WEBVTT - Risky Business • EP 801

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<v Speaker 1>First of all, you don't know me. We all about

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<v Speaker 1>that high school drama, Girl Drama Girl, all about.

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<v Speaker 2>Them high school queens. We'll take you for a ride.

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<v Speaker 2>And our comic girl Cheering for the Righteen Drama Queens.

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<v Speaker 3>Jaylie's Girl Off Girl Fashion, which your tough.

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<v Speaker 1>Girl, You could sit with us Girl Drama, Queens Drama,

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<v Speaker 1>Queens Drama, Queens Drama, Drama, Queens Drama Queens.

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<v Speaker 2>Hi.

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<v Speaker 4>Everyone, We're back with a.

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<v Speaker 5>Brand new season AO.

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<v Speaker 4>Episode eight oh one, Read it Off, Joy Okay.

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<v Speaker 2>Season eight, Episode one, Asleep at Heavensgate air date September fourteenth,

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<v Speaker 2>twenty ten. As the gang returns from Utah, Brook and

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<v Speaker 2>Julian are in an engaged bubble until the police knock

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<v Speaker 2>on Brooks door and that is not sting. The actual

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<v Speaker 2>police show up at brookstore, Hayley learns that she is pregnant,

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<v Speaker 2>Nathan is preparing to leave for training camp, and Katie

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<v Speaker 2>shoots her shot with Clay and Gwyn.

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<v Speaker 4>Oh boy, guys, well, the theme songs back.

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<v Speaker 3>The theme song is back. Also, it made me feel

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<v Speaker 3>a lot of nostalgia to see the opening credits cutting

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<v Speaker 3>from you know the year one high school to now

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<v Speaker 3>was very cute too. I have a question and I

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<v Speaker 3>wrote this in the thing, and I couldn't figure it

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<v Speaker 3>out because when the episode opens and you are doing

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<v Speaker 3>the cool like collage letter with the pictures to Lucas

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<v Speaker 3>and your cute little hat and your hoops, I was like, oh,

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<v Speaker 3>months have gone by. Her hair color is different. And

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<v Speaker 3>then I was like, wait, but months can't have gone

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<v Speaker 3>by because we're in a cliffhanger. And then I was like,

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<v Speaker 3>but wait, because we do the flashback when Haley tells

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<v Speaker 3>Nathan she'st but then the next day her hair is different.

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<v Speaker 3>So my question is did was was the plan? Like

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<v Speaker 3>I'm back, I'm out of my depression. I need a

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<v Speaker 3>new do, and like maybe that morning, you know she

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<v Speaker 3>went and got her hair died and then like popped

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<v Speaker 3>by the river court on the way home, was like

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<v Speaker 3>feeling fancy fresh because it is the next day, right,

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<v Speaker 3>It's not like it has to be it has to

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<v Speaker 3>be the next day. Like two days couldn't have gone by.

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<v Speaker 3>You guys would be dead by that, right?

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<v Speaker 4>How many days can claim Quinn realistically?

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<v Speaker 2>For yeah, just lay there. Yeah, here's here's what I

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<v Speaker 2>think it was. I think it was a lot more

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<v Speaker 2>of Joy needs to not be in a depression like

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<v Speaker 2>I had dyed my hair darker in the middle, you know,

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<v Speaker 2>a few seasons prior, because it was a preference of

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<v Speaker 2>my h partner at the time, and did that. Stuck

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<v Speaker 2>with that for a while and was kind of in

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<v Speaker 2>the in the phase of coming out of my personal haze,

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<v Speaker 2>and I really wanted to feel like myself again, and

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<v Speaker 2>I was like, I look like my husband's mother. I'm

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<v Speaker 2>not happy, and I don't I want to feel like me,

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<v Speaker 2>and so I started just making small changes, one of

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<v Speaker 2>which included, hey, I really would like to just go

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<v Speaker 2>back to my semi natural hair color, which is always

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<v Speaker 2>difficult getting that much red out. But we did it,

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<v Speaker 2>and we did I think I just showed up on

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<v Speaker 2>set and I was like, nope, I'm not changing it.

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<v Speaker 2>This is what it is. And I don't know, eight

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<v Speaker 2>seasons in they were like whatever, Joy.

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<v Speaker 3>Good for you, truly, I know the River Court is

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<v Speaker 3>the most beautiful shot and it's very iconic for our show.

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<v Speaker 3>I sort of wish we had seen you writing the

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<v Speaker 3>letter to Lucas like under the you know, the round

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<v Speaker 3>hair dryer at the salon, to be like, oh, like

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<v Speaker 3>it would have actually been so cool to see the

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<v Speaker 3>reveal of the new due the next day, like I'm back.

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<v Speaker 3>But yes, I know our writers, well, our head writer

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<v Speaker 3>was very spiteful and would never have given you that

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<v Speaker 3>much grace. But I like it, and I like it

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<v Speaker 3>for you, and I actually really like it for Haley too.

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<v Speaker 3>So there, thank you.

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<v Speaker 2>Thank you very much. I did too. I was happy

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<v Speaker 2>to see myself a version of myself back. Felt good. Yeah,

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<v Speaker 2>so sorry for all of you out there who were confused.

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<v Speaker 2>This is a moment when personal life crossover into acting

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<v Speaker 2>life and it's a TV show.

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<v Speaker 3>You deal with it, you mean almost like after eight

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<v Speaker 3>years we were finally beginning to realize we could be

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<v Speaker 3>our own people.

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<v Speaker 2>Joy shock it. But you lightened your hair too. It

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<v Speaker 2>wasn't as as mine, but you also were lighter and fresher.

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<v Speaker 3>Yeah, it was nice. Also, there really is something when

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<v Speaker 3>you leave set in April and then you have, you know,

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<v Speaker 3>your summer hiatus. I don't know, you live a life

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<v Speaker 3>for two and a half months, you do things, you

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<v Speaker 3>change and then yeah, I mean similarly, I was like this,

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<v Speaker 3>like uh ombre whatever you call it, that was very

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<v Speaker 3>trendy at the time. I was like this was very expensive.

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<v Speaker 3>I'm not I'm not like box dying it for you guys.

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<v Speaker 3>Buy Yeah.

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<v Speaker 2>Yeah.

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<v Speaker 4>As a male outsider to your experience on the show, idea.

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<v Speaker 2>You feel like you're on a safari.

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<v Speaker 1>No.

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<v Speaker 4>I recall at the time, truly was you all had

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<v Speaker 4>so little recourse, like there was your hands were so

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<v Speaker 4>tired that I do remember hair color being like the

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<v Speaker 4>one battle ground that you all had. So I just

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<v Speaker 4>remember it like it was a carousel of hair colors yep,

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<v Speaker 4>changing because it was like.

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<v Speaker 2>Kind of stiles and cuts.

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<v Speaker 4>It was like the one thing that you all could

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<v Speaker 4>control and kind of force a hand on, and so

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<v Speaker 4>it was like the one thing that you would exercise

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<v Speaker 4>because you're like, well, you're shut me down everywhere else,

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<v Speaker 4>I'm gonna mess with my hair.

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<v Speaker 2>Yeah, you're absolutely right. I think we did a lot

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<v Speaker 2>of that.

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<v Speaker 4>You did a ton of it.

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<v Speaker 2>Isn't that funny?

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<v Speaker 3>I love it for us because when you think about it,

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<v Speaker 3>not to get like too highbrow, but you know, this

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<v Speaker 3>is where my little like brain that read the article

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<v Speaker 3>in like the American Medical Journal kicks in.

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<v Speaker 2>This is one of my favorite parts of your brain.

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<v Speaker 3>Joy will text me sometimes and be like, I know

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<v Speaker 3>you have a fact on this, and I'm like, in fact,

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<v Speaker 3>I do, give me four minutes and I'll find it

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<v Speaker 3>for you and I'll be right back.

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<v Speaker 4>Yeah.

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<v Speaker 3>But like they talk a lot about how, you know,

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<v Speaker 3>as they've studied certain things that really affect women, particularly

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<v Speaker 3>eating disorders, which we only really talk about with women,

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<v Speaker 3>but also do affect young men.

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<v Speaker 6>I want to be.

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<v Speaker 3>Clear us more so that what they are is they

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<v Speaker 3>are mechanisms of control, and for people who are incredibly

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<v Speaker 3>regimented by outside forces, be it authority, parents, you know,

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<v Speaker 3>an abusive household, whatever. So many women those experiences, coupled

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<v Speaker 3>with the way society pressures us to be good, look

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<v Speaker 3>a certain way and you know, be in servitude all

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<v Speaker 3>the time or whatever. It's why so many young women

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<v Speaker 3>in particular develop eating disorders, because it's the one thing

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<v Speaker 3>in your life you can control. And I think it's

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<v Speaker 3>actually really interesting to see how in a way, hair

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<v Speaker 3>became our rebellion because we also had a boss who,

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<v Speaker 3>in the midst of everything that was creepy about him,

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<v Speaker 3>would make, as we've said a lot on this show,

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<v Speaker 3>a lot of comments about our weight and our bodies,

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<v Speaker 3>and I think for us it was sort of like

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<v Speaker 3>We're not changing a goddamn thing about our bodies for you, sir.

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<v Speaker 3>And I almost wonder if the way that you know,

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<v Speaker 3>whether we were all kind of talking about who was

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<v Speaker 3>going to go what color, or you know, you went

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<v Speaker 3>like I did after season two and went rogue and

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<v Speaker 3>cut bangs and didn't get approval and then almost got

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<v Speaker 3>fired over it. Like I'm actually sort of so proud

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<v Speaker 3>of us that we figured out some version of physical

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<v Speaker 3>rebellion in this mechanism of control, because I think if

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<v Speaker 3>we hadn't, we would have probably been at risk for

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<v Speaker 3>like more of that really sort of sad stuff that

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<v Speaker 3>happens to so many of our peers. And I don't know,

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<v Speaker 3>I remember sometimes like standing on set when the pizza

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<v Speaker 3>would come and just eat, holding my hands like this

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<v Speaker 3>with a piece of pizza and looking at our boss

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<v Speaker 3>and just slowly eating, being like, I dare you to

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<v Speaker 3>say something to me about this? I don't know, we

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<v Speaker 3>really we rebelled.

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<v Speaker 2>It is such an interesting psychological rabbit hole. I would

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<v Speaker 2>like to spend more time going down at some point

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<v Speaker 2>because I know in my life and you guys may

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<v Speaker 2>have felt this way too. But when you feel like

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<v Speaker 2>you're out of control, like you have no ability to

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<v Speaker 2>control the very basic fundamental things in your life. And

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<v Speaker 2>whether that's it's because other people are controlling you or

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<v Speaker 2>because you feel like you can't trust yourself to make

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<v Speaker 2>decisions or whatever, and however that manifests in people's lives,

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<v Speaker 2>the feeling of trying to control then other people and

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<v Speaker 2>trying to control your environment. And then I would find

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<v Speaker 2>myself actually being really really hard on other people, even

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<v Speaker 2>just strangers or customer service or whatever other you know,

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<v Speaker 2>I'd show up on said and if an actor didn't

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<v Speaker 2>know their lines, I would just be so upset. And

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<v Speaker 2>it's not like it's like okay, it's a thing, it's annoying,

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<v Speaker 2>but things that were really easily dismissable or just let

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<v Speaker 2>it roll off your back, I would hold on to

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<v Speaker 2>as the sense of injustice and like it's not okay.

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<v Speaker 2>And I would be so hard on people because I

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<v Speaker 2>was so hard on myself because I was allowing myself

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<v Speaker 2>to be controlled and I didn't have this normal outlet

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<v Speaker 2>of free will and control. Does that make sense?

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<v Speaker 3>Yes? Wait, and you actually just I just had a

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<v Speaker 3>thought because I wonder if it's almost I've had that

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<v Speaker 3>in my own way like when when the environment is

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<v Speaker 3>such a nightmare, any additional pressure feels like popping the balloon,

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<v Speaker 3>you know, Like I went through a thing that you

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<v Speaker 3>know a lot about, and it put me in a

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<v Speaker 3>position where I couldn't stand to be touched by people

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<v Speaker 3>I didn't know, which is a very hard psychological place.

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<v Speaker 2>You love being touched, yes.

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<v Speaker 3>And like literally if someone would grab my arm the

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<v Speaker 3>way I would leap and freak out, like I felt

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<v Speaker 3>like razor wire at the time. And now I look

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<v Speaker 3>back and I go, God, that was so weird and

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<v Speaker 3>so not myself. And I bring it up only because

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<v Speaker 3>you're making me realize. I almost wonder if the mechanism

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<v Speaker 3>of it is I am so taught. It's like you're

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<v Speaker 3>being kind of the image I get is like, you know,

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<v Speaker 3>brave heart on the stretcher, like you're about to split,

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<v Speaker 3>And so any additional pressure is so hard to handle.

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<v Speaker 3>And I almost wonder if maybe the reason that those

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<v Speaker 3>things at that time were so reactive for you was

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<v Speaker 3>because you were like, well, how dare you not follow

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<v Speaker 3>the rule?

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<v Speaker 2>Yeah?

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<v Speaker 6>What do you mean?

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<v Speaker 3>You can't learn your lines? Like this is the basic

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<v Speaker 3>We all have a lot of expectations put on us.

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<v Speaker 3>But it's like you were probably triggered by expectations because

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<v Speaker 3>that the amount of expectations on you were unsustainable.

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<v Speaker 2>Yeah, that's exactly right.

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<v Speaker 3>Wow, two episodes in a row of therapy, guys, I

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<v Speaker 3>missed you.

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<v Speaker 4>Welcome back to the drama Queen's Therapy Corner sponsored by Betterhelp.

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<v Speaker 3>Oh my god, if they're a sponsor this week, we've

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<v Speaker 3>truly nailed it.

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<v Speaker 4>I do remember.

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<v Speaker 3>Okay, this will be the last thing I say about it,

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<v Speaker 3>because we're not I.

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<v Speaker 2>Haven't even looked at my notes yet because.

