TGI – Episode 717 “She’s Having My Baby Back Ribs” PART 1

00:00:20
Speaker 1: Did you drive in Will's car or you just what you saw him in his car?

00:00:23
Speaker 2: Actually, I got to get in the front seat, and it's so funny because he had joked about how small the back seat was. He was like, oh, no adult could fit back there. Your legs would have to be this big. And in my mind I'm thinking, like, okay, sure, I'm sure they wouldn't do a back seat if an adult couldn't sit in there. And then I get into his car and I'm looking around. I'm like, oh my gosh, Will, it's beautiful, and I look at the seat behind his it is the this much room. Now, granted it's because Will is driving it. If I moved my seat forward to a place where I still had plenty of room. You know, I'm only five to one, So like I saw.

00:01:04
Speaker 3: Nobody would be comfortable back there, unless you're want they even have a back seat.

00:01:08
Speaker 1: Then like there's like some reason for it.

00:01:10
Speaker 4: It's it's either like insurance or there's some reason. It's a for seater.

00:01:14
Speaker 3: Where technically exact tax break on at all. Yeah, so are you driving with a top down?

00:01:22
Speaker 1: Everywhere? Everywhere it was it was gorgeous.

00:01:24
Speaker 3: That's what I remember. I loved having a convertible. I really, like, I totally got into it. I was like, I would just try. And it's so funny because when you don't have it, like I'd never rolled down my windows, you know what I mean. Like, I'm like, but then when I had a convertible, it was open all the freaking time, and I was just always in the sun or out in the weather.

00:01:41
Speaker 4: And like, it's so weird that convertibles at night are one of my favorite things. Dropping the top at night and I don't put any music on. You just listen to the engine and the wind.

00:01:50
Speaker 1: It's great.

00:01:51
Speaker 2: I wanted that red Toyota Celica convertible when I turned sixteen, and my mom was like, no, you're not getting a convertible. If you've car flipped, you're dead. That was my flips.

00:02:02
Speaker 1: You're probably not in a great place anyway.

00:02:04
Speaker 2: I mean, I was gonna say, I'm not sure how many times in my life I've heard of flipped cars, like I've heard I.

00:02:12
Speaker 1: Know a couple of people who flipped their cars. Ocean flipped his car once.

00:02:15
Speaker 2: Like a Sitana or was an suv?

00:02:16
Speaker 1: No he was in an suv?

00:02:18
Speaker 3: Yeah you here, Yeah, I don't know, man, that's I don't. I wonder what the actual safety issue. Because my parents were the same way. They didn't because originally I wanted to get an older convertible. I wanted to get a karme Gia, and my parents were like no, And that's why I ended up getting a BMW because they were like, well, if it's a newer car, it's safer, it has beer bags and all that, right.

00:02:39
Speaker 4: But convertibles are also heavier than non convertibles because of all the mechanisms, everything you need to do. Your roof a convertible is always heavy. That's why what yeah, quote unquote true. Car people like I don't want a convertible because they don't handle as well as the regular cars because they have to make them heavier. It can take the top down, it's all the scaffolding and the stuff you need to do. It is actually you it's heavier a convertison.

00:03:02
Speaker 1: That doesn't make sense because it was cloth though it was literally there was no mechanisms much.

00:03:06
Speaker 4: It's still it's still the all because when you to the roof of a car, you can check it. But when you take off the roof of a car, it becomes less stable, so they have do they have to reinforce reway other parts and and you know there's more metal here, more metal there, more metal to reinforce the thing of where they to make.

00:03:23
Speaker 3: It more aud There's small cars often like might be a BA was tiny and like you think about the Masda miatas, like those are little toy cars.

00:03:31
Speaker 1: Like if that gets hit by a truck. There's sorts over.

00:03:34
Speaker 2: I just like to read. I'd just like to read what Google says here. Yes, a convertible is almost always heavier than it's hard top coop to counterpart, while removing the roof seems like it should lighten the car, The necessary added structural reinforcement for safety and rigidity, along with the roof operating mechanism typically adds over one hundred to three hundred pounds.

00:03:57
Speaker 1: Yeah, it makes a lot heavier.

00:03:59
Speaker 2: Okay, that's so pretty. Will verified?

00:04:03
Speaker 1: Thank you?

00:04:06
Speaker 4: Yes?

00:04:07
Speaker 1: Chat will be tea?

00:04:10
Speaker 2: What's the tea for?

00:04:12
Speaker 1: What is it?

00:04:13
Speaker 2: Is it?

00:04:13
Speaker 1: PT? Can I say? Yeah, wait, what's me T?

00:04:17
Speaker 2: Wouldn't it be crazy?

00:04:18
Speaker 1: You had?

00:04:18
Speaker 4: That?

00:04:19
Speaker 1: Will be truth? Okay? What it is? Will be T? Chat will be tea.

00:04:25
Speaker 2: Welcome to Pon meets World. I'm Daniel Fishel.

00:04:27
Speaker 5: I'm rather strong, and I'm Wilfredell.

00:04:42
Speaker 2: Welcome to today's episode recap. We are recapping season seven, episode seventeen, She's having my baby back ribs. It's an episode I have genuinely feared a little since we started Season one. Episode one in original aired March third, two thousand and The synopsis. Eric and Tapanga go on a diet because they've noticed they've gained weight, and Corey thinks that Tapanga is pregnant. It was directed by Jerry Levine, his fourth of five that he directed.

00:05:17
Speaker 1: Wow, if he did five episodes, you would.

00:05:19
Speaker 2: Get offered me one million dollars. I would not have been able to tell you who directed this episode.

00:05:25
Speaker 1: Oh no, I couldn't have either. But I also, what do you mean just because you've blocked it out or I.

00:05:28
Speaker 2: Think I've blocked so much of this I don't remember. I mean, I really do.

00:05:32
Speaker 4: You remember Jerry directing five episodes? I didn't remember him directing five.

00:05:36
Speaker 1: I did. That's it's so funny.

00:05:38
Speaker 3: I really connected with him directing like I think it was because it was one of the first times I was like, oh, an actor, because I mean, obviously we had actors turned directors, but like he was taking it so seriously that I was like I learned from him, Like I remember talking to him about it, so in my mind he was like my favorite director because I could see myself in him, do you know what I mean? I was like, someday I'll get to direct. I think it's probably because he said that. He's like, you know, I've heard this before, and I don't know if maybe he was the first person to like it's the master class.

00:06:04
Speaker 1: In acting is to be a directors.

00:06:05
Speaker 3: You finally learn what it's like to be and I feel like I learned that from him, like or he was because I remember thinking, like, someday, I'll get there, Like I want to.

