1
00:00:00,080 --> 00:00:03,480
Speaker 1: First of all, you don't know me. We all about

2
00:00:03,480 --> 00:00:06,480
Speaker 1: that high school drama, girl drama girl, all about them.

3
00:00:06,400 --> 00:00:08,160
Speaker 2: High school queens.

4
00:00:08,160 --> 00:00:10,400
Speaker 1: We'll take you for a ride, and our comic girl

5
00:00:11,119 --> 00:00:14,720
Speaker 1: shared for the right teams, drama Queens's my girl, up

6
00:00:14,840 --> 00:00:17,520
Speaker 1: girl fashion, which your tough girl. You could sit with us,

7
00:00:17,560 --> 00:00:24,720
Speaker 1: Girl drama, queens drama, Queens drama, Queens drama, Drama, Queens drama, queens.

8
00:00:25,880 --> 00:00:31,560
Speaker 3: Come in, everybody. You got the whole trifecta today.

9
00:00:31,920 --> 00:00:34,440
Speaker 2: This feels so nice. Welcome home, Ron.

10
00:00:34,760 --> 00:00:40,080
Speaker 3: Thank you, welcome home, Thank you, welcome home, Joy, Thanks.

11
00:00:40,120 --> 00:00:42,440
Speaker 1: It feels good to be home with you. Guys all.

12
00:00:42,920 --> 00:00:43,600
Speaker 1: This is great.

13
00:00:44,040 --> 00:00:46,000
Speaker 3: It's been a minute since it's been all three of us.

14
00:00:46,080 --> 00:00:50,040
Speaker 1: But I'm happy about this is a nice episode too, And.

15
00:00:50,000 --> 00:00:51,639
Speaker 3: I don't want to get ahead of us, but I'm

16
00:00:51,680 --> 00:00:54,840
Speaker 3: going to. I was so delighted to see that you

17
00:00:55,000 --> 00:00:59,520
Speaker 3: directed the Thank you me too, and I'm gonna get

18
00:00:59,520 --> 00:01:01,560
Speaker 3: ahead of myself again. One of my favorite shots of

19
00:01:01,600 --> 00:01:02,480
Speaker 3: the season so far.

20
00:01:02,640 --> 00:01:05,959
Speaker 1: Oh whoa, yeah, let's talk about it.

21
00:01:06,360 --> 00:01:08,720
Speaker 3: Yes, let me talk about the specific shot before we

22
00:01:08,760 --> 00:01:10,120
Speaker 3: even talk about the episode title.

23
00:01:10,160 --> 00:01:11,679
Speaker 1: Oh wait, no, no, no, hold on, we do have

24
00:01:11,720 --> 00:01:14,520
Speaker 1: to do the episode title you're right. I forgot that

25
00:01:14,560 --> 00:01:16,200
Speaker 1: this is part of our job. Do we do the

26
00:01:16,200 --> 00:01:17,160
Speaker 1: episode title.

27
00:01:17,000 --> 00:01:20,319
Speaker 3: Like well, director, director.

28
00:01:19,920 --> 00:01:24,000
Speaker 1: Reading, Hello everyone, this is season seven, Episode one, seven

29
00:01:24,920 --> 00:01:28,759
Speaker 1: That's seventeen at the Bottom of Everything, Air date February fifteenth,

30
00:01:28,760 --> 00:01:32,759
Speaker 1: twenty ten. Nathan tries to help Haley and Jamie confront

31
00:01:32,840 --> 00:01:37,240
Speaker 1: Lydia's seemingly hopeless situation, while Brooke and Julian navigate their

32
00:01:37,319 --> 00:01:42,160
Speaker 1: volatile friendship. While Brooke and Julian navigate their volatile relationship

33
00:01:42,200 --> 00:01:44,720
Speaker 1: in the midst of a hectic movie shoot. Meanwhile, Clay

34
00:01:45,160 --> 00:01:49,520
Speaker 1: is on a work trip and runs into a familiar face.

35
00:01:50,880 --> 00:01:53,680
Speaker 1: Miranda also tries to prove to Grubs that she's the

36
00:01:53,800 --> 00:01:57,480
Speaker 1: right person to produce his album. Directed by Yours Truly

37
00:01:57,800 --> 00:01:59,640
Speaker 1: writer John Norris.

38
00:01:59,360 --> 00:02:04,400
Speaker 2: I really enjoyed this episode so much, ad too. It

39
00:02:04,440 --> 00:02:07,280
Speaker 2: was very well written. I think there could have been

40
00:02:07,360 --> 00:02:09,720
Speaker 2: one better to direct it than you because of the

41
00:02:10,760 --> 00:02:15,200
Speaker 2: sort of central force in Haley's life being the center

42
00:02:15,280 --> 00:02:19,320
Speaker 2: of the episode. And I don't know why I heard

43
00:02:19,720 --> 00:02:21,960
Speaker 2: It's like I heard in my ear while I was

44
00:02:22,000 --> 00:02:25,000
Speaker 2: watching one of the early episodes that you and I

45
00:02:25,040 --> 00:02:32,440
Speaker 2: did with Hill talking about the kind of revelation of

46
00:02:32,480 --> 00:02:35,480
Speaker 2: the simplicity of our show that we just let people

47
00:02:35,520 --> 00:02:40,079
Speaker 2: talk about their feelings and all this vulnerability and all

48
00:02:40,120 --> 00:02:43,000
Speaker 2: this learning to process, and in a way the device

49
00:02:43,080 --> 00:02:46,600
Speaker 2: of everyone having to help Jamie as a kid process it.

50
00:02:47,160 --> 00:02:51,480
Speaker 2: I was like, man, this you know, obviously we didn't

51
00:02:51,480 --> 00:02:55,920
Speaker 2: get to meet Haley's mom until this adult phase the

52
00:02:55,960 --> 00:02:58,920
Speaker 2: time jump of the show, but it felt like an

53
00:02:58,960 --> 00:03:01,160
Speaker 2: old episode too. I loved it.

54
00:03:01,600 --> 00:03:03,799
Speaker 1: Yeah, well, you know, we actually did meet Haley's mom

55
00:03:03,840 --> 00:03:07,320
Speaker 1: early on when wedding Nathan and Haley go meet. Yeah,

56
00:03:07,360 --> 00:03:10,760
Speaker 1: the wedding, but it's been so long. I mean, Rob

57
00:03:10,800 --> 00:03:13,840
Speaker 1: didn't even know that Huey Lewis played Haley's dad, so like,

58
00:03:14,320 --> 00:03:16,080
Speaker 1: you know, we had a lot to catch up on

59
00:03:16,400 --> 00:03:19,959
Speaker 1: with the two of them, or with her anyway. But yeah,

60
00:03:20,080 --> 00:03:22,480
Speaker 1: I agree, there was there was a simplicity that came

61
00:03:22,560 --> 00:03:29,360
Speaker 1: back in this even in the antics with Grubs and Miranda,

62
00:03:29,919 --> 00:03:32,600
Speaker 1: like it was, you know, it was gimmicky and fun,

63
00:03:32,639 --> 00:03:35,720
Speaker 1: but it was still just two people just trying to

64
00:03:35,760 --> 00:03:39,640
Speaker 1: connect in a unique and funny way. And I there's

65
00:03:39,680 --> 00:03:42,160
Speaker 1: so much of that in this episode. The simplicity that

66
00:03:42,200 --> 00:03:44,520
Speaker 1: you're talking about. I really were you great ming as.

67
00:03:44,440 --> 00:03:48,920
Speaker 2: A director to try to make it feel like the

68
00:03:49,000 --> 00:03:50,880
Speaker 2: high school years. Or do you think that was just

69
00:03:50,920 --> 00:03:53,040
Speaker 2: coming through in like reverse osmosis.

70
00:03:53,960 --> 00:03:56,120
Speaker 1: No, I think I was just trying to feel the

71
00:03:56,160 --> 00:04:00,760
Speaker 1: emotion of the of the scenes. I mean, directing for

72
00:04:00,880 --> 00:04:04,320
Speaker 1: me is like is like listening to music. You feel

73
00:04:04,440 --> 00:04:07,240
Speaker 1: in your body where the emotions are sitting. Is it

74
00:04:07,560 --> 00:04:12,560
Speaker 1: is it high fast paced anxiety, like the scene with

75
00:04:12,840 --> 00:04:18,880
Speaker 1: Mitch and Not and Janna, Alex Alex and Alex the

76
00:04:18,960 --> 00:04:24,360
Speaker 1: daddy Alex's Or is it softer and more gentle and

77
00:04:24,440 --> 00:04:27,640
Speaker 1: like the opening scene where I'm watching Lydia and all

78
00:04:27,640 --> 00:04:31,520
Speaker 1: the little movements that you appreciate about somebody as you

79
00:04:31,640 --> 00:04:36,200
Speaker 1: recognize that they're going to be slowly leaving your presence.

80
00:04:37,760 --> 00:04:40,440
Speaker 1: So I don't think it was more about trying to

81
00:04:40,480 --> 00:04:46,760
Speaker 1: identify the with the with the first few seasons as

82
00:04:46,839 --> 00:04:49,720
Speaker 1: much as that just naturally happened because our directors in

83
00:04:49,760 --> 00:04:53,360
Speaker 1: the first few seasons, I think, also did that. They

84
00:04:53,480 --> 00:04:57,080
Speaker 1: really moved with the musical emotion of the show.

85
00:04:57,160 --> 00:04:57,320
Speaker 4: Yeah.

86
00:04:57,360 --> 00:04:58,440
Speaker 2: I like that a lot of scenes.

87
00:04:59,040 --> 00:05:02,559
Speaker 3: It also feels like it it's a combination of good

88
00:05:02,600 --> 00:05:06,960
Speaker 3: writing for good actors. Yeah, Because I watched that opening

89
00:05:07,000 --> 00:05:09,680
Speaker 3: scene and my first note is, you know, I like

90
00:05:09,680 --> 00:05:11,880
Speaker 3: the way we're watching Lydia's story unfold. It feels very

91
00:05:11,960 --> 00:05:14,920
Speaker 3: grounded and real. So I think you have good writing,

92
00:05:14,920 --> 00:05:18,120
Speaker 3: but then you have people making smart, subtle, honest choices,

93
00:05:18,839 --> 00:05:20,920
Speaker 3: and that kind of set the tone for everything because

94
00:05:20,960 --> 00:05:23,200
Speaker 3: that story is the through line to the episode.

95
00:05:23,520 --> 00:05:26,120
Speaker 1: Letting it be, just let it, let people take a look. No,

96
00:05:26,279 --> 00:05:29,360
Speaker 1: nothing was forced, even a glance to the side or

97
00:05:29,640 --> 00:05:32,560
Speaker 1: just watching somebody sit. Leave the camera on the actor

98
00:05:32,600 --> 00:05:34,840
Speaker 1: and trust them to give you what you need. You

99
00:05:34,839 --> 00:05:36,920
Speaker 1: don't have to do a lot of stuff with the cameras,

100
00:05:36,920 --> 00:05:38,359
Speaker 1: and not a lot of fancy tricks that need to

101
00:05:38,360 --> 00:05:38,640
Speaker 1: be done.

102
00:05:38,800 --> 00:05:41,400
Speaker 2: Just trust Yeah, And you know what, it's really good

103
00:05:41,480 --> 00:05:45,359
Speaker 2: point because when you give great actors, you know, like

104
00:05:45,480 --> 00:05:48,359
Speaker 2: Bess and all of you surrounding her and all these scenes,

105
00:05:48,760 --> 00:05:52,920
Speaker 2: really good material. It's also not overwritten. It wasn't one

106
00:05:52,960 --> 00:05:54,760
Speaker 2: of those scripts where you knew you were going to

107
00:05:54,839 --> 00:05:57,080
Speaker 2: lose two scenes to the cutting room floor just to

108
00:05:57,120 --> 00:06:01,760
Speaker 2: make time. You actually had time to watch a line

109
00:06:01,839 --> 00:06:04,720
Speaker 2: be delivered and then watch someone think about what they

110
00:06:04,920 --> 00:06:08,120
Speaker 2: just said. We had some air to breathe, and I

111
00:06:08,160 --> 00:06:10,680
Speaker 2: think that was really important for the subject matter because

112
00:06:10,720 --> 00:06:13,680
Speaker 2: if it had been if it had been sped up

113
00:06:13,720 --> 00:06:15,960
Speaker 2: for the amount of lines in the episode, there was

114
00:06:16,040 --> 00:06:17,760
Speaker 2: so much nuance we would have missed.

115
00:06:18,920 --> 00:06:21,599
Speaker 3: Have you ever heard that story about an old black

116
00:06:21,600 --> 00:06:23,599
Speaker 3: and white movie? It's like one of the classics. And

117
00:06:23,640 --> 00:06:27,000
Speaker 3: at the final shot is the woman watching like a

118
00:06:27,040 --> 00:06:29,520
Speaker 3: boat go off into the distance, and you know it's

119
00:06:29,560 --> 00:06:32,080
Speaker 3: on her and I guess the story goes that she

120
00:06:32,880 --> 00:06:35,080
Speaker 3: went to the director and said, you know, what, what

121
00:06:35,120 --> 00:06:38,240
Speaker 3: should I be thinking about, you know while I watch that?

122
00:06:38,839 --> 00:06:41,680
Speaker 3: And he said, doing your laundry when you get home,

123
00:06:43,800 --> 00:06:46,240
Speaker 3: And he said, don't you don't have to do anything.

124
00:06:46,240 --> 00:06:48,599
Speaker 3: The audience is going to project all of their own

125
00:06:48,720 --> 00:06:51,039
Speaker 3: stuff that they've been feeling for the last eighty nine

126
00:06:51,080 --> 00:06:54,720
Speaker 3: minutes onto that moment. And I love that, right because

127
00:06:54,720 --> 00:06:56,599
Speaker 3: it's the truth. And like the same thing with this one,

128
00:06:56,640 --> 00:07:01,120
Speaker 3: Like everyone has a story that's simil to what Lydia

129
00:07:01,160 --> 00:07:03,880
Speaker 3: and the Scots are going through, right, So everyone has

130
00:07:03,920 --> 00:07:06,320
Speaker 3: their own baggage that they're going to bring it the scene.

131
00:07:06,680 --> 00:07:08,320
Speaker 3: So when you have a good actor kind of just

132
00:07:08,400 --> 00:07:10,760
Speaker 3: sit back and do a little with it, it's not

133
00:07:10,800 --> 00:07:12,880
Speaker 3: a problem because the audience is going to meet them

134
00:07:13,000 --> 00:07:15,320
Speaker 3: halfway or more than halfway, with their own stuff to

135
00:07:15,360 --> 00:07:16,400
Speaker 3: fill in all the links.

136
00:07:16,480 --> 00:07:18,440
Speaker 1: That's a really fun part of acting when you just

137
00:07:18,520 --> 00:07:21,320
Speaker 1: get to hold space. You know, there's times when you

138
00:07:21,360 --> 00:07:23,040
Speaker 1: have to drive a scene and you really have to

139
00:07:23,120 --> 00:07:25,760
Speaker 1: dive in, but man to be able to just sit

140
00:07:25,800 --> 00:07:28,120
Speaker 1: back and hold space for the audience. That's the kind

141
00:07:28,120 --> 00:07:31,120
Speaker 1: of storytelling that's like, it feels like you're really in service.

142
00:07:31,480 --> 00:07:33,560
Speaker 1: You're not there for an ego boost. You're there to

143
00:07:33,680 --> 00:07:36,600
Speaker 1: just open it up and let people, let the audience

144
00:07:36,640 --> 00:07:37,440
Speaker 1: do what they need to.

145
00:07:37,800 --> 00:07:40,480
Speaker 2: Yeah, I love it. That's really cool.

146
00:07:40,920 --> 00:07:44,800
Speaker 3: I had this an early mentor of mine say, it

147
00:07:44,800 --> 00:07:46,920
Speaker 3: should be a privilege for the audience to know what

148
00:07:46,960 --> 00:07:47,480
Speaker 3: you're thinking.

149
00:07:47,680 --> 00:07:48,960
Speaker 1: M that's interesting.

150
00:07:49,000 --> 00:07:51,280
Speaker 3: And then we'd be occasionally we'd be occasionally doing a

151
00:07:51,280 --> 00:07:54,800
Speaker 3: scene and he'd be like, Robbie Less, this is this

152
00:07:54,840 --> 00:07:56,800
Speaker 3: is your lean in moment. I was like, and he goes,

153
00:07:56,840 --> 00:07:58,600
Speaker 3: this is when we get the audience to lean forward

154
00:07:58,640 --> 00:08:02,160
Speaker 3: in their chairs. It's like, oh, so it was kind

155
00:08:02,200 --> 00:08:03,480
Speaker 3: of the beginning of that, Like.

156
00:08:03,840 --> 00:08:05,920
Speaker 1: I'm going to write that down. It should be a

157
00:08:05,960 --> 00:08:09,400
Speaker 1: privilege the audience to know what you're thinking. I love

158
00:08:09,480 --> 00:08:10,200
Speaker 1: that's great.

159
00:08:10,280 --> 00:08:12,520
Speaker 3: Yeah, shout out Tims.

