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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 3: High school queens.

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Speaker 1: We'll take you for a ride. And our comic girl

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Speaker 1: sharing for the right teams. Drama Queens, Jaylie's Girl Fashion,

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Speaker 1: which your tough girl? You could sit with us?

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Speaker 2: Girl Drama Queens, Drama Queens Drama Queens Drama Drama, Queens

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Speaker 2: Drama Queens.

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Speaker 1: Hey Everybody, Episode seven sixteen. Welcome back to Drama Queens.

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Speaker 1: You've got me and Rob today. This one is My

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Speaker 1: attendance is bad, but my intentions are good. Air date

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Speaker 1: February eighth, twenty ten. Hey you doing, Rob?

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Speaker 4: Hey Joy? How are you?

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Speaker 1: I'm pretty good. I'm pretty good. I'm in good spirits.

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Speaker 1: How are you?

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Speaker 4: I'm well? Although I feel like we should open the

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Speaker 4: episode with a public service announcement to our listeners. Yes,

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Speaker 4: I heard your cries in the comment sections of every

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Speaker 4: single social media post, friends, and I apologize on behalf

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Speaker 4: of all three of us. Julian's mom is not deceased?

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Speaker 4: Are dad? We forgot in the moment, we got caught up,

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Speaker 4: and shame on us. We own it. We apologize. Thank

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Speaker 4: you for correcting us. Multiple multiple times.

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Speaker 1: Oh my gosh, wait, I didn't know this happened. I

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Speaker 1: missed this episode. Y'all forgot Sharon Lawrence came.

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Speaker 4: I think we did it twice. Man, I'm pretty sure

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Speaker 4: two separate episodes, at least one, because like the comment

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Speaker 4: section was just a flood of like, she's alive and.

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Speaker 1: Listen in your defense, there was a lot of confusion

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Speaker 1: about parents alive, dad, who came in, who was talked about,

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Speaker 1: who actually showed up. I was even confused about Bess

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Speaker 1: Armstrong in this episode talking about Haley's dad who had

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Speaker 1: passed away, and I was like, when did Hailey's dad die?

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Speaker 1: I totally forgot that Huey Lewis had done. I mean, well,

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Speaker 1: you know who played Haley's dad had passed away?

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Speaker 3: Wait?

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Speaker 4: What Huey Lewis played your dad?

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Speaker 1: Yes?

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Speaker 4: Wait, you didn't know this? No, are you kidding me?

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Speaker 3: No?

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Speaker 1: Oh, Rob, I know. I wish you'd been a part

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Speaker 1: of the show. And he came to the show. It

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Speaker 1: was really fun. We were all a little starstruck.

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Speaker 4: That's incredible. Oh my gosh, mister Huey Lewis and the

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Speaker 4: news himself, that's so cool. I wanted to ask you

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Speaker 4: because obviously this was my first time and I remember

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Speaker 4: meeting her and Bess was so lovely, the actress who

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Speaker 4: plays Lydia. But was she prominent in seasons one through six?

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Speaker 1: No, she had come back. I think she had appeared

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Speaker 1: two or three times. There was meeting Haley's family, Nathan

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Speaker 1: met Haley's family, and then there was the wedding, one

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Speaker 1: of the weddings, which might have been the same episode,

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Speaker 1: but I feel like it wasn't. And then I feel

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Speaker 1: like maybe there was a thanksgiving that Huey Lewis wasn't

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Speaker 1: there for by.

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Speaker 4: The way, I love that it's always Huey Lewis. It's

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Speaker 4: never Hugh, you know.

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Speaker 1: Yeah, But then I guess I don't know if he

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Speaker 1: wasn't available or if they just didn't want to pay

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Speaker 1: anybody else because for whatever reason, but he didn't come

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Speaker 1: back for this one, and I was so confused that

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Speaker 1: they just said, yeah, he passed away. I'm like, we

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Speaker 1: missed an entire storyline of Haley and Quinn losing their dad.

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Speaker 1: Did am I wrong? Like chi him in our producers.

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Speaker 1: Hannah is on the call now. Of course, so Hannah,

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Speaker 1: if I'm missing it, to let us know. But no,

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Speaker 1: she says, I don't think they said it on the show, right,

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Speaker 1: so we just bypassed it.

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Speaker 4: Yeah, I can guarantee you that Quinn never more in

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Speaker 4: her dad's passing, because Quinn showed up when Clay showed up,

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Speaker 4: and that never happened.

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Speaker 1: Yeah, that's right.

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Speaker 4: Unless you did it on your own.

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Speaker 1: Yeah, that's right. No, we just pretend skated right by that. Nevertheless, Okay,

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Speaker 1: Brooke and Julian try and find a balance between their

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Speaker 1: personal lives and work. As the movie shoot begins. Nathan

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Speaker 1: and Haley receive a surprise visit Bess Armstrong playing Lydia,

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Speaker 1: and Clay supports Quinn as she faces some unexpected news.

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Speaker 1: Alex sets her sights on Alexander, and Millicent finds herself

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Speaker 1: struggling with temptation.

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Speaker 4: This was directed by Jessica Landlaw and written by Nicki Scheffelwan.

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Speaker 4: I thought the episode opened so much fun. That kitchen

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Speaker 4: scene that starts off with Taylor and Quinn and yeah,

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Speaker 4: you come into it, and then Jamie and Nathan. It's

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Speaker 4: the sibling just rivalry and the bickering. It's pretty all

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Speaker 4: time when the three of you are in the same room.

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Speaker 1: That was really fun. It was a dynamic that I

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Speaker 1: didn't know I needed until I saw it, and that

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Speaker 1: combined with the soundtrack whoever that must have been a

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Speaker 1: Lindsay Wolfington pick. I don't know what that song was,

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Speaker 1: but it was really fun. There was a lot of

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Speaker 1: energy at the beginning. I always wanted that in my

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Speaker 1: house growing up. I never got it, all of that,

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Speaker 1: like sibling energy.

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Speaker 4: Now me know of Taylor what I've seen of late,

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Speaker 4: like this season, which don't get me wrong, has been horrendous.

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Speaker 4: But has she always been this bad? I'm asking this

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Speaker 4: to this end. You all rag on her mercilessly?

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Speaker 1: Yeah?

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Speaker 4: Is it deserved? Like? Have we shown she's just straight

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Speaker 4: offul all the time?

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Speaker 1: There has not been. I don't think there's been an

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Speaker 1: episode with Taylor where she hasn't been causing trouble. I mean,

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Speaker 1: she blew into town explaining that she took Nathan's virginity, right,

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Speaker 1: I think she took his virginity and then right. I

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Speaker 1: don't know if there was another time or if she

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Speaker 1: I feel like there was since she came in. You're

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Speaker 1: talking to somebody who's I've got the best short term memory,

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Speaker 1: and my long term memory is I have a challenge

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Speaker 1: with that, especially with this show. Yeah, I don't know.

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Speaker 1: I feel like she just came in that one time.

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Speaker 1: But yeah, this is very bad behavior. But I love

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Speaker 1: Lindsay McKeon. She is a firecracker, Like she really is

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Speaker 1: a firework coming into every scene that she's in, and

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Speaker 1: especially in this episode. I'm trying to find the note

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Speaker 1: that I wrote about that in this episode when you

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Speaker 1: everyone else is being so contained, everybody's hiding something under

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Speaker 1: the surface, and she is just everything is outside of

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Speaker 1: her body. She's exploding off the screen. I just always

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Speaker 1: want the camera to stay on her longer, even though

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Speaker 1: she's causing trouble. I love watching her.

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Speaker 4: She kind of has a bit of a Dan Scott

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Speaker 4: vibe and Matt when she comes on the screen, I

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Speaker 4: kind of lean in, Yeah, what are you about to

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Speaker 4: get into? Yeah, because she is she's kind of a

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Speaker 4: wild card, you know, you never know, and she plays

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Speaker 4: it so well that character could have been far less

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Speaker 4: interesting in the hands of a lesser actor.

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Speaker 1: Yep, I totally agree, you.

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Speaker 4: Know, but she's she's fun, man, and because she just

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Speaker 4: like y'all are vinegar and she's baking soda. She's just

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Speaker 4: there to make things explode. She can't help her.

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Speaker 1: So that's it. That's it, she and she really that's

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Speaker 1: I agree with you that in the hands of a

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Speaker 1: lesser actor it could have been very sort of I

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Speaker 1: don't know, mechanical is the right word, but very one dimensional,

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Speaker 1: just like show up, make the poudy face and do

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Speaker 1: the troublemaking thing. But she has this deep layer of need,

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Speaker 1: like the need for attention, need for love for whatever happened,

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Speaker 1: and that all of the bitterness and like jealousy of

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Speaker 1: her sisters and all she's like carrying all of it.

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Speaker 1: It's so interesting to watch.

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Speaker 4: Yeah, this character could have been like every bolly in

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Speaker 4: a nineteen eighties movie totally yeah, where you're like, oh yeah,

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Speaker 4: you have one speed, it's mean and there is nothing

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Speaker 4: else going on. Yeah, Like that could have been her,

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Speaker 4: like I'm hot and I do what I want. Be like, eh, okay,

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Speaker 4: after two scenes, he'd be like, we've seen it all.

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Speaker 1: We're good, right right next please? Yeah, the look on

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Speaker 1: her face, I mean, I don't know how much we

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Speaker 1: want to jump around. But when Lydia shares the news

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Speaker 1: that she's sick with the girls, the look on Lindsay's face,

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Speaker 1: the way she did that was it broke my heart

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Speaker 1: out of everything. Like me and Quinn were kind of

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Speaker 1: just shocked, and she was immediately so angry and hurt.

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Speaker 4: Yeah, And what I liked about that was that all

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Speaker 4: three of your actions, all of those different reactions to

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Speaker 4: that news and that grief. I feel like anyone who's

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Speaker 4: gone through grief has been all three of those. Yeah,

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Speaker 4: Like all of it was relatable, even though the even

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Speaker 4: though the initial reaction was so extreme, especially in the

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Speaker 4: case of Taylor. You know, I feel like everyone can

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Speaker 4: kind of react to the way all three of you

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Speaker 4: responded to that, Yeah, whereas I feel like you and

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Speaker 4: or excuse me, Haley and Quinn responded.

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Speaker 1: Taylor reacted, yes, as Taylor always does. It was very

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Speaker 1: true to her.

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Speaker 4: But going back to that opening scene, I love how

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Speaker 4: Nathan and Jamie they just know what's about to happen

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Speaker 4: and they just quietly dip out and they go to

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Speaker 4: Clay's because they know Clay has all the good cereals,

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Speaker 4: which made me laugh because I always had the best

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Speaker 4: snack collection in my apartment in Wilmington, Like that was

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Speaker 4: my thing. I had a giant candy bowl. I found

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Speaker 4: out what everyone's favorite candies were I had it stocked.

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Speaker 4: So I wondered because by this point we're sixteen episodes in,

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Speaker 4: a lot of people have visited Wilmington. I'm like, oh,

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Speaker 4: I wonder if by this point they're starting to write

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Speaker 4: in little parts of Clay that are just rob Oh.

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Speaker 1: Yeah, that makes sense. I love that. I did really

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Speaker 1: enjoy that because I don't think that's ever happened. For first,

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Speaker 1: I was like, I didn't know you guys lived. I

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Speaker 1: don't know Clay lived that close to Nathan and Haley

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Speaker 1: that they were just like, just get in the car,

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Speaker 1: we'll go to Clay's. But yeah, everybody piling into just

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Speaker 1: eat cereal at Clay's house, like leaving an entire house

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Speaker 1: just to avoid one person. Everyone leaves.

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Speaker 4: And the fact that she catches you guys, that she

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Speaker 4: shows up too.

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Speaker 1: How does she even know where Clay lives? Has she

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Speaker 1: been there yet?

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Speaker 4: No? Of course not. And I started to be like,

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Speaker 4: how would she know? And I'm like, just enjoy this.

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Speaker 4: She's a funny, dynamic, cool out. But I love that

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Speaker 4: Clay has all the good cereals because to me, it

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Speaker 4: says two things. Clay has been a bachelor for a

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Speaker 4: very long time. Yep, and Clay is still a child

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Speaker 4: at heart.

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Speaker 1: Yes.

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Speaker 4: I just picture Clay on his like his day off

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Speaker 4: is just like doing that thing where you pour like

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Speaker 4: a little bit of every cereal into a giant bowl

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Speaker 4: and just sits down in front of the TV. You know,

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Speaker 4: it feels very clay that.

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Speaker 1: That's a great point. I think that's one of the

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Speaker 1: reasons why Clay and Quinn really connect, right because she's

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Speaker 1: so she's she's the oldest, She's had to take care

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Speaker 1: of so many things, she's had to be responsible. She

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Speaker 1: probably got married young too and has been just being

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Speaker 1: the responsible one. And to connect with a guy who

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Speaker 1: is he's been through enough to experience to have real

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Speaker 1: depth and real maturity. But there is a playfulness and

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Speaker 1: a youthfulness at heart that gives her a permission to

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Speaker 1: play and let that part of her personality out. I

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Speaker 1: really like that about you, guys. Dynamic.

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Speaker 4: Wait, Quinn is the Quinn eldest. Yeah, that's so interesting

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Speaker 4: because I wasn't quite certain, and then watching this episode,

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Speaker 4: I just assumed you were the eldest by the way

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Speaker 4: that Lydia kind of calls upon you to be the lynchpin,

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Speaker 4: to be the strong one.

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Speaker 1: Yeah, I don't know why Haley was sort of I

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Speaker 1: think in her family she might have been the middle.

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Speaker 1: I think was Taylor younger than Hayley.

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Speaker 4: I'm just saying that she thinks Taylor's the eldest.

