Patti Carr Meets World

Over the years, we’ve talked to many BMW duos: Blutman & Busgang, Ethan & Blake, Rider & Lisa Loeb. Well, now it's time to complete another team, as the gang sits down with Patti Carr, who along with her former writing partner Lara Olsen, penned some of the most memorable, and weird, episodes in the show's history. 

The very successful writer / producer helps answer some of the most important questions from Season 5 of her first big job: like who was to blame for Cory’s infidelity and why the 1940s time travel episode was almost totally derailed by being too historically accurate. 

Plus, we hear the absolutely shocking backstory behind the celery joke in “Better Than the Average Cory.” Who's to thank for the iconic gag? Your life will be changed forever, right here on Pod Meets World

Follow @podmeetsworldshow on Instagram and TikTok!

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:19):
I think one of the most like the coolest parts
about being middle aged can't.

Speaker 2 (00:29):
I can't hear you is this like.

Speaker 3 (00:33):
Turn it's gonna worl sorry my back hurts, you're in
a new debt.

Speaker 1 (00:40):
I love these moments where you like just kind of
general competency, like you can try new things and like
be good at them or like and the best moments
are when there's something that you never thought you would
have interest in or be good at. I have really
enjoyed cutting my son's hair. I have taught myself Like

(01:02):
it was just one of those out of necessity things
like I don't want to have to go pay for
a haircut, and Alex didn't like to do it anymore,
and he just never wanted to get a haircut. So
I was like, Okay, we're gonna watch a show and
you just sit there and I'm going to figure out
how to cut it, and now.

Speaker 4 (01:13):
Like I enjoy it. I'm like I can do this.

Speaker 5 (01:17):
Wow.

Speaker 1 (01:18):
So you guys have anything that you figured like like
if you told yourself that, like you're kind of good
at and you kind of enjoy that, you would tell
your you know, eighteen year old self that like if
you could go back and.

Speaker 4 (01:28):
Say you're one day going to really enjoy cutting hair.
You had been like, what are you talking?

Speaker 1 (01:32):
Yeah, what are you?

Speaker 5 (01:33):
What is that?

Speaker 4 (01:34):
You must have something like that, right?

Speaker 2 (01:36):
I do gardening. Yeah, that's right.

Speaker 6 (01:39):
I really I love getting out there, getting my hands
in the dirt.

Speaker 2 (01:42):
Like I'll look at a patch of land in front
of my house and be like, no, I want to
move flowers over here. I want to do it.

Speaker 6 (01:47):
And then I put on some headphones and I am
in seventh Heaven.

Speaker 2 (01:50):
Yeah, no, gardening it is mine.

Speaker 3 (01:52):
Yeah, gosh, you know I did during the pandemic, I
cut both Jensen and and Adler's hair. I cut, so
I did, and it was kind of fun, but the
pressure felt like a lot, especially on Jensen. I was like,
you're a grown man, Like if I really screw this up,
this feels this feels big. But I did. I did
like it, And honestly, writer, you should go to Laurie's

(02:16):
and pay her for like a haircutting tutorial, like yeah, yeah,
to teach you, you know, Like.

Speaker 1 (02:22):
I mean, I think part of the thing for me
is that, like you know, Indy has very similar hair
to me, like, yeah, my hair. So it's also kind
of satisfying because like I used to get really bad
haircuts before professionals like Laurie and said, like when I
was a kid, it was just a disaster and like
and it's you know, it's just thick, it's weird, it's
there's a lot of it. So like I feel like
I got you, I got you kids, Like being a

(02:43):
good dad is like hair, and I could take care
of this.

Speaker 4 (02:47):
So but it's just so satisfying.

Speaker 1 (02:48):
So so I don't know if I would be get
the same thing from doing anybody else's hair for instance.
You know, I think it's a very specific skill that
maybe I've mastered, but yeah, sure I could expand it
because it is like it's a it just like you're saying,
will it's like this fun challenge of like, right, I
think I know how I want this to look and
should look, and I'm going to figure this out how
to do that and getting through that and like, you know,

(03:10):
being very scared the first time I did it, because
of course you're like if I messed this up.

Speaker 6 (03:15):
Yeah it'll go, but still you have a couple of
months of not looking great. Yeah that's a big one.

Speaker 4 (03:20):
But I just love I don't know to me.

Speaker 1 (03:22):
It's it's a function of age where you're like, you
know what, I'm going to try this thing that I
might not be very good at, but I'm going to
try it, and then you realize like, actually I can
kind of do it, and I enjoy it.

Speaker 7 (03:32):
Yeah.

Speaker 3 (03:33):
I think one of the things for me that is
that was true for me back then that I couldn't
have necessarily ever seen how it was going to play
out in my life is that I was a very
athletic teenager, even though I didn't get to play sports
or do any of that stuff as a kid because
I was on Boy Meets World. But I was like,
I've always been kind of naturally athletic and good at
sports and kind I had good balance, and I can

(03:55):
pick up things pretty quickly.

Speaker 2 (03:56):
You're coordinated.

Speaker 3 (03:57):
I'm coordinated, and I'm strong. And now having two boys
that are in my case, very stereotypical athlete boys. They
love to be physical. The fact that like al Adler
and I can look at each other and go all right,
squat contest, and like, you know that I can participate
in his karate, in his baseball, in his like let's

(04:21):
go outside and throw a ball. And I bought a
pitching machine this weekend. He's you know, and like, because
I've always been comfortable with it. It's not a thing
I have to be like, Well, your father's gonna have
to do that. Jensen can do it too, because Jensen's
also athletic. But I get to participate in it. So
if anything, I'm just like, man, I'm glad I'm a
boy mom. It worked out in my favor that never

(04:44):
I never would have thought like, oh, that's gonna end
up having any sort of benefit to me, But I do.
I do, actually really enjoy it. So welcome to Pod
meets World. I'm Daniel Fishal, I'm right or Strong, and
I'm Will Fordell. On our mission to find everyone who

(05:09):
even just saw a sip a red drink on the
set of Boy Meets World, we have been very lucky
to reunite with some of our favorite people, and a
lot of those familiar faces have come straight from the
writer's room, and let's be honest, they were tasked with
arguably the hardest job of all creating storylines, crafting dialogue,
and satisfying network notes, all while eating massive amounts of cuckaroo.

(05:33):
We now analyze their scripts thirty years later as the
premise of our podcast. And one thing we do not
mention enough they did it all with an amount of
pressure and a hurried timeline that would make it difficult
to print the pages fast enough. We've already heard from
a ton of great writers who spent time on Boy
Meets World, and they've made no secret of the job's
difficult nature. But most have also called it the best

(05:55):
time of their professional careers. And today we get to
speak to another one these fascinating and prolific humans, a
writer who, along with her creative partner at the time,
Laura Olson, wrote some of the most memorable and strange
scripts of the series. Was she forced to send us
to the forties to deal with the drama and horror
of World War Two?

Speaker 2 (06:16):
Yes?

