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Speaker 1: You do your rock in the shaved works.

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Speaker 2: It really does look good. Are you happy that you

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Speaker 2: shaved again?

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Speaker 3: I am, But you know it's only because Alex left town.

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Speaker 1: So she really prefers the beard. Huh.

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Speaker 3: Yes, she like like and she can't like say that

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Speaker 3: she hates my face, but she hates my face guys face.

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Speaker 2: Maybe maybe I know you've talked about before that it's

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Speaker 2: very hard for her to watch Boy Meets World because

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Speaker 2: you're a child on it. Maybe she you just look

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Speaker 2: too much like your young self and she's used to

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Speaker 2: just the old man writer. Yeah.

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Speaker 3: Yeah, I mean I basically at this point, anytime she

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Speaker 3: like we're gonna be a part for more than a week,

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Speaker 3: I'm just gonna shave.

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Speaker 1: Just shave. How long does it take for you to

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Speaker 1: grow it back?

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Speaker 2: Not that long.

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Speaker 3: I mean like within a couple of days. I will

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Speaker 3: have like enough that it's like, oh, you have facial hair,

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Speaker 3: you know, And I'm not I didn't completely shave you.

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Speaker 2: Notice, I like shadow exactly.

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Speaker 1: When a nice boy band kind of look nice. I

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Speaker 1: love that that we've all fought for you.

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Speaker 2: What does Indy like best? Uh, that's a good question.

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Speaker 3: I think he liked the novelty of clean shaven for

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Speaker 3: so long that he was like, all about it, But

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Speaker 3: I don't know, I'll have to ask him.

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Speaker 2: Now, and what do you prefer? Writer?

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Speaker 3: Honestly, I like being clean shaven lately. Like it was,

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Speaker 3: you know, it's just I look younger, and I was like, oh,

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Speaker 3: this is I don't know. It was like a lost

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Speaker 3: part of myself that I was like really running away from,

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Speaker 3: you know, literally just trying to like not look like

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Speaker 3: I did when I was younger. I mean, so much

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Speaker 3: of my twenties was spent trying to like be an

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Speaker 3: adult and like, you know, basically like I'm not the

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Speaker 3: guy who was on the show and looked.

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Speaker 1: Like I have a fifteen a pipe.

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Speaker 3: I'm grown up, damnit.

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Speaker 2: Yeah.

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Speaker 3: And so it's so interesting to be on the other

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Speaker 3: side of that now and be like, you know, it

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Speaker 3: was the second my beard turned gray. I was like, oh, now, yeah,

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Speaker 3: I look my age, which is totally appropriate.

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Speaker 1: It is only gray. I was seeing pictures of myself

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Speaker 1: this weekend. I was like, who the hell is that

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Speaker 1: old man that still has the brain of the eighteen

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Speaker 1: year old? Like, what the what absolutely happened?

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Speaker 3: I turned forty COVID hit and my beard went gray

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Speaker 3: and it was like all it was like midlife crisis

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Speaker 3: hit hard, you know, Oh my god.

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Speaker 1: I don't think I ever went through a midlife crisis

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Speaker 1: because I've always kind of been you.

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Speaker 2: Live a midlife crisis.

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Speaker 1: I've been still lived life crisis since I was like thirteen.

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Speaker 1: It doesn't I've just but I live. So somebody brought over.

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Speaker 1: I was at a convention this weekend and somebody I'm

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Speaker 1: having my bathroom redone, and somebody brought a Batman beyond

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Speaker 1: batmobile that I had never seen before, and I bought

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Speaker 1: it on the spot and it's going to go in

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Speaker 1: my brand new bath cave, which is what I'm calling

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Speaker 1: my my back the bathroom, okay, and the the Batman light,

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Speaker 1: the signal light you gave me. And I just realized,

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Speaker 1: like I will never go through a midlife crisis because

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Speaker 1: I'm just always twelve.

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Speaker 2: Right, You're just always still a kid.

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Speaker 1: I am. I'm just always twelve. And I think that's

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Speaker 1: why I didn't want kids, because I'm I'm the baby, right,

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Speaker 1: so the baby. I just I think that as I've

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Speaker 1: come to that realization, it's as sad as that is.

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Speaker 1: I'm just I'm a kid at heart. So yeah, you

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Speaker 1: were always an old man writer, Danielle. You went through

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Speaker 1: phases of being both young and then kind of like

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Speaker 1: the mom even though you were nineteen, where I've always

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Speaker 1: just been the kid. It's really strange.

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Speaker 2: I'm definitely going through midlife crisis right now. Oh yeah,

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Speaker 2: what are you a midlife crisis?

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Speaker 1: Oh what are you doing? Well?

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Speaker 2: I just all these things that like never that we're

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Speaker 2: just never likes the granful Dead Now I like the

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Speaker 2: grateful Dead. I want to be in Vegas all the time.

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Speaker 2: I spend so much more time with friends than I

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Speaker 2: ever have in the past. I'm like just doing more things.

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Speaker 2: I yeah, I don't know. I'm also I need to

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Speaker 2: settle down on the shopping. I just I'm like constantly

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Speaker 2: looking at things online to buy and and things that

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Speaker 2: are like passions of mine, like watches. I've always loved

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Speaker 2: watches or shoes, but I've always for the most part,

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Speaker 2: had a pretty like healthy balance of buying. Lately, it's like,

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Speaker 2: I just feel like I'm in way over consumption mode.

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Speaker 2: So you know, we're just trying to we're trying to

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Speaker 2: rene it in.

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Speaker 3: We're trying You're going to pick a like a baby

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Speaker 3: beanie habit or something that's a lot cheaper.

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Speaker 2: You know, right, you watch jewelry.

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Speaker 1: Diamonds, shoes. To be honest, Danielle, we're not even recording

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Speaker 1: right now. This is just rider and not having an

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Speaker 1: intervention for your spending. So we just we're going to

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Speaker 1: bring some other people in really talking about what's been

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Speaker 1: going on and just kick this out. See what happens. Yeah, yeah,

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Speaker 1: you are, you do. That's the problem is you. It's

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Speaker 1: not that you buy stuff. It's that you have champagne

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Speaker 1: taste and it's good champagne. That's that's the thing. But

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Speaker 1: in all fairness, as Susan always tells me, a lot

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Speaker 1: of the stuff you buy appreciates and value.

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Speaker 2: That's true.

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Speaker 1: Like you're not throwing away like I buy stuff where

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Speaker 1: the second you drive it off the lot, this is

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Speaker 1: worth enough.

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Speaker 3: Well, you're not helping the intervention, that's right.

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Speaker 1: You're right, you're right.

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Speaker 2: I like these kind of interventions where it's actually just

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Speaker 2: further prove. What I'm doing is tell me I'm pretty.

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Speaker 1: Now, tell me i'm pretty.

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Speaker 3: You're peaking in your midlife crisis.

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Speaker 1: Go with it.

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Speaker 2: It's work. This is getting run. Welcome to pond meets World.

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Speaker 2: I'm Danielle Fischel, I'm right or Strong, and I'm Wilfredell.

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Speaker 1: Hello.

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Speaker 4: I am Matthew Mercer from Critical Role, a tabletop role

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Speaker 4: playing show where a bunch of nerdy voice actors explore

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Speaker 4: the fantasy world of Xandria. Each episode, I lead players

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Speaker 4: Laura Bailey, Talis and Jeffe Ashley Johnson, Liam O'Brien, Mauritia Ray,

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Speaker 4: Sam Regal and Travis Willingham on an epic story shaped

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Speaker 4: by rolls of the dice and dramatic choices. Now, our

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Speaker 4: three campaigns and other adventures are filled with action, mystery, wonder, heartbreak,

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Speaker 4: and lots.

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Speaker 1: Of jokes along the way.

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Speaker 4: So we hope you'll find something to love on Critical One,

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Speaker 4: follow the show, or subscribe to listen on Stitcher, The

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Speaker 4: Serious xm app or wherever you listen.

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Speaker 2: Today we are recapping season six, episode eighteen, Can I

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Speaker 2: Help to Cheer You? It originally aired March twelfth, nineteen

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Speaker 2: ninety nine. What is this title? Can I Help to

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Speaker 2: Cheer You? What is this in reference to? Does anyone know?

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Speaker 1: Do No? No? And that's the thing that's strange is

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Speaker 1: I thought I know there was an episode I think

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Speaker 1: it's season seven where Jack and Eric become cheerleaders, and

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Speaker 1: I thought for a second, I was like, oh, this

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Speaker 1: must be the cheerleader.

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Speaker 3: But it got to be a song reference or a

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Speaker 3: lyric or something. Can I help to?

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Speaker 1: Can I help to cheer you? What's what's the title?

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Speaker 2: But I can I help to cheer you?

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Speaker 3: I bet you the word cheer is replacing something else,

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Speaker 3: like can I help to?

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Speaker 2: How would why would this? Why would they choose cheer

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Speaker 2: for this episode?

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Speaker 1: I don't know.

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Speaker 2: It's a good question.

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Speaker 1: Okay, So when you google can I Help to cheer you?

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Speaker 1: The only thing that pops up is this episode?

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Speaker 2: Wow? Okay, Well. The synopsis is that Tapanga is getting

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Speaker 2: restless about wedding plans and yearns for a classy ceremony

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Speaker 2: in the banquet hall of her dreams. When they visit

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Speaker 2: the space during another couple's wedding, things get a little weird.

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Speaker 2: Eric must also make a decision about his future with Tommy.

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Speaker 2: It was directed by Jerry Levine. This is his first

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Speaker 2: Boy Meets World episode as a director. You may remember

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Speaker 2: him on the show as the infamous mister Philip Mack,

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Speaker 2: the spiritual leader of the cult Sean joins the Center's

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Speaker 2: Best crazy coincidence.

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Speaker 3: Okay, this weekend, I went to a birthday party at

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Speaker 3: a an arcade at a Center arcade, Yeah, exactly. A

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Speaker 3: guy comes up to me and he goes, hey, writer,

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Speaker 3: I'm Cherry Levine's son.

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Speaker 5: Oh my god.

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Speaker 3: He's like, yeah, I remember running around on set when

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Speaker 3: I was like ten, and I'm like, oh my god,

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Speaker 3: your dad's the best.

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Speaker 1: Yeah. It was so cool.

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Speaker 3: We talked for just a couple of minutes, but yeah,

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Speaker 3: he was so nice and yeah, he just was friends,

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Speaker 3: mutual friend and he came to this mutual friend's birthday.

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Speaker 2: Oh that's so fun. Does he also have kids?

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Speaker 3: Uh no, I don't think so. Okay, or he didn't.

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Speaker 3: He didn't mention it. We didn't get there, but I

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Speaker 3: mean he's younger, He's like probably only thirty something. But

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Speaker 3: it was so Yeah, it was so cool to talk

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Speaker 3: to him and just sing his dad's praises and he

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Speaker 3: was like, I told my dad to listen to your

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Speaker 3: podcast because you guys talked about it. He had listened

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Speaker 3: to us when we when we mentioned his dad was.

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Speaker 1: Yes, cool, Cherry. He was always so fun to work

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Speaker 1: with and had the greatest Hollywood Stories and yep, was

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Speaker 1: in teen Wolf exactly.

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Speaker 3: Well, I mean, you know, I worked with him on

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Speaker 3: Going Places first, Uh, I guest starred on that show.

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Speaker 3: And for me, just because the guy from Wolf styles yes,

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Speaker 3: and so for to have him then calm on boy

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Speaker 3: means world get to work as mister Mac which is

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Speaker 3: so great. And then to see him become a director

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Speaker 3: and he was so open about the process, Like for me,

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Speaker 3: he's He's always been like one of those foundational heroes

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Speaker 3: of mine where it was like watching somebody go from

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Speaker 3: an actor to directing and be like, oh I could

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Speaker 3: do that. This is something that you know, yeah, and

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Speaker 3: it felt it felt right. I remember just for the

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Speaker 3: first time being like, oh, this makes sense, Like I

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Speaker 3: want to be doing what you're doing.

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Speaker 1: And was it him? I mean I know he was too,

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Speaker 1: but was it by association? Was Michael best friends with

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Speaker 1: his older brother and then they became friends? You know.

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Speaker 3: They knew each other since they were like kids.

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Speaker 1: Yeah, yeah, I'm not sure.

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Speaker 3: Yeah that sounds right though, because I think Jerry's slightly

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Speaker 3: younger than.

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Speaker 1: Yeah, I thought so too. It couldn't have been a

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Speaker 1: nicer guy.

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Speaker 2: So he is as writer and Will mentioned best known

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Speaker 2: as Styles in the original classic Teen Wolf movie and

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Speaker 2: was last seen and Ryan Murphy's American crime story about

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Speaker 2: Aaron Hernandez, and he played part of Robert Kraft. This

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Speaker 2: was Jerry's first TV job behind the camera, and he

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Speaker 2: has gone on to direct a number of shows, including

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Speaker 2: It's Always Sonny Monk, Elementary and Hawaii five. Oh what

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Speaker 2: do you guys remember most about Jerry as a director?

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Speaker 2: Did you remember this specific week at all?

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Speaker 5: No?

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Speaker 3: Okay, no, but it's really well directed.

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Speaker 2: Actually, it's very well directed.

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Speaker 3: You noticed that, right, Like the hundred verses, this is

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Speaker 3: a lot of the framing and the physical humor and

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Speaker 3: the way he like put I was.

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Speaker 2: The way he did the walking down the aisle of

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Speaker 2: the wedding and the and the trade chating.

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Speaker 3: Falling in the aisle when it's like camera blow and

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Speaker 3: every it was so well done. The humor is elevated

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Speaker 3: by his directing, like in a way that actually is

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Speaker 3: you know, it's tough like and kind of rare in

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Speaker 3: our show. Our show usually just let the actors sort

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Speaker 3: of do the thing. But he's engaging the camera and

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Speaker 3: the actors. And that's so funny because I don't remember

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Speaker 3: that right.

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Speaker 1: Like.

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Speaker 3: What I remember is that as as an actor, you're

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Speaker 3: just like, oh, I like the way he talks to me,

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Speaker 3: or I like the way he gives keeps the vibe

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Speaker 3: on the set going. But obviously his brain was already

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Speaker 3: working in a directorial visual sense that I just watching it,

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Speaker 3: I was like, whoa, this really works because of Jerry's direction.

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Speaker 3: And then I remember talking to him about process, like

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Speaker 3: he opened up conversations about how you pick your shots

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Speaker 3: and how you frame things, and obviously his just his

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Speaker 3: brain was working on that level. It's so impressive.

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Speaker 2: Yeah, I thought the exact same thing. I was like, wow,

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Speaker 2: this is very well directed. It was written by Barry Safchack.

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Speaker 2: And before I jump into our guest stars, do you

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Speaker 2: guys wanted to share your overall thoughts of the episode.

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Speaker 2: I thought it was fun, you know what I mean fun.

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Speaker 3: I think I think the Tommy stuff is spectacular. I

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Speaker 3: think the complexity of those issues and the performances are

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Speaker 3: just heart wrenching. I thought it was great. And then

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Speaker 3: the balance, you know, on the flip side, you have

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Speaker 3: this farce going on, and I thought it worked. It's

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Speaker 3: a little strange, and that so much of it is

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Speaker 3: led by a character and an actor that was not

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Speaker 3: part of our regular cast, you know this father. But

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Speaker 3: I thought it was yeah, overall, like you know, I didn't. Yeah, No,

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Speaker 3: overall it was great. I thought it was fun.

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Speaker 1: I didn't dislike it. I'm very critical of my performance.

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Speaker 1: I didn't. I saw myself not being able to cry

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Speaker 1: and all that kind of pushing it, and so that

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Speaker 1: was not my favorite thing. I was distracted by the

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Speaker 1: sheer number of Seinfeld guest stars we had on the episode.

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Speaker 2: No I have that coming out this episode.

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Speaker 1: It's also it was a love the far stuff, like

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Speaker 1: the balance of the show. But it was a strange show.

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Speaker 1: I mean, you've got no Matt Lawrence, no Maitland, no Feenie.

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Speaker 1: There was it. It seemed I don't know if this

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Speaker 1: makes any sense, and I'm not necessarily saying this is

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Speaker 1: a bad thing. It seemed like it was longer than

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Speaker 1: twenty two minutes. There's many episodes we have where it

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Speaker 1: was like wow, that seemed like a fourteen minute episode.

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Speaker 1: This is where this one was like wow, this one

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Speaker 1: seemed like this was a longer episode.

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Speaker 2: To me, You're right, I didn't quite I didn't quite

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Speaker 2: put that together. But in thinking about watching it. You're

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Speaker 2: right it felt long.

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Speaker 1: Yeah, it felt long, and that again that wasn't that's

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Speaker 1: not necessarily about it, No, not at all. It was

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Speaker 1: it was able to flash out some stuff. Love the

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Speaker 1: Tommy storyline. Frankly forgot how damn good JB is at

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Speaker 1: that age. I mean he was. You know how few

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Speaker 1: child actors that age could have pulled that off?

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Speaker 2: I mean he was.

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Speaker 1: He I thought there were several scenes where he was

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Speaker 1: hitting beats that I wasn't hitting, and I thought was

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Speaker 1: just really really good. So yeah, overall I thought it

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Speaker 1: was good. I did it. I thought it was good.

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Speaker 3: You know why I think it felt long because when

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Speaker 3: you said that, I was like, oh, the wedding scenes

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Speaker 3: could have been two, could have been two.

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Speaker 1: Yeah, maybe that's one joke.

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Speaker 3: One turn, and instead it stretched into all these different beats,

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Speaker 3: and it does feel like it's treading water a little.

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Speaker 3: Like the best part is like Cory goetn't offer the money,

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Speaker 3: Oh my god, what's he going to do? And then

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Speaker 3: he's he going to go through with it? But it's

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Speaker 3: like five scenes, right, it's like split up into all

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Speaker 3: these different beats, and it's like kind of iterating on

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Speaker 3: something that we know is.

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Speaker 1: Never going to really happen.

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Speaker 3: So it's a little like, are we really going to

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Speaker 3: take this? Okay?

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Speaker 1: You know it was strangely, I guess this is the way.

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Speaker 1: This is the thing that struck me, and again not

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Speaker 1: necessarily a criticism. It felt like two competing be stories

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Speaker 1: to me, and again not a bad thing. You've got

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Speaker 1: equal storylines going on, but there didn't seem to be

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Speaker 1: one real specific focus. I think they wanted it to

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Speaker 1: be Eric and Tommy because we open with Eric and Tommy,

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Speaker 1: so that's kind of like that's where the focus of

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Speaker 1: the episode is going to be, but it kind of wasn't.

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Speaker 1: It was kind of balanced in a way where it

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Speaker 1: felt like two b storylines. I mean, again, not a

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Speaker 1: bad thing, but.

