Pillow Talk • Ep 906

This episode takes bed hopping to a whole new level! That post-coital scene with Chase prompts a conversation about comforters, bed buddies, and bed sheets! Find out whether the queens would even consider sitting in their friends (soiled!?) bed linens. 

Meanwhile, the girls pick apart the holes in the kidnapping plot line, and Rob reveals why he had to give direction on the set when he wasn’t even the director! 

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:00):
First of all, you don't know me. We all about
that high school drama, Girl Drama Girl, all about them
high school queens.

Speaker 2 (00:08):
We'll take you for a ride, and our comic girl
sharing for the right teen drama Queens, Jaylie's My Girl
Girl Fashion, which your tough girl? You could sit with us.

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

Speaker 3 (00:24):
Who wants to do it? Who's jumping in the pool first?

Speaker 2 (00:26):
And we had a lot to talk about in this up.

Speaker 4 (00:28):
Be sure do Welcome back everyone.

Speaker 2 (00:31):
Hi, friends, Hey, Hi, All right, So we're on season nine,
episode six, Catastrophe and the Cure, which aired February fifteenth,
twenty twelve. Okay, here's the synopsis. Dan enlists Julian, Well rather,
Julian asks to help out with Dan's search for Nathan Mouth,

(00:53):
also assisting Dan Phil's clay in about Nathan. As Haley
explains Nathan's disappearance to Janie, Brooke gets an idea of
how to bring patrons to an empty Karen's cafe, creating
quite a kerfuffle, and Chris Keller confronts Chase about data
and several puns were missed in this episode, We'll get

(01:16):
to them.

Speaker 3 (01:16):
And it was directed by are very dear, very mister
James Lafferty and written by Roger Grant. This synopsis is
funny because it's each line is like one scene in
the episode. Yeah, I guess Julian and Dan is technically
two scenes. Mouth with Clay is one scene. Haley explaining

(01:39):
to I mean a lot more happens. Zampus like this
kind of covers it. But as we were reading, I'm
going like, this is eight scenes.

Speaker 2 (01:45):
Yeah.

Speaker 4 (01:46):
It feels like a very surface description, like someone at
who was in a rush and was like I don't.

Speaker 5 (01:52):
Know this this yeah, and then skip skip Okay, Dan
and Julian skip.

Speaker 2 (01:57):
Yeah, Yeah, they're There's just so much. There's so much
so happening in this episode. There's just a lot to cover.
I actually have never I don't think I've watched an
episode of our show where I was like, how are
we going to get through all of this in an hour?

Speaker 3 (02:12):
Yeah?

Speaker 2 (02:13):
Did you guys have the same reaction or were you
not as worried?

Speaker 4 (02:17):
I guess I wasn't as worried. There were things I
really liked about the episode. I think what's hard for me,
and look, I think everyone's doing a really beautiful job
with the crisis, but it just like, we get into
this room, I mean, let's get into it. We get

(02:38):
into this room and it feels it almost feels like
a camp version of itself. Yeah, and I'm like really like,
even thank god they wrote that line, you know, Roger
Grant wrote a line for James to say where he's
like over a basketball player. Because this really feels silly.

Speaker 2 (02:57):
It's just so silly.

Speaker 3 (02:59):
This feels like Dan Scott going for a heart transplant
in Mexico, but just the craziest dialed down like two
or three notches.

Speaker 4 (03:08):
But then it's also not two scenes. It's the universe
we're going to live in for most of the season.
And it's I feel so conflicted because the device is
so great for everyone involved, even the misdirect joy with
you and I like Brooke running to Haley's to be like, I.

Speaker 2 (03:27):
Know why you're mad at me, I'm so sorry, and.

Speaker 4 (03:29):
Then learning what happened, It's like it's giving us the
moment of comedic relief we need. It's giving everybody shock
and fear and watching everyone the Quinn Haley stuff, the
Clay finding out with mouth like seeing Dan show up,
seeing Julian kind of get right sided by Oh, I

(03:51):
should not be so self indulgent. There are real scary
problems that happen to people like I love the device
of it, and then you've got these guys quoting Shakespeare
in a basement, and I'm like, this is so dumb.

Speaker 3 (04:04):
So both it's the dumbest. I agree with you. The
device is great for the show and for the storytelling. Yeah,
once we have to live in the world of the
device itself. It is so camp. It's like the fact that, yeah,
they're quoting I wish.

Speaker 2 (04:21):
It's overwritten, only because he has to fill up time.

Speaker 3 (04:25):
Here's my question. These Eastern European gangsters were hired by
some Eastern European gangster kingpin who, by the way, dumbest
line of the episode is when Nathan goes, this is
insane over baseball basketball But that's insane, and the guy goes, no, No,
insane is crossing a man who pays his players in

(04:45):
cash from a suitcase chain to his wrist. Okay, that's
not a flex man, that's just that's the boss. Never
has the thing handcuffed to his risk, right, No, no, okay,
So here's my question.

Speaker 4 (04:57):
Though that's literal evidence in public, it would never happen.

Speaker 3 (05:01):
Never, it's okay, So that's bad. But there is a transgression.
This kingpin gets word that some American agent is sniffing
around one of his best players. This is all happening
in the cuts of Eastern Europe. Here's my issue. Why
doesn't he kidnap Nathan In's home turf? Because here's what

(05:23):
I get curious is that he goes, you know, what's
a better idea. I'm gonna buy plane tickets for three
for sure convicts with the criminal record from this area.
I'm gonna have them just wing it in a town
they've never been to, finding a warehouse, kidnapping a guy
getting a getaway vehicle without licenses. I just don't understand

(05:43):
why the kidnapping didn't happen in Eastern Europe.

Speaker 2 (05:47):
No one does. And there was no warning. There was
no like, hey, heads up, get out, not the player,
This ain't the player. You want? You better, you better bounce,
or something bad's gonna happen to you. None of that.
He's just all of a sudden and back home in
tree Hill, where it's so small, everybody could find him eventually.

Speaker 4 (06:05):
Yeah, it's like, what these four guys were on his
flight and just followed him outside.

Speaker 2 (06:10):
How did they know where to go?

Speaker 4 (06:11):
And then to your point, Rob, it's like it jumps
the shark in a way because what it assumes in
that level of camp is like, oh, every member of
organized crime just shoots people all day, every day, totally NBD.
Murder is a big deal. Whether you are like an
above board citizen or a criminal, it's a really big

(06:32):
fucking deal.

Speaker 2 (06:33):
And the idea that they're like, yeah, we're just.

Speaker 4 (06:35):
Gonna follow you home and shoot you as soon as
our phone rings, not even by the way getting the order.
When the cell phone rings, you gotta die. It's like
it makes no sense.

