Drama Queens - Perfect Chaos • EP 804

Episode Date: January 27, 2025

The Drama Queens applaud Jana's playfulness in this episode and the chemistry between Chase and Alex on the golf course. Haley’s time at the crisis center stirs a wave of nostalgia in Sophia. Rob jokes about the show’s magical ability to keep characters looking perfect, no matter the chaos. Prison included. Plus, Joy points out a huge blooper that Sophia and Rob totally missed.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. Drama 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 queen, drama queens, drama queens, drama queens, drama queens.

Hey, everybody. Season 8, Episode 4 is We All Fall Down, Air Date, October 5th, 2010. 2010. Guys, this is so long ago. Okay, the synopsis is, as Brooke deals with the mounting financial troubles at closeover bros, Nathan and Haley come to a conclusion regarding Nathan's career. Meanwhile, Julian begins a new film project while Alex and Chase spend their afternoon together. directed by Peter Kowalski, writer, Bill Brown, William Brown. Well, thanks. I hope you guys watched along with us. This was a fun one. This was. I, can I just go ahead and say, though, that I literally have laughter in all caps in my notes?

Because we open on Nathan Training. And James is such a G. He's just crushing the sports. And it, I mean, making buckets to an instrumental of this has got to be a good life I was like why it felt as weird to me as the punk rock over the super emotional last episode like I almost feel like someone's taken our music sinks and put them in like a like a boggle jar and just shaking up the dice and you see where it lands. Why was that song for the sports? It must have just

been a trending song at the time. It definitely was, but it's kind of like they said, hey, we couldn't get jump around by House of Pain, but we were able to get an instrumental of good life. Yeah. And they're like, okay, great. Yeah, also cutting to the credits that Susie Soe did, I think, which was a beautiful rendition, but also why did we just not flip-plop them? Because the energy was there. So, who knows? That energy would have been so much better for 803. Yeah. I wonder what happens behind the scenes that we don't know about that sets that up. Like, who, I mean, maybe somebody's got an album coming out that week and it needs to be, I don't know. I don't know why. We should, we really do need to have Lindsay Wolfington on this

show before it's all over and ask her all these questions. Yeah. It was such a good opener, but the music feeling mismatched took me out of it. And, you know, I'll be the first to say, maybe that's because we made the show. Maybe the audience didn't really bump on it. But I would actually be really curious from the fans at home if you were like, why this song also? Can I say that my first note is a good song

and a sweaty James Lafferty working out montage to start the app? Sign me up. So clearly I didn't bump on it at all. Yeah. I didn't quite notice it either. I didn't notice it either. I liked the little American beauty vibe with creeper Julian in his camera. That's what it was. American Beauty. Yes, that was weird. I was like, does Nathan know Julian's filming him? Why is Julian sort of hiding behind his car, but not completely? The whole, it felt so weird to me. And then later in the episode, when he tells Brooke, oh, I'm testing out this new camera.

I'm like, could we not have done this at the baseball field with the kid where it would have felt cute? And then you see him filming the dad and you go, oh, he's going to like do this with everybody. I guess we'll figure out why. Instead, he drives you to the prison without telling you. And then as you're coming out, bust out this video camera. Right. Doesn't film me going in.

God, it used to drive me crazy this stuff. Like, it's just, why are we doing this? Can we not just make it make sense? Is there not one person? person in the room who's just like, can we just, it's not that hard to make it make sense. Let's make some slight adjustments. Exactly. And the blocking, here's the weird thing.

If Nathan was playing at a crowded court, totally makes sense for Julian to kind of be doing his own thing tucked away recording. But Nathan is playing at Rivercourt. He is the only person there. He is the only car there, which means seeing Julian pull up and be standing there would be incredibly obvious it would be weird to not acknowledge each other so the fact that the blocking had him kind of like tucked behind his car and it was like is is nathan aware why the energy was very like lurker creepy yeah it would have made so much more sense to acknowledge each other to make

it look like julian's doing something not stalking people yeah and then you know even see you could have seen Nathan kind of get lost in it and then catch himself because he knows his friend is there. But to your point, Rob, it's like, it's the flattest, most open space in all of Wilmington. And supposedly he doesn't see a giant old Ford truck and a man who's 6'3 standing there looking at him. Like, what are we talking about? Yeah, well, he did. He must have seen him. Julian must have told him, blah, blah, blah, the camera, this program, can I shoot you? Sure. But then, awkward. All it took was the slightest head nod between each other even.

And you'd be like, yeah, okay. Yeah, cool. Part of me hates picking this stuff apart. But I also feel like I love the critical thinking aspect of it because so often we, I think it just happens more and more in TV, especially for this demographic where it gets a little lazy. people are whoever's running the show is just like oh it doesn't really matter and yeah kids are getting used to not having to critically think they're just they just accept it because everything is a little bit suspended beyond belief in my opinion but i see it happen with my daughter i'm like well this doesn't make any sense and she's just like whatever it's just tv i'm like yeah but it's storytelling you should

make sense that how else you're supposed to be emotionally affected by something if there's this part of your brain that's just like yeah but how did it how did you get there and what happened and when it's not that hard to tie up the loose ends i think we should do it that's my rant well i appreciate the rant and i also appreciate that because listen there's a weird thing and i think we certainly we definitely experience this rob like when we first started the show i think there was a little bit of shock from some of the fans that were like whoa you guys point out a lot of things that aren't great and i never want to seem like we're complaining, but what I do appreciate is saying this could be better. And in a way, yeah, we're reliving these great memories we all had together. But we're kind of film

