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

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Speaker 1: that high school drama. Girl drama, girl, all about them

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Speaker 1: high school queens. We'll take you for a ride in

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Speaker 1: our comic girl Cheering for the right drama queens up

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Speaker 1: girl fashion. But you're tough, girl. You can sit with us.

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Speaker 1: Girl Drama, Queens, drama, Queen's Drama, Queen's drama, Drama, Queen's drama, Queens.

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Speaker 1: Somebody else better bring us in. That's exactly how we're

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Speaker 1: starting the episode. Friends, Joyce, Joy has a code. Please

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Speaker 1: give us the intro in your super sexy laryngitis boys.

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Speaker 1: The trick is to keep breathing air. Date November six,

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Speaker 1: two and four. Although Lucas takes Anna as his date

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Speaker 1: to the Tree Hill High formal, he finds himself with

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Speaker 1: Brooke at the end of the night. Meanwhile, Haley's musical

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Speaker 1: obligations to has caused her to arrive late at the formal,

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Speaker 1: which Anger's Nathan Baton finds herself struggling with a growing

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Speaker 1: temptation to turn to drugs. Say not a drugs, kids,

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Speaker 1: Hugs not drugs, Um Joy, I mean, look, I like it.

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Speaker 1: It was better yesterday. It was just a sexy radio voice.

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Speaker 1: Now I just sound like sound laryngitis in the morning,

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Speaker 1: you know whatever. Now I just sound like I've been

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Speaker 1: smoking my whole life. Yeah right, that's what people always

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Speaker 1: ask me. They're like, wow, you must smoke a lot,

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Speaker 1: and I'm like, no, but thank you so much. No,

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Speaker 1: You've got the sexy radio voice going on, Sophia, it

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Speaker 1: works for you. Does it all sound sick? Slow it

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Speaker 1: down a little bit and talk like this. Oh yeah,

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Speaker 1: I'll be your hyper lapdog. Hey, guys, sounds crazy. This

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Speaker 1: episode was not Wait can you believe that we had

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Speaker 1: back to back slumber party episode and formal episode. In

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Speaker 1: my brain, I thought like it spanned a whole season.

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Speaker 1: He too, I loved it. I loved it. It's like

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Speaker 1: two major occurrences. I can't believe we got so lucky

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Speaker 1: to have them two weeks in a row. Um. I

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Speaker 1: think we all said this during the watching of the episode.

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Speaker 1: We all have memories of shooting this episode. Joy was

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Speaker 1: but Joy was like I didn't go to the dance

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Speaker 1: for sure. I was like, I've never been crowned prom

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Speaker 1: queen in my life. I feel like I would remember

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Speaker 1: if that happened in my life. You were sour. I

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Speaker 1: can't believe you forgot that. I feel like though, because

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Speaker 1: the moment was so robbed of joy because of the

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Speaker 1: conflict between you guys, Like maybe that's why it didn't

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Speaker 1: resonue must be and it was a crane shot. It

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Speaker 1: was like they just pulled out the time. It was

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Speaker 1: so ruddy. Yeah, it was super rushed and maybe it

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Speaker 1: was like one of those things that was at the

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Speaker 1: end of the night. I'm sure it was actually at

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Speaker 1: the end of the night, the last shot of the

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Speaker 1: day because with the confetti it would have taken way

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Speaker 1: too much to clean up. So I bet actually I

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Speaker 1: probably came in for like an hour. At the end

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Speaker 1: of the day they had to wrap and it was like,

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Speaker 1: get this shot with joy walking in. I had to

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Speaker 1: go straight up to this stage, all right, crane shot

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Speaker 1: one camera on the ground, go and then you know, boom,

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Speaker 1: shot out of the can and go home. But they

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Speaker 1: brought you in at four in the afternoon and probably

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Speaker 1: shot you at like four in the morning. You sat

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Speaker 1: in that trailer all day at base camp. I bet

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Speaker 1: I was. This was a fun episode for us because

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Speaker 1: any time we all got to be together, you've heard

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Speaker 1: us say this so many times like it just made

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Speaker 1: it's special. It felt like we were all the real

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Speaker 1: slumber party together. Um, and we got to dress up,

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Speaker 1: which was nice from the you know, I liked my

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Speaker 1: Devo shirt in this episode. I loved your dress House

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Speaker 1: Mental looks like a nineteen fifties beauty queen. I love you, guys,

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Speaker 1: I loved it. The story with this dress is that, um,

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Speaker 1: they didn't they couldn't get like copies of it. So

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Speaker 1: anytime you have to do stunt work or do a

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Speaker 1: gag like, oh, I don't know, I'm spilling a whole

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Speaker 1: coup of something on a dress, you're supposed to have multiples,

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Speaker 1: and because this was a real vintage dress, there was

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Speaker 1: no way to get multiples of it. And so our

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Speaker 1: director John asher Um didn't want an extra to be

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Speaker 1: the person that spilled the drink on me, because they're like,

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Speaker 1: we're not going to trust some like nervous kid who's

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Speaker 1: a background actor. Let's just dress up one of our

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Speaker 1: crew members and have them be the one that spills

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Speaker 1: on her. And so my brother was a production assistant

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Speaker 1: on the show, and Baby Child Child, he's got a

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Speaker 1: big leg gray beard. Now, all the Burtons go gray

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Speaker 1: very early. Um, and so they made Billy put on

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Speaker 1: a tuxedo and an act. He might have even gotten

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Speaker 1: a SAG card for this because he had a line

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Speaker 1: really because he said sorry, right, he said sorry. I

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Speaker 1: think he was trying to get like health insurance and

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Speaker 1: and so he was the one that spilled the drink

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Speaker 1: all over me. And when you have to be upset

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Speaker 1: about something, the last thing you want is for your

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Speaker 1: little brother to be the punk ass like spilling stuff

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Speaker 1: on you. Um, it takes you right out of the moment.

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Speaker 1: You're like, dude, don't get off a great job. Yeah,

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Speaker 1: he did a good job. It was weird seeing it.

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Speaker 1: I'd forgotten about that part. It's nice to talk about

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Speaker 1: your performance in this episode. Hillary. It was a really

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Speaker 1: nice arc um. You know, from starting out happy and giddy,

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Speaker 1: and you know, you you really kept track of because

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Speaker 1: we shoot these all out of order, and um, all

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Speaker 1: the scenes are shot at different times, so you might

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Speaker 1: have to be happy and joking around one minute and

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Speaker 1: then the next scene is you in the bathroom with

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Speaker 1: the cocaine and the c d um and that's like

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Speaker 1: serious weeping stuff. So you know, you did a really

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Speaker 1: great job tracking where Peyton was with the arc of

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Speaker 1: all of it. And that's also a lot to keep

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Speaker 1: track of when you're doing block shooting in a big

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Speaker 1: um on a big stage where you're like in the

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Speaker 1: formal where it was I'm sure that was block shot

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Speaker 1: all all. Can somebody, I don't want to talk too much.

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Speaker 1: Can somebody explain what block shooting is. Yeah, Joey's voice

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Speaker 1: is dying. So if you explain block shooting, you're the

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Speaker 1: You're the director, you two directed. I'm just I'm just

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Speaker 1: a silly little actor. I'm just I'm just an actress

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Speaker 1: on the Powerhouse producer Um. Block shooting, you know, means

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Speaker 1: and enjoys bringing up a great point for our friends

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Speaker 1: at home. When you're in a huge room like the

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Speaker 1: one where the formal was set to shoot coverage meaning

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Speaker 1: if two people are facing each other, like Joy, let's

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Speaker 1: say it's you and I were competing understanding looking at

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Speaker 1: each other, it means they shoot Overbrooks shoulder. I'm literally

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Speaker 1: using all of our names, Haley Haley of time. It

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Speaker 1: means they would they would shoot over me as Brooke,

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Speaker 1: over my back to Joy, and then they would shoot

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Speaker 1: over Joy's back, over her shoulder to me, and then

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Speaker 1: if there's a two shot, we're both in the frame

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Speaker 1: looking at each other and the cameras on, So it

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Speaker 1: actually means you're like pinging around the set over and over.

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Speaker 1: So in a lot of those big, big rooms when

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Speaker 1: there were big, big scenes and so many of us actors,

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Speaker 1: they would block shoot. So they would shoot five scenes

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Speaker 1: in one direction, like the direction looking at Haley and

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Speaker 1: whoever else was facing that way. Any other all the scenes, Yeah,

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Speaker 1: any other scene where like somebody would be maybe having

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Speaker 1: the stage behind them, So any scene if Brooke and

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Speaker 1: Felix are talking, or Brooke and Mouth are talking, if

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Speaker 1: Mouth is sta if anyone is standing in a position

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Speaker 1: in any part of that room where the stage is

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Speaker 1: behind them from a certain corner. Then they just rotate

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Speaker 1: all the actors through the different scenes and everybody just

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Speaker 1: steps on their mark and the camera has to only

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Speaker 1: move minimally. Yeah, so they would shoot let's say there

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Speaker 1: were five scenes that day. They'd shoot out scene number

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Speaker 1: one looking at the stage completely in all the different sizes,

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Speaker 1: but they wouldn't have to move the lights, because that's

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Speaker 1: a big deal when you do the lighting setups. And

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Speaker 1: then they'd shoot scene five and then they'd shoot scene nineteen,

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Speaker 1: and then they'd shoot scene twenty one, and then they'd

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Speaker 1: go to the next setup and you'd start over at

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Speaker 1: scene one. So scene one, scene five, scene nineteen, and

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Speaker 1: and so it's a little schizophrenic like mentally like what's happening?

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Speaker 1: What are we doing? But you do this over and

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Speaker 1: over and over again all day, and so that's part

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Speaker 1: of the reason when Joy's referencing, you know, the ability

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Speaker 1: to really track the arc. You're essentially taking your character

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Speaker 1: on a roller coaster, but it's not continuous, so you

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Speaker 1: have to be able to go to the bottom and

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Speaker 1: then the top, and then the middle and then the

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Speaker 1: end back to the beginning in in a manner that's

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Speaker 1: very fluid. And so on a day like we're referencing

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Speaker 1: for Hillary doing this arc for Peyton, you're doing the

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Speaker 1: fun stuff where we're getting ready and you're really and

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Speaker 1: then you're moving directly into crying because you miss your

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Speaker 1: mom and you don't know what's going on in the

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Speaker 1: temptation all in one day, and so you have to

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Speaker 1: really be able to to track your arc um and

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Speaker 1: it's not easy, especially when you're a kid. Well we

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Speaker 1: were kids, and also we referenced a couple episodes ago,

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Speaker 1: the Confessional, the Darren Knight that was really the start

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Speaker 1: of all The visiting directors would watch the previous episodes

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Speaker 1: right and then they'd be like, I need that moment

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Speaker 1: in my episode. And so I felt like I had

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Speaker 1: to have these like Peyton breakdowns in everyone's episode, even

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Speaker 1: when they weren't necessarily like natural. Um, this one was,

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Speaker 1: you know, like I felt what Peyton was feeling like,

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Speaker 1: I felt sad, and I liked that they let me

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Speaker 1: get really messy for it. Um. I don't like when

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Speaker 1: people try to stay pretty while they are falling apart.

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Speaker 1: That just kind of like you see it a lot

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Speaker 1: in certain like TV shows where it's like, oh no,

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Speaker 1: this guy is falling, but my extensions look amazing. This

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Speaker 1: last strip is not going anywhere. Yeah, I mean. And

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Speaker 1: and I think that the way that we looked on

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Speaker 1: our show was very different than the stylized way a

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Speaker 1: lot of young women look on teen dramas today. Were like,

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Speaker 1: they have to have the perfect body, and they have

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Speaker 1: to have like, you know, good posture and no cellulite

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Speaker 1: and you know, like all these things like Peyton's body

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Speaker 1: is a disaster. I'm like, I'm like, no, it's not true. No,

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Speaker 1: but it is. I've Peyton's got acne and a really

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Speaker 1: bad die job, and my body is not what you

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Speaker 1: would see in a magazine. And I like that, and

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Speaker 1: I think I I was insecure about it while we

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Speaker 1: were filming this stuff, and that was something that I

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Speaker 1: put in the back of my mind, like, no, you

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Speaker 1: look like a real messed up teenager. Like, no one

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Speaker 1: looks great during their teenage years. That's when you experiment

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Speaker 1: with stuff. Um. Probably part of the other thing one

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Speaker 1: of the things that made our show so relatable at

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Speaker 1: that time, when a lot of the other teen dramas

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Speaker 1: were there wasn't a lot of that realism. It was

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Speaker 1: so heightened and stylized. You know. Yeah, it was very

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Speaker 1: very real. That's messy, Okay, let's do it. Um. I

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Speaker 1: want what about that scene in the bathroom? Was that? Um?

