TGI – Episode 618 “Can I Help to Cheer You?” - Pod Meets World

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:18):
You do your rock in the shaved works.

Speaker 2 (00:21):
It really does look good. Are you happy that you
shaved again?

Speaker 3 (00:25):
I am, But you know it's only because Alex left town.

Speaker 1 (00:27):
So she really prefers the beard. Huh.

Speaker 3 (00:30):
Yes, she like like and she can't like say that
she hates my face, but she hates my face guys face.

Speaker 2 (00:39):
Maybe maybe I know you've talked about before that it's
very hard for her to watch Boy Meets World because
you're a child on it. Maybe she you just look
too much like your young self and she's used to
just the old man writer. Yeah.

Speaker 3 (00:55):
Yeah, I mean I basically at this point, anytime she
like we're gonna be a part for more than a week,
I'm just gonna shave.

Speaker 1 (01:02):
Just shave. How long does it take for you to
grow it back?

Speaker 2 (01:04):
Not that long.

Speaker 3 (01:05):
I mean like within a couple of days. I will
have like enough that it's like, oh, you have facial hair,
you know, And I'm not I didn't completely shave you.

Speaker 2 (01:12):
Notice, I like shadow exactly.

Speaker 1 (01:15):
When a nice boy band kind of look nice. I
love that that we've all fought for you.

Speaker 2 (01:20):
What does Indy like best? Uh, that's a good question.

Speaker 3 (01:24):
I think he liked the novelty of clean shaven for
so long that he was like, all about it, But
I don't know, I'll have to ask him.

Speaker 2 (01:31):
Now, and what do you prefer? Writer?

Speaker 3 (01:35):
Honestly, I like being clean shaven lately. Like it was,
you know, it's just I look younger, and I was like, oh,
this is I don't know. It was like a lost
part of myself that I was like really running away from,
you know, literally just trying to like not look like
I did when I was younger. I mean, so much
of my twenties was spent trying to like be an

(01:57):
adult and like, you know, basically like I'm not the
guy who was on the show and looked.

Speaker 1 (02:02):
Like I have a fifteen a pipe.

Speaker 3 (02:04):
I'm grown up, damnit.

Speaker 2 (02:08):
Yeah.

Speaker 3 (02:09):
And so it's so interesting to be on the other
side of that now and be like, you know, it
was the second my beard turned gray. I was like, oh, now, yeah,
I look my age, which is totally appropriate.

Speaker 1 (02:19):
It is only gray. I was seeing pictures of myself
this weekend. I was like, who the hell is that
old man that still has the brain of the eighteen
year old? Like, what the what absolutely happened?

Speaker 3 (02:29):
I turned forty COVID hit and my beard went gray
and it was like all it was like midlife crisis
hit hard, you know, Oh my god.

Speaker 1 (02:43):
I don't think I ever went through a midlife crisis
because I've always kind of been you.

Speaker 2 (02:48):
Live a midlife crisis.

Speaker 1 (02:49):
I've been still lived life crisis since I was like thirteen.
It doesn't I've just but I live. So somebody brought over.
I was at a convention this weekend and somebody I'm
having my bathroom redone, and somebody brought a Batman beyond
batmobile that I had never seen before, and I bought
it on the spot and it's going to go in
my brand new bath cave, which is what I'm calling

(03:12):
my my back the bathroom, okay, and the the Batman light,
the signal light you gave me. And I just realized,
like I will never go through a midlife crisis because
I'm just always twelve.

Speaker 2 (03:22):
Right, You're just always still a kid.

Speaker 1 (03:24):
I am. I'm just always twelve. And I think that's
why I didn't want kids, because I'm I'm the baby, right,
so the baby. I just I think that as I've
come to that realization, it's as sad as that is.
I'm just I'm a kid at heart. So yeah, you
were always an old man writer, Danielle. You went through
phases of being both young and then kind of like

(03:44):
the mom even though you were nineteen, where I've always
just been the kid. It's really strange.

Speaker 2 (03:50):
I'm definitely going through midlife crisis right now. Oh yeah,
what are you a midlife crisis?

Speaker 1 (03:55):
Oh what are you doing? Well?

Speaker 2 (03:57):
I just all these things that like never that we're
just never likes the granful Dead Now I like the
grateful Dead. I want to be in Vegas all the time.
I spend so much more time with friends than I
ever have in the past. I'm like just doing more things.
I yeah, I don't know. I'm also I need to
settle down on the shopping. I just I'm like constantly

(04:20):
looking at things online to buy and and things that
are like passions of mine, like watches. I've always loved
watches or shoes, but I've always for the most part,
had a pretty like healthy balance of buying. Lately, it's like,
I just feel like I'm in way over consumption mode.
So you know, we're just trying to we're trying to
rene it in.

Speaker 3 (04:39):
We're trying You're going to pick a like a baby
beanie habit or something that's a lot cheaper.

Speaker 2 (04:45):
You know, right, you watch jewelry.

Speaker 1 (04:48):
Diamonds, shoes. To be honest, Danielle, we're not even recording
right now. This is just rider and not having an
intervention for your spending. So we just we're going to
bring some other people in really talking about what's been
going on and just kick this out. See what happens. Yeah, yeah,
you are, you do. That's the problem is you. It's
not that you buy stuff. It's that you have champagne

(05:09):
taste and it's good champagne. That's that's the thing. But
in all fairness, as Susan always tells me, a lot
of the stuff you buy appreciates and value.

Speaker 2 (05:19):
That's true.

Speaker 1 (05:20):
Like you're not throwing away like I buy stuff where
the second you drive it off the lot, this is
worth enough.

Speaker 3 (05:26):
Well, you're not helping the intervention, that's right.

Speaker 1 (05:30):
You're right, you're right.

Speaker 2 (05:31):
I like these kind of interventions where it's actually just
further prove. What I'm doing is tell me I'm pretty.

Speaker 1 (05:36):
Now, tell me i'm pretty.

Speaker 3 (05:39):
You're peaking in your midlife crisis.

Speaker 1 (05:41):
Go with it.

Speaker 2 (05:42):
It's work. This is getting run. Welcome to pond meets World.
I'm Danielle Fischel, I'm right or Strong, and I'm Wilfredell.

Speaker 1 (05:54):
Hello.

Speaker 4 (05:54):
I am Matthew Mercer from Critical Role, a tabletop role
playing show where a bunch of nerdy voice actors explore
the fantasy world of Xandria. Each episode, I lead players
Laura Bailey, Talis and Jeffe Ashley Johnson, Liam O'Brien, Mauritia Ray,
Sam Regal and Travis Willingham on an epic story shaped
by rolls of the dice and dramatic choices. Now, our
three campaigns and other adventures are filled with action, mystery, wonder, heartbreak,

(06:19):
and lots.

Speaker 1 (06:19):
Of jokes along the way.

Speaker 4 (06:20):
So we hope you'll find something to love on Critical One,
follow the show, or subscribe to listen on Stitcher, The
Serious xm app or wherever you listen.

Speaker 2 (06:37):
Today we are recapping season six, episode eighteen, Can I
Help to Cheer You? It originally aired March twelfth, nineteen
ninety nine. What is this title? Can I Help to
Cheer You? What is this in reference to? Does anyone know?

Speaker 1 (06:51):
Do No? No? And that's the thing that's strange is
I thought I know there was an episode I think
it's season seven where Jack and Eric become cheerleaders, and
I thought for a second, I was like, oh, this
must be the cheerleader.

Speaker 3 (07:02):
But it got to be a song reference or a
lyric or something. Can I help to?

Speaker 1 (07:07):
Can I help to cheer you? What's what's the title?

Speaker 2 (07:09):
But I can I help to cheer you?

Speaker 3 (07:11):
I bet you the word cheer is replacing something else,
like can I help to?

Speaker 2 (07:15):
How would why would this? Why would they choose cheer
for this episode?

Speaker 1 (07:18):
I don't know.

Speaker 2 (07:19):
It's a good question.

Speaker 1 (07:20):
Okay, So when you google can I Help to cheer you?
The only thing that pops up is this episode?

Speaker 2 (07:25):
Wow? Okay, Well. The synopsis is that Tapanga is getting
restless about wedding plans and yearns for a classy ceremony
in the banquet hall of her dreams. When they visit
the space during another couple's wedding, things get a little weird.
Eric must also make a decision about his future with Tommy.
It was directed by Jerry Levine. This is his first

(07:47):
Boy Meets World episode as a director. You may remember
him on the show as the infamous mister Philip Mack,
the spiritual leader of the cult Sean joins the Center's
Best crazy coincidence.

Speaker 3 (08:00):
Okay, this weekend, I went to a birthday party at
a an arcade at a Center arcade, Yeah, exactly. A
guy comes up to me and he goes, hey, writer,
I'm Cherry Levine's son.

Speaker 5 (08:12):
Oh my god.

Speaker 3 (08:13):
He's like, yeah, I remember running around on set when
I was like ten, and I'm like, oh my god,
your dad's the best.

Speaker 1 (08:19):
Yeah. It was so cool.

Speaker 3 (08:20):
We talked for just a couple of minutes, but yeah,
he was so nice and yeah, he just was friends,
mutual friend and he came to this mutual friend's birthday.

Speaker 2 (08:28):
Oh that's so fun. Does he also have kids?

Speaker 3 (08:31):
Uh no, I don't think so. Okay, or he didn't.
He didn't mention it. We didn't get there, but I
mean he's younger, He's like probably only thirty something. But
it was so Yeah, it was so cool to talk
to him and just sing his dad's praises and he
was like, I told my dad to listen to your
podcast because you guys talked about it. He had listened
to us when we when we mentioned his dad was.

Speaker 1 (08:48):
Yes, cool, Cherry. He was always so fun to work
with and had the greatest Hollywood Stories and yep, was
in teen Wolf exactly.

