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Speaker 1: First of all, you don't know me.

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Speaker 2: We all about that high school drama. Girl drama, Girl,

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Speaker 2: all about them.

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Speaker 1: High school queens.

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Speaker 2: We'll take you for a ride, and our comic girl

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Speaker 2: sharing for the right teen drama Queenslie's up girl fashion,

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Speaker 2: but your tough girl, you could sit with us.

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Speaker 1: Girl Drama, Queens Drama, Queens Drama, Queens Drama, Drama, Queens Drama, Queens. Hey, Everybody,

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Speaker 1: Season seven, Episode thirteen Weeks go by like days. Air

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Speaker 1: date January eighteen, twenty ten. Welcome everyone, Hey everybody, Hello,

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Speaker 1: Hello friends, you got the whole crew today.

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Speaker 3: Everybody's back. Guys. I feel like our lives lately have

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Speaker 3: been planes, trains and automobiles. Yes, everyone is just somewhere flying, driving, campaigning.

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Speaker 4: But look at us today. We got Sophia, we got

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Speaker 4: Joy I'm back in my hotel room. It's like order

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Speaker 4: has been restored in the universe.

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Speaker 1: Yes, a moment to breathe, I'm connect I love it well.

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Speaker 1: This episode is uh. It's about the Scott family joining

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Speaker 1: Haley on the last leg of the tour. It's about

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Speaker 1: Brooke and Julian trying to figure their shout, reconnecting after

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Speaker 1: a six week break.

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Speaker 5: Uh.

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Speaker 6: Okay.

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Speaker 1: Clay and Quinn are also trying to figure out how

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Speaker 1: to move forward after his public declaration of of love.

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Speaker 1: But it was it's not love, it's it's planned love.

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Speaker 1: It's intense, an intended love.

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Speaker 3: It's predicted love.

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Speaker 1: Perhaps yeah, it's predicted love. And the post rehab alex

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Speaker 1: not to be confused with Alexander. Somebody thought that was smart,

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Speaker 1: tries to make amends with herself and the people she's

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Speaker 1: let down. Writer Karen gist Or Kareem gist Or Gotheen, No, Hi, Karen,

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Speaker 1: we love you. And director Wow, what'd you think?

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Speaker 4: Beautiful intro? Joy?

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Speaker 3: I really enjoyed this. Oh, I meant the episode, but

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Speaker 3: also yes, the intro both both excellent.

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Speaker 1: No, what did you think the intro?

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Speaker 4: You were great? Flawless as usual, Joy, well.

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Speaker 1: Done, well done.

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Speaker 3: It was really fun and it was a very cool thing.

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Speaker 3: You know, it's not lost on me that we just

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Speaker 3: celebrated the twenty first anniversary of our show and we

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Speaker 3: all got to talk about how Wilmington just always feels

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Speaker 3: like home. Not to rub it in again, Rob, because

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Speaker 3: I know you had major fomo. I know Hillary did. Also.

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Speaker 3: I was like I was getting photos during my fomo

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Speaker 3: on Saturday from the basketball game and then finally making

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Speaker 3: it into town and then you had fomo and then

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Speaker 3: Hillary was sending me photos of like the kid's soccer tournament,

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Speaker 3: and I was like sending photos of brat pans. I

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Speaker 3: was like, what is our life? This is crazy? But

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Speaker 3: there was something about watching this episode where your tour

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Speaker 3: joy made me feel the same way coming home for

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Speaker 3: the conventions. Does you know what I mean? Like seeing

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Speaker 3: Haley come home from six weeks on the road, and

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Speaker 3: they did a really good job doing the montage and

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Speaker 3: giving us the information about how long you guys had

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Speaker 3: been gone as a family and the whole thing. And

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Speaker 3: then you came home and it was like big crowds,

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Speaker 3: big event, and it almost felt like a convention feels now, Yeah,

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Speaker 3: And it was so cool.

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Speaker 7: It was fun.

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Speaker 4: This was a welcome reprieve after last week's episode where

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Speaker 4: it just felt like every scene was doing the most

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Speaker 4: and it was trying so hard, right, and then this

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Speaker 4: episode was like, come join us on this fun musical tour. Yeah,

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Speaker 4: we're gonna have a little adventure.

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Speaker 1: So you were right. Your instinct was right last week

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Speaker 1: that it was the last episode before the break the

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Speaker 1: holiday break, and that's why every scene felt like the

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Speaker 1: end of the episode. I mean I was really starting

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Speaker 1: to get exhausted, but it was. I enjoyed it still.

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Speaker 1: But yeah, so this was a fun I like that

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Speaker 1: they came back after six weeks after we had actually

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Speaker 1: been gone for six weeks off the air. That's kind

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Speaker 1: of cool. This was fun for me. This was a

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Speaker 1: massive production doing this tour set up. I mean they

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Speaker 1: really they really went all out. We were in Wilmington.

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Speaker 1: I can't remember where we filmed that.

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Speaker 3: We were at the River Court.

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Speaker 1: Yeah, oh, you're right.

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Speaker 4: Courthouse in the background.

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Speaker 3: Yeah, yes, And I remember how cool it was to

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Speaker 3: come down there because base Camp was where it always

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Speaker 3: was and it was such a familiar location, but because

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Speaker 3: they'd built you that enormous stage and then they put

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Speaker 3: the Hayley James fans, like the audience, they put them

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Speaker 3: on the concrete of the river Court. Yeah, and so

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Speaker 3: it was like, oh my god. It just felt so

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Speaker 3: cool because it was such a familiar place but it

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Speaker 3: looked completely different.

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Speaker 1: Wow. How cool must that have been for the fans

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Speaker 1: of the show who came in to work as extras,

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Speaker 1: to be standing on the river cord and they get

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Speaker 1: to play in that way, and we were all there,

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Speaker 1: so they probably got to hang with all of us

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Speaker 1: at some point. We got to sit in like chit chat,

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Speaker 1: and that was one of the things that was really fun,

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Speaker 1: Like there was so much there's so much connection with

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Speaker 1: the fans at the time because people would calm down

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Speaker 1: to Wilmington and they would hang out by the stages

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Speaker 1: and we'd run into them at Port City Java. And

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Speaker 1: then when we had big outdoor shoots like this, a

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Speaker 1: lot of people were just around, so we really got

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Speaker 1: to interact with the fans a lot on a personal basis,

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Speaker 1: and I remember that from this. But this this was

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Speaker 1: a massive, massive production. We shot this for like four

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Speaker 1: or five days. I think it was a huge production.

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Speaker 3: You you as a performer, had to i mean do

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Speaker 3: a full concert like with Pyro. There were technics like

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Speaker 3: it's such a big deal, and it's funny because when

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Speaker 3: they start, I went, oh my god. I remember this

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Speaker 3: because I remember the silhouette of the Clay and Quinn

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Speaker 3: kiss and what a big deal that was with that

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Speaker 3: wall of like you know, White dropped down Pyro, and

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Speaker 3: I remember how insane it was to do on the

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Speaker 3: night because there was just fire everywhere.

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Speaker 1: Yeah, and they're just banking that it's not going to rain. Yeah.

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Speaker 1: I mean we shot this in in what annually the

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Speaker 1: air January, but we must have shot it in November

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Speaker 1: before our break, which is not necessarily a dry season.

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Speaker 1: I mean, that's such a huge gamble to take, but

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Speaker 1: they figured it out, didn't It didn't rain.

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Speaker 4: And before we get into the nuts and bolts of

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Speaker 4: all of it, I just got to make a general observation.

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Speaker 4: You are a rock star.

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Speaker 6: Joy.

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Speaker 4: Yes, when you take the stage, you strut out to

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Speaker 4: the microphone.

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Speaker 5: I had an audible okay, Joy yep, Like I was

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Speaker 5: watched Jing a rock star like you had such stage presence.

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Speaker 4: I mean you always do, but on this one, like

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Speaker 4: you were. You were given the tour vibes, you know,

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Speaker 4: and it was so much fun to watch. You killed it,

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Speaker 4: thank you.

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Speaker 3: Yeah, you were like feeling it and I was like, Okay,

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Speaker 3: I had.

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Speaker 1: So much fun. I mean there were a few cringe

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Speaker 1: moments for me watching it back, but I think some

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Speaker 1: of it's that when they're that up close, the cameras

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Speaker 1: that close, and you're being super dramatic. You're being very

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Speaker 1: big and dramatic for a huge crowd, but the camera's

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Speaker 1: right in your face, so it's like a little over time.

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Speaker 3: You're like, no, no, please stay wide for this. You

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Speaker 3: I you're far away. That's so funny.

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Speaker 1: But yeah, it really was a lot of fun. I

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Speaker 1: hadn't hadn't been on stage in a long time, you know,

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Speaker 1: I grew up doing theater, but being on a stage

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Speaker 1: that size, well, I had gone on the tour for

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Speaker 1: One Tree Hill, but it felt more it was my

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Speaker 1: set wasn't like that. I wasn't playing rock star. I

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Speaker 1: was just like singing, singer, songwriter, guitari stuff. So this

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Speaker 1: was fun to step into that character and just be like, Okay,

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Speaker 1: I guess she's a super famous rock star.

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Speaker 3: Now all right, that's a pretty nice time jump perk.

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Speaker 1: Yeah, right, No, it was good. I remember working with

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Speaker 1: Carol Cutshawl on the costumes for that, like we worked

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Speaker 1: through we went through so many different dresses the age

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Speaker 1: of Steampunk, when we were just leaning into the whole

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Speaker 1: steampunk vibe that was kind of new at that time.

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Speaker 4: I don't normally notice fashion, but I will say I

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Speaker 4: had a couple moments in this episode where I was

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Speaker 4: acutely aware of the fashion of the time, like Victoria's

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Speaker 4: remember how zippers used to be so popular, zippers on everything,

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Speaker 4: and Victoria, I think it's wearing like a dress or something,

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Speaker 4: but there's zippers on the shoulders.

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Speaker 1: Yeah, your shirt, Sophia too, you had this like a zipper.

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Speaker 1: I don't know what that was. Was it like a

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Speaker 1: It was almost like an eighteen hundred soldier like Napoleon

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Speaker 1: ish kind.

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Speaker 3: Yeah, and it was a knit. It was a killing

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Speaker 3: knit with that kind of military front and big metal buttons.

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Speaker 3: And then even even Quinn when you guys are on

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Speaker 3: your date, like the side of her tank top is

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Speaker 3: a giant silver zipper. That's like everything was just metal

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Speaker 3: and and yeah, that that steampunk energy of like I'm

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Speaker 3: just gonna make a necklace out of a bunch of

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Speaker 3: spare nuts and bolts from the Ikea furniture I built

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Speaker 3: last week.

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Speaker 4: Like what, Yeah, hey, I have an old bike chain.

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Speaker 4: I'm not using all attach it to my wallet. Y.

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Speaker 3: Yeah.

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Speaker 4: It was pretty Speaking speaking of extras in that concert, though,

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Speaker 4: there was a wonderful moment.

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Speaker 3: It's when I know what you're gonna say.

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Speaker 4: It's a it's a single on Quinn right before Clay

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Speaker 4: walks up Bless his heart. There is a background performer,

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Speaker 4: a young guy right behind her who is yep, Sophia's got.

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Speaker 3: It crush, the clapping panamime clapping.

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Speaker 4: And absolutely no one at video village had his back.

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Speaker 4: It is so clear. It's two things. First of all,

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Speaker 4: go back and watch his audience. He's so clearly not clapping,

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Speaker 4: he's not selling it at all. And then it's as

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Speaker 4: if someone said, hey, your crush is over there, don't

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Speaker 4: look like he truly looks everywhere except at the camera,

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Speaker 4: but he's doing it so aggressively that you're like, is

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Speaker 4: he okay?

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Speaker 3: And and dead giveaway that there's never actually music playing

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Speaker 3: when people are talking in concert scenes. This poor sweet

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Speaker 3: boy who wasn't told like, hey, it's pretty close on you.

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Speaker 3: You should clap for this one until the actors start talking,

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Speaker 3: also was given no like, here's where the beat is que,

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Speaker 3: So he's like beat to the Haley James song, trying

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Speaker 3: so hard. He's like, don't look, don't look, don't look,

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Speaker 3: don't look over there, don't look aware. Nobody had his back,

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Speaker 3: and on behalf of our entire cast and crew. I

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Speaker 3: would like to say, I'm very sorry, sir.

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Speaker 4: He's been listening to this podcast since its inception, waiting

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Speaker 4: for this moment, and we're here to validate you. Buddy.

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Speaker 4: Wasn't your fault?

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Speaker 1: No, not your fault, man, that's on us.

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Speaker 4: Sorry, But could you imagine being at a concert and

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Speaker 4: looking everywhere except the stage? No, is he working security?

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Speaker 4: What's going on?

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Speaker 3: Yeah? He looks like a bad CIA plant.

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Speaker 1: Yeah no, I never I missed it. I didn't notice

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Speaker 1: it at all.

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Speaker 3: I couldn't take my eyes off of it. Yeah, that's

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Speaker 3: the sort of thing like my little neurospicy I'm like,

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Speaker 3: something doesn't fit, the pattern is off, Oh dear God,

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Speaker 3: and then I can't stop looking. I literally had to

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Speaker 3: like shake my own head and remind myself to pay

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Speaker 3: attention to the unbelievably sweet moment that you guys were

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Speaker 3: having in your scene, Rob, because I was like, my

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Speaker 3: job is to take notes on the show, not to

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Speaker 3: focus on this person in his green shirt.

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Speaker 4: Yeah, I'm very similar, Like, God forbid, there's a continuity

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Speaker 4: issue with someone's drink in their hand, because my brain

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Speaker 4: is like, oh, really, we'd half the iced tea go

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Speaker 4: in that moment, Like I just I'm like, watch the movie,

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Speaker 4: but just watch the movie.

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Speaker 3: Just suspend your disbelief. None of it's real.

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Speaker 1: Anyway, it was sweet between Clank Whin. Though. I really

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Speaker 1: loved what you guys were up to in this episode.

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Speaker 1: It was fun to watch you kind of stumbling your

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Speaker 1: way through a new version of a relationship. This is

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Speaker 1: what was fun.

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Speaker 4: Yeah, yes, stumble is a good word for it, because

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Speaker 4: I initially found myself being a little confused. At the

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Speaker 4: James residence. There's the awkward moment with Nathan, which I

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Speaker 4: get when Clay shows up and he's awkward towards Quinn

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Speaker 4: when Nathan's there, But after he closes the door and

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Speaker 4: Nathan's not there and they're alone, I found it really

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Speaker 4: odd that all he did was give Quinn a sideways hug, because, yes,

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Speaker 4: you've been through a lot with this person. You've been

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Speaker 4: missing each other and texting and flirting. You said you're

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Speaker 4: gonna fall in love with her. You've been making out

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Speaker 4: in the ocean, You've been making out. Are you telling

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Speaker 4: me the first moment that you get together in private,

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Speaker 4: you're not going to You're going to give her the

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Speaker 4: this is my first cousin hug.

