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Speaker 1: H m.

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Speaker 2: We just got back last night from vam VAMPAMP. I

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Speaker 2: love a good double good double F. I know, and

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Speaker 2: just the way it's spelled always makes me think I'm

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Speaker 2: talking about a planet on Star Wars or something.

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Speaker 1: Right.

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Speaker 2: Anyway, I've never been there, and it's amazing. It's absolutely gorgeous.

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Speaker 2: Have either of you been? Yes? I love that. Here Whistler,

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Speaker 2: No Whistler's in Colorado. No Whistler's in Vancouver. Where is BAMF.

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Speaker 3: BAMF is near closer to Calgary side?

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Speaker 2: Okay, gotcha? Got you find a Calgary? Yeah? Which will you?

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Speaker 2: And I have been to Calgary, which I totally forgotten

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Speaker 2: till I got there. Yes, yeah, My first convention was

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Speaker 2: with Wheelare anyway, drove into the mountains of BAMF. Had

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Speaker 2: the most amazing Like I just am such a mountain person,

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Speaker 2: and my son, it turns out, is even more of

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Speaker 2: a mountain person than me. He has decided we have

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Speaker 2: to live in Canada, we have to move to bamp

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Speaker 2: He's like he won't let this go and I don't

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Speaker 2: know why because it was gorgeous and we were taking

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Speaker 2: hikes and it's like a winter wonderland, you know, it's

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Speaker 2: just like it's just if you, you know, painted this,

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Speaker 2: it wouldn't be as beautiful. I mean, it's just like

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Speaker 2: you're just walking through these like giant piles of snow,

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Speaker 2: and the trees are dropping there because it's spring, so

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Speaker 2: the trees are dropping little snow, so it's like diamonds

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Speaker 2: glittering in the air. Everybody look and there's just mountains

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Speaker 2: surrounding you. Anyway, so we had all these big plans.

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Speaker 2: We were only there for five days, but we were

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Speaker 2: gonna go snowboarding and skiing and sledding. And Andy of

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Speaker 2: course wanted to build a snowman, which always ends up

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Speaker 2: being harder than any But he thinks, especially why is

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Speaker 2: that so hard because you didn't grow up doing it.

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Speaker 2: You guys don't have it down. I guess not, man,

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Speaker 2: I don't know what the hell I'm doing.

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Speaker 3: It is so much work. And trying to get a

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Speaker 3: circle out of snow.

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Speaker 1: Is oh gosh, such a West Coast thing to say,

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Speaker 1: East coasters snowman like that?

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Speaker 2: Like that? That not me? I'm with you, writer, Okay,

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Speaker 2: go on, do you have like a snowman mold?

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Speaker 1: And just know it's it's forward to side to forward,

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Speaker 1: to side too. You do that till you get the

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Speaker 1: big one for two side too, for the for the

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Speaker 1: little while, it's super simple.

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Speaker 2: Oh yeah, oh.

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Speaker 3: Yeah, you really do sound you really okay?

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Speaker 2: Next time, next time somewhere. Yeah. Yeah. So, you know,

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Speaker 2: Indy's like obsessed with moving to Canada and living in

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Speaker 2: banf and I'm like, this is cool and this is fun.

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Speaker 2: And you know Indy's and he's not really an outdoor kid.

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Speaker 2: He's very much like a an indoor kid. And so

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Speaker 2: seeing him like active in the outdoors and loving it

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Speaker 2: was like a big moment. And We're sledding down this

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Speaker 2: hill and I'm starting to finally get our snowman to

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Speaker 2: get and he and my wife are sledding and there

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Speaker 2: are these jumps, like these little humps that people have,

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Speaker 2: you know, because there's like a hill where people have

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Speaker 2: been sledding before, and I'm trying. I tried to hit

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Speaker 2: one of them, and I couldn't. I just kind of

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Speaker 2: like puttsed off the side of the jump, and I

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Speaker 2: was like whatever. But so I look up and my

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Speaker 2: wife and my son are trying to get hit this jump,

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Speaker 2: taking turns on the sled, and I'm building the snowman.

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Speaker 2: I'm really focused on trying to make my like a

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Speaker 2: good face, but I'm also just having this moment. I'm like, wow,

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Speaker 2: we are so happy right now as a family, and

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Speaker 2: it's like, oh, we've come so far from our road

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Speaker 2: trip last summer, which we were just at each other's

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Speaker 2: throats and like, you know, and a lot of that

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Speaker 2: was because we were like, Indy, get outside, get in

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Speaker 2: the raft, we're going swimming out, you know whatever. And

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Speaker 2: this time we're just like, you know what, dude, if

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Speaker 2: you if you want to just hang out, but instead

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Speaker 2: he you know, really wanted to be out of the shadow. Yeah.

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Speaker 2: So I'm just like, wow, maybe we really should go

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Speaker 2: somewhere like in the mountains for a living. Like this

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Speaker 2: is just brings out the best in us, and we're

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Speaker 2: all so happy. And I see Indy's got my wife's

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Speaker 2: phone up and he's filming her, and luckily he was

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Speaker 2: filming slow motion as she sores off this jump just

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Speaker 2: five five feet in the air, just gloriously right towards Indy.

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Speaker 2: And then I watch as she slams on her back,

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Speaker 2: like just on her upper back, Like I mean, I

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Speaker 2: think this hit it actually probably would have been worse

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Speaker 2: if she hit her butt, because then you have the

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Speaker 2: risk of like compressing. Apparently you're not supposed to jump

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Speaker 2: with sleds like these jumps from probably made for snowboarders.

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Speaker 2: Uh right, my wife broke her back and we have it.

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Speaker 2: We have it on video, which the doctors are very

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Speaker 2: appreciative of because it was glorious slow motion and Indy

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Speaker 2: shot it very well. Yeah it was. It's a fracture,

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Speaker 2: so it's not. But I knew it immediately. I ran

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Speaker 2: and she just you know, fell out of the sled

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Speaker 2: on the ground and that was the rest of our trip.

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Speaker 2: Guy spent the rest of the time in the hospital

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Speaker 2: x rays and but you know what, we came back.

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Speaker 2: We still were still pretty positive about BANF and we're

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Speaker 2: still pretty positiveout Canada and uhout sledding. Yeah, sledding, man,

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Speaker 2: But you know, it's also just kind of sled was it?

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Speaker 2: I'm sorry, I'm curious.

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Speaker 1: Just a cheap plastic you know, like a plastic like

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Speaker 1: little tub kind of thing, like one of those little

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Speaker 1: guys got you get.

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Speaker 2: It wasn't It wasn't like the shield kind it was.

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Speaker 1: Shape right, and it wasn't, but it wasn't anything it was.

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Speaker 2: If you were in a wooden one, maybe it can

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Speaker 2: absorb some of that. But this was just like her

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Speaker 2: backs slammed and yeah it's it's a fracture. So it's

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Speaker 2: not like and you know, she has to get more

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Speaker 2: tests and stuff because they were just doing emergency. Like

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Speaker 2: we were in the emergency room and she was there

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Speaker 2: for eight hours and finally getting result. It was on

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Speaker 2: Easter too. Good times, guys, But you know, it just

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Speaker 2: reminded me. Also, you know, we're in our forties. This

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Speaker 2: is what happened, because like this is what you do

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Speaker 2: in your forties. You try and keep up with your kids.

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Speaker 2: You go sledding, you go rollerblading, and you try biking,

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Speaker 2: you whatever, and you break something and it's like a

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Speaker 2: little reminder of like, right, this is this is what

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Speaker 2: our bodies do. Now.

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Speaker 1: Well, I also think it's just all about nature. I

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Speaker 1: think nature is beautiful and amazing. And then breaks your back.

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Speaker 3: Well, I'll tell you now, this is the second down.

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Speaker 3: Like I loved banf I went camping there and I

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Speaker 3: say it was just like, wow, this is the most

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Speaker 3: gorgeous place I've ever seen. You know, this place might

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Speaker 3: make me a camper. And then We spent the first

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Speaker 3: night there.

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Speaker 2: It was glorious. Woke up the next morning and I.

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Speaker 3: Had a bite on my thigh that was the size

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Speaker 3: of my fist and was a thousand degrees. And as

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Speaker 3: I continued to walk throughout the day, my leg became

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Speaker 3: numb and I had to basically carried around. I also

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Speaker 3: ended up in the emergency room fight. I had been

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Speaker 3: bit by a poisonous spider. And anyone who knows me, no, that.

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Speaker 2: Spiders your favorite thing?

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Speaker 3: My no go I So I was literally like, well,

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Speaker 3: guess what. Guess what, guys, that was a one that

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Speaker 3: was a one night Danielle's a camper thing, and now

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Speaker 3: we're not doing that.

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Speaker 4: That's so rare.

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Speaker 2: I mean, that is really rare. That is Yeah.

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Speaker 3: But anyway, that also happened happened in BAMFF. So maybe

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Speaker 3: BAMFF is just trying to kill us.

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Speaker 2: Yes, so you don't you don't pick up spiders and

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Speaker 2: take them outside? Then no? No, okay, curious, I'll just

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Speaker 2: call you if you want to do it. You just

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Speaker 2: do the spier.

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Speaker 1: Because I hate mosquitos more than spiders, and the spiders

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Speaker 1: keep the mosquitos in checks.

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Speaker 2: So I always like, hey, thank you very much. Don't

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Speaker 2: have mosquitos in my house. Well not in the house

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Speaker 2: outside too. Help keep everything down.

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Speaker 3: There's plenty out there. There's plenty out there. There's plenty

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Speaker 3: of spiders out there. I don't kill you if you're

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Speaker 3: out in the wild, but if you come into my territory,

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Speaker 3: it's fair game.

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Speaker 2: But you never saw the spider that bit you on

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Speaker 2: the leg. You never saw wall. What is it? Your castle?

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Speaker 1: Is that?

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Speaker 2: What it is?

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Speaker 1: That?

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Speaker 2: Something like that?

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Speaker 1: Yeah?

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Speaker 2: Nice castle, doctrine, castle, doctor, that's what it is. It's

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Speaker 2: a spider castle doctrine. Welcome to Pond meets World. I'm

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Speaker 2: Daniel Fischl, I'm.

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Speaker 5: Right or Strong, and I'm Wilfordell.

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Speaker 2: Welcome to this episode.

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Speaker 3: Today, we are recapping episode four sixteen, Season four, episode

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Speaker 3: sixteen along Walk to Pittsburgh, Part one. It originally aired

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Speaker 3: February seventh, nineteen ninety seven. The synopsis when Eric sees

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Speaker 3: Sean kiss tapanga, I'll say it here on the cheek.

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Speaker 2: Yeah, and they tried to it away.

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Speaker 1: We'll get into it, but they tried to away.

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Speaker 3: He relays the upsetting news to Cory, and although the

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Speaker 3: kiss was innocent, to pay has much bigger news to

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Speaker 3: break to Corey. It was directed by Jeff McCracken, it

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Speaker 3: was written by Matthew Nelson. And there are no guest stars.

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Speaker 2: So yeah, wow, there aren't. Are there no guest stars

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Speaker 2: for the next one? Right? Yeah? Exactly. It's a bit

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Speaker 2: of a bottle episode. Yeah no, I'm saying. But also

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Speaker 2: for the guest star next thing, because it doesn't Olivia

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Speaker 2: Haussey show up.

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Speaker 4: Or she does, right, So overall thoughts.

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Speaker 2: I'll start if you want. I liked it. I liked

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Speaker 2: that it sets up the next episode. Obviously.

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Speaker 1: I thought, for the first time in a while myself especially,

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Speaker 1: I didn't think the acting in this episode at the

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Speaker 1: beginning was particularly good. I thought I was very high

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Speaker 1: school stage performance for me. For a lot of this,

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Speaker 1: I thought it was over the top at times, trying

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Speaker 1: to seem like there was depth behind it.

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Speaker 2: At times it was totally with you, will Yeah, it was,

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Speaker 2: I'm totally with you, like you know, it was love

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Speaker 2: you as an actor. There's somebody I don't know if

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Speaker 2: it's your fault. I don't think it's your fault because

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Speaker 2: I think it's I mean, it's barely your fault. I

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Speaker 2: had such the same feeling and I think it's just

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Speaker 2: it's just a tonally very weird beginning. Like I guess

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Speaker 2: the first four scenes are so weird, and it was

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Speaker 2: hard for me to sort of like I just feel comfortable,

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Speaker 2: like lokay, where we are and just.

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Speaker 1: At the first moment where I walked down the stairs

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Speaker 1: and I see you guys, even my.

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Speaker 2: Reaction is just bad. It's just bad. Well, it's weird.

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Speaker 2: I'm just all sound Yeah, anything, I know. I know

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Speaker 2: it's a Simon movie. Well we'll get into it. I

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Speaker 2: I have theories. I think I know what like okay,

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Speaker 2: but yeah, I don't think it's all your fault. But

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Speaker 2: I felt the same thing. I was like, there's something

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Speaker 2: off about the acting, and yes there was me I'm

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Speaker 2: barely in the episode, but I also felt weird, like

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Speaker 2: I don't know the whole thing. Yeah, it felt very

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Speaker 2: high school play to me. This is how I would

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Speaker 2: say it. It just it was.

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Speaker 1: But again it was also I love the story. I

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Speaker 1: think it's a great idea, it's a great throw it

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Speaker 1: in there in the middle. It's also kind of it's

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Speaker 1: taken us four seasons, but this is kind of the

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Speaker 1: start of the Korean too panga storyline in a lot

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Speaker 1: of ways, so I appreciate the value of where this

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Speaker 1: episode ranks among importance in boy Meet's world. Loar, But

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Speaker 1: the first episode, hopefully the acting gets better, at least

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Speaker 1: for me.

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Speaker 2: I'll speak for myself.

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Speaker 3: In the second episode, Yeah, I thought it felt I

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Speaker 3: thought it felt pretty melodramatic. And again, I think a

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Speaker 3: large part of it for me is the fact that

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Speaker 3: I would have felt the bombshell of Tapanga moving more

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Speaker 3: if I felt like they spent really any time developing

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Speaker 3: the Korean toa Panga relationship.

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Speaker 2: Yep, But I don't.

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Speaker 3: I feel like we've barely seen them. I know they're

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Speaker 3: in a relationship. I know they've been in a consistent

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Speaker 3: relationship now for many episodes, but we have had approximately

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Speaker 3: zero episodes about them and their relationship.

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Speaker 2: And I mean, it's it's interesting to think, like, how

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Speaker 2: many how many episodes have developed the Sean Corey relationship

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Speaker 2: just because they've been in situations together, whereas Tapanga and

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Speaker 2: Corey have never been in a situation together outside of

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Speaker 2: well the Hair Today, Gloon Tomorrow, which was probably one

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Speaker 2: of the best, Like whenever they did give an opportunity

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Speaker 2: for the two of you to be in a thing together.

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Speaker 2: It works, you know, but also you're off. You're often

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Speaker 2: against each other in those situations, like the storyline is

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Speaker 2: like antagonistic, So you haven't had like you and Corey, Yeah,

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Speaker 2: quarantine doing something dealer. No, she's always yeah, because it's

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Speaker 2: always like he's ruining her babysitting her haircut, is ruining

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Speaker 2: his life. You know. It's like it's always against each

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Speaker 2: other or whatever they meet each other, and when she's

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Speaker 2: pretending to be French, right, that's a bummer. Yeah, I know.

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Speaker 3: I wish there had been just one episode, maybe the

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Speaker 3: episode right before this, where we saw them just loving

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Speaker 3: life together, having so much fun, seeing the way they

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Speaker 3: compliment each other, not like wow, you're so cute, but

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Speaker 3: like actually personality wise compliment each other and and and

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Speaker 3: being like wow, they really do have something special to

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Speaker 3: the way.

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Speaker 2: You're rooting for Corey and Sean. You know. Yeah, it's

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Speaker 2: a it's just been told. I've just been told.

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Speaker 3: So that that bothered me a little bit because I

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Speaker 3: wanted to I wanted to really feel the gravity of

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Speaker 3: oh my gosh, this is going to change everything, But

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Speaker 3: I didn't feel it as much as I felt like.

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Speaker 2: We were being told to feel it.

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Speaker 3: I I will tell you one thing I absolutely loved, though,

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Speaker 3: I do love in this episode how much Eric is

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Speaker 3: happily taking on the I want to protect my little brother.

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Speaker 3: I love my little brother. I'm there for my little brother.

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Speaker 3: I'm looking out for him. I liked that underlying thread

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Speaker 3: of their relationship being solid and important. There are some

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Speaker 3: weird like that opening scene, well not the opening scene,

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Speaker 3: but the scene in the living room where he pushes you.

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Speaker 3: There's no laugh there. It's there's some weird choices that

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Speaker 3: where they didn't help. They didn't help the situation any

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Speaker 3: and maybe they didn't want to laugh. Maybe Michael wanted

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Speaker 3: it to be an intense how'd you do this to me?

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Speaker 2: Brother?

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Speaker 3: Push him back? And it's not supposed to be funny,

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Speaker 3: but it needed a laugh.

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Speaker 2: Yeah, Yeah, that's all. Yeah, that's what. That's why I

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Speaker 2: don't think it's Will's acting. I think it's just the

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Speaker 2: tonal choices. The actual writing does. Actually it allows for

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Speaker 2: there to be comedy in this initial three scenes or whatever,

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Speaker 2: but the way they're played is like, like Will, I

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Speaker 2: think what you're feeling is that you know you're playing

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Speaker 2: drama and coreysing drama and I'm somewhat playing drama and

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Speaker 2: it's like that is it's just it's it's a choice,

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Speaker 2: you know. That was like I think the whole episode

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Speaker 2: and all of us made and yeah, I have so

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Speaker 2: many thoughts about this episode. I kind of like went

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Speaker 2: crazy writing a bunch of notes last night. I had

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Speaker 2: to like pause it and yeah, but I don't know

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Speaker 2: if it's worth As I went down to Romeo and

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Speaker 2: Juliette rabbit Hole, even before it was introduced, I was like,

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Speaker 2: you know, so I think that there's like there's there's

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Speaker 2: a lot of power in this episode, and I think

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Speaker 2: that this episode is the beginning of a new era

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Speaker 2: in the show, and it felt familiar to me. Yeah,

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Speaker 2: and I think that I think it's just, you know,

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Speaker 2: it's one of those things that defines Boy Meets World.

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Speaker 2: And I felt the moment it hit me and we'll

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Speaker 2: get to it when I hit this and I had

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Speaker 2: to like pause the episode and just take a bunch

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Speaker 2: of notes and think about it for a while. So, like,

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Speaker 2: what was happening in this moment? And I think it's

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Speaker 2: sort of this is like kind of a branch of

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Speaker 2: of Boy Meets World, you know, like this moment changes

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Speaker 2: the show. Oh and uh, you know, I think for

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Speaker 2: a lot of people, especially for like I imagine if

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Speaker 2: you were eleven or twelve watching this and you're thinking,

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Speaker 2: this is what teenagers are, you know, act like this

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Speaker 2: could have been a really cool, profound, beautiful thing, you know,

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Speaker 2: like where you're just like the Doomed Love because Doomed

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Speaker 2: Love is so exciting and fun and like I just

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Speaker 2: doesn't say it must it's been very emotional, yeah, sexy,

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Speaker 2: And I think and I think to see you know,

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Speaker 2: I don't know Corey as a romantic lead, and like,

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Speaker 2: I think all of this would have probably been really

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Speaker 2: cool for a certain mindset As an adult. Now I

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Speaker 2: look at it and I have so many criticisms and

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Speaker 2: I have so many issues with the sort of the

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Speaker 2: worldview that the storytelling creates. But you know, and I

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Speaker 2: want to talk about that because I think I can,

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Speaker 2: you know, and like I said, I kind of went

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Speaker 2: down this rabbit hole. But it's hard, it's it's hard

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Speaker 2: to I don't know, it's it's hard to judge because

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Speaker 2: I know how important this episode is.

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Speaker 1: Yeah, you could also play a little devil's advocate that

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Speaker 1: there's actually I'm not sure I agree with this, but

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Speaker 1: I could see this point of view that it's actually

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Speaker 1: very good writing that you get this much of an

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Speaker 1: emotional base out of a relationship you haven't developed at all.

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Speaker 1: So it's like but like you know what I mean,

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Speaker 1: it's like you're you're telling the kids what to feel.

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Speaker 1: But by the end of these two episodes, Corey and

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Speaker 1: Topang I've been together since they were five years old,

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Speaker 1: and we're in.

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Speaker 2: And they are and then so there's something to this

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Speaker 2: is to you where it's well that's what I think. Yeah,

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Speaker 2: it's it's we're sort of like building the biblical basis

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Speaker 2: of of Boyd Beats World. You know, it's like we've

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Speaker 2: been teasing it a lot. We've been teasing like Corey

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Speaker 2: and Topanga are like meant for each other. But here

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Speaker 2: it's like we're getting into like the real uh uh.

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Speaker 2: It's actually built into the fabric of the reality, and

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Speaker 2: we I mean we actually say, like what kind of

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Speaker 2: TV show is that it's like built into the reality

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Speaker 2: that the show has built. Is it's like being like

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Speaker 2: pounded in and now it's a foundation element of the

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Speaker 2: show and for better or worse, you know, Like personally,

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Speaker 2: I think I liked it at the time. I think

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Speaker 2: as a melodramatic teenager, I love the stuff and I

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Speaker 2: related to it. Now I look back on it and

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Speaker 2: I go, you know, with all the things we've talked

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Speaker 2: about with Corey and you know, the sort of self righteousness,

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Speaker 2: and you know, it's it's intense, it's really intense. But

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Speaker 2: I think that that boldness is also kind of cool, So,

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Speaker 2: you know, and I think that boldness might be a while.