Speaker 3 (06:17):
Was she one of the two names on the front
of a script where we all met Lauren the Temptress,
snow Bunny ready to ruin the happy teenage home of
Corey and Topanga. Also Yes, And now for season six,
we're going to ask her all about the day a
young art prodigy walked on set and Corey was metaphorically
compared to Celery. Her first big gig may have been

(06:38):
Boy Meets World. But since our final episode, she hasn't
stopped working. Here's just a quick hit list of what
she's done. Riba Till Death, Private Practice, nine O two
one zero, Mixology, Rain, and The Good Doctor. But today
we're making her talk about her three seasons on the ABC.
Thank goodness, it's funny family sitcom where she's fifty percent

(06:58):
to blame for Corey cheating on to Penga. Welcome to
Pod Meets World, Patty Carr. Yes, Hi, Hi, can you
hear us?

Speaker 1 (07:09):
Cus?

Speaker 7 (07:10):
Can I can hear and see you?

Speaker 4 (07:12):
Yes, it's so.

Speaker 3 (07:13):
Good to see you. Thank you so much for being
here with us. We recently sat down with your former
writing partner and your still friend Laura, and she talked
about your start in Hollywood, capitalizing, paying two women for
the price of one, fighting for gigs. What do you
remember about those old days writing on animated shows like Extreme,

(07:35):
Ghostbusters and Jumanji.

Speaker 5 (07:38):
Oh my gosh. Well, first of all, thank you for
having me. I don't remember many.

Speaker 7 (07:46):
Things, so neither do I. Yeah, this is going to
be I'm going to make stuff up.

Speaker 2 (07:52):
We all know the difference. Y.

Speaker 5 (07:53):
Yeah, I remember getting the studio and a horse and
buggy and different time, you know, as far as our start,
and I'm sure Lara Lara is much better at having
the old timey stories at her fingerstips that I do

(08:13):
remember that we started on Boy Meets World.

Speaker 7 (08:17):
Was our was our first you know, uh.

Speaker 5 (08:21):
Network show job, got some animation and things like that.
Generally speaking, at that time, things were very segmented, very separate,
and so doing animation didn't mean anything. Yeah, no, I
guess they not only didn't care, they didn't want to
know that you did it.

Speaker 7 (08:40):
Don't I pretend you didn't do that.

Speaker 5 (08:47):
So but the interesting one of the interesting things was
that when we when we started and we worked on
on Boy Meets World during the hiatus, we would still
you know, do animation work, and we you know, got
through other animation people, animation writers. We got connected with, uh.

(09:14):
I think it was Kim Possible. That was also that
was also a Disney thing, right. So we'd been on
Boy Meets World, we'd written you know, three scripts as
staff writers for Boy Meets World, we were produced writers,
and when we went into pitch you know, for Kim Possible,

(09:35):
they said, well, you have to meet with the studio
of people. We're like, okay, and and they questioned us
as it's like, so, what have you done?

Speaker 7 (09:44):
Really? I said, I just worked for you, you know,
and there could we see more examples? It was.

Speaker 5 (09:56):
For three years, right like, and for you guys, for
this company, but not for our animation.

Speaker 7 (10:03):
And you know it really it was I think that.

Speaker 5 (10:07):
Was particular to Disney where the mouse, the mouse is everything,
you know.

Speaker 3 (10:14):
So, yeah, do you remember about getting the Boy Meets
World job?

Speaker 5 (10:19):
What what I remember was that we were such novices
to the industry that we were coming in.

Speaker 7 (10:27):
And we knew that, you know that Michael Jacobs had
two shows.

Speaker 5 (10:32):
He had Boy Meets World, which was going into season four,
and a new show called You Wish, And in our
minds were like, well the new show has that's the
one you want, so you can get in on the
ground floor and just ride that gravy train to the end.

Speaker 6 (10:51):
You know.

Speaker 5 (10:51):
The Boy Meets World is it's going into season four,
and I think that was the it might have been
the last year that they were in well in high school,
like it had the air.

Speaker 7 (11:02):
Of well wouldn't that you know, right? Right?

Speaker 5 (11:08):
So, you know, so we were really working up our
Genie pitches, right.

Speaker 3 (11:14):
You were really excited for getting staffed on you.

Speaker 5 (11:17):
They go to you Wish and then then we got
the offer in Boy Meets World, which was you know,
obviously we were thrilled to do anything where they.

Speaker 4 (11:25):
Had you guys written a spec script for another show.

Speaker 7 (11:28):
Oh, we had a couple of specs scripts. I think.

Speaker 2 (11:34):
You Wish fans and you're just like, oh God, I
can't believe we're doing that.

Speaker 5 (11:40):
Can't believe everything that we did was was magic relating Now,
I mean I think we as I recall it was
probably it was probably mad about you. That was what
they what they looked at that was there were a
lot more. It was a lot easier to specush show

(12:00):
as a sample back then than it is today. It's
in particular today, I know, you know, with writers coming
into the business, when they try to spec an existing show,
there's so many existing shows that everybody isn't familiar with
that it's hard to find one where you're not going like,

(12:21):
I don't know if this is a good episode of
you know, you know whatever, I've never seen this thing,
and you know.

Speaker 3 (12:28):
Are specs as do people care about specs now?

Speaker 5 (12:32):
No, I mean I think it's pretty rare, but mostly
for that reason, they really are valuable. You do have
to know the show that the people are specking. So
I would imagine for some for some types of shows
that there's you know, if you have a Simpson Spec

(12:53):
or something, everybody knows. You know, there's stuff that's current
that everybody's familiar with, but that has become such a
different that we're not all watching the same things.

Speaker 7 (13:05):
I know.

Speaker 1 (13:05):
It's also gone through like trends, Like it used to
be never write an original pilot. Then it was like
only write original pilot, and then there was like a
little period where everyone was doing like bizarro mashups.

Speaker 5 (13:15):
I'm going to do an.

Speaker 1 (13:15):
Episode of you know, community meets mash and like just
to be show your creativity and show that you can
master two different forms. It's like, you know, whatever, whatever
gets your gets gets you noticed, you.

Speaker 7 (13:26):
Know, right, yeah, something some you know.

Speaker 5 (13:29):
There there have been times where there have been showrunners who,
particularly people who didn't come up through television, who were like, well,
I want my show to be different than which is
always kind of hilarious to me because it's it's like, well,
people like television.

Speaker 4 (13:47):
Right, why do you want to make a TV show
you hate so much?

Speaker 7 (13:50):
Yeah?

Speaker 4 (13:51):
I don't want it.

Speaker 5 (13:52):
I don't want it to be like one of those pesky,
successful shows people love.

Speaker 3 (14:00):
Had you ever seen Boy Meets World before you got
the job?

Speaker 5 (14:04):
That's a good question because I wasn't exactly in the
prime demographic for uh, you know, because you know, being
sort of mid twenty, you know, the like home watching
TV on Friday evening. It wasn't like my mainstay. So

(14:26):
i'd seen it before I was aware of it, definitely, Right.

Speaker 2 (14:29):
Were you a big television fan growing up?