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Speaker 1: Oh. Interesting, I know Quinn is older than Hailey. For sure.

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Speaker 1: I could absolutely be wrong about Taylor being the oldest

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Speaker 1: one in the whole fit. Yeah, fans, you guys, have

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Speaker 1: you guys know this stuff? You got to you gotta

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Speaker 1: tell us because this one slipped through the cracks for me.

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Speaker 4: Politely inform us in the comments. Second, I don't think

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Speaker 4: it anymore. We're owning. Okay, it's Taylor's the eldest, then Quinn,

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Speaker 4: then Haley. Okay, Taylor then.

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Speaker 1: Quin then Haley. Okay, Okay.

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Speaker 4: Lots it down.

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Speaker 1: So weird though, because what how does that work? Usually

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Speaker 1: the oldest one is the one who is so responsible complain,

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Speaker 1: And it's interesting that Taylor is just so angsty.

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Speaker 4: I think there's also something to be said for, Like

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Speaker 4: I know, in my family the dynamic was I want

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Speaker 4: my brother was sort of the wild child, and I

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Speaker 4: watched him always getting grounded and busted, and I and

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Speaker 4: I just sort of went I'm going to do the

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Speaker 4: opposite of that, and so I just became the kid

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Speaker 4: who worked hard in school. I followed the rules. I

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Speaker 4: kept my head down. So if Taylor was the train wreck,

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Speaker 4: it kind of tracks that, yes, that the next two

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Speaker 4: would be like, let's not let's not do that.

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Speaker 1: Yeah, yeah, I think that that does make sense.

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Speaker 4: But it is funny that the baby is like literally

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Speaker 4: the only one who has you know, her ducks in

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Speaker 4: a row.

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Speaker 1: Yeah, that's funny. You think the Quinn would have been

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Speaker 1: the one that went the complete opposite direction. Maybe she

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Speaker 1: did in her own way.

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Speaker 4: To be fair, she was on that trajectory. Yeah, she

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Speaker 4: was happily married. They were probably thinking they were going

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Speaker 4: that direction, and then he wanted that stupid entertainment room

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Speaker 4: and ruined everything, ruined everything. You blew it, David.

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Speaker 1: I think Hailey's got a good mix of both of

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Speaker 1: them in there, because I don't see a lot of

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Speaker 1: angst in Quinn. I see a lot of like eagerness

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Speaker 1: and wanting just wanting things to be okay and make

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Speaker 1: everything right. And I think Hailey's got a good mix

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Speaker 1: of just responsibility and also I feel like she's constantly

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Speaker 1: bursting with frustration like everything's fine, Everything's fine, and it's like, oh,

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Speaker 1: I won't everybody just be cool?

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Speaker 4: Yeah, it kind of tracks because it does feel like

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Speaker 4: Hailey's got flashes of both Quinn and Taylor to her. Yeah,

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Speaker 4: she has a hot streak she can access. We've seen

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Speaker 4: you slap the pretty off of multiple people. But you're

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Speaker 4: also you know, level headed in earnest and a thinker.

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Speaker 1: Yeah. But I like this dynamic between Clay and Quinn.

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Speaker 1: I think it's a really good match. It's fun to

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Speaker 1: watch you, guys, and it was really fun to watch

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Speaker 1: you with Bess Armstrong in this episode. Who guys, we

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Speaker 1: got so lucky with Bess Armstrong. Yes, the mos I

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Speaker 1: mean we were so excited when we first heard that

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Speaker 1: she was cast as Hailey's mom, because she's she's Claire

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Speaker 1: Danes's mom from My so called Life, and she's had

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Speaker 1: this incredibly illustrious, long career in Hollywood and the fact

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Speaker 1: that she would come on our show and play with

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Speaker 1: us and just interact with us and show up not

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Speaker 1: just on set, but she actually really invested and stayed

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Speaker 1: in touch and went out and had coffees with us

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Speaker 1: and cared. She was really like a mom to us

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Speaker 1: in many ways, as much as you can be with

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Speaker 1: all the moving around in this industry, but she consistently

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Speaker 1: has showed up and stayed in touch, and it's amazing.

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Speaker 1: We got really lucky with her.

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Speaker 4: I remember the first word I think it went, and

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Speaker 4: I thought, oh, yeah, I remember this, and I vaguely,

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Speaker 4: very vaguely recalled us shooting that scene on the on

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Speaker 4: the stairs. But the first word is warm. She was

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Speaker 4: very warm, like very There was like no ego, she

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Speaker 4: was very accessible, like you said, she was interested in

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Speaker 4: other people. She was terrific. And then she just does

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Speaker 4: such a good job with the storyline. But yeah, I

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Speaker 4: loved that scene with Clay and Lydia on the stairs

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Speaker 4: talking about grief.

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Speaker 1: Yeah, it felt really meaningful to bring those two together

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Speaker 1: in a way that I just wasn't. I wasn't expecting

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Speaker 1: that scene. I forgot that that scene existed. The fact

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Speaker 1: that she comes into town. You know, obviously she's got

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Speaker 1: this news that she's dying and she comes in and

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Speaker 1: what really struck me about the conversation with Clay is

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Speaker 1: that here's someone she doesn't know. I mean, she's obviously

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Speaker 1: he's her daughter's love, and this is someone that she

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Speaker 1: wants to invest in before she passes. But there's usually

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Speaker 1: a dance of niceties. There's you know, it takes time

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Speaker 1: to get to know someone and drop into these really

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Speaker 1: deep places. And I imagine when you know your time

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Speaker 1: on this earth is limited, so much of those things

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Speaker 1: just you just push to the side all of the

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Speaker 1: formalities and you just dive right in. And I thought

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Speaker 1: it was so interesting that she was willing to just

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Speaker 1: come in and start saying all the uncomfortable things and

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Speaker 1: making grand gestures like buying the the uh sorry, renting

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Speaker 1: the space for Quinn, and it just don't It made

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Speaker 1: me think about that in life, like how often we

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Speaker 1: how much time we spend doing all the nice formality,

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Speaker 1: and how interesting it would be to just drop in.

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Speaker 4: It reminded me of how you know, when you become

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Speaker 4: a parent and all of a sudden, ninety five percent

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Speaker 4: of your free time is gone, and it kind of

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Speaker 4: forces you to look at all of the relationships in

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Speaker 4: your life and just sort of go, I have time

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Speaker 4: to nurture three of these, like what are the most

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Speaker 4: important three? Yeah, you know, and not even that you

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Speaker 4: have to like weed out people, but you just sort

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Speaker 4: of look at the ones that are just kind of

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Speaker 4: taking up space first. The ones that are actually meaningful

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Speaker 4: kind of helps you become more efficient with your time

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Speaker 4: because you're like, this small group is actually these are

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Speaker 4: the plants I'm going to water. Yeah, other stuff doesn't matter.

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Speaker 4: I wonder if it's the same in that situation where

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Speaker 4: it's like I'm running out of time. So it's very

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Speaker 4: clear what I want to do with it. I want

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Speaker 4: to be with my girls.

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Speaker 1: Yeah, be really beautiful.

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Speaker 4: A clarity that comes with it. But before we get

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Speaker 4: to Lydia's arrival, let's jump to Brooke and Julian's movie. Well,

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Speaker 4: excuse Meulian's movie, but that Brook is working on.

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Speaker 3: Yeah.

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Speaker 4: Yeah, because there was a lot of fun stuff with

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Speaker 4: an this episode. I liked how it kind of opened

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Speaker 4: with them using the movie as kind of a metaphor

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Speaker 4: for their relationship.

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Speaker 1: Okay, oh yeah in his office.

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Speaker 4: Yeah it was. Yeah, it was cute to see them

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Speaker 4: sort of talking to each other and about their situation

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Speaker 4: through the movie.

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Speaker 1: Yeah, I was sweet.

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Speaker 4: And then there was some great stuff. First of all,

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Speaker 4: Julian is the kind of director I'd love to have

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Speaker 4: on all my projects.

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Speaker 1: Yeah, so invested, so present, so sensitive, could.

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Speaker 4: You imagine getting sixteen takes without the director getting sassy

359
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Speaker 4: with you Nope, and then coming up and reading with

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Speaker 4: you off camera like that, I just come on so good.

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Speaker 1: He is so good. And the patients because when Alexander

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Speaker 1: walked in and he's like, nice shot, Hitchcock, what is that?

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Speaker 1: That's a not psycho vertigo? Right? Like, can you imagine

364
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Speaker 1: a costume designer, like, and he's not even a code

365
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Speaker 1: design Brook is a designer. He's working for Brooke walking

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Speaker 1: on set and commenting on the direction that the director

367
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Speaker 1: is giving the cameraman out loud in front of everyone.

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Speaker 1: He would never walk on that set again.

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Speaker 4: Oh he wired tossed a grenade into the mix and

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Speaker 4: then walked off like that was emotional terrorism. Could you

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Speaker 4: imagine your first day of shoot or like, I don't

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Speaker 4: know where they are in their schedule, but he's time directory. Yeah,

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Speaker 4: and the guy who's already a threat to your love

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Speaker 4: life comes in and just hits you below the belt

375
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Speaker 4: like that terrible.

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Speaker 3: Uh.

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Speaker 4: But I also loved that Nathan shows up to set

378
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Speaker 4: and he he makes a Shrek too, He quotes Shrek

379
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Speaker 4: and I love but I love the reversal of where

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Speaker 4: they were at the camping trip versus this, because it

381
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Speaker 4: was the roles were flipped where Nathan was trying to

382
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Speaker 4: do the bit and Julian just goes Shrek really and

383
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Speaker 4: walks away. I was like, good for you, Julian, give

384
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Speaker 4: him some guffs. He deserves it.

385
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Speaker 1: Yeah, that's right, although I don't know why he gives

386
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Speaker 1: it to Nathan and not to Alexander. Con My jaw

387
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Speaker 1: was on the floor.

388
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Speaker 4: It was misguided.

389
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Speaker 1: I did like that.

390
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Speaker 4: Yeah, they did be more choice words.

391
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Speaker 1: I thought this. First of all, Jana Kramer is such

392
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Speaker 1: a wonderful actress. It really is so nice to watch

393
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Speaker 1: her on camera. She's another one like Lindsay McKeon, where

394
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Speaker 1: there was there's just always so much more going on

395
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Speaker 1: underneath the surface, And while all the rest of our

396
00:20:41,160 --> 00:20:47,960
Speaker 1: characters were reacting or holding something in, these two were

397
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Speaker 1: really propelling things forward just in there in two different ways.

398
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Speaker 1: I mean, Lindsay was just exploding, and I felt like

399
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Speaker 1: Janna's character alex like we've seen her be soft in

400
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Speaker 1: a manipulative way, but this felt like it was an

401
00:21:03,800 --> 00:21:07,200
Speaker 1: authentic personal journey for her that I was leaning into.

402
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Speaker 1: I was doing the same thing that you were saying before.

403
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Speaker 1: I was like, it brought me in to her in

404
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Speaker 1: her turmoal because she was just wearing everything on her sleeve.

405
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Speaker 4: Yeah, and this is the storyline I wanted to see

406
00:21:17,960 --> 00:21:21,520
Speaker 4: for Jana. Yeah, not for Alex, because I know Jana's

407
00:21:21,720 --> 00:21:24,879
Speaker 4: is good and she's very talented that I wanted to

408
00:21:24,920 --> 00:21:28,360
Speaker 4: see her go to this level. I mean that scene

409
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Speaker 4: where Julian talks her through and she just pulls it out.

410
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Speaker 4: What's so funny is like, that's not easy to do, right,

411
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Speaker 4: And what's so funny is it's so meta, right because

412
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Speaker 4: they're shooting a fake movie, but she's actually acting and

413
00:21:44,960 --> 00:21:48,119
Speaker 4: had to do the same thing for our show. Yeah. So,

414
00:21:48,640 --> 00:21:51,160
Speaker 4: and it's like people don't get It's like oftentimes people

415
00:21:51,240 --> 00:21:55,399
Speaker 4: have to step away, listen to music, whatever your process is.

416
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Speaker 4: So I'm always impressed when someone can just on action boom,

417
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Speaker 4: drop it and go. And she killed it.

418
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Speaker 1: She really did. What is your process when you have

419
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Speaker 1: to do that stuff? Rob? I know you talked about

420
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Speaker 1: before where you used to have to stay in character

421
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Speaker 1: all day and it was really brutal for you. Do

422
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Speaker 1: you still feel like you have to do that or

423
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Speaker 1: have you found a different method?

424
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Speaker 4: No, I don't do that anymore.

425
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Speaker 1: That was no emotional acting. You don't do that anymore.

426
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Speaker 4: Yeah, exactly. It's either eyebrows or laughter. Those are the

427
00:22:39,040 --> 00:22:42,760
Speaker 4: two things I do. It's two speeds. Yep, that's exactly right.

428
00:22:43,200 --> 00:22:45,400
Speaker 4: I'm like the bully from the eighties movie with one

429
00:22:45,480 --> 00:22:51,919
Speaker 4: extra speed, bad attitude, and eyebrows. Now it's just like

430
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Speaker 4: I said, I used to have. It wasn't even like

431
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Speaker 4: staying in character as much as it was like just

432
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Speaker 4: staying in sadness. So it's like whatever kept me in

433
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Speaker 4: that place where I was just wavering on losing it?

434
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Speaker 4: Now now I try to keep it more honest and

435
00:23:06,640 --> 00:23:09,159
Speaker 4: just think about like the reality of what it is,

436
00:23:09,600 --> 00:23:12,200
Speaker 4: you know, and and just sort of go with that.

