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Speaker 1: One of my favorite things is, you know, we have

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Speaker 1: our group chat, our text thread among us, but then

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Speaker 1: there's also well, but then there's also individual threads that

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Speaker 1: we have going. Uh will you and I are actually like,

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Speaker 1: we actually text one another because we both have iPhones,

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Speaker 1: so that's easy, right, exactly, whereas Danielle and I have

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Speaker 1: our own separate thread signal threat, yeah, signal thread.

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Speaker 2: Yeah, Danielle and I have one of those as well.

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Speaker 1: Oh you do.

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Speaker 2: I do. Of course.

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Speaker 1: One of my favorite things, and it happened again this weekend,

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Speaker 1: is that Danielle and I send each other pole that

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Speaker 1: we find because she's one of the few friends of

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Speaker 1: mine who reads poetry, which I guess goes back to

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Speaker 1: David Holmes David comes.

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Speaker 3: Yeah.

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Speaker 1: We read a lot of the same poems with him

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Speaker 1: when we were separately, actually because you were younger, and anyway,

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Speaker 1: I think it kind of goes back to that, and

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Speaker 1: and I just love that we like, I'll send her

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Speaker 1: a good poem that I like, and then we'll send

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Speaker 1: some messages back and forth about it. But I thought

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Speaker 1: I would share because you know, there's it's hard to

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Speaker 1: find good poetry. It's hard to like know where to

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Speaker 1: encounter it. I mean, I tend to like get really

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Speaker 1: into one poet and try and buy all of their

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Speaker 1: stuff and read it, and then I just keep the

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Speaker 1: books and then hopefully they maybe like make reference to

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Speaker 1: other poems or other poets, and I go, you know,

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Speaker 1: kind of just keep going down these rabbit holes. But

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Speaker 1: I also and most of the poems that I end

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Speaker 1: up sending to Danielle I find because I've signed up

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Speaker 1: for multiple poem a day services, and so I just like,

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Speaker 1: I highly recommend for anybody who's interested in poetry. It's

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Speaker 1: a great way to just get a poem every day

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Speaker 1: in your inbox, read it in your you know, and

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Speaker 1: if you like them, then you can go buy their book,

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Speaker 1: which is what I do like. And I would say,

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Speaker 1: like every I don't know, it takes, you know, most

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Speaker 1: of the time I don't even like the poem ilse read.

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Speaker 1: But every once in a while a gem comes through

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Speaker 1: and it's usually a poet I've never heard of, and

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Speaker 1: then I go buy their book and I get this

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Speaker 1: whole new like part of my reading life. So there's two.

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Speaker 1: There's a Poetry Foundation dot org. You can sign up

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Speaker 1: for a poem a day there and then poets dot org,

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Speaker 1: which is the Academy of American Poets. Both of those

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Speaker 1: poets dot org and Poetry Foundation dot org offer poem

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Speaker 1: a day. I highly recommend that if anybody has any

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Speaker 1: interest in poems, just sign up and like it is,

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Speaker 1: it has been the gift that just keeps giving.

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Speaker 4: It's free.

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Speaker 1: And then I discover all these poets and you know,

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Speaker 1: people don't really make money as poets, so I feel

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Speaker 1: good because I'm like, hey, if somebody's dedicated their life

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Speaker 1: to a form of literature that is essentially dying or

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Speaker 1: it's like so niche that there's only so many of

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Speaker 1: us out there who really read poetry, you know, I'm

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Speaker 1: supporting that art and keeping it alive because it's it's valuable,

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Speaker 1: and it keeps changing, it keeps growing, and like I said,

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Speaker 1: there's gonna be tons of poems that you're gonna get

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Speaker 1: in your inbox and just be like, well, this is junk,

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Speaker 1: and that's fine. You know, it's not for everybody. There's

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Speaker 1: so many different types of like I don't even know

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Speaker 1: what is a good poem anymore, and I'm sure we're

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Speaker 1: going to get into that a lot today with this episode.

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Speaker 1: But like I just like that there's so many different

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Speaker 1: voices out there, and invariably there is a poet out

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Speaker 1: there who's writing something that's going to grab you, and

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Speaker 1: you just have to be exposed to it. And this

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Speaker 1: is an easy way to just keep them coming and

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Speaker 1: find something that you really like.

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Speaker 4: Similarly to books and movies for me, or even TV shows.

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Speaker 4: I know that I like a poet or a poem

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Speaker 4: when I think about it ever again after I've read it, right,

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Speaker 4: you know, But if I if I open up my

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Speaker 4: email and there's a poem in there, and I read it,

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Speaker 4: and I go all right, and then I never think

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Speaker 4: about it again, I probably didn't really like that one.

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Speaker 4: But a lot of poems you read and then there's

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Speaker 4: maybe even just one small sentence or the way something

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Speaker 4: is phrased that you'll just keep going back to and

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Speaker 4: keep thinking about. And then I know, lovers, for everybody,

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Speaker 4: it's like I'm sorry, what, well, there's.

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Speaker 2: People in your past you never think about again. But

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Speaker 2: then it's like that, but that one person smelled really good,

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Speaker 2: Like there's one thing about about.

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Speaker 4: I still thinking about Will, who.

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Speaker 2: My wife has been my only lover from my entire life.

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Speaker 4: That's where where I thought.

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Speaker 1: This was going on.

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Speaker 5: I'm just trying to join the conversation because I hate poetry.

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Speaker 5: I noticed I was writing down those those website.

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Speaker 4: Yeah, well, pope poets dot org doesn't need to be

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Speaker 4: written down, already forgotten, already forgotten.

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Speaker 2: Yeah for me?

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Speaker 4: Oh will I do think? I think? Why?

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Speaker 1: What is it?

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Speaker 4: Because I listen? I don't want to. I do not.

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Speaker 2: I find it really pretentious.

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Speaker 4: I'm the first person to say I do not want

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Speaker 4: to sit down and read something that makes me feel

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Speaker 4: real dumb. I don't want to sit down and go

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Speaker 4: what what?

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Speaker 3: Hold on?

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Speaker 4: I gotta go back. I'm only on sentence too, and

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Speaker 4: I'm already trying to figure out where we are. But

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Speaker 4: that is not all of poetry.

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Speaker 2: It just isn't like epic poetry.

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Speaker 5: I mean, the Odyssey is my favorite story of all time,

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Speaker 5: so that's technically epic poetry.

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Speaker 2: But it's not.

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Speaker 5: To me.

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Speaker 2: Poetry is.

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Speaker 5: I can say it in five words, but I'm gonna

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Speaker 5: use fifty.

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Speaker 2: That's what poetry is.

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Speaker 1: So much of poetry is the exact opposite. Actually, we're

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Speaker 1: talking about some books on a subject, and then you

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Speaker 1: just have one sentence that a poet is able to

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Speaker 1: distill it down and in five words you're like, oh

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Speaker 1: my god, that says more than all of Buddhist literature

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Speaker 1: or whatever. You know, I was, I finally got the

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Speaker 1: thing in that one sentence, So yeah, I know.

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Speaker 3: Man, this is a problem like of.

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Speaker 1: The way poetry is taught really, you know, like we

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Speaker 1: learn poetry usually in school, and it's usually with a

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Speaker 1: teacher teaching like saying like.

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Speaker 3: What is this poem actually about?

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Speaker 1: And it's usually older, difficult poetry with vocabulary that you

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Speaker 1: either that we don't use as a culture anymore because

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Speaker 1: it's like Shakespearean or you know, it's literally hundreds of

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Speaker 1: years old, or it's just very specific, tough vocabulary. And

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Speaker 1: then it's like gives you this approach to poetry where

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Speaker 1: it's like a riddle you have to solve and there's

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Speaker 1: a right and there's a wrong reading of it, and

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Speaker 1: that is horrible. That is like the worst way to

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Speaker 1: approach poetry is whatever we want it to be. It's

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Speaker 1: just taking language outside of our normal usage and saying,

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Speaker 1: let's bend the rules a little bit, let's push things

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Speaker 1: a little bit.

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Speaker 3: And so many people have.

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Speaker 1: Different versions of that, right, There's there's people that write

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Speaker 1: the epic, like I'm going to tell the story of

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Speaker 1: a great war through poetry. And then there's people that

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Speaker 1: are like, I just want to talk about the way

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Speaker 1: I feel about this one moment in my life through poetry.

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Speaker 1: Or then there's people that you know, wrestle with giant

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Speaker 1: concepts that are very abstract. Then there's people that are

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Speaker 1: just interested in the language and the way it sounds,

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Speaker 1: and they actually kind of are nonsensical.

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Speaker 3: So there's so many different ways.

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Speaker 1: So like, yeah, I just think that like when you

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Speaker 1: say you don't like poetry, like I think that mostly

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Speaker 1: you just haven't found the one or the type of

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Speaker 1: poetry that you like. And there's probably there's probably something

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Speaker 1: out there that would be like oh, you would want

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Speaker 1: to carry that palm around in your back pocket and

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Speaker 1: like happen, and you have to care.

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Speaker 4: Enough to want to find it. For example, my mom

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Speaker 4: will not eat anything that comes from the sea. She

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Speaker 4: just will not Guess what, there may be a fish

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Speaker 4: out there my mom would think is the best tasting

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Speaker 4: fish in the world, But guess what, she doesn't care

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Speaker 4: enough to go find it. She's not willing, she doesn't

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Speaker 4: want to, So for will doesn't care doesn't want to.

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Speaker 4: I don't like it. I'm not going to read the poetry.

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Speaker 5: I understand the hypocrisy of the Hey there's I don't

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Speaker 5: like when you can use five words and use fifty

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Speaker 5: by someone who reads books that are twenty pages. I

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Speaker 5: just completely get that. I also one of those people.

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Speaker 5: I don't believe in symbolism. I don't believe any writer

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Speaker 5: uses it on purpose. I think it's people after the fact.

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Speaker 5: I think Robert Frost was tired, he was deep in

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Speaker 5: the woods, and he wanted to go to sleep.

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Speaker 2: That's what. So to me, it's like I don't which is.

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Speaker 1: Totally and Frost is way overrated in my opinion. You're like,

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Speaker 1: there's so many different takes, you know, Like, I don't know.

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Speaker 1: I just I hate like hearing like I don't like

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Speaker 1: poetry is sort of to me, like I don't like music.

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Speaker 1: It's like, well, okay, I guess there are people who

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Speaker 1: just don't like music. Saying I don't like classical music,

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Speaker 1: but no, you're talking about classical poetry, then no, but.

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Speaker 5: You're also talking about a specific type of literature. It

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Speaker 5: would be saying I don't like music is like saying

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Speaker 5: I don't like reading, which are two different things. I

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Speaker 5: like certain types of music, and I don't like other

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Speaker 5: types of music. I like certain types of reading, and

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Speaker 5: I don't like other types of reading. So I don't

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Speaker 5: like poetry, but I love you know, fantasy, So it's

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Speaker 5: that to me, is like saying I don't like hip hop,

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Speaker 5: which I do, but I do like, you know, in

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Speaker 5: rock and roll. So to me, it's just a different

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Speaker 5: type of literature and it's just not my thing.

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Speaker 2: I don't know. Maybe you're right.

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Speaker 5: I remember you at one point with that, when we're

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Speaker 5: talking about the basics, you had a poem that you

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Speaker 5: wanted me to read that was like your favorite poem

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Speaker 5: of all time, and it was two or three lines.

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Speaker 2: It was called the Little Red Wagon.

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Speaker 1: Oh William Carlos Williams, the Red wheelbarrow.

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Speaker 2: Okay, that's what it was.

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Speaker 5: And you're like it is the most basic, and I

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Speaker 5: was like, yeah, dude talking about his wagon for three lines.

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Speaker 2: I don't know shit.

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Speaker 4: But have you read Giraffes Can't Dance? No, okay, I'm

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Speaker 4: just wondering.

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Speaker 2: I've read Jurassic Park and that could happen.

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Speaker 4: Welcome to vond Meats World.

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Speaker 2: I'm Daniel fishl I'm rather strong, and I'm Wilfredell.

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Speaker 4: Welcome to today's episode recap. We are at seasons episode nine,

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Speaker 4: Poetic License, an ode to Holden Cawfield. It originally aired

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Speaker 4: November twentieth, nineteen ninety eight. The synopsis when mister Feene

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Speaker 4: reads a student's poem in class, it triggers a series

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Speaker 4: of events, bringing Sean and Angela's relationship back in the spotlight.

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Speaker 4: It was directed by William Russ. This is his third

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Speaker 4: now right, Yeah, but.

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Speaker 2: He was I think became kind of one of our

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Speaker 2: regular ones.

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Speaker 3: How many you do?

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Speaker 2: Five? Six, seven? He kept coming back, right, I don't.

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Speaker 4: Know I was. I'm surprised. This is his third. I

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Speaker 4: know where I was third.

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Speaker 2: I didn't remember this one.

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Speaker 4: It was written by Erica Montalfo. That's the first time

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Speaker 4: we've seen her name on a script thus far. We're

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Speaker 4: looking forward to having her on as a guest in

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Speaker 4: the future. Before I jump into our guest stars, do

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Speaker 4: you want to talk about your overall thoughts and feelings?

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Speaker 3: Will loves this episode? I'm sure no.

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Speaker 5: I don't know how I feel about this episode. If

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Speaker 5: I'm totally honest.

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Speaker 2: I liked the story.

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Speaker 5: I was hoping the A story was gonna go somewhere else,

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Speaker 5: and I thought at one point it was and then didn't,

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Speaker 5: and I was like, oh, the acting all good.

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Speaker 2: I thought everybody was good.

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Speaker 5: Again, I'm getting more used to this being Sean now

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Speaker 5: it's just a completely different, different character all the way around.

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Speaker 5: So when I get into my head, I then once

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Speaker 5: again tell myself there's a bunch of different boy Met worlds,

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Speaker 5: and in this version of boy Me world, this is

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Speaker 5: Sean who apparently has always been writing down his thoughts

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Speaker 5: and feelings and we just never knew that.

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Speaker 2: But I don't. I know this sounds dumb, but I

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Speaker 2: finished it last night.

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Speaker 5: I then watched it again, which I very rarely do,

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Speaker 5: and then I kind of said to myself, maybe listening

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Speaker 5: to the two of you talk about it will help

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Speaker 5: me more with how I feel about it.

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Speaker 2: Again, b story very basic, but I thought was good.

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Speaker 5: Yeah, the A story, I didn't quite know where they

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Speaker 5: were going, what they were planning, and then I thought

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Speaker 5: they were going one way and didn't. And for the

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Speaker 5: first time, especially in the very first scene, I thought

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Speaker 5: Ben was really pushing it comedically.

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Speaker 4: But the anger but also just.

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Speaker 5: Like it was very caricatury, like now he's putting on

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Speaker 5: a voice now, and so yeah, I don't know how

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Speaker 5: I felt, is my answer.

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Speaker 4: Okay, writer, I.

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Speaker 1: Have so many thoughts. I mean, like, you know, I feel, Yeah,

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Speaker 1: there's there's so many layers to this episode for me,

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Speaker 1: Like there's all.

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Speaker 3: The personal stuff.

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Speaker 1: There's my own writing in the episode with the poems,

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Speaker 1: there's the memories of that experience, both good and bad.

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Speaker 1: And then there was hearing my poetry for the first time,

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Speaker 1: which I hadn't thought about or read in a long time,

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Speaker 1: and that was you know. But but yeah, in terms

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Speaker 1: of like as an episode of Boy Meets World, so

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Speaker 1: because I feel like we're going to get into so

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Speaker 1: many things and I don't want to co opt the

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Speaker 1: whole conversation today, but I I yeah, I think the

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Speaker 1: biggest thing is just the Sean question, right, like who

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Speaker 1: is sewn on? And I think this episode does a

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Speaker 1: good job of finally bringing some of the things that

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Speaker 1: we've been wondering about to the to the forefront, but

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Speaker 1: then not bringing it to the forefront.

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Speaker 2: About the same thing.

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Speaker 1: Yeah, it's it's I would say that this is the

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Speaker 1: the the angst era of Sean, right, and that is

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Speaker 1: just not good.

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Speaker 3: It's not great.

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Speaker 1: It's it's it's unmotivated, emotional misery and unmotivated. Like I

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Speaker 1: I don't mind the story. I just really wish that

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Speaker 1: there was any reason that we understood what why Sean

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Speaker 1: is so troubled? Why what Sean's going through? And you know,

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Speaker 1: we can make assumptions about that, right, we can say like, oh,

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Speaker 1: it's the way he grew up, it's his family, it's

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Speaker 1: money problems, but he never says any of that or.

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Speaker 4: Nobody suggests it amongst themselves, Like you know, he didn't

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Speaker 4: have the best view. His parents didn't model the best

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Speaker 4: the healthiest relationship of love, like for it's to just

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Speaker 4: be acknowledged.

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Speaker 1: Yeah, it's so, it's it's like essentially Sean has become

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Speaker 1: Ethan Hawk in reality Bites, which is like just the

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Speaker 1: worst type of character. It's like it was it was

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Speaker 1: sort of an archetype at the time, the like slacker,

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Speaker 1: genius artist who is just can't deal with the real

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Speaker 1: world jobs and relationships and just it's it's hard. I'm

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Speaker 1: not going to sell out, I'm not gonna but you

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Speaker 1: look back on the character and you're like, but that's

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Speaker 1: just a pretentious douche Like that's just somebody who who's

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Speaker 1: who's using this as like a shield to like cover

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Speaker 1: up the fact that they might not be able to

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Speaker 1: just do things that they need to do, like talk

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Speaker 1: to other people, don't have a girlfriend, yeah, right, like and.

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Speaker 5: Beneath them like you just don't get the world the

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Speaker 5: way I get the work exactly.

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Speaker 1: And it's like that is that is I'm you know,

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Speaker 1: I'm sure I was like that to a certain degree,

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Speaker 1: but that's not like great to celebrate. And I feel

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Speaker 1: like Boy Meets World is celebrating that aspect of Sean

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Speaker 1: and that version of Sean and really centering it as

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Speaker 1: if it's like this important thing that all these other characters,

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Speaker 1: Angela in particular, but Corey and everybody have to like

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Speaker 1: sort of contend with. And And I just wish he

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Speaker 1: said at any point, like part of the reason I

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Speaker 1: can't talk about my feelings or share my poetry or

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Speaker 1: express any of this is because X whatever that is.

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Speaker 1: I'm still messed up about my mom. I still have,

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Speaker 1: you know, like I would love it if it's just

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Speaker 1: like I'm afraid I'm gonna get kicked out of college.

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Speaker 1: I can't be a poet, right, I'm not gonna be

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Speaker 1: a poet. What are you talking about, Foenie? Like I'm

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Speaker 1: gonna I need a job, like I need to make money,

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Speaker 1: Like I wish it was something real that was forcing

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Speaker 1: Sean to avoid these feelings or avoid these artistic impulses

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Speaker 1: or expressions or or like or I'm just scared to

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Speaker 1: be in a relationship too early because now I'm any

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Speaker 1: of it, any any expression of like some specific this

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Speaker 1: is probably motivating my inability to be the guy that

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Speaker 1: everybody wants me to be, and instead it's just this

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Speaker 1: like blank angst and and I think that's just gonna

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Speaker 1: stay that way for the rest of Boy Meets World.

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Speaker 1: And that's a that's really not cool, Like that does that?

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Speaker 1: That just bums me out because I'm like, right, I

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Speaker 1: remember playing that. I remember being in scenes like where

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Speaker 1: I'm with Corey, like in this scene where I'm like.

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Speaker 3: You crossed the line.

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Speaker 1: You can't do this, and it's like, oh, okay, but

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Speaker 1: what else do you do you have to offer? Like

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Speaker 1: what what is the defense? What are you what are

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Speaker 1: what are you going through? What can you share? And

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Speaker 1: it's like I can can't, I can't go there. I'm

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Speaker 1: not ready. I'm not, and it's just gonna stay in

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Speaker 1: that like ready, there's something big and deep and it's

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Speaker 1: important and I'll get to it later in life when

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Speaker 1: I'm old.

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Speaker 4: It's like thank you, I mean.

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Speaker 1: Right, And that's I just think it's really unhealthy. It's

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Speaker 1: an unhealthy thing to model. It's an unhealthy thing for

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Speaker 1: a show to celebrate, because that kind of it is

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Speaker 1: just very indulgent and and uh yeah, it's I.

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Speaker 5: Also think they've been They did a big disservice to

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Speaker 5: the character where one of the things that was kind

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Speaker 5: of defining about him was that he was poor.

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Speaker 2: And now it's one of the he's just an other student.

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Speaker 5: He's never talked about the economic difficulties of joining with

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Speaker 5: his friends of hey man, I can't go out every

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Speaker 5: night and hang out with you guys. I don't have

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Speaker 5: the money. I've used books. All that was just blown blown.

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Speaker 1: By how that would be such a strong motivation for

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Speaker 1: you to do a lot of the things that he

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Speaker 1: feels right.

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Speaker 2: And I like that.

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Speaker 4: One more than some of the other stuff you had suggested, writer,

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Speaker 4: just because I can totally see how Sean may not

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Speaker 4: be self aware enough to know that a lot of

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Speaker 4: what he's dealing with is because of a difficult or

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Speaker 4: a troubled relationship with a mom or a dad or

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Speaker 4: a he may not be able to make that connection.

