“Everything’s Okay” and “Somebody’s Been Reading Dante’s Inferno” contain one of the sexiest scenes in the whole series, some really comprehensible character behavior, and some mediocre delivery of that behavior.
The sisters spend a disproportionate amount of time gushing over the first several minutes of “Everything’s Okay,” only to ease into an almost grudging appreciation for the task the writers set themselves by requiring the details of the cases in the procedural to map to the drama of the central characters.
Because of Chloe’s (Lauren German) instance to Father Kinley (Graham Mctavish) that “you just don’t know him like I do,” Tracie has the painful realization that Lucifer (Tom Ellis) has been (arguably?) emotionally abusive to Chloe.
In a series of duck-related tangents, the sisters reference the Marx Brothers (Why a duck?), a song about a duck who wants a grape, Duck Tales, and Darkwing Duck (the latter of which may show up on a future episode of Deep Thoughts about Stupid Sh*t).
CW: Abstract discussion of abusive, co-dependent relationships.
Originally published as a YouTube show with different theme music.
Our theme song is "Feral Angel Waltz" Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 4.0 License
http://creativecommons.org/licenses/by/4.0/
To learn more about Tracie and Emily and our other projects, to support us, and join the Guy Girls' family, visit us on Patreon.
“Everything’s Okay” and “Somebody’s Been Reading Dante’s Inferno” contain one of the sexiest scenes in the whole series, some really comprehensible character behavior, and some mediocre delivery of that behavior.
The sisters spend a disproportionate amount of time gushing over the first several minutes of “Everything’s Okay,” only to ease into an almost grudging appreciation for the task the writers set themselves by requiring the details of the cases in the procedural to map to the drama of the central characters.
Because of Chloe’s (Lauren German) instance to Father Kinley (Graham Mctavish) that “you just don’t know him like I do,” Tracie has the painful realization that Lucifer (Tom Ellis) has been (arguably?) emotionally abusive to Chloe.
In a series of duck-related tangents, the sisters reference the Marx Brothers (Why a duck?), a song about a duck who wants a grape, Duck Tales, and Darkwing Duck (the latter of which may show up on a future episode of Deep Thoughts about Stupid Sh*t).
CW: Abstract discussion of abusive, co-dependent relationships.
Originally published as a YouTube show with different theme music.
Our theme song is "Feral Angel Waltz" Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 4.0 License
http://creativecommons.org/licenses/by/4.0/
To learn more about Tracie and Emily and our other projects, to support us, and join the Guy Girls' family, visit us on Patreon.
Tracy and Emily are smart, lovable sisters who really love Lucifer for the plot yeah, the plot which they overthink.
Speaker 2:I'm here with my sister, emily Guy-Burken she does not use a hyphen and I'm here with my sister, tracy Guy-Dekker she does use a hyphen, and together this is Lightbringers, where we illuminate the deeper meaning of the crime-solving devil TV show. And yes, we are overthinking it, so much overthinking. I'm really excited for today's episode we are breaking into. I started to say the best season, but actually I don't want to say that. Just a really good season. We're starting season four. We're starting season four. So today, is it your favorite season? Is it your favorite?
Speaker 2:Season two and four are my favorite and I think part of why I like season four is that it's a lean, mean ten episode machine. You know it. Just, it gets in, it gets the job done, all right. So starts off with four-oh-one and four-oh-two. Everything is okay. No, everything's okay. Apostrophe S and somebody's been reading Dante's Inferno. So it starts off with this amazing montage of Tom Ellis as Lucifer singing Radiohead. I'm a creep and it's amazing. So that was written for us. I mean, we were in high school in the 90s and that was, that was our song. That was when we were feeling low and, as Chloe says at the end, like I used to listen to the song when I was in high school and I was feeling lost. I'm like you were a little young for that, according to the show, but yes, yep, exactly, we were there when that song debuted, and yeah, so it starts off there.
Speaker 2:And then, oh sorry, really well done the montage, yeah, showing how time has passed, and actually the. I saw that the director of the show is Sherwin Shalati, I think is his name, who is also the director and I only remember this because someone mentioned it on AV Club or something Also the director of Till Death to Us Part, which is the episode that you really love, with Pierce and Lucifer going undercover as a American company, and then also God Johnson, which has that amazing montage oh yeah, those are great episodes, all three of those.
