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May 13, 2024 56 mins

The Drama Queens admit that in watching the show back, they've become fans of certain characters and storylines some of which peak in this episode! , find out which OTH couples they are stans of

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Episode Transcript

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

Speaker 2 (00:02):
We all about that high school drama. Girl drama girl,
all about them high school queens. We'll take you for
a ride. And our comic girl cheering for the right team.

Speaker 3 (00:12):
Drama Queens jays.

Speaker 2 (00:14):
Go up girl fashion, but your tough girl, you could
sit with us.

Speaker 1 (00:17):
Girl Drama, Queens Drama, Queense Drama, Queens Drama, Drama, Queens Drama, Queens.

Speaker 2 (00:26):
Well, hi everyone, you have me and Sophia today.

Speaker 3 (00:30):
Hey, there, Hi, their team.

Speaker 2 (00:31):
We are looking at season six, episode twenty I would
for you, Air day, April twentieth, two thousand and nine. Gosh,
this is a big one. There's a lot of opening
doors for a lot of new things we have. When
Peyton's pregnancy is threatened, Lucas struggles to pick up the pieces,
while Victoria returns to lure Brook back to close over Burrows.

(00:52):
So much to talk about there, Hayley and Nathan clash
over the decision to pull Jamie from his school, and
Marvin tries to mend fence with Millicent and our friend.
Pete Kowalski directed this, written by Chris Armstrong and Brian Garcia.
Oh my gosh, Okay, there was so much in this episode.

Speaker 3 (01:11):
There was a lot in this episode and I liked it.
There was a lot that I really thought was great.
I'm bummed Hill's not with us today because we're working
around these crazy schedules. I'm off on location doing a
movie and her son is in like a major series
of meats for the sport he plays. I don't know
if they've really talked about that yet, so yeah, i'll

(01:32):
be vague just in case. But so exciting. And you
just got back from your movie. I'm amazed we're getting
on these zooms at all. But we're figuring it out,
you guys.

Speaker 2 (01:40):
We're figuring it out. We really are. I was a
judge this morning at this middle school science fair.

Speaker 3 (01:47):
And right after we do this episode, I have to
go to do some choreography rehearsal for a big stunt
sequence we're doing on this movie. And life is wild.

Speaker 2 (01:58):
But when you said choreography, I was like, it's Sofia
doing a music I'm so jealous, what is it?

Speaker 1 (02:03):
God?

Speaker 3 (02:03):
I would like to at some point, but no, this
is not. This is not a musical yet.

Speaker 2 (02:09):
You could make anything a musical. You just have to try.

Speaker 3 (02:12):
Sure, you just you just sing it.

Speaker 2 (02:14):
Well, this episode is not a musical.

Speaker 3 (02:17):
Definitely, but it was very, very sweet, and I can't
tell you how happy it makes me to have Mouth
and Melicent back.

Speaker 2 (02:27):
Yeah, like me too.

Speaker 3 (02:29):
I just I love those two. And every once in
a while, when I have such intense feelings, you know
about characters, I'm like, well, these are my friends. Like,
they're not even characters I root for in a show
I watch. These are characters I root for almost as
if I'm a viewer. But it's a show that we made,
and I just I think they are so charming. I

(02:50):
think their chemistry is so authentic and it feels really romantic. Yeah,
And I love that they're both really leaning into it.

Speaker 2 (03:00):
And that's interesting that you say that. I think you
hit the nail on the head, because that's been one
of my favorite parts of this whole podcast journey, is
rooting for because I'm not you. I'm not in any
of your scenes that are yeah, Sam or you and
Victoria or whatever. It's been really fun to become a
fan of all these other characters and scenes that I

(03:21):
wasn't there for or didn't see. And I agree, Mouth
and Millie are no exception to the rule. Although it
was quite melancholic at the end. I guess it got
very sad, maybe just because they're doing long distance. I
don't know. I guess I was just getting like they
both feel like it's not really gonna last. But I

(03:43):
don't know it was sad. I was happy to see
them get back together at least for a minute.

Speaker 3 (03:46):
Me too, but I definitely, I don't know. I guess
I get that especially for us, Like we've all had
those journeys right where like you try to make a
life where you live for work because all you do
is live there. Yeah, and if you don't, if you
try to keep your tether, you know, to somebody back home,

(04:08):
can you sustain it? And I think there's something so
authentic about that. You know, we live in a new way,
Like our grandparents didn't really do this in the same way.
You didn't have a job, you know, somewhere so far
away from the person that you love. I mean maybe
if you were like in military service.

Speaker 2 (04:27):
I was going to say, yeah, if you go to war,
then you certainly did. But you know, now that wasn't
the standard, like the life long standard.

Speaker 3 (04:34):
No, it wasn't a lifelong standard. And now people are
sort of expected to go anywhere their work takes them
and figure the rest out. And I don't know, I
felt such a pang of familiarity because I was like, yeah,
the saddest thing in the world is when you have
to leave the person you love, you know, after a
weekend or week together. It's just like, I don't want

(04:57):
to be away from you. I finally got Yeah, it was.
It was a melancholy that I liked because I felt
like it was authentic.

Speaker 2 (05:05):
I guess, yeah, yeah, I agree, I could relate to that.
You know, Okay, here's something with Millie. I can be
convinced out of this, but here's my first opinion. And
maybe I don't need to be convinced of it, but
I did not love the throw away. She walks out
in the morning. They've obviously slept together. Now it's like

(05:25):
they finally did the deed. So she comes out and
her line is, I don't know why we waited. Yeah,
And I have to say, like and again, like whatever's
right for you. I'm not judging it. I'm just saying
like Milly had convictions that were hers for her own
reasons of why she wanted to wait with mouth and

(05:48):
to come out and just kind of like throw that
entire journey, that whole storyline, everything we walked through, just
throw it out the window, like limp. I don't know
why we waited.

Speaker 3 (05:57):
Move on. I don't know.

Speaker 2 (05:58):
It bumped me, it bugged me. A what did you
think of that?

Speaker 3 (06:01):
I didn't like it either, And I will say I
think because Lisa and Lee are such great actors, they
made it feel really sweet and grounded totally, but in
a way I was almost I really didn't like that.
I enjoyed them so much in that scene because of

(06:24):
that line. I was like, God, this is just so
cute in the way they're teasing each other and the
whole thing. It's great. But I agree, I think there
are so many more nuanced ways.

