Oscars Outsider - "This is a disaster!" - Real Housewives of Salt Lake City S06E03 Recap/Analysis

Episode Date: October 3, 2025

We want to hear your takes! Give our hotline a call and leave a message with your thoughts on what's going on in the Bravo universe at 1-833-927-0178.Join us on the Bravo Outsider Podcast as we embark on a thrilling exploration of the latest episodes of Real Housewives of Salt Lake City🥂 About Bravo OutsiderThe Bravo Outsider Podcast offers an outside perspective on Bravo shows like The Real Housewives, unlike any other Bravo podcast! We focus on the artistic value of these shows while providing strategic analysis of the social game at the core of the Bravo docu-soap. We love thick literary references and diving into themes before diving into the drama!🍸Featured Bravolebs:We want to hear your takes! Give our hotline a call and leave a message with your thoughts on what's going on in the Bravo universe at 1-833-927-0178If you enjoyed this breakdown, don’t forget to hit the like button, comment below your favourite moment, and subscribe for more Bravo content!🥂 About Bravo OutsiderThe Bravo Outsider Podcast offers an outside perspective on Bravo shows like The Real Housewives, unlike any other Bravo podcast! We focus on the artistic value of these shows while providing strategic analysis of the social game at the core of the Bravo docu-soap. We love thick literary references and diving into themes before diving into the drama!🍸Featured Bravolebs:Real Housewives of Salt Lake City: Heather Gay, Lisa Barlow, Meredith Marks, Angie Katsanevas, Mary Cosby, Bronwyn Newport, Britani Bateman, 📣 Stay Connected:Find Bravo Outsider:On your podcast platform of choice: https://podcasters.spotify.com/pod/show/bravo-outsider/Instagram: ⁠⁠https://www.instagram.com/bravooutsiderTikTok: ⁠⁠https://www.tiktok.com/@bravooutsiderhttps://www.bravooutsider.comFind Craig Midwinter:chess.com: https://www.chess.com/member/craigjmidwinterFind Dylan Ferguson:Substack: https://dylanferguson.substack.com/📖 CreditsMusic by FASSounds from Pixabay#RHOSLC #bravotv #bravo #realitytv #RealHousewives

This week on Bravo Outsider. Lisa is not just shooting herself in the foot. She's doing like Wiley Coyote strapping herself to a rocket and blowing it up shit. Yeah. Like this is a disaster for Lisa, right? I could see Redneck being something that really triggers Whitney because she... She likes Harleys. Hello and welcome to the Bravo Outsider Podcast.

I'm your host Craig Midwinter joined by Dylan Ferguson. as always, and we're back talking about Real Housewives of Salt Lake City, episode three of season six, and Dylan, I thought that this was an outstanding episode, the best one that we've got this season. Give us a quick summary of what happened. Pretty incredible stuff. Some real fireworks happen in here. So what happened? Well, leading up to Lisa's lunch, which was the big event, we have some background on Bronwyn for sure. We get a lunch between Bronwyn and Todd. We get. We get. a moment where Angie speaks with her elderly father. We see a bit more of Bronwyn's current family life at home with her mother

with Muzzy, I think they call her. Great name. There's a bit of a meet-up for painting between Angie and Heather, where they sort of consolidate their anti-Lisa position, which brings us into Lisa's lunch event

involving a lot of props in insisting that every case against her has been dismissed or else denied, which is the same thing is dismissed, right? Dismissed by her. Yeah, exactly. Which gets extremely heated with Angie going on the attack a lot, but then culminating and a real blow-up between Angie and Whitney with some real shouting and fingers and faces and shit, tossed napkins, all the good stuff.

Yeah, there was such dynamics. within this table. Like, it was explosive from multiple places. And I just love the build to, you know, Whitney storming out. I really liked how this scene was built. I'm curious, what was your favorite scene from a narrative perspective? Yeah, that's hard to, it's hard to say. It's hard to not just pick the finale because this was an episode that had such a climax.