160
00:08:14,000 --> 00:08:15,720
Speaker 2: You know what it makes me think of the scene

161
00:08:15,720 --> 00:08:19,600
Speaker 2: that you a little further into the episode, I know

162
00:08:19,600 --> 00:08:21,880
Speaker 2: we're going to probably bounce around today because we're talking

163
00:08:21,880 --> 00:08:25,119
Speaker 2: about so much emotional stuff. There's that great scene where

164
00:08:25,920 --> 00:08:29,880
Speaker 2: Quinn takes Clay to see the gallery space, and I

165
00:08:29,920 --> 00:08:34,720
Speaker 2: wrote down that you guys did something really special, because

166
00:08:35,520 --> 00:08:37,800
Speaker 2: we've all been in that position where something horrible is

167
00:08:37,800 --> 00:08:39,960
Speaker 2: happening and you got to just do what you got

168
00:08:39,960 --> 00:08:43,000
Speaker 2: to do. You know, she's got this thing happening at home,

169
00:08:43,480 --> 00:08:46,240
Speaker 2: as all the James girls do, but she's trying to

170
00:08:46,320 --> 00:08:48,440
Speaker 2: keep it positive and Clay's going out of town and

171
00:08:48,520 --> 00:08:51,160
Speaker 2: Quinn's got the space and you stop her and you

172
00:08:51,160 --> 00:08:54,959
Speaker 2: call yourself the poster boy for suffering alone, and Sean

173
00:08:55,000 --> 00:08:59,040
Speaker 2: tell me it's such a great choice. Or maybe it

174
00:08:59,080 --> 00:09:00,840
Speaker 2: was just what was happening between the two of you,

175
00:09:00,920 --> 00:09:03,040
Speaker 2: like sometimes it takes you over and sometimes you're really

176
00:09:03,080 --> 00:09:05,760
Speaker 2: trying to do the right thing for the roller coaster

177
00:09:05,840 --> 00:09:07,600
Speaker 2: of the episode. So I don't know what she was thinking,

178
00:09:07,720 --> 00:09:12,760
Speaker 2: but I loved watching you because I saw you offer

179
00:09:12,800 --> 00:09:16,200
Speaker 2: an observation of yourself crack her open, because she knew

180
00:09:16,240 --> 00:09:20,240
Speaker 2: she was being seen, and it is so hard to

181
00:09:20,520 --> 00:09:24,720
Speaker 2: act on the verge of crying not to just cry,

182
00:09:25,480 --> 00:09:28,880
Speaker 2: and she is trying to hold those tears in and

183
00:09:29,000 --> 00:09:32,280
Speaker 2: keep it up beat, and she's smiling, but her voice

184
00:09:32,320 --> 00:09:35,040
Speaker 2: is cracking and her eyes are tearing, and you're just

185
00:09:35,080 --> 00:09:37,280
Speaker 2: standing there telling her you're going to be home as

186
00:09:37,360 --> 00:09:40,680
Speaker 2: quickly as you can, and neither of you is really

187
00:09:40,720 --> 00:09:43,800
Speaker 2: saying the thing, but you're saying so much. And I

188
00:09:43,880 --> 00:09:45,320
Speaker 2: was like, oh my god, this is one of my

189
00:09:45,360 --> 00:09:48,600
Speaker 2: favorite scenes in the episode, Like, you guys were so

190
00:09:48,800 --> 00:09:49,680
Speaker 2: beautiful together.

191
00:09:50,160 --> 00:09:52,280
Speaker 3: She was so good in that scene. The takeaway the

192
00:09:52,320 --> 00:09:55,600
Speaker 3: note I had from that was a team yeah. I

193
00:09:55,640 --> 00:09:57,199
Speaker 3: was like, oh yeah, okay, I.

194
00:09:57,240 --> 00:09:59,719
Speaker 2: Wrote She's on the edge the whole time, and it

195
00:09:59,760 --> 00:10:04,319
Speaker 2: makes I want to solve Is it like I'm watching

196
00:10:04,440 --> 00:10:07,120
Speaker 2: these people do this beautiful job, like trying not to

197
00:10:07,200 --> 00:10:08,840
Speaker 2: cry alone in my living room.

198
00:10:09,240 --> 00:10:11,760
Speaker 1: You're right, that's the smart part about that's the interactive

199
00:10:11,760 --> 00:10:14,680
Speaker 1: storytelling of an actor holding it back because then it

200
00:10:14,720 --> 00:10:16,320
Speaker 1: gives you the chance. It's like, you know, when you

201
00:10:16,320 --> 00:10:18,000
Speaker 1: grow up in a family where there's one person with

202
00:10:18,040 --> 00:10:19,840
Speaker 1: all the emotion and nobody else has space for their

203
00:10:19,880 --> 00:10:20,440
Speaker 1: own emotions.

204
00:10:22,160 --> 00:10:23,439
Speaker 2: I wonder what you're talking about it.

205
00:10:26,000 --> 00:10:28,880
Speaker 1: So that's what it's like to be able to be

206
00:10:28,960 --> 00:10:31,320
Speaker 1: an actor and hold it back so that you're not

207
00:10:31,440 --> 00:10:34,080
Speaker 1: taking over the emotional space. Let the audience have the

208
00:10:34,080 --> 00:10:36,640
Speaker 1: emotion that they need to have. That's exactly what you're

209
00:10:36,640 --> 00:10:37,200
Speaker 1: talking about.

210
00:10:37,240 --> 00:10:39,520
Speaker 2: I think, do you remember directing the scene?

211
00:10:39,760 --> 00:10:42,080
Speaker 1: I do, because and what I remember is that you

212
00:10:42,120 --> 00:10:45,319
Speaker 1: guys made it so easy because exactly that I didn't

213
00:10:45,360 --> 00:10:49,280
Speaker 1: have to There wasn't a lot to do there. It

214
00:10:49,360 --> 00:10:51,680
Speaker 1: was just let them feel what they're feeling.

215
00:10:52,440 --> 00:10:52,840
Speaker 2: I think.

216
00:10:52,880 --> 00:10:56,839
Speaker 1: I I just trust audiences a lot, probably a lot

217
00:10:56,880 --> 00:10:59,600
Speaker 1: more than I should. I don't know, but I give

218
00:10:59,760 --> 00:11:02,600
Speaker 1: I give people a lot of credit for being smart

219
00:11:02,760 --> 00:11:05,920
Speaker 1: and so I I don't know, it seemed like it

220
00:11:05,960 --> 00:11:07,040
Speaker 1: was gonna work, but it did.

221
00:11:07,200 --> 00:11:07,360
Speaker 5: Yeah.

222
00:11:07,360 --> 00:11:08,840
Speaker 3: I don't think that's a fault. I think that's a

223
00:11:08,880 --> 00:11:11,040
Speaker 3: good thing because the result is good TV.

224
00:11:11,200 --> 00:11:11,400
Speaker 4: Yeah.

225
00:11:11,840 --> 00:11:13,959
Speaker 3: Before I forget, let me just tell you, Oh it was,

226
00:11:14,000 --> 00:11:15,440
Speaker 3: because I'm gonna jump way ahead.

227
00:11:15,800 --> 00:11:15,959
Speaker 4: Yea.

228
00:11:16,840 --> 00:11:20,800
Speaker 3: The Owen and Millie storyline, first of all, was wild

229
00:11:20,920 --> 00:11:24,839
Speaker 3: and great, especially great because in the in the recovery meeting,

230
00:11:25,640 --> 00:11:28,560
Speaker 3: when when she sees Owen, I thought, oh, no way,

231
00:11:28,600 --> 00:11:30,880
Speaker 3: this is an interesting way to bring Joe back. And

232
00:11:30,920 --> 00:11:33,319
Speaker 3: then about five minutes later in my notes, like wait,

233
00:11:33,360 --> 00:11:37,960
Speaker 3: a second, isn't he the one she slept us? And

234
00:11:38,000 --> 00:11:40,559
Speaker 3: then and then when she has him come pick her

235
00:11:40,640 --> 00:11:43,440
Speaker 3: up at the apartment. First of all, when she walks

236
00:11:43,440 --> 00:11:47,400
Speaker 3: in and she's really petty and jealous to miss Lauren

237
00:11:47,679 --> 00:11:50,680
Speaker 3: and uh in mouth, I was like, come on. Then

238
00:11:50,760 --> 00:11:53,240
Speaker 3: she has Owen pick her up at the place, double

239
00:11:53,320 --> 00:11:56,920
Speaker 3: come on. But when they're bowling, the shot is this sorry,

240
00:11:56,920 --> 00:11:58,640
Speaker 3: this is the this is the scenic route to getting

241
00:11:58,679 --> 00:12:01,760
Speaker 3: to my point. They they're bowling, it's the end of

242
00:12:01,800 --> 00:12:04,880
Speaker 3: the scene. Yes, And they both sit down to take

243
00:12:04,920 --> 00:12:09,120
Speaker 3: their shoes off. I wrote it down to it's just

244
00:12:09,160 --> 00:12:12,040
Speaker 3: a shot at knee level, but both heads have dipped

245
00:12:12,040 --> 00:12:14,640
Speaker 3: into it and they're just talking. And I thought, oh,

246
00:12:14,760 --> 00:12:19,800
Speaker 3: that is such a cool, unique shot. I love that.

247
00:12:19,880 --> 00:12:20,800
Speaker 3: Do you remember doing it?

248
00:12:20,880 --> 00:12:22,640
Speaker 1: Yeah, that's not one of the ones that was like

249
00:12:22,720 --> 00:12:25,400
Speaker 1: really sticking in my mind. I just remembered it. I

250
00:12:25,440 --> 00:12:28,760
Speaker 1: mean no, I mean I like that shot too. I

251
00:12:29,240 --> 00:12:31,560
Speaker 1: was always looking for ways to have people not be

252
00:12:31,640 --> 00:12:34,600
Speaker 1: talking heads, Like sometimes it's important to just, as we say,

253
00:12:34,679 --> 00:12:36,680
Speaker 1: leave the camera alone and let people do what they're doing.

254
00:12:36,760 --> 00:12:40,120
Speaker 1: But I wanted to create a sense of intimacy, so

255
00:12:40,280 --> 00:12:43,800
Speaker 1: I'm sure that was one of those things that I

256
00:12:43,840 --> 00:12:47,040
Speaker 1: was just watching them do their action, and you know,

257
00:12:47,200 --> 00:12:49,320
Speaker 1: when you disco you watch an actor create a moment,

258
00:12:49,400 --> 00:12:52,000
Speaker 1: you're like, oh, that's exciting. Stay there for a second,

259
00:12:52,080 --> 00:12:54,320
Speaker 1: let me figure out how I can. I love the

260
00:12:54,360 --> 00:12:56,880
Speaker 1: feeling I'm getting. I want to get closer. So I

261
00:12:56,880 --> 00:13:00,119
Speaker 1: think they just did that in rehearsal and it naturally

262
00:13:00,440 --> 00:13:02,360
Speaker 1: was great, let's do it.

263
00:13:02,280 --> 00:13:05,440
Speaker 2: And it was so What I loved about it, too,

264
00:13:05,800 --> 00:13:09,760
Speaker 2: is that it felt spontaneous, which is such a nice

265
00:13:09,760 --> 00:13:11,600
Speaker 2: feeling to get when you know you've shot a scene

266
00:13:11,679 --> 00:13:14,559
Speaker 2: eighty six times in like wide shots and close ups

267
00:13:14,600 --> 00:13:17,440
Speaker 2: and whatever. And I loved that they both leaned in

268
00:13:17,520 --> 00:13:20,360
Speaker 2: and we didn't watch them taking off their bowling shoes

269
00:13:20,840 --> 00:13:22,880
Speaker 2: to put their shoes on, but we knew exactly what

270
00:13:22,920 --> 00:13:23,559
Speaker 2: they were doing.

271
00:13:23,840 --> 00:13:28,120
Speaker 1: Yeah, you know, I liked this storyline. I like the

272
00:13:28,160 --> 00:13:35,360
Speaker 1: two of them. I relate to this sense of, yes,

273
00:13:35,440 --> 00:13:38,480
Speaker 1: they had this moment together. I don't know whether we

274
00:13:38,559 --> 00:13:40,640
Speaker 1: landed on it was a mistake or it was just

275
00:13:40,720 --> 00:13:42,640
Speaker 1: what it was. I mean, we had a lot of

276
00:13:42,720 --> 00:13:45,360
Speaker 1: issues around the way those episodes were written, around Millie

277
00:13:45,400 --> 00:13:49,720
Speaker 1: and her virginity and all that, but they experienced something

278
00:13:49,760 --> 00:13:53,520
Speaker 1: together that created a ripple effect in their lives and

279
00:13:54,280 --> 00:13:59,480
Speaker 1: still coming back together and talking through things, being friends

280
00:14:00,920 --> 00:14:05,839
Speaker 1: instead of just avoiding each other, like understanding that there's

281
00:14:05,920 --> 00:14:10,040
Speaker 1: something in the shared experience that they need each other.

282
00:14:10,080 --> 00:14:12,240
Speaker 1: And that's okay. It doesn't everything doesn't have to be

283
00:14:12,320 --> 00:14:15,240
Speaker 1: perfectly clean cut and following all the rules of how

284
00:14:15,280 --> 00:14:18,800
Speaker 1: you should be interacting with people, If that makes sense.

285
00:14:19,240 --> 00:14:22,080
Speaker 1: I just really I really like their dynamic a lot.

286
00:14:22,760 --> 00:14:24,720
Speaker 1: And I didn't know how much I missed Owen until

287
00:14:24,760 --> 00:14:27,920
Speaker 1: I saw him just as a viewer. I was like, oh, yeah, Owen,

288
00:14:28,360 --> 00:14:28,960
Speaker 1: I miss him.

289
00:14:29,160 --> 00:14:29,320
Speaker 3: Well.

290
00:14:29,360 --> 00:14:33,480
Speaker 2: It's also really refreshing when, to your point, we've sort

291
00:14:33,520 --> 00:14:39,520
Speaker 2: of seen this pseudo stereotypical thing happen and we go

292
00:14:39,640 --> 00:14:43,880
Speaker 2: dick and then this unexpected thing happens episodes later, and

293
00:14:45,000 --> 00:14:50,400
Speaker 2: Owen knowing where Milly is because he was there once, Yeah,

294
00:14:50,440 --> 00:14:56,200
Speaker 2: and being a good friend and being you know, protective

295
00:14:56,440 --> 00:15:00,400
Speaker 2: and encouraging in a way. It's almost like a palette

296
00:15:00,400 --> 00:15:04,160
Speaker 2: cleanser for all this stuff we hated months ago. Yeah,

297
00:15:04,240 --> 00:15:08,600
Speaker 2: and it reminds you of how great actually both of

298
00:15:08,640 --> 00:15:14,520
Speaker 2: these people are. And I appreciate when we don't act. Look,

299
00:15:14,600 --> 00:15:17,040
Speaker 2: life is not black and white, right, like everything is

300
00:15:17,080 --> 00:15:20,280
Speaker 2: shades of gray. You can be a good person and

301
00:15:20,320 --> 00:15:26,920
Speaker 2: still have made a mess. You can be an incredible spouse, partner, daughter, son, whatever,

302
00:15:27,120 --> 00:15:30,440
Speaker 2: and still have hurt someone you care about and been

303
00:15:30,640 --> 00:15:34,560
Speaker 2: devastatingly hurt by people you care about. I appreciated in

304
00:15:34,600 --> 00:15:39,720
Speaker 2: this that we let people make a mess and clean

305
00:15:39,760 --> 00:15:40,080
Speaker 2: it up.

306
00:15:40,200 --> 00:15:41,960
Speaker 1: Yeah, we get to see the longevity of that.

307
00:15:42,480 --> 00:15:45,720
Speaker 2: Yeah, it's human. And I think maybe it feels even

308
00:15:45,720 --> 00:15:50,240
Speaker 2: more refreshing, you know, because we now live in a

309
00:15:50,320 --> 00:15:52,960
Speaker 2: sort of experiential era that we didn't when we were

310
00:15:53,000 --> 00:15:57,160
Speaker 2: filming this, where everything is so like sharp and judgmental,

311
00:15:57,200 --> 00:15:59,600
Speaker 2: and the internet is full of bots and like everything's

312
00:15:59,680 --> 00:16:03,680
Speaker 2: just vicious everywhere. There's no room for longevity. There's no

313
00:16:03,800 --> 00:16:08,560
Speaker 2: room for people to be people. And I love I

314
00:16:08,600 --> 00:16:13,560
Speaker 2: don't know. I was so relieved to see that long

315
00:16:13,800 --> 00:16:16,760
Speaker 2: arc of this relationship and the healing that they're doing

316
00:16:16,840 --> 00:16:18,840
Speaker 2: in the way that they only really can see each

317
00:16:18,880 --> 00:16:21,600
Speaker 2: other right now and like support each other, And I

318
00:16:21,640 --> 00:16:23,800
Speaker 2: just thought it was really beautiful.

319
00:16:23,880 --> 00:16:26,960
Speaker 1: You know what else I don't think I had seen

320
00:16:27,440 --> 00:16:31,200
Speaker 1: almost any of, certainly not on the CW at the time,

321
00:16:31,480 --> 00:16:36,120
Speaker 1: was AA or any kind of like a group therapy

322
00:16:36,400 --> 00:16:45,640
Speaker 1: group accountability, Like the normalizing of going to a meeting,

323
00:16:46,360 --> 00:16:49,400
Speaker 1: like just show up at a Tuesday afternoon meeting and

324
00:16:49,440 --> 00:16:53,280
Speaker 1: if somebody there makes you uncomfortable, the fact that he offered,

325
00:16:53,320 --> 00:16:55,320
Speaker 1: like we can schedule it so we go on different days.

326
00:16:56,240 --> 00:17:00,359
Speaker 1: Just the normalizing of that in conversation that it's totally

327
00:17:00,480 --> 00:17:04,679
Speaker 1: okay and it's good and it's helpful. I realized I

328
00:17:04,760 --> 00:17:06,240
Speaker 1: just watching it back, I was like, I don't think

329
00:17:06,280 --> 00:17:09,760
Speaker 1: I'd seen almost any of that on TV, so it

330
00:17:09,840 --> 00:17:10,480
Speaker 1: was kind of cool.

331
00:17:10,800 --> 00:17:11,440
Speaker 2: It was cool.