Speaker 2 (06:34):
Even if she had said like I'm glad I was
finally ready, or I'm glad something that honored her journey
instead of dismissing it.

Speaker 3 (06:42):
Yeah, because at the end of the day, there's nothing
wrong with saying to someone I really want to take
things slow. People should respect your boundaries, they should respect
your timing. And there's also something so beautiful about you know,
however faster slow it is when you have really connected
intimacy with your partner, and I didn't love that we

(07:05):
were seeing them reconnect so authentically and so intimately and
talk about all of their issues and then throw away
her her personal pacing with her own body. I was like, oh, come, yeah.

Speaker 2 (07:20):
Well that's kind of been the I mean, I think
that's been the message of the whole storyline, right, was like,
if you decide to have this boundary for yourself, it's
all pent up and you're just going to throw it
away on the wrong person and you know, yah, everybody's
gonna blame you for it, and your boyfriend's going to
break up with you. And it's like, again, I don't
like it.

Speaker 3 (07:42):
Could we know, how about we just show like healthy relationships,
whether you sleep together after six months or six hours,
like you don't actually care you to be here, like
have safe, healthy, communicative, consenting sex all you want slow fast,
like that's that's that's up to you, and you're pretty
exactly but like, yeah, I just I guess I was

(08:04):
bummed because there's so much about their storyline that's so great,
and in a way that really felt like something that
wasn't thought through well enough for Millie's journey, and it didn't.
They didn't have to make a meal out of it.
It didn't have to be some melo dramatic something. It
just could have felt true for her instead of like

(08:26):
some guy wrote it yeah and was like I don't
know why we waited so long. It's like okay, no,
please don't no. And thank god it was Lisa because
she she made it so sweet. But I just wish
she'd been able to say a better sentence than that sentence.

Speaker 2 (08:43):
Well, speaking of sweet, sweet young relationships, oh might talk
a bit about Sam and Jack because the shot of
the two of them laying on the bed listening to
the listening to music, and it was they were on
the bed the whole time. Neither of them sat up,
which I loved in the blocking it felt very very

(09:04):
indie movie, nineties indie movie, and very true to teenage life.
I definitely did that with my best friend.

Speaker 3 (09:11):
Well, and there's something that I think is so true
about how sometimes you have better vulnerable conversations when you're
not looking at someone. Like if you go on a
walk for your best friend and you can you can
be moving and really just talking and of course you're
going to turn and make eye contact, but you're not
sitting across from someone staring at them.

Speaker 2 (09:32):
It makes me so uncomfortable.

Speaker 3 (09:34):
There's something really special about the fact that they're laying
in a very intimate place. You know, there are these
two teens that have just had their first kiss with
each other and they're laying in bed together. But it's
so not charged like that. It's it's platonic ish. It's
very sweet. It's very safe there. You know, they've got

(09:57):
their little headphone split. It's so cute. And I think
because they're not looking at each other, they can say
some things and then sort of, you know, stare at
the ceiling.

Speaker 2 (10:10):
Yeah, and Jack's big reveal of his he's might be
moving to North Carolina.

Speaker 3 (10:15):
And I just love them together. I think their comedy
is so great. I love that Evan leans into really
still humor, like when Victoria comes in and interrupts them
and they hide and they both slowly stand up in
his hair's sideways and he just nods and never blinks.

Speaker 2 (10:33):
They're so perfect together.

Speaker 3 (10:35):
They're so great together.

Speaker 2 (10:38):
And the boyfriend girlfriend at the end, when she stood
up and she was like, yeah, I'm his girlfriend. Oh yes.
But I love seeing the younger generation this seeing this
theme of the multi generational overwarking the whole episode with
Jamie and all that too. I'm so engaged with the
younger generation watching it, and I wonder if I did

(11:03):
the twenty year olds watching our show enjoy that or
the thirty year olds or did they feel like they
couldn't relate, like they were too old for it? Now
I wonder, I don't know.

Speaker 3 (11:13):
I mean I always felt like we all related really
well together, and we were in our twenties when we
were making our show. I think one of the things
I really enjoy about seeing some of that intergenerational overlap
in episodes like this is that you realize we're all
really just going through the same thing. Everyone's trying to

(11:35):
find their place. Everyone wants to know where they belong.
Everyone's trying to find the people who make them feel safe,
who teach them things, who hold them in hard times.
And that's something I think is so special, particularly yes,
in Sam and Jack's storyline, I mean, even in the
way that they're planning music festivals to go to and
meet up at, I mean, they're just so adorable together.

(11:58):
And within that Sam's storyline of the way that she
is finally being mothered by Brooke, but is also trying
to mother Brook in certain ways. She's trying to support
me in this episode, she's trying to encourage me to
be bolder. She calls me out on shutting myself off

(12:18):
from my emotions, which is very much like Victoria, and
it's like the greatest insult in the world to Brook
Davis to hear that, and weirdly, Victoria winds up being
the one who, since Brooke will not let her in
her space, who also shows up to mentor Sam and
who says the hard things to her, you know, when
she first ambushes her in the cafe and is like,

(12:40):
how did you get my daughter to take you in?
And Ashley is so fricking funny, saying, well, you know,
I was a thief and then I assaulted her and
then I slept in my car. I've made up with
it for what did she say? I've made up for
that with my sunny disposition, and Daffy goes, I'm amused.
On the inside, I was cackling, like I just did.

(13:02):
I couldn't catch my breath. I just thought that was
so funny, And then suddenly it was like a one
two punch. They got me in the fields in such
a way because Daphne has this wildly human moment where
Victoria says to Sam, you want this perfect situation. You
think I should have been a perfect mother. You didn't
have a perfect mother either. There's two bad choices, one

(13:25):
that leaves are one that stays and is bad at it.
Which would you pick? And to see Victoria admit that
about herself and to see Sam sort of realize, I
felt like she had the realization that we've all had
as adults where you look at your parents and you go, oh,
you didn't actually know what you were doing.

Speaker 2 (13:43):
Yeah, oh you were guessing.

Speaker 3 (13:46):
Wow, you were just trying your best with the information
that you had. And that shift that Then Sam goes
home and yells at Brook from that place of like
you're doing this thing. Yeah yeah, And Sam takes her
own advice at the end.

Speaker 4 (14:05):
She does.

Speaker 3 (14:06):
It's so special.

Speaker 4 (14:07):
It was.

Speaker 3 (14:08):
It was really my favorite arc of the whole episode.