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<v Speaker 3>I haven't either, we don't stoop. But I will say,

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<v Speaker 3>you know, in the world of the internet being assess

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<v Speaker 3>pool like now, I'm starting to see people be like

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<v Speaker 3>if one more if they talk about therapy one more time,

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<v Speaker 3>and I'm like, if you have anybody in your life

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<v Speaker 3>who's not talking about therapy regularly, run so anyway, be

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<v Speaker 3>nice to people, people.

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<v Speaker 4>Great, nice to people.

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<v Speaker 5>People.

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<v Speaker 2>I like.

0:11:57.760 --> 0:12:01.880
<v Speaker 3>Who's not nice to people is Katie.

0:12:02.000 --> 0:12:04.840
<v Speaker 4>But it was just a dream, Sophia. It was just

0:12:04.880 --> 0:12:05.280
<v Speaker 4>a dream.

0:12:05.320 --> 0:12:07.680
<v Speaker 2>Oh that's right. It was just a dream.

0:12:07.920 --> 0:12:11.679
<v Speaker 3>That's what I want to jump in on because the

0:12:11.800 --> 0:12:14.760
<v Speaker 3>relief I felt, even though I knew it was obviously

0:12:14.800 --> 0:12:16.680
<v Speaker 3>a lie. Like I knew it was a ruse in

0:12:16.720 --> 0:12:21.240
<v Speaker 3>the writing, I did not. You didn't know what I forgot.

0:12:21.320 --> 0:12:25.760
<v Speaker 3>My god, the moment, the sort of moment where she

0:12:25.920 --> 0:12:29.440
<v Speaker 3>comes out and is so present with you, because it

0:12:29.559 --> 0:12:32.520
<v Speaker 3>almost seems as though Clay's been having a nightmare. You're

0:12:32.559 --> 0:12:34.960
<v Speaker 3>so shaken up, and Quinn is right there with you,

0:12:35.679 --> 0:12:42.719
<v Speaker 3>and it it felt so tender and almost maternal. And

0:12:42.760 --> 0:12:44.320
<v Speaker 3>I don't mean that in a creepy way, you know,

0:12:44.360 --> 0:12:46.480
<v Speaker 3>but like when a kid wakes up their mom or

0:12:46.559 --> 0:12:50.560
<v Speaker 3>dad is just so present and it was this sweet,

0:12:50.559 --> 0:12:53.600
<v Speaker 3>sweet moment. And my thought, and I wrote this down,

0:12:53.640 --> 0:12:55.240
<v Speaker 3>I said, oh, no, they're really going to take us

0:12:55.240 --> 0:12:58.000
<v Speaker 3>through it, aren't they. Because I didn't remember that you

0:12:58.080 --> 0:13:01.160
<v Speaker 3>were going to be in this sort of and coma

0:13:01.240 --> 0:13:06.199
<v Speaker 3>world together for the whole episode. But that scene at

0:13:06.320 --> 0:13:08.320
<v Speaker 3>night of her running back into the living room with

0:13:08.360 --> 0:13:11.640
<v Speaker 3>you too, really it set me up to know I

0:13:11.679 --> 0:13:15.000
<v Speaker 3>was going to get hurt by this episode. And I thought, Wow,

0:13:15.160 --> 0:13:20.800
<v Speaker 3>you guys did such a beautiful job making something that obviously,

0:13:20.800 --> 0:13:25.600
<v Speaker 3>as actors you knew was a dream sequence feels so real.

0:13:26.000 --> 0:13:29.000
<v Speaker 4>And the more that you sell that first scene, the

0:13:29.040 --> 0:13:33.280
<v Speaker 4>better it sets up the emotional sucker punch when you

0:13:33.320 --> 0:13:35.160
<v Speaker 4>find out because you're like, look at look at how

0:13:35.200 --> 0:13:38.600
<v Speaker 4>great these two are together. Isn't this a beautiful special thing?

0:13:38.880 --> 0:13:42.400
<v Speaker 4>And then the episode is like, gotcha, it may not last.

0:13:42.600 --> 0:13:43.080
<v Speaker 5>Yeah.

0:13:43.240 --> 0:13:47.319
<v Speaker 4>I thought all of that stuff played so well, all

0:13:47.360 --> 0:13:49.520
<v Speaker 4>of the sort of coma dream sequence stuff.

0:13:50.280 --> 0:13:51.280
<v Speaker 2>Yeah. I loved it.

0:13:51.440 --> 0:13:53.080
<v Speaker 4>When we're walking on the beach and Clay has a

0:13:53.080 --> 0:13:55.280
<v Speaker 4>moment of going, wait, there's no one else out here.

0:13:55.800 --> 0:13:58.040
<v Speaker 4>I thought, oh, is this where he starts to piece

0:13:58.120 --> 0:13:58.800
<v Speaker 4>together and then.

0:13:58.880 --> 0:14:02.320
<v Speaker 2>Nope, nope, not yet, not yet, although you sure looked

0:14:02.480 --> 0:14:05.840
<v Speaker 2>real like a real snack rob in that that cream

0:14:05.920 --> 0:14:08.560
<v Speaker 2>colored button up shirt and those jeans, just walking on

0:14:08.600 --> 0:14:08.920
<v Speaker 2>the beach.

0:14:12.280 --> 0:14:13.840
<v Speaker 4>Thank you, but you did.

0:14:13.840 --> 0:14:18.240
<v Speaker 2>But that was I love that moment of there's nobody

0:14:18.240 --> 0:14:19.520
<v Speaker 2>else on the beach, do you know what this means?

0:14:19.520 --> 0:14:23.440
<v Speaker 2>And then we still get to keep playing. I completely

0:14:23.440 --> 0:14:25.880
<v Speaker 2>forgot that this was part of the storyline. I was reminded.

0:14:26.160 --> 0:14:27.440
<v Speaker 2>This was one of the things that my friend I

0:14:27.480 --> 0:14:29.800
<v Speaker 2>was watching this show with was like, oh, but it's

0:14:29.840 --> 0:14:32.000
<v Speaker 2>all a dream sequence, it's not real. I was like, oh, yeah,

0:14:32.000 --> 0:14:35.520
<v Speaker 2>she said that really early on, so it was along

0:14:35.600 --> 0:14:36.920
<v Speaker 2>for the ride. It's a right I mean, I probably

0:14:36.920 --> 0:14:38.080
<v Speaker 2>would have figured it out eventually.

0:14:38.240 --> 0:14:42.640
<v Speaker 4>Was this Heather who did this Danielle? Danielle in my book? Yes,

0:14:42.920 --> 0:14:45.960
<v Speaker 4>classic Danielle spoiler alert.

0:14:47.040 --> 0:14:50.320
<v Speaker 2>But I'm glad. I'm glad because it was fun watching

0:14:50.360 --> 0:14:53.360
<v Speaker 2>you too finally get all of your romantic moments before

0:14:53.600 --> 0:14:56.680
<v Speaker 2>shit hits the fan. Yeah, it's gonna get real weird.

0:14:56.920 --> 0:14:59.840
<v Speaker 4>In the turn where she spots the blood on her shirt.

0:15:00.080 --> 0:15:01.720
<v Speaker 5>Oh that was good.

0:15:02.800 --> 0:15:03.920
<v Speaker 3>It was really good.

0:15:04.400 --> 0:15:17.080
<v Speaker 5>Yeah.

0:15:17.520 --> 0:15:19.360
<v Speaker 2>Was it cold? It looked like a cold damn.

0:15:19.520 --> 0:15:22.400
<v Speaker 4>Yes, well it was, yes. I mean listen, there was

0:15:22.440 --> 0:15:25.160
<v Speaker 4>never really like a good warm time in that water.

0:15:25.200 --> 0:15:27.840
<v Speaker 4>It was just sort of bearying shades of cold. And

0:15:27.920 --> 0:15:30.360
<v Speaker 4>I do remember that being quite cold.

0:15:31.120 --> 0:15:31.400
<v Speaker 5>Yeah.

0:15:31.480 --> 0:15:35.160
<v Speaker 3>Yeah, you guys looked like troopers. There was one point

0:15:35.200 --> 0:15:36.920
<v Speaker 3>where it was supposed to be obviously you two in

0:15:36.960 --> 0:15:38.960
<v Speaker 3>the ocean and it's so romantic and you're holding each

0:15:39.000 --> 0:15:42.320
<v Speaker 3>other and you just get hit by such a big wave,

0:15:42.920 --> 0:15:46.720
<v Speaker 3>and I watched you as the gentleman that you are,

0:15:46.760 --> 0:15:50.160
<v Speaker 3>like make sure to hold on to her because obviously

0:15:50.280 --> 0:15:53.280
<v Speaker 3>she's topless and you're trying to protect her body from

0:15:53.320 --> 0:15:57.480
<v Speaker 3>an entire camera crew, and I just so like, she

0:15:57.600 --> 0:16:00.160
<v Speaker 3>buries her face in your neck clearly because she's just

0:16:00.200 --> 0:16:02.600
<v Speaker 3>gotten hit in the face by water and you guys

0:16:02.600 --> 0:16:05.760
<v Speaker 3>are trying so hard to do the romance. And I

0:16:05.840 --> 0:16:07.480
<v Speaker 3>was like, that's when you know you've got a great

0:16:07.480 --> 0:16:10.320
<v Speaker 3>scene partner, because you're like, maybe we're gonna drown, but

0:16:10.360 --> 0:16:12.680
<v Speaker 3>we're going to do it together. And I've got you.

0:16:12.920 --> 0:16:15.280
<v Speaker 3>I won't let you go. I won't let this, you know,

0:16:15.840 --> 0:16:19.000
<v Speaker 3>terribly potentially violating thing happened to you. We're going to

0:16:19.040 --> 0:16:19.440
<v Speaker 3>be okay.

0:16:19.960 --> 0:16:20.040
<v Speaker 4>Now.

0:16:20.200 --> 0:16:23.320
<v Speaker 2>Makes our chemistry so great too, just the two of

0:16:23.360 --> 0:16:25.120
<v Speaker 2>you on camera as Quinn and Clay. The fact that

0:16:25.160 --> 0:16:27.120
<v Speaker 2>your friendship was strong and you were really looking out

0:16:27.160 --> 0:16:29.160
<v Speaker 2>for each other and there was this sense of camaraderie

0:16:29.240 --> 0:16:31.600
<v Speaker 2>behind the scenes. You could really feel it in the scenes,

0:16:31.640 --> 0:16:34.160
<v Speaker 2>and it made Clay and Quinn even more endearing.

0:16:34.880 --> 0:16:35.560
<v Speaker 3>Yeah.

0:16:35.640 --> 0:16:39.120
<v Speaker 4>Yeah, yeah, we were good teammates going through all that stuff, man,

0:16:39.160 --> 0:16:42.280
<v Speaker 4>and I do remember yet just being cold and there

0:16:42.320 --> 0:16:45.640
<v Speaker 4>are there are certain things that are like deceptively hard

0:16:45.640 --> 0:16:48.600
<v Speaker 4>in acting. For example, playing dead. I think a non

0:16:48.600 --> 0:16:50.680
<v Speaker 4>actor would think that's going to be the easiest thing, right,

0:16:50.880 --> 0:16:53.280
<v Speaker 4>it's not. It's very hard because all of a sudden,

0:16:53.280 --> 0:16:55.080
<v Speaker 4>as soon as you're supposed to be dead, you need

0:16:55.120 --> 0:16:57.480
<v Speaker 4>to swallow, and your eye wants to twitch, and now

0:16:57.480 --> 0:16:59.200
<v Speaker 4>how do I shallow? But it's like all of these

0:16:59.200 --> 0:17:01.400
<v Speaker 4>things right, And the other one that's very challenging is

0:17:02.160 --> 0:17:08.040
<v Speaker 4>being romantic around crashing water, whether it's a waterfall or

0:17:08.119 --> 0:17:11.160
<v Speaker 4>like like brilliant having to kiss on the sand while

0:17:11.160 --> 0:17:14.480
<v Speaker 4>the water's kind of splashing you because you're trying to

0:17:14.520 --> 0:17:19.160
<v Speaker 4>like create this wonderfully picturesque, beautiful moment, but you are

0:17:19.200 --> 0:17:21.440
<v Speaker 4>also trying to spit out the salt water from your

0:17:21.480 --> 0:17:24.760
<v Speaker 4>mouth and your right eye got sand in it, and

0:17:24.760 --> 0:17:29.439
<v Speaker 4>it's just it's in your underwear. Yeah. Man, So I

0:17:29.440 --> 0:17:31.560
<v Speaker 4>remember us just like doing our best and kind of

0:17:31.560 --> 0:17:33.760
<v Speaker 4>being like did you get it? Did you get it?

0:17:33.760 --> 0:17:35.000
<v Speaker 4>Can we come in now? Ye?

0:17:35.960 --> 0:17:37.440
<v Speaker 3>Can we please be done?

0:17:37.640 --> 0:17:38.480
<v Speaker 2>Be done?

0:17:38.880 --> 0:17:41.560
<v Speaker 4>Yeah? Cut the stock footage of like a dolphin just

0:17:41.680 --> 0:17:44.120
<v Speaker 4>you know, gleefully jumping out of the water, and let's

0:17:44.160 --> 0:17:46.159
<v Speaker 4>move to the next scene already exactly.

