We start off with two people sitting at a diner. For me, I fought to be able to shoot that scene in the window, which is hell for post-production and for editorial because there’s cabs and buses going by outside that are modern...but I wanted Patty and Angel there! I wanted them seated across from one another and to give a feeling of confrontation, but also of sharing this particular man. It doesn’t pass the Bechdel test — it’s about a man — but it is feminist in the way Angel discloses who she is to Patty, and Patty’s reaction to that, and how that propels her for the rest of the episode. When you're watching it every single night this month (we won't judge!), there are a few things you should probably know about this movie. Like how many traffic accidents Buddy caused due to his amazing costume. And what those cotton balls he ate at the doctor's office werereallymade of. You want to know, don't lie. that he although hadn’t personally seen it, he knew that everyone was really excited. Perhaps he just didn’t want to see that faux Tristan any more than we did. But all’s well that ends well; sounds like there’s no bad blood between Chad and his Stars Hollow friends. Maybe in an alternate universe somewhere, Paris and Tristan are married and living happily ever after.Related: It’s so strange to think about. It feels like a moment, but at the same time, it just feels like I did the work. For me, I don’t believe it’s surreal because I was there for every step of the process — I’ve seen five cuts of [the episode]. I was there when we were breaking the story in the room, when I sat and wrote it with Ryan, when he then pushed me and told me that I was going to direct it, when I had to shadow Gwyneth Horder-Payton for episode four, when I had to go and do prep for the location scouts and meet the entire team and be introduced as a director the first night we shot. So everything was incremental steps to get me prepared for [having] an episode of television with my name on it, both as writer and director.