[S1E5] All That You Can't Leave Behind
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This is effectively an episode that concentrates on the search for Starbuck, and has some of the daftest material thus far within it. We see the story from two perspectives. We see Starbuck on the surface of an unwelcoming planet, with hostile conditions among her many problems, and a big whack on her knee restricting her mobility not far behind.
Due to all the chaos at the bar, no one realizes that Jack and Mel are actually missing until the next morning. Doc sets out to find them, figuring that they must have gotten waylaid by someone at the pot farm. Doc arrives just in time to find Mel and Jack trying to leave with Maxine, Spencer, and the baby. Doc has an understanding with Calvin; he turns a blind eye to the drugs and Calvin lets him take care of his people. Doc is able to talk Calvin into letting Maxine and the baby go, but Spencer has to stay behind.
At the Parker House, Charlotte tries to get Mom Parker to lend her the carriage so she can go look for Georgiana. Charlotte knows Otis' address, which is actually a solid lead. Regardless, Mom Parker has a lick of sense and tells her no, it's too dangerous. Then, reader, stuff gets real. Charlotte says she'll be safe because she can meet up with Tom when she gets to London, and Mom Parker, with ice in her veins, tells Charlotte that Tom can't be relied upon. DAMN, MOM PARKER.
Sara Barton: And you had whatever it takes to put those together and not try to keep those separate, the hip-hop world, oh, can't bring theology into that or I can't bring ... I mean it did take ... That was a risk.
Propaganda: Yes, so as you're riling up your fist, like yeah Prop you tell them, then to pause and be like, oh wait, he's talking about me too. So, the role that I feel like ... Our cultural moment, as I'm writing that and even my stuff now, it pushed us to that. It was an undeniable conversation. You can't not talk about this. If I'm going to make an album that's in any way relatable you can't ... What am I not going to talk about what the entire nation's talking about.
Propaganda: Yeah, when it comes to life, which means that maybe we should have some police reform because it's not conserving life. You're being very liberal with our blood, how about that. So, I think that I wanted to bring that into the thing and just say hey, stop thinking about these things in the abstract. These are happening to actual people and you're a one person, you're not a ... You're one person and see all of this colliding because that's how your life is. You have a job, you got family, you got traffic, it's all happening now to one you. You can't put it away, it's all you, so I wanted to make an album that made you feel like that.
Welcome back to the Dutton ranch, folks. It's a sunny, brisk morning, and John, Rip and Jamie are horse shopping. A horse salesman named Travis is trying to get them to buy a $5 million dollar stud horse with a real impressive pedigree. Even at that price, Dutton is told that he will make his money back in three years, but just in case they show him some cheaper horses, like one that's a measly $200,000. Rip says he likes the \"$5 million b*stard, but it ain't my money.\" Jamie tells his father they simply can't afford the fancy one, and Dutton responds in a very Dutton way: by growling \"don't tell me what I can and cannot do.\"
Next, an absolutely hammered Beth leaves the Deerfield Club. Too drunk to drive, she calls her favorite person in the world, her brother Jamie. Jamie resists picking her up, but of course he gives in, which leads to some classic Yellowstone sibling fighting. Now that Jamie's gotten a taste of punching his sister, he can't stop. He mashes her face against the window, laughing, and then she tells him that he's so \"soft\" because he's never lost a loved one. He reminds her that they share the same mother and brother, but she says that only the people that were there really lost anything. She grabs a pistol and puts it under her chin, threatening to kill herself, but Jamie calls her bluff.
Nick: Right, so one that, you know, I always think of is, I used to play World of Warcraft when it first came out, and it was a Massively Multiplayer Online game, and there are all these areas of the world that you can't really get to because the developers are still working on them, they're not accessible. But some people actually learned how to glitch, use a steep terrain glitch, to get into these unplayable areas, and I remember it was hilarious because they would come back to the forums and tell their friends about it, after scoping it out, and it was treated like they were these great explorers, like the Lewis and Clark, you know, the people would say \"What did you see in this land\" And, you know, they played along and it was really funny. That just always sticks out in my memory.
