WEBVTT

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<v Speaker 1>Weird Way media. Ni misters.

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<v Speaker 2>Is see that guy with it now He's an actor

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<v Speaker 2>and the only camp driver in his place. Good evening

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<v Speaker 2>and welcome tonight, mister Walters a taxi podcast. I'm hp

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<v Speaker 2>your co host and with me as always is the

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<v Speaker 2>other co host, Father Malone. Father Malone. How are you

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<v Speaker 2>this evening?

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<v Speaker 1>Oh, I'm good. I'm looking forward to a riger centric

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<v Speaker 1>episode Romantic Riga Town.

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<v Speaker 2>This episode is all about Riager, as we'll discover as

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<v Speaker 2>we dig into it. This is Taxi Season two, episode twelve,

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<v Speaker 2>Alex's Romance. This was written by Ian Praser and Howard Gerwitz.

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<v Speaker 2>And here's the first big shocker of the episode, Father Malone.

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<v Speaker 2>It is not directed by James Burrows. It's directed by

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<v Speaker 2>Ed Weinberger. Madness, what's happened? I'll tell you what happened?

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<v Speaker 1>Ye, please tell me what happened? Ruins his perfect record.

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<v Speaker 2>It does going back to my favorite resource, the official

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<v Speaker 2>Taxi Fan Guide by Frank Lovey's. According to Love's, this

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<v Speaker 2>episode was the only one of the first fifty six

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<v Speaker 2>that Burrows didn't direct. Burrows was busy that week trying

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<v Speaker 2>to get another John Charles Walter's show off the ground.

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<v Speaker 2>Do you know what show that is? So that was no,

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<v Speaker 2>it was the short lived The Associates. Now we'll get

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<v Speaker 2>to The Associates in a moment, but what I want

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<v Speaker 2>to say is, and this is a spoiler alert, according

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<v Speaker 2>to d Wallace, that we're gonna see as the guest

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<v Speaker 2>star in this episode. She's quoted as saying they were

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<v Speaker 2>having trouble on the other show, The Associates, because someone

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<v Speaker 2>had been ill or something, and poor Ed had the

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<v Speaker 2>weight of the world on his shoulders and he told me,

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<v Speaker 2>d just get me through this week. So I think

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<v Speaker 2>this fledgling show The Associates had some issues. They brought

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<v Speaker 2>in the big guns, James Burrows to come and try

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<v Speaker 2>to straighten things out. Didn't really pan out because the

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<v Speaker 2>show didn't last that long. But let's talk a little

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<v Speaker 2>bit about The Associates. Are you familiar with The Associates,

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<v Speaker 2>Father Malone?

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<v Speaker 1>I am not, but I'm assuming it is a legal comedy.

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<v Speaker 2>The Associates was the first show that featured an impossibly

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<v Speaker 2>young Martin Short in a starring role.

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<v Speaker 1>Oh, I now vaguely remember this.

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<v Speaker 2>You remember this. The thing that my mind keeps going

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<v Speaker 2>back to is there is one particular set where the

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<v Speaker 2>lawyers are in this giant legal library in the finest

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<v Speaker 2>tradition of set decoration. This thing was amazing. It just

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<v Speaker 2>seemed to go on forever. There was a giant spiral

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<v Speaker 2>staircase I think in the middle, and there's all kinds

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<v Speaker 2>of lawyers doing their thing books everywhere. It was wonderful.

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<v Speaker 2>You're right. It centered on a group of junior lawyers

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<v Speaker 2>working in a firm on Wall Street, and other actors

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<v Speaker 2>in this show that went on to bigger and better

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<v Speaker 2>things are near Dark's Tim Thomerson. Oh, he was in it. Uh,

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<v Speaker 2>Joe Regel Butto do you know who Joe Regel Butto is.

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<v Speaker 1>Of course he's the one. He's the man who beat Mork.

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<v Speaker 2>That was he on Mork and Mindy.

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<v Speaker 1>He showed up as a rival alien who exposed Mark

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<v Speaker 1>to the world.

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<v Speaker 2>I knew him from Murphy Brown. He was a co

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<v Speaker 2>star and Murphy Brown.

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<v Speaker 1>Wasn't he on one of these like Automan or Street Hawk,

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<v Speaker 1>one of these mid range actioners.

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<v Speaker 2>He might have been.

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<v Speaker 1>It's the right I'm featuring a man and his vehicle

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<v Speaker 1>as the as the co Leades And then like Joe Regor,

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<v Speaker 1>Butto is the guy who pushes buttons and goes, well,

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<v Speaker 1>why you're pushing it so hard?

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<v Speaker 2>I really hope you're right. I'd love to watch that show.

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<v Speaker 2>So he was in it. And also Ali Mills. Do

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<v Speaker 2>you know who Ali Mills is?

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<v Speaker 1>I know the name, but I could not tell you what.

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<v Speaker 2>She would go on to be the mother in the

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<v Speaker 2>Wonder Years. You probably can see her in your mind's

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<v Speaker 2>eye now. The show was critically acclaimed, but it suffered

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<v Speaker 2>from getting its time shifted around too much. It was

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<v Speaker 2>on this day, then, it was on this time, and

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<v Speaker 2>it never really found an audience. The show was produced

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<v Speaker 2>by Brooks, Daniels and Weinberger and featured a lot of

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<v Speaker 2>the writers from the John Charles Walters stable, including ones

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<v Speaker 2>that we've already heard from like Michael Leeson and Earl Pomerance.

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<v Speaker 2>The Associates even got several Emmy nominations in nineteen eighty

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<v Speaker 2>for Outstanding Writing in a Comedy Series. Here's the final

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<v Speaker 2>my favorite tidbit from the Associates of this is going

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<v Speaker 2>to be it. The theme song was a song called

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<v Speaker 2>Wall Street Blues. It's a blues number performed by the

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<v Speaker 2>great BB King Wow whoever it was co written? Get

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<v Speaker 2>this by none other than Albert Brooks. Yes, Albert Brooks,

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<v Speaker 2>the comedian. He co wrote this blues I mean, you

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<v Speaker 2>listen to it and it's bb King. It's a blues song.

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<v Speaker 2>In fact, he did all of the interstitial music, much

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<v Speaker 2>the way Bob James was the house composer for Taxi,

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<v Speaker 2>BB King was the house composer slash musician for the Associates.

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<v Speaker 2>But BB King isn't that weird.

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<v Speaker 1>Weirder is how Albert Brooks got involved with writing a

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<v Speaker 1>blues song with BB King for as the title track

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<v Speaker 1>for a sitcom.

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<v Speaker 2>Albert Brooks did an album, a comedy album. I think

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<v Speaker 2>just around this time, call the Star is Bot. It's fantastic.

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<v Speaker 2>If you haven't heard it, you've got to hear it.

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<v Speaker 2>They collaborated on a track, a blues track where BB

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<v Speaker 2>King is playing the blues and Albert Brooks is doing

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<v Speaker 2>some comedy behind him. It's very funny. Having said that,

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<v Speaker 2>I don't know how they initially got themselves together, let

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<v Speaker 2>alone how they wrote a blue song. Because it's a

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<v Speaker 2>blue song. It's not like Albert Brooks doing shtick. It's

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<v Speaker 2>just BB King. But I thought that was fascinating. What

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<v Speaker 2>an amazing little tidbit so anyway, enough about the associates. Reminder,

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<v Speaker 2>we're doing these shows in broadcast order and not in

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<v Speaker 2>order of filming. We open on a new b roll

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<v Speaker 2>of the exterior of Marios. Among a line of cabs

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<v Speaker 2>parked outside. We see, I don't know if you noticed this.

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<v Speaker 2>We see a blonde guy dressed exactly like the Fawns

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<v Speaker 2>entering Marios with a buddy. Did you see him?

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<v Speaker 1>No? No, I'm so over the Marios exterior as the bureau.

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<v Speaker 2>But this was so weird. He's got the leather jacket,

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<v Speaker 2>he's got the white shirt, the blue jeans. He's a

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<v Speaker 2>perfect match for the Fawns, save for the fact that

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<v Speaker 2>he's just this blonde guy. I just thought it was bared.

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<v Speaker 1>And he also sounds like he could be in like

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<v Speaker 1>a cigarette ad and the back of GQ pretty much.

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<v Speaker 2>But it was just this guy the Fawns and his

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<v Speaker 2>buddy going in the Marios. I don't know. I thought

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<v Speaker 2>it was kind of funny.

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<v Speaker 1>Blonde fawn the Blonsie.

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<v Speaker 2>We cut inside Marios and Bobby is sitting at a

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<v Speaker 2>table trying to console a crying blonde woman. Father Malone.

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<v Speaker 2>The Joe Dante connection continues.

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<v Speaker 1>Steve Wallace. Oh my god, so de.

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<v Speaker 2>Yeah, she's young and beautiful. She's obviously best known for

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<v Speaker 2>parts like Karen White in Joe Dante's The Howling.

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<v Speaker 1>Right around las time, right like this is like nineteen

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<v Speaker 1>eighty eighty one, right here, so around the same time

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<v Speaker 1>she's starting there.

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<v Speaker 2>Unless I'm mistaken, I think The Howling came right after

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<v Speaker 2>a taxi. Most people will know her as Elliott's mom

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<v Speaker 2>and et. She was also the mother in Kujo, and

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<v Speaker 2>I'm sure she had many other mom roles.

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<v Speaker 1>Of Halloween that Rob Zombie, that Rob Zombie, Halloween remank

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<v Speaker 1>she was the mom and that she was I never

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<v Speaker 1>saw it. Yeah, she's goodn't it. She gets killed. It's terrible,

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<v Speaker 1>you feel awful.

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<v Speaker 2>I didn't know she was still acting even now. That's

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<v Speaker 2>pretty cool.

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<v Speaker 1>Yeah, she's great Man Safforlet.

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<v Speaker 2>She's very very good in this spoiler over Night.

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<v Speaker 1>She's like a serious Goldie Han.

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<v Speaker 2>That's actually a really good comparison. I hadn't thought of

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<v Speaker 2>her in those terms.

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<v Speaker 1>She's got a bubbliness to her that that is really charming.

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<v Speaker 1>But she's also like a heavy hitter dramatically.

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<v Speaker 2>Yeah, and a lot she's called upon to do to

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<v Speaker 2>put a lot of that on display in this episode,

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<v Speaker 2>as we'll discuss. From the conversation Bobby's having with this woman,

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<v Speaker 2>it sounds like her name is Joyce. It sounds like

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<v Speaker 2>Joyce and Bobby have both been dropped from a soap opera.

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<v Speaker 2>Turns out, Bobby, I guess, got called back to for

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<v Speaker 2>better for Worse, which she was acting on as well,

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<v Speaker 2>and they were both fired. And all of Bobby's efforts

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<v Speaker 2>to console Joyce or just making it worse, and she's

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<v Speaker 2>openly sobbing, and they even I think people in the

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<v Speaker 2>restaurant are looking at them funny and oh.

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<v Speaker 1>Yeah, And there's a woman over Bobby's his left shoulder

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<v Speaker 1>on the right side of the screen of the top.

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<v Speaker 1>She's locked onto them the entire time. This woman does

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<v Speaker 1>not look away from the drama going on at this table.

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<v Speaker 1>You know what, can't blame her?

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<v Speaker 2>Well, do you think it's she's just doing her best

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<v Speaker 2>to act like a real person in the restaurant or

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<v Speaker 2>do you think she's like going above and beyond making

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<v Speaker 2>herself known, beyond her obligation.

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<v Speaker 1>Yes, both, I think it's both. Yeah, I think all

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<v Speaker 1>the extras and I noticed this later in the next

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<v Speaker 1>episode as well. Anytime the extra, anytime there's like a

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<v Speaker 1>spectacle going on and the extras are called to watch,

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<v Speaker 1>they're very excited.

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<v Speaker 2>It doesn't matter if you're in the garage or you're

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<v Speaker 2>in Marios or wherever. They always pack the set full

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<v Speaker 2>of wonderful extras and background players that add a lot

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<v Speaker 2>of texture to the scene. Alex arrives at Marios and

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<v Speaker 2>goes right over to the bar in orders a beer. Bobby,

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<v Speaker 2>sensing his opportunity to get out of this awkward situation.

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<v Speaker 2>Of course, Bobby being pretty shallow and not wanting to

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<v Speaker 2>deal with this, sobbing actress hustles over to talk to Alex.

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<v Speaker 2>Now a side note, Alex is wearing the heaviest cardigan

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<v Speaker 2>sweater I've ever seen, with another coordinated sweater underneath it.

