A Formal Affair • EP209

starting the episode. Friends, Joyce, Joy has a code. Please give us the intro in your super sexy laryngitis boys. The trick is to keep breathing air. Date November six, two and four. Although Lucas takes Anna as his date to the Tree Hill High formal, he finds himself with Brooke at the end of the night. Meanwhile, Haley's musical obligations to has caused her to arrive late at the formal, which Anger's Nathan Baton finds herself struggling with a growing

temptation to turn to drugs. Say not a drugs, kids, Hugs not drugs, Um Joy, I mean, look, I like it. It was better yesterday. It was just a sexy radio voice. Now I just sound like sound laryngitis in the morning, you know whatever. Now I just sound like I've been smoking my whole life. Yeah right, that's what people always ask me. They're like, wow, you must smoke a lot, and I'm like, no, but thank you so much. No, You've got the sexy radio voice going on, Sophia, it

works for you. Does it all sound sick? Slow it down a little bit and talk like this. Oh yeah, I'll be your hyper lapdog. Hey, guys, sounds crazy. This episode was not Wait can you believe that we had back to back slumber party episode and formal episode. In my brain, I thought like it spanned a whole season. He too, I loved it. I loved it. It's like two major occurrences. I can't believe we got so lucky

to have them two weeks in a row. Um. I think we all said this during the watching of the episode. We all have memories of shooting this episode. Joy was but Joy was like I didn't go to the dance for sure. I was like, I've never been crowned prom queen in my life. I feel like I would remember if that happened in my life. You were sour. I

can't believe you forgot that. I feel like though, because the moment was so robbed of joy because of the conflict between you guys, Like maybe that's why it didn't resonue must be and it was a crane shot. It was like they just pulled out the time. It was so ruddy. Yeah, it was super rushed and maybe it was like one of those things that was at the end of the night. I'm sure it was actually at the end of the night, the last shot of the day because with the confetti it would have taken way

too much to clean up. So I bet actually I probably came in for like an hour. At the end of the day they had to wrap and it was like, get this shot with joy walking in. I had to go straight up to this stage, all right, crane shot one camera on the ground, go and then you know, boom, shot out of the can and go home. But they brought you in at four in the afternoon and probably shot you at like four in the morning. You sat in that trailer all day at base camp. I bet

I was. This was a fun episode for us because any time we all got to be together, you've heard us say this so many times like it just made it's special. It felt like we were all the real slumber party together. Um, and we got to dress up, which was nice from the you know, I liked my Devo shirt in this episode. I loved your dress House Mental looks like a nineteen fifties beauty queen. I love you, guys, I loved it. The story with this dress is that, um,

they didn't they couldn't get like copies of it. So anytime you have to do stunt work or do a gag like, oh, I don't know, I'm spilling a whole coup of something on a dress, you're supposed to have multiples, and because this was a real vintage dress, there was no way to get multiples of it. And so our director John asher Um didn't want an extra to be the person that spilled the drink on me, because they're like, we're not going to trust some like nervous kid who's

a background actor. Let's just dress up one of our crew members and have them be the one that spills on her. And so my brother was a production assistant on the show, and Baby Child Child, he's got a big leg gray beard. Now, all the Burtons go gray very early. Um, and so they made Billy put on a tuxedo and an act. He might have even gotten a SAG card for this because he had a line

really because he said sorry, right, he said sorry. I think he was trying to get like health insurance and and so he was the one that spilled the drink all over me. And when you have to be upset about something, the last thing you want is for your little brother to be the punk ass like spilling stuff on you. Um, it takes you right out of the moment. You're like, dude, don't get off a great job. Yeah, he did a good job. It was weird seeing it.

I'd forgotten about that part. It's nice to talk about your performance in this episode. Hillary. It was a really nice arc um. You know, from starting out happy and giddy, and you know, you you really kept track of because we shoot these all out of order, and um, all the scenes are shot at different times, so you might have to be happy and joking around one minute and then the next scene is you in the bathroom with the cocaine and the c d um and that's like

serious weeping stuff. So you know, you did a really great job tracking where Peyton was with the arc of all of it. And that's also a lot to keep track of when you're doing block shooting in a big um on a big stage where you're like in the formal where it was I'm sure that was block shot all all. Can somebody, I don't want to talk too much. Can somebody explain what block shooting is. Yeah, Joey's voice is dying. So if you explain block shooting, you're the

You're the director, you two directed. I'm just I'm just a silly little actor. I'm just I'm just an actress on the Powerhouse producer Um. Block shooting, you know, means and enjoys bringing up a great point for our friends at home. When you're in a huge room like the one where the formal was set to shoot coverage meaning if two people are facing each other, like Joy, let's say it's you and I were competing understanding looking at

each other, it means they shoot Overbrooks shoulder. I'm literally using all of our names, Haley Haley of time. It means they would they would shoot over me as Brooke, over my back to Joy, and then they would shoot over Joy's back, over her shoulder to me, and then if there's a two shot, we're both in the frame looking at each other and the cameras on, So it actually means you're like pinging around the set over and over.

