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Speaker 1: You guys want to hear a crazy press release that

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Speaker 1: recently came out. Yes, Starting on Monday, February fifth, the

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Speaker 1: hit nineties sitcom Boy Meets World will air throughout the

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Speaker 1: Freeform formerly ABC Family schedule at various times, mostly between

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Speaker 1: ten thirty am and one thirty pm on certain weekdays

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Speaker 1: and early mornings on weekends. The series will be the

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Speaker 1: channel's weekday mid morning sitcom.

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Speaker 2: Now, whoa wait before? Actually, I think in.

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Speaker 1: The past we had I think been on free Form,

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Speaker 1: but it is being newly added on February fifth as

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Speaker 1: a new show in their mind up to be airing

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Speaker 1: Monday through Friday and then on early morning weekends.

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Speaker 3: This is the show that never ends.

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Speaker 2: Friends.

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Speaker 3: This is.

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Speaker 2: Not Girl Meets World, but.

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Speaker 1: Boy Meets World. So they will be selling advertising against

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Speaker 1: You know, we've got this show, it's called Boy Meets World.

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Speaker 1: Have you heard of it? Where we could do ads

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Speaker 1: for during that so, I mean.

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Speaker 3: Freeform where we're supposed to then do our new sitcom

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Speaker 3: apparently so well, write from the Boy Meets World into

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Speaker 3: the new show. Think they produced, do they not?

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Speaker 2: No? They do like single camera stuff, really, I don't

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Speaker 2: think they do any multicam Wow.

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Speaker 1: Well, now that it's going to be on free form.

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Speaker 1: What are you guys gonna do with all the money.

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Speaker 1: What are you gonna do it? What are you gonna

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Speaker 1: do with it? What are you gonna do with it? Writer?

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Speaker 1: You canna buy more books.

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Speaker 2: I'll buy a book. I'll get some more used books.

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Speaker 3: And well my free forms show, that's no ormshelf, two books,

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Speaker 3: this is.

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Speaker 1: This is the book the used book. Used So we

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Speaker 1: got an email recently from Lauren C and she wanted

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Speaker 1: to say, first off, she loves the podcast and she

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Speaker 1: loves all three of us so much. She said, I

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Speaker 1: have a question, though, there is something I noticed in

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Speaker 1: the last episode of season three, Brother Brother, when the

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Speaker 1: whole gang is in Chubbies for Eric's goodbye dinner. When

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Speaker 1: Alan steps over to ask Corey if he wants to

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Speaker 1: say something to Eric, Corey responds that he doesn't have

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Speaker 1: anything planned. But at the same time we see Sean

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Speaker 1: pull a folded piece of paper out of his pants

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Speaker 1: pocket and I know, writer, you noticed that, and it

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Speaker 1: made Lauren wonder if Corey did actually have something prepared

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Speaker 1: and he lied about it. No comment has ever made

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Speaker 1: about what the paper is, and Shaan never does anything

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Speaker 1: with it except gesture to Tapanga with it, So she

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Speaker 1: just wanted to know what we all thought about it,

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Speaker 1: or if we even noticed it. From I'm a super

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Speaker 1: detailed fan.

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Speaker 2: Yeah, I think that makes sense that that Corey that

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Speaker 2: there was Corey had a plan, and then based on

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Speaker 2: how he's feeling, he decides to bail on doing a speech,

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Speaker 2: and then because then later in the scene he says, Okay,

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Speaker 2: I actually do have something to say, right right, So

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Speaker 2: I think the idea is that they're all supposed to

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Speaker 2: say something at some point, maybe even Sewn's supposed to

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Speaker 2: have his own sp I don't know, but that probably Corey.

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Speaker 2: And then the idea is that he doesn't want to

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Speaker 2: do it because he's feeling so abandoned by his brother

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Speaker 2: and abandoned Topanga. So he's in a horrible mood. So

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Speaker 2: he decides not to do it when Alan asks him to,

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Speaker 2: and then later in the scene says, you know what,

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Speaker 2: I do have something to say and does his whole

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Speaker 2: life does off kil trivy.

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Speaker 3: Yeah, I thought it was just a grocery list.

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Speaker 1: M h, guess eggs, milk, eggs, he needs to Yeah, I.

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Speaker 2: Mean it's it's actually apropos to the episode we're about

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Speaker 2: to talk about, because I have no idea what I'm

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Speaker 2: doing in one scene. Really, I watched it four times

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Speaker 2: and I'm fit. I could not see what is physically.

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Speaker 2: I'm at the table with my dad and I can't

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Speaker 2: figure out what my character is doing. It looked like

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Speaker 2: I'm dealing with props and I can't figure it out.

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Speaker 2: I freeze framed it. I went back. I watched it

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Speaker 2: like five times. I was like, what am I? It

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Speaker 2: looks like I'm painting something or working on a model,

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Speaker 2: like I have a paintbrush or a pen in my hand,

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Speaker 2: and then there's this white thing on the table. So weird.

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Speaker 3: Still, So anybody does any idea When we get to

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Speaker 3: the scene, I'll point out.

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Speaker 1: The way, please do Wow. Well, yeah, I agree with you, writer,

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Speaker 1: I think it would make sense.

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Speaker 3: I'm not sure.

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Speaker 1: I'm not sure if they There must have been if

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Speaker 1: it was something Corey was supposed to read or hit

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Speaker 1: what he was going to say. There must have been

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Speaker 1: a line that then eventually got cut where it was

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Speaker 1: somehow explained why Sean has it, or just some sort

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Speaker 1: of like, what are you talking about, Corey? You wrote

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Speaker 1: this something that must have gotten cut. I have no

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Speaker 1: memory of it, but I know that you did point

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Speaker 1: out the piece of paper. You were like, did you

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Speaker 1: guys see this piece of paper I have in my hand?

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Speaker 1: What is it? What do you think it is?

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Speaker 2: I'm sure there was a line. I probably had, line

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Speaker 2: like Corey, do you want to give your speech? Or whatever?

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Speaker 2: And they just cut in editing, you know, I mean,

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Speaker 2: so much stuff gets cut, yeah, in the script stage,

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Speaker 2: but also stuff gets cut at the editing stage, you know,

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Speaker 2: especially when things are running long, because you can only

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Speaker 2: account for so much in an episode, and then the

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Speaker 2: laughs and the audience reaction adds time. So in the

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Speaker 2: edit you end up pulling stuff constantly, like just little lines.

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Speaker 2: You're like, oh, that doesn't actually pay up. Oh it

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Speaker 2: doesn't matter. And I guarantee you that it was one

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Speaker 2: of those examples.

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Speaker 1: Yeah, I think I think you're probably right, So thank

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Speaker 1: you for pointing that out. Lauren. Welcome to Pod Meets World.

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Speaker 1: I'm Danielle Fishel, I'm rather strong, and I'm Wilfordell. Today

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Speaker 1: we are recapping season four, episode four, Fishing for Verna.

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Speaker 1: It originally aired October eleventh, nineteen ninety six. The synopsis

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Speaker 1: at long Last Sean's mother, Verna, has returned to town,

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Speaker 1: but she's not quite ready to return home, and Corey

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Speaker 1: learns to appreciate loved ones when the school's beloved lunch

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Speaker 1: lady unexpectedly passes away. It was directed by Jeff McCracken.

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Speaker 1: It was written by Matthew Nelson. I am I continue

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Speaker 1: to be amazed by Matthew Nelson's scripts.

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Speaker 3: Oh you love this episode?

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Speaker 1: Love it interesting? Do you not like it?

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Speaker 3: I this was not one of my favorites. Wow on

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Speaker 3: this episode really really weird, just really really like solid.

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Speaker 2: I mean, I just feel like Season four is firing

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Speaker 2: on all cylinders and this one was just con in

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Speaker 2: a great tradition of very It wasn't bad.

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Speaker 3: It was just very bizarre to me. A lot of

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Speaker 3: really a lot of the character choices were very weird,

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Speaker 3: a lot of storylines that went nowhere. It was very yeah,

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Speaker 3: very strict. Again, I didn't dislike wasn't like God, this

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Speaker 3: episode was terrible. It just was very jarring for me.

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Speaker 3: It was very very Oh.

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Speaker 1: I I cried first of all, cried three times. I

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Speaker 1: absolutely love I think every single moment of the script.

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Speaker 1: I just love it. I loved everything about this episode.

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Speaker 2: It is a pretty perfect script. I think it doesn't

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Speaker 2: there the balance.

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Speaker 3: There's nothing was funny in the entire show.

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Speaker 2: No, but I don't think it was intended to so yeah,

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Speaker 2: I mean, I agree, it's it's a more dramatic episode.

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Speaker 2: But I thought like in terms of everything, China and

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Speaker 2: I thought it tied up everything except for the Frankie stuff.

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Speaker 2: That was like the only kind of.

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Speaker 3: Stuff was there was no nothing for Betsy at all.

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Speaker 3: I thought that whole thing was very strange where there's

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Speaker 3: no but there's no resolution in any way. Shake a

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Speaker 3: thought him one person sitting down and eating breakfast with

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Speaker 3: her of where she's making a ridiculous amount of breakfast

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Speaker 3: every morning, with people running out was very weird to me.

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Speaker 2: Storyline, that's what.

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Speaker 3: The y I didn't no, I get. I got that

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Speaker 3: they were going with it. It was just very all

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Speaker 3: of a sudden, the cafeteria being a giant cafeteria lunch

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Speaker 3: room which had never existed before. A lot of it

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Speaker 3: was very weird. Ben wearing a suit to the thing,

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Speaker 3: but then not a suit at the end, like a

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Speaker 3: lot of it was. There were some really weird choices

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Speaker 3: made in this that some of them were very small

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Speaker 3: but really weird, kind of like why that. Yeah. Again,

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Speaker 3: didn't hate it by any stretch of the imagination. Acting

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Speaker 3: all on point. Blake's amazing. The woman who played Verna

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Speaker 3: was incredible. I thought Ben was good in the episode,

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Speaker 3: but I thought a lot of the storylines were just

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Speaker 3: very strange. Wow.

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Speaker 1: Okay, well let's jump into it. Let's go through our

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Speaker 1: guest stars. We have mister Anthony Tyler Quinn is back

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Speaker 1: as Jonathan Turner. But don't blink you might miss him.

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Speaker 1: He's in the Choice.

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Speaker 3: There you go.

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Speaker 1: Well, Clark returns triumphantly as Chet Hunter. Sharene Mitchell as

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Speaker 1: Verna Hunter in her first of three Boy Meets World episodes.

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Speaker 1: She has appeared on Melrose Place, Er, Charmed, and in

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Speaker 1: the movie Out for Justice? Writer, do you remember working

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Speaker 1: with her? Much about her?

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Speaker 2: When I saw her on screen, I was like, oh God,

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Speaker 2: she's a good actress. Like I remember thinking like, oh,

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Speaker 2: I remember looking at this person's face and loving working

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Speaker 2: with her. But I don't remember anything about her personally,

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Speaker 2: if that rights sense? So like I have like a

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Speaker 2: I have a sense memory of enjoying being in scenes

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Speaker 2: with her, and but I don't. I mean, and I'm

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Speaker 2: sure we got along, but I don't really you know, no,

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Speaker 2: I don't remember her personally, not the way, not the best.

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Speaker 3: It's not the best movie in the world. But if

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Speaker 3: you want to see a great performance out for Justice

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Speaker 3: with Steven Siegall, she doesn't have a huge part, but

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Speaker 3: she's really really good.

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Speaker 2: She's an incredible activity and she's just got the perfect face,

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Speaker 2: like you, just the sadness and she's just she just

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Speaker 2: has this look about her that's it's perfect for Verna.

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Speaker 2: I mean, you just see her in that hotel room

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Speaker 2: in the first I was like, oh, yeah, there it is.

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Speaker 2: That's Verna. She's perfect.

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Speaker 1: Yeah. And then Ethan Sipple returns as Franky Stacchino. E

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Speaker 1: J Lapaina as hermann Stachino, Frankie's little brother. Ej was

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Speaker 1: also seen in Jingle All the Way and as teenager

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Speaker 1: Number nine in Some forty one's fat Lip video Oh Okay,

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Speaker 1: yeah a music video. And then we have Loretta Jean

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Speaker 1: as lunch lady Brenda Hibbert. She was in the movie

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Speaker 1: Speed as one of the bus passengers that are on

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Speaker 1: the brink of explorining.

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Speaker 3: I've got a great story about that. By the way,

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Speaker 3: I've got a great story about that.

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Speaker 1: Yeah, oh, please tell it right now.

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Speaker 3: We jumped in.

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Speaker 1: Okay, do you want to save it for a seaton? Want? Fine?

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Speaker 3: No, it's fine. So in Speed she's the woman who's

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Speaker 3: you know on the bus and obviously do you know

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Speaker 3: one of the passengers on the bus. I'm not sure

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Speaker 3: she even has a line. I don't think she does.

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Speaker 3: And in Speed they is Bust twenty five twenty five.

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Speaker 3: So when we're doing trope, we did the movie Trojan War.

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Speaker 3: He ends up, my character ends up on the bus

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Speaker 3: for a lot of the night, and we did Bust

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Speaker 3: twenty five twenty five, and to make it a synergistic thing,

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Speaker 3: they brought her her back and sat her in the

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Speaker 3: same seat. So in Trojan War on the bus twenty

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Speaker 3: five twenty five, it's the it's her sitting there like

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Speaker 3: like she was in Speed. So I got you actually

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Speaker 3: in the movie before you shot this episode. So yes,

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Speaker 3: I think he worked with her already before, Yes, before

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Speaker 3: she got there. So I the second she popped on screen,

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Speaker 3: I was like, wait a minute, she was in Speed

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Speaker 3: and the Trojan War. Yeah, so same lady.

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Speaker 1: That's so cool. She also appeared on Fresh Prince of

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Speaker 1: bel Air Ally McBeal and the Shield. And then we

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Speaker 1: have Mike Grief as Mort. He's a real I know

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Speaker 1: that face kind of guy, featured in movies like Liar

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Speaker 1: Liar and shows like Home Improvement.

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Speaker 3: Which one was more?

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Speaker 1: He's the guy who does the Why can't I think

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Speaker 1: of it?

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Speaker 3: Because I thought the same thing at the end, I'm like,

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Speaker 3: which one was more?

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Speaker 1: Oh, lunch lady replacement?

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Speaker 3: Okay, but he didn't have any But he didn't have

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Speaker 3: any lines? Right, he didn't.

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Speaker 1: I don't think he says any.

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Speaker 2: Probably he's accredited.

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Speaker 3: Yeah, because I thought the same thing. I was like,

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Speaker 3: who was Mort? So yeah, they must have he must

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Speaker 3: have done something and then they cut it out.

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Speaker 1: Okay, gotcha. Yeah. Now, before we jump into the show recap,

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Speaker 1: touching on the intro, we got a lot, I mean

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Speaker 1: a ton of emails from listeners, but I'm going to

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Speaker 1: single out one now, David Caster, who told us that

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Speaker 1: the shot of Ben Ryder and myself singing and playing

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Speaker 1: guitar in the sky is from a season three syndication

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Speaker 1: promo commercial for the show where we are all in

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Speaker 1: a band and Will is also there playing drums. In

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Speaker 1: that clip, I still have my long hair and I

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Speaker 1: am playing the symbol and it also has a totally

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Speaker 1: unhinged song playing about boy meets World, airing five times

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Speaker 1: a week on Fox. So that's where that little clip

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Speaker 1: is from Mystery Solved. Yes, airing one hundred episodes yet

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Speaker 1: have I think? Yeah, I don't. We hadn't. We must

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Speaker 1: We couldn't have reached a hundred anisode because it.

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Speaker 2: Wasn't until we reached one hundred that we sold the

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Speaker 2: syndication pack season season No. Right with season four? What

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Speaker 2: did we if we two?

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Speaker 1: Can we? I actually have the song? Let's play the

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Speaker 1: song thet a girl on a Monday Tuesday.

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Speaker 3: On Day Wednesday, I think we can't show. So there

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Speaker 3: they be on.

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Speaker 2: Funny Broady, on Free, on High School, trying stay like

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Speaker 2: this g five time and we went five four second

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Speaker 2: on Fox.

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Speaker 3: Wow. Okay, But at the start of season four, we

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Speaker 3: wouldn't have had that.

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Speaker 1: We wouldn't have had that.

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Speaker 3: Because I remember that shoot. I remember the shoot when

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Speaker 3: we were all the band, because I remembers then setting

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Speaker 3: down at the drums and you actually playing.

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Speaker 1: It's not definitely from it because my hair is long.

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Speaker 2: It's not that your hair grew out. No, of course,

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Speaker 2: of course because it's in the bangs.

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Speaker 1: I have bangs and long hair.

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Speaker 3: Did you watch the promo or just listen to it?

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Speaker 1: No, I've seen the promo before too.

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Speaker 2: Well, I mean maybe we were just airing five days

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Speaker 2: a week without a syndication package like some.

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Speaker 1: On a Fox.

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Speaker 2: Yeah. Like, well, Fox wasn't a full network, so Fox

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Speaker 2: would have been at that point. Fox wouldn't have been like,

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Speaker 2: they wouldn't have had to pay us as much because

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Speaker 2: they were a syndicated network. So you know, Fox was

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Speaker 2: a collection of independent networks throughout the country, so they

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Speaker 2: could have were affiliates, thank you, so they could have

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Speaker 2: they could have had to shoot a promo to then

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Speaker 2: sell to the affiliates that wanted to buy our show

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Speaker 2: for five you know what I mean. I also think

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Speaker 2: because there was one, Yeah, because there was one that

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Speaker 2: I wasn't in where everyone's in leather.

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Speaker 3: Oh, then there's one too, Yes.

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Speaker 2: No, there's one. There's also a promo that you've since

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Speaker 2: seen that I wasn't in, where you guys are like

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Speaker 2: in a high school and it's like kind of well shot.

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Speaker 1: Yeah, that's what it's like.

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Speaker 3: Banging on the lot when I was thinking of.

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Speaker 1: Okay, let's see this, this is it when it says

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Speaker 1: September nineteen ninety eight.

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Speaker 2: Yeah, that is definitely pre season four.

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Speaker 3: Look at my hair and all the clips are just

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Speaker 3: the first three pre seasons.

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Speaker 2: Yeah, so they must have put us in front of

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Speaker 2: a green screen on set someday.

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Speaker 1: Yeah.

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Speaker 2: Yeah. I don't think we were technically a syndicated show yet,

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Speaker 2: but they must have.

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Speaker 3: You know, for Fox, it had to have been because

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Speaker 3: they would have if we'd made it to season five,

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Speaker 3: there would have been season four clips in there, and

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Speaker 3: there weren't so weird, all.

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Speaker 2: Right, so they decided to pull from that.

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Speaker 1: Right for the opening credits.

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Speaker 2: Yeah. Correct.

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Speaker 1: By the way, it does say in that clip September

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Speaker 1: of nineteen ninety eight, So that promo clip thing they

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Speaker 1: put together was from September nineteen ninety eight, which is

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Speaker 1: after this EPP which is after season four. Very confused,

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Speaker 1: it's so confusing anyway, that's where it's from. At least

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Speaker 1: we now know it's they we did that at some point.

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Speaker 2: Suggestion maybe we did that as a potential like opening

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Speaker 2: credits thing that then got repackaged when we sold into syndication.

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Speaker 2: In other words, we could have done a shoot on

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Speaker 2: our set for cresits that never got used, and then

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Speaker 2: when we sold into syndication in nineteen ninety eight, they

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Speaker 2: decided to use that shoot and the clips from that.

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Speaker 3: The only problem is but the only problem is I

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Speaker 3: remember that shoot and it was not on our set.

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Speaker 3: We went to a stage and actually shot.

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Speaker 2: That, So maybe it was part of our photo shoot photoshoots.

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Speaker 3: Yes, like a photoshoot stage. Yeah, yeah, yeah, yeah.

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Speaker 2: I bet you that was repurposed for the Fox syndication

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Speaker 2: package if it was nineteen ninety eight, because there's no

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Speaker 2: way you would have no clips from season four by

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Speaker 2: nineteen ninety eight exactly.

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Speaker 3: Have we ever talked about Chris Volcare on this show?

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Speaker 3: Do you guys remember Chris full Care?

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Speaker 2: Of course?

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Speaker 1: Do what he did my calendar?

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Speaker 2: He's amazing.

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Speaker 1: You remember UA zero and three.

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Speaker 3: Yeah, he's gone. I mean he's since passed.

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Speaker 1: I know he was.

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Speaker 3: Did he He was in an accident. Something happened and

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Speaker 3: he was in a wheelchair.

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Speaker 1: He was in a wheelchair. Yeah.

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Speaker 3: Every year we would do our photo shoots, and he

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Speaker 3: was the photographer for our photo shoots, and he would

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Speaker 3: always then pull us each aside and do like one

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Speaker 3: artsy picture.

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Speaker 2: It was awesome. Ever our photos for Points Wirl. That

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Speaker 2: was it was outside that we were hiring him independently,

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Speaker 2: Like he did work with us as a group at

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Speaker 2: some point, but it was never it was not an

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Speaker 2: ABC shoot something else. And then we all kept hiring him,

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Speaker 2: like my brother and I hired him from multiple photo

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Speaker 2: shoots because he was so talented and his wife was

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Speaker 2: so nice and was awesome. That was, yeah, he was.

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Speaker 3: He was amazing, And I still will stumble upon some

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Speaker 3: of those pictures like, hey, bring a suit, and you'd

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Speaker 3: be like, why we were doing an He's like, just

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Speaker 3: bring a suit, and then you'd do some random like

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Speaker 3: in the mirror or something that he had thought up,

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Speaker 3: and it was just the greatest pictures I've ever had

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Speaker 3: taken in myself.

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Speaker 1: He was agreed. He was so cool there, and his wife,

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Speaker 1: like you said, was amazing. And zero and three I

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Speaker 1: was I zero remember their names, Yeah, yeah, I was.

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Speaker 1: I was super super into those little doggies. All right,

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Speaker 1: let's jump into our recap. We start in the Matthew's kitchen.

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Speaker 1: Amy is setting out a full breakfast spread as Eric

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Speaker 1: quickly runs down the stairs saying he has to go.

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Speaker 1: It's his morning to open the store. Amy points out

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Speaker 1: that she made a big, nice breakfast. Eric looks at

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Speaker 1: the dining table and enthusiastically says, Oh, he sure did.

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Speaker 1: Then he proceeds to walk right out the door. This

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Speaker 1: is really the only thing there is for you to

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Speaker 1: do in this whole Yeah.

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Speaker 3: And again I'm fine with them running out, Like I

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Speaker 3: I like the setup of that, of that they're just

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Speaker 3: kind of, you know, bailing on breakfast. They're just starting

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Speaker 3: the store there.

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Speaker 2: I thought this was When I first saw this, I

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Speaker 2: was like, Oh, this is the most obligatory, cheesy, one

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Speaker 2: off cold open. And then the fact that it paid

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Speaker 2: off in such a cool way. I was like, yes,

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Speaker 2: what because like I feel like a lesser show because

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Speaker 2: there are there are cold opens for a lot of

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Speaker 2: sitcoms that have no connection to current storyline. It's like

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Speaker 2: a like we just have to put some casts and

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Speaker 2: have a one off joke. And I thought that's what

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Speaker 2: this was. At first. I was like, Oh, this is

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Speaker 2: just like a one page scene to get us in

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Speaker 2: and give Betsy something to do for the episode. And

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Speaker 2: the fact that it comes back, you know, two more

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Speaker 2: times and really pays off at the end. I loved.

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Speaker 2: I was like, oh, man, this is solf.

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Speaker 3: Could have been better. Yeah, I thought the payff could

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00:19:26,400 --> 00:19:28,520
Speaker 3: have been better. I thought there, you know, I think

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Speaker 3: by the fifth time this is happening, you shouldn't be

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Speaker 3: making nine hundred pancakes in the morning.

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Speaker 2: You know.

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Speaker 3: It's like you know that they're going to be running

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Speaker 3: past the door. So at the end, for some reason,

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Speaker 3: everyone has three giant pancakes on empty plates, but she's

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Speaker 3: eating a bowl of fruit.

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Speaker 1: I ideally that she had one point, just a giant

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Speaker 1: bowl of candalop. I was like, does she will not

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Speaker 1: eat anything else?

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Speaker 3: It's just a lot of It didn't make any get

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Speaker 3: what they're going for.

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Speaker 2: Yeah, but it was.