schooling our show. Yes. Like this is what you do in film school. And I do appreciate it. And what I don't want to do is the thing that the writers would do, which is sort of the role you just played, right? Joy being like, well, the assumption is they've talked about this off camera. And who cares you don't need to see it on camera because the most interesting thing and that's actually not true that's just lazy yeah and i like that we're willing to say that and do that and like i don't know i didn't go to film school and kind of wish i had and for anyone out there who didn't go to film school either you're welcome welcome to class yeah and pointing out stuff like that isn't isn't like knocking the show as a whole it's not saying we don't like the show it's it's the same

me like when I watch a movie, unfortunately, I notice when a character's glass goes from full in one shot to then empty the next shot and then full again. It's like I can't not notice these things, but it doesn't mean like the movie's not good. No, it's not the case at all. Also, to be fair, listen, TV's fast and loose and sometimes it can be really lazy. Also, there are some days where there are only so many fires you can put out. Yeah. Yeah, that's fair. And this may have been a day where there was like three more like more pressing fires and by fire I just mean like a problem and this was the smallest and they were just they could they didn't have the time for it yeah you know because TV moves so fast you know it's so ambitious so sometimes it's just like cool we have

three trash cans and two lids what are we going to address a couple other things I noticed though when he flipped that camera when he turned the recording off it went to a green light did you notice that Did it? Yeah, so it looked like he hadn't been recording the whole time. And then when he turned the camera, quote unquote, off, the green light turned on. Although I guess when you record a red light runs. Yeah, the red light runs when you're recording. But why would a green light go on when he turned it off?

It was a full green light. It was so strange. Was that supposed to help you make sure you knew you weren't recording? Maybe except the green means go generally. But I don't know, whatever. It was just some random thing. But the other thing was, did anybody catch the giant boom behind Nathan's head when he and I were talking in the kitchen?

No. We took up half the frame, guys. On the left, I should have stopped and screenshot at it for you. Like when he comes home from having beers with Julian to tell you that kitchen scene? Yes. We're standing in the kitchen and it's over his shoulder onto me. It's one of my first lines. And the rest of the scene is popped in close on my face.

and you can tell it's because that's the only take they had for whatever reason. And there was a boom in the shot. And so they had to cut deep into the shot. So I was like uber close. And Nathan was just sort of like his normal, you know, neck up. Okay, wait. So what's interesting about that scene, I know we're jumping around. But I was watching the episode yesterday and my best friend was here.

And you're at the stove and he like, you know, walks in behind you, puts his bag on the counter. And she goes, why do they have joy in like seven-inch platform heels? isn't, isn't Haley pregnant? And I said, and shorts and a jean jacket and a scarf. And I said, babe, we all had to wear platforms every day because all the boys were so tall. It was the only way they could get us in the two shots. And then you walk up to him and she goes,

oh my God, look how tiny she still is. And I said, yeah, we all basically broke our feet for nine years because we needed to be in heels all the time. Otherwise, they couldn't shoot over any of the boy's shoulders. and she could not believe it. And I was like, yeah, wait till you see... Oh, I've got the bunion to prove it. Don't worry.

Amazing. Hot. So hot. So I was paying attention to your shoes and I fully missed the boom, is the point. I may go back and screenshot it for you guys just for the hell of it because it really... I couldn't believe it was...

I actually rewound it just to make sure that I was seeing what I was seeing correctly. Wow. Well, testament to you and James, because I really liked that scene and I didn't notice it. I was, I think, just, I was all in on the ride of you two and the story. And I had, like, normally that stuff jumps out at me, didn't even notice it. Yeah.

Okay, good. That's good. Well, those are the only things about the, you know, techno, tech, oh, for God's sake, joy, technology. Technical? Technical. Thank you. Why does this happen to me? Hey, you're doing great, Joy. Thanks, guys.

Yeah, that's all I had about that, those comments, but there are lots about the storylines here. Yeah, where do we start? Where do you guys want to start? Well, the crisis intervention center feels kind of like a big thing. You know, we've watched Haley channeling her experiences, finding healthy outlets. The journaling gives us very early days, Lucas voiceovers. It feels really sentimental. And then to see, there was something about seeing you at that desk in that crisis center

that gave me Haley and the Tudor Center energy. Yeah. And it really made me feel nostalgic. Yeah. I thought so too. I remember shooting that stuff. I thought it was such a nice idea for Haley. I wonder if she keeps going back to work there because I can't remember what's happening with

this storyline. I can't remember either. But I know they used, I'm pretty sure. they used that voice at the end, the Irish accent, because we're going to meet her and we need to be able to recognize her right away. I just don't remember why or how. Yes. But I did really love that for Haley. It seems like a good transition for her since she's not teaching anymore. And I don't know, what is Haley doing right now? I mean, I guess... She's growing a human being. Yeah, but you know, you don't really need to be... It's not like she's on bed rest or

something. I don't know why she's... I don't know why she's... I don't know. what she's doing. Because Mia, didn't Mia just go on tour? You guys just finished Mia's album. Yeah. She's on tour. Maybe, yeah, maybe this is your sort of pause after that big creative project. Well, and her sister just got shot and her mom just died.

