November 25, 2024 • 56 mins
It's Quinn's gallery opening and Rob is concerned about Clay's behavior, interpreting it as if he’s treating Katie like a mistress. Joy reveals she had to fight to play Haley low energy and how clearly she remembers filming the scenes where Haley is overwhelmed with grief. They discuss what they loved about the dramatic scene where Skills punches Mouth. And, Joy reflects on their late colleague Paul Teal, who portrayed the character Josh.
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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 shared for the right
teams Drama Queens off.
Speaker 1 (00:14):
Girl Fashion, which you'll tough. Girl, you could sit with us,
Girl Drama, Queens, Drama, Quise Drama, Queens Drama, Drama, Queens
Drama Queens.
Speaker 3 (00:24):
By the way, I've started taking notes joy On on
my phone as well, because I find out I can
watch episodes like, well, I'm putting my son down, and
I gotta say, I don't think I'm gonna go back
to pen and paper.
Speaker 1 (00:35):
Yeah, it's kind of nice just to be able to
have it all right now. I use my I like
my iPad and my uh pence Apple pencil because I
can just do I have the same template every time.
Speaker 3 (00:46):
Huh. So you're just the futuristic version of a pen
and paper, I guess, or quill and ink if you will.
Quill and ink.
Speaker 1 (00:53):
Yeah, but having notes all written out on your phone,
can you type? Like is that easy to do while
you're doing other things? You feel like you can?
Speaker 3 (01:01):
No, I just you have to pause the episode for sure.
Speaker 1 (01:05):
Oh, okay, it makes sense, you know.
Speaker 3 (01:07):
It's just it's nice because I can kind of two
birds one stone it, you know.
Speaker 1 (01:11):
Yeah, well, hi, everybody, welcome to the middle of our conversation.
We're just talking about technology fixing my computer, and we're
talking about taking notes on this weird episode. Rob, what's
the episode? Do you want to tell us?
Speaker 3 (01:26):
I'd love to? Season seven, episode nineteen, Every Picture Tells
a Story. Air date was April twenty six, twoenty ten.
It's the night of Quinn's big gallery opening and an
uninvited guest Ambush is Clay Oh. Nathan spends the day
with Jamie while Haley struggles with the life after her
(01:47):
mother's passing. Brooke and Julian each receive a shocking surprise. Meanwhile,
Skills learns the truth about Lauren and Mouth and Grubs
presents Miranda with a life changing question. Directed by our
own Chad Grave written by William H. Brown, Well, well,
you came in with an interesting energy towards this episode,
(02:07):
so why don't you start say more about that sort
of vibe you gave.
Speaker 1 (02:12):
I thought the writing was exceptionally lazy, and we're getting
to this point and this is it's hard to say
that because a lot of our writers we all love
and had great experiences with and like every other day job,
there get to you enter into seasons I think, where
(02:33):
you're focus on something else, or people have things going
on in their personal life, and there's there's so many
things going on. So I don't know what all the
factors were that contributed this. Because Bill Brown's actually a
pretty good writer. I think he's done some really great
stuff for our show. So I don't know what happened.
I don't know if the if, the room just it's
like we there were so many things that didn't make sense.
(02:54):
There was It felt to me like the conversations were
very talking heads. Like there was low energy everywhere in
this episode, and I was confused. But maybe I'm being grouchy.
I'm also like my energy's down a little. Paul Teele,
who played Josh, passed away recently a couple of days ago,
(03:17):
actually so and I worked pretty closely with him on
this show, but mostly on a play that I did
with him when we did The Notebook in two thousand
and six. So it was hard to see him and
watch just watch him. He was so great, So I
don't know. Maybe that's coloring my perspective of the episode.
(03:40):
I just feel a little I feel a little down,
So I was probably projecting that on the rest of everything.
Speaker 3 (03:46):
I don't know fair, And also I don't I let
me validate what you're saying. It was a confusing episode
because a lot of my notes are filled with questions
as the comments. But I agree with you. I think
I think Paul's great because you're right, the energy is
kind of low in this episode and he's just sort
(04:07):
of up to something. Yeah, and he was just great
in everything he did, and so yeah, just what a
heartbreaking loss. So young, such a talented, sweet guy.
Speaker 1 (04:17):
He really was so talented and so like what's really
funny about watching him in this role is that, you know,
when we did the Notebook, I was we worked very
he was Noah in my version of the Notebook, so
he was he worked very closely with me for I
think we rehearsed for like three or four months before
we put that workshop up, So it was I mean,
(04:38):
it was we took our time. So he and I
worked very closely together every day for a long time.
And when I tell you, he is nothing like that
character like Josh, It's so funny to see because he
is so shy. I never once saw him throw any
kind of a temper tantrum. I never saw him say
an unkind word to anybody. He was shy and sweat
(05:00):
and just wanted to make space for everybody. But he
felt so free on stage, like you put him in
a character and he just totally opened up. And it's
so fun to watch actors like that who are so
comfortable in their skin and who they are as a
human that they don't feel the need to sort of
act out that. But there's these all these little pieces
of our personality, Like when he gets into a role,
(05:21):
he just turned into somebody else. It was amazing.
Speaker 3 (05:24):
Yeah, I bet it was so fun for him because
you always hear actors like what do they want to play?
And it's usually the opposite. Yeah, you know of who
they are, so it's like the nicest people love like
Brian Krantzt and like relished playing Walter White, you know,
and he crushed at it too. So yeah, Paul was
a guy.
Speaker 1 (05:43):
Just storm into that trailer and slam the door in
the throw the wardrobe out at Sophia's Like, whoa, that
is so not you.
Speaker 3 (05:52):
It was great. He was great, But I agree with
you the episode there was just there was a lot
of odd things about it. And it's one of the
things I feel like, it's almost as if they were
short on time and they went like, let's just add
twenty seconds to a handful of scenes, because I did
(06:13):
notice there is this weird theme. I don't want to
get ahead of ourselves, but there's this odd, odd theme
that happens probably three or four times in this episode,
where something unexpected and unfortunate to say the least, happens
to a character and the care and attention is put
on the wrong people, Like I think it starts with Miranda,
(06:38):
where Grubbs walks in and Miranda's like devastated. She's like,
I'm being deported. Yeah, and his first thought, like his
first thing is kind of snarky, like I thought you
were going to do the record with me, And then
she's like I'm I'm going to be deported, and rather
than reading the room and being like, oh my gosh,
your life is being up ended, he goes, yeah, what
does that mean for us? Right? And then like Jana,
(07:00):
excuse me, alex is involved in a sex tape which
she did not consent to, and the initial emphasis is
put on she apologizes to because Julian comes in hot
at her.
Speaker 1 (07:12):
Oh yeah, than like.
Speaker 3 (07:14):
Asking, you know, even when she said that, he doesn't
kind of pull it back and go, Okay, that's awful.
And then when she comes to apologize, she's she's apologizing
on Bee. When she goes to Josh about it, she's like,
you jeopardize the film and these people. I'm like, yeah, also,
how about you are the biggest victim here?
Speaker 1 (07:33):
Yes, yeah, there was no like, hey are you okay?
Oh my god, Like that's horrendous what just happened to you?
That should be the first priority out of all of this,
everybody checking to see if Alex is okay.
Speaker 3 (07:46):
Yes, and it's it's just so, it's this odd thing
and it happens again. I forget who it is, but yeah,
where it's this thing where it's like the characters eventually
get to the right place in terms of like focusing
on who the this thing happened to, but they all
like they all start with making like being selfish and
(08:08):
not focusing on the person it was actually wrong to
the victim in the case, and so.
Speaker 1 (08:12):
Yeah, which would have worked if there had been somebody
who was pointing it out, so that at the least
we learned the lesson of like, here's what it looks
like when you don't empathize and you only worry about
yourself in scenarios, And here's what it looks like when
you care about someone else. Yes, but nobody was doing that.
Speaker 3 (08:29):
No, it was like Grubs was about himself, Julian was
about himself, and then Alex felt bad, so she let
it be about Julian, even though she's the biggest victim
of Like what do we know, be upset for yourself?
You know, Grubs got there and Julian got there. But yeah,
it started off me going like really.
Speaker 1 (08:49):
So that Yeah, so that's one thing that didn't make sense.
We talked last week about the Clay and Sarah slash
Katie of it all and how we're doing Superman now,
like she puts on the glasses and now suddenly nobody
knows who she is. I mean, the fact that Quinn
has been dating Clay for long enough that they're saying
I love you, and she's never seen a photograph of Sarah,
(09:10):
They've never had a late night conversation of tell me
everything about her? Show me pictures of her, Show me
pictures of you, guys. I want to see your wedding photos.
I want to know who you were together. Hello. What
is their relationship if they haven't had moments like this?
Speaker 3 (09:26):
Yes? And especially do you remember that scene on the
beach after she confesses to her when it's raining outside,
and after he shoes her away and then he gets
in his car and he finally says, I had a wife.
Her name was Sarah. She died. There's a scene after
that where Clay and Quinn are sitting on the beach
talking like it's like now the morning time, and it
ends with I think maybe Clay says something the effective
(09:48):
like well should we go, you know, or start our
day or something, and she's like, nah, tell me more
about Sarah. It's this really sweet like I'm I have
space for all of this and I'm interested moment. Yeah,
so I'm with you. And also she makes a comment
I think it was in the previous episode or the
one before that, where she says, hey, I noticed that
there aren't any pictures of Sarah up. I hope that's
(10:11):
not because of me. So I'm with you. It just
feels so so weird. That she's never seen a picture
of Sarah.
Speaker 1 (10:21):
It feels also like okay, as I'm I'm maybe I'm wrong,
I don't know. It seems like pretty easy fix if
they knew they were going to do this storyline, to
have a couple of scenes here and there where Quinn
is like, I really, you know, you've never shown me
a photo of Sarah. I would love to see what
does she look like? And Clay's like, you know what,
(10:44):
all the photos are locked away. I put it in storage.
I don't. I just it's a little too much for
me to have around. I mean, it's reasonable as a
time before everybody had photos all over their cell phone.
So I feel like there's a world where we could
have possibly believed that, but they just didn't make an effort,
so we have no reason to believe it.
Speaker 3 (11:08):
Well, and so it's odd. Right. So she comes into
the gallery, and you know, first of all, there's there's
the hilarious shot of when Clay sees so Quinn walks
over and goes, hey, I want to introduce you to
the girl I'm going to be sharing you with, which
was like, what's happening right now? And then it shows
(11:29):
that Clay sees Katie standing there. There's the slow mo
as if as if you're not going to see surprise
on Clay's face. There's the slow mode drop of the beer,
and then the close up of the bottle exploding on
the ground. What as if the audience is like, I'm
(11:50):
not sure what's Oh, the bottle broke Clay's surprise. This
is big.
Speaker 1 (11:56):
It's so disappointing.
Speaker 3 (11:58):
But here's the thing, right, Okay, so it's this odd
game again. I don't understand why Clay didn't get home
from his scouting trip and immediately download to Quinn. You're
never gonna believe what just happened to me, yep, because
that is that would be the craziest of crazy tea.
I don't know how you wouldn't want to spill that
with your favorite person. Yes, and okay, whatever he does it,
(12:18):
maybe he's got baggage. Who cares? Then the fact that
he plays along in the gallery where he actually lets
himself be introduced to her and he reacts as if
he doesn't know who she is. He doesn't just go
I know who you're Katie, Yeah, we spoke. He does
this weird thing. I said this last episode where it's
(12:39):
he is behaving as if he has done something that
he does not want to come out. He's behaving like
a man who has had an affair. So he plays,
he does the dance. It's awkward, and then he doubles
down on his shady behavior by like surreptitiously in indifferent scene,
walking over to Katie grabbing her by the arm.
Speaker 1 (13:00):
A couple of arm grabs in this episode too.
Speaker 3 (13:02):
Yes, and then which like why are you doing this?
Speaker 1 (13:05):
It's so like nineteen forties, like come here, I'm going
to talk to you on the corner. Come here when.
Speaker 3 (13:09):
Yes, as if she listened, pal, she's obsessed with you.
I'm pretty sure if you just said, hey, can you
meet me in the corner, she'd be like, absolutely, I'm
obsessed with you.
Speaker 1 (13:18):
Don't touch her. There's an intimacy in that kind of touching.
Speaker 3 (13:21):
Dude, exactly. And then he pulls over and he's doing
like the shout whisper thing, like what are you doing here?