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<v Speaker 2>He looks like a cross between a Nordic fisherman and

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<v Speaker 2>a sensitive psychiatrist. Surely you notice this.

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<v Speaker 1>Oh my god, he's all sweat. It's just like a

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<v Speaker 1>layer of perspiration underneath his like seventeen layers of clothes.

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<v Speaker 1>I think we're supposed to believe that we're moving into winter,

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<v Speaker 1>and the next episode that will definitely be the case.

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<v Speaker 1>So maybe this is fall now. But this is the

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<v Speaker 1>only hint that its fall, because ever, you know, Wheeler

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<v Speaker 1>is in his customary shirt open to his navel without

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<v Speaker 1>his jacket. But obviously Rigo just came from outdoors. But

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<v Speaker 1>it's not like he makes any motion to remove a

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<v Speaker 1>layer at any point.

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<v Speaker 2>What you're saying tracks, because you're right. The following episode

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<v Speaker 2>we do see some snow covered streets, and in fact,

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<v Speaker 2>eventually when Joyce gets up and leaves the restaurant we

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<v Speaker 2>see her later she's wearing a very heavy fur coat,

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<v Speaker 2>much like what Elaine wore in the last episode or

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<v Speaker 2>two episodes ago. So yeah, I guess you're right. It

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<v Speaker 2>makes sense that it's wintertime is coming and they need

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<v Speaker 2>to bundle up. But boy, Alex really has a penchant

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<v Speaker 2>for those heavy cardigans. He wears them a lot.

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<v Speaker 1>It's not like they telegraph to the audience that the

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<v Speaker 1>seasons have changed either. It's like we just had so

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<v Speaker 1>many fucking glowing sunset shots of the garage for the

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<v Speaker 1>entire run up until now that it seems like it's

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<v Speaker 1>been summer this whole time. But I guess summer has

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<v Speaker 1>ended while Romance is blooming. Also shout out to Wheeler

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<v Speaker 1>for being Wheeler and just going like he's with this girl.

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<v Speaker 1>He figures out, I don't have a chance, whether she's

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<v Speaker 1>just upset. Let me farther off on Rigger and then

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<v Speaker 1>get out of here.

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<v Speaker 2>Speaking of Bobby, Bobby offers to introduce Alex to Joyce.

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<v Speaker 2>Well you can literally it's not the camera's not even

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<v Speaker 2>focused on her, but you can literally hear her sobbing

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<v Speaker 2>loudly in the background, and Alex being Alex, thanks but

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<v Speaker 2>no thanks, since apparently a previous introduction that Bobby made

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<v Speaker 2>went pretty bad. But Bobby, being Bobby again, won't take

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<v Speaker 2>no for an answer, and he basically shoves Alex over

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<v Speaker 2>to the table for to make introductions. But despite his apprehension,

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<v Speaker 2>Alex tries to crack a joke or two. Bobby sees

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<v Speaker 2>his opportunity in skidaddles, he's out of there. That's we

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<v Speaker 2>don't really see a whole lot of Bobby, or a

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<v Speaker 2>lot of any cabbies for that matter. Seeing Joyce once

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<v Speaker 2>again sobbing really loudly, Alex's chivalrous nature gets the best

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<v Speaker 2>of them, and he sits with Joyce and he makes

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<v Speaker 2>another joke, and finally things seem to be warming up.

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<v Speaker 2>He's breaking the ice a little bit, and Joyce goes

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<v Speaker 2>on to explain that she's played the villainous Blanche Bane

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<v Speaker 2>on for Better for Worse. I was right that it

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<v Speaker 2>was for Better for Worse? But then this again, this

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<v Speaker 2>begs the question, are there no other soap operas?

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<v Speaker 1>HP? Excuse me for a second. Yeah, did you just

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<v Speaker 1>say that this name of the show is for better

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<v Speaker 1>for worse? Right?

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<v Speaker 2>For better for worse? Yeah?

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<v Speaker 1>Right? And and then you said you were right.

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<v Speaker 2>I was right that I suspected they were dealing with

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<v Speaker 2>for Better for Worse as their soap opera jobs. We

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<v Speaker 2>hadn't heard that up to this point. I didn't make

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<v Speaker 2>that clear.

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<v Speaker 1>No, because you're right. No, there is no other There

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<v Speaker 1>is no other soap opera being shot in New York

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<v Speaker 1>at this time, they'd all moved to Los Angeles. You

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<v Speaker 1>don't know that. You didn't hear about that? The last

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<v Speaker 1>seven A great soap opera Purge.

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<v Speaker 2>The Great Migration, and the Correct She played this soap

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<v Speaker 2>opera villain for for eight years, and she was even

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<v Speaker 2>voted the most despised woman on Daytime TV three years

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<v Speaker 2>in a row. Five I'm alone, but in a blatant

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<v Speaker 2>display of agism. The producers suddenly decided she was too

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<v Speaker 2>old to play the part. By the way, Dee Wallace

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<v Speaker 2>was thirty two at the time.

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<v Speaker 1>So is she playing older here?

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<v Speaker 2>No, I think I don't think she's playing older making.

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<v Speaker 1>It they're making a comment on the fact that thirty

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<v Speaker 1>two is now an old man, because of course television roles.

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<v Speaker 2>Well, I'm making that comment because they're not calling it out,

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<v Speaker 2>but I'm suggesting, like, how could she that means that

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<v Speaker 2>if she's been on there eight years in a row.

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<v Speaker 2>She started on this show when she was twenty four

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<v Speaker 2>years old, which is like super young. Thirty two is

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<v Speaker 2>still super young. I don't know. I guess things work

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<v Speaker 2>differently in soap operas. I don't know. Alex continues to

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<v Speaker 2>make corn any jokes, and Joyce is flip flopping between

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<v Speaker 2>laughter and crying and back to laughter, and finally Alex

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<v Speaker 2>tells her that she has two choices. She can continue

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<v Speaker 2>to feel sorry for herself or and I love this part.

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<v Speaker 2>He pounds the table and shouts I'm not gonna let

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<v Speaker 2>this get me down, and this everybody in the restaurant.

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<v Speaker 2>I don't know if you notice that it's like if Hutton,

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<v Speaker 2>everybody turns because he shouts very theatrical.

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<v Speaker 1>You would turn, so would I, And then I go

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<v Speaker 1>this guy's fucking problem, and then I go back to

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<v Speaker 1>my food, unlike everyone in the restaurant who continues to

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<v Speaker 1>stare right.

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<v Speaker 2>So he says, you have these choices, or you can

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<v Speaker 2>at least have dinner with me. And it's in this

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<v Speaker 2>moment I think that you see Alex go from being

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<v Speaker 2>annoyed frankly that at being saddled with Joyce to maybe

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<v Speaker 2>just maybe being a little in interested in her because

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<v Speaker 2>he really is kind of falling over himself to make

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<v Speaker 2>her laugh and cheer her up. It's kind of sweet

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<v Speaker 2>to see him try and make the best of the situation.

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<v Speaker 2>It's like you see Alex impulsively deciding to go for

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<v Speaker 2>it and being genuinely surprised at both his reaction and

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<v Speaker 2>her agreeing to go to dinner because she does agree

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<v Speaker 2>to go to dinner with her with.

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<v Speaker 1>Him, it's sweet, but did you get a look at

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<v Speaker 1>her well, of course he's falling, falling all over himself

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00:16:24.440 --> 00:16:28.399
<v Speaker 1>to like make her happy, like if Angela Matusa had

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<v Speaker 1>been sitting at that table and crying Rigo to one,

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00:16:31.360 --> 00:16:33.559
<v Speaker 1>oh no, no no, and would have liked back as

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<v Speaker 1>soon as we started to stay on them over there

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<v Speaker 1>and be like, I don't want any pride of us.

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<v Speaker 2>Once she accepts his dinner invitation, Alex insists they get

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<v Speaker 2>dinner elsewhere. Once again, we have a cabby talking about

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00:16:45.279 --> 00:16:48.440
<v Speaker 2>how bad the food is in Marios. Again, I ask you,

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00:16:48.480 --> 00:16:51.919
<v Speaker 2>fallom alone, why do the cabbys continue to frequent.

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00:16:51.600 --> 00:16:53.960
<v Speaker 1>Marios to dive inyah beer?

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<v Speaker 2>That's it? Then? Why? But I don't know. There's other places,

305
00:16:58.320 --> 00:17:00.639
<v Speaker 2>surely restaurants we get beer and a.

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00:17:01.480 --> 00:17:04.039
<v Speaker 1>It's around the corner from the garage. Who wants food

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<v Speaker 1>when you're gonna have beer?

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<v Speaker 2>I don't know. I can't see it, but whatever.

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<v Speaker 1>Plus, it's just another cheap shot, like Riga just wanted

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<v Speaker 1>to get out of there.

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<v Speaker 2>That's true. He just wanted to get out of there

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<v Speaker 2>and go somewhere more romantic. Probably, So we fade out

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<v Speaker 2>and then we fade back in. It's a city street

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<v Speaker 2>b roll in the evening. The camera cranes over to

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00:17:27.079 --> 00:17:29.559
<v Speaker 2>a second floor apartment window, which I believe we're led

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00:17:29.920 --> 00:17:33.720
<v Speaker 2>to understand is Rigu's apartment because we cut into the

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<v Speaker 2>apartment as Alex and Joyce walk in. The lights are

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<v Speaker 2>off and he's turning on the lights.

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00:17:39.160 --> 00:17:39.359
<v Speaker 1>Now.

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<v Speaker 2>Another side note, they're walking in through what will later

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<v Speaker 2>be known as Alex's bedroom door. It bugs me when

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<v Speaker 2>they do stuff like this. We'll see this a couple

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<v Speaker 2>of times in Alex's apartment, but it's weird. They're coming

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<v Speaker 2>in through this back and even like just in terms

325
00:17:56.119 --> 00:18:00.200
<v Speaker 2>of blocking, it's odd because they're coming from far off,

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<v Speaker 2>like in the background. And yeah, you know, I thought,

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<v Speaker 2>what did you think of that? I thought it was

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<v Speaker 2>a weird choice.

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<v Speaker 1>It was a weird choice. The thing is, I can't

330
00:18:09.079 --> 00:18:12.960
<v Speaker 1>specifically remember the layout of Riger's place when we had

331
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<v Speaker 1>the kid in the wheelchair episode.

332
00:18:15.799 --> 00:18:20.359
<v Speaker 2>No, it was the one where Elaine's.

333
00:18:19.640 --> 00:18:22.200
<v Speaker 1>Yeah, that's where the spelling bee won. Right, Well, we.

334
00:18:22.279 --> 00:18:24.799
<v Speaker 2>Never saw We only saw his bedroom. We didn't see

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<v Speaker 2>anything more.

336
00:18:25.920 --> 00:18:28.359
<v Speaker 1>Oh okay, yeah, no, that okay. I was weirded out

337
00:18:28.400 --> 00:18:32.000
<v Speaker 1>by the layout of his apartment. The way that that

338
00:18:32.079 --> 00:18:34.799
<v Speaker 1>door is means that he has the apartment at the

339
00:18:34.920 --> 00:18:37.000
<v Speaker 1>end of the hall, right. It's not on the left

340
00:18:37.000 --> 00:18:38.839
<v Speaker 1>of the right. You just walk straight down the hallway

341
00:18:38.839 --> 00:18:40.920
<v Speaker 1>and there's a door and that's Rigger's apartment.

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00:18:41.359 --> 00:18:42.960
<v Speaker 2>I would say so yeah, that makes sense.

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<v Speaker 1>So he's got a bit more space than the rest

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<v Speaker 1>of the tenants on that floor.

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<v Speaker 2>Yeah, it's a we'll get into the apartment in the

346
00:18:51.319 --> 00:18:54.000
<v Speaker 2>design of it shortly, but but yeah, this is the

347
00:18:54.039 --> 00:18:56.440
<v Speaker 2>first really good look we're getting of Alex's apartment, and

348
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<v Speaker 2>we'll see it a few more times in the course

349
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<v Speaker 2>of the series. You're right. The last time we saw

350
00:19:00.799 --> 00:19:04.200
<v Speaker 2>it was during the spelling Bee episode with Elaine's son,

351
00:19:04.240 --> 00:19:06.640
<v Speaker 2>but that was only the bedroom. But what I love

352
00:19:06.759 --> 00:19:10.599
<v Speaker 2>is the apartment is chalk full of dense detail. There's

353
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<v Speaker 2>a lot of books, there's a little eating nook in

354
00:19:14.160 --> 00:19:17.920
<v Speaker 2>the corner, there's a comfy couch or fridge off to

355
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<v Speaker 2>the side. I just I love these like little.

