Drama Queens - Don’t Wear Flip Flops to a Show Down • Ep 904

Episode Date: August 18, 2025

Rob re-lives the most painful and powerful episode of One Tree Hill , and who he credits for making it achingly authentic.    Plus, did you notice the Breaking Bad Easter Egg? And who was the mastermind this whole time? Rob’s theory is starting to sound more convincing with every episode recapped!!See omnystudio.com/listener for privacy information.

This is an I-Heart podcast. It may look different, but native culture is alive. My name is Nicole Garcia, and on Burn Sage, Burn Bridges, we aim to explore that culture. Somewhere along the way, it turned into this full-fledged award-winning comic shop. That's Dr. Lee Francis IV, who opened the first Native comic bookshop. Explore his story along with many other native stories on the show, Burn Sage, Burn Bridges. Listen to Burn Sage Burn Bridges. Listen to Burn Sage Burn Bridges on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts.

First of all, you don't know me. We're 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, cheering for the right team. Drama queens, drama queens, smart girl, rough girl, fashion but you'll tough girl, you could sit with us, girl. Drama queens, drama queens, drama queens, drama queens, drama queens, drama queens. Hold on to your butts Because we got an episode for you today

We have Sof, Joy, and myself here to discuss Season 9, Episode 4 Don't You Want to Share the Guilt? aired February 1st, 2012. Synopsis reads Haley and Jamie anxiously await Nathan's return as Julian deals with his guilt.

Brooke helps Haley confront a new rival cafe and its difficult owner. Meanwhile, Chase's new girl has a complicated secret, and Quinn takes extreme measures that help Clay realize he's worse off than he thought. Directed by our very own editor extraordinaire, Les Butler, and written by Nikki Shefflebone. There was a lot. There's a lot going on. A lot happening in this episode. I mean, I wasn't getting so much of the whiplash that I feel like we've gotten in some of the other episodes recently where it's just like, what kind of show ever we even watching? So I was glad for

that but what i mean okay well let's let's start with you want to just start from the beginning or do we want to start favorite storylines where who's feeling what t us off joy where do you want to jump in okay i'll start with my favorite because i like to be positive look i loved what austin was doing i loved your stuff with him sophia this it was such a grounding centered place to land continually, like every time we came back to watching Austin work, he could have so easily overplayed all of that. And he just didn't. He was just so still. And it really made me feel the pain of what he was going through. And I feel like it centered all of the other wild stuff that was happening all around us, even though everyone was in pain, except Haley, who just

was absorbing everyone's pain, trying to put a silver lining on everything all the time. Yeah, that was my fave. Well, and I think one of the things I realized going back, you know, even just over my notes, particularly because Julian and Clay have been able to embrace their quirks, you know, you guys are both so good at your particular brands of oddball humor. there was something really special about having Clay's storyline be so heightened

and you know kind of at the boiling point of what he was going through and then to have Julian on the other side completely hitting rock bottom it took this thing that you guys do really well whether you're in scenes together or not and it kind of tipped the scales in opposite directions

and I really enjoyed all of it. And I thought it was so nice because the experience I got to have, you know, playing Brooke opposite this Julian. And then as a viewer, getting to watch Quinn opposite this Clay, I was like, oh my God, it sort of took us to the margins of the story. Yeah. And I really loved it. Yeah, the internal guilt versus the, what it seemed like you were, how you were processing everything as Clay was so, there was so much external stuff because you're, it's, it's so related. to physical activity that you don't know how to wrap your brain around. Like you're wandering

out in the middle of the night and you're buying drugs from people that you don't remember doing it or it's just there was so much external to echo what Sophia is saying that this this balance that happened. Actually, yeah, it felt really nice. Yeah. And it was nice too, you know, to your point, Joy, the foreboding that we don't know is foreboding until the end. you know, when we discover that the moose is on the ground and Nathan is missing, it's like things seem to be going pretty okay for Haley, and she gets to be the center that's very calm, almost like the eye of the storm, and people, the women get to come in and out dealing with what they are having to sort of carry

or juggle in their partnership. And I don't know, it really, it felt so authentic to me as, crazy as the circumstances are, you know, in Tree Hill. Like, it all worked. You got to see friends trying to process difficulty together. And it was, I just thought the whole thing really tracked. I really loved to piggyback on what you were saying, even the stillness of Austin's world as Julian, even the fact that they chose to start the episode in slow motion. Yeah. So you could see the conversation between us, even though it was wordless, I thought was so smart because you felt the air kind of getting sucked out of him. Yeah. And to start the episode in that place

already put us all in such a, I don't know, such a heightened sense of sensitivity and nervousness as viewers. Yeah, because what do you do as a parent when you walk up to the other parent. Do you hug them or do you walk, like, I mean, it was an impossible choice. I felt, I felt for Brooke. And you did such a great job with that because I saw the conflict in your face. It wasn't just pure anger or pure relief or pure anything. It was just all of the things at once. And there's like, I don't, I do not even know what to do with you right now. I just have to go check on my, on my child. But it also was heartbreaking. Like, oh God, Julian's just there all I felt for both Julian and Brooke because it also just felt extraordinarily real because I feel

like so often in life things aren't black and white. There's lots of shades of gray involved as much as I want things to be black and white all the time. That's just not the way the real world works. And this was a great example of that where I completely understand wanting to just lay into your partner. I completely understand wanting to just make your partner feel good, my response would probably be somewhere in the middle, hopefully leaning closer to the compassion side of it, because that's the scariest thing that can happen to you as a parent. But what was so good about it was that it seemed like something that could happen to anyone.

He wasn't being negligent. Like, anyone who has inexperienced parenting, like, you know you were constantly keeping several spinning plates moving at the same time. Especially with twins. Especially with twins. And so it is very easy for something to just, if it's not directly in front of you, kind of go to the back of the queue. And so it was one of those, I felt for him because this wasn't him waiting for Brooke to not be mad at him. You know, there's the kind of things where like you goof up and you're just like, ah, this, I'm going to feel like crap until my partner lets me off the hook.

