sounds like old AOL dial up. But instead you
get a cup of coffee.

Speaker 3 (02:21):
Ooh, that's a good trade off.

Speaker 4 (02:24):
I was going to say, you know, it's it's it's
three hours earlier here, so Elson and I may still
be sort of just still waking up. You know, you're
half day. We're just starting our day here.

Speaker 1 (02:36):
Kitchen renovations, you know, to find the coffee.

Speaker 3 (02:40):
Machine, I have to say, settle in the bathroom. I
was going to ask, did you get a new espresso
machine or the beautiful new kitchen the renovations amazed.

Speaker 1 (02:47):
You already had, and we were like, quick, quick, before
it gets put away somewhere, put it in the bathroom
and plug it in there. So we didn't like miss
a cup of coffee while this is happening. But yeah,
I had to locate like like, now, where's the sugar.
It's like it's just finding stuff now. It's like a
little chaotic.

Speaker 3 (03:02):
I'll give you some shit going very quickly. That's good, beautiful. Yeah, sure,
thanks for laughing at my stupid, stupid joke. But uh listen,
we have a big, big, big like I thinking about
this episode is very surreal for me because this is
one of my all time favorites and I can't believe

(03:23):
I'm actually talking to this.

Speaker 4 (03:24):
We don't know what it is.

Speaker 3 (03:25):
No, of course we'll keep that in suspense because we're
going to do a little something different day and Alison
and Dean don't even know what I'm doing saying. This
is new. Okay, So first we're going to break some
norms today. I'm saying, Hi, guys, this is the Little
House fiftieth anniversary podcast. What I'm saying it now, that's crazy. Yes,
I'm saying it now. Welcome from udn go and Prairie

(03:48):
Partners and Patreon and visit Seemi valad dot com. Thank
you for joining us. We're doing something a little different
at the start of this episode. So Valentine's Day is
upon us.

Speaker 1 (03:59):
We are doing blown up.

Speaker 3 (04:01):
I know Valentine's Day is sort of falling in between
our episodes, so we're gonna do there Valentine's episodes today
and next week. And to start the segment, I thought
maybe showing you guys, you know how they have the
cards they have sort of slogans or sayings on them
for Valentine's Day. That are very sweet and cute and yes, well,

(04:26):
Joy and Christine have put together some prairie memes for
us to surprise you and your feedback for this Valentine's
Prairie fest. Okay, Tony, are you ready? My friend? Is
he there? Is he answering? Oh, he's there. Can the

(04:48):
listeners hear you? Just me? Can everyone hear you? I
hear am? No, it's just me? Oh darn it. Okay, guys,
Tony is here. Are awesome producer, He's gonna help. Okay,
are you ready for the very first Valentine's card?

Speaker 1 (05:03):
Okay?

Speaker 3 (05:04):
And also for those listening and not watching on YouTube,
I'll try to explain what we are, what we are
looking at doing left in the dust. All right, here
we go. Number one, Yes, the first Valentine's Day. It's

(05:26):
an image of Mary Ingalls and the caption just reads,
love is blind.

Speaker 1 (05:32):
And she looks happy.

Speaker 3 (05:33):
She looks so happy that.

Speaker 4 (05:37):
Of course very sweet?

Speaker 3 (05:39):
Ye bind oh Mary, she found her match. It's all good,
the fictional Mary anyway. Okay, Love is blind? Number two? Love, Ye,
he really looks like he's suffering in this Still Nell

(06:00):
does that?

Speaker 1 (06:01):
The ultimate in love is patient. You don't get more
patient than Neils.

Speaker 3 (06:05):
It's true, do we think he was patient?

Speaker 4 (06:09):
Some nice moments with his beloved. With his beloved in
this episode.

Speaker 1 (06:14):
Nills really did love harrietspite everything.

Speaker 3 (06:18):
Yet, next one, I'd punch anyone in Walnut Grove for you, babe.
This is appropriate in every way. He would too, That's
the thing. He absolutely would anyone in Walnut Grove or
out of Walnut Grove. Thoughts, feelings, Yeah, no, he yes, yes, yeah.

Speaker 4 (06:46):
He clearly loved the physicality of all of it. He
was great at it.

Speaker 1 (06:52):
I'm surprised Paul wasn't at Doc Baker more often, which
swore his hands broken ribs.

Speaker 3 (06:57):
Yes, all right, thing for love, baby, Okay. Next one,
it's you Allison, looking very snooty, and the caption is
I usually get what I want today. That means you
be my Valentine or else.

Speaker 1 (07:15):
If you're very threatening. This is like the first season picture.
I'm a little teeny thing in my yellow dress with
those lovely big floppy red bolls.

Speaker 3 (07:21):
Love.

Speaker 4 (07:22):
So now is this this is your and this is
your hair?

Speaker 1 (07:25):
Is that is so my hair and my little sketchy bangs.
And yet, because this is like Bambino the first season,
here just a wee.

Speaker 3 (07:32):
Thing, a wee thing, and they must have been freshly
curled because they haven't lost their bounce yet.

Speaker 4 (07:38):
I haven't gone in the morning.

Speaker 3 (07:41):
Yes, fresh fresh out of the salon.

Speaker 4 (07:46):
Get a picture of her before we lose.

Speaker 3 (07:48):
It, exactly. And you did often need to bribe or
cajole those two be your Friendower balls I have.

Speaker 1 (07:58):
I have sower balls in the mercantile. I have candy,
I have licorice, I have sour balls and chocolate.

Speaker 3 (08:03):
Gosh, men are easy to min Yes, okay, it takes
a couple of balls, all right. Next one, you to
my shadow, the sunshine to my shadow. Yes, you're the
I never know this title. You're the Yes. What is

(08:25):
the titles? Yes, there's of Thundered Days of Stores.

Speaker 1 (08:32):
Yes, and I'm very fetching in his little hat. Yeah.

Speaker 3 (08:36):
Do you have a favorite still image of you Dean
as Almonzo? Is there one that you're like, Yeah, that's
the one.

Speaker 4 (08:45):
I have a few. I think this is this is
this is a really good one. It's a really good Yeah. Yeah,
I think it is a really good one. You know
what's interesting about these hats is that, you know, most
Western hats, if it were a real Western hat would
be cut with a deeper brim, but because it was
for camera, the brims are cut narrower so light gets

(09:06):
underneath the brims. You actually see people's eyes these hats,
but the impression is made with the hat.

Speaker 3 (09:13):
Hat especially made.

Speaker 4 (09:15):
I loved this hat. It was really bummed that they
took this hat away because I just thought the hat
was fantastic.

Speaker 3 (09:21):
Why did they take the hat away?

Speaker 4 (09:25):
I think I think NBC wanted to see some presence
of Michael, and so they.

Speaker 1 (09:33):
They gave me his Michael became the man and therefore
warranted the Michael hat.

Speaker 5 (09:40):
That must be Yeah, just against why people wore the
hats that they wore. You know, hats were just to
define the character, and I think this hat defined who
al Manzo was wonderfully.

Speaker 4 (09:56):
So that was a little more complicated.

Speaker 1 (10:00):
Real hats would cover your eyes and your face from
the sun. But TV hat.

Speaker 3 (10:05):
So were these hats made or they're just bought hats
that are just not the official hat that would have
been worn.

Speaker 4 (10:11):
Well, I think these hats were made. These hats were.

Speaker 3 (10:15):
Made to make the custom made brim in the front.

Speaker 4 (10:18):
I mean, look, they were part of the they were
part of where they came from. They were part of
the Western costume. You know, Western costume at that time
was and it was attached to Paramount Pictures. It was
the go to place. They had a huge inventory. I mean,
who knows who else wore that or in that hat.

Speaker 1 (10:38):
I have no idea, but all the TV hats had
to be just so you couldn't just run out to
the store and get a cowboy hat for a movie
because you would be wrong. Isn't that crazy?

Speaker 4 (10:48):
The other thing that was sort of cool about these hats,
you know, like the Triple X beaver is a really
thick the Stetson hat that people where all of these
hats were just to be soft. They all had flexibility,
but at least our hats did. Now. Doc Baker's hat
had a stiffness to it. Reverend Alden's hat when he

(11:10):
wore a hat had a stiffness to it. But but
like I'm trying to think, Victor's hat was sort of floppy.
Michael's hat has a soft brim. My hat has a
soft brim. You just wanted to be able to maneuver
it around and it just you could crush it a
little bit. So it's just a thinner. I'm I don't

(11:32):
think it was. I wouldn't have said these hats were felt,
but maybe they were felt, but really comfortable to wear,
good character hats. And when you know, when Michael fitted
me for the hat, they were Mike Termini, who was
the male costumer, brought about six hats to the costume

(11:52):
fitting and laid them out so Michael could look at them.
And I couldn't tell you what they all looked like.
I just know the one he picked interesting.

Speaker 1 (12:01):
The city folk had black, stiff solid the referend Alden's
flat little pastor high nels and his little bowler, and
they're all black, solid pats. We are the city people
and the country people. It's the floppy cowboy as they
very very particular. You know that that's on purpose. You
know that's on purpose. The way they sat down and
did that.

Speaker 3 (12:22):
Yeah, were there different designers or the men?

Speaker 4 (12:25):
I guess more more that was it that?

Speaker 1 (12:28):
I think that was adorable able, But if.

Speaker 4 (12:36):
You marry a pig farmer, you're not getting a Valentine.

Speaker 1 (12:43):
Get so happy. It's such a lovely gather.

Speaker 4 (12:47):
That that's way too happy for that for that message happy.
It's just way too happy.

Speaker 1 (12:52):
A picture of pretty pink and that lace. I wonder
if this isn't from I'll have to look. Is this
from maybe back to School? Where she thinks she's gonna
palm Nelly off on Alman's Amaze. Definitely the face of
a woman is trying to sell her daughter to someone,
and it's like, yay, I found that Nasa bunk for
that awful girl.

Speaker 4 (13:11):
It's it's a wonderful day, thriller, she's thrilled. Great picture.

Speaker 3 (13:14):
Well, these are so much fun, and listen, we want
to involve our listeners, our audience in this too. So
if you have a character and a phrase you want
to put for your Valentine, please go to our YouTube doing,
not not any of our other socials, just our YouTube
channel and write it in our comments section, and then

(13:37):
on February fourteenth, Valentine's Day, we will choose the top
five and make Valentine's cards out of them and post
them on our social media. So please, please, please, please
join us and do it. It'll be so much fun.
We're gonna get such a kick out of it, and
then you'll be featured on social our social media platform.
So write your Valentines, pick a character, any character. What

(14:00):
would Miss Whipple do, I don't know, be creative? What
other random characters?

Speaker 1 (14:07):
Kezy of Valentine?

Speaker 3 (14:10):
Edwards? Yeah, yeah, Albert vomiting, just vomiting for no reason.
I get, I get morphine Vale. No, No, I don't know, Albert, Albert.

Speaker 1 (14:24):
I'm addicted to you. But if you are not here,
I love you so much. I will withdrawal if i God.

Speaker 3 (14:33):
We've got to make that one regardless. I'm yes, doctor Baker.

Speaker 1 (14:43):
The choices are endless.

Speaker 3 (14:45):
Yeah, they're there. There's a don't hold.