Speaker 3 (08:57):
Well, I mean, you know, I worked with him on
Going Places first, Uh, I guest starred on that show.
And for me, just because the guy from Wolf styles yes,
and so for to have him then calm on boy
means world get to work as mister Mac which is
so great. And then to see him become a director
and he was so open about the process, Like for me,
he's He's always been like one of those foundational heroes

(09:18):
of mine where it was like watching somebody go from
an actor to directing and be like, oh I could
do that. This is something that you know, yeah, and
it felt it felt right. I remember just for the
first time being like, oh, this makes sense, Like I
want to be doing what you're doing.

Speaker 1 (09:32):
And was it him? I mean I know he was too,
but was it by association? Was Michael best friends with
his older brother and then they became friends? You know.

Speaker 3 (09:43):
They knew each other since they were like kids.

Speaker 1 (09:45):
Yeah, yeah, I'm not sure.

Speaker 3 (09:47):
Yeah that sounds right though, because I think Jerry's slightly
younger than.

Speaker 1 (09:49):
Yeah, I thought so too. It couldn't have been a
nicer guy.

Speaker 2 (09:52):
So he is as writer and Will mentioned best known
as Styles in the original classic Teen Wolf movie and
was last seen and Ryan Murphy's American crime story about
Aaron Hernandez, and he played part of Robert Kraft. This
was Jerry's first TV job behind the camera, and he
has gone on to direct a number of shows, including
It's Always Sonny Monk, Elementary and Hawaii five. Oh what

(10:15):
do you guys remember most about Jerry as a director?
Did you remember this specific week at all?

Speaker 5 (10:22):
No?

Speaker 3 (10:22):
Okay, no, but it's really well directed.

Speaker 2 (10:24):
Actually, it's very well directed.

Speaker 3 (10:26):
You noticed that, right, Like the hundred verses, this is
a lot of the framing and the physical humor and
the way he like put I was.

Speaker 2 (10:34):
The way he did the walking down the aisle of
the wedding and the and the trade chating.

Speaker 3 (10:38):
Falling in the aisle when it's like camera blow and
every it was so well done. The humor is elevated
by his directing, like in a way that actually is
you know, it's tough like and kind of rare in
our show. Our show usually just let the actors sort
of do the thing. But he's engaging the camera and
the actors. And that's so funny because I don't remember

(10:59):
that right.

Speaker 1 (11:00):
Like.

Speaker 3 (11:00):
What I remember is that as as an actor, you're
just like, oh, I like the way he talks to me,
or I like the way he gives keeps the vibe
on the set going. But obviously his brain was already
working in a directorial visual sense that I just watching it,
I was like, whoa, this really works because of Jerry's direction.
And then I remember talking to him about process, like
he opened up conversations about how you pick your shots

(11:23):
and how you frame things, and obviously his just his
brain was working on that level. It's so impressive.

Speaker 2 (11:28):
Yeah, I thought the exact same thing. I was like, wow,
this is very well directed. It was written by Barry Safchack.
And before I jump into our guest stars, do you
guys wanted to share your overall thoughts of the episode.
I thought it was fun, you know what I mean fun.

Speaker 3 (11:45):
I think I think the Tommy stuff is spectacular. I
think the complexity of those issues and the performances are
just heart wrenching. I thought it was great. And then
the balance, you know, on the flip side, you have
this farce going on, and I thought it worked. It's
a little strange, and that so much of it is
led by a character and an actor that was not

(12:07):
part of our regular cast, you know this father. But
I thought it was yeah, overall, like you know, I didn't. Yeah, No,
overall it was great. I thought it was fun.

Speaker 1 (12:18):
I didn't dislike it. I'm very critical of my performance.
I didn't. I saw myself not being able to cry
and all that kind of pushing it, and so that
was not my favorite thing. I was distracted by the
sheer number of Seinfeld guest stars we had on the episode.

Speaker 2 (12:31):
No I have that coming out this episode.

Speaker 1 (12:34):
It's also it was a love the far stuff, like
the balance of the show. But it was a strange show.
I mean, you've got no Matt Lawrence, no Maitland, no Feenie.
There was it. It seemed I don't know if this
makes any sense, and I'm not necessarily saying this is
a bad thing. It seemed like it was longer than
twenty two minutes. There's many episodes we have where it

(12:57):
was like wow, that seemed like a fourteen minute episode.
This is where this one was like wow, this one
seemed like this was a longer episode.

Speaker 2 (13:04):
To me, You're right, I didn't quite I didn't quite
put that together. But in thinking about watching it. You're
right it felt long.

Speaker 1 (13:10):
Yeah, it felt long, and that again that wasn't that's
not necessarily about it, No, not at all. It was
it was able to flash out some stuff. Love the
Tommy storyline. Frankly forgot how damn good JB is at
that age. I mean he was. You know how few
child actors that age could have pulled that off?

Speaker 2 (13:30):
I mean he was.

Speaker 1 (13:32):
He I thought there were several scenes where he was
hitting beats that I wasn't hitting, and I thought was
just really really good. So yeah, overall I thought it
was good. I did it. I thought it was good.

Speaker 3 (13:43):
You know why I think it felt long because when
you said that, I was like, oh, the wedding scenes
could have been two, could have been two.

Speaker 1 (13:51):
Yeah, maybe that's one joke.

Speaker 3 (13:53):
One turn, and instead it stretched into all these different beats,
and it does feel like it's treading water a little.
Like the best part is like Cory goetn't offer the money,
Oh my god, what's he going to do? And then
he's he going to go through with it? But it's
like five scenes, right, it's like split up into all
these different beats, and it's like kind of iterating on
something that we know is.

Speaker 1 (14:13):
Never going to really happen.

Speaker 3 (14:14):
So it's a little like, are we really going to
take this? Okay?

Speaker 1 (14:18):
You know it was strangely, I guess this is the way.
This is the thing that struck me, and again not
necessarily a criticism. It felt like two competing be stories
to me, and again not a bad thing. You've got
equal storylines going on, but there didn't seem to be
one real specific focus. I think they wanted it to
be Eric and Tommy because we open with Eric and Tommy,

(14:39):
so that's kind of like that's where the focus of
the episode is going to be, but it kind of wasn't.
It was kind of balanced in a way where it
felt like two b storylines. I mean, again, not a
bad thing, but.

Speaker 3 (14:48):
Again, even that Tommy storyline is one decision, right, like
it could be one scene, like it could be oh
my gosh, I'm getting to you know, I'm gonna get
adopted or I want you to adopt me. Well I can't,
you know, Like, so yeah, it really is just playing
out those Yeah that's interesting.

Speaker 2 (15:05):
Yeah, yeah, I thought, you know, the wedding stuff. Honestly,
I'm are there funny moments, sure, but to me, they're
like really masked by just more of like I think grossness.
It's yeah, there's a few really gross jokes in the

(15:27):
in the beginning, and then uh, I don't know. I
just I was like, even if this is funny, I
don't want to find it funny.

Speaker 1 (15:37):
God, just the wedding stuff, you meant, yeah, just.

Speaker 2 (15:40):
The wedding stuff, like the the you know, the idea.
There's a couple of lines that the stand the plumber says,
or like they're all lovely with the lights off. Yeah. Yeah,
it's just so gross. And then even all the stuff
about like she'll she'll love you if I tell her to,
and and Corey contemplating at Corey having a fantasy of

(16:05):
what it would be like to be with this woman
on and then of course that like Corey's so irresistible
even to men, even to fathers, fathers.

Speaker 1 (16:21):
He's so.

Speaker 2 (16:23):
You just can't resist this beast of a man. And
I'm like, what are we doing? What are we doing?
And to penga girl you can do better, well.

Speaker 1 (16:40):
It was like you weren't even there. And even worse,
there were scenes where I was like, oh, that's right,
Angela is in this, like why and now what is
she doing.

Speaker 2 (16:53):
She's helping to Panga from her manchild.

Speaker 3 (16:57):
I think, you know, Stan is supposed to be a monster,
and I think just a little bit more of like
recognition of like this is an awful person would have
been nice, like just one one or two, like somebody
to Panga Angela being able to say like, really, we're
gonna you know, like to sort of just put a
like quotation mark around the insanity of like cause it's

(17:18):
never meant. It's always just like, well he's a good dad,
you know, like that's just kind of a given. You're like, no,
the point is he's a monster, right. And also it
makes perfect sense that Sean would be conflicted about like, well,
I'm gonna take the money, right, he just wants it.
Then part of the scene is Sean from Corey would
like Corey's never wanted material things or.

Speaker 1 (17:38):
What is it that he and just the idea.

Speaker 3 (17:41):
That Corey caves this much over a million dollars is
like is that the cory?

Speaker 2 (17:47):
We know? Also, when did Tapanga become this person? When
did Tapanga become the person who's like.

Speaker 6 (17:54):
Oh I wish we could spend so much money on
a one day wedding, like, our wedding will never be
this beautiful because we don't have millions of dollars.

Speaker 1 (18:04):
Like what, Yeah, do people do this? By the way,
do people get dressed up and go to weddings to
see the venues?

Speaker 2 (18:13):
No? Not while a wedding is going on. You can
join to a venue while they're setting up so you
can see the venue in process of somebody else's wedding,
but no, once somebody is on site for their wedding,
they they have, they have.

Speaker 1 (18:30):
I think this is the way of showing how for
a man, there's so much temptation before you finally settle down.
But I mean that's what it is. It's like every
episode is like, well.

Speaker 3 (18:42):
He'll get last last temptation, Yes, the final one, women
and money.

Speaker 1 (18:49):
Look at what people are gonna throw at you before
you finally just get hitched.

Speaker 2 (18:53):
Just gonna just.

Speaker 1 (18:54):
Telling you a girl on the side. Yeah, right, And
he's like that's all we all.

