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

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Speaker 2: All about that high school drama, Girl Drama, Girl, all about.

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Speaker 3: Them high school queens. We'll take you for a ride

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Speaker 3: and our comic girl sharing for the right team.

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Speaker 2: Drama Queens, Jaylee's Girl of Girl Fashion, but your tough girl,

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Speaker 2: you could sit with us Girl Drama, Queens Drama, Queens Drama,

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

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Speaker 1: Hold on to your butts because we got an episode

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Speaker 1: for you today. We wow so for Joy and myself

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Speaker 1: here to discuss Season nine, Episode four, Don't You Want

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Speaker 1: to Share the Guilt? Aired February one, twenty twelve. Synopsis

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Speaker 1: reads Haley and Jamie anxiously await Nathan's return as Julian

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Speaker 1: deals with his guilt. Brook helps Haley confront a new

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Speaker 1: rival cafe and it's difficult owner. Meanwhile, Chase's new girl

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Speaker 1: has a complicated secret, and Quinn takes extreme measures that

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Speaker 1: help Clay realize he's worse off than he thought. Directed

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Speaker 1: by our very own editor extraordinaire, Les Butler and written

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Speaker 1: by Nicki Scheffelbaugh.

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Speaker 4: It was a lot.

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Speaker 5: There's a lot going on this episode. I mean, I

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Speaker 5: wasn't getting so much of the whiplash that I feel

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Speaker 5: like we've gotten in some of the other episodes recently,

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Speaker 5: where it's just like, what kind of show were we

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Speaker 5: even watching? So I was glad for that. But what

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Speaker 5: I mean, Okay, well, let's start with you want to

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Speaker 5: start from the beginning or do we want to start

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Speaker 5: a favorite storylines? Where who's feeling what?

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Speaker 1: TuS off joy? Where do you want to jump in?

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Speaker 5: Okay, I'll start with my favorite because I like to

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Speaker 5: be positive. Look, I loved what Austin was doing. I

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Speaker 5: loved your stuff with him, Sophia. This it was such

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Speaker 5: a grounding, centered place to land continually, Like every time

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Speaker 5: we came back to watching Austin work, he could have

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Speaker 5: so easily overplayed all of that, and he just he

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Speaker 5: just didn't. He was just so still and it really

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Speaker 5: made me feel the pain of what he was going through.

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Speaker 5: And I feel like it centered all of the other

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Speaker 5: wild stuff that was happening all around us, even though

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Speaker 5: everyone was in pain except Haley, who just was absorbing

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Speaker 5: everyone's pain trying to put a you know, silver lining

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Speaker 5: on everything all the time. Yeah, that was my fave.

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Speaker 6: Well, and I think one of the things I realized

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Speaker 6: going back you know, even just over my notes, particularly

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Speaker 6: because Julian and Clay have been able to embrace their quirks.

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Speaker 6: You know, you guys are both so good at your

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Speaker 6: particular brands of oddball humor. There was something really special

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Speaker 6: about having Clay's storyline be so heightened. Yeah, and you know,

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Speaker 6: kind of at the boiling point of what he was

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Speaker 6: going through, and then to have Julian on the other

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Speaker 6: side completely hitting rock bottom. It took this thing that

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Speaker 6: you guys do really well, whether you're in scenes together

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Speaker 6: or not, and it kind of tipped the scales in

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Speaker 6: opposite directions.

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Speaker 4: And I really enjoyed all of it.

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Speaker 6: And I thought it was so nice because the experience

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Speaker 6: I got to have, you know, playing Brooke opposite this Julian,

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Speaker 6: and then as a viewer getting to watch Quinn opposite

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Speaker 6: this Clay. I was like, oh my god, it sort

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Speaker 6: of took us to the margins of the story. Yeah,

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Speaker 6: and I really loved it.

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Speaker 5: Yeah, the internal guilt versus the what it seemed like

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Speaker 5: you were, how you were processing everything as Clay was

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Speaker 5: so there was so much external stuff because you're it's

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Speaker 5: it's so related to physical activity that you don't know

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Speaker 5: how to wrap your brain around, like you're wandering out

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Speaker 5: in the middle of the night and you're buying drugs

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Speaker 5: from people that you don't remember doing it, or it's

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Speaker 5: just there was so much external to echo what Sophia

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Speaker 5: saying that this this balance that happened. Actually, yeah, it

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Speaker 5: felt really nice.

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Speaker 6: Yeah, and it was nice too, you know, to your point, Joy,

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Speaker 6: the foreboding that we don't know is foreboding until the end,

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Speaker 6: you know, when we discover that the moose is on

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Speaker 6: the ground and Nathan is missing. It's like things seem

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Speaker 6: to be going pretty okay for Haley and she gets

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Speaker 6: to be the center that's very calm, almost like the

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Speaker 6: eye of the storm, and people the women get to

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Speaker 6: come in and out dealing with what they are having

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Speaker 6: to sort of carry or juggle in their partnership.

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Speaker 4: And I don't know it really it felt.

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Speaker 6: So authentic to me, as crazy as the circumstances are,

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Speaker 6: you know, in Treill, like it all worked. You got

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Speaker 6: to see friends trying to process difficulty together and it

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Speaker 6: was I just thought the whole thing really tracked. I

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Speaker 6: really loved to piggyback on what you were saying. Even

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Speaker 6: the stillness of Austin's world as Julian. Even the fact

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Speaker 6: that they chose to start the episode in slow motion, yeah,

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Speaker 6: so you could see the conversation between us, even though

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Speaker 6: it was wordless. I thought was so smart because you

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Speaker 6: felt the air kind of getting sucked.

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Speaker 4: Out of him.

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Speaker 6: Yeah, And to start the episode in that place already

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Speaker 6: put us all in such a I don't know, such

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Speaker 6: a heightened sense of sensitivity and nervousness as viewers.

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Speaker 5: What do you do as a parent when you walk

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Speaker 5: up to the other parent? Do you hug them or

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Speaker 5: do you walk up like I mean, it was an

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Speaker 5: impossible choice. I felt for Brooke, and you did such

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Speaker 5: a great job with that because I saw the conflict

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Speaker 5: in your face. It wasn't just pure anger or pure

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Speaker 5: relief or pure anything. It was just all of the

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Speaker 5: things at once. And there's like, I don't I do

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Speaker 5: not even know what to do with you right now.

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Speaker 5: I just have to go check on my child. But

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Speaker 5: it also was heartbreaking, like, oh god, Julian's just there

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Speaker 5: all alone.

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Speaker 1: I felt for both Julian and Brooke because it also

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Speaker 1: just felt extraordinarily real because I feel like so often

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Speaker 1: in life things aren't black and white. There's lots of

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Speaker 1: shades of gray involved. As much as I want things

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Speaker 1: to be black and white all the time, that's just

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Speaker 1: not the way the real world works, you know, And

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Speaker 1: this was a great example of that. Where I completely

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Speaker 1: understand wanting to just lay into your partner. I completely

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Speaker 1: understand wanting to just make your partner feel good. My

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Speaker 1: response would probably be somewhere in the middle, hopefully leaning

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Speaker 1: closer to the compassion side of it, because that's the

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Speaker 1: scariest thing that can happen to you, was a parent.

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Speaker 1: But what was so good about it was that it

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Speaker 1: seemed like something that could happen to anyone. He wasn't

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Speaker 1: being negligent like he anyone who has anyone who has

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Speaker 1: inexperienced parentsing like you know, you were constantly keeping several

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Speaker 1: spinning plates moving at the same.

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Speaker 5: Time, especially with twins, especially.

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Speaker 1: With twins, and so it's it is very easy for

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Speaker 1: something to just if it's not directly in front of you,

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Speaker 1: kind of go to the back of the queue. And

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Speaker 1: so it was one of those I felt for him

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Speaker 1: because this wasn't him waiting for Brooke to not be

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Speaker 1: mad at him. You know, there's the kind of things

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Speaker 1: where like you goof up and you're just like, ah, this,

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Speaker 1: I'm gonna feel like crap until my partner lets me

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Speaker 1: off the hook. This wasn't that, This was a matter

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Speaker 1: of he has himself on the hook, and where I

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Speaker 1: felt for him is the only sort of way out

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Speaker 1: through that. The only fix for that is time. Yeah. Yeah,

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Speaker 1: And so just when you're in it, man, you are

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Speaker 1: just steeped in it.

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Speaker 5: That's what made his scene so good to me, that

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Speaker 5: he was taking the time and where he could have

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Speaker 5: really leaned into the mellow drama and been sort of

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Speaker 5: this all the self flogging and everything. You just he's

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Speaker 5: so good. He knows what to do. He knows it.

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Speaker 5: All you have to do is think. You just have

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Speaker 5: to think and feel what your character's feeling and thinking,

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Speaker 5: and the camera will pick it up. You don't have

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Speaker 5: to do anything. And he did that and I really

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Speaker 5: felt that in the car when he was sitting there.

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Speaker 5: I mean, talk about just needing to take time. Just

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Speaker 5: the days go by and you just try and figure

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Speaker 5: out how to function normally and how to hit him

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Speaker 5: walking to the car and stepping on the glass that

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Speaker 5: was in the sidewalk and knowing where the glass came from,

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Speaker 5: he just let the wheels spin. And a credit to

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Speaker 5: Less that the director for letting him just do that,

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Speaker 5: just letting the camera sit on him so he could

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Speaker 5: do that, because that allowed us to feel it as well.

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Speaker 4: Yeah, and I.

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Speaker 6: Really was grateful to your point about time. Obviously, I

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Speaker 6: remember the storyline. I didn't remember all of the specific scenes,

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Speaker 6: but I was really grateful, especially to your point Rob

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Speaker 6: of really understanding how gray all this is. That they

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Speaker 6: didn't make either of us rush it. They let him

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Speaker 6: be in grief and shame. They let me be unsure.

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Speaker 6: We didn't do the thing where Brooke was like, of

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Speaker 6: course it was an accident, it's okay, don't worry. I

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Speaker 6: got to be nervous about how do I look at

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Speaker 6: this person that I love and ever trust them again.

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Speaker 6: And everybody got to take their time, and I thought

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Speaker 6: that it was such a beautiful thing. I forgot about

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Speaker 6: that scene in the car and when he was sitting

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Speaker 6: in there so emotional, you know, just I floodshot tears

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Speaker 6: streaming down his face. I was like, oh my god,

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Speaker 6: he's trying to feel the heat. I didn't remember that.

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Speaker 6: I got in the car, you guys, and then the

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Speaker 6: door opened and I was like, oh, my god, Oh

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Speaker 6: my god.

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Speaker 5: The scene.

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Speaker 6: Oh I remember this, and I immediately as soon as

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Speaker 6: that scene was over, I texted Austin and he was like, wait, oh.

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Speaker 5: My god, I forgot about that scene.

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Speaker 1: I was like, I did do.

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Speaker 6: And then we sat just talking about this, and we

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Speaker 6: just talked about how glad we are that we got

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Speaker 6: to have that and that we got to end on

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Speaker 6: something so real for these characters, or I guess build

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Speaker 6: into the ending, you know. And it jogged my memory

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Speaker 6: to how both of us really poured over stories where

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Speaker 6: this has happened, where the kid's been okay, and then

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Speaker 6: the awful stories where the kid hasn't been okay, and

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Speaker 6: even at the time trying to figure out how to

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Speaker 6: play it. You know, we were into the advent of

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Speaker 6: social media. We were two, I don't know, three or

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Speaker 6: four years into Twitter existing, and I remember it like

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Speaker 6: it came at me, almost like a scene I watched.

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Speaker 6: I remember saying, you know, these are the kinds of

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Speaker 6: headlines you read on Twitter and you immediately say, those

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Speaker 6: people are monsters.

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Speaker 5: But those people are people.

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Speaker 6: They're people who are, as you said, juggling so many plates.

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Speaker 6: They made a mistake, they forgot something, their day didn't

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Speaker 6: go according to plan and they were on autopilot, and

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Speaker 6: how do we humanize the whole experience? And it's crazy

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Speaker 6: to look back and have all this really visceral emotion

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Speaker 6: and go wow, I actually think.

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Speaker 5: It really worked.

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Speaker 6: Like this is one of those moments as an actor,

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Speaker 6: I'm really proud of our show.

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Speaker 1: Yet it worked really well. And as you're just saying this,

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Speaker 1: I'm just thinking about you know, Joy are saying that

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Speaker 1: you didn't have any whiplash in this episode, and I

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Speaker 1: agree with you. I would contend that it. But the

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Speaker 1: current storytelling is not balanced because I feel like the

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Speaker 1: brilliant stuff is so real and grounded. Yes, I feel

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Speaker 1: like the mouth Millie stuff is so stupid.

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Speaker 4: Oh you're right, I forgot about that.

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Speaker 5: Yeah yeah.

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Speaker 1: And then the clay stuff, honestly is just so out there.

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Speaker 5: Yeah, which I wanted to get to because.

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Speaker 1: You open an episode talking about and be completely candid,

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Speaker 1: did the clay stuff work for you in this episode?

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Speaker 6: You work for me in this episode, and the two

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Speaker 6: of you work in this episode because you're good actors.

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Speaker 6: I think you both deserved better writing.

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Speaker 5: Uh yeah, I would echo that because what I've actually

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Speaker 5: it's funny that you bring this up, Rob, because this

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Speaker 5: thought did come to me while I was watching it.

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Speaker 5: I was just like, they have no idea who Clay is,

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Speaker 5: and they don't know what to do with him, and

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Speaker 5: they just have started throwing things at the wall. And

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Speaker 5: so now we're watching him go through this totally random

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Speaker 5: experience that there's been no foreshadowing for, there's been no

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Speaker 5: precedent for it for it really frustrated me. It frustrated

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Speaker 5: me as a viewer because viewers deserve better. It frustrated

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Speaker 5: me as an actor empathizing with you because you're you

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Speaker 5: have so much to give and to be in an

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Speaker 5: environment where you're being underutilized was irritating. So all that

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Speaker 5: to say, yeah, I echo what Sophia said, like you

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Speaker 5: you made it work the best that you could. There's

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Speaker 5: nothing Daniel da Lewis couldn't have done a better, Rob, Like,

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Speaker 5: it's just the writing made no sense for your character,

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Speaker 5: so you just had to make it work the best

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Speaker 5: you could.

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Speaker 1: Yeah, And I was just curious because you know, sometimes

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Speaker 1: when you watch your own stuff, you were bringing so

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Speaker 1: much extra baggage that no one else in the world is.

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Speaker 1: This was one of those ones where I watched it

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Speaker 1: and I was just like, you can't tell how am

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Speaker 1: I on? What am I? What? How am I on

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Speaker 1: this show? This is garbage, I will say, though, as

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Speaker 1: once I sort of stepped back from that nature craction,

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Speaker 1: I kind of went. But to be fair, I remember

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Speaker 1: doing this and I didn't know what I was doing

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Speaker 1: because the pro.

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Speaker 5: They didn't know what they were writing because they didn't.

