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Join lifelong friends Niq and Jess as they dive into the world of television on their podcast, "Next Episode." Each week, they explore popular TV shows, from the latest binge-worthy series to timeless classics, offering insightful commentary, hilarious banter, and candid reviews. Whether you're looking for in-depth analysis, behind-the-scenes trivia, or just a good laugh, Niq and Jess’ dynamic chemistry and shared passion for all things TV make this podcast a must-listen for any TV enthusiast. Tune in and become part of their cozy, fun-filled conversations that feel just like chatting with your own friends.
Next Episode
Lost in Pasaje: Where Magical Realism Meets Marriage Counseling
Grief takes many forms. In The Resort, Niq and Jess explore how each character grapples with profound loss while searching for meaning, identity, and connection in a narrative that blends mystery with magical realism.
Emma and Noah's marriage struggles following a pregnancy loss reveal a common relationship pitfall—when good intentions become suffocating. Noah desperately tries to help Emma heal by becoming her caregiver, but this only pushes her further away as she feels her identity dissolving. "His greatest fear is losing his wife. Her greatest fear is losing herself," as Niq so perfectly articulates. This dynamic creates a destructive cycle where his protective instincts trigger her rebellious actions, further cementing their parent-child dynamic instead of a partnership between equals.
Meanwhile, the parallel story of Violet searching for "Pasaje"—a mysterious place where time stands still—reveals another manifestation of grief. Rather than connecting with her living father during their Christmas vacation, Violet pursues a fantastical hope of reuniting with her deceased mother. This avoidance of reality is echoed in Balthazar's struggle against his famous family's expectations, showing how we often flee from pain rather than processing it.
The show's brilliant use of time distortion through Pasaje creates a powerful metaphor for grief itself—how it freezes us in place while the world continues moving forward. When Sam and Violet emerge after fifteen years, having experienced only minutes, they face the ultimate question of how to rejoin a world that has moved on without them. This mirrors the journey we all face after significant loss: how do we integrate our grief into our continuing lives?
What makes The Resort special is how it wraps these profound explorations in a lighthearted, adventurous package that never feels heavy-handed. As Sam suggests early in the series, "Does art always have to have a meaning?" The show invites us to enjoy the ride while also contemplating deeper questions about identity, loss, and what it means to truly heal. Whether you're looking for an engaging mystery or a thoughtful meditation on grief, this limited series delivers both with remarkable skill.
Hi guys, welcome back to next episode with Nick and Jess, and today we are finishing our discussion of the resort. Yes, so some of the like themes that I saw in the show loss was definitely a big theme, that was a big one. Also, like, searching for identity was a theme that I found, and I think as we get to explore the relationships between the characters, like, we kind of see like those things come out. So, of course, like, as you were watching the show, you find out that the issues in between their marriage, emma and noah noah I'm sorry because you know, I just want to call him cheating between emma and noah centers, um, that they experienced a pregnancy loss and so when she lost the baby, she was far enough along that she actually had to deliver it, and so noah actually saw the baby. But in that moment, um, emma decided not to and she. That's something that she's regretted and it's also something that noah knows that she regrets and he kind of he's trying I feel like he's trying to heal that wound for her.
Speaker 1:But he can't that, he can't, that he can't, and I think that that, honestly, is something that happens a lot in marriage, like where someone is having an issue and their partner is trying to solve that issue for them and that's not really what they need. Yeah, and so you're like, I'm trying to help you, I'm trying to help you another person's, like, if you want to help me, like, be what I need you to be, not what you think I need. Yeah and I.
Speaker 2:I just think that that's something that's very common to marriages it is, and I also think that she doesn't know what she needs, so she doesn't know you don't mean like you can't she can't.
Speaker 2:She's not communicating what her needs are very well either, and I don't. I think that's because she doesn't know what they are. She just knows she doesn't like what he's doing and she says several times he's treating her like she's a baby. She feels like ever since she lost the baby, everybody treats her like she's broken and and she is kind of getting resentful of that and I do understand that. But I also think like, yeah, she doesn't know. Ok, but what do you want him to treat you? Or like what does support look like? You know Right?
Speaker 1:Right. And so what was interesting is I have I've also experienced pregnancy loss, and so my mind was very early in in my pregnancy, but I really had a hard time with it. And I think I was having a hard time and a lot of people didn't even realize how hard I was having it, because I did keep it to myself. Yeah, because I honestly did not know, I didn't know how to explain it to two people, because a lot of people were like oh, you know what, just try again. You know, and for me, I was scared that I could never even get pregnant in the first place, scared that I could never even get pregnant in the first place.
Speaker 1:And so when I did get pregnant, I was so excited and when I lost the baby, I was so devastated and scared that I was I'm like, oh, something's wrong with me, because I have a husband who has kids from previous relationships, very fertile, has no problem impregnating someone, and I had never been pregnant in my entire life and at that point I was in my mid-30s, so I knew like any fertility issues were coming from my end. And so, like when I lost the baby, I'm like, oh, you know what? Am I incapable of having a child there. I also know like on my father's side of the family there are fertility issues, and so all of these things were weighing on me and I'm like, did I do something wrong?
Speaker 1:I thought I did all the research and I it also. I felt like feelings also, and so I was suffering in silence for a very, very long time, and so I understood her feelings of loss and I understood feeling like no one can really understand what you have going on, because everybody handles loss differently and it looks different, you know, for different people. And when her, her partner, was reaching out to her, and so I, I, I didn't have that experience where my partner could see my pain, and so I wonder in that situation, how I would have handled it, if it would have been something that have helped me or, like her, if it would have made it worse.
Speaker 2:I don't know, yeah, there's there's no way to know. And I think, yeah, I think it's about how, and I guess maybe know yeah, there's no way to know. And I think, yeah, I think it's about how, and I guess, maybe, about that person Like, I think she I don't know that she didn't want to be reached out to, but more so I think she still wanted her to treat him like she, treat her like she was the full person she was before this happened.