This wasn't that. This was a matter of he has himself on the hook. And where I felt for him is the only sort of way out through that, the only fix for that is time. Yeah. Yeah. And so just when you're in it, man, you are just steeped in it. That's what made his scene so good to me that he was taking the time

and where he could have really leaned into the mellow drama and been sort of all the self-flogging and everything. You just, he's so good. You just know, he knows what to do. He knows that all you have to do is think. you just have to think and feel what your character's feeling and thinking and the camera will pick it up you don't have to do anything and he did that and I really felt that in the car when he was sitting there I mean talk about just needing to take time the days go by and you just try and figure out how to function normally and how to hit him walking to the car and stepping on the glass that was in the sidewalk and knowing where the glass came from he just let the wheels spin and across to less the director for letting him just do that, just letting the camera sit on him so he could do that because that allowed us to feel it as well. Yeah, and I really was grateful to your point about

time. Obviously, I remember the storyline. I didn't remember all of the specific scenes, but I was really grateful, especially to your point, Rob, of really understanding how gray all this is, that they didn't make either of us rush it. They let him be. in grief and shame they they let me be unsure we didn't do the thing where brook was like of course it was an accident it's okay don't worry i got to be nervous about how do i look at this person that i love and ever trust them again and everybody got to take their time and i thought that it was such a beautiful thing i forgot about that scene in the car and when he was sitting in there so emotional, you know, just eyes, bloodshot, tears streaming down

his face. I was like, oh my God, he's trying to feel the heat. I didn't remember that I got in the car, you guys. And then the door opened and I was like, oh my God, oh my God, the scene, oh, I remember this. And I immediately, as soon as that scene was over, I texted Austin. And he was like, wait, oh my God, I forgot about that scene. And I was like, I did do. And then we sat just talking about this and we just talked about how how glad we are that we got to have that and that we got to end on something so real for these characters or I guess build into the ending you know and it jogged my memory to how both of us really poured over stories where this has happened where the kid's been okay and then the awful stories where the kid hasn't been okay and even at the time trying to

figure out how to play it. You know, we were, we were into the advent of social media. We were two, I don't know, three or four years into Twitter existing. And I remember it like, it came at me almost like a scene I watched. I remember saying, you know, these are the kinds of headlines you read on Twitter and you immediately say those people are monsters. But those people are people. They're people who are, as you said, juggling so many plates. They made a mistake. They forgot something. Their day didn't go according to plan and they were on autopilot. And how do we humanize the whole experience? And it's crazy to look back and have all this really visceral emotion and go, wow, I actually think it really worked. Like this is one of those moments

as an actor. I'm really proud of our show. Yeah, it worked really well. And as you're just saying this. I'm just thinking about, you know, Joy, you're saying that you didn't have any whiplash in this episode. And I agree with you. I would contend that it, but it, the current storytelling is not balanced. Because I feel like the brilliant stuff is so real and grounded. Yes. I feel like the mouth milly stuff is so stupid. Oh, you're right. I forgot about that. Yes. Yeah. Yeah. And And then the clay stuff, honestly, is just so out there, which I wanted to get to because you open an episode talking about it, and be completely candid. Did the clay stuff work for you in this episode?

You work for me in this episode. And the two of you work in this episode because you're good actors. I think you both deserved better writing. Yeah, I would echo that because what I've, actually, it's funny that you bring this up, Rob, because this thought did come to me while I was watching it. I was just like, they have no idea who Clay is, and they don't know what to do with him. And they just have started throwing things at the wall. And so now we're watching him go through this totally random experience that there's been no foreshadowing for, there's been no precedent for.

It really frustrated me. It frustrated me as a viewer, because viewers deserve better. It frustrated me as an actor empathizing with you because you have so much to give and to be in an environment where you're being underutilized was irritating. So all that to say, yeah, I echo what Sophia said. Like you made it work the best that you could. There's nothing. Daniel D. Lewis couldn't have done it better, Rob. Like, it's just the writing made no sense for your character. So you just had to make it work the best you could. Yeah. And I was just curious because, you know, sometimes when you watch your own stuff, you are bringing so much extra baggage that no one else in the world is. This was one of those

ones where I watched it and I was just like, you can't tell. How am I on? What am I, what, how am I on the show? This is garbage. I will say though, as once I sort of step back from that nature of reaction, I kind of went, but to be fair, I really, I really, remember doing this and I didn't know what I was doing. Because the problem was- Because they didn't know what they were writing. Because they didn't know what they were writing. Also, like, no one knows what a fugue state is. It's not like you were talking about sleepwalking where everyone kind of has a reference point for it. You are now going to bring up this obscure condition that no one knows. And here's the problem is we weren't playing, like, if you're going to have a ghost in a story,

that's fine. But you need to establish the rules of the ghost. in the world to the audience. Okay, for sure. This person can see it. No one can touch it. It can't touch anything. Like, you have to do that so then we can all sort of buy in and be on the ride together. With this stuff with Clay, he's like, I don't know what I'm doing.

There were so many parts from like, then how did you drive back to meet the guy? Yeah. How did Quinn suddenly know where he was? Is he the world's worst drug dealer sitting at a public park next to children? Yeah. Like, all of it was so fucking. stupid. Sorry, I know we're going to believe that, but I needed for me to say that. No, you just let it out, honey.

It may look different, but native culture is very alive. My name is Nicole Garcia, and on Burn Sage, Burn Bridges, we aim to explore that culture. It was a huge honor to become a television writer, because it does feel oddly, like, very traditional. It feels like Bob Dylan going electric, that this is something. that we've been doing for a 10th of years, you carry with you a sense of purpose and confidence. That's Sierra Taylor Ornelis, who with Rutherford Falls became the first native showrunner in television history.

On the podcast, Burn Sage, Burn Bridges, we explore her story, along with other Native stories, such as the creation of the first Native Comic-Con or the importance of reservation basketball. Every day, native people are striving to keep traditions alive while navigating the modern world. Influencing and bringing our culture into the mainstream. Listen to Burn Sage Burn Bridges on the IHeart Radio app,

Apple Podcasts, or wherever you get your podcasts. Kudos to the actor Manu who committed as a drug dealer. And in the big gold stars to Chantelle. Because I thought she did great. Sure. Well, and by the way, know what just clicked for me when you guys were talking and Joy, you said it. They have no idea who Clay is right now. They know they love Clay and Quinn together. So they don't want to break

them up. So they have to figure out conflict. And somebody watched Breaking Bad and said, well, Brian Cranston's character faked a fugue state. What if someone had a real one? And it's like, that's literally the only example of a fugue's date anyone knows is that a smart professor faked one once? Wait, wait, we stole this from Breaking Bad? 100%. I haven't seen Breaking Bad yet. Oh my God. Oh, my God.

You guys. That's incredible. I love that. That does not surprise me at all. What clicked for me because I, the way that I was like, oh, this is so annoying for you. It's like they rushed. It's almost like we met a character who went on a first date and by the end of the first date proposed. It's like, what are you talking about?

You've been to dinner once. The shift is so fast. And what struck me is, similarly, now that Alex is gone, they don't know what to do with Chase. So they basically turn Chase into the first time we see Clay. Let's put him back in the position where hot chicks are throwing themselves at him and he has to be better, but he's still going to bang him. Like, they literally are insufferable about, like, dudes and women.