Speaker 2 (19:00):
Yeah, I know, because you're you're right. Writer had had
Sean or Corey even pointed out, well, you know, you'd
have to have him as a father in law like
something like that, just to point out.

Speaker 3 (19:11):
Like that woman she just said like, dad, you're doing
it again, Like you're an awful person. I'm obviously in love,
you know, and it just but nobody gets that.

Speaker 1 (19:20):
They try to do it with the first guest star
with his son in law who's like.

Speaker 3 (19:26):
I'm a good person.

Speaker 1 (19:27):
I'm not even joining your company. I was the kid's
equivalent of going, you're disgusting and hate you. I'm going
to marry your daughter. Get out of my face. But
they only took it. They could have taken it farther,
and they should have taken it farther.

Speaker 2 (19:41):
I did like the way he says, kindy.

Speaker 1 (19:43):
Gotten, kindy gotten.

Speaker 2 (19:44):
I like Kendy got. I like it. I want to
bring it back. Yeah. So guest starring Neia Vardalos as
Missus Gallagher. Now, this is her first Boy Meets World episode,
despite many reports online that she is one of the
waitresses at club Cleavage. Really, yes, it's everywhere. We actually win.

(20:06):
We did. The club had a tushy dance.

Speaker 1 (20:09):
Yes, sure she was not dance.

Speaker 2 (20:16):
Yeah, she was not a background actor in that episode.
But she is best known for starring, writing, and producing
in the two thousand and two independent mega hit film
My Big Fat Greek Wedding and has appeared on TV
shows like Curb Your Enthusiasm, Law and Order, SVU and
Jane the Virgin and two Big Fat Greek Wedding sequels.
And then we have Marcy Brickhouse as Jesse. She was

(20:40):
seen on episodes of Married with Children, Fresh, Prince of
bel Air, and Baywatch, but her last real credit dates
back to two thousand and three.

Speaker 1 (20:47):
JB.

Speaker 2 (20:48):
Gaynor returns as Tommy Sadly. This is the last of
three Boy Meets World episodes for JB. The classic three
episodes in You're Out, then we Could Pay a Less
And then we have Richard Port now as Stan. He's
an always busy character actor whose face you may recognize.
He played Attorney Harold mel Melvoin on The Sopranos with

(21:09):
almost two hundred more credits, including Fear and Loathing in
Las Vegas, Father of the Bride, Mad About You, and
The Cohen Brothers Barton Fink but Will. He was also
on Signfell's.

Speaker 1 (21:22):
Right, how about two hundred and forty dollars. Yeah, he's
they're buying a used wheelchair and he's the guy.

Speaker 2 (21:28):
Swing it Ray in the handicap spot. I think that's
the name of the and then another acting Vet Scott
and Stevens plays Eddie. Stevens has been in movies like
Almost Famous, Turner and Hooch and Operation Dumbo Drop and
TV shows like Dawson's Creek, Silk Stockings and.

Speaker 1 (21:46):
Signfell Uncle Morty, I'm not a doctor. I can't write
you a note. Yeah from the pony remark.

Speaker 2 (21:52):
Yes, he's the intern in the tony remark and somehow
oh sorry, yep, it says it right there in turn
in the pony remark, And somehow another recognizable character actor
is in this episode. Charles C. Stevenson Junior, is the minister.
Charles appeared in Tim Burton's ed Wood, Men in Black, Pleasantville,

(22:16):
and ghost World, and on TV news radio Family Matters, Charmed,
and he played Smitty on the recent Will and Grace revival.
No Seinfeld on his resume No.

Speaker 1 (22:27):
And has just one of the saddest drive by scenes
in news radio where they do an episode where everything
is it's so hot in the office that they're all
having these day dreams and they're the most random, weird
day dreams and he comes in as the janitor and
everyone's like, hey, how are you and they get up
with it and then it zaps where it's actually his
fantasy and he walks in and nobody knows who he is.

(22:48):
He's been working there for like thirty years, and he's
like and they're like, yeah, thanks, Harry, and they don't
even get his name right, and it's like, it's the
saddest thing in the world. Yeah.

Speaker 2 (22:54):
Wait, that's his fantasy that nobody knows it.

Speaker 1 (22:56):
No, his fantasy is that he walks in and everybody
thinks he's the greatest guy in the world and oh my,
I got your sandwich for you. Oh my god, you're
the best. And then the fantasy ends and everyone's getting
his name wrong. They have no idea who he is.
He's just standing there. Yeah, it's really sad, painful.

Speaker 2 (23:11):
Right on that note, we jump into our recap. Did
you see the lobster at all in this episode?

Speaker 1 (23:18):
Will?

Speaker 2 (23:18):
Because I looked for it.

Speaker 1 (23:20):
It's at the wedding. It is in the background, next
to all the champagne bottles at the way. How you
guys don't now just see something bright red in the background.

Speaker 2 (23:29):
I will never be looking. I did look. I looked
to see if it was in the flowers. I looked
in some of the wedding stuff. I just didn't see it,
So okay.

Speaker 1 (23:35):
I missed the shame in front of all the champagne
bottles in the background at the bar.

Speaker 2 (23:41):
So we're in the student union, Eric is eating with Tommy.
Is he playfully smearing food on his upper lip.

Speaker 1 (23:48):
Or wiping it off? I couldn't tell what was going on. Yeah,
something strange.

Speaker 2 (23:53):
Corey and Tapanga walk in and ta Panga seems concerned.
Are we gonna do this? Corey throws his arms in
the air and assures her we're gonna to do this.
She's not convinced. If we're going to do this, we
have to do it. It doesn't just happen. What happened
to them just waiting? I mean, I guess in this
episode in the scene she kind of explains it like
it's gonna take two years. We have to get on a.

Speaker 3 (24:13):
We are we're coming off of. I honestly can't remember
what was the last episode?

Speaker 2 (24:17):
Was there?

Speaker 1 (24:18):
The last episode was the baby almost dying.

Speaker 2 (24:20):
Yeah, there's been no mention other than other than Tapanga
talking about wanting to do wedding plans since the episode
where we exchange rings and say we're gonna wait when
we tell Alan and Amy we're gonna wait. There's just
been mentions of wanting to plan a wedding, but like
what happened to the waiting.

Speaker 1 (24:36):
An easiest way to do this, to show what's been
going on is they walk in, They sit down, and
Corey says, I guess we should probably start talking about
our wedding, and Tapanga reaches over and pulls out a
giant notebook and goes boom on the worst she's had
it planned the whole time, and it's like yikes, and
there you go. Then it's all set up, not like
you come to. Panga's all frantic and we've got to

(24:58):
start doing what I know. Yeah, I came out of nowhere.

Speaker 2 (25:03):
Corey pleads to leave him alone, but ta Pega reminds
him that they have to send out invitations. She has
to look for dresses, They need to pick out caterer's, florist's,
the band of photography. The way Corey would love this stuff,
he would love it. This is the guy.

Speaker 3 (25:20):
Over the curtains in the you know that, like the
Corey we know is the guy who would.

Speaker 1 (25:25):
Be pushing to Penga to.

Speaker 2 (25:27):
Like, we have to make this, we have to make
these plans. I want to try all the cakes.

Speaker 3 (25:32):
Story life better actually, right if he's so desperate to
get married because he's excited by the wedding, and then
he can't afford it and she's able to be more practical,
and then he goes to this test wedding and the
guy says, I'll give you all the money in the
world and you get to have the best looking wedding.

Speaker 1 (25:47):
He'd be like, oh my god.

Speaker 2 (25:48):
You know it should be.

Speaker 3 (25:49):
About Corey's desire to make a big event and have
a big splash, and but they just fall.

Speaker 2 (25:56):
Instead of actually listening.

Speaker 1 (25:58):
To the characters.

Speaker 2 (25:58):
They that's exactly right, what a great all fix to
the whole thing.

Speaker 1 (26:04):
Well, it should be about Corey wants a wedding to
Panga wants a.

Speaker 3 (26:07):
Marriage, right exactly, And then the whole episode is about
he gets caught up in the glitz and the glamour
of the writing, almost to the extent that he's willing
to marry marry someone else.

Speaker 2 (26:17):
The big party it would be, and it'd be so funny,
by the way, it'd be so much funnier than this.
So Corey tries to butt in and to Pango wonders,
But but what Corey says they haven't even set a
date yet, but to Penga clarifies they don't set the date.
Banquet Hall's book up two years in advance, so you
pick the hall. The hall picks the date. Corey's had

(26:39):
enough and slumps onto the couch. I'm so tired. Tapanga
asks if he's going to help or not, and Corey
begs her just let me sleep for half an hour.
I promise to Penga grabs him by a shirt and
drags him out of the student union. Then we're back
to Eric and Tommy. Tommy tells his big brother that
they've been hanging out for a long time now and
he's not getting any younger. In fact, he's the oldest

(27:00):
kid at Saint Mary's and he doesn't fit in his
bed anymore. Eric asks what he wants him to do,
and Tommy wonders, are you going to adopt me or not?
Eric is shocked, and Tommy reminds him that they said
they are the best teams since Scooby Doo and Shaggy.
Eric stands by his words, but insists they're not going
to let him adopt Tommy. It's impossible. Tommy pleads, Scooby

(27:21):
didn't think it was impossible. When Shaggy fell into the well,
you know what he did. Eric explains that this isn't
a cartoon, but Tommy tells him anyways, he saved him
because he loved him. Eric assures Tommy that he loves him,
so the young boy asks, then why won't you save me?
And Eric looks very sounds like why sorry.

Speaker 3 (27:44):
Would have been a great buttons could have saved that
moment because this is the first and then it happens
a lot and I know what you're saying, will by
your own performance feeling pushed. It's not necessarily your fault.
It's that the beat is they're.