Speaker 1:Right.
Speaker 2:And I don't and I think that's kind of the thing that she wasn't getting, that made that reaching out not really feel like a rich, you know, like the support she needed.
Speaker 1:What's also interesting is like she was talking about like having issues with her identity and this is a funny thing, because this is also something that I experienced when I got married. Like having to change my last name was very traumatic for me because, I did.
Speaker 1:I did feel like I was losing my identity and the person that I was. And the funny thing is I was very attached to my last name. I'm not very attached to my biological father, it wasn't like but I was attached to my last name and it'm not very attached to my biological father, but I was attached to my last name and it was a part of my identity and I felt like everything that I have ever done in my life, all the things that I have accomplished and all of my great memories. I was one person. And then, when I got married, I really drug my feet on changing my last name. My husband was like I don't understand, don't you want to have the same last name as me? Like we're together and I'm like it's not that I have an issue, like being with you, but I feel like I'm losing me. I do think that that is yeah, I get that, I get that I'm losing me.
Speaker 2:I do think that that is yeah, I get that. I get that Like because you are and one you had a really great last name, like you just had a really wonderful, unique last name, but also like that's the person that you've been and you have to think like who am I, who is this new person with this different name? And we are attached to our names. So I get that. I think a lot of married women go through that.
Speaker 2:It was. I mean I, I changed my when I did get married. I changed my name quickly, but I definitely went through that period of who is this person and then getting divorced and I'm like I'm going back to that. But that was a much easier transition. Go back to marriage, yeah.
Speaker 1:I think it's. I think the things that Emma is going through is a combination of those two things. It's something that I think women experience it differently. For some reason, when you get married, it just seems like your husband stays a whole person and you're supposed to, to a certain extent, meld into them and it's it. It's awkward and it doesn't. It doesn't work. You, at some point, you're you. You you feel this need to reassert your identity and create this life for yourself.
Speaker 2:Yeah, and she says that directly. She's like we're still supposed to be two separate people. We're not two separate people anymore. We don't have our own friends, we don't have our own you know all those kind of things. She kind of goes to that, and so I do agree.
Speaker 2:I think she is searching for identity on several different levels, like who she was before she lost the baby, who she is now dealing with that pain and still living with that pain. She's lost that element of chemistry that they had at the beginning of them being a couple, but at the same time, she wants a separate identity. She does not want to be just a part of a couple. So it's a lot of things that she's grappling with and I think but I think, you know, go back to like you saying like he's reaching out and giving support, but she's not receiving it. But I'm like I don't. She needs a professional support. You know what I mean. Yes, like you know, like I don't, like I don't think he has the ability to do it, not because he's like not a good person, but just because, like that's a lot of stuff to grapple with at once. And yeah, and she does seem depressed. You know, she really does. She seems like really scared what I think.
Speaker 1:I think that Noah feels like it's his job to be everything to her and he's trying to do that, but that you can't be somebody's everything. It's not healthy. So, yes, I agree, he does need professional help and he's trying to heal her and that's not his job, his role or his responsibility. Right, you know, his responsibility would be to encourage her to get help.
Speaker 2:He's trying to be her caregiver and what she needs is a partner, and I guess I think that's what she's trying to say to some degree, like you know what I mean. She's like you treat me like a baby, you treat me like a broken, and he does have this very caregiver aspect or um, in the way that he talks to her, in the way he kind of monitors what she does, um, and that's not what she wants right and I can see that and it's like he you can tell that he's a good person and you can tell that he really loves and cares about her.
Speaker 1:Yeah, but that does not mean that what he's doing is the best for her, and I think that's really important that sometimes we have to listen. When we're trying to help someone, we have to listen and make sure that we're helping them in the way that they need, not in the way that we are willing to help, because I think if he had stepped back from the situation, I think he would have been able to see that, like you're suffocating her in a way and you're losing the chemistry is not there, because it's turning into a parent-child relationship versus a married couple relationship.
Speaker 2:And that's always going to kill the chemistry. Right, that is always going to kill the chemistry.
Speaker 2:And I do agree, and I think that that kind of overbearing kind of thing is because he is so desperate not to lose this relationship Anytime somebody brings up divorce or separation. Another set of characters we have are the two Teds. They meet another married couple who have this really interesting philosophy on marriage where they reevaluate their marriage every seven years. They go on a vacation After that. They kind of talk about the relationship and see if they're going to continue for the next seven years. When Noah meets them he hits it off with the Ted's and he says that's terrifying. And then every time anyone anywhere near mentions like oh, there's something wrong with their relationship, you can see the tear on his face. Sometimes he says that he's. You know, I think he is so desperate Like that that pushes like to try to hold on to this relationship. So he's just like what is it? You know? Like he's almost like a hover parent, you know, at this point right, so his greatest fear is losing his wife.
Speaker 1:Her greatest fear is losing herself. Yeah, and so that's that's where. That's where they are, she, he, he feels like you know she's, she's got all this distance and she's moving away from me and he's trying to just grab her and hold her tighter, tighter and tighter and tighter. Meanwhile, she's like I don't know who I am anymore. All I am is a person in this relationship. I need to figure out who I am, and it's like the things that he's doing to like hold on to her is only making her, her situation worse, and so it's like things are only deteriorating between them, they both need help.
Speaker 2:But like, here's the thing. But to you know, to like. It does not make it any better, though that she keeps doing dangerous shit, you know what I mean. Like he's already in her parent mode and she keeps doing the most. I like her going on this mystery, like, honestly, truly like we wouldn't have a story if she didn't do it, but like it makes no sense. She's taking risks that don't need to be taken.
