“He Loves Me, He Loves Me Not” recap! Part 2, Hour 2

We’re back to finish what we started! After spending an entire episode dissecting the first half of Part 2 of Little House on the Prairie Season 6’s dramatic finale, we are finally diving into the last half—where the misunderstandings unravel, the truths come out, and Walnut Grove delivers peak romantic payoff.

Almanzo’s secret sacrifices are revealed through a scary bout of pneumonia (yes, he really was laying in a real ice tub!), and Laura finally realizes that maybe—just maybe—she misjudged the whole “saloon woman” situation.

Meanwhile, Nellie and Percival continue to steal scenes. Percival dumping eggs on Nellie’s head remains one of the most unexpectedly satisfying moments in Walnut Grove history. Percival continues to be the only man in town brave enough to challenge the Oleson women, and somehow it works. A quick proposal and wedding for these 2, because even Nellie can't resist a good Jewish man. "Off to the honeymoon!"

And of course, we revel in the big romantic payoff that makes this two-part saga worth every sigh, side-eye, and saloon misunderstanding. There are moments that remind us why this show still makes us swoon 50 years later.

It took us three podcast episodes to cover this one television event, but honestly? These iconic Prairie love stories deserve the extra time.

Then, join us on Patreon where we discuss our own relationships and the ways our better halfs support us.

Links and Resources:

Haven’t signed up for Patreon yet? Get more behind the scenes info and fun conversation we can't do on the podcast...PATREON: https://www.patreon.com/LittleHousePodcast

www.LittleHouse50Podcast.com to connect with our hosts and link to their websites.

www.LivinOnaPrairieTV.com  Check out the award-winning series created by Pamela Bob, with special guest stars Alison Arngrim and Charlotte Stewart.

Prairie Legacy Productions - the place to go for info about all new Little House events!
To learn more about Little House on the Prairie, Visit www.littlehouseontheprairie.com

Facebook/Instagram/TikTok:
Dean Butler @officialdeanbutler
Alison Arngrim @alisonarngrim
Pamela Bob @thepamelabob, @prairietv

Social Media Team: Joy Correa and Christine Nunez 
https://www.paclanticcreative.com/


Producer: Tony Sweet
www.ubngo.com














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Episode Transcript

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 4 (00:43):
I'm your host, Pamela Bob And I'm your Prairie bitch
Alice at Aringrem and I'm Dean Butler, 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 seem Valley dot com for their continuing
sponsorship of Little House on the Prairie and The Little
House fiftieth Anniversary Podcast. Hello, hello bonnet heads. Well, as promised,
we are back with part two of part two of

(01:25):
He loves Me, He Loves Me Not Part two.

Speaker 1 (01:29):
There's a lot of part twos in this.

Speaker 3 (01:33):
Our conversation went so long that we had to splice
up the episode. So thank you for coming back and
I will get right to it. So from ubn go
and Prairie Partners and visit Seemi Valley dot com and
you are Patreon patrons. This is the Little House on
the Prairie fiftieth Anniversary Podcast, Part two of Part two
of He Loves Me, He Loves Me Not?

Speaker 5 (01:54):
Enjoy All right.

Speaker 3 (02:10):
We are back now, we are back doing Nelly is
now baking bread with Ma in the kitchen.

Speaker 1 (02:16):
Which is hard to do. Have you baked bread?

Speaker 3 (02:18):
And really.

Speaker 1 (02:20):
I have?

Speaker 3 (02:20):
And then I got a bread machine so I never
have to do it ever again.

Speaker 6 (02:24):
I've never been It's a.

Speaker 1 (02:25):
Pardon my new oven. My new oven is so good.
My new oven is majestic. Its majestic, now I must.
I haven't baked bread in years, but I used to
bake it a lot a long time ago, and it
was awesome.

Speaker 3 (02:39):
Yeah, but it is work. It's work anyway. So they're
baking bread and Nelly decides to have a woman to
woman heart to heart talk with Missus ingle very where
she asked, missus Ingles, do you think men like taller women?
And Mom's like I think so, and and Nelly's like, well,

(03:00):
I don't think Perceval does. And the best line ever,
Ma says, well, in his case, I think he better
learned to.

Speaker 6 (03:10):
That is such a thing.

Speaker 1 (03:12):
So good because okay, yeah, Perceval is short. And indeed,
mister Steve Tracy was short short.

Speaker 3 (03:21):
He's just I mean I was by five.

Speaker 1 (03:25):
Because I'm I'm well, I don't think he was five.
I'm five three, I'm almost five form like five three
and seven a fever.

Speaker 6 (03:32):
Wait, my gosh, so he was so you you had
a heel on.

Speaker 1 (03:37):
You were when we do this, we within our stocking feet.
We were just about the same. Maybe he was five five.
He was short. He was really really short. But what
they did in the scene is they put him in
super flats like there was nothing there was not like.

Speaker 3 (03:52):
Any normal male shoes sold.

Speaker 1 (03:53):
They get like practically nothing there. And then I had
on a pretty chunky heel and then I have hair
the way a thousand ads four you look a foot
taller than him. And I've my bos job people all
thought of, but I'm barely hit in five four. So
for me, you have this weird conversation about tall women,
I'm like going in my freaking dreams. My auntie Marion

(04:16):
was five eight. I was envious as all get up.
My mother was only five two very tall women. I
was short. I'm even short. I is a tall woman.

Speaker 6 (04:24):
But because you know you occur taller than that, you
do not occur.

Speaker 3 (04:30):
Yeah, you present taller than you, just don't.

Speaker 1 (04:32):
And always I went off to do dinner theater, like
right after they did did the first Lost ended, and
they had costumes ready and I'm like, who is this four?
And they were like, oh my god. They had to
run out and get all new stuff because they were
like for someone five ten, they thought I was five
seven five eight. I'm like, are you mad?

Speaker 3 (04:49):
You do?

Speaker 5 (04:50):
Really?

Speaker 3 (04:50):
Really so tall and lean like really like.

Speaker 6 (04:54):
Beam you you look so great in thank you?

Speaker 1 (04:58):
But I I stand. I I've always foster poster and
I will give Catherine McGregor credit again on the poster lessons.

Speaker 3 (05:04):
Yeah, well see herself. She holds herself.

Speaker 1 (05:08):
She talked about balloons on the on your boobs and
and tilting things like.

Speaker 3 (05:14):
Dean, do you think about balloons on your boobs?

Speaker 5 (05:17):
Ever?

Speaker 3 (05:17):
Never Dean doesn't.

Speaker 6 (05:19):
Yeah, No, it's that's not that's the first time literally
heard I've ever heard.

Speaker 1 (05:25):
That balloons and tilt your hips. It's the it's like
rocky horror, pelvic thrust. And she gave me these two
and my god, you're right, and my I don't have
as many. I mean, I'll get a bad back occasionally,
but as many backgronk as a foster, damn it.

Speaker 6 (05:41):
Yeah.

Speaker 1 (05:41):
And I try to sit up straight up pillows, mind.
I try to sit up straight and stand up straight.
It's good for you. It's good for your digestion internal
And you look tall when you're only five but four
and everythings are huge. And and this show people think
I can't cook, people think I'm freaking tall. Every time
I need people, it's one of the things I get.
Oh my god, they're so little.

Speaker 3 (06:00):
Yeah, So I love that say.

Speaker 1 (06:01):
I love that scene. And she's so good in it,
trying not to. There's so many scenes with me, and
all those scenes really with me and Karen, we don't
have that many over the seven years. She's always trying
to not laugh hysterically. It's always something where she's on
the verge of likes.

Speaker 6 (06:15):
Or she's trying to resist. She's trying to hold back
from responding to something appalling that you.

Speaker 1 (06:20):
Yes, well, then we have fabulous Dan McBride.

Speaker 6 (06:28):
Then you bring the cold bread and we're off and
running and.

Speaker 1 (06:32):
His thing of like you can tell I'm already in
a mood. But no, no, old Dan McBride still goes there,
there's bread's called it and again this is field. After
you swallow it, who the hell?

Speaker 3 (06:49):
And then you grab his head and pull it back
and attempt to shove the bread down.

Speaker 1 (06:54):
I was yet, I was gonna shovel over bread then
too his face and hold. I mean it's the man
I hit with a chicken. I mean, it's just.

Speaker 3 (07:06):
Like, but is that Perceval comes and says Nelly and catches.

Speaker 7 (07:12):
Her in her switching to keep Perceval.