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Speaker 1: Because that was those were real, that was real crying,

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Speaker 1: that was yeah, you want to talk about it. I

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Speaker 1: remember filming it and I remember just being like, show

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Speaker 1: me what the shot is, show me how much room

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Speaker 1: I have to move around, and then let me go,

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Speaker 1: like just leave me alone. Because you know, there was

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Speaker 1: certainly stuff I was upset about um and feeling like

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Speaker 1: a failure in a space where all your other friends

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Speaker 1: seem to be thriving is not a good feeling. And

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Speaker 1: I definitely felt a lot of that season two. Um,

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Speaker 1: I didn't like I knew what my role was in

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Speaker 1: season one, right, it was like, oh, you're Peyton, You're

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Speaker 1: the girl between the two brothers. And then in season

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Speaker 1: two there's just kind of like a vagueness about what

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Speaker 1: Peyton is into or doing and um, and so I

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Speaker 1: felt that I felt that thing that she was feeling,

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Speaker 1: like being on the outside. Um. So that scene with Moira,

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Speaker 1: I mean was was probably that was the harder scene

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Speaker 1: to shoot because, um, because not not falling apart, it's

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Speaker 1: harder than falling apart, do you know what I mean?

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Speaker 1: Especially when someone gives you the opportunity to fall apart

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Speaker 1: and you feel it coming and you know you have

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Speaker 1: to hold it in. Yeah, like is going to crash. God,

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Speaker 1: And the way Moira looks at you and like holds you,

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Speaker 1: I was choked up, Like we're not in the scene

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Speaker 1: and I'm sitting there and being like, oh God, this

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Speaker 1: really this is a dense like but it's beautiful to

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Speaker 1: watch you because because you could see the way the

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Speaker 1: two of you were connecting that it was all right

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Speaker 1: there and it made so much, it made it feel

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Speaker 1: so poignant. Then when you get the drinks build on

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Speaker 1: you and every that that's that's what that's what breaks,

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Speaker 1: you know, that's the straw that breaks the camel's back.

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Speaker 1: Like it it's beautiful, The setup is beautiful. Well they

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Speaker 1: wrote it, well, this was a this was a well

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Speaker 1: crafted episode because all of us got those moments because

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Speaker 1: because Joy, you're seen where you're you know, you've got

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Speaker 1: the lone tear coming down your face and you're just

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Speaker 1: this is so job. It was so beautiful, like so beautiful.

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Speaker 1: They really gave all of us and Sophia you asking Lucas,

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Speaker 1: like the whole line about bad guys lie to get

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Speaker 1: in your bed and good guys lie to get in

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Speaker 1: your heart, Like, so let's I want to get into

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Speaker 1: everybody's stuff. Joy, Let's go back and do the hailey

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Speaker 1: of it all before we lose your voice entirely, before

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Speaker 1: you're talking out, because you know, it was really hard,

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Speaker 1: it was really hard ordering coffee this morning behind a

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Speaker 1: plastic divider and a mask with no voice, Like did

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Speaker 1: you just like miming to the lady and the espresso

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Speaker 1: machine is going behind her and everybody's talking in the

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Speaker 1: coffee shop, and I just was like, I just started like,

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Speaker 1: can I write it down? I started miming can I write?

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Speaker 1: So she handed me a piece of paper so I

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Speaker 1: can write down. That's beside the point, yeah, I I

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Speaker 1: I wasn't here for the last Drama Queens episode, so

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Speaker 1: um I know that was. There was a lot of

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Speaker 1: Hayley singing in that one, which I watched back, and

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Speaker 1: I'm horrified at this sin because the sync was off

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Speaker 1: and they're like I was pitchy, and I just wish

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Speaker 1: I had known that I had been a little pitchy

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Speaker 1: because I would have fixed it. It was just so

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Speaker 1: annoying that they, you know, like, I'm a good singer,

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Speaker 1: don't you feel like it's frustrating when you're not in

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Speaker 1: control of the edit. It's like, I can I can

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Speaker 1: tell you which of my performances was better, but you

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Speaker 1: guys picked the wrong one. Or if you try and

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Speaker 1: do a joke, but whoever's editing doesn't understand comedic timing,

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Speaker 1: and then you just look like an idiot and saying way,

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Speaker 1: and then you look like you're not funny. It's so embarrassing.

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Speaker 1: But Joy, can I say something because watching the last episode,

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Speaker 1: we were obviously gushing and freaking out because when the

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Speaker 1: stars go blue is such a moment yea and our show,

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Speaker 1: and so Hillary and I were like, oh my god,

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Speaker 1: oh my god, oh my god. And I noticed because

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Speaker 1: I've literally heard you sing that song six times. I heard.

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Speaker 1: I heard you the first, you know pass when Hayley's

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Speaker 1: in the booth, and I was like, god, Joy is

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Speaker 1: so smart because she changed her key just a little

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Speaker 1: so Tyler would have a reason to come in and

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Speaker 1: tell her she hadn't hit it yet. And then in

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Speaker 1: the next past, you're in a different and I was like,

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Speaker 1: I was like, it's just like it's a vocal skilled

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Speaker 1: not a lot of people have. So I took that

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Speaker 1: as a viewer who knows you, like my own family,

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Speaker 1: as a choice you made that I thought was so smart. Thanks,

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Speaker 1: that was a choice because that was an active So

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Speaker 1: I started, oh, you did that on purpose. But when

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Speaker 1: you hear singing together, if you go back and listen,

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Speaker 1: if you which you because you don't have time, but

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Speaker 1: for our listeners, um, if you go back and listen

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Speaker 1: when you hear singing together. First of all, I'm a

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Speaker 1: little pitchy at times when and you can tell. And

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Speaker 1: then also the sync is out of out of whack,

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Speaker 1: so the sink of the music is offen. Music doesn't

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Speaker 1: match the singing. Yeah, so that's makes us sound like

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Speaker 1: we're off key too. It looked like you were finding

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Speaker 1: it like it looked like you were doing the work

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Speaker 1: in the room and finding like it didn't read that

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Speaker 1: you can't say like it was. Well, that's good. Well,

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Speaker 1: at least now I feel like coming back to this episode,

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Speaker 1: I felt like we had improved and it sounded a

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Speaker 1: lot better to me in this episode. So that was

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Speaker 1: kind of cool, um and so fun to work with

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Speaker 1: Tyler again and to really see our banter come to

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Speaker 1: life because that was the first time Haley and Chris

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Speaker 1: we're alone together and just got to you know, bounce

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Speaker 1: back and forth off each other, and uh, it was fun.

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Speaker 1: It was. What I thought was interesting too, was Hayley

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Speaker 1: has always been such We've always talked about this that

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Speaker 1: she had a strong backbone and she was always willing.

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Speaker 1: She never cave to peer pressure. She was always willing

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Speaker 1: to stand up for whatever it was that was important

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Speaker 1: to her. And it's interesting that Chris can sort of

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Speaker 1: do this little manipulation thing on her, but because I guess,

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Speaker 1: because the music means so much to her, it's like

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Speaker 1: the one thing she can't resist. Like I guess, But

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Speaker 1: it's interesting. It was a new but he's a gatekeeper, right,

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Speaker 1: And I think it makes sense because whether look, whether

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Speaker 1: it's some of this stuff we've shared with each other,

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Speaker 1: some of the things are fans have shared with us

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Speaker 1: in reliving this show, things that I know other friends

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Speaker 1: have gone through. When when someone's not exactly hitting on

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Speaker 1: you or didn't really cross the line, or when it's

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Speaker 1: really ambiguous and your work and your dreams are involved,

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Speaker 1: you know, your your future plans or whatever, you can

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Speaker 1: kind of when you're not truly uncomfortable, you can make

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Speaker 1: an excuse for well, I just don't know this person

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Speaker 1: or their humor that well. Yet, you know, you want

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Speaker 1: to give people to benefit of the doubt. And I

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Speaker 1: never want to be the kind of person who doesn't

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Speaker 1: give someone the benefit of the doubt. I want to

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Speaker 1: lead with that kind of optimism. But with characters like

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Speaker 1: Chris Keller, it'll bite you in the ass. And and

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Speaker 1: so I think watching Haley, especially as a sixteen year

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Speaker 1: old trying to navigate, like, is this kind just weird

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Speaker 1: and like sticky and kind of annoying or stick um

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Speaker 1: or is he someone with mal intent? And like we

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Speaker 1: don't know, it doesn't seem like he is. I mean,

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Speaker 1: that's the kind of thing about Tyler. He's so lovable

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Speaker 1: that anything, any smarmy thing, sticky thing that he's say,

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Speaker 1: it comes off. He comes off as like a lovable jerk.

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Speaker 1: It's not like Felix or like Dan, where there's just

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Speaker 1: clearly disturbed problems. They're right, No, he's different. Yeah, And

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Speaker 1: Tyler being so lovable informs Chris in a really interesting way. Yeah,

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Speaker 1: for sure. I also want to talk about, and it

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Speaker 1: doesn't have anything to do with your singing, but that

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Speaker 1: outfit combo of the pale yellow dress, oh my god,

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Speaker 1: lips and the red jewels and red nails I loved

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Speaker 1: also hilarious that Hayley was like rushing out the door,

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Speaker 1: but she had time to do her nails and her

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Speaker 1: hair and her hair. Yeah, girl, they make press on

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Speaker 1: nails those things exactly. It's true. You know what else?

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Speaker 1: I really loved thinking about our outfits I remember, I

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Speaker 1: don't know why we were also into brooches then, but

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Speaker 1: I remember finding the little brooch that we sewed into

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Speaker 1: Brooks dress because it was just like a blue dress.

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Speaker 1: And then I remember, you know, you guys were trying

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Speaker 1: so hard to figure out what to put with this

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Speaker 1: n titche dress that was Peyton's moms, And somewhere in

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Speaker 1: like the back of my brain, two synaps is connected

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Speaker 1: and I was like, I have a brooch that's that color.

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Speaker 1: The brooch, the brooch that was likeortional brooch. Yes, oh yes, yes,

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Speaker 1: pages were all the rage. It was in like Jane magazine,

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Speaker 1: and that was the thing I love that. I just

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Speaker 1: remember feeling so proud, being like I found it. I

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Speaker 1: felt your hair accessory. It looks it'll look really cool.

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Speaker 1: And we were like in the hair and makeup trailer

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Speaker 1: with Jojo, like pinning it into your hair and it

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Speaker 1: was kind of like a slumber party meets formal moment

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Speaker 1: for us in real life. And speaking of hair, I mean, yeah,

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Speaker 1: we're not. What's cool about this is that you can

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Speaker 1: see the three of us as actresses all choosing things

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Speaker 1: that are very different from one another, so we don't

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Speaker 1: step on each other because because there's so much competition

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Speaker 1: of like who's going to be the prettiest at the party,

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Speaker 1: and for all of us to make choices about how

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Speaker 1: our hair is gonna look, and how our dresses are

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Speaker 1: gonna look, and how we're gonna wear our makeup and stuff,

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Speaker 1: and to carve out spaces for one another, so we're

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Speaker 1: all special in different ways. I I like that about

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Speaker 1: the aesthetics because it's not just saying the lines that

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Speaker 1: are on the paper, like those choices are part of

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Speaker 1: the storytelling. They are. I remember hearing once that I

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Speaker 1: don't know if it was Meg Ryan or Julia Roberts

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Speaker 1: are one of the one of the big one of

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Speaker 1: the big romcom girls had a rule that none of

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Speaker 1: the extras in this in the scenes with her could

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Speaker 1: have the same hair, so there couldn't be with Megrian,

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Speaker 1: Like I think it was mcgriyan, And I'm sorry if

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Speaker 1: it wasn't Meg, And I just got this story wrong,

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Speaker 1: but it's not. It's not negative in any way. I

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Speaker 1: tell incorrect story, but this is what I've heard. Um.

