Speaker 1: Writer, Will and I are going to.
Speaker 2: Kick your ass. Yeah you mentioned something about this. Let's say,
Speaker 2: are you going to.
Speaker 3: Say ki ya while you're doing Yeah, you won't know,
Speaker 3: Oh yeah, it'll I mean you won't know, you won't
Speaker 3: hit it, right.
Speaker 2: So what you guys are just becoming Ninja's now pretty
Speaker 2: much that's it's just because A Boy Kills World is
Speaker 2: coming out, and you guys decided you gotta gotta know.
Speaker 3: Well.
Speaker 1: As Wilcoms mentioned, Will decided that twenty twenty four was
Speaker 1: going to be the year that he gets into the
Speaker 1: best shape of his life. And for a while I
Speaker 1: was like, yeah, me too. And then January first world around,
Speaker 1: I was like, I'm not going to change my personality,
Speaker 1: just not just not going to not going to be me.
Speaker 1: And but as everyone knows, I've talked about my son
Speaker 1: is in karate and it's really cool, and I did
Speaker 1: start thinking maybe I'll start doing karate. My guy, I
Speaker 1: don't know. That sounds cool, it sounds like something I
Speaker 1: would enjoy. And so we were on our way to
Speaker 1: have lunch with writer one day and Will said, are
Speaker 1: you are you still thinking about doing karate? And I
Speaker 1: was like, yes, are you thinking about doing karate, and
Speaker 1: he was like, I'll do karate if you do karate,
Speaker 1: and so we I picked up Will the other night.
Speaker 2: Where are the cameras? This should be a reality show
Speaker 2: YouTube and it's just boy meets middle aged karate.
Speaker 1: Will sent me a clip. So we did our first
Speaker 1: karate class. Well, I will tell them about the clip
Speaker 1: you sent me. That's so funny. And by the way,
Speaker 1: I did send it to Miss Savannah and she she yeah,
Speaker 1: she laughed. She was like, this is great.
Speaker 2: Wait, Miss Savannah.
Speaker 1: Miss Savannah is our was our karate instructor.
Speaker 2: She's come on, I want I want to hear sense
Speaker 2: from now. I wanted to be.
Speaker 1: Okay, uh, so will will you tell them a little
Speaker 1: bit about our first class?
Speaker 3: So we get there and first of all, I'm like,
Speaker 3: I'm irrationally excited for two days before this, I'm like
Speaker 3: Daniel and I are. I'm sending her like clips from
Speaker 3: karate kid like, I'm like excited to be a martial
Speaker 3: artist at this point because I know I to center
Speaker 3: one textor it just said be prepared for me to
Speaker 3: be an expert on the first day because I'm going
Speaker 3: to be awesome right away. Tell try to keep up
Speaker 3: So we drive there and I don't even know the
Speaker 3: name of this place yet, and I so I said
Speaker 3: to Sue, I was like, tonight's to night. I'm I'm
Speaker 3: joining my forever karate team. Like, am I am I
Speaker 3: becoming Cobra?
Speaker 2: Kai?
Speaker 3: Am I joining Miyagi? Do? Like, what's happening right now?
Speaker 3: And we pull up and I look over and I go,
Speaker 3: oh my god, Danielle, are they the Dragons? And She's like,
Speaker 3: they're the Dragons and I was like, oh my god.
Speaker 1: Yeah, dragons martial arts.
Speaker 3: So we pull up to the coolest like emblem like
Speaker 3: symbol where I was like, all right, well we have
Speaker 3: to stop on the way home and get that tattooed
Speaker 3: on me somewhere already. So we walk in. Everybody, I mean,
Speaker 3: the welcomed packed.
Speaker 2: Okay, so so you guys, you guys are part of
Speaker 2: a hero team, not a villain team.
Speaker 3: Correct, Yes, we're the we are the Dragons heroes. Oh yeah,
Speaker 3: absolutely wonderful. But we walk in and everybody was so welcoming.
Speaker 3: It was just this community of Hey, is it your
Speaker 3: first time here? Oh my god, You're gonna have so
Speaker 3: much fun. Go talk to them here, you want to
Speaker 3: stand here here's what we do. Here's where we grab
Speaker 3: the thing. I mean, it was like, couldn't have been nicer.
Speaker 2: So they my parents grew up with your show.
Speaker 3: But no, they all knew Danielle, and I was the
Speaker 3: guy that Danielle brought right.
Speaker 2: So it was it was business and yes, your friend,
Speaker 2: and could you take a parture.
Speaker 3: Of us whoever's at the airport with you. So it
Speaker 3: was business as usual for me. Yeah, the entire way
Speaker 3: Danielle superstar. I was the guy carrying her white belt,
Speaker 3: which we hadn't even gotten. So we get there and
Speaker 3: then we get over to they're like, okay, the adults
Speaker 3: go to this side over here. So we get over
Speaker 3: there and all the adults are like, oh my god,
Speaker 3: your first class is going to be so great. Welcome you. Hey,
Speaker 3: you're going to be part of the family, Like, could
Speaker 3: not have been nicer, you know, so sweet, amazing. So
Speaker 3: we get on the mat and we've got a first
Speaker 3: warm up. So they're yelling things out that Danielle has
Speaker 3: obviously seen a hundred times. I have no idea what's going.
Speaker 1: On, but he followed my lead.
Speaker 2: Real tis all of.
Speaker 3: A sudden, I'm going sideways and then I'm going backwards.
Speaker 1: So you start by running it out. You run around
Speaker 1: in a circle on the mat, and then you know,
Speaker 1: sinse Savannah yell's inside and you turn your body inside
Speaker 1: and you side runs inside. I heard outside, and you
Speaker 1: do the same thing outside. Then you run backwards. So
Speaker 1: I know this because I watch out there do it
Speaker 1: all the time. So I was like, I feel like
Speaker 1: I have a leg up. I'm familiar with this. Uh
Speaker 1: and Will just would look at me and do exactly
Speaker 1: what I was doing. He caught very quickly. Yes. And
Speaker 1: then after we warm up since a Savannah was like,
Speaker 1: will Danielle you guys come with me?
Speaker 3: Well, no, First it was the warm up, then ended
Speaker 3: with they said okay, go grab your jump ropes.
Speaker 1: Oh right, I'm a big.
Speaker 3: Fan of jump roping. I used to do it in boxing.
Speaker 3: So I ran over. I grabbed the showing us where
Speaker 3: to do. Okay, these are a little long. These are
Speaker 3: and instantly I can tell Danielle's jump jump rope is
Speaker 3: it was too short.
Speaker 1: It was getting stuck in my hair. I did pick
Speaker 1: the smallest one. I picked like a kid, one in
Speaker 1: your hair, and every time I went jump, my jump
Speaker 1: rope would get hung up on my hair, and I
Speaker 1: was like, what's happening?
Speaker 3: So then the only way she could avoy that, and
Speaker 3: she and I we didn't even talk about this, but
Speaker 3: the only way she could avoid doing that is if
Speaker 3: she did kid jump roping, so it was one little
Speaker 3: leg over the other little legs so she could get
Speaker 3: that ryer.
Speaker 2: And I'm not coordinated enough yet, all right, but she was.
Speaker 2: It was just hitting her hair. So finally the tide
Speaker 2: longer run.
Speaker 3: And then yes, she said, come join the new newbies,
Speaker 3: which was us, go go join her in the ring. Yeah,
Speaker 3: the boxing ring ahead.
Speaker 1: And then we did boxing. Then we put on gloves
Speaker 1: and we did boxing, and we practiced our jab cross
Speaker 1: and then our our gorilla block, and then we did
Speaker 1: a little choreograph there where we do jab cross hook block,
Speaker 1: and she wouldn't tell us like which order, so she'd
Speaker 1: go jab jab cross, hook jab.
Speaker 3: Jab stalking this woman who's probably what five three maybe five?
Speaker 1: No, she's I think a black belt, and.
Speaker 3: She's like, you're my mirror. Whatever happens, just.
Speaker 1: Just she taught us our shuffle step side step.
Speaker 3: She's stalking us and we're like backing up, and oh, man,
Speaker 3: if you if I were to tell you, because we're not.
Speaker 1: We're only I don't know, twelve minutes into the class.
Speaker 1: At this point, we still so we'd learn shuffle step,
Speaker 1: we learned the side step, we learned jab cross hook,
Speaker 1: and gorilla block. And then she's like, now we're going
Speaker 1: to bring out some sticks, and she handed us sticks.
Speaker 1: We learned choreography with sticks. We battled each other with sticks.
Speaker 1: Then we went to the standing Yeah, what's it called.
Speaker 3: The the it's like a like a boxing bang.
Speaker 1: Yeah, like a boxing that. We did sticks on the
Speaker 1: boxing bag. I mean the amount of stuff we covered
Speaker 1: in one class. And then we went to go put
Speaker 1: the sticks away and Sanse Savannah was like, I just
Speaker 1: want you guys to know over here's where we keep
Speaker 1: the nunchucks and the swords. And Will goes, I'm sorry,
Speaker 1: did you say the nunchucks And she's like yeah, And
Speaker 1: he's like, take all my money.
Speaker 2: Will, Will's blood sport fantasies just yeah exploded. Suddenly. He
Speaker 2: was in a nineteen eighties film training montage and I
Speaker 2: heard out the other side was like, no, that's.
Speaker 3: Gonna keep you down, Like it was just oh my god,
Speaker 3: it was she said nunchucks and I was like this, Okay,
Speaker 3: take all of this.
Speaker 2: None of this is real. None of this matters till
Speaker 2: I see you guys breaking boards with your hands show
Speaker 2: where you guys break your board with your hand on stage.
Speaker 3: Then okay, I will I will believe it will be
Speaker 3: a charcuterie board, but I will break.
Speaker 1: Listen, I'm in.
Speaker 2: It'll be balsa wood, it'll be a breakaway board witten
Speaker 2: by the art Department.
Speaker 1: It'll already be scored.
Speaker 3: Dude, I am, I'm so. I literally find I'm my
Speaker 3: I live and die by the rings on my Apple Watch,
Speaker 3: which tell me like you've closed your exercise ring, You've
Speaker 3: closed this ring. So I found martial Arts and I
Speaker 3: click it in and it tells me, you know, like
Speaker 3: where my heart rate is and all that kind of stuff.
Speaker 3: I'm dying. And we get out of the ring and
Speaker 3: he'll just turns it looks at me. She goes, it's
Speaker 3: been twenty minutes.
Speaker 1: We've only been doing this for twenty minutes. We have
Speaker 1: thirty more minutes of this. All of a sudden, we
Speaker 1: were just forties, just sweating profusely. Yes, because there are
Speaker 1: It was so much fun, so much fun. We're going again.
Speaker 1: Can't wait to go again.
Speaker 3: I wish I lived close enough to be able to
Speaker 3: join the dragon Life Dragons.
Speaker 1: For Life Forever. Welcome to pod Meets World.
Speaker 3: I'm Daniel Fischl, I'm rather or strong, and I'm going
Speaker 3: to be a black belt in like a month. I'm
Speaker 3: wil fordll So.
Speaker 1: Today we are recapping season four, episode twelve, Easy Street.
Speaker 1: It originally aired December thirteenth, nineteen ninety six. The synopsis
Speaker 1: is that Corey gets a job at a restaurant controlled
Speaker 1: by the mafia. When Sean tells him who owns the restaurant,
Speaker 1: Corey quits. Sean takes Corey's job to earn money for Christmas.
Speaker 1: And it was directed by Jeff McCracken. It was written
Speaker 1: by Jeff Manel. Overall thoughts on the episode.
Speaker 2: Huh, it's fun. I mean it's ye, did you okay?
Speaker 3: It wasn't it was my favorite?
Speaker 1: Wasn't my favorite either.
Speaker 3: It wasn't my favorite episode. I found I found it
Speaker 3: very odd kind of all the way. I didn't think
Speaker 3: the B story was particularly funny. I thought the A
Speaker 3: story was weird and for for the first time in.
Speaker 1: A long while, very heavy handed.
Speaker 3: Where it was Here are the messages we're trying to
Speaker 3: tell you, to the point where they actually spell them
Speaker 3: out a couple times. There was no subtlety in it, right.
Speaker 3: I thought it was okay. I mean, it wasn't awful.
Speaker 3: I wasn't like, oh, this is the worst episode ever.
Speaker 3: But it just wasn't my favorite.
Speaker 2: You know what. I I think we have really high
Speaker 2: expectations because season four has been so that's I already
Speaker 2: think that if this was a season three episode, we
Speaker 2: would all be like, amazing, so good because it did
Speaker 2: balance the comedy. It was original, like it was. It
Speaker 2: felt like there was new parts of boy Meant's world
Speaker 2: coming out with the mob and all, and then it
Speaker 2: was dramatic. I don't know. I mean, yeah, maybe I
Speaker 2: I enjoyed it. I yeah, it's okay.
Speaker 3: It wasn't my favorite.
Speaker 2: Yeah it's okay.
Speaker 3: Yeah.
Speaker 1: It's weird because when I actually think of things to
Speaker 1: say that that are reasons why I didn't love it,
Speaker 1: I don't really have anything to really point to. I
Speaker 1: do think it was a little heavy handed at the
Speaker 1: end absence I felt, I mean, it was so dramatic
Speaker 1: and we had such a funny episode and a way
Speaker 1: too and I and I loved all of it. I
Speaker 1: loved that Sean was very comfortable in it and that
Speaker 1: Corey was not all that made sense and was funny,
Speaker 1: and but then it like ended on such a serious
Speaker 1: note and I was like, oh, I guess this was
Speaker 1: a very special episode.
Speaker 2: Writer.
Speaker 1: Don't even know all your faults.
Speaker 2: Well that's the thing I don't want to keep. But
Speaker 2: I am feeling this turn in me as an actor.