Speaker 1 (28:01):
Holding on me and I have to make faces and
yes it does not it lungers. It's like really just
just ringing it out.

Speaker 3 (28:09):
Yeah, it's like how can you how much can we
get out of this sentimental moment.

Speaker 1 (28:12):
And it's and it's been trying to sell it all face.

Speaker 3 (28:15):
No, it's so much better, like in that other scene
when you just sort of walk away. Yeah, but even
that was too slow. I was like, just have Eric
walk away. He's not going to show that he's crying
to everybody, you know, So Yah.

Speaker 1 (28:26):
I just I feel very the way you often feel
watching yourself do comedy is how I feel watching myself
do drama. Like I just I feel it's just not
my wheelhouse. I'm just not comfortable with it. So yeah,
but I thought jab was great.

Speaker 2 (28:37):
You guys are both good. And then we're in the
banquet hall, Corey in a tux and to Penga in
a fancy black dress, or finally at a banquet hall
attending a stranger's wedding that they were not invited to.
Corey's uncomfortable with the situation, but to Penga assures him
it happens all the time. And writer, now that you've
said it should have been flipped, I can't. I cannot
picture it any other way. Yeah, and it's so funny

(28:58):
that Topenga's like, core are you why are we here?
This is so uncommon money in the backyard wherever, and
Corey be like, no, look at this floral arrangement.

Speaker 1 (29:11):
You know it's Angela Water steps up and goes and
why am I here? What's the point? And then Corey
turns to her and just says, shut up, we got
a table for four or something like that, because she
at first I was like, is that Trina in the background,
Like what is she doing here?

Speaker 5 (29:28):
You know?

Speaker 1 (29:30):
And they didn't have Matt, they didn't have Maitland, they
didn't have Bill, So why did they need Trina there?
Like they could have also just said, no, you know, Trina,
take the week off as well. They just didn't. Use
to me, that's almost more disrespectful for an actor, where
it's like, come in and sit in the background when
you're a lead on the show, rather than them coming
up and just going you got the week off or not,
but just go Yeah. They did that to me plenty

(29:51):
of times.

Speaker 2 (29:53):
In fact, their wedding planner, mister Beckman, told them that
as long as they keep a low profile, everything will
be okay. And on cue see Sean also in a tux,
stuffing his face with our nerves, yelling about how they
should get married. Here to Pang admits they'll never be
able to have a wedding this beautiful though, because they
can't afford it. Corey laughs and then gets deathly serious.
Wait a minute, your dad's not rich, to Penga says no,

(30:16):
and Corey is disgusted.

Speaker 1 (30:18):
Bye, wait a say I'm sorry, So Corey brings them
there no.

Speaker 2 (30:24):
I wish Corey did brought them here yet, and.

Speaker 1 (30:27):
If she walks in in the first line is we'll
never be able to afford any of this. Why bring
them there?

Speaker 2 (30:33):
Well, the their their wedding planner, which I guess they
have a wedding planner. Is the one who said come
here and check out this hall. Why she agreed if
they could never afford it? I have no idea. She
does say later, you know, we got to pay attention
to the things we might want at our wedding. So
I guess you.

Speaker 1 (30:51):
Could say, like to look at the little stuff to look.

Speaker 2 (30:53):
At, to look at, even things like oh I liked
that they had a candle burning ceremony. We want to
do that in our wedding. You can do that anywhere,
So I guess you pass.

Speaker 1 (31:03):
That's a good thing instead of having a little bar.

Speaker 2 (31:05):
Okay, exactly, it's the to get ideas. But yeah, I mean,
anyone will tell you don't start at a place you
can't afford. It's like if you if you're ever lucky
enough to be able to buy a house, don't ever
look at a house outside your price range, because you'll
love that one. And then.

Speaker 1 (31:26):
Defending life at the BMW dealer, don't show the seven
series first. Now, my car looks like a turd. Don't
do it.

Speaker 2 (31:36):
You do not want to do it? Okay. Then the groom,
Eddie and the father of the bride stand walk out
into the hall, stands giving his future son in law,
Stern talking to let me make you understand this from
a personal standpoint. My daughter likes nice things. How are
you going to give her nice things with that thing
you call a salary? Eddie counters, well, it depends on
what you call nice things. I love Jesse. That's a

(31:59):
nice thing. We're going to be together for the rest
of our lives. That's a nice thing too. Stan raises
his voice. Jesse drives a Jag convertible. How do you
plan to keeper and a Jag convertible if you don't
come into my company? Eddie states once again that he
is not joining Stan's company, but Stan asks, when I
tell you what's right for your life, why don't you

(32:19):
listen to me. Eddie explains that he's happy where he is,
and Stan scoffs teaching Kindergatten. Eddie would love to stay
and talk, but he has to go Mary Stan's daughter now,
so he walks away and Stan follows close behind, yelling. Finally,
he gives up no respect. This guy won't listen to me.
How can my daughter fall in love with someone who

(32:40):
won't listen to me? Once Stan is done complaining, he
spots Corey, who was obviously eavesdropping. Corey tries to avoid
eye contact, but the awkward silence of the stairdown is unbearable,
and it goes on for quite a while, it says.
Corey eventually says, mister Beckman said I can stand here.
Stan doesn't flinch. In one hour, my daughter is going

(33:00):
to be married to a teacher of kindergarten. Corey tries
to calm him down. My kindergarten teacher was mister Feeney.
As a matter of fact, he has been my teacher
every year of my entire life. Corey takes that in
and postmodernly asks, isn't that curious? Isn't that curious? Ah
phoene Stan wonders if Corey is a friend of his

(33:21):
daughter or the loser. Corey responds neither one, sir, But
again Stan doesn't care. He's more impressed that Corey called
him sir. He complains that Eddie calls him. Stan like it,
says on the side of his trucks. Corey gasps your Stan,
Stan the plumber man. Stan smirks if I can't flush it,

(33:41):
and Corey finishes his sentence, no one. Corey jumps up
and down with excitement he's met a celebrity. Stan asks,
you would listen to me when I talk to you,
wouldn't you? Kid?

Speaker 1 (33:53):
Oh?

Speaker 2 (33:54):
Yeah, Cory says, I believe a lot of my generation
will be much better off listening to their elders instead
of wearing those fans schmancy backwards hats and having those
bolts through their head. Cory being an old man.

Speaker 1 (34:08):
Yeah, old man Corey very funny and.

Speaker 2 (34:10):
If he could then be appreciating the finer details of
this wedding, tum Stan, look at what you look at you? Yeah?

Speaker 1 (34:16):
At this?

Speaker 2 (34:16):
Look at this? Look at who did you pick that?

Speaker 1 (34:18):
Fu?

Speaker 2 (34:21):
Yeah? Stan thinks that's a beautiful sentiment, and then he
finally asks Cory, who the hell are you and what
are you doing at my wedding. Corey introduces himself and
says he's here with his lovely fiance to Panga. Stan responds,
they're all lovely with the lights off, and just like
that we have the grossest line that's ever been said
on Boy Meets World. Congratulations every much?

Speaker 1 (34:42):
Do you think?

Speaker 2 (34:44):
Corey admits he wouldn't know, so Stan asks if Corey's
a virgin?

Speaker 1 (34:48):
Yeah, which Corey just volunteers, Sure, am, sir, it's Corey
states he's cursed, but Stan is thrilled.

Speaker 2 (34:57):
He proclaims Corey is it and chooses him. He's the
type of nice kid he always hoped his daughter Jesse
would end up with. Corey's confused, isn't his daughter marrying
the kindergarten teacher? Isn't Jesse in love with this Eddie?
Stan says no, but he loves Corey, and so will
Jesse if he tells her to. Corey wonders, why me

(35:18):
so Stan explains he's a nice, polite kid who listens
to him and respects him like the son he deserves.
Then he cuts to the chase. He'll give Corey a
million dollars to marry his daughter. Corey's shocked. A million,
that's just crazy negotiation. Stan seems disturbed, we're in negotiation.
Then he burst into laughter. What a kid. He hugs Corey.

(35:42):
He just gets better and better, and so he offers
him a million two. Corey's flattered, but he points to
Panga and reminds Stan he has a girl over there
on the side. Stan shrugs, Hey, who doesn't come on,
you have twenty minutes to break this up. He whisks
Corey away to come up with a plan.

Speaker 3 (36:03):
All right, a lot of guest star work boys and
guest guess.

Speaker 1 (36:07):
That was great scene between the two of them, really good.

Speaker 3 (36:11):
But the whole plot is driven by.

Speaker 1 (36:13):
People we've never seen before.

Speaker 5 (36:14):
Yeah.

Speaker 3 (36:15):
Yeah, But even I was thinking, like, could have been
so easy to insert Bill if it was like, mister Feenie's.

Speaker 1 (36:22):
Friends are getting married, Yes, who's a teacher?

Speaker 3 (36:25):
Who's a kindergarten teacher, And therefore mister Feoeney gets to
be here and have a couple of scenes with you know,
phoene should.

Speaker 1 (36:31):
Have been performing the ceremony. Yeah, sure, I mean, there's
we could have done so much of our show. You
think that's one of the reasons. Do you think one
of the reasons that they they kept doing the Allen
and Amy scenes occasionally with Eric is just for some
semblance of normalcy with sets, because we're in basically in
the places we've never seen before.

Speaker 2 (36:51):
Yeah, or for most of them, the.

Speaker 1 (36:53):
Orphanage wedding things. Did you think they're like? We got
to have one or two scenes that are, you know,
in a place where people are recognized. We started in
the student You Bear.

Speaker 2 (37:00):
It also perfectly makes sense that we need some real
grounding energy with what otherwise is a bunch of kids
going nuts. Kid Eric thinking of adopting another kid. Corey's
also frantic adults.

Speaker 1 (37:14):
I mean he's stan Is all over hey all so,
I mean he's up there as well.