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Speaker 1: But yes, so there's no others in the in the background,

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Speaker 1: within the extras in the scene around it, and and

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Speaker 1: I remember the first time I heard that, I was like, oh,

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Speaker 1: that's so, you know, bitchy. But but then I thought

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Speaker 1: about him, like, no, actually, there's something really smart about that.

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Speaker 1: That's part of the storytelling is being able to identify

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Speaker 1: and you know, clearly see who are we looking at who?

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Speaker 1: You know, it's part of crafting what like what a

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Speaker 1: director does with making sure that all the lights are

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Speaker 1: in the right place, and what the wardrobe designer does

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Speaker 1: making sure there's no two people in the same color

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Speaker 1: in the same scene. Um. Hair does become a kind

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Speaker 1: of a big deal with women in storytelling, and it's

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Speaker 1: worth making space for each other in that, especially when

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Speaker 1: you have a haircut like Meg Ryan's haircut or Jin

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Speaker 1: Anderson and friends the Rachel Everyone starts copying those haircuts

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Speaker 1: and so then what you're going to be in like

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Speaker 1: a sea of Meg Ryan's And I know, but it's like,

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Speaker 1: but think about the conversation that had to be had,

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Speaker 1: like she or whoever this actress was, if it wasn't Meg,

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Speaker 1: how to go to a director or somebody and say,

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Speaker 1: I don't want anybody any other blonds in the scenes

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Speaker 1: with me? And she I'm sure it was labeled difficult

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Speaker 1: for saying something like that rather than smart, right, because

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Speaker 1: it's a subconscious thing. If she is the focus of

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Speaker 1: whoever her love interest is in the scene, she should

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Speaker 1: pop for the audience the same way she pops for

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Speaker 1: the love interest exactly. It's interesting, but we did. I

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Speaker 1: like what you were saying, so if we did make

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Speaker 1: space for each other with hair, and that's something that

427
00:24:31,200 --> 00:24:34,360
Speaker 1: I've carried with me and other jobs that I go into,

428
00:24:34,520 --> 00:24:36,880
Speaker 1: especially if I'm not the lead, to go and tell

429
00:24:36,960 --> 00:24:39,560
Speaker 1: the hair person like here's how I was thinking. But

430
00:24:39,760 --> 00:24:41,800
Speaker 1: if the act lead actress comes in and wants to

431
00:24:41,880 --> 00:24:44,200
Speaker 1: do her hair half up, half down, and mine's already

432
00:24:44,240 --> 00:24:45,720
Speaker 1: that way, just come over to me and take my

433
00:24:45,760 --> 00:24:48,080
Speaker 1: hair out and we'll do something else. Like I'm I

434
00:24:48,280 --> 00:24:51,440
Speaker 1: defer because I'm not in the lead position, you know,

435
00:24:52,080 --> 00:24:54,639
Speaker 1: and I think it's important to do that. I agree,

436
00:24:54,680 --> 00:24:56,560
Speaker 1: And I think it's something that when you pointed out

437
00:24:56,600 --> 00:24:59,920
Speaker 1: in that way too, you know, with what you were saying,

438
00:25:00,080 --> 00:25:02,000
Speaker 1: Hill and enjoy even the way you're filling it in.

439
00:25:02,920 --> 00:25:05,080
Speaker 1: One of the things I really like about it is

440
00:25:05,160 --> 00:25:09,520
Speaker 1: to think about how much really the pressure we were

441
00:25:09,560 --> 00:25:11,080
Speaker 1: getting from a lot of the grown ups in the

442
00:25:11,200 --> 00:25:14,680
Speaker 1: room to not make space for each other and to

443
00:25:15,200 --> 00:25:19,240
Speaker 1: trust each other. And we still had that, like that

444
00:25:19,440 --> 00:25:22,359
Speaker 1: burning little candle to be like, no, but they're but

445
00:25:22,640 --> 00:25:25,320
Speaker 1: I they're my friends. I love them, and like we

446
00:25:26,040 --> 00:25:28,040
Speaker 1: we fought it in the ways we knew how to.

447
00:25:28,320 --> 00:25:31,200
Speaker 1: We made space for each other in the ways that

448
00:25:31,359 --> 00:25:36,159
Speaker 1: we could at the time until we all aged together

449
00:25:36,320 --> 00:25:40,080
Speaker 1: and learned better communication skills together. And like, it really

450
00:25:40,200 --> 00:25:44,000
Speaker 1: touches me to see the ways that even when we

451
00:25:44,119 --> 00:25:46,879
Speaker 1: felt scared and confused, we tried to figure out how

452
00:25:47,000 --> 00:25:51,040
Speaker 1: we could prioritize each other. It wasn't always like that, though,

453
00:25:51,119 --> 00:25:52,840
Speaker 1: So if I mean I remember, I mean I don't know.

454
00:25:52,960 --> 00:25:55,520
Speaker 1: Maybe it was for you, for I remember being insecure

455
00:25:55,600 --> 00:26:00,639
Speaker 1: and feeling um like I didn't, but also because there

456
00:26:00,680 --> 00:26:03,840
Speaker 1: was so so much mistrust sewn in there that I

457
00:26:03,920 --> 00:26:07,040
Speaker 1: remember feeling like nobody's looking out for me, so I've

458
00:26:07,040 --> 00:26:08,840
Speaker 1: got to look out for myself. So I want to

459
00:26:08,880 --> 00:26:11,080
Speaker 1: do my hair this way, and I'm just going to

460
00:26:11,160 --> 00:26:13,280
Speaker 1: have to, you know, put my foot down into it,

461
00:26:13,600 --> 00:26:16,879
Speaker 1: which then, especially as I continued to go blond and

462
00:26:16,960 --> 00:26:19,919
Speaker 1: then curly, I'm sure created some tension with you, Hillary

463
00:26:20,000 --> 00:26:22,119
Speaker 1: that when I was fine, we talked about it, but

464
00:26:22,800 --> 00:26:26,440
Speaker 1: I cut all my hair off, Joy, But that it was.

465
00:26:26,600 --> 00:26:28,880
Speaker 1: It was any time one of us was moving into

466
00:26:28,960 --> 00:26:32,680
Speaker 1: a space, we would compensate for each other and move

467
00:26:32,760 --> 00:26:35,240
Speaker 1: into a different space. Like I loved the opportunity to

468
00:26:35,320 --> 00:26:38,080
Speaker 1: cut all my hair off because you were fulfilling like

469
00:26:38,240 --> 00:26:41,399
Speaker 1: the long But you didn't feel forced to do that. Like, No,

470
00:26:41,560 --> 00:26:43,480
Speaker 1: I was trying to get rid of all this damage.

471
00:26:43,680 --> 00:26:45,600
Speaker 1: I've always carried a little guilt that I thought you

472
00:26:45,720 --> 00:26:48,000
Speaker 1: were Like I was being stubborn, and I put my

473
00:26:48,080 --> 00:26:49,960
Speaker 1: foot down and you were like, oh, fine, whatever, I

474
00:26:50,000 --> 00:26:51,399
Speaker 1: don't want to fight with Joy. I'll just do my

475
00:26:51,480 --> 00:26:53,800
Speaker 1: hair the other way. No, baby, you let me off

476
00:26:53,840 --> 00:26:56,360
Speaker 1: the hook. They wanted me to be the curly haired girl,

477
00:26:56,640 --> 00:26:58,680
Speaker 1: and I was trying to cut off all this damage

478
00:26:58,760 --> 00:27:01,560
Speaker 1: from season two, and I was like, look, Joe already

479
00:27:01,600 --> 00:27:03,680
Speaker 1: has like the long curly hair. Please let me cut

480
00:27:03,760 --> 00:27:09,159
Speaker 1: my season three Bob. It always felt a little about

481
00:27:09,240 --> 00:27:14,120
Speaker 1: that hair matters. It matters. I loved my season three

482
00:27:14,480 --> 00:27:17,600
Speaker 1: back at my old my old show herself. I'm like, Joy,

483
00:27:17,680 --> 00:27:22,119
Speaker 1: you're so stubborn. Why were you so stubborn? No, listen,

484
00:27:22,359 --> 00:27:24,320
Speaker 1: if one of you bitches comes from my gray hair.

485
00:27:24,720 --> 00:27:27,440
Speaker 1: Then we're going to have a problem. You know, I

486
00:27:27,600 --> 00:27:30,159
Speaker 1: can't wait. You know, I've men trying and no one

487
00:27:30,240 --> 00:27:34,080
Speaker 1: will let me do it. When it's my turn, I'm

488
00:27:34,119 --> 00:27:36,800
Speaker 1: coming to you for all the advice. Yeah, listen, they

489
00:27:36,880 --> 00:27:38,879
Speaker 1: give men all sorts of credit for being like salt

490
00:27:38,920 --> 00:27:41,479
Speaker 1: and pepper and whatever, and so I'm gonna just I'm

491
00:27:41,480 --> 00:27:46,679
Speaker 1: gonna that. It's all I've ever wanted. But that dance

492
00:27:46,880 --> 00:27:49,160
Speaker 1: that we all do, it's so silly to like think

493
00:27:49,200 --> 00:27:52,959
Speaker 1: it's just about hair. It was about you know, the wardrobe,

494
00:27:53,040 --> 00:27:56,359
Speaker 1: about doing interviews, making sure that we rotated. Where do

495
00:27:56,440 --> 00:27:59,119
Speaker 1: we say, where do we belong? Who am I? How

496
00:27:59,160 --> 00:28:03,000
Speaker 1: do we differentiate ourselves? So we're individuals, but we're also together.

497
00:28:03,160 --> 00:28:06,720
Speaker 1: But yeah, it's so hard to navigate when you're that

498
00:28:06,920 --> 00:28:09,320
Speaker 1: young and they've got no guidance, nobody teaching you how

499
00:28:09,400 --> 00:28:12,560
Speaker 1: to do it. Now we get to just celebrate it,

500
00:28:12,720 --> 00:28:20,200
Speaker 1: and we all pretty We all cheered for Sophia's bang. Girl.

501
00:28:20,280 --> 00:28:24,320
Speaker 1: That bang was not gonna move the beach like a

502
00:28:24,400 --> 00:28:27,359
Speaker 1: whole can of AquaNet. Oh. I was just about to

503
00:28:27,400 --> 00:28:29,680
Speaker 1: say it. We were at the beach, the wind it

504
00:28:29,800 --> 00:28:32,680
Speaker 1: was crazy, and Joejoe came at me with one of

505
00:28:32,720 --> 00:28:39,000
Speaker 1: those hair shields and a bottle of Aquino plastic. It's

506
00:28:39,040 --> 00:28:44,640
Speaker 1: like a it's what we rode during COVID. No, I'm

507
00:28:44,680 --> 00:28:47,280
Speaker 1: talking about the plastic like it was like a visor

508
00:28:47,400 --> 00:28:49,959
Speaker 1: with a handle on it you would stick around your

509
00:28:50,040 --> 00:28:54,120
Speaker 1: face so people could spray bottles of hair glue on you.

510
00:28:54,760 --> 00:28:56,920
Speaker 1: And yeah, that bang. I don't think it moved for

511
00:28:57,000 --> 00:28:59,480
Speaker 1: a week, but it was so good. You looked like

512
00:29:00,200 --> 00:29:02,800
Speaker 1: like a Flamenco dancer. Like it was so sexy. And

513
00:29:02,840 --> 00:29:06,680
Speaker 1: the mermaid guy. Remember mermaid dress, a mermaid tail. It's

514
00:29:06,680 --> 00:29:10,080
Speaker 1: so flattering that purple purple. My dress was a mermaid dress.