332
00:17:11,520 --> 00:17:16,080
Speaker 3: Yeah, For as much as I disliked Millie's drug storyline,

333
00:17:16,400 --> 00:17:20,520
Speaker 3: I found this replashing. Yeah, it was. It was the

334
00:17:20,600 --> 00:17:24,840
Speaker 3: right amount of like raw and messy but honest. And

335
00:17:25,080 --> 00:17:28,680
Speaker 3: the way that they wrote Owen into it and he

336
00:17:28,920 --> 00:17:32,320
Speaker 3: sort of shepherd in her being the more experienced with

337
00:17:32,400 --> 00:17:35,560
Speaker 3: some time, you know, recovery time was great, you know,

338
00:17:35,560 --> 00:17:37,080
Speaker 3: And I think there's a line where she says something

339
00:17:37,160 --> 00:17:39,720
Speaker 3: like thanks, I don't I don't think you know how much.

340
00:17:39,640 --> 00:17:43,520
Speaker 2: That means to me, Like I do, exactly there.

341
00:17:43,520 --> 00:17:44,879
Speaker 3: Great, you said so much there with.

342
00:17:45,400 --> 00:17:49,080
Speaker 1: Yeah, simple cut it down, just cut it down.

343
00:17:49,160 --> 00:17:50,960
Speaker 2: Because there's so much power in it. And you know

344
00:17:51,000 --> 00:17:53,879
Speaker 2: what's crazy just hearing you say that joy, like I

345
00:17:53,960 --> 00:17:56,879
Speaker 2: just had this whoe because obviously we all talk a

346
00:17:56,920 --> 00:18:01,600
Speaker 2: lot about you know, growth and joy because our characters

347
00:18:01,640 --> 00:18:04,840
Speaker 2: went through them. We've all been on this ride together

348
00:18:04,960 --> 00:18:08,639
Speaker 2: for you know, ten to twenty years, and like seeing

349
00:18:08,680 --> 00:18:10,920
Speaker 2: you talk about how that just wasn't a thing then

350
00:18:11,160 --> 00:18:13,640
Speaker 2: and your book is behind you, it's like I sort

351
00:18:13,680 --> 00:18:15,760
Speaker 2: of had this out of body experience being like, oh

352
00:18:15,800 --> 00:18:19,879
Speaker 2: my god, could you imagine if then when you felt

353
00:18:19,880 --> 00:18:21,760
Speaker 2: as isolated as you did, and I hope it's okay,

354
00:18:21,760 --> 00:18:25,360
Speaker 2: then it brings us up. But like you, you were

355
00:18:25,359 --> 00:18:30,440
Speaker 2: so stuck in your high demand group, we all were

356
00:18:30,480 --> 00:18:37,000
Speaker 2: also in a like an almost toxically masculine environment. We're

357
00:18:37,040 --> 00:18:39,720
Speaker 2: no matter what was happening to anyone, we were never

358
00:18:39,760 --> 00:18:41,480
Speaker 2: supposed to bring it up and never supposed to talk

359
00:18:41,520 --> 00:18:43,199
Speaker 2: about it and never supposed to rock the boat. And

360
00:18:43,200 --> 00:18:45,520
Speaker 2: you were supposed to come to work and like do

361
00:18:45,680 --> 00:18:48,119
Speaker 2: your thing. And you know, I think so much about

362
00:18:48,119 --> 00:18:50,920
Speaker 2: how this was the season after like Hillary left, when

363
00:18:50,920 --> 00:18:53,040
Speaker 2: she and I finally got to start talking about some

364
00:18:53,119 --> 00:18:55,879
Speaker 2: of the things that we were putting the pieces together

365
00:18:55,920 --> 00:18:58,399
Speaker 2: as we talked about earlier in the show, like the

366
00:18:58,480 --> 00:19:01,080
Speaker 2: things Mark was doing, Yeah, things our boss was doing

367
00:19:01,119 --> 00:19:03,880
Speaker 2: and saying behind our back site. We couldn't really talk

368
00:19:03,920 --> 00:19:07,200
Speaker 2: about it until she was gone. And it's like, can

369
00:19:07,240 --> 00:19:10,480
Speaker 2: you imagine if instead of coming to work and being like, hey,

370
00:19:10,560 --> 00:19:13,200
Speaker 2: are you good and then waiting and being like, yeah,

371
00:19:13,200 --> 00:19:15,119
Speaker 2: I'm good, are you good? And everyone was kind of

372
00:19:15,160 --> 00:19:20,639
Speaker 2: like yeah, like if therapy, if aa, if any of

373
00:19:20,680 --> 00:19:24,760
Speaker 2: this stuff had been less taboo, Like can you imagine

374
00:19:24,760 --> 00:19:28,200
Speaker 2: how how much quicker we would have arrived to this class?

375
00:19:28,240 --> 00:19:30,040
Speaker 1: It would have changed, That would have changed my life.

376
00:19:30,280 --> 00:19:32,640
Speaker 1: And I'll tell you, yeah, you know I had There

377
00:19:32,640 --> 00:19:35,440
Speaker 1: was a diction in my family, and it's in the lineage,

378
00:19:35,480 --> 00:19:37,520
Speaker 1: you know, but that stuff gets passed down, whether it's

379
00:19:37,560 --> 00:19:42,080
Speaker 1: your immediate family or your right before the grandparents. And

380
00:19:43,440 --> 00:19:46,840
Speaker 1: I remember my mom taking me to alan On, which

381
00:19:46,880 --> 00:19:50,000
Speaker 1: is for family members of addicts. And I remember her

382
00:19:50,040 --> 00:19:54,119
Speaker 1: taking me when I was like sixteen and dropped me off,

383
00:19:54,720 --> 00:19:56,680
Speaker 1: you know, thinking this is going to be good for her,

384
00:19:57,119 --> 00:19:59,800
Speaker 1: it's helpful. She was all. It was best of intention,

385
00:20:00,920 --> 00:20:03,800
Speaker 1: But at sixteen, it was like this dark, small room.

386
00:20:03,800 --> 00:20:05,679
Speaker 1: I think there was like six other people. I was

387
00:20:05,800 --> 00:20:08,359
Speaker 1: so uncomfortable. I didn't I wasn't in touch with my

388
00:20:08,400 --> 00:20:12,680
Speaker 1: feelings anyway at that age, and it just felt so awful,

389
00:20:13,000 --> 00:20:15,760
Speaker 1: and it hadn't been normalized because the shows that I

390
00:20:15,840 --> 00:20:19,399
Speaker 1: was watching at that age, those networks weren't talking about

391
00:20:19,400 --> 00:20:22,439
Speaker 1: things like that on a regular basis. That just was

392
00:20:22,480 --> 00:20:25,639
Speaker 1: not normal. But man, if that had become a normal

393
00:20:25,680 --> 00:20:28,760
Speaker 1: part of my life at sixteen seventeen when I came

394
00:20:28,800 --> 00:20:31,040
Speaker 1: to Wilmington, if I had just looked for some alan

395
00:20:31,160 --> 00:20:34,560
Speaker 1: on meetings to just jump into and maintain this sense

396
00:20:34,600 --> 00:20:43,120
Speaker 1: of accountability and anonymity, but also being able to recognize

397
00:20:43,160 --> 00:20:44,640
Speaker 1: there were plenty of other people in the room who

398
00:20:44,640 --> 00:20:47,119
Speaker 1: feel just like me, because you feel so much less

399
00:20:47,240 --> 00:20:50,960
Speaker 1: isolated when you're we get to know you weren't exactly

400
00:20:51,080 --> 00:20:52,600
Speaker 1: You're just in a room full of strangers. I don't

401
00:20:52,640 --> 00:20:54,119
Speaker 1: need to know everything about their life. We don't need

402
00:20:54,200 --> 00:20:56,840
Speaker 1: to be best friends. But to hear two minutes of

403
00:20:56,880 --> 00:21:00,480
Speaker 1: somebody's story about how they're struggling and how they're coping,

404
00:21:00,560 --> 00:21:03,560
Speaker 1: how they're feeling today, if they're feeling great, if they're

405
00:21:03,560 --> 00:21:06,159
Speaker 1: feeling terrible, it's like, oh my god, I am a

406
00:21:06,200 --> 00:21:10,280
Speaker 1: part of the humanity. I'm part of the human experiences.

407
00:21:10,920 --> 00:21:13,480
Speaker 1: It absolutely would have been life changing. You're right, I

408
00:21:13,520 --> 00:21:14,080
Speaker 1: wish I had.

409
00:21:14,240 --> 00:21:17,280
Speaker 2: Yeah, and I do too. I mean I think about, like,

410
00:21:18,119 --> 00:21:20,480
Speaker 2: you know, I tried to start doing therapy. I don't know,

411
00:21:20,800 --> 00:21:24,359
Speaker 2: halfway through our third season and with our hours, I

412
00:21:24,400 --> 00:21:27,000
Speaker 2: could never go like, there aren't there at this office

413
00:21:27,000 --> 00:21:29,320
Speaker 2: that can work around a seventeen hour you know, a

414
00:21:29,400 --> 00:21:31,879
Speaker 2: day schedule. Yeah, and I didn't know about alan On.

415
00:21:32,000 --> 00:21:34,000
Speaker 2: I didn't. I didn't know about any of those things then,

416
00:21:34,040 --> 00:21:37,320
Speaker 2: And I don't know. I guess it's a really it's

417
00:21:37,440 --> 00:21:39,360
Speaker 2: like it's kind of a long way around to get

418
00:21:39,400 --> 00:21:42,479
Speaker 2: back to the point, but it's profound for us to

419
00:21:42,520 --> 00:21:46,120
Speaker 2: watch now and like we're forty imagine what it would

420
00:21:46,119 --> 00:21:50,200
Speaker 2: have been like then. I don't know. I almost wonder

421
00:21:50,720 --> 00:21:53,440
Speaker 2: like if anyone is listening, I wonder if any of

422
00:21:53,480 --> 00:21:57,280
Speaker 2: the fans of our show had an AHA moment watching

423
00:21:57,280 --> 00:22:00,280
Speaker 2: this episode, like seeing a meeting and going, I think

424
00:22:00,280 --> 00:22:02,280
Speaker 2: I need that, you know, the way.

425
00:22:02,160 --> 00:22:05,600
Speaker 3: We have a union rep come to set like once, Yeah,

426
00:22:05,640 --> 00:22:07,280
Speaker 3: it would be great if there was just an alan

427
00:22:07,359 --> 00:22:09,960
Speaker 3: On rep ye who popped by and was like, Hey,

428
00:22:10,280 --> 00:22:10,879
Speaker 3: there's so.

429
00:22:10,800 --> 00:22:14,119
Speaker 1: Much addiction in Hollywood and in our like it's rampant

430
00:22:14,160 --> 00:22:16,600
Speaker 1: all around. To have somebody specifically from alan On would

431
00:22:16,600 --> 00:22:17,159
Speaker 1: have been great.

432
00:22:18,440 --> 00:22:22,200
Speaker 3: And and for as rampant as addiction is, so is recovery.

433
00:22:22,920 --> 00:22:23,400
Speaker 1: Amen.

434
00:22:24,119 --> 00:22:25,560
Speaker 2: I love this wrong.

435
00:22:26,080 --> 00:22:28,680
Speaker 3: And you know, there's a kind of as a large

436
00:22:28,680 --> 00:22:31,440
Speaker 3: school thought that says, you know, the opposite of addiction

437
00:22:31,680 --> 00:22:36,879
Speaker 3: isn't isn't abstinence or sobriety. The opposite of addiction is connection. Yeah,

438
00:22:36,920 --> 00:22:40,000
Speaker 3: you know. And there's this science experiment that was done

439
00:22:40,240 --> 00:22:44,840
Speaker 3: and this guy he took one hundred rap or he

440
00:22:44,880 --> 00:22:48,760
Speaker 3: took rats individually, right, and he had two like water

441
00:22:48,840 --> 00:22:51,360
Speaker 3: things where like like sippers, and one of them had

442
00:22:51,520 --> 00:22:56,240
Speaker 3: morphine in it, and individually, like I think ninety nine

443
00:22:56,280 --> 00:23:00,199
Speaker 3: percent of the rats ended up overdosing. And I mean

444
00:23:00,320 --> 00:23:02,360
Speaker 3: put them he tried to switch up, and he said,

445
00:23:02,359 --> 00:23:04,080
Speaker 3: I wonder if I put them all in like a

446
00:23:04,160 --> 00:23:07,520
Speaker 3: communal like a community sort of structure, so they're all

447
00:23:07,560 --> 00:23:13,000
Speaker 3: together and still provide the same options, and the overdose

448
00:23:13,080 --> 00:23:15,199
Speaker 3: drop to like zero one percent.

449
00:23:15,760 --> 00:23:16,040
Speaker 1: Whoa.

450
00:23:16,400 --> 00:23:17,840
Speaker 3: And so it was just kind of it was the

451
00:23:17,840 --> 00:23:21,800
Speaker 3: beginning of this conversation of you know, the opposite of

452
00:23:21,840 --> 00:23:24,480
Speaker 3: addiction is community, and like, so what you were talking about, joy,

453
00:23:24,560 --> 00:23:27,240
Speaker 3: It's like it's about connection, because that's the thing. It's

454
00:23:27,240 --> 00:23:29,840
Speaker 3: so icolated. You know, and as soon as you hear

455
00:23:29,960 --> 00:23:33,320
Speaker 3: your story coming out of someone else's mouth, it allows

456
00:23:33,320 --> 00:23:35,480
Speaker 3: you to sort of take that weight off your chest

457
00:23:35,480 --> 00:23:39,760
Speaker 3: of like, oh, I'm not alone, uniquely broken. Yeah, this

458
00:23:39,840 --> 00:23:43,399
Speaker 3: struggle is actually calmon like I have teammates, you know,

459
00:23:44,040 --> 00:23:46,320
Speaker 3: and that's when recovery becomes a team sport, you know,

460
00:23:46,359 --> 00:23:47,720
Speaker 3: as opposed to I think a lot of people go

461
00:23:47,760 --> 00:23:50,520
Speaker 3: into a thinking like I got I got to figure

462
00:23:50,560 --> 00:23:52,920
Speaker 3: out this on my own. This is an in house job,

463
00:23:52,960 --> 00:23:53,880
Speaker 3: which is a losing problem.

464
00:23:53,960 --> 00:23:55,439
Speaker 1: Yeah, and it's harder for people to use it and

465
00:23:55,480 --> 00:24:00,080
Speaker 1: weaponize your your issues against you if you realize that

466
00:24:00,119 --> 00:24:03,880
Speaker 1: you're just one of many, that it's there's a normalcy

467
00:24:04,000 --> 00:24:06,120
Speaker 1: to it that we're all just trying to figure out.

468
00:24:06,440 --> 00:24:06,959
Speaker 2: Yeah, you know.

469
00:24:07,400 --> 00:24:09,560
Speaker 3: Also, I just I love the irony of your mom

470
00:24:09,640 --> 00:24:12,679
Speaker 3: dropping you off. Granted I don't know anything about your family,

471
00:24:12,720 --> 00:24:15,840
Speaker 3: but the irony of like a mom dropping her sixteen

472
00:24:15,880 --> 00:24:17,679
Speaker 3: year old off at an alan On meeting, having no

473
00:24:17,800 --> 00:24:20,440
Speaker 3: idea she's planting the seeds to a lot of her

474
00:24:20,440 --> 00:24:21,000
Speaker 3: own stuff.

475
00:24:21,320 --> 00:24:23,600
Speaker 1: Yeah, Yeah, for sure, it's.

476
00:24:23,400 --> 00:24:25,359
Speaker 3: Like, mom, this is gonna work, but not.

477
00:24:25,640 --> 00:24:30,200
Speaker 2: Yeah, you're like, are you ready to talk about family

478
00:24:30,280 --> 00:24:33,800
Speaker 2: structure and trauma because if not, don't open this direct.

479
00:24:46,600 --> 00:24:50,000
Speaker 3: I wanted to bring up the first moment we see

480
00:24:50,240 --> 00:24:56,040
Speaker 3: with you excuse me with brilliant You in Austin. Yes,

481
00:24:56,160 --> 00:24:58,960
Speaker 3: on set, it was a really speaking of good teammates.

482
00:24:59,000 --> 00:25:03,240
Speaker 3: You two are so it just infinitely likable and so

483
00:25:03,359 --> 00:25:05,959
Speaker 3: great together. But I loved this moment right because I

484
00:25:05,960 --> 00:25:08,919
Speaker 3: love a vulnerable guy give me all that all time, yes,

485
00:25:09,480 --> 00:25:12,840
Speaker 3: And I love when he's like, hey, can I ask

486
00:25:12,880 --> 00:25:15,440
Speaker 3: you a question? I can like only ask you and

487
00:25:15,520 --> 00:25:17,280
Speaker 3: I'm like, what is this going to be about? And

488
00:25:17,320 --> 00:25:22,640
Speaker 3: he just goes, am I doing a hand and man,

489
00:25:23,320 --> 00:25:26,919
Speaker 3: that hit me in the heart. I was like, I

490
00:25:27,000 --> 00:25:31,400
Speaker 3: believe that. I love that and that was just such

491
00:25:31,560 --> 00:25:35,000
Speaker 3: good partnering. And then the way that Brooke responds to

492
00:25:35,080 --> 00:25:38,480
Speaker 3: him is just so sweet and loving. But that was

493
00:25:38,560 --> 00:25:42,000
Speaker 3: such a good peak behind the curtain of like where

494
00:25:42,040 --> 00:25:44,879
Speaker 3: you guys were still at that I just thought was

495
00:25:44,960 --> 00:25:45,480
Speaker 3: so great.