Speaker 2 (06:47):
I never did you hear at any other point in
the episode anyone say when the phone rings, he dies, Like,
so at least we were sitting there waiting the whole
time with bait of breath, like I hope the phone
doesn't ring. I hope the phone doesn't ring. No, it
just suddenly rings like any other normal phone, and we're like, okay,
who is it whatever, And then suddenly it's like, oh
the phone rang, It's time to die, But then the
guy doesn't shoot him, okay. So he's the one that's

(07:09):
standing there going like I've got two wives and a
million children, six kids, right, and he's like, I'm ready
to shoot you, okay, okay, big man. But then comes
in the other guy, who legitimately was a lot scarier
to me than the other guy. But he was so
realistic and scary that I didn't understand why he was
just standing there threatening, like the phone is ringing, it's
time to kill him. That guy would have walked in

(07:31):
the room and just shot forehead immediately. I didn't understand
why they didn't have, like, okay, he can be sitting
there having an argument with the guy and then with
the Shakespeare guy and then say no, that's it, and
then go to reach for his gun. Shakespeare turns around,
shoots him in front of everybody, and then turns around
to Nathan and says, we talked about it. I'm going
to ransom you instead. Like its way better then it

(07:52):
would have been action. It would have been exciting, so
many things would have been happening, but this weird, like
I'm just standing here threatening to kill you, and second now.

Speaker 4 (08:03):
And by the way, to your point, there's no person
who's going to risk a murder charge without warning, and
like just to close that loop. It would have been
so easy. When Clay says he told me he was
going to off the beaten path, he didn't like any
of these players to mouth to be like it made

(08:23):
me nervous. And the next time I texted him, he said, yeah,
it didn't go well, they're not thrilled. I'm here. Yeah,
but I found someone promising anything to suggest maybe they
did threaten him, and he was like buzz off.

Speaker 2 (08:38):
Which I don't know why Nathan would have done. But
it also could have been a mistake, like maybe they
left a message with Clay, but Clay has all this
other drama going on his life. He forgot and didn't
relay the message.

Speaker 3 (08:49):
They don't have a receptionist because they're an upstart, so
it's on his voicemail at the.

Speaker 2 (08:53):
Office, that's right, And so now it's Clay's fault that
Nathan is missing, like at least rope Clay in a
little bit.

Speaker 3 (09:00):
So the quite possibly the weirdest flex in the history
of One Tree Hill is Nathan going, hey, come on, guys,
I have a wife in kids, And then with the
emotional maturity of a six year old that he's clearly
the worst bad guy because he has facial hair. And
this is the cw oh goes, So what I have
two wives and six kids. I'm like, what kind of

(09:22):
pissing match did we just walk into? Between? What? That
was odd? But here's what they should have done. In
my opinion, everyone's American and what we find out is
the Eastern European kingpin. He just hired a couple guys
on the ground who have no emotional investment and are
just cold.

Speaker 2 (09:40):
Yes yeah, like like our park drug dealer would have
been fine to bring him would have been why not?
Why not? Okay?

Speaker 3 (09:48):
But the idea that he he like, if you just
think of if you walk through the logistics that this
kingpin was like, no no, no, no, no no, send in
someone to find out his itinerary and then Jake and
fly to America, get your driver's license, stake out a
warehouse like it's just crazy town crazy.

Speaker 4 (10:07):
But by the way, this is part of it. You
got to think through these things a little better. Because
they want it to happen in tree Hill because they
want to say he came home and no one knows
what happened, so we can think maybe it was Dan,
And as we all know, getting to the end of
the season, we want to give Dan Scott his night
and Shining Armor moment. So it has to happen on
the ground so people can hop in the car and

(10:30):
do the thing and we can know why. In the
flash forward, Chris Keller said to Dan, Chris Keller doesn't
like this. So to your point, Rob, just hire some
dudes that are on the eastern seaboard of America.

Speaker 2 (10:43):
Dudes, they could have been New Yorkers. They could have
had a bronx accent like they're from the Sopranos. Drove Down,
They drove down. Yep, not that hard.

Speaker 3 (10:52):
Okay.

Speaker 2 (10:53):
Also, who is the guy in the coma and this
woman that lets these two strangers into her home when
he flashes a DGA card with a busted up face,
and the mayor who's clearly famous intry like, who are
these people?

Speaker 3 (11:09):
The fact that they go on a tour that I
agree with you joy this. I laughed out loud at
this part that she just goes, Hey, you know what,
it's nighttime. You're two grown men I've never met.

Speaker 4 (11:18):
And one of you looks like you've been brutalone on in.

Speaker 3 (11:21):
Yes, clearly fight club come into my house. That The
next scene we see is that they are unattended, which
that's what you would do in the room of a
man on life support. Yeah, Like, what is this woman?
And then the woman comes back like I thought I
recognized you, No urgency.

Speaker 4 (11:40):
Here's your book.

Speaker 2 (11:41):
She literally has his book in her house. He's that
famous intry Hill. Yeah, and he shows up at her doors.
She hasn't recognize.

Speaker 4 (11:49):
Him to your point of no urgency. Her next line is,
my husband was blackmailing you. If the guy husband was
blackmailing showed up at your house in the middle of
the night with a dodo who looks like you got
hit in the face with a crowbar, wouldn't you be
panicked even if you didn't know he.

Speaker 2 (12:05):
Was the guy your husband was blackmailing. If you know
your husband is the type of person toil some two
bugs show up at your house. But who are they?
Do we know who they are?

Speaker 3 (12:16):
Yes? Well, I mean it's explained in this episode, but
we haven't seen them prior.

Speaker 4 (12:20):
Yes, So Dan is explaining to Julian when he is
obviously looking for some purpose and goes to see him
in the trailer that he's rented him. At the stages,
Dan is talking about how he's making a list of
all of his enemies and Rachel's on the list. And
back when he was with Rachel, he wrote a book
and he cheated the system and he got a guy
he was in prison with to buy him into being

(12:42):
a best seller on day one of publishing. And so
the guy that he was in prison with wanted interest.
And then when Dan got his he says to Julian
when he got his talk show, the guy wanted more
money because he threatened to out him for having lied
about his book, and so he kept having to pay guy.
And when the guy when the talk show got canceled,

(13:04):
the guy he was paying from prison was very unhappy
and maybe he had something to do with it.

Speaker 2 (13:09):
But we never saw any of this in the season
with Rachel.

Speaker 4 (13:12):
We never saw any of this. And by the way,
the craziest part of it is the guy was in
prison with Dan. How did the guy get out of prison?
How long has he been out of prison? Now he's
on life support. Like it's such, it's such thinly laid brick.
It doesn't it doesn't work.

Speaker 2 (13:45):
I am a huge fan of murder mysteries. I read
them a lot. I have done since high school, and
one common theme in many not great murder mysteries is
when they don't give you all the information. The author
doesn't know how to give you all the information basically
ahead of time and tell you everything, you just don't

(14:06):
know how to put it together. The best ones are
made up of where you sit down and you have
all the puzzle pieces, you just can't quite figure out
how to put them together until the end. Yeah, this
storyline reminds me of that, where it's just like, oh,
by the way, this completely side character that I never
discussed and never alluded to, and never even told you

(14:28):
that your main character happened to live in another country
and met this person in their past, and they're telling
me on page two hundred and forty. I'm just like,
I never would have had a shot to figure this out.
Why are you wasting my time?