515
00:29:12,160 --> 00:29:13,400
Speaker 1: I was going to say it, and then I was like,

516
00:29:13,480 --> 00:29:17,320
Speaker 1: do people know that? Maybe I shouldn't. That's true, you did,

517
00:29:17,400 --> 00:29:20,400
Speaker 1: you did full lengths. Um, yeah, I don't know it.

518
00:29:21,080 --> 00:29:24,520
Speaker 1: I just remember how nice it felt for us all

519
00:29:24,680 --> 00:29:27,200
Speaker 1: to be together and to be dressed up. I have

520
00:29:27,400 --> 00:29:32,120
Speaker 1: such sense memory of those scenes. Um, weirdly, not of

521
00:29:32,200 --> 00:29:34,880
Speaker 1: the scenes at the formal, like we all were like,

522
00:29:35,000 --> 00:29:37,840
Speaker 1: there's an Eiffel tower. They're like what he said, I

523
00:29:37,920 --> 00:29:42,440
Speaker 1: can't believe I was gorgeous. Same, but the beach it

524
00:29:42,600 --> 00:29:44,520
Speaker 1: was so memorable. I think because we were there for,

525
00:29:44,840 --> 00:29:48,240
Speaker 1: you know, for days and days shooting those scenes, and

526
00:29:49,320 --> 00:29:52,400
Speaker 1: all night. It was all out night exterior, so it

527
00:29:52,440 --> 00:29:58,560
Speaker 1: was summer parties. Yeah, and I loved seeing I loved

528
00:29:58,600 --> 00:30:03,000
Speaker 1: seeing some of these characters ors insecurities coming out, you know,

529
00:30:03,320 --> 00:30:06,080
Speaker 1: Peyton really trying to figure out how to deal with

530
00:30:06,160 --> 00:30:12,480
Speaker 1: her loneliness, Brooke beginning to reveal that her nuclear emotion

531
00:30:12,640 --> 00:30:16,000
Speaker 1: is the feeling of betrayal, and like, when she feels betrayed,

532
00:30:16,360 --> 00:30:19,400
Speaker 1: everything's off. You know, a little bit of old Nathan

533
00:30:19,520 --> 00:30:22,760
Speaker 1: comes out when he feels abandoned by Hall is one

534
00:30:22,880 --> 00:30:25,160
Speaker 1: safe person, and he starts to get a little salty,

535
00:30:25,240 --> 00:30:28,200
Speaker 1: and he's drinking with the boys. And you started to

536
00:30:28,360 --> 00:30:32,920
Speaker 1: see in the cracks of the people, and I liked it.

537
00:30:33,240 --> 00:30:35,920
Speaker 1: In the cracks. That's what this whole episode is. It's

538
00:30:36,000 --> 00:30:39,000
Speaker 1: all weight cracks, it really is. And you when we

539
00:30:39,080 --> 00:30:41,680
Speaker 1: were watching the episode and Brooke flipped out on mouth,

540
00:30:42,200 --> 00:30:44,080
Speaker 1: I was like, why is she like this? You said

541
00:30:44,120 --> 00:30:45,560
Speaker 1: you had thoughts, Joy, and I want to know what

542
00:30:45,680 --> 00:30:47,680
Speaker 1: they are. Yeah, Well that was it what you just

543
00:30:47,760 --> 00:30:50,720
Speaker 1: said about betrayal. I mean, everything that we've seen of

544
00:30:50,880 --> 00:30:54,320
Speaker 1: Broke up to this point indicates that she's used to

545
00:30:55,320 --> 00:30:57,760
Speaker 1: being betrayed. She's used to the other shoe dropping at

546
00:30:57,840 --> 00:31:02,920
Speaker 1: some point, and whether it's perceived betrayal or a real betrayal,

547
00:31:03,600 --> 00:31:07,840
Speaker 1: it's hard when you're that young to differentiate, and I

548
00:31:08,000 --> 00:31:10,160
Speaker 1: feel like Brooks has had a lot of history of that,

549
00:31:10,440 --> 00:31:15,200
Speaker 1: and so at the first sign of someone, especially like

550
00:31:15,440 --> 00:31:17,720
Speaker 1: mouth of friend, who that she who she considers to be,

551
00:31:18,280 --> 00:31:22,640
Speaker 1: as you say, a safe place above the other stuff. Yes,

552
00:31:22,760 --> 00:31:24,720
Speaker 1: she's not like she doesn't have the wherewithal of the

553
00:31:24,800 --> 00:31:29,680
Speaker 1: maturity to understand that or to appreciate rather that he's

554
00:31:29,720 --> 00:31:34,640
Speaker 1: coming to her offering this information as as a gesture

555
00:31:34,680 --> 00:31:38,160
Speaker 1: of honesty. Yes, she can't understand that. Yet all she

556
00:31:38,400 --> 00:31:41,840
Speaker 1: hears is you lied to me. That's it. There's no

557
00:31:42,000 --> 00:31:44,400
Speaker 1: there's nothing beyond that, because all of brooks walls, as

558
00:31:44,560 --> 00:31:46,200
Speaker 1: so far of what we've seen, is that they just

559
00:31:46,320 --> 00:31:48,240
Speaker 1: go up. As soon as she's lied to, the walls

560
00:31:48,280 --> 00:31:51,000
Speaker 1: go up. I love Brooks so much in this episode

561
00:31:51,080 --> 00:31:54,600
Speaker 1: two because she's not just like seeing talk about an

562
00:31:54,680 --> 00:31:58,080
Speaker 1: arc too, right, like going through all these different emotions

563
00:31:58,120 --> 00:32:02,360
Speaker 1: and dealing with the different guys and she's just a giant,

564
00:32:03,240 --> 00:32:10,120
Speaker 1: open wound baby all over everything. But she's so strong

565
00:32:10,240 --> 00:32:13,240
Speaker 1: It's like it's like in William Wallace coming out of

566
00:32:13,280 --> 00:32:24,080
Speaker 1: the like you can. She's wearing blue, just standing up

567
00:32:24,160 --> 00:32:26,480
Speaker 1: like you can't take me down, and I don't care

568
00:32:26,520 --> 00:32:30,840
Speaker 1: how many knives you thrust in me. I will prevail. Yeah,

569
00:32:32,000 --> 00:32:36,560
Speaker 1: she's even an you know, like the boy thing is hard,

570
00:32:37,400 --> 00:32:40,840
Speaker 1: my best friend has a new best friend. Thing is hard.

571
00:32:41,040 --> 00:32:44,959
Speaker 1: And she's just kind of gracious but firm. I mean

572
00:32:45,240 --> 00:32:48,120
Speaker 1: with Felix, she doesn't embarrass him in front of anybody else.

573
00:32:48,240 --> 00:32:51,760
Speaker 1: She's like, you back room right now, this is how

574
00:32:51,880 --> 00:32:56,280
Speaker 1: it is now. That speech that she gives him, she's like, girl,

575
00:32:57,800 --> 00:33:00,640
Speaker 1: did that feel good? That felt? Oh it sounds so good.

576
00:33:00,800 --> 00:33:03,280
Speaker 1: It felt so good. It was a fun line to deliver.

577
00:33:03,800 --> 00:33:07,080
Speaker 1: And I just I think all my piste off like

578
00:33:07,200 --> 00:33:09,840
Speaker 1: pent up feminist rage, was just like you will be

579
00:33:09,920 --> 00:33:12,920
Speaker 1: the focus of this and uh and it was nice

580
00:33:13,000 --> 00:33:15,720
Speaker 1: because I really, yeah, I kind of felt like in

581
00:33:15,800 --> 00:33:18,120
Speaker 1: that moment to really go deep on the brave heart

582
00:33:18,480 --> 00:33:21,120
Speaker 1: um metaphor, I really felt like I was holding a

583
00:33:21,240 --> 00:33:24,800
Speaker 1: torch for so many of us, you know, And and

584
00:33:24,960 --> 00:33:26,880
Speaker 1: to say like you're not getting in my bed, and

585
00:33:26,920 --> 00:33:28,840
Speaker 1: you're you don't get my body, you don't get my heart,

586
00:33:29,520 --> 00:33:34,520
Speaker 1: she really um, she sets a boundary for herself, and

587
00:33:34,600 --> 00:33:36,480
Speaker 1: I like the point you may enjoy that. You know,

588
00:33:36,560 --> 00:33:41,600
Speaker 1: she doesn't have the adult emotional maturity at to necessarily

589
00:33:41,720 --> 00:33:44,480
Speaker 1: see all of the nuance. But what she does do

590
00:33:45,000 --> 00:33:47,080
Speaker 1: for a young person that's impressive to me is she

591
00:33:47,200 --> 00:33:50,240
Speaker 1: knows she's not being respected, and she's like, good, I'm

592
00:33:50,280 --> 00:33:54,719
Speaker 1: out better than this. And and I love the strength

593
00:33:54,840 --> 00:33:57,600
Speaker 1: of that, even though it's messy, and even though it

594
00:33:57,720 --> 00:34:01,240
Speaker 1: comes from her being hurt, I love that she starts

595
00:34:01,320 --> 00:34:05,120
Speaker 1: to say, you know, I'm I'm throwing down a boundary.

596
00:34:05,160 --> 00:34:08,600
Speaker 1: It's great you can feel disrespect in your gut before

597
00:34:08,680 --> 00:34:20,839
Speaker 1: you understand it in your head. Amen. Yeah. That. One

598
00:34:20,920 --> 00:34:24,000
Speaker 1: of the things that I found really revealing about this

599
00:34:24,120 --> 00:34:29,600
Speaker 1: boundary is Brooks sitting on the beach alone, and and

600
00:34:30,239 --> 00:34:32,600
Speaker 1: you see each of our women alone at some point,

601
00:34:32,719 --> 00:34:35,040
Speaker 1: Brooks on the beach, Peyton's in her room, Haley's at

602
00:34:35,080 --> 00:34:39,760
Speaker 1: home reading that letter, and that moment for for Brooke

603
00:34:39,840 --> 00:34:42,440
Speaker 1: to be sitting there when Lucas comes up and all

604
00:34:42,480 --> 00:34:45,640
Speaker 1: three of us were like, oh no, don't do it,

605
00:34:45,760 --> 00:34:52,560
Speaker 1: don't make a mistake. And instead of coping with a

606
00:34:52,640 --> 00:34:56,279
Speaker 1: guy she's coped with before, she has a friendly conversation.

607
00:34:56,440 --> 00:34:59,719
Speaker 1: She admits to him that she feels like a joke.

608
00:35:00,280 --> 00:35:02,160
Speaker 1: She says, the good the bad guys lie to get

609
00:35:02,160 --> 00:35:03,560
Speaker 1: in your bed, and the good guys like to get

610
00:35:03,600 --> 00:35:06,520
Speaker 1: in your heart. And yes, she's talking about Felix, and

611
00:35:06,640 --> 00:35:09,200
Speaker 1: she's talking about Lucas, but she's also talking about Mouth

612
00:35:10,400 --> 00:35:16,000
Speaker 1: and the way that he offers her a perspective. What

613
00:35:16,200 --> 00:35:18,400
Speaker 1: was his quote? Oh, it was so good. He he

614
00:35:18,520 --> 00:35:21,319
Speaker 1: talks to her about how you're not a joke. He says,

615
00:35:21,440 --> 00:35:24,560
Speaker 1: people lie because they don't know who they are, and

616
00:35:24,719 --> 00:35:28,880
Speaker 1: you do, Brooke, and everybody else is lying because they

617
00:35:28,960 --> 00:35:31,960
Speaker 1: hope that no one figures out who they are before

618
00:35:32,080 --> 00:35:35,759
Speaker 1: they figure it out themselves. And I just that what

619
00:35:35,920 --> 00:35:40,320
Speaker 1: a profound moment for these kids to have. That's so true. Actually,

620
00:35:41,280 --> 00:35:45,360
Speaker 1: am I wrong? But Brooke is really only lied intentionally

621
00:35:46,200 --> 00:35:50,719
Speaker 1: out like out of a strategy. Almost. I don't know

622
00:35:50,880 --> 00:35:55,319
Speaker 1: that I've seen Brooke lie out of insecurity at any

623
00:35:55,400 --> 00:35:59,359
Speaker 1: point in this in these two seasons. Wow, I don't

624
00:35:59,360 --> 00:36:02,960
Speaker 1: think so. Yeah. And and what an interesting thing because

625
00:36:03,000 --> 00:36:08,080
Speaker 1: Brooke witnesses Hayley's lie about working with Chris Keller second

626
00:36:08,120 --> 00:36:13,440
Speaker 1: party episode, and it's like, huh, interesting, and and so

627
00:36:13,600 --> 00:36:16,040
Speaker 1: the all these people are trying to figure out how

628
00:36:16,200 --> 00:36:19,280
Speaker 1: to tell the truth, and Peyton tells the truth to Anna.