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Speaker 1: Why did you do that? Do you remember why you

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Speaker 1: made that choice or were you directed to do that.

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Speaker 4: I'm a big fan of making bad choices that don't

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Speaker 4: make sense. Joy, No, I have no idea why that happened, truthfully,

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Speaker 4: but as a viewer, I was going, why why are

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Speaker 4: we My only guess is that they just wanted to

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Speaker 4: build to that last kiss at the end of the episode,

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Speaker 4: you know, because they really obviously they made a huge

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Speaker 4: meal of that, including the stylistic shot, which was a

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Speaker 4: little confusing.

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Speaker 3: Yeah, suddenly we were in Titanic.

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Speaker 1: Yeah.

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Speaker 4: Yeah, Like I get what we're going for, but also

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Speaker 4: it's awkward for my again, for that part of my

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Speaker 4: brain goes, where's the rest of the audience, where's the stage?

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Speaker 4: This geography doesn't make sense, and had you go, it's

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Speaker 4: a it's a it's a kiss, it's a special moment.

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Speaker 4: Let it go. The audience probably doesn't care. Yeah, but

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Speaker 4: I just found it odd that it was like, hey friend,

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Speaker 4: hi friend.

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Speaker 1: And this is after this is when you guys were alone.

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Speaker 1: This is Nathan and I thought we shut the door

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Speaker 1: and we were all still in the house.

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Speaker 4: No, because I think when I show up, when Clay

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Speaker 4: shows up, Nathan and Quinn are there, I'm incredibly awkward

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Speaker 4: and Nathan goes, okay, bye and he leaves and we

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Speaker 4: shut the door. I don't think Hayley's there.

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Speaker 1: Yeah, you're alone with her.

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Speaker 4: It's just the two of us, which is why I

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Speaker 4: just felt weird that it's not like, hey, babe, kiss.

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Speaker 1: Or turn around and pick her up and like I've

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Speaker 1: been waiting so to see you.

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Speaker 4: It shows that we're texting, like miss you, thinking of you,

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Speaker 4: so we are obviously vibing.

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Speaker 1: Yeah, maybe it was. Maybe it was one of those

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Speaker 1: where it was like, shoot the rehearsal and you didn't

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Speaker 1: know that that was the take they were going to use. Yeah,

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Speaker 1: I wonder if maybe, like every other take, you guys

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Speaker 1: did something else, and then when they got in the

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Speaker 1: editing room, for whatever reason, they were just like, uh,

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Speaker 1: we use the first one.

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Speaker 4: They're like, every take we have Buckley has peanut butter

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Speaker 4: on his face. Why did they one? All right? We

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Speaker 4: got to use the rehearsal, classic Buckley problem. I had

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Speaker 4: a question. At the opening, We're seeing vignettes of people,

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Speaker 4: and all of it was great, except on one I

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Speaker 4: bumped on real hard, which was Millie appeared to be

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Speaker 4: alone in an abandoned where house watching a video of ballerina?

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Speaker 4: What was what's scene from requem for a Dream that

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Speaker 4: got left on the editing floor.

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Speaker 1: I did a double take at that, saying, like, what

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Speaker 1: what scene from Requiem for a Dream?

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Speaker 3: By the way for a Dream perhaps taken? I was like,

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Speaker 3: has she been kidnapped?

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Speaker 4: Like bialy?

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Speaker 3: She said drug dealer? Where is she?

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Speaker 1: That was and we never addressed it right.

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Speaker 4: Never Also like why balance? There's so many ways that

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Speaker 4: she could be looking at at women who are very thin.

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Speaker 4: It was just so odd that she's just alone in

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Speaker 4: darkness watching ballerinas.

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Speaker 1: Why wouldn't she be watching models on a runway.

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Speaker 4: Exactly exactly her competition, her peers. That was the only thing.

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Speaker 4: I was like, wait what It.

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Speaker 3: Was very weird.

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Speaker 1: Yeah, it happened so fast though that by the time

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Speaker 1: I because I was writing a note, I looked up

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Speaker 1: just as that was that moment was happening, and then

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Speaker 1: it went away into I think it cut into Quinn maybe,

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Speaker 1: and I was like, I don't know what I just saw,

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Speaker 1: but I to just keep rolling with this episode because

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Speaker 1: I can still explain it later. And then they never

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Speaker 1: explained it. They never I'm glad you brought that up,

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Speaker 1: because yeah, I would have repaused and rewound.

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Speaker 4: It at least, though I will say this, I am

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Speaker 4: so happy that we get our Lisa Goldstein back. And

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Speaker 4: this episode seems to have tied a bow on this

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Speaker 4: after school special. God I hope so I am just

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Speaker 4: and everyone's probably tired of from I'm just so bored

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Speaker 4: by this storyline. And I'm also frustrated because she's so

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Speaker 4: talented and so good and I feel like she's just

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Speaker 4: being wasted on it. And I was so immensely grateful

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Speaker 4: that jumping forward a bit, the fever seems to break

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Speaker 4: in a beautiful scene between and Alex where she is

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Speaker 4: so honest and raw and great. She earned the turn

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Speaker 4: so well, and you know, cut to the end where

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Speaker 4: it's like, I love that Victoria is going to be

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Speaker 4: the one to tough love her back to help. Yeah. Perfect,

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Speaker 4: But I was just so grateful because it was like, there,

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Speaker 4: there's the actress that should be getting this kind of material.

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Speaker 4: She's crushing it. Let's use her. It was. I was

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Speaker 4: so grateful for that.

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Speaker 3: It was really beautiful then. And the nice thing about

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Speaker 3: that scene between Lisa and Jana is everything they've been

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Speaker 3: forcing Millie to do this kind of intense attitude. This

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Speaker 3: like bitchy Alex on steroids or your rugs. You see why,

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Speaker 3: Like you see, all the pain gets to come out

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Speaker 3: and that immense guilt of I've been horrible and I

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Speaker 3: said these horrible things to you and then you did

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Speaker 3: the most horrible thing imaginable, like the green and this shame.

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Speaker 3: She just played it so beautifully and it made all

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Speaker 3: of this stuff feel really really human.

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Speaker 4: Yeah yeah, where as opposed to there's so much stuff

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Speaker 4: prior to this, before she said those awful things to Alex,

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Speaker 4: it was just sort of like why are we doing this?

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Speaker 4: Like the motivation is kind of loose and shaky, whereas

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Speaker 4: you're exactly right. And this scene it was so well

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Speaker 4: written because that's exactly It's like, I hate myself most

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Speaker 4: of all, so I'm just going to continue treating myself terribly,

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Speaker 4: you know. And she played it so so so well,

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Speaker 4: and it was a wonderfully sweet, kind of rewarding experience

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Speaker 4: for Alex, you know, where she's being selfless and she's

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Speaker 4: showing up for someone. They have that great line at

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Speaker 4: the party, which was so hilarious. That party with was

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Speaker 4: like red lights, pretty people. It's obviously a model party,

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Speaker 4: but Janice. I think Millie has a line where she's

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Speaker 4: like why are you here? Like what are you doing?

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Speaker 4: And Alex says, I'm getting you out of here because

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Speaker 4: no one showed up for me, or something to that effect.

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Speaker 4: It was like, oh, nice redemption, Okay, because again, yeah,

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Speaker 4: another awesome actress. Like let's give her cool, meaty stuff.

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Speaker 3: Yeah, it was really enjoyable. Like, I loved watching the

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Speaker 3: two of them in this episode. And I think it's

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Speaker 3: because some of what we've been talking about, particularly with

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Speaker 3: their characters, is that for a while they've been written

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Speaker 3: like stereotypes and in this episode they get back to

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Speaker 3: being these really interesting, dynamic humans.

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Speaker 1: Yeah, multidimensional women.

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Speaker 3: Yeah, it's because of the women that they are, and

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Speaker 3: they get this great material that lets them show it off,

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Speaker 3: just like you're saying, Rob, they get to really dig

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Speaker 3: their teeth into it. And yeah, I just loved. I

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Speaker 3: loved seeing it, and as a viewer, I loved the

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Speaker 3: relief of you know, the panic I felt when Julian

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Speaker 3: left that hotel room and Alex immediately took out her

387
00:20:00,920 --> 00:20:03,080
Speaker 3: phone yes asked where the party was.

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Speaker 1: I was like no, no.

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Speaker 3: And then when I realized what was happening.

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Speaker 1: I was like hero and.

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Speaker 3: I was having such a good time as an audience member.

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Speaker 3: And I love that kind of misdirect when it's done well.

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Speaker 1: It's just interesting with Alex, Like I, I'm finding it

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Speaker 1: a little unbelievable, like I want to I want to

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Speaker 1: go with it. But also she showed so many sides

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Speaker 1: of her personality when she first showed up, that this

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00:20:30,160 --> 00:20:36,399
Speaker 1: this instinct for manipulation and the constant flip flopping to

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Speaker 1: just get whatever was serving her. I don't know that

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00:20:39,200 --> 00:20:46,119
Speaker 1: that goes away so quickly. And I appreciate the the

400
00:20:46,280 --> 00:20:50,760
Speaker 1: place that she's living from right now, but I don't know,

401
00:20:50,880 --> 00:20:52,520
Speaker 1: I don't I'm like, where, where's all the other?

402
00:20:52,760 --> 00:20:52,840
Speaker 4: What?

403
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Speaker 1: You're just suddenly a different person. You just don't have

404
00:20:55,119 --> 00:20:56,440
Speaker 1: all those tendencies anymore.

405
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Speaker 4: I hear what you're saying, because she's been largely manic

406
00:21:00,400 --> 00:21:01,040
Speaker 4: to this point.

407
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Speaker 6: Yeah.

408
00:21:01,840 --> 00:21:05,240
Speaker 4: And and they only showed for about a split second

409
00:21:05,280 --> 00:21:08,920
Speaker 4: that she even went to treatment after you know, her

410
00:21:09,200 --> 00:21:13,160
Speaker 4: trying to unlive herself. So yeah, I hear what you're saying.

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00:21:13,160 --> 00:21:15,400
Speaker 4: I will say one thing that was cool was how

412
00:21:15,440 --> 00:21:20,680
Speaker 4: about for a rare change of pace? Uh, A woman

413
00:21:20,800 --> 00:21:26,800
Speaker 4: saved a woman or well done.

414
00:21:26,840 --> 00:21:28,000
Speaker 3: Yeah, all three of.

415
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Speaker 4: Them and again perfect the perfect person to do it.

416
00:21:31,400 --> 00:21:34,159
Speaker 4: That all of that was just that made so much sense.

417
00:21:34,920 --> 00:21:38,680
Speaker 4: It folds in perfectly with this Bittoria is getting soft,

418
00:21:39,400 --> 00:21:43,359
Speaker 4: you know, which I love to see. And yeah, I

419
00:21:43,400 --> 00:21:46,200
Speaker 4: just thought it all worked so so well.

420
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Speaker 1: It's the tree hell magic. That effect, like the small

421
00:21:51,359 --> 00:21:54,000
Speaker 1: community people wanting to take care of each other is

422
00:21:54,040 --> 00:21:56,280
Speaker 1: starting to rub off. It's rubbing off on Alex, it's

423
00:21:56,280 --> 00:21:59,520
Speaker 1: starting to rub off on Victoria. You can't help it.

424
00:21:59,560 --> 00:22:02,000
Speaker 1: You just it's in the water there. People start to

425
00:22:02,040 --> 00:22:05,040
Speaker 1: really care about those in their community and they invest.

426
00:22:05,119 --> 00:22:07,600
Speaker 1: I feel like that's something we've seen consistently happen on

427
00:22:08,560 --> 00:22:10,240
Speaker 1: the show for the characters.

428
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Speaker 3: And I think when you have characters like the ones

429
00:22:13,880 --> 00:22:17,640
Speaker 3: in this show, I've certainly experienced this. I just had

430
00:22:17,680 --> 00:22:20,560
Speaker 3: dinner with Kenny last night and we were talking about this.

431
00:22:21,400 --> 00:22:24,760
Speaker 3: You know, in the almost twenty years we've all been friends. Like,

432
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Speaker 3: when people get to be part of a friend group

433
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Speaker 3: that really shows up for each other, especially if they're

434
00:22:31,040 --> 00:22:34,200
Speaker 3: newer to it, they do the same. You go, oh,

435
00:22:34,320 --> 00:22:39,640
Speaker 3: that's possible, and so what a cool thing that when

436
00:22:39,640 --> 00:22:41,960
Speaker 3: you think about the length of these friendships like for

437
00:22:42,040 --> 00:22:44,639
Speaker 3: Brooke and Haley and Peyton and Nathan and Lucas and

438
00:22:45,280 --> 00:22:48,440
Speaker 3: you know, yes, they're gone, but even the fact that

439
00:22:48,520 --> 00:22:51,720
Speaker 3: you know Quinn would have even though we didn't get

440
00:22:51,720 --> 00:22:54,120
Speaker 3: to see it grown up in the same house as

441
00:22:54,119 --> 00:22:57,159
Speaker 3: you like, Yeah, these are people who show up. And

442
00:22:57,200 --> 00:23:00,400
Speaker 3: you're right, everybody who winds up spending time with him

443
00:23:00,400 --> 00:23:02,040
Speaker 3: becomes the kind of person who shows up.

444
00:23:02,200 --> 00:23:05,119
Speaker 1: Even Dan shows up uninvited. He shows up everywhere, he

445
00:23:05,240 --> 00:23:07,000
Speaker 1: sure does, except in this episode.

446
00:23:07,320 --> 00:23:12,639
Speaker 3: But it's like, it's this amazing mark of community and

447
00:23:12,760 --> 00:23:14,440
Speaker 3: particularly I think longevity.

448
00:23:14,760 --> 00:23:15,280
Speaker 1: Yeah.

449
00:23:15,320 --> 00:23:17,879
Speaker 3: And one of the things I will say I really

450
00:23:17,920 --> 00:23:23,359
Speaker 3: love too is that Victoria is softening. You know, she

451
00:23:23,440 --> 00:23:25,040
Speaker 3: can be flipping about it and say, oh, I know

452
00:23:25,080 --> 00:23:31,120
Speaker 3: it's tragic, but the way she softens is to become

453
00:23:31,240 --> 00:23:35,679
Speaker 3: more gentle. But she's still just as sharp and I

454
00:23:35,760 --> 00:23:37,840
Speaker 3: loved that we got to see that in her conversation

455
00:23:37,960 --> 00:23:41,480
Speaker 3: with Julian, because he's like, don't bring this other guy around, like,

456
00:23:41,600 --> 00:23:43,920
Speaker 3: you know, don't mess this up for me in Brooke

457
00:23:44,000 --> 00:23:46,760
Speaker 3: Da Da Da Da, and she's just like, oh, honey,

458
00:23:47,760 --> 00:23:51,600
Speaker 3: she might have problems. She might not let you in

459
00:23:51,680 --> 00:23:54,560
Speaker 3: as fast as you think she should. But I see

460
00:23:54,600 --> 00:23:56,679
Speaker 3: that you like that Alex likes you.