Speaker 2:Yeah, I think Sherwin has a real skill for the montage that says more than you would expect. Just a few seconds of airtime to show.
Speaker 1:Yeah.
Speaker 2:The changing colors, the changing clothes, clothing and the background and the people in the club listening, yeah, and speaking of suits, the last one that he's wearing is this classic black suit, white shirt, red, red, pocket square yeah, I noticed that too, and the color in the backdrop, like that. It's like a abstracted city scene, I think, sort of. I've seen it suggested that it looks like a throne and so it kind of or foreshadows or like a. I hear that it also sort of has a mandala effect, you know with sort of like potentially like abstracted wings kind of behind him.
Speaker 2:Yeah.
Speaker 1:It's good.
Speaker 2:It's good and in that very first, after that montage, that very first scene with Mr Setout bitch and his cronies, his minions, we start to see actually I think I mentioned this before we started recording I feel like our writers are giving us a foreshadow of the rest of the series really, but especially this season, about sort of second chances and redemption arcs and sort of like. But you're more than a thief, you know that sort of thing. Yeah, it was really foreshadowing and I don't think I didn't find it heavy handed Like. I found it like amusing enough that like I didn't, I wasn't like all right, okay, even in rewatch I enjoyed it, especially when Lee is just like uh, can I just go now? And then when he gets Maze Cross she's like stop, it's totally normal.
Speaker 2:Well, that actor, I'm very glad we get to see more of him in season five because I feel like that actor he's got amazing comedic timing, like he does a really good job of that. But there's also like there's the pathos. He's capable of pathos as well and and it's like the moment turns on a dime because he goes from like being terrified to being like super confused. I particularly like all right, fine, since you went without pants. Right, that's the time we met. Here's mine, right, right. And then we get view of what we somebody called I think maybe it was AB Club the MVP of the season. He's the most, he's the most, although his abs, I think, are I mean they, they get a close second. Yeah, yeah, an honorable mention. Yeah, really the whole torso, because he did he did a lot of work on his shoulders and chest as well. So Also, our writers note that he's naked from the waist down when Mays comes up and is like, oh hello, stranger, like looking at a scratch, no.
Speaker 1:I found that adorable.
Speaker 2:I loved that. Yes, even though I am, as a viewer, sometimes uncomfortable with the recognition that he and Mays slept together many times. I'm going to make it more uncomfortable when we meet Lilith, but I'll wait until we get there. Oh gosh, I don't even know about that. I'll wait until we get there. I'll wait. I don't want to think about that. I'm holding it. It's an ace in my sleeve. Okay, so let's move into the. I mean, we're stuck in the first five minutes of the episode. I know Well, because it's an excellent five minutes, it really is.
Speaker 2:Well, let's talk about the case.
Speaker 2:So something that I have been rethinking and overthinking as we've been doing this project is consistently, people will say that the case of the week is the weakest part of the show, and I don't think that's wrong.
Speaker 2:And we've talked about the fact that it's a procedural, which is, you know, such a common way to tell stories to the point where, like when you first were reading, like criticism, you're like, well, why wouldn't it be a procedural? What else would it be Right? Yeah, but I have been thinking lately about the creative challenge that the show runners have given themselves of making sure that the case of the week always ties back to the characters and sometimes that works well and sometimes it works less well. But I was thinking about it a lot in terms of this case and I think in part because by the time I got to season four, the first time I watched it I was like I went from, you know, I was watching one or two episodes a night to like clearing my schedule and so I was not seeing the parallels as much because I was watching it so like popcorn, just like consuming it.
Speaker 2:Yeah, I mean, I unhinged my jaw and swallowed the episodes and thinking about both just from the creative side, like how cool that is that the writers did that and created something that allowed them to tell these stories, anchoring it on something that was going to get green lit by Fox and then saved on Netflix, but then also being able to tell these really interesting stories about the human condition, using crime as the central metaphor. I still think that it could have been cool without that, but considering the box they were in, I appreciate what they've done with it. And then, especially within this episode, the case is about a second chance, right? Okay, so Bob the Knob. Bob the Knob Got to have a second chance, to have a different life from who he had been, and he slipped up. He glenned the other honey.
