Don’t Wear Flip Flops to a Show Down • Ep 904

Rob re-lives the most painful and powerful episode of One Tree Hill , and who he credits for making it achingly authentic. 

 

Plus, did you notice the Breaking Bad Easter Egg? And who was the mastermind this whole time? Rob’s theory is starting to sound more convincing with every episode recapped!!

See omnystudio.com/listener for privacy information.

Episode Transcript

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.

Speaker 3 (00:06):
Them high school queens. We'll take you for a ride
and our comic girl sharing for the right team.

Speaker 2 (00:12):
Drama Queens, Jaylee's Girl of Girl Fashion, but your tough girl,
you could sit with us Girl Drama, Queens Drama, Queens Drama,
Queens Drama, Drama, Queens Drama Queens.

Speaker 1 (00:25):
Hold on to your butts because we got an episode
for you today. We wow so for Joy and myself
here to discuss Season nine, Episode four, Don't You Want
to Share the Guilt? Aired February one, twenty twelve. Synopsis
reads Haley and Jamie anxiously await Nathan's return as Julian

(00:46):
deals with his guilt. Brook helps Haley confront a new
rival cafe and it's difficult owner. Meanwhile, Chase's new girl
has a complicated secret, and Quinn takes extreme measures that
help Clay realize he's worse off than he thought. Directed
by our very own editor extraordinaire, Les Butler and written
by Nicki Scheffelbaugh.

Speaker 4 (01:07):
It was a lot.

Speaker 5 (01:08):
There's a lot going on this episode. I mean, I
wasn't getting so much of the whiplash that I feel
like we've gotten in some of the other episodes recently,
where it's just like, what kind of show were we
even watching? So I was glad for that. But what
I mean, Okay, well, let's start with you want to

(01:28):
start from the beginning or do we want to start
a favorite storylines? Where who's feeling what?

Speaker 1 (01:33):
TuS off joy? Where do you want to jump in?

Speaker 5 (01:35):
Okay, I'll start with my favorite because I like to
be positive. Look, I loved what Austin was doing. I
loved your stuff with him, Sophia. This it was such
a grounding, centered place to land continually, Like every time
we came back to watching Austin work, he could have

(01:57):
so easily overplayed all of that, and he just he
just didn't. He was just so still and it really
made me feel the pain of what he was going through.
And I feel like it centered all of the other
wild stuff that was happening all around us, even though
everyone was in pain except Haley, who just was absorbing

(02:17):
everyone's pain trying to put a you know, silver lining
on everything all the time. Yeah, that was my fave.

Speaker 6 (02:24):
Well, and I think one of the things I realized
going back you know, even just over my notes, particularly
because Julian and Clay have been able to embrace their quirks.
You know, you guys are both so good at your
particular brands of oddball humor. There was something really special

(02:46):
about having Clay's storyline be so heightened. Yeah, and you know,
kind of at the boiling point of what he was
going through, and then to have Julian on the other
side completely hitting rock bottom. It took this thing that
you guys do really well, whether you're in scenes together
or not, and it kind of tipped the scales in

(03:08):
opposite directions.

Speaker 4 (03:10):
And I really enjoyed all of it.

Speaker 6 (03:14):
And I thought it was so nice because the experience
I got to have, you know, playing Brooke opposite this Julian,
and then as a viewer getting to watch Quinn opposite
this Clay. I was like, oh my god, it sort
of took us to the margins of the story. Yeah,
and I really loved it.

Speaker 5 (03:33):
Yeah, the internal guilt versus the what it seemed like
you were, how you were processing everything as Clay was
so there was so much external stuff because you're it's
it's so related to physical activity that you don't know
how to wrap your brain around, like you're wandering out
in the middle of the night and you're buying drugs
from people that you don't remember doing it, or it's

(03:54):
just there was so much external to echo what Sophia
saying that this this balance that happened. Actually, yeah, it
felt really nice.

Speaker 6 (04:04):
Yeah, and it was nice too, you know, to your point, Joy,
the foreboding that we don't know is foreboding until the end,
you know, when we discover that the moose is on
the ground and Nathan is missing. It's like things seem
to be going pretty okay for Haley and she gets
to be the center that's very calm, almost like the

(04:27):
eye of the storm, and people the women get to
come in and out dealing with what they are having
to sort of carry or juggle in their partnership.

Speaker 4 (04:38):
And I don't know it really it felt.

Speaker 6 (04:42):
So authentic to me, as crazy as the circumstances are,
you know, in Treill, like it all worked. You got
to see friends trying to process difficulty together and it
was I just thought the whole thing really tracked. I
really loved to piggyback on what you were saying. Even
the stillness of Austin's world as Julian. Even the fact

(05:07):
that they chose to start the episode in slow motion, yeah,
so you could see the conversation between us, even though
it was wordless. I thought was so smart because you
felt the air kind of getting sucked.

Speaker 4 (05:23):
Out of him.

Speaker 6 (05:24):
Yeah, And to start the episode in that place already
put us all in such a I don't know, such
a heightened sense of sensitivity and nervousness as viewers.

Speaker 5 (05:36):
What do you do as a parent when you walk
up to the other parent? Do you hug them or
do you walk up like I mean, it was an
impossible choice. I felt for Brooke, and you did such
a great job with that because I saw the conflict
in your face. It wasn't just pure anger or pure
relief or pure anything. It was just all of the

(05:56):
things at once. And there's like, I don't I do
not even know what to do with you right now.
I just have to go check on my child. But
it also was heartbreaking, like, oh god, Julian's just there
all alone.

Speaker 1 (06:08):
I felt for both Julian and Brooke because it also
just felt extraordinarily real because I feel like so often
in life things aren't black and white. There's lots of
shades of gray involved. As much as I want things
to be black and white all the time, that's just
not the way the real world works, you know, And

(06:28):
this was a great example of that. Where I completely
understand wanting to just lay into your partner. I completely
understand wanting to just make your partner feel good. My
response would probably be somewhere in the middle, hopefully leaning
closer to the compassion side of it, because that's the
scariest thing that can happen to you, was a parent.
But what was so good about it was that it

(06:50):
seemed like something that could happen to anyone. He wasn't
being negligent like he anyone who has anyone who has
inexperienced parentsing like you know, you were constantly keeping several
spinning plates moving at the same.

Speaker 5 (07:04):
Time, especially with twins, especially.

Speaker 1 (07:07):
With twins, and so it's it is very easy for
something to just if it's not directly in front of you,
kind of go to the back of the queue. And
so it was one of those I felt for him
because this wasn't him waiting for Brooke to not be
mad at him. You know, there's the kind of things
where like you goof up and you're just like, ah, this,

(07:28):
I'm gonna feel like crap until my partner lets me
off the hook. This wasn't that, This was a matter
of he has himself on the hook, and where I
felt for him is the only sort of way out
through that. The only fix for that is time. Yeah. Yeah,
And so just when you're in it, man, you are
just steeped in it.

Speaker 5 (07:49):
That's what made his scene so good to me, that
he was taking the time and where he could have
really leaned into the mellow drama and been sort of
this all the self flogging and everything. You just he's
so good. He knows what to do. He knows it.
All you have to do is think. You just have
to think and feel what your character's feeling and thinking,

(08:09):
and the camera will pick it up. You don't have
to do anything. And he did that and I really
felt that in the car when he was sitting there.
I mean, talk about just needing to take time. Just
the days go by and you just try and figure
out how to function normally and how to hit him
walking to the car and stepping on the glass that
was in the sidewalk and knowing where the glass came from,

(08:32):
he just let the wheels spin. And a credit to
Less that the director for letting him just do that,
just letting the camera sit on him so he could
do that, because that allowed us to feel it as well.

Speaker 4 (08:43):
Yeah, and I.