And so they only have a few ideas. So they stole one from Breaking Bad and then they literally just put Stephen into like your original role with the Kylie character and we're like, eh, we'll make her Chris Keller's girlfriend, good enough. And it's like, look what they're doing for the rest of us. We know they're capable. It just seems like maybe they're not capable consistently. Especially knowing that this was our last season because now everybody really knew. We had the contracts in place. Everything was done after this season. You had 13 episodes. that's what you're going to do with your 13 episodes? Like, and not just you, like the Chase stuff and the mouth stuff, the mouth stuff, it's just like you've got a show that's so beloved with, I mean, you could have called back to season one in such, not you, you know, as the writer's room, the decisions that were being made up top, man, they could have gone back to so many amazing, that thing that people fell in love with with the show in the first place, which was not hot. drama trying to compete with vampire diaries and the OC and all of these things. It was just, as Hillary used to say, so eloquently, it's kids feeling their feelings. Yes. And I really, I really would have loved more of that opportunity to wrap this show. It does a disservice to the

character of Quinn. Because, first of all, she has the grace and patience and compassion of Mother Teresa like monastic level of grace and patience and yeah but also like leave at a certain point like it to me it's the disservice is she has no life outside of clay on the show yeah yes that clay is her everything and after clay even whether you're struggling or not like speaks to her the way he does oh yeah so he's manipulative he's gaslighting now he's actually just being verbally abusive leaves her in a park after a drug dealer attacks them and just walks away and leaves her there. Bye, honey. Bye, bye.

And that her response is to go to Haley and be like, I'm just worried about losing him. It's like, what? Yeah. No. I didn't, again, that was another thing. I was just like, what? This is a disservice to both of these characters, man. I feel bad for Nikki having to write this episode because you know it was handed to her and it was like, here's what's happening.

You just have to make it work. And she's like, oh, okay. Because she's a really good writer. Of course. This is so frustrating. Well, and I think what's interesting is episodes like this can really be such a window into a writer's strong suit because you see how well she did for my stuff, me and Austin stuff. Yeah. And the stuff that she was essentially told, like, I don't care if you like it or not, you're going to write it.

It's like, okay. So I can do a really bang up job if you give me permission. to do something great and if you want me to do like 101 stick figures like sure because you just got it you want this to happen so the next thing can happen in the next episode and I don't envy the writers that there are battles that are not worth fighting everybody's got battles that aren't worth fighting in life and stuff like this isn't one of them I will say on the subject of disservice as absolutely trash as this mouth and Millie's storyline is, the levity of putting skills in it is so great. And the fact that he turns into the

couples therapist on air, it's not particularly well written. It could have been so much better. But Antoine's energy in it suddenly makes the whole thing almost a little camp. It was him. That's totally him. Thank God for this. Because at least, at least what it allows for is that they finally start talking to each other because they have a third person in the room to say, have you ever considered she feels this way? Have you ever considered he feels this way? And he brought the exact, correct amount of stakes

and weight to the conversation that it deserved. I think the problem with it thus far has been that it's been treated like this big thing and we can't talk about. It's like they have built it up when it's like, he comes in and he does what we all are thinking, which is like, okay, You've gained some weight.

You came at him wrong and you're not being empathetic. You know, like... Yeah. Let's wrap it. He immediately right-sized it. Yes. Yeah, he did.

And when he looks at Lisa and goes, imagine if you became hungry a beau. And I was like, oh, my stop! It was such a good line. Yeah, we needed that. We definitely needed that. I'm really hoping this wraps up soon, this storyline. Like, please.

His makeup is not consistent. The opening scene in the studio with the two Or like one of the first scenes we see with them And this is the first time we see them in the studio In this episode It looks like they were halfway Into doing like aging him up prosthetics Like they were trying to make him look 65

And then went oh shit we got to act This is the wrong makeup Because if you go back and watch that He looks more geriatric than overweight I wonder if it was the lighting too Because like they were trying to set lights For like morning show TV But they're on an act

actual set for an actual TV show. So I wonder if that made, go ahead. Well, I was also going to say, don't forget, this is also right around when cameras started being in 4K. When we shot on film, yeah, that's true. Film softens things like prosthetics, which you need in film and television. And going to, you know, this crazy hyper-focused digital, like, oh my God, you know, probably TMI, But when Austin and I did that scene in the car, thank God I was very swayed by the emotion. When I first got in the car, I was like, that's a great period breakout. I have like up my chin and the side of my face. Oh, I didn't even notice.

Oh, it's like you can see every pore on everyone's face. Nobody needs that. Whoever invented the 4K camera, please put the genie back in the bottle. Like, it's not good for it. I do miss film. I miss it. And it really makes, depending on the light, it makes the prosthetics look. so obviously prosthetic that you can see like the silicone tape pulling his skin around.

I don't know. It's not. Yeah. Nobody had figured out how to make it. There's just different skill sets needed for for that level of film. Real quick, going back to that scene with Julian in the car, did either of you think, because I didn't remember the scene at all, at the top of the scene, did either of you think he was in the garage letting the car just run? Yep. I did. But I did. didn't think he was suicidal at all. I just thought this is so strange. Why did no one catch that he's in the garage with the car running and that that's a really terrible idea? Was it supposed to be in front of the house and that was the garage door behind you? Because it sure seemed like it was an interior location. Oh, I still think it was in the garage, wasn't it? It looked interior. I think

he was, I think he was running the battery, but not the engine. Yeah. Don't you have to run the engine for AC and he? I don't know. I don't think so. Let's pretend you don't. Okay. Otherwise, it's weird that then you get in the car and also don't turn it off. And I was like, what? Yeah. What are we doing here, gang? Yeah. You know what was really interesting? As much as I was like, this looks, this looks dark, as soon as he said, I can only get it up to 84 degrees. Mm-hmm. Immediately all of that was gone for me and I was so heartbroken for him. Yeah. So bless that disbelief.

I loved that choice that Nikki made to put him in that situation. That is so, you know, the way that when you know you've done something wrong and, you know, you didn't do it on purpose. No. Or maybe you did, whatever. And you, but now you're in remorse. The thing, the very natural thing to do, well, I guess there's two things that people. people do either you just try and ignore it and push it away and like pretend it didn't happen or you really want to understand the weight of what you did so that you can either never do it

again or it's some sort of self-punishment because you feel like you have to you deserve some kind of punishment there's like a penance like what what can I do to make up for the fact that I made this bad choice how do I how do I write it how do I fix it and you know upright the boat it just I I thought that was such an interesting, really smart, unexpected thing to see him sitting in that car trying to feel the heat. And I don't even think that it's, I would go even further with what you're saying, Joy. I don't think it's him even trying to understand. I think it's just, it's self-adulation, it's punishment. Yes.

He's so upset with himself. And I think we see that in the scene when the mechanic goes, windows fixed, like it never happened. Right. And even though it's a tad dramatic, I completely understood the moment of him just smashing and going, emotionless, fix it again. Because I've been in that place where I've made it, like, I've really screwed up. And the unheeled part of my brain, all it wants to do is be like, you fucking piece of shit. Yeah. You deserve to be punished.