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Speaker 2: A lot of people are listening to this podcast right now,

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Speaker 2: right right is because they were affected by this bold

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Speaker 2: choice that this show made and that it you know,

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Speaker 2: because like Wonder Years, right is the is the comp

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Speaker 2: I guess, and everybody talks about Winnie and Kevin, does

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Speaker 2: anybody even they don't end up together, right, It's just

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Speaker 2: kind of.

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Speaker 1: Like it something like she was and I was with

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Speaker 1: my wife when I went and picked her husband up

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Speaker 1: at the train station or something like that, to let

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Speaker 1: you know they didn't end up together, yeah, right, And

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Speaker 1: I think that's being.

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Speaker 2: Like, no, they should have ended up to get right,

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Speaker 2: And I think that that was the sort of model

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Speaker 2: is that you're you know, the coming of age story

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Speaker 2: is about young love and young broken heart. And how

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Speaker 2: you grow up and it actually doesn't matter, and Boy

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Speaker 2: Meets World leans so heavily into just subverting that and

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Speaker 2: to saying, no, guess what if it does work out?

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Speaker 2: What if it does work what if we are meant

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Speaker 2: to be? And we're gonna you know? And that's right.

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Speaker 1: Yeah, it's also Romeo and Juliet again, And other than

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Speaker 1: the fact that it's they're young and in love, it

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Speaker 1: really has.

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Speaker 2: Nothing to do with Romeo and Juliet. That's the other thing.

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Speaker 2: I mean, their families don't their families don't hate each other.

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Speaker 2: They're just star pages of notes on Romean Juliet. And

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Speaker 2: then saw that it actually got introduced in the story

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Speaker 2: because I had completely forgotten that, and I was like, oh,

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Speaker 2: maybe this is too on the nose for me to

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Speaker 2: talk too much about rome and Juliet. But it was

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Speaker 2: so frustrating.

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Speaker 3: Yeah, of course, Well we will get into it all.

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Speaker 3: So we start in Chubbies. A long haired Eric walks

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Speaker 3: into a very busy Chubbies and sees in the back

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Speaker 3: room Sean giving a visibly just dressed to panga a

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Speaker 3: big hug. Eric continues to watch the interaction. Sean squeezes

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Speaker 3: to Panga's arms. It's a silent movie.

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Speaker 2: You also see Topanga is clearly upset. Yes, why would

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Speaker 2: Eric think anything romantic?

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Speaker 1: Right?

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00:20:17,720 --> 00:20:21,000
Speaker 2: Yeah? Right? And it's like, so this is where I

404
00:20:21,040 --> 00:20:22,600
Speaker 2: started to Devil's advocate.

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Speaker 3: Topanga's upset because something just happened between her and Sean

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Speaker 3: and now she's gonna have to tell Corey.

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Speaker 2: She would take a hug and a kiss from him

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Speaker 2: after that, maybe she wants to be with Sean.

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Speaker 3: So Tapega's upset because I'm gonna have to break Corey's heart.

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Speaker 2: This we're meant to be.

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Speaker 3: And so I because I did think that, because I

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Speaker 3: thought the same thing, like, oh my gosh, Topanga's obviously upset,

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Speaker 3: isn't Eric worried about?

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Speaker 2: Well, I wonder what's going on with Tepega?

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Speaker 3: Yes, But then I thought, well, if Tapega's upset because

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Speaker 3: they're discussing, how are we going to break this news

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Speaker 3: to Corey?

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Speaker 2: I just I'm such I like the alternative opening half

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00:21:04,400 --> 00:21:08,440
Speaker 2: of this episode could have been a series of misunderstandings

420
00:21:08,440 --> 00:21:12,520
Speaker 2: and hatchings that were very funny, where exactly Eric sees

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Speaker 2: something sneaks around tell somebody you know, and then Corey

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00:21:15,720 --> 00:21:17,680
Speaker 2: hears about it, and then Corey lies and it could

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Speaker 2: have been three hysterical scenes and then the rest of

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Speaker 2: the episode ripped your heart out when you realize what's

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00:21:22,640 --> 00:21:26,240
Speaker 2: actually going on. But instead we all we start right

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Speaker 2: with the heaviness, and we start right with like, clearly

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00:21:29,280 --> 00:21:32,240
Speaker 2: something's going on with Tapanga, clearly you know it's like

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Speaker 2: and and I'm just not sure is the audience supposed

429
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Speaker 2: to believe that Eric is this much of an idiot,

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Speaker 2: which could have been funny if Eric is just misinterpreting

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Speaker 2: and like he goes home to Corey and is like

432
00:21:40,960 --> 00:21:43,080
Speaker 2: they were making out left and right, and he's like,

433
00:21:43,560 --> 00:21:45,639
Speaker 2: you know, he's and we know as an audience that

434
00:21:45,680 --> 00:21:48,680
Speaker 2: he was being it, But instead we're not. We're supposed

435
00:21:48,680 --> 00:21:51,280
Speaker 2: to actually believe in the drama of it, which no

436
00:21:51,320 --> 00:21:56,320
Speaker 2: one believes. You're never no one thinks I was. There

437
00:21:56,359 --> 00:21:59,200
Speaker 2: was no but it also just had the world we've developed,

438
00:21:59,200 --> 00:22:02,359
Speaker 2: Tapega would cheat on him and Sean wouldn't do this.

439
00:22:02,760 --> 00:22:04,160
Speaker 3: You know what, I think, you know what I think,

440
00:22:04,240 --> 00:22:06,719
Speaker 3: I think I agree with you writer about had it

441
00:22:06,760 --> 00:22:09,399
Speaker 3: been hijinks. I think one of the things that I

442
00:22:09,520 --> 00:22:12,320
Speaker 3: didn't love about this is it felt very much like

443
00:22:12,480 --> 00:22:17,760
Speaker 3: the child abuse episode, Sean has a secret and it's

444
00:22:17,920 --> 00:22:20,840
Speaker 3: drama and Eric doesn't know what it is, but they're

445
00:22:20,840 --> 00:22:24,760
Speaker 3: going to get to the bottom of it. But isn't

446
00:22:25,800 --> 00:22:30,320
Speaker 3: isn't abuse, It's I'm moving. You're like, oh, I don't

447
00:22:30,359 --> 00:22:33,320
Speaker 3: think it's worth all that.

448
00:22:33,520 --> 00:22:38,840
Speaker 2: It's a move about. Corey was trying to have sex

449
00:22:38,880 --> 00:22:39,680
Speaker 2: with Topanga and it.

450
00:22:39,640 --> 00:22:44,200
Speaker 6: Was funny understanding and it was still character based.

451
00:22:44,200 --> 00:22:46,320
Speaker 2: It wasn't like over the top ridiculousness, but it was

452
00:22:46,320 --> 00:22:49,560
Speaker 2: still funny misunderstanding that took the whole first half of

453
00:22:49,600 --> 00:22:52,520
Speaker 2: the episode before we get to the meet and and

454
00:22:52,640 --> 00:22:57,560
Speaker 2: this is just like, no, we're Eric, We're starting, and

455
00:22:57,960 --> 00:23:01,280
Speaker 2: it's just like, oh, and I think it's a misstep

456
00:23:01,760 --> 00:23:05,000
Speaker 2: because yeah, because like yeah, anyway.

457
00:23:04,840 --> 00:23:09,320
Speaker 3: So anyway, Sean leans in and kisses Topanga on the cheek.

458
00:23:09,880 --> 00:23:13,120
Speaker 3: Eric is shocked, shaking his head in disbelief as sad

459
00:23:13,160 --> 00:23:15,560
Speaker 3: guitar melody plays and still.

460
00:23:15,440 --> 00:23:19,040
Speaker 2: And also no dialogue, not going to confront Sean. Then no,

461
00:23:19,400 --> 00:23:23,760
Speaker 2: like later on, he's so bold, he like seeks him out. Nothing, nothing,

462
00:23:24,200 --> 00:23:25,080
Speaker 2: very strange.

463
00:23:25,760 --> 00:23:28,080
Speaker 3: So then quickly we are into the Matthew's kitchen, Corey

464
00:23:28,080 --> 00:23:30,760
Speaker 3: and Morgan are chowing down on some food. Corey yells

465
00:23:30,800 --> 00:23:33,040
Speaker 3: out to Eric, don't think I don't appreciate a good

466
00:23:33,040 --> 00:23:34,720
Speaker 3: tea bone, but I would have been plenty happy with

467
00:23:34,760 --> 00:23:37,760
Speaker 3: a double Chubbys burger. Morgan is annoyed. He gets steak,

468
00:23:37,840 --> 00:23:39,359
Speaker 3: I get cold grilled cheese.

469
00:23:39,359 --> 00:23:39,959
Speaker 2: What gives?

470
00:23:40,440 --> 00:23:43,000
Speaker 3: Eric explains, I just feel that our little brother, with

471
00:23:43,040 --> 00:23:45,880
Speaker 3: his interesting life, deserves a hearty meal. He gives Corey

472
00:23:45,920 --> 00:23:49,280
Speaker 3: a little massage on the shoulders and lean and he

473
00:23:49,320 --> 00:23:51,440
Speaker 3: gives Corey a little massage on the shoulders and leans

474
00:23:51,440 --> 00:23:54,480
Speaker 3: into Morgan, who isn't buying it. Do I normally do

475
00:23:54,720 --> 00:23:57,480
Speaker 3: nice stuff for Corey? She shakes her head. So why

476
00:23:57,800 --> 00:24:00,239
Speaker 3: would I be doing something nice for Corey now? And

477
00:24:00,280 --> 00:24:04,000
Speaker 3: Morgan realizes because something terrible happened to him, which I

478
00:24:04,000 --> 00:24:04,840
Speaker 3: didn't think was funny.

479
00:24:05,000 --> 00:24:08,479
Speaker 1: Great, and she's cage appropriate this episode. Yes, it's not

480
00:24:08,520 --> 00:24:10,600
Speaker 1: like they don't have her in footy pajamas in a

481
00:24:10,800 --> 00:24:12,440
Speaker 1: you know, in a sea and playing with the sea

482
00:24:12,480 --> 00:24:13,600
Speaker 1: and says, everything's going on.

483
00:24:13,640 --> 00:24:16,440
Speaker 2: It's like, okay, good, she's a kid. Good.

484
00:24:16,800 --> 00:24:18,560
Speaker 3: Corey had a feeling this meal was one of those

485
00:24:18,600 --> 00:24:21,520
Speaker 3: condemned Man Death Row Last Meal kind of things, but

486
00:24:21,720 --> 00:24:24,639
Speaker 3: he points out that can't be because there's no cake.

487
00:24:25,280 --> 00:24:27,800
Speaker 3: And then Eric pulls the lid off of a large

488
00:24:27,920 --> 00:24:33,720
Speaker 3: container on the toll to reveal a beautiful chocolate cake,

489
00:24:33,800 --> 00:24:36,800
Speaker 3: and I thought, just pull We need to pull the

490
00:24:36,840 --> 00:24:37,800
Speaker 3: cake from somewhere else.

491
00:24:37,920 --> 00:24:39,399
Speaker 2: Can we not just turn around and grab it off

492
00:24:39,440 --> 00:24:39,760
Speaker 2: the counter?

493
00:24:39,960 --> 00:24:42,280
Speaker 1: Exactly not too much removed to literally turn behind me,

494
00:24:42,359 --> 00:24:43,960
Speaker 1: grab the cake, put it down in front of it

495
00:24:44,080 --> 00:24:44,879
Speaker 1: for the nice reveal.

496
00:24:45,440 --> 00:24:47,240
Speaker 2: It was no, you're waiting for it. So the second

497
00:24:47,280 --> 00:24:48,080
Speaker 2: he says the cake.

498
00:24:48,640 --> 00:24:51,360
Speaker 3: Rolling, the first thing I thought was, what's in that

499
00:24:51,400 --> 00:24:52,520
Speaker 3: big cake.

500
00:24:52,440 --> 00:24:56,560
Speaker 2: Giant cake tin? What's with the giant cake tin that's

501
00:24:56,600 --> 00:24:58,320
Speaker 2: never been there before? Is that going to come back?

502
00:24:59,560 --> 00:25:03,600
Speaker 2: Is that gonna playing this scene? I wish we could

503
00:25:03,600 --> 00:25:06,040
Speaker 2: talk to Matt Nelson because I'm so curious what was

504
00:25:06,080 --> 00:25:09,480
Speaker 2: happening Like it feels like it feels like this episode

505
00:25:10,800 --> 00:25:13,720
Speaker 2: like we're coming off of chick Like Me? Right? Is

506
00:25:13,760 --> 00:25:18,360
Speaker 2: that the last one? Right? Which must be yeah, which

507
00:25:18,400 --> 00:25:21,600
Speaker 2: must have been a big episode for production, right, ring

508
00:25:21,680 --> 00:25:23,960
Speaker 2: with all those stuff, and then we go into this

509
00:25:24,160 --> 00:25:28,080
Speaker 2: two parter. It's just there's so much pressure on this episode.

510
00:25:28,119 --> 00:25:30,000
Speaker 2: I'm so curious what happened during.

511
00:25:29,760 --> 00:25:31,880
Speaker 1: This I'm also curious if it was written together, if

512
00:25:31,880 --> 00:25:33,960
Speaker 1: they wrote it as one giant piece kind of and

513
00:25:33,960 --> 00:25:34,359
Speaker 1: then split.

514
00:25:34,720 --> 00:25:36,960
Speaker 2: I think so, I'm assuming so, but I just feel

515
00:25:37,040 --> 00:25:40,159
Speaker 2: like there's there's just there was some interesting There's so

516
00:25:40,200 --> 00:25:42,560
Speaker 2: many interesting choices, like the idea to play this for

517
00:25:42,640 --> 00:25:44,679
Speaker 2: drama from the get go is a big choice, and

518
00:25:44,720 --> 00:25:48,119
Speaker 2: then like, there's just I'm just curious what was happening

519
00:25:48,200 --> 00:25:49,760
Speaker 2: this week. It was totally It was.

520
00:25:49,720 --> 00:25:52,200
Speaker 1: Totally a weird episode for me, And I thought, do

521
00:25:52,280 --> 00:25:53,800
Speaker 1: you remember making this at all?

522
00:25:54,400 --> 00:25:54,600
Speaker 2: No?

523
00:25:55,240 --> 00:25:57,719
Speaker 1: You know what I remember is I remember the thing,

524
00:25:57,760 --> 00:25:59,600
Speaker 1: and you know, obviously this is thirty years later, so

525
00:25:59,600 --> 00:26:01,560
Speaker 1: we're in no boiler alerts here. But I'm the thing

526
00:26:01,560 --> 00:26:03,480
Speaker 1: I remember more than anything was the reaction to the

527
00:26:03,520 --> 00:26:06,920
Speaker 1: audience went to Panga shows up again in the second part,

528
00:26:07,000 --> 00:26:10,320
Speaker 1: and I remember Olivia Hussey next episode. This episode not

529
00:26:10,359 --> 00:26:12,359
Speaker 1: at all. I didn't remember throwing you against the wall.

530
00:26:12,520 --> 00:26:14,160
Speaker 1: I didn't remember any of that stuff.

531
00:26:14,240 --> 00:26:17,320
Speaker 2: Nope, I feel like it was written rewritten a lot

532
00:26:17,480 --> 00:26:17,840
Speaker 2: at the lay.

533
00:26:17,920 --> 00:26:20,520
Speaker 3: Yeah, maybe something must have been you know, we we

534
00:26:20,600 --> 00:26:23,960
Speaker 3: unfortunately we obviously can't talk to him out Nelson, but

535
00:26:24,000 --> 00:26:27,560
Speaker 3: we could talk to Jeff McCracken, who always has good

536
00:26:27,560 --> 00:26:29,960
Speaker 3: insight so we can talk to when we should have

537
00:26:30,000 --> 00:26:31,520
Speaker 3: Jeff on again and we should talk to him.

538
00:26:31,720 --> 00:26:33,680
Speaker 2: Do you remember making this at all, Daniel.

539
00:26:33,440 --> 00:26:36,800
Speaker 3: No, not this episode actually, I mean yeah.

540
00:26:36,640 --> 00:26:40,080
Speaker 2: I mean I get to do it. You also, you're

541
00:26:40,119 --> 00:26:44,239
Speaker 2: the character who should have drama, right you playing this

542
00:26:44,320 --> 00:26:47,400
Speaker 2: for like this, the stakes being high and your life

543
00:26:47,440 --> 00:26:51,000
Speaker 2: being like, that's totally great. You know, I thought that.

544
00:26:52,560 --> 00:26:53,840
Speaker 2: I thought that it was good too. I thought he.

545
00:26:53,880 --> 00:26:56,520
Speaker 1: I thought that, the two of them, But that its

546
00:26:57,520 --> 00:27:02,480
Speaker 1: when everybody's there in that scene dramatic mode, if you know,

547
00:27:02,520 --> 00:27:04,639
Speaker 1: if they're in the drama in the mailstream and then

548
00:27:04,680 --> 00:27:07,399
Speaker 1: everybody around them is lighter, it I know makes for

549
00:27:07,480 --> 00:27:07,960
Speaker 1: better drama.

550
00:27:07,960 --> 00:27:09,639
Speaker 2: It might be, but this isn't. This isn't a knock

551
00:27:09,640 --> 00:27:11,960
Speaker 2: on on on Ben as an actor, but it you know,

552
00:27:12,000 --> 00:27:15,679
Speaker 2: it's Corey's intensity and guilt tripping. That's just so it's

553
00:27:15,760 --> 00:27:18,679
Speaker 2: like like that he makes it about it, you know again,

554
00:27:19,119 --> 00:27:21,840
Speaker 2: like over and that that just greats like that's not

555
00:27:21,920 --> 00:27:23,960
Speaker 2: and that's not an acting thing. That's just like literally

556
00:27:23,960 --> 00:27:27,200
Speaker 2: a one note character decision that keeps getting written over

557
00:27:27,240 --> 00:27:30,360
Speaker 2: and over again. It's like, okay, I got it. Yeah,

558
00:27:30,359 --> 00:27:33,840
Speaker 2: it's also very sixteen though, how do how does whatever's

559
00:27:33,880 --> 00:27:35,360
Speaker 2: going on is really about him?

560
00:27:35,480 --> 00:27:38,280
Speaker 3: To Penga's moving, that's my really, that's my girlfriend, that's

561
00:27:38,320 --> 00:27:39,160
Speaker 3: my relationship.

562
00:27:39,200 --> 00:27:41,480
Speaker 2: This is going to change my weekend.

563
00:27:41,119 --> 00:27:44,840
Speaker 3: Plans, my night plans, everything, everything, everything about you know,

564
00:27:44,880 --> 00:27:47,400
Speaker 3: and and my parents don't seem to be super supportive

565
00:27:47,400 --> 00:27:49,160
Speaker 3: about my Once I come to the decision that we're

566
00:27:49,160 --> 00:27:51,560
Speaker 3: going to make it work, my parents don't seem super supportive.

567
00:27:51,880 --> 00:27:54,560
Speaker 3: Everyone's talking about pain, and I'm trying to be in

568
00:27:54,600 --> 00:27:56,160
Speaker 3: denial that there's gonna be any pain.

569
00:27:56,200 --> 00:27:58,359
Speaker 2: We're gonna do this, So I don't.

570
00:27:58,520 --> 00:28:01,600
Speaker 3: I think it's okay that he like and he when

571
00:28:01,680 --> 00:28:04,080
Speaker 3: in the moments when to Pang is really upset, he

572
00:28:04,160 --> 00:28:06,880
Speaker 3: tries to comfort her. It's, Oh, we're gonna do this. Yes,

573
00:28:06,920 --> 00:28:08,720
Speaker 3: we're gonna see Can we see each other every weekend?

574
00:28:08,760 --> 00:28:09,840
Speaker 3: Can we write letters every day?

575
00:28:09,920 --> 00:28:10,120
Speaker 2: Yes?

576
00:28:10,600 --> 00:28:14,840
Speaker 3: So his he did Corey as a character did not

577
00:28:14,960 --> 00:28:15,960
Speaker 3: bother me this episode.

578
00:28:16,000 --> 00:28:18,280
Speaker 1: I agree, I agree it was Also he also said

579
00:28:18,280 --> 00:28:22,200
Speaker 1: things like, you know, maybe we if somebody does ask

580
00:28:22,280 --> 00:28:24,199
Speaker 1: you out and I'm not there is it there that

581
00:28:24,280 --> 00:28:27,120
Speaker 1: you can't really go out with this person? So it's

582
00:28:27,119 --> 00:28:29,359
Speaker 1: like I think they I kind of liked his struggle

583
00:28:29,400 --> 00:28:31,399
Speaker 1: in this episode because he was going back and forth

584
00:28:31,440 --> 00:28:36,040
Speaker 1: from the very selfish Corey that we've seen before to

585
00:28:36,600 --> 00:28:39,080
Speaker 1: trying to think more about Tapanga's feelings.

586
00:28:39,120 --> 00:28:40,040
Speaker 2: That's what I got out of it.

