September 29, 2025 • 58 mins
Systems are failing, characters are cracking, and did you see that on-screen slapping?? The Drama Queens GO IN on Season 9 Episode 9 pointing out plot holes, police procedures, and even pleather!
Chase is caught doing the wrong thing for the right reasons, Brooke is being despised but we don’t know why, and Haley is seducing Dimitri with questionable clothing.
Hear why this episode left Joy in tears and the proper way to slap someone on camera!
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
First of all, you don't know me.
Speaker 2 (00:02):
All about that high school drama, Girl drama, Girl, all
about them high school queens, We'll take you for a ride,
and our comic girl sharing for the right teams.
Speaker 3 (00:12):
Drama Queenslie of girl fashion, but your tough girl, you.
Speaker 1 (00:16):
Could sit with us.
Speaker 4 (00:17):
Girl Drama, Queens Drama, Queens Drama, Queens Drama Drawn the
Queens Drama Queens.
Speaker 5 (00:24):
How are you doing? Enjoy We missed you last week.
Speaker 4 (00:26):
I'm sorry I missed it last week, although I did
listen back to the to the episode you guys did,
and it was really fun to listen to while I
was making my I was making my lunch, my prepping
my meals.
Speaker 6 (00:35):
For the week.
Speaker 5 (00:36):
Was it okay that I accepted all of the compliments?
Speaker 4 (00:39):
Yes, I appreciate I sincerely appreciate all of that. Okay, okay, cool,
Thanks for stepping in. Yes, something had to be said.
You can't just leave compliments floating out in the air
like that need to be gathered, So I appreciate you
gathering them from.
Speaker 1 (00:51):
When you can't attend the ceremony. Someone has to get
your awards right.
Speaker 5 (00:55):
That's it.
Speaker 4 (00:56):
I had, Like I was just telling Rob, I wish
I wish I remembered. I wish I'd written down notes
because as I was listening through, I was like, oh,
I want to comment on this, and I want to
mention that. And then you know the big lie that
we tell ourselves that we're going to remember things that
we don't write down after a certain age. I don't
understand what happens to my brain. But yeah, so I
didn't write them down, except I do remember that I
(01:19):
wanted to put my hat in the ring for the
listener question about.
Speaker 5 (01:23):
Snacks, which is say more yeah she said.
Speaker 4 (01:28):
The question was she had a snack where the calories
didn't count, and I was like, oh, I want to
do this one. Yeah, so bread for me too, or
cheese that my first thought was cheese, which I would
have expected it to be bread, But I'm definitely going
to go cheese because there's so many different kinds of
cheeses and they all fit on so many.
Speaker 1 (01:50):
They can be deserved cheeses. It can be a cream cheese.
Speaker 5 (01:54):
Just let me ask a question to someone who's not
a big cheese conass or can you sit down with
a block of cheese the way you can sit down
with a fresh loaf of bread and pretty much just
house it. You can, wow, yes, yes you can.
Speaker 6 (02:12):
Absolutely.
Speaker 4 (02:13):
I don't tend to go for blocks of cheese. If
I was going to do that would probably be like
a little wheel or something that's maybe a softer cheese.
Speaker 1 (02:21):
For me, old ball of Barada broken open, yeah, olive oil, salt, pepper, crackers,
tomatoes if they're in season, the whole thing.
Speaker 5 (02:35):
Here's the one thing I will say in this discussion
that I think bread has over cheese. Like so if
you just described an amazing thing, but it is leaning
on the crutch of crackers, whereas if you get a
fresh loaf of bread, you can just eat that bad
boy all by itself.
Speaker 4 (02:52):
Yeah, yeah, yeah, I think you said like half a
loaf in the morning and half a sour dough in
the evening. So I was like, yes, that sound that's
all I need.
Speaker 1 (03:00):
It's really all I And to your point, Rob, bread
only gets better with things, but the things are unnecessary.
I would struggle to eat a whole wheel of cheese
without other.
Speaker 5 (03:11):
Things way to hit that soft h wheel.
Speaker 1 (03:16):
But bread, I mean god, it's like if you have
a perfect loaf of bread, especially fresh, still warm and
a little butter, preferably for me, a little mald and salt.
You're done.
Speaker 6 (03:24):
Yeah, that's it, you guys.
Speaker 1 (03:26):
My mouth is watering. I need us to talk about
work because now I'm spamished.
Speaker 4 (03:33):
Oh well, what an episode this one was. I'll read
the thing. Okay, we have, we have, we have, Season nine,
Episode nine, Every Breath is a Bomb. Air date March seventh,
twenty twelve. I actually think this episode is titled Broken Systems,
but we'll get there. Brooke and Julian take a new take,
(03:53):
new measures to protect their family skills, Help's mouth get
to a turning point, Chase forces faces a consequences for
defending Chuck, while Clay reaches a new understanding with Logan.
Pete Kolski directed this.
Speaker 5 (04:06):
Ian Biggins wrote it, Ian Biggins sounds like he should
be in the Shire and Friends with Frodo, doesn't He agreed?
Speaker 6 (04:13):
He does.
Speaker 4 (04:14):
Ian Biggins tis for you episode, But we really loved it.
Speaker 5 (04:18):
Thank you so much.
Speaker 1 (04:19):
He did a great job.
Speaker 5 (04:21):
Well, this episode had a lot going on.
Speaker 4 (04:25):
Joy.
Speaker 5 (04:25):
Do you want to explain why you think it should
be called Broken Systems?
Speaker 1 (04:28):
Yeah?
Speaker 4 (04:29):
Well it felt like the theme to me. I mean,
we've got the police letting brook Down. We've got the
government system letting down Chase and Chuck.
Speaker 6 (04:38):
We've got the uh oh, what's the other one, Clay Brooke.
Speaker 4 (04:43):
Oh, well, obviously the police and the systems are letting
down Dan and Haley. They can't find Nathan, and nobody
seems to be really looking for him, and just like
feels like everywhere people are turning for help from the
people that are supposed to be helping them, nobody's doing anything.
Speaker 5 (05:02):
Before I forget towards the end of the episode, the
scene with Chase having his sort of tribunal with the
Air Force peeps, the lead guy. Was he not our
head of transpo or something? He was? He was one
of our crew, wasn't he? Was he? He was so
familiar when I was like, I'm pretty sure was he
a transpot camp?
Speaker 1 (05:22):
And he just goes back in there. Because I remember,
to your point, thinking oh my gosh, and then thinking
I'd remember when I watched the episode, and now that
it's the day we're recording, I don't.
Speaker 4 (05:34):
We were pulling a lot from our own because when
one of the plumbers was Pekowalski's son, Yeah, which was
so fun.
Speaker 1 (05:40):
The middle one, the second plumber to walk in the
handsome young guy.
Speaker 6 (05:44):
Yeah, yeah, so it was.
Speaker 1 (05:46):
It was really fun getting toward the end because we
did sort of figure out all these little places to
put crew and friends and family as little easter eggs
as the show was wrapping up.
Speaker 6 (05:58):
But I have to go back.
Speaker 5 (05:59):
And look, Yeah, it's super memorable. Face. Well, then let's
go back to the beginning because that first scene I
had a laugh out loud moment and what was not
a funny scene, which is Chase in the back of
the police car, Chuck and his mom on the porch.
But it's it killed me because Chase is handcuffed in
the back of the police car, covered in another man's blood. So,
(06:22):
but I'm not the one you should be arresting. And
I'm like, sir, you just beat a man with a
tire iron so hard his blood is covering you. You
should definitely be the one getting arrested. Like, I understand
the moral point of your argument, but you gotta look
at the visuals.
Speaker 4 (06:42):
Yeah, they arrest the data as well, because I didn't
see that guy in the back.
Speaker 5 (06:45):
Of a car. No, sure he was. Did he get
escreed out in a stretcher?
Speaker 1 (06:48):
I didn't see him in evidence anywhere. But it was
interesting to your point. It's almost like you can start
to trace where people lose the plot little bit because
Chase is sitting there going, no, I did the heroic thing,
and it's like, but you tried to do a heroic thing,
but what you actually did was assault and batteries, sir,
(07:12):
So like, yes, you were defending a kid, but you
still beat the shit out of somebody. And it's a
weird suspension of reality when you're so on the side
of one character that you start to lose the moral core.
Speaker 4 (07:24):
I missed the scene in the previous episode. Do they
show Chase like launching into this guy us and is
he just standing in the street or is this guy
like actually in the act and he's defending.
Speaker 5 (07:36):
No, he's not beating him, because what happens is Chase
goes to walk up and Chuck comes running out of
the house. So it's like Chuck is trying to like
flee a scary situation, and then you see Chase walk in,
and then through the silhouette of the living room curtains
in the window, you just see Chase like full extension
all the way back and coming down violently multiple times.
Speaker 1 (07:58):
It's almost vaudeville in almost silly, but it's also, to
Rob's point, so violent.
Speaker 4 (08:05):
Yeah, so's he's not interrupting a moment of violence and
trying to get.
Speaker 6 (08:09):
This guy to stop.
Speaker 5 (08:10):
Correct, Okay, because I just.
Speaker 4 (08:12):
Want to understand if this is not if this is
like a defense situation, or if this is just like
he's angry and lost his head and went in after
this guy.
Speaker 5 (08:20):
It's an enough is enough situation? I think.
Speaker 1 (08:22):
I also think the thought was I think the reason
the writers wrote it the way they did, having Chuck
running out of the house. What they're saying is this
kid is being beaten and manages to like squirrel out
of his dad's grip, and Chase is coming up as
Chuck is coming out of the house, and they both
(08:43):
know what's going on. And I will say I appreciate
that the writers the directors didn't force Michael May to
get beat up on camera by an adult. I'm glad
we didn't show that. I don't think violence, particularly again children,
should ever be shown in that manner. And so it's like,
(09:07):
I get it, But to your point, it also puts
Chase in a more gray area because what you see
through the shadow of the curtain is so aggressive. And
then to Rob's point, they really put a hat on
a hat, splattering blood on his face like he was
Jackson Pollock who'd been like painting on drugs for two days.
(09:28):
I was like, it's so much blood that it is. Yeah,
it kind of makes you giggle because it's so ridiculous
and it's uncomfortable.
Speaker 5 (09:37):
And let's just assume they're a normal family and the
dad was fully clothed. If blood is being splattered, it's
going to be from his face or head. Yes, so
I guess to answer the question of why we didn't
see the dad, you're not walking away from that, so
he's either laying there in the floor or he's been
stretched away. But yes, just the irony of Chase has
(09:58):
a blood soaked shirt, splattered face and he's like, you're
resting the wrong guy, and.
Speaker 4 (10:03):
It's like, sir, not in this situation.
Speaker 5 (10:07):
His intent was gold a plus, but his execution was
a dnus.
Speaker 1 (10:12):
I like that. That's a great way to put it.
Speaker 4 (10:14):
I guess he could have been a little more like Dan,
a little more thoughtful and methodical, gone and found the
guy later.
Speaker 1 (10:20):
Oh that's the thing. Very impressed with Dan and I
like coming, you know, sort of full circle with our
theories about who's behind Nathan's kidnapping. It's kind of interesting
to be the fly on the wall in the car
with Haley and Dan because Dan is explaining everything he
(10:44):
knows to you, right like he's letting you in on
the research. And this is what I figured out, and
this is how I kind of got to the bottom
of it. And in an interesting way, while he's telling
you these details, it's showing the audience. Maybe Dan is
a good guy, you know, maybe he did just get
caught up in the wrong moment. Maybe he really was
(11:04):
just threatening Clay's drug dealer and all this other stuff happened.
It still leaves that little question mark for me of
did Dan getting involved in the Clay of it all
really highlight you know, Nathan to these people.
Speaker 5 (11:19):
So to your point, though, Sofie, let me ask you
a question. First of all, it was so fun watching
Haley Haley pull a Jennifer Garner alias and dress up
like a street walker. That was fun, But was that
necessary because all you ended up doing was just getting
(11:40):
him to walk outside and then Dan jumps him, and
I kind of just felt like totally. You put your
son's wife in a very uncomfortable situation. It seems like
pretty unnecessarily to just grab a guy behind a dumpster
in broad daylight and beat him to death and kidnap him.
Speaker 4 (11:58):
Yeah, this was Haley's This was her plan, right. So
she goes to Dan and he's like, I'm just gonna
he cox. He's got the gun, and he's like, I'm
gonna go tell this guy what's up. And she's like,
you can't just walk in there.
Speaker 6 (12:09):
With the gun. And he's like, do you have a
better plan.
Speaker 4 (12:11):
She says yes, So yeah, this is Haley's plan, but
it does feel extremely superfluous.
Speaker 1 (12:21):
It's really like it could have been at a six
and they took it to a ten.
Speaker 6 (12:24):
Yeah.
Speaker 4 (12:25):
I mean I had fun, don't get me wrong, but
like the whole thing of that's it. I mean I
really thought they were going somewhere with this. Watching it
back because I didn't remember, I was like, oh, wow,
this is a whole thing that they've concocted. I mean,
that's so in the middle of the day, Like, how
easy is that to just get some guy to like
walk behind a dumpster. I don't know, it just didn't
(12:47):
seem necessary.
Speaker 1 (12:49):
Yeah, I mean maybe maybe the idea is if these
are guys as as they've said, as the warehouse guys
have said, right with if the audience knows that these
dudes in this crew run drugs and prostitutes, which I
mean essentially means I would imagine they're involved in some
(13:10):
kind of human trafficking, which is pretty grotesque. Like knowing
what we know about them, is Haley thinking like, oh, well,
I've got to be dressed up like a sex worker,
not just like a hawk girl at a bar, Like
you could have just as easily been in a haltertop
and a pair of jeans and had that guy staring
(13:31):
at you. But it's like the haltertop and the miniskirt
in the boots, like it's the thing.
Speaker 6 (13:36):
The whole thing.