629
00:36:20,239 --> 00:36:24,120
Speaker 1: You know, when Anna confronts her about the cocaine and says, well,

630
00:36:24,280 --> 00:36:27,120
Speaker 1: is it about this about Jake? And you say, yeah,

631
00:36:27,200 --> 00:36:33,120
Speaker 1: that and everything else that killed me a kid, acknowledging

632
00:36:33,200 --> 00:36:35,239
Speaker 1: that things have piled up and just made me feel

633
00:36:35,440 --> 00:36:39,719
Speaker 1: so sad, because things do pile up if you don't

634
00:36:39,960 --> 00:36:43,560
Speaker 1: fix it. It becomes like a speed bump, and then

635
00:36:43,640 --> 00:36:46,160
Speaker 1: one more thing piles up, and one more thing piles up,

636
00:36:46,160 --> 00:36:48,480
Speaker 1: and it becomes a barricade. And so you've got to

637
00:36:48,600 --> 00:36:51,280
Speaker 1: fix the speed bump. That's an easy thing to handle,

638
00:36:51,640 --> 00:36:54,680
Speaker 1: so the other stuff doesn't accumulate. I'm still trying to

639
00:36:54,719 --> 00:36:57,839
Speaker 1: figure out how Anna got her drunk ass to Peyton's house,

640
00:36:58,440 --> 00:37:02,800
Speaker 1: because there was so much emotional work in this episode that, like,

641
00:37:03,320 --> 00:37:05,640
Speaker 1: like the functional stuff, they're like, don't worry about it,

642
00:37:05,760 --> 00:37:09,000
Speaker 1: it's fine. Haley painter her nails. How did Anna get

643
00:37:09,040 --> 00:37:12,600
Speaker 1: to How did this stuff happen? Don't know? There were

644
00:37:12,719 --> 00:37:16,799
Speaker 1: taxis in tree Hill because Emmanuel what was her character's name,

645
00:37:17,719 --> 00:37:22,000
Speaker 1: Nicki Nicki because because Nicki um took a taxi at

646
00:37:22,080 --> 00:37:24,680
Speaker 1: some point, remember she met she met Jake outside the

647
00:37:25,960 --> 00:37:31,640
Speaker 1: Twin Dixie and a taxi. Yeah, so that the supermarket,

648
00:37:32,719 --> 00:37:35,399
Speaker 1: but going to walk home. There's no uber back then,

649
00:37:35,560 --> 00:37:38,040
Speaker 1: so I don't know. I also love that, like I'm

650
00:37:38,080 --> 00:37:40,240
Speaker 1: gonna get home without you, and then being like, actually,

651
00:37:40,239 --> 00:37:44,960
Speaker 1: I really but that too, So that's telling the truth.

652
00:37:45,440 --> 00:37:48,719
Speaker 1: Like that's the thing, that's like the punctuation mark there.

653
00:37:48,760 --> 00:37:51,360
Speaker 1: It's like, I'm just going to tell the truth because

654
00:37:51,800 --> 00:37:54,520
Speaker 1: I don't need to pretend that I'm tough. Get me home.

655
00:37:54,680 --> 00:38:02,640
Speaker 1: I'm poor, I'm good at being rich. He great, what

656
00:38:02,760 --> 00:38:04,680
Speaker 1: else do we have? Adult stuff? Was there any adult

657
00:38:04,719 --> 00:38:09,000
Speaker 1: stuff in this episode? Dan told Dev the truth? Yea,

658
00:38:10,000 --> 00:38:14,319
Speaker 1: Oh my god, guys, I've said it before, you said,

659
00:38:14,320 --> 00:38:17,160
Speaker 1: I feel guilty about it, but it's toxic. And I

660
00:38:17,320 --> 00:38:19,120
Speaker 1: still am rooting for the two of them to get

661
00:38:19,160 --> 00:38:23,080
Speaker 1: back together because I don't want them to sabotage anyone else. Um,

662
00:38:24,600 --> 00:38:28,799
Speaker 1: I do think Dev deserves better. But like they're they're

663
00:38:28,920 --> 00:38:31,640
Speaker 1: very sexy together. They're very sexy, and if they could

664
00:38:31,719 --> 00:38:34,359
Speaker 1: figure it out, if they could help each other, if

665
00:38:34,400 --> 00:38:37,680
Speaker 1: they can just clean out, like that infected puss from

666
00:38:37,719 --> 00:38:41,160
Speaker 1: the wound of their relationships and shut. They could have

667
00:38:41,320 --> 00:38:44,719
Speaker 1: a little scar instead of sepsis. Like, I would root

668
00:38:44,800 --> 00:38:47,239
Speaker 1: for it if they would do the work. They need

669
00:38:47,280 --> 00:38:49,759
Speaker 1: a better therapist than the one they had in season one,

670
00:38:49,840 --> 00:38:53,000
Speaker 1: they really do, because because Dan walks all over that therapist.

671
00:38:53,000 --> 00:38:56,000
Speaker 1: They need somebody who's gonna wait that. It would have

672
00:38:56,040 --> 00:39:00,800
Speaker 1: been great Dan and Dev had like a whitey. Well, Jolie,

673
00:39:00,880 --> 00:39:03,160
Speaker 1: you kept bringing up all the hippo laws that were

674
00:39:04,719 --> 00:39:09,200
Speaker 1: hinter calling Lucas. First of all, Okay, he calls Lucas,

675
00:39:09,600 --> 00:39:13,759
Speaker 1: who is a minor without a parent's consent, and then

676
00:39:13,880 --> 00:39:17,640
Speaker 1: tells Lucas that he's got information from a different doctor

677
00:39:17,760 --> 00:39:22,120
Speaker 1: that lucasfferent that Lucas did not do right. Lucas didn't

678
00:39:22,520 --> 00:39:26,960
Speaker 1: release this information. Then the doctor on the phone with Lucas,

679
00:39:27,080 --> 00:39:30,840
Speaker 1: after giving him the a lecture, then tells him private

680
00:39:30,920 --> 00:39:36,040
Speaker 1: medical information from his father. Yeah, and then the doctor

681
00:39:36,200 --> 00:39:39,280
Speaker 1: calls Dan and tells him everything that happened with Lucas.

682
00:39:39,440 --> 00:39:41,960
Speaker 1: I'm like, who is this doctor? He needs to be fired.

683
00:39:42,320 --> 00:39:44,840
Speaker 1: It's not even the doctor. It's just like a drunk,

684
00:39:45,200 --> 00:39:47,920
Speaker 1: you know, like physicians assistant. That's like, I don't know,

685
00:39:48,160 --> 00:39:52,360
Speaker 1: that's me to make a phone call. Whatever. It's amazing.

686
00:39:52,760 --> 00:39:55,399
Speaker 1: Those are Those are the things guys listening at home

687
00:39:55,640 --> 00:39:58,719
Speaker 1: that sometimes as actors, you read a script and you go,

688
00:40:00,040 --> 00:40:02,560
Speaker 1: this is important to the device of the story. It's

689
00:40:02,600 --> 00:40:06,000
Speaker 1: completely ridiculous. It would never happen. But this is where

690
00:40:06,080 --> 00:40:08,920
Speaker 1: we just have to take creative license and say okay,

691
00:40:08,960 --> 00:40:11,920
Speaker 1: because otherwise we're gonna go crazy, as evidenced by the

692
00:40:12,000 --> 00:40:15,879
Speaker 1: fact that we are going crazy about this eighteen years later.

693
00:40:16,520 --> 00:40:19,200
Speaker 1: That drives me crazy. Though it's so lazy because it

694
00:40:19,280 --> 00:40:22,360
Speaker 1: could could have been an office assistant who is like,

695
00:40:23,080 --> 00:40:27,719
Speaker 1: you know, mixed up your five, or she's chewing gum

696
00:40:27,840 --> 00:40:31,120
Speaker 1: and she's watching a soap opera on TV and she's like, yeah, yeah,

697
00:40:31,440 --> 00:40:34,120
Speaker 1: the results came in and she's talking, Oh, sorry, I

698
00:40:34,160 --> 00:40:37,000
Speaker 1: thought because I didn't want to hire somebody else. They

699
00:40:37,040 --> 00:40:39,120
Speaker 1: didn't want to they didn't want to spend because they

700
00:40:39,160 --> 00:40:41,719
Speaker 1: built us a miniature Eiffel Tower and he spent it. Right,

701
00:40:42,040 --> 00:40:45,840
Speaker 1: that's right, But okay. School dances, though, you guys were like,

702
00:40:45,920 --> 00:40:50,080
Speaker 1: our school dances didn't look like this different. Oh girl,

703
00:40:51,440 --> 00:40:54,279
Speaker 1: high school dances. I'm going to post pictures this week

704
00:40:54,440 --> 00:40:57,279
Speaker 1: for park few high school dances. Someone remind me, um,

705
00:40:57,880 --> 00:41:00,600
Speaker 1: you're gonna try to find mine. That's post some like

706
00:41:00,719 --> 00:41:04,920
Speaker 1: school dance pictures, because we had some pretty epic you know,

707
00:41:05,280 --> 00:41:08,040
Speaker 1: there's like a catalog right that you If you were

708
00:41:08,080 --> 00:41:11,319
Speaker 1: in student government, your job was to raise money all

709
00:41:11,440 --> 00:41:14,800
Speaker 1: year long, and then you would buy these kits and

710
00:41:14,880 --> 00:41:17,680
Speaker 1: they would come with like a big backdrop and like

711
00:41:17,960 --> 00:41:21,800
Speaker 1: something's made out of cardboard. Oh yeah, And so you

712
00:41:21,840 --> 00:41:25,279
Speaker 1: would decorate the whole gym with these like themes and

713
00:41:25,680 --> 00:41:28,200
Speaker 1: on all the tables there would be like I want

714
00:41:28,200 --> 00:41:31,239
Speaker 1: to say, we did like like a whole like Arabian

715
00:41:31,400 --> 00:41:33,640
Speaker 1: Nights one and it was like you know, like little

716
00:41:33,719 --> 00:41:36,480
Speaker 1: lamps on the tables and like it was just beautiful.

717
00:41:36,920 --> 00:41:39,120
Speaker 1: Saved by the Bell dream. Every time I would watch

718
00:41:39,160 --> 00:41:41,280
Speaker 1: say Bell and I was like, why are there dances

719
00:41:41,360 --> 00:41:45,520
Speaker 1: so amazing? Because you'd go to the football game on

720
00:41:45,680 --> 00:41:48,640
Speaker 1: Friday night and then Saturday morning, the student government kids

721
00:41:48,680 --> 00:41:50,640
Speaker 1: would get up at like six in the morning, go

722
00:41:50,800 --> 00:41:54,400
Speaker 1: to the school, decorate all day, make the balloon arches,

723
00:41:54,920 --> 00:41:57,520
Speaker 1: and then go home quickly shower and then still look

724
00:41:57,560 --> 00:42:01,160
Speaker 1: like at the dance, Like you can always tell those

725
00:42:01,280 --> 00:42:04,840
Speaker 1: kids were tell us what songs. I want to know

726
00:42:05,000 --> 00:42:07,960
Speaker 1: what song you remember the most? Was always played at

727
00:42:08,000 --> 00:42:11,960
Speaker 1: like every school dance besides like the main my God,

728
00:42:12,040 --> 00:42:17,560
Speaker 1: Casey and Jojo all my life, that's all, you know.