I'd also, hmm, there's a lot of good ones. in the buildup. And it's hard to say where I want to kind of stick my pin. But let's just highlight quickly the moment between LeBronwin and her mother Muzzy in their house in Bronwyn's house. Partially because of the way it connects to some other things in it, partially because of the, it has the most interesting aesthetics in this whole episode, I thought. I agree. Yeah. It starts off with these kind of wide shots of Bronwyn wandering into her like very like pop art house. It's a very kind of Kubrick moment where she's kind of this figure lost in this kind of sterile, hyper-modernist space.

She's like the patchwork girl of Oz. Yeah. Yeah. And the colors are so like candy primary, like really like pop art stuff. And it just feels like such a modern space like so a space that feels like so kind of curated and aggressively aesthetic, but feeling like. not homey for that reason, like a museum piece kind of space. And that kind of wide shot with a figure kind of buried in the geometry of the frame is the sort of showy Kubrickian shot that you don't often get on a Real Housewives show.

I like that set up for the scene and the discomfort that Broadman feels with her mother, with her family, talking about her father who isn't on camera, talking about Todd. it gets pretty uncomfortable. You know, it's hard not to feel for Bronlin in this moment. We really get a lot of a lot of backstory, a lot of stuff about Bronwyn that we didn't necessarily know before, which is great in the overall arc of the episode, because it kind of gives us a bit of an insight maybe into why

she's so ready to go to war, why she's got these kind of frustrations pent up inside that she has to put somewhere. And I think she's wanting to put all frustrations into like a war against Lisa because they have to go somewhere. And in terms of the conversation we actually get, uh, just kind of the, the kind of impassivity and lack of empathy from Bronwyn's mother, which seems kind of similar to the impassivity and lack of empathy we get from Todd or husband.

Exactly. Yeah. Like kind of an oddly similar dynamic where she's like trying to be like very open and honest. And, uh, the other person just kind of like, yeah, well, yeah. And, but also I thought in the psychological level, it was really fascinating in kind of a brutal way, the way that we learned that Bronwyn's father, who has, it sounds like pretty advanced Alzheimer's, sees Bronwyn as if she is frozen in this moment in her adolescence where she had like a teen pregnancy, which was like obviously a very kind of shameful thing for her as someone who was raised Mormon. and that she is now trapped in this kind of like shameful moment of her past through her father's eyes. It's just kind of a brutal thing to be revealed, I thought. Like that was just like, that just shows a little glimpse into something going on in her life,

which must just feel awful. So for all these reasons, I thought that was just an especially like moving, weird, fascinating scene. Yeah, totally. There is so much going on here. talked first about kind of the staging of this and how it looks. I thought that it immediately comes out and makes an impact. You're right. It's like very Kubrickian and we open on this shot that is like locked off, very static on sticks. And we are seeing Bronwyn in the distance. They create so much space between her and her mother and it's so like sterile. I think it is just really fantastic tone

setting for this. And even the way that the scene as a whole is presented, it feels like there's a lot of space in between them just through the use of the medium shots that they have. There's, to my memory, at least, there's not a lot of close-ups on faces the way that you would be presented with a conversation that is so intimate. And there's this juxtaposition with, you know, her pouring her heart out and having this like really standoffish. presentation of it that really adds to the space that they are the emotional space that they are creating between her and her mother so like fantastic scene i think that this scene ties into one of the the themes that i think was really expertly handled here and this idea of like

of of memory so we have obviously this idea that bronwyn is like almost frozen in time from the perspective of her father. She's like imprisoned and this like everything is like existing in like an instance, but she can't she can't break out of this. And that is contrasted so heavily by the scene in like immediately before it where we have Angie and her father where they're talking super long term memories, talking like 90 years ago family history. talking about this connection that Angie has with with Greece and this like almost

intergenerational memory it is such a like a contrast to what we see in terms of how Bronwyn is existing within this world I thought it was just like just really beautiful the way they they juxtapose those two things yeah absolutely because you see how Angie is really cozily bundled in her family like it gives her so much warmth and comfort to be, to feel a part of this family history in her dad's house. Her dad's house is completely covered with family photos. And this is the fact that she's wrapped up in family history is this cozy blanket for her. And we transition from that to Bronwyn, who is suffocated by her family. She is also bundled up in her family, but she's not feeling it as a cozy blanket. It's a, it's a

