"I REMEMBER, I REMEMBER" 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 and a.

Speaker 1 (00:35):
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 5 (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, bonnet heads, it's another day,
another episode. I'm your host, Pamela Bob, creator and star
of Living on a Prairie and super fan, and I'm

(01:26):
here with our beloved prairie bitch Allison Arngram, and our
hashtag imaginary boyfriend Dee Hitler.

Speaker 3 (01:33):
Hello, guys, how are you good?

Speaker 6 (01:36):
Good? How are you now? The seventy year old hashtag imagine?

Speaker 3 (01:41):
How does it feel? Honestly?

Speaker 1 (01:43):
How does feel? He doesn't look it? Does he look?

Speaker 6 (01:47):
How does it look? I mean I get you know,
look it's not perfect, but you know, it doesn't look.
I see people who are sixty four, sixty five coming
up on seventy, and I feel like, Wow, people have lived.
People have lived, had to live some very hard lives
and have not necessarily aged terrifically well. So I'm I'm

(02:11):
very grateful for some whatever semblance of youth I've you know,
got hanging on here.

Speaker 1 (02:18):
I'm very grateful for you have age exceptionally well. I mean,
we are all a little spoiled here in California or
in Los Angeles. Everybody's eating all the health food and
using all the moisturizers are we But yeah, I mean
you get out in some places and people are just like, yeah, no,
we work outside and we don't use und block and

(02:38):
what's a moisturizer? And you know, it's different. Life is different.
They don't worry about their appearance in the ways we
all focus on in Hollywood. So a lot younger, but
you are aging exceptionally. Well, there's some genetics there. You
apparently took some reasonable care of yourself at some point,
at some point. Yet because you know you or Dairy
Queen is the fountain of youth. Yes, yes, look seventy.

(03:01):
You do not look seventy, No, not at all.

Speaker 5 (03:03):
That's but that's why I'm asking, because because I know
also for myself as I'm aging, it's like the number
keeps going up, but I don't feel.

Speaker 3 (03:12):
It, do you know what I mean? Like it's a
it's a real mind, Ben.

Speaker 5 (03:15):
And I think this this birthday in particular, was when
I really like it. I already I already realized this
years ago, but this birthday was like it really dropped of, Oh,
this is how I'm going to feel the rest of
my life. Likely the number keeps going up, but I
don't feel equivalent to what that number represents, right, right,

(03:38):
and in many ways older and what yes, I'm wiser,
and yes, and life experience and that's those are always
the perks and the bonuses of aging for for real.
But I still feel how I felt when I was
a teenager or in my young twenties or.

Speaker 6 (03:55):
Lucky you not, do you? You know? I look, I
I don't know. It's all sort of you know, you
look at the decades and it's all sort of a blur.
I think I would say this that, and I'm going
to knock wood here. I think you'd probably agree with
this for yourself, Pamela. You know, when we're young, because
we don't know, we make this is like the almost

(04:18):
obvious thing in the world. We make stupid mistakes. We
make stupid unforced errors that we are fortunate to recover
from in most cases. I think now at this stage
of the game, I'm not as prone to step into
unforced errors as perhaps it was just too easy to

(04:41):
do when I was younger. So I think that's probably
the wiser, older, wiser. Yeah, yeah, so I think there's
that's definitely an advantage of the age. And then if
you have, you know, some level of vitality to go
with that you can sort of enjoy your your discovered discretion.

Speaker 3 (05:00):
Health is everything for sure.

Speaker 6 (05:01):
Yeah.

Speaker 1 (05:02):
I had a grandma told me that her great grandmother
told her, part of you will never be older than fifteen, yes,
and that she was well into her nineties, this woman
and said, when she looks in the mirror, she's like, no,
there's still this fifteen, sixteen year old girl in there.
And she said, part of you, emotionally, there's some part
of you will just always be those your eyes to
go yes, and you'll be like when you're fifteen or sixteen,

(05:24):
you wake up, look in the mirror and go, what
the hell happened? But that part of you mentally is
similar to how you were at fifteen or sixteen and
doesn't really change. You learned stuff.

Speaker 6 (05:34):
But what a great transition point that is.

Speaker 1 (05:37):
Right, that's the big eiet, that's the biggie right about
their fifteen sixty and everything's kind of you know where
you're going about that?

Speaker 6 (05:45):
Yeah, yeah, no, but I think you know, I think
that's also a great transition point for today's program, where
we're going to be talking about something that's based maturity
based youth, discovery of you know, looking back at at
youth and immaturity or the discovery of maturity really really fun.
And also speaking of that, we know we have Laura

(06:07):
Harden coming on not this not this Thursday, but the
following Thursday. Would that be right?

Speaker 3 (06:13):
What is it today? Yes, yes, that's correct, recording on Tuesday,
so yes, we drop on thursdays. Yes, yes, next Thursday, Laura, and.

Speaker 6 (06:24):
We're recording her this Friday.

Speaker 2 (06:25):
We are.

Speaker 1 (06:26):
It's gonna be fun.

Speaker 5 (06:29):
Anything else before we get to the episode, guys, I
think I.

Speaker 6 (06:33):
Think some we're going to start to see some announcements
dropping some teases of something fun that's coming in the
form of Little House on the Prairie cast reunions today
or tomorrow, uh set in Nashville. So people are going
to start to see a little trickle of information on that,
which is really going to be I think exceptionally fun.

Speaker 1 (06:57):
I'm going to see things, things happen where I'm going
to Boroke. I'm going to Borroke in June. We're going
to Tulsa, We're going to We're going there. So much
is going on, and I I know things that are happening.

Speaker 6 (07:12):
You know any So what a minute? So you're pressient
about something that you can't talk about.

Speaker 1 (07:20):
Yes, now I think there's something that will be talked
about actually this week that will be interesting.

Speaker 6 (07:29):
And when when will it? You can't I know you
can't say what it is, but can you say when
it is?

Speaker 1 (07:36):
There may be something possibly this week.

Speaker 6 (07:40):
This week, just this week? Okay, so it is Tuesday morning.
It couldn't know. This will drop Thursday, it might drop yesterday, might.

Speaker 1 (07:47):
Drop by then, and then there's other things that will
be known later.

Speaker 3 (07:53):
This is cryptic, cryptic?

Speaker 1 (07:55):
How cryptic can I be?

Speaker 6 (08:00):
Wow?

Speaker 1 (08:01):
Yeah?

Speaker 3 (08:01):
Really this is a cool hanger. All right.

Speaker 5 (08:04):
Well the people are intrigued, including myself, because I have
no idea what you're talking about.

Speaker 3 (08:09):
But maybe you'll tell me. Let me stop recording.

Speaker 1 (08:12):
Yeah, I doubt, I doubt it might get the first one.

Speaker 5 (08:20):
Okay, yeah, all right, Well if that's are those the announcements,
We're good.

Speaker 1 (08:25):
We're good.

Speaker 3 (08:26):
We'll get to the show, guys.

Speaker 5 (08:27):
But first from ubn go and Prairie Partners and visit
Semi Valley dot com and you are patrons. This is
the Little House on the Prairie fiftieth Anniversary Podcast. All right, well,

(08:52):
we needed a palette cleanser after the best episodes, and
this is one of maybe one of the most sweet, freshious,
lovely episodes that they ever did on the show. I
have always loved this episode, Jean, what are we talking about?

Speaker 6 (09:12):
So today we are talking about episode sixteen of season four.
This is I Remember, I Remember, I Remember, I Remember,
premiered on January twenty third, nineteen seventy eight, written by
Arthur Heineman, a really lovely script, directed and produced by
William F. Claxton. This is really quite charming. That so

(09:36):
I didn't delete something from my rundown. But Allison, what
is I Remember I Remember about I Remember?

Speaker 1 (09:43):
I Remember? It is nice. This is flashbacks? Has little
house those flashbacks so well we dig the flashbacks. So
as Charles struggles through bad weather, always always there's always
something terrible broken wagon wheel which he tries to fix
with that rope that I know bull Loo he was
gonna break, but there you go. He's trying to get
home in time for his wedding anniversary. The kids have

(10:05):
decorated the house laws making a special dinner. A worried
Caroline keeps your daughters occupied by reminiscing about the early
days of romance with Charles and the story of how
they first met, none of which is historically accurrect by
the way, but.

Speaker 3 (10:19):
Yeah, okay, that was uh huh.

Speaker 1 (10:22):
They were neighbors. They did meet fairly young. But of
this the sequence the episode gently explores the uncertainty, awkwardness,
and tenderness that marked the beginnings of their relationship, culminating
in the couple's first dance together. About ah, Yes, the
lies we build become the stories are families carry forward

(10:42):
and the things that matter most of those stories are
rarely well success or achievement, but love, presence, memory, and
the people who come home to us.

Speaker 6 (10:50):
Yes.

Speaker 1 (10:51):
Now, this is one of the series' warmest and most
nostalgic episodes. There is also notable for featuring Dad. Yes,
the first Little House appearance of Matthew Labertory. So he
plays baby Charles like Muppet baby Charles. He's so cute,
and then he becomes Albert his son. It's like amazing,
And you get Katie Kurtzman, who yes, was later on
a the stuttering.

Speaker 6 (11:11):
Yes yeah, I uh, as I watched this, you just
I think the the earnest simplicity of what Matt Laberteaux
was doing. I don't know. I really don't know at

(11:32):
that stage of his life, how in control of all
this he was. I just don't know. But what he
brought in this first appearance, which obviously just like absolutely
nailed Michael to the wall when he when they auditioned him,
there's just something so beautifully unconscious about what he's doing here.

(11:58):
It's just it just feels like such a genuine, authentic
little boy. There's no actor kid here, Nelson. You were
around a lot of you know, you around a lot
of young actors, child actors. Matt just does not occur
that way at all.

Speaker 1 (12:13):
No, there's nothing stagy child actor. And that's what's because
he had worked, he had worked extensively in very very
dramatic roles, but that was a thing. It was always
super super kitchen sink realism, hyper realistic stuff that he did.
So here he is doing something where you know, he's
not screaming or in some peril, but it's completely it

(12:35):
is you believe this little.

Speaker 3 (12:37):
Boy well, and that's what's so extraordinary extraordinary about him
and most of the kids on the Little House. But
just if we're talking about Matt, is that.

Speaker 5 (12:47):
I don't know if people understand how rare it is
to find a kid with this kind of ability, how
rare it is to find a kid who's not actory
but also has a presence, you know what I mean.
So he's he's not so casual that he's not acting,
but he's not actor e And I man.

Speaker 3 (13:07):
I just I don't.

Speaker 5 (13:10):
I just think it's like a little miracle that these
people in this cast, right, like these kids, I don't
know where they came from. I don't know how they
got where they were, Like, how did this happen? And
not just once, not just twice, but across the board,
it seems for the most part, for the most part.

(13:32):
And also the fact that he looks like Michael. Yeah,
the fact that and even when they and you believe
that this is a little Michael Landon there there is
you don't have to suspend your disbelief. This is a
completely believable thing. And I also found it very almost

(13:54):
prophetic that when he came back as Albert, which is
Michael's or pause, you know, son, he always wanted that,
the fact that he also once played a little Michael Landon,
like it all it not Michael Lindon.

Speaker 3 (14:10):
Played Little Charles Ingalls.

Speaker 5 (14:11):
But it all sometimes when you see repeat people, you're like, oh, well.

Speaker 3 (14:16):
That's so and so from that episode.

Speaker 5 (14:17):
But with Matthew, when he came back as Albert, it's
almost like it was supposed to happen that way.

Speaker 3 (14:25):
It it was meant to be.

Speaker 5 (14:27):
It made sense also for the viewer to go, of course,
this little boy who played a young Michael, young Charles
comes back to play Charles's son.

Speaker 3 (14:37):
It all made sense.

Speaker 1 (14:39):
Well, one of the things his first gig was he
did this little boy did a Woman under the Influence
was Little Angelo and a Woman in the Influence, a
very very heavy film. And then he worked at the
usual kind of TV shows and Bob Newhart and you know,
all these television shows, and he was in a circle
of children, which like every child actor in Hollywood was in.

(14:59):
He did Marry He was on twenty three episodes of
Mary Hartman, so he was in everything King of the
Gypsies and the Gypsy Kids and then put Up. So
he did all this stuff. I think despite his incredible
resume and his incredible ability, I think it was one
of those cases that was so common with Michael. I
think he walked into the room and Michael saw the chemistry, yes,

(15:22):
the look, and went I'm done. How could he not
walk through the room and opened his mouth and he
went and it is what I wish I look like
as a child like. And as soon as I'm sure
they were not even done like filming this thing, and
he said, I'm bringing this kid back. Totally, Yeah, totally.
I think he immediately went done, finished, put him under it,

(15:43):
let's go. I think he did, because that's how he
did things. People walked anyway. Yeah, you and I think
the chemistry immediately, the personality and the look despites the
fact that he could back it up was.