437
00:23:12,560 --> 00:23:14,800
Speaker 1: So you you feel more connected to your characters now

438
00:23:14,840 --> 00:23:17,040
Speaker 1: in that way, like you can just be who they

439
00:23:17,040 --> 00:23:17,840
Speaker 1: are in the moment.

440
00:23:18,520 --> 00:23:20,520
Speaker 4: Yeah, And so much of what I do is just

441
00:23:20,600 --> 00:23:23,080
Speaker 4: going how do I think I would react if I

442
00:23:23,119 --> 00:23:26,440
Speaker 4: was in this situation? Yeah, you know, that's a lot

443
00:23:26,440 --> 00:23:28,080
Speaker 4: of what at least it is for me, you know,

444
00:23:28,240 --> 00:23:30,000
Speaker 4: is just trying to find the truth of how would

445
00:23:30,000 --> 00:23:33,120
Speaker 4: this feel, you know, And so to that end, it's

446
00:23:33,200 --> 00:23:36,280
Speaker 4: kind of it. But I don't like having to do crying,

447
00:23:36,440 --> 00:23:38,560
Speaker 4: And whenever I read a script, especially they're like a

448
00:23:38,600 --> 00:23:43,080
Speaker 4: tear rolls down his cheek. I'm like, ugh, don't forecast

449
00:23:43,200 --> 00:23:47,679
Speaker 4: the tear, especially when it's not earned. Like I just

450
00:23:47,720 --> 00:23:50,120
Speaker 4: did something where there was like a beat of joking

451
00:23:50,280 --> 00:23:52,440
Speaker 4: and then there's one line and then I'm supposed to

452
00:23:52,480 --> 00:23:54,840
Speaker 4: be welling up. And I went to the direct ground

453
00:23:54,880 --> 00:23:57,960
Speaker 4: was like, hey, guy, this is a manic turn. What

454
00:23:58,000 --> 00:23:59,359
Speaker 4: do you say? We don't do that? And he was like,

455
00:23:59,440 --> 00:24:01,359
Speaker 4: great idea. That was crazy. You know.

456
00:24:02,600 --> 00:24:05,639
Speaker 1: I wish they would somebody would do an actor's pass

457
00:24:05,640 --> 00:24:09,560
Speaker 1: on scripts, because scripts have to get turned into studios,

458
00:24:09,680 --> 00:24:11,840
Speaker 1: and it's a bunch of executives who are not creative

459
00:24:11,840 --> 00:24:14,240
Speaker 1: and they're not actors, and they have to They need

460
00:24:14,240 --> 00:24:16,639
Speaker 1: the tear rolling down the face in the script so

461
00:24:16,640 --> 00:24:18,480
Speaker 1: that they can sort of watch the movie in their

462
00:24:18,560 --> 00:24:22,080
Speaker 1: mind and understand, like the emotional arc almost has to

463
00:24:22,080 --> 00:24:24,480
Speaker 1: be spelled out for a lot of people who don't

464
00:24:24,480 --> 00:24:26,320
Speaker 1: do what we do and who are up in the

465
00:24:26,400 --> 00:24:30,199
Speaker 1: higher ups in their suits and seats making decisions. But

466
00:24:30,240 --> 00:24:32,199
Speaker 1: wouldn't it be nice if there was somebody who just

467
00:24:32,280 --> 00:24:34,879
Speaker 1: took all of the stage direction out and turned in

468
00:24:34,920 --> 00:24:37,320
Speaker 1: a script too that was basically just dialogue and like

469
00:24:37,359 --> 00:24:40,520
Speaker 1: a couple of basic stage directions.

470
00:24:40,119 --> 00:24:42,120
Speaker 4: That would be incredible. You know, what I would say

471
00:24:42,119 --> 00:24:44,480
Speaker 4: my trick is now is that I let myself off

472
00:24:44,520 --> 00:24:44,879
Speaker 4: the hook.

473
00:24:45,160 --> 00:24:47,640
Speaker 1: Yeah, so it's there, but you ignore it exactly right.

474
00:24:47,680 --> 00:24:49,639
Speaker 4: I don't feel because that was the problem before, was

475
00:24:49,840 --> 00:24:52,439
Speaker 4: I have to start crying at this point. As soon

476
00:24:52,480 --> 00:24:56,160
Speaker 4: as there's that pressure, I like rarely, if ever met it. Yeah,

477
00:24:56,240 --> 00:24:57,920
Speaker 4: so now it's sort of going, I'm just going to

478
00:24:58,000 --> 00:25:00,760
Speaker 4: be as sincere and honest as I can. And if

479
00:25:00,800 --> 00:25:03,760
Speaker 4: that's where it gets, it's earned and it's real and

480
00:25:03,800 --> 00:25:06,000
Speaker 4: it's great. And if not, that's okay.

481
00:25:06,560 --> 00:25:08,520
Speaker 1: Did someone teach you that? Was there a moment when

482
00:25:08,520 --> 00:25:11,240
Speaker 1: someone taught you that? And like the idea of not

483
00:25:11,400 --> 00:25:14,040
Speaker 1: having to stay in sadness but having to but being

484
00:25:14,080 --> 00:25:16,919
Speaker 1: able to just drop into the moment with your character.

485
00:25:17,520 --> 00:25:20,560
Speaker 1: Because it's interesting to start a career with these particular

486
00:25:20,600 --> 00:25:23,080
Speaker 1: habits and then at some point switch over and do

487
00:25:23,200 --> 00:25:24,119
Speaker 1: it differently.

488
00:25:24,760 --> 00:25:28,600
Speaker 4: No, because I didn't train. You know, I sort of

489
00:25:28,640 --> 00:25:30,760
Speaker 4: took one acting class in college and loved it and

490
00:25:30,800 --> 00:25:33,040
Speaker 4: that was enough to get the bug. And then you know,

491
00:25:33,040 --> 00:25:35,120
Speaker 4: I took a couple acting classes when I first got here,

492
00:25:35,800 --> 00:25:38,919
Speaker 4: but I didn't have proper training, which is why like

493
00:25:38,960 --> 00:25:40,320
Speaker 4: I come to one tree not it's the first time

494
00:25:40,320 --> 00:25:44,040
Speaker 4: doing proper sadness and grief I didn't know, which is

495
00:25:44,080 --> 00:25:47,000
Speaker 4: why I was like being wildly inefficient with just how

496
00:25:47,040 --> 00:25:48,480
Speaker 4: hard I was making it on myself.

497
00:25:48,840 --> 00:25:50,600
Speaker 1: Did it just occur to you, like I just want

498
00:25:50,640 --> 00:25:52,680
Speaker 1: to do things differently? Did you hear people talking about

499
00:25:52,720 --> 00:25:55,080
Speaker 1: different ways that they did it, Because that's a that's

500
00:25:55,119 --> 00:25:57,119
Speaker 1: a hard transition, I think when you're so used to

501
00:25:57,119 --> 00:25:59,439
Speaker 1: doing something a certain way and it's your whole job

502
00:25:59,800 --> 00:26:01,600
Speaker 1: to start being like I'm going to try it and

503
00:26:01,600 --> 00:26:04,919
Speaker 1: do it this way instead. Like how long did that

504
00:26:04,960 --> 00:26:05,640
Speaker 1: transition take?

505
00:26:05,880 --> 00:26:06,639
Speaker 4: I see, I don't know.

506
00:26:06,680 --> 00:26:06,879
Speaker 1: I know.

507
00:26:06,920 --> 00:26:10,080
Speaker 4: On my very first TV show, we had this director,

508
00:26:10,680 --> 00:26:15,040
Speaker 4: David Hogan, and he said to us something effective like

509
00:26:15,240 --> 00:26:18,040
Speaker 4: just make just make sure it's honest. And for some

510
00:26:18,080 --> 00:26:19,960
Speaker 4: reason that's stuck with me and that always was my

511
00:26:20,040 --> 00:26:23,359
Speaker 4: north star. But as soon as I started working like

512
00:26:23,400 --> 00:26:25,679
Speaker 4: bigger stuff, I thought, it needs it needs to be

513
00:26:25,760 --> 00:26:27,760
Speaker 4: a certain way. And I think it was just with

514
00:26:27,920 --> 00:26:31,160
Speaker 4: enough experiencing enough experience, and then just also like listening

515
00:26:31,200 --> 00:26:33,879
Speaker 4: to people I respected, watching people I respected, and going

516
00:26:34,720 --> 00:26:38,000
Speaker 4: it doesn't have to be that way, Like, how about truly?

517
00:26:38,040 --> 00:26:39,320
Speaker 4: So much of it has been getting out of my

518
00:26:39,359 --> 00:26:41,800
Speaker 4: own way and just letting myself off the hook, you know,

519
00:26:42,800 --> 00:26:44,480
Speaker 4: I love it, and not deciding ahead of time what

520
00:26:44,520 --> 00:26:46,000
Speaker 4: it asked to look like and just being like, let's

521
00:26:46,080 --> 00:26:49,400
Speaker 4: just play and see what the moment brings. Yeah, what's

522
00:26:49,440 --> 00:26:52,000
Speaker 4: your process? Because you kill it with that stuff, at

523
00:26:52,080 --> 00:26:54,439
Speaker 4: least on the outside looking in. That's how it appears

524
00:26:54,440 --> 00:26:54,639
Speaker 4: to me.

525
00:26:55,080 --> 00:26:57,880
Speaker 1: Thanks. That took me a while too. I started out

526
00:26:57,920 --> 00:27:01,159
Speaker 1: with a very like I. I would try everything. I

527
00:27:01,160 --> 00:27:04,040
Speaker 1: would try putting myself through physical pain to make myself cry,

528
00:27:04,200 --> 00:27:06,960
Speaker 1: like like poking myself with a pin in my pocket.

529
00:27:07,680 --> 00:27:12,960
Speaker 1: There's a lot of peace, or like trying to you know,

530
00:27:12,960 --> 00:27:15,400
Speaker 1: I've heard of actors it would like pull hair out

531
00:27:15,440 --> 00:27:17,800
Speaker 1: with tweezers, like hairs on their leg out with tweezers

532
00:27:17,800 --> 00:27:22,280
Speaker 1: while they're doing a crying scene. I tried doing the

533
00:27:22,320 --> 00:27:25,720
Speaker 1: same thing you're talking about, like just getting myself into

534
00:27:25,720 --> 00:27:28,359
Speaker 1: a place of deep sadness. I would watch movies like

535
00:27:28,440 --> 00:27:30,760
Speaker 1: I've probably watched the end of Brave Heart like seventeen

536
00:27:30,800 --> 00:27:33,919
Speaker 1: times until it didn't make me cry anymore. I just

537
00:27:34,400 --> 00:27:37,280
Speaker 1: would try all these different things. I think once I

538
00:27:37,320 --> 00:27:40,480
Speaker 1: got comfortable in my real life, it's funny what you

539
00:27:40,520 --> 00:27:44,560
Speaker 1: said about being what you're acting coach once said about

540
00:27:44,600 --> 00:27:49,520
Speaker 1: being honest or was it a director maybe director? Yeah, yeah,

541
00:27:49,560 --> 00:27:53,199
Speaker 1: that word is. It's not funny how somebody can just

542
00:27:53,200 --> 00:27:56,520
Speaker 1: say one random thing that's They're just a sentence and

543
00:27:56,520 --> 00:27:58,520
Speaker 1: they're vernacular, and they're moving on with their day and

544
00:27:58,560 --> 00:27:59,720
Speaker 1: they just changed your whole life.

545
00:28:00,240 --> 00:28:01,840
Speaker 4: Yeah.

546
00:28:02,000 --> 00:28:04,879
Speaker 1: Yeah, I think I in my real life, as I

547
00:28:05,000 --> 00:28:09,120
Speaker 1: started to get more and more comfortable with emotion, which

548
00:28:09,160 --> 00:28:11,000
Speaker 1: is something I wasn't really comfortable with as a child

549
00:28:11,040 --> 00:28:14,680
Speaker 1: at all, I had a breakthrough in my personal life

550
00:28:14,720 --> 00:28:17,919
Speaker 1: of being willing to cry in front of people, and

551
00:28:17,960 --> 00:28:20,320
Speaker 1: suddenly I was like, oh, I guess it's not the

552
00:28:20,440 --> 00:28:22,760
Speaker 1: end of the world. And then I was able to

553
00:28:22,800 --> 00:28:25,880
Speaker 1: use it in my work, which was really really helpful.

554
00:28:26,760 --> 00:28:29,639
Speaker 1: But I also found, you know what, another thing was

555
00:28:30,200 --> 00:28:32,680
Speaker 1: I really started to rely on the other actors and

556
00:28:32,720 --> 00:28:36,400
Speaker 1: the scenes with me for emotion because I don't want

557
00:28:36,440 --> 00:28:39,160
Speaker 1: to just sit be alone, like creating a whole world

558
00:28:39,240 --> 00:28:42,520
Speaker 1: inside my brain. I had this great I've talked about

559
00:28:42,560 --> 00:28:44,960
Speaker 1: this early on in the podcast, but you weren't here,

560
00:28:45,000 --> 00:28:48,000
Speaker 1: so I'm going to tell you because it was so helpful.

561
00:28:48,040 --> 00:28:50,720
Speaker 1: I was doing a scene with Tammy Blanchard on Guiding Light.