Speaker 4 (14:40):
And to your point, when it's not central to the story,
whether you were taking notes, whether you were grabbing your
lunch out of the fridge, If you can miss the
lynchpin of the story in forty seven seconds, it's not
a good pint.

Speaker 3 (14:58):
I'm going to push back on that one usual suspects.
We got ten seconds of Kevin Spacey's gate and his
walk changing at the end of the movie. To be fair,
that continues on. Though that continues.

Speaker 2 (15:09):
Yes, there were clues. If you go back and watch
the movie again, you're like, oh, all the books were there,
Like the whole package of information was there. I just
couldn't put it all together because there was like one
piece missing, Like, okay, yeah, one big chunk is missing,
and that's what you have to find. Yeah, but when
there's like ten chunks missing, and suddenly at the end
of the authors or the writer or whatever is just going, oh, yeah,

(15:30):
well and I guess this happened, and maybe this and
they had the secret brother and they've got to sit
and you're just like, what.

Speaker 3 (15:36):
Yeah, strike what I said from the record. You're right.
So if I agree with you, I would argue though,
that the bigger problem I had with it. To me,
the bigger issue is, so this guy agrees to buy
ten thousand copies of Dan's book. Yeah, Dan becomes a
best seller. It's obviously successful enough to warrant him getting
a talk show. I don't think that man has any

(15:56):
sort of actual leverage because by that point, if he
goes all out you that I bought ten thousand books,
Who cares? I have a talk show? Dan could just go.
I guess he was a big fan like it to me. Also,
Dan is Dan? You think he's going to get pushed
around by that guy with that little piece of blackmail?
It's it's no but here here's why the scene actually,

(16:19):
though I love it, you ready, Okay, Dan is doing
too much. I am more convinced than ever that he
is behind this. And here's why, Sharks, I'm coming to
you to invest in my fan theory of Dan Scott
actually being the perpetrator of Nathan's kidnapping. And what I

(16:40):
have for you today is this, Why does he go
to Julian to rent a trailer for three He didn't
ask for a favor for free. For three thousand dollars
a month, you could have a really nice hotel room,
You could have a whole entire house on a hill
with no neighbors. It is odd that he goes to
someone so centrally involved in this core group of friends

(17:04):
to rent out a tiny trailer for a lot of money.
It's high visibility. And then he ropes well, Julian asks to,
but he allows Julian to become part of what I
think is an absolute fake witch hunt. He knows this
guy has nothing to do with it, This is just
a fool's errand demonstrating to Julian how hard he's working

(17:26):
to figuring.

Speaker 2 (17:27):
This out and trying to gain trust in town. Yes,
people he's got now, he's got Quinn's trust, now he's
got mouthstrusted, now he's got Julian's trust.

Speaker 3 (17:35):
Why did he need to go back to Haley and
be like, you can just talked to you. If he
was really just committed go away and do your Liam
Nissen and taken business, buy yourself quietly, and then just
come back with it done. Everything he was doing to
me felt a bit performative.

Speaker 4 (17:50):
Interesting and to your point, this is three thousand dollars
a month for a trailer on a soundstage lot in
twenty twelve. Yeah, like three thousand dollars a month could
rent you a house in twenty twenty five.

Speaker 3 (18:05):
Yeah, you know what I mean.

Speaker 4 (18:06):
Like, it strikes me for a guy who's lost everything,
who supposedly has not a dime left to his name,
needed to stay in his son and daughter in law's house.
Where's all this money coming from?

Speaker 3 (18:21):
Well, he did say he has sixty five thousand dollars
in insurance money he got from burning his cape.

Speaker 4 (18:26):
All right, he told the cop.

Speaker 3 (18:27):
But here's the deal, okay, that, rather than spend three
thousand dollars on two legal pads and a crappy small trailer,
spend three thousand dollars on two private investigators in a
hotel room. Yep, it's fishy, gang, it's fishy.

Speaker 2 (18:45):
I literally recorded this. This is Dan in the police station.
This line.

Speaker 4 (18:51):
Is it what I think?

Speaker 6 (18:52):
Oh?

Speaker 3 (18:52):
Yeah, I did.

Speaker 2 (18:53):
The dealers require almost bringing myself to death in the process,
just so we have an excuse to murder my own brother.
Full term in jail, get the least, get a third
World heard transplant.

Speaker 3 (19:04):
Then when a book it's from my own motivational talk shot,
give them my new found fortune.

Speaker 2 (19:08):
I moved to a remote down it just like could
burnt down to cut the sixty five thousand.

Speaker 3 (19:11):
Dollars instance policy, thank you with my son and moving
with his family.

Speaker 2 (19:15):
Who gets me?

Speaker 3 (19:18):
You got me?

Speaker 4 (19:20):
It's so good, it's so good.

Speaker 3 (19:24):
What is he defending in that? What I'm okay? So
I don't understand how that is relevant to Nathan's kidnapping
because he actually did all of those things correct.

Speaker 2 (19:33):
We do.

Speaker 4 (19:34):
But that's what's so interesting is Dan's What I wrote
down is the absurdity of Dan's story is actually his
best defense because when he lists it out loud, it
sounds insane, and so of course the cop is like, right,
that sounds insane, but we know it's true. And then

(19:56):
that he has the nerve to be like, what's it
take to be a true a cop? Andry Hill these
days of pencil. He just emasculates this poor man in
such an intense way and then buttons the scene with
charge me or release me, and then we're done, and.

Speaker 2 (20:11):
Then Haley's house and goes I would never hurt my family.
Dan is all over the place, yet it is calculated.
He is.

Speaker 3 (20:19):
He is manic, and this episode specifically, he dialed his
bitchiness up to a twelve because he is just burning
people front, right and center. I mean, he rips on Julian. Granted,
though they have a really nice moment in the car
which I loved. That was a wonderful scene between Julian

(20:39):
and Dan after they go to visit the man on
life support and the wife, who clearly is hammered or
not all there. But he says to Mouth Mount, poor
poor Mouth. Let's just always. But first of all, Mouth
walks into the trailer. Yea, and his first line is Mouth,
is that you in there?

Speaker 4 (20:59):
Yep?

Speaker 3 (21:00):
Rude? And then as he's leaving, God bless him. All
he's trying to do is help out and be a
team player and get Nathan home, and all he's getting
is roasted because he's on the way out. He goes, hey,
is there anything else I can do to help out?
And Dan goes, yeah, go easy on the carbs.

Speaker 2 (21:19):
I hated that.

Speaker 4 (21:20):
Why so stupid?

Speaker 3 (21:21):
Why it's so mean? It's such low hanging fruit. I
will say this though, to Clay's credit, he is like
the one of the few people didn't even acknowledge it. Yes,
way to go, Clay. You may be losing your mind,
but you are a decent man.