So in a lot of those big, big rooms when there were big, big scenes and so many of us actors, they would block shoot. So they would shoot five scenes in one direction, like the direction looking at Haley and

whoever else was facing that way. Any other all the scenes, Yeah, any other scene where like somebody would be maybe having the stage behind them, So any scene if Brooke and Felix are talking, or Brooke and Mouth are talking, if Mouth is sta if anyone is standing in a position in any part of that room where the stage is behind them from a certain corner. Then they just rotate all the actors through the different scenes and everybody just steps on their mark and the camera has to only

move minimally. Yeah, so they would shoot let's say there were five scenes that day. They'd shoot out scene number one looking at the stage completely in all the different sizes, but they wouldn't have to move the lights, because that's a big deal when you do the lighting setups. And then they'd shoot scene five and then they'd shoot scene nineteen, and then they'd shoot scene twenty one, and then they'd go to the next setup and you'd start over at

scene one. So scene one, scene five, scene nineteen, and and so it's a little schizophrenic like mentally like what's happening? What are we doing? But you do this over and over and over again all day, and so that's part of the reason when Joy's referencing, you know, the ability

to really track the arc. You're essentially taking your character on a roller coaster, but it's not continuous, so you have to be able to go to the bottom and then the top, and then the middle and then the end back to the beginning in in a manner that's

very fluid. And so on a day like we're referencing for Hillary doing this arc for Peyton, you're doing the fun stuff where we're getting ready and you're really and then you're moving directly into crying because you miss your mom and you don't know what's going on in the temptation all in one day, and so you have to really be able to to track your arc um and

it's not easy, especially when you're a kid. Well we were kids, and also we referenced a couple episodes ago, the Confessional, the Darren Knight that was really the start of all The visiting directors would watch the previous episodes right and then they'd be like, I need that moment in my episode. And so I felt like I had to have these like Peyton breakdowns in everyone's episode, even

when they weren't necessarily like natural. Um, this one was, you know, like I felt what Peyton was feeling like, I felt sad, and I liked that they let me get really messy for it. Um. I don't like when people try to stay pretty while they are falling apart. That just kind of like you see it a lot in certain like TV shows where it's like, oh no, this guy is falling, but my extensions look amazing. This

last strip is not going anywhere. Yeah, I mean. And and I think that the way that we looked on our show was very different than the stylized way a lot of young women look on teen dramas today. Were like, they have to have the perfect body, and they have to have like, you know, good posture and no cellulite and you know, like all these things like Peyton's body is a disaster. I'm like, I'm like, no, it's not true. No,

but it is. I've Peyton's got acne and a really bad die job, and my body is not what you would see in a magazine. And I like that, and I think I I was insecure about it while we were filming this stuff, and that was something that I put in the back of my mind, like, no, you look like a real messed up teenager. Like, no one looks great during their teenage years. That's when you experiment

with stuff. Um. Probably part of the other thing one of the things that made our show so relatable at that time, when a lot of the other teen dramas were there wasn't a lot of that realism. It was so heightened and stylized. You know. Yeah, it was very very real. That's messy, Okay, let's do it. Um. I want what about that scene in the bathroom? Was that? Um? Because that was those were real, that was real crying,

that was yeah, you want to talk about it. I remember filming it and I remember just being like, show me what the shot is, show me how much room I have to move around, and then let me go, like just leave me alone. Because you know, there was certainly stuff I was upset about um and feeling like a failure in a space where all your other friends seem to be thriving is not a good feeling. And

I definitely felt a lot of that season two. Um, I didn't like I knew what my role was in season one, right, it was like, oh, you're Peyton, You're the girl between the two brothers. And then in season two there's just kind of like a vagueness about what Peyton is into or doing and um, and so I felt that I felt that thing that she was feeling,

like being on the outside. Um. So that scene with Moira, I mean was was probably that was the harder scene to shoot because, um, because not not falling apart, it's harder than falling apart, do you know what I mean? Especially when someone gives you the opportunity to fall apart and you feel it coming and you know you have

to hold it in. Yeah, like is going to crash. God, And the way Moira looks at you and like holds you, I was choked up, Like we're not in the scene and I'm sitting there and being like, oh God, this really this is a dense like but it's beautiful to watch you because because you could see the way the two of you were connecting that it was all right there and it made so much, it made it feel

so poignant. Then when you get the drinks build on you and every that that's that's what that's what breaks, you know, that's the straw that breaks the camel's back. Like it it's beautiful, The setup is beautiful. Well they wrote it, well, this was a this was a well crafted episode because all of us got those moments because because Joy, you're seen where you're you know, you've got the lone tear coming down your face and you're just this is so job. It was so beautiful, like so beautiful.

They really gave all of us and Sophia you asking Lucas, like the whole line about bad guys lie to get in your bed and good guys lie to get in your heart, Like, so let's I want to get into

everybody's stuff. Joy, Let's go back and do the hailey of it all before we lose your voice entirely, before you're talking out, because you know, it was really hard, it was really hard ordering coffee this morning behind a plastic divider and a mask with no voice, Like did you just like miming to the lady and the espresso machine is going behind her and everybody's talking in the coffee shop, and I just was like, I just started like, can I write it down? I started miming can I write?

So she handed me a piece of paper so I can write down. That's beside the point, yeah, I I I wasn't here for the last Drama Queens episode, so um I know that was. There was a lot of Hayley singing in that one, which I watched back, and I'm horrified at this sin because the sync was off and they're like I was pitchy, and I just wish I had known that I had been a little pitchy

because I would have fixed it. It was just so annoying that they, you know, like, I'm a good singer, don't you feel like it's frustrating when you're not in control of the edit. It's like, I can I can tell you which of my performances was better, but you guys picked the wrong one. Or if you try and do a joke, but whoever's editing doesn't understand comedic timing, and then you just look like an idiot and saying way, and then you look like you're not funny. It's so embarrassing.