00:06:12
Speaker 1: Direct someday based on working with him, which is cool. I don't know.

00:06:16
Speaker 2: I feel like maybe I was like, oh, he's not he's not a real director. He's an actor. I don't need to take this guy serious. Yeah, he's an actor. He's friends with Michael exactly.

00:06:25
Speaker 3: A lot of people were just kind of getting shots. Yeah, we didn't take them all seriously. I totally yeah, No, I know, I mean because even like because I mean even Rusty didn't really direct outside of a boy or girl. Afterwards, you know, like he went pretty much back to acting. But you know, you think about it. You know, Jeff was McCracken was an actor originally too. I know, it's just that we only knew him as a director, but like he'd already made that transition.

00:06:48
Speaker 2: Yeah, no, I know, and I mean, obviously that's exactly who I That's what my second career was. And it's funny because now my perspective of it is like, oh, there's so many things to value about having been an actor when you're director. But at the time, I think I just assumed he.

00:07:04
Speaker 1: Was lucky to be there. Yeah.

00:07:06
Speaker 4: It was also we were on such autopilot that it was like, are you really And it's like, you know, some of these directors where they were first time directors, so they wanted to like direct and it was like, let me tell you what Eric should be doing. And I'm like, really, this is episode one fifty four. You're not going to come in and tell me what Eric should be doing. And it's an ego, it's an accurate thing where it was just like I know what I'm doing, I don't need you.

00:07:24
Speaker 3: Well, they mostly out of our way. They just mostly stayed out of our way.

00:07:28
Speaker 4: I do remember that to the p episode where it was like, oh, you're going to direct me now, even though we've been doing this for seven years. It's like, tell me where to stand, because that's what you should be doing. Block the scene out. I'm going to totally listen to you, but let's not talk about what Eric should be thinking in this episode.

00:07:44
Speaker 1: I'm Eric.

00:07:45
Speaker 2: Well, there was also this is not a compliment to me, This is a very big and this is me saying that I was a terrible person. But like I also, we were on we we should have had. We were already doing four day weeks and where based on the sets that we were using, the storylines we were doing, how comfortable we were, we could have and should have had like two to three hour work days. And when you would get a new or first time director, your days were longer because they want they for them for themselves. They want to be able to act work out the scene and talk about the blocking. Meanwhile, we're like, I already know where I'm going to walk in. I'm gonna come in from over here and I'm gonna cross over there and we're gonna and so yeah, I did just generally have a feeling of like, why are we doing you a favor at this point on season seven of a show where life should be easier for us. We've earned that right, we've been here now because it's season seven, they've decided to give everybody a chance to direct an episode, to ride an episode, and it makes our days longer, it makes right, And I think I resented that. I think I felt like I did too.

00:08:59
Speaker 4: I felt was a total actor ego thing, like you know what we're doing, and we here, you're kind of new on the set.

00:09:04
Speaker 1: But there was something else that we've never really talked.

00:09:06
Speaker 4: About which was such a such a difference when I went on to do other shows. Is we always, unless we're in school, when we were kids, we always blocked our own scenes. Yeah, so we had stand ins, but we were actually doing the blocking. We were sitting there and and blocking aro on scenes. And then even for camera day, we were sitting there and doing the blocking. Whereas I would go on to other shows afterwards and we'd you know, rehearse at once and then they'd be like, all right, second team in and they do all the camera blocking with the stand ins, which we didn't do.

00:09:34
Speaker 3: Yeah, I mean the camera blocking. Not yeah, camera blocking, but you're not.

00:09:38
Speaker 1: But they weren't determining where you went. You were still in. But I'm saying.

00:09:45
Speaker 4: Other shows, though, you would run it once for the cameras and then wholly stand lighting and the stand ins would do it, whereas we did all that for ourselves. And I actually, as much as it was a lot more work, I preferred it.

00:09:58
Speaker 1: I liked being on the set.

00:09:59
Speaker 4: I also so knew then by the time we went to shoot, we'd done the scene, you know, with rehearsals and blocking, yeah, fifty times, so you didn't have to worry about anything. I felt very detached on other shows where it was like, wait, I didn't block, I didn't.

00:10:11
Speaker 3: Do the camera I got some I got some some from the stand ins on Girl Mate World because I I didn't want them to be doing the work for the kids. I wanted everybody to do the blocking, and so I like, we didn't have yeah, and Frank Pace, I remember that producer was like, yeah, we don't need them for like the camera blocking day or like there was an extra day, and so it sucked because they lost a day of work. But I was like, but it's better for the actors, it's better for me, it's better for the camera, and you know, save the production money.

00:10:38
Speaker 1: So Frank liked it too. But yeah, and it sucked.

00:10:40
Speaker 3: And I remember them coming up to me and they're like, hey, you know, they're telling us that you don't need the stand ins and that's like our job. And I was like, I'm so sorry, but it actually really hurts us when you when they when they stepped in did the blocking, then the kids would show up and not know the blocking and the camera and.

00:10:54
Speaker 2: It started over.

00:10:55
Speaker 3: Yeah, and I just wanted it to be I wanted the camera department and the actors to be communicating with each other, which is how we were on Boy Meets World. Yeah, and when you had an intermediary day where that doesn't happen, you lost that and I would Yeah.

00:11:07
Speaker 1: So I'm with you, man. I think I think it's important to stand in fierce.

00:11:12
Speaker 4: I absolutely love I guess I get it on film more than on TV, where it's like I guess if you're going to be sitting there forever, that I understand it.

00:11:23
Speaker 1: But on a sitcom I missed it.

00:11:25
Speaker 4: On I feel disconnected to the scene now because I wasn't here when they blocked the whole thing out exactly.

00:11:31
Speaker 2: And as an as a director, when let's say you're not working with kids, you're working with adults. Because we used to do this on Lopez. We had wonderful stand ins on Lopez versus Lopez, but every time for camera, they would only want to do it once, and they'd say, it's going to completely change when our first team gets in here, because they are going they are going to move, and they're going to they're going to be more fluid. Stand Ins really very much want to do exactly what they're supposed to do, which is like, and where do you want me to stand? You want me to stand right here? And then they light for this line and then for this line, and guess what, when mister George Lopez walks onto set, I'm not going to say, you know, your stand in stood four inches? Could you do closer to what your stand in did than what you this this person this show is named after, like, we're we're relying on him to be the everything should work around him, not the other way around. So it is one of those situations where you're like, Okay, I guess we have something temporary, but it's not.

00:12:32
Speaker 3: The real general map, and I mean the camera operators usually know them so well that they don't even need to see it once. They can do it live practically, but most of it's like they've been around.

00:12:42
Speaker 1: They know. I've had the crazy experience.