356
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<v Speaker 1>Details, gigantic painting of a chair.

357
00:19:24.359 --> 00:19:26.640
<v Speaker 2>Is it like a like a marite? Like what I

358
00:19:26.680 --> 00:19:27.359
<v Speaker 2>don't remember this?

359
00:19:27.599 --> 00:19:31.160
<v Speaker 1>What is it? It's just like puer one imports bullshit.

360
00:19:31.279 --> 00:19:35.119
<v Speaker 1>It's like, what, Yeah, that looks good, throw that up

361
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<v Speaker 1>on the wall. So there's some culture for rigor, very low.

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<v Speaker 2>Very low culture. He does make the comment as he's

363
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<v Speaker 2>ushering Joyce in it was apartment that he decorated it himself,

364
00:19:46.480 --> 00:19:48.880
<v Speaker 2>So that also makes sense that it would be some

365
00:19:48.960 --> 00:19:52.160
<v Speaker 2>peer one imports rap that he put on the wall.

366
00:19:53.160 --> 00:19:56.599
<v Speaker 2>Alex and Joyce make very I thought it was very believable,

367
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<v Speaker 2>awkward back and forth conversation, which which really befitting Alex

368
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<v Speaker 2>trying to make a good impression on Joyce and her

369
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<v Speaker 2>carefree attitude, sort of shading into romantic interest. At one point,

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<v Speaker 2>Joyce impulsively loses herself in the moment and hugs Alex,

371
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<v Speaker 2>but when he leans in for a smooch, she retreats

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<v Speaker 2>from him. She warns Alex, she says, don't get involved

373
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<v Speaker 2>with me. She says she's a basket case. And Alex

374
00:20:22.680 --> 00:20:26.480
<v Speaker 2>makes light of this morning, insisting that he's a stable influence.

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<v Speaker 2>But Joyce isn't so easily convinced. She tells him they

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<v Speaker 2>should make an agreement that they won't get involved, and

377
00:20:32.759 --> 00:20:34.839
<v Speaker 2>Alex plays along. Now we know where this is going,

378
00:20:34.920 --> 00:20:37.480
<v Speaker 2>because they're not going to just leave it at that.

379
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<v Speaker 2>We know things are going to get hot and heavy

380
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<v Speaker 2>with Alex and Joyce, But thus far, what do you

381
00:20:41.920 --> 00:20:44.119
<v Speaker 2>make of their interaction? Were you as charmed by it

382
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<v Speaker 2>as I was?

383
00:20:44.759 --> 00:20:47.960
<v Speaker 1>Father Blone, Yeah, because it's rare we get to see

384
00:20:48.039 --> 00:20:52.000
<v Speaker 1>Rieger doing physical comedy and all of the back and

385
00:20:52.039 --> 00:20:53.960
<v Speaker 1>forth with the I'm going to be kissed, no, I'm

386
00:20:54.039 --> 00:20:58.119
<v Speaker 1>not falling over kind of stuff is really really good. Yeah,

387
00:20:58.119 --> 00:21:01.960
<v Speaker 1>and you know, plus it's good to see that kind

388
00:21:02.000 --> 00:21:05.400
<v Speaker 1>of we shouldn't, oh, we should have done well.

389
00:21:05.720 --> 00:21:08.839
<v Speaker 2>You know, they clearly have feelings for each other, but

390
00:21:08.960 --> 00:21:11.440
<v Speaker 2>it's almost like a magnet that kind of attracts and

391
00:21:11.440 --> 00:21:14.359
<v Speaker 2>then repels and attracts and repels. I think a lot

392
00:21:14.400 --> 00:21:15.200
<v Speaker 2>of us can relate.

393
00:21:15.480 --> 00:21:17.640
<v Speaker 1>This is also an example of something that I really

394
00:21:17.720 --> 00:21:21.200
<v Speaker 1>like in any kind of a romantic situation where one

395
00:21:21.240 --> 00:21:24.960
<v Speaker 1>of the characters lets the other character know straight up

396
00:21:25.720 --> 00:21:29.519
<v Speaker 1>how this is gonna go, and the other character's like, oh,

397
00:21:29.559 --> 00:21:33.640
<v Speaker 1>it's fine. So when she says, let's make this agreement,

398
00:21:33.640 --> 00:21:37.039
<v Speaker 1>we're not gonna do anything, she actually means that. Yeah,

399
00:21:37.279 --> 00:21:40.359
<v Speaker 1>because that movie Five Hundred Days of Summer was basically

400
00:21:40.359 --> 00:21:44.200
<v Speaker 1>all about this idea, the I'm not going to change.

401
00:21:44.400 --> 00:21:47.359
<v Speaker 1>You're eventually going to be sick of this kind of

402
00:21:47.359 --> 00:21:50.440
<v Speaker 1>a thing, you know. I like that that.

403
00:21:50.799 --> 00:21:55.160
<v Speaker 2>Alex has a very preconceived notion of who Joyce is

404
00:21:55.480 --> 00:21:58.839
<v Speaker 2>and who he is and how he can make her

405
00:21:59.039 --> 00:22:03.359
<v Speaker 2>quote unquote better. But that's not really that. That's not

406
00:22:03.799 --> 00:22:06.079
<v Speaker 2>good for Joyce. That's not being fair to Joyce. And

407
00:22:06.119 --> 00:22:08.279
<v Speaker 2>we'll see this and that's very similar to what the

408
00:22:08.359 --> 00:22:11.160
<v Speaker 2>character is in five Hundred Days of a Summer go Through.

409
00:22:11.279 --> 00:22:15.000
<v Speaker 2>Like the Joseph Gordon Levitt character has a there's that

410
00:22:15.079 --> 00:22:17.400
<v Speaker 2>great scene at the end where he goes to see

411
00:22:17.400 --> 00:22:19.200
<v Speaker 2>her and he has in his mind how things are

412
00:22:19.240 --> 00:22:22.400
<v Speaker 2>going to go, and they're very different from reality. And

413
00:22:22.440 --> 00:22:26.319
<v Speaker 2>I think Alex is heading down a similar path as

414
00:22:26.319 --> 00:22:30.599
<v Speaker 2>we'll see with Joyce. Alex's humor is really winning Joyce over,

415
00:22:31.359 --> 00:22:33.880
<v Speaker 2>and finally she loses a bit of control and she

416
00:22:33.920 --> 00:22:37.480
<v Speaker 2>asks Alex to kiss her again, but just like Lucy

417
00:22:37.519 --> 00:22:40.240
<v Speaker 2>pulling the football away from Charlie Brown, she switches back

418
00:22:40.279 --> 00:22:43.480
<v Speaker 2>to defense mode and spins away as he's leaning in

419
00:22:43.519 --> 00:22:46.440
<v Speaker 2>for a kiss. And Alex at that point, he just said,

420
00:22:46.480 --> 00:22:49.720
<v Speaker 2>he insists they're just going to drink some wine and

421
00:22:49.759 --> 00:22:51.359
<v Speaker 2>they're gonna talk. That's it.

422
00:22:51.640 --> 00:22:56.839
<v Speaker 1>Sure, Yeah, that's that's the line, that's the move, it's Alex.

423
00:22:57.839 --> 00:23:01.359
<v Speaker 2>He proceeds to pull a bottle from his fridge that

424
00:23:01.480 --> 00:23:05.240
<v Speaker 2>looks like a bottle of Scope mouth wash. It's such

425
00:23:05.279 --> 00:23:07.839
<v Speaker 2>a weird looking did you notice this weird wine?

426
00:23:07.880 --> 00:23:11.799
<v Speaker 1>Yeah? Yeah, it's like a mescato. It's like a dessert wine.

427
00:23:11.920 --> 00:23:14.240
<v Speaker 1>That's why he keeps it chilled. But yes, no, what

428
00:23:14.279 --> 00:23:16.000
<v Speaker 1>I thought was funny is he says, I've got to

429
00:23:16.000 --> 00:23:17.359
<v Speaker 1>go to the wine in the cellar, and then he

430
00:23:17.400 --> 00:23:19.559
<v Speaker 1>went to the refrigerator. I thought that was a good bit.

431
00:23:19.960 --> 00:23:23.319
<v Speaker 1>But then, yes, I was also confused by him going

432
00:23:23.400 --> 00:23:25.759
<v Speaker 1>to the refrigerator first of all to get the wine,

433
00:23:26.079 --> 00:23:28.960
<v Speaker 1>and then second of all pulling out this weird fucking

434
00:23:29.000 --> 00:23:33.000
<v Speaker 1>decanter from the Kingdom of the Crystal Skull or something.

435
00:23:33.039 --> 00:23:35.079
<v Speaker 2>You know, it was like a bottle of Sorry and

436
00:23:35.160 --> 00:23:38.200
<v Speaker 2>brandy or something. It was bizarre. That's for you. Sorry,

437
00:23:38.240 --> 00:23:41.680
<v Speaker 2>Star trek nerds out there. Joyce and Alex continue this

438
00:23:41.920 --> 00:23:45.839
<v Speaker 2>back and forth, but eventually Alex's good humor wins out

439
00:23:46.079 --> 00:23:48.759
<v Speaker 2>and she lets him kiss her. I really really loved

440
00:23:48.799 --> 00:23:51.960
<v Speaker 2>the scene father alone. I found Alex's eagerness to get

441
00:23:52.039 --> 00:23:54.839
<v Speaker 2>romantic with Joyce. It was very believable because, as you

442
00:23:54.880 --> 00:23:59.440
<v Speaker 2>pointed out, who wouldn't what man wouldn't be charmed by

443
00:24:00.079 --> 00:24:04.119
<v Speaker 2>thirty two year old Dee Wallace Right. Wallace makes this

444
00:24:04.279 --> 00:24:08.440
<v Speaker 2>character charming and vulnerable, even as she's flip flopping cartoonishly

445
00:24:08.519 --> 00:24:12.400
<v Speaker 2>between wanting to kiss Alex and pushing him away. So

446
00:24:12.519 --> 00:24:14.359
<v Speaker 2>I think the scene works beautifully.

447
00:24:14.440 --> 00:24:16.240
<v Speaker 1>She's remarkable here, and she's remarkable in the first team

448
00:24:16.279 --> 00:24:18.880
<v Speaker 1>because she's doing what is kind of a trope, which

449
00:24:18.920 --> 00:24:22.759
<v Speaker 1>is the laughing hysterically becomes crying and back again, but

450
00:24:22.920 --> 00:24:24.720
<v Speaker 1>she doesn't really effortlessly.

451
00:24:25.240 --> 00:24:28.359
<v Speaker 2>As they kiss, we cut to the garage and Alex

452
00:24:28.920 --> 00:24:32.759
<v Speaker 2>positively bounds in. He's like skipping into the garage basically

453
00:24:32.759 --> 00:24:36.680
<v Speaker 2>to get his signed from Louis. He's in the best mood.

454
00:24:36.720 --> 00:24:40.240
<v Speaker 2>He's saying hi to everybody. He's acting cheery. Clearly, I

455
00:24:40.279 --> 00:24:44.359
<v Speaker 2>think we all know that if we're reading into this,

456
00:24:44.440 --> 00:24:47.599
<v Speaker 2>we think Alex is probably you know, he's probably getting

457
00:24:47.640 --> 00:24:51.279
<v Speaker 2>some from Joyce. He's not to be crass about. Yeah,

458
00:24:51.319 --> 00:24:58.720
<v Speaker 2>it's probably laying pipe. So Elaine notices his his cheery,

459
00:24:58.759 --> 00:25:02.240
<v Speaker 2>his cheeriness, and Alex gush's some more about how happy

460
00:25:02.279 --> 00:25:05.200
<v Speaker 2>he is. The Cabby's all ask if it's Joyce, and

461
00:25:05.279 --> 00:25:08.319
<v Speaker 2>Alex admits to them that they've been getting along really well.

462
00:25:08.720 --> 00:25:12.119
<v Speaker 2>By Alex's description, they've been dating for a total of

463
00:25:12.160 --> 00:25:16.240
<v Speaker 2>two weeks, which Alex says have been the most interesting

464
00:25:16.319 --> 00:25:20.640
<v Speaker 2>two weeks of his life. He says, Joyce goes full out.

465
00:25:20.960 --> 00:25:25.160
<v Speaker 2>When she's happy, she's the happiest person, and when she's sad,

466
00:25:25.960 --> 00:25:26.880
<v Speaker 2>she'll break your heart.