This is the behavior of a man whose mistress has
shown up to his kid's birthday party where his wife
is at yes.
Speaker 1 (13:36):
Of one thousand percent.
Speaker 3 (13:38):
But then he tells Quinn, so here's what I don't
get what like from a writing standpoint, this here's what
I would have loved to have seen, is that he
had told Quinn about this Katie girl, and when she
shows up, Quinn is in on it too, because this
isn't a thread that we kept going where Quinn's in
the dark. At the scene, Clay grabs her by the arm.
(14:01):
He's like, he goes to Quinn, he goes, hey, I
want to show you a picture, and he unloads it,
which was also weird that I didn't understandhy Quinn wasn't like,
why were you then? Why didn't you say anything?
Speaker 1 (14:14):
You know, like yeah? Also, even Katie, I mean, this
is the easiest one to write off because she's a
little bonkers. But why would she show up to the
girlfriend's event and assume that the girlfriend doesn't know what
Sarah looks like? Quinn being the girlfriend, like, why would
she you know what I mean? Why would she show
up and think I'm going to get away with this?
Speaker 3 (14:36):
Well, I think her defense would be that she is
not a rational person. You are applying rationale to an
irrational person exactly. Also, when Clay and Quinn walk into
the gallery at the start of the episode, I thought
it was funny because it's it almost is as if
Clay is presenting it to Quinn, even though it's her
(14:58):
gallery show. She was listen, if you're doing a gallery opening.
She has been there for hours every single day, going
over every minute detail. Yes, but whatever. It was just
so sort of odd that he was like, close your eyes,
are you ready, as if she wasn't there an hour
beforehand doing all the touch ups. And then he does
the count of two. He does the Katie thing. He
(15:19):
goes one, two and he turns on the lights. I
found myself pissed off, like, Clay, do better, what Katie thing?
The whole thing with Katie is on the count of two.
When they're on the bridge, they're me cute, oh with Sarah,
Yeah with Sarah, and he's like, oh yeah, I may
have said Katie. With Sarah. He's like, yeah, the count
of two, and she's like, who does count of two?
And he's like us, Oh.
Speaker 1 (15:40):
So now he's bringing that into him and then he
does it to Quinn.
Speaker 3 (15:43):
I'm like, give her her own thing, no leftovers, no leftovers,
it's a new restaurant.
Speaker 1 (15:49):
Come on, to be fair about that. I have a
friend I just had a conversation with who their mom
died and their dad who's also much older. He's in
his seventies now, and he he remarried, but he keeps
putting the new wife in all the same situations as
his wife of like fifty years, by like taking her
(16:13):
to the same special places that he used to go
to with his wife and taking in like buying things
for the new wife that were the same exactly the
same thing, like the same watch but in a different
color for the that he did for his previous wife.
So I wonder if this is just a grieving man thing.
(16:34):
That's like I just I only know how to function
one way. But that's also somebody who was married for
like fifty years, not and who's old and not knowing
how to do something else. I mean, Clay is a
young man, like he should he should be doing some
different things for Quinn.
Speaker 3 (16:48):
Does the new wife does she know?
Speaker 1 (16:51):
She doesn't know. No. I mean the kids have been
like having to communicate, like dad, please stop, it actually
hurts us. You guys have to find new things. And
she's like, why is everybody mad at me?
Speaker 3 (17:04):
Why did the kids cry when we go to Applebee's hunting?
Speaker 1 (17:11):
I know, yeah, so I guess I could write Clay
a repass on the one too as an instinct. But nevertheless,
it is strange that he's introducing her to the venue.
Speaker 3 (17:23):
Well, and also just because she's not aware of it,
I feel like if it was, if it was something
she was aware of, it makes it a little less
weird for me for some reason. But it's almost kind
of like he's recycling it and she thinks it might
be for her. Whatever, It's not a big moment. It
was just a small, a small beef I had. I
will say though, going back to this gentleman who remarried,
I don't mind that gentleman taking her to the same
(17:46):
restaurants because he's seventy years old. He's had a lot
of time to try a lot of restaurants, and he
knows what he likes, so good for him. The watch
is weird because that's a gift for her that you're
not involved in, and you still chose the one that
your former partner had. Yeah, that's the one. I'm a kid.
I'm like, no, nobody.
Speaker 4 (18:05):
No, we need new things, new things, all right.
Speaker 1 (18:23):
So Clay is kerfuffled by Katie coming in handles it
all wrong. I'm you know what else? I really was
bummed about this story Sorry, guys, there are good things
about this episode. I just this storyline bothered me too,
because when Clay came on the show, you Rob, you
had so much energy, You had so much there was
(18:46):
this banter with James, and there was this sort of
snap to your personality, and we entered into the Sarah
storyline and we got to see a really lovely, emotional
side of Clay that was meaningful, and we needed that
to be able to grab onto depth for you as
an audience member to know to really fall in love
with you beyond just like I like this guy and
(19:08):
I like his fun personality. But once we got through
that and now he's with Quinn, Like it's the promise
of fun that I believed I was going to get
almost consistently with Clay based on the way that they
introduced to your character that I'm getting annoyed, Like I
(19:30):
want to see more fun, snappy banter, Clay. I want
to see who I was promised and I am not
getting it because they just entered you into another dramatic,
melodramatic storyline and miss I miss the you that I saw.
I missed the Clay that I met.
Speaker 3 (19:48):
Wow, I've never thought about it like that, but I
totally get it because I can also tell you for me,
comedy is my strike zone, Like that's sort of enter.
That is my favorite place to play. And I agree
that I got to do it at the start. And
then they were like, but let's give him all the drama.
Speaker 1 (20:09):
You know, and yeah, fine for a season.
Speaker 3 (20:12):
Yeah, but like it goes on for a while.
Speaker 1 (20:15):
Just keeps going on and on and on.
Speaker 3 (20:18):
So I know, as the actor involved, I do recall
kind of feeling like, hey, guys, when are we gonna
come up for air?
Speaker 1 (20:25):
It's like hiring a Jeremy Piven or Evince Vaughn type
of you know, like these guys who are known for
being having so much personality. Say what you want about them.
I don't know them personally, but like hiring them to
do something that I don't know who's like somebody that
does a lot of melodrama as an actor, like hiring
(20:46):
them to do Denzel type roles. I don't know, where
is the quippiness, where is all the fun? Where is
Clay trying to make light of things? They just would
not let you do it and it felt so frustrated
for me as an audience member. I mean it, you
did a great job, like you're so good at the drama.
I just wish they'd let you expand on your personality
(21:09):
more that they the one they knew you had.
Speaker 3 (21:11):
Here's the thing I started. I kind of mentioned last
episode that I had a take. I don't. I'm curious
actually what people will will think about it. I'm wondering
how many people on the same page as me. But
I have been wanting, by the way, are we just
calling her Lauren now that we haven't seen her in
the classroom? I can't call her miss Lauren every episode
(21:31):
I do too. I'm just gonna stick with it, miss Lauren,
Miss Lauren. I have wanted something to happen between Miss
Lauren and Mouth, like basically this whole season, they've been
sort of playing this one foot in, one foot out
dance with us. We finally got a moment the end
of two episodes ago, but they immediately excused it as
(21:51):
drunk behavior by Mouth. Then they came back and Miss
Lauren kissed him and Skills walked in, and then we
have this episode, and I gotta say, I think there
is a very strong case to be made for Skills
stepping aside and Mouth and miss Lauren to give it
a go.
Speaker 1 (22:12):
Interesting, I guess I agree. Skills did leave and he said,
you know, they kind of broke up when he left, right,
It wasn't like they were trying to maintain a long
distance relationship, so and he had to know that they
were still hanging out.
Speaker 3 (22:31):
Here's kind of some of my reasoning, right, is that
so he left, he didn't even ask her if she
wanted to come, a point which she brought up and
said it would if at least He's like, would you
have come? And she says no, but it would have
been nice to be asked. So it wasn't even serious
enough for him to entertain the conversation with her. He
(22:52):
leaves right, and when he leaves, he's gone gone. There's
a scene in which Miss Lauren shows up and Mouth
is playing Vida games and he says, oh, I'm on
with Skills now, and she makes a comment to the
effect of, how's he doing. I haven't talked to him
in a really long time, So he's not keeping in
touch with her, he's not keeping an open line of communication.
(23:14):
And then and then the whole while Miss Lauren and
Mouth are finding like friendship in each other. It starts
off very innocently. It's like it starts off the way
it should, like, with a good foundation of friendship, and
then it kind of starts to evolve into more and
then skill, and like they think about it, they're like,
I don't want to be your rebound. I don't want
to be your rebound. And then even after they've done
(23:35):
their due diligence and they've weighed all the kind of
the things at play, and they go like, let's give
us a try. Of course, at that very moment, Skills
walks in. And then here's my other issue. There is
just this strong entitlement of on Skills is part on
the writing part, because I don't want to say ownership.
(23:56):
That's too extreme. But like he does, he shows up
and in the gallery, he walks up because Louren and
Mouth are talking, and he walks up and he puts
his arm around her waist and he says, hey, do
you mind if I steal my girl away for a second?
And I just thought to myself, that's wild that you
(24:20):
would leave for months, not weeks, months presumably not talk
at all, and then you would walk up, put your
arm around her and call her your girl.
Speaker 1 (24:32):
And he even said that when he walked in the
door right after they had kissed. Hey baby, yes, so
I think you're right.
Speaker 3 (24:38):
Like to me, what I don't like about it is
it's it kind of smacks of someone who is really
just like focused on themselves. It's sort of like I left,
I'm assuming everything else frozen time, and now that I'm back,
I'm going to pick up right where I left off
because I'm the main character. And then he says he
has the audacity to say to her after he like
(24:59):
pulls her outside of the gallery, he goes, hey, you
seem distant. I'm like, bro, distant is when you dip
out for months on end and don't check in with
your girlfriend who you only broke up with because of geography.
Like you were distant for months and now you show
up acting as if nothing has changed, and then you
(25:21):
you kind of check her on, not just like resuming
right where you left off.
Speaker 1 (25:26):
What Yeah, this goes to your first point about people
not being like the emphasis is being put on the
wrong person exactly. Really doesn't make sense.
Speaker 3 (25:36):
And like that theme he gets there by the end,
of the episode. He says like, hey, I'm sorry, I know,
like he so, yeah, but there's literally it's like three
different characters in this episode start with putting the emphasis
on the wrong person. They eventually get to the right spot.
But like I said, it's almost like they went our
episodes three minutes short. Yeah, I know how we can
add a little bit.
Speaker 1 (25:57):
Yeah, I mean, but he got there, but then he didn't.
And again like once he found out it was mouth,
then he's punching mouth in the face, which was just
so tacky. Also, I mean, listen having mouth and Miss
Lauren having that intimate conversation in the photo booth that
they know is being broadcast to the entire gallery. Yeah,
(26:20):
not the smartest move.
Speaker 3 (26:22):
No, especially after it goes off one time they look
at the camera and then they continue to have the
intimate moment. No one goes, oh crap a camera, let's
stuck away. They're like, this seems like the right spot.
Let's stand on the X directly in front of the
camera broadcasting to the gallery.
Speaker 1 (26:39):
Oh crap a camera. I think it's like a room
they had to go into. They went in there.
Speaker 3 (26:44):
But he so he punched his mouth, which again the
sense of entitlement that he just goes away. I get it.
You might feel betrayed by your friend, but if it's
your best friend again, all you saw was that like
a and was on an arm. There's nothing scandalous but
that he immediately punches it just sort of added to
(27:07):
the like you are not emotionally or mature like maturity
wise where you need to be right now, like you
need to level up and circle back.
Speaker 1 (27:16):
Yeah, yes, level up and circle back.
Speaker 4 (27:20):
I love that.
Speaker 3 (27:21):
Because you're just name it there right now, pal, like
you got to get some get some reps in, do
some practice labs, and then come back. You know. The
thing that was great about it, though, is that he
punches mouth. He falls through the backdrop, revealing Alexander and Victoria,
and she has that incredible moment where she sees everyone
(27:42):
in the gallery looking at them and she just slowly
walks out and she looks down at Mouth and she
just says, scandalous. That's just scandalous. It was so so funny.
Speaker 1 (27:58):
Man completely leaving out Alexander in the dust, like not
even a second thought, like, oh well, you're on your
own kid, see.
Speaker 3 (28:06):
Me, as if she wasn't involved in anything that he
was a part of. She just sort of saw her
way out quietly and commented on the body on the floor.