Speaker 2:Pervayer, pervayer, apervayer, aperi, aperi, I don't know. Beekeeper, bee guy, beekeeper. He did not deserve to be hit with a bag of doorknobs. Who does that? Who does that? Yeah, did not deserve that. But that doesn't mean that Bob the Knob deserved to die or that his wife would feel differently about him. I can't imagine she would be furious at him, but she wouldn't want him out of her life. Maybe I mean, and she didn't, she didn't get a chance. I found that really interesting because, as we're talking about second chances and at one point even Lucifer's like well, he's trying.
Speaker 1:And this is more than you're doing Slip up.
Speaker 2:That's more than you're doing. Yeah, and the place of righteous indignation that the Marshall stands on is very similar to Father Kinley's place of right indignation. More so in the future, right, in future episodes, we will see Father Kinley follow the Marshall precisely in these two episodes. We don't see it yet. I think, not quite, not quite. Well, I think we see a little bit in the second episode. I mean a little bit, but it's hard to know what I don't already know. Right, you know, right, I, yeah, I think in these two episodes in first watch I'm not sure that you would see the parallel with Father Kinley and the Marshall. Yet it definitely gets there in future episodes in this season. Yeah, and you know, all we know about Father Kinley in this first episode is that he and Chloe know each other. There's something that they're planning to do together and that she's really conflicted about. Yeah, so, but we're also seeing, you know she's she's coming back saying everything's okay and clearly is not.
Speaker 2:You know that recoil from from Lucifer, which was nothing Agreed, it was terrible, it was really terrible. It was like, yeah, agreed. You know I'm not a huge germ fan. I think that actually this season is part of why, but moments in this season, that being one of them, yeah, I just, I just, you just didn't feel it. I didn't believe it, I didn't, yeah, I just. You know the director was like okay, so like you're actually scared when he touches you, but I didn't, it felt. It felt like a performance. Yes, it was like it was for the cheap seats.
Speaker 1:Yeah.
Speaker 2:Yeah, exactly, and that's it just did. When you've got someone who's the master of subtlety, right, right, maybe, yeah, maybe that performance would have worked against a different actor if Lucifer played by someone other than Ellis. Yeah, yeah, anyway, that said, the characters, fear and response makes complete sense, total sense. Total sense, especially when we get to, when we realize that someone that we thought we trusted, in fact like a, you know, sociopath or a narcissist or whatever, the sort of the charismatic Machiavelli, it's so confusing and hard to like figure it out and that's just a like, standard, typical human way of being. So to have that kind of confusion on top of the. The like Celestials are real and this is the literal double. Yeah, it would be.
Speaker 2:I found the characters behavior completely comprehensible, well and particularly, and so we'll get into the second episode with this particularly with knowing that she's got father Kinley whispering in her ear and we are, because we've been on this, this journey, for three years, now four years. We know that Lucifer is not what Kinley is saying. He is, but he seems to be an expert, he is gentle and kind and and you know is is using arguments that seem unimpeachable. I mean, they're photographs of the man, of the man she knows with Nazis. Yeah, so you know, yeah, and I do appreciate her response when he says you know, whenever he comes to Earth, death and destruction follows.
Speaker 2:And she's like, hmm, that's circumstantial evidence of best, yeah, his response well, that's a lot of circumstantial evidence. And then I was thinking like, well, how do you? Death and destruction follows, like that's the human condition. So like, how do you know what? What parentheses to put around his time on? Yeah, and compare it to when he's not on it? Right, what is the control in this, in this comparison? Yeah, yeah, it's. It's interesting, though, because she's like, no, I will not accept that circumstantial evidence. And then later, is it the same episode when she's like if it walks like a duck and it talks like a duck, it probably murders like a duck. It's like she's accepted his.