Speaker 6 (08:44):
Really was grateful to your point about time. Obviously, I
remember the storyline. I didn't remember all of the specific scenes,
but I was really grateful, especially to your point Rob
of really understanding how gray all this is. That they
didn't make either of us rush it. They let him

(09:04):
be in grief and shame. They let me be unsure.
We didn't do the thing where Brooke was like, of
course it was an accident, it's okay, don't worry. I
got to be nervous about how do I look at
this person that I love and ever trust them again.
And everybody got to take their time, and I thought

(09:27):
that it was such a beautiful thing. I forgot about
that scene in the car and when he was sitting
in there so emotional, you know, just I floodshot tears
streaming down his face. I was like, oh my god,
he's trying to feel the heat. I didn't remember that.
I got in the car, you guys, and then the
door opened and I was like, oh, my god, Oh

(09:49):
my god.

Speaker 5 (09:50):
The scene.

Speaker 6 (09:51):
Oh I remember this, and I immediately as soon as
that scene was over, I texted Austin and he was like, wait, oh.

Speaker 5 (09:58):
My god, I forgot about that scene.

Speaker 1 (10:00):
I was like, I did do.

Speaker 6 (10:01):
And then we sat just talking about this, and we
just talked about how glad we are that we got
to have that and that we got to end on
something so real for these characters, or I guess build
into the ending, you know. And it jogged my memory
to how both of us really poured over stories where

(10:24):
this has happened, where the kid's been okay, and then
the awful stories where the kid hasn't been okay, and
even at the time trying to figure out how to
play it. You know, we were into the advent of
social media. We were two, I don't know, three or
four years into Twitter existing, and I remember it like

(10:45):
it came at me, almost like a scene I watched.
I remember saying, you know, these are the kinds of
headlines you read on Twitter and you immediately say, those
people are monsters.

Speaker 5 (10:55):
But those people are people.

Speaker 6 (10:56):
They're people who are, as you said, juggling so many plates.
They made a mistake, they forgot something, their day didn't
go according to plan and they were on autopilot, and
how do we humanize the whole experience? And it's crazy
to look back and have all this really visceral emotion
and go wow, I actually think.

Speaker 5 (11:16):
It really worked.

Speaker 6 (11:18):
Like this is one of those moments as an actor,
I'm really proud of our show.

Speaker 1 (11:23):
Yet it worked really well. And as you're just saying this,
I'm just thinking about you know, Joy are saying that
you didn't have any whiplash in this episode, and I
agree with you. I would contend that it. But the
current storytelling is not balanced because I feel like the

(11:44):
brilliant stuff is so real and grounded. Yes, I feel
like the mouth Millie stuff is so stupid.

Speaker 4 (11:54):
Oh you're right, I forgot about that.

Speaker 5 (11:56):
Yeah yeah.

Speaker 1 (11:57):
And then the clay stuff, honestly is just so out there.

Speaker 5 (12:01):
Yeah, which I wanted to get to because.

Speaker 1 (12:03):
You open an episode talking about and be completely candid,
did the clay stuff work for you in this episode?

Speaker 6 (12:10):
You work for me in this episode, and the two
of you work in this episode because you're good actors.
I think you both deserved better writing.

Speaker 5 (12:22):
Uh yeah, I would echo that because what I've actually
it's funny that you bring this up, Rob, because this
thought did come to me while I was watching it.
I was just like, they have no idea who Clay is,
and they don't know what to do with him, and
they just have started throwing things at the wall. And
so now we're watching him go through this totally random

(12:44):
experience that there's been no foreshadowing for, there's been no
precedent for it for it really frustrated me. It frustrated
me as a viewer because viewers deserve better. It frustrated
me as an actor empathizing with you because you're you
have so much to give and to be in an

(13:05):
environment where you're being underutilized was irritating. So all that
to say, yeah, I echo what Sophia said, like you
you made it work the best that you could. There's
nothing Daniel da Lewis couldn't have done a better, Rob, Like,
it's just the writing made no sense for your character,

(13:26):
so you just had to make it work the best
you could.

Speaker 1 (13:29):
Yeah, And I was just curious because you know, sometimes
when you watch your own stuff, you were bringing so
much extra baggage that no one else in the world is.
This was one of those ones where I watched it
and I was just like, you can't tell how am
I on? What am I? What? How am I on
this show? This is garbage, I will say, though, as
once I sort of stepped back from that nature craction,

(13:51):
I kind of went. But to be fair, I remember
doing this and I didn't know what I was doing
because the pro.

Speaker 5 (14:00):
They didn't know what they were writing because they didn't.

Speaker 1 (14:02):
Know what they were Also, like, no one knows what
a fugue state is. It's not like you were talking
about sleepwalking, where everyone kind of has a reference point
for it. You are now going to bring up this
obscure condition that no one knows. And here's the problem is,
we weren't playing like, if you're gonna have a ghost
in a story, that's fine, but you need to establish

(14:23):
the rules of the ghost in the world to the audience. Okay,
sure this person can see it, no one can touch it,
it can't touch anything, Like you have to do that
so then we can all sort of buy in and
be on the ride together with this stuff. With Clay,
He's like, I don't know what I'm doing. There were
so many parts from like then, how did you drive
back to meet the guy? How did Quinn suddenly know

(14:45):
where he was? Is he the world's worst drug dealer
sitting at a public park next to children?

Speaker 5 (14:51):
Yeah?

Speaker 1 (14:51):
Like all that was so king stupid. Sorry, I know
we're gonna beleeve that, but I needed for me to
say that.

Speaker 4 (15:00):
Let it out.

Speaker 1 (15:13):
Kudos to the actor Manu who committed as a drug dealer,
and and the big big gold stars to Chantell because
I thought she did great.

Speaker 5 (15:23):
Sure well.

Speaker 6 (15:24):
And by the way, you know what what just clicked
for me when you guys were talking and enjoy you
said it. They have no idea who Clay is right now.
They know they love Clay and Quinn together, so they
don't want to break them up, so they have to
figure out conflict. And somebody watched Breaking Bad and said, well,
Brian Cranston's character faked a fugue date.

Speaker 4 (15:45):
What if someone had a real one.

Speaker 6 (15:46):
And it's like, that's literally the only example of a
fugue state anyone knows. Is it a smart professor faked
one once?

Speaker 1 (15:53):
Wait? Wait, we stole this from Breaking Bad.

Speaker 5 (15:57):
I haven't seen Breaking Bad yet.

Speaker 1 (16:00):
That's incredible. I love that.

Speaker 5 (16:03):
That does not surprise me at all. What clicked for.

Speaker 6 (16:06):
Me because I the way that I was like, oh,
this is so annoying for you. It's it's like they rushed.
It's almost like we met a character who went on
a first date and by the end of the first
date proposed. It's like, what are you talking about? You've
been to dinner once. The shift is so fast and
what struck me is similarly, now that Alex is gone,

(16:27):
they don't know what to do with Chase, so they
basically turn Chase into the first time we see Clay.
Let's put him back in the position where hot chicks
are throwing themselves at him and he has to be better,
but he's still going to bang them. Like they literally
are insufferable about like dudes and women, and so they

(16:49):
only have a few ideas, so they stole them from
breaking bad. And then they literally just put Steven into
like your original role with the Kylie character, and we're like,
we'll make her Chris Keller's girlfriend good enough, and it's like,
look to the rest of us, we know they're capable.
It's just zero, they're not capable consistently.

Speaker 5 (17:12):
Especially knowing that this was our last season. Because now
everybody really knew we had the contracts in place. Everything
was done after the season. You had thirteen episodes, that's
what you're going to do with your thirteen episodes? Like
and not just you're like the Chase stuff and the
mouthuth Do stuff, the mouth stuff. It's just like, you've

(17:32):
got a show that's so beloved with I mean, you
could have called back to season one in such a
not you know as the writer's room, the decisions that
were being made up top man. They could have gone
back to so many amazing that thing that people fell
in love with with the show in the first place,
which was not high drama trying to compete with Vampire

(17:54):
Diaries and the OC and all of these things. It
was just as Hillary used to say so eloquently, it's kids,
their feelings. Yes, and I really, I really would have
loved more of that opportunity to wrap this show.

Speaker 1 (18:08):
It does a disservice to the character of Quinn because
first of all, she has the grace and patience and
compassion of mother Teresa, like monastic level of grace.

Speaker 5 (18:22):
And patience and yeah, but also like leave at a.