Speaker 2:So one of the things with this that they come across as a part of this mystery and pretty early on in the mystery, after they find the phone and after they start exploring and trying to figure out what happened is that there's this message in the phone that says don't fuck with the yellow snake. It has four noses. They come to realize that this story has something to do with a very famous family in the area called the Frears family, who has a lot of power and influence, and that message is every time they encounter people are like don't fuck with the other sex, don't do it, don't do it, don't do it. And they keep doing it, and she keeps getting deeper and deeper. They get chased in, they get chased out of like a. They get chased out of like a marketplace, um, she is not taking care of herself. She loses a tooth, um, and she doesn't tell him, like she just keeps taking all these different risks with her life and he was already in her parent's own Right.
Speaker 1:Yes, her behavior is irrational and I understand she's acting out because she's trying to find some measure of control. I agree that the stuff that she's doing is stupid and dangerous. I'm not trying to make excuses for her poor behavior. I just understand the root of it. She's acting she's literally acting out, yeah, like a rebellious child almost like Right which is crazy because she's like oh you, yeah like a rebellious child, almost like him Right, which is crazy because she's like oh, you treat me like a child, but then you're also acting like one.
Speaker 2:The more he treats her like a child, the more she acts like a child. It's this weird cycle that they're in.
Speaker 1:So, yeah, so that they both need therapists. And, the funny thing, they're not the only ones who experience loss. The Freas family we meet one of the people and his name is Balthazar. He's the rebellious one in his family because they're famous tailors, fashion designers. That's how they built their fortune. Designers, um, and that's how they built their fortune.
Speaker 1:And although balthazar is an extremely talented tailor very, very creative, especially, if you like, over the top things because alan alan cumming would love him, um, it would be besties he actually wants to be a detective, which in his family is not respected and it's seen as a joke. And because he has this desire to live his own life and to be more than just a free us, he ends up running away and going to the resort, um, but he, he, at some point he ends up going back to his family and so, basically, like, his thing is like, what he's lost is the desire to like, live the life that he wants and to be seen outside of his family name like he wants to. He wants to be able to like, be a detective and be seen as Balthazar and not be seen as a Frias and not have the expectation that I have to, you know be a tailor, because even when he left and was working at the hotel and like as head of security and really enjoyed it, did you notice he was still making clothes?
Speaker 2:Yes, I did Like I'm like. He gets up every morning and sews a new outfit. Like if you look at his clothes, they are so ornate and like, sometimes even specific, like one of the last scenes. We see one of the last suits that he sews. He has a scene from the adventure that he sewed into the back of his garment. Like our little sister, I think he gets up every day before work. When I used to do that before school, I think he does up every day before work. When I was a sister, he used to do that before school. Yes, I think he does that Every morning Because I don't think that he does it. I think he enjoys it, but I just don't think he. That's all he was and he's particularly talented. So his mother is actually the one who made the Freest name famous and popular because she was so talented and everyone in the family said he was even more talented than her, and so then there was even more pressure or, I think you know, friction when he did not go into the family business.
Speaker 1:Right, because once again we're talking about loss and identity and so like he wants to be more than just a tailor. Just because you are good at something, just because you're excellent at something, does not mean that you have to devote your life to it.
Speaker 2:Right, even if it's something you enjoy doing it, because I do think it's something he enjoys doing. There's scenes where you see him and he's in his room and he's sewing.
Speaker 1:But he wants to be more than that. You know what I mean. And they're telling him you can only be this one thing you have to conform and you have to be this person because our family is so important. And so he has a loss of freedom. He wants to hide who he is. He can't. I really. He would like to exist in the world and he tries, and he does try, he works really hard.
Speaker 2:His family is too famous. He changes his name, he goes to the store, he takes a job of security, but his family's so famous, everyone knows who he is.
Speaker 1:Right, and so once again, it's pressure. You know what I mean, because he's trying to create an identity and people won't let him just be Balthazar. Now him as a child. I know that you thought it was hilarious, I was like as a child. I'm like this child is annoying. And I'm gonna tell you the first letter. I did not have an issue with the first letter. He wrote to the author, cause I'm like, oh, he's a little kid, he's writing to the author. It's when the author pushed back against what he said. And then he's like sending him another nasty letter and I'm like, well, people are allowed to be creative. Like, if you didn't enjoy the stuff, the story, okay, don't buy another one of my books. But why are you harassing me? And you know your family is rich and powerful what?
Speaker 2:okay, that scene is my favorite scene in the show. It is hilarious. I like it because one it shows Balthazar is Balthazar from the beginning to the end because even how he does detective, he is a dog with a bone he won't let go. He asks invasive questions that are way too personal, gets all in people's business and he's just one of those people who says whatever he thinks. He does not have a concept for how you might take it, and he was that when he was a child and I think that's why, also, I love that scene. It's like that is always who Balthazar has been.
Speaker 1:Yeah, but is that because he grew up super privileged you don't have to think about the consequences of what you say or how what you're doing affects other people because he's very, very privileged. It's the way that he went to visit his friend and was like oh, you know what, stop working and come on this adventure. She's like I got bills. What are you talking about? You know what I mean? He, he's not in touch with the real, with the real world. This is why he can move the way that he moves. I did enjoy his interviews, though, because it was like are you a detective or are you trying to be a therapist? Because his detecting is very therapizing.
Speaker 2:It is very therapizing, but not in a way that's helpful. It's just invasive.
Speaker 1:You know what? Yes, I agree it is. It comes across as if he's asking therapeutic questions. Yes, that's how it comes across, but he actually is just being extremely invasive.
Speaker 2:Extremely invasive but it does like. But it still has that benefit of getting people to think about and admit to stuff themselves that they don't want to. So it's like, in a weird way, in the worst way, he's like the most blunt therapist you could ever have, but it still works. I want to go back real quick to the letter writing. Ilani Barra also knows that that's a child and that he goes back and forth with I was going to make that point too.
Speaker 1:It takes a special kind of person to have a vicious argument with a child argument with a child.
Speaker 2:The argument that the author of the book, ilan Ibarra, and that Balthazar are having is so heated At one point.