0:17:46.480 --> 0:17:48.560
<v Speaker 3>You know what I liked about it is that, in

0:17:48.600 --> 0:17:52.720
<v Speaker 3>an interesting way, it despite it being a dream sequence,

0:17:53.320 --> 0:17:57.320
<v Speaker 3>it allows for this little love bubble that everyone's in

0:17:57.720 --> 0:18:01.600
<v Speaker 3>to keep going. You know, Haley and Nathan talking about

0:18:01.640 --> 0:18:04.800
<v Speaker 3>their pregnancy, this sweet chat the two of you have

0:18:04.920 --> 0:18:08.840
<v Speaker 3>about how he wants a daughter just like you, you know,

0:18:08.960 --> 0:18:13.159
<v Speaker 3>Brooke and Julian in this kind of reflection on the

0:18:13.200 --> 0:18:16.400
<v Speaker 3>step they're about to take and talking about, you know,

0:18:16.880 --> 0:18:20.440
<v Speaker 3>the cadence they've found and their intimacy and what they're building,

0:18:20.560 --> 0:18:25.160
<v Speaker 3>and even her reflecting on this Utah trip and saying,

0:18:25.160 --> 0:18:27.879
<v Speaker 3>you know, watching Jamie and his snow fork, Peyton and

0:18:27.920 --> 0:18:32.280
<v Speaker 3>I used to build those, and it makes her think

0:18:32.280 --> 0:18:34.359
<v Speaker 3>about how lucky they all are to be at this

0:18:34.480 --> 0:18:39.160
<v Speaker 3>place in their life. The reflection everyone's getting to do

0:18:39.680 --> 0:18:43.879
<v Speaker 3>is something that I really love for a kickoff episode

0:18:43.920 --> 0:18:46.679
<v Speaker 3>because all of it feels so personal to each of

0:18:46.720 --> 0:18:49.920
<v Speaker 3>the characters, and in a way, it takes the audience

0:18:50.000 --> 0:18:52.200
<v Speaker 3>back too, and it reminds you of how far all

0:18:52.200 --> 0:18:56.960
<v Speaker 3>these people have come. And then everyone's worlds obviously start

0:18:57.000 --> 0:18:59.920
<v Speaker 3>to go a bit to shit. You guys have been shot, broken,

0:19:00.040 --> 0:19:03.240
<v Speaker 3>it's arrested. It's like just kidding you guys got nine

0:19:03.320 --> 0:19:06.800
<v Speaker 3>minutes of excitement and now we're back at it.

0:19:07.119 --> 0:19:11.560
<v Speaker 4>I had zero recollection of this whole storyline for Brooks,

0:19:11.600 --> 0:19:13.440
<v Speaker 4>so when the police came to the door, I kept

0:19:13.520 --> 0:19:16.880
<v Speaker 4>being like, wait, is this a joke? Wait, she's actually

0:19:16.920 --> 0:19:20.440
<v Speaker 4>getting booked. Wait what is happening? That whole storyline came

0:19:20.440 --> 0:19:22.639
<v Speaker 4>out of left field in a big way for me.

0:19:23.359 --> 0:19:26.560
<v Speaker 3>Yeah, that was so confusing, and you really don't see

0:19:26.560 --> 0:19:29.080
<v Speaker 3>it coming off the off the grease lightning morning.

0:19:30.000 --> 0:19:33.040
<v Speaker 4>Can I tell you that your makeup in that scene

0:19:33.640 --> 0:19:35.200
<v Speaker 4>looked incredible?

0:19:35.520 --> 0:19:39.120
<v Speaker 2>Oh yeah, thanks, so good, so good. I liked that.

0:19:39.200 --> 0:19:42.480
<v Speaker 2>I loved that sentence. But I like even the beginning,

0:19:42.480 --> 0:19:44.800
<v Speaker 2>when you guys are laying in bed. I was watching.

0:19:44.840 --> 0:19:47.119
<v Speaker 2>I was watching, and then I was like, I don't

0:19:47.200 --> 0:19:50.600
<v Speaker 2>I'm embarrassed, like you the intimacy, but like you guys

0:19:50.680 --> 0:19:54.040
<v Speaker 2>were so good, so convincing, so close. I kind of

0:19:54.040 --> 0:19:56.200
<v Speaker 2>looked away, like I don't this is my friend. I

0:19:56.200 --> 0:19:58.399
<v Speaker 2>don't want to watch her, like I feel like a voyeur.

0:19:58.520 --> 0:20:01.320
<v Speaker 2>This is I'm so cotable by the.

0:20:01.320 --> 0:20:07.119
<v Speaker 3>Way, even I I thought to myself watching it, I

0:20:07.160 --> 0:20:10.760
<v Speaker 3>was like, oh, I'm I'm finally starting to feel comfortable

0:20:11.920 --> 0:20:15.520
<v Speaker 3>in my self as a woman, like at this time

0:20:15.640 --> 0:20:21.360
<v Speaker 3>in my life in a new way. Like so much

0:20:21.400 --> 0:20:24.040
<v Speaker 3>of it, especially because Brooke as a young woman was

0:20:24.080 --> 0:20:28.760
<v Speaker 3>like this super over sexualized character. Everything was so performative

0:20:28.760 --> 0:20:31.760
<v Speaker 3>for so long. And I was watching that scene and

0:20:31.800 --> 0:20:35.560
<v Speaker 3>I was like oh this is like, this is more

0:20:35.640 --> 0:20:37.919
<v Speaker 3>like a scene on an HBO show.

0:20:38.160 --> 0:20:40.760
<v Speaker 2>It is, I know, the intimacy of weird. Even the

0:20:40.840 --> 0:20:43.199
<v Speaker 2>hand on a hand on your leg. It wasn't like

0:20:43.640 --> 0:20:47.320
<v Speaker 2>really racy, it was just intimate. It was like beautifully intimate,

0:20:47.359 --> 0:20:50.320
<v Speaker 2>and I felt like I shouldn't be watching this. This

0:20:50.440 --> 0:20:51.439
<v Speaker 2>is a private note.

0:20:53.160 --> 0:20:55.080
<v Speaker 3>I kind of loved it. I was like, oh, this

0:20:55.160 --> 0:20:59.159
<v Speaker 3>is nice. It's not so sticky like it used to be.

0:21:00.000 --> 0:21:04.520
<v Speaker 3>And I think the writing was so simple and good

0:21:05.000 --> 0:21:07.560
<v Speaker 3>that it enabled us to bring like all this other

0:21:07.800 --> 0:21:12.800
<v Speaker 3>energy into it. And I liked the intimacy that then

0:21:12.880 --> 0:21:16.000
<v Speaker 3>led into this joke. You know, this sort of okay, fine,

0:21:16.119 --> 0:21:20.000
<v Speaker 3>he's got this fantasy, let's do this. And you know

0:21:20.119 --> 0:21:22.040
<v Speaker 3>it's like the little bra and panty set and the

0:21:22.040 --> 0:21:25.439
<v Speaker 3>pink lady jacket so cute, and you walking in in

0:21:25.480 --> 0:21:29.240
<v Speaker 3>the middle of that god just like and the only

0:21:29.320 --> 0:21:31.399
<v Speaker 3>thing I had to hide my body was the counter.

0:21:31.840 --> 0:21:36.119
<v Speaker 4>And then the goal, Oh fruit, dude, And the way

0:21:36.160 --> 0:21:39.399
<v Speaker 4>that you scream I'm pregnant, don't be mad as you

0:21:39.560 --> 0:21:43.480
<v Speaker 4>run out the door over your shoulder was so funny. Yeah,

0:21:43.520 --> 0:21:45.960
<v Speaker 4>that scene was great, man. It was a way the

0:21:46.040 --> 0:21:50.919
<v Speaker 4>moment of you realizing it though, is perfect joy you

0:21:50.960 --> 0:21:53.760
<v Speaker 4>play that. It's so believable and funny.

0:21:53.840 --> 0:21:59.480
<v Speaker 3>It's awesome, and especially on the heels of Nathan cracking

0:21:59.560 --> 0:22:01.720
<v Speaker 3>the sex jokes about Quinn and Clay and you're like,

0:22:01.720 --> 0:22:03.720
<v Speaker 3>oh my god, no, no, no, no, no no, And

0:22:03.760 --> 0:22:05.520
<v Speaker 3>then you go to Brook and Julian's and you're like,

0:22:05.520 --> 0:22:07.600
<v Speaker 3>oh my god, no, no, no, no, no no, it

0:22:07.760 --> 0:22:09.040
<v Speaker 3>just keeps going for you.

0:22:09.160 --> 0:22:10.919
<v Speaker 2>I'm just still having it. In real life. It was

0:22:11.000 --> 0:22:12.120
<v Speaker 2>just all just too much.

0:22:12.440 --> 0:22:15.440
<v Speaker 3>It was too much, and the irony that the sort

0:22:15.480 --> 0:22:17.679
<v Speaker 3>of couplet or I guess the triplet of it is

0:22:17.720 --> 0:22:20.439
<v Speaker 3>like Clay, Quinn, Brooke, Julian and you're like, I'm actually

0:22:20.520 --> 0:22:21.960
<v Speaker 3>the one that's pregnant. I'm leaving.

0:22:22.440 --> 0:22:26.360
<v Speaker 2>Yes, it's so funny, so cute. And then this whole

0:22:26.359 --> 0:22:30.080
<v Speaker 2>storyline of Jamie like meeting explained to him what sex is, and.

0:22:31.359 --> 0:22:35.320
<v Speaker 3>Basketballs and eggs, the rabbit.

0:22:35.640 --> 0:22:36.879
<v Speaker 2>It's just so funny.

0:22:36.960 --> 0:22:37.400
<v Speaker 3>Rabbits.

0:22:38.200 --> 0:22:41.359
<v Speaker 2>Yeah, that was terrific, Lady sex rabbit.

0:22:42.080 --> 0:22:45.840
<v Speaker 3>Oh oh yeah, god, the writers really they hit a

0:22:45.880 --> 0:22:46.679
<v Speaker 3>home run with that.

0:22:46.880 --> 0:22:49.359
<v Speaker 2>And then oh my mom has one of those.

0:22:52.160 --> 0:22:54.240
<v Speaker 3>Yeah, oh boy.

0:22:55.480 --> 0:22:59.760
<v Speaker 4>Nathan using Jamie as basically a piece of workout equipment.

0:22:59.400 --> 0:23:02.520
<v Speaker 2>Was so my first note, it's so good.

0:23:03.400 --> 0:23:08.439
<v Speaker 4>Yeah, gets fun watching him really sort of level up

0:23:08.440 --> 0:23:12.520
<v Speaker 4>his dadding. Yeah, and just to see him have such

0:23:12.560 --> 0:23:15.480
<v Speaker 4>an interest in his kid, in involving him, you know,

0:23:15.560 --> 0:23:19.720
<v Speaker 4>in so many things. It's just it's really nice to see.

0:23:19.840 --> 0:23:23.040
<v Speaker 2>Yeah, let's go back to Brook because this shop, this

0:23:23.119 --> 0:23:25.840
<v Speaker 2>whole shop thing, is it really full me off? Oh God,

0:23:25.880 --> 0:23:28.719
<v Speaker 2>I forgetting arrested and all this stuff with Victoria and

0:23:28.800 --> 0:23:32.359
<v Speaker 2>all of the I mean, I was really really surprised.

0:23:33.320 --> 0:23:36.240
<v Speaker 4>Same. Now, let me ask a question, because again I'm

0:23:36.240 --> 0:23:39.080
<v Speaker 4>coming at this having not seen seasons one through six.

0:23:40.000 --> 0:23:43.720
<v Speaker 4>My reaction was, this made no sense because it always

0:23:43.720 --> 0:23:49.879
<v Speaker 4>seemed to me that Victoria was very on top of things.

0:23:50.560 --> 0:23:53.879
<v Speaker 4>So I felt myself going, I don't I'm confused at

0:23:53.920 --> 0:23:58.760
<v Speaker 4>why she would let something so risky and egregious go down.

0:23:59.200 --> 0:24:02.959
<v Speaker 2>But Alexander under was like her kryptonite, Like she's she

0:24:03.000 --> 0:24:04.760
<v Speaker 2>wants to keep working with him. The whole thing was

0:24:04.800 --> 0:24:08.600
<v Speaker 2>for the men's line, and if Alexander, if they didn't

0:24:08.600 --> 0:24:10.359
<v Speaker 2>have the money for it, she wouldn't have been able

0:24:10.359 --> 0:24:13.760
<v Speaker 2>to keep him around. So I'm guessing I'm guessing that's

0:24:13.800 --> 0:24:14.679
<v Speaker 2>where it's going.

0:24:15.080 --> 0:24:18.480
<v Speaker 4>She risked her daughter's empire for the thunder down under.

0:24:21.760 --> 0:24:23.920
<v Speaker 2>It sounds like that's what happened.

0:24:23.760 --> 0:24:26.120
<v Speaker 3>Well, you know the way I sort of see it too,

0:24:26.480 --> 0:24:32.040
<v Speaker 3>especially because so many people in you know, versions of

0:24:32.280 --> 0:24:36.920
<v Speaker 3>power positions that are artists go through either financial mismanagement

0:24:37.040 --> 0:24:45.760
<v Speaker 3>or financial abuse. I think it happens more easily than

0:24:45.920 --> 0:24:49.159
<v Speaker 3>we all think. And what I appreciated about it and

0:24:49.480 --> 0:24:51.760
<v Speaker 3>what we set up, you know, just for you in

0:24:51.960 --> 0:24:55.159
<v Speaker 3>seasons five and six when we've skipped college, is that

0:24:55.359 --> 0:25:00.399
<v Speaker 3>Brooke is the designer mogul, but Victoria is the CEO.

0:25:00.920 --> 0:25:06.520
<v Speaker 3>She is the financial half of the company, and they

0:25:06.560 --> 0:25:10.080
<v Speaker 3>have this whole thing where, you know, Victoria talks about

0:25:10.080 --> 0:25:12.280
<v Speaker 3>how she's the one who spins the straw into gold,

0:25:12.560 --> 0:25:15.159
<v Speaker 3>and eventually we get to the point where it's like, no,

0:25:15.320 --> 0:25:17.400
<v Speaker 3>Brooks ideas are the gold and you're the one who

0:25:17.400 --> 0:25:21.000
<v Speaker 3>manages the business, and she apologizes, YadA YadA. It's lovely.

