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

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Speaker 2: We all about that high school drama, Girl drama, girl,

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Speaker 2: all about them.

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Speaker 3: High school queens. We'll take you for a ride, and

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Speaker 3: our comic girl sharing for the right teams.

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Speaker 1: Drama, queens, girl up girl fashion, but your tough girl,

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Speaker 1: you could sit with us.

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Speaker 2: Girl Drama, Queens, Drama, Queens Drama, Queens, Drama, Drama, Queens Drama, Queens.

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Speaker 4: Welcome in everybody, Hi, hell so.

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Speaker 3: How are you in. I'm good. It's been like a

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Speaker 3: bit of a whirlwind of travel these last two weeks

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Speaker 3: with the DNC, and then on Tuesday for the other podcast,

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Speaker 3: I got to go do something very cool and do

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Speaker 3: an interview at the White House. It was really neat.

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Speaker 3: It was really really neat, and Easton came and we

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Speaker 3: just were like I also got to play tour guide

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Speaker 3: and show him around everywhere and take him like into

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Speaker 3: the press briefing room and stuff. It was real sweet.

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Speaker 4: What a boss move being able to show someone around

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Speaker 4: the White House. Kudos to you, thank you.

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Speaker 3: I know, it's actually really funny. I was like, Okay,

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Speaker 3: so this hallway and these and the stairs here and

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Speaker 3: that's where the bowling alley is, and did you know

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Speaker 3: that in the sixties, And the girl who had like

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Speaker 3: come to meet us from the office was like, you

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Speaker 3: know where everything is. I was like, Oh, I'm really

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Speaker 3: letting my my nerdy freak flag fly, aren't I.

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Speaker 4: Secret Service starts whispering about you put her on a list.

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Speaker 4: Maybe we put her on a list. I was like, hey, guys,

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Speaker 4: that's so funny. People are like, oh, I went, I

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Speaker 4: got floor seats at a concert, and You're like, oh, really,

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Speaker 4: I give tours of La Casa Blanca, fools.

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Speaker 3: I'm obsessed. Never have I called it La Casa Blanca,

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Speaker 3: but I will from here on out.

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Speaker 4: It's fun. Run with it, audience. If you like it,

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Speaker 4: run with it. It's yours run with it? Will we Where

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Speaker 4: where in the world are you right now? This is

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Speaker 4: a new background.

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Speaker 3: I am on the East Coast, and I am like

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Speaker 3: literally hiding speaking softly in my room because there are

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Speaker 3: other meetings happening in the main room where I normally

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Speaker 3: podcast with you guys, and so it's like it just

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Speaker 3: happens to be one of those hours of the day

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Speaker 3: where everybody needs quiet. Yeah, it's if you can see

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Speaker 3: the setup of how all my technical gear is propped

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Speaker 3: up like on pillows and there's like a light stand

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Speaker 3: with a blanket wrapped around.

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Speaker 4: And hold it up and it's just.

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Speaker 3: Elegance.

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Speaker 4: I feel you, sister. I am. I'm currently in my

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Speaker 4: house on Jenny's sewing table. My computer is propped up

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Speaker 4: on a sewing box. I mean, it's just you know,

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Speaker 4: by hook or crook, we're making it happen.

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Speaker 3: I like seeing all the fun like kid trampoline, climbing wedges,

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Speaker 3: all the stuff back behind you. I'm like, oh yeah,

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Speaker 3: oh yeah, I.

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Speaker 4: Don't know what you mean by kid. That's my mini trampoline.

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Speaker 3: Those are my.

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Speaker 4: That's my inflatable punching right now. Yeah, it's it's a

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Speaker 4: kid's it's a kid's playground down here. And dad, Dad

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Speaker 4: gets in the mix. Yeah, hello, all right, we got

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Speaker 4: to talk about this episode because there is so much

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Speaker 4: to unpack. There's a lot here about. It's season seven,

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Speaker 4: episode nine, Now You Lift Your Eyes to the Sun.

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Speaker 4: Air date November ninth, two thousand and nine. Synopsis reads

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Speaker 4: Haley returns to the stage and Brooke receives life changing news. Meanwhile,

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Speaker 4: Dan Scott returns to tree Hill, much to the chagrin

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Speaker 4: of Nathan, who was about to sign a new NBA

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Speaker 4: contract with the help of his agent Clay. Written by

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Speaker 4: Karen Gist, I apologize if you pronounce it just Karen,

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Speaker 4: directed by the incomparable, irreplaceable Sophia Bush.

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Speaker 3: Stop you're sweet?

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Speaker 4: Hey, what's your middle name?

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Speaker 3: Anna?

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Speaker 4: Sophia Anna Bush? That rolls off the tongue.

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Speaker 3: Well, it feels weird to me. I have no connection

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Speaker 3: to my middle name at all. But it's all right,

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Speaker 3: I'll take it.

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Speaker 4: Is there anyone in the family was it named after?

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Speaker 3: It comes out of that whole like I don't know,

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Speaker 3: it's that whole Italian like Maria Anna. There's there's all

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Speaker 3: those sort of classic names in the lineage, and yeah,

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Speaker 3: I don't know some person somewhere in the fam.

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Speaker 1: All right.

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Speaker 4: So what was it like watching this episode? For you?

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Speaker 3: This was honestly such a trip, because I just remember

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Speaker 3: there are there are things that I had forgotten, and

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Speaker 3: there are things I remember in such detail, like I

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Speaker 3: I remember sitting down and building out my director's binder

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Speaker 3: with the overhead floor plans of all the sets and

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Speaker 3: mapping out all the blocking and where people were going

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Speaker 3: to be and why, And you know, some of it

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Speaker 3: works beautifully and some of it. You have to change

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Speaker 3: on the fly on the day. I remember us trying

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Speaker 3: to figure out how to get out of one scene

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Speaker 3: in Peter Kowalski. Our DP was like, oh, well, if

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Speaker 3: we did this transition, then we can fade into this

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Speaker 3: transition with this other thing. And there's like you prepare

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Speaker 3: and you over prepare for everything, and then there's also

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Speaker 3: just stuff you can't really know will happen. Weirdly, the

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Speaker 3: two things I remember the most are sitting in the

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Speaker 3: director's chair directing in Trick in that outfit from the

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Speaker 3: Haley concert. Yeah, and I remember what it felt like

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Speaker 3: to shoot all those scenes to get into Brooks whole fertility,

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Speaker 3: heartbreak journey. And then the other thing I remember the

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Speaker 3: most is the stuff that you and me and Chantelle

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Speaker 3: did out at the beach that night, because I really

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Speaker 3: wanted to do this beautiful walk and talk with the

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Speaker 3: two of you and have this moment out there where

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Speaker 3: you where we could really see that you were out

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Speaker 3: on the on the sand alone and it was dark

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Speaker 3: and it was beautiful. And the complexity of doing that

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Speaker 3: meant that everything had to be on a steady cam.

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Speaker 3: We had to have, you know, someone from our Electricians Department,

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Speaker 3: holding a light on a stick, falling you guys, following

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Speaker 3: like a ball light down the sand. I mean, it

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Speaker 3: was so silly to watch it, but it looked as

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Speaker 3: beautiful as I wanted it to, and it felt so

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Speaker 3: important to me. I remember all of us having these

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Speaker 3: conversations about that budding chemistry between Clay and Quinn, and

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Speaker 3: like how I wanted everyone to be able to feel it,

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Speaker 3: and I wanted it to be awkward for Nathan to

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Speaker 3: be sat between the two of you when you clearly

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Speaker 3: so badly want to kiss at the bar but you

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Speaker 3: hadn't yet, and the whole thing, and I was like,

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Speaker 3: oh my god, it all worked. And I just remember

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Speaker 3: being so so invested with you guys because you were

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Speaker 3: our new characters and your relationship meant so much, and

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Speaker 3: feeling like I got to direct the episode where we

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Speaker 3: got to see Clay and Quinn really begin and really

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Speaker 3: take the leap into admitting that they cared for each

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Speaker 3: other felt like such a big responsibility for me, not

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Speaker 3: just because I wanted you guys to feel taken care of,

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Speaker 3: but because you were the couple coming in to, you know,

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Speaker 3: fulfill that sort of trifecta tent pole of Peyton and Lucas,

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Speaker 3: and I don't know, it was so weird how it

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Speaker 3: invested in you guys. I've felt and I completely forgot

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Speaker 3: that the episode for me revolved around the love triangle

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Speaker 3: with Austin and Janna. I was like, oh my god,

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Speaker 3: this is the episode and I directed those scenes. You

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Speaker 3: would think I would have remembered.

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Speaker 4: Well, I think the stuff with Clay and Quinn, you

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Speaker 4: totally you stuck the landing, So did you, guys? Though,

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Speaker 4: well thanks, okay, Yeah, I mean it was a good

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Speaker 4: team effort because I remember I was telling you, oh, team,

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Speaker 4: earlier in the season that there was the episode where

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Speaker 4: I thought Clay and Quinn had hooked up that first

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Speaker 4: night she goes home with him, and I was really

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Speaker 4: disappointed and bummed out because I was I remember thinking

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Speaker 4: that this is their origin story.

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Speaker 3: That's what you're like, Why don't I remember this? What

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Speaker 3: a bummer?

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Speaker 4: Yeah, And then of course I realized that wasn't the case.

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Speaker 4: But this episode was great because I really felt like

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Speaker 4: I saw them kind of falling into place with each other,

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Speaker 4: and then the first kiss. I love that it almost

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Speaker 4: happens in the dark room. It almost happens a couple

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Speaker 4: of times. Yes, And that scene on the beach is

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Speaker 4: really it's pretty magical, like it came across that it

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Speaker 4: was it was a special moment because it's great. It

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Speaker 4: needs to be something rememberable. It needs to have, you know,

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Speaker 4: some special quality to it because it's a big thing.

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Speaker 4: You know, it's the beginning of these two. But I

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Speaker 4: would say you captured it wonderfully.

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Speaker 3: I really, I just remember how much fun it was,

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Speaker 3: and I remember those conversations about that scene at the

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Speaker 3: bar with you guys, you know, with Clay Quinn and Nathan,

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Speaker 3: the scene in the dark room. How it's like when

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Speaker 3: you have that feeling and it's getting so big, it's

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Speaker 3: like a balloon filling up. You feel like it's going

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Speaker 3: to burst out of you. And I could feel that

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Speaker 3: watching you too, and I remember thinking like, oh, we're

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Speaker 3: getting it. It feels like it's building and building and

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Speaker 3: building on set, but you never know how something's going

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Speaker 3: to translate on camera. And you know, there's even some

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Speaker 3: funny things like the way we transitioned down into y'all's

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Speaker 3: feet on the beach. We were transitioning into Austin and

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Speaker 3: Janna's hands in the sink, but like seconds get clipped

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Speaker 3: here and there for time because you have to get

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Speaker 3: your episode to forty two minutes. And I remember being like, oh,

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Speaker 3: they were supposed to be like wrestling over the little

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Speaker 3: drug vial and then like it just got to a

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Speaker 3: close up of like Swarowsky crystals, and I was like, Oh,

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Speaker 3: that was a bummer. But it's the funny stuff that

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Speaker 3: you know, you might not notice as a viewer, but

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Speaker 3: that I remember even all these years later as a director,

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Speaker 3: And there was something so cool about having this experience.

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Speaker 3: You know, I'd really gotten to shadow the producers for

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Speaker 3: so long at this point on our show. But no

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Speaker 3: matter how ready you might feel to direct, it's also

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Speaker 3: so scary, and it like it lit up my love

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Speaker 3: for our show again in a cool way. And it

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Speaker 3: also helped me learn as an actor, Oh if if

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Speaker 3: this is a real the important thing for us to

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Speaker 3: open the scene on. I got to figure out how

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Speaker 3: to talk over it. I got to figure out how

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Speaker 3: to do something to where it can't get clipped in

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Speaker 3: the editing room. And I learned those lessons in such

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Speaker 3: a different way getting behind the camera and seeing it.

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Speaker 4: It's like that I don't know if you ever did

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Speaker 4: Did you ever do commercials?

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Speaker 3: I did one commercial. That's actually how I got my

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Speaker 3: sagcard in high school.

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Speaker 4: Same what was yours?

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Speaker 3: It was a KitKat commercial?

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Speaker 4: Oh was that a national commercial?

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Speaker 3: It sure was. It's how I was able to get

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Speaker 3: my SAG card, pay my dues, to get into the Union,

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Speaker 3: I bought my first car. It was like the coolest

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Speaker 3: thing that ever happened to me. I couldn't believe it.

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Speaker 4: That's fantastic. Mine was for a Ross commercial and they

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Speaker 4: had already hired someone else for the role. But then

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Speaker 4: at the callback, they had said they felt bad for

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Speaker 4: me because I had to drive in from Claremont, so

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Speaker 4: I was about an hour late. And they knew that.

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Speaker 4: Say thought, I'll just let this guy audition. And I

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Speaker 4: did the regular audition and I said, hey, for the callback,

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Speaker 4: we just want to know can you dance so bad

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Speaker 4: you make us laugh?

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Speaker 3: You were like I was born ready for this.

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Speaker 4: I just remember saying, just turn the music on and

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Speaker 4: I just freestyled bad dance for forty five seconds and

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Speaker 4: they were like, it was done. I got it in

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Speaker 4: the room. But I say this because there's this thing

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Speaker 4: you learned very quickly in commercials where, especially if you're

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Speaker 4: doing a food commercial or a product commercial, always be

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Speaker 4: the person eating the food or holding the food because

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Speaker 4: they can't cut you out, they can't cut around you.

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Speaker 3: Genius, right.

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Speaker 4: I thought that was so sporious. So like what you're saying,

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Speaker 4: it's like, talk over what you can't you can't lose, Yeah,

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Speaker 4: horse their hand.