But Joy, can I say something because watching the last episode, we were obviously gushing and freaking out because when the stars go blue is such a moment yea and our show, and so Hillary and I were like, oh my god, oh my god, oh my god. And I noticed because I've literally heard you sing that song six times. I heard.

I heard you the first, you know pass when Hayley's in the booth, and I was like, god, Joy is so smart because she changed her key just a little so Tyler would have a reason to come in and tell her she hadn't hit it yet. And then in the next past, you're in a different and I was like, I was like, it's just like it's a vocal skilled not a lot of people have. So I took that as a viewer who knows you, like my own family,

as a choice you made that I thought was so smart. Thanks, that was a choice because that was an active So I started, oh, you did that on purpose. But when you hear singing together, if you go back and listen, if you which you because you don't have time, but for our listeners, um, if you go back and listen when you hear singing together. First of all, I'm a little pitchy at times when and you can tell. And then also the sync is out of out of whack,

so the sink of the music is offen. Music doesn't match the singing. Yeah, so that's makes us sound like we're off key too. It looked like you were finding it like it looked like you were doing the work in the room and finding like it didn't read that you can't say like it was. Well, that's good. Well, at least now I feel like coming back to this episode, I felt like we had improved and it sounded a

lot better to me in this episode. So that was kind of cool, um and so fun to work with Tyler again and to really see our banter come to life because that was the first time Haley and Chris we're alone together and just got to you know, bounce back and forth off each other, and uh, it was fun. It was. What I thought was interesting too, was Hayley has always been such We've always talked about this that she had a strong backbone and she was always willing.

She never cave to peer pressure. She was always willing to stand up for whatever it was that was important to her. And it's interesting that Chris can sort of do this little manipulation thing on her, but because I guess, because the music means so much to her, it's like the one thing she can't resist. Like I guess, But

it's interesting. It was a new but he's a gatekeeper, right, And I think it makes sense because whether look, whether it's some of this stuff we've shared with each other, some of the things are fans have shared with us in reliving this show, things that I know other friends

have gone through. When when someone's not exactly hitting on you or didn't really cross the line, or when it's really ambiguous and your work and your dreams are involved, you know, your your future plans or whatever, you can kind of when you're not truly uncomfortable, you can make an excuse for well, I just don't know this person or their humor that well. Yet, you know, you want to give people to benefit of the doubt. And I never want to be the kind of person who doesn't

give someone the benefit of the doubt. I want to lead with that kind of optimism. But with characters like Chris Keller, it'll bite you in the ass. And and so I think watching Haley, especially as a sixteen year old trying to navigate, like, is this kind just weird and like sticky and kind of annoying or stick um or is he someone with mal intent? And like we don't know, it doesn't seem like he is. I mean,

that's the kind of thing about Tyler. He's so lovable that anything, any smarmy thing, sticky thing that he's say, it comes off. He comes off as like a lovable jerk. It's not like Felix or like Dan, where there's just clearly disturbed problems. They're right, No, he's different. Yeah, And Tyler being so lovable informs Chris in a really interesting way. Yeah,

for sure. I also want to talk about, and it doesn't have anything to do with your singing, but that outfit combo of the pale yellow dress, oh my god, lips and the red jewels and red nails I loved also hilarious that Hayley was like rushing out the door, but she had time to do her nails and her hair and her hair. Yeah, girl, they make press on nails those things exactly. It's true. You know what else?

I really loved thinking about our outfits I remember, I don't know why we were also into brooches then, but I remember finding the little brooch that we sewed into Brooks dress because it was just like a blue dress. And then I remember, you know, you guys were trying so hard to figure out what to put with this n titche dress that was Peyton's moms, And somewhere in like the back of my brain, two synaps is connected and I was like, I have a brooch that's that color.

The brooch, the brooch that was likeortional brooch. Yes, oh yes, yes, pages were all the rage. It was in like Jane magazine, and that was the thing I love that. I just remember feeling so proud, being like I found it. I felt your hair accessory. It looks it'll look really cool. And we were like in the hair and makeup trailer with Jojo, like pinning it into your hair and it was kind of like a slumber party meets formal moment for us in real life. And speaking of hair, I mean, yeah,

we're not. What's cool about this is that you can see the three of us as actresses all choosing things that are very different from one another, so we don't step on each other because because there's so much competition of like who's going to be the prettiest at the party, and for all of us to make choices about how our hair is gonna look, and how our dresses are gonna look, and how we're gonna wear our makeup and stuff, and to carve out spaces for one another, so we're

all special in different ways. I I like that about the aesthetics because it's not just saying the lines that are on the paper, like those choices are part of

the storytelling. They are. I remember hearing once that I don't know if it was Meg Ryan or Julia Roberts are one of the one of the big one of the big romcom girls had a rule that none of the extras in this in the scenes with her could have the same hair, so there couldn't be with Megrian, Like I think it was mcgriyan, And I'm sorry if it wasn't Meg, And I just got this story wrong, but it's not. It's not negative in any way. I

tell incorrect story, but this is what I've heard. Um. But yes, so there's no others in the in the background, within the extras in the scene around it, and and I remember the first time I heard that, I was like, oh, that's so, you know, bitchy. But but then I thought about him, like, no, actually, there's something really smart about that. That's part of the storytelling is being able to identify and you know, clearly see who are we looking at who?