Speaker 2:Balthazar tells him that the binding of your book is only good for toilet paper. Excuse me as I wipe. Ilan Ibarra knows this as a child the whole time, because he identifies himself as a child in the first letter and he's like what? 10 or 11 I would say he looked like 9, very young, and at the end he's like somebody should end you, maybe I will make you disappear, or something like that to a child. So Ilhan ain't all the way reptile either.
Speaker 1:When we meet him, he is everything that I thought he was going to be Everything. When I'm like, what kind of person would would like argue with a child? That person, that person would like I, I like that. When you meet him, you're like, oh yeah, no, you are the type of person who would have a vicious argument with a child and could I tell you, louise guzman, and that part, I loved every bit of it.
Speaker 2:I don't know who else could have played that like that. I enjoyed him so much and he was perfect. He played that part perfectly.
Speaker 1:Nobody else could have played that part but him. Nobody else, Because I'm like you're a terrible person.
Speaker 2:You're a terrible person. Well, I don't know if I would call him a terrible person. He's funny to me. Well, I guess, okay.
Speaker 1:But anyway, you can do both. He's entertaining, he's entertaining. That's what it is he's so entertaining.
Speaker 2:You are not a good person. But yes, I full on believe that you had a full on argument with a child that he's eccentric, he's over the top. It's questionable whether or not he's actually a good writer.
Speaker 1:I don't think that he is, because the story was real. He was basically telling the story of what him and his best friend who you found out that Alejandro is actually his best friend, and this happened when they were younger is doing, so he didn't even create a fantasy world or anything like that. He's just telling the story of what happened, and that's why there's no ending, because there's two different books. There's two different books.
Speaker 2:There's two different books, so, like the book that Balthazar reads is called El Espejo, that's supposed to be a detective novel. That's the one he's going tit for tat for him about. The book that the mother wrote is the mother read and it has. It's like In.
Speaker 2:English, it would be the Illusion of Time, but it's like el illusion de tiempo, something like that, but it means the illusion of time. Really good title, though, and so there are two separate books going on Balthazar, because Balthazar, remember, he's really into detective novels, and so he's like I read a lot of detective novels. This sucks. I believe him, though, I believe him too, and he, I believe him too, and he was like it's only 68 pages, but, you saw, the Illusion of Time is huge. So, yeah, those are two separate books, both of which have a lot of criticism.
Speaker 1:Okay, that makes more sense now, because I'm just like okay, that makes more sense, because I'm like well, why would there be a crime in the book about their adventures looking for this place?
Speaker 2:Yeah, yeah, so yeah, he's reading what is supposed to be his detective novel. That's only 68 pages, but still didn't have an ending.
Speaker 1:So, yeah, I agree with. It's not that I disagree with Balthazar that the book was probably bad, but writing and going back and forth with the author is crazy.
Speaker 2:Well, it's everything. But that's Balthazar Like. You know what I mean. It's not that he's necessarily wrong about the things he said, it's just nobody else would just say them to people's face like that, right, you know what I mean? He has no, he has no filter. He has no filter. He has no compassion. Really, that's almost the thing. It's almost like him and Elon are almost different sides of the same coin.
Speaker 1:Right, that's very true. Actually, capuzon is not a terrible person, he's not terribly sensitive.
Speaker 2:He's intelligent, but yeah, he's's insensitive. He's incredibly insensitive and so okay.
Speaker 1:So, getting back to the loss, the theme of loss throughout the show, I want to talk about Violet and her dad. Okay and so because then of course, I don't know her dad's name, oh god, not that one. I call him. His name in real life is nick offerman. Okay, I was like not learning it was too many names in the show for only eight episodes that I feel like they didn't give me enough time to learn everybody's name, because I'm like, okay, it's two guys. And then I'm like there's, for some reason, the helicopter pilot being named Abigail. I could remember her name, but then I could not remember the name of his best friend, who used to be the maid Luna. I don't know, I didn't have enough time to learn everybody's names. I'm like I need more episodes if you want me to remember this many characters.
Speaker 2:Nick Offerman's name is Mary so yeah, I never did anyone use his name only Balthazar, I think because I'm like, I feel like his name was through this whole thing they called him Mr Thompson for some reason, but like I think, only because him and Balthazar sound like they went on some adventures afterwards trying to find them too.
Speaker 1:I have thoughts about that.
Speaker 2:That's the other thing If we're getting spinoffs or sideshows. I know we didn't even get a second season, but I would watch the adventures of Murray and Balthazar. I'm just saying.
Speaker 1:I was not even sure if the things that he was saying were true. I want to talk about that, but let's put it to the next. Talk about it after we, after we talk about the situation, because, okay, so when you meet violet and and her dad, murray, you find out that Violet wanted to go to this resort for Christmas, and it's been a year since Violet's lost her mom and he lost his wife. Now it sounds like they had an agreement before they got there that they would be vacationing at the same place, but not together.
Speaker 2:Well, they were going to meet at the same place, but not together. They were going to meet at the same place and do their own thing. Which is very strange because it's Christmas and this is your only parent and this is your only child, and you just lost your mom and your wife a year ago.
Speaker 1:So there was already like that was weird between the two of them. But I now realize that the reason why Violet wanted to go to that resort is because she wanted to find Pasaje, Right? I don't think I honestly did not put all of that together until I got to the end and had to think about everything that I experienced and I'm like, oh, that's why she wanted to go to that resort. Her plan was always to find Pasaje so she could go see her mom, which is why she told her dad, hey, like let's not really hang, because she wanted her space to find, you know, to find the place.
Speaker 1:And I thought that that was really interesting, because I'm like you lost your mom, but your dad is right there, and so you'd rather go and search and hope that you would somehow meet your mom. Based on a book. It was like a lot, it was a small. It's like there's a small chance that your mom is in the space between time and you can go and hang out with her, versus actually spending time with your actual dad, who's alive and paid for this luxurious vacation for you.