Speaker 6 (14:31):
I mean, was this something that you knew you wanted
to do and it just I mean again, I was
addicted to TV my whole life, So were you Were
you one of.

Speaker 2 (14:37):
Those people as well?

Speaker 7 (14:39):
Yeah?

Speaker 5 (14:40):
Well, I mean, first of all, TV was all we
had back then, so and I think that's what's funny
is if you remember way back when when they would
occasionally show outtakes and I remember there being some kind

(15:01):
of special about MASH and they showed outtakes from MASH
and everybody looked like they were having such a good time,
and I was like, that's awesome. You know, I would
love to do that, you know, I love these shows.
And then see the people were actually making them and
working together, and at some point in my career I

(15:23):
realized that those outtakes were actually blowing the take and
that you.

Speaker 7 (15:27):
Were working longer.

Speaker 5 (15:28):
And then I stand to realize, like I've just been
watching people having the best time, and everyone's going like,
come on, just say the words.

Speaker 3 (15:39):
Just so you come on in season five and are
Bluckman and bus Gang running the room at the time
that you start or is.

Speaker 5 (15:49):
Michael Yes, Now that was because of the You Wish,
because You Wish launched and Michael went over to You
Wish and we came into the show and Howard and
Mark were running it, and you know, and we sort of.

Speaker 7 (16:06):
Met the writers who were there.

Speaker 5 (16:08):
I think there were, I mean there was there were
a couple other writers who were new to the show,
a couple you know, a couple levels, and then there
were people who'd been there the whole time. And yeah,
you know, so we kind of came in and really
learned the ropes of our writer's room, which was not

(16:29):
something that you know, in animation, that's not how it
gets done in the in the room. And so that was,
you know, that was an exciting yeah process and see
how that worked.

Speaker 3 (16:41):
And so what was your feeling. Were you guys nervous
at first to contribute? Did you feel like you fit
right in? What are your This is like kind of
a whole, whole new thing for you. How are you
feeling when you started?

Speaker 5 (16:53):
I think, you know, one of the benefits in my
mind that that Laura and I had was so much
total ignorance that we didn't know.

Speaker 7 (17:03):
We didn't know what to be.

Speaker 5 (17:05):
Worried about or what to be afraid of. That I
remember in particular, we're coming on as staff writers. It's
the lowest level of writers, and there was another writing
team who were I think like executive story editors, sort
of to you know, two levels above us. And often
when you come on to a show, they've assigned people

(17:28):
their offices and their their space for whatever reason. Howard
and Mark were like, you guys, just look around and
pickwood office you want. So and this upper level team,
who was also new to this show. One of them
wasn't there that day, so it was sort of a

(17:49):
two against one thing.

Speaker 7 (17:50):
But we didn't know.

Speaker 5 (17:51):
We weren't thinking about hierarchy or anything. We just found
a really nice corner office and like, this is great,
and this guy said, oh yeah, it is great. They
were like, you don't mind if we take this one, right,
you know, and he and his partner were she kind
of got shunted into like the closet or whatever, and

(18:12):
then she came Yeah, she came back to work and
I guess looked at him and was like, are you
kidding me? And came in and said, you're the staff writers,
so you should have that office.

Speaker 7 (18:25):
We should have this office.

Speaker 5 (18:27):
Which as soon as she said it was like, that
makes sense, That's how it should have been done.

Speaker 7 (18:36):
It was not, uh, you know, we we weren't.

Speaker 5 (18:39):
Looking at it again with any kind of malice or
idea like. It was just just two goofballs going like, oh, it.

Speaker 4 (18:49):
Was pretty well.

Speaker 3 (18:53):
Your first script is then the Acid Trip that is
No Guts, No Corey, which sent us toineteen forties wartime
thanks to the Cat from Sabrina. Did you feel like
this was a form of hazing?

Speaker 5 (19:08):
It turned into a form of hazing it. So that
was a that was a theme night as the Cat
from Sabrina was going to send all the TGIF shows
back in time, and we were all supposed to pitch
the time period that we got sent back to. And
I think by the time we got it.

Speaker 7 (19:28):
I think.

Speaker 5 (19:31):
I think Sabrina the Teenage, which might have been going
back to the sixties already. And then another show and
I'm trying to remember. I can't remember the name of
the show.

Speaker 3 (19:41):
I knew all the good ones were taken.

Speaker 7 (19:44):
They took.

Speaker 6 (19:45):
Yeah, so it might have been you wish, But wasn't
it you wish. Weren't they TGIF two at the time?

Speaker 3 (19:52):
Maybe yeah, I mean.

Speaker 7 (19:54):
But so they went.

Speaker 5 (19:55):
So it was basically it was like, Okay, we went
back to somebody went back to the fifties. Somebody went
back to.

Speaker 7 (20:05):
The sixties. You know, we were in the nineties.

Speaker 2 (20:11):
Yeah, we had the last thing. It was like, you
guys have to do nineteen twelve, Like wait, well, And I.

Speaker 7 (20:16):
Think initially we were like, oh, we'll do the.

Speaker 5 (20:18):
Forties and we'll do this World War two you know
kind of thing, because it had a look and it had,
you know, sort of some drama to it, and the
idea of like we've got.

Speaker 7 (20:29):
Corey and Pangan you know, yeah lover.

Speaker 5 (20:33):
It seemed like that was you know, that was kind
of cute, and so we started there and it seemed
like it was fine. And then the process of sort
of breaking the story at some point just fell apart.

Speaker 7 (20:47):
There was crazy. I mean, I think here's what.

Speaker 5 (20:52):
We just again, innocently not anticipating Nazis.

Speaker 7 (20:59):
Nazis ruined rething.

Speaker 4 (21:00):
You know, Yeah, where's the comedic Nazi beat?

Speaker 6 (21:04):
Yeah?

Speaker 7 (21:04):
Yeah. There came a point where there were things pitched
that the network.

Speaker 4 (21:09):
Oh, we're not going to do that.

Speaker 7 (21:12):
That was that war. That's what we came to, which
was a lot better than I think. At that point.

Speaker 5 (21:17):
They were like, why don't you do the eighties? And
but the characters were alive in the eighties. They can't
just go back to when.

Speaker 7 (21:24):
They actually you know, that's weird.

Speaker 5 (21:28):
So we wound up having to write a whole sort
of pitch and everything for the eighties, like here's the
jokes we do.

Speaker 7 (21:35):
We're doing our research.

Speaker 5 (21:36):
Is like, well Corey can't figure out his Rubik's cube,
and you know, we just did all this, all these
eighties beats so that they could all see like, this
doesn't make any sense.

Speaker 7 (21:49):
You can't go back to when you were ten. Weird,
it doesn't work on this show. So I did rewatch
that and I was like, yeah, you that's a look
for you.

Speaker 3 (22:00):
My I missed out. My that's my era.

Speaker 7 (22:02):
I know you really wrapped it, so thank you.

Speaker 3 (22:04):
I do appreciate that.

Speaker 2 (22:06):
I like that.

Speaker 3 (22:07):
I like that.