Speaker 2: That is a bummer, and you know, and it's and
Speaker 2: I'll stop talking about it because I think it's just
Speaker 2: where I went and it's.
Speaker 3: Just the material. It was very this was they went
Speaker 3: from being you know, but like comedy mobster guys to like,
Speaker 3: this is your whole life now.
Speaker 2: I know. But like when I so, I I just
Speaker 2: recently in our email exchanges, you know, there was a
Speaker 2: of all the episodes and I saw that, like the
Speaker 2: B and B episode is coming up and chick like me,
Speaker 2: and I was like, oh my god, those episodes are
Speaker 2: so fun and and I know that I was. I
Speaker 2: know that I was allowed to do comedy in them,
Speaker 2: you know. And yet I also have the memory of
Speaker 2: me at sixteen turning seventeen loving this kind of stuff,
Speaker 2: the drama you know, and like I wish I could
Speaker 2: just go back and be like, hey, writer, it's okay,
Speaker 2: you're on a comedy show. And so when I feel
Speaker 2: myself getting super heavy and sentimental at the end of
Speaker 2: this episode, I'm like, yes, a lot of it is
Speaker 2: the writing, obviously, but I also think that I was
Speaker 2: part of that. I was the writers and I were
Speaker 2: clearly engaging in a sort of conversation actually but also
Speaker 2: just performatively where it was like, oh, let's give Sean
Speaker 2: some like look at what writer can do. And I
Speaker 2: loved it obviously, and it was like this conversation going on,
Speaker 2: and I just don't love that. I don't know, I
Speaker 2: don't like where that's going, you know. So it's a bummer,
Speaker 2: and I can I know that it was me. I
Speaker 2: know that I was wanting to do more of this
Speaker 2: kind of thing. I wanted to be on Thosan's creek
Speaker 2: or in a movie or on stage crying. I wanted
Speaker 2: That's what where I was flexing my creative muscles and so,
Speaker 2: you know, but in retrospect, like, I think I was
Speaker 2: actually really fun at the comedy and the and like
Speaker 2: I wish I could go back and just have enjoyed that,
Speaker 2: like when we watch the Turkey Thanksgiving episode, like, that's
Speaker 2: what I was like, that's good acting, Like that is
Speaker 2: me having fun and being out of my head. And
Speaker 2: so you know what I'm seeing now is just that
Speaker 2: that the sort of manner drama that I was bringing
Speaker 2: into the And it's a bummer and I'll stop talking
Speaker 2: about it, but that for.
Speaker 3: You know, they're doing that for me as well. It's like, Oh,
Speaker 3: you're the funny, wacky guy. We'll see how far and
Speaker 3: wacky we can take you.
Speaker 1: Well, that's what I On the other hand, you're very
Speaker 1: goofy in this. You are really I mean, it's very funny,
Speaker 1: but you are definitely turned up a notch yes episode
Speaker 1: compared to the other episodes.
Speaker 3: Right So.
Speaker 1: Guest starring Buddy Hackett as Mister Fontaine. He is a
Speaker 1: legendary stand up comedian from the Catskills era, one of
Speaker 1: the most popular acts in Las Vegas history, and a
Speaker 1: pioneer of blue material or adult jokes. He was actually
Speaker 1: sued by a concert attendee for being shocked and offended
Speaker 1: how she lost Our listeners will know him best as
Speaker 1: the voice of Scuttle in The Little Mermaid and he
Speaker 1: passed away in two thousand and three, and then Soupy
Speaker 1: Sales as Mister Martini, another legendary comedic actor and personality,
Speaker 1: best known as a regular on the nineteen sixties game
Speaker 1: show Whose Line Is It Anyway? And hundreds of other
Speaker 1: TV and radio appearances. He has been listed as an
Speaker 1: influence by Pee Wee Herman, Howard Stern, and Andy Kaufman,
Speaker 1: and he passed away in two thousand and nine.
Speaker 2: Had they worked together before? Do we know?
Speaker 3: I don't know.
Speaker 1: I don't know. I know that I talked to Mark
Speaker 1: Blutman yesterday and Marked told me a funny story that
Speaker 1: they had done a big rewrite. They had, you know,
Speaker 1: sent out the original script. Then they did a big rewrite,
Speaker 1: probably after they cast Buddy Hackett and Soupy Sales. And
Speaker 1: Buddy apparently called Michael and left a message on his
Speaker 1: phone and was like, Michael, the rewrite, call me back.
Speaker 2: Oh, I remember this story.
Speaker 1: And Michael called him back and he was like, you
Speaker 1: gave Soupy more lines than me.
Speaker 2: I remember the whole story. Do you remember? Michael tells
Speaker 2: the story. So all the writers were freaking out because
Speaker 2: Buddy wasn't coming out of his trailer at one point,
Speaker 2: and everyone was scared because of you know that that
Speaker 2: Buddy Hackett, because he was a huge name and we
Speaker 2: were like it was like a big gantman and for
Speaker 2: all those guys, he was like their hero, and they
Speaker 2: knew that they had to go talk to Buddy and
Speaker 2: calm him down and you know, convince him. And everybody
Speaker 2: was scared, and Michael was like, I got this, I
Speaker 2: got this, and they were like, oh my god, Michael's
Speaker 2: going to confront Buddy Hackett and they all followed Michael
Speaker 2: and he like Michael likes storm down and he knocked
Speaker 2: on the door and it was like everyone was expecting
Speaker 2: this big fight and the door opened and Michael went,
Speaker 2: he's buddy up here about no lunch and like mocked him,
Speaker 2: and Buddy Hackett went, you're hysterical, come on in here.
Speaker 2: I want to I want you to create a new
Speaker 2: show for me. And ended up like like Michael just
Speaker 2: diffused the whole situation by making Buddy Hackett laugh. Yeah,
Speaker 2: that's the story of Michael tells, which is that like
Speaker 2: he jiu jitsued Buddy Hackett because I guess Hackett was
Speaker 2: like really upset. But then because Michael was like, baby, buddy,
Speaker 2: I'm like, that's pretty good man. I mean, that's the
Speaker 2: kind of stuff you have to do as a showrunner,
Speaker 2: you know.
Speaker 1: I heard that. Michael said, don't worry, we'll even it
Speaker 1: all out by the time we get to tape.
Speaker 2: Right, that's fun. That's Butman's version, Michael's version was much more.
Speaker 1: He was this Michael's version had something to do with
Speaker 1: jiu jitsu.
Speaker 2: Well, I think there's probably some truth to it, though
Speaker 2: I can see Michael, you know, diffusing a situation with
Speaker 2: humor that actually makes first show sense.
Speaker 3: These are two absolute living legends though oh yeah, overstated,
Speaker 3: how I mean, especially in the comedy world. These were
Speaker 3: two of the ogs. I mean, you could not have
Speaker 3: gotten bigger names.
Speaker 2: So yeah, and I remember fearing that pressure on set. Yeah.
Speaker 2: I remembers like, these guys are here and it's a
Speaker 2: big deal, and yeah, you know, you just kind of
Speaker 2: wish their material was a little better.
Speaker 3: Like I don't blame them for any I just wish
Speaker 3: I thought some of the some of the comedy could
Speaker 3: have been punched. That's all I remember.
Speaker 2: I remember we couldn't have an audience, which is part
Speaker 2: of the reason why the comedy is probably a little
Speaker 2: an audience.
Speaker 3: We absolutely did.
Speaker 2: Sorry, we couldn't do them in front of the audience.
Speaker 3: No, he was in front of the audience, because that
Speaker 3: was one of the things I remember is he says,
Speaker 3: he makes a he screws on.
Speaker 1: Let's wait till we get there.
Speaker 2: Okay, yeah, well but what I remember, what the memory
Speaker 2: I have is that we couldn't bring the audience in
Speaker 2: because they kept swearing and telling dirty jokes, and so
Speaker 2: they that's why they were.
Speaker 3: There, because the whole audience went oh when he said
Speaker 3: this one.
Speaker 1: Thing, really yeah, oh oh god. I only I remember, like,
Speaker 1: do we have to get the audience out here?
Speaker 2: Yeah? I don't know. Yeah, Like well, I thought, I
Speaker 2: wonder if that happened during a run through, and then
Speaker 2: they pulled the audience. We have to ask Jeff mccrack
Speaker 2: and he's the guy to ask, because I remember it
Speaker 2: being an issue, and when I was watching this, I
Speaker 2: was like, Oh, the audience isn't there. That's partly why
Speaker 2: the energy in those scenes. I mean, part of it
Speaker 2: is that they're sitting the whole time, which is a
Speaker 2: little awkward. And then I remember there was tension about
Speaker 2: them being able to remember their lines and like just
Speaker 2: keep it together. So it was like, let's not give
Speaker 2: them any blocking. Let's just sit them in a corner
Speaker 2: and keep it easy.
Speaker 1: You know.
Speaker 2: I don't think we had que cards, but there was
Speaker 2: this sense of like, at any moment they were going
Speaker 2: to not remember their you know, we weren't going to
Speaker 2: be able to keep it going. And so I thought
Speaker 2: we pulled an audience, Like we said, let's not have
Speaker 2: an audience this week because Buddy and Soupy A will
Speaker 2: have to get through it and then b they might
Speaker 2: start riffing and telling dirty jokes, so we can't have
Speaker 2: it on it. That's my memory.
Speaker 3: But okay, yeah, because I have one very specific moment
Speaker 3: that I and I remember the line. I remember exactly
Speaker 3: what he said to me. The whole audience go.
Speaker 1: Oh, well, we'll get to it for sure. Jennifer Campbell
Speaker 1: returns his Lonnie the Beauty, A full Wilderness Outpost employee,
Speaker 1: is back in her second of three Boy Meets World episode.
Speaker 2: From the South South of Philadelphia.
Speaker 1: She's from the South of Philadelphia and can anybody remember
Speaker 1: her third appearance?
Speaker 3: No, I didn't remember this one.
Speaker 2: I thought there was more with her.
Speaker 3: I thought she was.
Speaker 1: I thought she was in way more and we did
Speaker 1: way more in the Wilderness.
Speaker 2: I thought she was like a ten episode recurring with
Speaker 2: I thought she.
Speaker 1: She would never have remembered this character. If you had
Speaker 1: given me a million dollars and said Danielle name, not
Speaker 1: even name, tell me anything about the Wilderness employee that
Speaker 1: has a lot to do with Eric you could have
Speaker 1: given me.
Speaker 2: You never would have watched it. You would never have
Speaker 2: been there for you were in school now, so you
Speaker 2: would have been ushered off to school, so you were
Speaker 2: never there to see any of it. So you would
Speaker 2: have heard it at the table read and then probably
Speaker 2: never even talked to her because she would only be on.
Speaker 3: Second super sweet, very very nice.
Speaker 2: Interesting.
Speaker 1: Maybe maybe would have seen it run through.
Speaker 2: We have a bear in the Wilderness store coming up.
Speaker 2: Isn't there a scene with a bear?
Speaker 1: Yes?
Speaker 2: I thought we've already talked about it.
Speaker 3: That might be her next okay, next response, yeah you
Speaker 3: think you could be right?
Speaker 2: Well.
Speaker 1: Jumping into our recap, we start in Turner's classroom. It's
Speaker 1: a Christmas episode. How do you know? We see Santa hats,
Speaker 1: a festive homeless food drive sign, and a menora. Yes,
Speaker 1: so to pings Blood Drive, Yeah, exactly, Christmas Blood Tapang
Speaker 1: is at the front of the classroom reading Robert Frost's
Speaker 1: The Road Not Taken. I still have that weird thing
Speaker 1: I'm doing with my rs where I'm pronouncing words weird. Yeah,
Speaker 1: I can hear that.
Speaker 2: What are you talking about? Can you do it?
Speaker 1: Yeah? Let's see. The best example is I know, uh,
Speaker 1: Ben used to notice that the way I said boy
Speaker 1: meets world, I like swallow my rs a little bit world.
Speaker 1: There's like a weird thing, and so I think, I say,
Speaker 1: you're it's oh really.
Speaker 2: Yeah, I don't hear what you're doing. That's different than
Speaker 2: you go down like diverge.
Speaker 1: I don't know if it's diverged. There's definitely diverge in
Speaker 1: a wood. There's a there's a thing I'm doing and
Speaker 1: it's weird, and I don't talk like that anymore. I
Speaker 1: don't know what it was.
Speaker 2: I don't think anybody could hear it.
Speaker 1: You're weird and I don't like it. And I don't
Speaker 1: know who that person is, and I don't know what
Speaker 1: she's doing. I don't know what risk you're taking. But
Speaker 1: don't ever do it again. So a short haired auditioning
Speaker 1: for other TV shows. Mister Turner asks the class what
Speaker 1: they got from the poem, and all we hear is
Speaker 1: Sean's loud snore followed by Corey's yip. I remember this
Speaker 1: so well that I know it, because I know I
Speaker 1: think we do it a couple times.
Speaker 2: We've already done for it.
Speaker 3: We've done it before, remember this bit, so well.
Speaker 2: Yeah, we get it, I think season one or season two,
Speaker 2: So it's it's a it's a callback thing.
Speaker 3: Yeah.
Speaker 1: The boys are fast asleep and mister Phoene is standing
Speaker 1: behind them. Phoenie notes that in his class, it's mister
Speaker 1: Hunter who handles the yipping. Corey wakes up in a
Speaker 1: panic and realizes his current predicament. He nudges Shan, who
Speaker 1: sees Phoenie and Turner two and says, now, I don't
Speaker 1: know which class I slept through. Turner reminds them of
Speaker 1: the poem. Phoene explains the road not taken and already
Speaker 1: in this episode, I'm like, what why is PHOENNI here?
Speaker 1: Where's he supposed to be? Why is he in this classroom?