729
00:42:17,840 --> 00:42:25,719
Speaker 1: The second I said it, girl, I've got a sense memory. Yes, yeah,

730
00:42:27,080 --> 00:42:29,600
Speaker 1: that's embarrassing. This is the slow song that I've been

731
00:42:29,719 --> 00:42:33,520
Speaker 1: waiting for. But it was also the era of like,

732
00:42:34,120 --> 00:42:38,160
Speaker 1: um like great party rap, you know, like you know

733
00:42:38,280 --> 00:42:44,360
Speaker 1: when Snoop and um Tupac and Big like you know,

734
00:42:44,480 --> 00:42:49,680
Speaker 1: like school dances were great because the party music was great,

735
00:42:49,760 --> 00:42:51,600
Speaker 1: and then you'd have like your slow songs like fine,

736
00:42:51,640 --> 00:42:55,680
Speaker 1: okay whatever. Um. I remember going to prom and my

737
00:42:55,800 --> 00:42:58,440
Speaker 1: boyfriend getting so excited because they played the Cure and

738
00:42:58,560 --> 00:43:01,239
Speaker 1: he was like, I can't believe they're playing the Cure

739
00:43:01,320 --> 00:43:04,279
Speaker 1: and like lost his mind and he just he was

740
00:43:04,320 --> 00:43:05,960
Speaker 1: such a sullen boy and he had such like a

741
00:43:06,040 --> 00:43:07,960
Speaker 1: goofy grin on his face that I was kind of

742
00:43:08,040 --> 00:43:09,759
Speaker 1: taken aback. I was like, like, I don't know if

743
00:43:09,800 --> 00:43:15,520
Speaker 1: I'm attracted to you anymore. Strange was always playing Paradise

744
00:43:15,600 --> 00:43:20,319
Speaker 1: by the Dashboard Light, that meat love song that's where

745
00:43:20,320 --> 00:43:22,960
Speaker 1: the DJ was smoking outside, because that song is like

746
00:43:23,040 --> 00:43:26,760
Speaker 1: twenty minute song exactly. I knew it's always so epic,

747
00:43:27,000 --> 00:43:29,359
Speaker 1: and also to play in a high school dance, which

748
00:43:29,400 --> 00:43:35,040
Speaker 1: is hilarious because it's all about like in your car car,

749
00:43:36,000 --> 00:43:38,640
Speaker 1: I'm like, how did the teachers a laugh song to

750
00:43:38,680 --> 00:43:41,760
Speaker 1: be played? Because they all were standing against the bleachers

751
00:43:41,800 --> 00:43:47,640
Speaker 1: going like, yeah, this was a bop, this was a jam. Um. Yeah,

752
00:43:47,719 --> 00:43:52,879
Speaker 1: those songs last forever and ever. I tease my son.

753
00:43:53,080 --> 00:43:54,839
Speaker 1: We we listened to nineties on nine in the car.

754
00:43:54,880 --> 00:43:58,080
Speaker 1: I've said that before. Um and Gus the first time

755
00:43:58,120 --> 00:44:01,439
Speaker 1: he heard that song by Bell Biv DeVoe Poison, Yeah,

756
00:44:01,920 --> 00:44:05,000
Speaker 1: he was like what is this? And now it comes

757
00:44:05,040 --> 00:44:06,799
Speaker 1: from the radio every time we get in the car

758
00:44:06,800 --> 00:44:09,640
Speaker 1: and I'm like, Goss, it's your favorite song and he's like, well,

759
00:44:09,719 --> 00:44:11,520
Speaker 1: it's not my favorite song. But I told him when

760
00:44:11,520 --> 00:44:13,640
Speaker 1: I shaperone his school dances when he gets older, I'm

761
00:44:13,640 --> 00:44:21,040
Speaker 1: going to make sure the DJ plays that girl plays. Um.

762
00:44:21,840 --> 00:44:23,880
Speaker 1: What are they saying? Oh, she'll remind us to put

763
00:44:23,920 --> 00:44:27,160
Speaker 1: pictures up fantastic. Um. Okay, real quick, we need to

764
00:44:27,200 --> 00:44:31,839
Speaker 1: talk about High Flyers because Nathan finally reveals Haley's lied

765
00:44:31,880 --> 00:44:33,640
Speaker 1: to him about the whole Chris Keller thing, but he

766
00:44:33,880 --> 00:44:38,759
Speaker 1: has also lied about High Flyers and the reveal you

767
00:44:38,960 --> 00:44:45,640
Speaker 1: played that reveal so good joy you. Yeah, sweet, it was.

768
00:44:46,680 --> 00:44:49,080
Speaker 1: It was nice to see, Like, I like seeing Nathan

769
00:44:49,120 --> 00:44:53,480
Speaker 1: and Haley struggling for the first time. It's realistic because

770
00:44:53,480 --> 00:44:57,719
Speaker 1: it's been it's been kind of like Sunshine and Glitter. Yeah, well,

771
00:44:57,960 --> 00:45:02,800
Speaker 1: especially where their dreams are concer right, because they really

772
00:45:03,040 --> 00:45:06,480
Speaker 1: succeed as a couple, But couples are made up of

773
00:45:06,560 --> 00:45:10,920
Speaker 1: two individuals, and now that their dreams are requiring potential

774
00:45:11,040 --> 00:45:14,880
Speaker 1: sacrifice or anyone else being in the mix, going away

775
00:45:14,960 --> 00:45:18,280
Speaker 1: for High Flyers or working with Chris Keller, things aren't

776
00:45:18,320 --> 00:45:22,080
Speaker 1: so easy, and it's nice to see them having a

777
00:45:22,160 --> 00:45:24,920
Speaker 1: little bit of the reality that so many people have

778
00:45:25,080 --> 00:45:28,440
Speaker 1: to deal with when they try to be in relationship. Yeah, exactly.

779
00:45:29,680 --> 00:45:32,560
Speaker 1: Sacrifice is a hard thing as a kid. It's a

780
00:45:32,600 --> 00:45:35,879
Speaker 1: hard thing as a grown up. Yes, it is, really.

781
00:45:35,920 --> 00:45:40,920
Speaker 1: I don't like it. I'll do it. Nobody does, but

782
00:45:41,040 --> 00:45:43,480
Speaker 1: that's why it has to be worth it. I mean,

783
00:45:43,640 --> 00:45:46,440
Speaker 1: there's always I kind of always say like, there's no

784
00:45:46,600 --> 00:45:49,239
Speaker 1: there's really no such thing as freedom. You're always saying

785
00:45:49,320 --> 00:45:51,200
Speaker 1: no to one thing in order to say yes to

786
00:45:51,320 --> 00:45:53,920
Speaker 1: another thing. I mean to say, I want to live

787
00:45:54,000 --> 00:45:56,799
Speaker 1: life totally free with no constraints is impossible. I mean,

788
00:45:56,920 --> 00:45:59,160
Speaker 1: we have constraints with the laws of physics and and

789
00:45:59,680 --> 00:46:04,240
Speaker 1: just the universe, Like there's always nature, there's always constraints somewhere.

790
00:46:04,880 --> 00:46:08,239
Speaker 1: So it's just a matter of figuring out which ones

791
00:46:08,280 --> 00:46:10,680
Speaker 1: you're willing to live with and when which ones are

792
00:46:10,840 --> 00:46:14,359
Speaker 1: worth saying goodbye to in order to or or saying

793
00:46:14,400 --> 00:46:16,319
Speaker 1: hello to or whatever in order to have something else.

794
00:46:16,640 --> 00:46:18,800
Speaker 1: So yeah, I mean that's a really hard thing to

795
00:46:18,880 --> 00:46:22,920
Speaker 1: navigate in relationships as adults, let alone as kids. Um,

796
00:46:23,080 --> 00:46:25,080
Speaker 1: but I don't know. Maybe it's easier when you're young.

797
00:46:25,120 --> 00:46:28,200
Speaker 1: Maybe it's easier when you're you don't have you haven't

798
00:46:28,239 --> 00:46:31,279
Speaker 1: experienced all these different options, and you haven't traveled the

799
00:46:31,320 --> 00:46:34,080
Speaker 1: world and been with all these different people. Maybe it's

800
00:46:34,080 --> 00:46:37,200
Speaker 1: easier when you're younger and you can just say, yeah, okay,

801
00:46:37,280 --> 00:46:39,160
Speaker 1: the simple thing is I love you more than I

802
00:46:39,320 --> 00:46:43,680
Speaker 1: love uh, I don't know whatever the thing is, or

803
00:46:43,800 --> 00:46:47,680
Speaker 1: I love myself more than I love any of this

804
00:46:48,320 --> 00:46:50,360
Speaker 1: or you, and I need to do what's best for me,

805
00:46:50,600 --> 00:46:53,279
Speaker 1: But what when is it what's best for me is

806
00:46:53,280 --> 00:46:55,360
Speaker 1: actually what's best for us, or what's best for us

807
00:46:55,440 --> 00:46:58,040
Speaker 1: is what's best for me? I mean, it's just so hard,

808
00:46:58,160 --> 00:47:01,680
Speaker 1: it's so confusing. Once you've lived your life a little bit,

809
00:47:01,880 --> 00:47:04,080
Speaker 1: at least you can say I've got this bag of

810
00:47:04,160 --> 00:47:09,879
Speaker 1: stuff that's mine. Yeah. Right when you're super young, it's like, oh,

811
00:47:10,000 --> 00:47:15,080
Speaker 1: it's never gonna happen for me, okay, because I'm picking you.

812
00:47:15,840 --> 00:47:18,279
Speaker 1: You know, like it's unless you can do sort of

813
00:47:18,360 --> 00:47:20,359
Speaker 1: what like what Maria Manunos was talking about in our

814
00:47:20,400 --> 00:47:23,880
Speaker 1: episode with her and her husband, about the way that

815
00:47:24,000 --> 00:47:26,719
Speaker 1: they seemed to really grow together and she didn't have

816
00:47:26,920 --> 00:47:29,120
Speaker 1: to sacrifice all that stuff, and which is again why

817
00:47:29,200 --> 00:47:31,920
Speaker 1: it's so important to find a partner that you know

818
00:47:32,120 --> 00:47:34,160
Speaker 1: that you can grow with. Because I've heard this before

819
00:47:34,320 --> 00:47:36,000
Speaker 1: by people who have been married for a long time

820
00:47:36,080 --> 00:47:38,920
Speaker 1: that you're never married to the same person. For like

821
00:47:39,080 --> 00:47:41,040
Speaker 1: you're married to ten different people throughout the course of

822
00:47:41,080 --> 00:47:43,640
Speaker 1: your relationship. Right if it's if it sucks right now,

823
00:47:43,719 --> 00:47:48,839
Speaker 1: wait two years, it'll be better later. Just hold on. Um.

824
00:47:49,480 --> 00:47:51,880
Speaker 1: And I think that's it's like, there's got to be

825
00:47:51,960 --> 00:47:57,279
Speaker 1: a foundation of agreement and uh, same values and shared Uh.