So it's sort of that like, I deserve it. Yeah, break it. Do it again. I suck. I deserve this. Because when you're pierced by shame that way, you almost. you almost want to make it worse. It's like emotional cutting.

You know, you think, I did this, I deserve this, and he's sitting in that car, not to alleviate anything to feel the thing he can't believe he inflicted on someone else. And it's so, it's so human and it's so tragic. Like, as if you could try and make up for, whatever was done by either experiencing it yourself

or putting yourself through enough punishment that you absolve yourself of the crime. Yeah. Does it ever work? I don't know. But I love seeing him in this very human-relatable moment. Yeah.

If you don't mind, I would like to switch back to the train wreck that is the entire dynamic with Clay's drug dealer, because this to me... You mean I will kill you and then I will set you on fire? Or how about... Is that a threat?

I don't do so good with threats and I was like, no, sir, you don't do so well with threats. Not so well. Not so well. And I just, it felt like if you asked someone's parent who was like a Puritan straight-edge lifestyle person to write a story about like drugs, it feels like this is their first pass.

Yeah, it's like when you hear a girl. grandparent go, have they been smoking the pot? And you're like, no, no the, please stop. It's the facial hair. It's the fact that he's on a bench that is clearly only made for one to two people, very awkward thing to put in a

public bend, or in a public park. He's on the phone with a guy named Demetri saying he's going to take care of it. All of it was just so stupid and on the nose. And then the fact that, like, again, this is an opportunity where we made Quinn look like an idiot.

Because Quinn, first of all, how does she know where a drug dealer was? Because listen, unless you're in some really, really, really rough neighborhood, no one is, this is Tree Hill. No one is standing out next to a tennis court selling drugs to cars walking by. In the dark.

In the dark. So first of all, how'd she find them? Second of all, you make her look. This is a woman who stalked a killer. Successfully stalked a killer. And in this situation, she ran in in shorts and flip-flops and tried to reason with a drug dealer.

It was, and then why is Clay sitting there watching him in his car? Also, Clay gets out, why is he immediately sweaty? He's been sitting in his car. He gets hit once. So the fights literally lasted 10 seconds, and Clay is in a full sweat. Yeah. Yeah. I mean, look, if we're going to deal with a woman who is being gaslit and is trying to feel

her way to reality, and doesn't know up from down. And she's making these really bizarre, erratic decisions because she's lost in this maze that's been created for her by her boyfriend all of a sudden. Okay, let's actually look at that and deal with what that looks like.

Don't just suddenly throw a character that has been super consistent in one way all of a sudden now she's just behaving like a lunatic. We need to understand why. Yeah. It's also, so much of it makes no sense. if she's been going around town all night in the middle of the night, why isn't she in like a pair of sweatpants and a ponytail?

Yes. Like her, she looks like she just stepped out of a photo shoot. Her hair is perfect. She's in little white Daisy Dukes, cute sandals that you'd like wear on a date night to the beach. And I'm like, was anybody reading any of this? Like, was any, what? The whole thing just feels to your, earlier point, Rob, it feels like an outline. It doesn't feel like the final draft. And I don't,

I can't imagine what Nikki was dealing with in the writer's room again, to your point, Joy. She's a phenomenal writer. We all know what they were up against, even though we don't know the day-to-day details. But especially the women in that writer's room, what they were up against. Exactly. There's only so many battles you can fight. And the whole thing is just, it doesn't make sense. will say to pull back and think about the reality of it, I realized so quickly watching all you boys, you sweet, wonderful good sports. I was like, oh, right, fourth episode, season nine, we went back top of July. It was August. It was probably 110 degrees. And every time, Rob, I saw you or Paul or Austin, any of you would turn to walk out of a scene, your whole back would just

be sweat through and I was like oh my god these sweet angels and I and I flashed back to like you know wardrobe putting the fans under your shirts trying to dry the front before they'd do another take yeah I was like you poor dudes in your jeans of course you know nobody else wanted to wear long pants so maybe the sweating wasn't a clay issue perhaps that was just a rob in a hundred degree heat with humidity issue everybody to be everyone all of you I just I One of my favorite notes from this episode is just, you don't wear flip-flops to a shakedown. I think that's the title of this episode, by the way. Yes, please.

It may look different, but native culture is very alive. My name is Nicole Garcia, and on Burn Sage, Burn Bridges, we aim to explore that culture. It was a huge honor to become a television writer because it does feel oddly, like, very traditional. It feels like Bob Dylan going electric, that this is something we've been doing for a hundred of years. You carry with you a sense of purpose and confidence. That's Sierra Taylor Ornellis, who with Rutherford Falls became the first native showrunner in television history. On the podcast, Burn Sage, Burn Bridges, we explore her story, along with other native stories, such as the creation of the first native comic. or the importance of reservation basketball.

Every day, native people are striving to keep traditions alive while navigating the modern world, influencing and bringing our culture into the mainstream. Listen to Burn Sageburn Bridges on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Okay, listen, there was also a lot of great in this episode. so we can move on. We can all acknowledge that

was a very weird detour and hopefully it ends soon. We also should talk about Dan drowning Clay again. Amazing though. Can we talk about Clay's utter lack of peripheral vision? Are you telling me that after,

first of all, what in the Charlie Brown walk is this where I just have my head down walking forward? And you're still in shoes on the beach. At least they're not Oxford's. But you're wearing laced up converse in the wet sand.

And guys, I'm in front of my house. I could have, why have I not taken off my shoes at my house? Like, it makes literally no sense. And then again, so after you could drown once, I think you would tend to just keep your head up more often. But my note is, what looks like, it's time for Clay's yearly drowning courtesy of Dan Scott. And then the best part, though, is that the whole drowning happens,

and Quinn's just standing there. Yeah, she's not running up. She's not like, get her. off him. What are you doing? You crazy man that won't leave my family alone. She just stands there as though she could hear from the beach with the waves and all of the screaming. And that's what they're suggesting because then it's a direct cut to the two of you on your staircase where, to be clear, you would have left your converse because you have a staircase from your house onto the sand. And you're sitting there and she's like, why didn't you tell me you don't remember? And it's

like, so she managed to get up there, listen to the whole conversation you were having with Dan Scott for the details, but not say, don't drown my man's? Like, it was so strange. It would have been amazing if that scene had right as it started that Dan grabs Clay if we had just cut to Quinn and just stayed on her and only heard Dan and Clay in the background. Just so we could see what was happening in Quinn's head that entire time. Like, wait, what's he saying? Do I stop him? What was that?

Wait a second. Maybe he needs this. This is good for him. Oh, actually, I need to know this. It would have been great. Oh, my God. Yeah, I just had to mention that because that was really like, wow. He just keeps showing up to shove you in the water.