496
00:25:45,720 --> 00:25:52,719
Speaker 2: Yeah, it was. It was really fun to play this

497
00:25:52,720 --> 00:25:56,240
Speaker 2: this kind of time. Obviously, it's you know, there's there's

498
00:25:56,280 --> 00:26:02,040
Speaker 2: sort of sadness to disrupted relationship. And I thought a

499
00:26:02,080 --> 00:26:05,800
Speaker 2: lot about watching you know, Brooke and Mouth and Hailey

500
00:26:05,960 --> 00:26:10,600
Speaker 2: on the couch A trick because she's like, I just

501
00:26:10,640 --> 00:26:14,120
Speaker 2: don't know, you know, maybe we just don't work. We've

502
00:26:14,160 --> 00:26:17,040
Speaker 2: all been there right where you're like, God, I really

503
00:26:17,080 --> 00:26:18,800
Speaker 2: love this person and like, I just don't know if

504
00:26:18,800 --> 00:26:23,720
Speaker 2: it works. And I made a note in my notes

505
00:26:23,760 --> 00:26:27,359
Speaker 2: where I was like, I love that Hailey, especially our

506
00:26:27,400 --> 00:26:29,480
Speaker 2: friend you know, who's on camera, been married since she

507
00:26:29,560 --> 00:26:31,800
Speaker 2: was sixteen. It's like, go get him, make it work.

508
00:26:32,080 --> 00:26:34,480
Speaker 2: And I'm like that works for Niley, but like for

509
00:26:34,600 --> 00:26:37,760
Speaker 2: most of us in the real world, like it doesn't

510
00:26:37,800 --> 00:26:43,000
Speaker 2: work more often than it does. And yet what sort

511
00:26:43,000 --> 00:26:44,800
Speaker 2: of hit me as being so sweet?

512
00:26:44,880 --> 00:26:45,800
Speaker 5: And I laughed.

513
00:26:45,840 --> 00:26:48,480
Speaker 2: I was like, I really love that everyone's encouraging Brooke to, like,

514
00:26:49,800 --> 00:26:52,040
Speaker 2: you know, put the walls down and be vulnerable and

515
00:26:52,160 --> 00:26:57,959
Speaker 2: lean in. What I see watching this is like the

516
00:26:58,000 --> 00:27:00,280
Speaker 2: fun that Austin and I got to have together, and

517
00:27:01,440 --> 00:27:04,160
Speaker 2: you know, now all these years later, like the friendship

518
00:27:04,160 --> 00:27:06,800
Speaker 2: we've had since we were twenty three years old. And

519
00:27:07,960 --> 00:27:11,280
Speaker 2: I like watching these two trying to figure it out

520
00:27:11,359 --> 00:27:15,720
Speaker 2: because I see versions of who I was and who

521
00:27:15,720 --> 00:27:18,200
Speaker 2: he was and who all of us were in that

522
00:27:18,800 --> 00:27:22,960
Speaker 2: push and pull, and I kind of, you know, I oh,

523
00:27:22,960 --> 00:27:24,399
Speaker 2: this is what I wrote in my notes. I was like,

524
00:27:24,440 --> 00:27:26,240
Speaker 2: of course we give the rom comm answer of like,

525
00:27:26,320 --> 00:27:29,200
Speaker 2: no matter what, figure it out, which like, lol, maybe

526
00:27:29,280 --> 00:27:32,360
Speaker 2: rom coms for the reason everyone's in therapy. But I

527
00:27:32,480 --> 00:27:37,960
Speaker 2: also I just love that we got to watch a

528
00:27:38,080 --> 00:27:43,640
Speaker 2: struggle that wasn't related to some crazy dramatic event or

529
00:27:44,080 --> 00:27:47,439
Speaker 2: an affair or a car accident or whatever, that it

530
00:27:47,520 --> 00:27:50,040
Speaker 2: was really two people trying to figure out if they

531
00:27:50,320 --> 00:27:58,080
Speaker 2: could be emotionally compatible, you know, could they feel safe together,

532
00:27:58,200 --> 00:28:01,480
Speaker 2: could they learn to communicate better? Could they build a

533
00:28:01,560 --> 00:28:06,240
Speaker 2: life together? And I like that it wasn't an easy answer.

534
00:28:06,520 --> 00:28:09,120
Speaker 1: Yeah, it seems like for Brooke there's been so much

535
00:28:09,200 --> 00:28:15,400
Speaker 1: volatility and relationships, and there was with Julian because of

536
00:28:15,480 --> 00:28:21,520
Speaker 1: this his savior complex issues and the situation with Alex.

537
00:28:23,080 --> 00:28:29,239
Speaker 1: But I really really like seeing Brooke being willing to

538
00:28:29,320 --> 00:28:34,879
Speaker 1: make space for somebody else's flaws like she had, you know,

539
00:28:34,960 --> 00:28:39,400
Speaker 1: she's been that's the whole thing, choose me, pick me

540
00:28:39,680 --> 00:28:44,480
Speaker 1: right for her that she does deserve that. But also,

541
00:28:44,600 --> 00:28:46,360
Speaker 1: as you say, like there's a lot of gray in life,

542
00:28:46,360 --> 00:28:49,080
Speaker 1: there's a lot of just humanity and messiness that we

543
00:28:49,120 --> 00:28:53,000
Speaker 1: try and sort through, and it's really cool. I'm still

544
00:28:53,040 --> 00:28:55,560
Speaker 1: irritated with Julian I don't know why he keeps making

545
00:28:55,600 --> 00:28:58,160
Speaker 1: bad Alex decisions like let me walk out of your room?

546
00:28:58,280 --> 00:29:01,040
Speaker 1: Are you affing idiot? I just can't wrap my brain

547
00:29:01,080 --> 00:29:04,720
Speaker 1: around it. But that's his that's his deal. Like, okay, okay, man,

548
00:29:04,760 --> 00:29:08,560
Speaker 1: you're working through your stuff. Yeah, there's a softness, there's

549
00:29:08,600 --> 00:29:11,000
Speaker 1: like a real this is a totally different side of

550
00:29:11,000 --> 00:29:13,640
Speaker 1: book that we're seeing in a consistent way. This has

551
00:29:13,680 --> 00:29:17,960
Speaker 1: been like four episodes now maybe five that you're really

552
00:29:18,120 --> 00:29:19,800
Speaker 1: just softer.

553
00:29:20,480 --> 00:29:24,520
Speaker 2: It's interesting. Yeah, and I like it, and I like

554
00:29:25,440 --> 00:29:29,760
Speaker 2: I saw kind of a parallel obviously different you know,

555
00:29:30,560 --> 00:29:34,240
Speaker 2: relationship stage and different issues, but in the same way

556
00:29:34,240 --> 00:29:37,320
Speaker 2: that I really loved what Clay and Quinn weren't saying

557
00:29:37,480 --> 00:29:40,560
Speaker 2: in the gallery, I really loved what Brooke and Julian

558
00:29:40,640 --> 00:29:44,440
Speaker 2: weren't saying about the sweater. Johnny Norris did such a

559
00:29:44,440 --> 00:29:48,600
Speaker 2: good job writing these scenes for us that we got

560
00:29:48,640 --> 00:29:53,440
Speaker 2: to talk with so much subtext, and you know, Brooks

561
00:29:53,440 --> 00:29:55,280
Speaker 2: telling him he's got to dress a little warmer on

562
00:29:55,400 --> 00:29:58,680
Speaker 2: set and you know, it's your sweater anyway, and these things.

563
00:29:58,720 --> 00:30:02,240
Speaker 2: But she's saying, I know you're tired and it's cold

564
00:30:02,240 --> 00:30:04,240
Speaker 2: in here, and I'm worried about you and I love you,

565
00:30:05,480 --> 00:30:08,520
Speaker 2: and he's telling her that, you know, she can always

566
00:30:08,560 --> 00:30:12,120
Speaker 2: sit in his chair, and you know, he's saying like

567
00:30:12,400 --> 00:30:15,880
Speaker 2: you're in the chair, like you're in my person, and

568
00:30:15,920 --> 00:30:16,960
Speaker 2: they can't say it.

569
00:30:17,040 --> 00:30:19,480
Speaker 1: And that's good writing. That's when you know the writer

570
00:30:19,560 --> 00:30:21,920
Speaker 1: trust the actors they're writing there did They just write

571
00:30:21,920 --> 00:30:23,959
Speaker 1: the words and they know that you know the subtext

572
00:30:24,040 --> 00:30:25,560
Speaker 1: and they trust you to do it. Because if the

573
00:30:25,560 --> 00:30:27,840
Speaker 1: scene was just about a chair in a sweater, everyone

574
00:30:27,920 --> 00:30:30,040
Speaker 1: would be bored, exactly.

575
00:30:31,120 --> 00:30:33,560
Speaker 3: But hold on. Speaking of the wardrobe, first of all,

576
00:30:34,080 --> 00:30:37,280
Speaker 3: shout out to the actual, real life One Tree Hill wardrobe.

577
00:30:37,440 --> 00:30:41,560
Speaker 1: Yes, yeah, the big warehouse, our warehouse, listeners, that was

578
00:30:41,600 --> 00:30:43,520
Speaker 1: our actual wardrobe warehouse.

579
00:30:43,920 --> 00:30:46,040
Speaker 3: What I loved about that First my first thought was like,

580
00:30:46,080 --> 00:30:49,160
Speaker 3: oh my gosh, that was our actual wardrobe. And then

581
00:30:49,160 --> 00:30:53,320
Speaker 3: my second thought was it's hilarious to me that a

582
00:30:53,400 --> 00:30:56,800
Speaker 3: low budget indie with presumably about two actors in it

583
00:30:57,200 --> 00:31:01,720
Speaker 3: had a warehouse of wardrobe that because just so you know,

584
00:31:02,000 --> 00:31:04,480
Speaker 3: on an indie that size, you would have maybe one

585
00:31:04,600 --> 00:31:06,720
Speaker 3: rack of wardrobe for like, yeah, all of the.

586
00:31:07,720 --> 00:31:10,520
Speaker 2: You'd have half a trailer full of clothes, and we had.

587
00:31:10,960 --> 00:31:15,000
Speaker 2: We had seven seasons worth plus like all the Dawson's

588
00:31:15,000 --> 00:31:17,960
Speaker 2: Creek leftover totally plus any other show that had ever

589
00:31:18,040 --> 00:31:19,640
Speaker 2: shot at screen, gems.

590
00:31:19,320 --> 00:31:22,720
Speaker 1: In a where else movie Magic, It's gotta look big

591
00:31:22,760 --> 00:31:26,240
Speaker 1: and bold. No, honestly, it was just cheaper than creating

592
00:31:26,320 --> 00:31:29,480
Speaker 1: a set full of like a like a half a trailer,

593
00:31:29,640 --> 00:31:31,800
Speaker 1: like a realistic movie set that would have looked so

594
00:31:31,960 --> 00:31:34,440
Speaker 1: puny too. I think the audience would have been like, wait,

595
00:31:34,520 --> 00:31:36,840
Speaker 1: why do they have like six clothes on a hanger?

596
00:31:37,600 --> 00:31:38,360
Speaker 2: Yeah, hanging rack.

597
00:31:38,720 --> 00:31:42,640
Speaker 3: And what you were saying about the going for it

598
00:31:42,680 --> 00:31:44,080
Speaker 3: the one thing I like. You know, the show does

599
00:31:44,080 --> 00:31:45,880
Speaker 3: a lot that thing where it's like on the act

600
00:31:45,920 --> 00:31:47,920
Speaker 3: out of one scene, someone will be saying a line

601
00:31:48,160 --> 00:31:50,600
Speaker 3: that then feeds into the act in of another scene.

602
00:31:51,720 --> 00:31:53,800
Speaker 3: We sort of had a similar thing with the through

603
00:31:53,840 --> 00:31:57,360
Speaker 3: line of people encouraging each other to go. And what

604
00:31:57,440 --> 00:32:01,280
Speaker 3: I really liked about that was I'm a big believer

605
00:32:01,320 --> 00:32:03,680
Speaker 3: in like I'll take regret over excuse me, I'll take

606
00:32:03,720 --> 00:32:08,200
Speaker 3: failure over regret any day, like ten out of ten times,

607
00:32:08,240 --> 00:32:09,880
Speaker 3: you know, And so I liked it. It was kind

608
00:32:09,880 --> 00:32:12,480
Speaker 3: of this like who cares, like, go for it, shoot

609
00:32:12,520 --> 00:32:17,960
Speaker 3: your shot mentality. So I really appreciated that I was

610
00:32:18,040 --> 00:32:21,000
Speaker 3: surprised by some of the shots taken though.

611
00:32:22,280 --> 00:32:23,080
Speaker 2: Same sure.

612
00:32:24,120 --> 00:32:26,760
Speaker 3: Okay, first of all, I'm watching every Miss Lauren and

613
00:32:26,840 --> 00:32:28,880
Speaker 3: Mouth scene for the past three episodes, and I've been

614
00:32:28,920 --> 00:32:32,040
Speaker 3: saying this in the podcast, going did anyone feel like

615
00:32:32,280 --> 00:32:35,840
Speaker 3: they were about to kiss? And then this episode I'm

616
00:32:35,840 --> 00:32:39,000
Speaker 3: doing the same thing. I'm like, Gang, what are we doing?

617
00:32:39,000 --> 00:32:42,000
Speaker 3: First of all, does she have no friends? She's just

618
00:32:42,040 --> 00:32:43,760
Speaker 3: like become a best friend of Mouth?

619
00:32:43,920 --> 00:32:48,200
Speaker 1: How does he not know that she's not talking to skills?

620
00:32:48,640 --> 00:32:51,080
Speaker 1: How is that? First of all, he asks her to

621
00:32:51,080 --> 00:32:53,800
Speaker 1: what pick up lunch? Okay, so she brings over lunch,

622
00:32:54,400 --> 00:32:57,000
Speaker 1: so they're going to hang out and she's like, oh,

623
00:32:57,040 --> 00:32:59,600
Speaker 1: what are you doing? Playing video games? Okay? So what

624
00:32:59,680 --> 00:33:03,080
Speaker 1: was their plan? I don't know why. I wish I

625
00:33:03,200 --> 00:33:05,160
Speaker 1: remembered how we tried to make sense out of this,

626
00:33:05,240 --> 00:33:07,360
Speaker 1: because it didn't make sense to me even today.

627
00:33:07,640 --> 00:33:11,000
Speaker 2: Well and it was so jarring that it took me

628
00:33:11,080 --> 00:33:13,640
Speaker 2: out of it, and I was like, wait, was Antoine

629
00:33:13,640 --> 00:33:14,520
Speaker 2: making a movie?

630
00:33:14,640 --> 00:33:14,760
Speaker 4: Like?

631
00:33:14,800 --> 00:33:17,920
Speaker 2: Where was Antoine? We sent him to la to like

632
00:33:18,120 --> 00:33:24,160
Speaker 2: make you know, the sports coordinating thing happen, but like, really,

633
00:33:24,200 --> 00:33:27,280
Speaker 2: where was he? And obviously Alison Munn is the greatest

634
00:33:27,360 --> 00:33:29,880
Speaker 2: human alive, So like, duh, we wanted to never let

635
00:33:29,880 --> 00:33:33,000
Speaker 2: her leave set. Yeah, but I was like, how are

636
00:33:33,000 --> 00:33:36,200
Speaker 2: we not? Why isn't she hanging out with like Brooke

637
00:33:36,240 --> 00:33:39,920
Speaker 2: and Haley All yeah, like her other friends. It's just

638
00:33:40,120 --> 00:33:43,800
Speaker 2: weird because it's so fun to have her. But they

639
00:33:43,840 --> 00:33:48,880
Speaker 2: do have great chemistry, and because we only see them

640
00:33:48,960 --> 00:33:52,040
Speaker 2: together over the span of all these episodes, it gets

641
00:33:52,080 --> 00:33:55,880
Speaker 2: to a point where as an audience member, you're like, well,

642
00:33:55,920 --> 00:33:57,520
Speaker 2: are you trying to tell me they have more than

643
00:33:57,640 --> 00:34:00,880
Speaker 2: friend chemistry because at this point it feels like you are, yeah,

644
00:34:00,920 --> 00:34:03,520
Speaker 2: what's going on here? And it does feel confusing.

645
00:34:03,920 --> 00:34:07,840
Speaker 3: Well, and we've never seen either of them, separately or

646
00:34:07,880 --> 00:34:11,640
Speaker 3: together have one of those moments of like, oh, is

647
00:34:11,680 --> 00:34:14,400
Speaker 3: this maybe more than just buds? So that's why it

648
00:34:14,480 --> 00:34:17,520
Speaker 3: was so as an audience member, I'm watching it, going,

649
00:34:18,360 --> 00:34:21,919
Speaker 3: this is strange. There's something not being addressed. I don't

650
00:34:22,040 --> 00:34:23,920
Speaker 3: quite get. So that's why it was odd for me.

651
00:34:24,600 --> 00:34:27,240
Speaker 3: When fast forward to the end of the episode, mouth

652
00:34:27,360 --> 00:34:31,600
Speaker 3: speech isn't to Millie, it's to miss Lauren at her door. Yeah,

653
00:34:31,719 --> 00:34:35,160
Speaker 3: I just thought like, where why have I not seen him? Like,

654
00:34:35,239 --> 00:34:38,279
Speaker 3: have you know a lingering smile at her or yes,

655
00:34:38,440 --> 00:34:41,440
Speaker 3: any sort of like any sort of runway to get.

656
00:34:41,480 --> 00:34:45,080
Speaker 1: You needed any the George and Elaine without Jerry episode,

657
00:34:45,440 --> 00:34:50,440
Speaker 1: remember that, no, George and Elaine go out without Jerry.

