A Sprinkle of Drama • EP 816

Sophia, Joy and Rob reminisce about Haley's hilarious surprise baby shower that turned chaotic when everyone confessed to their worst moments.They loved the full-circle moment that reminded everyone just how far Nathan’s come. And the Queens don't hold back teasing Clay for dodging a real conversation with Quinn, laughing over Haley’s accidental dig at her sister, and Julian’s lack of baseball knowledge.

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Episode Transcript

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

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

Speaker 3 (00:12):
Drama Queens, Jaylie's go off Girl Fashion, but your tough girl,
you could sit with us Girl Drama, Queen Drama, Queens Drama,
Queens Drama, John McQueen's Drama Queens.

Speaker 4 (00:24):
We're gathering for season eight, episode sixteen. I think I'm
gonna like it here. Our original air date was February
twenty second, twenty eleven. That's my friend Cammy's birthday, Robert,
would you like to read our synopsis for the Girls?

Speaker 5 (00:40):
Would love to? As the girls plan a surprise baby
shower for Haley, The guys participate in tryouts for Jamie's
baseball team. Meanwhile, Brook and Julian pursue adoption, and Mouth
gets Milicent ready for her first day at work. I
was directed by Stephen Goldfried and written by Rachel Spector
and Audrey What show.

Speaker 1 (00:59):
I think that's correct?

Speaker 4 (01:00):
Yeah, the best. Rachel and Audrey are so great, and
you feel their sort of spirit and their playfulness and
their sense of humor in the whole episode.

Speaker 5 (01:10):
I think it.

Speaker 1 (01:10):
Feelt kind of flat for me. I gotta be honest,
it's pretty bored. I'm sorry, it is pretty bored.

Speaker 4 (01:19):
I mean, maybe I was enjoying the pace of it
because I was also making lunch while I was watching
this episode, So maybe it was the perfect thing to
have on while I was also doing something.

Speaker 1 (01:29):
Yeah, I don't mean to take away from Rachel and Audrey.
I think they're both incredibly talented writers and wonderful women,
and we really enjoyed having them on the show. And
you never know what's going on behind the scenes and
what's being rewritten outside of their names and what is
what the parameters are on people that are writing things,
So it's never really any reflection on the writers. It's

(01:50):
just I couldn't And I think possibly the combination of
Steve Goldfred directing, who was a very novice director and
probably just didn't have the expand he didn't have I
don't know that his depth of history spending time with

(02:11):
a lot of women around each other was comprehensive, and
so it felt like there was a lot of stiffness
and sort of falseeness in that not in we were
doing the best we could with what we had, and
there were a lot of scenes with a lot of people,
so that's also a big heavy lift to pull. But

(02:35):
all the pieces just felt clunky to me. They didn't
quite all stick together.

Speaker 5 (02:40):
One thing I will say to that point is it
felt so I feel like it's hard to service an
ensemble cast in forty four minutes, you know, like when
you actually break it down, when you have like eight
main characters, everybody's getting like five and a half minutes
of screen time, so it's very hard to tell stories
for everyone. So I feel like most episodes, everything it's

(03:03):
like this scene's in here because we have to get
that point. This scene is in here because we have
to do it. This episode kind of felt the opposite,
where it was like these three scenes are going to
be for this thing, and like there was a lot
of stuff that felt stretched out as opposed to like
we're going to get into the scene as late as
possible and leave as early as possible.

Speaker 4 (03:23):
I think that's what I liked though, was I finally
felt like we were watching people live a life. I
didn't feel like the scenes were racing. To make a point,
I guess like there were certain things I really liked
where the callbacks took a while to come around, Like
you have that great sequence in The Morning Joy, when

(03:45):
it's Haley and Jamie and you walk in in the
Jamie's mom jersey and he's like, Mom, there's no whistles
in baseball. And then it comes up so long later,
like halfway through the episode.

Speaker 1 (03:56):
And Daphney walking in after you just got over done
talking with you about prison, but it was way earlier
in the episode totally.

Speaker 4 (04:02):
So it's like I liked that that there was a
weight and then a reward because I didn't see it coming.
Sometimes I think when they're trying to do exactly what
you're talking about, Rob where like you've got to get
everybody's episodic point in. I'm like, there's literally no reason
for this scene. You just needed me to know that
this was going to happen to Brook and Julian or
Quinn and Clay so that in the next episode it

(04:22):
could and this whole sort of sequence of events. Maybe
because it was just this you know, seven hour period
of one day, I was like, Oh, I actually get
to watch people talk to each other and sometimes it's
awkward and sometimes it's funny, and.

Speaker 1 (04:36):
Yeah, it's more of a narrative style. More of a
narrative style. I don't think. I don't know that there's
anything really wrong with it. It just for me. I
I don't tend to love those types of stories anyway,
where you're just sitting in a moment of someone's life.
There are some films and TV shows where I really

(04:57):
love that, but it's done a certain way that is
appealing to me personally. But I like when we do
things that are really there's there's an objective in every scene.
Every character has a motive, there's something that they're moving toward.
There's a purpose in the scene, and we're waiting to
see these things achieved throughout. And this one didn't feel

(05:19):
like that. It was much more narrative. It was much
more like, how are we feeling and discussing new things
with each other that are coming up, and Austin sharing
that or Julian sharing that he's going to be a dad,
and how the guys are reacting to that. You know,
those are It's not that it's not a story worth telling.
Maybe I just wasn't in the mood for it, and
it could just be as simple as.

Speaker 5 (05:38):
Yeah, yeah, And I think kind of like to So's point,
it's like it's not it's it's neither a good nor
a bad thing. It's just sort of like it's the
change up pitch. This show thills a lot of fastballs
and curveballs and then So comes. But you know, like
that that was the thing. It's like, I think we've
come to expect a certain pacing on this show, and

(06:00):
this one was just different, you know, correct? But I okay,
I I love the opening song because I will the
opening montage was, yes, but it worked because of that song.
I thought like it was I was very happy with it.

Speaker 1 (06:16):
That's actually a good, good point that the opener was
slow and kind of setting us up for the pace
of what everyone was about to enter into for the show.

Speaker 4 (06:26):
Yeah, what what I thought was sort of interesting about it,
Like the very first note that I have is that
Hayley's baby shower actually has everyone almost on their heels.
Everyone's back in their nostalgia. People are thinking about the past,
they're thinking about how it relates to the future. And yes,

(06:47):
I think the song set the pace and what was
nice for me, I caught myself kind of take a breath, like, oh, okay, great,
I don't have to be ready for the trauma. This week,
I remembered that it was going to be nice, and
yeah it is. It's funny. You're right. I think it's like,
how's your energy level? What do you need? You know,

(07:09):
I've like got a thing of laundry going and I'm cooking,
and I'm like perfect. This is gonna be an easy episode.
Nobody's gonna die. I love this.