Speaker 2:And there's a decent dad for the times. You know what I mean Like he's not. You know he doesn't seem like a bad guy A little bit To me. He handles things like a guy. You know what I mean. So he mentioned at one point you see him break down saying my daughter wanted to go on this vacation but she didn't want to spend time with me. And I see him making these like bids towards spending time with her that I think she misses. But, like you said, she's focused on Pasaje and seeing her mom. But like he also does not say anything to her directly, he'll say something like hey, I was going to go see the dolphins later, or if you want to do something, we could do something together. And she's like hey, I was going to do this, but if you want to do something, instead of just saying, hey, I want to see, I want to spend time with you, or let's go here together. Like he says it in a roundabout way. That just strikes me as very male.
Speaker 1:But like you, can see he wants to spend time with his daughter.
Speaker 2:He does, and she just does not pick up on it. But like I'm like, but you could have also said that a little bit more directly. That's all I'm, that's my only thing.
Speaker 1:Right, it's like he's afraid of rejection. Oh, I can see that, but I think he should have said something like you know, I really miss your mom too. I'm lonely, you know.
Speaker 2:Yeah, yeah, I think you should have said more. She was not picking up on those clues, because her mind, what you realize you don't realize why, but you realize later her mind is on Pasaje. And I think Violet is one of those people too who could be like, because she doesn't seem like she's sad or upset. She's people too like, who could be like because she doesn't seem like she's sad or upset. She's one of those people who can smile on the outside and his toe up on the inside. You know so like she is clearly. You realize at that how dedicated she is to go to Pasaya and find this thing, how hard she's really taken her mother's death.
Speaker 1:but on the surface she seems like this light, airy person, and so you don't see it right, she gives like a manic pixie, hippie girl, hippie girl vibes and so like you're watching them both like go through, like the motions of loss and so, and for her, like the way that she's handling losing her mom is trying to find her and he's trying to like hold on to her because that's all he has left, and then he loses her because she disappears during the hurricane, like right before the hurricane hits she goes off into the jungle. He has no clue where she is, and so then the hurricane hits and he never sees her again. But you find out that he spent these 15 years essentially looking for her Most of the 15 years.
Speaker 1:Looking for her and then he gives up, and then his passion to find her is reignited and the beautiful thing is he actually does find her. I never in a million years thought that she was going to be found. I thought we were going to find out who killed her.
Speaker 2:And that's the crazy thing too, with the storytelling we're talking about, because a good portion of the show you feel like you're in a crime mystery kind of thing. You're really, you're really not yeah, so what this is?
Speaker 1:so it's talking about how they leave things unresolved. For her, no time has passed. She thought that she was in the in that water for five minutes. It's been 15 years, and for him, he's been looking for her for 15 years. So, essentially, emotionally, they're really in the same place that they were 15 years ago, and so the question is how do they, how do they move forward and what does that look like? And that is something we will never know.
Speaker 2:It's something we'll never know but it's also something luna brings up at the end. So, like that last conversation where we end the show and Luna and Balthazar are having a conversation, luna alludes to the fact that she's like it looks pretty, it looks like everything is all wrapped up, but when you think about it it's really messed up. I don't know her exact words, but they're still going to go through trying to reconcile this Because, yeah, that gap of they don't understand how cell phones work now you know what I mean. Like they don't. Like 15 years has passed them. There's a lot of work to do. They're essentially still like 22 years old, but they're really you know what was, I don't know what's, you know that's something, but you know. But they're really significantly older. They missed that chunk of time. That adjustment is going to be something being at. I don't know if they're at the same emotional place, exactly like same emotional place as afar, as in loss, yes, but so much has happened. They're going to be at just very different places in life.
Speaker 1:But also if you look at Violet because her dad was part of the team that went and found her and never stopped looking for her is in a very different situation than Sam, whose parents essentially thought he was dead and moved on with their life, and when he called them to tell them he was alive, they hung up on him. How does he, how does it look for him, to walk back into his family when they thought that he was gone, and to be the same age? Right, they're not like that. Like they're not. They're not. I'm like they're not spooky people. No, you know what I mean.
Speaker 1:Like they're not spooky people yeah that's what I'm saying, like they're like you, there's so many places and things that could have been explored. And you know, I'm saying like there, like you, like there's so many places and things that could have been explored. And you know, and I'm like, ah, unanswered questions continue to haunt me, right, you know?
Speaker 2:I just need, like all these, like streaming platforms and all these shows like at this point, like we should not give y'all no new shows. Y'all need to finish all these shows that you started and did not give us any conclusion for right.
Speaker 1:Does it make sense for him to go back to his parents? Does it make sense for him to just go with Violet, because he accepted?
Speaker 2:because it's only been five minutes for him. I think he's got to try to go see his parents. Yeah, it's like, literally like, and he he had a much difficult, more difficult time accepting the fact that no 15 years has passed than violence yes, but he was already having issues with his parents, not terrible issues, but his dad, like, was really weird with him well, yeah, his dad, yeah, well.
Speaker 2:and again, differences 2007, you think your son is possibly gay, and what that looked like for you to handle it versus 2022. And I'm like the son is not gay, but it's a whole bunch of misunderstandings and mis-signals as to why he thinks that. But that's a very different conversation in 2007 than it is in 2022. It is.
Speaker 2:And then for the son to still be there, knowing that his father, how his father, has been treating him. But now it's been 15 years later. The father is probably no big deal now. You know what I mean.
Speaker 1:Like there's a lot of I don't know, because now his dad is 15 years older, so the gap essentially he's still 22, yeah, and now his dad is 15 years older. It doesn't necessarily mean that he's more open minded. Some people just age. They don't change with the times, they just age, and so now there was already an age gap between them. Now the age gap is 15 years wider. You know what I mean? I don't know. I feel like it doesn't bode well for his relationship with his parents.