You know, it's part of crafting what like what a director does with making sure that all the lights are in the right place, and what the wardrobe designer does making sure there's no two people in the same color

in the same scene. Um. Hair does become a kind of a big deal with women in storytelling, and it's worth making space for each other in that, especially when you have a haircut like Meg Ryan's haircut or Jin Anderson and friends the Rachel Everyone starts copying those haircuts and so then what you're going to be in like a sea of Meg Ryan's And I know, but it's like, but think about the conversation that had to be had, like she or whoever this actress was, if it wasn't Meg,

how to go to a director or somebody and say, I don't want anybody any other blonds in the scenes with me? And she I'm sure it was labeled difficult for saying something like that rather than smart, right, because it's a subconscious thing. If she is the focus of whoever her love interest is in the scene, she should pop for the audience the same way she pops for

the love interest exactly. It's interesting, but we did. I like what you were saying, so if we did make space for each other with hair, and that's something that I've carried with me and other jobs that I go into, especially if I'm not the lead, to go and tell the hair person like here's how I was thinking. But if the act lead actress comes in and wants to do her hair half up, half down, and mine's already that way, just come over to me and take my

hair out and we'll do something else. Like I'm I defer because I'm not in the lead position, you know, and I think it's important to do that. I agree, And I think it's something that when you pointed out in that way too, you know, with what you were saying, Hill and enjoy even the way you're filling it in. One of the things I really like about it is to think about how much really the pressure we were getting from a lot of the grown ups in the room to not make space for each other and to

trust each other. And we still had that, like that burning little candle to be like, no, but they're but I they're my friends. I love them, and like we we fought it in the ways we knew how to. We made space for each other in the ways that we could at the time until we all aged together and learned better communication skills together. And like, it really touches me to see the ways that even when we felt scared and confused, we tried to figure out how

we could prioritize each other. It wasn't always like that, though, So if I mean I remember, I mean I don't know. Maybe it was for you, for I remember being insecure and feeling um like I didn't, but also because there was so so much mistrust sewn in there that I remember feeling like nobody's looking out for me, so I've

got to look out for myself. So I want to do my hair this way, and I'm just going to have to, you know, put my foot down into it, which then, especially as I continued to go blond and then curly, I'm sure created some tension with you, Hillary that when I was fine, we talked about it, but I cut all my hair off, Joy, But that it was. It was any time one of us was moving into a space, we would compensate for each other and move

into a different space. Like I loved the opportunity to cut all my hair off because you were fulfilling like the long But you didn't feel forced to do that. Like, No, I was trying to get rid of all this damage. I've always carried a little guilt that I thought you were Like I was being stubborn, and I put my foot down and you were like, oh, fine, whatever, I don't want to fight with Joy. I'll just do my hair the other way. No, baby, you let me off

the hook. They wanted me to be the curly haired girl, and I was trying to cut off all this damage from season two, and I was like, look, Joe already has like the long curly hair. Please let me cut my season three Bob. It always felt a little about that hair matters. It matters. I loved my season three back at my old my old show herself. I'm like, Joy, you're so stubborn. Why were you so stubborn? No, listen, if one of you bitches comes from my gray hair.

Then we're going to have a problem. You know, I can't wait. You know, I've men trying and no one will let me do it. When it's my turn, I'm coming to you for all the advice. Yeah, listen, they give men all sorts of credit for being like salt and pepper and whatever, and so I'm gonna just I'm gonna that. It's all I've ever wanted. But that dance that we all do, it's so silly to like think it's just about hair. It was about you know, the wardrobe,

about doing interviews, making sure that we rotated. Where do we say, where do we belong? Who am I? How do we differentiate ourselves? So we're individuals, but we're also together. But yeah, it's so hard to navigate when you're that young and they've got no guidance, nobody teaching you how to do it. Now we get to just celebrate it, and we all pretty We all cheered for Sophia's bang. Girl. That bang was not gonna move the beach like a whole can of AquaNet. Oh. I was just about to

say it. We were at the beach, the wind it was crazy, and Joejoe came at me with one of those hair shields and a bottle of Aquino plastic. It's like a it's what we rode during COVID. No, I'm talking about the plastic like it was like a visor with a handle on it you would stick around your face so people could spray bottles of hair glue on you. And yeah, that bang. I don't think it moved for a week, but it was so good. You looked like like a Flamenco dancer. Like it was so sexy. And

the mermaid guy. Remember mermaid dress, a mermaid tail. It's so flattering that purple purple. My dress was a mermaid dress. I was going to say it, and then I was like, do people know that? Maybe I shouldn't. That's true, you did, you did full lengths. Um, yeah, I don't know it. I just remember how nice it felt for us all to be together and to be dressed up. I have such sense memory of those scenes. Um, weirdly, not of the scenes at the formal, like we all were like,

there's an Eiffel tower. They're like what he said, I can't believe I was gorgeous. Same, but the beach it was so memorable. I think because we were there for, you know, for days and days shooting those scenes, and all night. It was all out night exterior, so it

was summer parties. Yeah, and I loved seeing I loved seeing some of these characters ors insecurities coming out, you know, Peyton really trying to figure out how to deal with her loneliness, Brooke beginning to reveal that her nuclear emotion is the feeling of betrayal, and like, when she feels betrayed, everything's off. You know, a little bit of old Nathan comes out when he feels abandoned by Hall is one safe person, and he starts to get a little salty,