Speaker 1 (14:47):
Back out there. Don't hold back. You don't like those
Valentines do it?

Speaker 4 (14:51):
Yeah?

Speaker 3 (14:51):
You don't have to be polite. We like it when
it's not polite.

Speaker 4 (14:54):
Frank, what would Willie's Valentine be? Oh?

Speaker 3 (15:00):
I just thought of something, and I cannot.

Speaker 4 (15:02):
Think about this podcast.

Speaker 1 (15:03):
So I can't even say it right.

Speaker 3 (15:07):
I got maybe something about being in the corner. You've
cornered me happy Valentine's Day. I don't know, you're.

Speaker 4 (15:13):
Right exactly in the corner with you, yea, seven minutes
in the corner.

Speaker 3 (15:23):
I don't know. That's taking it dirty. I won't do that,
you guys anyway, I already said this is our podcast. Hello, welcome, listen.
We're gonna we're gonna take a little intro and then
we'll be back with this epic part one of our
two parter episode for Valentine's Day, and it's one of
my favorites. Okay, top five favorite episodes of all times. Okay,

(15:45):
we'll be mm hmm Okay, we're back. It's almost embarrassing

(16:05):
to tell you, guys, how many times I've watched this
episode of It's I'm kind of obsessed with them. They're
definitely in my top five episodes of all time for
this for a little House on the Prairie. So I'm
site to start dissecting it straight from the source with

(16:26):
you guys. Okay, Dean and tell us what are we
doing today?

Speaker 4 (16:31):
Well, since you're so excited, let's tell everybody today. We're
talking about episode twenty three of season six, part one
of He Loves Me. He Loves Me Not as debuted
on May fifth, nineteen eighty written and directed by Michael Landon. So, Allison,
what is this epic about?

Speaker 3 (16:53):
Ah?

Speaker 1 (16:54):
Shenanigans, That's what I say. What's it about? It is
Spring and Wallla Grove, which it eternally is because it's
there's no snow, so snips really turned there. Love is
in the air, and apparently so is poor decision making. Yes,
oh so much for decision making. Laura finally gets her dream.
Al Manzo proposes wonderful except for the part where Charles

(17:17):
Ingall's patron saint of stubbornness calmly informs some that new
daughter is getting married before she's eighteen, which is actually
like the one moment of sanity in this entire episode,
but possibly happen corrupt. Laura accepts this like irresponsible young woman.
Yeah no, al Manzo reacts like someone who just found
out he's being sent to boot camp. Actually, everyone behaves

(17:38):
horribly what happens, but okay, mean face with the fact
that Netley's restaurant is basically the Prairie House of Horrors,
decided to hire efficiency expert Percival Dalton. Within days, he
turns to Nelly from rude, snotty and allergic to work
into slightly less fruits, which does count as a miracle.

Speaker 3 (18:05):
I love this much.

Speaker 1 (18:06):
Miles away Adam, Adam learns his father has died and
taken Adam's dream inheritance for the new School with the
Blind with them. Oh yeah, that one I will call
shenanigans on that whole sequence. That was all very weird.
It was very weird that poor Man by the end
is crushing on Perceval, Adam and Mary are grieving with dignity,
and half of Walnut Grove is wondering whether Laura and

(18:27):
Almamsa will ever get on the same emotional page. Yes, yes,
there's so much love in this episode and so much
bad decision making and crazy shenanigans, and dare I say it,
there are some as we like just servicing the plot,
servicing the plot. But I go to your term bacco
plot lines and pieces of dialogue and vaguely out of

(18:48):
character insane things and what it all comes together at
the end and then it's like all okay, And I'm like, Nony,
what was that all about? But it was getting into
the eighties. We're in the late seventies, and Michael's like,
we need a real romance, We need to we need
to put those Dallas and romance people to show let's

(19:09):
we can show them romance on the prairie because if
they actually follow the books, it'd be like another three years.

Speaker 3 (19:15):
Well, and you know how we know we've entered the eighties.
We've entered the eighties, and we've entered puberty. Because we
have a lot of blue eyeliner and a lot of
lip gloss going to make up the starting in this episode.

Speaker 1 (19:31):
Well yeah, it's it's eighteen hundred. It's like pretending not
to wear makeup, but as opposed to the normal you know,
Nat Tan Ben nights at the Max Factory, the clip
gloss and there's ever so slightly little mass here. And
I know because I was in the chair and why
do we go and now you have lipstick and it's
like it's and I am lying, like, it's not. It's

(19:55):
not like lipstick. It's not like hot pink. It's not red. No, no,
like it's dark. It's a nude. But it it's not
like just playing makeup.

Speaker 3 (20:02):
Can everyone has it? My has it?

Speaker 1 (20:05):
Little? Yeah, we're all wearing the same one. He's wiping
it off between people. It's the same thing Harry has
and the tiny.

Speaker 4 (20:13):
Before I am blown away by the things, the different
things that you notice that I just flatten out did
not see?

Speaker 1 (20:24):
I mean, did you notice rates the ladies were prettier
and that the girls, oh.

Speaker 4 (20:29):
That they look a little older one looks beautiful in
the episode you look beautiful.

Speaker 1 (20:35):
Episode stunning in this episode, but indeed has with eggs
on your head.

Speaker 4 (20:39):
You look, there's a little like.

Speaker 1 (20:40):
A brown pencil, not quite a full eyeliner, but the
little brown.

Speaker 3 (20:45):
Bottom liner that gets me a little. The bottom liner.

Speaker 1 (20:49):
Oh, I think Melissa Scott, Laura.

Speaker 3 (20:52):
And hardcore.

Speaker 1 (20:53):
I got hit with mess Scara and major list.

Speaker 3 (20:58):
It's like, low as a woman, she's rocking the gloss. Yes,
she's a woman. Now, okay, let's doesn't even know what
to say these It was a huge deal. It still is.
When I see Laura in this episode and her hair
is down and she's got the eyeliner and the lip gloss,
I'm like, oh, there she she is officially a quote

(21:22):
unquote woman now.

Speaker 1 (21:24):
Even child to actresses just saw you hit puberty in
an eighteen hundred show. You were going to get like
makeup makeup, But when they brought out the pink lip
gloss stick and a little tiny bit of messcare just
gonna wave the brush in there, You're.

Speaker 3 (21:35):
Like, yes, Meg, yeah, yeah, that's a lot. Wow. Okay,
Well sorry I went on a tangent. But now we'll
go back to the beginning of the episode, which.

Speaker 4 (21:43):
No, no, but that's that. I think that's a really
interesting thing that people would notice. Oh some people would
know are the people that just like right over the top.

Speaker 3 (21:55):
Yeah yeah, or it's some wonderful gay men. Notice I'm
definitely talked about an apparently so.

Speaker 4 (22:02):
So so interesting that well, all right, so this begs
the question, then who is this being done for are
they are they doing it for themselves or are they
doing it for others?

Speaker 3 (22:17):
And my my feeling is, I think it's officially the
nineteen eighties. This was what people liked seeing and it
was still subtle. It's just if we're actually looking for
historical accuracy, it's more than and I know there's makeup
to look like you're not wearing makeup, which certainly.

Speaker 1 (22:38):
Not wearing the salw girl mat no, no.

Speaker 3 (22:40):
But it's still it's still noticeable to a point of
like is that blue eyeliner? Like it's it's a.

Speaker 1 (22:47):
Little a little more than what it's enough to that
the average viewer goes, oh, they all suddenly got prettier
this episode.

Speaker 3 (22:54):
And I think because they're aging up the characters also,
they've added more which I think to the audience's sensibilities
translates to you, they're all subliminal women.

Speaker 1 (23:05):
Now, yeah, the teenager, grown up girl message. They're different
because the children, everybody who's like twelve and thirteen, and
they're not getting any people, they're not getting anything. So
it sends a message soliminally, even if you're not going,
oh it's met Scara. Oh, they're ladies now, they're young ladies,
they're not kids.

Speaker 3 (23:21):
And especially yeah, eventually, for the character of Laura, we
have to believe that she's old enough first of all
to have a serious love interest and second of all
to even be engaged to be married. Like, the audience
has to buy into that other.

Speaker 1 (23:35):
And they got to make me look good because first
of all has to see something there he tails totally,
I'm better dress it up. And then it's also, as
you said, all the other shows are going nighttime soap
with just people just make up cascading off their faces. Huge,
can't believer, fault eyelass. It's like ridiculously, we gotta slap
a can we can we put a little like it's

(23:56):
just a little in the corner, a little med scare
on these women to like, you know, dart them up
a bit.

Speaker 4 (24:01):
I think there was a sweeps episode, so there was
there was. There's an enormous amount of energy on the
on these episodes that air during sweeps period, So maybe, yeah, maybe,
But I think all the subliminal things that you're talking
about romance, I mean that all totally makes sense. Yeah,

(24:22):
it's so interesting when you're there doing it now, you know, look, Alison,
you were there, you know what they were doing. There
was no difference in the way that you know, the
guys were being made up exactly the same way. There
was no there was no.

Speaker 1 (24:36):
Chance your hair was super shiny. Yeah, the hair got
really shiny. They brushed you out a little more.

Speaker 4 (24:42):
I'd say, my hair was always really shiny.

Speaker 1 (24:46):
Hair, and you were definitely like powdered down. There was
no shiner, sweat you looked for you. All the guys
look perfect.

Speaker 3 (24:52):
So yes, yeah, I will say there are some episodes
where all that.

Speaker 4 (24:55):
Study casual gladys wit and our hairdresser was always trying
to keep the comb out of my head and just
don't touch.

Speaker 1 (25:01):
It, right right, yeah, Okay, only the hairdressers are allowed
to you hair. Don't mess with your own hair.

Speaker 3 (25:08):
Right, Okay, let's take it to the top of the
because this is gonna okay, I can't believe I'm getting
the opportunity to actually say these things to you guys
in person. Here we go. The episode starts off beautiful
scenic by the by the little Lake, Almonzo and Laura
take her hair is down, baby, her hair is down.

Speaker 6 (25:30):
The previous episode they had their kiss. It's official, they're together. Woho,
very exciting. And then Almonzo well, he's trying to tell
her something and she he can't get it out. And
then she's like, well, why didn't you just write it down?

Speaker 1 (25:47):
Then?

Speaker 3 (25:48):
And he's like, great idea. And I want to know
why does he have paper and a pencil? Why where
did this come from? Does he travel with it everywhere
he goes? Okay, I've been wanting to ask this question
for like forty years.

Speaker 1 (26:04):
Who why I'm not even a good pencil? It broke? No,
it broke.

Speaker 3 (26:10):
And then he's like, my pocket, I can just tell
you in your pocket why.

Speaker 4 (26:18):
I I just sat down. I just sat down to
do this. I you know, Dean Wilson had it all propped.
Everything is there. There's no explanation as I just wasn't
thinking about that.

Speaker 3 (26:32):
This is the this is we're talking.

Speaker 1 (26:38):
We need this beautiful moment where he is too shy
to say it. Oh honey, you could write it down.
I shall write it down. I can't even.

Speaker 3 (26:45):
Here's a half by eleven.

Speaker 1 (26:51):
Here we go, stationary s.

Speaker 5 (26:54):
What are you?