Speaker 2:And I'm not saying I think it's going to work out, but I'm saying, if for me I saw you yesterday in my mind, my thought is not going to be, I'm going to give up. You know what I mean. So that's why I said, no matter what he's going to have to try, he may end up very well, end up with Violet, and I hope they end up together. They're adorable to me. Together, I mean, who else is going to understand? No one else is going to understand him, provided that this memory leak don't happen and he don't. He's not on the slow descent of madness, but I would like them together. And yeah, nobody else can understand them at this point, but each other. But he's got to at least try, try. And those things don't have to be mutually exclusive. Like you know what I mean, like even you know you can try to make things work with your parents. See if they everybody got to come with me to explain what happens, because I'm not going to right, they're not going to believe you and we got to.
Speaker 1:Yeah, the kind of cog in the middle of the wheel of the story is actually Alejandro, which is kind of funny because he's not in the middle of the wheel of the story is actually Alejandro, which is kind of funny because he's not in the show that much, but if you really think about it, he kind of is the cog in the wheel and so he is really good friends with the author when they were younger. Him and Balthazar are really really great friends.
Speaker 2:That's true, and you learn that For Balthazar and Balthazar to be mortal enemies, they both had the same best friend.
Speaker 1:Right, right. And so one of the things that you learn is he is experiencing this memory leakage and it causes him to go insane. And then Balthazar says that he ends up walking into the ocean. And I'm like, excuse me, you can't just say that I need more information, because I don't. I don't even know that. We essentially really understand what alejandro loses when he loses his memory. But once again he's losing his memory, he's losing his identity and he's losing his, his hold into the world, and that ultimately leads to his, his demise.
Speaker 2:But we don't even know what he lost he references it, but we don't know it in detail. Like he says things like I can't remember my first love, I can't remember my family. You know there's a disconnect between him and his family because nobody knows how he got to Cantana Roo and there's different theories of he just walked out the jungle one day, which we now know is true because he was in Passanje. But why was he in Quintana Roo in the first place? Did he live there? Did he have a family there? Did his family move there? We don't know. There's a theory that he was related to hedge fund managers and that's why he's there. Why does he have so much freaking money walking out the jungle for so long time that he could buy a whole resort?
Speaker 1:yeah, there's a lot of yeah questions around that so it's like it's he's the, he's like the center of the loss, like you know and you. So it's like you get to see what happens when you don't address it and you can't stop that feeling of loss and lost identity because he ends up in the ocean, like walking into the ocean and in his death. And you, like it's, other people are on the journey, you know what I mean. Like baldazar is trying to learn how to like live the life that he wants with you know, without losing his family, his family connections. Violet and and murray are learn you know how to live without their mom and their wife and not lose each other. And it's like, oh, you get to kind of understand what happens if they don't address it. What happens if Emma and Noah don't address you know and get over their loss and find their own identities. What Alejandro is, what happens, you know it's essentially his death and so it's kind of beautiful.
Speaker 1:The show is very poetic. It's very poetic and it asks so many questions too, considering the show is very lighthearted and it's very it's a comedy drama. It's very, very light hearted and it's very it's a comedy drama. It's very, very light hearted, but it's like they pack in a lot of like esoteric, like theoretical, like you know in, but they wrap it up in such a pretty bow that you, you can honestly watch the show and not ask the questions because you're just like, oh, that was a crazy fun it's, it's like a disney ride in the sense that like it gets, like it goes up, it goes down, you know what I mean and then it's done, it feels very quick and so, yes, you could watch it and not necessarily ask any questions. You're like, oh, that was cute, fun and quirky. But, if you like, are people like us who are always looking at, at the art, it's, there's so many layers, it's, there's so many layers.
Speaker 2:Like even OK, so even back to like the beginning. So, like you know, when like you're seeing sam on the plane and, um, and he's drawing that he drew that picture of the scene that he saw on the plane and he's showing it to his then girlfriend, hannah, and she's like, well, what's the point? And he's like, does art have to have a point? Does it always have to have a meaning?
Speaker 1:you are right, and that's like that's like.
Speaker 2:To me, that's like the overcast of the whole show. Does this show have a meaning? Does it have to have a meaning? There's so many meanings that you could derive for it. There's so many different actions you could, but you also don't have to.
Speaker 1:You know what? That is right. They said it right, plain in the beginning. Mm-hmm, they did. Oh, I forgot about that. Mm-hmm man, I need to figure out who I need to see who wrote this show and see what other shows they've written.
Speaker 2:I thoroughly enjoyed it. I'm glad that you enjoyed it. I think I'm always a little bit nervous when I suggest a show to you, but honestly, it's never I don't enjoy the shows that you suggest.
Speaker 1:It's like I just sometimes get something completely different on this show than what like what you got. We have a lot of things in common, I just think, of course our lenses are different Of course, yeah, that makes sense.
Speaker 2:The name of the writer is Andy Sierra.
Speaker 1:S-I-A-R-A. Does it say if he's written anything else?
Speaker 2:Of course, yes, a lot of things Like other shows, a lot of short films. He has another miniseries named Angeline which is also on Peacock Lodge 49, a TV series Comedy drama. Okay, yeah, we may have to put Lodge 49, a TV series comedy drama, okay yeah, we may have to put.
Speaker 1:We may have to put a couple of those shows on the wall. Yeah, maybe we can do a show about him by examining his works okay, I will be down for that.
Speaker 2:Oh, and this other one is a limited series. I don't know why I went into it thinking that this was a limited series instead of a show. But yeah, all right, I'm down.
Speaker 1:Okay, I like that idea. I do like that Because he's doing something different. I think we need to applaud and shine light on people who are doing something different, and it's not to say that you can't like what's normal and what's popular, because we like those things too, you know.