461
00:23:57,160 --> 00:23:57,400
Speaker 7: Yeah.

462
00:23:57,720 --> 00:23:57,960
Speaker 4: Yeah.

463
00:23:58,000 --> 00:24:01,440
Speaker 3: And what I loved I loved that she called him

464
00:24:01,440 --> 00:24:03,399
Speaker 3: out on it and still said I adore you and

465
00:24:03,440 --> 00:24:07,640
Speaker 3: I think you're good for my daughter, because it allowed

466
00:24:07,640 --> 00:24:12,560
Speaker 3: me to see that Victoria could vocalize what Brooke then couldn't,

467
00:24:12,880 --> 00:24:14,920
Speaker 3: Like when me and Julian get in the fight at

468
00:24:14,920 --> 00:24:16,760
Speaker 3: the concert and it's like, I didn't want to fight,

469
00:24:16,800 --> 00:24:20,080
Speaker 3: I just wanted Brooke doesn't have the wherewithal to get

470
00:24:20,119 --> 00:24:23,240
Speaker 3: past I saw it. I saw it. I'm not making

471
00:24:23,280 --> 00:24:25,280
Speaker 3: it up. And he's like, you're not listening to me.

472
00:24:25,320 --> 00:24:29,159
Speaker 3: I'm telling you, I choose you. But we know that

473
00:24:29,200 --> 00:24:33,080
Speaker 3: what she can't get over is true. She sees that

474
00:24:33,160 --> 00:24:36,880
Speaker 3: he likes that attention and he might say, but I'm

475
00:24:36,920 --> 00:24:40,239
Speaker 3: not gonna go there, and it's like, but but you

476
00:24:40,320 --> 00:24:44,600
Speaker 3: still want the attention, and so there is actually a problem. Yes,

477
00:24:44,680 --> 00:24:48,120
Speaker 3: Brook's heart is broken and she has trauma and it's

478
00:24:48,119 --> 00:24:50,840
Speaker 3: gonna take her a while longer to open up. Je shocker.

479
00:24:50,840 --> 00:24:51,680
Speaker 3: That feels familiar.

480
00:24:52,200 --> 00:24:58,399
Speaker 1: Also, she's not wrong, she's not crazy. Julia's living in fantasyland.

481
00:24:58,920 --> 00:25:01,840
Speaker 3: But I loved that the they both had their convictions

482
00:25:01,880 --> 00:25:04,800
Speaker 3: and interestingly, enough. The person who showed me like, well,

483
00:25:04,840 --> 00:25:06,520
Speaker 3: you're both kind of right and you're both kind of

484
00:25:06,560 --> 00:25:09,679
Speaker 3: wrong was Victoria. I was like, this is sick. This

485
00:25:09,760 --> 00:25:11,560
Speaker 3: is great writing, so great.

486
00:25:11,800 --> 00:25:15,119
Speaker 4: Which was validating as a viewer because I found myself

487
00:25:15,280 --> 00:25:18,040
Speaker 4: like this episode, every scene with Alex and Julian going,

488
00:25:18,840 --> 00:25:22,840
Speaker 4: she's so clearly still in love with this guy. Every

489
00:25:22,920 --> 00:25:27,760
Speaker 4: scene she is making heart eyes at him, and again, guy,

490
00:25:27,920 --> 00:25:31,200
Speaker 4: you got to take some accountability, Like you got to

491
00:25:31,280 --> 00:25:34,160
Speaker 4: see that and go, hey, I think I'm picking up

492
00:25:34,200 --> 00:25:37,760
Speaker 4: on the fact that, like you're still hoping this is available.

493
00:25:38,080 --> 00:25:40,520
Speaker 4: It's again he has he has no idea what a

494
00:25:40,520 --> 00:25:44,160
Speaker 4: healthy boundary is. So when Victoria said, I was like, yes, yes,

495
00:25:44,240 --> 00:25:47,720
Speaker 4: because every scene and then it's like he's also doing

496
00:25:47,760 --> 00:25:51,159
Speaker 4: things which again like that we find out that he

497
00:25:51,240 --> 00:25:52,840
Speaker 4: and his dad are the ones that put up the

498
00:25:52,880 --> 00:25:54,879
Speaker 4: money for the film, and he's like, because I believe

499
00:25:54,880 --> 00:25:57,439
Speaker 4: in you. You if someone has feelings for you, you

500
00:25:57,480 --> 00:25:59,600
Speaker 4: have to be very careful with the way you deliver

501
00:25:59,640 --> 00:26:01,919
Speaker 4: that in for because they are going to be looking

502
00:26:02,320 --> 00:26:05,679
Speaker 4: for evidence that what they're feeling is real, you know.

503
00:26:05,720 --> 00:26:08,400
Speaker 4: And I just feel like he's like Julie, like Troya said,

504
00:26:08,440 --> 00:26:10,719
Speaker 4: he I think he enjoys it to an extent.

505
00:26:11,640 --> 00:26:14,240
Speaker 1: At least he's being honest about it. Now it seems

506
00:26:14,320 --> 00:26:16,919
Speaker 1: like he's embracing the fact. He's like, I want to

507
00:26:16,920 --> 00:26:19,119
Speaker 1: save her. I'm going to do all these things in

508
00:26:19,200 --> 00:26:20,879
Speaker 1: order to try and save her. I mean, it's better

509
00:26:20,960 --> 00:26:23,919
Speaker 1: to make a mistake and at least be honest about

510
00:26:24,040 --> 00:26:25,600
Speaker 1: the way you're going about it and be like, this

511
00:26:25,680 --> 00:26:27,040
Speaker 1: is what I think is the right thing to do,

512
00:26:27,119 --> 00:26:29,360
Speaker 1: and I'm going to do it. And we're all watching cringing,

513
00:26:29,720 --> 00:26:31,679
Speaker 1: But at least you're not trying to convince yourself. At

514
00:26:31,760 --> 00:26:33,360
Speaker 1: least he's not trying to convince himself that he's doing

515
00:26:33,359 --> 00:26:36,720
Speaker 1: something else. So I appreciate that, and I think that's

516
00:26:36,920 --> 00:26:39,640
Speaker 1: the healthiest way to go about any decision that we're

517
00:26:39,680 --> 00:26:43,159
Speaker 1: making in life. There was a lot I mean to

518
00:26:43,240 --> 00:26:45,960
Speaker 1: have this note like he's in fantasy world about all

519
00:26:46,000 --> 00:26:49,840
Speaker 1: of this, But that last conversation they had was compelling,

520
00:26:49,880 --> 00:26:53,040
Speaker 1: Like some of the stuff that he was saying, I

521
00:26:53,040 --> 00:26:55,560
Speaker 1: guess because he is being honest about where he's at.

522
00:26:55,640 --> 00:26:57,280
Speaker 1: Then you have to think about in the context of

523
00:26:57,280 --> 00:27:02,320
Speaker 1: a relationship. Sometimes you just watch your partner make a

524
00:27:02,359 --> 00:27:05,760
Speaker 1: mistake and like if the mistake is something that's going

525
00:27:05,800 --> 00:27:07,800
Speaker 1: to push on your boundaries to a point that's a

526
00:27:07,840 --> 00:27:11,000
Speaker 1: deal breaker, then that's a deal breaker. But if it's not,

527
00:27:11,320 --> 00:27:13,520
Speaker 1: then maybe you can hold space for that. It just

528
00:27:13,560 --> 00:27:16,080
Speaker 1: doesn't seem like either of them can hold space for

529
00:27:16,119 --> 00:27:19,040
Speaker 1: the other person's stuff right now.

530
00:27:19,440 --> 00:27:21,919
Speaker 3: Well, and what I think is really interesting too, is

531
00:27:22,200 --> 00:27:25,439
Speaker 3: particularly what it made me think a lot about is that,

532
00:27:25,520 --> 00:27:28,400
Speaker 3: particularly as women, we get told like, well, you have

533
00:27:28,480 --> 00:27:31,159
Speaker 3: to forgive people, You have to make space for people.

534
00:27:31,600 --> 00:27:35,639
Speaker 3: That's part of your job. And what I appreciate about

535
00:27:35,960 --> 00:27:38,880
Speaker 3: at least this as you're saying, it's like a thing

536
00:27:38,920 --> 00:27:41,600
Speaker 3: everybody goes through. Can I make space for your? Will

537
00:27:41,640 --> 00:27:43,879
Speaker 3: you make space for mine? But what I love that

538
00:27:43,920 --> 00:27:47,800
Speaker 3: the writers gave the storyline between Brooke and Julian in

539
00:27:47,840 --> 00:27:51,000
Speaker 3: this episode is that it's not just you like attention

540
00:27:51,119 --> 00:27:56,240
Speaker 3: from another person. It's not just something we've heard before.

541
00:27:56,640 --> 00:27:58,680
Speaker 3: Brooke gets to look at this guy and go, how

542
00:27:58,720 --> 00:28:00,800
Speaker 3: am I supposed to compete with? It's the love you

543
00:28:00,880 --> 00:28:04,160
Speaker 3: carrie for your dead mother? Uh huh, Like you are

544
00:28:04,200 --> 00:28:09,639
Speaker 3: putting this girl in that empty cutout of a human

545
00:28:09,760 --> 00:28:11,320
Speaker 3: who you miss every day?

546
00:28:11,880 --> 00:28:14,639
Speaker 1: Yeah, Like, how am I supposed to compete? With that,

547
00:28:15,000 --> 00:28:18,800
Speaker 1: and Brooks biggest trigger is being chosen choose me, like yes,

548
00:28:18,960 --> 00:28:20,800
Speaker 1: once someone choose me.

549
00:28:21,400 --> 00:28:24,800
Speaker 3: Yes, don't use me and then and then move on.

550
00:28:25,640 --> 00:28:30,000
Speaker 3: And it's this wild thing because I get where he's

551
00:28:30,000 --> 00:28:32,919
Speaker 3: coming from, where he's saying, you know, I'm choosing you,

552
00:28:33,720 --> 00:28:36,160
Speaker 3: and I'm going to maintain this other relationship and you

553
00:28:36,200 --> 00:28:36,560
Speaker 3: need to.

554
00:28:36,480 --> 00:28:37,120
Speaker 6: Figure that out.

555
00:28:37,600 --> 00:28:39,959
Speaker 3: And I absolutely get why she's looking back at him

556
00:28:39,960 --> 00:28:42,040
Speaker 3: and going, you're telling me you're going to maintain a

557
00:28:42,120 --> 00:28:45,880
Speaker 3: relationship that is a replacement for your dead parent, and

558
00:28:45,960 --> 00:28:49,000
Speaker 3: you think I'm going to feel safe competing with that

559
00:28:49,480 --> 00:28:50,240
Speaker 3: for your attention.

560
00:28:50,760 --> 00:28:54,240
Speaker 1: Yeah, this is wild and it is yeah, and.

561
00:28:54,200 --> 00:28:57,080
Speaker 3: It's a I love that it's a juicy storyline that's

562
00:28:57,200 --> 00:29:01,880
Speaker 3: real and that it isn't it's not the obvious, and

563
00:29:01,960 --> 00:29:04,080
Speaker 3: because it's not the obvious, it feels refreshing.

564
00:29:04,520 --> 00:29:06,960
Speaker 1: Yeah, I think there are. This is one of those

565
00:29:07,000 --> 00:29:10,520
Speaker 1: things that I think about when I'm in relationships too,

566
00:29:10,560 --> 00:29:16,440
Speaker 1: and I bump up against a partner's stuff and it's you.

567
00:29:17,760 --> 00:29:20,120
Speaker 1: There are times when I think there are I have

568
00:29:20,200 --> 00:29:22,800
Speaker 1: to be objective about this, even though I feel emotional.

569
00:29:22,840 --> 00:29:24,840
Speaker 1: There are other women in the world who would be

570
00:29:24,920 --> 00:29:29,760
Speaker 1: okay with this. I'm just not because of my own A,

571
00:29:29,880 --> 00:29:33,120
Speaker 1: B and C. But does that mean that I should

572
00:29:33,120 --> 00:29:35,160
Speaker 1: be working on my A, B and C? Or is

573
00:29:35,200 --> 00:29:39,600
Speaker 1: this just a bad fit because it's not necessarily that

574
00:29:39,760 --> 00:29:43,120
Speaker 1: I'm wrong or you're wrong, It's just there's a there's

575
00:29:43,160 --> 00:29:45,240
Speaker 1: a woman out there who probably would be fine with Julian.

576
00:29:45,320 --> 00:29:47,560
Speaker 1: I mean, I think she'd be annoyed. But it's like, Okay, honey,

577
00:29:47,560 --> 00:29:50,800
Speaker 1: you go on your journey like this is this is irritating,

578
00:29:50,840 --> 00:29:53,840
Speaker 1: but I'll see you when you on the other side.

579
00:29:54,000 --> 00:29:55,760
Speaker 1: I'm still here. I'm going to walk through it with you,

580
00:29:57,000 --> 00:29:59,200
Speaker 1: but not brooke it. She can't. Yeah, it's not right

581
00:29:59,280 --> 00:29:59,600
Speaker 1: for her.

582
00:30:00,080 --> 00:30:02,600
Speaker 3: But I think that's what's interesting, And what you're referencing

583
00:30:02,680 --> 00:30:05,240
Speaker 3: is what I was sort of beginning to talk about earlier.

584
00:30:05,720 --> 00:30:09,040
Speaker 3: It's that we get encouraged to just accept and it's like,

585
00:30:10,000 --> 00:30:12,280
Speaker 3: so is the acceptance that I have to work on

586
00:30:12,440 --> 00:30:16,960
Speaker 3: the A, B and C? Or is the acceptance me

587
00:30:17,160 --> 00:30:21,640
Speaker 3: violating boundaries that make me feel respected, healthy and safe?

588
00:30:21,760 --> 00:30:23,960
Speaker 1: But could it be couldn't it be that you just

589
00:30:25,000 --> 00:30:28,680
Speaker 1: that's part of sacrificial love, that you're like, I love

590
00:30:28,720 --> 00:30:30,800
Speaker 1: you and that's partnership and I'm here for you, and

591
00:30:30,840 --> 00:30:32,720
Speaker 1: I don't agree with this choice you're making. It hurts me,

592
00:30:33,160 --> 00:30:35,480
Speaker 1: but I'm in this with you, and I realize you're

593
00:30:35,480 --> 00:30:37,840
Speaker 1: going to realize it one day and we'll I'll walk

594
00:30:37,840 --> 00:30:38,360
Speaker 1: through it with you.