Speaker 1 (07:17):
That's great.

Speaker 4 (07:18):
It's like rom com energy.

Speaker 5 (07:19):
It wasn't for the viewer, it's not. It's not a
challenging episode either, Like you doesn't require a lot of
attention span or deduction. It's like, just sit back, we're
gonna spoon feed you some fun plot stuff. Yeah, everyone's
gonna be okay.

Speaker 4 (07:34):
You're just gonna enjoy yourself today.

Speaker 5 (07:36):
One of my first note was I just love Lisa Goldstein.

Speaker 1 (07:40):
Oh, I love her too. She should I have on here.
Lisa needs her own TV show.

Speaker 5 (07:44):
Yes, when she was putting on lifstick in the mirror,
it's such a simple thing, but she told like a
whole story in it, and because we know what's going on,
she killed that. She's just fantastic criminal underused.

Speaker 4 (08:01):
Well and to do a scene particularly one where the
camera is in motion, you know, it's one maybe two
shots because it's part of a teaser montage, and two
without saying a single word, communicate the absolute bitter sweetness
of a moment in your life. Like I felt like

(08:22):
I knew every single thing she was thinking about, being
proud of herself and nervous that it was going to
hurt her relationship and scared of you know, upsetting mouth
and then having imposter syndrome. I watched it all on
her face and it was so beautiful. I agree.

Speaker 5 (08:40):
The uh, Haley coming in all kitted up with the
Jamie's mom jersey, the hat, the whistle. It was so
much fun.

Speaker 1 (08:51):
Yeah, that was just like pure Lucia Ball inspiration for me,
just being a total goofball. It was really fun. I
always loved doing ses with Jackson where we just got
to play and be goofy. You know, it's a great
day at work.

Speaker 4 (09:05):
Yeah, and to dress up with a kid always heightens it,
and it works for Haley. It was such a great choice,
you know, for the character, for the wardrobe department, the
whole thing, everything being embroidered and customed in all of
it because they gave you that line. I've got all
these new terms to learn and things to you know, cheers,

(09:27):
all the things. It's like, you have something to be
really excited about and it's thematic. So to make it
essentially a theme party and have a costume was like
Chef's Kiss.

Speaker 5 (09:37):
Was there a specific reason that Haley wasn't going to go?
I feel like she just walks in the room and
just says, hey, are you sure you don't want me
to go? But did I miss something or was that
just I.

Speaker 1 (09:47):
Think that's just the exposition of why I wasn't going
to be in that storyline because I have another storyline.

Speaker 4 (09:52):
Because you had a bibbish However.

Speaker 5 (09:54):
Yeah, You're like, well, I wish I could be there,
but I have to be in a b story with
some other characters. Jamie, good luck making the team.

Speaker 1 (10:01):
But where was I wasn't going to Is it his
first game?

Speaker 5 (10:05):
Tryouts?

Speaker 1 (10:06):
Oh, tryouts?

Speaker 4 (10:07):
Auditions?

Speaker 6 (10:09):
Right?

Speaker 1 (10:09):
It was great Julian auditions. So and why did I
guess I missed this too? I mean Kellerman, why did
he meet you guys out at the little league field?
I was confused as to why he met you out
there when you had been waiting for him. Someone else,
I didn't really get that.

Speaker 5 (10:26):
Well, he stood us up. So my only thing is
like that was just him eventually catching up with us.

Speaker 1 (10:32):
Yes, yeah, I kind of assumed that, but it wasn't
clear to me. Yeah, he's just so suddenly nice with
this kid. Oh, I'm sorry, Rob, I didn't mean to
throw you off. You look like you're ready to go somewhere.

Speaker 5 (10:43):
Well, because there was something a very specific question I
have for Sophia before we get into that part of
the episode. So there's the really sweet scene of Brooke
and Brook sort of talking to camera, she's rehearsing her
adoption speech, and then Yah Julian, and then it goes
into the bedroom where Brooke is jumping on the bed

(11:05):
and he in Julian kind of comes in like a
faux dad and is like, no jumping on the bed.
It gets it gets cute, and then there's a moment
where you jump off the bed into Austin's arms and
I had to watch it three times because it really
looked like a stunt, like you run cables, But there's

(11:25):
no way in hell we'd bring in cables for that, right,
Like that was just you jumping.

Speaker 4 (11:28):
Right, it was just me jumping but I jumped far.

Speaker 5 (11:32):
Dude, go back and watch it. I watched it three
times because I was like, I think, am I seeing
this right? And then there's a weird thing where after
you guys fall onto the bed, you're kissing canoonling, and
then he goes to like when he goes to vault
himself up onto the bed. Watch that again. It's like
a superhero vault where he kind of just looks like

(11:53):
he gets yanked off the bed. And I was like,
did we use cables for this? No, way, we use cables.
We did see, but.

Speaker 4 (12:00):
I actually really appreciate that you were like, hold on
because the whole point obviously was to be really giddy.
He calls Brooke, you know, your little tiggery thing, saying
she's got like tigger energy from Winnie the Pooh. So
I was bouncing very purposefully really high and like doing

(12:21):
the spin, you know, up in the air and the
whole thing. And you guys know this. But for our
friends at home, we've talked about this a little on
the episode. Sets have to be like extra large rooms,
so you have room for two to three cameras and
the Dolly equipment. The cameras go on, so the rooms
are big, they're oversized, and I remember I was like,

(12:43):
oh my god, I had to make it look like
I just leapt off the bed but sort of cheat
into almost a running start to make it from the
mattress to where Austin was standing, which was like a
solid eight feet away from me by the door of
the outstretched room.

Speaker 1 (13:02):
That's great, and so it's like it.

Speaker 4 (13:04):
It's a really silly scene, but it actually did require
like a lot of strange physicality from us both. So
thank you so much for picking up on it. And no,
I didn't need me Kible's rob I was just good
at my job.

Speaker 5 (13:17):
Oh my gosh, Sophia Bush does her own stunts. And
then I do want to report a crime. Later in
the scene, don't know if you noticed, Julian is wearing
his boots in the house, which first of all, oh
the bed god, But then when he decides to jump
on the bed with you, he's still wearing his boots.