Speaker 1 (26:56):
This is the kind of nonsense It suddenly magically happens
that so that we don't really question because we're being
in love with everybody.

Speaker 3 (27:05):
Why does he have papered if you reached into your
pocket and had a little notepad and like a mini
pencil that I buy. I get that totally. Why does
he have a full stationary set with him on this
little outing outdoors. It's very bizarre anyway, I don't care.
I love it.

Speaker 4 (27:23):
Well, maybe I'm not mad.

Speaker 3 (27:25):
Why why is.

Speaker 4 (27:27):
She why I just picked it up?

Speaker 1 (27:31):
You pulled it out like bugs bunny. When he magically
has pockets nowhere, it's brilliant.

Speaker 3 (27:41):
But not but not only that, this is the part
that also always got to me, and I cannot believe
I'm asking you this. Okay, here we go. So now
he's writing. Now he's writing, and and finally when he
finally says it, he says, Laura starts reading it and
she's is I love you and I want to and

(28:03):
then the pencil breaks and and and she's like you
want to what? And then it gets here. Now, the correct,
grammatically correct response would be I love you and I
want to marry you, right, I want to marry you
or I want to write. But instead he says be

(28:27):
my wife, which would translate to I love you and
I want to.

Speaker 4 (28:30):
I want I want you to be.

Speaker 1 (28:32):
Correct, which means he was gonna say Mary. He was
gonna say the version Mary, I want to marry you.
I want to he wrote to. He wrote to I
want to get married. I want you to make you
my wife. Yes, I think that he wrote the two.
He's modified the surve here and it's like this, bunny, Yes,

(28:57):
why why did they write it that way? Because he
then he's forgotten what he was writing down. I gave
him that one because he's like like he was gonna,
I want to marry you and then ay ay.

Speaker 3 (29:08):
Yeah, yeah, yeah, am I killing.

Speaker 4 (29:10):
This is all way beyond me. I just learned the dialogue.

Speaker 1 (29:16):
What they tell him to now. Also, I noticed, I.

Speaker 4 (29:19):
Mean, Michael written the episode and was directing the episode.
Even if seen a grammatical problem, never would that have.

Speaker 1 (29:27):
Come up never, and that's why I think he was
going to write it that way. But then he, like
I said, he's totally discombobulated. He's proposing is no, so
of course he's switched to the other phrasing. But this
is also seen where we see Laura starting to give
Almanso the hard time. She before worships him like a
puppy dog and has the big crush, the puppy love crush.

(29:49):
But now she's like, well, well spin it out, write
it down, let's go. Which now we're getting back puppy
which is which is now more like the books, where
Laura was like, well, what are your intentions? And we're
like okay, well now we're getting more realized. And this
dynamic goes back and forth and back. That's where I

(30:11):
call shenanigans, because God forbid you follow the books. Then
we Michael flipped the script on this twice. He did
two giant reversals. Two giant reversals, one in real life. Okay,
well first, in real life, Almansa was way older than
older than you. Older they yeah, ten years older, Laura,
so age difference. She made me like way over but

(30:33):
he was very young. You know he went after Laura.
Laura did not say, oh I love this man.

Speaker 4 (30:39):
He pursued her, but.

Speaker 1 (30:41):
It was eighteen hundred super duper duper chased. He went
to her parents, did can I walk with her? And
you guys back to like the house for social like thought?

Speaker 4 (30:53):
Remember that they did let him take her on drives,
which is really and.

Speaker 1 (30:57):
That was later. But their first thing was it's just like,
can I walk her home from the church? Social? Okay,
they lived over there, The parents were ten feet away,
the house was like ten yards away. They lived across
the street. So it's like, yeah, it was that was his.
That was the big thing. It wasn't like, oh hey,
I think your daughter's hot. It was like, may I
walk her the ten yards?

Speaker 4 (31:17):
It's a little it's a little like that scene and
Godfather too will receive Michael and the Apollonia walking and
then suddenly the whole family's there behind them.

Speaker 3 (31:25):
Exactly.

Speaker 1 (31:25):
It was that kind of you are cheere. So the
very first move, if you can even call it a move,
that Ilman's mate was absolutely was walking her home from
church and the parents are and it was very so
it was very but Elmanso indeed and Laura didn't care.
Laura was like, why does you want to walk me
home from church? I live over there, and they're like,
shut up, go and because she was like oblivious, and
then finally yes, the long drives, the long drives and

(31:48):
the cutter the sledge and even then she gave him
the business and said, if you think I'm dating you
or marrying you or something, just because you're driving me
all the way out here, you should probably stop. If
you're just doing this to like gain favor, you can
not show up. And he went okay, and then showed
up the next day. It was like no, because he
really loved her, but Laura was like, no, I'm not
pursuing this. I am obsessed with my career. I want

(32:10):
to teach. I really don't care if a guy wants
to drive me places and marry me, don't care, don't care.
And Alan's was like, I see something here. I want
to very quietly and slowly convince this girl that I'm
a good husband. The other flipped the script. Is Ma
thought it was a terrible idea and idea in real
life because Paul, well, he didn't tell Laura this, but

(32:33):
technically during the Long Winter, Almonzo kept them all from dying.
They were all starving to death. And then when they're
there first into smeit and.

Speaker 4 (32:43):
Pad discovers that they've got wheat and he insists that
they give him some.

Speaker 1 (32:52):
He kind of like stares at almans so, so you're
from wheat hiding in the wall. People are dying. Hello, Yes,
I'm cool, and gives him a bag of wheat and
it says like, please don't tell anyone, and he doesn't,
so it is totally their secret. But he comes home,
he is food, so they don't die. It's enough to
keep them from dying, so they have enough caloriy gainting.
So technically Almansa just saved the life of the woman

(33:14):
he's gonna marry later, so he has saved the family
from death. And it's kind of on the downlaw because
of course Pad didn't tell everybody that he had wheaten
the wall. He wasn't gonna ride him out, so it's
kind of their secret. So Laura doesn't know that Alman's
a savidor from starvation, no clue, but Paud knows that
he is a good man and that this man was
willing to hand over the wheat and save this family.

Speaker 4 (33:36):
So this was his seed wheat that he was going
to be using to raise his crop, and he ended up.

Speaker 1 (33:41):
Giving some and it was really important. He was really
hanging on to it, but they were going to die
and they needed to grind it up in the coffee
grinder and make food. So pause, he's Alman's. It was
a good catch that he did say them, so he
knows this. So when he says, hey, you know, very chaste,
we're just gonna go and ride some things, he thinks
it's great and thinks Alman's was a catch, like absolutely
after you should take get in the sleigh, go go go.

(34:03):
Ma is the one who flips out and says, she's fifteen,
she's fifteen, What the hell are you talking about? She's fifteen,
And Paul's like, it's Almanzo. He's like, you know, the
guy with the food, you know kind of thing. So
Pauw in the books thinks it's a wonderful idea that
Almansa was a wonderful man, which is true, and he
knows that he's a wonderful guy because he gave him
the seedweet that the brother okay, royal is not going

(34:24):
to hand over the seedweek that's face royal it. I
have no wheat in the wall. I have no idea
what you're talking about. Almanza gave in the fip. So
Paul knows that Alman's is the real deal, that he's
a good man. And Ma's like, I don't know this
some dude, and she's fifteen. I don't care who he
is or how old he is. Ready thing, he's fifteen.
Shut up. So in this show, this is reversed. Pau

(34:44):
does the usual Dad not my daughter, Ben and Ma
and Ma is scheming.

Speaker 4 (34:53):
Caroll was wonderful, She's so good.

Speaker 1 (34:57):
But it's a complete flip, and having the flip of
where Laura likes him first, So it's a complete reversal.

Speaker 4 (35:04):
It's a little It had to be played that way,
had been because it was two weeks televisions. It had
to be played that.

Speaker 1 (35:10):
Way because there's no way you could explain to people
like you couldn't do even if you had him like her,
you couldn't do it. The eighteen hundreds courting their head
because it would have taken three more years.

Speaker 3 (35:21):
Well, and the audience and the audience, hence the makeup.
In this episode, the audience still is viewing Laura as
a little girl. I mean she was wearing braids until
last episode, right like, there was no sort of transition
into her woman, and it went from braids to I
want to marry him in her hair.

Speaker 1 (35:41):
It is down for a long time before she goes.

Speaker 4 (35:44):
It's amazing. It's amazing to me that as I was
looking at this that here's sweet sixteen is literally the
week before, the week before this, and the next week
we have this. It's like, this is how much time
has it for the audience? Seven days past?

Speaker 1 (36:03):
Back to school was like a year ago because I
just got the freaking hotel. That's the back to school thing.
This is like just happened. It'll just happen, right.

Speaker 4 (36:11):
Yeah, just it was. It really was. I wentn't okay,
I went on Reddit yesterday. I shouldn't see what people
thought about this. Oh my god, tell me, I just
got al Manzo got ripped on Reddit for this.

Speaker 3 (36:36):
I love him so, oh my god. Why because he actually.

Speaker 1 (36:45):
Read it?

Speaker 4 (36:46):
Because I get, you know, because I was because al
Manzo was well in patient. Some of the descriptors douchebag, impatient. Yeah, yeah,
it was more. All of them were more in the
douche category. Is opposed to just impatient.

Speaker 1 (37:03):
It was, as Mas says, awkward and maybe not that
bread crash. That's yeah. See that's another character when when
they have the whole thing and they and and Bas says,
you got away, and Almonzo flips out and I'm like, well,
what happened to mister patient? Seem to come out now

(37:25):
suddenly he's having a temper tantrum.

Speaker 4 (37:27):
Servicing the plot. He's got to drive. Everything is about
Michael is driving the plot. The overarching character was far
less important than the need of the individual plot.

Speaker 1 (37:39):
This is and remember, folks, this is Michael wrote, it directed,
it produces. Is all Michael, here, Michael, you throw this
at his feet, But it's also Michael looking at Okay,
here we are. This is it. This is the romance
that people go is a romance on the show. Yes,
there is a Florida. This is it. And it's almost
nineteen eighty, and we got to get the show on
the road. And this is a show and it's and

(37:59):
we can't do eighteen sixty eighteen seventy. We got to
like move this along. How do we strike a balance
between the very boring eighteen romance and a soap opera,
Dallas Dynasty romance.

Speaker 4 (38:13):
Okay, who which who of you have seen Wiater Kevin
Costner that I have not seen that.

Speaker 3 (38:20):
No, weren't you.

Speaker 4 (38:25):
Very romantic when Wider finds the girl. Yes, it's incredibly romantic.
Well in that time period. All right, we could we
could talk about this.

Speaker 1 (38:37):
Okay, we've established we think it's weird.

Speaker 3 (38:40):
Okay, go ahead, okay, yspared.

Speaker 4 (38:42):
So now let's move to the second story.

Speaker 3 (38:46):
Correct right now, she says?

Speaker 4 (38:49):
She says, yes, and there's a there's another kiss.

Speaker 3 (38:51):
Yes.

Speaker 1 (38:52):
Kiss.

Speaker 3 (38:53):
Also, by the way, Dean, you are lovely in this scene.
You are so sweet and adorable and just precious. I
just bravo, bravo to you. Bravo perfect.