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Speaker 1: It was very Morgan is the next to walk down

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Speaker 1: the stairs as Amy shows off the breakfast again. A

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Speaker 1: car horn beeps from outside, and Morgan excitedly says, there's

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Speaker 1: Tina's mom. She has candy, and she also runs out

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Speaker 1: the door. Then Alan comes downstairs, asking Amy if Eric

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Speaker 1: already left because he forgot the keys to the store.

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Speaker 1: Amy pleads, can't you just sit for five minutes? Alan

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Speaker 1: immediately tells her he'll think the store's closed and take

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Speaker 1: the day off, and then he quickly leaves. Corey is

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Speaker 1: the last to run down the stairs, and it's worth

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Speaker 1: saying here. I love Ben's new hair highlights his hair.

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Speaker 1: I know we commented on it last episode with hair Today,

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Speaker 1: Goon Tomorrow, but I love his hair. It's long, it's

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Speaker 1: got a little bit of like blonde in it. I

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Speaker 1: think it looks so great. He says, hi, and Amy

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00:20:32,680 --> 00:20:35,080
Speaker 1: says rhetorically, you're interration, you're late, and you got to

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Speaker 1: meet Topanga. Let me just make things easier for you

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Speaker 1: and open the door. Cory smiles and tells her had

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Speaker 1: a way to think ahead. And then we're in the

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Speaker 1: John Adams cafeteria. We see the exterior of the high

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Speaker 1: school with some of that brand new surfer acid rock

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00:20:48,240 --> 00:20:51,800
Speaker 1: music we've got for the open playing. Corey and Tapanga

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Speaker 1: are in line for lunch and Corey grins at the

439
00:20:53,760 --> 00:20:57,240
Speaker 1: sight of the lunch lady Brenda. She responds, Hi, Corey,

440
00:21:00,080 --> 00:21:00,879
Speaker 1: but we've never seen it.

441
00:21:00,920 --> 00:21:03,800
Speaker 2: We've seen that side of the cafeteria a thousand now

442
00:21:03,880 --> 00:21:05,800
Speaker 2: you were on stage. We were just at a different

443
00:21:05,880 --> 00:21:06,640
Speaker 2: level of tower.

444
00:21:06,480 --> 00:21:08,000
Speaker 1: Dude, exactly.

445
00:21:08,080 --> 00:21:11,000
Speaker 3: It's like the things that I didn't like, it's where

446
00:21:11,040 --> 00:21:13,159
Speaker 3: it's it was just like, okay, what we didn't notice

447
00:21:13,160 --> 00:21:15,520
Speaker 3: a giant half of the cafeteria.

448
00:21:15,840 --> 00:21:18,479
Speaker 2: Question, how do we have we had any hallway scenes?

449
00:21:18,640 --> 00:21:20,400
Speaker 2: Like I guess we are with the hair today going

450
00:21:20,400 --> 00:21:24,400
Speaker 2: tomorrows in the hallway. I just the school is as

451
00:21:24,680 --> 00:21:27,240
Speaker 2: we've had so many new sets like we haven't like.

452
00:21:27,480 --> 00:21:32,359
Speaker 3: This episode were rolling in dough a just take it,

453
00:21:32,600 --> 00:21:33,359
Speaker 3: just take it.

454
00:21:33,800 --> 00:21:35,639
Speaker 1: Yeah, Disney had been purchased whatever.

455
00:21:35,840 --> 00:21:37,879
Speaker 2: We were like, yeah, Disney bough ABC.

456
00:21:38,440 --> 00:21:41,160
Speaker 1: They were like take all the money.

457
00:21:40,040 --> 00:21:43,000
Speaker 3: I am going I'm going to throw something out here, okay,

458
00:21:43,119 --> 00:21:45,240
Speaker 3: and and we can talk about it. You can call

459
00:21:45,280 --> 00:21:48,040
Speaker 3: me crazy whatever, but you're crazy, thank you. I'm sure

460
00:21:48,080 --> 00:21:51,200
Speaker 3: I am. Something went through my head where if you're

461
00:21:51,200 --> 00:21:53,080
Speaker 3: gonna do it with the character, this to me is

462
00:21:53,080 --> 00:21:54,760
Speaker 3: how it should have been done. The brend of the

463
00:21:54,800 --> 00:21:57,240
Speaker 3: lunch room lady stuff, I get it. I understand it's

464
00:21:57,280 --> 00:22:00,359
Speaker 3: the overlooked person. Totally get that, make sense.

465
00:22:00,480 --> 00:22:03,800
Speaker 2: And next to uh, that's in the morning with the

466
00:22:03,800 --> 00:22:06,399
Speaker 2: breath right, I mean totally understand where totally understand that.

467
00:22:06,640 --> 00:22:13,120
Speaker 3: But if you're not bringing back mister Williams anyway, why

468
00:22:13,160 --> 00:22:15,119
Speaker 3: not have it mister Williams that's killed.

469
00:22:15,440 --> 00:22:18,440
Speaker 2: That's too. I think that would be too devastating for

470
00:22:18,640 --> 00:22:19,760
Speaker 2: the audience wouldn't it.

471
00:22:19,800 --> 00:22:21,040
Speaker 3: Why really? Why?

472
00:22:21,320 --> 00:22:24,160
Speaker 2: I mean, because the point is it's somebody that Corey it's.

473
00:22:24,160 --> 00:22:26,160
Speaker 2: The point is that it's somebody that you took for granted.

474
00:22:26,200 --> 00:22:29,520
Speaker 2: And I think if it was mister Williams and the last.

475
00:22:29,400 --> 00:22:32,199
Speaker 3: Year talking about how essentially mister Williams was taken for

476
00:22:32,240 --> 00:22:33,960
Speaker 3: granted the entire time he was there.

477
00:22:33,920 --> 00:22:36,360
Speaker 2: Totally, But I think for the audience that would actually

478
00:22:36,680 --> 00:22:38,800
Speaker 2: like the whole point is that it's somebody that that

479
00:22:38,840 --> 00:22:41,359
Speaker 2: the audience hasn't has has has not known.

480
00:22:41,440 --> 00:22:42,840
Speaker 3: No. I mean again, I get it, I get they

481
00:22:42,880 --> 00:22:45,720
Speaker 3: would have to tweak the story, but I think there's

482
00:22:45,760 --> 00:22:49,199
Speaker 3: something more that could have been, something super impactful about

483
00:22:49,240 --> 00:22:52,240
Speaker 3: a character we actually knew a little bit that had

484
00:22:52,240 --> 00:22:55,360
Speaker 3: been overlooked, then somebody they're just introducing.

485
00:22:55,760 --> 00:22:58,679
Speaker 1: Think the other thing too, though, is that one of

486
00:22:58,720 --> 00:23:01,080
Speaker 1: the tie ins for this, because at first it kind

487
00:23:01,080 --> 00:23:03,760
Speaker 1: of bumped me a little bit, where, uh, Corey's like,

488
00:23:04,119 --> 00:23:07,080
Speaker 1: you know, making breakfast for all those kids, some kind

489
00:23:07,080 --> 00:23:09,960
Speaker 1: of life, huh, And I thought that's a weird assumption

490
00:23:10,080 --> 00:23:13,080
Speaker 1: that somebody's job is their entire life, that like her,

491
00:23:13,240 --> 00:23:15,239
Speaker 1: she didn't have any sort of life outside of it.

492
00:23:15,280 --> 00:23:18,080
Speaker 1: And then in the next scene about it, they specifically

493
00:23:18,119 --> 00:23:20,119
Speaker 1: address it. Did she have a family? It was like

494
00:23:20,160 --> 00:23:22,199
Speaker 1: they they talked about that. So it ended up not

495
00:23:22,280 --> 00:23:24,080
Speaker 1: bumping me at all because it ended up being more

496
00:23:24,080 --> 00:23:27,920
Speaker 1: of a conversation too. For this to land as much,

497
00:23:28,119 --> 00:23:31,120
Speaker 1: it really has to be that this person loved it,

498
00:23:31,160 --> 00:23:33,639
Speaker 1: but it was kind of their entire life, and we

499
00:23:33,880 --> 00:23:37,280
Speaker 1: had already established mister Williams as having a big producer job,

500
00:23:37,359 --> 00:23:38,080
Speaker 1: and and.

501
00:23:38,119 --> 00:23:40,480
Speaker 3: Again you'd have to tweet the whole story.

502
00:23:40,520 --> 00:23:42,040
Speaker 2: But I just I don't think it is the same story.

503
00:23:42,480 --> 00:23:45,080
Speaker 2: I mean, that's that becomes about the loss of somebody

504
00:23:45,240 --> 00:23:48,000
Speaker 2: that you know that we're not supposed to feel the

505
00:23:48,040 --> 00:23:50,320
Speaker 2: loss of Brenda. That's the point, Like as an audience,

506
00:23:50,520 --> 00:23:54,000
Speaker 2: we're supposed to feel like Corey's sense of like, but

507
00:23:54,119 --> 00:23:58,080
Speaker 2: I didn't even really get to know this person. It's yeah, right, but.

508
00:23:58,040 --> 00:24:00,240
Speaker 3: There's two But but then led to this as thing

509
00:24:00,240 --> 00:24:02,280
Speaker 3: and I get how they and again the writing is

510
00:24:02,359 --> 00:24:05,000
Speaker 3: very interesting how they did this, but it led to

511
00:24:05,080 --> 00:24:07,159
Speaker 3: something we have yet to see on this show. And

512
00:24:07,200 --> 00:24:09,920
Speaker 3: I'm not sure I dislike it. It's just there's essentially

513
00:24:10,040 --> 00:24:15,720
Speaker 3: two a stories, which is Brenda dying and then Verna

514
00:24:15,800 --> 00:24:18,760
Speaker 3: leaving there's not really a B story because those two

515
00:24:18,760 --> 00:24:20,880
Speaker 3: stories end up tying in together.

516
00:24:21,560 --> 00:24:25,560
Speaker 2: Well, but I would say Corey, I would say a

517
00:24:26,160 --> 00:24:28,480
Speaker 2: story is that's a good point. Yeah, I mean, I

518
00:24:28,520 --> 00:24:30,400
Speaker 2: guess you're right, they are equivalent, But I would say

519
00:24:30,560 --> 00:24:33,480
Speaker 2: Corey is in both right, He's he's the leader of

520
00:24:33,480 --> 00:24:35,400
Speaker 2: both of them, which is really good writing. I mean

521
00:24:35,440 --> 00:24:39,600
Speaker 2: for him to navigate two different storylines's.

522
00:24:38,600 --> 00:24:42,120
Speaker 3: Two a storylines that then have to be connected. That's

523
00:24:42,119 --> 00:24:44,080
Speaker 3: why the balance fe felt a little off to me

524
00:24:44,119 --> 00:24:47,400
Speaker 3: a little bit, because it was it seemed like it's

525
00:24:47,400 --> 00:24:49,280
Speaker 3: not that you needed to focus on one. But then

526
00:24:49,640 --> 00:24:52,119
Speaker 3: I would have personally, and I get the payoff with

527
00:24:52,160 --> 00:24:54,440
Speaker 3: Amy and Allen all that stuff, but there are episodes

528
00:24:54,440 --> 00:24:57,359
Speaker 3: that I wasn't in. I would have personally either taken

529
00:24:57,400 --> 00:24:59,879
Speaker 3: out Frankie and the Little Kid, which didn't make any s,

530
00:25:00,960 --> 00:25:04,160
Speaker 3: or take out the whole storyline with Eric and Allen

531
00:25:04,240 --> 00:25:05,280
Speaker 3: and Amy and do.

532
00:25:05,280 --> 00:25:08,879
Speaker 1: That late Rinky and Herman are literally there only for

533
00:25:08,960 --> 00:25:12,119
Speaker 1: the misdirect of both times you think it's Verna. Both

534
00:25:12,160 --> 00:25:14,639
Speaker 1: times there's a knock at the door, the audience goes

535
00:25:15,320 --> 00:25:16,080
Speaker 1: there she is.

536
00:25:16,119 --> 00:25:18,600
Speaker 2: And I think they just needed last too, because there's

537
00:25:18,720 --> 00:25:22,480
Speaker 2: no humor otherwise. Now they were like, I agree with

538
00:25:22,480 --> 00:25:25,240
Speaker 2: you about the balance, but that's that's only if you

539
00:25:25,240 --> 00:25:29,199
Speaker 2: think of this as a sitcom. It is, but no,

540
00:25:29,280 --> 00:25:32,040
Speaker 2: I know, but I'm saying like, I think this episode

541
00:25:32,080 --> 00:25:36,000
Speaker 2: is an example of Boym's World reaching and I think

542
00:25:36,200 --> 00:25:38,919
Speaker 2: you either like that or don't. But I feel like

543
00:25:39,160 --> 00:25:42,639
Speaker 2: this is it's it's interesting that Matt Nelson episode. I

544
00:25:42,640 --> 00:25:45,399
Speaker 2: didn't quite realize that because I was thinking of it

545
00:25:45,440 --> 00:25:48,199
Speaker 2: in terms of Michael J. Jacobs. This is a play.

546
00:25:48,359 --> 00:25:51,680
Speaker 2: This feels very much like this, and Matt Nelson was

547
00:25:51,720 --> 00:25:53,960
Speaker 2: a play right went before he joined Boyman's World. And

548
00:25:54,000 --> 00:25:58,119
Speaker 2: I think that they were really feeling a if you

549
00:25:58,119 --> 00:26:01,480
Speaker 2: think about the nineties theater scene in which both Michael

550
00:26:01,560 --> 00:26:05,320
Speaker 2: and Matt came from, it was dominated by Sam Shepherd,

551
00:26:05,440 --> 00:26:10,720
Speaker 2: which is which is sad families and parks with Southern accents.

552
00:26:11,080 --> 00:26:14,560
Speaker 2: Absolutely there's a there's like I kept feeling this longing

553
00:26:14,800 --> 00:26:18,199
Speaker 2: for the show to be this sort of something that

554
00:26:18,480 --> 00:26:21,600
Speaker 2: it wasn't yet you know that it could be. And

555
00:26:21,640 --> 00:26:25,280
Speaker 2: I saw our writers and our whole team me and

556
00:26:25,520 --> 00:26:28,600
Speaker 2: included sort of stepping into this idea of like let's

557
00:26:28,600 --> 00:26:32,160
Speaker 2: have a stage play, Like let's have a dramatic stage play,

558
00:26:32,480 --> 00:26:34,639
Speaker 2: and it's you know, it's in her performance in particular,

559
00:26:34,760 --> 00:26:36,359
Speaker 2: she's carrying it. But even if you look at the

560
00:26:36,359 --> 00:26:38,679
Speaker 2: way Chet is acting, you know, Blake is kind of

561
00:26:38,680 --> 00:26:40,760
Speaker 2: wasted in this episode in the sense that he's not

562
00:26:41,440 --> 00:26:45,080
Speaker 2: he's he's not doing he's not doing Chet the way

563
00:26:45,119 --> 00:26:48,280
Speaker 2: we were introduced to Jet. Chet is suddenly the sort

564
00:26:48,320 --> 00:26:52,520
Speaker 2: of like sad patriarch of a like a Sam Shepherd play.

565
00:26:52,680 --> 00:26:55,480
Speaker 2: And that was I was like kind of fascinated by it.

566
00:26:55,480 --> 00:26:57,840
Speaker 3: It felt it did feel a little off, but I

567
00:26:57,880 --> 00:27:01,119
Speaker 3: have to say, like because of her performance, Blake's performance,

568
00:27:01,400 --> 00:27:03,919
Speaker 3: and like all the stuff with the Highway, like, I

569
00:27:03,960 --> 00:27:05,919
Speaker 3: feel like it kind of tied together. I thought it

570
00:27:05,960 --> 00:27:09,200
Speaker 3: kind of worked well. Again, I don't disagree. But when

571
00:27:09,240 --> 00:27:11,280
Speaker 3: you when you're coming into a show, when you've now

572
00:27:11,359 --> 00:27:14,560
Speaker 3: got you open with a new character that's dying and

573
00:27:14,640 --> 00:27:17,320
Speaker 3: a new stage, a new set we've never seen. You

574
00:27:17,359 --> 00:27:20,080
Speaker 3: then go to the second set we've never seen, introducing

575
00:27:20,080 --> 00:27:22,760
Speaker 3: a new character with Frankie's little brother, and that's now

576
00:27:22,800 --> 00:27:25,439
Speaker 3: the comic relief, this dynamic that we've never seen before.

577
00:27:25,920 --> 00:27:31,159
Speaker 3: There's no there was no anchor to the world of

578
00:27:31,200 --> 00:27:34,520
Speaker 3: Boy Meets World that we knew. No, but no, no, no,

579
00:27:34,840 --> 00:27:36,800
Speaker 3: but but Corey was not in anywhere we'd ever seen

580
00:27:36,880 --> 00:27:39,720
Speaker 3: him before. Corey's in camera angles we'd never seen before,

581
00:27:39,720 --> 00:27:42,440
Speaker 3: talking to characters we've never seen before. He's in a

582
00:27:42,480 --> 00:27:43,960
Speaker 3: funeral set we've never seen before.

583
00:27:44,000 --> 00:27:45,879
Speaker 2: No, I agree, it's a stretch, but I think it

584
00:27:45,920 --> 00:27:47,919
Speaker 2: works like I would much rather stretch in this direction

585
00:27:47,960 --> 00:27:49,159
Speaker 2: than like Disney World.

586
00:27:49,359 --> 00:27:52,400
Speaker 3: Oh no, you are agreed, But that's I think. Then

587
00:27:52,480 --> 00:27:55,119
Speaker 3: you do some sort of a B story that's still

588
00:27:55,200 --> 00:27:57,760
Speaker 3: anchored in some sort of comedy and anchored in the

589
00:27:57,800 --> 00:28:00,520
Speaker 3: boy meets World world that we knew. I think I

590
00:28:00,560 --> 00:28:02,480
Speaker 3: just think it would have helped the balance of the episode.

591
00:28:02,520 --> 00:28:05,880
Speaker 3: I know what you're saying, but I think that, Like, yeah,

592
00:28:05,960 --> 00:28:07,480
Speaker 3: I think they pulled it off. I think there's something

593
00:28:07,560 --> 00:28:09,200
Speaker 3: really interesting about this this episode.

594
00:28:09,240 --> 00:28:11,719
Speaker 1: And also didn't feel bumped by the cafeteria as much

595
00:28:11,760 --> 00:28:13,680
Speaker 1: as you guys did. I know we've done a bunch

596
00:28:13,720 --> 00:28:15,560
Speaker 1: I remember stuff with the bullies back kind of in

597
00:28:15,600 --> 00:28:17,440
Speaker 1: that corner where at one point in time we did

598
00:28:17,480 --> 00:28:19,600
Speaker 1: pretend that there was a lunch person back there. Sure,

599
00:28:19,640 --> 00:28:22,400
Speaker 1: I didn't feel as bumped. To me, the cafeteria felt

600
00:28:22,560 --> 00:28:25,080
Speaker 1: just like normal school like.

601
00:28:25,040 --> 00:28:27,080
Speaker 3: Yeah, it felt weird to me because again, it's angles

602
00:28:27,080 --> 00:28:28,360
Speaker 3: you've never seen before, it's Corey.

603
00:28:28,160 --> 00:28:30,840
Speaker 1: And it's a different shots the thing, all.

604
00:28:30,720 --> 00:28:31,400
Speaker 3: Those different shots.

605
00:28:31,440 --> 00:28:31,760
Speaker 1: That's true.

606
00:28:31,800 --> 00:28:33,840
Speaker 3: And again it wasn't. It's that like, I didn't dislike

607
00:28:33,960 --> 00:28:36,840
Speaker 3: the episode. It just it felt like a completely different

608
00:28:36,880 --> 00:28:39,760
Speaker 3: television show to me. Yeah, and that's not necessarily a

609
00:28:39,800 --> 00:28:41,600
Speaker 3: bad thing, but it was one where it took me

610
00:28:41,640 --> 00:28:41,960
Speaker 3: out of.

611
00:28:41,880 --> 00:28:42,440
Speaker 2: It a little bit.

612
00:28:54,200 --> 00:28:57,600
Speaker 1: So she responds, Hi, Corey, my little tiger likes his gravy,

613
00:28:57,720 --> 00:29:00,920
Speaker 1: doesn't he? He responds, Corey likes the way Brenda does it.

614
00:29:01,080 --> 00:29:03,440
Speaker 1: Corey starts to narrate her every move. She builds a

615
00:29:03,520 --> 00:29:05,960
Speaker 1: nice potato mountain, and then she turns it into a

616
00:29:06,000 --> 00:29:10,120
Speaker 1: horrible volcano of doom. Tapanga looks at him confused. He continues,

617
00:29:10,160 --> 00:29:12,840
Speaker 1: look at the lava running down the volcano. Run piece,

618
00:29:12,960 --> 00:29:15,840
Speaker 1: hide behind the roll. He asks a disturbed to Panga,

619
00:29:15,920 --> 00:29:18,600
Speaker 1: what you don't see that? Tapanga asks if there's any

620
00:29:18,600 --> 00:29:21,040
Speaker 1: more cherry pie, and Brenda tells her she's sorry, but

621
00:29:21,080 --> 00:29:25,640
Speaker 1: they're all out. And then Brenda realizes she accidentally hid

622
00:29:25,640 --> 00:29:26,480
Speaker 1: a piece under it.

623
00:29:26,760 --> 00:29:31,440
Speaker 2: I just know she's gonna die, right, I mean special

624
00:29:32,040 --> 00:29:34,800
Speaker 2: Cory but she is also super sweet Aga.

625
00:29:35,640 --> 00:29:37,960
Speaker 3: The only thing she's missing is the red Star Trek shirt.

626
00:29:38,040 --> 00:29:40,560
Speaker 3: Like this woman's dead, like exactly.

627
00:29:41,040 --> 00:29:42,640
Speaker 2: I was surprised.

628
00:29:42,680 --> 00:29:43,000
Speaker 4: This is.

629
00:29:43,520 --> 00:29:46,080
Speaker 2: I directed an episode of Girl Meat's World that was

630
00:29:46,240 --> 00:29:49,600
Speaker 2: essentially this hole. Do you remember this with Chross Leachman

631
00:29:50,360 --> 00:29:51,840
Speaker 2: Girl Meats Pluto. I think it was the name of

632
00:29:51,880 --> 00:29:57,200
Speaker 2: the episode. Yeah, same thing. It's again. Somebody's serving food

633
00:29:57,840 --> 00:30:03,479
Speaker 2: in missus the you guys and it becomes to hang out.

634
00:30:04,440 --> 00:30:04,640
Speaker 1: Yeah.

635
00:30:04,880 --> 00:30:08,360
Speaker 2: Kowski, she's a Polish. It's a Polish and she's money.

636
00:30:08,400 --> 00:30:11,320
Speaker 2: It's Claus Leechman. I got to direct Chloris Leachman and

637
00:30:11,360 --> 00:30:13,080
Speaker 2: one over last school was great.

638
00:30:13,120 --> 00:30:13,800
Speaker 1: God bless you.

639
00:30:14,240 --> 00:30:16,400
Speaker 2: Yeah, she was a lot so funny.

640
00:30:19,040 --> 00:30:19,840
Speaker 1: God love her.

641
00:30:20,920 --> 00:30:22,520
Speaker 2: She flashed. She was in a movie with my brother

642
00:30:22,560 --> 00:30:24,080
Speaker 2: when he was twelve, and she flashed him.

643
00:30:24,560 --> 00:30:30,280
Speaker 1: Yeah. I was told a really incredible story and I

644
00:30:30,360 --> 00:30:34,600
Speaker 1: was told by everybody, Uh, hide your hair. I'm sorry, what,

645
00:30:35,360 --> 00:30:38,000
Speaker 1: Hide your hair as much as you possibly can. She

646
00:30:38,240 --> 00:30:43,040
Speaker 1: does not like women with good hair. Just keep your

647
00:30:43,040 --> 00:30:44,840
Speaker 1: hair away from her. And I was like, I don't understand.

648
00:30:44,880 --> 00:30:47,960
Speaker 1: And then I heard a story and I won't I'll

649
00:30:48,000 --> 00:30:49,560
Speaker 1: tell you the story, but I won't tell you who

650
00:30:49,600 --> 00:30:51,760
Speaker 1: the celebrity is that it happened to, because the celebrity

651
00:30:51,800 --> 00:30:54,320
Speaker 1: I don't think is ever publicly told the story, so

652
00:30:54,400 --> 00:30:56,480
Speaker 1: I won't say who it was. But on a show,

653
00:30:56,560 --> 00:30:59,640
Speaker 1: Chlorus Leachman was on the star of the show, was

654
00:30:59,680 --> 00:31:01,440
Speaker 1: in the hair and makeup room and was getting her

655
00:31:01,440 --> 00:31:03,240
Speaker 1: hair done and she had all of her hair over

656
00:31:03,280 --> 00:31:05,720
Speaker 1: her shoulder and Chloris Leachman walked up to her and

657
00:31:05,800 --> 00:31:08,720
Speaker 1: was like, you always fussing with your hair and messing

658
00:31:08,720 --> 00:31:10,800
Speaker 1: with your hair, and she picked up a pair of

659
00:31:10,840 --> 00:31:19,040
Speaker 1: scissors and just literally chopped a chunk of this celebrity's hair.