562
00:28:50,760 --> 00:28:53,120
Speaker 1: We were on together a long time before she blew

563
00:28:53,200 --> 00:28:57,840
Speaker 1: up and started doing all these amazing movies, and she

564
00:28:57,840 --> 00:28:59,400
Speaker 1: she was backstage with me. I had to do a

565
00:28:59,440 --> 00:29:01,760
Speaker 1: scene where I was like weeping and I couldn't figure

566
00:29:01,760 --> 00:29:03,200
Speaker 1: it out, and we were about to roll and I

567
00:29:03,360 --> 00:29:06,560
Speaker 1: just on. She and I had gotten really close and

568
00:29:06,600 --> 00:29:09,400
Speaker 1: I really trusted her, and I just grabbed her hands

569
00:29:09,440 --> 00:29:11,040
Speaker 1: and we were standing off to the side on the

570
00:29:11,040 --> 00:29:13,760
Speaker 1: stage in the dark, and I just said, will you

571
00:29:13,840 --> 00:29:16,400
Speaker 1: just look at me for a second, And she just

572
00:29:16,440 --> 00:29:18,960
Speaker 1: stood there and showed up for me, and we both

573
00:29:19,080 --> 00:29:24,160
Speaker 1: just stared into each other's eyes and allowed all of

574
00:29:23,400 --> 00:29:28,760
Speaker 1: the shields that we put up emotionally to fall away.

575
00:29:29,560 --> 00:29:32,040
Speaker 1: And I saw her and she saw me, and I

576
00:29:32,080 --> 00:29:34,160
Speaker 1: saw her pain, and she saw my pain and love

577
00:29:34,240 --> 00:29:36,520
Speaker 1: and all the things. It was like a direct channel

578
00:29:36,560 --> 00:29:39,360
Speaker 1: into her heart and into my heart, and we both

579
00:29:39,480 --> 00:29:46,520
Speaker 1: just started bawling. Wow. And that moment. From that moment on,

580
00:29:48,160 --> 00:29:50,680
Speaker 1: I need the other actor in the scene to show

581
00:29:50,760 --> 00:29:53,120
Speaker 1: up for me. And I'm in auditions. If it's a

582
00:29:53,160 --> 00:29:54,800
Speaker 1: casting assistant who doesn't care.

583
00:29:55,640 --> 00:29:57,680
Speaker 4: Oh my god, can I share with you a very

584
00:29:57,680 --> 00:30:01,800
Speaker 4: embarrassing audition story please, So again, early, very early in

585
00:30:01,840 --> 00:30:03,800
Speaker 4: my career, and this is a time when it's like

586
00:30:04,000 --> 00:30:07,320
Speaker 4: sadness equals tears. If I'm not crying, I'm not sad,

587
00:30:07,440 --> 00:30:09,640
Speaker 4: you know it makes any sense. Obviously a very little

588
00:30:09,640 --> 00:30:13,640
Speaker 4: life experience. So this audition called for those like two

589
00:30:13,760 --> 00:30:15,920
Speaker 4: or three pages of stuff, and then I'm supposed to

590
00:30:16,560 --> 00:30:19,720
Speaker 4: walk out of the room and walk back in a

591
00:30:19,840 --> 00:30:24,800
Speaker 4: visibly emotionally distraught. So I thought I got a trick.

592
00:30:25,920 --> 00:30:30,480
Speaker 4: I chopped up onions, put them into a tiny sandwich bag,

593
00:30:31,520 --> 00:30:34,960
Speaker 4: went into the audition, did my three pages. Rather than

594
00:30:35,400 --> 00:30:38,080
Speaker 4: like pretending to leave, I actually stepped out of the

595
00:30:38,120 --> 00:30:41,160
Speaker 4: audition room, dug into my pocket, wiped my fingers on

596
00:30:41,160 --> 00:30:44,400
Speaker 4: the chopped onions, and wiped my eyes, and went back

597
00:30:44,440 --> 00:30:47,239
Speaker 4: in and jokes on me. I still didn't cry. I

598
00:30:47,360 --> 00:30:51,720
Speaker 4: just smelled like onions. Didn't get the job. Sure you're

599
00:30:51,720 --> 00:30:55,480
Speaker 4: all shocked to learn, but like that was That's what

600
00:30:55,520 --> 00:30:57,280
Speaker 4: I'm saying. Like when I had no training, I was

601
00:30:57,440 --> 00:30:58,920
Speaker 4: just like, no one taught me. So I was like,

602
00:30:58,960 --> 00:31:01,360
Speaker 4: I don't know, maybe this is what people do.

603
00:31:03,600 --> 00:31:06,160
Speaker 1: And that is why you're an actor because you think

604
00:31:06,160 --> 00:31:09,360
Speaker 1: outside the box. You're willing to do crazy things that

605
00:31:09,440 --> 00:31:12,320
Speaker 1: everybody else is like too scared to do. That's just it,

606
00:31:12,400 --> 00:31:14,200
Speaker 1: that's we're just a different breed rob.

607
00:31:14,520 --> 00:31:17,320
Speaker 4: Yeah. So I see the needle in your pocket and

608
00:31:17,360 --> 00:31:19,280
Speaker 4: I raise you a bag of chop gun hands.

609
00:31:20,600 --> 00:31:25,680
Speaker 1: You win, You absolutely win. That is so excellent.

610
00:31:26,200 --> 00:31:29,680
Speaker 4: All this to say, well done, Jana Kramer. She's been

611
00:31:29,760 --> 00:31:32,160
Speaker 4: so great. You know, we work together obviously, But like

612
00:31:32,200 --> 00:31:35,280
Speaker 4: I said, I never revisited this show, and I'm glad

613
00:31:35,280 --> 00:31:37,600
Speaker 4: I did because it has given me an entirely new

614
00:31:37,640 --> 00:31:42,000
Speaker 4: found appreciation of how good she is. Yeah, and this

615
00:31:42,160 --> 00:31:44,560
Speaker 4: in this role, she just crushes it. I'd have no

616
00:31:44,640 --> 00:31:47,800
Speaker 4: idea where her character goes. I don't know how it ends,

617
00:31:47,840 --> 00:31:50,760
Speaker 4: but I'm very interested, especially now that we're seeing this

618
00:31:50,840 --> 00:31:55,000
Speaker 4: new side of her, Yeah, where she's being like she's

619
00:31:55,040 --> 00:31:57,480
Speaker 4: turning over a new leaf, not entirely new. I love

620
00:31:57,520 --> 00:32:00,640
Speaker 4: the way she threw herself at Alexander Cone was Yeah,

621
00:32:00,640 --> 00:32:05,080
Speaker 4: that was her. But I'm enjoying seeing a more grounded,

622
00:32:06,240 --> 00:32:07,600
Speaker 4: accessible version.

623
00:32:07,440 --> 00:32:11,920
Speaker 1: Of alex me too. There's no other character on this show. Actually,

624
00:32:12,000 --> 00:32:14,920
Speaker 1: there's only one other character on this show where the

625
00:32:15,000 --> 00:32:19,440
Speaker 1: demand on them is to what's a good analogy the

626
00:32:19,520 --> 00:32:23,800
Speaker 1: emotional requirement of bouncing not just back and forth, but

627
00:32:23,880 --> 00:32:26,320
Speaker 1: like kind of all over the scale. Like it's just

628
00:32:26,360 --> 00:32:28,400
Speaker 1: like a little emotional Richter scale, and you never know

629
00:32:29,520 --> 00:32:32,560
Speaker 1: where she's going to go. Is Dan Scott is the

630
00:32:32,600 --> 00:32:34,920
Speaker 1: only other character on the show where there's a demand

631
00:32:35,120 --> 00:32:37,840
Speaker 1: as an actor to be able to flip it into

632
00:32:37,920 --> 00:32:42,040
Speaker 1: something else in a moment, in an instant. And it's

633
00:32:42,080 --> 00:32:45,160
Speaker 1: for him it's because he's so manipulative, and for Alex

634
00:32:45,280 --> 00:32:48,680
Speaker 1: it's because she probably has been so manipulative in her life.

635
00:32:48,680 --> 00:32:51,040
Speaker 1: But she's on this really genuine journey to try and

636
00:32:51,480 --> 00:32:55,520
Speaker 1: outgrow these old patterns, but she does. There is such

637
00:32:55,520 --> 00:32:58,240
Speaker 1: a requirement on Janna as an actress to be able

638
00:32:58,280 --> 00:33:04,320
Speaker 1: to go cry, laugh, be sincere, be really hard, be sexy,

639
00:33:04,600 --> 00:33:07,719
Speaker 1: be funny, like all of the things within one scene.

640
00:33:07,800 --> 00:33:09,840
Speaker 1: Even it's a lot, It.

641
00:33:09,760 --> 00:33:11,080
Speaker 4: Is a lot, you know, and usually you get a

642
00:33:11,120 --> 00:33:12,920
Speaker 4: character and you kind of know, all right, this is

643
00:33:12,920 --> 00:33:15,360
Speaker 4: more or less my lane, this is sort of these

644
00:33:15,360 --> 00:33:17,920
Speaker 4: are the colors we'll be painting with. Yes, like you said,

645
00:33:17,960 --> 00:33:20,720
Speaker 4: with with Alex Man, it's just it's all over the place.

646
00:33:20,760 --> 00:33:24,800
Speaker 4: And again, another character who could have been wildly uninteresting

647
00:33:25,680 --> 00:33:28,680
Speaker 4: in the hands of a different actor. Yes, you know,

648
00:33:28,800 --> 00:33:32,760
Speaker 4: it only works because she sells the manic high and

649
00:33:32,800 --> 00:33:35,959
Speaker 4: the manic low, and then it's just very fun in between.

650
00:33:36,480 --> 00:33:38,360
Speaker 1: Yep, I love it. I love it.

651
00:33:38,480 --> 00:33:41,080
Speaker 4: Otherwise you'd buy out. Speaking of growth, I loved to

652
00:33:41,120 --> 00:33:42,600
Speaker 4: see Millie being Milly again.

653
00:33:42,800 --> 00:33:43,280
Speaker 1: M hmm.

654
00:33:43,680 --> 00:33:47,320
Speaker 4: I love Victoria as the mentor. Yeah, it is the

655
00:33:47,360 --> 00:33:49,040
Speaker 4: relationship I didn't know I needed.

656
00:33:49,560 --> 00:33:51,280
Speaker 1: I know, so unexpected.

657
00:33:51,520 --> 00:33:52,880
Speaker 4: She's just so good.

658
00:33:53,800 --> 00:33:57,120
Speaker 1: Yeah, I know she, both of them are. I love

659
00:33:57,200 --> 00:34:01,440
Speaker 1: seeing Daphney play this new verse of Victoria too. It's like,

660
00:34:01,480 --> 00:34:03,280
Speaker 1: it's one thing our show is really good at, is

661
00:34:03,320 --> 00:34:06,120
Speaker 1: the redemption of characters, like constantly being able to see

662
00:34:06,160 --> 00:34:10,719
Speaker 1: somebody eagerly trying to grow into a better version of themselves. Yes,

663
00:34:10,719 --> 00:34:12,759
Speaker 1: it's really cool and surprising the audience. You know, you

664
00:34:12,800 --> 00:34:16,160
Speaker 1: hate somebody and then eventually you're like, yeah, but they're

665
00:34:16,160 --> 00:34:17,080
Speaker 1: trying so hard.

666
00:34:18,239 --> 00:34:22,120
Speaker 4: Yes, And it's so fun because she you know how

667
00:34:22,200 --> 00:34:26,160
Speaker 4: capable she is of just absolutely tearing someone to shred,

668
00:34:26,440 --> 00:34:30,160
Speaker 4: e viscerating, and that it is always right there unerath

669
00:34:30,239 --> 00:34:32,640
Speaker 4: the surface if need be, and so it's so fun

670
00:34:32,640 --> 00:34:36,279
Speaker 4: though to see her leaning into this kind of tenderness

671
00:34:36,880 --> 00:34:39,600
Speaker 4: and this compassion I know, and she's doing it with

672
00:34:39,600 --> 00:34:42,799
Speaker 4: the character that I want to see redeemed. Yees, So

673
00:34:42,840 --> 00:34:45,479
Speaker 4: I just I find myself thoroughly rooting for them, which

674
00:34:45,480 --> 00:34:48,000
Speaker 4: is why when we saw Millie showing up to a

675
00:34:48,040 --> 00:34:50,600
Speaker 4: meeting and just getting her court card signed and bouncing

676
00:34:50,680 --> 00:34:52,240
Speaker 4: out like, oh no.

677
00:34:52,920 --> 00:34:54,439
Speaker 1: I know, I felt that too.

678
00:34:55,200 --> 00:34:58,920
Speaker 4: Come on, you bozo, don't blow this, I know.

679
00:35:00,080 --> 00:35:02,719
Speaker 1: So it was good to see Milly being Milly. She was,

680
00:35:02,840 --> 00:35:06,160
Speaker 1: she was, she was trying, but then she she has

681
00:35:06,239 --> 00:35:08,200
Speaker 1: to reckon with herself.

682
00:35:08,040 --> 00:35:10,440
Speaker 4: And then at the end she she hits a meeting

683
00:35:10,680 --> 00:35:13,160
Speaker 4: and she shares and she gets honest. So it's yeah,

684
00:35:13,480 --> 00:35:15,719
Speaker 4: you know, that's that's that's when the magic happens. So

685
00:35:16,560 --> 00:35:19,040
Speaker 4: I love to see all of that that. There was

686
00:35:19,080 --> 00:35:21,160
Speaker 4: one scene in that, or one moment in that close

687
00:35:21,200 --> 00:35:26,560
Speaker 4: over Bros sequence that I found just absolutely laughable. Milly.

688
00:35:26,719 --> 00:35:29,080
Speaker 4: It's after Victoria has left, they've had their bit, and

689
00:35:29,080 --> 00:35:31,839
Speaker 4: Millie's putting away some clothes, and of course there's Milly

690
00:35:31,920 --> 00:35:35,120
Speaker 4: the model on the screen who looks exactly the same

691
00:35:35,400 --> 00:35:38,400
Speaker 4: as the Millie standing next to it, folding close and

692
00:35:38,440 --> 00:35:41,759
Speaker 4: these two just random shoppers go Oh my gosh, that's her.