Speaker 4 (39:02):
I felt as I watch it. I feel like it's
one of the most agonized questions. It's like it feels
like it's like he's I look at myself and I
go like, what were you thinking about?

Speaker 3 (39:17):
No, he was not awkward all the time.

Speaker 1 (39:26):
Now, all.

Speaker 3 (39:31):
So perfectly because you're so nervous. It's perfect. Don't judge
your performance. It's perfect. It's perfection. What would you have
done differently?

Speaker 1 (39:40):
Now?

Speaker 4 (39:41):
What would you have done different I don't I have
no idea. I just know. Whenever I've seen this, I've
I've just looked at it and say, you know, for
someone who here's the deal. You know, you think you're
wanting to be cool, there's no here, but there's the
most cool here.

Speaker 7 (40:02):
There's no cool guy in television freaking history.

Speaker 3 (40:06):
Man, that's it.

Speaker 1 (40:10):
Your was the opposite of school. Well sorry why it works.

Speaker 4 (40:15):
Anyway, but look, he's not. I always appreciate how lovely
and supportive you both are of these of these moments
that just as I look at them again, I'd like,
oh god, well we're always.

Speaker 3 (40:27):
Our own critics for sure, but please trust that you
are just perfect. It's perfection. Couldn't ten out of ten,
couldn't get better.

Speaker 4 (40:37):
Thank you for that. On Reddit, they thought I was
a douchebag. But okay, that's not in.

Speaker 3 (40:41):
This scene, at least not in the opening scene. Maybe later,
I don't.

Speaker 4 (40:47):
Know what scene it was. Maybe it was later. It
was the scene on the bridge, which would.

Speaker 3 (40:50):
Get to a just douchebaggery at its best for sure.
But that's not your fault that way.

Speaker 1 (40:57):
I'm not bad. I'm just from that way.

Speaker 4 (41:00):
Yeah, I just exactly. I love that. Yes from Roger rabbit.
Oh my god, I'm just drawn this way.

Speaker 1 (41:08):
Yeah, somewhere I did write down he is kind of
a dork here, but it he works. It were like
a works.

Speaker 3 (41:17):
But it's gets in if you were too alright.

Speaker 4 (41:21):
I accept that. I'll accept that from the two of you.
Thank you all right.

Speaker 3 (41:25):
Well, you wouldn't have been a match for her the.

Speaker 4 (41:28):
Way the way I look at this, if Michael wanted
something different, he would have asked for it. So it's like,
that's right, he was right there. It would be watching
all of it.

Speaker 3 (41:37):
Yeah, no, she she also like with your scene partner,
if he was too like Macho Mandola, it wouldn't have worked.
It just wouldn't have worked. It wouldn't have. So it's
perfect ten out of ten. Now we are at Nelly's restaurant,
and here's the favorite subtle prop in the entire canon
of Little House on the Prairie, which is, you are

(41:59):
reading the love stories.

Speaker 1 (42:01):
I am reading love stories, but it is foreshadowing what
is freaking problem? She is? She does not have a boyfriend,
She lacks love, she does not have romance in her life,
so she is she is pining somehow, She's miserable to everyone.

Speaker 4 (42:16):
And looking as you're doing it too, look very clearly,
it's so good.

Speaker 1 (42:23):
But my agent was so happy because we got a
whole thing where Steve and I got guest star billing.
For those of you at home in this era the seventies,
for your agent on a series to suddenly move you
up to guest star billing was like a huge deal,
a big PR agent that.

Speaker 4 (42:39):
Was always mccra and Michael's discretion and they could do
whatever they wanted.

Speaker 1 (42:43):
Cheryl talked to them and said, absolutely, you may. You
may then be and yes, I do not give an
absolute flying rats behind what is happening in the kitchen.
I am as he's like, what about this one? I
don't know what do I I read a good book.
I so don't care, and I'm reading, but I am
reading love stories with me hilarious and oh my, I

(43:06):
do my best when missus Ingle's here and and and Catherine,
even when she comes and goes, she's doing her best.
I just like to say, I am clearly not doing
my best, but very I'm not the slightest. I love that. Yes,
I love the scene. I'm brilliant. I look back, you are,
I am correct.

Speaker 3 (43:25):
I take it from Allison, and she could look at
her before him and say, yes, ten out of ten
I look at I mean there's one or two.

Speaker 1 (43:34):
I should have. Maybe no, I should have.

Speaker 3 (43:36):
But this is love And whoever, whoever's idea was to
have the Love Stories book, if it's Michael Landon, it
just shows you what you.

Speaker 1 (43:48):
Know, you know it was he didn't hand me the book.
And then I mean the outrageousness when he you know,
well you could, you should have stopped her and given
me the hotel. How by being a man? Dot her
father like a and he's like, well, if you were
a woman, you'd be Oh.

Speaker 3 (44:06):
And that's the burn is that he says, Well, he says,
I even wrote this down. Uh, if you behaved like
a woman, you wouldn't need this restaurant to get a man.
I mean, that's why your mother bought it for you.
I mean burn of all turns and.

Speaker 1 (44:24):
True because she and then mercifully, I love the door
the doorway thing, Catherine's coming through the door thing, and
I was just like shove her out of the way
as I go. The physical stuff with me and Katherine,
we just like hit each other. We didn't care. We
just to do it. Yeah, was another a great McGregor. Another.
Missus Olsen says, I've never listened to you before.

Speaker 8 (44:46):
Now, yes, yes, yes, And she also says missus Ingles
is just a peasant, just as.

Speaker 3 (45:02):
Single handedly keeping that restaurant.

Speaker 4 (45:05):
God, yeah, wonderful.

Speaker 3 (45:06):
Oh oh god, it's here.

Speaker 1 (45:08):
This is where I actually wrote down when it's when
the Paul says, no, here, poor Alman So is such
a dork. You feel so bad for him. I actually
wrote that.

Speaker 3 (45:18):
So okay. So now we're skipping for But the point
of the din of the diner, I call the restaurant
the diner. The point of the restaurant scene is the
restaurant is failing. Nelly doesn't give up, pay you every day, nothing,
and so Nelly like we're shut.

Speaker 4 (45:39):
They don't you say, don't pay.

Speaker 3 (45:42):
Nells wants to shut it down. Missus Olsen is like,
hell to the no, I'm going to get a specialist
in here, and she will learn. She will learn. If
it kills me, she will learn. So now we go
back to the little house awkward family dinner time, and.

Speaker 1 (45:57):
You're getting so awkward, Dean. You were so awkward at
that tables plotted the whole thing, and Ma's plotted the
whole thing. He's gonna tell Paul that we're getting married,
and you're just like, and that's where I wrote, yes
he is. He is such a dork, and go out
to you at that day. We love it. It is.
It's it's like if you sat down and said, I

(46:19):
need to make this person the most awkward human being
ever to walk the earth and sympathetic, and you just
go that poor guy, that was it and nailed it.

Speaker 4 (46:28):
And here's the thing. I think no guy would want
to look at himself and see that. No guy would
want I mean, it's just I think that's the thing.
The performance is the performance. But you look at yourself
and like, oh my god, that's how I'm going to
be perceived.

Speaker 3 (46:46):
Don't worry. You're going to turn into a douchebag in
five minutes after this.

Speaker 1 (46:55):
I mean, how many scenes do I have where I'm
pulling one of my hideous faces and saying things and
I'm like, I'm ugly and I mean and people are going,
she's a horrible person, and I'm also But the thing
like the month and it's like I will be remember
for the rest of my life going.

Speaker 4 (47:14):
Well, and you are you have been rembered and people
love you for it.

Speaker 1 (47:19):
Jean, That's what I mean there.

Speaker 3 (47:20):
But Jean, no one, no one sees you in the
way that you think people are seeing you. No one
is seeing you the way that you are looking. Boyfriend,
Come on, that title comes with great responsibility.

Speaker 1 (47:37):
He's so awkward, he's such a dork and falling in love.
They're laughing, You're the awkward of the universe.

Speaker 3 (47:45):
And he finally says, I want to marry your daughter Carolyn,
the silent gasp and yes, next what was it? Next week?

Speaker 1 (47:56):
You know?

Speaker 3 (47:56):
You said next week? Right or up next, which which
pau is like record scratch.

Speaker 1 (48:05):
Right right now.

Speaker 3 (48:08):
They go out.

Speaker 4 (48:09):
He got it out. He was pretty clear about what
he had mind.

Speaker 3 (48:12):
Sure was And Pap obviously is like, no, she literally
just turned sixteen, Like she doesn't know who she is yet,
Wait till she's eighteen. Here's the question. Why does he
want her to wait till she's eighteen? But he was
gonna marry marry off to John Junior at fifteen?

Speaker 1 (48:32):
Cut her have you? And that's the thing that's the
thing in this episode. All our different ages, I mean,
we're all okay, I have to remember we're all really
close in age. Nellie is like, apparently, well they're they
feel Nelly. They're acting like I'm a light bloomer, Like
they haven't paul me off already? What is wrong with this?

Speaker 3 (48:49):
But do you think you're supposed to be like eighteen in.

Speaker 1 (48:51):
This I'm like, I'm seventeen. I'm I'm like turning eighteen.

Speaker 3 (48:57):
Yes, definitely older than Laura.

Speaker 1 (48:59):
But she so she's like sixteen. That's like Melissa su Anderson.
Mary pops up in this episode. She's only one year young.
She's a year older. She's a year older Melissa, she's
a year old. She's right in the middle. So she's
she's already been married for quite some time. And then
she looks at her. She's like, you know, the mature

(49:20):
woman with the blind school, and it's like she's just sixteen.
She's like just in sixteen, I'm like seventeen. And then
and then Laura is fifteen. And but the difference in
how we carry ourselves, how we walk, how we talk,
our voices, because that's life, that is what happens. Humans
do not all fit in a box and do not

(49:40):
all magically pop up and go through puberty exactly the
same interestingly interesting.

Speaker 4 (49:45):
This episode premiere just three days before Melissa's sixteenth birthday.

Speaker 3 (49:49):
That's correct, talk about tom Foolery Andigan her birthday.

Speaker 4 (49:54):
Her birthday's on May eighth, premiered on May fifth, nineteen eighty.

Speaker 1 (49:58):
And so I was eighteen that januar.

Speaker 3 (50:00):
That's how Yeah, what was just off topic? Historically? What
was the normal like marriage age for a woman during.

Speaker 1 (50:09):
This time actually was early twenties. There were a lot
of teen marriages, and just like now, out in the
country people are marrying younger. In the cities they married older,
but it worked out average wise. I think I remember
looking at up once and going, oh, it's not it's
like twenty. Women were but it depends where were they living,
what were they doing. Were they living in the city,

(50:30):
were they planning to go to school, blah blah blah
blah blah. It's like twenty but eighteen was okay. But
obviously yes, out in the country, out on the farm,
fifteen sixteen, Well, let's get this show on the road.
People did marry somewhat young. It averages out to that
because some did Wait, I mean you had your Eliza Janes.
It took forever to get married clearly and yes, yeah, yeah,

(50:50):
but it wasn't. We see it now we in movies
and shows and things, we go, oh, they were all
getting married at fourteen fifteen. They're not because, like I
going back to the book Shores of Silver Lake by
the shows a Silver Lake one of Laura's friends, she
and her friends are dry and this other girl has
just gotten married and she's like thirteen or you and
everyone is flipping out. Her friends are like, that's awful.