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Speaker 3: Again, even that Tommy storyline is one decision, right, like

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Speaker 3: it could be one scene, like it could be oh

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Speaker 3: my gosh, I'm getting to you know, I'm gonna get

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Speaker 3: adopted or I want you to adopt me. Well I can't,

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Speaker 3: you know, Like, so yeah, it really is just playing

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Speaker 3: out those Yeah that's interesting.

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Speaker 2: Yeah, yeah, I thought, you know, the wedding stuff. Honestly,

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Speaker 2: I'm are there funny moments, sure, but to me, they're

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Speaker 2: like really masked by just more of like I think grossness.

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Speaker 2: It's yeah, there's a few really gross jokes in the

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Speaker 2: in the beginning, and then uh, I don't know. I

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Speaker 2: just I was like, even if this is funny, I

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Speaker 2: don't want to find it funny.

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Speaker 1: God, just the wedding stuff, you meant, yeah, just.

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Speaker 2: The wedding stuff, like the the you know, the idea.

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Speaker 2: There's a couple of lines that the stand the plumber says,

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Speaker 2: or like they're all lovely with the lights off. Yeah. Yeah,

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Speaker 2: it's just so gross. And then even all the stuff

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Speaker 2: about like she'll she'll love you if I tell her to,

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Speaker 2: and and Corey contemplating at Corey having a fantasy of

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Speaker 2: what it would be like to be with this woman

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Speaker 2: on and then of course that like Corey's so irresistible

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Speaker 2: even to men, even to fathers, fathers.

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Speaker 1: He's so.

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Speaker 2: You just can't resist this beast of a man. And

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Speaker 2: I'm like, what are we doing? What are we doing?

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Speaker 2: And to penga girl you can do better, well.

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Speaker 1: It was like you weren't even there. And even worse,

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Speaker 1: there were scenes where I was like, oh, that's right,

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Speaker 1: Angela is in this, like why and now what is

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Speaker 1: she doing.

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Speaker 2: She's helping to Panga from her manchild.

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Speaker 3: I think, you know, Stan is supposed to be a monster,

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Speaker 3: and I think just a little bit more of like

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Speaker 3: recognition of like this is an awful person would have

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Speaker 3: been nice, like just one one or two, like somebody

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Speaker 3: to Panga Angela being able to say like, really, we're

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00:17:13,600 --> 00:17:15,399
Speaker 3: gonna you know, like to sort of just put a

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00:17:15,440 --> 00:17:18,080
Speaker 3: like quotation mark around the insanity of like cause it's

358
00:17:18,080 --> 00:17:20,760
Speaker 3: never meant. It's always just like, well he's a good dad,

359
00:17:20,960 --> 00:17:23,280
Speaker 3: you know, like that's just kind of a given. You're like, no,

360
00:17:23,359 --> 00:17:26,399
Speaker 3: the point is he's a monster, right. And also it

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Speaker 3: makes perfect sense that Sean would be conflicted about like, well,

362
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Speaker 3: I'm gonna take the money, right, he just wants it.

363
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Speaker 3: Then part of the scene is Sean from Corey would

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Speaker 3: like Corey's never wanted material things or.

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Speaker 1: What is it that he and just the idea.

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Speaker 3: That Corey caves this much over a million dollars is

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Speaker 3: like is that the cory?

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Speaker 2: We know? Also, when did Tapanga become this person? When

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Speaker 2: did Tapanga become the person who's like.

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Speaker 6: Oh I wish we could spend so much money on

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Speaker 6: a one day wedding, like, our wedding will never be

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Speaker 6: this beautiful because we don't have millions of dollars.

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Speaker 1: Like what, Yeah, do people do this? By the way,

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Speaker 1: do people get dressed up and go to weddings to

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Speaker 1: see the venues?

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00:18:13,400 --> 00:18:16,360
Speaker 2: No? Not while a wedding is going on. You can

377
00:18:16,560 --> 00:18:19,679
Speaker 2: join to a venue while they're setting up so you

378
00:18:19,720 --> 00:18:23,160
Speaker 2: can see the venue in process of somebody else's wedding,

379
00:18:23,760 --> 00:18:27,280
Speaker 2: but no, once somebody is on site for their wedding,

380
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Speaker 2: they they have, they have.

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Speaker 1: I think this is the way of showing how for

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00:18:33,560 --> 00:18:38,400
Speaker 1: a man, there's so much temptation before you finally settle down.

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00:18:39,520 --> 00:18:41,080
Speaker 1: But I mean that's what it is. It's like every

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Speaker 1: episode is like, well.

385
00:18:42,760 --> 00:18:48,679
Speaker 3: He'll get last last temptation, Yes, the final one, women

386
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Speaker 3: and money.

387
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Speaker 1: Look at what people are gonna throw at you before

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Speaker 1: you finally just get hitched.

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Speaker 2: Just gonna just.

390
00:18:54,320 --> 00:18:57,479
Speaker 1: Telling you a girl on the side. Yeah, right, And

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00:18:57,480 --> 00:19:00,160
Speaker 1: he's like that's all we all.

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00:19:00,160 --> 00:19:02,640
Speaker 2: Yeah, I know, because you're you're right. Writer had had

393
00:19:03,280 --> 00:19:08,120
Speaker 2: Sean or Corey even pointed out, well, you know, you'd

394
00:19:08,160 --> 00:19:10,000
Speaker 2: have to have him as a father in law like

395
00:19:10,359 --> 00:19:12,080
Speaker 2: something like that, just to point out.

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Speaker 3: Like that woman she just said like, dad, you're doing

397
00:19:14,960 --> 00:19:18,520
Speaker 3: it again, Like you're an awful person. I'm obviously in love,

398
00:19:18,600 --> 00:19:20,680
Speaker 3: you know, and it just but nobody gets that.

399
00:19:20,760 --> 00:19:23,320
Speaker 1: They try to do it with the first guest star

400
00:19:23,359 --> 00:19:24,800
Speaker 1: with his son in law who's like.

401
00:19:26,920 --> 00:19:27,720
Speaker 3: I'm a good person.

402
00:19:27,840 --> 00:19:31,359
Speaker 1: I'm not even joining your company. I was the kid's

403
00:19:31,440 --> 00:19:35,480
Speaker 1: equivalent of going, you're disgusting and hate you. I'm going

404
00:19:35,520 --> 00:19:37,800
Speaker 1: to marry your daughter. Get out of my face. But

405
00:19:37,960 --> 00:19:40,120
Speaker 1: they only took it. They could have taken it farther,

406
00:19:40,160 --> 00:19:41,280
Speaker 1: and they should have taken it farther.

407
00:19:41,359 --> 00:19:43,480
Speaker 2: I did like the way he says, kindy.

408
00:19:43,240 --> 00:19:44,639
Speaker 1: Gotten, kindy gotten.

409
00:19:44,880 --> 00:19:48,119
Speaker 2: I like Kendy got. I like it. I want to

410
00:19:48,119 --> 00:19:51,840
Speaker 2: bring it back. Yeah. So guest starring Neia Vardalos as

411
00:19:51,960 --> 00:19:57,000
Speaker 2: Missus Gallagher. Now, this is her first Boy Meets World episode,

412
00:19:57,040 --> 00:20:00,119
Speaker 2: despite many reports online that she is one of the

413
00:20:00,119 --> 00:20:06,240
Speaker 2: waitresses at club Cleavage. Really, yes, it's everywhere. We actually win.

414
00:20:06,320 --> 00:20:08,760
Speaker 2: We did. The club had a tushy dance.

415
00:20:09,160 --> 00:20:16,520
Speaker 1: Yes, sure she was not dance.

416
00:20:16,720 --> 00:20:19,840
Speaker 2: Yeah, she was not a background actor in that episode.

417
00:20:19,960 --> 00:20:23,000
Speaker 2: But she is best known for starring, writing, and producing

418
00:20:23,040 --> 00:20:25,879
Speaker 2: in the two thousand and two independent mega hit film

419
00:20:26,080 --> 00:20:28,560
Speaker 2: My Big Fat Greek Wedding and has appeared on TV

420
00:20:28,600 --> 00:20:31,720
Speaker 2: shows like Curb Your Enthusiasm, Law and Order, SVU and

421
00:20:31,920 --> 00:20:36,040
Speaker 2: Jane the Virgin and two Big Fat Greek Wedding sequels.

422
00:20:36,640 --> 00:20:40,040
Speaker 2: And then we have Marcy Brickhouse as Jesse. She was

423
00:20:40,080 --> 00:20:42,639
Speaker 2: seen on episodes of Married with Children, Fresh, Prince of

424
00:20:42,640 --> 00:20:45,600
Speaker 2: bel Air, and Baywatch, but her last real credit dates

425
00:20:45,640 --> 00:20:46,760
Speaker 2: back to two thousand and three.

426
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Speaker 1: JB.

427
00:20:48,000 --> 00:20:51,040
Speaker 2: Gaynor returns as Tommy Sadly. This is the last of

428
00:20:51,119 --> 00:20:54,800
Speaker 2: three Boy Meets World episodes for JB. The classic three

429
00:20:54,840 --> 00:20:58,200
Speaker 2: episodes in You're Out, then we Could Pay a Less

430
00:20:58,920 --> 00:21:02,080
Speaker 2: And then we have Richard Port now as Stan. He's

431
00:21:02,119 --> 00:21:05,600
Speaker 2: an always busy character actor whose face you may recognize.

432
00:21:05,640 --> 00:21:09,439
Speaker 2: He played Attorney Harold mel Melvoin on The Sopranos with

433
00:21:09,480 --> 00:21:12,280
Speaker 2: almost two hundred more credits, including Fear and Loathing in

434
00:21:12,320 --> 00:21:15,360
Speaker 2: Las Vegas, Father of the Bride, Mad About You, and

435
00:21:15,440 --> 00:21:19,760
Speaker 2: The Cohen Brothers Barton Fink but Will. He was also

436
00:21:19,960 --> 00:21:23,400
Speaker 2: on Signfell's.

437
00:21:22,240 --> 00:21:25,400
Speaker 1: Right, how about two hundred and forty dollars. Yeah, he's

438
00:21:25,920 --> 00:21:28,679
Speaker 1: they're buying a used wheelchair and he's the guy.

439
00:21:28,600 --> 00:21:31,240
Speaker 2: Swing it Ray in the handicap spot. I think that's

440
00:21:31,240 --> 00:21:35,280
Speaker 2: the name of the and then another acting Vet Scott

441
00:21:35,320 --> 00:21:38,760
Speaker 2: and Stevens plays Eddie. Stevens has been in movies like

442
00:21:38,880 --> 00:21:42,920
Speaker 2: Almost Famous, Turner and Hooch and Operation Dumbo Drop and

443
00:21:42,960 --> 00:21:46,000
Speaker 2: TV shows like Dawson's Creek, Silk Stockings and.

444
00:21:46,760 --> 00:21:50,160
Speaker 1: Signfell Uncle Morty, I'm not a doctor. I can't write

445
00:21:50,200 --> 00:21:52,280
Speaker 1: you a note. Yeah from the pony remark.

446
00:21:52,680 --> 00:21:57,400
Speaker 2: Yes, he's the intern in the tony remark and somehow

447
00:21:57,600 --> 00:22:01,400
Speaker 2: oh sorry, yep, it says it right there in turn

448
00:22:01,520 --> 00:22:07,399
Speaker 2: in the pony remark, And somehow another recognizable character actor

449
00:22:07,440 --> 00:22:12,160
Speaker 2: is in this episode. Charles C. Stevenson Junior, is the minister.

450
00:22:12,680 --> 00:22:16,640
Speaker 2: Charles appeared in Tim Burton's ed Wood, Men in Black, Pleasantville,

451
00:22:16,680 --> 00:22:20,960
Speaker 2: and ghost World, and on TV news radio Family Matters, Charmed,

452
00:22:21,280 --> 00:22:24,680
Speaker 2: and he played Smitty on the recent Will and Grace revival.

453
00:22:25,280 --> 00:22:27,600
Speaker 2: No Seinfeld on his resume No.

454
00:22:27,560 --> 00:22:31,000
Speaker 1: And has just one of the saddest drive by scenes

455
00:22:31,240 --> 00:22:34,199
Speaker 1: in news radio where they do an episode where everything

456
00:22:34,280 --> 00:22:36,400
Speaker 1: is it's so hot in the office that they're all

457
00:22:36,440 --> 00:22:39,120
Speaker 1: having these day dreams and they're the most random, weird

458
00:22:39,160 --> 00:22:41,760
Speaker 1: day dreams and he comes in as the janitor and

459
00:22:41,800 --> 00:22:44,199
Speaker 1: everyone's like, hey, how are you and they get up

460
00:22:44,200 --> 00:22:46,160
Speaker 1: with it and then it zaps where it's actually his

461
00:22:46,160 --> 00:22:48,000
Speaker 1: fantasy and he walks in and nobody knows who he is.

462
00:22:48,000 --> 00:22:49,800
Speaker 1: He's been working there for like thirty years, and he's

463
00:22:49,840 --> 00:22:51,800
Speaker 1: like and they're like, yeah, thanks, Harry, and they don't

464
00:22:51,800 --> 00:22:53,359
Speaker 1: even get his name right, and it's like, it's the

465
00:22:53,400 --> 00:22:54,640
Speaker 1: saddest thing in the world. Yeah.

466
00:22:54,680 --> 00:22:56,439
Speaker 2: Wait, that's his fantasy that nobody knows it.

467
00:22:56,520 --> 00:22:59,119
Speaker 1: No, his fantasy is that he walks in and everybody

468
00:22:59,119 --> 00:23:00,960
Speaker 1: thinks he's the greatest guy in the world and oh my,

469
00:23:01,080 --> 00:23:02,960
Speaker 1: I got your sandwich for you. Oh my god, you're

470
00:23:03,000 --> 00:23:05,520
Speaker 1: the best. And then the fantasy ends and everyone's getting

471
00:23:05,520 --> 00:23:07,000
Speaker 1: his name wrong. They have no idea who he is.

472
00:23:07,040 --> 00:23:09,920
Speaker 1: He's just standing there. Yeah, it's really sad, painful.

473
00:23:11,680 --> 00:23:16,240
Speaker 2: Right on that note, we jump into our recap. Did

474
00:23:16,280 --> 00:23:18,520
Speaker 2: you see the lobster at all in this episode?

475
00:23:18,520 --> 00:23:18,680
Speaker 1: Will?

476
00:23:18,720 --> 00:23:19,720
Speaker 2: Because I looked for it.

477
00:23:20,560 --> 00:23:24,520
Speaker 1: It's at the wedding. It is in the background, next

478
00:23:24,560 --> 00:23:26,800
Speaker 1: to all the champagne bottles at the way. How you

479
00:23:26,840 --> 00:23:29,600
Speaker 1: guys don't now just see something bright red in the background.

480
00:23:29,600 --> 00:23:32,000
Speaker 2: I will never be looking. I did look. I looked

481
00:23:32,000 --> 00:23:33,640
Speaker 2: to see if it was in the flowers. I looked

482
00:23:33,680 --> 00:23:35,399
Speaker 2: in some of the wedding stuff. I just didn't see it,

483
00:23:35,440 --> 00:23:35,920
Speaker 2: So okay.

484
00:23:35,920 --> 00:23:37,520
Speaker 1: I missed the shame in front of all the champagne

485
00:23:37,560 --> 00:23:39,040
Speaker 1: bottles in the background at the bar.

486
00:23:41,200 --> 00:23:44,200
Speaker 2: So we're in the student union, Eric is eating with Tommy.

487
00:23:44,760 --> 00:23:48,400
Speaker 2: Is he playfully smearing food on his upper lip.

488
00:23:48,800 --> 00:23:52,560
Speaker 1: Or wiping it off? I couldn't tell what was going on. Yeah,

489
00:23:52,720 --> 00:23:53,560
Speaker 1: something strange.

490
00:23:53,720 --> 00:23:56,400
Speaker 2: Corey and Tapanga walk in and ta Panga seems concerned.

491
00:23:56,440 --> 00:23:58,720
Speaker 2: Are we gonna do this? Corey throws his arms in

492
00:23:58,720 --> 00:24:00,520
Speaker 2: the air and assures her we're gonna to do this.

493
00:24:00,960 --> 00:24:03,040
Speaker 2: She's not convinced. If we're going to do this, we

494
00:24:03,119 --> 00:24:06,080
Speaker 2: have to do it. It doesn't just happen. What happened

495
00:24:06,080 --> 00:24:08,959
Speaker 2: to them just waiting? I mean, I guess in this

496
00:24:09,000 --> 00:24:11,239
Speaker 2: episode in the scene she kind of explains it like

497
00:24:11,280 --> 00:24:13,640
Speaker 2: it's gonna take two years. We have to get on a.

498
00:24:13,880 --> 00:24:15,920
Speaker 3: We are we're coming off of. I honestly can't remember

499
00:24:16,000 --> 00:24:17,080
Speaker 3: what was the last episode?

500
00:24:17,119 --> 00:24:17,400
Speaker 2: Was there?

501
00:24:18,200 --> 00:24:20,680
Speaker 1: The last episode was the baby almost dying.

502
00:24:20,760 --> 00:24:24,280
Speaker 2: Yeah, there's been no mention other than other than Tapanga

503
00:24:24,359 --> 00:24:27,400
Speaker 2: talking about wanting to do wedding plans since the episode

504
00:24:27,440 --> 00:24:30,680
Speaker 2: where we exchange rings and say we're gonna wait when

505
00:24:30,720 --> 00:24:33,639
Speaker 2: we tell Alan and Amy we're gonna wait. There's just

506
00:24:33,680 --> 00:24:35,560
Speaker 2: been mentions of wanting to plan a wedding, but like

507
00:24:35,560 --> 00:24:36,440
Speaker 2: what happened to the waiting.

508
00:24:36,800 --> 00:24:40,360
Speaker 1: An easiest way to do this, to show what's been

509
00:24:40,400 --> 00:24:43,280
Speaker 1: going on is they walk in, They sit down, and

510
00:24:43,320 --> 00:24:46,160
Speaker 1: Corey says, I guess we should probably start talking about

511
00:24:46,160 --> 00:24:48,240
Speaker 1: our wedding, and Tapanga reaches over and pulls out a

512
00:24:48,240 --> 00:24:51,080
Speaker 1: giant notebook and goes boom on the worst she's had

513
00:24:51,119 --> 00:24:53,560
Speaker 1: it planned the whole time, and it's like yikes, and

514
00:24:53,640 --> 00:24:55,480
Speaker 1: there you go. Then it's all set up, not like

515
00:24:56,200 --> 00:24:58,679
Speaker 1: you come to. Panga's all frantic and we've got to

516
00:24:58,720 --> 00:25:01,800
Speaker 1: start doing what I know. Yeah, I came out of nowhere.

517
00:25:03,200 --> 00:25:06,760
Speaker 2: Corey pleads to leave him alone, but ta Pega reminds

518
00:25:06,800 --> 00:25:08,800
Speaker 2: him that they have to send out invitations. She has

519
00:25:08,840 --> 00:25:11,320
Speaker 2: to look for dresses, They need to pick out caterer's, florist's,

520
00:25:11,359 --> 00:25:16,160
Speaker 2: the band of photography. The way Corey would love this stuff,

521
00:25:16,200 --> 00:25:18,080
Speaker 2: he would love it. This is the guy.