Speaker 7 (22:07):
Look.

Speaker 3 (22:08):
So then when the episode actually airs and it's like
your first non animated script on the air, do you
remember what you did? Did you throw a party? Did
you invite people.

Speaker 7 (22:17):
To watch it? I mean that's what we used to do.

Speaker 5 (22:19):
We would have watch parties because also you know, back
then you couldn't you couldn't stream the repeats or something
that you had to wait to.

Speaker 7 (22:29):
See when they re ran your episode.

Speaker 5 (22:32):
So yeah, that was a big, a big thing, and
we got I think, well, I think my parents took
a picture of the TV screen with our with our
credits on it, and then I was like, well that
I can get editing to give us an actual like
run off, an actually a screenshot of it without like

(22:52):
the reflection of you and the TV.

Speaker 6 (22:55):
That's also how did you couldn't pause it back in
the day?

Speaker 3 (23:04):
Exact?

Speaker 5 (23:07):
Yeah, but I mean my dad still has that on
his on his mantle pieces, the picture from you know,
our credit on Boy Meets World.

Speaker 3 (23:17):
So and so, how did it happen? How did it
work for you guys? If you were given an idea
for a script. Did you then, as a as a
group as a writer's room, sit there and and work
through the whole thing, or did you go home and
work on it kind of privately and then pitch a
script to the group for them to become the group effort.

Speaker 7 (23:35):
Well, it was kind of a combination of those things.

Speaker 5 (23:39):
I mean one of the things that we we learned
early on was, you know, they'd say when we started,
you know, the very didn't have episodes you know, assigned
yet at all. It's like, well, everybody is going to
come in tomorrow with a couple ideas, your ideas for episodes.
And so what you realize right away is that depending

(24:04):
on where you are on the you know, going around
the table of like how about you, what have you
got kind of thing? You were going to come after
people who were going to pitch stuff that you were like,
I had.

Speaker 7 (24:15):
That you do a whole sort of I had that.
I had that.

Speaker 5 (24:21):
I don't think I didn't have any ideas because gets
what you do is like you sit there and go
like you know some and then you try to maybe
you know, sort of piggyback onto it. I had that,
but a little different, you know, to try to make
sure that you.

Speaker 7 (24:37):
Got your your take in there.

Speaker 5 (24:41):
But I but I also remember you know, thinking like okay, well,
you know, what what kind of ideas has the show
done and and what might they do?

Speaker 7 (24:52):
And you know, it's it's like this is a.

Speaker 5 (24:55):
Straightforward family you know show and stuff like that, and
you know, thinking that you kind of like like I
could do that, I could do that my sleep. I
could pitch ideas for these characters and having the other
writers come and pitch things that you're like, oh man, oh.

Speaker 7 (25:16):
Wow, that's wild.

Speaker 5 (25:18):
That's amazing, Like realizing that the the you know, you
don't you're not shooting for the middle. You're shooting for
something really amazing. And and sometimes it gets through and
sometimes it doesn't get through, and sometimes it changes, you know,
as it goes. But that it was a lot more

(25:40):
there was there's a lot more openness to these you know,
let's see what these characters can do and you know,
and not not hold back, not be like you know,
they would.

Speaker 7 (25:57):
Never do that, you know that's what they'll do.

Speaker 6 (26:01):
Speaking of huge moments, Yeah, is that why did you
come in specifically thinking I would like to scar an
entire generation of younger people who love Corey and love
Corey in Topanga by making Corey cheat on Topango because
let's break these people up.

Speaker 2 (26:17):
Is that was that a thought coming in you just?

Speaker 7 (26:19):
Yeah, you think my whole reason coming.

Speaker 6 (26:24):
To was that before the season started, was there an
idea of, all right, we're going to get something where
they break up for a little while there, you know,
Corey's going to cheat on Topango or is this something
that kind of organically came for just one episode?

Speaker 2 (26:38):
Whre You're like, I got an idea.

Speaker 5 (26:40):
Uh, you know, I don't actually remember the origins of
the idea for for heartbreak Corey.

Speaker 7 (26:47):
And then you know, I think.

Speaker 5 (26:50):
At some point the idea of going on a class trip,
you know, the ski trip kind of thing, I think,
you know, challenging the relationship sounded like, you know, it
could be could be interesting. The thing I remember most
about that episode was, you know, we weren't all involved

(27:12):
in casting all the time, but the role of Lauren
the other woman, yea was we wound up being in
the casting sessions, and that episode I think almost didn't
happen because, you know, the the idea of casting somebody

(27:35):
who was an actual threat to the relationship was much
more difficult.

Speaker 7 (27:42):
Than one would assume.

Speaker 5 (27:45):
So you know, we were we were reading all you know,
these young women coming in and you know, there you
could you could just tell that, like to Panga could
eat her for lunch. Like it just wasn't it wasn't

(28:07):
any competition. And I think part of that was because
nobody believed that Corey was going to be tempted by
just a pretty girl. Like he got a pretty girl,
what is he going to be? You know, what are
we going to believe is a possibility? And so we
were just it was just pretty much almost not happening.

(28:32):
And then when Linda Cardelini came in, it was like
somebody had arrived from another planet and we were instantly.

Speaker 7 (28:42):
Like, Panga, better watch her ask.

Speaker 5 (28:47):
You know, And that was without even seeing her with them.
But it was really, you know, a testament, I would say,
a testament to what you guys did and what you
would bring to it. Such young people, and you make
it look easy, you know, to get up there and perform,
but it's not. It's not something that even you know,

(29:11):
reasonably talented young people can necessarily do. Everybody can't can't
inhabit you know, this the world and the characters and
in a really compelling way, you know. And and I'd
say the other The other thing that made you know
my sort of actor appreciation list was we started and

(29:33):
I've done this on every show that I've done since,
if I've if I've had my way, we did writer
table reads where we would all take your parts and
read your parts, you know, for the writer's room as
part of the rewrite, in part because we wanted to
make sure that Michael had read the script.

Speaker 7 (29:56):
When it's like I don't think I think he skimmed.
I think he skimmed. Like you know what, we'll perform
for it.

Speaker 5 (30:01):
We'll perform the script and we would work hard, you know,
like we would go around. People would mark their scripts
and they go around to the writer and say, did
you did you want me to put a little like
something on this, and we'd like, you know, really try
to try to bring it. You have good performances, yeah,
because you're because you're trying to help each other out,

(30:22):
trainers to be like, I don't want your script to
go down because we you know, it didn't sell.

Speaker 7 (30:28):
It didn't sell it.

Speaker 5 (30:29):
So when we're really trying to trying to do it,
and yeah, and we would come.

Speaker 7 (30:34):
We would always come out of those tables. Read those
kids are geniuses. I can barely speak. You know, nobody can.

Speaker 5 (30:43):
Nobody can pick up their your kids and stuff.

Speaker 7 (30:46):
It's like, it's amazing.

