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Speaker 1: So you know, we both just took trips, well, Susan

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Speaker 1: and I took a trip, and I know, Rider, you

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Speaker 1: took a trip, and we were kind of in the

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Speaker 1: same part of the world. We did London and then

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Speaker 1: Scotland and the Cotswolds and just absolutely loved it.

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Speaker 2: But we were starting to try to travel smarter.

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Speaker 1: So one of the things that we've started to do

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Speaker 1: is we pack for half the trip and then in

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Speaker 1: one of the cities we find a fluff and fold

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Speaker 1: or a laundromat and we do all of our wash

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Speaker 1: so we have all of our kind of clean clothes

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Speaker 1: while we're thereat. So we found this great place in

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Speaker 1: Edinburgh and we dropped off our clothes and it wasn't

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Speaker 1: until I was walking away that I looked to Susan

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Speaker 1: and I said, what do you think their thing thinking

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Speaker 1: right now? As this grown man and woman just walked

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Speaker 1: in and left at least seven different pairs of superhero underwear.

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Speaker 3: And and then you finally felt a pang of embarrassment.

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Speaker 2: The first embarrassments not the right word.

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Speaker 3: It's more about it on a podcast that you listened

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Speaker 3: to about thirty million people. So I was gonna.

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Speaker 4: Faceness of it. Here's my Batman undies, so take ace

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Speaker 4: for me.

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Speaker 2: It was pride. It wasn't embarrassment. There was not. I

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Speaker 2: was good with my undies. But no, it's just the idea.

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Speaker 1: Like I stopped and I actually had the thought of

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Speaker 1: what do these people think? They said nothing when we

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Speaker 1: got went and picked it up, obviously, but I had

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Speaker 1: that moment of, you know, somebody said something to someone

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Speaker 1: had to oh yeah, because I mean, like the Captain

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Speaker 1: America underwear are bright blue.

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Speaker 3: You literally don't own any non superhero underwear.

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Speaker 2: No I do.

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Speaker 1: They're just to be honest with you, the ones that

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Speaker 1: I have are so comfortable, like they're these they're these

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Speaker 1: great boxers. They make you feel super well. They give

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Speaker 1: it that extra where my power comes from. First of all,

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Speaker 1: we've talked about the Batman underwear have a utility belt,

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Speaker 1: so I can use that anywhere.

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Speaker 2: There's a number of places where that can be used,

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Speaker 2: especially on a trip.

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Speaker 3: Right.

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Speaker 1: But yes, I had that moment of maybe this is weird,

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Speaker 1: and I came to my two best friends because I

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Speaker 1: know you're gonna tell me that it's not.

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Speaker 2: And I'm totally normal for doing that. Correct.

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Speaker 4: No, absolutely talked about you the minute left and they

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Speaker 4: went through your stuff, and they absolutely did.

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Speaker 3: I actually don't know how weird it is in general,

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Speaker 3: Like I mean, I don't maybe your underwear is a

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Speaker 3: private thing. So I feel like I kind of don't

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Speaker 3: care what anybody wears, Like I wouldn't judge any but

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Speaker 3: I just would never like I just want my underwear

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Speaker 3: to be so boring, like and I and since nobody's

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Speaker 3: really seeing it besides my wife, yeah, you know, like

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Speaker 3: I can't. I just don't care about my underwear. So

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Speaker 3: the fact that you care about your underwear is is

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Speaker 3: interesting to me. And like I just am not like that.

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Speaker 2: Well, I became a thing.

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Speaker 1: I don't know, it became like a thing, and then

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Speaker 1: it was a joke and then it was like, oh

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Speaker 1: I got to get these Batman underwear, and then they

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Speaker 1: were just comfortable right now.

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Speaker 2: I just like them.

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Speaker 1: I also destroy it, well didn't destroy it, but had

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Speaker 1: had a little bit of a problem with the car

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Speaker 1: while I was there. Oh, this sounds like a I

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Speaker 1: buried the lead. I buried the lead, if I'm honest.

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Speaker 2: So we were drive.

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Speaker 1: We took a train from London to Scotland and then

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Speaker 1: we got a car in Scotland. We rented a car

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Speaker 1: in Scotland to drive from Scotland to the Cotswolds, which

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Speaker 1: is like you know, like a six hour drive and

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Speaker 1: we were looking really forward to the drive. So the

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Speaker 1: company over the art was called europe Car, rented it,

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Speaker 1: they delivered it to the hotel.

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Speaker 2: They went out of their way.

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Speaker 1: They upgraded us to this beautiful little Mercedes with the

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Speaker 1: low profile tires I got. I think we were in

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Speaker 1: the car for twenty minutes before I was going around

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Speaker 1: road works. Came back too far because we're on the

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Speaker 1: wrong side of the car obviously, and over a curb

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Speaker 1: and shredded both the tires on the side of the

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Speaker 1: car at the same time. Soo, right, fifteen or twenty

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Speaker 1: minutes into our six hour drive. Oh no, So we

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Speaker 1: have to pull over in this store and we end

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Speaker 1: up having to call their equivalent of Triple A and

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Speaker 1: they're like, we can, we will be there sometime in

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Speaker 1: the next three hours.

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Speaker 2: So Sue and I are.

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Speaker 1: Just sitting outside of Edinburgh waiting in the car and

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Speaker 1: the car is now tilted on the side because the

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Speaker 1: the both the things are shredded and it's just people

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Speaker 1: getting out going like you know your tires are shred ed.

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Speaker 2: It's like, yes, yes I do. We're still here. You

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Speaker 2: know you can't. Did I even like that? Like yeah,

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Speaker 2: I know, thank you.

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Speaker 1: So then the company comes, this great guy named Patty,

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Speaker 1: this Irish guy comes and helps us out and he goes, essentially, look,

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Speaker 1: I'm going to put two new tires, like to the

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Speaker 1: run flats on the car to get you to the

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Speaker 1: tire shop. He goes, but the problem is with these

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Speaker 1: two tires you're looking for. You goes, it's going to

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Speaker 1: be at least a day if not to I know

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Speaker 1: of you waiting there to get these things done.

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Speaker 2: And we're like, we have to go.

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Speaker 1: We've got reservations at this great restaurant tonight.

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Speaker 2: Like what are we supposed to do?

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Speaker 1: He goes, You're fifteen minutes away from the airport. Follow

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Speaker 1: me on the highway on these tires that are like

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Speaker 1: and he goes, we'll get you there and we'll see

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Speaker 1: if they'll just give you a different car. So we

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Speaker 1: got to the airport and got to the europe Car

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Speaker 1: place and they're like, oh, yeah, no you by I

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Speaker 1: did this by accident, but I guess I checked the

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Speaker 1: box for all insurance, like everything top to bottom. He goes,

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Speaker 1: you literally could have just returned with the door and gone, hey,

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Speaker 1: thank you very much, give me a new car.

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Speaker 2: So I never do the insurance.

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Speaker 3: No, get you, that's never do insurance. But that's.

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Speaker 2: A dime.

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Speaker 1: They threw us keys to a brand new car and

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Speaker 1: we went on our way.

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Speaker 2: But what an experience.

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Speaker 4: And sohow I'm also like, oh, no, you want have

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Speaker 4: insurance already and I usually card covers.

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Speaker 3: You know, like there's never a reason to pay.

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Speaker 2: That's how they get you.

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Speaker 1: Yeah, it worked, and I was like, yeah, thank And

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Speaker 1: it must have been because the concierge at the hotel

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Speaker 1: set the whole thing up for us, so he's like,

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Speaker 1: here's the price you pay. So as part of the

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Speaker 1: deal it was probably likely they got to get the

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Speaker 1: full insurance and thank god because I.

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Speaker 3: Had already gotten Yeah, you got it worked out.

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Speaker 2: Yeah, so it was great.

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Speaker 1: And then and then driving in the Cotswaltz is the scariest,

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Speaker 1: most horrible thing in the history of the world.

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Speaker 4: We're texting it, not while driving, but you were texting

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Speaker 4: us saying I just finished I'm about to begin the

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Speaker 4: most harrowing drive of my life.

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Speaker 1: And because you were finished these tiny roads that are

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Speaker 1: too lane on the wrong side and trucks coming at

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Speaker 1: you and the speed limit is sixty.

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Speaker 2: Oh that sounds amazing, So it is that it was.

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Speaker 2: It's terrifying.

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Speaker 1: I mean, we're doing it in the dark because we

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Speaker 1: were supposed to get there at like three o'clock in

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Speaker 1: the afternoon.

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Speaker 2: We didn't get there.

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Speaker 1: Told the hotel restaurant we were staying at was like

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Speaker 1: they kept the restaurant open just for us, and they

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Speaker 1: fed us at almost ten o'clock at night. The chef

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Speaker 1: stayed a place called the Wild Rabbit. It could not

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Speaker 1: have been more wonderful, but it was terrifying. And then

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Speaker 1: the next day we did it again because we drove

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Speaker 1: the Stonehenge and it was, by the way, totally right,

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Speaker 1: one of the best hinges I've ever seen in my life.

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Speaker 2: Oh yesome good, Yeah, awesome Henge. But it was terrifying

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Speaker 2: driving there.

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Speaker 3: Was it interesting though, Like I mean, just hearing your

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Speaker 3: story about the flat tires, and I love that you

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Speaker 3: followed it up with like you know, you ended up

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Speaker 3: having like three or four interactions with people, something you

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Speaker 3: wouldn't have had otherwise. Yeah, And it's so funny that

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Speaker 3: those are the things that you remember. Like if I

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Speaker 3: think about the flat tires, I've had many flat tires

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Speaker 3: or problems with my car driving across the country. That's there.

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Speaker 3: They're actually you know, at the time they were the

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Speaker 3: worst experiences, and then of course now years and years later,

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Speaker 3: they're my favorite memories. Yes, because like the vacations where

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Speaker 3: everything went perfectly smooth, where like I didn't, I kind

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Speaker 3: of don't remember like they just could, you know, And

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Speaker 3: so it's so it's so interesting to just reflect on, like, right,

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Speaker 3: those times, as much as they kind of suck when

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Speaker 3: you're going through them. That is what travel is for.

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Speaker 2: Is that was actually great.

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Speaker 1: The place where we had to pull over was this

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Speaker 1: like not even a gas station, but it had like

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Speaker 1: a an ARII kind of shop at the bottom, but

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Speaker 1: then a little convenience store next to that, and then

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Speaker 1: upstairs a tiny little restaurant where you can get make smoothies.

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Speaker 1: So soon I just got went up there, had a

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Speaker 1: little bit of breakfast, we waited, we talked to some

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Speaker 1: of the locals. It was it was great.

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Speaker 2: And then this patty guy showed up.

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Speaker 1: Couldn't have been nicer, and you he totally said, to

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Speaker 1: the point where That night, when we got to our place,

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Speaker 1: we called the BAA company again just to say this guy,

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Speaker 1: I mean to the point where as we're driving from

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Speaker 1: where he fixed the tires to the airport, he had

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Speaker 1: our number and he called us to just make sure

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Speaker 1: he goes, I see you guys behind me. I just

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Speaker 1: want to make sure you feel comfortable, that the car

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Speaker 1: feels comfortable, that like went out of his way, and

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Speaker 1: so we called to make sure. We're like, we just

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Speaker 1: want you to know how this employee of yours was,

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Speaker 1: because it was. But you're right, it's That's the thing

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Speaker 1: we've been talking about ever since, was that experience, and

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Speaker 1: it was.

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Speaker 2: It was a ton of fun.

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Speaker 4: Jensen and my entire trip to Thailand was one horrible,

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Speaker 4: most bonder and it's the reason I think we got married.

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Speaker 4: Literally it was one horrible day after one horrible day,

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Speaker 4: and we talk about it fondly once a week. I

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Speaker 4: have said I when we were there, I thought I

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Speaker 4: am never going I will never go to Thailand again.

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Speaker 2: And now Jenson are like, should we go back to.

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Speaker 4: Thailand we live some of how awful?

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Speaker 2: Yes, Well, just don't have me drive while we're there

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Speaker 2: and we're fueling.

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Speaker 4: You know me, I like to drive everywhere. I will drive.

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Speaker 2: Welcome to Bond Meets World. I'm Danielle Fischel, I'm right

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Speaker 2: or Strong, and I'm Wilfordell.

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Speaker 4: So today we are recapping season five, episode sixteen, Torn

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Speaker 4: Between Two Lovers.

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Speaker 2: Feeling like a fool A long title.

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Speaker 3: Yeah, I know what is it a reference to?

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Speaker 4: Is it raise? A song from a nineteen seventy six

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Speaker 4: ballad from singer Mary McGregor, you know, everyone's favorite song

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Speaker 4: and nineties.

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Speaker 2: They're like, that's a famous song. It's a famous song.

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Speaker 4: It's like, these boots are made for walking, right, right, sure,

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Speaker 4: of course, exactly, We've all heard of these boots are

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Speaker 4: made for walking. I've never heard of Torn Between.

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Speaker 2: Two Lovers a fool? No, no, okay, okay.

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Speaker 4: It originally aired February twenty seventh, nineteen ninety eight. The

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Speaker 4: synopsis Ski Lodge. Lauren travels to Philadelphia to see Corey,

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Speaker 4: causing the rift between him and Tapanga to come to

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Speaker 4: a head. While at school, Eric Proctor's for Phoene's citizenship class.

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Speaker 4: It was It was directed by Jeff McCracken. So it

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Speaker 4: seems like we're back into familiar names. Territory. It was

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Speaker 4: written by Matthew Nelson. Any overall thoughts before I jump

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Speaker 4: into our Guest Stars.

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Speaker 3: Yeah, just picking up on those last credits I was,

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Speaker 3: I was watching the episode. I didn't see that. I

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Speaker 3: just didn't look at the credits while it started. Yeah,

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Speaker 3: and by like halfway through, I was like, man, everybody's

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Speaker 3: performance is so good, Like everybody is so relaxed and

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Speaker 3: present and listening to each other in a way that

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Speaker 3: has kind of been lacking, or I don't know, it

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Speaker 3: hasn't always been lacking, like because obviously, like Rusty's episode

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Speaker 3: was so great, but there was something like I guess

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Speaker 3: maybe I mostly felt it with myself. I was like, man,

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Speaker 3: I am just in it, Like I am present in

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Speaker 3: a way for so much of the fish and relaxed, committed,

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Speaker 3: and I just had this warmth in this episode. And

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Speaker 3: then I was like, wait a minute, who directed this?

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Speaker 3: And I saw his mccrack and I went, that's it.

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Speaker 3: That's what I'm feeling. I'm feeling them a crack in

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Speaker 3: touch if just it was so cool to me that

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Speaker 3: that's that was my overwhelming sensation. I don't know how

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Speaker 3: I feel about the episode. It's very dramatic, very dramatic

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Speaker 3: in a way that I wasn't just I just wasn't

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Speaker 3: sure if it he needed to be and you know,

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Speaker 3: we can talk about it, but but that feeling, that

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Speaker 3: overwhelming warmth and comfort of McCracken was just it was

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Speaker 3: palpable for me.

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Speaker 4: Yeah, I thought the same thing, although I will say

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Speaker 4: there were a couple of camera moves weird and.

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Speaker 2: I liked you well, I liked him too, but.

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Speaker 4: They were a little shaky, and I was like, do

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Speaker 4: we have a new piece of equipment? Like it almost

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Speaker 4: felt like we had a dolly for a while that

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Speaker 4: end we did.

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Speaker 3: And we didn't have a dolly.

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Speaker 4: That's a problems are just exactly those pres were moving

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Speaker 4: and they were Yeah, so because there were there were

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Speaker 4: I liked some of the creativity. I mean the way

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Speaker 4: that lot that first shot opened with the locker opened

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Speaker 4: and then we went from that side of the hallway

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Speaker 4: down and across to the couches. I thought that was

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Speaker 4: really interesting and super fun to see the camera move.

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Speaker 2: In that way.

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Speaker 4: But it it felt like, what's going on? Why does

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Speaker 4: it feel a little a little wobbly.

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Speaker 1: There are a couple of strange cuts too, that were

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Speaker 1: a little odd, and I agree about the kind of

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Speaker 1: I think we might be getting into boy meets World melodrama,

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Speaker 1: Like we're starting to see where this is going. And

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Speaker 1: if you're okay with that, like you, if you now

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Speaker 1: realize and we just have to accept the fact that

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Speaker 1: the universe needs Corey and to Panga to be together,

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Speaker 1: and if you buy that premise, then it's the start

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Speaker 1: of the interesting Corey into pang A dynamic. If you're

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Speaker 1: not into we need to be together because we've been

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Speaker 1: together forever, then it's the start of some not great

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Speaker 1: stuff for people. I think is how most people.

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Speaker 2: Would look at it, because it is. It's very very dramatic.

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Speaker 1: No Matt Lawrence, no Trina, which I thought was kind

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Speaker 1: of strange. Sean we still in.

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Speaker 2: A way that's just unacceptable to me.

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Speaker 3: Yes, senseless, because Sean's leading so much the charge here

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Speaker 3: and yet not conferring with his girlfriend after.

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Speaker 4: That episode, saying things as if he never even has

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Speaker 4: has met her, saying things like after a long run

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Speaker 4: of meaningless.

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Speaker 2: Relationships, I may eventually want what you have.

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Speaker 4: Wait a minute, you mean what you've been saying for

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Speaker 4: episode after episode after episode that you definitely want what

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Speaker 4: we have, and not only that you found the person

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Speaker 4: you think you want it with, Like, how did you not?

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Speaker 2: How is she not even mentioned? It's just about the

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Speaker 2: same thing it was.

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Speaker 3: It was.

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Speaker 1: They still are just making Sean who they need Shan

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Speaker 1: to be week by week and they still here going

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Speaker 1: over the same stuff, particularly since.

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Speaker 3: This is serialized, Like the whole storyline only makes sense

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Speaker 3: after we've been to the ski lodge where we solidified

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Speaker 3: our relationship. It's like, it's so it's it's.

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Speaker 4: Really very frustrated. It makes me very, very frustrated because

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Speaker 4: I I, like you said, at first, I was like,

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Speaker 4: did we take a six month hiatus? Was there like

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Speaker 4: a long pause? Jensen's said right away, well maybe he

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Speaker 4: shout out of order, and I was like, it can't be.

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Speaker 4: It can't be because the old way, and he was

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Speaker 4: like ray right, It's like, yeah, what is.

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Speaker 2: The reason for this?

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Speaker 1: So anyway, we also look like I'm obviously in the

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Speaker 1: part of my career where I'm like I don't want

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Speaker 1: anyone to touch me with a makeup brush or anything.

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Speaker 1: I look like I've been dead for three weeks. No,

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Speaker 1: and they dug me up and put I was so pale.

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Speaker 1: I mean so pale in this episode. Yeah, I did

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Speaker 1: super super pale in this episode.

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Speaker 2: Well it was guest starring.

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Speaker 4: We have Jay Harik as Raju, the Lebanese character actor

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Speaker 4: studied in Chicago and would appear in a lot of

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Speaker 4: TV shows including Er, Malcolm in the Middle, twenty four,

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Speaker 4: Modern Family, and Frasier. And then we have Jolie Jakunas

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Speaker 4: as Svetlana. You may have seen her on two episodes

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Speaker 4: of Home Improvement, or in the Conan the Adventure TV

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Speaker 4: show or on Sport Night, but she appears to have

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Speaker 4: left the business in nineteen ninety eight, which is the

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Speaker 4: same year this show aired. And we have Marilyn Tokuda

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Speaker 4: as Men, another frequent TV guest star. She was seen

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Speaker 4: on Hill Street Blues, Magnum Pi, Magnum Pai, Magni Friends,

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Speaker 4: and Seinfeld, but she is probably most recognizable from a

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Speaker 4: five episode arc as Peg on Grey's Anatomy.

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Speaker 2: Now jumping into our recap.

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Speaker 4: We start in John Adams High and we get the

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Speaker 4: aforementioned camera angle where Corey is standing behind an open locker.

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Speaker 4: Sean protests you and Tapanga can't be a part like this.

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Speaker 4: It's giving me a heart attack. Corey slams the locker

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Speaker 4: door shut. I didn't even do anything. I meet one

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Speaker 4: other girl, I talk to her and I get a

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Speaker 4: little thank you note. Already I'm furious.

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Speaker 2: Excuse me, what he's blowing it off this much? Excuse me?

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Speaker 4: This is also against what he said in previous episodes. Yeah, like,

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Speaker 4: this is Corey's POV.

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Speaker 2: This is Corey's pov. What about your lie? You did

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Speaker 2: not no responsibility for that at all. Nothing.

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Speaker 1: He's so blowing it off where it's just like I

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Speaker 1: didn't do anything. It's I can't believe Topanga is.

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Speaker 4: It's like I can't believe she's overreacting like this.

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Speaker 2: Oh, it makes me furious. Sean stops.

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Speaker 4: Lauren wrote him the most passionate love letter he's ever

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Speaker 4: read that didn't start with dear Sean, which I thought

360
00:17:13,280 --> 00:17:16,520
Speaker 4: was a very cute Sean thing to say, Corey can't

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Speaker 4: control what another person puts in a letter, and to

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Speaker 4: Pega knows that. He sits down on the blue couch

363
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Speaker 4: with a huff. Sean takes a seat next to his friend.

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Speaker 4: It's been raining for seven days. How do you explain

365
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Speaker 4: that Corey tries the scientific approach, but Sean provides his

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Speaker 4: real answer, it's raining because God is crying. I thought

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Speaker 4: immediately of right or.

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Speaker 2: Strong me too. I was like, oh, I can't see

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Speaker 2: where this is going.

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Speaker 3: Talk about the whole niverse.

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Speaker 2: Oh, full display.

372
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Speaker 3: And it's like Sean actually says it out loud.

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Speaker 4: Okay, he created you and to Panga to be the

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Speaker 4: role model of the perfect couple for the entire universe.

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Speaker 4: And what I wrote was, oh my god, he said

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Speaker 4: to the part out loud, true, which is true.

377
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Speaker 3: The part that's really frustrated about that is that's Cory's

378
00:18:07,560 --> 00:18:10,280
Speaker 3: point of view, right like and so, and now it's

379
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Speaker 3: become Sean's point of view, and I think it's going.

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Speaker 2: To stay that way for the rest of the show.

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Speaker 2: And it really bugs me.

382
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Speaker 3: And you know, this concept always bugged me, And now

383
00:18:19,280 --> 00:18:21,720
Speaker 3: I realized maybe it always bugged me because I actually

384
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Speaker 3: became the voice of it for so long.

385
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Speaker 1: And I never liked it back then, Like this is

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Speaker 1: it's we get in Inkland too, that it's also Topanga's

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Speaker 1: point of view. Later when she says I thought I

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Speaker 1: was going to beat from the time I was a

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Speaker 1: little kid. I thought I was going to be with

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Speaker 1: you forever, Like, okay, I have a question, do either

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Speaker 1: of you remember in the first Girlfriend's Club? Does to

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Speaker 1: Panga give Corey the letter back because he never read it?

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Speaker 1: To Panga found it, Angela rips it open. The two

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Speaker 1: of them read it because she says she wrote the

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Speaker 1: most passionate letter. Did does she give it when she

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Speaker 1: checked him? When she checked him into the locker?

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Speaker 2: She likes hands to them.

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Speaker 4: Okay, okay, So then I think at the end of

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Speaker 4: the scene is reading it and says the exact thing,

400
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Speaker 4: whatever it is. Yeah, he says something like that, So

401
00:19:09,600 --> 00:19:12,080
Speaker 4: yes he did. Then the bell rings and Corey tell

402
00:19:12,160 --> 00:19:14,040
Speaker 4: Sean t Bang is mad at me? What are you

403
00:19:14,200 --> 00:19:17,359
Speaker 4: so upset about? Sean admits, someday, after a slew of

404
00:19:17,520 --> 00:19:20,720
Speaker 4: meaningless relationships, it's possible that I'm gonna want what you have.

405
00:19:21,359 --> 00:19:23,640
Speaker 4: How can I want what you have if you don't

406
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Speaker 4: have it.

407
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Speaker 3: I've already said we did this, I want with this,

408
00:19:26,480 --> 00:19:29,240
Speaker 3: and then realized I didn't want what Corey and Topanga have,

409
00:19:29,400 --> 00:19:31,639
Speaker 3: then decided I do want what Corey and de Panga have,

410
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Speaker 3: then made jokes about never wanting what Cory and Fanka have,

411
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Speaker 3: And here we are saying it as if it's a

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Speaker 3: gospel that I will.

413
00:19:37,080 --> 00:19:39,159
Speaker 4: Decided you do want it, and the way to do

414
00:19:39,280 --> 00:19:41,680
Speaker 4: it is to be more of a friend to Angela

415
00:19:41,920 --> 00:19:45,720
Speaker 4: so that you two can have it. Yeah, and now

416
00:19:45,840 --> 00:19:47,960
Speaker 4: it sounds as though you're actually like you've never met her.