Speaker 2 (21:39):
Speaking of Clay, why wasn't Clay also kidnapped? Don't you
guys run the agency together?

Speaker 4 (21:44):
Because he didn't go to Europe Nathan went in his place.

Speaker 3 (21:48):
If they were thorough, they should have kidnapped us both.
But yeah, then what if there's a secretary. They got
to kidnap her too, you know what I mean.

Speaker 2 (21:54):
Then it just gets It's murders a little more complicated
to write off than a one guy in a warehouse,
I guess.

Speaker 3 (22:03):
Yeah, speaking of Mouth, I would be remiss if I
didn't draw attention to yet again. What is this the
fourth episode in a row where they are trying to
equate storylines that are in no universe near each other.
Mouth at Jerry has said, listen, you can't work on
this outwardly, but if you want to work on it

(22:23):
after hours, I'm not going to say anything to you.
So it's nighttime clearly, and Mouth is at his computer
working feverishly to try to find some clues. Right. First
of all, it's hilarious because Jerry walks in with an
entire large pizza and goes, I thought you might be hungry.

Speaker 2 (22:44):
Okay, yeah, well incongruous.

Speaker 3 (22:45):
Maybe there's only a couple of cicers left. I'm willing
to overlook that. But then there's a close up shot
of Mouth investigating on his computer, and he goes from
looking into his friend's disappearance who may be dead, everyone worried,
and then he looks over to the large pizza pizza
as if these are the two challenges I am facing

(23:08):
right now.

Speaker 2 (23:08):
I love the stuff you notice, Rob, that's so good,
that's very well said.

Speaker 3 (23:14):
Like we can't try to equate these things.

Speaker 2 (23:17):
Nope, No, it's so silly.

Speaker 3 (23:19):
One of your best friends has been kidnapped and might
be dead. But equally stressful is the large pizza city
sit those carbs.

Speaker 4 (23:28):
It's so stupid. It's so stupid. And the weird thing
is it that whole situation starts. I think really well
for Jerry and Mouth. You see their history. He's like,
I'm so sorry, you know, because Mouth got that news
on the air and had to read it. He wasn't prepared.

(23:49):
Jerry feels terrible, And then we go back to is
it or isn't it a dig about his weight? Like
it just feels like nobody's thinking about how real people
with real relationships talk.

Speaker 2 (24:03):
To each other. That's the thing. Nobody's thinking about how real, like,
how things would happen in real life. Even the slight
adjustments of like what we were talking about with the
scene where he was threatening to shoot Nathan, or with
the pizza scene, like Okay, mounts at the computer and
all of a sudden, he just gets up, grabs the pizza,
shoves it in a garbage and then sits backs down.
Then you know, like, okay, the smell of it's been
in his face. He doesn't want to think about it.

(24:24):
He's getting it out of the way. He's focused on
his friend. Yes, like these tiny little adjustments that would
have just little things, Man made it easy.

Speaker 4 (24:32):
And what's weird to me is is there are great
scenes in this episode that do work, like Millie not
knowing what to do for her friends in this situation,
so just being with Brooke and being like, Okay, we
had to do this terrible story on the news. I'm
so sorry. I have an idea for how we can
fix it. I can work on it. Guess what I
tweeted it? So did I like they're in cahoots in

(24:54):
a really sweet way. I mentioned this earlier. I love
the misdirect for you and I thinking you're mad at
me and then being like, oh my god, and then
saying to Millie, I can't tell her about the cafe.
This is so stupid. But also it's really bad and
I have to fix it because I can't fix the
other thing. Like some of the things they gave to

(25:16):
some of us felt so human even and it's a
tiny scene, so it doesn't I'm not saying we have
to make a meal of things, but even Quinn's logic
with you about listen, I understand why you don't trust him,
but he's a good person to have in your corner
in a crisis. He knows people, and for her that's

(25:36):
a plus and for you that's a minus. Certain things
are really tracking, yeah, and then there's this stuff that
just doesn't. And I think in a way what doesn't
track is almost more irritating to us because we're like, no, no,
you did that really well, and you did this other
thing pretty well, and this scene was great, so why

(25:57):
Like it almost feels like they got halfway through a
and then didn't finish it.

Speaker 2 (26:01):
It's like whack a mole, Like, I just don't understand
what's happening. Rob, How are you feeling about the Clay stuff?

Speaker 3 (26:09):
I okay, Well, first off, before we even go there,
I want to say I've realized that I think Quinn
was criminally underdeveloped, having seen how good Chantell is as
this character, and now three seasons end, seeing how she
for the most part solely exists to be there for

(26:32):
other people. She's helping Clay with his mess, She's helping Haley,
like she's just there to like support and react. And
I just found myself as episode going, oh we dropped
the ball not giving her her own storyline that she's
the center of and other people orbit around, because to
that it's sort of like becoming a purse, you know,

(26:54):
like the love interest on a show where it's like
you're year around but you don't really have your own identity.
And just this episode realized, Oh, I really wish Quinn
had more of her own identity because she's so damn
good in the role, and I just I want I
would love to see more, is all. Yeah, the quid
of it is getting better for me, largely just because

(27:14):
of Logan. Yeah. He Pierce is so freaking cute and
I had so much fun shooting with him. He was hilarious.
So we budied up, and then it became quickly apparent
that he listened to absolutely no one but me, So
our our onset producers would tell the director just go

(27:36):
through Buckley like, and so he would. If you would
start to get a little wild, then you know, the
director came over and be like, hey, maybe you could
you ask him to do, you know, give a little something,
and it was so cute. He was sort of like
my little my little sidekick, my little minion.

Speaker 4 (27:48):
He's like, Oh, this.

Speaker 3 (27:49):
Is so great. And what's cool about this episode is
when I found out they were going to have actual
comics in a scene, I said, Hey, is it Can
I pick the comics? And I said yeah. So the
comic you see was actually illustrated by a buddy of mine,
Jim Lee, who was absolutely icon in the comic world.

(28:12):
He's now, I think like creative chief officer of like
a DC or something. He's huge now. But it was
so cool. I got to be like, hey, buddy, I'm
gonna easter egg your work. It's like it's his most
famous like Uncanny X Men. So it was a very
cool thing when I watched the scene and going like, oh, yeah,
this was great. And then in real life, Sean Tell
and I took Pierce to his first comic shop ever

(28:34):
and bought him his first comics and it was such
So that was a really fun time. And I just
find the storyline infinitely more interesting than me wandering off
and screaming at Quinn. I was a little confused by
the timeline of So I was I was mentally present

(28:56):
when I decided I was going to leave. Yeah, I
packed my bag, m I said goodbye to Logan. But
then did I immediately enter the fugue state on the walkout?

Speaker 2 (29:08):
Okay, it seems like with the suitcase when the suitcase dropped.
I don't know what do you think.