660
00:31:19,280 --> 00:31:22,000
Speaker 1: And then they had to do extensions and the whole

661
00:31:22,000 --> 00:31:24,720
Speaker 1: thing and didn't.

662
00:31:24,520 --> 00:31:26,959
Speaker 2: Get fired because Cloras Leishman don't give up.

663
00:31:28,000 --> 00:31:28,480
Speaker 1: She does not.

664
00:31:28,720 --> 00:31:30,480
Speaker 2: And then want to be one of those old actors

665
00:31:30,480 --> 00:31:32,280
Speaker 2: who just likes.

666
00:31:32,520 --> 00:31:35,320
Speaker 1: Be an actor writer, you'd have to know exactly.

667
00:31:34,800 --> 00:31:36,720
Speaker 2: Hey, I'll do it again if it could be like

668
00:31:36,880 --> 00:31:38,880
Speaker 2: sixty plus walk on a set and be like, no,

669
00:31:38,960 --> 00:31:41,480
Speaker 2: I'm gonna cut people's hair. She was so I mean,

670
00:31:41,520 --> 00:31:43,680
Speaker 2: I love directing her. She was great to me. We'd

671
00:31:43,720 --> 00:31:45,960
Speaker 2: have cue cards for her. But she was sweet and

672
00:31:46,120 --> 00:31:47,959
Speaker 2: funny and you never knew what the day was going

673
00:31:47,960 --> 00:31:49,480
Speaker 2: to bring in a rehearsal. I loved it.

674
00:31:49,560 --> 00:31:52,280
Speaker 1: Yeah, but yeah it was fun anyway, Yes, you're right there,

675
00:31:52,440 --> 00:31:54,080
Speaker 1: there was a Girl meets World tie into all.

676
00:31:54,000 --> 00:31:57,640
Speaker 2: This anyway, So not only was that that storyline recycled,

677
00:31:57,680 --> 00:32:00,480
Speaker 2: like almost Beatyan, you know the fact that this old,

678
00:32:00,960 --> 00:32:04,200
Speaker 2: older woman who's like serving food disappears and the kid

679
00:32:04,240 --> 00:32:05,920
Speaker 2: has to sort of come to terms with the fact that, like,

680
00:32:05,960 --> 00:32:08,240
Speaker 2: I always took this person for granted. So like repeat

681
00:32:08,280 --> 00:32:13,080
Speaker 2: that the set, the trailer set, the Shawn's house set

682
00:32:13,360 --> 00:32:16,600
Speaker 2: is exactly the set when we did Girl meets Texas,

683
00:32:16,840 --> 00:32:18,400
Speaker 2: where like we did going to a text which you

684
00:32:18,400 --> 00:32:21,800
Speaker 2: probably don't remember. Dane, Sean and I directed two episodes

685
00:32:21,800 --> 00:32:24,240
Speaker 2: of Girl. It's the same living room. It's like the

686
00:32:24,360 --> 00:32:27,400
Speaker 2: exact same layout that one happened a porch. But otherwise

687
00:32:27,400 --> 00:32:30,240
Speaker 2: I was like, this is crazy. Anyway, two things recycled

688
00:32:30,240 --> 00:32:32,440
Speaker 2: than Girl in Me World that I'd never realized we're recycled.

689
00:32:33,280 --> 00:32:35,640
Speaker 1: So Sean comes running into the cafeteria telling Corey he

690
00:32:35,680 --> 00:32:38,040
Speaker 1: has a major problem. Corey, I'll out to Panga and

691
00:32:38,040 --> 00:32:40,920
Speaker 1: Brenda tells him you never let me down. Sean. Sean

692
00:32:40,920 --> 00:32:42,760
Speaker 1: asks a question we all wonder when thinking of the

693
00:32:42,760 --> 00:32:45,440
Speaker 1: Boy Meets World timeline. How long has it been since

694
00:32:45,440 --> 00:32:47,760
Speaker 1: I've seen my mother? Corey scoffs, you mean since she

695
00:32:47,800 --> 00:32:49,760
Speaker 1: took her a little vacation. Sean barks at him. She

696
00:32:49,840 --> 00:32:52,520
Speaker 1: ran away for a year. Deal with it, Corey, I have,

697
00:32:52,880 --> 00:32:56,280
Speaker 1: Corey comments, and you're doing much better. Sean blurts out,

698
00:32:56,320 --> 00:32:58,400
Speaker 1: I saw my mom, Corey. She was right across the

699
00:32:58,400 --> 00:33:01,000
Speaker 1: street at the Trailer View Motel. She was looking through

700
00:33:01,000 --> 00:33:04,360
Speaker 1: her window at our trailer. He tells Corey, his mom

701
00:33:04,640 --> 00:33:05,240
Speaker 1: is back.

702
00:33:05,720 --> 00:33:07,520
Speaker 2: Now this it has to have been at least a

703
00:33:07,560 --> 00:33:09,480
Speaker 2: year and a half to two years, because it was

704
00:33:09,520 --> 00:33:12,760
Speaker 2: the end of season two that she took off, right, So.

705
00:33:12,640 --> 00:33:15,400
Speaker 1: We are working for her all season, right, all season.

706
00:33:15,440 --> 00:33:16,520
Speaker 1: I think they're just looking at her.

707
00:33:16,600 --> 00:33:20,160
Speaker 2: I established the season three lasted way longer than a year,

708
00:33:20,240 --> 00:33:23,080
Speaker 2: because there was like I don't know, sorry, and because

709
00:33:23,080 --> 00:33:23,320
Speaker 2: we had.

710
00:33:24,960 --> 00:33:26,320
Speaker 1: And then there was the whole Then there was the

711
00:33:26,320 --> 00:33:28,960
Speaker 1: whole summer because we you know, you were so.

712
00:33:28,920 --> 00:33:30,960
Speaker 2: I think it's been two years since Vernon left, but.

713
00:33:31,440 --> 00:33:33,320
Speaker 3: There was a summer where Sean and Tepanga were hooking

714
00:33:33,400 --> 00:33:34,840
Speaker 3: up the whole time while Corey was gone.

715
00:33:34,920 --> 00:33:37,320
Speaker 1: Right exactly as we all we all know that we've

716
00:33:37,320 --> 00:33:40,760
Speaker 1: set that up. Then we get emotional commercial strings going

717
00:33:40,800 --> 00:33:44,560
Speaker 1: into the Hunter's trailer with an exterior shot. Sean and

718
00:33:44,600 --> 00:33:47,280
Speaker 1: Corey tell Chet the news. Chet is confused. He searched

719
00:33:47,280 --> 00:33:49,160
Speaker 1: for her all last year over the United States and

720
00:33:49,200 --> 00:33:51,720
Speaker 1: you find her right across the highway. Sean is positive

721
00:33:51,760 --> 00:33:54,640
Speaker 1: it's her. Chet asks more questions how long she been there?

722
00:33:54,640 --> 00:33:56,960
Speaker 1: How does she look when she coming home? And this

723
00:33:57,080 --> 00:33:59,800
Speaker 1: question that he asks, how does she look? Could have

724
00:33:59,840 --> 00:34:04,840
Speaker 1: been played so many ways for comedy, But I feel

725
00:34:04,840 --> 00:34:07,440
Speaker 1: like the choice that whether it was Blake or he

726
00:34:07,560 --> 00:34:08,959
Speaker 1: was told how to play it this way, I feel

727
00:34:08,960 --> 00:34:12,520
Speaker 1: like it was like a concerned line read like how

728
00:34:12,560 --> 00:34:15,600
Speaker 1: does she look? Do you think there's ever a possibility?

729
00:34:16,120 --> 00:34:18,280
Speaker 1: And you we end up finding out later in the episode.

730
00:34:18,320 --> 00:34:19,920
Speaker 1: Doesn't seem like it's being played that way at all.

731
00:34:19,960 --> 00:34:21,839
Speaker 1: But my first thought when he read it that way

732
00:34:22,040 --> 00:34:24,160
Speaker 1: was are they trying to say, like, maybe she has

733
00:34:24,200 --> 00:34:26,600
Speaker 1: a drug problem?

734
00:34:26,719 --> 00:34:28,759
Speaker 2: See it's funny?

735
00:34:28,800 --> 00:34:32,480
Speaker 3: Sue asked if they were trying to imply as the

736
00:34:32,520 --> 00:34:36,320
Speaker 3: episode went on that Blake had been physical with.

737
00:34:36,200 --> 00:34:42,760
Speaker 2: Her, right, well, I think, but when when Chet is dying,

738
00:34:42,960 --> 00:34:45,680
Speaker 2: I make references to him having been drunk a lot

739
00:34:45,680 --> 00:34:46,200
Speaker 2: of my child.

740
00:34:46,719 --> 00:34:48,480
Speaker 3: Okay, so I he was in drinker.

741
00:34:48,600 --> 00:34:50,879
Speaker 2: The idea is that Hugh's the drinker, He's the one

742
00:34:50,880 --> 00:34:54,919
Speaker 2: with the substance abuse, and potentially I don't I don't

743
00:34:54,920 --> 00:34:56,840
Speaker 2: think that he's been physical with her. That seems a

744
00:34:56,880 --> 00:34:57,880
Speaker 2: little dark.

745
00:34:57,920 --> 00:35:01,319
Speaker 1: The fact that Verna mentioned so many times, she never

746
00:35:01,360 --> 00:35:03,880
Speaker 1: even says that he needs to be a better husband.

747
00:35:04,400 --> 00:35:07,600
Speaker 1: Her big thing is the father thing. She mentions like,

748
00:35:07,719 --> 00:35:10,239
Speaker 1: we were all unhappy. We were three people who were

749
00:35:10,320 --> 00:35:12,720
Speaker 1: unhappy living under the same roof. And if I'm gonna

750
00:35:12,760 --> 00:35:15,400
Speaker 1: stay there, I need I want to be a better wife,

751
00:35:15,480 --> 00:35:17,399
Speaker 1: and I want to be a better mother. But if

752
00:35:17,400 --> 00:35:19,600
Speaker 1: I'm gonna stay I need to know that he also

753
00:35:19,680 --> 00:35:21,200
Speaker 1: wants to be a better father.

754
00:35:21,280 --> 00:35:22,840
Speaker 2: Right, which is what he sort of does through the

755
00:35:22,840 --> 00:35:25,120
Speaker 2: course of this episode. But looking at if she becomes

756
00:35:25,200 --> 00:35:26,000
Speaker 2: more interested.

757
00:35:25,680 --> 00:35:27,520
Speaker 1: In me because and that's what she says, she wants

758
00:35:27,560 --> 00:35:29,080
Speaker 1: to see with her own two eyes. That's why she's

759
00:35:29,120 --> 00:35:31,120
Speaker 1: watching from across the way. She wants to see is

760
00:35:31,160 --> 00:35:32,560
Speaker 1: he really engaged?

761
00:35:32,880 --> 00:35:35,160
Speaker 3: And I think that's it was very interesting how they

762
00:35:35,160 --> 00:35:39,080
Speaker 3: brought that up. But it if you and again, families

763
00:35:39,080 --> 00:35:42,000
Speaker 3: are families. But if they allude to the fact that

764
00:35:42,080 --> 00:35:45,080
Speaker 3: Chet is a drinker, and she doesn't want to be

765
00:35:45,120 --> 00:35:48,239
Speaker 3: around that. Why leave your kid with that to see

766
00:35:48,320 --> 00:35:51,239
Speaker 3: if the alcoholic becomes a better dad, Why don't, know,

767
00:35:51,320 --> 00:35:52,640
Speaker 3: take your kid with you.

768
00:35:53,000 --> 00:35:55,279
Speaker 1: I know, the only thing in this whole episode that

769
00:35:55,320 --> 00:35:57,759
Speaker 1: bumped me is when Corey compliments her for being a

770
00:35:57,760 --> 00:36:01,440
Speaker 1: good mother, right. I bumped me because I was like,

771
00:36:01,680 --> 00:36:05,239
Speaker 1: let's not go too far. You might say, it's really

772
00:36:05,280 --> 00:36:09,120
Speaker 1: great that she's come to the realization that she and

773
00:36:09,160 --> 00:36:11,360
Speaker 1: she knows that she did the worst thing ever by leaving.

774
00:36:11,600 --> 00:36:15,160
Speaker 1: Like it's self aware and yes, for she.

775
00:36:15,200 --> 00:36:17,120
Speaker 3: Saw it a little with the letters she'd actually been

776
00:36:17,120 --> 00:36:18,600
Speaker 3: writing Sean the entire time.

777
00:36:18,640 --> 00:36:20,879
Speaker 1: Though, But if you're gonna leave, you take that kid

778
00:36:20,880 --> 00:36:24,480
Speaker 1: with you. The abandon your husband, you don't abandon your kid.

779
00:36:24,680 --> 00:36:25,520
Speaker 3: That's what I thought too.

780
00:36:25,760 --> 00:36:28,000
Speaker 2: Yeah, but I think that that's the point, right, And

781
00:36:28,120 --> 00:36:31,040
Speaker 2: I think she's she's trying to be I mean, that's

782
00:36:31,040 --> 00:36:33,239
Speaker 2: what I love about I mean, that's what I think

783
00:36:33,320 --> 00:36:37,640
Speaker 2: Shawn's family offers that you know, Corey's family can't like

784
00:36:37,800 --> 00:36:41,640
Speaker 2: the idea is that the Matthews are the platonic ideal

785
00:36:41,719 --> 00:36:44,680
Speaker 2: of the American family. Like that, and and so to

786
00:36:44,719 --> 00:36:47,120
Speaker 2: a degree that they can be flawed. They can't be

787
00:36:47,280 --> 00:36:51,879
Speaker 2: like bad parents ultimately, whereas Sean's parents can be bad

788
00:36:51,960 --> 00:36:55,520
Speaker 2: parents ultimately. And I think that that that's sort of

789
00:36:55,520 --> 00:36:57,759
Speaker 2: a great diconomy that boy Mean's world offers. And you know,

790
00:36:57,800 --> 00:37:00,520
Speaker 2: this is why I think people them up to me

791
00:37:00,520 --> 00:37:02,799
Speaker 2: all the time and are like, you're You're the one

792
00:37:02,840 --> 00:37:05,239
Speaker 2: I related to on the show because I felt like

793
00:37:05,480 --> 00:37:07,439
Speaker 2: I had messed up parents or I you know, even

794
00:37:07,440 --> 00:37:10,000
Speaker 2: if I felt loved, they couldn't do it. They couldn't

795
00:37:10,000 --> 00:37:12,040
Speaker 2: do their job the way they knew that they should.

796
00:37:12,239 --> 00:37:15,040
Speaker 2: And that's what I love is that. But both Chet

797
00:37:15,040 --> 00:37:18,400
Speaker 2: and Verna are not actually bad people. They're not villains.

798
00:37:18,520 --> 00:37:23,480
Speaker 2: They're actually funny, they're charing, they're sensitive. They just also

799
00:37:23,600 --> 00:37:24,799
Speaker 2: can't do the thing that.

800
00:37:25,040 --> 00:37:27,760
Speaker 3: I think that's great actually, but they also I agree

801
00:37:27,800 --> 00:37:29,719
Speaker 3: if they'd written to that more, but it seemed like

802
00:37:29,800 --> 00:37:31,440
Speaker 3: they wrote it in a way where they tried to

803
00:37:31,480 --> 00:37:33,799
Speaker 3: make it towards the end seem like what she did

804
00:37:33,880 --> 00:37:38,160
Speaker 3: was actually altruistic. I left my son because it was

805
00:37:38,200 --> 00:37:40,200
Speaker 3: the best thing for our family, and it's like, no,

806
00:37:40,320 --> 00:37:41,160
Speaker 3: you just ditched your kid.

807
00:37:41,800 --> 00:37:43,799
Speaker 1: Yeah, no, I agree, I don't. I don't think they

808
00:37:43,840 --> 00:37:45,440
Speaker 1: tried to make it. See. I I don't think they

809
00:37:45,480 --> 00:37:47,400
Speaker 1: tried to make it seem altruistic. I do. I agree

810
00:37:47,400 --> 00:37:50,719
Speaker 1: with writer that I do think they I think they

811
00:37:50,719 --> 00:37:55,719
Speaker 1: did a really good job of making them extremely flawed.

812
00:37:55,880 --> 00:37:57,160
Speaker 3: Oh yeah, I love the brokenness.

813
00:37:57,160 --> 00:38:00,120
Speaker 2: It's great without. But here's the thing. It's brokenness without

814
00:38:00,120 --> 00:38:02,400
Speaker 2: because if it had been too specific, like if it

815
00:38:02,440 --> 00:38:04,759
Speaker 2: had literally been like you beat our son, or you

816
00:38:04,800 --> 00:38:06,839
Speaker 2: punched me that one time, or you drank too much

817
00:38:06,840 --> 00:38:11,000
Speaker 2: and got in jail, like, then we're veering into I

818
00:38:11,000 --> 00:38:16,279
Speaker 2: think what's positive about the sort of Like usually in

819
00:38:16,320 --> 00:38:18,520
Speaker 2: good Storytaellling, you say specificity is better, right, Like you

820
00:38:18,560 --> 00:38:20,960
Speaker 2: want to be as specific as possible. But in this case,

821
00:38:21,080 --> 00:38:25,520
Speaker 2: on a kid's show, if there's any really like solvable

822
00:38:25,600 --> 00:38:29,280
Speaker 2: problem or something broken that one person did, it becomes

823
00:38:29,360 --> 00:38:31,560
Speaker 2: too specific and kids are no longer going to be

824
00:38:31,600 --> 00:38:34,160
Speaker 2: able to relate to it. And I think the way

825
00:38:34,200 --> 00:38:36,880
Speaker 2: it's sort of written for Sean and Corey's point of view,

826
00:38:36,960 --> 00:38:38,960
Speaker 2: it's written for a teenager to be able to look

827
00:38:38,960 --> 00:38:41,960
Speaker 2: at their parents and say, my mom might still love

828
00:38:42,040 --> 00:38:43,920
Speaker 2: me even though she did this thing that hurt me

829
00:38:44,000 --> 00:38:47,120
Speaker 2: a lot, and that is more valuable overall at the

830
00:38:47,160 --> 00:38:51,359
Speaker 2: storytelling than like detailing why exactly she did something right

831
00:38:51,480 --> 00:38:51,759
Speaker 2: or wrong?

832
00:38:52,000 --> 00:38:54,760
Speaker 3: Do you remember? Do you remember in the next couple

833
00:38:54,800 --> 00:38:57,360
Speaker 3: episodes she's in Do you remember at all? Because Sean

834
00:38:57,440 --> 00:39:01,279
Speaker 3: is obviously gone after Blake a few times with you

835
00:39:01,320 --> 00:39:02,719
Speaker 3: weren't there for me? Or you did this or you

836
00:39:02,760 --> 00:39:05,560
Speaker 3: took off? Does he ever have that moment with Ferna too?

837
00:39:06,200 --> 00:39:07,040
Speaker 3: Do you remember if is.

838
00:39:07,040 --> 00:39:09,160
Speaker 2: There ever a moment of like I remember, I don't remember.

839
00:39:09,320 --> 00:39:11,960
Speaker 3: Yeah, I wish he has that for some reason, And.

840
00:39:11,960 --> 00:39:13,680
Speaker 2: Maybe it's just because I watched this episode. I feel

841
00:39:13,680 --> 00:39:16,520
Speaker 2: like Ben ended up interacting with Vernon more well way

842
00:39:16,520 --> 00:39:18,920
Speaker 2: more did not just in this episode. I feel like

843
00:39:19,000 --> 00:39:21,640
Speaker 2: that happens a lot like for the rest of you. Yes,

844
00:39:21,680 --> 00:39:25,120
Speaker 2: I'm trying to remember. I don't know, Like I don't. Yeah,

845
00:39:25,520 --> 00:39:26,040
Speaker 2: I wonder.

846
00:39:25,840 --> 00:39:27,719
Speaker 3: If he goes after her too, where it's like, you know,

847
00:39:27,880 --> 00:39:30,120
Speaker 3: yeah he was a bad father, but you you also

848
00:39:30,160 --> 00:39:30,600
Speaker 3: took off.

849
00:39:30,960 --> 00:39:33,160
Speaker 1: Yeah, I wont be interesting to see if that comes up.

850
00:39:33,320 --> 00:39:34,000
Speaker 3: Yeah.

851
00:39:34,080 --> 00:39:36,160
Speaker 1: So Sean admits he hasn't gone over there yet. He's

852
00:39:36,200 --> 00:39:38,040
Speaker 1: afraid he's going to chase her away again, and Cheat

853
00:39:38,080 --> 00:39:40,919
Speaker 1: assures him, you didn't chase her away. You're the only

854
00:39:40,920 --> 00:39:43,200
Speaker 1: reason she stayed here as long as she did. Sean

855
00:39:43,239 --> 00:39:45,239
Speaker 1: feels touched by this, and he thanks his dad for

856
00:39:45,280 --> 00:39:48,279
Speaker 1: saying it. Jet questions why she's over there spying on them.

857
00:39:48,320 --> 00:39:52,160
Speaker 1: She's probably after his secret plans. Corey's confused. What secret plans?

858
00:39:52,320 --> 00:39:55,640
Speaker 1: Nice try, Corky, Jet replies. Corky returns, I was I

859
00:39:55,680 --> 00:39:56,000
Speaker 1: love that.

860
00:39:56,280 --> 00:39:58,040
Speaker 3: Me too, Daniel screamed, I'm sure.

861
00:39:59,080 --> 00:40:02,080
Speaker 2: Corky, I love it. But I also love this distinction

862
00:40:02,280 --> 00:40:05,080
Speaker 2: because then she remembers Corey perfectly. And I love that,

863
00:40:05,200 --> 00:40:08,080
Speaker 2: like we've already established a chit as nice as he

864
00:40:08,160 --> 00:40:10,680
Speaker 2: is as Truman is no clue who Shawn's best friend

865
00:40:10,760 --> 00:40:13,560
Speaker 2: is whereas And it's a really good technique to make

866
00:40:13,640 --> 00:40:17,239
Speaker 2: her instantly more sympathetic because she did run away, right,

867
00:40:17,320 --> 00:40:18,240
Speaker 2: But then she's giving.

868
00:40:18,040 --> 00:40:19,480
Speaker 1: Her likable qualities.

869
00:40:19,640 --> 00:40:21,920
Speaker 2: Yeah, yes, keeps track of Sean's life. She knows who

870
00:40:21,960 --> 00:40:24,080
Speaker 2: his friends are, and you know she is mothering in

871
00:40:24,080 --> 00:40:26,400
Speaker 2: a way that Chet has not been fothering. I don't know,

872
00:40:26,440 --> 00:40:29,400
Speaker 2: it's complicated, it's complicated absolutely.

873
00:40:29,880 --> 00:40:31,920
Speaker 1: Corey reminds them, you've been looking for this woman for

874
00:40:31,960 --> 00:40:33,640
Speaker 1: a year and now you found her. Now go get

875
00:40:33,640 --> 00:40:36,200
Speaker 1: her before she leaves again. Chet immediately turns this down.

876
00:40:36,239 --> 00:40:39,200
Speaker 1: He compares Verna to a beautiful butterfly that sat down

877
00:40:39,239 --> 00:40:41,080
Speaker 1: on a branch next to you. If you so much

878
00:40:41,120 --> 00:40:43,279
Speaker 1: is breathe wrong, it'll fly away and you'll never see

879
00:40:43,280 --> 00:40:46,480
Speaker 1: it again. Sean agrees it's a very delicate situation. He

880
00:40:46,520 --> 00:40:48,640
Speaker 1: tells Chet what they need is someone who won't be

881
00:40:48,640 --> 00:40:50,880
Speaker 1: thought of as a threat. They both look over at Corey,

882
00:40:50,920 --> 00:40:54,919
Speaker 1: who magically has two monarch butterflies perched on his hand

883
00:40:54,960 --> 00:40:55,760
Speaker 1: and his shoulder.

