The Silhouette • EP 720

Sophia joins Rob to discuss Brooke's long awaited happiness and filming those hilarious scenes with Daphne. They rewrite what they would have liked to see of Katie breaking into Quinn's gallery.  Rob gives his perspective on Mouth and Ms. Lauren's drama and Sophia reveals the storyline that made her gasp.

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Episode Transcript

Speaker 1 (00:00):
First of all, you don't know me.

Speaker 2 (00:02):
We all about that high school drama, Girl drama girl,
all about them.

Speaker 3 (00:06):
High school queens.

Speaker 2 (00:08):
We'll take you for a ride, and our comic girl
shared for the right teams, Drama queenslis my girl up
girl fashion, which you'll tough.

Speaker 3 (00:16):
Girl, you could sit with us, Girl Drama, Queens, Drama,
Quise Drama, Queens Drama, Drama, Queens drama queens.

Speaker 1 (00:25):
Heay, So, hi, pl, how are you.

Speaker 4 (00:27):
I'm doing well. Good to see you.

Speaker 1 (00:29):
I know I've missed you. I was so sad to
not good to be with you guys on the last
ones because I've been shooting Grace. But I'm really glad
that James sisters got to come in. And I watched
all the Cliffees and they looked so good.

Speaker 4 (00:44):
It was so much fun. They did not disappoint. Where
in the world are you right now? Look like you
are in a library.

Speaker 1 (00:51):
I am in my den and I have bookshelves. My
whole family is here for Thanksgiving, and so my off
us has been temporarily put in my garage so that
I can use it as an extra bedroom, and I
am yeah. I had to like tuck myself into the
corner today and sorry for the intense What is this?

(01:17):
This is? I need joy to tell me, Like what
the proper sound of your throat is when you lose
your voice. But I feel like I sound like somebody's
cool aunt who like smokes cigarettes and drinks whiskey.

Speaker 4 (01:28):
Yeah. A friend who does voiceovers calls it the cool
guy rasp. Oh, it's like that vocal fry that trying
to be like dramatic and dreamy at the same Yeah.

Speaker 1 (01:40):
Right, why do you feel we both just did for
the listeners at home. As soon as we started impersonating
that person, we both started squinting. What is that?

Speaker 4 (01:50):
I don't know, but I can't do a douchebag bit
without without like squinting my eyes. Like Jenny will see
me from across the room starting to walk towards her
with the stupid eying, and she's like, nope, nope, don't,
I don't want It's just what we do. Episode seven twenty,
Season seven, Episode twenty that is Learning to Fall. I know,

(02:13):
how has it been twenty episodes already?

Speaker 1 (02:16):
It's really crazy.

Speaker 4 (02:18):
It's been so much fun, But I am also shocked
that we are almost ending the season already. That's crazy Anyways.
Air date May third, twenty ten. Nathan and Hailey struggle
with the aftermath of her mother's death, while Brooke deals
with the fallout of Alexander's tryst with Victoria.

Speaker 1 (02:36):
Oh, trist is a gentle word.

Speaker 4 (02:38):
It is a gentle word. Alex discovers a secret about
her leading man Josh that could derail Julian's film, and
Quinn is confronted by an unhinged Katie That's putting it mildly.
Directed by Greg Prange, Written by Shana Fuel and Renee
Until can you help me with this one? Into their cover? Wow,

(03:04):
what first crack at it? You nailed that a These two.

Speaker 1 (03:08):
Are absolutely incredible. God, SHANEA. Fuel just was such an
amazing addition to our writer's room, and I thought that,
you know, these episodes that they did together as a
team were just phenomenal, So I'm so excited that they're
doing their thing.

Speaker 4 (03:26):
This episode was fun, man.

Speaker 1 (03:28):
This episode was really fun. And I don't know how
I forgot some of the details as they so closely
related to Brooke and Julian's life. But the first note
I have, because I wasn't with you all.

Speaker 5 (03:44):
Last week, is Paul Teal was blackmailing, Like I had
a full I had forgotten that Josh was behind that,
and I I was so I guess same.

Speaker 1 (04:02):
It also feels like a you know, an important moment
in the timeline of when we are recording. I don't
know if if you guys have spoken about this already,
but we actually just lost Paul t Heel and it's
it's such a surreal thing to have gotten that update

(04:26):
after we'd all just been talking about the introduction of
Josh and you know that he did the rehearsals and
the workshops for Joy's musical of the Notebook that she
was working on at the time. Like, I don't know,
it's just so weird because these things feel like they

(04:47):
were just yesterday, and also like they were so long ago.
And then I think in that kind of time warp
of like the memories we all made together, when someone
tragically passes away, it's just so heavy and I I
feel really grateful that like in this moment we get
to you know, watch his work and that it really
is such an important storyline, and just kind of felt

(05:10):
the need to voice my appreciation for him and sent
some love to his family.

Speaker 4 (05:15):
Yeah, we got into it a bit last week. You know,
Enjoy was sharing her experience with him because I sort
of only knew of him just sort of in passing,
because we didn't really have anything together.

Speaker 1 (05:26):
Yeah, you guys never worked together. Your storylines didn't overlap.

Speaker 4 (05:30):
At this point, right, you know, but Joy has worked
with him intimately for an extended period of time, So
she was just speaking to what the lovely guy he was,
how he couldn't have been any more different than Josh
the character. Yeah, and just sort of celebrating what a
great guy he was. So yeah, absolutely heartbreaking, devastating, lost,
thirty five year old guy. It's so sad, so much

(05:52):
love and Comhirst to his family and loved ones right now.

Speaker 1 (05:57):
And you know, he had that thing that prior to
us recording, when we were just you know, testing our
mics and talking about this week, like he and Amanda
Shawl both, you know, they do this thing in their
storylines right now where they they play these unlikable or

(06:18):
scary people and they're just like two of the sweetest
humans on earth. So I don't know what, I don't
know what it was that. You know, our casting people
had such a knack for making sure that folks who
came in to like ruin someone's world on the show
were actually so kind to be around. So I feel
really lucky for that.

Speaker 4 (06:39):
What's interesting is I wonder if when they cast Amanda
as Sarah, if they had an inkling that they were
going to be doing this down the road. I think,
I don't want to speak too soon, but I believe
we're going to have Amanda on next episode and spoiler alert,
hopefully that still happens. But the wise, I apologize, but
I can't wait to ask because I am curious if

(07:01):
it was one of those situations where the audition material
was one scene Sarah and then another scene a bit
more ominous, much more Katie like, because.

Speaker 1 (07:09):
She wonders it I had forgotten.

Speaker 4 (07:12):
I knew the broad strokes of this storyline, but I
didn't remember any of the gallery stuff that happens in
this episode. And she made me so uncomfortable.