0:25:21.840 --> 0:25:24.760
<v Speaker 3>I can't remember what happened before and after season seven starting,

0:25:24.800 --> 0:25:27.159
<v Speaker 3>so forgive me for what you already know there. But

0:25:27.200 --> 0:25:29.240
<v Speaker 3>what I think is sort of genius about the way

0:25:29.280 --> 0:25:34.760
<v Speaker 3>they did this with the Millie and Victoria and Brook

0:25:34.800 --> 0:25:37.480
<v Speaker 3>of it all is you realize how someone can be

0:25:37.840 --> 0:25:41.280
<v Speaker 3>the creative but they're not the executor, so they don't

0:25:41.359 --> 0:25:44.199
<v Speaker 3>know about the ones and zeros of the business. And

0:25:44.240 --> 0:25:47.680
<v Speaker 3>then you've got Millie, who, you know, Victoria points out,

0:25:47.720 --> 0:25:49.840
<v Speaker 3>got promoted in a way maybe she shouldn't have, but

0:25:49.880 --> 0:25:52.360
<v Speaker 3>who's also very good at her job. And as they're

0:25:52.440 --> 0:25:57.640
<v Speaker 3>in this kind of hen fight like cats in a bag,

0:25:57.680 --> 0:25:59.600
<v Speaker 3>screaming at each other in the store, which I thought

0:25:59.600 --> 0:26:02.600
<v Speaker 3>was great, Such a great scene, such a great scene

0:26:02.600 --> 0:26:05.080
<v Speaker 3>because everyone's just yelling at everyone else and Brooke wants

0:26:05.119 --> 0:26:08.480
<v Speaker 3>to know what happened. Yeah, you can kind of see

0:26:08.480 --> 0:26:10.679
<v Speaker 3>the humanity in it. And I do think it's like

0:26:11.080 --> 0:26:13.040
<v Speaker 3>a little bit of an Icarus story, right, you fly

0:26:13.119 --> 0:26:16.840
<v Speaker 3>a little too close to the sun. The business has

0:26:16.880 --> 0:26:22.840
<v Speaker 3>been so successful and has always worked that Victoria thinks, well,

0:26:22.840 --> 0:26:24.640
<v Speaker 3>we might not have it now, but the men's line

0:26:24.680 --> 0:26:27.800
<v Speaker 3>will be huge and will earn it so fast no

0:26:27.840 --> 0:26:31.200
<v Speaker 3>one will ever know. And there's a recession, and that's

0:26:31.240 --> 0:26:34.840
<v Speaker 3>not what happened, and the numbers they fudged have been caught.

0:26:35.359 --> 0:26:39.719
<v Speaker 3>And everything that you might do if you get a

0:26:39.800 --> 0:26:42.679
<v Speaker 3>little too high on your own supply or a little

0:26:42.720 --> 0:26:45.879
<v Speaker 3>too greedy, or maybe just a little too used to

0:26:45.920 --> 0:26:49.280
<v Speaker 3>succeeding and you get a little lazy. It can all

0:26:49.320 --> 0:26:52.240
<v Speaker 3>go up and smoke, and I kind of love it,

0:26:52.640 --> 0:26:55.040
<v Speaker 3>and I agree with you Joy while I'm still talking. Sorry,

0:26:55.040 --> 0:26:56.879
<v Speaker 3>but there's a lot of thoughts I'm having. No, I

0:26:56.960 --> 0:26:59.600
<v Speaker 3>agree with you on the Alexander element, but I also

0:26:59.720 --> 0:27:03.080
<v Speaker 3>like the he's not central to the story because you

0:27:03.200 --> 0:27:06.080
<v Speaker 3>do you do realize that.

0:27:07.240 --> 0:27:10.280
<v Speaker 2>This was just it was a bad business decision. Yeah,

0:27:10.320 --> 0:27:13.520
<v Speaker 2>it's like a small moment of a lapse at integrity

0:27:14.000 --> 0:27:17.560
<v Speaker 2>that you know. I think we all in different ways

0:27:17.560 --> 0:27:20.440
<v Speaker 2>in our life, Like you know, it's like the white

0:27:20.480 --> 0:27:22.399
<v Speaker 2>lie thing, like, oh, it's just a little thing. What

0:27:22.440 --> 0:27:24.640
<v Speaker 2>difference does it make. It's fine, it's just a I'm

0:27:24.680 --> 0:27:26.800
<v Speaker 2>canceling a reservation. But they don't need to know that

0:27:26.800 --> 0:27:28.359
<v Speaker 2>I'm not really sick, but they're going to charge me

0:27:28.359 --> 0:27:30.320
<v Speaker 2>if I don't tell them I'm sick. You know, It's

0:27:30.320 --> 0:27:32.680
<v Speaker 2>like these little things that go on through day to

0:27:32.760 --> 0:27:36.000
<v Speaker 2>day life and we can think nothing of it. But

0:27:36.119 --> 0:27:40.639
<v Speaker 2>it's a lapse in integrity, and especially when it's done

0:27:40.680 --> 0:27:46.760
<v Speaker 2>an environment where someone is like Victoria, so used to success,

0:27:46.920 --> 0:27:49.560
<v Speaker 2>so used to things going really well. It's all working,

0:27:49.640 --> 0:27:51.840
<v Speaker 2>it's like I can fudge a number here and there,

0:27:51.840 --> 0:27:53.600
<v Speaker 2>I can do a couple of little things. It's it's fine,

0:27:53.600 --> 0:27:54.840
<v Speaker 2>it's all going to work out. It's not going to

0:27:54.880 --> 0:28:00.399
<v Speaker 2>be a big deal. Like there's a personal vigil that

0:28:01.280 --> 0:28:03.440
<v Speaker 2>I think we're all so susceptible too if we don't

0:28:03.520 --> 0:28:06.320
<v Speaker 2>stay on top of it. And this is what happened

0:28:06.320 --> 0:28:09.640
<v Speaker 2>in Victoria. I think, I think I haven't seen what's

0:28:09.920 --> 0:28:11.840
<v Speaker 2>happening next. But that's what it looks like.

0:28:13.160 --> 0:28:14.000
<v Speaker 3>It's very good.

0:28:14.400 --> 0:28:17.080
<v Speaker 4>I was. I think I was just confused because it

0:28:17.160 --> 0:28:20.360
<v Speaker 4>went on for so long before we actually found out

0:28:20.359 --> 0:28:23.239
<v Speaker 4>what happened. Yeah, Like it was odd that when they

0:28:23.280 --> 0:28:26.919
<v Speaker 4>got to the store, Victoria wasn't like, here's this guinea,

0:28:26.920 --> 0:28:29.160
<v Speaker 4>here's what happened, you know it. It was this thing

0:28:29.200 --> 0:28:32.240
<v Speaker 4>where she wasn't quite saying anything, and then Millie wasn't

0:28:32.280 --> 0:28:34.840
<v Speaker 4>quite saying anything, and Brooke is still standing there. Brooke

0:28:34.960 --> 0:28:37.320
<v Speaker 4>was like the voice of the audience, going what the

0:28:37.359 --> 0:28:40.360
<v Speaker 4>hell is happening because it's like by this point, I've

0:28:40.360 --> 0:28:43.760
<v Speaker 4>seen her get arrested and you know, and then we've

0:28:43.760 --> 0:28:46.280
<v Speaker 4>seen her drive home like she's telling me, Julian, I'm

0:28:46.680 --> 0:28:51.120
<v Speaker 4>just going, okay, fine, but what happened like that. I

0:28:51.160 --> 0:28:52.680
<v Speaker 4>think that was where there was so long where I

0:28:52.680 --> 0:28:54.480
<v Speaker 4>was just left going, huh that by the time we

0:28:54.520 --> 0:28:58.120
<v Speaker 4>finally found out, it was like why it doesn't matter,

0:28:58.160 --> 0:29:00.000
<v Speaker 4>But it was just it was a long time before

0:29:00.080 --> 0:29:04.520
<v Speaker 4>we actually got to what happened. Where Victoria traditionally is

0:29:04.560 --> 0:29:09.520
<v Speaker 4>someone who wastes no time getting to the crux of

0:29:09.560 --> 0:29:10.280
<v Speaker 4>the conversation.

0:29:10.600 --> 0:29:14.040
<v Speaker 3>Yeah. Well, I also think perhaps Victoria is not being

0:29:14.120 --> 0:29:17.400
<v Speaker 3>honest because she really is convinced we're flying a lawyer

0:29:17.400 --> 0:29:18.880
<v Speaker 3>in and we're going to solve It's going.

0:29:18.800 --> 0:29:19.920
<v Speaker 2>To be fine. It's not that big of a deal.

0:29:20.000 --> 0:29:21.920
<v Speaker 3>Yeah, totally not that big of a do. I can

0:29:21.920 --> 0:29:24.920
<v Speaker 3>see in my head Victoria having a moment going, you know,

0:29:24.920 --> 0:29:27.720
<v Speaker 3>when they're trying to raise money for the Men's line, going, well,

0:29:27.720 --> 0:29:29.680
<v Speaker 3>it's only the climate of this economy, the fact that

0:29:29.720 --> 0:29:32.080
<v Speaker 3>people won't give us what we're worth eight years ago,

0:29:32.080 --> 0:29:34.120
<v Speaker 3>I could have raised this money in two days. Like

0:29:34.560 --> 0:29:39.360
<v Speaker 3>she has all this sort of stuff built up under her. Yeah,

0:29:39.440 --> 0:29:41.800
<v Speaker 3>that'll tell her it's going to continue to be this good.

0:29:41.880 --> 0:29:44.239
<v Speaker 3>We're going to continue to succeed in this way. And

0:29:44.280 --> 0:29:46.880
<v Speaker 3>I think the hard lesson when you've been successful is

0:29:46.920 --> 0:29:51.640
<v Speaker 3>like there's never a guarantee. You really don't know. And

0:29:52.080 --> 0:29:56.120
<v Speaker 3>what I sort of loved actually was that the face

0:29:56.160 --> 0:30:00.600
<v Speaker 3>off took so long, and they started yelling about who's

0:30:00.600 --> 0:30:03.600
<v Speaker 3>sleeping with who, and who's unqualified for this and sizes

0:30:03.680 --> 0:30:06.440
<v Speaker 3>and age I mean, zero is a size, by the way,

0:30:06.480 --> 0:30:10.840
<v Speaker 3>fifty is an age, by the way, dead like so funny,

0:30:11.360 --> 0:30:14.760
<v Speaker 3>And so I liked that they were spinning out so

0:30:14.840 --> 0:30:17.040
<v Speaker 3>that Brooke couldn't get an answer, because it made me

0:30:17.120 --> 0:30:21.480
<v Speaker 3>feel more frustrated and more afraid and a little more desperate.

0:30:21.520 --> 0:30:25.400
<v Speaker 3>And I liked being brought there as a viewer, let

0:30:25.440 --> 0:30:27.520
<v Speaker 3>alone as a person who was in the scene, because

0:30:27.640 --> 0:30:30.800
<v Speaker 3>there was so much of it that I didn't remember either.

0:30:31.720 --> 0:30:33.960
<v Speaker 2>Do you know what's going to happen? Do you remember

0:30:34.000 --> 0:30:34.600
<v Speaker 2>what happens?

0:30:35.200 --> 0:30:36.360
<v Speaker 4>I do? Do you join?

0:30:36.720 --> 0:30:37.800
<v Speaker 2>I do not know.

0:30:38.280 --> 0:30:40.760
<v Speaker 3>I remember a lot of it. I will say, because

0:30:40.760 --> 0:30:43.040
<v Speaker 3>I don't want to be a spoiler, but don't be

0:30:43.080 --> 0:30:44.120
<v Speaker 3>a Danielle.

0:30:43.680 --> 0:30:44.760
<v Speaker 2>Don't be a spoilers bar.

0:30:45.000 --> 0:30:46.560
<v Speaker 3>I'm not going to be a spoiler. I'm just going

0:30:46.600 --> 0:30:50.000
<v Speaker 3>to say I think that Brooke telling Julian you know

0:30:50.160 --> 0:30:52.760
<v Speaker 3>she's got some bucks squirreled away, and he says, oh,

0:30:52.800 --> 0:30:56.320
<v Speaker 3>you're the rich Brook Davis when they're beginning their wedding

0:30:56.360 --> 0:31:02.040
<v Speaker 3>planning journey is unfortunately timed. One thing I do want

0:31:02.080 --> 0:31:08.440
<v Speaker 3>to say that just feels important to acknowledge because sometimes

0:31:08.440 --> 0:31:11.120
<v Speaker 3>I know our show makes people feel seen, and sometimes

0:31:11.160 --> 0:31:16.280
<v Speaker 3>I know our show makes people feel harmed. I understand

0:31:16.320 --> 0:31:20.560
<v Speaker 3>the comedy the writers were going for in Brooke coming

0:31:20.640 --> 0:31:23.880
<v Speaker 3>in and explaining her experience in the jail, and I'm

0:31:24.040 --> 0:31:27.520
<v Speaker 3>very much still saddened and was saddened in twenty ten

0:31:27.640 --> 0:31:30.720
<v Speaker 3>by the nature of the cheap shot of it. I

0:31:30.760 --> 0:31:36.080
<v Speaker 3>think that our writers, for whatever reason, really thought that

0:31:37.440 --> 0:31:43.000
<v Speaker 3>transphobia or being transphobic in adjacency was cool. This isn't

0:31:43.040 --> 0:31:49.280
<v Speaker 3>the first time they've done it. And I lost a

0:31:49.360 --> 0:31:56.240
<v Speaker 3>battle on this, and for me, it just brought back

0:31:56.320 --> 0:31:58.360
<v Speaker 3>like a lot of memories about what it felt like

0:31:58.520 --> 0:32:01.640
<v Speaker 3>to fight and then be told you know, you're overreacting,

0:32:01.680 --> 0:32:03.720
<v Speaker 3>and this, that and the other, and you know, now

0:32:03.720 --> 0:32:06.160
<v Speaker 3>I've got a friend literally arguing a case to defend

0:32:06.160 --> 0:32:08.680
<v Speaker 3>people in front of the Supreme Court this week. So

0:32:09.680 --> 0:32:12.200
<v Speaker 3>I don't know, I just there isn't really like a

0:32:12.240 --> 0:32:14.600
<v Speaker 3>way to make it better for anybody that I know

0:32:15.200 --> 0:32:18.320
<v Speaker 3>you're talking about. Yeah, but I just want people to

0:32:18.360 --> 0:32:21.239
<v Speaker 3>know that they're seen. For me as an actor, you know,

0:32:21.440 --> 0:32:23.360
<v Speaker 3>being sort of stuck in a space where it's like

0:32:23.400 --> 0:32:25.120
<v Speaker 3>you're not a writer, you're not a producer, you don't

0:32:25.120 --> 0:32:28.160
<v Speaker 3>get to change the dialogue. What I really had to

0:32:28.240 --> 0:32:33.800
<v Speaker 3>commit to in that was the physical violation of my

0:32:33.960 --> 0:32:38.840
<v Speaker 3>character because they wouldn't let me change that dialogue that

0:32:38.960 --> 0:32:43.479
<v Speaker 3>was describing someone in that way. But it did. It

0:32:43.520 --> 0:32:45.680
<v Speaker 3>was this weird thing because I was like, I know,

0:32:45.760 --> 0:32:48.840
<v Speaker 3>this happens to people who go into these caarceral environments

0:32:48.880 --> 0:32:51.720
<v Speaker 3>and they are violated in ways that are really hard

0:32:51.920 --> 0:32:54.760
<v Speaker 3>and awful. And then there's also this part of it

0:32:54.760 --> 0:32:57.520
<v Speaker 3>that feels like a cheap shot, and so I don't know.