Speaker 2:I think it's like when I'm justifying what she's doing with this additive yes, yes, I think that's what it is. Is that? Is she? Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. She needs something to believe in, and so you know. All right, it's gonna be a lot easier if I can just say like, if they are what they seem to be, then that's enough, and that also, I feel like, is very realistic and human, even among someone who requires as much evidence as Chloe does and who is as good a detective as she is. She has gotten the shock of her life and it's like global and personal. Yeah, right, right, it's not just global, it's cosmological.
Speaker 2:Yeah yeah, and that walks like a duck, murders like a duck. That's in the second, that's in the Don.
Speaker 1:Decker one.
Speaker 2:Yeah, yes, cause that's the reality TV, it's the reality TV show one, yeah, yeah, and that's. I can completely comprehend that, like if you're trying to convince yourself to do something you don't want to do, finding, yeah, unrelated things. It's interesting too, though, in that episode, in that second episode, where she has a genuine reaction with the fireball, with the gas explosion, and she's like, no, you know, when she thinks he's gonna be hurt, like she genuinely cares for him, which is not as a reason, we know that, but it's interesting that our writers had that come through after her, trying to convince herself that if it walks like a duck and talks like a duck, then it probably murders like a duck. That was an interesting moment, and actually I think you had a good point before we started recording about her confusion in that bit. Do you want to talk about that?
Speaker 2:Yeah, so, as I mentioned, I binged, particularly when I got to season four, and I didn't really take in her confusion about the fact that he's vulnerable sometimes and not others. And so when she gets angry at him after she breaks the wine glass and he's bleeding, and she gets angry and she's like are you doing this on purpose? Are you trying to make me care about you. This is the first time I really took it in, like, oh yeah, that would be really confusing.
Speaker 2:Like you know, he walked out of a fiery inferno, fine, and, but you know a little bit of a cut glass and he's bleeding and so is he doing. Is this a manipulation, right? Especially since Kimley has suggested he will do whatever it takes to charm her and, like, make these little adjustments. And she's even just said, no, white devil claw from the Pierce episode when he was trying to. Yes, and he said, well, that didn't go over so well, so I made adjustments, like, so he even sort of, in his language, kind of corroborated Kimley's story. So, yeah, that confusion makes a lot of sense and I agree with you. I'm not sure that I fully comprehended her lack of comprehension about when she's, when he is.
Speaker 2:Well, I think it was because in one of those, because it has been such a like a central, tenet of this, but it was a piece of traumatic irony.
Speaker 2:Yeah, well, we knew, but she didn't. Yeah, mm-hmm, yeah, that final, almost final scene of that one with the axe. Oh my God, I've watched that scene many times, so many times it that I don't know what it says about my psychology and conditioning, that that vulnerability is so friggin sexy. It really is so sexy. What she's got, like I don't want her to hurt him, but like when she's like no, so I could hurt you. And he's just like, yes, like I don't know, it's hot, it's really hot. Yeah, yeah, I will. And the fact that, like when, when she's like, but you, you, you jumped in front of it anyway to save me. Yes, and I would do it again.
Speaker 1:Like you jumped in front of it yes and again.
Speaker 2:Yes, and do it again and again, and again. And don't you know that by now? And it's just like yeah, A puddle, yeah, that scene. My spouse came in while that scene was on and I was just like do not say a word to ruin this. So my spouse was also watching with me and they kept asking me questions and I was like seriously, I cannot do this with you. Why is she doing that? What is happening? Where do they? Why doesn't she? What's with the bottle? What's? Stop talking. I love you, Go away. I feel like your spouse and my youngest need to sit together at movies and I think those moments are part of why we have such affection for season four. Because you know, it's not just that. There's that moment which is just hot, which is again like, Right, I don't want to Like, I'm not going to lay down on the couch with Linda, with my therapist.
Speaker 2:Yeah, I will, but not here. But there's that, and then there's also the dawning realization on Chloe's part of who he is and what he has done for her, which she never fully understands.