Speaker 1 (07:22):
Oh, she like makes my stomach get tight. You know,
it's like such a visceral response of anxiety, and she's
so she's so still. Yes, she's terrifying.

Speaker 4 (07:38):
That's exactly what I was going to say. There is
a calm and a confidence to her crazy that is
deeply unsettling. Mm hmm, I want let me run something
by you, because I did have this moment of going
This sort of seems to be a theme just in
storytelling in general, where once a character goes full crazy,

(08:02):
they go full cuckoo pants. They also simultaneously become an
expert cat burglar. Like as soon as people go off
the resident they lose their mind. Then all of a
sudden they're able to pick locks, scale second story balconies.

Speaker 1 (08:20):
Apparently turn off people's alarm systems exactly.

Speaker 4 (08:24):
That's the one thing I found myself going, like, hey,
when she in the opening scene when Claying quit her
sleeping and she's just standing on the balcony.

Speaker 1 (08:32):
By the way, on the balcony and they've got her
leaning like the Marlboro man, I was like, what's going
on here? I would have felt so much more unease
if I'd seen her walking and like trying a door handle,
but she's just kind of leaning. I was half expecting
her to be like slow smoking a cigarette. It was
so odd the stumus, But maybe the oddity was was

(08:56):
kind of the point is that like it's supposed to
feel creepy and weird.

Speaker 4 (09:02):
Well, a lot of the stuff that I kind of
initially went, huh at, I think when you look at
it under the lens of someone unhinged, all of it
makes sense. But I agree with you too because I
had the note of after this scene, I was like,
what's the endgame to that move? Because if you're the stalker,

(09:25):
it's usually about power and about control, right, So like
what would have made sense was she put like like
a picture of Sarah on like the table on the balcony,
like something to let you, like, let Clay Quinn know
I have access to you, yea. And the fact that
she just stood there for her own satisfaction. I thought,
first of all, you're a great climber, Katie, way to go.

(09:48):
And second, okay, like all right, but like they didn't
they don't know, so again it was it plays into
the creepy. But I did find myself going, was that
was that as far as your plan went, just gonna climb?
Because also she couldn't really even see them, there were
curtains between her and them.

Speaker 1 (10:05):
Well the curtains were drawn because she's in a silhouette
on the other side of the curtain. So again it's
why for me, I'm like well, why wasn't she walking
around the balcony trying to get into the house. It
just felt weird. And then even later when she clearly
breaks into Quinn's gallery because when Quinn gets to work,

(10:26):
she unlocks the door with her keys. Yeah, Katie smashes
the photo of you, and then Hot plays hide and
seek and then pops back out.

Speaker 4 (10:38):
Yes, I'm like.

Speaker 1 (10:40):
How'd she get in there? Where is said Locke picking kit?
But then she's back in the sort of storeroom with
Chantelle and she's just so creepy. It's just like the
jump scare of her appearing when she hangs up the
phone with you. Ye, that really got me And I
was like, Okay to Shay, I'll forgive the balcony because
that was really.

Speaker 4 (10:59):
Well that And again, I think the other thing I
can I can explain away all of this is you
can't apply logic to an to illogical behavior. So in
other words, she's not thinking through these plans with rationale,
like she's just she's just going for it. She's just
taking swings and not really thinking about the repercussions. So

(11:22):
all of it and under that lens I can buy.
But I had the same kind of moment, I don't
know that you did, but like I thought, okay, so
you went to a gallery, you bought one photo. Okay,
you've paid for it. We know because when I talk later,
Quinn says it's already been shipped, which means payment has happened.
So you went to a gallery, you bought one photo,
you then broke into the gallery to smash the one

(11:45):
photo you have paid for and then Lee it's like, really, yeah,
It's like it was odd. Then if that's the case,
why'd you pay for it? Friend? Or why don't break?
Why don't you break the other ones and leave one's
standing exactly?

Speaker 1 (12:02):
And then the weird thing too. I love the way
they had this whole conversation kind of in code, because
Katie's like, I want him now, even though she just
broke it, and then Quinn's like, I've already shipped it
and it's behind her, and I'm like, oh man, we're
really we're all doing this thing. I like that. I

(12:26):
actually always like when I can see the things people
are actually saying under the words they're choosing to use.
So I loved that part of it. But I was like,
oh wow, yeah, Quinn's just gonna like meet she's going
to meet this chick's crazy a little bit and be like,
I've already shipped it, per your instructions, even though it's
clearly inframe. And I was like, oh, I like this,

(12:50):
and it kind of gave me the proof of what
she said to you, like she's about to see how
unstable I can be. I was like, Oh, we're really
going to throw down. I'm loving the girls like going
to for tat here.

Speaker 4 (13:01):
Except I think though in that exchange where she says
I've already shipped it, it is not on the storeroom
floor anymore. It's now in the back room.

Speaker 1 (13:08):
Yeah, so oh wait, she says, I've already shipped, And
then the next conversation is in the storeroom because.

Speaker 4 (13:17):
In that I love that moment because Quinn knows that
Katie is the one who did this, and Katie's lying.
So Quinn is playing the game and she's bluffing back,
going yeah, it's already been shipped, waiting to see if
Katie's gonna go okay or I know it's here, and
sort of implicate herself. So it was this fun like

(13:37):
in real time. Quinn was just very sharp and caught
it and went no, you wanna bs, I'm gonna be
s with you and smile while I do it. Yeah,
you know.

Speaker 1 (13:47):
Well, And it was a very cool way for her
to say the thing without saying the thing, which is,
I'm drawing a line in the sand. This is my territory.
You're never going to be with my partner. Like it
was a really well written scene. Like again, hats off
to Shana and Renee because I was like, ooh, it

(14:08):
made me feel kind of excited to watch quin get
to stand up like that. And to your point, I
thought it was like very sharp.

Speaker 4 (14:16):
And there was such an element of threat and danger
to it. I love that Amanda was holding a giant
jagged excuse me, Katie was holding a giant jagged piece
of glass. Yeah, and you know, there's such I think
the easy I think the trap for a less experienced
actor is crazy means I'm going to do the most. Yeah,

(14:39):
I'm going to give you big eyes and wild mannerisms.
It's sort of like like an experience actor is playing drunk.
How they always overplay it, you know, and Amanda does
the experienced thing of no, I'm gonna play it subtle.
I'm gonna show you in my eyes and the result
is just that scene where she has Quinn cornered trapped

(15:01):
felt so much like the Apex Predator and the Deer.
We were just like, yeah, how does this end?

Speaker 1 (15:08):
And to your point, because she just had that massive
shart of glass, which gave me flashbacks to Ghost, I
was like, don't kill Patrick's lazy? Like I I really
liked Greg's choice as a director because you understand that
she you get the jump scares, she's revealed she's followed
Quinn into the back silently, and because he kept the

(15:30):
framing tighter on Amanda the whole time, I was like,
does Katie still have the glass? Does Katie still have
the glass?