417
00:19:48,119 --> 00:19:50,600
Speaker 4: You have it. You don't have a girlfriend or some

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00:19:50,840 --> 00:19:52,399
Speaker 4: version of a girlfriend. Maybe you're on a bit of

419
00:19:52,440 --> 00:19:54,960
Speaker 4: a break, but that you really really care about It's

420
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Speaker 4: to me, it's like Angela erasure in the most like

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Speaker 4: unacceptable way.

422
00:20:02,760 --> 00:20:05,440
Speaker 2: I don't, I don't doesn't make sense. Also, are you

423
00:20:05,520 --> 00:20:08,119
Speaker 2: going to college this week? I'm just curious, how do

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Speaker 2: you feel about college?

425
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Speaker 4: Do you feel about college while you're so Corey gives

426
00:20:12,920 --> 00:20:15,720
Speaker 4: him a puzzled look, as I did also while watching this,

427
00:20:15,840 --> 00:20:18,320
Speaker 4: and Sean concludes, I want you to still have it.

428
00:20:18,720 --> 00:20:21,199
Speaker 4: Corey responds with the same answer. I didn't do anything.

429
00:20:21,400 --> 00:20:23,080
Speaker 4: I fell off a bus, I sat on a couch,

430
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Speaker 4: I talked to some girl. I didn't write that letter

431
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Speaker 4: and she kissed me.

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Speaker 2: Episode did he do? They changed the whole thing?

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Speaker 4: God last and boy, I'll tell you what It makes

434
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Speaker 4: him unlikable.

435
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Speaker 2: Dessure does. Sure does.

436
00:20:43,119 --> 00:20:43,320
Speaker 3: Yep.

437
00:20:44,440 --> 00:20:47,600
Speaker 4: Sean is disgruntled. A guy can do no better than

438
00:20:47,640 --> 00:20:51,399
Speaker 4: to Panga Lawrence. Corey Solomony solemnly nods I know that

439
00:20:51,840 --> 00:20:54,520
Speaker 4: Sean tells him to be at Chubby's after school. Then

440
00:20:54,560 --> 00:20:56,920
Speaker 4: we get a bit of an optical flip who Sean

441
00:20:57,000 --> 00:20:57,159
Speaker 4: is now?

442
00:20:57,160 --> 00:21:02,720
Speaker 3: Actually, you could SWI wop our povs for this opening scene,

443
00:21:03,080 --> 00:21:05,679
Speaker 3: like completely swap line for line, and it would make

444
00:21:05,760 --> 00:21:09,359
Speaker 3: so much more sense if Sean was minimizing all he

445
00:21:09,440 --> 00:21:11,200
Speaker 3: did and trying to make him feel better, which is

446
00:21:11,320 --> 00:21:14,399
Speaker 3: kind of what a friend would do, and Corey being Corey,

447
00:21:14,920 --> 00:21:17,399
Speaker 3: is panicking and spinning out and being you know, like

448
00:21:17,560 --> 00:21:18,199
Speaker 3: that is.

449
00:21:18,320 --> 00:21:20,960
Speaker 2: Exactly our characters Like I would be like, it's.

450
00:21:20,880 --> 00:21:22,320
Speaker 3: Fine, You're gonna be okay.

451
00:21:23,000 --> 00:21:23,680
Speaker 1: All you did was this.

452
00:21:23,920 --> 00:21:26,520
Speaker 3: She'll come around, maybe she'll understand it. And he would

453
00:21:26,560 --> 00:21:28,720
Speaker 3: be saying we're meant to be together and I mess

454
00:21:28,840 --> 00:21:31,760
Speaker 3: that up. And then when Lauren shows up, it would

455
00:21:31,840 --> 00:21:34,359
Speaker 3: be even more heightened for Corey to say, well, actually,

456
00:21:34,400 --> 00:21:35,920
Speaker 3: maybe I should said oh.

457
00:21:36,720 --> 00:21:38,520
Speaker 1: It could also just be it could be a great

458
00:21:38,600 --> 00:21:41,240
Speaker 1: turn for Corey and for Ben as the actor, and

459
00:21:41,320 --> 00:21:43,160
Speaker 1: it would be so Corey if it was something along

460
00:21:43,200 --> 00:21:44,400
Speaker 1: the lines of exactly what he says.

461
00:21:44,400 --> 00:21:45,119
Speaker 2: I didn't do anything.

462
00:21:45,160 --> 00:21:46,560
Speaker 1: I fell off a bush, she kissed me, and then

463
00:21:46,600 --> 00:21:48,239
Speaker 1: he turns and goes, do I sound like I at

464
00:21:48,280 --> 00:21:51,159
Speaker 1: least believe myself. Yeah, like something like that where he's like,

465
00:21:51,720 --> 00:21:53,879
Speaker 1: he just keep saying it'll be normal, right, I mean,

466
00:21:54,000 --> 00:21:56,480
Speaker 1: like the neurotic kind of thing. None of that happened.

467
00:21:56,520 --> 00:21:58,840
Speaker 1: He kind of came off like a dick. Yeah, like

468
00:21:59,600 --> 00:22:01,720
Speaker 1: I didn't do anything. I can't even believe she's you know,

469
00:22:01,840 --> 00:22:02,480
Speaker 1: she'll be fine.

470
00:22:02,520 --> 00:22:06,160
Speaker 2: It was like, wow, women, Yeah, so so weird.

471
00:22:06,840 --> 00:22:09,280
Speaker 4: So we have that optical flip to Sean, who's now

472
00:22:09,320 --> 00:22:11,720
Speaker 4: having a similar conversation with Tepega in the hallway. She's

473
00:22:11,800 --> 00:22:14,399
Speaker 4: reminding him he lied to me about staying up all

474
00:22:14,480 --> 00:22:17,520
Speaker 4: night with Lauren. Strike one. Sean shrugs, All they did

475
00:22:17,680 --> 00:22:20,400
Speaker 4: was talk to Pega continues, he lied to me about

476
00:22:20,480 --> 00:22:23,720
Speaker 4: kissing her. Strike too. Sean has a response, All they

477
00:22:23,800 --> 00:22:25,600
Speaker 4: did was talk and kiss, which is.

478
00:22:25,960 --> 00:22:29,240
Speaker 2: Very funny, very funny. But Tapega brings her point home.

479
00:22:29,520 --> 00:22:32,959
Speaker 4: I read the letter. She's crazy about him. Sewn insists

480
00:22:33,000 --> 00:22:35,480
Speaker 4: that's only because Lauren knows what Tapega knows. A girl

481
00:22:35,560 --> 00:22:39,000
Speaker 4: can do no better than Corey Matthews. However, Topega's hesitant.

482
00:22:39,240 --> 00:22:40,879
Speaker 4: You're a good friend, and I think it's great what

483
00:22:40,960 --> 00:22:43,359
Speaker 4: you're trying to do for Corey. But and as soon

484
00:22:43,440 --> 00:22:45,840
Speaker 4: as she begins to walk away, Sean interrupts her, I'm

485
00:22:45,880 --> 00:22:49,480
Speaker 4: not just doing this for Corey. Tapega asks what And

486
00:22:49,600 --> 00:22:53,320
Speaker 4: the way I read it, the way Danielle said, Sean,

487
00:22:53,760 --> 00:22:56,440
Speaker 4: I really thought Topenga was mad at you, like I

488
00:22:56,520 --> 00:22:59,480
Speaker 4: thought Topega was mad at Sean. So when this turned

489
00:22:59,520 --> 00:23:02,840
Speaker 4: into a really cute little friendship moment between you or

490
00:23:02,920 --> 00:23:04,600
Speaker 4: between us, I was kind of I was shocked.

491
00:23:04,600 --> 00:23:06,640
Speaker 2: I was like, Danielle, we needed.

492
00:23:06,440 --> 00:23:10,200
Speaker 4: To do a better read on Sean, like, yeah, yeah.

493
00:23:10,359 --> 00:23:13,440
Speaker 3: I just hated this scene for the beginning, from the

494
00:23:13,480 --> 00:23:15,600
Speaker 3: beginning because I was like, oh, we're finally talking to

495
00:23:15,680 --> 00:23:17,840
Speaker 3: each other. Yeah, and it just felt like Sean was

496
00:23:17,880 --> 00:23:20,160
Speaker 3: doing a bit, you know, and like not rather talking

497
00:23:20,200 --> 00:23:22,240
Speaker 3: to to Panka. So I was like, oh, I don't

498
00:23:22,400 --> 00:23:23,600
Speaker 3: like this. And I was like, maybe this is why

499
00:23:23,680 --> 00:23:25,159
Speaker 3: Danielle and I never got to work together, because we

500
00:23:25,240 --> 00:23:27,879
Speaker 3: just didn't work together well. And then when I had

501
00:23:27,960 --> 00:23:30,520
Speaker 3: that turn and I start being honest, I was like,

502
00:23:30,600 --> 00:23:32,520
Speaker 3: oh I love this relation. Yeah, it was. It was

503
00:23:32,600 --> 00:23:34,840
Speaker 3: like so fun and so for the rest of the scene,

504
00:23:34,840 --> 00:23:36,800
Speaker 3: I was like, thank you, thank you, because that opening

505
00:23:36,840 --> 00:23:39,159
Speaker 3: you really bumped me. I was like, Sean's saying the

506
00:23:39,160 --> 00:23:42,480
Speaker 3: opposite of what he had been saying, and he's just manipulated.

507
00:23:42,480 --> 00:23:43,920
Speaker 3: And then of course it was a performance, you know,

508
00:23:44,000 --> 00:23:45,600
Speaker 3: it was that, but I thought maybe it was supposed

509
00:23:45,600 --> 00:23:47,119
Speaker 3: to be kind of straightforward and that's where it was

510
00:23:47,160 --> 00:23:49,840
Speaker 3: going to live, and so, you know, it was great,

511
00:23:49,960 --> 00:23:51,680
Speaker 3: great writing that it turned. And then I was just

512
00:23:51,760 --> 00:23:53,680
Speaker 3: so happy with the two of us in this scene.

513
00:23:53,680 --> 00:23:56,080
Speaker 3: I was like, oh God, look we're actually listening talking.

514
00:23:56,440 --> 00:23:59,000
Speaker 4: Complaint was me with the way that I said what

515
00:23:59,560 --> 00:24:02,720
Speaker 4: and it was like it felt like, yeah, it felt

516
00:24:02,760 --> 00:24:06,080
Speaker 4: like what Topanga was thinking is, oh, I'm sorry. You

517
00:24:06,280 --> 00:24:09,040
Speaker 4: think you're doing me a favor by making by trying

518
00:24:09,040 --> 00:24:11,320
Speaker 4: to get me back together with the cheater, you know, like,

519
00:24:11,480 --> 00:24:13,840
Speaker 4: and instead it was this cute moment about our friendship,

520
00:24:13,880 --> 00:24:15,680
Speaker 4: which then made me love the scene. I would just

521
00:24:15,800 --> 00:24:17,760
Speaker 4: like to go back and do one more take for

522
00:24:17,920 --> 00:24:20,600
Speaker 4: myself where I say, what a different way?

523
00:24:20,720 --> 00:24:24,159
Speaker 2: That's all a very expensive to do. I think it

524
00:24:24,200 --> 00:24:26,520
Speaker 2: should just live. Listen I can do if I do

525
00:24:26,560 --> 00:24:29,359
Speaker 2: a quick mini face lift and no, we can just.

526
00:24:29,359 --> 00:24:31,040
Speaker 3: Ai it right, take that scene.

527
00:24:31,680 --> 00:24:33,919
Speaker 2: Let's doings the.

528
00:24:33,960 --> 00:24:38,440
Speaker 4: Performance so Sean lets out an exaggerated groan before responding,

529
00:24:39,000 --> 00:24:39,840
Speaker 4: you're my friend.

530
00:24:40,000 --> 00:24:41,159
Speaker 2: To Panga, You're one of.

531
00:24:41,160 --> 00:24:44,160
Speaker 4: The two best people I know. To Pega smirks, who's first,

532
00:24:44,400 --> 00:24:45,400
Speaker 4: Sean smiles right.

533
00:24:45,359 --> 00:24:52,040
Speaker 3: Back, ANGELA, yeah, thank you that I know, not including

534
00:24:52,320 --> 00:24:54,919
Speaker 3: the woman I love and have decided is like I.

535
00:24:54,920 --> 00:25:00,399
Speaker 4: Didn't even think about it there this episode writer ezy

536
00:25:01,320 --> 00:25:04,639
Speaker 4: crazy crazy. So Sean smiles right back, he is, but

537
00:25:04,840 --> 00:25:07,200
Speaker 4: you and me are the two best things in his life.

538
00:25:07,480 --> 00:25:11,600
Speaker 4: To Panga asks again, who's first. Shawn earnestly responds you are.

539
00:25:12,200 --> 00:25:14,600
Speaker 4: To Pega smiles, and Seawan beggs, please let him tell

540
00:25:14,640 --> 00:25:16,439
Speaker 4: you that some girl named Lauren came on to him

541
00:25:16,440 --> 00:25:18,240
Speaker 4: and it was flattering, but it didn't mean anything and

542
00:25:18,280 --> 00:25:20,160
Speaker 4: he's never going to see her again for the rest

543
00:25:20,200 --> 00:25:20,640
Speaker 4: of his life.

544
00:25:21,080 --> 00:25:24,360
Speaker 2: Why does Sean say you are exactly like because he's

545
00:25:24,359 --> 00:25:28,600
Speaker 2: saying she She asks, oh, he's more important to Corey,

546
00:25:28,800 --> 00:25:30,600
Speaker 2: and he says to Wise.

547
00:25:30,880 --> 00:25:34,320
Speaker 3: Okay, got you. For some reason, I thought maybe Shawn's

548
00:25:34,400 --> 00:25:37,520
Speaker 3: life and why would she say? Is he just like

549
00:25:37,680 --> 00:25:40,080
Speaker 3: appeasing her to get her to do what he wants? Okay,

550
00:25:40,160 --> 00:25:43,040
Speaker 3: it's yeah, it's to Corey who's more important. To Corey

551
00:25:43,119 --> 00:25:46,479
Speaker 3: between the two of us, and he's you are so ta.

552
00:25:46,520 --> 00:25:50,600
Speaker 3: Panga asks where and Sean tells her where else. I hate.

553
00:25:51,880 --> 00:25:53,879
Speaker 3: I hate all this stuff. No, but like because I

554
00:25:54,440 --> 00:25:57,280
Speaker 3: work so hard with Indy all the time about because

555
00:25:57,280 --> 00:25:59,160
Speaker 3: he you know, I think it's natural to like make

556
00:25:59,200 --> 00:26:02,000
Speaker 3: a hierarchy of like friends and people in your life.

557
00:26:02,080 --> 00:26:03,720
Speaker 3: Like it's just kind of a human instinct. And so

558
00:26:03,800 --> 00:26:06,840
Speaker 3: Indy's always like, this is my best friend, this is

559
00:26:06,920 --> 00:26:09,720
Speaker 3: my second, and I'm always like, hey, dude, you know,

560
00:26:09,920 --> 00:26:12,800
Speaker 3: like it took me about thirty years to figure this out.

561
00:26:13,119 --> 00:26:15,960
Speaker 3: You're better off not kind of doing that, not creating like,

562
00:26:16,440 --> 00:26:18,880
Speaker 3: like there's so many different types of relationships you don't

563
00:26:18,920 --> 00:26:21,320
Speaker 3: need to compare them. You don't have to compare your

564
00:26:21,480 --> 00:26:24,199
Speaker 3: buddies and your lover, like they're very different.

565
00:26:24,600 --> 00:26:26,199
Speaker 2: And so it just I bugs me that.

566
00:26:26,240 --> 00:26:28,600
Speaker 3: The show reinforces what to me is a is a

567
00:26:28,680 --> 00:26:33,000
Speaker 3: pretty horrible, like damaging instinct in a lot of people's lives,

568
00:26:33,040 --> 00:26:35,160
Speaker 3: which is to just create a hierarchy who's the most

569
00:26:35,200 --> 00:26:37,280
Speaker 3: important and who's second and who's third, and then like

570
00:26:37,400 --> 00:26:39,520
Speaker 3: actually say it out loud and like use that in

571
00:26:39,680 --> 00:26:42,720
Speaker 3: your relationship conversations. Bums me out it's I just don't

572
00:26:42,760 --> 00:26:43,320
Speaker 3: think it's great.

573
00:26:44,240 --> 00:26:46,480
Speaker 4: But where you're you're still your two best friends, so

574
00:26:46,560 --> 00:26:47,040
Speaker 4: right now, I not.

575
00:26:47,119 --> 00:26:52,359
Speaker 2: To say that's just so spoken, like your third best friend. Geez,

576
00:26:52,800 --> 00:26:54,440
Speaker 2: no wonder you're number three, bro.

577
00:26:58,200 --> 00:26:59,120
Speaker 3: Though I love you guys.

578
00:27:04,760 --> 00:27:05,880
Speaker 2: Then we're in Chubbys.

579
00:27:05,920 --> 00:27:07,680
Speaker 4: Sean and Corey are sitting next to each other, and

580
00:27:07,800 --> 00:27:09,920
Speaker 4: Corey admits he's a bit nervous.

581
00:27:10,480 --> 00:27:12,920
Speaker 2: Sewn insists he shouldn't be. De Fang is about to

582
00:27:13,000 --> 00:27:13,639
Speaker 2: forgive him.

583
00:27:13,600 --> 00:27:17,760
Speaker 4: Nothing can go wrong famous last words. Cory is still jittery.

584
00:27:17,840 --> 00:27:19,760
Speaker 4: It's kind of like a first date. I mean, I

585
00:27:19,920 --> 00:27:24,280
Speaker 4: wonder what she'll be wearing. And then out of nowhere,

586
00:27:24,760 --> 00:27:27,920
Speaker 4: Lauren appears behind the boys. She taps Corey on the

587
00:27:27,920 --> 00:27:30,880
Speaker 4: shoulder and gives a soft high. The audience lets out

588
00:27:30,920 --> 00:27:34,040
Speaker 4: an audible gasp. Corey stares in disbelief, letting out a

589
00:27:34,080 --> 00:27:37,080
Speaker 4: goofy laugh in response, and he turns to Sean with

590
00:27:37,280 --> 00:27:39,880
Speaker 4: maybe my favorite line from any.

591
00:27:39,800 --> 00:27:45,439
Speaker 2: Episode ever ever. Oh my gosh, she's wearing a Lauren costume.

592
00:27:46,240 --> 00:27:48,640
Speaker 2: I die to laugh.

593
00:27:49,560 --> 00:27:53,760
Speaker 3: His lad does it perfect because it's it's so unhurry,

594
00:27:54,040 --> 00:27:56,680
Speaker 3: also kind of aware that he's saying something crazy like

595
00:27:56,960 --> 00:27:59,200
Speaker 3: I'm gonna have to just keep going with this idea

596
00:27:59,359 --> 00:28:01,439
Speaker 3: because there's no way that that's actually what's happening.

597
00:28:01,680 --> 00:28:05,440
Speaker 2: Oh my god, it's a brilliant read, so good. Is

598
00:28:05,520 --> 00:28:07,080
Speaker 2: she doing something wrong?

599
00:28:07,240 --> 00:28:07,440
Speaker 1: Now?

600
00:28:08,240 --> 00:28:11,080
Speaker 2: Can we talk about going four hours to a guy

601
00:28:11,400 --> 00:28:15,040
Speaker 2: who didn't answer your letter? Here? You're not supposed to

602
00:28:15,119 --> 00:28:17,160
Speaker 2: be there. She's doing anything wrong?

603
00:28:17,240 --> 00:28:21,040
Speaker 4: But I will say it's the most desperate act I've

604
00:28:21,160 --> 00:28:22,879
Speaker 4: ever seen a character do.

605
00:28:24,280 --> 00:28:28,200
Speaker 1: The streets of Philadelphia until I find him. And he

606
00:28:28,359 --> 00:28:31,800
Speaker 1: obviously didn't answer your letter. She doesn't know that he

607
00:28:31,920 --> 00:28:35,119
Speaker 1: didn't read the letter at the beginning. He obviously, in

608
00:28:35,160 --> 00:28:38,280
Speaker 1: her mind read the letter, didn't answer her the same

609
00:28:38,360 --> 00:28:41,240
Speaker 1: way with his girlfriend, so she took a four hour

610
00:28:41,320 --> 00:28:43,120
Speaker 1: bus ride to go break up the relationship.

611
00:28:44,320 --> 00:28:47,640
Speaker 4: Yeah, I don't necessarily know that it's still wrong, but boy,

612
00:28:48,760 --> 00:28:50,800
Speaker 4: you feel pathetic to me.

613
00:28:53,080 --> 00:28:54,120
Speaker 3: Actually have a different thought.

614
00:28:54,360 --> 00:28:56,360
Speaker 2: Wait, let me guess you think it's romantic.

615
00:28:57,040 --> 00:28:59,560
Speaker 3: Well it's well, I definitely think it's romantic within the

616
00:28:59,600 --> 00:29:04,320
Speaker 3: context to like it's like it there is something a

617
00:29:04,360 --> 00:29:07,239
Speaker 3: little like Wow. What it made me think is they

618
00:29:07,680 --> 00:29:10,000
Speaker 3: they really did connect that night in a way that

619
00:29:10,080 --> 00:29:11,960
Speaker 3: we didn't quite get to see. You know what, I mean,

620
00:29:12,040 --> 00:29:14,280
Speaker 3: like what we saw was like flirty and cool, but

621
00:29:14,440 --> 00:29:17,400
Speaker 3: like and I kind of wish we had just I

622
00:29:17,480 --> 00:29:19,960
Speaker 3: think in our imaginations, like I just take this episode

623
00:29:20,360 --> 00:29:23,920
Speaker 3: what they talked about was something like did they never

624
00:29:23,960 --> 00:29:26,520
Speaker 3: talked about anything personal? They talked about the moon, They

625
00:29:26,600 --> 00:29:28,200
Speaker 3: talked about all these things, and they made all these

626
00:29:28,280 --> 00:29:30,360
Speaker 3: banter But like, what I would have liked to have

627
00:29:30,440 --> 00:29:33,200
Speaker 3: seen is if Corey opened up or she opened up

628
00:29:33,240 --> 00:29:36,000
Speaker 3: about something that they never had told anybody else.

629
00:29:35,920 --> 00:29:38,680
Speaker 4: Which is exactly what Will's note was when we did

630
00:29:38,720 --> 00:29:40,720
Speaker 4: that episode. Wow, I can't believe I told you that

631
00:29:40,800 --> 00:29:42,600
Speaker 4: I've never told anyone that before.

632
00:29:42,840 --> 00:29:45,360
Speaker 3: If there was a little more of like wow, like

633
00:29:45,480 --> 00:29:49,160
Speaker 3: this was such a connection and she really needs Corey

634
00:29:49,200 --> 00:29:51,000
Speaker 3: in her life or just really wants Corey in her

635
00:29:51,080 --> 00:29:54,400
Speaker 3: life because of he's the only person who can you know,

636
00:29:54,520 --> 00:29:58,720
Speaker 3: provide this and instead you know anyway, So I yeah,

637
00:29:59,200 --> 00:30:00,760
Speaker 3: that was my thought, is like I just I just

638
00:30:00,840 --> 00:30:03,960
Speaker 3: wish we had seen more of the connection to rationalize this.

639
00:30:04,160 --> 00:30:08,800
Speaker 4: I also totally see in Spot and recognize the similarities

640
00:30:08,840 --> 00:30:12,600
Speaker 4: the parallels between Topanga coming from Pittsburgh to Corey and

641
00:30:12,800 --> 00:30:17,520
Speaker 4: then the rain, the rain in the park that they like,

642
00:30:17,640 --> 00:30:20,959
Speaker 4: there's a lot of trying to draw parallels, which as

643
00:30:21,040 --> 00:30:23,360
Speaker 4: we know, was.

644
00:30:23,440 --> 00:30:26,800
Speaker 3: God crying on them. Correct, you should not be together.

645
00:30:27,200 --> 00:30:29,240
Speaker 1: It was literally like that's yes the way it really

646
00:30:29,280 --> 00:30:33,320
Speaker 1: But I'm sorry if you reverse this situation, and it

647
00:30:33,480 --> 00:30:36,120
Speaker 1: was a guy, Oh tried to go after a girl

648
00:30:36,400 --> 00:30:38,400
Speaker 1: and she didn't respond to the letter, and then he

649
00:30:38,520 --> 00:30:39,400
Speaker 1: came four hours to.