Speaker 2 (14:10):
Me oh me too. And I was really wowed by
the Victoria moment at the end. Yes coming up and
seeing her hand on it was wild because I know
your hands and so I like, I saw not your
hand on Sam's shoulder in such a comforting way. I
was like, well, who is that? And then I, oh,
my god, it's gonna be Victoria. And it is. And

(14:36):
I was so shocked and it seemed so out of character.
And yet I mean, Daphney pulled it off. But what
a what a major shift that she would be exercising
an attempt at comfort, yeah, when she's been nothing but
hard and cold and tough.

Speaker 3 (14:59):
I don't I know if this was intentional on the
writer's part, but you know what it made me think
about is so many people in our peer group who
have kids who had really rough experiences growing up and
their parents are now getting a second chance as grandparents. Yeah,
and in a way, it really feels like Victoria is

(15:24):
stepping into this role with Brook's foster child to say, Okay,
she can't see that I'm learning some lessons. My daughter
doesn't want to see it, can't see it. Maybe I
don't deserve for her to see it, but I do
have a proving ground I can be different.

Speaker 2 (15:41):
I think you're right because I see that a lot
of relationships where I know people who don't talk to
their parents, I mean, they don't engage very much, but
they still want their children to have grandparents, and so
there's this sort of surface relationship between the parent and child,
like the older generation and the new parent, but then
the grandchild and the grandparent have a really strong bond.

(16:04):
And it's interesting to me that we people can get
we can get a second chance like that. I guess
that's kind of cool.

Speaker 3 (16:12):
Yeah, I just think it's really it's really sort of special.
And I don't know if it's the time a part
that did it for Victoria. I don't know if it's
that she's been humbled by the fact that she can't
run the business all by herself.

Speaker 2 (16:28):
Well, the business is tanking because she doesn't have her star.

Speaker 3 (16:32):
Yeah, and I love that that. I got to say
to her, Oh, so you know you don't. You're not
the one who spends the straw into gold after all,
and she's like hard to find quality straw still.

Speaker 2 (16:42):
Like, you can't let it go, She can't let it go.
So funny to me, So good.

Speaker 3 (16:47):
But I do think there's something about her being humbled
at the one thing she's always been good at as
a parent, which is actually being a CEO. Yeah, and
having to ask for help probably opens up a space
for her to maybe ask for help emotionally too.

Speaker 2 (17:09):
Yeah, I love it well. You and Sam got the
cry stick this whole season. I realized. I was like,
Peyton's so happy, like everything's pretty good. I mean, you know,
car accident and illness aside, Like she hasn't done a
lot of crying. And maybe that was Hillary being like,
you know what, I'm not going to cry anymore. I'm done.

Speaker 3 (17:26):
I'm done.

Speaker 2 (17:27):
They handed it off to you. You've been crying so
much this whole season. And Sam too. Anytime they found
somebody it was a good crier. It was like, oh,
mark her down and bring her in for four more episodes.
She cries.

Speaker 3 (17:40):
God. But you know what's funny. I can see and
I think it's things we notice right that other people don't.
But I can see the takes where it's like, oh,
we had done every single setup in this before this
one shot, and this is the shot they picked, and like,
I'm out of tears. Yeah, but I have to keep
playing upset. But you know, I cried for six hours
shooting this scene and at our you know, five hours

(18:03):
and thirty minutes, and I didn't have any left.

Speaker 2 (18:05):
It's my least favorite. I get so mad at myself
when I have to do an emotional scene and I'm
tapped out and I just have to like make faces.

Speaker 3 (18:14):
But you're a human, there's no but so many times
you can sob before your body is like okay, we
did it, we cried it out, we're done, and you're like, yeah,
but we have three more setups in this nine setup scene.

Speaker 2 (18:28):
So I don't know how actresses do it. I've never
had to do a project where, you know, like a
movie shoot, where it's three weeks or a month or
so or longer, where the whole time you're stressed and upset.
I don't know how actors do that, where you have
you ever had to do anything like that, like a
long term project, but the script is, you know, maybe

(18:49):
over the course of a day, and you're supposed to
be really upset or something the whole time.

Speaker 3 (18:53):
Yeah, it's hard.

Speaker 2 (18:56):
That seems so difficult.

Speaker 3 (18:58):
I remember on a project once, you know, we were Yeah,
it took place over I think two or three days,
whatever it was, and by the end of the movie,
me and my coworker are supposed to have been awake
for like thirty hours. So they want our eyes to
be bloodshot, so they keep blowing that menthol in our

(19:19):
eyes to make them red, but it also makes you cry.
But we're not supposed to be crying in every scene,
so like we're just like snotting tears, trying not to
like be totally disgusting everywhere. But then it got to
the point where like there was literally just no water
left in our tear ducks for anything, and it stopped.
It like sort of stopped working because we'd been using

(19:40):
it for you know, three weeks, because that was the
last day of the film, you know, calendar day, and
I was just like, man if I never smell that
smell again, it'll still be too soon. It's so brutal.
But it's things like that that you don't think about,
Like how do you maintain bloodshot for three weeks?

Speaker 2 (20:02):
No, I really don't know, you know, all that weird
stuff for those of you who don't know the mental
thing we're talking about. There's this little there's this little thing.
I guess it kind of looks like a little tube
or like, actually, if you mean it looks tap on
in half? Oh yeah, it looks like the faith. It
does kind of look like half a tampon without the
cotton inside, just the applicator, but yeah, they have this

(20:26):
stick inside that's got meant it's menthol. I mean it's
mint balm or mint soaked on something. And they blow
through this tube into your eyeballs, which instantly makes you cry. Yeah,
and Sophia's case have bloodshot eyes. But you don't want
to use it very often.

Speaker 3 (20:45):
Yeah, it makes your eyes really red, which you know,
again to Joy's point, like in really the whole conversation,
if you've been doing an emotional scene for hours and
hours and hours because they have to cover it from
every direction, a couple of hours in they'll be like, hey,
do you want to hit of this to just like
trick your body into making tears again? Sure, but good god,
when they are blowing that in your eyes all day

(21:06):
and you're not supposed to be tearing, I was just
like I got to the point where I was like,
I'd rather stick needles in my eyeballs. I was like, Okay,
not really, but it's a little hyperbolic, but seriously, this
is a nightmare. And yeah, I don't know. I don't
know how people do it.

Speaker 2 (21:21):
I don't either. I also wrote down I love that
Daphne always enters a scene like she's on a mission. Yeah,
every single scene she walks into.