522
00:25:20,080 --> 00:25:22,760
Speaker 3: Over the curtains in the you know that, like the

523
00:25:22,840 --> 00:25:25,480
Speaker 3: Corey we know is the guy who would.

524
00:25:25,240 --> 00:25:27,120
Speaker 1: Be pushing to Penga to.

525
00:25:27,119 --> 00:25:28,520
Speaker 2: Like, we have to make this, we have to make

526
00:25:28,560 --> 00:25:30,480
Speaker 2: these plans. I want to try all the cakes.

527
00:25:32,480 --> 00:25:35,480
Speaker 3: Story life better actually, right if he's so desperate to

528
00:25:35,520 --> 00:25:38,840
Speaker 3: get married because he's excited by the wedding, and then

529
00:25:38,880 --> 00:25:42,120
Speaker 3: he can't afford it and she's able to be more practical,

530
00:25:42,160 --> 00:25:44,159
Speaker 3: and then he goes to this test wedding and the

531
00:25:44,160 --> 00:25:45,679
Speaker 3: guy says, I'll give you all the money in the

532
00:25:45,680 --> 00:25:47,480
Speaker 3: world and you get to have the best looking wedding.

533
00:25:47,640 --> 00:25:48,640
Speaker 1: He'd be like, oh my god.

534
00:25:48,720 --> 00:25:49,320
Speaker 2: You know it should be.

535
00:25:49,359 --> 00:25:51,840
Speaker 3: About Corey's desire to make a big event and have

536
00:25:51,880 --> 00:25:54,480
Speaker 3: a big splash, and but they just fall.

537
00:25:56,720 --> 00:25:58,520
Speaker 2: Instead of actually listening.

538
00:25:58,160 --> 00:25:58,920
Speaker 1: To the characters.

539
00:25:58,920 --> 00:26:03,480
Speaker 2: They that's exactly right, what a great all fix to

540
00:26:03,520 --> 00:26:04,120
Speaker 2: the whole thing.

541
00:26:04,760 --> 00:26:07,040
Speaker 1: Well, it should be about Corey wants a wedding to

542
00:26:07,119 --> 00:26:07,920
Speaker 1: Panga wants a.

543
00:26:07,880 --> 00:26:11,560
Speaker 3: Marriage, right exactly, And then the whole episode is about

544
00:26:11,600 --> 00:26:13,360
Speaker 3: he gets caught up in the glitz and the glamour

545
00:26:13,359 --> 00:26:15,360
Speaker 3: of the writing, almost to the extent that he's willing

546
00:26:15,400 --> 00:26:16,720
Speaker 3: to marry marry someone else.

547
00:26:17,440 --> 00:26:23,119
Speaker 2: The big party it would be, and it'd be so funny,

548
00:26:23,160 --> 00:26:24,800
Speaker 2: by the way, it'd be so much funnier than this.

549
00:26:25,440 --> 00:26:28,280
Speaker 2: So Corey tries to butt in and to Pango wonders,

550
00:26:28,280 --> 00:26:31,159
Speaker 2: But but what Corey says they haven't even set a

551
00:26:31,240 --> 00:26:34,000
Speaker 2: date yet, but to Penga clarifies they don't set the date.

552
00:26:34,080 --> 00:26:36,720
Speaker 2: Banquet Hall's book up two years in advance, so you

553
00:26:36,760 --> 00:26:39,320
Speaker 2: pick the hall. The hall picks the date. Corey's had

554
00:26:39,400 --> 00:26:42,760
Speaker 2: enough and slumps onto the couch. I'm so tired. Tapanga

555
00:26:42,840 --> 00:26:44,760
Speaker 2: asks if he's going to help or not, and Corey

556
00:26:44,800 --> 00:26:46,920
Speaker 2: begs her just let me sleep for half an hour.

557
00:26:47,080 --> 00:26:49,600
Speaker 2: I promise to Penga grabs him by a shirt and

558
00:26:49,640 --> 00:26:52,040
Speaker 2: drags him out of the student union. Then we're back

559
00:26:52,080 --> 00:26:55,199
Speaker 2: to Eric and Tommy. Tommy tells his big brother that

560
00:26:55,200 --> 00:26:57,040
Speaker 2: they've been hanging out for a long time now and

561
00:26:57,080 --> 00:27:00,000
Speaker 2: he's not getting any younger. In fact, he's the oldest

562
00:27:00,160 --> 00:27:02,359
Speaker 2: kid at Saint Mary's and he doesn't fit in his

563
00:27:02,400 --> 00:27:05,600
Speaker 2: bed anymore. Eric asks what he wants him to do,

564
00:27:05,720 --> 00:27:08,320
Speaker 2: and Tommy wonders, are you going to adopt me or not?

565
00:27:09,240 --> 00:27:11,760
Speaker 2: Eric is shocked, and Tommy reminds him that they said

566
00:27:11,880 --> 00:27:14,480
Speaker 2: they are the best teams since Scooby Doo and Shaggy.

567
00:27:14,840 --> 00:27:17,159
Speaker 2: Eric stands by his words, but insists they're not going

568
00:27:17,240 --> 00:27:21,440
Speaker 2: to let him adopt Tommy. It's impossible. Tommy pleads, Scooby

569
00:27:21,480 --> 00:27:24,240
Speaker 2: didn't think it was impossible. When Shaggy fell into the well,

570
00:27:24,680 --> 00:27:27,120
Speaker 2: you know what he did. Eric explains that this isn't

571
00:27:27,119 --> 00:27:30,320
Speaker 2: a cartoon, but Tommy tells him anyways, he saved him

572
00:27:30,680 --> 00:27:33,960
Speaker 2: because he loved him. Eric assures Tommy that he loves him,

573
00:27:34,160 --> 00:27:37,240
Speaker 2: so the young boy asks, then why won't you save me?

574
00:27:39,800 --> 00:27:43,960
Speaker 2: And Eric looks very sounds like why sorry.

575
00:27:44,800 --> 00:27:50,639
Speaker 3: Would have been a great buttons could have saved that

576
00:27:50,640 --> 00:27:54,639
Speaker 3: moment because this is the first and then it happens

577
00:27:54,680 --> 00:27:56,240
Speaker 3: a lot and I know what you're saying, will by

578
00:27:56,240 --> 00:27:59,639
Speaker 3: your own performance feeling pushed. It's not necessarily your fault.

579
00:27:59,760 --> 00:28:02,000
Speaker 3: It's that the beat is they're.

580
00:28:01,880 --> 00:28:05,119
Speaker 1: Holding on me and I have to make faces and

581
00:28:05,240 --> 00:28:08,560
Speaker 1: yes it does not it lungers. It's like really just

582
00:28:08,560 --> 00:28:09,480
Speaker 1: just ringing it out.

583
00:28:09,560 --> 00:28:11,199
Speaker 3: Yeah, it's like how can you how much can we

584
00:28:11,200 --> 00:28:13,200
Speaker 3: get out of this sentimental moment.

585
00:28:12,960 --> 00:28:15,440
Speaker 1: And it's and it's been trying to sell it all face.

586
00:28:15,560 --> 00:28:17,760
Speaker 3: No, it's so much better, like in that other scene

587
00:28:17,760 --> 00:28:20,880
Speaker 3: when you just sort of walk away. Yeah, but even

588
00:28:20,880 --> 00:28:22,720
Speaker 3: that was too slow. I was like, just have Eric

589
00:28:23,000 --> 00:28:24,920
Speaker 3: walk away. He's not going to show that he's crying

590
00:28:24,960 --> 00:28:26,640
Speaker 3: to everybody, you know, So Yah.

591
00:28:26,480 --> 00:28:28,960
Speaker 1: I just I feel very the way you often feel

592
00:28:29,000 --> 00:28:31,120
Speaker 1: watching yourself do comedy is how I feel watching myself

593
00:28:31,160 --> 00:28:32,960
Speaker 1: do drama. Like I just I feel it's just not

594
00:28:33,000 --> 00:28:35,800
Speaker 1: my wheelhouse. I'm just not comfortable with it. So yeah,

595
00:28:35,840 --> 00:28:37,040
Speaker 1: but I thought jab was great.

596
00:28:37,760 --> 00:28:39,800
Speaker 2: You guys are both good. And then we're in the

597
00:28:39,840 --> 00:28:42,080
Speaker 2: banquet hall, Corey in a tux and to Penga in

598
00:28:42,120 --> 00:28:44,680
Speaker 2: a fancy black dress, or finally at a banquet hall

599
00:28:44,680 --> 00:28:47,440
Speaker 2: attending a stranger's wedding that they were not invited to.

600
00:28:47,960 --> 00:28:50,600
Speaker 2: Corey's uncomfortable with the situation, but to Penga assures him

601
00:28:50,640 --> 00:28:53,560
Speaker 2: it happens all the time. And writer, now that you've

602
00:28:53,560 --> 00:28:56,480
Speaker 2: said it should have been flipped, I can't. I cannot

603
00:28:56,520 --> 00:28:58,960
Speaker 2: picture it any other way. Yeah, and it's so funny

604
00:28:58,960 --> 00:29:01,200
Speaker 2: that Topenga's like, core are you why are we here?

605
00:29:01,960 --> 00:29:08,640
Speaker 2: This is so uncommon money in the backyard wherever, and

606
00:29:08,720 --> 00:29:11,719
Speaker 2: Corey be like, no, look at this floral arrangement.

607
00:29:11,960 --> 00:29:15,120
Speaker 1: You know it's Angela Water steps up and goes and

608
00:29:15,200 --> 00:29:19,240
Speaker 1: why am I here? What's the point? And then Corey

609
00:29:19,280 --> 00:29:21,040
Speaker 1: turns to her and just says, shut up, we got

610
00:29:21,040 --> 00:29:22,920
Speaker 1: a table for four or something like that, because she

611
00:29:23,400 --> 00:29:26,920
Speaker 1: at first I was like, is that Trina in the background,

612
00:29:26,960 --> 00:29:28,440
Speaker 1: Like what is she doing here?

613
00:29:28,480 --> 00:29:28,800
Speaker 5: You know?

614
00:29:30,320 --> 00:29:34,040
Speaker 1: And they didn't have Matt, they didn't have Maitland, they

615
00:29:34,080 --> 00:29:38,160
Speaker 1: didn't have Bill, So why did they need Trina there?

616
00:29:38,200 --> 00:29:40,000
Speaker 1: Like they could have also just said, no, you know, Trina,

617
00:29:40,040 --> 00:29:41,920
Speaker 1: take the week off as well. They just didn't. Use

618
00:29:42,080 --> 00:29:44,160
Speaker 1: to me, that's almost more disrespectful for an actor, where

619
00:29:44,160 --> 00:29:45,760
Speaker 1: it's like, come in and sit in the background when

620
00:29:45,800 --> 00:29:47,520
Speaker 1: you're a lead on the show, rather than them coming

621
00:29:47,600 --> 00:29:49,400
Speaker 1: up and just going you got the week off or not,

622
00:29:49,480 --> 00:29:51,320
Speaker 1: but just go Yeah. They did that to me plenty

623
00:29:51,320 --> 00:29:51,680
Speaker 1: of times.

624
00:29:53,240 --> 00:29:55,720
Speaker 2: In fact, their wedding planner, mister Beckman, told them that

625
00:29:55,760 --> 00:29:58,320
Speaker 2: as long as they keep a low profile, everything will

626
00:29:58,320 --> 00:30:01,640
Speaker 2: be okay. And on cue see Sean also in a tux,

627
00:30:01,720 --> 00:30:04,080
Speaker 2: stuffing his face with our nerves, yelling about how they

628
00:30:04,080 --> 00:30:06,840
Speaker 2: should get married. Here to Pang admits they'll never be

629
00:30:06,880 --> 00:30:09,200
Speaker 2: able to have a wedding this beautiful though, because they

630
00:30:09,240 --> 00:30:12,440
Speaker 2: can't afford it. Corey laughs and then gets deathly serious.

631
00:30:12,840 --> 00:30:16,080
Speaker 2: Wait a minute, your dad's not rich, to Penga says no,

632
00:30:16,280 --> 00:30:17,600
Speaker 2: and Corey is disgusted.

633
00:30:18,400 --> 00:30:22,800
Speaker 1: Bye, wait a say I'm sorry, So Corey brings them

634
00:30:22,840 --> 00:30:24,360
Speaker 1: there no.

635
00:30:24,480 --> 00:30:27,920
Speaker 2: I wish Corey did brought them here yet, and.

636
00:30:27,960 --> 00:30:29,960
Speaker 1: If she walks in in the first line is we'll

637
00:30:30,000 --> 00:30:32,400
Speaker 1: never be able to afford any of this. Why bring

638
00:30:32,440 --> 00:30:33,480
Speaker 1: them there?

639
00:30:33,520 --> 00:30:37,280
Speaker 2: Well, the their their wedding planner, which I guess they

640
00:30:37,360 --> 00:30:41,560
Speaker 2: have a wedding planner. Is the one who said come

641
00:30:41,600 --> 00:30:44,440
Speaker 2: here and check out this hall. Why she agreed if

642
00:30:44,440 --> 00:30:46,920
Speaker 2: they could never afford it? I have no idea. She

643
00:30:47,040 --> 00:30:49,520
Speaker 2: does say later, you know, we got to pay attention

644
00:30:49,560 --> 00:30:51,240
Speaker 2: to the things we might want at our wedding. So

645
00:30:51,280 --> 00:30:51,680
Speaker 2: I guess you.

646
00:30:51,680 --> 00:30:54,040
Speaker 1: Could say, like to look at the little stuff to look.

647
00:30:53,920 --> 00:30:56,000
Speaker 2: At, to look at, even things like oh I liked

648
00:30:56,040 --> 00:30:59,520
Speaker 2: that they had a candle burning ceremony. We want to

649
00:30:59,520 --> 00:31:01,320
Speaker 2: do that in our wedding. You can do that anywhere,

650
00:31:01,400 --> 00:31:03,280
Speaker 2: So I guess you pass.

651
00:31:03,280 --> 00:31:04,920
Speaker 1: That's a good thing instead of having a little bar.

652
00:31:05,040 --> 00:31:09,240
Speaker 2: Okay, exactly, it's the to get ideas. But yeah, I mean,

653
00:31:09,320 --> 00:31:12,600
Speaker 2: anyone will tell you don't start at a place you

654
00:31:12,640 --> 00:31:14,920
Speaker 2: can't afford. It's like if you if you're ever lucky

655
00:31:15,040 --> 00:31:17,080
Speaker 2: enough to be able to buy a house, don't ever

656
00:31:17,200 --> 00:31:21,080
Speaker 2: look at a house outside your price range, because you'll

657
00:31:21,160 --> 00:31:22,680
Speaker 2: love that one. And then.

658
00:31:26,320 --> 00:31:29,120
Speaker 1: Defending life at the BMW dealer, don't show the seven

659
00:31:29,240 --> 00:31:33,720
Speaker 1: series first. Now, my car looks like a turd. Don't

660
00:31:33,760 --> 00:31:34,160
Speaker 1: do it.

661
00:31:36,240 --> 00:31:39,040
Speaker 2: You do not want to do it? Okay. Then the groom,

662
00:31:39,240 --> 00:31:41,560
Speaker 2: Eddie and the father of the bride stand walk out

663
00:31:41,600 --> 00:31:43,960
Speaker 2: into the hall, stands giving his future son in law,

664
00:31:44,080 --> 00:31:47,240
Speaker 2: Stern talking to let me make you understand this from

665
00:31:47,240 --> 00:31:50,640
Speaker 2: a personal standpoint. My daughter likes nice things. How are

666
00:31:50,640 --> 00:31:52,320
Speaker 2: you going to give her nice things with that thing

667
00:31:52,400 --> 00:31:55,440
Speaker 2: you call a salary? Eddie counters, well, it depends on

668
00:31:55,480 --> 00:31:59,240
Speaker 2: what you call nice things. I love Jesse. That's a

669
00:31:59,320 --> 00:32:01,720
Speaker 2: nice thing. We're going to be together for the rest

670
00:32:01,760 --> 00:32:05,560
Speaker 2: of our lives. That's a nice thing too. Stan raises

671
00:32:05,560 --> 00:32:08,760
Speaker 2: his voice. Jesse drives a Jag convertible. How do you

672
00:32:08,800 --> 00:32:11,000
Speaker 2: plan to keeper and a Jag convertible if you don't

673
00:32:11,000 --> 00:32:13,920
Speaker 2: come into my company? Eddie states once again that he

674
00:32:14,040 --> 00:32:17,680
Speaker 2: is not joining Stan's company, but Stan asks, when I

675
00:32:17,760 --> 00:32:19,680
Speaker 2: tell you what's right for your life, why don't you

676
00:32:19,760 --> 00:32:22,920
Speaker 2: listen to me. Eddie explains that he's happy where he is,

677
00:32:23,000 --> 00:32:28,720
Speaker 2: and Stan scoffs teaching Kindergatten. Eddie would love to stay

678
00:32:28,720 --> 00:32:31,400
Speaker 2: and talk, but he has to go Mary Stan's daughter now,

679
00:32:31,800 --> 00:32:35,840
Speaker 2: so he walks away and Stan follows close behind, yelling. Finally,

680
00:32:35,880 --> 00:32:38,560
Speaker 2: he gives up no respect. This guy won't listen to me.

681
00:32:38,600 --> 00:32:40,120
Speaker 2: How can my daughter fall in love with someone who

682
00:32:40,120 --> 00:32:43,040
Speaker 2: won't listen to me? Once Stan is done complaining, he

683
00:32:43,080 --> 00:32:47,440
Speaker 2: spots Corey, who was obviously eavesdropping. Corey tries to avoid

684
00:32:47,440 --> 00:32:50,760
Speaker 2: eye contact, but the awkward silence of the stairdown is unbearable,

685
00:32:51,000 --> 00:32:53,320
Speaker 2: and it goes on for quite a while, it says.

686
00:32:54,040 --> 00:32:57,680
Speaker 2: Corey eventually says, mister Beckman said I can stand here.

687
00:32:58,040 --> 00:33:00,560
Speaker 2: Stan doesn't flinch. In one hour, my daughter is going

688
00:33:00,600 --> 00:33:03,520
Speaker 2: to be married to a teacher of kindergarten. Corey tries

689
00:33:03,560 --> 00:33:06,440
Speaker 2: to calm him down. My kindergarten teacher was mister Feeney.