Speaker 4 (13:37):
He also doesn't know who what Haley looks like.
Speaker 6 (13:40):
You're telling me this.
Speaker 1 (13:41):
Guy wife of the guy that you can she is
a pop star, she's a rock star or whatever she
went on tour.
Speaker 4 (13:46):
She's got you know, she's like a local celebrity. Now,
as you were mentioning about the holding in the airport
with Lucas, yes people recognize her. You're telling me this
guy does not know that the wife of the kidnapped
person looks like a Actually the fact that she's a
local celebrity.
Speaker 1 (14:02):
What well, And this is what doesn't make sense about
our show. Sometimes, the like hodumdum like idiocy of this
cop being like a small town man sounded like the
guy was hungry.
Speaker 5 (14:12):
People are going to run into.
Speaker 1 (14:13):
Each other like and then the other side of the
scales of our show is that Nathan's an NBA player,
Haley's a rock star. Book is like a multi billion
dollar corporation, which you know she's lost now, but still
like famous.
Speaker 5 (14:28):
What like what do you mean?
Speaker 1 (14:30):
It's like, are we in a teeny tiny small town
or are we like exceptionally famous people. I don't get it.
Speaker 5 (14:37):
We're both Sophie Gosh.
Speaker 4 (14:40):
You know.
Speaker 5 (14:40):
In Haley's defense, maybe listen, it's been a nightmare of
a couple of days for her. Yes, that would have
made more sense. But maybe she was just like, I
want to get drunk during the daytime, and this is
the perfect She just wanted to blow off some steam.
She wanted her escapism. So she's like, I'm gonna just
I'm gonna tart myself up to the nine. I'm gonna
(15:01):
catch a little buzz while it's like lunchtime, you know.
Speaker 7 (15:04):
Oh yeah, I do just love though that.
Speaker 1 (15:19):
It's the It's kind of the inverse of when we
did our Superhero episode when I had to beg you
to dress up with me and then you bring the boots, which,
by the way, are basically the boots we wore in
the Superhero episode. It must have been, and it's like
you Haley comes to see brook and is like, dress
me up like a hooker from the nineties, and Brooks
(15:40):
like got it all over it. Let me whip you
up a metallic top.
Speaker 5 (15:44):
Yes, that would have been an incredible montage. Also, you
know what I was thinking to Joy as I watched
the scene, I thought, just good for Joy, Like, you're
such a team player because you had had Maria what
four months before this scene?
Speaker 6 (15:57):
Yeah, I guess so.
Speaker 5 (15:58):
And they're like, hey, you just had your body totally
given away to another human being for a year. How
about we put you in the tightest pleather skirt and
boosty it like it was such an outfit. I'm sure
that could make you feel so vulnerable and like here
you had just had a baby and you were a
gamer and you did it.
Speaker 4 (16:16):
Thanks Rob, Thank you so much. Yeah, I really appreciate that.
I remember that being a thing. I was like, oh boy,
this is going to be this is going to be interesting.
But it turned out okay. You know, I think they
shot it really well and it looked great.
Speaker 1 (16:31):
Honestly, Rob started it, so I'll follow up with my thought.
When you like sidled up to the bar and leaned over,
I was like, use the breastfeeding for the people. Joy. Yeah,
I think this is incredible. You looked amazing and I
loved that you literally just like walked up and put
yours on the bar. I was like, you do it.
Speaker 6 (16:53):
Listen, I don't have fass anything. Okay, I know it.
Speaker 1 (16:57):
I appreciate it. It was so great.
Speaker 4 (17:00):
Thanks. Oh yeah, that was fun, but definitely uh but
to your point, Rob, I agree, it was a bit strange.
There was a lot about it that, you know, there's
so much that enters into the realm of camp and
unintentionally that we have to keep. You were saying this
in the last episode, so about us riding the shark,
the bridle on the shark.
Speaker 1 (17:21):
You know, Rob said riding the shark and then I
got the bridle.
Speaker 4 (17:24):
Oh yeah, that's right, okay, yes, so okay, rob this
oh yeah, you were floating your your idea about how this,
how this goes down on our show, and we do,
we do have perfected this riding the shark thing. But
the camp elements of like him are guy what's his name,
our guy Dmitri. You know, he's bending over to fix
something on his bike and his gun is just fully
(17:45):
hanging out of the back of his pants in the
middle of the street in the middle of the day.
Speaker 6 (17:49):
Like, okay, that's really a lot.
Speaker 4 (17:52):
And then we've got Dan beating this guy up in
the middle of the day behind a bar, which what
in the middle of the day. When then we get
him into a warehouse and this is now why we
understand he got a sound stage so that he can
torture someone. Yeah, in the sound stage where he makes
his hot dogs on his grill.
Speaker 5 (18:14):
Also, I think, okay, I'm sure because it's called a
sound stage that the majority of our viewers have never
been in a sound stage, so they just go, oh,
sound must not escape it. Sound escapes it. So the
man is screaming bloody murder like you will hear that
outside the stage. So it was also odd that I
(18:34):
was like not like take him somewhere in the woods,
you know. But it's like the sound stage doesn't mean
it sound proof exactly.
Speaker 1 (18:42):
Occasionally, actually sound stages make sound worse, like when we'd
have crazy torrential rain and have to hold because I
mean it sounded like we were inside of a popcorn popper.
Speaker 4 (18:55):
Airplanes, we were right next to the airport. We'd have
to pause for airplanes all the time.
Speaker 1 (18:59):
Yeah, the fact, listen, civil engineers, where you at? Because
the fact that somebody built a movie studio across the
street from the airport, just like yeah, knock knock, is
anybody home? How could this have been the choice?
Speaker 5 (19:16):
Did you guys ever shoot at STU Seagull Studios in
San Diego?
Speaker 1 (19:20):
Wait? What?
Speaker 2 (19:22):
No?
Speaker 5 (19:23):
I did two things down there. It's really did like Veronica,
mars and a bunch of other things. But it literally
shares space with They like leased out half of the
area too, It's like the Marines. So there would be
days where they would be practicing helicopter touchdowns, which is
literally flyover at land flybacks. So you would have a
twelve hour day that you would lose, like no joke,
(19:43):
an hour and a half to holding for helicopters. Oh
so yeah, it was to your point. So if it
was just like whoever designed this clearly didn't care about
efficiency or no how sound works.
Speaker 6 (19:55):
Yeah.
Speaker 4 (19:56):
I wonder if the airport was even there, because didn't
Capridge Junior, Frank Capra or Caper Junior like start the studio,
which would have been a long time ago.
Speaker 1 (20:06):
I mean, yeah, but I think it was in like
the sixties. There was an airport there?
Speaker 6 (20:09):
Oh there was? Yeah, yeah, so weird.
Speaker 1 (20:13):
It's also interesting to me everyone at home is like, okay, guys,
thank you so much. On the topic of things that
are extreme, the fact that Brooks, convicted not just stalker
but assaulter, yeah, is allowed to work across the street
(20:33):
from her. It drives me crazy because listen, it's it's
a I understand that it's a great device for the
discomfort that she can't escape this person, but that's literally
not how the law works.
Speaker 4 (20:47):
So actually, this is one of the things I was
wondering because I mean, I think there are there are
a lot of broken systems, particularly for women and their abusers.
Oh yeah, there's huge problems with the legal system in
that card. So is there an implied restraining order do
you know something about this that we don't know that
(21:07):
there's an implied restraining order when some or a very
literal restraining order usually put in place. Yeah.
Speaker 1 (21:13):
I mean, if you're asked to speak at a parole
hearing for someone who assaulted you, yeah, it's because you're
giving a victim impact statement, so you are registered as
a victim. And listen, we haven't seen this on the show,
but by the way the law is supposed to go. Yeah,
(21:33):
Brooke has a restraining order against this person, and you know,
civil restraining orders usually last for ten years, or criminal
restraining orders rather. So it's just so weird to me
that then this police officer is like, oh, he said
he didn't know it was your place, and you know,
he called me to let me know, and it's like, dude,
(21:53):
it's the same place where he beat the shit out
of her. It used to be her store and now
it's her and her best friend cafe. Like yeah, and
to your point, Joy, we've seen this. I mean, women
who go through domestic violence or you know, stalking, or
you know, partner or non partner violence like this absolutely
(22:16):
don't get treated the way they should. They don't get
protected the way they should if they're believed exactly right
in the first place. But the crazy part of this
is to me is like this guy did go to
jail for this, yeah, and everybody's acting like it's no
big deal. And I'm like, ah, she's actually one of
the ones who did get believed.
Speaker 6 (22:37):
Yeah.
Speaker 5 (22:38):
And it's also this, we don't this this show doesn't
take place in New York or Detroit, where there's a
lot of crime and there are a lot of things
happening to people, like a lot of people. This is
Tree Hill. It's a small town. So a man breaking
into a store and beating a woman very badly, that's
a huge thing.
Speaker 4 (22:58):
And she's a celebrity, a famous woman in town, and
she's like a local hero.
Speaker 5 (23:02):
And so it's odd that in a small town where
typically you would think that would be under a like
a micro microglass, no microscope. Yeah, and like and they
would be like overreacting, if anything. They're having like this
big city reaction of like, well, you know, he's got
to eat. It's like what.
Speaker 4 (23:19):
It's this storyline makes me feel so claustrophobic.
Speaker 1 (23:22):
Me too.
Speaker 4 (23:23):
It's just the because it's so real. I mean, I
don't know about the restraining order thing in the element,
but the element of like of coercive control and how
someone can harm you, abuse you, whether it's psychological or physical,
and then whether they've paid their time or not that
they can still walk around. And the way that he's
(23:44):
behaving with right, because he's making her think she's the
crazy one.
Speaker 6 (23:49):
He's behaving in this way.
Speaker 4 (23:51):
That's like, you know, everything in your body is telling
you this person has ill will toward me, they want
to harm me again in some way, but everything on
the surface looks perfect, so nobody's going to do anything
about it. And I just wanted to crawl out of
my skin. It was, Yeah, it really hit home for me.
(24:11):
It was just tough to watch.
Speaker 1 (24:12):
Yeah, it drives me crazy for the same reasons. And
you know what's interesting to me, Rob now that you're
saying that, it's like it's making no shock here because
I memorize statistics for weird reasons, like I don't understand
my own brain. But like eight of the ten states
where women go through the most violence aren't like the
(24:34):
states with those big cities you're talking about. They actually
are more like quote unquote rural states to begin with.
And so part of me is like, oh, maybe maybe
the thing that feels so ridiculous to me about the
way these cops are reacting to what Brooke is saying
is actually frustratingly more accurate, you know, because this is
(24:57):
what women typically go through. They don't get believed and
they get told like, well, once he tries to kill you,
we can do something. Once there's an attempt on your
life again, we can.
Speaker 4 (25:08):
Do reasonable, Like we understand why you'd be a little paranoid.
Of course this person assaulted you, but look, he's paid
his time. He just needs a regular job, like you
don't need to be hysterical.
Speaker 1 (25:20):
Yeah, And they make you feel crazy about it. And
then then I think the craziest part of it is
you see, not that that's like where this is going,
but then you do see with women who fight back,
you know, joy to your point, Like with all the
things we know about how true these situations are. So
often the women that fight back, who do the stand
(25:41):
your ground, who like who go out and get a
gun and do all the things that they tell you
you're supposed to do, then they go to jail.
Speaker 4 (25:47):
Or yeah, or they look crazy to the people in
their community because everybody just wants everything to be super
nice and easy. Let's just believe that everything's nice and okay.
Speaker 1 (25:56):
Yeah, it's kind of crazy and maybe part of what
makes me feel to use that word that you used,
because it's so accurate. The thing that makes me feel
so claustrophobic about this, I can I can separate the
two like certainly from my own personal experience, and then
watching it happen on screen is the way TERA's behaving
(26:19):
because not only to have a man like a police officer,
be like okay, little lady, but to have another woman
look at you and go good when when when? When? Like,
it's so upsetting and even that she's still playing her
(26:39):
competitive thing and that brooke looks at her and is like,
you're not listening to me, like please, and for you
and everyone else, this man is dangerous and she's just
like great, makes it even better for me to make
you squirm. It's like an injury on an injury, if
that makes sense, Yes it is.
Speaker 5 (26:57):
I was thinking about this because that's seen my mind.
First of all, she's a straight up sociopaths.
Speaker 6 (27:05):
We don't even know why.
Speaker 4 (27:06):
Is it literally just because she wants her cafe to
do well she blows into town. We don't know anything
about her motives. What the hell I.
Speaker 5 (27:14):
Don't see I don't think we they haven't laid enough
groundwork for that to be the case, because we really
haven't seen her like taking any pride really in it
or like they've told us nothing equity in our cafe exactly.
So that's what Like, Okay, obviously Xavier is so dangerous
and such a threat, and obviously the kidnappers are very dangerous.
(27:36):
But it's like you can almost explain away the kidnappers though,
like they are in it for money, Like their actions
are still dangerous and scary, but like they are just
like profiteering, right, But Tara and Xavier are kind of
in a group of their own where it's like it's
like sociopathic behavior. It's unpredictable, and it's that's kind of
(27:57):
that's like the scariest kind though, because at least, like you,
like the kidnappers, there's an angle, like they just want money,
so they're going to do whatever is going to yield
the most money. When Tara after that scene, I'm like,
she's truly a psychopath.
Speaker 4 (28:11):
Yeah, it's a psychological torment. Yes, what she's doing and
it's all for the end goal I guess, of getting
Brooke to leave and getting her out. So it's this
is another way that really sick people try and get
what they want if they don't know how to take
it by force or they feel like they'll they'll get
in trouble, they'll suffer some consequences they don't want to
have to suffer by taking something by force. Then they
(28:33):
that's coercion. Then they start to try and control the
situation with this like psychological torment.
Speaker 6 (28:39):
It's so awful.
Speaker 5 (28:40):
But it wasn't even like she had a cafe going
and you guys opened a cafe street. Yeah, she chose
this tiny town.