So, yeah, maybe she's just taking a break of life. And Nathan should be at camp right now. So you were probably just staying home to hold the fort down. Yeah, that's true too. Okay, okay. Yeah, so Crisis Intervention Center feels like a nice moment for her to be able to take some time to do some good, do something for the community. Keep busy because Haley likes to be busy,

but not take up her whole day. I liked it too. 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 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-Con or the importance of reservation basketball. Every day, Native people are striving to keep traditions alive, while navigate.

the modern world, influencing and bringing our culture into the mainstream. Listen to Burn Sageburn Bridges on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I have another observation from my best friend who was here yesterday when you realize it's junk on the phone and you go, hey, buddy. Sammy goes, oh, how emasculating. And we were cackling. And it's like, well, what do you say? What do you say? And just that Haley and hey, buddy, click was so good.

Yeah. I liked getting Cullen's voice in there. I wish we'd gotten to see him in the episode. But even just having junk come in unexpectedly in that way, it really did give us a moment of levity that I thought was pretty great. Yeah. Maybe we get him back soon. I hope so.

I really miss those Rivercourt boys. Such a good vibe. I loved the first time we see Victoria in the big house. She already has an assistant and zero fear. Like she already has it all figured out and working for her. Of course. She's got the lingo down. She's got her, she's got her, yeah, assistant.

That'll be enough, Adele. Incredible. I wrote Victoria in prison already has staff, of course. Oh, tattoo staff. Oh, her name is. Adele. So much better than Calliope. She's so much better than Calliope. And somehow Daphne manages to have this incredible blowout. Yes. Like the volume in her hair is perfect. And she's talking about the quote, captains of industry have done their best work while incarcerated. She is so unfazed.

Unphased. Yeah, what else would you expect? But I do appreciate that on this show, penitentiaries and hospitals do not get in the way of good hair. Oh, yeah. Never. Never. Like life-threatening trauma, still going to have perfectly quaffed hair. Incarcerated, still going to have a beautiful blowout. Yes. That's, you know what? That's where the response, it's TV kind of makes sense. Yes. Yeah. Like, if I'm not going to get a little glamour here, where am I going to get it? Yeah, there's several different kinds of shows. There's the shows where it's really real and raw and they're going for a specific look and a vibe. That's not what we were doing.

This isn't orange as the new black. We don't need to have a gritty portrayal of it. Let's just, you know, keep it light and polite and beautifully blown out. Yeah. Victoria wanting the warden to change the color of the jumpsuits. What I would love to see, though, is the next time Brooke visits her that all the jumpsuits actually have been changed, they're all just like a nice cerulean or something. Yeah.

A little short truce. The only penitentiary that has not orange jumpsuits, like in the nation. Yeah. And it was a pitch, something about, you know, mental health and the way colors motivate people. Like, she would have had it researched, budgeted, done. Although maybe we shouldn't be trusting Victoria with budgets, given where the end of the episode goes. Okay. This is one of those ones that could have been solved in two words, student loan?

like okay you lost your money invested in close over bros so you're going to tell your kids she can't go to college why not just take out a student loan and still let her go to college yes semantics for that particular guy's issue agreed i just felt like i felt for him like this is that is horrible that this happened to you and that this is like what the company did to you terrible but i just didn't feel like at the end i'm like but you know you can get a loan and she can still like you don't have to tell her she doesn't she can't go to college now like most people can't afford college the best majority of kids can't afford it what i really liked about it though that this guy i mean as an actor i don't know what his name is but i thought he did really

great with that material because that had to have been i wonder how many i thought about how many people came in to read that audition scene and read it be like angry and bitter and a jerk And he really was, I really didn't know where it was going to go. He was sweet. And it made the turn of the revelation of what he was there for even more effective. Well, in the way he would occasionally slip into the past tense. Like, he think he said she was, is my daughter. Like, she was going to go to fashion school.

And I'm like, oh, has his daughter passed away? That's what I was worried about. Did Brooke accidentally kill someone too? Like, how bad is this? What's going on? Victoria, what'd you do? Yeah. I think what was interesting to me about it is at the time, I remember thinking, wow,

God, this is just so sad. And I liked that it could be really personal and small for Brooke to be met with. You know, if someone starts talking to you about a crisis that's hundreds of millions of dollars, like, what does that mean? None of us have ever seen that kind of money, you know, but to hear this girl whose face you now know lost her college fund, that's, that's an experience and an amount of, you know, math that I think most of us can wrap our heads around. We don't need to sit and study the figures and ask a bunch of questions and whatnot to learn. It's a quick, I get the problem. And, you know, for her to be met with, this is the real-world effect of this enormous business problem, these hundreds of millions of dollars in all these stores and all these geographies and all these things.

It personalized it really well. And on the flip side of, you know, being a person who's now been alive for almost 20 more years than I was when we filmed this, I was like, what do you mean you invested all of your money in her college fund in one company? I wrote that. I wrote that down. Who allowed you to do that?

And why would you do that in a clothing company that was essentially raising, so they're in some version of, you know, the rounds of startup phasing, why wouldn't you put money into medical device stock? And, like, I started asking all these questions about how insanely risky this man had been with his own child's future. And I was like, oh, I'm really, I'm taking myself out of the story here because I want to know why nobody in this supposedly rich older man's life who's old enough to be my dad told him to invest in the S&P. Like, I was so mad at him for being so reckless with his money and her future.