595
00:30:38,720 --> 00:30:40,920
Speaker 3: But I think that's the case by case basis, right

596
00:30:41,320 --> 00:30:43,800
Speaker 3: for sure. Yeah, And I think it's interesting that we're

597
00:30:43,840 --> 00:30:46,800
Speaker 3: talking about the lessons we've learned in relationships because I

598
00:30:46,840 --> 00:30:49,920
Speaker 3: can certainly look back and go, oh, I know where

599
00:30:49,960 --> 00:30:54,320
Speaker 3: I was encouraged to make more space or sacrifice a

600
00:30:54,320 --> 00:30:57,840
Speaker 3: bit or whatever, and then when I've gotten to the

601
00:30:57,880 --> 00:31:00,320
Speaker 3: other side of it and shared with some people like, well,

602
00:31:00,360 --> 00:31:01,720
Speaker 3: this is what I was trying to work through, people

603
00:31:01,760 --> 00:31:06,200
Speaker 3: are like, are you freaking nuts? Why that's crazy? You know,

604
00:31:06,800 --> 00:31:09,000
Speaker 3: how could you like someone treated you that way or

605
00:31:09,360 --> 00:31:10,959
Speaker 3: did this or tried to normalize that.

606
00:31:11,320 --> 00:31:13,680
Speaker 1: Yeah, when your threshold for pain is so high, you know,

607
00:31:13,800 --> 00:31:15,320
Speaker 1: it's hard to tell the difference.

608
00:31:15,480 --> 00:31:19,200
Speaker 3: When you have a very high threshold for suffering. Yeah,

609
00:31:19,280 --> 00:31:22,680
Speaker 3: you don't always realize how mistreated your being in the moment.

610
00:31:23,000 --> 00:31:23,680
Speaker 1: Yeah.

611
00:31:23,840 --> 00:31:27,040
Speaker 4: Yeah, that was one thing I realized in therapy. It

612
00:31:27,080 --> 00:31:29,120
Speaker 4: was like I got really good at making a meal

613
00:31:29,160 --> 00:31:32,240
Speaker 4: out of a crumb. And if you've done that for

614
00:31:32,320 --> 00:31:35,080
Speaker 4: long enough, then crumbs start to look like meals. Yes,

615
00:31:35,120 --> 00:31:37,680
Speaker 4: so it's like, but I they're good people. Remember they

616
00:31:37,720 --> 00:31:40,040
Speaker 4: sent me a Hallmark card on my birthday, And it's

617
00:31:40,120 --> 00:31:43,160
Speaker 4: like that's it, that's the whole meal, you know. Like,

618
00:31:44,160 --> 00:31:46,280
Speaker 4: but I love this that scene at the at the

619
00:31:46,360 --> 00:31:50,080
Speaker 4: concert between Brooke and Julian because I just found it

620
00:31:50,360 --> 00:31:55,040
Speaker 4: so relatable. There were so many times, you know, because

621
00:31:55,120 --> 00:31:56,920
Speaker 4: Jane and I have we've done we did couples therapy,

622
00:31:56,920 --> 00:32:00,240
Speaker 4: we've done we've done couples therapy a lot, and so

623
00:32:00,280 --> 00:32:03,200
Speaker 4: many times we'd be bringing something to them and our

624
00:32:03,200 --> 00:32:05,480
Speaker 4: therapists would say, hey, you guys are getting lost in

625
00:32:05,520 --> 00:32:09,680
Speaker 4: the content. You're not actually you're not actually talking about

626
00:32:09,760 --> 00:32:13,040
Speaker 4: what's really going on. And it was perfect because you know,

627
00:32:13,040 --> 00:32:16,320
Speaker 4: when Brooke is like, I saw you holding her hand,

628
00:32:17,480 --> 00:32:20,960
Speaker 4: this was a perfect example because it's like completely fair

629
00:32:21,040 --> 00:32:23,560
Speaker 4: he did that. If someone is alone in a hospital

630
00:32:23,640 --> 00:32:26,120
Speaker 4: room after trying to end their life, it is just

631
00:32:26,200 --> 00:32:30,080
Speaker 4: a compassionate human being thing to do to hold their handy.

632
00:32:30,440 --> 00:32:33,560
Speaker 4: But it's like, it's not it's not really about that moment.

633
00:32:33,960 --> 00:32:38,360
Speaker 4: It's about this much deeper, bigger, underlying issue. But that happens,

634
00:32:38,440 --> 00:32:42,160
Speaker 4: right because it's like I'm activated, you're activated. We were

635
00:32:42,280 --> 00:32:45,880
Speaker 4: both sort of like afraid and defensive and combative, you know,

636
00:32:45,960 --> 00:32:48,520
Speaker 4: and so you start you stop talking about the root cause,

637
00:32:48,560 --> 00:32:50,600
Speaker 4: and you start just like, but then you did this thing.

638
00:32:50,600 --> 00:32:52,560
Speaker 4: Well then you did this thing, you know, and it's like, yeah,

639
00:32:52,840 --> 00:32:54,800
Speaker 4: we're not having the same conversation anymore.

640
00:32:55,040 --> 00:32:58,160
Speaker 3: And that's what it is, is they're in the minutia.

641
00:32:58,400 --> 00:33:01,120
Speaker 3: And that's why I think the Victoria choices from the

642
00:33:01,160 --> 00:33:04,560
Speaker 3: writers were so good, because Victoria is like, oh, you're

643
00:33:04,600 --> 00:33:07,560
Speaker 3: in the minutia and here's the issue. This is her issue,

644
00:33:07,640 --> 00:33:11,360
Speaker 3: and this is your issue, sir, figure it out. And

645
00:33:12,240 --> 00:33:14,480
Speaker 3: I just thought, oh, that's so great to be able

646
00:33:14,480 --> 00:33:18,920
Speaker 3: to see both of these people and yeah, and both

647
00:33:18,960 --> 00:33:21,920
Speaker 3: of their you know, their wounds, their flaws, and go,

648
00:33:22,000 --> 00:33:25,040
Speaker 3: of course you're having a nightmare situation right now. You're

649
00:33:25,120 --> 00:33:29,280
Speaker 3: literally you're you're like sticking a thumb in each other's bruises.

650
00:33:30,040 --> 00:33:33,280
Speaker 4: Yeah, this is why therapy is so great, to be

651
00:33:33,280 --> 00:33:37,040
Speaker 4: able to take it to someone and an objective third

652
00:33:37,040 --> 00:33:40,200
Speaker 4: party who can go huh okay, because you know, like

653
00:33:40,200 --> 00:33:43,080
Speaker 4: we all have our own stories that we hang on

654
00:33:43,160 --> 00:33:47,160
Speaker 4: our experiences and what other people's behavior meant and how

655
00:33:47,200 --> 00:33:49,040
Speaker 4: it felt. And it's so nice to be able to

656
00:33:49,040 --> 00:33:52,280
Speaker 4: go to someone and have them go okay, it actually

657
00:33:52,280 --> 00:33:54,480
Speaker 4: seems like this is a pattern of yours. It seems,

658
00:33:54,600 --> 00:33:57,360
Speaker 4: you know, like it's it's so helpful, at least for myself.

659
00:33:58,240 --> 00:34:02,680
Speaker 4: It's been so helpful to have a an experienced, professional

660
00:34:02,720 --> 00:34:05,840
Speaker 4: set of eyes to look at my stuff and help

661
00:34:05,880 --> 00:34:08,160
Speaker 4: me untangle the mess, because if I try to do

662
00:34:08,200 --> 00:34:10,440
Speaker 4: it on myself, it's like, oh, we're not going to

663
00:34:10,480 --> 00:34:13,520
Speaker 4: get anywhere. I have so much baggage. I'm caring how much?

664
00:34:13,560 --> 00:34:15,359
Speaker 1: How how can I see through it?

665
00:34:16,080 --> 00:34:18,120
Speaker 4: I can't through it well.

666
00:34:17,880 --> 00:34:21,319
Speaker 3: And particularly from inside. You know, the book of your

667
00:34:21,320 --> 00:34:24,000
Speaker 3: own life, you can. You can find proof for any

668
00:34:24,040 --> 00:34:25,360
Speaker 3: story you're trying to tell yourself.

669
00:34:25,440 --> 00:34:28,160
Speaker 1: A man, sister, you know you can.

670
00:34:28,280 --> 00:34:31,480
Speaker 3: Really You're like, well, this is obviously why I'm a

671
00:34:31,520 --> 00:34:33,799
Speaker 3: failure at this, or this is why this person just

672
00:34:34,200 --> 00:34:37,120
Speaker 3: can't be kind, or this is why. And it's like

673
00:34:37,280 --> 00:34:39,839
Speaker 3: sometimes you need somebody to go. I don't know if

674
00:34:39,840 --> 00:34:42,920
Speaker 3: that's the whole the whole thing. Try to look at

675
00:34:42,920 --> 00:34:46,600
Speaker 3: it this way and it and it just it gives

676
00:34:46,600 --> 00:34:49,719
Speaker 3: you permission to see differently, and everybody needs.

677
00:34:49,440 --> 00:34:53,640
Speaker 4: That and It's also so helpful to have someone go, yeah,

678
00:34:53,680 --> 00:34:57,120
Speaker 4: that's not normal. That sounds really painful, that that's not

679
00:34:57,200 --> 00:34:59,759
Speaker 4: actually how that should go. That's not a loving dynamic,

680
00:35:00,040 --> 00:35:01,319
Speaker 4: you know, And all of a sudden you're like, oh

681
00:35:01,360 --> 00:35:04,040
Speaker 4: my gosh, so I'm not crazy. I'm allowed to feel

682
00:35:04,040 --> 00:35:06,520
Speaker 4: this way because I know, at least for myself, I oftentimes,

683
00:35:07,040 --> 00:35:09,640
Speaker 4: especially early on, like I needed someone else to give

684
00:35:09,680 --> 00:35:13,160
Speaker 4: me permission to have the feeling I was having. Like

685
00:35:13,200 --> 00:35:16,280
Speaker 4: I would be feeling like someone was not being kind

686
00:35:16,440 --> 00:35:19,560
Speaker 4: or loving to me, but I would talk myself out

687
00:35:19,560 --> 00:35:21,640
Speaker 4: of it. Maybe they're having a bet, maybe they may.

688
00:35:21,640 --> 00:35:22,960
Speaker 1: That you want to get people the benefit of the

689
00:35:22,960 --> 00:35:24,160
Speaker 1: dob yes.

690
00:35:23,960 --> 00:35:25,640
Speaker 4: And I would do that to a fault kind of

691
00:35:25,680 --> 00:35:28,759
Speaker 4: like Julian. And it was so nice to have someone go, hey,

692
00:35:28,880 --> 00:35:34,719
Speaker 4: just so you know, that's that's not a reciprocal loving relationship. Yeah,

693
00:35:34,760 --> 00:35:37,160
Speaker 4: just because someone's saying this, if these are their actions

694
00:35:37,160 --> 00:35:40,200
Speaker 4: behind it, those words don't match those actions.

695
00:35:40,560 --> 00:35:44,439
Speaker 3: And that is exactly the thing I think that can

696
00:35:44,560 --> 00:35:46,759
Speaker 3: like save you in a way, Like from what we

697
00:35:46,760 --> 00:35:50,160
Speaker 3: were discussing a little earlier, Joy, like I needed someone

698
00:35:50,160 --> 00:35:54,080
Speaker 3: to have that conversation with me and say, no, these

699
00:35:54,080 --> 00:35:57,560
Speaker 3: are not sacrifices you or anyone else should be making. Yeah,

700
00:35:57,760 --> 00:36:02,680
Speaker 3: these these things are dangerous. You are absolutely allowed to

701
00:36:02,760 --> 00:36:06,160
Speaker 3: say this is a violation and it's a deal breaker

702
00:36:06,200 --> 00:36:09,920
Speaker 3: for me. You don't have to deny your deal breakers

703
00:36:10,200 --> 00:36:15,080
Speaker 3: to be good or to be nice. And it's really

704
00:36:15,160 --> 00:36:19,719
Speaker 3: revelatory when somebody helps you readjust your threshold.

705
00:36:20,080 --> 00:36:22,719
Speaker 4: Yeah, you don't have to set yourself on fire to

706
00:36:22,800 --> 00:36:23,680
Speaker 4: keep others warm.

707
00:36:23,880 --> 00:36:25,000
Speaker 3: One of my favorite phrases.

708
00:36:25,000 --> 00:36:26,640
Speaker 1: Honey, I love that one.

709
00:36:26,920 --> 00:36:29,360
Speaker 3: And you know what's really interesting. I mean, we're obviously

710
00:36:29,400 --> 00:36:34,200
Speaker 3: coming at this from our grown self perspectives, but it's

711
00:36:34,239 --> 00:36:38,759
Speaker 3: not lost on me that, you know, healthy emotional communication

712
00:36:40,040 --> 00:36:43,000
Speaker 3: is something that our generation of parents is talking about

713
00:36:43,080 --> 00:36:45,279
Speaker 3: in ways that you know, our parents just didn't have

714
00:36:45,320 --> 00:36:50,960
Speaker 3: the tools for. And I saw Nathan differently in this episode,

715
00:36:51,000 --> 00:36:54,440
Speaker 3: in particular with Jamie because of exactly what we're talking about.

716
00:36:55,000 --> 00:36:58,839
Speaker 3: I literally wrote down when he started to say, did

717
00:36:58,840 --> 00:37:01,399
Speaker 3: you ask your friends how they's? Some was yeah, And

718
00:37:01,520 --> 00:37:05,200
Speaker 3: he started giving this little boy tools, and I wrote

719
00:37:05,239 --> 00:37:08,200
Speaker 3: down I go, oh, my god, what a signifier that

720
00:37:08,320 --> 00:37:11,560
Speaker 3: Jamie Scott will grow up to be an emotionally communicative

721
00:37:11,719 --> 00:37:15,600
Speaker 3: man because he's learning it from this generation of parenting.

722
00:37:15,360 --> 00:37:19,160
Speaker 1: Yep, and Nathan stepping in and setting up the behind

723
00:37:19,200 --> 00:37:23,160
Speaker 1: the scenes tour, just giving Jamie that little extra help

724
00:37:23,239 --> 00:37:27,080
Speaker 1: that he needed. Yeah, it was really healthy, so good.

725
00:37:27,600 --> 00:37:29,960
Speaker 3: It was so sweet, and it's like Nathan has been

726
00:37:30,000 --> 00:37:32,399
Speaker 3: through what the three of us are talking about. He's

727
00:37:32,440 --> 00:37:37,240
Speaker 3: had to learn to be his best self and learn

728
00:37:37,360 --> 00:37:40,080
Speaker 3: communication and learn all these things that you know clearly

729
00:37:40,120 --> 00:37:42,920
Speaker 3: you watch Nathan Scott episode one, season one, he didn't

730
00:37:42,960 --> 00:37:46,800
Speaker 3: have and we see it in practice with his kid,

731
00:37:47,000 --> 00:37:49,000
Speaker 3: and I was like, Oh, this is a dynamic I

732
00:37:49,040 --> 00:37:52,200
Speaker 3: definitely didn't get when we were shooting this series, but

733
00:37:52,280 --> 00:37:54,360
Speaker 3: I get it now and it's so cool.

