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Speaker 1: Writer, Will and I are going to.

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Speaker 2: Kick your ass. Yeah you mentioned something about this. Let's say,

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Speaker 2: are you going to.

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Speaker 3: Say ki ya while you're doing Yeah, you won't know,

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Speaker 3: Oh yeah, it'll I mean you won't know, you won't

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Speaker 3: hit it, right.

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Speaker 2: So what you guys are just becoming Ninja's now pretty

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Speaker 2: much that's it's just because A Boy Kills World is

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Speaker 2: coming out, and you guys decided you gotta gotta know.

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Speaker 3: Well.

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Speaker 1: As Wilcoms mentioned, Will decided that twenty twenty four was

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Speaker 1: going to be the year that he gets into the

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Speaker 1: best shape of his life. And for a while I

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Speaker 1: was like, yeah, me too. And then January first world around,

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Speaker 1: I was like, I'm not going to change my personality,

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Speaker 1: just not just not going to not going to be me.

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Speaker 1: And but as everyone knows, I've talked about my son

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Speaker 1: is in karate and it's really cool, and I did

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Speaker 1: start thinking maybe I'll start doing karate. My guy, I

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Speaker 1: don't know. That sounds cool, it sounds like something I

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Speaker 1: would enjoy. And so we were on our way to

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Speaker 1: have lunch with writer one day and Will said, are

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Speaker 1: you are you still thinking about doing karate? And I

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Speaker 1: was like, yes, are you thinking about doing karate, and

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Speaker 1: he was like, I'll do karate if you do karate,

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Speaker 1: and so we I picked up Will the other night.

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Speaker 2: Where are the cameras? This should be a reality show

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Speaker 2: YouTube and it's just boy meets middle aged karate.

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Speaker 1: Will sent me a clip. So we did our first

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Speaker 1: karate class. Well, I will tell them about the clip

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Speaker 1: you sent me. That's so funny. And by the way,

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Speaker 1: I did send it to Miss Savannah and she she yeah,

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Speaker 1: she laughed. She was like, this is great.

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Speaker 2: Wait, Miss Savannah.

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Speaker 1: Miss Savannah is our was our karate instructor.

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Speaker 2: She's come on, I want I want to hear sense

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Speaker 2: from now. I wanted to be.

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Speaker 1: Okay, uh, so will will you tell them a little

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Speaker 1: bit about our first class?

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Speaker 3: So we get there and first of all, I'm like,

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Speaker 3: I'm irrationally excited for two days before this, I'm like

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Speaker 3: Daniel and I are. I'm sending her like clips from

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Speaker 3: karate kid like, I'm like excited to be a martial

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Speaker 3: artist at this point because I know I to center

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Speaker 3: one textor it just said be prepared for me to

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Speaker 3: be an expert on the first day because I'm going

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Speaker 3: to be awesome right away. Tell try to keep up

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Speaker 3: So we drive there and I don't even know the

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Speaker 3: name of this place yet, and I so I said

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Speaker 3: to Sue, I was like, tonight's to night. I'm I'm

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Speaker 3: joining my forever karate team. Like, am I am I

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Speaker 3: becoming Cobra?

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Speaker 2: Kai?

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Speaker 3: Am I joining Miyagi? Do? Like, what's happening right now?

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Speaker 3: And we pull up and I look over and I go,

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Speaker 3: oh my god, Danielle, are they the Dragons? And She's like,

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Speaker 3: they're the Dragons and I was like, oh my god.

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Speaker 1: Yeah, dragons martial arts.

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Speaker 3: So we pull up to the coolest like emblem like

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Speaker 3: symbol where I was like, all right, well we have

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Speaker 3: to stop on the way home and get that tattooed

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Speaker 3: on me somewhere already. So we walk in. Everybody, I mean,

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Speaker 3: the welcomed packed.

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Speaker 2: Okay, so so you guys, you guys are part of

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Speaker 2: a hero team, not a villain team.

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Speaker 3: Correct, Yes, we're the we are the Dragons heroes. Oh yeah,

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Speaker 3: absolutely wonderful. But we walk in and everybody was so welcoming.

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Speaker 3: It was just this community of Hey, is it your

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Speaker 3: first time here? Oh my god, You're gonna have so

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Speaker 3: much fun. Go talk to them here, you want to

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Speaker 3: stand here here's what we do. Here's where we grab

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Speaker 3: the thing. I mean, it was like, couldn't have been nicer.

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Speaker 2: So they my parents grew up with your show.

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Speaker 3: But no, they all knew Danielle, and I was the

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Speaker 3: guy that Danielle brought right.

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Speaker 2: So it was it was business and yes, your friend,

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Speaker 2: and could you take a parture.

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Speaker 3: Of us whoever's at the airport with you. So it

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Speaker 3: was business as usual for me. Yeah, the entire way

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Speaker 3: Danielle superstar. I was the guy carrying her white belt,

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Speaker 3: which we hadn't even gotten. So we get there and

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Speaker 3: then we get over to they're like, okay, the adults

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Speaker 3: go to this side over here. So we get over

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Speaker 3: there and all the adults are like, oh my god,

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Speaker 3: your first class is going to be so great. Welcome you. Hey,

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Speaker 3: you're going to be part of the family, Like, could

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Speaker 3: not have been nicer, you know, so sweet, amazing. So

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Speaker 3: we get on the mat and we've got a first

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Speaker 3: warm up. So they're yelling things out that Danielle has

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Speaker 3: obviously seen a hundred times. I have no idea what's going.

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Speaker 1: On, but he followed my lead.

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Speaker 2: Real tis all of.

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Speaker 3: A sudden, I'm going sideways and then I'm going backwards.

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Speaker 1: So you start by running it out. You run around

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Speaker 1: in a circle on the mat, and then you know,

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Speaker 1: sinse Savannah yell's inside and you turn your body inside

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Speaker 1: and you side runs inside. I heard outside, and you

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Speaker 1: do the same thing outside. Then you run backwards. So

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Speaker 1: I know this because I watch out there do it

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Speaker 1: all the time. So I was like, I feel like

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Speaker 1: I have a leg up. I'm familiar with this. Uh

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Speaker 1: and Will just would look at me and do exactly

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Speaker 1: what I was doing. He caught very quickly. Yes. And

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Speaker 1: then after we warm up since a Savannah was like,

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Speaker 1: will Danielle you guys come with me?

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Speaker 3: Well, no, First it was the warm up, then ended

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Speaker 3: with they said okay, go grab your jump ropes.

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Speaker 1: Oh right, I'm a big.

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Speaker 3: Fan of jump roping. I used to do it in boxing.

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Speaker 3: So I ran over. I grabbed the showing us where

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Speaker 3: to do. Okay, these are a little long. These are

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Speaker 3: and instantly I can tell Danielle's jump jump rope is

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Speaker 3: it was too short.

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Speaker 1: It was getting stuck in my hair. I did pick

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Speaker 1: the smallest one. I picked like a kid, one in

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Speaker 1: your hair, and every time I went jump, my jump

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Speaker 1: rope would get hung up on my hair, and I

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Speaker 1: was like, what's happening?

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Speaker 3: So then the only way she could avoy that, and

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Speaker 3: she and I we didn't even talk about this, but

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Speaker 3: the only way she could avoid doing that is if

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Speaker 3: she did kid jump roping, so it was one little

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Speaker 3: leg over the other little legs so she could get

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Speaker 3: that ryer.

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Speaker 2: And I'm not coordinated enough yet, all right, but she was.

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Speaker 2: It was just hitting her hair. So finally the tide

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Speaker 2: longer run.

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Speaker 3: And then yes, she said, come join the new newbies,

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Speaker 3: which was us, go go join her in the ring. Yeah,

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Speaker 3: the boxing ring ahead.

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Speaker 1: And then we did boxing. Then we put on gloves

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Speaker 1: and we did boxing, and we practiced our jab cross

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Speaker 1: and then our our gorilla block, and then we did

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Speaker 1: a little choreograph there where we do jab cross hook block,

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Speaker 1: and she wouldn't tell us like which order, so she'd

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Speaker 1: go jab jab cross, hook jab.

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Speaker 3: Jab stalking this woman who's probably what five three maybe five?

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Speaker 1: No, she's I think a black belt, and.

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Speaker 3: She's like, you're my mirror. Whatever happens, just.

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Speaker 1: Just she taught us our shuffle step side step.

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Speaker 3: She's stalking us and we're like backing up, and oh, man,

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Speaker 3: if you if I were to tell you, because we're not.

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Speaker 1: We're only I don't know, twelve minutes into the class.

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Speaker 1: At this point, we still so we'd learn shuffle step,

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Speaker 1: we learned the side step, we learned jab cross hook,

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Speaker 1: and gorilla block. And then she's like, now we're going

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Speaker 1: to bring out some sticks, and she handed us sticks.

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Speaker 1: We learned choreography with sticks. We battled each other with sticks.

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Speaker 1: Then we went to the standing Yeah, what's it called.

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Speaker 3: The the it's like a like a boxing bang.

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Speaker 1: Yeah, like a boxing that. We did sticks on the

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Speaker 1: boxing bag. I mean the amount of stuff we covered

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Speaker 1: in one class. And then we went to go put

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Speaker 1: the sticks away and Sanse Savannah was like, I just

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Speaker 1: want you guys to know over here's where we keep

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Speaker 1: the nunchucks and the swords. And Will goes, I'm sorry,

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Speaker 1: did you say the nunchucks And she's like yeah, And

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Speaker 1: he's like, take all my money.

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Speaker 2: Will, Will's blood sport fantasies just yeah exploded. Suddenly. He

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Speaker 2: was in a nineteen eighties film training montage and I

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Speaker 2: heard out the other side was like, no, that's.

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Speaker 3: Gonna keep you down, Like it was just oh my god,

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Speaker 3: it was she said nunchucks and I was like this, Okay,

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Speaker 3: take all of this.

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Speaker 2: None of this is real. None of this matters till

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Speaker 2: I see you guys breaking boards with your hands show

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Speaker 2: where you guys break your board with your hand on stage.

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Speaker 3: Then okay, I will I will believe it will be

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Speaker 3: a charcuterie board, but I will break.

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Speaker 1: Listen, I'm in.

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Speaker 2: It'll be balsa wood, it'll be a breakaway board witten

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Speaker 2: by the art Department.

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Speaker 1: It'll already be scored.

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Speaker 3: Dude, I am, I'm so. I literally find I'm my

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Speaker 3: I live and die by the rings on my Apple Watch,

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Speaker 3: which tell me like you've closed your exercise ring, You've

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Speaker 3: closed this ring. So I found martial Arts and I

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Speaker 3: click it in and it tells me, you know, like

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Speaker 3: where my heart rate is and all that kind of stuff.

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Speaker 3: I'm dying. And we get out of the ring and

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Speaker 3: he'll just turns it looks at me. She goes, it's

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Speaker 3: been twenty minutes.

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Speaker 1: We've only been doing this for twenty minutes. We have

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Speaker 1: thirty more minutes of this. All of a sudden, we

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Speaker 1: were just forties, just sweating profusely. Yes, because there are

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Speaker 1: It was so much fun, so much fun. We're going again.

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Speaker 1: Can't wait to go again.

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Speaker 3: I wish I lived close enough to be able to

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Speaker 3: join the dragon Life Dragons.

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Speaker 1: For Life Forever. Welcome to pod Meets World.

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Speaker 3: I'm Daniel Fischl, I'm rather or strong, and I'm going

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Speaker 3: to be a black belt in like a month. I'm

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Speaker 3: wil fordll So.

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Speaker 1: Today we are recapping season four, episode twelve, Easy Street.

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Speaker 1: It originally aired December thirteenth, nineteen ninety six. The synopsis

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Speaker 1: is that Corey gets a job at a restaurant controlled

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Speaker 1: by the mafia. When Sean tells him who owns the restaurant,

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Speaker 1: Corey quits. Sean takes Corey's job to earn money for Christmas.

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Speaker 1: And it was directed by Jeff McCracken. It was written

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Speaker 1: by Jeff Manel. Overall thoughts on the episode.

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Speaker 2: Huh, it's fun. I mean it's ye, did you okay?

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Speaker 3: It wasn't it was my favorite?

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Speaker 1: Wasn't my favorite either.

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Speaker 3: It wasn't my favorite episode. I found I found it

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Speaker 3: very odd kind of all the way. I didn't think

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Speaker 3: the B story was particularly funny. I thought the A

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Speaker 3: story was weird and for for the first time in.

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Speaker 1: A long while, very heavy handed.

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Speaker 3: Where it was Here are the messages we're trying to

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Speaker 3: tell you, to the point where they actually spell them

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Speaker 3: out a couple times. There was no subtlety in it, right.

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Speaker 3: I thought it was okay. I mean, it wasn't awful.

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Speaker 3: I wasn't like, oh, this is the worst episode ever.

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Speaker 3: But it just wasn't my favorite.

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Speaker 2: You know what. I I think we have really high

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Speaker 2: expectations because season four has been so that's I already

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Speaker 2: think that if this was a season three episode, we

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Speaker 2: would all be like, amazing, so good because it did

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Speaker 2: balance the comedy. It was original, like it was. It

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Speaker 2: felt like there was new parts of boy Meant's world

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Speaker 2: coming out with the mob and all, and then it

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Speaker 2: was dramatic. I don't know. I mean, yeah, maybe I

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Speaker 2: I enjoyed it. I yeah, it's okay.

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Speaker 3: It wasn't my favorite.

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Speaker 2: Yeah it's okay.

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Speaker 3: Yeah.

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Speaker 1: It's weird because when I actually think of things to

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Speaker 1: say that that are reasons why I didn't love it,

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Speaker 1: I don't really have anything to really point to. I

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Speaker 1: do think it was a little heavy handed at the

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Speaker 1: end absence I felt, I mean, it was so dramatic

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Speaker 1: and we had such a funny episode and a way

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Speaker 1: too and I and I loved all of it. I

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Speaker 1: loved that Sean was very comfortable in it and that

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Speaker 1: Corey was not all that made sense and was funny,

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Speaker 1: and but then it like ended on such a serious

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Speaker 1: note and I was like, oh, I guess this was

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Speaker 1: a very special episode.

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Speaker 2: Writer.

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Speaker 1: Don't even know all your faults.

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Speaker 2: Well that's the thing I don't want to keep. But

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Speaker 2: I am feeling this turn in me as an actor.

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Speaker 2: That is a bummer, and you know, and it's and

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Speaker 2: I'll stop talking about it because I think it's just

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Speaker 2: where I went and it's.

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Speaker 3: Just the material. It was very this was they went

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Speaker 3: from being you know, but like comedy mobster guys to like,

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Speaker 3: this is your whole life now.

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Speaker 2: I know. But like when I so, I I just

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Speaker 2: recently in our email exchanges, you know, there was a

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Speaker 2: of all the episodes and I saw that, like the

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Speaker 2: B and B episode is coming up and chick like me,

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Speaker 2: and I was like, oh my god, those episodes are

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Speaker 2: so fun and and I know that I was. I

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Speaker 2: know that I was allowed to do comedy in them,

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Speaker 2: you know. And yet I also have the memory of

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Speaker 2: me at sixteen turning seventeen loving this kind of stuff,

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Speaker 2: the drama you know, and like I wish I could

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Speaker 2: just go back and be like, hey, writer, it's okay,

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Speaker 2: you're on a comedy show. And so when I feel

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Speaker 2: myself getting super heavy and sentimental at the end of

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Speaker 2: this episode, I'm like, yes, a lot of it is

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Speaker 2: the writing, obviously, but I also think that I was

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Speaker 2: part of that. I was the writers and I were

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Speaker 2: clearly engaging in a sort of conversation actually but also

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Speaker 2: just performatively where it was like, oh, let's give Sean

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Speaker 2: some like look at what writer can do. And I

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Speaker 2: loved it obviously, and it was like this conversation going on,

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Speaker 2: and I just don't love that. I don't know, I

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Speaker 2: don't like where that's going, you know. So it's a bummer,

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Speaker 2: and I can I know that it was me. I

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Speaker 2: know that I was wanting to do more of this

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Speaker 2: kind of thing. I wanted to be on Thosan's creek

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Speaker 2: or in a movie or on stage crying. I wanted

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Speaker 2: That's what where I was flexing my creative muscles and so,

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Speaker 2: you know, but in retrospect, like, I think I was

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Speaker 2: actually really fun at the comedy and the and like

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Speaker 2: I wish I could go back and just have enjoyed that,

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Speaker 2: like when we watch the Turkey Thanksgiving episode, like, that's

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Speaker 2: what I was like, that's good acting, Like that is

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Speaker 2: me having fun and being out of my head. And

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Speaker 2: so you know what I'm seeing now is just that

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Speaker 2: that the sort of manner drama that I was bringing

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Speaker 2: into the And it's a bummer and I'll stop talking

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Speaker 2: about it, but that for.

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Speaker 3: You know, they're doing that for me as well. It's like, Oh,

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Speaker 3: you're the funny, wacky guy. We'll see how far and

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Speaker 3: wacky we can take you.

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Speaker 1: Well, that's what I On the other hand, you're very

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Speaker 1: goofy in this. You are really I mean, it's very funny,

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Speaker 1: but you are definitely turned up a notch yes episode

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Speaker 1: compared to the other episodes.

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Speaker 3: Right So.

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Speaker 1: Guest starring Buddy Hackett as Mister Fontaine. He is a

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Speaker 1: legendary stand up comedian from the Catskills era, one of

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Speaker 1: the most popular acts in Las Vegas history, and a

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Speaker 1: pioneer of blue material or adult jokes. He was actually

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Speaker 1: sued by a concert attendee for being shocked and offended

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Speaker 1: how she lost Our listeners will know him best as

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Speaker 1: the voice of Scuttle in The Little Mermaid and he

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Speaker 1: passed away in two thousand and three, and then Soupy

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Speaker 1: Sales as Mister Martini, another legendary comedic actor and personality,

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Speaker 1: best known as a regular on the nineteen sixties game

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Speaker 1: show Whose Line Is It Anyway? And hundreds of other

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Speaker 1: TV and radio appearances. He has been listed as an

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Speaker 1: influence by Pee Wee Herman, Howard Stern, and Andy Kaufman,

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Speaker 1: and he passed away in two thousand and nine.

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Speaker 2: Had they worked together before? Do we know?

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Speaker 3: I don't know.

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Speaker 1: I don't know. I know that I talked to Mark

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Speaker 1: Blutman yesterday and Marked told me a funny story that

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Speaker 1: they had done a big rewrite. They had, you know,

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Speaker 1: sent out the original script. Then they did a big rewrite,

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Speaker 1: probably after they cast Buddy Hackett and Soupy Sales. And

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Speaker 1: Buddy apparently called Michael and left a message on his

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Speaker 1: phone and was like, Michael, the rewrite, call me back.

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Speaker 2: Oh, I remember this story.

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Speaker 1: And Michael called him back and he was like, you

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Speaker 1: gave Soupy more lines than me.

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Speaker 2: I remember the whole story. Do you remember? Michael tells

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Speaker 2: the story. So all the writers were freaking out because

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Speaker 2: Buddy wasn't coming out of his trailer at one point,

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Speaker 2: and everyone was scared because of you know that that

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Speaker 2: Buddy Hackett, because he was a huge name and we

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Speaker 2: were like it was like a big gantman and for

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Speaker 2: all those guys, he was like their hero, and they

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Speaker 2: knew that they had to go talk to Buddy and

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Speaker 2: calm him down and you know, convince him. And everybody

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Speaker 2: was scared, and Michael was like, I got this, I

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Speaker 2: got this, and they were like, oh my god, Michael's

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Speaker 2: going to confront Buddy Hackett and they all followed Michael

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Speaker 2: and he like Michael likes storm down and he knocked

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Speaker 2: on the door and it was like everyone was expecting

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Speaker 2: this big fight and the door opened and Michael went,

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Speaker 2: he's buddy up here about no lunch and like mocked him,

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Speaker 2: and Buddy Hackett went, you're hysterical, come on in here.

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Speaker 2: I want to I want you to create a new

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Speaker 2: show for me. And ended up like like Michael just

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Speaker 2: diffused the whole situation by making Buddy Hackett laugh. Yeah,

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Speaker 2: that's the story of Michael tells, which is that like

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Speaker 2: he jiu jitsued Buddy Hackett because I guess Hackett was

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Speaker 2: like really upset. But then because Michael was like, baby, buddy,

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Speaker 2: I'm like, that's pretty good man. I mean, that's the

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Speaker 2: kind of stuff you have to do as a showrunner,

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Speaker 2: you know.

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Speaker 1: I heard that. Michael said, don't worry, we'll even it

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Speaker 1: all out by the time we get to tape.

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Speaker 2: Right, that's fun. That's Butman's version, Michael's version was much more.

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Speaker 1: He was this Michael's version had something to do with

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Speaker 1: jiu jitsu.

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Speaker 2: Well, I think there's probably some truth to it, though

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Speaker 2: I can see Michael, you know, diffusing a situation with

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Speaker 2: humor that actually makes first show sense.

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Speaker 3: These are two absolute living legends though oh yeah, overstated,

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Speaker 3: how I mean, especially in the comedy world. These were

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Speaker 3: two of the ogs. I mean, you could not have

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Speaker 3: gotten bigger names.

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Speaker 2: So yeah, and I remember fearing that pressure on set. Yeah.

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Speaker 2: I remembers like, these guys are here and it's a

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Speaker 2: big deal, and yeah, you know, you just kind of

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Speaker 2: wish their material was a little better.

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Speaker 3: Like I don't blame them for any I just wish

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Speaker 3: I thought some of the some of the comedy could

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Speaker 3: have been punched. That's all I remember.

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Speaker 2: I remember we couldn't have an audience, which is part

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Speaker 2: of the reason why the comedy is probably a little

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Speaker 2: an audience.

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Speaker 3: We absolutely did.

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Speaker 2: Sorry, we couldn't do them in front of the audience.

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Speaker 3: No, he was in front of the audience, because that

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Speaker 3: was one of the things I remember is he says,

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Speaker 3: he makes a he screws on.

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Speaker 1: Let's wait till we get there.

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Speaker 2: Okay, yeah, well but what I remember, what the memory

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Speaker 2: I have is that we couldn't bring the audience in

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Speaker 2: because they kept swearing and telling dirty jokes, and so

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Speaker 2: they that's why they were.

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Speaker 3: There, because the whole audience went oh when he said

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Speaker 3: this one.

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Speaker 1: Thing, really yeah, oh oh god. I only I remember, like,

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Speaker 1: do we have to get the audience out here?

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Speaker 2: Yeah? I don't know. Yeah, Like well, I thought, I

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Speaker 2: wonder if that happened during a run through, and then

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Speaker 2: they pulled the audience. We have to ask Jeff mccrack

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Speaker 2: and he's the guy to ask, because I remember it

386
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Speaker 2: being an issue, and when I was watching this, I

387
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Speaker 2: was like, Oh, the audience isn't there. That's partly why

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Speaker 2: the energy in those scenes. I mean, part of it

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Speaker 2: is that they're sitting the whole time, which is a

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Speaker 2: little awkward. And then I remember there was tension about

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Speaker 2: them being able to remember their lines and like just

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Speaker 2: keep it together. So it was like, let's not give

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Speaker 2: them any blocking. Let's just sit them in a corner

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Speaker 2: and keep it easy.

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Speaker 1: You know.