Speaker 4 (29:12):
As a viewer, what it felt like to me was,
you weren't yourself in the scene with Logan at the door,
and then when we watch you talking to the doctor
about it and Quinn is with you and you don't
remember being outside, you obviously you're completely gone when she

(29:33):
finds you. And I loved getting to see that for you, guys,
because we got to see inside the moment for you,
and we got to see her realize that you really
are gone, that this a fugue state really means nobody's home.
And it was a short moment, but I thought really impactful,
and what it gave me was, Oh, the stress of

(29:57):
knowing about Nathan made him say, I got a pack,
I gotta go, I gotta go help, And it was
already causing that dissociative episode. To start, and Logan catches
you at the beginning of it, and you can't really
communicate with him, and then by the time you're in
the street, you're like gone. I felt like I was

(30:18):
watching you fade out rather than like it just happens
in an instant, And I really liked that. So if
that wasn't a conscious choice, I think you communicated something
really beautifully in the sort of transitions between those scenes,
for sure.

Speaker 3 (30:34):
I like that explanation. Let's go with that. I was
just confused because if clay Is has the wherewithal to realize, no,
I need to go look for my friend and there's urgency,
why doesn't he call Quinn or a taxi.

Speaker 2 (30:50):
Yeah.

Speaker 3 (30:50):
The fact that he's like, I'm going to leave on
foot and just walk is odd to me. But I
like what you're saying, though, because if that is the case,
then common sense not prevailing. Yeah, okay, Yeah.

Speaker 4 (31:03):
It feels like if you think about what it is
to panic, to be in your room and panicked and
to be packing, I think by the time you get
those bags shut, you're already halfway out of your brain.

Speaker 3 (31:19):
I know where the logan thing is heading, but I
don't remember how long it takes us to get there.

Speaker 4 (31:25):
So I'm I know me too, I don't remember you there.

Speaker 3 (31:30):
I'm very eager. How about the Chris Keller Chase and
Tara of it all? He had one of the best
lines Chris Keller. That is where when he shows up
after Chase and Tara have had, of course another marathon
love making session. We know because they say you should
burn the sheets, No, you should bronze the sheets. Yeah,

(31:51):
he shows up, she's in the shower, and of course
Chase wants to get rid of him, and Chris Keller says,
bail honor or take me with you. Dudes look so
much better. I love that self awareness from Chris Keller.

Speaker 2 (32:06):
Yeah, it's great. Great. Meanwhile, in that scene he sits
on Chase's bed with his boots on. Yeah, his boots
on the sheets of the bed.

Speaker 3 (32:15):
He deserves to be cheated on, but also to.

Speaker 4 (32:18):
Sit in the sheets you know, your friend. Just that's awesome.

Speaker 3 (32:23):
I didn't even think of that.

Speaker 2 (32:24):
Come on the thing.

Speaker 4 (32:27):
He just doesn't care. It also really makes me laugh
because the awkwardness of Chase being like, oh my god,
what do I do? And the nervousness is an audience
member because I found myself not wanting him to get caught,
but also really wanting him to get caught. Yeah, And
I was like, if you get caught, you're not going

(32:49):
to be able to apologize for being such an ass man.

Speaker 2 (32:52):
Like what are you doing?

Speaker 4 (32:54):
And the whole thing was just so good and it
was funny to me that the way that Chase figures
out how to save himself is to try to be
like Chris Keller. She doesn't know me, she's lucky. I
let her stay, let's bail, She'll figure out how to
get out of here.

Speaker 2 (33:09):
Like, yeah, he's just throwing the.

Speaker 4 (33:11):
Douchiest things a man could say about a woman in
rapid succession trying to get this man out of his bed.

Speaker 3 (33:18):
Yep, this brings up an interesting topic here. Okay, bed sheets, Okay,
would you go into your friend's bed totally?

Speaker 2 (33:40):
Yeah? In what context?

Speaker 3 (33:42):
I'm just I'm just wondering where the lion is right, Like,
at what point? Because if you don't know how often
someone washes their sheets, like is there and where does
the ick factor come in in terms of going into
someone's bed. I mean, I.

Speaker 2 (33:55):
Don't know, it wouldn't bother me. I'm like, you know,
we're hanging out watching a movie and we just start
and we crash. Like, I don't it doesn't doesn't happen
a lot, but I could be. I could see myself
at a girlfriend's house and having that happen.

Speaker 3 (34:07):
Yeah, okay, I don't know.

Speaker 2 (34:08):
No, it doesn't really throw me.

Speaker 4 (34:10):
I wouldn't get into an acquaintance's bed, No, that's a
hard line. But any of my closest friends, and I
mean also, we're all old enough. I think we know
each other's cleanliness habits. Like all of the yess are
as OCD as me, So I'm not worried about it.
But you know, there's also weird things like Okay, let's

(34:31):
say we all were out on a tour like we
did a few years ago with the show right.

Speaker 2 (34:35):
Yeah, Like if we were all.

Speaker 4 (34:37):
In the same hotel and Rob we all came to
your room to watch a movie. I wouldn't get into
your hotel bed, but I would sit on your hotel
bed for sure.

Speaker 2 (34:46):
You know.

Speaker 4 (34:47):
But it's like that's also an interesting thing is to realize, Yeah,
getting into someone's bed like under their covers got to
be one of your best bet best friends.

Speaker 3 (34:58):
You know what it is forr because I agree with you.
Let's let's say the line is acquaintance then, because for me,
it's like, you know, sometimes it's just like I don't
want it. If someone's gross, I almost just don't want
to know about it. And I feel like it's much
easier for dudes to be like, I wash my bed sheets,
what's once a month? What's the big deal? I would
rather just not know. So this is what I'm saying, Like,

(35:20):
I think I would just not do the bed because
I don't want to get close to your sheets and go.

Speaker 4 (35:24):
Oh yeah these like if there's crumbs in your bed,
it's going to be hard for me to unsee that.

Speaker 3 (35:30):
Yes, yes, because I'm I I like very clean, tidy
ship and I just wouldn't want to find out that
my friend is some closet case grossy.

Speaker 2 (35:39):
No, no, thanks for taking that detail, boundaries.

Speaker 4 (35:42):
Yeah, you know what I thought you were going to
say when you asked that question. I thought you were
going to be like, are you a top sheet or
a comforter only person? That's where I thought you were old.

Speaker 3 (35:51):
Let's go there too, Well, what are you in my
current sleeping situation? I am a comforter only whoa.

Speaker 2 (36:00):
I'm totally top sheet. I need a top sheet.

Speaker 3 (36:02):
So your top sheet and comforter.

Speaker 2 (36:04):
Yes, me too.

Speaker 3 (36:05):
I think that's normal. By the way, I'm just I'm
going through a season, guys. I'm embracing it. It's different.

Speaker 4 (36:12):
Give it a shot. Also, it's summer. You could have
a great like Linen Blend, you know, super soft comforter
and just want to feel that on your skin.

Speaker 3 (36:22):
I don't know that was the impetus was. I was
just getting a bit too hot at nighttime and it
was waking me up, and I thought, maybe we streamline
the operation.