Speaker 3 (30:48):
Well, I do want you to know that Heartbreak Cory
is on our short list for potential best episode of
the series. Thus far we we are, you know, a
few episodes into season six. We've watched everything up to
this point, and we've got a short list of like
perfect episodes, and Heartbreak Corey is one of them. We

(31:09):
also ended up loving Corey and Lauren as a couple
and the fact that she wasn't this outright villain that
she was. She was just cool and fun and they
had a good thing going. So, I mean, was that
something when you guys were casting, Is that something that

(31:31):
you were also really looking for, Like threading that line
between someone who very much was into Corey but not
wanting to be outright like, I know you've got a girl,
but give it to me. You know, what were you
looking for in those in those scenes?

Speaker 7 (31:47):
No, I mean I think she surpassed what we were
looking for. We were looking for a believable flirtation. Yeah,
that could.

Speaker 5 (31:55):
Actually be like, you know, yeah, I believe he even
to just lie to Taipanga.

Speaker 7 (32:03):
I don't even know that we thought that it was
going to go past one episode.

Speaker 5 (32:07):
You know that it was that she was going to
go past one episode or it was just basically like, oh,
did he get caught up in something? I think had
we not found Linda Cardellini for that role, the role
would have become something where Corey didn't realize what he
got into. And then and then his mistake was covering

(32:31):
up that another girl liked me, And that would have
been because because the audience wouldn't have believed that he
liked her as anything other than like my ankle was
twisted and what else. I thought we were just doing
puzzles together or whatever. So so yeah, she she made

(32:56):
it believable and yeah, and watching the episode too, you
can see like how difficult it is to thread the
needle of the things that she's saying to him without
it being like you're crazy.

Speaker 2 (33:11):
Yeah, yeah, exactly, yes, exactly.

Speaker 6 (33:14):
It was so good though, And when we had Laura on,
she claimed that she really wanted in the episode because
she's a huge fan, but that you hated me and
that's why you removed Eric from this script entirely, and
I was wondering if you could just address that a
little bit.

Speaker 7 (33:30):
You know, that's so funny.

Speaker 5 (33:32):
I can't address that because I have no memory.

Speaker 7 (33:37):
And when you said that, it was like, Eric's not
in the.

Speaker 2 (33:43):
Exactly, No he's not. And it worked perfectly.

Speaker 6 (33:45):
It was such a good episode, and the two of
them together, we you know it's written well, cast well,
acted well. When you're watching this couple for years together
and this new person comes on as a guest star
and you're like.

Speaker 2 (33:56):
I actually think they'd be a great couple other world.

Speaker 6 (34:01):
But yes, yeah, yeah, it seemed like there were a
lot of less red flags with those two than there
were with with Corey and Topango.

Speaker 3 (34:07):
Frank, do you do you remember anyone else who auditioned?

Speaker 5 (34:11):
Oh my god, we must have seen every twenty something
girl in town. It went on and on on. The
auditions went on forever.

Speaker 2 (34:20):
What's a big role?

Speaker 6 (34:21):
I mean, you got to carry I mean that's just
like you're saying, you gotta be a viable other option
for Corey. I mean that's incredibly difficult to do in
one episode, right.

Speaker 5 (34:32):
And yeah, and just just in meeting the character, you're
supposed to believe that she likes she likes him, but
she's not crazy.

Speaker 7 (34:40):
He likes her and he's not great.

Speaker 5 (34:42):
Yeah, you know, doesn't demean or diminish him for being
into her.

Speaker 7 (34:48):
And you know, and so was.

Speaker 3 (34:50):
There ever conversation about whether or not Corey and Lauren
could be together?

Speaker 5 (34:57):
Well, I think after we after we cast it, and
after we shot it, I think there was.

Speaker 7 (35:04):
That's where I think it developed into. I think it
wound up being.

Speaker 5 (35:07):
Like a little three dark at least because it also
spurred the breakup and then Topanga's kiss with Guy and then.

Speaker 3 (35:20):
Will's favorite character Ricky.

Speaker 5 (35:24):
But you know, I think that I think as I
recall that episode when Daniel, when you, as did Tipanga,
had your realization that you wanted to be with Corey,
I remember the live audience just going berserklled they were

(35:45):
so thrilled and they and they were and I think
they were also they were surprised, like I think they
had kind of resigned themselves but being over and then
they were so excited that you know that that Tipanga
kind of came to this. This just affirms that I

(36:06):
you know that I love you.

Speaker 3 (36:09):
It was a good pump bank, it was a good pump.

Speaker 6 (36:13):
Now, one of the things that we I think we
need to start asking every writer has come on that.
I'm not sure we've asked yet, So I'm going to
ask first, was there ever a conversation in the room
at any level about the power of kissing?

Speaker 7 (36:25):
That's the power of kissing.

Speaker 6 (36:27):
We keep talking about how on the show there seems
to be this thing where the kiss, if the kiss
is done the right way, then any problem is solved
or someone or you.

Speaker 4 (36:39):
Will never happen.

Speaker 6 (36:43):
Once.

Speaker 3 (36:43):
And I know for sure.

Speaker 6 (36:47):
Corey, Yeah, was there a conversation about the power of kissing?

Speaker 3 (36:51):
I'm curious.

Speaker 7 (36:52):
I don't think so.

Speaker 5 (36:53):
I mean, I think part of it was that the
you know, the kiss on boy Mean's world stood in
for a lot of other possible, you know, relationship things,
and so it really did get imbued with it's the
it's the sort of manifestation of all physical and emotional connection.

Speaker 7 (37:19):
You know.

Speaker 4 (37:19):
That's a really good point.

Speaker 1 (37:20):
Interesting, that's a really good point that I can't believe
we haven't quite hit.

Speaker 2 (37:24):
It has to represent all of exactly.

Speaker 1 (37:28):
It's the stand in for yeah, any it's that intimate
physical relationship can only be represented in a kid.

Speaker 4 (37:34):
It's a really good point.

Speaker 3 (37:35):
Okay, interesting, all right, but we also just watched your
first script of season six, which is better than the
average Corey, and we want to know something right away,

(37:56):
have to have to get it out there. Who is
responsible for the salary.

Speaker 5 (38:01):
Joke standards and practices I believe, or clearances. It was
so the joke was supposed to be that we were
going to see Corey is sort of in his room,
and that it was a very average boys room.

Speaker 7 (38:17):
And we talked about there being like a.

Speaker 5 (38:19):
Car poster or something that and that it wasn't the
flashiest car.

Speaker 3 (38:24):
It was a Taurus. Yeah.

Speaker 5 (38:28):
Well, we could not clear any cars because what we
were saying about the car.

Speaker 7 (38:34):
Was that it was not.

Speaker 6 (38:38):
So if you have a poster of a beij Volvo
on your on your own wall.

Speaker 5 (38:42):
Even even beige Volvo doesn't want to be no. Yeah,
that and that being the process of in order to
get things cleared, you had to put them in the
context of what why are we seeing this screen? And
nobody wanted and then and it was sort of like
no product, nothing, nobody wanted their image associated with.

Speaker 3 (39:06):
No one represents Celery, right, there's.

Speaker 7 (39:11):
No big salary.