467
00:25:27.240 --> 00:25:29.200
<v Speaker 1>Yeah sounds manic, but okay.

468
00:25:29.079 --> 00:25:31.359
<v Speaker 2>That's exactly what I wrote down here. I said, nowadays

469
00:25:31.480 --> 00:25:34.920
<v Speaker 2>Joyce would be considered manic depressive, but back in nineteen eighty,

470
00:25:35.000 --> 00:25:39.720
<v Speaker 2>she's just overly emotional. So that shows you an actress. Well,

471
00:25:39.720 --> 00:25:42.039
<v Speaker 2>you've known more than your share of actresses, so you

472
00:25:42.079 --> 00:25:43.720
<v Speaker 2>can speak to that more than I could.

473
00:25:44.599 --> 00:25:46.440
<v Speaker 1>Jeez, now that I think about it, how many of

474
00:25:46.440 --> 00:25:51.920
<v Speaker 1>them were just manic? Could be a good seventy five percent?

475
00:25:52.200 --> 00:25:54.839
<v Speaker 2>When they were happy, were they the happiest person? And

476
00:25:54.880 --> 00:25:57.400
<v Speaker 2>when they were sad did they break your heart? Yeah?

477
00:25:57.519 --> 00:26:02.359
<v Speaker 1>Yes, jeez, man, Next plus talent equals Meryl Streep.

478
00:26:02.920 --> 00:26:06.200
<v Speaker 2>Joyce, at this point runs into the garage. Like I said,

479
00:26:06.200 --> 00:26:09.200
<v Speaker 2>she's got the biggest fur coat you've ever seen, and

480
00:26:09.279 --> 00:26:12.039
<v Speaker 2>she happily greets Alex and the rest of the Cavies.

481
00:26:12.519 --> 00:26:16.599
<v Speaker 2>She even gets introduced to Louis, who curiously doesn't seem

482
00:26:16.680 --> 00:26:19.200
<v Speaker 2>affected by her father. Malone correct me if I'm wrong,

483
00:26:19.240 --> 00:26:22.920
<v Speaker 2>but didn't he previously cop to never missing an episode

484
00:26:22.920 --> 00:26:25.160
<v Speaker 2>of For Better for Worse? Do you remember this.

485
00:26:25.759 --> 00:26:29.160
<v Speaker 1>That's right. He should have been fucking delighted when she

486
00:26:29.200 --> 00:26:32.359
<v Speaker 1>walked in. He should have been like telling her off

487
00:26:32.559 --> 00:26:36.000
<v Speaker 1>or some misdeeds she had done, or encouraging her, or

488
00:26:36.039 --> 00:26:38.119
<v Speaker 1>saying like I'm glad you're gone, or I wish you

489
00:26:38.160 --> 00:26:39.640
<v Speaker 1>were back something. You're right.

490
00:26:40.039 --> 00:26:42.599
<v Speaker 2>He doesn't notice her really that much. I thought was odd.

491
00:26:43.119 --> 00:26:46.079
<v Speaker 2>Joyce is positively bursting with the news that she might

492
00:26:46.119 --> 00:26:48.759
<v Speaker 2>have a new job, the lead in a TV series,

493
00:26:49.279 --> 00:26:53.400
<v Speaker 2>But unfortunately, as often happens in sitcoms, she'll have to

494
00:26:53.440 --> 00:26:58.160
<v Speaker 2>relocate to La. Alex can't help but register his disappointment.

495
00:26:58.200 --> 00:27:01.119
<v Speaker 2>He wants to be happy for her because he knows

496
00:27:01.119 --> 00:27:03.079
<v Speaker 2>how much this means to her, but you can tell

497
00:27:03.599 --> 00:27:06.680
<v Speaker 2>that selfishly he's very let down by this news.

498
00:27:06.960 --> 00:27:08.599
<v Speaker 1>Yes, and he's massively good here.

499
00:27:08.720 --> 00:27:11.759
<v Speaker 2>Without doing a whole lot, he does a ton. She

500
00:27:11.799 --> 00:27:13.640
<v Speaker 2>says to Alex she'd prefer to stay in New York,

501
00:27:13.680 --> 00:27:16.559
<v Speaker 2>but really she doesn't have any choice about relocating if

502
00:27:16.559 --> 00:27:19.319
<v Speaker 2>the show's in LA. What can she do? She leaves

503
00:27:19.319 --> 00:27:22.640
<v Speaker 2>as the Caves are all rather subdued. They've watched this

504
00:27:22.720 --> 00:27:28.160
<v Speaker 2>play out in front of them, watching Alex's reaction, Alex

505
00:27:28.240 --> 00:27:32.519
<v Speaker 2>is pretty much speechless in his sadness and is being

506
00:27:32.559 --> 00:27:34.839
<v Speaker 2>taken aback by this news because he just got through

507
00:27:34.839 --> 00:27:37.279
<v Speaker 2>telling the Cabby's that this has been like the best

508
00:27:37.599 --> 00:27:40.880
<v Speaker 2>two weeks of his life and now he's seeing this

509
00:27:41.000 --> 00:27:45.079
<v Speaker 2>all get sent off to la for another job. Each

510
00:27:45.160 --> 00:27:48.279
<v Speaker 2>Cabby in turn, tries to make him feel better. Bobby

511
00:27:48.880 --> 00:27:53.480
<v Speaker 2>apologizes for how flaky Joyce is. Elaine says she didn't

512
00:27:53.480 --> 00:27:56.359
<v Speaker 2>think they were right for each other, and Tony says, oh,

513
00:27:56.440 --> 00:28:00.519
<v Speaker 2>she wouldn't get great anyways. Bobby tells Alex just forget

514
00:28:00.559 --> 00:28:04.599
<v Speaker 2>about her, but seized by an impulse, Alex says he

515
00:28:04.640 --> 00:28:07.200
<v Speaker 2>has a better idea. He's going to go ask Joyce

516
00:28:07.240 --> 00:28:10.960
<v Speaker 2>to marry him, and then literally runs out of the garage,

517
00:28:11.039 --> 00:28:14.279
<v Speaker 2>to the Cabby's disapproval. They all start murmuring, lie, you know,

518
00:28:14.359 --> 00:28:19.119
<v Speaker 2>blah blah blah. Once again, we're seeing this impulsiveness of

519
00:28:19.240 --> 00:28:22.480
<v Speaker 2>Alex take hold, and I think it's very much in character.

520
00:28:23.160 --> 00:28:24.839
<v Speaker 2>And now he's after two weeks, he's going to ask

521
00:28:24.920 --> 00:28:27.680
<v Speaker 2>this woman to marry him. It's crazy, but we're you know.

522
00:28:29.480 --> 00:28:36.799
<v Speaker 1>Yeah, riager, no, do not engage in a desperation proposal.

523
00:28:37.359 --> 00:28:39.759
<v Speaker 2>It makes me feel a little bit, Uh, I don't know,

524
00:28:39.799 --> 00:28:41.160
<v Speaker 2>embarrassed for him a little bit.

525
00:28:42.039 --> 00:28:44.440
<v Speaker 1>Yeah, man, I agree with you. This isn't a case

526
00:28:44.480 --> 00:28:47.200
<v Speaker 1>of him acting out of character. This is a case

527
00:28:47.279 --> 00:28:52.279
<v Speaker 1>of we the audience watching a train slowly wreck.

528
00:28:52.920 --> 00:28:57.599
<v Speaker 2>Yeah. So we fade into Alex's apartment, where he's arranged

529
00:28:57.640 --> 00:29:02.359
<v Speaker 2>a very romantic setting. He's got candles, there's champagne chilling

530
00:29:02.480 --> 00:29:05.799
<v Speaker 2>on the coffee table. He's got a spiffy dark beige

531
00:29:05.880 --> 00:29:08.039
<v Speaker 2>suit which looks great, and he.

532
00:29:08.079 --> 00:29:10.839
<v Speaker 1>Even looked great. I'm sorry, did you just that look

533
00:29:10.920 --> 00:29:12.240
<v Speaker 1>great on him?

534
00:29:12.240 --> 00:29:13.119
<v Speaker 2>It looked great? Sure?

535
00:29:14.079 --> 00:29:16.880
<v Speaker 1>God man, he looked like a science teacher at a

536
00:29:17.359 --> 00:29:18.559
<v Speaker 1>not so great school.

537
00:29:19.240 --> 00:29:23.200
<v Speaker 2>It's fair enough, that's okay for him that it's the

538
00:29:23.240 --> 00:29:24.519
<v Speaker 2>height of dressing up.

539
00:29:24.759 --> 00:29:28.160
<v Speaker 1>You know, just agree. He looked better in his many

540
00:29:28.279 --> 00:29:31.200
<v Speaker 1>layers of sweaters. Do you think he has? I he

541
00:29:31.200 --> 00:29:34.200
<v Speaker 1>has like pants made of that sweater material as well,

542
00:29:34.319 --> 00:29:39.240
<v Speaker 1>like some sort of bizarre Canadian tuxedo. Just all sweater, sweater, underpants,

543
00:29:39.279 --> 00:29:43.160
<v Speaker 1>sweater pants, sweater vests, sweater shirt.

544
00:29:42.960 --> 00:29:49.880
<v Speaker 2>Big cardigan, cardigan material, tie made out of it, pants, socks,

545
00:29:49.960 --> 00:29:53.799
<v Speaker 2>the whole bit. He even pulls out a suspiciously ring

546
00:29:53.880 --> 00:29:57.519
<v Speaker 2>box shaped parcel from his pocket. But he's really doing.

547
00:29:57.359 --> 00:30:01.359
<v Speaker 1>This sweater bottles. It's a yarn in there.

548
00:30:01.640 --> 00:30:03.839
<v Speaker 2>It's a ball of yarn with a ring tucked into

549
00:30:03.839 --> 00:30:06.720
<v Speaker 2>the middle of it, like a cat toy. So just

550
00:30:06.759 --> 00:30:10.680
<v Speaker 2>then Joyce enters the apartment. She starts walking towards Alex.

551
00:30:10.680 --> 00:30:13.000
<v Speaker 2>Now another side note. I don't know if you notice this,

552
00:30:13.359 --> 00:30:17.119
<v Speaker 2>the angle towards the dining table, we can see what

553
00:30:17.559 --> 00:30:21.160
<v Speaker 2>appears to be an old fashioned barbershop chair. Did you

554
00:30:21.240 --> 00:30:22.400
<v Speaker 2>notice this fall alone?

555
00:30:22.440 --> 00:30:24.920
<v Speaker 1>I did. I locked right onto it because that's like

556
00:30:25.359 --> 00:30:28.319
<v Speaker 1>everyone thinks that that's like a bachelor's dream to have

557
00:30:28.400 --> 00:30:30.960
<v Speaker 1>a barber chair, like as if it was the most

558
00:30:30.960 --> 00:30:34.000
<v Speaker 1>comfortable chair of all time or something. I don't know.

559
00:30:34.039 --> 00:30:37.119
<v Speaker 1>I never understood it. I've sat in my fair share

560
00:30:37.119 --> 00:30:39.759
<v Speaker 1>of barber chairs, but I've never thought, like, jeez, I

561
00:30:39.799 --> 00:30:41.920
<v Speaker 1>need this gigantic contraption in my home.

562
00:30:42.559 --> 00:30:46.400
<v Speaker 2>It just looks so out of place in this comfy apartment.

563
00:30:46.440 --> 00:30:48.640
<v Speaker 2>I mean, such as it is, it's not exactly like

564
00:30:48.680 --> 00:30:51.920
<v Speaker 2>the height of home decoration, but this thing stuck out

565
00:30:51.920 --> 00:30:54.759
<v Speaker 2>like the proverbial sore thumb. I couldn't figure it out.

566
00:30:55.039 --> 00:30:57.559
<v Speaker 2>It just looked like if I'm putting myself, if I

567
00:30:57.599 --> 00:31:00.240
<v Speaker 2>were a woman going into this guy's apartment, and I

568
00:31:00.279 --> 00:31:02.680
<v Speaker 2>saw this thing. I don't know what I would think.

569
00:31:02.680 --> 00:31:06.839
<v Speaker 2>It's just bizarre looking, this big lumpy chair, red with

570
00:31:07.359 --> 00:31:10.720
<v Speaker 2>white piping, and it's got like the attachments and stuff

571
00:31:11.200 --> 00:31:13.640
<v Speaker 2>like the thing to make the hype go up and down.