Speaker 1 (07:20):
I keep saying Perceval, and it's it's like Perceval, but
I kept saying Perceval, and it's our Elman's interesting and
it's fascinating because you'll have to watch the go watch
the whole episode because at the end I start calling
him Perceval. Why is that that on purpose? I don't know,
But she keeps saying his name weird, and then finally

(07:42):
when they all confess, suddenly she can say his name correctly.
What weird thing was this? I don't know, but Perceville,
Like what am I saying?

Speaker 6 (07:49):
Oh, there was a lot of adoration in Perseville. I
mean it was just like you were you were, It
didn't matter, it didn't matter were all in and whose
name person?

Speaker 1 (08:02):
It was exoustic. I thought it was a very exotic
name for me.

Speaker 3 (08:05):
Well, this was the moment when he says Nelly and
he catches you. This is he is Kermit and you
are Miss Piggy. If I ever saw it ever, his
expression is that Kermit expression when Kermit's mouth gets all
like that and you are horrible, Miss Piggy acting like
a truck driver, and then but then trying to act
very feminine and proceeding.

Speaker 5 (08:25):
This is one.

Speaker 1 (08:25):
Of the greatest acting compliments. Yeah, it is exactly, Miss Piggy,
because yeah, it's completely missing.

Speaker 6 (08:38):
What's it now? Now? Then, also in this scene, is
there is a customer that calls out can I get
my change, please, he wants to pay, and it's it's
our third camera assistant, Bob Ulrich, who was sitting at
the table. Bob, who was one of the had this stammer.

Speaker 1 (08:58):
He had a stammer.

Speaker 6 (08:59):
He had a stammer. And Michael, he was so deadpan
funny with his slates. If you could watch outtake after
outtake after outtake of the way Bob slated these things.
He would hold it right in front of his face
and you know, not to the side, but always right
in front of his face, and it was like this

(09:19):
hang dog thing that he would do. Very funny, lovely guy.
His daughter provided lots of wonderful pictures that he had
taken through the years for our fiftieth anniversary event seem Valley,
and Bob was a wonderful, wonderful guy, and he Michael
offered him this opportunity to be the guy in the room.

Speaker 1 (09:39):
He was the sweetest, gentlest creature with his stammer. And
can you imagine him working on the episode where I
picked on the stuttering and I said we had this gue.
There was literally on the crew like right there like hello, right, yeah,
oh my god.

Speaker 6 (09:53):
Now then you have in this moment as you go
to get the change, you do one of the funniest
things that you've ever done with the stooping down the
way you wash.

Speaker 1 (10:06):
It was great in the script and directed like Okay,
you're gonna and and we when we started, we weren't
sure how we're gonna do this, and he was I
was like, how are we doing? Can you bend your knees?
And I went okay. And it was like because I
was in heels in the dress, like, and I remember,
are you okay? Can you do that? Is that comfort?

Speaker 6 (10:23):
Like? O, hang on, give me to blow your knee
out or something.

Speaker 1 (10:25):
Are you gonna hurt? You're gonna trip? I'm like, no way, Hey,
I got to pick up the skirts because suddenly you're.

Speaker 3 (10:30):
Now much which adds to the time.

Speaker 1 (10:33):
And I got ahold of the plant at the same time, Wow,
it's gonna be so I said, give me a second. Okay, yeah,
I think I got I think I got it. You're
okay to do it, I'm okay to do all right,
let's go. And then I was able to do it
and it was the most hysterical, brilliant.

Speaker 6 (10:46):
Things, but I enjoyed.

Speaker 1 (10:48):
I felt like I was on the Carol Burnette Show
at that point, it's like.

Speaker 3 (10:51):
So fun, so charming and so sweet, and of course
he thinks you're making fun of his height, but she's
just trying to be shorter so that he'll love her.
And and then he gets upset with her and he
goes upstairs and he says, I know you're making fun
of me, and and she's like no, no, no, and
is destroyed.

Speaker 6 (11:08):
Yes, you know, I think what I loved about this,
Ellison is that you just stooped down and you tried
to make everybody not think that you're doing normal perfectly normal,
you know, so which is which is not? You know,
which is generally the way this character is being the
way you do this character, you're pretty out there. This

(11:35):
was for you, very understated in the way that you
did this, and that's what made it so cool.

Speaker 1 (11:44):
And said Steve Steve Tracy straight out of the Limbecks
infrog Factory. You know, so we were we were, you know,
doing and so absolutely we were doing sketch comedy. We'd
gone Carol Burneck by this so it was like, yes,
of course, what my legs know, they're perfectly Oh yes,
I got so much freaking fun. I could have done

(12:04):
that all day. I could have done that kind of
thing all day so much.

Speaker 3 (12:07):
It was just so perfect how you played it.

Speaker 1 (12:10):
And then again coming right.

Speaker 3 (12:15):
Off and where's my bread?

Speaker 1 (12:18):
Coming right up?

Speaker 3 (12:19):
And she even sounds like this piggy, And then the
last shot is just this bread being flung at the.

Speaker 1 (12:27):
Plate and the plate with the plate throwing it with
the plant and danger, and I think did Michael throw it?
He always liked to throw well because mister javelin discus
sh had a really good arm hitting the guy in
the head right, and so when it's time to throw things,
you give it to me so it'd smash against the wall,
you know, Yeah, because he had good aim. Yeah, love

(12:48):
love love Oh. When he threw the horse and Bunny,
the horse hits the wall. I wanted to, but he's like, no, no, no,
give me to get to the professional hair wound up
and yeah, I mean he like baseball, you like a
kid an arm I could throw.

Speaker 3 (13:02):
Okay, Well, that scene is also iconic. The short scene
is wonderful, get.

Speaker 1 (13:06):
So good and I can't tell you I had so
much fun doing that scene. It's what was my favorite teens.
I had a complete blast. Yes, I thought it was
the most hysterical thing ever. And I could have done
that all day, all day.

Speaker 3 (13:18):
So good, Okay, now we're back at home in the
little house. Uh, Charles tells her about a Manzo is
now with a saloon girl.

Speaker 1 (13:32):
She can't believe it, and yeah and even pause, like
that doesn't sound like everyone's going.

Speaker 3 (13:36):
Nast Yeah, but Pau's also like, I'm going to sleepy
to get this guy because no one hurts.

Speaker 6 (13:41):
No one, no one hurts one of my babies, and
gets away with it, right, And he gets and he
does it in a very menacing way. I mean he
does it. That's Michael, like this will not stand and
he does it. So he's pretty strong through that.

Speaker 1 (13:56):
Oh yeah again look yeah.

Speaker 6 (13:59):
Right exactly. So yeah, there's all the way through the
the arc of this character, this Almanzo's presence on the show,
there's always this undercurrent of tension with Paw. Yeah, It's
just always there, which is great, which is sort of
you know, sort of interesting that you know that that's

(14:20):
the way he wanted it to play, you know, to
create that tension.

Speaker 3 (14:25):
So all right, so we it makes sense because pa
Laura was a Papa's girl. I mean Laura was a
daddy's girl, and then now there's a new man that's
going to sort of take the place. So it's great
that he had sort of always this tension and conflict
between those two characters, because it Yeah, it was perfect.
It was great, very smart.

Speaker 6 (14:45):
Okay, so all right, so now we get to the
sixth scene, al Manzo delivering ice in the thunder and lightning.
We're doing this in the Warner Brothers backstreet. So the
rain machine is going and the lights are flashing and
going up the stairs and then trudging deliberately through the water,
heading to the blind school and going up the stairs
to deliver the money to Houston. And he's playing the harmonica,

(15:10):
and of course there's a piece of trivia and I
didn't pick up on this, and as I listened to it,
I didn't hear it. But he's playing the end theme
of the show.

Speaker 3 (15:22):
Apparently, I'll have I did not hear that.

Speaker 6 (15:26):
But he's playing it so slowly that I just didn't.
I didn't.

Speaker 3 (15:29):
I'll have to revisit. Okay. I love that has a name.

Speaker 1 (15:33):
There's a title to the end, When I'm with You,
When I'm with you like a Birdie, When I'm with you.
That was what he called the theme when he wrote.

Speaker 3 (15:47):
It, airplane arms. Okay, okay, So here's my question for you. So, Dean,
you Almanso is coughing, coughing. Heuste's like, you got to
take care of that cough and he's being a douchebag
again and now I'll take care of it. Will pass YadA.
He's being.

Speaker 6 (16:05):
To keep paying this one.

Speaker 3 (16:06):
And then he goes down the stairs and then there's
a fall, and I want to know how that fall happened, Dean, Yes,
what were the logistics.

Speaker 1 (16:17):
Of that thought?

Speaker 6 (16:18):
Obviously was no fall, no actual.