Speaker 5 (39:12):
But that's the hilarious thing about that was that.

Speaker 7 (39:15):
We we actually did it.

Speaker 5 (39:17):
It was like, just move on and do a different joke,
but like, yeah, we just did it.

Speaker 7 (39:23):
Let's just make he's got a giant. I mean, he
has a giant.

Speaker 1 (39:29):
I'm so glad to know because it's one of my
favorite jokes of the show too. And I love that
you guys kind of landed on it in a really
organic way.

Speaker 3 (39:39):
That's why it's as so funny that they were probably
so frustrated. They were like, we have this great idea
for a joke and we can't do it. Just put
Celery up there like it's it's famous. There are people
who have Celery tattoos. I don't know if you know this,
but Will writer and I have traveled the country, we
signed salary posters, We've met people with Celery tattoos. Is

(40:00):
it is it?

Speaker 7 (40:01):
You were going to say you guys all had one?

Speaker 5 (40:03):
We do?

Speaker 3 (40:05):
I know, honestly, it's not a bad idea for a
group tattoo. Just I wonder if you all do it.

Speaker 2 (40:10):
About this, you won't do it?

Speaker 6 (40:12):
I would get I will go right now to go
get a group tattoo.

Speaker 2 (40:16):
You guys won't do I would.

Speaker 4 (40:18):
Go get salary right now. If that's like, if you
guys were like, send me the image, I'll be home with.

Speaker 2 (40:22):
The thank you, I will do it too.

Speaker 3 (40:25):
I'll consider it. I'll consider it. I'll consider it.

Speaker 4 (40:27):
Let's talk about it.

Speaker 1 (40:28):
Let's talk about it off there, let's talk about it there.
I wonder when their vegetables were pitched right, like potato, potato.

Speaker 4 (40:33):
Is not as funny, like how do you go through that?
Onion says too much?

Speaker 5 (40:37):
It's gonna be It really might have been at that
point there was such a level of frustration there that
it was just like there, I don't know that we
expected that to even make it to air, which is
you know, another fun thing about about making the show
and and something that impressed me like early that that

(41:00):
age in my career was that there was nothing that
we said, you know, whatever brain fart you had at
you know, nine o'clock at night on a rewrite showed
up on set the next day. No one ever said
are you serious? Right, They just did it, you know,

(41:21):
and it was so magical to imagine something and have
it appear, you know, on stage, and so you know,
I'm not sure that when we you know, in frustration,
landed on Celery that we thought, ultimately this is going

(41:42):
to make it to air.

Speaker 6 (41:43):
Or it's Do you have any chance to remember any
joke that you're just gonna ask to say a thing?
Do you remember a joke that you really fought for
that didn't make it on the show that you got
were like, oh god, I really want this to be
in there.

Speaker 4 (41:55):
Or a storyline or a storyline.

Speaker 7 (41:56):
Yeah, oh gosh, well, I mean tons, there's tons of things.

Speaker 5 (41:59):
I don't know if I if I remember things that
were were pitched. Oh, I do remember.

Speaker 7 (42:06):
I was like, really, I.

Speaker 5 (42:09):
Won't remember the details. I remember really passionately pitching a
concept for an episode, and and you could tell that
it was like it might I might get like I
almost sold it.

Speaker 7 (42:24):
I remember almost getting there and then not getting the bread.
I can't.

Speaker 3 (42:29):
I can't remember that.

Speaker 5 (42:36):
It's never it's never as good as you know, But
whatever it was, it was something. It was something that
I I just know that.

Speaker 7 (42:46):
I went I went all in.

Speaker 5 (42:48):
I went in like you know, yeah, I'm gonna like,
I cheer up, I'm gonna go this is the most
important thing we'll ever do in television, you know, almost
made it.

Speaker 3 (43:02):
But do you remember how the idea came together to
incorporate the art prodigy Alexandra Nikita into the show. She
was a pretty good actress for a young art How
did that come about?

Speaker 5 (43:16):
I think that that I think as I recall, I
believe she might have been on like sixty minutes or something.
She I think she was getting a little press at
a time, and Michael was interested in buying art at
the time, so I think he just came across her
and just liked the idea that she was about the

(43:37):
same age.

Speaker 7 (43:37):
As the characters.

Speaker 5 (43:39):
And you know, I mean, we didn't do a ton
of sort of stunt casting or you know, anything like that,
So that was that was pretty.

Speaker 7 (43:50):
Unusual for the show to.

Speaker 5 (43:52):
Bring me in, particularly somebody just playing their real life self.
Trying to remember if we did that in any other show.

Speaker 2 (44:01):
Now, there was more, there was more stunt casting. Earlier
in the show. We had, like the earlier seasons, we had.

Speaker 6 (44:08):
Some like the you know, the Happy Days Gang and
all that kind of We did that more back in
the day than we did I think later in the episodes.

Speaker 2 (44:14):
Yeah, yeah, so the.

Speaker 3 (44:16):
Gang is now out of high school, we're all off
in college. Do you remember was the room excited about
aging us up a bit?

Speaker 5 (44:26):
I mean, I guess there would be some excitement and
some trepidation about how that was going to work, because
there's such a.

Speaker 7 (44:35):
There's there's such a specific dynamic for.

Speaker 5 (44:41):
The sort of school age up through high school and
high school in particular. I think high school. The difference
between high school and college to me, as far as like,
you know, being on the screen especially, is that in
high school, every little thing is extremely important. In college,

(45:01):
even big important things are not important.

Speaker 7 (45:05):
You blow off. You know, it's like a.

Speaker 5 (45:07):
Real reversal in your life where you're not hanging on
every moment and interaction in the way that we're all
familiar with in high school. And so high school really
lends itself to particularly, you know, in sort of that

(45:29):
half hour setting where you could telegraph really quickly that
something important was happening in the characters' lives because like because.

Speaker 7 (45:36):
It's high school.

Speaker 5 (45:36):
And then you know, so then when they went beyond
high school, you're like, oh, are we going to lose
that sort of universal feeling of what they're going through
and why it matters to them and why they're you know,
still such a tight group and things like that.

Speaker 6 (45:57):
There was such a change in the Eric character, not
just comedically, but I'm also curious because we kind of
know that we've heard from some of the other writers
where comedically went that way. But one of the things
we noticed is that it doesn't seem like Eric ever
has a love interest again. And I'm curious if there
was ever a talk of giving him a date again,

(46:18):
having giving him you know, letting him have a girlfriend
of his own, a boyfriend of his own, whatever, just
so sort of a love.

Speaker 2 (46:23):
Interest it seemed to just kind of disappear. Can you
remember if there was a reason.

Speaker 5 (46:28):
For that or.

Speaker 7 (46:31):
I don't.

Speaker 5 (46:32):
I mean, I don't remember a specific decision to do that. Really,
I think, you know, I think it was sort of
like in retrospect, Eric was becoming he fell into the
category of somebody who maybe was cool in high school

(46:54):
and then pequed.

Speaker 7 (47:00):
And that again wasn't a choice. It wasn't like, let's have.