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Speaker 4: But the idea that Sean is quote unquote different from

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Speaker 4: the rest of us is something that was a regular

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Speaker 4: point of a subject, like a topic of conversation in

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Speaker 4: multiple episodes at the beginning of the show, and now

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Speaker 4: we've just let it go. And yet it could be

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Speaker 4: a really great thing to acknowledge, like, guys, you know,

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Speaker 4: you guys get to hang out here every night. I

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00:18:02,520 --> 00:18:04,399
Speaker 4: have to go to work. You guys get to you know,

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00:18:04,440 --> 00:18:06,680
Speaker 4: your your parents help you pay for books. I don't.

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Speaker 4: I don't even know where my dad is. And even

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Speaker 4: if it were something like Angela deserves the world and

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Speaker 4: I can't, I can't. I know, she says she just wants.

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Speaker 4: She's fine with, you know, burgers and fries, but I wanted.

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Speaker 4: I want to be able to do more and I can't.

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Speaker 4: And maybe she deserves better something just to have that.

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Speaker 4: So yeah, I one thing I did really like about

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Speaker 4: the episode. I am thoroughly enjoying that. After we had

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Speaker 4: the Cory Angela episode about them not being friends that

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Speaker 4: now they get to interact more and we get to

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Speaker 4: see more of their friendship and their interactions, And we

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Speaker 4: got to see the same thing with Tapanga and Sean.

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Speaker 4: I thought that was a real high point of the

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Speaker 4: a storyline for me was seeing us in different pairings

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Speaker 4: as real friends. So I also enjoyed that.

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Speaker 5: I don't normally notice this, nor do I speak about it,

399
00:19:05,440 --> 00:19:07,960
Speaker 5: but it was so staggering to me.

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Speaker 2: In this episode, Trina is stunningly gorgeous.

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00:19:11,920 --> 00:19:15,320
Speaker 4: Oh my gosh, I know, I mean just noticed how

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00:19:15,320 --> 00:19:15,880
Speaker 4: beautiful sit.

403
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Speaker 2: No, I always knew she.

404
00:19:17,240 --> 00:19:19,800
Speaker 5: Was pretty, but it was like, especially the scene in

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Speaker 5: it where she's sitting in the dorm room and Corey

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Speaker 5: comes to talk.

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00:19:22,520 --> 00:19:25,919
Speaker 2: Without She's distractingly beautiful in that scene.

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Speaker 3: I know.

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Speaker 5: I was just sitting there watching her like she's oh

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Speaker 5: my god, she's a ten.

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Speaker 2: She's stunning. Yeah, yes, amazing. Yep.

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00:19:33,800 --> 00:19:37,520
Speaker 4: So jumping into our guest stars, we have Alexandra Addie

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00:19:37,640 --> 00:19:41,960
Speaker 4: or a d Adi as Audrey the Troll. She also

414
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Speaker 4: appeared on thirteen episodes of Step by Step as Samantha

415
00:19:45,119 --> 00:19:48,639
Speaker 4: Milano and in the movies Eddie, American Pie, and Copland.

416
00:19:48,920 --> 00:19:51,920
Speaker 4: Her last known credit was in twenty twelve. And then

417
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Speaker 4: we have Sebastian Tillinger as Dick. He was already a

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Speaker 4: pretty seasoned TV actor by the time he got to us,

419
00:19:58,200 --> 00:20:01,760
Speaker 4: appearing on Hangtime, Grace, Under Fo, Step by Step, Weird Science,

420
00:20:01,880 --> 00:20:05,119
Speaker 4: and four episodes of Smart Guy. He'd later appear in

421
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Speaker 4: The Aviator, Eagle Eye, The Wolf of Wall Street, and

422
00:20:08,720 --> 00:20:13,080
Speaker 4: Boardwalk Empire. He is still acting, he is writing and

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00:20:13,119 --> 00:20:16,160
Speaker 4: making art, which you can see on his Instagram at

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00:20:16,320 --> 00:20:20,200
Speaker 4: Sebastian Tillinger T I L L I N G E R.

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00:20:20,960 --> 00:20:25,479
Speaker 4: And then we have Bo Sharon as student, who I

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Speaker 4: believe is the kid talking behind the books in Yes.

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Speaker 1: It's very, very strange. By the way, I didn't know

428
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Speaker 1: what was going on.

429
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Speaker 4: I was very confused. I kept waiting for it to

430
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Speaker 4: tie in somehow. It never it never did, but it was.

431
00:20:46,400 --> 00:20:49,880
Speaker 4: It is very funny in just its insane, the randomness.

432
00:20:50,840 --> 00:20:53,920
Speaker 4: So Bo Sharon was on five episodes of the cult

433
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Speaker 4: classic Get a Life, as well as a slew of

434
00:20:56,320 --> 00:20:59,000
Speaker 4: well known TV shows. Murder, she wrote Beverly Hills nine

435
00:20:59,000 --> 00:21:02,400
Speaker 4: O two one, Oh, Murphy Brown, and Moesha Boy Meet's

436
00:21:02,440 --> 00:21:05,320
Speaker 4: World was his last acting credit. He would later become

437
00:21:05,359 --> 00:21:09,360
Speaker 4: a chef and then open Lucky's Markets, a niche grocery

438
00:21:09,440 --> 00:21:12,879
Speaker 4: chain that bills itself as organic for the ninety nine percent,

439
00:21:13,359 --> 00:21:16,719
Speaker 4: with investments from Kroger at one point, and eventually they

440
00:21:16,760 --> 00:21:19,880
Speaker 4: had seventeen stores. It's still down to now just two

441
00:21:20,000 --> 00:21:24,000
Speaker 4: locations in Colorado. But yes, that is our bea Sharon

442
00:21:24,080 --> 00:21:27,160
Speaker 4: from behind the box. Oh cool, yeah, right, cool wife.

443
00:21:39,320 --> 00:21:42,320
Speaker 4: All right. Jumping into our recap, we are in Phoenie's classroom.

444
00:21:42,359 --> 00:21:45,000
Speaker 4: Phoene is discussing a new poem with his college students

445
00:21:45,000 --> 00:21:47,439
Speaker 4: that he finds to be quite special. The piece is

446
00:21:47,600 --> 00:21:52,919
Speaker 4: entitled an Unpublished Manuscript for JD. Salinger? Was this the

447
00:21:53,000 --> 00:21:56,280
Speaker 4: names of your poems? Writer? Or did you they change

448
00:21:56,280 --> 00:21:56,880
Speaker 4: the names?

449
00:21:57,359 --> 00:21:57,439
Speaker 3: No?

450
00:21:57,600 --> 00:22:01,280
Speaker 1: So this one I hit herited the name because this

451
00:22:01,480 --> 00:22:03,399
Speaker 1: was the name. So yeah. So what happened is the

452
00:22:03,440 --> 00:22:07,040
Speaker 1: script as was delivered on day one, had poems that

453
00:22:07,359 --> 00:22:10,960
Speaker 1: Erica I'm assuming or the team somewhere on the team

454
00:22:11,040 --> 00:22:14,520
Speaker 1: had written. And so the first one was called an

455
00:22:14,600 --> 00:22:17,000
Speaker 1: unpublished Manuscript to J. D. Salinger. And since it was

456
00:22:17,000 --> 00:22:19,600
Speaker 1: the name of the episode, when I ended up writing

457
00:22:19,680 --> 00:22:24,480
Speaker 1: the poems, I had to keep that one, and so

458
00:22:24,520 --> 00:22:26,960
Speaker 1: it had to be that. And then the second one,

459
00:22:27,040 --> 00:22:28,960
Speaker 1: I was just had to be a love poem to

460
00:22:29,800 --> 00:22:32,680
Speaker 1: you know, Angela. So I was like, you wrote.

461
00:22:32,359 --> 00:22:33,800
Speaker 2: These for the episode.

462
00:22:33,840 --> 00:22:36,080
Speaker 5: It wasn't like they had the episode came out and

463
00:22:36,119 --> 00:22:38,320
Speaker 5: you had already written these poems. So these were poems

464
00:22:38,320 --> 00:22:40,160
Speaker 5: that you'd written before that you put in You wrote

465
00:22:40,160 --> 00:22:41,280
Speaker 5: them specifically for the.

466
00:22:41,200 --> 00:22:44,640
Speaker 1: Episode, correct, Yeah, And that's yeah. And that whole process

467
00:22:44,720 --> 00:22:47,639
Speaker 1: was a long story which you can get into. And

468
00:22:48,000 --> 00:22:50,159
Speaker 1: I think that, you know, a big problem for me

469
00:22:50,200 --> 00:22:56,400
Speaker 1: of this episode is a problem how incongruous my actual

470
00:22:56,480 --> 00:23:01,800
Speaker 1: poetry is to the story functions of the poems. And

471
00:23:02,080 --> 00:23:05,359
Speaker 1: you know, it's kind of a long digression, but I

472
00:23:05,480 --> 00:23:07,320
Speaker 1: kind of have to go into it, like just the

473
00:23:07,400 --> 00:23:11,160
Speaker 1: idea that basically, I feel like what they were, what

474
00:23:11,200 --> 00:23:13,639
Speaker 1: they wanted Sean to be as a poet is like

475
00:23:13,720 --> 00:23:19,520
Speaker 1: this very expressive, emotional, confessional art. Yeah. Wellich is a

476
00:23:19,560 --> 00:23:23,160
Speaker 1: confessional mode of poetry, which is what I at like

477
00:23:23,480 --> 00:23:27,000
Speaker 1: when I was fifteen or sixteen or seventeen, even that's

478
00:23:27,000 --> 00:23:28,840
Speaker 1: what I was writing, you know, it was like very

479
00:23:28,960 --> 00:23:32,280
Speaker 1: like and that's the reason that they made Sean a

480
00:23:32,320 --> 00:23:35,879
Speaker 1: poet is because I was doing readings and publishing stuff

481
00:23:35,920 --> 00:23:39,880
Speaker 1: and like and for my graduation from high school. As

482
00:23:39,920 --> 00:23:42,520
Speaker 1: like a final project, I had put together a book

483
00:23:42,560 --> 00:23:45,119
Speaker 1: of all of my poems and you know, sort of

484
00:23:45,200 --> 00:23:47,199
Speaker 1: just put it out in the world and you know,

485
00:23:47,280 --> 00:23:50,399
Speaker 1: gave it to friends and family or whatnot. And I

486
00:23:50,400 --> 00:23:53,000
Speaker 1: don't know if our writing stuff had read that or

487
00:23:53,119 --> 00:23:54,880
Speaker 1: just knew about I think they just kind of knew

488
00:23:54,920 --> 00:23:58,200
Speaker 1: about it. And of course Michael was such a huge

489
00:23:58,200 --> 00:24:01,400
Speaker 1: fan of poetry, and I'm remember we did talk a little.

490
00:24:01,200 --> 00:24:04,280
Speaker 3: Bit about poetry. But so I think that.

491
00:24:03,840 --> 00:24:06,520
Speaker 1: That when I was an early poet, I was in

492
00:24:06,560 --> 00:24:10,520
Speaker 1: that very much in the beat generation. Uh, you know,

493
00:24:10,760 --> 00:24:12,959
Speaker 1: like you read it, you just you're just pouring your

494
00:24:13,000 --> 00:24:17,080
Speaker 1: heart out in a poem first draft, first thought, very

495
00:24:17,080 --> 00:24:20,280
Speaker 1: expressive stuff, you know, like I was reading Walt Whitman,

496
00:24:20,760 --> 00:24:25,239
Speaker 1: Alan Ginsberg, Lawrence Ferlinghetti, Bukowski. I had been given up

497
00:24:25,240 --> 00:24:30,040
Speaker 1: Bukowski my first Bokowski book from Ethan Supple, And so

498
00:24:30,080 --> 00:24:32,080
Speaker 1: I think that they needed Sean to be that kind

499
00:24:32,080 --> 00:24:36,080
Speaker 1: of poet. But then at the time that this episode

500
00:24:36,080 --> 00:24:39,520
Speaker 1: came around, I was writing very different poetry. I at

501
00:24:39,520 --> 00:24:42,159
Speaker 1: that I was in college and I was really falling

502
00:24:42,200 --> 00:24:46,640
Speaker 1: hard for Wallace Stevens, T S. Eliott, William Carlos Williams,

503
00:24:47,040 --> 00:24:52,679
Speaker 1: Gertrude Stein, even like Baudelaire French poet, and within like

504
00:24:52,760 --> 00:24:55,600
Speaker 1: the Beat generation, which had kind of launched me on

505
00:24:55,640 --> 00:25:00,359
Speaker 1: this path, I was more into Gary Snyder, who is like, uh,

506
00:25:01,000 --> 00:25:04,800
Speaker 1: more like a contemplative nature poet that really just goes

507
00:25:04,800 --> 00:25:08,480
Speaker 1: for like metaphysics and Buddhism, and so so I was

508
00:25:08,520 --> 00:25:11,960
Speaker 1: writing poetry that was like more idea driven and more conceptual,

509
00:25:12,040 --> 00:25:15,240
Speaker 1: like all these big big ideas started kind of wrestling

510
00:25:15,240 --> 00:25:18,280
Speaker 1: on the page and like these small narrative personal moments,

511
00:25:19,119 --> 00:25:21,800
Speaker 1: and then I was I was reading all this postmodern

512
00:25:22,280 --> 00:25:26,520
Speaker 1: philosophy and literary theory like Dary daw and Fuco and

513
00:25:26,520 --> 00:25:28,880
Speaker 1: and so what what I ended up writing for these

514
00:25:28,880 --> 00:25:32,679
Speaker 1: poems is like really mismatch to what they have to

515
00:25:32,720 --> 00:25:35,880
Speaker 1: function in the story, you know. And like, weirdly, there's

516
00:25:36,040 --> 00:25:37,760
Speaker 1: kind of a John Dunn vibe to these poems. Do

517
00:25:37,800 --> 00:25:41,040
Speaker 1: you remember John Dunn ideal that was like one, Yeah,

518
00:25:41,600 --> 00:25:44,800
Speaker 1: so there's something a little like old fashiony and rimy,

519
00:25:45,000 --> 00:25:48,680
Speaker 1: and like I don't know, like it's just very vocabulary focused.

520
00:25:49,480 --> 00:25:51,560
Speaker 1: They kind of might need to be read more than

521
00:25:51,600 --> 00:25:54,399
Speaker 1: once to kind of like get and that's just wrong,

522
00:25:54,520 --> 00:25:57,560
Speaker 1: Like that was just wrong, and it's it's just interesting

523
00:25:57,640 --> 00:25:59,280
Speaker 1: like to look back and be like, right, they kind

524
00:25:59,280 --> 00:26:01,800
Speaker 1: of caught me at the moment. Even though I wanted

525
00:26:01,800 --> 00:26:04,880
Speaker 1: to write the poems once the episode was a thing,

526
00:26:06,600 --> 00:26:08,520
Speaker 1: I wrote the wrong poems, you know. And I'm not

527
00:26:08,560 --> 00:26:10,600
Speaker 1: saying that they're they're bad. I'm actually very proud of them.

528
00:26:10,600 --> 00:26:12,120
Speaker 1: Like listening to him was like, oh, yeah, there's still

529
00:26:12,119 --> 00:26:15,120
Speaker 1: a lot there, but but yeah.

530
00:26:15,000 --> 00:26:17,560
Speaker 4: Like the episode, you wish you had done a different style.

531
00:26:17,760 --> 00:26:20,080
Speaker 1: I think so, yeah, I think I you know, and

532
00:26:20,080 --> 00:26:23,000
Speaker 1: and that that became a huge debate, like and that

533
00:26:23,760 --> 00:26:24,159
Speaker 1: and I.

534
00:26:24,800 --> 00:26:28,159
Speaker 4: Won that debate, right because they basically Michael told you

535
00:26:28,160 --> 00:26:30,160
Speaker 4: flat out he wanted to change it, right, he wanted

536
00:26:30,160 --> 00:26:31,880
Speaker 4: to make adjustments, and you did not want that.

537
00:26:31,880 --> 00:26:34,000
Speaker 1: To the second poem. Yeah, he loved the first one.

538
00:26:34,040 --> 00:26:37,280
Speaker 1: The first one never changed a word. This was essentially

539
00:26:37,280 --> 00:26:39,119
Speaker 1: what I wrote like the night before.

540
00:26:39,920 --> 00:26:42,359
Speaker 4: Well, and it's funny you say that because in the

541
00:26:42,400 --> 00:26:45,800
Speaker 4: first scene when we talk about your poem, Tipenga says,

542
00:26:45,880 --> 00:26:49,040
Speaker 4: I can't believe somebody our age wrote that, which is

543
00:26:49,640 --> 00:26:53,000
Speaker 4: perfect for the type of poetry you're talking about, like maybe, yeah,

544
00:26:53,080 --> 00:26:56,280
Speaker 4: you know, vocabulary heavy a little maybe abstract, you have

545
00:26:56,359 --> 00:26:57,719
Speaker 4: to think about it, you have to read it more

546
00:26:57,760 --> 00:27:00,520
Speaker 4: than once. So in the first scene, this idea of

547
00:27:00,600 --> 00:27:05,160
Speaker 4: like this is so deep makes sense more so than

548
00:27:05,200 --> 00:27:07,080
Speaker 4: in the second one. They wanted it to be like

549
00:27:07,200 --> 00:27:09,080
Speaker 4: I'm madly in love with my ex.

550
00:27:09,480 --> 00:27:11,960
Speaker 1: But no, but even but even in this one, I'm

551
00:27:12,280 --> 00:27:14,480
Speaker 1: like in this scene, I say, like, I just write

552
00:27:14,520 --> 00:27:16,760
Speaker 1: what I feel sometimes I just got to get it out.

553
00:27:16,840 --> 00:27:18,840
Speaker 1: And it's like, really, I don't I don't know if

554
00:27:18,840 --> 00:27:22,760
Speaker 1: this poem is that you know, So yeah, and and

555
00:27:23,480 --> 00:27:26,080
Speaker 1: like the irony is I didn't even really like Salinger.

556
00:27:26,200 --> 00:27:28,320
Speaker 1: I've now I really like Salinger, but at the time

557
00:27:28,359 --> 00:27:30,320
Speaker 1: I was kind of anti Catcher. I was so sick

558
00:27:30,359 --> 00:27:32,879
Speaker 1: of Catcher and the Rye at this age. So the

559
00:27:32,920 --> 00:27:35,920
Speaker 1: fact that I ended up writing a poem like that's

560
00:27:36,040 --> 00:27:39,399
Speaker 1: named for JD. Salinger is just hysterical because it's, you know,

561
00:27:39,560 --> 00:27:42,359
Speaker 1: it's not about Salinger. I just had to use that title.

562
00:27:42,760 --> 00:27:48,720
Speaker 1: But yeah, it's it's just wrong. But anyway, yeah, it was.

563
00:27:48,760 --> 00:27:49,760
Speaker 3: It was a weird week.

564
00:27:49,560 --> 00:27:50,440
Speaker 1: Guys, weird week.

565
00:27:50,680 --> 00:27:51,399
Speaker 2: A lot going on.

566
00:27:51,720 --> 00:27:54,760
Speaker 4: Corey leans over to Sean and whispers, nappy time. Phoene

567
00:27:54,920 --> 00:27:57,840
Speaker 4: reads aloud. It is possible to assassinate my heroes with

568
00:27:57,880 --> 00:28:01,320
Speaker 4: the scope of my individualism. However, by their own persistence

569
00:28:01,400 --> 00:28:03,960
Speaker 4: to themselves, I believe that they have chosen me to

570
00:28:04,040 --> 00:28:07,959
Speaker 4: pursue a self. What is literature? But the illumination of

571
00:28:08,000 --> 00:28:11,720
Speaker 4: that which I would write? Salinger speaks through me to me,

572
00:28:12,040 --> 00:28:15,680
Speaker 4: whispers where to little boy? My answer is the dogged

573
00:28:15,760 --> 00:28:19,280
Speaker 4: pen to page, which lights consistently the pathway home. It

574
00:28:19,359 --> 00:28:21,800
Speaker 4: is on that road that I alone can trip my

575
00:28:21,880 --> 00:28:26,520
Speaker 4: way back to myself. So Tapega is captivated by the words,

576
00:28:26,520 --> 00:28:29,280
Speaker 4: and Sean is listening with a hint of nervousness. But

577
00:28:29,320 --> 00:28:32,240
Speaker 4: when Phoene finishes, Corey heckles, ah, come on.

578
00:28:33,640 --> 00:28:35,320
Speaker 2: That's my response to every poem.

579
00:28:39,240 --> 00:28:42,440
Speaker 4: Unfazed, Phoene simply asks Corey if he'd like to analyze

580
00:28:42,480 --> 00:28:45,400
Speaker 4: the poem. Corey's game, Yeah, I'll take a stab. He

581
00:28:45,480 --> 00:28:47,920
Speaker 4: stands up by his desk, summonsing the voice of an

582
00:28:47,920 --> 00:28:51,720
Speaker 4: old man yelling at the clouds. You call that poetry,

583
00:28:52,240 --> 00:28:55,920
Speaker 4: fee And I'll ride already with this JD. Salinger thing.

584
00:28:56,040 --> 00:29:01,080
Speaker 4: I mean, hello, name dropping. And we had just enough

585
00:29:01,080 --> 00:29:04,360
Speaker 4: about Catcher in the Rye. I mean, what's he written lately?