650
00:30:39,400 --> 00:30:44,640
Speaker 2: See exactly this guy's really creepy. But because it's a woman,

651
00:30:44,800 --> 00:30:47,560
Speaker 2: it's romantic. It's like, come on, this.

652
00:30:47,680 --> 00:30:51,800
Speaker 4: Is, like I said, If nothing else, it's just pure desperation.

653
00:30:52,040 --> 00:30:55,400
Speaker 4: If she had a single friend in the world, they

654
00:30:55,440 --> 00:30:57,719
Speaker 4: would have told her, hey, friend, I'm not gonna let

655
00:30:57,720 --> 00:30:58,040
Speaker 4: you get over.

656
00:30:58,720 --> 00:31:01,080
Speaker 3: It could have so easily been soft and by she's

657
00:31:01,160 --> 00:31:03,280
Speaker 3: in town for something else, there you go, and she

658
00:31:03,760 --> 00:31:06,240
Speaker 3: she left that something else because she was inspired to

659
00:31:06,280 --> 00:31:07,760
Speaker 3: go see court, you know what I mean, Like if

660
00:31:07,800 --> 00:31:09,880
Speaker 3: there was just just one thing instead of because I

661
00:31:09,920 --> 00:31:11,560
Speaker 3: think she says she took a bus or like she

662
00:31:11,680 --> 00:31:14,640
Speaker 3: came she doesn't even have a bag, I know, and

663
00:31:14,720 --> 00:31:16,680
Speaker 3: where she stayed. If she had been like I came

664
00:31:16,760 --> 00:31:19,480
Speaker 3: to see my friend so and so, and I just

665
00:31:19,560 --> 00:31:21,400
Speaker 3: couldn't stay away from you, it would have been like

666
00:31:21,480 --> 00:31:24,360
Speaker 3: great or there was a there was a Mountain Mountain

667
00:31:24,400 --> 00:31:25,720
Speaker 3: Ski Lodge girl conference.

668
00:31:25,920 --> 00:31:29,160
Speaker 2: Yes, and I happened to be in town. Annual ski

669
00:31:29,240 --> 00:31:30,240
Speaker 2: Bunny conference came.

670
00:31:30,360 --> 00:31:31,680
Speaker 1: You know, I had to go get the I had

671
00:31:31,720 --> 00:31:33,720
Speaker 1: to go pick up the puzzle because we have to

672
00:31:33,760 --> 00:31:35,120
Speaker 1: replace all the puzzle pieces and.

673
00:31:35,240 --> 00:31:35,800
Speaker 3: Here one to you.

674
00:31:36,600 --> 00:31:38,280
Speaker 2: By the way, did anybody else?

675
00:31:39,000 --> 00:31:42,200
Speaker 1: So when we read the comment that somebody wrote, that's

676
00:31:42,520 --> 00:31:46,080
Speaker 1: brilliant about how when they go to do the puzzle,

677
00:31:46,840 --> 00:31:48,680
Speaker 1: they said, we're doing a puzzle that doesn't have enough

678
00:31:48,680 --> 00:31:50,520
Speaker 1: pieces there all some of the pieces are missing. And

679
00:31:50,600 --> 00:31:53,800
Speaker 1: she hands Cory a piece, and so somebody is like,

680
00:31:54,160 --> 00:31:56,160
Speaker 1: she's done this to a bunch of other people.

681
00:31:56,280 --> 00:31:56,840
Speaker 3: She gives.

682
00:31:59,680 --> 00:32:01,200
Speaker 2: Every he gets their own puzzle pin.

683
00:32:01,320 --> 00:32:03,120
Speaker 1: It's so funny, which is she's got a bus in

684
00:32:03,120 --> 00:32:04,600
Speaker 1: a half an hour to get to Pittsburgh to go

685
00:32:04,640 --> 00:32:05,360
Speaker 1: see somebody else.

686
00:32:05,400 --> 00:32:06,920
Speaker 2: So let's get this show on the road here.

687
00:32:07,320 --> 00:32:09,760
Speaker 4: So Corey stutters, trying to find the right words. He

688
00:32:09,840 --> 00:32:12,840
Speaker 4: finally musters out, what are you doing here, Lauren Siys?

689
00:32:13,200 --> 00:32:15,160
Speaker 4: I just spent four hours on a bus. Can you

690
00:32:15,240 --> 00:32:17,200
Speaker 4: give me something better than what are you doing here?

691
00:32:17,640 --> 00:32:19,720
Speaker 4: Cory lands on a different response.

692
00:32:19,720 --> 00:32:24,520
Speaker 2: You have to leave appropriate response.

693
00:32:24,920 --> 00:32:27,640
Speaker 3: Yeah, I also think it would have been great if

694
00:32:27,680 --> 00:32:30,160
Speaker 3: she had somebody with her, a friend of hers, because

695
00:32:30,200 --> 00:32:33,040
Speaker 3: that would soften the romance, like the desperation, and then

696
00:32:33,200 --> 00:32:35,960
Speaker 3: also have her Sean like. I think it would be

697
00:32:36,040 --> 00:32:38,880
Speaker 3: really funny if there's like her version of sew and

698
00:32:39,000 --> 00:32:40,600
Speaker 3: you could have had this like and it would have

699
00:32:40,640 --> 00:32:43,960
Speaker 3: been like the two friends worrying over how to give

700
00:32:44,000 --> 00:32:47,200
Speaker 3: their friend advice, because that would immediately take all the

701
00:32:47,200 --> 00:32:49,840
Speaker 3: pressure off of this and just make that like her own.

702
00:32:51,640 --> 00:32:53,520
Speaker 3: And then it's like we hear that perspective, and it

703
00:32:53,560 --> 00:32:56,040
Speaker 3: would have given Lauren an actual life as opposed to

704
00:32:56,680 --> 00:32:59,560
Speaker 3: you know, she's a prop, she's a yes.

705
00:32:59,640 --> 00:33:01,760
Speaker 4: I mean, really, what it was is they wanted there

706
00:33:01,840 --> 00:33:06,840
Speaker 4: to be no question Lauren wants Corey. She's ready, willing

707
00:33:06,880 --> 00:33:08,960
Speaker 4: and able to be with Corey and.

708
00:33:12,360 --> 00:33:13,400
Speaker 2: Just hunt him.

709
00:33:13,520 --> 00:33:16,320
Speaker 3: They want to make love, get off, get their clothes

710
00:33:16,360 --> 00:33:18,920
Speaker 3: off as quickly as possible, and they ask in yes.

711
00:33:19,360 --> 00:33:21,360
Speaker 3: Even though Corey is supposed to be this sort of average,

712
00:33:21,440 --> 00:33:24,920
Speaker 3: sort of you know, forgettable guy and socially in school like,

713
00:33:25,000 --> 00:33:27,880
Speaker 3: that's clearly the Corey we established for the first five

714
00:33:28,000 --> 00:33:30,240
Speaker 3: years of the show is that he doesn't stand out.

715
00:33:30,600 --> 00:33:34,680
Speaker 4: Okay, so Lauren sarcastically responds, sweet talker, no wonder, I

716
00:33:34,720 --> 00:33:38,480
Speaker 4: couldn't stop thinking about you. Corey's tone turned serious. I'm

717
00:33:38,520 --> 00:33:40,680
Speaker 4: meeting someone here and I really don't want to be rude,

718
00:33:40,720 --> 00:33:44,480
Speaker 4: but Sean interrupts with an exorcism level read of get out,

719
00:33:44,680 --> 00:33:48,440
Speaker 4: Get out, You get out, and Writer, you do a

720
00:33:48,680 --> 00:33:51,720
Speaker 4: decent job of keeping it together, but I can have

721
00:33:51,840 --> 00:33:55,040
Speaker 4: a smile under it, and you're having so much fun,

722
00:33:56,040 --> 00:34:01,760
Speaker 4: like it's such a I guarantee you between Ben's laughter

723
00:34:01,960 --> 00:34:05,920
Speaker 4: delivery of she's wearing a Lauren costume and you knowing

724
00:34:06,040 --> 00:34:09,400
Speaker 4: you have get out all that you got and Linda

725
00:34:09,440 --> 00:34:13,200
Speaker 4: abingas you were, I think all having a blast in

726
00:34:13,320 --> 00:34:16,600
Speaker 4: this scene. And I was probably standing behind the wall

727
00:34:16,840 --> 00:34:20,799
Speaker 4: trying to muster up tears while everyone was laughing, because

728
00:34:20,800 --> 00:34:23,799
Speaker 4: I'm to have a very heavy scene and you guys

729
00:34:23,880 --> 00:34:25,040
Speaker 4: are just laughing it up.

730
00:34:25,320 --> 00:34:28,200
Speaker 1: I remember this run through so the first I think

731
00:34:28,239 --> 00:34:29,840
Speaker 1: it was either the first or second run through that

732
00:34:29,920 --> 00:34:31,880
Speaker 1: we did. The thing I remember most was the biggest

733
00:34:31,960 --> 00:34:34,640
Speaker 1: laugh of the show was I was standing right behind

734
00:34:34,640 --> 00:34:36,080
Speaker 1: all the riders. It must have just been it must

735
00:34:36,120 --> 00:34:39,000
Speaker 1: have been the just the writer's run through, because the

736
00:34:39,120 --> 00:34:41,880
Speaker 1: first thing you saw was Lauren walks down the stairs,

737
00:34:42,360 --> 00:34:46,080
Speaker 1: and Corey just turns and just goes and just turns back.

738
00:34:46,120 --> 00:34:47,840
Speaker 1: He just laughs, and it was the laugh None of

739
00:34:47,920 --> 00:34:50,080
Speaker 1: us had seen it before, he hadn't rehearsed it, and

740
00:34:50,320 --> 00:34:52,680
Speaker 1: everybody just lost the before he was out.

741
00:34:52,840 --> 00:34:54,239
Speaker 2: Yes, it was just a laugh.

742
00:34:54,320 --> 00:34:56,360
Speaker 1: He looked at Lauren and just started laughing, and it

743
00:34:56,480 --> 00:34:59,080
Speaker 1: was such a funny response that everybody lost it.

744
00:34:59,239 --> 00:35:01,760
Speaker 2: Yeah, great scene, so funny.

745
00:35:02,000 --> 00:35:04,600
Speaker 4: Lauren pulls Cory aside, if you want me to leave,

746
00:35:04,719 --> 00:35:06,799
Speaker 4: I will, But I needed to see you. You never

747
00:35:06,880 --> 00:35:08,800
Speaker 4: answered my letter, and I needed to know if what

748
00:35:08,920 --> 00:35:11,080
Speaker 4: we had was just because of the fireplace and the

749
00:35:11,160 --> 00:35:12,080
Speaker 4: mountains and the sky.

750
00:35:12,640 --> 00:35:13,840
Speaker 2: Sean interrupts again.

751
00:35:13,840 --> 00:35:17,080
Speaker 4: Listen, touts may I call you tuts what you had was,

752
00:35:17,400 --> 00:35:20,719
Speaker 4: and then back in his demon voice, you get out out.

753
00:35:21,560 --> 00:35:23,560
Speaker 4: Lauren doesn't budge, and Sean walks away.

754
00:35:23,600 --> 00:35:24,160
Speaker 2: Frustrated.

755
00:35:24,480 --> 00:35:26,400
Speaker 4: Corey tells her he's meeting up with Chapanga and he

756
00:35:26,520 --> 00:35:29,960
Speaker 4: doesn't want her to see them together, and just then

757
00:35:30,200 --> 00:35:34,040
Speaker 4: to Panga walks up and Jensen, who somehow didn't see

758
00:35:34,080 --> 00:35:37,640
Speaker 4: this coming, audibly gasped like the audience when they saw Laura.

759
00:35:40,280 --> 00:35:42,440
Speaker 3: If Sean says that is going to be there.

760
00:35:43,120 --> 00:35:46,000
Speaker 4: Jehn set it up. I will say Jenson had surgery.

761
00:35:48,160 --> 00:35:51,600
Speaker 4: He was a little slow in the head, but he

762
00:35:51,960 --> 00:35:53,440
Speaker 4: gasped and then went, oh, I.

763
00:35:53,640 --> 00:36:00,920
Speaker 2: Fell for it. Episodes called Torn Between Two Loves Is anyway?

764
00:36:01,760 --> 00:36:04,919
Speaker 4: Corey turns to face to Panga, who calmly states, can't

765
00:36:04,920 --> 00:36:07,280
Speaker 4: always get what you want. Then she looks at Sean

766
00:36:07,800 --> 00:36:09,560
Speaker 4: strike three and she walks out.

767
00:36:09,880 --> 00:36:13,440
Speaker 2: Now she turned to walk out there, all of a sudden,

768
00:36:14,200 --> 00:36:17,640
Speaker 2: Chubby's is empty. Oh, there's no other people in the restaurant.

769
00:36:17,680 --> 00:36:17,719
Speaker 1: No.

770
00:36:17,920 --> 00:36:20,239
Speaker 2: It was like, that's why the cut looked so weird.

771
00:36:20,280 --> 00:36:23,319
Speaker 1: It is because it went from like this packed room

772
00:36:23,440 --> 00:36:26,360
Speaker 1: to just you walking away and the three shot and

773
00:36:26,400 --> 00:36:27,360
Speaker 1: it was like where did everybody?

774
00:36:27,600 --> 00:36:30,200
Speaker 3: It was really the same way, but you're talking when

775
00:36:30,239 --> 00:36:33,080
Speaker 3: the next scene started, because it or this scene ended,

776
00:36:33,120 --> 00:36:34,800
Speaker 3: and then the next scene started.

777
00:36:34,400 --> 00:36:37,000
Speaker 2: And I was like a completely different.

778
00:36:36,800 --> 00:36:39,879
Speaker 3: Room and Lauren's suddenly not in the shot or there,

779
00:36:39,920 --> 00:36:41,560
Speaker 3: and I was like, what is happening? Like this is

780
00:36:42,080 --> 00:36:43,719
Speaker 3: really weird. I feel like they were shot on two

781
00:36:43,760 --> 00:36:44,400
Speaker 3: different days.

782
00:36:44,640 --> 00:36:48,080
Speaker 4: Yeah, maybe we pre take one of them, Linda for

783
00:36:48,200 --> 00:36:51,480
Speaker 4: one day, because we pre taped one of them and

784
00:36:51,520 --> 00:36:52,160
Speaker 4: then the other one.

785
00:36:52,200 --> 00:36:54,200
Speaker 1: Feels like it's not or you know, it just felt

786
00:36:54,280 --> 00:36:58,800
Speaker 1: like it started with you walking away and and strangely

787
00:36:58,880 --> 00:37:01,040
Speaker 1: walking away like mids dried, and the way it was

788
00:37:01,120 --> 00:37:03,000
Speaker 1: framed and no one was in Chubbies it was it

789
00:37:03,160 --> 00:37:04,560
Speaker 1: was a jarring change.

790
00:37:16,480 --> 00:37:18,680
Speaker 4: So we continue the scene in Chubby's Tapanga is on

791
00:37:18,760 --> 00:37:20,719
Speaker 4: her way out and Corey runs after her. It didn't

792
00:37:20,760 --> 00:37:22,520
Speaker 4: mean what it sounded like. I had no idea she

793
00:37:22,640 --> 00:37:25,400
Speaker 4: was going to be here. Tapega is visibly hurt. She

794
00:37:25,520 --> 00:37:27,359
Speaker 4: came all this way to talk to you, and if

795
00:37:27,400 --> 00:37:29,799
Speaker 4: you feel that you need to talk to her, then

796
00:37:29,880 --> 00:37:32,759
Speaker 4: that's what you should do. Yeah, and Warren's Corey. I'm

797
00:37:32,800 --> 00:37:35,279
Speaker 4: also the music was so jarring here because it's like

798
00:37:35,960 --> 00:37:40,040
Speaker 4: rock and Chubbies music just take it out, guys, like

799
00:37:40,120 --> 00:37:40,640
Speaker 4: we don't need it.

800
00:37:40,920 --> 00:37:42,440
Speaker 3: But yeah, because I don't know, maybe it was like

801
00:37:42,560 --> 00:37:45,480
Speaker 3: too quiet or too intense with but it's actually to me,

802
00:37:45,600 --> 00:37:47,920
Speaker 3: it's so jarring that the like background Chubbi's music is

803
00:37:48,000 --> 00:37:50,799
Speaker 3: going through this like very important moment. And I don't

804
00:37:50,800 --> 00:37:53,000
Speaker 3: think we see Lauren in this scene even though she's

805
00:37:53,040 --> 00:37:55,960
Speaker 3: supposed to be like right off camera. That is very bizarre,

806
00:37:56,040 --> 00:37:59,160
Speaker 3: So I think, right, so we only had Linda for

807
00:37:59,360 --> 00:38:01,959
Speaker 3: our Wednesday tape day. So we did the kitchen scene,

808
00:38:02,320 --> 00:38:05,520
Speaker 3: her outdoor rain scene, and the first part, the first

809
00:38:05,560 --> 00:38:07,959
Speaker 3: one of these scenes, and that was our Wednesday pre tape,

810
00:38:07,960 --> 00:38:09,400
Speaker 3: and then we did the rest in front of the audience.

811
00:38:09,400 --> 00:38:11,839
Speaker 3: And she wasn't around. I had one of her million

812
00:38:11,880 --> 00:38:12,400
Speaker 3: other jobs.

813
00:38:12,719 --> 00:38:16,760
Speaker 2: Yeah, you're exactly where Sean warns Corey. It's a trap.

814
00:38:17,000 --> 00:38:21,360
Speaker 4: Take Topanga and go trap to Penga continues, I couldn't

815
00:38:21,400 --> 00:38:23,439
Speaker 4: be with somebody who wasn't one hundred percent sure.

816
00:38:23,840 --> 00:38:25,920
Speaker 2: So if you need some time, then take it.

817
00:38:26,640 --> 00:38:29,080
Speaker 1: And I'm streaming at this, I'm screaming at this at

818
00:38:29,120 --> 00:38:30,560
Speaker 1: the screen at this point, just going.

819
00:38:30,480 --> 00:38:32,440
Speaker 2: Like just saying, you don't need it.

820
00:38:32,600 --> 00:38:35,760
Speaker 4: Correct, I don't need time. So he's I didn't remember

821
00:38:35,840 --> 00:38:38,320
Speaker 4: this episode. I didn't remember a single thing about it.

822
00:38:38,400 --> 00:38:40,520
Speaker 4: But one thing I do know that I have heard

823
00:38:40,800 --> 00:38:44,680
Speaker 4: over the years many times as being somehow that this

824
00:38:44,880 --> 00:38:48,960
Speaker 4: was a flaw of topangas that she told Corey to

825
00:38:49,120 --> 00:38:52,200
Speaker 4: spend the time with Lauren and then still broke up

826
00:38:52,239 --> 00:38:56,799
Speaker 4: with him for it. I was shaw and I didn't remember.

827
00:38:56,840 --> 00:38:58,279
Speaker 4: I was like, oh and maybe I do, Maybe I

828
00:38:58,400 --> 00:39:02,000
Speaker 4: maybe that is exactly what happens. Fair know, nothing about

829
00:39:02,040 --> 00:39:05,799
Speaker 4: I'm telling you directly to your face. I don't want

830
00:39:05,880 --> 00:39:09,239
Speaker 4: to be with someone who is not one hundred percent sure.

831
00:39:09,680 --> 00:39:13,399
Speaker 4: So if you need to talk to her, that means

832
00:39:13,440 --> 00:39:15,480
Speaker 4: you're not one hundred percent sure, you should go do that.

833
00:39:16,000 --> 00:39:16,560
Speaker 2: I'm telling you.

834
00:39:16,800 --> 00:39:19,839
Speaker 4: In anything other than I don't need to talk to her,

835
00:39:20,040 --> 00:39:21,880
Speaker 4: Let's get the hell out of here. Sean will get

836
00:39:21,960 --> 00:39:25,320
Speaker 4: rid of her. Anything other than that is I'm not

837
00:39:25,360 --> 00:39:30,279
Speaker 4: one hundred percent sure about you. I'm out, really done.

838
00:39:30,280 --> 00:39:31,120
Speaker 2: Oh I agree that?

839
00:39:31,719 --> 00:39:35,520
Speaker 3: ID so wow, so because I thought the turn at

840
00:39:35,560 --> 00:39:38,600
Speaker 3: the end did make me sort of be like, but

841
00:39:38,719 --> 00:39:42,200
Speaker 3: I guess I didn't listen to this the phrasing exactly

842
00:39:42,520 --> 00:39:45,560
Speaker 3: in this moment. But I think that is kind of tricky, right.

843
00:39:45,680 --> 00:39:49,279
Speaker 2: It is a little tricky. I could see, how could argue,

844
00:39:49,440 --> 00:39:53,160
Speaker 2: I can see and that testing sucks, man like, Oh,

845
00:39:53,200 --> 00:39:54,960
Speaker 2: I agree, I don't. I don't disagree with that at.

846
00:39:54,920 --> 00:39:57,640
Speaker 3: All, because the testing should if it's if it's no,

847
00:39:58,360 --> 00:40:01,080
Speaker 3: I'm out like she's If she's breaking up with him

848
00:40:01,120 --> 00:40:04,279
Speaker 3: for staying and chubbies right now, she should just break

849
00:40:04,360 --> 00:40:06,040
Speaker 3: up with him for staying and chubbies right now. If

850
00:40:06,080 --> 00:40:09,040
Speaker 3: she's saying I'm gonna let you choose, and then I'm

851
00:40:09,080 --> 00:40:10,360
Speaker 3: gonna see which way you go.

852
00:40:11,320 --> 00:40:14,319
Speaker 4: That's the choices right now, the choice though, she's telling

853
00:40:14,400 --> 00:40:18,279
Speaker 4: me your decision to make right now, if you need

854
00:40:18,440 --> 00:40:21,320
Speaker 4: to stay and talk to her. I don't want to

855
00:40:21,360 --> 00:40:23,279
Speaker 4: be with you. I can't be with someone who's not

856
00:40:24,400 --> 00:40:26,879
Speaker 4: she says, I could never We have the clip. Let's

857
00:40:26,880 --> 00:40:28,440
Speaker 4: listen to what she says playing the clip.

858
00:40:29,080 --> 00:40:31,120
Speaker 3: I had no idea she was going to be here.

859
00:40:31,920 --> 00:40:33,440
Speaker 5: She came all this way to talk to you. And

860
00:40:34,520 --> 00:40:35,960
Speaker 5: if you feel that you need to talk to her,

861
00:40:36,120 --> 00:40:37,920
Speaker 5: then that's what you should do.

862
00:40:38,560 --> 00:40:41,680
Speaker 3: It's a trap to hang up the trap.

863
00:40:42,600 --> 00:40:44,560
Speaker 5: You couldn't be with somebody who wasn't one hundred percent sure.

864
00:40:46,360 --> 00:40:50,239
Speaker 5: So if you need some time, then yeah, take it.

865
00:40:51,480 --> 00:40:54,080
Speaker 2: Yeah, So if you need some time, go take it

866
00:40:54,200 --> 00:40:55,040
Speaker 2: because I'm done.

867
00:40:56,000 --> 00:40:57,120
Speaker 3: But she doesn't say I'm done.

868
00:40:57,719 --> 00:41:01,200
Speaker 2: Right, that's the manipulation. Should never be someone who isn't.

869
00:41:00,960 --> 00:41:04,319
Speaker 1: A procession sure, right, And Sean says it's a trap,

870
00:41:04,400 --> 00:41:05,520
Speaker 1: because that is a trap.

871
00:41:05,640 --> 00:41:10,239
Speaker 3: You she's clearly saying, I'm gonna see I'm gonna let

872
00:41:10,280 --> 00:41:11,120
Speaker 3: you hang yourself.

873
00:41:11,440 --> 00:41:13,160
Speaker 4: No, right, no, no, I disagree.

874
00:41:13,360 --> 00:41:15,640
Speaker 2: I have to agree with Danielle on this one. Wow,

875
00:41:15,719 --> 00:41:16,320
Speaker 2: I did it is.

876
00:41:17,040 --> 00:41:20,640
Speaker 4: It is so clear to me that what she's saying

877
00:41:20,840 --> 00:41:25,480
Speaker 4: is this woman feels strongly enough about you that she

878
00:41:25,719 --> 00:41:29,000
Speaker 4: came all the way here. If you don't feel strongly

879
00:41:29,160 --> 00:41:31,640
Speaker 4: enough about me that you don't need to that you're

880
00:41:31,680 --> 00:41:34,360
Speaker 4: not ready to walk out with me, that you actually

881
00:41:34,360 --> 00:41:37,680
Speaker 4: if you still actually have to talk to her, i'd

882
00:41:37,760 --> 00:41:39,479
Speaker 4: I could never be with someone who wasn't one hundred

883
00:41:39,480 --> 00:41:40,839
Speaker 4: percent sure. So if you need to talk to her,

884
00:41:41,360 --> 00:41:45,160
Speaker 4: go talk to her. That's on you. Not go talk

885
00:41:45,200 --> 00:41:47,120
Speaker 4: to her and then let me know what you decide.