Speaker 4 (13:38):
Yeah, outside shoes do not go into the bedroom, let
alone on the furniture.

Speaker 5 (13:44):
No, what you can tell it's moments like this where
you can tell we were all in our twenties. Yeah,
because if a foty year old was shooting the scene,
they'd be like, Oh, there's no way in hell I'd
ever have my.

Speaker 1 (13:56):
Shoes on the yes in my house. Yeah.

Speaker 5 (13:59):
Yeah.

Speaker 1 (14:00):
Director at this Steve at the time I think was
probably in his really youngs early thirties. Yeah, like probably didn't.
None of us. Well we owned homes, I guess, but
did we were we renting.

Speaker 4 (14:11):
Either Either way, it's still just like.

Speaker 1 (14:13):
You can't walk into my I don't walk into my
my bedroom carpet with shoes on, let alone climbing no head.
That's just this insane.

Speaker 4 (14:19):
But it's exactly that thing. We talked about it whatever
episode it was where remember you might have called it
out Robert, you were like, why does Julian have his
shoes on the couch of his napping It's the same thing,
and it's it's the it's the greatest indicator that those
are wardrobe shoes and you're walking to set in your
slippers and then putting your shoes on on set and
they've literally never touched dirt, so you're you're unconscious of

(14:43):
the fact that they're they're supposed to be an actual shoe. Yeah,
it's so silly.

Speaker 5 (14:48):
What what was Steve's position on our show.

Speaker 1 (14:51):
He was an assistant for one of the producers, gotcha.

Speaker 4 (14:55):
Yeah, and then and then worked his way up and
started shadowing and started producing, and then I think this
was his first year getting to direct an episode. Maybe
pretty cool.

Speaker 7 (15:05):
Well done.

Speaker 5 (15:19):
Chantell crushed the physical comedy again, as she always does.
In that moment of her I think when she's made
it to Brooks. Yeah, I think it's in Brooks for
her and she just like a baby deer, runs across
the room, dives over the couch, falls on the ground.
She just always commits to that stuff. And it's so funny,

(15:40):
especially given the fact that she does she has long limbs. Yeah,
so when you play goofy and like uncoordinated, it's so
damn funny.

Speaker 4 (15:48):
It's incredible. And what I liked about it too, is
it really kept the baseball metaphor going. And I don't
know if that was intentional on her part, or her
and Steve disgusted or how they came to it. She
dives like she's sliding into home plate. And so you
go from the baseball field with all the kids and
then into you know, brook and Julian's house with Quinn

(16:11):
going for this dive It's like, I really liked that
a lot of those things felt like they were connected,
even even in this little slice of a day.

Speaker 5 (16:20):
It was cool to see Levin make her appearance. I
didn't remember what she did on the show, Levin Ramblin,
who plays Chloe. Yeah, but when she came to the door,
I was like, Oh, this is how you fit into
the puzzle, okay, because I didn't remember who the parents,
you know, were going to be.

Speaker 1 (16:37):
I thought she was on the show before. I didn't
realize that she came in so late, but I do
remember her being there, and I remember her getting Hunger Games,
like a few months later. It was pretty fast. She
was getting a lot of work all of a sudden.
She's exciting that we that we got her early on
when we did Yeah.

Speaker 4 (16:55):
And she's just so good and it's you know, I
was thinking about it a lot watching her because we
had such a good time working together. But to have
distance from it and watch the episode back. She comes
in so raw, but she's not pushing, you know, she's
not overdoing anything. She manages to just have so much

(17:21):
going on right under the surface, and to be able
to do that in a storyline like this eight seasons
in when our fan base wanted Brooke Davis to have
a happy ending, you know, to have her great love story,
this fairytale moment so badly to come in and literally
be the crux of that. And I don't know, I

(17:44):
was so impressed with her then and watching her now,
I'm just I'm like, my breath is taken away by
how seamlessly she slides into this world and then brings
such a life to it, you know, and represents this
this incredibly emotional and vulnerable experience that you know now

(18:05):
Again to your point, we were in our twenties then,
I didn't know anyone who had adopted. Then. Now it's
like I've I've had every friend I know become a parent,
every friend who wants to anyway, in like the most
incredible ways. I've watched people go through fertility. I've watched
people go through IVF I've watched people go through adoptions.
I've watched like it's I don't know, it's so it's

(18:28):
so important to do it right, and she just did
it so beautifully. And I'm like, I'm even more impressed
now than I was in real time back then.

Speaker 1 (18:36):
Yeah, she's a really grounded performer.

Speaker 5 (18:38):
Yeah, yes, that's exactly what I was going to say,
is that there's there's a lot of noise around her,
her character. There's a lot of big things going on
with Brooke, and there's it's high energy, right, I think,
especially as a guest star man, it's very easy to
come in and just get swept up in the current
of everything happening around you. But because she's so grounded,

(18:59):
and it made because she read the room and realized, Okay,
everyone around me is big, I'm going to go small. Yeah,
and it becomes so much more interesting when you do that.
But either way, yeah, I agree that she played it
very subtle and it was really effective.

Speaker 1 (19:14):
Yeah, so real.

Speaker 4 (19:15):
It is beautiful too.

Speaker 1 (19:17):
There were a lot of shenanigans happening around, especially at
the party when everything ELT's coming up and Lisa's like
talking about I'd have to start doing cocaine again to
keep up with it, Brooke your unemployment line, and then
Daphne walks in talking about prison. I mean, the whole
thing was just it was just one hit after another,
and she did stay very grounded in the middle of it.

(19:39):
She didn't play into that's actually a really difficult thing
as an actor when you're in a room and everyone
else is playing a certain energy. It's one of my
pet peeves about auditioning. Actually, when you are reading with
and we've talked about this, you read with the casting
director who's throwing a certain energy at you that feels
completely wrong for the scene, and you have to somehow
maintain what you believe the character is actually experiencing and

(20:01):
not play off of their energy. So for her to
be in a room full of people, all of all
of us were doing a little wild kookie, like over
the top stuff, and just to be completely solid, it's impressive.

Speaker 5 (20:13):
Yeah, And a great choice I thought Steve made was
he stayed in the wide that has Brooke in the
foreground when Victoria enters. So it's so perfect because you
don't need to be tied on Victoria because she's so big,
and she just enters the room and shouts about prison.

(20:34):
It was so smart of him to stay in that
shot and just watch it all happen.

Speaker 1 (20:38):
Yes, she didn't even say a word, She just walked
in the door and made some sound. And you, Sophia,
you just shut your eyes completely. You just like an exhaled.
It was great, Like you didn't even need to hear
words out of her mouth. It was like a noise.