And I was like, oh, I've officially, I'm in a very different phase of life than I was when we filmed this. I felt the same thing. And then immediately the next scene is, thank God, because somebody else in the writer's room thought the same thing, too. Maybe it was Bill, who wrote this episode, has Victoria say, what kind of an idiot invest everything they have in a clothing line? Exactly. It was really interesting. Okay, okay. He was misguided.

Like, how about you invest your kids' college fund money in a college fund? Yeah. Yeah. In a high-yield savings account. Yeah, high-yield savings. That's where it should be. Also, to our friends, we've gotten from film school to finance. You're welcome.

High-yield savings account. If you don't have one, get one. Yeah, that was silly. But I did, to what you were saying earlier, so, the concept of someone who putting a real face to a real problem um i especially at bad age always thought of investors as like shark tank people like people with just so much money that they could stand to lose a few you know 100 000 here there 50 000 or whatever it is it's like okay it's just one of many a multi-faceted portfolio and it's not that for so many people yeah but i man i loved this storyline for brook

And it's the, I was going to say she's come so far, but I think this has always been who, who, I think this is who Brooks always been, no matter when this would have happened. If it was something like this in high school, I think she still would have ultimately done the right thing. But it's really nice to see, it was just really nice to see it in person, like feel the weight of that, of like, yeah, everything that I have and everything that I own, the confidence of knowing that you can rebuild that there, there, there, there, there, there, there, there will there will always be more ideas. There will always be more opportunities for her. And to be able to just do the right thing and make that sacrifice. Like, oh, wow, that really got me. It was beautiful. Yeah. One of the things I liked, too, and I, you know, I remember the whole storyline, obviously, but the details are the things we discover when we watch every week. I loved that in the midst of this sadness, Julian took her to the Biltmore estate to say, I want you to have your fairy tale. I want you to have this. I mean, it looks like the Disney Castle, but better, right? Yeah. And Brooke has wanted this love story forever because she didn't grow up with it,

didn't experience it. It was never modeled for her. And I liked the actual visual backdrop of her with her man standing in front of this castle, dreaming about their wedding, and then still that thing percolating for her, and she says, is this appropriate? Is it okay to have this? And he says, look, when we look back at our wedding, we're not going to remember this,

we're going to remember our wedding. And she's already nervous about being happy. And then when she sees this man, and she sees how it's affected his family, I like that then she's put in this room and everything's dark and she's in this huge leather chair and she looks like a little kid again.

And she has to do this brave thing and she's literally going to give up this kind of fairy tale she built for herself. Yeah. And it does take an immense amount of courage. And oof, I just was like, oh man. because it wasn't even her mistake, but it doesn't matter. It's, you know, the right thing to do, and she knows it.

Yeah. But like Joyce said, I found myself going, this is the right thing to do. And, like, Brooke's the secret sauce. Brooks the magic. This isn't like they developed an app. And now she has to sell the company. And it's like, well, I have nothing. It's like what made this work was Brooke and her talent.

So, again, it's not an easy thing to do. But, you know, she could always start up a new label or she could design for another really high-end label. Like, you know what I mean? Like, she has options. It's not like all is lost in doing this. Again, doesn't make it easy, but it does help it make sense, you know? And I agree with what you said earlier.

I really enjoyed the gentleman who played the dad. I think it is such an easy trap to fall into and you are a guest star with one scene to go big because you want to make an impression. And I bet so many of the auditions were real big and real heated. But there's such a nice confidence in pulling that back and letting it sort of simmer. And yeah, he did, he did great. It was very believable and very effective. It was nice.

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 IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Can we talk about Chase and Alex? They are so cute. Here's the thing. I know exactly what you're like, are we joking? Because I have the same.

And yet they're so cute together. Jana and Stevens chemistry is so great. And she managed, no matter what they put her in, and no matter what creepy, hyper-sexualized scenarios they wrote for her, she managed to act in those scenes, like just the sweetest, funniest girl. Like, she gave me such skipper energy. Remember when, like, Barbie Riddies, the kid sister skipper? Like, she managed in the tennis skirt with the corset ties and the crop top and the thing.

She just, she was so playful and wonderful. And it's such like a, it's such a piece of Jana's energy that she brought. And I was like, wow, watching them managed to be so freaking cute in what was arguably, like, really icky material. Yeah. I wanted to give them a round of applause. Yeah. I really enjoyed watching Stephen Clutty in this episode. I always enjoy watching him.

He's so, he just feels so grounded on screen. Which is funny because I remember working with him. in person, he's got a lot of nervous energy. There's just a lot of like moving his fingers a lot and he's kind of like bouncing around on his toes a lot and there's just this sense of like whatever is going on internally and it does not necessarily even a negative nervousness. It's just this sort of like things are percolating. And so when the camera goes on, the fact that all of that seems to go away and he's just

so solid, he was just there. confident, chill, not trying to prove anything. He was like perfect boyfriend material in this episode in particular. I was super, super crushing on this character. Love it. Yeah. He's hitting some sort of stride in himself and as an actor. And I love that you just mirrored her dialogue because I feel like in a way by the end of their golf date, Alex was sort of saying what all the girls were thinking and it was so sweet yeah it's cute yeah they kudos to both of them and especially jana she's she's a trooper she's made a teflon because no matter how hard they try just sort of she just kind of rolls with it but yeah i mean like the the outfit i'm like all right key are

sure but then i love pete but the opening the shot of the the the opening shot of up her skirt I was like, how hat on a hat does this need to be? Like, we get it. Like, we've, it's a visual medium. We see what you've dressed her in. But who knows what instructions Pete's getting. True. I felt like Pete was always so protective of us, always looking out to try.