Speaker 3 (28:49):
She chows the.
Speaker 5 (28:49):
Spot across the street from you. It just that's what
makes her look even crazier is that there appears to
be no rationale for why she is going just balls out, gasly, menacing, destructive.
Speaker 1 (29:03):
And by the way, I wish we were getting some
motivation because Chelsea plays her so well, but I don't
understand why she's being asked to play these things, Like
why is Tara, to your point, the kind of person
who goes, I'm going to move in across from a
beloved cafe from a cultural institution in this small town
and try to ruin them. I'm I'm going to date
(29:26):
a rock star and then sleep with his best friend
behind his back, Like, who is this person? She seems
like an She's like an archetype of a femme fatale
that like an eight year old boy would come up
with or a twelve year old boy, which then makes
me go like how old is our bouse at this point,
(29:46):
like forty eight? Like, bro, are you okay?
Speaker 4 (29:49):
Yeah?
Speaker 1 (29:49):
And if she's gonna be this person, give her a reason,
give us, give us like some juice, make it make
sense so we can we can expect crazier and crazier
from her.
Speaker 4 (30:03):
Yeah, even just being a sociopath, which she is absolutely
and just obsessed with needing to get her way in
every situation and creating situations so that she can get
her way. But even that, we still need a reason
for her in the show to be doing that. There's
(30:24):
just there's no backstory for the support of the show,
Like I'm fine to have a sociopath, but we need
to know why why?
Speaker 5 (30:32):
You know, it would actually be enough if even in
that scene, if she had been like do you remember
such and such clothing line and you're like what and
she's like, yes, that was mine and it went out
of business. One You're like, even that would be like, oh,
she has an axe to grind.
Speaker 4 (30:47):
That design you stole that, you're a victorious stole that
you didn't know Victoria stole and you used it and
it became a big thing and it put her out
of business.
Speaker 5 (30:53):
Like anything.
Speaker 1 (30:55):
Yeah, by the way, even it could have been like
I applied for a job at closed Her Bros. And
was told like Victoria told me, I was a shoe in.
I quit my job, I moved to New York and
then you guys hired someone else. And yeah, it could
be like I never even saw you what, I never
saw your resume? What are you talking about? Like something?
(31:17):
But there's just no reason for her to hate this
other woman so much.
Speaker 4 (31:21):
I wonder if Chelsea ever asked if any of us
are still in touch, it would be interesting to find out,
like what what she would have Because she's the actress
having to play the part. She would have had to
ask these questions and get answers about it.
Speaker 5 (31:36):
Yes and no. Because it's a super successful show. She's
coming on for the last season. I can see her.
I can understand if I was in that spot maybe
being like an I don't want to rock the boat
thing and I'll just sure, I'll just play it. But
I wonder because I listen, that's those are the kind
of questions you'd be asking, like why am I doing this?
(32:07):
I will say to the episode's credit different than this,
we actually got a lot of questions answered with Clay
and Logan, which.
Speaker 1 (32:15):
I was I'm so excited to talk finally, and that
was a highlight of the episode for sure. How did
you feel about all that?
Speaker 5 (32:22):
Rub I thought was great, and I think that is
largely due to Pierce, because every time we cut to
him and his little earnest eyes looking up at Clay,
I'm just I'm there, I'm on board, I'm emotionally invested exactly.
He's so open that you don't really have to do
(32:44):
much else in a scene with him, and so I
thought the stuff. I thought it all worked, and I
thought it was great that he told Clay no at
the end. I didn't remember that. I didn't, like I said,
I only remember how we end, like the ending of
Sofa's episode that she directed, But I don't recall the
path to get there. So I liked that it wasn't
easy for Clay shouldn't be. I liked that we got
(33:05):
clarity as to where he's been for six years and
why this whole charade is unfolding the way it is.
The One thing I will say that was funny, and
they at least acknowledged it was when Clay and Logan
are talking outside and for some reason, the therapist and
Quinn are like ten feet away watching, which which is fine,
but then just apropos of nothing. The therapist is like,
(33:27):
he loves you, you know, he loves you, And in
my head immediately I'm like, that's such a violation. What
are you doing? And then he's like, I just violated
patient doctor confidentiality. But I'm pretty sure you knew it anyways.
I'm just like, what are we friends? Now?
Speaker 6 (33:44):
We're all friends?
Speaker 4 (33:46):
Oh?
Speaker 2 (33:47):
Yeah?
Speaker 1 (33:47):
It was so weird.
Speaker 4 (33:48):
It was like, Okay, I loved I really also did
love this storyline in this episode in particular, But it
was funny to me when Clay, when you were explaining
to Quinn the truth of of who Logan is, and
she says, are you sure?
Speaker 6 (34:06):
Are you sure?
Speaker 5 (34:07):
Are you sure?
Speaker 4 (34:09):
I'm just thinking about the practicality of that line, like yes, yes,
he's sure. There's no there's no way he's going to
be explaining any of this to you. I don't know,
maybe it was just dumb to me. I was listening
to this like, oh, I wish I wish they had
cut that line for her. That just seemed like such
a uh it's such a girl, like a like a
(34:31):
caricature girlfriend line like that, what are we going to do?
Speaker 5 (34:37):
Can I tell you what I see? I didn't bump
on that at all. I hear what you're saying, though,
But I think because to me it is that is
such an absurd, out of left field statement from Clay
that she's like, whatever it is, we're gonna be okay,
and he's like, I have a son I forgot about
for six years. That is bonkers. So I think I
(34:59):
totally except any person just going are you sure, because
that is just so absurd to say.
Speaker 6 (35:06):
Okay, fair enough, yeah, that's good.
Speaker 4 (35:09):
Well, but let me let me give your flowers too,
Because that scene where you were explaining to Logan who
you are. I got so emotional. I was on my
treadmill with my ten pound or whatever, the twenty pound
weight best. And I'm just walking watching this episode and
I had to just stop. I had to step off
to the side of my treadmill and just let myself
(35:31):
be emotional for a minute. You really really got me.
It was so beautiful.
Speaker 5 (35:35):
Thanks.
Speaker 6 (35:36):
Yeah.
Speaker 4 (35:37):
Yeah, And I was so sad when he said no
and walked away.
Speaker 1 (35:40):
Him saying no, like it knocked the wind at me
and your face, Rob and yeah, I don't know. There
was something so interesting, like the whole way that was
written for all the things that are done at a
ten when they should be at a six. That whole
scene was so gorgeous because it felt so human, even
(36:03):
the fact that Quinn said, just walk over there and
say hi, Logan and the rest will come. And then
you're like, are are you? Are you eating healthy? Like
it's so you have no idea what to say, and
we know why, you know, we know what's up, which
is a fun moment as an audience member. The whole
thing is so beautiful, and then for him to say no,
it's just.
Speaker 4 (36:25):
You were so breaking sort of you just kept it
really simple. I think that's what I really appreciated about it.
It wasn't I felt Clay's uncertainty. I felt the deep
care and the sensitivity and like the respect of not
expecting this kid all of a sudden to just be like, Daddy,
(36:46):
everything's fine. You know there was so you you really
handled that so beautifully.
Speaker 5 (36:51):
Oh yeah, thanks guys. Yeah. I think they did that
storyline a huge service by not making it easy for Clay.
Yes needed to be because you really, you make Logan
so much more of a real human To have him
not immediately go dad and have this great moment it
should be earned. He should be angry and yeah, and
(37:14):
I think they did also just with the dialogue, because
nothing about that scene should have had any polish on it.
Clay has no idea what he's doing, So the fact
that he's coming in and all of a sudden he's
like are you eating? Are you eating healthy? Or like
it's like what are you talking about? Like, oh yeah,
he has no idea what he's doing.
Speaker 1 (37:32):
Yeah, it's very sweet. It communicated so well. How suddenly
rudderless you feel, you know how, in a way having
the answer is almost harder than the mystery. And because
you've built up this beautiful rapport with this little boy,
it's like, well, what are you going to do? How?
(37:53):
How are you going to do this right? And it's
really nice to see you not have all of the answers,
you know, did.
Speaker 4 (38:04):
Anyone bump on the fact that the therapist said it
was my decision to not allow anyone to talk to
him until he found his way out of this fugue state?
Like I was like, Okay, maybe a few weeks, I guess,
like I could see a month or two, but like,
you're going to let this go on for six years years,
(38:25):
like that is seem super negligible to me. I mean,
I'm not a therapist who deals with people in the
fugue states, But good lord.
Speaker 5 (38:34):
That's a great point. I didn't bump on it in
the moment, but now that you're saying it, because I
was just thinking, like I don't know the rules of
fugue states, like like how you don't wake a sleepwalker.
R don't know if there's a protocol for fugue states.
But yeah, that's a good point because it's a really
long time. You can't also only be looking at how
it's affecting Clay. You are now choosing that a child
(38:56):
is going to grow up without his one parent for
six years, right, and.
Speaker 1 (39:01):
Then who's he living with Is he living with grandparents?
Speaker 5 (39:04):
It's her parents, Sarah, Yeah, Sarah's parents.
Speaker 1 (39:06):
So it's like it it's just such a it's such
a crazy thing. And again takes me back to where
we started. I'm like the cops incompetent malpractice. The therapist.
This feels like malpractice, Like what is everybody doing?
Speaker 5 (39:21):
And did the grandparents never show Logan a picture of
their mom, of.
Speaker 4 (39:25):
His mom and dad saying yes, no pictures. They didn't,
they didn't. They just obeyed this therapist just they were like, Okay, sure,
sounds good. We'll just raise his kid until he's ready.
I guess I'll never be ready.
Speaker 5 (39:36):
That's crazy.
Speaker 1 (39:37):
This little Boys essentially on the Truman Show.
Speaker 6 (39:40):
Uh huh, I don't like it.
Speaker 5 (39:41):
Also, yeah, yeah, and this therapist was so lackadaisical about
just being like he'll come around and literally six years
go by. Yeah yeah, he needed to be like way
more proactive or something.
Speaker 4 (39:54):
He was so invested though, he like comes to Tree
Hill to be a part b Clay's therapist and Logan
with him. Yeah, there's a whole there's a whole backstory
here that we just did not get.
Speaker 5 (40:06):
You know what else left me with more questions and
answered sweet Sweet Mouth's prosthetics.
Speaker 6 (40:13):
This is my note.
Speaker 4 (40:14):
Mouth is still in this stupid weight suit.
Speaker 5 (40:18):
I mean, okay, it's fine. I like that when Skills
is like, what has happened? At first, he just starts
to say, I'm eating for my job, and it's very
easy for just like one meal owed to become two
and three and it just builds up. I was like, yeah,
that's actually totally fair. But I appreciated that Skills went, yeah,
that's all fine and well, but you seem sad to me. Yeah, yeah,
(40:41):
you don't seem like the old mouth, And I thought
that was so smart because then it wasn't. It just
became a real issue that I think more people can
relate with, relate to. Yes, you know, and that was great.
I will say the hard part of me for that
scene was Mouth looks like a ghoule when he's sitting
at the table, the way the lighting in his prosthetics,
(41:04):
there is just something that does not look human about it,
and we have got to get him out of that.
Speaker 1 (41:11):
Because he's literally i mean, his face is covered in
layers of silicone, like it doesn't when it's not lit correctly.
It literally doesn't look like human flesh, and so it's
an unfortunate thing when you're watching an actor you really
like and you're so taken out of their performance by
(41:31):
something that's beyond their control.
Speaker 5 (41:34):
Yeah, he has the crow's feet of an eighty year
old farmer. It's like he gained weight. He didn't also
exist for sixty years on the side, you know.
Speaker 1 (41:44):
Yeah, Yeah, he didn't age decades. It's so weird.
Speaker 5 (41:51):
Tyler was great in this episode. Oh this moment, the
scene where he has to figure out a way to
help Chase and he goes into his office in the
two twin and interns are sitting there and it's basically
just him talking at himself the entire time and then
getting excited about it at the end. Was so freaking funny, man.
Speaker 1 (42:11):
Yeah, so great.
Speaker 4 (42:12):
I also loved him with Chase coming out of the
police station and him grabbing the ticket off of the
top of his windshield, rolling it up and throwing it
into the car the cop car next to him. Did
you notice this, Yes, it's just all part of the
action that he did. I don't know if Tyler asked
somebody to put a ticket on his car or if
it was like his car has a ticket. I don't
(42:33):
know who thought of that, but the man. Those are
the kinds of magic moments that I live for when
I'm watching shows. The stuff that's not being it has
nothing to do with the scene. It's not being said.
It's just normal, everyday action.
Speaker 5 (42:58):
Quick magic moment that I I want to circle back
to a scene we've already discussed, but it's when you
and Haley's leaving the bar and Dan is waiting for him,
and there's the slow mo shot of Haley putting on
her glasses walking away, and instead of an explosion because
that's usually what happens in these sort of slow mo scenes,
it is Dan Scott just beating the life out of
(43:20):
the drug dealer next to a dumpster.
Speaker 6 (43:22):
Yeah.
Speaker 1 (43:22):
Joy, I feel like they really gave you your David
Caruso moment with those sunglasses, and I was like.
Speaker 4 (43:27):
Yeah, wait to have some on my desk right now.
Oh yeah.
Speaker 6 (43:30):
It was like that slow mock.
Speaker 4 (43:32):
Yes, yes, that's it, and my elevens really showed up
that I've got their botox now.
Speaker 5 (43:37):
The only thing, because you were looking into the sun,
the only thing missing from that scene was just damn,
it feels good to be a gangster playing with the background.
Speaker 1 (43:47):
Yes.
Speaker 5 (43:48):
Also, the worst line of the episode was that drug
dealer in the scene prior in the bar, going, you
know what I like in a woman?
Speaker 4 (43:56):
Me?
Speaker 1 (43:57):
Oh, I know.