Speaker 1 (28:15):
That's right, because Victoria knows how easy it would be
to just reframe that whole situation for anyone who thought
they saw her with alex and his underwear. She's like, oh,
I was just passing through from the back room and
suddenly Alexander was standing there in his underwear. I don't
know what was going on. It was very bizarre. All
everything was very bizarre. I had to get out of there.
Speaker 3 (28:36):
It was so good. And then it led to, of course,
the fantastic scene of Brooke yelling at her mom and
Alexander the perfect role reversal of the child yelling at
the parent.
Speaker 1 (28:48):
Really funny, the two of them sitting in a chair,
so funny. It was nice to have a little bit
of that. I don't know, comic relief is there. It
was just nice to see Brook happy in this episode
because she's she's also been kind of sad and depressed
for the last like seven episodes, so nice to see
her have a little relief for sure, And.
Speaker 3 (29:10):
Yeah, she definitely needed that release. There was a great
comedic moment where I think it's after the news has broke.
Paul's telling Julian were being blackmailed, and Josh keeps walking up,
and first Julian tells him to shut up, and then
Paul tells him to shut up. It was a really
kind of a fun run there, so great. I liked
(29:31):
that Brooke was the one who after Julian came down
I think far too hard on Alex. I like that
Brooke was the one who sort of softened his heart
and was like, Nope, come on.
Speaker 1 (29:41):
Help her, help her out, help her.
Speaker 3 (29:44):
That was great.
Speaker 1 (29:57):
Another thing in the gallery, Uh, did you do you
keep that photo of yourself?
Speaker 3 (30:03):
No?
Speaker 1 (30:04):
Rob, It's good. You should have kept that.
Speaker 3 (30:07):
It is a good photo, a good photo, I think.
Actually it went up in an apartment in Wilmington when
I lived. Really I lived downtown my first two years,
the first two seasons, and then the third year I
moved out and I moved in with Stevec Stephen Chletty
for all.
Speaker 1 (30:23):
Of you, ye also who made an appearance in this
episode for like a shot, which was so bizarre.
Speaker 3 (30:29):
I had a note about that. I was like, why
are we limiting Chase to only bar specific material?
Speaker 1 (30:35):
And he I think he said one line. We got
a shot of his face and then moved on. Never
saw him again for the rest of the entire episode
and haven't seen him for a while anyway. It was
just like somebody was like, oh, we need Chase. He's
got storylines coming up. Somebody just get a shot of
him in this episode, Like just hey, reminder audience, he exists. Okay, bye.
Speaker 3 (30:53):
It's and it's odd. It's as if in tree Hill
there is only one bartender left. They've all fled town
for the cities. This is the only guy we got.
Speaker 1 (31:02):
Grubs is recording an album anyway. So the photos in
an apartment somewhere.
Speaker 3 (31:07):
It was and I don't know what happened after I
left I but yeah, I had it. I had it
up for a bit, which is funny. It was a
good photo.
Speaker 1 (31:15):
It's a great photo. That's the kind of photo of
somebody you see when you go it's like in their
bathroom or like in a guest room somewhere in a
hallway that tucked away in the corner. You know, it's like,
you don't want to display it out for everyone, but
it's nice to be able to go see if you're
a house guest and you pass by it in the
in the entryway or like the bathroom.
Speaker 3 (31:34):
I want my house guests to know, look how serious
I can look. You guys look at me when I
think how pensive I am. I loved but I agree
with you on the chase stuff. I wish we had
more of it. I like that Grubbs eventually got there
and asked Miranda to marry him because I was shouting
at the TV as soon as that came up, like,
what are you doing? Dumb? Dumb, like just proposed to her.
(32:00):
But then I've really loved seeing Nathan and Jamie have
a guy's night. It was such a pure, joyful storyline
in this episode.
Speaker 1 (32:16):
Yeah, very very sweet. I did not like the kiss element.
I thought, again lazy, Like there's so many meaningful things
they could have done, and I think they just were like,
I don't know, we just need them to do something
cheap in the house. But I would love for them
to have gone on another camping trip or gone to
do something even bowling. I don't know, something out where
(32:37):
you could get. They got into some real shenanigans and
there was an actual even a d storyline to follow
of steaks. You know something happens, instigation, obstacle, you're trying
to overcome it, and then they resolve it at the end.
It could have been very simple, I don't know, toilet
paper in somebody's house or so just something.
Speaker 3 (33:00):
Oh my gosh, if they had gone to teepee what's
his name, Chuck's house, how good would that have been? Yes, yeah,
I agree with you. Here's what I will say about that.
I loved the kiss you did. But here's why not not.
I like listen. I like to see a father and
a son bonding and having fun. Great. Yeah. What I
(33:22):
loved about it was I was watching James, my friend, Yeah,
who is not a guy to put on face makeup
and act like a flamboyant rock star. I was watching
my buddy just going James is hating this, like he's
he commits and he goes for it. But because I
know the man doing it, I'm like, oh this is
(33:43):
this is not his happy place?
Speaker 1 (33:45):
Yeah? Yeah, No, this felt like one of those I mean,
there were so many things in this episode that I
think were reflections of our boss and his perspective and
the way that uh women are viewed, the way that
relationships are viewed. All of those things, but this also
(34:06):
felt like some sort of something behind the scenes. How
do I irritate James and put him in a position
where he has to do something that he is embarrassed
by and hates.
Speaker 3 (34:16):
Well. Also, that montage felt like it was thirty two
minutes long.
Speaker 1 (34:20):
This is what I'm saying. Yes, it's like the adding
the twenty extra seconds in every scene. If they had
taken those out and put them into a real storyline.
Moment between Nathan and Jamie going out tepeeing Chuck's house
trying not to get caught. The cops are maybe chasing them.
It's like it could be small little things. It doesn't
have to be a long drawn out storyline, but we
(34:40):
needed some energy.
Speaker 3 (34:43):
It would have been more fun is watching a moment
of so they're playing guitar hero, I get the transition
to kiss. I understand that logic. Right. Here's what would
have been funny is a moment where one of them goes, hey,
you know what we should do. We should put on
the makeup, and they see a picture of how the
guys look and then they go to do it to
themselves and it just looks terrible because they're not professional
(35:05):
makeup yes. Yeah.
Speaker 1 (35:07):
If Jamie had said that and Nathan was like, fine, yep,
all right, let's do it. Just second up, let's do it,
that would have been great, just the emphasis of seeing
that moment and having it not be perfect. It would
have been so fun.
Speaker 3 (35:19):
But the fact that that Nathan was like, you know what,
I actually know where all of mom's makeup is. I
know exactly what to use. Yeah, because they were perfect
makeup jobs. If my son was like, let's do that,
I would I would have no clue what to do
if Jenny weren't around.
Speaker 1 (35:34):
Yeah, Like where did they get the pure white clown makeup?
Because Haley doesn't have that in her kit. This is
like in the bottom of a pile of things. You
know how in kids' rooms if you go into like
a seven or eight year old's room in the closets somewhere,
there's baskets stacked on top of each other and it's
just all full ofh just whatever little things. Somebody gave
(35:55):
Jamie a face paint kit five years ago that never
got thrown out, and it's in the bottom of the
corner of the closet, And that's what I wanted to
see them go dig for pull it out, watch Jamie
try and do his dad's makeup like it would have
been so cute. That's what's happened in my mind. I'm
rewriting it in my mind.
Speaker 3 (36:13):
In my mind, Hailey moonlights as a geisha from time
to time, so she has plenty of that white clown
makeup just around the house, and a kitchen drawer and
a bathroom shelf. You know, it's everywhere.
Speaker 1 (36:27):
Love it.
Speaker 3 (36:28):
Speaking of Haley, I did because, you know, last week
when I had seen almost all of this episode and
I had said, oh, there's not much grieving obviously, I
hadn't got to the end of this episode, and watching
Haley try to hold it together at the gallery opening,
which makes a lot of sense, and then completely coming undone,
(36:51):
which I liked because for a big emotional release, they
really kind of pulled back all of the theatrics and
that may have been a uk, I don't know, but
I like that it was. I love the honesty and
the simplicity of you just quietly woke up in bed
and snuck outside to not wake the family and then
(37:11):
just fell apart.
Speaker 1 (37:12):
Yeah, I remember doing that scene. I also remember throughout
the episode having to fight for Haley to to be
low energy. I think Quinn was excited and pushing through
and she sort of had to be on and Brooke
(37:37):
was finally happy and at peace, and I feel like
they wanted a lot more of Haley's excitement for Quinn
and all of for all of Haley's interactions, I remember
just feeling like I was getting asked to be happier
or be just a little more energy, just more energy,
(37:58):
and I was like, I just And when I first
watched it, I was thinking, was I just miserable in
my life? Like, oh no, this is I was making
this choice because Lydia had just passed away, and it
didn't make any sense for Haley to just be like
moderately sad. So I'm glad. I you know, I wasn't.
(38:20):
I didn't, I wasn't always right, But I'm glad I
stuck to my guns on this one because I think
it I think we needed it, but I also think
it was I remember it being hard to do because
if everything around me is kind of low energy, my
tendency as an actor is to find a way to
brighten everything up and keep the energy up, because I'm
trying to like carry the scene like, oh no, everything
(38:42):
is getting so slow. So it was such a good
challenge to try and settle into and be comfortable with
just being there and not having much reaction to anything.
And it paid off in the end, in the end
of the episode, and I forgot how dark this goes
for her.
Speaker 3 (39:01):
Oh I don't remember.
Speaker 1 (39:02):
So yeah, this keeps going for her for a while.
Speaker 3 (39:07):
Well, I think you found a really nice place for
it to settle because the gallery, it makes sense. You
do need to have some energy for that. It's a
big night for your sister. Yeah, you know, it's not
like it was a family dinner night where it's just
kind of you know, standard fair. It's like you do
sort of need to turn it on, you know, just
(39:28):
to sort of cheerlead your sibling.
Speaker 1 (39:31):
Yeah, you know.
Speaker 3 (39:32):
But then so I bought all of that. And then,
like I said, just when you actually have a private
moment kind of the first time, because.
Speaker 1 (39:39):
Isn't that the worst when you're just in absolute pain
and misery and you have to show up somewhere and
pretend like everything's fine, because what what are you going
to do? Like somebody's you can't have any real meaningful
conversations if somebody who knows you really well, gets too close,
looks you too long in the eye, puts their hand
on you in a way that's comforting. It's like I'm
(40:00):
going to fall apart. I need nobody to touch me.
I need nobody to look at me. I can talk
to you about the weather and the news maybe, but
like I can't, I just cannot have anything meaningful going
on because I'm going to fall apart. It's the worst.
Speaker 3 (40:14):
So when, because I think you just describe being an
actor as well, when you are having stuff go on
in your life, do you find it harder to come
to work and do your job or do you find
it easier because you were able to sort of dissociate
and just escape to someone else.
Speaker 1 (40:31):
I find it a lot harder to come to work,
and especially if I have to do comedy or I
even just be fine, be just normal. It takes so
much energy to lift up from feeling heavy, to lift
(40:52):
up just to a normal level of energy for me.
So if I have to do stuff that's really especially
really funny, and then I feel bad because I feel
like I'm not being authentic, I'm not doing a good
job because it feels fake, and which makes me feel
worse about my real life and it's a bad cycle.
(41:12):
That that's it. It's tough for me. What do you?
How do you? How about you? How does it feel
for you?
Speaker 3 (41:16):
It's kind of similar for me. I the thing you
were just describing. I find gets me where. It's because
I really try to be authentic and my life and
sort of honor my feelings and where I'm at, And
because what I used to do was always sort of
have a facade of like, I'm good, how are you?
Just the like infinite consonant people pleaser, I'm okay. I
(41:39):
need you to be okay. And so I do find
I have had moments where I'm doing light fare comedy,
rom com type stuff, and as soon as they call cut,
I feel my face drop and and I if I'm
not careful, I can find myself resenting the work because
I'm like, this is me. I'm sad, you know, because
(42:02):
I just I feel how false it is. I feel
it feels so fake to me, you know. But if
on the same handle, there's a coin if I'm doing drama,
it kind of is a shortcut to drop into.
Speaker 1 (42:14):
Where I Yes, definitely, I had.
Speaker 3 (42:17):
A director one time say bring your set, and he
was right because it was like if I was going
through something and I had to play you know, heaviness,
it was like, oh, I'm we're grounded.
Speaker 1 (42:30):
Oh god, I here, Yeah, I'm with you.