00:12:44
Speaker 3: I don't know if you guys have done this. I've been I've done two morning news shows lately. Oh, no, camera operators, do you know this?

00:12:51
Speaker 1: Robots? It's robots. Walk in like.

00:12:56
Speaker 3: I walk in and it's just a giant room with the cameras robots in the middle, and then the anchors at different desks, like the weather person, and they're alone in the room. Otherwise, everybody else is behind the sets. There's no everybody else's makeup or whoever. Like guests like me are waiting behind the set and then you walk in and then the camera's just kind of move in place like sharks, and I'm just like watching like, I'm like you eight people's jobs right, like you literally you're like the terminator that came in and just took a camera ops job.

00:13:24
Speaker 1: I'm like some buried the lead though. Why were you on morning shows?

00:13:29
Speaker 3: Red Weather for the so I did too, like an LA Morning show, ABC Morning Show, which was great, And then I did another one that was like an online morning show news but it was you know, one of the in both times it was a full newsroom, which I hadn't done in years.

00:13:44
Speaker 1: And now they're all robots and it.

00:13:47
Speaker 3: Makes sense, right, It's like save so much money, they get the perfect shots. They can control them from a booth. I have no I never even saw or heard who was controlling it because everyone has earpieces except me as the guests, right, So they're all communicating with the directors and I'm just like, these things are moving by themselves.

00:14:03
Speaker 1: They're getting a shot of me. It's so uncoopable, it's so weird. I hate it.

00:14:07
Speaker 3: I mean I hate I understand why it happens, but it's like it takes away.

00:14:11
Speaker 1: It also changes.

00:14:14
Speaker 3: There's a performative element knowing that the crews in the room, like that's actually who your audience.

00:14:18
Speaker 1: Yeah, it's your audience.

00:14:19
Speaker 3: So even when I'm doing an interview, there's a human behind the camera, and that I feel like I can put my brain. It's like, what is it when you like, have you understand that somebody else has a brain, like you know, It's like it's like a human ability to like that thing has like and when you can't do that, when you're just like it's a robot, I leave my interest in impressing the camera.

00:14:40
Speaker 1: I'm like, I don't you know what I mean. I'm like, this is so weird, Like I'm not gonna do this.

00:14:44
Speaker 3: Yeah, theory of mind, that's what. It's a theory of mind, Like when you can put a mind into the thing that you are, the person or the animal or whatever. And in this case, it's like, I can't do that, and so it's it's so weird. Uh, that's the way we're going, guys.

00:14:58
Speaker 1: I know.

00:14:59
Speaker 2: So this episode was written by Patty Carr and Laura Reynolds, and I do think that at this point it really is a pattern worth noting that some of the weirdest scripts that feel the worst toward women have women's names.

00:15:18
Speaker 1: On women's names on them. Yeah, so, so how do we analyze that?

00:15:24
Speaker 3: Do we think it's just that they are pitching the storylines for the episode and they immediately are like, well, this one's a little sensitive because it involves pregnancy, and wait, let's give it to a female writer. That and yes, they do that, and then Michael rewrites it anyway, because that's what Michael did. I mean, he explicitly told me that he would he would honor writers right to have their names on the script and to get the residuals like that was always something he cared about, and giving them the credit and the shot, but that he didn't care that any of their actual language stayed on the script, like he only want to be his words.

00:16:01
Speaker 1: Ultimately, I had.

00:16:02
Speaker 2: A conversation with him once and I don't remember how the question came up, but I asked something about, well, who wrote that episode? And he went, well, I write every episode, but you mean whose name was on the front.

00:16:13
Speaker 1: Yep.

00:16:13
Speaker 3: He looked at it as like an apprenticeship where you got the credit and you got the residuals, but you don't actually write anything, which is his version of events. You know, I'm sure a lot of the script actually was in the first draft with some of these writers, not all of them, but for a lot of them. I probably didn't change all that much, but Michael ultimately took credit for whatever was on the screen. Anyway, going back to I think what started this conversation, we still haven't gotten too the episode. Do we think that that that by putting a female name on the script. It was sort of a shield yes yes before yes, because that was one of the most devastating lines in point me to all the histories in this script A couple of days scory, when she says you lost your and he says you lost your figure to his wife, I was like, hold on, not only is that insanely insulting and like crazy, but I'm true, she is beautiful?

00:17:01
Speaker 2: Like why?

00:17:02
Speaker 1: Like what this is? Also you have to this is a.

00:17:06
Speaker 4: World where you have to instantly buy the fact that Danielle the way she looks in this episode.

00:17:12
Speaker 1: Is a problem or.

00:17:14
Speaker 4: And she's just just anything not so I mean the episode. I hate to hate to say this because you guys gonna be like, no, stop, but I'm dressed very big in this episode.

00:17:23
Speaker 1: I'm clearly very large.

00:17:25
Speaker 4: This in this episode, the episode should have been about Eric gaining weight, because you don't look at Tapanga and go, wow, she's really put on. She's really packed on the pounds to the point where they, I mean, and we'll get into this, at least they finish her storyline.

00:17:40
Speaker 1: Eric's just the fat joke and ends literally there's nothing storyline because yeah, because the arc.

00:17:48
Speaker 3: I was actually surprised to see the arc comf full circle where it was like, oh, actually, you know, Tapanga's told she is beautiful and she's not. It does it does sort of comf full circle with her, and I was like, thank you, I'm.

00:17:59
Speaker 1: Not at all out of the line at all.

00:18:01
Speaker 4: Yeah, that's just literally none and it's just and again I and Daniel's about to ask us what we thought of the episode, and we'll get into that too, But that was the biggest takeaway from me.

00:18:10
Speaker 1: It was just like, just make it about Eric.

00:18:12
Speaker 4: Because the entire premise is essentially you have to buy that. You know, Danielle is fat and she's just not. So it's like, okay, the same way about you.

00:18:23
Speaker 1: Well, yeah, I just gotta be at least two hundred pounds in this, but you're weighing.

00:18:28
Speaker 3: You weigh a little bit more than you did at the age of sixteen. Like that is you tell yourself it's all relative. It's got to be forty pounds though.

00:18:36
Speaker 4: Again that but that you can write to at least that's something that makes sense. You write to that where it's like, you know, you're not huge, you're not obese, but man, you've put on some weight.

00:18:45
Speaker 1: You can see that.

00:18:46
Speaker 4: That's at least you put up a picture of me there, and a picture of me even just a season before. It's also it's a forty pound difference. They may put Danielle and then a picture of Danielle a year before.

00:18:57
Speaker 1: It's not that big a difference at all.

00:18:59
Speaker 3: And when she's trying to squeeze into those genes, I'm like, those are tiny, amazing what are we.