587
00:28:40,120 --> 00:28:42,480
Speaker 1: And again, when you're sixteen, I mean, you know this

588
00:28:42,560 --> 00:28:44,280
Speaker 1: better than anybody you were you had a girlfriend by

589
00:28:44,280 --> 00:28:47,160
Speaker 1: the time you were twelve. It is all encompassing when

590
00:28:47,200 --> 00:28:48,360
Speaker 1: you're in love at.

591
00:28:48,440 --> 00:28:54,000
Speaker 2: Fifteen seventeen years and I like manic upset Corey, you know, right,

592
00:28:54,200 --> 00:28:56,720
Speaker 2: Like Corey with the Romeo and Juliet and Poenie is

593
00:28:56,760 --> 00:28:58,600
Speaker 2: like a great scene like that is like the most

594
00:28:58,760 --> 00:29:02,000
Speaker 2: Y you were refusing a kiss to Panga to say goodbye.

595
00:29:02,040 --> 00:29:05,280
Speaker 2: It's Corey yelling at his mom like you know, it's

596
00:29:05,320 --> 00:29:08,400
Speaker 2: and it's just it's it's just one note. Like I

597
00:29:08,440 --> 00:29:10,920
Speaker 2: also think that there's a version of like Corey freaking

598
00:29:10,960 --> 00:29:14,720
Speaker 2: out that's very funny, you know, like like and and

599
00:29:14,720 --> 00:29:16,960
Speaker 2: and this is not played for comedy. This is played

600
00:29:16,960 --> 00:29:20,560
Speaker 2: for I don't believe in Pittsburgh, you know. And it's

601
00:29:20,600 --> 00:29:23,000
Speaker 2: that level of like, well Jesus kid.

602
00:29:23,000 --> 00:29:25,560
Speaker 3: Like you know, and the destiny part of it, and

603
00:29:26,040 --> 00:29:27,080
Speaker 3: you know what, like I.

604
00:29:27,040 --> 00:29:30,040
Speaker 2: Agree, like that's actually how sixteen year olds are, But

605
00:29:30,080 --> 00:29:34,120
Speaker 2: the show itself is bolstering Corey's worldview, like, we are

606
00:29:34,160 --> 00:29:38,200
Speaker 2: not we are not laughing at an emotional teenager. We

607
00:29:38,280 --> 00:29:40,880
Speaker 2: are being taught by the emotion from the emotions of

608
00:29:40,880 --> 00:29:43,320
Speaker 2: the teenager. We are supposed to feel bad as an audience.

609
00:29:43,360 --> 00:29:48,920
Speaker 2: And that's like, right, what's the right perspective? Oh, he's yeah, yeah.

610
00:29:49,040 --> 00:29:51,600
Speaker 3: So Corey stands up dead man walking. He asks his

611
00:29:51,680 --> 00:29:53,200
Speaker 3: brother if they should do this in the living room,

612
00:29:53,240 --> 00:29:55,480
Speaker 3: and Eric strokes his face. We could do it there,

613
00:29:57,320 --> 00:29:59,160
Speaker 3: and then we flipped the Matthews living room.

614
00:29:59,360 --> 00:30:02,760
Speaker 2: Eric. I wanted more of that, Like I wanted a

615
00:30:02,760 --> 00:30:06,600
Speaker 2: little more like Eric, Eric being over the top, you

616
00:30:06,600 --> 00:30:10,840
Speaker 2: know with this situation, or he does deliver.

617
00:30:11,120 --> 00:30:13,200
Speaker 3: He does deliver in a little bit with the knife

618
00:30:13,200 --> 00:30:16,520
Speaker 3: to the stomach. And the hard part was that they

619
00:30:16,560 --> 00:30:18,440
Speaker 3: didn't they and they did have a laugh there, but

620
00:30:18,520 --> 00:30:20,960
Speaker 3: they don't want to lean too much into the laughter,

621
00:30:21,120 --> 00:30:23,360
Speaker 3: so they held laughs in other places where I think

622
00:30:23,400 --> 00:30:27,200
Speaker 3: they should have escalated it. So Eric assures Corey he's

623
00:30:27,200 --> 00:30:29,120
Speaker 3: only telling him this because he's the older brother and

624
00:30:29,160 --> 00:30:30,080
Speaker 3: it's the right thing to do.

625
00:30:30,200 --> 00:30:31,760
Speaker 2: Corey's panicked. He doesn't want to know.

626
00:30:32,040 --> 00:30:34,360
Speaker 3: Eric says he has to know, So Corey finely caves

627
00:30:34,480 --> 00:30:35,880
Speaker 3: he'll be fine as long as this.

628
00:30:35,880 --> 00:30:38,360
Speaker 2: News has nothing to do with Sean or to bank.

629
00:30:40,040 --> 00:30:42,560
Speaker 3: Eric doesn't know how to tell him, so he talks

630
00:30:42,600 --> 00:30:46,600
Speaker 3: in Japanese and stabs himself in the stomach, dramatically falling

631
00:30:46,760 --> 00:30:50,200
Speaker 3: dead onto the couch and imitating suppuku, which is the

632
00:30:50,200 --> 00:30:54,200
Speaker 3: Samurai practice of voluntarily dying with honor rather than falling

633
00:30:54,240 --> 00:30:55,960
Speaker 3: into the hands of your enemies.

634
00:30:56,240 --> 00:30:56,480
Speaker 2: Yep.

635
00:30:57,200 --> 00:30:59,640
Speaker 3: Eric decides to just rip the band aid off. He

636
00:30:59,680 --> 00:31:02,720
Speaker 3: saw Sean at Chubby's with Tepanga, and he kissed her,

637
00:31:03,160 --> 00:31:07,720
Speaker 3: and I'm just gett to say it once and maybe

638
00:31:07,720 --> 00:31:11,800
Speaker 3: fifty times. Nowhere does anyone mention that it was on

639
00:31:12,000 --> 00:31:14,320
Speaker 3: the cheek? Was it really supposed to have been?

640
00:31:14,880 --> 00:31:17,719
Speaker 1: They tried, yes, So the way they tried to do

641
00:31:17,760 --> 00:31:21,920
Speaker 1: it was say, they clearly have Sean bending around her

642
00:31:22,040 --> 00:31:25,680
Speaker 1: face so that we as the audience can kind of

643
00:31:25,720 --> 00:31:27,280
Speaker 1: see that it wasn't romantic.

644
00:31:27,320 --> 00:31:29,920
Speaker 2: But from Eric's point of view, it looks like they're

645
00:31:29,960 --> 00:31:30,920
Speaker 2: going lip to lip.

646
00:31:31,240 --> 00:31:34,320
Speaker 1: I think that's what they were going for, right, But again,

647
00:31:35,840 --> 00:31:37,480
Speaker 1: none of this makes sense to run back and be

648
00:31:37,560 --> 00:31:39,320
Speaker 1: like I just saw your best friend your girlfriend kissing

649
00:31:39,440 --> 00:31:41,640
Speaker 1: or making out first of all, like they'd be doing it.

650
00:31:41,600 --> 00:31:45,280
Speaker 2: In public at the one place everyone in town goes to.

651
00:31:45,840 --> 00:31:47,600
Speaker 1: All of a sudden, Corey's not going to find out

652
00:31:47,640 --> 00:31:50,120
Speaker 1: that Tapeka's Again, we've already established Korrey as the most

653
00:31:50,160 --> 00:31:54,520
Speaker 1: popular and well known person in all of all Philadelphia.

654
00:31:53,760 --> 00:31:56,720
Speaker 2: So nobody's going to notice that they're making out. But

655
00:31:56,880 --> 00:31:59,920
Speaker 2: even also if you had run back and impulsively blurted

656
00:32:00,000 --> 00:32:03,000
Speaker 2: out to core but instead you have like a whole right,

657
00:32:03,080 --> 00:32:05,479
Speaker 2: it's so it's like you've had time to think about

658
00:32:05,480 --> 00:32:06,640
Speaker 2: this and consider this.

659
00:32:07,400 --> 00:32:09,719
Speaker 3: The best part is that while Sean and Topanga are

660
00:32:09,720 --> 00:32:11,880
Speaker 3: making out in the back room, what happened next in

661
00:32:11,960 --> 00:32:14,040
Speaker 3: order for this kitchen scene to make sense is that

662
00:32:14,080 --> 00:32:15,960
Speaker 3: Will turned around and walked up. It was like, can

663
00:32:16,000 --> 00:32:17,760
Speaker 3: I get a t bone and a red cheese?

664
00:32:17,800 --> 00:32:19,440
Speaker 2: And then he had to wait for the food. Well,

665
00:32:19,480 --> 00:32:24,160
Speaker 2: they were just in that the food. They're still there

666
00:32:24,280 --> 00:32:26,520
Speaker 2: making like did you notice that she's crying? And it

667
00:32:26,520 --> 00:32:28,160
Speaker 2: was a kiss on the cheek. By the twenty minutes

668
00:32:28,200 --> 00:32:29,040
Speaker 2: you're waiting at Chubbies.

669
00:32:29,080 --> 00:32:31,400
Speaker 1: Because everyone knows one thing about Chubbies, the pickapor is

670
00:32:31,400 --> 00:32:32,320
Speaker 1: already that fast.

671
00:32:32,360 --> 00:32:34,800
Speaker 2: It's good food, but it's not good food quickly, yeah,

672
00:32:35,000 --> 00:32:36,520
Speaker 2: so I come on, yeah.

673
00:32:36,360 --> 00:32:39,400
Speaker 1: It was just it, it was it wasn't there that

674
00:32:39,560 --> 00:32:41,040
Speaker 1: was And then it's a weird start.

675
00:32:41,120 --> 00:32:43,680
Speaker 2: It's such a start, it is. It's a bizarre start.

676
00:32:43,760 --> 00:32:45,040
Speaker 2: It doesn't get better for another couple.

677
00:32:45,360 --> 00:32:47,720
Speaker 1: Turn out it's to be a great you know, two

678
00:32:47,800 --> 00:32:50,640
Speaker 1: part or like it is such important part of boy

679
00:32:50,640 --> 00:32:51,240
Speaker 1: me's world lore.

680
00:32:51,320 --> 00:32:54,480
Speaker 2: But man, it started rough. So Corey's in shock.

681
00:32:54,560 --> 00:32:56,760
Speaker 3: He immediately heads for the phone and dials Sean in

682
00:32:56,800 --> 00:32:58,960
Speaker 3: a panic, but he doesn't pick up. He tells Eric

683
00:32:59,000 --> 00:33:02,600
Speaker 3: nothing happened, dials to Panga, but she doesn't pick up either. Corey,

684
00:33:02,640 --> 00:33:05,080
Speaker 3: who has nowhere to turn with this, is frustrated with Eric.

685
00:33:05,360 --> 00:33:07,640
Speaker 3: I understand, you're my older brother. You're not supposed to

686
00:33:07,680 --> 00:33:10,719
Speaker 3: let anything bad happen to me. He proceeds to aggressively

687
00:33:10,760 --> 00:33:14,200
Speaker 3: push Eric backwards onto the couch, and then Corey shouts,

688
00:33:14,280 --> 00:33:15,600
Speaker 3: how could you let this happen to me?

689
00:33:16,000 --> 00:33:17,920
Speaker 2: And again there being no laugh.

690
00:33:18,240 --> 00:33:23,160
Speaker 3: Feels super weird because even this roller coaster Corey's on,

691
00:33:24,240 --> 00:33:26,320
Speaker 3: even having just found out that he thinks his best

692
00:33:26,360 --> 00:33:29,880
Speaker 3: friend kissed his girlfriend, it's still if he was like,

693
00:33:30,160 --> 00:33:34,840
Speaker 3: absolutely nothing happened, absolutely nothing everything gotten like and him

694
00:33:34,880 --> 00:33:35,440
Speaker 3: pushing his.

695
00:33:35,360 --> 00:33:38,160
Speaker 2: Brother like, all of that could have been very funny

696
00:33:38,200 --> 00:33:40,120
Speaker 2: for last Yeah, do you think that we did this

697
00:33:40,160 --> 00:33:40,880
Speaker 2: with no audience?

698
00:33:42,000 --> 00:33:42,160
Speaker 1: Oh?

699
00:33:44,520 --> 00:33:44,840
Speaker 2: I don't.

700
00:33:44,880 --> 00:33:46,680
Speaker 1: I honestly don't remember, because I know the living room

701
00:33:46,720 --> 00:33:48,680
Speaker 1: by this point was still directly in front.

702
00:33:48,520 --> 00:33:50,800
Speaker 2: Of the audience. I know. It feels like we definitely

703
00:33:50,840 --> 00:33:54,480
Speaker 2: would have some reaction to that. I know, but maybe

704
00:33:54,480 --> 00:33:54,880
Speaker 2: they did.

705
00:33:54,960 --> 00:33:57,400
Speaker 3: Maybe they pre taped this because they didn't want to

706
00:33:57,480 --> 00:33:59,200
Speaker 3: laugh there. I don't know yet either.

707
00:33:59,400 --> 00:33:59,600
Speaker 2: Yeah.

708
00:34:11,400 --> 00:34:13,440
Speaker 3: Eric is upside down on the couch now, chilling out.

709
00:34:13,520 --> 00:34:15,919
Speaker 3: He knows Corey's upset and that's why he's not gonna

710
00:34:16,000 --> 00:34:18,840
Speaker 3: kick his butt. Corey makes sure he's heard this correctly.

711
00:34:19,200 --> 00:34:22,120
Speaker 3: You saw him kiss her? Eric confirms he did. Corey

712
00:34:22,160 --> 00:34:25,120
Speaker 3: shakes his head and admits, then my butt's kicked anyway.

713
00:34:25,600 --> 00:34:27,920
Speaker 3: And this is where I noticed as Ben turned and

714
00:34:27,960 --> 00:34:30,759
Speaker 3: walked up the stairs. Ben has a fuzz on.

715
00:34:30,920 --> 00:34:34,600
Speaker 1: His butt he's at which is different than a fuzz bucket.

716
00:34:37,440 --> 00:34:40,160
Speaker 3: Yes, and I only really noticed it, especially because he

717
00:34:40,239 --> 00:34:42,760
Speaker 3: was like talking about your Then my butt's kicked anyway.

718
00:34:42,800 --> 00:34:44,480
Speaker 3: And he turns and walks up the stairs, and he's

719
00:34:44,480 --> 00:34:46,520
Speaker 3: wearing a burgundy shirt and there's a white piece of

720
00:34:46,560 --> 00:34:47,759
Speaker 3: buzz right in the center of.

721
00:34:47,800 --> 00:34:52,400
Speaker 1: His shirt exactly.

722
00:34:52,520 --> 00:34:54,000
Speaker 3: It was like, by now my eyes are on your

723
00:34:54,000 --> 00:34:55,200
Speaker 3: butt and you've got thus on your butt?

724
00:34:55,200 --> 00:34:57,040
Speaker 2: How did nobody notice on your butt?

725
00:34:59,640 --> 00:35:01,640
Speaker 3: Were back in the John Adams cafeteria.

726
00:35:02,000 --> 00:35:03,960
Speaker 2: A lot of extras.

727
00:35:03,440 --> 00:35:07,719
Speaker 3: In this episode. And there's still a blood drive will yep.

728
00:35:07,520 --> 00:35:11,000
Speaker 1: Always always there's a lot of a lot of blood

729
00:35:11,040 --> 00:35:12,040
Speaker 1: needed in the Philadelphia.

730
00:35:12,040 --> 00:35:14,600
Speaker 2: We haven't been in the cafeteria for a while. I

731
00:35:14,640 --> 00:35:18,000
Speaker 2: know this might be like since the lunch lady died.

732
00:35:18,680 --> 00:35:21,920
Speaker 1: Yeah, maybe it's been all in classroom, we'll say, when

733
00:35:21,960 --> 00:35:22,640
Speaker 1: you are in school.

734
00:35:23,120 --> 00:35:27,279
Speaker 2: Yeah yeah, classroom in home, I don't think. Yeah, it

735
00:35:27,800 --> 00:35:30,640
Speaker 2: suddenly felt young. Didn't feel young. It's I suddenly was like,

736
00:35:30,680 --> 00:35:33,239
Speaker 2: how old are we? I know, eating a cafeteria. I'm

737
00:35:33,239 --> 00:35:36,120
Speaker 2: still eating a cafeteria. I'm sorry. I'm thinking about the

738
00:35:36,160 --> 00:35:37,080
Speaker 2: Feene vampire.

739
00:35:37,320 --> 00:35:40,440
Speaker 3: What if he's a vampire. Listen, he's got he's got

740
00:35:40,480 --> 00:35:41,800
Speaker 3: bodies buried in the backyard.

741
00:35:41,800 --> 00:35:46,680
Speaker 2: What if he he drained him first? Oh my god. Yeah,

742
00:35:46,760 --> 00:35:49,680
Speaker 2: it's all making sense. It's all starting to make sense now. Yeah.

743
00:35:49,760 --> 00:35:52,560
Speaker 3: Yeah, I was just happy to see myself drinking the

744
00:35:52,600 --> 00:35:56,040
Speaker 3: red drink because I know for a fact I have

745
00:35:57,360 --> 00:36:00,480
Speaker 3: exactly what that red drink tasted like, I know I

746
00:36:00,480 --> 00:36:03,640
Speaker 3: have had it, but I've paid attention to every episode

747
00:36:03,680 --> 00:36:06,120
Speaker 3: I've been and you never drink it. I'm never drinking

748
00:36:06,160 --> 00:36:10,400
Speaker 3: the red drink. You must drink this bacteria. No, in

749
00:36:10,440 --> 00:36:13,320
Speaker 3: this scene, I'm drinking it. And I was thrilled to

750
00:36:13,440 --> 00:36:15,440
Speaker 3: watch myself take a drink and I go, there we go.

751
00:36:15,560 --> 00:36:16,360
Speaker 2: I at least have.

752
00:36:19,160 --> 00:36:19,200
Speaker 1: That.

753
00:36:19,360 --> 00:36:24,120
Speaker 3: I did at least drink it one time. So yeah,

754
00:36:24,160 --> 00:36:25,719
Speaker 3: I was. I was thrilled. I was like, there, I

755
00:36:25,760 --> 00:36:26,759
Speaker 3: am drinking red drink.

756
00:36:26,840 --> 00:36:27,360
Speaker 2: So happy.

757
00:36:27,960 --> 00:36:29,919
Speaker 3: Sewan and Topanga are sitting next to each other eating

758
00:36:30,000 --> 00:36:33,160
Speaker 3: lunch to Panga is still obviously upset. Corey walks right

759
00:36:33,239 --> 00:36:35,600
Speaker 3: up to them and awkwardly greets the two. Sean and

760
00:36:35,600 --> 00:36:38,759
Speaker 3: Topanga stare at him, wide eyed, not saying a thing.

761
00:36:38,960 --> 00:36:43,720
Speaker 2: Do this zoom? You're supposed to be funny? Is this funny?

762
00:36:43,840 --> 00:36:45,719
Speaker 2: Or is this like a horror film? Like I don't know.

763
00:36:45,840 --> 00:36:48,879
Speaker 2: Is it supposed to be drama or it should be funny? Guys,

764
00:36:48,960 --> 00:36:50,359
Speaker 2: it's so totally off last.

765
00:36:50,440 --> 00:36:52,920
Speaker 1: I'm sorry, but Rider, this is exactly the conversation you

766
00:36:52,960 --> 00:36:55,160
Speaker 1: and I have had a number of times about This

767
00:36:55,239 --> 00:36:59,040
Speaker 1: is why sometimes the laugh track is necessary, because if

768
00:36:59,040 --> 00:37:03,160
Speaker 1: you're going for the laugh, that scene is completely different

769
00:37:03,280 --> 00:37:04,520
Speaker 1: if you throw laughs under anything.

770
00:37:04,920 --> 00:37:06,840
Speaker 3: Same and so is the scene with you being pushed

771
00:37:06,880 --> 00:37:08,680
Speaker 3: on the back of the couch and all of it.

772
00:37:08,680 --> 00:37:09,400
Speaker 2: It's all it's.

773
00:37:09,280 --> 00:37:13,520
Speaker 3: All light, light, light, and then bomb, right instead of

774
00:37:13,640 --> 00:37:15,440
Speaker 3: there's a bomb, there's a bomb. There's a bomb, it's

775
00:37:15,480 --> 00:37:16,600
Speaker 3: a it's a different bomb.