Speaker 4 (51:15):
She wrote it that way. That's interesting.

Speaker 1 (51:17):
She wrote it that way, and apparently at the time,
but it's interesting because there are things in like ew,
they just go, well, now she's not gonna have any
more fun. That's way too early. She's like fourteen, she's
gonna be doing dishes all day.

Speaker 9 (51:29):
Ew.

Speaker 1 (51:30):
That what a drag to get married.

Speaker 4 (51:32):
She's an old you know, she's a young man's slave.

Speaker 3 (51:35):
Yeah, yes, old lady.

Speaker 1 (51:37):
She shall never have any fun. She can't go horseback
riding with us. But they all agree that thirteen fourteen,
and Laura's maw even goes, oh no, no, no, no,
that's and I married Paul young, but not thirteen. That's
crazy talk. So they weren't really marrying off all the
children in the eighteen hundred's end mass that was we
see that because it looks younger to us, but it

(51:59):
was there was a mix. There was a mix, so
fifteen wasn't unheard of for sure. And again they're out
in the country, so it would be younger. But Mary
clearly just was older. She looked older, walked older, talked older.
Her voice got lower, just did much. She looked older
than me.

Speaker 4 (52:19):
Melissa Sue had a countenance about her which was just
felt more mature, definitely felt more mature. She was the
voice of she was the voice of morality, she was
the voice of of FA. So she just she projected
and I think that's just very much who she is.
And it just Michael tapped into that quality that she had.

Speaker 1 (52:42):
Really and plot wise, since the real Mary never got married,
they were kind of like, it's a free for all,
shall we marry ye? And whereas we knew Laura got
married at eighteen, so I mean, Paul's almost like it's
not in the book, you can't get married.

Speaker 3 (52:59):
Well anyway, so he takes all Mamzo out. Another technical question,
we're all the night out outdoor night scenes outside of
the little House we're looking all stage.

Speaker 1 (53:11):
That was that all looks like Okay, that was clearly okay.

Speaker 3 (53:16):
I just wanted to make sure that this is where
dreams die, learning what's actually real and what's not real.

Speaker 1 (53:22):
When we're in the when when there's a restaurant scene
through the doorway.

Speaker 3 (53:25):
You can see that. You can see that, you can
see the back flat. Yes, I noticed that. You can
see the painted backdrop of the trees in the back. Yeah,
for sure. It's also soft.

Speaker 4 (53:36):
Good painted soft focus. But yes, you can see it.

Speaker 3 (53:39):
Yeah, you can.

Speaker 4 (53:40):
Now they do these things with video walls and all
these have huge LED monitors outside the windows of sets
and they can put anything they want there.

Speaker 3 (53:50):
Well you can the girl of course it did. But
also with the HG we've talked about this before. You
can see all the girls have the acne and that.

Speaker 1 (53:57):
The hormone acne skin.

Speaker 3 (53:59):
It's all the chin, which is where the and you
should have.

Speaker 1 (54:02):
Seen before they put the makeup on me. They will
put they put the medicine on the makeup on men't
see me when I rolled that.

Speaker 3 (54:09):
Yeah, yeah, we were hi.

Speaker 7 (54:11):
Welcome to adolescents, terrible were you like doing vitamin a
and like the burning face?

Speaker 1 (54:21):
Yet we did e and then we figured out clarosyl sucked,
but benz oil peroxide totally worked. And oh no, this
was this was because you're on a series. You have
money and you go to the dermatologist and can go seriously, dude,
I need help. And for all those of you with acne,
there's many different kinds of acne, as I learned at

(54:41):
the dermatology, very very expensive dermatologist said, there's actually not
much we can do. The benzel peroxide will kind of work,
and just keep your hands off your face, good luck.
And I was like what and he's like, okay, there's
many kinds of acne. There's a kind of causes the
scarring that people want up having to deal with later,
he said, But Robin Dea the pits, he said, but
that's a whole other thing. He said, you you have
is totally surfaced. This is classic hormonal well that I

(55:03):
just caused by hormones. It and he said, the good news,
it is not the French fries you ate. It is
not the chocolate you ate. Has nothing to do with
any of that. It is not peanuts, is all absolute bs.
It is the hormones in your body and they make
the much oil your face breaks up. Keep your face clean,
but don't go scrubbing the Beejesus out of it and
putting all that weird stuff on your face. They sell

(55:24):
you because you're irritating it more and making it worse.
So wash your very gently. I found if I stuck
my face in a chlorinated pool or just took a
swim after work, let the chlorine kind of dry, Yeah,
it would massively clear up an outbreak. And the benzo
peroxid work. He said, that sort of works. He said.
Ninety percent of what you buy in the store for
acne does nothing, so he said, But the benzel baroxid's good.

(55:47):
This is good, This is good, he said. Most of
that stuff. Sorry, it's crap.

Speaker 3 (55:50):
It's been so awful.

Speaker 4 (55:51):
You have to go to Beverly Hills and spend a
fortune on the doctor to get the out that.

Speaker 1 (55:56):
You've been blowing your money at the counter through exert nothing,
he said. I yes, we can prescribe you like antibiotics,
but then you'll be on antibiotics to be sick, and
that only temporarily. Like, yeah, you can go in tetracycling.
You'll clear up your face, but you'll throw up all
the time, so you probably don't want that. So yeah,
he says, what you're gonna do is you're going to
wash your face very gently, stop scrubbing, and rip it
up your face. You're going to use the Benzel peroxide

(56:18):
and don't touch your face germs. But you're going to
eventually not be in puberty anymore and your skin will
clear up. And then he said very nice things. He said,
this is not the kind that causes scarring. Your face
will be fine when this is over. He said. Also,
you're apparently producing an enormous amount of oil and moisture.
I go, yeah, yeah, he says, I'm going to tell
you this. It's crazy, but years from now, your friends

(56:39):
who have perfect skin in high school, they will have
more lines in your faces and dry sooner, and you
will be And and here I guess this is the day.

Speaker 3 (56:48):
Proof is in the pudding. Baby look at that poor head.

Speaker 1 (56:52):
And yeah, so this is my payback. It's a teenager.

Speaker 3 (56:58):
Yeah, there is a lot of.

Speaker 4 (57:02):
Yet another massive digression. Ladies and gentlemen. All right, well
we'll get back to Really, it is.

Speaker 1 (57:09):
True, those of you watching our acne, that is what happened.

Speaker 4 (57:12):
And I think we should take a quick break here
on let people think about the acnean thens.

Speaker 3 (57:16):
We're gonna take a break before Almonzo douchebaggery begins. All right, guys,
we'll be right back.

Speaker 1 (57:23):
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Explore beautiful wildflowers, Hike through iconic Hollywood locations and injured
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(57:45):
Little House fiftieth Anniversary Tour at Big Sky Movie Ranch
less than fifteen minutes from Los Angeles and thirty minutes
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for more information. We are so grateful to visit seem
me Valley dot com for their commitment to presenting the

(58:07):
Little House fiftieth Anniversary podcast.

Speaker 3 (58:13):
All right, we're back. Do you know.

Speaker 4 (58:15):
We're already into this an hour now?

Speaker 1 (58:18):
Oh wait, we're going all right now?

Speaker 3 (58:21):
Pause like pause, like no, you're waiting till eighteen And
Almonzo's like hell, to the no, that's going to happen,
and he leaves and Laura's devastated, and the next.

Speaker 4 (58:34):
Discussion, we're not going to talk about the scene. I
always I always sort of liked that. I have so
few scenes with Michael that were you know, well, no,
I just it was just that was just one of
those nice scenes. And it was a he wrote it
in a way that you know that Almonzo's standing up
for himself and pause, telling it the way it's going
to be, and again servicing the plot. There was no

(59:01):
a more reasonable person would have gone back into the
house and had the pie and figure it out. But no,
in the interest of the plot and exploding Laura's world,
it has to go this way.

Speaker 3 (59:13):
Listen, Almonso matured a lot over the course of the series,
because you did start off sort of slight, chauvinist, slight,
you know, short temper. You know, you had you had
your you had your stuff. But you grew, you expanded,
you developed, you became a modern guy. Modern Now.

Speaker 1 (59:34):
He was all about letting Laura work, and they don't
obey in the wedding vows. But but it took him
has a temper and here he flips out and is
totally irrational because he should have gone back in the
house and said, well, I guess we'll we'll talk again.
Maybe I can talk him into.

Speaker 3 (59:47):
It, but I just gotta leave. I'm just gonna leave.
It's like idiot not making Yeah yeah, yeah, whoa saying
that to someone's dad.

Speaker 4 (59:56):
Maybe that's where the douchebag comment.

Speaker 9 (59:58):
Yeah, okay, So now Laura's devastated and Ma's talking her
in the loft, and I wrote in my notes this.

Speaker 3 (01:00:09):
Conversation with Ma is the exact reason why she should
not get married right now. She should wait because she
is a child who knows nothing about relationships or anything
going on, and she's worried that Almanza will not come back,
and what if he finds someone else and he won't,
he won't wait. If he doesn't, If I don't, we're
just run off and get married to him. He's never
gonna wait for me. And Mo's like, well, if he's

(01:00:31):
like that, then you don't want him anyway. But also, Alison,
what's the line, Maybe he is a bit awkward.

Speaker 1 (01:00:39):
She shouldn't. Mom makes Laura defend him with the well
he's not even that handsom. Oh no, no, no, he's
well and he's he's kind of awkward and I'm not
sure terribly bright. I don't right, he.

Speaker 3 (01:00:55):
Was almost like he's just really shy. Yeah, herse psychology.

Speaker 4 (01:01:03):
Is I love. I love the line in light of
all that, you know, I love the line where she
talked to you may like you may only like men
with dark hair. Laura says to that was adorable.

Speaker 1 (01:01:16):
Add now again, you know Hyjens and Shenanigan's Ma has
gone into this weird love Guruzine. No, it's not a
matter of right and wrong. It's not about right and wrong.
Since when is it not about when does the Sudley
go right wrong? Like there're love? Which what has happened
to Ma been interesting?

Speaker 3 (01:01:36):
She's ready to like pawn her daughter off tomorrow. No,
he's like young love.

Speaker 1 (01:01:42):
All the things I've said for the last like how
many years on this show about right and wrong, I
wasn't taking a back. That was just like Nud's great,
you're in love. God, let's get that.

Speaker 4 (01:02:05):
Let's get the douchebaggery out of the way. On the
bridge and yeah, bridgement.

Speaker 1 (01:02:12):
On the bridge back to Disney Ranch.

Speaker 3 (01:02:14):
Okay, so now lour Me's Almonso they're on the Why
do you why do you call it the Disney Bridge.

Speaker 4 (01:02:20):
On the Disney on the Disney Bridge. We've you know,
going back and forth to their place all the time.
We just you know, we I don't know why he
chose that particular. It was a beautiful location. Yeah, great
classic in every Disney movie ever was was this leg
and it was.