Speaker 4 (15:39):
Like?

Speaker 1 (15:40):
And that was it. I just thought it was like
a very cool choice on his part because I, you know,
I didn't know, I didn't know if she had a weapon,
I didn't know what her plan was. And Amanda's stillness
played into that because if she'd been waving her arms
around freaking out, she would have actually seemed like less
of a threat. Yeah.

Speaker 4 (15:59):
Yeah, there's a sense of control and power to stillness,
you know, And that's right. I do even think about
the framing of it, but that's such a good point
because then you don't know that was good. Well done,
Well done done.

Speaker 1 (16:11):
Team.

Speaker 4 (16:12):
We talked about this last episode, but I have been
loving seeing Brooke and Julian finally happy. Yea, Brooke getting
a break from the tears.

Speaker 1 (16:22):
It's so nice. It's nice to have a good time,
and it was really nice to get into what, for
me as an actor was always some of the favorite
work I got to do Brooks sort of you know, flustered,
like fl mixed comedy. I always really enjoyed and being

(16:42):
able to do it because Victoria's the ones screwing up
was so fun. Like I just love being able to
freak out at Daphne and have her be completely unbothered
by it and just love it. Like it was always
a really fun dynamic for us on set on the
days where we got to shoot scenes like.

Speaker 4 (17:03):
This, And there's a fun dynamic that we got to
see in seven nineteen that we're seeing again in seven
twenty where it's Brooke being the parent chastising Victoria in
the child role. Yeah, you know, it's the second time
it's been a sit down. Brook has sat down Victoria
and Alexander to have a talk and the result is
so funny. I was confused when somehow Victoria gets confused

(17:30):
for Brooke when the story broke.

Speaker 1 (17:33):
I mean, we are in a moment where our hair
is exactly the same, and if I remember correctly, like
this sort of big blowout kind of you know, side
part like thing that we're doing. We really did try
to make her and I look very similar. And there's

(17:54):
the one shot. I can't remember which scene it's in,
but maybe it's when we're looking at the computer at
the store and she's over my shoulder, and really, I'm like, God,
we look so much alike. It's bizarre. I mean, even
my mom is like, she looks so much more like
your mom than I do. It's kind of a trip.

(18:16):
And so this idea that everyone just sort of assumed
that Brooke and her coworker would be the ones in
cahoots because her face was mostly blocked if I said
inappropriate act kind of tracked for me comedically. I loved
it and getting to be so mad that people think

(18:38):
I'm my mom, Like it's great.

Speaker 4 (18:41):
And of all the people to be confused with for
scandalous behavior, how funny. It's your own parents, your own parent,
it's not your your dumpster fire best friend. It's like, no,
it's my mom actually. But I think the only reason
why I I bumped on that was because there is
such a funny moment in seven nineteen. It's the button

(19:02):
Victoria has. I get the confusion, but the thing is,
she does this hilarious, slow, deliberate walk away from Alexander,
stepping over mouth and she looks down at mouth and
it skills and she goes scandalous. That's just scandalous.

Speaker 1 (19:19):
Yep.

Speaker 4 (19:20):
So I think the reason my eb bumped is because
it was such a powerful, hilarious Victoria moment that there
was no way of like, who else was there? Because
I was like, that was the funniest line of the episode.

Speaker 1 (19:30):
Yeah, well you know what For me in my brain,
I was like, oh, yeah, that's exactly how things go,
Like the telephone game gets played yes, and someone recounts
the story and someone goes, no, you must have that wrong,
and then it, you know, within two hours it's become
something completely different, and god, it's just so funny. Daphne

(19:51):
is so funny and in that very parental moment for me,
you know, sitting them down. One of the things I
really loved was watching them sort of have this conversation
about like, well, I don't care if everyone knows. Oh,
I don't care if everyone knows, and they're flirting in

(20:11):
front of me, and it's just like, this is this really?
Oh my god? You know, And it's fun to play
that dynamic because you're right, it's such a role reversal.

Speaker 4 (20:21):
I'm excited to see where it goes because when you
had that moment when Brooke goes, oh, are you not ashamed?
I thought that was going to be the end of it.
I thought that was the moment that Victoria's going to say, well,
now that the cat's out of the bag, this has
lost its appeal. But the fact that they it turned
into a flirting moment of like I'm not you, No,
I'm not. I don't remember where the storyline goes, So

(20:42):
I'm excited to follow it.

Speaker 1 (20:45):
Yeah, like they're just doubling down. It's great. I'm just
realizing because I'm looking at my notes and we are
talking about them the banter again that Shana and Renee

(21:08):
gave us in that scene. I'm calling this the blunder
down under instead of the thunder, and Victoria immediately saying, well,
the flag needs to be much bigger, Like, it's just
the way we get to bite back and forth at
each other, and she's justifying it saying cougar's are in now,
and then Brooks response immediately is have fun with your

(21:28):
cub like it just the wit in this and whether
it's comedic like they gave to us, or really sharp
and quick like what they give to Quinn in response
to Katie. I just think the writing in this episode
is so top notch.

Speaker 4 (21:47):
It's great. I also loved the way that they explained
why Clay hadn't said anything to Quinn about Katie, because
that was a big beef I had, right. I was
saying this to Joy last week. I don't unders stand
you could go and have that experience and not come
home straight to your partner and go you are never

(22:09):
gonna believe what just happened, right, Yes, But I love
how they explained it here where she says, hey, man, like,
why didn't you say anything?

Speaker 1 (22:17):
Yeah?

Speaker 4 (22:18):
And he was like, what was going on with your mom?
It didn't feel like the right time, yes, And I
had totally lost track of that, so it I went, oh, yeah,
obviously that is not the time to be bringing that
story up.

Speaker 1 (22:31):
And by the way, I've experienced that more than once
in my life. Like something happens and you don't go
to the person you normally would go to, or you
don't bring it up in the moment because someone has
just lost a parent or someone you know. I had
this happen recently with a friend and it wasn't even
over anything like serious, but there was something we hadn't

(22:52):
talked about. And when we talked about it, she was like, wait,
how did I not know this in real time? And
I was like, cause your dog died. Like when someone's
fourteen year old pet passes away, you're not going to
like bring up something that seems to suddenly be not important.
And it's like, whether it's the most serious thing which
I've seen when you know years ago when a friend

(23:15):
lost a parent, or it's something that you know feels
more trivial on that scale. But someone's like, wait, I
would have wanted to know about that in real time.
I would have wanted to be there for you. And
it's like you had bigger going on, And I think
that's a really human experience. And so even in the

(23:36):
context of something like top of scale, how crazy this
is that Clay is having this experience Quinn's mom's dying.
Of course he's not like, what's more important than that?
And to your point, I thought it was a really
really smart choice, and I thought you played it so
well because it wasn't It wasn't like a thing where

(24:01):
someone gets a little testy, like, well, obviously I wasn't
going to make it about me. It felt like this
really intimate moment for the two of you, and not
her being mad that you didn't tell her, her just
being like how could I not have known this? And
you being like how could I have talked about this
at that moment? And it's it's two people being really

(24:22):
generous with each other, and I don't know, it felt
very timely because I was like, man, I've I've experienced
this multiple times. My friends are experiencing versions of this
right now, Like it is really human and you just
don't always know you know when the right time is
when you're trying to I think respect other people's experience.