Speaker 4: And he looks it and starts teaching another teachers and
Speaker 4: he's like, let me tell you what the road not
Speaker 4: taken is about It's just I was already like this
Speaker 4: feels like such a setup that I didn't I didn't
Speaker 4: love it, just.
Speaker 2: Too heavy handed, Yeah, I was. I was really reeling
Speaker 2: from just I cannot believe how important poetry is to
Speaker 2: the to the basis of like to the the spine
Speaker 2: of Boy Meets World. And I didn't remember this, And
Speaker 2: it makes it so interesting, like this is now probably
Speaker 2: the tenth time no more, that poetry has played a
Speaker 2: central part of either a character's arc or the lesson,
Speaker 2: and it it's really cool, and it's so interesting that
Speaker 2: you know, Sean hates poetry dismisses it in every one
Speaker 2: of these contexts, and it just it makes me realize
Speaker 2: how really profound it is that Sean becomes a poet
Speaker 2: in that later season, which is probably I guess season
Speaker 2: six or seven. I don't think I quite realized how
Speaker 2: the groundwork had been laid for that transition, because it
Speaker 2: always I always make the joke that it seems so
Speaker 2: out of character for Sean to have become a poet.
Speaker 2: It's like what he goes from being this non academic,
Speaker 2: non interested in school, non interested in literature guy to
Speaker 2: like a good poet who everybody is celebrating in this
Speaker 2: but in retrospect, it's actually there from the get go,
Speaker 2: like poetry was always being planted and it's just built
Speaker 2: into the fabric of the show, maybe artificially, Like I
Speaker 2: don't know if it fits really, but as somebody who
Speaker 2: loves poetry, why not, Like it's kind of cool in
Speaker 2: a sitcom, Like you can't get farther from a sitcom
Speaker 2: than poetry, right in terms of art forms.
Speaker 1: Right, It's funny to me that if someone were I
Speaker 1: never would have thought this ever, But if the description
Speaker 1: of Boy Meets World involved somehow like the show where people,
Speaker 1: through the use of literature learn to understand the world
Speaker 1: and the people around them, it would like, now, with
Speaker 1: the amount of episodes we've done, I'd be like, yeah,
Speaker 1: I could see that it would actually be in the
Speaker 1: synopsis of overall what the show is about. And yet
Speaker 1: before we had done this rewrot rewatch, I would have
Speaker 1: never thought that.
Speaker 3: No, it's also didn't think about even even it was
Speaker 3: its season two, when they finally go out, they're going
Speaker 3: to kiss for the first time, all that kind of stuff,
Speaker 3: it's all at that poetry.
Speaker 2: Yeh, Yeah, that's what I mean, I mean, it's there
Speaker 2: always it was. I mean, it's it's Michael Michael Jacobs
Speaker 2: loves poetry, loved poetry. And but it's so interesting that
Speaker 2: also in the school room, David Holmes was teaching us poetry,
Speaker 2: like we were getting it from both our professional lives
Speaker 2: and our school lives. And it's I mean, I was
Speaker 2: an English major, like I'm obsessed with poetry. I'm and
Speaker 2: it's so it's I think of that as something from me,
Speaker 2: you know, but like clearly it was something from this
Speaker 2: part of the show and my life. And it's so
Speaker 2: interesting that something that I think of like came from
Speaker 2: I don't know, but now I can see, Oh my god,
Speaker 2: that was a huge influence, both in front of the
Speaker 2: camera and behind the camera. It's really fascinating.
Speaker 1: Sophoeni explains the road not taken. We have choices in life,
Speaker 1: and each choice puts us on a new road that
Speaker 1: can have a profound effect on our destinies.
Speaker 2: By the way, I can't stand Robert Frost, and this
Speaker 2: is just like this is the most like like heavy handed,
Speaker 2: I mean talk about like Robert Frost. I actually have
Speaker 2: enjoyed some Frost like but it's it's so I don't know,
Speaker 2: it's just like it's very like exactly what this episode
Speaker 2: spells out. It's like, well, do you really need to
Speaker 2: spell it out? It's literally in the poem like it's
Speaker 2: so it's like it's a hat on a hat.
Speaker 3: You know.
Speaker 2: It's like, let let me explicate the complicated, very obvious
Speaker 2: reading of this very obvious poem. Like it's a very
Speaker 2: obvious poem. It's a that's it's it's a it's a
Speaker 2: popular poem. It's fun because you can get it without
Speaker 2: having to think about it too much.
Speaker 3: So they care to everybody in the ninth grade exactly
Speaker 3: because it's so there, you know, it's a poem exactly,
Speaker 3: and that's what's great about it is that.
Speaker 2: But why Pheenie has to explain it and then Sean
Speaker 2: at the end of the episode has.
Speaker 1: To be we're sleeping, that's why, you know what.
Speaker 2: But we just hit it like, you know, like me,
Speaker 2: by heavy handedness.
Speaker 4: Right.
Speaker 3: That's the one thing that Boy Means World always did well.
Speaker 3: There was a subtlety to the lessons that you're learning,
Speaker 3: and this one just wasn't. This was a hit you
Speaker 3: over the head. Saturday Morning special. Here's what the poem means,
Speaker 3: and now you have to decide what road you're going
Speaker 3: to take.
Speaker 1: I mean it's like literally said.
Speaker 2: I know, and it's you think about the layers of
Speaker 2: like the Hamlet episode in season one where Rusty was
Speaker 2: holding the melon. Yes, that's in a literary illusion, that's
Speaker 2: physical visual, that's really clever, and and and yeah, this
Speaker 2: is just not as clever.
Speaker 1: No, So Sean asks, how does a poem about a
Speaker 1: guy on two roads have anything to do with their
Speaker 1: lives when they can't even drive yet?
Speaker 2: Stick around for twenty two minutes you'll find out.
Speaker 1: Show, We'll tell you. Phoene sarcastically asks Turner. Isn't he fun?
Speaker 1: Turner says, I like to think of him as job security.
Speaker 1: Phoeney asks Cory what his last choice in life was.
Speaker 2: As much as I you know, I've already railed against
Speaker 2: like dramatic Sean, young dumb Sean is starting to feel
Speaker 2: a little young to me. It's it's it's sort of
Speaker 2: like an old joke already, and that, you know, I
Speaker 2: think the better version of Sean that's emerging is the
Speaker 2: Shawn that's totally comfortable in the hospital, totally comfortable in
Speaker 2: the Italian restaurant.
Speaker 1: Sean Yeah, yeah, so uh, Cory says, I did just
Speaker 1: get a job for Christmas break. I'm a gopher at
Speaker 1: Little Polly's restaurant and Sean pipes in too, and I
Speaker 1: got the soft, cushy union job down on the docks.
Speaker 1: He's excited to finally be able to buy nice presents
Speaker 1: for his family and friends this year. Our Christmas job
Speaker 1: breaks a thing that's.
Speaker 2: Interesting for workers.
Speaker 3: Dock workers.
Speaker 2: Absolutely, Why would your kid be working at the docks too?
Speaker 2: It's like the hardest job. I mean that's the joke obviously,
Speaker 2: but it's pretty ridiculous. What's sort of like the prom
Speaker 2: fashion show, right, Like we're probably gonna get letters. People
Speaker 2: are like, yes, they always.
Speaker 1: Got to jo always think it is ten days.
Speaker 2: Makes sense for kids to get like dishwashing jobs or something.
Speaker 3: Unload I think to unload things on the docks. I
Speaker 3: think you can get it like sixteen years old, where
Speaker 3: it's like you're not going on the boats in welding,
Speaker 3: you know, it's it's hey, this thing is.
Speaker 2: Showed up three in the morning.
Speaker 3: Yeah, there's been like a palette on the you know,
Speaker 3: put on the dock.
Speaker 1: We've got jobs are looking for someone for two weeks.
Speaker 2: But it's also a union job, which which, of course,
Speaker 2: none of.
Speaker 3: That makes any sense, none of it. Says says that,
Speaker 3: by the way, the five actor kids who had been
Speaker 3: in a union from the time they were right.
Speaker 2: But obviously, if you're hiring a sixteen year old to
Speaker 2: work at the docks, that's the kid is getting paid
Speaker 2: under the table, Yes, taking advantage of avoiding the union.
Speaker 3: Being paid in cash shown at the table. Yes, exactly.
Speaker 1: Turner gives out the class assignment. I want you all
Speaker 1: to keep a journal of the choices you make over
Speaker 1: the next week, then write a paper about the potential
Speaker 1: of those choices to change your life. Sean retorts, What
Speaker 1: if my choice is to not do the assignment, Turner explains,
Speaker 1: you would get an f not get into college, spend
Speaker 1: your time hanging out at the convenience store waiting for
Speaker 1: them to bring in a new batch of lottery tickets.
Speaker 1: Sean wonders, And that would change my life?
Speaker 3: How?
Speaker 1: And then we go to a commercial break. We're back
Speaker 1: at a very holiday decorated wilderness outpost. Lonnie is hanging
Speaker 1: candy canes on a mini tree when Eric inquires about
Speaker 1: her first Christmas in the city. She's excited at first,
Speaker 1: but as she starts to reminisce, she gets sad and
Speaker 1: tears up, admitting how much she misses them. Eric strategically
Speaker 1: places himself so she falls right into his arms and
Speaker 1: he embraces her, telling him to use him as a handkerchief,
Speaker 1: which she does by wiping her nose on his arm,
Speaker 1: and he looks out and excited. She did it, She
Speaker 1: did it.
Speaker 3: I think by watching this, I could be wrong, but
Speaker 3: I think I was either just getting sick or getting
Speaker 3: over being sick, really super pale.
Speaker 2: Oh like really really cold medication. And that's why you're
Speaker 2: a little big.
Speaker 3: Who knows I could be whapped on. Yeah, some you
Speaker 3: know robot or something, but a solid robo buzz going.
Speaker 3: But there's something because you know, I just noticed that
Speaker 3: I looked off in.
Speaker 1: This Wow, I didn't notice that.
Speaker 3: Looked weird in this episode. And remember this not at all.
Speaker 2: Really, you don't remember this episode at all.
Speaker 3: Nothing.
Speaker 2: I remember wanting so much work in this episode because
Speaker 2: it's not that amazing of a storyline.
Speaker 3: It's just weird storyline.
Speaker 2: Put Will in positions where he can find comedy where
Speaker 2: there it's just not there's not much there.
Speaker 3: And yeah, you're right, I was. I was working on
Speaker 3: you're pushing it over over acting in a lot of senses.
Speaker 2: Yeah, but I think that's the only way it could work, right, Like,
Speaker 2: is that the whole point all the comedy comes from
Speaker 2: Eric being ridiculously expressive in a way that is over
Speaker 2: the top. You know, that's the comedy.
Speaker 3: Strange Beet storyline.
Speaker 1: Lonnie is bummed that there's no way she can be
Speaker 1: with her parents for Christmas this year, but Eric insists
Speaker 1: I'll drive you. She reminds him it's five hundred miles
Speaker 1: and he shouts good. She's extatic and gives him a
Speaker 1: huge hug while they jump up and down with joy.
Speaker 1: As Alan watches on, who I think he was slightly
Speaker 1: embarrassed and maybe nervous that they don't have an HR department.
Speaker 3: Or a line. Does he even say anything?
Speaker 1: And I don't think he says anything there, Nope. And
Speaker 1: then New Settler, we're at Little Polly's. Corey is tucked
Speaker 1: up in his waiter uniform as he brings some cups
Speaker 1: to two older gentlemen with goodfellas vibes. It's Buddy Hackett
Speaker 1: and Soupy sales not playing themselves. Soupy aka mister Martini
Speaker 1: sternly asks who are you. Corey introduces himself and explains
Speaker 1: he was hired to bring people drinks and run errands
Speaker 1: to earn a little extra money this summer. He says, yes,
Speaker 1: So here's what I think happened. Guys. You know in
Speaker 1: a script, when someone's supposed to cut you off, it's just.
Speaker 3: Dead dot or.
Speaker 1: And exactly just kept going. And he just kept going
Speaker 1: because they did cut them off fast enough, and nobody
Speaker 1: really it got filled in with summer and nobody noticed
Speaker 1: in the moment, and that's the take they ended up using.
Speaker 1: But it's not this summer. It's a winter break.
Speaker 3: This is Christmas episode.
Speaker 1: Yeah. So he cuts him off and he says, stop
Speaker 1: talking now, and then Buddy Hackett aka mister Fontaine, asks
Speaker 1: what the drinks are and Corey says it's coffee. Sam
Speaker 1: at the Bar told him to bring it over. Sam
Speaker 1: at the Bar has a tendency to run off at
Speaker 1: the mouth. Fontane explains, I don't like tendencies. I don't
Speaker 1: like mouths. He asks Cory if he understands, and Corey nods,
Speaker 1: I do, but I'm scared mister Martini holds up his
Speaker 1: coffee cup. Who made this? Fontane warns, answer him and
Speaker 1: choose your words carefully. Corey nervously and very slowly tells
Speaker 1: them I did, and that is maybe my favorite joke.
Speaker 3: It's so funny, and nervous is always funny.
Speaker 1: It's so funny. After a short pause soup, he admires
Speaker 1: it's fantastic and asks his pal to try it and
Speaker 1: tell me if I'm wrong. Fontane agrees, you're right. This
Speaker 1: is good. Corey gushes, I did take the liberty of
Speaker 1: adding a dash of cinnamon. Mister Martini hands Corey a
Speaker 1: twenty dollars bill, and if he keeps slinging cappuccinos, maybe
Speaker 1: he'll come up with another twenty. Corey is stoked a
Speaker 1: sling and I'll be And if you gentlemen need anything,
Speaker 1: Martini cuts him off again. I'd like you to accompany
Speaker 1: my new young bride to the beauty parlor keep an
Speaker 1: eye on her. Corey says he can't. Sam at the
Speaker 1: bar gave him a whole list of things to do.