Speaker 5 (20:53):
You were just like, oh.

Speaker 4 (20:54):
God, it's literally like the death blow. It's like I'm
holding on for dear life and then it's over. It's over.

Speaker 5 (21:04):
That I think was my favorite scene of the episode.
It was it was so such a perfect domino effect,
and every every beat of it was funny, and every
beat kept getting worse, like started sort of like I
lost the company. Then he said, yeah, cocaine rehab prison,
and it was just like, oh my gosh.

Speaker 4 (21:26):
Yeah, you even get Alison Mun, who could have been like, no,
what are you talking about. I'm an elementary school teacher,
and she goes, well, no, not yet, like it's a
badge of honor, and it's like, oh my god.

Speaker 5 (21:41):
Also, I mean I already I started making a note
because I was very upset that Alison Mun was just
getting no screen time in the scene, because the way
it starts is like, what the hell. You see her
face for one second, then she turns out a frame,
then you see the bottom half of her legs for
one part of the scene. So I immediately is like,
this is criminal. Give Alison months some freaking work to

(22:04):
do and then she says like three or four lines total.
But I was just like, it's a it's an uptown
problem that we have so many great people on the
show that you feel like they're not getting enough. But
at the same time you're just like, what come, Yeah,
give me more of her.

Speaker 1 (22:21):
We had seen, we've seen. Well, Janna wasn't in it
that much either. She got a few lines, but they
were all pretty meaningful. I was like, maybe we could
have given some of that space to Allison because she's
been on the show less than Jana, but no, we
needed all of Janna's lions.

Speaker 5 (22:35):
Yeah, Like Alison's first line to you, Brooke was like, Hey,
it's at least I can do after you save my life?
So what's up with stuff?

Speaker 6 (22:46):
That is?

Speaker 4 (22:46):
That is one of those like speaking of that just
no one would ever say, yeah, but you know what
it what it reminds me of is, you know, we
always had to lose so much to the cutting room
for right, because when you're doing a network show and
you have commercial breaks, you've got forty three minutes, sometimes
forty two and a half. And this is one of

(23:09):
those episodes when you see, especially all the girls in
one room and everyone is in the comedic swirl of
just the wheels beginning to fall off. You're like, God,
I wish this had been a streaming show and we
could have had the full sixty because where this would
have gone with more time would have just been so
damn funny.

Speaker 1 (23:29):
Yeah.

Speaker 5 (23:31):
I would have loved to have traded five minutes of
the Kellerman storyline for five more minutes in that party
with just you women.

Speaker 4 (23:41):
I don't know about a full five.

Speaker 1 (23:42):
I think we could have trimmed two. But Okay, I
really did enjoy this storyline between the two of you
because I, first of all, I just love all the
reinforcements of the friendship between Nathan and Clay. That always
feels good to me. And maybe there's been a ala
to it that just continues to remind us of where

(24:02):
our show came from and this connection between the guys.
But I liked the dynamic you guys were doing. I
wouldn't call a good cop bad cop because it wasn't
really a game, but Clay was much more cynical and
usable reasonable and skeptical about this kid. And Nathan having

(24:26):
grown up with a dad much like Kellerman and being
a star athlete he understood this kid and was able
to like. But I liked watching you be, yeah, a
normal person reacting the way most people would like. No,
I respect myself and my company too much. I'm not
going to sit here and wait around for this kid
and then to learn from someone that that's It's not

(24:50):
always a hard and fast rule. Like there's nuance to
different personalities and sometimes you gotta be patiently gracious. And
I liked it. I liked watching that subtly happen, and
you did it in a way that, again, it didn't
feel over the top. It felt very grounded. And I'm
so grateful that Steve sat the camera on you and
let it live so that it wasn't just cutting away,

(25:10):
but we really got to live with your reactions.

Speaker 4 (25:12):
I think one of the things I really enjoyed about
having a little slowness in this was getting to watch
people think. And I really appreciated all four of you
guys at the bar having these conversations. While we don't
really know a lot about Clay's parents, we know a

(25:33):
lot about Julian's dad. We know the most about Dan Scott.
We've seen Professor Kellerman, and I really liked getting to
see grown men sit around and talk about family and influence.
And I liked seeing Clay understand that Ian really was

(25:54):
a young version of Nathan, not just because he was
kind of a dick and a star athlete, but oh
maybe he has this chip on his shoulder because he's
never been good enough at home. That's interesting. That's an
experience my friend has. It's something that you watch Austin
not along with and you're like, oh, yeah, Julian and
Paul their whole thing. You know, he was never going

(26:16):
to be good enough, and I don't know. It's really
lovely to not only as an audience member feel like
you know something and you get what everyone's talking about,
but it's cool to watch a group of people look
at each other and get it and then be in
on what they're communicating about, both in what they're saying

(26:38):
and in what's unsaid. But that comes through the eye
contact and the nod or the reference to someone like, oh, yeah,
he gets it. I loved that, And I think you guys,
you're all so good together as actors. I really enjoy
watching this packet dudes hang out. It's nice. Yeah.

Speaker 5 (27:00):
I found in that bar scene my one beef was
that I wish we all would have had more of
a reaction to Austin, to Julian sharing the news that
you guys are going to adopt. However, that's forty four
year old me having that thought, because the truth is
at twenty eight that might have been like congrats, dude,

(27:21):
might have been the entire scope.

Speaker 1 (27:23):
People don't understand the context at that age. Yeah, you know.

Speaker 5 (27:27):
I think it's also because like I like Julian and
I want to root from them, like ask about his experience, hype.

Speaker 7 (27:32):
Them up, you know.

Speaker 5 (27:33):
But again that's like the more version of you. I
think one thing the show has done incredibly well is
that they have really shown that Nathan has an innate
talent and an innate value at being an agent, because

(27:53):
it very easily could have been this like my buddy
Clay threw me a bone because my career dried up,
and instead, very efficiently, like they have weaved this sort
of thread of like Nathan being able to spot things
in Clay's blind spot, and it's like, so there are
these good things that are happening that wouldn't be happening

(28:14):
if Nathan wasn't there, And I just think it's that's
such a service to the character of Nathan, and it
also makes Clay look good like Clay identified something in there.
But again, it's just it just took a little extra
finessing and it makes that storyline so much more rich
and valuable because you're like, Okay, now I also understand
why Nathan would want to do this, like he's seeing

(28:36):
himself do well like it just I think they really
nailed that.