(24:42):
And I loved the way you guys played that well.

Speaker 4 (24:46):
And that's another kind of testament to I think also
the writing, but both Clean Quinn are gentle with each other. Yeah,
in other words, she doesn't hit him with the why
didn't you tell me about this? Tone? Yeah, which then
puts him in a position to not have to respond
on the defensive. Yeah, where it's not like your mom was,
you know, he is able to go like, yeah, man,

(25:06):
this is what was happening. I remember. Yeah, And it's
a nice meeting ground when you can kind of both
enter into it, like with that sort of compassion and
kitty gloves with each other.

Speaker 1 (25:16):
You know, it's interesting you put it that way, because
I also feel like that's what Millie and Marvin are
doing with each other, you know, her willing to check
on him and see if he's okay, even though she's
really sad and knows he's in this weird, confusing place,
Like I really, you're like, yeah, of course. I was

(25:37):
glad eventually when Brooke showed up, especially because they could
relate this. You know, the skills in Mouthfight is very
Brooke and Bayden in high school, and it's nice to
see the history of their friendship feel so relevant. But
I actually loved that Millie got there first, and I
loved that she chose to and to your point, she's

(25:59):
being really gentle with him, and because she's gentle with him.
It enables him to be honest, and he's not defensive,
he's just confused. Yeah, and it's I don't know, it's
really nice to see all these people in this position
where nobody's posturing, everyone's just trying to process together.

Speaker 4 (26:24):
Yeah. That scene with her was so human. Yeah, it
was so relatable where she she asked him, you know,
do you think of me? And he goes yeah, and
she takes a beat and she goes that helps Like,
oh yeah, because I have to say I've been on
the team Mouth miss Lauren for a while now. Yeah,

(26:45):
I've been rooting for that and I still wanted it
and was disappointed with some of the things that happened
in this episode, but I after that moment, I was like, Okay,
well that's very sweet. You two got something there. But yeah,
the Skills and Miss Lauren and Mouth triangle. Though I

(27:07):
found myself still rooting for Miss Lauren and Mouth throughout
the whole episode. I felt like she needs an emotionally
mature guy, and Skills is just not able to show
up as that guy right now. And I loved the
kind of come to Jesus talk she had with him
on his front porch, where she was like, hey, let's
introduce some accountability. You bounced, you didn't check in, and

(27:30):
then you show up like nothing has happened, Like yeah,
I just I loved it because also again she did
it with compassion. She wasn't pointing a finger while she
did it. She was just saying, hey, this is the
reality of the situation you created.

Speaker 1 (27:46):
Yeah, and I loved she got to call him out
and he was like it was only because of geography,
and she got to be like, no, you didn't call,
you didn't make an effort, And and what she got
to say without saying it is you didn't just disappear
on me. You disappeared on all these people who care
about you. And like, sure, you're out there working and

(28:11):
the hours are crazy. I mean, who who can understand?
You know, set hours more than us. But you you
can't be upset if people move on. If you yes,
if you've left a void where you used to be.

Speaker 4 (28:28):
Yes. And we saw, you know a scene where he
and Mouth are playing video games and Miss Lauren walks
in and he says, oh, I'm on with Mouth or
skills and she says something effective, how's he doing? I
haven't heard from him, So yeah, he made choices, like
he had time to play video games with his buddies,
so he could have had time to call. So he

(28:48):
had time to call her, he just chose not to. Yeah,
And I think him coming back and wanting miss Lauren
is totally fine. And well, it's just the attitude and
the entitlement that he came in with where he's like,
walks in, how's my girl, puts his arm around her.
I was saying, it's very oblivious main character energy, where
it's like, yes, I left the scene, so all of

(29:09):
the all of the other supporting characters freezes, right. Yeah,
And then he has the audacity to say to one point.
I think it's at the gallery last episode, he goes, hey,
you seem you seem distant. I'm like, bro, you've been
literally distant and figuratively distant. Yeah, what high pot meet
Kettle exactly.

Speaker 1 (29:28):
And and sure, you know you get that he's upset
that it's mouth because Mouse is his friend. But what
I also think is what I think is great about
it in adulthood, you know, versus all the teens in
high school, it's it's not pick me drama. It's like

(29:51):
these are two people who both love you, who both
felt really abandoned, and I get that hurts you, But
are you really surprised that they like bonded in their
sadness about missing you.

Speaker 4 (30:05):
Yes, you know, I think I've said this before in here,
but one of the most profound gems I ever got
from therapy was when my therapist said, it's not about
the damage, it's about the lack of repair. And I
love that, and I feel like that's kind of what's
happening here where It's like if you had just shown

(30:26):
up and been like, hey, my bad skill you skills
as was saying, like, yeah, sorry, I just dipped out
on you guys, I ghoested Jews, it would have been different.
But instead it's like he's not acknowledging it, he's not own.

Speaker 1 (30:39):
Yeah.

Speaker 4 (30:40):
So yeah, I found myself going, come on, come on.
And then when mouth tells after miss Lauren Anxiety bakes
a cake for him and shows up at his place,
I'm like, don't shoot her away on man, you know, Millie,
she's looking she's in early recovery. They say, not to

(31:02):
date in your first year. Give her some space studio.

Speaker 1 (31:06):
Yeah, come on, I don't know, it's interesting because as
we talk about it, I feel really appreciative that they
gave everyone some complexity and that you could really as
an audience member, like I feel like I'm on the
seesaw with all these people. I'm like, don't but oh,
I get it and I'm duh, like I'm mad at skills,

(31:29):
but also oh, it's so hard to like come home
from some all consuming thing and feel like your life
has moved on without you, and like I actually feel
for everybody, there's no way to totally get it right.
And I think that's nice because so often and maybe
that you know, it felt more true in the earlier years,
but like so often when there's some tension between people,

(31:53):
it's easier when you're watching it like this to pick
a side, and I feel like I kind of can't
pick any sides, and I.