00:19:04
Speaker 2: Talking as to be?

00:19:07
Speaker 1: Yes, they are clearly female. Yes, it's so weird, Like.

00:19:10
Speaker 4: Yeah, it was, it was so yeah, that was more. The thing for me was just like, well, there's no arc for Eric. It's just I know, the fat joke, and that's the whole stories. He's the fat joke.

00:19:19
Speaker 2: The episode did, well, we can talk about it now and let me let me jump into our guest stars. Well, do we want to talk about our overall thoughts before we jump into our guest stars.

00:19:28
Speaker 1: I don't know.

00:19:28
Speaker 3: I mean, I I think if you had shown me this episode and and I wasn't considering the lived experience for you guys, it was better than I expected.

00:19:38
Speaker 1: I was agree, this is a really good episode. I was like, it's smart, it's smart.

00:19:44
Speaker 3: And it has great points that the whole twist of Ben thinking you're pregnant, it's actually very funny.

00:19:49
Speaker 1: That's actually yeah so And there's huge laugh out loud mom.

00:19:54
Speaker 3: And not just the fat joke stuff. There's actually funny stuff. Corey is, Corey is spinning his wheels is very fun Like. I was just like, oh, this is actually a pretty good app.

00:20:02
Speaker 1: The Sean Corey stuff is good.

00:20:04
Speaker 3: The Shawn Corey I was like, for the first time, I felt like relaxed to Sean, like Sean and Corey like us in bed together.

00:20:10
Speaker 1: I was like, this is great.

00:20:11
Speaker 3: I just I want to hang with these guys and I want to hang in this So you know why you were here.

00:20:16
Speaker 1: So you shot it.

00:20:16
Speaker 4: You shot all your without later and I was relaxed you did because yeah, without.

00:20:21
Speaker 1: An audience, there was an audience. But yeah, I got sick this week. I remember that. I mean, but you see how pale you were. I mean it was like you were sick.

00:20:28
Speaker 3: But anyway, overall, I was surprised by how much I did think this episode was intelligent and.

00:20:33
Speaker 1: Got to a really spot there's just yeah.

00:20:35
Speaker 3: I just then when I was watching it, I could see that both of you were uncomfortable knowing you well, and especially like with you will, I can tell your commitment level. It's like you're still doing it, you're still giving a ten, but you're dying inside, you know, And I can see that now. I don't know if I can see that now in multiple episodes where we've done this where they're just pushing you to go so over the top, but especially on this one where it's just like, oh this sucks.

00:20:58
Speaker 2: Like there's a resignation behind the commitment.

00:21:01
Speaker 3: Yeah, exactly, there is I thinet that that hurt, you know.

00:21:05
Speaker 4: Maybe other than the personal stuff I was going through my life and watching it back like that as just the standalone episode of a television show or a boy me twirl, this episode have me laughing my ass off.

00:21:14
Speaker 1: Me, Tim, really did?

00:21:15
Speaker 3: I think you rewrite the first scene aggressively and this could be a very saligable episode, Like it could have been a perfect episode. It's that first scene where just the opening with them like showing off their abs and talking about their looks, and then the scene between you two, Like if you rewrote it so it's less of like we're fat and more like we feel bad about ourselves. Well, you know, there's a way to like phrase this that could still have the same storyline without just hating that like you're fat, Hen, you're fat too. We don't know, it was just like it was icky and like I don't know, but I think if you had rewritten that first scene and then yeah, the scene with.

00:21:50
Speaker 1: The parents in the kitchen, which just hurts, I mean, yeah, I think it could have.

00:21:53
Speaker 3: I think it could have been a great because it's very similar to the haircutting episode.

00:21:57
Speaker 1: It's a very similar theme. It could have had that those kinds of lef.

00:22:00
Speaker 2: Yeah, there are a lot of women that have said to me that this episode was the one that finally made them feel beautiful, and it's the it's the polar So it's always been weird for me as somebody who's refused to watch it all these years after doing it because of like Will said, what was going on for me personally and internally, how much it hurt. I didn't remember that there's a full, beautiful kind of storyline or arc to it, and that it finishes up in a different place. And when people would say that to me, like, oh, that is so sad that you have such a negative association to that episode. Because for me, it's the thing that finally made me feel seen and accepted and beautiful and that and like that there are different body types and and like that mine was okay, and that I was still going to that I was still an attractive woman even if I didn't look like other people on TV. And I just remember being like, how could that possibly be? And then I want the episode and I was like, oh again, totally get.

00:23:03
Speaker 1: It comes full circle.

00:23:05
Speaker 2: It comes full circle for you.

00:23:09
Speaker 1: Exactly, not for Eric.

00:23:10
Speaker 4: But it also shows just how much harder it is for a woman, I imagine, to put on weight than it is for a man. This was so this was ninety nine, two thousand. I mean, he had passed in ninety seven. But we're in the age of Chris Farley and being big and funny as a guy totally acceptable, completely and totally acceptable.

00:23:31
Speaker 1: As long as you're funny, you're good to go.

00:23:33
Speaker 4: You could put on fifty pounds, but if you're making him laugh, it doesn't matter put on five or six as a woman, And we got to write a story about it, and it was really so that to me was also the glaring thing where it was just like, wow, it's really interesting that that's what triggered it. Yeah, it's just a big difference.

00:23:48
Speaker 3: And honestly, you go back and you look at like Chris Farley and John Candy, they weren't actually that big.

00:23:54
Speaker 4: Farley was big, John Candy not so much if you go back and look, But Farley towards the end was he was very unhealthy.

00:24:01
Speaker 1: He was a big guy.

00:24:03
Speaker 4: But again, there was the age of the plus sized woman who was funny hadn't really started yet.

00:24:09
Speaker 1: You had Roseanne in the nineties, but it wasn't you know.

00:24:12
Speaker 4: When you got the Melissa McCarthy's and some of the people that came on later where it was like, I don't give it what she looks.

00:24:17
Speaker 1: Like, she's hysterical.

00:24:19
Speaker 4: That kind of changed the ballgame a little bit. But in the nineties it was all thin thin, thin thin.

00:24:24
Speaker 2: But you're what you're pointing out is the thing that I think people found comforting maybe about the episode is like the idea was what type of woman are you? Are you a funny woman? Oh then it doesn't matter what you look like, right then, we don't care. Are you supposed to be a hot woman?

00:24:43
Speaker 1: Yeah?