Speaker 1 (18:26):
Certain point, Like to me, it's the disservices she has
no life outside of Clay on the show. Ye that
Clay is her everything. And after Clay, even whether you're
struggling or not, like speaks to her the way he does. Oh,
it's so he's manipulative, he's gaslighting now, he's actually just
being verbally abusive.

Speaker 5 (18:45):
Leaves her in a park after a drug dealer attacks
them and just walks away, and so when we're there,
bye honey, bye bye, and that.

Speaker 1 (18:53):
Her response is to go to Haley and be like,
I'm just worried about losing him. It's like, what, No,
I didn't again, that was another thing. I just like,
what this This is a disservice to both of these characters.

Speaker 4 (19:07):
Yeah.

Speaker 5 (19:08):
I feel bad for Nikki having to write this episode
because you know, it was handed to her and it
was like, here's what's happening. You just have to make
it work. And she's like, oh okay, because she's a
really good writer, of course, it's so frustrating.

Speaker 6 (19:19):
Well, And I think what's interesting is episodes like this
can really be such a window into a writer's strong
suit because you see how well she did for my
stuff me and Austin stuff and the stuff that she
was essentially told like, I don't care if you like
it or not.

Speaker 4 (19:37):
You're going to write it. It's like, okay, so I can.

Speaker 6 (19:41):
Do a really bang up job if you give me
permission to do something great, and if you want me
to do like one oh one stick figures like sure, okay,
because you just got it. You want this to happen,
so the next thing can happen in the next episode.

Speaker 4 (19:57):
And I don't envy the right is.

Speaker 5 (19:59):
Not there battles that are not worth fighting. Everybody's got
battles that aren't worth fighting in life, and yeah, stuff
like this isn't one of them.

Speaker 6 (20:06):
I will say on the subject of disservice, as absolutely
trash as this Mouth and Millie storyline is, the levity
of putting skills in it, yeah, is so great, and
the fact that he turns into the couple's therapist on air.
It's not particularly well written. It could have been so

(20:27):
much better, but Antoine's energy in it suddenly makes the
whole thing almost a little camp that's totally him. Thank
God for this, because at least at least what it
allows for is that they finally start talking to each
other because they have a third person in the room
to say, have you ever considered she feels this way?

Speaker 4 (20:49):
Have you ever considered, he feels this.

Speaker 1 (20:50):
Way, and he brought the exact correct amount of steaks
and wait to the conversation that it deserved. I think
the problem with it thus far has been that it's
been treated like this big thing and we can't talk
about It's like they have built it up when it's like, yeah,
he comes in and he does what we all are thinking,
which is like, Okay, you've gained some weight. You came

(21:13):
at him wrong, and you're not being empathetic, you know, like, yeah,
it was immediately right sized it.

Speaker 5 (21:19):
Yes, and he did when.

Speaker 6 (21:21):
He looks at Lisa and goes, imagine if you became
hungry at bo And I.

Speaker 4 (21:25):
Was like, it was such a good line.

Speaker 5 (21:30):
Yeah, we needed that. We definitely needed that. I'm really
hoping this wraps up soon this storyline.

Speaker 1 (21:36):
Also, his makeup is not consistent the opening scene in
the studio with the two or like one of the
first scenes we see with them, and this the first
time we see them in the studio in this episode.
It looks like they were halfway into doing like aging
him up prosthetics, like they were trying to make him
look sixty five, and then went oh shit, we got

(21:57):
to act this is the wrong makeup, because if you
go back and watch that, he looks he looks more
geriatric than overweight.

Speaker 5 (22:04):
I wonder if it was the lighting too, because like
they were trying to set lights for like morning show
TV plus, but they're on an actual set for an
actual TV show, So I wonder if that made go
ahead so well.

Speaker 6 (22:16):
I was also going to say, don't forget. This is
also right around when cameras started being in four K.

Speaker 4 (22:24):
We show on film.

Speaker 5 (22:26):
Yeah, that's true.

Speaker 6 (22:26):
Film softens things like prosthetics, which you need in film
and television, and going to you know this crazy hyper
focused digital like oh my god, you know probably TMI.
But I when Austin and I did that scene in
the car, thank god, I was very swayed by the emotion.
When I first got in the car, I was like,

(22:46):
that's a great period breakout.

Speaker 4 (22:48):
I have like up my chin in the side of
my face and I.

Speaker 5 (22:51):
Didn't even notice.

Speaker 6 (22:52):
Oh, it's like you can see every pore on everyone's face.

Speaker 4 (22:56):
Nobody needs that.

Speaker 6 (22:57):
Whoever invented the four K camera, please put the genie
back in the bottle, Like, it's.

Speaker 5 (23:03):
Not good for me to do miss film.

Speaker 6 (23:05):
I miss it, and it really makes depending on the light,
it makes the prosthetics look so obviously prosthetic that you
can see, like the silicone tape pulling his skin around.

Speaker 4 (23:18):
I don't know, it's not.

Speaker 5 (23:19):
Yeah, nobody had figured out how to make it. There's
just different, different skill sets needed for that level of film.

Speaker 1 (23:26):
Real quick, going back to that scene with Julian in
the car, did either of you think, because I didn't
remember the scene at all, at the top of the scene,
did either of you think he was in the garage
letting the car just run? Yep?

Speaker 5 (23:40):
I did, but I didn't think he was suicidal at all.
I just thought, this is so strange. Why did no
one catch that he's in the garage with the car
running in that? That's a really terrible idea.

Speaker 1 (23:49):
Was it supposed to be in front of the house
and that was the garage door behind you? Because it
sure seemed like it was an interior location.

Speaker 5 (23:55):
I still think that was in the garage, wasn't it.

Speaker 6 (23:57):
It looked interior. I think he was. I think he
was running the battery but not the engine.

Speaker 1 (24:07):
Yeah, don't you have to run the engine for AC
and he.

Speaker 5 (24:10):
I don't know, I don't think. So.

Speaker 1 (24:12):
Let's pretend you don't, okay, otherwise it's weird that then
you get in the car and also don't turn it off,
And I was like, what we do there? Gang?

Speaker 6 (24:22):
Yeah, you know what was really interesting.

Speaker 4 (24:25):
As much as I was like this looks this looks dark, as.

Speaker 6 (24:28):
Soon as he said I can only get it up
to eighty four degrees, immediately all of that was gone
for me. And I was so heartbroken for him. Yeah,
so bless that disbelief.

Speaker 5 (24:43):
I love that choice that Nikki made to put him
in that situation. That is so you know, the way
that when you know you've done something wrong and you
know you didn't do it on purpose, no, or maybe
he did whatever, and but now you're you're in remorse,

(25:04):
the thing that the very natural thing to do. Well,
I guess there's two things that people do. Either you
just try and ignore it and push it away and
like pretend it didn't happen, or you really want to
understand the weight of what you did so that you
can either never do it again. Or it's some sort
of self punishment because you feel like you have to
you deserve some kind of punishment. There's like a penance,

(25:27):
Like what can I do to make up for the
fact that I made this bad choice. How do I
write it? How do I fix it? And you know
upright the boat, I just I thought that was such
an interesting, really smart, unexpected thing to see him sitting
in that car trying to feel the heat.

Speaker 1 (25:47):
And I don't even think that it's I would go
even further with what you're saying, Joy, I don't think
it's him even trying to understand. I think it's just
it's self flagulation, it's punishment. Yes, he's so upset with himself,
and I think we see that in the scene when
the mechanic goes windows fixed like it never happened. And
even though it's a tadramatic, I completely understood the moment

(26:10):
of him just smash, ain't going it emotionless, fix it again,
because I've been in that place where I've made it
like I've really screwed up, and the unhealed part of
my brain all it wants to do is be like,
you fucking piece of shit. You deserve to be punished.
So it's sort of that that like, I deserve it, Yeah,
break it, do it again. I suck.

Speaker 5 (26:29):
I deserve this because.

Speaker 6 (26:31):
When you're when you're pierced by shame that way you
almost you almost want to make it worse. It's like
emotional cutting. You know, you think I did this, I
deserve this. And he's sitting in that car not to
alleviate anything, to to feel the thing he can't believe

(26:52):
he inflicted on someone else.