and he's drinking with the boys. And you started to see in the cracks of the people, and I liked it. In the cracks. That's what this whole episode is. It's all weight cracks, it really is. And you when we were watching the episode and Brooke flipped out on mouth, I was like, why is she like this? You said you had thoughts, Joy, and I want to know what they are. Yeah, Well that was it what you just

said about betrayal. I mean, everything that we've seen of Broke up to this point indicates that she's used to being betrayed. She's used to the other shoe dropping at some point, and whether it's perceived betrayal or a real betrayal, it's hard when you're that young to differentiate, and I feel like Brooks has had a lot of history of that, and so at the first sign of someone, especially like mouth of friend, who that she who she considers to be,

as you say, a safe place above the other stuff. Yes, she's not like she doesn't have the wherewithal of the maturity to understand that or to appreciate rather that he's coming to her offering this information as as a gesture of honesty. Yes, she can't understand that. Yet all she hears is you lied to me. That's it. There's no there's nothing beyond that, because all of brooks walls, as so far of what we've seen, is that they just go up. As soon as she's lied to, the walls

go up. I love Brooks so much in this episode two because she's not just like seeing talk about an arc too, right, like going through all these different emotions and dealing with the different guys and she's just a giant, open wound baby all over everything. But she's so strong It's like it's like in William Wallace coming out of the like you can. She's wearing blue, just standing up like you can't take me down, and I don't care

how many knives you thrust in me. I will prevail. Yeah, she's even an you know, like the boy thing is hard, my best friend has a new best friend. Thing is hard. And she's just kind of gracious but firm. I mean with Felix, she doesn't embarrass him in front of anybody else. She's like, you back room right now, this is how it is now. That speech that she gives him, she's like, girl, did that feel good? That felt? Oh it sounds so good. It felt so good. It was a fun line to deliver.

And I just I think all my piste off like pent up feminist rage, was just like you will be the focus of this and uh and it was nice because I really, yeah, I kind of felt like in that moment to really go deep on the brave heart um metaphor, I really felt like I was holding a torch for so many of us, you know, And and to say like you're not getting in my bed, and you're you don't get my body, you don't get my heart, she really um, she sets a boundary for herself, and

I like the point you may enjoy that. You know, she doesn't have the adult emotional maturity at to necessarily see all of the nuance. But what she does do for a young person that's impressive to me is she knows she's not being respected, and she's like, good, I'm out better than this. And and I love the strength of that, even though it's messy, and even though it comes from her being hurt, I love that she starts to say, you know, I'm I'm throwing down a boundary.

It's great you can feel disrespect in your gut before you understand it in your head. Amen. Yeah. That. One of the things that I found really revealing about this boundary is Brooks sitting on the beach alone, and and you see each of our women alone at some point, Brooks on the beach, Peyton's in her room, Haley's at home reading that letter, and that moment for for Brooke to be sitting there when Lucas comes up and all three of us were like, oh no, don't do it,

don't make a mistake. And instead of coping with a guy she's coped with before, she has a friendly conversation. She admits to him that she feels like a joke. She says, the good the bad guys lie to get in your bed, and the good guys like to get in your heart. And yes, she's talking about Felix, and she's talking about Lucas, but she's also talking about Mouth and the way that he offers her a perspective. What was his quote? Oh, it was so good. He he

talks to her about how you're not a joke. He says, people lie because they don't know who they are, and you do, Brooke, and everybody else is lying because they hope that no one figures out who they are before they figure it out themselves. And I just that what a profound moment for these kids to have. That's so true. Actually, am I wrong? But Brooke is really only lied intentionally out like out of a strategy. Almost. I don't know that I've seen Brooke lie out of insecurity at any

point in this in these two seasons. Wow, I don't think so. Yeah. And and what an interesting thing because Brooke witnesses Hayley's lie about working with Chris Keller second party episode, and it's like, huh, interesting, and and so the all these people are trying to figure out how to tell the truth, and Peyton tells the truth to Anna. You know, when Anna confronts her about the cocaine and says, well,

is it about this about Jake? And you say, yeah, that and everything else that killed me a kid, acknowledging that things have piled up and just made me feel so sad, because things do pile up if you don't fix it. It becomes like a speed bump, and then one more thing piles up, and one more thing piles up, and it becomes a barricade. And so you've got to fix the speed bump. That's an easy thing to handle,

so the other stuff doesn't accumulate. I'm still trying to figure out how Anna got her drunk ass to Peyton's house, because there was so much emotional work in this episode that, like, like the functional stuff, they're like, don't worry about it, it's fine. Haley painter her nails. How did Anna get

to How did this stuff happen? Don't know? There were taxis in tree Hill because Emmanuel what was her character's name, Nicki Nicki because because Nicki um took a taxi at some point, remember she met she met Jake outside the Twin Dixie and a taxi. Yeah, so that the supermarket, but going to walk home. There's no uber back then, so I don't know. I also love that, like I'm gonna get home without you, and then being like, actually, I really but that too, So that's telling the truth.