586
00:29:05,080 --> 00:29:06,480
Speaker 4: He pumps his fist in the air.

587
00:29:06,960 --> 00:29:11,320
Speaker 1: Basically a mirror version of him doing the artwork. When

588
00:29:11,360 --> 00:29:17,760
Speaker 1: we had Alexandra, it's.

589
00:29:17,880 --> 00:29:22,480
Speaker 2: Come on, he's becoming caricature a little bit.

590
00:29:23,480 --> 00:29:27,720
Speaker 4: Because we had episode totally unhinged, and when we had

591
00:29:27,760 --> 00:29:30,880
Speaker 4: Alexander Nikita on, he was also a little unhinged. When

592
00:29:30,880 --> 00:29:38,520
Speaker 4: he was like, what do you mean? They did decide

593
00:29:38,560 --> 00:29:40,400
Speaker 4: to really just let him go.

594
00:29:40,880 --> 00:29:44,760
Speaker 5: He was going, and again, I think the more angsty

595
00:29:45,200 --> 00:29:47,920
Speaker 5: Sean got, you had to make everyone else around them

596
00:29:47,960 --> 00:29:48,440
Speaker 5: a little bit.

597
00:29:49,280 --> 00:29:49,680
Speaker 4: Yeah.

598
00:29:50,600 --> 00:29:54,640
Speaker 5: So, because I'm Creek episode exactly, it wasn't just you

599
00:29:54,680 --> 00:29:58,320
Speaker 5: have to yes, you got it. That's where the ballance

600
00:29:58,400 --> 00:30:01,719
Speaker 5: came of. I remember by the end and now will dance.

601
00:30:01,880 --> 00:30:03,560
Speaker 5: It was like that kind of stuff where it was like,

602
00:30:03,560 --> 00:30:06,560
Speaker 5: oh yeah.

603
00:30:05,720 --> 00:30:08,080
Speaker 4: Phoene dismisses the class. They'll pick this up at the

604
00:30:08,120 --> 00:30:11,800
Speaker 4: next session. As the students pack up their things, Angela argues, Corey,

605
00:30:11,960 --> 00:30:15,440
Speaker 4: you're nuts. That poem was so incredible. It was beautiful.

606
00:30:15,680 --> 00:30:18,560
Speaker 4: Tapanga agrees, I can't believe someone our own age wrote

607
00:30:18,600 --> 00:30:21,880
Speaker 4: that Phoene approaches enhance the paper to Sean someone like

608
00:30:21,920 --> 00:30:25,880
Speaker 4: mister Hunter. Corey's confused, and Sean timidly admits, yeah, I

609
00:30:25,920 --> 00:30:30,600
Speaker 4: wrote that poem, Angela dramatically says, I knew it. Corey

610
00:30:30,720 --> 00:30:33,440
Speaker 4: changes his tune trying to backtrack to Sean, but nobody's

611
00:30:33,440 --> 00:30:34,680
Speaker 4: buying it. I liked it.

612
00:30:36,840 --> 00:30:39,880
Speaker 1: One of the best parts about this this experience for

613
00:30:39,960 --> 00:30:43,080
Speaker 1: me was having Bill Daniels read it out loud, well,

614
00:30:44,080 --> 00:30:46,480
Speaker 1: come up to me and say, like, please let me

615
00:30:46,480 --> 00:30:49,000
Speaker 1: know if I'm doing it correctly, if you have any

616
00:30:49,040 --> 00:30:51,640
Speaker 1: notes or he like really wanted to do it.

617
00:30:52,440 --> 00:30:54,200
Speaker 3: Oh, he took it, and Ben did.

618
00:30:54,080 --> 00:30:55,880
Speaker 1: The exact same thing. And you could see it. Ben

619
00:30:55,960 --> 00:30:58,160
Speaker 1: did it, you know, because he's as unhinged as he

620
00:30:58,240 --> 00:31:01,040
Speaker 1: is when he's doing his own poetry or whatever. When

621
00:31:01,040 --> 00:31:04,560
Speaker 1: he reads my poem, you can tell he's like and Ben,

622
00:31:04,800 --> 00:31:06,720
Speaker 1: I you know, he was nervous.

623
00:31:06,760 --> 00:31:07,560
Speaker 3: He didn't want to like.

624
00:31:07,600 --> 00:31:11,000
Speaker 1: Mess it up. In a very like loving friendship way,

625
00:31:11,120 --> 00:31:13,880
Speaker 1: he was like so respectful. He and Bill both they

626
00:31:13,880 --> 00:31:16,240
Speaker 1: were just so respectful of like the fact that I

627
00:31:16,480 --> 00:31:19,640
Speaker 1: had written this stuff, and in a way that probably

628
00:31:19,640 --> 00:31:21,760
Speaker 1: they wouldn't have ever done to any of our writers,

629
00:31:21,920 --> 00:31:24,280
Speaker 1: because you know, they were like, oh, they're the writers,

630
00:31:24,320 --> 00:31:27,480
Speaker 1: but because I was one of them, you know, they

631
00:31:27,520 --> 00:31:31,160
Speaker 1: were the team. They wanted to know, like, just how

632
00:31:31,160 --> 00:31:33,000
Speaker 1: do you want this read? Is there anything I should

633
00:31:33,000 --> 00:31:35,280
Speaker 1: know or you know? I remember just being like, no,

634
00:31:35,480 --> 00:31:37,760
Speaker 1: like I love what you're Especially with Bill it was

635
00:31:37,800 --> 00:31:40,200
Speaker 1: like she's just open your mouth, man, it's great. Yeah,

636
00:31:40,480 --> 00:31:42,280
Speaker 1: but yeah, I think you know, with Ben it was

637
00:31:42,320 --> 00:31:45,400
Speaker 1: this question of like how how serious does Corey take this?

638
00:31:45,520 --> 00:31:47,320
Speaker 1: And you know, and the way Ben plays it was

639
00:31:47,360 --> 00:31:50,440
Speaker 1: just so wonderful because you can see his the pretense

640
00:31:50,520 --> 00:31:52,920
Speaker 1: drops away as he's reading the poem and he's just

641
00:31:52,920 --> 00:31:55,760
Speaker 1: just reading it. It's yeah, it was so so yeah,

642
00:31:55,800 --> 00:31:58,720
Speaker 1: it's heartwarming. And to see it back, to watch.

643
00:31:58,520 --> 00:32:00,720
Speaker 4: It back and then to remember how much they cared

644
00:32:00,760 --> 00:32:04,200
Speaker 4: and to see it reflected, that's so wonderful. When Phoene

645
00:32:04,200 --> 00:32:06,160
Speaker 4: asks Sean if he has any more poems to share,

646
00:32:06,200 --> 00:32:08,760
Speaker 4: Sean explains, I wouldn't call them poems. I just write

647
00:32:08,760 --> 00:32:10,960
Speaker 4: stuff down. I've been doing it since I can remember.

648
00:32:11,440 --> 00:32:12,760
Speaker 4: Angela can't believe.

649
00:32:14,120 --> 00:32:16,840
Speaker 5: What really didn't just find this like a couple of

650
00:32:16,880 --> 00:32:17,520
Speaker 5: episodes ago.

651
00:32:17,720 --> 00:32:21,880
Speaker 4: Question, Angela says, I can't believe you. He never told her,

652
00:32:22,600 --> 00:32:25,400
Speaker 4: didn't you wasn't there in the purse? Oh no, she

653
00:32:25,720 --> 00:32:33,400
Speaker 4: had a journal in right there, sonnets in there. Yeah, yeah, okay,

654
00:32:34,040 --> 00:32:37,240
Speaker 4: so yeah, that is that is then a very weird

655
00:32:37,560 --> 00:32:40,160
Speaker 4: thing that one of the reasons you fell in love

656
00:32:40,160 --> 00:32:44,520
Speaker 4: with her was because she was interested in poetry, and

657
00:32:44,560 --> 00:32:49,720
Speaker 4: then in your very really mature, for the most part

658
00:32:49,760 --> 00:32:54,160
Speaker 4: relationship you had with her, where you guys supposedly talked

659
00:32:54,320 --> 00:32:57,320
Speaker 4: endlessly about all types of things you never shared that

660
00:32:57,360 --> 00:32:59,040
Speaker 4: you also write well.

661
00:32:59,080 --> 00:33:01,720
Speaker 1: But this is I mean, this is the problem. I mean,

662
00:33:01,760 --> 00:33:04,880
Speaker 1: like Shawn's a photographer, right, like Shawn's I don't. I mean,

663
00:33:05,080 --> 00:33:08,240
Speaker 1: it's this this insertion of this thing, and this is

664
00:33:08,560 --> 00:33:10,400
Speaker 1: what was happening behind the scenes.

665
00:33:11,080 --> 00:33:12,640
Speaker 3: Just I don't know.

666
00:33:12,680 --> 00:33:14,480
Speaker 1: I feel like this is the culmination of something that

667
00:33:14,520 --> 00:33:19,080
Speaker 1: we've been seen from our rewatch from episode one, which

668
00:33:19,120 --> 00:33:21,320
Speaker 1: is like how much they were just taking from me

669
00:33:22,000 --> 00:33:26,400
Speaker 1: to put into which is usually great because I think

670
00:33:26,440 --> 00:33:31,000
Speaker 1: that it shows a flexibility on the writers and Michael

671
00:33:31,000 --> 00:33:33,880
Speaker 1: in particular, to build to your actors right, to like

672
00:33:33,960 --> 00:33:36,800
Speaker 1: look at it as a give and take, and I

673
00:33:36,840 --> 00:33:40,760
Speaker 1: think that I think that that is really important. And

674
00:33:40,800 --> 00:33:42,480
Speaker 1: part of the reason why Boymet's World is good is

675
00:33:42,480 --> 00:33:44,520
Speaker 1: because they wrote to us and they took care you know,

676
00:33:44,560 --> 00:33:47,640
Speaker 1: our strength and in this case, you know, the reason

677
00:33:47,680 --> 00:33:51,240
Speaker 1: I ended up writing the poems is because I was upset,

678
00:33:51,480 --> 00:33:56,440
Speaker 1: like it seemed really like this, and in retrospect, I

679
00:33:57,040 --> 00:33:59,800
Speaker 1: probably was unconsciously aware of how much they had been

680
00:33:59,800 --> 00:34:02,160
Speaker 1: taking from my life, and then this one just was

681
00:34:02,280 --> 00:34:05,600
Speaker 1: really in your phase. Yeah, it was really blatant because

682
00:34:05,920 --> 00:34:08,360
Speaker 1: I was giving poetry readings in LA like some of

683
00:34:08,400 --> 00:34:11,160
Speaker 1: the writers would come to my readings and like, I

684
00:34:11,440 --> 00:34:14,680
Speaker 1: don't know, like it was so clearly my thing, like

685
00:34:14,960 --> 00:34:19,240
Speaker 1: that that I was an actor who was actually becoming

686
00:34:19,280 --> 00:34:21,280
Speaker 1: more of a writer than I was an actor, and

687
00:34:21,320 --> 00:34:23,000
Speaker 1: I was exploring this part of my life. I was

688
00:34:23,040 --> 00:34:26,560
Speaker 1: going to college for literature and philosophy, and so then

689
00:34:26,600 --> 00:34:30,600
Speaker 1: when this episode pops up where the character that I'm

690
00:34:30,640 --> 00:34:36,360
Speaker 1: playing is completely that and obviously just taking like this

691
00:34:36,480 --> 00:34:40,760
Speaker 1: part of me and then using what are the original

692
00:34:40,760 --> 00:34:43,560
Speaker 1: poems which I would love to read now. But I

693
00:34:43,560 --> 00:34:46,200
Speaker 1: remember at the table read just being like this doesn't.

694
00:34:46,160 --> 00:34:48,320
Speaker 3: Feel good, this feels.

695
00:34:48,040 --> 00:34:52,160
Speaker 1: Bad, and that's all I knew. And I actually talked

696
00:34:52,200 --> 00:34:54,040
Speaker 1: to David Combs about it. He was the one who

697
00:34:54,800 --> 00:34:57,640
Speaker 1: I sat with him and he because I think he

698
00:34:58,400 --> 00:35:00,239
Speaker 1: questioned me. He was like, why are you upset? Because

699
00:35:00,280 --> 00:35:01,719
Speaker 1: I was very upset, and he was like.

700
00:35:01,680 --> 00:35:03,160
Speaker 3: What is it?

701
00:35:03,200 --> 00:35:06,120
Speaker 1: And I said, I just feel like they're taking something

702
00:35:06,160 --> 00:35:07,799
Speaker 1: from me. You know, I don't feel like this is me.

703
00:35:08,160 --> 00:35:11,240
Speaker 4: They're taking something from you, but don't like you enough

704
00:35:11,320 --> 00:35:14,160
Speaker 4: to let you actually create the work.

705
00:35:14,280 --> 00:35:16,560
Speaker 1: I didn't even get there yet. Yeah. I just was like,

706
00:35:16,680 --> 00:35:20,839
Speaker 1: I'm upset. I don't like this, and and David said,

707
00:35:20,920 --> 00:35:24,120
Speaker 1: go talk to Michael. He encouraged me, said go go

708
00:35:24,160 --> 00:35:26,520
Speaker 1: to Michael and tell him that you're upset, like, tell

709
00:35:26,560 --> 00:35:29,440
Speaker 1: him that you don't like this. And I did, And

710
00:35:29,480 --> 00:35:32,479
Speaker 1: I remember being so nervous and going into Michael's office

711
00:35:32,480 --> 00:35:36,680
Speaker 1: which I never did, and sitting there and expressing to

712
00:35:36,760 --> 00:35:39,560
Speaker 1: him how it made me feel. And he was like, well,

713
00:35:39,640 --> 00:35:42,719
Speaker 1: you know, we don't we didn't, you know, we just

714
00:35:42,800 --> 00:35:45,360
Speaker 1: like the idea that poem. You know, I like poetry

715
00:35:45,400 --> 00:35:47,480
Speaker 1: and we know that you like poetry. And I was like, yeah,

716
00:35:47,520 --> 00:35:49,560
Speaker 1: but I actually do this, like and he's like, well,

717
00:35:49,600 --> 00:35:50,400
Speaker 1: then why don't you do it?

718
00:35:50,400 --> 00:35:51,239
Speaker 3: Why don't you write them?

719
00:35:51,560 --> 00:35:54,240
Speaker 1: And I was like, well, is that okay?

720
00:35:54,360 --> 00:35:56,560
Speaker 3: He's like, yeah, why don't you just write them?

721
00:35:56,600 --> 00:35:58,680
Speaker 1: Like if you want to write the if you do this,

722
00:35:58,840 --> 00:36:00,560
Speaker 1: let's take it cause and I was like, well, you

723
00:36:00,560 --> 00:36:03,160
Speaker 1: know Erica wrote the episode. He's like, ah, whatever, it's all,

724
00:36:03,200 --> 00:36:05,959
Speaker 1: you know, the poems themselves can be yours. That would

725
00:36:05,960 --> 00:36:08,440
Speaker 1: be great, that would be even better, which in a

726
00:36:08,440 --> 00:36:11,840
Speaker 1: weird way is like just taking more, right. Yeah, But

727
00:36:12,719 --> 00:36:17,160
Speaker 1: I was like, okay, okay, I think that, let me try. Yeah,

728
00:36:17,200 --> 00:36:20,200
Speaker 1: And then I went and I think the next two

729
00:36:20,280 --> 00:36:24,120
Speaker 1: days I wrote the poems and that was a whole

730
00:36:24,120 --> 00:36:26,400
Speaker 1: process and figuring out how to do him and what

731
00:36:26,480 --> 00:36:28,920
Speaker 1: I wanted them to be, and then bringing them to

732
00:36:28,960 --> 00:36:32,640
Speaker 1: Michael and presenting them and you had to print them out,

733
00:36:33,239 --> 00:36:35,440
Speaker 1: springing him to his office and like hand over the

734
00:36:35,480 --> 00:36:37,520
Speaker 1: poems and yeah, the first one he was like, well,

735
00:36:37,560 --> 00:36:39,680
Speaker 1: this is great, this is perfect, this is that's going in.

736
00:36:40,360 --> 00:36:42,399
Speaker 1: And then the second one he was like, let's try

737
00:36:42,440 --> 00:36:44,319
Speaker 1: and make it more, you know, and then we got

738
00:36:44,320 --> 00:36:46,279
Speaker 1: into it and then and that took. That was like

739
00:36:46,320 --> 00:36:52,120
Speaker 1: a two day process up until the moment we were taping. Yeah,

740
00:36:52,160 --> 00:36:54,120
Speaker 1: a lot of back and forth. But we'll get into

741
00:36:54,160 --> 00:36:55,440
Speaker 1: it and we get to the next poem. But it

742
00:36:55,520 --> 00:36:56,360
Speaker 1: was not fun.

743
00:36:56,800 --> 00:36:58,759
Speaker 4: Sean says he's never told anyone. He does it for

744
00:36:58,840 --> 00:37:01,440
Speaker 4: himself to get his feelings out. Phoene is so impressed

745
00:37:01,480 --> 00:37:03,600
Speaker 4: he tells Sean that he hosts poetry readings at the

746
00:37:03,640 --> 00:37:07,839
Speaker 4: student union on Friday evenings, because of course, of course

747
00:37:07,840 --> 00:37:08,319
Speaker 4: he does.

748
00:37:08,440 --> 00:37:10,480
Speaker 1: And also, is this a poetry class?

749
00:37:10,600 --> 00:37:12,040
Speaker 3: Like what class are we in?

750
00:37:12,239 --> 00:37:12,359
Speaker 1: No?

751
00:37:12,400 --> 00:37:15,680
Speaker 5: I'm sort of yeah, And you have to go to

752
00:37:15,719 --> 00:37:17,640
Speaker 5: the poetry reading on that Friday night because.

753
00:37:17,400 --> 00:37:23,680
Speaker 2: Thursday scuba diving class still teach school out the scuba class,

754
00:37:23,719 --> 00:37:24,360
Speaker 2: so let's.

755
00:37:24,400 --> 00:37:29,399
Speaker 1: All after the skydiving Clubeanie does it all because he's

756
00:37:29,400 --> 00:37:31,799
Speaker 1: also teaching your class, right, because he posts the grades for.

757
00:37:31,760 --> 00:37:36,040
Speaker 2: The He's so busy, he's again the only university professor.

758
00:37:36,760 --> 00:37:39,680
Speaker 4: Sean is unsure, but Corey buts in, ooh, that sounds awesome.

759
00:37:39,680 --> 00:37:42,360
Speaker 4: Perhaps I can read some of my poems too. Phoene

760
00:37:42,480 --> 00:37:46,360
Speaker 4: is shocked. You have poems, Corey coppy Sean, I wouldn't

761
00:37:46,440 --> 00:37:49,160
Speaker 4: call them poems. I just sort of write stuff down.

762
00:37:49,520 --> 00:37:53,640
Speaker 4: Great love that somewhere between ernest and sarcastic. Phoene says

763
00:37:53,680 --> 00:37:57,399
Speaker 4: he can't wait and walks out. Corey hollers after him,

764
00:37:57,400 --> 00:38:00,680
Speaker 4: all right, see you Friday night. Corey boasts Sean, my

765
00:38:00,800 --> 00:38:06,360
Speaker 4: poems are money because they are so funny. Sean isn't impressed.

766
00:38:06,400 --> 00:38:09,680
Speaker 4: He walks out, telling Corey to have fun. Corey quickly

767
00:38:09,680 --> 00:38:11,879
Speaker 4: follows him into the hall, Sean, listen, don't just blow

768
00:38:11,880 --> 00:38:14,880
Speaker 4: this off. But Sean doesn't want the pressure. Corey insists,

769
00:38:14,960 --> 00:38:18,160
Speaker 4: if I don't pressure you, you're gonna flake. Angela decides

770
00:38:18,200 --> 00:38:20,400
Speaker 4: to step in. If Sean doesn't want to read his poems,

771
00:38:20,440 --> 00:38:23,359
Speaker 4: then I think we should respect that, But Corey disagrees no,

772
00:38:23,560 --> 00:38:26,160
Speaker 4: because Sean never wants to do what's best for him

773
00:38:26,760 --> 00:38:33,560
Speaker 4: to Pega chimes in. So it's so frustrating, especially because

774
00:38:33,600 --> 00:38:39,360
Speaker 4: it's we have no reason to think that Cory suspects

775
00:38:39,560 --> 00:38:43,759
Speaker 4: that somewhere in these poems is something about Angela, Like

776
00:38:44,120 --> 00:38:47,240
Speaker 4: it would be one thing if if Sean had shared

777
00:38:47,280 --> 00:38:51,719
Speaker 4: his poetry with Corey, and Corey was like, he knows

778
00:38:51,760 --> 00:38:54,160
Speaker 4: the secret about Angela, that Angela has feelings for him,

779
00:38:54,280 --> 00:38:56,560
Speaker 4: and now he knows that Sean still has feelings for Angela,

780
00:38:56,760 --> 00:38:59,719
Speaker 4: and so he knows what's best is for you to

781
00:38:59,719 --> 00:39:01,520
Speaker 4: talk to each other. And this poet read like.

782
00:39:03,320 --> 00:39:05,880
Speaker 1: This would be good for you because this could be

783
00:39:05,960 --> 00:39:08,920
Speaker 1: a career or this any argument about what this.