734
00:37:54,760 --> 00:37:57,480
Speaker 4: Yeah, And what's great is that because I think like

735
00:37:57,840 --> 00:37:59,719
Speaker 4: no one's ever going to get parenting right, like you're

736
00:37:59,719 --> 00:38:02,040
Speaker 4: the best you can do is to just to just

737
00:38:02,080 --> 00:38:04,560
Speaker 4: show up and try your best, and when you make mistakes,

738
00:38:04,560 --> 00:38:06,479
Speaker 4: you learn from it. And it's I kind of see

739
00:38:06,480 --> 00:38:09,560
Speaker 4: that when the camping trip he has that moment with

740
00:38:09,680 --> 00:38:13,120
Speaker 4: Julian where Julian saw something in his son that he

741
00:38:13,160 --> 00:38:16,080
Speaker 4: didn't see, and it's almost kind of like a small

742
00:38:16,120 --> 00:38:19,319
Speaker 4: ocean moment of like, oh, I'm not paying as close

743
00:38:19,360 --> 00:38:21,719
Speaker 4: attention to this as I could be and then two

744
00:38:21,719 --> 00:38:24,720
Speaker 4: episodes later we see this where he's really in tune

745
00:38:24,760 --> 00:38:26,800
Speaker 4: with his son and he gives him some great feedback

746
00:38:26,840 --> 00:38:29,719
Speaker 4: did you ask them? And then he sees what's going

747
00:38:29,760 --> 00:38:32,400
Speaker 4: on and he shows up. He brings these backstayed passes

748
00:38:32,440 --> 00:38:35,200
Speaker 4: to set Jamie to look up like a hero. So

749
00:38:35,280 --> 00:38:37,200
Speaker 4: it was a real nice like look at you go.

750
00:38:37,680 --> 00:38:39,839
Speaker 4: You saw you were slacking a bit, and you stepped up.

751
00:38:40,160 --> 00:38:42,839
Speaker 1: I loved seeing them all the montage of the tour

752
00:38:42,920 --> 00:38:46,600
Speaker 1: bus and watching them together on the tour, the fact

753
00:38:46,640 --> 00:38:50,120
Speaker 1: that he goes with them, it's it's just I think

754
00:38:50,120 --> 00:38:55,719
Speaker 1: it's really what what everybody needed. And watching watching Nathan's

755
00:38:55,920 --> 00:39:00,400
Speaker 1: just totally dive in one hundred percent on being the

756
00:39:00,719 --> 00:39:03,160
Speaker 1: sort of stay at home dad on this tour bus

757
00:39:03,160 --> 00:39:06,000
Speaker 1: and taking care of Jamie and investing in him while

758
00:39:06,040 --> 00:39:08,680
Speaker 1: his wife goes off and does her rockstar thing. It

759
00:39:08,760 --> 00:39:12,400
Speaker 1: was just such a great There was no threat to anybody,

760
00:39:12,440 --> 00:39:17,160
Speaker 1: There was no weird hierarchy or struggles within the marriage

761
00:39:17,160 --> 00:39:20,080
Speaker 1: about that. It was just love and support and it

762
00:39:20,160 --> 00:39:22,160
Speaker 1: was inspirational to me. I loved it.

763
00:39:23,080 --> 00:39:27,759
Speaker 4: And Jamie saying road Dogs, I mean that was so

764
00:39:27,880 --> 00:39:28,719
Speaker 4: damn funny to me.

765
00:39:30,320 --> 00:39:43,520
Speaker 6: So good, so good.

766
00:39:44,320 --> 00:39:46,640
Speaker 4: Speaking of funny, I thought it was pretty funny when

767
00:39:46,960 --> 00:39:50,600
Speaker 4: Millie was at the court for her DUI and the

768
00:39:50,760 --> 00:39:54,239
Speaker 4: judge who has only one case in tree Hill, apparently

769
00:39:54,880 --> 00:39:57,760
Speaker 4: Arty was privy to the fact that she had recently

770
00:39:57,840 --> 00:40:01,360
Speaker 4: lost her job. Ye, this judge has a lot of

771
00:40:01,440 --> 00:40:04,800
Speaker 4: free time if she's if she's that hip to the

772
00:40:05,600 --> 00:40:07,279
Speaker 4: four one one on Millie's employees.

773
00:40:07,480 --> 00:40:08,920
Speaker 1: Don't you have to fill out paperwork?

774
00:40:09,040 --> 00:40:09,400
Speaker 6: I don't know.

775
00:40:09,440 --> 00:40:11,880
Speaker 1: Would Milly have had to disclose that or didn't it

776
00:40:12,400 --> 00:40:15,480
Speaker 1: Victoria fired her like the day before, so maybe she Yeah,

777
00:40:15,480 --> 00:40:16,800
Speaker 1: that was it was intense.

778
00:40:17,120 --> 00:40:19,000
Speaker 4: I'm saying it was just it was so recent that

779
00:40:19,040 --> 00:40:20,439
Speaker 4: I thought this was a small town.

780
00:40:20,719 --> 00:40:23,280
Speaker 1: I love the way that woman can committed to her material.

781
00:40:23,320 --> 00:40:23,480
Speaker 6: Though.

782
00:40:23,560 --> 00:40:25,719
Speaker 1: She was like, I am going to teach you a

783
00:40:25,800 --> 00:40:28,319
Speaker 1: lesson right now, and I am in charge, and you

784
00:40:28,400 --> 00:40:31,360
Speaker 1: are going down a dangerous path. I was like, yes, ma'am,

785
00:40:31,400 --> 00:40:32,120
Speaker 1: I am listening.

786
00:40:32,680 --> 00:40:32,879
Speaker 4: Yeah.

787
00:40:32,920 --> 00:40:35,920
Speaker 3: I was like, I'm seated. She gave big principal energy.

788
00:40:36,400 --> 00:40:39,560
Speaker 1: Yes, yes, yeah. Where was she? I need her at

789
00:40:39,560 --> 00:40:41,880
Speaker 1: the principles the school? Yes?

790
00:40:42,000 --> 00:40:42,440
Speaker 7: Please?

791
00:40:44,000 --> 00:40:49,399
Speaker 1: Can we talk about Alexander? Yeah, the random random man

792
00:40:49,480 --> 00:40:52,200
Speaker 1: who showed up at the end of the anti climactically

793
00:40:52,239 --> 00:40:54,520
Speaker 1: showed up at the end of the last episode, and

794
00:40:54,560 --> 00:40:59,960
Speaker 1: now suddenly I wanted more time getting to know you too,

795
00:41:00,120 --> 00:41:02,719
Speaker 1: together just in the in a work context or front.

796
00:41:02,760 --> 00:41:04,799
Speaker 1: It just felt like suddenly we were thrust in the

797
00:41:04,840 --> 00:41:08,400
Speaker 1: middle of Yeah, you know when you just turn on

798
00:41:08,440 --> 00:41:10,040
Speaker 1: a movie and it's halfway through and you're just trying

799
00:41:10,040 --> 00:41:12,040
Speaker 1: to catch up with the relationship. That's what I felt like,

800
00:41:12,640 --> 00:41:14,799
Speaker 1: from the moment that we've met him. Now, it's like,

801
00:41:14,840 --> 00:41:18,600
Speaker 1: I'm just supposed to believe that you guys are working

802
00:41:18,640 --> 00:41:21,279
Speaker 1: together all the time. Everything's great. It was hard for me, well,

803
00:41:21,320 --> 00:41:21,920
Speaker 1: but I like him.

804
00:41:22,040 --> 00:41:24,839
Speaker 3: Yeah. It's one of those things that I think when

805
00:41:24,840 --> 00:41:28,040
Speaker 3: you do the it's been six weeks with a brand

806
00:41:28,040 --> 00:41:30,960
Speaker 3: new character, you really do them a disservice because I

807
00:41:31,040 --> 00:41:34,319
Speaker 3: can buy thanks to the montage, the six weeks of Hailey,

808
00:41:34,400 --> 00:41:36,320
Speaker 3: Nathan and Jamie on tour, where.

809
00:41:36,160 --> 00:41:38,640
Speaker 1: Was the Brooke and Alexander montage exactly?

810
00:41:38,680 --> 00:41:41,200
Speaker 3: There were little It's like there just wasn't enough. And

811
00:41:41,520 --> 00:41:46,239
Speaker 3: what I will say is I think watching it back,

812
00:41:46,280 --> 00:41:48,440
Speaker 3: I was like, Oh, the energy between us really is

813
00:41:48,480 --> 00:41:53,279
Speaker 3: so sweet. He's not flirting, it's not like very professional

814
00:41:53,360 --> 00:41:56,040
Speaker 3: trying to get in there seeing if she's it's none

815
00:41:56,040 --> 00:41:59,200
Speaker 3: of that. The conversations that close over bros when they're

816
00:41:59,200 --> 00:42:02,920
Speaker 3: working feel really nice and grounded. I can buy that

817
00:42:02,960 --> 00:42:07,359
Speaker 3: these two are building a friendship. But yeah, I wish

818
00:42:07,400 --> 00:42:12,880
Speaker 3: I'd gotten to see something that would have shown it

819
00:42:12,920 --> 00:42:15,799
Speaker 3: to me more than I was told to believe it.

820
00:42:16,000 --> 00:42:18,239
Speaker 4: Yes, like if there had been two quick shots of

821
00:42:18,280 --> 00:42:21,000
Speaker 4: like you guys laid at night with Chinese takeout on

822
00:42:21,080 --> 00:42:24,399
Speaker 4: the table, talking and drawing, and then like something else,

823
00:42:24,440 --> 00:42:27,279
Speaker 4: because I thought the same thing the first scene we

824
00:42:27,280 --> 00:42:30,719
Speaker 4: see with you two, when you're introducing some stuff with

825
00:42:30,920 --> 00:42:35,600
Speaker 4: Julian and it ends with him saying, no one should

826
00:42:35,640 --> 00:42:38,520
Speaker 4: treat Brooke Davis like that. Oh that yeah, And I

827
00:42:38,640 --> 00:42:42,200
Speaker 4: just thought, you, that's such an awkward thing to say,

828
00:42:42,239 --> 00:42:43,840
Speaker 4: because we don't know you.

829
00:42:43,320 --> 00:42:45,600
Speaker 1: You haven't earned that with us as an audience.

830
00:42:46,080 --> 00:42:47,880
Speaker 4: Yeah, you have it. It was unearned. That's exactly right

831
00:42:47,920 --> 00:42:49,120
Speaker 4: where I felt like it was one of those ones

832
00:42:49,120 --> 00:42:53,640
Speaker 4: going okay, here's the potential love threat, and look how sweety.

833
00:42:53,719 --> 00:42:57,040
Speaker 4: It just felt very heavy handed because it was so quick.

834
00:42:57,360 --> 00:43:00,400
Speaker 1: I was so confused because when Brooke is in reducing

835
00:43:00,480 --> 00:43:03,840
Speaker 1: him to that boardroom of people, it seemed like she

836
00:43:04,080 --> 00:43:06,960
Speaker 1: was not too happy about it. It seemed like you

837
00:43:07,080 --> 00:43:11,319
Speaker 1: were not upset, but there was just this kind of

838
00:43:11,360 --> 00:43:14,719
Speaker 1: like malaise. I think that I was confused as to

839
00:43:14,800 --> 00:43:17,480
Speaker 1: what the relationship is like. Is she happy that they're

840
00:43:17,920 --> 00:43:20,799
Speaker 1: working together? Is she wishing that she was doing this

841
00:43:20,880 --> 00:43:24,359
Speaker 1: on her own and Victoria sort of thrust him into this,

842
00:43:24,440 --> 00:43:26,440
Speaker 1: and she's just doing it because she's got too many

843
00:43:26,440 --> 00:43:29,359
Speaker 1: other things to worry about. I just didn't get to see,

844
00:43:29,680 --> 00:43:31,480
Speaker 1: and they didn't give you a chance. There was no

845
00:43:31,960 --> 00:43:33,400
Speaker 1: I mean, what are you supposed to do? You're just

846
00:43:33,440 --> 00:43:35,719
Speaker 1: saying these lines and passing it off. But if we

847
00:43:35,719 --> 00:43:38,239
Speaker 1: had gotten the montage, if we'd gotten the eating Chinese food,

848
00:43:38,280 --> 00:43:41,440
Speaker 1: if we'd been able to see a camaraderie building, I

849
00:43:41,440 --> 00:43:43,000
Speaker 1: would have felt more clear about it.

850
00:43:44,280 --> 00:43:48,200
Speaker 3: Well, and especially because that's the top of the episode,

851
00:43:48,640 --> 00:43:51,960
Speaker 3: and when Victoria hires this man, Brooke is like, what are.

852
00:43:51,880 --> 00:43:55,560
Speaker 1: You doing exactly? So the next thing I see is yeah, okay,

853
00:43:55,600 --> 00:43:56,960
Speaker 1: so Brook doesn't like it.

854
00:43:57,040 --> 00:44:00,399
Speaker 3: Yeah, it's like okay, well he's here. But if they'd

855
00:44:00,440 --> 00:44:04,040
Speaker 3: given us the opportunity to more clearly show that we'd

856
00:44:04,080 --> 00:44:07,319
Speaker 3: build a friendship, then that scene wouldn't have had to

857
00:44:07,360 --> 00:44:11,840
Speaker 3: be so so professional. That it feels neutral.

858
00:44:12,160 --> 00:44:13,640
Speaker 1: That's what I was going to say. It felt like

859
00:44:13,680 --> 00:44:16,120
Speaker 1: you were just trying to show this is a very

860
00:44:16,160 --> 00:44:21,120
Speaker 1: professional relationship and Brooke is still heartbroken about Julian, and

861
00:44:21,400 --> 00:44:23,040
Speaker 1: I feel like you were playing a lot of complex

862
00:44:23,120 --> 00:44:25,920
Speaker 1: layers that in context would have made a lot of sense,

863
00:44:26,040 --> 00:44:28,879
Speaker 1: but on their own, I was just like, well, well,

864
00:44:28,880 --> 00:44:31,239
Speaker 1: what is going on? Who is he? Who is this guy?