Speaker 3 (16:22):
Fall that you know, see your head stepped out.

Speaker 6 (16:24):
Of the frame, and you know, then there's okay, we
don't I guess there wasn't.

Speaker 3 (16:32):
No, there was no cut.

Speaker 6 (16:33):
They hold that because right, there's no cut. Mis Houston
comes out, looks down panned downstairs. So I've gone downstairs,
found this position on the floor and laid myself off.

Speaker 3 (16:45):
Okay, And you know you have to worry about being
in quiet going down the stairs or did it not matter?

Speaker 6 (16:52):
No, because they put in the sound of the falling
down the stairs anyway, so they could have just magged.
They could have just cut that and they rebuilt all
of that right. That whole moment was it's so good,
and you know, you get the wonderful little slide fluid,
you know, you get that going.

Speaker 3 (17:06):
Down fall, a nasty, nasty fall, and he's unconscious and he's.

Speaker 1 (17:11):
Don't you feel like you saw him fall? Did you
feel like? Because all he did was disappearing.

Speaker 3 (17:17):
Because when your head does go out of the camp,
when it goes out it, you do it in a
way so that it gives the appearance that it's on
a diagonal downward. So we know immediately that he has
fallen down.

Speaker 6 (17:31):
Well, I am going down some stairs.

Speaker 3 (17:33):
Yeah, but it didn't look like a step down. It
looked like a like a fall down.

Speaker 1 (17:38):
You're amazing the sound effects. You believe all kinds of
things because you heard banging playing.

Speaker 3 (17:43):
And he's shouting alemans, alemans, and we're all going, who's
alamansie and he's going alms and he calls her help alas.

Speaker 1 (17:51):
All right?

Speaker 3 (17:52):
Now, did he come up with that on his own
that way?

Speaker 1 (17:57):
No? He tell.

Speaker 6 (18:00):
I mean he was wonderful.

Speaker 3 (18:02):
He was so good.

Speaker 6 (18:04):
Oh my gosh, I think this was his Yeah, I mean,
we're gonna and we're gonna talk about some scenes of
his coming up where he you know, where he's he's
the buffoon, yes, the clown, the fool in some and
then he has this deep well of emotionality which says.

Speaker 3 (18:20):
Everything about his character in his past. Yeah, he's amazing.

Speaker 1 (18:24):
All right.

Speaker 3 (18:24):
So now we're back in the little House, the little
House on the prairie and Carrie and baby Carrie. Car
does not show herself very well, and this Sable.

Speaker 6 (18:36):
Just saying well, Laura says she's not hungry.

Speaker 3 (18:39):
Not hungry, and Carrie goes and car.

Speaker 1 (18:44):
And yeah, your big we understood her. I understood her.

Speaker 3 (18:50):
You sort of understood. It's still it's still mumbly, a
little mumbly. But also my favorite part is Ma even
looks at Carrie like, shut up. Carrie liked, you're an idiot.
It's so good you are such an idiot. So Laura's
very upset still because her heart is broken about Amonzo.

(19:10):
But then Paw comes in with news. What's the news. Well,
let's go up to Laura and tell her. And the
news is, no, he is not with the saloon girl.
He is the one that has been paying the extra rent.
Mister Pims didn't actually lower the rent and Pa didn't
set music. He has pneumonia, and pneumonia is no joke.

(19:32):
I mean even today, pneumonia is no joke. But back then,
so Laura, yeah, death sentence for sure. So Laura is like,
I need to go to him. Paul's like, I know,
we'll leave in the morning.

Speaker 6 (19:46):
Great, right, God, please let him be all right, Please
let him be all right.

Speaker 7 (19:51):
At that's them, We're out, yep, killer killer Yeah.

Speaker 6 (19:56):
So yeah, so everything is in full and at this point,
you know, Act one really is a huge, long a thing.

Speaker 3 (20:04):
Yeah, yeah, that's true.

Speaker 6 (20:06):
Yeah, Act two is very quick. Act three is a
little longer at four is very short.

Speaker 3 (20:12):
Four is like so much, there's so much that happens, all.

Speaker 1 (20:17):
Right, Yes, I can't believe how much goes on in
this episode.

Speaker 3 (20:24):
Right, absolutely so. Now Laura is back, she's with Almonzo,
he's in a sick bed, he's in the infamous ice bath.

Speaker 6 (20:32):
Not yet, Oh this is.

Speaker 1 (20:35):
Okay.

Speaker 6 (20:36):
Houston is said, out for the ice Houston.

Speaker 3 (20:40):
I got it, and uh Laura wishes that says she
wishes he can hear me and Houston the moment, the
the real real Houston moment, happens where she says, talk
to his heart, little lady, and and it's revealed that, no,
he's never been in love, but that's because he's been
protecting himself from heart ache his whole life. And he

(21:03):
says that what he realizes that the only thing that's
strange about never being in love is living being alone
your entire life, which just our heart breaks. But then
he says, but now not now I have you and
the children, and I'm not alone anymore.

Speaker 1 (21:20):
Come go people, folks, and love do strange things. That's
why I never fell in love. I thought was afraid
I'd do something strange, but he probably would. And he
seems like a weird there, and then yeah, and then
talk to her and then yeah, he's I love. She says,
you're a strange man. It's like, yeah, but the children

(21:41):
he's now adopted, the exactly he's got.

Speaker 6 (21:44):
Yeah, it's very it's very Laura is observing and listening
to this, and she's growing up right before her eyes.
I mean, she's it's a very mature thing that she
says there, his observations, her ability to process that says
something about where her maturity is going. And because it's

(22:04):
been you know, we've been a little, uh, emotionally intense
do this, and and yet now she's able to pause
and process. It's not about her now, it's about him.
The empathy comes back. She's right there with him, listening
carefully what he says, and she's touched by him, and
it's and he's lovely and they are they this is

(22:26):
a lovely thing.

Speaker 3 (22:26):
It is so powerful. It's just so beautiful. And she
tells Almanza that she loves him, she'll always love him,
and that's what happened.

Speaker 6 (22:34):
Yeah, I love you and I always will.

Speaker 3 (22:36):
So now we're back in Nelly's kitchen. Yes, yeah, Kelly
has Perval Percival bread.

Speaker 1 (22:47):
So she can't go to the store and get sliced
bread slicing bread, cooking the ham steaks and the scrambled eggs.

Speaker 3 (22:54):
And Perceval is timing her and he's like.

Speaker 6 (22:56):
You've been seconds under her rest.

Speaker 3 (22:58):
That's right, fifteen second, which is a lot of I.

Speaker 1 (23:00):
Can be that I can be. By the way, scrambled
eggs is one of the best things I make. I
have the big the best scrambled eggs in the world.

Speaker 6 (23:05):
In real life, you put half in half in your
scrambled eggs.

Speaker 1 (23:08):
No, usually I usually just regularly you can't. But I
got half so fluffy, fluffy you the milk, the fluffiness.

Speaker 3 (23:15):
And the yes anyway, So Perceval, they're very, very happy,
and then Perceval lets her know, well, I'm leaving now
because you've graduated. You're done. You don't need me anymore.
And this is the very first selfless act that Nelly
has ever done, which she says, You've been a great student,

(23:35):
and Nelly genuinely says, no, it was you, it was
your teaching. And that is the first time we have
ever I think that is the first time in her
life she has ever done anything that.

Speaker 1 (23:46):
Was selfless knowledge that somebody else did something.

Speaker 3 (23:50):
And it's and it's real. We believe her, We believe
you that you actually mean that, you're not just giving
lip service to him.

Speaker 1 (23:56):
He does a thing in this scene where he's he's
trying to play it all off. He's trying to pretend
he doesn't that's right, he's try, but he already had
blurted out that pretty thing that started this whole thing,
and he's trying to be well, well, and I'm like, no, no,
you can't go because when my my work here is done.
Oh yeah, he's doing it's just a job. But if
you watch him, there's this little half smile, this little

(24:18):
half smile, and Nelly thanks him and everything, and he's
just his mouth does this funny thing as he's saying, well, well, no,
I have to I have to go, and you know,
the clients go and you're fine, you're fine, and you
don't need me, and my work here is done and
I'm very serious, and I don't love her at all. No, no,
this is a job. I have another. And then you
just see he gets quiet in his mouth, does this

(24:39):
weird thing, and you're like, oh shit, he's in love
with her, but I want to.

Speaker 6 (24:42):
Say it inappropriate right.

Speaker 1 (24:47):
To be.

Speaker 6 (24:49):
Crossing her?