886
00:41:47,280 --> 00:41:50,960
Speaker 4: It's oh wow. So the minute to Pega leaves in

887
00:41:51,040 --> 00:41:53,319
Speaker 4: that moment and he doesn't say, screw her, I don't

888
00:41:53,360 --> 00:41:55,360
Speaker 4: need to talk to her. I'm walking out of Chubbies

889
00:41:55,400 --> 00:41:57,960
Speaker 4: with you. In Tapanga's mind, that was the choice you

890
00:41:58,200 --> 00:41:58,600
Speaker 4: just made it.

891
00:41:59,160 --> 00:42:01,680
Speaker 2: See, that's the thing. I agree with you one hundred percent. Rider.

892
00:42:01,880 --> 00:42:06,520
Speaker 2: I hate tests games. They're the worst things in the world.

893
00:42:06,800 --> 00:42:10,640
Speaker 1: But to me, that would be Tapanga saying something like, look, Corey,

894
00:42:10,920 --> 00:42:13,440
Speaker 1: she came all this way. I think you should take

895
00:42:13,520 --> 00:42:16,080
Speaker 1: some time and go and spend some time with her

896
00:42:16,160 --> 00:42:18,200
Speaker 1: and talk to her and then figure out what you

897
00:42:18,320 --> 00:42:20,719
Speaker 1: want to do. That's different than the way she said it.

898
00:42:20,800 --> 00:42:23,799
Speaker 1: What she said was she clearly said, if you feel

899
00:42:23,880 --> 00:42:26,160
Speaker 1: you need to talk to her, then go do that.

900
00:42:26,480 --> 00:42:28,680
Speaker 1: But I can't be with somebody who's not one hundred

901
00:42:28,680 --> 00:42:31,759
Speaker 1: percent exactly the second she turns her back, she's done.

902
00:42:32,080 --> 00:42:34,960
Speaker 1: But Corey is Corey saying he wants to talk to her.

903
00:42:35,640 --> 00:42:37,400
Speaker 2: He stays, which is the choice.

904
00:42:37,760 --> 00:42:40,839
Speaker 3: But before she doesn't say it out exactly, so she's

905
00:42:40,960 --> 00:42:44,160
Speaker 3: putting she's saying, if you want to stay and talk,

906
00:42:44,200 --> 00:42:45,279
Speaker 3: which is not what he's saying.

907
00:42:45,960 --> 00:42:48,960
Speaker 1: So that's an she is setting a trap. She is

908
00:42:49,280 --> 00:42:51,960
Speaker 1: he would have walked out if he knew that the stakes.

909
00:42:52,480 --> 00:42:54,120
Speaker 1: I really believe the Corey would have walked out if

910
00:42:54,120 --> 00:42:57,000
Speaker 1: he knew the sticks. Don't you think that's true, if

911
00:42:57,320 --> 00:42:59,680
Speaker 1: he honestly, if she was saying to him, you can

912
00:42:59,719 --> 00:43:02,560
Speaker 1: walk out with me right now and we will, if

913
00:43:02,600 --> 00:43:05,440
Speaker 1: she really did say that, Because he's right, she said, this.

914
00:43:05,520 --> 00:43:06,200
Speaker 2: Is an ultimatum.

915
00:43:06,239 --> 00:43:08,200
Speaker 4: It's me or her. You think he would have said

916
00:43:08,200 --> 00:43:11,560
Speaker 4: it's you. Yes, I disagree, because I think we see

917
00:43:11,840 --> 00:43:13,880
Speaker 4: I disagree. I think he did need to go on

918
00:43:13,960 --> 00:43:14,480
Speaker 4: this date.

919
00:43:14,680 --> 00:43:16,600
Speaker 3: But I think then I think it should be preempted

920
00:43:16,640 --> 00:43:19,319
Speaker 3: by him saying because she sets up this situation. If

921
00:43:19,360 --> 00:43:21,360
Speaker 3: he said to her, just give me five minutes to

922
00:43:21,400 --> 00:43:23,400
Speaker 3: talk to her and then I'll come talk to you.

923
00:43:24,000 --> 00:43:25,800
Speaker 3: Just let me get rid of her, but he doesn't

924
00:43:25,800 --> 00:43:28,359
Speaker 3: say that, I don't think right, So he's he's saying

925
00:43:28,440 --> 00:43:30,600
Speaker 3: the whole time, no, no, no, no, she just walked in.

926
00:43:30,719 --> 00:43:33,440
Speaker 3: This is crazy. And to Panga says, if you want

927
00:43:33,480 --> 00:43:35,879
Speaker 3: to take some time, then I'm out.

928
00:43:36,080 --> 00:43:38,840
Speaker 4: But he also says, I don't want to Panga to

929
00:43:39,040 --> 00:43:45,080
Speaker 4: see us together. Not you have no, I didn't want

930
00:43:45,160 --> 00:43:47,399
Speaker 4: to see you. You should never have come.

931
00:43:47,640 --> 00:43:50,160
Speaker 3: I would completely I would completely agree with you guys.

932
00:43:50,200 --> 00:43:52,719
Speaker 3: If he had said, give me, let me talk to

933
00:43:52,760 --> 00:43:54,120
Speaker 3: her and I'll get rid of her and I'll then

934
00:43:54,120 --> 00:43:56,759
Speaker 3: I'll be with you, to Panga. But to panga's the

935
00:43:56,800 --> 00:43:59,239
Speaker 3: one who sets up this situation. Lauren sets it up

936
00:43:59,239 --> 00:44:00,719
Speaker 3: by showing up, only says it.

937
00:44:01,080 --> 00:44:04,520
Speaker 4: I think she only says that because he says, I

938
00:44:04,600 --> 00:44:06,719
Speaker 4: don't want to Penga to see us together. If what

939
00:44:06,840 --> 00:44:10,600
Speaker 4: Tapanga had overheard was I didn't want you here, I

940
00:44:10,680 --> 00:44:13,600
Speaker 4: don't want to be with you. So I overhears Corey

941
00:44:13,760 --> 00:44:15,120
Speaker 4: saying I don't want.

942
00:44:14,960 --> 00:44:16,720
Speaker 2: To Panga to see us together.

943
00:44:17,239 --> 00:44:19,200
Speaker 3: Okay, okay, If what she.

944
00:44:19,280 --> 00:44:21,759
Speaker 4: Had overheard was I don't want to be with you.

945
00:44:22,000 --> 00:44:25,400
Speaker 4: I've made my choice. I love Tapenga, it's not you.

946
00:44:26,040 --> 00:44:28,719
Speaker 4: If that's what Tapanga had overheard, I could see her

947
00:44:28,800 --> 00:44:32,960
Speaker 4: then saying, Wow, crazy situation here. Why don't you go

948
00:44:33,040 --> 00:44:34,480
Speaker 4: ahead and take a few minutes to get rid of

949
00:44:34,520 --> 00:44:37,080
Speaker 4: her and I'll be right here. But that's not what

950
00:44:37,200 --> 00:44:39,880
Speaker 4: she hears. She hears I don't want to Penga to

951
00:44:39,960 --> 00:44:45,560
Speaker 4: see us together, and Tabenga goes, wow, sounds suspicious. Hey man,

952
00:44:45,760 --> 00:44:47,640
Speaker 4: you know what, I don't want to be with someone

953
00:44:47,680 --> 00:44:50,080
Speaker 4: who's not one hundred percent sure. She came all this

954
00:44:50,200 --> 00:44:51,640
Speaker 4: way she still wants.

955
00:44:51,440 --> 00:44:51,920
Speaker 5: To be with you.

956
00:44:52,440 --> 00:44:55,440
Speaker 4: If you need to stay and talk to her, cool,

957
00:44:55,760 --> 00:44:57,600
Speaker 4: but I can never be with somebody who still who

958
00:44:57,680 --> 00:44:57,960
Speaker 4: needs that.

959
00:44:58,239 --> 00:44:59,520
Speaker 2: I don't want that. I'm leaving.

960
00:45:00,280 --> 00:45:03,839
Speaker 3: I still think it's okay. I still think it's pretty manipulative,

961
00:45:03,840 --> 00:45:07,080
Speaker 3: because the word is yeah, they want it to be

962
00:45:07,120 --> 00:45:09,040
Speaker 3: because they want the audience to be on Corey's side,

963
00:45:09,080 --> 00:45:11,800
Speaker 3: and they want sympathy for Corey's you know where he

964
00:45:12,080 --> 00:45:14,560
Speaker 3: ends up at the end of the of the episode,

965
00:45:15,239 --> 00:45:17,480
Speaker 3: And that feels tricky to me. That feels a little manipulative.

966
00:45:17,520 --> 00:45:21,160
Speaker 3: Whether it's manipulative on to Panga's part or the writer's part.

967
00:45:21,360 --> 00:45:24,040
Speaker 3: I'm not sure, right, that's the part, and I'm I'm

968
00:45:24,080 --> 00:45:26,080
Speaker 3: a little both. I think I think it's a little

969
00:45:26,120 --> 00:45:28,640
Speaker 3: of both, because I was definitely surprised by the ending

970
00:45:28,719 --> 00:45:31,240
Speaker 3: and I was definitely like I turned on to Panga

971
00:45:31,239 --> 00:45:32,000
Speaker 3: at the end a little bit.

972
00:45:32,080 --> 00:45:33,120
Speaker 2: Well, yes, and that's what I'll say.

973
00:45:33,200 --> 00:45:37,480
Speaker 4: That's for sure where I felt as as Danielle playing Topanga,

974
00:45:37,719 --> 00:45:41,000
Speaker 4: I felt betrayed by the writers because she says they

975
00:45:41,080 --> 00:45:43,719
Speaker 4: write it. Then you know, he's like, but you told

976
00:45:43,800 --> 00:45:46,640
Speaker 4: me to and she doesn't say, no, idea, I didn't. Yeah,

977
00:45:46,719 --> 00:45:49,080
Speaker 4: I flat out told you that if you need time

978
00:45:49,160 --> 00:45:51,640
Speaker 4: with her, that's your choice, basically, Like that's what she

979
00:45:51,760 --> 00:45:54,279
Speaker 4: thought she was saying, and that's what I took from it.

980
00:45:54,400 --> 00:45:58,799
Speaker 2: And then she goes and you listened, No, I set

981
00:45:58,880 --> 00:46:00,520
Speaker 2: the trap and you watch exactly.

982
00:46:01,640 --> 00:46:04,719
Speaker 4: So I felt betrayed as the character by the writers

983
00:46:05,040 --> 00:46:07,600
Speaker 4: later in this the way it was set up to

984
00:46:07,800 --> 00:46:12,320
Speaker 4: me one hundred percent. I feel like it's it's a

985
00:46:12,400 --> 00:46:15,000
Speaker 4: little it could have been more explicit. It could have

986
00:46:15,080 --> 00:46:17,920
Speaker 4: been your ultimatum is walk out of here with me

987
00:46:18,280 --> 00:46:21,560
Speaker 4: with me right now, or never see me again, she

988
00:46:21,640 --> 00:46:23,160
Speaker 4: could have said that, but she says it in a

989
00:46:23,239 --> 00:46:23,719
Speaker 4: little bit.

990
00:46:23,680 --> 00:46:26,440
Speaker 3: More considering where it ends up. Shouldn't she have I mean,

991
00:46:26,480 --> 00:46:27,920
Speaker 3: because what you're saying is that you didn't like the

992
00:46:27,960 --> 00:46:30,920
Speaker 3: writing and that other scene at a later scene, so

993
00:46:31,400 --> 00:46:33,799
Speaker 3: ultimately you you do think that the Pango was being

994
00:46:33,880 --> 00:46:35,200
Speaker 3: somewhat manipulative or no.

995
00:46:35,280 --> 00:46:38,320
Speaker 4: I think they threw her under the bus. Yes, I

996
00:46:38,400 --> 00:46:42,360
Speaker 4: think they wanted They wanted her to be pretty clear

997
00:46:42,760 --> 00:46:45,320
Speaker 4: with what she was saying up top, but then in

998
00:46:45,520 --> 00:46:48,560
Speaker 4: order to keep sympathy for Corey, they threw her under

999
00:46:48,600 --> 00:46:49,360
Speaker 4: the bus later.

1000
00:46:50,680 --> 00:46:55,000
Speaker 2: If they wanted wanted the end of the trap.

1001
00:46:55,200 --> 00:46:56,840
Speaker 3: But either way, by the end of this episode, she

1002
00:46:56,920 --> 00:46:59,120
Speaker 3: did set a trap, right because of that line where

1003
00:46:59,160 --> 00:47:00,200
Speaker 3: she so.

1004
00:47:00,239 --> 00:47:02,040
Speaker 4: They want you to believe that she set a trap.

1005
00:47:02,160 --> 00:47:04,279
Speaker 4: I don't think she did. To me, it could have

1006
00:47:04,360 --> 00:47:06,640
Speaker 4: been clear one more one way or the other. If

1007
00:47:06,680 --> 00:47:08,840
Speaker 4: they really wanted a trap and they wanted it to

1008
00:47:08,880 --> 00:47:11,600
Speaker 4: be the Tapanga set a trap, she could have said, Listen, Corey,

1009
00:47:11,800 --> 00:47:15,480
Speaker 4: I understand you connected with somebody. I know I want

1010
00:47:15,520 --> 00:47:18,040
Speaker 4: to be with you, and if you're not sure, why

1011
00:47:18,080 --> 00:47:20,279
Speaker 4: don't you go figure that out and when you're done,

1012
00:47:21,080 --> 00:47:23,200
Speaker 4: let's let's see where we are. She could have set

1013
00:47:23,280 --> 00:47:25,520
Speaker 4: the trap and then been like, sorry, can't believe you

1014
00:47:25,600 --> 00:47:29,799
Speaker 4: had to go do that. Instead, she goes, ooh, if

1015
00:47:29,880 --> 00:47:32,560
Speaker 4: you need to see this person, I could ever be

1016
00:47:32,640 --> 00:47:33,960
Speaker 4: with somebody who wasn't one hundred percent.

1017
00:47:34,080 --> 00:47:38,279
Speaker 2: So if you need the time, take the time you yep.

1018
00:47:40,040 --> 00:47:44,600
Speaker 4: So I don't know. I feel I thought way very

1019
00:47:44,760 --> 00:47:59,040
Speaker 4: very tricky. Okay, So Topanga walks away, but this time

1020
00:47:59,200 --> 00:48:02,680
Speaker 4: Corey doesn't fall. Sean watches in disarray, and the world

1021
00:48:02,800 --> 00:48:08,400
Speaker 4: as we know it has ended Ryan, and then we're in.

1022
00:48:08,400 --> 00:48:09,360
Speaker 2: The Matthew's backyard.

1023
00:48:09,520 --> 00:48:12,200
Speaker 4: Eric walks toward the back door, wearing a very loud

1024
00:48:12,320 --> 00:48:12,960
Speaker 4: red jacket.

1025
00:48:13,920 --> 00:48:17,799
Speaker 2: Red stop. I was thinking Sanna's coming.

1026
00:48:18,120 --> 00:48:21,759
Speaker 4: He is well. Phoene is simultaneously leaving his house. He

1027
00:48:21,840 --> 00:48:24,040
Speaker 4: sees Eric and says he needs to ask him a favor.

1028
00:48:24,400 --> 00:48:26,839
Speaker 4: Eric doesn't hesitate. No problem, Just give me your keys.

1029
00:48:26,880 --> 00:48:27,520
Speaker 2: I'll mow your.

1030
00:48:27,480 --> 00:48:31,840
Speaker 4: Lawn and water those ugly little plants. Phoeney grins with amusement.

1031
00:48:32,080 --> 00:48:34,560
Speaker 4: You don't think I'd actually let you inside my house,

1032
00:48:34,800 --> 00:48:38,839
Speaker 4: which now also kind of bothered me. You guys went

1033
00:48:38,920 --> 00:48:44,640
Speaker 4: from being like true best being like the crazy guy.

1034
00:48:44,719 --> 00:48:46,319
Speaker 2: He doesn't let in his living room.

1035
00:48:46,520 --> 00:48:49,439
Speaker 4: So Eric laughs and joins him, before making a face

1036
00:48:49,480 --> 00:48:53,040
Speaker 4: that lets us know he's obviously very confused. Phoene explains,

1037
00:48:53,160 --> 00:48:55,279
Speaker 4: what I'm talking about is a lot more important than

1038
00:48:55,360 --> 00:48:57,959
Speaker 4: watering plants. Eric begs him not to get his hopes

1039
00:48:58,000 --> 00:49:00,840
Speaker 4: up that he'll actually trust him with something, and Phoenie explains,

1040
00:49:01,040 --> 00:49:03,840
Speaker 4: my citizenship class is starting a series of practice tests

1041
00:49:03,880 --> 00:49:07,279
Speaker 4: this week. Unfortunately, I have a scheduling conflict. I need

1042
00:49:07,400 --> 00:49:12,920
Speaker 4: you to proctor. Eric perks up me Proctor. He dramatically

1043
00:49:13,000 --> 00:49:16,719
Speaker 4: stares into the distance and admires the title Proctor Matthews.

1044
00:49:18,640 --> 00:49:21,960
Speaker 4: Phoenie asks, you know, I love that PHOENI teaches this citizenship.

1045
00:49:22,000 --> 00:49:22,840
Speaker 2: But I just love this.

1046
00:49:24,239 --> 00:49:26,680
Speaker 3: I kind of wish we had made and again another

1047
00:49:26,800 --> 00:49:29,000
Speaker 3: joke about like that he does everything. It's like and

1048
00:49:29,480 --> 00:49:31,080
Speaker 3: the easy thing would have been, like, I have a

1049
00:49:31,120 --> 00:49:34,160
Speaker 3: scheduling conflict because I'm also and whatever he's also doing

1050
00:49:34,280 --> 00:49:36,640
Speaker 3: is ridiculously I'm in a scuba class, or like just

1051
00:49:36,680 --> 00:49:38,759
Speaker 3: saying because they just leave a generic I have a

1052
00:49:38,800 --> 00:49:39,600
Speaker 3: scheduling conflict.

1053
00:49:39,600 --> 00:49:40,920
Speaker 2: I was like, he's got.

1054
00:49:42,680 --> 00:49:46,040
Speaker 3: Yeah, I should, I've got a Dave in Boston.

1055
00:49:46,640 --> 00:49:47,080
Speaker 2: What I want?

1056
00:49:47,360 --> 00:49:49,160
Speaker 3: I just it's such an easy joke to say, I've

1057
00:49:49,160 --> 00:49:49,800
Speaker 3: got to teach.

1058
00:49:49,680 --> 00:49:53,160
Speaker 1: My you know, spin class, or just the most absurd non, Phoenie,

1059
00:49:53,280 --> 00:49:56,160
Speaker 1: I'm fishing fishing class, or you know some other subject

1060
00:49:56,200 --> 00:49:57,000
Speaker 1: that he also does.

1061
00:49:57,880 --> 00:50:00,200
Speaker 4: So Phoenie asks you do know what a proctor is,

1062
00:50:00,280 --> 00:50:03,320
Speaker 4: and Eric confidently responds, yeah, it's a tushy doctor.

1063
00:50:04,760 --> 00:50:09,160
Speaker 2: Great. Then Eric is grossed. Oh I'm not gonna do that.

1064
00:50:09,920 --> 00:50:12,040
Speaker 4: Phoene decides it may just be better if he washed

1065
00:50:12,040 --> 00:50:14,240
Speaker 4: the car, but Eric wants the responsibility.

1066
00:50:14,719 --> 00:50:16,719
Speaker 2: No, it's no problem. What do you want me to do?

1067
00:50:17,239 --> 00:50:19,600
Speaker 4: Phoene tells him this is a class of people from

1068
00:50:19,640 --> 00:50:22,960
Speaker 4: foreign countries who want to become American citizens. All I

1069
00:50:23,120 --> 00:50:26,920
Speaker 4: want you to do all is pass out the pencils

1070
00:50:26,960 --> 00:50:29,400
Speaker 4: and tests and gather them at the end of the class.

1071
00:50:29,480 --> 00:50:33,440
Speaker 4: You do nothing else, do you understand? Eric stares off

1072
00:50:33,520 --> 00:50:36,120
Speaker 4: with a quizzical look on his face, and then we

1073
00:50:36,280 --> 00:50:39,320
Speaker 4: optical flip to Phoene's classroom. Eric, now in a normal

1074
00:50:39,440 --> 00:50:42,080
Speaker 4: colored blazer, is standing at the front of a packed classroom.

1075
00:50:42,480 --> 00:50:45,960
Speaker 4: Hold up your tests like this. The students follow his directions.

1076
00:50:46,040 --> 00:50:48,560
Speaker 4: Then Eric tells them to rip the test in half.

1077
00:50:49,000 --> 00:50:51,680
Speaker 4: There will be no test today. Throw away the textbooks,

1078
00:50:51,760 --> 00:50:55,160
Speaker 4: throw away the tests. The students gladly follow his instructions.

1079
00:50:55,640 --> 00:50:57,719
Speaker 4: Eric goes on, you're my class now, and for the

1080
00:50:57,800 --> 00:51:00,040
Speaker 4: first time in my life, I'm the smartest guy in

1081
00:51:00,120 --> 00:51:00,399
Speaker 4: the room.

1082
00:51:00,800 --> 00:51:02,480
Speaker 2: Can we all just take a second and let that

1083
00:51:02,680 --> 00:51:03,000
Speaker 2: sing in?

1084
00:51:04,200 --> 00:51:04,319
Speaker 1: Man?

1085
00:51:04,800 --> 00:51:08,799
Speaker 2: The singing? Huh the sing? I go to throw away

1086
00:51:08,840 --> 00:51:11,000
Speaker 2: the text with throw like something like.

1087
00:51:15,160 --> 00:51:15,200
Speaker 1: That.

1088
00:51:15,320 --> 00:51:18,680
Speaker 2: I was like, what the hell is that? It took

1089
00:51:18,719 --> 00:51:22,480
Speaker 2: a risk and they kept it in so funny.

1090
00:51:23,920 --> 00:51:26,240
Speaker 4: A man in the front row speaks up, in my country,

1091
00:51:26,320 --> 00:51:29,080
Speaker 4: I was a nuclear physicist. Eric tells him that everyone

1092
00:51:29,160 --> 00:51:32,200
Speaker 4: here starts with a clean slate, and as they're proctologist,

1093
00:51:32,440 --> 00:51:35,600
Speaker 4: he's going to show them something. The man nervously says,

1094
00:51:35,760 --> 00:51:38,440
Speaker 4: please don't pick me, Please still pick me. Eric proceeds

1095
00:51:38,480 --> 00:51:40,040
Speaker 4: to pull out a deck of cards from his pocket

1096
00:51:40,080 --> 00:51:42,680
Speaker 4: for the man pick a card, any card, and then

1097
00:51:42,719 --> 00:51:43,719
Speaker 4: we're back in the Matthew's kid.

1098
00:51:44,440 --> 00:51:47,760
Speaker 3: I actually really like the storyline. It just really bumped

1099
00:51:47,840 --> 00:51:51,080
Speaker 3: me that it's like it's a one time thing and

1100
00:51:51,200 --> 00:51:53,200
Speaker 3: then you've ended up teaching them like for a whole week.

1101
00:51:53,360 --> 00:51:55,520
Speaker 1: I thought the same thing. My clothes are different. So

1102
00:51:55,600 --> 00:51:58,960
Speaker 1: what kind of conflict does he have where class? That's

1103
00:51:59,000 --> 00:52:01,480
Speaker 1: my only it was really bumped.

1104
00:52:01,239 --> 00:52:02,959
Speaker 3: Me because I was it's a cheap because the idea

1105
00:52:03,000 --> 00:52:05,359
Speaker 3: is then that you've educated them and actually.

1106
00:52:05,080 --> 00:52:09,080
Speaker 4: Toddle these people does say they're taking a series of

1107
00:52:09,280 --> 00:52:10,240
Speaker 4: tests for the next.

1108
00:52:10,160 --> 00:52:11,880
Speaker 2: Time he does serious tests.

1109
00:52:12,280 --> 00:52:15,360
Speaker 4: Yeah, he says, my my citizenship class is starting a

1110
00:52:15,480 --> 00:52:16,920
Speaker 4: series of tests.