865
00:44:31,960 --> 00:44:34,160
Speaker 4: Yeah, like a shot of him bringing in your coffee

866
00:44:34,200 --> 00:44:36,040
Speaker 4: and he got your order exact like you looking at

867
00:44:36,040 --> 00:44:37,640
Speaker 4: the cup and going, oh my god, he got my

868
00:44:37,719 --> 00:44:40,040
Speaker 4: order right, you know, and then like you eating Chinese

869
00:44:40,040 --> 00:44:41,200
Speaker 4: food late, you know what I mean. You could have

870
00:44:41,239 --> 00:44:44,200
Speaker 4: set it up so much, yeah, just more effectively. Because

871
00:44:44,200 --> 00:44:47,360
Speaker 4: it did. It just felt like whoa like breakneck speed

872
00:44:47,360 --> 00:44:48,799
Speaker 4: of how quickly or.

873
00:44:48,760 --> 00:44:51,000
Speaker 1: Even if you weren't really that close friends and they

874
00:44:51,000 --> 00:44:53,640
Speaker 1: wanted to build it so that now we get to

875
00:44:53,680 --> 00:44:55,600
Speaker 1: see him starting that. You could have done plenty of

876
00:44:55,680 --> 00:44:57,880
Speaker 1: things of coming in and out of doors and waving

877
00:44:57,920 --> 00:45:00,320
Speaker 1: and not having a lot of interaction and just passing

878
00:45:00,320 --> 00:45:03,160
Speaker 1: PaperWorks and keeping it very professional. I just it wouldn't

879
00:45:03,160 --> 00:45:04,799
Speaker 1: have taken that long. I wish we could have done that,

880
00:45:04,880 --> 00:45:06,960
Speaker 1: But I'll imagine it in my mind.

881
00:45:07,080 --> 00:45:09,600
Speaker 3: And the way they I mean, there could have been

882
00:45:09,680 --> 00:45:13,000
Speaker 3: such an easy way to do it too, Like when

883
00:45:13,040 --> 00:45:15,799
Speaker 3: Haley and the family are on tour, if she'd like,

884
00:45:16,400 --> 00:45:19,239
Speaker 3: you know, turned on her cell phone and then it

885
00:45:19,280 --> 00:45:22,080
Speaker 3: cut to me on my phone and then we hang up,

886
00:45:22,120 --> 00:45:24,759
Speaker 3: and I turned to Alex and that, like, there would

887
00:45:24,800 --> 00:45:27,719
Speaker 3: have been ways to show like while you guys were gone,

888
00:45:27,800 --> 00:45:30,560
Speaker 3: the rest of us were homeworking and yep, all of

889
00:45:30,600 --> 00:45:34,239
Speaker 3: these things, but we didn't. We didn't take like the

890
00:45:34,320 --> 00:45:36,959
Speaker 3: extra half a day to do the things that would

891
00:45:36,960 --> 00:45:38,800
Speaker 3: have gone so much harder.

892
00:45:39,000 --> 00:45:41,760
Speaker 1: I wonder if it was in the script, but because

893
00:45:41,800 --> 00:45:44,399
Speaker 1: the concert stuff was so massive, I wonder if they

894
00:45:44,440 --> 00:45:45,880
Speaker 1: just cut a bunch of stuff down.

895
00:45:46,320 --> 00:45:49,960
Speaker 4: Let's say that, let's give them that they totally wrote

896
00:45:50,040 --> 00:45:52,160
Speaker 4: all of these scenes in but they just got cut

897
00:45:52,200 --> 00:45:52,600
Speaker 4: for time.

898
00:45:53,280 --> 00:45:54,560
Speaker 6: Yeah.

899
00:45:54,640 --> 00:45:56,960
Speaker 4: Going back to the Victoria thing, one thing I really liked,

900
00:45:57,000 --> 00:45:59,239
Speaker 4: because they are showing the softer side of Victoria, is

901
00:45:59,239 --> 00:46:02,600
Speaker 4: that they still made maintained vintage Victoria and with the

902
00:46:02,680 --> 00:46:05,880
Speaker 4: Calliope riffs Calliope my gosh, where.

903
00:46:05,880 --> 00:46:10,480
Speaker 5: She calls her catastrophe, Calliope bless you, Yeah, Calliope bless you,

904
00:46:10,640 --> 00:46:14,360
Speaker 5: and then later she calls her catastrophe catastrophe. It was

905
00:46:14,440 --> 00:46:16,440
Speaker 5: so nice to see the softer side of her but

906
00:46:16,560 --> 00:46:20,120
Speaker 5: still completely maintaining her bitchy edge.

907
00:46:20,160 --> 00:46:24,160
Speaker 4: That is so funny. Also, Joy, did you notice at

908
00:46:24,200 --> 00:46:26,279
Speaker 4: the at the top of the episode, there's the scene

909
00:46:26,280 --> 00:46:30,240
Speaker 4: in the kitchen between Haley and Quinn and you hander

910
00:46:30,320 --> 00:46:33,520
Speaker 4: the envelope containing the divorce paper, and the envelope is

911
00:46:33,760 --> 00:46:37,200
Speaker 4: clearly opened, and you are smiling when you hand it

912
00:46:37,239 --> 00:46:39,799
Speaker 4: to her, And then later you go in the room

913
00:46:39,840 --> 00:46:42,160
Speaker 4: because I thought, is that just a mistake the thing

914
00:46:42,239 --> 00:46:44,600
Speaker 4: to see you? But then you go into the bedroom

915
00:46:44,600 --> 00:46:48,680
Speaker 4: and you know, you go, how about that paper? Which

916
00:46:48,680 --> 00:46:51,200
Speaker 4: made me go, why the hell is she smiling when

917
00:46:51,239 --> 00:46:54,360
Speaker 4: she hands her sister the surprise divorce paper?

918
00:46:55,640 --> 00:46:58,480
Speaker 1: Oh, oh my gosh, I don't know. That must have

919
00:46:58,520 --> 00:47:00,720
Speaker 1: been just a bad choice on my on my part,

920
00:47:00,840 --> 00:47:02,400
Speaker 1: not Payton not knowing what I was doing.

921
00:47:02,640 --> 00:47:05,120
Speaker 3: By the way, the envelope had clearly never been closed.

922
00:47:05,239 --> 00:47:08,160
Speaker 3: It wasn't like an envelope that had been ripped open. True,

923
00:47:08,280 --> 00:47:11,960
Speaker 3: it was a pristine envelope that you hand her out

924
00:47:12,000 --> 00:47:15,840
Speaker 3: of the stack of junk mail. And then why also

925
00:47:16,200 --> 00:47:19,560
Speaker 3: was it stamped with like the final notice stamp that

926
00:47:19,600 --> 00:47:22,759
Speaker 3: people get on bills, except it said divorce final. I

927
00:47:22,800 --> 00:47:25,239
Speaker 3: was like, who did this? Oh no, what is this?

928
00:47:25,840 --> 00:47:27,759
Speaker 1: The whole thing was so oh yeah, because I was

929
00:47:27,840 --> 00:47:30,320
Speaker 1: dumping out mail and then I just turned around and

930
00:47:30,360 --> 00:47:32,160
Speaker 1: hand it to her. But I wouldn't have had time

931
00:47:32,200 --> 00:47:34,359
Speaker 1: to read it because I just handed it to her

932
00:47:34,360 --> 00:47:34,920
Speaker 1: from the mail.

933
00:47:35,400 --> 00:47:38,399
Speaker 4: But which is right. That's why I told myself during

934
00:47:38,400 --> 00:47:40,799
Speaker 4: the scene was she's just unaware of what it is

935
00:47:40,840 --> 00:47:42,400
Speaker 4: and maybe it just came open on its own. The

936
00:47:42,440 --> 00:47:45,520
Speaker 4: problem is when you go to the bedroom to consult

937
00:47:45,640 --> 00:47:48,440
Speaker 4: when you are already aware of what it was or

938
00:47:48,440 --> 00:47:48,920
Speaker 4: what it is.

939
00:47:49,280 --> 00:47:52,000
Speaker 1: Maybe I thought it was happy, like you've been waiting

940
00:47:52,000 --> 00:47:55,560
Speaker 1: for this moment. Now that's weird. I don't know why.

941
00:47:55,360 --> 00:47:57,680
Speaker 4: She's obviously filed and maybe you saw it was from

942
00:47:57,680 --> 00:47:59,239
Speaker 4: a courthouse or something, you know, who knows.

943
00:47:59,239 --> 00:48:02,760
Speaker 1: We shot the rehearse that's it. I was not paying attention.

944
00:48:02,880 --> 00:48:04,680
Speaker 1: We shot the rehearsal and that's what they used.

945
00:48:05,000 --> 00:48:05,200
Speaker 6: Well.

946
00:48:05,200 --> 00:48:10,120
Speaker 1: And by the way, maybe no, maybe you're doing the thing.

947
00:48:11,239 --> 00:48:15,640
Speaker 3: And because of the giant red divorce final stamp, when

948
00:48:15,680 --> 00:48:18,319
Speaker 3: she opens the letter and reads to the bottom of it,

949
00:48:18,400 --> 00:48:22,360
Speaker 3: you see it and go oh, but you see it

950
00:48:22,400 --> 00:48:26,000
Speaker 3: off camera because it cuts from her reading it to

951
00:48:26,080 --> 00:48:28,800
Speaker 3: the insert. Her she opens it, it goes to the insert,

952
00:48:28,840 --> 00:48:30,040
Speaker 3: and then it goes to her face, and then the

953
00:48:30,080 --> 00:48:32,359
Speaker 3: scene is over. So we never see you react to it.

954
00:48:33,600 --> 00:48:35,400
Speaker 3: So in your defense, you may have reacted to it,

955
00:48:35,440 --> 00:48:36,080
Speaker 3: is what I'm saying.

956
00:48:36,120 --> 00:48:37,600
Speaker 1: I don't know. I also could have just not been

957
00:48:37,600 --> 00:48:40,040
Speaker 1: paying attention and funded in that day.

958
00:48:40,280 --> 00:48:42,360
Speaker 4: No, I think you reacted to it perfectly, but we

959
00:48:42,400 --> 00:48:44,640
Speaker 4: had to cut it for time, just like the montage

960
00:48:44,640 --> 00:48:47,959
Speaker 4: scenes with that. Another thing that didn't quite make sense

961
00:48:48,000 --> 00:48:50,759
Speaker 4: to me was, or at least I laughed at. I

962
00:48:50,760 --> 00:48:53,000
Speaker 4: think people maybe who don't work in the industry maybe

963
00:48:53,040 --> 00:48:57,800
Speaker 4: didn't bump on this, but that Julian and Alex's film

964
00:48:58,080 --> 00:49:02,120
Speaker 4: is already uh about to go into production. Uh huh.

965
00:49:02,120 --> 00:49:05,239
Speaker 4: They just got financing, and yet they have already locked

966
00:49:05,320 --> 00:49:09,239
Speaker 4: up their cast, their locations, their crew. It's a go.

967
00:49:11,960 --> 00:49:15,040
Speaker 4: Just for our listeners, it doesn't happen that fast unless

968
00:49:15,040 --> 00:49:17,120
Speaker 4: you're shooting a short film in your home with your

969
00:49:17,160 --> 00:49:20,400
Speaker 4: own friends, with your own equipment. It doesn't happen that fast.

970
00:49:21,080 --> 00:49:22,480
Speaker 1: Yeah. No, no.

971
00:49:22,640 --> 00:49:25,840
Speaker 3: And by the way, the things that can happen in between,

972
00:49:26,719 --> 00:49:29,560
Speaker 3: like one thing goes wrong and the movie that you

973
00:49:29,600 --> 00:49:31,680
Speaker 3: know you're supposed to start mid August is now going

974
00:49:31,719 --> 00:49:34,680
Speaker 3: to be in January. Literally my life this summer. It's

975
00:49:34,680 --> 00:49:37,120
Speaker 3: like you lose one location and it bumps all the

976
00:49:37,160 --> 00:49:39,760
Speaker 3: things and everything changes, which is what happens in the world.

977
00:49:40,239 --> 00:49:44,160
Speaker 3: And I'm like, in six weeks, he convinced his dad

978
00:49:44,200 --> 00:49:46,799
Speaker 3: to put up their own money and they have a

979
00:49:46,840 --> 00:49:53,000
Speaker 3: fully available crew, equipment, locations, trailers like actors.

980
00:49:53,040 --> 00:49:58,239
Speaker 4: What good luck ensuring the high profile actress who just

981
00:49:58,320 --> 00:50:01,640
Speaker 4: went to rehab and just I had an attempt at

982
00:50:01,960 --> 00:50:04,840
Speaker 4: taking her hand. Good luck getting that insurance, guys, No

983
00:50:05,120 --> 00:50:06,720
Speaker 4: good luck for a low budget film.

984
00:50:06,760 --> 00:50:09,000
Speaker 1: Good luck Speaking of behind the scenes and how things

985
00:50:09,080 --> 00:50:11,840
Speaker 1: get made, we have a listener question from Sarah. She's asking,

986
00:50:12,200 --> 00:50:15,000
Speaker 1: we were just in Wilmington for the FWB Friends of

987
00:50:15,040 --> 00:50:18,560
Speaker 1: Benefits weekend. Hi, thanks for joining us, and they did

988
00:50:18,560 --> 00:50:22,520
Speaker 1: the location tour. As she said, thanks for the lunch suggestion.

989
00:50:22,680 --> 00:50:25,200
Speaker 1: I can't remember which. Oh that's Power seven for sure.

990
00:50:25,360 --> 00:50:26,480
Speaker 1: Oh okay, okay, that was.

991
00:50:26,760 --> 00:50:27,759
Speaker 3: I'm glad you guys loved it.

992
00:50:28,960 --> 00:50:33,440
Speaker 1: We were wondering how does location scouting work? How and

993
00:50:33,520 --> 00:50:37,520
Speaker 1: why did they pick the houses that they did. Anybody

994
00:50:37,560 --> 00:50:39,040
Speaker 1: else do you want to jump in.

995
00:50:39,560 --> 00:50:43,440
Speaker 3: I mean there is an entire department that handles locations.

996
00:50:43,520 --> 00:50:45,080
Speaker 1: It is called the Locations Department.

997
00:50:45,360 --> 00:50:46,560
Speaker 3: Yeah, it's a huge job.

998
00:50:46,880 --> 00:50:48,040
Speaker 4: Not an easy job either.

999
00:50:48,719 --> 00:50:51,920
Speaker 3: No, Like think about realtors in a city that have

1000
00:50:52,000 --> 00:50:53,720
Speaker 3: to deal with houses that are for sale and houses

1001
00:50:53,719 --> 00:50:56,160
Speaker 3: that are for rent, apartments that are for rent and furnishing.