884
00:40:55,880 --> 00:40:58,680
Speaker 3: It's the shoulder one that got me on the hand,

885
00:40:58,719 --> 00:41:00,960
Speaker 3: that's first, and then it's just the shoulder too.

886
00:41:01,080 --> 00:41:02,600
Speaker 1: I didn't even see it at first, and then I

887
00:41:02,640 --> 00:41:03,960
Speaker 1: went back. I was like, oh my gosh, there's a

888
00:41:04,000 --> 00:41:07,840
Speaker 1: second one talking sweet to the little creatures. This is

889
00:41:08,520 --> 00:41:13,960
Speaker 1: peak Ben Savage. It is just beautiful, brilliant. Sean and

890
00:41:14,000 --> 00:41:17,239
Speaker 1: Ched are both thinking the same thing. Corey unknowingly asks what,

891
00:41:17,920 --> 00:41:22,000
Speaker 1: And then we're at the Trailer View Motel, another news set.

892
00:41:22,360 --> 00:41:25,839
Speaker 1: Corey knocks on hotel room number nineteen and Verna new

893
00:41:25,960 --> 00:41:29,480
Speaker 1: character reveal alert answers. She says, come on in, Corey,

894
00:41:29,600 --> 00:41:32,759
Speaker 1: I've been expecting you. Corey asks her you were Yeah,

895
00:41:32,800 --> 00:41:35,240
Speaker 1: She explains she saw him through the window crossing the turnpike,

896
00:41:35,719 --> 00:41:38,160
Speaker 1: Corey touches his heart and earnestly says, then you know

897
00:41:38,200 --> 00:41:42,240
Speaker 1: how lucky I am to be alive. Verna kisses his cheek.

898
00:41:42,480 --> 00:41:44,440
Speaker 1: It's nice to see him. He's growing up to be

899
00:41:44,520 --> 00:41:48,239
Speaker 1: real handsome. And then I love this moment because Charene,

900
00:41:48,400 --> 00:41:53,000
Speaker 1: the actress, notices that she left the lipstick mark on

901
00:41:53,160 --> 00:41:56,200
Speaker 1: his cheek, and she reaches over and she wipes it

902
00:41:56,239 --> 00:41:57,000
Speaker 1: off his cheek.

903
00:41:57,600 --> 00:42:00,000
Speaker 2: Naturalistic acting moment, just real.

904
00:41:59,719 --> 00:42:03,040
Speaker 1: Moment where she also knows if I don't get this

905
00:42:03,080 --> 00:42:06,279
Speaker 1: lipstick off his cheek, it's gonna screw up continuity and

906
00:42:06,400 --> 00:42:09,000
Speaker 1: it's and it's a maternal thing to do. It worked

907
00:42:09,239 --> 00:42:14,439
Speaker 1: so perfectly. Actor love it. Corey awkwardly explains, look, I'm

908
00:42:14,480 --> 00:42:16,480
Speaker 1: just here to tell you on behalf of them, and

909
00:42:16,480 --> 00:42:19,279
Speaker 1: then under his breath he says, couple of chickens, which

910
00:42:19,280 --> 00:42:21,959
Speaker 1: I thought was great. That they miss you very much.

911
00:42:22,120 --> 00:42:25,200
Speaker 1: She tells him she misses them too. Corey questions, well,

912
00:42:25,239 --> 00:42:27,160
Speaker 1: if they miss you and you miss them, then why

913
00:42:27,160 --> 00:42:29,840
Speaker 1: aren't you guys together? And she sighs she could just

914
00:42:29,880 --> 00:42:32,080
Speaker 1: go over there for a big emotional reunion, but after

915
00:42:32,120 --> 00:42:34,920
Speaker 1: five minutes, then where would we be and Corey answers,

916
00:42:35,000 --> 00:42:37,719
Speaker 1: you'd be a family. Verna shakes her head, saying no,

917
00:42:37,880 --> 00:42:40,799
Speaker 1: we'd just be together. I left because we were three

918
00:42:40,880 --> 00:42:44,200
Speaker 1: unhappy people living under the same tin roof. Just being

919
00:42:44,239 --> 00:42:47,000
Speaker 1: married doesn't make you a good husband and wife, and

920
00:42:47,160 --> 00:42:49,239
Speaker 1: just having a little boy doesn't make you a good

921
00:42:49,280 --> 00:42:52,600
Speaker 1: father and mother. I love this, I love it.

922
00:42:52,600 --> 00:42:56,719
Speaker 3: It's great. It's great. It means so much more with

923
00:42:57,000 --> 00:42:59,279
Speaker 3: Chet too, when you remember, which is something that is

924
00:42:59,360 --> 00:43:01,480
Speaker 3: used as a joke, but it's part of the continuity

925
00:43:01,880 --> 00:43:05,359
Speaker 3: that there's also a Stacy, and there's also a Jack So,

926
00:43:05,560 --> 00:43:07,560
Speaker 3: and there's also an it was it Eddie. He's got

927
00:43:07,600 --> 00:43:11,280
Speaker 3: like four kids, right, so that's you know, he's maybe

928
00:43:11,320 --> 00:43:13,640
Speaker 3: trying to make it okay with Sean now, but you

929
00:43:13,719 --> 00:43:17,879
Speaker 3: forget that this man has fathered four children. So yeah,

930
00:43:17,920 --> 00:43:20,840
Speaker 3: there's there's a lot more there, a lot of layers.

931
00:43:21,719 --> 00:43:24,680
Speaker 1: So Corey understands. Verna admits, I know I have no

932
00:43:24,800 --> 00:43:27,080
Speaker 1: right to hope for anything because I left my family.

933
00:43:27,200 --> 00:43:29,399
Speaker 1: But in that time I learned that all I want

934
00:43:29,400 --> 00:43:31,040
Speaker 1: to be is a good wife and a good mother.

935
00:43:31,200 --> 00:43:33,160
Speaker 1: But I need to know that Chet wants to be

936
00:43:33,200 --> 00:43:35,640
Speaker 1: a good father too. Corey says, he can go back

937
00:43:35,640 --> 00:43:37,520
Speaker 1: and tell them that Verna breaks it to him. It

938
00:43:37,560 --> 00:43:40,160
Speaker 1: doesn't help coming from you, but for my family, I

939
00:43:40,280 --> 00:43:43,000
Speaker 1: need to see it happen in its own time. Corey

940
00:43:43,040 --> 00:43:45,160
Speaker 1: asks how long that'll be, and she smiles, telling him,

941
00:43:45,360 --> 00:43:47,600
Speaker 1: if you want to take back a message, tell Sean

942
00:43:47,640 --> 00:43:49,640
Speaker 1: I love him, and you give him a big kiss

943
00:43:49,760 --> 00:43:52,760
Speaker 1: right on the lips for me. Corey awkwardly nods, assuring

944
00:43:52,800 --> 00:43:56,399
Speaker 1: he will do some version of that, And then we're

945
00:43:56,440 --> 00:43:59,440
Speaker 1: back in the Hunter's trailer. And in this scene, I

946
00:43:59,440 --> 00:44:01,440
Speaker 1: don't know if you noticed it too, but I noticed

947
00:44:01,440 --> 00:44:04,399
Speaker 1: the skyline of New York on his wall.

948
00:44:04,840 --> 00:44:07,400
Speaker 2: The wall pictures are so interesting, but I'm weird. Pretty

949
00:44:07,400 --> 00:44:09,480
Speaker 2: sure this is the one where he comes back in

950
00:44:09,520 --> 00:44:12,160
Speaker 2: and I'm at the kitchen table with Jet.

951
00:44:12,800 --> 00:44:13,879
Speaker 3: There's no idea what I'm doing.

952
00:44:14,040 --> 00:44:14,719
Speaker 2: What am I doing.

953
00:44:15,520 --> 00:44:17,040
Speaker 3: I'm sitting didn't even notice.

954
00:44:17,160 --> 00:44:18,640
Speaker 2: It looks like I'm holding it, looks like I have

955
00:44:18,680 --> 00:44:20,719
Speaker 2: a model in front of me. Something white is on

956
00:44:20,800 --> 00:44:21,640
Speaker 2: the table, and.

957
00:44:21,960 --> 00:44:23,640
Speaker 1: Maybe you're putting together a paper airplane.

958
00:44:23,760 --> 00:44:25,600
Speaker 2: I have no idea. I thought I was waiting for

959
00:44:25,640 --> 00:44:26,960
Speaker 2: it to come back, like, oh, I got to get

960
00:44:27,000 --> 00:44:29,239
Speaker 2: back to my school project or building my model of

961
00:44:29,280 --> 00:44:32,400
Speaker 2: the trailer park or whatever, and it's like, never reverent.

962
00:44:32,560 --> 00:44:35,360
Speaker 2: I'm clearly engaged with something at the kitchen tables, Like

963
00:44:35,400 --> 00:44:36,240
Speaker 2: that is the weirdest.

964
00:44:36,640 --> 00:44:38,680
Speaker 3: I wonder if it was you or it was props.

965
00:44:38,680 --> 00:44:40,160
Speaker 3: I wonder if it was you going like I need

966
00:44:40,200 --> 00:44:40,839
Speaker 3: something to do.

967
00:44:41,239 --> 00:44:43,320
Speaker 2: Yeah, I definitely need something to do because we're just

968
00:44:43,320 --> 00:44:45,879
Speaker 2: sitting around waiting. He's like reading the paper, I think,

969
00:44:45,880 --> 00:44:47,839
Speaker 2: and I'm at the kitchen table. But there's like I

970
00:44:47,920 --> 00:44:50,239
Speaker 2: was like, what what what? Why? What am I doing?

971
00:44:50,520 --> 00:44:52,759
Speaker 2: So weird? But I guess Sean couldn't be reading right,

972
00:44:52,760 --> 00:44:53,880
Speaker 2: that doesn't fit the character.

973
00:44:54,160 --> 00:44:58,239
Speaker 1: So these these these pictures on the wall. One of

974
00:44:58,280 --> 00:45:00,600
Speaker 1: the reasons I always notice them. There's such time capsules

975
00:45:00,640 --> 00:45:03,359
Speaker 1: because the skyline of New York is very obvious. Twin

976
00:45:03,480 --> 00:45:04,760
Speaker 1: towers photo.

977
00:45:05,160 --> 00:45:09,520
Speaker 3: There's a car, there's there's around bus, there's a desert scape.

978
00:45:09,600 --> 00:45:11,840
Speaker 3: It was a weird like, yeah, it was all like

979
00:45:11,880 --> 00:45:14,960
Speaker 3: sort of generic like stuff. I was like, there's no

980
00:45:15,040 --> 00:45:15,800
Speaker 3: family photos.

981
00:45:15,840 --> 00:45:18,239
Speaker 2: And also like, I don't know, it felt like Chet

982
00:45:18,280 --> 00:45:20,319
Speaker 2: would have a little bit more of his own personality

983
00:45:20,320 --> 00:45:22,600
Speaker 2: in there, like a little I don't know what, but like, yeah,

984
00:45:22,840 --> 00:45:26,520
Speaker 2: it's generally felt that they dialed back the chetness of

985
00:45:26,520 --> 00:45:30,160
Speaker 2: this entire episode and Blake. I can tell that Blake

986
00:45:30,320 --> 00:45:33,080
Speaker 2: is you know, I mean he he I remember him

987
00:45:33,080 --> 00:45:35,880
Speaker 2: telling me that like he felt changed by the experience

988
00:45:35,880 --> 00:45:38,560
Speaker 2: of Boy Meets World as an actor because he had

989
00:45:38,640 --> 00:45:42,120
Speaker 2: never done he was always playing joke characters, you know,

990
00:45:42,160 --> 00:45:44,719
Speaker 2: he was always and especially when we did his death,

991
00:45:44,760 --> 00:45:47,200
Speaker 2: I remember him like, you know, giving me a big

992
00:45:47,280 --> 00:45:49,320
Speaker 2: hug and being like this has been a life changing,

993
00:45:49,400 --> 00:45:51,560
Speaker 2: Like this has been so great to be able to

994
00:45:51,600 --> 00:45:54,120
Speaker 2: act with you, and and and I could feel him

995
00:45:55,160 --> 00:45:57,399
Speaker 2: in a good way, uncomfortable, do you know what I mean,

996
00:45:57,840 --> 00:45:59,880
Speaker 2: in a way that that like Chet is not you

997
00:46:00,200 --> 00:46:02,080
Speaker 2: to this, and I think Blake wasn't quite used to

998
00:46:02,120 --> 00:46:04,400
Speaker 2: it doesn't act for these kinds of scenes to be

999
00:46:04,480 --> 00:46:07,200
Speaker 2: having to like have these conversations and and and look

1000
00:46:07,239 --> 00:46:09,120
Speaker 2: an actress in the eye like her, and you know,

1001
00:46:09,160 --> 00:46:11,600
Speaker 2: it's just it's good. It's like yeah again, I feel

1002
00:46:11,640 --> 00:46:14,440
Speaker 2: like we're stretching in a way that is weird for sure,

1003
00:46:15,760 --> 00:46:18,400
Speaker 2: but I I know where it's coming from, you know

1004
00:46:18,440 --> 00:46:20,200
Speaker 2: what I mean, Like it's coming from the play. The

1005
00:46:20,239 --> 00:46:21,560
Speaker 2: play tradition that the and.

1006
00:46:21,480 --> 00:46:23,640
Speaker 3: I love that I love that I still think would

1007
00:46:23,680 --> 00:46:24,839
Speaker 3: like to have had a little bit of a boy

1008
00:46:24,880 --> 00:46:25,799
Speaker 3: meuts world anchor to it.

1009
00:46:25,960 --> 00:46:26,640
Speaker 2: That's all I'm saying.

1010
00:46:26,680 --> 00:46:31,560
Speaker 3: But here's the other thing, logistically, is that the trailer

1011
00:46:31,680 --> 00:46:33,799
Speaker 3: that you grew up in she took off with that.

1012
00:46:33,920 --> 00:46:39,480
Speaker 3: Did Jet ever get that back? Because yeah, because there

1013
00:46:39,480 --> 00:46:41,759
Speaker 3: wouldn't be family photos like it would just be like

1014
00:46:42,040 --> 00:46:45,360
Speaker 3: they moved into another trailer at the at the trailer park.

1015
00:46:45,640 --> 00:46:48,160
Speaker 3: Right if he didn't get I can't remember if he

1016
00:46:48,200 --> 00:46:49,319
Speaker 3: says he got it back or now.

1017
00:46:49,320 --> 00:46:50,759
Speaker 2: I mean, none of it makes any sense because the

1018
00:46:50,800 --> 00:46:53,200
Speaker 2: real the truth is when people live in a trailer

1019
00:46:53,200 --> 00:46:55,360
Speaker 2: in a trailer park, you're talking about mobile homes or

1020
00:46:55,360 --> 00:46:58,080
Speaker 2: like prey fab homes, and they're not built on wheels

1021
00:46:58,120 --> 00:47:00,920
Speaker 2: most often, like they're usually just like the way this looks,

1022
00:47:00,960 --> 00:47:04,360
Speaker 2: you know, they're they're not ready to roll. They're actually

1023
00:47:04,440 --> 00:47:05,800
Speaker 2: just prefabouts.

1024
00:47:05,920 --> 00:47:07,880
Speaker 3: Actually there are wheels.

1025
00:47:07,680 --> 00:47:08,560
Speaker 1: Yeah, sometimes there are.

1026
00:47:08,600 --> 00:47:11,120
Speaker 2: Sometimes there are most of the time.

1027
00:47:11,680 --> 00:47:14,640
Speaker 1: Apparently we got a lot of Instagram comments from people

1028
00:47:14,719 --> 00:47:17,840
Speaker 1: saying that Chet did get the trailer back. It was

1029
00:47:17,880 --> 00:47:21,640
Speaker 1: apparently at some point other people heard we did not

1030
00:47:21,719 --> 00:47:23,879
Speaker 1: remember it, but that there was like a throwaway line

1031
00:47:23,880 --> 00:47:25,160
Speaker 1: about him getting the trailer back.

1032
00:47:25,200 --> 00:47:26,560
Speaker 3: Okay, it might be when he was on the phone

1033
00:47:26,600 --> 00:47:29,360
Speaker 3: at the gas station. Maybe yeah, something like that. Okay,

1034
00:47:29,400 --> 00:47:30,520
Speaker 3: So it's so it is the trailer.

1035
00:47:30,800 --> 00:47:33,920
Speaker 1: So the idea, the fan theory is that it is

1036
00:47:33,960 --> 00:47:35,000
Speaker 1: the original trailer.

1037
00:47:35,080 --> 00:47:37,120
Speaker 3: So this the first time we saw this trailer, I

1038
00:47:37,120 --> 00:47:39,840
Speaker 3: think is the first time we saw the inside.

1039
00:47:40,200 --> 00:47:42,640
Speaker 1: So Chet and Sean here angry car horns, just as

1040
00:47:42,680 --> 00:47:45,360
Speaker 1: Corey angrily pushes his way into the trailer. Eight lanes

1041
00:47:45,400 --> 00:47:47,920
Speaker 1: and not one stinkn island. You gotta be Moses to

1042
00:47:47,960 --> 00:47:50,360
Speaker 1: get across that highway, and it's just recurring.

1043
00:47:50,800 --> 00:47:54,160
Speaker 2: I love and again this feels very theatrical, like the

1044
00:47:54,239 --> 00:47:57,560
Speaker 2: idea of having an off screen action sequence that you

1045
00:47:57,840 --> 00:48:00,680
Speaker 2: just reference with dialogue were referring to, and then it

1046
00:48:00,719 --> 00:48:03,080
Speaker 2: becomes a joke, and then it becomes kind of a metaphor. Yes,

1047
00:48:03,280 --> 00:48:04,400
Speaker 2: that's great writing.

1048
00:48:04,560 --> 00:48:05,520
Speaker 1: I love I love it.

1049
00:48:05,600 --> 00:48:08,120
Speaker 3: I would have added car horns. I would have added

1050
00:48:08,800 --> 00:48:11,200
Speaker 3: the car screeching in the car horns and then him

1051
00:48:11,200 --> 00:48:12,440
Speaker 3: coming like all disheveled like.

1052
00:48:13,560 --> 00:48:15,799
Speaker 2: And when Frankie is like saying goodbye and giving off

1053
00:48:15,840 --> 00:48:18,600
Speaker 2: his worm. I hope that I'm not the idea of

1054
00:48:18,600 --> 00:48:21,680
Speaker 2: this like terrifying frogg Or freeway right outside the door

1055
00:48:22,040 --> 00:48:23,360
Speaker 2: I love it so brilliant.

1056
00:48:23,719 --> 00:48:36,960
Speaker 1: I know it's so good. So Chet cuts right to

1057
00:48:37,000 --> 00:48:39,000
Speaker 1: the chase. Well, Moses, is she in or is she out?

1058
00:48:39,160 --> 00:48:40,920
Speaker 1: Corey tells them the only thing I can tell you

1059
00:48:41,000 --> 00:48:42,680
Speaker 1: is she's going to be watching you from right where

1060
00:48:42,719 --> 00:48:46,200
Speaker 1: she is. Chet declares, that's creepy and somewhat exciting.

1061
00:48:46,360 --> 00:48:50,800
Speaker 2: I love it. I love so clever, totally tossed away.

1062
00:48:50,800 --> 00:48:54,720
Speaker 2: But I was like a little love it. I love

1063
00:48:54,719 --> 00:48:56,000
Speaker 2: a Disney show, but I love it.

1064
00:48:56,080 --> 00:48:59,799
Speaker 1: Here Sean asks what now, and Chet answers, guess. We

1065
00:49:00,160 --> 00:49:02,040
Speaker 1: stand next to the window and try to look appealing.

1066
00:49:02,280 --> 00:49:04,400
Speaker 1: They get real close to the window and force a smile,

1067
00:49:04,600 --> 00:49:06,600
Speaker 1: arms around each other trying to get her attention.

1068
00:49:06,800 --> 00:49:09,319
Speaker 2: And you're right, there are awkward camera angles in this

1069
00:49:09,880 --> 00:49:12,000
Speaker 2: and this is one of them. They're like outside of

1070
00:49:12,000 --> 00:49:14,480
Speaker 2: the trailer, and there is the idea that we literally

1071
00:49:14,560 --> 00:49:17,040
Speaker 2: turned towards the cameras and the windows right there. Yeah,

1072
00:49:17,040 --> 00:49:19,600
Speaker 2: so like yeah, yeah, felt very close, right, felt like

1073
00:49:19,640 --> 00:49:21,319
Speaker 2: we were a little too deep into the set for

1074
00:49:21,440 --> 00:49:22,000
Speaker 2: I don't know.

1075
00:49:22,440 --> 00:49:24,320
Speaker 1: But I mean, but it is a trailer, so you figure,

1076
00:49:24,320 --> 00:49:25,560
Speaker 1: how deep could it possibly be?

1077
00:49:26,239 --> 00:49:26,399
Speaker 3: Right?

1078
00:49:26,840 --> 00:49:29,000
Speaker 1: You know, it's it's not going to be It's not

1079
00:49:29,000 --> 00:49:30,640
Speaker 1: going to be a house. It's not gonna be the Matthews.

1080
00:49:31,120 --> 00:49:33,000
Speaker 2: I just wish we were taking a step towards the

1081
00:49:33,040 --> 00:49:35,680
Speaker 2: cameras and then moved off camera and then you cut

1082
00:49:35,680 --> 00:49:38,400
Speaker 2: to outside. Something about it just as awkward. But yeah whatever,

1083
00:49:38,719 --> 00:49:41,960
Speaker 2: anytime sitcoms try and do fourth wall stuff, it gets weird.

1084
00:49:42,320 --> 00:49:45,279
Speaker 1: Yeah. Well, I I thought this was so cute, and

1085
00:49:45,320 --> 00:49:50,640
Speaker 1: I love those little smile and the way Blake does

1086
00:49:50,760 --> 00:49:56,200
Speaker 1: little like it is just it. I loved it. So

1087
00:49:56,239 --> 00:49:58,600
Speaker 1: then we're back at John Adams Cafeteria to Pega wonders

1088
00:49:58,600 --> 00:50:00,400
Speaker 1: where Brenda is. She's never been s a day in

1089
00:50:00,400 --> 00:50:02,960
Speaker 1: her life. Corey, back in a collared shirt, tight jeans

1090
00:50:02,960 --> 00:50:06,400
Speaker 1: and a structure belt, thinks she's probably playing hooky. Topanga

1091
00:50:06,440 --> 00:50:08,759
Speaker 1: asks where would a lunch room lady play hooky, which

1092
00:50:08,800 --> 00:50:11,719
Speaker 1: is just a weird thing to ask. She would play

1093
00:50:11,719 --> 00:50:14,920
Speaker 1: hooky where everyone else plays hooky, which is at the

1094
00:50:14,960 --> 00:50:17,160
Speaker 1: Tapanga Mall with an ice splendid shopping for bras at

1095
00:50:17,160 --> 00:50:19,160
Speaker 1: the Tapanga Mall. Like that's yeah, that's where she would

1096
00:50:19,480 --> 00:50:20,080
Speaker 1: everyone does.

1097
00:50:20,160 --> 00:50:23,200
Speaker 3: That's three thousand miles from Philly to Tanga Mall.

1098
00:50:23,239 --> 00:50:26,640
Speaker 1: That's just me, that's just you interesting. Well, Phoenie walks

1099
00:50:26,640 --> 00:50:29,719
Speaker 1: into the cafeteria asking for everyone's attention. He informs the

1100
00:50:29,719 --> 00:50:33,280
Speaker 1: students that Brenda Hibbert their lunch room lady Steve Hibbert away.

1101
00:50:33,560 --> 00:50:36,279
Speaker 2: Yeah, Steve Hibbert, who's joined our staff this year. I

1102
00:50:36,280 --> 00:50:36,680
Speaker 2: think so.

1103
00:50:36,800 --> 00:50:37,600
Speaker 3: He's a new writer.

1104
00:50:38,040 --> 00:50:39,360
Speaker 1: They used his last name, A.

1105
00:50:39,320 --> 00:50:40,480
Speaker 2: Great writer of chick like me.

1106
00:50:40,760 --> 00:50:42,680
Speaker 3: And again not to not to do the things that

1107
00:50:42,719 --> 00:50:44,560
Speaker 3: we did. All I know, people are getting sick of

1108
00:50:44,600 --> 00:50:46,640
Speaker 3: us talking about why Alex was an on a Rining visit.

1109
00:50:46,800 --> 00:50:49,960
Speaker 3: But Tony Quinn is obviously in this episode. Why not

1110
00:50:50,080 --> 00:50:53,600
Speaker 3: throw him into the cafeteria scene right or two? He's there?