572
00:31:14.000 --> 00:31:16.240
<v Speaker 1>You think someone's gonna work and think it's like a

573
00:31:16.240 --> 00:31:24.400
<v Speaker 1>scene from Star eighty, you know, like Alex, are these restraints?

574
00:31:25.039 --> 00:31:29.680
<v Speaker 1>Oh no, just just this is just a comfy chair, everybody.

575
00:31:30.880 --> 00:31:34.480
<v Speaker 2>Joyce's comments on the apartment says it looks really nice

576
00:31:34.519 --> 00:31:38.279
<v Speaker 2>and asks what the occasion is. Evidently, Alex's apartment is

577
00:31:38.319 --> 00:31:42.920
<v Speaker 2>looking nicer than usual, cleaner than usual. So Alex plays coy,

578
00:31:43.000 --> 00:31:47.119
<v Speaker 2>which leads Joyce to jump to the conclusion that he's

579
00:31:47.160 --> 00:31:48.480
<v Speaker 2>celebrating her new job.

580
00:31:48.880 --> 00:31:54.720
<v Speaker 1>I love that her initial reaction is, oh, this is

581
00:31:54.759 --> 00:31:58.079
<v Speaker 1>a celebratory dinner, because she's right, it should be. It

582
00:31:58.119 --> 00:32:00.359
<v Speaker 1>should be whether or not he's doing this bullsh to

583
00:32:00.400 --> 00:32:03.759
<v Speaker 1>propose a lot of sheer desperation to lock her down

584
00:32:03.799 --> 00:32:07.200
<v Speaker 1>and keep her in New York. Oh, such a bad idea.

585
00:32:08.720 --> 00:32:11.359
<v Speaker 1>But I love how I mean, we'll get to it.

586
00:32:11.400 --> 00:32:13.240
<v Speaker 1>But I love how fast she figures out what he's

587
00:32:13.240 --> 00:32:13.920
<v Speaker 1>actually up to.

588
00:32:14.440 --> 00:32:17.240
<v Speaker 2>Yeah, and the irony is the flighty one, the one

589
00:32:17.240 --> 00:32:21.680
<v Speaker 2>who's supposed to be ping ponging between happiness and sadness,

590
00:32:22.240 --> 00:32:24.920
<v Speaker 2>is really the one who's thinking most logically, he should

591
00:32:24.960 --> 00:32:28.400
<v Speaker 2>be happy for her. He saw how upset she was

592
00:32:28.960 --> 00:32:31.880
<v Speaker 2>at losing the for Better for Worse gig, so yeah,

593
00:32:31.920 --> 00:32:34.960
<v Speaker 2>he should be really happy for her. Alex keeps insisting

594
00:32:35.000 --> 00:32:38.079
<v Speaker 2>that there's no special reason for all this hubbub. Joyce

595
00:32:38.119 --> 00:32:40.759
<v Speaker 2>isn't having it. She's too perceptive for this. And finally

596
00:32:41.279 --> 00:32:46.279
<v Speaker 2>Alex comes clean and gives Joyce this flowery speech about

597
00:32:46.279 --> 00:32:48.440
<v Speaker 2>how great the two weeks have been and she's the

598
00:32:48.519 --> 00:32:52.000
<v Speaker 2>light of his life and all this stuff that it's

599
00:32:52.240 --> 00:32:56.519
<v Speaker 2>really kind of cringey because again, they've known each other

600
00:32:56.559 --> 00:33:00.559
<v Speaker 2>for two weeks, and sinsing the train that's down the

601
00:33:00.599 --> 00:33:03.920
<v Speaker 2>track at her choice just comes out, and she says

602
00:33:04.000 --> 00:33:08.119
<v Speaker 2>that she hopes Alex isn't proposing to her. Alex keeps

603
00:33:08.160 --> 00:33:11.640
<v Speaker 2>trying to disarm her with humor, but she keeps trying

604
00:33:11.640 --> 00:33:14.039
<v Speaker 2>to circle back to the matter at hand. I just

605
00:33:14.119 --> 00:33:18.000
<v Speaker 2>I love this kind of wrestling back and forth that

606
00:33:18.079 --> 00:33:22.559
<v Speaker 2>they keep doing, because he wants to propose, but he

607
00:33:22.640 --> 00:33:25.440
<v Speaker 2>can see how unhappy she is at the prospect of

608
00:33:25.519 --> 00:33:27.960
<v Speaker 2>him proposing, So he keeps trying to play it off

609
00:33:28.000 --> 00:33:30.640
<v Speaker 2>like he's not proposing, but she keeps trying to get

610
00:33:30.680 --> 00:33:35.279
<v Speaker 2>it back to what she recognizes as the real purpose

611
00:33:35.359 --> 00:33:36.880
<v Speaker 2>of this whole rigamarole.

612
00:33:37.240 --> 00:33:39.599
<v Speaker 1>You know she's right through him. It's not a back

613
00:33:39.640 --> 00:33:41.839
<v Speaker 1>and forth at all. It's a don't propose to me. Well,

614
00:33:41.920 --> 00:33:44.799
<v Speaker 1>let me just say, don't propose to me. I'm thinking

615
00:33:44.839 --> 00:33:46.000
<v Speaker 1>about don't propose to me.

616
00:33:48.319 --> 00:33:51.200
<v Speaker 2>It is and she's wonderful, Like I keep saying, it's

617
00:33:51.559 --> 00:33:56.240
<v Speaker 2>TAXI continues to get the best guest stars, like these

618
00:33:56.359 --> 00:33:59.720
<v Speaker 2>guest stars, in this case Dee Wallace. She could have

619
00:34:00.279 --> 00:34:02.559
<v Speaker 2>very easily slotted in as a semi full member of

620
00:34:02.599 --> 00:34:04.200
<v Speaker 2>the cast. She's great.

621
00:34:04.400 --> 00:34:07.680
<v Speaker 1>This is now the second romantic interest for Rieger, who

622
00:34:07.680 --> 00:34:10.360
<v Speaker 1>could have easily joined the cast. Joanna Cassidy last season

623
00:34:11.239 --> 00:34:16.760
<v Speaker 1>could have been another Cabby without any break in the action.

624
00:34:16.920 --> 00:34:19.480
<v Speaker 1>You know d Wallace too. She would have been great

625
00:34:19.519 --> 00:34:22.119
<v Speaker 1>on this show. Yeah, she is great on this show.

626
00:34:22.719 --> 00:34:26.760
<v Speaker 2>She's awesome. Joyce says to Alex she'd make a terrible wife,

627
00:34:26.760 --> 00:34:30.159
<v Speaker 2>But Alex keeps grasping at the chance of marrying her.

628
00:34:30.880 --> 00:34:33.679
<v Speaker 2>And as we've already been saying, it's hard not to

629
00:34:33.719 --> 00:34:38.280
<v Speaker 2>feel bad for Alex despite his insistence of being a

630
00:34:38.280 --> 00:34:42.000
<v Speaker 2>solid rock of support. We've talked about this a little bit.

631
00:34:42.039 --> 00:34:44.280
<v Speaker 2>He's shown a very impulsive side. I mean, this is

632
00:34:44.320 --> 00:34:47.199
<v Speaker 2>the same guy who in the first episode drove all

633
00:34:47.239 --> 00:34:49.880
<v Speaker 2>the way down to Miami from New York just for

634
00:34:49.920 --> 00:34:53.719
<v Speaker 2>the chance to have a ten minute conversation with his daughter.

635
00:34:54.320 --> 00:34:58.639
<v Speaker 2>Despite the fact that Alex is primarily known as being

636
00:34:58.679 --> 00:35:02.119
<v Speaker 2>the rock of the Cabby's the sensible one, this impulsive

637
00:35:02.159 --> 00:35:04.920
<v Speaker 2>streak keeps running through his character, and we'll see this

638
00:35:05.039 --> 00:35:07.199
<v Speaker 2>through every season of Taxis.

639
00:35:07.360 --> 00:35:09.760
<v Speaker 1>I also like that the sort of back and forth

640
00:35:09.800 --> 00:35:14.000
<v Speaker 1>here that they get together because she's flaky and he's stable.

641
00:35:14.119 --> 00:35:17.079
<v Speaker 1>Like this, they're playing off the idea that opposite. It's

642
00:35:17.119 --> 00:35:20.800
<v Speaker 1>a tract in a relationship, right, But the other part

643
00:35:20.800 --> 00:35:23.239
<v Speaker 1>of a relationship is when one person starts to fumble

644
00:35:23.239 --> 00:35:26.280
<v Speaker 1>and be weird, the other person has to step up,

645
00:35:26.639 --> 00:35:28.400
<v Speaker 1>and I think that's we get We actually get a

646
00:35:28.440 --> 00:35:33.280
<v Speaker 1>little bit of that during her rebuffing of riger when

647
00:35:33.440 --> 00:35:36.920
<v Speaker 1>she becomes rational insane, and now he's the flaky and

648
00:35:36.960 --> 00:35:39.920
<v Speaker 1>weird one. So if she were to stick around, I

649
00:35:39.920 --> 00:35:42.039
<v Speaker 1>think they actually would have been perfect for each other,

650
00:35:42.239 --> 00:35:45.320
<v Speaker 1>the fact that this has been two weeks. Really, if

651
00:35:45.360 --> 00:35:47.639
<v Speaker 1>she were going to be a working actress in New York,

652
00:35:47.840 --> 00:35:51.320
<v Speaker 1>wouldn't matter as far as them getting married the fact.

653
00:35:51.320 --> 00:35:54.840
<v Speaker 1>But the problem is she is leaving. She did say

654
00:35:54.920 --> 00:35:58.039
<v Speaker 1>that this wasn't going to last. And this is a

655
00:35:58.079 --> 00:36:03.039
<v Speaker 1>proposal based not on his heart. It's based on possession

656
00:36:03.119 --> 00:36:05.039
<v Speaker 1>or something, you know, it's based on fear.

657
00:36:05.599 --> 00:36:08.760
<v Speaker 2>He says at one point that he knows that he's

658
00:36:08.800 --> 00:36:11.519
<v Speaker 2>going to be good for her. That's obviously not a

659
00:36:11.519 --> 00:36:15.880
<v Speaker 2>good basis to propose to somebody because that's not taking

660
00:36:15.880 --> 00:36:19.920
<v Speaker 2>into account the other person's feelings, the other person's take

661
00:36:19.960 --> 00:36:22.599
<v Speaker 2>on the whole relationship. His whole thing is this has

662
00:36:22.639 --> 00:36:26.639
<v Speaker 2>all been a rollercoaster, and I can see how up

663
00:36:26.679 --> 00:36:30.440
<v Speaker 2>and down you are emotionally. But I think I'm stable

664
00:36:30.519 --> 00:36:33.639
<v Speaker 2>enough that, for lack of a better phrase, I could

665
00:36:33.639 --> 00:36:35.840
<v Speaker 2>be good for you. I could fix that part of you.

666
00:36:36.039 --> 00:36:38.519
<v Speaker 2>I could settle that down, I could calm you down.

667
00:36:38.559 --> 00:36:41.239
<v Speaker 2>But that just gets back to what you're saying about

668
00:36:41.280 --> 00:36:43.679
<v Speaker 2>this really being about possession and about what he can

669
00:36:43.760 --> 00:36:48.920
<v Speaker 2>do for her, as opposed to how they can come

670
00:36:48.960 --> 00:36:52.679
<v Speaker 2>together to have a relationship mutually, a mutual respect.

671
00:36:53.559 --> 00:36:56.679
<v Speaker 1>If he's being captain savea hoo, then that's a problem.

672
00:36:57.079 --> 00:37:04.519
<v Speaker 1>But if I when when he's asked like why, in

673
00:37:04.559 --> 00:37:08.360
<v Speaker 1>his response is I could be good for her. I

674
00:37:08.440 --> 00:37:12.840
<v Speaker 1>actually thought that was an admirable answer, because the selfish

675
00:37:12.840 --> 00:37:15.519
<v Speaker 1>answer is because she makes me happy and I don't

676
00:37:15.519 --> 00:37:19.679
<v Speaker 1>want to lose. Like at least he's thinking about her,

677
00:37:19.719 --> 00:37:20.280
<v Speaker 1>you know what I mean?

678
00:37:20.440 --> 00:37:23.960
<v Speaker 2>Like I don't know it just it feels like possession

679
00:37:24.119 --> 00:37:24.920
<v Speaker 2>by another name.

680
00:37:25.119 --> 00:37:27.519
<v Speaker 1>He needs to be coming at it from a partnership

681
00:37:27.639 --> 00:37:29.639
<v Speaker 1>point of view and not one thing or another.