Speaker 1:But like I like, right right because I feel like we are both people who are not above it all. There are some people who go out of their way to not enjoy what's popular and feel like they always have to go against the grain. That is not us, we are like. And to feel like they always have to go against the grain, that is not us. We are like. No, we can like popular stuff too. We also like things that are quirky and different.
Speaker 2:Yeah, absolutely. I'm like that's my thing. I'm like I enjoy what I enjoy. It doesn't have to be a certain like or highbrow or highbrow feeling. If I enjoy it, I enjoy it. If I don't, I don't, I don't, same same.
Speaker 1:The opposite is also true, like if it's highbrow and everybody else is like, oh my god, it's so smart and I think it's dumb, yeah, but I like, I like to. Yeah, I just like to enjoy whatever experiences that I enjoy, regardless of you know where it's at.
Speaker 1:Absolutely like, I am someone who's who enjoys examining media but, I also love vampire diaries and every single spinoff that it has. I don't care what you think about like the quality of that show. I watch that show and all their spinoffs every year and will do that probably for the rest of my life, because I'm like I love a vampire.
Speaker 2:I'm sorry and I will. I love a show like this that I do think like, asks a lot of questions and is told in a really interesting way. I'm also going to watch a very formulaic crime show as well, absolutely.
Speaker 1:I watched Severance, but I'm also going to watch Found.
Speaker 2:Oh, I did enjoy Found. Found is a little bit different. I think you get a little bit of both with that.
Speaker 1:Yeah, I'm going to tell you, sometimes I like that show. I'm not caught up. I have to take breaks because it's so emotional. You know what I mean. These people have really bad problems. I do have to take breaks from the show, but the premise is good, the acting is good, like no notes. It's just my life is heavy, and so sometimes I can't do like heavy TV, even when it's good same same, absolutely I will take that.
Speaker 1:So things to look out for. There is a show coming out that starts at the end of February, called, I think it's called like gross point society, okay, and I want to put it on your radar, and so I don't know if, if you, if we want to watch it as it comes out, or if we want to wait till the first season is complete and and and watch it, but I it's, it's on my, it's on my radar. I'm not sure yet, but it gives me desperate housewives mixed with how to get away with murder. Okay, and I may not be accurate, but that's what I'm getting the feeling that it could be, and if it is, I'm going the feeling that it could be, and if it is, I'm going to be about it. So is there anything that's coming out that you're looking forward to, girl?
Speaker 2:I feel like, as soon as you asked me, that my mind goes blank. I'm putting in stuff I'm sure. Oh goodness, let's see what's coming out now. There are shows that I have to forget exist because it takes so long.
Speaker 1:Oh goodness, let's see what's coming out Now. There are shows that I have to forget exist because it takes so long for the next season. I'm, of course, looking forward to the next season of Bridgerton, but I have to pretend Bridgerton does not exist because it takes forever for the next season to come out.
Speaker 2:You're just not going to stress me. I can't even think of a thing that's coming out that's fresh. But what I do want us to get to eventually, we don't have to do it. Next is DR from Detroit. Oh no, no, no, if you like this, I think you, and for very different reasons, for just that element, not for all the magical realism and all that kind of stuff, but like for that element of avoiding your problems by diving into something that has nothing to do with you. That element I think you will enjoy, so that I am looking forward to us reviewing.
Speaker 1:Okay. So yeah, like that'll be like within the next three that we can review. Okay, because we still have to review Meet Millie Black. I forgot about that. I have like like the last episode to watch, but I really I gotta I have to up my meds before I watch that last episode no up my meds.
Speaker 2:We gotta review a cartoon or something before we get to Billy Black. And it's a good show, it's really good, but it's heavy it is.
Speaker 1:It is. Yeah, we're gonna need a palate cleanser. Maybe I'll watch the Witcher cartoon or something. The Witcher cartoon yes, there's a cartoon. They have the Witcher show, but then they also have the cartoons. Okay, do you watch the Witcher?
Speaker 2:I watched one season with you and then, yeah, just lost interest.
Speaker 1:Oh, okay. I got like really excited. It's my thing Like that. You know, like that is me, that's the kind of stuff I'm into.
Speaker 2:I didn't get into season two, but I just couldn't.
Speaker 1:You know what, honestly, it's interesting like as far as like storytelling and not being linear. Honestly, it's interesting like as far as like storytelling and not being linear, like it's actually it's one of the it's good in that in that way. So, but you know it's not really your thing. I like witches.
Speaker 2:I like old school, I like you know that kind of stuff. I do like magic. It is specifically that show, like it has all the elements of things that I do, like I think what is it? Because he mumbles like I will tell you a random, this is a random thing. This is very true. This is more true for me for audiobooks. I love audiobooks, but, like, if the narrator's voice is annoying, it does not matter how good the book is. I'm either gonna have to switch the paper or we just not like. No, I can't do, and I I feel like maybe it's the mumbling, like I get to a point where I don't care what he's saying. It's not worth me trying to figure it out.
Speaker 1:Well, no, I agree with audiobooks, like I was. I was watched, I was reading the book, and then the first book was really good and I'm listening to the sequel and the sequel was it was, honestly, it was terrible. I would have finished it, though, if one. This one had like multiple authors and but the there was one woman and the way that she was reading it was grating through my. It was like it was killing me and I'm like this book is not even good. It's not even good I and I. I did not finish it, and that is so rare for me to not finish a book, but I'm like the I'm'm going to throw my phone the next time she comes on the page, and so I just didn't finish it. Which is so interesting how you have such a. The first book is so good and such a good premise, and the second book you clearly just did not have anything in you, and so it just gets long and weird, absolutely, and I like when things get weird, but it was just weird for weird sake. It wasn't going anywhere, it was like going in circles, it was. It was terrible.