Speaker 5 (44:01):
He was sweet though he was he is, he's a
sweet guy, but he commits to some pretty tough dialogue.
Speaker 4 (44:09):
Yeah, he was great. I remember him being like, I'm
so sorry, I have to say this. I'm sorry.
Speaker 6 (44:16):
It's okay, buddy, go ahead.
Speaker 1 (44:17):
Yeah, you're like, just lay it on me. It's it's
our jobs today.
Speaker 5 (44:21):
Yeah.
Speaker 1 (44:22):
Also you had to throw it right back at him
and do the whole threesome gag. Like they really made
you guys go for it.
Speaker 4 (44:29):
Also, Stephen COLLETTI I just I have his name here
with a thousand exclamation points next to it because his
performance was so so good in this episode and the
way that he and he's so underrated, like watching him
on I want to say on trial, but that's not
the right word. Whatever they were at the at the hearing,
(44:49):
and the way his face he got all choked up,
his eyes got all watery and weepy when Chuck was
tested buying for him and came in and did the
right thing. I just really love watching Stephen work. He's
I just think he's so underrated. He keeps it all
(45:10):
pretty close to the vest, but if you're really watching,
you can see all the gears turning all the time.
Speaker 1 (45:15):
Yeah, Well he has such a Stephen has such an
inherent sweetness of spirit, and it's what made him so
great to come in as Chase in high school as
a clean teen you bought that he was just this
really pure, sweet teenage boy. And there is something about
that earnestness that he has maintained as he's grown into
(45:38):
a serious leading man, and it is so able to shine.
It's highlighted so well in this Big Brother story.
Speaker 6 (45:50):
Yeah, you know, because because yeah, all of.
Speaker 1 (45:53):
You guys, you're like gorgeous, hunky leading men, you know,
in these big relationships and doing the things. And but
to see this guy as a volunteer with a boy
who needs a mentor, it's a rare thing to see
on camera. And I think it's a very perfect device
that the writers gave to let something that is inherent
(46:17):
in our friend really shine through. And when you get
those moments, it feels it feels very emotionally profound.
Speaker 4 (46:25):
Yeah, I'm just glad they finally got him out from
behind the bar and just back happened Mia.
Speaker 6 (46:30):
And Alex and blah blah blah.
Speaker 4 (46:31):
Okay, okay, enough already, give this man something actually to do, and.
Speaker 5 (46:36):
They did something smart. Obviously it's great, see Chuck did
the right thing, But that they included Chuck's mom in
on it. I didn't realize how much we needed it
until she was there and actually said, we've reported to police.
We told him what was going on, because we like
Chuck so much by this point that we need to
know he's going to have at least one decent parent. Yes,
(47:00):
So the fact that she was in on I thought
was a really smart device to include her, because it
could have easily been Chuck doing it by himself, and
it wouldn't have had quite the same payoff because we
now are kind of so invested in him.
Speaker 3 (47:10):
Yeah.
Speaker 1 (47:12):
Agree.
Speaker 5 (47:14):
There were so many, like, so many great lines as
well in this, like when it was such a badass
moment of Dan sending Haley away at the sound stage
and saying he says something to the effect of like,
I'm going to have to do some things I don't
want you to see. Yeh, I'm going to I'm going
to need to do some things you shouldn't see. And I
love that as Haley is walking away, he just goes,
(47:35):
he's about to torture man, but he's never gonna miss
a great one liner, right, and he just goes, Yay, Haley,
you should give deb back her clothes. Like the fact
that he's got a little zinger when he's about to
burn a man was terrific. Here's a line I was
immediately curious about. Do you want to say something?
Speaker 1 (47:53):
So yes, I do before we move on, because this
is on the subject matter of death. Just in the
timeline of when we're this episode, I was just on
the West Coast for work. Ash came out to meet me,
and the week she was visiting coincided with Emmy weekend,
so we went out to things like, you know, we
were doing the thing with the folks who were working
(48:14):
with a Netflix. We like w into the night before
on the Sunday night in walk Barbara and her daughter
and we're just screaming and shrieking and we're like, oh
my god, oh my God, and we're having the whole thing.
And I'm like, honey, this is Barbara. You know, you
always hear us talk about the women who play the
moms on our show, and ash literally goes, what show
(48:36):
she plays a mom on?
Speaker 5 (48:38):
On?
Speaker 1 (48:38):
Which show? And I'm like, no, not now. She played
one of the moms on one trail And she literally
looks at Barbara and goes, I'm sorry, that's not possible.
Whose mom were you playing twenty years ago? I was like,
I'm telling you, And to watch Ashland's brain explode. She
was like, I don't understand what you're saying to me
right now, and I was like, no, yeah, Barbara just
(49:00):
is ageless. I don't I don't know what else to say.
Speaker 6 (49:03):
So hot always.
Speaker 1 (49:05):
Just like literally the hottest person in the room. None
of us know what to do about it.
Speaker 4 (49:09):
I know. I'm just glad I saw that in the
like next like coming up in the next episode or whatever.
I think she's in it, or she's in at some
point over the next couple of episodes. She's in it.
I saw her face somewhere, so I know she's coming
back for a little bit, which makes me really happy
that we get her before the end. But yeah, that
was a great moment. By the way, just to full
circle that line that Dan thrust out, it was sure
(49:31):
to give her dead, back her clothes.
Speaker 5 (49:33):
And then at the at the almost end of the episode,
Skills is asleep on the couch and Mouth goes to
wake him up, so I think they can go for
like a run or something, and in his slumber, Skills says, baby, please,
I'm not from Havana.
Speaker 6 (49:49):
Brilliant.
Speaker 5 (49:50):
I was immediately fast like I needed an episode about
what that means. Yes, yeah, it raised so many questions
I desperately wanted an answer to.
Speaker 1 (49:59):
Yes.
Speaker 5 (50:00):
Kudos to whoever threw that line in there, because that
was so funny.
Speaker 4 (50:03):
It was probably Antoine just laying there on the couch.
They're like, Antoine, just say something.
Speaker 6 (50:09):
He came up with it.
Speaker 5 (50:10):
Let's go with that, because I would. I love that
version of it. Yeah, it was just Twan ad libbing.
And then the last shot of the episode was a
real gasper because Xavier holding the baby.
Speaker 6 (50:26):
I don't like it.
Speaker 4 (50:27):
I'm I'm over the device of babies being stolen by
crazy people, crazy people breaking into bedrooms upstairs, just something else,
anything else, Crazy people do all kinds of crazy things.
Does it have to be even just him being outside
the house, like he could have just been standing on
the corner smoking a cigarette outside the house watch.
Speaker 6 (50:46):
And that would have been enough. Like I don't need
to see him in the room.
Speaker 5 (50:51):
What because we're doing that thing again where we assume
just because someone's a full blown psycho that they also
suddenly inherited the skills of a cat burglar. Yeah, because
you know, Brooke and Julian right now are on the
highest of alert, meaning exactly everything was double locked, everything
was triple checked, and he somehow got through all of
(51:11):
that woke up a baby, and.
Speaker 1 (51:13):
Like, yeah, it feels like.
Speaker 4 (51:15):
It's insulting the audience's intelligence too, Like we we get
the suspense, we feel it there. You don't have to
tell us more that we need to be afraid more.
We're already afraid.
Speaker 1 (51:26):
We're good, We're already creeped up. It's also such a
weird thing, isn't it that that, despite being a ridiculous,
overdone choice, that theoretically Xavier could have gotten away with
that then had he managed to do all the things
you just said, Rob But now, like who doesn't have
(51:46):
a nanet or a nest camera in their kids room?
Like you just would never it would never happen, like
you could, you would know you get an alert like
a fly goes by in your kid's room and your
phone lights up like MOS detected, and I don't know.
It's so it's weird to think about these these sort
(52:08):
of moments, especially with our show in the way tech
has taken all these leaps, like the fact that all
the kids were on flip phones at the beginning of
the show, and like the fact that there wasn't a
camera in a nursery.
Speaker 4 (52:22):
Then how about the fact that you guys are following
him and watching him break into a window, and you
have a phone with you, but you decided to make
a phone call with it instead of film him breaking
into the house.
Speaker 1 (52:35):
It's so silly. It's all so silly.
Speaker 5 (52:39):
We got to get to this question, but I got
say the one last silly thing was when Brooke walks
into the rival's cafe and sees Xavier. Dude. People can't
help themselves from doing a close up on the object
falling from someone's hand because I'm shocked. But I love
that this time, because it's always glass, it always needs
to break. I love that this time it was a
(53:01):
coffee pot with metal on the bottom, so it didn't
It was almost like them going this is the last one, guys,
this is but it's like, just trust that we're going
to see it on Brook's face. But no, we got
to show it falling and hitting the ground because that
means it's really scary.
Speaker 1 (53:17):
She's so startled she dropped something. Yeah, it's like okay, guys.
Speaker 5 (53:23):
Okay, I'll read this one. Peter asks Joy, what sort
of training did you do for that fight scene and
if you actually got to punch someone?
Speaker 6 (53:31):
Oh, Peter, Oh hi Peter.
Speaker 4 (53:33):
Well, it wasn't really a fight scene. It wasn't much
of a fight scene to me. I mean no, not really.
There wasn't much training involved. We had a stunt coordinator
who was like, here's about how far away you can
get from his face when you swing. Yeah, try not
to go any closer. And he was pretty good at
doing the reaction, which is surprisingly It can be hard
(53:56):
to do to get the timing right on that. So
we probably rehearsed it a couple of times. But now
there's no, no, no real training required.
Speaker 6 (54:05):
Yeah.
Speaker 1 (54:06):
I think one of the things that's always interesting about
throwing a slap or throwing a punch is there's obviously
a way you do that as a human, but for
our friends at home. Depending on where the camera is,
you often have to do a really weird exaggerated angle,
So like for a slap to look like it goes
straight across someone's face, depending on where the camera is,
(54:27):
it'll look straight in the scene, but you have to
start like lower right and go upper left or you do.
You have to do all these weird little things to
make it look correct on screen versus feel right in
your body. But if you do the weird thing that
feels really wrong that the stunt coordinator shows you to do,
(54:48):
then you see it on screen and.
Speaker 7 (54:49):
You're like, damn, it really looks like I hit that guy.
Speaker 1 (54:54):
That's like a fun little bts for you, Peter.
Speaker 5 (54:56):
Yeah, it's the same with love scenes where people are like,
oh my gosh, youus it's so hot, and you're like,
it is the opposite, Like there is so much technical
to it, like are they blocking my light? Am I
blocking theirs? Can I put my arm here? Like it
is the most uncomfortable.
Speaker 4 (55:10):
Yeah, if I've been that way, then I get all
these weird lines in my side, so I have to
make sure that I'm like my back is arched, you know,
it's like so comfortable.
Speaker 1 (55:19):
And then Also, you finally think you've got it right,
and it's like you were you were in her light,
you were in his light. You got to readjust this way,
so you have to make it look really passionate and
also keep your head at a weird angle. They get
you a cramp.
Speaker 6 (55:33):
Oh yeah, it's like such a bizarre.
Speaker 1 (55:35):
Thing to have to do.
Speaker 5 (55:37):
All right, let's spin a wheel.
Speaker 1 (55:41):
Alrighty.
Speaker 5 (55:49):
Most likely to become a professional gambler.
Speaker 1 (55:54):
Oh Antoine Antoine jinks. Oh yeah, yes, that man loves
a sports bet. He also is so good at bluffing.
I feel like you could be playing poker with Antoine
and he would just totally knock you sideways because he'd
have a great story no matter what his hand actually
looked like.
Speaker 5 (56:14):
And he plays, I think regularly in Domino's tournaments. So yeah, yeah, easily.
Speaker 6 (56:18):
Are you allowed to talk and poker?
Speaker 4 (56:20):
Can you just like yes, blah blah blah blah blah
blah blah, just talk. Yeah, so that could be part
of his Oh man, I would throw everybody off, I
bet because he would just go.
Speaker 6 (56:30):
He knows how to just run.
Speaker 5 (56:34):
Right. Next week we have season nine, episode ten Hardcore
will Never Die, but you will, Oh, boy, that's a
good title. It is, see if it lives up to
it heavy though.
Speaker 1 (56:47):
Heavy titles, hardcore and death and bombs. And we got
a lot going on this year.
Speaker 4 (56:53):
My god, I think we're wrapping it up soon with
those with those storylines. I hope at times coming, happy
times coming.
Speaker 5 (57:01):
I know. Can you believe there's only four episodes left
for us to covert? Wait? Is that actually ten? Eleven, twelve, thirteen? Gasp,
you shall joy? It's crazy.
Speaker 1 (57:11):
I know, I'm gonna go cry.
Speaker 5 (57:13):
We should just start watching them back in different languages
and we're like, well, none of us speak Farsie, but
what we think happened in this episode? All right, King,
thanks for joining us.
Speaker 1 (57:28):
See you next week.
Speaker 6 (57:30):
Hey, thanks for listening.
Speaker 1 (57:31):
Don't forget to leave us a review. You can also
follow us on Instagram at Drama Queen's ot.
Speaker 2 (57:37):
H or email us at Drama Queens at iHeartRadio dot com.
Speaker 1 (57:42):
See you next time. We all about that.
Speaker 2 (57:45):
High school drama Girl, Drama Girl, all about them high.
Speaker 1 (57:48):
School queens forever. We'll take you for a ride, and
our comic girl shared for the right teams.
Speaker 3 (57:54):
Drama Queens Up Girl Fashion Mitch, You'll tough, Girl, You
could sit with us, Girl Ramaquins Drama, Queas Drama, Queens Drama,
John Mcqueens Drama, Queens
Speaker 6 (58:07):
M
First of all, you don't know me.
Speaker 2 (00:02):
All about that high school drama, Girl drama, Girl, all
about them high school queens, We'll take you for a ride,
and our comic girl sharing for the right teams.
Speaker 3 (00:12):
Drama Queenslie of girl fashion, but your tough girl, you.