690
00:33:06,560 --> 00:33:08,480
Speaker 2: As a matter of fact, he has been my teacher

691
00:33:08,560 --> 00:33:11,840
Speaker 2: every year of my entire life. Corey takes that in

692
00:33:11,880 --> 00:33:17,800
Speaker 2: and postmodernly asks, isn't that curious? Isn't that curious? Ah

693
00:33:17,920 --> 00:33:21,040
Speaker 2: phoene Stan wonders if Corey is a friend of his

694
00:33:21,160 --> 00:33:25,720
Speaker 2: daughter or the loser. Corey responds neither one, sir, But

695
00:33:25,760 --> 00:33:28,600
Speaker 2: again Stan doesn't care. He's more impressed that Corey called

696
00:33:28,640 --> 00:33:32,240
Speaker 2: him sir. He complains that Eddie calls him. Stan like it,

697
00:33:32,280 --> 00:33:36,520
Speaker 2: says on the side of his trucks. Corey gasps your Stan,

698
00:33:36,680 --> 00:33:41,000
Speaker 2: Stan the plumber man. Stan smirks if I can't flush it,

699
00:33:41,200 --> 00:33:47,720
Speaker 2: and Corey finishes his sentence, no one. Corey jumps up

700
00:33:47,760 --> 00:33:50,920
Speaker 2: and down with excitement he's met a celebrity. Stan asks,

701
00:33:51,080 --> 00:33:52,600
Speaker 2: you would listen to me when I talk to you,

702
00:33:52,600 --> 00:33:53,400
Speaker 2: wouldn't you? Kid?

703
00:33:53,840 --> 00:33:53,959
Speaker 1: Oh?

704
00:33:54,080 --> 00:33:56,360
Speaker 2: Yeah, Cory says, I believe a lot of my generation

705
00:33:56,400 --> 00:33:58,840
Speaker 2: will be much better off listening to their elders instead

706
00:33:58,840 --> 00:34:03,560
Speaker 2: of wearing those fans schmancy backwards hats and having those

707
00:34:03,760 --> 00:34:06,920
Speaker 2: bolts through their head. Cory being an old man.

708
00:34:08,520 --> 00:34:10,879
Speaker 1: Yeah, old man Corey very funny and.

709
00:34:10,880 --> 00:34:13,680
Speaker 2: If he could then be appreciating the finer details of

710
00:34:13,719 --> 00:34:16,359
Speaker 2: this wedding, tum Stan, look at what you look at you? Yeah?

711
00:34:16,440 --> 00:34:16,719
Speaker 1: At this?

712
00:34:16,840 --> 00:34:18,759
Speaker 2: Look at this? Look at who did you pick that?

713
00:34:18,840 --> 00:34:19,000
Speaker 1: Fu?

714
00:34:21,840 --> 00:34:25,680
Speaker 2: Yeah? Stan thinks that's a beautiful sentiment, and then he

715
00:34:25,719 --> 00:34:27,840
Speaker 2: finally asks Cory, who the hell are you and what

716
00:34:27,880 --> 00:34:30,759
Speaker 2: are you doing at my wedding. Corey introduces himself and

717
00:34:30,800 --> 00:34:34,160
Speaker 2: says he's here with his lovely fiance to Panga. Stan responds,

718
00:34:34,160 --> 00:34:37,200
Speaker 2: they're all lovely with the lights off, and just like

719
00:34:37,280 --> 00:34:39,879
Speaker 2: that we have the grossest line that's ever been said

720
00:34:39,920 --> 00:34:42,120
Speaker 2: on Boy Meets World. Congratulations every much?

721
00:34:42,320 --> 00:34:42,680
Speaker 1: Do you think?

722
00:34:44,239 --> 00:34:47,360
Speaker 2: Corey admits he wouldn't know, so Stan asks if Corey's

723
00:34:47,400 --> 00:34:47,880
Speaker 2: a virgin?

724
00:34:48,880 --> 00:34:53,840
Speaker 1: Yeah, which Corey just volunteers, Sure, am, sir, it's Corey

725
00:34:54,000 --> 00:34:57,320
Speaker 1: states he's cursed, but Stan is thrilled.

726
00:34:57,680 --> 00:35:01,120
Speaker 2: He proclaims Corey is it and chooses him. He's the

727
00:35:01,200 --> 00:35:03,560
Speaker 2: type of nice kid he always hoped his daughter Jesse

728
00:35:03,600 --> 00:35:06,520
Speaker 2: would end up with. Corey's confused, isn't his daughter marrying

729
00:35:06,520 --> 00:35:09,720
Speaker 2: the kindergarten teacher? Isn't Jesse in love with this Eddie?

730
00:35:10,640 --> 00:35:13,560
Speaker 2: Stan says no, but he loves Corey, and so will

731
00:35:13,640 --> 00:35:17,440
Speaker 2: Jesse if he tells her to. Corey wonders, why me

732
00:35:18,400 --> 00:35:21,600
Speaker 2: so Stan explains he's a nice, polite kid who listens

733
00:35:21,600 --> 00:35:24,120
Speaker 2: to him and respects him like the son he deserves.

734
00:35:24,440 --> 00:35:26,520
Speaker 2: Then he cuts to the chase. He'll give Corey a

735
00:35:26,680 --> 00:35:30,600
Speaker 2: million dollars to marry his daughter. Corey's shocked. A million,

736
00:35:30,880 --> 00:35:37,080
Speaker 2: that's just crazy negotiation. Stan seems disturbed, we're in negotiation.

737
00:35:37,960 --> 00:35:41,960
Speaker 2: Then he burst into laughter. What a kid. He hugs Corey.

738
00:35:42,040 --> 00:35:45,320
Speaker 2: He just gets better and better, and so he offers

739
00:35:45,400 --> 00:35:48,880
Speaker 2: him a million two. Corey's flattered, but he points to

740
00:35:49,040 --> 00:35:51,759
Speaker 2: Panga and reminds Stan he has a girl over there

741
00:35:52,239 --> 00:35:56,120
Speaker 2: on the side. Stan shrugs, Hey, who doesn't come on,

742
00:35:56,400 --> 00:35:59,200
Speaker 2: you have twenty minutes to break this up. He whisks

743
00:35:59,239 --> 00:36:01,080
Speaker 2: Corey away to come up with a plan.

744
00:36:03,320 --> 00:36:06,440
Speaker 3: All right, a lot of guest star work boys and

745
00:36:06,600 --> 00:36:07,719
Speaker 3: guest guess.

746
00:36:07,800 --> 00:36:10,399
Speaker 1: That was great scene between the two of them, really good.

747
00:36:11,040 --> 00:36:13,440
Speaker 3: But the whole plot is driven by.

748
00:36:13,200 --> 00:36:14,360
Speaker 1: People we've never seen before.

749
00:36:14,520 --> 00:36:14,719
Speaker 5: Yeah.

750
00:36:15,200 --> 00:36:18,680
Speaker 3: Yeah, But even I was thinking, like, could have been

751
00:36:18,680 --> 00:36:22,960
Speaker 3: so easy to insert Bill if it was like, mister Feenie's.

752
00:36:22,600 --> 00:36:25,080
Speaker 1: Friends are getting married, Yes, who's a teacher?

753
00:36:25,080 --> 00:36:28,160
Speaker 3: Who's a kindergarten teacher, And therefore mister Feoeney gets to

754
00:36:28,200 --> 00:36:30,600
Speaker 3: be here and have a couple of scenes with you know,

755
00:36:30,800 --> 00:36:31,640
Speaker 3: phoene should.

756
00:36:31,360 --> 00:36:34,239
Speaker 1: Have been performing the ceremony. Yeah, sure, I mean, there's

757
00:36:34,840 --> 00:36:36,320
Speaker 1: we could have done so much of our show. You

758
00:36:36,320 --> 00:36:37,719
Speaker 1: think that's one of the reasons. Do you think one

759
00:36:37,760 --> 00:36:41,440
Speaker 1: of the reasons that they they kept doing the Allen

760
00:36:41,480 --> 00:36:44,759
Speaker 1: and Amy scenes occasionally with Eric is just for some

761
00:36:46,000 --> 00:36:49,799
Speaker 1: semblance of normalcy with sets, because we're in basically in

762
00:36:49,840 --> 00:36:51,400
Speaker 1: the places we've never seen before.

763
00:36:51,760 --> 00:36:53,640
Speaker 2: Yeah, or for most of them, the.

764
00:36:53,680 --> 00:36:55,640
Speaker 1: Orphanage wedding things. Did you think they're like? We got

765
00:36:55,680 --> 00:36:57,319
Speaker 1: to have one or two scenes that are, you know,

766
00:36:57,440 --> 00:36:59,279
Speaker 1: in a place where people are recognized. We started in

767
00:36:59,480 --> 00:37:00,520
Speaker 1: the student You Bear.

768
00:37:00,760 --> 00:37:03,680
Speaker 2: It also perfectly makes sense that we need some real

769
00:37:03,880 --> 00:37:08,840
Speaker 2: grounding energy with what otherwise is a bunch of kids

770
00:37:08,840 --> 00:37:13,600
Speaker 2: going nuts. Kid Eric thinking of adopting another kid. Corey's

771
00:37:13,600 --> 00:37:14,840
Speaker 2: also frantic adults.

772
00:37:14,960 --> 00:37:17,880
Speaker 1: I mean he's stan Is all over hey all so,

773
00:37:18,080 --> 00:37:19,680
Speaker 1: I mean he's up there as well.

774
00:37:19,400 --> 00:37:22,080
Speaker 2: For sure, and with strangers, not only you know, not

775
00:37:22,120 --> 00:37:25,680
Speaker 2: only just wacky energy, but stranger wacky energy. All right.

776
00:37:25,719 --> 00:37:27,440
Speaker 2: Then we're in the Matthews living room. We joined the

777
00:37:27,440 --> 00:37:31,080
Speaker 2: scene mid conversation, Alan asks Eric, what are you crazy?

778
00:37:31,440 --> 00:37:33,640
Speaker 2: Amy tries to calm her husband down, but Alan won't

779
00:37:33,719 --> 00:37:36,120
Speaker 2: let up. No, even for him, this is nuts. He

780
00:37:36,200 --> 00:37:39,080
Speaker 2: can't even take care of himself. Eric is offended. I

781
00:37:39,160 --> 00:37:41,120
Speaker 2: resent that. I resent the heck out of that. I'm

782
00:37:41,160 --> 00:37:44,120
Speaker 2: a grown man. I'm fully capable of taking responsibility for

783
00:37:44,200 --> 00:37:45,400
Speaker 2: another human life.

784
00:37:45,560 --> 00:37:48,360
Speaker 3: Wow, So I just realized the Eric storyline takes place

785
00:37:48,360 --> 00:37:52,799
Speaker 3: in the course of one wedding. Yes, wow, Yeah, a

786
00:37:52,800 --> 00:37:55,360
Speaker 3: lot of a lot of emotional ups and downs.

787
00:37:55,400 --> 00:37:58,640
Speaker 1: First, well, I'm going to make technically it's it's two days,

788
00:37:58,680 --> 00:38:01,000
Speaker 1: I think because they they've started in the student union,

789
00:38:01,040 --> 00:38:02,279
Speaker 1: so we established Tommy right.

790
00:38:03,440 --> 00:38:07,200
Speaker 3: But yeah, this day is you decided to adopt, decided

791
00:38:07,239 --> 00:38:07,719
Speaker 3: to give up?

792
00:38:07,800 --> 00:38:08,000
Speaker 5: Yeah?

793
00:38:08,040 --> 00:38:08,560
Speaker 3: Okay, wow.

794
00:38:08,960 --> 00:38:11,080
Speaker 2: I also am not sure it's two different days. I

795
00:38:11,080 --> 00:38:14,160
Speaker 2: think we would be saying are we doing this and

796
00:38:14,280 --> 00:38:16,600
Speaker 2: dragging him out? Is us going to the wedding?

797
00:38:16,719 --> 00:38:17,160
Speaker 1: Oh god?

798
00:38:17,200 --> 00:38:24,239
Speaker 2: Okay, so it could be later that night, you know. So, yeah,

799
00:38:24,400 --> 00:38:28,040
Speaker 2: it's all very fast. Alan scoffs. Your fly is open.

800
00:38:28,320 --> 00:38:31,120
Speaker 2: Eric yells back, I know. He turns around to zip

801
00:38:31,160 --> 00:38:33,880
Speaker 2: is fly, then turns back to his parents. I demand

802
00:38:33,960 --> 00:38:35,800
Speaker 2: you take me seriously, all right.

803
00:38:37,239 --> 00:38:41,160
Speaker 3: Trip out about something for a second. Sure, Why is

804
00:38:41,239 --> 00:38:43,560
Speaker 3: it that that is would be an impossible structure? Like

805
00:38:43,600 --> 00:38:45,920
Speaker 3: what if the Eric storyline were taking course over like

806
00:38:46,000 --> 00:38:50,239
Speaker 3: five days and the wedding storyline were you couldn't by

807
00:38:50,400 --> 00:38:54,040
Speaker 3: like the logic, the time logic of television and sitcom

808
00:38:54,080 --> 00:38:56,960
Speaker 3: in particular, doesn't allow that. You wouldn't accept that.

809
00:38:57,160 --> 00:38:57,920
Speaker 1: No, it couldn't be a.

810
00:38:57,920 --> 00:39:01,920
Speaker 3: Flashback a but story. It doesn't need there's no integration.

811
00:39:02,560 --> 00:39:05,080
Speaker 3: But for some reason, there's something about the form that

812
00:39:05,120 --> 00:39:07,520
Speaker 3: we need it to be all taking place at the

813
00:39:07,520 --> 00:39:08,080
Speaker 3: same time.

814
00:39:08,960 --> 00:39:12,400
Speaker 2: It also, it could be that it's I mean, it

815
00:39:12,440 --> 00:39:14,279
Speaker 2: could be that it's not, but there's no way to

816
00:39:14,360 --> 00:39:17,840
Speaker 2: explain that, Like this could be actually six whole days later,

817
00:39:18,320 --> 00:39:21,520
Speaker 2: but how would we show without a little later. Yeah,

818
00:39:22,440 --> 00:39:23,680
Speaker 2: there's no way of showing it.

819
00:39:23,760 --> 00:39:26,400
Speaker 3: But it's sort of like, you know, I think I

820
00:39:26,440 --> 00:39:29,719
Speaker 3: know that there's a Greek tragedy where like there is

821
00:39:29,920 --> 00:39:33,839
Speaker 3: a tradition, it's certainly in classical theater where it all

822
00:39:33,840 --> 00:39:36,799
Speaker 3: has to take place within a certain timeline, And it

823
00:39:36,840 --> 00:39:39,279
Speaker 3: seems like television has the same rule. I've never thought

824
00:39:39,280 --> 00:39:41,520
Speaker 3: about it before, but you couldn't even in the single

825
00:39:41,520 --> 00:39:44,120
Speaker 3: camera show. I'm trying to think if you could manipulate

826
00:39:44,160 --> 00:39:47,400
Speaker 3: the story and flash back to a whole nother storyline,

827
00:39:47,719 --> 00:39:49,960
Speaker 3: unless you make that a thing like you're like and

828
00:39:50,000 --> 00:39:53,080
Speaker 3: then I remember, and then and you see the flashback,

829
00:39:53,440 --> 00:39:56,880
Speaker 3: you can't. There's something about the nature of a TV

830
00:39:56,960 --> 00:39:59,160
Speaker 3: show that you need it to be all present tense,

831
00:39:59,200 --> 00:39:59,520
Speaker 3: and that's.

832
00:39:59,400 --> 00:40:02,160
Speaker 2: Such a struggle. What is this character doing right now

833
00:40:02,400 --> 00:40:04,399
Speaker 2: and so and then while that's happening, What is that

834
00:40:04,480 --> 00:40:05,799
Speaker 2: character doing right It's like.

835
00:40:05,800 --> 00:40:08,319
Speaker 3: Part of the like liveness of it, right, Yeah, the

836
00:40:08,360 --> 00:40:11,040
Speaker 3: fact that like what we're watching is actually happening.

837
00:40:11,200 --> 00:40:12,040
Speaker 2: It needs to be.

838
00:40:12,719 --> 00:40:14,800
Speaker 3: It's like the constraints of the form. It's so interesting,

839
00:40:14,800 --> 00:40:17,239
Speaker 3: and you know that they were twisting themselves to make

840
00:40:17,320 --> 00:40:17,680
Speaker 3: that work.

841
00:40:17,800 --> 00:40:22,160
Speaker 1: Do it on Friends. I'm trying to remember the episodes

842
00:40:22,160 --> 00:40:26,920
Speaker 1: where they quote unquote flashback to them, like in college,

843
00:40:27,920 --> 00:40:30,719
Speaker 1: is there I can't remember if there's a regular storyline

844
00:40:30,760 --> 00:40:33,880
Speaker 1: going on, and then they're also showing previous things without

845
00:40:33,920 --> 00:40:36,320
Speaker 1: it being like remember that time where we were in college,

846
00:40:36,760 --> 00:40:39,440
Speaker 1: can't I can't remember what the structure was.

847
00:40:39,560 --> 00:40:42,920
Speaker 3: But still in the current storyline, there would still be

848
00:40:42,960 --> 00:40:46,399
Speaker 3: a sort of unity of time, right, Yeah, it would

849
00:40:46,440 --> 00:40:49,920
Speaker 3: all be framed within flashbacks. You couldn't just split them

850
00:40:50,000 --> 00:40:52,319
Speaker 3: up and be like a whole other time, a whole

851
00:40:52,320 --> 00:40:54,920
Speaker 3: other period. There's something about like needing it to be

852
00:40:55,040 --> 00:40:57,760
Speaker 3: present tense. Yeah, that's that's inherent to the form.

853
00:40:57,960 --> 00:40:59,560
Speaker 1: By the way, right when we cut to this scene,

854
00:40:59,560 --> 00:41:02,480
Speaker 1: when we we get in there, Amy is holding the

855
00:41:02,560 --> 00:41:03,400
Speaker 1: fakest baby.

856
00:41:03,600 --> 00:41:05,759
Speaker 2: Oh yeah, just like just a straight up thing, like.

857
00:41:05,719 --> 00:41:06,600
Speaker 1: It's not even bent over.

858
00:41:06,640 --> 00:41:08,359
Speaker 3: It just Also I'm not sure if it was this scene,

859
00:41:08,400 --> 00:41:10,560
Speaker 3: but you come in from the kitchen at one point,

860
00:41:10,840 --> 00:41:11,359
Speaker 3: and there's no.

861
00:41:11,360 --> 00:41:14,840
Speaker 1: Kitchen set the wall that's weird. It's like, wait a minute,

862
00:41:14,920 --> 00:41:16,720
Speaker 1: what is that. It's at the wrong angle.

863
00:41:16,760 --> 00:41:20,000
Speaker 2: And I was like, we just didn't have.

864
00:41:18,480 --> 00:41:21,719
Speaker 1: The kitchen anymore. No, it wasn't thought that same thing.

865
00:41:21,719 --> 00:41:25,040
Speaker 1: And there's like this weird pale flowered wall, like wait, wait,

866
00:41:25,120 --> 00:41:26,520
Speaker 1: where where did that come from?