Speaker 1:But, um, do you ever have someone who writes a book and that you enjoy it and you keep checking back to see if they've like written more or written a sequel. Um, I don't, I don't know. Like I no, not really. I have one book that I read some years ago and I keep checking on this author and I'm like, girl, will you keep writing? Like, will you keep writing, will you make a sequel, please? Like I enjoy this world you've created, I enjoy the characters and I'm just like it's probably time for me to check again. I'm just I'm gonna and I'm I'm so close to writing a letter.
Speaker 1:I'm so close to writing, which is so you know, that's like, so, not me to contact somebody, but I'm just like I'm. I'm like I'm so close to writing a letter, I'm like, listen, just let me know if you're going to do it or not.
Speaker 2:If you're not going to do it, just tell me and I will stop checking on you and maybe that's why I love that scene with Balthazar so much is because I wasn't that kid as like a brat, but I was the kid that would write a letter to an author because I would write scenes in Living Color and mail them. Now I now realize as an adult that my mother was probably sending those to the same place wherever the Santa Claus letters go, but I was writing skits for Live at Color and mailing them off.
Speaker 1:That is hilarious, because my first question was where did you get the address to send it to? And now you're like, no, that was my mom's job. And if they even made it to the post, office Girl.
Speaker 2:She probably got them and, for whatever reason, I think I put them on index cards. She probably got them and I put, for whatever reason, I think I put them on index cards. She probably got them somewhere in her garage. But my mother, she still was like, yeah, okay, baby, you can do it. And I'm like, yeah, they're gonna love this one.
Speaker 2:They did a show that was very close to one of the scenes and you couldn't tell me that I didn't write it. And you couldn't tell me that I didn't write it. You couldn't tell me. I am so serious I cannot remember what they called the person. I wrote, basically a one that was like if Arnold Schwarzenegger was Black, I can't remember. I think I referred to they did an episode and they called him Ram Bro. I think I referred to they did an episode and they called it Ram Bro. I think I wrote. When I wrote it it was like artist towards a Negro. But listen, let me tell you. Let me tell you what my child self told me. I was like, oh, they had to change it. The producers probably made them change it because it was too they didn't want to use the word Negro, but they used my sketch.
Speaker 1:That is so cute and so hilarious. But it goes to show that you were very talented as a child. You're coming up with the same ideas that professionals are coming up with. That is actually so like. That shows like you've been talented your entire life. But that is so cute. You like yeah, I need to keep sending them stuff because obviously they're doing it and they're using it because my dream was not to be like in front of the camera.
Speaker 2:It was like I want to be a writer on In Living Color, because, of course, I thought In Living Color was going to last forever. So I was like no.
Speaker 1:I would be an adult. Snl is still on In Living Color was going to last forever. So I was like, no, I would be an adult. If SNL is still on In Living Color should still be on.
Speaker 2:Girl. I was having that conversation yesterday. Why are we still doing this? But yes, I wanted to be a writer on In Living Color In my mind for several years I was.
Speaker 1:But yeah, I would pay cash money to get a hold of those index cards. Call your mom I will not, because you know she's going to look for them. That's what I'm like she probably still has them and tell her that is what I want for my birthday this year, as I want those index cards you know she's going to watch the show and if she can find it, she's going to send it to you, you, actually, you know she's going to watch the show and if she can find it, she's going to send it to you.
Speaker 1:You, actually, you know she's our biggest fan. So, yes, and now I'm really honestly probably going to get those cards for my birthday Because, yeah, she's going to look for them and if she finds them, she's going to send them to me. She will, she will, and that will be a very special episode. Oh, she will, and that will be a very special episode. Oh my God, because I'm reading them all. Maybe we can recreate some. This could get really cute. Oh my God, this could get really, really cute.
Speaker 2:I know I should have told you.
Speaker 1:And what is hilarious is we've known each other and we've been close for so many years. I cannot believe. You told me a story I had never heard before. That's mind-blowing.
Speaker 2:I don't know, I'm so connected with that part of the show. It was so adorable. I don't know that I would have done it to give notes, but definitely I was like, no, I'm writing, they're going to use my scene, they're totally gonna use my sketch she was like.
Speaker 1:I'm trying to prove to them that I'm ready for the writer's room girl.
Speaker 2:I was like, because I want to set up a job, when I get, when I get out this house, I'm gonna have a job I'm gonna do something with my life, I've never seen someone who was born and immediately started trying to move out.
Speaker 1:I'm like you, like I got to go, I got stuff to do, and I'm like it's only 18 years, but you're like 18 years is too long. And what makes it hilarious is that we refer to your family as like rainbows and butterflies and like care bears, and you were like I gotta go, I gotta go and your house was like the house, but we like we need Jessica house. They got all the good snacks, all the good candy. They got all the sodas, like my parents are so sweet and nice, they're going to buy us seafood and take us places.
Speaker 2:We should have all the good snacks, definitely have all the sodas.
Speaker 1:I have a wonderful family. I'm trapped, I'm trapped, I'm trapped in paradise.
Speaker 2:One independence. I don't know why, I don't know why, I don't know why, but like even like when I was, when I was little, like that's what I'm saying.
Speaker 2:Like when you write in these sketches. I was so when I was little. Every every career I explored was was real. I'm trapped in paradise. It wasn't because I was upset with them, I just thought that was my job. When I used to paint as a little as like a 4 or 5 year old, I would paint pictures and then walk around the neighborhood and sell them you gotta get to this money because I was like I gotta see if I can make this as a career.
Speaker 2:and then when I got like 8 and I realized that my drawings and my pictures were terrible, I was like why were got to see if I can make this as a career? And then when I got like eight and I realized that my drawings and my pictures were terrible, I was like why were these people buying them? Y'all really bought these horrible pictures. I don't understand.
Speaker 1:Y'all had me thinking that I could do this a long time. Y'all had me wasting my time. I thought this was an internship that could lead to a career. Oh God, we've gotten out of sync. Yes, we have, but I mean the last, like seven or eight minutes, are literally just hold on.
Speaker 2:I can't hear you at all. I'm gonna stop. I'm gonna stop.