776
00:37:16,800 --> 00:37:19,160
Speaker 2: M hmm. I mean, okay, I mean I think what

777
00:37:19,239 --> 00:37:24,040
Speaker 2: happened is I think at some I think probably I

778
00:37:24,080 --> 00:37:27,319
Speaker 2: don't remember this specifically, but I remember a lot of

779
00:37:27,719 --> 00:37:31,040
Speaker 2: moments and scenes like this. I wouldn't be surprised if

780
00:37:31,080 --> 00:37:34,400
Speaker 2: the network or somebody was already giving pushback on the

781
00:37:34,440 --> 00:37:38,400
Speaker 2: seriousness of Corey into Panka's love, and really that Michael

782
00:37:38,600 --> 00:37:43,520
Speaker 2: Jacobs was doubling down on this storyline, because it feels

783
00:37:43,560 --> 00:37:47,400
Speaker 2: like somebody went through and said, this is important, this

784
00:37:47,480 --> 00:37:50,399
Speaker 2: is serious. We're not playing this for laughs. We're gonna

785
00:37:50,400 --> 00:37:52,560
Speaker 2: play this for you know, this is an important love

786
00:37:52,600 --> 00:37:55,120
Speaker 2: and you feel that in the like the tone or

787
00:37:55,120 --> 00:37:57,960
Speaker 2: the show and actually in the writing there is the

788
00:37:58,000 --> 00:38:01,080
Speaker 2: potential for laughs. But yeah, you're right, will like somebody

789
00:38:01,120 --> 00:38:03,799
Speaker 2: decided to not have a laugh track, And you know,

790
00:38:03,880 --> 00:38:06,480
Speaker 2: I think that you know, our team, I'm not going

791
00:38:06,520 --> 00:38:09,160
Speaker 2: to pin it all on Michael necessarily, but our team

792
00:38:09,239 --> 00:38:12,400
Speaker 2: decided to be like, no, this is a very special

793
00:38:12,440 --> 00:38:14,759
Speaker 2: episode and we're going to change the tone of the

794
00:38:14,800 --> 00:38:17,520
Speaker 2: show in order to boster this, you know. And I

795
00:38:17,560 --> 00:38:20,839
Speaker 2: feel like, yeah, I mean it did always like don't

796
00:38:20,840 --> 00:38:25,799
Speaker 2: you guys remember the Corey Tapanga seriousness being something discussed

797
00:38:25,920 --> 00:38:27,000
Speaker 2: constantly on set?

798
00:38:27,080 --> 00:38:27,239
Speaker 1: Oh?

799
00:38:27,400 --> 00:38:30,239
Speaker 3: Yeah, And I know, I know for a fact it

800
00:38:30,600 --> 00:38:35,640
Speaker 3: was very important to Michael this relationship. We are not

801
00:38:35,920 --> 00:38:40,000
Speaker 3: going to do the stereotypical they don't end up together,

802
00:38:40,120 --> 00:38:42,200
Speaker 3: but you want them to. We're not doing that. They

803
00:38:42,320 --> 00:38:43,360
Speaker 3: will be together.

804
00:38:43,760 --> 00:38:46,680
Speaker 2: When did that decision get made on behind the scenes,

805
00:38:46,840 --> 00:38:48,960
Speaker 2: because I feel like this might have been the week.

806
00:38:49,760 --> 00:38:53,000
Speaker 3: Yeah maybe maybe, but I do know, I do know

807
00:38:53,680 --> 00:38:57,239
Speaker 3: that Well, I guess, I don't know. I do not

808
00:38:57,480 --> 00:39:00,680
Speaker 3: think the network would have been pushing back about what

809
00:39:00,719 --> 00:39:04,320
Speaker 3: they had seen so far about oh, this is too serious.

810
00:39:04,440 --> 00:39:07,560
Speaker 3: But I could see them saying, what's happening with this relationship?

811
00:39:07,600 --> 00:39:07,719
Speaker 1: What?

812
00:39:07,880 --> 00:39:09,399
Speaker 2: What's where are the stakes here?

813
00:39:09,440 --> 00:39:12,600
Speaker 3: They're just together and they're just gonna casually be together,

814
00:39:12,760 --> 00:39:17,480
Speaker 3: Like where what's the thing? Like yeah, and and Michael

815
00:39:17,520 --> 00:39:20,080
Speaker 3: saying no, don't worry, you wait till you see what

816
00:39:20,120 --> 00:39:20,719
Speaker 3: we're gonna do.

817
00:39:21,360 --> 00:39:24,080
Speaker 1: I also think we know Michael well enough to where

818
00:39:25,400 --> 00:39:27,960
Speaker 1: he would say, and I think I can I can

819
00:39:28,239 --> 00:39:30,239
Speaker 1: honestly say that he would say I knew they were

820
00:39:30,239 --> 00:39:31,960
Speaker 1: going to end up together the second she pushed him

821
00:39:31,960 --> 00:39:32,600
Speaker 1: against the locker.

822
00:39:33,120 --> 00:39:33,640
Speaker 2: He would say that.

823
00:39:33,719 --> 00:39:35,520
Speaker 1: Yes, he would say that the second she push him

824
00:39:35,520 --> 00:39:37,040
Speaker 1: against the locker, I knew they were going to be

825
00:39:37,120 --> 00:39:37,799
Speaker 1: married for the rest of.

826
00:39:37,800 --> 00:39:42,560
Speaker 2: Their life and made her a regular right, she wasn't

827
00:39:43,440 --> 00:39:47,200
Speaker 2: willing to pay her I wouldn't want to actually commit

828
00:39:47,320 --> 00:39:49,719
Speaker 2: to that. But that's what I think Michael would say.

829
00:39:49,719 --> 00:39:51,680
Speaker 1: It was he knew from the second yeah, you pushed

830
00:39:51,719 --> 00:39:53,480
Speaker 1: him against the locker, and they had that moment at

831
00:39:53,520 --> 00:39:53,719
Speaker 1: the end.

832
00:39:53,760 --> 00:39:55,440
Speaker 2: I think they were gonna end up to the truth

833
00:39:55,480 --> 00:39:58,640
Speaker 2: in that storytelling is that the kernel of something great

834
00:39:58,719 --> 00:40:02,600
Speaker 2: happened in that very for episode, absolutely right, and like

835
00:40:02,920 --> 00:40:05,960
Speaker 2: the but you know yeah, so yes, there is truth

836
00:40:05,960 --> 00:40:09,440
Speaker 2: in that right, Like you see the Corey Topanga episode

837
00:40:09,440 --> 00:40:12,960
Speaker 2: and you go, this is the show, if not like

838
00:40:13,360 --> 00:40:15,480
Speaker 2: a pillar of the show, the same way that you

839
00:40:15,520 --> 00:40:18,480
Speaker 2: see you know, Eric, I'm trying to think, is there

840
00:40:18,520 --> 00:40:22,120
Speaker 2: a defining Eric early moment. I mean, I think for.

841
00:40:21,920 --> 00:40:27,320
Speaker 1: Showing throwing the bag with with yeah right, or I

842
00:40:27,360 --> 00:40:29,720
Speaker 1: always go to you know, you go to Julia white

843
00:40:29,800 --> 00:40:32,000
Speaker 1: on on Family Matters. You know, he wasn't the show

844
00:40:32,040 --> 00:40:34,520
Speaker 1: wasn't about Rkle at all when it started. And then

845
00:40:34,520 --> 00:40:36,759
Speaker 1: some another character comes on and you go, oh, this

846
00:40:36,840 --> 00:40:39,960
Speaker 1: is the show. And I think we had that with Tapanga,

847
00:40:40,040 --> 00:40:42,520
Speaker 1: but then they don't bring her on for four seasons.

848
00:40:42,960 --> 00:40:44,799
Speaker 1: So I think, in a really weird way, this is

849
00:40:44,840 --> 00:40:47,279
Speaker 1: the start of Corey and Tapanga. This episode is the

850
00:40:47,280 --> 00:40:47,839
Speaker 1: start of Krey.

851
00:40:47,880 --> 00:40:49,560
Speaker 2: I think this is the episode. This is the episode

852
00:40:49,600 --> 00:40:53,400
Speaker 2: that that that that launches the commitment, right, like we

853
00:40:53,440 --> 00:40:56,320
Speaker 2: are going to commit as a show, as a couple

854
00:40:56,520 --> 00:40:58,800
Speaker 2: at all. You know, we're all in and the audience

855
00:40:58,880 --> 00:41:01,880
Speaker 2: is coming with us. And and it feels a little

856
00:41:03,040 --> 00:41:06,080
Speaker 2: I feel in these first scenes it feels like we're

857
00:41:06,120 --> 00:41:10,359
Speaker 2: being pushed into that direction, right, like this is important. No, no, no,

858
00:41:10,360 --> 00:41:11,799
Speaker 2: We're not going to just make a joke out of this,

859
00:41:11,880 --> 00:41:14,640
Speaker 2: and it's it's it's heavy handed. I guess it's easy, yeah,

860
00:41:14,760 --> 00:41:17,600
Speaker 2: way to put yeah, But I mean you can tell

861
00:41:17,600 --> 00:41:19,839
Speaker 2: that John McCracken with the camera moves is trying to

862
00:41:19,920 --> 00:41:22,239
Speaker 2: find the comedy here, like there's yes, there's a joke

863
00:41:22,320 --> 00:41:24,440
Speaker 2: in there. Yeah, I feel like there was a conversation

864
00:41:24,600 --> 00:41:26,799
Speaker 2: going on, you know, like and it just kind of

865
00:41:26,880 --> 00:41:27,640
Speaker 2: fell in between.

866
00:41:27,760 --> 00:41:30,480
Speaker 1: Yeah, that camera move was clearly for a joke and

867
00:41:30,560 --> 00:41:33,040
Speaker 1: the eyes making or clearly for a joke.

868
00:41:33,239 --> 00:41:35,799
Speaker 2: Hello, Topanga, close on you, Hello, Sean close on you, Hello,

869
00:41:35,840 --> 00:41:37,239
Speaker 2: both of you pull back to the two of them.

870
00:41:37,239 --> 00:41:38,200
Speaker 2: That's a that's a joke.

871
00:41:38,360 --> 00:41:41,399
Speaker 3: Yes, I know, should be funny, but it's not played

872
00:41:41,440 --> 00:41:41,879
Speaker 3: as a joke.

873
00:41:41,960 --> 00:41:42,160
Speaker 2: I know.

874
00:41:42,560 --> 00:41:44,759
Speaker 3: Corey finally blurts out to Panga, I need to talk

875
00:41:44,800 --> 00:41:46,120
Speaker 3: to you. She quickly stands up.

876
00:41:46,120 --> 00:41:46,439
Speaker 2: She can't.

877
00:41:46,520 --> 00:41:49,160
Speaker 3: She has Phoenie's history class. Corey stops her, knowing full

878
00:41:49,200 --> 00:41:51,520
Speaker 3: well she has lunch right now. He asks why she

879
00:41:51,520 --> 00:41:53,799
Speaker 3: didn't call him back last night, and she shrugs it

880
00:41:53,880 --> 00:41:56,279
Speaker 3: was really late. It was only seven. She has no

881
00:41:56,360 --> 00:41:58,919
Speaker 3: answer other than she has history now, and she darts out.

882
00:41:59,280 --> 00:42:01,560
Speaker 3: Sean stands up to run after her, but Corey stops him.

883
00:42:01,560 --> 00:42:04,200
Speaker 3: Where are you going? Sean stutters, I have history now.

884
00:42:04,520 --> 00:42:07,759
Speaker 3: Corey's tone turns cold. You have lunch now with me,

885
00:42:08,280 --> 00:42:11,200
Speaker 3: Sean wins. You let her go, Corey gives him a

886
00:42:11,280 --> 00:42:13,760
Speaker 3: death stare, and Sean sits back down at the lunch table.

887
00:42:14,000 --> 00:42:16,560
Speaker 3: Corey says he's going to be absolutely mature about this.

888
00:42:16,719 --> 00:42:17,279
Speaker 2: Knock knock.

889
00:42:17,480 --> 00:42:20,800
Speaker 3: Sean asks who's there, and Corey responds, you and Topanga

890
00:42:20,880 --> 00:42:22,200
Speaker 3: together at Chubby's last night.

891
00:42:22,520 --> 00:42:23,160
Speaker 2: Eric saw you.

892
00:42:23,560 --> 00:42:26,400
Speaker 3: Sean nervously says the line back to him, You and

893
00:42:26,440 --> 00:42:30,359
Speaker 3: Topanga together at Chubby's last night. Eric saw you and

894
00:42:30,400 --> 00:42:35,719
Speaker 3: then adds who. Corey ditches the joke, you were at

895
00:42:35,800 --> 00:42:38,319
Speaker 3: Chubby's last night. Sean says, Eric has no idea what

896
00:42:38,400 --> 00:42:40,720
Speaker 3: he saw. Corey asks again if he was at Chubby's

897
00:42:40,760 --> 00:42:42,960
Speaker 3: last night, and Sean says yes. Cory asks if he

898
00:42:43,000 --> 00:42:46,200
Speaker 3: was there with Tapanga, and again Sean says yes. Corey

899
00:42:46,239 --> 00:42:48,600
Speaker 3: says he's looking for a no on this last question.

900
00:42:49,000 --> 00:42:52,960
Speaker 3: Did you kiss her? Sean nods yes. Corey shouts no

901
00:42:53,560 --> 00:42:56,000
Speaker 3: in horror. Shawn assures him it was no big deal.

902
00:42:56,120 --> 00:42:57,960
Speaker 3: Topanga got into a fight with her parents and was

903
00:42:58,000 --> 00:43:00,680
Speaker 3: really emotional. Sean happened to be at so he gave

904
00:43:00,680 --> 00:43:03,239
Speaker 3: her a hug and an innocent kiss. You know, I

905
00:43:03,320 --> 00:43:07,080
Speaker 3: tell you everything. Then why are you avoiding kissing her

906
00:43:07,120 --> 00:43:07,680
Speaker 3: on the cheek?

907
00:43:07,840 --> 00:43:11,120
Speaker 2: Yeah? Why not? Just say I kiss her on the cheek. Sure,

908
00:43:11,160 --> 00:43:14,200
Speaker 2: but I also feel like, did you guys kiss people

909
00:43:14,200 --> 00:43:15,840
Speaker 2: in the cheeks to make them feel better? Like is

910
00:43:15,880 --> 00:43:19,080
Speaker 2: that a especially for teenagers? Like I think I had

911
00:43:19,080 --> 00:43:22,200
Speaker 2: this weird moment of like, is Sean like kissing like

912
00:43:22,480 --> 00:43:22,920
Speaker 2: I don't know.

913
00:43:23,800 --> 00:43:25,839
Speaker 1: It's a hug and because the hug would would not

914
00:43:25,880 --> 00:43:29,399
Speaker 1: have sold it because I know, but that's what you do.

915
00:43:29,440 --> 00:43:31,600
Speaker 2: I mean that you hug somebody. I had to buy

916
00:43:31,640 --> 00:43:34,000
Speaker 2: into this reality. I was like, right, why is Sean

917
00:43:34,120 --> 00:43:36,879
Speaker 2: so defensive and like, yeah, you know, like you kiss

918
00:43:36,920 --> 00:43:38,680
Speaker 2: her on the cheek. For me, it was like, you know,

919
00:43:38,760 --> 00:43:41,879
Speaker 2: you lick her neck. It's it's not something I don't know,

920
00:43:42,080 --> 00:43:44,440
Speaker 2: Like did I ever kiss girls on the cheek that

921
00:43:44,480 --> 00:43:46,800
Speaker 2: I was friends with, especially at that age when hormones

922
00:43:46,840 --> 00:43:50,319
Speaker 2: are raging? No, you kiss moms on the cheek, you kid?

923
00:43:50,400 --> 00:43:54,240
Speaker 2: You know, like grownups maybe and if you're European, hello,

924
00:43:54,440 --> 00:43:57,920
Speaker 2: but like just to make the panga feel better, Sean

925
00:43:58,000 --> 00:44:00,600
Speaker 2: leans down just that whole I was like, is because

926
00:44:00,640 --> 00:44:04,400
Speaker 2: that's kind of Cory a little bit in this moment

927
00:44:04,440 --> 00:44:06,919
Speaker 2: because it's like that that that is a little weird, dude,

928
00:44:06,920 --> 00:44:08,600
Speaker 2: Why don't you just accept it. Yeah, I probably shouldn't

929
00:44:08,600 --> 00:44:08,840
Speaker 2: done it.

930
00:44:09,160 --> 00:44:11,759
Speaker 3: Yeah, So Sean is sure to Panga will talk to

931
00:44:11,840 --> 00:44:13,680
Speaker 3: him about it soon. They just happen to run into

932
00:44:13,719 --> 00:44:16,680
Speaker 3: each other first, that's all Corey siys. He feels better.

933
00:44:16,840 --> 00:44:19,200
Speaker 3: Sean tells him to Panka loves you. Your brother's got

934
00:44:19,200 --> 00:44:22,240
Speaker 3: you jumping to conclusions. Tell him to back off. Corey

935
00:44:22,239 --> 00:44:25,360
Speaker 3: tells Sean to excuse him, and we get a flip.

936
00:44:25,480 --> 00:44:26,680
Speaker 3: But I don't know that I would call it an

937
00:44:26,719 --> 00:44:29,280
Speaker 3: optical flip. It's it's just like a direct flip.

938
00:44:29,320 --> 00:44:31,879
Speaker 1: Maybe it's an intensity flip, because man, do I look

939
00:44:31,920 --> 00:44:35,680
Speaker 1: intense when you are ready to go? I'm like a firecracker.

940
00:44:35,719 --> 00:44:36,600
Speaker 1: You're feeling froggy.

941
00:44:36,719 --> 00:44:39,839
Speaker 2: Just jump. Oh, I am ready to go. I don't

942
00:44:39,880 --> 00:44:41,959
Speaker 2: understand the point of this whole. No, I don't either.

943
00:44:42,000 --> 00:44:45,359
Speaker 2: It makes and we go back to you for you

944
00:44:45,440 --> 00:44:48,560
Speaker 2: to insist that you saw what you saw and come

945
00:44:48,600 --> 00:44:51,279
Speaker 2: beat me up about it? Right? And why that is it?

946
00:44:51,320 --> 00:44:51,440
Speaker 5: Like?

947
00:44:52,680 --> 00:44:54,560
Speaker 2: Why is that necessary to the story. I don't know.

948
00:44:54,680 --> 00:44:57,600
Speaker 2: I feel like co is what it's supposed to be.

949
00:44:57,600 --> 00:45:01,040
Speaker 2: I guess I just feel like, you know, we're trying

950
00:45:01,080 --> 00:45:05,359
Speaker 2: to preserve Eric's virtue or like his willingness to fight. Well,

951
00:45:05,520 --> 00:45:08,719
Speaker 2: that's what I'm saying. Yeah, that and that.

952
00:45:08,880 --> 00:45:11,000
Speaker 3: Eric's like, no, I know what I saw, Bro, I'm

953
00:45:11,040 --> 00:45:14,160
Speaker 3: not gonna let your best friend gaslight your friend. I

954
00:45:14,239 --> 00:45:16,320
Speaker 3: know what I saw, and it was weird.

955
00:45:16,480 --> 00:45:20,840
Speaker 2: Audiences the audience could clearly see what was going on.

956
00:45:20,880 --> 00:45:24,200
Speaker 2: The audience, the audience knows that something. So it just

957
00:45:24,239 --> 00:45:27,160
Speaker 2: makes Eric look even like a bully or you like,

958
00:45:27,160 --> 00:45:28,799
Speaker 2: it's just kind of like, dude, chi, I don't know.

959
00:45:29,360 --> 00:45:31,239
Speaker 1: Eric is also supposed to be what nineteen or twenty

960
00:45:31,280 --> 00:45:32,680
Speaker 1: at this point, and he's going after a kid in

961
00:45:32,719 --> 00:45:35,960
Speaker 1: high school, right, Yeah, it's not a good look for

962
00:45:36,080 --> 00:45:39,160
Speaker 1: Eric and not good acting for Will, so doubly that.

963
00:45:43,000 --> 00:45:44,840
Speaker 3: They're back in the bath these living room, Corey is

964
00:45:44,840 --> 00:45:47,359
Speaker 3: in Eric's face, shouting that Sean is his best friend

965
00:45:47,400 --> 00:45:49,759
Speaker 3: and Tapango loves him. He accuses Eric of being a

966
00:45:49,760 --> 00:45:53,439
Speaker 3: twisted sibling for assuming the worst he's supposed to protect him.

967
00:45:53,800 --> 00:45:57,319
Speaker 3: Eric blankly stares at Corey and responds with another excuse me,

968
00:45:57,760 --> 00:46:00,319
Speaker 3: and we get another flip now, with an angry Eric

969
00:46:00,360 --> 00:46:03,960
Speaker 3: approaching Sean at Chubbies. Eric grabs Sean by his shirt

970
00:46:04,000 --> 00:46:05,719
Speaker 3: and aggressively pushes him against the wall.

971
00:46:06,040 --> 00:46:08,279
Speaker 2: Sean is nervous. He tells Eric he doesn't know what's

972
00:46:08,320 --> 00:46:08,680
Speaker 2: going on.

973
00:46:09,200 --> 00:46:11,200
Speaker 3: Eric asks, you think you can do something that causes

974
00:46:11,239 --> 00:46:13,200
Speaker 3: Corey payne and you're not going to get pay back.

975
00:46:13,480 --> 00:46:15,440
Speaker 3: He shoves Sean against the wall even harder.

976
00:46:19,480 --> 00:46:22,640
Speaker 2: If we buzt it out and it wasn't I meet

977
00:46:22,680 --> 00:46:25,120
Speaker 2: me at Chubbies, But I remember this at all? Yeah?

978
00:46:25,360 --> 00:46:27,880
Speaker 1: And I mean no, and you figure me grabbing you

979
00:46:27,920 --> 00:46:29,480
Speaker 1: and throwing against the wall would trigger some kind of

980
00:46:29,520 --> 00:46:31,000
Speaker 1: memory of oh, I remember we worked this out or

981
00:46:31,000 --> 00:46:32,520
Speaker 1: but nope, don't remember this even slightly.

982
00:46:32,719 --> 00:46:32,959
Speaker 2: Yeah.