suffocation. It's it's keeping her locked in amber. It's keeping her her forced into this position that this kind of shame and discomfort that she had as an adolescent, which she's never been able to get out of. So absolutely, the transition from that, from that scene of Angie with her Greek father to Bronwyn with her family is a great transition. Also, the next one, because then we switch from that scene to Angie and Heather meeting up to paint Heather's house, where, you know, Heather's kids have recently left. and, you know, just talking about how Bronwyn's house is like all bright colors, what do we get in the very next scene?

Heather is painting her house in tiny, tiny different shades of white, just a bunch of white. And Angie and Heather Bondover are like, oh, I love how I love living in a space that's just white. That's just a blank space. That's just my space. It's just me in this white space, you know. Angie talks about how her daughter doesn't like it, how Electra is like, oh, I wish that there was more colors and stuff. But Angie's like, oh, I love it. And they bond over that, right?

And Heather makes a real association between this kind of sterile, modern, clean white space and feeling like it's her space. Like, she's okay. She can have less things to do. She's not locked into being a mother anymore. She can just lie in bed and write like Mark Twain all day. And that visual contrast too is really interesting because that also shows another way that Bronwyn is kind of trapped in this space that she's built for herself that she wanted, she clearly wanted their space to be all colorful.

Obviously, we know how Bronwyn dresses. We know that she loves bright colors. But it's odd that she is kind of in the position that Electra is in. That's just another way that she kind of feels like trapped in a sort of adolescence. You know, like she wants these bright colors all the time. She has not made that transition for better or for worse to whether Heather and Angie are, where they're like, we just want to live in a white space. I think that almost speaks to the discomfort.

She still feels that kind of that inability to feel comfortable in her own space, that she feels the need to be based in this kind of aggressive distraction of all these colors all the time and stuff. And that's, yeah, so just sandwiching that scene that I really like between the scene of, of Angie with her comfortable family before, the scene with Heather and her comfortable white space after just really kind of deepens the associations. I thought that was pretty cool. Yeah.

And especially considering, you know, we just talked about how Bronwyn is kind of locked in this prison and frozen in this like moment in time. Throughout the season leading up to this, we have heard Heather discreet. herself as feeling this way about her situation in her family life, trying to keep the family together and make everything like feel normal. And now that, you know, she's an empty nest or she's able to break free of that. And she immediately starts changing the physical space that she lives in in order to break free of this, this life and this, this memory.

Like she is exiting this prison that she has been. in like yeah I think yeah a great segue there as well. Mm-hmm. So I think we touched a lot on, you know, favorite scenes and our shots and editing and themes. Was there anything else in terms of the overall presentation on this that you want to call out? Briefly, I do appreciate that in the lunch between Bronwyn and Todd,

and I think this is more just a function of the fact that they're in like kind of a a half moon booth so it can only be filmed a certain number of ways. But I appreciate that when Bronwyn's speaking, you almost always have Todd in frame. Todd's usually in profile where like Bronwyn's, you know, three quarters are facing the camera. And I appreciate that because you get to see how completely uninterested Todd looks

the whole time. We don't need cutaways to see it. Like we see it real time as she's talking, how he's just kind of like staring off at some space between his soda and his belly button and not appearing to make too much of an effort to pretend to care. Well, also apparently at one point, pouring a sashet of Splenda into his soda, which was a very odd thing. I've heard that Utahans are really weird with soda. I don't know if you've heard about this stuff.

Yeah. Yeah, I have heard about that. But that was just a, that's a strange thing to do, just pouring fake sugar into your doctor pepper or whatever it was. Odd stuff. Yeah, but you're right about how they, you know, having them both in the same shot at the same time, it really grounds his disinterest in what she is saying because it does not, it does not feel constructed by the editors at all because they're both there. We're seeing it in real time. We know this is not a fabrication of the, you know, the edit. It is how their dynamic actually is because we can see it very plainly. So yeah, that's that's a really great call. What did you think about the intro to the skeet shooting scene? It's cute. It's kind of like the Lerwich stuff we got.