Speaker 4 (36:30):
Okay, not to be my grandmother, but have you ever
switched to a summer weight comforter in the summer?

Speaker 2 (36:37):
No game changer?

Speaker 4 (36:41):
Game changer and you're in the Pacific Northwest, you really
get some climate shifts and seasons. A summer week comforter
will change your life. It's like that to me, is
ljury like a light quilt, well waffled quilt, perhaps.

Speaker 2 (36:57):
A little wawful.

Speaker 4 (36:57):
Yeah, I bet you people at home are like, how
the did we go from kidnapping to put Like? What
is wrong with you?

Speaker 3 (37:03):
Guys? And speaking of jarring segues, how about the resolution
to the fight between Chris and wait before.

Speaker 2 (37:10):
We go there, hold on, hold on, because we have
to talk about the resolution, the revelation. We Brooke and
Chris in the capa and I forgot you guys. I
didn't know it was me.

Speaker 4 (37:23):
I was surprised by my own scene.

Speaker 2 (37:25):
Sophia, you were so great and Tyler. Tyler is like,
he's you know. I was just talking before we started
about how I'm helping out with the school play, and
it's amazing how some of the kids walk in and
they don't have any experience. Like there's one kid that
walked in and he's a football player and just was like,
I don't know. They told me there were auditions and

(37:45):
somebody told me I should come try out. So he
starts reading and we're all just like, oh my god,
Oh my god, you're amazing. Wait what this is so surprising.
And I feel like the fact that Tyler doesn't have
a ton of acting experience at this point and he's
other than our and a couple of movies, but he's
not like he still considers himself to be primarily a musician,

(38:05):
that he could come in and have the ability to
walk through every single one of the emotional experiences he
had in that the span of those eight seconds, and
we felt it all and it was realistic and not
over the top, and oh, it just made me love
Tyler even more.

Speaker 4 (38:24):
It was such a fun scene and it was funny
because I didn't see it coming. When he walks up
and I decide to, you know, give him his lunch
for free. I know exactly what's happening, and you know,
you can kind of. I remember making the choice, like
I have to. I have to choke this down, you know,

(38:45):
like a like a really grassy smoothie, just like this
is disgusting. Well, like I gotta do it because Brooke
can't stand Chris Keller. So that I was like, God,
I remember.

Speaker 2 (38:54):
The look you give him in the cafe over your shoulder.

Speaker 4 (38:59):
I laughed at my self when Millie and I are
talking and I go that tera and just raise my
voice so I both can hear me.

Speaker 2 (39:07):
And then you realize, I.

Speaker 4 (39:08):
Literally don't know.

Speaker 2 (39:10):
You don't know, Like I don't know.

Speaker 4 (39:12):
I'm I'm throwing that at Steven and Tyler thinks I'm
throwing that at him, and then he gets up to
the thing and the humor of Brooke and Chris's high
school interaction is playing. So the oopsie of her revealing
a thing that she didn't know was a secret. I

(39:34):
just went, oh god, oh god, oh god, it was me.

Speaker 2 (39:36):
It was me. And it's the introduction of Chris's first
storyline of his own. Yes, all the times that he's
been on the show, he's serving others, he's interfering really
with other people's storylines.

Speaker 4 (39:50):
Yeah, he's like a little chaos goblin.

Speaker 2 (39:51):
Yes, this is the first time. It was like that
moment right there turned Chris Keller from a side character
into a main character. He's got his own storyline right
now that he has to deal with. That's great.

Speaker 3 (40:02):
And he crushed it, crushed.

Speaker 2 (40:04):
It, and then he takes him outside to.

Speaker 4 (40:07):
Kick it side, kicking him in the I don't even
know the upper thigh. No, he kicks him in like this.
It's like this, it's like kicking him in this part
of the shoulder. But the leg he he like comes around.
It's like he's trying to do a round house, but
his jeans are too tight and he just gets him
with his steel toe in like the meaty part of

(40:30):
the upper thigh.

Speaker 3 (40:31):
And it is hands guitar doesn't want to hurt his guitar.
Pant I would have punched you, but I didn't want
to hurt my guitar hands. But consider yourself punched.

Speaker 2 (40:40):
Punched, and Chase says, I deserve whatever whatever that was.

Speaker 4 (40:47):
It's so funny to watch them and and to have
the confrontation be in front of everyone. And I forgot that.
When Tara gets called out, I pop up like a
little gopher over her shoulder because finally there's some vindication
for us, and you're not there to see it, but

(41:08):
I'm gonna get her. And then they go outside and
you think they're going to have this knockdown, drag out
and they both just feel terrible, and I love that
the immediate resolution is, well, we're going to stay friends
and she's out. It's great.

Speaker 3 (41:23):
Yeah. It also felt like very quintessential guys of just
how fast they can move on and then be like, oh,
look a different shiny thing. Let's go investigate together, you know.
And they're at a strip club, Ben the beef has
been squashed.

Speaker 2 (41:36):
Yeah, and Chase is paying I bumped on this on there.
It is so very stereotypical machismo, like it feels like, okay,
when the women on our show have found out that
they're interested in the same guy, let alone or slept
the same guy. Their lives are destroyed, their friendship is
marred for it takes months or sometimes seasons to get over.

(42:00):
And then we've got this where these guys clearly just
see her as an object that's totally replaceable, I mean,
and then to feel better about themselves they go find
a place where they can objectify more women. The whole
thing was just like, Okay, so men are growth destroying
your life over and women are just totally replaceable and objects.

Speaker 4 (42:22):
Yeah, men are the center of your universe and women
are essentially lego bricks. Cool.

Speaker 3 (42:27):
Yes, And the one thing I would say in defense
of this is that I don't think this is the
way I took it. This wasn't a generalization of how
men view women. This was a Maya kulpa from Chase
to Chris Keller, and that is how Chris Keller, that
is his attention span and what works. So to me,

(42:47):
it was just emblematic of how what Chris wanted and
what Chris needed. And Chase was like, great, I will
fund it. Let's go because I owe.

Speaker 4 (42:56):
You, because you know what Nathan and Clay would never
do that.

Speaker 2 (43:00):
Yeah, that's a great point. That's a great point.

Speaker 4 (43:03):
I do think that matters. I agree with you also, Joy.
I think because we have the context of our whole show,
and you know, the people who ran it that were
like really, But what I what I will say is
because Steven and Tyler are both so charming, they d
it the thing in a way that I think a
lot of other actors wouldn't have been able to, and

(43:25):
they managed to keep it light somehow. But it's really
interesting that you say that. I won't go into like
too much detail because I would blow up someone's spot.

Speaker 2 (43:36):
But many No. But it's like it's a story.

Speaker 4 (43:41):
You know, we tell not for the public. But one
of my best friends did sleep with a guy I
was dating many years ago, and when we figured out
the sort of central nature of his communication, shall I say,
with her, we both were like, oh that guy, and

(44:04):
we were solid. It never affected our friendship. And I
think the root of it is the honesty, Like, how
do you communicate when you discover something, how quickly do
you communicate it?