1002
00:50:57,320 --> 00:51:02,279
Speaker 3: It's very similar. And they have to essentially houses in

1003
00:51:02,320 --> 00:51:07,520
Speaker 3: the area that are available for locations and other venues

1004
00:51:08,160 --> 00:51:11,560
Speaker 3: you know, coffee shops, businesses, all the things, and then

1005
00:51:11,600 --> 00:51:15,400
Speaker 3: each of those goes into like a thematic file, and

1006
00:51:15,400 --> 00:51:18,480
Speaker 3: then depending on what an episode needs, they get a

1007
00:51:18,520 --> 00:51:20,719
Speaker 3: list of locations and then they compare it to the

1008
00:51:20,719 --> 00:51:23,840
Speaker 3: locations they know are available. And then they also go

1009
00:51:24,040 --> 00:51:27,759
Speaker 3: out proactively and they'll you know, if we're looking for,

1010
00:51:27,880 --> 00:51:30,560
Speaker 3: say an all brick house on a corner like Peyton

1011
00:51:30,560 --> 00:51:34,200
Speaker 3: Sawyer's house, they will drive around town and put letters

1012
00:51:34,280 --> 00:51:37,279
Speaker 3: about if you're open to renting, please contact us in

1013
00:51:37,280 --> 00:51:41,320
Speaker 3: people's mailboxes. It is a huge job.

1014
00:51:41,680 --> 00:51:43,520
Speaker 1: We want to film on your lawn. Can we see

1015
00:51:43,520 --> 00:51:45,440
Speaker 1: the inside of your house? I like the inside of

1016
00:51:45,480 --> 00:51:46,880
Speaker 1: your house? Can we film in here?

1017
00:51:47,320 --> 00:51:49,240
Speaker 3: But can we paint this dining room?

1018
00:51:49,640 --> 00:51:49,920
Speaker 6: Yeah?

1019
00:51:50,000 --> 00:51:53,640
Speaker 1: I think we got to renovate sometimes. Also, a house

1020
00:51:53,680 --> 00:51:55,760
Speaker 1: may look really great from the outside and be perfect,

1021
00:51:55,760 --> 00:51:58,680
Speaker 1: but you know, you also need some interiors that go

1022
00:51:58,840 --> 00:52:02,280
Speaker 1: from outside to the inside. Can we shoot it inside

1023
00:52:02,320 --> 00:52:04,040
Speaker 1: your house? You walk in and the hallways are too

1024
00:52:04,040 --> 00:52:07,000
Speaker 1: small to get the cameras into, and so that throws

1025
00:52:07,000 --> 00:52:08,359
Speaker 1: ou out the window. Then you got to figure out

1026
00:52:08,400 --> 00:52:09,919
Speaker 1: if you can shoot the interior, if you can build

1027
00:52:09,920 --> 00:52:11,920
Speaker 1: the interior, or find a different house to shoot the

1028
00:52:11,920 --> 00:52:14,440
Speaker 1: interior in that's close enough to the exterior so that

1029
00:52:14,480 --> 00:52:17,759
Speaker 1: we're not driving all over town. It's a I mean,

1030
00:52:18,280 --> 00:52:21,719
Speaker 1: those are like detectives with the red string. Like everything

1031
00:52:21,840 --> 00:52:24,279
Speaker 1: has to coordinate perfectly.

1032
00:52:24,480 --> 00:52:26,520
Speaker 3: And you have to find things that are going to

1033
00:52:26,560 --> 00:52:28,880
Speaker 3: be visually appealing on camera. You know, at the end

1034
00:52:28,920 --> 00:52:30,759
Speaker 3: of the day, we're making television. It's a bit of

1035
00:52:30,760 --> 00:52:34,239
Speaker 3: a fantasy. So of course Brook has this beautiful house

1036
00:52:34,280 --> 00:52:37,760
Speaker 3: on the water with a marina outside, and of course

1037
00:52:37,800 --> 00:52:40,200
Speaker 3: Clay's house is right on the beach, and these are

1038
00:52:40,960 --> 00:52:44,920
Speaker 3: you know, these really important locations that make a place

1039
00:52:45,000 --> 00:52:50,799
Speaker 3: look exceptionally beautiful, and they also all come with their

1040
00:52:50,840 --> 00:52:54,080
Speaker 3: own sort of sets of difficulty. It's why after the

1041
00:52:54,120 --> 00:52:56,040
Speaker 3: beginning of season seven, you don't see us out on

1042
00:52:56,080 --> 00:53:01,200
Speaker 3: Brooks Patio very much like it just was too heart

1043
00:53:01,320 --> 00:53:03,120
Speaker 3: to go down to Carolina Beach all the time, and

1044
00:53:03,120 --> 00:53:04,200
Speaker 3: that's where that house was.

1045
00:53:04,480 --> 00:53:05,800
Speaker 1: Great question, Good.

1046
00:53:05,640 --> 00:53:08,680
Speaker 4: Question, Sarah. Before we wrap things up, I got two

1047
00:53:08,680 --> 00:53:12,480
Speaker 4: things we need to touch on. Loved seeing mouth back

1048
00:53:12,480 --> 00:53:19,640
Speaker 4: from California. Yeah, was so lovely. Was I've been waiting

1049
00:53:19,640 --> 00:53:21,760
Speaker 4: for that? So I was like, yeah, all right, guys.

1050
00:53:22,160 --> 00:53:23,879
Speaker 4: And the other thing was and I need I need

1051
00:53:23,920 --> 00:53:27,440
Speaker 4: a little refresher on Taylor and her backstory.

1052
00:53:27,520 --> 00:53:29,719
Speaker 1: Oh yeah, Lindsay McKeon shows back up.

1053
00:53:29,840 --> 00:53:34,480
Speaker 3: Yeah, so Taylor is Haley and Quinn's other sister who

1054
00:53:34,520 --> 00:53:35,760
Speaker 3: took Nathan's.

1055
00:53:35,360 --> 00:53:39,239
Speaker 4: Virginity, gathered that much, okay, and now.

1056
00:53:39,000 --> 00:53:40,520
Speaker 3: She's dating Quinn's ex husband.

1057
00:53:41,000 --> 00:53:43,560
Speaker 1: Oh god, I've blocked.

1058
00:53:46,360 --> 00:53:49,160
Speaker 3: I was like, Taylor here, I I blocked it out too.

1059
00:53:49,200 --> 00:53:51,359
Speaker 3: I genuinely had no idea. I was like, oh, Lindsay's back.

1060
00:53:51,360 --> 00:53:53,520
Speaker 1: I wonder why I used to feel a little bad

1061
00:53:53,560 --> 00:53:57,320
Speaker 1: for David, just because it's like it's heartbreaking when people

1062
00:53:57,480 --> 00:53:59,520
Speaker 1: can't figure it out, you know, like he's got his

1063
00:53:59,560 --> 00:54:01,640
Speaker 1: way of doing things, Quinn has her way just wasn't

1064
00:54:01,640 --> 00:54:05,359
Speaker 1: the right match. But that guy now over it.

1065
00:54:05,680 --> 00:54:07,720
Speaker 3: Noah's sister by.

1066
00:54:08,160 --> 00:54:12,080
Speaker 4: No, he tipped his petty hand with the whole I'm

1067
00:54:12,080 --> 00:54:14,480
Speaker 4: gonna drive home, get the rest of your clothes and

1068
00:54:14,560 --> 00:54:17,160
Speaker 4: throw them all over this random dude's long. Oh yeah,

1069
00:54:17,200 --> 00:54:19,160
Speaker 4: so we already got a glimpse that he had that.

1070
00:54:19,400 --> 00:54:21,560
Speaker 1: You could give him a little, a little new way

1071
00:54:21,640 --> 00:54:24,560
Speaker 1: for just being really hurt and petty. And it's like, Okay,

1072
00:54:24,600 --> 00:54:26,799
Speaker 1: everybody does stupid shit when they're really hurt.

1073
00:54:26,920 --> 00:54:29,239
Speaker 4: Yeah, we can give you the emotional mulligan on that

1074
00:54:29,280 --> 00:54:31,839
Speaker 4: one you were seeing red, you were heartbroken, fair enough,

1075
00:54:32,239 --> 00:54:34,319
Speaker 4: but then when he does this, you go, oh, no,

1076
00:54:34,440 --> 00:54:36,200
Speaker 4: it's a pattern. This is who you are, because that

1077
00:54:36,400 --> 00:54:38,160
Speaker 4: is wildly intentional.

1078
00:54:38,880 --> 00:54:43,799
Speaker 1: The sister, the sister. It's insane, it really is. And

1079
00:54:43,840 --> 00:54:46,360
Speaker 1: it's not just like a one moment blow up. This

1080
00:54:46,520 --> 00:54:50,279
Speaker 1: is no pathological You have sought her out, You have

1081
00:54:50,360 --> 00:54:55,280
Speaker 1: decided to enter into this. It is clearly revenge. It's terrible.

1082
00:54:55,680 --> 00:54:59,359
Speaker 1: And you come to Nathan and Haley's house with you, Yeah,

1083
00:54:59,400 --> 00:55:02,120
Speaker 1: you show up just to walk around and put peacock

1084
00:55:02,160 --> 00:55:05,439
Speaker 1: around with her. It's so gross.

1085
00:55:05,160 --> 00:55:07,440
Speaker 4: That that would be a great scene with the therapist.

1086
00:55:07,440 --> 00:55:09,960
Speaker 4: I would love to just unpack that with him, because

1087
00:55:10,040 --> 00:55:14,640
Speaker 4: he's a psychopath. Also she's a psychopath. Yeah, she knows

1088
00:55:14,680 --> 00:55:18,120
Speaker 4: who he is and for him, like, could you imagine

1089
00:55:18,440 --> 00:55:21,799
Speaker 4: how awkward and uncomfortable it would be, like just put

1090
00:55:21,840 --> 00:55:24,200
Speaker 4: yourself as a normal person in his shoes, like to

1091
00:55:24,320 --> 00:55:28,200
Speaker 4: show up to your ex partner's house with the family,

1092
00:55:28,600 --> 00:55:31,600
Speaker 4: with the Wisibly family what.

1093
00:55:33,000 --> 00:55:38,640
Speaker 1: Oh absolutely insane. And I was really surprised that Quinn

1094
00:55:39,320 --> 00:55:42,200
Speaker 1: didn't when when the door shut, Who shut the door?

1095
00:55:42,280 --> 00:55:43,880
Speaker 1: Was it me? Was it Quinn? I thought it was

1096
00:55:43,960 --> 00:55:46,319
Speaker 1: Quinn who shut the door, And I couldn't believe she

1097
00:55:46,360 --> 00:55:50,240
Speaker 1: didn't walk out and shut the door, like she decided

1098
00:55:50,280 --> 00:55:54,520
Speaker 1: to stay and see what's all this about? Shut the

1099
00:55:54,560 --> 00:55:55,840
Speaker 1: door with all of us in the house.

1100
00:55:56,800 --> 00:55:59,360
Speaker 7: I mean, oh my god, it's so awkward.

1101
00:55:59,440 --> 00:56:01,840
Speaker 3: It's like, what are you going to do? I got that.

1102
00:56:02,400 --> 00:56:05,960
Speaker 3: It's like, well, I guess everyone's okay, what's happening? And

1103
00:56:06,000 --> 00:56:08,560
Speaker 3: then they kiss right in front of her. Oil.

1104
00:56:09,000 --> 00:56:11,440
Speaker 4: You know what it is? He's he's the male version

1105
00:56:11,480 --> 00:56:14,240
Speaker 4: of Alex in the sense that this is just wildly

1106
00:56:14,320 --> 00:56:18,920
Speaker 4: manic behavior. We saw him being genuinely heartbroken and sincere

1107
00:56:19,400 --> 00:56:23,440
Speaker 4: five episodes ago, and now he is just a different person.

1108
00:56:23,840 --> 00:56:27,640
Speaker 4: Showing up with the sister at the family home. Yeah,

1109
00:56:27,840 --> 00:56:33,040
Speaker 4: that's bonkers. Makes for good TV, though, I want to

1110
00:56:33,080 --> 00:56:33,840
Speaker 4: see what happens.

1111
00:56:34,200 --> 00:56:35,360
Speaker 1: It's gonna get weird.

1112
00:56:35,800 --> 00:56:36,120
Speaker 6: It is.

1113
00:56:36,600 --> 00:56:38,600
Speaker 3: She would have had no reason to be, but god,

1114
00:56:38,640 --> 00:56:40,800
Speaker 3: I wish Victoria had been in the room in that moment.

1115
00:56:41,440 --> 00:56:44,439
Speaker 3: Commentary would have been a chef's kiss.

1116
00:56:46,719 --> 00:56:47,800
Speaker 4: That would have been great.

1117
00:56:48,440 --> 00:56:49,320
Speaker 3: Next week, we'll.

1118
00:56:49,200 --> 00:56:50,880
Speaker 1: See any honorable mentions.

1119
00:56:51,560 --> 00:56:55,880
Speaker 4: Yes, you covering We Belong to the Night? Yeah, I

1120
00:56:55,960 --> 00:56:56,399
Speaker 4: thank you.

1121
00:56:56,960 --> 00:56:57,320
Speaker 3: Was fun.

1122
00:56:57,760 --> 00:56:59,680
Speaker 1: It with a lot of prep for that concert, so

1123
00:56:59,719 --> 00:57:03,239
Speaker 1: many was recording so many songs. We worked so hard

1124
00:57:03,239 --> 00:57:05,000
Speaker 1: on that. It was really cool to see it come

1125
00:57:05,040 --> 00:57:05,560
Speaker 1: to fruition.

1126
00:57:06,360 --> 00:57:08,359
Speaker 4: You guys killed it. Yeah, you're all of your hard

1127
00:57:08,360 --> 00:57:10,520
Speaker 4: work paid off and showed. Yeah.

1128
00:57:10,640 --> 00:57:12,560
Speaker 3: I loved it. That cover was great.

1129
00:57:12,920 --> 00:57:14,120
Speaker 4: Soph you have an honorable mention.

1130
00:57:14,360 --> 00:57:17,520
Speaker 3: Yeah, I second yours. I loved that. I literally wrote

1131
00:57:17,560 --> 00:57:19,640
Speaker 3: in all caps, I'm just scrolling down to my notes

1132
00:57:19,840 --> 00:57:23,320
Speaker 3: we Belong to the Night cover and like all caps

1133
00:57:23,400 --> 00:57:24,800
Speaker 3: lock because I forgot.

1134
00:57:24,640 --> 00:57:24,880
Speaker 1: You know.

1135
00:57:25,240 --> 00:57:29,240
Speaker 3: Yeah, it's like it's been so long. I remember shooting

1136
00:57:29,280 --> 00:57:32,080
Speaker 3: all of it, but I didn't remember like the particulars

1137
00:57:32,080 --> 00:57:34,480
Speaker 3: of every song, and I forgot that there was that

1138
00:57:34,480 --> 00:57:35,400
Speaker 3: that was the end of the day.

1139
00:57:35,440 --> 00:57:37,840
Speaker 1: I know, And then we got to meet Pat Benattar

1140
00:57:37,920 --> 00:57:41,040
Speaker 1: at that art It was so full circle.

1141
00:57:41,400 --> 00:57:42,200
Speaker 4: It was really cool.