Speaker 5 (47:02):
Eric be the guy who peaked in high school. But
I think that is interesting kind of you know, where
where things went, And I don't know, I don't know
if that's also because again, the qualities that you can
ascribe to somebody as being like a fun, cool guy

(47:25):
in high school, do not you know, necessarily translate into
a college and beyond environment. And I think maybe if
we had, if we had done something deliberate, we might
have decided that we were going to take Eric and

(47:45):
have him and maybe this would be like something you
do today. It wouldn't have done it then, but make
him fall more into success, you know, make him be
the person who you know, gosh, Feeney was always telling
him to sort of like get serious and things like that.

Speaker 7 (48:03):
And then wouldn't it be fun if Eric was just.

Speaker 5 (48:07):
The person who after high school is just like he's
a billionaire by the twenty and everyone's going like yeah,
like then, And it's like because because then it would
be in contrast to what the what the show and
the adults of the show had told us, which is
that Eric needs to get serious and like, apparently.

Speaker 2 (48:30):
Not that's interesting.

Speaker 5 (48:33):
Yeah, I like that.

Speaker 2 (48:34):
Cool.

Speaker 3 (48:35):
So you would go on to write two more episodes
in season six and too in season step seven, and
you were with us right until the very end of
the series. What do you remember, if anything about that
series finale week?

Speaker 5 (48:48):
Oh my gosh, crying everybody's crying all the time, so
much crying, A lot of crying. Yeah, I mean it
was I think it was pretty emotional. We've spent a
lot of years, you know, up until that point. I
don't think I ever worked in the same job for
three years, you know. I mean I'm like pretty young

(49:11):
and early in a career where it's like maybe you
worked someplace for a year and then you were looking
for the next thing you could do because you weren't
where you wanted to be. And so this was the
first opportunity to be doing what I wanted to be doing.
And it wound up, you know, continuing and and you know,
by by that year, I was like, man, I this

(49:32):
is the this is the tightest group of co workers
I've ever had in my life.

Speaker 7 (49:38):
So that you know, that was that was really something.

Speaker 5 (49:41):
And we we had that sort of relationship with the
crew and the cast and the and then the audience
that came, you know, our live audience, which is not
an experience most writers get, you know, to put their
stuff up in front of a live audience. And in
those fans who would come, you know, the people that

(50:04):
came every week, you know, yeah, repeatedly and stuff like that.
It was you know, you knew that this was not
something that you could count on ever happening.

Speaker 3 (50:15):
Again, Well, since Boy Meets World ended, you have really
gone from job to job every year. You have never
been at a loss for work, either as a writer
or an executive producer. You've been on Private Practice, Life Unexpected,
nine oh two, one zero, The Good Doctor. That's just
to name a few. Would you say there's anything you
learned on Boy Meets World that you have been able

(50:38):
to take with you to all of those jobs?

Speaker 7 (50:41):
Oh? Yeah, absolutely.

Speaker 5 (50:42):
I mean I think that's one of the things, is
like formative experiences, the things that you do and it's
when you don't know how it's done, wind up being
things that you really carry with you. The writer's table
reads is one of those things, Like I said that
I've done that.

Speaker 7 (51:03):
I think it's to me, it was like it.

Speaker 5 (51:08):
Was such a good practice and so good for the
new writers coming in because a lot of times on shows,
there's a tendency to rewrite the original writer several times
before it even gets to the actor's table read, and
so what happens as a as a young writer is

(51:30):
that you never hear your words out loud. Really, you know,
they've always been changed in a way that sometimes it's
not recognizable to you by the time it's going to set.

Speaker 7 (51:43):
Or even to the first table read.

Speaker 5 (51:45):
And I think having an opportunity to hear even from
some really bad writer performers, but having the opportunity to
hear your script aloud is a real growth opportunity for writers.
Having to try to perform a script, Yeah, is a

(52:07):
growth opportunity for writers of like that wasn't easy to say, Yeah,
that was awkward.

Speaker 3 (52:15):
How can I make this less awkward?

Speaker 7 (52:17):
Yeah? Right right?

Speaker 5 (52:18):
Knowing that it's like that, that matters, and so yeah,
so I've you know, I've I've tried to continue doing
that and you know, gotten a lot of benefit out
of that. I would say also Will as as far
as your your character and Eric, one of the things
I remember so much and that I have have kind

(52:43):
of carried into other shows is.

Speaker 7 (52:48):
You were never not in the scene you were in.

Speaker 5 (52:52):
You might have had no role in the scene that
you were in, and you were never not in the scene.
And I remember specifically one scene that was in It
was in the kitchen, and I think it was you know,
I know it was the other characters were talking, and

(53:13):
you had been there for whatever reason, and they came
in and they're having a pretty you know, a pretty
intense scene and you just happened to be in the
in the shot. But I don't think you were thinking
about being in the shot. But you were in the shot,
and you were in it, and you were like, you.

Speaker 2 (53:31):
Know, oh you know what.

Speaker 4 (53:32):
I bet it was.

Speaker 2 (53:33):
I bet it was.

Speaker 6 (53:33):
It was when to Panga and Corey decided to get married,
and Alan and Amy are having the conversation with Corey
and Topanga across the kitchen and I'm standing in that's
the Rachel is fine. I got this new room in
and she is a fine scene. I bet she's the
one you're talking about. I think I know exactly the
one you're talking about.

Speaker 5 (53:51):
Yeah, but I so I've used that as I've used
that as example for you know, for for actors, but
a lot of time to use it as an example
for for writers about who you know, which you've brought
these characters into this room.

Speaker 7 (54:10):
Right.

Speaker 3 (54:12):
You what you are doing?

Speaker 5 (54:17):
And I will that would be like sometimes you get
lucky and the actor, yeah, you know, is in the
scene as the character no matter what you've given them,
but you can't count.

Speaker 3 (54:32):
On I count on that.

Speaker 7 (54:35):
I could count on that.

Speaker 5 (54:36):
With the with you guys and that, you know. But
and I remember that as being something where that was
the first time as a writer I paid attention and
realized that that I've left people here. I put people

(54:57):
in this room and they're here, and and it was
you know, rather than it being an oops, it should
be an opportunity because that's how life is.

Speaker 7 (55:08):
People are in rooms where they're like, I wish I
were that.

Speaker 6 (55:13):
Yeah, that's great, Oh that's funny.

Speaker 3 (55:16):
What would you say the biggest difference between twenty twenty
five writer's room and a nineteen ninety eight writer's.

Speaker 5 (55:22):
Room well being in an actual room, Okay, not being
on zoom.

Speaker 7 (55:31):
Right, yeah, I mean so yeah, Back then, I mean
it was.

Speaker 5 (55:40):
It. I think there was more, you know, it probably
is just, you know, kind of boring to say, but
there's more more community and people were we were all
around each other all the time, much more. I mean,
I remember first season of Boyming's World and being on
the Radford and being surrounded by other shows, also life

(56:05):
taping all the time, and so you know, and and
the little basketball hoop that the Seinfeld people shot hoops
that you know, right to our building, and you know,
just that just walking around the lot, you know, seeing
other writers on other shows, seeing other cast on other shows,

(56:26):
just being around that all the time, you had more
of more of a sense of sort of us all
being in the circus together kind of thing.