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Speaker 3: Yeah. I really learned that lesson the hard way. Next season,

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Speaker 3: in season eight, I got to direct our Halloween episode

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Speaker 3: and my god, Peter Kowalsky and I designed the coolest

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Speaker 3: opening ever because we were I was told that they

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Speaker 3: were going to forego some commercials and do like a

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Speaker 3: presented by thing. So I was going to get like

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Speaker 3: the teaser was supposed to be twice as long as

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Speaker 3: it was, and then, you know, probably some person who

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Speaker 3: was responsible for paying the bills on our show was like,

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Speaker 3: we're not doing that, absolutely not, And so this beautiful,

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Speaker 3: like action movie teaser that we directed for the Halloween

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Speaker 3: episode of season eight got chopped up and it is

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Speaker 3: actually like this thing I'm single handedly the most embarrassed

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Speaker 3: by that I've ever put out in the world because

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Speaker 3: it just doesn't work in the way that it aired.

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Speaker 3: And so I think, like I didn't even realize knowing

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Speaker 3: we were going to watch this episode, which which was

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Speaker 3: my directorial debut. I was so excited, but I was

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Speaker 3: also like, oh God, what terrible thing happened? Like I

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Speaker 3: didn't even know as much in season seven as I

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Speaker 3: knew in season eight, Like I don't want to see

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Speaker 3: the mistakes. And I was like, wait a second, this

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Speaker 3: episode's actually pretty lit. I love it.

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Speaker 4: It was great. A bummer. Did that cut of that

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Speaker 4: trailer ever see the light of day? Or is it

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Speaker 4: alive online anywhere? No? Yeah, that's a bummer. It should

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Speaker 4: have been on a DVD as an extra.

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Speaker 3: That would have been so cool.

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Speaker 4: Actually, it would have been great. So last week a joint,

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Speaker 4: I did a Q and A and it was funny

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Speaker 4: because one of the questions this person specifically asked what

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Speaker 4: is the deal with people wearing shoes inside their houses?

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Speaker 4: And I cracked up because this episode, literally the first

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Speaker 4: shot is Julian asleep on your guys's couch with his shoes,

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Speaker 4: his shoes on that are on a throw pillow on

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Speaker 4: the couch, So not right, so not right, And so

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Speaker 4: I immediately laugh. I was like, I gotta bring this

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Speaker 4: up to sofa because like literally someone just asked us why,

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Speaker 4: and I saw it going, what the out you're gonna have?

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Speaker 4: You're gonna bring in your outside germs, your feet and

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Speaker 4: put them on your couch and throw pillows? What. He

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Speaker 4: wasn't drunk, he didn't pass out, No.

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Speaker 3: Well, and then and then there's always like this idea,

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Speaker 3: right of, oh, well he came in and flopped down

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Speaker 3: at four in the morning and just passed out, And

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Speaker 3: now look at him, he's got his like you know,

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Speaker 3: feet up on the couch and whatever whatever. So I

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Speaker 3: get the argument. I remember the argument for like selling

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Speaker 3: how tired he was and how late he must have

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Speaker 3: come in. But all I can think about, particularly is

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Speaker 3: a person who's lived in and out of New York

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Speaker 3: City for twenty years is like you just you don't

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Speaker 3: wear your shoes in your apartment in New York. Like

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Speaker 3: New York is dirty. It's the best place in the world,

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Speaker 3: and it's also dirty.

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Speaker 4: Yeah, New York streets are gross. Sorry, sorry, in New

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Speaker 4: York your streets are gross.

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Speaker 3: They're just like, you know, it's a lot of traffic,

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Speaker 3: it's a lot of germs, and I'm just like, who, Yeah,

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Speaker 3: I don't know it drives me crazy. Like I have

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Speaker 3: the shoe cabinets by the front door. I'm like, no

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Speaker 3: shoes off them minute we get in the house. It's

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Speaker 3: how you keep things clean. But then I also realized

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Speaker 3: that like when I host parties at home in LA,

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Speaker 3: like when people come over, I never ask anyone to

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Speaker 3: take their shoes off. And maybe that's because we drive

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Speaker 3: more there. I don't know what it is, but yes,

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Speaker 3: seeing Austin's shoes on the couch set me down like

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Speaker 3: a full sanitary spiral where I was like, pay attention,

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Speaker 3: pay attention, stop thinking about like lysol and what laundry

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Speaker 3: you need to do.

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Speaker 4: The one thing about the shoes off home, because we

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Speaker 4: are as well and we do tell our guests your

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Speaker 4: shoes need to come off. Is if like we have

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Speaker 4: a friend who they are shoes off home, but they

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Speaker 4: have a dog that they take for walks and is

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Speaker 4: in the backyard with coop and stuff, and so especially

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Speaker 4: in New York, if you're walking your dog kind of

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Speaker 4: defeats the purpose.

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Speaker 3: Right, Well, you got to have the little poppad wipes.

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Speaker 4: Yeah, you know, I just feel like how many people

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Speaker 4: are doing those? You know, if you've ever put your

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Speaker 4: dog in those booties. It's a show.

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Speaker 3: Yeah, it's not great. No, My sweet last dog rest

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Speaker 3: her precious soul, was just like the absolute best. She

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Speaker 3: was so funny. Rob and I took her to Toronto

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Speaker 3: to film with me in the middle of winter, and

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Speaker 3: I put her in snow boots and she literally just

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Speaker 3: went like this and like put one of her feet

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Speaker 3: out and tried to shake it and then realized it

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Speaker 3: wasn't gonna come off, and then like did the rear

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Speaker 3: foot on the other. I it's like the thing I

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Speaker 3: single handedly regret not having filmed the most because what

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Speaker 3: I would give to watch the initial like dog in

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Speaker 3: boot Comedy, It's it's perfection.

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Speaker 4: Yeah, we did the same thing to our dog, and

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Speaker 4: but we did videotape it and it's the best because yeah,

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Speaker 4: it's that like they suddenly forget how to walk, you know.

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Speaker 3: Yeah, they're perfect.

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Speaker 5: I love it.

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Speaker 3: Well, nobody got to have dogs on our show, which

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Speaker 3: I still think is an absolute travesty. But I guess

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Speaker 3: Jamie had the bunny. I will say, like circling back.

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Speaker 3: I loved the way, and I remember I remember filming

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Speaker 3: that scene. I actually think the first scene I shot

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Speaker 3: as a director was that whole sequence with Austin in

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Speaker 3: the house with Brooke and Julian, and I remember figuring

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Speaker 3: out what the blocking was going to be like and

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Speaker 3: coming to find him on the couch and having this

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Speaker 3: whole conversation. And then you know, when you're directing and acting,

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Speaker 3: it's like I had to block the scene with him,

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Speaker 3: and then I had to watch my stand in act

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Speaker 3: out the scene with Austin so I could really see it.

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Speaker 3: And then I had to make notes, you know from

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Speaker 3: video village, watching the camera move, and then turn to

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Speaker 3: our executive producer, Greg Prange, who served essentially as any

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Speaker 3: actor director's directing buddy on set, and go like, okay,

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Speaker 3: I like this, I want to make sure they avoid that,

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Speaker 3: and he'd go okay, And then I'd have to walk

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Speaker 3: in and do the scene and look at him and

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Speaker 3: go did we get it? And there was no playback,

354
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Speaker 3: there was no opportunity to watch it. I just had

355
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Speaker 3: to trust him. Oh wow, because there was no time.

356
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Speaker 3: Like imagine if I'd had to be the actor and

357
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Speaker 3: then watch every take, we never would have made any

358
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Speaker 3: of our days. No, But it's so interesting to be

359
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Speaker 3: so prepared and so excited and then to also have

360
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Speaker 3: to kind of fly blind anytime you're on camera and

361
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Speaker 3: just trust someone else to say, yeah, the shot looks

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Speaker 3: great and then move on.

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Speaker 4: Wow, that is a leap of face, but thankfully it was.

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Speaker 4: It was Greg, you know, so it's someone you have

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Speaker 4: a long history with and you trust because yeah, that's

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Speaker 4: that's scared of not being able to sort of watch yourself.

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Speaker 3: And yeah, it feels very much like. It gives me

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Speaker 3: that like like mirrkat energy, like where you pop up

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Speaker 3: and it's like, did we do Okay? You have no

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00:18:47,119 --> 00:18:49,399
Speaker 3: idea what's happening out in the world around you. But

371
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Speaker 3: it was so much fun and it was cool because

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Speaker 3: we sort of isolated my scenes on camera as much

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Speaker 3: as we could, and there's something so special about the

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Speaker 3: way everybody shows up because you are pulling double duty.

375
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Speaker 3: And I was even thinking about it, you know, nearing

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Speaker 3: the end of the episode when Brooke calls Julianne and

377
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Speaker 3: is like, do whatever you have to do, and she's

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Speaker 3: having this whole experience where, you know, we're alluding to

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Speaker 3: the fact that she's found out something really terrible about

380
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Speaker 3: her fertility and her options to be a mom, and

381
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Speaker 3: we hadn't quite said it yet. But I remember doing

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Speaker 3: that phone call and like by then Austin was wrapped.

383
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Speaker 3: You know, it's not like we shoot the phone calls

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Speaker 3: with each other. It's usually you the actor and the

385
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Speaker 3: script supervisor. But like he stayed on set that day

386
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Speaker 3: to do that scene with me, and I remember how

387
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Speaker 3: cool it was then directing him and Jana in the

388
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Speaker 3: hotel room in those beautiful scenes they did, and holy shit,

389
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Speaker 3: we have to talk about how amazing her performance is.

390
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Speaker 3: But like I got to stand there as the director

391
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Speaker 3: and do the phone call as Brooke, and it was

392
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Speaker 3: just so cool. Like I don't know, everybody kind of

393
00:20:00,280 --> 00:20:03,680
Speaker 3: steps up with you when you direct on your own show.

394
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Speaker 3: And I remember, in a really interesting way, watching these

395
00:20:08,560 --> 00:20:11,359
Speaker 3: scenes made me remember all of those little things that

396
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Speaker 3: I just hadn't thought about in years, and it was

397
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Speaker 3: really sweet.

398
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Speaker 4: Yeah, I love when one member of the cast will direct,

399
00:20:20,080 --> 00:20:23,439
Speaker 4: because it really is that like team spirit of we

400
00:20:23,520 --> 00:20:26,080
Speaker 4: got you, like we're going to see you succeed, and

401
00:20:26,119 --> 00:20:28,280
Speaker 4: the crew is the same way. Yeah, we had a

402
00:20:28,320 --> 00:20:33,440
Speaker 4: great crew. I was, okay, thank you for jumping ahead,

403
00:20:33,440 --> 00:20:36,040
Speaker 4: but thank you for making sense of that last beat

404
00:20:36,119 --> 00:20:39,880
Speaker 4: with Brooke. I was confused while she was throwing away

405
00:20:39,920 --> 00:20:42,160
Speaker 4: her birth control. I didn't realize that she had been

406
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Speaker 4: given bad news. I was I was wonderful. I was

407
00:20:45,240 --> 00:20:48,080
Speaker 4: left kind of going, is she throwing away her birth

408
00:20:48,119 --> 00:20:51,640
Speaker 4: control to like get preg and what? Yeah?

409
00:20:51,640 --> 00:20:53,400
Speaker 3: I was trying, what's the thing?

410
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Speaker 4: Yeah?

411
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Speaker 3: Yeah, And I it hit me, you know, remembering shooting

412
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Speaker 3: these scenes and remembering doing that I've been ready at

413
00:21:05,000 --> 00:21:07,720
Speaker 3: the doctor, like, you know, it was so sweet to

414
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Speaker 3: have Haley essentially do a very authentic recall for the

415
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Speaker 3: audience of you've wanted to have a baby, you know,

416
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Speaker 3: since you were twenty two, Brooks always wanted to be

417
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Speaker 3: a mom, and she's ready, and she's ready, and she's ready.

418
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Speaker 3: And then when she goes to tell Haley about the

419
00:21:21,480 --> 00:21:26,520
Speaker 3: doctor's appointment, like, my my throat caught watching the scene

420
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Speaker 3: because I was like, oh, I remember this, I remember

421
00:21:29,160 --> 00:21:32,800
Speaker 3: what's coming. I know now that they've said I won't

422
00:21:32,840 --> 00:21:35,800
Speaker 3: be able to have a baby, but I'm I'm too

423
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Speaker 3: upset to tell anyone. And it's why I'm crying with

424
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Speaker 3: Haley in the corner of trick in the middle of

425
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Speaker 3: the day. And it's why when Julian comes in and says,

426
00:21:44,520 --> 00:21:47,320
Speaker 3: we're celebrating because he's done with his script. She's like,

427
00:21:47,640 --> 00:21:55,119
Speaker 3: right celebrating. Sure, you know, it's this sad experience and

428
00:21:56,440 --> 00:21:59,439
Speaker 3: it tracks I think why she reacts so terribly to Rachel,

429
00:21:59,480 --> 00:22:01,960
Speaker 3: because she has no one to take out her hurt

430
00:22:02,000 --> 00:22:04,600
Speaker 3: and her upset on. And I think sometimes when you

431
00:22:04,640 --> 00:22:07,120
Speaker 3: see someone who you have a complicated relationship with from

432
00:22:07,160 --> 00:22:11,399
Speaker 3: your childhood, you revert to behaving like a child. And Yeah,

433
00:22:11,400 --> 00:22:13,199
Speaker 3: it all just came swirling back to me, and I

434
00:22:13,240 --> 00:22:14,960
Speaker 3: was like, oh my god, this is the beginning of

435
00:22:15,040 --> 00:22:20,640
Speaker 3: so much heartache for her and complexity with you know,

436
00:22:21,080 --> 00:22:23,080
Speaker 3: the Julian and Alex of it all. So the whole

437
00:22:23,080 --> 00:22:25,320
Speaker 3: thing's like kind of a trip. And it made me

438
00:22:25,520 --> 00:22:29,040
Speaker 3: love our show and all of you guys, and like

439
00:22:29,440 --> 00:22:32,159
Speaker 3: even just the experience of making TV. It made it

440
00:22:32,160 --> 00:22:35,199
Speaker 3: all feel new again, even though we'd been doing it

441
00:22:35,280 --> 00:22:38,240
Speaker 3: for you know, this was our seventh year and it

442
00:22:38,359 --> 00:22:40,920
Speaker 3: was so cool, and it taught me so many lessons

443
00:22:40,960 --> 00:22:43,159
Speaker 3: that I've just never forgotten as I've gone on to

444
00:22:43,440 --> 00:22:44,879
Speaker 3: you know, all the other things.