Speaker 3 (21:43):
She comes in like she has an announcement.

Speaker 2 (21:45):
Yeah, it's so great. How do we feel about the
way she's sort of holding Brook hostage about, like, hey,
let me put everyone's job at stake at the company
and then force you out and then blame you for
not saving them. I don't know, it was a little
bit of mind think it was a bit of a
mind game.

Speaker 3 (22:05):
Well, it's so manipulative, but it's really interesting. I think
now that we've you know, we've done this podcast, which
is sort of like therapy, and we've all obviously done
a lot of therapy, we have really been able to
understand the amount of pressure that was certainly put on
us as young women on this set, and that we
often continue to feel on sets in general, which is

(22:28):
like you have to show up for all these people.
You have to be on your a game, Like it's
the reason nobody gets a sick day, you know, if
you're a performer on camera, like all of these expectations
that if you don't do every single thing to the
best of your ability and sacrifice yourself for others, like
Peyton says to Brook, all these people will be out

(22:49):
of a job, you know it. It really was the
thing that enabled so much of the bad behavior on
sets for so many years, and to be Frank still
does because people say, well, if you say something, you're
going to ruin it for all these other people.

Speaker 2 (23:04):
Yeah, that's it. That's the it's the I'm going to
create a problem, and if you don't handle it the
way I want you to, it's your fault for what
the fallout is your fault? Yes, which is so tough.
I've been in relationships like that. I've felt like I
found me too to god weird. Yeah, it's really, but

(23:27):
it's so it's so insidious and you feel so guilty
and you're like, oh my god. Like this scenario I've got,
you're being held hostage essentially, and then at some point
to realize, oh wait, this other person created the problem.
This is on them. But this happened in another episode
that we were talking about this too, was it Dan?
It had to have been Dan, right, I remember what

(23:48):
it was. Yeah. So it's funny. It's funny to see
how the dual, the duality still exists with Victoria, like
she's still coming in. There's no humility, there's no, nothing.
It's like I'm going to hold you hostage to get
what I want because I don't want to have to
apologize or admit that I was wrong. And yet let

(24:09):
me see if I can do some kind of I
don't know if she's trying to do like a like
a karmic cleansing, working out think good things with Sam,
or if she genuinely wants to become a better person.
I don't know, but I like the Dan parallel.

Speaker 3 (24:25):
I like that we do too.

Speaker 2 (24:26):
I really like that we get the Disney villain female
Disney villain version of Dan Scott.

Speaker 3 (24:31):
I do too. And she's just so good at it.

Speaker 1 (24:34):
You know.

Speaker 3 (24:34):
That's the thing is Daphne is so phenomenal at her
job that you love her even though she's a villain.
Like we're all obsessed with Victoria, and that is so
that's such a fine sort of needle to thread.

Speaker 2 (24:51):
Bitchtoria Victoria were the two that for this episode.

Speaker 3 (25:00):
It is wild, but you know what I will say,
It is manipulative what she says. And there is something
that irks me a little bit though I get it,
but it irks me. In the dialogue that they gave
to Hillary to say to me, I don't know what
you should do, but I know what you're gonna do.
You always sacrifice yourself for others, and that's why we
love you.

Speaker 2 (25:22):
I didn't catch that.

Speaker 3 (25:23):
Yeah, yeah, it dinged to me because I was like, oh,
twenty years later, like we all understand that that's actually
so dangerous, this sort of encouragement to women that we're
supposed to martyr ourselves to make other people happy. You
know that we're supposed to not exist, We're supposed to
be so self less.

Speaker 2 (25:44):
Yeah, that that's the brave thing about you that you're
willing to just continue to peel off your own skin
for other people.

Speaker 3 (25:51):
Yeah, I don't know.

Speaker 2 (25:52):
It struck with a cord is analogy? Sorry, no, I
get it.

Speaker 3 (25:56):
It struck a chord with me. I think because it's
something that I've I've had to work on for myself
as a person, like erasing myself to keep other people happy,
denying my experience to not be too sensitive. Like, you know,
I even went through this recently, Like there was a

(26:16):
whole thing with you know, my coach who was like, well,
you're an adult, are you Are you going to be
unwilling to forgive forever? Or do you want to work
through injury? And the great part you know fast forward
to now is that like early in working with my
therapist who I love, he was like, that's wildly inappropriate,
Like someone telling you you have to forgive through your

(26:38):
boundaries is wildly inappropriate. If you if your boundary is
here and someone else's boundary is over there, you can
discuss that. You can see if there's a way to
meet in the middle. You can acknowledge that perhaps that
means like that's not the person who should you know,
occupy your number one seed of importance in your life,
Like sometimes you just aren't compatible with people. But for

(27:00):
another sort of advisor to say to you it's up
to you to forgive this, regardless of how you feel
about it, to prove that you're emotionally mature, Like that's gaslighting.

Speaker 2 (27:11):
I'm really listening to what you're saying because I really
want to understand it, and I feel like I can
see it from your point of view. But I'm also like,
but isn't forgiveness for you like I do it for me,
not sure for the other person, because it's otherwise it's
like I'm just holding on to something that's sure, but
which would indicate a level of emotional maturity that you're

(27:33):
growing and you know, blah blah blah.

Speaker 3 (27:35):
I think we can forgive all sorts of things and
then move on. But if someone has, like.

Speaker 2 (27:41):
Well, forgiveness and continuing to allow someone to yes harm
you or like cross those boundaries, that's different. Like I
don't think forgiveness necessarily means continued permission.

Speaker 3 (27:51):
Well, and that's that's more. What I'm referring to, Oh,
is like, oh, this is a deal breaker for me. Yeah,
And someone saying you don't get to have deal breakers
if you want to be emotionally mature, Oh no, that's
bullshit and be in relationship with some and I'm like no,
But there was a time where I really was like, Okay,

(28:12):
a really mature person would be able to say you
are you and I am me, and we have different experiences,
and okay, maybe I just shouldn't personalize this, And it's like, no,
everybody gets to have a deal breaker, of course.

Speaker 2 (28:27):
And you can say those things exactly about one person
and exactly about somebody else, and one person still gets
to be a part of your world and another person doesn't.
And it's not that's just like personal discretion and what
you feel is like, this is worth it, this is
worth investing in. I see a bigger picture of why
this is still worth investing in, and another one where

(28:49):
you're like, I don't see why this is worth investing
in exactly, And that's okay, exactly. There's no fair it's
not fair evil even scale thing. This is just personal.