Speaker 6 (56:40):
Yeah. I mean we were in between Seinfeld and Third
Rock from the Sun, so it was.

Speaker 5 (56:45):
There was bibil and there was like there was so
many shows like big you know, big stars and big shows,
and it was every every stage was full of that.

Speaker 3 (56:59):
Has it ever come up on any of the other
shows that you've worked on that you once worked on
Boy Meets World? What are the reactions when people find
out you worked on Boy Meets World.

Speaker 5 (57:07):
This is the best thing, uh, And I'm sure you
guys experienced this of you know, there were cooler places
to be at this at the time. I went on
a panel. I was asked to do a panel about
medical storylines, you know, having to then move you know,

(57:28):
moved on and started doing hour long dramas and medical
dramas and things like that. So I, you know, done
some medical storylines and I was asked.

Speaker 7 (57:40):
To speak and.

Speaker 5 (57:43):
I was like I had the least interesting or impressive
thing to talk about in terms of the show that
they'd say, Oh, you're going to come and talk about this,
you know, breast cancer, gene testing storyline that you did
the show. And then we're going to have somebody who
created the Big C which was a huge show at
the moment, and somebody who created some other like e

(58:07):
er whatever. You have all these big shows, and it's
like my little storyline. And so everybody spoke about their
you know, their their show. And then they said, Okay,
we're going to open it up for questions and I thought, well,
I can get my things ready to leave. You know,
nobody can ask a question. The very first question was like,

(58:27):
I have a I have a question for.

Speaker 7 (58:30):
For Patty Carr. And I was like, oh, oh, you know,
what is your question?

Speaker 5 (58:37):
And they said, I have a box set of Boy
Meets World evds and I wanted to know if you
would autograph that. Could you tell me about Corey into
Pega's wedding? And I know that's not this medical thing,
but could you just do I like, yes, I could
exe tens you.

Speaker 7 (59:00):
Yeah, nobody asked for their autograph.

Speaker 2 (59:03):
Oh that's cool.

Speaker 3 (59:04):
That's amazing. Take that good doctor.

Speaker 7 (59:07):
That's right, that's right.

Speaker 5 (59:08):
And I mean so that's when you know, it's it's
as the audience for Boy Meets World as they kind
of grew up and started you know, being out in
public without without their parents or whatever, as they kind
of came into the world and into the industry, it's.

Speaker 7 (59:29):
Always now something that you say and people are like, oh, oh,
oh my god, I can't believe you look for the show.
It's amazing.

Speaker 3 (59:40):
Well, finally, did you ever think that people would still
be wanting to hear us talk about Boy Meets World
thirty years later when you were writing it?

Speaker 5 (59:51):
No, well back then, I don't think you could imagine
you know, sort of any of the or any of
that kind of you know, interest in old stuff.

Speaker 7 (01:00:06):
You know, you weren't thinking that there.

Speaker 3 (01:00:08):
Was going to be that kind of like longevity.

Speaker 5 (01:00:11):
Yeah, yeah, for for shows and things like that, or
a forum for people to even have those conversations with
with their fans and stuff. So yeah, just definitely didn't
didn't think about that, and it it is, you know,
it is amazing that, yeah, people people are still interested

(01:00:34):
in hearing about this stuff.

Speaker 7 (01:00:36):
So hopefully I had something interesting to say about it.

Speaker 5 (01:00:39):
I know you had, like plenty of other writers telling
telling the truth in a few lies.

Speaker 7 (01:00:47):
I didn't how I didn't like Eric's character and wrote about.

Speaker 6 (01:00:56):
I know you're lying, Patty, It's fine.

Speaker 3 (01:01:02):
He totally made that up. She did not say that.

Speaker 7 (01:01:04):
I did not have the power to make that happen.
Even even no, we're.

Speaker 3 (01:01:12):
Also saying Laura did not say that she just made
that up. La did not even come close to alluding
to that, so did she.

Speaker 7 (01:01:21):
If she did.

Speaker 5 (01:01:22):
If Laura did do that, I would have to like
you her comedy props for coming.

Speaker 3 (01:01:26):
Yeah, No, she did not. Patty, thank you so much
for taking time out of your very busy schedule to
come and spend with us. Really nice to reconnect with you,
to hear your perspective on things. Congratulations on an incredible career.
You're still going at it. Where can we find you now?
What are you working on now?

Speaker 5 (01:01:43):
I'm just working on staying sane, so because.

Speaker 8 (01:01:47):
We all are Yeah, yeah, nothing, I'm helping nobody and
doing reaching no audience other than the people outside my
window when I screamed.

Speaker 3 (01:01:57):
That's nice because it knows to you for that. Thank you,
Patty for being with us always.

Speaker 7 (01:02:04):
Nice to see you, good to see you.

Speaker 3 (01:02:06):
Thank you bye. Oh my gosh, that's so will you
totally threw Laura and she believed you. She was like
and then I was like, do you want to touch
on those? And then she was right back to it.

Speaker 4 (01:02:17):
Yeah.

Speaker 6 (01:02:18):
I still think Laura said that in my head.

Speaker 3 (01:02:20):
Oh my god, you're the worst. You're just the worst.

Speaker 2 (01:02:23):
I know my truth.

Speaker 3 (01:02:26):
I the knowing that backstory about Celery. Oh, it's so satisfying.

Speaker 6 (01:02:32):
It is the best because because it's right or you're right,
that just the way that the joke is so organic,
because that was what was left. Essentially, it's like, what's
the most and it's why more original?

Speaker 4 (01:02:45):
You know, it's just been a volvo or whatever.

Speaker 1 (01:02:48):
It's fine, fun, but the fact that it's like, wait,
is that a poster of Sealary and.

Speaker 3 (01:02:54):
You have to like, you know, it's just it's good
to have happened on purpose. Yeah, it's like it's too good.
It's just it's unbelievable. So thank you all for joining
us for this episode of Podmeets World. As always, you
can follow us on Instagram pod Meets World Show. You
can send us your emails. Podmeets World Show at gmail
dot com and we've got merch.

Speaker 2 (01:03:14):
We need to get matching salary tattoos.

Speaker 3 (01:03:16):
Merch Podmeetsworldshow dot com will send us out.

Speaker 2 (01:03:20):
We love you all, pod dismissed.

Speaker 6 (01:03:23):
Podmeets World is nheart podcast producer and hosted by Danielle Fischel,
Wilfordell and Ryder Strong executive producers, Jensen Karp and Amy
Sugarman Executive in charge of production, Danielle Romo, producer and editor,
Tara sudbachsch producer, Maddie Moore, engineer and Boy Meets World
super fan Easton Allen. Our theme song is by Kyle
Morton of Typhoon and you can follow us on Instagram

(01:03:44):
at podmeets World Show or email us at Podmeets Worldshow
at gmail dot com