445
00:22:45,119 --> 00:22:48,040
Speaker 4: Yeah, going back to what you were saying about Trick,

446
00:22:48,160 --> 00:22:49,800
Speaker 4: I just had this. I had a note about it.

447
00:22:49,960 --> 00:22:53,399
Speaker 4: There's already it's like Trick is the place it's like,

448
00:22:53,440 --> 00:22:57,040
Speaker 4: come for the drink, stay for the assaults. We're seven

449
00:22:57,080 --> 00:23:00,360
Speaker 4: episodes deep, nine episodes deep, and we've already had two

450
00:23:00,440 --> 00:23:04,320
Speaker 4: slaps and a punch. Yeah, it is just the place

451
00:23:04,359 --> 00:23:06,520
Speaker 4: in the town people when they have beef, they're like,

452
00:23:06,600 --> 00:23:08,080
Speaker 4: let's go to Trick to settle it.

453
00:23:08,480 --> 00:23:10,840
Speaker 3: Yep. It used to be the basketball court and now

454
00:23:10,840 --> 00:23:11,360
Speaker 3: it's the bar.

455
00:23:11,880 --> 00:23:13,000
Speaker 1: Yeah, what's up with that?

456
00:23:13,240 --> 00:23:16,480
Speaker 3: I don't know, kind of interesting. Yeah, you hit a

457
00:23:16,480 --> 00:23:18,720
Speaker 3: girl in Trick. I hit a girl in Trick.

458
00:23:18,920 --> 00:23:21,640
Speaker 4: I hit a boy in Trick, and fill me in.

459
00:23:22,600 --> 00:23:25,000
Speaker 4: I was able to gather that she stole some money

460
00:23:25,080 --> 00:23:27,760
Speaker 4: from you. But what exactly is the backstory with you too?

461
00:23:28,280 --> 00:23:29,800
Speaker 4: Why you dislike her so much?

462
00:23:29,920 --> 00:23:32,560
Speaker 3: So? The backstory with Brooke and Rachel is that we

463
00:23:32,560 --> 00:23:35,280
Speaker 3: were sort of each other's arch and nemesis who then

464
00:23:35,359 --> 00:23:39,159
Speaker 3: became best friends in high school. We wound up living together,

465
00:23:39,280 --> 00:23:43,480
Speaker 3: but Rachel was like, you know, we had like a

466
00:23:43,520 --> 00:23:45,280
Speaker 3: lot of dude writers. They just wrote her as like

467
00:23:45,320 --> 00:23:49,040
Speaker 3: a quintessential, like stereotypical bad girl who you know, tried

468
00:23:49,080 --> 00:23:52,760
Speaker 3: to hook up with everybody's boyfriends. And that's why Haley

469
00:23:52,800 --> 00:23:56,120
Speaker 3: slapped Rachel back in high school. And you know, all

470
00:23:56,200 --> 00:23:59,760
Speaker 3: of all the humor there, and by the way, like

471
00:24:00,119 --> 00:24:02,119
Speaker 3: honorable mention for me, I'm just gonna go ahead and

472
00:24:02,160 --> 00:24:09,399
Speaker 3: say James Lafferty looking at Daniel and then Paul and saying, well,

473
00:24:09,560 --> 00:24:11,520
Speaker 3: if you run out of all my high school friends,

474
00:24:11,560 --> 00:24:13,960
Speaker 3: I guess I could dip into my middle school friends

475
00:24:14,000 --> 00:24:18,520
Speaker 3: for you. I was, Oh, it's just like, it was

476
00:24:18,960 --> 00:24:22,719
Speaker 3: so funny because you've got Jamie being like, hi, Grandma Rachel,

477
00:24:22,800 --> 00:24:25,480
Speaker 3: and everyone doesn't know what to do. Genie.

478
00:24:26,400 --> 00:24:28,879
Speaker 4: How about her line in that same scene where she says,

479
00:24:28,960 --> 00:24:31,560
Speaker 4: it's funny I used to want you to be my daddy,

480
00:24:31,760 --> 00:24:35,600
Speaker 4: but now I'm mommy, And then she doubles down. Jamie

481
00:24:35,680 --> 00:24:37,399
Speaker 4: runs in the room and she goes, oh, hi, I

482
00:24:37,440 --> 00:24:39,560
Speaker 4: remember when you were a rumor in third period.

483
00:24:40,160 --> 00:24:43,720
Speaker 3: You have that line written down. It's so good, like iconic.

484
00:24:43,920 --> 00:24:46,359
Speaker 3: They gave Daniel some of the best oneliners in this

485
00:24:46,480 --> 00:24:49,320
Speaker 3: and I loved seeing her. I love seeing Rachel and

486
00:24:49,440 --> 00:24:52,600
Speaker 3: Nathan throwing them back at each other. It's so great

487
00:24:52,920 --> 00:24:55,160
Speaker 3: because you assume it's going to be Dan, but it's

488
00:24:55,240 --> 00:24:57,400
Speaker 3: so fun to see it coming from the two of them.

489
00:24:57,960 --> 00:25:01,399
Speaker 1: I like that Dan was enjoying the experience too, Like, yeah,

490
00:25:01,640 --> 00:25:04,359
Speaker 1: the little smirk on his face, like, oh, this is fun.

491
00:25:04,680 --> 00:25:08,320
Speaker 3: Yeah. But the sort of to wrap that up, rob

492
00:25:09,000 --> 00:25:12,439
Speaker 3: once we skip college and close over Bros. Is a

493
00:25:12,480 --> 00:25:17,040
Speaker 3: thing Brooke has Rachel modeling for the company. Brooke essentially

494
00:25:17,080 --> 00:25:19,840
Speaker 3: gave Rachel the first version of Alex Do Prai's job,

495
00:25:20,560 --> 00:25:22,520
Speaker 3: and then Rachel was living in her place in New

496
00:25:22,600 --> 00:25:24,960
Speaker 3: York and then became an addict and then stole a

497
00:25:25,000 --> 00:25:27,240
Speaker 3: bunch of money from her and it was like a

498
00:25:27,280 --> 00:25:31,240
Speaker 3: whole nightmarish thing. And I don't know, I don't think

499
00:25:31,240 --> 00:25:33,760
Speaker 3: they ever really wrapped up that storyline very well, which

500
00:25:34,280 --> 00:25:37,160
Speaker 3: made me so happy to have, you know, the Dan

501
00:25:37,240 --> 00:25:39,800
Speaker 3: and Rachel's surprise, because it's nice to have her back.

502
00:25:41,040 --> 00:25:46,520
Speaker 3: But god, Rachel quoting Dan Scott to Brooke being like forgiveness,

503
00:25:46,720 --> 00:25:49,760
Speaker 3: I just it was. It was just absolutely priceless.

504
00:25:50,240 --> 00:25:55,399
Speaker 4: Also, speaking of Dan, how perfectly Dan is it that

505
00:25:55,720 --> 00:25:59,280
Speaker 4: on his private jet is not only his name but

506
00:25:59,400 --> 00:26:01,760
Speaker 4: a mature of himself.

507
00:26:01,760 --> 00:26:05,040
Speaker 3: And the phrase above the door and if I may,

508
00:26:06,119 --> 00:26:08,959
Speaker 3: that was all my choices, Like what a crazy thing.

509
00:26:08,960 --> 00:26:10,560
Speaker 3: By the way, as a first time director, they're like, well,

510
00:26:10,560 --> 00:26:13,199
Speaker 3: we've got to rent a private plane to shoot this scene,

511
00:26:13,720 --> 00:26:15,640
Speaker 3: so like I don't know where we got it. Some

512
00:26:16,119 --> 00:26:19,960
Speaker 3: with the network obviously handled that, but someone brought in

513
00:26:20,000 --> 00:26:23,080
Speaker 3: a jet and I was like, no, it's got to

514
00:26:23,119 --> 00:26:30,879
Speaker 3: be so overly branded as the Dan Scott plane. And

515
00:26:31,080 --> 00:26:34,520
Speaker 3: my god, it just made me so so happy. Step

516
00:26:34,560 --> 00:26:38,840
Speaker 3: into the light over the over the jet door and

517
00:26:38,880 --> 00:26:40,560
Speaker 3: they were like, do we really need to I was like,

518
00:26:40,600 --> 00:26:42,040
Speaker 3: we need it, we have to have it.

519
00:26:42,240 --> 00:26:44,600
Speaker 1: Yes, and you and you got it. And that Cohen

520
00:26:44,640 --> 00:26:47,880
Speaker 1: Brothers shot of him standing in the door with that

521
00:26:48,119 --> 00:26:50,920
Speaker 1: thing over the top of him, and even the color

522
00:26:51,000 --> 00:26:53,960
Speaker 1: timing was cool and like vintagey and retro, and and

523
00:26:54,720 --> 00:26:56,800
Speaker 1: that shot that was just slightly above the waist.

524
00:26:56,920 --> 00:26:59,760
Speaker 3: It was so good. Sophia, thank you and then her

525
00:27:00,160 --> 00:27:01,919
Speaker 3: she came out in the fur coat. I was like, no,

526
00:27:01,960 --> 00:27:04,160
Speaker 3: if we're doing it, we are doing it.

527
00:27:04,400 --> 00:27:07,160
Speaker 1: Jim and Tammy Fay It's yes. I mean you went

528
00:27:07,480 --> 00:27:11,440
Speaker 1: full TV evangelist yep. And I was so here for it.

529
00:27:11,760 --> 00:27:15,200
Speaker 3: Yeah, I love it. It was really fun that that

530
00:27:15,320 --> 00:27:18,000
Speaker 3: was the the fight I was the most happy to

531
00:27:18,040 --> 00:27:20,199
Speaker 3: win as as a director on this.

532
00:27:20,359 --> 00:27:22,640
Speaker 4: That was a good one to go to bat for. Yeah.

533
00:27:22,840 --> 00:27:24,600
Speaker 3: I was like, I know you think it's silly, It's

534
00:27:24,640 --> 00:27:27,720
Speaker 3: not silly. We're doing it worth it. The decals were

535
00:27:27,760 --> 00:27:28,200
Speaker 3: worth it.

536
00:27:29,040 --> 00:27:31,840
Speaker 1: Were you maybe maybe you already talked about this, told

537
00:27:31,880 --> 00:27:35,119
Speaker 1: me if you did, But did you like acting in

538
00:27:35,160 --> 00:27:37,160
Speaker 1: something that you're directing At the same time.

539
00:27:37,920 --> 00:27:43,040
Speaker 3: I really loved certain aspects of it. I loved being

540
00:27:43,080 --> 00:27:44,880
Speaker 3: able to I was saying this to Rob a little

541
00:27:44,880 --> 00:27:47,320
Speaker 3: while ago that you know, it was nice that I

542
00:27:47,359 --> 00:27:50,600
Speaker 3: got to kind of block the places that I worked.

543
00:27:51,040 --> 00:27:53,600
Speaker 3: I was, you know, I was at Brook and Julian's house,

544
00:27:53,640 --> 00:27:56,480
Speaker 3: I was at Trick and then I had, you know,

545
00:27:56,520 --> 00:27:59,600
Speaker 3: those two scenes at the doctor's office. But it was

546
00:27:59,720 --> 00:28:04,000
Speaker 3: very condensed, which was really helpful. I have visceral sense

547
00:28:04,080 --> 00:28:07,520
Speaker 3: memories of directing in the nightclub Outfit, which was so

548
00:28:07,640 --> 00:28:08,159
Speaker 3: funny to me.

549
00:28:08,400 --> 00:28:11,159
Speaker 1: The nightclub outfit, which was what the black, which.

550
00:28:11,080 --> 00:28:12,360
Speaker 3: Was like the one shoulder.

551
00:28:12,640 --> 00:28:16,000
Speaker 1: Yeah, you had some dueling black and white off the shoulder,

552
00:28:16,119 --> 00:28:18,439
Speaker 1: like white off the shoulder in the first half and

553
00:28:18,480 --> 00:28:20,640
Speaker 1: then the black off the shoulder in the second I noticed.

554
00:28:20,840 --> 00:28:21,960
Speaker 1: Don't think that went unnoticed.

555
00:28:22,119 --> 00:28:25,200
Speaker 3: I didn't even track that at the time, but wow,

556
00:28:25,240 --> 00:28:27,680
Speaker 3: I was really in a deep side part era, I suppose.

557
00:28:28,119 --> 00:28:30,960
Speaker 3: But yeah, I remember the photos sitting in the director's

558
00:28:31,040 --> 00:28:34,280
Speaker 3: chair behind video village in that outfit and how funny.

559
00:28:34,280 --> 00:28:37,440
Speaker 1: That was the most glamorous director out Oh.