Like they're getting corny with a little like fauxa corny, Cody music, like kind of fake Ennio Mori music. Timu, Enyo. Yeah. It's, yeah, it's, it's cute. It's goofy. there's a slight bit of a callback too, I think, or rather foreshadowy, I suppose, where, like, earlier Lisa was saying, like, I'm always a target, so I'm going to try to turn it around and make other people targets or something. And so that was, like, seated very early in the episode. So to start off the climax with a shot of shooting at targets is kind of a fun little callback to a bit of foreshadowy we got earlier.

So yeah, you know, it's fun. It's fun. It's goofy. What was your favorite quote from this? Well, that kind of has to take us into the Klebex, I think. Mostly just having a lot of fun with Lisa's frantic attempts to justify herself. Like, man, that's not working at anybody her stuff. Like I like when I think Brodwin is like, like, is it dismissed because, you know, you paid them or dismissed because the cases were thrown out

or something and Lisa says, dismiss because it's none of your fucking business. Yeah. That was a good quote because it just shows how badly like her attempts to to bury the narrative are completely backfiring.

Yeah. And on the same line I really liked when they keep pressing her for detail, I was like, okay, but like what actually happened with the cases? What do you mean? And she says, There's a cocktail on this menu called a fanciful tale because that's what my lawyer said the accusations are. Does that answer your question? Yeah.

No? It's just a great, it's such a great glimpse into Lisa's mind that she thought that this was going to work somehow, that she thought people were going to like see all these posters and be like, oh, wow, I was wrong. Sorry. it's you know and and I don't know if she just didn't think that she was going to get that much pushback that she wasn't going to get people like actually drilling in and being like you know in this light of this suit it says this like and and Jesus is like I wrote it in red letters is this not settled

I don't know yeah what did you like in terms of quotes so there's a lot of quotes that I really liked here I think though One that was like most impactful for me was when Bronwyn was talking about how he remembers me at a certain age. And it's an age that I'm not particularly proud of or however it was that she phrased it, you know, that that had the biggest emotional impact on me. I also really like kind of a parallel quote that we got from Angie or a contrasting quote from Angie where she talks about how every year when the roses come up, it, it's a reminder to me that I'm getting another year. with my father. You know, I feel like in retrospect, after seeing, you know, what we get from Bronwyn and her mother, this is a really good contrast because it's talking about, you know, the change of the seasons

and, you know, the progression of time and how Angie has this, this huge privilege of being able to experience the progression of time with her father. And that is not a luxury that Bronwyn has. She's forced in this situation where she is frozen in time. So I really like those. Another one that stood out to me was when Angie and Heather are talking about the relationship that Angie has with her daughter surrounding, like, Greek being part of the identity. Or she's like, she says that her daughter says that, oh, you're taking this Greek thing too far. Why do you have to make it a part of your identity?

And I thought this was a real, like, turning point in this episode in terms of how we handle Angie. like as a whole Greece thing. It has been treated as like a joke and a gag and Angie has like really ran with that. I asked too.

Up until. Yeah, totally. We've had a lot of fun making fun of her for not shutting up about the country of origin her parents or whatever. But like here it's treated so honestly and like emotionally

there's a lot of like weight to it and we can like connect with her feeling this connection and how she's like using it as a mechanism for bonding with her dad and they go back through his memory books and I think that it

was a real turning point in this thing and it's still I have 100% faith in Angie's ability to continue to make it funny even though connected with it emotionally but I just thought it was a really good way of setting up

for this grease trip which they are for sure going to be taking later this season and giving it some emotional depth. Yeah, yeah. And it was also just really interesting to spend some time with her dad too, who seems in great shape for somebody who's 89 years old. But also him, you know, talking about his stories and going through World War II, you understand why she wants us to be so much of her identity because, you know, her dad's story is is a really good one.

And it starts to make sense all of a sudden. And like that is a history to be proud of. And he has some good moments talking about how he gets emotional when he sees Crete coming into view, when he makes a trip back. I guess they come from Crete, which is really interesting. That's also something he has in common with Todd, who is also a Cretan. but I thought that was good to have that bit of history. Okay, let's dive into the strategy here.