Speaker 1: The men assure him not to worry about Sam. Then
Speaker 1: they laugh at how powerless the bartender is to their
Speaker 1: wise guy. Ways, what has Corey gotten himself into?
Speaker 2: Now?
Speaker 1: Do either of you remember interacting with Soupy or Buck
Speaker 1: Buddy at all?
Speaker 3: Yep?
Speaker 2: Do Yeah, yeah, I remember, Well, you know that feeling.
Speaker 2: There was always this feeling like when you were around legends, right,
Speaker 2: he had to be respectful and like, but there's there's
Speaker 2: something that happened. You know. Obviously we were regulars on
Speaker 2: the show. We're also kids when you're you're when you're
Speaker 2: a kid actor, learning your lines, hitting your marks, it's
Speaker 2: very easy. There's so much about being an actor that
Speaker 2: is just like we're just we're pros, you know, like
Speaker 2: Ben and I at this point have done and so
Speaker 2: there's this funny dynamic where you're.
Speaker 1: More face and you're much better.
Speaker 2: Basically, well, they're bad the things that they're bad at,
Speaker 2: like knowing.
Speaker 1: Their lines, knowing where to stand.
Speaker 2: Getting through rehearsal without making yeah, like all of that stuff.
Speaker 2: And so it's this weird dynamic where like Ben and
Speaker 2: I are sort of standing there, like rehearsal takes a
Speaker 2: lot longer than any other scene, and yet these guys
Speaker 2: were being told constantly are special, that they're hysterical, and everybody,
Speaker 2: all the adults are cowtowing to these guys who were
Speaker 2: sitting there going but they can't do their job, and
Speaker 2: so it's it was a funny. It's a funny like
Speaker 2: feeling of like, yeah, like we're supposed to respect them,
Speaker 2: and we do. And like when I watched the episode,
Speaker 2: I'm like, it's great, it's so great. But while you're
Speaker 2: in it as a kid, especially you're you can't help
Speaker 2: but be like, what are they doing? Why are these
Speaker 2: guys so special?
Speaker 1: What is the deal? And also we did not know
Speaker 1: who they were. Were you were my experience.
Speaker 2: The only thing I knew Buddy Hackett from was Herbie
Speaker 2: the love Bug, and I did. I had watched that
Speaker 2: movie as a kid over and over, and yet at
Speaker 2: some point so I did, I did know him and
Speaker 2: think he was funny, you know. But at this point,
Speaker 2: like I said, these guys are you know, they're at
Speaker 2: the end of their career. They're coming out of like
Speaker 2: basically retirement to do this bit, and so it just
Speaker 2: you know, it's it's an interesting tension. It's not necessarily bad.
Speaker 2: It's just Ben and I are more reserved. We're not
Speaker 2: making jokes, We're trying to be you know. So there's
Speaker 2: a there's a level of like, oh, this week is
Speaker 2: where we're walking on eggshells in all of these rehearsals.
Speaker 2: And it's a.
Speaker 1: Little like the cycle of life of the entertainment industry too,
Speaker 1: where it's like when you're starting out and you're young,
Speaker 1: and let's just talk about comedians. You're starting out, you're young,
Speaker 1: you've got your finger on the pulse, you've got a
Speaker 1: modern voice, you're hot, you're you can do no wrong.
Speaker 1: And then you get you build that reputation for yourself
Speaker 1: and by the time you're at the end of your career,
Speaker 1: what you're you're not finger on the pulse anymore. You're
Speaker 1: not a young, modern voice, but you have fame and
Speaker 1: and that credibility that you have for having the career
Speaker 1: that you've had is going to bring something to us
Speaker 1: that we don't have ourselves. So it's like it's it's
Speaker 1: a it's weird. It is just one of those things
Speaker 1: where it's like your your currency is different.
Speaker 2: Now, well, what's the there's like the old saying, it's
Speaker 2: like the five part being an actor is five stages
Speaker 2: of your career. It's like, who's right strong, get me
Speaker 2: right strong, young strong, Who's right, strong, right, the four stages. Okay,
Speaker 2: yeah I do. I couldn't remember it quite Yeah, yes
Speaker 2: it is.
Speaker 1: They are most definitely at the peak. Get me Buddy
Speaker 1: Hacket and super sales for our writings. Oh yeah right,
Speaker 1: but that's the thing they were in Who is Buddy Hackett?
Speaker 1: Who is soupy Sales?
Speaker 3: Exactly? But I think that that's actually better because then
Speaker 3: you don't have the stars in your eyes as you're
Speaker 3: working with them. You're just to you. It's just two
Speaker 3: other guys that you're working with, so it's not like
Speaker 3: you're sitting there the whole time starstruck.
Speaker 2: It's also it's so important for the sake of the
Speaker 2: storyline that you find comedians to be a mobster. If
Speaker 2: you hired actual.
Speaker 3: You know, it's Tony.
Speaker 2: Exactly, you can't have like real tough guys. You have
Speaker 2: to find guys. But and these guys are perfect in
Speaker 2: that regard and that they're they got this like older
Speaker 2: thing and it's a but so you kind of believe
Speaker 2: that they're like old mob guys, but they're ultimately just funny.
Speaker 2: They're not threatening. There's nothing scary about them. And it's
Speaker 2: in this tradition and well maybe you can speak to
Speaker 2: this like there was this big tradition. I don't know
Speaker 2: if it's still a round of like funny mob like
Speaker 2: funny mob stories. I feel like in the nineties that
Speaker 2: was a big thing. You is that roud way does
Speaker 2: Sopranos kill that? Like now I feel like everything is
Speaker 2: so serious when it comes to the mafia, Like you
Speaker 2: can't make a joke about these things. But yeah, you're
Speaker 2: making jokes about drug dealing and killing people, like that's
Speaker 2: what we're joking about in this episode, and that it
Speaker 2: feels like I haven't seen that in a while. But
Speaker 2: back then it felt very It was a trope, right,
Speaker 2: it was a tradition of Mickey blue Eyes, like you
Speaker 2: always had these like and I think it was like
Speaker 2: in response to that exactly. So in the seventies you
Speaker 2: had Godfather, right, you had the real like dramas, and
Speaker 2: then of course you have a period of mocking it,
Speaker 2: and then it got serious again like reinvent I mean literally,
Speaker 2: the Sopranos is analyzed this for real, right, He's going
Speaker 2: the pilot of Sopranos is the same pitch. It's just
Speaker 2: played for the reality. And then I don't know if
Speaker 2: we went into another comedy post sopranos like, how we
Speaker 2: done comedy mob? Melissa, Why don't you send us an
Speaker 2: email about it? Yeah, please hear, because I'm sure. I'm sure,
Speaker 2: but I can't think of it anyway. The story that
Speaker 2: I remember, I don't know if you guys remember, and
Speaker 2: I don't think I was actually there when Buddy told it,
Speaker 2: but he told Jeff McCracken, and so I've always remembered
Speaker 2: the story, and we have to ask Jeff if he
Speaker 2: remembers it. But so Buddy Hackett told us the story
Speaker 2: about how when he was a comedian he had there
Speaker 2: were mob connections. There were people, you know, in the
Speaker 2: entertainment industry that were connected by the mom. Sure, and
Speaker 2: he was working for a guy or was some guy
Speaker 2: in the mob who had a nephew who could sing,
Speaker 2: and he and he said, I want you to let
Speaker 2: my nephew open up for your comedy act. And Buddy
Speaker 2: felt incredibly intimidated and did not think the guy was talented,
Speaker 2: but knew that he had to give this give this guy,
Speaker 2: this mob guy, a favor. So he said, okay, and
Speaker 2: he allowed this nephew singer. In my mind, he's like
Speaker 2: a young Frank Sinatra want to be to open for
Speaker 2: Buddy Hackett even though he didn't deserve it and it
Speaker 2: wasn't that talented. And so for Buddy Hackett's tour, he
Speaker 2: had this young nephew do. And what Buddy Hackett said
Speaker 2: was that, to this day working on our set, whenever
Speaker 2: he bought a new house anywhere, he hadn't talked to
Speaker 2: the nephew, hadn't talked to the guy who asked him
Speaker 2: for the favor for thirty forty years. But whenever he
Speaker 2: bought a new house anywhere in the world, the day
Speaker 2: after he moved in, a moving truck full of furniture
Speaker 2: would show up to furnish his entire house sent to him,
Speaker 2: and he.
Speaker 1: Never had to talk to any like.
Speaker 2: They basically would make sure that a truck got lost
Speaker 2: with other people's furniture and ended up at Buddy Hackett's
Speaker 2: house wherever he moved. Wow, And I have no idea
Speaker 2: if it's true. I have no idea if it was
Speaker 2: something that Hackett was telling to just impress it. But
Speaker 2: that's the yeah, and he's playing and it came up
Speaker 2: because he was playing a mob bus and we're talking
Speaker 2: about mafia whatever, and that's but yeah, so he said
Speaker 2: it had happened three different times, at least three different times,
Speaker 2: that he would move somewhere or buy a new house,
Speaker 2: and like within a couple of days a truck full
Speaker 2: of furniture.
Speaker 1: What an intimidating thing to do, by the way, draped
Speaker 1: in look how nice I am? I always know where
Speaker 1: you live?
Speaker 2: Yeah yeah, no contact, never yet but always.
Speaker 3: So this is not my style at all.
Speaker 1: I'm dump it out. I want this truck to.
Speaker 2: Be I'm worried about the poor people who lost all
Speaker 2: their furniture.
Speaker 1: Wow, wow, great story. Well then we're in the Matthew's kitchen,
Speaker 1: Corey's eating cereal when Sean barges in wearing an all
Speaker 1: black winter.
Speaker 2: And the ice in the windows this Christmas.
Speaker 3: But I love how you've gone out and obviously purchased
Speaker 3: an expensive dock workers.
Speaker 2: I'm long shoreman now, Yeah, yes, you are full. You
Speaker 2: couldn't just be this.
Speaker 3: Is a great You had saved your money on this
Speaker 3: seven hundred dollars coat, you would have money to buy
Speaker 3: all the presents and you wouldn't need to Robert Frost
Speaker 3: your way through Christmas.
Speaker 2: But I look, I look the part it's great. I
Speaker 2: wish I'd been wearing this at the last scene. I'm
Speaker 2: in the leather jacket, I think in the last scene. Yeah,
Speaker 2: this coat was cool peacock. Yeah, this goes Sean.
Speaker 1: This is the most current modern day writer version of
Speaker 1: you we've seen.
Speaker 2: Yeah, this is what I would actually.
Speaker 1: This was this is what Rider would wear. He's shivering
Speaker 1: from the snowstorm outside Corey's. Corey offers him breakfast, but
Speaker 1: Sean corrects him lunch. I'm on lunch. Corey reminds him
Speaker 1: is a thirty in the morning, but Sean tells him
Speaker 1: he's been working at the docks since three am and
Speaker 1: it's been very cold. Corey tells him, sit, darling, I'll
Speaker 1: make you some hot chocolate. I thought you said it
Speaker 1: was easy on the docks. Sean is peeved. That's what
Speaker 1: it said in the brochure. So so I show up
Speaker 1: this morning and the wind chill is like Jupiter, and
Speaker 1: I go up to the boss and I say insert
Speaker 1: gibberish here, and he goes, yeah, but you took the job,
Speaker 1: and I go and then you insert some more gibberish again.
Speaker 1: And the Turkish freighter that showed up at three am
Speaker 1: was the same one that brought in the outbreak monkey.
Speaker 1: He says, if he's going down, so is Corey, and
Speaker 1: he rubs his hands all over his face.
Speaker 2: So gross.
Speaker 1: Gross, I'm sure.
Speaker 2: Must have been. I can remember this. I'm like, I
Speaker 2: can't believe me, let me do that. I so gross?
Speaker 1: Yeah, because Ben did not like.
Speaker 2: No, such an awful thing.
Speaker 1: I don't like anybody touching my face.
Speaker 2: No, but this is one of those active things, like
Speaker 2: let's get it for the joke, and hand sanitizer really
Speaker 2: wasn't a thing back then.
Speaker 1: So and even with even with that, I'm just something
Speaker 1: touched my face and I immediately recoil.
Speaker 3: I had to rub stuff on your face or off
Speaker 3: your face several times on the show coming up. Do
Speaker 3: you remember that? No, Like you have like the face
Speaker 3: mask at one point and I'm like rubbing it in.
Speaker 1: I do remember there's an avocado face mask thing coming
Speaker 1: wasn't actually I ate it and you ate it? Yeah,
Speaker 1: I do remember that or something. You know what it was?
Speaker 1: It was French onion dip that they died green with food.
Speaker 1: It was sour, so.
Speaker 2: His whole face smelled a French onion dip.
Speaker 1: I think so, yeah, it was you know, because you know,
Speaker 1: French onion dip has the little like chunks of onion
Speaker 1: onion pieces in it. They wanted me to have a
Speaker 1: mask on that kind of had like chunks in it,
Speaker 1: and I'm pretty sure it was the French onion soup
Speaker 1: mix that they mixed with probably lotion and then dyed
Speaker 1: it kind of green.
Speaker 3: It wasn't I found out later. I wasn't supposed to eat.
Speaker 1: It was an athlete not edible. That's so funny. Sean
Speaker 1: eventually asks Corey how his job is, and Corey says,
Speaker 1: it's tough, very tough. It's brutal. But Shaun c'es right
Speaker 1: through it. You got a cushy job, and Ben giggles, Yes,
Speaker 1: you can't hide it, and we're back at Little Polly's.
Speaker 1: Corey's back at all.
Speaker 3: Sorry, just right there. Yeah, I noticed because I wrote
Speaker 3: this down this episode, a lot of the scenes have
Speaker 3: no button.