1111
00:52:17,160 --> 00:52:22,160
Speaker 3: This unfortunately the next three nights. Can you just land

1112
00:52:22,160 --> 00:52:23,799
Speaker 3: out a test every night? I would have been happy,

1113
00:52:23,880 --> 00:52:25,799
Speaker 3: but the fact that for me it was like it's

1114
00:52:25,840 --> 00:52:27,880
Speaker 3: a one time thing, me too, I thought. So I

1115
00:52:28,000 --> 00:52:29,560
Speaker 3: was bummed by the fact that I was like, what

1116
00:52:29,680 --> 00:52:32,359
Speaker 3: did Eric you know call keep the class coming back

1117
00:52:32,400 --> 00:52:34,719
Speaker 3: for extra hours? And then Phoene magically shows up.

1118
00:52:34,880 --> 00:52:38,640
Speaker 2: But he had a whole week long conflict. Okay, gotcha.

1119
00:52:39,000 --> 00:52:40,160
Speaker 2: Phoene had a facelift.

1120
00:52:41,000 --> 00:52:41,600
Speaker 1: Is that what it is?

1121
00:52:41,880 --> 00:52:44,440
Speaker 2: I just keep talking about facelifts. I could get it

1122
00:52:44,480 --> 00:52:47,080
Speaker 2: could also be a meeting of serial killers. They get

1123
00:52:47,080 --> 00:52:50,400
Speaker 2: together all the time, secret and yard killers.

1124
00:52:50,680 --> 00:52:51,080
Speaker 1: I like it.

1125
00:52:51,640 --> 00:52:53,239
Speaker 2: So we're in in the Matthew's kitchen.

1126
00:52:53,320 --> 00:52:56,400
Speaker 4: Corey is pacing the kitchen talking to Sean Tapenga practically

1127
00:52:56,520 --> 00:52:58,440
Speaker 4: told me to go out with Lauren. What did she

1128
00:52:58,560 --> 00:53:01,520
Speaker 4: mean by that? And Shansi states she's a woman. She

1129
00:53:01,640 --> 00:53:05,600
Speaker 4: was speaking womanes or it's surprised, Oh you speak that language.

1130
00:53:05,920 --> 00:53:08,760
Speaker 4: Sean admits, I'm conversational. I wouldn't say I'm fluent.

1131
00:53:08,920 --> 00:53:10,560
Speaker 2: Was that your your grown writer?

1132
00:53:11,400 --> 00:53:11,600
Speaker 5: Yes?

1133
00:53:12,520 --> 00:53:13,960
Speaker 2: Writers really such.

1134
00:53:14,080 --> 00:53:15,759
Speaker 3: I actually think this line is pretty funny, like the

1135
00:53:15,800 --> 00:53:18,360
Speaker 3: conversational fluent, and I like the way I'm delivering it,

1136
00:53:18,480 --> 00:53:21,040
Speaker 3: and I like that Sean's hunting for food.

1137
00:53:21,320 --> 00:53:21,920
Speaker 2: Yes, I love it.

1138
00:53:22,040 --> 00:53:24,000
Speaker 3: Just have some interesting business that I haven't done for

1139
00:53:24,080 --> 00:53:27,359
Speaker 3: something and get reference. I was like business, but it helps,

1140
00:53:27,400 --> 00:53:29,759
Speaker 3: it helps take the pressure. But you know, the whole

1141
00:53:29,800 --> 00:53:33,279
Speaker 3: woman is thing. And then now just thinking about how

1142
00:53:33,360 --> 00:53:36,200
Speaker 3: much we've spent how much time we've spent analyzing what

1143
00:53:36,280 --> 00:53:39,440
Speaker 3: Topenga said. Yeah, it seems like since Shawn cared so

1144
00:53:39,600 --> 00:53:42,120
Speaker 3: much that he would actually want to analyze this with

1145
00:53:42,640 --> 00:53:43,800
Speaker 3: as opposed to being dismissive.

1146
00:53:43,840 --> 00:53:46,759
Speaker 4: But because it's a woman, he also knew right away.

1147
00:53:47,000 --> 00:53:49,680
Speaker 4: He called the minute to Penga. He started saying, it's

1148
00:53:49,719 --> 00:53:52,879
Speaker 4: a trap. Take to Penga and go, yeah, he does

1149
00:53:53,080 --> 00:53:55,800
Speaker 4: know what she's saying. Yes, what she was saying was

1150
00:53:55,920 --> 00:53:57,919
Speaker 4: if you need to think, if you need to spend

1151
00:53:58,000 --> 00:53:59,759
Speaker 4: time with Lauren, she's done so with you.

1152
00:54:00,040 --> 00:54:02,640
Speaker 3: Yeah, see this is when I feel like Boy Meets

1153
00:54:02,680 --> 00:54:05,040
Speaker 3: World has entered this territory with it's sort of like

1154
00:54:05,160 --> 00:54:08,799
Speaker 3: somebody having a conversation with himself. Yeah, It's like it's

1155
00:54:08,840 --> 00:54:12,560
Speaker 3: like it's like every character just becomes like a puppet

1156
00:54:12,600 --> 00:54:15,200
Speaker 3: of like one thinking brain, sort of thinking through an

1157
00:54:15,200 --> 00:54:18,160
Speaker 3: abstract concept or a tough moral issue as opposed to

1158
00:54:18,280 --> 00:54:20,600
Speaker 3: like it being in story where it's like this person's

1159
00:54:20,640 --> 00:54:22,839
Speaker 3: clear perspective and this person, you know, it's like we're

1160
00:54:22,880 --> 00:54:25,600
Speaker 3: all so self aware. It's almost like all of Boy

1161
00:54:25,680 --> 00:54:28,080
Speaker 3: Meets World is in Corey's head now, you know, and

1162
00:54:28,200 --> 00:54:30,840
Speaker 3: everybody is just like a version of an impulse that

1163
00:54:30,960 --> 00:54:34,200
Speaker 3: Corey has, and it's like so seen by scene they

1164
00:54:34,239 --> 00:54:37,359
Speaker 3: are just arguing and saying whatever. The other opposite point

1165
00:54:37,400 --> 00:54:40,759
Speaker 3: of view is even it's very frustrating, it's yeah.

1166
00:54:41,440 --> 00:54:41,640
Speaker 1: Yeah.

1167
00:54:42,520 --> 00:54:45,000
Speaker 4: He advises Corey to look for stuff that's not there,

1168
00:54:45,200 --> 00:54:47,160
Speaker 4: and from what he heard, there's a whole lot to

1169
00:54:47,239 --> 00:54:51,320
Speaker 4: Panga was saying that's not there. He continues to peruse

1170
00:54:51,360 --> 00:54:53,880
Speaker 4: the Matthew's kitchen for snacks and asks Corey what his

1171
00:54:53,960 --> 00:54:56,960
Speaker 4: parents think. Corey admits he hasn't told them yet. On cue,

1172
00:54:57,000 --> 00:54:59,839
Speaker 4: Alan and Amy walk in holding grocery bags. Alan asks

1173
00:55:00,000 --> 00:55:01,319
Speaker 4: what has Corey not told them.

1174
00:55:01,239 --> 00:55:04,040
Speaker 2: Yet, and Corey answers, oh, that I agreed to see.

1175
00:55:03,880 --> 00:55:06,000
Speaker 4: That girl I met up in the mountains. They nod,

1176
00:55:06,080 --> 00:55:08,359
Speaker 4: and Corey begs his mom order me not to see her.

1177
00:55:08,719 --> 00:55:09,080
Speaker 2: Order me.

1178
00:55:09,560 --> 00:55:12,400
Speaker 4: Amy responds, no, one loves Topanga as much as we do.

1179
00:55:13,000 --> 00:55:18,040
Speaker 2: What really, I'm not sure Ms.

1180
00:55:18,239 --> 00:55:21,360
Speaker 4: Matthews that you love Topanga as much as you.

1181
00:55:21,440 --> 00:55:21,840
Speaker 2: Say you do.

1182
00:55:22,280 --> 00:55:24,239
Speaker 1: I think she loves Topanga. I don't think she loves

1183
00:55:24,280 --> 00:55:26,719
Speaker 1: the idea of them only being with each old.

1184
00:55:27,120 --> 00:55:28,600
Speaker 2: That's a good point. That's a good point.

1185
00:55:28,680 --> 00:55:31,399
Speaker 4: She does love Topanga, but I think she wishes they were,

1186
00:55:31,760 --> 00:55:32,879
Speaker 4: you know, exploring other.

1187
00:55:32,840 --> 00:55:35,080
Speaker 2: Options as well. Yeah, that's a good point.

1188
00:55:35,239 --> 00:55:38,200
Speaker 4: Okay, But if you think you really like this girl,

1189
00:55:38,280 --> 00:55:40,400
Speaker 4: then you owe it to yourself and to Tapanga and

1190
00:55:40,480 --> 00:55:43,279
Speaker 4: Lauren to find out. Alan adds, A long time ago,

1191
00:55:43,320 --> 00:55:44,800
Speaker 4: when your mom and I were dating, she let me

1192
00:55:44,880 --> 00:55:47,280
Speaker 4: go out with another girl. Her name was Teresa Lulich,

1193
00:55:47,640 --> 00:55:49,360
Speaker 4: so I went out with her just to test my

1194
00:55:49,480 --> 00:55:52,040
Speaker 4: love for your mother. Amy gives them a puzzled look.

1195
00:55:52,200 --> 00:55:54,480
Speaker 4: I never let you go out with any Teresa Lulich.

1196
00:55:54,520 --> 00:55:55,320
Speaker 2: I would never do that.

1197
00:55:55,400 --> 00:55:58,360
Speaker 4: We wouldn't be together this very day. Alan gives a

1198
00:55:58,400 --> 00:56:01,399
Speaker 4: nervous laugh. Actually, you know, I'm mixing up a couple

1199
00:56:01,480 --> 00:56:03,960
Speaker 4: of stories. He looks into the grocery bag. Gee, what

1200
00:56:04,080 --> 00:56:04,840
Speaker 4: are these peaches?

1201
00:56:04,920 --> 00:56:06,120
Speaker 2: You know where they go? Where do they go?

1202
00:56:07,000 --> 00:56:09,040
Speaker 4: Amy tells Corey the rest of your life you're going

1203
00:56:09,120 --> 00:56:12,480
Speaker 4: to be presented with opportunities and temptations. It's how you

1204
00:56:12,600 --> 00:56:15,480
Speaker 4: deal with them that matters. Alan slowly inches his way

1205
00:56:15,520 --> 00:56:17,800
Speaker 4: back to Amy and ads yeah, before kissing her on

1206
00:56:17,880 --> 00:56:18,120
Speaker 4: the head.

1207
00:56:18,719 --> 00:56:20,960
Speaker 2: Then there's a knock on the back door. It's Lauren.

1208
00:56:21,280 --> 00:56:23,840
Speaker 4: Corey answers it and they exchange hellos. She walks in

1209
00:56:23,920 --> 00:56:26,800
Speaker 4: and politely says hi to Sean. He not so kindly responds,

1210
00:56:26,840 --> 00:56:28,520
Speaker 4: stop trying to butter me up?

1211
00:56:28,719 --> 00:56:30,320
Speaker 2: Yogo love it.

1212
00:56:32,000 --> 00:56:35,760
Speaker 4: Lauren approaches Alan and Amy and introduces herself. Alan responds, Hi, Teresa,

1213
00:56:36,000 --> 00:56:39,160
Speaker 4: nice to meet you. Amy sharply turns toward him.

1214
00:56:39,640 --> 00:56:41,200
Speaker 2: Are you kidding me?

1215
00:56:42,160 --> 00:56:43,080
Speaker 3: That's a great read?

1216
00:56:43,560 --> 00:56:46,600
Speaker 4: Oh, and nervously corrects himself, Hi, Lauren, nice to meet you.

1217
00:56:47,080 --> 00:56:49,440
Speaker 4: Corey's told us so much about you. He looks back

1218
00:56:49,480 --> 00:56:53,080
Speaker 4: into the grocery bag. What are these um odies? And

1219
00:56:53,440 --> 00:56:56,799
Speaker 4: he leaves to find their spot in the kitchen. Corey

1220
00:56:56,840 --> 00:56:58,520
Speaker 4: explains he told his parents how she took care of

1221
00:56:58,600 --> 00:56:59,880
Speaker 4: him up at the lodge and how they stayed up

1222
00:56:59,880 --> 00:57:02,600
Speaker 4: a night talking. Lauren nods, that's why I needed to

1223
00:57:02,640 --> 00:57:05,080
Speaker 4: see you. I don't think we really finished talking. I

1224
00:57:05,160 --> 00:57:07,640
Speaker 4: hope it's okay. She looks over at Sean, who's giving

1225
00:57:07,680 --> 00:57:10,080
Speaker 4: her a death glare. She pleads, please don't be mad

1226
00:57:10,120 --> 00:57:12,839
Speaker 4: at me. I would never hurt your friend. Corey leans

1227
00:57:12,880 --> 00:57:16,680
Speaker 4: down to Sean. What she really saying. Sean's perplexed she's

1228
00:57:16,720 --> 00:57:20,680
Speaker 4: saying she wouldn't hurt you. Lauren asks if Corey's ready.

1229
00:57:20,720 --> 00:57:22,480
Speaker 4: He says yes, and then looks to his mom and dad.

1230
00:57:22,720 --> 00:57:24,880
Speaker 4: Amy tells them to have a good time, and Alan

1231
00:57:24,960 --> 00:57:26,640
Speaker 4: tells them to have a time.

1232
00:57:27,320 --> 00:57:30,240
Speaker 1: Okay, wait, I'm sorry. I don't mean to harp on this,

1233
00:57:30,360 --> 00:57:33,320
Speaker 1: but she says, I'll never hurt your friend. But she's

1234
00:57:33,440 --> 00:57:36,080
Speaker 1: driving four hours to try to break him up with

1235
00:57:36,160 --> 00:57:36,800
Speaker 1: his girlfriend.

1236
00:57:37,320 --> 00:57:39,800
Speaker 3: Well, especially now, so we're alled to believe that at

1237
00:57:39,840 --> 00:57:42,320
Speaker 3: the end of the Chubby scene, it's so unfortunate that

1238
00:57:42,400 --> 00:57:45,440
Speaker 3: Linda couldn't be there for a tape day. Obviously, Yeah,

1239
00:57:45,440 --> 00:57:48,920
Speaker 3: because the fact that Tapanga walks away from that scene.

1240
00:57:49,160 --> 00:57:51,720
Speaker 3: What happens. Then Corey and Lauren make a plan for

1241
00:57:51,840 --> 00:57:52,520
Speaker 3: her to come over.

1242
00:57:52,600 --> 00:57:54,560
Speaker 2: To come over, they must because she now knows where

1243
00:57:54,600 --> 00:57:55,320
Speaker 2: he lives and everything.

1244
00:57:55,320 --> 00:57:58,160
Speaker 3: That seems like an essential scene because that's the scene

1245
00:57:58,160 --> 00:58:00,520
Speaker 3: where Corey chooses to to.

1246
00:58:01,520 --> 00:58:05,080
Speaker 4: That's my point, Corey choose, I've already chosen the minute

1247
00:58:05,120 --> 00:58:07,600
Speaker 4: he doesn't leave with Tapanga's right, Corey, that's what.

1248
00:58:07,640 --> 00:58:09,560
Speaker 3: I want to see. I want to see that moment.

1249
00:58:10,000 --> 00:58:12,400
Speaker 3: What happens in that moment she walks out, and he

1250
00:58:12,560 --> 00:58:14,920
Speaker 3: turns to Lauren and says, I don't know what to do,

1251
00:58:15,080 --> 00:58:17,360
Speaker 3: but I do want to take I'm not sure, but

1252
00:58:17,440 --> 00:58:19,360
Speaker 3: I want to take some time. Can we meet up later?

1253
00:58:19,880 --> 00:58:23,880
Speaker 3: And that is when Corey does the thing that Tapang

1254
00:58:24,000 --> 00:58:26,840
Speaker 3: is upset about. But we miss that moment, so what

1255
00:58:26,960 --> 00:58:30,200
Speaker 3: we get is a dramatic pronouncement by Tapanga that then

1256
00:58:30,240 --> 00:58:32,400
Speaker 3: comes back around where Topanga says, you listen to me,

1257
00:58:32,680 --> 00:58:36,120
Speaker 3: but him listening and misunderstanding is the point. So that's

1258
00:58:36,160 --> 00:58:38,280
Speaker 3: actually like a moment, and I think it might have

1259
00:58:38,360 --> 00:58:40,760
Speaker 3: been because they were trying to reduce Lindason.

1260
00:58:40,960 --> 00:58:43,480
Speaker 2: Yeah screen time, you know, to get her out, because.

1261
00:58:43,800 --> 00:58:45,520
Speaker 3: Especially since I had do that rain scene, that would

1262
00:58:45,520 --> 00:58:46,640
Speaker 3: have taken a lot.

1263
00:58:46,760 --> 00:58:48,120
Speaker 2: Sure, so wow.

1264
00:58:48,520 --> 00:58:52,600
Speaker 4: Corey turns to Sean, who simply asks Lauren. She asks Sean,

1265
00:58:53,240 --> 00:58:57,000
Speaker 4: he warns have him home by midnight. She responds not

1266
00:58:57,080 --> 00:59:00,480
Speaker 4: a minute after. Once they're gone, Amy says alow, I

1267
00:59:00,680 --> 00:59:04,800
Speaker 4: like her. Alan agrees, I like her. Sean's conflicted, as

1268
00:59:04,840 --> 00:59:12,560
Speaker 4: he admits I like her too. And then we are

1269
00:59:12,840 --> 00:59:15,480
Speaker 4: at a picnic in the park with a jim shot.

1270
00:59:16,280 --> 00:59:19,280
Speaker 2: Is this where the lama pen was? Does this look

1271
00:59:19,320 --> 00:59:21,760
Speaker 2: like does it look like a very similar to the.

1272
00:59:24,120 --> 00:59:24,480
Speaker 3: Outside?

1273
00:59:24,560 --> 00:59:24,680
Speaker 1: Right?

1274
00:59:25,560 --> 00:59:29,320
Speaker 3: Yeah, rains the rain. I thought the rain was inside

1275
00:59:29,360 --> 00:59:29,720
Speaker 3: the stage.

1276
00:59:29,720 --> 00:59:32,120
Speaker 4: That's because I think it's inside the stage too. But

1277
00:59:32,280 --> 00:59:34,640
Speaker 4: I think the lama pen was also on the stage,

1278
00:59:34,720 --> 00:59:34,960
Speaker 4: wasn't it.

1279
00:59:35,160 --> 00:59:37,160
Speaker 1: No, this isn't the corner of the We used to

1280
00:59:37,160 --> 00:59:39,200
Speaker 1: shoot stuff outside at the corner of the reck.

1281
00:59:39,360 --> 00:59:41,440
Speaker 3: It's interior. You can tell because you never see me

1282
00:59:41,600 --> 00:59:44,040
Speaker 3: on the walls, like if we had been actually in

1283
00:59:44,160 --> 00:59:47,320
Speaker 3: an exterior. I think they wanted to really, Oh, I

1284
00:59:47,360 --> 00:59:48,080
Speaker 3: think they wanted.

1285
00:59:50,320 --> 00:59:51,160
Speaker 2: Was also inside.

1286
00:59:51,400 --> 00:59:53,200
Speaker 3: Yeah, but no, it's a different set.

1287
00:59:53,240 --> 00:59:57,160
Speaker 2: It's a different set, but yeah, to me, the exact

1288
00:59:57,200 --> 00:59:57,720
Speaker 2: same design.

1289
00:59:58,080 --> 01:00:00,400
Speaker 1: I thought they actually shot this outside. Oh this was

1290
01:00:00,440 --> 01:00:02,200
Speaker 1: in I thought so at first? It was like, are

1291
01:00:02,240 --> 01:00:03,240
Speaker 1: we really outside?

1292
01:00:03,360 --> 01:00:06,440
Speaker 3: And because what what bumped me is the sound is

1293
01:00:06,640 --> 01:00:09,919
Speaker 3: not great at the sound and I realized they're wearing

1294
01:00:10,000 --> 01:00:12,480
Speaker 3: lav mics, and I was like, oh, we must be

1295
01:00:12,560 --> 01:00:14,440
Speaker 3: outside and they're wearing lav mics and that's why the

1296
01:00:14,480 --> 01:00:16,480
Speaker 3: audio is not good. And then I realized, oh, no,

1297
01:00:16,520 --> 01:00:18,840
Speaker 3: the audio is not good because of the rain. They

1298
01:00:18,880 --> 01:00:22,360
Speaker 3: had to like water like some I couldn't do booms.

1299
01:00:22,600 --> 01:00:24,680
Speaker 3: And I was like, but I think we're actually shooting

1300
01:00:24,760 --> 01:00:28,280
Speaker 3: on the stage. Although water on the stage, I guess

1301
01:00:28,280 --> 01:00:29,280
Speaker 3: we wouldn't have had water on.

1302
01:00:29,280 --> 01:00:30,760
Speaker 2: The stage, so they can they just suck it up.

1303
01:00:30,840 --> 01:00:32,760
Speaker 4: I've shot water stuff on a stage before.

1304
01:00:32,880 --> 01:00:34,600
Speaker 3: Then, yeah, they shot it on stage.

1305
01:00:35,320 --> 01:00:36,600
Speaker 2: But you know who we could ask?

1306
01:00:36,800 --> 01:00:38,800
Speaker 3: I'm texting and right cracking.

1307
01:00:51,000 --> 01:00:52,960
Speaker 4: Lauren and Corey are sitting on some rocks with a

1308
01:00:53,000 --> 01:00:55,200
Speaker 4: big picnic blanket laid out in front of them, paired

1309
01:00:55,240 --> 01:00:56,680
Speaker 4: with food in a portable stereo.

1310
01:00:57,080 --> 01:00:58,120
Speaker 2: What do you think they were listening to?

1311
01:00:58,240 --> 01:00:58,479
Speaker 1: Guys?

1312
01:00:59,720 --> 01:01:04,040
Speaker 2: The Kids bomb? I don't know, kid, it was kids Bops,

1313
01:01:04,080 --> 01:01:06,200
Speaker 2: That's what it was. Yeah, it was that. That's so

1314
01:01:06,360 --> 01:01:10,760
Speaker 2: music eighty nine perfect. Corey asks her, so you want

1315
01:01:10,800 --> 01:01:12,280
Speaker 2: to live in a cottage? She nods.

1316
01:01:12,440 --> 01:01:15,840
Speaker 4: Yeah, a little woodhouse, that's all I want. Corey is surprised,

1317
01:01:15,960 --> 01:01:17,920
Speaker 4: you don't want a big brick house in the suburbs

1318
01:01:17,960 --> 01:01:20,760
Speaker 4: with walking closets and a skylight over the jacuzzie. She

1319
01:01:20,920 --> 01:01:24,160
Speaker 4: wonders who would want any of that. Cory smiles, telling

1320
01:01:24,240 --> 01:01:27,400
Speaker 4: her nobody. Lauren admits, I just want to be in

1321
01:01:27,480 --> 01:01:29,720
Speaker 4: love with someone and maybe have some kids someday.

1322
01:01:30,080 --> 01:01:30,959
Speaker 2: Do you want to have kids?

1323
01:01:31,560 --> 01:01:34,120
Speaker 4: Corey size, yeah, but I have to be home by midnight.

1324
01:01:34,720 --> 01:01:36,600
Speaker 4: She laughs, and he admits he does want kids, and

1325
01:01:36,640 --> 01:01:39,840
Speaker 4: then asks, so I'm not the wild and reckless guy

1326
01:01:39,920 --> 01:01:42,160
Speaker 4: you thought I was. Huh what?

1327
01:01:44,640 --> 01:01:45,840
Speaker 3: What is it a joke?

1328
01:01:46,120 --> 01:01:48,360
Speaker 1: He's got to be a joke because he hurt himself

1329
01:01:48,400 --> 01:01:49,160
Speaker 1: getting off the bus.

1330
01:01:49,680 --> 01:01:51,120
Speaker 2: Yeah, I think it's I mean, that's got to be

1331
01:01:51,160 --> 01:01:51,840
Speaker 2: a joke, right.

1332
01:01:52,000 --> 01:01:55,760
Speaker 4: Okay, maybe maybe he Maybe he is. Lauren explains that's

1333
01:01:55,880 --> 01:01:59,080
Speaker 4: not what she's looking for. Those guys are slick and boring.

1334
01:01:59,440 --> 01:02:00,920
Speaker 4: Corey agreed, and this.

1335
01:02:01,040 --> 01:02:04,120
Speaker 3: Is where I was like, this is a thirty five

1336
01:02:04,200 --> 01:02:06,680
Speaker 3: year old person conversation like that, you know what you're

1337
01:02:06,720 --> 01:02:08,840
Speaker 3: looking for at the age of you know what?

1338
01:02:09,360 --> 01:02:09,600
Speaker 1: Also?

1339
01:02:09,800 --> 01:02:10,960
Speaker 3: Is she nineteen twenty?