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Speaker 1: Know what they were Also, like, no one knows what

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Speaker 1: a fugue state is. It's not like you were talking

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Speaker 1: about sleepwalking, where everyone kind of has a reference point

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Speaker 1: for it. You are now going to bring up this

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Speaker 1: obscure condition that no one knows. And here's the problem is,

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Speaker 1: we weren't playing like, if you're gonna have a ghost

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Speaker 1: in a story, that's fine, but you need to establish

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Speaker 1: the rules of the ghost in the world to the audience. Okay,

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Speaker 1: sure this person can see it, no one can touch it,

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Speaker 1: it can't touch anything, Like you have to do that

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Speaker 1: so then we can all sort of buy in and

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Speaker 1: be on the ride together with this stuff. With Clay,

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Speaker 1: He's like, I don't know what I'm doing. There were

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Speaker 1: so many parts from like then, how did you drive

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Speaker 1: back to meet the guy? How did Quinn suddenly know

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Speaker 1: where he was? Is he the world's worst drug dealer

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Speaker 1: sitting at a public park next to children?

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Speaker 5: Yeah?

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Speaker 1: Like all that was so king stupid. Sorry, I know

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Speaker 1: we're gonna beleeve that, but I needed for me to

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Speaker 1: say that.

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Speaker 4: Let it out.

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Speaker 1: Kudos to the actor Manu who committed as a drug dealer,

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Speaker 1: and and the big big gold stars to Chantell because

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Speaker 1: I thought she did great.

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Speaker 5: Sure well.

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Speaker 6: And by the way, you know what what just clicked

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Speaker 6: for me when you guys were talking and enjoy you

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Speaker 6: said it. They have no idea who Clay is right now.

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Speaker 6: They know they love Clay and Quinn together, so they

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Speaker 6: don't want to break them up, so they have to

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Speaker 6: figure out conflict. And somebody watched Breaking Bad and said, well,

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Speaker 6: Brian Cranston's character faked a fugue date.

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Speaker 4: What if someone had a real one.

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Speaker 6: And it's like, that's literally the only example of a

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Speaker 6: fugue state anyone knows. Is it a smart professor faked

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Speaker 6: one once?

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Speaker 1: Wait? Wait, we stole this from Breaking Bad.

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Speaker 5: I haven't seen Breaking Bad yet.

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Speaker 1: That's incredible. I love that.

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Speaker 5: That does not surprise me at all. What clicked for.

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Speaker 6: Me because I the way that I was like, oh,

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Speaker 6: this is so annoying for you. It's it's like they rushed.

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Speaker 6: It's almost like we met a character who went on

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Speaker 6: a first date and by the end of the first

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Speaker 6: date proposed. It's like, what are you talking about? You've

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Speaker 6: been to dinner once. The shift is so fast and

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Speaker 6: what struck me is similarly, now that Alex is gone,

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Speaker 6: they don't know what to do with Chase, so they

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Speaker 6: basically turn Chase into the first time we see Clay.

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Speaker 6: Let's put him back in the position where hot chicks

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Speaker 6: are throwing themselves at him and he has to be better,

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Speaker 6: but he's still going to bang them. Like they literally

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Speaker 6: are insufferable about like dudes and women, and so they

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Speaker 6: only have a few ideas, so they stole them from

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Speaker 6: breaking bad. And then they literally just put Steven into

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Speaker 6: like your original role with the Kylie character, and we're like,

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Speaker 6: we'll make her Chris Keller's girlfriend good enough, and it's like,

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Speaker 6: look to the rest of us, we know they're capable.

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Speaker 6: It's just zero, they're not capable consistently.

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Speaker 5: Especially knowing that this was our last season. Because now

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Speaker 5: everybody really knew we had the contracts in place. Everything

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Speaker 5: was done after the season. You had thirteen episodes, that's

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Speaker 5: what you're going to do with your thirteen episodes? Like

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Speaker 5: and not just you're like the Chase stuff and the

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Speaker 5: mouthuth Do stuff, the mouth stuff. It's just like, you've

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Speaker 5: got a show that's so beloved with I mean, you

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Speaker 5: could have called back to season one in such a

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Speaker 5: not you know as the writer's room, the decisions that

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Speaker 5: were being made up top man. They could have gone

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Speaker 5: back to so many amazing that thing that people fell

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Speaker 5: in love with with the show in the first place,

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Speaker 5: which was not high drama trying to compete with Vampire

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Speaker 5: Diaries and the OC and all of these things. It

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Speaker 5: was just as Hillary used to say so eloquently, it's kids,

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Speaker 5: their feelings. Yes, and I really, I really would have

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Speaker 5: loved more of that opportunity to wrap this show.

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Speaker 1: It does a disservice to the character of Quinn because

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Speaker 1: first of all, she has the grace and patience and

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Speaker 1: compassion of mother Teresa, like monastic level of grace.

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Speaker 5: And patience and yeah, but also like leave at a.

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Speaker 1: Certain point, Like to me, it's the disservices she has

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Speaker 1: no life outside of Clay on the show. Ye that

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Speaker 1: Clay is her everything. And after Clay, even whether you're

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Speaker 1: struggling or not, like speaks to her the way he does. Oh,

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Speaker 1: it's so he's manipulative, he's gaslighting now, he's actually just

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Speaker 1: being verbally abusive.

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Speaker 5: Leaves her in a park after a drug dealer attacks

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Speaker 5: them and just walks away, and so when we're there,

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Speaker 5: bye honey, bye bye, and that.

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Speaker 1: Her response is to go to Haley and be like,

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Speaker 1: I'm just worried about losing him. It's like, what, No,

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Speaker 1: I didn't again, that was another thing. I just like,

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Speaker 1: what this This is a disservice to both of these characters.

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Speaker 4: Yeah.

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Speaker 5: I feel bad for Nikki having to write this episode

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Speaker 5: because you know, it was handed to her and it

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Speaker 5: was like, here's what's happening. You just have to make

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Speaker 5: it work. And she's like, oh okay, because she's a

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Speaker 5: really good writer, of course, it's so frustrating.

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Speaker 6: Well, And I think what's interesting is episodes like this

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Speaker 6: can really be such a window into a writer's strong

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Speaker 6: suit because you see how well she did for my

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Speaker 6: stuff me and Austin stuff and the stuff that she

360
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Speaker 6: was essentially told like, I don't care if you like

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Speaker 6: it or not.

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Speaker 4: You're going to write it. It's like, okay, so I can.

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Speaker 6: Do a really bang up job if you give me

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Speaker 6: permission to do something great, and if you want me

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Speaker 6: to do like one oh one stick figures like sure, okay,

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Speaker 6: because you just got it. You want this to happen,

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Speaker 6: so the next thing can happen in the next episode.

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Speaker 4: And I don't envy the right is.

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Speaker 5: Not there battles that are not worth fighting. Everybody's got

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Speaker 5: battles that aren't worth fighting in life, and yeah, stuff

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Speaker 5: like this isn't one of them.

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Speaker 6: I will say on the subject of disservice, as absolutely

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Speaker 6: trash as this Mouth and Millie storyline is, the levity

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Speaker 6: of putting skills in it, yeah, is so great, and

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Speaker 6: the fact that he turns into the couple's therapist on air.

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Speaker 6: It's not particularly well written. It could have been so

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Speaker 6: much better, but Antoine's energy in it suddenly makes the

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00:20:31,920 --> 00:20:37,480
Speaker 6: whole thing almost a little camp that's totally him. Thank

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Speaker 6: God for this, because at least at least what it

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Speaker 6: allows for is that they finally start talking to each

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Speaker 6: other because they have a third person in the room

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Speaker 6: to say, have you ever considered she feels this way?

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Speaker 4: Have you ever considered, he feels this.

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Speaker 1: Way, and he brought the exact correct amount of steaks

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Speaker 1: and wait to the conversation that it deserved. I think

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Speaker 1: the problem with it thus far has been that it's

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Speaker 1: been treated like this big thing and we can't talk

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Speaker 1: about It's like they have built it up when it's like, yeah,

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Speaker 1: he comes in and he does what we all are thinking,

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00:21:10,680 --> 00:21:13,320
Speaker 1: which is like, Okay, you've gained some weight. You came

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Speaker 1: at him wrong, and you're not being empathetic, you know, like, yeah,

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Speaker 1: it was immediately right sized it.

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Speaker 5: Yes, and he did when.

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Speaker 6: He looks at Lisa and goes, imagine if you became

395
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Speaker 6: hungry at bo And I.

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Speaker 4: Was like, it was such a good line.

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Speaker 5: Yeah, we needed that. We definitely needed that. I'm really

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Speaker 5: hoping this wraps up soon this storyline.

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Speaker 1: Also, his makeup is not consistent the opening scene in

400
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Speaker 1: the studio with the two or like one of the

401
00:21:44,359 --> 00:21:46,200
Speaker 1: first scenes we see with them, and this the first

402
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Speaker 1: time we see them in the studio in this episode.

403
00:21:48,359 --> 00:21:52,320
Speaker 1: It looks like they were halfway into doing like aging

404
00:21:52,440 --> 00:21:54,760
Speaker 1: him up prosthetics, like they were trying to make him

405
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Speaker 1: look sixty five, and then went oh shit, we got

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Speaker 1: to act this is the wrong makeup, because if you

407
00:21:59,200 --> 00:22:02,880
Speaker 1: go back and watch that, he looks he looks more

408
00:22:02,960 --> 00:22:04,160
Speaker 1: geriatric than overweight.

409
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Speaker 5: I wonder if it was the lighting too, because like

410
00:22:06,680 --> 00:22:09,160
Speaker 5: they were trying to set lights for like morning show

411
00:22:09,240 --> 00:22:11,720
Speaker 5: TV plus, but they're on an actual set for an

412
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Speaker 5: actual TV show, So I wonder if that made go

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Speaker 5: ahead so well.

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Speaker 6: I was also going to say, don't forget. This is

415
00:22:19,040 --> 00:22:22,680
Speaker 6: also right around when cameras started being in four K.

416
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Speaker 4: We show on film.

417
00:22:26,000 --> 00:22:26,720
Speaker 5: Yeah, that's true.

418
00:22:26,760 --> 00:22:31,439
Speaker 6: Film softens things like prosthetics, which you need in film

419
00:22:31,440 --> 00:22:37,000
Speaker 6: and television, and going to you know this crazy hyper

420
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Speaker 6: focused digital like oh my god, you know probably TMI.

421
00:22:41,040 --> 00:22:43,080
Speaker 6: But I when Austin and I did that scene in

422
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Speaker 6: the car, thank god, I was very swayed by the emotion.

423
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Speaker 6: When I first got in the car, I was like,

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Speaker 6: that's a great period breakout.

425
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Speaker 4: I have like up my chin in the side of

426
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Speaker 4: my face and I.

427
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Speaker 5: Didn't even notice.

428
00:22:52,680 --> 00:22:56,560
Speaker 6: Oh, it's like you can see every pore on everyone's face.

429
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Speaker 4: Nobody needs that.

430
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Speaker 6: Whoever invented the four K camera, please put the genie

431
00:23:00,680 --> 00:23:03,520
Speaker 6: back in the bottle, Like, it's.

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Speaker 5: Not good for me to do miss film.

433
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Speaker 6: I miss it, and it really makes depending on the light,

434
00:23:09,520 --> 00:23:14,719
Speaker 6: it makes the prosthetics look so obviously prosthetic that you

435
00:23:14,760 --> 00:23:18,440
Speaker 6: can see, like the silicone tape pulling his skin around.

436
00:23:18,480 --> 00:23:19,159
Speaker 4: I don't know, it's not.

437
00:23:19,440 --> 00:23:21,400
Speaker 5: Yeah, nobody had figured out how to make it. There's

438
00:23:21,480 --> 00:23:25,800
Speaker 5: just different, different skill sets needed for that level of film.

439
00:23:26,359 --> 00:23:29,240
Speaker 1: Real quick, going back to that scene with Julian in

440
00:23:29,280 --> 00:23:32,120
Speaker 1: the car, did either of you think, because I didn't

441
00:23:32,119 --> 00:23:34,800
Speaker 1: remember the scene at all, at the top of the scene,

442
00:23:35,240 --> 00:23:37,480
Speaker 1: did either of you think he was in the garage

443
00:23:37,600 --> 00:23:39,920
Speaker 1: letting the car just run? Yep?

444
00:23:40,040 --> 00:23:42,840
Speaker 5: I did, but I didn't think he was suicidal at all.

445
00:23:42,960 --> 00:23:45,280
Speaker 5: I just thought, this is so strange. Why did no

446
00:23:45,280 --> 00:23:47,119
Speaker 5: one catch that he's in the garage with the car

447
00:23:47,200 --> 00:23:48,919
Speaker 5: running in that? That's a really terrible idea.

448
00:23:49,160 --> 00:23:51,000
Speaker 1: Was it supposed to be in front of the house

449
00:23:51,000 --> 00:23:53,240
Speaker 1: and that was the garage door behind you? Because it

450
00:23:53,280 --> 00:23:55,280
Speaker 1: sure seemed like it was an interior location.

451
00:23:55,440 --> 00:23:57,399
Speaker 5: I still think that was in the garage, wasn't it.

452
00:23:57,400 --> 00:24:01,600
Speaker 6: It looked interior. I think he was. I think he

453
00:24:01,800 --> 00:24:07,000
Speaker 6: was running the battery but not the engine.

454
00:24:07,200 --> 00:24:09,440
Speaker 1: Yeah, don't you have to run the engine for AC

455
00:24:09,600 --> 00:24:09,880
Speaker 1: and he.

456
00:24:10,359 --> 00:24:12,480
Speaker 5: I don't know, I don't think. So.

457
00:24:12,600 --> 00:24:16,800
Speaker 1: Let's pretend you don't, okay, otherwise it's weird that then

458
00:24:17,000 --> 00:24:19,240
Speaker 1: you get in the car and also don't turn it off,

459
00:24:19,240 --> 00:24:21,720
Speaker 1: And I was like, what we do there? Gang?

460
00:24:22,440 --> 00:24:25,480
Speaker 6: Yeah, you know what was really interesting.

461
00:24:25,520 --> 00:24:28,760
Speaker 4: As much as I was like this looks this looks dark, as.

462
00:24:28,600 --> 00:24:32,919
Speaker 6: Soon as he said I can only get it up

463
00:24:32,920 --> 00:24:36,720
Speaker 6: to eighty four degrees, immediately all of that was gone

464
00:24:36,760 --> 00:24:39,840
Speaker 6: for me. And I was so heartbroken for him. Yeah,

465
00:24:40,080 --> 00:24:42,960
Speaker 6: so bless that disbelief.

466
00:24:43,480 --> 00:24:46,640
Speaker 5: I love that choice that Nikki made to put him

467
00:24:46,640 --> 00:24:50,440
Speaker 5: in that situation. That is so you know, the way

468
00:24:50,480 --> 00:24:56,199
Speaker 5: that when you know you've done something wrong and you

469
00:24:56,200 --> 00:24:58,880
Speaker 5: know you didn't do it on purpose, no, or maybe

470
00:24:58,880 --> 00:25:02,760
Speaker 5: he did whatever, and but now you're you're in remorse,

471
00:25:04,040 --> 00:25:08,040
Speaker 5: the thing that the very natural thing to do. Well,

472
00:25:08,080 --> 00:25:09,919
Speaker 5: I guess there's two things that people do. Either you

473
00:25:10,000 --> 00:25:11,600
Speaker 5: just try and ignore it and push it away and

474
00:25:11,760 --> 00:25:14,520
Speaker 5: like pretend it didn't happen, or you really want to

475
00:25:14,600 --> 00:25:16,760
Speaker 5: understand the weight of what you did so that you

476
00:25:16,840 --> 00:25:19,880
Speaker 5: can either never do it again. Or it's some sort

477
00:25:19,920 --> 00:25:22,040
Speaker 5: of self punishment because you feel like you have to

478
00:25:23,480 --> 00:25:27,720
Speaker 5: you deserve some kind of punishment. There's like a penance,

479
00:25:27,760 --> 00:25:30,199
Speaker 5: Like what can I do to make up for the

480
00:25:30,240 --> 00:25:32,760
Speaker 5: fact that I made this bad choice. How do I

481
00:25:32,800 --> 00:25:35,159
Speaker 5: write it? How do I fix it? And you know

482
00:25:35,280 --> 00:25:38,640
Speaker 5: upright the boat, I just I thought that was such

483
00:25:38,640 --> 00:25:44,320
Speaker 5: an interesting, really smart, unexpected thing to see him sitting

484
00:25:44,320 --> 00:25:46,720
Speaker 5: in that car trying to feel the heat.