Speaker 4 (26:54):
And it's so it's so human interesting, so tragic.

Speaker 5 (27:00):
As if as if you could try and make up
for whatever was done by either experiencing it yourself or
putting yourself through enough punishment that you absolve yourself of
the crime.

Speaker 4 (27:17):
Yeah, does it ever work?

Speaker 5 (27:20):
I don't know, but I loved seeing him in this,
in this very human, relatable moment.

Speaker 1 (27:27):
Yeah, if you don't mind, I would like to switch
back to the train back. That is the entire dynamic
with Clay's drug dealer, because just to me mean.

Speaker 5 (27:37):
I will kill you and then I will set you
on fire or.

Speaker 1 (27:40):
How about is that a threat? I don't do so
good with threats. And I was like, no, sir, you
don't do so well with threats.

Speaker 5 (27:48):
Well, not so.

Speaker 1 (27:49):
And I just it felt like if you asked someone's
parent who was like a puritan, straight edge lifestyle person
to write a storry about like drugs. It feels like
this is their first pass. Yeah.

Speaker 6 (28:04):
It's like when it's like when you hear a grandparent go,
have they been smoking the pot? Yeah, You're like no, no,
the please stop that.

Speaker 1 (28:13):
It's the facial hair. It's the fact that he's on
a bench that is clearly only made for one to
two people, very awkward thing to put in a public
bend or in a public park. He's on the phone
with a guy named Dimitri saying he's going to take
care of it. All of it was just so stupid
and on the nose. And then the fact that, like again,
this is an opportunity where we made Quinn look like

(28:36):
an idiot because Quinn, first of all, how does she
know where a drug dealers? Because listen, unless you're in
some really really really rough neighborhood, no one is. This
is tree Hill. No one is standing out next to
a tennis court selling drugs to car to dark in
the dark. So, first of all, how did she find them?
Second of all, you make her look this is a
woman who stalked a killer, successfully stalked a killer, and

(28:59):
in this situation, she ran in in shorts and flip
flops and tried to reason with a drug dealer it was,
And then why is Clay sitting there watching him in
his car? Also, Clay gets out why is he immediately sweaty?
He's been sitting in his car? He gets hit once
and as so the fight's literally lasted ten seconds and

(29:21):
Clay is in a full sweat.

Speaker 5 (29:23):
Yeah. Yeah, I mean, look, if we're gonna deal with
a woman who is who is being gas lit and
is trying to feel her way to reality and doesn't
know up from down, and she's making these really bizarre,
erratic decisions because she's lost in this maze that's been
created for her by her boyfriend all of a sudden, Okay,

(29:46):
let's actually look at that and deal with what that
looks like. Don't just suddenly throw a character that has
been super consistent in one way all of a sudden. Yeah,
she's just behaving like a lunatic. We need to understand why.

Speaker 6 (29:58):
Yeah, it's also so much of it makes no sense.
If she's been going around town all night, in the
middle of the night, why isn't she in like a
pair of sweatpants and a ponytail. Yes, like she she
looks like she just stepped out of a photo shoot.
Her hair is perfect, she's in little white Daisy Dukes,
cute sandals that you'd like wear on a date night

(30:22):
to the beach.

Speaker 5 (30:22):
And I'm like, what was anybody reading any of this?

Speaker 4 (30:27):
Like, was any what the whole thing.

Speaker 6 (30:30):
Just feels to your earlier point, Rob, it feels like
an outline. It doesn't feel like the final draft. And
I don't I can't imagine what Nikki was dealing with
in the writer's room. Again, to your point, Joy, she's
a phenomenal writer. We all know what they were up against,

(30:50):
even though we don't know the day to day details, like.

Speaker 5 (30:52):
But especially the women in that writer's room, well, what
they were up against exactly. There's only so many battles
you can fight.

Speaker 6 (30:58):
And the whole thing is just it doesn't make sense,
I will say, to pull back and think about the
reality of it. I realized so quickly watching all you boys,
you sweet, wonderful good sports, I was like, oh, right,
fourth episode, season nine, we went back top of July,
it was August. It was probably one hundred and ten degrees,

(31:21):
and every time Rob I saw you or Paul or Austin,
any of you would turn to walk out of a
scene your whole back would just be sweat through, And
I was like, oh my god, these sweet angels. And
I flashed back to like, you know, wardrobe putting the
fans under your shirts, trying to dry the front before
they'd do another take. Yeah, I like you poor dudes

(31:44):
in your genes. Of course, you know, nobody else wanted
to wear long pants, so maybe.

Speaker 1 (31:48):
The sweating wasn't a Clay issue. Perhaps that was just
a rob in an one hundred degree heat with humidity issue.

Speaker 4 (31:54):
Everybody's wedding to be read, all of you.

Speaker 1 (31:56):
I just my One of my favorite notes from this
episode is just you don't wear flip flops to a shakedown.

Speaker 5 (32:04):
I think that's the title of this episode.

Speaker 7 (32:06):
By the way.

Speaker 1 (32:22):
Okay, listen, there was also a lot of great in
this episode, so we can move on. We can all
acknowledge that was a very weird detour. Hopefully it ends well.

Speaker 5 (32:31):
We also should talk about Dan drowning Clay again.

Speaker 1 (32:34):
Amazing though, Can we talk about Clay's utter lack of
peripheral vision? Are you telling me that? After? Okay, first
of all, what in the Charlie Brown walk is this right?
Just have my head down walking forward.

Speaker 6 (32:48):
Shoes on the beach at least they're not Oxford's. But
you're wearing laced up converse in the wet.

Speaker 1 (32:54):
Sand and guys, I'm in front of my house. I
could have Why have I not taking off my shoes
backed my house? Like it makes literally no sense. And
then again, so after you get drowned once, I think
you would tend to just keep your head up more often.
But my note is what looks like it's time for
Clay's yearly drowning courtesy of Dan Scott. Yeah, and then

(33:15):
of the best part though, is that the whole drowning
happens and Quinn's just standing there.

Speaker 5 (33:21):
Yeah, she's not running up, She's not like, get off him,
what are you doing? You crazy man that won't leave
my family alone. She just stands there as though she
could hear from the beast with the waves and all
of the screaming.

Speaker 6 (33:36):
And that's what they're suggesting, because then it's a direct
cut to the two of you on your staircase, where,
to be clear, you would have left your converse because
you have a staircase from your house onto the sand
and you're sitting there and she's like, why didn't you
tell me you don't remember, and it's like, so she
managed to get up there. Listen to the whole conversation
you were having with Dan Scott for the details, but not.

Speaker 4 (33:59):
Say don't drowned my man's Like, it was so strange.

Speaker 1 (34:06):
It would have been amazing if that scene had right
as it started the Dan grabs Clay, if we had
just cut to Quinn and just stayed on her and
only heard Dan and Clay in the background, just so
we could see what was happening. And Quinn's had that
entire time, like, wait, what's he saying? Do I stop him?
What was that?

Speaker 4 (34:27):
Wait a second?

Speaker 5 (34:27):
Maybe he needs this, this is good for actually I
need to know this.

Speaker 4 (34:30):
It would great. Oh my god. Yeah.

Speaker 5 (34:34):
I just had to mention that because that was really like, Wow,
he just keeps showing up to shove you in the water.

Speaker 6 (34:40):
I loved you two together though. I loved how visceral
and angry he was, and it felt like it built
off of his granted, ridiculously set but serious scene with
said drug dealer and you guys have this you know, connection,
and he's screaming about his son and his family and

(35:01):
his grandchild and all the things and gets you to
admit something that you haven't been willing to admit to
anyone else. And as silly as some of the surrounding
circumstances were, you guys grounded it in something that I
really enjoyed watching. I know you hate this in the
same way me or Joy would have hated it and

(35:22):
have hated certain storylines of ours, to be clear, but
like you still, even though you said earlier you had
no idea what you were supposed to be doing, Like,
you did some really interesting stuff with this Rob and.

Speaker 5 (35:36):
I yeah, it's good for your real I mean, out
of all of it. Yeah, it's like as your friend
and like, God, give him better shit.

Speaker 4 (35:43):
And then on the other side, I'm like.