Speaker 6 (15:56):
Probably back it up huge. I mean really huge. I
look at what Matt does in this and other work
that he did related to Little House, and I mean
he just could just knock your socks off every time
it was in front of the camera. He was just
just extraordinary, really truly extraordinary. So we have a we

(16:19):
have a situation where let's just let's set this up
for people. So it is the at the Ingles farm.
This opens up with the family preparing for an anniversary dinner.
So Mary has hung something that looks like that could
have been gotten at parties for us happy happy anniversary

(16:43):
on the front door. Very very crafty. I'm sure that
kind of thing happened, but it looked it looked so
contemporary in a sense. But anyway, but fine with the primate,
with the colors and all that they governed that everyone's busy.
So Laura's setting the table and Carrie is spilling the flowers.

Speaker 1 (17:05):
And yeah, yeah, yep, ok uh yeah, they're kind.

Speaker 5 (17:12):
They're they're getting ready for the big anniversary dinner. And
of course, of course pause away, pause.

Speaker 6 (17:18):
Away, and apparently seeming to be running late, and and
everybody is hungry.

Speaker 1 (17:26):
Especially Carrie about it.

Speaker 6 (17:29):
Right out on. So out on the road we discover
right away, unless there's something else we want to fill
in there. Out on the road right away, we discovered
that Paw is in fact in a bit of a
pickle on the road, and he is attempting to use
the horses to raise the wagon which seems to have
a broken axle. But it's not broken. It's a broken

(17:50):
it's described as a broken wagon wheel. Raise it. It
doesn't work. Pause, and really in a mess, and we
know we're in for something.

Speaker 5 (17:59):
Have you ever been more grateful to have a carjack
in your life watching this scene with him trying to hoist.

Speaker 3 (18:06):
Your flag and up wagon wheel. My god, there was
ever a room to be glad now and not then.
That was one of them.

Speaker 6 (18:16):
Yeah, yeah, no, true enough. I mean, yeah, you know
something you never my recollection is in all the of course,
you know, what we actually had in the backs of
wagons and what was actually maybe always in the back
of a real wagon. We just you know, we just
don't know. But the fact that a jack would have
been something really really handy to have. Who knows if

(18:40):
that was who knows, you know, we don't know if
that was standard equipment inside a wagon. Something tells me
it wasn't, because it would have been weight and weight
that would have been a hindrance to horses who had
to pull these wagons. So I think it's something you know,
people just rolled the dice and took their chances, and
this was one that was not a great chance to

(19:02):
have taken.

Speaker 1 (19:03):
You probably have thicker ropes because as soon as you
can clever idea to use the horses to pull it out,
bad idea to use that little eaty bitty flimsy rope.
What are you thinking, dude?

Speaker 6 (19:12):
Yeah, yeah, no's you could hear it stretching and snapping
before it. Did you do what was coming? No question
about it? So all right, So now we're back in
the little house. It's night. Laura worries that something might
have happened to paw mashers. Then everything's fine, and she says,

(19:33):
not the first time I've waited for your paw. That
sets everything up.

Speaker 5 (19:40):
Yes, yes, very not concerned that her night and her
husband has not shown up on the prairie, which is odd.

Speaker 1 (19:48):
Were wagon and carriage jacks? It exists, wagon and carriage jacks. Yes,
there is such a thing as a jack for your
wagon or your carriage. Well did not. It's a large
piece of ungainly looking equipment made out of wood, and
it looks like it would take a couple of people.

Speaker 3 (20:06):
And you wouldn't have carried it with you.

Speaker 1 (20:09):
Someone would come and have gotten you, right, you would have.

Speaker 6 (20:12):
You would have called a and it would have there
you go, would have shown up a four horse team
and you know, and six guys on the wagon to
jack up your kind of stoga fix the wheel.

Speaker 5 (20:24):
Yeah, okay, into story time, flashback time, which he loved.

Speaker 1 (20:34):
Now it's a little goofy I thought it was getting
a little sitcomy right before the whole flashback, because it
was like, and then what happened?

Speaker 6 (20:42):
Mom, Okay, you have to get there, you have to
get there quickly.

Speaker 1 (20:49):
You have to get there. And the house that they're
in in the flashback, wasn't that the house that mister
Edwards was in the house was the Big Woods? Was
the house that mister Edwards was? Oh?

Speaker 6 (21:03):
Yes, okay, you're talking about the house up in? Yes,
that house up in was used many many times.

Speaker 1 (21:10):
It was like I know this house, yeah, this.

Speaker 6 (21:13):
House many times.

Speaker 1 (21:14):
That was the Sonora house that got used along there
it is, and it's the the Ingles house or the
Coiner's house.

Speaker 6 (21:19):
Because we meet that was well, well that was the
Wollbrook house in this particular episode.

Speaker 3 (21:27):
So they were yeah, so no, because I don't know
these things because I'm a TV little house person, I'm
not I know, blasphemy.

Speaker 5 (21:36):
I want to try how accurate this always? So we anyway,
we flashback. Now this is Ma is a little girl,
she's twelve years old. We see her on her farm
with her family, and we see a wagon pulling up
and it's the Ingles family who have.

Speaker 3 (21:54):
Just moved in to the prairie. Where is this? Do
we know where this is?

Speaker 1 (22:01):
We reallynshnson because okay, obviously Charles Ingles was born in Cuba,
New York. Now this is where I check because I'm going, oh,
this is all about it.

Speaker 5 (22:13):
Well, I was going to say, like, what is accurate
about the family members.

Speaker 1 (22:18):
Moved to Wisconsin. It is a little vague about what
year they moved to Wisconsin. Caroline, of course, was born
in Wisconsin, in a town somewhere outside Milwaukee. And they
did meet in Wisconsin, but not when they were twelve,
much later as teenagers and then did hit it off.
So they're making it really cute that they were neighbors

(22:39):
when they're kids. The families were this close. It's multiple
brothers and sisters of Ingloo. They married each other, like
everybody married each other. One Caroline sister married one of
his brothers, or brother married one of his sisters. They
were like three Ingalls Kwiner couples at least in this group.
So that's totally a thing.

Speaker 3 (22:57):
Wow.

Speaker 1 (22:58):
But his family did move from New York, but not
quite then.

Speaker 6 (23:04):
You know, I just don't think that we've talked about
this many times. I think you know, Michael was not
concerned about this kind of accuracy at all. That was
it was not this, it was it did not concern
him in the stories he was trying to tell. And look,

(23:27):
the stories. It's always challenging because you can lay these
stories against history and then you can start asking questions.
Michaels think, I'm thinking. I believe that Michael's thought was
the television audience. Is the television audience, well, they may
not know this material at all, they may not care

(23:47):
about any of it. They just want to see a
good story. And he gave people good stories that worked
on their own terms, always worked on their own terms.
They were not dependent upon and not dependent on the
history particularly at all.

Speaker 1 (24:05):
And it would have been crazy because both the Ingles
family and the Coiner whole book had seven kids each.
There were seven kids. There would have been wagons of
children and let's just say there's only two or three others.

Speaker 5 (24:16):
Yeah, So that was my other question, like, what's the
historical accuracy of the siblings of the parents.

Speaker 6 (24:21):
Of name the name Lanceford Ingles is accurate and Paulie
the sister, that's all dead on. I think Peter as well.

Speaker 1 (24:31):
I think Peter Peter Ingles. The mother was named Laura.
You named Laura for his mom. But there were like
eight thousand children as opposed to the two or three
cute kids. Also, they left out Carolyn's whole story because
she she's a coiner in this and was she a
hole work Yet she was born a coiner and mister
Coiner died tragically in a horrible shipping accident on Lake Michigan,

(24:53):
and it was a disaster and it starved her for life,
and then her mother remarried. Now she really really liked
the stepdad. It was that didn't go badly. That went well.
Mister Holbrook was great and took them in and married
her and so he was fine. But her father died
horribly when she was really young, so she was quin
and there was a wholebrook. So they're just gonna go
she's a Koiner and we're not going to talk about

(25:14):
the dead dad in this one.

Speaker 6 (25:17):
In the episode, it makes me think of it. We
find out that mister Holbrook is off in the field
working when we first meet him. We never see him
in the entire.

Speaker 1 (25:24):
Episode because we're not going there because it is it
before mister Kuiner died, Is it him or is it mister.

Speaker 6 (25:31):
Holbrook, just that just the geography of Okay, yes, obviously
mister Kuiner is gone. It is mister Holbrook Holbrook. Okay, yeah,
but we he's in the fields working when they when
the ingles arrived, Oh, don't disturb don't disturb him. You know,
we're will be on our way. And we never see him.
They there were certainly opportunities at the several dances that

(25:53):
they did in the party, we could have seen a father.
I don't think we ever did.

Speaker 1 (25:57):
And I don't think mister Houlburk was a farmer at that.

Speaker 5 (25:59):
But whatever, because I because I listen, we know Michael
Den didn't do these under total historical accuracy. But then
it makes me go, well, did he know enough that
there was a Holebrook and a Coiner and and and
not wanted to go there and that was the reason.

Speaker 1 (26:19):
Why the applicating and it was tragic and horrible.

Speaker 5 (26:23):
So you think he knew the historical reality of what
her father was and was like, we're just not going
to go there.

Speaker 3 (26:29):
We don't need to have him in the eppisode exactly.

Speaker 6 (26:31):
This character is not necessary to tell this story. I
think that that's we don't have to hire somebody to
do this because it's not really relevant.

Speaker 1 (26:40):
To the story work, this story focusing.

Speaker 6 (26:43):
I think that's how that we don't need their.

Speaker 1 (26:46):
Other brothers and sisters, or eight other brothers and sisters.
But which is if these two kids we really just
we only need one. We needed the older brother to
be like a lot as his protect that's it. We
don't actually need anybody else.

Speaker 6 (26:58):
I want to bring up the arrival of Lanceford Ingles
played by Nicholas Coster.

Speaker 5 (27:05):
Because Michael Landon looks like him, like the resemblance.

Speaker 1 (27:10):
They gave the dimples and there was in the.

Speaker 3 (27:13):
Mouth and you could you didn't have to imagine that Mike,
that Charles Michael Landon. He was totally man, totally great.

Speaker 6 (27:23):
Cat, I think, and I just want to say, I
think Nicholas Coster is terrific actor. He did a lot
of work. I mean, Nicholas Coster certainly worked in a
lot of different areas, from features to prime time to
soap operas. Uh, he'd been in front of the camera

(27:45):
a lot doing different in London, yes exactly. And then
and he was in All The President's Men very briefly
in the very beginning of the movie. He was terrific
in that playing a country club attorney type that Robert
Redford questions during the indictment of the Watergate Burglars. Uh,

(28:05):
he's just terrific. And he's got a scene that comes
later in the episode that I just think is killer,
so so terrific. I just think this was great, a
great casting choice. I don't have a sense of the
mother here of Laura Ingalls. I don't know as much
about her. But I used to watch Nicholas Costa on

(28:27):
Santa Barbara all the time, and he did the you
know the so he did five hundred and ninety nine
episodes of Santa Barbara.

Speaker 3 (28:34):
I forgot all about that.

Speaker 1 (28:37):
Santa Barbara. Also Prairie tie In. Nicholas Costa was also
in Lessons in Chemistry. He was he's on his his bio,
let me see, let me see dunt dunt du Nicholas Nicko.
Because it was just likeok a, mister Coster. Yes, there's

(28:57):
very handsome all his pictures, very very very handsome man.
And he only died in twenty twenty three, so he's
franking it out till very very recently. He did not
stop working. Wow, absolutely and One of the things he
did in twenty twenty three was Lessons in Chemistry, which
also stars a little girl named Alice Halseley who.

Speaker 3 (29:20):
Is Laura and the long always one degree of smemoration.

Speaker 1 (29:26):
From Prairie Yeah and everything and then what's her name?
Virginia Place. Virginia Kaiser Place is the Charlotte Holbrook, Caroline's mom.
She was on Max Headroom of All Things and days
of our Lives and a whole bunch of lip.

Speaker 5 (29:46):
In this I mean we saw her to say to basically,
it was like, oh, that's what his mother looks like,
and that was that was it? The father, his father,
and Carolyn's mother where the parentals figures.

Speaker 6 (30:00):
Yes, the strong presences in the episode certainly, Ye, perfect casting.

Speaker 3 (30:04):
You believe, Yes, the perfect casting.