485
00:25:47,359 --> 00:25:49,760
Speaker 1: And I don't even think that it's I would go

486
00:25:49,960 --> 00:25:52,840
Speaker 1: even further with what you're saying, Joy, I don't think

487
00:25:52,880 --> 00:25:55,520
Speaker 1: it's him even trying to understand. I think it's just

488
00:25:55,640 --> 00:25:59,560
Speaker 1: it's self flagulation, it's punishment. Yes, he's so upset with himself,

489
00:25:59,560 --> 00:26:01,800
Speaker 1: and I think we see that in the scene when

490
00:26:01,800 --> 00:26:06,639
Speaker 1: the mechanic goes windows fixed like it never happened. And

491
00:26:06,680 --> 00:26:10,320
Speaker 1: even though it's a tadramatic, I completely understood the moment

492
00:26:10,359 --> 00:26:13,520
Speaker 1: of him just smash, ain't going it emotionless, fix it again,

493
00:26:13,600 --> 00:26:15,960
Speaker 1: because I've been in that place where I've made it

494
00:26:16,000 --> 00:26:19,679
Speaker 1: like I've really screwed up, and the unhealed part of

495
00:26:19,720 --> 00:26:21,760
Speaker 1: my brain all it wants to do is be like,

496
00:26:22,000 --> 00:26:25,560
Speaker 1: you fucking piece of shit. You deserve to be punished.

497
00:26:25,600 --> 00:26:28,000
Speaker 1: So it's sort of that that like, I deserve it, Yeah,

498
00:26:28,000 --> 00:26:29,480
Speaker 1: break it, do it again. I suck.

499
00:26:29,560 --> 00:26:31,480
Speaker 5: I deserve this because.

500
00:26:31,240 --> 00:26:35,760
Speaker 6: When you're when you're pierced by shame that way you

501
00:26:35,880 --> 00:26:38,800
Speaker 6: almost you almost want to make it worse. It's like

502
00:26:38,880 --> 00:26:42,919
Speaker 6: emotional cutting. You know, you think I did this, I

503
00:26:43,080 --> 00:26:47,399
Speaker 6: deserve this. And he's sitting in that car not to

504
00:26:47,520 --> 00:26:52,600
Speaker 6: alleviate anything, to to feel the thing he can't believe

505
00:26:52,640 --> 00:26:54,080
Speaker 6: he inflicted on someone else.

506
00:26:54,200 --> 00:26:59,959
Speaker 4: And it's so it's so human interesting, so tragic.

507
00:27:00,480 --> 00:27:05,640
Speaker 5: As if as if you could try and make up

508
00:27:05,760 --> 00:27:11,240
Speaker 5: for whatever was done by either experiencing it yourself or

509
00:27:11,280 --> 00:27:14,480
Speaker 5: putting yourself through enough punishment that you absolve yourself of

510
00:27:15,680 --> 00:27:16,080
Speaker 5: the crime.

511
00:27:17,200 --> 00:27:18,879
Speaker 4: Yeah, does it ever work?

512
00:27:20,280 --> 00:27:23,600
Speaker 5: I don't know, but I loved seeing him in this,

513
00:27:24,960 --> 00:27:27,040
Speaker 5: in this very human, relatable moment.

514
00:27:27,640 --> 00:27:30,760
Speaker 1: Yeah, if you don't mind, I would like to switch

515
00:27:30,800 --> 00:27:34,600
Speaker 1: back to the train back. That is the entire dynamic

516
00:27:34,680 --> 00:27:38,000
Speaker 1: with Clay's drug dealer, because just to me mean.

517
00:27:37,920 --> 00:27:39,520
Speaker 5: I will kill you and then I will set you

518
00:27:39,560 --> 00:27:40,920
Speaker 5: on fire or.

519
00:27:40,880 --> 00:27:43,600
Speaker 1: How about is that a threat? I don't do so

520
00:27:43,760 --> 00:27:46,320
Speaker 1: good with threats. And I was like, no, sir, you

521
00:27:46,320 --> 00:27:48,120
Speaker 1: don't do so well with threats.

522
00:27:48,320 --> 00:27:49,399
Speaker 5: Well, not so.

523
00:27:49,600 --> 00:27:53,800
Speaker 1: And I just it felt like if you asked someone's

524
00:27:55,280 --> 00:27:59,119
Speaker 1: parent who was like a puritan, straight edge lifestyle person

525
00:27:59,200 --> 00:28:02,359
Speaker 1: to write a storry about like drugs. It feels like

526
00:28:02,440 --> 00:28:04,200
Speaker 1: this is their first pass. Yeah.

527
00:28:04,240 --> 00:28:06,480
Speaker 6: It's like when it's like when you hear a grandparent go,

528
00:28:06,600 --> 00:28:10,280
Speaker 6: have they been smoking the pot? Yeah, You're like no, no,

529
00:28:10,440 --> 00:28:12,639
Speaker 6: the please stop that.

530
00:28:13,520 --> 00:28:16,240
Speaker 1: It's the facial hair. It's the fact that he's on

531
00:28:16,680 --> 00:28:19,639
Speaker 1: a bench that is clearly only made for one to

532
00:28:19,760 --> 00:28:22,159
Speaker 1: two people, very awkward thing to put in a public

533
00:28:22,200 --> 00:28:24,280
Speaker 1: bend or in a public park. He's on the phone

534
00:28:24,320 --> 00:28:26,720
Speaker 1: with a guy named Dimitri saying he's going to take

535
00:28:26,760 --> 00:28:30,600
Speaker 1: care of it. All of it was just so stupid

536
00:28:30,640 --> 00:28:33,040
Speaker 1: and on the nose. And then the fact that, like again,

537
00:28:33,480 --> 00:28:36,359
Speaker 1: this is an opportunity where we made Quinn look like

538
00:28:36,600 --> 00:28:39,400
Speaker 1: an idiot because Quinn, first of all, how does she

539
00:28:39,440 --> 00:28:41,400
Speaker 1: know where a drug dealers? Because listen, unless you're in

540
00:28:41,440 --> 00:28:44,600
Speaker 1: some really really really rough neighborhood, no one is. This

541
00:28:44,680 --> 00:28:47,040
Speaker 1: is tree Hill. No one is standing out next to

542
00:28:47,040 --> 00:28:50,480
Speaker 1: a tennis court selling drugs to car to dark in

543
00:28:50,520 --> 00:28:52,560
Speaker 1: the dark. So, first of all, how did she find them?

544
00:28:52,600 --> 00:28:54,880
Speaker 1: Second of all, you make her look this is a

545
00:28:54,920 --> 00:28:59,680
Speaker 1: woman who stalked a killer, successfully stalked a killer, and

546
00:28:59,720 --> 00:29:03,400
Speaker 1: in this situation, she ran in in shorts and flip

547
00:29:03,400 --> 00:29:08,160
Speaker 1: flops and tried to reason with a drug dealer it was,

548
00:29:08,760 --> 00:29:10,960
Speaker 1: And then why is Clay sitting there watching him in

549
00:29:10,960 --> 00:29:14,840
Speaker 1: his car? Also, Clay gets out why is he immediately sweaty?

550
00:29:15,400 --> 00:29:18,080
Speaker 1: He's been sitting in his car? He gets hit once

551
00:29:18,120 --> 00:29:21,160
Speaker 1: and as so the fight's literally lasted ten seconds and

552
00:29:21,200 --> 00:29:22,800
Speaker 1: Clay is in a full sweat.

553
00:29:23,520 --> 00:29:26,400
Speaker 5: Yeah. Yeah, I mean, look, if we're gonna deal with

554
00:29:26,440 --> 00:29:29,160
Speaker 5: a woman who is who is being gas lit and

555
00:29:29,440 --> 00:29:34,360
Speaker 5: is trying to feel her way to reality and doesn't

556
00:29:34,360 --> 00:29:38,040
Speaker 5: know up from down, and she's making these really bizarre,

557
00:29:38,280 --> 00:29:42,479
Speaker 5: erratic decisions because she's lost in this maze that's been

558
00:29:42,520 --> 00:29:45,960
Speaker 5: created for her by her boyfriend all of a sudden, Okay,

559
00:29:46,560 --> 00:29:48,880
Speaker 5: let's actually look at that and deal with what that

560
00:29:48,920 --> 00:29:51,760
Speaker 5: looks like. Don't just suddenly throw a character that has

561
00:29:51,800 --> 00:29:54,640
Speaker 5: been super consistent in one way all of a sudden. Yeah,

562
00:29:54,640 --> 00:29:57,800
Speaker 5: she's just behaving like a lunatic. We need to understand why.

563
00:29:58,680 --> 00:30:01,959
Speaker 6: Yeah, it's also so much of it makes no sense.

564
00:30:02,200 --> 00:30:06,280
Speaker 6: If she's been going around town all night, in the

565
00:30:06,320 --> 00:30:08,840
Speaker 6: middle of the night, why isn't she in like a

566
00:30:08,840 --> 00:30:12,920
Speaker 6: pair of sweatpants and a ponytail. Yes, like she she

567
00:30:12,960 --> 00:30:15,040
Speaker 6: looks like she just stepped out of a photo shoot.

568
00:30:15,080 --> 00:30:18,120
Speaker 6: Her hair is perfect, she's in little white Daisy Dukes,

569
00:30:18,200 --> 00:30:21,960
Speaker 6: cute sandals that you'd like wear on a date night

570
00:30:22,040 --> 00:30:22,719
Speaker 6: to the beach.

571
00:30:22,840 --> 00:30:26,600
Speaker 5: And I'm like, what was anybody reading any of this?

572
00:30:27,080 --> 00:30:30,200
Speaker 4: Like, was any what the whole thing.

573
00:30:30,200 --> 00:30:34,160
Speaker 6: Just feels to your earlier point, Rob, it feels like

574
00:30:34,880 --> 00:30:40,080
Speaker 6: an outline. It doesn't feel like the final draft. And

575
00:30:40,760 --> 00:30:43,440
Speaker 6: I don't I can't imagine what Nikki was dealing with

576
00:30:43,480 --> 00:30:46,120
Speaker 6: in the writer's room. Again, to your point, Joy, she's

577
00:30:46,160 --> 00:30:50,280
Speaker 6: a phenomenal writer. We all know what they were up against,

578
00:30:50,320 --> 00:30:52,720
Speaker 6: even though we don't know the day to day details, like.

579
00:30:52,720 --> 00:30:54,800
Speaker 5: But especially the women in that writer's room, well, what

580
00:30:54,840 --> 00:30:58,000
Speaker 5: they were up against exactly. There's only so many battles

581
00:30:58,040 --> 00:30:58,480
Speaker 5: you can fight.

582
00:30:58,800 --> 00:31:01,200
Speaker 6: And the whole thing is just it doesn't make sense,

583
00:31:01,880 --> 00:31:04,760
Speaker 6: I will say, to pull back and think about the

584
00:31:04,800 --> 00:31:10,280
Speaker 6: reality of it. I realized so quickly watching all you boys,

585
00:31:10,280 --> 00:31:14,280
Speaker 6: you sweet, wonderful good sports, I was like, oh, right,

586
00:31:14,440 --> 00:31:17,000
Speaker 6: fourth episode, season nine, we went back top of July,

587
00:31:17,320 --> 00:31:20,640
Speaker 6: it was August. It was probably one hundred and ten degrees,

588
00:31:21,040 --> 00:31:25,240
Speaker 6: and every time Rob I saw you or Paul or Austin,

589
00:31:25,360 --> 00:31:27,240
Speaker 6: any of you would turn to walk out of a

590
00:31:27,280 --> 00:31:30,440
Speaker 6: scene your whole back would just be sweat through, And

591
00:31:30,480 --> 00:31:32,800
Speaker 6: I was like, oh my god, these sweet angels. And

592
00:31:32,920 --> 00:31:36,040
Speaker 6: I flashed back to like, you know, wardrobe putting the

593
00:31:36,040 --> 00:31:38,400
Speaker 6: fans under your shirts, trying to dry the front before

594
00:31:38,400 --> 00:31:43,120
Speaker 6: they'd do another take. Yeah, I like you poor dudes

595
00:31:44,000 --> 00:31:47,120
Speaker 6: in your genes. Of course, you know, nobody else wanted

596
00:31:47,120 --> 00:31:49,080
Speaker 6: to wear long pants, so maybe.

597
00:31:48,800 --> 00:31:51,160
Speaker 1: The sweating wasn't a Clay issue. Perhaps that was just

598
00:31:51,200 --> 00:31:53,840
Speaker 1: a rob in an one hundred degree heat with humidity issue.

599
00:31:54,040 --> 00:31:56,000
Speaker 4: Everybody's wedding to be read, all of you.

600
00:31:56,560 --> 00:31:58,640
Speaker 1: I just my One of my favorite notes from this

601
00:31:58,680 --> 00:32:02,000
Speaker 1: episode is just you don't wear flip flops to a shakedown.

602
00:32:04,920 --> 00:32:06,720
Speaker 5: I think that's the title of this episode.

603
00:32:06,800 --> 00:32:21,280
Speaker 7: By the way.

604
00:32:22,200 --> 00:32:24,520
Speaker 1: Okay, listen, there was also a lot of great in

605
00:32:24,560 --> 00:32:27,080
Speaker 1: this episode, so we can move on. We can all

606
00:32:27,080 --> 00:32:31,880
Speaker 1: acknowledge that was a very weird detour. Hopefully it ends well.

607
00:32:31,920 --> 00:32:34,160
Speaker 5: We also should talk about Dan drowning Clay again.

608
00:32:34,800 --> 00:32:37,960
Speaker 1: Amazing though, Can we talk about Clay's utter lack of

609
00:32:38,040 --> 00:32:42,960
Speaker 1: peripheral vision? Are you telling me that? After? Okay, first

610
00:32:42,960 --> 00:32:45,640
Speaker 1: of all, what in the Charlie Brown walk is this right?

611
00:32:45,800 --> 00:32:48,240
Speaker 1: Just have my head down walking forward.

612
00:32:48,520 --> 00:32:51,280
Speaker 6: Shoes on the beach at least they're not Oxford's. But

613
00:32:51,320 --> 00:32:54,360
Speaker 6: you're wearing laced up converse in the wet.

614
00:32:54,240 --> 00:32:57,959
Speaker 1: Sand and guys, I'm in front of my house. I

615
00:32:58,000 --> 00:33:00,760
Speaker 1: could have Why have I not taking off my shoes

616
00:33:00,840 --> 00:33:04,200
Speaker 1: backed my house? Like it makes literally no sense. And

617
00:33:04,240 --> 00:33:07,040
Speaker 1: then again, so after you get drowned once, I think

618
00:33:07,080 --> 00:33:09,040
Speaker 1: you would tend to just keep your head up more often.