867
00:41:26,560 --> 00:41:28,040
Speaker 3: And I was sitting there going like, why didn't they

868
00:41:28,080 --> 00:41:30,160
Speaker 3: keep the kitchen because the kitchen is a better set, right,

869
00:41:30,200 --> 00:41:32,040
Speaker 3: there's more to do there. And then I realized, oh,

870
00:41:32,040 --> 00:41:34,480
Speaker 3: because then you'd have to have Poenie's yard. The kitchen

871
00:41:34,800 --> 00:41:37,040
Speaker 3: is a double Yet, yeah, where's the living room? If

872
00:41:37,040 --> 00:41:38,920
Speaker 3: you're going to have any of the Matthew's house, just

873
00:41:39,120 --> 00:41:40,360
Speaker 3: the living room so much easier.

874
00:41:40,400 --> 00:41:45,640
Speaker 1: And we had, including the beach scenes that were the

875
00:41:46,160 --> 00:41:49,719
Speaker 1: weird fans wonderful beach scenes. Oh you've got what three

876
00:41:49,880 --> 00:41:53,320
Speaker 1: swing sets this week? Four swing sets and four Yeah,

877
00:41:53,440 --> 00:41:54,280
Speaker 1: I mean it's crazy.

878
00:41:55,600 --> 00:41:58,799
Speaker 2: Meanwhile, we see that Eric's shirt is now peeking out

879
00:41:58,840 --> 00:42:03,640
Speaker 2: of his zipper. Eric trying to explain. Eric is trying

880
00:42:03,680 --> 00:42:05,680
Speaker 2: to explain how much he and Tommy love each other,

881
00:42:06,000 --> 00:42:09,400
Speaker 2: but Alan and Amy can't help but laugh. Eric finally

882
00:42:09,440 --> 00:42:13,160
Speaker 2: notices his mistake and yanks the shirt out of his

883
00:42:13,280 --> 00:42:16,520
Speaker 2: pants and right off of his body completely.

884
00:42:16,880 --> 00:42:18,520
Speaker 3: Do you remember how you did this?

885
00:42:18,719 --> 00:42:21,000
Speaker 1: Nope? I mean I remember the moment because I know

886
00:42:21,080 --> 00:42:24,279
Speaker 1: the moment has become a meme. But I think, I mean,

887
00:42:24,320 --> 00:42:26,400
Speaker 1: I think they just put like a faux shirt on

888
00:42:26,440 --> 00:42:29,160
Speaker 1: me obviously that doesn't have a back, and then right

889
00:42:29,200 --> 00:42:32,160
Speaker 1: through the zipper. Yeah, and then I think I could

890
00:42:32,160 --> 00:42:35,560
Speaker 1: be wrong, But isn't he wearing this same shirt? Then

891
00:42:35,719 --> 00:42:38,080
Speaker 1: later in the episode, as he goes to adopt Tommy,

892
00:42:38,080 --> 00:42:41,680
Speaker 1: it's the green butt down so over the couch and

893
00:42:41,719 --> 00:42:43,799
Speaker 1: then it ripped it off me throw it over the

894
00:42:43,800 --> 00:42:44,719
Speaker 1: couch and then put it back on it.

895
00:42:47,040 --> 00:42:51,719
Speaker 2: Exactly What do you yell when you rip it through?

896
00:42:51,719 --> 00:42:59,440
Speaker 1: It? Is like, yes, sounds.

897
00:43:01,480 --> 00:43:04,360
Speaker 2: So funny. Then he just carries on the conversation like

898
00:43:04,440 --> 00:43:07,600
Speaker 2: nothing happened. Tommy wants to be adopted, and Eric didn't

899
00:43:07,600 --> 00:43:10,680
Speaker 2: come to them for permission, He came for encouragement, but

900
00:43:11,040 --> 00:43:13,800
Speaker 2: feels like he came to the wrong place. Amy stops

901
00:43:13,880 --> 00:43:15,880
Speaker 2: him before he can walk out. You would make a

902
00:43:15,920 --> 00:43:20,040
Speaker 2: great parent to Tommy someday, but not now. Eric asks

903
00:43:20,120 --> 00:43:23,480
Speaker 2: why not now? So Alan begins to list off the reasons.

904
00:43:23,719 --> 00:43:25,640
Speaker 2: You don't have a job, and you don't have a home.

905
00:43:25,800 --> 00:43:29,000
Speaker 2: You sleep on our couch. Eric pushes back, You think

906
00:43:29,000 --> 00:43:31,160
Speaker 2: I like sleeping on your couch. You know why I

907
00:43:31,200 --> 00:43:33,719
Speaker 2: sleep here? It's because I have nowhere else to go.

908
00:43:34,080 --> 00:43:36,760
Speaker 2: I lost my best friend to the girl of my dreams.

909
00:43:37,000 --> 00:43:39,520
Speaker 2: I lost my brother to the girl of his dreams.

910
00:43:39,760 --> 00:43:42,480
Speaker 2: I lost Feeneye to the Dean, and I lost you

911
00:43:42,480 --> 00:43:45,400
Speaker 2: guys to the new baby.

912
00:43:45,600 --> 00:43:48,759
Speaker 1: Eric or Eric? Also, why is he not back in

913
00:43:48,800 --> 00:43:49,320
Speaker 1: his old.

914
00:43:49,200 --> 00:43:51,080
Speaker 2: Room because of the baby?

915
00:43:52,280 --> 00:43:54,160
Speaker 1: The baby gets that giant room.

916
00:43:54,360 --> 00:43:58,120
Speaker 2: Yeah, all to himself. Yea, even as a newborn.

917
00:43:59,080 --> 00:43:59,799
Speaker 1: Why wouldn't that kid?

918
00:44:00,200 --> 00:44:01,840
Speaker 2: They could sleep in the crib. You could sleep in

919
00:44:01,840 --> 00:44:02,200
Speaker 2: a crib.

920
00:44:02,320 --> 00:44:05,600
Speaker 1: Oh god, it just seems like there's a number of Yeah.

921
00:44:05,800 --> 00:44:08,560
Speaker 1: Kick Morgan out of it, I mean, get.

922
00:44:08,400 --> 00:44:10,160
Speaker 2: Out of here, Morgan. You should have a job already.

923
00:44:10,200 --> 00:44:14,000
Speaker 1: Exactly, we were working at her age.

924
00:44:14,040 --> 00:44:17,920
Speaker 2: Come on, Amy tries to defend herself. Oh that is

925
00:44:18,120 --> 00:44:20,719
Speaker 2: just so. Then she turns on her baby voice and

926
00:44:20,760 --> 00:44:24,760
Speaker 2: attends to the baby. Eric has proven his point. Everybody

927
00:44:24,840 --> 00:44:26,879
Speaker 2: I know has somebody that they want to dedicate their

928
00:44:26,920 --> 00:44:29,479
Speaker 2: life to. Now that I finally have that, you're trying

929
00:44:29,520 --> 00:44:32,799
Speaker 2: to discourage me. Alan explains, even if we agreed to this,

930
00:44:32,920 --> 00:44:35,319
Speaker 2: they won't let you adopt him. You can't support him,

931
00:44:35,360 --> 00:44:37,839
Speaker 2: and you can't give him a home. Amy chimes in,

932
00:44:38,040 --> 00:44:40,840
Speaker 2: you're a great big brother. Be that. That's what he

933
00:44:40,880 --> 00:44:43,919
Speaker 2: needs from you. Eric argues, what Tommy needs is him,

934
00:44:44,280 --> 00:44:46,239
Speaker 2: so he's going to do everything in his power to

935
00:44:46,360 --> 00:44:48,879
Speaker 2: ensure that. I'm gonna call Saint Mary's and have them

936
00:44:48,880 --> 00:44:52,600
Speaker 2: put Tommy on hold or you know, lay away or whatever.

937
00:44:53,880 --> 00:44:56,720
Speaker 2: Eric walks into the kitchen and Amy worridly asks her husband,

938
00:44:56,880 --> 00:44:59,759
Speaker 2: why are our children so crazy? She looks at baby

939
00:45:00,040 --> 00:45:03,760
Speaker 2: Joshua and begs, please, don't be crazy, be normal. Alan

940
00:45:03,800 --> 00:45:06,359
Speaker 2: agrees that they're crazy, but they have good hearts. He

941
00:45:06,360 --> 00:45:09,880
Speaker 2: helps Joshua follows in their footsteps. Amy's baffled. Are you

942
00:45:10,040 --> 00:45:12,640
Speaker 2: going along with this? The kid just pulled his shirt

943
00:45:12,680 --> 00:45:16,120
Speaker 2: out of his fly. Alan's impressed. No one else could

944
00:45:16,160 --> 00:45:17,440
Speaker 2: do that.

945
00:45:17,520 --> 00:45:18,800
Speaker 1: It's a great line.

946
00:45:19,360 --> 00:45:22,680
Speaker 2: Then Eric walks back into the room, looking depressed. Some

947
00:45:22,920 --> 00:45:25,880
Speaker 2: other people want to adopt Tommy, and that was a

948
00:45:25,960 --> 00:45:29,200
Speaker 2: jack that was fast available.

949
00:45:29,320 --> 00:45:32,520
Speaker 3: No, no, he's going to adopt it all right, somebody

950
00:45:32,560 --> 00:45:33,279
Speaker 3: else wants him.

951
00:45:34,200 --> 00:45:36,759
Speaker 1: I'm much more concerned about the kitchen being on. I

952
00:45:36,800 --> 00:45:38,120
Speaker 1: know it is gone.

953
00:45:38,239 --> 00:45:41,200
Speaker 2: That's so funny. I didn't notice it. Then we go

954
00:45:41,239 --> 00:45:43,080
Speaker 2: to a commercial break and we are then in a

955
00:45:43,200 --> 00:45:48,600
Speaker 2: new set, alert the Orphanage. Where do was the set then?

956
00:45:48,800 --> 00:45:51,080
Speaker 2: In relation to our other sets? Do you think this

957
00:45:51,160 --> 00:45:53,400
Speaker 2: is Carolina?

958
00:45:54,600 --> 00:45:56,160
Speaker 3: I think this replaced the apartment.

959
00:45:57,160 --> 00:45:59,120
Speaker 1: Yeah, that's where it is in my mind, or it

960
00:45:59,160 --> 00:46:02,320
Speaker 1: could have been the kitchen. I seem to remember being

961
00:46:03,440 --> 00:46:05,880
Speaker 1: farther down the set, like if you're staring at the

962
00:46:05,960 --> 00:46:10,040
Speaker 1: sets to the right, like kind of where the hallway

963
00:46:10,080 --> 00:46:11,239
Speaker 1: for the school used to be.

964
00:46:11,520 --> 00:46:12,680
Speaker 2: Okay, yep, yeah, I.

965
00:46:12,680 --> 00:46:14,880
Speaker 3: Think that's right because I definitely know that the wedding

966
00:46:15,000 --> 00:46:16,520
Speaker 3: was on the audience side.

967
00:46:16,719 --> 00:46:19,760
Speaker 2: Okay, yeah, gotcha, because we preshot all that right.

968
00:46:20,640 --> 00:46:23,839
Speaker 3: You know, I just remember being in that set, but

969
00:46:23,920 --> 00:46:25,160
Speaker 3: nothing else about the episodes.

970
00:46:25,360 --> 00:46:29,680
Speaker 2: Man Tommy enters the common area with a chaperone and

971
00:46:29,840 --> 00:46:32,080
Speaker 2: Eric is happy to see him. Why didn't you tell me,

972
00:46:32,680 --> 00:46:36,240
Speaker 2: Tommy explains, because I'm not going with them. Eric doesn't

973
00:46:36,239 --> 00:46:38,880
Speaker 2: think he has that choice and asks the Orphanage employee

974
00:46:38,920 --> 00:46:41,640
Speaker 2: just to make sure, but she says Tommy actually does

975
00:46:41,760 --> 00:46:44,480
Speaker 2: have a choice. They would never place a child somewhere

976
00:46:44,480 --> 00:46:47,480
Speaker 2: they didn't want to be, especially if there's an emotional conflict.

977
00:46:48,120 --> 00:46:51,040
Speaker 2: Eric asks what the emotional conflict is and the woman states,

978
00:46:51,640 --> 00:46:56,360
Speaker 2: you are. Eric's eyes widen. Oh boy. Tommy admits I

979
00:46:56,400 --> 00:46:59,480
Speaker 2: told them I wouldn't go with anybody else. Eric explains,

980
00:46:59,800 --> 00:47:01,920
Speaker 2: if these people are good enough to adopt you, then

981
00:47:01,920 --> 00:47:03,560
Speaker 2: I'm sure they're going to let me keep being your

982
00:47:03,560 --> 00:47:05,839
Speaker 2: big brother. Well, just tell them I come along as

983
00:47:05,880 --> 00:47:08,719
Speaker 2: part of the deal. That Tommy breaks the news. That's

984
00:47:08,719 --> 00:47:11,839
Speaker 2: not gonna work. Eric jokes, Oh, I know why, because

985
00:47:11,840 --> 00:47:13,600
Speaker 2: as soon as they meet me, they're going to like

986
00:47:13,680 --> 00:47:18,719
Speaker 2: me better than you. That's pretty selfish. Thomas. Tommy clarifies

987
00:47:19,120 --> 00:47:22,400
Speaker 2: they live in California. Eric rushes back over to the

988
00:47:22,440 --> 00:47:25,560
Speaker 2: worker and asks if it's true. And it is. Eric

989
00:47:25,560 --> 00:47:28,879
Speaker 2: calmly states I don't want them to live in California,

990
00:47:29,360 --> 00:47:31,759
Speaker 2: but there's nothing she can do about that. Eric tells

991
00:47:31,800 --> 00:47:34,759
Speaker 2: the woman, maybe there's something I can do. I'd like

992
00:47:34,840 --> 00:47:38,040
Speaker 2: to adopt Tommy please. The woman wants to discuss this

993
00:47:38,080 --> 00:47:40,799
Speaker 2: in her office, but Tommy has heard every word. I

994
00:47:40,880 --> 00:47:43,840
Speaker 2: want Eric, I pick Eric. He jumps onto the couch

995
00:47:43,960 --> 00:47:47,399
Speaker 2: then out the door, repeating, Hey, I'm getting adopted. I'm

996
00:47:47,440 --> 00:47:51,320
Speaker 2: getting adopted. Eric watches him leave with a huge smile

997
00:47:51,400 --> 00:47:54,000
Speaker 2: on his face. This is like the happiest day of

998
00:47:54,040 --> 00:48:00,880
Speaker 2: my life. That the woman looks concerned. It's so interesting because, like,

999
00:48:01,200 --> 00:48:05,480
Speaker 2: as much as obviously they're going to take Tommy away,

1000
00:48:05,560 --> 00:48:07,600
Speaker 2: that puts a real damper on the idea that Eric's

1001
00:48:07,600 --> 00:48:10,560
Speaker 2: still going to be in his life. Eric being able

1002
00:48:10,640 --> 00:48:14,959
Speaker 2: to afford trips to California is much easier and more

1003
00:48:15,120 --> 00:48:20,080
Speaker 2: likely than I'm going to adopt him to keep him here.

1004
00:48:22,640 --> 00:48:26,720
Speaker 1: Yeah, I mean, yeah, it's again, I think you're showing

1005
00:48:26,880 --> 00:48:30,120
Speaker 1: Eric's heart, but you're also I'm hoping some of this

1006
00:48:30,200 --> 00:48:33,880
Speaker 1: pays off somewhere, meaning Eric has kind of gotten trounced

1007
00:48:33,920 --> 00:48:37,280
Speaker 1: in the last few episodes. Yes, from Jack and Rachel

1008
00:48:37,360 --> 00:48:40,120
Speaker 1: and from Corey Lee and just it now Tommy's leaving.

1009
00:48:40,239 --> 00:48:42,640
Speaker 1: I can't remember if this is ever paid off to

1010
00:48:42,680 --> 00:48:45,560
Speaker 1: where it's like, Wow, something good's happening to Eric. I

1011
00:48:46,040 --> 00:48:48,440
Speaker 1: can't remember if it does. Yeah, don't hook him up

1012
00:48:48,440 --> 00:48:48,920
Speaker 1: with anybody.

1013
00:48:49,000 --> 00:48:52,120
Speaker 2: I mean, I guess it's true that your character Eric

1014
00:48:52,200 --> 00:48:56,400
Speaker 2: does even say I want I've wanted someone to dedicate

1015
00:48:56,440 --> 00:48:58,799
Speaker 2: my life to. It could be Tommy, it could be

1016
00:48:58,880 --> 00:49:02,239
Speaker 2: it could be this person and let me spend my

1017
00:49:02,320 --> 00:49:07,080
Speaker 2: life with this kid. And so I guess, you know,

1018
00:49:07,920 --> 00:49:08,799
Speaker 2: it's just why does it?

1019
00:49:08,800 --> 00:49:10,840
Speaker 1: It's it's kind of a why doesn't anybody love me

1020
00:49:11,520 --> 00:49:14,480
Speaker 1: the way they love everybody else? And I get that,

1021
00:49:14,520 --> 00:49:17,440
Speaker 1: and I get then it's a good story then kind

1022
00:49:17,480 --> 00:49:20,319
Speaker 1: of putting that onto a little kid where it's like, Okay,

1023
00:49:20,320 --> 00:49:22,480
Speaker 1: I'm going to I'm going to adopt my love. That's

1024
00:49:22,520 --> 00:49:23,719
Speaker 1: the way you're going to say that.

1025
00:49:23,760 --> 00:49:26,279
Speaker 3: Though, I would kill for a Phoene Eric scene to

1026
00:49:26,360 --> 00:49:27,080
Speaker 3: end this episode.

1027
00:49:27,440 --> 00:49:32,239
Speaker 5: Yeah, yeah, over the fence and just being like, you

1028
00:49:32,239 --> 00:49:35,400
Speaker 5: can have other relationships with kids that aren't yours and

1029
00:49:35,440 --> 00:49:39,360
Speaker 5: you just know that he's talking about him, and yes, yes,

1030
00:49:39,760 --> 00:49:43,239
Speaker 5: oh my god, oh that's such a good idea, just

1031
00:49:43,440 --> 00:49:45,320
Speaker 5: like you know, yeah.

1032
00:49:44,800 --> 00:49:49,280
Speaker 2: There are other ways.

1033
00:49:49,640 --> 00:49:51,480
Speaker 1: Yeah, that's all I would to take. And then Eric

1034
00:49:51,560 --> 00:49:53,000
Speaker 1: just sees him and knows he did.

1035
00:49:53,200 --> 00:49:55,359
Speaker 3: Yeah, because I mean, you know, it's like in some

1036
00:49:55,400 --> 00:49:58,120
Speaker 3: ways that that that final tag. See it's not even

1037
00:49:58,120 --> 00:50:00,200
Speaker 3: the tag, but the final scene with you and tom Me,

1038
00:50:00,280 --> 00:50:00,680
Speaker 3: it's like.

1039
00:50:01,560 --> 00:50:03,920
Speaker 1: It's good, but it could be man, No, but I

1040
00:50:04,040 --> 00:50:04,239
Speaker 1: like that.