Speaker 1: This scene just ends, right.
Speaker 3: I was like, oh, that's oh, apparently we're done with
Speaker 3: it down that we're moving on to the next one.
Speaker 3: There was no wrap up to probably three or four
Speaker 3: different scenes. It's just the scene ended and they moved on.
Speaker 1: You know, I wonder if people we should maybe talk
Speaker 1: about a button a little bit because I wonder if,
Speaker 1: because you're right, we notice it, and I wonder if
Speaker 1: other people when they're watching don't necessarily know why something
Speaker 1: feels different to them, but they it feels like just linger.
Speaker 2: It's yeah, you always want to don't want to. You
Speaker 2: don't want a deflating moment, even if it's a laugh.
Speaker 2: You don't want a deflating laugh, right, You want a
Speaker 2: sharp laugh to end.
Speaker 3: Always say don't exhale on the end of a scene,
Speaker 3: like you're letting all the tenchi oots. If you end
Speaker 3: with a and you're letting the tension outs. The same
Speaker 3: with the laugh. Don't let the laugh linger. You get
Speaker 3: out on the sharpest part.
Speaker 2: Right, which is it's not even just that it's a laugh.
Speaker 2: It also should be a turn of some sort, right,
Speaker 2: Like it's like somebody says something and then the response
Speaker 2: changes something.
Speaker 1: It's like a hanger of a moment.
Speaker 2: Yeah, it's like oh boom oh what So there's a
Speaker 2: question mark, you know. I mean one of the things
Speaker 2: that I talk about it when I'm teaching screenwriting is
Speaker 2: like question marks instead of periods. You know, you always
Speaker 2: want to end and every scene with a question mark.
Speaker 2: So you you're always going what I have to know
Speaker 2: what's going to happen next?
Speaker 1: Right, Yeah, so yeah, you're right, that wasn't That wasn't
Speaker 1: necessarily a button. That was a laugh, but and it's
Speaker 1: a good laugh, but it's not necessarily a button. So
Speaker 1: Cory is back at his job and mister Martini and
Speaker 1: mister Fontaine are there again, now joined by Sean who's
Speaker 1: visiting the mobster.
Speaker 2: So sorry, but I really have to pee again. I
Speaker 2: need to. I know, guys, can we just yeah?
Speaker 1: Sure, well sure, old hold hold for your small bladder. Jeez,
Speaker 1: I'm so glad we're taking karate. This is we really
Speaker 1: need to kick him right in the bladder.
Speaker 3: In the bla well, if we can find it. It's
Speaker 3: apparently the size of a pee, so unbelievable. This is
Speaker 3: also what happens when you drink thirty seven cups of
Speaker 3: coffee in the morning. I think he's a little jacked
Speaker 3: on caffeine today. Have you noticed that? I think so.
Speaker 1: I do know that he's very talkative.
Speaker 3: That's what I mean. I think he's he's just whacked
Speaker 3: on caffeine. At this point, he is thirty seven cups
Speaker 3: of dunking in.
Speaker 1: He's like, guys, sorry, I really also have another thing
Speaker 1: I have to say. Yeah, I'm like, where are still
Speaker 1: in the first sentence of the show thought the same thing.
Speaker 3: It's like, oh, okay, here we go. But I think
Speaker 3: between his monologues and stopping a pe, this is going
Speaker 3: to be the best seven hour episode we've ever done. Frankly,
Speaker 3: Heaven's Gate is not edit.
Speaker 1: Let's not let's not edit any of this. Let's just
Speaker 1: keep it. Let's see how long it is. Let's talk
Speaker 1: about where do you Where do you think on the
Speaker 1: body that we that we hit with sticks? Where do
Speaker 1: you What number do you think is where the bladder is?
Speaker 1: You think it's eight?
Speaker 3: I think it's eight?
Speaker 1: No, eight would be up? H I remember it's one, two, three, four, seven.
Speaker 1: It's the top of the head, the top. Ten's the top.
Speaker 2: Hey, there you go, thank you.
Speaker 1: Sorry, you might be right that eight. You might be eight.
Speaker 1: You might be writing eight eight is up?
Speaker 3: No?
Speaker 1: Remember up like nine and ten, So I think it
Speaker 1: might be five. Five might be the closest exactly, all right. Anyway,
Speaker 1: the mobsters call Corey over and he brags to Sean,
Speaker 1: watch me go, did you just drink more water.
Speaker 2: Yeah, I'm really well hydrated. I also think, can we
Speaker 2: can we take back? So you set the scene up
Speaker 2: again so we don't have to include me saying can
Speaker 2: I which because I actually know we're not cutting out.
Speaker 4: We're not.
Speaker 1: We're we talked to them all the time. We are
Speaker 1: keeping everything. Everyone's going to know exactly how long it
Speaker 1: takes you to pee and wash your hands, assuming you
Speaker 1: even washed your hands, with how fast you were gone,
Speaker 1: I don't even know. No consequences for rushing out to you,
Speaker 1: of course, do you think we're just gonna be nice
Speaker 1: to you?
Speaker 3: Come on.
Speaker 1: Anyway. The mobsters call Corey over and he brags to
Speaker 1: Sean watch me go make twenty dollars again. Corey asks
Speaker 1: what they need and Fontane hands him another twenty dollars bill.
Speaker 1: Corey starts to probably walk away, but bye bye, bye,
Speaker 1: bye bye. They have a job for him. He slides.
Speaker 2: But he could have hit that a little harder. I feel, yeah,
Speaker 2: it was a little like Mumbley, and I'm that's one
Speaker 2: of those things where Michael would have given us a
Speaker 2: much bigger line and he kept us doing it over
Speaker 2: and over. But with Buddy, he was probably like it's
Speaker 2: good enough, It's fine.
Speaker 3: Yeah, just the scene I remember being in front of
Speaker 3: the audience, and maybe I'm remembering it wrong because I
Speaker 3: remember the line he's going to say something, and Soupy
Speaker 3: says something and messes up his line and Buddy goes, oh,
Speaker 3: that was a premature ejaculation, and that's when the whole
Speaker 3: audience went and they're like and he's like, oh what
Speaker 3: what what? And so that's why I remember them being
Speaker 3: there for this will I bet that was during a
Speaker 3: run through, you think.
Speaker 2: I think it was the audience that you're probably remembering
Speaker 2: is either is our staff or the network, because the
Speaker 2: tension would have been the same, right, and then we
Speaker 2: both are both our memories could could be right. You
Speaker 2: know that because of that moment, which was in front
Speaker 2: of you know I've run through could have been forty people.
Speaker 2: So you get that gasp of like realization, like we
Speaker 2: cannot let this guy in front of the audience, because
Speaker 2: that's what that's what I am watching these scenes. They
Speaker 2: feel they feel there's not an audience intimate, low energy,
Speaker 2: but it was interesting, like I had the realization. I mean,
Speaker 2: they explain it, I think in this scene, but there's
Speaker 2: no customers rights, they say it, there's no it's a restaurant,
Speaker 2: but we had We didn't have to pay any extras,
Speaker 2: which is good, but it also reduces the energy that
Speaker 2: there's it's an empty restaurant. It's a weird feeling to give.
Speaker 3: There's one. It's such a such a trope, but there's
Speaker 3: one thing you can always do to ratchet up the
Speaker 3: danger without having to do anything. And if you have
Speaker 3: one person, they do it, and everything would have been
Speaker 3: so easy to do. One person wearing a suit and
Speaker 3: tie walks in, leans down, whispers something into one of
Speaker 3: their ear. They nod to him, and he walks off.
Speaker 3: That's all you need and you get that feeling of
Speaker 3: menace and mob more guys. A little.
Speaker 2: It is a little deflating that there's not the sense
Speaker 2: of other people that they're in power because because they're
Speaker 2: they're ordering Corey around and then and then Sean. But
Speaker 2: you're right, it would have been really nice if I
Speaker 2: I thought for a moment that we were going to
Speaker 2: see sand behind the bars, like terrified and like you know,
Speaker 2: it's like call the police like that could have you know,
Speaker 2: raised the stakes of this. But maybe I.
Speaker 3: Honestly didn't remember this episode at all. And I thought
Speaker 3: the episode was going to be you think they're in
Speaker 3: the mob, but of course they're not. And as I'm
Speaker 3: watching it was like, oh no, they're really there in
Speaker 3: the mob and that's and I didn't get that at all.
Speaker 3: So at the beginning I was like, oh, this is
Speaker 3: going to be one of those kind of like they're
Speaker 3: in the mafia. It's like they're not.
Speaker 1: Also, if you walked away at the end with that
Speaker 1: box and it didn't go to the person, you guys
Speaker 1: are both dead, there would be episode there. Now you
Speaker 1: leave the box here, Norson comes up and you do
Speaker 1: at least finish the job.
Speaker 2: The job and yeah, but like yeah, or like what
Speaker 2: go to the police? Like it's so that the stakes
Speaker 2: are actually so high and then the resolution is actually
Speaker 2: so easy.
Speaker 3: To just go give this back.
Speaker 2: Let's just do nothing.
Speaker 3: People apparently like is when you just go, you know what, sir,
Speaker 3: not to work for you, and they're like, wat, good choice.
Speaker 1: I don't think that's how it works.
Speaker 2: We can trust you.
Speaker 3: If Goodfellas taught me anything, yeah.
Speaker 2: Oh god, well I thought this was almost a direct
Speaker 2: reference to Goodfellas with the Spider. Uh you know, Christopher Imperially.
Speaker 2: What's his name, Michael Imperio, Michael Imperioli where he plays
Speaker 2: when he plays the kid bringing the trays and then
Speaker 2: Spider and then he he he shoots him in the foot. Yeah,
Speaker 2: it's a great Oh my god. When I first saw that,
Speaker 2: it's an amazing film. Goodfellas, everybody know that they did.
Speaker 3: They then brought that back into Sopranos. He Michael Michael
Speaker 3: imperially walks into the bakery and shoots the kid in
Speaker 3: the foot or not. And as he walks away, he goes,
Speaker 3: you shot me in the foot, and he goes, yeah,
Speaker 3: it happens. And so that's a straight up nod to
Speaker 3: his Sopranos character.
Speaker 1: Yet so he slides an envelope. He slides an envelope
Speaker 1: to Corey and asks him to go to the mailbox
Speaker 1: on fourteenth and Pine, make sure no one sees you,
Speaker 1: and put the envelope inside. Corey nervously tells him there's
Speaker 1: no mailbox at fourteenth and Pine, but mister Fontaine motions
Speaker 1: for Corey to come closer, real close, then assures him
Speaker 1: that today there will be a mailbox there. Martini adds,
Speaker 1: mister Fontaine is never wrong about mailbox placement. Corey takes
Speaker 1: the envelope but notices something, if you really want this mailed,
Speaker 1: you should consider putting a stamp on here, and maybe
Speaker 1: even an address. The men look at him in amusement.
Speaker 1: You're a noticer, aren't you? I noticed that you're a noticer,
Speaker 1: mister Fontaine jokes. Sean runs up to save Corey. He
Speaker 1: tells the men not to worry, the envelope will be
Speaker 1: mailed out. He pulls Cory aside and asks if he
Speaker 1: has any idea who he's working for. Corey answers proudly,
Speaker 1: mister Fountaine, mister Fontaine and mister Martini. And Sam Sean
Speaker 1: breaks it to him, you're working for the mob. Corey's
Speaker 1: mouth hangs wide open. He looks back at the two
Speaker 1: older men who are grinning at him.
Speaker 2: We're talking about this five feet from five yeh.
Speaker 3: Fifes Also, I just sorry, logistical question if he if
Speaker 3: Sean is now telling him, hey, you're working for the mob,
Speaker 3: and Corey realizes this, why was he so scared of
Speaker 3: him in the beginning?
Speaker 1: It just seems scary.
Speaker 2: I think they were just intimidating dudes.
Speaker 3: Yeah, two guys sitting at a table I think.
Speaker 2: Corey just is a people pleaser. Established this.
Speaker 3: I don't know, you're right, but that's why you'd think
Speaker 3: you'd be like, it's a cappuccino, it's the greatest thing.
Speaker 3: And they're like, he's Corey, you know.
Speaker 2: And then it's like I put cinnamon in it, like very.
Speaker 3: Like that's the way, like you figured that would be.
Speaker 3: The turn is that if.
Speaker 2: Corey would actually fit in really well with some old
Speaker 2: men sitting at a table drinking right, like, he would
Speaker 2: be like, that's the comedy. Where's the soup?
Speaker 3: Right, that's the kind if he's scared the whole time.
Speaker 3: I mean, the comedy is like him going, oh, you
Speaker 3: don't want that. This is let me twist a lemon.
Speaker 3: Is the thing that's going to change your life. So
Speaker 3: that I didn't understand that. It's like, oh wait, Sean
Speaker 3: is now explaining, But then why was he so scared
Speaker 3: in the beginning?
Speaker 1: So yeah, yeah, so Cory asks Sean, but the nice
Speaker 1: mob Sean sarcastically says yes, but flicks Corey in the forehead.
Speaker 1: Cory says he has to quit. Meanwhile, mister Fontaine yells
Speaker 1: out for another cappuccino, and Corey says, every time I
Speaker 1: try and get out, they keep dragging me back.
Speaker 2: We've quoted this on our show. I know it's a.
Speaker 1: Quote from an off in Maligned Godfather three, which I
Speaker 1: still like. Just so you guys know, I enjoy it.
Speaker 1: Corey Bravely.
Speaker 3: I think I've ever seen the third one. Really, I
Speaker 3: heard so many bad things about it. I just didn't
Speaker 3: want to ruin.
Speaker 2: It's really not that bad. It's just it's just hard
Speaker 2: to follow. Like two of the greatest Yeah, I mean,
Speaker 2: I mean, I'm a Godfather to fan over one and.