784
00:39:08,840 --> 00:39:10,800
Speaker 4: Might mean for Sean, he doesn't mention any of it.

785
00:39:11,000 --> 00:39:13,560
Speaker 1: He doesn't mention any of that, and also Shawn never

786
00:39:13,920 --> 00:39:17,200
Speaker 1: says why he wouldn't want to do it necessarily. He's

787
00:39:17,280 --> 00:39:19,640
Speaker 1: just shy suddenly, like Sean is scary.

788
00:39:19,840 --> 00:39:21,719
Speaker 4: What is scary? So you don't want you don't want

789
00:39:21,719 --> 00:39:24,839
Speaker 4: the pressure, which is kind of like I write this,

790
00:39:25,280 --> 00:39:27,840
Speaker 4: you do make it very clear I write for me,

791
00:39:28,320 --> 00:39:30,200
Speaker 4: not for anyone else. If I know other people are

792
00:39:30,200 --> 00:39:33,160
Speaker 4: going to read it, I feel pressure about it. But

793
00:39:33,320 --> 00:39:35,279
Speaker 4: you did write something for the class that then you

794
00:39:35,280 --> 00:39:36,960
Speaker 4: were fine with Phoenie reading out loud.

795
00:39:37,080 --> 00:39:38,360
Speaker 1: So that's the thing.

796
00:39:38,280 --> 00:39:39,640
Speaker 2: Is that was what I was just going to say.

797
00:39:39,640 --> 00:39:41,840
Speaker 5: If you go back and you watch, they do cut

798
00:39:41,920 --> 00:39:45,839
Speaker 5: to Sean when he says I'm going to read this

799
00:39:45,920 --> 00:39:48,040
Speaker 5: poem and he says the title, and it's Sean like

800
00:39:48,040 --> 00:39:49,279
Speaker 5: like sits up a little like.

801
00:39:49,280 --> 00:39:50,640
Speaker 2: Oh my god, I didn't know you were going to

802
00:39:50,680 --> 00:39:52,080
Speaker 2: read this out yet nervous.

803
00:39:52,440 --> 00:39:55,000
Speaker 5: So I think they did have that beat of like

804
00:39:55,120 --> 00:39:57,279
Speaker 5: him even being like, oh wait, no, I handed this.

805
00:39:58,800 --> 00:40:01,680
Speaker 2: I wasn't expecting you to read this out loud. To me.

806
00:40:01,760 --> 00:40:05,560
Speaker 2: It's just I'm now officially sick of Corey.

807
00:40:05,800 --> 00:40:08,279
Speaker 5: I know what's best for everybody, And it's like it

808
00:40:08,320 --> 00:40:11,399
Speaker 5: was another episode of I know what's best for you,

809
00:40:11,800 --> 00:40:13,400
Speaker 5: and you're gonna listen to me and I'm gonna do

810
00:40:13,440 --> 00:40:14,839
Speaker 5: it very intensely, and it was just like.

811
00:40:15,120 --> 00:40:18,320
Speaker 4: Even against all your wishes, there's not even any sort

812
00:40:18,320 --> 00:40:20,960
Speaker 4: of dialogue where it's like, no, I know it's.

813
00:40:21,040 --> 00:40:24,200
Speaker 1: And and Sean calls him out on it, but he doesn't,

814
00:40:25,160 --> 00:40:28,440
Speaker 1: but he doesn't explain why. It's it's just a violation

815
00:40:28,600 --> 00:40:32,840
Speaker 1: of my angst space. You walked into my ank space

816
00:40:32,880 --> 00:40:34,960
Speaker 1: and showed it to the world, and I want it

817
00:40:34,960 --> 00:40:38,239
Speaker 1: to be my It's like, why not, Charlotte if you

818
00:40:38,320 --> 00:40:39,040
Speaker 1: have worse than that?

819
00:40:39,120 --> 00:40:41,960
Speaker 5: Because as I was watching, I was like, finally, Sean's

820
00:40:42,000 --> 00:40:43,800
Speaker 5: gonna be like this, dude.

821
00:40:43,680 --> 00:40:44,799
Speaker 4: You have to listen to me.

822
00:40:46,440 --> 00:40:47,840
Speaker 2: And then it went to do you even know what

823
00:40:47,880 --> 00:40:48,600
Speaker 2: that poem's about?

824
00:40:48,960 --> 00:40:50,560
Speaker 4: Who gives it?

825
00:40:51,280 --> 00:40:53,640
Speaker 2: What the is about? It has nothing to do with that.

826
00:40:53,760 --> 00:40:57,120
Speaker 1: It's it's about the violation of the friendship, violation of

827
00:40:57,120 --> 00:40:59,920
Speaker 1: this friendship, and then gets resolved at the end of

828
00:40:59,920 --> 00:41:04,799
Speaker 1: the episode. It was like, Okay, I'm glad you exposed

829
00:41:04,840 --> 00:41:08,240
Speaker 1: my poem, like it's still still a violation.

830
00:41:08,680 --> 00:41:10,920
Speaker 5: Sean was my I thought Sean was going to be

831
00:41:11,040 --> 00:41:13,959
Speaker 5: my surrogate and the audience and he was gonna lay

832
00:41:13,960 --> 00:41:16,040
Speaker 5: into Corey, what the hell are you thinking?

833
00:41:16,040 --> 00:41:17,320
Speaker 4: You don't respect your friends?

834
00:41:17,640 --> 00:41:19,399
Speaker 2: You just know what it means to be a friend.

835
00:41:19,440 --> 00:41:20,160
Speaker 2: How can you do this?

836
00:41:20,200 --> 00:41:20,560
Speaker 3: You're doing?

837
00:41:21,840 --> 00:41:22,040
Speaker 4: Yeah?

838
00:41:22,080 --> 00:41:22,879
Speaker 2: Except but no.

839
00:41:22,960 --> 00:41:25,160
Speaker 5: It was then instantly turned to do you even know

840
00:41:25,200 --> 00:41:26,040
Speaker 5: what that poem was about?

841
00:41:26,080 --> 00:41:28,719
Speaker 2: And I was like, who cares? Like, Oh, yeah, that one.

842
00:41:29,920 --> 00:41:31,759
Speaker 2: That's where it lost me. That's what I mean. I

843
00:41:31,760 --> 00:41:32,439
Speaker 2: don't know what I meant.

844
00:41:33,480 --> 00:41:36,280
Speaker 4: Tavenka chimes in, telling Corey to leave him alone. Corey

845
00:41:36,320 --> 00:41:38,400
Speaker 4: tells Sean to at least just go with them. If

846
00:41:38,400 --> 00:41:41,040
Speaker 4: he doesn't want to read his poems, that's fine, that

847
00:41:41,400 --> 00:41:43,480
Speaker 4: valid point. Hey, Sean, why don't we just go see

848
00:41:43,480 --> 00:41:45,680
Speaker 4: what it's about. Let's go sit. No, none of us

849
00:41:45,680 --> 00:41:47,000
Speaker 4: will read a poem, or I'll read a poem.

850
00:41:47,040 --> 00:41:47,200
Speaker 5: You can.

851
00:41:47,400 --> 00:41:48,040
Speaker 4: Let's just go see.

852
00:41:48,040 --> 00:41:50,839
Speaker 2: Okay, you apparently like poetry. I just found that out

853
00:41:50,840 --> 00:41:51,520
Speaker 2: five minutes ago.

854
00:41:51,920 --> 00:41:56,439
Speaker 4: Let's Sean rolls his eyes but agrees if it'll shut

855
00:41:56,480 --> 00:41:59,600
Speaker 4: Corey up, Sean walks away, and Corey proudly walks over

856
00:41:59,600 --> 00:42:02,799
Speaker 4: to the girl. He's gonna write a poem in his

857
00:42:03,040 --> 00:42:10,360
Speaker 4: dorm and not his houm. His talent, shocks himself. This

858
00:42:10,520 --> 00:42:14,279
Speaker 4: is so easy. Then we're at the apartment. Rachel, Jack

859
00:42:14,320 --> 00:42:16,040
Speaker 4: and Eric are sitting around the living room, each of

860
00:42:16,080 --> 00:42:18,320
Speaker 4: them is focused on their own work, but the concentration

861
00:42:18,400 --> 00:42:21,680
Speaker 4: doesn't last. Eric won't stop clicking his pen, Rachel is

862
00:42:21,760 --> 00:42:25,719
Speaker 4: hyper focused on Jack's very noisy apple chewing, and Eric

863
00:42:25,760 --> 00:42:28,880
Speaker 4: can't focus with Rachel constantly twirling her hair. It's a

864
00:42:28,920 --> 00:42:30,120
Speaker 4: round table of annoyance.

865
00:42:30,520 --> 00:42:35,200
Speaker 5: The close rust these guys, everybody's just super so funny.

866
00:42:35,719 --> 00:42:39,359
Speaker 4: Her twirling her hair and glancing side eye and him

867
00:42:39,480 --> 00:42:42,879
Speaker 4: either way. He takes enormal like a big normal bite

868
00:42:42,880 --> 00:42:46,640
Speaker 4: of the apple, but then takes two additional bites. Is

869
00:42:46,760 --> 00:42:48,440
Speaker 4: so insane.

870
00:42:48,760 --> 00:42:50,719
Speaker 1: It was a pretty bad episode for Maitland to get

871
00:42:50,719 --> 00:42:55,600
Speaker 1: a haircut though she's like a pretty and it's like

872
00:42:55,600 --> 00:42:57,400
Speaker 1: that you're right, oh yeah, it's so much shorter, and

873
00:42:57,440 --> 00:42:59,600
Speaker 1: it's like, but this is about her twirling her hair.

874
00:43:00,080 --> 00:43:03,319
Speaker 1: Here if they were like, oh god, why that that?

875
00:43:03,640 --> 00:43:04,080
Speaker 1: What do we do?

876
00:43:04,560 --> 00:43:08,480
Speaker 4: So funny? Eric can't take it and is the first

877
00:43:08,520 --> 00:43:11,360
Speaker 4: to explode enough with the hair. Rachel doesn't get it,

878
00:43:11,360 --> 00:43:14,359
Speaker 4: but Eric doubles down. You heard me, Jack pushes back.

879
00:43:14,480 --> 00:43:17,280
Speaker 4: She couldn't hear you over that pen. Click click click

880
00:43:17,400 --> 00:43:20,719
Speaker 4: click click. Rachel counters, I don't need you to defend me.

881
00:43:20,840 --> 00:43:24,919
Speaker 4: Apple boy. Eric mocks his friend crunch, crunch, crunch. Jack

882
00:43:24,960 --> 00:43:27,920
Speaker 4: gets back to his argument click click click. Rachel begs

883
00:43:27,920 --> 00:43:30,359
Speaker 4: them both to shut up. She knows these finals are

884
00:43:30,360 --> 00:43:32,040
Speaker 4: worth ninety percent of their grades, but it doesn't mean

885
00:43:32,080 --> 00:43:34,799
Speaker 4: they have to behave like wild animals. But Eric's not

886
00:43:34,840 --> 00:43:37,160
Speaker 4: calming down. Talk talk talk, Will you just shut up

887
00:43:37,160 --> 00:43:40,200
Speaker 4: and let me study? They all agree in various passive

888
00:43:40,200 --> 00:43:43,520
Speaker 4: aggressive tones, but then Jack crunches on his apple one

889
00:43:43,520 --> 00:43:46,680
Speaker 4: more time, and Eric snaps, well, that's it. He's going

890
00:43:46,680 --> 00:43:49,120
Speaker 4: to the library because they are so uptight he can't

891
00:43:49,120 --> 00:43:51,239
Speaker 4: even think, which is already hard for him in the

892
00:43:51,239 --> 00:43:55,080
Speaker 4: first place. Very He slams the door behind him, and

893
00:43:55,160 --> 00:43:58,120
Speaker 4: Jack lets out a sigh of relief. Finally, now maybe

894
00:43:58,120 --> 00:44:02,000
Speaker 4: we can get some studying done. Rachel agrees finally, but then,

895
00:44:02,239 --> 00:44:05,560
Speaker 4: to their displeasure, Eric returns and admits, I don't even

896
00:44:05,640 --> 00:44:10,680
Speaker 4: know where the library is. Jack and Rachel push him

897
00:44:10,719 --> 00:44:25,000
Speaker 4: out of the doorway and they follow close behind, and

898
00:44:25,080 --> 00:44:27,640
Speaker 4: then we're in the Penbrook Library. Eric and his roommates

899
00:44:27,800 --> 00:44:31,240
Speaker 4: enter the busy new set, with Eric taking an open

900
00:44:31,320 --> 00:44:34,080
Speaker 4: seat and Jack and Rachel sitting in an adjacent table.

901
00:44:34,520 --> 00:44:38,160
Speaker 1: Tons of background in this episode Crack.

902
00:44:38,440 --> 00:44:41,320
Speaker 4: We got into season six between the amount of background

903
00:44:41,320 --> 00:44:43,879
Speaker 4: actors we have had in the student union and now

904
00:44:43,960 --> 00:44:48,080
Speaker 4: in the library, we are shelling out money for background.

905
00:44:48,280 --> 00:44:50,680
Speaker 5: And it's people we hadn't seen before, which I like

906
00:44:50,719 --> 00:44:52,200
Speaker 5: that it's a whole new group of people. It's like

907
00:44:52,360 --> 00:44:54,360
Speaker 5: in some of the classrooms we're seeing some of the people,

908
00:44:54,800 --> 00:44:56,040
Speaker 5: but for the most part.

909
00:44:56,000 --> 00:44:57,879
Speaker 2: Is you get a whole new group at college, which

910
00:44:57,920 --> 00:44:58,520
Speaker 2: is nice.

911
00:44:58,960 --> 00:45:02,440
Speaker 4: Eric comfortably sighed. Finally, then every student in the library

912
00:45:02,520 --> 00:45:06,800
Speaker 4: shushes him. In unison, Eric sarcastically says sorry. A student

913
00:45:06,800 --> 00:45:09,400
Speaker 4: directly across from him points out, you don't sound sorry,

914
00:45:09,400 --> 00:45:13,200
Speaker 4: you sound loud. Then everyone shushes her too. Thanks. Now

915
00:45:13,200 --> 00:45:16,279
Speaker 4: they hate me too. A hidden man behind a bookshelf

916
00:45:16,320 --> 00:45:20,400
Speaker 4: growls shut up. The girl rolls her eyes and yells

917
00:45:20,400 --> 00:45:22,640
Speaker 4: shut up back. Then she tells Eric to shut up.

918
00:45:22,640 --> 00:45:26,560
Speaker 4: Then she shouts at the entire library shut up, and then

919
00:45:26,560 --> 00:45:28,719
Speaker 4: she groans I hate college.

920
00:45:28,920 --> 00:45:31,320
Speaker 1: Yeah, I couldn't. I just couldn't figure out what was

921
00:45:31,360 --> 00:45:33,839
Speaker 1: going on. Now, I think this is one of those

922
00:45:33,840 --> 00:45:38,160
Speaker 1: scenes that really works as a play. You know, like

923
00:45:38,200 --> 00:45:42,920
Speaker 1: when you hear a voice from nowhere yelling, but because

924
00:45:42,960 --> 00:45:45,479
Speaker 1: there's so many people, I was like, where's that voice

925
00:45:45,520 --> 00:45:48,440
Speaker 1: coming from? And then the close up of the eyes

926
00:45:48,520 --> 00:45:51,520
Speaker 1: behind I was like, is that the voice? It was

927
00:45:51,680 --> 00:45:53,560
Speaker 1: just kind of like I'm sure and run through this

928
00:45:53,719 --> 00:45:57,000
Speaker 1: killed But on camera it was a little like my

929
00:45:57,080 --> 00:45:59,200
Speaker 1: head's hurting about what's happening here and trying to figure

930
00:45:59,200 --> 00:46:01,799
Speaker 1: out it all makes sense. But like this moment, I

931
00:46:01,880 --> 00:46:04,040
Speaker 1: was like, what is going on? What is the scene about?

932
00:46:04,120 --> 00:46:04,920
Speaker 3: Who is talking?

933
00:46:05,000 --> 00:46:08,120
Speaker 1: I don't know what is Yeah.

934
00:46:07,560 --> 00:46:11,320
Speaker 4: A student at another table is breaking down. Pressure. Pressure's

935
00:46:11,400 --> 00:46:13,880
Speaker 4: killing me. He jumps out of his chair and screams

936
00:46:13,920 --> 00:46:17,120
Speaker 4: in agony. Jack jokingly asks Rachel what's wrong with him?

937
00:46:17,280 --> 00:46:19,600
Speaker 4: But that original shut up girl doesn't find it funny.

938
00:46:19,760 --> 00:46:21,799
Speaker 4: How would you like to have a book shove down

939
00:46:21,840 --> 00:46:24,279
Speaker 4: your throat? Rachel jumps in for her friend, but the

940
00:46:24,280 --> 00:46:26,920
Speaker 4: girl isn't backing down. She stands up and asks, you

941
00:46:26,960 --> 00:46:30,480
Speaker 4: want a piece of me? Then Rachel stands up, landing

942
00:46:30,480 --> 00:46:32,840
Speaker 4: at he was a miss taller than her new enemy.

943
00:46:33,120 --> 00:46:37,080
Speaker 5: This was a misjoke. She should have stood up very slowly. Yeah, so,

944
00:46:37,200 --> 00:46:39,120
Speaker 5: I mean she should have just turned.

945
00:46:38,840 --> 00:46:41,359
Speaker 2: And just slowly stood up, and she's eye leveled. Then

946
00:46:41,400 --> 00:46:43,440
Speaker 2: she just keeps going for another foot, but.

947
00:46:43,560 --> 00:46:46,000
Speaker 5: She pops right up and it's like Okay, it was funny,

948
00:46:46,120 --> 00:46:47,680
Speaker 5: but you cut your laugh like it could have been

949
00:46:47,719 --> 00:46:49,920
Speaker 5: a much sharper laugh there if she stood up slow.

950
00:46:49,920 --> 00:46:52,799
Speaker 4: You're right, good take The girl pauses for a moment,

951
00:46:52,880 --> 00:46:55,480
Speaker 4: then darts out of the library, with Rachel quickly chasing

952
00:46:55,520 --> 00:46:59,239
Speaker 4: after her. The inmates in the audience applaud Meanwhile, the

953
00:46:59,239 --> 00:47:01,799
Speaker 4: guy who's screamed into the ether points at Jack. I

954
00:47:01,840 --> 00:47:04,920
Speaker 4: don't like your face. Jack stands up to join this

955
00:47:05,040 --> 00:47:10,440
Speaker 4: unexplainable royal rumble. Well, I don't like your pants. The

956
00:47:10,520 --> 00:47:13,560
Speaker 4: faceless man behind the bookcase shouts again, shut up.

957
00:47:13,960 --> 00:47:14,560
Speaker 2: I have a question.

958
00:47:14,600 --> 00:47:16,440
Speaker 5: I'm sorry, I have a logistic question to see if

959
00:47:16,800 --> 00:47:22,440
Speaker 5: you both remember this, how many episodes in of us

960
00:47:22,440 --> 00:47:25,960
Speaker 5: shooting a season would we do before the first one

961
00:47:26,120 --> 00:47:27,640
Speaker 5: of that season aired.

962
00:47:29,480 --> 00:47:34,760
Speaker 4: Well, we would start in August, usually ly or late July,

963
00:47:35,400 --> 00:47:38,399
Speaker 4: and then the first episodes would air in fall, which

964
00:47:38,400 --> 00:47:41,919
Speaker 4: I think at the time was September, so maybe four,

965
00:47:42,880 --> 00:47:45,520
Speaker 4: four or five if you include the hiatus weeks.

966
00:47:45,800 --> 00:47:49,959
Speaker 5: Because just trying to think it's you know, when people

967
00:47:50,040 --> 00:47:53,120
Speaker 5: are coming to watch our show being taped. For the

968
00:47:53,120 --> 00:47:56,880
Speaker 5: first few episodes, they still had no idea who Rachel was.

969
00:47:57,640 --> 00:48:02,560
Speaker 4: They would usually play an episode the first the first

970
00:48:02,560 --> 00:48:05,360
Speaker 4: season of the first episode of the season for the

971
00:48:05,440 --> 00:48:08,200
Speaker 4: audience when they got there. So like say the show

972
00:48:08,239 --> 00:48:11,160
Speaker 4: started at five, the audience would have to be there

973
00:48:11,160 --> 00:48:13,279
Speaker 4: at four, and then starting at four point thirty, they'd

974
00:48:13,320 --> 00:48:15,400
Speaker 4: play the first episode of the season, and then our

975
00:48:15,440 --> 00:48:17,399
Speaker 4: show would start at five o'clock, so they would.

976
00:48:17,400 --> 00:48:18,279
Speaker 2: Now, So if the.

977
00:48:18,239 --> 00:48:20,920
Speaker 5: Audience reaction this episode, I thought to myself, like, oh,

978
00:48:20,960 --> 00:48:23,200
Speaker 5: it seems like now they actually know who Rachel is.

979
00:48:23,280 --> 00:48:28,319
Speaker 4: Yes, yes, hers, Well, okay, so she is by this point? Yes,

980
00:48:28,360 --> 00:48:31,800
Speaker 4: I mean this episode aired November twentieth, and this first

981
00:48:31,800 --> 00:48:35,919
Speaker 4: episode of the season aired September twenty fifth, so by

982
00:48:35,960 --> 00:48:37,360
Speaker 4: this point it's been on for two months.