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Speaker 2: I don't think we had que cards, but there was

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Speaker 2: this sense of like, at any moment they were going

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Speaker 2: to not remember their you know, we weren't going to

399
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Speaker 2: be able to keep it going. And so I thought

400
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Speaker 2: we pulled an audience, Like we said, let's not have

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Speaker 2: an audience this week because Buddy and Soupy A will

402
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Speaker 2: have to get through it and then b they might

403
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Speaker 2: start riffing and telling dirty jokes, so we can't have

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Speaker 2: it on it. That's my memory.

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Speaker 3: But okay, yeah, because I have one very specific moment

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Speaker 3: that I and I remember the line. I remember exactly

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Speaker 3: what he said to me. The whole audience go.

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Speaker 1: Oh, well, we'll get to it for sure. Jennifer Campbell

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Speaker 1: returns his Lonnie the Beauty, A full Wilderness Outpost employee,

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Speaker 1: is back in her second of three Boy Meets World episode.

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Speaker 2: From the South South of Philadelphia.

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Speaker 1: She's from the South of Philadelphia and can anybody remember

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00:19:12,000 --> 00:19:12,880
Speaker 1: her third appearance?

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Speaker 3: No, I didn't remember this one.

415
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Speaker 2: I thought there was more with her.

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Speaker 3: I thought she was.

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Speaker 1: I thought she was in way more and we did

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Speaker 1: way more in the Wilderness.

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Speaker 2: I thought she was like a ten episode recurring with

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Speaker 2: I thought she.

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Speaker 1: She would never have remembered this character. If you had

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Speaker 1: given me a million dollars and said Danielle name, not

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Speaker 1: even name, tell me anything about the Wilderness employee that

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00:19:37,320 --> 00:19:39,679
Speaker 1: has a lot to do with Eric you could have

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Speaker 1: given me.

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Speaker 2: You never would have watched it. You would never have

427
00:19:42,600 --> 00:19:44,240
Speaker 2: been there for you were in school now, so you

428
00:19:44,280 --> 00:19:45,959
Speaker 2: would have been ushered off to school, so you were

429
00:19:45,960 --> 00:19:47,160
Speaker 2: never there to see any of it. So you would

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Speaker 2: have heard it at the table read and then probably

431
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Speaker 2: never even talked to her because she would only be on.

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Speaker 3: Second super sweet, very very nice.

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Speaker 2: Interesting.

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Speaker 1: Maybe maybe would have seen it run through.

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Speaker 2: We have a bear in the Wilderness store coming up.

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Speaker 2: Isn't there a scene with a bear?

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00:20:01,880 --> 00:20:02,120
Speaker 1: Yes?

438
00:20:02,720 --> 00:20:04,520
Speaker 2: I thought we've already talked about it.

439
00:20:04,520 --> 00:20:08,200
Speaker 3: That might be her next okay, next response, yeah you

440
00:20:08,240 --> 00:20:08,920
Speaker 3: think you could be right?

441
00:20:09,119 --> 00:20:09,239
Speaker 2: Well.

442
00:20:09,320 --> 00:20:11,800
Speaker 1: Jumping into our recap, we start in Turner's classroom. It's

443
00:20:11,840 --> 00:20:15,439
Speaker 1: a Christmas episode. How do you know? We see Santa hats,

444
00:20:15,760 --> 00:20:20,359
Speaker 1: a festive homeless food drive sign, and a menora. Yes,

445
00:20:20,560 --> 00:20:24,479
Speaker 1: so to pings Blood Drive, Yeah, exactly, Christmas Blood Tapang

446
00:20:24,560 --> 00:20:26,600
Speaker 1: is at the front of the classroom reading Robert Frost's

447
00:20:26,640 --> 00:20:28,880
Speaker 1: The Road Not Taken. I still have that weird thing

448
00:20:28,920 --> 00:20:33,400
Speaker 1: I'm doing with my rs where I'm pronouncing words weird. Yeah,

449
00:20:33,400 --> 00:20:33,960
Speaker 1: I can hear that.

450
00:20:34,160 --> 00:20:35,560
Speaker 2: What are you talking about? Can you do it?

451
00:20:35,800 --> 00:20:41,280
Speaker 1: Yeah? Let's see. The best example is I know, uh,

452
00:20:41,840 --> 00:20:43,680
Speaker 1: Ben used to notice that the way I said boy

453
00:20:43,720 --> 00:20:47,800
Speaker 1: meets world, I like swallow my rs a little bit world.

454
00:20:48,000 --> 00:20:49,720
Speaker 1: There's like a weird thing, and so I think, I say,

455
00:20:49,960 --> 00:20:52,000
Speaker 1: you're it's oh really.

456
00:20:52,119 --> 00:20:54,320
Speaker 2: Yeah, I don't hear what you're doing. That's different than

457
00:20:54,440 --> 00:20:56,280
Speaker 2: you go down like diverge.

458
00:20:56,640 --> 00:20:59,520
Speaker 1: I don't know if it's diverged. There's definitely diverge in

459
00:20:59,520 --> 00:21:02,760
Speaker 1: a wood. There's a there's a thing I'm doing and

460
00:21:02,840 --> 00:21:05,280
Speaker 1: it's weird, and I don't talk like that anymore. I

461
00:21:05,280 --> 00:21:06,040
Speaker 1: don't know what it was.

462
00:21:06,160 --> 00:21:08,119
Speaker 2: I don't think anybody could hear it.

463
00:21:08,760 --> 00:21:11,000
Speaker 1: You're weird and I don't like it. And I don't

464
00:21:11,000 --> 00:21:12,720
Speaker 1: know who that person is, and I don't know what

465
00:21:12,720 --> 00:21:15,679
Speaker 1: she's doing. I don't know what risk you're taking. But

466
00:21:15,720 --> 00:21:20,480
Speaker 1: don't ever do it again. So a short haired auditioning

467
00:21:20,480 --> 00:21:23,439
Speaker 1: for other TV shows. Mister Turner asks the class what

468
00:21:23,520 --> 00:21:25,720
Speaker 1: they got from the poem, and all we hear is

469
00:21:25,720 --> 00:21:29,720
Speaker 1: Sean's loud snore followed by Corey's yip. I remember this

470
00:21:29,920 --> 00:21:32,639
Speaker 1: so well that I know it, because I know I

471
00:21:32,680 --> 00:21:33,600
Speaker 1: think we do it a couple times.

472
00:21:33,920 --> 00:21:34,720
Speaker 2: We've already done for it.

473
00:21:34,960 --> 00:21:38,280
Speaker 3: We've done it before, remember this bit, so well.

474
00:21:38,200 --> 00:21:40,359
Speaker 2: Yeah, we get it, I think season one or season two,

475
00:21:40,760 --> 00:21:42,479
Speaker 2: So it's it's a it's a callback thing.

476
00:21:42,640 --> 00:21:42,840
Speaker 3: Yeah.

477
00:21:43,200 --> 00:21:45,560
Speaker 1: The boys are fast asleep and mister Phoene is standing

478
00:21:45,560 --> 00:21:47,760
Speaker 1: behind them. Phoenie notes that in his class, it's mister

479
00:21:47,840 --> 00:21:50,840
Speaker 1: Hunter who handles the yipping. Corey wakes up in a

480
00:21:50,880 --> 00:21:53,480
Speaker 1: panic and realizes his current predicament. He nudges Shan, who

481
00:21:53,480 --> 00:21:56,040
Speaker 1: sees Phoenie and Turner two and says, now, I don't

482
00:21:56,040 --> 00:21:58,560
Speaker 1: know which class I slept through. Turner reminds them of

483
00:21:58,600 --> 00:22:03,040
Speaker 1: the poem. Phoene explains the road not taken and already

484
00:22:03,040 --> 00:22:06,560
Speaker 1: in this episode, I'm like, what why is PHOENNI here?

485
00:22:06,640 --> 00:22:09,159
Speaker 1: Where's he supposed to be? Why is he in this classroom?

486
00:22:09,480 --> 00:22:13,040
Speaker 4: And he looks it and starts teaching another teachers and

487
00:22:13,080 --> 00:22:14,840
Speaker 4: he's like, let me tell you what the road not

488
00:22:14,880 --> 00:22:18,600
Speaker 4: taken is about It's just I was already like this

489
00:22:18,720 --> 00:22:22,240
Speaker 4: feels like such a setup that I didn't I didn't

490
00:22:22,280 --> 00:22:22,960
Speaker 4: love it, just.

491
00:22:22,920 --> 00:22:27,280
Speaker 2: Too heavy handed, Yeah, I was. I was really reeling

492
00:22:27,359 --> 00:22:32,840
Speaker 2: from just I cannot believe how important poetry is to

493
00:22:33,000 --> 00:22:36,480
Speaker 2: the to the basis of like to the the spine

494
00:22:36,760 --> 00:22:39,879
Speaker 2: of Boy Meets World. And I didn't remember this, And

495
00:22:39,960 --> 00:22:42,800
Speaker 2: it makes it so interesting, like this is now probably

496
00:22:42,880 --> 00:22:46,840
Speaker 2: the tenth time no more, that poetry has played a

497
00:22:46,960 --> 00:22:51,919
Speaker 2: central part of either a character's arc or the lesson,

498
00:22:52,359 --> 00:22:55,840
Speaker 2: and it it's really cool, and it's so interesting that

499
00:22:55,920 --> 00:22:59,120
Speaker 2: you know, Sean hates poetry dismisses it in every one

500
00:22:59,160 --> 00:23:01,959
Speaker 2: of these contexts, and it just it makes me realize

501
00:23:01,960 --> 00:23:05,440
Speaker 2: how really profound it is that Sean becomes a poet

502
00:23:05,560 --> 00:23:08,480
Speaker 2: in that later season, which is probably I guess season

503
00:23:08,520 --> 00:23:11,560
Speaker 2: six or seven. I don't think I quite realized how

504
00:23:11,600 --> 00:23:15,159
Speaker 2: the groundwork had been laid for that transition, because it

505
00:23:15,200 --> 00:23:17,280
Speaker 2: always I always make the joke that it seems so

506
00:23:17,320 --> 00:23:19,160
Speaker 2: out of character for Sean to have become a poet.

507
00:23:19,160 --> 00:23:22,080
Speaker 2: It's like what he goes from being this non academic,

508
00:23:22,440 --> 00:23:25,399
Speaker 2: non interested in school, non interested in literature guy to

509
00:23:25,600 --> 00:23:28,600
Speaker 2: like a good poet who everybody is celebrating in this

510
00:23:28,880 --> 00:23:31,520
Speaker 2: but in retrospect, it's actually there from the get go,

511
00:23:31,640 --> 00:23:34,760
Speaker 2: like poetry was always being planted and it's just built

512
00:23:34,800 --> 00:23:37,359
Speaker 2: into the fabric of the show, maybe artificially, Like I

513
00:23:37,359 --> 00:23:39,520
Speaker 2: don't know if it fits really, but as somebody who

514
00:23:39,680 --> 00:23:43,480
Speaker 2: loves poetry, why not, Like it's kind of cool in

515
00:23:43,480 --> 00:23:46,120
Speaker 2: a sitcom, Like you can't get farther from a sitcom

516
00:23:46,160 --> 00:23:48,400
Speaker 2: than poetry, right in terms of art forms.

517
00:23:48,480 --> 00:23:51,479
Speaker 1: Right, It's funny to me that if someone were I

518
00:23:51,520 --> 00:23:54,840
Speaker 1: never would have thought this ever, But if the description

519
00:23:54,960 --> 00:23:59,520
Speaker 1: of Boy Meets World involved somehow like the show where people,

520
00:23:59,640 --> 00:24:03,679
Speaker 1: through the use of literature learn to understand the world

521
00:24:03,800 --> 00:24:06,919
Speaker 1: and the people around them, it would like, now, with

522
00:24:06,960 --> 00:24:08,840
Speaker 1: the amount of episodes we've done, I'd be like, yeah,

523
00:24:08,880 --> 00:24:11,680
Speaker 1: I could see that it would actually be in the

524
00:24:11,680 --> 00:24:14,800
Speaker 1: synopsis of overall what the show is about. And yet

525
00:24:14,840 --> 00:24:17,159
Speaker 1: before we had done this rewrot rewatch, I would have

526
00:24:17,240 --> 00:24:18,960
Speaker 1: never thought that.

527
00:24:19,359 --> 00:24:22,399
Speaker 3: No, it's also didn't think about even even it was

528
00:24:22,440 --> 00:24:24,280
Speaker 3: its season two, when they finally go out, they're going

529
00:24:24,320 --> 00:24:26,320
Speaker 3: to kiss for the first time, all that kind of stuff,

530
00:24:26,400 --> 00:24:27,920
Speaker 3: it's all at that poetry.

531
00:24:28,400 --> 00:24:30,160
Speaker 2: Yeh, Yeah, that's what I mean, I mean, it's there

532
00:24:30,240 --> 00:24:33,560
Speaker 2: always it was. I mean, it's it's Michael Michael Jacobs

533
00:24:34,000 --> 00:24:37,760
Speaker 2: loves poetry, loved poetry. And but it's so interesting that

534
00:24:37,840 --> 00:24:42,000
Speaker 2: also in the school room, David Holmes was teaching us poetry,

535
00:24:42,040 --> 00:24:45,200
Speaker 2: like we were getting it from both our professional lives

536
00:24:45,240 --> 00:24:48,359
Speaker 2: and our school lives. And it's I mean, I was

537
00:24:48,359 --> 00:24:51,199
Speaker 2: an English major, like I'm obsessed with poetry. I'm and

538
00:24:51,240 --> 00:24:55,119
Speaker 2: it's so it's I think of that as something from me,

539
00:24:55,560 --> 00:24:58,679
Speaker 2: you know, but like clearly it was something from this

540
00:24:58,840 --> 00:25:00,960
Speaker 2: part of the show and my life. And it's so

541
00:25:01,119 --> 00:25:03,919
Speaker 2: interesting that something that I think of like came from

542
00:25:04,280 --> 00:25:06,480
Speaker 2: I don't know, but now I can see, Oh my god,

543
00:25:06,520 --> 00:25:08,639
Speaker 2: that was a huge influence, both in front of the

544
00:25:08,680 --> 00:25:11,480
Speaker 2: camera and behind the camera. It's really fascinating.

545
00:25:12,080 --> 00:25:15,160
Speaker 1: Sophoeni explains the road not taken. We have choices in life,

546
00:25:15,160 --> 00:25:17,159
Speaker 1: and each choice puts us on a new road that

547
00:25:17,240 --> 00:25:19,280
Speaker 1: can have a profound effect on our destinies.

548
00:25:19,800 --> 00:25:21,639
Speaker 2: By the way, I can't stand Robert Frost, and this

549
00:25:21,720 --> 00:25:25,879
Speaker 2: is just like this is the most like like heavy handed,

550
00:25:25,920 --> 00:25:28,520
Speaker 2: I mean talk about like Robert Frost. I actually have

551
00:25:28,720 --> 00:25:33,479
Speaker 2: enjoyed some Frost like but it's it's so I don't know,

552
00:25:33,520 --> 00:25:37,800
Speaker 2: it's just like it's very like exactly what this episode

553
00:25:37,880 --> 00:25:39,680
Speaker 2: spells out. It's like, well, do you really need to

554
00:25:39,680 --> 00:25:41,720
Speaker 2: spell it out? It's literally in the poem like it's

555
00:25:41,760 --> 00:25:43,560
Speaker 2: so it's like it's a hat on a hat.

556
00:25:43,600 --> 00:25:43,760
Speaker 3: You know.

557
00:25:43,800 --> 00:25:49,240
Speaker 2: It's like, let let me explicate the complicated, very obvious

558
00:25:49,280 --> 00:25:51,600
Speaker 2: reading of this very obvious poem. Like it's a very

559
00:25:51,600 --> 00:25:53,960
Speaker 2: obvious poem. It's a that's it's it's a it's a

560
00:25:54,000 --> 00:25:56,680
Speaker 2: popular poem. It's fun because you can get it without

561
00:25:56,680 --> 00:25:58,120
Speaker 2: having to think about it too much.

562
00:25:58,240 --> 00:26:01,800
Speaker 3: So they care to everybody in the ninth grade exactly

563
00:26:01,920 --> 00:26:05,119
Speaker 3: because it's so there, you know, it's a poem exactly,

564
00:26:05,200 --> 00:26:07,000
Speaker 3: and that's what's great about it is that.

565
00:26:07,119 --> 00:26:10,119
Speaker 2: But why Pheenie has to explain it and then Sean

566
00:26:10,160 --> 00:26:11,320
Speaker 2: at the end of the episode has.

567
00:26:11,200 --> 00:26:13,320
Speaker 1: To be we're sleeping, that's why, you know what.

568
00:26:13,520 --> 00:26:15,440
Speaker 2: But we just hit it like, you know, like me,

569
00:26:15,600 --> 00:26:16,440
Speaker 2: by heavy handedness.

570
00:26:16,600 --> 00:26:16,840
Speaker 4: Right.

571
00:26:16,880 --> 00:26:18,960
Speaker 3: That's the one thing that Boy Means World always did well.

572
00:26:19,080 --> 00:26:22,000
Speaker 3: There was a subtlety to the lessons that you're learning,

573
00:26:22,440 --> 00:26:25,399
Speaker 3: and this one just wasn't. This was a hit you

574
00:26:25,440 --> 00:26:28,680
Speaker 3: over the head. Saturday Morning special. Here's what the poem means,

575
00:26:28,680 --> 00:26:30,480
Speaker 3: and now you have to decide what road you're going

576
00:26:30,480 --> 00:26:30,679
Speaker 3: to take.

577
00:26:30,720 --> 00:26:32,240
Speaker 1: I mean it's like literally said.

578
00:26:32,080 --> 00:26:35,280
Speaker 2: I know, and it's you think about the layers of

579
00:26:35,359 --> 00:26:39,520
Speaker 2: like the Hamlet episode in season one where Rusty was

580
00:26:39,560 --> 00:26:44,040
Speaker 2: holding the melon. Yes, that's in a literary illusion, that's

581
00:26:44,080 --> 00:26:48,600
Speaker 2: physical visual, that's really clever, and and and yeah, this

582
00:26:48,760 --> 00:26:50,040
Speaker 2: is just not as clever.

583
00:26:50,400 --> 00:26:52,359
Speaker 1: No, So Sean asks, how does a poem about a

584
00:26:52,359 --> 00:26:54,160
Speaker 1: guy on two roads have anything to do with their

585
00:26:54,200 --> 00:26:55,600
Speaker 1: lives when they can't even drive yet?

586
00:26:55,680 --> 00:26:57,560
Speaker 2: Stick around for twenty two minutes you'll find out.

587
00:26:57,560 --> 00:27:01,800
Speaker 1: Show, We'll tell you. Phoene sarcastically asks Turner. Isn't he fun?

588
00:27:01,920 --> 00:27:04,320
Speaker 1: Turner says, I like to think of him as job security.

589
00:27:04,640 --> 00:27:07,159
Speaker 1: Phoeney asks Cory what his last choice in life was.

590
00:27:07,720 --> 00:27:09,639
Speaker 2: As much as I you know, I've already railed against

591
00:27:09,720 --> 00:27:13,960
Speaker 2: like dramatic Sean, young dumb Sean is starting to feel

592
00:27:13,960 --> 00:27:16,480
Speaker 2: a little young to me. It's it's it's sort of

593
00:27:16,520 --> 00:27:18,879
Speaker 2: like an old joke already, and that, you know, I

594
00:27:18,880 --> 00:27:22,119
Speaker 2: think the better version of Sean that's emerging is the

595
00:27:22,440 --> 00:27:25,679
Speaker 2: Shawn that's totally comfortable in the hospital, totally comfortable in

596
00:27:25,680 --> 00:27:26,600
Speaker 2: the Italian restaurant.

597
00:27:27,720 --> 00:27:31,639
Speaker 1: Sean Yeah, yeah, so uh, Cory says, I did just

598
00:27:31,680 --> 00:27:33,720
Speaker 1: get a job for Christmas break. I'm a gopher at

599
00:27:33,760 --> 00:27:36,480
Speaker 1: Little Polly's restaurant and Sean pipes in too, and I

600
00:27:36,600 --> 00:27:39,159
Speaker 1: got the soft, cushy union job down on the docks.

601
00:27:39,440 --> 00:27:41,960
Speaker 1: He's excited to finally be able to buy nice presents

602
00:27:41,960 --> 00:27:46,080
Speaker 1: for his family and friends this year. Our Christmas job

603
00:27:46,160 --> 00:27:48,320
Speaker 1: breaks a thing that's.

604
00:27:48,119 --> 00:27:49,440
Speaker 2: Interesting for workers.

605
00:27:50,600 --> 00:27:51,200
Speaker 3: Dock workers.

606
00:27:51,320 --> 00:27:53,919
Speaker 2: Absolutely, Why would your kid be working at the docks too?

607
00:27:53,960 --> 00:27:56,040
Speaker 2: It's like the hardest job. I mean that's the joke obviously,

608
00:27:56,119 --> 00:27:59,200
Speaker 2: but it's pretty ridiculous. What's sort of like the prom

609
00:27:59,280 --> 00:28:01,560
Speaker 2: fashion show, right, Like we're probably gonna get letters. People

610
00:28:01,600 --> 00:28:02,960
Speaker 2: are like, yes, they always.

611
00:28:02,680 --> 00:28:05,119
Speaker 1: Got to jo always think it is ten days.

612
00:28:05,840 --> 00:28:08,560
Speaker 2: Makes sense for kids to get like dishwashing jobs or something.

613
00:28:08,640 --> 00:28:11,240
Speaker 3: Unload I think to unload things on the docks. I

614
00:28:11,240 --> 00:28:13,320
Speaker 3: think you can get it like sixteen years old, where

615
00:28:13,320 --> 00:28:15,200
Speaker 3: it's like you're not going on the boats in welding,

616
00:28:15,760 --> 00:28:17,760
Speaker 3: you know, it's it's hey, this thing is.

617
00:28:17,760 --> 00:28:18,960
Speaker 2: Showed up three in the morning.

618
00:28:19,119 --> 00:28:21,119
Speaker 3: Yeah, there's been like a palette on the you know,

619
00:28:21,160 --> 00:28:21,760
Speaker 3: put on the dock.

620
00:28:21,800 --> 00:28:24,880
Speaker 1: We've got jobs are looking for someone for two weeks.

621
00:28:25,119 --> 00:28:27,960
Speaker 2: But it's also a union job, which which, of course,

622
00:28:28,000 --> 00:28:28,320
Speaker 2: none of.

623
00:28:28,280 --> 00:28:30,720
Speaker 3: That makes any sense, none of it. Says says that,

624
00:28:30,800 --> 00:28:33,479
Speaker 3: by the way, the five actor kids who had been

625
00:28:33,520 --> 00:28:35,200
Speaker 3: in a union from the time they were right.

626
00:28:35,240 --> 00:28:37,840
Speaker 2: But obviously, if you're hiring a sixteen year old to

627
00:28:37,840 --> 00:28:41,040
Speaker 2: work at the docks, that's the kid is getting paid

628
00:28:41,080 --> 00:28:45,080
Speaker 2: under the table, Yes, taking advantage of avoiding the union.

629
00:28:44,960 --> 00:28:47,520
Speaker 3: Being paid in cash shown at the table. Yes, exactly.