1142
00:57:42,960 --> 00:57:46,240
Speaker 1: I covered your song on TV, but I didn't because

1143
00:57:46,320 --> 00:57:48,600
Speaker 1: I'm but didn't want to embarrass myself.

1144
00:57:49,400 --> 00:57:50,080
Speaker 4: No, I get it.

1145
00:57:50,080 --> 00:57:51,720
Speaker 3: It's one of those moments where you're like, I want

1146
00:57:51,720 --> 00:57:53,320
Speaker 3: to say the thing, but I'm not going to say

1147
00:57:53,360 --> 00:57:57,160
Speaker 3: the thing because I know, I know how this interaction

1148
00:57:57,280 --> 00:57:58,040
Speaker 3: goes the other way.

1149
00:57:58,520 --> 00:58:02,040
Speaker 1: Yeah, I know what am I gonna what's she gonna say?

1150
00:58:02,200 --> 00:58:07,520
Speaker 1: What's she gonna say? Great congratulation? Yeah?

1151
00:58:07,600 --> 00:58:07,880
Speaker 3: Yeah.

1152
00:58:07,920 --> 00:58:11,680
Speaker 4: Has there ever been a celebrity where you overrode that

1153
00:58:11,800 --> 00:58:15,200
Speaker 4: instinct and you just let yourself geek out and have

1154
00:58:15,280 --> 00:58:15,720
Speaker 4: a moment?

1155
00:58:16,040 --> 00:58:18,480
Speaker 3: Yeah, all the time. I'm absolutely unhinged. What are you

1156
00:58:18,520 --> 00:58:24,000
Speaker 3: talking about? Like Jenny will come with me to things

1157
00:58:24,000 --> 00:58:26,080
Speaker 3: and be like, you cannot behave this way. You are

1158
00:58:26,120 --> 00:58:28,800
Speaker 3: also a famous person, and I'm like, that's.

1159
00:58:28,680 --> 00:58:29,440
Speaker 4: Hand I got to be.

1160
00:58:29,960 --> 00:58:34,920
Speaker 3: Oh, like I can't. I can't. I don't know. I

1161
00:58:35,000 --> 00:58:37,400
Speaker 3: don't know how to talk to people that I admire.

1162
00:58:37,880 --> 00:58:41,280
Speaker 3: It is so I don't either. I just don't know

1163
00:58:41,320 --> 00:58:42,520
Speaker 3: how to do it.

1164
00:58:42,920 --> 00:58:44,880
Speaker 1: I love that you're just open about it, though, that

1165
00:58:44,960 --> 00:58:47,520
Speaker 1: you just like openly freak out because it actually is

1166
00:58:47,560 --> 00:58:51,080
Speaker 1: so much safer too, because you then the person knows

1167
00:58:51,160 --> 00:58:53,720
Speaker 1: that where exactly where they stand with you. I shut

1168
00:58:53,800 --> 00:58:55,960
Speaker 1: down and I just close up and then and then

1169
00:58:56,000 --> 00:58:58,800
Speaker 1: just like try to be cool, which it has the

1170
00:58:58,800 --> 00:59:02,440
Speaker 1: opposite effect because people can read they know when you're

1171
00:59:02,480 --> 00:59:04,120
Speaker 1: just trying to be cool, and then it's like, why

1172
00:59:04,120 --> 00:59:07,280
Speaker 1: are you being weird? And then it's yeah, I wish

1173
00:59:07,280 --> 00:59:08,720
Speaker 1: I could have had more of that, Like I need

1174
00:59:08,720 --> 00:59:10,439
Speaker 1: to let myself be free more.

1175
00:59:10,560 --> 00:59:13,920
Speaker 3: We're both weird in different ways because it's also weird.

1176
00:59:14,360 --> 00:59:16,720
Speaker 3: Like sometimes I'm like, if I could have just rained

1177
00:59:16,720 --> 00:59:20,440
Speaker 3: that in a little bit, I might have mill And

1178
00:59:20,440 --> 00:59:22,960
Speaker 3: then I think about it for like the next seventy

1179
00:59:23,040 --> 00:59:23,680
Speaker 3: two hours.

1180
00:59:23,760 --> 00:59:25,560
Speaker 1: Oh yeah, I can't sleep.

1181
00:59:25,640 --> 00:59:28,880
Speaker 4: Oh yeah, I'm I am right there in the middle

1182
00:59:28,920 --> 00:59:33,880
Speaker 4: of you two where I will not hesitate to tell

1183
00:59:33,920 --> 00:59:38,600
Speaker 4: someone that they do great work and I love their stuff. However,

1184
00:59:38,720 --> 00:59:41,600
Speaker 4: I am weirdly clinical about it. I'm like a doctor,

1185
00:59:41,880 --> 00:59:43,480
Speaker 4: like seeing a patient for the first time. Well, I

1186
00:59:43,480 --> 00:59:46,520
Speaker 4: will just like be passing someone in an elevator and

1187
00:59:46,560 --> 00:59:48,240
Speaker 4: be like, excuse me, I just want to let you

1188
00:59:48,280 --> 00:59:49,920
Speaker 4: know you do tremendous work. I love your stuff and

1189
00:59:49,960 --> 00:59:54,200
Speaker 4: then I'll walk away like I'm awkwardly like efficient, I'm

1190
00:59:54,240 --> 00:59:56,720
Speaker 4: like very like Switzerland about it, where I'm like, here's

1191
00:59:56,720 --> 00:59:59,080
Speaker 4: the information. You are great, have a wonderful day.

1192
00:59:59,440 --> 01:00:01,520
Speaker 1: Yeah, yeah, I don't want to take up your time.

1193
01:00:01,800 --> 01:00:04,560
Speaker 4: Yes, exactly, I'm like overly concerned about that.

1194
01:00:04,680 --> 01:00:07,160
Speaker 3: You're like a friendly robot. I love that.

1195
01:00:07,360 --> 01:00:11,960
Speaker 4: Literally saw Jerry d this Canadian comedian at the Sutton

1196
01:00:12,200 --> 01:00:15,280
Speaker 4: last time I was there, and I saw him leaving

1197
01:00:15,280 --> 01:00:18,480
Speaker 4: the elevator, and I did exactly that. It went like, Hey, Joey,

1198
01:00:18,560 --> 01:00:21,680
Speaker 4: do great work. I love your stuff. Oh You're just

1199
01:00:21,720 --> 01:00:23,960
Speaker 4: like what just oh, thank you?

1200
01:00:23,880 --> 01:00:25,600
Speaker 1: You know, because it's by a compliment.

1201
01:00:26,000 --> 01:00:27,360
Speaker 4: Yeah, Like I want I want to let you know

1202
01:00:27,400 --> 01:00:29,520
Speaker 4: I love you, but also I'm also aware of how

1203
01:00:29,560 --> 01:00:31,080
Speaker 4: these are, so I want to let you know you

1204
01:00:31,120 --> 01:00:33,800
Speaker 4: owe me nothing. Friend, I'm already gone by the time

1205
01:00:33,840 --> 01:00:34,320
Speaker 4: you've heard it.

1206
01:00:34,640 --> 01:00:37,400
Speaker 1: I did the same thing to Alan Cumming and Kristin

1207
01:00:37,480 --> 01:00:41,640
Speaker 1: Channa with at the Sutton Man Vancouver. Yes, they were

1208
01:00:41,720 --> 01:00:44,680
Speaker 1: standing outside and I was I was walking out with Maria.

1209
01:00:44,680 --> 01:00:46,480
Speaker 1: I was early in the morning. We were walking the dog,

1210
01:00:46,600 --> 01:00:48,720
Speaker 1: so I was rolled down in my pajamas. But I

1211
01:00:48,760 --> 01:00:52,280
Speaker 1: was like, I can't I can't just walk past them

1212
01:00:52,280 --> 01:00:56,320
Speaker 1: and pretend like I'm not a massive fan and have

1213
01:00:56,440 --> 01:00:59,840
Speaker 1: been for many, many, many many years. Yeah, but it

1214
01:00:59,880 --> 01:01:02,080
Speaker 1: was the same kind of like I walked the dog,

1215
01:01:02,200 --> 01:01:03,800
Speaker 1: hoped that they would still be in there, kind of

1216
01:01:03,800 --> 01:01:06,040
Speaker 1: walked with the elevator, and just like right before I

1217
01:01:06,080 --> 01:01:07,680
Speaker 1: got on, just kind of shouted over my shoulder, you

1218
01:01:07,720 --> 01:01:09,800
Speaker 1: guys are amazing. I'm so so impressed.

1219
01:01:10,200 --> 01:01:10,680
Speaker 6: I love you.

1220
01:01:10,840 --> 01:01:11,919
Speaker 1: Thank you for all your hard work.

1221
01:01:12,040 --> 01:01:13,919
Speaker 4: Bye, I love a good drive.

1222
01:01:13,960 --> 01:01:20,360
Speaker 1: By complimenting, my honorable mention goes to you, Rob say

1223
01:01:20,400 --> 01:01:27,560
Speaker 1: more game respect game you, Bobby Hobbs, that line off.

1224
01:01:28,360 --> 01:01:30,439
Speaker 1: I could not believe you had to say that out

1225
01:01:30,440 --> 01:01:34,120
Speaker 1: loud game in that context, Like it was so everything

1226
01:01:34,160 --> 01:01:37,000
Speaker 1: about it was so awkward, and you made it work.

1227
01:01:37,000 --> 01:01:38,680
Speaker 1: But I remember when I heard it, I was like,

1228
01:01:38,880 --> 01:01:41,479
Speaker 1: I looked looked up, like, did he have to say

1229
01:01:41,520 --> 01:01:44,640
Speaker 1: that line out loud? It's so corny, but you did it.

1230
01:01:44,640 --> 01:01:45,160
Speaker 1: It worked.

1231
01:01:45,640 --> 01:01:48,680
Speaker 4: Go on, Bobby Hobbs. Yeah, I forgot about that thing.

1232
01:01:48,680 --> 01:01:49,720
Speaker 1: Who was Bobby Hobbes.

1233
01:01:50,560 --> 01:01:53,520
Speaker 4: It was the boy in first grade who asked Quinn

1234
01:01:53,640 --> 01:01:56,240
Speaker 4: if she would be his girlfriend.

1235
01:01:56,920 --> 01:01:58,800
Speaker 1: Oh, oh, the name of the guy. That's why you

1236
01:01:58,800 --> 01:01:59,800
Speaker 1: say game respect game.

1237
01:01:59,840 --> 01:02:03,520
Speaker 4: Yes, yeah, and that's why Clay circles back and hands

1238
01:02:03,560 --> 01:02:05,760
Speaker 4: her the note of will you be my girlfriend? And yeah,

1239
01:02:06,320 --> 01:02:06,920
Speaker 4: revisiting that.

1240
01:02:06,880 --> 01:02:10,320
Speaker 1: Story, super super cute. Yeah, oh, I thought you meant

1241
01:02:10,360 --> 01:02:13,080
Speaker 1: like somebody named Bobby Hobbs came up with the quote

1242
01:02:13,080 --> 01:02:14,240
Speaker 1: game respect game.

1243
01:02:27,120 --> 01:02:28,520
Speaker 4: Shall we spin ourselves a wheel?

1244
01:02:28,680 --> 01:02:39,320
Speaker 7: Let's spin a wheel, folks, most likely.

1245
01:02:40,800 --> 01:02:45,200
Speaker 1: Most likely to be a Radio City rocket. Well, clearly

1246
01:02:45,320 --> 01:02:48,080
Speaker 1: Millie is just watching Ballet for some reason in her

1247
01:02:48,160 --> 01:02:50,480
Speaker 1: little drug done good answer.

1248
01:02:50,840 --> 01:02:53,440
Speaker 3: I think Millie is a great answer, especially because Lisa

1249
01:02:53,520 --> 01:02:56,240
Speaker 3: is such a good dnswer. And I also think like

1250
01:02:56,400 --> 01:03:00,040
Speaker 3: the person who came to my mind immediately was Barbara.

1251
01:03:00,160 --> 01:03:03,160
Speaker 1: Yes, oh sure do you think seeing her in that

1252
01:03:03,240 --> 01:03:06,240
Speaker 1: cheerleading uniform this weekend at the convention and she was

1253
01:03:06,320 --> 01:03:09,240
Speaker 1: just hoppy with all the girls. Oh yes, Barbara Allan Woods.

1254
01:03:09,360 --> 01:03:12,080
Speaker 3: I got pictures of her and I was like, that's it,

1255
01:03:12,280 --> 01:03:14,960
Speaker 3: Like an ageless beauty with those legs.

1256
01:03:15,240 --> 01:03:18,800
Speaker 1: Yeah, a real tomato with great stems. Barbara Allan Woods.

1257
01:03:18,880 --> 01:03:20,920
Speaker 1: Put that woman on stage with the rackets.

1258
01:03:21,160 --> 01:03:25,000
Speaker 3: Let's well, next week is clearly going to get juicy

1259
01:03:25,200 --> 01:03:28,320
Speaker 3: because this Tailor and David thing is nuts and and

1260
01:03:28,360 --> 01:03:30,800
Speaker 3: the title really does give it away. Our next episode

1261
01:03:30,880 --> 01:03:36,480
Speaker 3: Friends is season seven, episode fourteen, actually titled Family Affair.

1262
01:03:37,840 --> 01:03:44,080
Speaker 1: We are family. Hey, oh boy, stick around kids. Hey,

1263
01:03:44,120 --> 01:03:45,000
Speaker 1: thanks for listening.

1264
01:03:45,120 --> 01:03:47,320
Speaker 3: Don't forget to leave us a review. You can also

1265
01:03:47,400 --> 01:03:51,200
Speaker 3: follow us on Instagram at Drama Queen's otch.

1266
01:03:51,040 --> 01:03:55,160
Speaker 1: Or email us at Drama Queens at iHeartRadio dot com.

1267
01:03:55,440 --> 01:03:56,480
Speaker 1: See you next time.

1268
01:03:57,720 --> 01:04:01,080
Speaker 2: We all about that high school drama Girl Drama Girl,

1269
01:04:01,160 --> 01:04:04,280
Speaker 2: all about them high school Queens will take you for

1270
01:04:04,400 --> 01:04:07,520
Speaker 2: a ride, and our comic girl cheering for the right

1271
01:04:07,520 --> 01:04:08,880
Speaker 2: teams Drama Queens.

1272
01:04:08,720 --> 01:04:11,000
Speaker 3: Raise my girl of girl fashion.

1273
01:04:11,040 --> 01:04:13,280
Speaker 1: With your tough girl, you could sit with us Girl

1274
01:04:13,360 --> 01:04:17,440
Speaker 1: Drama Queens, Drama Quise Drama Queens Drama Drama Queens Drama

1275
01:04:17,560 --> 01:04:18,800
Speaker 1: Queens