I loved you two together, though. I loved how visceral and angry he was. And it felt like it built off of his granted, ridiculously set but serious scene with said drug dealer. And you guys have this, you know, connection. And he's screaming about his son and his family and his grandchild and all the things and gets you to admit something that you haven't been willing to admit to anyone else. And as silly as some of the surrounding circumstances were,

you guys grounded it in something that I really enjoyed watching. I know you hate this in the same way, or Joy would have hated it and have hated certain storylines of ours, to be clear. But like, you still, even though you said earlier, you had no idea what you were supposed to be doing, like you did some really interesting stuff with this, Rob. And I... Yeah.

It's good for your real. I mean, out of all of it. Yeah. It's like, as your friend, I'm like, God, give him better shit. And then on the other side, I'm like, he's really doing some interesting stuff, even in this crazy container. You're beautiful to watch. Thank you for saying that.

I will say that scene. First of all, I always loved working with Paul because he shook me out of my comfort zone. I think I talked about this in the other episode that he directed. And I was very grateful for that. But the other reason was, you know,

you always talk about like, what is the intention you're playing or what's the subtext? Truly, I liked this scene because I, the words matched very closely to what I was feeling in real life, which was, doing. I genuinely don't know what's going on right now. Yeah, you finally got to acknowledge it.

So the words ran very parallel to how I was feeling about Clay's storyline. And so it was just a really easy thing to tap into because I was genuinely going like, I don't know what's happening with my character. I don't know what's going on. Yeah. I don't know. Yeah. Well, and that's why I guess on the stairs when you were talking with Chantelle that it felt so real and dropped in. I loved it. I loved that you, the way that you were talking with her, it was like you finally got to admit that none of this makes any sense. And hopefully, soon, there will be a resolution. And we don't have to keep doing this.

We also had the first appearance of Clay's therapist. Yes. Which David Narona, or Neronia, I think it is, David Neronia, who's lovely. And I know we'll be seeing more of him. Also had another surprise guest star that I forgot. was on the show until she showed up. And I was like, oh, that's right. One Miss Chelsea Kane.

Yep. Oh, did she play Tara? Yeah. Yes. She plays not Alex, who is Tara in the end. Yes. Wait, what? That's the whole, like, gag through the episode is that Chase doesn't.

Oh, that she calls herself Tara or Alex. So no one knows who she is. Oh, okay. Until the end of it. That's right. I will say we had another moment. We talked about this, whatever it was, 901, 902, when it's, like, it takes, like, the fact that Haley hasn't noticed that there's a grand opening of a cafe that is directly across the street from her window, wall or windows, the fact in this episode, she's walking out, at the end of a day, it's clearly evening. So the whole day has passed and is just now noticing a sign that is the size of a billboard yet again.

that's also incorrect that says Karen's cafe hires murders which I'd also like to come to Karen's cafe's defense you've only hired one so technically not correct yeah also who in their right right mind would go eat at a place that is openly I don't know what the right word is whatever openly like bullying their neighbor cafe it's just so dumb the whole thing if I were walking up to the corner of front and grace and saw that, I'd be like, I don't know what this is. I don't want any part of it. I'd turn around and walk right back to my car. Yeah. I wouldn't go into either place. For sure. Like, what is her deal? Why does she have such a bone to pick? It's very strange. It also makes it feel like this town only has two eateries in it. And this is it. And this is it.

Because any normal town, if you saw that happening at a business, you'd be like, that is the most petty small-time thing I've ever Like, it's so unattractive. Are you a couple that broke up? What happened here? Yes. And then we get inside Karen's Cafe later in the episode. And one of the directions we're shooting is out to the street.

And you can't not notice the sign, which just makes it that much funnier that for some reason we're going to like believe Haley hadn't noticed it. Yeah, Haley, who's just like seems fun. She's just polypositive for everybody that's walking into her door. she's got no problems at no point as she looked out her window to notice this massive sign. It's very strange. Sign suspended from our reality, I'm just always really happy to be back in the cafe. Yeah. It's so, it's just such a refreshing place to be and there's something that makes me feel so nostalgic. You know, our characters being in there with their kids,

it's so freaking sweet. And even, I appreciated, even with, you know, Brooke speaking to Haley about what do I do and how do I trust him and what, how do we move on from this? The fact that they gave us a little bit of comedic relief with both the babies and the Bjorns.

Yeah. And that we weren't like wallowing in the back corner. We were still doing things and moving around and, you know, tackling our day. there's something about Karen's cafe that adds like a little bit of upbeat pixie dust to everything and I love it. Yeah, always.

We desperately needed the interplay between Brooke and Haley in this episode. And the tone, which I think this is like a kudos to Nikki, is that rather than having Haley get up in arms about it, she made the wise choice, which was she kept you cool as a cucumber and then eventually just hilarious and petty. because this episode already had too much heavy-handed stuff that if we had another storyline with that, especially a storyline where the stakes aren't that big

yet people are reacting big, it would have just been too much of the same thing. So I love that in the cafe, Haley's just there just dispensing good advice. Just like front, left and center. And then one of my favorite moments of the whole episode, though, was when the two of you go over to the cafe. I remember that day.

You see, so the whole exchange is funny. I mean, so you cracked me up twice once when the hostess who was perfect. She looked familiar. She's someone. She was so great. Did she work on set? Was she one of our PA's maybe that they gave some speaking lines to you? Because she definitely was around more than just that day.

She looked familiar to me, but I couldn't place her. But she was perfect in that role. Absolutely unaffected by you guys. And when she offers the mini muffin and you say something, something to the effect of, no, I don't want any dried up dog turds or something like that I cracked up. But then the best part was when you turned on the strong Mama Brooke energy and you told the boys to drop their forks. I loved it. And in that moment, you see them go from men to boys because you put the fear of God into them and they dropped their forks and leave was so perfect.

Oh, thanks, pal. You know what I loved about it? Is it the counter? It's high school Brooke and Haley. It's Brooke getting really like, I can, you know, she's like about to go on a rant and Haley's like, nope, we're not doing this. And then she gets to direct the energy at the boys. And it is like full mama there. And it, oh, God, it was so fun to get to play that stuff, especially with the stroller. Like, let's go and just push the babies. It's ridiculous. And I loved it.

It was, that was all so good. And speaking of food, the last, so first of all, two weird things with food, the overcorrection by mouth, once he has had time to think about it all, you know, weigh it from Millie's point of view, the fact that they go to the restaurant, and it's just so heavy-handed where the waiter's like, the chef has prepared a truffle butter and lard sauce for you with starch. And he goes, no, I'll have a house salad, no dressing. And, like, guy, listen, just eat a salad. You don't have to be like, come on. You can eat and some chicken. You're okay. Yeah.