Speaker 5 (30:09):
We are introduced to young Carolyn, who somehow nails every
single one of her mannerisms and local qualities. I don't
know how this little girl did this, because it.

Speaker 6 (30:28):
Is there was a rhythm I agree with, just.

Speaker 5 (30:33):
The way she held her face, the way she she
just really must have studied Karen.

Speaker 6 (30:39):
There was a stillness. I think she had a wonderful
stillness that Karen has agreed. She there was dignity, there
was there was a presence about her that was just lovely.
And you know, and here was an example of how
little girls are so far ahead of little boys. Because

(31:02):
when young young Charles comes off the back.

Speaker 3 (31:06):
Of the wagon, can we see little Matthew and go,
there is there's no guy.

Speaker 1 (31:13):
It's so cute.

Speaker 5 (31:16):
The best reveal ever is seeing little Matthew everto come
around from that wagon as little Charles.

Speaker 6 (31:22):
Yeah, and he's just and what's so what's so amazing
about is he has this sort of like I don't
want to be here, I have what is going on here?
Why do I have to talk to anybody? Kind of vibe?
And it just feels it doesn't feel as you saked,
as we talked about early, it never feels actory with

(31:43):
matt It just feels like this is just he's so
dialed in. Yep, he was just so terrific.

Speaker 1 (31:52):
Now, did anybody have a little trouble with the idea
believing that Charles Ingles, the Charles Ingles has played by
Michael Land and not Charles in the books, but Charles
but was shy, pathologically shy.

Speaker 3 (32:04):
Here's here's here's what I think. I totally buy it like.

Speaker 5 (32:09):
I think that's part of the reason why I love
this episode so much is because we we the depiction
of small Charles Ingles, right, is so accurate of but
how so many little boys are at that age awkward
and like haven't come out of their shell yet and

(32:30):
really want to but aren't comfortable yet.

Speaker 3 (32:32):
And he's he's tiny, physically tiny, and just I mean,
I I see, I mean, I have a son, so
I I understand also living with one, but.

Speaker 1 (32:46):
I don't know.

Speaker 5 (32:46):
I totally believed it, and I actually made it. Actually
made me love Michael Landon even more as as adult
Charles Ingles knowing that what he thinking, what he was
as a kid, and what he developed into, and part
of what he developed into is because according to this
fictional story is because you see what he got from

(33:09):
this relationship with this little girl starting at such a
young age.

Speaker 1 (33:12):
And he had to be but okay, But then the
idea that Michael Lander's version of Charles was shy as
a kid. When we bring up the idea that I
was shy as a.

Speaker 3 (33:20):
Kid, I know I was about to say, you were right.

Speaker 1 (33:24):
So is this the idea that, oh, Charles when he
was a child was so shy and awkward he could
hardly even look at anybody or talk to anybody. Oh,
I'm a big dummy. Horror, Yes, I'm a dummy.

Speaker 6 (33:38):
That was actual moment, was a little more self possessed.
He came right out and said that, Yeah, he was
making a point. I mean, I'm not interested lead me alone.

Speaker 1 (33:47):
Dumm, I'm a big dummy. Who says my brother or
jumping back, my brother has told me that I'm a dummy,
and I should come over here and tell you this.
I mean, it's but the idea that but yes, when
you think of people like well if I've talked to
Bett Middler and various performers who were shy as kids,
and they were my role models to get unshy and
become this annoyingbnoxious pres.

Speaker 3 (34:11):
It sometimes it works out, you know, Yeah, you know
puberty does things, of course. Well, I mean, I know.

Speaker 5 (34:20):
I know kids who were total extroverts and huge personalities
and then puberty hit and they went in i mean
completely changed.

Speaker 3 (34:27):
And then I know kids, it was the opposite. They
were so shy and then puberty and all of a
sudden they came out of their shelves.

Speaker 5 (34:33):
Allison, what was it for you, Like, was it a
conscious decision or was it just you grew up and
it just changed.

Speaker 1 (34:40):
It was a conscious decision because I kind of had to.
It was during the first year's Little House because I
was shy, and so you know my next thing, you know,
my agent is like calling my parents, going, is she okay?
Because she's just shy in the sid she being aloof
because remember also there was the vicious pitbull match like

(35:00):
competition between child actors and the stage parents. So any
possible thing that another stage mother could say there was
something wrong, you had to try to like chilla, yeah,
this was the thing. So yeah, So the rumors were
going back to and I was like, what the heck?
And so my parents were like, I don't know what
you're gonna do, but I guess you're gonna have to

(35:20):
find a way to be or pretend to be more
outgoing in some fashion and whatever. I remember that was
a lie. My mother said, maybe you could wear a hat,
and so.

Speaker 6 (35:31):
Has hats can work? Wonders, Yes, hat.

Speaker 1 (35:34):
You're cute, a little basebook cat. And I did a
wet hat. I did fake it till you make it
at twelve, and I thought, well, I can't go on
like this, and I don't really like being shy. It's
not very much fun and you can't do things you
want to do. And then, clearly, if I'm going to
work like a regular full time job with people, got
brought out a bullet together somehow, and so I started,

(35:57):
and then I did. I was reading about all these
people called not shy. How is Bette Midler's show? And
then through my teens, I saw that and I thought, Okay,
these people found their way out of this. Yeah, clearly
is a cure somehow, And I gradually and then I
took up stand up comedy at fifteen, and that'll learn that.

Speaker 6 (36:16):
I mean, if that doesn't develop a tough skin boom,
I mean, what does. That's got to be one of
the most vulnerable, Oh my god, soul crushing experiences. If
that doesn't go well, that could be so I don't
know what kindily I mean. That's I've never been quite sure. Yes,

(36:37):
I understand the desire to be funny, but when you
go into that, you have to somehow get yourself into
that situation. You have to watch people getting up in
front of a stage, and you you have to have
seen somebody early on in their game, absolutely die in
front of an audience, And what does that feel like?
And when you can watch that and say, oh, I

(36:58):
think I'd like to try that.

Speaker 1 (37:00):
Work, Have someone do that in your next yeah, right, right.

Speaker 5 (37:05):
Carry on, Yes, better to go after someone that's crashed
than someone.

Speaker 6 (37:13):
That's Yeah, then someone who's destroyed the room.

Speaker 1 (37:15):
They totally killed, and then your life been killed.

Speaker 6 (37:18):
Now I'm screwed.

Speaker 5 (37:19):
Yeah, And anyway, all back to.

Speaker 3 (37:24):
Which is that I believed it.

Speaker 5 (37:26):
I believed this story that this kid was shy and
awkward and painfully awkward and little and hadn't grown into
himself yet. There's body yet, which is also part of
the charm of the whole thing.

Speaker 3 (37:39):
It's just.

Speaker 1 (37:41):
Katmans a genius. And yes, she did, you did go Wait,
she's she's Karen, She's Krolyn. She's doing Karen. Oh my god.
But remember this is the girl that comes back later
as Anna, the stuttering girl, a complete other person, like
she turned into somebody else, and that's not that far apart.
And she she was literally this other person, she stirl.

Speaker 6 (38:03):
I read a little bit about her as we were
just yesterday I was writing this up, and she had
she had a really good reputation as a as a
youthful actress, being someone who was capable of wading into
emotionally complex roles and and excelling in that space. So

(38:27):
clearly she was very, very capable. You just see it.
You see it in her face, how capable she is.
Her eyes there's there is knowledge in those eyes. And
it was perfect for this, absolutely perfect.

Speaker 1 (38:41):
She was super young, and she later went she was
on what what hotel and a bunch of.

Speaker 6 (38:47):
She did all those shows, all those shows, she did everything.
So she's so let's see, we're sort of jumping into
in an out of steins here.

Speaker 5 (39:01):
The gist of it is is that everyone seems to
think that, oh, she's got eyes for you, and you've
got eyes for her, but both of them are awkward,
and and little girls keeps doing things that she does
not understand, like make silly.

Speaker 6 (39:15):
Her mother says, boys act silly and stand offish when
they like a girl, yes, which which is absolutely true. True.

Speaker 1 (39:24):
Yeah, and it sirs it felt bad, like the mom
is saying, yes, excuse all this completely ridiculous behavior. You
know how boys are.

Speaker 3 (39:31):
But in this case, in this case, it was not lion.

Speaker 7 (39:34):
No, she's not lyon, it's yeah, yeah, yeah.

Speaker 5 (39:38):
And if you're someone like me who likes the shy boys,
it's more of a turn on.

Speaker 6 (39:48):
So yeah, so, well you would have yeah, so, and
I think she's sort of you know, that's where she is, right,
that's I mean, she sees this awkwardness, but she sees
something else underneath all that. That's you know, that's sort
of fun. So boys or standoffish. We come back to
the Little House after that. Ma's catching up girls on

(40:08):
her story, Mas said he liked me. Time for nightgowns.
Out in the country. Charles is under a wagon. The
rain starts. It's going to be a long night. End
of act one.

Speaker 3 (40:22):
Now, okay, here we go. Ready, I'm going to tie this. No, no,
this is good. This is good. This is good. Okay.

Speaker 5 (40:29):
So we've established in this episode that we're now doing
some flashbacks, and they happen in segments, right and the
next segment we're going to have another flashback for the
next part. So it got me thinking and I'm sorry
to be bringing it back up about the episode we
recapped last week, The Older Brothers. In fact, we didn't

(40:50):
even recap it because what was to recap, but Alison
had a theory last week that had this been had
the Older Brothers been a flashback episode, it would have worked.
And in watching this episode it, Alison, you are absolutely right.
If the older brother that had been set up. Let's
say mister Edwards was babysitting little Carrie and the kids

(41:14):
and while mom power away and they couldn't can't go
to sleep, and let's tell them a fun story. And
you know he could have he could have.

Speaker 3 (41:22):
Made it out. Oh did you ever hear about the
time I was with blah blah blah blah blah, the
infamous Older Brothers and made up this silly, silly story
to sort of entertain the kids. It wouldn't have worked.
It would have been silly.

Speaker 6 (41:39):
I mean, you know, in some ways, Pamela, I think
you could have framed that instead of even being told.
You could have been like a town gathering or were
supposed to be outside and the rain starts falling, and
the day's activities are ruined, and we're drawn into a
barn and mister Edwards starts telling a story and then
the adults are all there were laughing.

Speaker 5 (42:03):
That it would have worked, and that would have stayed
within the prairie world that we know and love.

Speaker 3 (42:10):
It is so odd they didn't do that. Not to
go back to last week's episode, let's.

Speaker 1 (42:14):
Nottin you for it.

Speaker 2 (42:15):
I just.

Speaker 5 (42:17):
It was very crystal clear watching this one of like
why this, Yes, that the format really works.

Speaker 1 (42:25):
Why this also works? Like I said, Okay, the other
kids are not there, the details of the family are
blurry and historically inaccurate. And what about this because it's
Ma's memory of when she met Paul and it doesn't
have anything to do with any of that because she's
telling a story and that's not burn So then it
makes sense.

Speaker 3 (42:43):
Yes, it's also very very sweet, I'll say, the relationship
with Mary and Laura as she's telling you stories and
then later on it's just Laura, how sweet it is.
And let me just say I watched this episode.

Speaker 5 (42:56):
Last night with Marco, my eight year old, and she
was like in hog heaven watching She just was like, oh,
like the audible exclamations coming out of her mouth and
how sweet she thought it was, and she was so
excited about it. And then of course in the middle
of it, she turned to me and.

Speaker 3 (43:13):
She went, how did you and Daddy meet? Will you
tell me.

Speaker 5 (43:19):
So again once again, and I remember watching it as
a kid and feeling that exact way that watching it
with my daughter was another reminder of the little minds
that are watching this.

Speaker 3 (43:29):
And how this affects them.

Speaker 5 (43:31):
In a very profound way, very profound that adults might
not understand if you didn't know when you were a kid.

Speaker 6 (43:39):
I'm sure a lot of kids got a lot of questions,
or a lot of parents got a lot of questions
from kids and watching this, how did you and mommy
and how did mommy and daddy meet? I mean, I
think that's that would be un natural And that's the
kind of conversation that Michael, that's right, Yes.

Speaker 5 (43:58):
Where the families can watch it to get there, you
can talk afterwards, I know, so lovely and.

Speaker 1 (44:04):
You hope they had nice stories. Yeah, barn.

Speaker 3 (44:10):
Well we were at the bar a little girl.

Speaker 5 (44:13):
Yeah, mommy drank too many.

Speaker 6 (44:18):
Oh god, wow, God, I could think of a few
events I went two years ago with the Jagermeister girls there.
I was like, oh my god, I mean, talk about
an invitation to get absolutely.