1111
00:50:53,640 --> 00:50:55,840
Speaker 2: Probably did, man, I mean, there's so much dialogue in

1112
00:50:55,840 --> 00:50:58,960
Speaker 2: this episode. They're just cut. But I mean, just if he's.

1113
00:50:58,760 --> 00:51:02,400
Speaker 3: Just there wine in the time, I mean, there's no

1114
00:51:02,520 --> 00:51:04,240
Speaker 3: reason for it, no reason for it.

1115
00:51:04,160 --> 00:51:07,359
Speaker 1: Honestly, probably a favor to him, the fact that he's

1116
00:51:07,400 --> 00:51:09,080
Speaker 1: not there, if he's not going to speak, the fact

1117
00:51:09,120 --> 00:51:09,640
Speaker 1: that he's not.

1118
00:51:11,560 --> 00:51:13,080
Speaker 2: Well, he's a guaranteed amount.

1119
00:51:12,840 --> 00:51:14,759
Speaker 1: Of episodes exactly they were we.

1120
00:51:14,719 --> 00:51:17,560
Speaker 2: Guaranteed like nine out of thirteen or whatever, you know, whatever,

1121
00:51:17,680 --> 00:51:18,120
Speaker 2: put him in.

1122
00:51:18,160 --> 00:51:20,399
Speaker 3: Nine efforts, then actually put him in nine episodes. Don't

1123
00:51:20,400 --> 00:51:21,799
Speaker 3: put him in for one line at the end of

1124
00:51:21,800 --> 00:51:23,080
Speaker 3: a tag, It's like, come on.

1125
00:51:23,440 --> 00:51:25,799
Speaker 1: Yeah, so Cory's in disbelief, mister Feoenie, she was just

1126
00:51:25,840 --> 00:51:28,560
Speaker 1: here yesterday doing the lava on my mashed potato volcano.

1127
00:51:28,840 --> 00:51:31,279
Speaker 1: He apologizes and asks for a moment of silence and

1128
00:51:31,320 --> 00:51:34,520
Speaker 1: her remembrance. Everyone bows their heads and closes their eyes.

1129
00:51:34,760 --> 00:51:36,840
Speaker 1: Once the moment of silence is up, the students go

1130
00:51:36,960 --> 00:51:39,680
Speaker 1: right back to their daily routine. Corey is still rattled.

1131
00:51:39,960 --> 00:51:42,200
Speaker 1: Phoene starts to walk away, but Corey stops him. Aren't

1132
00:51:42,239 --> 00:51:44,160
Speaker 1: we going to do something here, like have an assembly

1133
00:51:44,280 --> 00:51:47,120
Speaker 1: or a ceremony. Phoene pats him on the shoulder. No,

1134
00:51:47,280 --> 00:51:50,160
Speaker 1: there's nothing planned At the moment, Corey and Tapanga are

1135
00:51:50,200 --> 00:51:52,719
Speaker 1: both rattled. Back in the lunchline, Corey gets served his

1136
00:51:52,760 --> 00:51:55,920
Speaker 1: mashed potatoes from a tatted man. It's possibly even an inmate.

1137
00:51:56,080 --> 00:51:58,680
Speaker 1: I don't know. He's taking Brenda's place.

1138
00:51:59,400 --> 00:52:02,280
Speaker 3: Did you notice by the way this poor woman passes away,

1139
00:52:02,719 --> 00:52:06,239
Speaker 3: there's nothing planned for her, and yet the blood drive

1140
00:52:06,320 --> 00:52:06,920
Speaker 3: is still going on.

1141
00:52:08,200 --> 00:52:12,000
Speaker 1: There as two posters behind. Everybody happen no matter what.

1142
00:52:12,080 --> 00:52:13,520
Speaker 1: I don't know what happened to her, but she did

1143
00:52:13,520 --> 00:52:14,080
Speaker 1: not need.

1144
00:52:13,960 --> 00:52:18,120
Speaker 3: To transfusions because there was a blood at John.

1145
00:52:17,920 --> 00:52:22,399
Speaker 1: And I'm sorry, so there's no gravy lava flow. Corey

1146
00:52:22,560 --> 00:52:24,200
Speaker 1: is shocked. It's a sad scene.

1147
00:52:24,760 --> 00:52:25,160
Speaker 3: This is.

1148
00:52:26,719 --> 00:52:30,080
Speaker 1: We give a lot of flack to Corey when we

1149
00:52:30,080 --> 00:52:35,320
Speaker 1: think he's unlikable. I find Corey so likable.

1150
00:52:35,440 --> 00:52:41,120
Speaker 3: Yeah, very sweet, And this whole episode is.

1151
00:52:41,800 --> 00:52:48,040
Speaker 1: At every step he is caring, concerned, questioning. I even

1152
00:52:48,280 --> 00:52:51,799
Speaker 1: love I wrote it. Later, when Verna does ask him

1153
00:52:51,880 --> 00:52:57,640
Speaker 1: for his opinion, it removes any possibility that anyone could

1154
00:52:57,680 --> 00:53:01,360
Speaker 1: say he's overstepping his bounds with with the Hunter family.

1155
00:53:01,719 --> 00:53:04,080
Speaker 1: The fact that she says, well, you've been watching us

1156
00:53:04,120 --> 00:53:06,719
Speaker 1: for a while, now, what do you think this is?

1157
00:53:08,280 --> 00:53:13,160
Speaker 1: Truly makes me love Corey. Everything about this episode I love.

1158
00:53:14,320 --> 00:53:17,160
Speaker 2: I would say this is probably Ben's best performance so

1159
00:53:17,200 --> 00:53:20,640
Speaker 2: great since season one, and I think maybe the best

1160
00:53:20,640 --> 00:53:25,080
Speaker 2: performance ever. And it really starts in the next kitchen scene.

1161
00:53:25,120 --> 00:53:28,399
Speaker 2: After this, I was like, I wrote down, oh my god,

1162
00:53:28,840 --> 00:53:31,359
Speaker 2: Ben is killing the scene, and then it just kept

1163
00:53:31,400 --> 00:53:35,239
Speaker 2: getting better and better, and that, like his stuff with

1164
00:53:35,320 --> 00:53:37,920
Speaker 2: vernon the hotel, Like as the episode end, I ended up,

1165
00:53:37,920 --> 00:53:40,480
Speaker 2: I was like, this might be Ben's greatest performance of

1166
00:53:40,480 --> 00:53:43,280
Speaker 2: Boy meets World History. I think he's so good. It's

1167
00:53:43,360 --> 00:53:47,160
Speaker 2: not just the writing, it's Ben's performance. It's phenomenal, and

1168
00:53:47,200 --> 00:53:50,560
Speaker 2: his balance between those like goofy Corey moments we've already

1169
00:53:50,560 --> 00:53:53,400
Speaker 2: seen a couple of them, and then his ability to

1170
00:53:53,600 --> 00:53:56,399
Speaker 2: thread the needle of sentimentality, like because it's a very

1171
00:53:56,440 --> 00:54:00,719
Speaker 2: sentimental episode, totally very full of expositional dialogue. Everybody's just

1172
00:54:00,760 --> 00:54:03,960
Speaker 2: sitting around talking about how they feel and analyzing themselves

1173
00:54:04,000 --> 00:54:07,839
Speaker 2: as characters in that very boy meets worldway, and that's

1174
00:54:07,880 --> 00:54:11,040
Speaker 2: hard to do and Ben nails it in this episode.

1175
00:54:11,080 --> 00:54:14,080
Speaker 2: And part of it is that he really responds to

1176
00:54:14,120 --> 00:54:16,719
Speaker 2: the actors that he's working with. They just have a chemistry.

1177
00:54:16,960 --> 00:54:18,879
Speaker 2: But he is so solid, so solid.

1178
00:54:19,160 --> 00:54:20,840
Speaker 3: Well, the thing that's interesting is, at the end of

1179
00:54:20,880 --> 00:54:24,839
Speaker 3: the day, with everything going on, it's a Corey episode. Yeah, yeah,

1180
00:54:24,840 --> 00:54:27,600
Speaker 3: which is which it doesn't it shouldn't be, and it's it,

1181
00:54:27,719 --> 00:54:30,319
Speaker 3: but it is. It's a Corey it's Corey finding new things.

1182
00:54:30,520 --> 00:54:32,839
Speaker 1: But it is the anchor that you need. It is

1183
00:54:32,880 --> 00:54:35,160
Speaker 1: like you had said, it is. It does feel like

1184
00:54:35,239 --> 00:54:37,520
Speaker 1: he's the thing that anchors you, reminds you this is

1185
00:54:37,560 --> 00:54:40,239
Speaker 1: boy meets World. So then we are back in the

1186
00:54:40,280 --> 00:54:42,840
Speaker 1: Hunter's trailer. Chet and Sean are still standing by the window.

1187
00:54:42,960 --> 00:54:45,239
Speaker 1: Chet says, this look and appealing is starting to hurt

1188
00:54:45,239 --> 00:54:47,879
Speaker 1: my face. Sean reminds his dad they just have to wait.

1189
00:54:48,000 --> 00:54:50,239
Speaker 1: Chet declares, I don't wait. Well, I say we get her.

1190
00:54:50,280 --> 00:54:51,920
Speaker 1: You go around the back so she can't escape. I'll

1191
00:54:51,960 --> 00:54:55,040
Speaker 1: steal her tires. Chet tries leaving, but Sean blocks him.

1192
00:54:55,080 --> 00:54:57,040
Speaker 1: You chased her across the country for a year, and

1193
00:54:57,040 --> 00:54:59,280
Speaker 1: that was no good for any of us. Check questions,

1194
00:54:59,320 --> 00:55:01,640
Speaker 1: what do you mean any of us? Sean admits it

1195
00:55:01,719 --> 00:55:03,879
Speaker 1: was bad enough losing mom, but I figured at least

1196
00:55:03,960 --> 00:55:05,640
Speaker 1: during that time you and I could have gotten to

1197
00:55:05,640 --> 00:55:06,120
Speaker 1: know each other.

1198
00:55:06,280 --> 00:55:11,320
Speaker 2: Mope, Mope, Sure, I don't think you're mope. It's a

1199
00:55:11,360 --> 00:55:15,360
Speaker 2: little it's these moments. It's the guilt trip be like

1200
00:55:15,719 --> 00:55:18,600
Speaker 2: and you don't love me. It's like, just like the

1201
00:55:18,640 --> 00:55:20,960
Speaker 2: second it becomes about the letters, I'm like, great, now

1202
00:55:21,000 --> 00:55:23,959
Speaker 2: I have like an actual thing to say, like, look

1203
00:55:23,960 --> 00:55:26,239
Speaker 2: here's your mom did that I you didn't do, and

1204
00:55:26,320 --> 00:55:29,280
Speaker 2: like when I have an objective in the scene, it's fine.

1205
00:55:29,280 --> 00:55:31,680
Speaker 2: But when my objective is to just give puppy dog

1206
00:55:31,719 --> 00:55:34,360
Speaker 2: eyes and like I know that my mouth or I

1207
00:55:34,360 --> 00:55:35,800
Speaker 2: am hating it. I hate it.

1208
00:55:37,040 --> 00:55:42,000
Speaker 1: Writer, not your objective. Your objective is Listen, I'm really

1209
00:55:42,120 --> 00:55:45,320
Speaker 1: happy you're back, but can we have a dialogue about

1210
00:55:45,320 --> 00:55:49,200
Speaker 1: the fact that you left? Like he chat's all about

1211
00:55:49,320 --> 00:55:51,399
Speaker 1: Vernon and I'm chasing her and let's we got her here?

1212
00:55:51,640 --> 00:55:52,440
Speaker 1: What about you?

1213
00:55:52,560 --> 00:55:53,000
Speaker 2: What about?

1214
00:55:53,000 --> 00:55:53,160
Speaker 3: Oh?

1215
00:55:53,239 --> 00:55:55,759
Speaker 2: I love that, But I want as an actor to

1216
00:55:55,800 --> 00:55:58,160
Speaker 2: have a real objective, like if my objective is to

1217
00:55:58,320 --> 00:56:00,839
Speaker 2: just look somebody in the eyes and make them feel bad,

1218
00:56:00,880 --> 00:56:03,560
Speaker 2: which is what often happens with Sean me as an

1219
00:56:03,600 --> 00:56:05,920
Speaker 2: actor playing Sean, which is both a fault of the

1220
00:56:05,920 --> 00:56:08,400
Speaker 2: writing sometimes but mostly it's a fault of my acting.

1221
00:56:08,800 --> 00:56:12,040
Speaker 2: It's just bad. It just feels like, oh, God, slap

1222
00:56:12,080 --> 00:56:14,359
Speaker 2: the kid like I don't know, like or just like

1223
00:56:14,680 --> 00:56:16,840
Speaker 2: let him go cry, like why like why are you

1224
00:56:16,880 --> 00:56:19,279
Speaker 2: making it everyone else's problem? Whereas when I go and

1225
00:56:19,320 --> 00:56:21,120
Speaker 2: grab the letters and I'm able to say like here,

1226
00:56:21,280 --> 00:56:25,200
Speaker 2: here's here's you know, then I have like concrete, actual objective,

1227
00:56:25,239 --> 00:56:27,280
Speaker 2: like I'm trying to show you something and get something

1228
00:56:27,320 --> 00:56:30,560
Speaker 2: from you. I don't know, you know, of course I'm super.

1229
00:56:30,560 --> 00:56:32,759
Speaker 1: You're too hard on yourself because also you say the

1230
00:56:32,800 --> 00:56:35,319
Speaker 1: same thing basically like three times in the scene, which

1231
00:56:35,360 --> 00:56:37,520
Speaker 1: is my point that your real objective is to not

1232
00:56:37,680 --> 00:56:41,279
Speaker 1: let him weasel out of the answer, right, And you

1233
00:56:41,320 --> 00:56:42,880
Speaker 1: go at the end of the at the end of

1234
00:56:42,920 --> 00:56:46,400
Speaker 1: the scene, you flat out say why didn't you want

1235
00:56:46,440 --> 00:56:50,200
Speaker 1: to stay? Dad? So to me, you bring it up,

1236
00:56:50,320 --> 00:56:52,280
Speaker 1: and he goes, hey, I made the decision that school

1237
00:56:52,360 --> 00:56:54,000
Speaker 1: was best for you and starts to walk away, and

1238
00:56:54,000 --> 00:56:56,279
Speaker 1: you go, no, no, no, no, come back. I want to

1239
00:56:56,280 --> 00:56:58,120
Speaker 1: talk to you about it again. Look what mom did,

1240
00:56:58,360 --> 00:56:59,880
Speaker 1: because even if you had to leave, look what mom,

1241
00:57:00,520 --> 00:57:01,240
Speaker 1: Even the way.

1242
00:57:01,040 --> 00:57:03,400
Speaker 2: You're saying that is better than my performance, because like

1243
00:57:03,760 --> 00:57:06,520
Speaker 2: I feel like I feel like I feel like writer

1244
00:57:06,719 --> 00:57:09,680
Speaker 2: the actor is aware like what you're because like what

1245
00:57:09,800 --> 00:57:13,520
Speaker 2: I wrote is like asking rhetorical MOPI questions and and

1246
00:57:13,520 --> 00:57:16,320
Speaker 2: and because I know that the scene's gonna end before

1247
00:57:16,320 --> 00:57:18,480
Speaker 2: I'm gonna get an answer, and so you can see

1248
00:57:18,520 --> 00:57:22,040
Speaker 2: me as an actor telegraphing to the audience. I want

1249
00:57:22,040 --> 00:57:24,360
Speaker 2: to ask my dad this tough question and nail him

1250
00:57:24,400 --> 00:57:26,840
Speaker 2: to the wall. And that's the whole point of the scene,

1251
00:57:26,840 --> 00:57:29,920
Speaker 2: as opposed to, hey, Dad, can you answer me? Can

1252
00:57:29,960 --> 00:57:32,200
Speaker 2: you tell me what the hell? I'm not proplaying it

1253
00:57:32,240 --> 00:57:33,400
Speaker 2: that way. I'm playing it like.

1254
00:57:33,400 --> 00:57:36,120
Speaker 3: I want you to know that I feel bad, and

1255
00:57:36,160 --> 00:57:38,480
Speaker 3: like that's just a different object that's just bad acting

1256
00:57:38,520 --> 00:57:40,360
Speaker 3: as opposed to being like, can you answer me?

1257
00:57:40,640 --> 00:57:42,480
Speaker 2: Why won't you? But I know as an actor that

1258
00:57:42,520 --> 00:57:44,880
Speaker 2: the scene's gonna end, the sitcom's gonna fade away, and

1259
00:57:44,920 --> 00:57:46,040
Speaker 2: we're not gonna get that answer.

1260
00:57:46,160 --> 00:57:51,200
Speaker 1: I'm so teenager, You're you're talking from the perspective of

1261
00:57:51,240 --> 00:57:56,600
Speaker 1: a forty four, forty three year old man who can say, listen, dad,

1262
00:57:57,040 --> 00:57:59,200
Speaker 1: I'm not like, this is the day. I'm not gonna

1263
00:57:59,280 --> 00:58:01,360
Speaker 1: let you weasel out of the conversation. But you're not

1264
00:58:01,440 --> 00:58:04,880
Speaker 1: that prepossessed as a teenage boy. Sometimes you just have

1265
00:58:05,000 --> 00:58:08,160
Speaker 1: to Sometimes you do go, you hurt me, daddy, And

1266
00:58:08,200 --> 00:58:10,280
Speaker 1: then he doesn't answer you, and you go, but did

1267
00:58:10,320 --> 00:58:12,360
Speaker 1: you hear me? I said, you hurt me, daddy?

1268
00:58:12,720 --> 00:58:14,240
Speaker 2: Right, So then I guess the better way it would

1269
00:58:14,240 --> 00:58:17,280
Speaker 2: be like to actually play the moping Like I guess

1270
00:58:17,280 --> 00:58:20,400
Speaker 2: I'm kind of caught in between this like direct confrontation

1271
00:58:20,440 --> 00:58:23,000
Speaker 2: where I'm seeking an objective, I'm seeking an answer and

1272
00:58:23,040 --> 00:58:25,560
Speaker 2: a sort of demonstration of my emotionality, which would have

1273
00:58:25,600 --> 00:58:28,440
Speaker 2: been slamming a door or taking a sight or you know,

1274
00:58:28,480 --> 00:58:32,600
Speaker 2: like that actually makes more sense. Dramatic dramaturgically is that

1275
00:58:32,600 --> 00:58:34,840
Speaker 2: the word yeah, Like it makes more sense for Sean

1276
00:58:34,920 --> 00:58:37,760
Speaker 2: to to storm out or like be upset with him

1277
00:58:37,840 --> 00:58:39,880
Speaker 2: or whatever. But instead the show's kind of trying to

1278
00:58:39,880 --> 00:58:41,480
Speaker 2: have it both ways, where it's like I'm nailing you

1279
00:58:41,520 --> 00:58:43,200
Speaker 2: to the wall, but I'm not gonna let it sit

1280
00:58:43,240 --> 00:58:45,000
Speaker 2: for the next twenty minutes until we can resolve the

1281
00:58:45,040 --> 00:58:46,880
Speaker 2: situation in a good sitcom form it, you know, like

1282
00:58:47,280 --> 00:58:49,560
Speaker 2: it's just a def. I don't know. Yeah, I know

1283
00:58:49,600 --> 00:58:50,120
Speaker 2: what you're saying.

1284
00:58:50,520 --> 00:58:52,680
Speaker 1: I loved it. I felt like I got it. I

1285
00:58:52,720 --> 00:58:54,800
Speaker 1: knew what you were doing, I knew that there was

1286
00:58:54,880 --> 00:58:58,520
Speaker 1: This is the this is the way teenagers demand when

1287
00:58:58,520 --> 00:59:01,720
Speaker 1: they know that they don't really it's hard to demand

1288
00:59:01,760 --> 00:59:03,800
Speaker 1: from a parent when you're a teenager. You don't feel

1289
00:59:03,840 --> 00:59:06,000
Speaker 1: like you have power. And so the way I demand

1290
00:59:06,160 --> 00:59:08,480
Speaker 1: is I keep saying, I keep repeating myself until you

1291
00:59:08,560 --> 00:59:10,560
Speaker 1: maybe show me that you're gonna give me an answer

1292
00:59:10,680 --> 00:59:13,600
Speaker 1: or not. So I liked it. So I just think

1293
00:59:13,640 --> 00:59:16,600
Speaker 1: you're too hard on yourself. But okay, Chet laughs this off,

1294
00:59:16,640 --> 00:59:18,560
Speaker 1: saying they know each other fine. Shawn tells them, if

1295
00:59:18,560 --> 00:59:19,920
Speaker 1: you knew me at all, you would have known not

1296
00:59:20,040 --> 00:59:21,800
Speaker 1: to leave me. Or at least taken me with you.

1297
00:59:22,160 --> 00:59:24,320
Speaker 1: Check gets defensive. He wanted to keep him in school,

1298
00:59:24,320 --> 00:59:26,200
Speaker 1: and besides, he called every couple of weeks to check

1299
00:59:26,280 --> 00:59:28,880
Speaker 1: up on him, and Sean nods, yeah, every twenty three

1300
00:59:28,960 --> 00:59:31,600
Speaker 1: days like clockwork. Chet makes the excuse that he was

1301
00:59:31,600 --> 00:59:33,680
Speaker 1: out of state. Maybe candas Bergen can make all those

1302
00:59:33,760 --> 00:59:36,680
Speaker 1: long distance phone calls, but he can't worth noting kandas

1303
00:59:36,680 --> 00:59:41,200
Speaker 1: Bergen was the spokesperson for Sprint long distance calling from

1304
00:59:41,280 --> 00:59:45,160
Speaker 1: nineteen ninety one to nineteen ninety eight. So anybody who

1305
00:59:45,200 --> 00:59:47,960
Speaker 1: doesn't understand that joke, that's where a costar'm long distance

1306
00:59:47,960 --> 00:59:51,400
Speaker 1: calling Candisburgen Sprint. Sean tells Chet a postcard might have

1307
00:59:51,440 --> 00:59:53,800
Speaker 1: been nice. Chet responds, hey, am I here? Am I

1308
00:59:53,840 --> 00:59:56,800
Speaker 1: better than a postcard? Did your mother send you any postcards?

1309
00:59:56,920 --> 01:00:00,520
Speaker 1: And Sewn tells him no, no postcards. He then but

1310
01:00:00,640 --> 01:00:04,000
Speaker 1: she sent me letters. Though, love this bombshell that we

1311
01:00:04,080 --> 01:00:05,320
Speaker 1: find this out, do you?

1312
01:00:05,360 --> 01:00:09,400
Speaker 2: I felt a little revisionist to me, hold on, where

1313
01:00:09,400 --> 01:00:11,720
Speaker 2: did where did she send the letters? After? Yeah? I

1314
01:00:11,760 --> 01:00:14,520
Speaker 2: was like, and also every day is a little much.

1315
01:00:14,880 --> 01:00:17,600
Speaker 3: I agree again they're trying to save her. This is

1316
01:00:17,640 --> 01:00:19,680
Speaker 3: where to me? It got a riddle like you were

1317
01:00:19,760 --> 01:00:22,560
Speaker 3: just trying to make her to redeem her, and and

1318
01:00:22,880 --> 01:00:25,320
Speaker 3: I thought it would have been more interested, more interesting

1319
01:00:25,320 --> 01:00:29,120
Speaker 3: if she wasn't really fully redeemable yet where it is

1320
01:00:29,160 --> 01:00:32,600
Speaker 3: something where it's it's you know, Sean coming back with yeah,

1321
01:00:32,640 --> 01:00:34,440
Speaker 3: and trust me, I'm gonna have a conversation with her

1322
01:00:34,440 --> 01:00:36,439
Speaker 3: about that when I see her. But we're talking about

1323
01:00:36,520 --> 01:00:39,160
Speaker 3: us right now, you know, something like that where yeah,

1324
01:00:39,160 --> 01:00:40,720
Speaker 3: she wrote me a letter or two, but the kind

1325
01:00:40,760 --> 01:00:42,960
Speaker 3: of now they're trying to make her seem like she

1326
01:00:43,200 --> 01:00:45,080
Speaker 3: was this you know again, I did this for you,

1327
01:00:45,120 --> 01:00:47,160
Speaker 3: and I'm gonna I miss you, Sean, I'm writing you

1328
01:00:47,200 --> 01:00:48,960
Speaker 3: every day and again it's just trying to make her

1329
01:00:49,000 --> 01:00:52,600
Speaker 3: seem like she wasn't all that bad and and well but.