983
00:48:37,480 --> 00:48:37,800
Speaker 2: Gotcha.

984
00:48:38,040 --> 00:48:40,839
Speaker 4: The faceless man behind the bookcase shouts again shut up,

985
00:48:40,960 --> 00:48:42,920
Speaker 4: but the two men continue to argue, which causes the

986
00:48:42,960 --> 00:48:45,560
Speaker 4: rest of the students around them to start bickering. Soon enough,

987
00:48:45,600 --> 00:48:48,560
Speaker 4: the entire library is arguing, and Eric shouts to get

988
00:48:48,600 --> 00:48:51,640
Speaker 4: their attention. Hey, hey, hey, hey, what is happening here?

989
00:48:52,239 --> 00:48:55,040
Speaker 4: Rachel walks back in now with the mean girl slung

990
00:48:55,080 --> 00:48:59,359
Speaker 4: across her shoulder, I'm about to beat the crap out

991
00:48:59,360 --> 00:49:03,080
Speaker 4: of this troll. Eric returns to peacemaking look what we're

992
00:49:03,120 --> 00:49:06,360
Speaker 4: doing to ourselves. These finals are turning us into monsters.

993
00:49:06,719 --> 00:49:09,319
Speaker 4: The students hidden behind the bookcase asks, then what do

994
00:49:09,400 --> 00:49:13,160
Speaker 4: we do? Eric praises his question and then declares, I'd

995
00:49:13,200 --> 00:49:15,520
Speaker 4: like everyone to take off their left shoe and make

996
00:49:15,520 --> 00:49:17,239
Speaker 4: a pile in the middle of the room. All the

997
00:49:17,280 --> 00:49:20,719
Speaker 4: students oblige. Eric asks, what are you thinking about right now?

998
00:49:20,920 --> 00:49:25,320
Speaker 4: The bookcase guy replies, my foot's cold. Eric nods, exactly,

999
00:49:25,640 --> 00:49:28,600
Speaker 4: you're not thinking about the you know what. He's not

1000
00:49:28,640 --> 00:49:31,719
Speaker 4: even gonna say finals. He continues, The only way we

1001
00:49:31,719 --> 00:49:34,600
Speaker 4: can do well on the you know what is if

1002
00:49:34,600 --> 00:49:37,520
Speaker 4: we're relaxed. He puts his arm around a random student

1003
00:49:37,600 --> 00:49:40,400
Speaker 4: and ruffles his hair, and who knows, maybe we can

1004
00:49:40,440 --> 00:49:43,439
Speaker 4: have a little fun. That's what he calls the Eric

1005
00:49:43,480 --> 00:49:46,719
Speaker 4: Matthews fool proof study system. He turns to the kid

1006
00:49:46,719 --> 00:49:52,279
Speaker 4: he's now embracing. Hello, I'm Eric Matthews. Was this like

1007
00:49:52,320 --> 00:49:59,640
Speaker 4: a catchphrase attempt? I'm Eric Matthews.

1008
00:50:00,040 --> 00:50:01,560
Speaker 1: Wait? Did you do it when you were the lawyer

1009
00:50:01,800 --> 00:50:05,399
Speaker 1: in the last episode? So no, I you were somebody else?

1010
00:50:06,120 --> 00:50:10,200
Speaker 2: Oh I forget, but yest.

1011
00:50:08,880 --> 00:50:10,799
Speaker 4: This is yeah, this isn't the first time, and I

1012
00:50:10,800 --> 00:50:15,640
Speaker 4: don't remember when the other time was also I love

1013
00:50:16,080 --> 00:50:18,880
Speaker 4: that this kid that you put your arm around like

1014
00:50:18,960 --> 00:50:22,040
Speaker 4: cuddles up into you with a smile. He's like, ah,

1015
00:50:22,200 --> 00:50:23,400
Speaker 4: this this feels nice.

1016
00:50:23,640 --> 00:50:24,040
Speaker 2: Is great.

1017
00:50:24,560 --> 00:50:26,799
Speaker 4: So Eric's plan is in motion. He tells Rachel to

1018
00:50:26,840 --> 00:50:28,919
Speaker 4: shake hands with the troll and for everyone to grab

1019
00:50:29,000 --> 00:50:30,839
Speaker 4: a shoe from the middle of the room. They will

1020
00:50:30,840 --> 00:50:33,319
Speaker 4: find the owner of that shoe and in turn take

1021
00:50:33,360 --> 00:50:37,279
Speaker 4: them to the movies. The group agrees, and Jack picks

1022
00:50:37,360 --> 00:50:38,120
Speaker 4: up a brown butt.

1023
00:50:38,600 --> 00:50:41,680
Speaker 3: But somewhere between a boot and the.

1024
00:50:45,760 --> 00:50:48,759
Speaker 4: Jack picks up a brown boot, his face sours. Ew.

1025
00:50:48,920 --> 00:50:51,600
Speaker 4: There's gum all over this one. The screaming guy who

1026
00:50:51,640 --> 00:50:55,800
Speaker 4: previously argued with him asks do you like popcorn? Jack responds,

1027
00:50:55,960 --> 00:50:59,160
Speaker 4: do I? The guy threatens crunch during the movie, and

1028
00:50:59,200 --> 00:51:01,280
Speaker 4: I'll push your nose into your brain.

1029
00:51:02,000 --> 00:51:02,440
Speaker 1: Okay.

1030
00:51:05,920 --> 00:51:08,879
Speaker 4: Then we are at the poetry night. We hear the

1031
00:51:08,920 --> 00:51:11,759
Speaker 4: sound of bongos. A boy with a ponytail is setting

1032
00:51:11,800 --> 00:51:14,680
Speaker 4: the mood for the next performer. It's Corey. He silences

1033
00:51:14,719 --> 00:51:18,919
Speaker 4: the drums and takes a long pause. All day long,

1034
00:51:19,400 --> 00:51:22,680
Speaker 4: I think of you, how do you do the things

1035
00:51:22,760 --> 00:51:27,560
Speaker 4: you do to Pango watches him with amusement, and Corey continues,

1036
00:51:27,880 --> 00:51:31,319
Speaker 4: I love you girl, with all my heart because you're

1037
00:51:31,360 --> 00:51:36,319
Speaker 4: pretty and you're smart. Tapanga puts her hand up over

1038
00:51:36,360 --> 00:51:38,640
Speaker 4: her heart and then the bongos play a quick beat.

1039
00:51:38,920 --> 00:51:44,000
Speaker 4: Corey raises his arms to the air to Panga.

1040
00:51:43,920 --> 00:51:47,800
Speaker 1: It's this is yeah, and you know that. Ben loved this.

1041
00:51:49,560 --> 00:51:55,440
Speaker 4: Episode, just loved it so much fun.

1042
00:51:55,680 --> 00:51:58,200
Speaker 1: Anytime it would be a bad performer, huh.

1043
00:51:58,239 --> 00:51:59,560
Speaker 3: It was just so much.

1044
00:51:59,440 --> 00:52:04,360
Speaker 5: Fun, so so good, whether it's bad acting, bad poetry.

1045
00:52:06,480 --> 00:52:11,520
Speaker 4: Favorite thing, it's my favorite thing. Also so as the character.

1046
00:52:11,920 --> 00:52:15,840
Speaker 4: He's so committed that he's good.

1047
00:52:19,320 --> 00:52:22,560
Speaker 2: That's the thing. He's committed, but also convinced he's a genius.

1048
00:52:22,600 --> 00:52:23,040
Speaker 1: Exactly.

1049
00:52:23,160 --> 00:52:24,880
Speaker 2: That's exactly a great combination.

1050
00:52:26,560 --> 00:52:29,200
Speaker 4: The students give him a half hearted applause, and he's

1051
00:52:29,200 --> 00:52:36,920
Speaker 4: disappointed with the feedback to Root Room.

1052
00:52:36,960 --> 00:52:38,960
Speaker 1: It's interesting to think it's it's a little bit of Eric.

1053
00:52:40,480 --> 00:52:42,520
Speaker 1: It's very Eric One woman show.

1054
00:52:44,360 --> 00:52:46,600
Speaker 2: I thought about that too. For the last scene.

1055
00:52:46,760 --> 00:52:49,440
Speaker 5: It was it's Eric doing bad poetry, like he's writing

1056
00:52:49,480 --> 00:52:52,360
Speaker 5: from his home. That's such an Eric thing. I know, exactly,

1057
00:52:52,440 --> 00:52:54,760
Speaker 5: you're right, and having him do it is great.

1058
00:52:56,080 --> 00:52:59,520
Speaker 4: Sophiene takes the stage. The final poet of this evening

1059
00:52:59,600 --> 00:53:03,680
Speaker 4: will be mister Sean Hunter. Sean's jaw drops, and then

1060
00:53:03,680 --> 00:53:06,680
Speaker 4: he angrily turns to Corey. I can't believe you. When

1061
00:53:06,719 --> 00:53:08,880
Speaker 4: are you gonna learn to stay out of my business?

1062
00:53:09,360 --> 00:53:11,719
Speaker 4: Vienie calls for him again, and Corey just pats him

1063
00:53:11,719 --> 00:53:13,239
Speaker 4: on the back. Come on, we're all here for you.

1064
00:53:13,800 --> 00:53:16,560
Speaker 4: Sean grabs his notebook and takes the stage. He holds

1065
00:53:16,600 --> 00:53:19,879
Speaker 4: the microphone and stares at Angela. You don't know it,

1066
00:53:20,520 --> 00:53:25,200
Speaker 4: but sometimes he stops himself, clearly very nervous. He starts

1067
00:53:25,200 --> 00:53:28,359
Speaker 4: over and now with more conviction. You don't know it,

1068
00:53:28,800 --> 00:53:32,840
Speaker 4: but sometimes I Angela is hanging on every word, but

1069
00:53:32,960 --> 00:53:36,680
Speaker 4: Sean is again stopped. He shakes his head, I'm sorry,

1070
00:53:36,880 --> 00:53:39,560
Speaker 4: I can't and then he runs off the stage without looking.

1071
00:53:39,320 --> 00:53:42,320
Speaker 3: Back too much angst Oh true, much.

1072
00:53:45,160 --> 00:53:47,400
Speaker 1: Hurts my pretentious soul.

1073
00:53:48,800 --> 00:53:53,839
Speaker 4: Ugh, I honestly, it's not even about it hurting your

1074
00:53:53,840 --> 00:53:59,040
Speaker 4: pretentious soul. You don't want you're not ready to bear

1075
00:53:59,160 --> 00:54:03,840
Speaker 4: your soul to Angela, especially not in front of everyone.

1076
00:54:04,000 --> 00:54:09,120
Speaker 4: But it sure would be nice for us to know why, why,

1077
00:54:09,520 --> 00:54:13,200
Speaker 4: what is it anything that would be that would be good?

1078
00:54:13,480 --> 00:54:14,919
Speaker 1: Well, I mean, part of the problem is it goes

1079
00:54:14,960 --> 00:54:18,320
Speaker 1: back to you know what, we'll noticed either last episode

1080
00:54:18,360 --> 00:54:20,759
Speaker 1: or the episode before, which is that there's just it's

1081
00:54:20,800 --> 00:54:23,440
Speaker 1: a given that Sean is a better person if he's

1082
00:54:23,480 --> 00:54:26,279
Speaker 1: in a relationship with Angela. Yeah, it's just it's just

1083
00:54:26,360 --> 00:54:30,200
Speaker 1: the universe is they're supposed to be together, which is

1084
00:54:30,960 --> 00:54:34,480
Speaker 1: frankly what the audience does feel, right, they want us

1085
00:54:34,480 --> 00:54:34,959
Speaker 1: to get together.

1086
00:54:35,000 --> 00:54:37,520
Speaker 4: We're like, you know, yeah, but they want you back together.

1087
00:54:37,640 --> 00:54:41,719
Speaker 1: With Sean having any argument why he's not ready or

1088
00:54:41,760 --> 00:54:44,719
Speaker 1: doesn't want to be a relationship, it's completely like, well

1089
00:54:44,719 --> 00:54:46,880
Speaker 1: then just do it or don't you know, but stop.

1090
00:54:46,960 --> 00:54:51,640
Speaker 5: But we also think they're also the audience is rooting

1091
00:54:51,640 --> 00:54:54,360
Speaker 5: for them to get together because they're told they should

1092
00:54:54,400 --> 00:54:57,319
Speaker 5: be together. Yeah you know, you go friends or any

1093
00:54:57,320 --> 00:54:59,160
Speaker 5: of that kind of stuff. You want Ross and Rachel

1094
00:54:59,160 --> 00:55:01,480
Speaker 5: to be together. Writing it in a certain way where

1095
00:55:01,480 --> 00:55:03,120
Speaker 5: they're passing each other the ships in the night, you

1096
00:55:03,160 --> 00:55:03,520
Speaker 5: don't know.

1097
00:55:03,840 --> 00:55:05,680
Speaker 2: Here, we literally have a character going.

1098
00:55:05,520 --> 00:55:09,000
Speaker 5: You're supposed to be together, and so because of that,

1099
00:55:09,000 --> 00:55:11,080
Speaker 5: that's why they're rooting for it a little right.

1100
00:55:11,160 --> 00:55:15,480
Speaker 4: Also similarly to Corey and to Panga, where Corey's like,

1101
00:55:15,480 --> 00:55:18,399
Speaker 4: we're supposed to be together and I always have loved her,

1102
00:55:18,440 --> 00:55:22,320
Speaker 4: but all of his actions are showing otherwise. Honestly, they've

1103
00:55:22,320 --> 00:55:25,680
Speaker 4: made me not like Sean for Angela. Angela can do

1104
00:55:25,800 --> 00:55:29,440
Speaker 4: better Honestly, based on the way Sean's acting now, the

1105
00:55:29,440 --> 00:55:32,200
Speaker 4: way Sean was in the beginning of the relationship, oh

1106
00:55:32,239 --> 00:55:34,840
Speaker 4: my gosh, yes, it was very clear he was she

1107
00:55:35,239 --> 00:55:38,839
Speaker 4: she was he loved her so much. Now, the way

1108
00:55:38,880 --> 00:55:41,080
Speaker 4: he's acting and by the way, I'd love for him

1109
00:55:41,080 --> 00:55:45,520
Speaker 4: to even address that in this episode. I made the

1110
00:55:45,600 --> 00:55:48,080
Speaker 4: dumbest mistake. I thought that I was going to get

1111
00:55:48,120 --> 00:55:50,480
Speaker 4: to college and I was going to be missing out.

1112
00:55:50,920 --> 00:55:54,640
Speaker 4: I didn't realize there's no one better than Angela. I

1113
00:55:54,680 --> 00:55:57,040
Speaker 4: can't I, you know, Like he does say, I miss

1114
00:55:57,080 --> 00:56:00,680
Speaker 4: the way she makes me feel it's all about me,

1115
00:56:00,760 --> 00:56:06,200
Speaker 4: which is a very cory, a very coy thing to say. Yeah,

1116
00:56:06,520 --> 00:56:09,520
Speaker 4: but like, I don't know, I just I wish there,

1117
00:56:09,600 --> 00:56:12,759
Speaker 4: I wish he expressed, because all he ends up saying

1118
00:56:12,840 --> 00:56:14,080
Speaker 4: is like, I'm the one who said I wanted this,

1119
00:56:14,120 --> 00:56:15,840
Speaker 4: so I can't tell her that I don't want it anymore.

1120
00:56:15,880 --> 00:56:17,840
Speaker 4: But what would be great to hear is I'm the

1121
00:56:17,840 --> 00:56:19,920
Speaker 4: one who said I wanted this, and now that I

1122
00:56:19,960 --> 00:56:23,480
Speaker 4: have had it, I have pursued I've met other girls,

1123
00:56:23,560 --> 00:56:27,240
Speaker 4: I've gone on dates, I've been in other situations. Nothing

1124
00:56:27,360 --> 00:56:30,200
Speaker 4: is as good as doing those things with Angela. I

1125
00:56:30,239 --> 00:56:33,319
Speaker 4: don't have conversations with other women the way I have conversations.

1126
00:56:33,360 --> 00:56:36,360
Speaker 4: She makes me think she does this I liked whatever. Instead,

1127
00:56:36,400 --> 00:56:38,000
Speaker 4: He's just like I'm the one who asked for it,

1128
00:56:38,640 --> 00:56:40,239
Speaker 4: so I got to stick with it.

1129
00:56:40,400 --> 00:56:41,440
Speaker 2: Well, they're doing the TV thing.

1130
00:56:41,440 --> 00:56:43,319
Speaker 5: They're trying to set up the arc now where now

1131
00:56:43,400 --> 00:56:45,839
Speaker 5: we as the audience, both know they're still in love,

1132
00:56:45,920 --> 00:56:47,359
Speaker 5: but they don't know they're still in love.

1133
00:56:47,400 --> 00:56:49,480
Speaker 2: So we're now for the next few episodes.

1134
00:56:49,080 --> 00:56:50,440
Speaker 4: Going to be waiting for that to be revealed.

1135
00:56:50,600 --> 00:56:52,800
Speaker 5: That conversation where you just wanted to be two cats,

1136
00:56:52,800 --> 00:56:54,560
Speaker 5: where you just cover them in tunea juice and throw

1137
00:56:54,600 --> 00:56:57,000
Speaker 5: them in a closet, It's just good.

1138
00:56:57,080 --> 00:56:58,000
Speaker 1: That's how you get too cats.

1139
00:56:58,040 --> 00:56:59,680
Speaker 5: You hate each other to like each other, cover them

1140
00:56:59,680 --> 00:57:01,160
Speaker 5: in tune juice, put him in a closet, and have

1141
00:57:01,160 --> 00:57:02,080
Speaker 5: to lick each other clean.

1142
00:57:02,440 --> 00:57:07,680
Speaker 2: That's exactly what's what I but because that's how they

1143
00:57:07,719 --> 00:57:08,960
Speaker 2: get to know each other. You never heard.

1144
00:57:09,040 --> 00:57:10,799
Speaker 4: But if they don't like each other, I don't just

1145
00:57:10,880 --> 00:57:13,640
Speaker 4: like be like you go to ear like tuna. But

1146
00:57:13,640 --> 00:57:15,600
Speaker 4: they have on themselves, and they clean themselves by liking,

1147
00:57:15,600 --> 00:57:17,000
Speaker 4: I don't know. I'm just I'm just throwing a wrench

1148
00:57:17,000 --> 00:57:17,320
Speaker 4: into your.

1149
00:57:17,240 --> 00:57:18,560
Speaker 1: Free I don't know that this is and they bite

1150
00:57:18,560 --> 00:57:21,040
Speaker 1: one another, thinking like she seems.

1151
00:57:20,800 --> 00:57:23,440
Speaker 5: The universal get cats like each other thing and now

1152
00:57:23,560 --> 00:57:26,320
Speaker 5: a cat dad, you're going to have to know this stuff.

1153
00:57:26,680 --> 00:57:31,040
Speaker 2: If you cool that it's an old that's an old trope. Okay, Okay,

1154
00:57:31,040 --> 00:57:31,919
Speaker 2: everybody knows that.

1155
00:57:32,040 --> 00:57:34,480
Speaker 1: Yeah. I think fundamentally, what we're talking about is like

1156
00:57:35,720 --> 00:57:39,640
Speaker 1: it's the classic problem of tell not show, you know,

1157
00:57:39,760 --> 00:57:42,200
Speaker 1: like if they showed that that if we create a

1158
00:57:42,240 --> 00:57:45,240
Speaker 1: situation where Sean and Angelo were perfect for each other

1159
00:57:45,320 --> 00:57:46,160
Speaker 1: but they didn't know.

1160
00:57:46,160 --> 00:57:47,160
Speaker 3: It or any of that.

1161
00:57:47,200 --> 00:57:49,560
Speaker 1: But instead it's just let's sit and talk about how

1162
00:57:49,560 --> 00:57:51,600
Speaker 1: they're perfect for each other, and Sean can just talk

1163
00:57:51,640 --> 00:57:54,280
Speaker 1: about how he's not ready without actually saying why.

1164
00:57:54,520 --> 00:57:58,680
Speaker 4: Yeah, Corey tries to save face, announcing to the crowd

1165
00:57:58,720 --> 00:58:01,760
Speaker 4: it's okay, everybody, it's okay, Corey's here. Just a touch

1166
00:58:01,800 --> 00:58:04,200
Speaker 4: of stage right now, back on the mic, Corey picks

1167
00:58:04,280 --> 00:58:08,520
Speaker 4: up Sean's poetry book He's just gonna read. He was

1168
00:58:08,600 --> 00:58:16,960
Speaker 4: gonna read made me so uncomfortable, annoyed that no one

1169
00:58:17,120 --> 00:58:20,400
Speaker 4: in the audience Angela to Panga, Nobody was like, oh no, no, no, no,

1170
00:58:21,440 --> 00:58:22,600
Speaker 4: just go ahead and close that up.