Speaker 3 (44:35):
Miser is just like that's just doesn't unless you're like
in college and an.

Speaker 1 (44:42):
Idiot, because like like reindeer peat, it's the reindeer bottle
because I think it's made with reindeer.

Speaker 6 (44:50):
Because that's oh god, it's my recollection. I haven't tasted years.
But it's like tastes like licorice, doesn't it mean that's yes? Yeah, yeah, yeah, yeah,
yeah great. Let's get back to this episode. So, so
act two begins, Mat comes out. She steps out of

(45:11):
the house to check the wind. Uh looks like rain,
Laura says, so, okay, because the rain is coming. The
storm is coming in their direction. Tell us more about
Pa and Mack's comfort bos. Bows are a little unpredictable
at that age. Was he your first bow? Well, there
was Harold Watson, she talks about. So Harold Watson. She

(45:34):
introduces here the fly in the ointment. Yes, that's going
to add complication to the to the sort of the
babbling brook that the story is, you know, flowing down
so self important. He was the teacher's son. He had
it in for Charles from the beginning back to the

(45:56):
flashback and now we meet mister Watson.

Speaker 3 (46:01):
Sorrel Books, the sheriff from Dukes of Hazard Babes.

Speaker 6 (46:08):
Yes, I met sorrel Brook.

Speaker 1 (46:10):
I met him. I was on a game game show
with him, absolutely the most wonderful, delightful, lovely, intelligent time.
He played all these like evil, stupid, petty, dreadful, ignorant men.
That was his stock in trade. He did it all
the time, like Duke's Hazard. Okay, this man Noy was

(46:31):
like way cool and super nice. He had a lavish,
enormous book collection at home that he's very proud of.
He an entire library in his house of collections of books,
some first editions and these shelves, and he's very proud
of the fact he built all the shelves in his
home library himself for his enormous book collection. He was
extremely well read. That was his favorite thing was reading,

(46:54):
extremely well educated, downright intellectual and play the horrible people.

Speaker 3 (47:01):
Yes, that was his thing.

Speaker 1 (47:02):
Brilliant actor orl was awesome. It was also with the
Oh my god, the Akron Ohio soapbox derby with him.

Speaker 6 (47:12):
Oh wow, it was a celebrity thing.

Speaker 1 (47:13):
A couple of cars were celebrities. He waved the flag
and I was in a car and it was really silly.
But yes, yes, he had lovely, lovely.

Speaker 3 (47:21):
Dukes of Hazard started by now in nineteen seventy. Yes,
oh totally, yes, Yes, my sister and I, Yes, we
loved The Dukes of Hazzard And I look back at
it now and go, why what were we seventy Yeah?

Speaker 6 (47:35):
I think I think Dukes Dukes had started in nineteen
seventy eight.

Speaker 5 (47:38):
I mean, my sister and I used to roll down
the front windows of our parents car and try to
jump in the car seat.

Speaker 1 (47:47):
I'm sure that was.

Speaker 3 (47:50):
Not as easy as it looks.

Speaker 6 (47:51):
But one of our one of our producers, our initial
first producers on Gidget, was one of the producers of
The Dukes.

Speaker 1 (47:58):
Have Had Kidding was?

Speaker 6 (48:00):
He was a lovely guy named Ralph Riskin. His father
had written Lost Horizons, the original Lost Horizons. Yeah. Just
they had a lot of fun on that show. They
went through more Dodge chargers than I mean, they hunted
down every Dodge charger in America and fixed it up

(48:21):
and painted it, and they just I think they destroyed
two or three cars in The episode.

Speaker 1 (48:27):
Of Hazard was immediately after this episode. This episode aired
in January seventy eighth. Wow, Hazard started in nineteen seventy nine?
He did, was it? This was?

Speaker 3 (48:38):
Guess? I didn't realize that credit where credit is.

Speaker 1 (48:43):
Right when it started. Dukes of Hazzard started in seventy nine,
so he would have started filming it like that summer
after this.

Speaker 6 (48:50):
Apologies, Duke's perhaps.

Speaker 1 (48:53):
Perhaps he got the job. I don't know, it's so insane.

Speaker 6 (48:58):
Well he's he clearly played very broad characters, and they
populated that Hazard County world with really just just buffoons
and you know, buffoons and idiots and and good old boys.
And they had a lot of fun. Yeah, they had
a lot.

Speaker 1 (49:18):
Yes, it was a fun show. And Sorrel is and.

Speaker 5 (49:23):
He's perfect as a very abusive teacher in this episode
who just beats the crap out of little Charles Ingalls
as often as he can, which is.

Speaker 1 (49:34):
Targets and kid in the room that he's going to
pick on.

Speaker 3 (49:37):
This just really awful.

Speaker 5 (49:38):
And little Harold is his son, who's also just a
little monster.

Speaker 6 (49:42):
Now that that casting how that little boy occurred and
how Sorrel, but how mister Watson occurred as Sorel Brooke
played him, didn't sort of seem like the same family
to me. It was like, but doesn't out of the
vibe was I mean, they got it done, but it

(50:03):
just didn't it didn't feel like this was this man's son.

Speaker 1 (50:06):
Yeah, I know he was an he married a younger
woman with a kid. I don't know that Cepy Little
Boy Winoka become episode when you moved to Winoka where
they meet Albert, when he suddenly Albert now yes, Standish,
the horrible, horrible man who runs the hotel, annoying, horrid,

(50:27):
spoiled little brat is played by the same child. Oh nice, perfect,
perfect kid, little jerks.

Speaker 3 (50:36):
Yeah.

Speaker 6 (50:37):
So obviously we mister Watson, as we established right away
that mister Watson is a extreme disciplinarian, that he's a
bit of a bully that he's got he's got a
thing about him with a kid that feels vulnerable and
weak or vulnerable, and he goes right after young Charles,
and so it creates, uh, you know, it creates I

(51:01):
love the shot at the end of the confrontation when
finally when Charles yells back on you know, my name's
Charles angles, he sits down and there's this high angle
shot looking to so he looks so small sitting there
in this seat with this high angle shot looking dot.
That's you know, that's I'm not sure whether it was
Buzz or Ted who shot this, but but that's the

(51:24):
kind of thing that got done on Little House all
the time. You would play that, create that moment to
magnify or amplify what we're supposed to be feeling. And
that high angle shot making Charles look tiny and small
and vulnerable in this was a really great idea.

Speaker 3 (51:42):
So he's pin put, he's he's really beating little Charles.

Speaker 6 (51:47):
Angy yes, And so the next scene is right Caroline
listening as Charles gets spanked, right a spanking sound was
what do we think that spanking sound was? I mean
that was that didn't feel like.

Speaker 5 (51:58):
Didn't feel like I don't know elth It felt like
there was patting. Certainly somehow it.

Speaker 6 (52:04):
Was stick a ruler or something was well that's what
he did it with. It's like it was more than
a switch.

Speaker 3 (52:10):
It was like, I don't know. The sound effect was
not yes, interesting.

Speaker 6 (52:15):
But it was effective and that you knew that there
was impact, Yeah, you could you know, you could hear it.
And he didn't make a peep. He was he was
stoical about it. And then so then we get after
the beating that we get Harold who's wanting to uh
continue his flirtation with Caroline and she doesn't want to

(52:37):
have lunch with him, and uh, you know, you feel
sorry for that guy. And then he Charles comes out
rubbing his behind. His brother tries to console him. No thanks,
I don't want anything to eat, and how's your deportment feel?

Speaker 1 (52:55):
Harold asks, how is your deport literally starts taunting him
after he receives a beating from his own father.

Speaker 3 (53:04):
It's really awful, yeah, because.

Speaker 1 (53:07):
He does he beat it that son? Does the son
get beaten?

Speaker 3 (53:09):
And then he said one thing too many?

Speaker 5 (53:12):
And then Charles comes in and then little Charles finally
has enough and.

Speaker 6 (53:17):
Beat up right. And you see, you know, Matt play
has this really nice term where he's turning the other
cheek and then he decides at that moment that he's
not turning the other cheek. This is a wonderful you know,
these are lessons that kids. There's a point when you're
a kid, and I think they really did this well here.

(53:37):
There's a point when you're a kid where you have
to stand up.

Speaker 3 (53:40):
For yourself and it's so scary.

Speaker 6 (53:45):
Yeah, it is. It is scary. And yet young Charles
with an older brother, he's got to stand up for himself.
There's where you don't take it anymore, and he he
wants to avoid it, but he's going to step in
when the push gets too hard. And now now they're
scuffling and they're on the floor, and they're on the
ground rather and mister Watson comes out and pulls them

(54:07):
off and starts to beat Charles and no, no, it
wasn't his fault. And he knows the troublemaker when he
sees one. And if they're, if they're, if we need
to have any more lessons in deportment, I will administer them, Jesus. Yeah,
so and then so so okay, So the story is progressing.

(54:30):
Now they're on the road. Charles and Peter are talking.
Are you going to tell pau No, but our sister
probably will, you know, will he thrash me too?

Speaker 1 (54:41):
Probably?

Speaker 6 (54:42):
They may, you know, I think based on this father,
I don't think so, but there'll be some good conversation
about it. They cut to another angle across and there's
Harold trying to take Caroline's books so he can carry them,
and she has wanted to carry her books. Charles rushes in,
what's that.

Speaker 3 (55:01):
He's just such a little jerk wing all sixty five.

Speaker 5 (55:05):
I mean, he's all so little and like what they
these little torps who have nothing, trying to be big,
trying to mishandle women and other but.

Speaker 6 (55:16):
Out ingles, he says, and Charles says one of the
best lines in the episode, I'll butt you into next week,
which I think is a great line. You're a trouble maker.
Your father's full of apple sauce. You're causing trouble. You're
going to get out of here. See yeah, are you
going to get out of here? Or do I come
ramming and thumping? Charles says this, I'm gonna tell my

(55:41):
paw on you. And yeah, right, he does this whole thing. Yeah, well,
like a bull. He tips his head down and sort
of works his fists. It's a fun little moment.

Speaker 3 (55:51):
It's a sweet scene.

Speaker 6 (55:53):
Yeah, yeah, it is. And that kid runs away and
and then he becomes you know, he's got so the
adrenalines all worked up. And me as soon as Harold
runs away, Charles roberts, fact, he's he's this awkward little
boy again.

Speaker 5 (56:08):
Because like eleven twelve year old actually knows how to
act with a girl period, Like no way, So when
you know after she you know, he's done this very
chivalrous thing.

Speaker 3 (56:19):
She really appreciates. She thanks him, and you know, it's
very romantic.

Speaker 6 (56:24):
And I was just trying to finish something he started earlier.

Speaker 5 (56:27):
Right, She was like, thank you for defending and he
was like, well, actually, I was just trying to finish
something else. And she then she starts little pudding on
the move, saying, well, you can carry my books if
you like, which is bold bold move, Carolyn.

Speaker 6 (56:41):
Okay, thirst.

Speaker 3 (56:45):
Strike again, these thirsty girls on the prey.

Speaker 1 (56:51):
I got that because I remember school dances, like junior high,
middle school, eleven twelve year old boys they sort of
almost kind of start liking girls ish then, but they
don't know what how to say it. It's another year
or two before they go. I like girls, and I
wish to pursue this.

Speaker 3 (57:08):
Some boys ready to go by eleven twelve.

Speaker 6 (57:11):
That's yes. I watched that around me.

Speaker 2 (57:15):
Ye, but I remember she'll.

Speaker 1 (57:17):
Just stand there to school.

Speaker 3 (57:19):
Theyll just stood the corner.

Speaker 1 (57:20):
Yes, it's like and so dear, just oh my god,
I know these kids are say they're getting good luck,
good luck with that.

Speaker 3 (57:28):
Yes, so she's very bold. She's very bold anyway. So
he's like, loop's gotta go. He cannot handle it. Leaves,
and she's again left with like, what is up with?

Speaker 6 (57:39):
What is wrong with him? So Peter and Charles are
walking and Peter says, she's sweet on you.

Speaker 3 (57:47):
You know, Peter is like the older brother we all want.
He's great.

Speaker 6 (57:53):
I'm surprised that I'm surprised that Peter wouldn't have had
some interest in me, you know, in young Caroline.

Speaker 1 (58:00):
Well, you know already got a girlfriends true.

Speaker 6 (58:03):
I mean maybe we don't see that, but yeah, maybe
he might. And so she's sweet on you, she is not.
He's pushing back. He can't deal with that. I saw
her making cow wise at you, and you made them
have heard too. Take that back, he says, You know,
this is such a little young We all were also

(58:24):
terrified of someone seeing that we have some affection for
somebody as a little, as a young boy, you are
scared to death of having that pinned on you by
your by your peers, your brother, your whatever. Yeah, it's
very very threatening to have that accusation made. Charles has

(58:44):
a girlfriend, Charles had and then and then Matt chases
at Charles, chasing away.