682
00:37:30.119 --> 00:37:33.679
<v Speaker 2>Yeah, if he had said we would be good for

683
00:37:33.760 --> 00:37:37.320
<v Speaker 2>each other, that might have been enough of a twist

684
00:37:37.360 --> 00:37:40.440
<v Speaker 2>on his original statement to make me believe, well, maybe

685
00:37:40.480 --> 00:37:46.199
<v Speaker 2>he has the right intent, but he's just looking at

686
00:37:46.199 --> 00:37:48.760
<v Speaker 2>it as to what he can do for her as

687
00:37:48.800 --> 00:37:53.320
<v Speaker 2>opposed to how they could make this relationship work for

688
00:37:53.440 --> 00:37:57.320
<v Speaker 2>the two of them. Finally, Joyce asks what he sees

689
00:37:57.360 --> 00:38:00.800
<v Speaker 2>in her, and that's when Alex to the crux of

690
00:38:00.800 --> 00:38:02.639
<v Speaker 2>his feelings. That's when he says this thing about how

691
00:38:02.679 --> 00:38:04.920
<v Speaker 2>he thinks he'll be good for her, and I wrote

692
00:38:04.960 --> 00:38:08.039
<v Speaker 2>down here, boy, he really stepped into it here, because

693
00:38:08.360 --> 00:38:12.519
<v Speaker 2>rightfully so. That sets Joyce off and she even turns

694
00:38:12.559 --> 00:38:14.920
<v Speaker 2>it around on Alex. He's supposed to be the stable one,

695
00:38:15.239 --> 00:38:18.159
<v Speaker 2>yet he's the one who's proposing marriage after only knowing

696
00:38:18.239 --> 00:38:23.280
<v Speaker 2>her for two weeks. To Shay Joyce, as she's mocking Alex,

697
00:38:24.320 --> 00:38:26.639
<v Speaker 2>she picks up this is bell that's on the coffee

698
00:38:26.679 --> 00:38:28.920
<v Speaker 2>table that he's put there during his preparations.

699
00:38:29.000 --> 00:38:31.480
<v Speaker 1>This is great, Yeah, because they this is a payoff,

700
00:38:31.920 --> 00:38:34.599
<v Speaker 1>because she mentions it Earlier's like, don't touch that bell,

701
00:38:36.239 --> 00:38:37.280
<v Speaker 1>that's right now.

702
00:38:37.320 --> 00:38:38.400
<v Speaker 2>So it's like, what are you talking about?

703
00:38:38.400 --> 00:38:40.480
<v Speaker 1>Wedding bells? And she just starts ringing it.

704
00:38:40.760 --> 00:38:44.639
<v Speaker 2>Yeah, well it's Chekhov's bell. You don't introduce a bell

705
00:38:44.719 --> 00:38:46.239
<v Speaker 2>at the ending of the scene if you're not going

706
00:38:46.239 --> 00:38:48.320
<v Speaker 2>to use it. So yeah, she picks up the bell

707
00:38:48.400 --> 00:38:50.920
<v Speaker 2>and she go wedding bells. She rings it, and at

708
00:38:50.920 --> 00:38:54.760
<v Speaker 2>that point on Q three, violinists parade through the apartment

709
00:38:54.880 --> 00:38:59.079
<v Speaker 2>playing as time goes by, which cracks up Joyce. She's

710
00:39:00.280 --> 00:39:03.639
<v Speaker 2>Alex is rightfully embarrassed, but she's she just thinks it's

711
00:39:03.639 --> 00:39:05.239
<v Speaker 2>the funniest thing, which is so sweet.

712
00:39:05.639 --> 00:39:10.519
<v Speaker 1>Right, Yeah, she's not mad. This isn't there's no rancor here.

713
00:39:10.679 --> 00:39:14.239
<v Speaker 1>This isn't an acrimonious breakup. But if it is awkward

714
00:39:14.280 --> 00:39:16.840
<v Speaker 1>and weird because it is happening, and it's happening under

715
00:39:16.840 --> 00:39:20.639
<v Speaker 1>the circumstances, but the circumstances are so extreme, the only

716
00:39:20.679 --> 00:39:23.719
<v Speaker 1>thing that would have just seen better HP is as

717
00:39:23.760 --> 00:39:28.559
<v Speaker 1>if that door burst open into mariachi band came came out.

718
00:39:28.760 --> 00:39:30.599
<v Speaker 2>I kind of thought it was going to be because

719
00:39:30.599 --> 00:39:36.880
<v Speaker 2>I hadn't remembered this part with the big sombrero. It

720
00:39:37.000 --> 00:39:40.679
<v Speaker 2>be great, the guitars, Yeah.

721
00:39:39.800 --> 00:39:42.880
<v Speaker 1>Yeah, like this is the celebratory thing. Like, man, it

722
00:39:42.920 --> 00:39:45.400
<v Speaker 1>was like, yeah, you're getting married, that's what the bell

723
00:39:45.559 --> 00:39:45.880
<v Speaker 1>was for.

724
00:39:46.480 --> 00:39:49.000
<v Speaker 2>This cracks her up, and the humor of that moment,

725
00:39:49.079 --> 00:39:51.639
<v Speaker 2>I think, finally breaks the tension between the two of them,

726
00:39:52.480 --> 00:39:56.280
<v Speaker 2>and finally they both agree to say goodbye when it's

727
00:39:56.679 --> 00:39:59.880
<v Speaker 2>time for her to go. At this point, Alex let's

728
00:40:00.039 --> 00:40:02.000
<v Speaker 2>oh of this fantasy that he's going to marry her

729
00:40:02.039 --> 00:40:05.800
<v Speaker 2>after two weeks. They agree to enjoy the time they

730
00:40:05.800 --> 00:40:08.079
<v Speaker 2>have left together, which is only a couple of days.

731
00:40:08.760 --> 00:40:11.880
<v Speaker 2>And this is I love this little button. I just

732
00:40:12.199 --> 00:40:14.239
<v Speaker 2>I don't know, it just made kind of chuckle a

733
00:40:14.280 --> 00:40:18.920
<v Speaker 2>little bit suggestively. She starts leading Alex by the hand,

734
00:40:19.960 --> 00:40:23.480
<v Speaker 2>and presumably they're gonna take he's gonna take him to

735
00:40:23.519 --> 00:40:25.920
<v Speaker 2>the bedroom to fuck the sadness away. That's what I

736
00:40:25.920 --> 00:40:28.960
<v Speaker 2>wrote down. I just love this image of her, like,

737
00:40:29.000 --> 00:40:31.320
<v Speaker 2>all right, let's just get let's get on with it.

738
00:40:32.079 --> 00:40:34.199
<v Speaker 1>They got two days. No, I don't think she's like

739
00:40:34.239 --> 00:40:36.000
<v Speaker 1>doing him a favor. She's going to get something out

740
00:40:36.039 --> 00:40:38.000
<v Speaker 1>of it too. You know, she's gonna miss him as well,

741
00:40:38.119 --> 00:40:43.519
<v Speaker 1>like she It's a it's a mutually pleasurable two day

742
00:40:43.639 --> 00:40:46.440
<v Speaker 1>orgasm before she's jetting off to the coast.

743
00:40:47.880 --> 00:40:50.760
<v Speaker 2>Yeah, it's just it's so the whole thing ends up

744
00:40:50.800 --> 00:40:54.599
<v Speaker 2>so sweet because you can still see that Alex is

745
00:40:54.639 --> 00:40:58.000
<v Speaker 2>a bit dumbfounded by everything that's transpired, and he's sad

746
00:40:58.039 --> 00:41:01.360
<v Speaker 2>about it, but he's resolved to make the best of

747
00:41:01.400 --> 00:41:03.440
<v Speaker 2>the next couple of days with her and make it

748
00:41:03.480 --> 00:41:05.760
<v Speaker 2>as beautiful as possible for the two of them.

749
00:41:06.000 --> 00:41:08.760
<v Speaker 1>No, we cut to a year later in Malibu and

750
00:41:09.400 --> 00:41:14.719
<v Speaker 1>it's Joyce and another actress and the dialogue is a

751
00:41:14.760 --> 00:41:17.880
<v Speaker 1>cab driver. Yeah, I was really, I don't know. I'm

752
00:41:17.920 --> 00:41:21.079
<v Speaker 1>just kind of just kind of lost after I lost

753
00:41:21.119 --> 00:41:23.880
<v Speaker 1>that job. I was there for eight years. Eight years, yeah,

754
00:41:23.920 --> 00:41:26.880
<v Speaker 1>eight years. Crazy, but he was sweet. I don't know.

755
00:41:27.239 --> 00:41:30.320
<v Speaker 2>Cab drivers and It turns out when I got to La,

756
00:41:30.840 --> 00:41:32.760
<v Speaker 2>I went to a doctor, I wasn't feeling well, and

757
00:41:32.840 --> 00:41:36.159
<v Speaker 2>you know what, he diagnosed me as being manic depressive,

758
00:41:36.599 --> 00:41:38.880
<v Speaker 2>and then he put me on this medication. And I've

759
00:41:38.920 --> 00:41:42.159
<v Speaker 2>never thought more clearly in my life. Boy, I dodged

760
00:41:42.159 --> 00:41:43.480
<v Speaker 2>a bullet with that Cabby.

761
00:41:43.559 --> 00:41:46.800
<v Speaker 1>Do you know he proposed get out of here? He did.

762
00:41:47.960 --> 00:41:49.320
<v Speaker 1>I actually considered it.

763
00:41:49.719 --> 00:41:52.519
<v Speaker 2>As she's leading him to the bedroom in this very

764
00:41:52.920 --> 00:41:56.599
<v Speaker 2>you know, beautiful fashion, there's a large there's a loud

765
00:41:56.639 --> 00:42:01.079
<v Speaker 2>bang that catches Joyce's attention coming from what in this

766
00:42:01.440 --> 00:42:04.559
<v Speaker 2>scene is the closet, but later we'll find out is

767
00:42:04.599 --> 00:42:08.000
<v Speaker 2>actually the door to the hallway. But for some reason

768
00:42:08.119 --> 00:42:11.239
<v Speaker 2>it's a little different. This is like a multiverse Alex's department,

769
00:42:11.920 --> 00:42:15.320
<v Speaker 2>and they've passed the closet and Alex is this is

770
00:42:15.360 --> 00:42:17.000
<v Speaker 2>just like the bell. Don't open it, don't open it,

771
00:42:17.320 --> 00:42:20.960
<v Speaker 2>and she opens it. An avalanche of balloons. There's more

772
00:42:21.000 --> 00:42:23.840
<v Speaker 2>balloons that come out of, let's face it, more balloons

773
00:42:23.880 --> 00:42:27.599
<v Speaker 2>come out of the closet than could actually physically fit.

774
00:42:27.840 --> 00:42:29.960
<v Speaker 2>They must have had behind the facade.

775
00:42:31.079 --> 00:42:33.599
<v Speaker 1>Oh yeah, that room stretches on and on back there

776
00:42:33.599 --> 00:42:37.800
<v Speaker 1>where we can't see so they got a hallway with balloons, and.

777
00:42:37.760 --> 00:42:41.000
<v Speaker 2>They must have turned on a fan, because not only

778
00:42:41.440 --> 00:42:44.079
<v Speaker 2>do the balloons start spilling out, but they start like

779
00:42:44.519 --> 00:42:48.119
<v Speaker 2>rushing out as if propelled by a fan, which I

780
00:42:48.159 --> 00:42:51.599
<v Speaker 2>think is what's happening here, and that cracks the both

781
00:42:51.599 --> 00:42:54.679
<v Speaker 2>of them up, and they kiss and it's it's a

782
00:42:54.800 --> 00:42:59.639
<v Speaker 2>very nice little button to the scene, and we fade out.

783
00:43:00.079 --> 00:43:03.559
<v Speaker 2>We cut back to the garage now and we see

784
00:43:03.760 --> 00:43:07.119
<v Speaker 2>Alex morose. Alex is sitting by the coffee machine, and

785
00:43:07.199 --> 00:43:10.920
<v Speaker 2>where we understand now that this is probably, you know,

786
00:43:11.440 --> 00:43:14.559
<v Speaker 2>Joyce's left. The Lane comes in and she asks Alex

787
00:43:14.599 --> 00:43:17.320
<v Speaker 2>if he wants to talk about Joyce leaving that day.