00:24:44
Speaker 2: Oh oh, well, you're losing your looks. You've put on weight. It's like, wait, why are those things nest? Why are those things correlated? You know, like I could put on weight and still be a hot woman. I could be you know, women's bodies come and we all come. Everybody come in different shapes and sizes, and it shouldn't be the one factor that determines whether or not you are attractive. But on our show, at least for Tapanga, it was. And I can feel and what I felt that I've realized over the years is like what I was feeling was the total discomfort at least one person in the writer's room felt with the fact that they no longer found me attractive and therefore didn't know what to do with me.

00:25:30
Speaker 1: Yeah.

00:25:30
Speaker 4: Right, Well, there's also the idea that it's like, maybe you have this this and Danielle, you and I have talked about this, you have this weird I don't know, it's delusion that maybe nobody else sees it.

00:25:44
Speaker 2: Uh huh.

00:25:45
Speaker 4: Maybe I'm the only person who sees that I've put on me and I'm being too hard on myself. And then you're called into the office and they go, well, you guys are fat, We're gonna write to it. It's like, oh no, everyone want sees it too.

00:25:56
Speaker 2: And they've been talking about it. They've decided when are we calling them in for the meeting? What are what are the jokes that have been made? Like you, you know, you've been the topic of conversation for a while.

00:26:06
Speaker 1: And then I went through this whole other side.

00:26:08
Speaker 4: I'm trying to play Devil's advocate too, because as young actors, you know, as Danielle's we were talking about at the beginning of the of the show, there's you know, we could have done three day weeks.

00:26:18
Speaker 1: We were we were coasting towards the end there.

00:26:20
Speaker 4: And one of our jobs and it's not a lot to ask, is you also have to keep yourself in shape. I know that's part of the job is too, is taking care of yourself. And at the time in the nineties, especially being esthetically pleasing.

00:26:35
Speaker 1: We were teen quote unquote idols.

00:26:37
Speaker 4: We were in the magazines, and part of the job is you've got to look the part.

00:26:41
Speaker 2: Yeah, we wouldn't on hair, you know, rainbow colored with stripes, even if I really wanted to, because that would have changed the character.

00:26:48
Speaker 4: So that was on me as well. I let myself go badly and I had reasons for it. I had legitimate reasons for it, but I also wasn't taking care of myself, wasn't working out, wasn't eating well, and.

00:26:58
Speaker 1: That was on me.

00:26:58
Speaker 3: But you know what well, I mean, I think an interesting counterpoint to what you're saying, or maybe just additional point is I could tell that Matt was incredibly uncomfortable and you know, he hated like having to have that that first scene, and.

00:27:12
Speaker 1: Because he didn't talk about how good.

00:27:14
Speaker 3: You know, he just takes care of his body because he likes to be healthy and he likes to work out, and he does he does care about he especially back then, I think he did care about how but he didn't want to talk about it.

00:27:23
Speaker 1: We would if anything, it was.

00:27:24
Speaker 2: Like aged about how gorgeous and so.

00:27:29
Speaker 3: Having to say these lines, I could tell, we're so painful for him, and like even like when he like he kind of tanks the joke at the end, when he's like, oh he was, he has to like make it into like a joke because he's so uncomfortable with the like bragging about how hot he is, got that they're writing him to be so in a weird way. No matter what, even if it was positive. Having to talk about your body and what you look like in the way that this episode.

00:27:50
Speaker 1: Is written is just not cool. Like this is not It's just a weird thing. And it's I mean, he's also a good guy and he knew that.

00:27:58
Speaker 4: It's like, essentially, by me lifting up my shirt and my abs, I'm making these guys look even worse.

00:28:02
Speaker 1: Yes, he hated it. He hated it, and you can see.

00:28:05
Speaker 4: I mean, in one scene he does to me the funniest thing I've seen maybe in all seven years of Boys World, but it is so has not. He literally just makes fun of the thing. You know exactly what I'm talking about.

00:28:18
Speaker 2: I matched it four times and I literally are we talking about okay in the student union. When I call that, I go everyone, when I'm about ready to tell people, he goes yeah and run yeah yeah, because he had to get to the Basically, Jerry was like, you get to this point. He wanted him standing there for no reason at all whatsoever. Why does Jack have to answer to Panga immediately? But I literally go everyone, and he has his back to me and he's upstage and he goes yeah and friends.

00:28:55
Speaker 1: Yeah. So he was just making fun of and then he goes like this, Yeah, oh, I totally didn't know they were filming or didn't care it didn't care, didn't care.

00:29:07
Speaker 2: And I think, I don't know if he's trying to I don't know if he's laugh if I'm all because I think it was like maybe something. It's either between me and him or me and him and Maitland where all of us because Maitland also has to get back kind of fast and we all are kind of looking at each other.

00:29:23
Speaker 1: I watched it over and over again.

00:29:25
Speaker 2: It's all completely missed it of all the moments where you can tell we're trying to make each other laugh. Well that this is my favorite one that any of us have ever done, where.

00:29:34
Speaker 1: We're just like, we have to watch it. I completely miss so.

00:29:38
Speaker 2: When we get there, maybe maybe between now and then if.

00:29:41
Speaker 1: Someone final because my favorite was was it? The Christmas Christmas Repast.

00:29:48
Speaker 2: Is funny.

00:29:49
Speaker 1: It's just Matt is the greatest thing in the world. It really is. It's so good. It's kept watching it over. God, I gotta see this again.

00:29:59
Speaker 2: I was so I was watching in bed with my headphones on and and Jensen is working on the laptop next to me, and I just keep busting out. But he's like finally, he's like, what what is it? And I'm like, watch this play it for him. He laughs, He's like, let's watch it again. I literally just kept watching it. I was like, this is so I can't stop laughing, and every time it got a bigger laugh for me.

00:30:18
Speaker 1: I can't believe I miss it. I must have looked. I'm going to it right now because I okay, look away, I guess I missed it.

00:30:24
Speaker 2: While you're looking for it, I'm going to tell you who our guest stars are. We have Peggy Miley, who arrives as the oft mentioned Nana boom boo.

00:30:31
Speaker 1: I can't believe it, boomboo. And I didn't remember this at all either, and.

00:30:36
Speaker 4: It made me feel bad because I've met this woman since and I worked with this woman since, and I was like, that's where I knew. Every time I saw her, I was like, oh my, do I know be a big fan because I know her? Well, it's because we were.

00:30:47
Speaker 1: It's because you worked together. Yeah.

00:30:49
Speaker 2: Well, Miley has been in a ton of things, including shows like Alex mac Frasier and Big Love and movies like Star Trek Insurrection, and she's still alive and working. Listeners may recognize her most recently as Missus Driscoll in four episodes of Stranger Things, where she becomes infected by a flayed rat and melts into goop. Yeah, I've never seen that show. So that's what's happening on that show.

00:31:15
Speaker 4: Okay.