Depending on whoever came with Lee in \"Around Every Corner\", the result on arrival can differ. It is shown that whoever stayed behind at the house were ambushed and locked in the shed by Vernon's group, who then proceeded to steal the boat. Kenny and Ben will have cuts in their faces if they were left, implying they were assaulted. If everyone was with Lee, Omid will find a note left by Vernon either saying that you deserved it, or he feels really bad about it. However, the group continues to search for Clementine.
As Lee, Christa, and Omid finally reach the waterfront just across from the Marsh House, they are forced to climb over a large Maccabe Imports sign to get to the next rooftop, as walkers crowd the street below. Whether the player decides to either send Lee or Christa and Omid first the sign will collapse, separating them. Lee orders Christa and Omid to go on and meet him later, and, by player choice, to take care of Clementine when he is \"gone\". Lee descends into the streets and fights his way through the massive horde of walkers armed with a meat cleaver he found earlier at the manor, and a shard of glass (if his arm was not amputated). After killing several and being splattered in their blood, Lee's scent begins to match that of the walkers, and many ignore him because of this.
Lee and Clementine reunite, but (just as they leave), a walker appears at the door. However, as it sniffs Lee, it ignores him, going for Clementine, though Lee stops it. Realizing from a comment by Clementine about the \"muck\" on him that the walker was confused by his scent, he takes an organ from the walker and rubs it on Clementine in order to mask her scent as well.
The two initially manage to wade through the walkers outside on the street well, until Clementine sees a zombified Ed and Diana walking the streets. Saddened and terrified, Lee tries to calm her, but passes out once more, waking up in a jewelry store Clementine had taken Lee to for safety. Depending on the next few player actions, Lee, on the brink of death now from the bite, whether he amputated his arm or not, tells her to restrain him to a nearby radiator in order to keep him from attacking her or to use them to restrain the zombie. They find a zombified security guard trapped in an office where an emergency exit lays, and when Clementine attempts to take either his gun or keys based on Lee's decision, the walker attacks her. She ends up killing it with Lee's help, and with the gun and in tears, she begs Lee not to become one of \"them\", though she states she does not think she can bring herself to kill him. Lee can give her advice, such as telling her to avoid cities, go with Omid and Christa, remain on her own, or keep her hair short. It is shown that Clementine will remember his advice (this being a likely hint to a future installment). They say their final goodbyes, and Lee, with a great amount of sadness, can either have a distressed Clementine shoot him or leave him to reanimate.
Tell Clementine to leave: Lee convinces Clementine to leave, telling her there's no time or that she shouldn't have to do such a thing. (Determinant) Clementine goes to leave, looking back one last time as Lee succumbs to the infection and dies. The screen cuts to black.
Michael DeGiorgio: [00:03:07] Left to start CREXi. I was pushed by a former mentor of mine, uh, over drinks one night, to kind of, threw a, lobbed a question at me asking what I would do if I could go kind of out on my own. And I responded by telling him, \"I think there's a way to bring, really, everything about commercial real estate, leasing, transacting, data, online in an intuitive way that's not out there, and I would go start that company.\" And he became my first investor, and I left my career behind about a month and a half later to go start CREXi.
Michael DeGiorgio: [00:31:09] I mean, there's so many. There's so many. I can't pinpoint one that really set us apart more than the others. I think it's the kind of collection of all of it, uh, in one place that's really been the growth driver. You know, people even ask that as, as we've gone out and raised money and talked to the VC community. You know, what's, like, that one moat you have You know, what's that one thing that's going to separate you And I really that the one thing is the collection of hundreds of things, thoughtfully built out, you know, really strategically, really intuitively. And bringing it all under one roof, I think, is really what's helped us grow as fast as we have. So many times early on, even when we were free, brokers would say, \"I would use you guys, but it's got to be able to do this, this, and this.\" And, you know, hearing that enough and then really analyzing what this, this, and this was that we wanted to focus on, and building that in and being able to go back to that same person, you know, a month and a half later and say, \"Now it does those things.\" You know, that's something the industry wasn't used to seeing and really hasn't been offered in the past. So I think it's the collection of all of the little things.
Oh, so we should talk about Sheryl's evening. Before she arrives for babys