Speaker 6 (35:44):
He's really doing some interesting stuff, even in this crazy container,
Like you're beautiful to watch.

Speaker 1 (35:52):
Thank you for saying that. I will say that that scene.
First of all, I always loved working with Paul because
he shook me out of my comforts. I think I
talked about this direct and I was very grateful for that.
But the other reason was, you know you always talk
about like what is the intention you're playing or what's
the subtext? Truly, I liked this scene because I the

(36:15):
words matched very closely to what I was feeling in
real life, which was what the hell am I doing?
I genuinely don't know what's going on?

Speaker 5 (36:24):
Yeah, how you finally get to acknowledge it?

Speaker 1 (36:26):
So the words ran very parallel to how I was
feeling about Clay's storyline, and so it was just a
really easy thing to tap into because I was genuinely
going like, I don't know what's happening with my character.
I don't know what's going on.

Speaker 5 (36:38):
Yeah, you got good? Yeah, well, and that's why I
guess on the stairs when you were talking with Chantelle
that it felt so real and dropped in. I loved it.
I loved that the way that you were talking with her,
it was like you finally got to admit that none
of this makes any sense and hopefully soon there will

(36:58):
be a resolution. Don't have to keep doing this.

Speaker 1 (37:01):
We also had the first appearance of Clay's therapist, Yeah yeah,
which David Noarona nor Narnia. I think it is David Ronya,
who's lovely and I know we'll be seeing more of him.
Also had another surprise guest star that I forgot was
on the show until she showed up, and I was like, oh,

(37:21):
that's right. One miss Chelsea Kane yep.

Speaker 5 (37:25):
Oh is did she play Tara? Yeah?

Speaker 4 (37:28):
Yes, she plays not Alex. Who is Tara in the end?

Speaker 1 (37:31):
Yes?

Speaker 5 (37:31):
Wait?

Speaker 4 (37:32):
What that's the whole like gag through the episode is that.

Speaker 5 (37:36):
She calls herself to her not Alex, so no one
knows who she is, okay until the end of it,
that's right.

Speaker 1 (37:45):
I will say we had another moment we talked about
this whatever it was nine oh one, nine oh two,
when it's like it takes like the fact that Haley
hasn't noticed that there's a grand opening of a cafe
that is directly across the street from a window wall windows,
the fact in this episode she's walking out at the

(38:05):
end of a day. It's clearly evening, so the whole
day has passed and is just now noticing a sign
that is the size of a billboard. Yet again, that's
also incorrect. That says Karen's Cafe hires murders, which I'd
also like to come to Karen's Cafe's defense. You've only
hired one, so technically right correct? Correct?

Speaker 5 (38:27):
Also, who in their right mind would go eat at
a place that is openly I don't know what the
right word is whatever openly like bullying their neighbor cafe.
It's just so dumb the whole thing.

Speaker 6 (38:41):
If I were walking up to the corner of Front
and Grace and saw that, I'd be like, I don't
know what this is. I don't want any part of it.
I'd turn around and walk right back to my car. Yeah,
I wouldn't go into either place for sure, Like what
is her deal?

Speaker 5 (38:54):
Why does she have such a bone to pick?

Speaker 4 (38:56):
It's very strange.

Speaker 1 (38:58):
It also makes it feel like this only has two
eateries in it, and this is it, and this is
it because any normal town, if you saw that happening
at a business, you'd be like, that is the most petty,
small time thing I've ever.

Speaker 5 (39:12):
Seen, Like it's so unattracted.

Speaker 1 (39:14):
Are you a couple that broke up? What happened here?

Speaker 5 (39:16):
Yes?

Speaker 1 (39:17):
And then we get inside Karen's cafe later in the episode,
and one of the one of the directions we're shooting
is out to the street and you can't not notice
the sign, which just makes it that much funnier that
for some reason we're gonna like believe Haley hadn't noticed it.

Speaker 5 (39:33):
Yeah, Haley, who's just like seems fun she's just polly
positive for everybody that's walking into her door. She's got
no problems. At no point as she looked out her
window to notice this massive sign.

Speaker 6 (39:44):
It's very strange sign suspended from our reality. I'm just
always really happy to be back in the cafe. Yeah,
it's so it's just such a refreshing place to be.
And there's something that makes me so nostalgic, you know,
our characters being in there with their kids. It's so

(40:07):
freaking sweet. And even I appreciated, even with you know,
Brooke speaking to Haley about what do I do and
how do I trust him? And how do we move
on from this, the fact that they gave us a
little bit of comedic relief with both the babies and
the Bjorns. Yeah, and that we weren't like wallowing in

(40:30):
the back corner. We were still doing things and moving
around and you know, tackling our day. There's something about
Karen's Cafe that adds like a little bit of upbeat
pixie dust to everything, and I love it.

Speaker 1 (40:42):
Yeah. Oh, we desperately needed the interplay between Brooke and
Haley in this episode and in the tone which I
think this is like a kudo to kudos to Nikki
is that rather than having Haley get up in arms
about it, she made the wise choice, which was she
kept you cool as a cucumber and then eventually just

(41:03):
hilarious and petty. Because this episode already had too much
heavy handed stuff that if we had another storyline with that,
especially a storyline where the stakes aren't that big yet
people are reacting big, it would have just been too
much of the same thing. So I love that in
the cafe, Haley's just there, just dispensing good advice, just

(41:24):
like front, left and center. And then one of my
favorite moments of the whole episode though, was when the
two of you go over to the cafe.

Speaker 5 (41:34):
You remember that day.

Speaker 1 (41:35):
You see, so the whole exchange is funny. I mean,
so if you cracked me up twice once when them
the hostess, who was perfect, She looked familiar. Is she
someone she was so?

Speaker 5 (41:45):
Did she work on set? Was she one of our pas?
Maybe that they gave some speaking lines too, because she
definitely was around more than she.

Speaker 1 (41:53):
Looked familiar to me about it, I couldn't place her,
but she was perfect in the role, absolutely unaffected by
you guys, And when she offers the mini muffin and
you say something to the effect of no, I don't
want any dried up dog turns or something like that.
I cracked up. But then the best part was when
you turned on the strong Mama Brooke energy and you

(42:14):
told the boys to drop their forks.

Speaker 5 (42:16):
I loved it.

Speaker 1 (42:17):
And in that moment you see them go from men
to boys because you put the fear of God into them,
they drop their forks and leave. Was so perfect.

Speaker 4 (42:26):
Oh thanks, Perl.

Speaker 6 (42:28):
You know what I loved about it? Is it the counter.
It's high school Brook and Haley. It's Brooke getting really
like I get it. You know, She's like about you
go on a rant and Haley's like, nope, We're not
doing this. And then she gets to direct the energy
at the boys and it is like the full mam
of air and it Oh god, it was so fun
to get to play that stuff, especially with the stroller, like.

Speaker 4 (42:51):
Let's go just push the babies. It's ridiculous and I
loved it.

Speaker 1 (42:57):
It was that was all so good. The stuff is
speaking of food the last so first of all, two
weird things with food, the over correction by mouth. Once
he has had time to think about it all you know,
weigh it from Milly's point of view, the fact that
they go to the restaurant and it's just so heavy handed,
where the waiters like the chef has prepared a truffle

(43:19):
butter and lard sauce for you, starch and and he goes, no,
I'll have a house salad, no dressing. I'm like, guy, listen,
if you just eat a salad, you don't have to
be like, come.

Speaker 4 (43:33):
On, you can eat and some chicken. You're okay? Yeah's
good for you.

Speaker 1 (43:38):
And then bless her heart because I know she's just
doing it to be a team player. The fact that
Milly goes, I'll have the same It's like, Millie, you
don't hate yourself?

Speaker 4 (43:47):
Why no?

Speaker 5 (43:48):
Also, you don't have any weight to lose?

Speaker 1 (43:49):
Bag No, Yes, it's just But then the end of
the episode that for their storyline at least when mouth
opens the freezer freezer and you know what it felt like.
Did you ever watch that movie Flight with Denzel Washington.
He played the pilot who had the drinking And there's
that whole thing at the end where the like the

(44:10):
mini bottle is like sitting on the counter and it's
just him looking at it. And then eventually he swipes it.
I felt like they were trying to do a similar
thing with like Hoggin DAW's bars with Mouth. Yeah, he's
like looking and he's debating, and he closes it, and
he opens it and grabs a box. I'm like, why
are we trying to treat this as a drama this storyline?

