Kristen Davis

Because when I look back at myself, I seem like I am just so incredibly young and unformed. I'm just so grateful that someone hired me and let me stay while I turned into a grownup because that's kind of how I feel. I feel like I grew up on this show, even though technically it's not really true. But like when I look at myself, especially in episodes like this, I'm like, I'm like a little child.

Because when I look back at myself, I seem like I am just so incredibly young and unformed. I'm just so grateful that someone hired me and let me stay while I turned into a grownup because that's kind of how I feel. I feel like I grew up on this show, even though technically it's not really true. But like when I look at myself, especially in episodes like this, I'm like, I'm like a little child.

I'm But anyway, that's my commentary on myself. But we'll get into more detail. All right. This episode is extremely fascinating. It is directed by Susan Settleman, who also directed the pilot, and written by Jenji Kohan. Do you remember back when I said I didn't know any of the writers from the first season? Not true. Jenji Kohan is amazing. She created Orange is the New Black, you guys.

I'm But anyway, that's my commentary on myself. But we'll get into more detail. All right. This episode is extremely fascinating. It is directed by Susan Settleman, who also directed the pilot, and written by Jenji Kohan. Do you remember back when I said I didn't know any of the writers from the first season? Not true. Jenji Kohan is amazing. She created Orange is the New Black, you guys.

Can you believe? Also, Weeds. And she wrote an episode in our very first season called The Power of Female Sex. So clearly she was already onto her themes. And those themes are very much in play in our episode, for better or for worse. But they are in play. in a very interesting way. We also have a different DP.

Can you believe? Also, Weeds. And she wrote an episode in our very first season called The Power of Female Sex. So clearly she was already onto her themes. And those themes are very much in play in our episode, for better or for worse. But they are in play. in a very interesting way. We also have a different DP.

So in case, I don't know how much you guys are interested in the technical stuff, but to me, it's interesting. So our very first pilot, we had Stuart Dreiberg. Amazing, amazing DP. It's very dark. Then we have Maurice Alberti, French. Very, very, very cool shots. Those were the first two episodes.

So in case, I don't know how much you guys are interested in the technical stuff, but to me, it's interesting. So our very first pilot, we had Stuart Dreiberg. Amazing, amazing DP. It's very dark. Then we have Maurice Alberti, French. Very, very, very cool shots. Those were the first two episodes.

Now we have Michael Barrow, who we had for a while, and I had forgotten about him, but I remembered him when I watched this, partly because, The show is very dark for a season, like physically dark, you know, not dark thematically, but physically dark. Like we're out at night a lot. It's very dark.

Now we have Michael Barrow, who we had for a while, and I had forgotten about him, but I remembered him when I watched this, partly because, The show is very dark for a season, like physically dark, you know, not dark thematically, but physically dark. Like we're out at night a lot. It's very dark.

Also in the technical realm, we used to film on something called Super 16, which is kind of hysterical. if you know anything about film and whatnot, in that now in the age of, you know, digital high def, it's like so shocking that we filmed an entire TV show on Super 16. But what was great about it was that it gave like this kind of gritty softness.

Also in the technical realm, we used to film on something called Super 16, which is kind of hysterical. if you know anything about film and whatnot, in that now in the age of, you know, digital high def, it's like so shocking that we filmed an entire TV show on Super 16. But what was great about it was that it gave like this kind of gritty softness.

So like when we're out at night and we're on the street, the car lights kind of flare in a certain way. Like it has a very kind of, to me, old fashioned feeling that I really love. And I thought that that was very much in evidence in this episode, as well as some just generally dark clubs and or restaurants that may or may not be real or sets. I'm really not sure. I need to find out.

So like when we're out at night and we're on the street, the car lights kind of flare in a certain way. Like it has a very kind of, to me, old fashioned feeling that I really love. And I thought that that was very much in evidence in this episode, as well as some just generally dark clubs and or restaurants that may or may not be real or sets. I'm really not sure. I need to find out.

Okay, so the interesting thing about this, there's so many interesting things, but it begins... With Samantha and Carrie waiting 45 minutes for a table at something that we're calling Balzac, but it's really standing in for Balthazar, which opened that year. Still a fantastic restaurant in New York that we go to frequently and we love. But at the time, it was a very, very hard reservation to get.

Okay, so the interesting thing about this, there's so many interesting things, but it begins... With Samantha and Carrie waiting 45 minutes for a table at something that we're calling Balzac, but it's really standing in for Balthazar, which opened that year. Still a fantastic restaurant in New York that we go to frequently and we love. But at the time, it was a very, very hard reservation to get.

And New York is really still like this. Like we were in New York filming and just like that when all the COVID things were letting go, you know, lifting and you could go out to eat again and I was trying to get my kids and I was just like, oh, hey, let's go to this restaurant. They would not let me in. And not only that, they were so mean. OK, they were so mean. And I was like, why? Why so mean?

And New York is really still like this. Like we were in New York filming and just like that when all the COVID things were letting go, you know, lifting and you could go out to eat again and I was trying to get my kids and I was just like, oh, hey, let's go to this restaurant. They would not let me in. And not only that, they were so mean. OK, they were so mean. And I was like, why? Why so mean?

Like, we're just just back out in the world. Like, then I remembered, oh, we're in New York. This is how it is. It's not, it's never going to change. So anyway, there's so many things I love about this whole Balthazar slash Balzac, you know, fill in. One is the hostess. So I don't know if you guys follow the hat saga on Sex and the City and the movies and then just like that, but.

Like, we're just just back out in the world. Like, then I remembered, oh, we're in New York. This is how it is. It's not, it's never going to change. So anyway, there's so many things I love about this whole Balthazar slash Balzac, you know, fill in. One is the hostess. So I don't know if you guys follow the hat saga on Sex and the City and the movies and then just like that, but.