826
00:47:57,960 --> 00:48:02,560
Speaker 1: I guess shared values is the fundamental thing. But uh,

827
00:48:02,640 --> 00:48:04,120
Speaker 1: in person, you have to like each other and if

828
00:48:04,160 --> 00:48:06,400
Speaker 1: you be attracted to each other, and then beyond that,

829
00:48:07,280 --> 00:48:10,279
Speaker 1: you're going to both be morphanous so much as life

830
00:48:10,360 --> 00:48:13,600
Speaker 1: goes on. Yeah, you've got to be able to support

831
00:48:13,640 --> 00:48:19,400
Speaker 1: each other in your individual pursuits, but also, yeah, feed

832
00:48:19,520 --> 00:48:23,680
Speaker 1: the relationship as its own entity, right well. And I

833
00:48:23,800 --> 00:48:26,080
Speaker 1: think what's so beautiful too about if you're in that

834
00:48:26,320 --> 00:48:30,080
Speaker 1: right kind of relationship is that when you do have

835
00:48:30,239 --> 00:48:32,960
Speaker 1: to make a sacrifice, you can look at the practical

836
00:48:33,080 --> 00:48:36,000
Speaker 1: landscape of your life and go, I can only spend

837
00:48:36,040 --> 00:48:39,640
Speaker 1: this many plates, okay, and it doesn't feel like a

838
00:48:39,840 --> 00:48:45,160
Speaker 1: ding on who you are to have to spin plates

839
00:48:45,440 --> 00:48:48,680
Speaker 1: not just for yourself but also for your relationship. And

840
00:48:49,160 --> 00:48:51,080
Speaker 1: one of the people who I think is so smart

841
00:48:51,160 --> 00:48:53,400
Speaker 1: about this, I don't know if we've talked about this

842
00:48:53,520 --> 00:48:55,640
Speaker 1: or not, but but basically referencing what you're saying, joy

843
00:48:56,080 --> 00:48:59,840
Speaker 1: esther Perel, you know, her whole thing like her because

844
00:49:00,000 --> 00:49:04,440
Speaker 1: billion time bestseller book Meeting in Captivity about how people

845
00:49:05,640 --> 00:49:08,319
Speaker 1: stay in relationships that are filled with desire when they've

846
00:49:08,360 --> 00:49:11,160
Speaker 1: been in those relationships for decades. She said something that

847
00:49:11,239 --> 00:49:15,600
Speaker 1: I think is so beautiful. She said, most people have

848
00:49:15,800 --> 00:49:20,239
Speaker 1: an average of three marriages in their adult lifetime, and

849
00:49:20,320 --> 00:49:23,560
Speaker 1: the lucky ones have all three marriages in the same

850
00:49:23,840 --> 00:49:28,719
Speaker 1: with the same persons, and like, I love that that

851
00:49:28,880 --> 00:49:35,520
Speaker 1: you can give yourself the permission to meet your partner,

852
00:49:35,680 --> 00:49:40,920
Speaker 1: to remarry your partner, to be mysterious again, like what

853
00:49:41,120 --> 00:49:46,320
Speaker 1: a what a sick goal? Yeah? I like that, I

854
00:49:46,480 --> 00:49:49,480
Speaker 1: like it. I like it a lot. Do we think

855
00:49:49,520 --> 00:49:52,880
Speaker 1: that Nathan's ever been hurt by a girl before? He

856
00:49:53,080 --> 00:49:55,080
Speaker 1: was a good question? Do you know what I mean?

857
00:49:55,239 --> 00:49:59,160
Speaker 1: It's like he gets so he's not a dick when

858
00:49:59,200 --> 00:50:01,279
Speaker 1: he tells her to go find that letter. When he

859
00:50:01,320 --> 00:50:05,239
Speaker 1: tells you, you know, Haley like a drawer, but you

860
00:50:05,360 --> 00:50:08,880
Speaker 1: can see that he is like, I just got burned

861
00:50:09,080 --> 00:50:12,600
Speaker 1: so hard. You know, is he going to react? Is

862
00:50:12,680 --> 00:50:16,160
Speaker 1: he going to throw walls up? And you know, like

863
00:50:16,600 --> 00:50:20,200
Speaker 1: this because that's sort of how he's gone about things.

864
00:50:20,239 --> 00:50:22,680
Speaker 1: But he can now because he's in it to win it.

865
00:50:22,719 --> 00:50:25,919
Speaker 1: He's married well, and you see it coming. You see

866
00:50:26,320 --> 00:50:29,279
Speaker 1: something I love that James did in the episode is

867
00:50:29,360 --> 00:50:32,959
Speaker 1: at first when you say you're going to be late, yeah,

868
00:50:33,200 --> 00:50:37,520
Speaker 1: you can see him go. And when when Hailey says,

869
00:50:37,920 --> 00:50:40,959
Speaker 1: you didn't even want to go anyway, and we find

870
00:50:41,000 --> 00:50:48,840
Speaker 1: out he's been fibbing to plan, and then you can

871
00:50:48,960 --> 00:50:52,839
Speaker 1: kind of see him take the hit because he goes, Oh,

872
00:50:53,000 --> 00:50:55,560
Speaker 1: I created this. She doesn't think I wanted to go.

873
00:50:56,719 --> 00:50:59,760
Speaker 1: But then when you make it and everything is supposed

874
00:50:59,760 --> 00:51:01,839
Speaker 1: to be perfect and you guys get crowned, and then

875
00:51:01,880 --> 00:51:04,080
Speaker 1: he hears Chris Keller, then he's like, go theme and

876
00:51:04,160 --> 00:51:08,479
Speaker 1: find a letter, you know like, And I wonder where

877
00:51:08,560 --> 00:51:12,680
Speaker 1: will he land on the scale of growing out and

878
00:51:12,880 --> 00:51:16,560
Speaker 1: being you know, angry and putting his walls up versus

879
00:51:18,280 --> 00:51:20,200
Speaker 1: you know, being willing to meet you in the middle.

880
00:51:20,239 --> 00:51:24,359
Speaker 1: I'm so curious about what happens next week. I am too,

881
00:51:26,040 --> 00:51:30,960
Speaker 1: considering we totally forgot like major plot points. But you

882
00:51:31,040 --> 00:51:32,680
Speaker 1: guys are so fine. It's like we actually get to

883
00:51:32,719 --> 00:51:35,320
Speaker 1: be fans of our own show. I know what the

884
00:51:35,400 --> 00:51:38,439
Speaker 1: audience felt. I'm like, God, I actually also can't wait

885
00:51:38,520 --> 00:51:42,160
Speaker 1: for next week. I highly recommend everyone wait twenty years

886
00:51:42,280 --> 00:51:47,440
Speaker 1: to go back to whatever job. You'll be far nicer

887
00:51:47,560 --> 00:52:01,800
Speaker 1: to yourself. Do we have any viewer questions? Oh? I

888
00:52:01,960 --> 00:52:07,560
Speaker 1: like this question. Oh, Nicole wants to know Brooks winks

889
00:52:07,760 --> 00:52:11,960
Speaker 1: are so cute in this series. Was this your personal

890
00:52:12,080 --> 00:52:14,680
Speaker 1: touch or were you scripted to do it? That was

891
00:52:14,760 --> 00:52:19,480
Speaker 1: all me, baby, The like the winks and the eyebrow

892
00:52:19,640 --> 00:52:23,440
Speaker 1: raises and the things that just felt like her. There

893
00:52:23,520 --> 00:52:26,040
Speaker 1: was such a physicality to her. And if I may

894
00:52:26,080 --> 00:52:29,560
Speaker 1: say so myself, I also I brought in high friend

895
00:52:30,200 --> 00:52:35,200
Speaker 1: because they did Yeah, hi friends, high boyfriend. That all

896
00:52:35,320 --> 00:52:37,680
Speaker 1: came from an inside joke with me and my best

897
00:52:37,719 --> 00:52:40,960
Speaker 1: friend from college, um, and it was really fun to,

898
00:52:41,440 --> 00:52:45,200
Speaker 1: you know, put little nods in real life. Did that

899
00:52:45,360 --> 00:52:47,719
Speaker 1: come from you? I've said that, I've been saying that

900
00:52:47,920 --> 00:52:50,759
Speaker 1: for as long as I can remember, But it makes

901
00:52:50,800 --> 00:52:55,640
Speaker 1: sense that that came from just being around you. That's

902
00:52:55,680 --> 00:52:59,200
Speaker 1: so funny, I say it now, my high friend h friends. Yeah,

903
00:53:00,440 --> 00:53:02,239
Speaker 1: I think our ticks in the show we noticed at

904
00:53:02,280 --> 00:53:04,440
Speaker 1: the beginning of the episode. We we talked about how

905
00:53:04,520 --> 00:53:07,480
Speaker 1: we remembered filming that scene in the mall together, like

906
00:53:07,560 --> 00:53:10,480
Speaker 1: buying the dress. But it's funny, you know. We talked

907
00:53:10,480 --> 00:53:12,719
Speaker 1: about editing. When they cut stuff up, you don't know

908
00:53:12,800 --> 00:53:14,439
Speaker 1: what take they're going to use, and it just looks

909
00:53:14,480 --> 00:53:19,440
Speaker 1: like I'm slapping your ass like ten times. I probably

910
00:53:19,560 --> 00:53:22,080
Speaker 1: like did it once at one take and then another

911
00:53:22,160 --> 00:53:23,840
Speaker 1: time at another take. But they're like, we're going to

912
00:53:24,000 --> 00:53:26,400
Speaker 1: use all the asleps, so we need just a highlight

913
00:53:26,440 --> 00:53:30,280
Speaker 1: reel of ut Davis winks of Peyton fondling other women

914
00:53:30,760 --> 00:53:36,439
Speaker 1: and enjoy what was Hayley's tick? Oh, I feel it's

915
00:53:36,520 --> 00:53:43,000
Speaker 1: this right here that Oh stop my double my elevens

916
00:53:43,040 --> 00:53:47,560
Speaker 1: on my eyebrows. I love, done, done. Thank you for

917
00:53:47,640 --> 00:53:52,480
Speaker 1: the question, Nicole. What else? Oh? And here's one from Grace. Uh.

918
00:53:53,040 --> 00:53:55,759
Speaker 1: Did you have any tricks to learn lines in a

919
00:53:55,920 --> 00:54:00,960
Speaker 1: hurry on set? Did you guys learn your lines the

920
00:54:01,040 --> 00:54:04,560
Speaker 1: night before? Did you learned that morning? I learned, I'm

921
00:54:04,560 --> 00:54:06,480
Speaker 1: really because I was on that soap for years, so

922
00:54:07,800 --> 00:54:09,920
Speaker 1: and I learned my lines really fast. I mean, if

923
00:54:09,960 --> 00:54:12,279
Speaker 1: I had like a character to really prep for, or

924
00:54:12,480 --> 00:54:14,759
Speaker 1: if I had a big monologue, then I would turn

925
00:54:14,840 --> 00:54:20,279
Speaker 1: it into a song. Oh yeah. So if I would

926
00:54:20,360 --> 00:54:24,399
Speaker 1: go to um a song that I knew really well,

927
00:54:25,480 --> 00:54:27,560
Speaker 1: like I don't know whatever by by Miss American Pyre

928
00:54:27,600 --> 00:54:30,640
Speaker 1: or something, and then I would take the paragraph that

929
00:54:30,680 --> 00:54:34,160
Speaker 1: I had to learn and put those words in place

930
00:54:34,200 --> 00:54:36,160
Speaker 1: of the lyrics in my brain, and I would learn

931
00:54:37,040 --> 00:54:39,280
Speaker 1: that way, so that when I was up there talking

932
00:54:39,480 --> 00:54:41,480
Speaker 1: or giving my speech, I was just running through the

933
00:54:41,560 --> 00:54:43,839
Speaker 1: song in my head and the words would just kind

934
00:54:43,880 --> 00:54:46,799
Speaker 1: of come out and I wouldn't be thinking about them. Juan,

935
00:54:46,920 --> 00:54:50,120
Speaker 1: that's amazing. It's a good trick. That's so cool. I'm

936
00:54:50,160 --> 00:54:52,319
Speaker 1: going to do that. Yeah. I mean I worked at

937
00:54:52,440 --> 00:54:55,440
Speaker 1: MTV forever, so it was like live and you had

938
00:54:55,480 --> 00:54:57,680
Speaker 1: to look at a que card during the thirty second

939
00:54:57,680 --> 00:54:59,680
Speaker 1: commercial break and then go out and just know all

940
00:54:59,719 --> 00:55:05,000
Speaker 1: the nation and so so like, you know, I learned

941
00:55:05,040 --> 00:55:08,040
Speaker 1: what that morning. I try. I don't want to like

942
00:55:08,160 --> 00:55:10,360
Speaker 1: fixate on it too much because then it doesn't feel

943
00:55:11,800 --> 00:55:13,880
Speaker 1: like it's just coming out of my mouth, you know,

944
00:55:14,160 --> 00:55:17,560
Speaker 1: because I over rehearse. I know when I've like done

945
00:55:17,600 --> 00:55:19,400
Speaker 1: it too much and I'm just tired and over it

946
00:55:20,040 --> 00:55:23,399
Speaker 1: um and start to sound weird. You're like, what does

947
00:55:23,680 --> 00:55:28,800
Speaker 1: what does presence? Presence? Yeah, that's not a word. You're like,

948
00:55:29,080 --> 00:55:33,120
Speaker 1: I've turned the words into shapes their rooms forever. Can

949
00:55:33,160 --> 00:55:35,880
Speaker 1: you imagine doing a Fincher film where you have to

950
00:55:36,120 --> 00:55:39,160
Speaker 1: do like a hundred and takes so I would lose

951
00:55:39,239 --> 00:55:41,960
Speaker 1: my mind? I would love to, but I also think

952
00:55:42,000 --> 00:55:44,000
Speaker 1: I might have a nervous breakdown. Yeah, I know. I

953
00:55:44,080 --> 00:55:45,520
Speaker 1: had an audition for one the other day and I

954
00:55:45,640 --> 00:55:50,760
Speaker 1: was like, I don't think I want to. This sounds

955
00:55:50,800 --> 00:55:54,560
Speaker 1: like a lot. I feel like maybe some other things instead.