Speaker 1 (00:16):
Could sit with us.
Speaker 4 (00:17):
Girl Drama, Queens Drama, Queens Drama, Queens Drama Drawn the
Queens Drama Queens.
Speaker 5 (00:24):
How are you doing? Enjoy We missed you last week.
Speaker 4 (00:26):
I'm sorry I missed it last week, although I did
listen back to the to the episode you guys did,
and it was really fun to listen to while I
was making my I was making my lunch, my prepping
my meals.
Speaker 6 (00:35):
For the week.
Speaker 5 (00:36):
Was it okay that I accepted all of the compliments?
Speaker 4 (00:39):
Yes, I appreciate I sincerely appreciate all of that. Okay, okay, cool,
Thanks for stepping in. Yes, something had to be said.
You can't just leave compliments floating out in the air
like that need to be gathered, So I appreciate you
gathering them from.
Speaker 1 (00:51):
When you can't attend the ceremony. Someone has to get
your awards right.
Speaker 5 (00:55):
That's it.
Speaker 4 (00:56):
I had, Like I was just telling Rob, I wish
I wish I remembered. I wish I'd written down notes
because as I was listening through, I was like, oh,
I want to comment on this, and I want to
mention that. And then you know the big lie that
we tell ourselves that we're going to remember things that
we don't write down after a certain age. I don't
understand what happens to my brain. But yeah, so I
didn't write them down, except I do remember that I
(01:19):
wanted to put my hat in the ring for the
listener question about.
Speaker 5 (01:23):
Snacks, which is say more yeah she said.
Speaker 4 (01:28):
The question was she had a snack where the calories
didn't count, and I was like, oh, I want to
do this one. Yeah, so bread for me too, or
cheese that my first thought was cheese, which I would
have expected it to be bread, But I'm definitely going
to go cheese because there's so many different kinds of
cheeses and they all fit on so many.
Speaker 1 (01:50):
They can be deserved cheeses. It can be a cream cheese.
Speaker 5 (01:54):
Just let me ask a question to someone who's not
a big cheese conass or can you sit down with
a block of cheese the way you can sit down
with a fresh loaf of bread and pretty much just
house it. You can, wow, yes, yes you can.
Speaker 6 (02:12):
Absolutely.
Speaker 4 (02:13):
I don't tend to go for blocks of cheese. If
I was going to do that would probably be like
a little wheel or something that's maybe a softer cheese.
Speaker 1 (02:21):
For me, old ball of Barada broken open, yeah, olive oil, salt, pepper, crackers,
tomatoes if they're in season, the whole thing.
Speaker 5 (02:35):
Here's the one thing I will say in this discussion
that I think bread has over cheese. Like so if
you just described an amazing thing, but it is leaning
on the crutch of crackers, whereas if you get a
fresh loaf of bread, you can just eat that bad
boy all by itself.
Speaker 4 (02:52):
Yeah, yeah, yeah, I think you said like half a
loaf in the morning and half a sour dough in
the evening. So I was like, yes, that sound that's
all I need.
Speaker 1 (03:00):
It's really all I And to your point, Rob, bread
only gets better with things, but the things are unnecessary.
I would struggle to eat a whole wheel of cheese
without other.
Speaker 5 (03:11):
Things way to hit that soft h wheel.
Speaker 1 (03:16):
But bread, I mean god, it's like if you have
a perfect loaf of bread, especially fresh, still warm and
a little butter, preferably for me, a little mald and salt.
You're done.
Speaker 6 (03:24):
Yeah, that's it, you guys.
Speaker 1 (03:26):
My mouth is watering. I need us to talk about
work because now I'm spamished.
Speaker 4 (03:33):
Oh well, what an episode this one was. I'll read
the thing. Okay, we have, we have, we have, Season nine,
Episode nine, Every Breath is a Bomb. Air date March seventh,
twenty twelve. I actually think this episode is titled Broken Systems,
but we'll get there. Brooke and Julian take a new take,
(03:53):
new measures to protect their family skills, Help's mouth get
to a turning point, Chase forces faces a consequences for
defending Chuck, while Clay reaches a new understanding with Logan.
Pete Kolski directed this.
Speaker 5 (04:06):
Ian Biggins wrote it, Ian Biggins sounds like he should
be in the Shire and Friends with Frodo, doesn't He agreed?
Speaker 6 (04:13):
He does.
Speaker 4 (04:14):
Ian Biggins tis for you episode, But we really loved it.
Speaker 5 (04:18):
Thank you so much.
Speaker 1 (04:19):
He did a great job.
Speaker 5 (04:21):
Well, this episode had a lot going on.
Speaker 4 (04:25):
Joy.
Speaker 5 (04:25):
Do you want to explain why you think it should
be called Broken Systems?
Speaker 1 (04:28):
Yeah?
Speaker 4 (04:29):
Well it felt like the theme to me. I mean,
we've got the police letting brook Down. We've got the
government system letting down Chase and Chuck.
Speaker 6 (04:38):
We've got the uh oh, what's the other one, Clay Brooke.
Speaker 4 (04:43):
Oh, well, obviously the police and the systems are letting
down Dan and Haley. They can't find Nathan, and nobody
seems to be really looking for him, and just like
feels like everywhere people are turning for help from the
people that are supposed to be helping them, nobody's doing anything.
Speaker 5 (05:02):
Before I forget towards the end of the episode, the
scene with Chase having his sort of tribunal with the
Air Force peeps, the lead guy. Was he not our
head of transpo or something? He was? He was one
of our crew, wasn't he? Was he? He was so
familiar when I was like, I'm pretty sure was he
a transpot camp?
Speaker 1 (05:22):
And he just goes back in there. Because I remember,
to your point, thinking oh my gosh, and then thinking
I'd remember when I watched the episode, and now that
it's the day we're recording, I don't.
Speaker 4 (05:34):
We were pulling a lot from our own because when
one of the plumbers was Pekowalski's son, Yeah, which was
so fun.
Speaker 1 (05:40):
The middle one, the second plumber to walk in the
handsome young guy.
Speaker 6 (05:44):
Yeah, yeah, so it was.
Speaker 1 (05:46):
It was really fun getting toward the end because we
did sort of figure out all these little places to
put crew and friends and family as little easter eggs
as the show was wrapping up.
Speaker 6 (05:58):
But I have to go back.
Speaker 5 (05:59):
And look, Yeah, it's super memorable. Face. Well, then let's
go back to the beginning because that first scene I
had a laugh out loud moment and what was not
a funny scene, which is Chase in the back of
the police car, Chuck and his mom on the porch.
But it's it killed me because Chase is handcuffed in
the back of the police car, covered in another man's blood. So,
(06:22):
but I'm not the one you should be arresting. And
I'm like, sir, you just beat a man with a
tire iron so hard his blood is covering you. You
should definitely be the one getting arrested. Like, I understand
the moral point of your argument, but you gotta look
at the visuals.
Speaker 4 (06:42):
Yeah, they arrest the data as well, because I didn't
see that guy in the back.
Speaker 5 (06:45):
Of a car. No, sure he was. Did he get
escreed out in a stretcher?
Speaker 1 (06:48):
I didn't see him in evidence anywhere. But it was
interesting to your point. It's almost like you can start
to trace where people lose the plot little bit because
Chase is sitting there going, no, I did the heroic thing,
and it's like, but you tried to do a heroic thing,
but what you actually did was assault and batteries, sir,
(07:12):
So like, yes, you were defending a kid, but you
still beat the shit out of somebody. And it's a
weird suspension of reality when you're so on the side
of one character that you start to lose the moral core.
Speaker 4 (07:24):
I missed the scene in the previous episode. Do they
show Chase like launching into this guy us and is
he just standing in the street or is this guy
like actually in the act and he's defending.
Speaker 5 (07:36):
No, he's not beating him, because what happens is Chase
goes to walk up and Chuck comes running out of
the house. So it's like Chuck is trying to like
flee a scary situation, and then you see Chase walk in,
and then through the silhouette of the living room curtains
in the window, you just see Chase like full extension
all the way back and coming down violently multiple times.
Speaker 1 (07:58):
It's almost vaudeville in almost silly, but it's also, to
Rob's point, so violent.
Speaker 4 (08:05):
Yeah, so's he's not interrupting a moment of violence and
trying to get.
Speaker 6 (08:09):
This guy to stop.
Speaker 5 (08:10):
Correct, Okay, because I just.
Speaker 4 (08:12):
Want to understand if this is not if this is
like a defense situation, or if this is just like
he's angry and lost his head and went in after
this guy.
Speaker 5 (08:20):
It's an enough is enough situation? I think.
Speaker 1 (08:22):
I also think the thought was I think the reason
the writers wrote it the way they did, having Chuck
running out of the house. What they're saying is this
kid is being beaten and manages to like squirrel out
of his dad's grip, and Chase is coming up as
Chuck is coming out of the house, and they both
(08:43):
know what's going on. And I will say I appreciate
that the writers the directors didn't force Michael May to
get beat up on camera by an adult. I'm glad
we didn't show that. I don't think violence, particularly again children,
should ever be shown in that manner. And so it's like,
(09:07):
I get it, But to your point, it also puts
Chase in a more gray area because what you see
through the shadow of the curtain is so aggressive. And
then to Rob's point, they really put a hat on
a hat, splattering blood on his face like he was
Jackson Pollock who'd been like painting on drugs for two days.
(09:28):
I was like, it's so much blood that it is. Yeah,
it kind of makes you giggle because it's so ridiculous
and it's uncomfortable.
Speaker 5 (09:37):
And let's just assume they're a normal family and the
dad was fully clothed. If blood is being splattered, it's
going to be from his face or head. Yes, so
I guess to answer the question of why we didn't
see the dad, you're not walking away from that, so
he's either laying there in the floor or he's been
stretched away. But yes, just the irony of Chase has
(09:58):
a blood soaked shirt, splattered face and he's like, you're
resting the wrong guy, and.
Speaker 4 (10:03):
It's like, sir, not in this situation.
Speaker 5 (10:07):
His intent was gold a plus, but his execution was
a dnus.
Speaker 1 (10:12):
I like that. That's a great way to put it.
Speaker 4 (10:14):
I guess he could have been a little more like Dan,
a little more thoughtful and methodical, gone and found the
guy later.
Speaker 1 (10:20):
Oh that's the thing. Very impressed with Dan and I
like coming, you know, sort of full circle with our
theories about who's behind Nathan's kidnapping. It's kind of interesting
to be the fly on the wall in the car
with Haley and Dan because Dan is explaining everything he
(10:44):
knows to you, right like he's letting you in on
the research. And this is what I figured out, and
this is how I kind of got to the bottom
of it. And in an interesting way, while he's telling
you these details, it's showing the audience. Maybe Dan is
a good guy, you know, maybe he did just get
caught up in the wrong moment. Maybe he really was
(11:04):
just threatening Clay's drug dealer and all this other stuff happened.
It still leaves that little question mark for me of
did Dan getting involved in the Clay of it all
really highlight you know, Nathan to these people.
Speaker 5 (11:19):
So to your point, though, Sofie, let me ask you
a question. First of all, it was so fun watching
Haley Haley pull a Jennifer Garner alias and dress up
like a street walker. That was fun, But was that
necessary because all you ended up doing was just getting
(11:40):
him to walk outside and then Dan jumps him, and
I kind of just felt like totally. You put your
son's wife in a very uncomfortable situation. It seems like
pretty unnecessarily to just grab a guy behind a dumpster
in broad daylight and beat him to death and kidnap him.
Speaker 4 (11:58):
Yeah, this was Haley's This was her plan, right. So
she goes to Dan and he's like, I'm just gonna
he cox. He's got the gun, and he's like, I'm
gonna go tell this guy what's up. And she's like,
you can't just walk in there.
Speaker 6 (12:09):
With the gun. And he's like, do you have a
better plan.
Speaker 4 (12:11):
She says yes, So yeah, this is Haley's plan, but
it does feel extremely superfluous.
Speaker 1 (12:21):
It's really like it could have been at a six
and they took it to a ten.
Speaker 6 (12:24):
Yeah.
Speaker 4 (12:25):
I mean I had fun, don't get me wrong, but
like the whole thing of that's it. I mean I
really thought they were going somewhere with this. Watching it
back because I didn't remember, I was like, oh, wow,
this is a whole thing that they've concocted. I mean,
that's so in the middle of the day, Like, how
easy is that to just get some guy to like
walk behind a dumpster. I don't know, it just didn't
(12:47):
seem necessary.
Speaker 1 (12:49):
Yeah, I mean maybe maybe the idea is if these
are guys as as they've said, as the warehouse guys
have said, right with if the audience knows that these
dudes in this crew run drugs and prostitutes, which I
mean essentially means I would imagine they're involved in some
(13:10):
kind of human trafficking, which is pretty grotesque. Like knowing
what we know about them, is Haley thinking like, oh, well,
I've got to be dressed up like a sex worker,
not just like a hawk girl at a bar, Like
you could have just as easily been in a haltertop
and a pair of jeans and had that guy staring
(13:31):
at you. But it's like the haltertop and the miniskirt
in the boots, like it's the thing.
Speaker 6 (13:36):
The whole thing.
Speaker 4 (13:37):
He also doesn't know who what Haley looks like.
Speaker 6 (13:40):
You're telling me this.
Speaker 1 (13:41):
Guy wife of the guy that you can she is
a pop star, she's a rock star or whatever she
went on tour.
Speaker 4 (13:46):
She's got you know, she's like a local celebrity. Now,
as you were mentioning about the holding in the airport
with Lucas, yes people recognize her. You're telling me this
guy does not know that the wife of the kidnapped
person looks like a Actually the fact that she's a
local celebrity.
Speaker 1 (14:02):
What well, And this is what doesn't make sense about
our show. Sometimes, the like hodumdum like idiocy of this
cop being like a small town man sounded like the
guy was hungry.
Speaker 5 (14:12):
People are going to run into.