Speaker 3 (58:50):
So sweet, It's so accurate how siblings are at that time.

Speaker 6 (58:56):
It's very very yeah. So cut to now we're back
on the Ingles farm. We watch Caroline approaching. Now so
we hear a violin, not a fiddle, not in fiddle style,
but we hear a violin playing. She stands by the window.
She watches Charles. We don't see Charles playing.

Speaker 3 (59:15):
But she's watching him the fiddle violin.

Speaker 6 (59:19):
I think, I think after the factroom do we see
him the fact when ye, Peter grabs her by sort
of in a moment like a horror film moment, actually
gotchap we got by here, which is sort of an
interesting thing for him to say. And and then she
comes in. I just heard the music and wanted to

(59:40):
see who was playing, and you know, you heard it
from across the county kind of thing. So she's she's there,
So we're led to believe that she's I mean, she's
she's advancing that interest.

Speaker 1 (59:55):
And this is the first time it gets almost historically accurate,
because the story is indeed, Charles played the fiddle and
they were older when they met Deans, but neighbors that
he played the fiddle at like dances when they'd have
the sugar and off dance all that stuff in the
big woods of the neighbor. That was the kind of
thing where Charles would play the fiddle, and that she did,
as a young girl, find him. He was very attractive.

(01:00:17):
He was a good looking man, even the.

Speaker 6 (01:00:19):
Charles of the he was a rock star.

Speaker 1 (01:00:21):
He was a rock star. He was he was the
hot guy with a guitar at the party.

Speaker 6 (01:00:24):
That's what he was.

Speaker 3 (01:00:25):
Guy, musical instrumental deal every time.

Speaker 1 (01:00:30):
Absolutely, that's historically accurate. He played the fiddle, and he
was fun, and he was mischievous, and he was cute
and had big apparently historically big blue eyes. And she
did that. Caroline did find him attractive, and that's where
and apparently the asking him to stuff that there's some
stories that that's historically accurate. She asked him to the
dance because he didn't get it.

Speaker 6 (01:00:52):
Quite so, yeah, okay, very good and so and so
Laura mother Laura invites Caroline to stay for a while
and have donuts and milk, and then invites says that
Charles will walk her home, which he looks sort of
horrified at that idea. Caroline looks like mission accomplished. This

(01:01:16):
is just what I was looking for. Cut to the countryside.
As they're walking home, they talk about playing the violin
he learned when he was five, now he's twelve. No,
wonder you play so well? You should play at the
school in June. I can't do that. Old man Watson,
how I hate that guy. Everybody hates him, especially the

(01:01:40):
way he picks on you. I'd like to fix I'd
like to fix his goose for him, says Caroline. Yeah, yeah, yeah, yeah,
me too. What would you do? I don't know well,
And then so we leave that idea alone. Are you
coming to the berry Festival on Saturday in this town?

Speaker 1 (01:02:02):
Yeah, everything's a festival.

Speaker 5 (01:02:05):
And at this festival, she says, girls make the lunches
for the boys that they like.

Speaker 6 (01:02:11):
Thirsty, thirsty, thirsty, so forward.

Speaker 3 (01:02:13):
It's wild, like I would have never had the nerve
to do any of this.

Speaker 1 (01:02:18):
I don't think it has a history of aggressive girls
and women pursuing these boys.

Speaker 3 (01:02:23):
Yes, it's something.

Speaker 6 (01:02:25):
This is what settled the West. Everybody the West would
not have been settled without thirsty.

Speaker 3 (01:02:33):
Without the thirsty girl, we're gonna get married. I'm not mad.
I'm not mad about it because at least they wanted it,
they chose it. They were not It was not thrust
upon them. So there we go miser So she she's
very forward again and she says, would you like me
to make lunch for us? And he nods yes, and
she says, okay, I'm gonna market.

Speaker 5 (01:02:52):
I'll put this yellow ribbon that she's wearing in her
hair on it, so you know that this is ours
and they have a close extreme change.

Speaker 6 (01:03:01):
Yeah, yeah, you know, I don't know, did you ever?
I remember in fifth or so, I think it was
sixth grade, we did a thing where we where you
drew names and you made a lunch. Everybody did this,
so it was a lunch exchange that happened.

Speaker 1 (01:03:19):
No, we did this.

Speaker 6 (01:03:22):
We did this in sixth grade, and I mean, I
don't remember whose name I drew, but but it was this.
There was no boy girl thing going on. It was
just names, and so everybody participated.

Speaker 3 (01:03:38):
This was far more intentional than that, totally totally, and she.

Speaker 6 (01:03:42):
Explains it so clearly, and it's like, when you what
didn't doesn't she say, Pamela, when you when you when
we when you girl likes somebody, we you know you
can make a lunch for them. I mean it's like, yeah,
she comes right out and says it. So she's not
hiding at all.

Speaker 1 (01:03:58):
But that's weird because now we're into the woman and
go make me a sandwich territory. I'm concerned. I'm a
little concerned.

Speaker 6 (01:04:05):
But she's but she but she has that she's choosing
to make.

Speaker 3 (01:04:09):
It's her idea.

Speaker 1 (01:04:12):
She's yes, again very aggressive.

Speaker 3 (01:04:15):
Now we're back in school and little Charles is once
again getting.

Speaker 5 (01:04:23):
From this har ho terrific teacher. It's so honestly, it's
really awful.

Speaker 3 (01:04:30):
And then so he.

Speaker 6 (01:04:33):
Comes out, he's embarrassed. Caroline apologizes on behalf of everybody.
I'm so sorry this happened, and Charles runs away and
Caroline chases after him.

Speaker 3 (01:04:43):
However, yeah, to miss going to the outhouse, and.

Speaker 6 (01:04:51):
Clearly with serious intention, because he's taking his coat off
before is.

Speaker 3 (01:04:57):
Serious session.

Speaker 1 (01:05:00):
I would think of that, I should take care.

Speaker 6 (01:05:01):
Oh you think you think that would have been a
choice he would.

Speaker 1 (01:05:04):
Have madebe absolutely, he would have liked you.

Speaker 6 (01:05:06):
No, I think that's actually a really cool choice that
he made, and very I mean that's a lot of
interestingly in the taking in the shirt off, of the
coat off, that's adding a lot of information that's not
necessarily I don't.

Speaker 1 (01:05:19):
Believe Carl Book would have done that you would said,
I gotta take my coat off. Is done.

Speaker 6 (01:05:26):
And then so young Charles does something then that really
ups the anties.

Speaker 3 (01:05:31):
Which we all clap in cheer for at home watching it.

Speaker 1 (01:05:34):
But now we're now we're seeing the real Charles Les.

Speaker 3 (01:05:37):
Right.

Speaker 5 (01:05:38):
Yes, he takes the rope and he ropes it around
the outhouse. So it's he's locked in the outhouse.

Speaker 1 (01:05:43):
And I believe this moment. I go, Okay, now he's
coming into his own This is the Charles Ingles.

Speaker 6 (01:05:48):
One, the practical choker Charles Ingles.

Speaker 3 (01:05:51):
Yes. And also I deserved it. He was just an
accute monster.

Speaker 1 (01:05:55):
So uh.

Speaker 3 (01:05:57):
And then mister Watson sees him running.

Speaker 6 (01:05:59):
Away and Charles Ingles, you'll suffer for this. Yeah. If
I get my hands on you, I'll get my hands
on you. It matter, I'll get my hands on you,
no matter where you are.

Speaker 1 (01:06:10):
I'm going to hunt you down, which is kind of
psycho kind of.

Speaker 3 (01:06:16):
Needs to get his teacher certificate removed asap. We should
not be children.

Speaker 6 (01:06:22):
Men were very rarely teachers in that era. It was
it was generally, you know, it was young single women
who were the teachers that were. Men were not generally
in the classroom at that stage of our sort of
American history development. Maybe I'm sure there had to be
a few, but it wasn't the norm at all.

Speaker 5 (01:06:41):
Well, it's interesting the two men teachers on little House
on the prairie, this guy and mister mister Applewood, who
was also a monster and of green Gingles. The male
teacher was also a monster, like a gross Well, there.

Speaker 1 (01:06:56):
Were male teachers, and originally was all male teachers, and
then by the eighteen hun did you yester became a
female teacher thing. But there were male teachers. Yes, they
were handing out the weapons.

Speaker 3 (01:07:05):
That was a thing.

Speaker 1 (01:07:06):
God, so brutal.

Speaker 5 (01:07:09):
Yeah, okay, we're back home. And guess who rides into
the Ingles farm.

Speaker 6 (01:07:16):
Yes, yes, mister Watson drives up on his carriage, and
I love I just I have a little detail here
that has nothing to do with the scene, but I
saw the horse. And this was the horse that we
had a horse in our sort of our stable of
horses that were used on the program. And so this
horse has obviously been around for a while that had
a partially when the horse was younger, another horse had

(01:07:39):
obviously chewed its ear off, so it had sort of
a mangled ear one of its I think its right
ear was sort of mangled because horses go for the ears,
and it had healed, but it was all it was disfigured,
and so you always knew I drove this. I drove

(01:07:59):
this a lot, and it was a really good picture horse,
but nonetheless did have this mangled ear. And so mister
mister Watson was driving up in the with the mangled eared.

Speaker 1 (01:08:13):
Course on the ear makes it obvious, but I don't
want you to say it's like, fifty years later you
recognized your horse. Yes, this is the impact this show
had in our lives that decades later.

Speaker 6 (01:08:26):
This was my horse. Yeah, yeah, certainly one of them,
one of them. And uh, you know I always thought that.
I mean I always noticed this because I realized that,
you know, Charles had sort of like the Ferrari of horses,
or he had that he had the Cadillac of horses.
In Walnut Grove, these big, beautiful, big, beautiful tall work horses,
and everybody else drove up sort of by motley collection

(01:08:50):
of horses at times. But they were all terrific at
their jobs, which is why they were there. They were
not necessarily the most esthetic horses. Other than Charles's team,
which was a beautiful matched pair. Yeah, of beautiful horses. Anyway,
Charles is nervous when he sees Lanceford talks to mister

(01:09:10):
Watson in the distance. Charles is anxious. Lanceford and mister
Watson walked to Charles. Now, this is really a wonderful scene.
You picked up on this. Oh yeah, and Allison, so
what do you guys see when you see this scene?

Speaker 3 (01:09:26):
This is what I see.

Speaker 5 (01:09:28):
Well, first let's say what happens. Mister Watson comes in,
tells Charles's father what happened. Charles does not deny it,
and so yes, he deserves to have a punishment. So
mister Ingles takes off his belt to give Charles a
little beating, but instead of him doing it himself, he
passes it to mister Watson to do, which which I thought.

Speaker 1 (01:09:51):
Was weird, but hey, it's the eighteen hundreds.

Speaker 6 (01:09:54):
But it was also Look, he also knows that Charles
did do this thing. He did rope mister Watson into
the outhouse. This was a real thing. This was a problemous.
So now what we get to see is the question
of degrees of punishment. He gives his he gives his

(01:10:16):
belt to mister Watson, and we watch what happens, and
mister Watson.

Speaker 3 (01:10:21):
Is disarmed by him handing him the belt to it
makes him the punishment, and then he starts hitting Little Charles,
and father Ingalls interjects and stops.

Speaker 6 (01:10:36):
Him after three strikes. That'll be enough. It was a
two or three.

Speaker 3 (01:10:40):
I think it was three.

Speaker 6 (01:10:41):
Okay, yeah, I think it's things going ease. It was three,
and he steps that'll be enough of that. That that's
all that's needed here, and then the scene gets really interesting.

Speaker 1 (01:10:50):
Then this is separated that the father who does the
typical eighteen hundreds punishment of yes, I'm going to hit
him the belt, but he's like, but not for three
days like this psycha who's beaten him for hours on end.
That's not normal. Hello, ding ding ding ding ding.

Speaker 5 (01:11:09):
So he confronts mister Watson in a very calm, still
nice way, saying that I know how you've been treating him,
and mister Watson accuses Little Charles of, you know, exaggerating
it and telling lies, and mister father Ingall says, actually
Charles never said a word about any of this.

Speaker 3 (01:11:30):
His brother was the one that told me. In the
calmest quietest, stillest.

Speaker 5 (01:11:38):
Voice ever says, I'm telling you, if you lay a
finger on him without justification, I will thrash you in
front of your entire class. Do I make myself clear?