619
00:33:09,080 --> 00:33:11,160
Speaker 1: But my note is what looks like it's time for

620
00:33:11,200 --> 00:33:15,239
Speaker 1: Clay's yearly drowning courtesy of Dan Scott. Yeah, and then

621
00:33:15,320 --> 00:33:18,400
Speaker 1: of the best part though, is that the whole drowning

622
00:33:18,480 --> 00:33:21,200
Speaker 1: happens and Quinn's just standing there.

623
00:33:21,920 --> 00:33:25,560
Speaker 5: Yeah, she's not running up, She's not like, get off him,

624
00:33:25,600 --> 00:33:28,960
Speaker 5: what are you doing? You crazy man that won't leave

625
00:33:28,960 --> 00:33:32,239
Speaker 5: my family alone. She just stands there as though she

626
00:33:32,240 --> 00:33:35,160
Speaker 5: could hear from the beast with the waves and all

627
00:33:35,200 --> 00:33:36,360
Speaker 5: of the screaming.

628
00:33:36,960 --> 00:33:39,600
Speaker 6: And that's what they're suggesting, because then it's a direct

629
00:33:39,680 --> 00:33:42,040
Speaker 6: cut to the two of you on your staircase, where,

630
00:33:42,080 --> 00:33:45,400
Speaker 6: to be clear, you would have left your converse because

631
00:33:45,440 --> 00:33:47,560
Speaker 6: you have a staircase from your house onto the sand

632
00:33:47,880 --> 00:33:49,640
Speaker 6: and you're sitting there and she's like, why didn't you

633
00:33:49,680 --> 00:33:53,080
Speaker 6: tell me you don't remember, and it's like, so she

634
00:33:53,200 --> 00:33:56,000
Speaker 6: managed to get up there. Listen to the whole conversation

635
00:33:56,120 --> 00:33:59,280
Speaker 6: you were having with Dan Scott for the details, but not.

636
00:33:59,280 --> 00:34:05,800
Speaker 4: Say don't drowned my man's Like, it was so strange.

637
00:34:06,440 --> 00:34:10,480
Speaker 1: It would have been amazing if that scene had right

638
00:34:10,520 --> 00:34:14,120
Speaker 1: as it started the Dan grabs Clay, if we had

639
00:34:14,200 --> 00:34:17,120
Speaker 1: just cut to Quinn and just stayed on her and

640
00:34:17,239 --> 00:34:20,480
Speaker 1: only heard Dan and Clay in the background, just so

641
00:34:20,520 --> 00:34:23,000
Speaker 1: we could see what was happening. And Quinn's had that

642
00:34:23,200 --> 00:34:25,879
Speaker 1: entire time, like, wait, what's he saying? Do I stop him?

643
00:34:26,360 --> 00:34:26,799
Speaker 1: What was that?

644
00:34:27,000 --> 00:34:27,560
Speaker 4: Wait a second?

645
00:34:27,560 --> 00:34:29,799
Speaker 5: Maybe he needs this, this is good for actually I

646
00:34:29,840 --> 00:34:30,600
Speaker 5: need to know this.

647
00:34:30,960 --> 00:34:34,160
Speaker 4: It would great. Oh my god. Yeah.

648
00:34:34,160 --> 00:34:36,920
Speaker 5: I just had to mention that because that was really like, Wow,

649
00:34:37,360 --> 00:34:39,839
Speaker 5: he just keeps showing up to shove you in the water.

650
00:34:40,800 --> 00:34:45,759
Speaker 6: I loved you two together though. I loved how visceral

651
00:34:45,840 --> 00:34:49,040
Speaker 6: and angry he was, and it felt like it built

652
00:34:49,239 --> 00:34:53,360
Speaker 6: off of his granted, ridiculously set but serious scene with

653
00:34:53,480 --> 00:34:58,200
Speaker 6: said drug dealer and you guys have this you know, connection,

654
00:34:58,480 --> 00:35:01,080
Speaker 6: and he's screaming about his son and his family and

655
00:35:01,120 --> 00:35:04,160
Speaker 6: his grandchild and all the things and gets you to

656
00:35:04,320 --> 00:35:07,000
Speaker 6: admit something that you haven't been willing to admit to

657
00:35:07,040 --> 00:35:10,960
Speaker 6: anyone else. And as silly as some of the surrounding

658
00:35:11,000 --> 00:35:14,880
Speaker 6: circumstances were, you guys grounded it in something that I

659
00:35:15,000 --> 00:35:19,440
Speaker 6: really enjoyed watching. I know you hate this in the

660
00:35:19,480 --> 00:35:22,160
Speaker 6: same way me or Joy would have hated it and

661
00:35:22,280 --> 00:35:25,520
Speaker 6: have hated certain storylines of ours, to be clear, but

662
00:35:25,719 --> 00:35:30,080
Speaker 6: like you still, even though you said earlier you had

663
00:35:30,160 --> 00:35:32,920
Speaker 6: no idea what you were supposed to be doing, Like,

664
00:35:32,960 --> 00:35:36,399
Speaker 6: you did some really interesting stuff with this Rob and.

665
00:35:36,360 --> 00:35:39,719
Speaker 5: I yeah, it's good for your real I mean, out

666
00:35:39,760 --> 00:35:41,919
Speaker 5: of all of it. Yeah, it's like as your friend

667
00:35:41,920 --> 00:35:43,279
Speaker 5: and like, God, give him better shit.

668
00:35:43,600 --> 00:35:44,839
Speaker 4: And then on the other side, I'm like.

669
00:35:44,800 --> 00:35:49,960
Speaker 6: He's really doing some interesting stuff, even in this crazy container,

670
00:35:50,239 --> 00:35:51,840
Speaker 6: Like you're beautiful to watch.

671
00:35:52,640 --> 00:35:54,879
Speaker 1: Thank you for saying that. I will say that that scene.

672
00:35:54,960 --> 00:35:57,440
Speaker 1: First of all, I always loved working with Paul because

673
00:35:57,840 --> 00:36:00,440
Speaker 1: he shook me out of my comforts. I think I

674
00:36:00,480 --> 00:36:04,880
Speaker 1: talked about this direct and I was very grateful for that.

675
00:36:04,960 --> 00:36:08,040
Speaker 1: But the other reason was, you know you always talk

676
00:36:08,040 --> 00:36:10,279
Speaker 1: about like what is the intention you're playing or what's

677
00:36:10,320 --> 00:36:15,279
Speaker 1: the subtext? Truly, I liked this scene because I the

678
00:36:15,280 --> 00:36:17,960
Speaker 1: words matched very closely to what I was feeling in

679
00:36:18,000 --> 00:36:20,880
Speaker 1: real life, which was what the hell am I doing?

680
00:36:21,200 --> 00:36:23,839
Speaker 1: I genuinely don't know what's going on?

681
00:36:24,120 --> 00:36:25,879
Speaker 5: Yeah, how you finally get to acknowledge it?

682
00:36:26,280 --> 00:36:28,600
Speaker 1: So the words ran very parallel to how I was

683
00:36:28,600 --> 00:36:30,759
Speaker 1: feeling about Clay's storyline, and so it was just a

684
00:36:30,800 --> 00:36:33,760
Speaker 1: really easy thing to tap into because I was genuinely

685
00:36:33,840 --> 00:36:36,480
Speaker 1: going like, I don't know what's happening with my character.

686
00:36:36,640 --> 00:36:37,919
Speaker 1: I don't know what's going on.

687
00:36:38,360 --> 00:36:42,000
Speaker 5: Yeah, you got good? Yeah, well, and that's why I

688
00:36:42,040 --> 00:36:44,719
Speaker 5: guess on the stairs when you were talking with Chantelle

689
00:36:44,960 --> 00:36:48,040
Speaker 5: that it felt so real and dropped in. I loved it.

690
00:36:48,080 --> 00:36:50,400
Speaker 5: I loved that the way that you were talking with her,

691
00:36:51,120 --> 00:36:53,839
Speaker 5: it was like you finally got to admit that none

692
00:36:53,840 --> 00:36:58,680
Speaker 5: of this makes any sense and hopefully soon there will

693
00:36:58,680 --> 00:37:01,000
Speaker 5: be a resolution. Don't have to keep doing this.

694
00:37:01,280 --> 00:37:07,040
Speaker 1: We also had the first appearance of Clay's therapist, Yeah yeah,

695
00:37:07,080 --> 00:37:10,960
Speaker 1: which David Noarona nor Narnia. I think it is David Ronya,

696
00:37:11,440 --> 00:37:14,239
Speaker 1: who's lovely and I know we'll be seeing more of him.

697
00:37:14,640 --> 00:37:18,200
Speaker 1: Also had another surprise guest star that I forgot was

698
00:37:18,239 --> 00:37:21,520
Speaker 1: on the show until she showed up, and I was like, oh,

699
00:37:21,560 --> 00:37:25,200
Speaker 1: that's right. One miss Chelsea Kane yep.

700
00:37:25,840 --> 00:37:27,960
Speaker 5: Oh is did she play Tara? Yeah?

701
00:37:28,040 --> 00:37:31,040
Speaker 4: Yes, she plays not Alex. Who is Tara in the end?

702
00:37:31,560 --> 00:37:31,799
Speaker 1: Yes?

703
00:37:31,920 --> 00:37:32,160
Speaker 5: Wait?

704
00:37:32,239 --> 00:37:36,200
Speaker 4: What that's the whole like gag through the episode is that.

705
00:37:36,160 --> 00:37:39,080
Speaker 5: She calls herself to her not Alex, so no one

706
00:37:39,120 --> 00:37:42,840
Speaker 5: knows who she is, okay until the end of it,

707
00:37:43,760 --> 00:37:44,279
Speaker 5: that's right.

708
00:37:45,280 --> 00:37:48,759
Speaker 1: I will say we had another moment we talked about

709
00:37:48,800 --> 00:37:50,759
Speaker 1: this whatever it was nine oh one, nine oh two,

710
00:37:50,840 --> 00:37:54,400
Speaker 1: when it's like it takes like the fact that Haley

711
00:37:54,440 --> 00:37:57,000
Speaker 1: hasn't noticed that there's a grand opening of a cafe

712
00:37:57,040 --> 00:38:00,799
Speaker 1: that is directly across the street from a window wall windows,

713
00:38:01,120 --> 00:38:05,360
Speaker 1: the fact in this episode she's walking out at the

714
00:38:05,440 --> 00:38:08,479
Speaker 1: end of a day. It's clearly evening, so the whole

715
00:38:08,560 --> 00:38:11,440
Speaker 1: day has passed and is just now noticing a sign

716
00:38:12,080 --> 00:38:15,759
Speaker 1: that is the size of a billboard. Yet again, that's

717
00:38:15,840 --> 00:38:21,080
Speaker 1: also incorrect. That says Karen's Cafe hires murders, which I'd

718
00:38:21,080 --> 00:38:23,680
Speaker 1: also like to come to Karen's Cafe's defense. You've only

719
00:38:23,760 --> 00:38:27,080
Speaker 1: hired one, so technically right correct? Correct?

720
00:38:27,800 --> 00:38:31,000
Speaker 5: Also, who in their right mind would go eat at

721
00:38:31,000 --> 00:38:35,440
Speaker 5: a place that is openly I don't know what the

722
00:38:35,480 --> 00:38:39,480
Speaker 5: right word is whatever openly like bullying their neighbor cafe.

723
00:38:39,760 --> 00:38:41,560
Speaker 5: It's just so dumb the whole thing.

724
00:38:41,719 --> 00:38:44,000
Speaker 6: If I were walking up to the corner of Front

725
00:38:44,000 --> 00:38:46,080
Speaker 6: and Grace and saw that, I'd be like, I don't

726
00:38:46,080 --> 00:38:47,799
Speaker 6: know what this is. I don't want any part of it.

727
00:38:47,840 --> 00:38:50,279
Speaker 6: I'd turn around and walk right back to my car. Yeah,

728
00:38:50,280 --> 00:38:53,520
Speaker 6: I wouldn't go into either place for sure, Like what

729
00:38:53,640 --> 00:38:54,120
Speaker 6: is her deal?

730
00:38:54,160 --> 00:38:55,600
Speaker 5: Why does she have such a bone to pick?

731
00:38:56,480 --> 00:38:57,960
Speaker 4: It's very strange.

732
00:38:58,160 --> 00:39:01,200
Speaker 1: It also makes it feel like this only has two

733
00:39:01,280 --> 00:39:04,279
Speaker 1: eateries in it, and this is it, and this is

734
00:39:04,360 --> 00:39:07,480
Speaker 1: it because any normal town, if you saw that happening

735
00:39:07,520 --> 00:39:10,120
Speaker 1: at a business, you'd be like, that is the most petty,

736
00:39:10,719 --> 00:39:12,280
Speaker 1: small time thing I've ever.

737
00:39:12,160 --> 00:39:13,920
Speaker 5: Seen, Like it's so unattracted.

738
00:39:14,000 --> 00:39:16,200
Speaker 1: Are you a couple that broke up? What happened here?

739
00:39:16,560 --> 00:39:16,880
Speaker 5: Yes?

740
00:39:17,600 --> 00:39:20,920
Speaker 1: And then we get inside Karen's cafe later in the episode,

741
00:39:21,239 --> 00:39:23,600
Speaker 1: and one of the one of the directions we're shooting

742
00:39:23,719 --> 00:39:27,440
Speaker 1: is out to the street and you can't not notice

743
00:39:27,480 --> 00:39:30,239
Speaker 1: the sign, which just makes it that much funnier that

744
00:39:30,320 --> 00:39:33,120
Speaker 1: for some reason we're gonna like believe Haley hadn't noticed it.

745
00:39:33,680 --> 00:39:36,200
Speaker 5: Yeah, Haley, who's just like seems fun she's just polly

746
00:39:36,239 --> 00:39:39,160
Speaker 5: positive for everybody that's walking into her door. She's got

747
00:39:39,200 --> 00:39:41,560
Speaker 5: no problems. At no point as she looked out her

748
00:39:41,560 --> 00:39:44,960
Speaker 5: window to notice this massive sign.

749
00:39:44,880 --> 00:39:51,080
Speaker 6: It's very strange sign suspended from our reality. I'm just

750
00:39:51,120 --> 00:39:55,359
Speaker 6: always really happy to be back in the cafe. Yeah,

751
00:39:55,440 --> 00:39:58,520
Speaker 6: it's so it's just such a refreshing place to be.

752
00:39:58,760 --> 00:40:02,239
Speaker 6: And there's something that makes me so nostalgic, you know,

753
00:40:03,400 --> 00:40:07,640
Speaker 6: our characters being in there with their kids. It's so

754
00:40:07,960 --> 00:40:14,759
Speaker 6: freaking sweet. And even I appreciated, even with you know,

755
00:40:14,880 --> 00:40:17,560
Speaker 6: Brooke speaking to Haley about what do I do and

756
00:40:17,600 --> 00:40:20,120
Speaker 6: how do I trust him? And how do we move

757
00:40:20,120 --> 00:40:22,239
Speaker 6: on from this, the fact that they gave us a

758
00:40:22,239 --> 00:40:24,680
Speaker 6: little bit of comedic relief with both the babies and

759
00:40:24,719 --> 00:40:30,040
Speaker 6: the Bjorns. Yeah, and that we weren't like wallowing in

760
00:40:30,080 --> 00:40:33,080
Speaker 6: the back corner. We were still doing things and moving

761
00:40:33,120 --> 00:40:37,360
Speaker 6: around and you know, tackling our day. There's something about

762
00:40:37,480 --> 00:40:40,240
Speaker 6: Karen's Cafe that adds like a little bit of upbeat

763
00:40:40,280 --> 00:40:42,080
Speaker 6: pixie dust to everything, and I love it.