Speaker 1: I mean listen one and two is also better than zombies.
Speaker 2: He's always a hard one.
Speaker 1: He's a heart.
Speaker 3: Return of the Jedi not as good as the Empire
Speaker 3: and Yeah, Star Wars.
Speaker 1: Back to the Future three see see most of the time,
Speaker 1: Corey bravely hands the envelope back to mister Fontaine. He quits.
Speaker 1: Mister Fontaine doesn't argue, but Corey insists, you can't keep
Speaker 1: me here. Mister Martini kindly says, we'll miss you. Corey
Speaker 1: isn't listening. I don't like to be threatened. Mister Fontaine
Speaker 1: admits you made a fine cup of cappuccino. Corey, thanks them,
Speaker 1: but says he has to go. He walks out quickly.
Speaker 1: Sean hangs back in approaches the mobsters about my friend.
Speaker 1: Sometimes he seems a little chatty, but he's a smart kid.
Speaker 1: You don't have to worry. Mister Fontane and mister Martini
Speaker 1: admire the loyalty. Martini likes loyalty in a person, Fontane
Speaker 1: likes it. On the stand, they have an idea. There's
Speaker 1: an opening. Fontaine addresses mister Loyalty and puts some money
Speaker 1: on top of the mysterious envelope, Are you interested in
Speaker 1: a job? And then we go to the commercial break
Speaker 1: and we're back.
Speaker 2: I'm dying. I would love to read first draft scripts
Speaker 2: of this episode because because it's look through myself listening
Speaker 2: to you talk it through, they really aren't that funny. Yeah,
Speaker 2: I mean the funny presences there funny men, obviously, but
Speaker 2: they don't get many funny lines, like they're not like
Speaker 2: they're also not differentiated, like there's no this guy's this voice.
Speaker 2: It could have so easily been like you always do this,
Speaker 2: You're like they could have been bantering with each other,
Speaker 2: and I'm so curious if they tried right and it
Speaker 2: just didn't work.
Speaker 1: I wish we could interview them. Yeah, you know, only
Speaker 1: you go back in the time machine to twenty years ago.
Speaker 1: Sean is now dressed in the tucks attending to the
Speaker 1: two gangsters. He gives mister Fontaine his hazel nut biscottie
Speaker 1: right on cue. They love him. Mister Martini asks Sean,
Speaker 1: you ever wonder we got a nice restaurant here yet
Speaker 1: we have no customers, but we make a nice living.
Speaker 1: Sean smiles. I figure you'd do a good takeout business.
Speaker 1: Good one, Sean, mine. Great line, great line.
Speaker 3: So that's where it is where at least he's trying
Speaker 3: to show that he is a little bit street smart
Speaker 3: and more similar than Corey. Yeah, which is great. It's
Speaker 3: like that is a good like yeah cool, yeah.
Speaker 2: Yeah, this is where you know, dumb. Sean fades away
Speaker 2: and the streets it's the best. I love streets. So great. Yeah.
Speaker 1: Martini and Fontaine joyfully repeat the line in agreement. They
Speaker 1: do have a good takeout business. Indeed, Sean leaves back
Speaker 1: to the front of the restaurant, and then Corey pops
Speaker 1: up from behind the bar. He asks Sean what he's doing.
Speaker 1: He should be at school. Sean tells him jobs like
Speaker 1: this don't come around very often. Corey knows from first
Speaker 1: hand experience, because he had this job and then Sean
Speaker 1: basically stole it from him. Cory says he quit once
Speaker 1: he realized things weren't as the FBI prefers. Sean insists
Speaker 1: it's a nice restaurant in a quiet neighborhood, that's all.
Speaker 1: And then a loud bang comes from outside and the
Speaker 1: two boys immediately drop to the ground. They realized it
Speaker 1: was just a car backfiring. But why are they on
Speaker 1: the ground. Sean makes the excuse because it's fun and
Speaker 1: we do everything together.
Speaker 3: Funny line.
Speaker 1: Cory knows this job can't lead anything good, but Sean
Speaker 1: says it's just a job for a couple of days
Speaker 1: so he can buy decent presents for his friends.
Speaker 2: It's not gonna change me at all.
Speaker 1: Rory's worried it'll change him, but Sean assures him that
Speaker 1: won't happen.
Speaker 2: Hey, all the all the light, I actually think I
Speaker 2: messed that up, But all the which stuff I remember
Speaker 2: because I had to heard him so bad because I
Speaker 2: speak Dutch. In a couple of episodes, I hat did
Speaker 2: looked and sit it for yourself, how lated it is
Speaker 2: yeah in fight to audit didn't see this to Cooper, yeah,
Speaker 2: because they would bring in the translated scripts and we
Speaker 2: would have to sit there and rehearse, like, oh my god.
Speaker 1: So only Dutch we knew in Amsterdam was the one
Speaker 1: that I.
Speaker 2: Have the hardest time with. Even though I took French,
Speaker 2: I can't do French ours. And so when you go
Speaker 2: back to the season one episode where I speak French,
Speaker 2: I say, like, when it comes to matters of yeah,
Speaker 2: I'm the I'm the king, raw, I can't do it.
Speaker 2: But so that's the only one I don't really remember,
Speaker 2: and I remember also rehearsing and hating.
Speaker 1: But this, yeah, that is so funny. I can't I
Speaker 1: was going to ask you if you remembered it, and
Speaker 1: so on. Cue mister Martini shouts scoozy Sean, and without
Speaker 1: thinking twice, Sean responds, in his Italian accent, do it
Speaker 1: one more time for us, writer, I think. Cory just
Speaker 1: stares at him, flabbergasted. And now we're in Eric's car.
Speaker 1: Eric is giddy driving Lonnie back home for Christmas. He says,
Speaker 1: Lonnie makes the whole turnpike experience seems so alluring and voluptuous.
Speaker 3: The only thing bigger than my performance in this episode
Speaker 3: was my sweater.
Speaker 1: Lonnie doesn't want to alarm him, but she's getting this
Speaker 1: powerful feeling. Eric admits they are in pretty close quarters.
Speaker 1: The holiday spirit is in the air, and she's getting
Speaker 1: the full impact of his right profile.
Speaker 3: My absolutely peaked looking right profile.
Speaker 1: Lonnie tells him they should stop the car. Eric, totally
Speaker 1: horned up, doesn't hesitate. Oh goodie, I mean, dude, I'm
Speaker 1: just so worried.
Speaker 2: I know we could. Yeah, it's it's it's it's just basic, right,
Speaker 2: it's just the promises that it's basically wouldn't it be
Speaker 2: cool if if Eric had a sophisticated plan or or
Speaker 2: wanted something besides just like.
Speaker 3: I just wish it was something other than woman in
Speaker 3: front of Eric. Eric needs sex, Like, I just think
Speaker 3: that there's so many interesting ways you could have gone
Speaker 3: about this, I mean, whatever it is. Take the opportunity
Speaker 3: to say she never went to college and her life
Speaker 3: has been I.
Speaker 1: Mean, there's so many things you can do, and we have.
Speaker 2: Done it another. I mean we've done so many yeah
Speaker 2: of those kinds. We have done layered scenes right with
Speaker 2: women with Eric dating women, like all the tawny girl
Speaker 2: scene and the single out episode. So yeah, it's just
Speaker 2: interesting that Lane. I mean, she's a great actor, but
Speaker 2: it's like she's reduced to a girl that he wants.
Speaker 3: It was. Yeah, I didn't. I didn't like this at all.
Speaker 3: Although this scene, when it does become the snow drift,
Speaker 3: this is the scene we talk about of one of
Speaker 3: the possible possible.
Speaker 2: Eric, Eric, that's so funny from head.
Speaker 3: Trauma, from the head, from the head, the head trauma.
Speaker 2: That somebody proposed that idea to you.
Speaker 1: Yeah, he couldn't have come up with it. He didn't
Speaker 1: remember this episode existed.
Speaker 3: He was from the head trauma high from ROBOTZ was
Speaker 3: robobus right here.
Speaker 1: He unbuckles his seatbelt and leans in, and she says,
Speaker 1: you may be less experience about this, so whatever I say,
Speaker 1: you got to do it without question. Eric obliges, he's
Speaker 1: always dreamed about this. You dreamed about the blizzard, she asks.
Speaker 1: Lonnie clarifies the feeling I have is that there's a
Speaker 1: very powerful blizzard headed our way. Eric says, it's just
Speaker 1: a few flakes in a romantic snowflake setting, and then
Speaker 1: optical flip. Eric's screaming we're trapped in an icy tomb
Speaker 1: of frozen death. Lonnie tries to call Hi him. It's
Speaker 1: just four or five feet of dense pack. Eric agrees.
Speaker 1: He works in a wilderness store. He sells survival equipment.
Speaker 1: He knows what to do, mark everything up thirty percent.
Speaker 2: Goodnit.
Speaker 1: He asks Lonnie how he's doing and replies, you're fogging
Speaker 1: up the windows. Eric bravely exclaims it's my responsibility to
Speaker 1: protect you, and protect you I will. He starts smacking
Speaker 1: his body against the car door until he looks a
Speaker 1: little woozy. I've hurt my head. And then we dissolve
Speaker 1: as he falls into Lonnie's lap. And then we're in
Speaker 1: the Matthew's kitchen. It's still really snowing outside. We must
Speaker 1: have had one of those big old Oh.
Speaker 2: I remember it so well. Oh that's what I loved
Speaker 2: about this episode. I love like Hollywood, old Hollywood stuff.
Speaker 2: So all the fakes know in this scene, and then
Speaker 2: in the outside the warehouse, I remember so well because
Speaker 2: it was so cool. Actually drum drum, so it's like
Speaker 2: a giant sifter that you would use for flour, but
Speaker 2: it's automatically or no, they would, they would spin it,
Speaker 2: but there would be somebody on a ladder spinning the sifter,
Speaker 2: so it falls. Oh so cool.
Speaker 1: Yeah. Sean walks in, greeting Corey. Ho ho ho, my
Speaker 1: best friend. He's holding a present, but Corey reminds him
Speaker 1: Christmas Eve isn't until tomorrow night. Sean knows, but he
Speaker 1: just bought Corey the best present he's ever actually paid for,
Speaker 1: and he wanted to see his face light up like
Speaker 1: a happy little elf. He hands the gift to Corey.
Speaker 1: Light up, little elf. Corey opens it.
Speaker 2: It's a lot sport. I was like, that's a weird
Speaker 2: I don't know if that's that funny of a joke,
Speaker 2: and then of course it's a callback.
Speaker 1: Later it was like, right, you're like a it's a setup. Yeah,
Speaker 1: it's a watch, a very expensive watch, which I can't accept.
Speaker 1: Sean asks why not, and Corey tells him because of
Speaker 1: where the money comes from. Sean points out that he
Speaker 1: even had it engraved with Corey's name. Corey reads it
Speaker 1: aloud to my best friend, Corey, he thinks Sean, and
Speaker 1: then asks, you can quit your job now right. Sean scoffs,
Speaker 1: it's easy money. How can I quit? Easy money? Corey
Speaker 1: tells Sean he can have the one hundred and sixty
Speaker 1: dollars he made working there if Sean quits. That's even
Speaker 1: easier money. Sean tells Corey to spend it on Tapanga
Speaker 1: and his family. He's got to go. Corey asks if
Speaker 1: he's still coming over for Christmas Eve tomorrow night, and
Speaker 1: Sean tells him not to worry. That's a tradition he'll
Speaker 1: never miss. Corey stops him again before he walks out.
Speaker 1: He appreciates the gift, not because of what it cost,
Speaker 1: but because of who it's from. Sean smiles, you're welcome,
Speaker 1: then he walks out. Now we're in the Matthew's living room.
Speaker 1: Alan's reading the newspaper while Amy cuddles him. There's a startling,
Speaker 1: loud knock at the door and it's Lonnie holding up
Speaker 1: an injured Eric. He's okay, he just had a little
Speaker 1: knock on the head. Eric mutters out, hey, Mommy, hey daddy.
Speaker 1: Lonnie ragdolls him onto the couch because we love when
Speaker 1: women may handled dudes.
Speaker 2: Okay, now I couldn't. Alex was watching this episode with
Speaker 2: me and I was.
Speaker 1: Like, well, no, what is she wearing?
Speaker 2: What is it? And it's almost that is the most ridiculous,
Speaker 2: like in the.
Speaker 1: Existence they made it, yes, for just.
Speaker 2: To give her it's the most like, why would you
Speaker 2: ever have a fleece?
Speaker 1: That's a crap propp But I.
Speaker 2: Was like, I was like, is that a what do
Speaker 2: you call that? A belly shirt?
Speaker 4: You know?
Speaker 2: Like Alex, like it's crop top, like that crop top fleece.
Speaker 2: It's the most ridiculous thing I've ever make.
Speaker 3: We want to see your stomach even though it's winter. Yes,
Speaker 3: it's so funny.
Speaker 1: And Eric yells out, oh no more, Horsey, I thought
Speaker 1: you too were on your way up to Lonnie's folkshouse,
Speaker 1: Alan asks. Lonnie explains that they never made it. Instead,
Speaker 1: they ran into a nasty squall four feet of snow.
Speaker 1: They had to stay in the car until the plow
Speaker 1: dug them out. Amy offers to warm them up some soup,
Speaker 1: and Alan goes to get some blankets. Now alone, Eric
Speaker 1: asks Lonnie, how did I save us? Lonnie explains, I
Speaker 1: don't want to scare your folks, but we both nearly
Speaker 1: died back there when the snow fell and the temperature
Speaker 1: dropped below freezing. I wrapped my arms around you and
Speaker 1: held you as tight as I could. Eric consists, we
Speaker 1: never did that. I definitely would have remembered that, Lonnie continues.