560
00:28:37,400 --> 00:28:39,360
Speaker 3: Yeah, because obviously on all the other days it's like

561
00:28:39,400 --> 00:28:41,240
Speaker 3: you come to work with wet hair and no makeupon

562
00:28:41,320 --> 00:28:44,760
Speaker 3: in sweatpants because you're trying to do a job. But

563
00:28:44,840 --> 00:28:48,400
Speaker 3: it's that. And then the night on the beach doing

564
00:28:48,400 --> 00:28:50,480
Speaker 3: that final Clay and Quinn walk and talk and the

565
00:28:50,480 --> 00:28:52,800
Speaker 3: first time they kiss. I was telling Rob when we

566
00:28:52,840 --> 00:28:55,480
Speaker 3: first got on the zoom, I remember the way the

567
00:28:55,520 --> 00:28:58,280
Speaker 3: air smelled that night. You know when it's like a

568
00:28:58,360 --> 00:29:01,840
Speaker 3: hot southern beach night and it's everything smells like salt

569
00:29:02,240 --> 00:29:05,760
Speaker 3: and minerals and like you can smell the heat. I

570
00:29:05,880 --> 00:29:08,600
Speaker 3: just remember that night. It was so perfect, and I

571
00:29:08,680 --> 00:29:11,480
Speaker 3: was so happy that my like hair brained idea to

572
00:29:11,520 --> 00:29:13,520
Speaker 3: do a walk and talk in the dark worked out.

573
00:29:13,920 --> 00:29:15,440
Speaker 4: It had to be a walk and talk by that,

574
00:29:15,600 --> 00:29:18,560
Speaker 4: it had to. The thing I remember about that scene

575
00:29:18,600 --> 00:29:21,920
Speaker 4: was when Chantelle and I ran it going like some

576
00:29:22,040 --> 00:29:25,720
Speaker 4: of the dialogue was just cheesy, and I don't mean

577
00:29:25,720 --> 00:29:27,080
Speaker 4: that to be a rip, but because we're talking like

578
00:29:27,120 --> 00:29:29,080
Speaker 4: the moon is made of cheese, and we're both of

579
00:29:29,120 --> 00:29:32,520
Speaker 4: us just saying, like what are we saying? What is this,

580
00:29:32,720 --> 00:29:34,840
Speaker 4: and then it was like, let's just let's just do

581
00:29:34,880 --> 00:29:36,360
Speaker 4: our best to sell the shit out of it and

582
00:29:36,400 --> 00:29:39,520
Speaker 4: get past it, because then then it'll get good, you know.

583
00:29:39,600 --> 00:29:41,640
Speaker 4: But it had that scene had to have movement. If

584
00:29:41,640 --> 00:29:45,080
Speaker 4: you had us saying those words standing looking at each other,

585
00:29:45,440 --> 00:29:48,840
Speaker 4: it would have felt so uncomfortable. Yeah, it would have

586
00:29:48,840 --> 00:29:51,160
Speaker 4: had to make for a lot of awkward fidgeting, you

587
00:29:51,160 --> 00:29:53,840
Speaker 4: know what I mean, which would go against everything we're building.

588
00:30:06,520 --> 00:30:08,720
Speaker 3: There was also something I really liked that we were

589
00:30:08,760 --> 00:30:11,600
Speaker 3: able to build into this episode. Where as those feelings

590
00:30:11,640 --> 00:30:15,120
Speaker 3: are building, as the balloon is swelling up, you were

591
00:30:15,120 --> 00:30:18,280
Speaker 3: always doing something. You guys went to the volunteer center together.

592
00:30:18,360 --> 00:30:21,560
Speaker 3: You were sitting at a bar, facing out and stealing

593
00:30:21,560 --> 00:30:24,680
Speaker 3: glances over Nathan. You were in the dark room working

594
00:30:24,720 --> 00:30:29,400
Speaker 3: on photos like walking and sometimes being next to someone

595
00:30:29,440 --> 00:30:31,440
Speaker 3: like driving in a car or not having to look

596
00:30:31,480 --> 00:30:34,520
Speaker 3: at them, allows you to say so much more then

597
00:30:34,600 --> 00:30:37,480
Speaker 3: you might feel safe to do when you're holding eye contact.

598
00:30:38,040 --> 00:30:40,760
Speaker 3: And it felt so nice then to get the payoff

599
00:30:40,760 --> 00:30:42,680
Speaker 3: of when you finally turn and look at each other

600
00:30:42,720 --> 00:30:46,360
Speaker 3: and you admit that you're both afraid, and then we

601
00:30:46,480 --> 00:30:49,120
Speaker 3: get our hero moment, We get our hero kiss. It

602
00:30:49,200 --> 00:30:52,400
Speaker 3: was like, Oh, they've arrived, and it was nice to

603
00:30:52,440 --> 00:30:53,320
Speaker 3: see that work out.

604
00:30:53,920 --> 00:30:56,280
Speaker 4: Did you notice I was so curious if you got this,

605
00:30:56,360 --> 00:30:59,200
Speaker 4: because I'm sure you watched the episode so closely. The

606
00:30:59,320 --> 00:31:01,880
Speaker 4: first scene with Clay and Quinn where she comes to

607
00:31:01,920 --> 00:31:04,640
Speaker 4: the beach house, it ends with her saying like, I'm

608
00:31:04,960 --> 00:31:06,760
Speaker 4: I'm going to take you somewhere. I'm gonna surprise you.

609
00:31:06,800 --> 00:31:08,800
Speaker 4: Just come with me, and she pulls me out of

610
00:31:08,840 --> 00:31:12,160
Speaker 4: the shot. Yeah, you have a little tiny camera pan.

611
00:31:12,280 --> 00:31:14,320
Speaker 4: And at the very end, did you notice that it

612
00:31:14,360 --> 00:31:17,520
Speaker 4: catches a flag? There's a giant black flag in the

613
00:31:17,560 --> 00:31:18,280
Speaker 4: side of the shot.

614
00:31:18,720 --> 00:31:23,600
Speaker 3: Well you know why that is because the ratios have

615
00:31:23,840 --> 00:31:27,600
Speaker 3: changed since streaming. So, like, one of the things our

616
00:31:27,600 --> 00:31:29,440
Speaker 3: show gets the most made fun of for on the

617
00:31:29,440 --> 00:31:32,840
Speaker 3: internet is that it was not made to fit whatever

618
00:31:32,880 --> 00:31:34,960
Speaker 3: sixteen by nine er. I don't know what it was

619
00:31:35,040 --> 00:31:37,080
Speaker 3: versus what it is. There's too many things for my

620
00:31:37,160 --> 00:31:40,440
Speaker 3: dyslexic brain to keep track of. But like, there's like

621
00:31:40,480 --> 00:31:43,320
Speaker 3: an incredible shot in season one of when Chad goes

622
00:31:43,360 --> 00:31:47,080
Speaker 3: to rescue Hillary when her car's broken down and he

623
00:31:47,120 --> 00:31:50,040
Speaker 3: brings the tow truck from Keith's autobody, and.

624
00:31:50,040 --> 00:31:52,200
Speaker 6: Like you can fully see the edge of a sound

625
00:31:52,240 --> 00:31:55,000
Speaker 6: guy and a boom and a whole like now that

626
00:31:55,040 --> 00:32:00,640
Speaker 6: it's readjusted for streaming and the screens are wider widescreen

627
00:32:00,640 --> 00:32:03,520
Speaker 6: televisions now, they weren't like that when we first started

628
00:32:03,520 --> 00:32:04,160
Speaker 6: taking the show.

629
00:32:04,720 --> 00:32:08,200
Speaker 1: Instead of cutting off what's currently there, they just added

630
00:32:08,360 --> 00:32:09,200
Speaker 1: they pulled back.

631
00:32:09,920 --> 00:32:13,720
Speaker 4: That's so funny. I just saw a reel of Lafferty

632
00:32:13,920 --> 00:32:16,480
Speaker 4: watching a shot. It's like a wedding shot, and it's

633
00:32:16,480 --> 00:32:20,560
Speaker 4: a giant, giant you know, wide wide camera shot up

634
00:32:20,600 --> 00:32:23,760
Speaker 4: like crane shot, and you clearly at the top of

635
00:32:23,800 --> 00:32:28,760
Speaker 4: the frame you see the dolly, the camera operator, the

636
00:32:28,800 --> 00:32:32,600
Speaker 4: assistant camera operator, and like the grip pushing him.

637
00:32:33,080 --> 00:32:36,280
Speaker 3: Yeah, because if you remember, you guys, like from standing

638
00:32:36,320 --> 00:32:39,520
Speaker 3: behind video village, there would be this wide monitor but

639
00:32:39,560 --> 00:32:43,200
Speaker 3: then the black lines inside of it that showed you

640
00:32:43,280 --> 00:32:48,040
Speaker 3: the television screen framing. So if there was someone standing

641
00:32:48,080 --> 00:32:50,080
Speaker 3: in between a black line and the edge of frame,

642
00:32:50,240 --> 00:32:51,640
Speaker 3: what did we give a ship for? It wasn't going

643
00:32:51,680 --> 00:32:54,120
Speaker 3: to be on TV. And now it's on TV.

644
00:32:55,080 --> 00:32:57,120
Speaker 4: So fun it's.

645
00:32:56,680 --> 00:33:00,000
Speaker 1: So folks at home get to see how the magic.

646
00:33:01,120 --> 00:33:06,320
Speaker 4: Yeah, I thought this episode the one thing I kind

647
00:33:06,320 --> 00:33:09,440
Speaker 4: of found myself going really and this isn't a directorial

648
00:33:09,440 --> 00:33:14,400
Speaker 4: thing at all. Is just how quickly Millie has turned

649
00:33:14,440 --> 00:33:17,840
Speaker 4: into a cautionary thing. Now, has she done a single

650
00:33:18,040 --> 00:33:21,880
Speaker 4: job as a model yet? Because it's so outrageous, and

651
00:33:21,880 --> 00:33:24,000
Speaker 4: I think they went like, it's just some of the

652
00:33:24,040 --> 00:33:27,040
Speaker 4: stuff is silly. I get the pressure to feel thin

653
00:33:27,120 --> 00:33:30,320
Speaker 4: after Jana's comments and what she's doing, but the fact

654
00:33:30,400 --> 00:33:36,320
Speaker 4: that she's calling mouth mouth and not Marvin, like show

655
00:33:36,360 --> 00:33:40,200
Speaker 4: her behavior changing, but to start showing personality changes it

656
00:33:40,240 --> 00:33:44,080
Speaker 4: all just thinks she's like she's stealing drugs. Everything changed.

657
00:33:44,080 --> 00:33:46,600
Speaker 4: I found myself going, has she done a single job yet?

658
00:33:46,680 --> 00:33:48,560
Speaker 3: You're like, who is this person? No?

659
00:33:48,640 --> 00:33:50,880
Speaker 1: I think she just did the Runway show. Yeah, and

660
00:33:51,040 --> 00:33:54,120
Speaker 1: she got hired to model, but never I haven't seen

661
00:33:54,160 --> 00:33:55,120
Speaker 1: her doing it yet.

662
00:33:55,160 --> 00:33:57,600
Speaker 3: And what annoys me is they did that classic thing.

663
00:33:57,920 --> 00:34:02,840
Speaker 3: Something I loved was you saying rob to when Klay

664
00:34:02,880 --> 00:34:04,520
Speaker 3: says to Nathan, let me do my job, and then

665
00:34:04,560 --> 00:34:08,799
Speaker 3: it cuts to Millie saying to Alex, it's my job. Like,

666
00:34:09,000 --> 00:34:13,040
Speaker 3: I love those little flip of the coin kind of

667
00:34:13,320 --> 00:34:17,279
Speaker 3: dialogue transitions. But what shocked me about it as good

668
00:34:17,320 --> 00:34:19,960
Speaker 3: as Lisa was at playing what she was given and

669
00:34:20,040 --> 00:34:26,919
Speaker 3: making it feel hilarious and out of control, and yes,

670
00:34:27,440 --> 00:34:31,759
Speaker 3: motivated by having to keep up like I thought, she

671
00:34:31,880 --> 00:34:34,560
Speaker 3: did such a great job. But what bothered me was

672
00:34:34,560 --> 00:34:38,680
Speaker 3: that all they gave her in the dialogue to explain

673
00:34:38,760 --> 00:34:42,319
Speaker 3: this enormous transition was I've been seen in all my

674
00:34:42,480 --> 00:34:45,799
Speaker 3: coverbe clothes. I need something new. I have to dip

675
00:34:45,800 --> 00:34:49,000
Speaker 3: into your closet. They were alluding to the fact that

676
00:34:49,040 --> 00:34:51,680
Speaker 3: Millie's been going to so many events for the company

677
00:34:51,719 --> 00:34:55,279
Speaker 3: now that she no longer has anything to wear, and

678
00:34:55,320 --> 00:34:58,359
Speaker 3: I was like, God, I hate when they when they

679
00:34:58,360 --> 00:35:01,239
Speaker 3: want to excuse where they I want a character to be,

680
00:35:02,080 --> 00:35:03,600
Speaker 3: and they don't want to do the work to get

681
00:35:03,600 --> 00:35:05,960
Speaker 3: your character there. They just give you a line of

682
00:35:06,000 --> 00:35:09,640
Speaker 3: exposition and they expect the audience to believe it's true.

683
00:35:09,800 --> 00:35:13,000
Speaker 3: And I would have loved to have seen more of

684
00:35:13,040 --> 00:35:16,239
Speaker 3: the I would have loved to have seen more of

685
00:35:16,280 --> 00:35:20,040
Speaker 3: the experiences of Milly at these parties, maybe feeling awkward

686
00:35:20,120 --> 00:35:23,319
Speaker 3: and then beginning to get rewarded by behaving like a

687
00:35:23,400 --> 00:35:26,839
Speaker 3: caricature of Alex and these things that she is in

688
00:35:26,840 --> 00:35:28,919
Speaker 3: this episode. I want to see her journey to get

689
00:35:28,920 --> 00:35:30,360
Speaker 3: here well, and I want.