00:31:16
Speaker 2: Well in that episode, okay, Ryan Willcox appears as coffee guy and this is his only credit.

00:31:23
Speaker 1: Okay, is that the guy that's getting the pizza that Eric takes. He doesn't have any lines?

00:31:30
Speaker 2: No, no, he this guy. No, this guy has lines. He's the guy who's drinking coffee. Yeah, someone and talks to him.

00:31:36
Speaker 1: Yes, yeah, the guy exactly My favorite joke. And then get into the Chinese adoption ever telephone.

00:31:50
Speaker 2: I know, it's so funny, the telephone storyline of the whole thing.

00:31:54
Speaker 1: There are some jokes that were great in this. It's a funny episode, guy, it really is.

00:31:58
Speaker 2: I know, I know.

00:31:59
Speaker 4: I I was honestly thinking it's so ridiculous. But I was honestly thinking, when we do our draft, this might be my first pick for season seven. Yeah, And I couldn't believe I was gonna think that with how scared I was to get into this, I was like, this is a great episode.

00:32:13
Speaker 2: I know, I did really think I honestly, I feel like watching this episode was worth five years of therapy.

00:32:20
Speaker 1: Right exactly exactly? Oh man.

00:32:37
Speaker 2: So Jack is on the couch flanked by Rachel and Angela and proudly asks who here has six percent body fat? Ladies? I do? The girls look impressed, and then we cut to Tapanga sitting on a nearby chair eating a slice of pizza.

00:32:52
Speaker 3: Okay, can't we just find a way into the storyline with it's literally two women who are not dating him, no, and he's just fine.

00:33:03
Speaker 2: Why isn't Why isn't one of the storylines because it's another Honestly, I think it's such an important aspect of this conversation and dialogue around body image. Why is Why doesn't it start with Tapega walking in with a pizza going guys, I gottas all pizza, and Jack going, oh, sorry, I can't eat I can't eat pizza. What do you mean you can't eat pizza?

00:33:21
Speaker 3: Oh?

00:33:21
Speaker 2: Well, you know I can't eat any carbs. But carbs are where you get your energy. Like, we could have had a conversation around food culture, diet culture.

00:33:31
Speaker 1: And instead of Jumbo Jack at the end, it's him just going like, I'm hungry all.

00:33:35
Speaker 2: The time, give me the pizza, you know, and like the episode could have been about moderation rather than and or frankly just priorities. To be honest, if you want to say that the number one most important thing in your day is being skinny and having low body fat, okay, if that's what you want to spend your hours, your time, your mental energy and person, sure exactly I don't. But but no judgment to you that that's gonna bring you the most pleasure and enjoyment in your life. I get very excited and still do a dance at even the thought of a good meal. So those are just the we just have different priorities. That conversation between Tapanga and Jack.

00:34:24
Speaker 1: It's so weird, it's so unmotivated.

00:34:26
Speaker 3: It just I know, it's very let's just talk about body fat's let's get into that.

00:34:30
Speaker 1: We know what it's going to be.

00:34:31
Speaker 4: Let's get into it. So it's like here, you know what I mean, It's like, this is what the episode's about. He's he's in amazing shape and she's not go and it's like.

00:34:40
Speaker 2: It's also ooh, tall, skinny redhead, tall, tall attractive guy, uh not super tall, gorgeous Trina who's also thinn. Sean doesn't have a weight problem. Corey doesn't have a weight problem. Oh look at those two. Look at we better comment on why they're here? Who let them on to the stage. They didn't always look like this.

00:35:06
Speaker 1: It's because of those two. We have such a big craft service budget. It's like wow, but it's funny, Like I remember feeling ugly, like.

00:35:16
Speaker 3: Like I and and like they don't talk about how I look in this episode and it's like we're so like I left Boy Meets World feeling like a very unattractive person because the vibe on set was that like Matt Lawrence was a beautiful person.

00:35:31
Speaker 1: And was beautiful person.

00:35:34
Speaker 3: I remember feeling like I was lucky to be there and that I actually was like very unattractive and nobody was willing to say anything to me.

00:35:41
Speaker 1: Like that's the way I walked away, you know what I mean.

00:35:44
Speaker 3: And it's because of episodes like this, where they would literally spend whole lines of dialogue talking about how beautiful Netherland and Matt are and like I just remember feeling like, you know, and now I look back and I'm like, right, or what are you talking about? Like without saying anything, that was the vibe on set, well was beautiful people.

00:36:00
Speaker 1: That was the episode. Yeah, that was Ben.

00:36:02
Speaker 4: In the episode for hair Today, Goon tomorrow was look at what your brother's hair and everything?

00:36:06
Speaker 1: Look how everything he does?

00:36:07
Speaker 3: Can I imagine I mean I don't want to put but I imagine that Ben must have carried around a lot because the entire show from the get go was that he was average Corey right, So I mean he must have felt like, oh, they brought in all these beautiful people around me, and I'm just the normal looking or you know, like the average.

00:36:25
Speaker 1: Guy that sucks. Man, that's hard. It's just a weird thing to go through an actor.

00:36:30
Speaker 2: Like you know, yeah, especially And yet I think it's important to say because people may read into it. We're not saying that those stories shouldn't be told. And sure it's you know, the story. Those are important stories. Guess what, The majority of all of us are average. We're just we're average in many different ways, and those are going to be the stories that are most relatable and that people need to see themselves represented on screen. But it is just being the being the actor. It does play into your perception of yourself.

00:37:03
Speaker 3: But so I was I hung out with a friend this weekend who's an editor, and he's working on the new bay Watch show, and we were talking about it and he, you know, I was just like, what, you know, he's describing it and all those actors just have to be in their bathing suits all every scene. And he's like, it's really weird, like you just they're just walking around their bathing suits. Like he's like, I went to set and he's like, they're just basically naked and you.

00:37:27
Speaker 1: Know, and I'm like, ah, that's my nightmare, Like that was my me, you know, and but it's I guess what.

00:37:32
Speaker 3: I guess I bring it up because that is part of that job, right, Like people watch bay Watch to see hot, muscly people look good in bathing suits. And you know, the conversation I was having with him is like, well, how are they as actors? And you know, his response was like, well, they're all over you know, it's it's varied like every show. He's like, but it's so weird that in some ways it doesn't matter, like it's you know, sometimes it doesn't matter like they just need to look good in the bathing suit because that's why they're there and that's why they're on show. So it's weird, like, do you think that there's something about like is our discomfort and what we're describing just the process of being an actor, or is there something special about the way Boy Meets World wrote to looks and the conversations around it that that because I feel like we comment on our characters a lot on the show, and there's a lot of conversation about, you know, what type of person you are and what type of character you are, and I felt I absorbed a lot of that into my sense of myself, like the Sean Hunter and Riderness guy. And I don't know if that's just because I was young, or that's just what being an actor does to you, or if it's something about our show in particular, but I absorbed a lot of it into my thinking.