Speaker 6 (44:31):
Also, they keep infusing it with shame in a way
that I'm just like, why is this the angle? If
this is the storyline, why does it have to be
this thing?

Speaker 5 (44:44):
Yeah, it's just it's lazy. There's no other word for it.
I mean, yes, they were in a room, somebody said
let's have Mouth gain a bunch of weight, and yeah,
for some reason, nobody was either allowed to argue it
or no one did, and it just got stuck on
the board. The weird thing is.

Speaker 6 (45:01):
You see them make other better choices, like when Chase
is going down the bar from Mouth to Clay to.

Speaker 5 (45:09):
Julian, Oh yeah, I forgot about that, and then shifts.

Speaker 6 (45:12):
Back in the other direction and realizes everybody's in the
midst of some problems. That's great writing. I want to
see you guys in that scene. I want to see
you figuring out your stuff together. It works just as
well as it did when it was Clay, Nathan and
Kellerman and Chase. And it's like, give us more of

(45:32):
that and less of the weird. Let's shame people and
make them seem weak in the middle of the night
with ice cream.

Speaker 4 (45:40):
It's just strange.

Speaker 5 (45:42):
Yeah.

Speaker 1 (45:43):
And also it's happened again where we have it wasn't
quite the coda yet, but we have the same song
playing over essentially three vignettes. One Julian he could have
taken his child's life, and he is in immense pain.
Clay is genuinely losing his mind and about to go

(46:04):
to a mental hospital. Mouth really wants an ice cream
sandwich at ten pm. Again, you can't put the ice
cream sandwich in between the other two storylines with the
same music and not having me go the what is
that doing here?

Speaker 5 (46:20):
What?

Speaker 7 (46:20):
Yeah?

Speaker 1 (46:21):
What change the music? Put it in a different spot.

Speaker 5 (46:24):
It's not correct. It's not correct.

Speaker 6 (46:26):
It's so so bad it's not correct.

Speaker 5 (46:31):
And then we have Dan, who we have to talk
about because he's doing his Dan thing. He's bouncing around
to everybody's storyline, interfering into inserting himself and this look
that he gives Nathan's car drives away. By the way,
I'm fully on board with your theory now that he's
the one that sets up all this.

Speaker 6 (46:52):
The Russians and the drug dealer and the drug dealers
on the phone with a guy named Dimitri, I'm.

Speaker 5 (46:58):
Like, rkay, Yeah, I think for sure Dan has set
this whole thing, especially because he looks at Haley and
he goes She's like you gotta go, basically like so okay,
back your stuff and get out of here, and he's like,
I'll go as soon as he gets home, or as
gets back once he gets here.

Speaker 1 (47:15):
Yeah.

Speaker 5 (47:16):
I was so pointed the way he said it. I
was like, oh, he knows. Oh, he's totally set this up.

Speaker 4 (47:22):
And did you catch.

Speaker 6 (47:23):
She comes outside to find him. She's clearly walked around
the house, doesn't know where he is. He is sitting
on that chair overlooking the pool and the lawn and
the dock and the river like a king surveying his castle, drinking.

Speaker 1 (47:39):
Another man's scotch. That's a guy with a plan. I
was so excited to talk about this with you because
when I saw that scene, I was I almost text
you to be like, hey, hey, did you get were
you thinking of me this one put on a chinfoil
hat with me because after that moment and then for
some reason I thought he got abducted in you. So

(48:00):
once I realized we were back in the Wilmington airport
for that scene, obviously airport, it's this is a wrap.

Speaker 5 (48:06):
This is one hundred percent Dan, Yes, one hundred percent.

Speaker 4 (48:11):
And they've given you just enough of.

Speaker 6 (48:14):
A connection with Dan earlier in the day yelling at
the drug dealer about his family, my grandson plays in
this park to.

Speaker 4 (48:22):
Give him the plausible deniability.

Speaker 6 (48:24):
That he pissed off the same guy who pulled a
gun on Clay and Quinn. But it's like, did he
piss him off or did he did he maybe make
a deal?

Speaker 5 (48:33):
I do not know, but I can't wait to find out.
But that look he gave when when the car drove
off as Nathan, Wait, wasn't Nathan driving away? Who was it?

Speaker 1 (48:42):
It was? It was Nathan getting in his car to
go to the airport.

Speaker 5 (48:44):
Yeah, yeah, that look that he.

Speaker 1 (48:46):
Said, don't worry, I'm gonna I'm not going anywhere.

Speaker 5 (48:49):
Yeah.

Speaker 1 (48:51):
Also it was out of character because this whole time
Dan has been very hat in hand, sweet and gracious,
with Haley. He has been towing a line for sure,
and there was a very big energetic shift because she
clearly was coming out going. The subtext was all right, Bud,

(49:11):
it's your time to hit the bricks.

Speaker 5 (49:13):
Yeah, I gave you your chance. Yeah, it did a
nice thing. Okay, thank you, Yeah, now good bye.

Speaker 1 (49:18):
And so everything he's up to this point would dictate
that he would be like absolutely, yeah, gone, but like
make it weird. So so the fact was he dismissed you. Yeah,
and like I said, in a knowing way, said I'll
leave when he gets here. And he's drinking the scotch,
clearly in no rush.

Speaker 6 (49:33):
He looks like he's holding in a smirk when he's
drinking that scush. He swirled the ice cube around and
he just looks like he's loving it.

Speaker 1 (49:43):
It's a man with the secret.

Speaker 6 (49:46):
And it made me think about the beginning when Dan
and Jamie are making s'mores and Jamie asks, did you.

Speaker 4 (49:56):
Guys ever go camping?

Speaker 6 (49:57):
Talking about Nathan, and Dan kind of grins at him
like and he goes, we never got the chance.

Speaker 5 (50:05):
Wait, and I'm not getting it, he.

Speaker 6 (50:07):
Kind of I literally, after I watched the Scotch scene,
I rewound to the s'more scene because I was like, wait,
is he making a hint of the same face, And
it feels if you go back and watch it, it
feels like he's saying something to Jamie like I never
got the chance with Nathan, but I'm making up for

(50:28):
it now, like I'm getting all my chances back with you.
It's like I really started in the in the tinfoil
halfway to be like, oh my god, if Dan is
the architect of all of this, it's like he's having
that thought that he can he can relive his failed
fatherhood with his grandson. The only person in the way

(50:51):
is the Sun.

Speaker 5 (50:53):
And actually, this what makes sense about him orchestrating this
whole thing with Nathan too, is so he's rescued the Sun.
He saved Nathan's reputation, but it still wasn't enough. So
the fact that the only thing left for Dan to
do in order to gain Nathan's confidence would be too

(51:15):
save Nathan, because that's the only thing that would actually
make him perhaps grateful enough to keep him around.

Speaker 1 (51:22):
And let's not forget. In nine oh one, at two
different points, the line is repeated about that hell is
empty and the devils are here on Earth, and both
times they said that Dan Scott was in the shot.

Speaker 5 (51:36):
Yes, oh I didn't notice that.

Speaker 1 (51:39):
Yes, okay, I gotta tell you what this tinfoil hats
starting to feel good? You guys.

Speaker 4 (51:44):
I like it.

Speaker 5 (51:44):
I like you you guys.

Speaker 4 (51:45):
Is this how people wind up becoming conspiracy there?

Speaker 5 (51:48):
I think it is.

Speaker 1 (51:49):
This rabbit hole is warm and cozy. I get it.

Speaker 6 (51:51):
Yeah, this is how you cut to four am on
Reddit just like this be true?

Speaker 1 (51:57):
You know what's funny? Though I looked, we posted I
think think the something about us talking like I think
me pitching one of my little theories about Dan, and
I was surprised because one of us post said I
looked at the commons and they were like. The first
five were oh, like I agree, or I thought the
same thing. I was like, oh, I thought of people
were going to be coming in to be like you
idiot actually disprove it and said. Everyone was like, yeah, man, tracks,

(52:19):
so we might be onto something.