So that, those kinds of things feel like when something seems uncharacteristic of a person, you're like, okay, what other thing could have happened that would have made him need to do this? And there were a lot of phone calls coming in from L.A. Yeah. Yeah, some of the stuff I noticed too, even that shot, I mean, you know, we have to describe it. I feel gross describing it. Imagine having to say to Jana, this is what I need you to do. But, you know, she's standing there with her legs spread apart in this miniskirt and they're shooting up between her legs.

And one of the things I noticed is as the shot moves, they start to get wider and kind of pan around. And I was like, oh, are they trying to do what they've been told but also get out of it as quickly as they can? And then even when this, I mean, you said it, Rob, kudos to Jana. When she's got to stand there again and bend over and supposedly isn't wearing underwear and all these guys are crashing their golf carts into each other, that they didn't, they only ever shot her from straight on from the front. Yeah. Like, I'm sure they were asked to get other angles and there just weren't any.

And I appreciated that. Yeah. And I appreciated even that when she goes around and says, it's in the passenger seat of the golf cart early on. Like, somebody told her, oh, put your feet up and cross your feet in front of you. Because that's how we're going to block you in the shot. And I, as gross as it was, I could also see little things. And to your point, maybe I'm projecting, because I know how amazing our crew was

and how they had our backs then and they still have our backs, you know, now. But I was like, ooh, I feel like I can see some of our people looking out for our people. And I liked it in the middle of it. That's when, like, the director gets with the AD, and they're like, the scene where she bends over, that's the last thing on the docket. And we're losing the light. Sorry, we can't get any more angles. Oh, no, we can't get any more of the shots.

We lost the light. Sorry. Yeah. Sorry, L.A. That's all we had. And those are the things that that's the real boots on the ground and how a crew protects the actors. There's so many things that go on behind the scenes that you guys don't know about. It's so great.

And I'm really glad. we're talking about this, because I know that sometimes when we, when we have unmased some of what was really hard and bad, it makes people who loved the show feel really sad because they're like, oh my God, did I love a painful thing? But you also loved a thing that was so good and where people showed up for each other and where people would, like, ride for each other. And yeah, sometimes we'd have a bunch of guys be like, I guess we're just going to have to lose the light, shit. So is, yeah, I guess I just want to say that because I don't want anyone at home to be like, oh, no, it's like, yeah, there's some, oh, no, but there's so much

more, hell yeah. And, and that feels special. Absolutely. Every community, whether it's a workplace or a school or a group of friends or whatever, there's always some big bad that they're, an obstacle or, you know, a person or whatever the situation is that, you know, you got to, you got to come together and figure out how to how to overcome and protect each other. And it's okay. So don't look at our show and think it's some sort of completely out of the ordinary situation. Like we're all facing as different, the little communities that we have all over the place, we're all facing ways that we can band together.

Yeah. And there's always room for improvement, you know? It just happened that on some of our experiences had to do with like morality as opposed to dialogue. You know, and yeah, and I wasn't hanging that on, on Pistol B, because you're absolutely right. He did look out for us a lot. And you're right. The rest of the scene, there wasn't a single suggestive framing. Yeah, totally.

I mean, you didn't need to because the dialogue was already. Like, it's, it's, it's, the way that they banter, it's so great. But I, like, at one point I watched, I feel like I was watching two good actors make the best of some, like, tricky lines. Like when he's giving her a pointer and he goes, all right, just, just keep your head down. In fact, I wrote it down. Also, he had an amazing... They did a profile shot of the two of them in the cart, and Stephen's hair looks like the most incredible pompadour I've ever seen.

Wait, I wrote this down, too. I was like, Steven's hair looks extra good this episode. It was large and in charge. But he says, he goes, just keep your head down. You know how to keep your head down, don't you? Yeah, but he said it so straight. He just read it straight. Like, he sold it.

best you could but i'm like and there's another part too where it was odd that when she goes like i'm wearing underwear and she bends over and all the guys are are so blown away that they crash their golf carts and then he has to turn around and go my girlfriend my girlfriend as if he's like stoked it was again he sold it but when you look at the words you're like what that's the part of her you're proud of huh yeah you know what i what's you're making a great point, Rob, because he didn't, he didn't sell it like it was written. The way it was written was, hey, hey, this is what I'm proud of, what you're talking about. But he sold it like a guy who's going, she's, she's wild, she's brave. Like she's, she is, I'm not sure

where she's coming from or what her deal is right now or why she's chosen to do that. But I'm, I'm not impressed, nor am I embarrassed. I'm just here for you in whatever state you're in, and I'm along for the ride, and I support you. That's what I mean by good boyfriend energy. It was like, she's doing something really outrageous that would elicit a huge reaction out of most guys. And the fact that he's just like, nah, you can't really faze me. Love you. I mean, he doesn't say love you.

But, you know, that vibe. It felt so good. But kind of he did by the end, which is where I want to go. I thought it was so sweet. And as much as, you know, you said it, Rob, they had to really make a meal out of some scraps in moments of this whole storyline. When they get to the beat nearing the end of the game where he says, well, you might not have been in love with any of them, but I bet they were in love with you. I was like, Chase, you love her. You're falling in love with her.