Who do you think is gaining and who do you think is losing in terms of social position? So I already kind of said this, but I think Lisa is not just shooting herself in the foot. She's doing like Wiley Coyote strapping herself to a rocket and blowing it up shit. like yeah um like this is a disaster for lisa right yeah totally it's it's both iconic and a disaster for her yeah yeah absolutely like it like it's classic it's great lisa stuff like it's a great moment uh it's great that we get to actually analyze all these weird choices of poster board that she put up like not only lines from the lawsuit with the word dismissed on it but just like randomly a picture of her and taught on a yacht and

and at a Utah jazz game like apparently to try to convince them that not only are my lawsuits dismissed but that I am rich by the way like I think that seems to be the whole point of it and but that's got to be you know that's a downward movement like she is not building any lines she hasn't changed anybody's mind on the contrary Heather who originally was very

curious about trying to to to take Lisa's side. That's completely gone over to the opposition. Thanks in large part to Angie's work, I think. So that's got to be a downward movement from her. In terms of gaining and strength, I mean, everybody against Lisa, which, you know, it's Bronwyn's really leading the pack. She was really the tip of the spear there.

Angie does a lot of the heavy lifting in that discussion over lunch, I think, in terms of like actually drilling into details, actually like trying to pin Lisa to a wall after. Bronwyn was the tip of the spear in the terms of the, you know, the previous episode, like actually getting the argument started, uh,

getting, provoking the first blow up. And now Angie kind of taps in a bit and, and, uh, takes more of the full on brunt and, and she really starts drilling in before the final blow up, blow up actually happens with Whitney.

So it's like, they've got like a, you know, they're taking shifts there, you know, like like, like, like,

like, like, yeah, like, taking shifts in terms of who is going to be the front facing one in the war against Lisa. You know that you're in trouble positionally when you've got Mary Cosby also going against you. Because she is typically like pretty far removed from any of the actual, you know, social warfare that happens. Yeah.

She kind of exists. She provides a lot to the show in terms of like emotional storyline. She provides a lot to the show in terms of like really, funny, eccentric moments, but she does not usually enter the conflict that much. And so to see her actually chiming in, you know that you're in trouble. Yeah, chiming in, though, not exactly in a classic Mary way, not exactly getting super involved. Another good quote I really liked where she describes her reaction to sing the poster boards

as, I'm confused. I'm going to stay confused and I'm going to leave confused. Like, this is weird, and I don't care enough to bother figuring out what's going on. So in terms of somebody who's gaining in strength, I guess I could, you know, both Brodwin and and Angie, I think, you know, Whitney is on their cap too, but her, the fact that she completely loses her cool at the end might come back to bite her. So I'd go with more Angie and Bronwyn as the ones who are solidifying their positions. And Angie had a big win, I think, in checking in on Heather to kind of get the temperature on where she's standing.

Like, you know, is Heather really thinking about trying to be a Lisa surrogate as she seemed to be toying with earlier and figures out that no, Heather can be completely an ally in that war too? So definitely a strong episode for both of them, Angie and Bruton. Yeah, I actually kind of like what Whitney did here in terms of the storm out. I think that she has seen that this is now, you know, everyone against Lisa. And yes, Bronwyn is at the tip of it. But I think she wants to get her hands dirty. I think she wants to be messy. I think she wants to be, you know, at the tip of the spear right there with, with Bronwyn.

And so I think to really engage very strongly, emotionally with this. And reposition this as a conflict of Whitney versus Lisa as opposed to it previously being a Bronwyn versus Lisa thing. I think that that is going to bode welfare because the deck is so stacked against Lisa. So this is a way to kind of take a bit more leadership in this dog pile that is happening on Lisa. So it might come back to bite her a little bit. It's hard to say because everyone seems so firmly against Lisa in this in this conflict. But I'm obviously super biased because I'm a huge Whitney fan. We never did come up with like a diehard name for Lisa or for Whitney fans.