658
00:34:50,520 --> 00:34:52,880
Speaker 1: Jerry's like he can't go to the movie whatever, He's stuck,

659
00:34:52,880 --> 00:34:54,640
Speaker 1: and they're both out like this is so awkward. We

660
00:34:54,640 --> 00:34:56,440
Speaker 1: don't hang out with each other without Jerry. What do

661
00:34:56,480 --> 00:34:58,560
Speaker 1: we do? But then you know they make friends by

662
00:34:58,600 --> 00:35:01,359
Speaker 1: the end of the episode. Of course, well not of course,

663
00:35:01,400 --> 00:35:03,480
Speaker 1: but anyway, that's what we needed. We needed this like

664
00:35:03,640 --> 00:35:06,520
Speaker 1: moment of the two of them kind of being thrust

665
00:35:06,560 --> 00:35:08,960
Speaker 1: into a situation together where they're like, oh, actually we

666
00:35:09,200 --> 00:35:10,600
Speaker 1: do have a lot in common in spite of the

667
00:35:10,640 --> 00:35:14,280
Speaker 1: fact that you're we never really hung out outside of skills,

668
00:35:14,320 --> 00:35:17,879
Speaker 1: Like I kind of like you, let's hang out more exactly.

669
00:35:18,760 --> 00:35:22,640
Speaker 2: It would have been so great if at any point

670
00:35:23,080 --> 00:35:26,799
Speaker 2: they'd been like, I'm really glad I have you to

671
00:35:26,840 --> 00:35:28,800
Speaker 2: talk to, but is it weird that I'm talking to

672
00:35:28,840 --> 00:35:31,000
Speaker 2: about all this stuff since we've never really hung out before,

673
00:35:31,200 --> 00:35:33,080
Speaker 2: and the other person could have been like, no, it's

674
00:35:33,080 --> 00:35:34,359
Speaker 2: honestly such a relief to me.

675
00:35:34,400 --> 00:35:38,160
Speaker 6: Like I you know, something, to acknowledge that it was

676
00:35:38,360 --> 00:35:44,960
Speaker 6: weird would have I think brought the whole audience along better.

677
00:35:45,280 --> 00:35:47,680
Speaker 1: I wonder if fans felt that too, Like, are we

678
00:35:47,760 --> 00:35:51,239
Speaker 1: just feeling it because we are watching the episodes so

679
00:35:51,360 --> 00:35:53,919
Speaker 1: quickly and back then it was all really stretched out.

680
00:35:54,440 --> 00:35:55,520
Speaker 2: That might be part of it.

681
00:35:55,600 --> 00:35:57,279
Speaker 1: I just wonder if the fans felt that way too,

682
00:35:57,320 --> 00:35:58,840
Speaker 1: if they by the end of the episode they were like,

683
00:35:58,920 --> 00:36:00,880
Speaker 1: oh what okay.

684
00:36:00,960 --> 00:36:04,480
Speaker 2: So that's our second question. So first one obviously only

685
00:36:04,520 --> 00:36:07,360
Speaker 2: if you feel comfortable sharing with us, and we would

686
00:36:07,480 --> 00:36:12,160
Speaker 2: never reveal personal details anyway, but if if anyone was

687
00:36:12,200 --> 00:36:15,280
Speaker 2: like whoa when they saw a meeting and they remember

688
00:36:15,320 --> 00:36:17,880
Speaker 2: it being impactful back then, we'd love to know. And

689
00:36:17,960 --> 00:36:20,919
Speaker 2: question number two, were you all completely confused by Mouth

690
00:36:20,960 --> 00:36:24,920
Speaker 2: and miss Lauren also or are we nuts the people?

691
00:36:25,080 --> 00:36:26,959
Speaker 2: The people want to know who girlies and the boy

692
00:36:27,000 --> 00:36:27,400
Speaker 2: want to know?

693
00:36:28,520 --> 00:36:30,400
Speaker 3: Yeah? Because also am.

694
00:36:30,200 --> 00:36:33,840
Speaker 4: I am I not remembering correctly that there's like Mouth

695
00:36:33,920 --> 00:36:37,239
Speaker 4: has a moment of saying it's complicated with Millie, like

696
00:36:37,280 --> 00:36:40,040
Speaker 4: he's confiding to someone, right, because we see the opposite

697
00:36:40,080 --> 00:36:42,000
Speaker 4: side of it with Milli and Owen, where.

698
00:36:41,840 --> 00:36:44,720
Speaker 3: He's like, yeah, no, Mouth has a moment of saying

699
00:36:45,080 --> 00:36:48,839
Speaker 3: something the effect of, you know, like we're off or

700
00:36:48,880 --> 00:36:51,759
Speaker 3: like we're just misfire something right, and then Milly has

701
00:36:51,800 --> 00:36:54,480
Speaker 3: the same moment. So it was just it felt out

702
00:36:54,480 --> 00:36:57,239
Speaker 3: of left field, like the like I feel like the

703
00:36:57,320 --> 00:37:00,759
Speaker 3: audience member understood it more than the case ter did.

704
00:37:01,080 --> 00:37:04,680
Speaker 2: And yeah, it's interesting to me because I remember feeling

705
00:37:04,680 --> 00:37:06,600
Speaker 2: this kind of like, ah, this is when you were

706
00:37:06,640 --> 00:37:08,840
Speaker 2: going to get the landscape or joy. Rob and I

707
00:37:08,880 --> 00:37:12,319
Speaker 2: were talking about there's that great scene where you come

708
00:37:12,360 --> 00:37:15,000
Speaker 2: in and sit with Brooke and Mouth on the couch

709
00:37:15,600 --> 00:37:18,080
Speaker 2: and it's like, tell me that, you know, spill the tea,

710
00:37:18,200 --> 00:37:20,759
Speaker 2: let's talk all the things. And it made me go,

711
00:37:20,960 --> 00:37:24,680
Speaker 2: wait a second, why haven't we seen Mouth talking to

712
00:37:24,760 --> 00:37:28,640
Speaker 2: Brook about Milly or Brook and Millie hanging out at all,

713
00:37:29,080 --> 00:37:33,600
Speaker 2: Like I don't know, it's weird to me that the

714
00:37:33,719 --> 00:37:36,719
Speaker 2: people aren't leaning on each other a little more, but

715
00:37:36,800 --> 00:37:38,439
Speaker 2: I guess that's what happens when you have so many

716
00:37:38,480 --> 00:37:40,440
Speaker 2: actors on a shan twenty two episodes.

717
00:37:41,440 --> 00:37:46,719
Speaker 1: I think that's probably part of the casualty of so

718
00:37:46,880 --> 00:37:50,680
Speaker 1: many actors, so many storylines and twenty two episodes. And

719
00:37:51,560 --> 00:37:55,080
Speaker 1: it wasn't, as I understand it, a terribly happy writer's room,

720
00:37:55,239 --> 00:38:01,520
Speaker 1: and so I think there was probably just ah no, Yeah,

721
00:38:01,640 --> 00:38:04,520
Speaker 1: So I would imagine there's just some things that there

722
00:38:04,560 --> 00:38:09,600
Speaker 1: wasn't a real symbiosis happening, not a lot of Uh,

723
00:38:09,840 --> 00:38:12,080
Speaker 1: there wasn't really a groove for people to get into

724
00:38:12,160 --> 00:38:14,160
Speaker 1: with some of these storylines, and so they couldn't plan

725
00:38:14,239 --> 00:38:16,920
Speaker 1: ahead too far, I think, and then you never know

726
00:38:16,960 --> 00:38:18,480
Speaker 1: if an actor is going to be available or not,

727
00:38:18,560 --> 00:38:20,239
Speaker 1: and so then you have to pivot if they're not.

728
00:38:22,880 --> 00:38:24,399
Speaker 1: I think there was just a lot on the fly,

729
00:38:24,520 --> 00:38:26,280
Speaker 1: and then that those are the kinds of things that happened.

730
00:38:26,320 --> 00:38:28,680
Speaker 1: Suddenly they've got to speed up a storyline that makes

731
00:38:28,880 --> 00:38:31,520
Speaker 1: no sense that they've laid no groundwork for, and we've

732
00:38:31,520 --> 00:38:32,640
Speaker 1: seen this a lot before.

733
00:38:34,360 --> 00:38:36,480
Speaker 3: I also feel like there might be some truth to

734
00:38:36,760 --> 00:38:40,160
Speaker 3: us simply not wanting to lose Alison. Yeah, oh yes,

735
00:38:40,200 --> 00:38:42,759
Speaker 3: she's so great, because this story does just kind of

736
00:38:42,800 --> 00:38:44,880
Speaker 3: feel weird. It sort of just feels a bit like

737
00:38:45,760 --> 00:38:48,799
Speaker 3: not a placeholder, but like, all right, what can we do?

738
00:38:48,840 --> 00:38:53,840
Speaker 3: You know? It's yes, yes, yes, and she's so darn

739
00:38:53,920 --> 00:38:55,640
Speaker 3: good in it. That makes sense why you'd want to

740
00:38:55,680 --> 00:38:57,040
Speaker 3: keep her because you don't want to lose her, But

741
00:38:57,080 --> 00:38:59,879
Speaker 3: it's sort of like, yeah, I don't know why Yeah,

742
00:39:00,000 --> 00:39:02,520
Speaker 3: it feels like they there was a question mark over

743
00:39:02,640 --> 00:39:05,120
Speaker 3: everyone's schedules and they just sort of went, let's just

744
00:39:05,280 --> 00:39:08,239
Speaker 3: find something for Alison to make sure that we don't

745
00:39:08,280 --> 00:39:09,439
Speaker 3: lose her to a different show.

746
00:39:09,600 --> 00:39:09,799
Speaker 2: Yeah.

747
00:39:09,840 --> 00:39:12,399
Speaker 1: Yeah, that makes sense because she was super in demand too.

748
00:39:12,440 --> 00:39:16,200
Speaker 1: I mean that girl book's pilots, like I book plane tickets,

749
00:39:16,280 --> 00:39:17,360
Speaker 1: I mean on and on.

750
00:39:18,840 --> 00:39:33,839
Speaker 3: Nice Best Armstrong.

751
00:39:33,440 --> 00:39:35,439
Speaker 1: Yes, can we talk about Best Armstrong is.

752
00:39:35,360 --> 00:39:39,160
Speaker 3: The real deal man. For those who don't know, Bess

753
00:39:39,239 --> 00:39:45,880
Speaker 3: Armstrong played Lydia and just she's so good. She's so

754
00:39:45,880 --> 00:39:49,440
Speaker 3: so good and Joey, you have so many great scenes

755
00:39:49,480 --> 00:39:53,960
Speaker 3: with her. Thanks and the way that you shot it

756
00:39:54,000 --> 00:39:56,360
Speaker 3: and it was written. I just loved it, you know,

757
00:39:56,440 --> 00:39:59,200
Speaker 3: cause we are we're a soap, you know, like we

758
00:39:59,280 --> 00:40:02,760
Speaker 3: tend to like swing for the fences and high highs

759
00:40:02,800 --> 00:40:07,280
Speaker 3: and low lows, and this just felt like a very grounded,

760
00:40:07,440 --> 00:40:11,880
Speaker 3: honest portrayal of a family, like grieving and adapting in

761
00:40:11,960 --> 00:40:15,120
Speaker 3: real time. Yeah, and she's just so was it tough

762
00:40:15,200 --> 00:40:16,840
Speaker 3: doing You had a great scene it was just the

763
00:40:16,840 --> 00:40:17,279
Speaker 3: two of you.

764
00:40:17,239 --> 00:40:17,640
Speaker 2: On the couch.

765
00:40:17,760 --> 00:40:20,040
Speaker 3: By the way, Joy, you also had a scene where

766
00:40:20,080 --> 00:40:23,319
Speaker 3: you're on the couch with your shoes on and you're

767
00:40:23,360 --> 00:40:29,640
Speaker 3: sitting on your feet, explain yourself. Oh and before we

768
00:40:29,640 --> 00:40:31,800
Speaker 3: get into like the really important stuff, did you also

769
00:40:31,880 --> 00:40:34,279
Speaker 3: notice in the scene with Alex and Alex after the

770
00:40:34,320 --> 00:40:38,920
Speaker 3: one night stand, clearly, listeners go back and watch this,

771
00:40:39,480 --> 00:40:42,800
Speaker 3: every pillow on that bed is either a throw pillow

772
00:40:43,000 --> 00:40:46,920
Speaker 3: or a couch pillow. Set deck clearly had no normal pillows,

773
00:40:46,920 --> 00:40:48,880
Speaker 3: and they were like, no one's gonna be looking at that.

774
00:40:49,320 --> 00:40:51,640
Speaker 3: Go back and look at every pillow on the bed

775
00:40:52,080 --> 00:40:55,160
Speaker 3: is the ugliest hotel room couch pillow you've et hed.

776
00:40:55,280 --> 00:40:58,000
Speaker 2: Yeah, there's not like the two rear pillows that are

777
00:40:58,040 --> 00:41:01,000
Speaker 2: for sleeping. It's just the sleep.

778
00:41:01,320 --> 00:41:03,400
Speaker 1: I can't believe I missed that. I'm such a detail

779
00:41:03,440 --> 00:41:06,680
Speaker 1: oriented person. That's really funny. I must have been. I

780
00:41:06,800 --> 00:41:09,320
Speaker 1: was so tied up with getting that shot in particular.

781
00:41:09,320 --> 00:41:12,560
Speaker 1: I remember we were we were running out of time,

782
00:41:12,600 --> 00:41:14,120
Speaker 1: and there were a lot of things. I was like,

783
00:41:14,400 --> 00:41:16,919
Speaker 1: I really wanted to be a time efficient director because

784
00:41:16,920 --> 00:41:19,400
Speaker 1: I wanted them to keep bringing me back. So there

785
00:41:19,400 --> 00:41:21,839
Speaker 1: were scenes I was like, what can we do in

786
00:41:21,880 --> 00:41:23,640
Speaker 1: one or two shots? And that was one of the

787
00:41:23,640 --> 00:41:25,920
Speaker 1: scenes that it was like, I think it was a

788
00:41:25,960 --> 00:41:28,239
Speaker 1: three shot scene, but the close ups on the two

789
00:41:28,280 --> 00:41:29,840
Speaker 1: of them, we probably did in two takes and the

790
00:41:29,880 --> 00:41:32,399
Speaker 1: rest of it was on one camera. And that, yeah,

791
00:41:32,440 --> 00:41:34,440
Speaker 1: there was a there was a lot of maneuvering around

792
00:41:34,480 --> 00:41:36,040
Speaker 1: for that. So I'm sure I didn't notice the pillows,

793
00:41:36,040 --> 00:41:38,680
Speaker 1: but dang it, I wish I had pillows.

794
00:41:39,280 --> 00:41:41,400
Speaker 2: I also just love that as someone who lived in

795
00:41:41,400 --> 00:41:43,839
Speaker 2: New York for as long as you did, like this

796
00:41:43,880 --> 00:41:46,560
Speaker 2: is how you realize we walked to set in like

797
00:41:46,719 --> 00:41:49,120
Speaker 2: ugs or slippers, and then you put on your wardrobe

798
00:41:49,120 --> 00:41:52,840
Speaker 2: heels on set because none, none of us would ever

799
00:41:53,080 --> 00:41:56,240
Speaker 2: wear our outside shoes on a furnature to the house,

800
00:41:56,400 --> 00:42:01,480
Speaker 2: let alone onto the furniture or never appalling.

801
00:42:02,400 --> 00:42:04,279
Speaker 1: No, but remember we had that fit. Maybe you weren't here.

802
00:42:04,280 --> 00:42:05,520
Speaker 1: So if there was a fan who wrote in a

803
00:42:05,600 --> 00:42:08,640
Speaker 1: question was asking us, I noticed that you guys put

804
00:42:08,680 --> 00:42:10,760
Speaker 1: your shoes on. You wear your shoes on the couch,

805
00:42:10,840 --> 00:42:12,920
Speaker 1: or you walk on the rug or whatever with your shoes.

806
00:42:13,600 --> 00:42:15,920
Speaker 1: And I think it was that we don't have a

807
00:42:15,960 --> 00:42:17,759
Speaker 1: lot of time, Like you can't just be taking your

808
00:42:17,760 --> 00:42:20,000
Speaker 1: shoes on and off for every moment I've ever seen.

809
00:42:20,040 --> 00:42:21,359
Speaker 1: Plus people are creatd.

810
00:42:21,120 --> 00:42:24,920
Speaker 2: Because during filming it's a huge height differential. Oh yeah,

811
00:42:24,960 --> 00:42:27,800
Speaker 2: and we were like one of the only shows in history,

812
00:42:27,880 --> 00:42:31,200
Speaker 2: in the history of Hollywood with tall boys. You had

813
00:42:31,239 --> 00:42:33,919
Speaker 2: to wear high heels to act opposite teams. I had

814
00:42:33,960 --> 00:42:37,200
Speaker 2: to wear high heels to act opposite Austin. They weren't

815
00:42:37,200 --> 00:42:40,400
Speaker 2: going to like build us step blocks to get into

816
00:42:40,440 --> 00:42:42,880
Speaker 2: close ups where they could see us over the boy's shoulders,

817
00:42:43,080 --> 00:42:45,680
Speaker 2: so we wore stilettos every day. It was ridiculous.

818
00:42:45,960 --> 00:42:52,080
Speaker 1: I think I imagined that those sets were like I've never

819
00:42:52,200 --> 00:42:54,600
Speaker 1: had a one of those houses that you walk into

820
00:42:54,640 --> 00:42:56,799
Speaker 1: and everything's always in its place all the time. I

821
00:42:56,840 --> 00:42:58,399
Speaker 1: have friends who, every time I go to their house,

822
00:42:58,440 --> 00:43:00,839
Speaker 1: I'm like, what do you How do you do this?