Speaker 1: You were unconscious. You were shaking and shivering and turning
Speaker 1: all blue, so there was only one thing left to
Speaker 1: do to survive aeric asks. You ate my leg. That's amazing,
Speaker 1: so funny, so funny, so funny. Your delivery is perfect, unbelieva.
Speaker 2: You don't remember doing this at all?
Speaker 3: Will no?
Speaker 1: Wow, you really must have been sick.
Speaker 2: Well, I'm also just I was gonna ask you, like
Speaker 2: this is really hard, like this is hard dialogue even know,
Speaker 2: like playing like the out of it. I don't know,
Speaker 2: like it's really I would have been so bad at this,
Speaker 2: particularly like because you have to bring so much to
Speaker 2: these kinds of scenes and you do, and I just did.
Speaker 2: I didn't know if you would like ever, you know, yeah, no,
Speaker 2: got so weird.
Speaker 1: And I really you with your memory, you would have,
Speaker 1: I think, remembered this if you weren't sick.
Speaker 3: Maybe I was ill, maybe you were sick.
Speaker 1: Yeah, Lonnie laughs. I had to warm up your body,
Speaker 1: so I remembered the old trapper's trick. I stripped your
Speaker 1: clothes off of you, and I stripped mine off. Eric
Speaker 1: is freaking out, and I wrapped us both up in
Speaker 1: a tiny, tight sleeping bag, all naked and we survived.
Speaker 1: Eric cries, so what when you're surviving with someone like that,
Speaker 1: you have the common courtesy to wake them up. You
Speaker 1: kick them, smack them, yell in their ear. Hey wear naked.
Speaker 1: Amy walks in with some warm soup. Eric complaints, Oh great,
Speaker 1: I'm awake for the soup, which is another very fair.
Speaker 2: That's one of my favorite that stressed out will delivering
Speaker 2: like a throwaway. Like it's very similar to like when
Speaker 2: you finally give up on her and shallow Boy and
Speaker 2: you're like, no, I want you to go to plant.
Speaker 2: Oh great, I'm here for this, Luga. It's like with you,
Speaker 2: the way that you can have energy in this sort
Speaker 2: of like throw away, just like pissed off Eric is
Speaker 2: so funny. It's like a specific tone to your voice.
Speaker 3: I love thank you, Little Michael J. Foxy.
Speaker 2: I think maybe, yeah, it's so funny.
Speaker 1: And then we're back at Little Polly's. Sean's working on
Speaker 1: Christmas Eve and tells his mob the place is all
Speaker 1: cleaned up. If there's nothing else, I've got a little
Speaker 1: Christmas Eve thing with my buddy. Mister Fontaine says there's
Speaker 1: one more little favor he needs tonight. Sean tells him tonight,
Speaker 1: it's pretty tough, but mister Fontaine slips him two hundred
Speaker 1: dollars and hands Shawn a box. Take it down the street,
Speaker 1: stand in front of the warehouse. A car will come by,
Speaker 1: a guy will ask for it. You will give it
Speaker 1: to him. He will give you an envelope, and you
Speaker 1: bring it back here. Sean stares at them conflicted. Mister
Speaker 1: Martini adds, you do that for us, and maybe we
Speaker 1: find something a little more permanent. How would you like that?
Speaker 1: And then we cut to outside of a snowy warehouse
Speaker 1: and the snow here really looks like feathers.
Speaker 3: It does look really fake and its every.
Speaker 1: Yeah, it's it was a big yeah.
Speaker 2: But it was fun to experience. I remember like be
Speaker 2: loving being outside first of all, because we never got
Speaker 2: to go outside on the lot, you know. Yeah, it
Speaker 2: was kat t la so oh my gosh, so fun.
Speaker 2: I I have the we have I have the memory.
Speaker 2: And then also Chris Kier talked about how the sound
Speaker 2: department just hated me always, and I could feel it
Speaker 2: in this one. You can't hear anything I say, like
Speaker 2: the first couple of lines, because I especially the first
Speaker 2: couple of lines because the booms have to be so
Speaker 2: far away in order to have those wide shots and
Speaker 2: you can't hear me because I would always swallow my lines.
Speaker 2: I hated like being big or projecting, so I.
Speaker 3: Would always like they never put on like the no,
Speaker 3: I don't.
Speaker 2: Yeah it's it's yeah, we were you know. I guess
Speaker 2: we just weren't used to it or weren't prepared for that.
Speaker 2: But yeah, so this it's clearly the boom just can't
Speaker 2: pick me up. And I was like, writer, speak up,
Speaker 2: my god, take the note.
Speaker 1: We see Sean with the box in his hands, looking
Speaker 1: around for a car, and then Corey appears. Sean asks
Speaker 1: what he's doing here, and Corey responds, come on, let's go.
Speaker 1: You're working much too hard. Sean doesn't budge. I got
Speaker 1: paid for a job and I'm gonna do it. Corey
Speaker 1: mocks him. Oh, loyalty, I like that and a worthless
Speaker 1: little coffee boy who they don't care if he lives
Speaker 1: or dies. Sean tells him this money makes him feel
Speaker 1: like somebody. Corey agrees, Yeah, I'm sure that's a real
Speaker 1: nice feeling. Then, like Brad Pitt the end of seven,
Speaker 1: Corey asks, what's in the box?
Speaker 3: What's in the box?
Speaker 1: What's the box?
Speaker 2: So this was before seven?
Speaker 3: Right?
Speaker 2: Seven came on ninety seven. Yeah, now you cannot say
Speaker 2: that line anymore. No one can say what's in the box?
Speaker 1: In the box?
Speaker 2: Yeah, it's so funny that.
Speaker 1: That's Sean says, he has no idea. I am merely
Speaker 1: the box holder. Corey pushes him to open it up.
Speaker 1: I want to see what's inside. I want to see
Speaker 1: your face light up like a happy little elf. Open
Speaker 1: it up, my little elf. Sean is defeated. I don't
Speaker 1: want to spend my life standing in front of a
Speaker 1: convenience store waiting around for the next batch of lottery tickets.
Speaker 1: Corey asks, so this is the road you're taking. Sean explains,
Speaker 1: this isn't a road, this is a box. And as
Speaker 1: long as I don't open this box, I don't know
Speaker 1: what's in it. There's a Teddy bear in this box.
Speaker 1: Cory sarcastically pushes more, Oh, a teddy Come over to
Speaker 1: my house. We'll put the teddy under the tree, and
Speaker 1: at the end of the night we'll play a little
Speaker 1: game called let's guess the street value of the teddy,
Speaker 1: and I did think very on the nose point to drugs.
Speaker 2: Yeah, you know, like I liked it.
Speaker 1: I think too.
Speaker 2: I thought this up until now, I was like, Okay,
Speaker 2: this scene is cooking, and then basically from that line on,
Speaker 2: I feel like it is drained of all subtlety. Yeah,
Speaker 2: and you know, I'm beginning to see I mean, we've
Speaker 2: seen it before, but I really am starting to see
Speaker 2: as an actor this you wouldn't even call it a technique.
Speaker 2: You'd call it a habit, which was something that you
Speaker 2: know when you have, like I definitely felt like after
Speaker 2: Boy Meets World, I felt like as an actor one
Speaker 2: of the things that I had sort of gotten very
Speaker 2: good at and not a good thing as an actor
Speaker 2: was you know, when you have to say expositional dialogue
Speaker 2: like that, you know, dialogue that's very on the nose,
Speaker 2: that's said without motivation, like that's really you know, they
Speaker 2: usually the good scenes and good writing is dialogue where
Speaker 2: you have a very clear, like immediate objective. You want
Speaker 2: to influence the person you're with or get them to
Speaker 2: do something or say something. And when you're just talking yourself,
Speaker 2: when you're talking about yourself almost in third person, where
Speaker 2: you're like, I'm the type of person that does this
Speaker 2: that you know, which we've talked about, was a kind
Speaker 2: of a boy meets World Habit was this sort of
Speaker 2: what what you have to do as an actor is
Speaker 2: like overly naturalize it, like it's you aim for this
Speaker 2: like naturalism to sort of mask the exposition, and so
Speaker 2: you develop I can see that I had developed. I
Speaker 2: started developing these these ticks and these like vocal things
Speaker 2: and these body movements, and I looks to sort of
Speaker 2: mask the exposition or to make the exposition feel less expositional,
Speaker 2: which doesn't really solve the problem because the problem is
Speaker 2: in the that you are just a line delivery system
Speaker 2: that you just have to deliver information without a propel's story,
Speaker 2: without a propelling story, without a propelling conflict within the scene.
Speaker 2: And so for the rest of this scene, you can
Speaker 2: see that Corey and Sean are sort of talking outward.
Speaker 2: There's just sort of like expressing almost like like Shakespearean
Speaker 2: soliloquies about you know, their position and what they think
Speaker 2: and what you think, and then we're going to come
Speaker 2: to a conclusion. It's very like theoretical and heady in
Speaker 2: a way. And so I'm I'm bummed because I, you know,
Speaker 2: I feel like this this is where I sort of figured.
Speaker 2: I basically took this in as what acting was, and
Speaker 2: it took a long time for me to realize that
Speaker 2: that's that's not acting. That it's a form of acting, right,
Speaker 2: it's it's it's a television acting. It's sitcom acting. And
Speaker 2: you have to do it in times. You know, cop
Speaker 2: actors on cop shows, right, they have to deliver really
Speaker 2: just information half the time, and they do it fast
Speaker 2: or you know, you find a way to like walk
Speaker 2: and talk, and so it's a skill set. But it's
Speaker 2: not great, it's not you know, it's it's interesting. So
Speaker 2: I can see that this is becoming my habit and
Speaker 2: it's a little bit of a bummer.
Speaker 1: Well, it's not just you, obviously, it's not just you.
Speaker 1: There's no it's me.
Speaker 2: It's the way, you know, like I said, it's actually
Speaker 2: the job, you know, it's part of the job.
Speaker 1: So Sean asks his best friend, how does this get
Speaker 1: so complicated so fast? Corey responds, I guess that's how
Speaker 1: they get you. Uh, that's how they get you. They
Speaker 1: find a guy who feels like he's nowhere in his
Speaker 1: life and they make him believe that he should be
Speaker 1: on a street corner holding a box. Sean wonders, maybe
Speaker 1: this is my street. Maybe no matter what I do,
Speaker 1: this is where I end up, Like that poem says.
Speaker 1: Corey disagrees. The poem says, you have choices in your life,
Speaker 1: and every choice you make means something. Corey says, They're
Speaker 1: only sixteen and they got fooled by a couple of
Speaker 1: guys who look like their uncles. It's so easy to
Speaker 1: end up on the wrong road. Sean can't believe it.
Speaker 2: Yeah, I mean that's it. Like I'm just wondering and
Speaker 2: expounding on this poem and talking about it and then
Speaker 2: questioning it, and we're just kind of like both riffing.
Speaker 1: And building you suppose.
Speaker 2: I don't know if I'm the type of person the
Speaker 2: it's like at sixteen, Like who talks about themselves as
Speaker 2: sixteen year olds? I'm a sixty like well.
Speaker 1: I also, I think one of the things that feels
Speaker 1: out of place is that this wasn't a part of
Speaker 1: the beginning part of your episode things where you guys
Speaker 1: were looking for jobs. You wanted to make a little
Speaker 1: bit of money, and then all of a sudden at
Speaker 1: the end, it was like, but I'm in a rough
Speaker 1: It's like, oh yeah, now I forgot all of a sudden.
Speaker 1: Episode ended up being about you not knowing where your
Speaker 1: road is and whether you're a guy on a good
Speaker 1: road or whatever.
Speaker 2: That's what I mean. When the scene is about the
Speaker 2: box off guard. When the scene is about the box,
Speaker 2: it's about like open it, close it, take it back?
Speaker 2: Did that it? When the scene is about the watch like,
Speaker 2: that's that's where scenes come alive. That's where characters can
Speaker 2: express these things without having to say them. But unfortunately,
Speaker 2: this scene from now on just becomes us expressing outwardly
Speaker 2: these things. And it is you know, it is part
Speaker 2: of the and it is children's television or family television
Speaker 2: sometimes does need a version of this. So it's it's
Speaker 2: just an interesting thing. And you know, I'm harsh on it,
Speaker 2: and I'm harsh on myself, but mostly it's not, if
Speaker 2: I'm honest, it's it's my problem that I sort of
Speaker 2: carried after Boy Meets World that I had a hard
Speaker 2: time seeing this for that for what it was, I
Speaker 2: thought that this was good acting, and it became you know,
Speaker 2: I became a very sentimental actor, you know, you just
Speaker 2: it's more heady. It's not emotional, it's not immediate, it
Speaker 2: doesn't have the sort of propulsive energy that acting should.
Speaker 1: Right well, Sean can't believe it. And I knew all
Speaker 1: about them too. I didn't walk away. I figured I'd
Speaker 1: just get them coffee, makes some money and get out
Speaker 1: before it all got to this. But now I'm a
Speaker 1: little scared. And I like this part of the storyline too,
Speaker 1: where all of us. I love the idea of a
Speaker 1: message of being like I didn't know when I got
Speaker 1: in over my head. I didn't know the moment where
Speaker 1: all of a sudden I was in too deep. I
Speaker 1: thought I could I thought I was in control, but
Speaker 1: I actually wasn't. I like that part. Corey admits I
Speaker 1: thought the devil was some guy with horns and a
Speaker 1: big tail. Sean tells Corey to go be with his family. No,
Speaker 1: that would be the wrong choice. The difference in the
Speaker 1: poem is that the guy.
Speaker 2: Why is this devil? I mean, it's a good point,
Speaker 2: but why is the devil like?
Speaker 1: Well, and that's the other thing is that it feels
Speaker 1: like it's like a bunch of different storylines like a
Speaker 1: guy who looks and acts like your uncle and a
Speaker 1: funny guy could really be dangerous. Dangerous talked about that.