0:32:57.720 --> 0:32:59.560
<v Speaker 3>For me, I just had to say, like, what can

0:32:59.600 --> 0:33:03.400
<v Speaker 3>I commit to here? What does feel true? And like, yeah,

0:33:03.440 --> 0:33:05.479
<v Speaker 3>as a woman having to have a cavity search by

0:33:05.480 --> 0:33:08.280
<v Speaker 3>a stranger, it feels pretty horrific, no matter who that

0:33:08.320 --> 0:33:13.560
<v Speaker 3>stranger is. And so I don't know. I I still

0:33:13.600 --> 0:33:16.000
<v Speaker 3>hate it. And for anybody who watched the scene and

0:33:16.000 --> 0:33:18.080
<v Speaker 3>hated it, I see you. I love you, and that's

0:33:18.120 --> 0:33:21.240
<v Speaker 3>that It's great. So that's I love that about you.

0:33:21.360 --> 0:33:24.120
<v Speaker 3>I love your willingness to just dive into something uncomfortable

0:33:24.160 --> 0:33:27.240
<v Speaker 3>and like even if it's fifteen years ago or however

0:33:27.280 --> 0:33:30.720
<v Speaker 3>long what year, twenty fifteen years ago, and still just

0:33:30.720 --> 0:33:33.880
<v Speaker 3>acknowledge that and open it up. Thanks, You're right, that

0:33:34.000 --> 0:33:37.240
<v Speaker 3>was it was such a cheap shot. There was totally unnecessary.

0:33:37.280 --> 0:33:39.200
<v Speaker 3>There's so many things in our show that we talked.

0:33:39.080 --> 0:33:40.280
<v Speaker 4>And necessary is the word.

0:33:40.440 --> 0:33:44.160
<v Speaker 2>Yeah, necessary, necessary, Like there's so many other ways to

0:33:44.160 --> 0:33:46.400
<v Speaker 2>write comedy. There's so many other funny things in life,

0:33:46.480 --> 0:33:49.120
<v Speaker 2>in the world, in that scenario, in that situation, Like,

0:33:49.560 --> 0:33:51.960
<v Speaker 2>there's just so many other ways to do it, and

0:33:53.160 --> 0:33:55.280
<v Speaker 2>it sucks that you were put in that position and

0:33:55.400 --> 0:33:58.200
<v Speaker 2>had to lose that battle. And very cool of you

0:33:58.280 --> 0:34:00.640
<v Speaker 2>to mention it now and mentor and make it better.

0:34:00.800 --> 0:34:01.320
<v Speaker 2>It's awesome.

0:34:01.400 --> 0:34:03.200
<v Speaker 3>Yeah, And look, I think we all had to do

0:34:03.240 --> 0:34:04.880
<v Speaker 3>a lot of that. I mean we talked about it

0:34:04.920 --> 0:34:08.279
<v Speaker 3>even in the season seven finale, like what Chantelle had

0:34:08.280 --> 0:34:12.040
<v Speaker 3>to go through in her own physical body, like for

0:34:12.080 --> 0:34:14.279
<v Speaker 3>whatever reason, with all the women, there was a lot

0:34:14.320 --> 0:34:16.920
<v Speaker 3>of like cheap shot writing.

0:34:17.360 --> 0:34:19.960
<v Speaker 2>Yeah, and yeah, we.

0:34:20.000 --> 0:34:22.600
<v Speaker 3>Can't like change it, but I am very grateful that

0:34:22.640 --> 0:34:25.160
<v Speaker 3>we get to acknowledge those things and be present and

0:34:26.400 --> 0:34:28.560
<v Speaker 3>talk about it even now because it sticks with you

0:34:28.600 --> 0:34:29.480
<v Speaker 3>in some way or another.

0:34:29.520 --> 0:34:32.000
<v Speaker 4>You know well, and like Joyce said, you know there

0:34:32.080 --> 0:34:33.640
<v Speaker 4>is something you can do, and you just did it.

0:34:34.440 --> 0:34:36.600
<v Speaker 4>You know, you acknowledged it, you brought it to light,

0:34:36.760 --> 0:34:38.440
<v Speaker 4>you shared how you feel about it and what you

0:34:38.440 --> 0:34:40.640
<v Speaker 4>know doesn't sit right with you. And I think that's

0:34:40.920 --> 0:34:42.440
<v Speaker 4>that is that is what you can do. You just

0:34:42.440 --> 0:34:42.799
<v Speaker 4>did it.

0:34:43.400 --> 0:34:43.800
<v Speaker 2>Yeah.

0:34:44.040 --> 0:34:54.840
<v Speaker 6>Yeah, let me ask a question.

0:34:54.920 --> 0:34:57.719
<v Speaker 4>Did you When Brooke and Julian were talking about the

0:34:57.760 --> 0:35:02.120
<v Speaker 4>wedding and Julian confesses that he has been planning his

0:35:02.239 --> 0:35:05.640
<v Speaker 4>dream wedding since he was nine years old, I had

0:35:05.680 --> 0:35:08.920
<v Speaker 4>two immediate reactions. My first was, oh, that's funny, and

0:35:08.960 --> 0:35:12.160
<v Speaker 4>then I immediately was like, oh, is this another attempt

0:35:12.360 --> 0:35:17.400
<v Speaker 4>at like emasculating one of our leading men. Yes, and

0:35:17.440 --> 0:35:19.000
<v Speaker 4>of course it was right.

0:35:19.040 --> 0:35:21.120
<v Speaker 3>Yes, Yes, I thought it was.

0:35:21.440 --> 0:35:24.480
<v Speaker 2>I thought he was joking at first because it just

0:35:24.480 --> 0:35:27.640
<v Speaker 2>seemed so ridiculous masculine.

0:35:27.640 --> 0:35:30.839
<v Speaker 4>We have the flowers in the It wasn't even just

0:35:30.880 --> 0:35:33.320
<v Speaker 4>like a venue. It was like this type of flower

0:35:33.320 --> 0:35:35.600
<v Speaker 4>and a pineapple upside down cake or whatever it was.

0:35:36.080 --> 0:35:38.240
<v Speaker 3>What it's so stupid?

0:35:39.120 --> 0:35:39.800
<v Speaker 4>It was odd.

0:35:40.840 --> 0:35:41.320
<v Speaker 3>Yeah.

0:35:41.480 --> 0:35:42.160
<v Speaker 2>I don't know.

0:35:42.719 --> 0:35:47.120
<v Speaker 3>I will say, Austin, you know, is such a trooper,

0:35:47.960 --> 0:35:52.040
<v Speaker 3>such a good team player, and yeah, he really leaned

0:35:52.080 --> 0:35:55.799
<v Speaker 3>into it, and for all of the reasons that had

0:35:55.840 --> 0:35:59.680
<v Speaker 3>nothing to do with, you know, good writing or good

0:35:59.719 --> 0:36:04.320
<v Speaker 3>story content that the person in charge of our show

0:36:04.480 --> 0:36:08.319
<v Speaker 3>didn't want like a bunch of really he didn't want

0:36:08.320 --> 0:36:12.600
<v Speaker 3>any more like young, hot, talented actors like Austin, rob

0:36:12.680 --> 0:36:15.600
<v Speaker 3>and James to like be on set, which is, you

0:36:15.640 --> 0:36:20.120
<v Speaker 3>know whatever. It is. The way he had to essentially

0:36:20.200 --> 0:36:24.040
<v Speaker 3>turn Julian into someone who was a bit of a

0:36:24.120 --> 0:36:26.120
<v Speaker 3>joke and had no friends so that he could have

0:36:26.160 --> 0:36:29.319
<v Speaker 3>a seven year old be his eventual best man is

0:36:30.520 --> 0:36:34.280
<v Speaker 3>a choice, I guess, but I really admire that Austin

0:36:34.360 --> 0:36:37.080
<v Speaker 3>leaned in and he was like he was like, honestly,

0:36:37.120 --> 0:36:38.799
<v Speaker 3>I loved Greece too, and I was like same. It

0:36:38.840 --> 0:36:40.680
<v Speaker 3>was literally my favorite movie in middle school. What are

0:36:40.680 --> 0:36:43.759
<v Speaker 3>you talking about? Me and my best friends Betsy and

0:36:43.840 --> 0:36:46.799
<v Speaker 3>Janice used to like literally do the choreo in my

0:36:46.880 --> 0:36:51.359
<v Speaker 3>living room at home, like after school. We loved it,

0:36:51.440 --> 0:36:53.120
<v Speaker 3>and so we giggled and we were like, if this

0:36:53.160 --> 0:36:55.240
<v Speaker 3>is what we're doing, let's do it and make it funny.

0:36:55.800 --> 0:36:59.799
<v Speaker 3>And in an interesting way, what I got watching it

0:37:00.520 --> 0:37:05.000
<v Speaker 3>from today was him committing so hard in that scene

0:37:05.800 --> 0:37:09.239
<v Speaker 3>enabled me to really lean into, you know, the more

0:37:09.280 --> 0:37:12.920
<v Speaker 3>masculine energy of the couple in bed, like he absorbed

0:37:12.960 --> 0:37:14.920
<v Speaker 3>the feminine energy of the wedding in that scene. So

0:37:15.000 --> 0:37:16.600
<v Speaker 3>I kind of got to be the dude that was

0:37:16.640 --> 0:37:19.880
<v Speaker 3>like okay, baby cakes and like in my glasses with

0:37:20.000 --> 0:37:23.359
<v Speaker 3>like my little notebook, and the whole thing actually is

0:37:23.440 --> 0:37:30.160
<v Speaker 3>really funny, and we have such a good chemistry together

0:37:30.280 --> 0:37:34.080
<v Speaker 3>as you know, friends and performers, that even though it's

0:37:34.120 --> 0:37:36.839
<v Speaker 3>a completely stupid storyline, I really enjoy watching it.

0:37:37.440 --> 0:37:40.239
<v Speaker 2>I do too. Yeah, I love about Austin Is as

0:37:40.239 --> 0:37:44.040
<v Speaker 2>an actor. He's trust himself so much, and he treats

0:37:44.080 --> 0:37:51.200
<v Speaker 2>like he understands his own presence and he's not intimidated

0:37:51.200 --> 0:37:56.360
<v Speaker 2>by writing or offended or worried or there were so

0:37:56.400 --> 0:37:58.560
<v Speaker 2>many things that we would see come in and I

0:37:58.600 --> 0:38:02.080
<v Speaker 2>would change lines all the time, and I'm for various reasons.

0:38:02.120 --> 0:38:04.480
<v Speaker 2>I was afraid it didn't fit with the character. I

0:38:04.480 --> 0:38:06.480
<v Speaker 2>was a little worried it might make me joy personally

0:38:06.520 --> 0:38:08.279
<v Speaker 2>look kind of strange if I was saying this line,

0:38:08.360 --> 0:38:10.799
<v Speaker 2>or like, who knows all these young things that we

0:38:10.800 --> 0:38:14.799
<v Speaker 2>did when we were young. I really remember observing and

0:38:14.920 --> 0:38:18.759
<v Speaker 2>learning from Austin the way that he would say at

0:38:19.000 --> 0:38:21.239
<v Speaker 2>ninety nine percent of the time he would say exactly

0:38:21.320 --> 0:38:23.120
<v Speaker 2>what was on the page in terms of I mean,

0:38:23.680 --> 0:38:25.040
<v Speaker 2>you worked with them a lot more than I did,

0:38:25.040 --> 0:38:27.520
<v Speaker 2>so maybe that's it was that your experience also.

0:38:27.400 --> 0:38:28.640
<v Speaker 3>You know, it's absolutely true.

0:38:28.719 --> 0:38:31.040
<v Speaker 2>Yeah, I felt that a lot with him, that he

0:38:31.080 --> 0:38:34.000
<v Speaker 2>would just take what was on the page and say exactly,

0:38:34.120 --> 0:38:37.560
<v Speaker 2>verbatim what those words were, and he always made it work. Yes,

0:38:37.680 --> 0:38:39.600
<v Speaker 2>And I always thought I had to jump in and

0:38:39.640 --> 0:38:44.040
<v Speaker 2>fix things, control issues, right, but like I to be

0:38:44.080 --> 0:38:46.720
<v Speaker 2>able to watch an actor who was super, super capable,

0:38:46.840 --> 0:38:48.640
<v Speaker 2>he just trusted himself and he was like, yeah, I'll

0:38:48.680 --> 0:38:51.719
<v Speaker 2>just say the lines. That's fine, it'll work out.

0:38:52.239 --> 0:38:55.879
<v Speaker 3>I really like that observation, and particularly when you think

0:38:55.920 --> 0:38:59.920
<v Speaker 3>about the kind of pedigree that Austin came from mean

0:39:00.040 --> 0:39:04.160
<v Speaker 3>and his longest running prior series being John from Cincinnati

0:39:04.239 --> 0:39:08.000
<v Speaker 3>on HBO written by David Milch, having worked on Deadwood,

0:39:08.000 --> 0:39:11.600
<v Speaker 3>like he came and treated our show, which I think

0:39:11.640 --> 0:39:14.480
<v Speaker 3>we all, you know, carried a little bit of insecurity,

0:39:14.520 --> 0:39:16.759
<v Speaker 3>maybe a little chip on our shoulder. We felt like

0:39:17.000 --> 0:39:18.719
<v Speaker 3>we got made fun of a lot, and we were

0:39:19.000 --> 0:39:23.160
<v Speaker 3>mad about it, and Austin treated our teen soap opera

0:39:23.600 --> 0:39:26.759
<v Speaker 3>the same way he treated like an award not you know,

0:39:26.920 --> 0:39:31.000
<v Speaker 3>an award worthy show on HBO. And it was very

0:39:31.080 --> 0:39:36.480
<v Speaker 3>inspiring to watch. And yeah, it's it's definitely a testament

0:39:36.520 --> 0:39:37.960
<v Speaker 3>to him as an actor. For sure.