Speaker 1 (24:50):
Mother will kill me? What am I doing? Right? She's
still I'm still under contract, I'm still on the clock.
I can't tell this.

Speaker 6 (25:00):
Good in that refusal to get drawn into that, but
you can.

Speaker 1 (25:04):
So see him do it. It's so good.

Speaker 3 (25:06):
So there you go, and then he leaves for her
to do the dishes and she goes to the sing
and this also, Allison, is one of my favorite things
you've ever done on the show. And it's so good
and I call it back acting. Back acting.

Speaker 1 (25:22):
I've talked Alison arm from School of shoulder.

Speaker 3 (25:26):
Shoulder acting is so perfect. So she's at the sink
and we don't see her face, her back is to
the camera and she's washing the dishes, and she just
starts crying and her shoulders are raised and we see
the up and down of her crying with the shoulders,
and then the very final moment it just all slumps down,

(25:46):
which is so sad.

Speaker 1 (25:49):
It is just she is directing.

Speaker 3 (25:53):
So the shoulder acting is on point. Girlfriend, it is
so good. Was that completely intentional? How did you? Were
you aware of what you're doing?

Speaker 1 (26:01):
All it says in the script is she goes listening
to do dishes and she cries, and the direction was
back to the camera because he loved doing that thing
you know in the show where you'd see people just
mom Pauw talking by the barn in the distance. You know,
he's told her, right, that kind of thing. So it's
just no, no, just do the dishes and cry, you know,
do your thing. And I apparently I have this shoulder

(26:24):
acting me so good. I went there and I did
and yeah, yeah, and it came out perfectly. That's exactly.
I was hoping it would look like that. And even
I watch, I go, what the heck am I doing?
What the heck is whoa?

Speaker 3 (26:39):
It says that everything in thoulders. It says everything, and
we believe you.

Speaker 5 (26:44):
Again.

Speaker 3 (26:45):
This is the first time the audience actually is going,
oh my god, she actually has a real emotion, she's
actually feel for us.

Speaker 6 (26:54):
What's beautiful about it is it's a totally private moment.
The fact earned makes it a completely private nothing. That's
not sharing this with anybody.

Speaker 1 (27:05):
Feel like you're not supposed to be there.

Speaker 6 (27:07):
Right, No one's there right exactly. I mean, what what's
that camera doing there?

Speaker 1 (27:11):
Right?

Speaker 6 (27:12):
But yeah, it's this is not for anybody else. This
is just her own. That's very powerful stuff. And we've
seen this. We see this in cinema all the time.
We see this is a very strong technique to convey
something that's deeply priced. Y.

Speaker 1 (27:31):
Yeah, it works. And I also remember Nellie really crying.
And this is a key thing in this episode because
I have fake cried great for seven years. I want
a horse, I want a doll. I hate you. I'm
gonna get on my talking machine and ruin your life.
I have gone. I made that mother and with the

(27:55):
fakes and either I conjured up fake tears or lots
of glisters and lots of lite because I'm taking babe,
and lots of five minutes after she leaves her, oh hello, hi, yeah,
well oh there you watching? Yeah, complete fake max where
and so people like what they're talking about? Can you cry?
Can you cry on camera? It was assumed that I
could not cry on camera because when the hell did I?

(28:19):
I was taking in really crying. I didn't really cry,
And all of a sudden in this episode, I freaking cry.
I freaking cry in the sink. There's an old expression
though in Minnesota for crying in the sink, and I
always thinking crying there, I am crying. I cry in
the sink, in the leader, I cry in the bedroom,
and I like freaking cry. And everybody was kind of like,
what the hell?

Speaker 6 (28:43):
How you know you conveyed for the audience. How devastating
this really truly was. There's no performative things going on here,
you and.

Speaker 1 (28:52):
You feel bad for with the and the pump, it's pathetic.
Oh my god, all fire shelf with the dishes and
she can't tell them me. You just go, oh man,
it's it's sick.

Speaker 3 (29:04):
It's really sad. All right. Now we're at the ice bath.

Speaker 1 (29:09):
With famous many blocks of ice. How cold? Were you?

Speaker 6 (29:13):
Very cold?

Speaker 3 (29:15):
Those shivers seemed very authentic.

Speaker 6 (29:18):
Yeah, No, it was like total it was you know,
freeze time. What's great about that, of course, is when
you have a high fever, you are ship Yes, so
it's like it's it all works very nicely. You know,
We've talked about this a lot. That's just one of
those things that that one can use and it I mean,
you don't have to do anything, you just you just

(29:40):
have to respond to what's really happening to you and
allow that to happen. Right, So that no, all that
was really that played really nicely.

Speaker 3 (29:48):
So how much rehearsal did you guys have before you
had to plunge into the bath?

Speaker 6 (29:55):
I mean how many We always rehearsed for the We
always rehearsed for the camera, you know, there was always
rehearsal for the camera to know, so I'm sure it
was I you know, I really specifically don't remember.

Speaker 3 (30:06):
Yes, sure, years ago, why not.

Speaker 1 (30:10):
We would do blocking where it's like okay, let's try
one and you'd go through and then just to make sure,
like yes or no, no, no, go the other side
of the table, you know, that kind of thing. But
you so you'd have a chance to try to work
out what you thought were going to do and find out.
But maybe one or two times and then it was
like go, so did you just get the regular like
let's run through.

Speaker 6 (30:31):
This or yeah no. I think it was probably not
up to speed. It was just it was marking it.
You know, you're doing it, so you didn't.

Speaker 1 (30:39):
Get a special rehearsal if we need to go through
this scene because.

Speaker 6 (30:42):
I I think that I think Michael had a sense
that the ice was going to do the job. Interesting
you just if you're if you're present to that, then
a lot of that a lot of the issues take
care of themselves right there. So yeah, and it was
really cold, yes, and it's an incredibly tender scene.

Speaker 3 (31:03):
Yeah yeah, yeah, yeah, but I mean it was it worked.
It all worked. Uh And and Lauris says, girls and
Bell like, why didn't I tell me about the rioting?

Speaker 1 (31:13):
And you're like asking me about the chick with the
thing and the bad.

Speaker 3 (31:16):
Really and he says, I love you.

Speaker 6 (31:21):
I always felt like watching those scenes that I you
know that I don't know, you know, it.

Speaker 3 (31:26):
Just we're are worst critics, but your brilliant.

Speaker 6 (31:30):
I know, I know. No, I mean I think, look,
I think the scene ultimately, all these scenes ultimately work
and uh yeah, it's all it's all fine.

Speaker 3 (31:42):
Now what was it like when it was when it
was cut and after like, was it was there a peptop?
Like did she need any kind of like further direction
because again she was young and she's playing a real
love scene, a tender.

Speaker 1 (31:54):
Love and there's walk going on with crackling leg yeah,
and distracting.

Speaker 6 (31:59):
And gratefully, you know, gratefully we did not loop this scene. Yeah,
there is ice, but you know, the cool thing is cool.
The cool thing is you can actually see the ice. Yes,
so if the ice is moving, that becomes a real thing.
You can get the boom right down on top of
the scene and the close shots. So if you hear

(32:19):
all that and you're seeing it, if you couldn't see
the ice, there's a chance that it would have had
to have been Mmmm.

Speaker 1 (32:26):
It would be so distracting and.

Speaker 6 (32:27):
Weird because it would be distracting. But if you can
see it, you don't have to you know, you can
buy that and we weren't clattering the ice, but there
was enough movement in the ice. So grateful we didn't
have to loop that. Yeah, oh my god.

Speaker 3 (32:39):
Yeah, it's a really beautiful scene. And the crux of
it is they both admit they're undying love for each
other and that there's only only.

Speaker 6 (32:47):
You for no one in the world for me but you.

Speaker 3 (32:49):
Yes, And if I have to wait two years or
twenty years, I wait.

Speaker 1 (32:52):
Oh god see and she did again. Where we are
when we saw her with the kercher that I said,
there's the Laura Ingalls, that's the one from the books.
There's and when you finally did going to work double
shift to pay for the school without even telling her,
and then the practically dying on the bed of ice
theer's no frame. That's the real Almans. But that's the
Almans who in the books who drove Laura to those

(33:13):
awful people at that school she was looking for and
went went to went through the winter, the long winter
to go get week. We wouldn't start with when when
Almanzo in the book she drives Laura to her job
and after something it's the cutter. The kids are all like, oh,
he's got a sleigh. This is great, and she finally says, he, look,

(33:33):
if you think you're gonna like date me or I'm
gonna go out with your marry or something, because you're
driving me, Yeah, you're not going. It's getting you nowhere.
If you're just doing this means to an end, you
should just stay home and not drive me anymore. And
it's like she's kind of horrible to him in the book.