Protein's good for you. And then bless her heart, because I know she's just doing it to be a team player, the fact that Millie goes, I'll have the same. It's like, Millie, you don't hate yourself. Why? Also, you don't have any weight to lose, babe? No. Yes.

It's just, but then the end of the episode that for their storyline, at least, when mouth opens the freezer. The freezer. Come on. You know what it felt like? Did you ever watch that movie Flight with Denzel Washington? He played the pilot who had the drinking problem. And there's that whole thing at the end

where the, like, the mini bottle is like sitting on the counter and it's just him looking at it. And then eventually he swipes it. I felt like they were trying to do a similar thing with like Hogandah's bars with mouth. He's like looking and he's debating and he closed it and he opens it and grabs a box. I'm like, why are we trying to treat this as a drama, this storyline?

Yeah. Also, they keep infusing it with shame in a way that I'm just like, why is this the angle? If this is the storyline, why does it have to be this thing? Yeah. It's just, it's lazy. There's no other word for it. I mean, they were in a room. Somebody said, let's have mouth gain a bunch of weight.

And for some reason, nobody was either allowed to argue it, or no one did and it just got stuck on the board. And the weird thing is you see them make other better choices. Like when Chase is going down the bar from mouth to clay to Julian. Oh yeah, I forgot about that. It was good. And then shifts back in the other direction and realizes everybody's in the midst of some problems. That's great writing.

I want to see you guys in that scene. I want to see you figuring out your stuff together. It works just as well as it did when it was clay. Nathan and Kellerman and Chase. And it's like, give us more of that and less of the weird, let's shame people and make them seem weak in the middle of the night with ice cream. It's just strange. Yeah.

And also it did the, it's happened again where we have, it wasn't quite the coda yet, but we have the same song playing over essentially three vignettes. One, Julian. He could have taken. taken his child's life, and he is in immense pain. Clay is genuinely losing his mind and about to go to a mental hospital. Mouth really wants an ice cream sandwich at 10 p.m. Again, you can't put the ice cream sandwich in between the other two storylines with the same

music and not have me go, what the what is that doing here? What? Yeah. Change the music. Put it in a different spot. It's not correct. It's not correct. It's all so, so bad.

It's not correct. And then we have Dan, who we have to talk about because he's doing his Dan thing. He's bouncing around to everybody's storyline interfering and inserting himself. And this look that he gives as Nathan's car drives away. By the way, I'm fully on board with your theory now that he's the one that sets up all this. The Russians and the drug dealer? and the drug dealer's on the phone with a guy named Dimitri.

I'm like, okay. Yeah, I think for sure Dan has set this whole thing, especially because he looks at Haley and he goes, she's like, you got to go. Basically like, so, okay, back your stuff and get out of here.

And he's like, I'll go as soon as he gets home or as gets back. Once he gets here, I'll leave. It was so pointed the way he said it. I was like, oh, and he knows. Oh, he's totally set this up. And did you catch?

She comes out. to find him. She's clearly walked around the house, doesn't know where he is. He is sitting on that chair overlooking the pool and the lawn and the dock and the river, like a king surveying his castle. Yeah. Drinking another man scotch. That's a guy with a plan. I was so excited to talk about this with you because when I saw that scene, I was, I almost text you to be like, hey, hey, did you got, were you thinking of me and my theory on this one? Like put on the tinfoil hat with me because after that moment, and then for some reason, I thought he got abducted in Europe. So once I realized we were back in the Wilmington airport for that scene, I was like, oh,

this is a rap. This is 100% Dan. Yes, 100%. And they've given you just enough of a connection with Dan earlier in the day, yelling at the drug dealer about his family. My grandson plays in this park to give him the plausible deniability that he pissed off the same guy who pulled a gun on Clay and Quinn. But it's like, did he piss him off or did he maybe make a deal? I do not know, but I can't wait to find out. But that look he gave when the car drove off as Nathan, wait, wasn't Nathan driving away? Who was it? It was. It was Nathan getting in his car to go to the airport. Yeah. Yeah, that look that he gave. And he said, don't worry. I'm not going anywhere.

Yeah. Also, it was out of character because this whole time, Dan has been very hat and hand, sweet and gracious with Haley. He has been towing a line for sure. And there was a very big energetic shift because she clearly was coming out going, the subtext was, all right, bud, it's your time to hit the bricks. Yeah, I gave you your chance. Yes.

You did a nice thing. Okay, thank you. Yes. goodbye. And so everything he's up to this point would dictate that he would be like, absolutely gone. Don't make it weird. Just go on. The fact was he dismissed you.

Yeah. And like I said, in a knowing way, said, I'll leave when he gets here. And he's drinking the scotch clearly in no rush. He looks like he's holding in a smirk when he's drinking that scotch. He swirls the ice cube around and he just looks like he's loving it. It's a man with the secret. And it made me think. about the beginning when Dan and Jamie are making smores.

And Jamie asks, did you guys ever go camping, talking about Nathan? And Dan kind of grins at him, like, and he goes, we never got the chance. Wait, I'm not getting it. I'm not following that one. He kind of, I literally, after I watched the Scotch scene, I rewound to the smore scene, because I was like, wait, is he making a hint of this? same face and it feels if you go back and watch it it feels like he's saying something to jamie like i never got the chance with nathan but i'm making up for it now like i'm getting all my

chances back with you it's like i really started in the in the tinfoil hat way to be like oh my god if dan is the architect of all of this it's like he's having that thought that he can he can relive his failed fatherhood with his grandson. The only person in the way is the son. And actually, what makes sense about him orchestrating this whole thing with Nathan, too, is so he's rescued the son. He saved Nathan's reputation, but it still wasn't enough. So the fact that the only thing left for Dan to do in order to gain Nathan's confidence would be

to save Nathan. Yeah. Because that's the only thing that would actually make him perhaps grateful enough to keep him around. Uh-huh. And let's not forget in 901,

at two different points, the line is repeated about that hell is empty and the devils are here on earth. And both times they said that, Dan Scott was in the shot. Yes. Oh, I didn't notice that.

Yes. Okay. I got to tell you what, this tinful hat's starting to feel good, you guys. I like it. You guys, is this how people wind up becoming conspiracy theorists? There it is. This rabbit hole is warm and cozy.

I get it. Yeah. This is how you cut to 4 a.m. on Reddit, just like, this must be true. You know what's funny, though? I looked, we posted, I think, something about us talking, like, I think me pitching one of my little theories about Dan. And I was surprised because when it was posted, I looked at the comments. And there were, like, the first five were all like, I agree. Or I thought the same thing.