1330
01:00:52,560 --> 01:00:55,720
Speaker 2: The take the take that that Chet, you know, maybe

1331
01:00:55,760 --> 01:00:59,120
Speaker 2: not necessarily abusive, but was a horrible husband, right, you know,

1332
01:00:59,160 --> 01:01:01,840
Speaker 2: and that that she can't say that to Sean without

1333
01:01:01,840 --> 01:01:04,680
Speaker 2: also ruining his dad and his eyes. It's sure interesting.

1334
01:01:05,040 --> 01:01:06,000
Speaker 2: So yeah, it's.

1335
01:01:06,400 --> 01:01:07,920
Speaker 3: So it's very complicated.

1336
01:01:07,960 --> 01:01:10,160
Speaker 2: It's tricky. You know, it's a calm format. How do

1337
01:01:10,240 --> 01:01:14,280
Speaker 2: you so basically show a dysfunctional family without actually making

1338
01:01:14,280 --> 01:01:17,040
Speaker 2: all the characters unlikable that's the challenge of this episode, right,

1339
01:01:17,120 --> 01:01:19,520
Speaker 2: It's like, you have to want Sean, to want Verna,

1340
01:01:19,640 --> 01:01:22,080
Speaker 2: Verna to want to be back to Sean, but also

1341
01:01:22,120 --> 01:01:25,960
Speaker 2: have a complicated family dynamic where none of that's possible, right, right, right?

1342
01:01:26,120 --> 01:01:28,040
Speaker 3: I didn't, But the whole life she's written me a

1343
01:01:28,120 --> 01:01:28,680
Speaker 3: letter of days.

1344
01:01:28,880 --> 01:01:31,320
Speaker 1: I liked it. It's like, Okay, I'm hook line and

1345
01:01:31,360 --> 01:01:33,800
Speaker 1: Sinker for the entire thing. I like it. I agree

1346
01:01:33,800 --> 01:01:36,520
Speaker 1: that one a day feels like one too much. One

1347
01:01:36,560 --> 01:01:38,040
Speaker 1: a day is a little too much, but still I

1348
01:01:38,080 --> 01:01:41,400
Speaker 1: love it. I love that that Sean hasn't been has

1349
01:01:41,440 --> 01:01:42,880
Speaker 1: the box has saved them all.

1350
01:01:44,480 --> 01:01:46,400
Speaker 3: So she knew when he went when, she knew where

1351
01:01:46,520 --> 01:01:48,360
Speaker 3: to send the letters. She knew when he went to Turner,

1352
01:01:48,440 --> 01:01:50,160
Speaker 3: she knew when he was at Cory, she knew when he.

1353
01:01:50,200 --> 01:01:54,920
Speaker 1: Was really had an eyeball from across the highway the

1354
01:01:55,000 --> 01:01:57,360
Speaker 1: whole time. I don't know. I don't know where she was,

1355
01:01:57,440 --> 01:02:01,720
Speaker 1: but yeah, I know. Maybe he didn't receive one every day.

1356
01:02:01,880 --> 01:02:04,720
Speaker 1: Maybe she wrote one and then wouldn't know where he

1357
01:02:04,840 --> 01:02:07,320
Speaker 1: was for a while, and then would find out this

1358
01:02:07,360 --> 01:02:10,560
Speaker 1: is where he is, and she'd mail thirteen of them

1359
01:02:10,720 --> 01:02:12,920
Speaker 1: at it. Once she knew and he would then get them.

1360
01:02:12,920 --> 01:02:15,400
Speaker 1: All we don't know. But all I'm saying is none

1361
01:02:15,440 --> 01:02:17,240
Speaker 1: of that bumped me. Even if I think it's a

1362
01:02:17,280 --> 01:02:20,480
Speaker 1: little obsessive or a little too much with every day

1363
01:02:20,560 --> 01:02:23,400
Speaker 1: I love it, I still just love it. So Chet

1364
01:02:23,440 --> 01:02:25,920
Speaker 1: is surprised how many letters Sean tells him one every

1365
01:02:26,000 --> 01:02:28,320
Speaker 1: day she's been gone. Chet laughs, thinking it's a joke.

1366
01:02:28,440 --> 01:02:30,640
Speaker 1: Sean grabs a box filled with letters and slams it

1367
01:02:30,640 --> 01:02:33,200
Speaker 1: against Chet. They say she loves me, that she thinks

1368
01:02:33,200 --> 01:02:35,640
Speaker 1: about me every day, and how sorry she is about leaving,

1369
01:02:35,680 --> 01:02:37,680
Speaker 1: and she hopes that one day I'll understand.

1370
01:02:38,240 --> 01:02:42,200
Speaker 3: And she took their house, and she took where this

1371
01:02:42,480 --> 01:02:48,200
Speaker 3: kid lives, who like bankrupted the family. Then you grab

1372
01:02:48,240 --> 01:02:50,120
Speaker 3: your kid and you take off him out.

1373
01:02:49,960 --> 01:02:52,400
Speaker 2: Of schools, away from his family.

1374
01:02:52,560 --> 01:02:55,840
Speaker 3: Absolutely, if you're going to take the kids, she took

1375
01:02:56,280 --> 01:02:59,880
Speaker 3: his home. She didn't just leave. She took his bed,

1376
01:03:00,240 --> 01:03:08,760
Speaker 3: she took his clothes, she took every possession. But that's

1377
01:03:08,760 --> 01:03:10,960
Speaker 3: where the revisionist stuff comes in, where it's like we're

1378
01:03:11,000 --> 01:03:14,120
Speaker 3: forgetting that. As she was written, this woman, you woke

1379
01:03:14,200 --> 01:03:16,200
Speaker 3: up one day and she had not only left you,

1380
01:03:16,280 --> 01:03:21,280
Speaker 3: but taken everything you owned. And now they're casting a

1381
01:03:21,320 --> 01:03:24,919
Speaker 3: great actress and they're trying to bring that back. But no,

1382
01:03:25,120 --> 01:03:27,920
Speaker 3: actually she wrote a letter a day and she didn't know.

1383
01:03:28,160 --> 01:03:31,280
Speaker 3: Don't do that and make her that complicated lady who

1384
01:03:31,280 --> 01:03:35,520
Speaker 3: took your bed like that's that's a big thing. Where

1385
01:03:35,560 --> 01:03:37,360
Speaker 3: now all of a sudden they're trying to sit calm

1386
01:03:37,400 --> 01:03:37,760
Speaker 3: it up to me.

1387
01:03:37,840 --> 01:03:41,080
Speaker 2: Yeah, well it's also interesting. I mean, yeah, you're right.

1388
01:03:41,120 --> 01:03:43,240
Speaker 2: I can't wait to see if Sean ever confronts her.

1389
01:03:43,200 --> 01:03:44,040
Speaker 3: Because that's what I wanted.

1390
01:03:44,120 --> 01:03:46,760
Speaker 2: This episode is about Sean confronting Chit, which is such

1391
01:03:46,800 --> 01:03:48,160
Speaker 2: a weird little slide of hand.

1392
01:03:48,320 --> 01:03:50,600
Speaker 1: Yeah, you're but it's a good slide of hand because

1393
01:03:50,600 --> 01:03:56,800
Speaker 1: it's exactly Verna's pov. Is it Sean is doing Verna's

1394
01:03:56,840 --> 01:04:00,760
Speaker 1: work without even knowing that that's what he's doing. Her

1395
01:04:00,840 --> 01:04:05,960
Speaker 1: whole thing is are you going to be a parent?

1396
01:04:06,440 --> 01:04:08,960
Speaker 1: Do you know what it even means to be a parent?

1397
01:04:09,440 --> 01:04:13,400
Speaker 1: And and you are the person who has that conversation

1398
01:04:13,520 --> 01:04:15,720
Speaker 1: that brings that out of him, that shows him that

1399
01:04:15,760 --> 01:04:19,000
Speaker 1: even though he thinks he's he's a victim of Verna

1400
01:04:19,040 --> 01:04:23,240
Speaker 1: as well, he also victimized you. So anyway, but the way.

1401
01:04:23,120 --> 01:04:25,280
Speaker 3: You're the way you're going to find out how to

1402
01:04:25,320 --> 01:04:27,400
Speaker 3: become the best parent is by leaving your kid for

1403
01:04:27,440 --> 01:04:28,080
Speaker 3: a year and a half.

1404
01:04:28,120 --> 01:04:31,000
Speaker 1: I'm not saying she's right. I'm just saying she says,

1405
01:04:31,120 --> 01:04:33,160
Speaker 1: I just want to know before I come back. I

1406
01:04:33,240 --> 01:04:35,760
Speaker 1: want to know whether Chet knows what it means to

1407
01:04:35,800 --> 01:04:41,320
Speaker 1: be a father great and said, And because she did

1408
01:04:41,440 --> 01:04:43,160
Speaker 1: say that, she did say that, I I want to

1409
01:04:43,200 --> 01:04:44,960
Speaker 1: I need to eye, she said. I all I've known

1410
01:04:45,000 --> 01:04:47,000
Speaker 1: on this, on this year away or whatever is that

1411
01:04:47,080 --> 01:04:48,919
Speaker 1: I want to be a good mom. And she said,

1412
01:04:49,040 --> 01:04:51,200
Speaker 1: and just having a kid doesn't make you a good mom, right,

1413
01:04:51,280 --> 01:04:54,040
Speaker 1: So this is obviously your intro, her intro.

1414
01:04:54,400 --> 01:04:57,400
Speaker 2: They will maybe they will help, Yeah, because you're right,

1415
01:04:57,440 --> 01:04:59,880
Speaker 2: it's it's it's a weird thing that but in a

1416
01:05:00,160 --> 01:05:01,880
Speaker 2: in a way we have to make it about the

1417
01:05:01,960 --> 01:05:04,840
Speaker 2: character we already know, which is sure, right, Like, if

1418
01:05:04,840 --> 01:05:08,040
Speaker 2: we're going to redeem a character, a parent figure, let's redeem,

1419
01:05:08,320 --> 01:05:10,400
Speaker 2: let's have it be the one who we already know.

1420
01:05:10,520 --> 01:05:12,680
Speaker 2: Love that, Yeah, I love that, But look how much

1421
01:05:12,680 --> 01:05:15,919
Speaker 2: we're talking about it's great, it's great. Think about that.

1422
01:05:15,920 --> 01:05:18,160
Speaker 2: That's what I mean. It's like we're cramming a Sam

1423
01:05:18,200 --> 01:05:21,400
Speaker 2: Shepherd play into Yeah, and Corey, I mean Corey is

1424
01:05:21,440 --> 01:05:23,120
Speaker 2: the one like, we haven't even talked about what he's

1425
01:05:23,160 --> 01:05:24,520
Speaker 2: going It's yes, it's a lot.

1426
01:05:24,840 --> 01:05:26,400
Speaker 3: Again, there's a lot, a lot going on.

1427
01:05:27,000 --> 01:05:29,000
Speaker 1: So then there's a knock at the door and we

1428
01:05:29,040 --> 01:05:31,160
Speaker 1: all think slash, hope it's Verna. But Chet opens the

1429
01:05:31,200 --> 01:05:34,840
Speaker 1: door to reveal Frankie, welcome back Ethan's plate. Frankie says,

1430
01:05:34,880 --> 01:05:36,400
Speaker 1: I come to you and hopes that you might watch

1431
01:05:36,440 --> 01:05:38,760
Speaker 1: my little brother Herman. He steps aside to reveal a

1432
01:05:38,800 --> 01:05:42,560
Speaker 1: miniature version of him, dressed like silent Bob. Herman politely says,

1433
01:05:42,640 --> 01:05:45,400
Speaker 1: in his perfect ethans to plea read. I hope this

1434
01:05:45,440 --> 01:05:47,960
Speaker 1: will prove no inconvenience, As some would say, I am

1435
01:05:48,080 --> 01:05:52,000
Speaker 1: unreliable when left on my own. Sean tries telling Frankie

1436
01:05:52,000 --> 01:05:53,880
Speaker 1: this isn't really a good time, and Frankie tells him

1437
01:05:53,920 --> 01:05:56,520
Speaker 1: I know. It's a rush hour on the interstate. He

1438
01:05:57,080 --> 01:05:59,520
Speaker 1: gives Herman his watch in case he doesn't outrun the trucks.

1439
01:05:59,560 --> 01:06:02,320
Speaker 1: He warns it's a little slow. I hope I am not.

1440
01:06:04,040 --> 01:06:07,240
Speaker 1: Herman tells Frankie god'speat and they hug goodbye. Sean, Chett

1441
01:06:07,240 --> 01:06:08,800
Speaker 1: and Herman are now all in the trailer and Chet

1442
01:06:08,840 --> 01:06:11,160
Speaker 1: sits down to start reading some of Verna's letters. Chet

1443
01:06:11,160 --> 01:06:13,479
Speaker 1: tells Sean he's sorry he didn't call more or write

1444
01:06:13,520 --> 01:06:14,160
Speaker 1: him letters.

1445
01:06:14,240 --> 01:06:16,680
Speaker 2: What is what is this all about? Like, what is

1446
01:06:16,720 --> 01:06:17,600
Speaker 2: the whole Herman thing?

1447
01:06:17,880 --> 01:06:18,200
Speaker 3: Nothing?

1448
01:06:18,720 --> 01:06:20,400
Speaker 2: Nothing, It's funny and it's.

1449
01:06:22,160 --> 01:06:24,720
Speaker 1: The door, and I'm.

1450
01:06:24,680 --> 01:06:26,680
Speaker 2: Kind of like, oh, they're taking care of a kid,

1451
01:06:26,760 --> 01:06:30,320
Speaker 2: you know, like a kid, Like it does kind of connect.

1452
01:06:30,360 --> 01:06:35,440
Speaker 2: But but when he just sits down, and then I

1453
01:06:35,480 --> 01:06:36,760
Speaker 2: was like, yeah, shouldn't.

1454
01:06:36,800 --> 01:06:39,280
Speaker 1: It's just it's just the misdirect both times. And then

1455
01:06:39,280 --> 01:06:40,960
Speaker 1: obviously they come in and they have a couple of

1456
01:06:40,960 --> 01:06:43,080
Speaker 1: funny moments.

1457
01:06:42,200 --> 01:06:46,680
Speaker 3: Literary storyline that went to somebody else. That's it was

1458
01:06:46,880 --> 01:06:48,960
Speaker 3: just the funny trying to be It made no sense,

1459
01:06:49,040 --> 01:06:51,160
Speaker 3: It had nothing to do with the episode, and it

1460
01:06:51,280 --> 01:06:54,320
Speaker 3: was just it. I loved seeing Ethan back. The kid

1461
01:06:54,480 --> 01:06:57,400
Speaker 3: was the little kid was great, and none of it mattered.

1462
01:06:57,560 --> 01:06:58,760
Speaker 3: It was just very strange.

1463
01:06:58,960 --> 01:07:01,400
Speaker 1: So Sean emphasizes his mom was gone. You and I

1464
01:07:01,440 --> 01:07:03,440
Speaker 1: could have been together, we could have been a family,

1465
01:07:03,520 --> 01:07:06,240
Speaker 1: but you didn't want that. Why didn't you want that? Dad?

1466
01:07:06,760 --> 01:07:09,920
Speaker 1: And I again, you're not gonna let him off the hook,

1467
01:07:09,960 --> 01:07:12,720
Speaker 1: even though now there's Herman here and whatever. So I

1468
01:07:12,800 --> 01:07:14,800
Speaker 1: like it. Then we're in the Matthew's kitchen. Amy's back

1469
01:07:14,800 --> 01:07:17,680
Speaker 1: at the dining table with another huge breakfast spread laid out.

1470
01:07:17,920 --> 01:07:19,760
Speaker 1: Eric runs down the stairs, no time to eat. I

1471
01:07:19,800 --> 01:07:21,840
Speaker 1: got a catch Dad for a ride to work. Alan

1472
01:07:21,920 --> 01:07:24,400
Speaker 1: runs down next. Where's Eric? She just points toward the

1473
01:07:24,400 --> 01:07:27,760
Speaker 1: door and he's gone. Morgan strolls down. Good morning. Amy

1474
01:07:27,800 --> 01:07:30,200
Speaker 1: asks if she'd like some breakfast. Morgan pulls out a chair.

1475
01:07:30,240 --> 01:07:32,439
Speaker 1: She'd love some, But just as she's about to sit down,

1476
01:07:32,440 --> 01:07:34,640
Speaker 1: a car horn honks and Morgan has to run out.

1477
01:07:34,920 --> 01:07:36,919
Speaker 2: Doesn't she say it? Because she says, I'm.

1478
01:07:36,800 --> 01:07:38,720
Speaker 1: Sorry, But Tina's mom gets really upset if.

1479
01:07:38,600 --> 01:07:43,320
Speaker 4: I don't have bread, She cares more very funny with

1480
01:07:44,440 --> 01:07:47,280
Speaker 4: the eight hundred pancakes on the table, It's like a

1481
01:07:47,400 --> 01:07:48,760
Speaker 4: Vegas buffet in the morning.

1482
01:07:48,760 --> 01:07:51,720
Speaker 1: At the Matthews family, Corey walks down last in a

1483
01:07:51,760 --> 01:07:54,160
Speaker 1: shirt and dress pants. On his way out, Amy asks,

1484
01:07:54,200 --> 01:07:56,560
Speaker 1: aren't you're gonna have something to eat? Corey tells her

1485
01:07:56,600 --> 01:07:58,760
Speaker 1: the news about Brenda and admits food would hurt too

1486
01:07:58,800 --> 01:08:01,960
Speaker 1: much right now. Amy's She tells Corey she's so sorry.

1487
01:08:02,280 --> 01:08:05,200
Speaker 1: Corey explains all those years of serving food to kids

1488
01:08:05,200 --> 01:08:09,120
Speaker 1: who never appreciate her and then she dies some life huh.

1489
01:08:09,240 --> 01:08:11,240
Speaker 1: Amy takes this to heart, looking at the breakfast she's

1490
01:08:11,280 --> 01:08:13,680
Speaker 1: made for her family that no one has touched, and

1491
01:08:14,520 --> 01:08:17,200
Speaker 1: I know, will you love it?

1492
01:08:17,479 --> 01:08:19,200
Speaker 2: I think this is where it Ben shifted into a

1493
01:08:19,240 --> 01:08:21,479
Speaker 2: new gear as an actor, and it was just like,

1494
01:08:21,560 --> 01:08:24,320
Speaker 2: he owns this episode for the rest of the episode.

1495
01:08:24,400 --> 01:08:28,360
Speaker 2: And it's not MOPy and performative. It's like now genuinely

1496
01:08:28,680 --> 01:08:32,799
Speaker 2: searching and confused and sad and just awesome.

1497
01:08:33,240 --> 01:08:36,120
Speaker 1: Yep, momy, Yeah, I like it too. Then we're back

1498
01:08:36,120 --> 01:08:38,160
Speaker 1: at the Hunter's trailer. Sean and che are sitting on

1499
01:08:38,160 --> 01:08:40,400
Speaker 1: the floor wearing the same clothes we saw them in yesterday,

1500
01:08:40,400 --> 01:08:43,439
Speaker 1: eating pizza. Looking at old pictures, Chet pulls out a picture.

1501
01:08:43,520 --> 01:08:45,280
Speaker 1: Here's when me and your mother were teaching you to

1502
01:08:45,280 --> 01:08:47,880
Speaker 1: write a two wheeler. Sean smiles. So our family wasn't

1503
01:08:47,920 --> 01:08:50,080
Speaker 1: messed up all the time, was it, dad? Chet tells

1504
01:08:50,120 --> 01:08:52,599
Speaker 1: him no, they had a Kodak moment or two. Corey

1505
01:08:52,600 --> 01:08:54,400
Speaker 1: looks at the photo and notices it looks like he's

1506
01:08:54,400 --> 01:08:57,599
Speaker 1: writing indoors. Chet nods, yeah, that's toys r Us. That's

1507
01:08:57,600 --> 01:09:00,599
Speaker 1: Sean writing down Aisle five. Sean explains that couldn't actually

1508
01:09:00,600 --> 01:09:03,920
Speaker 1: afford a bike. Chet apologizes money was pretty short that year.

1509
01:09:04,120 --> 01:09:06,920
Speaker 1: Sean tells him, doesn't matter to me. Fun is fun.

1510
01:09:07,800 --> 01:09:09,840
Speaker 1: Corey asks, you guys have been up all night looking

1511
01:09:09,840 --> 01:09:13,120
Speaker 1: at pictures, and Chet nods. Time really flies when you

1512
01:09:13,160 --> 01:09:15,760
Speaker 1: stick around and hang out with your son. Chet pulls

1513
01:09:15,760 --> 01:09:17,800
Speaker 1: out another photo showing Sean on a bear rug. He

1514
01:09:17,880 --> 01:09:19,439
Speaker 1: laughs and points, there's your butt.

1515
01:09:20,000 --> 01:09:25,120
Speaker 2: I forget. Oh yeah, I don't know, but it is

1516
01:09:25,280 --> 01:09:26,040
Speaker 2: so funny.

1517
01:09:26,200 --> 01:09:27,479
Speaker 3: It was.

1518
01:09:30,960 --> 01:09:34,120
Speaker 1: So cute, and Corey is clearly touched by this father

1519
01:09:34,240 --> 01:09:37,439
Speaker 1: son moment. His best friend is having uh and again,

1520
01:09:37,680 --> 01:09:41,639
Speaker 1: these Matthew Nelson's scripts. I was like these these moments.

1521
01:09:41,840 --> 01:09:47,080
Speaker 1: Matt knew how to write about family, complicated family in

1522
01:09:47,120 --> 01:09:50,439
Speaker 1: a way. I don't know if, like anybody else did.

1523
01:09:50,640 --> 01:09:52,960
Speaker 1: I just I love that.

1524
01:09:52,920 --> 01:09:55,440
Speaker 2: He had a way of like I mean again, it's sentimental.

1525
01:09:55,720 --> 01:09:58,120
Speaker 2: He has a very sentimental streak, but he has also

1526
01:09:58,240 --> 01:10:05,920
Speaker 2: dark like dark right, but also like declarative declarative sentimentality,

1527
01:10:06,080 --> 01:10:08,960
Speaker 2: like I care you know, like this certain like Matt

1528
01:10:09,000 --> 01:10:11,519
Speaker 2: was a very sensitive person, and he was always so

1529
01:10:12,479 --> 01:10:15,519
Speaker 2: open with his positive feelings and his negative feelings, but

1530
01:10:15,560 --> 01:10:18,439
Speaker 2: mostly his supportive positive feelings, like as a person. He

1531
01:10:18,479 --> 01:10:22,679
Speaker 2: would always writer, you think like this, and you really

1532
01:10:22,720 --> 01:10:25,160
Speaker 2: are good at that. And I always noticed it, and

1533
01:10:25,520 --> 01:10:27,200
Speaker 2: I can hear that in this you know. I mean,

1534
01:10:27,240 --> 01:10:30,639
Speaker 2: he's the dream try do good writer like that is

1535
01:10:30,680 --> 01:10:32,640
Speaker 2: Matt Nelson, right, And you can hear it in the

1536
01:10:32,720 --> 01:10:35,960
Speaker 2: rhythm of these lines like sometimes fun is fun and

1537
01:10:36,040 --> 01:10:38,920
Speaker 2: fun doesn't matter money, you know, like these very like

1538
01:10:39,240 --> 01:10:41,439
Speaker 2: you know it's it's moralizing to a certain degree, but

1539
01:10:41,479 --> 01:10:43,640
Speaker 2: in a good, in a very positive way. Ah, I

1540
01:10:43,680 --> 01:10:43,920
Speaker 2: love it.

1541
01:10:44,120 --> 01:10:58,280
Speaker 1: I love it too. And then funeral home sad news

1542
01:10:58,280 --> 01:11:01,640
Speaker 1: set alert. Peneus stand in front of Brenda's casket as

1543
01:11:01,680 --> 01:11:04,240
Speaker 1: Corey walks in, and Corey thinks he's the undertaker. Uh,

1544
01:11:04,360 --> 01:11:06,160
Speaker 1: it's my first time in a funeral home. Could you

1545
01:11:06,200 --> 01:11:07,880
Speaker 1: please tell me what it is that I'm supposed to do.

1546
01:11:08,200 --> 01:11:10,880
Speaker 1: Phoene turns around and responds, you're supposed to be in school,

1547
01:11:10,960 --> 01:11:13,800
Speaker 1: mister Matthews. Corey is startled. Mister Feeney, don't do that

1548
01:11:13,840 --> 01:11:16,519
Speaker 1: to a person, especially in a place like this. He admits,

1549
01:11:16,720 --> 01:11:18,559
Speaker 1: I didn't even know her. All I know is that

1550
01:11:18,600 --> 01:11:19,479
Speaker 1: she served us food.