Speaker 6 (33:46):
She gotta get and so he doesn't show up for
a while.

Speaker 1 (33:50):
He doesn't show up right away. He does show up eventually,
and she's like, but you're not going. He goes, uh huh, yes, ma'am. Yeah, no,
fine whatever, and just like us, yeah, I know, and
then driver and she's like but but but but he's
like mm hmm yeah, and he's just like, okay, fine,
make your big statements. Yeah I'm still driving you. And
then eventually she's like, you drive all the way at

(34:11):
her and back and the thing in the snow, even
after I told you to drop dead, basically, and so yeah,
so the kind of guy would go out and take
two jobs and pay for the thing and tell you
how much he loves you. Two years twenty, there's the
guy no, no, douchebaggery.

Speaker 3 (34:27):
No, douchebaggery, No, no, the douchebaggery has disappeared. Officially, yeah, officially.

Speaker 1 (34:33):
Well and with Paul, because Pad didn't go and beat
him up.

Speaker 3 (34:35):
Pop listened to him again and bad.

Speaker 6 (34:40):
Yeah right earlier, he realizes he's not a bad guy, Thank.

Speaker 1 (34:44):
Heavens, Thank heavens as.

Speaker 6 (34:45):
Well, I think, And this is one of those situations where,
again at the way Michael wrote these things, in most cases,
the script is wide open. The audience knows everything right,
the audience knows he's not really a bad guy, right,
they think he is.

Speaker 3 (35:00):
He's got just bad communication, very impulsive for communication.

Speaker 6 (35:06):
So let's say, so that scene ends, you know, the
big the big nice embrace at the end, I mean here,
you know, she's drawn sort of right into my arm pit.
I don't know what she got there, but you know,
but she's.

Speaker 3 (35:20):
Women love that spot on a man's body. That's the spot,
right am, I the spot that's because there's a little here,
snubby spot is right here right in there. He's a
nice she's he's frozen, she's fine, she's she's not love.

Speaker 6 (35:38):
Yeah, that's right. So that's the that's the end of
I think that's the end of Act three. Yeah, that
moment is the end of Act three.

Speaker 1 (35:45):
The Little Household the Prairie fiftieth Anniversary Podcast is presented
in part by Visit Scene Valley dot golm in the
movie and television capital of the World. See Valley is
the television home of the O G Little Household of
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all over the world to feel the Little House love.

(36:07):
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celebrating the legacy of an iconic American who embodied the
can do spirit of California. Visit Semye Valley a warm,
friendly community that knows how to make their guests feel welcome,
accessible and affordable. Seeney Valley is a great place to

(36:28):
live and a great place to start your next California adventure.
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visit Seeney Valley dot com.

Speaker 6 (36:44):
And we're racing for the finish. So this starts off
Almonzo's batteries getting in the carriage. They are every Houston
admits that he's happy. He's got a family. Now, you know,
got people who love me. That's a happy ending thing.
They drive off, they're kissing, and they right into the
general store and there's mister Crowley there, Alvi Moore, who

(37:06):
people loved for years on Green Acres.

Speaker 1 (37:10):
It's the dude from Green Acres who.

Speaker 6 (37:12):
Was who was you know, Hank Haney who was the farm?
The farm? Uh was so funny, mister Haney.

Speaker 1 (37:25):
Oh no, mister hamis here. Hi, Hank, Hank freaking Hamy. Well.

Speaker 6 (37:30):
The thing he was so wonderful about what he did
on that is he was so serious and he was
a complete idiot and he just know he didn't know
what he was talking about, but he was very serious
about him.

Speaker 1 (37:40):
Yes, comedian, comedian. Yes, he worked brilliant.

Speaker 6 (37:46):
Yeah, he worked. He worked a lot. He did about
He worked a lot of different series. He you know,
went to acting school at the Universe, I think at
Indiana Teachers College and tried to you know, spend a
lot of time trying to break in and Hollywood and
found his way. Green Acres was sort of the moment
for him that where it happened. And then he worked

(38:08):
for years afterwards. But he was a lovely guy really,
you know, very very sweet character.

Speaker 3 (38:17):
Okay, so now we are bad, we're now yes, so
now we're.

Speaker 7 (38:24):
Nelly.

Speaker 1 (38:25):
This is crazy.

Speaker 3 (38:26):
Nelly is actually crying for real this time.

Speaker 1 (38:31):
To everyone's freaking those tears.

Speaker 3 (38:34):
Those were the real tears.

Speaker 1 (38:36):
And they were ready, they had the mental ready crying
here and they don't know where that's gonna go, fake
in for seven frickin years, So like, why would you
expect anything? So why would why would you think I
was going to cry? No? I totally understandable, and so
but I I know, and I still say I got lucky.
I got lucky. Sometimes stuff is accessible in some days.

Speaker 3 (38:57):
Yes, of course.

Speaker 1 (38:59):
And some days you have something terrible going on in
your life, where like you had a fight with your
boyfriend and you're like, oh no, and then you're like, well.

Speaker 3 (39:09):
This is a good days, right.

Speaker 1 (39:11):
And you know things just happened that week and month,
and you're like, you know, well, it looks like today's
my day, eh, and it's time to cry and you
do and you go, oh, oh, well that's happening shit, okay,
and well it is.

Speaker 3 (39:28):
The irony is as actors in a sense, We're very,
very lucky because we really do get to process our
emotions through our work, especially if they're emotions that have
not been worked through yet. And that's why, you know,
if you if you have paint, use it, use it,
use it. Just use the pain, always use it.

Speaker 1 (39:47):
Yeah, so I'm balling, and I said, it was kind
of fun on it because everybody's like ready like that,
they're ready with a mental glister, and they're going, what
is happening? Like, what does she do it?

Speaker 6 (39:57):
What does she do?

Speaker 1 (39:58):
She's great? Oh my god, she's crying, so and like
literally like they cut it for something and and say
are you okay? I go, yeah, okay, I'd like freaked
out that I'm actually because and I went no, no,
it's and I didn't want to dude, I was faking
for them this one. Never like I could just go.
And so they were all and Catherine, who didn't see

(40:18):
this going on, which because they were behind the door
getting ready for the queue. That door opens and Catherine
comes and stops in her tracks because I'm actually crying.
It's like, oh my god, it's such a crazy almost
breaks character goes oh okay, and then who does the
repeat back? Then we've talked, yes, that she sings to

(40:40):
people to be annoying and you're not supposed to do it,
but it's so good when you do, and I love
almost stop crying short. Then it became, like I said,
acting troulongs with the century, because okay, I've got a
good crying. But Catherine is saying all this stuff and

(41:04):
she's so funny in the scene, and you love me.
And then Richard's there, your father's side is tall. Yes,
your mother's side is fat. Yew winks at her.

Speaker 6 (41:16):
He winks at her when she she says that your
side of the family is fat. It's a wonderful moment
with her right there. And she sort of lets that
pass well.

Speaker 3 (41:28):
Because she goes, how dare you? And then Nelly starts
crying in and then she's then she goes back to
Nelly thoh no, I mean the roller coaster of emotion
is insane in this shot.

Speaker 1 (41:40):
Like it's gonna be a fully comic scene. It's shot
so like abnormally tall, so like everybody when I get
up and go, he's not sure I'm too tall. The
camera's like on the floor. They're like and I'm like ridiculous.
The Empire state, right, what is happening? And everybody and
so it shot like it's a totally comic scene. Yet
I am weirdly actually crying and going I really love him,

(42:00):
and everyone's kind of going tell okay, and it's bonkers,
and then I have to somehow stay in this. Well,
these two geniuses freaking Richard and Catherine are killing it,
are and doing one of the funniest scenes they've ever
done together, and I have to really we can't.

Speaker 3 (42:15):
I mean, that whole family dynamic is just perfectly encapsulated that.

Speaker 1 (42:20):
Scene, everything, every everything, the scene, everything, and it's just
like and then when Rich's like, have you told him?

Speaker 6 (42:28):
Have you told him? Yeah? Right, exactly again.

Speaker 1 (42:32):
This progressive stuff with your well you go tell them?
What do you say? It's so bonkers? And then yeah,
and it's just like oh man man, and then okay.

Speaker 6 (42:43):
And she wants to go with you, and.

Speaker 1 (42:47):
Yes, because that will help.

Speaker 3 (42:49):
He might leave it alone. He might not think about
who his mother in law is going to be. That's
the line.

Speaker 1 (42:58):
Misters, right, family, you cry, you cry beautiful thing. Can
you imagine you had a really you had a really
good cry? Right, And like you're tapped into everything in
the world, and you had those people doing.