630
00:28:47,760 --> 00:28:49,920
Speaker 1: Turner gives out the class assignment. I want you all

631
00:28:49,920 --> 00:28:51,800
Speaker 1: to keep a journal of the choices you make over

632
00:28:51,840 --> 00:28:54,440
Speaker 1: the next week, then write a paper about the potential

633
00:28:54,480 --> 00:28:57,360
Speaker 1: of those choices to change your life. Sean retorts, What

634
00:28:57,400 --> 00:29:00,480
Speaker 1: if my choice is to not do the assignment, Turner explains,

635
00:29:00,560 --> 00:29:02,440
Speaker 1: you would get an f not get into college, spend

636
00:29:02,480 --> 00:29:04,440
Speaker 1: your time hanging out at the convenience store waiting for

637
00:29:04,480 --> 00:29:06,640
Speaker 1: them to bring in a new batch of lottery tickets.

638
00:29:07,040 --> 00:29:09,360
Speaker 1: Sean wonders, And that would change my life?

639
00:29:09,400 --> 00:29:09,560
Speaker 3: How?

640
00:29:10,080 --> 00:29:12,440
Speaker 1: And then we go to a commercial break. We're back

641
00:29:12,480 --> 00:29:16,800
Speaker 1: at a very holiday decorated wilderness outpost. Lonnie is hanging

642
00:29:16,840 --> 00:29:19,560
Speaker 1: candy canes on a mini tree when Eric inquires about

643
00:29:19,600 --> 00:29:22,240
Speaker 1: her first Christmas in the city. She's excited at first,

644
00:29:22,280 --> 00:29:24,440
Speaker 1: but as she starts to reminisce, she gets sad and

645
00:29:24,480 --> 00:29:27,719
Speaker 1: tears up, admitting how much she misses them. Eric strategically

646
00:29:27,760 --> 00:29:30,080
Speaker 1: places himself so she falls right into his arms and

647
00:29:30,120 --> 00:29:33,280
Speaker 1: he embraces her, telling him to use him as a handkerchief,

648
00:29:33,400 --> 00:29:36,480
Speaker 1: which she does by wiping her nose on his arm,

649
00:29:36,560 --> 00:29:39,000
Speaker 1: and he looks out and excited. She did it, She

650
00:29:39,160 --> 00:29:39,520
Speaker 1: did it.

651
00:29:40,360 --> 00:29:44,200
Speaker 3: I think by watching this, I could be wrong, but

652
00:29:44,440 --> 00:29:48,240
Speaker 3: I think I was either just getting sick or getting

653
00:29:48,280 --> 00:29:51,040
Speaker 3: over being sick, really super pale.

654
00:29:51,520 --> 00:29:55,280
Speaker 2: Oh like really really cold medication. And that's why you're

655
00:29:55,280 --> 00:29:56,200
Speaker 2: a little big.

656
00:29:56,880 --> 00:29:59,360
Speaker 3: Who knows I could be whapped on. Yeah, some you

657
00:29:59,400 --> 00:30:02,960
Speaker 3: know robot or something, but a solid robo buzz going.

658
00:30:03,000 --> 00:30:06,360
Speaker 3: But there's something because you know, I just noticed that

659
00:30:06,440 --> 00:30:08,280
Speaker 3: I looked off in.

660
00:30:08,200 --> 00:30:10,360
Speaker 1: This Wow, I didn't notice that.

661
00:30:11,040 --> 00:30:17,000
Speaker 3: Looked weird in this episode. And remember this not at all.

662
00:30:17,080 --> 00:30:18,760
Speaker 2: Really, you don't remember this episode at all.

663
00:30:18,960 --> 00:30:19,280
Speaker 3: Nothing.

664
00:30:19,320 --> 00:30:22,480
Speaker 2: I remember wanting so much work in this episode because

665
00:30:22,480 --> 00:30:25,640
Speaker 2: it's not that amazing of a storyline.

666
00:30:25,720 --> 00:30:27,400
Speaker 3: It's just weird storyline.

667
00:30:27,480 --> 00:30:31,200
Speaker 2: Put Will in positions where he can find comedy where

668
00:30:31,240 --> 00:30:33,680
Speaker 2: there it's just not there's not much there.

669
00:30:33,560 --> 00:30:35,640
Speaker 3: And yeah, you're right, I was. I was working on

670
00:30:35,680 --> 00:30:38,320
Speaker 3: you're pushing it over over acting in a lot of senses.

671
00:30:38,480 --> 00:30:40,640
Speaker 2: Yeah, but I think that's the only way it could work, right, Like,

672
00:30:41,200 --> 00:30:43,800
Speaker 2: is that the whole point all the comedy comes from

673
00:30:43,920 --> 00:30:47,560
Speaker 2: Eric being ridiculously expressive in a way that is over

674
00:30:47,600 --> 00:30:48,959
Speaker 2: the top. You know, that's the comedy.

675
00:30:49,080 --> 00:30:50,160
Speaker 3: Strange Beet storyline.

676
00:30:50,440 --> 00:30:52,520
Speaker 1: Lonnie is bummed that there's no way she can be

677
00:30:52,560 --> 00:30:55,040
Speaker 1: with her parents for Christmas this year, but Eric insists

678
00:30:55,120 --> 00:30:57,800
Speaker 1: I'll drive you. She reminds him it's five hundred miles

679
00:30:57,800 --> 00:31:00,680
Speaker 1: and he shouts good. She's extatic and gives him a

680
00:31:00,720 --> 00:31:02,520
Speaker 1: huge hug while they jump up and down with joy.

681
00:31:02,760 --> 00:31:06,160
Speaker 1: As Alan watches on, who I think he was slightly

682
00:31:06,160 --> 00:31:09,440
Speaker 1: embarrassed and maybe nervous that they don't have an HR department.

683
00:31:10,000 --> 00:31:11,600
Speaker 3: Or a line. Does he even say anything?

684
00:31:11,600 --> 00:31:15,120
Speaker 1: And I don't think he says anything there, Nope. And

685
00:31:15,160 --> 00:31:19,080
Speaker 1: then New Settler, we're at Little Polly's. Corey is tucked

686
00:31:19,160 --> 00:31:21,360
Speaker 1: up in his waiter uniform as he brings some cups

687
00:31:21,360 --> 00:31:25,000
Speaker 1: to two older gentlemen with goodfellas vibes. It's Buddy Hackett

688
00:31:25,000 --> 00:31:30,160
Speaker 1: and Soupy sales not playing themselves. Soupy aka mister Martini

689
00:31:30,240 --> 00:31:33,840
Speaker 1: sternly asks who are you. Corey introduces himself and explains

690
00:31:33,880 --> 00:31:36,280
Speaker 1: he was hired to bring people drinks and run errands

691
00:31:36,280 --> 00:31:41,040
Speaker 1: to earn a little extra money this summer. He says, yes,

692
00:31:42,280 --> 00:31:45,520
Speaker 1: So here's what I think happened. Guys. You know in

693
00:31:45,600 --> 00:31:49,200
Speaker 1: a script, when someone's supposed to cut you off, it's just.

694
00:31:49,760 --> 00:31:50,960
Speaker 3: Dead dot or.

695
00:31:53,000 --> 00:31:59,320
Speaker 1: And exactly just kept going. And he just kept going

696
00:31:59,440 --> 00:32:02,680
Speaker 1: because they did cut them off fast enough, and nobody

697
00:32:02,680 --> 00:32:06,000
Speaker 1: really it got filled in with summer and nobody noticed

698
00:32:06,000 --> 00:32:08,040
Speaker 1: in the moment, and that's the take they ended up using.

699
00:32:08,280 --> 00:32:11,800
Speaker 1: But it's not this summer. It's a winter break.

700
00:32:12,360 --> 00:32:13,840
Speaker 3: This is Christmas episode.

701
00:32:14,160 --> 00:32:15,960
Speaker 1: Yeah. So he cuts him off and he says, stop

702
00:32:16,000 --> 00:32:19,520
Speaker 1: talking now, and then Buddy Hackett aka mister Fontaine, asks

703
00:32:19,560 --> 00:32:22,200
Speaker 1: what the drinks are and Corey says it's coffee. Sam

704
00:32:22,240 --> 00:32:24,400
Speaker 1: at the Bar told him to bring it over. Sam

705
00:32:24,440 --> 00:32:26,120
Speaker 1: at the Bar has a tendency to run off at

706
00:32:26,160 --> 00:32:28,960
Speaker 1: the mouth. Fontane explains, I don't like tendencies. I don't

707
00:32:29,040 --> 00:32:31,960
Speaker 1: like mouths. He asks Cory if he understands, and Corey nods,

708
00:32:32,040 --> 00:32:35,080
Speaker 1: I do, but I'm scared mister Martini holds up his

709
00:32:35,120 --> 00:32:38,600
Speaker 1: coffee cup. Who made this? Fontane warns, answer him and

710
00:32:38,680 --> 00:32:44,480
Speaker 1: choose your words carefully. Corey nervously and very slowly tells

711
00:32:44,520 --> 00:32:54,760
Speaker 1: them I did, and that is maybe my favorite joke.

712
00:32:56,040 --> 00:32:59,280
Speaker 3: It's so funny, and nervous is always funny.

713
00:32:59,360 --> 00:33:02,000
Speaker 1: It's so funny. After a short pause soup, he admires

714
00:33:02,040 --> 00:33:04,520
Speaker 1: it's fantastic and asks his pal to try it and

715
00:33:04,560 --> 00:33:07,080
Speaker 1: tell me if I'm wrong. Fontane agrees, you're right. This

716
00:33:07,240 --> 00:33:10,080
Speaker 1: is good. Corey gushes, I did take the liberty of

717
00:33:10,080 --> 00:33:12,880
Speaker 1: adding a dash of cinnamon. Mister Martini hands Corey a

718
00:33:12,880 --> 00:33:15,640
Speaker 1: twenty dollars bill, and if he keeps slinging cappuccinos, maybe

719
00:33:15,680 --> 00:33:18,760
Speaker 1: he'll come up with another twenty. Corey is stoked a

720
00:33:18,920 --> 00:33:21,440
Speaker 1: sling and I'll be And if you gentlemen need anything,

721
00:33:21,800 --> 00:33:24,560
Speaker 1: Martini cuts him off again. I'd like you to accompany

722
00:33:24,600 --> 00:33:27,479
Speaker 1: my new young bride to the beauty parlor keep an

723
00:33:27,480 --> 00:33:29,600
Speaker 1: eye on her. Corey says he can't. Sam at the

724
00:33:29,600 --> 00:33:31,280
Speaker 1: bar gave him a whole list of things to do.

725
00:33:31,600 --> 00:33:33,719
Speaker 1: The men assure him not to worry about Sam. Then

726
00:33:33,760 --> 00:33:36,080
Speaker 1: they laugh at how powerless the bartender is to their

727
00:33:36,120 --> 00:33:39,520
Speaker 1: wise guy. Ways, what has Corey gotten himself into?

728
00:33:39,560 --> 00:33:39,880
Speaker 2: Now?

729
00:33:41,120 --> 00:33:44,840
Speaker 1: Do either of you remember interacting with Soupy or Buck

730
00:33:44,920 --> 00:33:45,520
Speaker 1: Buddy at all?

731
00:33:45,720 --> 00:33:46,000
Speaker 3: Yep?

732
00:33:46,640 --> 00:33:50,480
Speaker 2: Do Yeah, yeah, I remember, Well, you know that feeling.

733
00:33:51,400 --> 00:33:55,160
Speaker 2: There was always this feeling like when you were around legends, right,

734
00:33:55,560 --> 00:34:02,560
Speaker 2: he had to be respectful and like, but there's there's

735
00:34:02,560 --> 00:34:04,560
Speaker 2: something that happened. You know. Obviously we were regulars on

736
00:34:04,600 --> 00:34:07,480
Speaker 2: the show. We're also kids when you're you're when you're

737
00:34:07,520 --> 00:34:11,759
Speaker 2: a kid actor, learning your lines, hitting your marks, it's

738
00:34:11,880 --> 00:34:14,360
Speaker 2: very easy. There's so much about being an actor that

739
00:34:14,440 --> 00:34:17,680
Speaker 2: is just like we're just we're pros, you know, like

740
00:34:17,719 --> 00:34:19,960
Speaker 2: Ben and I at this point have done and so

741
00:34:20,000 --> 00:34:22,880
Speaker 2: there's this funny dynamic where you're.

742
00:34:22,680 --> 00:34:25,040
Speaker 1: More face and you're much better.

743
00:34:25,120 --> 00:34:27,600
Speaker 2: Basically, well, they're bad the things that they're bad at,

744
00:34:27,800 --> 00:34:28,920
Speaker 2: like knowing.

745
00:34:28,640 --> 00:34:31,040
Speaker 1: Their lines, knowing where to stand.

746
00:34:31,000 --> 00:34:34,000
Speaker 2: Getting through rehearsal without making yeah, like all of that stuff.

747
00:34:34,280 --> 00:34:36,480
Speaker 2: And so it's this weird dynamic where like Ben and

748
00:34:36,520 --> 00:34:40,239
Speaker 2: I are sort of standing there, like rehearsal takes a

749
00:34:40,280 --> 00:34:44,000
Speaker 2: lot longer than any other scene, and yet these guys

750
00:34:44,080 --> 00:34:49,160
Speaker 2: were being told constantly are special, that they're hysterical, and everybody,

751
00:34:49,200 --> 00:34:52,719
Speaker 2: all the adults are cowtowing to these guys who were

752
00:34:52,760 --> 00:34:56,040
Speaker 2: sitting there going but they can't do their job, and

753
00:34:56,120 --> 00:34:58,120
Speaker 2: so it's it was a funny. It's a funny like

754
00:34:58,239 --> 00:35:02,120
Speaker 2: feeling of like, yeah, like we're supposed to respect them,

755
00:35:02,160 --> 00:35:04,320
Speaker 2: and we do. And like when I watched the episode,

756
00:35:04,360 --> 00:35:06,560
Speaker 2: I'm like, it's great, it's so great. But while you're

757
00:35:06,600 --> 00:35:09,960
Speaker 2: in it as a kid, especially you're you can't help

758
00:35:09,960 --> 00:35:11,640
Speaker 2: but be like, what are they doing? Why are these

759
00:35:11,680 --> 00:35:12,600
Speaker 2: guys so special?

760
00:35:12,640 --> 00:35:15,600
Speaker 1: What is the deal? And also we did not know

761
00:35:15,640 --> 00:35:19,000
Speaker 1: who they were. Were you were my experience.

762
00:35:18,560 --> 00:35:22,280
Speaker 2: The only thing I knew Buddy Hackett from was Herbie

763
00:35:22,320 --> 00:35:25,200
Speaker 2: the love Bug, and I did. I had watched that

764
00:35:25,320 --> 00:35:27,560
Speaker 2: movie as a kid over and over, and yet at

765
00:35:27,600 --> 00:35:30,040
Speaker 2: some point so I did, I did know him and

766
00:35:30,040 --> 00:35:32,000
Speaker 2: think he was funny, you know. But at this point,

767
00:35:32,520 --> 00:35:34,279
Speaker 2: like I said, these guys are you know, they're at

768
00:35:34,280 --> 00:35:36,279
Speaker 2: the end of their career. They're coming out of like

769
00:35:36,360 --> 00:35:39,000
Speaker 2: basically retirement to do this bit, and so it just

770
00:35:39,239 --> 00:35:43,120
Speaker 2: you know, it's it's an interesting tension. It's not necessarily bad.

771
00:35:43,280 --> 00:35:45,960
Speaker 2: It's just Ben and I are more reserved. We're not

772
00:35:46,000 --> 00:35:48,160
Speaker 2: making jokes, We're trying to be you know. So there's

773
00:35:48,200 --> 00:35:51,040
Speaker 2: a there's a level of like, oh, this week is

774
00:35:51,320 --> 00:35:54,440
Speaker 2: where we're walking on eggshells in all of these rehearsals.

775
00:35:54,480 --> 00:35:55,200
Speaker 2: And it's a.

776
00:35:55,120 --> 00:35:59,239
Speaker 1: Little like the cycle of life of the entertainment industry too,

777
00:35:59,360 --> 00:36:01,879
Speaker 1: where it's like when you're starting out and you're young,

778
00:36:02,280 --> 00:36:04,839
Speaker 1: and let's just talk about comedians. You're starting out, you're young,

779
00:36:04,920 --> 00:36:06,640
Speaker 1: you've got your finger on the pulse, you've got a

780
00:36:06,680 --> 00:36:10,320
Speaker 1: modern voice, you're hot, you're you can do no wrong.

781
00:36:10,640 --> 00:36:14,120
Speaker 1: And then you get you build that reputation for yourself

782
00:36:14,160 --> 00:36:16,080
Speaker 1: and by the time you're at the end of your career,

783
00:36:16,520 --> 00:36:19,719
Speaker 1: what you're you're not finger on the pulse anymore. You're

784
00:36:19,719 --> 00:36:23,360
Speaker 1: not a young, modern voice, but you have fame and

785
00:36:23,360 --> 00:36:27,320
Speaker 1: and that credibility that you have for having the career

786
00:36:27,360 --> 00:36:29,759
Speaker 1: that you've had is going to bring something to us

787
00:36:29,840 --> 00:36:34,959
Speaker 1: that we don't have ourselves. So it's like it's it's

788
00:36:35,000 --> 00:36:37,680
Speaker 1: a it's weird. It is just one of those things

789
00:36:37,719 --> 00:36:40,240
Speaker 1: where it's like your your currency is different.

790
00:36:40,280 --> 00:36:43,120
Speaker 2: Now, well, what's the there's like the old saying, it's

791
00:36:43,120 --> 00:36:45,440
Speaker 2: like the five part being an actor is five stages

792
00:36:45,480 --> 00:36:48,440
Speaker 2: of your career. It's like, who's right strong, get me

793
00:36:48,520 --> 00:36:58,200
Speaker 2: right strong, young strong, Who's right, strong, right, the four stages. Okay,

794
00:36:57,880 --> 00:37:01,160
Speaker 2: yeah I do. I couldn't remember it quite Yeah, yes

795
00:37:01,239 --> 00:37:01,480
Speaker 2: it is.

796
00:37:01,719 --> 00:37:06,240
Speaker 1: They are most definitely at the peak. Get me Buddy

797
00:37:06,320 --> 00:37:11,279
Speaker 1: Hacket and super sales for our writings. Oh yeah right,

798
00:37:11,680 --> 00:37:15,719
Speaker 1: but that's the thing they were in Who is Buddy Hackett?

799
00:37:15,960 --> 00:37:17,240
Speaker 1: Who is soupy Sales?

800
00:37:17,360 --> 00:37:20,080
Speaker 3: Exactly? But I think that that's actually better because then

801
00:37:20,120 --> 00:37:21,960
Speaker 3: you don't have the stars in your eyes as you're

802
00:37:21,960 --> 00:37:23,960
Speaker 3: working with them. You're just to you. It's just two

803
00:37:23,960 --> 00:37:25,759
Speaker 3: other guys that you're working with, so it's not like

804
00:37:25,800 --> 00:37:27,520
Speaker 3: you're sitting there the whole time starstruck.

805
00:37:28,840 --> 00:37:32,640
Speaker 2: It's also it's so important for the sake of the

806
00:37:32,680 --> 00:37:36,319
Speaker 2: storyline that you find comedians to be a mobster. If

807
00:37:36,320 --> 00:37:38,680
Speaker 2: you hired actual.

808
00:37:38,719 --> 00:37:42,560
Speaker 3: You know, it's Tony.

809
00:37:41,040 --> 00:37:44,680
Speaker 2: Exactly, you can't have like real tough guys. You have

810
00:37:44,719 --> 00:37:46,880
Speaker 2: to find guys. But and these guys are perfect in

811
00:37:46,920 --> 00:37:49,960
Speaker 2: that regard and that they're they got this like older

812
00:37:50,320 --> 00:37:53,160
Speaker 2: thing and it's a but so you kind of believe

813
00:37:53,200 --> 00:37:56,320
Speaker 2: that they're like old mob guys, but they're ultimately just funny.

814
00:37:56,320 --> 00:37:59,279
Speaker 2: They're not threatening. There's nothing scary about them. And it's

815
00:37:59,320 --> 00:38:02,000
Speaker 2: in this tradition and well maybe you can speak to

816
00:38:02,040 --> 00:38:04,279
Speaker 2: this like there was this big tradition. I don't know

817
00:38:04,320 --> 00:38:07,400
Speaker 2: if it's still a round of like funny mob like

818
00:38:07,560 --> 00:38:09,360
Speaker 2: funny mob stories. I feel like in the nineties that

819
00:38:09,400 --> 00:38:14,880
Speaker 2: was a big thing. You is that roud way does

820
00:38:14,920 --> 00:38:17,400
Speaker 2: Sopranos kill that? Like now I feel like everything is

821
00:38:17,440 --> 00:38:19,200
Speaker 2: so serious when it comes to the mafia, Like you

822
00:38:19,239 --> 00:38:22,520
Speaker 2: can't make a joke about these things. But yeah, you're

823
00:38:22,560 --> 00:38:25,399
Speaker 2: making jokes about drug dealing and killing people, like that's

824
00:38:25,440 --> 00:38:29,520
Speaker 2: what we're joking about in this episode, and that it

825
00:38:29,560 --> 00:38:31,640
Speaker 2: feels like I haven't seen that in a while. But

826
00:38:31,680 --> 00:38:34,120
Speaker 2: back then it felt very It was a trope, right,

827
00:38:34,160 --> 00:38:37,200
Speaker 2: it was a tradition of Mickey blue Eyes, like you

828
00:38:37,280 --> 00:38:39,560
Speaker 2: always had these like and I think it was like

829
00:38:39,600 --> 00:38:43,279
Speaker 2: in response to that exactly. So in the seventies you

830
00:38:43,320 --> 00:38:46,560
Speaker 2: had Godfather, right, you had the real like dramas, and

831
00:38:46,600 --> 00:38:49,000
Speaker 2: then of course you have a period of mocking it,

832
00:38:49,320 --> 00:38:52,120
Speaker 2: and then it got serious again like reinvent I mean literally,

833
00:38:52,680 --> 00:38:55,799
Speaker 2: the Sopranos is analyzed this for real, right, He's going

834
00:38:56,040 --> 00:38:58,440
Speaker 2: the pilot of Sopranos is the same pitch. It's just

835
00:38:58,520 --> 00:39:01,520
Speaker 2: played for the reality. And then I don't know if

836
00:39:01,520 --> 00:39:04,880
Speaker 2: we went into another comedy post sopranos like, how we

837
00:39:05,239 --> 00:39:08,360
Speaker 2: done comedy mob? Melissa, Why don't you send us an

838
00:39:08,360 --> 00:39:11,400
Speaker 2: email about it? Yeah, please hear, because I'm sure. I'm sure,

839
00:39:11,600 --> 00:39:15,400
Speaker 2: but I can't think of it anyway. The story that

840
00:39:15,840 --> 00:39:18,360
Speaker 2: I remember, I don't know if you guys remember, and

841
00:39:18,400 --> 00:39:22,000
Speaker 2: I don't think I was actually there when Buddy told it,

842
00:39:22,360 --> 00:39:25,720
Speaker 2: but he told Jeff McCracken, and so I've always remembered

843
00:39:25,719 --> 00:39:27,040
Speaker 2: the story, and we have to ask Jeff if he

844
00:39:27,080 --> 00:39:30,560
Speaker 2: remembers it. But so Buddy Hackett told us the story

845
00:39:30,600 --> 00:39:35,279
Speaker 2: about how when he was a comedian he had there

846
00:39:35,280 --> 00:39:37,600
Speaker 2: were mob connections. There were people, you know, in the

847
00:39:37,719 --> 00:39:40,359
Speaker 2: entertainment industry that were connected by the mom. Sure, and

848
00:39:40,400 --> 00:39:44,719
Speaker 2: he was working for a guy or was some guy

849
00:39:44,760 --> 00:39:48,080
Speaker 2: in the mob who had a nephew who could sing,

850
00:39:48,640 --> 00:39:51,359
Speaker 2: and he and he said, I want you to let

851
00:39:51,400 --> 00:39:54,680
Speaker 2: my nephew open up for your comedy act. And Buddy

852
00:39:54,840 --> 00:39:59,400
Speaker 2: felt incredibly intimidated and did not think the guy was talented,

853
00:40:00,120 --> 00:40:03,080
Speaker 2: but knew that he had to give this give this guy,

854
00:40:03,239 --> 00:40:05,759
Speaker 2: this mob guy, a favor. So he said, okay, and

855
00:40:05,800 --> 00:40:10,799
Speaker 2: he allowed this nephew singer. In my mind, he's like

856
00:40:11,040 --> 00:40:14,319
Speaker 2: a young Frank Sinatra want to be to open for

857
00:40:14,320 --> 00:40:16,239
Speaker 2: Buddy Hackett even though he didn't deserve it and it

858
00:40:16,360 --> 00:40:19,319
Speaker 2: wasn't that talented. And so for Buddy Hackett's tour, he

859
00:40:19,440 --> 00:40:24,120
Speaker 2: had this young nephew do. And what Buddy Hackett said

860
00:40:24,239 --> 00:40:28,480
Speaker 2: was that, to this day working on our set, whenever

861
00:40:28,560 --> 00:40:31,440
Speaker 2: he bought a new house anywhere, he hadn't talked to

862
00:40:31,680 --> 00:40:33,520
Speaker 2: the nephew, hadn't talked to the guy who asked him

863
00:40:33,560 --> 00:40:36,279
Speaker 2: for the favor for thirty forty years. But whenever he

864
00:40:36,320 --> 00:40:39,680
Speaker 2: bought a new house anywhere in the world, the day

865
00:40:39,719 --> 00:40:43,040
Speaker 2: after he moved in, a moving truck full of furniture

866
00:40:43,080 --> 00:40:47,480
Speaker 2: would show up to furnish his entire house sent to him,

867
00:40:47,480 --> 00:40:47,680
Speaker 2: and he.