823
00:43:01,040 --> 00:43:05,759
Speaker 1: Because I'm definitely messy. So I think I imagine Nathan and

824
00:43:05,800 --> 00:43:08,560
Speaker 1: Haley's house being one of the super pristine homes that like,

825
00:43:09,000 --> 00:43:11,319
Speaker 1: there's just fairies that come and clean up after you

826
00:43:11,320 --> 00:43:12,839
Speaker 1: if you put your shoes on the couch.

827
00:43:12,960 --> 00:43:18,879
Speaker 2: Yes, called set. By the way, this I didn't know

828
00:43:18,920 --> 00:43:22,040
Speaker 2: what it was until you know, later in life, obviously

829
00:43:22,040 --> 00:43:25,640
Speaker 2: because we both got our diagnoses later in life. But

830
00:43:26,440 --> 00:43:30,440
Speaker 2: in the world of learning about being neurodivergent, and when

831
00:43:30,480 --> 00:43:32,880
Speaker 2: it's like, oh, yeah, do you have little piles everywhere,

832
00:43:32,920 --> 00:43:37,520
Speaker 2: and I was like, oh, no, we do. And you're like, no,

833
00:43:37,640 --> 00:43:41,000
Speaker 2: what my little piles or my organizing system. And now

834
00:43:41,239 --> 00:43:43,920
Speaker 2: like my partner affectionately will be like, are you stressed

835
00:43:43,920 --> 00:43:45,680
Speaker 2: the little squirrel? Look at all your little piles and

836
00:43:45,719 --> 00:43:47,840
Speaker 2: acorns around the house and I'm like, m.

837
00:43:47,960 --> 00:43:50,959
Speaker 1: Hmm, just saving up for winter. But you know where

838
00:43:51,000 --> 00:43:53,080
Speaker 1: everything is in everybody.

839
00:43:52,560 --> 00:43:55,799
Speaker 2: You know where everything is. And I didn't know how

840
00:43:55,880 --> 00:43:59,680
Speaker 2: weird that was to people whose brains aren't wired like ours. Yeah,

841
00:44:00,040 --> 00:44:03,279
Speaker 2: until people were like, isn't this anxiety inducing? And I

842
00:44:03,320 --> 00:44:06,319
Speaker 2: was like, that is like spatial xanax for me.

843
00:44:06,360 --> 00:44:10,800
Speaker 3: What do you mean this is for anxiety by exactly?

844
00:44:12,040 --> 00:44:14,640
Speaker 2: I was like, this is actually called a coping mechanism.

845
00:44:15,480 --> 00:44:19,040
Speaker 3: Yes, high functioning anxiety has many appearances.

846
00:44:19,080 --> 00:44:26,120
Speaker 1: This certainly does well. Bess Armstrong was I was. She

847
00:44:26,280 --> 00:44:32,120
Speaker 1: was so lovely and open and made directing her really easy.

848
00:44:33,840 --> 00:44:37,440
Speaker 1: She's such a mom, she's such an encourager and really

849
00:44:38,440 --> 00:44:44,399
Speaker 1: you know she had ideas, but she it's interesting as

850
00:44:44,440 --> 00:44:47,040
Speaker 1: an older woman to be directed, Like, if I had

851
00:44:47,080 --> 00:44:51,880
Speaker 1: a twenty three year old directing me right now, I

852
00:44:52,360 --> 00:44:54,279
Speaker 1: hope that I would treat her the way best treated me,

853
00:44:54,480 --> 00:44:57,520
Speaker 1: Like she really it's it's interesting to listen to the

854
00:44:57,600 --> 00:45:00,640
Speaker 1: leadership of someone who's younger than you and really trust

855
00:45:00,680 --> 00:45:02,920
Speaker 1: that they know what they're doing. And especially as an actor,

856
00:45:03,680 --> 00:45:05,239
Speaker 1: you know, you want to put your best foot forward.

857
00:45:05,280 --> 00:45:07,200
Speaker 1: You want to be represented in the best way, and

858
00:45:07,280 --> 00:45:09,960
Speaker 1: to trust that somebody knows what they're doing and they're

859
00:45:10,000 --> 00:45:12,360
Speaker 1: not going to make you look like a fool. She

860
00:45:12,560 --> 00:45:16,040
Speaker 1: really trusted me, and it meant so much to me.

861
00:45:18,120 --> 00:45:20,400
Speaker 1: We had a great chemistry, We had an ease in

862
00:45:20,520 --> 00:45:26,239
Speaker 1: our way with each other in the scenes, and yeah,

863
00:45:26,280 --> 00:45:28,040
Speaker 1: it was easy. We just sort of dropped in and

864
00:45:28,080 --> 00:45:30,000
Speaker 1: said the lines, and I don't think we did too

865
00:45:30,080 --> 00:45:32,200
Speaker 1: many takes. It was just like, just say what's on

866
00:45:32,239 --> 00:45:33,520
Speaker 1: the page. It's what you were talking about at the

867
00:45:33,520 --> 00:45:35,960
Speaker 1: beginning of the episode. Rob, Like, just it's great writing.

868
00:45:36,640 --> 00:45:37,799
Speaker 1: Let good actors do what they do.

869
00:45:38,320 --> 00:45:41,680
Speaker 3: Yeah, you guys brought it. That scene was very, very

870
00:45:42,160 --> 00:45:45,719
Speaker 3: touching and just honest. I love that. The scene with Jamie,

871
00:45:46,000 --> 00:45:48,040
Speaker 3: Her and Jamie was also very sweet. I was sitting

872
00:45:48,040 --> 00:45:50,200
Speaker 3: in there noting, like, gosh, this is a great scene.

873
00:45:50,400 --> 00:45:52,759
Speaker 3: And then it ends in a funny way though it

874
00:45:52,800 --> 00:45:57,000
Speaker 3: takes a hot it's Lydia and Jamie in his room,

875
00:45:57,080 --> 00:45:59,759
Speaker 3: I think, and they're looking at pictures. I think there's

876
00:45:59,760 --> 00:46:03,080
Speaker 3: an actual picture of you from childhood. I believe think

877
00:46:03,120 --> 00:46:05,520
Speaker 3: it's an actual, real life to a picture. And then

878
00:46:05,600 --> 00:46:09,239
Speaker 3: yet it takes a real hard left when she's like, ps,

879
00:46:09,960 --> 00:46:14,000
Speaker 3: I'm going to be dead by Christmas. I shouldn't say

880
00:46:14,040 --> 00:46:18,520
Speaker 3: it that way. I mean, I'm paraphrasing, but she basically

881
00:46:18,600 --> 00:46:21,120
Speaker 3: was like, I love celebrating Christmas with you, Unfortunately I'm

882
00:46:21,120 --> 00:46:22,520
Speaker 3: not going to be here this year.

883
00:46:22,719 --> 00:46:25,120
Speaker 1: The look on his face, the look on his face.

884
00:46:25,280 --> 00:46:28,360
Speaker 2: I let out an audible oof yeah, and I heard

885
00:46:28,360 --> 00:46:31,239
Speaker 2: myself and then made myself laugh, and I was like, oh,

886
00:46:31,320 --> 00:46:35,880
Speaker 2: this this really. Yeah, she's not she's not wearing any gloves.

887
00:46:35,680 --> 00:46:37,359
Speaker 2: She's just going to say the thing.

888
00:46:37,520 --> 00:46:40,040
Speaker 1: Yeah, I really, it's so hit. The look on his face,

889
00:46:40,040 --> 00:46:42,120
Speaker 1: he was like so confused. And then this is actually

890
00:46:42,239 --> 00:46:44,640
Speaker 1: kind of amazing that a kid this young was capable

891
00:46:44,680 --> 00:46:48,120
Speaker 1: of making that transition, because he was looking confused, and

892
00:46:48,160 --> 00:46:51,120
Speaker 1: then it hit him and he realized like, whoa, you're

893
00:46:51,160 --> 00:46:54,120
Speaker 1: saying you're going to be dead, But he didn't overact.

894
00:46:54,640 --> 00:46:56,360
Speaker 1: I mean, that's kind of hard for a kid to

895
00:46:56,440 --> 00:47:00,680
Speaker 1: make that big, weighty transition and not overact great.

896
00:47:01,000 --> 00:47:03,040
Speaker 2: Yeah, he really just let it happen. And you know

897
00:47:03,080 --> 00:47:05,920
Speaker 2: what I loved in a way is that the heaviness

898
00:47:05,960 --> 00:47:09,200
Speaker 2: of that scene that we all went whoa. It gave

899
00:47:09,320 --> 00:47:13,759
Speaker 2: such an honest motivation to your scene with her. And

900
00:47:13,840 --> 00:47:16,560
Speaker 2: I loved that she said you're angry. She said either

901
00:47:16,600 --> 00:47:18,120
Speaker 2: like you're angry or you're mad, and you were like,

902
00:47:18,120 --> 00:47:22,920
Speaker 2: I'm not, I'm upset it And it let you guys

903
00:47:23,000 --> 00:47:28,480
Speaker 2: have a conversation that, sadly we know is so universal

904
00:47:28,520 --> 00:47:31,200
Speaker 2: for so many people who experience illness in their family.

905
00:47:31,719 --> 00:47:34,719
Speaker 2: And you were like wanting to fix it and wanting

906
00:47:34,719 --> 00:47:37,000
Speaker 2: a second opinion and wanting the thing and wanting Nathan's

907
00:47:37,040 --> 00:47:39,920
Speaker 2: doctors to look. And she got to be like, you're

908
00:47:39,960 --> 00:47:42,200
Speaker 2: not listening to me. I want to enjoy the time

909
00:47:42,200 --> 00:47:42,759
Speaker 2: I have left.

910
00:47:42,800 --> 00:47:43,239
Speaker 4: I know what.

911
00:47:43,320 --> 00:47:43,799
Speaker 2: It is.

912
00:47:45,239 --> 00:47:45,720
Speaker 3: So hard.

913
00:47:46,480 --> 00:47:49,360
Speaker 2: And I felt so much for both of you because

914
00:47:49,400 --> 00:47:51,880
Speaker 2: I know that I would do exactly what Hailey was doing,

915
00:47:52,640 --> 00:47:54,959
Speaker 2: and that if I were in Lydia's position, I would

916
00:47:54,960 --> 00:47:58,160
Speaker 2: say exactly what Lydia was saying to Haleyeh. And it

917
00:47:58,280 --> 00:48:01,239
Speaker 2: was I just thought like, Wow, I bet so many

918
00:48:01,280 --> 00:48:02,759
Speaker 2: people feel really seen by this.

919
00:48:03,280 --> 00:48:05,680
Speaker 1: The scene with her and James too, I really love

920
00:48:05,880 --> 00:48:07,359
Speaker 1: Oh that broke my heart.

921
00:48:07,520 --> 00:48:08,120
Speaker 2: I thanked her.

922
00:48:08,840 --> 00:48:14,600
Speaker 3: Yeah, so simple, it was exactly so simple, right, like

923
00:48:14,760 --> 00:48:17,520
Speaker 3: just let the words do the talking. It was so good.

924
00:48:18,080 --> 00:48:20,040
Speaker 3: But but going back the thing with Jamie, that the

925
00:48:20,080 --> 00:48:24,840
Speaker 3: reason why I bumped on it is because so often

926
00:48:25,239 --> 00:48:29,160
Speaker 3: people get diagnosed, or not even diagnose, they get given

927
00:48:29,239 --> 00:48:31,920
Speaker 3: sort of you have this many months to live, like

928
00:48:32,080 --> 00:48:33,799
Speaker 3: everyone in their family has a story of like the

929
00:48:33,840 --> 00:48:35,799
Speaker 3: grandma who was told she had six months to live

930
00:48:35,800 --> 00:48:38,719
Speaker 3: and she lived for fifteen years. Yeah, so I just

931
00:48:38,719 --> 00:48:42,239
Speaker 3: felt like it was a little premature to tell the

932
00:48:42,400 --> 00:48:45,680
Speaker 3: nine year old I'm for sure gonna be dead as

933
00:48:45,760 --> 00:48:49,920
Speaker 3: disco by Christmas. And it's like, okay, I know your

934
00:48:50,000 --> 00:48:53,279
Speaker 3: doctor said that, but like there's a shot, there's a shot,

935
00:48:53,280 --> 00:48:55,279
Speaker 3: there's a world in which you're not you know what

936
00:48:55,320 --> 00:48:55,839
Speaker 3: I mean, Like.

937
00:48:55,840 --> 00:48:57,880
Speaker 2: Can we just can we give it a second before

938
00:48:57,880 --> 00:48:58,640
Speaker 2: we tell the show.

939
00:48:59,040 --> 00:49:01,600
Speaker 1: We've only got two more episodes with me, honey, so

940
00:49:01,960 --> 00:49:03,360
Speaker 1: please get yourself ready.

941
00:49:04,200 --> 00:49:05,920
Speaker 3: There it is, there, it is.

942
00:49:06,920 --> 00:49:09,160
Speaker 2: It's like, Rob, I wish you'd been there to be like,

943
00:49:09,200 --> 00:49:10,840
Speaker 2: it's not even in double digits.

944
00:49:10,960 --> 00:49:15,080
Speaker 3: I know, come on, Kitty gloves it best just a

945
00:49:15,200 --> 00:49:16,960
Speaker 3: little oh guys.

946
00:49:17,120 --> 00:49:19,640
Speaker 1: Fun the other look on Jackson's face too, when he

947
00:49:19,680 --> 00:49:21,839
Speaker 1: came in and said, I don't want Grandma to die.

948
00:49:22,640 --> 00:49:22,879
Speaker 4: Oh.

949
00:49:23,360 --> 00:49:28,719
Speaker 1: Also, really good, really good performance, so simple. Yeah, I

950
00:49:28,760 --> 00:49:30,920
Speaker 1: was impressed with him in this episode.

951
00:49:31,840 --> 00:49:34,600
Speaker 2: He was really great. And you know what I loved too.

952
00:49:37,160 --> 00:49:39,799
Speaker 2: They really gave everybody a lot, a lot of these

953
00:49:39,840 --> 00:49:41,960
Speaker 2: moments I'm realizing where they got to say a lot

954
00:49:42,760 --> 00:49:46,359
Speaker 2: in not so many words. And you saw that in

955
00:49:46,719 --> 00:49:49,480
Speaker 2: a lot of Jackson's performances, which obviously are a big

956
00:49:49,520 --> 00:49:51,440
Speaker 2: deal for a kid his age at the time to

957
00:49:51,480 --> 00:49:54,799
Speaker 2: be able to pull off. And in the same way

958
00:49:54,840 --> 00:50:01,359
Speaker 2: that I felt like Nathan was so sto in the

959
00:50:01,400 --> 00:50:05,040
Speaker 2: best way with Lydia, you see him do it with Jamie.

960
00:50:05,440 --> 00:50:09,560
Speaker 2: It's like they really gave James such simple things to say,

961
00:50:09,600 --> 00:50:14,879
Speaker 2: and James showed up in exactly that incredibly supportive this

962
00:50:14,920 --> 00:50:17,080
Speaker 2: is not my moment to lead, it's my moment to

963
00:50:17,480 --> 00:50:21,560
Speaker 2: hold you up from behind kind of energy. And even

964
00:50:21,640 --> 00:50:27,080
Speaker 2: when he finds Jackson cleaning out his toys, it was

965
00:50:27,080 --> 00:50:28,880
Speaker 2: such an interesting choice you guys made. I don't know

966
00:50:28,880 --> 00:50:30,320
Speaker 2: if it was in the script or it was something

967
00:50:30,320 --> 00:50:33,280
Speaker 2: you decided on, but to have a little boy cleaning

968
00:50:33,280 --> 00:50:35,600
Speaker 2: out his toys because he's about to not be such

969
00:50:35,640 --> 00:50:41,160
Speaker 2: a little boy anymore. And instead of saying, hey, you know, buddy,

970
00:50:41,200 --> 00:50:43,239
Speaker 2: we really got to talk about this or tell me

971
00:50:43,280 --> 00:50:46,919
Speaker 2: how you're feeling. Don't cover it up, James, you could

972
00:50:46,920 --> 00:50:49,320
Speaker 2: see him realize what was going on, and he just said,

973
00:50:50,480 --> 00:50:54,600
Speaker 2: I'm here if you need me. Yeah, And it was

974
00:50:54,719 --> 00:50:58,000
Speaker 2: so nice, you know, met by a kid who's behaving

975
00:50:58,040 --> 00:51:01,120
Speaker 2: in a and you know, an emotional kind of salty

976
00:51:01,840 --> 00:51:06,120
Speaker 2: way to be like whenever you've done whatever you're doing,

977
00:51:06,800 --> 00:51:08,279
Speaker 2: I'm here for you. Yeah.

978
00:51:08,320 --> 00:51:11,480
Speaker 1: I was like, man, that's really nice good parenting.

979
00:51:11,160 --> 00:51:14,760
Speaker 3: And also how relatable, like, oh, you're having big feelings,

980
00:51:14,800 --> 00:51:17,239
Speaker 3: so you're busying yourself with a household activity.

981
00:51:17,440 --> 00:51:19,759
Speaker 2: Yep, yeah we all do that.

982
00:51:20,320 --> 00:51:23,799
Speaker 3: Yeah. Yeah, I stress clean, I sad clean, I big

983
00:51:23,840 --> 00:51:25,240
Speaker 3: feeling clean all the time.

984
00:51:25,600 --> 00:51:29,360
Speaker 1: Yeah, huh yeah. I think that was something we decided

985
00:51:29,480 --> 00:51:32,800
Speaker 1: to do. I wonder if I still have the script,

986
00:51:32,800 --> 00:51:35,239
Speaker 1: I'd like to go look, because yeah, I feel like

987
00:51:35,280 --> 00:51:38,719
Speaker 1: there was a lot of just sitting in a room together,

988
00:51:38,760 --> 00:51:40,480
Speaker 1: Like Jamie's sitting on his bed and we come in

989
00:51:40,480 --> 00:51:42,200
Speaker 1: and sit down next to him and have a talk.