764
00:40:42,200 --> 00:40:47,359
Speaker 1: Yeah. Oh, we desperately needed the interplay between Brooke and

765
00:40:47,400 --> 00:40:50,279
Speaker 1: Haley in this episode and in the tone which I

766
00:40:50,280 --> 00:40:53,520
Speaker 1: think this is like a kudo to kudos to Nikki

767
00:40:54,120 --> 00:40:57,320
Speaker 1: is that rather than having Haley get up in arms

768
00:40:57,440 --> 00:41:00,759
Speaker 1: about it, she made the wise choice, which was she

769
00:41:00,880 --> 00:41:03,239
Speaker 1: kept you cool as a cucumber and then eventually just

770
00:41:03,400 --> 00:41:07,719
Speaker 1: hilarious and petty. Because this episode already had too much

771
00:41:07,760 --> 00:41:11,200
Speaker 1: heavy handed stuff that if we had another storyline with that,

772
00:41:11,760 --> 00:41:13,960
Speaker 1: especially a storyline where the stakes aren't that big yet

773
00:41:13,960 --> 00:41:17,000
Speaker 1: people are reacting big, it would have just been too

774
00:41:17,080 --> 00:41:19,920
Speaker 1: much of the same thing. So I love that in

775
00:41:19,960 --> 00:41:24,560
Speaker 1: the cafe, Haley's just there, just dispensing good advice, just

776
00:41:24,600 --> 00:41:27,640
Speaker 1: like front, left and center. And then one of my

777
00:41:27,719 --> 00:41:30,880
Speaker 1: favorite moments of the whole episode though, was when the

778
00:41:30,960 --> 00:41:33,920
Speaker 1: two of you go over to the cafe.

779
00:41:34,320 --> 00:41:35,560
Speaker 5: You remember that day.

780
00:41:35,719 --> 00:41:37,919
Speaker 1: You see, so the whole exchange is funny. I mean,

781
00:41:38,400 --> 00:41:40,720
Speaker 1: so if you cracked me up twice once when them

782
00:41:41,440 --> 00:41:43,799
Speaker 1: the hostess, who was perfect, She looked familiar. Is she

783
00:41:43,920 --> 00:41:44,880
Speaker 1: someone she was so?

784
00:41:45,800 --> 00:41:47,760
Speaker 5: Did she work on set? Was she one of our pas?

785
00:41:47,840 --> 00:41:50,920
Speaker 5: Maybe that they gave some speaking lines too, because she

786
00:41:50,960 --> 00:41:54,879
Speaker 5: definitely was around more than she.

787
00:41:53,719 --> 00:41:55,440
Speaker 1: Looked familiar to me about it, I couldn't place her,

788
00:41:55,440 --> 00:41:59,640
Speaker 1: but she was perfect in the role, absolutely unaffected by

789
00:41:59,640 --> 00:42:02,480
Speaker 1: you guys, And when she offers the mini muffin and

790
00:42:02,520 --> 00:42:04,520
Speaker 1: you say something to the effect of no, I don't

791
00:42:04,520 --> 00:42:07,799
Speaker 1: want any dried up dog turns or something like that.

792
00:42:07,880 --> 00:42:10,120
Speaker 1: I cracked up. But then the best part was when

793
00:42:10,280 --> 00:42:14,200
Speaker 1: you turned on the strong Mama Brooke energy and you

794
00:42:14,320 --> 00:42:16,560
Speaker 1: told the boys to drop their forks.

795
00:42:16,640 --> 00:42:17,600
Speaker 5: I loved it.

796
00:42:17,880 --> 00:42:19,960
Speaker 1: And in that moment you see them go from men

797
00:42:20,000 --> 00:42:22,319
Speaker 1: to boys because you put the fear of God into them,

798
00:42:22,640 --> 00:42:26,680
Speaker 1: they drop their forks and leave. Was so perfect.

799
00:42:26,920 --> 00:42:27,960
Speaker 4: Oh thanks, Perl.

800
00:42:28,000 --> 00:42:30,720
Speaker 6: You know what I loved about it? Is it the counter.

801
00:42:31,160 --> 00:42:34,600
Speaker 6: It's high school Brook and Haley. It's Brooke getting really

802
00:42:34,640 --> 00:42:36,440
Speaker 6: like I get it. You know, She's like about you

803
00:42:36,480 --> 00:42:38,160
Speaker 6: go on a rant and Haley's like, nope, We're not

804
00:42:38,239 --> 00:42:40,840
Speaker 6: doing this. And then she gets to direct the energy

805
00:42:40,840 --> 00:42:43,439
Speaker 6: at the boys and it is like the full mam

806
00:42:43,440 --> 00:42:47,400
Speaker 6: of air and it Oh god, it was so fun

807
00:42:47,440 --> 00:42:51,000
Speaker 6: to get to play that stuff, especially with the stroller, like.

808
00:42:51,160 --> 00:42:55,600
Speaker 4: Let's go just push the babies. It's ridiculous and I

809
00:42:55,640 --> 00:42:57,440
Speaker 4: loved it.

810
00:42:57,440 --> 00:43:01,960
Speaker 1: It was that was all so good. The stuff is

811
00:43:01,960 --> 00:43:04,759
Speaker 1: speaking of food the last so first of all, two

812
00:43:04,760 --> 00:43:09,200
Speaker 1: weird things with food, the over correction by mouth. Once

813
00:43:09,239 --> 00:43:12,880
Speaker 1: he has had time to think about it all you know,

814
00:43:12,920 --> 00:43:14,640
Speaker 1: weigh it from Milly's point of view, the fact that

815
00:43:14,719 --> 00:43:16,840
Speaker 1: they go to the restaurant and it's just so heavy handed,

816
00:43:16,840 --> 00:43:19,000
Speaker 1: where the waiters like the chef has prepared a truffle

817
00:43:19,040 --> 00:43:24,319
Speaker 1: butter and lard sauce for you, starch and and he goes, no,

818
00:43:24,440 --> 00:43:29,080
Speaker 1: I'll have a house salad, no dressing. I'm like, guy, listen,

819
00:43:29,400 --> 00:43:32,040
Speaker 1: if you just eat a salad, you don't have to

820
00:43:32,120 --> 00:43:33,160
Speaker 1: be like, come.

821
00:43:33,040 --> 00:43:37,800
Speaker 4: On, you can eat and some chicken. You're okay? Yeah's

822
00:43:37,840 --> 00:43:38,279
Speaker 4: good for you.

823
00:43:38,640 --> 00:43:41,120
Speaker 1: And then bless her heart because I know she's just

824
00:43:41,160 --> 00:43:42,640
Speaker 1: doing it to be a team player. The fact that

825
00:43:42,640 --> 00:43:46,160
Speaker 1: Milly goes, I'll have the same It's like, Millie, you

826
00:43:46,200 --> 00:43:47,120
Speaker 1: don't hate yourself?

827
00:43:47,160 --> 00:43:47,719
Speaker 4: Why no?

828
00:43:48,120 --> 00:43:49,759
Speaker 5: Also, you don't have any weight to lose?

829
00:43:49,760 --> 00:43:53,759
Speaker 1: Bag No, Yes, it's just But then the end of

830
00:43:53,800 --> 00:43:57,680
Speaker 1: the episode that for their storyline at least when mouth

831
00:43:57,760 --> 00:44:02,000
Speaker 1: opens the freezer freezer and you know what it felt like.

832
00:44:02,280 --> 00:44:05,920
Speaker 1: Did you ever watch that movie Flight with Denzel Washington.

833
00:44:06,440 --> 00:44:09,080
Speaker 1: He played the pilot who had the drinking And there's

834
00:44:09,120 --> 00:44:10,839
Speaker 1: that whole thing at the end where the like the

835
00:44:10,880 --> 00:44:13,200
Speaker 1: mini bottle is like sitting on the counter and it's

836
00:44:13,239 --> 00:44:15,960
Speaker 1: just him looking at it. And then eventually he swipes it.

837
00:44:16,040 --> 00:44:18,360
Speaker 1: I felt like they were trying to do a similar

838
00:44:18,400 --> 00:44:22,520
Speaker 1: thing with like Hoggin DAW's bars with Mouth. Yeah, he's

839
00:44:22,560 --> 00:44:24,800
Speaker 1: like looking and he's debating, and he closes it, and

840
00:44:24,880 --> 00:44:27,960
Speaker 1: he opens it and grabs a box. I'm like, why

841
00:44:28,000 --> 00:44:30,919
Speaker 1: are we trying to treat this as a drama this storyline?

842
00:44:31,440 --> 00:44:36,600
Speaker 6: Also, they keep infusing it with shame in a way

843
00:44:36,760 --> 00:44:40,160
Speaker 6: that I'm just like, why is this the angle? If

844
00:44:40,200 --> 00:44:42,120
Speaker 6: this is the storyline, why does it have to be

845
00:44:42,280 --> 00:44:43,560
Speaker 6: this thing?

846
00:44:44,120 --> 00:44:48,200
Speaker 5: Yeah, it's just it's lazy. There's no other word for it.

847
00:44:48,239 --> 00:44:50,600
Speaker 5: I mean, yes, they were in a room, somebody said

848
00:44:50,719 --> 00:44:53,960
Speaker 5: let's have Mouth gain a bunch of weight, and yeah,

849
00:44:54,000 --> 00:44:56,319
Speaker 5: for some reason, nobody was either allowed to argue it

850
00:44:56,400 --> 00:44:58,920
Speaker 5: or no one did, and it just got stuck on

851
00:44:58,920 --> 00:45:00,920
Speaker 5: the board. The weird thing is.

852
00:45:01,160 --> 00:45:05,360
Speaker 6: You see them make other better choices, like when Chase

853
00:45:05,520 --> 00:45:09,239
Speaker 6: is going down the bar from Mouth to Clay to.

854
00:45:09,239 --> 00:45:12,640
Speaker 5: Julian, Oh yeah, I forgot about that, and then shifts.

855
00:45:12,239 --> 00:45:14,600
Speaker 6: Back in the other direction and realizes everybody's in the

856
00:45:14,640 --> 00:45:17,880
Speaker 6: midst of some problems. That's great writing. I want to

857
00:45:17,920 --> 00:45:20,799
Speaker 6: see you guys in that scene. I want to see

858
00:45:20,800 --> 00:45:24,799
Speaker 6: you figuring out your stuff together. It works just as

859
00:45:24,840 --> 00:45:26,920
Speaker 6: well as it did when it was Clay, Nathan and

860
00:45:27,080 --> 00:45:32,879
Speaker 6: Kellerman and Chase. And it's like, give us more of

861
00:45:32,920 --> 00:45:37,080
Speaker 6: that and less of the weird. Let's shame people and

862
00:45:37,080 --> 00:45:40,040
Speaker 6: make them seem weak in the middle of the night

863
00:45:40,080 --> 00:45:40,760
Speaker 6: with ice cream.

864
00:45:40,800 --> 00:45:42,280
Speaker 4: It's just strange.

865
00:45:42,840 --> 00:45:43,520
Speaker 5: Yeah.

866
00:45:43,560 --> 00:45:48,359
Speaker 1: And also it's happened again where we have it wasn't

867
00:45:48,440 --> 00:45:50,680
Speaker 1: quite the coda yet, but we have the same song

868
00:45:50,719 --> 00:45:55,960
Speaker 1: playing over essentially three vignettes. One Julian he could have

869
00:45:56,239 --> 00:45:59,600
Speaker 1: taken his child's life, and he is in immense pain.

870
00:46:00,960 --> 00:46:04,719
Speaker 1: Clay is genuinely losing his mind and about to go

871
00:46:04,800 --> 00:46:09,280
Speaker 1: to a mental hospital. Mouth really wants an ice cream

872
00:46:09,320 --> 00:46:13,759
Speaker 1: sandwich at ten pm. Again, you can't put the ice

873
00:46:13,800 --> 00:46:16,520
Speaker 1: cream sandwich in between the other two storylines with the

874
00:46:16,640 --> 00:46:19,319
Speaker 1: same music and not having me go the what is

875
00:46:19,360 --> 00:46:20,120
Speaker 1: that doing here?

876
00:46:20,520 --> 00:46:20,800
Speaker 5: What?

877
00:46:20,960 --> 00:46:21,280
Speaker 7: Yeah?

878
00:46:21,320 --> 00:46:23,720
Speaker 1: What change the music? Put it in a different spot.

879
00:46:24,160 --> 00:46:26,760
Speaker 5: It's not correct. It's not correct.

880
00:46:26,800 --> 00:46:30,080
Speaker 6: It's so so bad it's not correct.

881
00:46:31,200 --> 00:46:33,960
Speaker 5: And then we have Dan, who we have to talk

882
00:46:34,000 --> 00:46:37,960
Speaker 5: about because he's doing his Dan thing. He's bouncing around

883
00:46:38,000 --> 00:46:43,560
Speaker 5: to everybody's storyline, interfering into inserting himself and this look

884
00:46:43,600 --> 00:46:48,200
Speaker 5: that he gives Nathan's car drives away. By the way,

885
00:46:48,239 --> 00:46:50,239
Speaker 5: I'm fully on board with your theory now that he's

886
00:46:50,239 --> 00:46:51,600
Speaker 5: the one that sets up all this.

887
00:46:52,680 --> 00:46:55,920
Speaker 6: The Russians and the drug dealer and the drug dealers

888
00:46:55,960 --> 00:46:58,320
Speaker 6: on the phone with a guy named Dimitri, I'm.

889
00:46:58,160 --> 00:47:01,719
Speaker 5: Like, rkay, Yeah, I think for sure Dan has set

890
00:47:01,719 --> 00:47:04,400
Speaker 5: this whole thing, especially because he looks at Haley and

891
00:47:04,440 --> 00:47:07,799
Speaker 5: he goes She's like you gotta go, basically like so okay,

892
00:47:07,920 --> 00:47:09,520
Speaker 5: back your stuff and get out of here, and he's like,

893
00:47:09,880 --> 00:47:13,799
Speaker 5: I'll go as soon as he gets home, or as

894
00:47:13,880 --> 00:47:15,719
Speaker 5: gets back once he gets here.

895
00:47:15,880 --> 00:47:16,120
Speaker 1: Yeah.

896
00:47:16,160 --> 00:47:18,279
Speaker 5: I was so pointed the way he said it. I

897
00:47:18,360 --> 00:47:22,040
Speaker 5: was like, oh, he knows. Oh, he's totally set this up.

898
00:47:22,400 --> 00:47:23,839
Speaker 4: And did you catch.

899
00:47:23,680 --> 00:47:26,759
Speaker 6: She comes outside to find him. She's clearly walked around

900
00:47:26,800 --> 00:47:29,520
Speaker 6: the house, doesn't know where he is. He is sitting

901
00:47:29,640 --> 00:47:33,400
Speaker 6: on that chair overlooking the pool and the lawn and

902
00:47:33,440 --> 00:47:39,400
Speaker 6: the dock and the river like a king surveying his castle, drinking.