Speaker 2 (37:19):
For sure, and with strangers, not only you know, not
only just wacky energy, but stranger wacky energy. All right.
Then we're in the Matthews living room. We joined the
scene mid conversation, Alan asks Eric, what are you crazy?
Amy tries to calm her husband down, but Alan won't
let up. No, even for him, this is nuts. He
can't even take care of himself. Eric is offended. I
resent that. I resent the heck out of that. I'm

(37:41):
a grown man. I'm fully capable of taking responsibility for
another human life.

Speaker 3 (37:45):
Wow, So I just realized the Eric storyline takes place
in the course of one wedding. Yes, wow, Yeah, a
lot of a lot of emotional ups and downs.

Speaker 1 (37:55):
First, well, I'm going to make technically it's it's two days,
I think because they they've started in the student union,
so we established Tommy right.

Speaker 3 (38:03):
But yeah, this day is you decided to adopt, decided
to give up?

Speaker 5 (38:07):
Yeah?

Speaker 3 (38:08):
Okay, wow.

Speaker 2 (38:08):
I also am not sure it's two different days. I
think we would be saying are we doing this and
dragging him out? Is us going to the wedding?

Speaker 1 (38:16):
Oh god?

Speaker 2 (38:17):
Okay, so it could be later that night, you know. So, yeah,
it's all very fast. Alan scoffs. Your fly is open.
Eric yells back, I know. He turns around to zip
is fly, then turns back to his parents. I demand
you take me seriously, all right.

Speaker 3 (38:37):
Trip out about something for a second. Sure, Why is
it that that is would be an impossible structure? Like
what if the Eric storyline were taking course over like
five days and the wedding storyline were you couldn't by
like the logic, the time logic of television and sitcom
in particular, doesn't allow that. You wouldn't accept that.

Speaker 1 (38:57):
No, it couldn't be a.

Speaker 3 (38:57):
Flashback a but story. It doesn't need there's no integration.
But for some reason, there's something about the form that
we need it to be all taking place at the
same time.

Speaker 2 (39:08):
It also, it could be that it's I mean, it
could be that it's not, but there's no way to
explain that, Like this could be actually six whole days later,
but how would we show without a little later. Yeah,
there's no way of showing it.

Speaker 3 (39:23):
But it's sort of like, you know, I think I
know that there's a Greek tragedy where like there is
a tradition, it's certainly in classical theater where it all
has to take place within a certain timeline, And it
seems like television has the same rule. I've never thought
about it before, but you couldn't even in the single
camera show. I'm trying to think if you could manipulate

(39:44):
the story and flash back to a whole nother storyline,
unless you make that a thing like you're like and
then I remember, and then and you see the flashback,
you can't. There's something about the nature of a TV
show that you need it to be all present tense,
and that's.

Speaker 2 (39:59):
Such a struggle. What is this character doing right now
and so and then while that's happening, What is that
character doing right It's like.

Speaker 3 (40:05):
Part of the like liveness of it, right, Yeah, the
fact that like what we're watching is actually happening.

Speaker 2 (40:11):
It needs to be.

Speaker 3 (40:12):
It's like the constraints of the form. It's so interesting,
and you know that they were twisting themselves to make
that work.

Speaker 1 (40:17):
Do it on Friends. I'm trying to remember the episodes
where they quote unquote flashback to them, like in college,
is there I can't remember if there's a regular storyline
going on, and then they're also showing previous things without
it being like remember that time where we were in college,
can't I can't remember what the structure was.

Speaker 3 (40:39):
But still in the current storyline, there would still be
a sort of unity of time, right, Yeah, it would
all be framed within flashbacks. You couldn't just split them
up and be like a whole other time, a whole
other period. There's something about like needing it to be
present tense. Yeah, that's that's inherent to the form.

Speaker 1 (40:57):
By the way, right when we cut to this scene,
when we we get in there, Amy is holding the
fakest baby.

Speaker 2 (41:03):
Oh yeah, just like just a straight up thing, like.

Speaker 1 (41:05):
It's not even bent over.

Speaker 3 (41:06):
It just Also I'm not sure if it was this scene,
but you come in from the kitchen at one point,
and there's no.

Speaker 1 (41:11):
Kitchen set the wall that's weird. It's like, wait a minute,
what is that. It's at the wrong angle.

Speaker 2 (41:16):
And I was like, we just didn't have.

Speaker 1 (41:18):
The kitchen anymore. No, it wasn't thought that same thing.
And there's like this weird pale flowered wall, like wait, wait,
where where did that come from?

Speaker 3 (41:26):
And I was sitting there going like, why didn't they
keep the kitchen because the kitchen is a better set, right,
there's more to do there. And then I realized, oh,
because then you'd have to have Poenie's yard. The kitchen
is a double Yet, yeah, where's the living room? If
you're going to have any of the Matthew's house, just
the living room so much easier.

Speaker 1 (41:40):
And we had, including the beach scenes that were the
weird fans wonderful beach scenes. Oh you've got what three
swing sets this week? Four swing sets and four Yeah,
I mean it's crazy.

Speaker 2 (41:55):
Meanwhile, we see that Eric's shirt is now peeking out
of his zipper. Eric trying to explain. Eric is trying
to explain how much he and Tommy love each other,
but Alan and Amy can't help but laugh. Eric finally
notices his mistake and yanks the shirt out of his
pants and right off of his body completely.

Speaker 3 (42:16):
Do you remember how you did this?

Speaker 1 (42:18):
Nope? I mean I remember the moment because I know
the moment has become a meme. But I think, I mean,
I think they just put like a faux shirt on
me obviously that doesn't have a back, and then right
through the zipper. Yeah, and then I think I could
be wrong, But isn't he wearing this same shirt? Then
later in the episode, as he goes to adopt Tommy,
it's the green butt down so over the couch and

(42:41):
then it ripped it off me throw it over the
couch and then put it back on it.

Speaker 2 (42:47):
Exactly What do you yell when you rip it through?

Speaker 1 (42:51):
It? Is like, yes, sounds.

Speaker 2 (43:01):
So funny. Then he just carries on the conversation like
nothing happened. Tommy wants to be adopted, and Eric didn't
come to them for permission, He came for encouragement, but
feels like he came to the wrong place. Amy stops
him before he can walk out. You would make a
great parent to Tommy someday, but not now. Eric asks
why not now? So Alan begins to list off the reasons.

(43:23):
You don't have a job, and you don't have a home.
You sleep on our couch. Eric pushes back, You think
I like sleeping on your couch. You know why I
sleep here? It's because I have nowhere else to go.
I lost my best friend to the girl of my dreams.
I lost my brother to the girl of his dreams.
I lost Feeneye to the Dean, and I lost you
guys to the new baby.

Speaker 1 (43:45):
Eric or Eric? Also, why is he not back in
his old.

Speaker 2 (43:49):
Room because of the baby?

Speaker 1 (43:52):
The baby gets that giant room.

Speaker 2 (43:54):
Yeah, all to himself. Yea, even as a newborn.

Speaker 1 (43:59):
Why wouldn't that kid?

Speaker 2 (44:00):
They could sleep in the crib. You could sleep in
a crib.

Speaker 1 (44:02):
Oh god, it just seems like there's a number of Yeah.
Kick Morgan out of it, I mean, get.

Speaker 2 (44:08):
Out of here, Morgan. You should have a job already.

Speaker 1 (44:10):
Exactly, we were working at her age.

Speaker 2 (44:14):
Come on, Amy tries to defend herself. Oh that is
just so. Then she turns on her baby voice and
attends to the baby. Eric has proven his point. Everybody
I know has somebody that they want to dedicate their
life to. Now that I finally have that, you're trying
to discourage me. Alan explains, even if we agreed to this,
they won't let you adopt him. You can't support him,

(44:35):
and you can't give him a home. Amy chimes in,
you're a great big brother. Be that. That's what he
needs from you. Eric argues, what Tommy needs is him,
so he's going to do everything in his power to
ensure that. I'm gonna call Saint Mary's and have them
put Tommy on hold or you know, lay away or whatever.
Eric walks into the kitchen and Amy worridly asks her husband,

(44:56):
why are our children so crazy? She looks at baby
Joshua and begs, please, don't be crazy, be normal. Alan
agrees that they're crazy, but they have good hearts. He
helps Joshua follows in their footsteps. Amy's baffled. Are you
going along with this? The kid just pulled his shirt
out of his fly. Alan's impressed. No one else could
do that.

Speaker 1 (45:17):
It's a great line.

Speaker 2 (45:19):
Then Eric walks back into the room, looking depressed. Some
other people want to adopt Tommy, and that was a
jack that was fast available.

Speaker 3 (45:29):
No, no, he's going to adopt it all right, somebody
else wants him.

Speaker 1 (45:34):
I'm much more concerned about the kitchen being on. I
know it is gone.

Speaker 2 (45:38):
That's so funny. I didn't notice it. Then we go
to a commercial break and we are then in a
new set, alert the Orphanage. Where do was the set then?
In relation to our other sets? Do you think this
is Carolina?

Speaker 3 (45:54):
I think this replaced the apartment.

Speaker 1 (45:57):
Yeah, that's where it is in my mind, or it
could have been the kitchen. I seem to remember being
farther down the set, like if you're staring at the
sets to the right, like kind of where the hallway
for the school used to be.

Speaker 2 (46:11):
Okay, yep, yeah, I.

Speaker 3 (46:12):
Think that's right because I definitely know that the wedding
was on the audience side.

Speaker 2 (46:16):
Okay, yeah, gotcha, because we preshot all that right.

Speaker 3 (46:20):
You know, I just remember being in that set, but
nothing else about the episodes.