868
00:40:47,719 --> 00:40:49,360
Speaker 1: Never had to talk to any like.

869
00:40:49,400 --> 00:40:52,640
Speaker 2: They basically would make sure that a truck got lost

870
00:40:53,080 --> 00:40:55,480
Speaker 2: with other people's furniture and ended up at Buddy Hackett's

871
00:40:55,480 --> 00:40:59,359
Speaker 2: house wherever he moved. Wow, And I have no idea

872
00:40:59,360 --> 00:41:00,920
Speaker 2: if it's true. I have no idea if it was

873
00:41:00,960 --> 00:41:04,000
Speaker 2: something that Hackett was telling to just impress it. But

874
00:41:04,080 --> 00:41:06,759
Speaker 2: that's the yeah, and he's playing and it came up

875
00:41:06,760 --> 00:41:08,560
Speaker 2: because he was playing a mob bus and we're talking

876
00:41:08,560 --> 00:41:11,359
Speaker 2: about mafia whatever, and that's but yeah, so he said

877
00:41:11,400 --> 00:41:13,959
Speaker 2: it had happened three different times, at least three different times,

878
00:41:13,960 --> 00:41:15,880
Speaker 2: that he would move somewhere or buy a new house,

879
00:41:16,120 --> 00:41:18,520
Speaker 2: and like within a couple of days a truck full

880
00:41:18,560 --> 00:41:19,080
Speaker 2: of furniture.

881
00:41:19,560 --> 00:41:24,400
Speaker 1: What an intimidating thing to do, by the way, draped

882
00:41:24,440 --> 00:41:27,120
Speaker 1: in look how nice I am? I always know where

883
00:41:27,160 --> 00:41:27,480
Speaker 1: you live?

884
00:41:28,040 --> 00:41:31,640
Speaker 2: Yeah yeah, no contact, never yet but always.

885
00:41:31,360 --> 00:41:34,759
Speaker 3: So this is not my style at all.

886
00:41:35,840 --> 00:41:37,560
Speaker 1: I'm dump it out. I want this truck to.

887
00:41:37,480 --> 00:41:39,680
Speaker 2: Be I'm worried about the poor people who lost all

888
00:41:39,680 --> 00:41:40,320
Speaker 2: their furniture.

889
00:41:41,120 --> 00:41:45,760
Speaker 1: Wow, wow, great story. Well then we're in the Matthew's kitchen,

890
00:41:45,800 --> 00:41:48,319
Speaker 1: Corey's eating cereal when Sean barges in wearing an all

891
00:41:48,360 --> 00:41:49,000
Speaker 1: black winter.

892
00:41:49,160 --> 00:41:53,680
Speaker 2: And the ice in the windows this Christmas.

893
00:41:54,080 --> 00:41:56,680
Speaker 3: But I love how you've gone out and obviously purchased

894
00:41:56,719 --> 00:41:58,400
Speaker 3: an expensive dock workers.

895
00:41:58,440 --> 00:42:00,719
Speaker 2: I'm long shoreman now, Yeah, yes, you are full. You

896
00:42:00,719 --> 00:42:03,400
Speaker 2: couldn't just be this.

897
00:42:05,920 --> 00:42:07,719
Speaker 3: Is a great You had saved your money on this

898
00:42:07,760 --> 00:42:10,319
Speaker 3: seven hundred dollars coat, you would have money to buy

899
00:42:10,360 --> 00:42:12,919
Speaker 3: all the presents and you wouldn't need to Robert Frost

900
00:42:12,960 --> 00:42:13,760
Speaker 3: your way through Christmas.

901
00:42:14,000 --> 00:42:16,759
Speaker 2: But I look, I look the part it's great. I

902
00:42:16,800 --> 00:42:19,480
Speaker 2: wish I'd been wearing this at the last scene. I'm

903
00:42:19,480 --> 00:42:21,480
Speaker 2: in the leather jacket, I think in the last scene. Yeah,

904
00:42:21,719 --> 00:42:24,080
Speaker 2: this coat was cool peacock. Yeah, this goes Sean.

905
00:42:24,280 --> 00:42:27,080
Speaker 1: This is the most current modern day writer version of

906
00:42:27,120 --> 00:42:27,759
Speaker 1: you we've seen.

907
00:42:28,040 --> 00:42:29,560
Speaker 2: Yeah, this is what I would actually.

908
00:42:29,239 --> 00:42:31,520
Speaker 1: This was this is what Rider would wear. He's shivering

909
00:42:31,520 --> 00:42:34,520
Speaker 1: from the snowstorm outside Corey's. Corey offers him breakfast, but

910
00:42:34,560 --> 00:42:37,319
Speaker 1: Sean corrects him lunch. I'm on lunch. Corey reminds him

911
00:42:37,440 --> 00:42:39,480
Speaker 1: is a thirty in the morning, but Sean tells him

912
00:42:39,480 --> 00:42:41,840
Speaker 1: he's been working at the docks since three am and

913
00:42:41,880 --> 00:42:44,879
Speaker 1: it's been very cold. Corey tells him, sit, darling, I'll

914
00:42:44,920 --> 00:42:46,840
Speaker 1: make you some hot chocolate. I thought you said it

915
00:42:46,880 --> 00:42:49,160
Speaker 1: was easy on the docks. Sean is peeved. That's what

916
00:42:49,200 --> 00:42:52,239
Speaker 1: it said in the brochure. So so I show up

917
00:42:52,280 --> 00:42:55,400
Speaker 1: this morning and the wind chill is like Jupiter, and

918
00:42:55,480 --> 00:42:57,880
Speaker 1: I go up to the boss and I say insert

919
00:42:57,920 --> 00:43:00,960
Speaker 1: gibberish here, and he goes, yeah, but you took the job,

920
00:43:01,000 --> 00:43:03,560
Speaker 1: and I go and then you insert some more gibberish again.

921
00:43:03,800 --> 00:43:05,840
Speaker 1: And the Turkish freighter that showed up at three am

922
00:43:06,120 --> 00:43:08,200
Speaker 1: was the same one that brought in the outbreak monkey.

923
00:43:08,440 --> 00:43:10,520
Speaker 1: He says, if he's going down, so is Corey, and

924
00:43:10,560 --> 00:43:12,360
Speaker 1: he rubs his hands all over his face.

925
00:43:12,440 --> 00:43:13,920
Speaker 2: So gross.

926
00:43:14,239 --> 00:43:15,400
Speaker 1: Gross, I'm sure.

927
00:43:15,560 --> 00:43:17,360
Speaker 2: Must have been. I can remember this. I'm like, I

928
00:43:17,360 --> 00:43:19,440
Speaker 2: can't believe me, let me do that. I so gross?

929
00:43:19,480 --> 00:43:20,799
Speaker 1: Yeah, because Ben did not like.

930
00:43:21,000 --> 00:43:23,480
Speaker 2: No, such an awful thing.

931
00:43:23,680 --> 00:43:25,440
Speaker 1: I don't like anybody touching my face.

932
00:43:25,560 --> 00:43:28,040
Speaker 2: No, but this is one of those active things, like

933
00:43:28,120 --> 00:43:31,600
Speaker 2: let's get it for the joke, and hand sanitizer really

934
00:43:31,640 --> 00:43:32,640
Speaker 2: wasn't a thing back then.

935
00:43:32,719 --> 00:43:35,919
Speaker 1: So and even with even with that, I'm just something

936
00:43:35,960 --> 00:43:38,040
Speaker 1: touched my face and I immediately recoil.

937
00:43:38,520 --> 00:43:41,319
Speaker 3: I had to rub stuff on your face or off

938
00:43:41,360 --> 00:43:43,880
Speaker 3: your face several times on the show coming up. Do

939
00:43:43,920 --> 00:43:46,479
Speaker 3: you remember that? No, Like you have like the face

940
00:43:46,560 --> 00:43:48,319
Speaker 3: mask at one point and I'm like rubbing it in.

941
00:43:50,080 --> 00:43:52,919
Speaker 1: I do remember there's an avocado face mask thing coming

942
00:43:53,320 --> 00:43:56,239
Speaker 1: wasn't actually I ate it and you ate it? Yeah,

943
00:43:56,239 --> 00:43:57,759
Speaker 1: I do remember that or something. You know what it was?

944
00:43:57,760 --> 00:44:00,640
Speaker 1: It was French onion dip that they died green with food.

945
00:44:01,280 --> 00:44:02,200
Speaker 1: It was sour, so.

946
00:44:02,280 --> 00:44:04,279
Speaker 2: His whole face smelled a French onion dip.

947
00:44:04,600 --> 00:44:06,279
Speaker 1: I think so, yeah, it was you know, because you know,

948
00:44:06,320 --> 00:44:08,720
Speaker 1: French onion dip has the little like chunks of onion

949
00:44:08,840 --> 00:44:10,759
Speaker 1: onion pieces in it. They wanted me to have a

950
00:44:10,800 --> 00:44:12,759
Speaker 1: mask on that kind of had like chunks in it,

951
00:44:12,760 --> 00:44:14,640
Speaker 1: and I'm pretty sure it was the French onion soup

952
00:44:14,719 --> 00:44:18,680
Speaker 1: mix that they mixed with probably lotion and then dyed

953
00:44:18,719 --> 00:44:19,560
Speaker 1: it kind of green.

954
00:44:19,680 --> 00:44:21,919
Speaker 3: It wasn't I found out later. I wasn't supposed to eat.

955
00:44:22,560 --> 00:44:29,640
Speaker 1: It was an athlete not edible. That's so funny. Sean

956
00:44:29,680 --> 00:44:32,000
Speaker 1: eventually asks Corey how his job is, and Corey says,

957
00:44:32,000 --> 00:44:35,160
Speaker 1: it's tough, very tough. It's brutal. But Shaun c'es right

958
00:44:35,160 --> 00:44:38,080
Speaker 1: through it. You got a cushy job, and Ben giggles, Yes,

959
00:44:38,200 --> 00:44:41,920
Speaker 1: you can't hide it, and we're back at Little Polly's.

960
00:44:42,040 --> 00:44:42,839
Speaker 1: Corey's back at all.

961
00:44:43,000 --> 00:44:46,000
Speaker 3: Sorry, just right there. Yeah, I noticed because I wrote

962
00:44:46,000 --> 00:44:49,160
Speaker 3: this down this episode, a lot of the scenes have

963
00:44:49,239 --> 00:44:49,680
Speaker 3: no button.

964
00:44:50,880 --> 00:44:52,359
Speaker 1: This scene just ends, right.

965
00:44:52,440 --> 00:44:54,279
Speaker 3: I was like, oh, that's oh, apparently we're done with

966
00:44:54,280 --> 00:44:55,920
Speaker 3: it down that we're moving on to the next one.

967
00:44:55,920 --> 00:44:58,200
Speaker 3: There was no wrap up to probably three or four

968
00:44:58,200 --> 00:45:00,480
Speaker 3: different scenes. It's just the scene ended and they moved on.

969
00:45:01,080 --> 00:45:03,759
Speaker 1: You know, I wonder if people we should maybe talk

970
00:45:03,800 --> 00:45:07,359
Speaker 1: about a button a little bit because I wonder if,

971
00:45:07,560 --> 00:45:11,359
Speaker 1: because you're right, we notice it, and I wonder if

972
00:45:11,400 --> 00:45:14,640
Speaker 1: other people when they're watching don't necessarily know why something

973
00:45:14,640 --> 00:45:17,400
Speaker 1: feels different to them, but they it feels like just linger.

974
00:45:17,920 --> 00:45:20,920
Speaker 2: It's yeah, you always want to don't want to. You

975
00:45:20,960 --> 00:45:23,480
Speaker 2: don't want a deflating moment, even if it's a laugh.

976
00:45:23,520 --> 00:45:25,600
Speaker 2: You don't want a deflating laugh, right, You want a

977
00:45:25,640 --> 00:45:26,960
Speaker 2: sharp laugh to end.

978
00:45:27,239 --> 00:45:29,800
Speaker 3: Always say don't exhale on the end of a scene,

979
00:45:29,840 --> 00:45:31,560
Speaker 3: like you're letting all the tenchi oots. If you end

980
00:45:31,560 --> 00:45:34,560
Speaker 3: with a and you're letting the tension outs. The same

981
00:45:34,600 --> 00:45:36,480
Speaker 3: with the laugh. Don't let the laugh linger. You get

982
00:45:36,520 --> 00:45:38,280
Speaker 3: out on the sharpest part.

983
00:45:38,360 --> 00:45:40,799
Speaker 2: Right, which is it's not even just that it's a laugh.

984
00:45:40,840 --> 00:45:42,880
Speaker 2: It also should be a turn of some sort, right,

985
00:45:42,920 --> 00:45:45,880
Speaker 2: Like it's like somebody says something and then the response

986
00:45:46,280 --> 00:45:47,000
Speaker 2: changes something.

987
00:45:47,280 --> 00:45:48,880
Speaker 1: It's like a hanger of a moment.

988
00:45:48,960 --> 00:45:51,880
Speaker 2: Yeah, it's like oh boom oh what So there's a

989
00:45:51,960 --> 00:45:53,799
Speaker 2: question mark, you know. I mean one of the things

990
00:45:53,840 --> 00:45:56,440
Speaker 2: that I talk about it when I'm teaching screenwriting is

991
00:45:56,480 --> 00:45:59,080
Speaker 2: like question marks instead of periods. You know, you always

992
00:45:59,200 --> 00:46:02,080
Speaker 2: want to end and every scene with a question mark.

993
00:46:02,120 --> 00:46:04,120
Speaker 2: So you you're always going what I have to know

994
00:46:04,120 --> 00:46:04,960
Speaker 2: what's going to happen next?

995
00:46:05,000 --> 00:46:08,239
Speaker 1: Right, Yeah, so yeah, you're right, that wasn't That wasn't

996
00:46:08,239 --> 00:46:10,960
Speaker 1: necessarily a button. That was a laugh, but and it's

997
00:46:10,960 --> 00:46:13,759
Speaker 1: a good laugh, but it's not necessarily a button. So

998
00:46:14,080 --> 00:46:16,040
Speaker 1: Cory is back at his job and mister Martini and

999
00:46:16,080 --> 00:46:18,959
Speaker 1: mister Fontaine are there again, now joined by Sean who's

1000
00:46:19,040 --> 00:46:20,000
Speaker 1: visiting the mobster.

1001
00:46:20,120 --> 00:46:22,960
Speaker 2: So sorry, but I really have to pee again. I

1002
00:46:23,040 --> 00:46:25,439
Speaker 2: need to. I know, guys, can we just yeah?

1003
00:46:25,480 --> 00:46:29,400
Speaker 1: Sure, well sure, old hold hold for your small bladder. Jeez,

1004
00:46:29,880 --> 00:46:33,040
Speaker 1: I'm so glad we're taking karate. This is we really

1005
00:46:33,080 --> 00:46:35,279
Speaker 1: need to kick him right in the bladder.

1006
00:46:35,160 --> 00:46:37,200
Speaker 3: In the bla well, if we can find it. It's

1007
00:46:37,239 --> 00:46:41,640
Speaker 3: apparently the size of a pee, so unbelievable. This is

1008
00:46:41,640 --> 00:46:43,799
Speaker 3: also what happens when you drink thirty seven cups of

1009
00:46:43,800 --> 00:46:45,720
Speaker 3: coffee in the morning. I think he's a little jacked

1010
00:46:45,760 --> 00:46:47,799
Speaker 3: on caffeine today. Have you noticed that? I think so.

1011
00:46:48,120 --> 00:46:50,160
Speaker 1: I do know that he's very talkative.

1012
00:46:49,880 --> 00:46:52,400
Speaker 3: That's what I mean. I think he's he's just whacked

1013
00:46:52,520 --> 00:46:55,080
Speaker 3: on caffeine. At this point, he is thirty seven cups

1014
00:46:55,080 --> 00:46:55,680
Speaker 3: of dunking in.

1015
00:46:55,920 --> 00:46:58,640
Speaker 1: He's like, guys, sorry, I really also have another thing

1016
00:46:58,680 --> 00:47:00,319
Speaker 1: I have to say. Yeah, I'm like, where are still

1017
00:47:00,320 --> 00:47:03,520
Speaker 1: in the first sentence of the show thought the same thing.

1018
00:47:03,560 --> 00:47:06,080
Speaker 3: It's like, oh, okay, here we go. But I think

1019
00:47:06,120 --> 00:47:09,040
Speaker 3: between his monologues and stopping a pe, this is going

1020
00:47:09,120 --> 00:47:11,360
Speaker 3: to be the best seven hour episode we've ever done. Frankly,

1021
00:47:14,160 --> 00:47:15,319
Speaker 3: Heaven's Gate is not edit.

1022
00:47:15,480 --> 00:47:17,920
Speaker 1: Let's not let's not edit any of this. Let's just

1023
00:47:18,000 --> 00:47:20,120
Speaker 1: keep it. Let's see how long it is. Let's talk

1024
00:47:20,120 --> 00:47:23,680
Speaker 1: about where do you Where do you think on the

1025
00:47:23,719 --> 00:47:26,400
Speaker 1: body that we that we hit with sticks? Where do

1026
00:47:26,480 --> 00:47:28,560
Speaker 1: you What number do you think is where the bladder is?

1027
00:47:28,600 --> 00:47:29,200
Speaker 1: You think it's eight?

1028
00:47:29,360 --> 00:47:30,040
Speaker 3: I think it's eight?

1029
00:47:30,800 --> 00:47:37,759
Speaker 1: No, eight would be up? H I remember it's one, two, three, four, seven.

1030
00:47:40,120 --> 00:47:42,799
Speaker 1: It's the top of the head, the top. Ten's the top.

1031
00:47:43,680 --> 00:47:44,759
Speaker 2: Hey, there you go, thank you.

1032
00:47:44,840 --> 00:47:46,680
Speaker 1: Sorry, you might be right that eight. You might be eight.

1033
00:47:46,880 --> 00:47:48,839
Speaker 1: You might be writing eight eight is up?

1034
00:47:48,920 --> 00:47:49,080
Speaker 3: No?

1035
00:47:49,120 --> 00:47:52,800
Speaker 1: Remember up like nine and ten, So I think it

1036
00:47:52,880 --> 00:47:59,120
Speaker 1: might be five. Five might be the closest exactly, all right. Anyway,

1037
00:48:00,680 --> 00:48:03,160
Speaker 1: the mobsters call Corey over and he brags to Sean,

1038
00:48:03,640 --> 00:48:06,040
Speaker 1: watch me go, did you just drink more water.

1039
00:48:06,400 --> 00:48:09,040
Speaker 2: Yeah, I'm really well hydrated. I also think, can we

1040
00:48:09,200 --> 00:48:10,719
Speaker 2: can we take back? So you set the scene up

1041
00:48:10,719 --> 00:48:12,680
Speaker 2: again so we don't have to include me saying can

1042
00:48:12,719 --> 00:48:14,960
Speaker 2: I which because I actually know we're not cutting out.

1043
00:48:15,120 --> 00:48:15,320
Speaker 4: We're not.

1044
00:48:15,400 --> 00:48:17,560
Speaker 1: We're we talked to them all the time. We are

1045
00:48:17,680 --> 00:48:22,000
Speaker 1: keeping everything. Everyone's going to know exactly how long it

1046
00:48:22,040 --> 00:48:25,160
Speaker 1: takes you to pee and wash your hands, assuming you

1047
00:48:25,320 --> 00:48:28,560
Speaker 1: even washed your hands, with how fast you were gone,

1048
00:48:28,719 --> 00:48:32,959
Speaker 1: I don't even know. No consequences for rushing out to you,

1049
00:48:33,000 --> 00:48:35,160
Speaker 1: of course, do you think we're just gonna be nice

1050
00:48:35,200 --> 00:48:35,440
Speaker 1: to you?

1051
00:48:35,760 --> 00:48:36,360
Speaker 3: Come on.

1052
00:48:38,360 --> 00:48:42,279
Speaker 1: Anyway. The mobsters call Corey over and he brags to

1053
00:48:42,320 --> 00:48:45,320
Speaker 1: Sean watch me go make twenty dollars again. Corey asks

1054
00:48:45,320 --> 00:48:47,879
Speaker 1: what they need and Fontane hands him another twenty dollars bill.

1055
00:48:48,120 --> 00:48:50,680
Speaker 1: Corey starts to probably walk away, but bye bye, bye,

1056
00:48:50,719 --> 00:48:52,720
Speaker 1: bye bye. They have a job for him. He slides.

1057
00:48:55,040 --> 00:48:57,319
Speaker 2: But he could have hit that a little harder. I feel, yeah,

1058
00:48:57,440 --> 00:49:00,560
Speaker 2: it was a little like Mumbley, and I'm that's one

1059
00:49:00,560 --> 00:49:02,680
Speaker 2: of those things where Michael would have given us a

1060
00:49:02,760 --> 00:49:05,359
Speaker 2: much bigger line and he kept us doing it over

1061
00:49:05,360 --> 00:49:07,160
Speaker 2: and over. But with Buddy, he was probably like it's

1062
00:49:07,160 --> 00:49:08,160
Speaker 2: good enough, It's fine.