983
00:46:32,960 --> 00:46:35,239
Speaker 3: He shoves Sean against the wall even harder, and then

984
00:46:35,320 --> 00:46:38,680
Speaker 3: Corey interjects he's come to his own conclusion. Just as

985
00:46:38,760 --> 00:46:41,359
Speaker 3: Sean gets himself in order, Corey pushes him back into

986
00:46:41,400 --> 00:46:44,600
Speaker 3: the wall. He says, something bad did happen. Sean tells

987
00:46:44,680 --> 00:46:46,719
Speaker 3: him that's true, but he can't tell him what the

988
00:46:46,760 --> 00:46:49,160
Speaker 3: bad thing is. He just needs to talk to Tapanga.

989
00:46:49,560 --> 00:46:52,560
Speaker 3: Corey leaves, and Eric menacingly points at Sean, who in

990
00:46:52,640 --> 00:46:53,280
Speaker 3: double point?

991
00:46:53,480 --> 00:46:56,080
Speaker 2: Did you notice that I gave it? It was this

992
00:46:56,280 --> 00:46:58,239
Speaker 2: for some reason. I don't even know what this is.

993
00:46:58,280 --> 00:47:01,200
Speaker 1: This is like it was like the double whatever whatever

994
00:47:01,480 --> 00:47:03,880
Speaker 1: wasn't even a point it was like the double point.

995
00:47:04,040 --> 00:47:07,000
Speaker 2: So you did do that? Yeah, because even Sue was like, oh,

996
00:47:07,040 --> 00:47:08,359
Speaker 2: you give him like the double point.

997
00:47:08,400 --> 00:47:11,319
Speaker 1: I was like, yeah, man, I want him doubly to

998
00:47:11,320 --> 00:47:12,520
Speaker 1: know that I don't know what's going on.

999
00:47:13,520 --> 00:47:14,759
Speaker 2: Oh but does anybody have.

1000
00:47:14,760 --> 00:47:18,200
Speaker 1: Any guesses by the way of how close you think

1001
00:47:18,360 --> 00:47:20,080
Speaker 1: Chubbies is to the Matthews house.

1002
00:47:20,760 --> 00:47:24,040
Speaker 2: I mean it has to be walking distance. They can

1003
00:47:24,080 --> 00:47:26,600
Speaker 2: walk there, right, everybody's within walking distance, because then we

1004
00:47:26,640 --> 00:47:29,680
Speaker 2: say Tapanga lives around the corner in the two scenes, Okay,

1005
00:47:29,719 --> 00:47:30,000
Speaker 2: So I.

1006
00:47:30,000 --> 00:47:32,880
Speaker 3: Was like thinking, Chubby's is on one side of the

1007
00:47:32,920 --> 00:47:36,080
Speaker 3: train tracks, Corey lives over there, Sean lives just on

1008
00:47:36,120 --> 00:47:37,200
Speaker 3: the other side.

1009
00:47:36,960 --> 00:47:39,200
Speaker 2: Of the train tracks, okay.

1010
00:47:38,880 --> 00:47:42,359
Speaker 3: And Topanga lives around the back corner from Chebys, so

1011
00:47:42,400 --> 00:47:43,840
Speaker 3: they're both walking distance.

1012
00:47:43,880 --> 00:47:48,160
Speaker 2: They're all chubby adjacent, correct, Okay? And the trailer park

1013
00:47:48,239 --> 00:47:48,680
Speaker 2: is right in.

1014
00:47:48,600 --> 00:47:51,520
Speaker 1: The middle, yes, but on the other side of the

1015
00:47:51,640 --> 00:47:52,640
Speaker 1: on the other side of the tracks.

1016
00:47:52,719 --> 00:47:54,000
Speaker 2: Gotcha correct.

1017
00:47:55,400 --> 00:47:58,200
Speaker 3: So then we're in Topanga's rooms still with signs of

1018
00:47:58,239 --> 00:48:01,160
Speaker 3: season one to Panga on the wall. There's an Ozone

1019
00:48:01,160 --> 00:48:03,879
Speaker 3: depletion poster it dolphins.

1020
00:48:04,040 --> 00:48:07,360
Speaker 2: I mean it's obviously being packed up, yeah, which explains it,

1021
00:48:07,400 --> 00:48:09,719
Speaker 2: but it felt I was like, whoa, it's a cold

1022
00:48:09,760 --> 00:48:12,919
Speaker 2: different room because it's the whole different. I missed the old. Yeah,

1023
00:48:12,920 --> 00:48:14,440
Speaker 2: and Corey doesn't notice.

1024
00:48:14,960 --> 00:48:18,600
Speaker 1: He does eventually, eventually you notice they're playing it that

1025
00:48:18,640 --> 00:48:19,799
Speaker 1: he's focused on whatever the hell?

1026
00:48:20,080 --> 00:48:22,160
Speaker 2: Wow, what happened? What's going on? Right?

1027
00:48:22,239 --> 00:48:25,440
Speaker 1: It's like, I'm laser focused on this one thing, and

1028
00:48:25,480 --> 00:48:27,600
Speaker 1: I don't notice that your entire room is different?

1029
00:48:27,960 --> 00:48:33,040
Speaker 2: Why is he climbing into the window that romantic rider.

1030
00:48:33,239 --> 00:48:35,200
Speaker 2: It's the only way seen anybody come in and out

1031
00:48:35,200 --> 00:48:35,640
Speaker 2: of this room.

1032
00:48:36,800 --> 00:48:39,160
Speaker 3: Boys and girls, if you're going to see each other,

1033
00:48:39,400 --> 00:48:42,440
Speaker 3: you have to climb up trees and through window.

1034
00:48:42,680 --> 00:48:47,200
Speaker 2: Obviously it's a Romeo. It's a little too of course.

1035
00:48:47,239 --> 00:48:50,239
Speaker 2: It's Act two scene too. Of course. To Panga is.

1036
00:48:50,200 --> 00:48:52,560
Speaker 3: Longingly staring at a picture of her and Corey. Just

1037
00:48:52,600 --> 00:48:54,640
Speaker 3: as Corey knocks on her window, she lets him in.

1038
00:48:54,719 --> 00:48:55,319
Speaker 2: What's he doing?

1039
00:48:55,640 --> 00:48:59,480
Speaker 3: He responds by kissing her, and the audience oohs. Topanga

1040
00:48:59,560 --> 00:49:02,239
Speaker 3: asks what was that for, and Corey tells her I

1041
00:49:02,280 --> 00:49:04,160
Speaker 3: wanted to be the last one to kiss you before

1042
00:49:04,200 --> 00:49:06,920
Speaker 3: I kill you. He explains that his favorite part of

1043
00:49:06,960 --> 00:49:09,040
Speaker 3: their relationship is that they've always been able to talk

1044
00:49:09,080 --> 00:49:14,799
Speaker 3: to each other about anything the same we're told, so

1045
00:49:15,160 --> 00:49:17,759
Speaker 3: he wants her to talk to him. She immediately leans

1046
00:49:17,760 --> 00:49:20,839
Speaker 3: in for another kiss, and Corey asks what was that for.

1047
00:49:21,400 --> 00:49:23,360
Speaker 3: She admits, I wanted to be the last one to

1048
00:49:23,400 --> 00:49:25,719
Speaker 3: kiss you before I kill you. She hangs her head,

1049
00:49:26,000 --> 00:49:28,880
Speaker 3: unable to face Corey. He acknowledges it must be something

1050
00:49:28,920 --> 00:49:32,600
Speaker 3: really bad to Panga faces him, Corey, You're my best friend,

1051
00:49:32,880 --> 00:49:35,839
Speaker 3: you always have been and more. I know how young

1052
00:49:35,920 --> 00:49:38,439
Speaker 3: and stupid this is, but I've always believed that we'd

1053
00:49:38,480 --> 00:49:41,680
Speaker 3: be together for the rest of our lives. Now I

1054
00:49:41,800 --> 00:49:44,120
Speaker 3: do kind of buy that to Panga has felt that

1055
00:49:44,160 --> 00:49:48,719
Speaker 3: way because in the Sweet sixteen episode we danced, and

1056
00:49:48,760 --> 00:49:50,960
Speaker 3: it was very important for me to dance to that

1057
00:49:51,000 --> 00:49:54,080
Speaker 3: because my parents danced totally.

1058
00:49:54,120 --> 00:49:56,560
Speaker 2: I also just think that's the way you do feel often. Yes,

1059
00:49:56,920 --> 00:49:58,600
Speaker 2: you people feel like, oh my god, we're going to

1060
00:49:58,640 --> 00:50:02,799
Speaker 2: beat the odds. It's so great. I just realized, like,

1061
00:50:03,080 --> 00:50:06,120
Speaker 2: nothing up until this point in the episode matters for

1062
00:50:06,160 --> 00:50:06,960
Speaker 2: the rest of the episode.

1063
00:50:07,040 --> 00:50:10,640
Speaker 6: Nope, like nothing that has happened, No plays infects. No, No,

1064
00:50:10,880 --> 00:50:13,600
Speaker 6: it doesn't right because Eric, the fact of Eric and

1065
00:50:13,640 --> 00:50:16,880
Speaker 6: Sean like that dynamic never comes back. No, wou then

1066
00:50:17,000 --> 00:50:18,560
Speaker 6: we're working together. Second episode.

1067
00:50:18,560 --> 00:50:21,280
Speaker 1: If there's any acknowledgment of me pushing you up against

1068
00:50:21,280 --> 00:50:23,560
Speaker 1: a wall, that ever is brought back in any way,

1069
00:50:23,560 --> 00:50:24,040
Speaker 1: shape or form.

1070
00:50:24,239 --> 00:50:27,919
Speaker 3: The only thing that plays into it is that Eric

1071
00:50:28,440 --> 00:50:31,799
Speaker 3: has made it clear, and Corey's made it clear you're

1072
00:50:31,840 --> 00:50:34,640
Speaker 3: my big brother, You're supposed to protect me, and that

1073
00:50:34,840 --> 00:50:37,719
Speaker 3: Eric has made it clear I take that job seriously.

1074
00:50:37,920 --> 00:50:41,920
Speaker 3: And so then later in the episode, Eric is like, listen,

1075
00:50:42,480 --> 00:50:45,040
Speaker 3: I don't know how to save you from this. I

1076
00:50:45,120 --> 00:50:48,080
Speaker 3: don't know how to. I've tried everything, and I think

1077
00:50:48,280 --> 00:50:51,359
Speaker 3: the only way through it is through it. Yeah, I

1078
00:50:51,400 --> 00:50:54,200
Speaker 3: wish somehow there was a way. I love too that

1079
00:50:54,320 --> 00:50:57,480
Speaker 3: At the end, Sean reverts back to one of the

1080
00:50:57,480 --> 00:50:59,840
Speaker 3: things we loved about early Sean and Corey was that

1081
00:51:00,080 --> 00:51:03,279
Speaker 3: on gives terrible advice. You're the reason Corey thinks it's

1082
00:51:03,320 --> 00:51:05,799
Speaker 3: not really going to happen is because you convince him.

1083
00:51:05,920 --> 00:51:08,120
Speaker 3: Oh no, trust me, I'm an expert. I'm an expert.

1084
00:51:08,160 --> 00:51:08,319
Speaker 1: None.

1085
00:51:08,360 --> 00:51:10,879
Speaker 2: Nothing bad happens in the overconfidence of like, I don't

1086
00:51:10,880 --> 00:51:12,319
Speaker 2: know TV shows, this is life.

1087
00:51:12,480 --> 00:51:14,600
Speaker 3: Oh yeah, And we had it in the Sweet sixteen

1088
00:51:14,640 --> 00:51:18,040
Speaker 3: episode of Trust Me. It's a TV show. So that's

1089
00:51:18,080 --> 00:51:19,400
Speaker 3: a fun callback.

1090
00:51:19,239 --> 00:51:23,000
Speaker 2: And it's Matt Nelson, right, yes, yeah, No, I just like,

1091
00:51:23,040 --> 00:51:25,760
Speaker 2: I just think you could have started the episode here

1092
00:51:26,280 --> 00:51:28,800
Speaker 2: and we have pretty pretty much the same series of

1093
00:51:28,840 --> 00:51:32,239
Speaker 2: events from here on there. It's so unaffected by those

1094
00:51:32,280 --> 00:51:35,440
Speaker 2: first that, yeah, you know, as opposed to like the

1095
00:51:35,480 --> 00:51:38,400
Speaker 2: abuse episode, which this is structured, yeah, the most similarly

1096
00:51:38,440 --> 00:51:42,800
Speaker 2: to where that confusion plays into the thematics of like Corey,

1097
00:51:43,280 --> 00:51:46,840
Speaker 2: you know, moving too fast on Tapanga and Sean you know,

1098
00:51:47,000 --> 00:51:49,000
Speaker 2: it all kind of comes together. So even though there's

1099
00:51:49,000 --> 00:51:52,960
Speaker 2: a misunderstanding that gets resolved after the first act, it

1100
00:51:53,320 --> 00:51:55,880
Speaker 2: at least plays into the second act, whereas, Yeah, in

1101
00:51:55,920 --> 00:51:57,520
Speaker 2: this case, I'm just not sure it does at all,

1102
00:51:57,640 --> 00:51:59,480
Speaker 2: Like it's just gone, yeah anyway.

1103
00:51:59,480 --> 00:52:01,040
Speaker 1: And at least I like that, at least to Pang

1104
00:52:01,040 --> 00:52:03,120
Speaker 1: acknowledges that it's crazy to think you're going to be

1105
00:52:03,120 --> 00:52:04,760
Speaker 1: together forever, but you always did.

1106
00:52:04,960 --> 00:52:07,240
Speaker 3: Right, and she's like, I know, this probably sounds stupid,

1107
00:52:07,320 --> 00:52:11,000
Speaker 3: but and then Corey calls a stop time because he

1108
00:52:11,080 --> 00:52:13,279
Speaker 3: knows that if Ta Panga keeps going, she'll eventually get

1109
00:52:13,320 --> 00:52:15,239
Speaker 3: to the bad part. If they stop time, they'll be

1110
00:52:15,320 --> 00:52:17,880
Speaker 3: together for the rest of their lives. Tapanga starts to

1111
00:52:17,920 --> 00:52:20,160
Speaker 3: tear up and sits down on the bed. Corey reminds

1112
00:52:20,160 --> 00:52:22,160
Speaker 3: her he called a stop time. She can't cry during

1113
00:52:22,160 --> 00:52:24,680
Speaker 3: a stop time. She lays her head on his shoulder

1114
00:52:24,719 --> 00:52:27,919
Speaker 3: and sniffles. Corey starts to notice the boxes in her room.

1115
00:52:28,520 --> 00:52:31,440
Speaker 3: Why are there so many boxes everywhere? Tapega finally breaks

1116
00:52:31,480 --> 00:52:35,560
Speaker 3: the news my family and I are moving. Corey is

1117
00:52:35,600 --> 00:52:40,080
Speaker 3: hopeful to an hour different house on the same block

1118
00:52:40,680 --> 00:52:44,239
Speaker 3: to Pega clarifies we're leaving Philadelphia. They just stare at

1119
00:52:44,239 --> 00:52:46,440
Speaker 3: each other as the screen fades to black and we

1120
00:52:46,480 --> 00:52:48,520
Speaker 3: go to a commercial, and then we come back. We're

1121
00:52:48,520 --> 00:52:51,799
Speaker 3: into Panga's room. Continuous. Corey is slumped over on Topanga's bed.

1122
00:52:52,000 --> 00:52:54,920
Speaker 3: The Laurence family is moving the day after tomorrow. Her

1123
00:52:54,960 --> 00:52:56,800
Speaker 3: mom was transferred and they need her right away.

1124
00:52:57,160 --> 00:53:02,000
Speaker 2: So fast move, man, there's no way out. Fast, fast move.

1125
00:53:02,400 --> 00:53:05,200
Speaker 2: So this is where I had to pause and just

1126
00:53:05,239 --> 00:53:08,799
Speaker 2: sort of linger for a moment on what you know,

1127
00:53:08,840 --> 00:53:12,480
Speaker 2: the power of this moment, which was really cool to realize,

1128
00:53:12,520 --> 00:53:19,720
Speaker 2: like how big moving is for kids. Yeah, you it's

1129
00:53:19,880 --> 00:53:25,040
Speaker 2: a perfect I mean, it's it's the perfect storytelling way

1130
00:53:25,440 --> 00:53:29,920
Speaker 2: to show the disempowerment of children like you. Can't control this.

1131
00:53:30,280 --> 00:53:33,560
Speaker 2: You cannot your parents need a job change and move.

1132
00:53:33,760 --> 00:53:36,600
Speaker 2: You were going to lose your teachers, your friends, your community,

1133
00:53:36,640 --> 00:53:39,680
Speaker 2: and it's like and you can't do anything about it,

1134
00:53:39,760 --> 00:53:42,479
Speaker 2: like really, because you're just a kid. And I thought

1135
00:53:42,520 --> 00:53:45,440
Speaker 2: this is such a great place for storytelling. I mean,

1136
00:53:45,719 --> 00:53:49,040
Speaker 2: like maybe like one of my favorite places is to

1137
00:53:49,320 --> 00:53:55,799
Speaker 2: to put the audience and the characters right into you know,

1138
00:53:56,040 --> 00:54:00,120
Speaker 2: the child situation, the children's mindset. You can't and I think,

1139
00:54:01,239 --> 00:54:03,920
Speaker 2: you know, it's it's easy to forget that that kids

1140
00:54:04,080 --> 00:54:07,200
Speaker 2: feel just as much. It's not more than grown ups, right,

1141
00:54:07,200 --> 00:54:10,040
Speaker 2: hell yeah, but there's they just they don't have any power.

1142
00:54:10,120 --> 00:54:12,439
Speaker 2: They can't do anything about it. They just they they're

1143
00:54:12,520 --> 00:54:15,200
Speaker 2: stuck with the parents they got, or the or the

1144
00:54:15,440 --> 00:54:18,799
Speaker 2: you know, being whatever their their life situation is, the

1145
00:54:18,800 --> 00:54:21,520
Speaker 2: class they're in, the country they're in, they're just stuck there.

1146
00:54:21,560 --> 00:54:24,440
Speaker 2: They don't get that choice, and and yet they feel

1147
00:54:24,640 --> 00:54:26,600
Speaker 2: just as much. And I think that is so beautiful,

1148
00:54:26,880 --> 00:54:30,279
Speaker 2: and that is like one of the central you know,

1149
00:54:30,800 --> 00:54:36,800
Speaker 2: the the best parts of children's storytelling or or movies

1150
00:54:36,920 --> 00:54:40,600
Speaker 2: or television shows about kids is that you can you

1151
00:54:40,640 --> 00:54:42,840
Speaker 2: can have a moment like this right where you really

1152
00:54:42,920 --> 00:54:46,920
Speaker 2: just and then you know, for me, I had to

1153
00:54:46,960 --> 00:54:49,640
Speaker 2: think about, like and then where does this episode go?

1154
00:54:50,400 --> 00:54:54,440
Speaker 2: And it goes in a place that really and we'll

1155
00:54:54,480 --> 00:54:56,600
Speaker 2: get you know, I guess in this next episode really

1156
00:54:57,000 --> 00:54:59,640
Speaker 2: where it re empowers the kids through their love. Yeah,

1157
00:54:59,640 --> 00:55:03,040
Speaker 2: which is just a weird storytelling choice that you sent

1158
00:55:03,080 --> 00:55:04,920
Speaker 2: me down this rabbit hole of Romeo and Juliet and

1159
00:55:04,920 --> 00:55:08,000
Speaker 2: the comparisons, which we can get into maybe next episode

1160
00:55:08,000 --> 00:55:10,120
Speaker 2: when we have Olivia Hassion. But like, it's it's a

1161
00:55:10,160 --> 00:55:14,520
Speaker 2: really it's it's such a powerful like this is just

1162
00:55:14,600 --> 00:55:17,160
Speaker 2: a powder keg of a moment in boy Meet's world, loar,

1163
00:55:17,320 --> 00:55:19,640
Speaker 2: and I kind of loved it, and then I got

1164
00:55:19,680 --> 00:55:21,279
Speaker 2: really worried about where it's going to go.

1165
00:55:33,440 --> 00:55:36,080
Speaker 3: I remember my parents telling me we were moving when

1166
00:55:36,080 --> 00:55:38,440
Speaker 3: I was nine or ten years old, and we were

1167
00:55:38,560 --> 00:55:43,680
Speaker 3: leaving Orange County and moving to Calabasas. And it was

1168
00:55:43,719 --> 00:55:46,400
Speaker 3: like wait, so wait, what do you mean? And where

1169
00:55:46,560 --> 00:55:49,719
Speaker 3: is this and it's how far away? And well how

1170
00:55:49,760 --> 00:55:53,000
Speaker 3: am I going to see Jessica? And and you know,

1171
00:55:53,080 --> 00:55:55,600
Speaker 3: they tried to tell me, we promise, we'll make it easy.

1172
00:55:55,719 --> 00:55:58,520
Speaker 3: You know, Jessica's parents will meet halfway. You guys, can

1173
00:55:58,600 --> 00:56:00,200
Speaker 3: you can spend a weekend with Jessa. Jessica can come

1174
00:56:00,239 --> 00:56:02,680
Speaker 3: and spend a weekend with you, and it being like oh, okay,

1175
00:56:02,760 --> 00:56:04,719
Speaker 3: and then being like so what school am I going

1176
00:56:04,800 --> 00:56:05,120
Speaker 3: to go to?