990
00:51:43,120 --> 00:51:47,080
Speaker 1: And I feel like that's what I do I busy myself.

991
00:51:47,160 --> 00:51:48,799
Speaker 1: If I don't want to deal with something, I just

992
00:51:49,680 --> 00:51:50,720
Speaker 1: clean or whatever.

993
00:51:52,280 --> 00:51:58,640
Speaker 2: Yeah, I'm interesting in my cabinet. Yes, yeah, I'm like

994
00:51:59,040 --> 00:52:01,799
Speaker 2: everything in here needs I.

995
00:52:01,760 --> 00:52:06,480
Speaker 3: Have a question. Have we met Josh before the lead actor?

996
00:52:06,880 --> 00:52:12,239
Speaker 3: And now it felt odd that we didn't. We were

997
00:52:12,280 --> 00:52:15,640
Speaker 3: just supposed to get who this guy was, and.

998
00:52:15,840 --> 00:52:19,160
Speaker 1: He had been in a group setting on the set

999
00:52:19,360 --> 00:52:24,000
Speaker 1: the episode before. Oh, he was there in sort of

1000
00:52:24,040 --> 00:52:27,359
Speaker 1: the in the cast like people standing around set, so

1001
00:52:27,719 --> 00:52:30,800
Speaker 1: we saw him, but it was very brief and probably

1002
00:52:30,840 --> 00:52:33,800
Speaker 1: not memorable enough for it. It wasn't for the intro.

1003
00:52:34,760 --> 00:52:37,040
Speaker 2: And what I loved was the choice that you guys

1004
00:52:37,080 --> 00:52:41,520
Speaker 2: made to shoot him coming in in slow motion, handing

1005
00:52:41,560 --> 00:52:46,120
Speaker 2: things off, being handed other things. It was so clear like, oh,

1006
00:52:46,200 --> 00:52:48,600
Speaker 2: this is the douchey yng star guy.

1007
00:52:48,760 --> 00:52:51,120
Speaker 1: Well that's why, because we didn't have any history with him.

1008
00:52:51,120 --> 00:52:52,560
Speaker 1: I was like, the audience is gonna have no idea

1009
00:52:52,600 --> 00:52:53,880
Speaker 1: who this guy is if he just walks up to

1010
00:52:53,880 --> 00:52:56,839
Speaker 1: the craft service table. I need to like introduce him.

1011
00:52:56,880 --> 00:52:58,839
Speaker 1: People need to understand who he is and what his

1012
00:52:58,880 --> 00:53:00,759
Speaker 1: personality is ahead of time.

1013
00:53:00,880 --> 00:53:01,360
Speaker 2: Yeah.

1014
00:53:01,400 --> 00:53:04,320
Speaker 3: It was almost a way of seeing how he saw himself. Yes,

1015
00:53:04,360 --> 00:53:06,279
Speaker 3: which was a great like, Okay, I think I know

1016
00:53:06,320 --> 00:53:06,919
Speaker 3: who you are.

1017
00:53:07,080 --> 00:53:08,200
Speaker 2: You know, oh, we know you.

1018
00:53:08,400 --> 00:53:10,200
Speaker 3: Yeah, this didn't happen in real life, but this for

1019
00:53:10,280 --> 00:53:11,399
Speaker 3: sure happened in your head.

1020
00:53:11,760 --> 00:53:12,360
Speaker 2: Yeah.

1021
00:53:12,440 --> 00:53:15,319
Speaker 1: That was Paul Teal And he played Noah in my

1022
00:53:15,440 --> 00:53:17,520
Speaker 1: version of the Notebook. When we did the workshop of

1023
00:53:17,560 --> 00:53:21,120
Speaker 1: the Notebook in Wilmington, he was our Noah and he

1024
00:53:21,200 --> 00:53:23,440
Speaker 1: was so good and so he was already there and

1025
00:53:23,480 --> 00:53:26,000
Speaker 1: around a lot. And I think the Vin Cannons when

1026
00:53:26,040 --> 00:53:27,759
Speaker 1: they knew they had this part coming up, they had

1027
00:53:27,760 --> 00:53:31,360
Speaker 1: seen him in my show and called him into audition.

1028
00:53:32,800 --> 00:53:34,920
Speaker 1: So it was really fun to see him actually on

1029
00:53:35,000 --> 00:53:38,279
Speaker 1: screen too. But he totally has that like he kind

1030
00:53:38,280 --> 00:53:40,440
Speaker 1: of reminded me of Ryan Phillippy a little bit and

1031
00:53:40,600 --> 00:53:43,959
Speaker 1: had this like real he just knew how to play

1032
00:53:44,000 --> 00:53:47,279
Speaker 1: douche real well. It worked for me.

1033
00:53:48,160 --> 00:53:51,080
Speaker 3: Was there ever, I just I was shocked on our

1034
00:53:51,080 --> 00:53:54,959
Speaker 3: show when we had a legitimate opportunity to show more

1035
00:53:55,000 --> 00:53:57,640
Speaker 3: people in their underwear that we didn't take it. Was

1036
00:53:57,680 --> 00:54:00,680
Speaker 3: there ever a scene of shooting a love scene in

1037
00:54:00,719 --> 00:54:06,360
Speaker 3: the movie. No, because like, we shoehorn as much gratuitous

1038
00:54:07,160 --> 00:54:09,400
Speaker 3: flesh to the show as we can, and here we

1039
00:54:09,480 --> 00:54:13,640
Speaker 3: had a big sex scene being shot between Alex and

1040
00:54:13,840 --> 00:54:17,240
Speaker 3: Josh and you ready see it and I thought, you're right, huh.

1041
00:54:17,280 --> 00:54:19,319
Speaker 3: And then it's like, but the episode went, Okay, we

1042
00:54:19,360 --> 00:54:23,040
Speaker 3: made a mistake. Here's India and Lauder.

1043
00:54:24,320 --> 00:54:25,280
Speaker 4: Yeah.

1044
00:54:25,719 --> 00:54:28,440
Speaker 1: Oh man, that was a rough one.

1045
00:54:28,680 --> 00:54:31,239
Speaker 3: Yeah, tell me about you having because as I watched,

1046
00:54:31,280 --> 00:54:35,040
Speaker 3: I thought, I'm curious how Joy and India talked through

1047
00:54:35,080 --> 00:54:36,000
Speaker 3: this and did this.

1048
00:54:36,520 --> 00:54:40,040
Speaker 1: We had a big disagreement about this. Actually, India and I.

1049
00:54:40,040 --> 00:54:43,120
Speaker 1: I I love her by the way, like I hang

1050
00:54:43,120 --> 00:54:44,760
Speaker 1: out with her mom when I go to London. India

1051
00:54:44,800 --> 00:54:49,800
Speaker 1: is amazing. But that day it was you know, she

1052
00:54:49,800 --> 00:54:51,760
Speaker 1: she was pretty new. She and I had worked together.

1053
00:54:52,000 --> 00:54:54,319
Speaker 1: I think we had one or two scenes together, and

1054
00:54:54,320 --> 00:55:00,000
Speaker 1: then she started working mostly with grubs and I had envision.

1055
00:55:01,719 --> 00:55:05,000
Speaker 1: I was like, let's give her a real acting moment

1056
00:55:05,080 --> 00:55:09,000
Speaker 1: where she's she's been doing so much posturing as Miranda,

1057
00:55:09,760 --> 00:55:11,719
Speaker 1: and I want to give her this moment where she

1058
00:55:11,800 --> 00:55:14,280
Speaker 1: comes out and it turns out all of her posturing,

1059
00:55:14,360 --> 00:55:17,799
Speaker 1: she just has like normal granny panties and like a

1060
00:55:17,840 --> 00:55:21,120
Speaker 1: really uninteresting bra, and she comes out and she's just

1061
00:55:21,160 --> 00:55:26,719
Speaker 1: still super confident. And India was adamantly against this, and

1062
00:55:26,800 --> 00:55:28,960
Speaker 1: we kept kind of going back and forth between wardrobe,

1063
00:55:29,080 --> 00:55:32,480
Speaker 1: like no, I really want this. Is this really I

1064
00:55:32,480 --> 00:55:34,680
Speaker 1: think will feel really great for the character, And then

1065
00:55:34,719 --> 00:55:36,560
Speaker 1: it would come back to me India is really uncomfortable

1066
00:55:36,560 --> 00:55:37,799
Speaker 1: with that. She doesn't want to do it. And then

1067
00:55:38,040 --> 00:55:40,040
Speaker 1: I was like, okay, let me. It was going back

1068
00:55:40,080 --> 00:55:41,600
Speaker 1: and forth too much. I just went back went over

1069
00:55:41,640 --> 00:55:44,239
Speaker 1: to her trailer and I was like, hey, let's it's

1070
00:55:44,280 --> 00:55:46,040
Speaker 1: better if we talk face to face what's going on.

1071
00:55:46,560 --> 00:55:49,880
Speaker 1: And I don't know how much of what the women

1072
00:55:49,920 --> 00:55:53,840
Speaker 1: on set experience with our boss carried into India's journey

1073
00:55:53,880 --> 00:55:55,759
Speaker 1: as well. I haven't talked with her much about it,

1074
00:55:55,840 --> 00:55:58,040
Speaker 1: but she was so.

1075
00:55:59,640 --> 00:56:00,640
Speaker 2: Uh.

1076
00:56:01,000 --> 00:56:04,279
Speaker 1: She was so nervous about the possibility of having to

1077
00:56:04,560 --> 00:56:07,240
Speaker 1: really come to set in a real set of underwear,

1078
00:56:07,239 --> 00:56:09,839
Speaker 1: and she was like, if I if I could come

1079
00:56:09,880 --> 00:56:12,080
Speaker 1: to set in something that feels more like a costume,

1080
00:56:12,840 --> 00:56:15,480
Speaker 1: I can settle into this more. It still feels like

1081
00:56:15,480 --> 00:56:18,719
Speaker 1: it works for the character, and I just please, like,

1082
00:56:18,760 --> 00:56:21,440
Speaker 1: woman to woman, this is what really feels more comfortable

1083
00:56:21,440 --> 00:56:24,360
Speaker 1: to me. And that was that's it. You know, sometimes

1084
00:56:24,400 --> 00:56:26,439
Speaker 1: it just takes a face to face conversation. It was like, done,

1085
00:56:26,480 --> 00:56:28,759
Speaker 1: you got it, That's what we'll do. That's fine, and

1086
00:56:28,840 --> 00:56:31,759
Speaker 1: it worked. It worked great. Like she she came out,

1087
00:56:31,880 --> 00:56:36,200
Speaker 1: she was boss, she looked amazing, she was she committed

1088
00:56:36,200 --> 00:56:41,640
Speaker 1: to it. But why why did we need India in

1089
00:56:41,680 --> 00:56:45,440
Speaker 1: her underwear in this episode? It's so unnecessary And you're right, Rob,

1090
00:56:45,960 --> 00:56:48,720
Speaker 1: If it belonged anywhere, it would have been in a

1091
00:56:48,840 --> 00:56:53,520
Speaker 1: comedic setting of Alex and this Josh character trying to

1092
00:56:53,560 --> 00:56:57,359
Speaker 1: figure out their love scene, and instead we've got what like,

1093
00:56:57,600 --> 00:57:01,040
Speaker 1: We've got Miranda walking around trying to prove vulnerability, and

1094
00:57:01,400 --> 00:57:02,800
Speaker 1: it was just so awkward.

1095
00:57:03,760 --> 00:57:07,319
Speaker 3: We even have a scene of Julian referencing how the

1096
00:57:07,360 --> 00:57:10,560
Speaker 3: sex scene went exactly and a funny thing happened, so

1097
00:57:10,600 --> 00:57:13,719
Speaker 3: it's like, wait, what you know.

1098
00:57:13,760 --> 00:57:17,960
Speaker 2: What's really interesting about that is the Julian reference and

1099
00:57:18,000 --> 00:57:21,560
Speaker 2: like making it funny, I know is referential to something

1100
00:57:21,640 --> 00:57:25,080
Speaker 2: that happened on our set that really wasn't funny, and

1101
00:57:25,120 --> 00:57:28,080
Speaker 2: it really irked me. I was like, God, I hate

1102
00:57:28,080 --> 00:57:32,520
Speaker 2: that we're making jokes about this and watching it's so

1103
00:57:32,640 --> 00:57:37,600
Speaker 2: interesting to hear that I didn't. I didn't remember you

1104
00:57:37,840 --> 00:57:42,040
Speaker 2: and India's conversation in like the larger context I wrote

1105
00:57:42,040 --> 00:57:47,080
Speaker 2: in my notes, I remembered how uncomfortable she was, and

1106
00:57:47,120 --> 00:57:49,600
Speaker 2: how nervous she was and what the pressure was and

1107
00:57:49,600 --> 00:57:51,840
Speaker 2: what was written into the script for her to be wearing,

1108
00:57:52,800 --> 00:57:55,800
Speaker 2: and you know how everyone was like, what do we

1109
00:57:55,840 --> 00:57:59,640
Speaker 2: do about the expectation from the boss and whatever whatever?

1110
00:58:00,400 --> 00:58:05,200
Speaker 2: And when I watched her walk out watching this episode,

1111
00:58:05,280 --> 00:58:08,320
Speaker 2: I was like, oh my god. I remembered her being

1112
00:58:08,400 --> 00:58:12,720
Speaker 2: like the boss gets what's being demanded. And also, if

1113
00:58:12,720 --> 00:58:15,840
Speaker 2: I'm wearing these black stockings, I'm almost wearing pants, yes,

1114
00:58:16,000 --> 00:58:20,360
Speaker 2: And how we be less naked yes. And what I

1115
00:58:20,440 --> 00:58:25,080
Speaker 2: loved seeing her do it now from this vantage point

1116
00:58:25,120 --> 00:58:27,080
Speaker 2: is I got to see it all in greater context

1117
00:58:27,080 --> 00:58:29,200
Speaker 2: because obviously at the time we were all just like, god,

1118
00:58:29,320 --> 00:58:35,760
Speaker 2: this is so infuriating, terrible. And she plays so much

1119
00:58:35,800 --> 00:58:38,400
Speaker 2: of her stuff with Grubs in this episode, with like

1120
00:58:38,440 --> 00:58:41,760
Speaker 2: a very masculine swagger, even the way she grabs his

1121
00:58:41,800 --> 00:58:43,480
Speaker 2: beard and he thinks she's being cute, and then she

1122
00:58:43,560 --> 00:58:46,720
Speaker 2: disses it, like all these things and she's I mean,

1123
00:58:46,800 --> 00:58:49,920
Speaker 2: she went clodstonped down there in that outfit and was like,

1124
00:58:50,000 --> 00:58:52,200
Speaker 2: I'm hot, what do you want from me? And I

1125
00:58:52,360 --> 00:58:55,640
Speaker 2: was like, oh my god. She really took this thing

1126
00:58:55,640 --> 00:58:59,520
Speaker 2: that made her uncomfortable and made it so bossed, powerful

1127
00:59:00,240 --> 00:59:03,000
Speaker 2: and ironically walked down in lingerie but managed to have

1128
00:59:03,120 --> 00:59:06,200
Speaker 2: so much of her body cover yep, And I was like,

1129
00:59:06,560 --> 00:59:10,400
Speaker 2: I want to give India a high five today. So smart,

1130
00:59:11,160 --> 00:59:13,640
Speaker 2: you guys crushed it. I'm so glad she had you

1131
00:59:13,680 --> 00:59:14,680
Speaker 2: as a director for that.

1132
00:59:15,000 --> 00:59:16,240
Speaker 1: She's so smart.

1133
00:59:16,920 --> 00:59:17,720
Speaker 2: It was just great.

1134
00:59:18,200 --> 00:59:20,560
Speaker 1: Yeah, she saw something that I couldn't see and when

1135
00:59:20,600 --> 00:59:23,520
Speaker 1: she explained it to me, it made total sense. And

1136
00:59:23,600 --> 00:59:25,960
Speaker 1: it just goes to show what a brilliant business woman

1137
00:59:26,000 --> 00:59:29,000
Speaker 1: she is too. Guys, if you aren't following India de Beaufort,

1138
00:59:29,080 --> 00:59:32,960
Speaker 1: you really should go follow her on Instagram. She's just

1139
00:59:33,320 --> 00:59:36,480
Speaker 1: really fun to watch anyway. It's so a talented singer

1140
00:59:36,600 --> 00:59:39,520
Speaker 1: and stylist and like really interesting.

1141
00:59:39,560 --> 00:59:41,920
Speaker 2: I was just going to say her styling video now, I

1142
00:59:42,000 --> 00:59:44,000
Speaker 2: just didn't want anytime I have to go on a trip,

1143
00:59:44,040 --> 00:59:45,400
Speaker 2: I'm like, what should I wear? I need to go

1144
00:59:45,440 --> 00:59:46,760
Speaker 2: see why smart pop.

1145
00:59:46,560 --> 00:59:48,320
Speaker 1: A bag of popcorn and just sit and watch those

1146
00:59:48,360 --> 00:59:50,000
Speaker 1: like one after it was so fun.

1147
00:59:50,120 --> 00:59:51,280
Speaker 2: I need her to have a show.

1148
00:59:51,440 --> 00:59:55,080
Speaker 1: No, Yeah, she's awesome. So that was that went better

1149
00:59:55,120 --> 00:59:57,560
Speaker 1: than it would have if I had been on my own.

1150
00:59:57,640 --> 00:59:58,680
Speaker 1: So good on her.