1063
00:49:08,440 --> 00:49:11,279
Speaker 3: Yeah, just the scene I remember being in front of

1064
00:49:11,280 --> 00:49:13,640
Speaker 3: the audience, and maybe I'm remembering it wrong because I

1065
00:49:13,640 --> 00:49:18,680
Speaker 3: remember the line he's going to say something, and Soupy

1066
00:49:18,800 --> 00:49:21,680
Speaker 3: says something and messes up his line and Buddy goes, oh,

1067
00:49:21,840 --> 00:49:26,160
Speaker 3: that was a premature ejaculation, and that's when the whole

1068
00:49:26,160 --> 00:49:28,760
Speaker 3: audience went and they're like and he's like, oh what

1069
00:49:28,760 --> 00:49:31,000
Speaker 3: what what? And so that's why I remember them being

1070
00:49:31,040 --> 00:49:33,360
Speaker 3: there for this will I bet that was during a

1071
00:49:33,440 --> 00:49:34,640
Speaker 3: run through, you think.

1072
00:49:34,800 --> 00:49:37,040
Speaker 2: I think it was the audience that you're probably remembering

1073
00:49:37,160 --> 00:49:39,920
Speaker 2: is either is our staff or the network, because the

1074
00:49:40,000 --> 00:49:43,239
Speaker 2: tension would have been the same, right, and then we

1075
00:49:43,280 --> 00:49:45,520
Speaker 2: both are both our memories could could be right. You

1076
00:49:45,520 --> 00:49:47,839
Speaker 2: know that because of that moment, which was in front

1077
00:49:47,880 --> 00:49:50,160
Speaker 2: of you know I've run through could have been forty people.

1078
00:49:50,680 --> 00:49:53,520
Speaker 2: So you get that gasp of like realization, like we

1079
00:49:53,560 --> 00:49:56,160
Speaker 2: cannot let this guy in front of the audience, because

1080
00:49:56,200 --> 00:49:58,440
Speaker 2: that's what that's what I am watching these scenes. They

1081
00:49:58,520 --> 00:50:02,800
Speaker 2: feel they feel there's not an audience intimate, low energy,

1082
00:50:02,880 --> 00:50:06,400
Speaker 2: but it was interesting, like I had the realization. I mean,

1083
00:50:06,440 --> 00:50:08,919
Speaker 2: they explain it, I think in this scene, but there's

1084
00:50:08,960 --> 00:50:12,760
Speaker 2: no customers rights, they say it, there's no it's a restaurant,

1085
00:50:12,840 --> 00:50:14,520
Speaker 2: but we had We didn't have to pay any extras,

1086
00:50:14,520 --> 00:50:17,120
Speaker 2: which is good, but it also reduces the energy that

1087
00:50:17,160 --> 00:50:19,719
Speaker 2: there's it's an empty restaurant. It's a weird feeling to give.

1088
00:50:19,840 --> 00:50:23,600
Speaker 3: There's one. It's such a such a trope, but there's

1089
00:50:23,680 --> 00:50:26,680
Speaker 3: one thing you can always do to ratchet up the

1090
00:50:26,800 --> 00:50:30,239
Speaker 3: danger without having to do anything. And if you have

1091
00:50:30,280 --> 00:50:32,480
Speaker 3: one person, they do it, and everything would have been

1092
00:50:32,480 --> 00:50:35,279
Speaker 3: so easy to do. One person wearing a suit and

1093
00:50:35,320 --> 00:50:39,000
Speaker 3: tie walks in, leans down, whispers something into one of

1094
00:50:39,040 --> 00:50:41,319
Speaker 3: their ear. They nod to him, and he walks off.

1095
00:50:41,400 --> 00:50:43,799
Speaker 3: That's all you need and you get that feeling of

1096
00:50:43,920 --> 00:50:46,919
Speaker 3: menace and mob more guys. A little.

1097
00:50:47,360 --> 00:50:49,880
Speaker 2: It is a little deflating that there's not the sense

1098
00:50:49,880 --> 00:50:53,279
Speaker 2: of other people that they're in power because because they're

1099
00:50:53,320 --> 00:50:55,960
Speaker 2: they're ordering Corey around and then and then Sean. But

1100
00:50:56,040 --> 00:50:57,880
Speaker 2: you're right, it would have been really nice if I

1101
00:50:57,880 --> 00:50:59,560
Speaker 2: I thought for a moment that we were going to

1102
00:50:59,600 --> 00:51:03,719
Speaker 2: see sand behind the bars, like terrified and like you know,

1103
00:51:03,719 --> 00:51:06,759
Speaker 2: it's like call the police like that could have you know,

1104
00:51:07,000 --> 00:51:10,560
Speaker 2: raised the stakes of this. But maybe I.

1105
00:51:10,520 --> 00:51:13,680
Speaker 3: Honestly didn't remember this episode at all. And I thought

1106
00:51:13,800 --> 00:51:16,880
Speaker 3: the episode was going to be you think they're in

1107
00:51:16,920 --> 00:51:20,520
Speaker 3: the mob, but of course they're not. And as I'm

1108
00:51:20,560 --> 00:51:23,239
Speaker 3: watching it was like, oh no, they're really there in

1109
00:51:23,320 --> 00:51:25,719
Speaker 3: the mob and that's and I didn't get that at all.

1110
00:51:25,760 --> 00:51:26,880
Speaker 3: So at the beginning I was like, oh, this is

1111
00:51:26,880 --> 00:51:28,120
Speaker 3: going to be one of those kind of like they're

1112
00:51:28,160 --> 00:51:29,200
Speaker 3: in the mafia. It's like they're not.

1113
00:51:29,560 --> 00:51:31,799
Speaker 1: Also, if you walked away at the end with that

1114
00:51:31,840 --> 00:51:33,759
Speaker 1: box and it didn't go to the person, you guys

1115
00:51:33,800 --> 00:51:38,000
Speaker 1: are both dead, there would be episode there. Now you

1116
00:51:38,280 --> 00:51:40,799
Speaker 1: leave the box here, Norson comes up and you do

1117
00:51:40,880 --> 00:51:42,399
Speaker 1: at least finish the job.

1118
00:51:42,880 --> 00:51:45,279
Speaker 2: The job and yeah, but like yeah, or like what

1119
00:51:45,440 --> 00:51:47,560
Speaker 2: go to the police? Like it's so that the stakes

1120
00:51:47,600 --> 00:51:50,640
Speaker 2: are actually so high and then the resolution is actually

1121
00:51:50,640 --> 00:51:51,960
Speaker 2: so easy.

1122
00:51:52,160 --> 00:51:53,439
Speaker 3: To just go give this back.

1123
00:51:53,520 --> 00:51:54,360
Speaker 2: Let's just do nothing.

1124
00:51:54,960 --> 00:51:57,160
Speaker 3: People apparently like is when you just go, you know what, sir,

1125
00:51:57,840 --> 00:51:59,880
Speaker 3: not to work for you, and they're like, wat, good choice.

1126
00:52:00,400 --> 00:52:01,439
Speaker 1: I don't think that's how it works.

1127
00:52:01,520 --> 00:52:02,200
Speaker 2: We can trust you.

1128
00:52:02,600 --> 00:52:04,960
Speaker 3: If Goodfellas taught me anything, yeah.

1129
00:52:05,000 --> 00:52:06,880
Speaker 2: Oh god, well I thought this was almost a direct

1130
00:52:06,920 --> 00:52:12,040
Speaker 2: reference to Goodfellas with the Spider. Uh you know, Christopher Imperially.

1131
00:52:12,120 --> 00:52:14,800
Speaker 2: What's his name, Michael Imperio, Michael Imperioli where he plays

1132
00:52:15,480 --> 00:52:18,200
Speaker 2: when he plays the kid bringing the trays and then

1133
00:52:18,400 --> 00:52:22,080
Speaker 2: Spider and then he he he shoots him in the foot. Yeah,

1134
00:52:22,320 --> 00:52:24,279
Speaker 2: it's a great Oh my god. When I first saw that,

1135
00:52:24,320 --> 00:52:27,279
Speaker 2: it's an amazing film. Goodfellas, everybody know that they did.

1136
00:52:27,280 --> 00:52:30,200
Speaker 3: They then brought that back into Sopranos. He Michael Michael

1137
00:52:30,200 --> 00:52:32,279
Speaker 3: imperially walks into the bakery and shoots the kid in

1138
00:52:32,320 --> 00:52:34,799
Speaker 3: the foot or not. And as he walks away, he goes,

1139
00:52:34,840 --> 00:52:36,160
Speaker 3: you shot me in the foot, and he goes, yeah,

1140
00:52:36,160 --> 00:52:39,799
Speaker 3: it happens. And so that's a straight up nod to

1141
00:52:39,840 --> 00:52:40,800
Speaker 3: his Sopranos character.

1142
00:52:40,880 --> 00:52:43,480
Speaker 1: Yet so he slides an envelope. He slides an envelope

1143
00:52:43,480 --> 00:52:45,200
Speaker 1: to Corey and asks him to go to the mailbox

1144
00:52:45,239 --> 00:52:47,279
Speaker 1: on fourteenth and Pine, make sure no one sees you,

1145
00:52:47,320 --> 00:52:50,319
Speaker 1: and put the envelope inside. Corey nervously tells him there's

1146
00:52:50,320 --> 00:52:52,920
Speaker 1: no mailbox at fourteenth and Pine, but mister Fontaine motions

1147
00:52:52,920 --> 00:52:55,680
Speaker 1: for Corey to come closer, real close, then assures him

1148
00:52:55,719 --> 00:52:59,000
Speaker 1: that today there will be a mailbox there. Martini adds,

1149
00:52:59,080 --> 00:53:02,839
Speaker 1: mister Fontaine is never wrong about mailbox placement. Corey takes

1150
00:53:02,840 --> 00:53:05,560
Speaker 1: the envelope but notices something, if you really want this mailed,

1151
00:53:05,600 --> 00:53:07,719
Speaker 1: you should consider putting a stamp on here, and maybe

1152
00:53:07,719 --> 00:53:10,080
Speaker 1: even an address. The men look at him in amusement.

1153
00:53:10,280 --> 00:53:13,120
Speaker 1: You're a noticer, aren't you? I noticed that you're a noticer,

1154
00:53:13,200 --> 00:53:16,239
Speaker 1: mister Fontaine jokes. Sean runs up to save Corey. He

1155
00:53:16,280 --> 00:53:18,719
Speaker 1: tells the men not to worry, the envelope will be

1156
00:53:18,840 --> 00:53:21,319
Speaker 1: mailed out. He pulls Cory aside and asks if he

1157
00:53:21,320 --> 00:53:24,120
Speaker 1: has any idea who he's working for. Corey answers proudly,

1158
00:53:24,200 --> 00:53:29,600
Speaker 1: mister Fountaine, mister Fontaine and mister Martini. And Sam Sean

1159
00:53:29,640 --> 00:53:32,080
Speaker 1: breaks it to him, you're working for the mob. Corey's

1160
00:53:32,080 --> 00:53:34,160
Speaker 1: mouth hangs wide open. He looks back at the two

1161
00:53:34,200 --> 00:53:35,680
Speaker 1: older men who are grinning at him.

1162
00:53:35,840 --> 00:53:38,440
Speaker 2: We're talking about this five feet from five yeh.

1163
00:53:38,320 --> 00:53:43,799
Speaker 3: Fifes Also, I just sorry, logistical question if he if

1164
00:53:43,840 --> 00:53:46,799
Speaker 3: Sean is now telling him, hey, you're working for the mob,

1165
00:53:47,719 --> 00:53:50,279
Speaker 3: and Corey realizes this, why was he so scared of

1166
00:53:50,320 --> 00:53:51,240
Speaker 3: him in the beginning?

1167
00:53:51,800 --> 00:53:52,680
Speaker 1: It just seems scary.

1168
00:53:52,800 --> 00:53:54,600
Speaker 2: I think they were just intimidating dudes.

1169
00:53:54,719 --> 00:53:58,440
Speaker 3: Yeah, two guys sitting at a table I think.

1170
00:53:58,320 --> 00:54:00,600
Speaker 2: Corey just is a people pleaser. Established this.

1171
00:54:00,800 --> 00:54:02,600
Speaker 3: I don't know, you're right, but that's why you'd think

1172
00:54:02,600 --> 00:54:04,839
Speaker 3: you'd be like, it's a cappuccino, it's the greatest thing.

1173
00:54:04,880 --> 00:54:06,000
Speaker 3: And they're like, he's Corey, you know.

1174
00:54:06,040 --> 00:54:10,680
Speaker 2: And then it's like I put cinnamon in it, like very.

1175
00:54:09,600 --> 00:54:12,040
Speaker 3: Like that's the way, like you figured that would be.

1176
00:54:12,080 --> 00:54:13,160
Speaker 3: The turn is that if.

1177
00:54:13,280 --> 00:54:15,399
Speaker 2: Corey would actually fit in really well with some old

1178
00:54:15,400 --> 00:54:17,719
Speaker 2: men sitting at a table drinking right, like, he would

1179
00:54:17,760 --> 00:54:19,800
Speaker 2: be like, that's the comedy. Where's the soup?

1180
00:54:20,200 --> 00:54:22,160
Speaker 3: Right, that's the kind if he's scared the whole time.

1181
00:54:22,200 --> 00:54:23,960
Speaker 3: I mean, the comedy is like him going, oh, you

1182
00:54:23,960 --> 00:54:26,160
Speaker 3: don't want that. This is let me twist a lemon.

1183
00:54:26,239 --> 00:54:29,279
Speaker 3: Is the thing that's going to change your life. So

1184
00:54:29,480 --> 00:54:31,320
Speaker 3: that I didn't understand that. It's like, oh wait, Sean

1185
00:54:31,440 --> 00:54:33,160
Speaker 3: is now explaining, But then why was he so scared

1186
00:54:33,200 --> 00:54:33,680
Speaker 3: in the beginning?

1187
00:54:33,719 --> 00:54:47,720
Speaker 1: So yeah, yeah, so Cory asks Sean, but the nice

1188
00:54:47,760 --> 00:54:51,800
Speaker 1: mob Sean sarcastically says yes, but flicks Corey in the forehead.

1189
00:54:51,840 --> 00:54:54,600
Speaker 1: Cory says he has to quit. Meanwhile, mister Fontaine yells

1190
00:54:54,640 --> 00:54:57,400
Speaker 1: out for another cappuccino, and Corey says, every time I

1191
00:54:57,560 --> 00:54:59,640
Speaker 1: try and get out, they keep dragging me back.

1192
00:55:00,200 --> 00:55:03,239
Speaker 2: We've quoted this on our show. I know it's a.

1193
00:55:03,239 --> 00:55:06,880
Speaker 1: Quote from an off in Maligned Godfather three, which I

1194
00:55:06,920 --> 00:55:10,000
Speaker 1: still like. Just so you guys know, I enjoy it.

1195
00:55:10,800 --> 00:55:11,640
Speaker 1: Corey Bravely.

1196
00:55:13,080 --> 00:55:14,719
Speaker 3: I think I've ever seen the third one. Really, I

1197
00:55:14,800 --> 00:55:16,439
Speaker 3: heard so many bad things about it. I just didn't

1198
00:55:16,440 --> 00:55:16,839
Speaker 3: want to ruin.

1199
00:55:16,880 --> 00:55:19,640
Speaker 2: It's really not that bad. It's just it's just hard

1200
00:55:19,640 --> 00:55:21,759
Speaker 2: to follow. Like two of the greatest Yeah, I mean,

1201
00:55:22,080 --> 00:55:25,040
Speaker 2: I mean, I'm a Godfather to fan over one and.

1202
00:55:25,239 --> 00:55:29,440
Speaker 1: I mean listen one and two is also better than zombies.

1203
00:55:30,080 --> 00:55:31,000
Speaker 2: He's always a hard one.

1204
00:55:31,040 --> 00:55:31,800
Speaker 1: He's a heart.

1205
00:55:31,680 --> 00:55:34,440
Speaker 3: Return of the Jedi not as good as the Empire

1206
00:55:34,520 --> 00:55:36,279
Speaker 3: and Yeah, Star Wars.

1207
00:55:37,000 --> 00:55:41,759
Speaker 1: Back to the Future three see see most of the time,

1208
00:55:42,160 --> 00:55:45,120
Speaker 1: Corey bravely hands the envelope back to mister Fontaine. He quits.

1209
00:55:45,239 --> 00:55:47,759
Speaker 1: Mister Fontaine doesn't argue, but Corey insists, you can't keep

1210
00:55:47,760 --> 00:55:50,680
Speaker 1: me here. Mister Martini kindly says, we'll miss you. Corey

1211
00:55:50,719 --> 00:55:53,360
Speaker 1: isn't listening. I don't like to be threatened. Mister Fontaine

1212
00:55:53,400 --> 00:55:57,160
Speaker 1: admits you made a fine cup of cappuccino. Corey, thanks them,

1213
00:55:57,200 --> 00:55:58,960
Speaker 1: but says he has to go. He walks out quickly.

1214
00:55:59,080 --> 00:56:02,080
Speaker 1: Sean hangs back in approaches the mobsters about my friend.

1215
00:56:02,160 --> 00:56:04,560
Speaker 1: Sometimes he seems a little chatty, but he's a smart kid.

1216
00:56:04,640 --> 00:56:07,480
Speaker 1: You don't have to worry. Mister Fontane and mister Martini

1217
00:56:07,520 --> 00:56:11,280
Speaker 1: admire the loyalty. Martini likes loyalty in a person, Fontane

1218
00:56:11,320 --> 00:56:14,160
Speaker 1: likes it. On the stand, they have an idea. There's

1219
00:56:14,200 --> 00:56:17,640
Speaker 1: an opening. Fontaine addresses mister Loyalty and puts some money

1220
00:56:17,680 --> 00:56:20,360
Speaker 1: on top of the mysterious envelope, Are you interested in

1221
00:56:20,400 --> 00:56:23,040
Speaker 1: a job? And then we go to the commercial break

1222
00:56:23,080 --> 00:56:23,520
Speaker 1: and we're back.

1223
00:56:23,520 --> 00:56:27,160
Speaker 2: I'm dying. I would love to read first draft scripts

1224
00:56:27,160 --> 00:56:30,760
Speaker 2: of this episode because because it's look through myself listening

1225
00:56:30,800 --> 00:56:34,799
Speaker 2: to you talk it through, they really aren't that funny. Yeah,

1226
00:56:34,800 --> 00:56:37,960
Speaker 2: I mean the funny presences there funny men, obviously, but

1227
00:56:38,040 --> 00:56:41,920
Speaker 2: they don't get many funny lines, like they're not like

1228
00:56:41,960 --> 00:56:46,280
Speaker 2: they're also not differentiated, like there's no this guy's this voice.

1229
00:56:46,400 --> 00:56:49,640
Speaker 2: It could have so easily been like you always do this,

1230
00:56:49,920 --> 00:56:51,919
Speaker 2: You're like they could have been bantering with each other,

1231
00:56:51,960 --> 00:56:55,160
Speaker 2: and I'm so curious if they tried right and it

1232
00:56:55,280 --> 00:56:55,879
Speaker 2: just didn't work.

1233
00:56:56,320 --> 00:56:59,799
Speaker 1: I wish we could interview them. Yeah, you know, only

1234
00:57:00,080 --> 00:57:02,359
Speaker 1: you go back in the time machine to twenty years ago.

1235
00:57:02,680 --> 00:57:04,680
Speaker 1: Sean is now dressed in the tucks attending to the

1236
00:57:04,719 --> 00:57:07,839
Speaker 1: two gangsters. He gives mister Fontaine his hazel nut biscottie

1237
00:57:07,920 --> 00:57:11,040
Speaker 1: right on cue. They love him. Mister Martini asks Sean,

1238
00:57:11,239 --> 00:57:13,359
Speaker 1: you ever wonder we got a nice restaurant here yet

1239
00:57:13,400 --> 00:57:16,040
Speaker 1: we have no customers, but we make a nice living.

1240
00:57:16,640 --> 00:57:20,280
Speaker 1: Sean smiles. I figure you'd do a good takeout business.

1241
00:57:20,520 --> 00:57:23,439
Speaker 1: Good one, Sean, mine. Great line, great line.

1242
00:57:23,720 --> 00:57:26,040
Speaker 3: So that's where it is where at least he's trying

1243
00:57:26,040 --> 00:57:27,920
Speaker 3: to show that he is a little bit street smart

1244
00:57:27,920 --> 00:57:30,640
Speaker 3: and more similar than Corey. Yeah, which is great. It's

1245
00:57:30,680 --> 00:57:33,560
Speaker 3: like that is a good like yeah cool, yeah.

1246
00:57:33,240 --> 00:57:35,680
Speaker 2: Yeah, this is where you know, dumb. Sean fades away

1247
00:57:35,680 --> 00:57:40,600
Speaker 2: and the streets it's the best. I love streets. So great. Yeah.

1248
00:57:40,880 --> 00:57:43,960
Speaker 1: Martini and Fontaine joyfully repeat the line in agreement. They

1249
00:57:44,000 --> 00:57:47,240
Speaker 1: do have a good takeout business. Indeed, Sean leaves back

1250
00:57:47,240 --> 00:57:49,240
Speaker 1: to the front of the restaurant, and then Corey pops

1251
00:57:49,320 --> 00:57:51,600
Speaker 1: up from behind the bar. He asks Sean what he's doing.

1252
00:57:51,680 --> 00:57:54,080
Speaker 1: He should be at school. Sean tells him jobs like

1253
00:57:54,120 --> 00:57:56,600
Speaker 1: this don't come around very often. Corey knows from first

1254
00:57:56,600 --> 00:57:59,200
Speaker 1: hand experience, because he had this job and then Sean

1255
00:57:59,240 --> 00:58:03,600
Speaker 1: basically stole it from him. Cory says he quit once

1256
00:58:03,640 --> 00:58:07,240
Speaker 1: he realized things weren't as the FBI prefers. Sean insists

1257
00:58:07,280 --> 00:58:09,760
Speaker 1: it's a nice restaurant in a quiet neighborhood, that's all.

1258
00:58:10,080 --> 00:58:12,560
Speaker 1: And then a loud bang comes from outside and the

1259
00:58:12,560 --> 00:58:15,000
Speaker 1: two boys immediately drop to the ground. They realized it

1260
00:58:15,040 --> 00:58:17,120
Speaker 1: was just a car backfiring. But why are they on

1261
00:58:17,160 --> 00:58:20,600
Speaker 1: the ground. Sean makes the excuse because it's fun and

1262
00:58:20,640 --> 00:58:22,120
Speaker 1: we do everything together.

1263
00:58:23,240 --> 00:58:23,760
Speaker 3: Funny line.

1264
00:58:24,360 --> 00:58:26,680
Speaker 1: Cory knows this job can't lead anything good, but Sean

1265
00:58:26,720 --> 00:58:28,640
Speaker 1: says it's just a job for a couple of days

1266
00:58:28,640 --> 00:58:31,040
Speaker 1: so he can buy decent presents for his friends.

1267
00:58:31,080 --> 00:58:33,200
Speaker 2: It's not gonna change me at all.

1268
00:58:34,200 --> 00:58:37,400
Speaker 1: Rory's worried it'll change him, but Sean assures him that

1269
00:58:37,440 --> 00:58:38,080
Speaker 1: won't happen.