Speaker 1 (14:13):
Each other like and then the other side of the
scales of our show is that Nathan's an NBA player,
Haley's a rock star. Book is like a multi billion
dollar corporation, which you know she's lost now, but still
like famous.
Speaker 5 (14:28):
What like what do you mean?
Speaker 1 (14:30):
It's like, are we in a teeny tiny small town
or are we like exceptionally famous people. I don't get it.
Speaker 5 (14:37):
We're both Sophie Gosh.
Speaker 4 (14:40):
You know.
Speaker 5 (14:40):
In Haley's defense, maybe listen, it's been a nightmare of
a couple of days for her. Yes, that would have
made more sense. But maybe she was just like, I
want to get drunk during the daytime, and this is
the perfect She just wanted to blow off some steam.
She wanted her escapism. So she's like, I'm gonna just
I'm gonna tart myself up to the nine. I'm gonna
(15:01):
catch a little buzz while it's like lunchtime, you know.
Speaker 7 (15:04):
Oh yeah, I do just love though that.
Speaker 1 (15:19):
It's the It's kind of the inverse of when we
did our Superhero episode when I had to beg you
to dress up with me and then you bring the boots, which,
by the way, are basically the boots we wore in
the Superhero episode. It must have been, and it's like
you Haley comes to see brook and is like, dress
me up like a hooker from the nineties, and Brooks
(15:40):
like got it all over it. Let me whip you
up a metallic top.
Speaker 5 (15:44):
Yes, that would have been an incredible montage. Also, you
know what I was thinking to Joy as I watched
the scene, I thought, just good for Joy, Like, you're
such a team player because you had had Maria what
four months before this scene?
Speaker 6 (15:57):
Yeah, I guess so.
Speaker 5 (15:58):
And they're like, hey, you just had your body totally
given away to another human being for a year. How
about we put you in the tightest pleather skirt and
boosty it like it was such an outfit. I'm sure
that could make you feel so vulnerable and like here
you had just had a baby and you were a
gamer and you did it.
Speaker 4 (16:16):
Thanks Rob, Thank you so much. Yeah, I really appreciate that.
I remember that being a thing. I was like, oh boy,
this is going to be this is going to be interesting.
But it turned out okay. You know, I think they
shot it really well and it looked great.
Speaker 1 (16:31):
Honestly, Rob started it, so I'll follow up with my thought.
When you like sidled up to the bar and leaned over,
I was like, use the breastfeeding for the people. Joy. Yeah,
I think this is incredible. You looked amazing and I
loved that you literally just like walked up and put
yours on the bar. I was like, you do it.
Speaker 6 (16:53):
Listen, I don't have fass anything. Okay, I know it.
Speaker 1 (16:57):
I appreciate it. It was so great.
Speaker 4 (17:00):
Thanks. Oh yeah, that was fun, but definitely uh but
to your point, Rob, I agree, it was a bit strange.
There was a lot about it that, you know, there's
so much that enters into the realm of camp and
unintentionally that we have to keep. You were saying this
in the last episode, so about us riding the shark,
the bridle on the shark.
Speaker 1 (17:21):
You know, Rob said riding the shark and then I
got the bridle.
Speaker 4 (17:24):
Oh yeah, that's right, okay, yes, so okay, rob this
oh yeah, you were floating your your idea about how this,
how this goes down on our show, and we do,
we do have perfected this riding the shark thing. But
the camp elements of like him are guy what's his name,
our guy Dmitri. You know, he's bending over to fix
something on his bike and his gun is just fully
(17:45):
hanging out of the back of his pants in the
middle of the street in the middle of the day.
Speaker 6 (17:49):
Like, okay, that's really a lot.
Speaker 4 (17:52):
And then we've got Dan beating this guy up in
the middle of the day behind a bar, which what
in the middle of the day. When then we get
him into a warehouse and this is now why we
understand he got a sound stage so that he can
torture someone. Yeah, in the sound stage where he makes
his hot dogs on his grill.
Speaker 5 (18:14):
Also, I think, okay, I'm sure because it's called a
sound stage that the majority of our viewers have never
been in a sound stage, so they just go, oh,
sound must not escape it. Sound escapes it. So the
man is screaming bloody murder like you will hear that
outside the stage. So it was also odd that I
(18:34):
was like not like take him somewhere in the woods,
you know. But it's like the sound stage doesn't mean
it sound proof exactly.
Speaker 1 (18:42):
Occasionally, actually sound stages make sound worse, like when we'd
have crazy torrential rain and have to hold because I
mean it sounded like we were inside of a popcorn popper.
Speaker 4 (18:55):
Airplanes, we were right next to the airport. We'd have
to pause for airplanes all the time.
Speaker 1 (18:59):
Yeah, the fact, listen, civil engineers, where you at? Because
the fact that somebody built a movie studio across the
street from the airport, just like yeah, knock knock, is
anybody home? How could this have been the choice?
Speaker 5 (19:16):
Did you guys ever shoot at STU Seagull Studios in
San Diego?
Speaker 1 (19:20):
Wait? What?
Speaker 2 (19:22):
No?
Speaker 5 (19:23):
I did two things down there. It's really did like Veronica,
mars and a bunch of other things. But it literally
shares space with They like leased out half of the
area too, It's like the Marines. So there would be
days where they would be practicing helicopter touchdowns, which is
literally flyover at land flybacks. So you would have a
twelve hour day that you would lose, like no joke,
(19:43):
an hour and a half to holding for helicopters. Oh
so yeah, it was to your point. So if it
was just like whoever designed this clearly didn't care about
efficiency or no how sound works.
Speaker 6 (19:55):
Yeah.
Speaker 4 (19:56):
I wonder if the airport was even there, because didn't
Capridge Junior, Frank Capra or Caper Junior like start the studio,
which would have been a long time ago.
Speaker 1 (20:06):
I mean, yeah, but I think it was in like
the sixties. There was an airport there?
Speaker 6 (20:09):
Oh there was? Yeah, yeah, so weird.
Speaker 1 (20:13):
It's also interesting to me everyone at home is like, okay, guys,
thank you so much. On the topic of things that
are extreme, the fact that Brooks, convicted not just stalker
but assaulter, yeah, is allowed to work across the street
(20:33):
from her. It drives me crazy because listen, it's it's
a I understand that it's a great device for the
discomfort that she can't escape this person, but that's literally
not how the law works.
Speaker 4 (20:47):
So actually, this is one of the things I was
wondering because I mean, I think there are there are
a lot of broken systems, particularly for women and their abusers.
Oh yeah, there's huge problems with the legal system in
that card. So is there an implied restraining order do
you know something about this that we don't know that
(21:07):
there's an implied restraining order when some or a very
literal restraining order usually put in place. Yeah.
Speaker 1 (21:13):
I mean, if you're asked to speak at a parole
hearing for someone who assaulted you, yeah, it's because you're
giving a victim impact statement, so you are registered as
a victim. And listen, we haven't seen this on the show,
but by the way the law is supposed to go. Yeah,
(21:33):
Brooke has a restraining order against this person, and you know,
civil restraining orders usually last for ten years, or criminal
restraining orders rather. So it's just so weird to me
that then this police officer is like, oh, he said
he didn't know it was your place, and you know,
he called me to let me know, and it's like, dude,
(21:53):
it's the same place where he beat the shit out
of her. It used to be her store and now
it's her and her best friend cafe. Like yeah, and
to your point, Joy, we've seen this. I mean, women
who go through domestic violence or you know, stalking, or
you know, partner or non partner violence like this absolutely
(22:16):
don't get treated the way they should. They don't get
protected the way they should if they're believed exactly right
in the first place. But the crazy part of this
is to me is like this guy did go to
jail for this, yeah, and everybody's acting like it's no
big deal. And I'm like, ah, she's actually one of
the ones who did get believed.
Speaker 6 (22:37):
Yeah.
Speaker 5 (22:38):
And it's also this, we don't this this show doesn't
take place in New York or Detroit, where there's a
lot of crime and there are a lot of things
happening to people, like a lot of people. This is
Tree Hill. It's a small town. So a man breaking
into a store and beating a woman very badly, that's
a huge thing.
Speaker 4 (22:58):
And she's a celebrity, a famous woman in town, and
she's like a local hero.
Speaker 5 (23:02):
And so it's odd that in a small town where
typically you would think that would be under a like
a micro microglass, no microscope. Yeah, and like and they
would be like overreacting, if anything. They're having like this
big city reaction of like, well, you know, he's got
to eat. It's like what.
Speaker 4 (23:19):
It's this storyline makes me feel so claustrophobic.
Speaker 1 (23:22):
Me too.
Speaker 4 (23:23):
It's just the because it's so real. I mean, I
don't know about the restraining order thing in the element,
but the element of like of coercive control and how
someone can harm you, abuse you, whether it's psychological or physical,
and then whether they've paid their time or not that
they can still walk around. And the way that he's
(23:44):
behaving with right, because he's making her think she's the
crazy one.
Speaker 6 (23:49):
He's behaving in this way.
Speaker 4 (23:51):
That's like, you know, everything in your body is telling
you this person has ill will toward me, they want
to harm me again in some way, but everything on
the surface looks perfect, so nobody's going to do anything
about it. And I just wanted to crawl out of
my skin. It was, Yeah, it really hit home for me.
(24:11):
It was just tough to watch.
Speaker 1 (24:12):
Yeah, it drives me crazy for the same reasons. And
you know what's interesting to me, Rob now that you're
saying that, it's like it's making no shock here because
I memorize statistics for weird reasons, like I don't understand
my own brain. But like eight of the ten states
where women go through the most violence aren't like the
(24:34):
states with those big cities you're talking about. They actually
are more like quote unquote rural states to begin with.
And so part of me is like, oh, maybe maybe
the thing that feels so ridiculous to me about the
way these cops are reacting to what Brooke is saying
is actually frustratingly more accurate, you know, because this is
(24:57):
what women typically go through. They don't get believed and
they get told like, well, once he tries to kill you,
we can do something. Once there's an attempt on your
life again, we can.
Speaker 4 (25:08):
Do reasonable, Like we understand why you'd be a little paranoid.
Of course this person assaulted you, but look, he's paid
his time. He just needs a regular job, like you
don't need to be hysterical.
Speaker 1 (25:20):
Yeah, And they make you feel crazy about it. And
then then I think the craziest part of it is
you see, not that that's like where this is going,
but then you do see with women who fight back,
you know, joy to your point, Like with all the
things we know about how true these situations are. So
often the women that fight back, who do the stand
(25:41):
your ground, who like who go out and get a
gun and do all the things that they tell you
you're supposed to do, then they go to jail.
Speaker 4 (25:47):
Or yeah, or they look crazy to the people in
their community because everybody just wants everything to be super
nice and easy. Let's just believe that everything's nice and okay.
Speaker 1 (25:56):
Yeah, it's kind of crazy and maybe part of what
makes me feel to use that word that you used,
because it's so accurate. The thing that makes me feel
so claustrophobic about this, I can I can separate the
two like certainly from my own personal experience, and then
watching it happen on screen is the way TERA's behaving
(26:19):
because not only to have a man like a police officer,
be like okay, little lady, but to have another woman
look at you and go good when when when? When? Like,
it's so upsetting and even that she's still playing her
(26:39):
competitive thing and that brooke looks at her and is like,
you're not listening to me, like please, and for you
and everyone else, this man is dangerous and she's just
like great, makes it even better for me to make
you squirm. It's like an injury on an injury, if
that makes sense, Yes it is.
Speaker 5 (26:57):
I was thinking about this because that's seen my mind.
First of all, she's a straight up sociopaths.
Speaker 6 (27:05):
We don't even know why.
Speaker 4 (27:06):
Is it literally just because she wants her cafe to
do well she blows into town. We don't know anything
about her motives. What the hell I.
Speaker 5 (27:14):
Don't see I don't think we they haven't laid enough
groundwork for that to be the case, because we really
haven't seen her like taking any pride really in it
or like they've told us nothing equity in our cafe exactly.
So that's what Like, Okay, obviously Xavier is so dangerous
and such a threat, and obviously the kidnappers are very dangerous.
(27:36):
But it's like you can almost explain away the kidnappers though,
like they are in it for money, Like their actions
are still dangerous and scary, but like they are just
like profiteering, right, But Tara and Xavier are kind of
in a group of their own where it's like it's
like sociopathic behavior. It's unpredictable, and it's that's kind of
(27:57):
that's like the scariest kind though, because at least, like you,
like the kidnappers, there's an angle, like they just want money,
so they're going to do whatever is going to yield
the most money. When Tara after that scene, I'm like,
she's truly a psychopath.
Speaker 4 (28:11):
Yeah, it's a psychological torment. Yes, what she's doing and
it's all for the end goal I guess, of getting
Brooke to leave and getting her out. So it's this
is another way that really sick people try and get
what they want if they don't know how to take
it by force or they feel like they'll they'll get
in trouble, they'll suffer some consequences they don't want to
have to suffer by taking something by force. Then they
(28:33):
that's coercion. Then they start to try and control the
situation with this like psychological torment.
Speaker 6 (28:39):
It's so awful.
Speaker 5 (28:40):
But it wasn't even like she had a cafe going
and you guys opened a cafe street. Yeah, she chose
this tiny town.
Speaker 3 (28:49):
She chows the.
Speaker 5 (28:49):
Spot across the street from you. It just that's what
makes her look even crazier is that there appears to
be no rationale for why she is going just balls out, gasly, menacing, destructive.
Speaker 1 (29:03):
And by the way, I wish we were getting some
motivation because Chelsea plays her so well, but I don't
understand why she's being asked to play these things, Like
why is Tara, to your point, the kind of person
who goes, I'm going to move in across from a
beloved cafe from a cultural institution in this small town
and try to ruin them. I'm I'm going to date
(29:26):
a rock star and then sleep with his best friend
behind his back, Like, who is this person? She seems
like an She's like an archetype of a femme fatale
that like an eight year old boy would come up
with or a twelve year old boy, which then makes
me go like how old is our bouse at this point,
(29:46):
like forty eight? Like, bro, are you okay?