And I was like, oh, I thought if people were going to be coming in to be like, you idiot it actually is disproven and said everyone was like yeah man tracks so we might be on to something maybe we never find out i don't even know i don't remember i don't either which feels fun well what's next i mean okay so now we've got clay's checking into the facility for to give some help that facility is the same hospital that clay and quinn walked out of post getting shot yeah it's all there's only one medical facility in all of tree hill they handle everything i think they put a they put a new sign on it but that is very much the same entrance that we left when we got healthy yeah they handle everything okay so clay's checking into a facility broken julian are okay babies are okay so we're moving on

from that mouth is going to start losing weight so resolving that storyline i hope fast um and what else is left oh so we've got the cafe stuff that's still going on and we've got Nathan's going to go missing. Oh, let's just quickly say how great the scene was with you guys bringing babies to a prank in real time

when you went up and stripped the sign off of the cafe. That was so cute. And then the fact that you guys ran, again, talking about you being teenage Brooke and Haley, the fact that it was basically like you got busted

and so you, except this time you had to grab a stroller full of children and run. It was so funny. It's like getting caught toilet papering a house. Yeah.

But now we're moms. I kind of wish that they had put us in black catsuits like they did with Karen and Deb. Remember when they went up on the billboard, Dan's billboard? Yes. And then me and DeNeil in the school. Yeah, that's right. I know. It would have been so fun to do that callback because we're like the Karen and Deb of the situation.

Yes. But yeah, that was a really cute little stunt. What also would have been really great and believable because obviously Brooke Davis, I just think would never get rid of anything. if I was back in my high school cat suit and you were in Rachel's and it was like, you just had these? And it's like, of course I had these.

I've had them since senior year. I can't believe you're still making me put on costumes. I'm doing it just for you. It would have been so cute. Also, be remiss to not say that Stephen Kledi is very funny. He's very funny. He is.

I really appreciated his comic timing in this too. Yeah. So natural. And also just, you can't miss the moments of when, like, to just, you so feel our boss in a script when it's like 11 times. I'm like, oh. It's so gross. I'm also like, really, you think women behave like that, okay.

And this girl's going to sit there and be like, yeah, how's her ass? Like, what? So it's boring. Thank God for Stephen, though, because he was funny in the midst of that. And then, of course, Tyler is just so freaking funny as Chris Keller. So thankfully, those two kind of booed it. Yes. But the context was

It was not great And then I'm like okay And then this like wildly beautiful party girl Is the mystery owner of the cafe next door It's so So set up So silly But to your point

Stephen and Tyler are both Such great actors in terms of their comedic timing And Chelsea was such a good sport And I think you know, the behind the scenes reality that she was actually Stephen's girlfriend let that, like they, it gave them a little bit of

like a spice playing with each other that was probably really fun for them in real time where they could laugh and I would hope that Chelsea didn't feel exploited in the way the character was and was like, this is so insane and ridiculous and I'm having fun at work with my boyfriend. So fingers crossed because

our boss is all over it and I hate it for all of them, but I'm impressed with their talent. It may look different, but Native culture is very alive. My name is Nicole Garcia, and on Burn Sage, Burn Bridges, we aim to explore that culture. It was a huge honor to become a television writer because it does feel oddly, like, very traditional. It feels like Bob Dylan going electric, that this is something we've been doing for hundreds of years. you carry with you a sense of purpose and confidence. That's Sierra Teller Ornales, who with Rutherford Falls became the first native showrunner in television history.

On the podcast, Burn Sage Burn Bridges, we explore her story, along with other Native stories, such as the creation of the first Native Comic-Con or the importance of reservation basketball. Every day, Native people are striving to keep traditions alive while navigating the modern world, influencing and bringing our culture. into the mainstream. Listen to Burn Sage Burn Bridges on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. So our fan question is actually perfect

because this was going to be the last thing from my notes I wanted to bring up. So let's just read the question. It's from Taylor. Oh, yeah. Taylor asks, is it true that Joy ad-libbed that line to Julian about when Jamie fell in the pool?

how often were you able to ad lib or change your character's lines or the director's more lenient in the final season? Because when you told that story to Julian, that was in my notes where I was like, oh, is this something we're just retconning that we've never seen or is this an actual moment from one through six that I just missed? It is an actual moment that happened. And my memory is a little fuzzy on it.

It was ad-lib, I do remember, but I don't, what I don't remember is if it was, in the script and I just didn't the words weren't really coming out of my mouth the right way so I just was like I'm just going to put this script away and I'm going to tell you this story and that's what we'll use or if I think it might have been a little bit more vague like Haley saying you know parents make mistakes and that's part of parenthood it's what we do all the time and I was like wait wait a second we like my kid almost died and it was our fault too like let me share that story with him yeah um so i don't remember which it was but yeah either way it whatever was on the page didn't make enough sense for me and it made the scene feel i think i was as i said you know haley was poly positive for everybody in the episode but this needed to be a lot more grounded and and real yeah and it was such a i mean as a viewer you know because this this is a scene that happened, Rob, after we did our time jump. And it was so awful. And the time in

between seeing what was happening and watching Haley and Nathan in this terrible place in their marriage and the fighting and they were so good in the scene. And then you realize that this thing has happened in the backyard with the little boy. Like, it was such a torturous, well-done thing in the episode where they, you know, they drew it out and you're waiting. and you're trying to figure out what's going to happen. It's such a core memory, I think, for so many people who went through this journey of the whole show with us that it was such an important thing,

not only to call back to, but to have Haley be able to offer in a way that nobody else could to Julian in this moment. It was so just like special. And you could tell that for him it was like medicine. Yeah, there's no other character. I think, as you said, yeah, there's no other character that could have met him on that level with that experience. And I think there was something really profound in it, too.

I love that the choice, I mean, granted, obviously the storyline is that Nathan is in Europe, but I love the choice that it's Haley who tells Julian. Because whether or not it should be true, you know, culturally there is this thing of like mom's always no best. and he is saying like I can't blame her and it's her dream and it's her experience these babies are her miracle and for a mom to be like but I've done it too it's sort of defangs

that I failed as a father thing in a way that I don't I don't know if it would have had the same impact if it had been two of the boys talking and it's a great point it's so it was like really special to watch you guys have that moment in your friendship, too. And I think it's such an act of compassion when someone is going through something like that

to just sort of hit them with, me too. Because often when you are going through that experience, the easy way to sort of process it is, it's like, I'm a failure, I'm the only one who does this. It's very isolating, you know, other people wouldn't make this mistake. And so when someone that you're confiding and goes, oh, yeah, yeah, me too, I've done the same thing. Yeah. It really kind of can help take the pressure out of the situation. And I think it's just, you know, because in doing so, you're getting vulnerable and you're also, you're caring more about the other person's feelings than you are their opinion of you. Yeah. You're trying to keep up

sort of a facade of like, I've got my shit down. Yeah, or avoiding your own shame. Yeah. You just open it at, opening it all up. And as far as the ad-libbing, Taylor, I don't, first of all, the directors aren't the ones who got to choose that because the directors were just guns for hire or us for the most part. It would have been the onset producer that we would have asked, like a Greg Prange type. I would never made big changes. I would sometimes just have, say things that they would fit my mouth better and I think they were always pretty cool with it. How about what was your guys' recollection of that? Yeah, I did.