Speaker 3 (29:01):
Well And I think to get to a point where
you don't get talked out of yours is so important
and weirdly, I actually think it really relates to this point.
The like parallel of what Victoria says to Brook about
close over Bros. And what we're talking about has been
said to us on so many sets forever. You know,
this one, my set after this one, which was No

(29:23):
Walk in the Park. I always want to be a
person who shows up prepared, who prioritizes the well being
of my crew, who you know, if we're going to
be on a forced call the next day because we're
losing daylight, I take a poll of the crew and say, look,
they want to force me, but if they force me,
that means they're forcing all of you. How do you
feel about it? Like, I want to be that person

(29:45):
I like being a team player. What I don't want
to be is a team martyr. Yeah, and to learn
the line of that I think is so important to
show up with, like integrity and professionalism is should be
our standard, but you shouldn't be encouraged to take you know,

(30:06):
abuse or mistreatment to protect other people. And what I
like about you know that Brooke doesn't have that realization
in this episode yet, right, Like Victoria strikes exactly the
cord she's supposed to strike with her, which is, of
course she's going to go back to the company so
that the company doesn't dissolve. But where I see her

(30:27):
beginning to reclaim her power is in that fifty fifty
two okay, fifty one and she gets yeah, and it's
like she says a boundary for herself. She sets a
boundary for herself and has a win. And I feel
like we're starting to see this moment of her really
claiming her own space. And I'm I feel very proud.

Speaker 2 (30:50):
Yeah, I agree with you. The hard part is not
everyone understands it, and there are still a lot of people,
I would say, mostly kind of in the old Guard
on sets and maybe in work environment, any any work environment,
I guess that still think martyrdom equals team spirit. Yeah,

(31:12):
and so that the hard part then is I mean
for me anyway, is then being coupling that with people
pleasing and like not wanting anybody to be mad at me.
So it's like, I know I'm doing the right thing.
I know I'm not martyring myself. I'm trying to set
a boundary, but then that's gonna make a B and

(31:33):
C person mad and I just don't want people mad
at me, So I'll just do you know, I'll either
go full out like I don't care what anybody says,
or I'll just shrink back. And yeah, I really like
I like seeing the negotiation that's happening with with Brooke
figuring out like Okay, yeah, I'm gonna I'm gonna do

(31:56):
I don't even want to say the right thing because
she's been put in an impossible position by Victoria, but
she's going to do the thing that feels honorable for herself.

Speaker 3 (32:07):
She's going to do the most right thing that she
keeps the right thing.

Speaker 2 (32:11):
Yeah, but she's going to do it in a way
where she still gets to set her boundary. As you said,
I'm just repeating what you said.

Speaker 3 (32:16):
But I love it. I love I gotta say. I
think it's so cool for us, you know, as the
women we are today, having been through all the things
we've been through, to like be able to sit and
watch this TV show we made and go, oh wow,
we really hit the nail on the head with some
sort of universal experience here. Yeah, Like most people don't

(32:37):
run you know, giant multinational fashion brands, right, they're crazy moms.
But like, it's weirdly very universal. This thing that we're
seeing with Brooke and her mother and you know, Sam,
who is essentially her daughter. Like this, this multi generational
group of women figuring out their shit is like what

(32:59):
we're doing all the time.

Speaker 2 (33:01):
So I sorely, I don't know.

Speaker 3 (33:02):
I think it's so neat to see it from this
point in time and to still feel like we can
connect to it.

Speaker 2 (33:08):
Yeah, it's part of the magic of the show that
they kept finding ways to connect with the audience. Yeah,
over topics that were seemingly so singular, semingly.

Speaker 3 (33:18):
So singular, seemingly so you could sing that and it
would be like a very cute line in a musical.

Speaker 2 (33:25):
I'll work on it.

Speaker 3 (33:27):
I also really, really loved the dynamic between you and
James in this episode. Thanks watching Haley and Nathan, you know,
be in again, like Mouth and Milly, this long distance thing,
like he's off playing ball, but then he comes home

(33:47):
and you have this moment and we really get to
see you guys not just be parents, but like be teammates.
And I get to see a version of Hailey when
she was eight dying to go to this school for
the gifted. And I get to see Nathan see a
version of himself when he was like some little punk
ass boy on the playground. Yeah, and the way you

(34:10):
both navigate being Jamie's parents, it just felt so honest
and sweet and fun, Like this was a fun episode
to watch you guys. It didn't have to be you know,
big stupendous, crazy grand gesture something or you know, some
tragic accident like you just being a mom and a

(34:32):
dad and it is so sweet.

Speaker 2 (34:34):
Well, and that goes back even to what you were
saying just now about being relatable that it's boy. I mean,
especially as the mom of a kid in middle school,
and I had this conversation with a lot of other parents.
We look at the school situation and it's like what
do I prioritize Because there's four classes in this school

(34:55):
that are pretty terrible, but there's three that are excellent,
and there's an amazing social community. She's so happy. Her
friends are really good. They're good kids. Like I see
these kids come over to my house, I'm like, oh, yes,
I've raised a child that chose that. She chooses good,
solid people to be around. I'm so happy. Yeah, But

(35:15):
the schooling when you have an opportunity for like we know,
life can be so long and provide so many opportunities,
and there's so many chances to grow, but also the
doors that open in the choices that you make and
the opportunities that you take can be very huge deciding

(35:37):
factors in the trajectory of your life. So there's all
these things floating around that you're trying to make decisions about.
When it comes to school. Yeah, elementary school, high school,
I mean mostly when it comes to getting into high
schools and colleges. It's something I think about a lot.
And it was really funny to watch Nan and Ailey
going through the same thing because I'm like, oh, gosh,
I get it. You see the possibility when you give

(35:59):
your kid an opportunity for a really, really excellent education.
But Jamie would have had a terrible time in that school.
He would not have had any friends.

Speaker 3 (36:10):
Well, and here's the thing, maybe he wouldn't have Maybe
he would have settled in and it would have been great.
But at the end of the day, he likes his people,
he likes his teacher, he loves going to recess, and
it feels like he gets to be more of a
kid and that's just what matters in this moment to
this family, and it feels really authentic. And even I

(36:34):
wrote it down because I loved I loved that you
guys did this when you're sitting on the couch at
the end of the night and he's talking about how
he doesn't want to go back, and you're teasing him like, oh,
you don't want to go back to the NBA, you know,
And it's this sweet moment and then the kid pitter
patters in and he tells you what he wants and
James says, we'll talk about it, and you say, we

(36:59):
really appreci shit you coming to us. And I loved
that the parents didn't give into the five year old
right away but made him feel heard and respected and
still retained. We're going to be the ones that make
the decision.