Speaker 2: That's the point is well taken. It's just literally making
Speaker 2: a devil reference. Was like, wait, we weren't I thought,
Speaker 2: I don't know, it just felt it just felt kind
Speaker 2: of yeah.
Speaker 1: Also, like I said, the reference I like about, I
Speaker 1: didn't know when I got when I was in too deep.
Speaker 1: That wasn't hit before. It feels like, right at the
Speaker 1: very end, it was like we've been dealing with the
Speaker 1: devil and he was super nice to us. We didn't
Speaker 1: what was the devil? And also I thought I was
Speaker 1: going to get out quick, but I didn't get out quick.
Speaker 2: It was just like, yeah, it's just cramming in some exposition.
Speaker 2: It's a it's yeah.
Speaker 1: It's a lot all at the end, and I think
Speaker 1: we if maybe they had just stuck with one thing,
Speaker 1: which was the road, like I'm here, you.
Speaker 2: Know, one metaphorta time, one metaphorreta.
Speaker 1: Time, please so Sean can't believe it. And I knew
Speaker 1: all about them too. I didn't walk away. I figured
Speaker 1: I'd just get them coffee, make some money, and get
Speaker 1: out before it all got to this.
Speaker 2: And this is where I was a little like, it's
Speaker 2: a little disingenuous because Sean knows their mob like, he's
Speaker 2: street smart enough to call that their mob people the
Speaker 2: second he walks into that restaurant, and yet he's not
Speaker 2: streets smart enough to say, like, I'm in over my head.
Speaker 2: I can't believe it.
Speaker 1: Like it's a little bit that's the that's the point
Speaker 1: I liked, though, is that really? He he? I liked
Speaker 1: the idea that we all think, let's use drugs and
Speaker 1: as an example, I can, I can smoke a cigarette.
Speaker 1: I'm not gonna get it. I'm not gonna I'm not
Speaker 1: gonna get addicted. I'm not gonna whatever. And then next thing,
Speaker 1: you know, you're like, when did I become a packa
Speaker 1: dat smoker?
Speaker 4: You know?
Speaker 1: When did that happen? I started off as and it
Speaker 1: it'll happened to you fast. And I like the idea
Speaker 1: that Sean goes, I was street smart enough to call
Speaker 1: what I was walking into. How Come I wasn't street
Speaker 1: smart enough to know when I was when I couldn't
Speaker 1: get myself out? You're right, so great, I actually take
Speaker 1: a book. Okay, good, so Corey admits I thought the
Speaker 1: devil was some guy with horns in a big tail.
Speaker 1: Sean tells Corey to be with his family. No, that
Speaker 1: would be the wrong choice. The difference in the poem
Speaker 1: is that the guy had to choose his road alone,
Speaker 1: Corey explains. Sean asks you don't think he had a
Speaker 1: best friend, and Corey shrugs, I guess not. And then
Speaker 1: he reveals the blood money watch on his wrist and
Speaker 1: he says, according to this, you do. And then there
Speaker 1: is a very loud motorcycle that passes by his engine.
Speaker 3: Sound.
Speaker 2: I'm telling you our crew was not used to being
Speaker 2: u out and outside. Yeah, I wonder, I mean it
Speaker 2: has to be right, there's no unless they intentionally put
Speaker 2: a car going to because it is, it's a wide shot.
Speaker 2: It cuts for the beat, and we have this moment
Speaker 2: of silence, like is it meant to be like the road,
Speaker 2: like we're supposed to hear the road? I don't know.
Speaker 2: I actually thought maybe it was intentional to sort of
Speaker 2: give it some like a beat of like the you know,
Speaker 2: I don't.
Speaker 1: Know, it's her dialogue.
Speaker 3: So they they could have just taken it out if
Speaker 3: they wanted to. So yeah, maybe they are trying to
Speaker 3: You're right, Yeah, they've got the subtlety they're going for
Speaker 3: after them just saying as I walked the poem, I
Speaker 3: want to go the road that goes to your house. Guys,
Speaker 3: it's like, yikes, so but subtly now they're just going
Speaker 3: to put in an engine in the distance.
Speaker 1: You know, you know. And I actually, because you're right,
Speaker 1: I bet it is intentional because I at first actually thought, Oh,
Speaker 1: it's the guy showing up for the box.
Speaker 3: That's what I thought too. Oh the car is going
Speaker 3: to come, and what are they going to do when
Speaker 3: the car comes? That's what I thought it was going
Speaker 3: to be.
Speaker 2: Yeah, well maybe that's intentional too, Like it could be
Speaker 2: both right, like the choice is going to come and
Speaker 2: then it goes away and then it's like I got
Speaker 2: to make this choice. But for myself, I can't. Just
Speaker 2: it's not out of my control, I think.
Speaker 3: I don't know if you remember the original tag was
Speaker 3: them was cutting to then Corey and Sean doing all
Speaker 3: the drugs in the box.
Speaker 1: Yes, I remember that table rad Yeah.
Speaker 3: It turned out to just be it was like the
Speaker 3: best time they'd ever had, and they were like, this
Speaker 3: is we gotta we should change it.
Speaker 2: We should every day Christmas, Corey, we should just all
Speaker 2: the time. Why are we not? Right now? Like the
Speaker 2: things that you said, we just had like the best
Speaker 2: conversation of our life.
Speaker 1: My god, I wish everybody could hear this.
Speaker 2: I wish there's another box we can go to theother.
Speaker 2: You hear the helicopter. There's a helicopter outside right now.
Speaker 2: I hear a helicopter.
Speaker 3: Did the very next scene, Corey's trying to sell his
Speaker 3: watch to get another box. Yeah, I've heard this terrible.
Speaker 2: Oh my god, it's funny.
Speaker 1: So they both glance at the box and Sean recites
Speaker 1: two roads diverge in a wood, and I choose the
Speaker 1: one that leads back to your house, isn't Cory smiles,
Speaker 1: saying they should take the box back first, and Sean asks,
Speaker 1: wouldn't it be funny if there really was a Teddy
Speaker 1: Bear in there? Corey jokes, don't you wish life was
Speaker 1: like that? And Sean admits as they walk away, I'm
Speaker 1: beginning to see that it's not.
Speaker 3: Oh yeah, heavy time, the Buddy hack It and soupy sales.
Speaker 2: Yeah, you know, I think if you just think nine
Speaker 2: year old watching the show, that it's great, it's nice,
Speaker 2: it's great. Gotta hit it on the head. Yeah, it's
Speaker 2: just awkward as old thing.
Speaker 3: We didn't have to ever hit it on the head before.
Speaker 2: Well maybe we did, but but you know, if we
Speaker 2: were eleven year old saying this, you know, we couldn't
Speaker 2: be with the box. But like when you say life
Speaker 2: lessons and you're an eleven year old Ben Savage and
Speaker 2: the pilot, it's cute and it's like, oh, but like here,
Speaker 2: it's a little really the kids talk like that, or
Speaker 2: sixteen year olds talk like this. No, yea, but okay.
Speaker 1: Well I also did find some interesting information about the
Speaker 1: Robert Frost poem. Most people believe that Frost took saw
Speaker 1: the fork in the road and picked the one that
Speaker 1: made the most sense for him, and often it's interpreted
Speaker 1: that it was the better road. The way they used
Speaker 1: in this storyline with Corey and Sean that.
Speaker 2: There's like he actually doesn't say whether it's good or bad.
Speaker 1: No, he actually, a couple of years before he died,
Speaker 1: he clarified that he actually thought the piece was trickier
Speaker 1: than people made it. They oversimplified it, and he explained
Speaker 1: that when he came to the fork in the road
Speaker 1: he actually wished he could do. He could take both paths,
Speaker 1: but he couldn't, and so he reluctantly chose one, but
Speaker 1: that in his mind, if he had his life to
Speaker 1: live over again the next time, he would just choose
Speaker 1: the other one to see where that path took him to.
Speaker 2: So so it's really just about how one choice affects
Speaker 2: every other choice, right right, it's but it's interesting that
Speaker 2: you would like if you're an if you're an optimist,
Speaker 2: you interpret that as in I or exactly, whereas if
Speaker 2: you're miserable you could say this, the poem would still
Speaker 2: speak to you. That's made all the difference and I'm
Speaker 2: stuck in this awful life because you.
Speaker 1: Could also just look at it and go, wow, who
Speaker 1: knows if I had taken that other job, Like we
Speaker 1: actually mentioned in the Jeff Sherman episode, maybe had Jeff
Speaker 1: taken the Jenny McCarthy show, would the Jenny McCarthy Show
Speaker 1: have been more successful because Jeff was there? Like you
Speaker 1: never uniting doors?
Speaker 3: Is that what's sliding doors? Yes, out, it's kind of
Speaker 3: like what you take one the other Yet another questioning.
Speaker 1: My writer's favorite actress of all time? Yes, and then
Speaker 1: We're in the tag in the Matthews living room. The
Speaker 1: Matthews family, Sean, Tapangaffini, and Turner, who looks nothing like
Speaker 1: our mister. Turner and Lonnie are all gathered around as
Speaker 1: Alan opens a present.
Speaker 3: Why why is Tony there?
Speaker 2: No idea freeze frame of the cast at the end?
Speaker 2: I mean, is that the bummer? Is that?
Speaker 3: Like?
Speaker 2: It makes sense at the end. It would have made
Speaker 2: sense in season two and three because he's like my
Speaker 2: father figure. Yes, but why isn't Blake there? Like I
Speaker 2: have my family and.
Speaker 1: It's just all of a sudden Turner and Lonnie.
Speaker 2: It would have been so great if what would have
Speaker 2: been I mean what I mean I didn't realize this
Speaker 2: until just now, but if Sean and Turner had a
Speaker 2: gift exchange moment just two lines where Sean is giving
Speaker 2: something to Turner or Turner's giving something to Sean, and
Speaker 2: we just had a moment of like, I kind of
Speaker 2: miss you now that you're not in the house anymore.
Speaker 2: Of the apartment.
Speaker 1: Oh made this out of your mullet like something. But
Speaker 1: we had to give Amy and Allan a line.
Speaker 2: Oh my god, I made this out of your moulive.
Speaker 2: You I need you some some gloves out of your mullet, your.
Speaker 1: Hair clippings I found in your bathroom.
Speaker 2: Oh my god.
Speaker 1: Alan is opening a present. This is exactly the shirt
Speaker 1: I saw in that window and told you I wanted
Speaker 1: and made you buy it, and now I have it.
Speaker 1: Amy asks if he likes it. I love it, but
Speaker 1: I do kind of miss the surprise element. Eric glances
Speaker 1: out the indo. When he runs to Lonnie, he tells
Speaker 1: her there's a blizzard, and he shivers dramatically. He hits
Speaker 1: his head and announces, now I'm unconscious. Save me. Lonnie
Speaker 1: tells him to stop revealing her story. Never happened. She
Speaker 1: made the whole thing up, you did, She responds, yep, sorry,
Speaker 1: cute butt, though.
Speaker 2: Ambiguous ending.
Speaker 1: Would you call that a butt? Tin?
Speaker 2: Butt?
Speaker 3: Is that?
Speaker 2: Actually? The last line? Is that the last? Yeah?
Speaker 1: Phenie sets his camera up to take a group photo.
Speaker 1: Everyone get together. Everyone gathers around as the camera clicks
Speaker 1: and the picture stays on the screen. And now, in
Speaker 1: a bit of a tradition, we freeze with the message
Speaker 1: Happy Holidays from Boy meets World from the Buys of.
Speaker 2: Boas's so interesting to think, like what this freeze frame
Speaker 2: in this message does like it's sort of it creates
Speaker 2: a frame for our show, like it creates a like
Speaker 2: there is a voice, there is a Boy meets World
Speaker 2: that is outside of the fiction that you were watching,
Speaker 2: and outside of the fiction that you were watching, they
Speaker 2: are going to say happy holidays.
Speaker 1: That is a.
Speaker 2: Really and it's really weird, and it's actually probably contributes
Speaker 2: to the sense of connected connection that people have with
Speaker 2: our show. That that, you know, it goes along with
Speaker 2: the sort of expositional dialogue and heavy handedness in that
Speaker 2: it's like there's an organizing intelligence. There's and that is
Speaker 2: the person if it's Michael or just our crew or us,
Speaker 2: like we are Boy meets World and you have enjoyed
Speaker 2: our thing, and we are connecting to you outside of
Speaker 2: the framework of that's really cool.
Speaker 1: We would like to wish you.
Speaker 3: Yes you see this. The other way they say it
Speaker 3: on a lot of shows is from our family to you.
Speaker 1: Yes, right holidays. So yeah, right, you're right. Thank you
Speaker 1: for joining us for this episode of Pod Meets World.
Speaker 1: Join us for our next episode, which will be season
Speaker 1: four episode thirteen B and BSB and B.
Speaker 2: I'm so excited.
Speaker 1: As always, you can follow us on Instagram Podmeets World Show.
Speaker 1: You can send us your emails podmeets Worldshow at gmail
Speaker 1: dot com and we have merch Dragons for Life Merch
Speaker 1: Podmeets Worldshow dot com will send us out.
Speaker 3: We love you all, pod dismissed. Podmeets World is nheart
Speaker 3: podcast producer and hosted by Danielle Fischel, Wilfordell and Ryder
Speaker 3: Strong executive producers, Jensen Carp and Amy Sugarman Executive in
Speaker 3: charge of production, Danielle Romo, producer and editor, Tara Sudbaksh producer,
Speaker 3: Maddy Moore engineer and Boy Meets World super fan Easton Allen.
Speaker 3: Our theme song is by Kyle Morton of Typhoon and
Speaker 3: you can follow us on Instagram at Podmeets World Show
Speaker 3: or email us at Podmeets Worldshow at gmail dot com