693
00:35:41,840 --> 00:35:43,680
Speaker 4: Are you the model? And she goes, yeah, she goes,

694
00:35:44,280 --> 00:35:49,040
Speaker 4: she looks so plain. First of all, she doesn't. She

695
00:35:49,120 --> 00:35:55,480
Speaker 4: looks stunning. Also, she looks literally identical to what she is. Yeah,

696
00:35:55,640 --> 00:35:56,880
Speaker 4: that screen in the app.

697
00:35:57,760 --> 00:36:01,279
Speaker 1: Yeah, when that one bothered It bothered me just as

698
00:36:01,320 --> 00:36:03,560
Speaker 1: a person, as a friend.

699
00:36:03,600 --> 00:36:03,960
Speaker 4: I don't know.

700
00:36:03,960 --> 00:36:07,719
Speaker 1: I like I I didn't like when the show did

701
00:36:07,719 --> 00:36:10,839
Speaker 1: stuff like that. I get it, like this is part

702
00:36:10,840 --> 00:36:13,239
Speaker 1: of the storyline, but I don't know. Could they have

703
00:36:13,880 --> 00:36:17,880
Speaker 1: had her coming into work just a little tired or

704
00:36:17,960 --> 00:36:20,399
Speaker 1: you know, working on her recovery, and maybe taken all

705
00:36:20,400 --> 00:36:22,480
Speaker 1: her makeup off and made her look a little like

706
00:36:22,680 --> 00:36:24,479
Speaker 1: darken up under her eyes, so she looked a little

707
00:36:24,520 --> 00:36:28,520
Speaker 1: sad and whatever. But for the sake of Lisa, and

708
00:36:28,560 --> 00:36:30,600
Speaker 1: I never asked Lisa how she felt about this, so

709
00:36:30,640 --> 00:36:33,680
Speaker 1: I'm not trying to speak on her behalf. But I

710
00:36:33,719 --> 00:36:36,279
Speaker 1: didn't like it. It made me feel I wouldn't have

711
00:36:36,280 --> 00:36:38,719
Speaker 1: felt good if I had showed up to work and

712
00:36:38,880 --> 00:36:41,000
Speaker 1: looked exactly the same as I did every day and

713
00:36:41,200 --> 00:36:43,400
Speaker 1: like pretty with all my makeup and my hair done,

714
00:36:43,600 --> 00:36:46,000
Speaker 1: and then got called plane in the script and had

715
00:36:46,000 --> 00:36:48,120
Speaker 1: to you know what I mean?

716
00:36:48,480 --> 00:36:52,879
Speaker 4: Yeah, because it's also the world's easiest problem to fix. Yeah,

717
00:36:52,920 --> 00:36:55,480
Speaker 4: she comes in and she's already spilled coffee on her outfit,

718
00:36:55,560 --> 00:36:57,080
Speaker 4: and so she has to put on a T shirt

719
00:36:57,440 --> 00:37:00,560
Speaker 4: totally like it's as simple as that and all of that,

720
00:37:00,640 --> 00:37:02,799
Speaker 4: except all that can happen off camera, you know, And

721
00:37:02,840 --> 00:37:05,640
Speaker 4: so yeah it was. And also because I'm with you,

722
00:37:05,640 --> 00:37:09,320
Speaker 4: when the girl goes, she's so plain, I understand Milly's

723
00:37:09,320 --> 00:37:11,960
Speaker 4: at a vulnerable place. So they played to that, and

724
00:37:11,960 --> 00:37:14,040
Speaker 4: that's how they did that. But what I would have

725
00:37:14,120 --> 00:37:17,120
Speaker 4: loved is for her to be self aware enough and

726
00:37:17,360 --> 00:37:21,120
Speaker 4: and her power enough to be like, bitch, please, yeah,

727
00:37:21,200 --> 00:37:23,480
Speaker 4: looks awesome, you know what I mean?

728
00:37:23,960 --> 00:37:26,680
Speaker 1: Are you blind exactly the same?

729
00:37:27,239 --> 00:37:30,239
Speaker 4: Have some strength, you know, like and your so fond

730
00:37:30,280 --> 00:37:32,560
Speaker 4: because it was such a ridiculous but again, I know

731
00:37:32,600 --> 00:37:36,400
Speaker 4: what they're going for. She's sort of teetering, okay, yeah,

732
00:37:36,480 --> 00:37:38,600
Speaker 4: but I did either was a part of me that

733
00:37:38,680 --> 00:37:44,320
Speaker 4: wanted the other version where she's like, okay, yeah.

734
00:37:43,520 --> 00:37:47,680
Speaker 1: Yeah, it's a little too caricaturey. The other line that

735
00:37:47,719 --> 00:37:49,759
Speaker 1: she had to say, just before we move on from

736
00:37:49,800 --> 00:37:54,440
Speaker 1: Milly drug doer, Millie, do you remember this line Victoria.

737
00:37:54,080 --> 00:37:55,600
Speaker 4: Walks in Wow, how did I miss this?

738
00:37:55,840 --> 00:37:55,960
Speaker 2: Well?

739
00:37:56,000 --> 00:38:00,399
Speaker 1: It was amazing. Victoria walks in and asks her. She say,

740
00:38:00,440 --> 00:38:02,600
Speaker 1: you look tired. I can't remember what she said, but

741
00:38:02,640 --> 00:38:08,040
Speaker 1: she says something to her, and Lisa says, this isn't

742
00:38:08,120 --> 00:38:11,840
Speaker 1: drug do or Millie, I'm just working hard.

743
00:38:11,640 --> 00:38:17,080
Speaker 4: Or whatever, which, by the way, it couldn't sound more

744
00:38:17,160 --> 00:38:20,319
Speaker 4: like someone who's never done drugs. That is what an

745
00:38:20,400 --> 00:38:24,560
Speaker 4: undercover cop trying to entrap someone says. You know, hey,

746
00:38:24,560 --> 00:38:27,440
Speaker 4: it's just me pot door, Rick, Can I buy some?

747
00:38:27,719 --> 00:38:29,319
Speaker 3: You know what?

748
00:38:31,960 --> 00:38:38,040
Speaker 4: Yeah, dude, that's so ridiculous. I love it. But I'm

749
00:38:38,040 --> 00:38:40,440
Speaker 4: glad that it seems that we are finally leaving that

750
00:38:40,520 --> 00:38:44,040
Speaker 4: storyline in the past, because I'm glad to give me

751
00:38:44,120 --> 00:38:46,319
Speaker 4: all of Lisa doing anything else but that.

752
00:38:46,960 --> 00:38:59,600
Speaker 3: Yeah.

753
00:39:00,120 --> 00:39:05,160
Speaker 1: Liked seeing Milly back at close over bros. You know,

754
00:39:05,440 --> 00:39:09,080
Speaker 1: Brook's allowing Victoria to take her under her wing, and

755
00:39:10,360 --> 00:39:11,960
Speaker 1: because I really wasn't sure how that was going to

756
00:39:12,040 --> 00:39:16,959
Speaker 1: go so and Brooke Brook holds a grudge, I think,

757
00:39:17,040 --> 00:39:19,719
Speaker 1: So it's nice to see her that like historically, It's

758
00:39:19,800 --> 00:39:24,560
Speaker 1: nice to see her like giving Milly the space to

759
00:39:24,680 --> 00:39:28,760
Speaker 1: still show up while Brooke is racing around this movie set.

760
00:39:28,880 --> 00:39:31,520
Speaker 1: I was so confused by this storyline for Brook though,

761
00:39:32,520 --> 00:39:34,920
Speaker 1: and I don't know if you feel this way, but like,

762
00:39:35,320 --> 00:39:40,000
Speaker 1: I'm so used to Brooke not giving anyone the satisfaction

763
00:39:40,160 --> 00:39:43,640
Speaker 1: of seeing her upset, Like only her really close friends

764
00:39:43,640 --> 00:39:48,400
Speaker 1: and especially someone who's hurt her. She tends to always

765
00:39:50,160 --> 00:39:54,080
Speaker 1: she's just bristly like like it's fine, everything's fine, I'm good,

766
00:39:55,320 --> 00:39:56,920
Speaker 1: like I'm gonna rise above this and I'm not going

767
00:39:56,960 --> 00:39:59,200
Speaker 1: to let you see that you've hurt me. So it's

768
00:39:59,200 --> 00:40:01,719
Speaker 1: interesting to see her in this environment on set with

769
00:40:01,840 --> 00:40:06,560
Speaker 1: Julian and behaving very much with her heart on her sleeve,

770
00:40:06,719 --> 00:40:08,839
Speaker 1: and I kind of wanted to see a little bit

771
00:40:08,840 --> 00:40:13,720
Speaker 1: more of her pretending like everything's fine and confusing Julian

772
00:40:14,400 --> 00:40:17,960
Speaker 1: rather than just having to They wrote her just existing

773
00:40:18,000 --> 00:40:21,920
Speaker 1: in so much suffering and sadness and just constantly looking

774
00:40:22,000 --> 00:40:25,480
Speaker 1: longingly at I don't know, I was confused by it.

775
00:40:25,680 --> 00:40:27,799
Speaker 4: To give the writing the benefit of the doubt. Could

776
00:40:27,800 --> 00:40:33,080
Speaker 4: it be that she's behaving differently this time because this

777
00:40:33,160 --> 00:40:35,040
Speaker 4: relationship is different for the first time.

778
00:40:35,480 --> 00:40:39,000
Speaker 1: Yeah, yeah, I mean, just matter more and she cares

779
00:40:39,000 --> 00:40:41,480
Speaker 1: and wants to do things differently than she has before.

780
00:40:41,640 --> 00:40:43,800
Speaker 4: Because I hear what you're saying. If you were working

781
00:40:44,120 --> 00:40:46,560
Speaker 4: with your kind of X. It feels like you would

782
00:40:46,600 --> 00:40:48,960
Speaker 4: show up very much with your armor on and your

783
00:40:48,960 --> 00:40:49,360
Speaker 4: guard up.

784
00:40:49,560 --> 00:40:51,480
Speaker 1: Yeah, because it's not just my kind of X, it's

785
00:40:51,520 --> 00:40:53,719
Speaker 1: also my kind of ex and the woman we broke

786
00:40:53,800 --> 00:40:59,160
Speaker 1: up over. Plus my assistant is also now hitting you know,

787
00:40:59,239 --> 00:41:00,800
Speaker 1: like hitting on our I mean.

788
00:41:01,360 --> 00:41:06,760
Speaker 4: Look, okay, let's just jump right to that. What happened? Okay,

789
00:41:06,560 --> 00:41:11,200
Speaker 4: that he's been towing for me a very awkward line

790
00:41:11,640 --> 00:41:16,360
Speaker 4: of being supportive friend and dude who's low key hitting

791
00:41:16,360 --> 00:41:20,400
Speaker 4: on her regularly. So and I haven't been able to

792
00:41:20,400 --> 00:41:23,160
Speaker 4: put my finger on it. And in this episode he

793
00:41:23,480 --> 00:41:26,560
Speaker 4: just randomly kisses her on the cheek and she doesn't

794
00:41:26,560 --> 00:41:28,040
Speaker 4: even raise her eyebrows.

795
00:41:28,560 --> 00:41:30,880
Speaker 1: Wait, Alexander kisses her on the cheek.

796
00:41:30,960 --> 00:41:33,680
Speaker 4: One hundred percent he kisses her on the cheek.

797
00:41:33,840 --> 00:41:36,520
Speaker 1: Wait what where? What part of the episode is this in?

798
00:41:36,640 --> 00:41:38,799
Speaker 1: I missed it? Okay, I was watching this on the

799
00:41:38,840 --> 00:41:41,640
Speaker 1: plane I did, which, by the way, as an actor

800
00:41:41,680 --> 00:41:44,359
Speaker 1: in Montree Hill, watching myself on a screen on an

801
00:41:44,360 --> 00:41:46,480
Speaker 1: airplane is extremely uncomfortable.

802
00:41:46,880 --> 00:41:51,200
Speaker 4: If yes, for our last two episodes, I was going

803
00:41:51,239 --> 00:41:53,799
Speaker 4: to and from that convention in Paris, watching the show

804
00:41:53,920 --> 00:41:56,879
Speaker 4: with myself going to a convention about the show. It

805
00:41:56,960 --> 00:41:59,759
Speaker 4: was about as self involved as it probably could have

806
00:41:59,800 --> 00:42:04,080
Speaker 4: a Ya, hey, guys, do you want to watch me

807
00:42:04,160 --> 00:42:07,480
Speaker 4: watch myself? I'm totally normal. It was yeah, so I

808
00:42:07,520 --> 00:42:09,720
Speaker 4: feel you. It's you got to like tilt that screen

809
00:42:09,760 --> 00:42:10,680
Speaker 4: into the you know.

810
00:42:11,040 --> 00:42:14,800
Speaker 1: Yeah window seat please. Anyway, when did this happen.

811
00:42:14,960 --> 00:42:18,960
Speaker 4: It was when he brings the suit to Brook on set. Oh,

812
00:42:19,040 --> 00:42:21,160
Speaker 4: they have like a little and it's not even an

813
00:42:21,200 --> 00:42:25,080
Speaker 4: emotionally charged thing. Maybe it's you know, him doing his

814
00:42:25,200 --> 00:42:29,239
Speaker 4: slightly flirty, cheer you up thing. But then he just

815
00:42:29,360 --> 00:42:31,880
Speaker 4: kisses her on the cheek. Because what happens is he

816
00:42:31,920 --> 00:42:33,960
Speaker 4: kisses on the cheek and he exits, and I'm fairly

817
00:42:34,000 --> 00:42:36,640
Speaker 4: certain they rack to the background where Julian sees it.