1177
00:56:05,360 --> 00:56:05,959
Speaker 2: And like who?

1178
00:56:06,280 --> 00:56:08,480
Speaker 3: And I don't know anything about this neighborhood and it

1179
00:56:08,560 --> 00:56:13,000
Speaker 3: feeling like wait, how come are you sure? There was

1180
00:56:13,000 --> 00:56:15,680
Speaker 3: a reveeling like wait, this isn't even something you're talking

1181
00:56:15,719 --> 00:56:18,520
Speaker 3: to me about. You're telling me it's happening, and I do.

1182
00:56:18,560 --> 00:56:23,239
Speaker 3: I remember it feeling really kind of scary, and I

1183
00:56:23,280 --> 00:56:24,920
Speaker 3: worry about it because I know we're going to want

1184
00:56:24,920 --> 00:56:26,279
Speaker 3: to move. We're going to want to move at some

1185
00:56:26,320 --> 00:56:29,120
Speaker 3: point with my kids, and Adler has no idea how

1186
00:56:29,120 --> 00:56:30,640
Speaker 3: that works. He's already talked to me. He's like, so

1187
00:56:31,120 --> 00:56:33,759
Speaker 3: if we move, no, just no one ever lives in

1188
00:56:33,800 --> 00:56:35,760
Speaker 3: this house again. And I go no, of course, honey,

1189
00:56:35,800 --> 00:56:37,399
Speaker 3: Like then somebody else moves into this house.

1190
00:56:37,400 --> 00:56:40,200
Speaker 2: He goes, not into my house. I love my house.

1191
00:56:40,239 --> 00:56:43,480
Speaker 3: It's like he can't fathom that, like, his room isn't

1192
00:56:43,560 --> 00:56:46,759
Speaker 3: always going to just be his room. So you're right,

1193
00:56:46,800 --> 00:56:48,640
Speaker 3: it is such a crazy thing to think about. Just

1194
00:56:48,719 --> 00:56:50,520
Speaker 3: kids have no power.

1195
00:56:51,000 --> 00:56:53,200
Speaker 1: I did the same thing in third grade. We moved

1196
00:56:53,360 --> 00:56:55,879
Speaker 1: twenty minutes away. I never saw those kids again.

1197
00:56:56,040 --> 00:56:59,040
Speaker 2: Yeah, yeah, you just yank. I mean, it's just your

1198
00:56:59,160 --> 00:57:01,320
Speaker 2: your whole lia. But that's the other thing is kids

1199
00:57:01,320 --> 00:57:04,920
Speaker 2: are also really adaptable. I know. So it's a combination.

1200
00:57:05,120 --> 00:57:07,920
Speaker 2: What you do is you you insist on your relationship,

1201
00:57:07,960 --> 00:57:10,640
Speaker 2: you demand for it, and you make the reality shift

1202
00:57:10,680 --> 00:57:14,600
Speaker 2: to it. You do not need somebody new will God

1203
00:57:15,960 --> 00:57:24,960
Speaker 2: he missed it. Miss This is my problem is that

1204
00:57:25,120 --> 00:57:28,600
Speaker 2: you can't like that's a really horrible lesson. I'm sorry,

1205
00:57:28,920 --> 00:57:34,280
Speaker 2: Like fine, fine to Panga.

1206
00:57:34,520 --> 00:57:37,240
Speaker 3: Panga gives Corey a soft smile. Corey goes on, I'm

1207
00:57:37,240 --> 00:57:40,280
Speaker 3: as young and stupid as you. Tapanga apologizes for being

1208
00:57:40,280 --> 00:57:42,440
Speaker 3: afraid to talk to him. Corey says, this is just

1209
00:57:42,480 --> 00:57:45,160
Speaker 3: a simple piece of cake test for a relationship as

1210
00:57:45,160 --> 00:57:45,880
Speaker 3: solid as theirs.

1211
00:57:46,280 --> 00:57:47,200
Speaker 2: To Panga agrees.

1212
00:57:47,360 --> 00:57:49,320
Speaker 3: If two people who care about each other as much

1213
00:57:49,360 --> 00:57:51,600
Speaker 3: as we do can't hold it together, then there's no

1214
00:57:51,640 --> 00:57:54,400
Speaker 3: hope for anyone. Corey knows it'll take something a lot

1215
00:57:54,440 --> 00:57:57,320
Speaker 3: bigger than Pittsburgh to break them apart. To Pega kisses

1216
00:57:57,400 --> 00:58:00,880
Speaker 3: him and he asks again, what was that for? She smiles,

1217
00:58:01,160 --> 00:58:02,840
Speaker 3: I wanted to be the last one to kiss you

1218
00:58:02,880 --> 00:58:05,600
Speaker 3: before I kiss you again, They smile and they rest

1219
00:58:05,640 --> 00:58:07,960
Speaker 3: their heads against each other, and again there were no

1220
00:58:08,160 --> 00:58:09,280
Speaker 3: laughs in that scene.

1221
00:58:09,560 --> 00:58:12,760
Speaker 2: And why do kisses always have to be for something

1222
00:58:14,640 --> 00:58:18,480
Speaker 2: very important? I spent a lot of that scene it

1223
00:58:18,520 --> 00:58:20,200
Speaker 2: was high Death, by the way, because I want to

1224
00:58:20,920 --> 00:58:24,840
Speaker 2: I've never been kissed by somebody and say, and I

1225
00:58:24,880 --> 00:58:26,960
Speaker 2: feel like we've done that a lot. It feels like

1226
00:58:27,040 --> 00:58:29,360
Speaker 2: such a boy meets world thing, Like is it? Let's

1227
00:58:29,440 --> 00:58:31,800
Speaker 2: keep this conversation going. Can you explain why you just

1228
00:58:31,840 --> 00:58:34,480
Speaker 2: kissed it? Why did you just kiss me girlfriend of

1229
00:58:34,480 --> 00:58:38,400
Speaker 2: mine that I love so much? Well, yeah, you're right.

1230
00:58:38,520 --> 00:58:40,280
Speaker 2: And then also when you think about like now I'm

1231
00:58:40,280 --> 00:58:42,040
Speaker 2: going to kiss you to and sorts you or change

1232
00:58:42,040 --> 00:58:45,800
Speaker 2: your mind about side, it's it's instrumental. Kissing is instrumental.

1233
00:58:45,840 --> 00:58:49,520
Speaker 3: It's never affection or to tell you I love you,

1234
00:58:49,640 --> 00:58:52,160
Speaker 3: or to show in some other way the words I'm saying.

1235
00:58:52,560 --> 00:58:57,480
Speaker 3: If you do it, you have to explain it. So

1236
00:58:57,560 --> 00:59:00,800
Speaker 3: then we're in the Matthew's kitchen. Corey is fever scribbling

1237
00:59:00,800 --> 00:59:02,800
Speaker 3: on a map. Amy tries to reason with him. I

1238
00:59:02,880 --> 00:59:05,720
Speaker 3: know how hard this must seem right now, but sometimes

1239
00:59:05,760 --> 00:59:07,760
Speaker 3: we have to believe that things happen for a reason

1240
00:59:08,120 --> 00:59:09,080
Speaker 3: Corey doesn't hesitate.

1241
00:59:09,120 --> 00:59:10,160
Speaker 2: Everything's gonna work out.

1242
00:59:10,200 --> 00:59:12,960
Speaker 3: Do you know how close Philadelphia and Pittsburgh actually are?

1243
00:59:13,320 --> 00:59:15,520
Speaker 2: And the answer is five hours and ten minutes away.

1244
00:59:15,960 --> 00:59:18,240
Speaker 1: It's three hundred and eight miles or four five hundred

1245
00:59:18,280 --> 00:59:21,200
Speaker 1: and five miles. Yeah, I googled right at this point, That's.

1246
00:59:21,040 --> 00:59:22,560
Speaker 3: What I say. So that's where I came up with

1247
00:59:22,600 --> 00:59:23,840
Speaker 3: five hours and ten minutes.

1248
00:59:24,480 --> 00:59:26,160
Speaker 1: Traffic must have been heavier when you look, because it

1249
00:59:26,160 --> 00:59:27,400
Speaker 1: was four forty seven when I checked.

1250
00:59:27,480 --> 00:59:30,800
Speaker 3: Oh yeah, I checked later. Okay, it's just a matter

1251
00:59:30,840 --> 00:59:33,320
Speaker 3: of rearranging some schedules. Amy says it's going to be

1252
00:59:33,360 --> 00:59:35,520
Speaker 3: harder than he realizes. Alan jumps in.

1253
00:59:35,600 --> 00:59:37,080
Speaker 2: Corey's trying very hard.

1254
00:59:37,200 --> 00:59:39,640
Speaker 3: Why do we have to Amy doesn't let him finish

1255
00:59:39,840 --> 00:59:42,280
Speaker 3: because it's going to be harder than he realizes.

1256
00:59:42,360 --> 00:59:44,000
Speaker 2: And I think he needs to know that. He's a

1257
00:59:44,000 --> 00:59:46,320
Speaker 2: great scene. Great scene, by the way, Like I love

1258
00:59:46,560 --> 00:59:49,360
Speaker 2: I love that the parents are just as confused Corey,

1259
00:59:49,360 --> 00:59:50,920
Speaker 2: you know, Like I just love all this conversation. This

1260
00:59:51,080 --> 00:59:53,640
Speaker 2: is like classic good Boy meets World riding. Yeap. Yeah,

1261
00:59:53,760 --> 00:59:57,000
Speaker 2: you don't make Amy awful, you make her totally reasonable,

1262
00:59:57,040 --> 00:59:59,640
Speaker 2: but against Corey. You don't make Corey awful, but he's,

1263
01:00:00,040 --> 01:00:02,400
Speaker 2: you know very much, Yeah, digging in his heels, and

1264
01:00:02,440 --> 01:00:04,160
Speaker 2: you got Alan kind of stuck in the middle and

1265
01:00:04,200 --> 01:00:07,400
Speaker 2: he flip flopped. It's great, just great, complicated.

1266
01:00:06,840 --> 01:00:11,160
Speaker 3: Writing, really well done. Corey is confident. Tapanga and I

1267
01:00:11,240 --> 01:00:13,080
Speaker 3: have talked about this. If we believe we can make

1268
01:00:13,080 --> 01:00:15,479
Speaker 3: this work, why would you doubt us? She doesn't doubt

1269
01:00:15,480 --> 01:00:18,520
Speaker 3: Corey's feelings for Tapanga. It's just that long distance relationships

1270
01:00:18,520 --> 01:00:21,040
Speaker 3: are very difficult. You've lived around the corner from each

1271
01:00:21,040 --> 01:00:23,400
Speaker 3: other all your lives, and now you won't. That's going

1272
01:00:23,440 --> 01:00:26,360
Speaker 3: to make things painful. Cory asks his dad why she's

1273
01:00:26,400 --> 01:00:29,800
Speaker 3: talking about pain and Hallan admits, because it may be

1274
01:00:29,880 --> 01:00:32,640
Speaker 3: tougher than you think. Corey argues that he and Tapanga

1275
01:00:32,680 --> 01:00:35,040
Speaker 3: are willing to make these sacrifices because they're going to

1276
01:00:35,080 --> 01:00:38,800
Speaker 3: be together for the rest of their lives. Amy questions

1277
01:00:38,840 --> 01:00:41,960
Speaker 3: that the rest of your lives you're sixteen years old.

1278
01:00:42,400 --> 01:00:44,600
Speaker 3: Corey fires back, so are a couple of friends of

1279
01:00:44,600 --> 01:00:47,720
Speaker 3: mine named Romeo and Juliet. And they turned out okay,

1280
01:00:47,760 --> 01:00:51,560
Speaker 3: didn't they? And then the audience laughs first laugh in

1281
01:00:51,640 --> 01:00:55,200
Speaker 3: a while, and Corey leaves is Amy and Allen give

1282
01:00:55,240 --> 01:00:58,240
Speaker 3: each other a puzzled look, and then old timey music

1283
01:00:58,240 --> 01:01:00,680
Speaker 3: plays as the screen fades, and then we're in the

1284
01:01:00,680 --> 01:01:03,800
Speaker 3: Matthew's backyard. Corey is reading Romeo and Juliet and he scoffs,

1285
01:01:03,920 --> 01:01:06,440
Speaker 3: won't work. Look at my man Romeo in love with

1286
01:01:06,520 --> 01:01:10,480
Speaker 3: this Juliet. Nothing's keeping them apart. Phoene walks out in

1287
01:01:10,600 --> 01:01:15,560
Speaker 3: a killer turtleneck and cardigan combo yep, and he sees

1288
01:01:15,600 --> 01:01:18,440
Speaker 3: Corey is brushing up on his Shakespeare. Corey asks, you

1289
01:01:18,440 --> 01:01:20,000
Speaker 3: know how you've always told us to take what we

1290
01:01:20,080 --> 01:01:22,200
Speaker 3: learned in the classroom and apply it to everyday life.

1291
01:01:22,400 --> 01:01:25,520
Speaker 3: Pheenie knows what he's referring to you and tapanga. Corey

1292
01:01:25,560 --> 01:01:29,640
Speaker 3: says she's moving to Padua. Phoene corrects him, correct him, Pittsburgh,

1293
01:01:29,800 --> 01:01:32,600
Speaker 3: she told me. He gives Corey a very sincere apology.

1294
01:01:32,920 --> 01:01:35,240
Speaker 3: Corey explains, there are those who don't think we can

1295
01:01:35,280 --> 01:01:36,840
Speaker 3: make it because we're just a couple of kids.

1296
01:01:36,880 --> 01:01:37,800
Speaker 2: But here's the proof.

1297
01:01:38,120 --> 01:01:41,640
Speaker 3: Phoene notices the book whoa Boy, knowing Corey hasn't actually

1298
01:01:41,680 --> 01:01:44,400
Speaker 3: finished the play yet. Corey asks, they're in love? What

1299
01:01:44,440 --> 01:01:45,600
Speaker 3: could possibly go wrong?

1300
01:01:45,800 --> 01:01:46,880
Speaker 2: I'm sorry this pumped me.

1301
01:01:47,160 --> 01:01:49,919
Speaker 1: I just did We've done Romeo and Juliet ten times

1302
01:01:49,920 --> 01:01:52,920
Speaker 1: in this thing, and no sixteen year old doesn't know

1303
01:01:53,000 --> 01:01:55,240
Speaker 1: that Romeo and Juliet don't end in death.

1304
01:01:55,400 --> 01:01:58,160
Speaker 2: I mean, nobody doesn't know that, So I know.

1305
01:01:58,280 --> 01:02:01,360
Speaker 3: I actually don't mind the one joke. If they had

1306
01:02:01,440 --> 01:02:02,760
Speaker 3: just left it to that one that was in the

1307
01:02:02,800 --> 01:02:04,280
Speaker 3: kitchen where he goes and it worked out for them,

1308
01:02:04,360 --> 01:02:06,200
Speaker 3: didn't it and he walked out. If they had just

1309
01:02:06,280 --> 01:02:09,320
Speaker 3: done that, I would have been like, he doesn't remember

1310
01:02:09,360 --> 01:02:11,480
Speaker 3: that they died or something like. I could have got

1311
01:02:11,560 --> 01:02:13,560
Speaker 3: that one joke. But the fact that he keeps going

1312
01:02:13,600 --> 01:02:14,000
Speaker 3: back to.

1313
01:02:14,040 --> 01:02:16,360
Speaker 2: Like bother me this, Yeah.

1314
01:02:16,200 --> 01:02:19,120
Speaker 1: I know, iron everybody knows that about Romeo and Juliet.

1315
01:02:19,200 --> 01:02:20,520
Speaker 2: And you can even have a joke about that, like

1316
01:02:20,520 --> 01:02:21,480
Speaker 2: mister Matthews the end.

1317
01:02:21,520 --> 01:02:23,480
Speaker 1: I'm not thinking about the end, I mean something like

1318
01:02:23,640 --> 01:02:24,480
Speaker 1: whatever you want to do.

1319
01:02:25,800 --> 01:02:27,760
Speaker 3: Phoene tells him to flip ahead a little and Corey

1320
01:02:27,800 --> 01:02:31,040
Speaker 3: reads aloud the part where Juliette kills herself with Romeo's dagger.

1321
01:02:31,200 --> 01:02:33,760
Speaker 3: He tries to make light of the situation. She said,

1322
01:02:33,760 --> 01:02:38,400
Speaker 3: happy dagger. Corey continues reading about Juliette stabbing herself Shakespeare

1323
01:02:38,440 --> 01:02:41,160
Speaker 3: what a hack. Phoene tries to comfort him. Over the

1324
01:02:41,200 --> 01:02:43,400
Speaker 3: course of a person's life, he comes across a few

1325
01:02:43,440 --> 01:02:44,360
Speaker 3: defining moments.

1326
01:02:44,680 --> 01:02:45,840
Speaker 2: This is one of yours.

1327
01:02:46,280 --> 01:02:48,760
Speaker 3: Phoene tries to tell Corey it's an opportunity, but Corey

1328
01:02:48,920 --> 01:02:52,480
Speaker 3: is conflicted. Pittsburgh's three hundred and five miles away. Maybe

1329
01:02:52,520 --> 01:02:55,320
Speaker 3: he's just kidding himself, Phoenie admits, for as long as

1330
01:02:55,360 --> 01:02:57,880
Speaker 3: I've known you, whenever you've been faced with adversity, you

1331
01:02:57,960 --> 01:03:00,840
Speaker 3: have always risen to the occasion. No reason to believe

1332
01:03:00,840 --> 01:03:04,080
Speaker 3: you won't again. Corey wonders, do you believe two sixteen

1333
01:03:04,120 --> 01:03:05,080
Speaker 3: year olds can be in love?

1334
01:03:05,160 --> 01:03:05,840
Speaker 2: Friar Feenie?

1335
01:03:06,200 --> 01:03:08,800
Speaker 3: Phoene smiles. He believes that he and miss Lawrence have

1336
01:03:08,880 --> 01:03:11,640
Speaker 3: something that they won't allow themselves to lose. If they

1337
01:03:11,640 --> 01:03:15,440
Speaker 3: listen to their heart's instructions, they won't go wrong. Corey

1338
01:03:15,440 --> 01:03:17,000
Speaker 3: pats him on the back and pulls them into a

1339
01:03:17,000 --> 01:03:20,320
Speaker 3: bit of an awkward hug. That was brilliant. My true

1340
01:03:20,480 --> 01:03:24,000
Speaker 3: journey to Tapanga begins. He quickly runs away, leaving Phoene

1341
01:03:24,040 --> 01:03:25,240
Speaker 3: surprised about tel.

1342
01:03:25,000 --> 01:03:27,520
Speaker 2: After him, but he does not. He does say aloud

1343
01:03:27,520 --> 01:03:28,560
Speaker 2: to himself.

1344
01:03:28,480 --> 01:03:33,840
Speaker 3: Yes, well there we are, so do we think Phoenie

1345
01:03:34,240 --> 01:03:37,960
Speaker 3: phi is trying to say, like, is he's.

1346
01:03:37,840 --> 01:03:41,000
Speaker 2: Being supportive and vague, you know, yeah, which I think

1347
01:03:41,080 --> 01:03:44,280
Speaker 2: is It's also is that really like Yeah, I don't know.

1348
01:03:44,760 --> 01:03:46,840
Speaker 2: I'm just listening to the recap because it didn't bother

1349
01:03:46,880 --> 01:03:48,120
Speaker 2: me at the time. But I'm listening to the recap

1350
01:03:48,160 --> 01:03:50,000
Speaker 2: and I'm like, what is Corey thinking right now? Like

1351
01:03:50,040 --> 01:03:52,240
Speaker 2: he's running away to do what, like to make the

1352
01:03:52,320 --> 01:03:54,280
Speaker 2: relationship well he does.

1353
01:03:54,320 --> 01:03:56,760
Speaker 3: The next thing you see in the optical flip is saying,

1354
01:03:56,840 --> 01:03:59,040
Speaker 3: let's get married, let's move in together, We're going to

1355
01:03:59,080 --> 01:04:00,960
Speaker 3: be together, Let's let's give it all up.

1356
01:04:01,080 --> 01:04:03,840
Speaker 1: He Peeni even just told me that this could work

1357
01:04:03,840 --> 01:04:04,600
Speaker 1: out if I wanted to.

1358
01:04:04,680 --> 01:04:07,280
Speaker 2: I wanted to. We're getting married, Yeah, I think is

1359
01:04:07,280 --> 01:04:09,080
Speaker 2: what they were going. But I am wondering what does

1360
01:04:09,120 --> 01:04:13,320
Speaker 2: Phoenie think. Yeah, I think Feenie, No, I don't think.

1361
01:04:13,320 --> 01:04:14,880
Speaker 2: I don't think Peoenie thinks about it either way.

1362
01:04:14,920 --> 01:04:19,280
Speaker 1: I think Feenie is very much a you're a good person,

1363
01:04:19,560 --> 01:04:22,400
Speaker 1: follow your heart. It's always worked for you, and wherever

1364
01:04:22,480 --> 01:04:25,000
Speaker 1: that ends up, that's the right that's the right choice. Yeah,

1365
01:04:25,040 --> 01:04:28,120
Speaker 1: And I think that's why he's he doesn't want to.