But I am in Whitney's downline on this. Yeah. I mean, that felt like really genuine emotion too. Like I don't think I think she was really baited into blowing up. I don't think that was total strategy. Like when she's like leaning across the table with her fucking middle finger out, like fuck you. I think she was really,

she something really, really found her there. And it was pretty interesting the way that the subtitles kind of give us a little bit of, of a hint into what's going on because they, according to the subtitles, Lisa says redhead. And then according to the subtitle immediately after. Oh,

Whitney says that. that she heard Redneck, which appears to be the thing that really set her off. Yeah. So that was kind of an interesting thing. I'm going to be curious if that's like something they end up parsing in future episodes, like what the actual word Lisa used was. I could see Redneck being something that really triggers Whitney because she, like, she. She likes Harleys.

She gives off that vibe more than anyone else on the guest to be. completely honest. And I'm sure that that is something that she is a little insecure about. So that's, that's a good, good pickup. Yeah, I think I think you're bang on in terms of who is gaining and who is falling. Is there anything else that stood up to you in terms of like decisions that that were made here that you want to talk about? Not really. Other than I guess Heather feeling which way the wind is blowing and, uh, and making her position clear. Uh, unlike Meredith, who, Meredith definitely leans more Lisa in that discussion without being like a complete shouting going to war with her. But you know,

it's content to call liars, everybody who goes after Lisa. So I guess that that leaves Lisa with one ally, even though they kind of, everybody tries to insist that Meredith wasn't defending Lisa. So during the camping trip, more or less correctly from what we saw. But, but it does show that, that even if Heather, has firmly joined the anti-Lisa camp.

Lisa isn't completely without anybody in her camp either. Yeah, I think, like, Meredith is kind of interesting in terms of how she is operating. I would be expecting her to be on the attack a little bit more here, like, for Lisa. She is really silent, and I like that the dialogue surrounding what she's doing is about her not speaking up. Like even Brittany can see that. And she's like often, you know, Jared land half the time. So like the fact that she's able to pick up on the fact that Meredith is not standing up for Lisa and that this is something that is something that she can do something with. She can work with this.

I think that that is is pretty interesting. I think that Meredith has really concerned that if she stands up for Lisa too much, that attention is going to be drawn to her. and that she'll have to be on the defense or something. But by not speaking up for Lisa and not engaging in this conflict, I think it's kind of backfiring on her too because now people are pointing out, hey, you're like you're on the fence at worst and not standing up for Lisa at best. So like she's getting fired upon here no matter what. So I feel like that's a little bit of a backfire there.

And yeah, this definitely is a complete fail for Lisa. If she is, if the goal is to turn the page on this and like exonerate herself, the fact that we like the climax of this episode is everyone attacking her in front of huge posters of all these indictments of her behavior is such a total. Absolutely. Like she has printed out all the evidence against her and is sitting in front of it while everyone piles on her. It's also great because they really, they kind of built it up too. Like there's several moments where at least it's like, oh, I have something planned for the lunch. Oh, just wait until you see what I got planned. And when she got planned is like I said, it's like some wily coyote shit is just like,

opening up the acme box and just having it all explode at her face. Yeah. I think also it's really interesting that aside from, you know, the main conflict that we're getting about these lawsuits with Lisa, there's this emerging storyline about, you know, Lisa positioning herself as an echelon above everyone else as being an additional source of conflict that she is seemingly gearing up to be completely blindsided by. And I like how the narrative is leaning into this. I like that we, you know, we saw Heather and Angie discussing this and that kind of snowballing.

We saw, you know, the, the misunderstanding between redhead and redneck that is setting Whitney off. We're even seeing that in terms of the, the edit. Like, we open on Lisa arranging this restaurant and name dropping like 17 people. Yeah. I'm pretty sure the opening episode, there was a moment where Lisa said before, before mentioning, Ben and Blake says,

like, I don't like to name drop. Yeah. We just get like a barrage of name drops, which like you said, the edit makes sure, you know, everybody picks up on by putting a little picture and pictures and stuff of

every time she, she names us, you know, somebody who was big on TV in 2006's name. It's, it's really funny. That plus the little tossed off allegation that she's posting AI photos of herself in hotel rooms. There's, yeah, there's really this kind of snowballing evidence that she's kind of often this world where she's desperately trying to convince everybody that she lives on a higher level than them.