903
00:47:39,120 --> 00:47:43,040
Speaker 1: Another man's scotch. That's a guy with a plan. I

904
00:47:43,080 --> 00:47:44,879
Speaker 1: was so excited to talk about this with you because

905
00:47:44,920 --> 00:47:48,360
Speaker 1: when I saw that scene, I was I almost text

906
00:47:48,400 --> 00:47:51,200
Speaker 1: you to be like, hey, hey, did you get were

907
00:47:51,200 --> 00:47:54,160
Speaker 1: you thinking of me this one put on a chinfoil

908
00:47:54,200 --> 00:47:56,799
Speaker 1: hat with me because after that moment and then for

909
00:47:56,840 --> 00:48:00,759
Speaker 1: some reason I thought he got abducted in you. So

910
00:48:00,840 --> 00:48:03,360
Speaker 1: once I realized we were back in the Wilmington airport

911
00:48:03,400 --> 00:48:06,120
Speaker 1: for that scene, obviously airport, it's this is a wrap.

912
00:48:06,280 --> 00:48:10,800
Speaker 5: This is one hundred percent Dan, Yes, one hundred percent.

913
00:48:11,440 --> 00:48:14,200
Speaker 4: And they've given you just enough of.

914
00:48:14,160 --> 00:48:17,640
Speaker 6: A connection with Dan earlier in the day yelling at

915
00:48:17,640 --> 00:48:21,440
Speaker 6: the drug dealer about his family, my grandson plays in

916
00:48:21,440 --> 00:48:22,479
Speaker 6: this park to.

917
00:48:22,440 --> 00:48:25,200
Speaker 4: Give him the plausible deniability.

918
00:48:24,440 --> 00:48:26,440
Speaker 6: That he pissed off the same guy who pulled a

919
00:48:26,480 --> 00:48:29,719
Speaker 6: gun on Clay and Quinn. But it's like, did he

920
00:48:29,760 --> 00:48:32,560
Speaker 6: piss him off or did he did he maybe make

921
00:48:32,600 --> 00:48:33,000
Speaker 6: a deal?

922
00:48:33,880 --> 00:48:36,080
Speaker 5: I do not know, but I can't wait to find out.

923
00:48:36,520 --> 00:48:39,040
Speaker 5: But that look he gave when when the car drove

924
00:48:39,080 --> 00:48:42,120
Speaker 5: off as Nathan, Wait, wasn't Nathan driving away? Who was it?

925
00:48:42,120 --> 00:48:44,239
Speaker 1: It was? It was Nathan getting in his car to

926
00:48:44,280 --> 00:48:44,880
Speaker 1: go to the airport.

927
00:48:44,960 --> 00:48:47,320
Speaker 5: Yeah, yeah, that look that he.

928
00:48:46,880 --> 00:48:49,239
Speaker 1: Said, don't worry, I'm gonna I'm not going anywhere.

929
00:48:49,560 --> 00:48:50,360
Speaker 5: Yeah.

930
00:48:51,040 --> 00:48:54,360
Speaker 1: Also it was out of character because this whole time

931
00:48:54,960 --> 00:48:59,920
Speaker 1: Dan has been very hat in hand, sweet and gracious,

932
00:49:00,080 --> 00:49:03,160
Speaker 1: with Haley. He has been towing a line for sure,

933
00:49:03,840 --> 00:49:07,239
Speaker 1: and there was a very big energetic shift because she

934
00:49:07,400 --> 00:49:11,640
Speaker 1: clearly was coming out going. The subtext was all right, Bud,

935
00:49:11,800 --> 00:49:13,280
Speaker 1: it's your time to hit the bricks.

936
00:49:13,640 --> 00:49:15,360
Speaker 5: Yeah, I gave you your chance. Yeah, it did a

937
00:49:15,520 --> 00:49:17,840
Speaker 5: nice thing. Okay, thank you, Yeah, now good bye.

938
00:49:18,120 --> 00:49:20,360
Speaker 1: And so everything he's up to this point would dictate

939
00:49:20,400 --> 00:49:23,160
Speaker 1: that he would be like absolutely, yeah, gone, but like

940
00:49:23,400 --> 00:49:27,680
Speaker 1: make it weird. So so the fact was he dismissed you. Yeah,

941
00:49:27,719 --> 00:49:29,600
Speaker 1: and like I said, in a knowing way, said I'll

942
00:49:29,680 --> 00:49:32,360
Speaker 1: leave when he gets here. And he's drinking the scotch,

943
00:49:32,520 --> 00:49:33,840
Speaker 1: clearly in no rush.

944
00:49:33,920 --> 00:49:36,719
Speaker 6: He looks like he's holding in a smirk when he's

945
00:49:36,760 --> 00:49:40,440
Speaker 6: drinking that scush. He swirled the ice cube around and

946
00:49:40,480 --> 00:49:43,840
Speaker 6: he just looks like he's loving it.

947
00:49:43,840 --> 00:49:45,280
Speaker 1: It's a man with the secret.

948
00:49:46,080 --> 00:49:52,040
Speaker 6: And it made me think about the beginning when Dan

949
00:49:52,200 --> 00:49:56,279
Speaker 6: and Jamie are making s'mores and Jamie asks, did you.

950
00:49:56,200 --> 00:49:57,120
Speaker 4: Guys ever go camping?

951
00:49:57,800 --> 00:50:01,319
Speaker 6: Talking about Nathan, and Dan kind of grins at him

952
00:50:01,400 --> 00:50:04,080
Speaker 6: like and he goes, we never got the chance.

953
00:50:05,120 --> 00:50:07,319
Speaker 5: Wait, and I'm not getting it, he.

954
00:50:07,960 --> 00:50:11,880
Speaker 6: Kind of I literally, after I watched the Scotch scene,

955
00:50:11,920 --> 00:50:15,280
Speaker 6: I rewound to the s'more scene because I was like, wait,

956
00:50:15,440 --> 00:50:19,080
Speaker 6: is he making a hint of the same face, And

957
00:50:19,160 --> 00:50:21,279
Speaker 6: it feels if you go back and watch it, it

958
00:50:21,320 --> 00:50:26,560
Speaker 6: feels like he's saying something to Jamie like I never

959
00:50:26,600 --> 00:50:28,680
Speaker 6: got the chance with Nathan, but I'm making up for

960
00:50:28,760 --> 00:50:32,600
Speaker 6: it now, like I'm getting all my chances back with you.

961
00:50:33,239 --> 00:50:36,759
Speaker 6: It's like I really started in the in the tinfoil

962
00:50:36,800 --> 00:50:38,960
Speaker 6: halfway to be like, oh my god, if Dan is

963
00:50:39,000 --> 00:50:41,240
Speaker 6: the architect of all of this, it's like he's having

964
00:50:41,280 --> 00:50:46,920
Speaker 6: that thought that he can he can relive his failed

965
00:50:47,040 --> 00:50:51,600
Speaker 6: fatherhood with his grandson. The only person in the way

966
00:50:51,880 --> 00:50:52,399
Speaker 6: is the Sun.

967
00:50:53,520 --> 00:50:57,680
Speaker 5: And actually, this what makes sense about him orchestrating this

968
00:50:57,760 --> 00:51:02,720
Speaker 5: whole thing with Nathan too, is so he's rescued the Sun.

969
00:51:04,400 --> 00:51:09,000
Speaker 5: He saved Nathan's reputation, but it still wasn't enough. So

970
00:51:09,080 --> 00:51:12,400
Speaker 5: the fact that the only thing left for Dan to

971
00:51:12,480 --> 00:51:15,279
Speaker 5: do in order to gain Nathan's confidence would be too

972
00:51:15,400 --> 00:51:19,120
Speaker 5: save Nathan, because that's the only thing that would actually

973
00:51:19,160 --> 00:51:22,080
Speaker 5: make him perhaps grateful enough to keep him around.

974
00:51:22,880 --> 00:51:26,920
Speaker 1: And let's not forget. In nine oh one, at two

975
00:51:27,000 --> 00:51:30,560
Speaker 1: different points, the line is repeated about that hell is

976
00:51:30,560 --> 00:51:32,920
Speaker 1: empty and the devils are here on Earth, and both

977
00:51:33,000 --> 00:51:35,719
Speaker 1: times they said that Dan Scott was in the shot.

978
00:51:36,160 --> 00:51:39,040
Speaker 5: Yes, oh I didn't notice that.

979
00:51:39,480 --> 00:51:43,000
Speaker 1: Yes, okay, I gotta tell you what this tinfoil hats

980
00:51:43,000 --> 00:51:44,120
Speaker 1: starting to feel good? You guys.

981
00:51:44,200 --> 00:51:44,799
Speaker 4: I like it.

982
00:51:44,840 --> 00:51:45,640
Speaker 5: I like you you guys.

983
00:51:45,719 --> 00:51:47,920
Speaker 4: Is this how people wind up becoming conspiracy there?

984
00:51:48,160 --> 00:51:49,080
Speaker 5: I think it is.

985
00:51:49,239 --> 00:51:51,440
Speaker 1: This rabbit hole is warm and cozy. I get it.

986
00:51:51,560 --> 00:51:54,080
Speaker 6: Yeah, this is how you cut to four am on

987
00:51:54,160 --> 00:51:56,480
Speaker 6: Reddit just like this be true?

988
00:51:57,640 --> 00:51:59,800
Speaker 1: You know what's funny? Though I looked, we posted I

989
00:51:59,800 --> 00:52:02,880
Speaker 1: think think the something about us talking like I think

990
00:52:02,960 --> 00:52:05,000
Speaker 1: me pitching one of my little theories about Dan, and

991
00:52:05,040 --> 00:52:06,719
Speaker 1: I was surprised because one of us post said I

992
00:52:06,719 --> 00:52:09,200
Speaker 1: looked at the commons and they were like. The first

993
00:52:09,200 --> 00:52:11,440
Speaker 1: five were oh, like I agree, or I thought the

994
00:52:11,480 --> 00:52:13,320
Speaker 1: same thing. I was like, oh, I thought of people

995
00:52:13,320 --> 00:52:14,880
Speaker 1: were going to be coming in to be like you

996
00:52:15,120 --> 00:52:19,040
Speaker 1: idiot actually disprove it and said. Everyone was like, yeah, man, tracks,

997
00:52:19,719 --> 00:52:21,360
Speaker 1: so we might be onto something.

998
00:52:21,719 --> 00:52:23,440
Speaker 5: Maybe we never find out. I don't even know. I

999
00:52:23,440 --> 00:52:27,799
Speaker 5: don't remember. I don't either, which feels fun. Well, what's next?

1000
00:52:27,840 --> 00:52:30,240
Speaker 5: I mean, okay, so now we've got Clays checking into

1001
00:52:30,239 --> 00:52:32,520
Speaker 5: the facility for to give some help.

1002
00:52:32,640 --> 00:52:35,919
Speaker 1: That facility is the same hospital that Clay and Quinn

1003
00:52:35,960 --> 00:52:37,239
Speaker 1: walked out of post getting shown.

1004
00:52:37,280 --> 00:52:37,920
Speaker 4: Yeah, you know what it is.

1005
00:52:37,920 --> 00:52:40,799
Speaker 5: There's only one medical facility in Olive Tree Hill. They

1006
00:52:41,040 --> 00:52:42,000
Speaker 5: handle everything.

1007
00:52:42,320 --> 00:52:44,440
Speaker 1: I think they put a new sign on it, but

1008
00:52:44,480 --> 00:52:47,920
Speaker 1: that is very much the same entrance that we left

1009
00:52:48,040 --> 00:52:49,280
Speaker 1: when we got healthy.

1010
00:52:49,760 --> 00:52:52,560
Speaker 5: Yeah, they handle everything. Okay, So Clay is checking into

1011
00:52:52,560 --> 00:52:55,800
Speaker 5: a facility. Broke and Julian are okay, babies are okay.

1012
00:52:56,040 --> 00:52:59,560
Speaker 5: So we're moving on from that. Mouth is going to

1013
00:52:59,600 --> 00:53:05,600
Speaker 5: start using weight. So resolving that storyline, I hope fast.

1014
00:53:06,320 --> 00:53:08,719
Speaker 5: And what else is left? Oh oh, so we've got

1015
00:53:08,719 --> 00:53:11,440
Speaker 5: the cafe stuff that's still going on, and we've got's

1016
00:53:11,480 --> 00:53:12,160
Speaker 5: going to go missing.

1017
00:53:12,320 --> 00:53:14,400
Speaker 1: Oh and just let's just quickly say how great the

1018
00:53:14,440 --> 00:53:19,800
Speaker 1: scene was with you guys bringing babies to a prank

1019
00:53:20,000 --> 00:53:21,520
Speaker 1: in real time when you went up and.

1020
00:53:21,480 --> 00:53:24,320
Speaker 5: Stroll that was so cute.

1021
00:53:24,400 --> 00:53:27,359
Speaker 1: And then the fact that you guys ran again talking

1022
00:53:27,400 --> 00:53:30,440
Speaker 1: about you being teenage Brooke and Haley, the fact that

1023
00:53:30,480 --> 00:53:32,400
Speaker 1: it was basically like you got busted and so you

1024
00:53:32,520 --> 00:53:34,319
Speaker 1: except this time you had to grab a stroller full

1025
00:53:34,360 --> 00:53:37,520
Speaker 1: of children and run. Yeah, it was so funny.

1026
00:53:37,800 --> 00:53:40,160
Speaker 4: It's like getting caught toilet paper in a house.

1027
00:53:40,480 --> 00:53:42,920
Speaker 5: Yeah, but I kind of wish that they had put

1028
00:53:43,000 --> 00:53:45,759
Speaker 5: us in black catsuits like they did with Karen and Deb.

1029
00:53:46,080 --> 00:53:49,360
Speaker 5: Remember when they went up on the billboard Dan's billboard, Yes.

1030
00:53:49,800 --> 00:53:51,520
Speaker 4: And then me and Daniel in the school.

1031
00:53:51,920 --> 00:53:53,680
Speaker 5: Yeah, that's right. I know. It would have been so

1032
00:53:53,760 --> 00:53:56,800
Speaker 5: fun to do that callback because we're like like the

1033
00:53:56,880 --> 00:53:59,840
Speaker 5: Karen and Deb of the situation. Yes, but yeah, it was.

1034
00:54:00,160 --> 00:54:01,360
Speaker 5: That was a really cute little stunt.

1035
00:54:01,560 --> 00:54:05,440
Speaker 6: What also would have been really great and believable because obviously,

1036
00:54:05,480 --> 00:54:08,840
Speaker 6: Brooke Davis, I just think would never get rid of anything.

1037
00:54:09,280 --> 00:54:11,520
Speaker 6: If I was back in my high school catsuit and

1038
00:54:11,560 --> 00:54:13,600
Speaker 6: you were in Rachel's and it was like you just

1039
00:54:13,640 --> 00:54:16,799
Speaker 6: had these and it's like I've had them since senior year,

1040
00:54:17,400 --> 00:54:19,440
Speaker 6: you know, like I can't believe you're still making me

1041
00:54:19,480 --> 00:54:20,360
Speaker 6: put on costumes.

1042
00:54:20,400 --> 00:54:21,560
Speaker 5: I'm doing it just for you.