00:38:40
Speaker 4: But I think I think you're you're you're lumping in being an actor and being a child actor.

00:38:46
Speaker 1: That's exactly what I do, completely different thing.

00:38:48
Speaker 3: So when you're an adult actor, you can draw that line easier and be like, Hey, I'm just here to play this part and I yeah, I got to work out to look good, and everyone wants to see me in my bathing suit.

00:38:57
Speaker 1: So that's just part of my job, and it's cool.

00:38:59
Speaker 4: Or developing as people, as we're developing as actors. When you're a child actor and so dissecting the two you can't and so the character, you absorbing everything from the character because you're not maybe smart it's not the right word, but you're not just stavy enough as an actor to know that it's two completely different things.

00:39:17
Speaker 1: It's not Eric's fat, I'm fat, I'm stupid.

00:39:19
Speaker 2: I think your an entire sense of self as a teenager is determined on how do what do they think of me? If they in whatever they think of me, is there for what I am? Which is exactly why you're supposed to validate your kid's feelings. You know, It's like the reason why you're supposed to say it's okay that you feel that way, and of course you're angry. It's a normal thing to it's a normal thing to feel that way, and it's also why you're supposed to, you know, tell them they're more than just good looking, or they're more than just smart, because they they only know what they are based on what you tell them, what's reflected back to them, and so you know, I remember leaving like leaving Boy Meets World. And then at some point when I would have an audition for something and I was only you know, twenty three, and it would say early to mid thirties, and I would then call my agent, go, I can't audition for this. It says it's early to mid thirties and I'm twenty two, and they would be like, who cares?

00:40:14
Speaker 1: Go in for it?

00:40:14
Speaker 2: Anyway? You never you never know, but I would. It would bother me because I think, are they am I? I'm not old, I'm not old. I don't look old. Or if a description of a character said, you know, kurvy or plus, I can't be that.

00:40:29
Speaker 1: I can't. I'm not that. I'm not that.

00:40:30
Speaker 2: I'm not even now as an adult who fully knows who I am, I would ugly myself up for I would. I would do something to play like a good character act well, but oh, you know.

00:40:42
Speaker 3: What that speaks to me is that when you would you know now that actually they don't know what they're looking for until somebody walks in and owns the character, and then that we write the script to it, whereas we were on a set where we felt like we had to live up to whatever was in the script and that the script wouldn't change to adjust for us.

00:40:57
Speaker 1: We had to adjust for.

00:40:57
Speaker 3: The script, which is why I think acting was hard at for us because that's not a great acting approach. Like, as an actor, the most important thing is that you were confident and that you were doing what you artistically want and what you believe in. And then whether they cast you or not is up to them who cares. You know, you can you cannot get the part or they can readjust but like for you to walk in and think I have to live up to somebody's vision for this character or somebody's vision of the script, that's like, that's just one form of acting that's not going to get you very far because that's not very creative. It's puppeteerian, you.

00:41:26
Speaker 1: Know, right.

00:41:27
Speaker 4: I also though, with what you're saying about just your whole life when you're a teenager, is you're right what other people think of you? Yes, which is why I am all for absolutely banning social media until you're twenty one. Yeah, you don't, nobody, nobody needs, you don't need to put yourself out there.

00:41:43
Speaker 1: You don't need the criticism coming back.

00:41:45
Speaker 4: It's hard enough being fourteen, you don't also need to be living your life on social media.

00:41:49
Speaker 1: It's very bad for people, and we kind of experience that in that.

00:41:54
Speaker 4: You know, we had the social media experience back in the day, as quote unquote, we were the influencers of the nineties.

00:42:01
Speaker 1: Yeah, what is Ryder Strong wearing? What is right? It was just in magazines or on the show, But it can be very unhealthy.

00:42:08
Speaker 3: It's true, man, It's like being a social media sort of makes everybody a celebrity from the nie ye right, It's like overshare your personal information and images of yourself and everyone likes or not.

00:42:17
Speaker 1: Yeah.

00:42:18
Speaker 2: Yes, well, Jack excitedly asks the girls, Hey, you want to see my abs. Rachel tells Angela she's already seen them, but Angela is intrigued. I'll take a gander. Jack pulls his shirt up and flexes his six pack. The inmates scream as Angela pokes his rock hard abs in amazement. Tapega shakes her head, speaking while in between bites, you guys are also hung up on your bodies. Come on, there's a full pizza here. Jack is shocked. You think I get abs like this from eating junk? Now, wait a minute, I'm not the only one here with a great body. He turns to Rachel and smirks, You've got the body of a model baby. Rachel bats him off. No we don't. Angela's got the best body of any of us. Angela gasps me, no you all smiles no you, then Jack jos him no me, I know.

00:43:04
Speaker 4: No.

00:43:04
Speaker 1: Acknowledgment of Jack and Rachel having dated.

00:43:06
Speaker 2: Each other, well, that is the The acknowledgment is I've already seen them. Yeah, that's it.

00:43:12
Speaker 1: That they also live together. I mean, so of course you're gonna see. Yeah.

00:43:15
Speaker 4: Nobody also mentions the fact that arguably the best body on our show besides mad is Ben.

00:43:22
Speaker 1: I mean Ben. Ben's body was shredded by this point.

00:43:25
Speaker 2: Never true, Tobenga scoffs, don't you beautiful people have anything.

00:43:31
Speaker 1: Better to do.

00:43:32
Speaker 2: Jack realizes they're late for class, so they all head out to Panga, and most likely Danielle looks sad, so Angela asks if she's okay. Topanga insists while shaking pizza crumbs off her fingers. I'm fine. I'll catch up with you guys. Later, they leave and Tapanga examines her pizza with a critical eye. Over at the coffee counter, Corey is staring at Tapanga and awe she gorgeous? Or what I tell you, Sean? I could watch that girly pizza forever. Sean, now with a distinct goatee, tells him, boy, my marriage really agrees with you. Corey grins, yeah, it does. I love every wonderful thing we do. He then gets very suggestive every wonderful thing. The audience oohs at the implication of sexual encounters between married people. Oh yeah, and Sean rolls his eyes. I get it because you tell me every wonderful day. Eric walks over with a Hogi in hand. He attempts to take a seat next to Topanga, but runs into an issue sometimes one button isn't enough, then proceeds to unbutton his pants much better. He sits down spread eagle, and a preoccupied Topanga earnestly asks him do you think I'm fat? Without hesitation, Eric nonchalantly responds yeah, and then the audience erupts into laughter. He looks at Tapega's pizza slice and asks if she's going to finish it. She throws it into the box and discuss, and Eric happily takes it. She tells her brother in law, you know you've packed on a few pounds. To Eric, he blows it off. It's college. You've heard of the freshman fifteen. Depega reminds him he's a senior, and Eric realizes, wait a minute, four years times fifteen pounds, that's like that's like five hundred extra pounds. She comforts him and assures him he's not that overweight, but Eric admits, I see the way the girls flock to Jack and his six percent body fat and ignore me in my seventy percent flab. By the way, that is so obviously written by a man who's insecure.