1270
00:58:41,640 --> 00:58:45,520
Speaker 2: Hey, all the all the light, I actually think I

1271
00:58:45,560 --> 00:58:47,640
Speaker 2: messed that up, But all the which stuff I remember

1272
00:58:47,640 --> 00:58:49,680
Speaker 2: because I had to heard him so bad because I

1273
00:58:49,960 --> 00:58:53,640
Speaker 2: speak Dutch. In a couple of episodes, I hat did

1274
00:58:53,840 --> 00:58:55,720
Speaker 2: looked and sit it for yourself, how lated it is

1275
00:58:56,240 --> 00:59:03,560
Speaker 2: yeah in fight to audit didn't see this to Cooper, yeah,

1276
00:59:03,600 --> 00:59:06,000
Speaker 2: because they would bring in the translated scripts and we

1277
00:59:06,000 --> 00:59:08,520
Speaker 2: would have to sit there and rehearse, like, oh my god.

1278
00:59:08,360 --> 00:59:11,560
Speaker 1: So only Dutch we knew in Amsterdam was the one

1279
00:59:11,560 --> 00:59:11,840
Speaker 1: that I.

1280
00:59:11,800 --> 00:59:14,560
Speaker 2: Have the hardest time with. Even though I took French,

1281
00:59:14,640 --> 00:59:16,640
Speaker 2: I can't do French ours. And so when you go

1282
00:59:16,720 --> 00:59:19,840
Speaker 2: back to the season one episode where I speak French,

1283
00:59:19,880 --> 00:59:22,280
Speaker 2: I say, like, when it comes to matters of yeah,

1284
00:59:22,400 --> 00:59:25,240
Speaker 2: I'm the I'm the king, raw, I can't do it.

1285
00:59:26,440 --> 00:59:28,440
Speaker 2: But so that's the only one I don't really remember,

1286
00:59:28,480 --> 00:59:30,280
Speaker 2: and I remember also rehearsing and hating.

1287
00:59:30,440 --> 00:59:35,240
Speaker 1: But this, yeah, that is so funny. I can't I

1288
00:59:35,280 --> 00:59:37,480
Speaker 1: was going to ask you if you remembered it, and

1289
00:59:37,640 --> 00:59:40,840
Speaker 1: so on. Cue mister Martini shouts scoozy Sean, and without

1290
00:59:40,880 --> 00:59:44,400
Speaker 1: thinking twice, Sean responds, in his Italian accent, do it

1291
00:59:44,440 --> 00:59:51,120
Speaker 1: one more time for us, writer, I think. Cory just

1292
00:59:51,160 --> 00:59:54,439
Speaker 1: stares at him, flabbergasted. And now we're in Eric's car.

1293
00:59:54,600 --> 00:59:57,959
Speaker 1: Eric is giddy driving Lonnie back home for Christmas. He says,

1294
00:59:58,000 --> 01:00:02,320
Speaker 1: Lonnie makes the whole turnpike experience seems so alluring and voluptuous.

1295
01:00:02,800 --> 01:00:04,880
Speaker 3: The only thing bigger than my performance in this episode

1296
01:00:04,920 --> 01:00:07,800
Speaker 3: was my sweater.

1297
01:00:10,000 --> 01:00:12,480
Speaker 1: Lonnie doesn't want to alarm him, but she's getting this

1298
01:00:12,640 --> 01:00:16,320
Speaker 1: powerful feeling. Eric admits they are in pretty close quarters.

1299
01:00:16,320 --> 01:00:18,360
Speaker 1: The holiday spirit is in the air, and she's getting

1300
01:00:18,400 --> 01:00:21,320
Speaker 1: the full impact of his right profile.

1301
01:00:22,080 --> 01:00:24,920
Speaker 3: My absolutely peaked looking right profile.

1302
01:00:27,320 --> 01:00:30,200
Speaker 1: Lonnie tells him they should stop the car. Eric, totally

1303
01:00:30,200 --> 01:00:37,880
Speaker 1: horned up, doesn't hesitate. Oh goodie, I mean, dude, I'm

1304
01:00:38,000 --> 01:00:38,960
Speaker 1: just so worried.

1305
01:00:39,600 --> 01:00:46,120
Speaker 2: I know we could. Yeah, it's it's it's it's just basic, right,

1306
01:00:46,200 --> 01:00:48,200
Speaker 2: it's just the promises that it's basically wouldn't it be

1307
01:00:48,200 --> 01:00:51,960
Speaker 2: cool if if Eric had a sophisticated plan or or

1308
01:00:52,000 --> 01:00:53,680
Speaker 2: wanted something besides just like.

1309
01:00:54,960 --> 01:00:57,920
Speaker 3: I just wish it was something other than woman in

1310
01:00:57,960 --> 01:01:00,919
Speaker 3: front of Eric. Eric needs sex, Like, I just think

1311
01:01:01,000 --> 01:01:03,440
Speaker 3: that there's so many interesting ways you could have gone

1312
01:01:03,480 --> 01:01:08,080
Speaker 3: about this, I mean, whatever it is. Take the opportunity

1313
01:01:08,120 --> 01:01:10,720
Speaker 3: to say she never went to college and her life

1314
01:01:10,760 --> 01:01:11,240
Speaker 3: has been I.

1315
01:01:11,160 --> 01:01:13,320
Speaker 1: Mean, there's so many things you can do, and we have.

1316
01:01:13,360 --> 01:01:15,840
Speaker 2: Done it another. I mean we've done so many yeah

1317
01:01:16,040 --> 01:01:18,280
Speaker 2: of those kinds. We have done layered scenes right with

1318
01:01:18,720 --> 01:01:21,439
Speaker 2: women with Eric dating women, like all the tawny girl

1319
01:01:21,560 --> 01:01:24,440
Speaker 2: scene and the single out episode. So yeah, it's just

1320
01:01:24,480 --> 01:01:27,320
Speaker 2: interesting that Lane. I mean, she's a great actor, but

1321
01:01:27,360 --> 01:01:31,320
Speaker 2: it's like she's reduced to a girl that he wants.

1322
01:01:31,440 --> 01:01:33,320
Speaker 3: It was. Yeah, I didn't. I didn't like this at all.

1323
01:01:33,360 --> 01:01:36,800
Speaker 3: Although this scene, when it does become the snow drift,

1324
01:01:37,560 --> 01:01:39,960
Speaker 3: this is the scene we talk about of one of

1325
01:01:39,960 --> 01:01:41,400
Speaker 3: the possible possible.

1326
01:01:41,640 --> 01:01:46,080
Speaker 2: Eric, Eric, that's so funny from head.

1327
01:01:45,920 --> 01:01:48,320
Speaker 3: Trauma, from the head, from the head, the head trauma.

1328
01:01:49,240 --> 01:01:50,960
Speaker 2: That somebody proposed that idea to you.

1329
01:01:51,040 --> 01:01:54,400
Speaker 1: Yeah, he couldn't have come up with it. He didn't

1330
01:01:54,400 --> 01:01:55,680
Speaker 1: remember this episode existed.

1331
01:01:55,840 --> 01:01:59,800
Speaker 3: He was from the head trauma high from ROBOTZ was

1332
01:02:00,240 --> 01:02:01,000
Speaker 3: robobus right here.

1333
01:02:02,440 --> 01:02:04,680
Speaker 1: He unbuckles his seatbelt and leans in, and she says,

1334
01:02:04,720 --> 01:02:07,240
Speaker 1: you may be less experience about this, so whatever I say,

1335
01:02:07,280 --> 01:02:09,920
Speaker 1: you got to do it without question. Eric obliges, he's

1336
01:02:09,920 --> 01:02:13,120
Speaker 1: always dreamed about this. You dreamed about the blizzard, she asks.

1337
01:02:13,240 --> 01:02:15,720
Speaker 1: Lonnie clarifies the feeling I have is that there's a

1338
01:02:15,800 --> 01:02:18,960
Speaker 1: very powerful blizzard headed our way. Eric says, it's just

1339
01:02:19,000 --> 01:02:22,160
Speaker 1: a few flakes in a romantic snowflake setting, and then

1340
01:02:22,320 --> 01:02:26,000
Speaker 1: optical flip. Eric's screaming we're trapped in an icy tomb

1341
01:02:26,040 --> 01:02:28,640
Speaker 1: of frozen death. Lonnie tries to call Hi him. It's

1342
01:02:28,680 --> 01:02:32,000
Speaker 1: just four or five feet of dense pack. Eric agrees.

1343
01:02:32,040 --> 01:02:34,600
Speaker 1: He works in a wilderness store. He sells survival equipment.

1344
01:02:34,680 --> 01:02:37,880
Speaker 1: He knows what to do, mark everything up thirty percent.

1345
01:02:39,080 --> 01:02:39,480
Speaker 2: Goodnit.

1346
01:02:40,320 --> 01:02:43,000
Speaker 1: He asks Lonnie how he's doing and replies, you're fogging

1347
01:02:43,080 --> 01:02:46,240
Speaker 1: up the windows. Eric bravely exclaims it's my responsibility to

1348
01:02:46,280 --> 01:02:49,000
Speaker 1: protect you, and protect you I will. He starts smacking

1349
01:02:49,040 --> 01:02:50,760
Speaker 1: his body against the car door until he looks a

1350
01:02:50,760 --> 01:02:53,920
Speaker 1: little woozy. I've hurt my head. And then we dissolve

1351
01:02:53,960 --> 01:02:56,720
Speaker 1: as he falls into Lonnie's lap. And then we're in

1352
01:02:56,720 --> 01:03:00,439
Speaker 1: the Matthew's kitchen. It's still really snowing outside. We must

1353
01:03:00,440 --> 01:03:03,000
Speaker 1: have had one of those big old Oh.

1354
01:03:03,040 --> 01:03:06,120
Speaker 2: I remember it so well. Oh that's what I loved

1355
01:03:06,120 --> 01:03:09,920
Speaker 2: about this episode. I love like Hollywood, old Hollywood stuff.

1356
01:03:10,080 --> 01:03:12,120
Speaker 2: So all the fakes know in this scene, and then

1357
01:03:12,160 --> 01:03:15,080
Speaker 2: in the outside the warehouse, I remember so well because

1358
01:03:15,120 --> 01:03:19,120
Speaker 2: it was so cool. Actually drum drum, so it's like

1359
01:03:19,160 --> 01:03:21,760
Speaker 2: a giant sifter that you would use for flour, but

1360
01:03:21,800 --> 01:03:24,400
Speaker 2: it's automatically or no, they would, they would spin it,

1361
01:03:24,440 --> 01:03:27,080
Speaker 2: but there would be somebody on a ladder spinning the sifter,

1362
01:03:27,200 --> 01:03:28,760
Speaker 2: so it falls. Oh so cool.

1363
01:03:29,280 --> 01:03:33,080
Speaker 1: Yeah. Sean walks in, greeting Corey. Ho ho ho, my

1364
01:03:33,120 --> 01:03:35,560
Speaker 1: best friend. He's holding a present, but Corey reminds him

1365
01:03:35,600 --> 01:03:38,400
Speaker 1: Christmas Eve isn't until tomorrow night. Sean knows, but he

1366
01:03:38,600 --> 01:03:41,960
Speaker 1: just bought Corey the best present he's ever actually paid for,

1367
01:03:42,080 --> 01:03:44,120
Speaker 1: and he wanted to see his face light up like

1368
01:03:44,120 --> 01:03:46,640
Speaker 1: a happy little elf. He hands the gift to Corey.

1369
01:03:46,840 --> 01:03:49,640
Speaker 1: Light up, little elf. Corey opens it.

1370
01:03:49,640 --> 01:03:51,480
Speaker 2: It's a lot sport. I was like, that's a weird

1371
01:03:51,920 --> 01:03:53,200
Speaker 2: I don't know if that's that funny of a joke,

1372
01:03:53,200 --> 01:03:54,280
Speaker 2: and then of course it's a callback.

1373
01:03:54,360 --> 01:03:58,000
Speaker 1: Later it was like, right, you're like a it's a setup. Yeah,

1374
01:03:58,040 --> 01:04:01,560
Speaker 1: it's a watch, a very expensive watch, which I can't accept.

1375
01:04:01,920 --> 01:04:04,120
Speaker 1: Sean asks why not, and Corey tells him because of

1376
01:04:04,120 --> 01:04:06,480
Speaker 1: where the money comes from. Sean points out that he

1377
01:04:06,520 --> 01:04:09,480
Speaker 1: even had it engraved with Corey's name. Corey reads it

1378
01:04:09,520 --> 01:04:12,560
Speaker 1: aloud to my best friend, Corey, he thinks Sean, and

1379
01:04:12,600 --> 01:04:15,720
Speaker 1: then asks, you can quit your job now right. Sean scoffs,

1380
01:04:15,720 --> 01:04:18,200
Speaker 1: it's easy money. How can I quit? Easy money? Corey

1381
01:04:18,240 --> 01:04:20,080
Speaker 1: tells Sean he can have the one hundred and sixty

1382
01:04:20,080 --> 01:04:22,520
Speaker 1: dollars he made working there if Sean quits. That's even

1383
01:04:22,560 --> 01:04:25,680
Speaker 1: easier money. Sean tells Corey to spend it on Tapanga

1384
01:04:25,760 --> 01:04:28,120
Speaker 1: and his family. He's got to go. Corey asks if

1385
01:04:28,120 --> 01:04:30,000
Speaker 1: he's still coming over for Christmas Eve tomorrow night, and

1386
01:04:30,040 --> 01:04:32,560
Speaker 1: Sean tells him not to worry. That's a tradition he'll

1387
01:04:32,560 --> 01:04:35,640
Speaker 1: never miss. Corey stops him again before he walks out.

1388
01:04:35,920 --> 01:04:38,600
Speaker 1: He appreciates the gift, not because of what it cost,

1389
01:04:38,720 --> 01:04:41,760
Speaker 1: but because of who it's from. Sean smiles, you're welcome,

1390
01:04:42,000 --> 01:04:44,760
Speaker 1: then he walks out. Now we're in the Matthew's living room.

1391
01:04:44,800 --> 01:04:48,240
Speaker 1: Alan's reading the newspaper while Amy cuddles him. There's a startling,

1392
01:04:48,360 --> 01:04:50,400
Speaker 1: loud knock at the door and it's Lonnie holding up

1393
01:04:50,440 --> 01:04:52,840
Speaker 1: an injured Eric. He's okay, he just had a little

1394
01:04:52,920 --> 01:04:56,000
Speaker 1: knock on the head. Eric mutters out, hey, Mommy, hey daddy.

1395
01:04:56,240 --> 01:04:59,160
Speaker 1: Lonnie ragdolls him onto the couch because we love when

1396
01:04:59,240 --> 01:05:01,240
Speaker 1: women may handled dudes.

1397
01:05:01,400 --> 01:05:06,560
Speaker 2: Okay, now I couldn't. Alex was watching this episode with

1398
01:05:06,640 --> 01:05:07,120
Speaker 2: me and I was.

1399
01:05:07,040 --> 01:05:08,800
Speaker 1: Like, well, no, what is she wearing?

1400
01:05:09,120 --> 01:05:15,480
Speaker 2: What is it? And it's almost that is the most ridiculous,

1401
01:05:15,480 --> 01:05:16,080
Speaker 2: like in the.

1402
01:05:16,080 --> 01:05:20,560
Speaker 1: Existence they made it, yes, for just.

1403
01:05:20,600 --> 01:05:22,800
Speaker 2: To give her it's the most like, why would you

1404
01:05:22,840 --> 01:05:23,680
Speaker 2: ever have a fleece?

1405
01:05:23,720 --> 01:05:25,560
Speaker 1: That's a crap propp But I.

1406
01:05:25,520 --> 01:05:26,800
Speaker 2: Was like, I was like, is that a what do

1407
01:05:26,880 --> 01:05:27,959
Speaker 2: you call that? A belly shirt?

1408
01:05:28,440 --> 01:05:28,640
Speaker 4: You know?

1409
01:05:28,680 --> 01:05:32,520
Speaker 2: Like Alex, like it's crop top, like that crop top fleece.

1410
01:05:32,960 --> 01:05:34,440
Speaker 2: It's the most ridiculous thing I've ever make.

1411
01:05:34,920 --> 01:05:37,480
Speaker 3: We want to see your stomach even though it's winter. Yes,

1412
01:05:37,600 --> 01:05:40,400
Speaker 3: it's so funny.

1413
01:05:40,880 --> 01:05:44,200
Speaker 1: And Eric yells out, oh no more, Horsey, I thought

1414
01:05:44,200 --> 01:05:46,320
Speaker 1: you too were on your way up to Lonnie's folkshouse,

1415
01:05:46,360 --> 01:05:49,200
Speaker 1: Alan asks. Lonnie explains that they never made it. Instead,

1416
01:05:49,320 --> 01:05:52,000
Speaker 1: they ran into a nasty squall four feet of snow.

1417
01:05:52,240 --> 01:05:53,880
Speaker 1: They had to stay in the car until the plow

1418
01:05:53,960 --> 01:05:57,080
Speaker 1: dug them out. Amy offers to warm them up some soup,

1419
01:05:57,120 --> 01:05:59,800
Speaker 1: and Alan goes to get some blankets. Now alone, Eric

1420
01:06:00,000 --> 01:06:03,200
Speaker 1: asks Lonnie, how did I save us? Lonnie explains, I

1421
01:06:03,200 --> 01:06:05,400
Speaker 1: don't want to scare your folks, but we both nearly

1422
01:06:05,480 --> 01:06:07,960
Speaker 1: died back there when the snow fell and the temperature

1423
01:06:08,000 --> 01:06:10,480
Speaker 1: dropped below freezing. I wrapped my arms around you and

1424
01:06:10,560 --> 01:06:13,400
Speaker 1: held you as tight as I could. Eric consists, we

1425
01:06:13,520 --> 01:06:16,960
Speaker 1: never did that. I definitely would have remembered that, Lonnie continues.

1426
01:06:17,000 --> 01:06:19,640
Speaker 1: You were unconscious. You were shaking and shivering and turning

1427
01:06:19,680 --> 01:06:22,040
Speaker 1: all blue, so there was only one thing left to

1428
01:06:22,080 --> 01:06:27,600
Speaker 1: do to survive aeric asks. You ate my leg. That's amazing,

1429
01:06:27,840 --> 01:06:35,840
Speaker 1: so funny, so funny, so funny. Your delivery is perfect, unbelieva.

1430
01:06:36,160 --> 01:06:37,280
Speaker 2: You don't remember doing this at all?

1431
01:06:37,320 --> 01:06:37,720
Speaker 3: Will no?

1432
01:06:38,560 --> 01:06:40,240
Speaker 1: Wow, you really must have been sick.

1433
01:06:40,560 --> 01:06:44,040
Speaker 2: Well, I'm also just I was gonna ask you, like

1434
01:06:44,840 --> 01:06:47,680
Speaker 2: this is really hard, like this is hard dialogue even know,

1435
01:06:47,800 --> 01:06:50,400
Speaker 2: like playing like the out of it. I don't know,

1436
01:06:50,480 --> 01:06:53,840
Speaker 2: like it's really I would have been so bad at this,

1437
01:06:53,920 --> 01:06:56,560
Speaker 2: particularly like because you have to bring so much to

1438
01:06:56,640 --> 01:06:59,080
Speaker 2: these kinds of scenes and you do, and I just did.

1439
01:06:59,120 --> 01:07:02,240
Speaker 2: I didn't know if you would like ever, you know, yeah, no,

1440
01:07:03,800 --> 01:07:04,479
Speaker 2: got so weird.

1441
01:07:04,560 --> 01:07:07,000
Speaker 1: And I really you with your memory, you would have,

1442
01:07:07,160 --> 01:07:09,680
Speaker 1: I think, remembered this if you weren't sick.

1443
01:07:09,840 --> 01:07:11,439
Speaker 3: Maybe I was ill, maybe you were sick.

1444
01:07:11,640 --> 01:07:14,120
Speaker 1: Yeah, Lonnie laughs. I had to warm up your body,

1445
01:07:14,120 --> 01:07:16,760
Speaker 1: so I remembered the old trapper's trick. I stripped your

1446
01:07:16,800 --> 01:07:19,040
Speaker 1: clothes off of you, and I stripped mine off. Eric

1447
01:07:19,160 --> 01:07:22,920
Speaker 1: is freaking out, and I wrapped us both up in

1448
01:07:22,960 --> 01:07:27,320
Speaker 1: a tiny, tight sleeping bag, all naked and we survived.

1449
01:07:27,800 --> 01:07:30,920
Speaker 1: Eric cries, so what when you're surviving with someone like that,

1450
01:07:31,000 --> 01:07:33,200
Speaker 1: you have the common courtesy to wake them up. You

1451
01:07:33,280 --> 01:07:36,160
Speaker 1: kick them, smack them, yell in their ear. Hey wear naked.

1452
01:07:38,160 --> 01:07:41,320
Speaker 1: Amy walks in with some warm soup. Eric complaints, Oh great,

1453
01:07:41,400 --> 01:07:44,360
Speaker 1: I'm awake for the soup, which is another very fair.

1454
01:07:44,280 --> 01:07:49,280
Speaker 2: That's one of my favorite that stressed out will delivering

1455
01:07:49,360 --> 01:07:52,919
Speaker 2: like a throwaway. Like it's very similar to like when

1456
01:07:52,920 --> 01:07:55,680
Speaker 2: you finally give up on her and shallow Boy and

1457
01:07:55,720 --> 01:07:57,960
Speaker 2: you're like, no, I want you to go to plant.

1458
01:07:58,160 --> 01:08:01,000
Speaker 2: Oh great, I'm here for this, Luga. It's like with you,

1459
01:08:01,080 --> 01:08:03,360
Speaker 2: the way that you can have energy in this sort

1460
01:08:03,360 --> 01:08:06,800
Speaker 2: of like throw away, just like pissed off Eric is

1461
01:08:06,880 --> 01:08:09,640
Speaker 2: so funny. It's like a specific tone to your voice.

1462
01:08:09,680 --> 01:08:11,960
Speaker 3: I love thank you, Little Michael J. Foxy.

1463
01:08:11,960 --> 01:08:15,520
Speaker 2: I think maybe, yeah, it's so funny.

1464
01:08:16,160 --> 01:08:18,280
Speaker 1: And then we're back at Little Polly's. Sean's working on

1465
01:08:18,360 --> 01:08:20,719
Speaker 1: Christmas Eve and tells his mob the place is all

1466
01:08:20,760 --> 01:08:22,960
Speaker 1: cleaned up. If there's nothing else, I've got a little

1467
01:08:23,000 --> 01:08:25,679
Speaker 1: Christmas Eve thing with my buddy. Mister Fontaine says there's

1468
01:08:25,680 --> 01:08:28,840
Speaker 1: one more little favor he needs tonight. Sean tells him tonight,

1469
01:08:28,840 --> 01:08:31,639
Speaker 1: it's pretty tough, but mister Fontaine slips him two hundred

1470
01:08:31,680 --> 01:08:34,959
Speaker 1: dollars and hands Shawn a box. Take it down the street,

1471
01:08:35,120 --> 01:08:37,679
Speaker 1: stand in front of the warehouse. A car will come by,

1472
01:08:37,800 --> 01:08:39,439
Speaker 1: a guy will ask for it. You will give it

1473
01:08:39,479 --> 01:08:41,360
Speaker 1: to him. He will give you an envelope, and you

1474
01:08:41,439 --> 01:08:44,719
Speaker 1: bring it back here. Sean stares at them conflicted. Mister

1475
01:08:44,800 --> 01:08:47,280
Speaker 1: Martini adds, you do that for us, and maybe we

1476
01:08:47,360 --> 01:08:50,080
Speaker 1: find something a little more permanent. How would you like that?

1477
01:08:50,840 --> 01:08:54,120
Speaker 1: And then we cut to outside of a snowy warehouse

1478
01:08:54,520 --> 01:08:56,759
Speaker 1: and the snow here really looks like feathers.