Speaker 2:She never really understood. I don't think she even does, even through season 6. I don't think she ever fully understands, like when he died and went to hell to get the like all of the things and the deal he made when Malcolm killed him, like so many things. I don't think she ever fully I mean, I don't know. Anyway, but this is the first time she has, she's starting to see it, yeah, and then I think it's also interesting that this comes immediately after the first episode, the scene where he's keeping the car from getting away, which is like genuinely kind of terrifying Because he's doing something that is physically impossible, humanly impossible, and like roaring, and you know now she knows who he is and what he is.
Speaker 2:And so the contrast between the vulnerability of having that axe against his chest versus, like you know, his hole in his hand but he's still able to hold on to a SUV, which is another one of those moments where, like the writers just seem to like whatever serves if he has superhuman strength when she's around or not. Yeah, anyway, I mean, if he self-actualizes, I guess I can sort of he needed it in that moment and so he self-actualized the strength in that moment, yeah, yeah, and he must also heal very quickly because he had a hole in his hand Like you could look through it. Right, they showed us that. They showed him look through it. Yeah, oh, speaking of. Actually it's almost like our writers were retroactively listening to or whatever in the future, because our last episode we talked about like why aren't there exit wounds? And like the bullets like in his pants.
Speaker 2:There weren't, and we saw that there were bullet holes in the back of his shirt, but the front of his shirt was fine, so yeah.
Speaker 2:So he once walked around with bullets in his clothes. We should have heard them go bing, bing, bing, bing, bing, bing, bing, bing, bing, or they dissolve in his celestial body. But you know, no exit wounds. So, yeah, I actually because we had just talked about it in our last episode I noticed that specifically. So when a menadil is at the coffee shop and he, like, sidles up next to somebody, is that Hildi? You know who that is? That was.
Speaker 1:Hildi right.
Speaker 2:It's Hildi, it's Hildi, like I'm an Hildi Hi Hildi, if you ever see this, we love you. I actually want to talk real quick about it's so on the nose, but it's perfect. In the same way that I feel like him seeing creep is so on the nose and yet perfect that he put on 90s jams for her because he knows that's her favorite music. And poison, poison that girl is always and it's like and I love that song, I love that song. Like he makes fun of her taste Belle Biv DeVoe, right, I think that's Belle Biv DeVoe Now. Belle Biv DeVoe Now, you know, they were just a big button smile. That girl is poised, okay, okay, okay, so he makes fun of her, so he makes fun of her. But you know, like that's actually that's a good song.
Speaker 2:It's a weird song for a romantic night, but you know he's the weird dude. He's a weird dude. It's one of those where, like it would never be like that in real life and yet I love it. You know, like the coincidence of it being the song poison, while she's trying to poison him, she's trying to roofie the devil, right? Why is it going to be in like that? Like, very like snow white wicked witch. Since the middle ages we've had this bottle of sacred roofies. We've been prepping for this since the 14th century here. Well, it's just like a prepare the holy hand grenade, prepare the holy roofies. And like, actually, when my spouse was like asking, I was like I don't remember the play how was she supposed to poison the? Like? It was a sedative and he was going to perform an exorcism, but but Lucifer wasn't I, he wasn't possessing anyone.
Speaker 2:The thing is, I think that might be what Kinley told her and he was actually just going to kill him. Oh, okay, well, maybe we'll find out. So I think it's really interesting. She's been telling her like this guy is manipulating you and then at the end she's like you knew that he was vulnerable about around me and he was like yeah, I suspected so. Like she doesn't know who to trust, right, Like that came home to me more strongly in this savoring than when I benched it, because I also did the same thing and just watched them all at once and just the degree to which. Like she just can't trust anyone or doesn't know who she can trust, because she doesn't know if she can trust her own instincts.
Speaker 2:At this point I feel like realizing that Kinley must have known that she made him vulnerable is what made her decide, not that she wouldn't work with him anymore. Yeah, because if he had been honest with her about that, she he might have been able to convince her. But because he tried to manipulate her, I mean, maybe, or maybe I mean that would have, which is why he didn't tell her. Because that changes, it changes the calculus To what you think of her, yeah, yeah, and what her role is or should be. Yeah, yeah, I really appreciate, like they do, good villains for the most part in the show, and Father Kinley is up there with Malcolm as one of my favorites, and it's partially because he choose the scenery somewhat too, not yet, yeah, well, I'm remembering as I'm watching that, like when I just watched it, I didn't, it didn't.