818
00:42:37,160 --> 00:42:40,480
Speaker 1: Okay, I must have been ordering my my orange juice

819
00:42:40,560 --> 00:42:43,120
Speaker 1: or something, you know, and little Snack missed because I

820
00:42:43,200 --> 00:42:43,560
Speaker 1: missed it.

821
00:42:43,920 --> 00:42:46,880
Speaker 4: By the way, for someone who lacked boundaries, I criticized

822
00:42:46,880 --> 00:42:49,920
Speaker 4: the heck out of Nathan, like, hey, Brook, yeah, really

823
00:42:50,120 --> 00:42:53,919
Speaker 4: in front of your potential still boyfriend, ish, I don't

824
00:42:53,960 --> 00:42:58,440
Speaker 4: you know, Alexander's the water is so muddy with him,

825
00:42:58,760 --> 00:43:01,319
Speaker 4: you know, uh, and on the cheek and she's not

826
00:43:01,360 --> 00:43:05,200
Speaker 4: even like huh. She's just like, Okay, Yeah.

827
00:43:05,239 --> 00:43:09,040
Speaker 1: His presence confuses me a lot. I don't understand what

828
00:43:09,440 --> 00:43:13,279
Speaker 1: point he's supposed to serve in the story, because he's not.

829
00:43:14,000 --> 00:43:16,240
Speaker 1: I feel like he can lift right out at this point.

830
00:43:16,360 --> 00:43:19,920
Speaker 1: It's it's like this rand. It's just it feels very

831
00:43:20,000 --> 00:43:22,840
Speaker 1: random and confusing. But maybe it's going somewhere.

832
00:43:23,560 --> 00:43:27,400
Speaker 4: It feels especially because I don't know, I don't know

833
00:43:27,440 --> 00:43:29,480
Speaker 4: where it goes, but it feels to me like it

834
00:43:29,520 --> 00:43:32,279
Speaker 4: was a character they inserted without fully knowing where it

835
00:43:32,360 --> 00:43:35,040
Speaker 4: was gonna go. Yeah, so they sort of did a

836
00:43:35,080 --> 00:43:37,120
Speaker 4: whole one foot out, one foot out there, or Susie

837
00:43:37,120 --> 00:43:38,520
Speaker 4: one foot in, one foot out where it was like

838
00:43:39,120 --> 00:43:42,040
Speaker 4: he's having me flirty, but he's also just supportive.

839
00:43:43,160 --> 00:43:45,840
Speaker 1: It's like what you said on another of previous podcast

840
00:43:46,040 --> 00:43:48,719
Speaker 1: were you said it's like when he first showed up

841
00:43:49,120 --> 00:43:52,120
Speaker 1: that and this is actually this is totally in tandem

842
00:43:52,160 --> 00:43:55,800
Speaker 1: with with his first introduction. So his introduction is just

843
00:43:55,880 --> 00:44:00,640
Speaker 1: kept going where they just thought he's so handsome, he

844
00:44:00,680 --> 00:44:02,960
Speaker 1: can just stand there and we don't actually need to

845
00:44:02,960 --> 00:44:06,000
Speaker 1: write anything interesting for him. The audience will just love it.

846
00:44:06,160 --> 00:44:08,960
Speaker 1: And I'm sorry that's not working for me. I need

847
00:44:09,000 --> 00:44:10,239
Speaker 1: some substance here.

848
00:44:10,800 --> 00:44:16,200
Speaker 4: That works for him and Alex. That works with a

849
00:44:16,280 --> 00:44:19,960
Speaker 4: character who is not emotionally involved with someone else, a

850
00:44:20,000 --> 00:44:23,480
Speaker 4: single gal. Sure, I'll buy that. That that cat that's

851
00:44:23,600 --> 00:44:25,920
Speaker 4: enough to catch the eye and peak the interest. Yeah,

852
00:44:25,920 --> 00:44:29,640
Speaker 4: like it does with Alex. But if that's what I'm saying,

853
00:44:29,719 --> 00:44:31,560
Speaker 4: is like, I don't I don't know what his role

854
00:44:31,680 --> 00:44:34,760
Speaker 4: was supposed to be. Was he supposed to threaten the relationship?

855
00:44:35,600 --> 00:44:38,320
Speaker 4: Was he supposed to just be a kind of distraction

856
00:44:38,480 --> 00:44:40,160
Speaker 4: that fosters a little jealousy.

857
00:44:40,640 --> 00:44:43,239
Speaker 1: They didn't give him a personality he's he doesn't you

858
00:44:43,239 --> 00:44:45,760
Speaker 1: know what's like, what are you? You can't just be handsome?

859
00:44:46,320 --> 00:44:46,640
Speaker 4: Are you?

860
00:44:47,000 --> 00:44:50,719
Speaker 1: Are you funny? Are you super intellectual? Or like what's

861
00:44:51,040 --> 00:44:53,759
Speaker 1: give me something? Give me some kind of personality trait

862
00:44:53,880 --> 00:44:56,719
Speaker 1: that is, Oh, I get this banter. I get how

863
00:44:56,880 --> 00:44:59,400
Speaker 1: why they're connecting. I get where the threat is. But

864
00:44:59,440 --> 00:45:01,640
Speaker 1: there doesn't s to be a threat. He's just there

865
00:45:03,960 --> 00:45:07,080
Speaker 1: acting like a threat, even though it's I'm not worried.

866
00:45:08,600 --> 00:45:11,160
Speaker 4: You know. It's almost like they they realized they weren't

867
00:45:11,160 --> 00:45:13,840
Speaker 4: gonna have Milly around close over bros for Brooke to

868
00:45:13,920 --> 00:45:17,279
Speaker 4: vent to, so they're like, oh, why don't we just

869
00:45:17,320 --> 00:45:19,759
Speaker 4: bring in like a handsome dude, because if you think

870
00:45:19,760 --> 00:45:21,160
Speaker 4: about it, the reason why I don't think he is

871
00:45:21,239 --> 00:45:23,960
Speaker 4: long for the show is we haven't learned a single

872
00:45:24,000 --> 00:45:24,600
Speaker 4: thing about him.

873
00:45:24,920 --> 00:45:25,560
Speaker 1: Yeah, that's it.

874
00:45:25,719 --> 00:45:28,680
Speaker 4: Brooke hasn't asked and they haven't told us. He's just

875
00:45:28,800 --> 00:45:32,520
Speaker 4: been there to ask questions so that we can hear

876
00:45:32,560 --> 00:45:36,240
Speaker 4: more about Brooke and then occasionally throw a come hither stare.

877
00:45:37,520 --> 00:45:40,200
Speaker 4: But it's like, if it's if it was supposed to

878
00:45:40,239 --> 00:45:43,360
Speaker 4: be a threat to Brook and Julian, it needed to

879
00:45:43,400 --> 00:45:45,120
Speaker 4: come in with a lot more depth.

880
00:45:45,719 --> 00:45:47,480
Speaker 1: Yeah, I totally agree.

881
00:45:47,800 --> 00:45:52,160
Speaker 4: Otherwise it's a massive disservice to Brooke. If like when

882
00:45:52,200 --> 00:45:53,880
Speaker 4: she has the love of her life and she's like,

883
00:45:53,920 --> 00:45:56,880
Speaker 4: but this guy has an accent and a jaw line,

884
00:45:57,160 --> 00:46:01,400
Speaker 4: I don't know, you know, that's basically all I did.

885
00:46:01,400 --> 00:46:04,040
Speaker 4: They're like, listen, you're handsome, you look like a superhero.

886
00:46:04,400 --> 00:46:06,400
Speaker 4: Just stand there, buddy, it'll be good.

887
00:46:06,719 --> 00:46:10,879
Speaker 1: It's fine. Such a shame, such a shame. And then

888
00:46:11,040 --> 00:46:13,880
Speaker 1: just you know, make rude comments to the director, but

889
00:46:13,960 --> 00:46:16,280
Speaker 1: he'll let it go because you're so handsome. It's fine.

890
00:46:16,560 --> 00:46:21,040
Speaker 4: Just and again, it's almost like he's so inconsequential that

891
00:46:21,080 --> 00:46:25,319
Speaker 4: they didn't even spend time with Julian responding.

892
00:46:24,920 --> 00:46:27,480
Speaker 1: Oh, he didn't even look at him. I think he

893
00:46:27,560 --> 00:46:29,240
Speaker 1: just kind of looked at him and then kept going

894
00:46:30,120 --> 00:46:30,880
Speaker 1: so strange.

895
00:46:31,120 --> 00:46:32,480
Speaker 4: He's like, we're going to find out the end of this.

896
00:46:32,520 --> 00:46:34,080
Speaker 4: He was just a ghost. He was just a figment

897
00:46:34,120 --> 00:46:36,920
Speaker 4: of Brooks imagination. The entire time, she's been just making

898
00:46:36,920 --> 00:46:40,120
Speaker 4: suits by herself. That's why no one has ever spoken

899
00:46:40,120 --> 00:46:44,000
Speaker 4: a word to Alexander Coyn. That is it.

900
00:46:44,160 --> 00:46:47,000
Speaker 1: Nobody talks to him except her. Yeah, I'm into it.

901
00:46:47,080 --> 00:46:47,520
Speaker 1: I love that.

902
00:46:48,280 --> 00:46:51,879
Speaker 4: I did love how when alex was at the bar

903
00:46:52,280 --> 00:46:55,359
Speaker 4: with taking shots. I started to write, like, what are

904
00:46:55,400 --> 00:46:58,359
Speaker 4: we doing? Is she on the wagon? Is she off

905
00:46:58,400 --> 00:47:01,480
Speaker 4: the wagon? Have we abandoned this storyline? What are we doing?

906
00:47:01,520 --> 00:47:04,200
Speaker 4: Because again, she's been so like sincere up until this point,

907
00:47:05,080 --> 00:47:06,640
Speaker 4: and then of course we found out their water, so

908
00:47:06,640 --> 00:47:10,520
Speaker 4: I had to write never mind. But I loved the

909
00:47:10,600 --> 00:47:14,480
Speaker 4: line where she maybe he says like are you not

910
00:47:14,520 --> 00:47:17,160
Speaker 4: supposed to drink or something? Which why would he know?

911
00:47:17,200 --> 00:47:21,319
Speaker 4: That doesn't matter? And she goes, it's not it's not

912
00:47:21,440 --> 00:47:25,040
Speaker 4: it's water. I've replaced booze with boys. I was like, Okay,

913
00:47:25,239 --> 00:47:25,880
Speaker 4: this is fun.

914
00:47:26,400 --> 00:47:28,000
Speaker 1: You know, Yeah, I liked it.

915
00:47:28,239 --> 00:47:30,840
Speaker 4: He seems to be on board. I was like, great, Oh,

916
00:47:31,080 --> 00:47:34,920
Speaker 4: except hold on, is this the episode or was it

917
00:47:35,080 --> 00:47:38,560
Speaker 4: last episode? Oh? No, it was last episode. I think

918
00:47:38,560 --> 00:47:41,200
Speaker 4: it was just sof and I it killed me. They

919
00:47:41,280 --> 00:47:44,320
Speaker 4: do all this cool stuff of Alex being a total

920
00:47:44,320 --> 00:47:47,840
Speaker 4: wingman to Julian, right like the movie, and then go like, no,

921
00:47:47,880 --> 00:47:50,799
Speaker 4: you're gonna go to the eighties dance and yeah, at

922
00:47:50,840 --> 00:47:54,359
Speaker 4: the end of the dance, how funny. There was a

923
00:47:54,400 --> 00:48:01,160
Speaker 4: moment with Alexander and Alex outside and Alex says to him,

924
00:48:01,440 --> 00:48:03,520
Speaker 4: you know, it's never gonna work with you and Brooke,

925
00:48:04,520 --> 00:48:06,879
Speaker 4: and I think he says, like why and she goes

926
00:48:07,120 --> 00:48:10,879
Speaker 4: cause she's in love with him? And he goes, oh,

927
00:48:10,920 --> 00:48:13,120
Speaker 4: and she says, do you know why I know that?

928
00:48:13,239 --> 00:48:15,200
Speaker 4: Or how I know that? And he goes now and

929
00:48:15,239 --> 00:48:16,919
Speaker 4: she goes because I'm in love with him too.

930
00:48:17,400 --> 00:48:22,000
Speaker 1: I'm like, what are we doing, manufactured?

931
00:48:22,400 --> 00:48:24,640
Speaker 4: Why are we keeping up this whole? Like is she

932
00:48:24,800 --> 00:48:25,600
Speaker 4: a threat still?

933
00:48:25,680 --> 00:48:25,840
Speaker 2: You know?

934
00:48:25,960 --> 00:48:29,600
Speaker 1: Like, yeah, there was a lot of moments in this episode,

935
00:48:29,760 --> 00:48:33,239
Speaker 1: and I'm sure in the last couple too. I mean,

936
00:48:33,600 --> 00:48:36,520
Speaker 1: we had it was like there were storylines that were

937
00:48:36,520 --> 00:48:39,560
Speaker 1: really important for the for the writer's room to focus on,

938
00:48:39,719 --> 00:48:42,040
Speaker 1: and then there were kind of peripheral storylines that it

939
00:48:42,080 --> 00:48:44,759
Speaker 1: was like, we just have to explain everything, And I

940
00:48:44,880 --> 00:48:46,719
Speaker 1: wish that they would have taken a little more time

941
00:48:46,800 --> 00:48:50,320
Speaker 1: to create something that was more subtle and just trusting

942
00:48:50,360 --> 00:48:53,520
Speaker 1: the audience to pay attention and understand what was going

943
00:48:53,600 --> 00:48:57,120
Speaker 1: on without having everything just verbally explained. It was a

944
00:48:57,160 --> 00:49:00,439
Speaker 1: lot of time wasting dialogue in this episode and maybe

945
00:49:00,440 --> 00:49:02,439
Speaker 1: the last one too. I didn't I haven't watched that one,

946
00:49:02,520 --> 00:49:03,640
Speaker 1: but yes, it.