1551
01:11:20,360 --> 01:11:26,040
Speaker 2: Were choice to not just that the audience sees phoene.

1552
01:11:25,680 --> 01:11:28,960
Speaker 1: Before instead of to also not think it's someone else.

1553
01:11:29,040 --> 01:11:31,920
Speaker 3: Yeah, it should have just been his back, right, That's

1554
01:11:31,960 --> 01:11:33,240
Speaker 3: the way I feel like it was written.

1555
01:11:33,360 --> 01:11:36,200
Speaker 2: And then at some point Jeff McCracken or whoever was

1556
01:11:36,360 --> 01:11:38,600
Speaker 2: decided it's not worth it, you know what. It was

1557
01:11:38,600 --> 01:11:40,080
Speaker 2: actually kind of refreshing, I have to say.

1558
01:11:40,200 --> 01:11:45,680
Speaker 1: Tried to put a side pony on Phoene with a beret,

1559
01:11:46,800 --> 01:11:49,519
Speaker 1: but they figured they decided it was Yeah, it was

1560
01:11:49,520 --> 01:11:50,360
Speaker 1: two friends.

1561
01:11:50,560 --> 01:11:53,240
Speaker 2: I guarantee you they tried it and they were literally like, well,

1562
01:11:53,240 --> 01:11:55,800
Speaker 2: it's so obvious that it's Bill. That's That's what I'm saying.

1563
01:11:56,800 --> 01:12:00,519
Speaker 1: Instead of putting a beret on a pig, let's just

1564
01:12:01,600 --> 01:12:02,519
Speaker 1: lipstick on up big.

1565
01:12:04,200 --> 01:12:06,280
Speaker 3: But Corey is also in a suit and tie here

1566
01:12:06,439 --> 01:12:11,800
Speaker 3: can't suit and tie very nice? Decides not to wear

1567
01:12:11,840 --> 01:12:13,280
Speaker 3: it at the end when he comes back to the

1568
01:12:13,280 --> 01:12:14,040
Speaker 3: same funeral home.

1569
01:12:14,760 --> 01:12:16,880
Speaker 1: I feel like, though it's because well, I don't know,

1570
01:12:16,920 --> 01:12:18,760
Speaker 1: we'll talk about it, because I actually didn't notice it,

1571
01:12:18,800 --> 01:12:20,559
Speaker 1: but I'll talk about now. I just thought of a

1572
01:12:20,600 --> 01:12:21,560
Speaker 1: reason why that maybe it.

1573
01:12:22,320 --> 01:12:24,320
Speaker 2: I know why, because all the other kids are coming

1574
01:12:24,320 --> 01:12:25,080
Speaker 2: in from school.

1575
01:12:25,360 --> 01:12:27,120
Speaker 1: I think it was a last minute plan. I think

1576
01:12:27,160 --> 01:12:29,679
Speaker 1: it was also it was it wasn't his plan all along.

1577
01:12:29,840 --> 01:12:32,880
Speaker 1: I think he he when he asked Phoenie, there's nothing else, Like,

1578
01:12:32,960 --> 01:12:35,080
Speaker 1: there's nothing else. He at some point in this day

1579
01:12:35,760 --> 01:12:37,760
Speaker 1: thought I'm going to do this, and at that point

1580
01:12:37,800 --> 01:12:40,719
Speaker 1: he had already taken off his tie and his jacket.

1581
01:12:40,960 --> 01:12:42,599
Speaker 2: It's the next So is this supposed to be the

1582
01:12:42,640 --> 01:12:45,439
Speaker 2: same day? You know, it's the next day. They put

1583
01:12:45,439 --> 01:12:46,200
Speaker 2: her body on ice.

1584
01:12:46,439 --> 01:12:49,120
Speaker 1: That's what I'm saying, Like, how long has this been

1585
01:12:50,439 --> 01:12:52,879
Speaker 1: very cold in there? The airs conditioning is blessed?

1586
01:12:53,080 --> 01:12:53,519
Speaker 2: Poor woman.

1587
01:12:53,600 --> 01:12:56,439
Speaker 3: It's like she's a president and she's she's remaining in state.

1588
01:12:57,040 --> 01:12:58,120
Speaker 2: It's like, what the hell is.

1589
01:13:01,160 --> 01:13:01,360
Speaker 3: I mean?

1590
01:13:01,400 --> 01:13:03,960
Speaker 2: Can we talk about just I had this thought where

1591
01:13:03,960 --> 01:13:06,760
Speaker 2: watching this sea and I was like, how many kids sitcoms?

1592
01:13:06,840 --> 01:13:08,480
Speaker 2: Just out of Coffin.

1593
01:13:08,479 --> 01:13:11,479
Speaker 3: Freight Center is right there. It's the whole set built

1594
01:13:11,560 --> 01:13:14,800
Speaker 3: around a dead body. I was like, Wow, blay meings world.

1595
01:13:14,920 --> 01:13:18,599
Speaker 3: That's good with nobody there. That was the other thing

1596
01:13:18,640 --> 01:13:20,760
Speaker 3: is very They also made the choice to have nobody there.

1597
01:13:21,000 --> 01:13:22,400
Speaker 3: That's very done on purpose.

1598
01:13:22,520 --> 01:13:26,040
Speaker 1: And well, Corey says, there's got to be more to

1599
01:13:26,080 --> 01:13:28,960
Speaker 1: a person's life than that, and Phoene assures him, don't

1600
01:13:29,000 --> 01:13:31,519
Speaker 1: lightly dismiss something that meant the world to this woman.

1601
01:13:31,760 --> 01:13:33,880
Speaker 1: When anyone would ask her if she had children, she

1602
01:13:33,920 --> 01:13:37,320
Speaker 1: always said, I have nine hundred. This makes Corey smile.

1603
01:13:37,520 --> 01:13:39,960
Speaker 1: She didn't have any kids of her own, and he responds,

1604
01:13:40,120 --> 01:13:42,640
Speaker 1: not everyone's that blessed, And you get the sense that

1605
01:13:42,680 --> 01:13:46,280
Speaker 1: Phoene is also talking about himself. So there too. Yep,

1606
01:13:46,960 --> 01:13:49,559
Speaker 1: he continues, but she did have a place where she

1607
01:13:49,640 --> 01:13:51,720
Speaker 1: where she was cared about, a place where she knew

1608
01:13:51,760 --> 01:13:55,040
Speaker 1: she belonged. I for one, will miss her, and I'm

1609
01:13:55,040 --> 01:13:59,280
Speaker 1: gonna start crying now, Corey adds. Now, all her nine

1610
01:13:59,320 --> 01:14:01,759
Speaker 1: hundred kids are going to miss her too. Corey stands

1611
01:14:01,760 --> 01:14:04,280
Speaker 1: and looks at the casket before walking away. How do

1612
01:14:04,320 --> 01:14:06,519
Speaker 1: you make sure people feel that they're wanted and they

1613
01:14:06,560 --> 01:14:09,200
Speaker 1: should be together even if they don't recognize it? And

1614
01:14:09,200 --> 01:14:12,479
Speaker 1: Phoene simply asks, do you recognize it? Corey says he does.

1615
01:14:12,800 --> 01:14:15,599
Speaker 1: Phoene says, then tell them that's what friends are for.

1616
01:14:15,800 --> 01:14:18,240
Speaker 1: Corey thanks him and walks off. Phoene calls after him

1617
01:14:18,280 --> 01:14:21,799
Speaker 1: and be careful crossing that highway, proving once again Phoene

1618
01:14:21,960 --> 01:14:25,840
Speaker 1: always knows what's going on in the life of everyone

1619
01:14:25,920 --> 01:14:26,599
Speaker 1: he cares about.

1620
01:14:26,840 --> 01:14:29,559
Speaker 2: Home right across from the trailer, Park, which.

1621
01:14:29,360 --> 01:14:31,599
Speaker 1: Is no, I don't think, No, I don't keep saying

1622
01:14:32,120 --> 01:14:35,160
Speaker 1: when you go to Sean. He knows what's going on.

1623
01:14:35,280 --> 01:14:37,720
Speaker 1: He knows Verna's back, he knows where he's going, he

1624
01:14:37,760 --> 01:14:38,760
Speaker 1: knows what this entire show.

1625
01:14:39,720 --> 01:14:41,679
Speaker 3: That's why he says that's what friends are for, because

1626
01:14:41,680 --> 01:14:42,679
Speaker 3: he knows he's talking.

1627
01:14:42,760 --> 01:14:44,559
Speaker 1: He knows he's talking about Sean, and he doesn't.

1628
01:14:44,600 --> 01:14:45,960
Speaker 3: But the one thing he doesn't say, though, is if

1629
01:14:45,960 --> 01:14:48,200
Speaker 3: you ever want to see the lunch Leady again, just

1630
01:14:48,240 --> 01:14:51,400
Speaker 3: watch Speed. And he never said that, and he should.

1631
01:14:51,560 --> 01:14:53,880
Speaker 1: That's shocking, missed opportunity.

1632
01:14:54,120 --> 01:14:54,960
Speaker 3: Just watch Speed.

1633
01:14:57,000 --> 01:14:59,200
Speaker 1: And then we're back at the Trailer View motel. Corey

1634
01:14:59,280 --> 01:15:01,559
Speaker 1: knocks on Verna's number nineteen door, and she answers with

1635
01:15:01,600 --> 01:15:03,880
Speaker 1: a smile, if it isn't the little go between boy,

1636
01:15:04,000 --> 01:15:06,720
Speaker 1: and what message do you carry today? Corey admits he's

1637
01:15:06,760 --> 01:15:09,160
Speaker 1: there on his own. Verna points out, you're awful dressed up.

1638
01:15:09,200 --> 01:15:11,120
Speaker 1: Do you intend on asking me to a picture show?

1639
01:15:11,479 --> 01:15:13,559
Speaker 1: Corey says he's dressed up because he just came back

1640
01:15:13,560 --> 01:15:16,120
Speaker 1: from saying goodbye to someone he really cared about. Verna

1641
01:15:16,160 --> 01:15:17,920
Speaker 1: says she's sorry, tells.

1642
01:15:17,760 --> 01:15:20,559
Speaker 2: Her who's slightly poor, and boy meets world has a

1643
01:15:20,640 --> 01:15:21,439
Speaker 2: Southern accent?

1644
01:15:21,880 --> 01:15:24,639
Speaker 3: Why is it a picture show? Who doesn't go to movies?

1645
01:15:24,720 --> 01:15:26,360
Speaker 3: He's bringing me to a picture.

1646
01:15:26,000 --> 01:15:29,799
Speaker 2: Show love, getting the fevers, getting the vapors, and I'm.

1647
01:15:29,640 --> 01:15:32,080
Speaker 3: Gonna go to a shout.

1648
01:15:32,560 --> 01:15:37,120
Speaker 2: Yes, it's a Pennsylvania. Poor people can be less like

1649
01:15:37,240 --> 01:15:41,479
Speaker 2: lower middle class and not have Southern accent. You're either from.

1650
01:15:41,280 --> 01:15:43,760
Speaker 3: The South or you're from New York. That's Philadelphia.

1651
01:15:45,439 --> 01:15:47,760
Speaker 2: No actual feeling accents, of course not.

1652
01:15:49,439 --> 01:15:51,439
Speaker 1: Corey tells her, Look, I know you left because you

1653
01:15:51,439 --> 01:15:53,840
Speaker 1: guys weren't a happy family, But you wouldn't have come

1654
01:15:53,880 --> 01:15:56,000
Speaker 1: back this far to this place unless you felt like

1655
01:15:56,040 --> 01:15:58,479
Speaker 1: they were still your family waiting for you across the road.

1656
01:15:58,920 --> 01:16:01,720
Speaker 1: Verna confesses, I did the worst thing somebody can do.

1657
01:16:01,880 --> 01:16:03,200
Speaker 1: I gave up and left.

1658
01:16:03,600 --> 01:16:06,040
Speaker 3: She says it admitted, She admits it. That's great.

1659
01:16:06,280 --> 01:16:09,960
Speaker 1: Corey counters, they felt like they drove you away. Verna asks,

1660
01:16:10,120 --> 01:16:12,679
Speaker 1: you've been back and forth between us, what do you think?

1661
01:16:12,880 --> 01:16:16,880
Speaker 1: And again, I'm so glad she asked. I love that

1662
01:16:17,000 --> 01:16:21,400
Speaker 1: she asks, and I feel very much like she cares

1663
01:16:21,720 --> 01:16:22,479
Speaker 1: about what.

1664
01:16:22,320 --> 01:16:23,599
Speaker 2: She wants to know.

1665
01:16:24,040 --> 01:16:28,040
Speaker 1: She wants to know. She's truly talking this out with him,

1666
01:16:28,240 --> 01:16:34,800
Speaker 1: which is a way on sitcoms, you never see adults

1667
01:16:34,920 --> 01:16:38,559
Speaker 1: and children engaging with each other where the adult is

1668
01:16:38,600 --> 01:16:41,960
Speaker 1: putting as much weight on this kid's opinion as if

1669
01:16:41,960 --> 01:16:44,479
Speaker 1: they were talking to mister Feenie. It's to her, it's

1670
01:16:44,520 --> 01:16:47,720
Speaker 1: the same, and I love it. It also removes any

1671
01:16:47,760 --> 01:16:50,519
Speaker 1: possibility that Corey is stepping over stepping his bounds. I'm

1672
01:16:50,560 --> 01:16:52,280
Speaker 1: not even sure if she didn't ask, I would feel

1673
01:16:52,280 --> 01:16:54,519
Speaker 1: like he's overstepping his bounds. I don't think I would.

1674
01:16:55,280 --> 01:16:58,240
Speaker 1: That she does ask is just beautiful.

1675
01:16:58,320 --> 01:16:58,519
Speaker 3: Yeah.

1676
01:16:58,760 --> 01:17:00,439
Speaker 2: I think the things that are left out are like

1677
01:17:00,520 --> 01:17:03,080
Speaker 2: what's actually going on between her and Chad and what's

1678
01:17:03,120 --> 01:17:05,080
Speaker 2: actually going on in her personal life, which.

1679
01:17:05,680 --> 01:17:07,519
Speaker 1: Is vague for a reason, yeah, because you.

1680
01:17:07,479 --> 01:17:09,479
Speaker 2: Can't get into it on a kid's show. But I

1681
01:17:09,520 --> 01:17:13,519
Speaker 2: do think that we can fill in the blanks substance abuse, cheating,

1682
01:17:14,360 --> 01:17:17,280
Speaker 2: you know, any sort of like awful thing that he

1683
01:17:17,439 --> 01:17:19,200
Speaker 2: adults are doing to each other that are outside of

1684
01:17:19,240 --> 01:17:22,479
Speaker 2: the purview of Corey, Sean and the children watching. And

1685
01:17:22,479 --> 01:17:24,840
Speaker 2: that's that's fine, you know. But yes, if this were

1686
01:17:24,840 --> 01:17:27,599
Speaker 2: a real play where a kid is going across a highway,

1687
01:17:27,680 --> 01:17:29,640
Speaker 2: she would be sitting there snorting lines of coke and

1688
01:17:29,680 --> 01:17:31,640
Speaker 2: like having this conversation with him while she, you know,

1689
01:17:31,720 --> 01:17:35,000
Speaker 2: like whatever, it would be like this crazy drama theater piece,

1690
01:17:35,000 --> 01:17:38,000
Speaker 2: but instead it's like we're able to still have those

1691
01:17:38,200 --> 01:17:42,080
Speaker 2: complications without necessarily going full bore, which is right cool.

1692
01:17:43,080 --> 01:17:45,400
Speaker 1: So Corey stutters, I think you can make a hole

1693
01:17:45,439 --> 01:17:48,559
Speaker 1: in somebody's mashed potatoes, and you can make that gravy

1694
01:17:48,680 --> 01:17:51,200
Speaker 1: come down just like lava, and you can do it

1695
01:17:51,240 --> 01:17:53,960
Speaker 1: three thousand times and they'll never appreciate it until the

1696
01:17:54,000 --> 01:17:56,679
Speaker 1: first day it's not there. But you, missus Hunter, are

1697
01:17:56,720 --> 01:17:59,439
Speaker 1: so lucky because you get to come back and find

1698
01:17:59,439 --> 01:18:02,920
Speaker 1: out that they've learned to appreciate it. Now. Verna asks

1699
01:18:03,320 --> 01:18:06,240
Speaker 1: where the hell Corey got that metaphor, but instead asks,

1700
01:18:06,320 --> 01:18:08,320
Speaker 1: oh no. Verna should ask where the hell Corey got

1701
01:18:08,320 --> 01:18:10,840
Speaker 1: that metaphor, but instead asks you think they want me back?

1702
01:18:11,280 --> 01:18:13,639
Speaker 1: Corey tells her, I think you'll never find out until

1703
01:18:13,640 --> 01:18:16,160
Speaker 1: you cross that highway and knock on the door. Verna

1704
01:18:16,200 --> 01:18:19,880
Speaker 1: starts to tear up, telling Corey, you know it's dangerous

1705
01:18:19,920 --> 01:18:24,000
Speaker 1: crossing that highway. He says, I know, but maybe once

1706
01:18:24,040 --> 01:18:26,679
Speaker 1: you get there you'll be happy, so you'll just want

1707
01:18:26,680 --> 01:18:32,479
Speaker 1: to stay. Gosh, you know, it's dangerous crossing that highway

1708
01:18:33,520 --> 01:18:38,040
Speaker 1: is so beautiful, right great. Corey makes his way toward

1709
01:18:38,080 --> 01:18:40,400
Speaker 1: the door and Verna says, Sean's got a good friend.

1710
01:18:40,560 --> 01:18:44,439
Speaker 1: Corey responds, he's got a good mom too, lucky guy.

1711
01:18:44,640 --> 01:18:47,920
Speaker 1: And I was like, h hold it, hold a friend.

1712
01:18:48,640 --> 01:18:51,599
Speaker 1: Let's not say he's got a good mom and he's

1713
01:18:51,720 --> 01:18:54,400
Speaker 1: lucky to have his mother. Then we're back in the

1714
01:18:54,439 --> 01:18:57,000
Speaker 1: Hunter's trailer. Chets on the phone asking questions, and once

1715
01:18:57,040 --> 01:18:59,519
Speaker 1: he hangs up, he says, uh oh. Sean asks, what's

1716
01:18:59,520 --> 01:19:01,680
Speaker 1: the matter? Check confesses I could never lie to you,

1717
01:19:01,720 --> 01:19:03,839
Speaker 1: so I'll just tell you the truth. Your mama exploded.

1718
01:19:04,160 --> 01:19:09,599
Speaker 1: Sean doesn't get it, obviously thinking literally so funny. Chet

1719
01:19:09,640 --> 01:19:12,160
Speaker 1: follows up she checked out of the motel this afternoon.

1720
01:19:12,280 --> 01:19:15,160
Speaker 1: Lord knows where she is by now. Sean asks will

1721
01:19:15,200 --> 01:19:17,760
Speaker 1: you be chasing after her? And Chet says not this time.

1722
01:19:18,200 --> 01:19:20,519
Speaker 1: Just then, there's a knock at the door. We all

1723
01:19:20,560 --> 01:19:24,960
Speaker 1: want it to be again. It's Frankie. He tells them,

1724
01:19:25,080 --> 01:19:27,599
Speaker 1: I am here with a heavy heart. Somebody has something

1725
01:19:27,600 --> 01:19:30,080
Speaker 1: he would like to return to you. Herman appears behind

1726
01:19:30,080 --> 01:19:32,320
Speaker 1: his big brother with his head hung low. He's holding

1727
01:19:32,360 --> 01:19:35,000
Speaker 1: a pink bottle. Chet asks all the valuable things we

1728
01:19:35,040 --> 01:19:37,479
Speaker 1: have in this trailer, and you steal our shampoo. What

1729
01:19:37,600 --> 01:19:40,240
Speaker 1: kind of weird little thief are you? Says Chet.

1730
01:19:40,560 --> 01:19:45,120
Speaker 3: What kind of weird weird Blake is being wasted in

1731
01:19:45,160 --> 01:19:46,800
Speaker 3: this episode in some degree because just.

1732
01:19:46,720 --> 01:19:48,680
Speaker 2: That weird little thief. I was like, yes, I want

1733
01:19:48,680 --> 01:19:49,360
Speaker 2: to hear more of that.

1734
01:19:50,000 --> 01:19:54,080
Speaker 1: So Herman says, I am sorry for my transgression and

1735
01:19:54,120 --> 01:19:56,799
Speaker 1: the betrayal of your trust. With that said, I return

1736
01:19:56,880 --> 01:20:00,000
Speaker 1: your g Your hair smells terrific, which is a real product?

1737
01:20:00,600 --> 01:20:01,120
Speaker 3: Is it really?

1738
01:20:01,280 --> 01:20:03,880
Speaker 1: It really is? Yeah? And then Chet leans in and

1739
01:20:03,920 --> 01:20:06,960
Speaker 1: smells the boy's head. You use some didn't je Herman nods,

1740
01:20:07,040 --> 01:20:10,559
Speaker 1: I am shamefaced. Frankie announces, come, Herman, we have other

1741
01:20:10,640 --> 01:20:13,720
Speaker 1: trailers to visit. Chet assures Sean that everything's going to

1742
01:20:13,760 --> 01:20:16,080
Speaker 1: be okay because they still have each other and they've

1743
01:20:16,120 --> 01:20:19,000
Speaker 1: got his secret plans. Sean laughs, don't start with the

1744
01:20:19,000 --> 01:20:21,800
Speaker 1: secret plans. Chet responds, No, all your life, I've been

1745
01:20:21,800 --> 01:20:23,760
Speaker 1: telling you that I had these secret plans that could

1746
01:20:23,760 --> 01:20:26,040
Speaker 1: make us rich. Well, I think it's time I let

1747
01:20:26,080 --> 01:20:28,080
Speaker 1: you in on it. For the rest of my life.

1748
01:20:28,160 --> 01:20:30,920
Speaker 1: I'm gonna be the best father you could have. But

1749
01:20:31,000 --> 01:20:33,320
Speaker 1: I guess till now I've been keeping it a secret.

1750
01:20:33,760 --> 01:20:37,240
Speaker 1: Chet hugs his son and we see Sean's eyes get wide,

1751
01:20:37,560 --> 01:20:40,639
Speaker 1: and Sean tells him, I think your secret's out. Chet

1752
01:20:40,680 --> 01:20:43,280
Speaker 1: turns around and we reveal Verna has been standing in

1753
01:20:43,320 --> 01:20:45,760
Speaker 1: the doorway. She asks, with tears in her eyes, if

1754
01:20:45,760 --> 01:20:49,120
Speaker 1: she can come in. Chet and Sean just stand there, speechless,

1755
01:20:49,320 --> 01:20:50,360
Speaker 1: and I was in tears.

1756
01:20:51,920 --> 01:20:53,639
Speaker 3: I was in tears because I hope Chet is as

1757
01:20:53,680 --> 01:20:55,200
Speaker 3: good a father too as other children.

1758
01:20:57,400 --> 01:20:59,400
Speaker 1: We don't care as much about them. They're not there

1759
01:20:59,400 --> 01:21:14,280
Speaker 1: about her. This show boys meet World exactly. And then

1760
01:21:14,360 --> 01:21:16,760
Speaker 1: we're in the Matthew's kitchen. Amy is setting up yet

1761
01:21:16,800 --> 01:21:19,320
Speaker 1: another breakfast spread for her family, but she already knows

1762
01:21:19,320 --> 01:21:21,759
Speaker 1: she's defeated. We hear a car horn honk, and Morgan

1763
01:21:21,800 --> 01:21:24,120
Speaker 1: comes running down the stairs. Amy's one step ahead of her,

1764
01:21:24,160 --> 01:21:26,000
Speaker 1: opening the back door for her to run out. Eric

1765
01:21:26,000 --> 01:21:28,160
Speaker 1: and Allen walked down together. Eric's asking his dad if

1766
01:21:28,160 --> 01:21:30,080
Speaker 1: he can close up the stork back door. He said it,

1767
01:21:30,560 --> 01:21:32,400
Speaker 1: I did, I said, I did. The back door. Side door,

1768
01:21:32,520 --> 01:21:33,840
Speaker 1: not a side door, it's a back door. It is

1769
01:21:33,880 --> 01:21:36,400
Speaker 1: definitely a backdoor. Eric and Allen walked down together. Eric's

1770
01:21:36,400 --> 01:21:37,840
Speaker 1: asking his dad if he can close up the store

1771
01:21:37,840 --> 01:21:40,960
Speaker 1: tonight because he scored a date with sweet Cinda. Alan asks,

1772
01:21:40,960 --> 01:21:42,400
Speaker 1: why do you talk like that? Why can't you just

1773
01:21:42,400 --> 01:21:45,600
Speaker 1: say the young lady's name Cindy. Eric clarifies because her

1774
01:21:45,680 --> 01:21:48,880
Speaker 1: name's Cinda. Alan rolls his eyes, kisses Amy goodbye, and

1775
01:21:48,880 --> 01:21:49,519
Speaker 1: the two we ride.