1366
01:04:28,080 --> 01:04:31,600
Speaker 2: Devalue Corey's feelings, which is so awesome. Right, He's basically

1367
01:04:31,680 --> 01:04:35,760
Speaker 2: validating Corey's feelings and saying like, which is exactly the

1368
01:04:35,840 --> 01:04:37,640
Speaker 2: right thing to do with a teenager in this situation,

1369
01:04:37,880 --> 01:04:40,240
Speaker 2: because you know, no one wants to be told you

1370
01:04:40,240 --> 01:04:42,920
Speaker 2: don't actually feel love. You don't you know, which Amy

1371
01:04:42,960 --> 01:04:46,520
Speaker 2: has imagine, But I imagine that's sort of the subtext of

1372
01:04:46,560 --> 01:04:48,360
Speaker 2: what she you know, I mean, she says, you're sixteen

1373
01:04:48,360 --> 01:04:50,320
Speaker 2: the rest of your lives. You know. She's basically saying

1374
01:04:50,400 --> 01:04:53,720
Speaker 2: you don't know love, and you know, and and to

1375
01:04:53,840 --> 01:04:57,840
Speaker 2: Phoenie's credit, he's he's just supportive of Corey, right, not

1376
01:04:58,360 --> 01:05:01,760
Speaker 2: there's no practical advice in Phoenie in what Phoenie's saying. See,

1377
01:05:01,920 --> 01:05:03,600
Speaker 2: I just to push back a little bit.

1378
01:05:03,640 --> 01:05:07,000
Speaker 1: I don't think Amy is saying so textually that you

1379
01:05:07,000 --> 01:05:10,560
Speaker 1: don't know love. I think what she's saying is when

1380
01:05:10,600 --> 01:05:14,040
Speaker 1: you get older, you realize that sometimes love is not enough,

1381
01:05:14,960 --> 01:05:16,680
Speaker 1: and even though you are in love and it is

1382
01:05:16,760 --> 01:05:20,280
Speaker 1: real love, there are real things, real world things like

1383
01:05:20,560 --> 01:05:23,560
Speaker 1: logistical problems and things like that are going to affect

1384
01:05:23,560 --> 01:05:24,400
Speaker 1: your relationship.

1385
01:05:24,600 --> 01:05:26,240
Speaker 2: Yeah. I know, I'm not saying that she's actually but

1386
01:05:26,280 --> 01:05:30,800
Speaker 2: what Corey's hearing right, Yeah, my love isn't strong enough, right,

1387
01:05:30,840 --> 01:05:35,440
Speaker 2: And that's the classic teenage interpretation of your mom minimizing

1388
01:05:35,560 --> 01:05:39,360
Speaker 2: your relationship, just trying to give you a reality check. Definitely, definitely.

1389
01:05:39,720 --> 01:05:41,920
Speaker 3: So then we get a real optical flip and we're

1390
01:05:41,960 --> 01:05:44,520
Speaker 3: into Panga's room. Corey's on his knees holding to Panga,

1391
01:05:44,560 --> 01:05:46,920
Speaker 3: begging or marry me. We'll buy a house, start a family,

1392
01:05:46,960 --> 01:05:48,960
Speaker 3: and live in the same city. She tells him they

1393
01:05:48,960 --> 01:05:51,479
Speaker 3: can't get married, but he insists we'll struggle at first,

1394
01:05:51,480 --> 01:05:54,360
Speaker 3: but all couples struggle at first. He tries convincing her.

1395
01:05:54,200 --> 01:05:57,800
Speaker 2: That this is just describing season seven right exactly. Yeah, yep.

1396
01:05:58,120 --> 01:06:01,320
Speaker 1: I also notice I noticed in a scene where Corey

1397
01:06:01,320 --> 01:06:04,040
Speaker 1: and Eric are together were now almost the same height.

1398
01:06:04,320 --> 01:06:06,760
Speaker 1: I know, and when he's on his knees hugging you,

1399
01:06:07,120 --> 01:06:11,280
Speaker 1: it's not that much of a difference between you standing

1400
01:06:11,320 --> 01:06:13,120
Speaker 1: in him on his knee. I mean, Ben has grown

1401
01:06:13,280 --> 01:06:14,360
Speaker 1: clearly grown.

1402
01:06:14,200 --> 01:06:15,560
Speaker 2: By much taller.

1403
01:06:15,600 --> 01:06:19,640
Speaker 3: Now, Yes, they can get part time jobs, cut back

1404
01:06:19,640 --> 01:06:22,800
Speaker 3: on expenses, and find an abandoned home and an upscale neighborhood.

1405
01:06:22,840 --> 01:06:24,400
Speaker 2: One thing he asks, no bugs.

1406
01:06:24,600 --> 01:06:27,800
Speaker 3: Corey jokingly gives in okay, one bug, but nothing with teeth.

1407
01:06:27,960 --> 01:06:28,560
Speaker 2: He jumps up.

1408
01:06:28,680 --> 01:06:30,400
Speaker 3: Let's go see what your parents will kick in. She

1409
01:06:30,480 --> 01:06:33,560
Speaker 3: tells him again they can't get married. Corey asks if

1410
01:06:33,560 --> 01:06:35,919
Speaker 3: they can see each other every weekend, and she says yes.

1411
01:06:36,320 --> 01:06:38,760
Speaker 3: Then asks can we write letters to each other every day?

1412
01:06:38,920 --> 01:06:41,640
Speaker 3: He tells her yes, they hug, but Corey's apprehensive.

1413
01:06:42,000 --> 01:06:42,920
Speaker 2: What about phones?

1414
01:06:43,400 --> 01:06:45,680
Speaker 3: Why do we Why wouldn't they just talk every day?

1415
01:06:46,720 --> 01:06:49,800
Speaker 2: They write letters every day? Yeah, they are, it's the phone.

1416
01:06:50,000 --> 01:06:52,000
Speaker 2: It is kind of They're going very Connecticut with him.

1417
01:06:55,880 --> 01:06:58,800
Speaker 2: I wrote letters all the time, you know, in.

1418
01:06:58,760 --> 01:07:01,200
Speaker 3: The snail mail. I wrote notes that I could pass

1419
01:07:01,280 --> 01:07:01,919
Speaker 3: back and forth.

1420
01:07:01,960 --> 01:07:06,360
Speaker 2: You actually wrote letters all the time. I'm obsessed with it. God, Yeah,

1421
01:07:06,400 --> 01:07:10,240
Speaker 2: all the stop. I love you very much. Stop if

1422
01:07:10,240 --> 01:07:12,800
Speaker 2: you know this. Stop. Like I was on my home

1423
01:07:14,040 --> 01:07:17,280
Speaker 2: I wrote letters to all my guy friends too. I

1424
01:07:17,320 --> 01:07:19,520
Speaker 2: was a big letter writer. Yeah really, And I think

1425
01:07:19,520 --> 01:07:21,360
Speaker 2: it was just it was it was more normal back then,

1426
01:07:21,480 --> 01:07:23,760
Speaker 2: you know, like that was still part of like I actually,

1427
01:07:23,960 --> 01:07:26,160
Speaker 2: I mean I've always hated the telephone, so like I

1428
01:07:26,160 --> 01:07:27,960
Speaker 2: didn't want to talk on the phone. It's like I

1429
01:07:28,040 --> 01:07:30,680
Speaker 2: like being in person or I like writing, and that's

1430
01:07:30,720 --> 01:07:32,680
Speaker 2: what I'm still like a big emailer. I don't call

1431
01:07:32,720 --> 01:07:33,480
Speaker 2: people email.

1432
01:07:33,560 --> 01:07:35,320
Speaker 3: Oh my god, Andrew Keagan and I would sit on

1433
01:07:35,360 --> 01:07:36,920
Speaker 3: the phone for hours. Half the time we would not

1434
01:07:36,960 --> 01:07:38,600
Speaker 3: even say anything. It'd be the forty five minutes of

1435
01:07:38,600 --> 01:07:40,439
Speaker 3: complete silence and then just be like, you're still there, Yeah,

1436
01:07:40,480 --> 01:07:40,960
Speaker 3: you're still here.

1437
01:07:41,400 --> 01:07:42,040
Speaker 2: That was so funny.

1438
01:07:42,440 --> 01:07:45,120
Speaker 3: As a matter of fact, still, every time I send

1439
01:07:45,160 --> 01:07:46,920
Speaker 3: Andrew a text, he goes, yeah, he just calls me.

1440
01:07:47,080 --> 01:07:49,080
Speaker 3: I go, oh god, now I hate the phone. So

1441
01:07:49,120 --> 01:07:50,920
Speaker 3: now when he calls him, like, oh Andrew, what are

1442
01:07:50,920 --> 01:07:53,600
Speaker 3: you doing to me? But he's still talk on the verse.

1443
01:07:53,640 --> 01:07:55,400
Speaker 3: I've actually like, now I've been making an effort. I'm like,

1444
01:07:55,400 --> 01:07:56,800
Speaker 3: I'm just going to call this person. Why am I

1445
01:07:56,840 --> 01:07:59,840
Speaker 3: writing this long letter? Because I've realized, like that is nice.

1446
01:08:00,120 --> 01:08:01,040
Speaker 2: Talking to the phone's great.

1447
01:08:01,960 --> 01:08:05,320
Speaker 1: I hit a threshold and eventually go all right then

1448
01:08:05,920 --> 01:08:07,680
Speaker 1: and that's like I'm good mine.

1449
01:08:07,720 --> 01:08:09,880
Speaker 2: Then about two minutes all right, then things all right.

1450
01:08:10,280 --> 01:08:13,920
Speaker 2: We covered what she wanted to think. Okay, My favorite

1451
01:08:13,960 --> 01:08:15,480
Speaker 2: is I had a friend was we just had the

1452
01:08:16,120 --> 01:08:17,640
Speaker 2: habit of like, all right, I'm gonna let you go,

1453
01:08:17,680 --> 01:08:21,599
Speaker 2: then you just want to go. This is like the

1454
01:08:21,640 --> 01:08:24,760
Speaker 2: besteg all right, I'm gonna let you go. Then I

1455
01:08:25,360 --> 01:08:27,280
Speaker 2: don't want to keep you any longer. Oh no, I'm fine.

1456
01:08:27,320 --> 01:08:30,280
Speaker 2: I'm having a right time. Oh I'm fine.

1457
01:08:31,439 --> 01:08:33,680
Speaker 3: So Corey pulls away, and he reminds her it's a

1458
01:08:33,720 --> 01:08:36,760
Speaker 3: new town, new school, new people. Pretty soon guys are

1459
01:08:36,760 --> 01:08:38,640
Speaker 3: going to be lining up to ask you out with me.

1460
01:08:38,760 --> 01:08:41,479
Speaker 3: Not there, Why shouldn't you accept? To Pang asks, what

1461
01:08:41,560 --> 01:08:43,600
Speaker 3: about you? I know a million girls who would love

1462
01:08:43,640 --> 01:08:46,240
Speaker 3: to go out with you. Corey surprised, really, because I

1463
01:08:46,280 --> 01:08:48,360
Speaker 3: was thinking about ten. He tells her it was just

1464
01:08:48,400 --> 01:08:50,559
Speaker 3: a little tension breaker. And to Panga asks where this

1465
01:08:50,680 --> 01:08:54,200
Speaker 3: leaves them, because she leaves for Pittsburgh tomorrow night. Corey says, well,

1466
01:08:54,520 --> 01:08:57,080
Speaker 3: it's a long walk to Pittsburgh. She nods an acceptance,

1467
01:08:57,080 --> 01:08:58,439
Speaker 3: and then asks if she has to give.

1468
01:08:58,280 --> 01:09:02,080
Speaker 6: His jasa title of the show.

1469
01:09:06,160 --> 01:09:08,639
Speaker 3: He smiles and tells her to keep it. He puts

1470
01:09:08,640 --> 01:09:11,920
Speaker 3: it on her and embraces her. It's yours like I am.

1471
01:09:12,360 --> 01:09:15,400
Speaker 3: She squeezes him back. Good because I wouldn't have given

1472
01:09:15,439 --> 01:09:16,360
Speaker 3: it back to you anyway.

1473
01:09:16,640 --> 01:09:20,320
Speaker 2: And I got a little tearry. Really it worked. I

1474
01:09:20,320 --> 01:09:22,200
Speaker 2: got a little teary. Oh in real life, I thought

1475
01:09:22,280 --> 01:09:24,679
Speaker 2: on the show. In real life, I got a little

1476
01:09:24,680 --> 01:09:26,880
Speaker 2: teary at work. There's a lot of stuff blowing around

1477
01:09:26,920 --> 01:09:29,280
Speaker 2: in the air nowadays, I can't breathe myself. It's the

1478
01:09:29,320 --> 01:09:31,799
Speaker 2: beginning of spring. So then we're in Chubby's.

1479
01:09:31,840 --> 01:09:34,439
Speaker 3: Corey's chugging soda and it looks like he's surrounded by sad,

1480
01:09:34,520 --> 01:09:37,479
Speaker 3: empty beers. Sean watches on and then asks, so, what

1481
01:09:37,520 --> 01:09:40,240
Speaker 3: are you into Panga doing this weekend? Corey shocked. We

1482
01:09:40,360 --> 01:09:42,240
Speaker 3: have been here for an hour and you have yet

1483
01:09:42,280 --> 01:09:43,040
Speaker 3: to feel bad for me.

1484
01:09:43,200 --> 01:09:44,920
Speaker 2: What's going on? Sean asks?

1485
01:09:45,000 --> 01:09:46,599
Speaker 3: Would you say that I watch a lot of TV?

1486
01:09:46,880 --> 01:09:49,960
Speaker 3: Corey nods more than anyone. I know why. Sean reveals,

1487
01:09:50,000 --> 01:09:52,360
Speaker 3: I have seen this plot a thousand times. It always

1488
01:09:52,439 --> 01:09:56,000
Speaker 3: ends up the same. The girlfriend never moves away. Corey

1489
01:09:56,400 --> 01:09:59,920
Speaker 3: reiterates this girlfriend's mom got a job in Pittsburgh. Sewan, brush,

1490
01:10:00,080 --> 01:10:01,920
Speaker 3: is it a side? Give me a challenge? Okay, Pek

1491
01:10:02,080 --> 01:10:04,720
Speaker 3: is not going anywhere. Corey reminds him, this isn't TV.

1492
01:10:05,000 --> 01:10:06,880
Speaker 3: Sean nods, trust.

1493
01:10:06,560 --> 01:10:07,320
Speaker 2: Me, trust me.

1494
01:10:07,520 --> 01:10:11,200
Speaker 1: Also fake sipping, right the rider, fake sipping And if

1495
01:10:11,240 --> 01:10:13,920
Speaker 1: you notice this where to pick up picking up the

1496
01:10:13,960 --> 01:10:16,479
Speaker 1: glass not actually drinking, not actually drinking it just it

1497
01:10:16,560 --> 01:10:18,120
Speaker 1: touches your lips and then comes back down. That's it.

1498
01:10:18,120 --> 01:10:20,280
Speaker 2: That's a riderism I've picked up a couple of times. Yeah,

1499
01:10:20,320 --> 01:10:22,200
Speaker 2: you got to figure out how to do business, man,

1500
01:10:22,240 --> 01:10:27,960
Speaker 2: it's so important. I did actually notice that. It's so weird,

1501
01:10:28,000 --> 01:10:31,240
Speaker 2: like to think about if you drink twelve cokes, you

1502
01:10:31,240 --> 01:10:33,880
Speaker 2: have the opposite of like being like beers, Like you're

1503
01:10:33,920 --> 01:10:37,639
Speaker 2: not like depressed. He would be like, buzz, You're bouncing

1504
01:10:37,680 --> 01:10:41,280
Speaker 2: off the walls and panicking. Yeah, no, not good. You know.

1505
01:10:41,320 --> 01:10:43,840
Speaker 2: I like this scene. Yeah, but this is like the

1506
01:10:43,920 --> 01:10:46,080
Speaker 2: fourth time in the season we've done this kind of

1507
01:10:46,120 --> 01:10:49,200
Speaker 2: thing with the universe, the TV show this, you know.

1508
01:10:49,840 --> 01:11:00,479
Speaker 7: But yeah, I mean I don't know, it's our thing.

1509
01:11:04,800 --> 01:11:06,960
Speaker 3: Cory asks, you're saying she can't move if we're really

1510
01:11:07,000 --> 01:11:09,639
Speaker 3: supposed to be together. Sean is confident, not, if TV

1511
01:11:09,800 --> 01:11:10,400
Speaker 3: is the true.

1512
01:11:10,240 --> 01:11:11,240
Speaker 2: Mirror of our lives.

1513
01:11:11,600 --> 01:11:13,760
Speaker 3: Cory asks, well, what about tomorrow night, she's coming over

1514
01:11:13,800 --> 01:11:14,799
Speaker 3: to my house to say goodbye?

1515
01:11:14,880 --> 01:11:15,439
Speaker 2: What about that?

1516
01:11:15,680 --> 01:11:18,400
Speaker 3: Sean tells him it's not gonna happen. Corey wonders, then

1517
01:11:18,520 --> 01:11:20,880
Speaker 3: what about R the doctor on E R really left?

1518
01:11:21,160 --> 01:11:23,200
Speaker 3: Sean reminds him e R is real.

1519
01:11:23,320 --> 01:11:28,559
Speaker 2: Great, amazing, Yeah, this whole Yeah, that's the fantastic just amazing.

1520
01:11:29,120 --> 01:11:31,559
Speaker 3: Corey's ecstatic, So you don't think she's really gonna leave,

1521
01:11:31,600 --> 01:11:34,600
Speaker 3: do you? Sean responds, no, because you don't deserve that

1522
01:11:34,680 --> 01:11:35,280
Speaker 3: kind of pain.

1523
01:11:35,840 --> 01:11:36,679
Speaker 2: What does that mean?

1524
01:11:37,280 --> 01:11:37,360
Speaker 7: No?

1525
01:11:37,600 --> 01:11:39,920
Speaker 2: What does that mean? Just because he can't imagine he

1526
01:11:40,000 --> 01:11:43,920
Speaker 2: does deserve that pain? Who does deserve that pain? Sean does.

1527
01:11:44,680 --> 01:11:48,320
Speaker 2: If Corey were a bad person, he would deserve the pain.

1528
01:11:48,400 --> 01:11:51,080
Speaker 2: It's just I don't understand your good friend doesn't deserve

1529
01:11:51,080 --> 01:11:51,840
Speaker 2: to feel that bad.

1530
01:11:52,000 --> 01:11:53,800
Speaker 3: I think it's just that's I think it's more like,

1531
01:11:57,640 --> 01:12:02,080
Speaker 3: I don't know. I think it's the idea of Sean

1532
01:12:02,360 --> 01:12:07,519
Speaker 3: can't fathom that this is really happening, because it would

1533
01:12:07,520 --> 01:12:10,240
Speaker 3: be the worst thing he could imagine happening to Corey.

1534
01:12:10,760 --> 01:12:13,080
Speaker 3: And you know, if you really think about the worst

1535
01:12:13,120 --> 01:12:15,439
Speaker 3: thing that could ever happen to somebody, you know, I

1536
01:12:15,479 --> 01:12:18,400
Speaker 3: think of like people I know who've lost a child,

1537
01:12:19,000 --> 01:12:23,160
Speaker 3: and I think I don't I truly don't know how

1538
01:12:23,200 --> 01:12:24,679
Speaker 3: you live after.

1539
01:12:24,479 --> 01:12:27,200
Speaker 2: You've lost one.

1540
01:12:30,200 --> 01:12:33,640
Speaker 3: Because Sean can't wrap his head around the idea that

1541
01:12:33,680 --> 01:12:36,600
Speaker 3: this could really happen at the end of this episode,

1542
01:12:37,040 --> 01:12:40,559
Speaker 3: because how could something bad like that happened to somebody?

1543
01:12:40,560 --> 01:12:42,240
Speaker 3: I know, it never happens to you. You know that

1544
01:12:42,479 --> 01:12:45,600
Speaker 3: it's too close to home when a tragedy happens that

1545
01:12:45,640 --> 01:12:46,960
Speaker 3: you don't really imagine it.

1546
01:12:47,400 --> 01:12:49,200
Speaker 2: So I don't think it's I didn't take it that.

1547
01:12:49,240 --> 01:12:49,920
Speaker 2: I didn't It didn't.

1548
01:12:49,920 --> 01:12:51,880
Speaker 3: I didn't take it like that like like only Corey

1549
01:12:51,920 --> 01:12:53,640
Speaker 3: other people do deserve it. It's more like, oh, I

1550
01:12:53,960 --> 01:12:58,160
Speaker 3: can't fathom that because because you don't deserve that. Yeah,

1551
01:12:58,200 --> 01:12:59,280
Speaker 3: and I can't, So I can't.

1552
01:12:59,600 --> 01:12:59,880
Speaker 2: I don't.

1553
01:12:59,880 --> 01:13:01,880
Speaker 3: I didn't hear it so pointedly it is because because

1554
01:13:01,920 --> 01:13:05,040
Speaker 3: Corey Matthews the one and only person who doesn't deserve it.

1555
01:13:05,040 --> 01:13:07,720
Speaker 3: It was more like, because you don't deserve that. And

1556
01:13:07,800 --> 01:13:09,599
Speaker 3: I would say that to whoever I was facing.