1171
00:58:23,160 --> 00:58:27,120
Speaker 1: But like the staging, I come in and listen to

1172
00:58:27,240 --> 00:58:30,440
Speaker 1: him finish the poem. Yeah, I know all the staging

1173
00:58:30,440 --> 00:58:32,720
Speaker 1: in this stuff. Like it's just it's so clunky to

1174
00:58:32,760 --> 00:58:34,720
Speaker 1: me because then I have to like walk in front

1175
00:58:34,720 --> 00:58:38,560
Speaker 1: of everybody, grab Corey off of the stage post palm,

1176
00:58:38,600 --> 00:58:41,640
Speaker 1: not before the poem, not during the palm, but make

1177
00:58:41,680 --> 00:58:44,640
Speaker 1: a huge scene which if I'm scared about exposing me

1178
00:58:44,760 --> 00:58:48,240
Speaker 1: like that, drag him to another room where then Angela

1179
00:58:48,400 --> 00:58:51,920
Speaker 1: and you can come and overhear us like not respecting

1180
00:58:51,960 --> 00:58:54,920
Speaker 1: that privacy, which is obviously something I'm trying to fight.

1181
00:58:55,040 --> 00:58:58,120
Speaker 1: Like all of this clunky to get to these plot

1182
00:58:58,160 --> 00:59:01,040
Speaker 1: points that it's just it's it's bad, Like this is

1183
00:59:01,240 --> 00:59:04,040
Speaker 1: like a genuinely bad scene. I feel like we could

1184
00:59:04,080 --> 00:59:06,000
Speaker 1: have figured out a way to still hit all these

1185
00:59:06,000 --> 00:59:09,160
Speaker 1: plot points without it being this just painful.

1186
00:59:09,240 --> 00:59:10,600
Speaker 3: It's not good.

1187
00:59:11,080 --> 00:59:13,440
Speaker 4: Yeah, he says. This one's called Top of the World.

1188
00:59:13,640 --> 00:59:16,680
Speaker 4: He begins, you don't know it, but sometimes I go

1189
00:59:16,800 --> 00:59:19,640
Speaker 4: to a hill that overlooks the landscape's mask of city

1190
00:59:19,720 --> 00:59:23,280
Speaker 4: lights for a sip of momentary grace. On this brink

1191
00:59:23,320 --> 00:59:25,960
Speaker 4: of everything, I know I can gain an eye fall

1192
00:59:26,120 --> 00:59:29,400
Speaker 4: of the lost Atlantis in the human soul. The camera

1193
00:59:29,440 --> 00:59:33,040
Speaker 4: continues to dramatically zoom in to Corey and a breath

1194
00:59:33,120 --> 00:59:36,120
Speaker 4: that fills my lungs with the air between two stars.

1195
00:59:36,560 --> 00:59:40,720
Speaker 4: Angela is listening, completely captivated. Sean enters the room again,

1196
00:59:40,840 --> 00:59:44,840
Speaker 4: hearing Cory and his words. Corey eventually finishes the poem

1197
00:59:44,840 --> 00:59:48,120
Speaker 4: and Tapanga is blown away at the beauty. Angela admits

1198
00:59:48,520 --> 00:59:52,080
Speaker 4: I don't understand, and at that same moment, Sean storms

1199
00:59:52,160 --> 00:59:54,360
Speaker 4: up to Corey and grabs him by the sweater, dragging

1200
00:59:54,400 --> 00:59:57,280
Speaker 4: him out of the room. Now outside, Sean asks, who

1201
00:59:57,320 --> 01:00:00,000
Speaker 4: do you think you are? Corey doesn't take him seriously.

1202
01:00:00,600 --> 01:00:03,240
Speaker 4: That's a silly question. I'm your best, Sean interrupts him.

1203
01:00:03,360 --> 01:00:06,080
Speaker 4: No jokes, no back battling. He's dead serious. We have

1204
01:00:06,120 --> 01:00:08,320
Speaker 4: a problem here, and well, I'm right there with you.

1205
01:00:08,440 --> 01:00:12,040
Speaker 4: I was like, yes, we are gonna get to the

1206
01:00:12,080 --> 01:00:14,280
Speaker 4: bottom of this. He's gonna be, it's gonna be, he's

1207
01:00:14,280 --> 01:00:15,120
Speaker 4: gonna be dressed down.

1208
01:00:15,320 --> 01:00:15,560
Speaker 2: Yep.

1209
01:00:15,760 --> 01:00:17,320
Speaker 1: Well, before we go on, I just want to talk

1210
01:00:17,320 --> 01:00:19,120
Speaker 1: about the poem for a minute, because it was really

1211
01:00:19,160 --> 01:00:21,760
Speaker 1: weird to be watching it now and hearing it and

1212
01:00:21,800 --> 01:00:25,920
Speaker 1: realizing for all the pushback that Michael gave me, like

1213
01:00:26,280 --> 01:00:27,760
Speaker 1: you know, and I get like he wanted it to

1214
01:00:27,800 --> 01:00:31,200
Speaker 1: be much more clearly like I love you, I miss you,

1215
01:00:31,320 --> 01:00:33,040
Speaker 1: right a poem, Like that's all it needed to say,

1216
01:00:33,080 --> 01:00:35,400
Speaker 1: right story wise, it just needed to say I love you,

1217
01:00:35,520 --> 01:00:39,479
Speaker 1: I miss you. And he kept pushing back and kept

1218
01:00:39,480 --> 01:00:41,800
Speaker 1: sort of saying like lines that he wanted in there,

1219
01:00:41,880 --> 01:00:44,480
Speaker 1: like I remember him being like in the quiet in

1220
01:00:44,520 --> 01:00:46,640
Speaker 1: the quietest moments, you're still there.

1221
01:00:47,000 --> 01:00:47,760
Speaker 3: And I was just like.

1222
01:00:47,760 --> 01:00:51,440
Speaker 1: Okay, and what I Finally he said like, look, I'm

1223
01:00:51,440 --> 01:00:52,360
Speaker 1: not going to tell you what to do.

1224
01:00:52,440 --> 01:00:53,240
Speaker 3: You're the poet.

1225
01:00:53,280 --> 01:00:53,760
Speaker 1: You do it.

1226
01:00:54,000 --> 01:00:54,919
Speaker 3: But that's the way I think.

1227
01:00:54,960 --> 01:00:57,280
Speaker 1: And I said, like, you just wanted to be more

1228
01:00:57,320 --> 01:01:00,600
Speaker 1: immediately accessible, that's fine. Why don't you go back and

1229
01:01:00,680 --> 01:01:03,160
Speaker 1: use the poem that you already had, like the Erica

1230
01:01:03,160 --> 01:01:04,760
Speaker 1: palm And he's like, no, no, no, now, I don't

1231
01:01:04,800 --> 01:01:08,000
Speaker 1: want to do that. I'm like, okay, well you either

1232
01:01:08,040 --> 01:01:09,760
Speaker 1: take my poem like this is it. You know, it

1233
01:01:10,120 --> 01:01:12,040
Speaker 1: was literally taped and its Thursday. This is it, Like

1234
01:01:12,080 --> 01:01:15,520
Speaker 1: I've got this and he's like, uh, I just did.

1235
01:01:15,680 --> 01:01:18,520
Speaker 1: And then he's he sicked Bob Tishler on me. So

1236
01:01:18,560 --> 01:01:20,280
Speaker 1: then I had to go have a no whole other

1237
01:01:20,320 --> 01:01:22,840
Speaker 1: note session with poor Bob Tishler, and I remember him

1238
01:01:22,880 --> 01:01:25,080
Speaker 1: just being like, uh, you know, and I don't even

1239
01:01:25,120 --> 01:01:27,560
Speaker 1: know if Bob likes poetry or whatever, but he's basically

1240
01:01:28,680 --> 01:01:30,760
Speaker 1: what he's giving me.

1241
01:01:30,920 --> 01:01:31,600
Speaker 3: No, he wasn't.

1242
01:01:31,880 --> 01:01:34,360
Speaker 1: He was just saying the same things Michael said. It

1243
01:01:34,400 --> 01:01:36,720
Speaker 1: was like clear that Michael had like I tried writers

1244
01:01:36,800 --> 01:01:38,680
Speaker 1: not backing down, and I said the same thing to Bob.

1245
01:01:38,680 --> 01:01:40,960
Speaker 1: I was like, look, just use the old poem. It's fine,

1246
01:01:41,000 --> 01:01:43,240
Speaker 1: I could have the first one. That's cool, that makes

1247
01:01:43,280 --> 01:01:45,280
Speaker 1: me happy. I'm fine, Like, let's just go. And they

1248
01:01:45,280 --> 01:01:48,040
Speaker 1: were like, no, no, the old poem's crap. I'm like, okay,

1249
01:01:48,360 --> 01:01:50,400
Speaker 1: well you can't, you know, And it became this like

1250
01:01:50,440 --> 01:01:53,360
Speaker 1: how you know, but the irony, and then I finally

1251
01:01:53,840 --> 01:01:56,200
Speaker 1: Michael was just like, well, just try and rewrite it

1252
01:01:56,240 --> 01:01:59,320
Speaker 1: and get it to whoever the writer's assistant was to

1253
01:01:59,320 --> 01:02:00,960
Speaker 1: type it up for so we can print the scripts

1254
01:02:00,960 --> 01:02:02,720
Speaker 1: in time to actually do it. And so I just

1255
01:02:02,880 --> 01:02:04,800
Speaker 1: was like and I went and did it, and they

1256
01:02:04,880 --> 01:02:06,880
Speaker 1: ended up using the poem and like, I you know,

1257
01:02:07,040 --> 01:02:09,080
Speaker 1: got the poem that I wanted, but the irony is

1258
01:02:09,120 --> 01:02:14,240
Speaker 1: for all the pushback, this poem is completely just reformulated

1259
01:02:14,720 --> 01:02:16,960
Speaker 1: in the if I could dream the perfect girl, she

1260
01:02:17,000 --> 01:02:19,960
Speaker 1: wouldn't even come close to you. It's the same concept.

1261
01:02:20,200 --> 01:02:24,200
Speaker 1: I'm just using a place like I'm talking about going

1262
01:02:24,240 --> 01:02:29,840
Speaker 1: somewhere feeling you know, this amazing like perspective and overview

1263
01:02:29,960 --> 01:02:31,400
Speaker 1: and like, you know, this is based on a real

1264
01:02:31,440 --> 01:02:33,320
Speaker 1: place called Top of the World in my hometown where

1265
01:02:33,400 --> 01:02:35,360
Speaker 1: I would drive and would I would just sit there

1266
01:02:35,400 --> 01:02:38,760
Speaker 1: and park and like think and whatever. So it's like saying, like, oh,

1267
01:02:39,040 --> 01:02:43,160
Speaker 1: when I'm experiencing this like really important, private, honest moment

1268
01:02:43,200 --> 01:02:45,720
Speaker 1: in my life, I'm you know, I having this sort

1269
01:02:45,760 --> 01:02:49,400
Speaker 1: of transcendent thing, and that's not even close to how

1270
01:02:49,400 --> 01:02:51,320
Speaker 1: I feel when I'm with you. Yeah, Like that's the

1271
01:02:51,400 --> 01:02:52,240
Speaker 1: arc of the poem. That's it.

1272
01:02:52,320 --> 01:02:52,680
Speaker 3: Like that's it.

1273
01:02:52,760 --> 01:02:55,040
Speaker 1: You're like, I can't I can't even describe I can

1274
01:02:55,080 --> 01:02:58,040
Speaker 1: describe this place, but I can't describe how you make

1275
01:02:58,080 --> 01:03:01,120
Speaker 1: me feel, because it goes beyond even that, even after

1276
01:03:01,120 --> 01:03:04,320
Speaker 1: beautiful experience that I have in that private time, and

1277
01:03:04,360 --> 01:03:07,920
Speaker 1: it's more than that, which is you know, the exact

1278
01:03:07,960 --> 01:03:10,000
Speaker 1: premise of if I could dream the perfect girl and

1279
01:03:10,120 --> 01:03:10,600
Speaker 1: not even you.

1280
01:03:10,760 --> 01:03:12,400
Speaker 2: I was like, well he got it, he got it

1281
01:03:12,440 --> 01:03:14,720
Speaker 2: from the guy at Love is Blind or whatever.

1282
01:03:19,640 --> 01:03:19,800
Speaker 5: Right.

1283
01:03:21,000 --> 01:03:23,800
Speaker 4: Corey begins to apologize, but Sean won't allow it. I

1284
01:03:23,840 --> 01:03:25,880
Speaker 4: want to hear that you were wrong, that I asked

1285
01:03:25,880 --> 01:03:27,720
Speaker 4: you to back off and you wouldn't take no for

1286
01:03:27,760 --> 01:03:31,040
Speaker 4: an answer. He totally disregarded my feelings.

1287
01:03:31,160 --> 01:03:33,160
Speaker 2: Yes, I was like going fine.

1288
01:03:33,280 --> 01:03:34,360
Speaker 3: Also that you.

1289
01:03:34,760 --> 01:03:38,760
Speaker 4: Died to me. You said earlier we can go and

1290
01:03:38,800 --> 01:03:41,120
Speaker 4: you don't have to read any poems. Then you signed

1291
01:03:41,120 --> 01:03:44,600
Speaker 4: me up. Corey begins to admit, all right, I did that,

1292
01:03:44,800 --> 01:03:47,600
Speaker 4: but Sewan interrupts him again. There better not be a butt.

1293
01:03:47,920 --> 01:03:52,480
Speaker 4: Corey insists, I did this for your own good. Sean scoffs,

1294
01:03:52,760 --> 01:03:55,600
Speaker 4: you have no idea what my poetry is about, do you?

1295
01:03:55,720 --> 01:03:56,560
Speaker 4: And that's where well went.

1296
01:03:56,680 --> 01:03:57,480
Speaker 1: What I was like, what.

1297
01:03:59,120 --> 01:03:59,800
Speaker 2: Do with anything?

1298
01:04:00,440 --> 01:04:03,200
Speaker 4: Right? That poem that Phoenie read in class? Do you

1299
01:04:03,240 --> 01:04:05,680
Speaker 4: even know what that was about? Corey has no answer.

1300
01:04:05,960 --> 01:04:09,000
Speaker 4: Sean continues, I can't say certain things, so I write

1301
01:04:09,000 --> 01:04:10,880
Speaker 4: them down. That's how I get them out. I do

1302
01:04:10,960 --> 01:04:14,560
Speaker 4: that for me, not for anyone else. Corey argues, I

1303
01:04:14,600 --> 01:04:15,240
Speaker 4: heard the poem.

1304
01:04:15,280 --> 01:04:15,440
Speaker 5: Now.

1305
01:04:15,680 --> 01:04:17,800
Speaker 4: At this point, when he said that I did think

1306
01:04:18,760 --> 01:04:23,040
Speaker 4: perfect that that is enough for him to be why

1307
01:04:23,080 --> 01:04:29,400
Speaker 4: he's upset with Corey. I would never have this is

1308
01:04:29,440 --> 01:04:31,360
Speaker 4: not this isn't in a place where I'm ready for

1309
01:04:31,360 --> 01:04:33,440
Speaker 4: other people to see it. Yet it's literally just for me.

1310
01:04:33,520 --> 01:04:36,080
Speaker 4: It helps me process, it helps me figure out my feelings.

1311
01:04:36,680 --> 01:04:38,920
Speaker 4: I would I don't want if I'm gonna write something,

1312
01:04:38,920 --> 01:04:40,600
Speaker 4: if I'm gonna read something out loud, I'm gonna work

1313
01:04:40,600 --> 01:04:42,600
Speaker 4: on it. I'm gonna do whatever like that.

1314
01:04:43,120 --> 01:04:46,280
Speaker 1: And Sean probably could have just finished that yes monologue

1315
01:04:46,280 --> 01:04:49,400
Speaker 1: by or that moment by saying and this one was

1316
01:04:49,440 --> 01:04:51,440
Speaker 1: about Angela. I definitely didn't.

1317
01:04:51,280 --> 01:04:51,640
Speaker 3: Want it to go.

1318
01:04:51,760 --> 01:04:54,120
Speaker 1: It wasn't ready for her to exactly and then she

1319
01:04:54,160 --> 01:04:57,800
Speaker 1: could overhear that and that's enough. But instead, Yeah, I'm like.

1320
01:04:58,120 --> 01:05:00,200
Speaker 3: Why why don't you get it? Don't you know it?

1321
01:05:00,360 --> 01:05:01,720
Speaker 1: I mean, I guess the joke that he thinks is

1322
01:05:01,720 --> 01:05:02,840
Speaker 1: about him is pretty funny.

1323
01:05:03,320 --> 01:05:06,160
Speaker 5: Yeah, but it doesn't save any It's like, oh God,

1324
01:05:06,200 --> 01:05:08,360
Speaker 5: you were going it was it was what the conversation

1325
01:05:08,400 --> 01:05:10,000
Speaker 5: that needed to happen, and it was so close to

1326
01:05:10,000 --> 01:05:11,960
Speaker 5: actually happening, and then just went and went off in

1327
01:05:11,960 --> 01:05:12,800
Speaker 5: a whole different direction.

1328
01:05:13,160 --> 01:05:13,960
Speaker 2: What are you kidding.

1329
01:05:14,880 --> 01:05:18,480
Speaker 4: Yeah, h Corey argues, I heard the poem. Sean, now

1330
01:05:18,520 --> 01:05:21,400
Speaker 4: more frustrated, explains, you heard it, but you didn't listen

1331
01:05:21,440 --> 01:05:23,360
Speaker 4: to it. That poem you just read. Do you even

1332
01:05:23,440 --> 01:05:27,840
Speaker 4: know who that was about? Corey earnestly answers me me.

1333
01:05:30,320 --> 01:05:34,760
Speaker 4: Sean sighs, it's about Angela. And then we noticed that

1334
01:05:34,800 --> 01:05:38,480
Speaker 4: Topanga and Angela have completely disregarded any amount of privacy

1335
01:05:38,760 --> 01:05:42,160
Speaker 4: that Sean was clearly trying to attain by bringing him outside,

1336
01:05:42,360 --> 01:05:46,120
Speaker 4: and we are just nearby listening to their conversation. Corey

1337
01:05:46,200 --> 01:05:47,880
Speaker 4: was a little sad to hear the truth, and he

1338
01:05:47,960 --> 01:05:51,400
Speaker 4: throws his arms up in the air. Well he walks away, defeated,

1339
01:05:51,760 --> 01:05:55,640
Speaker 4: as Angela walks up and Topanga joins them outside. Angela

1340
01:05:55,720 --> 01:05:59,200
Speaker 4: faces Sean and then slaps.

1341
01:05:58,840 --> 01:06:00,720
Speaker 2: Him like clos.

1342
01:06:01,960 --> 01:06:04,880
Speaker 1: Yeah, and this is this set is apparently the sight

1343
01:06:05,000 --> 01:06:08,200
Speaker 1: of violence on this means world, because this is where

1344
01:06:08,280 --> 01:06:11,640
Speaker 1: Corey lost it the teacher and this is where she

1345
01:06:12,040 --> 01:06:16,520
Speaker 1: slaps me. I don't know, like it's really dramatic, and

1346
01:06:16,560 --> 01:06:17,240
Speaker 1: I'm not sure.

1347
01:06:17,360 --> 01:06:21,360
Speaker 2: It was way too far. You don't violence has the

1348
01:06:21,400 --> 01:06:22,120
Speaker 2: answer in this.

1349
01:06:23,680 --> 01:06:26,439
Speaker 1: We don't quite resolve it, Like we don't acknowledge it later,

1350
01:06:26,560 --> 01:06:29,000
Speaker 1: like I wanted her to be like I just got emotional,

1351
01:06:29,080 --> 01:06:31,360
Speaker 1: I'm so sorry, and like I don't know, some sort

1352
01:06:31,360 --> 01:06:33,400
Speaker 1: of like yeah, we're not going to hit each other, right,

1353
01:06:33,440 --> 01:06:36,000
Speaker 1: like that's you know, but yeah, between like me having

1354
01:06:36,080 --> 01:06:38,440
Speaker 1: pushed her with the drinking and now her slapping me.

1355
01:06:38,480 --> 01:06:39,400
Speaker 3: Is really cool.

1356
01:06:39,960 --> 01:06:43,760
Speaker 4: She have just said how dare you? Or how dare

1357
01:06:43,840 --> 01:06:46,080
Speaker 4: any something and then storm off and be like, oh,

1358
01:06:46,280 --> 01:06:46,920
Speaker 4: she's mad.

1359
01:06:47,680 --> 01:06:50,600
Speaker 2: I still don't get what he did wrong, though.

1360
01:06:50,840 --> 01:06:55,200
Speaker 4: Well that's what I understand that she's like, wait a minute,

1361
01:06:55,800 --> 01:06:59,680
Speaker 4: you broke up with me, went out and you put

1362
01:06:59,760 --> 01:07:03,080
Speaker 4: rubber bands on doors, You've been on dates, and now

1363
01:07:03,760 --> 01:07:07,600
Speaker 4: you're The poetry that you're writing is about how much

1364
01:07:07,680 --> 01:07:09,200
Speaker 4: like I can see how she would be like, and

1365
01:07:09,240 --> 01:07:12,360
Speaker 4: you haven't shared that with me. I've been devastated. We're

1366
01:07:12,360 --> 01:07:14,960
Speaker 4: not having honest conversation. I thought we were close enough

1367
01:07:14,960 --> 01:07:16,400
Speaker 4: that we could talk about the stuff. I could see

1368
01:07:16,400 --> 01:07:18,880
Speaker 4: that she could be hurt and also maybe a little

1369
01:07:18,920 --> 01:07:23,360
Speaker 4: embarrassed that like publicly, now everyone just heard this poem.