1479
01:08:57,040 --> 01:08:59,719
Speaker 3: It does look really fake and its every.

1480
01:09:01,800 --> 01:09:05,200
Speaker 1: Yeah, it's it was a big yeah.

1481
01:09:07,080 --> 01:09:09,519
Speaker 2: But it was fun to experience. I remember like be

1482
01:09:09,680 --> 01:09:11,960
Speaker 2: loving being outside first of all, because we never got

1483
01:09:12,000 --> 01:09:16,080
Speaker 2: to go outside on the lot, you know. Yeah, it

1484
01:09:16,080 --> 01:09:20,480
Speaker 2: was kat t la so oh my gosh, so fun.

1485
01:09:21,000 --> 01:09:24,280
Speaker 2: I I have the we have I have the memory.

1486
01:09:24,360 --> 01:09:26,679
Speaker 2: And then also Chris Kier talked about how the sound

1487
01:09:26,680 --> 01:09:29,439
Speaker 2: department just hated me always, and I could feel it

1488
01:09:29,479 --> 01:09:31,600
Speaker 2: in this one. You can't hear anything I say, like

1489
01:09:31,600 --> 01:09:34,400
Speaker 2: the first couple of lines, because I especially the first

1490
01:09:34,400 --> 01:09:35,960
Speaker 2: couple of lines because the booms have to be so

1491
01:09:36,120 --> 01:09:39,000
Speaker 2: far away in order to have those wide shots and

1492
01:09:39,040 --> 01:09:41,960
Speaker 2: you can't hear me because I would always swallow my lines.

1493
01:09:42,000 --> 01:09:44,519
Speaker 2: I hated like being big or projecting, so I.

1494
01:09:44,439 --> 01:09:48,160
Speaker 3: Would always like they never put on like the no,

1495
01:09:48,280 --> 01:09:48,799
Speaker 3: I don't.

1496
01:09:48,720 --> 01:09:51,200
Speaker 2: Yeah it's it's yeah, we were you know. I guess

1497
01:09:51,200 --> 01:09:53,479
Speaker 2: we just weren't used to it or weren't prepared for that.

1498
01:09:53,520 --> 01:09:55,960
Speaker 2: But yeah, so this it's clearly the boom just can't

1499
01:09:56,000 --> 01:09:58,200
Speaker 2: pick me up. And I was like, writer, speak up,

1500
01:09:58,600 --> 01:09:59,960
Speaker 2: my god, take the note.

1501
01:10:00,439 --> 01:10:02,360
Speaker 1: We see Sean with the box in his hands, looking

1502
01:10:02,360 --> 01:10:05,200
Speaker 1: around for a car, and then Corey appears. Sean asks

1503
01:10:05,240 --> 01:10:07,680
Speaker 1: what he's doing here, and Corey responds, come on, let's go.

1504
01:10:07,880 --> 01:10:10,720
Speaker 1: You're working much too hard. Sean doesn't budge. I got

1505
01:10:10,720 --> 01:10:12,840
Speaker 1: paid for a job and I'm gonna do it. Corey

1506
01:10:12,880 --> 01:10:15,799
Speaker 1: mocks him. Oh, loyalty, I like that and a worthless

1507
01:10:15,800 --> 01:10:17,800
Speaker 1: little coffee boy who they don't care if he lives

1508
01:10:17,880 --> 01:10:20,559
Speaker 1: or dies. Sean tells him this money makes him feel

1509
01:10:20,560 --> 01:10:23,720
Speaker 1: like somebody. Corey agrees, Yeah, I'm sure that's a real

1510
01:10:23,800 --> 01:10:27,200
Speaker 1: nice feeling. Then, like Brad Pitt the end of seven,

1511
01:10:27,320 --> 01:10:29,040
Speaker 1: Corey asks, what's in the box?

1512
01:10:29,080 --> 01:10:30,160
Speaker 3: What's in the box?

1513
01:10:30,880 --> 01:10:31,719
Speaker 1: What's the box?

1514
01:10:31,840 --> 01:10:33,639
Speaker 2: So this was before seven?

1515
01:10:33,720 --> 01:10:33,840
Speaker 3: Right?

1516
01:10:33,840 --> 01:10:36,960
Speaker 2: Seven came on ninety seven. Yeah, now you cannot say

1517
01:10:36,960 --> 01:10:39,160
Speaker 2: that line anymore. No one can say what's in the box?

1518
01:10:39,160 --> 01:10:39,639
Speaker 1: In the box?

1519
01:10:40,000 --> 01:10:41,360
Speaker 2: Yeah, it's so funny that.

1520
01:10:41,240 --> 01:10:44,280
Speaker 1: That's Sean says, he has no idea. I am merely

1521
01:10:44,320 --> 01:10:46,640
Speaker 1: the box holder. Corey pushes him to open it up.

1522
01:10:46,640 --> 01:10:48,000
Speaker 1: I want to see what's inside. I want to see

1523
01:10:48,000 --> 01:10:50,559
Speaker 1: your face light up like a happy little elf. Open

1524
01:10:50,600 --> 01:10:53,479
Speaker 1: it up, my little elf. Sean is defeated. I don't

1525
01:10:53,479 --> 01:10:55,040
Speaker 1: want to spend my life standing in front of a

1526
01:10:55,080 --> 01:10:58,200
Speaker 1: convenience store waiting around for the next batch of lottery tickets.

1527
01:10:58,600 --> 01:11:02,120
Speaker 1: Corey asks, so this is the road you're taking. Sean explains,

1528
01:11:02,280 --> 01:11:04,240
Speaker 1: this isn't a road, this is a box. And as

1529
01:11:04,280 --> 01:11:06,040
Speaker 1: long as I don't open this box, I don't know

1530
01:11:06,040 --> 01:11:07,920
Speaker 1: what's in it. There's a Teddy bear in this box.

1531
01:11:08,240 --> 01:11:11,519
Speaker 1: Cory sarcastically pushes more, Oh, a teddy Come over to

1532
01:11:11,560 --> 01:11:13,120
Speaker 1: my house. We'll put the teddy under the tree, and

1533
01:11:13,200 --> 01:11:14,519
Speaker 1: at the end of the night we'll play a little

1534
01:11:14,520 --> 01:11:17,240
Speaker 1: game called let's guess the street value of the teddy,

1535
01:11:17,479 --> 01:11:22,840
Speaker 1: and I did think very on the nose point to drugs.

1536
01:11:23,200 --> 01:11:24,800
Speaker 2: Yeah, you know, like I liked it.

1537
01:11:24,880 --> 01:11:25,800
Speaker 1: I think too.

1538
01:11:25,960 --> 01:11:29,040
Speaker 2: I thought this up until now, I was like, Okay,

1539
01:11:29,120 --> 01:11:32,760
Speaker 2: this scene is cooking, and then basically from that line on,

1540
01:11:33,240 --> 01:11:36,920
Speaker 2: I feel like it is drained of all subtlety. Yeah,

1541
01:11:36,960 --> 01:11:41,080
Speaker 2: and you know, I'm beginning to see I mean, we've

1542
01:11:41,080 --> 01:11:43,479
Speaker 2: seen it before, but I really am starting to see

1543
01:11:44,080 --> 01:11:49,280
Speaker 2: as an actor this you wouldn't even call it a technique.

1544
01:11:49,280 --> 01:11:52,200
Speaker 2: You'd call it a habit, which was something that you

1545
01:11:52,240 --> 01:11:56,559
Speaker 2: know when you have, like I definitely felt like after

1546
01:11:56,600 --> 01:11:58,760
Speaker 2: Boy Meets World, I felt like as an actor one

1547
01:11:58,800 --> 01:12:01,439
Speaker 2: of the things that I had sort of gotten very

1548
01:12:02,360 --> 01:12:04,599
Speaker 2: good at and not a good thing as an actor

1549
01:12:04,920 --> 01:12:09,240
Speaker 2: was you know, when you have to say expositional dialogue

1550
01:12:09,240 --> 01:12:11,120
Speaker 2: like that, you know, dialogue that's very on the nose,

1551
01:12:11,120 --> 01:12:14,160
Speaker 2: that's said without motivation, like that's really you know, they

1552
01:12:14,960 --> 01:12:19,960
Speaker 2: usually the good scenes and good writing is dialogue where

1553
01:12:20,000 --> 01:12:23,360
Speaker 2: you have a very clear, like immediate objective. You want

1554
01:12:23,400 --> 01:12:25,479
Speaker 2: to influence the person you're with or get them to

1555
01:12:25,520 --> 01:12:28,840
Speaker 2: do something or say something. And when you're just talking yourself,

1556
01:12:29,000 --> 01:12:32,000
Speaker 2: when you're talking about yourself almost in third person, where

1557
01:12:32,040 --> 01:12:33,720
Speaker 2: you're like, I'm the type of person that does this

1558
01:12:33,840 --> 01:12:35,559
Speaker 2: that you know, which we've talked about, was a kind

1559
01:12:35,560 --> 01:12:37,600
Speaker 2: of a boy meets World Habit was this sort of

1560
01:12:38,280 --> 01:12:40,519
Speaker 2: what what you have to do as an actor is

1561
01:12:40,640 --> 01:12:44,000
Speaker 2: like overly naturalize it, like it's you aim for this

1562
01:12:44,120 --> 01:12:47,200
Speaker 2: like naturalism to sort of mask the exposition, and so

1563
01:12:47,320 --> 01:12:50,280
Speaker 2: you develop I can see that I had developed. I

1564
01:12:50,360 --> 01:12:54,240
Speaker 2: started developing these these ticks and these like vocal things

1565
01:12:54,240 --> 01:12:57,559
Speaker 2: and these body movements, and I looks to sort of

1566
01:12:57,680 --> 01:13:02,600
Speaker 2: mask the exposition or to make the exposition feel less expositional,

1567
01:13:03,160 --> 01:13:06,439
Speaker 2: which doesn't really solve the problem because the problem is

1568
01:13:06,479 --> 01:13:11,080
Speaker 2: in the that you are just a line delivery system

1569
01:13:11,120 --> 01:13:15,240
Speaker 2: that you just have to deliver information without a propel's story,

1570
01:13:15,320 --> 01:13:18,280
Speaker 2: without a propelling story, without a propelling conflict within the scene.

1571
01:13:18,600 --> 01:13:20,559
Speaker 2: And so for the rest of this scene, you can

1572
01:13:20,600 --> 01:13:24,240
Speaker 2: see that Corey and Sean are sort of talking outward.

1573
01:13:24,320 --> 01:13:28,480
Speaker 2: There's just sort of like expressing almost like like Shakespearean

1574
01:13:28,600 --> 01:13:32,080
Speaker 2: soliloquies about you know, their position and what they think

1575
01:13:32,120 --> 01:13:34,360
Speaker 2: and what you think, and then we're going to come

1576
01:13:34,360 --> 01:13:37,240
Speaker 2: to a conclusion. It's very like theoretical and heady in

1577
01:13:37,280 --> 01:13:41,320
Speaker 2: a way. And so I'm I'm bummed because I, you know,

1578
01:13:41,320 --> 01:13:43,759
Speaker 2: I feel like this this is where I sort of figured.

1579
01:13:44,160 --> 01:13:48,120
Speaker 2: I basically took this in as what acting was, and

1580
01:13:48,200 --> 01:13:50,040
Speaker 2: it took a long time for me to realize that

1581
01:13:50,040 --> 01:13:52,720
Speaker 2: that's that's not acting. That it's a form of acting, right,

1582
01:13:52,760 --> 01:13:55,160
Speaker 2: it's it's it's a television acting. It's sitcom acting. And

1583
01:13:55,240 --> 01:13:57,679
Speaker 2: you have to do it in times. You know, cop

1584
01:13:57,720 --> 01:14:00,400
Speaker 2: actors on cop shows, right, they have to deliver really

1585
01:14:01,240 --> 01:14:04,120
Speaker 2: just information half the time, and they do it fast

1586
01:14:04,200 --> 01:14:05,760
Speaker 2: or you know, you find a way to like walk

1587
01:14:05,800 --> 01:14:09,360
Speaker 2: and talk, and so it's a skill set. But it's

1588
01:14:09,400 --> 01:14:12,720
Speaker 2: not great, it's not you know, it's it's interesting. So

1589
01:14:12,760 --> 01:14:15,640
Speaker 2: I can see that this is becoming my habit and

1590
01:14:15,680 --> 01:14:17,080
Speaker 2: it's a little bit of a bummer.

1591
01:14:18,040 --> 01:14:21,880
Speaker 1: Well, it's not just you, obviously, it's not just you.

1592
01:14:21,880 --> 01:14:22,600
Speaker 1: There's no it's me.

1593
01:14:22,760 --> 01:14:24,679
Speaker 2: It's the way, you know, like I said, it's actually

1594
01:14:24,720 --> 01:14:26,280
Speaker 2: the job, you know, it's part of the job.

1595
01:14:27,000 --> 01:14:29,240
Speaker 1: So Sean asks his best friend, how does this get

1596
01:14:29,280 --> 01:14:32,599
Speaker 1: so complicated so fast? Corey responds, I guess that's how

1597
01:14:32,600 --> 01:14:36,360
Speaker 1: they get you. Uh, that's how they get you. They

1598
01:14:36,400 --> 01:14:38,240
Speaker 1: find a guy who feels like he's nowhere in his

1599
01:14:38,280 --> 01:14:40,000
Speaker 1: life and they make him believe that he should be

1600
01:14:40,040 --> 01:14:43,439
Speaker 1: on a street corner holding a box. Sean wonders, maybe

1601
01:14:43,439 --> 01:14:45,840
Speaker 1: this is my street. Maybe no matter what I do,

1602
01:14:45,960 --> 01:14:48,000
Speaker 1: this is where I end up, Like that poem says.

1603
01:14:48,320 --> 01:14:51,840
Speaker 1: Corey disagrees. The poem says, you have choices in your life,

1604
01:14:51,880 --> 01:14:54,920
Speaker 1: and every choice you make means something. Corey says, They're

1605
01:14:54,960 --> 01:14:56,880
Speaker 1: only sixteen and they got fooled by a couple of

1606
01:14:56,880 --> 01:14:59,080
Speaker 1: guys who look like their uncles. It's so easy to

1607
01:14:59,200 --> 01:15:01,840
Speaker 1: end up on the wrong road. Sean can't believe it.

1608
01:15:01,960 --> 01:15:04,320
Speaker 2: Yeah, I mean that's it. Like I'm just wondering and

1609
01:15:04,439 --> 01:15:06,800
Speaker 2: expounding on this poem and talking about it and then

1610
01:15:06,840 --> 01:15:09,720
Speaker 2: questioning it, and we're just kind of like both riffing.

1611
01:15:09,400 --> 01:15:10,519
Speaker 1: And building you suppose.

1612
01:15:10,600 --> 01:15:12,479
Speaker 2: I don't know if I'm the type of person the

1613
01:15:12,840 --> 01:15:15,320
Speaker 2: it's like at sixteen, Like who talks about themselves as

1614
01:15:15,400 --> 01:15:17,960
Speaker 2: sixteen year olds? I'm a sixty like well.

1615
01:15:18,120 --> 01:15:20,559
Speaker 1: I also, I think one of the things that feels

1616
01:15:20,600 --> 01:15:23,640
Speaker 1: out of place is that this wasn't a part of

1617
01:15:23,680 --> 01:15:25,880
Speaker 1: the beginning part of your episode things where you guys

1618
01:15:25,880 --> 01:15:27,719
Speaker 1: were looking for jobs. You wanted to make a little

1619
01:15:27,720 --> 01:15:28,800
Speaker 1: bit of money, and then all of a sudden at

1620
01:15:28,840 --> 01:15:30,400
Speaker 1: the end, it was like, but I'm in a rough

1621
01:15:30,640 --> 01:15:32,479
Speaker 1: It's like, oh yeah, now I forgot all of a sudden.

1622
01:15:32,479 --> 01:15:34,720
Speaker 1: Episode ended up being about you not knowing where your

1623
01:15:34,800 --> 01:15:37,000
Speaker 1: road is and whether you're a guy on a good

1624
01:15:37,080 --> 01:15:37,679
Speaker 1: road or whatever.

1625
01:15:37,680 --> 01:15:39,080
Speaker 2: That's what I mean. When the scene is about the

1626
01:15:39,120 --> 01:15:41,599
Speaker 2: box off guard. When the scene is about the box,

1627
01:15:41,680 --> 01:15:43,639
Speaker 2: it's about like open it, close it, take it back?

1628
01:15:43,680 --> 01:15:45,720
Speaker 2: Did that it? When the scene is about the watch like,

1629
01:15:45,800 --> 01:15:48,840
Speaker 2: that's that's where scenes come alive. That's where characters can

1630
01:15:48,920 --> 01:15:52,360
Speaker 2: express these things without having to say them. But unfortunately,

1631
01:15:52,439 --> 01:15:56,200
Speaker 2: this scene from now on just becomes us expressing outwardly

1632
01:15:56,600 --> 01:15:59,720
Speaker 2: these things. And it is you know, it is part

1633
01:15:59,720 --> 01:16:03,640
Speaker 2: of the and it is children's television or family television

1634
01:16:03,800 --> 01:16:07,400
Speaker 2: sometimes does need a version of this. So it's it's

1635
01:16:07,479 --> 01:16:10,840
Speaker 2: just an interesting thing. And you know, I'm harsh on it,

1636
01:16:10,920 --> 01:16:15,320
Speaker 2: and I'm harsh on myself, but mostly it's not, if

1637
01:16:15,360 --> 01:16:18,120
Speaker 2: I'm honest, it's it's my problem that I sort of

1638
01:16:18,120 --> 01:16:21,040
Speaker 2: carried after Boy Meets World that I had a hard

1639
01:16:21,080 --> 01:16:23,920
Speaker 2: time seeing this for that for what it was, I

1640
01:16:23,960 --> 01:16:27,439
Speaker 2: thought that this was good acting, and it became you know,

1641
01:16:27,479 --> 01:16:30,320
Speaker 2: I became a very sentimental actor, you know, you just

1642
01:16:30,439 --> 01:16:33,320
Speaker 2: it's more heady. It's not emotional, it's not immediate, it

1643
01:16:33,360 --> 01:16:37,960
Speaker 2: doesn't have the sort of propulsive energy that acting should.

1644
01:16:38,560 --> 01:16:41,120
Speaker 1: Right well, Sean can't believe it. And I knew all

1645
01:16:41,160 --> 01:16:43,559
Speaker 1: about them too. I didn't walk away. I figured I'd

1646
01:16:43,600 --> 01:16:45,639
Speaker 1: just get them coffee, makes some money and get out

1647
01:16:45,680 --> 01:16:48,200
Speaker 1: before it all got to this. But now I'm a

1648
01:16:48,240 --> 01:16:50,960
Speaker 1: little scared. And I like this part of the storyline too,

1649
01:16:51,000 --> 01:16:52,800
Speaker 1: where all of us. I love the idea of a

1650
01:16:52,800 --> 01:16:55,479
Speaker 1: message of being like I didn't know when I got

1651
01:16:55,479 --> 01:16:57,479
Speaker 1: in over my head. I didn't know the moment where

1652
01:16:57,479 --> 01:16:59,120
Speaker 1: all of a sudden I was in too deep. I

1653
01:16:59,160 --> 01:17:00,720
Speaker 1: thought I could I thought I was in control, but

1654
01:17:00,760 --> 01:17:03,360
Speaker 1: I actually wasn't. I like that part. Corey admits I

1655
01:17:03,400 --> 01:17:05,280
Speaker 1: thought the devil was some guy with horns and a

1656
01:17:05,280 --> 01:17:08,280
Speaker 1: big tail. Sean tells Corey to go be with his family. No,

1657
01:17:08,560 --> 01:17:10,360
Speaker 1: that would be the wrong choice. The difference in the

1658
01:17:10,400 --> 01:17:11,720
Speaker 1: poem is that the guy.

1659
01:17:11,479 --> 01:17:13,519
Speaker 2: Why is this devil? I mean, it's a good point,

1660
01:17:13,520 --> 01:17:15,160
Speaker 2: but why is the devil like?

1661
01:17:15,320 --> 01:17:17,280
Speaker 1: Well, and that's the other thing is that it feels

1662
01:17:17,360 --> 01:17:20,400
Speaker 1: like it's like a bunch of different storylines like a

1663
01:17:20,479 --> 01:17:22,920
Speaker 1: guy who looks and acts like your uncle and a

1664
01:17:22,960 --> 01:17:28,919
Speaker 1: funny guy could really be dangerous. Dangerous talked about that.

1665
01:17:29,080 --> 01:17:32,960
Speaker 2: That's the point is well taken. It's just literally making

1666
01:17:32,960 --> 01:17:34,960
Speaker 2: a devil reference. Was like, wait, we weren't I thought,

1667
01:17:35,200 --> 01:17:37,800
Speaker 2: I don't know, it just felt it just felt kind

1668
01:17:37,800 --> 01:17:38,799
Speaker 2: of yeah.

1669
01:17:39,000 --> 01:17:41,320
Speaker 1: Also, like I said, the reference I like about, I

1670
01:17:41,320 --> 01:17:42,960
Speaker 1: didn't know when I got when I was in too deep.

1671
01:17:43,040 --> 01:17:44,920
Speaker 1: That wasn't hit before. It feels like, right at the

1672
01:17:45,000 --> 01:17:46,800
Speaker 1: very end, it was like we've been dealing with the

1673
01:17:46,840 --> 01:17:48,400
Speaker 1: devil and he was super nice to us. We didn't

1674
01:17:48,400 --> 01:17:49,600
Speaker 1: what was the devil? And also I thought I was

1675
01:17:49,640 --> 01:17:51,160
Speaker 1: going to get out quick, but I didn't get out quick.

1676
01:17:51,240 --> 01:17:54,160
Speaker 2: It was just like, yeah, it's just cramming in some exposition.

1677
01:17:54,280 --> 01:17:56,080
Speaker 2: It's a it's yeah.

1678
01:17:55,680 --> 01:17:57,320
Speaker 1: It's a lot all at the end, and I think

1679
01:17:57,360 --> 01:17:59,280
Speaker 1: we if maybe they had just stuck with one thing,

1680
01:17:59,360 --> 01:18:02,040
Speaker 1: which was the road, like I'm here, you.

1681
01:18:02,080 --> 01:18:04,680
Speaker 2: Know, one metaphorta time, one metaphorreta.

1682
01:18:04,320 --> 01:18:18,719
Speaker 1: Time, please so Sean can't believe it. And I knew

1683
01:18:18,720 --> 01:18:21,080
Speaker 1: all about them too. I didn't walk away. I figured

1684
01:18:21,080 --> 01:18:23,120
Speaker 1: I'd just get them coffee, make some money, and get

1685
01:18:23,120 --> 01:18:24,599
Speaker 1: out before it all got to this.

1686
01:18:24,720 --> 01:18:27,920
Speaker 2: And this is where I was a little like, it's

1687
01:18:27,920 --> 01:18:31,640
Speaker 2: a little disingenuous because Sean knows their mob like, he's

1688
01:18:31,680 --> 01:18:34,400
Speaker 2: street smart enough to call that their mob people the

1689
01:18:34,640 --> 01:18:37,120
Speaker 2: second he walks into that restaurant, and yet he's not

1690
01:18:37,120 --> 01:18:39,240
Speaker 2: streets smart enough to say, like, I'm in over my head.

1691
01:18:39,280 --> 01:18:39,960
Speaker 2: I can't believe it.