690
00:35:30,200 --> 00:35:33,000
Speaker 4: To see it was sort of like they took an

691
00:35:33,080 --> 00:35:36,040
Speaker 4: etch to sketch and they just shook the Milli character

692
00:35:36,520 --> 00:35:38,880
Speaker 4: and then started with nothing and then made her an

693
00:35:38,880 --> 00:35:41,960
Speaker 4: after school special. Like I didn't feel like Milly is

694
00:35:41,960 --> 00:35:46,759
Speaker 4: someone who is she's professional, she's organized, and it's all

695
00:35:46,800 --> 00:35:50,080
Speaker 4: of that was gone, Like there was no personality outside

696
00:35:50,080 --> 00:35:54,319
Speaker 4: of I need this, this is important, and like she

697
00:35:54,320 --> 00:35:56,799
Speaker 4: already has diet pills and she's stealing cocaine.

698
00:35:57,480 --> 00:35:59,640
Speaker 1: Yeah, that's pretty far down the line.

699
00:35:59,640 --> 00:36:02,120
Speaker 4: Be to her boss slash friend.

700
00:36:02,280 --> 00:36:05,959
Speaker 3: It was just, yeah, she's stealing from Brooke, knowing about

701
00:36:06,000 --> 00:36:09,960
Speaker 3: Brooke and Rachel's history, Like it's all so weird, so strange.

702
00:36:10,120 --> 00:36:13,000
Speaker 3: But I will say something that I love about Lisa

703
00:36:13,080 --> 00:36:16,359
Speaker 3: as a performer is she was like, I'm gonna make

704
00:36:16,400 --> 00:36:18,319
Speaker 3: these scenes the best I can, whether they make sense

705
00:36:18,440 --> 00:36:23,279
Speaker 3: or not. Like she committed to the bit. She committed

706
00:36:23,360 --> 00:36:26,400
Speaker 3: to letting this girl go off the rails. And I

707
00:36:27,120 --> 00:36:30,120
Speaker 3: am appreciative of actors. It took me a while to

708
00:36:31,239 --> 00:36:35,400
Speaker 3: learn this. There were times when I would feel so

709
00:36:35,520 --> 00:36:39,960
Speaker 3: uncomfortable when my character was being put in compromising positions

710
00:36:40,040 --> 00:36:43,200
Speaker 3: or whatever, and I realized after a while, Oh, it's

711
00:36:43,200 --> 00:36:46,120
Speaker 3: not my job to judge my characters. Yeah, it's my

712
00:36:46,280 --> 00:36:48,600
Speaker 3: job to make their journeys true, whether their journeys are

713
00:36:48,640 --> 00:36:51,600
Speaker 3: squeaky clean and great or not. And I loved that

714
00:36:51,640 --> 00:36:54,440
Speaker 3: Lisa showed up not to judge Milly, but just to

715
00:36:54,719 --> 00:36:58,960
Speaker 3: allow Milly to have a whoa, what's happening to you? Moment?

716
00:36:59,480 --> 00:37:03,200
Speaker 3: And shemitted full throttle And I really admire that about her.

717
00:37:03,400 --> 00:37:07,000
Speaker 4: Yeah, her performance was great. She did that material as

718
00:37:07,040 --> 00:37:09,320
Speaker 4: well as you could. It was just I felt myself

719
00:37:09,360 --> 00:37:10,520
Speaker 4: to it's.

720
00:37:10,920 --> 00:37:14,759
Speaker 3: Writing when they do the flip that fast, yes, exactly.

721
00:37:14,960 --> 00:37:15,680
Speaker 5: I wonder if.

722
00:37:15,640 --> 00:37:18,319
Speaker 1: There they have all the boards up in the writer's room,

723
00:37:18,360 --> 00:37:23,200
Speaker 1: you know, and I wonder if they're cross cross referencing

724
00:37:23,239 --> 00:37:26,359
Speaker 1: cross section, like trying to yeah, you know on a map,

725
00:37:26,400 --> 00:37:29,320
Speaker 1: how you have to like you know, folks on maps,

726
00:37:29,719 --> 00:37:30,040
Speaker 1: you know.

727
00:37:30,080 --> 00:37:32,239
Speaker 3: On those old cartography papers.

728
00:37:33,320 --> 00:37:35,719
Speaker 1: Yeah, you've got the grid you have to find you

729
00:37:35,760 --> 00:37:38,720
Speaker 1: know what your street is, oh thirteen. So I'm wondering

730
00:37:38,800 --> 00:37:40,640
Speaker 1: if they have these sort of things around the writer's

731
00:37:40,680 --> 00:37:43,480
Speaker 1: room where they know they've got all the storylines and

732
00:37:43,560 --> 00:37:47,440
Speaker 1: how they intersect. And if they can't get character C

733
00:37:47,800 --> 00:37:53,560
Speaker 1: to point thirteen by episode twelve, then it's a huge

734
00:37:53,560 --> 00:37:56,280
Speaker 1: problem because then it starts affecting the fallout for characters

735
00:37:56,280 --> 00:37:58,200
Speaker 1: in other ways all of the show. So I think, like,

736
00:37:58,960 --> 00:38:02,439
Speaker 1: it's got to be a real difficult job to keep

737
00:38:02,480 --> 00:38:05,680
Speaker 1: all those balls in the air absolutely cross section everything.

738
00:38:05,920 --> 00:38:08,160
Speaker 3: And by the way, part of the reason Milly had

739
00:38:08,200 --> 00:38:12,000
Speaker 3: to be so far down this kind of wild path

740
00:38:12,080 --> 00:38:16,600
Speaker 3: in this episode was so that when Rachel was apologizing

741
00:38:16,600 --> 00:38:19,760
Speaker 3: to Brooke for stealing from her, Brooke would turn around

742
00:38:19,760 --> 00:38:22,000
Speaker 3: and see that Milly had just stolen from her. Like

743
00:38:22,080 --> 00:38:24,920
Speaker 3: it had to happen this way, but it is the

744
00:38:25,040 --> 00:38:28,880
Speaker 3: unfortunate thing, as we all know and remember, the great

745
00:38:28,920 --> 00:38:32,680
Speaker 3: thing about being in an ensemble cast is that there

746
00:38:32,719 --> 00:38:35,560
Speaker 3: are so many storylines and you don't have to do

747
00:38:35,640 --> 00:38:39,520
Speaker 3: the tired, repetitive like character A and character B go

748
00:38:39,640 --> 00:38:43,640
Speaker 3: on the same journey again. But what does happen sometimes

749
00:38:43,719 --> 00:38:47,280
Speaker 3: is if there's this really important thing happening in section

750
00:38:47,400 --> 00:38:51,399
Speaker 3: one and there's not enough time in episode seven oh

751
00:38:51,440 --> 00:38:54,240
Speaker 3: eight to get over here into section three with Milly,

752
00:38:54,680 --> 00:38:56,520
Speaker 3: they're just going to give her a line of exposition

753
00:38:56,600 --> 00:38:59,239
Speaker 3: at the top of episode seven oh nine and be like, oh, well,

754
00:39:00,320 --> 00:39:02,920
Speaker 3: she's been partying and she you know, yeah, Like they

755
00:39:03,040 --> 00:39:07,000
Speaker 3: have to keep it moving. So it's like, on the

756
00:39:07,040 --> 00:39:09,200
Speaker 3: one hand, I'm bummed as a viewer because I want

757
00:39:09,200 --> 00:39:12,280
Speaker 3: more of her journey, and on the other hand, literally

758
00:39:12,280 --> 00:39:14,319
Speaker 3: being behind the camera on this episode, I feel like

759
00:39:14,360 --> 00:39:16,560
Speaker 3: I to your point, Joy, I have such grace for

760
00:39:16,600 --> 00:39:20,799
Speaker 3: how complex that is, and it really makes me think

761
00:39:20,840 --> 00:39:23,640
Speaker 3: about the kinds of showrunners, like when you think about

762
00:39:23,640 --> 00:39:26,239
Speaker 3: an Aaron Sorkin on The West Wing, where you go, oh,

763
00:39:26,280 --> 00:39:30,120
Speaker 3: you're a freaky genius that you were able to do

764
00:39:30,320 --> 00:39:32,760
Speaker 3: years and years of a show and never have anything

765
00:39:32,800 --> 00:39:35,319
Speaker 3: that felt like this, like how does a brain do that?

766
00:39:37,520 --> 00:39:37,759
Speaker 4: Rob?

767
00:39:37,840 --> 00:39:39,040
Speaker 3: Have you ever directed anything?

768
00:39:39,400 --> 00:39:40,000
Speaker 4: I haven't.

769
00:39:40,480 --> 00:39:41,400
Speaker 3: Do you have a desire to?

770
00:39:42,040 --> 00:39:45,000
Speaker 4: I have an interest? Okay, I had because I had

771
00:39:45,040 --> 00:39:48,400
Speaker 4: a mentor early on tell me you'd make You're going

772
00:39:48,480 --> 00:39:50,960
Speaker 4: to make a great director, Robbie, and because I just

773
00:39:50,960 --> 00:39:52,880
Speaker 4: looked up to him so much. I thought, oh, so

774
00:39:52,960 --> 00:39:55,320
Speaker 4: he planted a seed. But I've also just found myself.

775
00:39:56,640 --> 00:39:59,040
Speaker 4: I guess the answer is my interest is growing, but

776
00:39:59,120 --> 00:40:02,719
Speaker 4: I haven't had burning desire to really start advocating for

777
00:40:02,800 --> 00:40:05,640
Speaker 4: it totally, Like if it was a short I wrote

778
00:40:05,719 --> 00:40:09,480
Speaker 4: or something. Yeah, you know, I always try to learn

779
00:40:09,480 --> 00:40:12,279
Speaker 4: when I'm on set, but I'm not. Yeah, no, I

780
00:40:12,280 --> 00:40:14,560
Speaker 4: think on a zombie I i were saying, hey, if we

781
00:40:14,600 --> 00:40:16,359
Speaker 4: do a six season, I want to direct, and there

782
00:40:16,400 --> 00:40:18,440
Speaker 4: was a part of me going, I wouldn't mind if

783
00:40:18,440 --> 00:40:20,480
Speaker 4: we didn't get a six season. That was a bluff.

784
00:40:21,239 --> 00:40:23,279
Speaker 4: I need the universe to step in because I'm kind

785
00:40:23,280 --> 00:40:25,120
Speaker 4: of afraid I just said that to say it.

786
00:40:26,280 --> 00:40:29,120
Speaker 1: So many different ways of storytelling, and you know, your

787
00:40:29,160 --> 00:40:32,040
Speaker 1: passion can lie in so many different areas of that.

788
00:40:32,440 --> 00:40:34,040
Speaker 3: One of the things that I do think is so

789
00:40:34,200 --> 00:40:37,440
Speaker 3: cool though, about the opportunity to direct any universe that

790
00:40:37,480 --> 00:40:40,320
Speaker 3: you know really well, like you did with a Zombie.

791
00:40:40,360 --> 00:40:42,120
Speaker 3: The way I feel like I did, you know, and

792
00:40:42,160 --> 00:40:44,200
Speaker 3: you obviously did joy it when we were doing it

793
00:40:44,239 --> 00:40:49,000
Speaker 3: this season in our show is you know, little things

794
00:40:49,000 --> 00:40:52,080
Speaker 3: that aren't on the page. But for example, when we

795
00:40:52,120 --> 00:40:56,279
Speaker 3: think about the heart to heart, you know, kind of

796
00:40:56,280 --> 00:40:58,920
Speaker 3: calling him out moment that I got to have as

797
00:40:59,000 --> 00:41:03,719
Speaker 3: Brook with Paul Julian's Dadah and say, I've got this

798
00:41:03,800 --> 00:41:06,080
Speaker 3: ugly poster on my wall because of you, because he

799
00:41:06,120 --> 00:41:08,719
Speaker 3: has one memory of one good day and he had

800
00:41:08,719 --> 00:41:12,680
Speaker 3: to look at that and it reassessed their relationship you

801
00:41:12,719 --> 00:41:15,080
Speaker 3: see in this episode, And this was so important to

802
00:41:15,120 --> 00:41:19,040
Speaker 3: me making what was Peyton's and then Sam's room into

803
00:41:19,120 --> 00:41:22,000
Speaker 3: Julian's office and putting the thin red line poster in

804
00:41:22,040 --> 00:41:24,440
Speaker 3: there and having him call his dad, and his dad's

805
00:41:24,440 --> 00:41:27,520
Speaker 3: walking around in this beautiful la office. And then near

806
00:41:27,560 --> 00:41:31,080
Speaker 3: the end of the scene when when Paul Julian's dad

807
00:41:31,120 --> 00:41:34,439
Speaker 3: Paul not Paul Norris, Yeah, I'm like, I can't say

808
00:41:34,440 --> 00:41:37,439
Speaker 3: that because of Paul Dan, but Julian's dad walks through

809
00:41:37,440 --> 00:41:40,880
Speaker 3: his office, and then when it cuts from Julian and

810
00:41:40,920 --> 00:41:43,600
Speaker 3: cuts back to him, you see him step into a

811
00:41:43,640 --> 00:41:46,640
Speaker 3: shot and the thin red line poster is now hanging

812
00:41:46,680 --> 00:41:48,200
Speaker 3: on the wall in his office.

813
00:41:48,520 --> 00:41:50,920
Speaker 4: Oh no, way, I didn't catch that.

814
00:41:51,360 --> 00:41:54,560
Speaker 3: And that was a thing I knew to do to

815
00:41:54,680 --> 00:41:58,120
Speaker 3: tell the story of these men, you know, finding each

816
00:41:58,160 --> 00:42:01,000
Speaker 3: other and having this thing and this between this father

817
00:42:01,080 --> 00:42:05,680
Speaker 3: and the son that was healing. And like, I don't

818
00:42:05,719 --> 00:42:08,279
Speaker 3: know a director who might have come in to do

819
00:42:08,360 --> 00:42:12,080
Speaker 3: seven h nine but hadn't seen that episode or hadn't

820
00:42:12,120 --> 00:42:14,719
Speaker 3: read those scripts, maybe because it wouldn't have been in there.