Speaker 3 (42:32):
When it's comedy or light, feel good stuff, it's just
extra tiring. You become aware of how tiring it is
to fake energy when you just don't have it.
Speaker 1 (42:45):
I would say it's one of the benefits, however, being
on a show with cast members that you feel safe
with and have known for a really long time, versus
showing up to do a guest spot or you know,
if you're on a movie and it's like we one
or something. There's something that is I have done this
where I've shown up to set feeling not great and
(43:09):
just let myself have a moment, have a cry, have
like just trusting that the other artists around me understand
that we're not robots and sometimes you're having a hard
day and you just need to let it out, and
the sheer moment of releasing it out of my body
will and being witnessed by other people who say it's okay,
(43:33):
take a moment. Life is hard sometimes, and then getting
myself put back together and showing up, walking back onto
set and doing the scene does make it a lot
easier for me. If I can allow myself to just
be a human and release. If I have to take
five minutes, everybody's going to have to wait for five
(43:53):
minutes while I cry and get it out of my
body and then step back in. That does really help.
But I don't feel like I can do that very often.
I think I have to feel really safe in the environment.
But working on our showed, you know, we had such
a great group of people, so that was something we
could do. I hope that made sense, and I mean
to talk in a circle.
Speaker 3 (44:14):
Yeah, no, it does make sense. And I think also
I do like work is helpful for me when I'm
going through something. I mean, listen, if I like lost
the loved one and I'm grieving, it's different because that's
just grief and that's living in my body. But if
it's you know, oftentimes eighty five percent of my struggles
are created in my head. Eighty five percent of them
(44:35):
probably will never ever happen, you know, So a lot
of times my struggles are of my own making, and
going to work and forcing my mind to focus on
other things can help pull me out of that loop
I'm in, because I know, once my head gets stuck
on something, my mind can just sort of loop and
loop and loop and ruminate on it and going to
(44:55):
work and forcing myself to say different words, to listen
to people, to be present. It's sort of like it
gives me enough space from it to go like, oh, okay,
that it took some of the air out of the balloon. Yeah,
what felt so big before has now become kind of
right sized and it's more manageable. Yeah, versus like you know,
(45:17):
when you lay in your back when you're like I
used to do this all the time my twenties, when
I'd wake up with anxiety or something and I didn't
know what to do besides just lay in my bed.
And of course that is the for at least for me,
that is the worst possible thing I can do.
Speaker 1 (45:31):
Yes, I'm the same. I mean I many years of
my life. I've really only recently, in the last I
think a year or two, learned how to get myself
up out of bed because I would wake up and
immediately feel depressed, like open my eyes and feel all
the pressure of the day, all the things that I
(45:52):
didn't and then it's like, friends, I forgot to say
happy birthday to a month ago, and it's like every
little possible thing that's in your brain about how what
an I am? Why everybody hates me, why my life
is a mess, and lela la, all of the horrible
things that lead you completely out of gratitude and into
feeling worse and worse and worse about yourself. And that's
(46:13):
what was like the replay, like the record on my
brain every morning when I open my eyes, and it
is so exhausting, and the worst thing that I would
do is lay in bed because I didn't know. I
felt paralyzed by it and I hadn't didn't have any tools. Yeah,
but I tell you, like stepping foot out of bed,
getting my body upright, drinking a glass of water, taking
(46:36):
a shower, like wat just getting water on your body,
kind of like you know, even babies react to it
if they're throwing a fit. You put a kid in
a bath and they're like, okay, something's different, you know,
step outside, just something to change it up in your
brain makes all the difference.
Speaker 3 (46:53):
Yes, completely, you know, it's esteemable. Actions build esteam. And
so what I started doing when I was starting to
develop my toolkit, was I would I'm a I'm a
to do list guy, clearly like I love structure, I
love I love a list, and so I would pad
my to do list, and my first three things would
be make bed, brush teeth, take a shower, usually get dressed.
(47:15):
So by the time I was starting my day, I
had a sense of accomplishment.
Speaker 1 (47:20):
Yeah, you've checked some things off.
Speaker 3 (47:21):
I've taken off like a core of this list, you know.
But it's funny that Clay had the line I would say,
The line most people talk to me about is I
think it's no matter how fast you run, the pain
will run faster. It's something to that. I know. I'm
not getting it word for word everybody, but you know
the gist of it. It's something I think Clay's already
said by this point, I believe because he's talking about
(47:43):
grief and how he he knows from experience, because he
tried to outrun it and just escape it. And what's
interesting is I'm only now realizing that I should have
taken my own advice sooner, like Rob, because this was
a time my life where I was just struggling and
I had no toolkit. So I remember as we were
talking about laying in bed, I used to I can
(48:04):
still picture the room, so clearly I would have to
as soon as I got home from work, I would
have to put a DVD of one of my favorite
shows on. It would stay on through falling asleep, and
as soon as I woke up if it had gone
to the menu screen, I immediately started it back up
because I couldn't just be alone with my thoughts like
going to sleep and waking up were the two scariest
(48:26):
parts of the day for me. Wow, So I had
to have white noise. It felt familiar, It felt like
it was almost like friends in the house, because my
only solution would have been I'm just going to pull
the covers over my face, which, of course, like all
it does is kill time, but it would make life
just infinitely scarier and harder.
Speaker 1 (48:45):
So that's a good coping mechanism for a season, just
to start, you know, get you out of your own brain.
You if and when thoughts are overwhelming, and then what
do you do moving on from that? Like what's the
next level up from that?
Speaker 3 (49:04):
Well? I mean at best that having TV on the
background as a band aid, like it's not shooting anything
at all. I mean for me, what I just discovered
for myself was like I do best in motion, So
it's I just got to get out of bed and
start doing things. And because otherwise just you know, like
my my brain can be a very dangerous neighborhood to
(49:27):
be hanging out in by myself. So like when I
wake up and my brain has suited up for the
opposing team, I'm like, oh, okay, I got to call
some people, Like I got to get busy, you know,
before my head gets busy on me. And I just
didn't know better back then.
Speaker 1 (49:41):
Yeah, but you'd coped the best way you knew how
That's what I'm saying. Like, there's this element of level
to level, you know, good glory to glory whatever however
you want to phrase it. But the idea that like
you're figuring it out and the band aid that you
had at that moment was that was what you had.
And so then there's another level after you decide that
this is just a band aid, how do we actually
(50:04):
take the band aid off and start healing the wound.
Speaker 3 (50:06):
Also, I think that didn't help at the time, was
again this was pre therapy, so I kind of felt
like I always needed to present the version of Rob
that had the fewest needs and took up the least
amount of space. Yea, and which in my head was
I'm just going to be easy and fun and here
for you, but I don't need anything from you, which
(50:27):
also meant I'm not going to tell you when I'm
struggling or scared or hurting because I don't want to
be in position. So I wasn't saying like, hey, man,
does anyone else have a solution to this? Because, like
you know, now where I'm at, it's like, if I'm
struggling with something, I'll reach out to someone close to
me and either just to bring them in on it,
you know, because a burden shared is halved, a joy
(50:49):
shared is doubled. It's like, I'm a big believer in that.
But also because they may have a solution, they may go,
oh yeah, I went through that and here's what I
did that helped me. But back then it was like,
how you doing, Rob, great man, how are you?
Speaker 1 (51:02):
Even if they don't have a solution, just being heard
being seen having somebody like listen say, I don't know
what that's like, but I can imagine based on what
you're explaining to me, and I'll be thinking about you.
What do you need? You want to come over? You
want to watch a show together on FaceTime? You want
me to door to ash you something, You want to
(51:22):
do a crossword puzzle together. I don't know. Just having
somebody hold space for you, even if they don't have advice,
can change everything.
Speaker 3 (51:31):
A little good old fashioned connection, you know, it's always
the secret sauce. It's just other people. If you're just
joining us, Welcome back to Joy and Rob's therapy Corner. Today,
we're talking about growth, where we've been, how we got
to where we are today.
Speaker 1 (51:48):
Well, Clay certainly could take some of all of this advice,
some of all.
Speaker 3 (51:52):
Of this some of all isn't that funny? It's like
when people go, I maybe definitely can be there.
Speaker 1 (51:58):
Yeah that may be definitely could I definitely maybe could
be there, definitely.
Speaker 3 (52:01):
Maybe you definitely maybe could use a grammar class.
Speaker 1 (52:07):
Wait, do you follow this guy? I just started following
this guy on we have a listener question We'll get
to in a second. I followed this guy I have
to find it and he talks about Southern isms and
he's talking about like now when you when somebody's trying
to get off the phone with you in the South.
Here are the cues that you need to listen to. Now,
(52:27):
there's one way to say it, which is I'm gonna
let you go. But the real kind way to say
it and what you want to do. You want to
win this, So the real important thing is for you
to say, I'm gonna let you I'm gonna, i'm gonna
let you let me go. Shoot, I'm gonna I'm butchering it. Oh,
(52:47):
let me let you go. It's not just I'm gonna
let you go. It's all right, well, let me let
you go, because then you win. You're the most considerate.
Speaker 3 (52:58):
The page asks if you could pick your TV siblings
from any other show, who would it be. Oh?
Speaker 1 (53:18):
I mean I always go back to the Huxtables. It's
my favorite TV family ever. But I think Who's the
Boss comes in at a close second. I feel like
I would have had a lot of fun with Sam.
I don't know what I mean, Alissa Milano, I can't
remember what the character's last name is. What about you?
Speaker 3 (53:38):
I am going to go arrested development.
Speaker 1 (53:45):
You would have such a field day with that.
Speaker 3 (53:48):
Yeah, I just think there would never be a dull moment.
Holidays would be exceptionally disastrous and entertaining all day. Yeah,
take them all.
Speaker 1 (53:58):
Okay, this guy is landon Bryant and you will you
will thank me later. He's really funny Landon Bryant.
Speaker 3 (54:08):
Land and Bryant.
Speaker 1 (54:09):
Okay, honorable mention. Hm, I mean Paul Teal is always
going to get my honorable mention from now on every
episode he's in. I love him and I miss him already.
Speaker 3 (54:20):
Also, is Josh behind the Oh? He is? I was
gonna say, I remember watching the episode at the start,
going is he behind it? And I think we realize
after he leaves jan As hotel or sees me Alex's
hotel room met he is? So I can't wait to
see what he's cooking up. But yes, honorable mention all day.
Paul Teal? Yeah, what a guy, What a loss? Much
(54:40):
love to to uh to Paul into his loved ones
this difficult season. Well, what do we have next episode?
Oh no, we have a wheel first, Ultra horses. Roberto
most likely to get a residency in Vegas. I'm gonna
(55:02):
say both Haley and Joy.
Speaker 1 (55:06):
I feel like I could do that. I mean, I
don't love Vegas. But that does seem like something that
would be fun for like a year. Maybe maybe I
do like glitter and heat.
Speaker 3 (55:19):
I just love the idea of you've moved to Vegas.
I'm like, what drew you to Vegas?
Speaker 4 (55:23):
Joy?
Speaker 3 (55:23):
And you're like, honestly, I just love glitter. That would
be the most joy answer ever. I would be so tickled.
Speaker 1 (55:34):
I love glitter. Next episode, Season seven, episode twenty, Learning
to Fall. Thank you so much for joining us, and
we look forward to seeing you next week.
Speaker 3 (55:45):
And can I just say, can you just do all
of your segues? Can all of them start with I
love glitter?
Speaker 4 (55:51):
Yes?
Speaker 3 (55:52):
From this it would be the most hilarious runner. People
tune in three episodes are like, why does she keep
talking about how much she loves glitter?
Speaker 1 (56:00):
On topic I'm pushing for my Vegas residency.
Speaker 3 (56:03):
You're like, I love glitter. It was so sad to
see Victoria die in this episode.
Speaker 1 (56:08):
One's like, what, I'm on it and I'm putting it
in the arsenal.
Speaker 3 (56:12):
All right, thanks for joining us, everybody, Bye, Hey, thanks
for listening.
Speaker 1 (56:17):
Don't forget to leave us a review. You can also
follow us on Instagram at drama queens o t h
or email us at Drama Queens at iHeartRadio dot com.
See you next time.
Speaker 2 (56:29):
We all about that high school drama Girl, Drama Girl,
all about.
Speaker 1 (56:33):
Them high school queens Forever.