947
00:49:03,640 --> 00:49:07,040
Speaker 4: Just would have been so much more interesting if at

948
00:49:07,040 --> 00:49:11,280
Speaker 4: the end, instead of her reconfessing her love of Julian

949
00:49:11,320 --> 00:49:14,359
Speaker 4: to a stranger, if she had just been like, what's up,

950
00:49:14,520 --> 00:49:16,399
Speaker 4: what's up? Jaw line? You want to get out of here?

951
00:49:17,400 --> 00:49:20,040
Speaker 4: Like just replace this and just have it start, you know,

952
00:49:20,280 --> 00:49:21,480
Speaker 4: half an episode sooner.

953
00:49:21,800 --> 00:49:25,799
Speaker 1: Yeah, what's the problem? Like, well, we know what's going on. Yeah, yeah,

954
00:49:26,040 --> 00:49:27,640
Speaker 1: exactly explain it. I get it.

955
00:49:28,040 --> 00:49:31,040
Speaker 4: I did love on that movie. Brooke was a total

956
00:49:31,120 --> 00:49:34,719
Speaker 4: team player. You know, there's a scene where they're wardrobe

957
00:49:34,760 --> 00:49:37,200
Speaker 4: adjustments on Alex and she goes like, oh, if we

958
00:49:37,280 --> 00:49:39,239
Speaker 4: rolled the sleeves up and she sees the scars and

959
00:49:39,880 --> 00:49:41,640
Speaker 4: Julie I think starts to say I like that, and

960
00:49:41,680 --> 00:49:43,640
Speaker 4: but Brooke sees the scars and she's like, ah, no,

961
00:49:43,760 --> 00:49:46,960
Speaker 4: I got it. I got something even better. Yeah, a

962
00:49:47,040 --> 00:49:50,239
Speaker 4: real quiet act of kindness. And then it's end of

963
00:49:50,320 --> 00:49:52,440
Speaker 4: the day when I think Brook sees that Alex is

964
00:49:52,480 --> 00:49:55,600
Speaker 4: really doubting herself. She comes up and she says, like,

965
00:49:55,680 --> 00:49:58,520
Speaker 4: you're doing good. Yeah. Man, that's such a high road

966
00:49:58,600 --> 00:49:59,640
Speaker 4: move it is.

967
00:50:00,160 --> 00:50:02,480
Speaker 1: That's some high frequency stuff right there.

968
00:50:02,600 --> 00:50:05,560
Speaker 4: Because she's saying that to the woman who completely undermined

969
00:50:05,600 --> 00:50:08,160
Speaker 4: a relationship. And I don't even know that she's doing

970
00:50:08,160 --> 00:50:10,759
Speaker 4: it for Alex's sake. I don't even know that she's

971
00:50:11,000 --> 00:50:13,839
Speaker 4: that compassionate as much as she's doing it for Julian's sake.

972
00:50:14,360 --> 00:50:16,560
Speaker 1: Yeah, I don't know. It struck me as something that

973
00:50:16,600 --> 00:50:18,680
Speaker 1: she was just doing for herself. Like, you know, I

974
00:50:18,680 --> 00:50:21,800
Speaker 1: don't want to be a vindictive person. I just I

975
00:50:22,160 --> 00:50:23,600
Speaker 1: don't want to have This is a lot, there's a

976
00:50:23,600 --> 00:50:27,080
Speaker 1: lot of energy to carry around. I just I just

977
00:50:27,120 --> 00:50:33,239
Speaker 1: want to be compassionate. It's this is someone harming themselves

978
00:50:33,280 --> 00:50:37,560
Speaker 1: is such an intense thing to carry around. I think

979
00:50:39,120 --> 00:50:41,239
Speaker 1: so many of us would have done the exact same thing, Like,

980
00:50:41,400 --> 00:50:45,520
Speaker 1: no matter what the stakes, are emotionally with romantic issues

981
00:50:45,560 --> 00:50:49,000
Speaker 1: and you see another person in front of you who

982
00:50:49,760 --> 00:50:54,640
Speaker 1: has harmed themselves in that way, wouldn't you just like,

983
00:50:54,920 --> 00:50:56,640
Speaker 1: you know what, none of this other stuff matters, Like,

984
00:50:56,719 --> 00:50:59,400
Speaker 1: let's just be kind to each other and you know,

985
00:50:59,440 --> 00:51:01,440
Speaker 1: at the end of the day day, that's what matters.

986
00:51:01,680 --> 00:51:04,480
Speaker 4: Yes, that's very brooke. Yeah, it is. It is the

987
00:51:04,600 --> 00:51:08,839
Speaker 4: very it's the evolved response where it's yes, rather than

988
00:51:08,880 --> 00:51:11,720
Speaker 4: getting caught up in the nitty gritty ego cat fighting

989
00:51:11,719 --> 00:51:14,320
Speaker 4: stuff happening, I'm gonna zoom out and realize you're a

990
00:51:14,400 --> 00:51:17,399
Speaker 4: hurting person. Yeah, and I'm just gonna be kind.

991
00:51:17,760 --> 00:51:21,320
Speaker 1: Yeah. I'm not gonna extrapolate on that. Let's just be kind.

992
00:51:23,200 --> 00:51:25,800
Speaker 1: We have a question, But I do want to say

993
00:51:26,719 --> 00:51:29,120
Speaker 1: Michael Grubbs is so good, dude.

994
00:51:29,560 --> 00:51:31,760
Speaker 4: I wasn't gonna let us get out without talking about

995
00:51:32,000 --> 00:51:33,120
Speaker 4: Miranda and Grubs.

996
00:51:33,520 --> 00:51:37,520
Speaker 1: It's so good. First of all, also that he is

997
00:51:38,200 --> 00:51:40,960
Speaker 1: he's kind of like the other parallel of Lydia in

998
00:51:40,960 --> 00:51:43,640
Speaker 1: this episode, where he's the one person who's willing to

999
00:51:43,640 --> 00:51:46,799
Speaker 1: dive in and ask uncomfortable questions and he's always been

1000
00:51:46,840 --> 00:51:49,440
Speaker 1: that way since he showed up on the scene. He

1001
00:51:49,960 --> 00:51:52,360
Speaker 1: really like it seems like he lives life to the

1002
00:51:52,360 --> 00:51:55,720
Speaker 1: fullest in that way where he's not gonna dance around things.

1003
00:51:55,719 --> 00:51:58,279
Speaker 1: He just dives right in, like let's not waste time.

1004
00:51:58,320 --> 00:52:01,280
Speaker 1: Life is short, Like what's really going on with you? Yeah,

1005
00:52:01,360 --> 00:52:02,440
Speaker 1: he's so good at it.

1006
00:52:03,000 --> 00:52:06,760
Speaker 4: He's great. And then they're they're just their chemistry is fun.

1007
00:52:07,360 --> 00:52:10,759
Speaker 4: It's so cute. I think you have a line where

1008
00:52:10,840 --> 00:52:13,839
Speaker 4: you come in into the into red bedroom and she's

1009
00:52:13,880 --> 00:52:17,080
Speaker 4: there with her flower and she's like kind of complaining

1010
00:52:17,120 --> 00:52:19,680
Speaker 4: about it, and then she's like and he called me

1011
00:52:19,760 --> 00:52:23,080
Speaker 4: her his girlfriend, and you're like, sounds like, are you

1012
00:52:23,120 --> 00:52:27,480
Speaker 4: totally have a boyfriend? Go get him Tiger. Yeah, so good.

1013
00:52:28,040 --> 00:52:33,320
Speaker 4: It's great. So yeah, their stuff is wonderful, and Lydia's

1014
00:52:33,320 --> 00:52:36,840
Speaker 4: stuff was just, uh was just great. Best killed it.

1015
00:52:36,960 --> 00:52:39,160
Speaker 4: You all showed up for it. It was great.

1016
00:52:40,360 --> 00:52:40,920
Speaker 1: Yeah.

1017
00:52:41,040 --> 00:52:42,520
Speaker 4: Yeah, it was strong. It was strong work.

1018
00:52:43,400 --> 00:52:45,960
Speaker 1: Thanks. Yeah. And they did such a great job too.

1019
00:52:45,960 --> 00:52:50,359
Speaker 1: It was it was a tough storyline to begin entering into,

1020
00:52:50,480 --> 00:52:54,920
Speaker 1: and I really it's a it was. It was really

1021
00:52:55,000 --> 00:52:59,920
Speaker 1: well done that they wrote so much fun, playful energy

1022
00:53:00,040 --> 00:53:02,319
Speaker 1: at the top of the episode and we really got

1023
00:53:02,320 --> 00:53:07,160
Speaker 1: to soak in the Scott family to the James Scott

1024
00:53:07,200 --> 00:53:12,719
Speaker 1: family dynamic, feeling that it almost felt like that the

1025
00:53:12,760 --> 00:53:14,839
Speaker 1: household that it will it did it must have felt

1026
00:53:14,840 --> 00:53:17,040
Speaker 1: like the household that the sisters grew up in. So

1027
00:53:17,080 --> 00:53:19,520
Speaker 1: we all got to really feel that for the first

1028
00:53:19,920 --> 00:53:23,040
Speaker 1: half of the episode. And then Lydia dropped this bomb

1029
00:53:23,080 --> 00:53:27,399
Speaker 1: about having cancer and having not much time left, and

1030
00:53:28,520 --> 00:53:32,719
Speaker 1: it was a really smart way of truncating years of

1031
00:53:32,760 --> 00:53:35,680
Speaker 1: experience that we haven't had as an audience because we've

1032
00:53:35,680 --> 00:53:37,880
Speaker 1: been living in tree Hill with all these other characters,

1033
00:53:39,160 --> 00:53:41,840
Speaker 1: to truncating all of that into a short amount of

1034
00:53:41,880 --> 00:53:44,359
Speaker 1: time so that we still really felt it hit home

1035
00:53:44,680 --> 00:53:50,880
Speaker 1: when she best made the Lydia makes this announcement, like

1036
00:53:50,920 --> 00:53:55,000
Speaker 1: the sorrow really really connected. I was crying on this

1037
00:53:55,120 --> 00:54:01,880
Speaker 1: flight watching this, watching these scenes with some really wonderful actresses.

1038
00:54:02,040 --> 00:54:02,640
Speaker 1: They were great.

1039
00:54:02,840 --> 00:54:05,719
Speaker 4: Yeah. I think part of also why it was so

1040
00:54:05,760 --> 00:54:09,520
Speaker 4: effective was credit to the writing. It felt. It all

1041
00:54:09,560 --> 00:54:13,040
Speaker 4: felt believable, and it all felt honest. I thought, the

1042
00:54:13,040 --> 00:54:19,759
Speaker 4: way Lydia handles it, I see totally, that's believable. You know,

1043
00:54:19,880 --> 00:54:22,440
Speaker 4: she's she's had this information for a while. That's what

1044
00:54:22,480 --> 00:54:25,120
Speaker 4: allows her to be in this space now, you know.

1045
00:54:25,239 --> 00:54:27,840
Speaker 4: And then the way each of you reacts to me.

1046
00:54:27,920 --> 00:54:31,120
Speaker 4: I'm like, yeah, I could see me reacting any of

1047
00:54:31,120 --> 00:54:31,920
Speaker 4: those three ways.

1048
00:54:32,640 --> 00:54:32,879
Speaker 1: Yeah.

1049
00:54:32,920 --> 00:54:35,719
Speaker 4: And there's that great moment with the two of you

1050
00:54:36,520 --> 00:54:39,160
Speaker 4: where you're really struggling and she says, we're going to

1051
00:54:39,239 --> 00:54:41,319
Speaker 4: have to be strong for everybody else who can't be.

1052
00:54:41,760 --> 00:54:45,319
Speaker 4: I'm like, listen, there's one is at least one of

1053
00:54:45,320 --> 00:54:48,520
Speaker 4: those in every family. There's a lot of viewers who

1054
00:54:48,520 --> 00:54:50,879
Speaker 4: have had to be that person, you know, Like it's

1055
00:54:51,000 --> 00:54:54,680
Speaker 4: just so relatable and so honest. But yeah, that was

1056
00:54:54,719 --> 00:54:56,560
Speaker 4: top to bottom well executed.

1057
00:54:57,120 --> 00:54:59,280
Speaker 1: Yeah, next one's going to be tough.

1058
00:54:59,440 --> 00:55:03,280
Speaker 4: My honorable men goes to the final shot of Bess

1059
00:55:03,520 --> 00:55:06,200
Speaker 4: and you three on the couch cuddled, and then it

1060
00:55:06,320 --> 00:55:09,640
Speaker 4: cuts back to an old photo of them or of

1061
00:55:09,719 --> 00:55:13,279
Speaker 4: you all young, and it is that that tugged at

1062
00:55:13,320 --> 00:55:14,040
Speaker 4: my heart strings.

1063
00:55:14,040 --> 00:55:21,120
Speaker 1: Man, that really got me too, really did so sentimental man.