Speaker 6 (01:11:50):
And this.

Speaker 3 (01:11:52):
Is when me as a viewer goes.

Speaker 5 (01:11:56):
And that's why Charles Ingalls grew up to be the
man that he became, because this guy has all the
same morals, ethics.

Speaker 3 (01:12:09):
He's just grounded and right.

Speaker 5 (01:12:14):
And this is why Charles Ingles became Charles Ingles because
this father right here and.

Speaker 1 (01:12:20):
The foreshadowing of the episode where with mister apple Apple,
little please, mister apple Wood shows up and Charles comes
in and goes, that's enough of that and breaks up
the whole party. And so this is where this soul
comes from.

Speaker 6 (01:12:37):
I love it. He felt like it was as hard
for him to say it as it was for Charles
to go through all this. He says, I think we're
done here after mister Watson Lee's we'd all appreciate a
little less mischief from you, mister Charles, which is sort
of a you know, sort of a sweet way to
put that more application to your studies. Will be going

(01:13:00):
to the Berry Festival.

Speaker 8 (01:13:01):
Without you, right, grounded you're grounded, ground the kindest way possible,
and it's it's the kindest way possible because he does
understand why his child did this thing.

Speaker 3 (01:13:12):
His child has been This is you know, this.

Speaker 6 (01:13:15):
Is sort of reminiscent of the in the Cheaters, the
Andy Garby moment when Andy knows he needs to be
spanked and he knows he'll feel better after the fact. Right,
Charles sort of earned this punishment, but not the others.
And and I think father and son are able. They

(01:13:38):
know the agreement, They understand each other.

Speaker 1 (01:13:41):
It's his dances is Paul paul Ingele says. It's the
the things that are out of proportion. It's like, okay,
there was provocation, but you can't do this wack of
do stuff in response. Okay, I get it, there's provocation
defending yourself. No, you can't lock someone in the outhouse
because you're mad at them. And so you know these

(01:14:02):
we understand the provocation. However, that does not justify what
you did, which is completely over the top block of
a guy in banana. So of course you're in trouble
and you're grounded, and what did you think was going
to happen? Which is more sensible, but he's also like,
and you're crazy and beating my kid, and I'm going
to come down.

Speaker 6 (01:14:17):
To school and give you what if you if you miss.

Speaker 1 (01:14:20):
And that's that's something that then the Michael and and
Charles totally embodies.

Speaker 6 (01:14:23):
Yeah, So I think that's very I think that's a
very powerful thing that you're both commenting on, is that
this is where a man learns the lessons that's right,
that defined his life. And and we get to see
Charles is learning this important lesson which totally defines everything
we know about that character throughout the life of the series.

Speaker 3 (01:14:45):
Right, it was really well yeah, well crafted moment. The
way he did it also is yes, perfect, Yes. And
then we're back in time. We're back in the little
house and Ma's yeah.

Speaker 5 (01:14:58):
Meanwhile, back at the ranch, Ma now talking to the girl,
still recapping the story and saying he never showed up
to the berry festival and she waited and waited, And
now it's starting to thunder.

Speaker 3 (01:15:07):
And it is way too late.

Speaker 5 (01:15:08):
Girls go to bed, and let's hope Pa is okay
and has found shelter.

Speaker 3 (01:15:15):
Yes, in which he has not. He is in the
rain with his broken wagon, far away from home.

Speaker 6 (01:15:23):
Right, we cut to the we cut to the fixing
of the wheel. He's soaked to the bone. He looks
up at the rainy sky end of BAC two and
of Back two.

Speaker 3 (01:15:34):
And we're gonna take a little break and then we
will be back and finish. I remember, I remember, one
of the sweetest episodes ever. All Right, we'll be right back.

Speaker 1 (01:15:44):
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Explore beautiful wildflowers, hike through iconic Hollywood locations, and in
your day, aboard the actual Air Force One at the
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(01:16:06):
the Little House fiftieth Anniversary Tour at Big Sky Movie
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(01:16:28):
Little House fiftieth Anniversary podcast.

Speaker 3 (01:16:33):
All Right, we're back now.

Speaker 1 (01:16:37):
If you were stuck in the rain and your wagon
was really broken into eighteen hundreds of no triple A.
Might you have unhitched the horses from it and just
ridden one of them home? Oh interesting, get the wagon
the next day.

Speaker 6 (01:16:50):
Now see you take it.

Speaker 1 (01:16:52):
It's just sitting there with the broken winds. It's not
gonna go anywhere. Nobody's gonna come and steal your wagon.

Speaker 5 (01:16:56):
Maybe it was just saying home, but maybe it was
too unsafe to ride in a downpour and muddy.

Speaker 6 (01:17:04):
I think Allison's right on that. I think that's a
very good point.

Speaker 1 (01:17:10):
Because he got a horse he could have ridden home.
It wasn't that too.

Speaker 6 (01:17:12):
Horse in the in the in the Older Brothers the
week before, we saw you know, Cole Younger riding in
on this on the on the hitched with the horse
completely rigged for pulling. He's on riding this horse bare back.
There could be something to be storm, but you've seen
people ride in the rain before.

Speaker 1 (01:17:31):
I just couldn't disbelieve that we're the plot servicing the plot.

Speaker 5 (01:17:35):
He could have taken the horse, yes, but no, but no,
I just can't believe that we had a second callback
to the Older Brothers.

Speaker 3 (01:17:42):
But anyway can get away from it.

Speaker 6 (01:17:49):
It's stuck in our heads forever.

Speaker 3 (01:17:51):
It is forever. It's okay, so we're back. We're back
in little house. Laura can't sleep. She comes down. It's thundering,
it's it's a terrible storm. She climbs into bed with
Ma and this was so nice because I used to
do this with my mommy, and Margot does this with me.

Speaker 6 (01:18:08):
Yeah, that's a night.

Speaker 3 (01:18:10):
It's also so sweet, Laura and her so tender together.
It's just it's lovely. Okay, So back to the story,
do do flashback again? Where are well?

Speaker 6 (01:18:23):
Laura's worried about paw right, I mean, she's you know,
she's worried about paw She gets into bed and okay.

Speaker 5 (01:18:30):
Now now we're back into the flashbackback.

Speaker 6 (01:18:34):
So oh yes. But Ma sets it up by saying
she's glad that Charles Charles trapped mister Watson in the outhouse,
but she wasn't going to tell Charles that this is like,
so she's she's going to play a little hard to
get here herself. After the disappointment of the Berry Festival.

Speaker 5 (01:18:49):
Yeah, so she's disappointed and he comes and apologizes to
her and she's like, no, that's fine.

Speaker 3 (01:18:54):
I shaved my lunch with hair I shared our lunch
with Harold, our lunch with Harold and Charles. Little Charles
is trying to feign like he's not interested. It doesn't
bother him.

Speaker 5 (01:19:06):
And then Carolyn feels bad and she says, no, I didn't.
I didn't share it with Harold. I can't stand to
watch him chew even he's just so grow.

Speaker 1 (01:19:16):
On top of everything else, you like, choose weird?

Speaker 6 (01:19:23):
What was it? The Danny DeVito Bette Midler movie was
Ruthless People. Yes, yes, and I love Danny DeVito's line
is reminded me of that. I hate the way she
licks stamps. That line is always stuck in my head.

(01:19:43):
It's just like when you really loathe somebody, you could
hate the way they lick stamps. So she hates the
way he choose. I just think that's sort of funny,
but that is.

Speaker 3 (01:19:56):
Something you would pick up on someone that you're just
disgusted by, for sure. And then Charles getting a little maturity.
Here he gives her a little gift and it's this
pretty beaded necklace.

Speaker 1 (01:20:09):
And there Joe Job's tears seeds, which was a thing.
I mean they're from Asia, but yes, they were growing
them in the US. Okay, originally they were all in
Asia thing, but they did bring him over. It's a
kind of grass, a kind of okay, top thing of grain.
But the seeds make great beads and last a really
long time, and they're very pretty.

Speaker 6 (01:20:32):
They in this scene, particularly starting in this moment when
she says, there's something so mature about the way this
is handled. Help me with the week she asks him
to help her put on the necklace. The way this
is shot, you feel like there's a kiss ready to

(01:20:53):
happen here. That just the angle, the angle invites that
sense that that there's a kiss. Obviously there is no kiss,
but it says, I think the angles suggest that something
really beautiful is happening.

Speaker 5 (01:21:08):
Yes, Well, for me, the perspective was because I was like,
they are too little to actually get kiss, like they're
still too underdeveloped to even like they know and we
know what this feels like. We were the age where
you know you have feelings, but you're not sexually mature whatsoever.

Speaker 3 (01:21:28):
I mean, it's just not good.

Speaker 6 (01:21:30):
There's there's no gas in the town, there's no class.

Speaker 1 (01:21:34):
This is puppy love. This is puppy love.

Speaker 5 (01:21:38):
For me, it was when she said, oh, can you
help me because the beads kind of got tangled in
her braids, and so he went and reached over and
took her braid. And for me, that represented like, this
is the first, maybe the first time he's ever touched
another girl, and even if it's just her braid, you know,
and so just the first, those first moments of any

(01:21:59):
kind of his contact and as innocent as this, and
it should be innocent because they are not sexually evolved
yet whatsoever.

Speaker 6 (01:22:06):
But what that.

Speaker 5 (01:22:07):
Represents is what the future is going to bring for sure.
But that those first like oh, I'm I'm touching her,
like this is a first touch.

Speaker 6 (01:22:17):
That's a kind we can all think back to those moments.
Those are powerful moments in our lives. When those initial contacts,
as innocent as they are, that's very intimate stuff.

Speaker 1 (01:22:33):
The first time it's like, you don't know what it is,
but g her hair smells nice, right, yeah, right, in
the act of touching someone's hair or you know, taking
a piece of hair, and what was that in the
way we were, you know, she takes.

Speaker 3 (01:22:49):
Takes well, you know, swooping.

Speaker 5 (01:22:51):
Someone's hair like that is a very intimate act. So
that that's I mean, it was just very very sweet,
very innocent, lovely. And from there they there's another there's
another dance. There's another shindig happening in the town, because.

Speaker 3 (01:23:11):
They never stop in this town. The town is rocking
and rolling lot.

Speaker 6 (01:23:16):
Well, now on that walk they talk about the fact
that they had this is the first gift that either
of them had given or received from someone who is
not their relative, right very you know, so it's it's
it's yeah, it is mag amplifying that sense that we
have in the previous scene. They know it. Yeah, they

(01:23:36):
know this is something important. As you say, it's benign, yes,
but they know it's important. Yes, yeah, yeah, yeah, yeah.

Speaker 5 (01:23:44):
So's there's a there's a hanging dance, which sounds awesome.
By the way, the all the farmers help each other
with the hang and when all the work is done,
they have this big barn dance. I mean, Margot and
I were like, we want to go to this barn dance.

Speaker 3 (01:23:58):
This sounds am.

Speaker 6 (01:24:01):
This is sort of this is very much sort of
an Amish thing, you know, and where there's this collective Well,
the Amish did the barn raising thing. I remember in
Witness they had that wonderful sequence where they built all
the men came together to build the barn and then
there's this wonderful party afterwards, And uh, we didn't really

(01:24:22):
that was in the series. There certainly were those moments
where the town worked together, but that was not a
regular feature of how Things.

Speaker 1 (01:24:32):
Books, because that's the big thing in the Little House
of the Big Woods. Sugar, yes, right, and that went
on for days, and the old lady dances and the
whole town they go berserk over the sugaring off dance.
That's just goes on wherever. So, yeah, it's these kind
of festivals.

Speaker 6 (01:24:48):
The sugar, yeah, which is great. Have you ever had
like fresh Maples? I mean, my god, is that you
got to.

Speaker 1 (01:24:57):
Get in your parties before winter comes, right, because then
you can't do anything because you're freaking Minnesota and it's
going to be six ft.

Speaker 6 (01:25:04):
So she asked him to go to the hang or
let's see, you can see. How does she put it?

Speaker 3 (01:25:11):
He asked, if that's right?

Speaker 6 (01:25:12):
She says, she volunteers that Harold already asked, but I
told him I was going with someone else. Obtuse Charles,
who does not get it, Hicks some days to pick
her out Charles. Yes, disgusted, she is, do I have
to say it myself?

Speaker 3 (01:25:32):
And then she asked him, she straight asked, will you
be my partner?

Speaker 6 (01:25:37):
I guess? So he says no, no, no, no, no
guess so yes or no yes, got to go.

Speaker 1 (01:25:49):
It's very Caroline where she has to go, Charles, Charles,
get your focused, Charles.