Speaker 2 (37:13):
Yeah, we'll do what's best for you.

Speaker 3 (37:14):
Yeah, but we're going to include you and I. I
just love it. It's such a healthy dynamic.

Speaker 2 (37:21):
Yeah, I think so too. I really liked that. I
liked it all. I liked that green dress that she put.

Speaker 3 (37:26):
Oh my god, Carol, it was so good. I know
you were running down the hall chasing him, like trying
to make sure he looked all put together, and I
was like, this is very funny. And also Joy looks hot.

Speaker 2 (37:50):
Oh also Jamie walking in and negotiating in that scene
that you're talking about, where he's like, here's what I
think is. Yeah, I had this conversation so many times.
Maria is such a good negotiator. She should be a lawyer.
It's funny how many kids are always doing that.

Speaker 3 (38:06):
And he does it on the river court with skills too.

Speaker 2 (38:09):
Oh yeah, when.

Speaker 3 (38:10):
Skills in Nathan are running the little kids basketball moment
at the river Court. I wrote this down. He says,
if I give up everything, I'll have no bargaining power.
It's called supply and demand. That coming out of a
five year old's mouth is so funny and I just
thought like the writers really nailed the whole dynamic for him.

(38:30):
They really figured out how good at comedy Jackson was,
and the whole thing just felt so sweet.

Speaker 2 (38:36):
Yeah, I'm into how how they were tying all the
I also really appreciate this about our show, And I
don't know that it's that it always exists and when
it does, it happens so effortlessly that you don't notice
it until you recognize it, which is tying in all
the storylines with each other. Yea, once one character goes
from one story into another, and then a character from

(38:59):
that storyline go into another. So Jamie moving into this
thing with Skills and his teacher, Yep, the fabulous Alice
in Munn giving her the flowers, giving her the flowers.
Here's what's funny. Okay, Skills has had a very specific
type up until now, as far as we know, I mean,
Bevin and deb were the only two girls he's stated, right,

(39:20):
I mean, I'm sure there were more. I'm sure we
were more, but it seems like there's a specific type,
a little pattern. But this girl, I mean, miss Lauren
is Okay, she's tiny and blonde.

Speaker 3 (39:33):
I'm like, she's another hot blonde.

Speaker 2 (39:35):
She's another tiny hot blonde, but she's definitely more conservative.
She's more like serious and put together the teacher. She
doesn't get overly flattered by the flowers or like giggly
or bubbly. It's very like professional. I'm not really sure
if I should accept this. Thank you.

Speaker 3 (39:51):
I love that you read miss Lauren as like professional.
I do obviously. But she's spicy.

Speaker 2 (39:58):
She's spicy. It's there.

Speaker 3 (40:00):
She can throw it back. When they get in the
conversation about the video games, she's like, Okay, she's got
like a sass underneath. How sweet she looks, which I.

Speaker 2 (40:10):
Think that's what's drawing skills in.

Speaker 3 (40:12):
I think that's exactly it. You can see Antoine's eyes
light up, like, oh yeah, this chick is cool.

Speaker 2 (40:20):
You're saucy, this will be fun. Yeah. I loved that one.
That was really sweet and the.

Speaker 3 (40:26):
Sort of through line. It's so refreshing to see everybody,
as you said, really tied together, and it makes all
of it make sense and even motivates you know. At
one point I was watching the episode and granted, I
love that Victoria comes and gets Sam at the end,
but I'm like, why is Victoria at the Dixie grill,

(40:47):
but like, how does she know?

Speaker 2 (40:50):
But what I will tell you, Dan just shows up everywhere.

Speaker 3 (40:52):
Exactly, which is sort of great. But I know exactly
why Hayley goes to the River Court because she knows
that's where the boys are, like because Skills is getting
Jamie from school and then Nathan's going to do after
school basketball practice. And it just feels like an.

Speaker 2 (41:10):
Authentic town life. It's an authentic life, that's it. It's
a very small town. Yeah, that's it. Yeah. I'm feeling
that more and more. And I'm sure Hillary would echo
that as well, living where she is in Hudson Valley,
but in a small town is a small town, And
where I am in Nashville, I'm feeling that more and more.
The sense of running into somebody you know every day,

(41:34):
the regular hangouts where all the boys go to the
seven to eleven after lacrosse, there's this very specific hangouts.
There's the ice cream shop and the times of day
when you know what pockets of people are going to
be where it's fun. Yeah, and I like that we
really brought that out.

Speaker 3 (41:51):
It's really really sweet. What I will say too, that
I appreciated about this. It's a bit of a rewind,
but I think it does bring it full circle. Is
because we're seeing people figure out how to have their
dream even when their circumstances are changing. And with the
Nathan and Hailey, the fact that he's off in Charlotte

(42:13):
with the team and then he comes home and then
he says he's sad about going back. I love the
bookends of learning to play nice. I love that Haley
gave him that you know, Jamie and Chuck are like you,
and this Nino guy or could be Yeah, and in
a way, seeing people figure out how to do the

(42:33):
thing they love regardless of what stands in their way.
I also see Haley and Mia do that for Peyton
because Peyton's on bed rest, so you bring the studio
to her and you make this effort to make someone
feel seen and to make sure someone doesn't lose out.
And I just I liked even though they're having completely

(42:57):
different experiences. I liked the button because we started the
show with Peyton and Nathan, yeah, as a couple who
obviously were not well suited for each other and needed
to sort of be with their opposites a la Haley
and Lucas. But I don't know. There was something where
I went like, oh, wow, you know when we have

(43:17):
those beats where we realize these kids as adults would
be really proud of their younger selves or like identify
with their younger selves. There was something about it that
made me think, like, what a full circle moment for
these two and it felt cool.

Speaker 2 (43:32):
I love that you're making me like this episode more
and more. I mean, I heard it was like this
is a fun episode, but I love the weaving of
all that that I hadn't. I don't think i'd really
paid attention to that this time around. Thank you.

Speaker 3 (43:44):
Yeah, Because you know, we had these early emo scenes
of Peyton in season one driving around in the Commet sad,
and now Peyton's driving around in the Commet happy, and
she's elated when she sees this mother and daughter who
remind her of her mom and herself, and she.

Speaker 2 (44:01):
Was yes and what she wants.