Speaker 1 (28:41):
Yeah, and I'm glad they gave him a kid that
Eric client. I guess he looks like a kid to me,
but that Nathan could relate to so much, and the
fact that the kid was self aware enough that he's, yeah,
he's doing all this stuff. But the conversation and that
they eventually have you know, where he's talking with it

(29:04):
both of you or is it just Nathan. I can't remember,
and he says, don't try and make your kid be
like you.

Speaker 5 (29:10):
I think that's on the baseball field when it's just
he and Nathan, it was.

Speaker 1 (29:13):
Just the two of them. Yeah, yeah, I just I
appreciated that the extra depth of character, this extra dimension,
that he wasn't just this cocky kid who's you know,
a caricature of who Nathan was, but he's aware enough
to be able to make some offer some advice, and

(29:36):
you know he knows what he's doing.

Speaker 5 (29:38):
Yeah, I think he's very two dimensional, but when you
realize his age and what he's been through, it kind
of makes sense. Like he's he's a pissed off kid,
you know. Yeah, So it works because at the start,
it's like, Oh, he's the bad boy dickhead who drinks
beers on the baseball field. It's like, oh, dude, come on,

(29:59):
gave it, give him some shades. But then this episode
was nice because we did sort of find out like, oh,
he has baggage and there's a reason he is this way.

Speaker 1 (30:07):
You know, feels juicy too. What's coming up the way
Nathan said, it's it's gonna make your dad upset, and
he's like, great, no problem, Yeah, what's coming up next?

Speaker 4 (30:18):
It's an interesting theme though, I mean, even you choosing
that word rob, it's like, that's what Levin Chloe says
when she comes to Brooke and Julian's door. You guys
seem like you have baggage, yeah, which means you're gonna
understand when this kid makes mistakes. And it's really interesting
that Ian Kellerman's baggage just reads his bad behavior initially

(30:44):
to Clay, and Nathan is like, I know what that
baggage is. He's basically looking at that kid going I
have a set of that luggage. I know what to
do with that. And it's a cool runner that they're
giving these young people to be trying to process us
their baggage with a group of characters that our audience
has seen process their own in their youth.

Speaker 5 (31:07):
Yeah. Man, And it's actually very interesting watching the way
Clay responds to this situation and the way Nathan responds
to the situation. It feels like the way my brain
processes things where it's like my first thought is usually
comes from like ego or fear, and it's like, this
kid's a dick, he's wasting my time. Like my first

(31:28):
thought is usually I will make a barrage of assumptions
to tell myself the full story and validate a feeling.
And then the second thought is like, but what if
I don't know what's happening in his life? You know,
because Clay's understandably so Clay's like he's late, screwm this
isn't important to him. And then Nathan is like, yeah,

(31:49):
but if you'd done this, you wouldn't you wouldn't assign me,
and I would have been a problem, you know. So
it's kind of cool to watch, like it's sort of
like the reptilian brain and the evolved brain. You know,
it's like you don't maybe you don't know every thing
going on, maybe we explore.

Speaker 4 (32:03):
Yeah, it's very cool.

Speaker 5 (32:17):
Okay, let's get to the baseball try out, because I
just want to say credit to all of us that
we made it more than thirty minutes into the episode
without bringing up the fact we made Julian chase a
mother flipping butterfly for real. We watched a grown man
like simple Jack from Chropic Thunder chase a butterfly in

(32:40):
a field in the middle of a game, and you
know what, to his credit, he committed one. And it
was endearing, but like, what the shh?

Speaker 1 (32:52):
Yeah, super silly. It was like Sunday morning comic strip.
Very silly. Yes, very silly, But in the context of
our show and all the still the things that we've
done it, you have to sort of take these moments
and suspend reality. And so I was like, Okay, he's
a director, he's going to be drawn by little random
things like light and birds and butterflies, and of course
he's going to be distracted. He's a little squirrely. Okay, next,

(33:15):
but yeah, it's like really a hat on a hat
on a hat.

Speaker 4 (33:19):
But you know what I really appreciate about Austin and
this is even it's funny. I'm just realizing that it's
sort of a parallel thing to the reference you made
for Haley earlier. He's not afraid of the Lucille Ball comedy. Yeah,
Like he's so unbothered about expectation, any of it. You know.

(33:40):
It's like Austin was the guy ripping six foot waves
with his toenails painted. When we were all in Wilmington,
people were like, we don't know what to make of
this dude who's like so tall and so handsome and
like manly, but who who is like, yeah, you want
to put eyeline around me, you want to paint my
nails whatever? Like he just doesn't give a shit. Yeah,
and it's it's funny to see. And I think you

(34:02):
said this a while back. Rob, It's like he makes
all the stuff that I think another young actor might
have felt dinged by work. It's like how did you
figure out how to be charming in this thing that,
like most guys would have been like what the to
the writers, he was just like.

Speaker 5 (34:22):
Okay, yeah, if you bring your ego to set, you're
gonna have a hard time with a lot of Julian stuff.

Speaker 4 (34:30):
Yeah.

Speaker 5 (34:30):
Like the only way to do it and not be
miserable is to just like leave your ego and your
trailer and just go out there and just lean into
the strike zone. You know, yeah, boom baseball pun. I
like Jamie. The exchange between Ian Kellerman and Jamie was
was great because I didn't remember that. I'm like, Ah,

(34:52):
where is this going to go? Is he gonna say
something inappropriate? But I like that he actually gave him
real advice.

Speaker 7 (34:57):
And then to.

Speaker 5 (34:57):
Watch Jackson you do what to watch watch Jamie get
in Clay's kitchen on the Mound was so great.

Speaker 4 (35:07):
It was so funny because I had the same fear
when when he bent down in front of Jackson and
started being like, okay, kid, this is what it is.
I was like, Oh God, is he going to say
some gross thing about how when you're old enough to drive,
you can like, you know, take babes out in your car.
I was like, what, what's coming? It's going to be awful,

(35:27):
And then it wasn't, and I was pleasantly surprised. I
was like, Okay, maybe Ian Callerman doesn't suck so much.
Kid Killerman might not be public Enemy number one. And
then to see an actual kid, do you know, take
the advice he'd been given and throw you off the
way you reacted to him, and that close up rob

(35:48):
was so funny and it just I don't know, the whole,
the whole, the whole gag of it was great.

Speaker 5 (35:54):
Also the fact that he he being Ian Killerman, rolls
up in a shiny Porsche. I'm like, isn't this a
kid who doesn't have a deal yet. Yeah, I'm a
college kid with a father who is a professor, professor,
single parent income on a professor's salary, and the kid
has a brand.