Speaker 3 (43:12):
The flying monkeys around you.

Speaker 1 (43:13):
How would you?

Speaker 3 (43:15):
I mean, you just have to commit ten times harder, right,
I mean, it has to be so committed that that
would not throw you. It would just add brutal.

Speaker 1 (43:26):
And it went off for a long time.

Speaker 5 (43:30):
I love.

Speaker 3 (43:32):
And I love how pragmatic yet loving mister Olsen is
of just like, well, have you told him? Go tell
him he's about to leave.

Speaker 6 (43:39):
Go tell minutes, you know, go go tell him.

Speaker 3 (43:43):
Yeah, And of course miss is horrified about.

Speaker 1 (43:48):
And crying, and then they're making me laugh. And then
like I said, Michael and everybody are kind of going
what what who? What is happening? And so like even
cut like okay, the next take, it is like keep
it rolling, keep it rolling? Are you okay? Going like this?

Speaker 3 (44:02):
I mean, do you know how many takes you have
to do?

Speaker 1 (44:05):
All it's a blur, but there were because there were
a couple of takes and then there were different cameras,
and I mean, yeah, for years, I was like, I'm
here hours. I don't know, I was probably I don't
have fifteen minutes, but I felt like I was there
for days.

Speaker 6 (44:18):
But I mean, the good news now as I look
at and I'm not thinking at it looking at it
editorially in my head, but it feels like most of
this played for you in one shot made.

Speaker 1 (44:30):
There was that one area, and there was one or
two other shops.

Speaker 6 (44:33):
Yeah, so I mean he would have let you get
through this in one day. Now you maybe have to
keep it going for them, but at least once it's
off of you, and you probably want to keep it
going for them.

Speaker 1 (44:44):
Yes, yes, but it was. It was a lot. And
then we get outside and again one of Steve Tracy's
greatest moments. So the ball hitting the head perfect, the
perfect dodgeball. And I get questioned about this. I get
question bus all the go was that in the script?
If it was in the script in the head? Okay,
if it was planned? Oh my god, how many times

(45:07):
did he have to do that? How hard did that
ball hit him? Was it a softball or a hard ball?
How did he not even freaking flinch? And keep saying
it's like this is called Steve Tracy was a genius,
But absolutely was in the script and decide in fancas
what's gonna happen? Okay, and to hit the ball, and
they did a couple of rehearsals because obviously it had

(45:28):
to hit him exactly right. And he was like, okay,
so and he went what And between practicing it and
a couple of takes, he did this several times. Now,
I don't care how great an actor you are, someone's
gonna throw and was it was like a sub ball,
rubber blasso, wouldn't like rock card.

Speaker 3 (45:47):
But yeah, it's hard.

Speaker 1 (45:49):
I could hear it hit his head. Oh God, And
how good are you that you could get hit in
the head with a dodgeball and at no point, even
though you've done it six times not flinch or anticipate,
knowing it's coming. You can see them throwing it, you
hear that, you know you're about to be in the
face with the dodgeball, and you do not anticipate. Look,

(46:10):
turn your head, and even when it hits you, you
do not flinch. You just go what and stay in
the moment in character. And who can can you do that?
I don't know if I could have done it. Who
can do this?

Speaker 3 (46:22):
And the timing of it and he just I don't
know how they got it so that it was that perfect.

Speaker 1 (46:28):
It's that I was amazed because when I watched him
do it. I was like, I was going, ow, every
time you hand him, I do not flinching.

Speaker 6 (46:35):
From a craft standpoint, since the shot was now was
it an over at that point or was it just
on him?

Speaker 1 (46:42):
It was just on It was just on him. Oh yeah, yes.

Speaker 6 (46:45):
So I mean from a technical standpoint, he could hit
you know, he could just wait for the ball to
hit you what, it's all going to happen in the cut.
The timing is all going to happen in the cut. Yeah,
but if he says as a technical thing, he could
do that.

Speaker 1 (46:59):
But he's watching. Yeah, he's turned like he's watching them
getting ready to throw the ball. That's right, and then
turn and get.

Speaker 3 (47:08):
It's the turn of the head.

Speaker 1 (47:10):
That's the perfect time the right.

Speaker 3 (47:14):
So he's looking and then the second he Nelly says
perst of aal and he turns and it's the second
he turns his head that ball.

Speaker 1 (47:23):
And hard and they threw it hard. I don't know
how he freaking you you can hear it. I mean
when I was there, I was like, ow, and I
remember going doesn't that hurt?

Speaker 3 (47:33):
And said that's fine ball?

Speaker 6 (47:35):
Right?

Speaker 7 (47:37):
But it was good with glasses on to which could
have really Yeah, yeah, yeah, Oh you could hear it
hit his head and he later said, oh yeah, no,
I'm mean I could feel it.

Speaker 1 (47:51):
I mean, but he just did it. This is what
he could do. He was capable of doing this. I
was I was in awe. I watched them shoot this one.
How are you not like going out or flinching or anything.

Speaker 3 (48:06):
Jesus perfect?

Speaker 1 (48:07):
But he did it, like what I can do that.
But it's not a big deal.

Speaker 3 (48:10):
Well, they got his attention immediately, which was the point
of the ball hitting the face. Is that even a
ball hitting his face, He's still completely and totally in love.
It's not even a thing. And then she says I
love you, and at first.

Speaker 1 (48:24):
She says, I I don't only what this?

Speaker 6 (48:26):
Yeah?

Speaker 3 (48:26):
You do you do? He says I don't know what
to say, and she's like.

Speaker 8 (48:30):
Hello, don't leave me on the wind here, daddy, you
feel and he says, yes, I love you too. And
then he does this slow walk up to her and says,
will you marry me? Which is like they haven't even
had a first date yet, but okay, and.

Speaker 1 (48:48):
The greatest line, well, what about I'm I'm not going
to get any taller one, I'm not going to get
any shorter and they laugh.

Speaker 3 (48:57):
I know, it's so sweet, and then kiss ever all
kisses baby.

Speaker 1 (49:03):
And everybody a little house on the PARI says everything twice,
I love you, I love you, Will you marry me? Yes?
Oh yes, twice it's import And then that kid, Oh yes.

Speaker 3 (49:15):
It's mac a Rooney, mac a Rooney.

Speaker 6 (49:19):
It's such where he's looking up at you.

Speaker 3 (49:25):
Wait, yeah, it's so sweet, so sweet. And of course
also I will say not mad about him proposed. I
mean when he proposes, it's like, wait what, But you're
not mad about it because they're so perfect together. You're like, yes,
this is exactly.

Speaker 1 (49:39):
What it sounds to be.

Speaker 6 (49:40):
It had to be. It had to be that.

Speaker 1 (49:42):
Yes, he has to go leave town and move on.

Speaker 3 (49:47):
And then and then greatest moment of all time, missus
Olsen out the window going what are you doing in
the middle of the street, and Nellie says, we're getting
marri mother and uh, she said, there, you can't get
married and I did, that's right, and uh and he

(50:08):
says yes tomorrow and she's like, well, well, we have
to get the church. And he says, we're not going
to have a church wedding. I'm not gonna have a
church wedding. Why not I'm Jewish then.

Speaker 1 (50:17):
And Nelly's not surprised. She's not. When he says something
simple outside, Nellie's like awesome, because she knows the controlling
mother would have a horrible, insane wedding and she doesn't
want it. So he says something civil side, She's like, oh,
thank god. And then he says I'm Jewish, and she
doesn't go. Wait what she kind of is like, oh,
they've talked somewhere in there, this has come up. That
that that she gets to he's Jewish somewhere it's going

(50:39):
because she Nellie doesn't do it.

Speaker 3 (50:40):
She doesn't, are you at all?

Speaker 1 (50:41):
It's like yeah, yeah, yeah, she just didn't care. She
didn't care.

Speaker 3 (50:45):
And even if they hadn't ever talked about it, even
if it had never come up before, she's so in
love with him that it does not matter, doesn't matter all.

Speaker 1 (50:57):
It's the one. It's the one, and she knows it.
This is it. And and and when they shot that
to Richard and Catherine, they did a whole thing, because
they did one couple of shots with out the window.
But you have to stand like a little ledge with
a ladder.

Speaker 6 (51:09):
That was not a practical building up there. That was
there on a ledge, had to climb up a ladder,
stand on the ledge, look out.

Speaker 1 (51:16):
The bulk of the scene is indeed a big chunk
of wall with a window at ground level. Oh wow.
They didn't make them stay up there the whole time.
Close up. They did the one shot where you can
see they are in the building. Yes, they did that.
And then they.