821
00:42:14,840 --> 00:42:16,439
Speaker 3: Let me catch up on the world of One Tree

822
00:42:16,480 --> 00:42:19,960
Speaker 3: Hill package, like, might not have had that. So there's

823
00:42:20,000 --> 00:42:23,360
Speaker 3: something so cool that you get to do in terms

824
00:42:23,360 --> 00:42:28,520
Speaker 3: of keeping these these easter eggs in the world. When

825
00:42:28,760 --> 00:42:30,880
Speaker 3: when you know, a show like Front and Back. So

826
00:42:31,000 --> 00:42:34,040
Speaker 3: I don't know, I get that, you know, you might

827
00:42:34,080 --> 00:42:36,040
Speaker 3: have felt relieved, but I would love to see you

828
00:42:36,280 --> 00:42:39,080
Speaker 3: direct and like see what you would pull out.

829
00:42:39,880 --> 00:42:46,360
Speaker 4: It would be so much screaming and just divisive, really authoritarian. Yeah,

830
00:42:46,440 --> 00:42:47,919
Speaker 4: it would be iron fish.

831
00:42:48,000 --> 00:42:50,040
Speaker 3: Yeah, that that really tracks for your person.

832
00:43:03,160 --> 00:43:05,440
Speaker 1: I have a question about Julian and Brook. Why did

833
00:43:05,520 --> 00:43:09,120
Speaker 1: Julian not invite Brooke to come over to Alex's and

834
00:43:09,239 --> 00:43:11,840
Speaker 1: participate in this helping Alex situation?

835
00:43:13,120 --> 00:43:18,120
Speaker 4: I know, listen this great, great question, And I also

836
00:43:18,440 --> 00:43:24,200
Speaker 4: watched this whole scene going oh buddy, oh buddy, come on, pal,

837
00:43:25,440 --> 00:43:27,600
Speaker 4: you can do what you can Just talk her through

838
00:43:27,640 --> 00:43:29,200
Speaker 4: the phone, you know what I mean, Like, you don't

839
00:43:29,200 --> 00:43:30,840
Speaker 4: need to go to a telroom. You tell her to

840
00:43:30,960 --> 00:43:34,200
Speaker 4: dump it out and find a meeting, Like, yeah, you

841
00:43:34,239 --> 00:43:36,160
Speaker 4: don't need to be the one who goes that. It

842
00:43:36,239 --> 00:43:40,240
Speaker 4: was real dumb, dumb move on his part, especially after

843
00:43:40,280 --> 00:43:44,279
Speaker 4: he's been leaving Brooke sort of on her own for

844
00:43:44,320 --> 00:43:46,680
Speaker 4: this long and this is their night out to celebrate.

845
00:43:46,960 --> 00:43:48,160
Speaker 4: You're gonna dip.

846
00:43:48,600 --> 00:43:51,839
Speaker 1: Uh, dude, Like I can understand being a friend who

847
00:43:51,880 --> 00:43:54,600
Speaker 1: doesn't if he's never experienced this, that before, although being

848
00:43:54,600 --> 00:43:57,160
Speaker 1: a producer in Hollywood, I find it hard to believe.

849
00:43:57,200 --> 00:44:00,080
Speaker 1: But it's okay if he's never experienced this kind of

850
00:44:00,080 --> 00:44:04,800
Speaker 1: of desperation. On the other line, I get the first instinct.

851
00:44:04,840 --> 00:44:07,799
Speaker 1: I I am kind, I want to come help. I

852
00:44:07,840 --> 00:44:11,000
Speaker 1: want to participate and be there for you. So even

853
00:44:11,080 --> 00:44:16,320
Speaker 1: giving him the space to not know the alternative.

854
00:44:16,800 --> 00:44:18,919
Speaker 3: Call it brook or tell her or be like, yeah,

855
00:44:18,960 --> 00:44:21,560
Speaker 3: come with me, let's go do this together our team.

856
00:44:21,600 --> 00:44:23,839
Speaker 1: I'm sorry it's ruining our date night, but like, we

857
00:44:23,920 --> 00:44:25,759
Speaker 1: have somebody that we know who's in trouble, let's do

858
00:44:25,760 --> 00:44:26,240
Speaker 1: it together.

859
00:44:27,080 --> 00:44:30,839
Speaker 3: And this person makes you uncomfortable, so come see our

860
00:44:30,880 --> 00:44:33,839
Speaker 3: relationship and action and understand that it's not that kind

861
00:44:33,840 --> 00:44:34,319
Speaker 3: of a thing.

862
00:44:34,680 --> 00:44:35,480
Speaker 1: Yes, you know.

863
00:44:36,000 --> 00:44:39,239
Speaker 3: Yeah, And the way we sort of had to because again,

864
00:44:39,320 --> 00:44:42,080
Speaker 3: there's no drama if he does If he does bring it,

865
00:44:44,160 --> 00:44:46,880
Speaker 3: this is a drama, So you got to have the drama.

866
00:44:47,560 --> 00:44:51,480
Speaker 3: But the only way that we could figure out how

867
00:44:51,520 --> 00:44:56,600
Speaker 3: to make that decision seem feasible was that when he

868
00:44:56,640 --> 00:44:58,759
Speaker 3: came out to look for Brooks, she was gone and

869
00:44:58,800 --> 00:45:00,839
Speaker 3: he didn't know where she was. It was like, I

870
00:45:00,880 --> 00:45:01,439
Speaker 3: gotta go.

871
00:45:01,840 --> 00:45:03,319
Speaker 1: Oh, did you guys come up with that?

872
00:45:03,880 --> 00:45:07,920
Speaker 3: I it's hard to remember. I don't know if we

873
00:45:08,040 --> 00:45:09,480
Speaker 3: came up with it, but.

874
00:45:09,520 --> 00:45:12,000
Speaker 1: You had weeks of prep too, so you easily could

875
00:45:12,000 --> 00:45:13,520
Speaker 1: have called and been like, this doesn't Yeah.

876
00:45:14,040 --> 00:45:16,960
Speaker 3: Yeah, I feel like that was something that was really

877
00:45:17,000 --> 00:45:20,040
Speaker 3: important to Austin and I And it's why we shot

878
00:45:20,120 --> 00:45:22,719
Speaker 3: that close up of him like looking around Trick and

879
00:45:22,800 --> 00:45:25,720
Speaker 3: not knowing even where to go, because it's a huge

880
00:45:25,760 --> 00:45:27,520
Speaker 3: crowd at that point and she's not at the bar,

881
00:45:27,600 --> 00:45:30,760
Speaker 3: and there's you know, we've specifically left my empty cocktail

882
00:45:30,800 --> 00:45:35,720
Speaker 3: glass there. Yeah, so we wanted there to be some

883
00:45:35,800 --> 00:45:38,600
Speaker 3: sort of plausibility to the fact that he doesn't have

884
00:45:38,640 --> 00:45:40,120
Speaker 3: time to find her. He's got to run out and

885
00:45:40,120 --> 00:45:43,720
Speaker 3: make sure this person doesn't like God forbid od or whatever. Yeah.

886
00:45:43,760 --> 00:45:47,840
Speaker 3: But what I loved I loved that we were able

887
00:45:47,920 --> 00:45:51,960
Speaker 3: to get the moment once he got there. It's obviously

888
00:45:52,000 --> 00:45:55,680
Speaker 3: not a ruse on Alex's part. Janna was so beautiful

889
00:45:55,719 --> 00:45:59,160
Speaker 3: in these scenes. I mean, she's so vulnerable. She just

890
00:45:59,400 --> 00:46:04,600
Speaker 3: absolute sat there with me and was completely willing to

891
00:46:04,719 --> 00:46:07,120
Speaker 3: trust us and let me keep rolling. And I was like,

892
00:46:07,160 --> 00:46:08,640
Speaker 3: I don't want to cut I just want to be

893
00:46:08,680 --> 00:46:11,960
Speaker 3: here for you, and like, let this be real and

894
00:46:12,520 --> 00:46:16,319
Speaker 3: she was so raw and so vulnerable, and for me,

895
00:46:16,560 --> 00:46:20,200
Speaker 3: in a way, because of how wonderful she was, it

896
00:46:20,480 --> 00:46:23,880
Speaker 3: sold why Julian did what he did, because clearly she

897
00:46:23,960 --> 00:46:27,520
Speaker 3: wasn't trying to trick him. She was really really struggling.

898
00:46:27,960 --> 00:46:31,839
Speaker 3: And I thought the line was so great when she said,

899
00:46:31,880 --> 00:46:33,879
Speaker 3: you're the only one I could call who wouldn't want

900
00:46:33,920 --> 00:46:36,480
Speaker 3: to do it with me or report it to the tabloids.

901
00:46:37,840 --> 00:46:40,879
Speaker 3: And you go, oh, this girl literally has no one

902
00:46:40,880 --> 00:46:43,560
Speaker 3: who cares about her in her world. And yes she

903
00:46:43,640 --> 00:46:46,520
Speaker 3: has put, you know, questionable feelings for this man who

904
00:46:46,560 --> 00:46:48,799
Speaker 3: is someone else's boyfriend, and yes, all these things, but

905
00:46:49,960 --> 00:46:53,680
Speaker 3: when you really see underneath all the bluster, I think

906
00:46:53,680 --> 00:46:57,440
Speaker 3: it's so beautiful and I think they did such a

907
00:46:57,560 --> 00:47:01,840
Speaker 3: good job. And I love I love Alex and Julian

908
00:47:02,360 --> 00:47:04,440
Speaker 3: like of all the people I'm supposed to hate them,

909
00:47:04,480 --> 00:47:06,880
Speaker 3: and I actually really really love them. I love watching

910
00:47:06,880 --> 00:47:08,399
Speaker 3: them together. Yeah, they're fun.

911
00:47:08,400 --> 00:47:10,919
Speaker 1: It's like Abbot and Costello. There's special fun.

912
00:47:11,480 --> 00:47:11,719
Speaker 3: Yeah.

913
00:47:11,960 --> 00:47:14,600
Speaker 4: Circling back to what you were saying about needing to connect,

914
00:47:14,600 --> 00:47:18,239
Speaker 4: like all the connective tissues between the big beats, I

915
00:47:18,280 --> 00:47:20,719
Speaker 4: gotta say, now I get it, because the vile of

916
00:47:20,760 --> 00:47:23,239
Speaker 4: coke had to be empty. The smartest way to get

917
00:47:23,280 --> 00:47:26,640
Speaker 4: it empty without her knowing is to have Metley still it. Yeah,

918
00:47:26,680 --> 00:47:28,279
Speaker 4: so right. I was sort of thinking of it in

919
00:47:28,360 --> 00:47:30,160
Speaker 4: a vacuum, but the truth is when you've got to

920
00:47:30,160 --> 00:47:30,919
Speaker 4: make all that work.

921
00:47:31,120 --> 00:47:35,439
Speaker 3: Yeah all right, Yeah, it's it's like finding the next

922
00:47:35,440 --> 00:47:37,319
Speaker 3: pages on the Thomas Guide, Like the letters and the

923
00:47:37,360 --> 00:47:38,160
Speaker 3: numbers have to add.

924
00:47:38,200 --> 00:47:39,440
Speaker 1: That's Thomas guy.

925
00:47:39,520 --> 00:47:41,239
Speaker 4: Do you know what kind of boomers we sound like

926
00:47:41,280 --> 00:47:43,480
Speaker 4: when we talk about Thomas Guides? You realize no one

927
00:47:43,520 --> 00:47:46,400
Speaker 4: under thirty eight has ever used the Thomas Guide?

928
00:47:46,480 --> 00:47:46,920
Speaker 3: Totally?

929
00:47:47,040 --> 00:47:47,959
Speaker 1: Yeah, total? Map?

930
00:47:48,360 --> 00:47:48,920
Speaker 3: Who cares?

931
00:47:49,200 --> 00:47:49,439
Speaker 4: Map?

932
00:47:49,520 --> 00:47:52,960
Speaker 3: Joy, I have a question for you because I don't remember.

933
00:47:55,360 --> 00:47:59,040
Speaker 3: But our storyline, obviously the episode is so sweet because

934
00:47:59,040 --> 00:48:02,239
Speaker 3: you get to see our history since high school, and like,

935
00:48:02,840 --> 00:48:05,200
Speaker 3: I love Brook and Haley's friendship, and I love that

936
00:48:05,320 --> 00:48:07,759
Speaker 3: Brooke lets you in on the secret and then comes

937
00:48:07,800 --> 00:48:10,800
Speaker 3: to you with the sadness and the whole vibe. Yeah,

938
00:48:10,840 --> 00:48:12,799
Speaker 3: but part of me had this moment where I was like, wait,

939
00:48:12,840 --> 00:48:15,600
Speaker 3: I don't remember, because you come to me to dress

940
00:48:15,640 --> 00:48:18,920
Speaker 3: you for your concert and then you're wearing a hoodie.

941
00:48:19,400 --> 00:48:21,680
Speaker 1: Yeah, I don't wear anything of you.

942
00:48:22,880 --> 00:48:23,319
Speaker 5: I do it.

943
00:48:23,280 --> 00:48:27,560
Speaker 1: It's so funny I guess we just got sidetracked. I'm

944
00:48:27,600 --> 00:48:31,040
Speaker 1: imagining we just started gabbing and talking about your maybe pregnancy.

945
00:48:31,480 --> 00:48:32,040
Speaker 3: I don't know.