Speaker 2 (44:16):
Oh, it's totally possible. It's just yeah, we're so used
to seeing on our show in particular that I was like, oh,
here we go again.

Speaker 4 (44:23):
Well, and what I will say is the reason I'm
sharing it is what we never saw on our show
was this scenario between any of the girls who were like,
oh my god, I know this thing now and I
need to tell you yeah, and then the girls could
be okay. The writers really leaned into women will betray
each other to win a man, and that makes it

(44:46):
feel itchy, you know, like the whole Peyton, Brooke and
Lucas love triangle was such a mess because they lied
about it for so long. Yeah, you know, And I
think that's part of maybe why we the bump on
it is we're like, oh.

Speaker 2 (45:01):
Well, it was all throughout the show. Nanny Carrey was
obsessed with Nathan. He had the obsession of Emmanuel is
asked with Jape, Yeah, with Jake, and there is just
a renee with Nathan. There's a continual pattern of women
being obsessed over men and destroying their.

Speaker 4 (45:20):
Lives, almost like there was a man in charge of
our show who wanted women to be obsessed with him.

Speaker 2 (45:25):
It's almost like almost almost like that.

Speaker 3 (45:28):
Also, this kind of goes back to what I was saying.
They had two central characters that they got to blank
slate starting in season seven. That's right, Yeah, and what
ended up happening, Clay got tons of storyline, and Quinn's
storyline was largely just being in Clay's orbit and reacting

(45:49):
and supporting well.

Speaker 4 (45:51):
And by the way, Clay's storyline included a woman who
was so obsessed with him she tried to murder his girlfriend.

Speaker 2 (45:57):
Yeah, and another woman who's so obsessed with him that,
in spite of the fact that it's super unhealthy for
her to be in this relationship, she's still like, I mean,
you know, we love Quinn. I love Quinn and Clay,
but yeah, we've talked about these moments that we've seen
where you're just like, ooh, like, yeah, give him a
day does he have to have? But it's oh, sorry,

(46:18):
I was just gonna say, it's just chan Tell's credit.
Really just going back a little bit to what you
were saying before, Rob, that that she still manages to
be so great and so convincing in this part that's
largely underwritten and you can really tell, particularly because after
she left our show, she has gone on to work
NonStop stop in spectacular roles on spectacular shows. Because her

(46:42):
her talent is undeniable.

Speaker 1 (46:44):
Yeah.

Speaker 4 (46:45):
Well, And one of the things that's interesting to me
about it is I wonder why it was something that
felt like, how do I want to phrase this? I
wonder why it was something that happened with her characters
so specific sort of toward the end of eight and
through nine. And we've talked about it with yours too,

(47:06):
that there have been seasons where Haley is basically helping
everyone else keep it together. And I don't know if
because there was almost a sort of like purity component
in like the James family, that you guys both wound
up having to play that role at some point or

(47:26):
another in the show. You know, I'm curious about that
if they were tracking that. I'm curious also if because
we did get a lot of feedback right that, like
the characters on our show all had the most insane success.

Speaker 2 (47:41):
Oh yeah, who's a rock star.

Speaker 4 (47:43):
A record label owner of a fashion designer, an NBA
player all from the same a best selling author, Like
it's so crazy. And I wonder if the writers kind
of felt like they shot themselves in the foot making
Quinn a photographer, like a big deal magazine photographer, and
then it was like you've done it again, Yeah, And

(48:04):
how does she do that job in this small town?
And then they kind of boxed her in in a way.
I wonder if it's a little of that.

Speaker 5 (48:11):
Yeah, And I don't know, yeah, because also, if to
be a successful photographer, that would be her on location
at different places all the time, So it would be
a storyline that would be constantly taking her from a
production side.

Speaker 3 (48:23):
That would be more because every time it's a new location.
And also it wouldn't be interwoven with the characters as
much because she wouldn't she wouldn't be around, and it's a.

Speaker 4 (48:30):
Hard it's a hard profession for viewers around the world
to relate to, you know. Yeah, So I don't know,
I wonder if that. I wonder if that's kind of
why she got a little boxed in. And then because
you guys established such good on screen chemistry, it was like, oh,
watching the way she feels about what's happening to Clay

(48:52):
is so interesting that they weren't paying attention to the
fact that they weren't giving her anything else to do
but worry about Clay.

Speaker 3 (48:59):
Going back to what you're just saying, though, I mean,
are there many relatable character professions on the show.

Speaker 4 (49:04):
Well, no, but that's it.

Speaker 3 (49:06):
Oh okay, thought I thought you're saying that there were
quite a few relatables that she was one of the
ones that wasn't say we kind of all had extraordinary jobs.

Speaker 4 (49:14):
Yeah, I mean, at least at this point, we're running
a cafe, like that's pretty normal.

Speaker 2 (49:18):
Now, familiar, hosting a morning show, twan is off in
Hollywood giving people lessons on stunt or sports training. Yeah,
everybody's got some extraordinary jobs. Yeah, strange.

Speaker 3 (49:34):
Two quick small things I liked. I loved the opening
with Mouth and Melly, and I think thee's first line
is something the effect of like, now that we've heard
from a man who collects records in his parents' basement,
let's see what else is going on in local news.
That's a perfect line. And then I also loved the
exchange when Dan first gets to Julian's studio and he's like, okay,

(49:59):
three thousand dollars month and Julian laughs, He's like I
have zero customers and he's like, i'll pay you two
thousand dollars a month. Yeah, and then Julian says something
like I want to hang out it's something and.

Speaker 2 (50:08):
There he asks him, what do you what do you
need all that for? Y?

Speaker 3 (50:11):
Yeah, and he goes, I'll pay you three thousand dollars
a month to not ask me those questions.

Speaker 4 (50:15):
It was so great, Like they're seen in the car.

Speaker 2 (50:18):
I really liked they're seeing in the car. Yes, there
was kind of nobody else that could have said those
things to Julian. And yeah, it's again that thing in
the Seesaw with Dan where we love, we hate, we love,
we hate.

Speaker 4 (50:30):
It's like sometimes he's just the perfect mentor even though
he's also the worst example of a human and it's
very confusing, but I enjoy the moments and I think
I I liked the whole episode for Julian in particular
after our conversation last week when we were talking about,

(50:50):
you know, why would you risk yourself when you have
a family at home, and then also what is it
like to be in such emotional turmoil and trauma that
you're essentially you know, emotionally cutting or getting physically punched
in the face. And we did the back and forth
the three of us, and then I loved that that
was Brooke and Julian's argument at the top of the episode,

(51:12):
you know, like, you need to come back, I need
a co parent, get your together, and he's like, all
I'm doing is thinking about my family. And you see,
you see that they're both suffering, and they're both they
both have the absolute right to feel the way that
they're feeling. And I was like, God, we really were
tapped into something trying to figure it out last week,

(51:33):
and it felt kind of cool to see that. And
last week's conversation really just made me feel for both
characters in this position. It's cool.