1041
00:50:04,360 --> 00:50:06,839
Speaker 3: I Mean, what I love about this storyline is that

1042
00:50:07,000 --> 00:50:09,520
Speaker 3: Eric has to accept that Tommy's going to hate him.

1043
00:50:10,080 --> 00:50:13,480
Speaker 3: He has to accept I and I would have preferred

1044
00:50:13,520 --> 00:50:15,480
Speaker 3: that it lived there, you know, because that's the real

1045
00:50:15,520 --> 00:50:17,840
Speaker 3: growth is, you know. But instead we kind of have

1046
00:50:17,920 --> 00:50:19,799
Speaker 3: your cake and eat it too. By Tom still loves

1047
00:50:19,880 --> 00:50:22,440
Speaker 3: him and he understands, and they're going to be fine.

1048
00:50:22,560 --> 00:50:24,520
Speaker 1: Where they left it like that, and.

1049
00:50:25,200 --> 00:50:29,480
Speaker 2: Then the ultimate sacrifice on the scene and he is

1050
00:50:29,520 --> 00:50:30,920
Speaker 2: able to say, I've, you know, I've.

1051
00:50:31,080 --> 00:50:33,759
Speaker 3: It's so much more powerful than girl graduated and I

1052
00:50:33,800 --> 00:50:34,880
Speaker 3: never hear it from them again.

1053
00:50:35,960 --> 00:50:39,200
Speaker 1: Well, because it's graduate. They graduated, and we never hear

1054
00:50:39,200 --> 00:50:41,360
Speaker 1: from them again, is exactly what she says. We like

1055
00:50:41,400 --> 00:50:44,440
Speaker 1: when the letters stop at the orphanage. So having Foenie

1056
00:50:44,480 --> 00:50:46,800
Speaker 1: do the same thing, Oh, that would have been so good.

1057
00:50:47,239 --> 00:50:49,160
Speaker 1: It would have been so good. You're right, Oh man,

1058
00:50:49,239 --> 00:50:53,760
Speaker 1: how powerful would that have been? Wow? He had Finally

1059
00:50:53,800 --> 00:50:55,759
Speaker 1: and apparently with or not, it's just to use out

1060
00:50:55,760 --> 00:51:00,279
Speaker 1: of club with Matt and club Club Club, Rachel and

1061
00:51:00,440 --> 00:51:04,520
Speaker 1: everybody else. Yikes.

1062
00:51:07,719 --> 00:51:10,400
Speaker 3: So guys, you ready to come to San Francisco.

1063
00:51:10,840 --> 00:51:13,000
Speaker 1: I awesome.

1064
00:51:13,760 --> 00:51:15,680
Speaker 3: I'm so excited. We're going to be playing at the

1065
00:51:15,680 --> 00:51:18,840
Speaker 3: Palace of Fine Arts and I have a ton of

1066
00:51:18,880 --> 00:51:21,959
Speaker 3: friends coming. I love San Francisco. So much.

1067
00:51:22,360 --> 00:51:24,960
Speaker 2: I actually have a ton of friends coming too, friends

1068
00:51:24,960 --> 00:51:28,600
Speaker 2: and family. And then we are also doing a show

1069
00:51:28,760 --> 00:51:31,600
Speaker 2: in Sacramento at the Windy City.

1070
00:51:31,719 --> 00:51:32,480
Speaker 1: I can't wait.

1071
00:51:33,080 --> 00:51:34,080
Speaker 2: The Windy City.

1072
00:51:34,400 --> 00:51:35,160
Speaker 1: What is that wrong?

1073
00:51:35,440 --> 00:51:35,720
Speaker 3: Yeah?

1074
00:51:35,920 --> 00:51:42,560
Speaker 2: No, very excited. We will be there this weekend. As

1075
00:51:42,560 --> 00:51:44,439
Speaker 2: a matter of fact, our first show's on the twenty fifth,

1076
00:51:44,440 --> 00:51:47,080
Speaker 2: our second show and Sacramento's on the twenty seventh. It's

1077
00:51:47,120 --> 00:51:49,880
Speaker 2: going to be so much fun. We have a costume contest,

1078
00:51:50,080 --> 00:51:53,200
Speaker 2: and to remind everybody, if you win the costume contest,

1079
00:51:53,400 --> 00:51:57,120
Speaker 2: you win an original Boy Meets World script signed by

1080
00:51:57,200 --> 00:51:59,799
Speaker 2: the three of us. Our live shows are super fun.

1081
00:51:59,840 --> 00:52:02,920
Speaker 2: There's lots of audience participation. We hope to see you

1082
00:52:03,000 --> 00:52:06,120
Speaker 2: out there. Check out Pod meets worldshow dot com to

1083
00:52:06,360 --> 00:52:08,560
Speaker 2: get your tickets and find out where the theaters are.

1084
00:52:09,000 --> 00:52:09,960
Speaker 1: The Sunshine State.

1085
00:52:12,400 --> 00:52:15,799
Speaker 3: Yeah that's true, that's California, all right.

1086
00:52:23,320 --> 00:52:26,360
Speaker 2: Back at the Banque Hall, Sean confidently tells Corey to

1087
00:52:26,440 --> 00:52:29,759
Speaker 2: take the money. Corey argues that he loves Topanga and

1088
00:52:29,840 --> 00:52:35,080
Speaker 2: Sean understands we all do take the money. Corey tells

1089
00:52:35,080 --> 00:52:38,440
Speaker 2: Sean that Topanga is his entire life than on Queue

1090
00:52:38,440 --> 00:52:42,759
Speaker 2: Topega and Angela Walk Up. Angela is just with me,

1091
00:52:42,880 --> 00:52:44,960
Speaker 2: I guess, because she knows Corey is not going to

1092
00:52:45,000 --> 00:52:45,600
Speaker 2: really be able to.

1093
00:52:45,520 --> 00:52:47,760
Speaker 3: Help me and I'm not going to acknowledge that she exists.

1094
00:52:47,760 --> 00:52:50,520
Speaker 1: So spend me hundreds, if not thousands of dollars on

1095
00:52:50,600 --> 00:52:53,520
Speaker 1: dresses and ye renting tuxes and all that kind of stuff.

1096
00:52:53,560 --> 00:52:56,000
Speaker 1: And then she doesn't even speak at the end. I

1097
00:52:56,000 --> 00:52:58,399
Speaker 1: looked at Sue, I was like, has she spoken yet?

1098
00:52:58,440 --> 00:52:59,360
Speaker 1: And then she has.

1099
00:52:59,239 --> 00:53:02,080
Speaker 2: One say, oh, okay, there we go. Topanga tells Corey

1100
00:53:02,120 --> 00:53:04,400
Speaker 2: he isn't supposed to just be standing around. They're at

1101
00:53:04,400 --> 00:53:07,200
Speaker 2: the wedding to do research. Corey says he was gunna

1102
00:53:07,440 --> 00:53:11,200
Speaker 2: and Topanga asks Angela, you know what that means. Angela nods, yeah,

1103
00:53:11,239 --> 00:53:14,480
Speaker 2: you're gonna do everything by yourself. Tapanga tells Corey that

1104
00:53:14,520 --> 00:53:21,040
Speaker 2: she doesn't ask much of him, which is true. Then

1105
00:53:21,200 --> 00:53:24,320
Speaker 2: she turns to Sean and you you're his best friend.

1106
00:53:24,440 --> 00:53:27,919
Speaker 2: You're supposed to help him, help him. While Topanga takes

1107
00:53:27,960 --> 00:53:30,920
Speaker 2: turns speaking to each boy, she doesn't realize that Sean

1108
00:53:30,960 --> 00:53:33,279
Speaker 2: is secretly nodding at Corey to take the money while

1109
00:53:33,320 --> 00:53:34,520
Speaker 2: Corey shakes his head no.

1110
00:53:35,120 --> 00:53:38,120
Speaker 3: And this was the direction was just so good. It

1111
00:53:38,200 --> 00:53:40,480
Speaker 3: was also the other scene where the sort of looks

1112
00:53:40,480 --> 00:53:41,879
Speaker 3: between Corey and the guy with the.

1113
00:53:41,840 --> 00:53:44,320
Speaker 1: Awkwards like, this is good directing.

1114
00:53:45,600 --> 00:53:48,040
Speaker 3: This is all very tough timing and actors to know

1115
00:53:48,080 --> 00:53:50,480
Speaker 3: their clarity, but you get it, like the whole story

1116
00:53:50,520 --> 00:53:51,200
Speaker 3: is told visually.

1117
00:53:51,440 --> 00:53:54,440
Speaker 2: Yeah, good, it's very well done. As the wordless back

1118
00:53:54,520 --> 00:53:57,280
Speaker 2: and forth continues, to Panga finally asks are you guys

1119
00:53:57,320 --> 00:54:00,399
Speaker 2: listening to me? Sean nods yes as he has been

1120
00:54:00,560 --> 00:54:03,719
Speaker 2: to Tapanga, and Corey shakes his head no, as he

1121
00:54:03,920 --> 00:54:06,960
Speaker 2: has been. Sean tells Corey, if you're not taking the money,

1122
00:54:07,040 --> 00:54:10,480
Speaker 2: I am and quickly walks away. Tapega asks what he's

1123
00:54:10,520 --> 00:54:13,440
Speaker 2: talking about, and Corey explains, we were talking about money.

1124
00:54:13,560 --> 00:54:16,800
Speaker 2: Tapega reminds him they don't have any, and Corey admits

1125
00:54:17,120 --> 00:54:20,600
Speaker 2: I know. To Pega sighs, I wish our wedding could

1126
00:54:20,600 --> 00:54:23,120
Speaker 2: be this beautiful. Don't you ever wonder what it would

1127
00:54:23,120 --> 00:54:24,800
Speaker 2: be like to have all the money in the world

1128
00:54:24,840 --> 00:54:28,040
Speaker 2: and you could just do whatever you wanted. Corey forces

1129
00:54:28,080 --> 00:54:31,400
Speaker 2: a laugh. No, never where do you get these mus

1130
00:54:31,480 --> 00:54:36,280
Speaker 2: sugar ideas? And nearby, Sean approaches Stan, how you doing?

1131
00:54:36,680 --> 00:54:38,680
Speaker 2: The father of the bride wonders, do I know you

1132
00:54:39,160 --> 00:54:41,680
Speaker 2: Sean smiles, No, but you want to know me, you

1133
00:54:41,719 --> 00:54:44,359
Speaker 2: know why, because rumor has it you're unhappy with your

1134
00:54:44,440 --> 00:54:47,759
Speaker 2: daughter's choice of mate. Stands hurt enough. Cut to the

1135
00:54:47,840 --> 00:54:51,320
Speaker 2: chase panky, Sean makes up a lie about seeing Stan's

1136
00:54:51,400 --> 00:54:53,560
Speaker 2: daughter for the first time and knowing she was making

1137
00:54:53,600 --> 00:54:56,600
Speaker 2: the biggest mistake of her life because she wasn't marrying him.

1138
00:54:57,280 --> 00:55:00,879
Speaker 2: Stand's amused. Really, you want to marry my daughter, Sean

1139
00:55:00,960 --> 00:55:04,799
Speaker 2: doubles down. Not a want, It's a must. Must marry her,

1140
00:55:05,040 --> 00:55:07,799
Speaker 2: must work for you, you know why, because you're a

1141
00:55:07,840 --> 00:55:10,080
Speaker 2: winner and I'm a winner, and we winners and need

1142
00:55:10,080 --> 00:55:12,880
Speaker 2: to stick together and marry each other's daughters. I'll go first.

1143
00:55:14,880 --> 00:55:17,160
Speaker 1: So funny, this scene is actually pretty funny, but it's

1144
00:55:17,160 --> 00:55:18,440
Speaker 1: really cute. I actually feel like it.

1145
00:55:18,440 --> 00:55:21,319
Speaker 3: Could have been expanded a little bit more because part

1146
00:55:21,320 --> 00:55:22,960
Speaker 3: of me was like, why wouldn't this guy like Sean,

1147
00:55:23,640 --> 00:55:25,560
Speaker 3: you know, like I wanted to see the difference between

1148
00:55:25,600 --> 00:55:28,080
Speaker 3: Sean and Corey a little bit more, like, because Corey

1149
00:55:28,200 --> 00:55:31,400
Speaker 3: was like the the backwards hats and the bolts of

1150
00:55:31,480 --> 00:55:32,200
Speaker 3: their face.

1151
00:55:32,160 --> 00:55:36,279
Speaker 2: And be honest daughter to marry someone like him. One

1152
00:55:36,320 --> 00:55:38,640
Speaker 2: of the reasons he liked Corey is that he was

1153
00:55:38,680 --> 00:55:42,319
Speaker 2: a virgin, and you're a good looking guy who's gonna

1154
00:55:42,360 --> 00:55:43,240
Speaker 2: get all the ladies.

1155
00:55:44,480 --> 00:55:45,839
Speaker 3: I want to see that play out a little bit

1156
00:55:45,840 --> 00:55:47,040
Speaker 3: more than you know, like.

1157
00:55:47,120 --> 00:55:50,000
Speaker 2: Yeah, yeah, I feel like he's a good dynamic. Yeah,

1158
00:55:50,080 --> 00:55:52,600
Speaker 2: he's specifically picking someone that.

1159
00:55:52,960 --> 00:55:54,040
Speaker 3: He feels like a safe boy.

1160
00:55:54,280 --> 00:55:57,000
Speaker 2: Safe boy and you're a leather jacket gang guy.

1161
00:55:57,920 --> 00:55:59,399
Speaker 3: You could have pulled that out a little bit either.

1162
00:55:59,480 --> 00:56:03,560
Speaker 2: Jacket stand admits it's interesting. I was just talking to

1163
00:56:03,560 --> 00:56:06,600
Speaker 2: that curly haired kid who's happy with his girlfriend. We

1164
00:56:06,640 --> 00:56:08,759
Speaker 2: cut to Corey into Panga and see that she's licking

1165
00:56:08,840 --> 00:56:12,320
Speaker 2: her finger to clean mustard off of his face. Despite

1166
00:56:12,360 --> 00:56:17,000
Speaker 2: Corey's childlike protests, Stan continues, I looked at that kid,

1167
00:56:17,040 --> 00:56:19,080
Speaker 2: and I listened to that kid, and I knew he

1168
00:56:19,200 --> 00:56:22,680
Speaker 2: was worth a million dollars. Irony of ironies, you come

1169
00:56:22,719 --> 00:56:27,000
Speaker 2: along and I'm prepared to make the following offer. And excited,

1170
00:56:27,000 --> 00:56:28,799
Speaker 2: Sean admits he has a number in his head and

1171
00:56:28,840 --> 00:56:31,400
Speaker 2: he knows his worth. But Stan says, I'll give you

1172
00:56:31,480 --> 00:56:34,040
Speaker 2: twenty bucks to get the hell away from me. Sean

1173
00:56:34,080 --> 00:56:35,840
Speaker 2: happily takes his money and leaves.

1174
00:56:35,960 --> 00:56:40,839
Speaker 1: He's out gone. He's that you're twenty.

1175
00:56:42,160 --> 00:56:45,640
Speaker 2: Yeah a minute, Max then we're at the orphanage. Eric

1176
00:56:45,719 --> 00:56:48,000
Speaker 2: is filling out paperwork when the worker walks over with

1177
00:56:48,040 --> 00:56:51,840
Speaker 2: another huge stack of forms. Eric asks, you sure like

1178
00:56:51,880 --> 00:56:54,040
Speaker 2: to get a lot of information before you let somebody

1179
00:56:54,080 --> 00:56:58,360
Speaker 2: take a kid. Huh. She sarcastically admits, normally we just

1180
00:56:58,400 --> 00:57:01,680
Speaker 2: pull names out of a hat, but we really like Tommy.

1181
00:57:02,239 --> 00:57:04,640
Speaker 2: She reveals that all the other paperwork is the information

1182
00:57:04,680 --> 00:57:07,800
Speaker 2: on the couple that's also interested in Tommy. She's typically

1183
00:57:07,800 --> 00:57:10,000
Speaker 2: not allowed to show him, but in this case, because

1184
00:57:10,040 --> 00:57:12,280
Speaker 2: he's the big brother and wants for Tommy.

1185
00:57:12,480 --> 00:57:14,400
Speaker 3: I was like, we're just going to break all the

1186
00:57:14,400 --> 00:57:18,960
Speaker 3: state laws and privacy stuff, because that's Eric what.

1187
00:57:19,240 --> 00:57:22,080
Speaker 1: I get it. This is the nineties state laws. Come on,

1188
00:57:22,120 --> 00:57:24,280
Speaker 1: this wasn't a computer thing. She hasn't been a file.

1189
00:57:24,960 --> 00:57:28,120
Speaker 2: You've seen it anywhere she was showing.

1190
00:57:27,880 --> 00:57:31,439
Speaker 3: Them to, I mean, against entire file. Think about kid

1191
00:57:31,440 --> 00:57:32,240
Speaker 3: who you don't.

1192
00:57:32,040 --> 00:57:32,480
Speaker 2: Know at all.

1193
00:57:32,920 --> 00:57:35,840
Speaker 1: But what he actually saw was that the family was nice,

1194
00:57:35,880 --> 00:57:38,000
Speaker 1: the nice letter that they're It's not like they gave

1195
00:57:38,080 --> 00:57:42,280
Speaker 1: medical things away. It's like, you know, come on, fine.

1196
00:57:42,000 --> 00:57:44,439
Speaker 2: I love this argument between the two of you. Letter

1197
00:57:44,560 --> 00:57:46,640
Speaker 2: of the law, spirit of the law.

1198
00:57:48,680 --> 00:57:51,360
Speaker 3: Hold on, you have the lawyer parents what you should

1199
00:57:51,400 --> 00:57:52,320
Speaker 3: be on the other side of.

1200
00:57:52,280 --> 00:57:54,000
Speaker 1: This never you know.

1201
00:57:55,720 --> 00:57:59,760
Speaker 3: Laws. Come on, she's violating everybody's rights in this situation.

1202
00:57:59,280 --> 00:58:03,480
Speaker 1: For the good of Tommy.

1203
00:58:03,840 --> 00:58:06,800
Speaker 2: I like that, but Eric can't get over the fact

1204
00:58:06,800 --> 00:58:09,200
Speaker 2: that they live in California. She says they used to

1205
00:58:09,200 --> 00:58:13,000
Speaker 2: live in Philadelphia. That's when they adopted their first child, Sarah,

1206
00:58:13,200 --> 00:58:16,280
Speaker 2: from the orphanage. Eric says they can keep Sarah. He

1207
00:58:16,320 --> 00:58:17,480
Speaker 2: doesn't have a problem with that.

1208
00:58:18,160 --> 00:58:19,520
Speaker 1: Another biblical name, by the way.