Speaker 6 (51:32):
Created the ranch.

Speaker 1 (51:33):
I don't remember it was on stolen stage later retch.
I think it was a ranch, but they just had
a thing where they were at normal. Wow, this is
gonna take the wrong thing and closed up. We're not
leaving you up there. Incredible.

Speaker 3 (51:44):
I would have never known that I noticed.

Speaker 1 (51:47):
But yes, the great one of the greatest quoted lines,
because only Katherin McGregor could say.

Speaker 6 (51:53):
It like that.

Speaker 3 (51:58):
And he shuts her up by huge marrying your daughter.

Speaker 9 (52:02):
He is married, and the music and the music swells,
and then everyone well they do they are they do
make a yeah, and then the kiss we're doing then
and she stared in the middle.

Speaker 1 (52:13):
Of the We're like, we're like lip, look, you're gonna
cry us apart with a and Nelly.

Speaker 3 (52:20):
You are going to have a good time.

Speaker 1 (52:22):
Yeah, we knowed his lips right before the big kisses.

Speaker 3 (52:25):
She and you had open mouth, girlfriend, You had open mouth?

Speaker 1 (52:29):
I did, did they are ready?

Speaker 3 (52:31):
They are ready?

Speaker 1 (52:35):
And I'm like, yep.

Speaker 3 (52:36):
She's read a lot of romance novels, a lot of
them at.

Speaker 1 (52:41):
The beginning of this episode she had a love story,
so she.

Speaker 3 (52:43):
Was like, yep, no, they're ready. It's gonna be awesome.

Speaker 1 (52:47):
Cloud and they had a passionate kis. She's like, yes,
Weathering Heights, bring it baby, Yes, she's there all right.
So so and we both thought it was hilarious a
that the nerdy guy and the bitchy girl of course
have the big hot love thing. But it also made
sense because Nellie was clearly frustrated and clearly had been
waiting a long time for true love, and so.

Speaker 7 (53:06):
She just explored yet.

Speaker 1 (53:13):
Barely had boyfriends because everybody that liked Mary.

Speaker 6 (53:16):
Everyone ran for the hills.

Speaker 1 (53:19):
Frustrated, She's like, this is it finally, finally, finally, So yes,
she just she we know she's passionate about things. This
is the woman who will throw a plate of bread
at you. So clearly there's this mad pash boiling over
for everything. And then Perceval, who's very stoic in his
day to day, is one of those you got to

(53:39):
watch the quiet one Lady Boo. Of course they kissed
like that. It makes portal sense.

Speaker 3 (53:47):
Doesn't think about it, it does. They are compassion I
shall sink.

Speaker 1 (53:52):
And we thought it was funny as oh yeah, it's
perfect okay.

Speaker 3 (53:56):
So next we're at their weddings. Doc Baker's beautiful day.

Speaker 6 (54:00):
Could get back at Disney rich.

Speaker 3 (54:02):
The amount of rice that's being tossed with them the rain.

Speaker 1 (54:09):
I love my dress to my bow with the little
things richeline had for the little things all over my
bow a little and my favorite line, persct of Aal says,
my mother will feel better knowing we were married by
a doctor. Jewish joke Michael Ann and boom shacka laca
there it is flaberto. I think was the culprit Jonathan

(54:30):
a lot with the rice they can't gave the kids
people I've known for seven years the kids bags of
real rice and said, go wild, we get to throw
rice at Allison's head.

Speaker 6 (54:42):
Was this before people started because now people don't.

Speaker 1 (54:46):
Throw slipping ball hazard and the But it's also I
had a church tell me they go, yeah, because the
slick shoes you dress up for a wedding and you
slip on the rice and you fall in chorus, that's
why it's bad.

Speaker 6 (55:03):
That's interesting that that because I don't think that any
of that kind of thinking.

Speaker 3 (55:07):
None of that was no, no.

Speaker 1 (55:12):
And they gave him rice as hard as they could
because a bunch of it was a lot. They could
have a free for all right to Alison's face, and
they did and I got it in my eye. So
that was the medical crisis we had during this. So
and I don't know who hit me in the face,
Jonathan or Matt, one of the kids. They were just
going free. I get that, the rise in your face.

(55:35):
I get away, and a big grain.

Speaker 6 (55:37):
Of rice got into your eye.

Speaker 1 (55:40):
Yes it didn't hurt, but I knew it was bad.
And so they're like cut because they're figuring to and
I went, yeah, I think I have to, so freak
people freak out. I'm staying very calm because I'm like,
don't move. I have a big grain of rice in
my I'm just going to be really still. And the
set medic comes a rushing and he's like, oh dear,
oh dear, and he's got eye drops. He's like, well,

(56:01):
I didn't we get it out here to remain calling
and get and Michael, I got that. Then he comes
up to the bucking goes oh, very first, very very solicitous,
let me see. And he gets all the way up
and he takes hold my head, goes oh, and takes
his finger and goes bink and knocks it out of
my eye and goes therety a go. And then we

(56:22):
dropped the scene and the medical and but it was fine.

Speaker 3 (56:29):
And then you got gangreen and almost had to chop
off your own leg after that, that's wild, Oh my guess.

Speaker 1 (56:36):
And you're clean. And he didn't scratch my cornea and
I wasn't wearing contact and he got a good shot
at it. And I wasn't really surprised because this was
typical Michael, that stuff like doctors can't came here. I
got it and and he did, and I mean the
medican't eye drops later like do you want some menacept

(56:59):
He was horror, But I was fine. I was like, oh,
it's out. I guess let's go.

Speaker 6 (57:05):
And then yes, and so was this what after leading
into the to the honeymoon.

Speaker 1 (57:13):
Yes, they make it up intensely. And this is another
reason not to throw rice at wedd is, because you
can get it in somebody's.

Speaker 3 (57:23):
Eye, of course, so they yes, she makes it up
to the wagon personal and it makes it up to
the wagon and then the infamous to the honeymoon and
Nellie's double take expression of oh my.

Speaker 1 (57:34):
God, you're in that big a hurry dude, like, oh
my god, I knew we're going on. Really, that's where
you're going with us. You're like barely we just got
in the car and you're like to the honeymoon.

Speaker 3 (57:45):
You wanted to get married tomorrow. So he's ready, He
is very.

Speaker 1 (57:50):
Very ready, persival. It was about efficiency and time sets, right,
you know, fifty seconds off your.

Speaker 3 (57:55):
Old That's so that's what the chat is about. Almonzo too,
of like he wanted to marry her now and not
wait for other reasons.

Speaker 6 (58:06):
It's always going to be more dramatic to want things
to happen faster. And yes, you know that's just sort of.
And so the natural reaction is we got.

Speaker 1 (58:15):
This down and it's mad, that's right, yes, yes, okay,
So then we wrote off on her little buggy laughed.

Speaker 3 (58:23):
And laughed, yes, and then Pa mat says to Pa,
did you tell them yet? And he says no, And
he goes up to Almanza and Laura and puts on
the very stern, stern act, saying, one year you can
get married. It's my final word. One year. So now
they can. They only have to wait one year to
get married instead of two, and they're very happy. And

(58:45):
this is the this is one time where Melissa Gilbert
very clearly does not want to embrace you. It's very obvious.
Not she sort of she kisses you and then very
quickly puts her head back on your shoulder to not
be face to face with you. It's fine.

Speaker 1 (59:03):
She maybe she was going with embarrassed at Nelly's wedding.
I don't want to look at Nelly's freaking wedding after
personal and Nelly have flabbered all over each other again
during the wedding, cemmon, you may kiss the bride.

Speaker 6 (59:16):
Yeah, yeah, yeah, I mean I think, Well, Laura was.

Speaker 3 (59:21):
Not reading romance novels. Let me just put it.

Speaker 6 (59:24):
I did not want to. I don't want to go in.

Speaker 1 (59:27):
We won't.

Speaker 3 (59:28):
It's fine, too much at all.

Speaker 6 (59:30):
And then Grace, and then you got the baby Grace moment,
which is wonderful. This was the little boy. And the
wonderful thing was to get the little boy to say
I love you. I feel like the first line that
Michael wanted him to say was I want her. Was

(59:51):
the was the was the line. And so what he
tried to do. What he did is he gave the
little boy. He gave little boy something and took it
away something so and he was trying to get he
wanted he wanted, he want him to do.