Speaker 4 (32:01):
Like that there was also a lot of subtext. There
is also a lot of things not being said that work,
which is great, which is just so fun to watch,
you know, because sometimes everything is very on the nose
and heavy handed, where there is no deducing to do,
like you see exactly what's happening because the characters are
literally saying it whereas in this episode there was a

(32:24):
lot going unsaid, which I think makes for a scene
to be so much more interesting. You know, yeah, Alex,
talk to me about Alex, Josh Paul and Julian.

Speaker 1 (32:39):
I love it, and you know, something that was really
interesting for me, and I was glad that we got
to call this out really overtly and then less so,
but make a point like tabloid culture is so awful

(33:05):
because it uses people as supply, which is what narcissists do,
Like when you go through narcissistic abuse and you have
to learn how to recover from that, and you you
understand that it is so hard because you haven't been
having conflict or you know something that just ultimately isn't

(33:25):
going to be the lasting thing between two people. You
have a person who doesn't view their quote unquote opponent
as a person. They look at you as supply for
their demand, for their whatever. And tabloids treat people that way,

(33:46):
and you know, it's like a it's a business industry
version of bullying because they'll decide what you are and
then they'll tell a story about you because that story
makes them money, even if you know they have all
the evidence to the contrary. And what really got me
about this whole dynamic is, you know, twenty ten, like

(34:08):
we were, we were so at the height of like
you know, the tmzs and like the gross gossip blogs
and the and those people still exist and if they
decide they want to put a target on your back,
they will, But we didn't. We didn't really have our
own spaces online yet, Like the social stuff was like

(34:30):
just beginning where you could actually be yourself. And I
loved that we addressed this, and that we addressed the
way the double standard would exist for a woman and
would exist for someone like Alex and that someone, to
your point, who's in recovery is probably going to try

(34:51):
to make themselves feel better in all the wrong ways
as they stumble along this new road. And it was
twenty ten, it was two years before marriage equality passed
in the Supreme Court. It it's still not safe for
a lot of people to be out, and it really

(35:16):
wasn't at this point. And it really kind of made
me gasp when it was like, how many leading men
do you know that are gay? It shouldn't be that way,
but it is. And I appreciated that Paul from his
age range or you know, his perspective at his age.
I guess I should say was able to give Alex

(35:38):
this lesson and say, yeah, it's that, but this is
the way it is at current and we need to
hide it. And in a way I hate and would
obviously never recommend, but was pretty heroic on a TV
show since it was fake for Alex to say, you
know what, let's put this out there and then the

(36:01):
story is going to be that we're in love, and
then the story is going to be that we're a couple,
and yeah, people are gonna call me names, but it
won't be so bad if I was like, oh my god,
this crushes my soul for all of you, but what
a what a kind of snapshot of the time. And
then you know, you got from like the heavy icky

(36:24):
all the way to the very funny, with Brooke being like, oh,
you don't care, fabulous, I'm going to tell them it
was my mom, Hello TMZ, and I was like, oof.
I was glad we got to have a kind of
we got to run the gamut of like peeking under
the hood, if you will. On that conversation.

Speaker 4 (36:56):
The one thing I found myself wanting out of Paul though,
because especially since he's sort of turned over this new
leaf with Julian and we're seeing him sort of evolve.
I really wished in that scene that as opposed to
it being one hundred percent about that news affecting the film,
if it was, hey, this wouldn't be good for the film.

(37:17):
And also that's his story. It's not our place to
publicly out him, like just there was some also mention
of that, like the human aspect, as opposed to like
this would kill the film. And then the other thing
I didn't get was they obviously discover its extortion. Julian
goes to Paul's room, excuse me, Josh's room and is like,

(37:39):
that's over. Give them money back so they haven't lost
that million dollars. And Alex still it's her decision to
still let the tape leak.

Speaker 1 (37:53):
Yeah.

Speaker 4 (37:53):
And then what's odd at the end of it was
she tells Julian, I needed you to know that I
believed in you too, Yeah, And it felt it felt
weird to me because it's like, I don't understand if
you wanted to show him you believed in his film,
wouldn't you just promote the hell out of it? As

(38:13):
like the greatest movie you've been a part of. Well, yeah,
you're kind of What you're really saying is like, I
think this film needs a serious crutch to help it
out well.

Speaker 1 (38:24):
And what was sort of was like they still could
have done the press blitz and said, oh, they fell
in love on this movie. Like she could have said
I'm gonna help protect Josh and we'll use the tabloids
to our advantage with this thing or whatever. But yeah,
I got to say, like, not to be so serious, well,

(38:50):
but it is a serious topic, or not to be
a Debbie Downer. I don't know what I'm saying. The
fact is the writing from this pair of women is
so good and that that whole sequence, like for me
watching it, I was like, oh, that has our boss's
fingerprints all over it. Yeah, Like the woman has to
be a sacrificial lamb, she has to be sexually exploited.

(39:13):
She essentially has to experience digital assault because when people
you view you in an intimate act without your consent,
it literally like we know this now, you know, with
deep fake porn and all this stuff, it creates the
same response in the brain as being physically assaulted. And

(39:34):
like the fact that we had this guy in charge
of our show. That was like, well, obviously she's just
going to sell her own sex tape to make the
money for everyone and save the movie. I'm just like, God,
you're so gross, Like you're just so gross. It was
almost such a great storyline, and then you just had
to be so gross because what it suggests, without saying

(39:57):
the words, is that that's an acceptable way to treat
a woman and that that's how a woman has to
be a hero.

Speaker 4 (40:03):
And I was like, bit, yes, there's a serious element
of like martyrdom unnecessarily. So in the scene when it's
the first time we see Millie back when Alex is
just kind of downloading with her, Alex so nonchalantly is like, oh, yeah,
by the way, I was involved in a sex tape.
I didn't consent to haha. And yeah, I was caught

(40:26):
off guard, like you're having a moment with your friend
and there's not even a hint of anger. Yeah, remorse,
it's just like she says it. She laughs, and then
she walks out the door and says a button and leaves.
I was like, and that's her tone the entire episode. Yeah,
And so it was just odd, like I agree with

(40:48):
what you're saying, it takes the weight out of what
the implications of that actually.

Speaker 1 (40:52):
Are, because essentially what we do is we model to
an audience of millions of people that that's no big deal,
that's not a huge violation, that that's not something that
causes like trauma. If not, we'll give someone PTSD like it.
We make light of it in a way that is
like so not okay. And then and then when there's

(41:17):
this opportunity for this really great, you know storyline, and
to your point, like no one was talking about you know,
people's whether whose job it was to tell someone else's
story like the way we do now in twenty ten.
But even I could even appreciate that, you know, the
character of Paul the dad wouldn't be as conscious of

(41:38):
that stuff as we might be. You know, past generation
has to kind of learn whatever. But like we could
have had this really powerful conversation and then it was
like I know how to solve it. I'll go out
and put this on the internet. And I was like, wow,
we are We're just it was so special for a moment,
we were having such an important conversation and we're just

(42:00):
gonna throw the girl under the bus for the one
millionth billionth time, even.