Speaker 2:So like this actor is really good, like we're going to get to see him with different personalities, which is really cool, oh, my goodness.
Speaker 2:Yeah, I don't want to get ahead of ourselves, but yeah, all right, let's talk about, actually like the Kinley-Cloé conversation, because I think we have talked before about some of the metaphors for mental illness in this show and this is a, you know, a key one that comes up again and again, like if they, if, if this person that I care about learn to I really am, then they're going to run away, which literally happens, and so it's hard for him to trust when she comes back.
Speaker 2:I'm getting away from myself. I want to talk about the fact that, with that in the background, this conversation that Kimmy and Chloe are having, where Chloe's like no, you don't know him, like I know him, is a little potentially problematic, right, because it's sort of the way that abused people, especially women, talk about their abusers, right, that sort of apology for abusers you just don't know him the way that I know him. That's a common way that the abused talk about their abusers when they are in that sort of codependent kind of a relationship. And I don't fault our writers for having her say that, because it is true, and he hasn't abused her. Well, he hasn't physically abused her. I mean, some of the ways that he's like pulling her near and pushing her away are sort of emotionally abusive. Yeah, I was going to say they weren't intentionally so, but impact and are not the same yeah.
Speaker 2:Yeah, yeah, that's true. Can I just say ouch, I didn't, I didn't know.
Speaker 1:I was going with that.
Speaker 2:Yeah, I don't like that. So this is going to sound. I'm not saying the writers gave themselves a fig leaf by making Kinley nefarious, but he was. He does not actually have Chloe's best interests at heart and the people who do like Dan aren't telling her what to do. So, like Dan is taking a similar stance where it's just like what other secrets is he keeping that we don't know? How can you forgive?
Speaker 1:him for trusting her. Yeah, yeah, yeah.
Speaker 2:Yeah, because, and that, yeah, that is how like the suggestions are for if you have a loved one who is in an abusive relationship, how to keep the channels open while planting seeds that you know you deserve better than this. Yeah, although I like the show makes it clear that Dan is also right. Dan is not particularly sympathetic right now. No, except that he is. I mean that the moment like when, if you view the whole context, he certainly is, he's been through a lot and the people he relied on the most were absent, but you still just the actual like while he's on screen. I'm not like, oh, sam, you know well, in that moment between him, I get it, I get it. It's just in the back of my head. I'm thinking he's lost someone who, whether or not it would have been true, he believed was the love of his life.
Speaker 2:And then his ex-wife, who is also a friend, and his daughter left for a month without saying anything. Well, we don't know if they said anything. Yeah, yeah, he's still Lee, for sure, he's still Lee left and his closest male friend, as far as we know yeah, as far as we know that he did go without saying a word and without yeah for no calls because they don't have telephone. So he had been sort of friendly with Lucifer but it was a weird relationship. But he's holding Lucifer responsible for Charlotte staff, which is understandable, and that like that, that moment when Menendale says she's in heaven and he immediately is like don't? I completely understand that.
Speaker 2:That's one of the. The way that a Menendale responds is lovely and Dan does get at least a moment of peace when he gets, when he hugs him. He's like you know what? I kind of believe you, that's just, that's meaningful, it's lovely and meaningful. And, yeah, the thing that I'm thinking that's a. It's never brought up, but it just occurred to me. Like you know, at one point Kinley says to Chloe we can't do this without you prior to her learning that she makes Lucifer vulnerable and I was thinking this time at the end, when she was leaving.
Speaker 2:Oh, he said it.
Speaker 2:I think he said it again, but he said it when she says I know, and that's, oh, yeah, no no, no he says it to her twice because he says we can't do this without you, or like we need you for this or something like that. And I had this thought, like might it occur to Chloe that like wouldn't it make sense to go talk to Ella? Since she is Catholic, she's already like that. She might be asking yourself why Kinley didn't, like she's similarly close to Lucifer I mean, not the same kind of closeness, but similarly close. Why aren't they asking Ella and kind of having that, but maybe that's, you know, extended universe, yeah, yeah, and like it's obvious why he didn't? Because it wouldn't, wouldn't be able to do what he wanted. Right, because he knew about the vulnerability thing. Yeah, the proximity to Chloe.