Speaker 4 (36:12):
New Port Highlight.

Speaker 1 (36:14):
Is That's so good?

Speaker 5 (36:18):
Like it fits with that type of character. But like,
I think we're two episodes too early for the Porsche.
I think you got to sign that deal first and
then you get yourself the Porsche.

Speaker 4 (36:27):
Yes, so silly, just so silly.

Speaker 6 (36:31):
You know.

Speaker 4 (36:31):
What I will say was a positive green And I
have not been tracking when it changed, but I guess
because we did spend all that time in Brook and
Julian's bedroom. In the jumping on the bed scene, I
was like, oh my god, my bedroom's not purple anymore.
It's green, though, is that true? I'm lovely all green
and it made me so happy. And I can't remember

(36:53):
when we changed it, but I do remember eventually winning
that battle and feeling so thrilled.

Speaker 1 (37:00):
You were like enough with the purple.

Speaker 4 (37:02):
I was like, I don't nobody wants to live in this,
no adult.

Speaker 5 (37:07):
No, You're like, Hi, I am a woman, not Willy Wonka. Yeah,
can we paint this a reasonable color?

Speaker 4 (37:13):
Yes? I'm not a six year old. I would love
to not have a unicorn themed bedroom anymore. Thank you
so much.

Speaker 1 (37:19):
You know, the whole apartment on Friends was painted purple,
but the descort was like an anthropology, and they knew
they it was very upscale, it was very you know, corky,
and it all worked. But when you try and mix
that purple with seaside, uh, I don't know what the
kids call this aesthetic now, granny seaside aesthetic, it just
is not just not work.

Speaker 4 (37:39):
Coastal grandmother is the term.

Speaker 5 (37:42):
Yeah, Wow, didn't.

Speaker 4 (37:44):
Yeah, Crisp white Wine and Diane Keaton and Jack Nicholson
on the beach in all White Coastal.

Speaker 1 (37:49):
Grandmother, Crystal Grandmother, Coastal Grandmother. But in Lavender, it's not
a thing.

Speaker 4 (37:55):
It was not for me. So that's the green battle
that I'm quite pleased that.

Speaker 5 (37:59):
We one good for you way to go to battle
on that hill.

Speaker 1 (38:03):
Thank you with mouth and Millie when he uh, she
comes home and he's set up the camera and he's
written stories for me.

Speaker 4 (38:10):
The practice it.

Speaker 1 (38:11):
Like, gosh, it's such a great lesson. Like he feels,
you know, he's got to feel bummed, he's got to
feel pushed aside, like you know, he lost the job
and by accident to his girlfriend.

Speaker 4 (38:29):
Yeah, come on.

Speaker 1 (38:31):
But instead of sulking, instead of doing anything else that
or ignoring it or just trying to like pretend like
he's happy for her, he actually is proactive for his
for his own self, and like I refuse to allow
myself to sulk. I refuse to begrudge her this and
I'm actually going to actively find a way to put

(38:53):
my body into a place of celebratory a celebratory season
for her. It was cool.

Speaker 4 (38:59):
Yeah, it's really refreshing.

Speaker 5 (39:01):
They yet, by the way, did they have a couple name?
Because in my notes I said, like, Mouth and Mille
are adorable. They're such great teammates. They're starting to give
Brilliant a run for their money. Did Mouth and Milly
have a couple name.

Speaker 4 (39:13):
I don't know if they could because they had the
same first initial, so you can't really combo.

Speaker 1 (39:21):
Milf Mythilly or Mouth Melt.

Speaker 4 (39:27):
Like milf.

Speaker 1 (39:28):
Yeah, like milf. I think it's milf. That sounds right.

Speaker 5 (39:30):
Another thing I really liked was especially given how unhelpful
Haley was to Brook with the whole monster in law
of at all, Like, especially the episode at the Bridal Expo. Remember,
like Brook calls her down and Haley just completely torpedoes
her submarine accidentally at every turn because of her hormones.

(39:51):
I loved that she was the one who saved the
day in this bridal shower excuse me a baby shower
scene with her toast, like everyone put the foot in
it in a massive way, and then the last second
Hailey kind of sneaks in.

Speaker 6 (40:04):
She's like but.

Speaker 5 (40:07):
Has a lovely toast that sort of saves the day.

Speaker 4 (40:10):
Yeah.

Speaker 1 (40:11):
Yes, although she says there's no one to whom I
trust my child more. And her sister is sitting right there.

Speaker 5 (40:24):
It would have been great if they just cut to
Chantelle like under her breath, rude being like thanks, offense taken.

Speaker 4 (40:33):
Why did they not cut to her?

Speaker 1 (40:34):
Yeah, they would have been a great extra, a little
like a rude like I'll explain later, I'll tell you later.

Speaker 4 (40:40):
You know. What's also so funny is, obviously, you know,
Haley's supposed to be one of many siblings, but for
most of high school, Hailey was an only child, and
then they were like, no, no, no, no, she has lots
of siblings because like all the kids can't be only children.

Speaker 1 (40:55):
But when you.

Speaker 4 (40:56):
Think about it, yeah, like in the experience of our audience,
Brooke being Jamie's godmother makes so much sense. But in
the real world, if you were actually best friends with
your sister, your sister would probably be the god barant
to your child. And so it's it is a really
funny thing. Where As the as the years went on

(41:20):
and our world expanded in season seven and we got
Quinn and Clay and we got to actually be around
Hailey's sister, You're like, oh, yeah, this was a there
was a big hole left here because nobody ever thought
we'd get this far and now we're here.

Speaker 6 (41:35):
And that she's going to insult her sister and this
baby shoe on definitely should have been something like oh
and then you know you travel all the time, or
just some acknowledgment.

Speaker 5 (41:46):
Yeah, So I have a question, did we ever, as
a show, attempt to explain why Quinn wasn't in high
school with Haley.

Speaker 4 (41:56):
She's supposed to be the older sister.

Speaker 5 (41:58):
So she's okay, so we'ressuming she's at least four years older.

Speaker 1 (42:02):
Than you, but Taylor would have been in high school
with me.

Speaker 5 (42:05):
Yeah.

Speaker 4 (42:06):
Yeah, So they hired a girl younger than any of
us in season seven to play the oldest of all
the James sisters nice, which literally makes no sense, but
obviously she was also the best person to play Quinn.
So here we are.

Speaker 1 (42:22):
Yeah, I think Lindsay was. I guess Taylor was two
years older than Haley.