Speaker 4 (42:05):
If there had just been a tiny moment of when
she goes into Josh's room, if she sits down with
them and she's like, Hey, what you did to me
was horrific. So here's how you can begin to make
amends for it. Yeah, here's the story. I'm gonna help
you out, but you owe me, you know what I mean,
just some sort of acknowledgment of it. I will say.
Another thing that I found incredibly egregious was the slow

(42:30):
mo shot because this happened in seven nineteen when Clay
sees Katie at the gallery, he drops his beer and
we do the slow mo shot of a bottle falling
and hitting the ground, as if the audience isn't registering
that there's a tremendous amount of surprise this episode. Back
to back episodes. Alex sees Josh and his male friend

(42:51):
kissing in the elevator and she drops the ice bucket,
and we have the slow mo close up of an
ice bucket. Yeah, like calling hitting the ground, Like, what
are we doing? Let's just watch the actor responding well.

Speaker 1 (43:05):
And by the way, not only is there the slow moll,
there's there was one other slow moost shot which did
not make any sense to me because the clay picture
gets thrown to the ground, the glass shatters, and then
completely still, they have Katie. They have Amanda Showl standing

(43:28):
in like a Superheroes us with the hood, the slow
pan up the body and the boots and the thing,
and then she pulls her hood off, but her hood
wasn't obstructing her face in the first place, and it's
broad daylight, and I was like, what is happening? And
I have we all have been in that position as

(43:49):
an actor where you are told we have to do
this and you're like, I think this is silly and unmotivated,
and they're like, it's the shot that's going to make
it all make sense. And you either figure out how
to fight your way into doing something else or you
kind of get strong armed into doing the thing that
you know is stupid. And I was like, I don't

(44:10):
know what show I'm watching right now, Like we went
from One Tree Hill to the Boys back to One
Tree Hill, but like she's not actually in a superhero outfit,
and I was like, God, she looks beautiful and it's
a great coat and her hair is flawless. But why
are we doing this?

Speaker 4 (44:25):
She's bringing serious, unhinged chic vibes to.

Speaker 1 (44:30):
The be and e and in a weird way. It
was like it was the reverse shot of you dropping
the beer bottle in the gallery, and then like in
the gallery, we pan up Katie and then we dropped
more with Alex, and I was like, who got into
Solomo in season seven like this?

Speaker 4 (44:52):
I don't know. I also had the same response as
you and I when they do the pan up and
Katie's in like knee high leather boots and a superhero
pose and she pulls the hood off. My first thought
was you just broke into a place in broad daylight.
That hood is obstructing nothing, and why are you choosing
to take it? Was just it was so odd and

(45:13):
sort of false. And also the scene with Alex ends
so not. Why do they slow mow extreme close up
of an ice bucket hitting the ground and the ice
cubes like it's saving private Ryan, the ice cubes flailing about,
falling everywhere. Then they push in from a close up
to like an extreme close up on Alex's face. Again

(45:34):
it's like the slow creep, as if we it's just
to me. It was like we don't need to hold
the audience's hand here. Jana's great. Just let Janet do
her thing and let's just watch her react.

Speaker 1 (45:45):
Also, we are all seeing this. We all are going,
oh my god, Josh, is this day?

Speaker 4 (45:50):
Yes, like we know, yes, it's distracting to then break
my concentration with the dramatic French film of an ice
bucket hitting the ground and realizing its own fragility, Like,
what are we doing?

Speaker 1 (46:04):
Yeah, it was, it was a little extra. We didn't
we didn't need it.

Speaker 4 (46:12):
Let's get into sweet sweet hales.

Speaker 1 (46:16):
Uh.

Speaker 4 (46:17):
I did not know the storyline was coming at all,
so it is. All of it is surprising me. And
it got dark fast.

Speaker 1 (46:25):
Yeah. Yeah, I think they're doing such a good job
with this that the speed of it, and look, we've
voiced this before. Sometimes I think we jump into things
a little too quickly. I think the speed is really fast.
But I think the again, the writing is so good

(46:48):
because the choices to make certain things feel impossible, which
I think is so true when you are going through
really substantial grief, like nothing feels important. Everything you're doing,
you know, feels insane. It's like suddenly you're in a

(47:10):
costume party. Of your own life. You're like, what is
everybody doing? And why is everyone working? And why are
those people like just buying groceries whatever it is. It's
so surreal that not everyone feels like the world has stopped.
And I thought they wrote really great representations of that

(47:34):
for her, like the inability to even hear what Miranda
is saying, the irrelevance of what meal it is, like,
it's breakfast, eat this, who cares?

Speaker 3 (47:46):
Like?

Speaker 1 (47:48):
It's really subtle stuff, But I think it communicated, like
what's the word I'm looking for? The catastrophic nature of
the law for her really well.

Speaker 4 (48:03):
Yes, And I think the fact that we ended seven
nineteen with watching her kind of have her first break
by the pool, because I agree, this does feel fast.
It feels like a lot very quick, Like the Chinese
food in the morning. Okay, that's obviously not her, but
let's be honest, cold Chinese nos are delicious, So not
a huge strike against you as a parent. The peeling

(48:25):
off in the Porsche and blowing off your shoot, that's big,
and then the just setting the piano on fire. But
I think the reason why I don't mind it so
much is because grief is different for everyone, and it
doesn't follow a timeline, and sometimes it can be slow
and other times it can be fat. Like you know,

(48:46):
there's no there's no playbook for it. So it's like, Okay,
I think I saw her break last episode, so maybe
this is what it looks like now that it's broken. Yeah,
I'm worried for Jamie and Nathan. Yeah, but it's interesting.

Speaker 1 (49:03):
We've seen these moments with him, you know, when Jamie's
having a hard time and he just offers to be
there for him a few episodes ago, and then in
this one you can see Nathan processing that something is
wrong and trying to figure it out, and he makes
a choice again just to show up for his kid

(49:25):
and not He doesn't say much, you know, he says,
your mom loves you and always will. He doesn't say
she's having a really hard time and she's acting out.
You know, Mom's not mad at you. She was upset that,
you know, about the soup. Like he chooses not to
say much and then says, let's let's do this puzzle together.

(49:46):
He's just gonna be there, and it's really nice to
not see him try to solve the problem but just
be present for.

Speaker 4 (49:55):
It, which I think is such a common reflex for guys,
is that I know that my first instinct is always
how do I fix it? Yeah, And it's a lot
of times the same. It's not about that no one's
asking you to by the way.