956
00:55:55,719 --> 00:55:58,160
Speaker 1: You know, you guys, we had a director who called

957
00:55:58,239 --> 00:56:00,279
Speaker 1: us to take wonders They were like, you guys, get

958
00:56:00,320 --> 00:56:03,480
Speaker 1: it into takes? Who called us that? Because I've been

959
00:56:03,520 --> 00:56:05,560
Speaker 1: like so flattered by it, but also like, wait a second,

960
00:56:05,840 --> 00:56:07,520
Speaker 1: are we just like short on time or do you

961
00:56:07,600 --> 00:56:09,240
Speaker 1: really mean that? Like we do it in two takes.

962
00:56:09,520 --> 00:56:11,400
Speaker 1: I think we got it. We learned how to get

963
00:56:11,480 --> 00:56:15,919
Speaker 1: it fast. We all did. We learned the really great

964
00:56:16,040 --> 00:56:20,720
Speaker 1: balance between the technical and the artistry. And that's something

965
00:56:20,840 --> 00:56:25,440
Speaker 1: that I've always tried to remember is that there is

966
00:56:25,520 --> 00:56:27,800
Speaker 1: a technical side to this. And so one of the

967
00:56:27,880 --> 00:56:31,120
Speaker 1: things I really like to do. I like to go

968
00:56:31,239 --> 00:56:35,000
Speaker 1: back to Grace's question. I like to go through my

969
00:56:35,239 --> 00:56:40,600
Speaker 1: script a lot, top to bottom, make notes, work on subtext,

970
00:56:40,920 --> 00:56:44,640
Speaker 1: think about, you know, what's really being said, tie together

971
00:56:44,920 --> 00:56:48,000
Speaker 1: themes from you know, scene twelve to scene sixty seven.

972
00:56:48,160 --> 00:56:51,520
Speaker 1: Like I really like to have the full picture of it.

973
00:56:52,000 --> 00:56:54,000
Speaker 1: You've got one of those Serial Killer boards where you

974
00:56:54,040 --> 00:56:57,560
Speaker 1: have all the red string, the tides, everything together. I

975
00:56:57,680 --> 00:57:01,520
Speaker 1: have this like program on iPad. It's it's like Homeland.

976
00:57:02,120 --> 00:57:07,640
Speaker 1: It's fully oh my god, scriptation. I will give you

977
00:57:07,719 --> 00:57:10,239
Speaker 1: a tutorial. It's going to change Oh yes, please, it

978
00:57:10,280 --> 00:57:13,480
Speaker 1: will change your life. And I just love it. And

979
00:57:13,600 --> 00:57:17,240
Speaker 1: so for me, what I find is I want to

980
00:57:17,320 --> 00:57:22,080
Speaker 1: know the story so well and the scenes really well

981
00:57:22,760 --> 00:57:25,760
Speaker 1: to where I can make sure when I have jargon

982
00:57:26,120 --> 00:57:28,480
Speaker 1: or a monologue that I've got it. But I can

983
00:57:28,600 --> 00:57:32,520
Speaker 1: have a little bit of that freedom on the day

984
00:57:32,840 --> 00:57:35,960
Speaker 1: so that the scenes, so that the dialogue hasn't turned

985
00:57:36,000 --> 00:57:40,680
Speaker 1: into word shapes in my mouth. And then that's what

986
00:57:41,480 --> 00:57:45,960
Speaker 1: It's just word shapes, and I hate it, love it.

987
00:57:46,080 --> 00:57:51,640
Speaker 1: Shapes shapes A word shape wheel, word shaped wheel. Who

988
00:57:51,800 --> 00:57:54,600
Speaker 1: is most likely to have a nervous breakdown over their doubt? No,

989
00:57:54,760 --> 00:58:05,080
Speaker 1: that's not Joy with your sexy voice. Who is most

990
00:58:05,200 --> 00:58:09,720
Speaker 1: likely to secretly be in the c I A oh,

991
00:58:11,400 --> 00:58:18,240
Speaker 1: I mean okay, so it's any right, yeah, Joy, She's like, oh,

992
00:58:18,320 --> 00:58:21,120
Speaker 1: I've been performing all over the planet with my band,

993
00:58:21,240 --> 00:58:24,960
Speaker 1: but really I'm you know, I'm an operative that's using

994
00:58:25,040 --> 00:58:29,760
Speaker 1: these gigs to gather information. I could see you doing

995
00:58:29,840 --> 00:58:35,120
Speaker 1: that at like our Paris conventions for sure. Yeah, all right,

996
00:58:35,160 --> 00:58:37,360
Speaker 1: it's likely too. I don't know what character we must,

997
00:58:37,520 --> 00:58:39,720
Speaker 1: I mean whatever, you don't have to choose me. It's

998
00:58:39,760 --> 00:58:45,440
Speaker 1: really I choose you, I choose me, I choose It's perfect.

999
00:58:45,560 --> 00:58:49,080
Speaker 1: It's like, who who were the dames that did it? Juliet.

1000
00:58:49,240 --> 00:58:53,760
Speaker 1: Wasn't Julia Child? Yeah? Wasn't she an operative? Who were

1001
00:58:53,800 --> 00:58:58,800
Speaker 1: the other like famous leady operatives? Yeah? That a gardener?

1002
00:58:58,960 --> 00:59:08,320
Speaker 1: Yeah Acre, Yeah, performers are very good operatives. Whole program

1003
00:59:08,920 --> 00:59:12,160
Speaker 1: in the CIA and the sixties where they would they

1004
00:59:12,240 --> 00:59:17,520
Speaker 1: placed agents in Hollywood m h as executives at a

1005
00:59:17,560 --> 00:59:21,760
Speaker 1: lot of the studios to push particular government agendas in movies.

1006
00:59:22,400 --> 00:59:24,920
Speaker 1: There's a whole there's a it's there's a whole program

1007
00:59:24,960 --> 00:59:26,520
Speaker 1: about it. You can go read it. I'll send you.

1008
00:59:26,600 --> 00:59:31,120
Speaker 1: There's a somebody somebody was just telling me, and of

1009
00:59:31,200 --> 00:59:32,919
Speaker 1: course now I can't remember, but about it was either

1010
00:59:33,000 --> 00:59:36,040
Speaker 1: a book or like some really in depth article about

1011
00:59:36,200 --> 00:59:39,320
Speaker 1: how as soon as we once we started doing serious

1012
00:59:39,320 --> 00:59:42,840
Speaker 1: space missions with NASA and like realized we were definitely

1013
00:59:42,880 --> 00:59:46,320
Speaker 1: not alone in the universe. Like the government was like,

1014
00:59:46,480 --> 00:59:49,160
Speaker 1: y'all have to make some alien movies that aren't scary

1015
00:59:49,800 --> 00:59:51,840
Speaker 1: because people are going to freak out when they find

1016
00:59:51,880 --> 00:59:58,840
Speaker 1: out there's aliens. We have to TV like what was

1017
00:59:58,920 --> 01:00:02,920
Speaker 1: the that's where we cone heads for sure? Nice and

1018
01:00:03,080 --> 01:00:08,720
Speaker 1: funny et alf coutes So I bought. I believe it's

1019
01:00:08,720 --> 01:00:14,520
Speaker 1: so good. What character though I don't, Karen, I guess maybe, Yeah,

1020
01:00:14,600 --> 01:00:18,080
Speaker 1: what's this? I mean job? Listen, Dead's job was always

1021
01:00:18,680 --> 01:00:23,440
Speaker 1: very vague. Rest her out enough that she had PTSD

1022
01:00:23,640 --> 01:00:26,120
Speaker 1: and coming home to Dan, which she was more than

1023
01:00:26,240 --> 01:00:30,480
Speaker 1: she could handle. She turned to the pills. And remember

1024
01:00:30,560 --> 01:00:33,120
Speaker 1: she put on that black cat suit once. What was this?

1025
01:00:33,800 --> 01:00:35,800
Speaker 1: I think that's coming up. Her and Karen are on

1026
01:00:35,880 --> 01:00:45,560
Speaker 1: a billboard on the billboard. I love it. Oh you guys,

1027
01:00:45,720 --> 01:00:48,080
Speaker 1: this was a fun one. I miss you. I wish

1028
01:00:48,120 --> 01:00:50,040
Speaker 1: we were all in party dresses. Thank you to everyone

1029
01:00:50,080 --> 01:00:52,280
Speaker 1: who put up with my gravelly voice. I'm sure it

1030
01:00:52,360 --> 01:00:56,439
Speaker 1: was irritating to listen to Baby get Better, You drink

1031
01:00:57,400 --> 01:00:59,840
Speaker 1: and guys, we'll see you next week. We will see

1032
01:01:00,040 --> 01:01:04,919
Speaker 1: you four Season two, episode ten, Don't take Me for granted. Wait,

1033
01:01:05,120 --> 01:01:08,360
Speaker 1: I have to say one thing. This episode premiered that

1034
01:01:08,600 --> 01:01:12,240
Speaker 1: song by Patty Griffin, the Rowing Song, and it's when

1035
01:01:12,320 --> 01:01:14,080
Speaker 1: I fell in love with Patti Griffin. I had never

1036
01:01:14,160 --> 01:01:17,960
Speaker 1: heard her voice before, but that album is so beautiful.

1037
01:01:18,200 --> 01:01:20,560
Speaker 1: And if you don't know Patty Griffin, go get the

1038
01:01:20,600 --> 01:01:23,200
Speaker 1: one thousand kiss his album. I mean, go get all

1039
01:01:23,280 --> 01:01:25,640
Speaker 1: of them. But um yeah, just throwing that out there

1040
01:01:25,680 --> 01:01:29,360
Speaker 1: for music fans. Patty Griffin. That's your bonus. Go get

1041
01:01:29,400 --> 01:01:33,600
Speaker 1: it kids, love it. Hey, thanks for listening. Don't forget

1042
01:01:33,640 --> 01:01:35,880
Speaker 1: to leave us a review. You can also follow us

1043
01:01:35,920 --> 01:01:39,800
Speaker 1: on Instagram at Drama Queens O t H. Or email

1044
01:01:39,920 --> 01:01:42,880
Speaker 1: us at Drama Queens at I heart radio dot com.

1045
01:01:43,480 --> 01:01:47,320
Speaker 1: See you next time. We are all about that high

1046
01:01:47,320 --> 01:01:50,840
Speaker 1: school drama. Girl Drama Girl, all about them high school queens.

1047
01:01:51,640 --> 01:01:53,800
Speaker 1: We'll take you for a ride at our comic girl

1048
01:01:54,640 --> 01:01:59,080
Speaker 1: cheering for the right drama queens up girl fashion, but

1049
01:01:59,200 --> 01:02:02,320
Speaker 1: you'll tough. Girl. You could sit with us. Girl Drama, Queeze, Drama,

1050
01:02:02,400 --> 01:02:06,040
Speaker 1: Quez Drama, Queen's Drama, Drama, Queen's Drama, Queens