1370
01:07:23,440 --> 01:07:26,760
Speaker 4: Maybe seaw didn't do that. Sean didn't do it publicly.

1371
01:07:27,280 --> 01:07:32,360
Speaker 1: Ory Sean by writing private poems about how he feels,

1372
01:07:32,360 --> 01:07:34,800
Speaker 1: he does not under any obligation to share that with

1373
01:07:34,840 --> 01:07:36,600
Speaker 1: her obligation.

1374
01:07:36,720 --> 01:07:38,720
Speaker 5: How long have they been standing there listening, because he

1375
01:07:38,760 --> 01:07:41,760
Speaker 5: clearly says, I write things down, so I can figure

1376
01:07:43,400 --> 01:07:47,400
Speaker 5: it's somebody stole his journal, read his journal publicly.

1377
01:07:47,720 --> 01:07:49,400
Speaker 2: Then she went up and punched him.

1378
01:07:49,680 --> 01:07:54,200
Speaker 1: I know what he wrote journal, and that's why she should. Definitely,

1379
01:07:54,320 --> 01:07:56,600
Speaker 1: I can understand it as a character motivation, exactly what

1380
01:07:56,640 --> 01:07:58,960
Speaker 1: you described on You're like, she has all these awful

1381
01:07:59,120 --> 01:08:01,080
Speaker 1: feelings and she doesn't know what to do with him.

1382
01:08:01,520 --> 01:08:03,680
Speaker 1: But the way that it's played and the way it

1383
01:08:03,720 --> 01:08:06,920
Speaker 1: plays out is as if Sean did do so, yeah,

1384
01:08:07,440 --> 01:08:10,840
Speaker 1: he's failing as a person. And then her slap was at.

1385
01:08:11,040 --> 01:08:13,320
Speaker 4: Then she says, you probably deserve it later and he goes.

1386
01:08:13,240 --> 01:08:16,800
Speaker 1: Probably probably did, and it's like, wait, what it's very

1387
01:08:16,960 --> 01:08:18,680
Speaker 1: I was like the second it happened, I was like,

1388
01:08:18,720 --> 01:08:21,320
Speaker 1: this feels like a dramatic beat that's not earned and

1389
01:08:21,360 --> 01:08:25,840
Speaker 1: not explained. And then yeah, totally rationalized. She really slapped

1390
01:08:25,840 --> 01:08:28,320
Speaker 1: me too. Do you guys remember that? Yeah?

1391
01:08:28,360 --> 01:08:29,920
Speaker 5: I thought, because they shot it from the back, you

1392
01:08:30,000 --> 01:08:31,280
Speaker 5: did your because you were always I was.

1393
01:08:31,240 --> 01:08:33,759
Speaker 1: Supposed to I was supposed to do my fake sound

1394
01:08:33,840 --> 01:08:36,000
Speaker 1: slap and she just actually hit me.

1395
01:08:36,080 --> 01:08:38,040
Speaker 2: Yeah, did you know she was going to?

1396
01:08:38,400 --> 01:08:38,839
Speaker 3: No?

1397
01:08:38,840 --> 01:08:41,559
Speaker 1: No, no, no, it was just a like boom.

1398
01:08:41,680 --> 01:08:43,479
Speaker 4: Do you think do you think somebody told her to

1399
01:08:43,479 --> 01:08:44,479
Speaker 4: do it or do you think she just did it

1400
01:08:44,479 --> 01:08:46,120
Speaker 4: on her own? Uh?

1401
01:08:46,560 --> 01:08:48,920
Speaker 1: She was apologetic if I remember, Like she was like,

1402
01:08:48,960 --> 01:08:50,439
Speaker 1: oh my god, I'm so sorry, Like it was just

1403
01:08:50,640 --> 01:08:53,720
Speaker 1: it was in it. But yeah, yeah, I don't know,

1404
01:08:53,800 --> 01:08:55,639
Speaker 1: like it was fine, like this happens all the time,

1405
01:08:55,720 --> 01:08:58,400
Speaker 1: like slaps. This has happened to me multiple times when

1406
01:08:58,400 --> 01:08:59,599
Speaker 1: I'm in a scene with an.

1407
01:08:59,479 --> 01:09:03,479
Speaker 2: Actor, like oh, okay, you slapped in the face multiple times.

1408
01:09:03,640 --> 01:09:05,360
Speaker 1: No, I don't think I've ever been slepped in real

1409
01:09:05,479 --> 01:09:10,280
Speaker 1: like but yeah, because yeah, but maybe I'm misremembering, but

1410
01:09:10,360 --> 01:09:12,320
Speaker 1: like I feel like I had been rehearsing it and

1411
01:09:12,320 --> 01:09:14,640
Speaker 1: then the night of she actually just did it, and

1412
01:09:14,680 --> 01:09:16,519
Speaker 1: it was like, yeah, okay, it's fine, you know.

1413
01:09:16,479 --> 01:09:17,920
Speaker 2: Yeah, because no, you were famous for it.

1414
01:09:17,920 --> 01:09:19,760
Speaker 5: I mean we would always join you were good at

1415
01:09:20,320 --> 01:09:22,200
Speaker 5: did the fake slap and you had it down pat.

1416
01:09:22,240 --> 01:09:23,680
Speaker 5: I mean it was like so I was like, oh,

1417
01:09:23,720 --> 01:09:25,280
Speaker 5: he did his fake slap thing because they shot him

1418
01:09:25,280 --> 01:09:28,439
Speaker 5: from behind. It's like, wow, she actually hit you and

1419
01:09:28,479 --> 01:09:31,719
Speaker 5: they didn't even get it on camera, It's like, no, Wow,

1420
01:09:31,840 --> 01:09:32,799
Speaker 5: what a double whammy.

1421
01:09:33,439 --> 01:09:36,120
Speaker 4: Sean grabs his face in pain, and Angela storms away

1422
01:09:36,120 --> 01:09:39,320
Speaker 4: without saying another word. Tepenga quickly follows after her friend.

1423
01:09:39,479 --> 01:09:43,280
Speaker 4: Sean looks at Corey, sarcastically thanks him, and then walks away,

1424
01:09:44,040 --> 01:09:47,120
Speaker 4: leaving the Boy and Boy meets World alone with his thoughts.

1425
01:09:47,840 --> 01:09:50,639
Speaker 4: And then we're inside Angela and Topanga's dorm. Corey nervously

1426
01:09:50,680 --> 01:09:54,360
Speaker 4: admits I don't know what to say, and unmoved, Angela answers, well,

1427
01:09:54,400 --> 01:09:57,599
Speaker 4: that's a first. Corey says he's sorry he read Sean's poem.

1428
01:09:57,760 --> 01:10:03,040
Speaker 4: Then he quickly corrects himself. No, I'm not sorry. I

1429
01:10:03,160 --> 01:10:06,439
Speaker 4: read Sean's poem. Don't you see that He would love

1430
01:10:06,479 --> 01:10:10,080
Speaker 4: to tell you how he feels. Angela simply states, then

1431
01:10:10,200 --> 01:10:12,559
Speaker 4: he should tell me. So Corey's the one she should

1432
01:10:12,760 --> 01:10:13,479
Speaker 4: he should have slapped.

1433
01:10:13,680 --> 01:10:17,000
Speaker 5: Yes, yes, And also I get it's boy mets World,

1434
01:10:17,040 --> 01:10:19,360
Speaker 5: and I get he's the star of the show, but

1435
01:10:19,479 --> 01:10:21,519
Speaker 5: there's no reason for Corey to be in a scene

1436
01:10:21,520 --> 01:10:23,680
Speaker 5: with Angela here. I'm sorry, this has nothing to do

1437
01:10:23,800 --> 01:10:26,840
Speaker 5: with Corey at this point. Well, this is between.

1438
01:10:26,400 --> 01:10:30,479
Speaker 1: Angel he apologizes, But yeah, but.

1439
01:10:30,520 --> 01:10:32,040
Speaker 2: I mean it's one of those things where it's just

1440
01:10:32,120 --> 01:10:32,519
Speaker 2: like this.

1441
01:10:32,520 --> 01:10:34,799
Speaker 5: This is a scene that should have taken places between

1442
01:10:35,120 --> 01:10:36,120
Speaker 5: Angela and Sean.

1443
01:10:36,280 --> 01:10:39,960
Speaker 4: This scene is again about Corey not knowing his place,

1444
01:10:40,120 --> 01:10:43,320
Speaker 4: and he's now going okay. He even brings it up.

1445
01:10:43,400 --> 01:10:45,680
Speaker 4: You told me how you feel about Sean. Well, now

1446
01:10:45,720 --> 01:10:47,679
Speaker 4: we know how Sean feels about you. So if he's

1447
01:10:47,680 --> 01:10:49,240
Speaker 4: not ready to talk to you about it, you go

1448
01:10:49,360 --> 01:10:52,040
Speaker 4: talk to him about it. It's like he's just meddling.

1449
01:10:52,360 --> 01:10:52,679
Speaker 1: Yeah.

1450
01:10:52,760 --> 01:10:55,320
Speaker 4: Corey points out that Sean's writing poems for her. He's

1451
01:10:55,320 --> 01:10:57,600
Speaker 4: obviously still in love with her, and Corey knows that

1452
01:10:57,640 --> 01:10:59,400
Speaker 4: Angela is still in love with him too, because she

1453
01:10:59,439 --> 01:11:01,439
Speaker 4: admitted it to him in the bathroom, you know, where

1454
01:11:01,479 --> 01:11:05,559
Speaker 4: she was wearing a towel. Angela remembers, maybe I still

1455
01:11:05,600 --> 01:11:07,600
Speaker 4: do have feelings for Sean, but that doesn't mean we

1456
01:11:07,600 --> 01:11:10,320
Speaker 4: should be together. I'm finally okay, I've started to move on.

1457
01:11:10,880 --> 01:11:13,840
Speaker 4: Corey wonders, then what was that slap about? Angela asks,

1458
01:11:13,920 --> 01:11:15,680
Speaker 4: how can he still have feelings for me and not

1459
01:11:15,720 --> 01:11:18,479
Speaker 4: want to be with me? Corey doesn't know. She reminds

1460
01:11:18,560 --> 01:11:20,840
Speaker 4: him he's the one that broke up with me. He's

1461
01:11:20,880 --> 01:11:22,920
Speaker 4: the one that wanted to meet new people. If he

1462
01:11:22,960 --> 01:11:25,120
Speaker 4: can't tell me how he feels about me, then what

1463
01:11:25,280 --> 01:11:29,280
Speaker 4: are we? Corey explains, well, it's not in my nature

1464
01:11:29,320 --> 01:11:33,799
Speaker 4: to interfere. Angela and the audience laughs at this. Corey

1465
01:11:33,840 --> 01:11:36,679
Speaker 4: goes on, maybe his poetry is the only true way

1466
01:11:36,680 --> 01:11:39,400
Speaker 4: he can tell you how he feels. So meet him halfway,

1467
01:11:39,960 --> 01:11:42,439
Speaker 4: tell him how you feel. So that's what this is about.

1468
01:11:42,479 --> 01:11:46,600
Speaker 4: This whole scene is about. Listen, Uh, Sean won't is

1469
01:11:46,640 --> 01:11:49,559
Speaker 4: mad at me for bearing his feelings, but we know

1470
01:11:49,640 --> 01:11:52,040
Speaker 4: how you feel and so now that does that make

1471
01:11:52,040 --> 01:11:53,960
Speaker 4: you feel good? Because now that you heard Jean's wohem,

1472
01:11:53,960 --> 01:11:55,559
Speaker 4: you know he likes you too. You go talk to him.

1473
01:11:55,560 --> 01:12:00,519
Speaker 4: He's just okay. Then we're in the student and Sean

1474
01:12:00,560 --> 01:12:02,920
Speaker 4: is sitting by the fireplace, rapidly writing his thoughts and

1475
01:12:02,960 --> 01:12:11,759
Speaker 4: feelings into the notebook. Angela appears face he Sean scrambles

1476
01:12:11,760 --> 01:12:13,400
Speaker 4: to his feet. They both begin to talk at the

1477
01:12:13,400 --> 01:12:15,519
Speaker 4: same time, and Angela tells him to go ahead. He

1478
01:12:15,600 --> 01:12:18,439
Speaker 4: jokingly asks, you sure you're not going to hit me again,

1479
01:12:18,520 --> 01:12:22,559
Speaker 4: are you? Angela apologizes I'm sorry I did that. Sean

1480
01:12:22,600 --> 01:12:26,160
Speaker 4: admits I probably deserved it. She nods, don't you're probably

1481
01:12:26,240 --> 01:12:31,559
Speaker 4: right for what I don't know what I know, he confesses. Look,

1482
01:12:32,040 --> 01:12:34,000
Speaker 4: I've been going over those words in my head over

1483
01:12:34,040 --> 01:12:36,720
Speaker 4: and over again because I want to say this right.

1484
01:12:37,160 --> 01:12:39,639
Speaker 4: Angela advises him to take his time, and Sean says,

1485
01:12:40,200 --> 01:12:43,519
Speaker 4: we used to talk, I mean really talk. I miss that.

1486
01:12:44,160 --> 01:12:47,880
Speaker 4: Angela admits she misses it too. Sean continues, things just

1487
01:12:47,920 --> 01:12:51,080
Speaker 4: got weird. I mean I got weird. But I don't

1488
01:12:51,080 --> 01:12:53,280
Speaker 4: want us to ever stop talking. I couldn't stand that.

1489
01:12:53,800 --> 01:12:57,360
Speaker 4: Angela agrees, neither could I. And when I heard that poem,

1490
01:12:57,840 --> 01:13:00,200
Speaker 4: Sean cuts her off. Yeah, the poem, that's what I

1491
01:13:00,200 --> 01:13:02,080
Speaker 4: wanted to talk to you about. I wrote that a

1492
01:13:02,200 --> 01:13:05,360
Speaker 4: long time ago. She lets out a laugh. You did,

1493
01:13:05,880 --> 01:13:09,559
Speaker 4: Sean casually tells her, yeah, like way before we broke up.

1494
01:13:09,600 --> 01:13:11,360
Speaker 4: So you don't have to feel weird and you know

1495
01:13:11,720 --> 01:13:15,360
Speaker 4: everything's okay. Angela smiling, trying her best to hide her

1496
01:13:15,360 --> 01:13:19,320
Speaker 4: true feelings. Well, great, because it would have been really

1497
01:13:19,320 --> 01:13:21,760
Speaker 4: awkward knowing that you still had feelings for me when

1498
01:13:21,800 --> 01:13:27,360
Speaker 4: I've clearly moved on. Sean's smile disappears. Right, there's a

1499
01:13:27,360 --> 01:13:30,400
Speaker 4: moment of silence before he declares, so, I guess we've

1500
01:13:30,439 --> 01:13:34,120
Speaker 4: both moved on. Angela nodds, Yeah, we can just go

1501
01:13:34,200 --> 01:13:38,599
Speaker 4: forward as friends, and he adds good friends. They stare

1502
01:13:38,600 --> 01:13:41,200
Speaker 4: at each other with a fire burning behind them, background

1503
01:13:41,280 --> 01:13:44,360
Speaker 4: actors crossing as we pull away on some sad.

1504
01:13:47,439 --> 01:13:50,280
Speaker 1: So you're supposed to be together.

1505
01:13:50,600 --> 01:13:53,160
Speaker 4: There's not supposed to be together. This is for me

1506
01:13:53,240 --> 01:13:56,800
Speaker 4: the thing where I went does. Why does Angela tell

1507
01:13:56,880 --> 01:14:00,439
Speaker 4: him to go first when maybe what the last was

1508
01:14:00,479 --> 01:14:02,200
Speaker 4: with Corey where he said, why don't you tell him

1509
01:14:02,200 --> 01:14:04,599
Speaker 4: how you feel? And then we see her approach him,

1510
01:14:04,920 --> 01:14:08,040
Speaker 4: so that's what she wants to do, so she's willing

1511
01:14:08,080 --> 01:14:10,920
Speaker 4: to do. But then she tells him to go first.

1512
01:14:11,400 --> 01:14:14,280
Speaker 4: And then when she's going to say something about the poem,

1513
01:14:14,520 --> 01:14:17,000
Speaker 4: why does Sean cut her off? Why doesn't Sean let

1514
01:14:17,080 --> 01:14:19,240
Speaker 4: her finish what he's going to say? Why aren't they

1515
01:14:19,280 --> 01:14:23,240
Speaker 4: both more curious what the other person has to say.

1516
01:14:23,439 --> 01:14:27,679
Speaker 4: You know, this whole thing would be better, like.

1517
01:14:27,920 --> 01:14:31,960
Speaker 1: They got to manufacture some miscommunication. It's just manufactured miscommunication.

1518
01:14:32,000 --> 01:14:34,320
Speaker 1: We just got to keep the plotline going, keep the

1519
01:14:34,400 --> 01:14:34,960
Speaker 1: audience one.

1520
01:14:35,120 --> 01:14:39,280
Speaker 4: They need an Angela and Sean four episode drama arc

1521
01:14:39,400 --> 01:14:41,920
Speaker 4: the way Corey and Tapanga had one. Everyone's sick of

1522
01:14:41,960 --> 01:14:45,000
Speaker 4: that storyline and they're engaged, so we can you know,

1523
01:14:45,040 --> 01:14:48,040
Speaker 4: you're married to dead and in this situation.

1524
01:14:48,120 --> 01:14:50,759
Speaker 1: We need so we need to be rooting for something

1525
01:14:50,800 --> 01:14:52,479
Speaker 1: to happen. Yeah, I got to come back next week.

1526
01:14:52,800 --> 01:14:56,160
Speaker 5: Well that's what happens too when you get the couple together,

1527
01:14:56,200 --> 01:14:57,080
Speaker 5: the will they won't they?

1528
01:14:57,080 --> 01:14:58,800
Speaker 2: Corey and Panga. Now you've got to go to the

1529
01:14:58,840 --> 01:14:59,160
Speaker 2: next one.

1530
01:14:59,240 --> 01:15:01,880
Speaker 5: Yeah, And then the funny thing is if you remember,

1531
01:15:02,000 --> 01:15:03,960
Speaker 5: and if I remember, which I'm not sure I entirely do,

1532
01:15:04,040 --> 01:15:06,840
Speaker 5: but I think what then happens is Sean and Angela

1533
01:15:06,880 --> 01:15:11,599
Speaker 5: get back together. So then Jack and Rachel hook up

1534
01:15:11,640 --> 01:15:15,320
Speaker 5: behind Eric's right, that's the third time, all right, happening.

1535
01:15:15,320 --> 01:15:18,720
Speaker 5: So they keep having to have like they're manufacturing. Okay, listen,

1536
01:15:18,760 --> 01:15:21,439
Speaker 5: now it's a lot. So it's a relationship drama as

1537
01:15:21,520 --> 01:15:22,160
Speaker 5: much as they can.

1538
01:15:34,640 --> 01:15:36,840
Speaker 4: Well, we're in the Penbrooke hallway, Jack, Sie's Rachel and

1539
01:15:36,880 --> 01:15:38,920
Speaker 4: the troll she was arguing with in the library. He

1540
01:15:39,000 --> 01:15:41,320
Speaker 4: jokingly asks, are we ever going to see you two apart?

1541
01:15:41,680 --> 01:15:44,880
Speaker 4: The girls enthusiastically respond in unison, not if we can

1542
01:15:44,920 --> 01:15:48,680
Speaker 4: help it. Then Eric runs down the stairs and shouts, hey, everybody,

1543
01:15:48,840 --> 01:15:53,000
Speaker 4: when's the next test? Huh? Hey? Who cares? Everyone? Gathers

1544
01:15:53,040 --> 01:15:55,080
Speaker 4: around Eric and Jack without a care in the world.

1545
01:15:55,360 --> 01:15:57,120
Speaker 4: Jack admits to his friend, I thought I'd be the

1546
01:15:57,160 --> 01:15:59,240
Speaker 4: last person to say this, but thanks for letting us

1547
01:15:59,240 --> 01:16:01,360
Speaker 4: all know. We just had to mellow out the angry,

1548
01:16:01,439 --> 01:16:03,519
Speaker 4: yelling guy with the gummy boots and movie date with

1549
01:16:03,640 --> 01:16:06,400
Speaker 4: Jack chimes in, what's the success rate of the system

1550
01:16:06,400 --> 01:16:10,639
Speaker 4: of yours? Eric is confused. System? What system? The troll

1551
01:16:10,680 --> 01:16:16,439
Speaker 4: clarifies the Eric Matthews fool proof study system. Eric reveals, oh, dude,

1552
01:16:16,720 --> 01:16:20,040
Speaker 4: totally made that up. All the students start to panic,

1553
01:16:20,080 --> 01:16:22,439
Speaker 4: but Eric tries to calm them again, stop grumbling. I

1554
01:16:22,520 --> 01:16:24,040
Speaker 4: know you're all interested to see if this is going

1555
01:16:24,120 --> 01:16:26,200
Speaker 4: to work, and you know what, so am I. The

1556
01:16:26,280 --> 01:16:28,800
Speaker 4: mob starts to crowd him, angry and letting him know.

1557
01:16:29,160 --> 01:16:32,559
Speaker 4: Just then Phoene walks out to announce the final grades. Okay,

1558
01:16:32,640 --> 01:16:35,120
Speaker 4: what has he done now? Jack explains, he talked us

1559
01:16:35,120 --> 01:16:38,000
Speaker 4: into this idiotic study system of his. Phoene admits that's

1560
01:16:38,080 --> 01:16:41,000
Speaker 4: quite interesting. Then he proceeds to hang up the results.