Speaker 5 (52:21):
Maybe we never find out. I don't even know. I
don't remember. I don't either, which feels fun. Well, what's next?
I mean, okay, so now we've got Clays checking into
the facility for to give some help.

Speaker 1 (52:32):
That facility is the same hospital that Clay and Quinn
walked out of post getting shown.

Speaker 4 (52:37):
Yeah, you know what it is.

Speaker 5 (52:37):
There's only one medical facility in Olive Tree Hill. They
handle everything.

Speaker 1 (52:42):
I think they put a new sign on it, but
that is very much the same entrance that we left
when we got healthy.

Speaker 5 (52:49):
Yeah, they handle everything. Okay, So Clay is checking into
a facility. Broke and Julian are okay, babies are okay.
So we're moving on from that. Mouth is going to
start using weight. So resolving that storyline, I hope fast.
And what else is left? Oh oh, so we've got
the cafe stuff that's still going on, and we've got's

(53:11):
going to go missing.

Speaker 1 (53:12):
Oh and just let's just quickly say how great the
scene was with you guys bringing babies to a prank
in real time when you went up and.

Speaker 5 (53:21):
Stroll that was so cute.

Speaker 1 (53:24):
And then the fact that you guys ran again talking
about you being teenage Brooke and Haley, the fact that
it was basically like you got busted and so you
except this time you had to grab a stroller full
of children and run. Yeah, it was so funny.

Speaker 4 (53:37):
It's like getting caught toilet paper in a house.

Speaker 5 (53:40):
Yeah, but I kind of wish that they had put
us in black catsuits like they did with Karen and Deb.
Remember when they went up on the billboard Dan's billboard, Yes.

Speaker 4 (53:49):
And then me and Daniel in the school.

Speaker 5 (53:51):
Yeah, that's right. I know. It would have been so
fun to do that callback because we're like like the
Karen and Deb of the situation. Yes, but yeah, it was.
That was a really cute little stunt.

Speaker 6 (54:01):
What also would have been really great and believable because obviously,
Brooke Davis, I just think would never get rid of anything.
If I was back in my high school catsuit and
you were in Rachel's and it was like you just
had these and it's like I've had them since senior year,
you know, like I can't believe you're still making me
put on costumes.

Speaker 5 (54:20):
I'm doing it just for you.

Speaker 4 (54:21):
It would have been so cute.

Speaker 1 (54:23):
Also, you're missed to not say that Stephen Clettie's very funny.

Speaker 4 (54:28):
He's very he is.

Speaker 5 (54:29):
I really appreciated its comic timing in this too.

Speaker 1 (54:32):
Yeah. Also, just you can't miss the moments of when
like just you so feel our boss in a script,
when it's like eleven times. I'm like it's so gross.

Speaker 6 (54:45):
I'm also like, really you think women behave like them? Okay,
and this girl's going to sit there and be like, yeah,
how's her ass?

Speaker 4 (54:53):
Like what?

Speaker 5 (54:54):
So it's boring.

Speaker 1 (54:56):
Thank god for Stephen though, because he was funny in
the midst of that, and then of course Tyler is
just so freaking funny as Chris Keller. So thankfully those
two kind of buoyed it. Yes, but the context was
wah wah, it was not great.

Speaker 6 (55:13):
And then I'm like, okay, and then this like wildly
beautiful party girl is the mystery owner of the cafe
next door. It's so so set up, so silly. But
to your point, Stephen and Tyler are both such great
actors in terms of their comedic timing, and Chelsea was

(55:35):
such a good sport and I think, you know, the
behind the scenes reality that she was actually Steven's girlfriend. Yeah,
let them like they It gave them a little bit
of like a spice playing with each other that was
probably really fun for them in real time where they
could laugh. And I would hope that Chelsea didn't feel

(55:56):
exploited in the way the character was and was like
this is so insane and diculous, and I'm having fun
at work with my boyfriend, so fingers crossed because ugh,
our boss is all over it, and I hate it
for all of them, but I'm impressed with their talent.

Speaker 1 (56:23):
So our fan question is actually perfect because this was
going to be the last thing from my notes I
want to bring up. So let's just read the question.
It's from Taylor.

Speaker 4 (56:30):
Oh yeah.

Speaker 1 (56:31):
Taylor asks, is it true that Joy ad lived that
line to Julian about when Jamie fell in the pool?
How often were you able to add lib or change
your character's lines or the director's more lenient in the
final season, because when you told that story to Julian,
that was in my notes where I was like, Oh,
is this is this something we're just ret conning that
we've never seen, or is this an actual moment from

(56:52):
one through six that I just missed.

Speaker 5 (56:55):
It is an actual moment that happened, and my memory
is a little fuzzy, and it was ad libd I
do remember, but I don't. What I don't remember is
if it was in the script and I just didn't
the words weren't really coming out of my mouth the
right way. So I just was like I'm just gonna
put this script away and I'm going to tell you
this story and that's what we'll use, or if I

(57:21):
think it might have been a little bit more vague,
like Haley saying, you know, parents make mistakes and that's
part of parenthood. It's what we do all the time.
And I was like, wait, wait a second, we like
my kid almost died and it was our fault too, Like,
let me share that story with him. Yeah. So I
don't remember which it was, but yeah, either way, it

(57:43):
whatever was on the page didn't make enough sense for me,
and it made the scene feel I think I was
as I said, you know, Haley was polly positive for
everybody in the episode, but this needed to be a
lot more grounded and real.

Speaker 6 (57:59):
Yeah, And it was such a I mean as a viewer,
you know, because this is a scene that happened rob
after we did our time jump, and it was so
awful and the time in between seeing what was happening
and watching Haley and Nathan in this terrible place in
their marriage and the fighting and they were so good

(58:20):
in the scene, and then you realize that this thing
has happened in the backyard with the little boy, like was.
It was such a tortuous, well done thing in the
episode where they you know, they drew it out and
you're waiting and you're trying to figure out what's going
to happen. It's such a core memory. I think for
so many people who went through this journey of the

(58:41):
whole show with us, that it was such an important
thing not only to call back to, but to have
Haley be able to offer in a way that nobody.

Speaker 4 (58:51):
Else could to Julian in this moment. It's so.

Speaker 6 (58:56):
It was so just like special and it you could
tell that for him it was like medicine.

Speaker 5 (59:03):
Yeah, there's no other character, I think, as you said, yeah,
there's another character that could have met him on that level,
with that experience.

Speaker 6 (59:13):
And I think there was something really profound in it too.
I love that the choice. I mean, granted, obviously the
storyline is that Nathan is in Europe, but I love
the choice that it's Haley who tells Julian because whether
or not it should be true, you know, culturally, there
is this thing of like moms always know best, and

(59:38):
he is saying like I can't blame her, and it's
her dream and it's her experience. These babies are her
miracle and for a mom to be like, but I've
done it too, it's sort of defangs that I failed
as a father thing in a way that I don't
know if it would have had the same impact if

(59:59):
it had been too of the always.

Speaker 5 (01:00:00):
Talking and yeah, it's a great point.

Speaker 6 (01:00:02):
It's so it was like really special to watch you
guys have that moment in your friendship too.

Speaker 1 (01:00:08):
It's and I think it's such an act of compassion
when someone is going through something like that to just
sort of hit them with me too, because often when
you are going to experience, the easy way to sort
of process it is it's like I'm a failure. I'm
the only one who does this. It's it's very isolating.
You know, other people wouldn't make this mistake. And so

(01:00:29):
when someone that you're confiding and goes, oh, yeah, yeah,
me too, I've done the same thing. Yeah, it really
kind of can help take the pressure out of the situation.
And I think it's just, you know, because in doing so,
you're getting vulnerable, and you're also you're caring more about
the other person's feelings than you are their opinion of you. Yeah,

(01:00:51):
you're trying to keep up sort of a facade of
like I've got my shit down, yeah.

Speaker 5 (01:00:55):
Or avoiding your own shame. Yeah, you just open it it,
opening it all up.