Speaker 2 (56:35):
We'll take you for a ride at our comic girl
cheering for the right teams, Drama Queens, my go up
girl fashion, but your tough girl, You could sit with
us Girl Drama Queens, Drama Queens, Drama Queens, Drama Drama Queens,
Drama Queens
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 shared for the right
teams Drama Queens off.
Speaker 1 (00:14):
Girl Fashion, which you'll tough. Girl, you could sit with us,
Girl Drama, Queens, Drama, Quise Drama, Queens Drama, Drama, Queens
Drama Queens.
Speaker 3 (00:24):
By the way, I've started taking notes joy On on
my phone as well, because I find out I can
watch episodes like, well, I'm putting my son down, and
I gotta say, I don't think I'm gonna go back
to pen and paper.
Speaker 1 (00:35):
Yeah, it's kind of nice just to be able to
have it all right now. I use my I like
my iPad and my uh pence Apple pencil because I
can just do I have the same template every time.
Speaker 3 (00:46):
Huh. So you're just the futuristic version of a pen
and paper, I guess, or quill and ink if you will.
Quill and ink.
Speaker 1 (00:53):
Yeah, but having notes all written out on your phone,
can you type? Like is that easy to do while
you're doing other things? You feel like you can?
Speaker 3 (01:01):
No, I just you have to pause the episode for sure.
Speaker 1 (01:05):
Oh, okay, it makes sense, you know.
Speaker 3 (01:07):
It's just it's nice because I can kind of two
birds one stone it, you know.
Speaker 1 (01:11):
Yeah, well, hi, everybody, welcome to the middle of our conversation.
We're just talking about technology fixing my computer, and we're
talking about taking notes on this weird episode. Rob, what's
the episode? Do you want to tell us?
Speaker 3 (01:26):
I'd love to? Season seven, episode nineteen, Every Picture Tells
a Story. Air date was April twenty six, twoenty ten.
It's the night of Quinn's big gallery opening and an
uninvited guest Ambush is Clay Oh. Nathan spends the day
with Jamie while Haley struggles with the life after her
(01:47):
mother's passing. Brooke and Julian each receive a shocking surprise. Meanwhile,
Skills learns the truth about Lauren and Mouth and Grubs
presents Miranda with a life changing question. Directed by our
own Chad Grave written by William H. Brown, Well, well,
you came in with an interesting energy towards this episode,
(02:07):
so why don't you start say more about that sort
of vibe you gave.
Speaker 1 (02:12):
I thought the writing was exceptionally lazy, and we're getting
to this point and this is it's hard to say
that because a lot of our writers we all love
and had great experiences with and like every other day job,
there get to you enter into seasons I think, where
(02:33):
you're focus on something else, or people have things going
on in their personal life, and there's there's so many
things going on. So I don't know what all the
factors were that contributed this. Because Bill Brown's actually a
pretty good writer. I think he's done some really great
stuff for our show. So I don't know what happened.
I don't know if the if, the room just it's
like we there were so many things that didn't make sense.
(02:54):
There was It felt to me like the conversations were
very talking heads. Like there was low energy everywhere in
this episode, and I was confused. But maybe I'm being grouchy.
I'm also like my energy's down a little. Paul Teele,
who played Josh, passed away recently a couple of days ago,
(03:17):
actually so and I worked pretty closely with him on
this show, but mostly on a play that I did
with him when we did The Notebook in two thousand
and six. So it was hard to see him and
watch just watch him. He was so great, So I
don't know. Maybe that's coloring my perspective of the episode.
(03:40):
I just feel a little I feel a little down,
So I was probably projecting that on the rest of everything.
Speaker 3 (03:46):
I don't know fair, And also I don't I let
me validate what you're saying. It was a confusing episode
because a lot of my notes are filled with questions
as the comments. But I agree with you. I think
I think Paul's great because you're right, the energy is
kind of low in this episode and he's just sort
(04:07):
of up to something. Yeah, and he was just great
in everything he did, and so yeah, just what a
heartbreaking loss. So young, such a talented, sweet guy.
Speaker 1 (04:17):
He really was so talented and so like what's really
funny about watching him in this role is that, you know,
when we did the Notebook, I was we worked very
he was Noah in my version of the Notebook, so
he was he worked very closely with me for I
think we rehearsed for like three or four months before
we put that workshop up, So it was I mean,
(04:38):
it was we took our time. So he and I
worked very closely together every day for a long time.
And when I tell you, he is nothing like that
character like Josh, It's so funny to see because he
is so shy. I never once saw him throw any
kind of a temper tantrum. I never saw him say
an unkind word to anybody. He was shy and sweat
(05:00):
and just wanted to make space for everybody. But he
felt so free on stage, like you put him in
a character and he just totally opened up. And it's
so fun to watch actors like that who are so
comfortable in their skin and who they are as a
human that they don't feel the need to sort of
act out that. But there's these all these little pieces
of our personality, Like when he gets into a role,
(05:21):
he just turned into somebody else. It was amazing.
Speaker 3 (05:24):
Yeah, I bet it was so fun for him because
you always hear actors like what do they want to play?
And it's usually the opposite. Yeah, you know of who
they are, so it's like the nicest people love like
Brian Krantzt and like relished playing Walter White, you know,
and he crushed at it too. So yeah, Paul was
a guy.
Speaker 1 (05:43):
Just storm into that trailer and slam the door in
the throw the wardrobe out at Sophia's Like, whoa, that
is so not you.
Speaker 3 (05:52):
It was great. He was great, But I agree with
you the episode there was just there was a lot
of odd things about it. And it's one of the
things I feel like, it's almost as if they were
short on time and they went like, let's just add
twenty seconds to a handful of scenes, because I did
(06:13):
notice there is this weird theme. I don't want to
get ahead of ourselves, but there's this odd, odd theme
that happens probably three or four times in this episode,
where something unexpected and unfortunate to say the least, happens
to a character and the care and attention is put
on the wrong people, Like I think it starts with Miranda,
(06:38):
where Grubbs walks in and Miranda's like devastated. She's like,
I'm being deported. Yeah, and his first thought, like his
first thing is kind of snarky, like I thought you
were going to do the record with me, And then
she's like I'm I'm going to be deported, and rather
than reading the room and being like, oh my gosh,
your life is being up ended, he goes, yeah, what
does that mean for us? Right? And then like Jana,
(07:00):
excuse me, alex is involved in a sex tape which
she did not consent to, and the initial emphasis is
put on she apologizes to because Julian comes in hot
at her.
Speaker 1 (07:12):
Oh yeah, than like.
Speaker 3 (07:14):
Asking, you know, even when she said that, he doesn't
kind of pull it back and go, Okay, that's awful.
And then when she comes to apologize, she's she's apologizing
on Bee. When she goes to Josh about it, she's like,
you jeopardize the film and these people. I'm like, yeah, also,
how about you are the biggest victim here?
Speaker 1 (07:33):
Yes, yeah, there was no like, hey are you okay?
Oh my god, Like that's horrendous what just happened to you?
That should be the first priority out of all of this,
everybody checking to see if Alex is okay.
Speaker 3 (07:46):
Yes, and it's it's just so, it's this odd thing
and it happens again. I forget who it is, but yeah,
where it's this thing where it's like the characters eventually
get to the right place in terms of like focusing
on who the this thing happened to, but they all
like they all start with making like being selfish and
(08:08):
not focusing on the person it was actually wrong to
the victim in the case, and so.
Speaker 1 (08:12):
Yeah, which would have worked if there had been somebody
who was pointing it out, so that at the least
we learned the lesson of like, here's what it looks
like when you don't empathize and you only worry about
yourself in scenarios, And here's what it looks like when
you care about someone else. Yes, but nobody was doing that.
Speaker 3 (08:29):
No, it was like Grubs was about himself, Julian was
about himself, and then Alex felt bad, so she let
it be about Julian, even though she's the biggest victim
of Like what do we know, be upset for yourself?
You know, Grubs got there and Julian got there. But yeah,
it started off me going like really.
Speaker 1 (08:49):
So that Yeah, so that's one thing that didn't make sense.
We talked last week about the Clay and Sarah slash
Katie of it all and how we're doing Superman now,
like she puts on the glasses and now suddenly nobody
knows who she is. I mean, the fact that Quinn
has been dating Clay for long enough that they're saying
I love you, and she's never seen a photograph of Sarah,
(09:10):
They've never had a late night conversation of tell me
everything about her? Show me pictures of her, Show me
pictures of you, guys. I want to see your wedding photos.
I want to know who you were together. Hello. What
is their relationship if they haven't had moments like this?
Speaker 3 (09:26):
Yes? And especially do you remember that scene on the
beach after she confesses to her when it's raining outside,
and after he shoes her away and then he gets
in his car and he finally says, I had a wife.
Her name was Sarah. She died. There's a scene after
that where Clay and Quinn are sitting on the beach
talking like it's like now the morning time, and it
ends with I think maybe Clay says something the effective
(09:48):
like well should we go, you know, or start our
day or something, and she's like, nah, tell me more
about Sarah. It's this really sweet like I'm I have
space for all of this and I'm interested moment. Yeah,
so I'm with you. And also she makes a comment
I think it was in the previous episode or the
one before that, where she says, hey, I noticed that
there aren't any pictures of Sarah up. I hope that's
(10:11):
not because of me. So I'm with you. It just
feels so so weird. That she's never seen a picture
of Sarah.
Speaker 1 (10:21):
It feels also like okay, as I'm I'm maybe I'm wrong,
I don't know. It seems like pretty easy fix if
they knew they were going to do this storyline, to
have a couple of scenes here and there where Quinn
is like, I really, you know, you've never shown me
a photo of Sarah. I would love to see what
does she look like? And Clay's like, you know what,
(10:44):
all the photos are locked away. I put it in storage.
I don't. I just it's a little too much for
me to have around. I mean, it's reasonable as a
time before everybody had photos all over their cell phone.
So I feel like there's a world where we could
have possibly believed that, but they just didn't make an effort,
so we have no reason to believe it.
Speaker 3 (11:08):
Well, and so it's odd. Right. So she comes into
the gallery, and you know, first of all, there's there's
the hilarious shot of when Clay sees so Quinn walks
over and goes, hey, I want to introduce you to
the girl I'm going to be sharing you with, which
was like, what's happening right now? And then it shows
(11:29):
that Clay sees Katie standing there. There's the slow mo
as if as if you're not going to see surprise
on Clay's face. There's the slow mode drop of the beer,
and then the close up of the bottle exploding on
the ground. What as if the audience is like, I'm
(11:50):
not sure what's Oh, the bottle broke Clay's surprise. This
is big.
Speaker 1 (11:56):
It's so disappointing.
Speaker 3 (11:58):
But here's the thing, right, Okay, so it's this odd
game again. I don't understand why Clay didn't get home
from his scouting trip and immediately download to Quinn. You're
never gonna believe what just happened to me, yep, because
that is that would be the craziest of crazy tea.
I don't know how you wouldn't want to spill that
with your favorite person. Yes, and okay, whatever he does it,
(12:18):
maybe he's got baggage. Who cares? Then the fact that
he plays along in the gallery where he actually lets
himself be introduced to her and he reacts as if
he doesn't know who she is. He doesn't just go
I know who you're Katie, Yeah, we spoke. He does
this weird thing. I said this last episode where it's
(12:39):
he is behaving as if he has done something that
he does not want to come out. He's behaving like
a man who has had an affair. So he plays,
he does the dance. It's awkward, and then he doubles
down on his shady behavior by like surreptitiously in indifferent scene,
walking over to Katie grabbing her by the arm.
Speaker 1 (13:00):
A couple of arm grabs in this episode too.
Speaker 3 (13:02):
Yes, and then which like why are you doing this?
Speaker 1 (13:05):
It's so like nineteen forties, like come here, I'm going
to talk to you on the corner. Come here when.
Speaker 3 (13:09):
Yes, as if she listened, pal, she's obsessed with you.
I'm pretty sure if you just said, hey, can you
meet me in the corner, she'd be like, absolutely, I'm
obsessed with you.
Speaker 1 (13:18):
Don't touch her. There's an intimacy in that kind of touching.
Speaker 3 (13:21):
Dude, exactly. And then he pulls over and he's doing
like the shout whisper thing, like what are you doing here?
This is the behavior of a man whose mistress has
shown up to his kid's birthday party where his wife
is at yes.
Speaker 1 (13:36):
Of one thousand percent.