1561
01:16:41,640 --> 01:16:44,000
Speaker 4: They crowd around the piece of paper and everyone is

1562
01:16:44,080 --> 01:16:47,360
Speaker 4: pleased with the results. Rachel's tiny troll friend complains that

1563
01:16:47,400 --> 01:16:49,920
Speaker 4: she can't see but Rachel tells her apparently her name

1564
01:16:49,960 --> 01:16:53,439
Speaker 4: is Audrey, that they both got a's. The entire group

1565
01:16:53,479 --> 01:16:58,200
Speaker 4: of students march on chanting Eric Eric Eric. On his

1566
01:16:58,240 --> 01:17:01,960
Speaker 4: way out, Eric's chanting it to hey know Eric too.

1567
01:17:03,680 --> 01:17:06,240
Speaker 4: On his way out, Eric quick quietly changes his chant

1568
01:17:06,320 --> 01:17:09,120
Speaker 4: to Phoenie. As the teacher grabs his arm to hang back.

1569
01:17:09,520 --> 01:17:12,759
Speaker 4: Eric quickly explains, well, I did nothing wrong. He questions

1570
01:17:12,800 --> 01:17:14,519
Speaker 4: if taking off your left shoe and taking a friend

1571
01:17:14,560 --> 01:17:18,200
Speaker 4: to the cinema is a crime. Phoene is confused, take

1572
01:17:18,240 --> 01:17:21,519
Speaker 4: off your left shoe? Eric giggles, not now, Phoenie. Come on,

1573
01:17:22,240 --> 01:17:24,439
Speaker 4: everyone was so uptight about finals, so he tried to

1574
01:17:24,479 --> 01:17:28,200
Speaker 4: relax them a bit. Phoene nods, congratulations, I'm impressed with

1575
01:17:28,240 --> 01:17:31,160
Speaker 4: your insight. A recent university study showed that non stop

1576
01:17:31,200 --> 01:17:34,240
Speaker 4: focusing on one's studies hindered performance, so it is a

1577
01:17:34,240 --> 01:17:36,479
Speaker 4: good idea to put down the books and clear one's mind.

1578
01:17:37,000 --> 01:17:40,360
Speaker 4: Eric grins with pride. Yeah, but Phoenie adds the most

1579
01:17:40,400 --> 01:17:45,120
Speaker 4: important part after one has studied thoroughly and absorbed the material.

1580
01:17:45,560 --> 01:17:49,960
Speaker 4: Eric grins again, unchanged. Yeah. Phoene simply asks you forgot

1581
01:17:50,040 --> 01:17:54,120
Speaker 4: that part, didn't you. Eric nods yep. Yeah, then he

1582
01:17:54,160 --> 01:17:56,640
Speaker 4: figures it out. I didn't do so good, did I?

1583
01:17:57,280 --> 01:18:00,200
Speaker 4: Phoene COPI says yeah and pulls him into his class.

1584
01:18:00,320 --> 01:18:01,599
Speaker 2: And I got billed to ad lib.

1585
01:18:02,040 --> 01:18:04,000
Speaker 1: Yeah, I can Bill to ad lib.

1586
01:18:04,560 --> 01:18:06,960
Speaker 2: I don't think I've ever seen Phoenie ad lib before.

1587
01:18:07,000 --> 01:18:09,599
Speaker 2: And I added this at the end, and Bill ad libs.

1588
01:18:10,240 --> 01:18:12,439
Speaker 4: Eric takes a peek at his grade and he said,

1589
01:18:12,479 --> 01:18:15,240
Speaker 4: he goes no, and Phoenie goes, I told you, I

1590
01:18:15,280 --> 01:18:15,800
Speaker 4: told you that.

1591
01:18:15,800 --> 01:18:17,160
Speaker 2: Was none of that was in the script. So as

1592
01:18:17,160 --> 01:18:18,120
Speaker 2: he's walking me by, I just.

1593
01:18:18,120 --> 01:18:19,280
Speaker 5: Look at the thing and I did it and I

1594
01:18:19,320 --> 01:18:21,040
Speaker 5: was like, oh my god, I got filled the ad lib.

1595
01:18:21,200 --> 01:18:22,600
Speaker 1: Yes, so happy.

1596
01:18:23,360 --> 01:18:26,000
Speaker 4: And then we are in the student union. Sean's doing

1597
01:18:26,000 --> 01:18:28,479
Speaker 4: some homework when Topanga runs up behind him and covers

1598
01:18:28,479 --> 01:18:31,240
Speaker 4: his eyes. Immediately he knows it's her and says they're

1599
01:18:31,240 --> 01:18:33,519
Speaker 4: not here yet. To Pega wines, you're kidding, we're gonna

1600
01:18:33,520 --> 01:18:34,120
Speaker 4: miss the movie.

1601
01:18:34,600 --> 01:18:42,400
Speaker 2: She sits episode Double Impact.

1602
01:18:43,520 --> 01:18:46,280
Speaker 4: She sits and asks if everything's okay between him and Angela.

1603
01:18:46,439 --> 01:18:49,040
Speaker 4: Sean nods, yeah, I told her that I wrote that

1604
01:18:49,080 --> 01:18:51,719
Speaker 4: poem before we broke up, and everything's okay. To Panga's

1605
01:18:51,760 --> 01:18:54,040
Speaker 4: relieved to hear that Sean starts to pack his thing

1606
01:18:54,040 --> 01:18:56,760
Speaker 4: when to Pega notices his notebook. Is that the book

1607
01:18:56,800 --> 01:18:59,960
Speaker 4: you wrote the poem in? He nods, m M. She asked,

1608
01:19:00,720 --> 01:19:02,719
Speaker 4: isn't that the book I gave you for your birthday?

1609
01:19:03,400 --> 01:19:07,040
Speaker 4: He asks, what's your point? She responds, My point is

1610
01:19:07,120 --> 01:19:10,160
Speaker 4: you and Angela broke up before your birthday. You couldn't

1611
01:19:10,200 --> 01:19:16,840
Speaker 4: have written that poem two months ago. The inmates the

1612
01:19:16,880 --> 01:19:22,519
Speaker 4: relation man. He sighs, Okay, okay, you got me. I

1613
01:19:22,560 --> 01:19:25,160
Speaker 4: wrote it after we broke up. Topega wants to know

1614
01:19:25,400 --> 01:19:28,760
Speaker 4: how long After he insists not long. She pushes again,

1615
01:19:28,920 --> 01:19:31,840
Speaker 4: how long? After he blurts out, I wrote it two

1616
01:19:31,840 --> 01:19:34,519
Speaker 4: weeks ago. Topega jumps up out of her seat and

1617
01:19:34,560 --> 01:19:37,839
Speaker 4: smothers her friend. Oh, Sean, you do still love Angela.

1618
01:19:38,240 --> 01:19:40,439
Speaker 4: He reminds her to keep it down and admits I

1619
01:19:40,439 --> 01:19:42,599
Speaker 4: can't get her out of my mind. I miss her.

1620
01:19:42,840 --> 01:19:45,080
Speaker 4: I miss the way she makes me feel. I miss

1621
01:19:45,120 --> 01:19:46,680
Speaker 4: the fact that I could tell her things that no

1622
01:19:46,720 --> 01:19:49,160
Speaker 4: one else understands, not even Corey.

1623
01:19:49,400 --> 01:19:51,360
Speaker 2: I miss how she hits me for no reason.

1624
01:19:54,000 --> 01:19:57,040
Speaker 4: To Pega encourages him to tell Angela, but he refuses.

1625
01:19:57,479 --> 01:19:59,439
Speaker 4: I told her that I needed my space. I told

1626
01:19:59,479 --> 01:20:01,559
Speaker 4: her that I want to to meet new people. I

1627
01:20:01,640 --> 01:20:04,479
Speaker 4: did this to. Panga insists, well, if you two love

1628
01:20:04,520 --> 01:20:07,280
Speaker 4: each other, you should be together. Maybe if Angela knew

1629
01:20:07,280 --> 01:20:10,799
Speaker 4: how you felt. Sean interrupts her. It's too late. Angela

1630
01:20:10,840 --> 01:20:12,759
Speaker 4: told him that she's over him and wants to be friends.

1631
01:20:13,240 --> 01:20:15,439
Speaker 1: So this is where we just wanted to get to,

1632
01:20:15,479 --> 01:20:19,920
Speaker 1: this place where Sean and Topanga have their secret Angela

1633
01:20:19,439 --> 01:20:22,280
Speaker 1: and they're a secret and it's going to come back. Yeah,

1634
01:20:22,520 --> 01:20:22,840
Speaker 1: and I do.

1635
01:20:23,760 --> 01:20:27,599
Speaker 4: Actually, I kind of like that. At least there's.

1636
01:20:28,600 --> 01:20:31,320
Speaker 1: The crossover the relationship as over.

1637
01:20:31,360 --> 01:20:34,599
Speaker 4: Friendships and where people are being good friends to each

1638
01:20:34,600 --> 01:20:38,200
Speaker 4: other by keeping a secret. And I love the Sean

1639
01:20:38,280 --> 01:20:42,559
Speaker 4: and Topanga dynamic that Topanga bought. Topanga apparently does know

1640
01:20:42,600 --> 01:20:46,280
Speaker 4: that Sean writes poetry or writes something, because I got

1641
01:20:46,280 --> 01:20:46,800
Speaker 4: you a.

1642
01:20:46,840 --> 01:20:50,280
Speaker 2: Journal down is as long as he can remember.

1643
01:20:50,800 --> 01:20:54,160
Speaker 4: That's why Whata knows even though he didn't tell Angela

1644
01:20:54,200 --> 01:20:55,000
Speaker 4: and Corey.

1645
01:20:54,680 --> 01:20:57,360
Speaker 1: Doesn't know much more appropriate to get him a camera

1646
01:20:57,680 --> 01:21:01,120
Speaker 1: or you know, photo that he that he'd put.

1647
01:21:01,000 --> 01:21:03,280
Speaker 2: In a book and lose.

1648
01:21:04,400 --> 01:21:06,200
Speaker 3: I'm gonna find it. It's gonna be somewhere.

1649
01:21:07,479 --> 01:21:09,439
Speaker 2: It's in the inside pocket of your leather Jack.

1650
01:21:11,600 --> 01:21:13,759
Speaker 4: At the same time, we see Angela and Corey outside

1651
01:21:13,760 --> 01:21:16,479
Speaker 4: of the student union about to enter, but Corey stops

1652
01:21:16,520 --> 01:21:18,760
Speaker 4: her before they go inside. Are you okay with all

1653
01:21:18,760 --> 01:21:20,719
Speaker 4: of us going out? I hope I didn't mess everything

1654
01:21:20,760 --> 01:21:23,960
Speaker 4: up for you, Angela insists, I'm okay. You mean well?

1655
01:21:24,280 --> 01:21:30,160
Speaker 4: You always mean well? Corey ads, does he? Corey ads?

1656
01:21:30,320 --> 01:21:32,559
Speaker 4: You know I didn't tell Sean about how you feel, right?

1657
01:21:32,840 --> 01:21:36,439
Speaker 4: Angela nodds. I know. Meanwhile, back inside, Sean begs to

1658
01:21:36,479 --> 01:21:38,920
Speaker 4: Panga not to tell anyone, not even Corey. He makes

1659
01:21:38,920 --> 01:21:41,840
Speaker 4: her pinky swear, and she does so without hesitation. Cory

1660
01:21:41,920 --> 01:21:43,760
Speaker 4: and Angela walk in, and Corey Actually.

1661
01:21:43,479 --> 01:21:47,760
Speaker 1: That's an interesting point that hasn't come up. I think

1662
01:21:47,800 --> 01:21:52,120
Speaker 1: maybe if we had known that Corey knew that Angela like, like,

1663
01:21:52,120 --> 01:21:54,559
Speaker 1: in other words, if Corey was motivated by trying to

1664
01:21:54,600 --> 01:21:57,519
Speaker 1: get Sean and Angela back, like, if that.

1665
01:21:57,520 --> 01:21:59,439
Speaker 3: Would have been like, I know I'm doing the wrong thing,

1666
01:21:59,479 --> 01:21:59,920
Speaker 3: but I'm.

1667
01:21:59,760 --> 01:22:01,720
Speaker 1: Doing it for the right reasons, Like if he could

1668
01:22:02,160 --> 01:22:05,720
Speaker 1: articulate that, yes, I feel like but instead it's that

1669
01:22:05,840 --> 01:22:07,240
Speaker 1: was my point earlier.

1670
01:22:07,000 --> 01:22:10,799
Speaker 4: Is that he does know. Once he realizes the poem

1671
01:22:10,960 --> 01:22:14,519
Speaker 4: is about Angela, he already knows the secret about angel

1672
01:22:14,560 --> 01:22:16,519
Speaker 4: which is why then he's in the room. He's like, listen,

1673
01:22:17,960 --> 01:22:21,240
Speaker 4: did you hear the poem? And you told me how

1674
01:22:21,240 --> 01:22:24,080
Speaker 4: you feel about him? So he is having a hard

1675
01:22:24,120 --> 01:22:26,360
Speaker 4: time telling you how he feels, so why don't you

1676
01:22:26,360 --> 01:22:27,240
Speaker 4: tell him how you feel?

1677
01:22:27,320 --> 01:22:30,000
Speaker 1: And I guess the addition to that would be like,

1678
01:22:30,120 --> 01:22:32,160
Speaker 1: I can't do this because I can't break my promise

1679
01:22:32,200 --> 01:22:34,599
Speaker 1: to you. You know, if he just said that, then

1680
01:22:34,640 --> 01:22:37,240
Speaker 1: we I would probably forgive Corey a lot easier because

1681
01:22:37,240 --> 01:22:39,400
Speaker 1: it'd be like, oh, you're you're confused and you're trying

1682
01:22:39,439 --> 01:22:41,559
Speaker 1: to do the right thing by Angela and the right

1683
01:22:41,560 --> 01:22:44,160
Speaker 1: thing by Sean. But it didn't feel like that. That's

1684
01:22:44,200 --> 01:22:46,240
Speaker 1: not to me. I don't think that was articulated well

1685
01:22:46,360 --> 01:22:48,280
Speaker 1: enough until like this moment I was like, oh, yeah,

1686
01:22:48,320 --> 01:22:49,680
Speaker 1: the two pairs, I see it.

1687
01:22:50,000 --> 01:22:56,040
Speaker 4: Yes, yes, So that's if you think about that through

1688
01:22:56,080 --> 01:23:01,160
Speaker 4: this whole thing also the only way to justify and

1689
01:23:01,280 --> 01:23:04,759
Speaker 4: it still doesn't even justify it at all. But Corey

1690
01:23:04,800 --> 01:23:07,639
Speaker 4: would need to know that that poem was about Angela

1691
01:23:07,840 --> 01:23:11,200
Speaker 4: in order for him to have any in any way

1692
01:23:11,400 --> 01:23:14,080
Speaker 4: a motivated reason to decide to read the poem. Right,

1693
01:23:14,640 --> 01:23:18,280
Speaker 4: But if he if somehow, if Sean had shared it

1694
01:23:18,320 --> 01:23:20,760
Speaker 4: with Corey, and Corey's like, I'm not allowed to say

1695
01:23:20,760 --> 01:23:23,360
Speaker 4: anything because Angela told me not to tell him. But

1696
01:23:23,479 --> 01:23:26,879
Speaker 4: now I know my two friends very just reading.

1697
01:23:26,640 --> 01:23:29,479
Speaker 1: This poem and it'll come out and then everybody will

1698
01:23:29,479 --> 01:23:32,360
Speaker 1: love each other again. That's a great motivation to make

1699
01:23:32,400 --> 01:23:34,120
Speaker 1: that happen, right Yeah, Yeah.

1700
01:23:34,080 --> 01:23:35,559
Speaker 2: I think what you're saying, and I agree.

1701
01:23:35,600 --> 01:23:39,439
Speaker 5: It was of a kind of muddled way to end

1702
01:23:39,520 --> 01:23:42,240
Speaker 5: up at a good sitcom place, yeah, which is the

1703
01:23:42,280 --> 01:23:45,360
Speaker 5: two teams each holding a secret and being good friends

1704
01:23:45,360 --> 01:23:47,320
Speaker 5: to each other, and we as the audience know what's

1705
01:23:47,320 --> 01:23:48,880
Speaker 5: going to happen, and it's eventually going to get to

1706
01:23:48,920 --> 01:23:49,479
Speaker 5: that point.

1707
01:23:49,520 --> 01:23:54,080
Speaker 1: Actually, it's actually very Shakespearean. Yeare sort of like Shenanigans

1708
01:23:54,120 --> 01:23:55,400
Speaker 1: of getting those people together.

1709
01:23:55,760 --> 01:23:58,439
Speaker 2: It's farcical without the funny, right yeah.

1710
01:23:59,200 --> 01:24:01,920
Speaker 4: Cory asks what do you swear? Topanga quickly makes up

1711
01:24:01,960 --> 01:24:04,000
Speaker 4: something I swear that I'm going to kill you if

1712
01:24:04,040 --> 01:24:06,640
Speaker 4: we miss this movie. Sean asks what took them so long,

1713
01:24:06,680 --> 01:24:09,360
Speaker 4: and Angela explains we were just tying up some loose ends,

1714
01:24:09,600 --> 01:24:12,519
Speaker 4: right cor Corey agrees and then changes the subject. We

1715
01:24:12,640 --> 01:24:14,559
Speaker 4: better get going if we don't want to miss this movie.

1716
01:24:14,680 --> 01:24:17,519
Speaker 4: Tapanga and Angela walk away, but Corey stays behind with Sean,

1717
01:24:17,920 --> 01:24:21,120
Speaker 4: are we okay? Sean shrugs, You're my date, aren't you.

1718
01:24:21,400 --> 01:24:23,599
Speaker 4: He puts his armor on Corey and they walk out together,

1719
01:24:24,160 --> 01:24:27,080
Speaker 4: and then we're in the tag It's poetry night. Corey's

1720
01:24:27,080 --> 01:24:29,120
Speaker 4: back on stage and he tells the audience his next

1721
01:24:29,120 --> 01:24:32,880
Speaker 4: poem is called Frustration. The bongos play an upbeat tune

1722
01:24:32,880 --> 01:24:36,880
Speaker 4: and Corey gets very serious. He wails, come on, Topenga.

1723
01:24:37,760 --> 01:24:40,719
Speaker 4: The audience hesitantly applauds. Corey looks at the bongo player

1724
01:24:40,720 --> 01:24:44,680
Speaker 4: and they simultaneously pump their fists in victory. Corey moves on.

1725
01:24:44,800 --> 01:24:48,000
Speaker 4: This next poem is called Feenie. The bongo's play once again,

1726
01:24:48,040 --> 01:24:51,160
Speaker 4: and Corey does a little dance before starting. Mister Feenie

1727
01:24:51,200 --> 01:24:54,960
Speaker 4: is very smart on many subjects, including art, and yet

1728
01:24:55,160 --> 01:24:59,320
Speaker 4: he can't help me with my frustration. Come on, Tapenga.

1729
01:25:00,120 --> 01:25:01,240
Speaker 3: Very funny man, very.

1730
01:25:01,160 --> 01:25:04,800
Speaker 4: Very funny, very funny, very very funny. Well, thank you

1731
01:25:04,880 --> 01:25:07,000
Speaker 4: all for joining us for this episode of Podmeets World.

1732
01:25:07,040 --> 01:25:09,160
Speaker 4: As always, you can follow us on Instagram pod Meets

1733
01:25:09,160 --> 01:25:11,160
Speaker 4: World Show. You can send us your emails pod Meets

1734
01:25:11,160 --> 01:25:14,240
Speaker 4: World Show at gmail dot com and we've got march.

1735
01:25:15,360 --> 01:25:19,839
Speaker 2: As we slowly wither like the ancient birch, we ponder

1736
01:25:19,920 --> 01:25:23,360
Speaker 2: the query. Shouldest I obtain some merch?

1737
01:25:27,400 --> 01:25:31,040
Speaker 4: Podmeetsworldshow dot com writer send us out.

1738
01:25:31,479 --> 01:25:33,240
Speaker 3: We love you all, pod dismissed.

1739
01:25:35,000 --> 01:25:37,680
Speaker 1: Pod Meets World is an iHeart podcast producer hosted by

1740
01:25:37,720 --> 01:25:41,679
Speaker 1: Danielle Fischel, Wilfridell and Ryder Strong executive producers, Jensen Carp

1741
01:25:41,760 --> 01:25:44,960
Speaker 1: and Amy Sugarman Executive in charge of production, Danielle Romo,

1742
01:25:45,160 --> 01:25:48,960
Speaker 1: producer and editor, Tarasubasch producer, Maddie Moore engineer and Boy

1743
01:25:49,040 --> 01:25:52,040
Speaker 1: Meets World Superman Easton Allen. Our theme song is by

1744
01:25:52,160 --> 01:25:55,519
Speaker 1: Kyle Morton of Typhoon. Follow us on Instagram at podmets

1745
01:25:55,520 --> 01:25:58,519
Speaker 1: World Show or email us at Podmeats worlds Show at

1746
01:25:58,560 --> 01:26:02,839
Speaker 1: gmail dot com