And I just loved it. I thought it was so sweet. And yeah, I like their energy together so much. This whole thing surprised me because, like I said, I had no recollection of them ever being together. So I just assumed it was going to be like a one or two episode thing and then that he'd get right back with Mia. But then I was watching this going, oh, they're courting each other.

Like they're playing this slow. Like they're building a actual real foundation here. and then the way it ended it was obviously like things look promising for these two it'd be interesting to see where this goes i do not remember by the way okay wait i do have one more note on shots because i wrote this down like joy when you talk about how they had to punch in with you and and the haley nathan stuff in the kitchen you guys are sitting in the hospital talking and it's so sweet and i love the way that in both the clay and nathan and in the hospital and then Julian and Nathan at the bar.

I love that we're getting to see our men be really vulnerable with each other and have these big conversations, but they're also having them kind of facing forward because of the way, you know, the bar seats face, the way the hospital bed faces. It's like sometimes I find it easier to go on a walk with someone and talk about something really emotional rather than sit at the table and do it. Yeah. And I was really touched by these emotional conversations between men. And there's a moment that I loved so much because you guys are having this chat, Rob.

You're in the bed and James is sitting next to you. And they punch in on these close-ups. And he's got his head lean back on the hospital chair and it's like a bluish color. And you've got your head on your pillow and it's kind of a bluish color. And suddenly it looks like you two were in bed together. And I was like, wait. Like I had grabbed my coffee looked up and I was like, I missed something? And then I was like, also, no, no. You guys are very cute. And then it pushed back out. And I was like, all right, all right. They're just like sitting next to each other. But I was like, God, there's good, there's just so much good chemistry between all of you. And I, I buy that you all love each other. I buy that when you said, you know, you would have ruined your career. And he's like, no, this, like, that's just a game. This wasn't a hard decision for me.

Yeah. I like that you're getting to say to each other, like, I love you so much, my friend, and I can't imagine living without you without necessarily having to, like, say it. It feels very, feels very, like, sweet dude time. Yeah, the word I had for, I wrote was, I love the scene between Clay and Quinn. I love the sincerity. Yeah. And I love that it was just, it was just honorable, or excuse me, vulnerable, honest talk.

And they didn't do the tropey thing of, but then a guy has to make a joke. Yes. Hey, I love you, bro. Don't take it that way. You know, like, however, the thing that they feel like they need to do with guys where it's like in order to be vulnerable, they also have to couch it in humor. Yeah, I'm so relieved that they didn't have Nathan go and how would I make any money without you anyway, man? Like something late. Yes. Yeah.

I liked that you, you two together and him later with Austin. Like, everyone's just saying the thing. And it's really nice to see. Yeah, I love that level of maturity. And when he tells Julian to say, tell Brooke, don't be afraid of what comes next. Like, I was just so great, really encouraging and heartening. And the fact that he's sitting there and he makes this decision so quickly when Julian talks about baseball and Nathan's like, baseball, wait, what? And it's like, no, no, no, I'm out.

I got to. Yeah. Like, what am I doing? What am I doing? And it was almost like he was giving himself advice instead. Tell Brooke not to be afraid of the future. Yes. It was sort of him kind of girding himself for what he was about to share with Haley.

Yeah. And speaking of Austin and the perpetual attempted emasculation of Austin, I love the whole thing with the bringing flowers, right? Because to me, so it's just a sweet gesture at first. Oh, we've got flowers. They're beautiful. I loved that he stops the door and he's like, by the way, I'm the one who actually picked those flowers out. And Hanley's like, oh, okay.

And then he circles in to actually explain specifically. I was hoping for these. I couldn't get these. I thought these really filled it out. And I just laughed because I sort of wondered, is this one of those attempts to make him quirky as opposed to like sexy leading man? But then when I laughed at, I was going,

but he's so comfortable in himself that it's incredibly, it backfired. To me, I was like, completely. Yes. That's a dude who is grounded in himself and he's comfortable. And it just, it's pretty awesome that he doesn't care that like how it looks. He's just like, I'm going to tell you why I love your bouquet and why I picked it out for you. Yeah.

It's endearing, man. I totally agree. He's a master at that. I love that, Austin. And I've said this about him before. He always just said exactly what was on the page. I very rarely remember Austin ever changing a line. And he really always strove to just say what was on the page.

And he, oh, he's a master at figuring it out, figuring out how to, oh, they're going to try and emasculate me. That's all right. And I know what I'm going to do. There's a level of confidence it takes to just do what you're going to do. Say what's on the page. Same thing that Stephen did. But you do it from a place of authenticity. And they can't take him down, baby.

Yeah. I had a director tell me one time that there's something, there was a lot of stuff like going on with the episode was like it was a tricky thing or something. And there was issues. And I said, like, what are you going to do? And she said, I'll get my revenge. I'm going to shoot their script. And I love it because it's sort of like Austin going like, I'll get my revenge. I'm going to say your words.

But then it doesn't go the way that whoever thought it was going to go. No, it makes him more attractive. Yeah. Yeah. And it's something he manages to do so well in those moments. It's something Jan is managing to do so well. It's like everyone really has such ownership of their characters, I think, at this point. And I loved, too, the way he chose to come back in and be like, okay, so here's my thought process, because he knew you would appreciate it.