Speaker 6 (01:25:55):
This is I think you know this. I love this
because this is the kind of this is wonderful foreshadowing
in after the fact of who Caroline is, and we
see that kind of clarity in her, and we see
it from the very beginning of the show. I remember

(01:26:17):
in Harvest of Friends when paws up plowing on a
Sunday and how upset she gets, and she's very defense.
She loves him, but she knows what's right and what's wrong,
and she wants to be She wants things to be
done properly, So don't guess yes or no? Yes.

Speaker 7 (01:26:36):
Gotta got runs off and she again like, what the.

Speaker 3 (01:26:42):
He's running? He's running because he runs home to tell
Peter help me. I don't know how to dance right.

Speaker 1 (01:26:50):
But the running away is this where little Laura inherited
it from It wasn't from herma. It was from her
paw who would freak out and run away when you
That's where Loura Ingle's gone it running over the hills.

Speaker 6 (01:27:06):
All that endurance running was was built, was baked into
the jeans at that point. I mean a lot of running,
a lot of running.

Speaker 5 (01:27:14):
And then again big props to older brother Peter, who
then tries to teach little Charles how to dance. And
it's a very adorable scene and lots of being stepped
on and then ends up with Charles chasing him again and.

Speaker 6 (01:27:26):
Every everyone's doing, you know, it's he teaches someone a
waltz temple one two three one two three one two three,
So we're getting that vibe, and that's I think. Probably
I'm going to think of what the first dance was
that we all learned. I don't know that it was
like that.

Speaker 3 (01:27:44):
Probably like the sort of box steps, the box step,
the fox trot, fox, the fox right is what we
all learned.

Speaker 1 (01:27:51):
I always learned to box it was. And really there
was some in Pe in the seventies there was some
square dancing folk, I mean, and.

Speaker 5 (01:28:00):
The fact that we didn't learn anything about taxes, but
we learned how to do square dancing is.

Speaker 1 (01:28:06):
Very very.

Speaker 6 (01:28:10):
Well.

Speaker 1 (01:28:11):
But the first time you learned the box step at
a walt to learn to dance was a little house
in the prairie had the spring dance episode. We all
had to like make like we could at least dance somewhat.
And the two people who'd been Arthur Marie dance instructors,
Katherine McGregor and Kevin Hagen said, line up, and Kevin
Hagen taught about.

Speaker 6 (01:28:31):
Wouldn't be nice dance? That's nice? You know. Yeah. We
we had cotillion in eighth grade where the boys sat
up we learned to dance. They had that. We had
the couple that came and taught and the music and
the boys sat on what we had to learn how
to ask the girl to dance, and of course the

(01:28:54):
guys raced. It was like to be the girl that
no one wanted to dance with. What a brutal thing
that had to be for those girls, because the girls
that were like honey in the room, the guys ran
to those girls and and the others sat alone. I mean,

(01:29:18):
what a devastating moment that had to be. It just
made me think of that I hadn't I hadn't thought
about that in years. But boy, talk about sort of
social order at work. You know, people, we are hardwired
for a certain kind of behavior. I mean young guys
who really weren't you know, we really weren't being overt

(01:29:40):
about anything at that stage. But once we were told
what we were supposed to do, it was like, you know,
you were you were bline to that pretty.

Speaker 1 (01:29:49):
Girl and some of these things, although like okay, tell
me they were kind of weirdly reinforcing a lot of
the social which were very nice, but like, you're going
to learn how it works in the real world, kids.

Speaker 6 (01:30:02):
That's right.

Speaker 1 (01:30:03):
It could go to a cotillion.

Speaker 6 (01:30:04):
It's like, oh yeah, yeah, I mean, who cares about
taxes if you can't get the girl?

Speaker 5 (01:30:09):
I mean, you know, I mean, really, who cares about
taxes if you can't do a four square box step?

Speaker 6 (01:30:16):
A box step? And learned to waltz. I used my
waltz training in sweet sixteen, and I dance Melissa at
the end of it, and I did I didn't do
the I didn't do the triangle. I just did I
did the modified waltz, which was the back and forth
and step touch backstep, touch forward step, very easy, very clean.

(01:30:38):
It's you know, it's very real, it's very waltz looking. Yeah.

Speaker 5 (01:30:43):
I mean, listen, there's something I think men and women
should learn how to dance, like ballroom type dancing. First
of all, it is so much fun. It's the most fun.
It's really beautiful, and it's a I think it's a
skill that guys should know. They should know how to
hold themselves and be that sort of a that grounded anchor. Yes, yes,

(01:31:09):
but also taxes are good to know too, Yes.

Speaker 6 (01:31:14):
But but I think it's you know, it's just sort
of to your point, it's it's really about learning social compent.
It is, absolutely, it's just this is how we're going
to get along in the world. It is sort of
a and these little things become a become a scale
on which we're measured as to how we manage those things.

(01:31:35):
And so it does it does make sense to pay attention.
You know, you can hire an account to do the taxes.
No one can. No one can dance it, right, You're right?

Speaker 3 (01:31:44):
And who am I to poo poo any kind of
art training in school? I am, well, I'm here for it.

Speaker 5 (01:31:51):
Square dancing, not so sure, Ballroom dancing, yes, yes, because
I think it's actually much.

Speaker 3 (01:31:57):
More practical than the school were dancing.

Speaker 6 (01:32:01):
Yeah, no, no, square dancing is like a that's really
a performance. That's a very at a party. And so
you've got a good caller and they're telling, you know,
docy doe and take your girl and spin it around me.
That that is really fun.

Speaker 1 (01:32:16):
It's really parents were champion square dancers and traveled all
of the country. Wow, okay, the skirts all right.

Speaker 6 (01:32:26):
So speaking of squared and dancing, So you get to
you get to the you get to the barn dance
and uh, here's Caroline waiting waiting. Everyone's dancing, but she's
waiting for Charles's so thirsty.

Speaker 3 (01:32:48):
Yes, give the girl some liquid ivy. She's dehydrated.

Speaker 6 (01:32:57):
So waiting for Charles to arrive. Charlotte. When they get
the family angles come in. Charles isn't there. He had
to get so his mother says he had to get
his hair right.

Speaker 3 (01:33:10):
Well, he does have the shadowing, he does have the flip.

Speaker 6 (01:33:14):
Yeah, he had to go to his that's interesting.

Speaker 3 (01:33:17):
Yeah, he had to go to his hair stylus is
four hundred dollars haircut in Beverly Hills, for sure.

Speaker 6 (01:33:22):
Well but you know, but but Michael never let anybody
touch his hair. Yeah, no hairdresser, none of the hair.
So he didn't ever anyone touched Michael's hair.

Speaker 1 (01:33:33):
Wow, they would hand it. They super right, he'd be
in the chair with him.

Speaker 6 (01:33:39):
He didn't, but he did it. The thing he did,
he did his own hair.

Speaker 5 (01:33:44):
I find that men have more of an attachment to
their hair than women do. They're more because they're more
even the bald, men are more obsessed with their hair.
I think it's because it's their only thing, you.

Speaker 3 (01:33:56):
Know, women have. I mean like women have like it's
the only thing on the beauty.

Speaker 5 (01:34:04):
Standard, do you know what I mean? Like, women have
so many other things besides hair.

Speaker 3 (01:34:09):
We have the nails, we have the boobs, we have
the makeup, we have the heels, we have the clothes
that like the cinching in that, like all the all, the.

Speaker 6 (01:34:19):
All all so much fun to watch and sure not so.

Speaker 3 (01:34:24):
Fun to do, but very fun to watch. The men, really,
the hair is the only thing that they do.

Speaker 6 (01:34:31):
Yeah, yeah, that's a good point. That's an interesting that's
an interesting point. I mean, look, the coat you wear,
the you know, the way your stuff. But in terms
of our physicality, I mean, okay, it's muscularity, and it's hair.

Speaker 5 (01:34:44):
I will tell you, after twenty five years of experience
being a makeup artist, the men are the ones that
have way more hair concerns than the women.

Speaker 3 (01:34:51):
Way more.

Speaker 6 (01:34:52):
That's interesting to me.

Speaker 3 (01:34:54):
They're way more. Even the bald guys with the shaved heads.
I'm like, you don't have any what are you worried about?

Speaker 6 (01:35:00):
But anyways, interesting. So anyway, so he's not there, and.

Speaker 5 (01:35:08):
Harold, little snippy Harold comes in and says, hey, Krolyn's
and dance with me, and she says, no, no, I'm
saving my dances for Charles.

Speaker 3 (01:35:16):
And Harold's like, he's not coming, and she's how do
you know that? And he says, I saw him. He
told me.

Speaker 5 (01:35:24):
And Carolyn believes this, and she goes to her mother
and says, I want to go home. Please let me
go home, and her mother allows her to go home
and says, okay, you go home.

Speaker 2 (01:35:33):
I'll be back.

Speaker 3 (01:35:34):
I'm going to say a little longer, but I will
be back soon. So Carolyn had.

Speaker 1 (01:35:37):
Done that, very Caroline, that's for showing, because that is
the person. Well, that's I'm not good to stay.

Speaker 6 (01:35:42):
Here and be embarrassed, be humiliated by someone who's not
coming right. So the end of the act is she
runs into their house crying, rips off the necklace that
she was wearing. Fade to black, end of factory.

Speaker 3 (01:35:56):
Yes, okay, so.

Speaker 6 (01:35:59):
Here we go. We come back to act for so
Peter's getting some punch. Charles gets his attention. Peter tells
him that Caroline went home. Charles explains to Harold how
his friend beat him up. They you know, they.

Speaker 3 (01:36:14):
Had a fat lip and he's bruised all over his face.

Speaker 6 (01:36:17):
He looks like he's got lipstick on to me in
some way. I mean it's like there's some kind of
coloring on the lip. It looks more than it looks
more color than bloody lip.

Speaker 1 (01:36:27):
To me, it looks like he's got a lipstick.

Speaker 3 (01:36:28):
But yeah, it looks like he's got bruises and as
opposed to swelling, got a bad shiner bass.

Speaker 6 (01:36:38):
So all right, so this is the I have a
little technical thing here because this is very unusual for
little House that this happened. So Charles explains how Harold
and his friend beat him up, but they're going to
get theirs later, Charles runs out of the shot. Camera left.
He runs, but they drop back and he runs out

(01:37:00):
of the shot camera right. So it's like there was
this was a very rare camera direction faux pot. They
didn't need the shot of him stepping out. If he
had stepped out, he needed to step out camera right right,
so that then they would drop back and he continues right.
Fascinating so that this is something that you know, this

(01:37:23):
is the kind of stuff that us rarely do you
see those kinds of mistakes.

Speaker 5 (01:37:28):
This goes on the Bloopers Facebook page, the Little House
Bloopers page.

Speaker 3 (01:37:32):
Anyone that's running that page.

Speaker 1 (01:37:34):
Blooper weirdos yea.

Speaker 3 (01:37:35):
Sper weirdos it.

Speaker 6 (01:37:39):
Would you call it? I mean, would you call it
a blooper?

Speaker 2 (01:37:41):
Yeah?

Speaker 1 (01:37:42):
Yeah, technically he came back that way.

Speaker 6 (01:37:45):
It's the wrong way, is yeah? Yeah?

Speaker 5 (01:37:47):
Yeah, looks like continuity. Yeah, it's all continuity errors.

Speaker 6 (01:37:52):
Right, it's a little continuity air. So follow that with
Peter who goes to find Harold and Ike got something
to show you? Was it? Do you like girls? Yeah? Boy?
Ye years old. They cross the barn, go up some stairs,
through a through a closed door, and we're left to
wonder what's going to happen?

Speaker 3 (01:38:14):
Now we never know, but we know something we know
it's something Peter is taking care of business.

Speaker 6 (01:38:21):
Yeah, Peter is taking care of business for his brother.
And we cut to the whole brook house and this
is this is this wonderful, wonderful scene. So I'm going
to let the two of you like jump into this.
But he knocks on the door and Caroline doesn't want
to let him in, and it's just a really sweet thing.

Speaker 5 (01:38:39):
Carolyn is very wise for her age, because she's like,
he he three strikes, You're out, and she means it
right with him, she's not. She is not letting him back.
So she's like, you will never keep me waiting it.
She hasn't opened the door, so she he's on the
other side of the door. She will not open the
door for him, and she at him, you will never,

(01:39:01):
I will never, you will never keep I.

Speaker 6 (01:39:03):
Don't want to see you ever again, she says.

Speaker 3 (01:39:05):
And he's like, I couldn't help it. Please let me in.
I'll show you.