I was, I feel like I probably changed more lines than anybody. I mean, I'll be honest. Sometimes for better, sometimes for worse. I was pretty stubborn and didn't, you know, have a wide breadth of professional slash emotional literacy to know how to communicate a lot of that in a way that I think was, that could have made it feel more like teamwork. So I just was like, look, this is what it makes, how it makes sense to me. So I'm going to change it.

And usually I expected if somebody else had, if it was affecting another actor, they would just say, like, actually, that doesn't work for me because then it messes up my cue line. And then it's like, oh, okay, well, fine. Let's try and figure it out. But not everyone always would. So anyway, this feels like we're going to get into a bottle of wine. But basically, I, yes, I did change a lot of lines. sometimes it was better than others and I think this is one of the cases where it probably turned out really well. Yeah, I would say there were definitely periods where we were told we weren't allowed to do that

and I think there were times where things were a little more lenient you know, I certainly would say reflecting yeah, were we doing that season one probably not. You might have been, I don't know. But I think, you know, the longer down the line we were in this world, if we really felt convicted about something, yeah, sometimes you'd get in trouble for it. And sometimes begrudgingly, someone would say, like, that was a really good choice you made. And you'd be like, thank you. Thank you for saying that.

Just to kind of counterbalance a little bit of what I was saying, because there is an element of this that, you know, we, we didn't have a lot of people to trust. There weren't a lot of people that we really felt we could trust that, like, had our character's best interests at heart. I mean, case in point with what we're talking about with Clay's character and how kind of bizarre some of these choices were. So sometimes I think we would fight for changing things in the script because we only thought we could trust ourselves. We just were like, I don't, a lot of times it seemed like a director would come up and just say, oh, just. try it, just do it one way as scripted just once, just so we have it and make everybody in LA

happy, but then, you know, we'll use the take that you want. And they never did. And so then it just starts feeling like, look, I'm the only one that's got my back. And I'm the only one that's got Haley's back. Totally. So when you're a little paranoid like that, like, no, you can't trust anybody else. You feel like you have to really be a stick in the mud about what you're seeing because there isn't much collaboration invited. So there was a big, there was a big tug of war with that. Well, to Rob's opening point of the show, it's very gray. It's not black and white. And I wouldn't, I would not have wanted to see that scene at the end of the night in Karen's Cafe between Haley and Julian in any different way to what it is on screen because you both hit it perfectly on the head. I very much, you know,

to back up what you're saying, I feel that same level of conviction and I felt it when we got the script for Brooke's wedding. And I know I told this story last year. But can you imagine if Brooke and Julian had had a repeat after me. I, Brooke Davis, do take, you'd be like, I'm sorry, I've waited eight years to see this character get her happy ending. And she's doing call and response. Yeah. Wedding lines. Like us, us doing vows with humor and eight seasons of story mattered. That's what the audience has been waiting for. It's what they'd been waiting. Yes. You had to look out for them. Yes. And so, yeah, I'm sure sometimes, you know, somebody was like, all these actors, pains in the asses. And then it's like sometimes, sometimes we were right. Yeah, exactly. It's like sometimes you're stubborn and it doesn't work. But you're like, well, if I had somebody safe to talk to and to like collaborate with all this stuff, then I wouldn't feel like I constantly had to only believe in my own perspective of things. So strange. Yeah. And also it only takes one actor who doesn't know how to do it responsibly to ruin it. for everyone.

That part. I worked on a show with a guy who did not know the rules of this. And so he would just like come into a scene and be like, yeah, we were just at the bar that went to the whorehouse and the, and everyone's like, your character was in a board meet. What?

Like he didn't know that like his adlibs had to actually track with the story. And so then like the next day, we got a directive that was like, no one can change lines. I was like, oh, thanks, buddy. You're like, thanks for that. Yeah.

I'm glad you tried to make your character look cool. Now none of us can change dialogue. Oh, God. What a gut punch. Let's spin a wheel. Turn it around. Turn it around. Also, while the wheel is spinning, can we just give, it's not an honorable mention.

Perhaps it's a dated bit of laughter to the Frogger-style tracker that Jamie's watching of Nathan's plane. Oh, my gosh. That's so cute. It's like computer 1.0. It was great. Most likely to accidentally go viral for something embarrassing. My knee jerk is you or me, Joy. I know that's what I was thinking too. I think it would be different though.

Mine would be embarrassing because I didn't realize it was embarrassing, but I chose to do it. Yours would be embarrassing because you had a joy moment and like you just completely spaced. Like akin to leaving a laptop on an airplane, type of thing. You know what I mean? Like one of those moments. Yeah. Yeah. Just walked out of the house without my pants on or something. No, that doesn't happen. But or got on a plane and went to the wrong city? A thousand percent. Oh.

Yeah. I don't, I don't know. What character? What character is most likely? I feel like right now Clay is, I don't know how he hasn't been recorded doing something that has gone viral. So blame everything on Clay. Yeah. That makes me feel sort of sad. The thing that came to mind for me, which made me laugh, is it would probably be Chris Keller, and then he would love it. Yeah, he'd go viral by accident for doing something so stupid and be like, this is awesome. Chris Keller likes it.

Yeah, he'd just make millions off of it. Yeah. However, he managed to turn it around. He'd buy a T-shirt. He'd have a T-shirt made with, like, the image of him doing something stupid and sell it. All right, gang. Thanks for tuning in. Next week, we have Season 9, Episode 5, The Killing Moon.

Ooh. Ooh. New things coming around the corner. Bye. Hey, thanks for listening. Don't forget to leave us a review. You can also follow us on Instagram at Drama Queen's O-TH or email us at Dramaqueen's at iHeartRadio.com.

See you next time. We're all about that high school. Drama girl, drama girl, all about them. high school queens. We'll take you for a ride in our comic girl. Dramma girl. Cheering for the right team. Drama queens, dream.

A smart girl, rough girl, fashion but you're tough girl, you could sit with us, girl. Drama queen, drama queens, drama queens, drama queens, drama queens, drama queens. It may look different, but native culture is alive. My name is Nicole Garcia and on Burn Sage, Burn Bridges, we aim to explore that culture. Somewhere along the way it turned into this full-fledged award-winning. comic shop. That's Dr. Lee Francis the 4th, who opened the first native comic bookshop. Explore his story along with many other native stories on the show, Burn Sage Burn Bridges. Listen to Burn Sage Burn Bridges on the IHeart Radio app, Apple Podcasts, or wherever you get your

podcasts. This is an IHeart podcast.