1340
01:02:11,120 --> 01:02:13,160
Speaker 2: I know, I don't know, that's what Sue asked the

1341
01:02:13,160 --> 01:02:15,120
Speaker 2: same thing. She's like, how how old is she?

1342
01:02:15,520 --> 01:02:17,120
Speaker 1: And like when she's like, that's not what I'm looking

1343
01:02:17,240 --> 01:02:18,960
Speaker 1: like what they're talking about where they're going to live,

1344
01:02:19,400 --> 01:02:22,360
Speaker 1: it's like, and I want some kids someday. You really

1345
01:02:22,400 --> 01:02:23,760
Speaker 1: need to figure this out. Now.

1346
01:02:24,080 --> 01:02:26,560
Speaker 2: He's in this high school right, and it's insane to me.

1347
01:02:26,640 --> 01:02:28,280
Speaker 3: I mean it's like, on one hand, you have to

1348
01:02:28,360 --> 01:02:30,480
Speaker 3: accept that that's the Corey to Panga logic, right, that

1349
01:02:30,560 --> 01:02:33,520
Speaker 3: they've got lovers and they're thinking about long term and destiny,

1350
01:02:33,720 --> 01:02:36,360
Speaker 3: but that another girl is like you are the me,

1351
01:02:36,560 --> 01:02:39,800
Speaker 3: you know, like I'm thinking about my long term future

1352
01:02:39,840 --> 01:02:42,040
Speaker 3: and this is worth it and you're the guy. That's

1353
01:02:42,480 --> 01:02:45,480
Speaker 3: really intense for I have another character to be thinking

1354
01:02:45,560 --> 01:02:46,160
Speaker 3: this long term.

1355
01:02:47,360 --> 01:02:48,920
Speaker 1: Well, she had a long, shit four hours on that

1356
01:02:48,960 --> 01:02:50,880
Speaker 1: bus ride to figure out what she wants in her life.

1357
01:02:51,760 --> 01:02:55,320
Speaker 4: Corey agrees, Yeah, Tapanga always says the reason I He

1358
01:02:55,480 --> 01:02:59,920
Speaker 4: catches himself and apologizes. Lauren tells him it's okay, Topanga

1359
01:03:00,080 --> 01:03:02,840
Speaker 4: a big part of his life. Corey nods, yeah, she is.

1360
01:03:03,520 --> 01:03:06,560
Speaker 4: Then we hear thunder and the date is drenched by

1361
01:03:06,600 --> 01:03:11,200
Speaker 4: a rainstorm. God is crying. Lauren seems excited. While Corey

1362
01:03:11,320 --> 01:03:13,640
Speaker 4: tries to lead her to cover, Lauren stops him and

1363
01:03:13,680 --> 01:03:15,560
Speaker 4: stands in the rain happily, without a care in the world.

1364
01:03:15,720 --> 01:03:17,400
Speaker 4: He yells out, I'm not the kind of guy who

1365
01:03:17,480 --> 01:03:19,919
Speaker 4: stands out in the rain without the appropriate outer wear.

1366
01:03:20,600 --> 01:03:24,120
Speaker 4: She pulls him in closer. There he is, Yeah, She

1367
01:03:24,240 --> 01:03:26,240
Speaker 4: pulls him in closer and covers him with her jacket.

1368
01:03:26,520 --> 01:03:28,520
Speaker 4: She'll keep him warm and dry, She laughs as she

1369
01:03:28,560 --> 01:03:30,600
Speaker 4: gets soaked from the water, and Corey asks from the

1370
01:03:30,680 --> 01:03:32,400
Speaker 4: dark of her bosom, So you got.

1371
01:03:32,320 --> 01:03:35,160
Speaker 2: Any film you need developed? She shouts, I would.

1372
01:03:35,000 --> 01:03:38,040
Speaker 1: Suggested bigger jacket. I would have suggested more like a

1373
01:03:38,680 --> 01:03:41,600
Speaker 1: like a part of a coat or a longer It's

1374
01:03:41,640 --> 01:03:44,560
Speaker 1: it's a very awkward thing to do. It doesn't make

1375
01:03:44,640 --> 01:03:46,760
Speaker 1: any sense except that it was written that way and

1376
01:03:46,880 --> 01:03:49,040
Speaker 1: then they shot it that way, and it really would

1377
01:03:49,040 --> 01:03:50,880
Speaker 1: have been easy to have her in a more of

1378
01:03:50,880 --> 01:03:54,320
Speaker 1: a trench coaty vibe, which is something where you would actually,

1379
01:03:55,120 --> 01:03:56,600
Speaker 1: you know, cover somebody's Yeah.

1380
01:03:56,800 --> 01:04:00,600
Speaker 2: I have a question now this, I'm just throwing this out.

1381
01:04:00,640 --> 01:04:07,720
Speaker 2: There was this done? Do you think to at least

1382
01:04:08,320 --> 01:04:13,640
Speaker 2: tell Corey that if he goes with Lauren they will

1383
01:04:13,720 --> 01:04:16,200
Speaker 2: be sex? Yeah? I definitely.

1384
01:04:16,280 --> 01:04:19,160
Speaker 4: I think the whole point of it is she's more

1385
01:04:19,240 --> 01:04:25,120
Speaker 4: comfortable with physical proximity. But even just on like a

1386
01:04:25,240 --> 01:04:28,160
Speaker 4: very casual date, she's putting his head directly in her chest.

1387
01:04:28,520 --> 01:04:28,680
Speaker 3: Right.

1388
01:04:29,120 --> 01:04:31,640
Speaker 1: That's what I went to as well, where it's like, hey,

1389
01:04:31,920 --> 01:04:34,680
Speaker 1: if you go, it's like the I think it's a

1390
01:04:34,880 --> 01:04:36,720
Speaker 1: derogatory way to say it now, but they used to

1391
01:04:36,760 --> 01:04:39,240
Speaker 1: call it the Madonna and the Horror comp yes, where

1392
01:04:39,240 --> 01:04:41,360
Speaker 1: it's like the better way to say it would be

1393
01:04:41,720 --> 01:04:45,200
Speaker 1: Ginger or Marianne from Gillian's Island, where it's like you've

1394
01:04:45,240 --> 01:04:48,520
Speaker 1: got the one that represents sex and sexuality and then

1395
01:04:48,560 --> 01:04:50,400
Speaker 1: you've got the perfect pristine to Panga.

1396
01:04:50,800 --> 01:04:55,680
Speaker 2: And I feel like the smaller jacket made that more

1397
01:04:56,360 --> 01:04:57,920
Speaker 2: in your face, you know what I mean.

1398
01:04:58,480 --> 01:05:00,120
Speaker 1: So where it was kind of like I'm literally to

1399
01:05:00,160 --> 01:05:02,440
Speaker 1: take your head and put you right against my breast,

1400
01:05:03,480 --> 01:05:05,800
Speaker 1: and to me that was a psychological like come with

1401
01:05:05,920 --> 01:05:07,919
Speaker 1: me and you know you'll get to get stuff.

1402
01:05:08,080 --> 01:05:10,040
Speaker 4: But with a trench coat or something, he could have

1403
01:05:10,080 --> 01:05:11,760
Speaker 4: had his entire body pressure.

1404
01:05:13,600 --> 01:05:16,000
Speaker 3: Him up, and I would have been like enclosing him.

1405
01:05:17,600 --> 01:05:19,760
Speaker 2: Like a sleeping bag. Yeah, that's true too.

1406
01:05:20,040 --> 01:05:21,960
Speaker 3: To me, that would have been just as intimate and

1407
01:05:23,000 --> 01:05:23,720
Speaker 3: makes more sense.

1408
01:05:23,800 --> 01:05:26,520
Speaker 2: You know, have a logic to it that like hmm,

1409
01:05:27,640 --> 01:05:29,120
Speaker 2: So she shouts I love the rain.

1410
01:05:29,400 --> 01:05:30,720
Speaker 4: Corey declares I do too.

1411
01:05:30,920 --> 01:05:31,080
Speaker 1: Now.

1412
01:05:31,400 --> 01:05:33,400
Speaker 4: She pulls her jacket off of him and asks, you do,

1413
01:05:33,640 --> 01:05:36,160
Speaker 4: because I got your rain right here. She grabs a

1414
01:05:36,200 --> 01:05:38,600
Speaker 4: water bottle and starts spraying the water in Corey's face.

1415
01:05:39,080 --> 01:05:41,000
Speaker 4: Corey grabs a water bottle and does the same to her.

1416
01:05:41,200 --> 01:05:42,720
Speaker 4: They have a water fight in the rain until he

1417
01:05:42,760 --> 01:05:45,280
Speaker 4: stops to stare at her. She realizes that he's worried

1418
01:05:45,280 --> 01:05:48,400
Speaker 4: about something. Lauren asks, aren't you having fun with me?

1419
01:05:48,920 --> 01:05:51,600
Speaker 4: He nods, that's what I'm worried about. He takes a

1420
01:05:51,640 --> 01:05:53,360
Speaker 4: seat next to her, and he can't bring himself to

1421
01:05:53,440 --> 01:05:53,840
Speaker 4: look away.

1422
01:05:54,080 --> 01:05:56,600
Speaker 3: It's so horrible to like a person and have fun.

1423
01:05:57,680 --> 01:05:59,440
Speaker 3: Going back to what we're talking about in the it's

1424
01:05:59,480 --> 01:06:03,320
Speaker 3: like all relationships are supposed to be torturous, ye miserable.

1425
01:06:04,160 --> 01:06:05,240
Speaker 2: Well, that's his test.

1426
01:06:05,840 --> 01:06:08,920
Speaker 4: He feels guilty because it should It should mean that

1427
01:06:09,240 --> 01:06:11,040
Speaker 4: he maybe should break up with Tapanga.

1428
01:06:11,160 --> 01:06:12,760
Speaker 2: That's not the lesson He's going to take.

1429
01:06:12,600 --> 01:06:14,880
Speaker 3: It from it. But no, the idea here is that

1430
01:06:15,120 --> 01:06:19,000
Speaker 3: he's supposed to suffer and then enjoy the It's like,

1431
01:06:19,120 --> 01:06:21,040
Speaker 3: it's like, dude, just break up with the panga now,

1432
01:06:21,160 --> 01:06:23,600
Speaker 3: Like you're enjoying it. Why are you feeling bad about

1433
01:06:23,760 --> 01:06:27,040
Speaker 3: enjoying this? You can't. If you believe that she's allowing

1434
01:06:27,080 --> 01:06:28,600
Speaker 3: you to have a good time, then you just make

1435
01:06:28,640 --> 01:06:30,800
Speaker 3: the decision. Oh my god, I'm really having a good time.

1436
01:06:31,160 --> 01:06:33,520
Speaker 4: Yeah, And that's what this whole point was. I took

1437
01:06:33,600 --> 01:06:35,439
Speaker 4: the risk to see if I was having a good time.

1438
01:06:36,320 --> 01:06:38,040
Speaker 4: So then we're in the guy's apartment. Sean is sitting

1439
01:06:38,040 --> 01:06:40,080
Speaker 4: on the couch watching TV. There's a knock at the door.

1440
01:06:40,240 --> 01:06:42,760
Speaker 4: He answers it to find us, soaking what Corey's standing

1441
01:06:42,800 --> 01:06:45,680
Speaker 4: on the other side. Corey bluntly states I had a

1442
01:06:45,720 --> 01:06:48,360
Speaker 4: good time this part by the way him being bummed

1443
01:06:48,400 --> 01:06:50,680
Speaker 4: out about it. Yes, I get to his friend, he

1444
01:06:50,720 --> 01:06:53,320
Speaker 4: should be enjoying it with Lauren. Yeah, he can totally

1445
01:06:53,360 --> 01:06:55,040
Speaker 4: be enjoying it with Lauren. And then when you go

1446
01:06:55,120 --> 01:06:57,720
Speaker 4: to your friend, you think, account man, I figured that out.

1447
01:06:57,960 --> 01:06:59,920
Speaker 2: I don't know what I'm going to do between love.

1448
01:07:00,440 --> 01:07:03,760
Speaker 3: Yeah, that's yes, But like why expressing like that fun

1449
01:07:03,920 --> 01:07:04,440
Speaker 3: is awful?

1450
01:07:04,600 --> 01:07:04,720
Speaker 1: Now?

1451
01:07:04,920 --> 01:07:06,000
Speaker 2: Yes, jeesus.

1452
01:07:07,360 --> 01:07:10,600
Speaker 4: Je Sean laughs at his appearance and motions him inside

1453
01:07:10,760 --> 01:07:13,200
Speaker 4: Corey continues, I went out with Lauren. We had fun.

1454
01:07:13,600 --> 01:07:15,400
Speaker 4: I had fun with a girl who isn't to Panga.

1455
01:07:15,960 --> 01:07:18,160
Speaker 4: Sean admits he has a hard decision to make, so

1456
01:07:18,280 --> 01:07:20,280
Speaker 4: the two of them will figure it out scientifically.

1457
01:07:20,560 --> 01:07:22,320
Speaker 2: He grabs a scale and some jelly beans.

1458
01:07:22,520 --> 01:07:24,520
Speaker 4: Also, by the way, I had fun with a girl

1459
01:07:24,560 --> 01:07:26,800
Speaker 4: who wasn't to Penga was exactly what he was saying

1460
01:07:26,880 --> 01:07:29,800
Speaker 4: in the Ski Lodge episode. I spent all night talking

1461
01:07:29,840 --> 01:07:31,880
Speaker 4: to a girl who wasn't to Panga. And then in

1462
01:07:31,960 --> 01:07:33,720
Speaker 4: the next episode, when he knew he had kind of

1463
01:07:33,800 --> 01:07:36,360
Speaker 4: done something wrong, he was saying, I did that, and

1464
01:07:36,480 --> 01:07:38,360
Speaker 4: I lied about it, and I blah blah blah.

1465
01:07:38,400 --> 01:07:40,640
Speaker 2: And then in this episode he's like, oh, I did

1466
01:07:40,840 --> 01:07:42,840
Speaker 2: nothing wrong. That was weird.

1467
01:07:43,400 --> 01:07:43,640
Speaker 4: Ah.

1468
01:07:44,240 --> 01:07:44,439
Speaker 2: Yeah.

1469
01:07:44,720 --> 01:07:47,320
Speaker 3: Yeah, it's just just characters. Yeah, we're all just there

1470
01:07:47,360 --> 01:07:48,280
Speaker 3: to talk talk it out.

1471
01:07:48,920 --> 01:07:51,920
Speaker 4: Sean starts with personality. He asks Corey which of the

1472
01:07:51,960 --> 01:07:54,400
Speaker 4: girls makes him laugh. Corey Warren seawan they will not

1473
01:07:54,560 --> 01:07:57,560
Speaker 4: decide the rest of his life with jelly beans. Sean scots, then,

1474
01:07:57,600 --> 01:07:59,600
Speaker 4: who is going to decide the rest of your life?

1475
01:07:59,680 --> 01:07:59,720
Speaker 1: You?

1476
01:08:00,320 --> 01:08:01,200
Speaker 2: Which is so funny.

1477
01:08:01,440 --> 01:08:04,280
Speaker 1: This, by the way, is the ultimate sitcom trope. This

1478
01:08:04,400 --> 01:08:08,040
Speaker 1: has been done on every sitcom. Let's make the list,

1479
01:08:08,560 --> 01:08:10,640
Speaker 1: well the list of let's do a pros and cons list.

1480
01:08:10,640 --> 01:08:13,000
Speaker 1: All right, let's talk about why it was done on Friends.

1481
01:08:13,040 --> 01:08:15,720
Speaker 1: It was done, and it's done in every sitcom. Was like, okay, well,

1482
01:08:16,320 --> 01:08:20,120
Speaker 1: we're allowed the standard sitcom trope occasionally because this one.

1483
01:08:20,160 --> 01:08:21,400
Speaker 2: We've seen this a thousand times.

1484
01:08:22,560 --> 01:08:24,400
Speaker 3: The Boys Apartment just has a scale.

1485
01:08:24,840 --> 01:08:28,240
Speaker 2: Yeah, it had plants on it. Yeah, well, obviously it

1486
01:08:28,360 --> 01:08:29,280
Speaker 2: was a decorative scale.

1487
01:08:29,360 --> 01:08:31,400
Speaker 4: It was a decorative scale for plants.

1488
01:08:31,439 --> 01:08:33,720
Speaker 1: That's obviously none of you guys have bought weed back

1489
01:08:33,760 --> 01:08:35,320
Speaker 1: in the nineties, So that's what you would do, is

1490
01:08:35,360 --> 01:08:37,560
Speaker 1: your scale would be up there and then they'd have

1491
01:08:37,760 --> 01:08:39,439
Speaker 1: plants on it so it didn't look like it was

1492
01:08:39,479 --> 01:08:41,439
Speaker 1: a scale, and then the guy would go way out

1493
01:08:41,479 --> 01:08:43,800
Speaker 1: your weed of course, of course.

1494
01:08:45,320 --> 01:08:47,880
Speaker 2: Or something the weed out of the Boys Apartment. Well,

1495
01:08:47,920 --> 01:08:49,040
Speaker 2: if you've got those kind.

1496
01:08:48,920 --> 01:08:51,880
Speaker 1: Of scales in the nineties, the chances are you got

1497
01:08:51,960 --> 01:08:53,360
Speaker 1: you're selling some kind of weed.

1498
01:08:53,400 --> 01:08:56,840
Speaker 2: I mean you're seeing Okay, so that's actually not a

1499
01:08:57,560 --> 01:08:58,040
Speaker 2: for the apartment.

1500
01:08:58,040 --> 01:08:59,840
Speaker 1: In all fairness, that's not a weed scale, but still

1501
01:09:00,160 --> 01:09:03,200
Speaker 1: was like to have a scale and scales, Well, it's

1502
01:09:03,240 --> 01:09:05,680
Speaker 1: just the old school scale. You'd go to like some

1503
01:09:05,920 --> 01:09:07,519
Speaker 1: I can't believe we're having this conversation, but you'd go

1504
01:09:07,640 --> 01:09:10,840
Speaker 1: to some like somebody's house and they would have it

1505
01:09:10,960 --> 01:09:12,719
Speaker 1: was that old school scale where you'd have a scale

1506
01:09:12,760 --> 01:09:14,280
Speaker 1: on one side and then the three things where you

1507
01:09:14,760 --> 01:09:17,479
Speaker 1: like do the oh yeah, yeah, and they'd weig out

1508
01:09:17,520 --> 01:09:19,080
Speaker 1: an eighth or a quarter or whatever it was, and

1509
01:09:19,160 --> 01:09:20,559
Speaker 1: then you take your weed and you'd.

1510
01:09:20,439 --> 01:09:22,200
Speaker 2: Go, so, yeah, if you had a scale.

1511
01:09:22,200 --> 01:09:24,240
Speaker 1: If you're three young guys living in an apartment like

1512
01:09:24,280 --> 01:09:26,960
Speaker 1: that and there's a scale, somebody's selling weed.

1513
01:09:27,200 --> 01:09:29,040
Speaker 4: Now we know how Sean's affording the apartment.

1514
01:09:29,240 --> 01:09:29,760
Speaker 2: There you go.

1515
01:09:31,840 --> 01:09:34,120
Speaker 3: I was like, I'm not gonna not gonna say anything. Well, no,

1516
01:09:34,439 --> 01:09:36,120
Speaker 3: I was gonna make a joke about this explained some

1517
01:09:36,200 --> 01:09:38,559
Speaker 3: of Eric's behavior. But I was like, no, Eric doesn't

1518
01:09:38,560 --> 01:09:41,639
Speaker 3: seem like a star. Eric's on maybe coke.

1519
01:09:43,439 --> 01:09:43,599
Speaker 1: Eric.

1520
01:09:44,080 --> 01:09:45,639
Speaker 2: Eric is high on life and paint.

1521
01:09:46,160 --> 01:09:46,439
Speaker 5: That's what.

1522
01:09:48,760 --> 01:09:52,160
Speaker 2: Sean wouldn't smoke weed, but he'd sell it. I think

1523
01:09:52,600 --> 01:09:53,000
Speaker 2: Eric is a.

1524
01:09:53,080 --> 01:09:53,800
Speaker 3: Laughing gas guy.

1525
01:09:53,880 --> 01:09:59,280
Speaker 1: He's on nitrous, he's on whippets all the time.

1526
01:10:01,360 --> 01:10:03,920
Speaker 4: Corey understands, okay, but don't use the red ones. I

1527
01:10:04,000 --> 01:10:06,880
Speaker 4: want to eat those Sean asks again, who makes you laugh?

1528
01:10:07,160 --> 01:10:09,680
Speaker 4: Corey initially answers to Panga, but admits that Lauren makes

1529
01:10:09,720 --> 01:10:12,839
Speaker 4: him laugh too. Sean grants each of the girls one jellybean.

1530
01:10:13,200 --> 01:10:15,240
Speaker 4: He follows up, which girl would you rather have deep

1531
01:10:15,320 --> 01:10:18,640
Speaker 4: conversations with? Corey knows he can talk to Tapanga about anything, but.

1532
01:10:19,160 --> 01:10:22,080
Speaker 3: All of these answers are so generic. It just it

1533
01:10:22,200 --> 01:10:23,960
Speaker 3: was like so clear to me that they did not

1534
01:10:24,200 --> 01:10:28,080
Speaker 3: develop Topanga's character enough and Corey and Tapanga's relationship enough

1535
01:10:28,120 --> 01:10:31,680
Speaker 3: to have very specific, good answers to these questions. I mean,

1536
01:10:31,720 --> 01:10:33,800
Speaker 3: it makes sense that with Lauren he's just feeling and

1537
01:10:33,880 --> 01:10:35,439
Speaker 3: he doesn't have all the answers, or he can be

1538
01:10:35,560 --> 01:10:37,439
Speaker 3: kind of generic, but he should be able to say

1539
01:10:38,280 --> 01:10:40,360
Speaker 3: the time that I told Tapanga about this, or the

1540
01:10:40,479 --> 01:10:42,880
Speaker 3: fact that she said this this one time where oh

1541
01:10:42,960 --> 01:10:45,400
Speaker 3: my gosh, this we laughed so hard that milk came

1542
01:10:45,439 --> 01:10:47,479
Speaker 3: out of my nose this time. Of course it's Tapanga,

1543
01:10:47,560 --> 01:10:51,280
Speaker 3: but then Lauren. But it's so generic. Like to me,

1544
01:10:51,400 --> 01:10:54,240
Speaker 3: this dialogue just it drove me up the wall. And

1545
01:10:54,360 --> 01:10:57,639
Speaker 3: I don't know if I blame our writers for this scene.

1546
01:10:57,760 --> 01:11:00,200
Speaker 3: I don't blame Matt Nelson for this scene, but I

1547
01:11:00,280 --> 01:11:03,599
Speaker 3: blame them in general for not developing enough of a character,

1548
01:11:03,720 --> 01:11:06,800
Speaker 3: but a relationship between Corey and Topanga to have real

1549
01:11:06,880 --> 01:11:07,439
Speaker 3: answers here.

1550
01:11:07,800 --> 01:11:10,280
Speaker 1: Yeah, at least even you could fake it, you know

1551
01:11:10,320 --> 01:11:11,920
Speaker 1: what I mean? Like, oh, when you touch this one

1552
01:11:11,960 --> 01:11:13,640
Speaker 1: part of her arm, she giggles every time, like, here

1553
01:11:13,640 --> 01:11:15,760
Speaker 1: you go. You can make up tiny little things that

1554
01:11:16,479 --> 01:11:17,439
Speaker 1: specific to Tepanga.

1555
01:11:17,560 --> 01:11:21,880
Speaker 4: Yeah again, Sean grants each side another jelly bean. Sean

1556
01:11:21,960 --> 01:11:26,120
Speaker 4: turns to honesty. Which girl can Corey trust the most? Meanwhile,

1557
01:11:26,280 --> 01:11:29,840
Speaker 4: nothing about Corey, how freaking untrustworthy?

1558
01:11:29,920 --> 01:11:30,240
Speaker 1: He is?

1559
01:11:30,680 --> 01:11:36,200
Speaker 2: Just the girls? Which one is not amazing? Danielle waged, Yeah, well,

1560
01:11:36,280 --> 01:11:38,479
Speaker 2: no man was weighed in the nineties. Just the women.

1561
01:11:39,200 --> 01:11:42,200
Speaker 4: Corey says, Topanga's the most honest person I've ever met.

1562
01:11:42,400 --> 01:11:45,040
Speaker 4: Sean exclaims that's a double beaner, and I'm gonna use

1563
01:11:45,080 --> 01:11:48,000
Speaker 4: red the Corey adds, Lauren's been honest with me from

1564
01:11:48,040 --> 01:11:51,200
Speaker 4: the very beginning. Seawan begrudgingly gives Lauren's side two more

1565
01:11:51,280 --> 01:11:54,240
Speaker 4: jelly beans as well. The camera shows the scale weighing

1566
01:11:54,320 --> 01:11:57,920
Speaker 4: dead even supposedly, although it's absolutely not dead even, But.