788
00:43:17.360 --> 00:43:19.920
<v Speaker 2>I guess it was that day that she left, and Alex,

789
00:43:20.480 --> 00:43:22.840
<v Speaker 2>as he does, plays it off, and the rest of

790
00:43:22.880 --> 00:43:25.880
<v Speaker 2>the cave has expressed concern about him. Now, this is

791
00:43:26.079 --> 00:43:27.639
<v Speaker 2>the funny thing. I just want to break in for

792
00:43:27.639 --> 00:43:29.840
<v Speaker 2>a minute. The funny thing is my memory of this

793
00:43:29.960 --> 00:43:34.199
<v Speaker 2>episode ended with him sitting morosely at the coffee machine.

794
00:43:34.199 --> 00:43:36.960
<v Speaker 2>I totally forgot about this whole additional bit. So this

795
00:43:37.079 --> 00:43:40.079
<v Speaker 2>was an added to light. What happens is Jim is

796
00:43:40.079 --> 00:43:43.639
<v Speaker 2>the one who offers to help Alex talk to Alex

797
00:43:43.679 --> 00:43:45.320
<v Speaker 2>about what he's going through, and they all kind of

798
00:43:45.320 --> 00:43:49.039
<v Speaker 2>scoff at him, and Jim reminds them that he's a

799
00:43:49.079 --> 00:43:52.960
<v Speaker 2>man of the cloth. Don't forget he married Latka and

800
00:43:53.280 --> 00:43:56.440
<v Speaker 2>the prostitute in the paper marriage episode from season one,

801
00:43:56.880 --> 00:43:58.880
<v Speaker 2>so it makes a lot of sense that he would

802
00:43:58.880 --> 00:44:01.719
<v Speaker 2>be the one to try to offer comfort to a

803
00:44:01.719 --> 00:44:05.079
<v Speaker 2>member of his flock, so to speak. For some odd reason,

804
00:44:05.280 --> 00:44:09.159
<v Speaker 2>he takes Loca with him to talk to Alex.

805
00:44:09.239 --> 00:44:14.280
<v Speaker 1>This is so bizarre, and well, no, it's more bizarre

806
00:44:14.320 --> 00:44:18.320
<v Speaker 1>than that, because he's like, I'm gonna go talk to him,

807
00:44:18.320 --> 00:44:20.360
<v Speaker 1>and they're like, are you sure you can handle it?

808
00:44:21.440 --> 00:44:25.519
<v Speaker 1>And as if he needs backup, he brings Loka Like

809
00:44:26.960 --> 00:44:30.199
<v Speaker 1>it was the weirdesty, Like, look, what we end up

810
00:44:30.199 --> 00:44:33.639
<v Speaker 1>getting is sitting on a bench a sandwich of riger

811
00:44:34.199 --> 00:44:39.199
<v Speaker 1>with bread of Laka and Reverend Jim. So it's pretty great,

812
00:44:39.360 --> 00:44:42.840
<v Speaker 1>But what a weird contrivance to get us there. How

813
00:44:42.840 --> 00:44:45.079
<v Speaker 1>about they just both walk over to talk to Alex.

814
00:44:45.119 --> 00:44:46.599
<v Speaker 1>Why do we have Why do we have to be

815
00:44:46.719 --> 00:44:48.280
<v Speaker 1>talked into this? It's weird.

816
00:44:48.719 --> 00:44:53.480
<v Speaker 2>It gets weirder though, so Loca for privacy, Loaca offers

817
00:44:53.760 --> 00:44:56.400
<v Speaker 2>to go with the two of them to the toolroom

818
00:44:56.960 --> 00:44:59.639
<v Speaker 2>to talk. And this is the same we've seen this toolroom,

819
00:45:00.079 --> 00:45:03.039
<v Speaker 2>but the episode where Alex had sex with lock his mother,

820
00:45:03.760 --> 00:45:06.880
<v Speaker 2>this is where he goes to basically fuck off and

821
00:45:07.440 --> 00:45:10.679
<v Speaker 2>drink his native wine from his country and whatever a

822
00:45:10.760 --> 00:45:15.280
<v Speaker 2>fall asleep. Who knows, so sniff. So they they so

823
00:45:15.320 --> 00:45:19.880
<v Speaker 2>they go into this, uh, this tool room, and it's

824
00:45:19.960 --> 00:45:20.559
<v Speaker 2>being configured.

825
00:45:20.599 --> 00:45:22.239
<v Speaker 1>By the way, was.

826
00:45:22.239 --> 00:45:24.039
<v Speaker 2>It really be confided? I didn't notice too much.

827
00:45:24.440 --> 00:45:28.800
<v Speaker 1>The same idiot. No, my god. They come in from

828
00:45:28.880 --> 00:45:33.840
<v Speaker 1>where the lockers used to be. If you remember that

829
00:45:34.079 --> 00:45:35.639
<v Speaker 1>it was on the other side of the room and

830
00:45:35.679 --> 00:45:37.599
<v Speaker 1>next to the door. Was that was the poster, the

831
00:45:37.679 --> 00:45:41.559
<v Speaker 1>like the the Ewajima poster now the Ewagma posters over

832
00:45:41.719 --> 00:45:46.159
<v Speaker 1>here where they walk in through the door. So yeah,

833
00:45:46.199 --> 00:45:48.000
<v Speaker 1>that was that was unusual.

834
00:45:48.239 --> 00:45:50.360
<v Speaker 2>You're right because they I think they came in like

835
00:45:50.480 --> 00:45:54.360
<v Speaker 2>stage left before and now they're coming into the very

836
00:45:54.480 --> 00:45:57.079
<v Speaker 2>This is so we're in a multi verse of madness

837
00:45:57.159 --> 00:46:00.239
<v Speaker 2>in the Sunshine Cab Company. Not only is Alex his

838
00:46:00.280 --> 00:46:03.000
<v Speaker 2>apartment totally reconfigured, but so's the toolroom.

839
00:46:03.360 --> 00:46:05.000
<v Speaker 1>Burns. I blame Burns.

840
00:46:06.239 --> 00:46:10.480
<v Speaker 2>It's a final bewitchment, enchantment he put over the cabvies.

841
00:46:11.840 --> 00:46:13.639
<v Speaker 2>So what I love about the way the scene is

842
00:46:13.679 --> 00:46:17.840
<v Speaker 2>blocked is Jim goes behind a tool chest and he

843
00:46:17.920 --> 00:46:21.400
<v Speaker 2>starts to oorate like a preacher behind a pulpit. Yeah,

844
00:46:21.559 --> 00:46:24.199
<v Speaker 2>but it's but it's like a snap on tool chest.

845
00:46:24.320 --> 00:46:27.400
<v Speaker 2>It's you know, it's about that height though, And Jim

846
00:46:27.519 --> 00:46:30.960
<v Speaker 2>is offering stilted metaphors like life is like an ice

847
00:46:31.000 --> 00:46:36.639
<v Speaker 2>cream cone, while all the while Loaca is testifying like hallelujah,

848
00:46:36.719 --> 00:46:40.840
<v Speaker 2>it's really funny, and Alex Alex is just watching in silence.

849
00:46:40.880 --> 00:46:42.360
<v Speaker 2>He doesn't know what to make of any of this,

850
00:46:43.079 --> 00:46:47.440
<v Speaker 2>and Loca is so moved by Jim's sermon, and it

851
00:46:47.519 --> 00:46:50.280
<v Speaker 2>becomes clear that not only did Jim think he was

852
00:46:50.320 --> 00:46:53.280
<v Speaker 2>helping Loka, but he's mixed up all of the Cabby's

853
00:46:53.440 --> 00:46:57.760
<v Speaker 2>attributes into Loca. He calls Loca Bobby and thinks he's

854
00:46:57.840 --> 00:47:00.800
<v Speaker 2>a boxer raising two kids all on his own. So

855
00:47:00.840 --> 00:47:06.239
<v Speaker 2>he's combined all of this Cabbies into one amorphos creation.

856
00:47:07.360 --> 00:47:11.920
<v Speaker 2>But actually Jim's confusion seems to cheer Alex up, or

857
00:47:12.000 --> 00:47:15.800
<v Speaker 2>at least take his mind off of his troubles, And

858
00:47:16.679 --> 00:47:19.239
<v Speaker 2>this is the best part. It even leads to what

859
00:47:19.559 --> 00:47:23.119
<v Speaker 2>might be the first time Jim ever says the word

860
00:47:23.320 --> 00:47:24.440
<v Speaker 2>ALKI donk.

861
00:47:24.559 --> 00:47:26.679
<v Speaker 1>Did you notice that I did?

862
00:47:26.800 --> 00:47:30.519
<v Speaker 2>Actually, because that becomes one of his trademarks, right, But

863
00:47:30.599 --> 00:47:32.960
<v Speaker 2>he does say that as he's leaving the tool room,

864
00:47:33.639 --> 00:47:37.800
<v Speaker 2>and finally Jim leaves Alex alone in the room, and

865
00:47:37.920 --> 00:47:40.840
<v Speaker 2>all Alex can do at this point is just laugh

866
00:47:40.920 --> 00:47:43.400
<v Speaker 2>at the absurdity of it all. And we see him

867
00:47:43.440 --> 00:47:46.800
<v Speaker 2>finally a little cheered up from the events of the day,

868
00:47:47.440 --> 00:47:50.480
<v Speaker 2>and that's it. We fade the black and that is

869
00:47:50.599 --> 00:47:54.679
<v Speaker 2>that's Alex's romance. Now let's talk yellow lights. What does

870
00:47:54.719 --> 00:47:58.679
<v Speaker 2>he know light mean? Reminder, we score on a scale

871
00:47:58.719 --> 00:48:02.079
<v Speaker 2>of one yellow light to fire. I've one yellow light

872
00:48:02.400 --> 00:48:06.679
<v Speaker 2>is the worst. Taxi Episode five is the best, and

873
00:48:06.719 --> 00:48:08.960
<v Speaker 2>as is also our custom, We're gonna throw it over

874
00:48:08.960 --> 00:48:11.519
<v Speaker 2>to you, father alone. What do you give? How many

875
00:48:11.559 --> 00:48:13.679
<v Speaker 2>yellow lights do you give Alex's romance?

876
00:48:14.599 --> 00:48:15.760
<v Speaker 1>Four yellow lights?

877
00:48:16.840 --> 00:48:22.760
<v Speaker 2>Four yellow lights? Really? Yeah, Wow, that's surprising. I didn't

878
00:48:22.760 --> 00:48:26.760
<v Speaker 2>think I gave it three yellow lights?

879
00:48:27.400 --> 00:48:28.800
<v Speaker 1>Wow, you're long for once.

880
00:48:30.599 --> 00:48:34.039
<v Speaker 2>Well, no, here's the thing. My reasoning is, I look,

881
00:48:34.079 --> 00:48:38.119
<v Speaker 2>I really really enjoyed this episode, despite the fact that

882
00:48:38.159 --> 00:48:41.800
<v Speaker 2>it's not necessarily one that I would rewatch all that often.

883
00:48:42.239 --> 00:48:44.360
<v Speaker 2>As evidenced by the fact that I forgot all about

884
00:48:44.360 --> 00:48:47.320
<v Speaker 2>this bit with Jim and Laca at the end. D

885
00:48:47.519 --> 00:48:51.639
<v Speaker 2>Wallace is fantastic in her performance. You can see why

886
00:48:51.679 --> 00:48:55.360
<v Speaker 2>Alex would be so bewitched by this woman. And as

887
00:48:55.400 --> 00:48:58.000
<v Speaker 2>for Alex, even though it might seem unbelievable, like I

888
00:48:58.159 --> 00:49:01.639
<v Speaker 2>keep saying, his behavior is very consistent with his past

889
00:49:01.679 --> 00:49:04.840
<v Speaker 2>and future behavior. There's not much input from the rest

890
00:49:04.840 --> 00:49:08.800
<v Speaker 2>of the cabvies, which is negative, but the final scene

891
00:49:08.800 --> 00:49:11.920
<v Speaker 2>with Jim is charming. Once again. He hasn't become the

892
00:49:11.920 --> 00:49:15.039
<v Speaker 2>full on drug casualty that we'll see in later seasons,

893
00:49:15.480 --> 00:49:18.159
<v Speaker 2>but I mean, three yellow Lights is still above average

894
00:49:18.159 --> 00:49:21.519
<v Speaker 2>in my book, put it above and beyond for you.

895
00:49:22.079 --> 00:49:26.599
<v Speaker 1>The series tends to do group episodes and then individual episodes.