Like that's the thing, that's like the punctuation mark there. It's like, I'm just going to tell the truth because I don't need to pretend that I'm tough. Get me home. I'm poor, I'm good at being rich. He great, what else do we have? Adult stuff? Was there any adult stuff in this episode? Dan told Dev the truth? Yea, Oh my god, guys, I've said it before, you said, I feel guilty about it, but it's toxic. And I still am rooting for the two of them to get

back together because I don't want them to sabotage anyone else. Um, I do think Dev deserves better. But like they're they're very sexy together. They're very sexy, and if they could figure it out, if they could help each other, if they can just clean out, like that infected puss from the wound of their relationships and shut. They could have a little scar instead of sepsis. Like, I would root

for it if they would do the work. They need a better therapist than the one they had in season one, they really do, because because Dan walks all over that therapist. They need somebody who's gonna wait that. It would have been great Dan and Dev had like a whitey. Well, Jolie, you kept bringing up all the hippo laws that were hinter calling Lucas. First of all, Okay, he calls Lucas, who is a minor without a parent's consent, and then tells Lucas that he's got information from a different doctor

that lucasfferent that Lucas did not do right. Lucas didn't release this information. Then the doctor on the phone with Lucas, after giving him the a lecture, then tells him private medical information from his father. Yeah, and then the doctor calls Dan and tells him everything that happened with Lucas. I'm like, who is this doctor? He needs to be fired. It's not even the doctor. It's just like a drunk, you know, like physicians assistant. That's like, I don't know,

that's me to make a phone call. Whatever. It's amazing. Those are Those are the things guys listening at home that sometimes as actors, you read a script and you go, this is important to the device of the story. It's completely ridiculous. It would never happen. But this is where we just have to take creative license and say okay, because otherwise we're gonna go crazy, as evidenced by the fact that we are going crazy about this eighteen years later.

That drives me crazy. Though it's so lazy because it could could have been an office assistant who is like, you know, mixed up your five, or she's chewing gum and she's watching a soap opera on TV and she's like, yeah, yeah, the results came in and she's talking, Oh, sorry, I thought because I didn't want to hire somebody else. They didn't want to they didn't want to spend because they built us a miniature Eiffel Tower and he spent it. Right,

that's right, But okay. School dances, though, you guys were like, our school dances didn't look like this different. Oh girl, high school dances. I'm going to post pictures this week for park few high school dances. Someone remind me, um,

you're gonna try to find mine. That's post some like school dance pictures, because we had some pretty epic you know, there's like a catalog right that you If you were in student government, your job was to raise money all year long, and then you would buy these kits and they would come with like a big backdrop and like

something's made out of cardboard. Oh yeah, And so you would decorate the whole gym with these like themes and on all the tables there would be like I want to say, we did like like a whole like Arabian Nights one and it was like you know, like little lamps on the tables and like it was just beautiful. Saved by the Bell dream. Every time I would watch say Bell and I was like, why are there dances

so amazing? Because you'd go to the football game on Friday night and then Saturday morning, the student government kids would get up at like six in the morning, go to the school, decorate all day, make the balloon arches, and then go home quickly shower and then still look like at the dance, Like you can always tell those kids were tell us what songs. I want to know

what song you remember the most? Was always played at like every school dance besides like the main my God, Casey and Jojo all my life, that's all, you know. The second I said it, girl, I've got a sense memory. Yes, yeah, that's embarrassing. This is the slow song that I've been

waiting for. But it was also the era of like, um like great party rap, you know, like you know when Snoop and um Tupac and Big like you know, like school dances were great because the party music was great, and then you'd have like your slow songs like fine,

okay whatever. Um. I remember going to prom and my boyfriend getting so excited because they played the Cure and he was like, I can't believe they're playing the Cure and like lost his mind and he just he was such a sullen boy and he had such like a goofy grin on his face that I was kind of taken aback. I was like, like, I don't know if

I'm attracted to you anymore. Strange was always playing Paradise by the Dashboard Light, that meat love song that's where the DJ was smoking outside, because that song is like twenty minute song exactly. I knew it's always so epic, and also to play in a high school dance, which is hilarious because it's all about like in your car car, I'm like, how did the teachers a laugh song to be played? Because they all were standing against the bleachers

going like, yeah, this was a bop, this was a jam. Um. Yeah, those songs last forever and ever. I tease my son. We we listened to nineties on nine in the car. I've said that before. Um and Gus the first time he heard that song by Bell Biv DeVoe Poison, Yeah, he was like what is this? And now it comes from the radio every time we get in the car and I'm like, Goss, it's your favorite song and he's like, well,

it's not my favorite song. But I told him when I shaperone his school dances when he gets older, I'm going to make sure the DJ plays that girl plays. Um. What are they saying? Oh, she'll remind us to put pictures up fantastic. Um. Okay, real quick, we need to talk about High Flyers because Nathan finally reveals Haley's lied to him about the whole Chris Keller thing, but he has also lied about High Flyers and the reveal you played that reveal so good joy you. Yeah, sweet, it was.

It was nice to see, Like, I like seeing Nathan and Haley struggling for the first time. It's realistic because

it's been it's been kind of like Sunshine and Glitter. Yeah, well, especially where their dreams are concer right, because they really succeed as a couple, But couples are made up of two individuals, and now that their dreams are requiring potential sacrifice or anyone else being in the mix, going away for High Flyers or working with Chris Keller, things aren't so easy, and it's nice to see them having a little bit of the reality that so many people have

to deal with when they try to be in relationship. Yeah, exactly. Sacrifice is a hard thing as a kid. It's a hard thing as a grown up. Yes, it is, really. I don't like it. I'll do it. Nobody does, but that's why it has to be worth it. I mean, there's always I kind of always say like, there's no there's really no such thing as freedom. You're always saying no to one thing in order to say yes to another thing. I mean to say, I want to live