And she's just starting to look ridiculous because of it. Yeah. Okay. So do you have any other highlights that we haven't discussed? I think you pretty much top touchdown at all. Yeah. I think we covered most of my highlights as well. One thing that we had at the beginning of this episode that we haven't had yet this season is taglines.

So let's talk about the taglines. I was actually feeding my cats while these played. So I don't know what the reeds were like on these. But let's start with heathers, which is my nest is almost empty and this bird is ready to soar. I think this is weak. I'm going to give it a sea. It's got some good biographical information,

but I don't think the, I don't think the point of a mother bird soars most is when its nest is empty. It just doesn't feel like totally biologically right. Like the ones who do the soaring once the nest is empty are the baby birds who have learned how to fly. Yeah. The mother bird is declining and no longer has to actually go. great distances to find food to feed her chicks. So I don't think David Attenborough would think that's like an accurate observation about

bird behavior in general. So I think it's a little work. Okay. So I think that this is kind of weak as well. I think this is like C plus B minus area for me. How would you fix it? Hmm, good question. Because it's a good idea to start.

off with the nest is empty. That's going to be a big, that's obviously a big plot point for her this season. And it's an image that provides, you would think, a lot of, a lot of opportunities. But I'm not sure what I would,

what I would do with that, where you would go with it from, from this nest is empty. It would be like, the nest, I don't know. I've actually a little, I have no idea. Do you have any ideas? Where could you bring that image?

That would, that would work a little bit better. Yeah, I think I would go with like my nests is almost empty and now I've got room to spread my wings would be a little bit better. Right away, that's better. Yeah, that's better. Because spread my wings is, yeah, it plays into the idea that there's more room without implying that you're moving far away from the nest and go, which is like kind of not the right image, I think, for that situation.

Yeah. Okay. So Meredith, Meredith Marks is while you drop lies, I'm dropping beats. What is this referencing? Is she a DJ? Yeah. Yeah, she's a DJ. Hell yeah. That's sick.

Well, I mean, it's simple. I like that. I like the simple ones. I'll, yeah, I don't know. I don't give it like a B minus. It's simple. It's fun. It's it's goofy. Okay. This is a B plus for me. I just think this is such a like, it's, it's so goofy. It's leaning into this like goofy hobby that she has. I like it. I'm going to award points for silliness from a housewife that takes herself. exceedingly seriously. So I like it. I think this is B plus A minus

for me. All right, right, right. Okay, so Bronwyn's is if I had, if my closet had skeletons, at least they'd be well dressed. I like it. I like it. I think that's fun. Obviously, Brunwin's wardrobe is,

you know, would be embarrassing for a clown or a coral reef. And I, but I like the transition between skeletons in the closet to like, I like the image of like having fabulous skeletons in your closet because your closet is so fabulous. It's funny. It's silly. I'll give that. I'll go as high as a minus for that. What do you think? Yeah. I yeah, I think that this is an a minus B plus again. I mean,

I think I really like that Bronwyn takes big swings in terms of her fashion. They don't all land for me. I mean, we, Lisa didn't name drop Soderberg, but we got an appearance of Aaron Brockovich at the, uh, the Bronwyn Todd lunch there and not, it's not all winners. Uh, but yeah, I, I don't know.

This is, this is fine. You know what? I think this is B, solid B territory for me. Okay. Okay. So we've got Angie. I'm Greek and the rest are just a tragedy. Yeah, it's kind of fun. I like it. Um, you know, referencing her one thing.

And it's also kind of just simple. You know, it's, it's, it's, it's, it's, you don't really know what the punchline's going to be until you arrive at it. And then you're kind of like, yeah, of course, it's what the punchline's going to be. And, uh, there's something kind of melodramatic about calling, call you everybody else a tragedy, which I think this is funny. I'll give this a minus as well. I think this is a solid one. Okay. Yeah, this is, this is an a minus for me as well. Roses are redheads. Violets are blue. Don't come from me. all come for you from Whitney.