1776
01:21:49,560 --> 01:21:51,320
Speaker 2: Now we'll have this entire episode.

1777
01:21:51,960 --> 01:21:54,640
Speaker 3: She's like, where as Will I didn't like see this

1778
01:21:54,680 --> 01:21:56,519
Speaker 3: is what I didn't like about this is I didn't

1779
01:21:56,560 --> 01:22:02,000
Speaker 3: like the only person that has any kind of respect,

1780
01:22:02,040 --> 01:22:04,439
Speaker 3: it seems like for Amy after all of this is Corey.

1781
01:22:04,920 --> 01:22:07,559
Speaker 3: I would have loved for Corey to do what he

1782
01:22:07,760 --> 01:22:10,160
Speaker 3: obviously did with all the people at the school, which

1783
01:22:10,200 --> 01:22:13,040
Speaker 3: was to get them to go and pay their respects

1784
01:22:13,080 --> 01:22:16,320
Speaker 3: to So Amy comes down and all of a sudden,

1785
01:22:16,560 --> 01:22:19,080
Speaker 3: all the sitting around they're all sitting around the table

1786
01:22:19,280 --> 01:22:21,320
Speaker 3: waiting for her to come down. Maybe they've made breakfast

1787
01:22:21,360 --> 01:22:23,519
Speaker 3: for her. Something to where Corey went to the family

1788
01:22:23,600 --> 01:22:28,000
Speaker 3: and was like, yeah, we can't be overlooking this person anymore.

1789
01:22:28,000 --> 01:22:29,840
Speaker 3: The way he obviously went to his friends in school

1790
01:22:29,880 --> 01:22:32,240
Speaker 3: and did that and the whole family around the table

1791
01:22:32,320 --> 01:22:34,080
Speaker 3: is to me a better way of doing it.

1792
01:22:34,160 --> 01:22:36,320
Speaker 2: I disagree because I feel like that would have been

1793
01:22:36,320 --> 01:22:38,960
Speaker 2: Corey trying to get props for it or to make

1794
01:22:39,000 --> 01:22:41,679
Speaker 2: a scene, whereas this is like he's making a personal

1795
01:22:41,800 --> 01:22:44,439
Speaker 2: choice to like respect the person who has been feeding

1796
01:22:44,479 --> 01:22:47,320
Speaker 2: him or to just like let somebody know, one to one,

1797
01:22:47,720 --> 01:22:49,920
Speaker 2: I appreciate you. And I think that's way more of

1798
01:22:49,960 --> 01:22:50,760
Speaker 2: a personal arc.

1799
01:22:51,160 --> 01:22:52,880
Speaker 3: But then why not do the same, Why get all

1800
01:22:52,920 --> 01:22:54,800
Speaker 3: his friends to come at the end to go pay

1801
01:22:54,840 --> 01:22:55,519
Speaker 3: respects to her?

1802
01:22:55,560 --> 01:22:59,360
Speaker 2: That's just because that yeah, I agree, Like, but he

1803
01:22:59,400 --> 01:23:01,280
Speaker 2: already went to the funeral home. He already did the

1804
01:23:01,320 --> 01:23:05,320
Speaker 2: personal thing there, right, you know, recognizing his mom and

1805
01:23:05,360 --> 01:23:06,519
Speaker 2: her effort here is to ye.

1806
01:23:07,160 --> 01:23:09,759
Speaker 3: I would have preferred it was if the whole family

1807
01:23:10,360 --> 01:23:13,080
Speaker 3: came together and realized because it still makes Eric look

1808
01:23:13,120 --> 01:23:14,799
Speaker 3: like it still makes.

1809
01:23:14,640 --> 01:23:17,960
Speaker 2: Alan, to be honest, I just think it's just the

1810
01:23:18,000 --> 01:23:21,000
Speaker 2: way none of them, everybody the fourth or.

1811
01:23:21,000 --> 01:23:24,080
Speaker 3: Fifth time now, none of them have noticed a huge

1812
01:23:24,760 --> 01:23:28,599
Speaker 3: table full of food and Amy just resigned with her

1813
01:23:28,640 --> 01:23:31,600
Speaker 3: head down opening the door. Not a single person in

1814
01:23:31,640 --> 01:23:33,439
Speaker 3: the family notices that one not that.

1815
01:23:33,520 --> 01:23:36,519
Speaker 1: I just think they don't necessarily know that everyone is leaving.

1816
01:23:36,680 --> 01:23:38,720
Speaker 1: Eric's usually the first person out the door, so he

1817
01:23:38,760 --> 01:23:41,479
Speaker 1: doesn't know necessarily that Alan doesn't stay and eat something

1818
01:23:41,479 --> 01:23:43,800
Speaker 1: that Corey doesn't stay and eat something that Morgan doesn't

1819
01:23:43,800 --> 01:23:44,599
Speaker 1: stay and eat something.

1820
01:23:44,960 --> 01:23:45,400
Speaker 3: And I think the.

1821
01:23:47,560 --> 01:23:50,599
Speaker 2: Countertops in my house every day all I like, all

1822
01:23:50,680 --> 01:23:54,519
Speaker 2: our obsess over count clean countertops, like I want the

1823
01:23:54,640 --> 01:23:57,799
Speaker 2: kitchen table, all the tables. No one in my family,

1824
01:23:57,840 --> 01:24:01,160
Speaker 2: the two other people in my family ever notice. They

1825
01:24:01,280 --> 01:24:03,800
Speaker 2: never say people walk into our house and they're like, wow,

1826
01:24:03,960 --> 01:24:07,240
Speaker 2: house looks great, writer, And I'm not thank you every

1827
01:24:07,240 --> 01:24:09,120
Speaker 2: single day of my life. And I will do it

1828
01:24:09,240 --> 01:24:10,880
Speaker 2: until the end of time, I guess.

1829
01:24:11,160 --> 01:24:16,960
Speaker 3: But it's a totally different thing. Clean house is a

1830
01:24:17,000 --> 01:24:20,320
Speaker 3: different thing than coming down, than walking past a table

1831
01:24:20,800 --> 01:24:25,040
Speaker 3: full of set plates with food covering the entire table

1832
01:24:25,240 --> 01:24:26,080
Speaker 3: every single morning.

1833
01:24:26,280 --> 01:24:28,080
Speaker 2: Well, it's a sitcom, so it's cartoony.

1834
01:24:28,240 --> 01:24:30,320
Speaker 3: I think it doesn't. That's what I'm saying. You know,

1835
01:24:30,320 --> 01:24:31,880
Speaker 3: I would have liked them to sit and have a meal.

1836
01:24:32,200 --> 01:24:35,800
Speaker 3: That's all I'm saying. That's it. I just I would

1837
01:24:35,840 --> 01:24:37,200
Speaker 3: like to have said because again, I.

1838
01:24:37,160 --> 01:24:39,840
Speaker 2: Would have removed Corey's It would have removed the power

1839
01:24:40,360 --> 01:24:42,080
Speaker 2: what Corey is doing because and what I love about

1840
01:24:42,080 --> 01:24:44,680
Speaker 2: band's performance is it's subtle. He just sits down. He's

1841
01:24:44,720 --> 01:24:46,400
Speaker 2: just like Hi, Mom, I'm just gonna eat with you

1842
01:24:46,400 --> 01:24:50,320
Speaker 2: and appreciate you today. It's not a huge thing. Amy's

1843
01:24:50,360 --> 01:24:52,000
Speaker 2: not that upset about it. It's I.

1844
01:24:53,479 --> 01:24:55,400
Speaker 3: Would like to have had it bend the whole family.

1845
01:24:55,560 --> 01:24:56,320
Speaker 3: I just I would have.

1846
01:24:56,720 --> 01:24:58,519
Speaker 2: You just don't like the way it makes you look.

1847
01:24:59,200 --> 01:25:00,599
Speaker 3: That's one of the reasons I don't like the way

1848
01:25:00,600 --> 01:25:02,040
Speaker 3: it makes Eric look. I also don't like the way

1849
01:25:02,080 --> 01:25:04,880
Speaker 3: it makes Alan look. I mean, Morgan is one thing,

1850
01:25:05,439 --> 01:25:07,920
Speaker 3: but we just we just got off of an episode

1851
01:25:08,240 --> 01:25:11,759
Speaker 3: where Alan where Amy made this sacrifice for the family

1852
01:25:11,880 --> 01:25:14,519
Speaker 3: and is like, I'm gonna pick and pick this store,

1853
01:25:14,800 --> 01:25:16,600
Speaker 3: and it's this beautiful thing. And now we're cutting to

1854
01:25:16,640 --> 01:25:20,439
Speaker 3: everybody blowing by her every morning, not giving, not caring

1855
01:25:20,479 --> 01:25:22,840
Speaker 3: at all about this woman. And so I think at

1856
01:25:22,840 --> 01:25:24,640
Speaker 3: the end, them sitting down and taking a moment as

1857
01:25:24,640 --> 01:25:28,200
Speaker 3: a family with Amy is a nice thing. So the

1858
01:25:28,240 --> 01:25:31,280
Speaker 3: fact that Corey's the only one who recognizes it and

1859
01:25:31,400 --> 01:25:34,759
Speaker 3: doesn't pass by the three hundred dollars worth of food

1860
01:25:34,840 --> 01:25:38,040
Speaker 3: she makes every morning is a little was a little

1861
01:25:38,120 --> 01:25:39,880
Speaker 3: much for me, and I would like, Yeah, I would

1862
01:25:39,920 --> 01:25:41,840
Speaker 3: like to have seen them all around the table at

1863
01:25:41,880 --> 01:25:44,280
Speaker 3: the end, and then Amy just kind of like looking

1864
01:25:44,320 --> 01:25:46,680
Speaker 3: around as her entire family is there. I think that

1865
01:25:46,680 --> 01:25:47,400
Speaker 3: would have been nice.

1866
01:25:48,040 --> 01:25:51,000
Speaker 1: So Amy sits at the dining table by herself, looking disheartened,

1867
01:25:51,000 --> 01:25:54,240
Speaker 1: surrounded by the fruit plates. Then Corey walks down the stairs,

1868
01:25:54,280 --> 01:25:57,040
Speaker 1: Polo ty Jean's belt and goes straight to the table

1869
01:25:57,080 --> 01:25:59,800
Speaker 1: to eat breakfast. He looks her in the eyes and says, Mom,

1870
01:26:00,320 --> 01:26:03,160
Speaker 1: thanks for making me breakfast. Amy stares at him, shocked

1871
01:26:03,600 --> 01:26:06,040
Speaker 1: until they said cut, which appeared to be a very

1872
01:26:06,080 --> 01:26:09,000
Speaker 1: long time. Y, there was long time I would have

1873
01:26:09,280 --> 01:26:11,040
Speaker 1: My one thing was I would have wanted to I

1874
01:26:11,040 --> 01:26:14,519
Speaker 1: wanted to see the shock go to appreciation and like

1875
01:26:15,360 --> 01:26:21,000
Speaker 1: there was like a she was like this, hold oh,

1876
01:26:21,920 --> 01:26:24,920
Speaker 1: I was like smiled something, Yeahray feel good? Like let's

1877
01:26:24,960 --> 01:26:26,800
Speaker 1: I want to know that you feel good in this moment.

1878
01:26:26,840 --> 01:26:28,800
Speaker 3: I mean the calculations in her head of if you

1879
01:26:28,840 --> 01:26:32,880
Speaker 3: notice how many nights again, everybody getting fourteen scrambled eggs?

1880
01:26:34,200 --> 01:26:35,479
Speaker 1: How many did I send on the seat?

1881
01:26:35,560 --> 01:26:37,080
Speaker 3: Same amount of food on the table.

1882
01:26:37,520 --> 01:26:40,559
Speaker 1: And then we're in the tag. We're at the funeral home. Corey, Phoenie,

1883
01:26:40,560 --> 01:26:43,960
Speaker 1: and mister Turner are all at the funeral house together.

1884
01:26:44,040 --> 01:26:46,800
Speaker 1: Phoenie admits to Corey, normally, your little schemes alarm me,

1885
01:26:46,880 --> 01:26:49,240
Speaker 1: but I must say with this one, you've outdone yourself.

1886
01:26:49,479 --> 01:26:51,920
Speaker 1: Turner agrees. I still think you take your mashed potatoes

1887
01:26:51,920 --> 01:26:54,560
Speaker 1: a little too seriously, but nice work. Corey says the

1888
01:26:54,600 --> 01:26:56,800
Speaker 1: woman did have nine hundred children. I just thought they

1889
01:26:56,800 --> 01:26:58,960
Speaker 1: should all get their chance to say goodbye. And then

1890
01:26:59,000 --> 01:27:01,720
Speaker 1: the camera pans to s on to Panga, Frankie and

1891
01:27:01,760 --> 01:27:04,880
Speaker 1: all of Brenda's children, each holding a lunch tray with

1892
01:27:04,920 --> 01:27:07,400
Speaker 1: a flower on it, took place on her casket, and

1893
01:27:07,479 --> 01:27:09,479
Speaker 1: I cried for a third time.

1894
01:27:09,800 --> 01:27:13,479
Speaker 2: A very clever idea look at what a what a

1895
01:27:13,560 --> 01:27:18,000
Speaker 2: what a great writing like metaphor whatever. I don't even know.

1896
01:27:18,000 --> 01:27:19,720
Speaker 2: It's not metaphorical. I guess it's just like what a

1897
01:27:19,720 --> 01:27:23,400
Speaker 2: great writing thing like? Did have the tag be lunchline

1898
01:27:23,800 --> 01:27:24,600
Speaker 2: with flowers?

1899
01:27:24,880 --> 01:27:29,240
Speaker 1: Very clever, so just beautiful. So I just want to say,

1900
01:27:29,439 --> 01:27:34,719
Speaker 1: I know for me, season four episodes must be very

1901
01:27:34,800 --> 01:27:39,200
Speaker 1: impactful because, and I mean this with absolutely no disrespect,

1902
01:27:39,640 --> 01:27:43,040
Speaker 1: I have barely noticed that mister Turner is not in

1903
01:27:43,080 --> 01:27:46,880
Speaker 1: the episodes. I until I shot him in the tag

1904
01:27:47,280 --> 01:27:50,360
Speaker 1: and I was like, oh gosh, Tony. And so the

1905
01:27:50,479 --> 01:27:55,639
Speaker 1: fact that we we all through season two, Season two

1906
01:27:55,640 --> 01:27:58,280
Speaker 1: and three. It is Sewn and Turner, Shawn and Turner,

1907
01:27:58,280 --> 01:28:01,080
Speaker 1: Shaw and Turner and now just out of it. And

1908
01:28:01,200 --> 01:28:04,040
Speaker 1: I haven't even gone, you know, I really am missing.

1909
01:28:04,960 --> 01:28:08,080
Speaker 2: These episodes are so strong, there's so much going on,

1910
01:28:08,280 --> 01:28:10,760
Speaker 2: there's so I mean, everybody, yeah, no, I mean we

1911
01:28:10,840 --> 01:28:12,320
Speaker 2: have just hit our stride as a show.

1912
01:28:12,560 --> 01:28:14,519
Speaker 3: So what do you think happened? What do you think

1913
01:28:14,600 --> 01:28:18,320
Speaker 3: happened to make such a difference between the last season

1914
01:28:18,320 --> 01:28:20,640
Speaker 3: in this season, because again I have my problems with

1915
01:28:20,680 --> 01:28:24,160
Speaker 3: this episode, but it's still a solid episode that's essentially

1916
01:28:24,280 --> 01:28:29,960
Speaker 3: four for four, yes, where it's really good everything. Did

1917
01:28:30,600 --> 01:28:35,799
Speaker 3: producers change? Did writers change? Like what happened? Is Kendall

1918
01:28:35,920 --> 01:28:37,439
Speaker 3: still with us in season four?

1919
01:28:39,120 --> 01:28:39,519
Speaker 2: Good question?

1920
01:28:39,640 --> 01:28:41,280
Speaker 3: Or did he only do two and three?

1921
01:28:41,840 --> 01:28:44,479
Speaker 2: He was directing after season four, but I'm not sure

1922
01:28:44,479 --> 01:28:47,840
Speaker 2: if he was still producing. I know that Michael had

1923
01:28:47,960 --> 01:28:51,280
Speaker 2: left seasons two and three to go work on other shows,

1924
01:28:51,320 --> 01:28:53,679
Speaker 2: so he might have recommitted to coming back to our show,

1925
01:28:53,800 --> 01:28:56,200
Speaker 2: and so he might be overseen season four more. We

1926
01:28:56,240 --> 01:28:59,439
Speaker 2: had more money, obviously, that makes I think we were

1927
01:28:59,479 --> 01:29:02,960
Speaker 2: more confident. I think the show had just hit its stride.

1928
01:29:03,000 --> 01:29:04,800
Speaker 2: I think every every you know, I think it's just

1929
01:29:05,080 --> 01:29:07,280
Speaker 2: the time it takes to become a team and to

1930
01:29:07,320 --> 01:29:10,599
Speaker 2: become a confident show like you can. You could see

1931
01:29:10,640 --> 01:29:14,280
Speaker 2: in season two and three, these like forays into oh,

1932
01:29:14,360 --> 01:29:16,320
Speaker 2: let's make it a Sean episode, Let's make it an

1933
01:29:16,439 --> 01:29:18,720
Speaker 2: Eric episode, Let's make it to Panga. We're kind of

1934
01:29:18,720 --> 01:29:21,040
Speaker 2: all and now I feel like we've done a lot

1935
01:29:21,080 --> 01:29:23,800
Speaker 2: of exploring and everybody's pretty So it's like we built

1936
01:29:23,800 --> 01:29:26,240
Speaker 2: the foundation for all these characters, right, and all these

1937
01:29:26,280 --> 01:29:29,960
Speaker 2: different you know, even even Alan, like having the store.

1938
01:29:30,040 --> 01:29:32,479
Speaker 2: Now it's like it just feels like the foundation has

1939
01:29:32,479 --> 01:29:35,680
Speaker 2: been laid. Now we can just do good storytelling.

1940
01:29:35,720 --> 01:29:37,280
Speaker 3: I don't know, yah, I just didn't know if there

1941
01:29:37,320 --> 01:29:38,599
Speaker 3: was some kind of change. And by the way, I'm

1942
01:29:38,600 --> 01:29:40,120
Speaker 3: not saying that, Oh God, Kendall left so it got

1943
01:29:40,120 --> 01:29:43,000
Speaker 3: better Kendall. We loved Kendall. It's amazing. I'm just wondering

1944
01:29:43,040 --> 01:29:45,240
Speaker 3: if there was any kind what kind of the changes were,

1945
01:29:45,280 --> 01:29:48,400
Speaker 3: because it's I mean, you look at the first four

1946
01:29:48,479 --> 01:29:51,000
Speaker 3: episodes of season three next to the first four episodes

1947
01:29:51,000 --> 01:29:53,240
Speaker 3: of season four. I mean there's no comparison. I mean,

1948
01:29:53,280 --> 01:29:57,840
Speaker 3: season four is nailing it every week. So I'm just

1949
01:29:57,840 --> 01:30:00,000
Speaker 3: wondering what the differences were The money helped.

1950
01:30:00,160 --> 01:30:04,160
Speaker 1: I'm sure, yes, throwing money at us seriously, yeah, And

1951
01:30:04,200 --> 01:30:05,840
Speaker 1: I do just think we've all hit our stride as

1952
01:30:05,880 --> 01:30:09,839
Speaker 1: far as feeling comfortable, and we're all yeah.

1953
01:30:09,680 --> 01:30:12,519
Speaker 2: You know, I feel like Danielle and I are acting

1954
01:30:12,640 --> 01:30:17,680
Speaker 2: like we're we have characters, were there. Danielle is a regulars.

1955
01:30:17,800 --> 01:30:20,479
Speaker 1: This is the episode of We've hit it. This is

1956
01:30:20,520 --> 01:30:24,120
Speaker 1: peak Danielle, this was this was This is all downhill

1957
01:30:24,160 --> 01:30:26,599
Speaker 1: from here at this point. No, no, this, this probably

1958
01:30:26,600 --> 01:30:29,400
Speaker 1: the rest of the season is all the best it'll

1959
01:30:29,439 --> 01:30:29,840
Speaker 1: ever get.

1960
01:30:30,000 --> 01:30:32,479
Speaker 3: Oh okay, so we got some more time before you

1961
01:30:32,520 --> 01:30:33,639
Speaker 3: just start really starting.

1962
01:30:33,760 --> 01:30:36,040
Speaker 1: You'll eventually start to see it where it's just wow,

1963
01:30:36,240 --> 01:30:40,160
Speaker 1: turn it off. But this from from this moment on

1964
01:30:40,520 --> 01:30:43,040
Speaker 1: is where it's just gets better.

1965
01:30:43,160 --> 01:30:45,599
Speaker 3: Okay, all right, fair enough, So join us.

1966
01:30:45,479 --> 01:30:48,840
Speaker 1: For our next episode. Season four, Episode five, Shallow Boy.

1967
01:30:49,479 --> 01:30:52,840
Speaker 1: This is the episode we have been told the most

1968
01:30:52,880 --> 01:30:55,919
Speaker 1: about by fans going into season four. I don't remember

1969
01:30:56,479 --> 01:30:57,400
Speaker 1: one thing about it.

1970
01:30:58,600 --> 01:31:02,479
Speaker 2: I can quote. It's like Shallow Boy and Chick Like

1971
01:31:02,600 --> 01:31:05,559
Speaker 2: Me are probably two of the greatest, like just tight,

1972
01:31:05,720 --> 01:31:08,240
Speaker 2: perfectly written episodes, perfect remember everything.

1973
01:31:08,280 --> 01:31:10,439
Speaker 1: I don't remember a single thing. I can't wait to

1974
01:31:10,479 --> 01:31:12,000
Speaker 1: watch it because maybe stuff will come back to me,

1975
01:31:12,040 --> 01:31:13,760
Speaker 1: but I don't remember. I don't know anything about what

1976
01:31:13,760 --> 01:31:15,880
Speaker 1: the storyline is. I know nothing. So I'm very excited

1977
01:31:15,920 --> 01:31:18,120
Speaker 1: to see it and thank you all for joining us

1978
01:31:18,120 --> 01:31:20,000
Speaker 1: for this episode of Podmeets World. As always, you can

1979
01:31:20,000 --> 01:31:22,400
Speaker 1: follow us on Instagram Podmeets World Show. You can send

1980
01:31:22,479 --> 01:31:25,280
Speaker 1: us your emails Podmeets World Show at gmail dot com,

1981
01:31:25,320 --> 01:31:26,320
Speaker 1: and we have.

1982
01:31:26,400 --> 01:31:29,480
Speaker 3: Merch where you merched to a picture show.

1983
01:31:31,439 --> 01:31:34,720
Speaker 1: Pod Meets Worldshow dot com writer send us out.

1984
01:31:34,920 --> 01:31:39,280
Speaker 2: We love you all, pod dismissed. Pod Meets World is

1985
01:31:39,320 --> 01:31:42,600
Speaker 2: an iHeart podcast producer hosted by Danielle Fischel, Wilfridell and

1986
01:31:42,680 --> 01:31:46,639
Speaker 2: Ryder Strong Executive producers Jensen Karp and Amy Sugarman, Executive

1987
01:31:46,640 --> 01:31:50,839
Speaker 2: in charge of production, Danielle Romo, producer and editor, Tarasubash, producer,

1988
01:31:50,880 --> 01:31:54,120
Speaker 2: Maddie Moore engineer and Boy meets World Superman Easton Allen.

1989
01:31:54,240 --> 01:31:57,400
Speaker 2: Our theme song is by Kyle Morton of Typhoon. Follow

1990
01:31:57,479 --> 01:32:00,160
Speaker 2: us on Instagram at Podmets World Show, or email hello

1991
01:32:00,200 --> 01:32:06,280
Speaker 2: us at hodbeat World Show at gmail dot com