1567
01:11:57,960 --> 01:12:02,400
Speaker 3: Also, why does Sean give her two all? Because too

1568
01:12:02,920 --> 01:12:07,320
Speaker 3: I know, But for how many encounters versus Tapenga's lifetime of.

1569
01:12:07,320 --> 01:12:10,160
Speaker 4: Being I think the double beaner is not about how

1570
01:12:10,240 --> 01:12:13,280
Speaker 4: many times, it's just about honesty is more important than

1571
01:12:13,360 --> 01:12:16,920
Speaker 4: any other thing. So, okay, so you can tell you

1572
01:12:17,000 --> 01:12:18,639
Speaker 4: can you can trust a Pega, but she's the most

1573
01:12:18,680 --> 01:12:21,599
Speaker 4: honest person. That's a double beaner. Honesty is very important.

1574
01:12:21,600 --> 01:12:23,960
Speaker 4: And then oh you can you can trust Lauren too.

1575
01:12:24,800 --> 01:12:26,960
Speaker 4: She also gets to jellybeans, can we can we?

1576
01:12:27,040 --> 01:12:29,000
Speaker 1: Yeah, well call it something else, because giving somebody a

1577
01:12:29,040 --> 01:12:30,479
Speaker 1: double beaner just sounds really weird to me.

1578
01:12:31,760 --> 01:12:33,679
Speaker 2: I'm sorry, it's again, I give her a double beaner.

1579
01:12:34,760 --> 01:12:40,519
Speaker 4: What Sean decides his next question will be very important.

1580
01:12:41,000 --> 01:12:44,680
Speaker 4: Who's got the better you know, who's got the perfume?

1581
01:12:44,840 --> 01:12:44,880
Speaker 1: Go?

1582
01:12:45,040 --> 01:12:48,479
Speaker 4: And who do you see yourself? And then ce dirty laugh.

1583
01:12:49,320 --> 01:12:50,519
Speaker 4: Corey's eyebrows raised.

1584
01:12:50,680 --> 01:12:53,120
Speaker 2: Oh yeah, this just the read.

1585
01:12:53,240 --> 01:12:54,200
Speaker 4: I think the whole thing is.

1586
01:12:55,640 --> 01:12:57,519
Speaker 1: I think there's a way to ask it, or I

1587
01:12:57,560 --> 01:12:59,120
Speaker 1: think there's a way to bring up like who are

1588
01:12:59,120 --> 01:12:59,679
Speaker 1: you attracted?

1589
01:13:00,120 --> 01:13:01,200
Speaker 2: Yes, they're clearly going.

1590
01:13:01,120 --> 01:13:04,240
Speaker 3: For the joke, but just watching myself good it was like, yeah,

1591
01:13:04,240 --> 01:13:06,120
Speaker 3: I ever want to myself.

1592
01:13:06,000 --> 01:13:07,560
Speaker 2: About when he comes back with like she's got the

1593
01:13:07,600 --> 01:13:09,680
Speaker 2: great bing bongs and the like what do you what?

1594
01:13:10,080 --> 01:13:11,519
Speaker 1: What? What? What are we?

1595
01:13:11,720 --> 01:13:12,559
Speaker 2: What are we discussing?

1596
01:13:13,080 --> 01:13:14,920
Speaker 1: I actually think it would have been good if it

1597
01:13:15,040 --> 01:13:18,000
Speaker 1: was just way abstract, you know, like it was way

1598
01:13:18,040 --> 01:13:20,080
Speaker 1: over the top, where if we had been more wilfred

1599
01:13:20,080 --> 01:13:21,680
Speaker 1: Ell in this moment where you know, it was like

1600
01:13:21,720 --> 01:13:23,639
Speaker 1: we're speaking in code and whatever.

1601
01:13:23,880 --> 01:13:24,960
Speaker 3: It doesn't make any sense.

1602
01:13:25,040 --> 01:13:28,719
Speaker 1: It's like, I mean, but you know the double beaner

1603
01:13:28,800 --> 01:13:30,720
Speaker 1: that you know, whatever it is, like it would have

1604
01:13:30,760 --> 01:13:33,800
Speaker 1: been and it's not actually like it's so obvious what

1605
01:13:33,880 --> 01:13:35,760
Speaker 1: we're talking about, and then trying I don't know.

1606
01:13:36,120 --> 01:13:38,920
Speaker 2: Yeah, it's like you guys are talking in wing edings. Yeah,

1607
01:13:39,080 --> 01:13:40,760
Speaker 2: exactly exactly.

1608
01:13:41,560 --> 01:13:43,800
Speaker 4: Well there's only one to Panga and she's got the

1609
01:13:43,920 --> 01:13:46,519
Speaker 4: ha ha ha with the raw ra and the hackety hockety.

1610
01:13:46,840 --> 01:13:48,320
Speaker 2: What does that mean? Please?

1611
01:13:48,479 --> 01:13:50,679
Speaker 4: I don't know, but that's why I'm kind of saying

1612
01:13:50,760 --> 01:13:52,680
Speaker 4: the writer, I mean, I guess the only thing is

1613
01:13:52,800 --> 01:13:55,200
Speaker 4: that you could have replaced words that we actually know

1614
01:13:55,439 --> 01:13:58,080
Speaker 4: like ha ha ha and raw raw with more things

1615
01:13:58,200 --> 01:14:00,760
Speaker 4: like hackety hockety that are just.

1616
01:14:03,080 --> 01:14:05,040
Speaker 3: Exactly That's what I would have done, and then have

1617
01:14:05,280 --> 01:14:08,560
Speaker 3: Sean respond like he knows those and like add to

1618
01:14:08,640 --> 01:14:10,680
Speaker 3: them well the boom boop with a little bit of

1619
01:14:10,960 --> 01:14:14,040
Speaker 3: a top. We keep going back and we actually start

1620
01:14:14,080 --> 01:14:16,400
Speaker 3: having a conversation that we just know each other so well,

1621
01:14:16,479 --> 01:14:17,599
Speaker 3: but we're saying nothing.

1622
01:14:17,680 --> 01:14:19,320
Speaker 2: Well, what's great? Then as you end it by going,

1623
01:14:19,400 --> 01:14:20,320
Speaker 2: do you know what we're talking about?

1624
01:14:20,400 --> 01:14:23,760
Speaker 3: Like, no, I have thought lost, I thought I lost

1625
01:14:23,840 --> 01:14:24,800
Speaker 3: track three bee beans?

1626
01:14:25,240 --> 01:14:30,759
Speaker 2: Ex you lost? Yeah, but you had met exactly.

1627
01:14:31,520 --> 01:14:34,479
Speaker 4: Sean smirks, oh yeah, and he drops a handful of

1628
01:14:34,560 --> 01:14:37,640
Speaker 4: jelly beans onto Tapanga scale. Corey doesn't stop there, but

1629
01:14:37,760 --> 01:14:41,799
Speaker 4: there's nothing like being inside Lauren's jacket. Sean's visibly surprised

1630
01:14:42,080 --> 01:14:46,360
Speaker 4: what Corey simply responds, just pour the beans. Sean does so,

1631
01:14:46,520 --> 01:14:49,120
Speaker 4: and we see the scale again, which continues to stand

1632
01:14:49,360 --> 01:14:52,280
Speaker 4: even but now even less so because we are dealing

1633
01:14:52,360 --> 01:14:54,040
Speaker 4: with a lot of unique jelly beans.

1634
01:14:54,200 --> 01:14:54,920
Speaker 2: By this point.

1635
01:14:55,120 --> 01:14:57,920
Speaker 4: The scale is literally they're like showing it. Look how

1636
01:14:58,000 --> 01:15:00,280
Speaker 4: even it is, and it's fully like this. I thought

1637
01:15:01,200 --> 01:15:03,640
Speaker 4: the scale had like a time commitment and like like

1638
01:15:03,760 --> 01:15:05,600
Speaker 4: Linda Cardelini had to get out of there, and he

1639
01:15:05,720 --> 01:15:14,759
Speaker 4: did not have time to do the business scale busy

1640
01:15:14,840 --> 01:15:20,040
Speaker 4: at scale and showbiz, Sean tells his best friend, it's

1641
01:15:20,080 --> 01:15:22,759
Speaker 4: a tie you like Lauren as much as you like Topanga,

1642
01:15:22,800 --> 01:15:24,599
Speaker 4: and you can't live without either of them.

1643
01:15:25,120 --> 01:15:27,200
Speaker 2: He realizes this may not have been the best idea.

1644
01:15:27,520 --> 01:15:30,519
Speaker 4: The scale is absolutely becoming less even and getting an

1645
01:15:30,520 --> 01:15:32,200
Speaker 4: even shot of the sky. This was something I was

1646
01:15:32,240 --> 01:15:34,639
Speaker 4: supposed to say earlier. But yes, it's the scale wouldn't

1647
01:15:34,640 --> 01:15:39,599
Speaker 4: work past a certain time. It's an afternoon scale. Well

1648
01:15:39,680 --> 01:15:40,320
Speaker 4: cut that okay?

1649
01:15:40,400 --> 01:15:41,640
Speaker 3: What scale is the scale on?

1650
01:15:42,560 --> 01:15:43,800
Speaker 2: SAG scale scale.

1651
01:15:45,600 --> 01:15:50,280
Speaker 4: Sagplus ten, scale plus ten scalels. Corey disagrees this was

1652
01:15:50,439 --> 01:15:53,360
Speaker 4: a good idea. Yeah, I like Lauren, I like spending

1653
01:15:53,400 --> 01:15:55,680
Speaker 4: time with her, but I can live without her. I

1654
01:15:55,800 --> 01:15:58,360
Speaker 4: can't live without Tapanga. He grabs the bag full of

1655
01:15:58,439 --> 01:16:00,920
Speaker 4: jelly beans and happily places it on to panga side,

1656
01:16:01,200 --> 01:16:04,200
Speaker 4: telling Sean it's no contest. He walks out of the

1657
01:16:04,240 --> 01:16:07,880
Speaker 4: door like a man on a mission. Why why not idea?

1658
01:16:08,160 --> 01:16:11,360
Speaker 3: What is the moment? It's just that he changes his mind,

1659
01:16:12,080 --> 01:16:13,640
Speaker 3: So it's just an exercise.

1660
01:16:13,320 --> 01:16:15,760
Speaker 4: Too, because at first it made no sense. But then

1661
01:16:15,800 --> 01:16:18,240
Speaker 4: I think the fact that Sean says. The last thing

1662
01:16:18,320 --> 01:16:20,920
Speaker 4: Sean says is you like them both equally and you

1663
01:16:21,080 --> 01:16:23,839
Speaker 4: can't live without either one of them, And that triggers

1664
01:16:23,920 --> 01:16:29,280
Speaker 4: something in Corey's mind, huh No, could I live without Lauren?

1665
01:16:29,920 --> 01:16:31,840
Speaker 2: Yes, yeah, yeah I can.

1666
01:16:32,240 --> 01:16:33,960
Speaker 4: And so I do think it's the fact that Sean

1667
01:16:34,080 --> 01:16:36,880
Speaker 4: says that that then makes Cory go, I am going

1668
01:16:36,920 --> 01:16:39,040
Speaker 4: to pretend that's another question that you just asked me.

1669
01:16:39,120 --> 01:16:41,000
Speaker 2: On the scale, which one can you not live without?

1670
01:16:41,479 --> 01:16:45,400
Speaker 2: That's again the way they did it on Friends. It's

1671
01:16:45,680 --> 01:16:46,280
Speaker 2: Ross and.

1672
01:16:48,040 --> 01:16:51,600
Speaker 1: Chandler, and Ross is going back and forth between the

1673
01:16:51,760 --> 01:16:55,280
Speaker 1: new girl that he's dating and Rachel and it comes

1674
01:16:55,320 --> 01:16:56,720
Speaker 1: to the same thing where they're equal at the end,

1675
01:16:56,760 --> 01:16:58,439
Speaker 1: and he goes, all right, so what's the problem then,

1676
01:16:58,560 --> 01:17:01,040
Speaker 1: and his great last line is she's not Rachel.

1677
01:17:01,800 --> 01:17:02,080
Speaker 2: That's it.

1678
01:17:02,160 --> 01:17:03,920
Speaker 1: That's all you needed to say, is like, it doesn't

1679
01:17:03,960 --> 01:17:06,240
Speaker 1: matter if it's equal, she's not her and I love

1680
01:17:06,320 --> 01:17:08,600
Speaker 1: her for our episode or I don't know when it was,

1681
01:17:08,760 --> 01:17:10,400
Speaker 1: I don't know exactly what it was, but that was

1682
01:17:10,400 --> 01:17:12,120
Speaker 1: a great way he was just like, she's not Rachel.

1683
01:17:12,360 --> 01:17:14,920
Speaker 2: That's that's the problem. That's where that tips the balance.

1684
01:17:15,000 --> 01:17:17,640
Speaker 2: That's it. And so there was yeah, better version of that.

1685
01:17:17,760 --> 01:17:20,120
Speaker 1: I thought, all right, well, but the scale did have

1686
01:17:20,240 --> 01:17:22,759
Speaker 1: the boo.

1687
01:17:21,920 --> 01:17:26,720
Speaker 2: In the week week and and then we are in

1688
01:17:26,800 --> 01:17:27,760
Speaker 2: Phoenie's classroom.

1689
01:17:27,840 --> 01:17:30,519
Speaker 4: There's a b story. Remember the Bee story. Guys, No,

1690
01:17:31,400 --> 01:17:33,160
Speaker 4: Eric is still playing teacher.

1691
01:17:33,400 --> 01:17:35,559
Speaker 3: Maybe there's also laughs in this bet story.

1692
01:17:36,240 --> 01:17:36,680
Speaker 2: Yeah, I know.

1693
01:17:36,800 --> 01:17:39,800
Speaker 4: It's so it's it's such a great story, and yet

1694
01:17:39,840 --> 01:17:41,160
Speaker 4: it's the whole episode is so.

1695
01:17:41,360 --> 01:17:44,400
Speaker 2: Like, yeah, it's very we're getting melodramatic. Now, Will in

1696
01:17:44,560 --> 01:17:46,320
Speaker 2: this scene, you know who? I thought you looked like

1697
01:17:47,439 --> 01:17:48,280
Speaker 2: Jerry Levine?

1698
01:17:49,160 --> 01:17:51,880
Speaker 1: Really, yes, I was gonna say Brad Pitt, but I

1699
01:17:51,920 --> 01:17:54,559
Speaker 1: can see that Jerry Levin had a.

1700
01:17:54,640 --> 01:17:58,320
Speaker 2: Mock turtle Yeah, a mock turtleneck and a blazer. And

1701
01:17:58,920 --> 01:18:02,440
Speaker 2: I was just hugging everybody. Yeah, so many hugs.

1702
01:18:02,080 --> 01:18:05,920
Speaker 4: From the center man. The same front row student, Raj

1703
01:18:06,040 --> 01:18:08,240
Speaker 4: picks a card from a deck and Raj exclaims I'm

1704
01:18:08,280 --> 01:18:11,160
Speaker 4: lucky enough to have picked an ACE. The class congratulates him,

1705
01:18:11,160 --> 01:18:14,599
Speaker 4: and Eric announces, ooh okay, category is pop culture. Raj

1706
01:18:14,680 --> 01:18:16,639
Speaker 4: stands in front of the class and recites Ace Ventura

1707
01:18:16,720 --> 01:18:19,760
Speaker 4: pet detective launched the career of Jim Carrey. Then we

1708
01:18:19,880 --> 01:18:23,400
Speaker 4: see Phoene standing in the doorway, screaming, do nothing.

1709
01:18:23,640 --> 01:18:26,679
Speaker 2: It's such a great just him standing there do nothing.

1710
01:18:27,240 --> 01:18:30,519
Speaker 4: So I also love that you must have been the

1711
01:18:30,600 --> 01:18:33,799
Speaker 4: one to please let us use a Jim Carroy.

1712
01:18:34,360 --> 01:18:36,240
Speaker 3: I doubt I said, I think Jim Carrey was what

1713
01:18:36,400 --> 01:18:40,360
Speaker 3: they thought. The referenced Will as Jim as their Jim Carroll,

1714
01:18:40,400 --> 01:18:42,200
Speaker 3: and Kendall said it. He's like, so, I think the

1715
01:18:42,240 --> 01:18:46,000
Speaker 3: writers just love that Will was like Jim car you know.

1716
01:18:47,800 --> 01:18:50,320
Speaker 4: Eric stares at him blankly. Phoene goes on, I said

1717
01:18:50,560 --> 01:18:53,400
Speaker 4: all I wanted you to do was nothing. Just watch

1718
01:18:53,520 --> 01:18:57,040
Speaker 4: them take the test. Eric admits, no tests, store them up.

1719
01:18:57,280 --> 01:18:59,799
Speaker 4: Phoene's flabbergasted, but Eric explains his process.

1720
01:19:00,040 --> 01:19:01,360
Speaker 2: I understand what you were doing.

1721
01:19:01,760 --> 01:19:04,400
Speaker 4: You were testing me to see if I had initiative.

1722
01:19:04,720 --> 01:19:08,400
Speaker 4: You think I should be a teacher. Phoene is disgusted. No,

1723
01:19:08,760 --> 01:19:13,720
Speaker 4: I don't quite so funny. I just wanted you to

1724
01:19:13,840 --> 01:19:16,599
Speaker 4: pass out the test. And what has ace Ventura got

1725
01:19:16,640 --> 01:19:19,559
Speaker 4: to do with United States citizenship? Eric, for the love

1726
01:19:19,680 --> 01:19:22,679
Speaker 4: of God, Eric interjects, mister Feoenie, if you don't mind,

1727
01:19:22,720 --> 01:19:24,800
Speaker 4: I'm in the middle of teaching a class. Okay, he

1728
01:19:24,920 --> 01:19:28,200
Speaker 4: shouts to another student, Min, it's her turn. Min picks

1729
01:19:28,200 --> 01:19:31,000
Speaker 4: a king out of Eric's deck. Phoene takes some guesses

1730
01:19:31,360 --> 01:19:36,439
Speaker 4: King Kong, Don King, Donkey Kong King. Eric says, those

1731
01:19:36,479 --> 01:19:38,840
Speaker 4: were great answers, except for the donkey Kong King. But

1732
01:19:39,320 --> 01:19:42,679
Speaker 4: Phoene can't play. He's already a US citizen. Eric tells

1733
01:19:42,760 --> 01:19:45,479
Speaker 4: men the category is civil rights. Min stands up and

1734
01:19:45,520 --> 01:19:48,200
Speaker 4: recites a portion of Martin Luther King's I Have a

1735
01:19:48,280 --> 01:19:50,760
Speaker 4: Dream speech, which gets her a round of applause from

1736
01:19:50,800 --> 01:19:55,519
Speaker 4: the class. Phoene admits, although unorthodox, I'm very impressed with

1737
01:19:55,600 --> 01:19:59,120
Speaker 4: your teaching methods, mister Matthews. Another student chimes in, You know,

1738
01:19:59,240 --> 01:20:01,640
Speaker 4: mister Feene, all of us from different backgrounds are like

1739
01:20:01,720 --> 01:20:04,599
Speaker 4: cards in a deck. Raj continues. Some cards are red,

1740
01:20:04,760 --> 01:20:07,080
Speaker 4: some cards are black, some are kings and queens, and

1741
01:20:07,200 --> 01:20:10,479
Speaker 4: some are sixes and sevens. Men finishes the thought. But

1742
01:20:10,600 --> 01:20:13,360
Speaker 4: without even one of them, the deck of cards doesn't work.

1743
01:20:13,680 --> 01:20:16,200
Speaker 4: And that's what mister Matthew says is America.

1744
01:20:16,560 --> 01:20:20,360
Speaker 1: It's a great analogy. It actually is a pretty great work. Yeah,

1745
01:20:20,439 --> 01:20:21,800
Speaker 1: it worked really really well.

1746
01:20:21,960 --> 01:20:22,160
Speaker 3: Yep.

1747
01:20:22,520 --> 01:20:25,799
Speaker 2: And it's simple enough that I believe Eric could have thought.

1748
01:20:25,640 --> 01:20:27,280
Speaker 1: Of it, Yep, could have figured it out. Just not

1749
01:20:27,439 --> 01:20:30,880
Speaker 1: a box enough, but yeah, absolutely, Like I just love

1750
01:20:31,120 --> 01:20:33,960
Speaker 1: that Eric Phoene's himself, Yes, do you know what I mean?

1751
01:20:34,040 --> 01:20:35,680
Speaker 3: And I actually wish we had a couple more lines

1752
01:20:35,680 --> 01:20:37,080
Speaker 3: about that because I just loved that idea, where a

1753
01:20:37,120 --> 01:20:40,200
Speaker 3: Phoenie being like I did not intend that, and Eric

1754
01:20:40,240 --> 01:20:42,639
Speaker 3: being like, yes, you did, and this is all part

1755
01:20:42,680 --> 01:20:45,200
Speaker 3: of your plan because you're a genius, and then maybe

1756
01:20:45,240 --> 01:20:46,840
Speaker 3: Phoene just goes all right, fine, I'm a genius. I

1757
01:20:47,040 --> 01:20:48,240
Speaker 3: intended to I planned it.

1758
01:20:48,400 --> 01:20:50,880
Speaker 4: I planned all this so funny, And then we're in

1759
01:20:51,000 --> 01:20:53,839
Speaker 4: Choby's Corey sitting at a booth alone. When Tapanga arrives.

1760
01:20:54,000 --> 01:20:55,840
Speaker 4: He's excited to see her and wants to tell her

1761
01:20:55,880 --> 01:20:58,720
Speaker 4: everything that happened. I went out with Lauren, and I'm

1762
01:20:58,720 --> 01:21:00,519
Speaker 4: not going to lie to you. We had a great time.

1763
01:21:00,920 --> 01:21:04,120
Speaker 4: Topeka's not surprised. Lauren's a nice girl. I knew you'd

1764
01:21:04,160 --> 01:21:06,760
Speaker 4: have fun, Corey admits, but I didn't know I was

1765
01:21:06,800 --> 01:21:09,960
Speaker 4: allowed to. He explains. When I first met Lauren, she

1766
01:21:10,160 --> 01:21:12,559
Speaker 4: was the first girl besides you, that I ever thought

1767
01:21:12,600 --> 01:21:14,719
Speaker 4: I could like, and that made me feel bad because

1768
01:21:14,720 --> 01:21:17,479
Speaker 4: I thought if I liked another girl, it somehow meant

1769
01:21:17,560 --> 01:21:22,040
Speaker 4: that I liked you less. Tapanga apologizes, sorry you felt bad,

1770
01:21:22,600 --> 01:21:24,439
Speaker 4: Corey and her Jack's no, it's good that I went

1771
01:21:24,479 --> 01:21:27,000
Speaker 4: through this. It taught me that liking someone else could

1772
01:21:27,040 --> 01:21:30,040
Speaker 4: never ever take away from loving you, And I don't

1773
01:21:30,120 --> 01:21:31,880
Speaker 4: have to be afraid of what I feel for anyone

1774
01:21:31,920 --> 01:21:34,120
Speaker 4: else because I know that it could never take away

1775
01:21:34,160 --> 01:21:36,880
Speaker 4: from loving you, and I always will and I know

1776
01:21:37,080 --> 01:21:41,320
Speaker 4: that completely. Now Tapanga understands and asks if there's anything

1777
01:21:41,360 --> 01:21:43,320
Speaker 4: else he has to tell her. He ponders this for

1778
01:21:43,400 --> 01:21:46,760
Speaker 4: a moment, whispering aloud, love you completely know that now

1779
01:21:46,920 --> 01:21:47,599
Speaker 4: always will.

1780
01:21:47,880 --> 01:21:52,759
Speaker 3: Love this great? I mean Ben's was just so good, Hiller,

1781
01:21:52,840 --> 01:21:55,360
Speaker 3: I I am so so funny.

1782
01:21:55,479 --> 01:21:57,000
Speaker 2: Great, No, that's it.

1783
01:21:57,640 --> 01:21:59,240
Speaker 4: He sits down on her side of the booth and

1784
01:21:59,320 --> 01:22:01,360
Speaker 4: asks if she can put him in her jacket, because

1785
01:22:01,400 --> 01:22:04,599
Speaker 4: he only wants to be in her jacket. Tapega takes

1786
01:22:04,600 --> 01:22:07,439
Speaker 4: a deep breath before finding the words I can't see

1787
01:22:07,479 --> 01:22:11,720
Speaker 4: you anymore. Corey shocked what Topeka asks do you have

1788
01:22:11,800 --> 01:22:12,840
Speaker 4: any idea how many.