00:45:36
Speaker 3: Because anybody knows anything, Women mostly are attracted to personnelity, correct, And if you were funny, you.

00:45:45
Speaker 2: Think of all the funniest people in the world. They all have hot wives, they all have hotties on their arm. Because there is.

00:45:57
Speaker 3: A lot of men absorb the idea that they have to think still pressure but of course yes, yeah, yeah, yeah, I mean, but also like yeah, what writer, No, I just I just don't like it's it's it's the only way this line works is if Eric overheard Jack in the previous scene.

00:46:15
Speaker 1: He literally references seven percent. Yeah, it's like it's so divorced from reality. It's just it is.

00:46:20
Speaker 4: I think you're supposed to also if you, if you followed out to its logical conclusion to it also makes Jack look awful because what it is is he talks about this all the time. So Eric heard it somewhere else exactly, and he's just walking around talking about his six percent body fat, which exactly him looked bad, which made Matt look bad, which is why you could tell.

00:46:38
Speaker 1: He hated it. Hated this episode. Yeah, hated this episode. I did go back and watch that yeah moment. That's hysterical. It's the best.

00:46:45
Speaker 2: Oh my god, I died.

00:46:48
Speaker 1: I just so pissed off.

00:46:50
Speaker 4: Oh god, he's just He's like, I'm not even gonna yeah, I'm not even gonna try.

00:46:54
Speaker 1: It doesn't big turn. Yeah yeah what what?

00:46:57
Speaker 4: What?

00:46:58
Speaker 1: What's going on?

00:46:59
Speaker 2: Everyone's fat?

00:47:00
Speaker 1: Yeah? Oh god, it's the best.

00:47:03
Speaker 2: He whinds, what am I gonna do?

00:47:04
Speaker 1: I feel so alone.

00:47:06
Speaker 2: She holds on to him and promises you're not alone, and Eric cheers up and hugs her. That's right, you're fat too. She tries to stay positive and suggests they help each other. Eric wonders, how we're pigs.

00:47:19
Speaker 1: It's very funny.

00:47:21
Speaker 4: It's awful, and I'm dying inside, but it's funny, but it's funny.

00:47:24
Speaker 1: She says.

00:47:25
Speaker 2: I'll set up a healthy eating plan and we'll each give each other moral support, Like if I want a candy bar, I'll come to you. Eric is excited, and then we can share it. She tries to explain, No, you'll tell me not to eat it. He's still giddy. And then I get the whole thing. She responds, No, you'll grab the whole thing and throw it in the trash. Can are you with me or not? Eric gets serious. All right, but you can't tell anybody that we're dieting. It's embarrassing, she whispers back, absolutely, I promise not a Why is it?

00:47:54
Speaker 4: It's just embarrassing to be on a diet like it also wasn't I mean again, now everything's yet it's a big diet fad and all that stuff.

00:48:01
Speaker 1: But in the nineties it was you know, it.

00:48:03
Speaker 4: Just look good and don't let anybody know that your diet.

00:48:06
Speaker 2: Everyone talked about Everyone talked about sugar free, fat free, everything was flow fixed story.

00:48:12
Speaker 1: We have to be correct keeping it a secret. Keep it a secret, right, But it's yeah, no.

00:48:16
Speaker 2: It doesn't. It doesn't really make sense except for the fact that we needed to be a secret so that no one's talking to each other. But it does. It doesn't really make sense.

00:48:25
Speaker 1: Eric has no shame about anything, really, you know what I mean? Like he would.

00:48:29
Speaker 3: He would be the first one like, all right, I can't eat and I'm telling everybody about it.

00:48:34
Speaker 1: Is to talk about how hungry is all the time.

00:48:36
Speaker 2: Yeah, and three of PA's good friends we're just over there talking about how they have model bodies and six percent body fat. It'd be very easy to be like, honestly, I want to look like you guys.

00:48:43
Speaker 1: I'm gonna help me.

00:48:44
Speaker 2: Yeah, help me out.

00:48:46
Speaker 1: Yeah.

00:48:47
Speaker 2: They not an agreement, and when to Pega gets up to leave, Eric says, see you, fatty.

00:48:51
Speaker 1: That was lived. Yeah, I could tell. And none of this was in the script, like from this point on, that's where the scene ends. Oh, so are you shoving the pizza in? Well, no, we shot it once or twice. No, it's totally Michael.

00:49:05
Speaker 4: Michael came up to me and he goes, can you can you fit the entire piece of pizza in your mouth, and I went, I think so and so that we only did it once and that was it.

00:49:13
Speaker 1: But that was totally Michael.

00:49:14
Speaker 2: It looks like you're about ready to choke too.

00:49:16
Speaker 4: I thought I was, because I thought was gonna start to laugh. Yeah, and then just don't believe I have the whole I got the whole thing in my mouth.

00:49:23
Speaker 2: He stares me. He stares at the leftover pizza slice and sandwich in his hand. This is what I need in my life, a little self control. He places the pizza slice and sandwich onto the table, then grabs another slice for himself. He stares at it, and then shoves the entire thing into his mouth at once. The audience are ups and laughter, and therapists around the nation wonder what their rewatch podcast in twenty five years will sound like.

00:49:48
Speaker 1: Exactly Welcome to pod meets Trauma Trauma.

00:49:58
Speaker 2: This will surprise absolutely none of you. But we couldn't stop talking this episode, so we are going to split it into two parts. If you've enjoyed part one, we know you're going to enjoy part two, So wait around for that.

00:50:10
Speaker 1: She don't kild it up, don't field it up?

00:50:11
Speaker 2: Okay, Pod Meets World is an iHeart podcast produced and hosted by Danielle Fischel, Wilfridell and Wright Strong. Executive producers, Jensen Karp and Amy Sugarman, Executive in charge of production, Danielle Romo, producer and editor, Tara sudbachsch producer, Maddy Moore, engineer and Boy Meets World super fan Easton Allen. Our theme song is by Kyle Morton of Typhoon. Follow us on Instagram at Pod Meets World Show or email us at Podmeets Worldshow at gmail dot com