1209
00:58:19,560 --> 00:58:22,080
Speaker 2: Uh huh. Of course. The woman laughs. We used to

1210
00:58:22,080 --> 00:58:24,400
Speaker 2: get lots of letters from Sarah telling us how happy

1211
00:58:24,440 --> 00:58:27,960
Speaker 2: she was. Then we got fewer letters, and then they

1212
00:58:27,960 --> 00:58:31,560
Speaker 2: stopped coming. Eric guesses it's because Sarah wasn't happy anymore,

1213
00:58:31,680 --> 00:58:35,360
Speaker 2: but the woman clarifies, because we weren't her family anymore.

1214
00:58:35,800 --> 00:58:38,400
Speaker 2: They are. As much as it hurts, we love it

1215
00:58:38,440 --> 00:58:39,360
Speaker 2: when the letters stop.

1216
00:58:39,920 --> 00:58:42,160
Speaker 1: We should have seen the letters should have just been

1217
00:58:42,160 --> 00:58:45,040
Speaker 1: a quick flash and you never never mention it. But

1218
00:58:45,120 --> 00:58:48,640
Speaker 1: it's all written with cutout letters from magazine.

1219
00:58:49,000 --> 00:58:50,160
Speaker 2: It just look psycho letters.

1220
00:58:50,880 --> 00:58:57,000
Speaker 3: Hello, I am happy a great time. You're at this

1221
00:58:57,160 --> 00:58:57,920
Speaker 3: nice new family.

1222
00:58:58,120 --> 00:58:59,440
Speaker 1: Here at the nice new family.

1223
00:59:00,880 --> 00:59:02,800
Speaker 2: Eric is looking over the file and he sees a

1224
00:59:02,840 --> 00:59:06,160
Speaker 2: note from Tommy's possible new mother. It's Sarah's third grade

1225
00:59:06,160 --> 00:59:08,280
Speaker 2: picture with a sweet update on her, along with a

1226
00:59:08,320 --> 00:59:10,520
Speaker 2: mention of how much they'd like to adopt a brother

1227
00:59:10,640 --> 00:59:14,400
Speaker 2: for her and a son for them, Tommy, to be exact.

1228
00:59:14,760 --> 00:59:16,760
Speaker 2: They can't stop thinking of what it'll be like to

1229
00:59:16,800 --> 00:59:19,560
Speaker 2: all be together. Eric tells the woman that he loves

1230
00:59:19,600 --> 00:59:22,880
Speaker 2: Tommy too. She says he knows now, he just has

1231
00:59:22,920 --> 00:59:26,960
Speaker 2: to decide how much. Eric hanser back the file and

1232
00:59:27,000 --> 00:59:29,440
Speaker 2: the paperwork he was filling out. He walks over and

1233
00:59:29,520 --> 00:59:32,520
Speaker 2: knocks on Tommy's door. When Tommy answers, his hands are

1234
00:59:32,560 --> 00:59:35,120
Speaker 2: full of toys. Look, Dad, I packed all my stuff.

1235
00:59:35,160 --> 00:59:37,480
Speaker 2: I'm all ready to go. Isn't it cool the way

1236
00:59:37,480 --> 00:59:40,680
Speaker 2: I called you, dad, Eric smiles and walks into his room.

1237
00:59:41,200 --> 00:59:44,160
Speaker 2: It is way cool. Tommy is ready to leave, but

1238
00:59:44,400 --> 00:59:46,360
Speaker 2: Eric is obviously hesitant.

1239
00:59:46,440 --> 00:59:49,720
Speaker 1: By the way. Tommy is also a little liar because

1240
00:59:49,760 --> 00:59:52,400
Speaker 1: the bed was perfect size. The idea that he didn't

1241
00:59:52,400 --> 00:59:54,280
Speaker 1: fit in his bed, that's a lie.

1242
00:59:54,240 --> 00:59:56,240
Speaker 2: Not true, not true. You should have called him out

1243
00:59:56,240 --> 00:59:57,400
Speaker 2: on that. That's why I can't adopt you.

1244
00:59:58,640 --> 01:00:04,280
Speaker 1: I don't adopt liars, Tommy. If that's your real name exactly.

1245
01:00:07,880 --> 01:00:11,320
Speaker 2: He admits I can't be your dad. Tommy doesn't understand,

1246
01:00:11,360 --> 01:00:13,160
Speaker 2: so Eric picks him up and sits him on his lap.

1247
01:00:13,720 --> 01:00:17,160
Speaker 2: These people in California sound really nice. You're gonna have

1248
01:00:17,200 --> 01:00:19,000
Speaker 2: a mom and a dad and a house with a

1249
01:00:19,040 --> 01:00:21,640
Speaker 2: big pool, and a big sister and a dog named Waldo.

1250
01:00:22,440 --> 01:00:25,760
Speaker 2: Tommy argues, I don't need a dog. I have you. Eric,

1251
01:00:25,800 --> 01:00:29,600
Speaker 2: I'm never going with anybody except it's a retriever.

1252
01:00:30,640 --> 01:00:32,760
Speaker 1: I thought the same thing, my good puppy.

1253
01:00:33,320 --> 01:00:36,400
Speaker 2: With this, Eric looks Tommy in the eyes. I'm not

1254
01:00:36,440 --> 01:00:40,200
Speaker 2: going to adopt you, Tommy. Tommy looks devastated. Why not?

1255
01:00:40,840 --> 01:00:44,280
Speaker 2: And Eric simply tells him because he's not. Tommy isn't

1256
01:00:44,320 --> 01:00:47,800
Speaker 2: accepting this answer. Yes you are. Eric stands up and

1257
01:00:47,840 --> 01:00:50,400
Speaker 2: repeats himself, I'm not going to adopt you.

1258
01:00:50,680 --> 01:00:54,919
Speaker 3: And I just wish wonderful writing though, I mean the acting.

1259
01:00:54,640 --> 01:00:56,520
Speaker 1: Is I wish I just said it. I wish it

1260
01:00:56,560 --> 01:00:59,080
Speaker 1: wasn't like I'm not going to adopt you Tommy, Like

1261
01:00:59,120 --> 01:01:01,439
Speaker 1: it was really a dramatic to me where I wish

1262
01:01:01,480 --> 01:01:05,240
Speaker 1: I just I just didn't put anything underneath that. I know,

1263
01:01:05,360 --> 01:01:07,440
Speaker 1: but I wish I just just the actor in me

1264
01:01:07,560 --> 01:01:08,960
Speaker 1: is like, oh, I want another take of that.

1265
01:01:09,000 --> 01:01:12,080
Speaker 3: You were probably doing that all week long, and then

1266
01:01:12,600 --> 01:01:15,320
Speaker 3: I'm sure on my take four where you were being

1267
01:01:15,360 --> 01:01:18,080
Speaker 3: told like really you know, I mean, I mean I think.

1268
01:01:17,920 --> 01:01:20,240
Speaker 1: I was doing this show and I know, I know,

1269
01:01:20,440 --> 01:01:22,479
Speaker 1: I know you're told to push it was I wish,

1270
01:01:22,600 --> 01:01:23,480
Speaker 1: I wish I just said it.

1271
01:01:23,680 --> 01:01:26,400
Speaker 3: Yeah, but I love the writing, you know, the idea

1272
01:01:26,400 --> 01:01:30,320
Speaker 3: that that Eric is not going to try and explain it.

1273
01:01:30,440 --> 01:01:33,280
Speaker 3: He's just going to like fall on this sword. Yep,

1274
01:01:33,640 --> 01:01:37,720
Speaker 3: it was really smart and interesting and like I just

1275
01:01:37,720 --> 01:01:39,800
Speaker 3: found it super super profound.

1276
01:01:40,240 --> 01:01:55,040
Speaker 2: Yeah, it's very good. Eric stands up and repeats himself,

1277
01:01:55,280 --> 01:01:58,120
Speaker 2: I'm not going to adopt you. Tommy's eyes well up,

1278
01:01:58,720 --> 01:01:59,840
Speaker 2: I don't like you anymore.

1279
01:02:00,120 --> 01:02:00,480
Speaker 5: Mm hmm.

1280
01:02:01,240 --> 01:02:04,520
Speaker 2: Eric is sorry to hear that. Tommy, now looking very sad,

1281
01:02:04,600 --> 01:02:07,800
Speaker 2: says now I'm going to California to be with people

1282
01:02:07,800 --> 01:02:11,840
Speaker 2: who care about me. Eric barely holds it together. Good

1283
01:02:11,840 --> 01:02:15,040
Speaker 2: for you, Tommy, good for you, man, and he walks

1284
01:02:15,080 --> 01:02:18,160
Speaker 2: away without saying goodbye. He shuts the door without looking

1285
01:02:18,200 --> 01:02:21,400
Speaker 2: back and breaks down. The woman from the orphanage gives

1286
01:02:21,480 --> 01:02:25,040
Speaker 2: him a sad smile. Good for you. Eric just hangs

1287
01:02:25,040 --> 01:02:28,360
Speaker 2: his head and leaves. He's crushed as sad music continues

1288
01:02:28,400 --> 01:02:32,960
Speaker 2: to play in the background. Do you remember did you

1289
01:02:33,040 --> 01:02:34,320
Speaker 2: try to cry in the scene?

1290
01:02:34,320 --> 01:02:34,520
Speaker 5: Will?

1291
01:02:34,640 --> 01:02:36,360
Speaker 1: Yeah, this is the one where Michael came up. He's like,

1292
01:02:36,400 --> 01:02:40,040
Speaker 1: so you can't cry, Like nope, He's like all right,

1293
01:02:40,360 --> 01:02:42,200
Speaker 1: like he wasn't you know, it wasn't like, well give

1294
01:02:42,240 --> 01:02:42,640
Speaker 1: it a shot.

1295
01:02:42,720 --> 01:02:45,400
Speaker 3: It's just I'm not good and it's better that you

1296
01:02:45,440 --> 01:02:47,640
Speaker 3: don't actually cry, I think, I mean, think about this

1297
01:02:47,680 --> 01:02:51,760
Speaker 3: is like the fourth episode this year where we've had

1298
01:02:51,760 --> 01:02:55,200
Speaker 3: somebody either die on camera or cry on camera, and

1299
01:02:55,240 --> 01:02:58,400
Speaker 3: I just feel like it's you know, watching somebody go

1300
01:02:58,480 --> 01:03:00,760
Speaker 3: through an emotion is never as interesting is watching the

1301
01:03:00,880 --> 01:03:03,880
Speaker 3: change in emotions, right Like, just because somebody can hit

1302
01:03:03,960 --> 01:03:07,360
Speaker 3: a super high note doesn't make them Whitney Houston, right Like,

1303
01:03:07,400 --> 01:03:09,120
Speaker 3: it's the idea that she starts down here and then

1304
01:03:09,160 --> 01:03:12,440
Speaker 3: goes it's the change. And like, I just feel like

1305
01:03:12,480 --> 01:03:15,720
Speaker 3: our show is leaning into the like spectacle of watching

1306
01:03:15,760 --> 01:03:18,080
Speaker 3: a person act or go through and it's like it's

1307
01:03:18,120 --> 01:03:20,120
Speaker 3: never as good as just you know, like you should

1308
01:03:20,120 --> 01:03:22,000
Speaker 3: have just closed the door and walked away. She should

1309
01:03:22,040 --> 01:03:23,520
Speaker 3: take it, and I you know, that's I think it's

1310
01:03:23,600 --> 01:03:24,520
Speaker 3: great that you don't cry.

1311
01:03:24,760 --> 01:03:26,320
Speaker 1: Yeah, Well it wasn't a choice.

1312
01:03:26,640 --> 01:03:30,920
Speaker 2: Okay, yes, take credit for it.

1313
01:03:31,000 --> 01:03:31,680
Speaker 1: Just take yes.

1314
01:03:33,040 --> 01:03:34,680
Speaker 2: I did insist on not crying.

1315
01:03:34,840 --> 01:03:37,280
Speaker 3: It's just the same thing as right, like my instinct

1316
01:03:37,280 --> 01:03:39,720
Speaker 3: watching them when I found out my dad was actually dead,

1317
01:03:39,800 --> 01:03:42,520
Speaker 3: right Like, I just wanted to walk away, walk out,

1318
01:03:42,560 --> 01:03:44,280
Speaker 3: because that's what Sean would do. He's not going to

1319
01:03:44,360 --> 01:03:47,880
Speaker 3: stand there and cry or show his emotions to a

1320
01:03:48,040 --> 01:03:48,840
Speaker 3: room full of people.

1321
01:03:49,080 --> 01:03:49,880
Speaker 1: Right Yeah.

1322
01:03:50,960 --> 01:03:53,080
Speaker 2: Back at the banquet hall, all the guests are seated

1323
01:03:53,080 --> 01:03:55,000
Speaker 2: and the wedding parties are up at the altar, but

1324
01:03:55,080 --> 01:03:57,920
Speaker 2: Corey to Panga, Sean and Angela are practically standing in

1325
01:03:57,920 --> 01:04:03,120
Speaker 2: the aisle keeping a low file. Then Stan grabs Corey

1326
01:04:03,160 --> 01:04:05,280
Speaker 2: and pulls them away. You realize what you could do

1327
01:04:05,320 --> 01:04:08,560
Speaker 2: with a million dollars. Tobanga notices and asks Sean why

1328
01:04:08,600 --> 01:04:12,400
Speaker 2: that man keeps talking to Corey. Sean Gotzer makes you mad?

1329
01:04:12,560 --> 01:04:14,760
Speaker 2: Doesn't you should grow it up.

1330
01:04:14,680 --> 01:04:17,080
Speaker 3: With I wanted to say, mad enough.

1331
01:04:20,200 --> 01:04:20,720
Speaker 2: Murdered k.

1332
01:04:22,400 --> 01:04:25,640
Speaker 1: It's also a super expensive wedding to only have eleven guests.

1333
01:04:27,320 --> 01:04:29,000
Speaker 1: I mean it's like, did you know, It's like there's

1334
01:04:29,080 --> 01:04:30,840
Speaker 1: empty seats, there's nobody there.

1335
01:04:31,200 --> 01:04:33,560
Speaker 2: The rest of the seats are off camera, their fourth wall.

1336
01:04:33,680 --> 01:04:35,320
Speaker 2: It goes all the way that way.

1337
01:04:35,360 --> 01:04:41,360
Speaker 7: It's a huge, huge It's on the left, on the

1338
01:04:41,440 --> 01:04:46,240
Speaker 7: left side of the kids.

1339
01:04:46,280 --> 01:04:49,040
Speaker 1: There will never be never be able to afford left

1340
01:04:49,040 --> 01:04:57,080
Speaker 1: hand hall. This place is amazing, even over here exactly

1341
01:04:57,280 --> 01:05:01,280
Speaker 1: it's well are his. The groom had a guests and

1342
01:05:01,320 --> 01:05:02,800
Speaker 1: the bride a two hundred and seventy five people. We

1343
01:05:02,800 --> 01:05:03,840
Speaker 1: couldn't see I like it.

1344
01:05:04,000 --> 01:05:05,520
Speaker 2: We should have some kindygatteners in.

1345
01:05:05,480 --> 01:05:06,640
Speaker 1: There, some kidney gotteness.

1346
01:05:07,960 --> 01:05:11,200
Speaker 2: Uh. Nearby, Corey tells Stan, I think the first thing

1347
01:05:11,240 --> 01:05:14,360
Speaker 2: I would do would be to buy a Volvo. Stan

1348
01:05:14,520 --> 01:05:17,360
Speaker 2: loves to hear it. He's buying a Volvo. He's keeping

1349
01:05:17,440 --> 01:05:19,840
Speaker 2: my little girl safe with the steel cage and the

1350
01:05:20,000 --> 01:05:23,920
Speaker 2: side air bag. Give your old man a hug. They embrace,

1351
01:05:23,960 --> 01:05:26,880
Speaker 2: but Corey breaks the news to Stan he's not interested

1352
01:05:26,920 --> 01:05:29,800
Speaker 2: in his money or his daughter. And then on cue

1353
01:05:29,840 --> 01:05:34,120
Speaker 2: a stunning bride appears, and Corey yells out hoy at

1354
01:05:34,120 --> 01:05:36,680
Speaker 2: the sight of her. Jesse asks her dad if he's

1355
01:05:36,680 --> 01:05:38,560
Speaker 2: going to walk her down the aisle, and Stan explains

1356
01:05:38,600 --> 01:05:40,960
Speaker 2: he was just finishing up a business discussion with his

1357
01:05:41,040 --> 01:05:44,480
Speaker 2: friend Corey. Jesse shakes Corey's hand and thanks him for

1358
01:05:44,520 --> 01:05:47,320
Speaker 2: coming to her wedding. Then the wedding march begins and

1359
01:05:47,400 --> 01:05:50,160
Speaker 2: Jesse tells her dad it's now or never. They begin

1360
01:05:50,240 --> 01:05:52,160
Speaker 2: to walk, but Stan ditches are right before they get

1361
01:05:52,200 --> 01:05:54,520
Speaker 2: to the aisle to beg Corey, think about it, kid,

1362
01:05:54,720 --> 01:05:57,040
Speaker 2: You'll never get this kind of chance as long as

1363
01:05:57,080 --> 01:06:00,680
Speaker 2: you live. Stan quickly rejoins his daughter and they walk

1364
01:06:00,800 --> 01:06:03,280
Speaker 2: down the aisle arm in arm. The dad eventually hands

1365
01:06:03,280 --> 01:06:06,160
Speaker 2: her off to Eddie and looks furious as the ceremony

1366
01:06:06,160 --> 01:06:08,960
Speaker 2: begins to Panga admits this is way out of their league.

1367
01:06:09,000 --> 01:06:11,280
Speaker 2: She imagines they'll be getting on a private jet to

1368
01:06:11,320 --> 01:06:15,880
Speaker 2: honeymoon in Tahiti. Angela ads and some private romantic villa

1369
01:06:15,960 --> 01:06:19,520
Speaker 2: on some nude beach. Sean adds in his own hoy.

1370
01:06:20,560 --> 01:06:23,600
Speaker 2: Corey guesses, you just saw the bride. Sean nods and

1371
01:06:23,680 --> 01:06:26,200
Speaker 2: let's out an amazing Ooh.

1372
01:06:25,920 --> 01:06:30,960
Speaker 1: Yeah, it's kind of creepy, but a phenomenally funny reaction.

1373
01:06:36,720 --> 01:06:40,760
Speaker 3: Yeah, probably a line reading great. The fact that I

1374
01:06:40,840 --> 01:06:43,280
Speaker 3: don't remember that sound or able to make it, and

1375
01:06:43,360 --> 01:06:45,200
Speaker 3: I can't even replicate it right now means that was

1376
01:06:45,680 --> 01:06:47,800
Speaker 3: it was great. I was being told exactly how.