Speaker 2 (46:25):
Man Tommy enters the common area with a chaperone and
Eric is happy to see him. Why didn't you tell me,
Tommy explains, because I'm not going with them. Eric doesn't
think he has that choice and asks the Orphanage employee
just to make sure, but she says Tommy actually does
have a choice. They would never place a child somewhere
they didn't want to be, especially if there's an emotional conflict.

(46:48):
Eric asks what the emotional conflict is and the woman states,
you are. Eric's eyes widen. Oh boy. Tommy admits I
told them I wouldn't go with anybody else. Eric explains,
if these people are good enough to adopt you, then
I'm sure they're going to let me keep being your
big brother. Well, just tell them I come along as
part of the deal. That Tommy breaks the news. That's

(47:08):
not gonna work. Eric jokes, Oh, I know why, because
as soon as they meet me, they're going to like
me better than you. That's pretty selfish. Thomas. Tommy clarifies
they live in California. Eric rushes back over to the
worker and asks if it's true. And it is. Eric
calmly states I don't want them to live in California,

(47:29):
but there's nothing she can do about that. Eric tells
the woman, maybe there's something I can do. I'd like
to adopt Tommy please. The woman wants to discuss this
in her office, but Tommy has heard every word. I
want Eric, I pick Eric. He jumps onto the couch
then out the door, repeating, Hey, I'm getting adopted. I'm
getting adopted. Eric watches him leave with a huge smile

(47:51):
on his face. This is like the happiest day of
my life. That the woman looks concerned. It's so interesting because, like,
as much as obviously they're going to take Tommy away,
that puts a real damper on the idea that Eric's
still going to be in his life. Eric being able
to afford trips to California is much easier and more

(48:15):
likely than I'm going to adopt him to keep him here.

Speaker 1 (48:22):
Yeah, I mean, yeah, it's again, I think you're showing
Eric's heart, but you're also I'm hoping some of this
pays off somewhere, meaning Eric has kind of gotten trounced
in the last few episodes. Yes, from Jack and Rachel
and from Corey Lee and just it now Tommy's leaving.
I can't remember if this is ever paid off to

(48:42):
where it's like, Wow, something good's happening to Eric. I
can't remember if it does. Yeah, don't hook him up
with anybody.

Speaker 2 (48:49):
I mean, I guess it's true that your character Eric
does even say I want I've wanted someone to dedicate
my life to. It could be Tommy, it could be
it could be this person and let me spend my
life with this kid. And so I guess, you know,
it's just why does it?

Speaker 1 (49:08):
It's it's kind of a why doesn't anybody love me
the way they love everybody else? And I get that,
and I get then it's a good story then kind
of putting that onto a little kid where it's like, Okay,
I'm going to I'm going to adopt my love. That's
the way you're going to say that.

Speaker 3 (49:23):
Though, I would kill for a Phoene Eric scene to
end this episode.

Speaker 5 (49:27):
Yeah, yeah, over the fence and just being like, you
can have other relationships with kids that aren't yours and
you just know that he's talking about him, and yes, yes,
oh my god, oh that's such a good idea, just
like you know, yeah.

Speaker 2 (49:44):
There are other ways.

Speaker 1 (49:49):
Yeah, that's all I would to take. And then Eric
just sees him and knows he did.

Speaker 3 (49:53):
Yeah, because I mean, you know, it's like in some
ways that that that final tag. See it's not even
the tag, but the final scene with you and tom Me,
it's like.

Speaker 1 (50:01):
It's good, but it could be man, No, but I
like that.

Speaker 3 (50:04):
I Mean, what I love about this storyline is that
Eric has to accept that Tommy's going to hate him.
He has to accept I and I would have preferred
that it lived there, you know, because that's the real
growth is, you know. But instead we kind of have
your cake and eat it too. By Tom still loves
him and he understands, and they're going to be fine.

Speaker 1 (50:22):
Where they left it like that, and.

Speaker 2 (50:25):
Then the ultimate sacrifice on the scene and he is
able to say, I've, you know, I've.

Speaker 3 (50:31):
It's so much more powerful than girl graduated and I
never hear it from them again.

Speaker 1 (50:35):
Well, because it's graduate. They graduated, and we never hear
from them again, is exactly what she says. We like
when the letters stop at the orphanage. So having Foenie
do the same thing, Oh, that would have been so good.
It would have been so good. You're right, Oh man,
how powerful would that have been? Wow? He had Finally
and apparently with or not, it's just to use out
of club with Matt and club Club Club, Rachel and

(51:00):
everybody else. Yikes.

Speaker 3 (51:07):
So guys, you ready to come to San Francisco.

Speaker 1 (51:10):
I awesome.

Speaker 3 (51:13):
I'm so excited. We're going to be playing at the
Palace of Fine Arts and I have a ton of
friends coming. I love San Francisco. So much.

Speaker 2 (51:22):
I actually have a ton of friends coming too, friends
and family. And then we are also doing a show
in Sacramento at the Windy City.

Speaker 1 (51:31):
I can't wait.

Speaker 2 (51:33):
The Windy City.

Speaker 1 (51:34):
What is that wrong?

Speaker 3 (51:35):
Yeah?

Speaker 2 (51:35):
No, very excited. We will be there this weekend. As
a matter of fact, our first show's on the twenty fifth,
our second show and Sacramento's on the twenty seventh. It's
going to be so much fun. We have a costume contest,
and to remind everybody, if you win the costume contest,
you win an original Boy Meets World script signed by

(51:57):
the three of us. Our live shows are super fun.
There's lots of audience participation. We hope to see you
out there. Check out Pod meets worldshow dot com to
get your tickets and find out where the theaters are.

Speaker 1 (52:09):
The Sunshine State.

Speaker 3 (52:12):
Yeah that's true, that's California, all right.

Speaker 2 (52:23):
Back at the Banque Hall, Sean confidently tells Corey to
take the money. Corey argues that he loves Topanga and
Sean understands we all do take the money. Corey tells
Sean that Topanga is his entire life than on Queue
Topega and Angela Walk Up. Angela is just with me,
I guess, because she knows Corey is not going to

(52:45):
really be able to.

Speaker 3 (52:45):
Help me and I'm not going to acknowledge that she exists.

Speaker 1 (52:47):
So spend me hundreds, if not thousands of dollars on
dresses and ye renting tuxes and all that kind of stuff.
And then she doesn't even speak at the end. I
looked at Sue, I was like, has she spoken yet?
And then she has.

Speaker 2 (52:59):
One say, oh, okay, there we go. Topanga tells Corey
he isn't supposed to just be standing around. They're at
the wedding to do research. Corey says he was gunna
and Topanga asks Angela, you know what that means. Angela nods, yeah,
you're gonna do everything by yourself. Tapanga tells Corey that
she doesn't ask much of him, which is true. Then

(53:21):
she turns to Sean and you you're his best friend.
You're supposed to help him, help him. While Topanga takes
turns speaking to each boy, she doesn't realize that Sean
is secretly nodding at Corey to take the money while
Corey shakes his head no.

Speaker 3 (53:35):
And this was the direction was just so good. It
was also the other scene where the sort of looks
between Corey and the guy with the.

Speaker 1 (53:41):
Awkwards like, this is good directing.

Speaker 3 (53:45):
This is all very tough timing and actors to know
their clarity, but you get it, like the whole story
is told visually.

Speaker 2 (53:51):
Yeah, good, it's very well done. As the wordless back
and forth continues, to Panga finally asks are you guys
listening to me? Sean nods yes as he has been
to Tapanga, and Corey shakes his head no, as he
has been. Sean tells Corey, if you're not taking the money,
I am and quickly walks away. Tapega asks what he's
talking about, and Corey explains, we were talking about money.

(54:13):
Tapega reminds him they don't have any, and Corey admits
I know. To Pega sighs, I wish our wedding could
be this beautiful. Don't you ever wonder what it would
be like to have all the money in the world
and you could just do whatever you wanted. Corey forces
a laugh. No, never where do you get these mus
sugar ideas? And nearby, Sean approaches Stan, how you doing?

(54:36):
The father of the bride wonders, do I know you
Sean smiles, No, but you want to know me, you
know why, because rumor has it you're unhappy with your
daughter's choice of mate. Stands hurt enough. Cut to the
chase panky, Sean makes up a lie about seeing Stan's
daughter for the first time and knowing she was making
the biggest mistake of her life because she wasn't marrying him.

(54:57):
Stand's amused. Really, you want to marry my daughter, Sean
doubles down. Not a want, It's a must. Must marry her,
must work for you, you know why, because you're a
winner and I'm a winner, and we winners and need
to stick together and marry each other's daughters. I'll go first.

Speaker 1 (55:14):
So funny, this scene is actually pretty funny, but it's
really cute. I actually feel like it.

Speaker 3 (55:18):
Could have been expanded a little bit more because part
of me was like, why wouldn't this guy like Sean,
you know, like I wanted to see the difference between
Sean and Corey a little bit more, like, because Corey
was like the the backwards hats and the bolts of
their face.

Speaker 2 (55:32):
And be honest daughter to marry someone like him. One
of the reasons he liked Corey is that he was
a virgin, and you're a good looking guy who's gonna
get all the ladies.

Speaker 3 (55:44):
I want to see that play out a little bit
more than you know, like.

Speaker 2 (55:47):
Yeah, yeah, I feel like he's a good dynamic. Yeah,
he's specifically picking someone that.

Speaker 3 (55:52):
He feels like a safe boy.

Speaker 2 (55:54):
Safe boy and you're a leather jacket gang guy.

Speaker 3 (55:57):
You could have pulled that out a little bit either.

Speaker 2 (55:59):
Jacket stand admits it's interesting. I was just talking to
that curly haired kid who's happy with his girlfriend. We
cut to Corey into Panga and see that she's licking
her finger to clean mustard off of his face. Despite
Corey's childlike protests, Stan continues, I looked at that kid,
and I listened to that kid, and I knew he
was worth a million dollars. Irony of ironies, you come

(56:22):
along and I'm prepared to make the following offer. And excited,
Sean admits he has a number in his head and
he knows his worth. But Stan says, I'll give you
twenty bucks to get the hell away from me. Sean
happily takes his money and leaves.