Speaker 3 (13:38):
But then he tells Quinn, so here's what I don't
get what like from a writing standpoint, this here's what
I would have loved to have seen, is that he
had told Quinn about this Katie girl, and when she
shows up, Quinn is in on it too, because this
isn't a thread that we kept going where Quinn's in
the dark. At the scene, Clay grabs her by the arm.
(14:01):
He's like, he goes to Quinn, he goes, hey, I
want to show you a picture, and he unloads it,
which was also weird that I didn't understandhy Quinn wasn't like,
why were you then? Why didn't you say anything?
Speaker 1 (14:14):
You know, like yeah? Also, even Katie, I mean, this
is the easiest one to write off because she's a
little bonkers. But why would she show up to the
girlfriend's event and assume that the girlfriend doesn't know what
Sarah looks like? Quinn being the girlfriend, like, why would
she you know what I mean? Why would she show
up and think I'm going to get away with this?
Speaker 3 (14:36):
Well, I think her defense would be that she is
not a rational person. You are applying rationale to an
irrational person exactly. Also, when Clay and Quinn walk into
the gallery at the start of the episode, I thought
it was funny because it's it almost is as if
Clay is presenting it to Quinn, even though it's her
(14:58):
gallery show. She was listen, if you're doing a gallery opening.
She has been there for hours every single day, going
over every minute detail. Yes, but whatever. It was just
so sort of odd that he was like, close your eyes,
are you ready, as if she wasn't there an hour
beforehand doing all the touch ups. And then he does
the count of two. He does the Katie thing. He
(15:19):
goes one, two and he turns on the lights. I
found myself pissed off, like, Clay, do better, what Katie thing?
The whole thing with Katie is on the count of two.
When they're on the bridge, they're me cute, oh with Sarah,
Yeah with Sarah, and he's like, oh yeah, I may
have said Katie. With Sarah. He's like, yeah, the count
of two, and she's like, who does count of two?
And he's like us, Oh.
Speaker 1 (15:40):
So now he's bringing that into him and then he
does it to Quinn.
Speaker 3 (15:43):
I'm like, give her her own thing, no leftovers, no leftovers,
it's a new restaurant.
Speaker 1 (15:49):
Come on, to be fair about that. I have a
friend I just had a conversation with who their mom
died and their dad who's also much older. He's in
his seventies now, and he he remarried, but he keeps
putting the new wife in all the same situations as
his wife of like fifty years, by like taking her
(16:13):
to the same special places that he used to go
to with his wife and taking in like buying things
for the new wife that were the same exactly the
same thing, like the same watch but in a different
color for the that he did for his previous wife.
So I wonder if this is just a grieving man thing.
(16:34):
That's like I just I only know how to function
one way. But that's also somebody who was married for
like fifty years, not and who's old and not knowing
how to do something else. I mean, Clay is a
young man, like he should he should be doing some
different things for Quinn.
Speaker 3 (16:48):
Does the new wife does she know?
Speaker 1 (16:51):
She doesn't know. No. I mean the kids have been
like having to communicate, like dad, please stop, it actually
hurts us. You guys have to find new things. And
she's like, why is everybody mad at me?
Speaker 3 (17:04):
Why did the kids cry when we go to Applebee's hunting?
Speaker 1 (17:11):
I know, yeah, so I guess I could write Clay
a repass on the one too as an instinct. But nevertheless,
it is strange that he's introducing her to the venue.
Speaker 3 (17:23):
Well, and also just because she's not aware of it,
I feel like if it was, if it was something
she was aware of, it makes it a little less
weird for me for some reason. But it's almost kind
of like he's recycling it and she thinks it might
be for her. Whatever, It's not a big moment. It
was just a small, a small beef I had. I
will say though, going back to this gentleman who remarried,
I don't mind that gentleman taking her to the same
(17:46):
restaurants because he's seventy years old. He's had a lot
of time to try a lot of restaurants, and he
knows what he likes, so good for him. The watch
is weird because that's a gift for her that you're
not involved in, and you still chose the one that
your former partner had. Yeah, that's the one. I'm a kid.
I'm like, no, nobody.
Speaker 4 (18:05):
No, we need new things, new things, all right.
Speaker 1 (18:23):
So Clay is kerfuffled by Katie coming in handles it
all wrong. I'm you know what else? I really was
bummed about this story Sorry, guys, there are good things
about this episode. I just this storyline bothered me too,
because when Clay came on the show, you Rob, you
had so much energy, You had so much there was
(18:46):
this banter with James, and there was this sort of
snap to your personality, and we entered into the Sarah
storyline and we got to see a really lovely, emotional
side of Clay that was meaningful, and we needed that
to be able to grab onto depth for you as
an audience member to know to really fall in love
with you beyond just like I like this guy and
(19:08):
I like his fun personality. But once we got through
that and now he's with Quinn, Like it's the promise
of fun that I believed I was going to get
almost consistently with Clay based on the way that they
introduced to your character that I'm getting annoyed, Like I
(19:30):
want to see more fun, snappy banter, Clay. I want
to see who I was promised and I am not
getting it because they just entered you into another dramatic,
melodramatic storyline and miss I miss the you that I saw.
I missed the Clay that I met.
Speaker 3 (19:48):
Wow, I've never thought about it like that, but I
totally get it because I can also tell you for me,
comedy is my strike zone, Like that's sort of enter.
That is my favorite place to play. And I agree
that I got to do it at the start. And
then they were like, but let's give him all the drama.
Speaker 1 (20:09):
You know, and yeah, fine for a season.
Speaker 3 (20:12):
Yeah, but like it goes on for a while.
Speaker 1 (20:15):
Just keeps going on and on and on.
Speaker 3 (20:18):
So I know, as the actor involved, I do recall
kind of feeling like, hey, guys, when are we gonna
come up for air?
Speaker 1 (20:25):
It's like hiring a Jeremy Piven or Evince Vaughn type
of you know, like these guys who are known for
being having so much personality. Say what you want about them.
I don't know them personally, but like hiring them to
do something that I don't know who's like somebody that
does a lot of melodrama as an actor, like hiring
(20:46):
them to do Denzel type roles. I don't know, where
is the quippiness, where is all the fun? Where is
Clay trying to make light of things? They just would
not let you do it and it felt so frustrated
for me as an audience member. I mean it, you
did a great job, like you're so good at the drama.
I just wish they'd let you expand on your personality
(21:09):
more that they the one they knew you had.
Speaker 3 (21:11):
Here's the thing I started. I kind of mentioned last
episode that I had a take. I don't. I'm curious
actually what people will will think about it. I'm wondering
how many people on the same page as me. But
I have been wanting, by the way, are we just
calling her Lauren now that we haven't seen her in
the classroom? I can't call her miss Lauren every episode
(21:31):
I do too. I'm just gonna stick with it, miss Lauren,
Miss Lauren. I have wanted something to happen between Miss
Lauren and Mouth, like basically this whole season, they've been
sort of playing this one foot in, one foot out
dance with us. We finally got a moment the end
of two episodes ago, but they immediately excused it as
(21:51):
drunk behavior by Mouth. Then they came back and Miss
Lauren kissed him and Skills walked in, and then we
have this episode, and I gotta say, I think there
is a very strong case to be made for Skills
stepping aside and Mouth and miss Lauren to give it
a go.
Speaker 1 (22:12):
Interesting, I guess I agree. Skills did leave and he said,
you know, they kind of broke up when he left, right,
It wasn't like they were trying to maintain a long
distance relationship, so and he had to know that they
were still hanging out.
Speaker 3 (22:31):
Here's kind of some of my reasoning, right, is that
so he left, he didn't even ask her if she
wanted to come, a point which she brought up and
said it would if at least He's like, would you
have come? And she says no, but it would have
been nice to be asked. So it wasn't even serious
enough for him to entertain the conversation with her. He
(22:52):
leaves right, and when he leaves, he's gone gone. There's
a scene in which Miss Lauren shows up and Mouth
is playing Vida games and he says, oh, I'm on
with Skills now, and she makes a comment to the
effect of, how's he doing. I haven't talked to him
in a really long time, So he's not keeping in
touch with her, he's not keeping an open line of communication.
(23:14):
And then and then the whole while Miss Lauren and
Mouth are finding like friendship in each other. It starts
off very innocently. It's like it starts off the way
it should, like, with a good foundation of friendship, and
then it kind of starts to evolve into more and
then skill, and like they think about it, they're like,
I don't want to be your rebound. I don't want
to be your rebound. And then even after they've done
(23:35):
their due diligence and they've weighed all the kind of
the things at play, and they go like, let's give
us a try. Of course, at that very moment, Skills
walks in. And then here's my other issue. There is
just this strong entitlement of on Skills is part on
the writing part, because I don't want to say ownership.
(23:56):
That's too extreme. But like he does, he shows up
and in the gallery, he walks up because Louren and
Mouth are talking, and he walks up and he puts
his arm around her waist and he says, hey, do
you mind if I steal my girl away for a second?
And I just thought to myself, that's wild that you
(24:20):
would leave for months, not weeks, months presumably not talk
at all, and then you would walk up, put your
arm around her and call her your girl.
Speaker 1 (24:32):
And he even said that when he walked in the
door right after they had kissed. Hey baby, yes, so
I think you're right.
Speaker 3 (24:38):
Like to me, what I don't like about it is
it's it kind of smacks of someone who is really
just like focused on themselves. It's sort of like I left,
I'm assuming everything else frozen time, and now that I'm back,
I'm going to pick up right where I left off
because I'm the main character. And then he says he
has the audacity to say to her after he like
(24:59):
pulls her outside of the gallery, he goes, hey, you
seem distant. I'm like, bro, distant is when you dip
out for months on end and don't check in with
your girlfriend who you only broke up with because of geography.
Like you were distant for months and now you show
up acting as if nothing has changed, and then you
(25:21):
you kind of check her on, not just like resuming
right where you left off.
Speaker 1 (25:26):
What Yeah, this goes to your first point about people
not being like the emphasis is being put on the
wrong person exactly. Really doesn't make sense.
Speaker 3 (25:36):
And like that theme he gets there by the end,
of the episode. He says like, hey, I'm sorry, I know,
like he so, yeah, but there's literally it's like three
different characters in this episode start with putting the emphasis
on the wrong person. They eventually get to the right spot.
But like I said, it's almost like they went our
episodes three minutes short. Yeah, I know how we can
add a little bit.
Speaker 1 (25:57):
Yeah, I mean, but he got there, but then he didn't.
And again like once he found out it was mouth,
then he's punching mouth in the face, which was just
so tacky. Also, I mean, listen having mouth and Miss
Lauren having that intimate conversation in the photo booth that
they know is being broadcast to the entire gallery. Yeah,
(26:20):
not the smartest move.
Speaker 3 (26:22):
No, especially after it goes off one time they look
at the camera and then they continue to have the
intimate moment. No one goes, oh crap a camera, let's
stuck away. They're like, this seems like the right spot.
Let's stand on the X directly in front of the
camera broadcasting to the gallery.
Speaker 1 (26:39):
Oh crap a camera. I think it's like a room
they had to go into. They went in there.
Speaker 3 (26:44):
But he so he punched his mouth, which again the
sense of entitlement that he just goes away. I get it.
You might feel betrayed by your friend, but if it's
your best friend again, all you saw was that like
a and was on an arm. There's nothing scandalous but
that he immediately punches it just sort of added to
(27:07):
the like you are not emotionally or mature like maturity
wise where you need to be right now, like you
need to level up and circle back.
Speaker 1 (27:16):
Yeah, yes, level up and circle back.
Speaker 4 (27:20):
I love that.
Speaker 3 (27:21):
Because you're just name it there right now, pal, like
you got to get some get some reps in, do
some practice labs, and then come back. You know. The
thing that was great about it, though, is that he
punches mouth. He falls through the backdrop, revealing Alexander and Victoria,
and she has that incredible moment where she sees everyone
(27:42):
in the gallery looking at them and she just slowly
walks out and she looks down at Mouth and she
just says, scandalous. That's just scandalous. It was so so funny.
Speaker 1 (27:58):
Man completely leaving out Alexander in the dust, like not
even a second thought, like, oh well, you're on your
own kid, see.
Speaker 3 (28:06):
Me, as if she wasn't involved in anything that he
was a part of. She just sort of saw her
way out quietly and commented on the body on the floor.
Speaker 1 (28:15):
That's right, because Victoria knows how easy it would be
to just reframe that whole situation for anyone who thought
they saw her with alex and his underwear. She's like, oh,
I was just passing through from the back room and
suddenly Alexander was standing there in his underwear. I don't
know what was going on. It was very bizarre. All
everything was very bizarre. I had to get out of there.