946
00:48:32,200 --> 00:48:34,239
Speaker 1: By the time I left, it was like Brook's gonna

947
00:48:34,239 --> 00:48:36,840
Speaker 1: be okay. And then I got home and went, oh,

948
00:48:37,000 --> 00:48:38,400
Speaker 1: I didn't get anything from.

949
00:48:38,239 --> 00:48:40,800
Speaker 3: Clothes overpro And I remember the like device, you know,

950
00:48:40,880 --> 00:48:43,120
Speaker 3: because you're zipping and unzipping and zipping and unzipping like

951
00:48:43,160 --> 00:48:47,160
Speaker 3: it's a nervous thing with the sweatshirt. But then Haley

952
00:48:47,160 --> 00:48:49,480
Speaker 3: walks on stage to sing and you're wearing the sweatshirt,

953
00:48:49,520 --> 00:48:52,600
Speaker 3: and I genuinely was like, did you and I make

954
00:48:52,640 --> 00:48:54,560
Speaker 3: that choice? Was that?

955
00:48:54,719 --> 00:48:54,839
Speaker 4: Like?

956
00:48:54,960 --> 00:48:58,480
Speaker 3: I just don't remember, but I was like, wait, we

957
00:48:58,560 --> 00:49:01,279
Speaker 3: have this lovely storyline. I'm together, and part of our

958
00:49:01,320 --> 00:49:03,880
Speaker 3: storyline is that I've made you an outfit.

959
00:49:04,560 --> 00:49:07,560
Speaker 1: I feel like there was some conversation about the hat,

960
00:49:08,040 --> 00:49:10,360
Speaker 1: like it was terrible. I don't know why it was

961
00:49:10,400 --> 00:49:13,240
Speaker 1: so insistent, stupid purple beret.

962
00:49:13,520 --> 00:49:16,000
Speaker 3: Okay. I wasn't gonna say that you were very insistent

963
00:49:16,040 --> 00:49:19,360
Speaker 3: on the nitcap. I was. I don't know what. It

964
00:49:19,440 --> 00:49:20,120
Speaker 3: was horrible.

965
00:49:20,360 --> 00:49:22,640
Speaker 1: I remember talking with you about it on set and

966
00:49:22,680 --> 00:49:24,080
Speaker 1: I was like, no, I'm going to wear it.

967
00:49:24,760 --> 00:49:26,640
Speaker 3: You're like, I'm wearing it, and I was like.

968
00:49:27,600 --> 00:49:30,200
Speaker 1: You're like, I just don't think Brooke would have given

969
00:49:30,680 --> 00:49:31,760
Speaker 1: Hayley like this hat.

970
00:49:32,120 --> 00:49:34,759
Speaker 3: I literally know what you're gonna die. I wrote down

971
00:49:34,760 --> 00:49:36,640
Speaker 3: in my notes, I go to be clear close over Bros.

972
00:49:36,719 --> 00:49:38,160
Speaker 3: Does not do beanies a.

973
00:49:40,480 --> 00:49:43,560
Speaker 4: Hey. Also at the fashion show, we had the introduction

974
00:49:43,680 --> 00:49:44,760
Speaker 4: of Grubs.

975
00:49:45,760 --> 00:49:50,920
Speaker 3: You know, Oh my gosh, so epic, and I love

976
00:49:51,080 --> 00:49:55,400
Speaker 3: I forgot that. His like spiritual gift when he first

977
00:49:55,400 --> 00:49:57,640
Speaker 3: got on the show was that he knew what everyone

978
00:49:57,680 --> 00:49:58,440
Speaker 3: wanted to drink.

979
00:49:58,719 --> 00:49:59,440
Speaker 1: So cool.

980
00:50:00,000 --> 00:50:02,800
Speaker 3: I love the vibe. He is the antithesis of Chase,

981
00:50:03,160 --> 00:50:04,919
Speaker 3: and I love that Chase is in on the joke

982
00:50:05,320 --> 00:50:07,279
Speaker 3: and he's like, this guy actually knows what you want

983
00:50:07,280 --> 00:50:09,160
Speaker 3: to drink. Everyone leave me alone?

984
00:50:10,080 --> 00:50:13,319
Speaker 4: Who does? Isn't there a bit? Doesn't someone walk up

985
00:50:13,560 --> 00:50:16,480
Speaker 4: and they go guess their drink and he says blood.

986
00:50:16,440 --> 00:50:17,600
Speaker 1: Dan, damn god Dan.

987
00:50:17,920 --> 00:50:20,960
Speaker 4: Yeah. That was great, So.

988
00:50:21,160 --> 00:50:25,520
Speaker 1: Great introduction of him. And he's now scoring James's show.

989
00:50:25,600 --> 00:50:28,480
Speaker 1: With James and Stephen's show, everybody's doing great. Yeah, he

990
00:50:29,000 --> 00:50:33,239
Speaker 1: grubs scores the whole show like it's amazing how families

991
00:50:33,360 --> 00:50:34,719
Speaker 1: just lasted and.

992
00:50:34,880 --> 00:50:37,799
Speaker 3: He and Kate Vogel have their band, They've got their band,

993
00:50:37,800 --> 00:50:40,880
Speaker 3: Your future Ghost, It's so so fun.

994
00:50:41,239 --> 00:50:44,040
Speaker 4: That's wild is the song that you sing in this episode,

995
00:50:44,120 --> 00:50:47,320
Speaker 4: Joy in original of yours. It is nice.

996
00:50:48,160 --> 00:50:51,600
Speaker 1: Okay, Yeah, I was dreading this episode. I was really

997
00:50:51,960 --> 00:50:56,320
Speaker 1: dreading it. I'm so you insisted on the nitcap. It's

998
00:50:56,360 --> 00:50:58,680
Speaker 1: burned into my brain. Yeah, all of it.

999
00:50:58,680 --> 00:50:58,960
Speaker 3: It was.

1000
00:50:59,000 --> 00:51:02,000
Speaker 1: I was I could see it in my eyes, Like

1001
00:51:02,320 --> 00:51:04,560
Speaker 1: I was at a really low point.

1002
00:51:04,280 --> 00:51:04,920
Speaker 3: In my life.

1003
00:51:05,239 --> 00:51:09,799
Speaker 1: Yeah, when we were filming this episode, and I mean

1004
00:51:09,840 --> 00:51:10,759
Speaker 1: I could, I could see it.

1005
00:51:10,800 --> 00:51:11,120
Speaker 4: I could.

1006
00:51:11,320 --> 00:51:14,279
Speaker 1: I'm watching myself just act in these scenes and like

1007
00:51:14,480 --> 00:51:18,319
Speaker 1: my heart's breaking for younger me, Like, yeah, I was

1008
00:51:18,360 --> 00:51:22,319
Speaker 1: in a lot of pain. So I'm glad this episode's over.

1009
00:51:22,719 --> 00:51:24,960
Speaker 3: I'm glad for you it's over. I was wondering how

1010
00:51:25,000 --> 00:51:28,360
Speaker 3: you were going to like, I mean, i'd like to

1011
00:51:28,400 --> 00:51:30,120
Speaker 3: think I knew how you were going to feel about it.

1012
00:51:30,160 --> 00:51:32,200
Speaker 3: I didn't know how you would feel about talking about it.

1013
00:51:32,239 --> 00:51:35,520
Speaker 3: But yeah, it was interesting to look back on it,

1014
00:51:37,280 --> 00:51:40,520
Speaker 3: given that whole dynamic and who was involved in your

1015
00:51:40,600 --> 00:51:42,839
Speaker 3: music then and who was involved in your life then,

1016
00:51:43,719 --> 00:51:46,320
Speaker 3: and watching it from this point, I was like, God,

1017
00:51:47,000 --> 00:51:54,000
Speaker 3: the Ringers we got put through as young women in

1018
00:51:54,040 --> 00:51:56,839
Speaker 3: some of these situations that like on the other side

1019
00:51:56,880 --> 00:52:00,920
Speaker 3: of them, I'm amazed we got out of in the

1020
00:52:00,920 --> 00:52:03,319
Speaker 3: way that we did, and like we just had to

1021
00:52:03,320 --> 00:52:06,959
Speaker 3: go to work and yeah, be so happy all the time,

1022
00:52:07,040 --> 00:52:10,600
Speaker 3: like just do it no matter what, and nobody really cared.

1023
00:52:11,120 --> 00:52:13,760
Speaker 3: And it is like very interesting when I think about,

1024
00:52:14,400 --> 00:52:18,640
Speaker 3: you know, the way everyone's been able to hold on

1025
00:52:18,680 --> 00:52:20,600
Speaker 3: to each other all these years later. I'm like, because

1026
00:52:20,640 --> 00:52:25,560
Speaker 3: we like survived our own like even within what was

1027
00:52:25,600 --> 00:52:28,759
Speaker 3: happening at moments on the show. For us all we

1028
00:52:28,800 --> 00:52:32,359
Speaker 3: each had to go through these incredible trials and tribulations

1029
00:52:32,440 --> 00:52:36,480
Speaker 3: in our lives. Yeah, and come into work and act

1030
00:52:36,520 --> 00:52:37,360
Speaker 3: like it wasn't happening.

1031
00:52:37,400 --> 00:52:41,840
Speaker 1: And oh boy, it's amazing what our wilds are required

1032
00:52:41,880 --> 00:52:45,919
Speaker 1: to do and do gladly, Like, in spite of all

1033
00:52:45,960 --> 00:52:49,720
Speaker 1: of the personal pain that I was in, I actually

1034
00:52:49,840 --> 00:52:51,920
Speaker 1: was really glad to come to work. It was a

1035
00:52:52,000 --> 00:52:54,200
Speaker 1: relief for me. It was it was a safe haven.

1036
00:52:54,239 --> 00:52:59,960
Speaker 1: It was a place to come and you know, escape escape. Yeah,

1037
00:53:00,080 --> 00:53:03,680
Speaker 1: And of course personal lives bleed into things like being

1038
00:53:03,719 --> 00:53:06,600
Speaker 1: insistent on purple hats that don't look good on camera

1039
00:53:08,200 --> 00:53:10,200
Speaker 1: because I wanted to be in control of something.

1040
00:53:10,640 --> 00:53:14,960
Speaker 3: Listen, it's it's a fine exercising of emo. Don't worry

1041
00:53:14,960 --> 00:53:15,480
Speaker 3: about it.

1042
00:53:16,880 --> 00:53:18,759
Speaker 1: Yeah, that's I mean, that was the least of it.

1043
00:53:18,840 --> 00:53:23,799
Speaker 1: But like, uh, it is amazing what what artists do.

1044
00:53:24,080 --> 00:53:25,920
Speaker 1: And I really it just makes me. It makes me

1045
00:53:26,000 --> 00:53:29,719
Speaker 1: love actors. I just love actors, Like we care so

1046
00:53:29,840 --> 00:53:32,400
Speaker 1: much about telling stories and telling good stories that no

1047
00:53:32,400 --> 00:53:36,279
Speaker 1: matter what's going on in our life, we just are

1048
00:53:36,320 --> 00:53:39,000
Speaker 1: able somehow to shut it all down and dive back

1049
00:53:39,040 --> 00:53:41,080
Speaker 1: into the story. It's so great.

1050
00:53:41,320 --> 00:53:43,960
Speaker 4: Have you seen the footage of I think it was

1051
00:53:44,040 --> 00:53:46,840
Speaker 4: right when Katie Perry was going through her divorce with

1052
00:53:46,920 --> 00:53:50,320
Speaker 4: Russell Brand and there's a they're videoing her right before

1053
00:53:50,400 --> 00:53:53,600
Speaker 4: she gets raised up to the stage and she is

1054
00:53:54,120 --> 00:53:59,600
Speaker 4: like sobbing, just sobbing. She's like hyperventilating, and then and

1055
00:53:59,640 --> 00:54:01,759
Speaker 4: then thing starts to go up and she has to

1056
00:54:01,840 --> 00:54:04,360
Speaker 4: turn it on and she hits the stage and she's

1057
00:54:04,520 --> 00:54:08,759
Speaker 4: just on badass form. It's like, you have to have

1058
00:54:08,840 --> 00:54:12,799
Speaker 4: the capacity to do that. It's like, Okay, you're going

1059
00:54:12,840 --> 00:54:15,040
Speaker 4: through stuff, but for the next hour, you got to

1060
00:54:15,080 --> 00:54:15,360
Speaker 4: not be.

1061
00:54:16,080 --> 00:54:16,799
Speaker 3: You got to not be.

1062
00:54:17,000 --> 00:54:20,480
Speaker 1: You just have to not be. Yeah, it's extraordinary. I

1063
00:54:20,520 --> 00:54:24,799
Speaker 1: mean it's terrible and in any ways, but there are

1064
00:54:25,280 --> 00:54:28,359
Speaker 1: outlets and ways to learn how to cope with it.

1065
00:54:28,440 --> 00:54:31,480
Speaker 1: And nobody's got a perfect life and nobody's got a

1066
00:54:31,520 --> 00:54:34,360
Speaker 1: perfect job, and you know, we all need to exist

1067
00:54:34,400 --> 00:54:37,839
Speaker 1: in different spaces because the world needs people who get

1068
00:54:37,920 --> 00:54:40,000
Speaker 1: to go through all of their emotions on a regular basis,

1069
00:54:40,040 --> 00:54:42,480
Speaker 1: and the world needs people who can compartmentalize them.