life totally free with no constraints is impossible. I mean, we have constraints with the laws of physics and and just the universe, Like there's always nature, there's always constraints somewhere. So it's just a matter of figuring out which ones you're willing to live with and when which ones are worth saying goodbye to in order to or or saying hello to or whatever in order to have something else. So yeah, I mean that's a really hard thing to

navigate in relationships as adults, let alone as kids. Um, but I don't know. Maybe it's easier when you're young. Maybe it's easier when you're you don't have you haven't experienced all these different options, and you haven't traveled the

world and been with all these different people. Maybe it's easier when you're younger and you can just say, yeah, okay, the simple thing is I love you more than I love uh, I don't know whatever the thing is, or I love myself more than I love any of this or you, and I need to do what's best for me, But what when is it what's best for me is actually what's best for us, or what's best for us is what's best for me? I mean, it's just so hard,

it's so confusing. Once you've lived your life a little bit, at least you can say I've got this bag of stuff that's mine. Yeah. Right when you're super young, it's like, oh, it's never gonna happen for me, okay, because I'm picking you.

You know, like it's unless you can do sort of what like what Maria Manunos was talking about in our episode with her and her husband, about the way that they seemed to really grow together and she didn't have to sacrifice all that stuff, and which is again why it's so important to find a partner that you know that you can grow with. Because I've heard this before by people who have been married for a long time

that you're never married to the same person. For like you're married to ten different people throughout the course of your relationship. Right if it's if it sucks right now, wait two years, it'll be better later. Just hold on. Um. And I think that's it's like, there's got to be a foundation of agreement and uh, same values and shared Uh.

I guess shared values is the fundamental thing. But uh, in person, you have to like each other and if you be attracted to each other, and then beyond that, you're going to both be morphanous so much as life goes on. Yeah, you've got to be able to support each other in your individual pursuits, but also, yeah, feed

the relationship as its own entity, right well. And I think what's so beautiful too about if you're in that right kind of relationship is that when you do have to make a sacrifice, you can look at the practical landscape of your life and go, I can only spend this many plates, okay, and it doesn't feel like a ding on who you are to have to spin plates

not just for yourself but also for your relationship. And one of the people who I think is so smart about this, I don't know if we've talked about this or not, but but basically referencing what you're saying, joy esther Perel, you know, her whole thing like her because billion time bestseller book Meeting in Captivity about how people stay in relationships that are filled with desire when they've been in those relationships for decades. She said something that

I think is so beautiful. She said, most people have an average of three marriages in their adult lifetime, and the lucky ones have all three marriages in the same with the same persons, and like, I love that that you can give yourself the permission to meet your partner, to remarry your partner, to be mysterious again, like what a what a sick goal? Yeah? I like that, I like it. I like it a lot. Do we think that Nathan's ever been hurt by a girl before? He

was a good question? Do you know what I mean? It's like he gets so he's not a dick when he tells her to go find that letter. When he tells you, you know, Haley like a drawer, but you can see that he is like, I just got burned so hard. You know, is he going to react? Is he going to throw walls up? And you know, like this because that's sort of how he's gone about things. But he can now because he's in it to win it.

He's married well, and you see it coming. You see something I love that James did in the episode is at first when you say you're going to be late, yeah, you can see him go. And when when Hailey says, you didn't even want to go anyway, and we find out he's been fibbing to plan, and then you can kind of see him take the hit because he goes, Oh, I created this. She doesn't think I wanted to go.

But then when you make it and everything is supposed to be perfect and you guys get crowned, and then he hears Chris Keller, then he's like, go theme and find a letter, you know like, And I wonder where will he land on the scale of growing out and being you know, angry and putting his walls up versus you know, being willing to meet you in the middle. I'm so curious about what happens next week. I am too, considering we totally forgot like major plot points. But you

guys are so fine. It's like we actually get to be fans of our own show. I know what the audience felt. I'm like, God, I actually also can't wait for next week. I highly recommend everyone wait twenty years to go back to whatever job. You'll be far nicer to yourself. Do we have any viewer questions? Oh? I like this question. Oh, Nicole wants to know Brooks winks are so cute in this series. Was this your personal

touch or were you scripted to do it? That was all me, baby, The like the winks and the eyebrow raises and the things that just felt like her. There was such a physicality to her. And if I may say so myself, I also I brought in high friend because they did Yeah, hi friends, high boyfriend. That all came from an inside joke with me and my best friend from college, um, and it was really fun to, you know, put little nods in real life. Did that

come from you? I've said that, I've been saying that for as long as I can remember, But it makes sense that that came from just being around you. That's so funny, I say it now, my high friend h friends. Yeah, I think our ticks in the show we noticed at the beginning of the episode. We we talked about how we remembered filming that scene in the mall together, like buying the dress. But it's funny, you know. We talked

about editing. When they cut stuff up, you don't know what take they're going to use, and it just looks like I'm slapping your ass like ten times. I probably like did it once at one take and then another time at another take. But they're like, we're going to use all the asleps, so we need just a highlight reel of ut Davis winks of Peyton fondling other women and enjoy what was Hayley's tick? Oh, I feel it's this right here that Oh stop my double my elevens

on my eyebrows. I love, done, done. Thank you for the question, Nicole. What else? Oh? And here's one from Grace. Uh. Did you have any tricks to learn lines in a hurry on set? Did you guys learn your lines the night before? Did you learned that morning? I learned, I'm really because I was on that soap for years, so and I learned my lines really fast. I mean, if I had like a character to really prep for, or if I had a big monologue, then I would turn