You had said, well, they're the nicest ones. Of course they're from Brooke. And he's like, actually, me. And because you love it, he wants to let you in on his little, you know, thought process, his little secret. and he talks about it in a very similar way that he talks to Brooke about the camera he's working with and how he's testing it out and he's part of this new director program and whatever and what I loved about it and what I wrote down here and I love that you saw it Rob is I was like oh Julian just makes everything into art like that's his job he's a director

he sees everything as something he can make true and be. beautiful. Yeah. And I liked that he brought that energy to this thing that could have been weird. And he just made it, he was like, yeah, this is my other art project. It's great, right? Julian has big open heart energy. Like, because I think what's also happening in this scene and circling back and telling Haley how he picked it out, he arranged this himself. He's doing two things. He's saying, one, I care about you guys enough. spend my time creating something beautiful for you. And two, it's an invitation for Haley to kind of see him and get to know him a little more. Like, it's an invite in, you know?

Because he could have just walked out the dormant like, eh, whatever. I'm the one who did it, you know. But yeah, he's, yeah, he's, he's, he's great. And speaking of Haley, how about Haley showing up as just the like all-time Hall of Fame sister? Yeah. This episode, the Haley Quinn stuff, I thought was awesome. Yeah. It's just, it's a lot here. Yeah, Haley's always, it's nice to see her go into caretaker mode. It's a really natural, the nurturing is a really natural space for her.

The washing of her hair was very sweet. Yeah. Yeah, it's a good space for Haley. I feel like it was, it was good for me too, I remember shooting a lot of that stuff. And I feel like I was. At my happiest on set when Haley was in caretaker mode, it was nice. Mm-hmm. There's something about it, too, the journey that you've been on as a character.

The, I think one of the greatest traumas of people who go through loss, you know, in life or family, that is quick like you guys did as sisters with your mom. You know, to find out Lydia was sick and have it be so fast. it's like a compounded trauma and the kind of I don't want to call it a second chance that feels maybe a little icky but the opportunity to in the face of potentially another loss of that magnitude get kind of a second chance like Quinn winds up being okay and you get to not only love her because she's your sister and you want to be there and you nurturing is natural for Haley and all these things. But you get to kind of love her, show up for her, take care of her, cook for her, do the things for her that you don't get to do for your mom

anymore. Yeah. And that you didn't really get much time to do for your mom. Yeah. And I should say for her mom, I'm personalizing it. And now it makes me feel weird. I'm like, I don't want to put that energy in the world. But you know what I mean. Like, it would have been meaningful anyway to watch Haley and Quinn go through this experience, and Haley, Quinn, and Clay, and Nathan and the whole thing. But watching it happen after the loss of a mother, for me as a viewer, made it twice as touching. Yeah. I'm glad. Yeah. Boom shot aside, I thought the scene with Haley and Nathan in the kitchen was beautiful.

And it had the same takeaway. I have a lot of times with scenes with Emma, where it's just like they're a great team. you know i love that haley's first reaction wasn't what are we going to do financially she was like is this what you want like she was just checking in with her person yeah so which is so great and then uh there's a lot of integrity right because it's like then we see brook signing away all liquidating all of her own personal fortunate assets to pay people back is like wow that's that's integrity and then nathan shows up to clay and quins and listen i love the idea behind where you're going, buddy. I love you trying to be of service for your friend. But maybe the room covered in

four-day-old dried blood, maybe that's a job for a professional. Yeah, that's not going to come out. Also, isn't it a crime scene? It's a crime scene. There's still police tape on the door. I was like, I think maybe you're not supposed to do that. Yeah. Maybe you're, that was one of those moments where I was like, even a Stanley steamer would not get that out. You have to rip up the carpet. Yeah. You have to have somebody come in. You got to sand that door and repaint it. Like, sweetheart. And I was so, that was one of those moments where, again, our crew is so great, because whatever mixture they made to put into that rug so he could actually start getting the stain out. Like, I watched the stain start lifting. And I was like, what's in there? What is in there?

That's not organic material. And I love the intention behind it so much. But yeah, what I would have appreciated was, like, him trying to get it out, realizing it's not coming up, feeling overwhelmed, and, like, Googling a carpet company and being like, I need you to come rip out all these carpets. Also, could we have gotten a message on Clay's phone or something? Like, hey, your house isn't a crime scene anymore. Like, in some, I don't know how they tell you those things, but you're interfering with a crime scene.

Like, that's so crazy. Yeah, it was, it was wild. He's still out there. That he did that. But why I don't mind it, though, is it's also, it's like, there's a lot going on. And he's just trying his best. Maybe he's not really thinking critically. He's just like, my buddy's house is a disaster.

I'm going to fix it for him. Yeah. Yeah, they don't need to come home to look at this. No, you just need to buy a new rug. Get it professionally cleaned. Or you just recarpet that room. Yeah. There are people who do that, crime scene cleanup.

Well, and I liked that we all knew and he, knew what Quinn was asking. Yeah. And we all knew what he was saying. It's going to be good for you to go back there when you're ready. And he wants them to go back to the way it was before. It's so sweet. It's so lovely.