Speaker 1 (01:00:10):
Like his mom was there and it was like, say
I love her and then he want him go h.
So he he had given him a cookie earlier, so
he'd like totally like it, and then the cookie and
he totally is like. Then he went no, no cookie,
and the kid momentarily loses it and they get the show.
And now as soon as like two seconds literally it's

(01:00:31):
like two and a half seconds, he went here, here's
the freaking cookie. I mean he gave him the cookie.

Speaker 6 (01:00:34):
Yeah, the cookie.

Speaker 1 (01:00:36):
He denied him a cookie for two point five seconds.
So it was not completely horrible, but it worked.

Speaker 6 (01:00:42):
Yes, I think this was this little boy was a
friend you know, was a friend of a child of
a friend of.

Speaker 3 (01:00:49):
Michael's that he's a terrible general.

Speaker 6 (01:00:53):
Yeah, very cute.

Speaker 3 (01:00:54):
Well, I wonder how they got the two little kids
to kiss, because she they really reached in and did
a little smoo which is adorable. But I wonder how
easy or difficult that was.

Speaker 1 (01:01:05):
Brendan and Wendy were very friendly babies. I remember that
about the Yeah right, I have to find out which
one was. If they were very like I love you,
you know, they were like the happy toddlers who pick
up and put down and say yes. They were just
very happy and their mom was very affectionate. So and
and they you know, and babies sometimes normally if they're
playing wey yeah yeah, so and then so I think

(01:01:28):
that was probably was the easy party whist. They were
like playing and then they went, yeah, you can give
her a hug. Okay, well so and that was as
hard as the cookie.

Speaker 3 (01:01:38):
And it's brilliant because the captions then say to be
continued in fifteen years at the super which is adorable.
But I have to tell you, as a little kid
watching it, it was thrilling because you really thought that
in fifteen years we were going to have this new
love story.

Speaker 1 (01:01:53):
We'd still be going, we would have this boy.

Speaker 3 (01:01:55):
It was very great, like you could picture. The whole
thing was great.

Speaker 1 (01:02:02):
Now we need to crack down that bowl. Track down
that boy. Ask him did he get the cookies? Is
he okay? How did he feel about this scene? Where
was he fifteen years later? Is he married? Now? Wow?
Did that go? You know? I want to know? Now?

Speaker 3 (01:02:16):
Well? And that takes us to the end of season
six and this episode what away? What way to end it?

Speaker 1 (01:02:26):
Finale? Who uh? I got special billing? My agent was
for Yes, it was now Dean. There's always those episodes
where one has clips that one's agent sends out the
clipso and doesn't add in variety in the reporter tonight
you should watch so and so on I did. There
was always it was an ad for a reporter. Jess
would mock the things up and everything. Jess had to

(01:02:48):
mock him up there you know, there was no computers,
so he got the fonts that just scrape with the
popsicle stick onto the thing, and the ruler would make
the ads and take them to the place and they
would run it off. And so I always had really
antsy ads and variety reporter when I had a big episode,
and Jess Peters would design these six It was good.

Speaker 3 (01:03:06):
These were show changing episodes, these these sweet sixteen into
these two the two partner was like the whole show changed.

Speaker 1 (01:03:15):
If you knew clips, team, did you have clips at
your agency and out to people? I mean back then
it was like the big that.

Speaker 6 (01:03:20):
Big still image like actually.

Speaker 1 (01:03:25):
A big old one and a half inch massive VCR
cassette from back in the day. Oh yeah, we we
had stuff where we would get because we we bought
a VCR when they cost over a thousand, were fancy
and had I had a JVC whatever five thousand, monstrous

(01:03:47):
piece of equipment. It costs like seventeen hundred dollars. And
there was nowhere to rent tapes the store that we
bought it from when you'd buy the blank tapes there
and we would tape things off this each other. But
we would tape as soon as we got that thing
in the house, We got it minted, it came out
and take any episode I was on and I got
on tape and my agent would say, we have video
of her latest scene. We'd make clip reels and would

(01:04:08):
send them to producers.

Speaker 3 (01:04:09):
Wow.

Speaker 6 (01:04:10):
Nice, well, and that would have been that would have
been really nice for you to have that at that moment,
because it was such a contrast for you exactly, that's
you know that this was really it showed would have
shown people, oh, okay, yeah, this is not a one
trick pony here. You you've got you've got something else.

Speaker 1 (01:04:29):
As I said, the careful Barnett's sketch comedy level nonsense
in the restaurant, and then the crying and the I
love them and then the smooch your face off. It
was just so many fun things that that for me,
that episode was like it was like going to Disneyland ride.
There was just so many different fun things. And now
now we're gonna do this. I mean, we're freezing to
death in a block of ice and having to do
these dramatic scenes and everybody's crying. I yeah, I was

(01:04:51):
having a ball. I don't you. People were all going.

Speaker 6 (01:04:54):
No, of course.

Speaker 1 (01:04:57):
Wow.

Speaker 3 (01:04:57):
So when this was over, sorry, go on, go on, no,
I was going to.

Speaker 6 (01:05:00):
Say that, you know, one of the big themes of
the episode, real love is proven to quiet sacrifice, not
dramatic declarations, which is sort of a nice you know,
which is a nice thing and I think encouraging for
people who watch it. I think, you know, when you
look at these episodes, there can be so much hope

(01:05:20):
for people in these kinds of stories, that that that
true love is possible, that that the unlikely pairing can happen.
That that and you never know when it's you never
know when it's going to happen, and there's there's something
wonderful about that. And I think, particularly for you, Alison,

(01:05:41):
I mean, look this, this moment, this Laura al Manzil moment,
had been projected from the very beginning of the season
for you, for you exactly, yeah, for you, this came
completely out of left field. I mean when you pulled
up this script and read this, this was like wow,

(01:06:02):
this this was like were you.

Speaker 3 (01:06:03):
Happy about it? Are you worried or scared?

Speaker 1 (01:06:05):
Really? When when when I, like I said, I was
in makeup and Michael was writing it in the other
room and we'd come and go you're getting married and
why why? What? What? You sorry? Excuse me? What where
are you going? And so it was very nuts. I
was like, what is happening? I thought great, but I thought, man,
it's lost his mind. Nobody's gonna marry Nelly Eels, so
let's talking about And so then was like, no, this
is the thing, and here's the script, and now here's

(01:06:26):
the guys, like this is great. And and then as
I said, just I won the lottery with with Steve
Tracy and and the whole thing and then his improv
skills and stuff, and he was like all over it.
He beat out a lot of people for that part.
There were a lot of people apparently wanted to be
personal and he because it was funny. So it was
all these comic actors, all the guys from all the

(01:06:48):
improv kind of people, the stand up comic. They were like, oh,
funny Jewish guy. Oh this is great. And it was like, yes,
a Jewish character, a little loves of the brarier, let's
hit it. So yeah, and he just was so per
perfect for it. And No, I was thrilled, just like wait,
I get a romance, I get to be nice, I
get to I get to do what I'm so there.

(01:07:09):
So yeah, I just I was thrilled, but I thought
it was It was very shocked that it was happening,
but I was very thrilled that it was.

Speaker 3 (01:07:15):
Yeah, and I can't I can't reiterate. And then we'll
end this episode because we've gone for a very long
time because these episodes are But I will just say
to have a Jewish character in Little House in Prayer,
You guys don't understand how important that was for little
girls and boys like me. I never felt excluded from

(01:07:35):
Little House on the Prairie ever, but to be to
have a sense of oh, someone sees me by having
a Jewish character on was You know, they say, represent
representation matters. It matters, And it made a very big
impact on kids like me, on people like me in

(01:07:56):
the world, having this this guy show up on the
prairie and be beloved so much. Yes, and all the
all the all the jokes that will come later with him,
with the Kreplach and the Mazza. I mean, it's just.

Speaker 1 (01:08:10):
Like, oh my god, they know me, they know me.

Speaker 3 (01:08:15):
Yeah, and it mattered, It really mattered. It was so important.
So yeah, that's our Little House is so awesome. Uh
that's it. Well, let's wrap this thing up right now,
you guys. Yes, this was epic. Thank you so much
for all of your input. I as a fan, I
have gotten to all of my questions answered, So thank
you very much. Check us out everybody on our website

(01:08:38):
Little House fifty podcast dot com or our socials, Little
House fifty podcast. Thank you for your Valentine's contributions. They
were amazing.

Speaker 1 (01:08:46):
We'll have more.

Speaker 3 (01:08:47):
Fun stuff for you guys very soon. And uh, that's it. Everybody,
Bob get the wig, let's fly. I'm exhausted.

Speaker 1 (01:08:55):
Yes, a double wedding, A double wedding episode.

Speaker 3 (01:09:09):
Mm hmm