Speaker 4 (29:49):
Yeah?
Speaker 1 (29:49):
And if she's gonna be this person, give her a reason,
give us, give us like some juice, make it make
sense so we can we can expect crazier and crazier
from her.
Speaker 4 (30:03):
Yeah, even just being a sociopath, which she is absolutely
and just obsessed with needing to get her way in
every situation and creating situations so that she can get
her way. But even that, we still need a reason
for her in the show to be doing that. There's
(30:24):
just there's no backstory for the support of the show,
Like I'm fine to have a sociopath, but we need
to know why why?
Speaker 5 (30:32):
You know, it would actually be enough if even in
that scene, if she had been like do you remember
such and such clothing line and you're like what and
she's like, yes, that was mine and it went out
of business. One You're like, even that would be like, oh,
she has an axe to grind.
Speaker 4 (30:47):
That design you stole that, you're a victorious stole that
you didn't know Victoria stole and you used it and
it became a big thing and it put her out
of business.
Speaker 5 (30:53):
Like anything.
Speaker 1 (30:55):
Yeah, by the way, even it could have been like
I applied for a job at closed Her Bros. And
was told like Victoria told me, I was a shoe in.
I quit my job, I moved to New York and
then you guys hired someone else. And yeah, it could
be like I never even saw you what, I never
saw your resume? What are you talking about? Like something?
(31:17):
But there's just no reason for her to hate this
other woman so much.
Speaker 4 (31:21):
I wonder if Chelsea ever asked if any of us
are still in touch, it would be interesting to find out,
like what what she would have Because she's the actress
having to play the part. She would have had to
ask these questions and get answers about it.
Speaker 5 (31:36):
Yes and no. Because it's a super successful show. She's
coming on for the last season. I can see her.
I can understand if I was in that spot maybe
being like an I don't want to rock the boat
thing and I'll just sure, I'll just play it. But
I wonder because I listen, that's those are the kind
of questions you'd be asking, like why am I doing this?
(32:07):
I will say to the episode's credit different than this,
we actually got a lot of questions answered with Clay
and Logan, which.
Speaker 1 (32:15):
I was I'm so excited to talk finally, and that
was a highlight of the episode for sure. How did
you feel about all that?
Speaker 5 (32:22):
Rub I thought was great, and I think that is
largely due to Pierce, because every time we cut to
him and his little earnest eyes looking up at Clay,
I'm just I'm there, I'm on board, I'm emotionally invested exactly.
He's so open that you don't really have to do
(32:44):
much else in a scene with him, and so I
thought the stuff. I thought it all worked, and I
thought it was great that he told Clay no at
the end. I didn't remember that. I didn't, like I said,
I only remember how we end, like the ending of
Sofa's episode that she directed, But I don't recall the
path to get there. So I liked that it wasn't
easy for Clay shouldn't be. I liked that we got
(33:05):
clarity as to where he's been for six years and
why this whole charade is unfolding the way it is.
The One thing I will say that was funny, and
they at least acknowledged it was when Clay and Logan
are talking outside and for some reason, the therapist and
Quinn are like ten feet away watching, which which is fine,
but then just apropos of nothing. The therapist is like,
(33:27):
he loves you, you know, he loves you, And in
my head immediately I'm like, that's such a violation. What
are you doing? And then he's like, I just violated
patient doctor confidentiality. But I'm pretty sure you knew it anyways.
I'm just like, what are we friends? Now?
Speaker 6 (33:44):
We're all friends?
Speaker 4 (33:46):
Oh?
Speaker 2 (33:47):
Yeah?
Speaker 1 (33:47):
It was so weird.
Speaker 4 (33:48):
It was like, Okay, I loved I really also did
love this storyline in this episode in particular, But it
was funny to me when Clay, when you were explaining
to Quinn the truth of of who Logan is, and
she says, are you sure?
Speaker 6 (34:06):
Are you sure?
Speaker 5 (34:07):
Are you sure?
Speaker 4 (34:09):
I'm just thinking about the practicality of that line, like yes, yes,
he's sure. There's no there's no way he's going to
be explaining any of this to you. I don't know,
maybe it was just dumb to me. I was listening
to this like, oh, I wish I wish they had
cut that line for her. That just seemed like such
a uh it's such a girl, like a like a
(34:31):
caricature girlfriend line like that, what are we going to do?
Speaker 5 (34:37):
Can I tell you what I see? I didn't bump
on that at all. I hear what you're saying, though,
But I think because to me it is that is
such an absurd, out of left field statement from Clay
that she's like, whatever it is, we're gonna be okay,
and he's like, I have a son I forgot about
for six years. That is bonkers. So I think I
(34:59):
totally except any person just going are you sure, because
that is just so absurd to say.
Speaker 6 (35:06):
Okay, fair enough, yeah, that's good.
Speaker 4 (35:09):
Well, but let me let me give your flowers too,
Because that scene where you were explaining to Logan who
you are. I got so emotional. I was on my
treadmill with my ten pound or whatever, the twenty pound
weight best. And I'm just walking watching this episode and
I had to just stop. I had to step off
to the side of my treadmill and just let myself
(35:31):
be emotional for a minute. You really really got me.
It was so beautiful.
Speaker 5 (35:35):
Thanks.
Speaker 6 (35:36):
Yeah.
Speaker 4 (35:37):
Yeah, And I was so sad when he said no
and walked away.
Speaker 1 (35:40):
Him saying no, like it knocked the wind at me
and your face, Rob and yeah, I don't know. There
was something so interesting, like the whole way that was
written for all the things that are done at a
ten when they should be at a six. That whole
scene was so gorgeous because it felt so human, even
(36:03):
the fact that Quinn said, just walk over there and
say hi, Logan and the rest will come. And then
you're like, are are you? Are you eating healthy? Like
it's so you have no idea what to say, and
we know why, you know, we know what's up, which
is a fun moment as an audience member. The whole
thing is so beautiful, and then for him to say no,
it's just.
Speaker 4 (36:25):
You were so breaking sort of you just kept it
really simple. I think that's what I really appreciated about it.
It wasn't I felt Clay's uncertainty. I felt the deep
care and the sensitivity and like the respect of not
expecting this kid all of a sudden to just be like, Daddy,
(36:46):
everything's fine. You know there was so you you really
handled that so beautifully.
Speaker 5 (36:51):
Oh yeah, thanks guys. Yeah. I think they did that
storyline a huge service by not making it easy for Clay.
Yes needed to be because you really, you make Logan
so much more of a real human To have him
not immediately go dad and have this great moment it
should be earned. He should be angry and yeah, and
(37:14):
I think they did also just with the dialogue, because
nothing about that scene should have had any polish on it.
Clay has no idea what he's doing, So the fact
that he's coming in and all of a sudden he's
like are you eating? Are you eating healthy? Or like
it's like what are you talking about? Like, oh yeah,
he has no idea what he's doing.
Speaker 1 (37:32):
Yeah, it's very sweet. It communicated so well. How suddenly
rudderless you feel, you know how, in a way having
the answer is almost harder than the mystery. And because
you've built up this beautiful rapport with this little boy,
it's like, well, what are you going to do? How?
(37:53):
How are you going to do this right? And it's
really nice to see you not have all of the answers,
you know, did.
Speaker 4 (38:04):
Anyone bump on the fact that the therapist said it
was my decision to not allow anyone to talk to
him until he found his way out of this fugue state?
Like I was like, Okay, maybe a few weeks, I guess,
like I could see a month or two, but like,
you're going to let this go on for six years years,
(38:25):
like that is seem super negligible to me. I mean,
I'm not a therapist who deals with people in the
fugue states, But good lord.
Speaker 5 (38:34):
That's a great point. I didn't bump on it in
the moment, but now that you're saying it, because I
was just thinking, like I don't know the rules of
fugue states, like like how you don't wake a sleepwalker.
R don't know if there's a protocol for fugue states.
But yeah, that's a good point because it's a really
long time. You can't also only be looking at how
it's affecting Clay. You are now choosing that a child
(38:56):
is going to grow up without his one parent for
six years, right, and.
Speaker 1 (39:01):
Then who's he living with Is he living with grandparents?
Speaker 5 (39:04):
It's her parents, Sarah, Yeah, Sarah's parents.
Speaker 1 (39:06):
So it's like it it's just such a it's such
a crazy thing. And again takes me back to where
we started. I'm like the cops incompetent malpractice. The therapist.
This feels like malpractice, Like what is everybody doing?
Speaker 5 (39:21):
And did the grandparents never show Logan a picture of
their mom, of.
Speaker 4 (39:25):
His mom and dad saying yes, no pictures. They didn't,
they didn't. They just obeyed this therapist just they were like, Okay, sure,
sounds good. We'll just raise his kid until he's ready.
I guess I'll never be ready.
Speaker 5 (39:36):
That's crazy.
Speaker 1 (39:37):
This little Boys essentially on the Truman Show.
Speaker 6 (39:40):
Uh huh, I don't like it.
Speaker 5 (39:41):
Also, yeah, yeah, and this therapist was so lackadaisical about
just being like he'll come around and literally six years
go by. Yeah yeah, he needed to be like way
more proactive or something.
Speaker 4 (39:54):
He was so invested though, he like comes to Tree
Hill to be a part b Clay's therapist and Logan
with him. Yeah, there's a whole there's a whole backstory
here that we just did not get.
Speaker 5 (40:06):
You know what else left me with more questions and
answered sweet Sweet Mouth's prosthetics.
Speaker 6 (40:13):
This is my note.
Speaker 4 (40:14):
Mouth is still in this stupid weight suit.
Speaker 5 (40:18):
I mean, okay, it's fine. I like that when Skills
is like, what has happened? At first, he just starts
to say, I'm eating for my job, and it's very
easy for just like one meal owed to become two
and three and it just builds up. I was like, yeah,
that's actually totally fair. But I appreciated that Skills went, yeah,
that's all fine and well, but you seem sad to me. Yeah, yeah,
(40:41):
you don't seem like the old mouth, And I thought
that was so smart because then it wasn't. It just
became a real issue that I think more people can
relate with, relate to. Yes, you know, and that was great.
I will say the hard part of me for that
scene was Mouth looks like a ghoule when he's sitting
at the table, the way the lighting in his prosthetics,
(41:04):
there is just something that does not look human about it,
and we have got to get him out of that.
Speaker 1 (41:11):
Because he's literally i mean, his face is covered in
layers of silicone, like it doesn't when it's not lit correctly.
It literally doesn't look like human flesh, and so it's
an unfortunate thing when you're watching an actor you really
like and you're so taken out of their performance by
(41:31):
something that's beyond their control.
Speaker 5 (41:34):
Yeah, he has the crow's feet of an eighty year
old farmer. It's like he gained weight. He didn't also
exist for sixty years on the side, you know.
Speaker 1 (41:44):
Yeah, Yeah, he didn't age decades. It's so weird.
Speaker 5 (41:51):
Tyler was great in this episode. Oh this moment, the
scene where he has to figure out a way to
help Chase and he goes into his office in the
two twin and interns are sitting there and it's basically
just him talking at himself the entire time and then
getting excited about it at the end. Was so freaking funny, man.
Speaker 1 (42:11):
Yeah, so great.
Speaker 4 (42:12):
I also loved him with Chase coming out of the
police station and him grabbing the ticket off of the
top of his windshield, rolling it up and throwing it
into the car the cop car next to him. Did
you notice this, Yes, it's just all part of the
action that he did. I don't know if Tyler asked
somebody to put a ticket on his car or if
it was like his car has a ticket. I don't
(42:33):
know who thought of that, but the man. Those are
the kinds of magic moments that I live for when
I'm watching shows. The stuff that's not being it has
nothing to do with the scene. It's not being said.
It's just normal, everyday action.
Speaker 5 (42:58):
Quick magic moment that I I want to circle back
to a scene we've already discussed, but it's when you
and Haley's leaving the bar and Dan is waiting for him,
and there's the slow mo shot of Haley putting on
her glasses walking away, and instead of an explosion because
that's usually what happens in these sort of slow mo scenes,
it is Dan Scott just beating the life out of
(43:20):
the drug dealer next to a dumpster.
Speaker 6 (43:22):
Yeah.
Speaker 1 (43:22):
Joy, I feel like they really gave you your David
Caruso moment with those sunglasses, and I was like.
Speaker 4 (43:27):
Yeah, wait to have some on my desk right now.
Oh yeah.
Speaker 6 (43:30):
It was like that slow mock.
Speaker 4 (43:32):
Yes, yes, that's it, and my elevens really showed up
that I've got their botox now.
Speaker 5 (43:37):
The only thing, because you were looking into the sun,
the only thing missing from that scene was just damn,
it feels good to be a gangster playing with the background.
Speaker 1 (43:47):
Yes.
Speaker 5 (43:48):
Also, the worst line of the episode was that drug
dealer in the scene prior in the bar, going, you
know what I like in a woman?
Speaker 4 (43:56):
Me?
Speaker 1 (43:57):
Oh, I know.
Speaker 5 (44:01):
He was sweet though he was he is, he's a
sweet guy, but he commits to some pretty tough dialogue.
Speaker 4 (44:09):
Yeah, he was great. I remember him being like, I'm
so sorry, I have to say this. I'm sorry.
Speaker 6 (44:16):
It's okay, buddy, go ahead.
Speaker 1 (44:17):
Yeah, you're like, just lay it on me. It's it's
our jobs today.
Speaker 5 (44:21):
Yeah.
Speaker 1 (44:22):
Also you had to throw it right back at him
and do the whole threesome gag. Like they really made
you guys go for it.