1789
01:22:12,720 --> 01:22:13,360
Speaker 2: Guys hit on me?

1790
01:22:13,960 --> 01:22:17,200
Speaker 4: Corey doesn't understand what she's talking about. Tapega explains, I

1791
01:22:17,320 --> 01:22:18,559
Speaker 4: never needed to test my uch.

1792
01:22:18,640 --> 01:22:22,360
Speaker 1: I really like that line too, so true, It's so yeah,

1793
01:22:22,439 --> 01:22:25,320
Speaker 1: and it's it's such a perspective shift for Corey and

1794
01:22:25,560 --> 01:22:27,599
Speaker 1: our show in a lot of ways, because we've never

1795
01:22:28,000 --> 01:22:30,559
Speaker 1: we just always assume she's going to be the virgin

1796
01:22:30,680 --> 01:22:33,559
Speaker 1: or like you're saying, the pure, you know, wonderful, perfect,

1797
01:22:33,600 --> 01:22:36,400
Speaker 1: And I just love that she has a rich inner

1798
01:22:36,479 --> 01:22:39,479
Speaker 1: life and rich social life that he doesn't account for.

1799
01:22:39,920 --> 01:22:42,840
Speaker 1: And that single line does so much more than anything

1800
01:22:42,920 --> 01:22:45,960
Speaker 1: she says for the rest of the scene, because it's

1801
01:22:46,120 --> 01:22:49,040
Speaker 1: very specific, it's very like, it's not an abstract concept.

1802
01:22:49,120 --> 01:22:50,679
Speaker 1: It's like a lot of guys hit on me Corey

1803
01:22:50,840 --> 01:22:52,240
Speaker 1: all the time and I walk away.

1804
01:22:52,400 --> 01:22:54,200
Speaker 2: I just love that, and I love that well.

1805
01:22:54,320 --> 01:22:57,280
Speaker 4: It also explicitly ties into what Amy says in the

1806
01:22:57,360 --> 01:22:59,960
Speaker 4: kitchen for the rest of your life, you're going to

1807
01:23:00,240 --> 01:23:03,880
Speaker 4: have temptations and you're going to have chances where you

1808
01:23:04,000 --> 01:23:06,639
Speaker 4: have to make a choice. How you choose to handle

1809
01:23:06,720 --> 01:23:10,439
Speaker 4: them will decide everything. And up even up until this

1810
01:23:10,640 --> 01:23:14,720
Speaker 4: point in this scene Tapega has not said anything that

1811
01:23:14,880 --> 01:23:17,360
Speaker 4: belies what she said earlier in the episode.

1812
01:23:17,720 --> 01:23:20,880
Speaker 2: If anything, what I was waiting for her to say was, oh,

1813
01:23:21,760 --> 01:23:23,000
Speaker 2: you already made your choice.

1814
01:23:23,080 --> 01:23:23,280
Speaker 5: Yeah.

1815
01:23:23,280 --> 01:23:25,960
Speaker 4: I was waiting for her to say, yes, you made

1816
01:23:26,000 --> 01:23:28,960
Speaker 4: your choice the moment I told you that if you

1817
01:23:29,080 --> 01:23:30,679
Speaker 4: needed her, that meant.

1818
01:23:30,479 --> 01:23:32,920
Speaker 3: To me you like, Yeah, that's the line made it.

1819
01:23:33,120 --> 01:23:35,439
Speaker 3: That's the line I needed yeah. Instead it's left that

1820
01:23:35,600 --> 01:23:36,519
Speaker 3: it is kind of a trap.

1821
01:23:36,960 --> 01:23:39,479
Speaker 4: Yeah, and that is where it's literally that line where

1822
01:23:39,520 --> 01:23:42,880
Speaker 4: she says, and you listened, they threw her under the bus.

1823
01:23:43,040 --> 01:23:45,600
Speaker 2: What she should have said was I told you you

1824
01:23:45,720 --> 01:23:47,080
Speaker 2: had a choice to make, and you.

1825
01:23:47,200 --> 01:23:49,360
Speaker 3: Know what I said, Corey, think about what I said,

1826
01:23:49,680 --> 01:23:51,479
Speaker 3: and then you walk away. It was like, this was already,

1827
01:23:51,560 --> 01:23:53,720
Speaker 3: this was decided, you know. But the fact that she

1828
01:23:53,800 --> 01:23:56,000
Speaker 3: also lets him finish, like, is that all you have

1829
01:23:56,160 --> 01:23:56,479
Speaker 3: to say?

1830
01:23:57,320 --> 01:23:57,640
Speaker 1: I don't know.

1831
01:23:57,760 --> 01:23:59,639
Speaker 4: Well, because her saying is that all you have to say?

1832
01:23:59,640 --> 01:24:03,599
Speaker 4: I could see her being like, all right, well, I'm

1833
01:24:03,640 --> 01:24:04,960
Speaker 4: not sure why you needed to say this to me.

1834
01:24:05,000 --> 01:24:06,200
Speaker 4: Oh because of what I'm telling you is I want

1835
01:24:06,240 --> 01:24:07,400
Speaker 4: to get back. I want to be together.

1836
01:24:07,520 --> 01:24:12,080
Speaker 2: Oh no, no, we already did that. That's why I

1837
01:24:12,240 --> 01:24:13,400
Speaker 2: like it was so annoying.

1838
01:24:13,439 --> 01:24:16,600
Speaker 4: It also reminds me of how we talked about the

1839
01:24:16,680 --> 01:24:18,920
Speaker 4: episode where Eric is dating the girl with the kid

1840
01:24:19,560 --> 01:24:21,640
Speaker 4: and he's like, just break up with me, okay if

1841
01:24:21,680 --> 01:24:22,800
Speaker 4: you if you don't want to be with me, just

1842
01:24:22,840 --> 01:24:25,360
Speaker 4: break up with me, and she goes, you know where

1843
01:24:25,439 --> 01:24:28,760
Speaker 4: to find me. That's what Tapanga was saying in a

1844
01:24:28,880 --> 01:24:32,760
Speaker 4: different way to Corey, which is I'm not going to

1845
01:24:32,880 --> 01:24:33,800
Speaker 4: force you to choose.

1846
01:24:34,840 --> 01:24:38,040
Speaker 2: You're a grown man. If you want to be with me,

1847
01:24:39,240 --> 01:24:41,840
Speaker 2: you should know that with me walk out with me.

1848
01:24:42,479 --> 01:24:46,479
Speaker 4: If you aren't sure, then you would need to stay,

1849
01:24:47,360 --> 01:24:49,679
Speaker 4: and I don't want to have to give you an ultimatum.

1850
01:24:49,760 --> 01:24:53,439
Speaker 4: What I'm telling you is, here's my here's my blanket statement.

1851
01:24:53,760 --> 01:24:55,360
Speaker 4: I don't want to be with someone who is not

1852
01:24:55,560 --> 01:24:58,200
Speaker 4: one hundred percent sure that they want to be with me.

1853
01:24:58,640 --> 01:25:02,120
Speaker 4: So if there is un finished business with this woman

1854
01:25:02,479 --> 01:25:06,400
Speaker 4: you barely know, then you should definitely stay and figure

1855
01:25:06,520 --> 01:25:07,160
Speaker 4: that out.

1856
01:25:07,680 --> 01:25:09,559
Speaker 2: Because here I am.

1857
01:25:09,760 --> 01:25:10,200
Speaker 1: You know me?

1858
01:25:10,520 --> 01:25:13,200
Speaker 2: Yeah, yeah, yeah, you've also already made your choice.

1859
01:25:13,439 --> 01:25:13,519
Speaker 1: Ye.

1860
01:25:13,640 --> 01:25:16,880
Speaker 4: By that point, ye, Tapenga explains, I never needed to

1861
01:25:16,960 --> 01:25:19,280
Speaker 4: test my feelings for you. I moved away from my

1862
01:25:19,400 --> 01:25:22,439
Speaker 4: parents in Pittsburgh to be close to you ever since

1863
01:25:22,520 --> 01:25:24,400
Speaker 4: we were kids. I felt like I belonged with you,

1864
01:25:24,600 --> 01:25:28,519
Speaker 4: and I would have given you everything. Corey earnestly tells her,

1865
01:25:28,840 --> 01:25:31,840
Speaker 4: I'm so sorry. Tapanga leans her head against his shoulder

1866
01:25:31,880 --> 01:25:34,639
Speaker 4: while her eyes well up with tears. Sad music plays

1867
01:25:34,680 --> 01:25:38,120
Speaker 4: in the background. She tells him, I forgive you. I

1868
01:25:38,240 --> 01:25:40,560
Speaker 4: forgive you for lying at the lodge. I forgive you

1869
01:25:40,680 --> 01:25:42,920
Speaker 4: for kissing her. And I forgive you for the letter

1870
01:25:43,400 --> 01:25:46,080
Speaker 4: which I read, and I know how intimately she felt

1871
01:25:46,120 --> 01:25:48,800
Speaker 4: about you, but that you needed to see her to

1872
01:25:48,960 --> 01:25:51,560
Speaker 4: test how you felt about me. I don't forgive you

1873
01:25:51,640 --> 01:25:55,040
Speaker 4: for that. Corey stands up and loudly shouts, no, you

1874
01:25:55,439 --> 01:25:57,040
Speaker 4: told me to see her, Tapanga.

1875
01:25:57,760 --> 01:25:59,920
Speaker 2: Now, yeah, your fault. Your fault is what they're saying.

1876
01:26:00,000 --> 01:26:04,120
Speaker 4: You told me to see how I felt. She grabs

1877
01:26:04,200 --> 01:26:06,240
Speaker 4: him and pulls him in for a hug. When she

1878
01:26:06,320 --> 01:26:09,479
Speaker 4: pulls away, she reminds him and you listened. And in

1879
01:26:09,680 --> 01:26:12,040
Speaker 4: those two lines what he says to her when he

1880
01:26:12,200 --> 01:26:14,960
Speaker 4: the words he puts in her mouth, and that she

1881
01:26:15,160 --> 01:26:18,280
Speaker 4: doesn't correct him, and that she says and you listened

1882
01:26:18,880 --> 01:26:20,519
Speaker 4: to me was where they threw her under the bus.

1883
01:26:20,720 --> 01:26:25,360
Speaker 3: It's also tonally, you know. And you know I don't

1884
01:26:25,400 --> 01:26:28,160
Speaker 3: necessarily blame Ben because it was It's a choice the

1885
01:26:28,200 --> 01:26:31,959
Speaker 3: whole Yeah team makes. He's so angry, he's so aggressive,

1886
01:26:32,080 --> 01:26:33,640
Speaker 3: and it could have been despair, do you know what

1887
01:26:33,680 --> 01:26:36,080
Speaker 3: I mean? It could have been sadness and despair and plaintive.

1888
01:26:36,320 --> 01:26:38,320
Speaker 3: It could have been like no, no, no, no, I

1889
01:26:38,920 --> 01:26:40,760
Speaker 3: you know, it could have been like I cannot believe

1890
01:26:40,800 --> 01:26:42,800
Speaker 3: this is happening right now, and instead it's it's like A,

1891
01:26:43,760 --> 01:26:45,760
Speaker 3: I you did this, and you sid and it's like

1892
01:26:45,840 --> 01:26:47,640
Speaker 3: it's like whoa, whoa, whoa, whoa I am I And

1893
01:26:47,720 --> 01:26:50,679
Speaker 3: it instantly turned me off. The tone of that exchange

1894
01:26:50,800 --> 01:26:53,240
Speaker 3: was like, you do not have a right to talk

1895
01:26:53,280 --> 01:26:55,080
Speaker 3: to somebody in this situation like that.

1896
01:26:55,200 --> 01:26:57,680
Speaker 1: Well, that's where it goes from drama to melodrama. That's right,

1897
01:26:58,040 --> 01:27:01,439
Speaker 1: those moments of take it in a and you told me.

1898
01:27:01,800 --> 01:27:03,639
Speaker 1: It's like, oh, okay, soap opery a little bit there

1899
01:27:03,640 --> 01:27:04,280
Speaker 1: at that point, right.

1900
01:27:04,760 --> 01:27:08,800
Speaker 3: Well, but also melodrama by definition is characters sort of

1901
01:27:08,880 --> 01:27:11,400
Speaker 3: like spinning their own wheels into emotions, right as opposed

1902
01:27:11,439 --> 01:27:12,360
Speaker 3: to the story.

1903
01:27:12,960 --> 01:27:15,160
Speaker 2: And this is that's scitating the emotion. Yeah, exactly.

1904
01:27:15,280 --> 01:27:19,120
Speaker 3: This is literally characters manipulatively speaking to each other, selectively

1905
01:27:19,200 --> 01:27:22,400
Speaker 3: speaking to each other in order for there to produce

1906
01:27:22,439 --> 01:27:26,200
Speaker 3: an emotional reaction or an emotional situation. That's not drama.

1907
01:27:26,560 --> 01:27:31,920
Speaker 3: Like drama is cross cross characters in conflict, inspiring emotions

1908
01:27:31,960 --> 01:27:35,560
Speaker 3: are eliciting emotions. And yeah, it's I'm afraid that a

1909
01:27:35,640 --> 01:27:38,080
Speaker 3: lot of the rest of boys world stays in the melody.

1910
01:27:38,200 --> 01:27:39,320
Speaker 2: That's what I'm worried about too.

1911
01:27:39,360 --> 01:27:42,800
Speaker 4: Yeah, we'll see Tapega walks away and Corey watches her leave.

1912
01:27:43,080 --> 01:27:45,240
Speaker 4: Sean passes here walking down the stairs, but she doesn't

1913
01:27:45,280 --> 01:27:47,880
Speaker 4: acknowledge him. Sean sees the look on his best friend's

1914
01:27:47,880 --> 01:27:52,600
Speaker 4: face and he tells him it's gonna be okay. Corey responds, no, no,

1915
01:27:52,760 --> 01:27:56,120
Speaker 4: it won't. And then we're at the tag in the courthouse.

1916
01:27:56,240 --> 01:27:58,560
Speaker 4: Not sure on how the tie in between the A

1917
01:27:58,720 --> 01:28:02,360
Speaker 4: and the B storyline come together there. I don't think

1918
01:28:02,400 --> 01:28:02,720
Speaker 4: there is.

1919
01:28:02,920 --> 01:28:08,439
Speaker 1: It's just two because to Panga tested Corey and test

1920
01:28:09,120 --> 01:28:10,160
Speaker 1: to get into the country.

1921
01:28:10,280 --> 01:28:19,080
Speaker 4: Good job, will that's always omitting. But yeah, you're right,

1922
01:28:19,160 --> 01:28:23,120
Speaker 4: You're exactly right. The biggest test. The group of students

1923
01:28:23,160 --> 01:28:26,120
Speaker 4: from Phoenie's US citizenship class are standing in front of

1924
01:28:26,120 --> 01:28:29,040
Speaker 4: a judge as they recite the US Constitution. Foenie and

1925
01:28:29,200 --> 01:28:32,040
Speaker 4: Eric are watching the ceremony with bride. Eric admits I

1926
01:28:32,200 --> 01:28:34,719
Speaker 4: never understood why anybody would want to be a teacher

1927
01:28:34,960 --> 01:28:38,439
Speaker 4: until now. Phoenie nods, that's because you're seeing your students

1928
01:28:38,479 --> 01:28:41,840
Speaker 4: succeed and grow right in front of your eyes. Eric asks,

1929
01:28:42,320 --> 01:28:43,960
Speaker 4: it makes you feel so proud to know you've made

1930
01:28:44,000 --> 01:28:46,800
Speaker 4: a difference in somebody's life. Doesn't it, mister Feenie Phoene

1931
01:28:46,880 --> 01:28:50,040
Speaker 4: looks at Eric talking about his purpose. Yes, it does,

1932
01:28:50,160 --> 01:28:57,160
Speaker 4: my boy, indeed it does, very so sweet, very touching.

1933
01:28:57,960 --> 01:29:05,840
Speaker 4: So boy o boy, here we are. We've it's a

1934
01:29:06,000 --> 01:29:09,080
Speaker 4: very dramatic episode. I do, like Ryder said, I do

1935
01:29:09,680 --> 01:29:13,759
Speaker 4: really like it because of the performances. I thought everybody

1936
01:29:13,880 --> 01:29:17,200
Speaker 4: was very good in both the A and the B storyline.

1937
01:29:17,520 --> 01:29:19,760
Speaker 4: It's maybe a little more dramatic than it needed to be.

1938
01:29:19,880 --> 01:29:24,240
Speaker 4: But also I definitely understand how, considering the rest of

1939
01:29:24,320 --> 01:29:26,240
Speaker 4: the show is going to be set up, that Corey

1940
01:29:26,280 --> 01:29:29,439
Speaker 4: and Topanga are, you know, it's just that becomes the

1941
01:29:29,600 --> 01:29:32,320
Speaker 4: kind of center point and focal point of the show

1942
01:29:32,800 --> 01:29:35,320
Speaker 4: that they needed to make it clear that this breakup

1943
01:29:35,479 --> 01:29:38,080
Speaker 4: was not just a casual breakup. It needed to mean

1944
01:29:38,160 --> 01:29:39,760
Speaker 4: more than that. So I understand why there was so

1945
01:29:39,840 --> 01:29:43,920
Speaker 4: much drama with it. But overall, I just I'm so

1946
01:29:44,760 --> 01:29:46,040
Speaker 4: pissed for Tapanga.

1947
01:29:46,200 --> 01:29:48,639
Speaker 3: I feel like, yeah, I mean it's so funny because

1948
01:29:48,680 --> 01:29:52,280
Speaker 3: like it's I almost feel like the show has become

1949
01:29:52,320 --> 01:29:54,559
Speaker 3: a different show, you know, And yeah, and it has

1950
01:29:55,000 --> 01:29:57,840
Speaker 3: obviously I said that when we did the Pittsburgh Coming Back,

1951
01:29:57,920 --> 01:30:01,040
Speaker 3: and like, you know, where the world changed, and but

1952
01:30:01,360 --> 01:30:05,080
Speaker 3: but it's also now just become stylistically or like it's

1953
01:30:05,560 --> 01:30:08,280
Speaker 3: and it it was effective because I think about how

1954
01:30:08,360 --> 01:30:11,680
Speaker 3: much conversation we've had about this episode and debate, yes,

1955
01:30:12,320 --> 01:30:15,240
Speaker 3: and so the show has become a sort of intellectual

1956
01:30:15,360 --> 01:30:18,720
Speaker 3: exercise or like it's you know, and it's it's a

1957
01:30:18,960 --> 01:30:22,479
Speaker 3: it's a different thing. It's no longer a like sitcom

1958
01:30:22,600 --> 01:30:26,040
Speaker 3: with its own like sort of reflection of our reality.

1959
01:30:26,120 --> 01:30:29,200
Speaker 3: It's like creating its own reality. And so maybe we

1960
01:30:29,240 --> 01:30:31,000
Speaker 3: should just give it space to do that, you know,

1961
01:30:31,320 --> 01:30:33,240
Speaker 3: And that maybe because it really was effective for a

1962
01:30:33,320 --> 01:30:35,880
Speaker 3: lot of people, probably for kids to go to school

1963
01:30:35,920 --> 01:30:38,320
Speaker 3: and be like but Ta Penga said this, but Corey

1964
01:30:38,360 --> 01:30:40,800
Speaker 3: said that, and that is what makes I think for

1965
01:30:40,880 --> 01:30:43,120
Speaker 3: some people, that's what makes Boy Mes World very special

1966
01:30:43,840 --> 01:30:45,479
Speaker 3: and got under.

1967
01:30:45,360 --> 01:30:48,599
Speaker 1: The all good television, I mean, good to you should

1968
01:30:48,640 --> 01:30:51,400
Speaker 1: be having debates about the stuff going on, right, But

1969
01:30:51,520 --> 01:30:52,840
Speaker 1: I think for characters to.

1970
01:30:52,920 --> 01:30:57,799
Speaker 3: Be so expositional about their feelings and expositional about themselves

1971
01:30:57,800 --> 01:30:59,840
Speaker 3: as characters, which is you know what I think is

1972
01:31:00,400 --> 01:31:02,240
Speaker 3: what's happening on Boy Meets World and more and more,

1973
01:31:03,360 --> 01:31:05,200
Speaker 3: I think for a certain segment that is like a

1974
01:31:05,280 --> 01:31:08,639
Speaker 3: really it's like a you know, it's a different form

1975
01:31:08,680 --> 01:31:11,680
Speaker 3: almost because a sitcom does not is not typically do

1976
01:31:11,920 --> 01:31:16,280
Speaker 3: this much self expression and discussion and self analysis, and

1977
01:31:16,360 --> 01:31:18,519
Speaker 3: Boy Meets World does it just you know, and then

1978
01:31:18,560 --> 01:31:21,719
Speaker 3: Girl Meets World, I think did this all from the beginning,

1979
01:31:22,400 --> 01:31:24,519
Speaker 3: and so I it's just a different form in a way,

1980
01:31:24,720 --> 01:31:28,000
Speaker 3: and I'm not used to it. I mean, I did it, uh,

1981
01:31:28,240 --> 01:31:31,000
Speaker 3: and I don't love it, But it doesn't mean that

1982
01:31:31,040 --> 01:31:33,599
Speaker 3: it's not valid, you know, or part of the legacy

1983
01:31:33,680 --> 01:31:34,439
Speaker 3: of Boy Meets World.

1984
01:31:35,720 --> 01:31:43,759
Speaker 4: Well, our next episode is season five, episode seventeen, and then.

1985
01:31:43,840 --> 01:31:45,240
Speaker 2: There was Sean.

1986
01:31:46,520 --> 01:31:51,960
Speaker 4: In original February twenty seventh, nineteen ninety eight. We are

1987
01:31:52,080 --> 01:31:55,160
Speaker 4: going to have a handful of episodes to commemorate what

1988
01:31:55,360 --> 01:31:59,080
Speaker 4: many fans believe is the best Boy Meets World episode

1989
01:31:59,120 --> 01:32:02,280
Speaker 4: of all time. And it may not have aired in October,

1990
01:32:02,439 --> 01:32:05,600
Speaker 4: but for Pod meets World, we're making sure it's a

1991
01:32:05,720 --> 01:32:10,240
Speaker 4: Halloween episode. Our recap will drop on Thursday, but get

1992
01:32:10,320 --> 01:32:12,840
Speaker 4: ready for some surprises during the week with a writer

1993
01:32:13,040 --> 01:32:17,080
Speaker 4: strong solo episode, interviews with the writer and director of

1994
01:32:17,280 --> 01:32:19,920
Speaker 4: and then there was Sean, and some special thoughts from

1995
01:32:19,960 --> 01:32:22,880
Speaker 4: you listeners. It's no longer a drill. We have hit

1996
01:32:23,320 --> 01:32:28,320
Speaker 4: the scream episode what Thank you all for joining us

1997
01:32:28,400 --> 01:32:30,720
Speaker 4: for this episode of Podmeets World. As always, you can

1998
01:32:30,760 --> 01:32:33,280
Speaker 4: follow us on Instagram pod Meets World Show. You can

1999
01:32:33,320 --> 01:32:36,200
Speaker 4: send us your emails Podmeets Worldshow at gmail dot com

2000
01:32:36,439 --> 01:32:38,080
Speaker 4: and we have merch.

2001
01:32:40,840 --> 01:32:41,080
Speaker 2: Mans.

2002
01:32:41,120 --> 01:32:41,920
Speaker 3: You also got the ha.

2003
01:32:44,479 --> 01:32:49,000
Speaker 2: Podmeetsworldshow dot com will send us out. We love you all,

2004
01:32:49,439 --> 01:32:50,200
Speaker 2: pod dismissed.

2005
01:32:51,640 --> 01:32:54,200
Speaker 1: Pod Meets World is n iHeart podcast produced and hosted

2006
01:32:54,240 --> 01:32:58,320
Speaker 1: by Danielle Fischel, Wilfredell and Ryder Strong. Executive producers Jensen

2007
01:32:58,400 --> 01:33:00,599
Speaker 1: Karp and Amy Sugarman execs I can give in charge

2008
01:33:00,600 --> 01:33:05,000
Speaker 1: of production Danielle Romo, producer and editor, Tara Sudbash producer,

2009
01:33:05,120 --> 01:33:08,320
Speaker 1: Maddy Moore, engineer and Boy Meets World superfan Easton Allen.

2010
01:33:08,560 --> 01:33:10,720
Speaker 1: Our theme song is by Kyle Morton of Typhoon and

2011
01:33:10,800 --> 01:33:13,200
Speaker 1: you can follow us on Instagram at Podmets World Show

2012
01:33:13,479 --> 01:33:16,240
Speaker 1: or email us at Podmets Worldshow at gmail dot com