1557
01:13:09,680 --> 01:13:13,720
Speaker 2: The word deserve is it's just moralizing, Like I just

1558
01:13:13,800 --> 01:13:16,000
Speaker 2: heard like, well, who does deserve that?

1559
01:13:16,280 --> 01:13:16,439
Speaker 1: You know?

1560
01:13:16,479 --> 01:13:18,200
Speaker 2: And it's I just didn't get it. I was like,

1561
01:13:18,240 --> 01:13:20,280
Speaker 2: why there's a there's a version of like no one

1562
01:13:20,320 --> 01:13:22,680
Speaker 2: deserves that kind of pain or no one you know,

1563
01:13:22,760 --> 01:13:24,439
Speaker 2: but it's like you don't deserve that kind of pain.

1564
01:13:24,520 --> 01:13:28,559
Speaker 2: It just felt very like I who does? Like it's

1565
01:13:28,640 --> 01:13:31,160
Speaker 2: just and and what because I don't know? It felt

1566
01:13:31,160 --> 01:13:34,200
Speaker 2: to me like the point is, you know, it's sort

1567
01:13:34,200 --> 01:13:36,519
Speaker 2: of playing on that you're the main character of your show,

1568
01:13:36,720 --> 01:13:39,519
Speaker 2: and you haven't done anything wrong, therefore the universe won't

1569
01:13:39,520 --> 01:13:42,960
Speaker 2: do this to you, which is just like that, that

1570
01:13:43,360 --> 01:13:45,600
Speaker 2: feels like the structure that we're operating.

1571
01:13:45,280 --> 01:13:48,559
Speaker 3: Under, right right, Yeah, it didn't didn't bother meybe, but

1572
01:13:48,640 --> 01:13:51,400
Speaker 3: I took it a little differently than than you did.

1573
01:13:52,080 --> 01:13:54,160
Speaker 3: So then we're in the Matthew's backyard. Corey and Sean

1574
01:13:54,200 --> 01:13:57,160
Speaker 3: are eagerly awaiting to Panga's arrival. She arrives and says, hi,

1575
01:13:57,280 --> 01:13:58,400
Speaker 3: and thank Sean for coming.

1576
01:13:58,640 --> 01:14:01,840
Speaker 2: Sean gives her the most cheerful response, Really, sorry, you're moving.

1577
01:14:02,680 --> 01:14:04,920
Speaker 3: Corey chimes in, I was thinking Saturday night, we can

1578
01:14:04,920 --> 01:14:06,160
Speaker 3: go out to dinner, we could see a movie.

1579
01:14:06,160 --> 01:14:07,759
Speaker 2: We could hold each other for five hours.

1580
01:14:08,040 --> 01:14:10,840
Speaker 3: Tapega doesn't understand she came over to say goodbye. That's

1581
01:14:10,880 --> 01:14:13,439
Speaker 3: already hard enough. Corey assures her, we don't need to

1582
01:14:13,439 --> 01:14:15,599
Speaker 3: say goodbye because you're not going anywhere. You're not moving.

1583
01:14:15,960 --> 01:14:17,760
Speaker 3: Tapega points out that her parents are in the car

1584
01:14:17,800 --> 01:14:20,960
Speaker 3: waiting for her. They're leaving for Pittsburgh. Corey won't accept it.

1585
01:14:21,080 --> 01:14:23,200
Speaker 3: She can't move because they're supposed to be together, like

1586
01:14:23,200 --> 01:14:25,800
Speaker 3: they've always talked about Tapega asks him to just give

1587
01:14:25,840 --> 01:14:28,240
Speaker 3: her a hug and kiss and say goodbye. He defiantly

1588
01:14:28,280 --> 01:14:31,080
Speaker 3: says no, so she does it for him. She says

1589
01:14:31,080 --> 01:14:33,840
Speaker 3: goodbye and that she loves him, and then she walks away.

1590
01:14:34,280 --> 01:14:37,280
Speaker 3: Corey starts to tear up, asking Sean what's happening. Sean's

1591
01:14:37,280 --> 01:14:39,200
Speaker 3: certain it's not over yet. He points to the car.

1592
01:14:39,280 --> 01:14:41,559
Speaker 3: It's gonna turn around any second now. They watch the

1593
01:14:41,600 --> 01:14:43,960
Speaker 3: car take off, and Sean keeps making reassuring remarks, But

1594
01:14:44,000 --> 01:14:46,880
Speaker 3: when the car doesn't turn around, Seawn wonders aloud, what

1595
01:14:46,920 --> 01:14:48,599
Speaker 3: the hell kind of TV show is this?

1596
01:14:48,800 --> 01:14:49,840
Speaker 2: Gray line?

1597
01:14:49,920 --> 01:14:52,360
Speaker 3: Would it have ruined the scene for Tapanga to at

1598
01:14:52,439 --> 01:14:53,760
Speaker 3: least have said bye?

1599
01:14:53,760 --> 01:14:54,040
Speaker 2: Sean?

1600
01:14:55,240 --> 01:14:58,439
Speaker 1: Just it was a very it was a very thrown

1601
01:14:58,600 --> 01:15:00,519
Speaker 1: together goodbye, you know.

1602
01:15:00,880 --> 01:15:04,879
Speaker 2: I also think it's very funny that Sean's like really

1603
01:15:04,920 --> 01:15:07,040
Speaker 2: sorry to say about I could have kept that going

1604
01:15:07,040 --> 01:15:09,200
Speaker 2: for another couple of lines, Like she's like, come on, Sean.

1605
01:15:09,520 --> 01:15:12,800
Speaker 2: But it's also like I'm also just Corey refusing to

1606
01:15:12,880 --> 01:15:16,040
Speaker 2: kiss her good Like what he's like punishing her for,

1607
01:15:16,479 --> 01:15:19,439
Speaker 2: Like she's supposed to feel bad for not being completely

1608
01:15:19,439 --> 01:15:20,800
Speaker 2: irrational about what's going on.

1609
01:15:20,960 --> 01:15:23,080
Speaker 1: Like I think I feel like we're trying to more

1610
01:15:23,080 --> 01:15:26,759
Speaker 1: play the finality of if he kisses her goodbye, it's real,

1611
01:15:26,960 --> 01:15:27,760
Speaker 1: and then she and.

1612
01:15:27,720 --> 01:15:30,240
Speaker 2: He's totally could have been funny, but he's being a

1613
01:15:30,320 --> 01:15:33,599
Speaker 2: total like he's turning away. It's just like he's trying

1614
01:15:33,600 --> 01:15:35,400
Speaker 2: to make her feel bad, Like I'm like, why not

1615
01:15:35,560 --> 01:15:37,280
Speaker 2: just but there? I don't know there's a version of

1616
01:15:37,320 --> 01:15:38,080
Speaker 2: this that's fun.

1617
01:15:37,920 --> 01:15:39,240
Speaker 1: I didn't think that there. Yeah, I didn't think. I

1618
01:15:39,240 --> 01:15:40,439
Speaker 1: didn't think I was trying to make her feel bad.

1619
01:15:40,439 --> 01:15:42,840
Speaker 1: I think he was trying to. It's like, if I

1620
01:15:42,880 --> 01:15:44,960
Speaker 1: don't open my eyes right now, the bad thing in

1621
01:15:44,960 --> 01:15:46,160
Speaker 1: front of me is not actually there.

1622
01:15:46,160 --> 01:15:49,080
Speaker 2: It's a very kid thing of kids. So I don't

1623
01:15:49,080 --> 01:15:49,519
Speaker 2: give you this.

1624
01:15:49,520 --> 01:15:52,559
Speaker 3: Last kiss For Corey, instead of feeling hurt for instead

1625
01:15:52,560 --> 01:15:55,160
Speaker 3: of feeling put off by him, I felt for him.

1626
01:15:55,240 --> 01:16:00,320
Speaker 3: I felt for someone who's like so in denial that

1627
01:16:00,600 --> 01:16:02,880
Speaker 3: I'm just you know, I'm and.

1628
01:16:02,600 --> 01:16:03,479
Speaker 2: And I know people.

1629
01:16:04,160 --> 01:16:07,920
Speaker 3: Wesley Staples is one of those people terrible goodbyes, doesn't

1630
01:16:07,960 --> 01:16:11,120
Speaker 3: like goodbyes, won't say goodbye, doesn't want to give you

1631
01:16:11,160 --> 01:16:14,120
Speaker 3: the hug at the end of Girl Meets World to say, Gosh, Wesley,

1632
01:16:14,160 --> 01:16:17,280
Speaker 3: I can't, We'll just leave it's just gone, just disappears,

1633
01:16:17,680 --> 01:16:20,519
Speaker 3: and and you were always In some ways it can

1634
01:16:20,520 --> 01:16:22,479
Speaker 3: feel like, wow, he must not care, But the truth

1635
01:16:22,520 --> 01:16:26,400
Speaker 3: is he cares so much that physically can't do it.

1636
01:16:26,880 --> 01:16:29,439
Speaker 3: And so I kind of I felt for Corey in

1637
01:16:29,479 --> 01:16:32,120
Speaker 3: this that instead of feeling like, oh, what a child,

1638
01:16:32,240 --> 01:16:34,559
Speaker 3: I was like, man, that that's that's how I know.

1639
01:16:35,040 --> 01:16:37,120
Speaker 3: It's really this is really hard for him that he's

1640
01:16:37,160 --> 01:16:38,639
Speaker 3: just Refu's so in denial he can't.

1641
01:16:38,680 --> 01:16:40,720
Speaker 2: I don't think he was doing it too to pegging. Yeah,

1642
01:16:40,720 --> 01:16:43,599
Speaker 2: I agree, Yeah, I guess I wish that the Sean

1643
01:16:44,280 --> 01:16:46,759
Speaker 2: denial was funny with like it starts in the scene.

1644
01:16:46,800 --> 01:16:49,360
Speaker 2: I wish that it stayed that light. And I wish

1645
01:16:49,520 --> 01:16:52,040
Speaker 2: actually hearing you describe like him closing his eyes and

1646
01:16:52,080 --> 01:16:53,720
Speaker 2: saying no, no, no, it's not happy, Like there's a

1647
01:16:53,760 --> 01:16:56,320
Speaker 2: funny there's a I think there's a way to make

1648
01:16:56,560 --> 01:17:01,439
Speaker 2: Corey's you know, denial funny and like active instead of

1649
01:17:01,760 --> 01:17:06,080
Speaker 2: sort of like intense and like negative and like pissed off.

1650
01:17:06,200 --> 01:17:08,080
Speaker 2: It was just like I was like, oh, dude, like

1651
01:17:08,240 --> 01:17:10,639
Speaker 2: you know, and I didn't understand why Tapanga doesn't push

1652
01:17:10,720 --> 01:17:15,000
Speaker 2: him more like Tapanga should be like hey, like it's not. Actually,

1653
01:17:15,080 --> 01:17:18,800
Speaker 2: you know something, because this is about her emotions too.

1654
01:17:19,000 --> 01:17:21,479
Speaker 2: You know, it's like her she's leaving, like her whole

1655
01:17:21,479 --> 01:17:24,840
Speaker 2: life is getting ruined, and I don't know, like and

1656
01:17:24,880 --> 01:17:26,599
Speaker 2: I think it could have been funny that she's trying

1657
01:17:26,640 --> 01:17:28,439
Speaker 2: to convince him of the reality and he's trying to

1658
01:17:28,439 --> 01:17:31,719
Speaker 2: convince her of his reality. Like that's that could even funny.

1659
01:17:33,280 --> 01:17:35,679
Speaker 3: Well, we time laps a little still in the Matthew's backyard.

1660
01:17:35,720 --> 01:17:37,800
Speaker 3: It's gotten darker, but Corey and Sewn are still waiting

1661
01:17:37,800 --> 01:17:40,719
Speaker 3: for their perfect TV show. Ending, Corey asks his best friend,

1662
01:17:41,080 --> 01:17:43,599
Speaker 3: you know that pain everyone keeps talking about? I think

1663
01:17:43,600 --> 01:17:46,000
Speaker 3: I'm starting to feel it. And then the screen fades

1664
01:17:46,040 --> 01:17:48,479
Speaker 3: to black and we're in the tag. Corey is still

1665
01:17:48,520 --> 01:17:51,240
Speaker 3: standing outside in the backyard, now all alone, staring at

1666
01:17:51,240 --> 01:17:53,639
Speaker 3: the street. Eric walks up, what's going on?

1667
01:17:53,880 --> 01:17:54,120
Speaker 2: Corey?

1668
01:17:54,160 --> 01:17:57,439
Speaker 3: Muster's out of not much. Eric sniff's around and wonders,

1669
01:17:57,600 --> 01:18:00,160
Speaker 3: it smells good out there. It smells good out here?

1670
01:18:00,160 --> 01:18:02,240
Speaker 3: What is that trees? And again I thought that was

1671
01:18:02,240 --> 01:18:03,000
Speaker 3: a very funny line.

1672
01:18:03,080 --> 01:18:05,320
Speaker 2: I remember that line. Actually, that's the one thing I did. Oh,

1673
01:18:05,320 --> 01:18:07,040
Speaker 2: that's right, this is the tree. It's one of your

1674
01:18:07,040 --> 01:18:16,240
Speaker 2: funniest lines. It's so well trees. It's also a very

1675
01:18:16,280 --> 01:18:19,400
Speaker 2: will thing to say. I know, you know, that's like

1676
01:18:19,439 --> 01:18:23,400
Speaker 2: Will's humor in real life, too understated and sort of

1677
01:18:23,439 --> 01:18:26,400
Speaker 2: like so funny, ridiculous.

1678
01:18:27,120 --> 01:18:29,320
Speaker 3: Eric tells him that's all right, you'll say goodbye the

1679
01:18:29,360 --> 01:18:30,360
Speaker 3: next time you say hello.

1680
01:18:30,640 --> 01:18:31,240
Speaker 2: He chuckles.

1681
01:18:31,280 --> 01:18:33,479
Speaker 3: Pittsburgh's not that far. I made the drive last night.

1682
01:18:33,720 --> 01:18:36,920
Speaker 3: Cory didn't realize Eric actually went. Eric assures him, Oh, yeah,

1683
01:18:37,040 --> 01:18:38,599
Speaker 3: drove there and met a couple of girls. Told them

1684
01:18:38,600 --> 01:18:39,719
Speaker 3: I drove all the way from Philly.

1685
01:18:39,720 --> 01:18:41,720
Speaker 2: They called me a moron, and here I am, Here

1686
01:18:41,760 --> 01:18:42,040
Speaker 2: I am.

1687
01:18:42,520 --> 01:18:44,280
Speaker 3: Eric tells his brother, I was gonna go out and

1688
01:18:44,280 --> 01:18:46,360
Speaker 3: get pizza from little Tony's, rent some movies.

1689
01:18:46,479 --> 01:18:47,000
Speaker 2: You want to go?

1690
01:18:47,320 --> 01:18:49,320
Speaker 3: Corey tells him no thanks, He wants to stay right

1691
01:18:49,360 --> 01:18:49,960
Speaker 3: where he is.

1692
01:18:50,360 --> 01:18:55,800
Speaker 2: Where the hell is little Tony? Where are we ever?

1693
01:18:55,880 --> 01:18:56,639
Speaker 2: A little Tony's?

1694
01:18:58,040 --> 01:19:00,719
Speaker 3: Eric admits, even though he's his big brother, he doesn't

1695
01:19:00,720 --> 01:19:03,400
Speaker 3: know how to protect him from this. Cory simply asks,

1696
01:19:03,840 --> 01:19:07,120
Speaker 3: could you just stay here with me? Eric responds, yeah,

1697
01:19:07,240 --> 01:19:09,599
Speaker 3: I'm not going anywhere, and I got Tierri again. In

1698
01:19:09,600 --> 01:19:10,240
Speaker 3: real life?

1699
01:19:10,400 --> 01:19:12,960
Speaker 2: What what? What was? Didn't we have a very famous

1700
01:19:12,960 --> 01:19:15,720
Speaker 2: pizza place that we called when Corey and I were

1701
01:19:15,720 --> 01:19:17,840
Speaker 2: doing the betting episode, we were getting I feel like

1702
01:19:17,840 --> 01:19:20,600
Speaker 2: we had a place that we named multiple times in

1703
01:19:20,600 --> 01:19:25,599
Speaker 2: season two. I remember, no, there's there was a place

1704
01:19:25,600 --> 01:19:27,240
Speaker 2: where we're going to order pizza from. And then I

1705
01:19:27,280 --> 01:19:30,519
Speaker 2: think it's also like another It's like that we we

1706
01:19:30,640 --> 01:19:32,599
Speaker 2: talked about this on the podcast. There's like one name

1707
01:19:32,880 --> 01:19:35,360
Speaker 2: and it's not Tony, but it's like this person obviously

1708
01:19:35,400 --> 01:19:37,920
Speaker 2: owned the pizza place and the car auto repair shoper.

1709
01:19:38,120 --> 01:19:43,240
Speaker 2: It was like, it's a Marcos. Yeah, there's something, but

1710
01:19:43,360 --> 01:19:45,240
Speaker 2: it's a missed opportunity to hear that to have a

1711
01:19:45,280 --> 01:19:46,639
Speaker 2: call back to that pizza place.

1712
01:19:49,840 --> 01:19:54,439
Speaker 3: Might Melissa, You're you're the voted in member of the audience,

1713
01:19:54,479 --> 01:19:59,280
Speaker 3: Please Melissa us know. Eric responds, Yeah, I'm not going anywhere. Okay,

1714
01:19:59,320 --> 01:20:01,519
Speaker 3: I got here again. He folds his arms and stares

1715
01:20:01,520 --> 01:20:03,960
Speaker 3: at the street with Corey. As to be continued appears

1716
01:20:03,960 --> 01:20:06,360
Speaker 3: at the bottom of the screen, and then our next episode,

1717
01:20:06,400 --> 01:20:09,280
Speaker 3: Season four, episode seventeen, A Long Walk to Pittsburgh, Part two,

1718
01:20:09,760 --> 01:20:12,200
Speaker 3: will originally air on February fourteenth, nineteen ninety seven, and

1719
01:20:12,240 --> 01:20:12,639
Speaker 3: we will be.

1720
01:20:12,600 --> 01:20:15,639
Speaker 2: Covering that one next Wow.

1721
01:20:16,000 --> 01:20:18,479
Speaker 3: I can't believe we're already at this point in season four.

1722
01:20:19,200 --> 01:20:24,400
Speaker 2: Yeah, wait, what episode is it? Seventeen? Yeah? What do

1723
01:20:24,439 --> 01:20:27,599
Speaker 2: we do? Twenty two? Twenty two? I think just flying

1724
01:20:27,720 --> 01:20:31,519
Speaker 2: right by. This is a really good season. It's so passed,

1725
01:20:31,520 --> 01:20:34,080
Speaker 2: it's amazing. Yes, it's a great season. Great season. Yeah,

1726
01:20:34,240 --> 01:20:38,320
Speaker 2: we were working really hard and I had no idea,

1727
01:20:38,720 --> 01:20:42,240
Speaker 2: no this. All I cared about was my own life

1728
01:20:42,240 --> 01:20:47,439
Speaker 2: at this time, like Corey. That's the point, that's the

1729
01:20:47,479 --> 01:20:48,040
Speaker 2: whole point.

1730
01:20:48,080 --> 01:20:50,240
Speaker 1: That's why it's always about Corey, because that's what you

1731
01:20:50,280 --> 01:20:52,080
Speaker 1: do when you're sixteen, You care about yourself.

1732
01:20:53,560 --> 01:20:55,240
Speaker 3: Thank you all for joining us for this episode of

1733
01:20:55,240 --> 01:20:57,120
Speaker 3: Pod Meets World. As always, you can follow us on

1734
01:20:57,160 --> 01:20:59,360
Speaker 3: Instagram pod meets World Show. You can send us your

1735
01:20:59,400 --> 01:21:02,360
Speaker 3: emails pod meets World Show at gmail dot com and

1736
01:21:03,040 --> 01:21:03,920
Speaker 3: we have merch.

1737
01:21:04,080 --> 01:21:06,839
Speaker 2: What's soft what light through yonder merch.

1738
01:21:06,640 --> 01:21:11,080
Speaker 3: Breaks podmeetsworldshow dot com will send us out.

1739
01:21:11,520 --> 01:21:13,280
Speaker 2: We love you all, pod dismissed.

1740
01:21:15,439 --> 01:21:18,960
Speaker 1: Podmeets World is nheart podcast producer and hosted by Danielle Fischel,

1741
01:21:19,040 --> 01:21:23,280
Speaker 1: Wilfredell and Ryder Strong. Executive producers Jensen Carp and Amy Sugarman,

1742
01:21:23,560 --> 01:21:27,080
Speaker 1: Executive in charge of production. Danielle Romo, producer and editor

1743
01:21:27,160 --> 01:21:31,000
Speaker 1: Tara Sudbaksh, producer, Maddy Moore, engineer, and Boy Meets World

1744
01:21:31,000 --> 01:21:33,880
Speaker 1: superfan Easton Allen. Our theme song is by Kyle Morton

1745
01:21:33,920 --> 01:21:36,080
Speaker 1: of Typhoon and you can follow us on Instagram at

1746
01:21:36,080 --> 01:21:39,160
Speaker 1: Podmeets World Show or email us at Podmeets Worldshow at

1747
01:21:39,160 --> 01:21:41,920
Speaker 1: gmail dot com