Speaker 3 (44:03):
Yeah, She's having all of this happiness. And then there's
Rich the car accident, and yet amidst the odds, she's
figuring out how to keep going. And that's been Nathan's
hero's journey in this season too. Yeah, And I think
the parallel for those two is very cool.

Speaker 2 (44:21):
It's a lot of redemption. It's cool. Yeah, I do
have one question about this Nathan storyline. Why do you
know why we replaced b J Brett who played Devon.
It feels like this storyline is something that could have
just been done with the Devon character. I don't know
why he had to because it seemed like we were
building up to something with the two of them and

(44:44):
all that friction, and then he left and they just
bring in another guy who's also being a jerk. I
don't know. I mean, maybe he got a show and
like had to leave. I don't know what happened, but
it felt weird.

Speaker 3 (44:55):
Yeah, I think the whole point of having Devon leave
was to have that moment, like you think you're the
only one with a family, to have Nathan realize that,
you know, things don't always have happy endings. But it
feels a little lazy, you know. It feels like they
either could have worked it out with him, or you're right,

(45:17):
maybe he booked another job and had to go, because
that's that's a reality we always experience with our wonderful
guest stars. Like we're all out here trying to book jobs. Hello,
We're actors.

Speaker 2 (45:26):
Yeah. Well, regardless, I did really love the storyline and
I did too. Yeah. I like seeing them both figure
out how to work together to strong personalities and they
just had to figure it out. I mean, that's always
a nice It's nice to see that working.

Speaker 3 (45:41):
I also liked that they were having this very like
combative boy experience.

Speaker 2 (45:48):
Yeah. I liked that.

Speaker 3 (45:49):
It wasn't what we all do and like sit around
and talk about our feelings. It was like, I don't
want to play with you either, and if you just
shut up and let me teach you this thing, we'll
never have to play together again.

Speaker 2 (45:58):
Like yeah, they're like, okay, fun.

Speaker 3 (46:00):
It was so childish in a way, but it was
also just really honest, and it made the Jamie and
Chuck parallel work because you were like, oh yah, there forever,
they're just gonna be these boys on the playground. I
got it.

Speaker 2 (46:13):
Lately, I know, so great. Yeah, well, finishing up, we
didn't really talk much about Lucas. I know you were
going there, but we were like, oh, way do we
go Nathan or Lucas? But anyway, Lucas seems so calm
at the hospital. Why I don't know, but I was
like I was definitely confused.

Speaker 3 (46:34):
I mean, I guess because she was okay by the
time Brooke walked in, but he was literally.

Speaker 2 (46:40):
Saying the words Peyton could die and the baby could die,
and he was just like, yep, that could happen. I
was like, dude, how do you? I mean, I guess.
And for Lucas, who's it? He's like an emo kid,
like he's so how is he not? Maybe he was
just compartmentalized all of it, like you just it would

(47:01):
have taken taken him over. It would have overwhelmed him
completely if he had even allowed a little bit of
emotion to seep through. So maybe that was it.

Speaker 3 (47:09):
Yeah, I mean I will say sometimes when things are
really overwhelmingly bad, I go, I go not blank, but
like I go very like first responder. So I'm kind
of like, Okay, here's what's happening. This is bad. You're
going to do this, you go grab that. I'm going

(47:30):
to get this. Somebody get me a tournique, get it, like,
and I don't. I don't get emotional until after.

Speaker 2 (47:37):
Yeah, because it's not about you. It can't be about you.
It can't be to be about the person that needs help.

Speaker 3 (47:41):
And I wonder if because Lucas has been sitting with
this with Peyton and they've made this decision to move
forward with a high risk pregnancy.

Speaker 2 (47:49):
So now it's about Brooke because he's telling her.

Speaker 3 (47:52):
Because Brooke is like, what do you mean all of
these bad things that she wasn't just in a car accident?

Speaker 4 (47:58):
Like what? Yeah?

Speaker 3 (48:00):
And so I like it. It's actually very funny because one
of my best friends is visiting and when we got
to the end of the episode and he like smushes
the Comet logo back onto the busted.

Speaker 2 (48:12):
Car that's still not fixed, she was like, well, why.

Speaker 3 (48:14):
Is he doing that? The car is broken and what like,
what are we supposed to be Why didn't he take
it to an autobody shop?

Speaker 2 (48:19):
Are we supposed to leave?

Speaker 3 (48:20):
This guy's going to fix this car? And I was like,
here's a fun fact, because you've never seen the show.
He actually grew up in an autobody shop. And she goes,
oh wow, everything makes so much more sense.

Speaker 2 (48:33):
Tiny pieces of information.

Speaker 3 (48:35):
But also the guy who grew up in the autobody shop, like,
that's the last thing that's going to go back on
the fixed car.

Speaker 2 (48:42):
It is the absolute last thing. Yeah.

Speaker 3 (48:45):
I was like, could we not have just had him
like run his hands and like look at it and
reach for the toolbox and be like, oh wow, he's
going to fix Peyton's car.

Speaker 2 (48:53):
No, the comet thing should have been hanging off the car,
like or barely hanging on, and he should have taken
it off so we know what's about to happen.

Speaker 3 (49:02):
You get it in the window sill and the garage
and been like, we're going to get her back.

Speaker 2 (49:06):
Yeah. Yeah, but I was happy to see him fixing
up the comment in Keith's autobody shop where it was
you know where you would tow it. I just thought
that was a great tie in. I really liked it.

Speaker 3 (49:18):
It felt nice to see. Yeah, everybody gets back to
their roots a little bit in this episode. It's kind
of cool.

Speaker 4 (49:25):
Yeah.

Speaker 2 (49:37):
Well, we have a listener question from Taylor or Talon.
I don't know which your name is, but either is
very cool.

Speaker 3 (49:44):
It's spelled in a very cool way.

Speaker 4 (49:46):
Yes.

Speaker 2 (49:47):
Music is such a big part of the show. Are
there any songs other than the theme song that still
make you think of One Tree Hill when you hear
them outside of watching the show? Yes, Yes, Hattie Griffin's
the Rowing song, yep, I don't know what episode it
was in. I just remember watching the episode and being like,
what is that song? Who sings it? And I became
a Patti Griffin fan for life because of that song

(50:09):
what about You?