Speaker 3 (28:36):
It was so good. And then it led to, of course,
the fantastic scene of Brooke yelling at her mom and
Alexander the perfect role reversal of the child yelling at
the parent.
Speaker 1 (28:48):
Really funny, the two of them sitting in a chair,
so funny. It was nice to have a little bit
of that. I don't know, comic relief is there. It
was just nice to see Brook happy in this episode
because she's she's also been kind of sad and depressed
for the last like seven episodes, so nice to see
her have a little relief for sure, And.
Speaker 3 (29:10):
Yeah, she definitely needed that release. There was a great
comedic moment where I think it's after the news has broke.
Paul's telling Julian were being blackmailed, and Josh keeps walking up,
and first Julian tells him to shut up, and then
Paul tells him to shut up. It was a really
kind of a fun run there, so great. I liked
(29:31):
that Brooke was the one who after Julian came down
I think far too hard on Alex. I like that
Brooke was the one who sort of softened his heart
and was like, Nope, come on.
Speaker 1 (29:41):
Help her, help her out, help her.
Speaker 3 (29:44):
That was great.
Speaker 1 (29:57):
Another thing in the gallery, Uh, did you do you
keep that photo of yourself?
Speaker 3 (30:03):
No?
Speaker 1 (30:04):
Rob, It's good. You should have kept that.
Speaker 3 (30:07):
It is a good photo, a good photo, I think.
Actually it went up in an apartment in Wilmington when
I lived. Really I lived downtown my first two years,
the first two seasons, and then the third year I
moved out and I moved in with Stevec Stephen Chletty
for all.
Speaker 1 (30:23):
Of you, ye also who made an appearance in this
episode for like a shot, which was so bizarre.
Speaker 3 (30:29):
I had a note about that. I was like, why
are we limiting Chase to only bar specific material?
Speaker 1 (30:35):
And he I think he said one line. We got
a shot of his face and then moved on. Never
saw him again for the rest of the entire episode
and haven't seen him for a while anyway. It was
just like somebody was like, oh, we need Chase. He's
got storylines coming up. Somebody just get a shot of
him in this episode, Like just hey, reminder audience, he exists. Okay, bye.
Speaker 3 (30:53):
It's and it's odd. It's as if in tree Hill
there is only one bartender left. They've all fled town
for the cities. This is the only guy we got.
Speaker 1 (31:02):
Grubs is recording an album anyway. So the photos in
an apartment somewhere.
Speaker 3 (31:07):
It was and I don't know what happened after I
left I but yeah, I had it. I had it
up for a bit, which is funny. It was a
good photo.
Speaker 1 (31:15):
It's a great photo. That's the kind of photo of
somebody you see when you go it's like in their
bathroom or like in a guest room somewhere in a
hallway that tucked away in the corner. You know, it's like,
you don't want to display it out for everyone, but
it's nice to be able to go see if you're
a house guest and you pass by it in the
in the entryway or like the bathroom.
Speaker 3 (31:34):
I want my house guests to know, look how serious
I can look. You guys look at me when I
think how pensive I am. I loved but I agree
with you on the chase stuff. I wish we had
more of it. I like that Grubbs eventually got there
and asked Miranda to marry him because I was shouting
at the TV as soon as that came up, like,
what are you doing? Dumb? Dumb, like just proposed to her.
(32:00):
But then I've really loved seeing Nathan and Jamie have
a guy's night. It was such a pure, joyful storyline
in this episode.
Speaker 1 (32:16):
Yeah, very very sweet. I did not like the kiss element.
I thought, again lazy, Like there's so many meaningful things
they could have done, and I think they just were like,
I don't know, we just need them to do something
cheap in the house. But I would love for them
to have gone on another camping trip or gone to
do something even bowling. I don't know, something out where
(32:37):
you could get. They got into some real shenanigans and
there was an actual even a d storyline to follow
of steaks. You know something happens, instigation, obstacle, you're trying
to overcome it, and then they resolve it at the end.
It could have been very simple, I don't know, toilet
paper in somebody's house or so just something.
Speaker 3 (33:00):
Oh my gosh, if they had gone to teepee what's
his name, Chuck's house, how good would that have been? Yes, yeah,
I agree with you. Here's what I will say about that.
I loved the kiss you did. But here's why not not.
I like listen. I like to see a father and
a son bonding and having fun. Great. Yeah. What I
(33:22):
loved about it was I was watching James, my friend, Yeah,
who is not a guy to put on face makeup
and act like a flamboyant rock star. I was watching
my buddy just going James is hating this, like he's
he commits and he goes for it. But because I
know the man doing it, I'm like, oh this is
(33:43):
this is not his happy place?
Speaker 1 (33:45):
Yeah? Yeah, No, this felt like one of those I mean,
there were so many things in this episode that I
think were reflections of our boss and his perspective and
the way that uh women are viewed, the way that
relationships are viewed. All of those things, but this also
(34:06):
felt like some sort of something behind the scenes. How
do I irritate James and put him in a position
where he has to do something that he is embarrassed
by and hates.
Speaker 3 (34:16):
Well. Also, that montage felt like it was thirty two
minutes long.
Speaker 1 (34:20):
This is what I'm saying. Yes, it's like the adding
the twenty extra seconds in every scene. If they had
taken those out and put them into a real storyline.
Moment between Nathan and Jamie going out tepeeing Chuck's house
trying not to get caught. The cops are maybe chasing them.
It's like it could be small little things. It doesn't
have to be a long drawn out storyline, but we
(34:40):
needed some energy.
Speaker 3 (34:43):
It would have been more fun is watching a moment
of so they're playing guitar hero, I get the transition
to kiss. I understand that logic. Right. Here's what would
have been funny is a moment where one of them goes, hey,
you know what we should do. We should put on
the makeup, and they see a picture of how the
guys look and then they go to do it to
themselves and it just looks terrible because they're not professional
(35:05):
makeup yes. Yeah.
Speaker 1 (35:07):
If Jamie had said that and Nathan was like, fine, yep,
all right, let's do it. Just second up, let's do it,
that would have been great, just the emphasis of seeing
that moment and having it not be perfect. It would
have been so fun.
Speaker 3 (35:19):
But the fact that that Nathan was like, you know what,
I actually know where all of mom's makeup is. I
know exactly what to use. Yeah, because they were perfect
makeup jobs. If my son was like, let's do that,
I would I would have no clue what to do
if Jenny weren't around.
Speaker 1 (35:34):
Yeah, Like where did they get the pure white clown makeup?
Because Haley doesn't have that in her kit. This is
like in the bottom of a pile of things. You
know how in kids' rooms if you go into like
a seven or eight year old's room in the closets somewhere,
there's baskets stacked on top of each other and it's
just all full ofh just whatever little things. Somebody gave
(35:55):
Jamie a face paint kit five years ago that never
got thrown out, and it's in the bottom of the
corner of the closet, And that's what I wanted to
see them go dig for pull it out, watch Jamie
try and do his dad's makeup like it would have
been so cute. That's what's happened in my mind. I'm
rewriting it in my mind.
Speaker 3 (36:13):
In my mind, Hailey moonlights as a geisha from time
to time, so she has plenty of that white clown
makeup just around the house, and a kitchen drawer and
a bathroom shelf. You know, it's everywhere.
Speaker 1 (36:27):
Love it.
Speaker 3 (36:28):
Speaking of Haley, I did because, you know, last week
when I had seen almost all of this episode and
I had said, oh, there's not much grieving obviously, I
hadn't got to the end of this episode, and watching
Haley try to hold it together at the gallery opening,
which makes a lot of sense, and then completely coming undone,
(36:51):
which I liked because for a big emotional release, they
really kind of pulled back all of the theatrics and
that may have been a uk, I don't know, but
I like that it was. I love the honesty and
the simplicity of you just quietly woke up in bed
and snuck outside to not wake the family and then
(37:11):
just fell apart.
Speaker 1 (37:12):
Yeah, I remember doing that scene. I also remember throughout
the episode having to fight for Haley to to be
low energy. I think Quinn was excited and pushing through
and she sort of had to be on and Brooke
(37:37):
was finally happy and at peace, and I feel like
they wanted a lot more of Haley's excitement for Quinn
and all of for all of Haley's interactions, I remember
just feeling like I was getting asked to be happier
or be just a little more energy, just more energy,
(37:58):
and I was like, I just And when I first
watched it, I was thinking, was I just miserable in
my life? Like, oh no, this is I was making
this choice because Lydia had just passed away, and it
didn't make any sense for Haley to just be like
moderately sad. So I'm glad. I you know, I wasn't.
(38:20):
I didn't, I wasn't always right, But I'm glad I
stuck to my guns on this one because I think
it I think we needed it, but I also think
it was I remember it being hard to do because
if everything around me is kind of low energy, my
tendency as an actor is to find a way to
brighten everything up and keep the energy up, because I'm
trying to like carry the scene like, oh no, everything
(38:42):
is getting so slow. So it was such a good
challenge to try and settle into and be comfortable with
just being there and not having much reaction to anything.
And it paid off in the end, in the end
of the episode, and I forgot how dark this goes
for her.
Speaker 3 (39:01):
Oh I don't remember.
Speaker 1 (39:02):
So yeah, this keeps going for her for a while.
Speaker 3 (39:07):
Well, I think you found a really nice place for
it to settle because the gallery, it makes sense. You
do need to have some energy for that. It's a
big night for your sister. Yeah, you know, it's not
like it was a family dinner night where it's just
kind of you know, standard fair. It's like you do
sort of need to turn it on, you know, just
(39:28):
to sort of cheerlead your sibling.
Speaker 1 (39:31):
Yeah, you know.
Speaker 3 (39:32):
But then so I bought all of that. And then,
like I said, just when you actually have a private
moment kind of the first time, because.
Speaker 1 (39:39):
Isn't that the worst when you're just in absolute pain
and misery and you have to show up somewhere and
pretend like everything's fine, because what what are you going
to do? Like somebody's you can't have any real meaningful
conversations if somebody who knows you really well, gets too close,
looks you too long in the eye, puts their hand
on you in a way that's comforting. It's like I'm
(40:00):
going to fall apart. I need nobody to touch me.
I need nobody to look at me. I can talk
to you about the weather and the news maybe, but
like I can't, I just cannot have anything meaningful going
on because I'm going to fall apart. It's the worst.
Speaker 3 (40:14):
So when, because I think you just describe being an
actor as well, when you are having stuff go on
in your life, do you find it harder to come
to work and do your job or do you find
it easier because you were able to sort of dissociate
and just escape to someone else.
Speaker 1 (40:31):
I find it a lot harder to come to work,
and especially if I have to do comedy or I
even just be fine, be just normal. It takes so
much energy to lift up from feeling heavy, to lift
(40:52):
up just to a normal level of energy for me.
So if I have to do stuff that's really especially
really funny, and then I feel bad because I feel
like I'm not being authentic, I'm not doing a good
job because it feels fake, and which makes me feel
worse about my real life and it's a bad cycle.
(41:12):
That that's it. It's tough for me. What do you?
How do you? How about you? How does it feel
for you?
Speaker 3 (41:16):
It's kind of similar for me. I the thing you
were just describing. I find gets me where. It's because
I really try to be authentic and my life and
sort of honor my feelings and where I'm at, And
because what I used to do was always sort of
have a facade of like, I'm good, how are you?
Just the like infinite consonant people pleaser, I'm okay. I
(41:39):
need you to be okay. And so I do find
I have had moments where I'm doing light fare comedy,
rom com type stuff, and as soon as they call cut,
I feel my face drop and and I if I'm
not careful, I can find myself resenting the work because
I'm like, this is me. I'm sad, you know, because
(42:02):
I just I feel how false it is. I feel
it feels so fake to me, you know. But if
on the same handle, there's a coin if I'm doing drama,
it kind of is a shortcut to drop into.
Speaker 1 (42:14):
Where I Yes, definitely, I had.
Speaker 3 (42:17):
A director one time say bring your set, and he
was right because it was like if I was going
through something and I had to play you know, heaviness,
it was like, oh, I'm we're grounded.
Speaker 1 (42:30):
Oh god, I here, Yeah, I'm with you.
Speaker 3 (42:32):
When it's comedy or light, feel good stuff, it's just
extra tiring. You become aware of how tiring it is
to fake energy when you just don't have it.