Speaker 2:I do want to talk about Linda May's amenity. Ill, well, linda's pregnancy. Before we started recording I was, I was asking, I was just like timing here, like this, how far along could she be? Because it's been a while, it feels like since, yeah, together, yeah, cuz they made up, cuz Linda and May's made up a month ago, yeah, well, and a minute deals with a lot of men, a deal, yeah, and they had stopped sleeping together by that point. So, yeah, yeah, so she's probably like, I'm thinking she's like three weeks.
Speaker 2:I'm more like 12. Okay, 10 to 12. She's of an age where, if she's a very menopause, like Periods, get a regular yeah, yeah her reaction. And then when she tells a men of Yola and that, like that other, the woman's like um, actually we're talking, we're kind of talking, and she just.
Speaker 2:Yeah, like all right, that is too much for me, a men of Yola kind of searching for purpose on earth. I appreciated that moment in Part because, like I feel like that's a common thing for adults. Oh yeah, in some ways I don't know what I want to be when I grow up 46 years old.
Speaker 2:Yeah yeah, you know, and all the people who like, okay, you need me, nope, don't need you, and not that. I think that having a baby is a good Purpose, but that was a lovely, particularly because it was just two people who are excited and not lovers. Yeah, you know, it shows a a cool way that co-parenting can work, which you know you don't often see. So I have an overthinking thing. Maybe this is fluff, I don't know, but was for plan this like long Opera, like chopper trip to San Francisco, and bought a dress for her and everything. And then she was like, uh, can we Like postpone? And so the next day we see LSA. I took my abuelita to the opera. Mm-hmm, isn't her abuelita in Detroit? I Think I'm. Well, it's a is in Detroit, I don't think she's in LA.
Speaker 2:Maybe her abuelita had come to visit and just happened to be in Los Angeles.
Speaker 1:I mean maybe.
Speaker 2:Lucifer flew her in. I don't know, but like that just seemed like a Head over thinking moment there I wondered that myself. Yeah, this is the start of speaking of Ella's, is the start of her crisis of faith Because of Charlotte's death, because of Charlotte's death, which is really understandable. But I also am wondering, like, considering the fact that she's raising bathtub chickens, had bob the turtle who did get along with Margaret the chicken, and it watched 27 seasons. Yeah, I'm thinking there's this. There's this great line from 30 Rock when Selma Hayek says to Outfalled wins character who used to be Catholic also, like I hope you're not one of those convenient Catholics who only goes to church on Sundays. So have we talked about all that? We want to talk?
Speaker 1:about my notes.
Speaker 2:We did not talk about Chloe keeping Trixie from maze. Oh, yes, I think we should talk about that, hmm, which is because, as a viewer, like the relationship between Trixie and mazes is just really satisfying as a parent, hmm, I totally get why Chloe was not so. Oh yeah, I'm excited to renew that. Yeah, I Well, and everything hits different, like the knives, the like casual Violence, mm-hmm, it's like my child around that. That's not okay, I mean. Why was it okay, though, when she was just a normal human, when she was just a bounty hunter? Now that I know she's a demon, all this casual violence and casual sex is not okay. There. That is a fair assessment, although there is a gentleness from maze towards Trixie that you don't see from her towards anyone her very first friend Besides Lucifer, who is a very good friend. Yeah, it's kind of a terrible friend. He gets better, but, yeah, although they did have that moment like, are you still mad about me betraying you? That was like a month ago. What am I human? Yeah, wow, of course I'm not.
Speaker 2:I did appreciate that where it's just like it's water under the bridge. Yeah, yeah, you know it's similarly. Trixie says to Mays I couldn't say I agree with you. You know, when Mays is like I'm so sorry and she's starting to cry and Trixie's like I know that, dummy, are we ready for fluff? I think we are what you got. Oh, I've got one. So when they go in the first episode actually, I've got two from the first episode. So first one when they go to Glen, the beekeeper at the farmers market, and he's looking back at Chloe and breaking the spell yes, when he finally makes eye contact he's like Glenn, glenn done.