Speaker 1 (50:10):
I was just going to be like yes, same with
eldest or only daughters, where you're like I am I
have to be responsible for everyone and all their feelings
all the time. Like there's such a goal to jump
in and say, well, this is how we're going to
get through it. And I think it's really smart. And
also it's really nice as an audience member to see
our hero, you know, Nathan Scott is like he's the

(50:34):
superhero of one trio and he doesn't try to save
the day. He just sits with his kid. Yeah, and
it's like it that's a really beautiful choice.

Speaker 4 (50:48):
Yeah, I love that. Speaking of pianos, I loved Grub
playing to Miranda Grubs excuse me playing to Miranda? Did
you find yourself?

Speaker 5 (50:57):
Though?

Speaker 4 (50:57):
And he's singing and the first line is tell me
why we were talking when we dance so good?

Speaker 1 (51:03):
Yeah.

Speaker 4 (51:04):
I was like, no, sir, you dance well. But I
realized it had because it had two rhymes with the
following sentence, but every time he said it, I felt
that little, like neurotic voice in my head, going, you
dance well, you don't dance good?

Speaker 1 (51:18):
Yeah, your grammar Nerd is like activated. I think what
was really fun for me about it is again, I
you know, I knew their storyline was coming, and I
remember how it develops, but I didn't remember the episode
by episode specifics. And I love that song, and so
when he started, I was like, ah, it's here, it's here,

(51:40):
Like I just felt really excited. And and I think
they have such great chemistry and it's so nice to
watch him make music. And I don't know, I this
is the hopeless romantic in me, you know, who desire

(52:01):
to believe in the rom coms like will Never Die.
He's like, marry me, and I'm like, do it, just
do it?

Speaker 4 (52:08):
Stay?

Speaker 1 (52:09):
Yeah, you figure it out later. Who cares, you know?
And I'm like, am I am I good? Like I
am rooting for her to take him up on this offer,
And when he just stands there and sings to her,
I'm like, yeah, man, do it.

Speaker 4 (52:22):
I was confused by the time that he says marry me.
They have they have kissed, right, Like, aren't they they're
they're kind of dating, right, doesn't he? Yeah, she goes,
I think I have a boyfriend, because I was. I
was surprised with how taken aback she was. I get
that marriage is a big thing, but in this situation,
if you're already dating the person, I had the same

(52:45):
action as you. I went, this is actually just a
good plan.

Speaker 3 (52:49):
Right.

Speaker 1 (52:50):
Well, by the way, that's also being an adult. You're like, listen, Logistically,
it's a great idea because if you get to ported,
you're probably never going to be able to come back. Yeah,
but you could absolutely get married and then you know, dissolved,
have a dissolution file for a freakin annulment if you
need to, Like, we'll figure the details out later. Like
I immediately go into what is the more sort of
responsible strategic plan here so that these two can figure

(53:12):
out what they're doing. And I don't know, maybe we're
supposed to be so taken aback by that, but I
was rooting for it.

Speaker 4 (53:20):
I'm a fan. It's so nice that what a luxury
that we have so many talented musicians on our show,
And then anytime you see either of them, like winding
up to sing a song. You're like, yes, let's go.

Speaker 1 (53:33):
I know.

Speaker 4 (53:33):
I was so pumped when he's in the student, I'm like, oh,
he's going to sing a song about this right now,
isn't it? When he was writing it actually, when he's writing,
looking at I was like, Oh, we're about to hear
a lot song.

Speaker 1 (53:44):
Yeah, I know, it's really sweet. One of the things
that was interesting to me too is again, there's moments
that stand out in my memory. So I knew Haley
was going to set the piano on fire, but I
couldn't remember. I was like, is it going to be
the episode? Is it going to be next episode? When
she sits down with that Martini though ass, I was like,
oh my god, it's here, it's here, it's here, It's

(54:06):
gonna happen. I remember what a production it was. With
the flame bar. You know, there's these for people at home.
They basically have these metal pipes with holes in them,
kind of like you do in a gas fireplace that
they can put on a c stand and essentially suspend
and make fire come out of it. And they have

(54:27):
to to get that long line. And obviously we weren't
going to actually burn like a real expensive grand piano.
But then Nathan runs in and is like Haley, and
you know, he pulls her away from the flames and
he puts the fire out with that blanket. And then
I was like, and I realized I wanted to see
him like standing in front of the smoldering piano. And

(54:49):
then I went, oh, I forgot. We didn't really burn
the piano, like they couldn't show, you know, the charred
keys in the shot because it was big. I was
so bummed about it.

Speaker 4 (55:04):
I thought that we actually set a piano on fire
until the end of that scene when we never cut
to a reverse of Nathan's point of view. Yeah, I
didn't realize that is how we done it, but yes,
I was sort of I was hoping for the same
thing as well.

Speaker 1 (55:19):
Yeah, and it's it's funny when you know, you realize
what great film school training working on a set is
because as actors were like, oh, I know, I know
why that's not in the shot, got it? It was
special effects?

Speaker 4 (55:32):
Cool?

Speaker 1 (55:33):
And then I'm like, god, it sort of can really
kind of ruin the fun. But it did give me
a little giggle. I like that you and I both
were like, oh damn, because I did want to see.
I wanted smoking keys.

Speaker 4 (55:45):
Yeah, let's see some charred piano. I also loved this
is the way that scene ends with Haley just sort
of in her haze, just saying I'm going to go
call my mom.

Speaker 1 (55:54):
That broke heart.

Speaker 4 (55:56):
It's simultaneously told you how not in touch with reality
she was and just how heartbroken she was.

Speaker 1 (56:03):
Yeah, the stress and the experience of grief is like
breaking her brand's ability to process the timeline.

Speaker 4 (56:17):
I also liked that we got an explanation as to
why Katie currently is the way she is. Yes, when
Clay has a casual lunch date with her roommate, she's like,
she's off her lithium. It gets bad, and he's like
how bad. She's like, real bad, Mollie. You in danger girl?

Speaker 1 (56:36):
Yeah. Run.

Speaker 4 (56:39):
So that was nice to have some explanation because for
a couple of episodes, I've just been going why why
would you, yeah, suddenly be obsessed with a guy and
you have a lot going on exactly. And then the
other thing I really liked, which was just sort of
a one off scene, was Skills and Jamie at lunch.

Speaker 1 (56:57):
I was just gonna say, this is actually, this is
my Honorable mention for the episode.

Speaker 4 (57:02):
Yes, all right, take it away. Tell the folks why
we love it them.

Speaker 1 (57:08):
First of all, it's so cute to see Skills and
Jamie out on their own lunch date of sorts. And
I love that a you know, a grown up and
a kid are talking to each other as equals. It's
a really fun dynamic. And when Jamie says, but he's
your friend, and he's like yeah, and he's still my girl.