Speaker 1 (56:35):
He's out gone. He's that you're twenty.

Speaker 2 (56:42):
Yeah a minute, Max then we're at the orphanage. Eric
is filling out paperwork when the worker walks over with
another huge stack of forms. Eric asks, you sure like
to get a lot of information before you let somebody
take a kid. Huh. She sarcastically admits, normally we just
pull names out of a hat, but we really like Tommy.

(57:02):
She reveals that all the other paperwork is the information
on the couple that's also interested in Tommy. She's typically
not allowed to show him, but in this case, because
he's the big brother and wants for Tommy.

Speaker 3 (57:12):
I was like, we're just going to break all the
state laws and privacy stuff, because that's Eric what.

Speaker 1 (57:19):
I get it. This is the nineties state laws. Come on,
this wasn't a computer thing. She hasn't been a file.

Speaker 2 (57:24):
You've seen it anywhere she was showing.

Speaker 3 (57:27):
Them to, I mean, against entire file. Think about kid
who you don't.

Speaker 2 (57:32):
Know at all.

Speaker 1 (57:32):
But what he actually saw was that the family was nice,
the nice letter that they're It's not like they gave
medical things away. It's like, you know, come on, fine.

Speaker 2 (57:42):
I love this argument between the two of you. Letter
of the law, spirit of the law.

Speaker 3 (57:48):
Hold on, you have the lawyer parents what you should
be on the other side of.

Speaker 1 (57:52):
This never you know.

Speaker 3 (57:55):
Laws. Come on, she's violating everybody's rights in this situation.

Speaker 1 (57:59):
For the good of Tommy.

Speaker 2 (58:03):
I like that, but Eric can't get over the fact
that they live in California. She says they used to
live in Philadelphia. That's when they adopted their first child, Sarah,
from the orphanage. Eric says they can keep Sarah. He
doesn't have a problem with that.

Speaker 1 (58:18):
Another biblical name, by the way.

Speaker 2 (58:19):
Uh huh. Of course. The woman laughs. We used to
get lots of letters from Sarah telling us how happy
she was. Then we got fewer letters, and then they
stopped coming. Eric guesses it's because Sarah wasn't happy anymore,
but the woman clarifies, because we weren't her family anymore.
They are. As much as it hurts, we love it
when the letters stop.

Speaker 1 (58:39):
We should have seen the letters should have just been
a quick flash and you never never mention it. But
it's all written with cutout letters from magazine.

Speaker 2 (58:49):
It just look psycho letters.

Speaker 3 (58:50):
Hello, I am happy a great time. You're at this
nice new family.

Speaker 1 (58:58):
Here at the nice new family.

Speaker 2 (59:00):
Eric is looking over the file and he sees a
note from Tommy's possible new mother. It's Sarah's third grade
picture with a sweet update on her, along with a
mention of how much they'd like to adopt a brother
for her and a son for them, Tommy, to be exact.
They can't stop thinking of what it'll be like to
all be together. Eric tells the woman that he loves
Tommy too. She says he knows now, he just has

(59:22):
to decide how much. Eric hanser back the file and
the paperwork he was filling out. He walks over and
knocks on Tommy's door. When Tommy answers, his hands are
full of toys. Look, Dad, I packed all my stuff.
I'm all ready to go. Isn't it cool the way
I called you, dad, Eric smiles and walks into his room.
It is way cool. Tommy is ready to leave, but

(59:44):
Eric is obviously hesitant.

Speaker 1 (59:46):
By the way. Tommy is also a little liar because
the bed was perfect size. The idea that he didn't
fit in his bed, that's a lie.

Speaker 2 (59:54):
Not true, not true. You should have called him out
on that. That's why I can't adopt you.

Speaker 1 (59:58):
I don't adopt liars, Tommy. If that's your real name exactly.

Speaker 2 (01:00:07):
He admits I can't be your dad. Tommy doesn't understand,
so Eric picks him up and sits him on his lap.
These people in California sound really nice. You're gonna have
a mom and a dad and a house with a
big pool, and a big sister and a dog named Waldo.
Tommy argues, I don't need a dog. I have you. Eric,
I'm never going with anybody except it's a retriever.

Speaker 1 (01:00:30):
I thought the same thing, my good puppy.

Speaker 2 (01:00:33):
With this, Eric looks Tommy in the eyes. I'm not
going to adopt you, Tommy. Tommy looks devastated. Why not?
And Eric simply tells him because he's not. Tommy isn't
accepting this answer. Yes you are. Eric stands up and
repeats himself, I'm not going to adopt you.

Speaker 3 (01:00:50):
And I just wish wonderful writing though, I mean the acting.

Speaker 1 (01:00:54):
Is I wish I just said it. I wish it
wasn't like I'm not going to adopt you Tommy, Like
it was really a dramatic to me where I wish
I just I just didn't put anything underneath that. I know,
but I wish I just just the actor in me
is like, oh, I want another take of that.

Speaker 3 (01:01:09):
You were probably doing that all week long, and then
I'm sure on my take four where you were being
told like really you know, I mean, I mean I think.

Speaker 1 (01:01:17):
I was doing this show and I know, I know,
I know you're told to push it was I wish,
I wish I just said it.

Speaker 3 (01:01:23):
Yeah, but I love the writing, you know, the idea
that that Eric is not going to try and explain it.
He's just going to like fall on this sword. Yep,
it was really smart and interesting and like I just
found it super super profound.

Speaker 2 (01:01:40):
Yeah, it's very good. Eric stands up and repeats himself,
I'm not going to adopt you. Tommy's eyes well up,
I don't like you anymore.

Speaker 5 (01:02:00):
Mm hmm.

Speaker 2 (01:02:01):
Eric is sorry to hear that. Tommy, now looking very sad,
says now I'm going to California to be with people
who care about me. Eric barely holds it together. Good
for you, Tommy, good for you, man, and he walks
away without saying goodbye. He shuts the door without looking
back and breaks down. The woman from the orphanage gives

(01:02:21):
him a sad smile. Good for you. Eric just hangs
his head and leaves. He's crushed as sad music continues
to play in the background. Do you remember did you
try to cry in the scene?

Speaker 5 (01:02:34):
Will?

Speaker 1 (01:02:34):
Yeah, this is the one where Michael came up. He's like,
so you can't cry, Like nope, He's like all right,
like he wasn't you know, it wasn't like, well give
it a shot.

Speaker 3 (01:02:42):
It's just I'm not good and it's better that you
don't actually cry, I think, I mean, think about this
is like the fourth episode this year where we've had
somebody either die on camera or cry on camera, and
I just feel like it's you know, watching somebody go
through an emotion is never as interesting is watching the
change in emotions, right Like, just because somebody can hit

(01:03:03):
a super high note doesn't make them Whitney Houston, right Like,
it's the idea that she starts down here and then
goes it's the change. And like, I just feel like
our show is leaning into the like spectacle of watching
a person act or go through and it's like it's
never as good as just you know, like you should
have just closed the door and walked away. She should
take it, and I you know, that's I think it's
great that you don't cry.

Speaker 1 (01:03:24):
Yeah, Well it wasn't a choice.

Speaker 2 (01:03:26):
Okay, yes, take credit for it.

Speaker 1 (01:03:31):
Just take yes.

Speaker 2 (01:03:33):
I did insist on not crying.

Speaker 3 (01:03:34):
It's just the same thing as right, like my instinct
watching them when I found out my dad was actually dead,
right Like, I just wanted to walk away, walk out,
because that's what Sean would do. He's not going to
stand there and cry or show his emotions to a
room full of people.

Speaker 1 (01:03:49):
Right Yeah.

Speaker 2 (01:03:50):
Back at the banquet hall, all the guests are seated
and the wedding parties are up at the altar, but
Corey to Panga, Sean and Angela are practically standing in
the aisle keeping a low file. Then Stan grabs Corey
and pulls them away. You realize what you could do
with a million dollars. Tobanga notices and asks Sean why
that man keeps talking to Corey. Sean Gotzer makes you mad?

(01:04:12):
Doesn't you should grow it up.

Speaker 3 (01:04:14):
With I wanted to say, mad enough.

Speaker 2 (01:04:20):
Murdered k.

Speaker 1 (01:04:22):
It's also a super expensive wedding to only have eleven guests.
I mean it's like, did you know, It's like there's
empty seats, there's nobody there.

Speaker 2 (01:04:31):
The rest of the seats are off camera, their fourth wall.
It goes all the way that way.

Speaker 7 (01:04:35):
It's a huge, huge It's on the left, on the
left side of the kids.

Speaker 1 (01:04:46):
There will never be never be able to afford left
hand hall. This place is amazing, even over here exactly
it's well are his. The groom had a guests and
the bride a two hundred and seventy five people. We
couldn't see I like it.

Speaker 2 (01:05:04):
We should have some kindygatteners in.

Speaker 1 (01:05:05):
There, some kidney gotteness.