0:39:38.239 --> 0:39:40.080
<v Speaker 2>I'm excited about the Brook and Julian wedding.

0:39:40.600 --> 0:39:43.120
<v Speaker 3>I am too, I am too. It's so cute. But

0:39:43.200 --> 0:39:45.759
<v Speaker 3>that actually you saying that in that way, joy makes

0:39:45.800 --> 0:39:49.640
<v Speaker 3>me have a question for you, Rob, because you and

0:39:49.760 --> 0:39:53.920
<v Speaker 3>Chantala and this whole sequence are you're in this dream

0:39:53.960 --> 0:39:57.160
<v Speaker 3>space right Like you know that you're having to do

0:39:57.200 --> 0:39:59.759
<v Speaker 3>this very weird thing as an actor when you show

0:39:59.800 --> 0:40:02.560
<v Speaker 3>up set and you know that it can't dawn on

0:40:02.640 --> 0:40:07.959
<v Speaker 3>your characters until you say this, no one's on the beach.

0:40:08.000 --> 0:40:10.000
<v Speaker 3>Do you know what that means? You give away something

0:40:10.000 --> 0:40:13.400
<v Speaker 3>being wrong? She meets you there and then you know

0:40:13.440 --> 0:40:18.839
<v Speaker 3>you have a gag about like party party, How did

0:40:18.880 --> 0:40:21.560
<v Speaker 3>you guys in particularly for you as you know, another

0:40:21.600 --> 0:40:24.280
<v Speaker 3>man who really commits to what's on the page, who's

0:40:24.360 --> 0:40:27.799
<v Speaker 3>sitting with us today, Like, how did you wrap your

0:40:27.800 --> 0:40:30.239
<v Speaker 3>head around this episode for yourself? How do you begin

0:40:30.320 --> 0:40:32.760
<v Speaker 3>to put yourself in a space where you're like Okay,

0:40:32.880 --> 0:40:35.359
<v Speaker 3>I'm in the world of a coma and I'm going

0:40:35.440 --> 0:40:37.440
<v Speaker 3>to do X or did you have to kind of

0:40:37.560 --> 0:40:40.000
<v Speaker 3>not think about that and just treat it like it

0:40:40.040 --> 0:40:42.840
<v Speaker 3>was any other scene so you didn't like pressure yourself.

0:40:43.840 --> 0:40:46.799
<v Speaker 4>No, it was super simple because Clay didn't know he

0:40:46.880 --> 0:40:48.680
<v Speaker 4>was in a coma, So it wouldn't have been right

0:40:48.760 --> 0:40:51.160
<v Speaker 4>for me to be playing any sort of inclination or

0:40:51.200 --> 0:40:53.880
<v Speaker 4>playing any different because to Clay, he's having a really

0:40:53.960 --> 0:40:56.239
<v Speaker 4>nice lazy day on the beach with Quinn.

0:40:56.200 --> 0:40:57.640
<v Speaker 3>Right, He's just having the best day.

0:40:57.920 --> 0:41:00.839
<v Speaker 4>Yeah, So to me, it was just a a relaxed,

0:41:00.960 --> 0:41:06.440
<v Speaker 4>guard down, grounded, romantic, flirty, fun day. And uh because

0:41:06.480 --> 0:41:09.200
<v Speaker 4>also you know, there's there is that one misdirect moment

0:41:09.200 --> 0:41:10.879
<v Speaker 4>about know IM being on the beach, which is fun

0:41:10.880 --> 0:41:13.760
<v Speaker 4>for the audience, but that's obviously just clayy and cheeky.

0:41:14.200 --> 0:41:14.879
<v Speaker 3>Yeah.

0:41:14.920 --> 0:41:16.799
<v Speaker 4>But then because I think the more you lean into

0:41:16.880 --> 0:41:20.359
<v Speaker 4>that sort of just like grounded, sincere nature of it,

0:41:20.360 --> 0:41:22.680
<v Speaker 4>it helps the turn that much more.

0:41:23.200 --> 0:41:26.560
<v Speaker 3>Yes, I like that, I really really like that.

0:41:26.960 --> 0:41:29.200
<v Speaker 4>I'm with you. Joy. I find when I get material

0:41:29.280 --> 0:41:33.440
<v Speaker 4>like I especially especially on like like like movies of

0:41:33.440 --> 0:41:35.640
<v Speaker 4>the Week and stuff, I will I will I go

0:41:35.760 --> 0:41:38.480
<v Speaker 4>in and I like, really kind of retool the dialogue.

0:41:38.480 --> 0:41:40.319
<v Speaker 4>But one thing I have noticed about myself is I

0:41:40.360 --> 0:41:43.480
<v Speaker 4>will oftentimes retool it to the point of realizing that

0:41:43.560 --> 0:41:47.520
<v Speaker 4>the original line is actually the one that does happen,

0:41:48.719 --> 0:41:51.040
<v Speaker 4>and I'll have a good laugh going like, okay, mister Rider,

0:41:51.160 --> 0:41:53.480
<v Speaker 4>you got all the way back to the original text.

0:41:54.040 --> 0:41:56.680
<v Speaker 4>There we go. But it's that control issue of like

0:41:56.719 --> 0:41:58.279
<v Speaker 4>I can make this better, I can make it fit

0:41:58.400 --> 0:42:00.319
<v Speaker 4>my mouth, my speech batter, and the of the day,

0:42:00.320 --> 0:42:02.840
<v Speaker 4>I'm like, no, maybe the writer. Because there was a

0:42:02.920 --> 0:42:06.719
<v Speaker 4>character I was playing on Chesapeake Shores and they were

0:42:06.760 --> 0:42:08.799
<v Speaker 4>writing him in a certain way where like occasionally he

0:42:08.920 --> 0:42:12.600
<v Speaker 4>kind of sounded like a robot, and so I was

0:42:12.640 --> 0:42:15.120
<v Speaker 4>trying to finesse it occasionally until one episode where I went,

0:42:15.400 --> 0:42:18.080
<v Speaker 4>I'm just going to say these words exactly how they're written,

0:42:18.480 --> 0:42:22.359
<v Speaker 4>And when I did it, I realized it actually made

0:42:22.400 --> 0:42:26.520
<v Speaker 4>the guy sound like he there was a little like

0:42:26.560 --> 0:42:28.040
<v Speaker 4>there was a little something going on, like he wasn't

0:42:28.120 --> 0:42:31.960
<v Speaker 4>quite socially dialed in, and I realized, oh, they were

0:42:32.040 --> 0:42:34.759
<v Speaker 4>actually intending for it, Like there was a line where

0:42:34.800 --> 0:42:36.840
<v Speaker 4>he was just not reading the room at all and

0:42:36.960 --> 0:42:39.239
<v Speaker 4>interrupting a conversation to focus on one person. In my head,

0:42:39.280 --> 0:42:41.719
<v Speaker 4>I'm like, who does this? What adult would do this?

0:42:41.840 --> 0:42:45.520
<v Speaker 4>And it's like this, this character does it. Rob wouldn't,

0:42:46.080 --> 0:42:49.799
<v Speaker 4>but the character you're being paid to portray would, so

0:42:50.000 --> 0:42:51.240
<v Speaker 4>say the lines dumb, dumb.

0:42:52.239 --> 0:42:55.719
<v Speaker 3>I love that. I actually think that's a really cool

0:42:55.840 --> 0:42:59.040
<v Speaker 3>exercise as an artist too, because in a way what

0:42:59.719 --> 0:43:03.080
<v Speaker 3>I said sort of envision in that full circle, you know,

0:43:03.200 --> 0:43:06.279
<v Speaker 3>back to the point of origin. Thing that you're describing

0:43:06.480 --> 0:43:10.799
<v Speaker 3>is you're doing the work to actually identify what of

0:43:10.880 --> 0:43:15.120
<v Speaker 3>your own stuff you instinctually want to carry into this experience,

0:43:15.440 --> 0:43:17.560
<v Speaker 3>and then you process through your own bullshit, and then

0:43:17.600 --> 0:43:19.759
<v Speaker 3>you get back and you go, none of that is

0:43:19.800 --> 0:43:21.480
<v Speaker 3>actually for the character, and now I know who the

0:43:21.560 --> 0:43:24.160
<v Speaker 3>character is. You have to do that kind of work

0:43:24.200 --> 0:43:26.280
<v Speaker 3>on yourself as an actor.

0:43:26.719 --> 0:43:31.080
<v Speaker 2>Otherwise, subconsciously you're just going to go ahead and bring

0:43:31.120 --> 0:43:34.680
<v Speaker 2>in all your yees, yeah, conceive notions. Yeah.

0:43:34.680 --> 0:43:36.360
<v Speaker 4>And it's the same way that there will be a

0:43:36.440 --> 0:43:39.719
<v Speaker 4>scene and there'll be a line where you're like, the

0:43:39.800 --> 0:43:42.120
<v Speaker 4>characters will say like, I'm just so devastated, and as

0:43:42.120 --> 0:43:43.840
<v Speaker 4>the actor will be like, can you just trust my

0:43:43.960 --> 0:43:47.200
<v Speaker 4>face to convey that I need to do the same

0:43:47.280 --> 0:43:50.000
<v Speaker 4>thing for the writer, like I need to trust that

0:43:50.040 --> 0:43:53.080
<v Speaker 4>they know what they're doing and they wrote this as

0:43:53.120 --> 0:43:57.560
<v Speaker 4>concisely and specifically and eloquently as possible. There's there's an

0:43:57.600 --> 0:44:00.000
<v Speaker 4>element of like not feeling protected, or maybe it's a

0:44:00.040 --> 0:44:02.719
<v Speaker 4>control thing. Whatever, we're getting too inside baseball, let's talk

0:44:02.719 --> 0:44:06.360
<v Speaker 4>about Alice Whitehead and her call and Chase, her boyfriend

0:44:07.440 --> 0:44:10.200
<v Speaker 4>twelve hours after asking him to go out on their

0:44:10.239 --> 0:44:10.719
<v Speaker 4>first date.

0:44:11.239 --> 0:44:11.799
<v Speaker 5>Yeah.

0:44:11.840 --> 0:44:15.080
<v Speaker 2>I have such a love hate relationship with this character,

0:44:15.560 --> 0:44:18.680
<v Speaker 2>Like she really wins my heart so many times, and

0:44:18.719 --> 0:44:22.600
<v Speaker 2>then she does things that make me so mad at her,

0:44:23.480 --> 0:44:26.920
<v Speaker 2>which is great. It's a credit to Janna, but good.

0:44:26.760 --> 0:44:31.600
<v Speaker 4>Lord, it's one thing to be possessive with Chase and hey, boyfriend.

0:44:31.680 --> 0:44:33.560
<v Speaker 4>Here's the part I didn't get because like that I

0:44:33.640 --> 0:44:37.080
<v Speaker 4>can listen alex Is, she's a bit manic. Like we've

0:44:37.160 --> 0:44:39.640
<v Speaker 4>covered this right, She's a she's hig highs and lo lo,

0:44:39.800 --> 0:44:41.640
<v Speaker 4>She's all over the place. She's a bit of a

0:44:41.640 --> 0:44:46.360
<v Speaker 4>soup sandwich, some might say. But the part I didn't

0:44:46.400 --> 0:44:50.040
<v Speaker 4>get was the hostility towards Mia.

0:44:50.640 --> 0:44:53.000
<v Speaker 2>So strange, that's what I'm saying the whole episode. Yeah,

0:44:53.200 --> 0:44:55.239
<v Speaker 2>it's just sand flirty or whatever. But then all of

0:44:55.280 --> 0:44:57.840
<v Speaker 2>a sudden just to go out of her way to

0:44:58.040 --> 0:45:01.160
<v Speaker 2>give me a what's the for? It's so dumb?

0:45:01.680 --> 0:45:05.000
<v Speaker 3>Do you think, though, that that is because Chase is

0:45:05.080 --> 0:45:09.440
<v Speaker 3>honest with her and says Mia texted me and thinks,

0:45:10.440 --> 0:45:13.040
<v Speaker 3>you know, there's something whatever he says. I actually, of

0:45:13.040 --> 0:45:15.680
<v Speaker 3>course didn't write that part down because my observation was

0:45:16.000 --> 0:45:20.360
<v Speaker 3>this is lazy writing and especially creepy since Brooke dated

0:45:20.480 --> 0:45:23.239
<v Speaker 3>Chase in high school and Brooks High School lion was

0:45:23.360 --> 0:45:28.080
<v Speaker 3>hi friend, Hi boyfriend, So why is Alex saying hi boyfriend? Like,

0:45:28.800 --> 0:45:31.000
<v Speaker 3>wouldn't that creep you out if a girl you started

0:45:31.080 --> 0:45:34.040
<v Speaker 3>dating in your twenties said exactly the thing that your

0:45:34.120 --> 0:45:37.200
<v Speaker 3>high school sweetheart used to say to you, Like, I

0:45:37.200 --> 0:45:39.600
<v Speaker 3>don't know, I would feel like I was maybe being stalked.

0:45:40.000 --> 0:45:42.520
<v Speaker 3>So that was the thing I was a little hyper

0:45:42.520 --> 0:45:44.839
<v Speaker 3>focused on, and I realized I didn't say take great

0:45:44.840 --> 0:45:49.480
<v Speaker 3>notes for this scene, but I I wrote down. I said,

0:45:49.680 --> 0:45:53.719
<v Speaker 3>Alex challenging me a overbearing question mark also kind of

0:45:53.920 --> 0:45:58.080
<v Speaker 3>awesome because their energy in the scene is so good.