Speaker 1 (01:02:37):
And they had this beautiful covered bridge. It's and everything,
and they had the pond and they have everything, and
it's Golden Oak Ranch, which was Disney's as opposed to
Simi Valley, as opposed to the back Law. We just
let's go to.

Speaker 3 (01:02:49):
The other ranch and yep, right, okay.

Speaker 4 (01:02:52):
I think when we were out there that day getting
ready to shoot this, the General Lee and another car
went books of hazards was there shooting at the same time,
and they and the General League came tearing around to
turn break shooting and being chased.

Speaker 3 (01:03:09):
So I love hearing that. Oh my gosh, okay, that's wild.
My brain just bent a bit. Okay, So here's the
douchebag moment right where she's like, oh, I'm so glad
I found you, Like you have to understand that we
can we can wait I love you. It just it
can't happen this way right now. And you're like, I'm

(01:03:31):
a man and you're a woman. No if or but
it's your your pa or me, which is.

Speaker 1 (01:03:43):
Actually asking her to choose between him and her paw. No,
that's like outrageous. The real Almans just wouldn't do That's
like breaking character. Would Alman so seriously do that? That's douchebaggery,
big girls in danger. And he's like, I want an answer,
and she's like, I can't, which.

Speaker 4 (01:04:04):
There would there be a way of saying this that
might have softened that a little bit. Of course, there
would have been a way of saying at bit.

Speaker 1 (01:04:12):
But she's being like weirdly mature, like listen, I love you.
We're totally gonna get we just can't do it right
this minute. And she's I mean, she's talked to herma. Clearly,
she's thinking maybe we'll meet in the middle, we'll talk
him down, you know. And he's like, now, or I'm
gonna spout a budget. See this was when I think
I wrote down did Almansas start listening to one of
those like manosphere podcasts? Has he been listening to those

(01:04:35):
manly man things? But you need to tell your woman.
What's what? It's like you read a book and is now.

Speaker 4 (01:04:42):
And that's it?

Speaker 1 (01:04:43):
Yeah, it's like, where did this come from? He's he's
gone to someone for advice like off, like yeah, mister
Edwards or someone till that. So you tell the little
lady and he's gone off because it makes no sense.

Speaker 3 (01:04:55):
And then he leaves her. He leaves her in the way.
Plot plot plot. Now, here's the next subplot happening, which
is we go where they're building the new blind school
in Walnut grow yay. Then a letter from Adam's father
arrives and Pau goes to give it to Adam, and

(01:05:17):
Adam's like, this is great, this is the money we
need to build our school, and boop, it's not. It's
a letter saying that his father has passed away, which
is stunning and terrible, And now how are they going
to Their school is done? They can't build their school anymore.
They're screwed. Have you ever told anyone that someone has

(01:05:39):
died to them? It's tough, the worst, the worst. I
have never done it to someone, but I had someone
do it to me and it was not lovely at all.
I actually felt really bad for them that they had
to tell me. It was terrible.

Speaker 1 (01:05:54):
It's awful if you do it a bunch of times,
one's so ude.

Speaker 4 (01:05:58):
To feel bad for the person who has to get it.
You're not thinking about what you thought. You're thinking about
what they went through to that. You are so empathetic.

Speaker 1 (01:06:07):
So I hope I never have to tell you anyone
eight pandemic I got somehow it was me I had
to go tell Alison. People started nicknaming the angel of
death Alison, who have you come to tell us about? Now?
I'm like, uh, yeah, no, it's really that I had
to tell a boyfriend that his mom died.

Speaker 3 (01:06:29):
That was bad, diverted, Let's get grand, We'll get back
to happier things. Sorry, Sorry I started this conversation. Now
I'm going to end this conversation or Adam.

Speaker 1 (01:06:41):
But again, it's more hijinks because they have to then
go and.

Speaker 3 (01:06:45):
Okay, let's talk about this for one second before it
because there's a lot more of this episode and we
have to we have to hurry. But listen, this is
something that I'm like, wait, what which is you know?
Ma told me that I should go with Adam to
New York City because he's blind, and I'm like, yeah,
no ship, okay, But anyway, no one talks about is

(01:07:06):
this just like a nonchalant thing of this girl, pioneer
girl going to New York City. They went, they took
her train. That's why she accompanied him, because he's the
whole thing.

Speaker 1 (01:07:27):
They go there and she finds the school and the
thing that before that, before that, before that, they go
to New York to find out that there's still money.
So she goes all that, and she's already been told
she's too young to get married, she's still a child,
et cetera. But they send her with the blind guy
to New York City and then they never talk about it.

Speaker 3 (01:07:50):
It's not like, yeah, anyway. So now they're back then.

Speaker 4 (01:07:56):
And Laura's providing her Sonny optimistic ice about you know,
you can figure out a way and we'll we'll we'll
work this out and if this doesn't work, we'll try
something else. I mean.

Speaker 1 (01:08:06):
So they get to that lawyer's office and in a
matter of seconds we find out his dad, who previously
I thought was very wealthy in this real badass lawyer
smart guy, was apparently a horrible businessman and lost all
the money, and there isn't any money in the house,
in the servant and know there's no money. Goodbye. That
was Shenanigans serving the plot again, like where did that

(01:08:26):
come from? Wait? His father was like a brilliant millionaire.
Now all of a sudden, crazy spend thrift and there's
no money. And that just came out.

Speaker 4 (01:08:35):
Absolutely as his partners said, he was a You know,
Adam's father was a great lawyer and a terrible businessman.
I mean, that's there's nothing scummy about that. He just
wasn't a good businessman. He wasn't He didn't think about money.
He just thought this case money.

Speaker 1 (01:08:56):
He dropped this like a bomb on them, and yes,
we're doing that now.

Speaker 4 (01:09:01):
Adam accepted it as Adam accepted it very gracious, Yeah.

Speaker 1 (01:09:07):
Very gracious, unlike al Manso, who has temper canter exactly.

Speaker 4 (01:09:11):
So there's the counterpoint. Yeah, bad news doesn't sit well
with al Manzo. But but Adam's whole life is blown
up and he's gracious about it. He can.

Speaker 3 (01:09:21):
I don't know about you, but I was totally grossed
out by the egg sandwich sandwiches. The egg sandwiches on
the train. Yeah, and I love egg and I love
it as dodgy eggs sandwich.

Speaker 1 (01:09:39):
And I like it, Like I'm not getting the eggs.

Speaker 3 (01:09:43):
You might as well get tuna, for God's sake. It's
a terrible choice.

Speaker 1 (01:09:47):
All right, all right, all right, we're back.

Speaker 4 (01:09:49):
He had a nice moment when he said I hate
but I hate sandwich.

Speaker 3 (01:09:53):
That was probably improvised because her reaction was very, very authentic.
I have a feeling he improvised that, which makes me
his cute actually because I'm like, thank you for acknowledging disgusting. Yes, okay,
now we're back in Walnut Grove. Listen the arrival of
Do Do Do Do? My favorite guy, Perceval Percival.

Speaker 1 (01:10:17):
I mean, he doesn't take the stage coach, very frugal.
He just takes like a wagon, a taxi, basically have
the simpler method of transportation. No big stage coach for him.
And he's so cute. I mean, I'm watching so again
and again, going how cute the thing. He's amadorable, he's perfect,
he's perfect for this, perfect for this, and he comes

(01:10:37):
and he's so he's like a business. He's freaking brilliant
in this and I'm going, yes, yes, of course all
meant to be. It is like perfect. Also, we have
the entrance of kooky customer Henry Ryler.

Speaker 3 (01:10:51):
Played by dad My Bride.

Speaker 1 (01:10:52):
I show him the case.

Speaker 4 (01:10:54):
She's good.

Speaker 1 (01:10:55):
They don't want to eat the food unless you're cooking.
And that's I think one of our early appearances of
Dan McBride or you know, he'd been there before, he'd
already hit him with a chicken.

Speaker 4 (01:11:07):
His running bit had been well established by this point.

Speaker 1 (01:11:10):
Yeah, this guy, Dannic Bride, he is a riot and
his whole bit is just his dude in restaurant who
gets abused by Nelliam missus. Always the whole bit.

Speaker 4 (01:11:18):
Question why does he keep coming back?

Speaker 3 (01:11:22):
He's a single guy. He's a single guy on the
prairie that clearly does not know how to cook or
take care of himself. Yes, he has no other choice.

Speaker 4 (01:11:32):
And starky voice that he can bring in these he's great.
He was perfect for that.

Speaker 1 (01:11:39):
So the beautiful, beautiful Percival and when they start sitting
at the table going on and he's got his notes
of how we're going to train her my face another
scene where I have to go no notes there. It's brilliant.
You got Richard, you got Catherine, you got Steve and
there's bing, bing, bing bing, everything's happening, and I am
doing the eye roll, my eyes practically out off the

(01:12:00):
screen and I rolling my eyes just like Train, What
are you kidding me?

Speaker 4 (01:12:06):
Trained?

Speaker 1 (01:12:07):
It's fabulous.

Speaker 3 (01:12:08):
Well, and the line that you.

Speaker 4 (01:12:09):
Say you at the end of it, you ask, does
anyone want to know what I think?

Speaker 3 (01:12:14):
How I feel? No one cares stop because personal is
like you either close the restaurant or you make Caroline
the main person working for change the name of the
restaurant from Nelly's to Caroline's and split it fifty fiftet.

Speaker 1 (01:12:35):
Yes, and he's right. He's dead right.

Speaker 3 (01:12:38):
He's dead right, and Nellie doesn't want any of this.
I'm like, although I had to say, when he first
arrives and you first see him, Allison, I was looking
at you, and I was like, what does she think?
And it does look like it's sort of love at
first sight. For sure, there's a.

Speaker 1 (01:12:53):
Weird thing that's happening that we see each other. Initially
it's like business here, but it's like you're checking the chemistry.
There's some weird chemistry between them as soon as they meet.
They don't know it, they don't know what's happening. She's like,
who the hell is this guy? And he's like, she's
going to be a problem. But there's that going on. First.

Speaker 3 (01:13:15):
Was that your own decision or was that sort of
talked about with Michael Landon to you or is that your.

Speaker 1 (01:13:21):
Actually this is a lot of time Michael sort of
turned me loose. It was like drop quarter in slought
and it comes out there. I remember there are scenes
where he literally his direction from and then you come
in and you know, you give him one of those
you do that thing you do and I'm like, okay, dooky,
and it's like, I guess I've been there long enough.

(01:13:41):
I suppose it was like wind her up and this
one I guess maybe because also the chemistry Steve. As
soon as he showed up, it's like, Oh, this guy's
going to drive this whole thing. It'll be fine. I was.
I was given free rein. There was not a lot
of Okay, you should do this, you should do that.
It was well, that's what's she going to do? And
I did feel like that when he showed up, Yeah,
there should be some kind of like Sam and Diane,

(01:14:04):
where is this going? Even from when they.

Speaker 4 (01:14:06):
Met Totally it's that it's definitely.

Speaker 1 (01:14:09):
They're good to fight, but like and so yes, so
there is thank you for catching total I love inserting
in the show that nobody notices for forty five years.
My first look at him, you go, hey, wait a minute, maybe.

Speaker 3 (01:14:22):
Yeah, yeah, it was a good choice.