Speaker 2:And he puts his hair behind his ears and I was just like, oh, I let him call me Glenn, I don't have any hair to tuck behind my ear, but I would still appreciate that gesture. And then Glenn actually had these gorgeous big brown eyes. It's like, oh, look at you, glenn. The other thing I appreciate is like oh, from Los Angeles and you and I think avocado honey isn't a big deal, it's just too far. I can't get more hippie than me. So that's the first one.
Speaker 2:The second one, I think of Lucifer and the good places being in conversation with each other, and we've talked about this a little bit before. But I feel like the title of the first episode, everything's okay. Now they do titles. Some of them are winks to fans, and this is the first episode after the hashtag save Lucifer campaign succeeded. So part of this, I think, is the showrunners saying like everything is okay, we're on Netflix now. So I think that was part of it. But it also is a kind of reflection of when Eleanor wakes up in the good place, she's across from a sign that says everything is fine, and then later on it says everything is great, and so I feel like this is also an intentional nod to the ways in which the good place also talks about the afterlife and what it means to be good and what it means to have second chances, and so I find that really, really interesting. My goodness, if Ildy and Joe and Michael Sher were on a podcast together.
Speaker 1:I would listen to the hell out of that.
Speaker 2:Yeah, me too. That would be awesome, but maybe and oh gosh, it'd be so good Because there'd be so much interesting stuff in there.
Speaker 2:Maybe the fellow, what was his name? The director of this first? Oh, therwin Shiladi. Yeah, yeah, yeah, that'd be pretty great, all right. So my one little piece of fluff. My spouse actually noticed it. When they are on that bridge, right before that recoil, that was very performative. There's a duck walking the other direction on the bridge. They're walking and this little duck just walking and then when they see that it's gone, I guess it was multiple takes or the duck just moved along. But just really funny that that duck is there and then in the next episode it walks like a duck and it blacks like a duck. I just was thinking about ducks. That's my little piece of I don't understand by the whole. I don't know how to stand by the whole. I don't understand by the duck. Yeah, I don't know how to stand by a duck, right by a duck, yeah, yeah. Anyway, that was just like a little piece of like continuity.
Speaker 1:They were like yeah, I'm leaving the duck, that's for people paying attention.
Speaker 2:Oh no, I have to go back. Yeah, it's a little. I'll just pour it because or it might have been a goose.
Speaker 2:It was a little waddling little waterfowl. I don't know if you know the duck song Like waddle, waddle, waddle, that's the doctor keeps going to lemonade stand asking for grapes. I don't know that song. The duck's kind of a sociopath, I don't know that song. He keeps asking for grapes and then the guys like I sell lemonade and finally takes them to the grocery store to buy grapes and the duck says do you think they have any lemonade here? It's my kids introduced me to it. I figured that. Well, you know, my spouse is really into duck related music. This is the DuckTales theme song. That's just on the console DuckTales, sorry, darkwing Duck is on Disney Plus now and I was like, oh, we're in, darkwing Duck is on Disney Plus. I was Darkwing Duck and I was like saying, the thing there's W, call it EW. The very first episode has disturbing misogyny. Oh no, you can't go home again. You never go home again. Don't watch Darkwing Duck on Disney Plus or skip the first episode.
Speaker 2:Well, we are so, overthinking it, we're like in a whole other universe. I'm calling it. I'm calling it. Actually, I gotta go. I have a haircut appointment. I have a haircut. Make sure they make sure they put your hair. Oh, I will. You're tenderly, maybe not See you next week. I'll see you next week.
Speaker 1:Our theme song is Ferrel Angel Waltz by Kevin MacLeod from Incompetentcom, licensed under Creative Commons by Attribution 4.0 License. Visit the show notes for the URL. I am an artificially generated voice powered by Narrakeepcom. Lucifer is a Warner Brothers production that first aired on Fox and then Netflix. Tracy and Emily are not affiliated with Fox, netflix nor WB. If you liked this episode, subscribe to keep overthinking with them and visit the show notes for other ways to connect.