896
00:49:27.239 --> 00:49:30.519
<v Speaker 1>The individual episodes for me, for the most part, have

897
00:49:30.639 --> 00:49:35.400
<v Speaker 1>been the most disappointing part of the show because the

898
00:49:35.480 --> 00:49:40.679
<v Speaker 1>first season was riddled with aspirational episodes. I'm going to

899
00:49:40.719 --> 00:49:42.440
<v Speaker 1>get out of this I've got my dream job, I'm

900
00:49:42.440 --> 00:49:47.880
<v Speaker 1>getting out of this lifestyle going away, which sort of

901
00:49:48.519 --> 00:49:52.159
<v Speaker 1>paints everyone with the same brush and makes everyone's life

902
00:49:52.320 --> 00:49:56.679
<v Speaker 1>only about their occupations. So the next step up that

903
00:49:57.000 --> 00:50:00.920
<v Speaker 1>rung up that ladder is. Of course there romantic lives.

904
00:50:01.079 --> 00:50:05.960
<v Speaker 1>But this is the second episode with Rieger. We've had

905
00:50:06.079 --> 00:50:09.280
<v Speaker 1>three altogether sort of romantic episodes. We've had Angela, we

906
00:50:09.360 --> 00:50:12.199
<v Speaker 1>had the Joanna Cassidy episode. Now we've had this episode.

907
00:50:12.480 --> 00:50:18.320
<v Speaker 1>And Riger's romantic episodes always come from an odd angle.

908
00:50:18.400 --> 00:50:20.800
<v Speaker 1>It seem I really liked this one. Not only do

909
00:50:20.880 --> 00:50:23.920
<v Speaker 1>I like the characters here, do not only do I

910
00:50:24.039 --> 00:50:27.480
<v Speaker 1>like that everyone's behaving like an adult. There's no need

911
00:50:27.480 --> 00:50:31.559
<v Speaker 1>to stretch reality or contrive something to make this or

912
00:50:31.599 --> 00:50:34.519
<v Speaker 1>that happen other than this the basic sitcom contrivance of hey,

913
00:50:34.519 --> 00:50:36.679
<v Speaker 1>I've got a job and I've got to move away.

914
00:50:37.679 --> 00:50:41.960
<v Speaker 1>What I particularly like is any other sitcom the last

915
00:50:41.960 --> 00:50:44.800
<v Speaker 1>shot the fade out would have been the door opening

916
00:50:44.920 --> 00:50:52.039
<v Speaker 1>and all of the balloons coming out, you know. But

917
00:50:52.039 --> 00:50:55.679
<v Speaker 1>but here we get this coda where characters try to

918
00:50:56.480 --> 00:50:59.920
<v Speaker 1>cheer up Rieger accomplish nothing at all other than just say,

919
00:51:00.199 --> 00:51:03.079
<v Speaker 1>and now you're stuck with us fucking weirdos. It's an

920
00:51:03.079 --> 00:51:10.519
<v Speaker 1>odd and to what is a charming and exceedingly economical episode.

921
00:51:10.599 --> 00:51:13.719
<v Speaker 1>The fact that the third the I mean it's is

922
00:51:13.760 --> 00:51:16.519
<v Speaker 1>it would you consider that end part like more of

923
00:51:16.559 --> 00:51:21.119
<v Speaker 1>a bumper, like an extended bumper the stuff with Jim, And.

924
00:51:23.079 --> 00:51:26.440
<v Speaker 2>I don't think so, because aren't usually the bumpers don't

925
00:51:26.440 --> 00:51:28.559
<v Speaker 2>they usually have more to do with the B plot.

926
00:51:28.840 --> 00:51:31.000
<v Speaker 2>Or maybe I'm just making that up in my mind,

927
00:51:31.079 --> 00:51:33.320
<v Speaker 2>but I that's what I always assumed or thought of

928
00:51:33.400 --> 00:51:34.199
<v Speaker 2>as a bumper.

929
00:51:34.480 --> 00:51:38.199
<v Speaker 1>You're right, that's yeah, the bumpers usually wrap up the

930
00:51:38.199 --> 00:51:41.679
<v Speaker 1>B plot. Yeah, there is no B plot. This is

931
00:51:41.760 --> 00:51:44.039
<v Speaker 1>just more so I don't know. Maybe maybe they combine

932
00:51:44.079 --> 00:51:46.880
<v Speaker 1>a plot and B plot wrapping up into this final

933
00:51:47.119 --> 00:51:49.760
<v Speaker 1>bumper here, So it became twice as long because it's

934
00:51:49.800 --> 00:51:51.800
<v Speaker 1>not a full act. You can't call it that.

935
00:51:52.880 --> 00:51:56.280
<v Speaker 2>Right, right, you know what You've You've convinced me for blone,

936
00:51:56.280 --> 00:51:58.440
<v Speaker 2>I'm gonna I'm gonna bump this up a light. I'm

937
00:51:58.480 --> 00:52:01.039
<v Speaker 2>going to go to four yellow lights on this because

938
00:52:01.079 --> 00:52:06.360
<v Speaker 2>I'm also thinking more about how there's there's a maturity

939
00:52:07.000 --> 00:52:11.480
<v Speaker 2>about an episode that's focusing on this, you know, not

940
00:52:11.599 --> 00:52:15.280
<v Speaker 2>that Alex is at this point like an old man,

941
00:52:15.400 --> 00:52:18.320
<v Speaker 2>let's say, or but he's a mature adult. He's caught

942
00:52:18.360 --> 00:52:22.519
<v Speaker 2>up in the rush of this sort of infatuation, this relationship,

943
00:52:22.519 --> 00:52:24.719
<v Speaker 2>and I love the way it plays out. I love

944
00:52:24.760 --> 00:52:27.320
<v Speaker 2>the fact that he ends up really playing the fool,

945
00:52:27.920 --> 00:52:30.880
<v Speaker 2>and the woman that you think is scattered and overly

946
00:52:30.920 --> 00:52:33.119
<v Speaker 2>emotional for lack of a better phrase, is actually the

947
00:52:33.159 --> 00:52:35.960
<v Speaker 2>mature one and she turns it around on him. But

948
00:52:36.000 --> 00:52:40.599
<v Speaker 2>despite that, she's not She doesn't run from Alex, despite

949
00:52:40.800 --> 00:52:42.960
<v Speaker 2>all of this weirdness he throws at her and the

950
00:52:43.320 --> 00:52:46.880
<v Speaker 2>proposal scene, it's just the word I can keep coming

951
00:52:46.920 --> 00:52:49.239
<v Speaker 2>back to his charming for that reason. You know what,

952
00:52:49.880 --> 00:52:51.599
<v Speaker 2>it's worth an extra yellow light, so I'll give it

953
00:52:51.599 --> 00:52:53.840
<v Speaker 2>four yellow lights too. This might be a first. This

954
00:52:53.920 --> 00:52:55.960
<v Speaker 2>might be the first time you've convinced me to bump

955
00:52:56.039 --> 00:52:59.039
<v Speaker 2>up a yellow light bottom alone, So.

956
00:52:58.960 --> 00:53:00.960
<v Speaker 1>I think I've conditioned to went away before.

957
00:53:01.559 --> 00:53:08.039
<v Speaker 2>That's right, that's true. But no, you're right, I can't. Yes,

958
00:53:08.079 --> 00:53:11.079
<v Speaker 2>this isn't one that I would necessarily pick out of

959
00:53:11.119 --> 00:53:14.000
<v Speaker 2>the available grouping to watch if I wanted a quick

960
00:53:14.239 --> 00:53:17.559
<v Speaker 2>you know, a quick watch. But it's a good one.

961
00:53:17.760 --> 00:53:21.800
<v Speaker 2>It's well written, economical, as you said, and it's fun

962
00:53:21.840 --> 00:53:25.119
<v Speaker 2>and it does all of this without James Burrows at

963
00:53:25.159 --> 00:53:28.719
<v Speaker 2>the helm. So bravo at Weinberger. He did a great job.

964
00:53:29.840 --> 00:53:30.599
<v Speaker 1>He really did.

965
00:53:30.760 --> 00:53:33.360
<v Speaker 2>He did wonderful. So that's going to do it for

966
00:53:33.400 --> 00:53:36.719
<v Speaker 2>this episode of night Mister Walters, Father Alone. Where can

967
00:53:36.840 --> 00:53:39.880
<v Speaker 2>people find you when you're not clocked into the garage?

968
00:53:41.559 --> 00:53:44.280
<v Speaker 1>Check me out over at Weirdingwaymedia dot com. I have

969
00:53:44.280 --> 00:53:46.800
<v Speaker 1>a show called Midnight Viewing. It's on twice a week.

970
00:53:47.480 --> 00:53:51.079
<v Speaker 1>Mondays is a wrap up show, a weekly wrap up show,

971
00:53:51.079 --> 00:53:54.920
<v Speaker 1>and Friday's alternates between the Horror Anthology Podcast where we're

972
00:53:54.920 --> 00:53:56.519
<v Speaker 1>taking a look at town from the dark side and

973
00:53:56.639 --> 00:53:59.480
<v Speaker 1>Anthology's Attack where we take a look at anthology movies

974
00:53:59.519 --> 00:54:03.440
<v Speaker 1>of every genre. And oh, I have a Patreon if

975
00:54:03.440 --> 00:54:06.320
<v Speaker 1>you want to go subscribe there, you can do that.

976
00:54:06.320 --> 00:54:09.639
<v Speaker 1>That is a Patreon dot com slash fatherm Alone. You

977
00:54:09.639 --> 00:54:12.679
<v Speaker 1>can get all those episodes early and commercial free, and

978
00:54:13.239 --> 00:54:16.440
<v Speaker 1>got a few bonus episodes. And I'm actually started a

979
00:54:16.599 --> 00:54:21.079
<v Speaker 1>I'm starting I'm doing a sort of deep dive expose

980
00:54:21.119 --> 00:54:24.960
<v Speaker 1>a kind of thing on Penny Dreadful, the Showtime series

981
00:54:25.000 --> 00:54:29.880
<v Speaker 1>from a decade ago, going episode by episode on that'll

982
00:54:29.880 --> 00:54:31.480
<v Speaker 1>be part of the Patreon, So you can check me

983
00:54:31.480 --> 00:54:34.119
<v Speaker 1>out over there there.

984
00:54:34.320 --> 00:54:37.639
<v Speaker 2>It's a maybe a cliche, but I'm going to go

985
00:54:37.639 --> 00:54:40.280
<v Speaker 2>ahead and say that Father them Alone is the hardest

986
00:54:40.280 --> 00:54:45.039
<v Speaker 2>working man in podcasting. No One puts out more quality

987
00:54:45.119 --> 00:54:48.599
<v Speaker 2>content in his podcasts than Fallo them alone. He works

988
00:54:48.800 --> 00:54:51.599
<v Speaker 2>really hard at it, and I would encourage you. Any

989
00:54:51.639 --> 00:54:55.000
<v Speaker 2>one of these podcasts is surely worth your time to

990
00:54:55.079 --> 00:54:58.480
<v Speaker 2>check it out, so please do so. As for myself,

991
00:54:58.679 --> 00:55:02.840
<v Speaker 2>when I'm not co hosting this fine podcast, you can

992
00:55:02.880 --> 00:55:05.800
<v Speaker 2>find me and other spots in the weirding Way Network.

993
00:55:06.119 --> 00:55:09.480
<v Speaker 2>I'm an occasional guest on the Culture Cast with Christashu.

994
00:55:09.639 --> 00:55:13.360
<v Speaker 2>And speaking of Father Malone's other podcasts, you can hear

995
00:55:13.480 --> 00:55:16.719
<v Speaker 2>some of my work soundtrack wise and other things on

996
00:55:16.760 --> 00:55:21.559
<v Speaker 2>his Dark Destinations podcast. If you love good storytelling, good

997
00:55:21.639 --> 00:55:26.079
<v Speaker 2>radio drama, please check that out. I also have a

998
00:55:26.119 --> 00:55:30.639
<v Speaker 2>bandcampsite hpmusicplace dot bandcamp dot com. Please check that out.

999
00:55:30.960 --> 00:55:33.519
<v Speaker 2>But again, thank you so much for listening. Please feel

1000
00:55:33.559 --> 00:55:35.800
<v Speaker 2>free to subscribe to the podcast to write a review

1001
00:55:36.280 --> 00:55:38.280
<v Speaker 2>rate us. We'd love to hear from you in any

1002
00:55:38.280 --> 00:55:41.280
<v Speaker 2>way you see fit so for myself and for Father Malone,

1003
00:55:41.400 --> 00:55:43.719
<v Speaker 2>thanks again and we'll see you all next time.