1151
00:59:58,880 --> 01:00:01,160
Speaker 2: Yeah, you guys did such a good job. I'm so

1152
01:00:01,240 --> 01:00:04,680
Speaker 2: glad that for her, in particular with that storyline, she

1153
01:00:04,720 --> 01:00:07,240
Speaker 2: had you as a director, Like, it was so important

1154
01:00:07,280 --> 01:00:11,600
Speaker 2: for you to direct the you know, Haley and Quinn

1155
01:00:11,640 --> 01:00:15,080
Speaker 2: and Taylor storyline with Lydia. Yeah, and I think it

1156
01:00:15,160 --> 01:00:18,320
Speaker 2: was also really important for you you to be, you know,

1157
01:00:18,440 --> 01:00:21,720
Speaker 2: one of us directing, one of us going through what

1158
01:00:21,880 --> 01:00:23,480
Speaker 2: we went through with our boss. I think that was

1159
01:00:23,560 --> 01:00:25,120
Speaker 2: really banks special.

1160
01:00:25,320 --> 01:00:28,400
Speaker 3: When she walks out and the hardcore rock and roll

1161
01:00:28,480 --> 01:00:34,480
Speaker 3: guitar riff came on, I had I just I face palmed,

1162
01:00:34,600 --> 01:00:37,360
Speaker 3: like talk about hat on a hat, you know. It

1163
01:00:37,440 --> 01:00:40,640
Speaker 3: was like I just laughed, going, oh yeah, totally Joy

1164
01:00:40,680 --> 01:00:43,200
Speaker 3: picked out the heavy duty guitar riff from when the

1165
01:00:43,240 --> 01:00:45,240
Speaker 3: girl was like get out of here, man.

1166
01:00:45,320 --> 01:00:47,960
Speaker 1: You know what, though in some ways that that might

1167
01:00:48,000 --> 01:00:52,120
Speaker 1: have been Lindsay Wilfington additionally protecting India and making it

1168
01:00:52,240 --> 01:00:54,560
Speaker 1: even more campy.

1169
01:00:54,640 --> 01:00:56,720
Speaker 3: Yes, well, now that I hear what you're saying about

1170
01:00:57,120 --> 01:01:01,360
Speaker 3: it's like a costume she's wearing. You're a hundred percent right, Yeah,

1171
01:01:01,600 --> 01:01:04,400
Speaker 3: it completely makes sense. But when it first happened in

1172
01:01:04,400 --> 01:01:07,200
Speaker 3: the moment, I was like, as if we need to

1173
01:01:07,280 --> 01:01:11,400
Speaker 3: like highlight this anymore. It's like yea, yeah, Okay, audience,

1174
01:01:11,440 --> 01:01:12,480
Speaker 3: here's what this is.

1175
01:01:14,600 --> 01:01:19,520
Speaker 1: Can we also just address the red hair dye that

1176
01:01:19,920 --> 01:01:22,720
Speaker 1: was must have been in the water in Wilmington, because

1177
01:01:22,880 --> 01:01:24,240
Speaker 1: first of all, so if you were the only one

1178
01:01:24,280 --> 01:01:26,520
Speaker 1: without this red in your hair, somehow you manage to

1179
01:01:26,520 --> 01:01:27,920
Speaker 1: get your hair like an ashy brown.

1180
01:01:27,960 --> 01:01:30,640
Speaker 2: Finally, but that's part of why we dyed my hair

1181
01:01:30,720 --> 01:01:33,720
Speaker 2: so dark, because everyone's hair was running so red, like

1182
01:01:33,840 --> 01:01:36,480
Speaker 2: even Middle East for you guys, yes, the last you

1183
01:01:36,560 --> 01:01:40,040
Speaker 2: guys to play siblings. They were like, it works, but

1184
01:01:40,360 --> 01:01:42,120
Speaker 2: they started overdying my hair.

1185
01:01:42,240 --> 01:01:44,840
Speaker 1: I was born. This was like, we're an aerial little

1186
01:01:44,880 --> 01:01:47,200
Speaker 1: Mermaid territory. We're in, like the when you go to

1187
01:01:47,320 --> 01:01:51,480
Speaker 1: emoji Mermaid on your phone where it's like purple red, Like,

1188
01:01:51,600 --> 01:01:53,840
Speaker 1: this is the territory we're in. For Haley, I don't

1189
01:01:54,080 --> 01:01:55,360
Speaker 1: really don't know what happened.

1190
01:01:55,960 --> 01:01:59,080
Speaker 2: Part of that is also, though, the color timing, because

1191
01:01:59,160 --> 01:02:03,200
Speaker 2: remember they call timed our show so warm. I mean

1192
01:02:03,200 --> 01:02:05,480
Speaker 2: it changed the color of people's eyes.

1193
01:02:05,920 --> 01:02:06,840
Speaker 1: Yeah, that's true.

1194
01:02:06,960 --> 01:02:10,920
Speaker 2: They turned the warm saturation up so much on our

1195
01:02:10,960 --> 01:02:14,520
Speaker 2: show that I promise you your hair was red, but

1196
01:02:14,560 --> 01:02:16,200
Speaker 2: it didn't look like Ariel in person.

1197
01:02:16,240 --> 01:02:18,400
Speaker 1: I promise there were a couple of shots. I was like,

1198
01:02:18,440 --> 01:02:21,840
Speaker 1: did they just dump an entire bottle of Hennah in

1199
01:02:21,920 --> 01:02:26,280
Speaker 1: my hair? And like like iodie io, iodyned one hundred

1200
01:02:26,360 --> 01:02:27,480
Speaker 1: percent that's the color.

1201
01:02:27,560 --> 01:02:31,360
Speaker 3: Right before we wrap up, I gotta give a shout

1202
01:02:31,360 --> 01:02:37,440
Speaker 3: out to how funny the scene was with uh Brooke

1203
01:02:37,800 --> 01:02:41,080
Speaker 3: and Victoria when she's talking about how I've taken a lover.

1204
01:02:41,600 --> 01:02:42,840
Speaker 2: Yes, that's my honorable mention.

1205
01:02:43,000 --> 01:02:45,640
Speaker 3: All of that was great. Then Brooke and Julian, when

1206
01:02:45,680 --> 01:02:47,640
Speaker 3: Brooke tells Julian about it and he's like, why are

1207
01:02:47,680 --> 01:02:49,880
Speaker 3: you telling me this? And Brooks like, because I had

1208
01:02:49,920 --> 01:02:51,880
Speaker 3: to endure it, so you have to endure it. Yeah.

1209
01:02:52,080 --> 01:02:54,040
Speaker 2: Yeah, we can be traumatized together.

1210
01:02:54,280 --> 01:02:58,360
Speaker 3: We can be traumatized together? Is so good? And then

1211
01:02:58,480 --> 01:03:04,360
Speaker 3: are we supposed to gather that Paul stood up Victoria

1212
01:03:04,520 --> 01:03:06,120
Speaker 3: at the end. Is that why she's sitting at a

1213
01:03:06,160 --> 01:03:06,880
Speaker 3: table by herself?

1214
01:03:07,240 --> 01:03:09,000
Speaker 1: I guess so that was a little vague too.

1215
01:03:09,400 --> 01:03:10,640
Speaker 2: I don't quite remember that.

1216
01:03:11,720 --> 01:03:15,320
Speaker 3: And I'm also assuming that here's the question I had.

1217
01:03:15,360 --> 01:03:18,040
Speaker 3: So of course, when Julian's like, I'll walk you to

1218
01:03:18,120 --> 01:03:22,120
Speaker 3: your room, I'm like, dude, can you know, just one time,

1219
01:03:22,200 --> 01:03:25,240
Speaker 3: can you learn a lesson? Can you adapt? Please? But

1220
01:03:25,840 --> 01:03:29,080
Speaker 3: and then when Brooke walks in, obviously Alex is laying

1221
01:03:29,120 --> 01:03:32,400
Speaker 3: in bed naked. I think I know where the trick

1222
01:03:32,520 --> 01:03:34,600
Speaker 3: is is that I'm guessing next episode we're going to

1223
01:03:34,640 --> 01:03:37,040
Speaker 3: find out that he switched rooms with her because she

1224
01:03:37,080 --> 01:03:38,600
Speaker 3: wants her to get sleep exactly.

1225
01:03:51,120 --> 01:03:53,840
Speaker 1: All right, listeners, we have a listener question from Chelsea.

1226
01:03:54,680 --> 01:03:59,560
Speaker 1: Nathan says to Lydia, you were responsible for raising the

1227
01:03:59,600 --> 01:04:05,120
Speaker 1: woman that changed my entire world. My question is, Wow,

1228
01:04:05,200 --> 01:04:07,840
Speaker 1: this is loaded. Who do you think had the most

1229
01:04:07,960 --> 01:04:11,920
Speaker 1: impact on your life? Wow? Thanks Chelsea.

1230
01:04:13,000 --> 01:04:14,480
Speaker 2: That's a big question, big one.

1231
01:04:14,480 --> 01:04:17,120
Speaker 1: I don't think I could give that to one particular person,

1232
01:04:18,160 --> 01:04:20,560
Speaker 1: like the best positive impact on your life.

1233
01:04:20,760 --> 01:04:24,960
Speaker 2: Yeah, there's so many, there's like so many versions of that.

1234
01:04:25,080 --> 01:04:27,040
Speaker 2: And I also would like to think, because we're not

1235
01:04:27,080 --> 01:04:29,480
Speaker 2: all in our mid eighties, we don't know the final

1236
01:04:29,520 --> 01:04:30,000
Speaker 2: answer to.

1237
01:04:30,040 --> 01:04:33,919
Speaker 1: My question like that too, you know, Yeah, so many,

1238
01:04:33,960 --> 01:04:36,960
Speaker 1: there's so many different mentors, so many people. There's people

1239
01:04:36,960 --> 01:04:39,240
Speaker 1: I haven't even met that have made a huge impact

1240
01:04:39,280 --> 01:04:43,000
Speaker 1: on my life. There's people, I mean, our parents always

1241
01:04:43,040 --> 01:04:46,120
Speaker 1: make a huge impact. I don't know, don't I honestly

1242
01:04:46,120 --> 01:04:47,400
Speaker 1: don't know if I have an answer for this.

1243
01:04:47,840 --> 01:04:49,440
Speaker 3: I don't I don't have an MVP.

1244
01:04:49,960 --> 01:04:50,880
Speaker 1: Yeah, there's just too many.

1245
01:04:51,200 --> 01:04:55,000
Speaker 3: Listen. It genuinely took a village to get this guy.

1246
01:04:55,080 --> 01:04:59,600
Speaker 3: Wory is so yeah man, Team sport Yeah.

1247
01:04:59,440 --> 01:05:02,920
Speaker 2: I like that. Team Sport. Yeah, let's spin a wheel.

1248
01:05:02,920 --> 01:05:19,680
Speaker 3: Friends scrolling most likely to plan their high school reunions?

1249
01:05:19,720 --> 01:05:20,080
Speaker 1: Not it?

1250
01:05:21,800 --> 01:05:26,840
Speaker 2: Absolutely? Hillary? Yeah, yeah, sure, none of us. Definitely, not

1251
01:05:26,880 --> 01:05:28,360
Speaker 2: any of the three of us, but her.

1252
01:05:28,760 --> 01:05:29,880
Speaker 1: Yes, by that.

1253
01:05:30,640 --> 01:05:32,120
Speaker 3: How about a character on the show.

1254
01:05:32,480 --> 01:05:34,240
Speaker 2: Miss Lauren, probably, don't you think?

1255
01:05:34,320 --> 01:05:37,400
Speaker 3: And I was going to say pre her struggle Millie?

1256
01:05:37,680 --> 01:05:40,000
Speaker 1: Yeah, Lauren and Millie really could have been great friends.

1257
01:05:41,000 --> 01:05:42,520
Speaker 1: I could see the two of them cheaming up to

1258
01:05:42,560 --> 01:05:43,720
Speaker 1: plan a high school reunion.

1259
01:05:44,440 --> 01:05:44,600
Speaker 3: Sure.

1260
01:05:44,600 --> 01:05:46,720
Speaker 2: I also love that we read the question and all

1261
01:05:46,720 --> 01:05:48,320
Speaker 2: three of us were like, not it, and then we

1262
01:05:48,440 --> 01:05:55,200
Speaker 2: thought about our characters. We were like, not it. I

1263
01:05:55,280 --> 01:05:58,920
Speaker 2: love us, all right, Cuties. Next week we will be

1264
01:05:59,120 --> 01:06:03,840
Speaker 2: in season seven, episode eighteen, Last Day of our Acquaintance.

1265
01:06:04,200 --> 01:06:06,120
Speaker 2: I just remembered what the episode's about, and I got

1266
01:06:06,120 --> 01:06:06,600
Speaker 2: so sad.

1267
01:06:07,600 --> 01:06:08,600
Speaker 1: Yeah, that's right.

1268
01:06:09,640 --> 01:06:10,640
Speaker 3: Clay dies his hair.

1269
01:06:12,000 --> 01:06:14,440
Speaker 5: Wait, we didn't talk about Clay and Katie. Hold on,

1270
01:06:14,600 --> 01:06:17,280
Speaker 5: two seconds. We gotta spend like, give me ninety seconds

1271
01:06:17,320 --> 01:06:20,640
Speaker 5: on Clay and Katie Ky, this is crazy. Did you

1272
01:06:21,400 --> 01:06:22,480
Speaker 5: know this was coming?

1273
01:06:22,840 --> 01:06:24,840
Speaker 1: I mean when you read the script, were you like,

1274
01:06:24,960 --> 01:06:25,880
Speaker 1: what are we doing?

1275
01:06:26,360 --> 01:06:29,400
Speaker 3: Come on? I remember reading this and going, oh, I

1276
01:06:29,440 --> 01:06:32,320
Speaker 3: wonder who they're gonna get, Like that's a tricky cast,

1277
01:06:32,440 --> 01:06:34,920
Speaker 3: like a I wonder who they're gonna get. And they're like,

1278
01:06:35,680 --> 01:06:40,040
Speaker 3: good news, we got a man to shool like for

1279
01:06:40,120 --> 01:06:42,640
Speaker 3: the same we're gonna just soap opera this, and I

1280
01:06:42,800 --> 01:06:44,600
Speaker 3: just they're like, don't worry, we have a fix. And

1281
01:06:44,640 --> 01:06:47,840
Speaker 3: apparently the fix was dyeing her hair like two shades different.

1282
01:06:49,200 --> 01:06:51,320
Speaker 2: You're like, yeah, but what about her same face.

1283
01:06:52,080 --> 01:06:54,640
Speaker 3: Yeah, it's funny because that last shot of Clay when

1284
01:06:54,760 --> 01:06:57,880
Speaker 3: it's just that look of like what I think was

1285
01:06:58,000 --> 01:07:00,160
Speaker 3: just me in real life, going wait what.

1286
01:07:02,240 --> 01:07:06,160
Speaker 1: Also, he walks up to her while she This is

1287
01:07:06,480 --> 01:07:09,080
Speaker 1: my mistake obviously as a director, but you walk up

1288
01:07:09,080 --> 01:07:12,440
Speaker 1: to her while she's playing tennis, like excuse me, in

1289
01:07:12,480 --> 01:07:15,520
Speaker 1: the middle of a tennis match, like she's hitting balls

1290
01:07:15,640 --> 01:07:17,040
Speaker 1: and turns around like.

1291
01:07:18,280 --> 01:07:21,920
Speaker 3: Maybe Clay is just in such shock that he loses

1292
01:07:22,040 --> 01:07:24,480
Speaker 3: all sort of like the corn propriety.

1293
01:07:25,040 --> 01:07:27,080
Speaker 2: Yeah, it's the beginning of the fugue state.

1294
01:07:27,440 --> 01:07:30,960
Speaker 3: Oh my gosh, I'm dready. Okay, it's gonna be great.

1295
01:07:31,000 --> 01:07:31,880
Speaker 3: It's all gonna be great.

1296
01:07:31,920 --> 01:07:32,120
Speaker 2: Gang.

1297
01:07:32,160 --> 01:07:35,640
Speaker 3: Wow right, Yes, this was a This was an interesting

1298
01:07:35,680 --> 01:07:38,480
Speaker 3: turn of events that I'm sure nothing crazy will come

1299
01:07:38,520 --> 01:07:39,120
Speaker 3: of it, you know.

1300
01:07:39,320 --> 01:07:49,000
Speaker 1: No, Okay, obsessed, Thanks for joining us, Gang, Thanks, y hey,

1301
01:07:49,040 --> 01:07:49,920
Speaker 1: thanks for listening.

1302
01:07:50,040 --> 01:07:52,280
Speaker 2: Don't forget to leave us a review. You can also

1303
01:07:52,320 --> 01:07:55,160
Speaker 2: follow us on Instagram at Drama Queen's O t.

1304
01:07:55,440 --> 01:08:00,000
Speaker 1: H or email us at Drama Queens at iHeartRadio dot com.

1305
01:08:00,400 --> 01:08:01,400
Speaker 1: See you next time.

1306
01:08:02,640 --> 01:08:04,520
Speaker 3: We all about that high.

1307
01:08:04,280 --> 01:08:08,520
Speaker 1: School drama Girl, Drama girl, all about them high school queens.

1308
01:08:08,560 --> 01:08:09,760
Speaker 1: We'll take you for a ride.

1309
01:08:09,840 --> 01:08:13,120
Speaker 2: And our comic girl cheering for the right teams Drama

1310
01:08:13,200 --> 01:08:16,599
Speaker 2: Queensise my girl, rough girl fashion with your tough

1311
01:08:16,640 --> 01:08:19,639
Speaker 1: Girl, you could sit with us Girl Drama Queens, Drama Queise,

1312
01:08:19,680 --> 01:08:23,679
Speaker 1: Drama Queens, Drama Drama Queens, Drama Queens