0:45:58.280 --> 0:46:01.160
<v Speaker 3>I just was having fun watching my friends be great actors.

0:46:01.719 --> 0:46:04.240
<v Speaker 3>But yeah, do you think it's because of the text message?

0:46:04.239 --> 0:46:07.400
<v Speaker 3>And she feels threatened. Do you think it's because Alex

0:46:07.520 --> 0:46:10.200
<v Speaker 3>do Pray is the kind of girl who always wants

0:46:10.239 --> 0:46:14.879
<v Speaker 3>to win? What do we think? Or do you think

0:46:14.960 --> 0:46:19.200
<v Speaker 3>she's doing it because she might be under the impression

0:46:19.239 --> 0:46:22.160
<v Speaker 3>that Mia only wants Chase back because she knows that

0:46:22.360 --> 0:46:26.120
<v Speaker 3>Chase is now with Alex. I have obviously more questions

0:46:26.160 --> 0:46:26.960
<v Speaker 3>than I realized I did.

0:46:27.320 --> 0:46:31.000
<v Speaker 4>I don't think it's the latter, because there is no

0:46:31.360 --> 0:46:34.959
<v Speaker 4>Chase in Alex yet. They haven't even gone on the date.

0:46:35.360 --> 0:46:38.960
<v Speaker 3>I know, But you know, maybe she's under the impression

0:46:38.960 --> 0:46:42.920
<v Speaker 3>that Mia heard some big to do happened in Park City.

0:46:42.960 --> 0:46:43.399
<v Speaker 3>I don't know.

0:46:43.719 --> 0:46:46.880
<v Speaker 2>This just seems like potstirring, like unnecessary pot stirring.

0:46:47.360 --> 0:46:49.919
<v Speaker 4>That's exactly if we had seen, like even just one

0:46:50.000 --> 0:46:53.600
<v Speaker 4>date and they really had great chemistry, it would be different, right,

0:46:53.640 --> 0:46:57.120
<v Speaker 4>But because absolutely nothing has happened, it just makes it

0:46:57.120 --> 0:46:59.600
<v Speaker 4>seem like it's an ego thing for Alex. Because there's

0:46:59.640 --> 0:47:02.480
<v Speaker 4>this moment right when shout out to Stephen Colettie, who

0:47:02.560 --> 0:47:05.160
<v Speaker 4>learned how to twirl glasses and mixers like a pro.

0:47:05.280 --> 0:47:08.520
<v Speaker 4>That was awesome. When he's showing Alice White had these

0:47:08.560 --> 0:47:11.520
<v Speaker 4>moves and she drops her cups there's a moment where

0:47:11.560 --> 0:47:14.440
<v Speaker 4>MIA's watching and then Mia turns to walk away, and

0:47:14.480 --> 0:47:18.000
<v Speaker 4>as Alice picks up the shakers, she sees that Mia

0:47:18.120 --> 0:47:22.719
<v Speaker 4>was watching and there is a prolonged close up on

0:47:22.800 --> 0:47:26.080
<v Speaker 4>her face. And I was dying to know what the

0:47:26.160 --> 0:47:28.239
<v Speaker 4>note was to her, Like I didn't know what she

0:47:28.440 --> 0:47:31.960
<v Speaker 4>was playing, like if she was happy, Mia saar, she

0:47:32.160 --> 0:47:35.400
<v Speaker 4>was conflicted. But because the camera stayed there so long,

0:47:36.560 --> 0:47:39.120
<v Speaker 4>I couldn't figure out what message we were sending.

0:47:39.200 --> 0:47:41.400
<v Speaker 2>Yeah, it was clearly they were trying to send a message.

0:47:41.400 --> 0:47:43.600
<v Speaker 2>If you leave a camera on something that long, you're

0:47:43.760 --> 0:47:46.520
<v Speaker 2>trying to say something like hammering at home. So what

0:47:46.560 --> 0:47:50.400
<v Speaker 2>was the message. There's a part of me that it

0:47:50.480 --> 0:47:55.480
<v Speaker 2>is happy that I'm getting a boy that somebody else wants.

0:47:56.120 --> 0:47:58.920
<v Speaker 2>It just seems so hammy. It for sure was a

0:47:58.960 --> 0:48:01.880
<v Speaker 2>note like somebody told Jana, here's what we need you.

0:48:01.960 --> 0:48:04.920
<v Speaker 2>There's the face that we need you to make for

0:48:05.040 --> 0:48:08.480
<v Speaker 2>this shot. Because it didn't for me, it didn't correlate

0:48:08.520 --> 0:48:12.400
<v Speaker 2>with her character at that moment either. It's just so strange.

0:48:13.239 --> 0:48:18.719
<v Speaker 3>Yeah, I got the impression, which maybe does track rob

0:48:18.760 --> 0:48:20.600
<v Speaker 3>to your point that this might be an ego thing

0:48:20.719 --> 0:48:24.440
<v Speaker 3>for Alex. I got the impression that's seeing that Mia

0:48:24.480 --> 0:48:28.360
<v Speaker 3>was coming in and then chose to walk out. She

0:48:28.560 --> 0:48:32.160
<v Speaker 3>watched it and then turned around and celebrated it like

0:48:32.239 --> 0:48:34.319
<v Speaker 3>she had that little smile to herself and then went

0:48:34.360 --> 0:48:39.080
<v Speaker 3>back to Chase. But again, it does feel I feel

0:48:39.080 --> 0:48:42.759
<v Speaker 3>like I wish they'd saved these bits for ADO two

0:48:43.719 --> 0:48:45.720
<v Speaker 3>and had had them go on a date in aightoh

0:48:45.800 --> 0:48:49.320
<v Speaker 3>one that then would cause the tension, because the tension

0:48:49.440 --> 0:48:51.920
<v Speaker 3>works if it is motivated by something.

0:48:52.360 --> 0:48:55.600
<v Speaker 2>It it's been a day, right, So now it.

0:48:55.640 --> 0:48:58.960
<v Speaker 3>Just almost feels like it's too it's too much competition,

0:48:59.080 --> 0:48:59.560
<v Speaker 3>too soon.

0:49:00.239 --> 0:49:02.600
<v Speaker 4>Yeah, And if we're making it about Alex's ego, there's

0:49:02.680 --> 0:49:05.640
<v Speaker 4>very little to root for, yes, you know, Whereas if

0:49:05.640 --> 0:49:08.200
<v Speaker 4>she was actually going to bat for Chase and something

0:49:08.280 --> 0:49:11.040
<v Speaker 4>some promise, some potential, it would be different. But if

0:49:11.040 --> 0:49:12.839
<v Speaker 4>it's just going to be a pissing match, it's hard

0:49:12.840 --> 0:49:18.239
<v Speaker 4>to sort of rally behind that, you know. I So

0:49:18.400 --> 0:49:22.680
<v Speaker 4>there's when joy when you are when Haley's talking with

0:49:22.840 --> 0:49:25.520
<v Speaker 4>Mia in the Red Bedroom Records thing, there's a really

0:49:25.520 --> 0:49:28.960
<v Speaker 4>funny moment where I think she says something effectively, you're

0:49:29.000 --> 0:49:31.320
<v Speaker 4>so smart you can figure it all out or something,

0:49:31.360 --> 0:49:35.960
<v Speaker 4>and you go, yeah, just don't ask me to explain

0:49:36.040 --> 0:49:38.560
<v Speaker 4>how babies are made. And then with your hands you

0:49:38.640 --> 0:49:41.560
<v Speaker 4>do to boodoom, you do a rim shot. Do you

0:49:41.600 --> 0:49:43.840
<v Speaker 4>remember if that was scripted or that was just you

0:49:44.360 --> 0:49:45.759
<v Speaker 4>realizing your surroundings.

0:49:46.440 --> 0:49:47.960
<v Speaker 3>That was so funny.

0:49:48.600 --> 0:49:51.560
<v Speaker 4>And then as you exit the scene you have a

0:49:51.600 --> 0:49:54.359
<v Speaker 4>savage line, but it's a hilarious throwaway line where you're

0:49:54.400 --> 0:49:57.719
<v Speaker 4>walking out as Chase is walking in and you just

0:49:57.800 --> 0:49:59.320
<v Speaker 4>casually say, Alex's gross.

0:49:59.360 --> 0:50:02.799
<v Speaker 2>Pick me a uh huh wait, I didn't even hear that.

0:50:03.400 --> 0:50:05.760
<v Speaker 3>Yeah, like a run on word.

0:50:06.080 --> 0:50:08.480
<v Speaker 4>They don't even like shoot your face, it's just you

0:50:08.520 --> 0:50:10.719
<v Speaker 4>over your shoulder casually. They just stay on Chase the

0:50:10.760 --> 0:50:12.480
<v Speaker 4>whole time. But it's hilarious.

0:50:12.640 --> 0:50:15.520
<v Speaker 3>It's so funny, it's real funny.

0:50:15.719 --> 0:50:19.959
<v Speaker 2>That's great. I do like the Chase and Mia and

0:50:20.040 --> 0:50:22.160
<v Speaker 2>Mia and Grubs. I mean, did me and Grubs ever

0:50:22.200 --> 0:50:24.360
<v Speaker 2>get together? Is that what's coming up? Or they're just

0:50:24.480 --> 0:50:26.160
<v Speaker 2>friends so.

0:50:26.239 --> 0:50:28.759
<v Speaker 4>Far they're just friends. It seemed they were doing a

0:50:28.800 --> 0:50:30.879
<v Speaker 4>mouth miss Lauren thing though, where it was like is.

0:50:30.800 --> 0:50:34.080
<v Speaker 2>This yes, Yeah.

0:50:34.600 --> 0:50:36.520
<v Speaker 4>Was it fair of Mia to ask Chase if you

0:50:36.560 --> 0:50:37.800
<v Speaker 4>had slept with Alex?

0:50:39.560 --> 0:50:42.520
<v Speaker 2>I think I don't think so. I mean, I guess

0:50:42.560 --> 0:50:44.640
<v Speaker 2>you can ask anything, it doesn't have to be answered.

0:50:44.719 --> 0:50:46.080
<v Speaker 4>But that's true.

0:50:47.440 --> 0:50:50.200
<v Speaker 3>I don't know that feels rooted in ego to me too.

0:50:51.360 --> 0:50:53.680
<v Speaker 3>You know, this idea that someone thinks that when your

0:50:53.719 --> 0:50:58.760
<v Speaker 3>relationship ends, they have the right to know anything about

0:50:59.640 --> 0:51:03.000
<v Speaker 3>your romantic life is so strange.

0:51:03.440 --> 0:51:05.279
<v Speaker 2>If she's trying to get over him, if it was like,

0:51:05.760 --> 0:51:07.400
<v Speaker 2>just tell me that you guys slept together, and then

0:51:07.440 --> 0:51:09.680
<v Speaker 2>I can start really wrapping my brain around you being

0:51:09.680 --> 0:51:12.080
<v Speaker 2>with another person. But you know, but she's the one

0:51:12.080 --> 0:51:14.680
<v Speaker 2>that broke up with him. Yeah, you broke up with him, big,

0:51:15.440 --> 0:51:16.759
<v Speaker 2>come on, like, get over it.

0:51:17.160 --> 0:51:21.080
<v Speaker 4>And I love that chase. He actually kind of he

0:51:21.320 --> 0:51:23.360
<v Speaker 4>put in her place and he was like, Yeah, you

0:51:23.440 --> 0:51:26.359
<v Speaker 4>broke up with me over text. You asked for me

0:51:26.440 --> 0:51:29.000
<v Speaker 4>back over text. She asked me out in person.

0:51:29.200 --> 0:51:29.719
<v Speaker 3>I loved that.

0:51:29.880 --> 0:51:30.080
<v Speaker 5>Yeah.

0:51:30.280 --> 0:51:33.160
<v Speaker 4>Perfect, that's a perfect answer.

0:51:33.320 --> 0:51:33.600
<v Speaker 5>Great.

0:51:33.640 --> 0:51:38.480
<v Speaker 4>Yeah, yeah, we got a listener question here. Oh, Madison

0:51:38.680 --> 0:51:42.239
<v Speaker 4>May asks there are some great cars in the show,

0:51:42.360 --> 0:51:45.160
<v Speaker 4>like Peyton's comment or even Julian's truck in season eight.

0:51:45.280 --> 0:51:47.200
<v Speaker 4>If you had to pick one of the character's cars

0:51:47.200 --> 0:51:49.520
<v Speaker 4>to drive in real life, which one would you choose?

0:51:50.400 --> 0:51:52.440
<v Speaker 2>I mean, that comment's great, but it's a boat that

0:51:52.520 --> 0:51:54.960
<v Speaker 2>thing's going to be hard to park. What was did

0:51:54.960 --> 0:51:57.759
<v Speaker 2>Clay have a Porsche? Was the green car? That was dry?

0:51:58.000 --> 0:52:02.560
<v Speaker 3>Clay had that beautiful vintage Corvete. That's about Stingray that

0:52:02.680 --> 0:52:04.920
<v Speaker 3>I was going to say that would be my pick,

0:52:04.960 --> 0:52:09.200
<v Speaker 3>and then I thought, yeah, but how often does that

0:52:09.200 --> 0:52:11.880
<v Speaker 3>thing break down? Like Julian's truck might actually be the

0:52:11.880 --> 0:52:14.799
<v Speaker 3>most practical vintage car we had on our show.

0:52:14.840 --> 0:52:16.880
<v Speaker 2>I remember though, what color was it? What it look like?

0:52:17.800 --> 0:52:20.880
<v Speaker 3>Silver? Your car was that beautiful like gun metal silver

0:52:20.960 --> 0:52:23.840
<v Speaker 3>with the red interior. I know all the I know

0:52:23.960 --> 0:52:27.440
<v Speaker 3>all the old cars. How was it to drive?

0:52:28.440 --> 0:52:30.040
<v Speaker 4>It was fast? It was great. I was going to

0:52:30.080 --> 0:52:32.960
<v Speaker 4>say I would go Julian's truck because that car was

0:52:32.760 --> 0:52:33.399
<v Speaker 4>it was tight.