Yeah. And what I appreciated, it was weird. It was such a big swing because something nobody talks about is the fact that at a crime scene or when there is a medical emergency, the EMTs and police don't clean up. you know, you see all the gauze, you see the needles, because they probably had to inject you guys with adrenaline, you know, you see, you see the wreckage of them saving your life. That was very powerful to me. And then as powerful as it was, to be honest about what it would look like in that room after an event like this, then it did the opposite where I was like, there is no way weeks old blood is coming out of that rug. And I was like, God, we did see. so good on the one hand and then we just pushed it and we knocked it right over with the other but but it was

that's one of those moments where you go it's the gesture it's it's the thing and even though I don't ever believe our answer for something that doesn't work should be oh it happened off camera I was like I have to believe that maybe three minutes after we left him scrubbing he called

Stanley Steamer and the car store because it wasn't you know it wasn't like someone cracked their head open it's like we were both shot and bled out for like something like 12 hours. Yeah. That's so much blood soaking into a carpet and then being left for days, if not a week or two. Oh, yeah.

It's in the floorboards. Yeah. But bless his heart, you know, as it's in the South, bless his heart. Bless. It may look different, but Native culture is very alive. My name is Nicole Garcia. 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 the kind 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. I think we should do honorable mentions and maybe a fan question. Sure. My honorable mention is going to be sweet, sweet Stephen Coletti and Janet Kramer. Yeah. They sold the heck out of that.

They made it to do a very charming story. And it could have not gone that way. I love that. I'm on board with that as well. I was going to say the same. And now I'm like, should we toss it up? Because I feel like we all said the same last week. I'm going to give my honorable mention

to Victoria's hair in prison. Just for a little levity at the end of the show. Like, I want to know what she's using instead of Velcro rollers. Are there soda cans? Like, how is she doing this? It must be. That's a scene I'd like to see as well.

When we get Victoria and Martha Stewart, we can see the Coke can rollers for sure. Yeah. All right. Do we have a question? We do. It comes in from B. B asks, I have watched seasons one through nine countless times, and I've never understood why Haley just stops being a teacher.

In seasons five and six, she's a teacher, gets fired, and then just never teaches again. A lot of work goes into becoming a teacher. It seems strange she just abandoned it as a career. Why do you think the writers never had her go back and teach? Wow, that's a great point. I guess they forgot, or maybe they felt like it. just didn't serve the story anymore. They wanted to do other things.

I don't know, because Haley's doing a lot of, when did I stop teaching? I get fired, and then what? Oh, and then I started running the record label. Well, that's the thing. In season six, when you get fired, it's over such moral ground and wanting to do the right thing.

Yeah, that would put you off for a while. Yeah, and also what a sort of premonition. I mean, look what teachers in our country are having to deal with all over the place right now. And at the same time, as you're teaching and working on music, and then you're essentially told you can't allow a student to tell their truth and be who they are, which feels like the antithesis of what a school environment is supposed to be, then Mia needs help. She needs a producer. A producer is essentially a teacher. It's kind of like being a college professor, really. Yeah, yeah, like a one-on-one really.

just like walking her through the ropes. So in my mind, Haley didn't stop teaching. She just, she really pursued her greatest passion. But yeah, I don't know. Maybe that's why in this episode the Crisis Center feels so nostalgic to me. But it is an interesting point. Yeah, because you can see, like, the nurturing, she wants to help. She wants to be a part of helping people and helping them grow into the best version.

of themselves or helping in small situations and there's always that's just always who she's been so yeah even though the classroom environment went away i agree i think she was still showing up and doing something to that effect well and also on on a not on the non-creative side logistically it is much easier from a production standpoint to have you doing red bedroom stuff where it's just you and one other person versus you in a school that they have to populate with 60 background actors. Yeah. Yeah. And how many issues, I think they felt like we had been in the classroom for so long. And I think because the first four years was all in the classroom and on the basketball court. And then as we moved on, I think the audience

may have wanted, and it is astute that the writer's room would have noticed this, that it would be really helpful as a transition point for the audience to still be able to be in the classroom in some way with us as we had transitioned into adulthood. But I think at some point it just served its purpose. Like we had just run through all the storylines that we really could have without interfering too much on the larger group scale. And I also think there really is the, this is where the sort of personal, professional overlap happens to, you know, you are a musician. You are an incredible musician. You were writing music. You were writing musicals. You are, I mean, you moved to the music capital of America. Like you, you are a music, a musical being in yourself as

joy. And so I also think given all of that and what Haley as a musician allowed us to maintain on the show, particularly with Peyton leaving, and you taking over red bedroom, that, I just think for both story and your creative inspiration, it made more sense. Yeah, I think so, too. Good point. Yeah, B, thanks for asking. Great question. It's a great question.

Interesting. Okay, let's spin a wheel. Let's do it, kiddos. It's so funny when they run this, we get to see, like, it running through all the different possibilities. I know. Oh, snap. How funny. Most likely to win the show Survivor.

To win, not just be a contestant. Victoria Davis. Yes. Yes, one thousand percent. Yes. And it would come down to Victoria Davis and Dan Scott and Victoria would get the upper hand somehow, but for sure, Victoria wins. Yeah, and Dan would beg, he'd be like, but be like the girl in the hunger games and save us both. And Victoria would be like, no.

I love it. That's it. Okay, next episode, season eight, episode five. Nobody taught us to quit. I wonder what's going to happen there. Interesting. Thanks for tuning in, friends. Always nice to spend an afternoon, evening, or morning with you, and hope to see you soon. Thanks, y'all. Hey, thanks for listening. Don't forget to leave us a review.

You can also follow us on Instagram at Drama Queen's O-T-H. Or email us at Drama Queen'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 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. It may look different, but native culture is alive. 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. Thank you.