Speaker 4 (42:28):
Yeah.

Speaker 1 (42:28):
When we started, we were juniors, right, we started the show,
we were.

Speaker 4 (42:32):
All Yeah, we started junior year because we could all drive.

Speaker 1 (42:35):
Yeah that's right. So yeah, I guess we just assumed
that they were out of high school. We just never
talked about them.

Speaker 4 (42:42):
Yeah, so if Taylor's two years older than Haley, Quinn
has to be at least three. Yeah, so it's not
I mean, it's not like a ten year age gap
or anything. But it is funny.

Speaker 1 (42:53):
Well with all these other kids that we never met. Yeah, yeah, but.

Speaker 4 (42:59):
It's exactly that thing too, of especially where we all
were when we were in these seasons. It's like, you're,
I don't know, twenty eight years old. Probably at twenty eight,
especially as a girl in our industry, you can either
play a high school student or someone's mom.

Speaker 1 (43:16):
It's just it's ridiculous on the lighting.

Speaker 4 (43:22):
Yeah, it's insane.

Speaker 1 (43:24):
Okay, here's something that I thought was really funny in
the scene with Clay and Quinn in the car when
she's being really still and stuff, after everybody's been peppering
her about the engagement possibility and you're like, what's up.
You're really quiet, and she says, just thinking about something
the girls said tonight, and then there's just silence, silence.

(43:48):
You don't follow up with what was that? You want
to talk about it? She doesn't elaborate, it's just silence.

Speaker 5 (43:57):
Listen. Active listening is not one of Clay's strongs. Okay,
he tried. He made one attempt, but that's about all
you're going to get from oclay, Yeah.

Speaker 4 (44:06):
Or is it just that these two are so comfortable
with each other that silence is comfortable between them.

Speaker 5 (44:14):
There's also a world in which you ask your partner
what's up and then they say something someone said. If
they don't continue to share, you can interpret that as
they don't want to talk about it right now.

Speaker 1 (44:25):
Yeah. I guess that's true.

Speaker 5 (44:26):
If you have an open dialogue with your person, then
that's sort of a way of going like, oh, they
don't seem like they want to Yeah, you know, download
right now.

Speaker 4 (44:33):
Okay. I think what felt nice about it was you
guys felt so at ease, and then I didn't really
know where it was going to go. When she's like, wait, wait,
pull over, I was like, oh God, it started to
seem like it's something wrong, and I know they wanted
to flash back to you know, the in between world
or whatever we want to call it. But what I

(44:54):
liked was that it ended. That scene ended kind of
the way that silence felt in the car for me.
You guys just seem really solid and comfortable, and that
was nice to see.

Speaker 7 (45:06):
Mm hmm.

Speaker 1 (45:07):
What was that place?

Speaker 5 (45:08):
Same? I was like, what where are we going? What?
And then it's just kind of odd because it's like, oh,
this is the place I wanted to take. So I'm
like it was this like a botanical garden that Clay
had seen one day. I didn't know. Listen, it made
for a beautiful setting.

Speaker 1 (45:22):
But you guys had never been there in real life,
only in the in between, right crooky upside down?

Speaker 4 (45:28):
Yeah?

Speaker 5 (45:28):
Correct?

Speaker 1 (45:29):
Strange and that she would recognize it at.

Speaker 4 (45:31):
Nighttime and with Twinkie lights.

Speaker 1 (45:34):
They put a lot of twinkle lights up. That was
a lot of time, by the.

Speaker 4 (45:37):
Way, I wondered, but she said pull over, so I
was like, well, it can't be. But when she's like,
you know, just something the girls said and we all
know it's about getting engaged, and then you guys are
walking through a fairy forest, I was like, oh my god,
is Clay about to propose? And then I was like, wait,
I directed that episode where you do that, so I
should know that it's not in my brain. I was like,

(46:01):
what is happening because it looks like a proposal.

Speaker 5 (46:04):
Scene does one hundred percent? I like, you, I know
how I remember very clearly our proposal, and yet I went,
did Clay have like a romantic thing planned here? Because yeah,
there's some strong cheese, all that vibes going on. Oh yes, yeah,
I'm feeling a gesture. Nailed it and no.

Speaker 4 (46:21):
Yeah, just pretty lights at night.

Speaker 5 (46:24):
Julian Brooke got their habby baby.

Speaker 4 (46:28):
I got so emotional at the end those Yeah, I know,
I know, it's so sweet.

Speaker 1 (46:34):
I did not know where she was going with that speech.
I genuinely thought they had this girl come all the
way down here just to tell them. No, man, I
going to justify that.

Speaker 5 (46:45):
Like this could have been a text message.

Speaker 1 (46:48):
Well not back then. I guess that's true. Phone call. Yeah, yeah,
but the speech turned pretty quickly to good news.

Speaker 4 (46:57):
I know it's sweet and it's interesting too. So I
like that you didn't really know where it was going
when she came to the door, and that I wasn't
sure what was going to happen at the end of
the shower either.

Speaker 1 (47:09):
Yeah.

Speaker 4 (47:09):
But what I loved getting to see sort of similarly
now that I think about it, to Nathan knowing how
to advocate for Ian Kellerman, I liked seeing these two
women standing in Brook's bedroom with this photo of Brook
from high school. It felt like they were reaching across

(47:31):
their life stages to each other in a way.

Speaker 1 (47:34):
Yeah, for sure. I mean she recognized herself in that photo.

Speaker 4 (47:37):
Yeah, And I liked that in the same way that
we got to see Brooke talk to Julian about the
bachelorette party and just saying, I don't know what I
don't know, but essentially what I do know is that
I always want us to be honest with each other.
I like that this young girl was like, I get judgment,

(47:57):
and that Brooke looks at her and says, but I'm nineteen,
I should know better, and then is honest with her
and tells her about her life and her journey and
all the things she used to not know, but how
she's always known this. It's like, I don't know, it
felt it felt really lovely, and maybe it hit me

(48:18):
a little harder because we had talked about it from
the hen Night episode, but it I don't know. It
just feels really cool to see some of our characters
look backwards and you get to see how far they've come.

Speaker 1 (48:35):
Yeah, I think so too, And it's always nice when
they do that. I mean, it's kind of the same
thing they were doing with Nathan and Ian Kelen. Yeah,
where they're just reminding you, hey, audience, we're bringing in
this sort of younger version of these people, so you
can see how far our characters have grown. So that
was a good point. I didn't think about that, the
way that the two of them. She kind of mirrored

(48:57):
Brook and he mirrored Nathan. That's nice.