it into a song. Oh yeah. So if I would go to um a song that I knew really well, like I don't know whatever by by Miss American Pyre or something, and then I would take the paragraph that I had to learn and put those words in place of the lyrics in my brain, and I would learn that way, so that when I was up there talking or giving my speech, I was just running through the song in my head and the words would just kind of come out and I wouldn't be thinking about them. Juan,

that's amazing. It's a good trick. That's so cool. I'm going to do that. Yeah. I mean I worked at MTV forever, so it was like live and you had to look at a que card during the thirty second commercial break and then go out and just know all the nation and so so like, you know, I learned what that morning. I try. I don't want to like fixate on it too much because then it doesn't feel like it's just coming out of my mouth, you know,

because I over rehearse. I know when I've like done it too much and I'm just tired and over it um and start to sound weird. You're like, what does what does presence? Presence? Yeah, that's not a word. You're like, I've turned the words into shapes their rooms forever. Can you imagine doing a Fincher film where you have to do like a hundred and takes so I would lose my mind? I would love to, but I also think

I might have a nervous breakdown. Yeah, I know. I had an audition for one the other day and I was like, I don't think I want to. This sounds like a lot. I feel like maybe some other things instead. You know, you guys, we had a director who called us to take wonders They were like, you guys, get it into takes? Who called us that? Because I've been like so flattered by it, but also like, wait a second, are we just like short on time or do you really mean that? Like we do it in two takes.

I think we got it. We learned how to get it fast. We all did. We learned the really great balance between the technical and the artistry. And that's something that I've always tried to remember is that there is a technical side to this. And so one of the things I really like to do. I like to go

back to Grace's question. I like to go through my script a lot, top to bottom, make notes, work on subtext, think about, you know, what's really being said, tie together themes from you know, scene twelve to scene sixty seven. Like I really like to have the full picture of it. You've got one of those Serial Killer boards where you have all the red string, the tides, everything together. I have this like program on iPad. It's it's like Homeland. It's fully oh my god, scriptation. I will give you

a tutorial. It's going to change Oh yes, please, it will change your life. And I just love it. And so for me, what I find is I want to know the story so well and the scenes really well to where I can make sure when I have jargon or a monologue that I've got it. But I can have a little bit of that freedom on the day so that the scenes, so that the dialogue hasn't turned into word shapes in my mouth. And then that's what It's just word shapes, and I hate it, love it.

Shapes shapes A word shape wheel, word shaped wheel. Who is most likely to have a nervous breakdown over their doubt? No, that's not Joy with your sexy voice. Who is most likely to secretly be in the c I A oh, I mean okay, so it's any right, yeah, Joy, She's like, oh, I've been performing all over the planet with my band, but really I'm you know, I'm an operative that's using these gigs to gather information. I could see you doing that at like our Paris conventions for sure. Yeah, all right,

it's likely too. I don't know what character we must, I mean whatever, you don't have to choose me. It's really I choose you, I choose me, I choose It's perfect. It's like, who who were the dames that did it? Juliet. Wasn't Julia Child? Yeah? Wasn't she an operative? Who were the other like famous leady operatives? Yeah? That a gardener?

Yeah Acre, Yeah, performers are very good operatives. Whole program in the CIA and the sixties where they would they placed agents in Hollywood m h as executives at a lot of the studios to push particular government agendas in movies. There's a whole there's a it's there's a whole program about it. You can go read it. I'll send you.

There's a somebody somebody was just telling me, and of course now I can't remember, but about it was either a book or like some really in depth article about how as soon as we once we started doing serious space missions with NASA and like realized we were definitely not alone in the universe. Like the government was like, y'all have to make some alien movies that aren't scary because people are going to freak out when they find out there's aliens. We have to TV like what was

the that's where we cone heads for sure? Nice and funny et alf coutes So I bought. I believe it's so good. What character though I don't, Karen, I guess maybe, Yeah, what's this? I mean job? Listen, Dead's job was always very vague. Rest her out enough that she had PTSD and coming home to Dan, which she was more than she could handle. She turned to the pills. And remember she put on that black cat suit once. What was this? I think that's coming up. Her and Karen are on

a billboard on the billboard. I love it. Oh you guys, this was a fun one. I miss you. I wish we were all in party dresses. Thank you to everyone who put up with my gravelly voice. I'm sure it was irritating to listen to Baby get Better, You drink and guys, we'll see you next week. We will see you four Season two, episode ten, Don't take Me for granted. Wait, I have to say one thing. This episode premiered that song by Patty Griffin, the Rowing Song, and it's when

I fell in love with Patti Griffin. I had never heard her voice before, but that album is so beautiful. And if you don't know Patty Griffin, go get the one thousand kiss his album. I mean, go get all of them. But um yeah, just throwing that out there for music fans. Patty Griffin. That's your bonus. Go get it kids, love it. Hey, thanks for listening. Don't forget to leave us a review. You can also follow us on Instagram at Drama Queens O t H. Or email us at Drama Queens at I heart radio dot com.

See you next time. We are all about that high school drama. Girl Drama Girl, all about them high school queens. We'll take you for a ride at our comic girl cheering for the right drama queens up girl fashion, but you'll tough. Girl. You could sit with us. Girl Drama, Queeze, Drama, Quez Drama, Queen's Drama, Drama, Queen's Drama, Queens