Speaker 4 (01:14:24):
You've been reading love stories. It was like, you know, yeah, right.

Speaker 3 (01:14:29):
The fresh catch on the prairie for sure, for sure.

Speaker 4 (01:14:33):
Yeah, exactly, exactly. I mean, you know what when I
when I watched Steve's work, he was he was so clear,
he's good, you know, it was he was so direct.
Michael wrote these scenes in a very direct way. He
delivered them very directly. There was just it was just
the facts, ma'am. I'm just this is what I see.

(01:14:53):
I'm telling you what I see. And he really dropped
all that in there, really.

Speaker 1 (01:14:58):
Really very very well trained. He knew Oh god, I forget.
I think he had a degree in drama. We're from
Kent State. You got up. But then he had studied
with URI's teachers in New York, and then he'd come
up and then absolutely he was in Lembex. He was
in Harvey Limbeck's improv class for years and actually turned
me on to Limbecks where I went later, and so
his improv skills were like yeah.

Speaker 4 (01:15:19):
Yeah, yeah, yeah, he was well worked out, and he
just yeah, you could just see just see the two
of you right away. You could just see bing bing
bing bing bing. I mean it was like it was
it was really good tennis watching you guys.

Speaker 1 (01:15:36):
He got it right away that you know, I like
comic because I'd been doing stand up by then for
a while. And so right away we hit it off.
And I mean, you know, we'll we talk about in
the Patreon the things he said about me in an article,
but we had chemistry from the get go. Commedically we're like, okay,
here you go, can you catch this? Oh you did
very good? Boom and we were off to the races.

Speaker 3 (01:15:57):
So great. All right, So now we're back in Now
we're in Sleepy I.

Speaker 4 (01:16:03):
Yeah, And okay.

Speaker 3 (01:16:07):
Laura, Laura and Adam and Paul are in Sleepy I.
I don't remember why they're in sleepy I.

Speaker 1 (01:16:11):
Why are they in Sleepy I again, because.

Speaker 4 (01:16:15):
That's where Paul picked them up in the train.

Speaker 1 (01:16:18):
That's Walt Grove. You gotta take thank you.

Speaker 4 (01:16:22):
That's that's what you're there now. Usually when we went
to the train, it was Jamestown, but it was called
something else but it was but yes, they went to sleep.

Speaker 3 (01:16:32):
This episode is okay, Well they're driving in town and
Laura says, stop wait there's an old abandoned courthouse for
rent and the weirdest real estate transaction and happens it
is and I love this scene.

Speaker 1 (01:16:49):
I love this is so Laura. This is where we
see Laura Ingles wilder where she marches in her little hat,
little hat, she's got it, like point, I'm ready for business.
And she's like, yeah, yeah, I every yeah, you look
like a kid. And when she goes, I'm not a kid.
You look like a kid. Everybody looks like a kid
when you're old, and she just goes, boom boom, boom.

(01:17:09):
This is what we're gonna do. No, no, forty dollars
And this is Laura Ingalls in action. This is what
we came to see. This is the woman boom right there.

Speaker 3 (01:17:18):
So we're introduced to Houston, who is the old man
living in the old abandoned cook house. Why aware it?

Speaker 1 (01:17:27):
Yes, this guy this way you get dub Taylor, Yes,
two hundred and sixty three credits on IMDb. Yes, you
have seen him in literally everything. Yes, you have, because
he's been an episode. He was in Bonnie and Clyde.
He was in being a major on Bonnie and Clyde.
He's in Yes, He's in Back to the Future Part
three as the old guy in the bar of Courts.
He is he Doc Doc Hooker's Bunch, who's actually the

(01:17:48):
lead in Doc Hooker's Bunch. He actually had something called
the Dub Taylor Show for five minutes in the fifties.
He was like that well known I don't know it's there,
Bonnie and Clyde, Pat Garrett, Billy, the Kid, Thunderbolt, and
the man called Horse. Many many episodes of Banana he was.
He goes all, he goes all the way back to
you Can't Take It with You and mister Smiths to Washington.

(01:18:09):
This man was in everything. It was illegal to make
a motion television show without this man in it.

Speaker 4 (01:18:17):
My my recollection of Dub is that he showed up
in the wardrobe huh what.

Speaker 1 (01:18:23):
In heaven't.

Speaker 4 (01:18:26):
Like? This was his Douve Taylor and b Westerns was
a a stock character in b. Western did a ton
of them, and this was his guy with the bowler
hat and the what's the you know? The sort of
the long John's and the whole thing.

Speaker 1 (01:18:41):
Things showing this was his.

Speaker 4 (01:18:44):
Deal and he just and the care whisped. I just
have the sense he walked on the stage, he was dressed.

Speaker 1 (01:18:51):
And technically in a way is he still with us
in a way because he has a son. He has
a son, Buck Taylor, who also insane career Western People,
and Buck Taylor plays Emmett Walsh on Yellowstone with Leslie
landon No Yellowstone that's wild is of course of course

(01:19:16):
he does. Of course he does.

Speaker 3 (01:19:18):
Wow. Okay. Also, just on a personal note, what was
he like? What was he like?

Speaker 1 (01:19:22):
Dean?

Speaker 3 (01:19:22):
What was he like?

Speaker 1 (01:19:24):
He was a very nice man, I thought he was.

Speaker 4 (01:19:26):
He was. He was a lovely, lovely character. I mean,
he just he was. He was gentle, soft spoken, he
was he just was. He was just really really easy
and you can throw anything at him and he was
going to just ride with it and and what you see, Yeah,

(01:19:48):
but when you see so many actors who I mean,
you could see he was a really good dramatic actor.
In the second part of this, he's got a lovely
that he's going to do about a little late. He
talked to his heart, but he has access to all
of it. He knows this character. He you know, he's

(01:20:08):
worked Harvey Lembeck's class. He worked out who this guy was.

Speaker 7 (01:20:14):
He's been playing this character since shortly after the Silent Era,
continuously worried.

Speaker 1 (01:20:24):
He's not bothered.

Speaker 3 (01:20:25):
Yah, yeah, no, he's really.

Speaker 4 (01:20:27):
I love that what what what does he call her?
Feisty thing? Plumb, pure, perfect.

Speaker 1 (01:20:32):
Feisty And that's just nailed it. This is the Laura
we want to see.

Speaker 3 (01:20:39):
Yeah, so they make this she was she had no contract, nothing.

Speaker 1 (01:20:46):
He walks him down to forty for.

Speaker 3 (01:20:47):
God's a good deal and he can live there. Yep.
And then this is the part that gets me, that
made me laugh so hard. And then she goes out
to the to the wagon back to Adam and Pa
and she's like, yeah, we got in and sport about
a month, except that they need two months, so it's
really eighty dollars we need. And also like, oh yeah,
that's Houston. He's fine, he won't hurt anyone, he's great.
And I'm like, how do you know you met him

(01:21:07):
for thirty second and he was mean to you.

Speaker 1 (01:21:12):
So you know that this has been getting in wagons
with strangers since you what.

Speaker 3 (01:21:18):
Just with anybody that's right anyway, So you know, again
just serving the plot, serving the plot. So now they
have this worehouse, but how are they going to pay?
How are they going to pay for it?

Speaker 1 (01:21:31):
What do if only there was a miracle?

Speaker 3 (01:21:36):
Right exactly whouse trying to work out the finances. They're like,
we can't do it. And again, if there was only
a miracle. Knock knock, knock at the door, and it's
Nails comes in to tell them about the new restaurant plan.
And once Ma realizes that she will be making fifty
percent of the profit, she realizes, I can do this

(01:22:00):
and we can pay for the schoolhouse. This can happen,
even if it's just temporarily. The Lord will provide, which
is what Pa always says.

Speaker 1 (01:22:09):
And I love her transition from like, oh we couldn't possibly,
I don't want to work any more days. Oh yes,
you know, we have fa And then Charles, Charles kind
of pitch for a minute, love it, love it, love it,
love it so much.

Speaker 3 (01:22:23):
All right, so now like we're on, right, we're on.
In the meantime, we go back. Personville is now trying
to teach Nelly this is how do you because her
first cooking lesson, which is simply let's crack and separate, separate,
separating which is hard.

Speaker 1 (01:22:41):
But can't And for those of playing the home game, yes,
Steve Tracy could separate eggs. Fact, he could do it
with one freaking hand. He was a brilliant cook. He
was like, yeah, what, no problem. So he is trying
to teach me to separate eggs, and I have this
is one of my hardest thing.

Speaker 3 (01:22:56):
Yes, is right up there.

Speaker 1 (01:22:57):
With going down the hill in the wheelchair, Simon chick
can ye short?

Speaker 3 (01:23:02):
Yeah, this is in the top three. Those are the top.

Speaker 1 (01:23:04):
Three this restaurant. And I start with a hiss, short
cuts to cooking, short rim, shortened cakes, shorten and the
shortening and then my favorite especial egg separate eggs. There Quassimoto.
I'm all done. I literally call him Quassimoto. Who can

(01:23:25):
say that they ever got to play a part in
a TV show film? Maybe got to call someone Quassimo.

Speaker 3 (01:23:29):
I mean, it's so brilliantly written, it's so good, and
the way that you do it is so good. You
want to hear my little like ooh that I recognize
that you did in this, he says. And it's a
it's a timing thing. It's a timing thing, and you
freaking nail it. And it gets me every time where
he says would you like to try again? And you
repeat it in the same exact cadence, which is comic gold.

(01:23:53):
You say no, I would not like to try again again,
which is a lesser actor would not have picked up
on doing that. And you nailed it so hard. It's genius.

Speaker 1 (01:24:06):
Thank you. But I must give this is a Katherine
McGregor does get some credit on this one because Katherine
McGregor had this habit which normally in acting school they
tell you never ever ever do this to anyone who's
the worst, repeat back what someone said to them with
in your voice. And she all the time that the
pig former and I love and I love him, and

(01:24:27):
she would do this all the time, and I remembers
so against the rules, but okay, and she would right
for the character and she was like, yeah, you can
totally do this, and so no, I wouldn't like to
try again. I'm like, oh, yeah, I'm doing it. I'm
going there, I'm going there right.

Speaker 3 (01:24:43):
Yeah, it's perfect. It's so perfect, and it's so bratty
and horrible it's just horrible that when he dumps the
eggs on your head, it is so karmically like full circle. Yes,
it's just a giant universal hallelujah. Amen.

Speaker 1 (01:25:01):
Yes, where the audience really, you know, gets gratified by
these moments where I so to do that, I know
I'm going to my head right, so to justify this
so that the audience goes, yes, she did deserve that,
and we feel we've gotten come up. I gotta go
all the way. I got to skate all the way
out onto the lake of thin ice and go all

(01:25:21):
the way with how horrible I am. Otherwise it's like,
why is this man pouring it? That's right, poor young
girl's head. Unless I'm the worst person in the world,
then we justified that Diggs go over my head.

Speaker 3 (01:25:33):
And his final line to you is just three as
you are. You don't need a restaurant to get a husband,
and that is it. The deal is sealed. She is
madly and wildly in love with him.