Speaker 1 (42:45):
I would say it's one of the benefits, however, being
on a show with cast members that you feel safe
with and have known for a really long time, versus
showing up to do a guest spot or you know,
if you're on a movie and it's like we one
or something. There's something that is I have done this
where I've shown up to set feeling not great and
(43:09):
just let myself have a moment, have a cry, have
like just trusting that the other artists around me understand
that we're not robots and sometimes you're having a hard
day and you just need to let it out, and
the sheer moment of releasing it out of my body
will and being witnessed by other people who say it's okay,
(43:33):
take a moment. Life is hard sometimes, and then getting
myself put back together and showing up, walking back onto
set and doing the scene does make it a lot
easier for me. If I can allow myself to just
be a human and release. If I have to take
five minutes, everybody's going to have to wait for five
(43:53):
minutes while I cry and get it out of my
body and then step back in. That does really help.
But I don't feel like I can do that very often.
I think I have to feel really safe in the environment.
But working on our showed, you know, we had such
a great group of people, so that was something we
could do. I hope that made sense, and I mean
to talk in a circle.
Speaker 3 (44:14):
Yeah, no, it does make sense. And I think also
I do like work is helpful for me when I'm
going through something. I mean, listen, if I like lost
the loved one and I'm grieving, it's different because that's
just grief and that's living in my body. But if
it's you know, oftentimes eighty five percent of my struggles
are created in my head. Eighty five percent of them
(44:35):
probably will never ever happen, you know, So a lot
of times my struggles are of my own making, and
going to work and forcing my mind to focus on
other things can help pull me out of that loop
I'm in, because I know, once my head gets stuck
on something, my mind can just sort of loop and
loop and loop and ruminate on it and going to
(44:55):
work and forcing myself to say different words, to listen
to people, to be present. It's sort of like it
gives me enough space from it to go like, oh, okay,
that it took some of the air out of the balloon. Yeah,
what felt so big before has now become kind of
right sized and it's more manageable. Yeah, versus like you know,
(45:17):
when you lay in your back when you're like I
used to do this all the time my twenties, when
I'd wake up with anxiety or something and I didn't
know what to do besides just lay in my bed.
And of course that is the for at least for me,
that is the worst possible thing I can do.
Speaker 1 (45:31):
Yes, I'm the same. I mean I many years of
my life. I've really only recently, in the last I
think a year or two, learned how to get myself
up out of bed because I would wake up and
immediately feel depressed, like open my eyes and feel all
the pressure of the day, all the things that I
(45:52):
didn't and then it's like, friends, I forgot to say
happy birthday to a month ago, and it's like every
little possible thing that's in your brain about how what
an I am? Why everybody hates me, why my life
is a mess, and lela la, all of the horrible
things that lead you completely out of gratitude and into
feeling worse and worse and worse about yourself. And that's
(46:13):
what was like the replay, like the record on my
brain every morning when I open my eyes, and it
is so exhausting, and the worst thing that I would
do is lay in bed because I didn't know. I
felt paralyzed by it and I hadn't didn't have any tools. Yeah,
but I tell you, like stepping foot out of bed,
getting my body upright, drinking a glass of water, taking
(46:36):
a shower, like wat just getting water on your body,
kind of like you know, even babies react to it
if they're throwing a fit. You put a kid in
a bath and they're like, okay, something's different, you know,
step outside, just something to change it up in your
brain makes all the difference.
Speaker 3 (46:53):
Yes, completely, you know, it's esteemable. Actions build esteam. And
so what I started doing when I was starting to
develop my toolkit, was I would I'm a I'm a
to do list guy, clearly like I love structure, I
love I love a list, and so I would pad
my to do list, and my first three things would
be make bed, brush teeth, take a shower, usually get dressed.
(47:15):
So by the time I was starting my day, I
had a sense of accomplishment.
Speaker 1 (47:20):
Yeah, you've checked some things off.
Speaker 3 (47:21):
I've taken off like a core of this list, you know.
But it's funny that Clay had the line I would say,
The line most people talk to me about is I
think it's no matter how fast you run, the pain
will run faster. It's something to that. I know. I'm
not getting it word for word everybody, but you know
the gist of it. It's something I think Clay's already
said by this point, I believe because he's talking about
(47:43):
grief and how he he knows from experience, because he
tried to outrun it and just escape it. And what's
interesting is I'm only now realizing that I should have
taken my own advice sooner, like Rob, because this was
a time my life where I was just struggling and
I had no toolkit. So I remember as we were
talking about laying in bed, I used to I can
(48:04):
still picture the room, so clearly I would have to
as soon as I got home from work, I would
have to put a DVD of one of my favorite
shows on. It would stay on through falling asleep, and
as soon as I woke up if it had gone
to the menu screen, I immediately started it back up
because I couldn't just be alone with my thoughts like
going to sleep and waking up were the two scariest
(48:26):
parts of the day for me. Wow, So I had
to have white noise. It felt familiar, It felt like
it was almost like friends in the house, because my
only solution would have been I'm just going to pull
the covers over my face, which, of course, like all
it does is kill time, but it would make life
just infinitely scarier and harder.
Speaker 1 (48:45):
So that's a good coping mechanism for a season, just
to start, you know, get you out of your own brain.
You if and when thoughts are overwhelming, and then what
do you do moving on from that? Like what's the
next level up from that?
Speaker 3 (49:04):
Well? I mean at best that having TV on the
background as a band aid, like it's not shooting anything
at all. I mean for me, what I just discovered
for myself was like I do best in motion, So
it's I just got to get out of bed and
start doing things. And because otherwise just you know, like
my my brain can be a very dangerous neighborhood to
(49:27):
be hanging out in by myself. So like when I
wake up and my brain has suited up for the
opposing team, I'm like, oh, okay, I got to call
some people, Like I got to get busy, you know,
before my head gets busy on me. And I just
didn't know better back then.
Speaker 1 (49:41):
Yeah, but you'd coped the best way you knew how
That's what I'm saying. Like, there's this element of level
to level, you know, good glory to glory whatever however
you want to phrase it. But the idea that like
you're figuring it out and the band aid that you
had at that moment was that was what you had.
And so then there's another level after you decide that
this is just a band aid, how do we actually
(50:04):
take the band aid off and start healing the wound.
Speaker 3 (50:06):
Also, I think that didn't help at the time, was
again this was pre therapy, so I kind of felt
like I always needed to present the version of Rob
that had the fewest needs and took up the least
amount of space. Yea, and which in my head was
I'm just going to be easy and fun and here
for you, but I don't need anything from you, which
(50:27):
also meant I'm not going to tell you when I'm
struggling or scared or hurting because I don't want to
be in position. So I wasn't saying like, hey, man,
does anyone else have a solution to this? Because, like
you know, now where I'm at, it's like, if I'm
struggling with something, I'll reach out to someone close to
me and either just to bring them in on it,
you know, because a burden shared is halved, a joy
(50:49):
shared is doubled. It's like, I'm a big believer in that.
But also because they may have a solution, they may go,
oh yeah, I went through that and here's what I
did that helped me. But back then it was like,
how you doing, Rob, great man, how are you?
Speaker 1 (51:02):
Even if they don't have a solution, just being heard
being seen having somebody like listen say, I don't know
what that's like, but I can imagine based on what
you're explaining to me, and I'll be thinking about you.
What do you need? You want to come over? You
want to watch a show together on FaceTime? You want
me to door to ash you something, You want to
(51:22):
do a crossword puzzle together. I don't know. Just having
somebody hold space for you, even if they don't have advice,
can change everything.
Speaker 3 (51:31):
A little good old fashioned connection, you know, it's always
the secret sauce. It's just other people. If you're just
joining us, Welcome back to Joy and Rob's therapy Corner. Today,
we're talking about growth, where we've been, how we got
to where we are today.
Speaker 1 (51:48):
Well, Clay certainly could take some of all of this advice,
some of all.
Speaker 3 (51:52):
Of this some of all isn't that funny? It's like
when people go, I maybe definitely can be there.
Speaker 1 (51:58):
Yeah that may be definitely could I definitely maybe could
be there, definitely.
Speaker 3 (52:01):
Maybe you definitely maybe could use a grammar class.
Speaker 1 (52:07):
Wait, do you follow this guy? I just started following
this guy on we have a listener question We'll get
to in a second. I followed this guy I have
to find it and he talks about Southern isms and
he's talking about like now when you when somebody's trying
to get off the phone with you in the South.
Here are the cues that you need to listen to. Now,
(52:27):
there's one way to say it, which is I'm gonna
let you go. But the real kind way to say
it and what you want to do. You want to
win this, So the real important thing is for you
to say, I'm gonna let you I'm gonna, i'm gonna
let you let me go. Shoot, I'm gonna I'm butchering it. Oh,
(52:47):
let me let you go. It's not just I'm gonna
let you go. It's all right, well, let me let
you go, because then you win. You're the most considerate.
Speaker 3 (52:58):
The page asks if you could pick your TV siblings
from any other show, who would it be. Oh?
Speaker 1 (53:18):
I mean I always go back to the Huxtables. It's
my favorite TV family ever. But I think Who's the
Boss comes in at a close second. I feel like
I would have had a lot of fun with Sam.
I don't know what I mean, Alissa Milano, I can't
remember what the character's last name is. What about you?
Speaker 3 (53:38):
I am going to go arrested development.
Speaker 1 (53:45):
You would have such a field day with that.
Speaker 3 (53:48):
Yeah, I just think there would never be a dull moment.
Holidays would be exceptionally disastrous and entertaining all day. Yeah,
take them all.
Speaker 1 (53:58):
Okay, this guy is landon Bryant and you will you
will thank me later. He's really funny Landon Bryant.
Speaker 3 (54:08):
Land and Bryant.
Speaker 1 (54:09):
Okay, honorable mention. Hm, I mean Paul Teal is always
going to get my honorable mention from now on every
episode he's in. I love him and I miss him already.
Speaker 3 (54:20):
Also, is Josh behind the Oh? He is? I was
gonna say, I remember watching the episode at the start,
going is he behind it? And I think we realize
after he leaves jan As hotel or sees me Alex's
hotel room met he is? So I can't wait to
see what he's cooking up. But yes, honorable mention all day.
Paul Teal? Yeah, what a guy, What a loss? Much
(54:40):
love to to uh to Paul into his loved ones
this difficult season. Well, what do we have next episode?
Oh no, we have a wheel first, Ultra horses. Roberto
most likely to get a residency in Vegas. I'm gonna
(55:02):
say both Haley and Joy.
Speaker 1 (55:06):
I feel like I could do that. I mean, I
don't love Vegas. But that does seem like something that
would be fun for like a year. Maybe maybe I
do like glitter and heat.
Speaker 3 (55:19):
I just love the idea of you've moved to Vegas.
I'm like, what drew you to Vegas?
Speaker 4 (55:23):
Joy?
Speaker 3 (55:23):
And you're like, honestly, I just love glitter. That would
be the most joy answer ever. I would be so tickled.
Speaker 1 (55:34):
I love glitter. Next episode, Season seven, episode twenty, Learning
to Fall. Thank you so much for joining us, and
we look forward to seeing you next week.
Speaker 3 (55:45):
And can I just say, can you just do all
of your segues? Can all of them start with I
love glitter?
Speaker 4 (55:51):
Yes?
Speaker 3 (55:52):
From this it would be the most hilarious runner. People
tune in three episodes are like, why does she keep
talking about how much she loves glitter?
Speaker 1 (56:00):
On topic I'm pushing for my Vegas residency.
Speaker 3 (56:03):
You're like, I love glitter. It was so sad to
see Victoria die in this episode.
Speaker 1 (56:08):
One's like, what, I'm on it and I'm putting it
in the arsenal.
Speaker 3 (56:12):
All right, thanks for joining us, everybody, Bye, Hey, thanks
for listening.
Speaker 1 (56:17):
Don't forget to leave us a review. You can also
follow us on Instagram at drama queens o t h
or email us at Drama Queens at iHeartRadio dot com.
See you next time.
Speaker 2 (56:29):
We all about that high school drama Girl, Drama Girl,
all about.
Speaker 1 (56:33):
Them high school queens Forever.
Speaker 2 (56:35):
We'll take you for a ride at our comic girl
cheering for the right teams, Drama Queens, my go up
girl fashion, but your tough girl, You could sit with
us Girl Drama Queens, Drama Queens, Drama Queens, Drama Drama Queens,
Drama Queens
Hosts And Creators
Bethany Joy Lenz
Sophia Bush
Robert Buckley
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