1043
00:54:21,640 --> 00:54:23,040
Speaker 4: It would have been so cute.

1044
00:54:23,239 --> 00:54:27,680
Speaker 1: Also, you're missed to not say that Stephen Clettie's very funny.

1045
00:54:28,000 --> 00:54:29,120
Speaker 4: He's very he is.

1046
00:54:29,760 --> 00:54:32,120
Speaker 5: I really appreciated its comic timing in this too.

1047
00:54:32,600 --> 00:54:37,759
Speaker 1: Yeah. Also, just you can't miss the moments of when

1048
00:54:38,239 --> 00:54:41,040
Speaker 1: like just you so feel our boss in a script,

1049
00:54:41,040 --> 00:54:45,400
Speaker 1: when it's like eleven times. I'm like it's so gross.

1050
00:54:45,640 --> 00:54:49,680
Speaker 6: I'm also like, really you think women behave like them? Okay,

1051
00:54:49,960 --> 00:54:51,839
Speaker 6: and this girl's going to sit there and be like, yeah,

1052
00:54:51,840 --> 00:54:53,120
Speaker 6: how's her ass?

1053
00:54:53,560 --> 00:54:54,240
Speaker 4: Like what?

1054
00:54:54,760 --> 00:54:55,640
Speaker 5: So it's boring.

1055
00:54:56,160 --> 00:54:58,640
Speaker 1: Thank god for Stephen though, because he was funny in

1056
00:54:58,680 --> 00:55:01,759
Speaker 1: the midst of that, and then of course Tyler is

1057
00:55:01,920 --> 00:55:05,640
Speaker 1: just so freaking funny as Chris Keller. So thankfully those

1058
00:55:05,680 --> 00:55:10,279
Speaker 1: two kind of buoyed it. Yes, but the context was

1059
00:55:10,560 --> 00:55:13,400
Speaker 1: wah wah, it was not great.

1060
00:55:13,480 --> 00:55:17,640
Speaker 6: And then I'm like, okay, and then this like wildly

1061
00:55:17,719 --> 00:55:21,560
Speaker 6: beautiful party girl is the mystery owner of the cafe

1062
00:55:21,680 --> 00:55:25,640
Speaker 6: next door. It's so so set up, so silly. But

1063
00:55:25,880 --> 00:55:31,040
Speaker 6: to your point, Stephen and Tyler are both such great

1064
00:55:31,400 --> 00:55:35,040
Speaker 6: actors in terms of their comedic timing, and Chelsea was

1065
00:55:35,080 --> 00:55:37,880
Speaker 6: such a good sport and I think, you know, the

1066
00:55:37,960 --> 00:55:42,120
Speaker 6: behind the scenes reality that she was actually Steven's girlfriend. Yeah,

1067
00:55:42,200 --> 00:55:45,359
Speaker 6: let them like they It gave them a little bit

1068
00:55:45,400 --> 00:55:48,920
Speaker 6: of like a spice playing with each other that was

1069
00:55:48,960 --> 00:55:51,960
Speaker 6: probably really fun for them in real time where they

1070
00:55:52,000 --> 00:55:56,200
Speaker 6: could laugh. And I would hope that Chelsea didn't feel

1071
00:55:56,880 --> 00:55:59,000
Speaker 6: exploited in the way the character was and was like

1072
00:55:59,040 --> 00:56:01,080
Speaker 6: this is so insane and diculous, and I'm having fun

1073
00:56:01,120 --> 00:56:05,360
Speaker 6: at work with my boyfriend, so fingers crossed because ugh,

1074
00:56:06,040 --> 00:56:08,040
Speaker 6: our boss is all over it, and I hate it

1075
00:56:08,080 --> 00:56:10,160
Speaker 6: for all of them, but I'm impressed with their talent.

1076
00:56:23,239 --> 00:56:26,080
Speaker 1: So our fan question is actually perfect because this was

1077
00:56:26,120 --> 00:56:27,480
Speaker 1: going to be the last thing from my notes I

1078
00:56:27,560 --> 00:56:29,439
Speaker 1: want to bring up. So let's just read the question.

1079
00:56:29,480 --> 00:56:30,240
Speaker 1: It's from Taylor.

1080
00:56:30,400 --> 00:56:30,959
Speaker 4: Oh yeah.

1081
00:56:31,120 --> 00:56:33,960
Speaker 1: Taylor asks, is it true that Joy ad lived that

1082
00:56:34,080 --> 00:56:36,440
Speaker 1: line to Julian about when Jamie fell in the pool?

1083
00:56:36,880 --> 00:56:38,839
Speaker 1: How often were you able to add lib or change

1084
00:56:38,840 --> 00:56:41,319
Speaker 1: your character's lines or the director's more lenient in the

1085
00:56:41,320 --> 00:56:45,320
Speaker 1: final season, because when you told that story to Julian,

1086
00:56:46,440 --> 00:56:47,680
Speaker 1: that was in my notes where I was like, Oh,

1087
00:56:47,760 --> 00:56:50,880
Speaker 1: is this is this something we're just ret conning that

1088
00:56:50,920 --> 00:56:52,879
Speaker 1: we've never seen, or is this an actual moment from

1089
00:56:52,880 --> 00:56:54,400
Speaker 1: one through six that I just missed.

1090
00:56:55,040 --> 00:56:59,560
Speaker 5: It is an actual moment that happened, and my memory

1091
00:56:59,600 --> 00:57:01,560
Speaker 5: is a little fuzzy, and it was ad libd I

1092
00:57:01,560 --> 00:57:04,080
Speaker 5: do remember, but I don't. What I don't remember is

1093
00:57:04,400 --> 00:57:08,040
Speaker 5: if it was in the script and I just didn't

1094
00:57:08,760 --> 00:57:10,520
Speaker 5: the words weren't really coming out of my mouth the

1095
00:57:10,600 --> 00:57:12,160
Speaker 5: right way. So I just was like I'm just gonna

1096
00:57:12,160 --> 00:57:14,719
Speaker 5: put this script away and I'm going to tell you

1097
00:57:14,760 --> 00:57:21,400
Speaker 5: this story and that's what we'll use, or if I

1098
00:57:21,440 --> 00:57:24,480
Speaker 5: think it might have been a little bit more vague,

1099
00:57:24,640 --> 00:57:28,120
Speaker 5: like Haley saying, you know, parents make mistakes and that's

1100
00:57:28,160 --> 00:57:30,320
Speaker 5: part of parenthood. It's what we do all the time.

1101
00:57:30,920 --> 00:57:33,240
Speaker 5: And I was like, wait, wait a second, we like

1102
00:57:33,760 --> 00:57:36,360
Speaker 5: my kid almost died and it was our fault too, Like,

1103
00:57:36,720 --> 00:57:40,320
Speaker 5: let me share that story with him. Yeah. So I

1104
00:57:40,320 --> 00:57:43,680
Speaker 5: don't remember which it was, but yeah, either way, it

1105
00:57:43,880 --> 00:57:47,400
Speaker 5: whatever was on the page didn't make enough sense for me,

1106
00:57:47,920 --> 00:57:50,320
Speaker 5: and it made the scene feel I think I was

1107
00:57:51,240 --> 00:57:53,280
Speaker 5: as I said, you know, Haley was polly positive for

1108
00:57:53,320 --> 00:57:56,760
Speaker 5: everybody in the episode, but this needed to be a

1109
00:57:56,800 --> 00:57:59,040
Speaker 5: lot more grounded and real.

1110
00:57:59,240 --> 00:58:03,120
Speaker 6: Yeah, And it was such a I mean as a viewer,

1111
00:58:03,520 --> 00:58:06,880
Speaker 6: you know, because this is a scene that happened rob

1112
00:58:06,960 --> 00:58:09,640
Speaker 6: after we did our time jump, and it was so

1113
00:58:10,720 --> 00:58:16,480
Speaker 6: awful and the time in between seeing what was happening

1114
00:58:16,520 --> 00:58:18,720
Speaker 6: and watching Haley and Nathan in this terrible place in

1115
00:58:18,760 --> 00:58:20,760
Speaker 6: their marriage and the fighting and they were so good

1116
00:58:20,840 --> 00:58:23,439
Speaker 6: in the scene, and then you realize that this thing

1117
00:58:23,480 --> 00:58:27,800
Speaker 6: has happened in the backyard with the little boy, like was.

1118
00:58:28,040 --> 00:58:32,040
Speaker 6: It was such a tortuous, well done thing in the

1119
00:58:32,120 --> 00:58:34,440
Speaker 6: episode where they you know, they drew it out and

1120
00:58:34,480 --> 00:58:36,240
Speaker 6: you're waiting and you're trying to figure out what's going

1121
00:58:36,280 --> 00:58:39,560
Speaker 6: to happen. It's such a core memory. I think for

1122
00:58:39,640 --> 00:58:41,680
Speaker 6: so many people who went through this journey of the

1123
00:58:41,720 --> 00:58:45,720
Speaker 6: whole show with us, that it was such an important

1124
00:58:45,720 --> 00:58:48,600
Speaker 6: thing not only to call back to, but to have

1125
00:58:48,680 --> 00:58:52,200
Speaker 6: Haley be able to offer in a way that nobody.

1126
00:58:51,800 --> 00:58:54,880
Speaker 4: Else could to Julian in this moment. It's so.

1127
00:58:56,520 --> 00:59:00,400
Speaker 6: It was so just like special and it you could

1128
00:59:00,440 --> 00:59:02,360
Speaker 6: tell that for him it was like medicine.

1129
00:59:03,480 --> 00:59:06,600
Speaker 5: Yeah, there's no other character, I think, as you said, yeah,

1130
00:59:06,600 --> 00:59:11,400
Speaker 5: there's another character that could have met him on that level,

1131
00:59:11,840 --> 00:59:13,120
Speaker 5: with that experience.

1132
00:59:13,560 --> 00:59:16,680
Speaker 6: And I think there was something really profound in it too.

1133
00:59:18,280 --> 00:59:20,560
Speaker 6: I love that the choice. I mean, granted, obviously the

1134
00:59:20,600 --> 00:59:23,560
Speaker 6: storyline is that Nathan is in Europe, but I love

1135
00:59:23,600 --> 00:59:28,200
Speaker 6: the choice that it's Haley who tells Julian because whether

1136
00:59:28,360 --> 00:59:32,480
Speaker 6: or not it should be true, you know, culturally, there

1137
00:59:32,560 --> 00:59:36,240
Speaker 6: is this thing of like moms always know best, and

1138
00:59:38,000 --> 00:59:41,560
Speaker 6: he is saying like I can't blame her, and it's

1139
00:59:41,600 --> 00:59:44,960
Speaker 6: her dream and it's her experience. These babies are her

1140
00:59:45,040 --> 00:59:48,280
Speaker 6: miracle and for a mom to be like, but I've

1141
00:59:48,320 --> 00:59:53,160
Speaker 6: done it too, it's sort of defangs that I failed

1142
00:59:53,160 --> 00:59:57,080
Speaker 6: as a father thing in a way that I don't

1143
00:59:57,080 --> 00:59:59,240
Speaker 6: know if it would have had the same impact if

1144
00:59:59,280 --> 01:00:00,680
Speaker 6: it had been too of the always.

1145
01:00:00,400 --> 01:00:02,360
Speaker 5: Talking and yeah, it's a great point.

1146
01:00:02,640 --> 01:00:05,320
Speaker 6: It's so it was like really special to watch you

1147
01:00:05,360 --> 01:00:07,320
Speaker 6: guys have that moment in your friendship too.

1148
01:00:08,040 --> 01:00:10,400
Speaker 1: It's and I think it's such an act of compassion

1149
01:00:10,680 --> 01:00:13,760
Speaker 1: when someone is going through something like that to just

1150
01:00:13,800 --> 01:00:17,680
Speaker 1: sort of hit them with me too, because often when

1151
01:00:17,720 --> 01:00:20,720
Speaker 1: you are going to experience, the easy way to sort

1152
01:00:20,760 --> 01:00:24,480
Speaker 1: of process it is it's like I'm a failure. I'm

1153
01:00:24,480 --> 01:00:26,760
Speaker 1: the only one who does this. It's it's very isolating.

1154
01:00:26,800 --> 01:00:29,000
Speaker 1: You know, other people wouldn't make this mistake. And so

1155
01:00:29,080 --> 01:00:32,439
Speaker 1: when someone that you're confiding and goes, oh, yeah, yeah,

1156
01:00:32,480 --> 01:00:34,920
Speaker 1: me too, I've done the same thing. Yeah, it really

1157
01:00:35,720 --> 01:00:38,240
Speaker 1: kind of can help take the pressure out of the situation.

1158
01:00:38,400 --> 01:00:41,640
Speaker 1: And I think it's just, you know, because in doing so,

1159
01:00:42,160 --> 01:00:45,760
Speaker 1: you're getting vulnerable, and you're also you're caring more about

1160
01:00:45,800 --> 01:00:51,320
Speaker 1: the other person's feelings than you are their opinion of you. Yeah,

1161
01:00:51,360 --> 01:00:53,520
Speaker 1: you're trying to keep up sort of a facade of

1162
01:00:53,560 --> 01:00:55,680
Speaker 1: like I've got my shit down, yeah.

1163
01:00:55,520 --> 01:00:59,680
Speaker 5: Or avoiding your own shame. Yeah, you just open it it,

1164
01:01:00,080 --> 01:01:01,160
Speaker 5: opening it all up.

1165
01:01:01,640 --> 01:01:04,640
Speaker 1: And as far as the ad libbing Taylor, I don't.

1166
01:01:04,800 --> 01:01:06,640
Speaker 1: First of all, the directors aren't the ones who got

1167
01:01:06,680 --> 01:01:08,720
Speaker 1: to choose that, because the directors were just guns for

1168
01:01:08,800 --> 01:01:11,360
Speaker 1: hire or us. For the most part, it would have

1169
01:01:11,360 --> 01:01:13,640
Speaker 1: been the onset producer that we would have asked, like

1170
01:01:13,640 --> 01:01:16,960
Speaker 1: a Greg Prange type. I would never made big changes.

1171
01:01:16,960 --> 01:01:19,400
Speaker 1: I would sometimes just have say things that it would

1172
01:01:19,400 --> 01:01:21,040
Speaker 1: fit my mouth better, and I think they were always

1173
01:01:21,040 --> 01:01:22,800
Speaker 1: pretty cool with it. How about what was your guys's

1174
01:01:22,840 --> 01:01:23,560
Speaker 1: recollection of that?

1175
01:01:24,280 --> 01:01:27,400
Speaker 5: Yeah, I did. I was. I feel like I probably

1176
01:01:27,480 --> 01:01:32,600
Speaker 5: changed more lines than anybody. I mean, I'll be honest,

1177
01:01:33,560 --> 01:01:36,040
Speaker 5: sometimes for better, sometimes for worse. I was pretty stubborn

1178
01:01:36,200 --> 01:01:46,560
Speaker 5: and didn't you know, have a wide breadth of professional

1179
01:01:46,560 --> 01:01:50,680
Speaker 5: slash emotional literacy to know how to communicate a lot

1180
01:01:50,720 --> 01:01:53,720
Speaker 5: of that in a way that I think was that

1181
01:01:53,840 --> 01:01:56,680
Speaker 5: could have made it feel more like teamwork. So I

1182
01:01:56,840 --> 01:01:58,960
Speaker 5: just was like, look, this is what it makes how

1183
01:01:58,960 --> 01:02:00,680
Speaker 5: it makes sense to me, So I'm going to change it.