Speaker 2 (01:05:07):
Uh. Nearby, Corey tells Stan, I think the first thing
I would do would be to buy a Volvo. Stan
loves to hear it. He's buying a Volvo. He's keeping
my little girl safe with the steel cage and the
side air bag. Give your old man a hug. They embrace,
but Corey breaks the news to Stan he's not interested
in his money or his daughter. And then on cue

(01:05:29):
a stunning bride appears, and Corey yells out hoy at
the sight of her. Jesse asks her dad if he's
going to walk her down the aisle, and Stan explains
he was just finishing up a business discussion with his
friend Corey. Jesse shakes Corey's hand and thanks him for
coming to her wedding. Then the wedding march begins and
Jesse tells her dad it's now or never. They begin

(01:05:50):
to walk, but Stan ditches are right before they get
to the aisle to beg Corey, think about it, kid,
You'll never get this kind of chance as long as
you live. Stan quickly rejoins his daughter and they walk
down the aisle arm in arm. The dad eventually hands
her off to Eddie and looks furious as the ceremony
begins to Panga admits this is way out of their league.
She imagines they'll be getting on a private jet to

(01:06:11):
honeymoon in Tahiti. Angela ads and some private romantic villa
on some nude beach. Sean adds in his own hoy.
Corey guesses, you just saw the bride. Sean nods and
let's out an amazing Ooh.

Speaker 1 (01:06:25):
Yeah, it's kind of creepy, but a phenomenally funny reaction.

Speaker 3 (01:06:36):
Yeah, probably a line reading great. The fact that I
don't remember that sound or able to make it, and
I can't even replicate it right now means that was
it was great. I was being told exactly how.

Speaker 2 (01:06:47):
To Panga wonders aloud. Can you imagine what kind of
honeymoon they'll have. Sewn emphasizes to Corey, Yeah, could you
just imagine? Corey frowns no, but then he looks off
into the distance for a dream sequence where we see
on the beach, Jesse is hand feeding Corey grapes with

(01:07:08):
money piled all over him. Even in the vision, we
hear the minister ask if anyone objects to this marriage,
and back in the banquet hall, Corey firmly raises his hand.
It's part.

Speaker 3 (01:07:17):
Really, this is where the storyline jumped a shot, because
it would like, I like the piles of money around him.

Speaker 1 (01:07:22):
That's fine, that's the idea.

Speaker 3 (01:07:24):
That Corey would be more attracted to this woman than
to Penga. It's just like they have to go so
far into something that is just not No, it would
have been smarter to have her be I don't know,
into something that Corey has been saying he wishes to Panga.
We're into the entire time, you know, like he always
wants a volvo to the fantasy.

Speaker 2 (01:07:43):
It's we start on it's Corey with piles of money
and he's being fed grapes, and it's revealed that it's
to grapes and he's like, I can't it's Sean, yeah,
Sean exactly. To Panga is concerned what is he doing?
Corey blames it on a spasm and to Pega quickly
forced his arm down, but Corey shoots it right back
up Topenga uses all of her strength to get his

(01:08:05):
arm down, but when Corey flings his arm free, he
face plants into the aisle. Every guest at the wedding,
including the minister, is now looking at Corey laid out
on the floor. He asks Corey if there's something he'd
like to say. Stan runs over and hovers over his
fallen hero. Yes, yes, you do. He tells Corey to
say something, but Tapega's also crouched over and wants to
know what is Corey doing. Stan barks at, ar, do

(01:08:27):
you mind? I'm talking to my son in law. For
some reason, Tapanga just leaves them be and Stan gives
Corey a pep talk. They're gonna do this hell, he
pulls Cory, but do you stop the wedding? What exactly
what does he think's gonna happen?

Speaker 1 (01:08:41):
Ye'll stop the wedding, Stop the wedding, and then she's
gonna say I don't know who you are, but now
I want to marry you?

Speaker 2 (01:08:46):
Is Yeah, exactly, He's gonna say this man wants to call,
he wants to be with you, and I think he
and some and then she's gonna agree. I guess is
that it makes no sense, no sense whatsoever.

Speaker 1 (01:08:58):
It makes more sense that Eric could adopt a boy
than it does that this kind of thing could happen.

Speaker 3 (01:09:04):
If we should write a Reddit story about from the
corner view.

Speaker 1 (01:09:09):
Yes, ny Stan sixty two male, Yeah, kindergotten teachers. They've
married some kid, my daughter Jesse thirty four female. Yeah,
that'd be great.

Speaker 2 (01:09:21):
It's so good, perfect, they're gonna do this. He pulls
Corey back onto his feet and lets him take it away.
Corey addresses the room. Hi, I don't know any of you,
but I guess I should say something important here. Stan
tells everyone, especially Jesse, to listen closely. Corey continues, this
is the greatest place to get married that I've ever seen,

(01:09:43):
and I would give anything to be able to get
married in a place like this, but I can't, so
it doesn't matter. Tapanka finally speaks up, Corey, will you
please tell me what's going on? He answers, what's going
on is when you love somebody, nothing else matters, not
the money, not where you get married, nothing like that.
All that matters is who you're standing next to. And

(01:10:03):
this message landing on Corey would all make so much
more sense if he were the one who had gotten
caught up in the whole vision of the thing. Jesse
and Etti look at each other lovingly in agreement. Corey
then looks at to Panga. The only person I want
to stand next to is you. He wishes the couple
what we have, true love that you can always count on.

(01:10:24):
Then he tells Topanga, let's go. This is their day.
We'll have our day. They walk out, with Sean and
Angela close behind. Stand shouts after Corey two million, and
Corey raises his hand as he's walking out, but Tapanga
forces it right back down. Then we're in matthews living room.
Alan and Amy are sitting on the couch with the
very sad Eric, trying to comfort him. Alan insists that

(01:10:46):
Eric did the right thing. Amy agrees He's in the
best possible place that he can be, and when he
gets older, he will realize what you've done for him.
Eric siys he hates me, Alan laughs, he's a kid.
You must have hated me a billion times when you
were a kid. Eric argues, but you never tried to
get rid of me. Alan jokingly shushes Amy to make
sure his wife doesn't object to Eric's assumption. Eric laughs

(01:11:08):
and thanks them both for trying to cheer him up,
but he needs to be alone. He opens the front
door to leave, only to reveal Tommy is standing there.
The two look at each other, and Tommy says, I'm
very mad at you, but I didn't want to leave
without saying goodbye. He gives Eric a big emotional hug,
leading to Eric leaning down to his little brother's level.

(01:11:28):
They give each other one last smirk, and Eric pulls
him in for a last giant embrace.

Speaker 1 (01:11:34):
In a huge shirt. Did you notice the shirt like
the your shirt?

Speaker 2 (01:11:37):
Yeah?

Speaker 1 (01:11:37):
Oh yeah, like the sleeves come way past my hands. Yeah,
I'm in a smock for some reason, smack smock, which
is one of my favorite words ever. But yes, I
don't know why. It's a great word.

Speaker 2 (01:11:51):
And then our tag is on a Tahitian beach in
a daydream. John is it.

Speaker 1 (01:11:58):
Because it's the worst looking scene arguably in the history
of our show.

Speaker 2 (01:12:03):
Yeah, it makes it really look like a pretty.

Speaker 1 (01:12:04):
Beach awful And I get it's supposed to be a
fantasy scene, but yikes, it looks bad. I mean, like
really looks bad. Yeah, and I.

Speaker 2 (01:12:13):
Know this is what let's read the scene. Okay. Sean
is now with Jesse and she is eating grapes from
his mouth. They begin to make out, but then Corey
shows up wearing a bright green tribal print matching button
up in short set, which not gonna lie. I kind
of want, he says, hey, and Sean asks, what's your problem?
Corey responds, you her this. Sean reminds him that he

(01:12:36):
had his chance. Corey shrugs, yeah, you're right. Can I
at least have the grapes? Sean hands him the bunch
and says, knock your socks off. Corey gettaly, takes the
grapes and sits down. They're already off. Seawan and Jesse
return to making out as Corey takes huge bites of
the grapes with a massive smile on his face. I
know that Sean and Angela are not together, and I

(01:12:57):
know that this is a daydream scene, but beeing Sean
making out again with this other grown woman.

Speaker 3 (01:13:08):
Yeah, do you remember this at all?

Speaker 1 (01:13:11):
Right?

Speaker 3 (01:13:11):
Do you remember having to make And it's also so awkward,
like the way I'm like keeping my hand like I'm
staying in this like weird pose. And I'm sure that
was like because if I actually put my arm around her,
it starts to get to sexual sexual too intimate. But
it just feels weird. It looks weird, and I was
just like, geez, I mean, how old was this woman?

Speaker 1 (01:13:32):
Older than me? And she goes if you watch it again,
she goes for the kiss kind of way more than
you go for the kiss.

Speaker 2 (01:13:37):
It's just uncomfortable and like, I don't I know, and
I mean I don't. I don't want to whatever. I
don't want to be apprude, but like I want to
like Sean. I want to like Sean, and I want
to root for his relationship with Angela and or his
relationship with someone. This just just just felt like a
real gratuitous and especially now the writer has pitched the

(01:14:02):
idea of it being you know, backyard. The tag could
have been a backyard scene with Feenie and Eric. Ooh,
that would have been Oh my god. You're meaningful and
impactful oh boy. Well, thank you all for joining us
for this episode of Podmeets World. You can join us
for our next episode recap, which will be season six
episode nineteen Be True, which originally aired April ninth, nineteen

(01:14:27):
ninety nine. 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 1 (01:14:38):
I'm not going to adopt your merch, Danielle.

Speaker 2 (01:14:42):
Pod Meetsworldshow dot com will send us out for tap.

Speaker 1 (01:14:50):
We love you all, pod dismissed. Pod Meets World is
nheart podcast produce and hosted by Danielle Fischel, Wilfredell and
Ryder Strong executive producers, Jensen Harp and Amy Sugarman Executive
in charge of production, Danielle Romo, producer and editor, Tara Sudbaksch, producer,
Maddy Moore, engineer and boy Meets World superfan Easton Allen.
Our theme song is by Kyle Morton of Typhoon and

(01:15:12):
you can follow us on Instagram at podmets World Show
or email us at Podmets Worldshow at gmail dot com

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TGI – Episode 618 “Can I Help to Cheer You?”

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Will Friedle

Danielle Fishel

Rider Strong

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}TGI – Episode 618 “Can I Help to Cheer You?”