Oh, man. I don't know. I don't know if I like the whole referencing roses that red violets are blue. That's like a half step away from starting it off. Like, my name's Whitney and I'm here to say. Like, it's just like, it's so corny, man. Okay, I get it.

Your hair is red this season, but. Your last name's Rose. Okay. Yeah, yeah. but the poem doesn't really end with like a good punchline, you know, like just I'll come for you. Okay. Like if it had like a really solid zinger to wrap up the poem,

I'd be like, hell yeah. But I think because the punchline is so weak, I can't get over the kind of lameness of using a roses or red structure. Okay. I actually like the roses. I like the roses of red structure. but you're right that the punchline leaves a lot to be desired. I think it's like it's sort of weak.

It's more middle of the road that is the problem. Like if it was like exceedingly bad, that would bring it up for me. Or if it was like really like a really killer line. But the fact that it's middle of the road and it loses marks. I think that for me this is this is still a B honestly. I like the Rosary Red structure. I like it. I don't know if we had another housewife that has used roses or redheads or that kind of structure.

So I think it's playful. Okay. Okay. So we've got, I'm just here to eat, drink, and be merry. I like it. Yeah. Again, sometimes when they're really simple, it's just that much more charming. Yeah.

The fact that it doesn't match your personality at all makes it funnier for me. Like, no, you're not. Yeah. You never have fun at any of the. ever. And I don't know, I think it's cute how it's just like such a kind of simple, obvious play on her name. That I think it's adorable, kind of. I'll give this a day.

Yeah, this is one of the best ones of this season, I think. Not Mary's best tagline. That award goes for one of my favorite taglines of all times. Don't come for me or I'll send Jesus after you. But this is this is good. You're right. It's cute. It's short.

It's fun. Okay. And so finally, we've got Lisa Barlow. I don't go low. I go the distance. It's all right. I guess she's kind of, again, trying to play into the idea that she's kind of an OG playing the long game,

has that high status. It does feel a little boilerplate for me, though. It doesn't feel like super personalized. It's like a fine. It feels pretty entry level to me though. It just doesn't feel personal enough. So I'll give that like, eh, see. So I don't think this is great.

It is personal in that last season she had the whole thing where she was talking about wanting to go the distance on the allegations about some sort of like bots or some online thing. She called her like IT security guy and said, I want to go the distance on this. Okay, I forgot about that. So I didn't really catch that, that reference right away. Okay. Yeah. This is still, yeah, this is still a C for me.

I think that she could, she could do better. All right. Well, that brings us to the end. Oh, we didn't do our stars. Who are your stars for this? Right. I got to go number one to LeBron when, again, I think, I think I've given it to two or all three episodes so far this season. And loved the back story we got.

I love spending time in her head and in her awful house. That's got to be, that's got to be first star. Second star, let's go with Lisa. Disasterous episode for her, but also an iconic episode for her. So great stuff there. And we'll go number three to Angie, another person who would get a little bit more backstory, who also has some good stuff going on with Heather, has some good strategizing going on. another strong episode for her too. Oh, and a special mention to the, uh, to the little waitress at the lunch

who seemed like really genuinely uncomfortable when she has to try to take orders. Like first week on the job energy. Yeah, yeah. A great like kind of cringing uncomfortable smile on plastered to her face while she tries to ask questions that nobody's listening to. So a little special mention to her. Just got promoted from hostess. Yeah. Yeah, I think your stars are bang on same as mine. I think Bronwyn number two, number one, Lisa number two, and number three to Angie. Awesome.

Well, that about does it for this week. You can find us on Instagram and Facebook at Bravo. Outsider. Dylan, where can people find you? You could find some of my writings about movies on Substack. Just look for my name, Dylan, D-Y-L-N-Ferguson. And that does it. be sure to like and subscribe on whatever platform you're watching us on.

Leave us a comment. Tell us who you think has the best tagline and what your thoughts are on this season of Real Housewives of Salt Lake City. And until next time, keep on White Bay.