Speaker 3 (50:10):
I mean yes. Also, I actually ironically made a note
because in that scene when Sam and Jack are at
the cafe talking about, you know, all of the concerts
they're going to go to, and then later the Foster
parents come in and they're Bonnerou goers, Yeah, that lex

(50:31):
Land song was playing and I was like, oh my god,
like it gave me goosebumps when it started, and it
played for a while in that section of the episode,
and it's just so good and I haven't heard it
in so long, but like the minute it started, I
remembered all the words and I was like, oh, wow,
this is a trip. Yeah. So sometimes it's songs like

(50:53):
that that you're mentioning that will always, you know, come
to mind when you think of the show. And then
and there are songs I have forgotten about that when
I hear I remember hearing them on the show for
the first time. Yeah, yeah, yeah, it's so cool.

Speaker 2 (51:09):
I love that.

Speaker 3 (51:10):
Uh cool.

Speaker 2 (51:11):
Well, I guess we spin a wheel and do honorable
mention and then let's see what we got. Hopefully you
guys will join us next week.

Speaker 3 (51:18):
I'm excited for next week.

Speaker 2 (51:20):
Most likely too rip their pants in public. That's funny.
I mean, Paul Johansson.

Speaker 3 (51:32):
I was gonna say Bevern or Lee Norris because they
both unabashedly get low on a dance floor. Oh yeah,
and I always keep a little baggy of safety pins
in my purse because I have fixed multiple friends pants
while out dancing and realized, you know what, the fact
that I have these is great, and I should have

(51:52):
the mummy all the time.

Speaker 2 (51:53):
So you probably invented those little things they sell now,
you know, the little square packets with the zippers that
come with and it's got like advil, a tampon, a
sewing kit, like an all little mini versions.

Speaker 3 (52:03):
The fact that I didn't make those is insane, because yeah,
I used to just make them myself.

Speaker 2 (52:08):
Yeah all the time. Yeah, exactly, put him in, put
him in a little kit.

Speaker 3 (52:12):
Well, dang, if only I could go back in times.

Speaker 2 (52:14):
Right, all the things we could have invented, my honorable mention? Wait,
what's your honorable mention? What's yours?

Speaker 3 (52:22):
No?

Speaker 2 (52:22):
You go okay, My honor. My honorable mention is the
math puns. Oh my god, in the Oppenheimer School in masketball.

Speaker 3 (52:37):
Masketball and math holes, math holes and uh and what
did oh? And he was like, that's a three point masket? Like, unwell,
that was so great.

Speaker 2 (52:51):
What a math hole?

Speaker 3 (52:53):
That was so great? You know what I think? I mean, gosh.
There were so many things I really loved about the episode,
but the thing that communicated the most.

Speaker 2 (53:05):
To me.

Speaker 3 (53:08):
That I don't know if it was in the script
or if it was just a choice made on the day,
the stacking, stacking, the sugars, stacking, the half and half
stacking the things, and that both Sam and Jack had
this habit and when he left, it was this thing

(53:28):
that she was still doing. And I don't know it
it's a non verbal communication, but I thought it was
really powerful. So that that gets an honorable mention.

Speaker 2 (53:39):
I love that. And I don't remember if we did
we discover that that was a direction from Paul in
the episode when he did it first, and then they
I don't know where was it in the script.

Speaker 3 (53:50):
Maybe I don't know, it might have been it might
have been something they decided on. And then it played
so well that they kept it, but I really liked it.
And oh, I'm gonna be greedy. I'm going to I'm
going to do a fifty to fifty. Yeah, do an
honorable mention. The other thing that I loved so much
was when Jack got in the car that tilt down

(54:10):
to see Sam was holding her own hand again.

Speaker 2 (54:12):
Oh wait, I missed it.

Speaker 3 (54:15):
She put her hands behind her back and was holding
her own hands like she told him she would when
she was scared. And I it makes me.

Speaker 2 (54:23):
Want to cry right now.

Speaker 3 (54:24):
Oh, how that happened? How did I mix that?

Speaker 2 (54:27):
I must have looked down it was.

Speaker 3 (54:29):
Yeah, if you like, if you grabbed your phone or
a drink of water, you would have missed it.

Speaker 2 (54:32):
And it was so.

Speaker 3 (54:35):
It was just really beautiful, and it was such a
cool reminder, you know, as an artist, actor, director, to
never forget the power of like the tiniest choice that
can really it just it brings everything up.

Speaker 2 (54:53):
I love not everything has to be spoken, It doesn't
have to be explained. Yeah, yeah, it's good.

Speaker 3 (55:00):
The next episode, Season six, episode twenty one, A Kiss
to Build a Dream on. Also for the record, sounds
like it could be the title of a song in
a musical.

Speaker 2 (55:09):
It is the title of a song. Yeah, I guess
to build a dream.

Speaker 3 (55:12):
On, don't you s? Yeah, it feels like a musical song.
I agree, which is redundant, But you know what I mean?

Speaker 2 (55:17):
How did we never do a musical episode of One
Tree Hill? Do you know how? I tried it hard?
Of course, I'm aware.

Speaker 3 (55:23):
That you did. I'm like, we we did dream sequences.
We did a nineteen forties episode. We didn't get a musical.
At least you got to sing in that I did.
Didn't we do one that was one shot? Like every
act was one shot? Am I crazy?

Speaker 2 (55:37):
Or did we do that? We had to rehearse it, Yeah,
three days in a row, and then we actually shot
it and it was just like one camera shot per act.
It was a hospital thing. I feel like I'm right.

Speaker 3 (55:51):
Maybe we might have. I don't remember, but I do
remember in later seasons us doing an episode where there
were those big acts, where there were like seven page
scenes for each of our pairs.

Speaker 2 (56:08):
Yeah, all right, well, I guess we'll get there when
we get there. Thanks for joining us, everyone, Thanks kids, Hey,
thanks for listening.

Speaker 3 (56:15):
Don't forget to leave us a review. You can also
follow us on Instagram at Drama Queen's ot H or
email us at Drama Queens at iHeartRadio dot com. See
you next time.

Speaker 2 (56:28):
We all about that.

Speaker 3 (56:29):
High school drama. Girl Drama Girl, all.

Speaker 2 (56:32):
About them high school queens.

Speaker 3 (56:34):
We'll take you for a ride at our.

Speaker 2 (56:36):
Comic Girl sharing for the right teams.

Speaker 3 (56:38):
Drama Queens, my up girl fashion with your tough girl,
you could sit with

Speaker 1 (56:43):
Us Girl, Drama Queens, Drama Queens, Drama Queens, Drama Drama Queens,
Drama Queens
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