0:52:33.920 --> 0:52:35.000
<v Speaker 2>What color was the truck?

0:52:35.680 --> 0:52:35.839
<v Speaker 6>Oh?

0:52:35.920 --> 0:52:38.160
<v Speaker 3>The truck was black? Yeah, it was a black truck,

0:52:38.200 --> 0:52:39.280
<v Speaker 3>big black pickup truck.

0:52:39.520 --> 0:52:41.239
<v Speaker 2>Oh oh yeah, that's a great car.

0:52:41.680 --> 0:52:44.080
<v Speaker 3>Yeah, I think that would be my practical pick.

0:52:44.719 --> 0:52:45.640
<v Speaker 2>You rob you two?

0:52:46.280 --> 0:52:49.560
<v Speaker 4>Yeah? Yeah? The whatever sting Ray is that what it

0:52:49.560 --> 0:52:52.480
<v Speaker 4>was called? So yeah my car? Yeah, it's it was beautiful,

0:52:52.640 --> 0:52:55.560
<v Speaker 4>but I mean like it was small. We broke the

0:52:55.600 --> 0:52:58.640
<v Speaker 4>glove box handles like it was you know what I mean,

0:52:58.680 --> 0:52:59.719
<v Speaker 4>it's more of antique.

0:53:00.040 --> 0:53:01.719
<v Speaker 2>He was like a green in my mind. It's like

0:53:01.760 --> 0:53:03.200
<v Speaker 2>a forest green in my mind.

0:53:03.440 --> 0:53:05.200
<v Speaker 4>No, it was it was metal silver.

0:53:05.280 --> 0:53:12.360
<v Speaker 2>Yeah, yeah, I believe you. That's strange. Okaytable honorable mentions

0:53:12.360 --> 0:53:16.000
<v Speaker 2>seous my notes here. I mean, did Grubbs sing in

0:53:16.080 --> 0:53:18.200
<v Speaker 2>this or was it the last one that he's sang it?

0:53:18.400 --> 0:53:21.000
<v Speaker 3>He did, he wrote that last song for the album

0:53:21.200 --> 0:53:24.640
<v Speaker 3>and then he put uh. I loved the shot. This

0:53:24.760 --> 0:53:27.400
<v Speaker 3>might actually be my honorable mention just as a technical

0:53:27.880 --> 0:53:32.719
<v Speaker 3>the shot of him leaving the recording studio and you

0:53:32.760 --> 0:53:35.359
<v Speaker 3>can see a blurry piece of paper in the foreground

0:53:35.760 --> 0:53:39.080
<v Speaker 3>and then they rack and it's Tour one London. I

0:53:39.200 --> 0:53:43.400
<v Speaker 3>was like, ooh, that's that's very nice. I liked I

0:53:43.560 --> 0:53:46.279
<v Speaker 3>liked the decision. I liked the way they did it.

0:53:46.280 --> 0:53:48.360
<v Speaker 3>It was it was a beautiful little moment.

0:53:50.040 --> 0:53:54.040
<v Speaker 4>I would say my honorable mention is when Nathan has

0:53:54.080 --> 0:53:56.920
<v Speaker 4>the option to either give It's Nathan Haley sitting on

0:53:56.960 --> 0:53:58.040
<v Speaker 4>the couch and Haley's like, do you want to go

0:53:58.040 --> 0:54:01.600
<v Speaker 4>give him the talk? And Nathan says, or I could

0:54:01.640 --> 0:54:03.680
<v Speaker 4>just play. I could give him the new Gears of

0:54:03.719 --> 0:54:07.160
<v Speaker 4>War video game. I'm gonna do that, which I laughed.

0:54:07.239 --> 0:54:09.799
<v Speaker 4>Because as a nerd gamer, I happen to know that

0:54:09.920 --> 0:54:12.640
<v Speaker 4>is one of the most violent games where it's like

0:54:13.120 --> 0:54:15.719
<v Speaker 4>you're either shooting people or sawing that. I mean, they're

0:54:15.760 --> 0:54:17.920
<v Speaker 4>like monsters, Like yeah, like big guys, but like you're

0:54:17.960 --> 0:54:21.480
<v Speaker 4>literally chainsawing bad guys in half. And I just laughed, going,

0:54:21.800 --> 0:54:26.600
<v Speaker 4>I love that he avoided having a potentially uncomfortable conversation

0:54:26.680 --> 0:54:30.520
<v Speaker 4>with his son and instead exposed him to massive.

0:54:30.520 --> 0:54:33.520
<v Speaker 2>Violence after he's already looked at poorn on the internet.

0:54:33.600 --> 0:54:37.520
<v Speaker 2>So we're just doing great as parents. It's really excellent.

0:54:38.040 --> 0:54:38.759
<v Speaker 4>Dad of the year.

0:54:39.120 --> 0:54:42.480
<v Speaker 2>Oh gosh, well, my I guess my honorable mention will

0:54:42.480 --> 0:54:44.400
<v Speaker 2>also be for Nathan and Haley, but it's more about

0:54:44.440 --> 0:54:46.640
<v Speaker 2>just where their relationship's at right now. This is like

0:54:46.840 --> 0:54:50.480
<v Speaker 2>top quality marriage material when you watch test partners who

0:54:50.480 --> 0:54:53.759
<v Speaker 2>were just showing up for each other and encouraging each

0:54:53.800 --> 0:54:58.719
<v Speaker 2>other and holding on holding space the way Nathan. I mean,

0:54:58.760 --> 0:54:59.880
<v Speaker 2>I guess if I had to give it to one,

0:55:00.000 --> 0:55:01.719
<v Speaker 2>I would say to Nathan for the way he's been

0:55:01.880 --> 0:55:04.680
<v Speaker 2>taking care of Haley and handling this whole situation was

0:55:05.040 --> 0:55:09.359
<v Speaker 2>really really excellent. So yeah, I'm just this is top

0:55:09.400 --> 0:55:11.160
<v Speaker 2>form Nathan and Haley for me right now.

0:55:11.280 --> 0:55:15.520
<v Speaker 3>Yeah, absolutely agree. It's fun. It's really fun to watch

0:55:15.560 --> 0:55:19.320
<v Speaker 3>you guys in this, and I like I like seeing

0:55:19.360 --> 0:55:21.239
<v Speaker 3>two parents who go, oh my god, we thought we'd

0:55:21.280 --> 0:55:23.120
<v Speaker 3>be good at this. We have no idea what we're doing.

0:55:23.320 --> 0:55:24.359
<v Speaker 3>How do we buy some time?

0:55:24.640 --> 0:55:28.240
<v Speaker 2>Like it's really so real, like twenty five years old?

0:55:28.440 --> 0:55:30.680
<v Speaker 2>This is how old they're supposed to be. Twenty five

0:55:30.800 --> 0:55:34.279
<v Speaker 2>I think James actually maybe was. But when you think

0:55:34.280 --> 0:55:39.239
<v Speaker 2>about it now, in our forties, really, what what were

0:55:39.280 --> 0:55:43.120
<v Speaker 2>we doing? I would not have had that maturity. I

0:55:43.160 --> 0:55:45.160
<v Speaker 2>didn't know. I didn't at twenty five.

0:55:45.320 --> 0:55:47.480
<v Speaker 3>Everybody nailed it, honestly.

0:56:00.080 --> 0:56:01.560
<v Speaker 2>Spinning a wheel. We didn't even spin a wheel in

0:56:01.560 --> 0:56:03.160
<v Speaker 2>the last episode, Guys, we didn't.

0:56:03.320 --> 0:56:04.520
<v Speaker 3>We got so caught up.

0:56:04.840 --> 0:56:06.879
<v Speaker 4>Okay, we have to make this one doubly good.

0:56:11.520 --> 0:56:16.200
<v Speaker 3>Most likely too, Oh, this is unfair on our show.

0:56:17.000 --> 0:56:21.120
<v Speaker 4>Most likely to win a karaoke competition.

0:56:21.400 --> 0:56:23.120
<v Speaker 3>I mean half of our cast.

0:56:23.719 --> 0:56:27.480
<v Speaker 2>Yeah, there's a lot of musical talent, come on, you grubs.

0:56:27.719 --> 0:56:32.120
<v Speaker 2>Kate Tyler, Janna, every musician that has come in on

0:56:32.160 --> 0:56:36.080
<v Speaker 2>the show, I mean, how many bands that came in? Yeah, Jana,

0:56:36.320 --> 0:56:40.000
<v Speaker 2>I mean, oh, good grief. Hillary's got a great singing voice. Too.

0:56:40.200 --> 0:56:43.879
<v Speaker 2>I don't know's what what are we gonna do? We're

0:56:43.920 --> 0:56:46.759
<v Speaker 2>going to have a battle of the one Tree Hill voices?

0:56:46.960 --> 0:56:48.960
<v Speaker 2>I don't know, guys, And it depends on the song.

0:56:49.960 --> 0:56:53.040
<v Speaker 2>You know, everybody's got a different genre that they're good at.

0:56:53.680 --> 0:56:55.920
<v Speaker 2>I feel like I'm going to give my Karaoke Award

0:56:56.040 --> 0:57:01.439
<v Speaker 2>to like Lee Norris, because I just think he would.

0:57:01.719 --> 0:57:03.600
<v Speaker 2>We would all be taking it too seriously and trying

0:57:03.600 --> 0:57:05.239
<v Speaker 2>to like really perform, and he would just get up

0:57:05.280 --> 0:57:08.040
<v Speaker 2>there and crush it. And actually, Rob, you probably would too.

0:57:08.640 --> 0:57:11.759
<v Speaker 4>Yeah. I am tone deaf, but I pour my heart

0:57:11.760 --> 0:57:13.080
<v Speaker 4>and soul into every performance.

0:57:13.160 --> 0:57:15.360
<v Speaker 2>Okay, then you're getting my karaoke vote.

0:57:15.560 --> 0:57:17.800
<v Speaker 3>I'm I'm I'm co signing with Joy.

0:57:18.440 --> 0:57:19.320
<v Speaker 2>It's Rob.

0:57:19.880 --> 0:57:21.959
<v Speaker 3>It's in the spirit of the performance.

0:57:22.320 --> 0:57:24.920
<v Speaker 4>Yes, that means the world to me. Guys, Thank you

0:57:27.240 --> 0:57:29.640
<v Speaker 4>and thank you for listening. Listen.

0:57:29.680 --> 0:57:31.960
<v Speaker 3>Thank you all so much. We will see you next

0:57:32.000 --> 0:57:34.479
<v Speaker 3>week for season eight, episode two.

0:57:35.240 --> 0:57:38.240
<v Speaker 2>I can't see you, but I know you're there.

0:57:39.000 --> 0:57:46.320
<v Speaker 3>Oh boy. Maybe if it's because we're all gonna finally

0:57:46.400 --> 0:57:50.360
<v Speaker 3>discover that Clay and Quinn have been shot. We really

0:57:50.360 --> 0:57:53.280
<v Speaker 3>have left you, guys hanging. It makes me uncomfortable.

0:57:53.320 --> 0:57:56.000
<v Speaker 2>So so much. Also the shot that they come back

0:57:56.040 --> 0:57:59.120
<v Speaker 2>to of you on the floor after Nathan leaves your

0:57:59.160 --> 0:58:00.840
<v Speaker 2>house and it's you guys on the floor and the

0:58:00.880 --> 0:58:03.000
<v Speaker 2>blood on the door has not dried yet. And it's

0:58:03.040 --> 0:58:03.800
<v Speaker 2>been a day.

0:58:03.840 --> 0:58:08.440
<v Speaker 4>Right, I mean nighttime, So okay, it should be dried.

0:58:08.480 --> 0:58:09.120
<v Speaker 4>It should be dry.

0:58:10.920 --> 0:58:12.720
<v Speaker 2>It's fine, you know what. I don't need to say it.

0:58:12.760 --> 0:58:14.720
<v Speaker 2>Why do I need to say it? It's fine. Everybody's

0:58:14.760 --> 0:58:17.360
<v Speaker 2>doing a great job. Everyone's doing great. Why do I

0:58:17.360 --> 0:58:19.840
<v Speaker 2>need to point out the tiny little This is where

0:58:19.880 --> 0:58:21.480
<v Speaker 2>I need my friends. You guys have to jump in

0:58:21.520 --> 0:58:23.560
<v Speaker 2>and be like, Joy, doesn't worry about it, doesn't matter.

0:58:23.560 --> 0:58:25.760
<v Speaker 4>You're doing it again, Joy, You're doing it sor right.

0:58:25.800 --> 0:58:28.520
<v Speaker 3>So well, guys, that's sort of what our podcast is.

0:58:28.600 --> 0:58:30.400
<v Speaker 3>Next week, we're going to do it again all over

0:58:30.520 --> 0:58:35.240
<v Speaker 3>again by you all.

0:58:36.560 --> 0:58:37.680
<v Speaker 2>Hey, thanks for listening.

0:58:37.800 --> 0:58:40.040
<v Speaker 3>Don't forget to leave us a review. You can also

0:58:40.120 --> 0:58:42.800
<v Speaker 3>follow us on Instagram at Drama Queen's o.

0:58:42.880 --> 0:58:47.040
<v Speaker 2>T H or email us at Drama Queens at iHeartRadio

0:58:47.160 --> 0:58:49.200
<v Speaker 2>dot com. See you next time.

0:58:50.400 --> 0:58:54.200
<v Speaker 1>We all about that high school drama girl, Drama Girl, all.

0:58:54.040 --> 0:58:55.560
<v Speaker 2>About them high school queens.

0:58:56.320 --> 0:58:58.560
<v Speaker 3>We'll take you for a ride and our comic girl

0:58:59.280 --> 0:59:02.919
<v Speaker 3>sharing for the right drama. Queens chlies my girl love

0:59:03.000 --> 0:59:03.680
<v Speaker 3>girl fashion.

0:59:03.760 --> 0:59:05.680
<v Speaker 2>With your tough girl, you could sit with us.

0:59:05.720 --> 0:59:10.160
<v Speaker 1>Girl drama, Queens, drama, quease, drama, queens drama, drama, Queens drama,

0:59:10.240 --> 0:59:11.479
<v Speaker 1>Queens