Speaker 5 (01:39:08):
And she's like nope, and Charles is like, fine, then
I'll just wait here until your parents get home so
that you can finally see me.

Speaker 6 (01:39:17):
Please, please, Caroline, please, So she.

Speaker 3 (01:39:20):
Finally opens the door and she sees his battered face certainly.

Speaker 6 (01:39:25):
You know he has asked let me in, he doesn't
come in, she steps out, which is the right way
to have done that.

Speaker 1 (01:39:33):
Yes, yeah, yeah, And this is foreshadowing because Caroline is
very forgiving of Charles. We see his adults. Charles is
always screwing something up. We say, oh, he's the perfect Paul.
No he's not. Every episode he completely bungles something, but
he knows it and always so sorry, I don't know
what I was thinking. I acted acting. You acted in it,

(01:39:56):
didn't you, Charles? Yes, yes I did. Sorry, And Carol
Line is always forgiving him and going now, now you
got to get it together, dear, And this is a
running thing, so her going okay, he got beat up,
this is yet and taking him.

Speaker 6 (01:40:09):
Back, and he says to her, I bet you're ashamed
of me. And here's where she has the line, I'll
never be ashamed of you, Charles ingalls, I'll never. So
it's like she's forced. She knows where this is going.
She does. None of them know how it's going there,

(01:40:30):
but she knows where.

Speaker 1 (01:40:31):
This is going, and she knows he's good at heart,
He's not a bad person. The little creep, the teacher's son, Harold.

Speaker 6 (01:40:40):
Anybody named Harold has got to have a bit of
a problem.

Speaker 5 (01:40:45):
Agreed, And then again very bold, but she says, we
can have our own dance right here, we can be alone.

Speaker 3 (01:40:52):
And that's they prefer it that way anyway.

Speaker 6 (01:40:56):
So that's a very romantic, I know, wonderful idea that
I think would be God. I mean, that's a that's
a beautiful nervy idea, particularly in that era.

Speaker 1 (01:41:11):
In that era.

Speaker 6 (01:41:12):
The fact today you could totally see them.

Speaker 1 (01:41:14):
Aloud, you boys at the door, and can I come in? Well,
hell no, you're not coming. And that's where he goes,
well away till your parents get home, because it's eighteen forty.

Speaker 6 (01:41:23):
It's like, hell now, it's like eighteen sixty five or something.
It's like, yeah, I'm way earlier. Yeah, this is eighteen
right right right, right right right right right fifty the
almost growing up.

Speaker 1 (01:41:38):
Yeah right, it's so yeah there. I don't know, man,
but but it's the thing. She again again, she's a
little pushy.

Speaker 6 (01:41:46):
We could we could dance, Yes, we can dance. Yeah,
And they I wrote here in my notes, another thirsty
prairie girl. But she was thirsty before this moment. She was.

Speaker 3 (01:42:00):
Straight away and you wouldn't be with Matthew Eberto popping
out behind that wagon.

Speaker 1 (01:42:06):
Yeah, fell apart over him and still do.

Speaker 6 (01:42:10):
Absolutely And they so they danced this waltz. Uh, they
dance the waltz that only they can hear. I know,
although we hear it too because David's playing it for us,
But it's what's in their head that we're hearing. And
all is well, all I've just finished. My note was
lucky Charles, Yeah, man, lucky.

Speaker 1 (01:42:33):
Very lucky because not everybody was going to take him on. Yeah,
he got her.

Speaker 6 (01:42:39):
Yeah, So now we're back. So now we're back to
real time.

Speaker 3 (01:42:43):
Ran back to the prairie.

Speaker 6 (01:42:46):
Yeah, yeah, Laura and Laura right, well, actually Laura is
still awake, she looks like she's asleep, but Caroline's Jill
talking to Laura. Laura asks about how Paul reacted to
the broken bes right, and Caroline says, wisely, I never
told him. I restrung them. I found what was left

(01:43:07):
I could find. I restrung them and I still got them,
and she takes them out for Laura. I love in
so many of these scenes again a t there's such
a sense of reality in this Nobody is rushing here
to get to the bed, to the beads, to get
them out in a certain amount. You just feel like

(01:43:29):
this is happening in its own good time. The pacing
of this is so gentle and so sweet and you know,
and warm. So she gets out the beads. Here they are,
and she keeps them to remind me never to make
hasty judgments about Charles, and that's lovely. So in all

(01:43:56):
those times when he acts in haste, it's the beads
that remind her her right.

Speaker 1 (01:44:01):
And that's what she's so patient with it, which you
have to be, because Charles is impulsive. He's very impulsive,
and it's always getting in some kind of trouble. So
that's you're like, Okay, he'll calm down in a couple hours.

Speaker 5 (01:44:11):
And I just want to say that bench in her
bedroom must be like the Mary Poppins bench, because.

Speaker 3 (01:44:19):
They that's where everything is stored, right, like everything everything
is in that bench. That's the only storage they have.

Speaker 6 (01:44:30):
It's the bottomless Jack Benny closet, Mary.

Speaker 3 (01:44:33):
Poppins bag of a bench, remember everything?

Speaker 6 (01:44:38):
And now yes, so oh and then so she turns
around after talking about the beads, and Laura is fast
asleep at that point. Good. So Laura's out of the
way for this moment where the wagon is heard in
the distance. She rushes out hugs him. Karen, Karen's got
these red slippers. She ran out, and I wonder if

(01:45:02):
that was like, I'm just trying to flip. What were
those slippers?

Speaker 5 (01:45:07):
Yeah, they were like red, open toe like I thought,
it was so strange she had those slippers.

Speaker 1 (01:45:17):
Were those her slippers? And somehow this was what it
was wardrobe.

Speaker 6 (01:45:21):
It was wardrobe, for sure, but not necessarily wardrobe wardrobe.
It was safety moving around the stage. Wardrobe, That's what
I mean.

Speaker 1 (01:45:30):
I didn't think in the eighteen seventies people had open
toed slipping. They had slippers, but they would be for
warm They would like.

Speaker 3 (01:45:40):
I did, open toed like sandals.

Speaker 6 (01:45:43):
I just don't think. I don't think that in the time,
even when they would have looked at that later, the
definition just wouldn't have been there. But you know, in
the screening room it would have been there. They would
have seen all of it in the screening room. But
they're saying to themselves, that's going to go away on televim.

Speaker 7 (01:46:00):
He probably never saw it until now in the audience
until now yeah yeah, yeah, yeah, until the restoration in
twenty fourteen, when the show became digital and went to
high res based on all the film.

Speaker 6 (01:46:17):
They went back to all the film and restored from
the film. That's why, and then colorized it. That's why
the show is so beautiful now. And that's why we
see details like your braces in a shot and you know,
all this stuff appears and you can't paint it all out.
I mean you could painstakingly, but they're not going to

(01:46:38):
do that, right.

Speaker 3 (01:46:40):
So anyway, Charles arrives home finally finally hot red slippers
this number, but Charles, okay, don't.

Speaker 6 (01:46:52):
Help me with this moment because I'm not sure I
get what's happening here.

Speaker 1 (01:46:56):
Then he come back with the way you faked it.

Speaker 5 (01:46:58):
Yes, he did a faker outer move, which is it's
their anniversary and he's like, here, I got something for you,
and she's thinking this is an anniversary gift.

Speaker 3 (01:47:07):
She opens it up and it's just like a basic grocery.

Speaker 1 (01:47:15):
Yeah you said it, the yellow label wanted that they
didn't have.

Speaker 3 (01:47:20):
So then she was like, oh, he didn't get me
an anniversary gift. He doesn't even remember. It's our anniversary.
It's just this spice that I asked for.

Speaker 6 (01:47:32):
As she walks away, and I did get you something else?

Speaker 3 (01:47:35):
And then he did. Here's the big old question. He
pulls out this beautiful string of pearls.

Speaker 5 (01:47:44):
How the varied grove world did Charles Ingalls buy a
string of pearls for his wife?

Speaker 6 (01:47:54):
How?

Speaker 5 (01:47:54):
Now I understand, for the story's sake, we're paralleling the beads,
the bead necklace.

Speaker 3 (01:48:00):
You upgrade awesome, But my god, in what a big
upgrade employ that they are fake?

Speaker 1 (01:48:10):
Like like she knows, like how lovely you got the
imitation pearls? Because where would he in Walnut Grove, Minnesota?
And what and he can't go, I can't even afford pearls.

Speaker 6 (01:48:22):
But he gets well, yeah, I mean it could have
been glass, It could have been I mean, there could
have been all kinds of things that would have been
the upgrade from the from the beach. But it's a beautiful, elegant,
simple string of pearls pels. Yeah it looks like pearls,
don't know, but looks like pearls. Happy anniversary and so

(01:48:50):
on this the special day, May I have the pleasure
of this dance and and then they do this whole
thing with what are you talking about? You know, I don't,
I don't know. I feel like dancing. Well, then he
asked missus ingalls, may I have this dance? And she
puts up the wrong? Was her?

Speaker 2 (01:49:11):
She puts up.

Speaker 6 (01:49:13):
Right, which is what he had done when they first
started to dance together. I think that's why it happened
in his memory. Remember, how's that for remembering? I remember,
I remember, I love you. That's remembering.

Speaker 1 (01:49:30):
And they dance to the music that only they can
hear in.

Speaker 6 (01:49:33):
The head, and it's the Little House theme as a waltz. Yeah, yeah,
and and that's our that's our you know, that's our episode.

Speaker 1 (01:49:43):
Beautiful, it's a beautiful ending. I mean, there's some moments
where you go, is this hokey? But again, it's a
story that's being told by ma. Are there details left
out or the things that don't make sense the rest
of the kids, because it's a story about her romance
with Charles through the rose colored glasses of her beautiful
memory of why she loved him, And so then it
makes sense they've only that other episode have been a

(01:50:05):
story or dreams, and it were. And then the ending
is fabulous, everybody cries has happy University.

Speaker 5 (01:50:12):
We just love from every episode from now on, there's
gonna be some kind of callback to the Older brother I.

Speaker 6 (01:50:24):
You know, I and I love this because this, I mean,
unlike the Older Brothers which really had no third being
so which really had no real meaning or purpose and
yessage in it that was significant. But this episode, you know,
this explores the way we get to see how family
legends begin, you know, with this in this quiet story

(01:50:49):
between a mother and her daughters, and this is how
these things get passed along. This is how this happens.
This is that sharing, that intimate sharing that happens.

Speaker 3 (01:50:59):
Yeah, yeah, totally no. This is a great shadow all
these people.

Speaker 1 (01:51:03):
That little Charles becomes later Albert, that snatty teacher son
becomes Tinder. So it's like, all, yeah, makes total sense.

Speaker 6 (01:51:13):
Well, it is a lovely episode and it puts the
series at least it puts our podcast back on track
in the you know, in the space of Little House
that we really want to be in, which is the
thing that audiences love about Little House, and this episode
personifies it too. Wonderful performances by young actors who were

(01:51:36):
just so terrific in this and you totally believe what
what these two They fit so beautifully with what these
characters we have come to know them to be through
the life of the series. It's it's really really special.
Hopefully kudos to Bill Claxton did a great job with
this one.

Speaker 3 (01:51:56):
And this is also so written so beautifully.

Speaker 6 (01:51:58):
It was just great.

Speaker 3 (01:51:59):
Hopefully we can get Katie Kurtzman on the show. That
would be awesome, that'd be amazing.

Speaker 5 (01:52:05):
But uh yeah, okay, so that's that's our show today,
you guys. I feel like we've balanced the scales.

Speaker 1 (01:52:11):
But now we've.

Speaker 5 (01:52:14):
Next we're gonna go see if the Older brother's episode
would have got from this.

Speaker 3 (01:52:18):
It would have.

Speaker 6 (01:52:19):
Okay, I love all those guys, but the episode was
just not a good fit for us.

Speaker 1 (01:52:24):
That we're more scarred by the older brothers than we
were by the mister.

Speaker 3 (01:52:30):
Or I know all of those.

Speaker 1 (01:52:34):
Brothers, but that's the body that's so funny.

Speaker 5 (01:52:39):
All right, guys, we'd love to hear what you think
about all of this, so please join us on our socials,
Little House fifty Podcast, or our website Little House fifty
podcast dot com if you want to know everything that's
going on. Also, please join us on Patreon. We have
so many further discussions that we can't really air on
the podcast, but I won't say anymore or other than

(01:53:00):
you're missing out if you're not on Patreon right now,
and so join us on Patreon.

Speaker 3 (01:53:05):
We'll be continuing the conversation. Like and subscribe, give us
a nice review, and we'll see you next time. Bob,
get the wig. Let's fly here with beds and with
its and lunch pails made for you

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