1070
00:54:42,719 --> 00:54:48,480
Speaker 3: Yeah, for different reasons. I loved, like, obviously the behind

1071
00:54:48,520 --> 00:54:52,560
Speaker 3: the scenes of it not weighing into the episode itself,

1072
00:54:52,640 --> 00:54:55,719
Speaker 3: like we know each other, so we know. But I

1073
00:54:56,960 --> 00:55:00,880
Speaker 3: loved seeing you back on stage as he Haley. Yeah,

1074
00:55:01,000 --> 00:55:04,600
Speaker 3: I loved. I love the comedy that we've settled into

1075
00:55:04,760 --> 00:55:07,840
Speaker 3: with Haley and Miranda, Like the buddy comedy with the

1076
00:55:07,880 --> 00:55:11,280
Speaker 3: girls is so fun for me, the Alex and Milly

1077
00:55:12,000 --> 00:55:15,480
Speaker 3: and the Haley and Miranda and like, She's so ridiculous

1078
00:55:15,520 --> 00:55:19,640
Speaker 3: but so funny because India is so great, yes, and

1079
00:55:19,719 --> 00:55:21,440
Speaker 3: her being like I love that I came up with

1080
00:55:21,520 --> 00:55:22,600
Speaker 3: this idea and you're.

1081
00:55:22,400 --> 00:55:27,320
Speaker 6: Just like, what the The whole thing is just so good.

1082
00:55:27,360 --> 00:55:30,319
Speaker 3: And it felt nice to see Haley win.

1083
00:55:30,960 --> 00:55:33,359
Speaker 1: Yeah, I did too. I was nice to see her

1084
00:55:33,400 --> 00:55:36,480
Speaker 1: just sort of stepping into her Yeah, into one of

1085
00:55:36,480 --> 00:55:38,359
Speaker 1: her passions and having space to do that. And it's

1086
00:55:38,360 --> 00:55:40,879
Speaker 1: like she was saying to Nathan at the end, which

1087
00:55:40,920 --> 00:55:43,320
Speaker 1: was short lived, but hey, look at us.

1088
00:55:43,440 --> 00:55:46,160
Speaker 3: That scene and he's like, why did you have to

1089
00:55:46,280 --> 00:55:50,760
Speaker 3: say it? You joxed it, don't jinx to turn around

1090
00:55:50,840 --> 00:55:55,520
Speaker 3: from that sweet moment see Dan and Rachel and then

1091
00:55:56,000 --> 00:55:59,439
Speaker 3: his contract gets swiped out from under him. I was like, oh, man,

1092
00:55:59,520 --> 00:55:59,920
Speaker 3: come on.

1093
00:56:00,680 --> 00:56:02,719
Speaker 1: Also, by the way, just Nathan opening the door to

1094
00:56:02,800 --> 00:56:04,279
Speaker 1: Dan Scott and then shutting it in and.

1095
00:56:04,160 --> 00:56:04,680
Speaker 5: Shutting it.

1096
00:56:06,880 --> 00:56:06,920
Speaker 4: That.

1097
00:56:06,960 --> 00:56:10,160
Speaker 3: It was perfect. Okay, I know we're running over friends

1098
00:56:10,160 --> 00:56:12,000
Speaker 3: at home. Thank you for bearing with us. We have

1099
00:56:12,040 --> 00:56:14,319
Speaker 3: a listener question that I actually think is sort of

1100
00:56:15,120 --> 00:56:18,400
Speaker 3: perfect for this since we're talking about these eras we

1101
00:56:18,440 --> 00:56:22,680
Speaker 3: went through on this show. Because Susan asks, which one

1102
00:56:22,719 --> 00:56:25,839
Speaker 3: Tree Hill episode or scene do you think would make

1103
00:56:25,880 --> 00:56:29,600
Speaker 3: a great standalone short film and how would you envision it?

1104
00:56:31,480 --> 00:56:34,320
Speaker 4: I got one for this, okay. I want to see

1105
00:56:35,040 --> 00:56:39,440
Speaker 4: an entire movie of when Millie has to pick up

1106
00:56:39,480 --> 00:56:43,920
Speaker 4: Alex Duprey at the airport and get her to the hotel.

1107
00:56:44,440 --> 00:56:47,240
Speaker 4: Except I want to see it like planes, trains and automobiles,

1108
00:56:47,280 --> 00:56:50,320
Speaker 4: where it's yes, they have to endure all the stuff

1109
00:56:50,320 --> 00:56:53,799
Speaker 4: together and we get to see the two of them. Yes,

1110
00:56:54,800 --> 00:56:57,880
Speaker 4: was it?

1111
00:56:57,880 --> 00:56:59,280
Speaker 3: It would be so good.

1112
00:57:00,080 --> 00:57:02,000
Speaker 4: Okay, runner up, that can be your's joy. Here's my

1113
00:57:02,080 --> 00:57:02,600
Speaker 4: runner up?

1114
00:57:02,680 --> 00:57:03,840
Speaker 3: No, no, no, it's fine.

1115
00:57:03,880 --> 00:57:04,600
Speaker 1: That's fine.

1116
00:57:04,719 --> 00:57:07,360
Speaker 4: How about the episode where the three of you get stoned?

1117
00:57:08,120 --> 00:57:10,400
Speaker 4: I could go for a funny Halloween movie.

1118
00:57:10,840 --> 00:57:13,759
Speaker 3: Totally agree a movie of that. And also, Rob, there's

1119
00:57:13,760 --> 00:57:16,240
Speaker 3: an episode you haven't seen but back in the high

1120
00:57:16,280 --> 00:57:19,880
Speaker 3: school years where Brooke and Hayley and Peyton went on

1121
00:57:19,920 --> 00:57:23,600
Speaker 3: a road trip to New York together, and like, when

1122
00:57:23,640 --> 00:57:26,120
Speaker 3: we watched it, we all said, this should have been

1123
00:57:26,120 --> 00:57:28,520
Speaker 3: a movie. This should have been like a ninety minute

1124
00:57:28,520 --> 00:57:32,160
Speaker 3: We needed more of this. Oh yeah, so there's something. Yeah,

1125
00:57:32,160 --> 00:57:36,920
Speaker 3: there's just something about those the road moments for the girls. Yeah,

1126
00:57:37,160 --> 00:57:38,360
Speaker 3: a Tree Hill road trip, I'm in.

1127
00:57:39,320 --> 00:57:39,720
Speaker 4: Yeah.

1128
00:57:39,840 --> 00:57:41,200
Speaker 1: Wait what was your runner up? Rob?

1129
00:57:41,240 --> 00:57:41,919
Speaker 3: What did you just say?

1130
00:57:41,920 --> 00:57:42,400
Speaker 1: The last thing?

1131
00:57:42,520 --> 00:57:44,440
Speaker 4: The weed Brownie party?

1132
00:57:44,520 --> 00:57:45,360
Speaker 3: Oh yeah, wait.

1133
00:57:45,360 --> 00:57:49,800
Speaker 1: Has anybody made a comedy horror movie where the main

1134
00:57:49,880 --> 00:57:52,200
Speaker 1: characters get stoned and then they're like being chased by

1135
00:57:52,240 --> 00:57:56,000
Speaker 1: people but they're like dealing high murder and being high.

1136
00:57:56,080 --> 00:57:59,760
Speaker 4: Yeah it was called Pineapple Express.

1137
00:58:00,400 --> 00:58:04,720
Speaker 3: Oh right, horror, but yes, an action horror. A stoner

1138
00:58:04,800 --> 00:58:06,320
Speaker 3: action film. We could do it.

1139
00:58:06,520 --> 00:58:09,280
Speaker 4: What if we did? Here's how it is. It's the

1140
00:58:09,560 --> 00:58:13,840
Speaker 4: It's the Weed Brownie Party, but it's done a la

1141
00:58:14,080 --> 00:58:16,920
Speaker 4: clue like the original clue.

1142
00:58:17,360 --> 00:58:19,720
Speaker 3: Yes, oh my god. And you have to solve puzzles

1143
00:58:19,760 --> 00:58:20,480
Speaker 3: with your stone.

1144
00:58:20,760 --> 00:58:23,439
Speaker 1: Yeah, yes, yeah, I want to see that.

1145
00:58:23,440 --> 00:58:26,200
Speaker 4: That's it. Okay, great, all right, should be a wheel.

1146
00:58:26,360 --> 00:58:29,200
Speaker 3: Let's do it. Let's spin a wheel. Friends. I really

1147
00:58:29,240 --> 00:58:31,280
Speaker 3: want to know what happens next week. Also, I have

1148
00:58:31,360 --> 00:58:32,800
Speaker 3: no idea. I don't either.

1149
00:58:32,880 --> 00:58:36,280
Speaker 1: This episode didn't lead us into anything except Nathan Scott's career.

1150
00:58:36,560 --> 00:58:38,240
Speaker 3: It gave me no clues.

1151
00:58:39,040 --> 00:58:41,560
Speaker 1: Yeah, well, we're going to get more of Dan and Rachel.

1152
00:58:41,600 --> 00:58:42,120
Speaker 1: I'm sure.

1153
00:58:42,560 --> 00:58:44,640
Speaker 3: Oh god, I hope so, oh my god.

1154
00:58:45,440 --> 00:58:48,920
Speaker 4: Most likely to compete on Dancing with the Stars.

1155
00:58:49,080 --> 00:58:52,680
Speaker 3: Jannah did it. Jah, There you go, guys, she did it.

1156
00:58:53,200 --> 00:58:54,120
Speaker 3: She's so good.

1157
00:58:54,360 --> 00:58:54,760
Speaker 4: How'd she do?

1158
00:58:56,280 --> 00:59:01,840
Speaker 3: I mean pretty freakin' well. I gosh. You know who

1159
00:59:01,920 --> 00:59:04,080
Speaker 3: else they think would be really good at it? Would

1160
00:59:04,120 --> 00:59:07,360
Speaker 3: also be Lisa Goldstein. They should go together. That could

1161
00:59:07,400 --> 00:59:10,400
Speaker 3: be a freaking short film. Milli and Alex go on

1162
00:59:10,600 --> 00:59:14,360
Speaker 3: Dancing with the Stars. Because Lisa did so much like

1163
00:59:14,560 --> 00:59:18,280
Speaker 3: incredible choreography in her first job for so long. Yes, Oh,

1164
00:59:18,320 --> 00:59:19,439
Speaker 3: I feel like that would be so.

1165
00:59:19,480 --> 00:59:21,080
Speaker 4: Also, is it weird that I feel like I could

1166
00:59:21,080 --> 00:59:23,720
Speaker 4: see Lee Norris doing that and being really good at it?

1167
00:59:24,560 --> 00:59:26,760
Speaker 3: Fully agree? He would be so good?

1168
00:59:27,240 --> 00:59:30,560
Speaker 1: Yeah, I think I think actually Antonine would be really

1169
00:59:30,600 --> 00:59:33,240
Speaker 1: good at that too, because he throws himself one hundred

1170
00:59:33,240 --> 00:59:36,640
Speaker 1: percent into anything that he goes for he does. I mean,

1171
00:59:36,760 --> 00:59:39,120
Speaker 1: I think it would be like, haha, this is really funny,

1172
00:59:39,120 --> 00:59:40,760
Speaker 1: but he would work hard.

1173
00:59:41,440 --> 00:59:43,760
Speaker 3: So essentially, what you're saying is there should be a

1174
00:59:43,800 --> 00:59:46,360
Speaker 3: whole season of Dancing with the Stars, just with our cast.

1175
00:59:46,960 --> 00:59:47,760
Speaker 3: Let's do it?

1176
00:59:48,840 --> 00:59:49,840
Speaker 4: Did you confection?

1177
00:59:50,600 --> 00:59:52,480
Speaker 3: That would actually be so funny.

1178
00:59:53,120 --> 00:59:55,360
Speaker 4: Listen. I would be the first voted off, but I

1179
00:59:55,400 --> 00:59:57,520
Speaker 4: would give you one hell of our performance.

1180
00:59:57,880 --> 00:59:59,520
Speaker 3: Would you do bad dancing on purpose?

1181
00:59:59,720 --> 00:59:59,919
Speaker 5: Oh?

1182
01:00:00,000 --> 01:00:01,520
Speaker 4: One hundred commercial?

1183
01:00:01,680 --> 01:00:02,280
Speaker 3: Okay, great?

1184
01:00:02,440 --> 01:00:04,040
Speaker 4: No, The sad thing is I would actually try my

1185
01:00:04,040 --> 01:00:05,520
Speaker 4: hardest and probably still get voted on.

1186
01:00:08,680 --> 01:00:10,600
Speaker 3: All right, friends, this was perfect.

1187
01:00:11,320 --> 01:00:12,320
Speaker 4: What do we got next week?

1188
01:00:12,720 --> 01:00:15,600
Speaker 3: Next week we have season seven, episode ten. You are

1189
01:00:15,640 --> 01:00:21,480
Speaker 3: a runner and I am my father's son. Interesting range.

1190
01:00:21,720 --> 01:00:26,280
Speaker 1: All right, everyone, we'll see you next week. Hey, thanks

1191
01:00:26,320 --> 01:00:26,880
Speaker 1: for listening.

1192
01:00:27,000 --> 01:00:29,240
Speaker 3: Don't forget to leave us a review. You can also

1193
01:00:29,280 --> 01:00:32,320
Speaker 3: follow us on Instagram at Drama Queen's ot.

1194
01:00:32,400 --> 01:00:37,120
Speaker 1: H or email us at Drama Queens at iHeartRadio dot com.

1195
01:00:37,360 --> 01:00:41,960
Speaker 3: See you next time. We all about that high school drama.

1196
01:00:42,000 --> 01:00:45,200
Speaker 3: Girl Drama Girl, all about them high school queens Forever.

1197
01:00:45,520 --> 01:00:47,760
Speaker 3: We'll take you for a ride at our comic Girl

1198
01:00:48,480 --> 01:00:52,880
Speaker 3: Shared for the right teams, Drama, Queens, Up Girl Fashion,

1199
01:00:52,920 --> 01:00:53,840
Speaker 3: what your tough girl?

1200
01:00:53,920 --> 01:00:56,960
Speaker 2: You could sit with us Girl, Drama, Queens Drama, Queenise Drama,

1201
01:00:57,040 --> 01:01:00,960
Speaker 2: Queens Drama, Drama, Queens Drama, Queen means