1377
01:06:47,720 --> 01:06:52,760
Speaker 2: To Panga wonders aloud. Can you imagine what kind of

1378
01:06:52,800 --> 01:06:56,840
Speaker 2: honeymoon they'll have. Sewn emphasizes to Corey, Yeah, could you

1379
01:06:57,040 --> 01:07:01,440
Speaker 2: just imagine? Corey frowns no, but then he looks off

1380
01:07:01,440 --> 01:07:04,880
Speaker 2: into the distance for a dream sequence where we see

1381
01:07:05,120 --> 01:07:08,640
Speaker 2: on the beach, Jesse is hand feeding Corey grapes with

1382
01:07:08,800 --> 01:07:11,680
Speaker 2: money piled all over him. Even in the vision, we

1383
01:07:11,760 --> 01:07:14,160
Speaker 2: hear the minister ask if anyone objects to this marriage,

1384
01:07:14,160 --> 01:07:16,880
Speaker 2: and back in the banquet hall, Corey firmly raises his hand.

1385
01:07:16,920 --> 01:07:17,320
Speaker 2: It's part.

1386
01:07:17,440 --> 01:07:20,479
Speaker 3: Really, this is where the storyline jumped a shot, because

1387
01:07:20,480 --> 01:07:22,560
Speaker 3: it would like, I like the piles of money around him.

1388
01:07:22,600 --> 01:07:24,320
Speaker 1: That's fine, that's the idea.

1389
01:07:24,000 --> 01:07:26,560
Speaker 3: That Corey would be more attracted to this woman than

1390
01:07:26,600 --> 01:07:29,600
Speaker 3: to Penga. It's just like they have to go so

1391
01:07:29,800 --> 01:07:33,560
Speaker 3: far into something that is just not No, it would

1392
01:07:33,560 --> 01:07:35,880
Speaker 3: have been smarter to have her be I don't know,

1393
01:07:35,960 --> 01:07:38,160
Speaker 3: into something that Corey has been saying he wishes to Panga.

1394
01:07:38,200 --> 01:07:40,680
Speaker 3: We're into the entire time, you know, like he always

1395
01:07:40,680 --> 01:07:43,360
Speaker 3: wants a volvo to the fantasy.

1396
01:07:43,440 --> 01:07:45,960
Speaker 2: It's we start on it's Corey with piles of money

1397
01:07:45,960 --> 01:07:47,920
Speaker 2: and he's being fed grapes, and it's revealed that it's

1398
01:07:47,920 --> 01:07:52,439
Speaker 2: to grapes and he's like, I can't it's Sean, yeah,

1399
01:07:52,480 --> 01:07:57,240
Speaker 2: Sean exactly. To Panga is concerned what is he doing?

1400
01:07:57,560 --> 01:07:59,720
Speaker 2: Corey blames it on a spasm and to Pega quickly

1401
01:07:59,760 --> 01:08:02,600
Speaker 2: forced his arm down, but Corey shoots it right back

1402
01:08:02,680 --> 01:08:04,960
Speaker 2: up Topenga uses all of her strength to get his

1403
01:08:05,040 --> 01:08:07,120
Speaker 2: arm down, but when Corey flings his arm free, he

1404
01:08:07,160 --> 01:08:10,040
Speaker 2: face plants into the aisle. Every guest at the wedding,

1405
01:08:10,040 --> 01:08:12,800
Speaker 2: including the minister, is now looking at Corey laid out

1406
01:08:12,840 --> 01:08:15,720
Speaker 2: on the floor. He asks Corey if there's something he'd

1407
01:08:15,760 --> 01:08:18,559
Speaker 2: like to say. Stan runs over and hovers over his

1408
01:08:18,600 --> 01:08:21,640
Speaker 2: fallen hero. Yes, yes, you do. He tells Corey to

1409
01:08:21,680 --> 01:08:24,519
Speaker 2: say something, but Tapega's also crouched over and wants to

1410
01:08:24,520 --> 01:08:27,080
Speaker 2: know what is Corey doing. Stan barks at, ar, do

1411
01:08:27,120 --> 01:08:29,559
Speaker 2: you mind? I'm talking to my son in law. For

1412
01:08:29,600 --> 01:08:33,760
Speaker 2: some reason, Tapanga just leaves them be and Stan gives

1413
01:08:33,760 --> 01:08:36,840
Speaker 2: Corey a pep talk. They're gonna do this hell, he

1414
01:08:36,880 --> 01:08:40,160
Speaker 2: pulls Cory, but do you stop the wedding? What exactly

1415
01:08:40,439 --> 01:08:41,439
Speaker 2: what does he think's gonna happen?

1416
01:08:41,560 --> 01:08:43,920
Speaker 1: Ye'll stop the wedding, Stop the wedding, and then she's

1417
01:08:43,960 --> 01:08:45,720
Speaker 1: gonna say I don't know who you are, but now

1418
01:08:45,760 --> 01:08:46,519
Speaker 1: I want to marry you?

1419
01:08:46,600 --> 01:08:49,519
Speaker 2: Is Yeah, exactly, He's gonna say this man wants to call,

1420
01:08:49,680 --> 01:08:51,400
Speaker 2: he wants to be with you, and I think he

1421
01:08:51,520 --> 01:08:53,880
Speaker 2: and some and then she's gonna agree. I guess is

1422
01:08:53,920 --> 01:08:57,960
Speaker 2: that it makes no sense, no sense whatsoever.

1423
01:08:58,400 --> 01:09:00,960
Speaker 1: It makes more sense that Eric could adopt a boy

1424
01:09:01,560 --> 01:09:04,400
Speaker 1: than it does that this kind of thing could happen.

1425
01:09:04,479 --> 01:09:07,840
Speaker 3: If we should write a Reddit story about from the

1426
01:09:07,880 --> 01:09:08,400
Speaker 3: corner view.

1427
01:09:09,360 --> 01:09:17,080
Speaker 1: Yes, ny Stan sixty two male, Yeah, kindergotten teachers. They've

1428
01:09:17,120 --> 01:09:20,240
Speaker 1: married some kid, my daughter Jesse thirty four female. Yeah,

1429
01:09:20,280 --> 01:09:20,920
Speaker 1: that'd be great.

1430
01:09:21,880 --> 01:09:26,840
Speaker 2: It's so good, perfect, they're gonna do this. He pulls

1431
01:09:26,840 --> 01:09:29,200
Speaker 2: Corey back onto his feet and lets him take it away.

1432
01:09:29,640 --> 01:09:32,920
Speaker 2: Corey addresses the room. Hi, I don't know any of you,

1433
01:09:33,040 --> 01:09:35,880
Speaker 2: but I guess I should say something important here. Stan

1434
01:09:36,000 --> 01:09:40,400
Speaker 2: tells everyone, especially Jesse, to listen closely. Corey continues, this

1435
01:09:40,520 --> 01:09:43,000
Speaker 2: is the greatest place to get married that I've ever seen,

1436
01:09:43,280 --> 01:09:45,240
Speaker 2: and I would give anything to be able to get

1437
01:09:45,280 --> 01:09:48,080
Speaker 2: married in a place like this, but I can't, so

1438
01:09:48,400 --> 01:09:51,400
Speaker 2: it doesn't matter. Tapanka finally speaks up, Corey, will you

1439
01:09:51,400 --> 01:09:54,120
Speaker 2: please tell me what's going on? He answers, what's going

1440
01:09:54,160 --> 01:09:57,320
Speaker 2: on is when you love somebody, nothing else matters, not

1441
01:09:57,439 --> 01:09:59,800
Speaker 2: the money, not where you get married, nothing like that.

1442
01:10:00,200 --> 01:10:03,160
Speaker 2: All that matters is who you're standing next to. And

1443
01:10:03,360 --> 01:10:06,960
Speaker 2: this message landing on Corey would all make so much

1444
01:10:07,000 --> 01:10:09,479
Speaker 2: more sense if he were the one who had gotten

1445
01:10:09,520 --> 01:10:14,000
Speaker 2: caught up in the whole vision of the thing. Jesse

1446
01:10:14,080 --> 01:10:16,439
Speaker 2: and Etti look at each other lovingly in agreement. Corey

1447
01:10:16,479 --> 01:10:18,599
Speaker 2: then looks at to Panga. The only person I want

1448
01:10:18,600 --> 01:10:21,400
Speaker 2: to stand next to is you. He wishes the couple

1449
01:10:21,439 --> 01:10:24,360
Speaker 2: what we have, true love that you can always count on.

1450
01:10:24,720 --> 01:10:27,880
Speaker 2: Then he tells Topanga, let's go. This is their day.

1451
01:10:28,160 --> 01:10:30,560
Speaker 2: We'll have our day. They walk out, with Sean and

1452
01:10:30,600 --> 01:10:34,479
Speaker 2: Angela close behind. Stand shouts after Corey two million, and

1453
01:10:34,520 --> 01:10:37,400
Speaker 2: Corey raises his hand as he's walking out, but Tapanga

1454
01:10:37,479 --> 01:10:40,559
Speaker 2: forces it right back down. Then we're in matthews living room.

1455
01:10:40,600 --> 01:10:42,160
Speaker 2: Alan and Amy are sitting on the couch with the

1456
01:10:42,280 --> 01:10:45,800
Speaker 2: very sad Eric, trying to comfort him. Alan insists that

1457
01:10:46,000 --> 01:10:49,000
Speaker 2: Eric did the right thing. Amy agrees He's in the

1458
01:10:49,040 --> 01:10:51,120
Speaker 2: best possible place that he can be, and when he

1459
01:10:51,120 --> 01:10:54,040
Speaker 2: gets older, he will realize what you've done for him.

1460
01:10:54,479 --> 01:10:58,040
Speaker 2: Eric siys he hates me, Alan laughs, he's a kid.

1461
01:10:58,360 --> 01:11:00,360
Speaker 2: You must have hated me a billion times when you

1462
01:11:00,400 --> 01:11:02,720
Speaker 2: were a kid. Eric argues, but you never tried to

1463
01:11:02,720 --> 01:11:05,559
Speaker 2: get rid of me. Alan jokingly shushes Amy to make

1464
01:11:05,600 --> 01:11:08,719
Speaker 2: sure his wife doesn't object to Eric's assumption. Eric laughs

1465
01:11:08,760 --> 01:11:10,599
Speaker 2: and thanks them both for trying to cheer him up,

1466
01:11:10,640 --> 01:11:13,719
Speaker 2: but he needs to be alone. He opens the front

1467
01:11:13,760 --> 01:11:16,800
Speaker 2: door to leave, only to reveal Tommy is standing there.

1468
01:11:17,320 --> 01:11:19,760
Speaker 2: The two look at each other, and Tommy says, I'm

1469
01:11:19,880 --> 01:11:22,280
Speaker 2: very mad at you, but I didn't want to leave

1470
01:11:22,320 --> 01:11:25,840
Speaker 2: without saying goodbye. He gives Eric a big emotional hug,

1471
01:11:26,240 --> 01:11:28,559
Speaker 2: leading to Eric leaning down to his little brother's level.

1472
01:11:28,920 --> 01:11:31,200
Speaker 2: They give each other one last smirk, and Eric pulls

1473
01:11:31,280 --> 01:11:34,000
Speaker 2: him in for a last giant embrace.

1474
01:11:34,240 --> 01:11:36,360
Speaker 1: In a huge shirt. Did you notice the shirt like

1475
01:11:36,360 --> 01:11:37,280
Speaker 1: the your shirt?

1476
01:11:37,520 --> 01:11:37,760
Speaker 2: Yeah?

1477
01:11:37,920 --> 01:11:41,800
Speaker 1: Oh yeah, like the sleeves come way past my hands. Yeah,

1478
01:11:42,320 --> 01:11:47,400
Speaker 1: I'm in a smock for some reason, smack smock, which

1479
01:11:47,479 --> 01:11:49,240
Speaker 1: is one of my favorite words ever. But yes, I

1480
01:11:49,280 --> 01:11:50,479
Speaker 1: don't know why. It's a great word.

1481
01:11:51,320 --> 01:11:55,360
Speaker 2: And then our tag is on a Tahitian beach in

1482
01:11:55,360 --> 01:11:58,760
Speaker 2: a daydream. John is it.

1483
01:11:58,160 --> 01:12:02,200
Speaker 1: Because it's the worst looking scene arguably in the history

1484
01:12:02,200 --> 01:12:02,760
Speaker 1: of our show.

1485
01:12:03,000 --> 01:12:04,960
Speaker 2: Yeah, it makes it really look like a pretty.

1486
01:12:04,680 --> 01:12:07,479
Speaker 1: Beach awful And I get it's supposed to be a

1487
01:12:07,479 --> 01:12:11,280
Speaker 1: fantasy scene, but yikes, it looks bad. I mean, like

1488
01:12:11,520 --> 01:12:13,840
Speaker 1: really looks bad. Yeah, and I.

1489
01:12:13,840 --> 01:12:16,439
Speaker 2: Know this is what let's read the scene. Okay. Sean

1490
01:12:16,520 --> 01:12:19,120
Speaker 2: is now with Jesse and she is eating grapes from

1491
01:12:19,160 --> 01:12:21,599
Speaker 2: his mouth. They begin to make out, but then Corey

1492
01:12:21,640 --> 01:12:24,800
Speaker 2: shows up wearing a bright green tribal print matching button

1493
01:12:24,880 --> 01:12:27,479
Speaker 2: up in short set, which not gonna lie. I kind

1494
01:12:27,479 --> 01:12:32,000
Speaker 2: of want, he says, hey, and Sean asks, what's your problem?

1495
01:12:32,200 --> 01:12:35,960
Speaker 2: Corey responds, you her this. Sean reminds him that he

1496
01:12:36,040 --> 01:12:39,400
Speaker 2: had his chance. Corey shrugs, yeah, you're right. Can I

1497
01:12:39,439 --> 01:12:41,719
Speaker 2: at least have the grapes? Sean hands him the bunch

1498
01:12:41,720 --> 01:12:44,559
Speaker 2: and says, knock your socks off. Corey gettaly, takes the

1499
01:12:44,560 --> 01:12:47,800
Speaker 2: grapes and sits down. They're already off. Seawan and Jesse

1500
01:12:47,920 --> 01:12:50,479
Speaker 2: return to making out as Corey takes huge bites of

1501
01:12:50,520 --> 01:12:54,080
Speaker 2: the grapes with a massive smile on his face. I

1502
01:12:54,200 --> 01:12:57,120
Speaker 2: know that Sean and Angela are not together, and I

1503
01:12:57,320 --> 01:13:01,120
Speaker 2: know that this is a daydream scene, but beeing Sean

1504
01:13:01,520 --> 01:13:07,360
Speaker 2: making out again with this other grown woman.

1505
01:13:08,120 --> 01:13:11,600
Speaker 3: Yeah, do you remember this at all?

1506
01:13:11,680 --> 01:13:11,840
Speaker 1: Right?

1507
01:13:11,920 --> 01:13:16,000
Speaker 3: Do you remember having to make And it's also so awkward,

1508
01:13:16,040 --> 01:13:18,599
Speaker 3: like the way I'm like keeping my hand like I'm

1509
01:13:18,640 --> 01:13:21,040
Speaker 3: staying in this like weird pose. And I'm sure that

1510
01:13:21,160 --> 01:13:23,479
Speaker 3: was like because if I actually put my arm around her,

1511
01:13:23,479 --> 01:13:26,599
Speaker 3: it starts to get to sexual sexual too intimate. But

1512
01:13:26,640 --> 01:13:29,320
Speaker 3: it just feels weird. It looks weird, and I was

1513
01:13:29,360 --> 01:13:31,479
Speaker 3: just like, geez, I mean, how old was this woman?

1514
01:13:32,120 --> 01:13:34,040
Speaker 1: Older than me? And she goes if you watch it again,

1515
01:13:34,240 --> 01:13:36,599
Speaker 1: she goes for the kiss kind of way more than

1516
01:13:36,600 --> 01:13:37,679
Speaker 1: you go for the kiss.

1517
01:13:37,960 --> 01:13:41,840
Speaker 2: It's just uncomfortable and like, I don't I know, and

1518
01:13:41,920 --> 01:13:44,040
Speaker 2: I mean I don't. I don't want to whatever. I

1519
01:13:44,080 --> 01:13:46,600
Speaker 2: don't want to be apprude, but like I want to

1520
01:13:46,680 --> 01:13:49,439
Speaker 2: like Sean. I want to like Sean, and I want

1521
01:13:49,439 --> 01:13:53,559
Speaker 2: to root for his relationship with Angela and or his

1522
01:13:53,640 --> 01:13:56,559
Speaker 2: relationship with someone. This just just just felt like a

1523
01:13:56,600 --> 01:14:02,680
Speaker 2: real gratuitous and especially now the writer has pitched the

1524
01:14:02,720 --> 01:14:06,880
Speaker 2: idea of it being you know, backyard. The tag could

1525
01:14:06,880 --> 01:14:09,479
Speaker 2: have been a backyard scene with Feenie and Eric. Ooh,

1526
01:14:09,680 --> 01:14:12,800
Speaker 2: that would have been Oh my god. You're meaningful and

1527
01:14:12,840 --> 01:14:17,800
Speaker 2: impactful oh boy. Well, thank you all for joining us

1528
01:14:17,800 --> 01:14:19,840
Speaker 2: for this episode of Podmeets World. You can join us

1529
01:14:19,880 --> 01:14:22,240
Speaker 2: for our next episode recap, which will be season six

1530
01:14:22,320 --> 01:14:27,080
Speaker 2: episode nineteen Be True, which originally aired April ninth, nineteen

1531
01:14:27,160 --> 01:14:30,280
Speaker 2: ninety nine. As always, you can follow us on Instagram

1532
01:14:30,280 --> 01:14:32,320
Speaker 2: pod Meets World Show. You can send us your emails

1533
01:14:32,360 --> 01:14:36,320
Speaker 2: podmeets World Show at gmail dot com. And we've got merch.

1534
01:14:38,000 --> 01:14:44,280
Speaker 1: I'm not going to adopt your merch, Danielle.

1535
01:14:42,240 --> 01:14:49,240
Speaker 2: Pod Meetsworldshow dot com will send us out for tap.

1536
01:14:50,160 --> 01:14:54,040
Speaker 1: We love you all, pod dismissed. Pod Meets World is

1537
01:14:54,120 --> 01:14:57,519
Speaker 1: nheart podcast produce and hosted by Danielle Fischel, Wilfredell and

1538
01:14:57,680 --> 01:15:01,799
Speaker 1: Ryder Strong executive producers, Jensen Harp and Amy Sugarman Executive

1539
01:15:01,800 --> 01:15:06,639
Speaker 1: in charge of production, Danielle Romo, producer and editor, Tara Sudbaksch, producer,

1540
01:15:06,680 --> 01:15:09,920
Speaker 1: Maddy Moore, engineer and boy Meets World superfan Easton Allen.

1541
01:15:10,120 --> 01:15:12,320
Speaker 1: Our theme song is by Kyle Morton of Typhoon and

1542
01:15:12,360 --> 01:15:14,800
Speaker 1: you can follow us on Instagram at podmets World Show

1543
01:15:15,040 --> 01:15:19,640
Speaker 1: or email us at Podmets Worldshow at gmail dot com