Speaker 1 (01:01:01):
And as far as the ad libbing Taylor, I don't.
First of all, the directors aren't the ones who got
to choose that, because the directors were just guns for
hire or us. For the most part, it would have
been the onset producer that we would have asked, like
a Greg Prange type. I would never made big changes.
I would sometimes just have say things that it would
fit my mouth better, and I think they were always
pretty cool with it. How about what was your guys's

(01:01:22):
recollection of that?

Speaker 5 (01:01:24):
Yeah, I did. I was. I feel like I probably
changed more lines than anybody. I mean, I'll be honest,
sometimes for better, sometimes for worse. I was pretty stubborn
and didn't you know, have a wide breadth of professional

(01:01:46):
slash emotional literacy to know how to communicate a lot
of that in a way that I think was that
could have made it feel more like teamwork. So I
just was like, look, this is what it makes how
it makes sense to me, So I'm going to change it.
Usually I expected if somebody else had if it was
affecting another actor. They would just say like, actually, that

(01:02:08):
doesn't work for me because then it messes up my
queue line. And then it's like, oh, okay, well fine,
let's try and figure it out. But not everyone always
would so anyway, this feels like we're going to get
into a bottle of wine. But basically, I, yes, I
did change a lot of lines. I sometimes it was
better than others, and I think this is one of

(01:02:30):
the cases where it probably turned out really well.

Speaker 4 (01:02:32):
Yeah. I would say.

Speaker 6 (01:02:38):
There were definitely periods where we were told we weren't
allowed to do that, and I think there were times
where things were a little more lenient.

Speaker 4 (01:02:48):
You know.

Speaker 6 (01:02:48):
I certainly would would say reflecting, yeah, were we doing
that Season one?

Speaker 4 (01:02:54):
Probably not, you might have been.

Speaker 6 (01:02:56):
I don't know, but I think, you know, the longer
down the line we were in this world, if we
really felt convicted about something, yeah, sometimes you'd get in
trouble for it, and sometimes begrudgingly someone would say like,
that was a really good choice you made. You'd be like,
thank you, thank you for saying that.

Speaker 5 (01:03:17):
What just to kind of counterbalance a little bit of
what I was saying, Because there is an element of
this that you know, we we didn't have a lot
of people to trust. There weren't a lot of people
that we really felt we could trust that like had
our character's best interests at heart. I mean, case in
point with what we're talking about with Clay's character, And yeah,
how kind of bizarre some of these choices were. So

(01:03:37):
sometimes I think we would fight for changing things in
the script because we only thought we could trust ourselves.
We just were like, I don't A lot of times
it seemed like a director would come up and just say, oh,
just try it, just do it one way as script did,
just once, just so we have it and make everybody
in La happy. But then you know, we'll use the

(01:03:58):
take that you want and never did, And so then
he just starts feeling like, look, I'm the only one
that's got my back, and that's I'm the only one
that's got Haley's back totally. So when you're a little
paranoid like that, like no, you can't trust anybody else,
you feel like you have to really be a stick
in the mud about what you're seeing because there isn't
much collaboration invited. So there was a big there was

(01:04:21):
a big tug of war with that well.

Speaker 4 (01:04:23):
To Rob's opening point of the show.

Speaker 6 (01:04:26):
It's very gray, it's not black and white, and I
wouldn't I would not have wanted to see that scene
at the end of the night in Karen's Cafe between
Haley and Julian in any different way to what it
is on screen, because you both hit it perfectly on
the head I very much, you know, to back up

(01:04:47):
what you're saying, I feel that same level of conviction,
and I felt it when we got the script for
Brook's wedding.

Speaker 4 (01:04:52):
And I know I told this story.

Speaker 6 (01:04:54):
Last year, but can you imagine if Brooke and Julian
had had a repeat after me I broke Davis do take,
You'd be like, I'm sorry, I've waited eight years to
see this character get her happy ending, and she's doing.

Speaker 8 (01:05:07):
Call and response, Yeah, wedding lines like us us doing
vows with humor and eight seasons of story Master.

Speaker 5 (01:05:18):
The audience has been waiting for.

Speaker 4 (01:05:19):
It's what they'd been waiting.

Speaker 5 (01:05:20):
Yes, you have to look out for them, yes.

Speaker 6 (01:05:23):
And so yeah, I'm sure sometimes you know, somebody was
like all these actors pangs and asses, and then it's
like sometimes sometimes we were right.

Speaker 5 (01:05:33):
Yeah, exactly it's like sometimes you're stubborn and it doesn't work.
But you're like, well, if I had somebody safe to
talk to and to like collaborate with all this stuff,
then I wouldn't feel like I constantly had to only
believe in my own perspective of things. So strange.

Speaker 1 (01:05:46):
Yeah, it also, it only takes one actor who doesn't
know how to do it responsibly to ruin it for everyone.

Speaker 4 (01:05:53):
That part.

Speaker 1 (01:05:54):
I worked on a show with a guy who did
not know the rules of this, and so he would
just like come into a scene and be like, yeah,
we were just at the bar that went to the whorehouse,
and everyone's like, your your character was in a board
meet what Like. He didn't know that, like his ad
libs had to actually track with the story. And so
then the next day we got a directive that was like,

(01:06:15):
no one can change lines. I was like, oh, thanks buddy,
thanks for that. Yeah, I'm glad you tried to make
your character look cool. Now none of us can change dialogue.

Speaker 4 (01:06:27):
Oh god, turn it around. Turn it around.

Speaker 6 (01:06:35):
Also, while the wheel is spinning, can we just give
it's not an honorable mention? Perhaps it's a dated bit
of laughter to the Frogger style tracker than Jamie's watching
of Nathan's point.

Speaker 5 (01:06:49):
Oh my gosh, this is so cute. It's like computer one.

Speaker 4 (01:06:52):
Oh, it was great.

Speaker 5 (01:06:54):
Most likely to accidentally go viral for something embarrassing my.

Speaker 1 (01:07:00):
Knee jerk is you were me joy I I think
it would be different. Though mine would be embarrassing because
I didn't realize it was embarrassing, but I chose to
do it. Yours would be embarrassing because you had a
joy moment and like you just completely spaced, like akin
to leaving a laptop on an airplane type of thing,

(01:07:21):
you know what I mean, like one of those yetes.

Speaker 5 (01:07:23):
Yeah, yeah, I just walked out of the house without
my pants on or something. It doesn't happen, but.

Speaker 4 (01:07:28):
Or got on a plane and went to the wrong city.

Speaker 5 (01:07:32):
Oh yeah, I don't know what character. What character is
most likely?

Speaker 1 (01:07:42):
I feel like right now Clay is I don't know
how he has recorded doing something that.

Speaker 6 (01:07:51):
Yeah, that makes me feel sort of sad. The thing
that came to mind for me, which made me laugh
is it would probably be Chris Keller, and then he
would it thank you golviral by accident for doing something
so stupid and be like, this is awesome.

Speaker 4 (01:08:07):
Chris Keller likes it.

Speaker 5 (01:08:10):
Yeah, he'd just make millions off of it. Yeah, however
he managed to turn it around. He'd buy a T shirt.
He'd have a T shirt made with like the image
of something stupid and sell.

Speaker 1 (01:08:19):
It all right, Kang, thanks for tuning in. Next week
we have season nine, episode five, The Killing Moon.

Speaker 6 (01:08:28):
Ooh oohs coming around the corner, bute.

Speaker 5 (01:08:33):
Hey, thanks for listening.

Speaker 4 (01:08:34):
Don't forget to leave us a review.

Speaker 6 (01:08:36):
You can also follow us on Instagram at Drama Queen's ot.

Speaker 5 (01:08:39):
H or email us at Drama Queens at iHeartRadio dot com.
See you next time.

Speaker 7 (01:08:47):
We all about that.

Speaker 4 (01:08:48):
High school drama.

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Girl Drama Girl, all about.

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Them high school queens. We'll take you for a ride
and our comic girl sharing for the right tea Drama
Queens girls, and with your tough girl, you could sit

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With us Girl Drama Queens, Drama, Queens, Drama, Queens, Drama Drama,
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