1184
01:02:02,200 --> 01:02:05,960
Speaker 5: Usually I expected if somebody else had if it was

1185
01:02:06,000 --> 01:02:08,840
Speaker 5: affecting another actor. They would just say like, actually, that

1186
01:02:08,880 --> 01:02:10,640
Speaker 5: doesn't work for me because then it messes up my

1187
01:02:10,720 --> 01:02:12,640
Speaker 5: queue line. And then it's like, oh, okay, well fine,

1188
01:02:12,680 --> 01:02:16,920
Speaker 5: let's try and figure it out. But not everyone always

1189
01:02:16,920 --> 01:02:19,840
Speaker 5: would so anyway, this feels like we're going to get

1190
01:02:19,840 --> 01:02:24,040
Speaker 5: into a bottle of wine. But basically, I, yes, I

1191
01:02:24,120 --> 01:02:28,360
Speaker 5: did change a lot of lines. I sometimes it was

1192
01:02:28,400 --> 01:02:30,120
Speaker 5: better than others, and I think this is one of

1193
01:02:30,160 --> 01:02:31,960
Speaker 5: the cases where it probably turned out really well.

1194
01:02:32,680 --> 01:02:35,680
Speaker 4: Yeah. I would say.

1195
01:02:38,040 --> 01:02:41,680
Speaker 6: There were definitely periods where we were told we weren't

1196
01:02:41,680 --> 01:02:45,080
Speaker 6: allowed to do that, and I think there were times

1197
01:02:45,120 --> 01:02:47,840
Speaker 6: where things were a little more lenient.

1198
01:02:48,040 --> 01:02:48,240
Speaker 4: You know.

1199
01:02:48,320 --> 01:02:53,040
Speaker 6: I certainly would would say reflecting, yeah, were we doing

1200
01:02:53,080 --> 01:02:53,880
Speaker 6: that Season one?

1201
01:02:54,280 --> 01:02:56,680
Speaker 4: Probably not, you might have been.

1202
01:02:56,720 --> 01:03:01,200
Speaker 6: I don't know, but I think, you know, the longer

1203
01:03:01,280 --> 01:03:04,520
Speaker 6: down the line we were in this world, if we

1204
01:03:04,560 --> 01:03:08,680
Speaker 6: really felt convicted about something, yeah, sometimes you'd get in

1205
01:03:08,680 --> 01:03:11,720
Speaker 6: trouble for it, and sometimes begrudgingly someone would say like,

1206
01:03:12,200 --> 01:03:13,920
Speaker 6: that was a really good choice you made. You'd be like,

1207
01:03:14,040 --> 01:03:16,400
Speaker 6: thank you, thank you for saying that.

1208
01:03:17,080 --> 01:03:19,240
Speaker 5: What just to kind of counterbalance a little bit of

1209
01:03:19,240 --> 01:03:22,600
Speaker 5: what I was saying, Because there is an element of

1210
01:03:22,640 --> 01:03:25,400
Speaker 5: this that you know, we we didn't have a lot

1211
01:03:25,400 --> 01:03:27,160
Speaker 5: of people to trust. There weren't a lot of people

1212
01:03:27,160 --> 01:03:28,840
Speaker 5: that we really felt we could trust that like had

1213
01:03:28,880 --> 01:03:31,280
Speaker 5: our character's best interests at heart. I mean, case in

1214
01:03:31,360 --> 01:03:34,680
Speaker 5: point with what we're talking about with Clay's character, And yeah,

1215
01:03:34,720 --> 01:03:37,640
Speaker 5: how kind of bizarre some of these choices were. So

1216
01:03:37,680 --> 01:03:41,280
Speaker 5: sometimes I think we would fight for changing things in

1217
01:03:41,360 --> 01:03:46,160
Speaker 5: the script because we only thought we could trust ourselves.

1218
01:03:46,200 --> 01:03:48,680
Speaker 5: We just were like, I don't A lot of times

1219
01:03:48,680 --> 01:03:52,480
Speaker 5: it seemed like a director would come up and just say, oh,

1220
01:03:52,560 --> 01:03:54,600
Speaker 5: just try it, just do it one way as script did,

1221
01:03:54,680 --> 01:03:56,560
Speaker 5: just once, just so we have it and make everybody

1222
01:03:56,560 --> 01:03:58,520
Speaker 5: in La happy. But then you know, we'll use the

1223
01:03:58,560 --> 01:04:01,640
Speaker 5: take that you want and never did, And so then

1224
01:04:01,640 --> 01:04:04,200
Speaker 5: he just starts feeling like, look, I'm the only one

1225
01:04:04,200 --> 01:04:06,080
Speaker 5: that's got my back, and that's I'm the only one

1226
01:04:06,120 --> 01:04:09,840
Speaker 5: that's got Haley's back totally. So when you're a little

1227
01:04:09,880 --> 01:04:12,560
Speaker 5: paranoid like that, like no, you can't trust anybody else,

1228
01:04:12,720 --> 01:04:14,800
Speaker 5: you feel like you have to really be a stick

1229
01:04:14,800 --> 01:04:17,479
Speaker 5: in the mud about what you're seeing because there isn't

1230
01:04:17,560 --> 01:04:21,680
Speaker 5: much collaboration invited. So there was a big there was

1231
01:04:21,680 --> 01:04:23,840
Speaker 5: a big tug of war with that well.

1232
01:04:23,840 --> 01:04:25,760
Speaker 4: To Rob's opening point of the show.

1233
01:04:26,280 --> 01:04:30,000
Speaker 6: It's very gray, it's not black and white, and I

1234
01:04:30,040 --> 01:04:33,720
Speaker 6: wouldn't I would not have wanted to see that scene

1235
01:04:34,320 --> 01:04:36,400
Speaker 6: at the end of the night in Karen's Cafe between

1236
01:04:36,480 --> 01:04:39,840
Speaker 6: Haley and Julian in any different way to what it

1237
01:04:39,880 --> 01:04:43,760
Speaker 6: is on screen, because you both hit it perfectly on

1238
01:04:43,840 --> 01:04:47,240
Speaker 6: the head I very much, you know, to back up

1239
01:04:47,240 --> 01:04:49,600
Speaker 6: what you're saying, I feel that same level of conviction,

1240
01:04:49,760 --> 01:04:52,120
Speaker 6: and I felt it when we got the script for

1241
01:04:52,200 --> 01:04:52,840
Speaker 6: Brook's wedding.

1242
01:04:52,840 --> 01:04:54,400
Speaker 4: And I know I told this story.

1243
01:04:54,120 --> 01:04:57,080
Speaker 6: Last year, but can you imagine if Brooke and Julian

1244
01:04:57,160 --> 01:05:01,120
Speaker 6: had had a repeat after me I broke Davis do take,

1245
01:05:01,280 --> 01:05:03,840
Speaker 6: You'd be like, I'm sorry, I've waited eight years to

1246
01:05:03,880 --> 01:05:07,280
Speaker 6: see this character get her happy ending, and she's doing.

1247
01:05:07,400 --> 01:05:12,400
Speaker 8: Call and response, Yeah, wedding lines like us us doing

1248
01:05:12,600 --> 01:05:18,000
Speaker 8: vows with humor and eight seasons of story Master.

1249
01:05:18,120 --> 01:05:19,560
Speaker 5: The audience has been waiting for.

1250
01:05:19,800 --> 01:05:20,840
Speaker 4: It's what they'd been waiting.

1251
01:05:20,920 --> 01:05:23,120
Speaker 5: Yes, you have to look out for them, yes.

1252
01:05:23,120 --> 01:05:26,960
Speaker 6: And so yeah, I'm sure sometimes you know, somebody was

1253
01:05:27,000 --> 01:05:30,840
Speaker 6: like all these actors pangs and asses, and then it's

1254
01:05:30,880 --> 01:05:32,600
Speaker 6: like sometimes sometimes we were right.

1255
01:05:33,080 --> 01:05:36,320
Speaker 5: Yeah, exactly it's like sometimes you're stubborn and it doesn't work.

1256
01:05:36,360 --> 01:05:38,400
Speaker 5: But you're like, well, if I had somebody safe to

1257
01:05:38,440 --> 01:05:40,480
Speaker 5: talk to and to like collaborate with all this stuff,

1258
01:05:40,480 --> 01:05:43,320
Speaker 5: then I wouldn't feel like I constantly had to only

1259
01:05:43,360 --> 01:05:46,160
Speaker 5: believe in my own perspective of things. So strange.

1260
01:05:46,600 --> 01:05:49,920
Speaker 1: Yeah, it also, it only takes one actor who doesn't

1261
01:05:50,000 --> 01:05:52,960
Speaker 1: know how to do it responsibly to ruin it for everyone.

1262
01:05:53,720 --> 01:05:54,440
Speaker 4: That part.

1263
01:05:54,760 --> 01:05:56,840
Speaker 1: I worked on a show with a guy who did

1264
01:05:56,880 --> 01:05:58,680
Speaker 1: not know the rules of this, and so he would

1265
01:05:58,680 --> 01:06:01,160
Speaker 1: just like come into a scene and be like, yeah,

1266
01:06:01,200 --> 01:06:03,880
Speaker 1: we were just at the bar that went to the whorehouse,

1267
01:06:03,920 --> 01:06:07,640
Speaker 1: and everyone's like, your your character was in a board

1268
01:06:07,720 --> 01:06:10,280
Speaker 1: meet what Like. He didn't know that, like his ad

1269
01:06:10,320 --> 01:06:13,280
Speaker 1: libs had to actually track with the story. And so

1270
01:06:13,360 --> 01:06:15,720
Speaker 1: then the next day we got a directive that was like,

1271
01:06:15,800 --> 01:06:18,840
Speaker 1: no one can change lines. I was like, oh, thanks buddy,

1272
01:06:19,680 --> 01:06:22,920
Speaker 1: thanks for that. Yeah, I'm glad you tried to make

1273
01:06:22,960 --> 01:06:26,640
Speaker 1: your character look cool. Now none of us can change dialogue.

1274
01:06:27,520 --> 01:06:35,080
Speaker 4: Oh god, turn it around. Turn it around.

1275
01:06:35,760 --> 01:06:38,280
Speaker 6: Also, while the wheel is spinning, can we just give

1276
01:06:38,680 --> 01:06:42,880
Speaker 6: it's not an honorable mention? Perhaps it's a dated bit

1277
01:06:42,920 --> 01:06:47,840
Speaker 6: of laughter to the Frogger style tracker than Jamie's watching

1278
01:06:47,880 --> 01:06:48,760
Speaker 6: of Nathan's point.

1279
01:06:49,240 --> 01:06:52,200
Speaker 5: Oh my gosh, this is so cute. It's like computer one.

1280
01:06:52,600 --> 01:06:53,360
Speaker 4: Oh, it was great.

1281
01:06:54,400 --> 01:07:00,880
Speaker 5: Most likely to accidentally go viral for something embarrassing my.

1282
01:07:00,880 --> 01:07:05,720
Speaker 1: Knee jerk is you were me joy I I think

1283
01:07:05,760 --> 01:07:07,919
Speaker 1: it would be different. Though mine would be embarrassing because

1284
01:07:07,960 --> 01:07:10,480
Speaker 1: I didn't realize it was embarrassing, but I chose to

1285
01:07:10,480 --> 01:07:13,160
Speaker 1: do it. Yours would be embarrassing because you had a

1286
01:07:13,240 --> 01:07:19,160
Speaker 1: joy moment and like you just completely spaced, like akin

1287
01:07:19,240 --> 01:07:21,560
Speaker 1: to leaving a laptop on an airplane type of thing,

1288
01:07:21,560 --> 01:07:23,080
Speaker 1: you know what I mean, like one of those yetes.

1289
01:07:23,560 --> 01:07:26,080
Speaker 5: Yeah, yeah, I just walked out of the house without

1290
01:07:26,080 --> 01:07:28,560
Speaker 5: my pants on or something. It doesn't happen, but.

1291
01:07:28,840 --> 01:07:30,960
Speaker 4: Or got on a plane and went to the wrong city.

1292
01:07:32,680 --> 01:07:40,680
Speaker 5: Oh yeah, I don't know what character. What character is

1293
01:07:40,800 --> 01:07:41,400
Speaker 5: most likely?

1294
01:07:42,720 --> 01:07:46,240
Speaker 1: I feel like right now Clay is I don't know

1295
01:07:46,280 --> 01:07:50,480
Speaker 1: how he has recorded doing something that.

1296
01:07:51,440 --> 01:07:54,760
Speaker 6: Yeah, that makes me feel sort of sad. The thing

1297
01:07:54,760 --> 01:07:57,120
Speaker 6: that came to mind for me, which made me laugh

1298
01:07:57,280 --> 01:07:59,600
Speaker 6: is it would probably be Chris Keller, and then he

1299
01:07:59,640 --> 01:08:03,960
Speaker 6: would it thank you golviral by accident for doing something

1300
01:08:04,120 --> 01:08:06,440
Speaker 6: so stupid and be like, this is awesome.

1301
01:08:07,920 --> 01:08:09,080
Speaker 4: Chris Keller likes it.

1302
01:08:10,320 --> 01:08:13,280
Speaker 5: Yeah, he'd just make millions off of it. Yeah, however

1303
01:08:13,320 --> 01:08:16,000
Speaker 5: he managed to turn it around. He'd buy a T shirt.

1304
01:08:16,080 --> 01:08:18,040
Speaker 5: He'd have a T shirt made with like the image

1305
01:08:18,040 --> 01:08:19,960
Speaker 5: of something stupid and sell.

1306
01:08:19,800 --> 01:08:23,960
Speaker 1: It all right, Kang, thanks for tuning in. Next week

1307
01:08:24,000 --> 01:08:27,719
Speaker 1: we have season nine, episode five, The Killing Moon.

1308
01:08:28,240 --> 01:08:32,839
Speaker 6: Ooh oohs coming around the corner, bute.

1309
01:08:33,120 --> 01:08:34,280
Speaker 5: Hey, thanks for listening.

1310
01:08:34,400 --> 01:08:35,759
Speaker 4: Don't forget to leave us a review.

1311
01:08:36,040 --> 01:08:39,719
Speaker 6: You can also follow us on Instagram at Drama Queen's ot.

1312
01:08:39,800 --> 01:08:44,479
Speaker 5: H or email us at Drama Queens at iHeartRadio dot com.

1313
01:08:44,760 --> 01:08:45,759
Speaker 5: See you next time.

1314
01:08:47,000 --> 01:08:48,360
Speaker 7: We all about that.

1315
01:08:48,400 --> 01:08:49,360
Speaker 4: High school drama.

1316
01:08:49,400 --> 01:08:51,200
Speaker 5: Girl Drama Girl, all about.

1317
01:08:50,920 --> 01:08:54,160
Speaker 3: Them high school queens. We'll take you for a ride

1318
01:08:54,160 --> 01:08:57,479
Speaker 3: and our comic girl sharing for the right tea Drama

1319
01:08:57,560 --> 01:09:01,800
Speaker 3: Queens girls, and with your tough girl, you could sit

1320
01:09:01,840 --> 01:09:06,000
Speaker 5: With us Girl Drama Queens, Drama, Queens, Drama, Queens, Drama Drama,

1321
01:09:06,080 --> 01:09:08,040
Speaker 5: Queens Drama Queens