Speaker 2 (51:45):
Oh boy, I don't know what's gonna happen next. We've
got Nathan's bought himself a little bit more time.

Speaker 4 (51:51):
We've never given a razzie on this show. We always
do our honorable mention.

Speaker 2 (51:58):
The time.

Speaker 4 (52:00):
Really, I have to say that the gangster saying I
learned English from Shakespeare, it gets that gets my ras.
Sorry writers, but I was like, okay, enough enough.

Speaker 2 (52:17):
Yeah, we don't need a backstory, we don't need.

Speaker 4 (52:20):
We don't need a Shakespearean shooter. Were good.

Speaker 3 (52:24):
No, they did the most when it would have been
so much more impactful if they had done the least.

Speaker 4 (52:29):
Yes, Yeah, that part, well done. Honorable mention to that
observation Robert.

Speaker 6 (52:35):
Buckley Jenna asks which character who left the show but
didn't die do you wish would have come back in

(52:56):
the final season and how would you have liked them
worked into the storyline.

Speaker 3 (53:00):
This is a tough one for me to answer, because
I don't really know the show. The only one I
know is Q because I love Robbie as a human being,
and I do remember watching his arc on the show,
but he died, so I guess I don't really have
an answer for this one.

Speaker 4 (53:16):
Yeahd Greenberg is a great answer. Joy. I was going
to say, well, obviously, it would have been really special
to have Peyton and Lucas come back.

Speaker 2 (53:24):
It's weird.

Speaker 4 (53:25):
It's so weird to wrap up a series without them.

Speaker 2 (53:29):
But yeah, you know, and Barbara and I did Moier
come back? I can't remember.

Speaker 4 (53:34):
I don't remember.

Speaker 3 (53:34):
I don't think so.

Speaker 4 (53:35):
But wait, wait, wait, isn't there there is a there
is a scene or a series of scenes in this
episode right between Chad and Chantelle. I mean, not this episode, sorry,
this season?

Speaker 2 (53:47):
Doesn't he come back?

Speaker 3 (53:48):
He does because he used There was a time trade
where I was I had left for something and he
came back for a couple of days of shooting and
he used my trailers and when I came back there
was Christmas lights hung up in the trailer and a
note that was like, thought you might like these. I
was like, who the hell did this? And it was Chad.

Speaker 4 (54:05):
Oh my god, that is so funny, how bizarre.

Speaker 2 (54:08):
I do not remember this.

Speaker 4 (54:09):
But what makes me sad about it is I wish
they had come back in a better way. And you know,
given the fact that he who shan't be named, who
was in charge of our show, was such a ding
dong to women like it also makes me sad that
we didn't get them back together.

Speaker 3 (54:29):
Yeah.

Speaker 2 (54:30):
I know, it's true. You have to enjoy.

Speaker 4 (54:33):
You have to read what our producer just said.

Speaker 2 (54:35):
Come on, it's so good.

Speaker 3 (54:37):
We're all laughing because of something in the chat said, Joy,
why don't you please illuminate?

Speaker 2 (54:41):
The producer says, Chad does come back for one episode,
and then the next text messages it scenes with you, Joy.

Speaker 3 (54:50):
I love the one trio, Amnija, we all have it.
It's so fun.

Speaker 2 (54:54):
It's sorry I don't remember, all right, gang, Oh let's
been a week yeah yeah, yeah, oh boy. So Dan's gonna.

Speaker 3 (55:06):
Save the day or or he's gonna pretend to save
the day.

Speaker 2 (55:11):
Pretend to save the day.

Speaker 4 (55:13):
I'm so curious. I really wish I remembered what we discover.

Speaker 2 (55:19):
This also makes me glad that Dan dies because I'm
at the point now, Oh.

Speaker 3 (55:25):
What the shore? Are you kidding me?

Speaker 2 (55:28):
Actually he died? I mean you know I didn't know that. Well,
there's this whole flat flash forward, like into the future
that's later on in the show. He's it's it's late.
Don't worry about it. It's not. No, it's not like,
it's not what you think is happening.

Speaker 3 (55:41):
The trains left the station.

Speaker 2 (55:43):
No, it's not what you think.

Speaker 3 (55:44):
How could it not be what I think?

Speaker 2 (55:46):
Because it's not. I promise you it's not what you think.

Speaker 4 (55:49):
Because if you think something obvious, you should know by
the insanity of season nine that it won't be that.

Speaker 2 (55:56):
Oh fine, I'm sorry. Didn't mean to give you a
heart attack.

Speaker 3 (55:59):
Well it's happened. My tongue is upset. We were starting
to spin a wheel and the wheel never stop spinning.
Have we given up?

Speaker 2 (56:10):
We have one?

Speaker 4 (56:11):
I think we just blew up the wheel.

Speaker 3 (56:13):
I can just make Oh, there we go.

Speaker 6 (56:15):
Oh.

Speaker 3 (56:15):
Most likely to steal a friend's baby name.

Speaker 4 (56:19):
Oh my god, Sicilian dead to me? You're Sarah Tara.

Speaker 3 (56:23):
Sarah nailed it, great one.

Speaker 2 (56:25):
Yes, Sicilian dead.

Speaker 4 (56:27):
To Sicilian dead to me, I would never forgive. That's dark.

Speaker 5 (56:34):
All.

Speaker 3 (56:35):
That should be the title of this episode. Sicilian dead
to me. By the way, I saw that, never wear
flip flops to a showdown was the previous episode's title.
So thank you producers. I think this one should be dead.
Was it? Sicilian dead to me?

Speaker 4 (56:49):
Sicilian dead to me?

Speaker 3 (56:50):
Love that.

Speaker 4 (56:50):
Yeah, it's like an extra, like, you know, big Italian
family thing like you're dead to me means something. But
when somebody says you are Sicilian undead to me, it's like.

Speaker 2 (57:01):
Yeah, oh no, this is real. This is yeah, yeah,
this is gonna pass down to your generations.

Speaker 3 (57:07):
When the sorority goes I'm mad at you versus I'm
literally mad at you, it's like, whoa, literally Okay, we're
really in it now.

Speaker 2 (57:20):
Next episode, Season nine, Episode seven, Last Known Surroundings. We'll
see you next week. See y Hey, thanks for listening.

Speaker 4 (57:29):
Don't forget to leave us a review. You can also
follow us on Instagram at drama Queens o.

Speaker 2 (57:34):
T H or email us at drama Queens at iHeartRadio
dot com. See you next time.

Speaker 1 (57:41):
We all about that high school drama girl, Drama girl,
all about.

Speaker 2 (57:45):
Them high school queens Forever We'll take you for a
ride and our comic girl shared for the right teams.
Drama queens, my girl, up girl fashion with your tough girl,
you could sit with us.

Speaker 1 (57:57):
Girl Drama Queens, Drama, quise, Drama Queens, Drama Drama Queens,
Drama Queens