1064
00:55:21,160 --> 00:55:26,520
Speaker 1: Honorable mention, I'm going to give mine to India de Beaufort,

1065
00:55:26,560 --> 00:55:32,279
Speaker 1: who is really surprising me. You know, she showed up

1066
00:55:32,360 --> 00:55:35,320
Speaker 1: and it was very tough and not her the character,

1067
00:55:35,440 --> 00:55:39,880
Speaker 1: this character that she's playing was just so tough and

1068
00:55:40,600 --> 00:55:46,920
Speaker 1: unrelenting and unforgiving and cold and hard and watching her subtly,

1069
00:55:47,080 --> 00:55:50,680
Speaker 1: like watching her trust the audience that she's she is

1070
00:55:50,760 --> 00:55:56,120
Speaker 1: subtle in her performance, and it's it's really pleasant to

1071
00:55:56,200 --> 00:55:58,960
Speaker 1: see that you have to watch and pay attention in

1072
00:55:59,080 --> 00:56:02,240
Speaker 1: order to see the that's bubbling up in her beneath

1073
00:56:02,239 --> 00:56:06,479
Speaker 1: the surface, and it's there, and I really it's fun.

1074
00:56:06,520 --> 00:56:08,680
Speaker 1: It's a little Easter egg hunt when I watch her

1075
00:56:08,719 --> 00:56:10,960
Speaker 1: on screen, and I love fantastic.

1076
00:56:11,280 --> 00:56:26,279
Speaker 5: Yeah, listener, question yet, what does it say?

1077
00:56:27,040 --> 00:56:30,920
Speaker 4: Abigail writes. In season one, Haley says she comes from

1078
00:56:30,920 --> 00:56:33,680
Speaker 4: a big family, and Nathan looks at a bolton board

1079
00:56:33,719 --> 00:56:36,560
Speaker 4: and asks, are those all your brothers and sisters? By

1080
00:56:36,640 --> 00:56:40,560
Speaker 4: season seven, Haley has only two siblings, Taylor and Quinn.

1081
00:56:41,040 --> 00:56:43,200
Speaker 4: If Haley were to have a brother, what would his

1082
00:56:43,280 --> 00:56:47,120
Speaker 4: personality be? And if Brooke and Clay were to have

1083
00:56:47,160 --> 00:56:50,319
Speaker 4: siblings they were raised with what kind of personalities do

1084
00:56:50,360 --> 00:56:52,600
Speaker 4: we think they would have? And what kind of siblings

1085
00:56:52,600 --> 00:56:57,800
Speaker 4: would those characters be? Whoa essay question?

1086
00:57:00,080 --> 00:57:03,400
Speaker 1: Thank you, Abigail, thank you, Yes it's true, it's your first.

1087
00:57:03,760 --> 00:57:06,759
Speaker 1: By the end of the season, Taylor and Quinn are

1088
00:57:06,920 --> 00:57:10,239
Speaker 1: Haley's only siblings. By the end of this series, yes

1089
00:57:11,400 --> 00:57:14,520
Speaker 1: it is. This is like what soap operas used to

1090
00:57:14,560 --> 00:57:17,560
Speaker 1: do when a character would an actor would leave the

1091
00:57:17,560 --> 00:57:19,880
Speaker 1: show and a new actor would show up in the

1092
00:57:19,920 --> 00:57:22,640
Speaker 1: exact same role, and this announcer voice would come over

1093
00:57:22,680 --> 00:57:26,760
Speaker 1: and say, the role of Rebecca will now be played

1094
00:57:26,760 --> 00:57:30,600
Speaker 1: by Yeah. So I feel like that's what happened here.

1095
00:57:30,680 --> 00:57:34,160
Speaker 1: They just you know, it's been long enough. There wasn't this.

1096
00:57:34,360 --> 00:57:38,560
Speaker 1: The show was on syndication, but it wasn't streamable and

1097
00:57:38,600 --> 00:57:41,600
Speaker 1: binging like we were today, where now, if you watch

1098
00:57:41,720 --> 00:57:46,120
Speaker 1: seven seasons over the course of two months every day,

1099
00:57:46,480 --> 00:57:50,160
Speaker 1: you're recognizing all of these differences. But back then TV

1100
00:57:50,320 --> 00:57:52,840
Speaker 1: was a little different, So I think they just assumed

1101
00:57:52,840 --> 00:57:55,840
Speaker 1: the audience forgot, which is kind of funny. I don't

1102
00:57:55,920 --> 00:57:59,320
Speaker 1: know if Haley had a brother, well she did, right

1103
00:57:59,440 --> 00:58:01,400
Speaker 1: at some point she had brothers that.

1104
00:58:01,360 --> 00:58:03,440
Speaker 4: Were actually on the show or just referenced.

1105
00:58:03,600 --> 00:58:07,960
Speaker 1: No, they were just referenced. However, I think it would

1106
00:58:08,000 --> 00:58:12,080
Speaker 1: probably be like my mom. Actually, in real life, my

1107
00:58:12,160 --> 00:58:15,680
Speaker 1: mom's and my mom and her sister were about fifteen

1108
00:58:15,760 --> 00:58:21,360
Speaker 1: years younger than their oldest brother, and they had two

1109
00:58:21,480 --> 00:58:27,400
Speaker 1: older brothers. So I'm assuming that's probably what happened with

1110
00:58:28,720 --> 00:58:32,080
Speaker 1: Hayley and Taylor and Quinny. Maybe they just had much

1111
00:58:32,120 --> 00:58:36,439
Speaker 1: older brothers who were off living their lives. I don't

1112
00:58:36,480 --> 00:58:38,560
Speaker 1: know what their personalities would have been like. I mean,

1113
00:58:39,120 --> 00:58:41,200
Speaker 1: I could have gone in any different direction. They probably

1114
00:58:41,240 --> 00:58:43,320
Speaker 1: was one who was wild like Taylor, and another one

1115
00:58:43,360 --> 00:58:49,640
Speaker 1: who was you know, responsible and working a really great

1116
00:58:49,760 --> 00:58:52,160
Speaker 1: job and just keeping his life together and all that.

1117
00:58:52,560 --> 00:58:56,040
Speaker 4: I think if Clay had a sibling, I could see

1118
00:58:56,080 --> 00:59:02,480
Speaker 4: him having a brother like Nathan, because Nathan becomes Clay's

1119
00:59:02,520 --> 00:59:03,120
Speaker 4: best friend.

1120
00:59:03,640 --> 00:59:03,880
Speaker 1: Yeah.

1121
00:59:03,920 --> 00:59:06,840
Speaker 4: I think a lot of times, you know, your your

1122
00:59:06,880 --> 00:59:09,000
Speaker 4: brother kind of is your best friend, and so I

1123
00:59:09,280 --> 00:59:10,680
Speaker 4: just I think it kind of makes sense that if

1124
00:59:10,680 --> 00:59:12,360
Speaker 4: he had a brother, I could see it being like

1125
00:59:12,440 --> 00:59:14,360
Speaker 4: Nathan because Nathan kind of becomes his brother.

1126
00:59:14,840 --> 00:59:16,320
Speaker 1: Yeah, yeah, I could see that.

1127
00:59:16,960 --> 00:59:18,240
Speaker 4: Thanks for the question, Abigail.

1128
00:59:18,440 --> 00:59:21,240
Speaker 1: Yeah. Thanks well.

1129
00:59:21,360 --> 00:59:27,920
Speaker 4: Joy, Well, unless you want to share some recipes, let's

1130
00:59:27,920 --> 00:59:41,280
Speaker 4: spin that wheel. I'm most likely to become a Broadway star.

1131
00:59:41,680 --> 00:59:42,800
Speaker 1: Broadway star?

1132
00:59:43,080 --> 00:59:44,400
Speaker 4: Sure and Lawrence?

1133
00:59:44,880 --> 00:59:52,280
Speaker 1: Yeah there done that? Oh my god, she's have you

1134
00:59:52,360 --> 00:59:54,240
Speaker 1: seen her on stage?

1135
00:59:54,600 --> 00:59:54,760
Speaker 2: No?

1136
00:59:55,840 --> 00:59:57,400
Speaker 1: Oh, she's so good.

1137
00:59:57,760 --> 00:59:59,240
Speaker 4: But I am a family. All things shared.

1138
00:59:59,360 --> 01:00:03,040
Speaker 1: I find video she and I did it did a

1139
01:00:03,200 --> 01:00:07,640
Speaker 1: benefit for dang it. It's a French I can't remember.

1140
01:00:08,000 --> 01:00:09,640
Speaker 1: I can't remember I have to go find it. But

1141
01:00:10,120 --> 01:00:13,680
Speaker 1: she and I did a performance as nuns who turned

1142
01:00:13,680 --> 01:00:15,960
Speaker 1: out to be like cabaret performers by the end of

1143
01:00:16,000 --> 01:00:22,600
Speaker 1: the song, and uh, she's so brilliant. Like we had

1144
01:00:22,640 --> 01:00:25,080
Speaker 1: a good four or five days of it was a

1145
01:00:25,120 --> 01:00:27,720
Speaker 1: four days of rehearsal. We just like really worked on

1146
01:00:27,760 --> 01:00:33,520
Speaker 1: this routine together. And she's such a pro and her

1147
01:00:33,640 --> 01:00:36,680
Speaker 1: voice is so good. If you just go on a

1148
01:00:36,720 --> 01:00:41,160
Speaker 1: deep dive of Sharon Lawrence musical theater friends, you're going

1149
01:00:41,200 --> 01:00:43,000
Speaker 1: to be delightfully surprised.

1150
01:00:43,120 --> 01:00:46,280
Speaker 4: I've heard her sing, and I've seen her dance. I've

1151
01:00:46,280 --> 01:00:49,200
Speaker 4: just never seen any of her actually on Broadway stuff.

1152
01:00:49,600 --> 01:00:52,280
Speaker 1: Yeah, off to dive. There's got to be there's got

1153
01:00:52,280 --> 01:00:56,800
Speaker 1: to be stuff out there. What about characters on the show?

1154
01:00:57,080 --> 01:01:01,040
Speaker 4: Millie, that's mine, it's the first name. I thought. Oh,

1155
01:01:01,480 --> 01:01:05,160
Speaker 4: she's very interested in ballerinas. I'm assuming she's probably taking

1156
01:01:05,160 --> 01:01:08,240
Speaker 4: some dance classes. You're never gonna let that go. No. Also,

1157
01:01:08,280 --> 01:01:11,400
Speaker 4: because that's another thing the fans were like, hey, dumb, dumb.

1158
01:01:11,680 --> 01:01:14,320
Speaker 4: She actually said earlier in the show that she likes

1159
01:01:14,360 --> 01:01:17,760
Speaker 4: ballerinas in ballet, and her mouth I was like, well listen, gang, oh,

1160
01:01:17,840 --> 01:01:20,560
Speaker 4: I get it. Sorry, I haven't seen those episodes I missed,

1161
01:01:20,680 --> 01:01:23,960
Speaker 4: so now I know that she genuinely likes ballet. She

1162
01:01:24,080 --> 01:01:28,240
Speaker 4: also just looks She looks like someone who could have

1163
01:01:28,440 --> 01:01:30,120
Speaker 4: just stepped off of a Broadway stage.

1164
01:01:30,680 --> 01:01:35,480
Speaker 1: She'd for sure does. Yes, I also could see mouth.

1165
01:01:36,080 --> 01:01:39,160
Speaker 1: He seems to be someone that just really interesting opportunities

1166
01:01:39,200 --> 01:01:41,080
Speaker 1: come his way all the time that are just out

1167
01:01:41,120 --> 01:01:44,120
Speaker 1: of left fields. This feels like something that he would

1168
01:01:44,120 --> 01:01:45,320
Speaker 1: do completely.

1169
01:01:45,360 --> 01:01:48,600
Speaker 4: Also, Millie is she has a lot of the reluctant

1170
01:01:48,600 --> 01:01:51,760
Speaker 4: star energy going on. Oh yes, we've already seen it.

1171
01:01:51,760 --> 01:01:54,479
Speaker 4: With clothes overbros. You could see her getting thrust into

1172
01:01:54,720 --> 01:01:56,520
Speaker 4: a starring role all of a sudden, and she kills

1173
01:01:56,520 --> 01:01:57,880
Speaker 4: it and she's like, what's going on?

1174
01:01:58,160 --> 01:02:04,040
Speaker 1: Yeah, yeah, it's so good. Thanks everybody for joining us.

1175
01:02:04,680 --> 01:02:07,800
Speaker 1: Next episode, Season seven, episode seventeen. Oh I think I

1176
01:02:07,880 --> 01:02:12,640
Speaker 1: directed this one at the bottom of everything Cool. We'll

1177
01:02:12,640 --> 01:02:16,480
Speaker 1: see you next week, guys. Bye, Hey, thanks for listening.

1178
01:02:16,600 --> 01:02:18,840
Speaker 1: Don't forget to leave us a review. You can also

1179
01:02:18,880 --> 01:02:23,320
Speaker 1: follow us on Instagram at drama queens oth or email

1180
01:02:23,440 --> 01:02:26,720
Speaker 1: us at drama Queens at iHeartRadio dot com.

1181
01:02:26,960 --> 01:02:31,080
Speaker 4: See you next time. We all about that high.

1182
01:02:30,840 --> 01:02:31,840
Speaker 3: School drama girl.

1183
01:02:31,920 --> 01:02:35,080
Speaker 1: Drama Girl all about them high school queens.

1184
01:02:35,120 --> 01:02:37,320
Speaker 2: We'll take you for a ride at our comic girl

1185
01:02:38,120 --> 01:02:41,400
Speaker 2: Cheering for the right teams, Drama queens, Lease my girl,

1186
01:02:41,560 --> 01:02:44,040
Speaker 2: up girl fashion, what your tough girl? You could sit

1187
01:02:44,080 --> 01:02:47,880
Speaker 2: with us Girl Drama Queens, Drama, Queense Drama Queens, Drama,

1188
01:02:47,960 --> 01:02:50,280
Speaker 2: Drama Queens, Drama Queens