Speaker 1 (01:25:46):
And the shift then to beas have the simpleet snarl
fest and then he said I was pretty I love again.
I love this scene so much. I'm like I said
the way yay, you know, you're pouring the and like,
I also have a very short temper, but I'm bomp.
But his shift when he goes to the door and
he's like, I said, Sam and Diane stuff going on.

(01:26:07):
He's still mad, he's just but he goes and as
pretty as you are, you don't need a restaurant to
catch on man and goes and I'm like, whoa. Because
he was mad, he didn't have to say that. He
could have just said the hell with you, crazy ladies.
But he stops to tell me that, I'm what what okay?
How in love was he? I mean that he even
when he was mad, he had to say, it's a
great see And then of course we go across the

(01:26:29):
street and that's when he that's when Steve Tracy becomes
a national heroue.

Speaker 4 (01:26:36):
No, no, no, but let's go. Let's not miss the
moment where you where Caroline comes in and says, you
know what happened?

Speaker 3 (01:26:42):
What happened?

Speaker 4 (01:26:43):
The most wonderful thing you say.

Speaker 1 (01:26:46):
Is something wonderful.

Speaker 4 (01:26:47):
He said I was pretty, He said I was pretty.

Speaker 1 (01:26:49):
Pretty, and yet he'd tell me people weren't calling me
pretty then, so it was. But he goes across the street,
this is where Steve Tracy became a national hero. Yes, nice, yes,
will you be whiet he tells Missus Olsen does shut
her face, and she does. And now.

Speaker 3 (01:27:15):
It's the reactions of both of them, Katherin McGregor's reaction
to being told like that, and then Nell's is his
Richard Bull's reaction to her reaction to him doing it
is priceless. It's unbelievable how good it is.

Speaker 1 (01:27:32):
And then I also another comedy timing me and Steve
like we hadn't known each other that long. He goes
to open the door and I hang, I'm still on
the door knob and I almost fall through the door.
That was like the stick there, like we were off
to the races with like let's do the falling through
the door, dop it. And then I'm just like I said, no, yes, fine,
whatever you want. And he's it's mar his look of

(01:27:55):
satisfaction when he's got us both sorted. Now it's like,
I'm going to go back to work. Missus Olsen's quite.
He goes where said and he's like, well, that's how
it is, and the whole look is and that is
how it's done. And he stops.

Speaker 3 (01:28:06):
Yeah, he says, maybe now we'll get someplace, and.

Speaker 4 (01:28:11):
Yeah, he.

Speaker 1 (01:28:14):
During the patron. That's why it is really bad to
have eggs port over your head, and just exactly how
disgusting it.

Speaker 3 (01:28:20):
Was, because those eggs were a day old by the
time you filmed that.

Speaker 1 (01:28:26):
Later days later. So I will tell the disgustingness of
what happens when you have eggs over your head and
then you have to shoot a scene days later and
have eggs condo.

Speaker 4 (01:28:37):
I mean the eggs were you didn't shoot the poor
the egg pouring was a different day.

Speaker 1 (01:28:44):
Yes, yes, like I think egg pouring was Friday, and
then we were out and see me on Monday, because
that's a seami that's in see me burst into the place.

Speaker 3 (01:28:52):
So different three day old.

Speaker 1 (01:28:55):
We had to put the.

Speaker 4 (01:28:57):
Wig on your head, is what you're saying.

Speaker 1 (01:29:02):
No, they didn't wash the wig. They let it.

Speaker 3 (01:29:04):
They didn't wash the days later ebolat wig, her ebullet wig.
That I killed the entire guest.

Speaker 1 (01:29:17):
It was so gross. I have stories.

Speaker 4 (01:29:20):
I didn't realize that that that's interesting that that happened.

Speaker 1 (01:29:24):
And the egg running down my faces, it's a whole
it's they had to recreate the whole thing and it was.
They took polaroids to see like where.

Speaker 4 (01:29:33):
The eggs where the was?

Speaker 3 (01:29:36):
Yeah, god, wow, yucky.

Speaker 4 (01:29:39):
Oh that's awesome. I had no I I I didn't
know about the different day thing.

Speaker 1 (01:29:43):
That's it stunk and they put it put it on.
I'm like no, oh god no. And then they poured
fresh wet egg on it to get it and major
and they went, well, it was running down your nose.
And then they ranged the egg shells.

Speaker 4 (01:29:55):
I wonder if today with you know, health department.

Speaker 3 (01:29:59):
Concerns being no, no, no, I don't think.

Speaker 1 (01:30:03):
And then because egg splashed him when he did.

Speaker 3 (01:30:07):
This, yeah, got in his vest, so that the.

Speaker 1 (01:30:12):
Dean whip. Here you go and with a brush, it's
putting egg yolk because there was a little here and
a little pell on the tie and it was a
little here on your pants. So he had, yes, some
egg white on his pant leg and his necktie. And
maybe during the Patreon I will not tell you what
Michael Land had said.

Speaker 3 (01:30:32):
Maybe Michael, if you have insight of a baby, what
are you waiting for? People? Okay, okay, So now Laura's crying, crying, crying,

(01:30:53):
She's trying to be brave, but she's crying, crying, and
Ma comes up and gives her the mother daughter talk
of the century, which is the reverse psychology. He's not
actually that handsome, he's awkward, he's not that bright, and
Laura's like, no, no, he is, he is, And yeah,
Ma does the reverse psychology, which is also weird because
you would think if if your daughter teenage daughter's boyfriend

(01:31:17):
ran away and was a jerk to you and made
you choose, that the mother would probably be like, screw
that guy, get ridden. But she's not. She thinks it's
all according to plan because Pa at one point did
the same thing to her, apparently when they were.

Speaker 1 (01:31:33):
Which is so unhealthy, Like, oh no, that's that.

Speaker 3 (01:31:37):
Red flag's terrible red flag. Okay, So she's like, this
is the other thing that I laughed at that that
I didn't really ever catch until watching it this time.
I don't know, I don't know why. But she's like
instead of basically, she's like, instead of feeling your feelings,
you should just stay really busy so you don't have

(01:31:58):
to feel your face. Right, that's not healthy either, but okay,
prairie mom. So she's like, get busy, help Adam and
Mary go go to sleep. In yeah, roots, Yeah.

Speaker 1 (01:32:15):
She didn't mean she should go work. She had to
come up with this nonsense story she.

Speaker 3 (01:32:20):
Would go back to Sleepy Eye like Adam and Mary
the New Schoolhouse, and she's like, stay busy, I'll keep
your mind off things. Okay. So then we discover Ma
comes back to bed and Charles is like, well, good
rintance to that guy you know which is hell hello
correct by the way, and she tells him no, she's

(01:32:43):
she's going to go to Sleepy I. And she found
out that Almonzo is in Sleepy I. And Charles is like,
you're sending her to Sleepy Eye knowing.

Speaker 1 (01:32:53):
Where she I don't even know where.

Speaker 4 (01:32:55):
I knew what he was. I'd give him a good thrashing.

Speaker 1 (01:32:59):
POD's like, what is going on?

Speaker 10 (01:33:07):
According to Plank, I know, I think there's a very
for Karen.

Speaker 4 (01:33:22):
It's beautiful, but it's but it's a it's a lovely
moment for Karen where she gets to be sort of
the sweet plotter. It's not there's nothing you know, it's
there's nothing to farious about it. She knows how our
daughter feels, and she is she's putting her in a
position where something good could happen.

Speaker 1 (01:33:39):
We have established she is a matchmaker because remember was
it mister Edwards.

Speaker 4 (01:33:44):
Yes, Grace and Grace Snyder.

Speaker 1 (01:33:46):
Grace, So she she does have a weird matchmaking. She does,
but so it's not completely out of character. But yes,
there's this. This whole episode is full of moments of.

Speaker 3 (01:33:56):
Sanigans and tom foolery and pot what.

Speaker 8 (01:34:00):
Yes, yes, but it's almost it's almost Shakespearean.

Speaker 1 (01:34:04):
It's almost like the whole like cuckoo Shakespearean, oh cross
lovers thing. Yeah.

Speaker 3 (01:34:09):
Also, I have to.

Speaker 4 (01:34:10):
Mention it's a lot of motion in this.

Speaker 3 (01:34:13):
There's so much, no there is, I mean this part
one is low did there's so much happening. There are
three what three or four subplots in this episode. I mean,
it's it's enormous this episode.

Speaker 4 (01:34:25):
Three three yeah, three.

Speaker 3 (01:34:28):
Also shout out to the famous dress that Laura wears
that symbolizes she is a woman now. And I always
love that dress. It's so pretty, the colors are perfect
for her. It's gorgeous. Didn't uh Engle's gun make a
replicate of that thress she.

Speaker 4 (01:34:48):
Created? I thought, very nicely. Really, Catherine was my wife.
Catherine was knocked out by her recreation of the hat.

Speaker 3 (01:34:56):
Oh my gosh, hat was.

Speaker 4 (01:34:58):
Just so good, amazing.

Speaker 1 (01:35:00):
That's my favorite part. I like that.

Speaker 3 (01:35:04):
Yeah, that so beautiful. I always love that outfit and
it's very it's very symbolic of Laura's maturity. Now she's
a woman. I'm a woman and I hate you all. Okay,
this is part one. There is a part two, can
you believe it?

Speaker 4 (01:35:23):
On the other side of Valentine's Day?

Speaker 3 (01:35:26):
On Valentine's Day, So we'll be living in the land
of love and that these next two weeks and with
Valentine's Day in between. I wantn't remind our audience. Please
go to our YouTube channel right in your Valentine messages, memes,
slogans for whatever character you want, and we will pick

(01:35:48):
the top five and feature them on our social media
on Valentine's Day, so you know where we live on YouTube.
Go to YouTube YouTube. It's easy.

Speaker 1 (01:36:00):
Used to lay Valentine.

Speaker 3 (01:36:01):
I want a personal one. I want a personal one.
I'm going to think on it. Any other final notes
on part one. I can't wait till part two. It
gets even better. You guys. It has everything in these episodes.
Everything this.

Speaker 4 (01:36:19):
It does, you know it does sort of the episode
just blows by. It's very It's funny. Some episodes take
as you're watching them, but this so clearly advances moment
to moment to moment to the moment you just sort
of there. He's leading us on. Michael's leading us on
this really fun ride to to Sleepy Eye where all

(01:36:41):
things will manifest in the end. Yeah, yeah, yeah.

Speaker 3 (01:36:45):
All right, Well that's it for today. Then, guys, I'm
exhausted quite frankly.

Speaker 4 (01:36:52):
No, it'sz that's so good.

Speaker 3 (01:36:55):
These are my favorites. All right, everybody go to our
YouTube enter our Valentine and also you can go to
our other socials, Little House fifty podcast or our website
Littlehouse fifty podcast dot com. We'll see you next time
for part two and Happy Valentine's Day, everybody. We're all
wearing our red. Well, Dean, you're wearing your grat, but
you have a red thing in the back. You have

(01:37:15):
red in the back, I know, yeah, find it.

Speaker 4 (01:37:17):
Well, I'm always true blue, you know, that's just that's me.
I'm blue.

Speaker 3 (01:37:21):
That's it. Yeah, all right, everyone, Bob, get the wig.
We'll see you. Don't get on you whatever you do.

Speaker 1 (01:37:36):
Can't believe

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