(57:29):
And to have a child say well, you stile here
from me first and we're still friends. To point out
that all sorts of people have feelings of all kinds,
and you know, maybe friendship is worth more than that.
It's it's refreshing because Brooke has done it. We were
talking about this earlier, like I'm the second one to

(57:52):
go check on mouth, right, and I do it. And
he says, well, you know, Peyton gave you a black
eye and she's like yeah, and you told me I
had to make up with her. Uh, you know. And
then it's like Pete married Lucas, Like what conversation are
we having about you three at this point? And the
humor of that that mouth gets that from his oldest

(58:13):
friend and then Skills gets that from his like best
little buddy, and it's so simple, Like it's the perfect
kind of real life manifestation of that phrase from the
mouths of babes, Like kids just get it, and Jamie
just gets it. And he's like the first person that
can remind Skills of the bigger picture.

Speaker 4 (58:36):
Yeah, he's a wise little owl. Remember that when there
was the beef going on between Mouth and Skills about
moving out. Yeah, and they were doing like the naked
off and all that stuff, and Jamie goes, uh, Skills
explains the whole thing and how he's feeling to Jamie,
and Jamie goes, what did he say when you told
him that? And he goes, I haven't told him that.
He's like, tell him that. And again it's like it's

(59:00):
the simplest thing, you know. But Yeah, I love the
scene for all those reasons. And I also just really
liked because this also made me kind of soften towards Skills,
because I've been a little bit annoyed with the behavior,
you know, like I want better of him. There is
something special as a parent about seeing another adult take

(59:21):
an interest and invest in your child. And I loved
so many people are an uncle or there, this or that,
but it's like they really only see the kid when
they stop by. And I loved it so much. It
made its such an impression on me to see that
part of his day. He planned an event for him
and Jamie to go out, just the two of them

(59:42):
and hang out as friends, because that is stuff that
Jamie will never forget. And it's really truly showing up
as an uncle and someone who cares for that little kid.
And so I found myself going, all right, skills, yeah,
I still love you.

Speaker 1 (59:58):
It's so sweet. Great episode, for sure, great episode.

Speaker 4 (01:00:04):
Honorable mens he is the honorable mensh.

Speaker 1 (01:00:07):
Yeah, good ones. Alyssa wants to know we never met
Clay's parents. Who would you have cast to play them?

Speaker 4 (01:00:28):
Oh my gosh, I have an immediate answer. Really, yes,
two National Treasures, Ted Danson, Mary Steam Virgin. Oh my god, yes,
because professionally they are both just incredible and they would
be great. But personally I love those two so much.

(01:00:49):
I don't know them personally, but just I just I
adore them anything they're and I'm like, I already like it,
what are they up to? They would have been great?

Speaker 1 (01:00:58):
Yeah, Oh my god, they would have been so fun.
Ted dancing so cool. I it's crazy that you say that.
I want to say. I want to say it was
maybe after season seven, I did a pilot in second
position to our show, and Mary Stein Virgin played my

(01:01:19):
mom and Don Johnson played my dad.

Speaker 4 (01:01:24):
WHOA.

Speaker 1 (01:01:25):
It was like the most fun I've ever had. It was, Yeah,
and Mary Stein Virgin is so cool, Like she's so cool,
and you know, our show got picked up and that
pilot didn't. And I remember just being like, I'm so happy,

(01:01:46):
and I'm also so sad, like I'm so glad to
be going back to work with my friends, and I'm
also so crushed I don't get to go to work
with these amazing people. I like people like that. You
just when you get to work with people of that

(01:02:07):
sort of caliber, like to do a show with Ted Danson,
that would that would probably change you, you know, as
a performer forever.

Speaker 4 (01:02:16):
Yeah. I would read a phone book with Ted. I
would do anything. If they're like, it's a commercial for
Herpies medication, You'd be like, fine, and you have to
be the spokesperson. But Ted Danson's going to be in it.
I'd be like, slap a fake cole sore on me. Baby,
we're doing this thing. I want to meet Ted Danson.

Speaker 1 (01:02:33):
I love it. Okay, well, ted Danson, we love you.
We love you, guys, Rispin a wheel. Let's imagine it's like,
who do you think would be most likely to do
a film with Ted Danson?

Speaker 4 (01:02:44):
Oh my gosh, who do you like more? Ted Danson
or Mary Steam Virgin. We're like, no, most likely to
forget their anniversary. Well, listen, if we're allowed to get
ahead of ourselves a bit, I'm going to say Clay
because he has a prepare for being forgetful about things.

Speaker 1 (01:03:02):
Yeah, that feels fair. That feels fair. Dates are kind
of tough for me, Like I have to look at
calendars all the time to make sure I'm not inverting numbers.
But I'm also so sentimental. I was gonna be like,
maybe it's me, and then I'm like, no, absolutely not,
I would never. I don't think I could do that.

Speaker 4 (01:03:22):
You mean you as in Sophia not broh.

Speaker 1 (01:03:24):
Yeah, Yeah, yeah, yeah, I got because you because you
got you got the character. And then I was like,
is it me? But no, I don't think it would
be me. There's things though, that numerically I struggle with, like, yeah,
you need to know about you know, when the women
in Iceland walked out to protest and how you know

(01:03:44):
it took however many days and it was ninety four
percent of the population. Like I can take you through
some social science, historical something. I I there are people
in my life whose phone numbers I do not know
and should and I'm like, I don't know, I don't know.
I know the shapes, but I don't know what order

(01:04:05):
they go in. But like some I read about that
impacted me about like, wow, that was a thing that
we did that worked good for humans. I'll never forget it.
And it doesn't make any sense.

Speaker 4 (01:04:16):
Have you ever heard how Einstein had a trouble counting
his bus change?

Speaker 1 (01:04:20):
No? Yeah, my god, are you saying I'm Einstein?

Speaker 4 (01:04:22):
What I'm basically saying, Sophia Bush, is that I think
you are the Albert Einstein of social and cultural historical
movements and reads.

Speaker 1 (01:04:31):
News makes me want to sob a little bit.

Speaker 4 (01:04:34):
So the next time you forget a phone number or
how to tie your shoes, little buddy, just remember you're
kind of Albert.

Speaker 1 (01:04:40):
I like and the bunny rabbit. Oh I love it.
This is so good okay, friends, We're going to see
you next week for season seven, episode twenty one. What's
in the Ground Belongs to You? You sounds ominous?

Speaker 4 (01:05:02):
Can't wait?

Speaker 1 (01:05:03):
Can't wait?

Speaker 4 (01:05:04):
Why everybody?

Speaker 1 (01:05:06):
Hey, thanks for listening. Don't forget to leave us a review.
You can also follow us on Instagram at Drama Queens
O t H.

Speaker 5 (01:05:13):
Or email us at Drama Queens at iHeartRadio dot com.

Speaker 1 (01:05:17):
See you next time.

Speaker 2 (01:05:20):
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all about them high school queens. We'll take you for
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