Speaker 4 (48:59):
Yeah, it's kind of cool to see it and to go, wow,
these people really have grown. And then I guess at
the end of the episode, we know the boys are
going to advocate for Ian, and Chloe shows up and says,
I want to pick you guys, and you go like,
oh my god, we're really in these milestone moments here. Special.

Speaker 5 (49:18):
There's a vibe right now where you can kind of
tell the writer's room is like, is this going to
be our last season because everyone is kind of ramping
up to a happy ending right now.

Speaker 4 (49:29):
Yeah, And we thought it was yeah, because.

Speaker 5 (49:31):
At this point we didn't know. So it's like they
were doing their due diligence of like, all right, if
this is the end of it, then let's make sure
we're in a position to give everyone, you know, a
satisfying send off. Yeah, all right movie Mama asks if,

(49:58):
as a parent and uncle bonus whatever, you could impart
one lesson onto the kids, what would that lesson be
and why do you think that particular lesson is the
most important?

Speaker 1 (50:10):
Wow, that's so huge, that's such a massive Yeah, it's
a big one.

Speaker 5 (50:15):
I think mine would be something along the lines of
just do you you know, because I know for myself,
I spent so much of my life trying to just
figure out what I thought other people wanted me to be,
and as opposed to just being like, this is who
I am, I'm going to show up as this, And

(50:37):
I think I would have saved myself boy a lot
of headaches and wasted energy had someone just been like, hey, Bud,
you're great, You're enough.

Speaker 4 (50:46):
Just do you Yeah? I remember, you know, getting asked
something like this when we were filming, and yeah, it's
ironic that you choose that word, rob because I remember
I remember saying it and then thinking, oh God, am
I saying that for someone? Or am I saying that
because I maybe always needed to hear it to not

(51:07):
worry so much about being someone else's definition of enough.
You know, when you're young, you don't really you don't
have anything to necessarily understand yourself up against, which is
sort of the point, right, there's only one you. And
it's interesting that in my twenties I wish I could

(51:27):
have had that, and so maybe that's why I've repeated
it into my forties. But when I think about really
little kids, you know what was so special for all
of us about having Jackson on set, and you know
now that everyone has children in their lives, it's like
my wish for them would almost be that younger version

(51:48):
of the same energy, which is, you're safe here and
you're seen. You can express anything, and let's figure out
how to express in the healthiest of ways, you know,
where they feel empowered to say what they need to
be brave, or to say the other brave thing, which

(52:10):
is like I don't want that. I don't know, I
don't want to try that. And yes, I might be
encouraged to at some point, like really just to not
shrink themselves, because I wonder if you had more of
that when you were really little, if by the time
you were in your twenties like we all were at
this point, you might you might not even be so

(52:32):
worried about the enoughness that we were all clearly questioning.

Speaker 1 (52:36):
Then that's safety is such a big it's such a
big thing. I mean, that's the thing that causes us
to make mistakes or not make mistakes, Like the fear
of making a mistake and trying to be perfect you
is because essentially we don't feel safe that we can

(52:57):
just mess up and be ourselves. And I mean, I
truly think that what you decide what you think about
God affects everything else in your life. Everything else bleeds
out from that fundamental place. So my advice would be
to pursue that above everything else, Like, make decisions about

(53:19):
what you believe in, what you think about that, And
if you can find that place of safety, then everything
feels free. You don't have to worry all the time
about like if you're performing well enough, if you are enough,
if you're accepted. If you are you're accepted, and you're safe.
So everything else can just come out of a place

(53:39):
of curiosity and gratitude. But if you don't make a
decision about that, then I think there's just constant chaos.
That's been my experience anyway, great question, movie, Mama.

Speaker 5 (53:52):
Yeah, let's spin a wheel. Most likely to stay calm
during a crisis. Immediate character answer is Dan Scott. Yeah,

(54:12):
probably because he's the one who started the crisis, but
he is definitely the eye of the storm.

Speaker 1 (54:17):
Oh yeah, that's my default. I don't know how you
guys feel when crisis things happen. It's probably from like
childhood trauma. Like I just immediately go into like I.

Speaker 4 (54:27):
Will handle this.

Speaker 1 (54:28):
I must be in control, so I tend to settle.
It's like go way down when there's some sort of crisis.
How do you guys handle emergency situations?

Speaker 5 (54:40):
Yeah, I get a similar. Everything kind of gets stripped away,
like it gets pretty like nuts and bolts, just what
need like what needs to happen, you know, I think, Yeah,
I think I kind of slowed down, Which is funny
because there are very small things that will happen around
the house that I will be so tight and like

(55:02):
worked up over, but then when something huge happens, it's
like okay, X and then Y and then Z, Yeah
it's gonna be fine.

Speaker 4 (55:10):
I'm exactly the same. It's like a noise at a
pitch that is hard for me, makes me feel like
someone is carving into my bones. But like there could
be a natural disaster and I am like, got it.
I can organize the team. This is what we're doing.
You three have a job. You two have a job.
This person's doing this. I'm gonna go do this. Everybody
stay calm, keep your voice. And it's the weirdest thing,

(55:34):
but I yeah, I don't know if that comes from,
you know, having been a camp counselor or what. But
it's like, I don't stress when something enormous is happening,
but small, small things going wrong can like really trip up.

Speaker 1 (55:49):
Especially when it's like one after another in a day
and they're just dumb little things. But yeah, it starts
to great on your nerves harder.

Speaker 5 (56:02):
All right, next week episode No, what have we got
to see? Season eight, episode seventeen, The Smoker, you get
the player, you get interesting attempt at a sentence.

Speaker 4 (56:15):
I'm going to need some information as to how that
made it.

Speaker 1 (56:19):
Give me a little context here.

Speaker 5 (56:21):
Yeah, well guess what you got to tune in next
week for that context is coming at you.

Speaker 4 (56:26):
But you have to wait.

Speaker 5 (56:27):
Come back, Thanks everybody, lady, see you later.

Speaker 1 (56:31):
Hey, thanks for listening.

Speaker 4 (56:33):
Don't forget to leave us a review. You can also
follow us on Instagram at drama Queen's Oth.

Speaker 3 (56:38):
Or email us at Drama Queens at iHeartRadio dot com.

Speaker 1 (56:43):
See you next time.

Speaker 2 (56:45):
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all about the high school queens.

Speaker 4 (56:50):
Forever We'll take you for a ride at our comic
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Speaker 3 (56:55):
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Speaker 4 (56:58):
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