Speaker 4 (44:29):
Also, Stephen COLLETTI I just I have his name here
with a thousand exclamation points next to it because his
performance was so so good in this episode and the
way that he and he's so underrated, like watching him
on I want to say on trial, but that's not
the right word. Whatever they were at the at the hearing,
(44:49):
and the way his face he got all choked up,
his eyes got all watery and weepy when Chuck was
tested buying for him and came in and did the
right thing. I just really love watching Stephen work. He's
I just think he's so underrated. He keeps it all
(45:10):
pretty close to the vest, but if you're really watching,
you can see all the gears turning all the time.
Speaker 1 (45:15):
Yeah, Well he has such a Stephen has such an
inherent sweetness of spirit, and it's what made him so
great to come in as Chase in high school as
a clean teen you bought that he was just this
really pure, sweet teenage boy. And there is something about
that earnestness that he has maintained as he's grown into
(45:38):
a serious leading man, and it is so able to shine.
It's highlighted so well in this Big Brother story.
Speaker 6 (45:50):
Yeah, you know, because because yeah, all of.
Speaker 1 (45:53):
You guys, you're like gorgeous, hunky leading men, you know,
in these big relationships and doing the things. And but
to see this guy as a volunteer with a boy
who needs a mentor, it's a rare thing to see
on camera. And I think it's a very perfect device
that the writers gave to let something that is inherent
(46:17):
in our friend really shine through. And when you get
those moments, it feels it feels very emotionally profound.
Speaker 4 (46:25):
Yeah, I'm just glad they finally got him out from
behind the bar and just back happened Mia.
Speaker 6 (46:30):
And Alex and blah blah blah.
Speaker 4 (46:31):
Okay, okay, enough already, give this man something actually to do, and.
Speaker 5 (46:36):
They did something smart. Obviously it's great, see Chuck did
the right thing, But that they included Chuck's mom in
on it. I didn't realize how much we needed it
until she was there and actually said, we've reported to police.
We told him what was going on, because we like
Chuck so much by this point that we need to
know he's going to have at least one decent parent. Yes,
(47:00):
So the fact that she was in on I thought
was a really smart device to include her, because it
could have easily been Chuck doing it by himself, and
it wouldn't have had quite the same payoff because we
now are kind of so invested in him.
Speaker 3 (47:10):
Yeah.
Speaker 1 (47:12):
Agree.
Speaker 5 (47:14):
There were so many, like, so many great lines as
well in this, like when it was such a badass
moment of Dan sending Haley away at the sound stage
and saying he says something to the effect of like,
I'm going to have to do some things I don't
want you to see. Yeh, I'm going to I'm going
to need to do some things you shouldn't see. And I
love that as Haley is walking away, he just goes,
(47:35):
he's about to torture man, but he's never gonna miss
a great one liner, right, and he just goes, Yay, Haley,
you should give deb back her clothes. Like the fact
that he's got a little zinger when he's about to
burn a man was terrific. Here's a line I was
immediately curious about. Do you want to say something?
Speaker 1 (47:53):
So yes, I do before we move on, because this
is on the subject matter of death. Just in the
timeline of when we're this episode, I was just on
the West Coast for work. Ash came out to meet me,
and the week she was visiting coincided with Emmy weekend,
so we went out to things like, you know, we
were doing the thing with the folks who were working
(48:14):
with a Netflix. We like w into the night before
on the Sunday night in walk Barbara and her daughter
and we're just screaming and shrieking and we're like, oh
my god, oh my God, and we're having the whole thing.
And I'm like, honey, this is Barbara. You know, you
always hear us talk about the women who play the
moms on our show, and ash literally goes, what show
(48:36):
she plays a mom on?
Speaker 5 (48:38):
On?
Speaker 1 (48:38):
Which show? And I'm like, no, not now. She played
one of the moms on one trail And she literally
looks at Barbara and goes, I'm sorry, that's not possible.
Whose mom were you playing twenty years ago? I was like,
I'm telling you, And to watch Ashland's brain explode. She
was like, I don't understand what you're saying to me
right now, and I was like, no, yeah, Barbara just
(49:00):
is ageless. I don't I don't know what else to say.
Speaker 6 (49:03):
So hot always.
Speaker 1 (49:05):
Just like literally the hottest person in the room. None
of us know what to do about it.
Speaker 4 (49:09):
I know. I'm just glad I saw that in the
like next like coming up in the next episode or whatever.
I think she's in it, or she's in at some
point over the next couple of episodes. She's in it.
I saw her face somewhere, so I know she's coming
back for a little bit, which makes me really happy
that we get her before the end. But yeah, that
was a great moment. By the way, just to full
circle that line that Dan thrust out, it was sure
(49:31):
to give her dead, back her clothes.
Speaker 5 (49:33):
And then at the at the almost end of the episode,
Skills is asleep on the couch and Mouth goes to
wake him up, so I think they can go for
like a run or something, and in his slumber, Skills says, baby, please,
I'm not from Havana.
Speaker 6 (49:49):
Brilliant.
Speaker 5 (49:50):
I was immediately fast like I needed an episode about
what that means. Yes, yeah, it raised so many questions
I desperately wanted an answer to.
Speaker 1 (49:59):
Yes.
Speaker 5 (50:00):
Kudos to whoever threw that line in there, because that
was so funny.
Speaker 4 (50:03):
It was probably Antoine just laying there on the couch.
They're like, Antoine, just say something.
Speaker 6 (50:09):
He came up with it.
Speaker 5 (50:10):
Let's go with that, because I would. I love that
version of it. Yeah, it was just Twan ad libbing.
And then the last shot of the episode was a
real gasper because Xavier holding the baby.
Speaker 6 (50:26):
I don't like it.
Speaker 4 (50:27):
I'm I'm over the device of babies being stolen by
crazy people, crazy people breaking into bedrooms upstairs, just something else,
anything else, Crazy people do all kinds of crazy things.
Does it have to be even just him being outside
the house, like he could have just been standing on
the corner smoking a cigarette outside the house watch.
Speaker 6 (50:46):
And that would have been enough. Like I don't need
to see him in the room.
Speaker 5 (50:51):
What because we're doing that thing again where we assume
just because someone's a full blown psycho that they also
suddenly inherited the skills of a cat burglar. Yeah, because
you know, Brooke and Julian right now are on the
highest of alert, meaning exactly everything was double locked, everything
was triple checked, and he somehow got through all of
(51:11):
that woke up a baby, and.
Speaker 1 (51:13):
Like, yeah, it feels like.
Speaker 4 (51:15):
It's insulting the audience's intelligence too, Like we we get
the suspense, we feel it there. You don't have to
tell us more that we need to be afraid more.
We're already afraid.
Speaker 1 (51:26):
We're good, We're already creeped up. It's also such a
weird thing, isn't it that that, despite being a ridiculous,
overdone choice, that theoretically Xavier could have gotten away with
that then had he managed to do all the things
you just said, Rob But now, like who doesn't have
(51:46):
a nanet or a nest camera in their kids room?
Like you just would never it would never happen, like
you could, you would know you get an alert like
a fly goes by in your kid's room and your
phone lights up like MOS detected, and I don't know.
It's so it's weird to think about these these sort
(52:08):
of moments, especially with our show in the way tech
has taken all these leaps, like the fact that all
the kids were on flip phones at the beginning of
the show, and like the fact that there wasn't a
camera in a nursery.
Speaker 4 (52:22):
Then how about the fact that you guys are following
him and watching him break into a window, and you
have a phone with you, but you decided to make
a phone call with it instead of film him breaking
into the house.
Speaker 1 (52:35):
It's so silly. It's all so silly.
Speaker 5 (52:39):
We got to get to this question, but I got
say the one last silly thing was when Brooke walks
into the rival's cafe and sees Xavier. Dude. People can't
help themselves from doing a close up on the object
falling from someone's hand because I'm shocked. But I love
that this time, because it's always glass, it always needs
to break. I love that this time it was a
(53:01):
coffee pot with metal on the bottom, so it didn't
It was almost like them going this is the last one, guys,
this is but it's like, just trust that we're going
to see it on Brook's face. But no, we got
to show it falling and hitting the ground because that
means it's really scary.
Speaker 1 (53:17):
She's so startled she dropped something. Yeah, it's like okay, guys.
Speaker 5 (53:23):
Okay, I'll read this one. Peter asks Joy, what sort
of training did you do for that fight scene and
if you actually got to punch someone?
Speaker 6 (53:31):
Oh, Peter, Oh hi Peter.
Speaker 4 (53:33):
Well, it wasn't really a fight scene. It wasn't much
of a fight scene to me. I mean no, not really.
There wasn't much training involved. We had a stunt coordinator
who was like, here's about how far away you can
get from his face when you swing. Yeah, try not
to go any closer. And he was pretty good at
doing the reaction, which is surprisingly It can be hard
(53:56):
to do to get the timing right on that. So
we probably rehearsed it a couple of times. But now
there's no, no, no real training required.
Speaker 6 (54:05):
Yeah.
Speaker 1 (54:06):
I think one of the things that's always interesting about
throwing a slap or throwing a punch is there's obviously
a way you do that as a human, but for
our friends at home. Depending on where the camera is,
you often have to do a really weird exaggerated angle,
So like for a slap to look like it goes
straight across someone's face, depending on where the camera is,
(54:27):
it'll look straight in the scene, but you have to
start like lower right and go upper left or you do.
You have to do all these weird little things to
make it look correct on screen versus feel right in
your body. But if you do the weird thing that
feels really wrong that the stunt coordinator shows you to do,
(54:48):
then you see it on screen and.
Speaker 7 (54:49):
You're like, damn, it really looks like I hit that guy.
Speaker 1 (54:54):
That's like a fun little bts for you, Peter.
Speaker 5 (54:56):
Yeah, it's the same with love scenes where people are like,
oh my gosh, youus it's so hot, and you're like,
it is the opposite, Like there is so much technical
to it, like are they blocking my light? Am I
blocking theirs? Can I put my arm here? Like it
is the most uncomfortable.
Speaker 4 (55:10):
Yeah, if I've been that way, then I get all
these weird lines in my side, so I have to
make sure that I'm like my back is arched, you know,
it's like so comfortable.
Speaker 1 (55:19):
And then Also, you finally think you've got it right,
and it's like you were you were in her light,
you were in his light. You got to readjust this way,
so you have to make it look really passionate and
also keep your head at a weird angle. They get
you a cramp.
Speaker 6 (55:33):
Oh yeah, it's like such a bizarre.
Speaker 1 (55:35):
Thing to have to do.
Speaker 5 (55:37):
All right, let's spin a wheel.
Speaker 1 (55:41):
Alrighty.
Speaker 5 (55:49):
Most likely to become a professional gambler.
Speaker 1 (55:54):
Oh Antoine Antoine jinks. Oh yeah, yes, that man loves
a sports bet. He also is so good at bluffing.
I feel like you could be playing poker with Antoine
and he would just totally knock you sideways because he'd
have a great story no matter what his hand actually
looked like.
Speaker 5 (56:14):
And he plays, I think regularly in Domino's tournaments. So yeah, yeah, easily.
Speaker 6 (56:18):
Are you allowed to talk and poker?
Speaker 4 (56:20):
Can you just like yes, blah blah blah blah blah
blah blah, just talk. Yeah, so that could be part
of his Oh man, I would throw everybody off, I
bet because he would just go.
Speaker 6 (56:30):
He knows how to just run.
Speaker 5 (56:34):
Right. Next week we have season nine, episode ten Hardcore
will Never Die, but you will, Oh, boy, that's a
good title. It is, see if it lives up to
it heavy though.
Speaker 1 (56:47):
Heavy titles, hardcore and death and bombs. And we got
a lot going on this year.
Speaker 4 (56:53):
My god, I think we're wrapping it up soon with
those with those storylines. I hope at times coming, happy
times coming.
Speaker 5 (57:01):
I know. Can you believe there's only four episodes left
for us to covert? Wait? Is that actually ten? Eleven, twelve, thirteen? Gasp,
you shall joy? It's crazy.
Speaker 1 (57:11):
I know, I'm gonna go cry.
Speaker 5 (57:13):
We should just start watching them back in different languages
and we're like, well, none of us speak Farsie, but
what we think happened in this episode? All right, King,
thanks for joining us.
Speaker 1 (57:28):
See you next week.
Speaker 6 (57:30):
Hey, thanks for listening.
Speaker 1 (57:31):
Don't forget to leave us a review. You can also
follow us on Instagram at Drama Queen's ot.
Speaker 2 (57:37):
H or email us at Drama Queens at iHeartRadio dot com.
Speaker 1 (57:42):
See you next time. We all about that.
Speaker 2 (57:45):
High school drama Girl, Drama Girl, all about them high.
Speaker 1 (57:48):
School queens forever. We'll take you for a ride, and
our comic girl shared for the right teams.
Speaker 3 (57:54):
Drama Queens Up Girl Fashion Mitch, You'll tough, Girl, You
could sit with us, Girl Ramaquins Drama, Queas Drama, Queens Drama,
John Mcqueens Drama, Queens
Speaker 6 (58:07):
M
Hosts And Creators
Sophia Bush
Bethany Joy Lenz
Robert Buckley
Hilarie Burton
Popular Podcasts
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!
Cardiac Cowboys
The heart was always off-limits to surgeons. Cutting into it spelled instant death for the patient. That is, until a ragtag group of doctors scattered across the Midwest and Texas decided to throw out the rule book. Working in makeshift laboratories and home garages, using medical devices made from scavenged machine parts and beer tubes, these men and women invented the field of open heart surgery. Odds are, someone you know is alive because of them. So why has history left them behind? Presented by Chris Pine, CARDIAC COWBOYS tells the gripping true story behind the birth of heart surgery, and the young, Greatest Generation doctors who made it happen. For years, they competed and feuded, racing to be the first, the best, and the most prolific. Some appeared on the cover of Time Magazine, operated on kings and advised presidents. Others ended up disgraced, penniless, and convicted of felonies. Together, they ignited a revolution in medicine, and changed the world.
Crime Junkie
Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by audiochuck Media Company.