1692
01:18:40,040 --> 01:18:42,280
Speaker 1: Like it's a little bit that's the that's the point

1693
01:18:42,320 --> 01:18:45,120
Speaker 1: I liked, though, is that really? He he? I liked

1694
01:18:45,160 --> 01:18:48,400
Speaker 1: the idea that we all think, let's use drugs and

1695
01:18:48,680 --> 01:18:51,160
Speaker 1: as an example, I can, I can smoke a cigarette.

1696
01:18:51,160 --> 01:18:52,600
Speaker 1: I'm not gonna get it. I'm not gonna I'm not

1697
01:18:52,640 --> 01:18:55,920
Speaker 1: gonna get addicted. I'm not gonna whatever. And then next thing,

1698
01:18:55,960 --> 01:18:57,800
Speaker 1: you know, you're like, when did I become a packa

1699
01:18:57,840 --> 01:18:58,439
Speaker 1: dat smoker?

1700
01:18:58,600 --> 01:18:58,760
Speaker 4: You know?

1701
01:18:58,800 --> 01:19:01,559
Speaker 1: When did that happen? I started off as and it

1702
01:19:01,560 --> 01:19:06,200
Speaker 1: it'll happened to you fast. And I like the idea

1703
01:19:06,280 --> 01:19:09,120
Speaker 1: that Sean goes, I was street smart enough to call

1704
01:19:09,200 --> 01:19:12,160
Speaker 1: what I was walking into. How Come I wasn't street

1705
01:19:12,200 --> 01:19:14,920
Speaker 1: smart enough to know when I was when I couldn't

1706
01:19:14,960 --> 01:19:18,640
Speaker 1: get myself out? You're right, so great, I actually take

1707
01:19:18,680 --> 01:19:22,800
Speaker 1: a book. Okay, good, so Corey admits I thought the

1708
01:19:22,800 --> 01:19:24,719
Speaker 1: devil was some guy with horns in a big tail.

1709
01:19:24,960 --> 01:19:27,880
Speaker 1: Sean tells Corey to be with his family. No, that

1710
01:19:27,920 --> 01:19:30,599
Speaker 1: would be the wrong choice. The difference in the poem

1711
01:19:30,720 --> 01:19:33,200
Speaker 1: is that the guy had to choose his road alone,

1712
01:19:33,479 --> 01:19:36,880
Speaker 1: Corey explains. Sean asks you don't think he had a

1713
01:19:36,880 --> 01:19:40,320
Speaker 1: best friend, and Corey shrugs, I guess not. And then

1714
01:19:40,400 --> 01:19:43,240
Speaker 1: he reveals the blood money watch on his wrist and

1715
01:19:43,280 --> 01:19:48,080
Speaker 1: he says, according to this, you do. And then there

1716
01:19:48,160 --> 01:19:54,200
Speaker 1: is a very loud motorcycle that passes by his engine.

1717
01:19:54,360 --> 01:19:54,639
Speaker 3: Sound.

1718
01:19:56,080 --> 01:19:58,240
Speaker 2: I'm telling you our crew was not used to being

1719
01:19:58,439 --> 01:20:01,760
Speaker 2: u out and outside. Yeah, I wonder, I mean it

1720
01:20:01,800 --> 01:20:04,800
Speaker 2: has to be right, there's no unless they intentionally put

1721
01:20:04,840 --> 01:20:07,080
Speaker 2: a car going to because it is, it's a wide shot.

1722
01:20:07,320 --> 01:20:09,559
Speaker 2: It cuts for the beat, and we have this moment

1723
01:20:09,600 --> 01:20:13,960
Speaker 2: of silence, like is it meant to be like the road,

1724
01:20:14,200 --> 01:20:17,080
Speaker 2: like we're supposed to hear the road? I don't know.

1725
01:20:17,760 --> 01:20:20,080
Speaker 2: I actually thought maybe it was intentional to sort of

1726
01:20:20,120 --> 01:20:23,280
Speaker 2: give it some like a beat of like the you know,

1727
01:20:23,439 --> 01:20:23,920
Speaker 2: I don't.

1728
01:20:23,760 --> 01:20:25,680
Speaker 1: Know, it's her dialogue.

1729
01:20:25,760 --> 01:20:27,479
Speaker 3: So they they could have just taken it out if

1730
01:20:27,520 --> 01:20:29,400
Speaker 3: they wanted to. So yeah, maybe they are trying to

1731
01:20:29,720 --> 01:20:32,080
Speaker 3: You're right, Yeah, they've got the subtlety they're going for

1732
01:20:32,240 --> 01:20:34,559
Speaker 3: after them just saying as I walked the poem, I

1733
01:20:34,600 --> 01:20:37,000
Speaker 3: want to go the road that goes to your house. Guys,

1734
01:20:37,520 --> 01:20:40,519
Speaker 3: it's like, yikes, so but subtly now they're just going

1735
01:20:40,600 --> 01:20:42,360
Speaker 3: to put in an engine in the distance.

1736
01:20:42,000 --> 01:20:44,439
Speaker 1: You know, you know. And I actually, because you're right,

1737
01:20:44,520 --> 01:20:47,799
Speaker 1: I bet it is intentional because I at first actually thought, Oh,

1738
01:20:47,840 --> 01:20:49,639
Speaker 1: it's the guy showing up for the box.

1739
01:20:49,680 --> 01:20:51,200
Speaker 3: That's what I thought too. Oh the car is going

1740
01:20:51,280 --> 01:20:52,479
Speaker 3: to come, and what are they going to do when

1741
01:20:52,479 --> 01:20:54,320
Speaker 3: the car comes? That's what I thought it was going

1742
01:20:54,400 --> 01:20:54,559
Speaker 3: to be.

1743
01:20:54,640 --> 01:20:57,200
Speaker 2: Yeah, well maybe that's intentional too, Like it could be

1744
01:20:57,240 --> 01:21:00,040
Speaker 2: both right, like the choice is going to come and

1745
01:21:00,040 --> 01:21:02,240
Speaker 2: then it goes away and then it's like I got

1746
01:21:02,240 --> 01:21:04,320
Speaker 2: to make this choice. But for myself, I can't. Just

1747
01:21:04,400 --> 01:21:06,439
Speaker 2: it's not out of my control, I think.

1748
01:21:06,800 --> 01:21:08,920
Speaker 3: I don't know if you remember the original tag was

1749
01:21:08,960 --> 01:21:12,840
Speaker 3: them was cutting to then Corey and Sean doing all

1750
01:21:12,840 --> 01:21:13,840
Speaker 3: the drugs in the box.

1751
01:21:14,080 --> 01:21:17,639
Speaker 1: Yes, I remember that table rad Yeah.

1752
01:21:17,560 --> 01:21:18,840
Speaker 3: It turned out to just be it was like the

1753
01:21:18,840 --> 01:21:20,760
Speaker 3: best time they'd ever had, and they were like, this

1754
01:21:20,880 --> 01:21:22,640
Speaker 3: is we gotta we should change it.

1755
01:21:22,760 --> 01:21:26,080
Speaker 2: We should every day Christmas, Corey, we should just all

1756
01:21:26,080 --> 01:21:29,320
Speaker 2: the time. Why are we not? Right now? Like the

1757
01:21:29,360 --> 01:21:31,320
Speaker 2: things that you said, we just had like the best

1758
01:21:31,320 --> 01:21:32,439
Speaker 2: conversation of our life.

1759
01:21:33,000 --> 01:21:34,479
Speaker 1: My god, I wish everybody could hear this.

1760
01:21:34,479 --> 01:21:37,360
Speaker 2: I wish there's another box we can go to theother.

1761
01:21:39,040 --> 01:21:41,120
Speaker 2: You hear the helicopter. There's a helicopter outside right now.

1762
01:21:41,200 --> 01:21:42,080
Speaker 2: I hear a helicopter.

1763
01:21:42,760 --> 01:21:44,960
Speaker 3: Did the very next scene, Corey's trying to sell his

1764
01:21:45,000 --> 01:21:48,360
Speaker 3: watch to get another box. Yeah, I've heard this terrible.

1765
01:21:48,479 --> 01:21:49,759
Speaker 2: Oh my god, it's funny.

1766
01:21:50,000 --> 01:21:52,560
Speaker 1: So they both glance at the box and Sean recites

1767
01:21:52,880 --> 01:21:55,760
Speaker 1: two roads diverge in a wood, and I choose the

1768
01:21:55,800 --> 01:21:59,280
Speaker 1: one that leads back to your house, isn't Cory smiles,

1769
01:22:00,200 --> 01:22:03,080
Speaker 1: saying they should take the box back first, and Sean asks,

1770
01:22:03,400 --> 01:22:05,200
Speaker 1: wouldn't it be funny if there really was a Teddy

1771
01:22:05,200 --> 01:22:07,400
Speaker 1: Bear in there? Corey jokes, don't you wish life was

1772
01:22:07,479 --> 01:22:10,599
Speaker 1: like that? And Sean admits as they walk away, I'm

1773
01:22:10,640 --> 01:22:12,920
Speaker 1: beginning to see that it's not.

1774
01:22:14,400 --> 01:22:20,479
Speaker 3: Oh yeah, heavy time, the Buddy hack It and soupy sales.

1775
01:22:24,360 --> 01:22:29,200
Speaker 2: Yeah, you know, I think if you just think nine

1776
01:22:29,240 --> 01:22:32,040
Speaker 2: year old watching the show, that it's great, it's nice,

1777
01:22:32,080 --> 01:22:33,840
Speaker 2: it's great. Gotta hit it on the head. Yeah, it's

1778
01:22:33,880 --> 01:22:36,679
Speaker 2: just awkward as old thing.

1779
01:22:36,720 --> 01:22:38,960
Speaker 3: We didn't have to ever hit it on the head before.

1780
01:22:39,800 --> 01:22:42,000
Speaker 2: Well maybe we did, but but you know, if we

1781
01:22:42,000 --> 01:22:44,559
Speaker 2: were eleven year old saying this, you know, we couldn't

1782
01:22:44,560 --> 01:22:47,080
Speaker 2: be with the box. But like when you say life

1783
01:22:47,160 --> 01:22:49,840
Speaker 2: lessons and you're an eleven year old Ben Savage and

1784
01:22:49,880 --> 01:22:52,639
Speaker 2: the pilot, it's cute and it's like, oh, but like here,

1785
01:22:52,680 --> 01:22:55,240
Speaker 2: it's a little really the kids talk like that, or

1786
01:22:55,439 --> 01:22:57,840
Speaker 2: sixteen year olds talk like this. No, yea, but okay.

1787
01:22:57,960 --> 01:23:01,280
Speaker 1: Well I also did find some interesting information about the

1788
01:23:01,360 --> 01:23:06,720
Speaker 1: Robert Frost poem. Most people believe that Frost took saw

1789
01:23:06,760 --> 01:23:08,519
Speaker 1: the fork in the road and picked the one that

1790
01:23:08,560 --> 01:23:11,440
Speaker 1: made the most sense for him, and often it's interpreted

1791
01:23:11,439 --> 01:23:13,960
Speaker 1: that it was the better road. The way they used

1792
01:23:14,040 --> 01:23:15,960
Speaker 1: in this storyline with Corey and Sean that.

1793
01:23:15,960 --> 01:23:18,320
Speaker 2: There's like he actually doesn't say whether it's good or bad.

1794
01:23:18,600 --> 01:23:21,479
Speaker 1: No, he actually, a couple of years before he died,

1795
01:23:21,680 --> 01:23:24,599
Speaker 1: he clarified that he actually thought the piece was trickier

1796
01:23:24,640 --> 01:23:27,919
Speaker 1: than people made it. They oversimplified it, and he explained

1797
01:23:27,920 --> 01:23:29,760
Speaker 1: that when he came to the fork in the road

1798
01:23:30,040 --> 01:23:34,120
Speaker 1: he actually wished he could do. He could take both paths,

1799
01:23:34,600 --> 01:23:37,640
Speaker 1: but he couldn't, and so he reluctantly chose one, but

1800
01:23:37,680 --> 01:23:39,840
Speaker 1: that in his mind, if he had his life to

1801
01:23:39,840 --> 01:23:42,280
Speaker 1: live over again the next time, he would just choose

1802
01:23:42,360 --> 01:23:45,519
Speaker 1: the other one to see where that path took him to.

1803
01:23:46,240 --> 01:23:49,280
Speaker 2: So so it's really just about how one choice affects

1804
01:23:49,320 --> 01:23:54,760
Speaker 2: every other choice, right right, it's but it's interesting that

1805
01:23:54,760 --> 01:23:56,960
Speaker 2: you would like if you're an if you're an optimist,

1806
01:23:57,040 --> 01:24:03,519
Speaker 2: you interpret that as in I or exactly, whereas if

1807
01:24:03,560 --> 01:24:06,360
Speaker 2: you're miserable you could say this, the poem would still

1808
01:24:06,360 --> 01:24:09,200
Speaker 2: speak to you. That's made all the difference and I'm

1809
01:24:09,200 --> 01:24:11,920
Speaker 2: stuck in this awful life because you.

1810
01:24:11,920 --> 01:24:13,760
Speaker 1: Could also just look at it and go, wow, who

1811
01:24:13,840 --> 01:24:17,080
Speaker 1: knows if I had taken that other job, Like we

1812
01:24:17,200 --> 01:24:20,800
Speaker 1: actually mentioned in the Jeff Sherman episode, maybe had Jeff

1813
01:24:20,840 --> 01:24:23,599
Speaker 1: taken the Jenny McCarthy show, would the Jenny McCarthy Show

1814
01:24:23,600 --> 01:24:25,960
Speaker 1: have been more successful because Jeff was there? Like you

1815
01:24:26,040 --> 01:24:27,240
Speaker 1: never uniting doors?

1816
01:24:27,360 --> 01:24:29,400
Speaker 3: Is that what's sliding doors? Yes, out, it's kind of

1817
01:24:29,439 --> 01:24:34,439
Speaker 3: like what you take one the other Yet another questioning.

1818
01:24:34,200 --> 01:24:38,200
Speaker 1: My writer's favorite actress of all time? Yes, and then

1819
01:24:38,280 --> 01:24:40,519
Speaker 1: We're in the tag in the Matthews living room. The

1820
01:24:40,520 --> 01:24:44,200
Speaker 1: Matthews family, Sean, Tapangaffini, and Turner, who looks nothing like

1821
01:24:44,280 --> 01:24:47,360
Speaker 1: our mister. Turner and Lonnie are all gathered around as

1822
01:24:47,400 --> 01:24:48,639
Speaker 1: Alan opens a present.

1823
01:24:49,080 --> 01:24:50,800
Speaker 3: Why why is Tony there?

1824
01:24:52,200 --> 01:24:54,240
Speaker 2: No idea freeze frame of the cast at the end?

1825
01:24:54,479 --> 01:24:57,240
Speaker 2: I mean, is that the bummer? Is that?

1826
01:24:57,360 --> 01:24:57,479
Speaker 3: Like?

1827
01:24:58,160 --> 01:24:59,800
Speaker 2: It makes sense at the end. It would have made

1828
01:24:59,800 --> 01:25:02,800
Speaker 2: sense in season two and three because he's like my

1829
01:25:02,880 --> 01:25:06,840
Speaker 2: father figure. Yes, but why isn't Blake there? Like I

1830
01:25:06,880 --> 01:25:08,080
Speaker 2: have my family and.

1831
01:25:08,760 --> 01:25:10,760
Speaker 1: It's just all of a sudden Turner and Lonnie.

1832
01:25:10,880 --> 01:25:13,360
Speaker 2: It would have been so great if what would have

1833
01:25:13,360 --> 01:25:15,600
Speaker 2: been I mean what I mean I didn't realize this

1834
01:25:15,640 --> 01:25:17,680
Speaker 2: until just now, but if Sean and Turner had a

1835
01:25:17,680 --> 01:25:20,840
Speaker 2: gift exchange moment just two lines where Sean is giving

1836
01:25:20,840 --> 01:25:23,439
Speaker 2: something to Turner or Turner's giving something to Sean, and

1837
01:25:23,479 --> 01:25:25,000
Speaker 2: we just had a moment of like, I kind of

1838
01:25:25,000 --> 01:25:26,679
Speaker 2: miss you now that you're not in the house anymore.

1839
01:25:26,680 --> 01:25:27,360
Speaker 2: Of the apartment.

1840
01:25:27,680 --> 01:25:30,120
Speaker 1: Oh made this out of your mullet like something. But

1841
01:25:32,439 --> 01:25:34,360
Speaker 1: we had to give Amy and Allan a line.

1842
01:25:34,600 --> 01:25:36,559
Speaker 2: Oh my god, I made this out of your moulive.

1843
01:25:37,080 --> 01:25:42,879
Speaker 2: You I need you some some gloves out of your mullet, your.

1844
01:25:41,840 --> 01:25:43,720
Speaker 1: Hair clippings I found in your bathroom.

1845
01:25:44,360 --> 01:25:45,639
Speaker 2: Oh my god.

1846
01:25:48,200 --> 01:25:50,479
Speaker 1: Alan is opening a present. This is exactly the shirt

1847
01:25:50,520 --> 01:25:52,200
Speaker 1: I saw in that window and told you I wanted

1848
01:25:52,240 --> 01:25:54,000
Speaker 1: and made you buy it, and now I have it.

1849
01:25:54,280 --> 01:25:56,519
Speaker 1: Amy asks if he likes it. I love it, but

1850
01:25:56,560 --> 01:25:59,679
Speaker 1: I do kind of miss the surprise element. Eric glances

1851
01:25:59,680 --> 01:26:01,360
Speaker 1: out the indo. When he runs to Lonnie, he tells

1852
01:26:01,400 --> 01:26:04,120
Speaker 1: her there's a blizzard, and he shivers dramatically. He hits

1853
01:26:04,160 --> 01:26:07,679
Speaker 1: his head and announces, now I'm unconscious. Save me. Lonnie

1854
01:26:07,680 --> 01:26:10,360
Speaker 1: tells him to stop revealing her story. Never happened. She

1855
01:26:10,400 --> 01:26:13,800
Speaker 1: made the whole thing up, you did, She responds, yep, sorry,

1856
01:26:14,080 --> 01:26:15,200
Speaker 1: cute butt, though.

1857
01:26:15,760 --> 01:26:19,280
Speaker 2: Ambiguous ending.

1858
01:26:23,920 --> 01:26:26,160
Speaker 1: Would you call that a butt? Tin?

1859
01:26:26,479 --> 01:26:26,839
Speaker 2: Butt?

1860
01:26:29,640 --> 01:26:29,800
Speaker 3: Is that?

1861
01:26:29,880 --> 01:26:33,040
Speaker 2: Actually? The last line? Is that the last? Yeah?

1862
01:26:33,240 --> 01:26:35,719
Speaker 1: Phenie sets his camera up to take a group photo.

1863
01:26:35,800 --> 01:26:39,280
Speaker 1: Everyone get together. Everyone gathers around as the camera clicks

1864
01:26:39,280 --> 01:26:41,640
Speaker 1: and the picture stays on the screen. And now, in

1865
01:26:41,680 --> 01:26:44,160
Speaker 1: a bit of a tradition, we freeze with the message

1866
01:26:44,400 --> 01:26:48,400
Speaker 1: Happy Holidays from Boy meets World from the Buys of.

1867
01:26:48,560 --> 01:26:53,160
Speaker 2: Boas's so interesting to think, like what this freeze frame

1868
01:26:53,200 --> 01:26:57,360
Speaker 2: in this message does like it's sort of it creates

1869
01:26:57,400 --> 01:26:59,920
Speaker 2: a frame for our show, like it creates a like

1870
01:27:00,080 --> 01:27:03,080
Speaker 2: there is a voice, there is a Boy meets World

1871
01:27:03,400 --> 01:27:05,879
Speaker 2: that is outside of the fiction that you were watching,

1872
01:27:06,240 --> 01:27:09,280
Speaker 2: and outside of the fiction that you were watching, they

1873
01:27:09,280 --> 01:27:10,880
Speaker 2: are going to say happy holidays.

1874
01:27:11,000 --> 01:27:11,360
Speaker 1: That is a.

1875
01:27:11,439 --> 01:27:15,680
Speaker 2: Really and it's really weird, and it's actually probably contributes

1876
01:27:15,760 --> 01:27:18,840
Speaker 2: to the sense of connected connection that people have with

1877
01:27:18,880 --> 01:27:21,960
Speaker 2: our show. That that, you know, it goes along with

1878
01:27:22,000 --> 01:27:26,120
Speaker 2: the sort of expositional dialogue and heavy handedness in that

1879
01:27:26,200 --> 01:27:30,160
Speaker 2: it's like there's an organizing intelligence. There's and that is

1880
01:27:30,200 --> 01:27:33,719
Speaker 2: the person if it's Michael or just our crew or us,

1881
01:27:33,760 --> 01:27:37,400
Speaker 2: like we are Boy meets World and you have enjoyed

1882
01:27:37,400 --> 01:27:39,680
Speaker 2: our thing, and we are connecting to you outside of

1883
01:27:39,680 --> 01:27:41,200
Speaker 2: the framework of that's really cool.

1884
01:27:41,240 --> 01:27:42,400
Speaker 1: We would like to wish you.

1885
01:27:43,080 --> 01:27:45,320
Speaker 3: Yes you see this. The other way they say it

1886
01:27:45,360 --> 01:27:47,599
Speaker 3: on a lot of shows is from our family to you.

1887
01:27:47,840 --> 01:27:53,040
Speaker 1: Yes, right holidays. So yeah, right, you're right. Thank you

1888
01:27:53,240 --> 01:27:55,400
Speaker 1: for joining us for this episode of Pod Meets World.

1889
01:27:55,640 --> 01:27:58,040
Speaker 1: Join us for our next episode, which will be season

1890
01:27:58,080 --> 01:28:01,640
Speaker 1: four episode thirteen B and BSB and B.

1891
01:28:02,000 --> 01:28:02,839
Speaker 2: I'm so excited.

1892
01:28:03,000 --> 01:28:05,280
Speaker 1: As always, you can follow us on Instagram Podmeets World Show.

1893
01:28:05,320 --> 01:28:07,759
Speaker 1: You can send us your emails podmeets Worldshow at gmail

1894
01:28:07,800 --> 01:28:12,320
Speaker 1: dot com and we have merch Dragons for Life Merch

1895
01:28:14,800 --> 01:28:18,400
Speaker 1: Podmeets Worldshow dot com will send us out.

1896
01:28:19,040 --> 01:28:23,320
Speaker 3: We love you all, pod dismissed. Podmeets World is nheart

1897
01:28:23,320 --> 01:28:26,679
Speaker 3: podcast producer and hosted by Danielle Fischel, Wilfordell and Ryder

1898
01:28:26,760 --> 01:28:30,640
Speaker 3: Strong executive producers, Jensen Carp and Amy Sugarman Executive in

1899
01:28:30,720 --> 01:28:35,400
Speaker 3: charge of production, Danielle Romo, producer and editor, Tara Sudbaksh producer,

1900
01:28:35,479 --> 01:28:38,719
Speaker 3: Maddy Moore engineer and Boy Meets World super fan Easton Allen.

1901
01:28:38,920 --> 01:28:41,120
Speaker 3: Our theme song is by Kyle Morton of Typhoon and

1902
01:28:41,160 --> 01:28:43,559
Speaker 3: you can follow us on Instagram at Podmeets World Show

1903
01:28:43,840 --> 01:28:48,479
Speaker 3: or email us at Podmeets Worldshow at gmail dot com