Breakin' Dishes (Buddie Kitchen Divorce Dissection)
Buck and Eddie walked into the kitchen like, “I’ma fight a man tonight.”
This week Han, Cil, and Rachel discuss the infamous kitchen fight from Season 8 Episode 17 of 9-1-1. Yes, you read that correctly, just that scene. Get comfortable, we’re talking about this less than 3 minute scene for almost 2 hours!
There’s nothing we love more than a good character deep dive, and this scene was too juicy to not savor properly in a full episode. Picture this: a kitchen, two bros buddies, and a whole lot of unresolved emotions flying around like confetti at a party nobody wanted to attend.
We thoroughly dissect this 'kitchen divorce' scene, where our dear friends Buck and Eddie are not just fighting over groceries — they’re wrestling with their feelings, insecurities, and the weight of their shared history. We’re peeling back the layers, one passive-aggressive statement at a time. Buck’s handling his grief in the most Eddie Diaz way — conceal don’t feel, while Eddie’s unsuccessfully doing his best Buck cosplay to conquer his worst enemy — talking about his emotions.
Buck and Eddie are about as close as two best friends can get, but when it comes to emotional honesty, it’s like they’re playing a game of dodgeball with their feelings. We break down how every grimace, eyebrow furrow, glance, and pause speaks volumes — more than the words themselves. As they circle each other like two heavyweight boxers, you can feel the tension crackling in the air.
We take a closer look at how the cinematography adds another layer, like the handheld camera work that immerses the audience in the scene, making us feel as though we are unwilling witnesses to this intimate exchange. The kitchen, a place usually filled with warmth and comfort, turns into a battleground of unspoken words and unresolved issues, with both characters warring with their own demons while trying to connect with each other.
The dialogue is rich with nuance that we explore, from Buck’s bratty remarks hiding a deeper pain to Eddie’s defensiveness masking his desperation for connection, all of which reflect their struggles as they navigate the complexities of their relationship. Buck, who is usually the emotional rock, finds himself stumbling over his words, feeling invalidated and misunderstood, while Eddie grapples with his own guilt and the fear of not being there for the people he loves in their darkest moments. It’s a poignant reminder of how grief can fracture connections and how communication, or the lack thereof, can create walls between even the closest of friends.
So grab your snacks, maybe doordash some dinner (not sponsored, but hey, could be!), and let’s get into this pressure cooker of emotions, misunderstandings, and a whole lot of "what were they thinking?" because honestly, it’s a knock-down, drag-out fight you won't want to miss!
Episode Title inspired by “Breakin’ Dishes” by Rihanna
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Music by DIV!NITY
Chapters
00:00:00 Intro
00:00:40 Welcome to the Kitchen (Amuse-Bouche)
00:02:35 Buck’s POV (First Course)
00:20:38 Kitchen Lighting Analysis (Palate Cleanser)
00:25:30 Back to Buck
00:46:00 Eddie’s POV (Second Course)
01:37:14 Our Takeaways (Dessert)
01:43:12 Take a Buddie With You & Outro
Transcript
Have you ever watched something that completely rewired your brain chemistry?
Speaker B:A procedural network drama might not be your usual pick, but it's ours.
Speaker C:This is the Buddy System, a 911 deep dive podcast hosted by three friends who have DMed each other enough character dissertations to earn a PhD in media literacy.
Speaker A:I'm Han, coming to you straight from the characters heads.
Speaker B:I'm Syl, bringing you to the observation deck.
Speaker C:And I'm Rachel, connecting the dots with my red string.
Speaker A:With our powers combined, no stone is.
Speaker C:Left unturned and no buddy is left behind.
Speaker C:This could have all been avoided if you just ordered on Door Dash.
Speaker A:Not sponsored.
Speaker A:Could be sponsored.
Speaker B:Hit us up.
Speaker C:Order today.
Speaker A:Hit us up, door dash.
Speaker B:We know you want to anyway.
Speaker A:Door dash.
Speaker A:Call us.
Speaker A:Beep us if you want to reach us.
Speaker C:Hello.
Speaker A:Welcome to the Buddy System.
Speaker A:Welcome to a very special episode of the Buddy System, where we have done no preparation other than watching the scene on repeat.
Speaker A:Amazing you.
Speaker A:I don't think anyone actually asked for this.
Speaker A:We just told you we were gonna do it, so here it is.
Speaker A:I hope you've been looking forward to it as much as we have.
Speaker C:You're welcome.
Speaker A:You are welcome.
Speaker A:We are gathered here today to talk about the kitchen divorce.
Speaker A:The one, the only.
Speaker A:It's the one and only kitchen divorce, right?
Speaker A:Yes.
Speaker C:Yes, It's.
Speaker A:Yes.
Speaker C:It's not.
Speaker C:It's not the only kitchen scene, but it is the kitchen divorce, the only kitchen divorce, which sets it apart from all the others.
Speaker C:Why is this kitchen scene different than all other kitchen scenes?
Speaker C:Yeah, we're here to tell you.
Speaker A:We just felt like there was a lot to unpack here, but we didn't really get into it as deep as we normally would in our regular episode covering episode 16 and 17.
Speaker A:So we're gonna be insane about it now.
Speaker C:That's what we do.
Speaker A:Yeah.
Speaker A:This episode is sponsored by divorce lawyers.
Speaker C:Oh, we're not bringing the lawyers back into this.
Speaker C:Okay.
Speaker A:The grocery list.
Speaker A:I don't.
Speaker A:I don't know.
Speaker A:Doordash.
Speaker C:This could have all been avoided.
Speaker C:Doordash.
Speaker A:If they had sat down together, decide because they think they do the list right, and then you just put the list into doordash, and they deliver the groceries to you.
Speaker B:We.
Speaker B:We've established that they are stupid for.
Speaker A:Stupid.
Speaker B:Dumber, dumb, and dumbasser.
Speaker A:Yeah, yeah, yeah.
Speaker C:Ironically, doordash could have also fixed the original divorce scene.
Speaker C:So you know what?
Speaker C:I say we go with that.
Speaker A:Okay.
Speaker A:All right.
Speaker A:We're good with it.
Speaker A:So, anyway, what we're gonna do is watch Lacine slowly Twice.
Speaker C:Not in slow mo.
Speaker A:Not in slow mo.
Speaker A:But we're going to do a lot of pausing and breaking down stuff.
Speaker A:We're gonna look at, like, from Eddie's point of view and from Buck's point of view.
Speaker A:Who are we starting with?
Speaker B:Evan Buckley?
Speaker A:Oh, my God.
Speaker A:You dead named him.
Speaker A:Okay, so we'll start with Buck.
Speaker A:Eddie walks in, he doesn't even see Buck's face.
Speaker A:He.
Speaker A:He just sees the.
Speaker A:The giant mountain that is Buck Buckley with his back to him, Right?
Speaker A:Yeah.
Speaker A:And he can just tell by his demeanor and like five words that him saying limo's already out, it's fine.
Speaker A:Is not actually fine.
Speaker C:The way that Buck is just immediately turned away from.
Speaker C:From Eddie, like, is so telling.
Speaker C:And doesn't even like, turn to greet him as he comes in to the kitchen.
Speaker C:So it's just like, you know, he's like, he's like angling for some sort of something confrontation.
Speaker C:Like, he is just right off the bat, you know, because he doesn't turn around and acknowledge Eddie, who is finally back home.
Speaker A:Yeah.
Speaker C:And everything.
Speaker A:He's.
Speaker C:He's just like.
Speaker C:He's so standoffish.
Speaker B:Like, right off the bat, he hears him coming in.
Speaker B:You're gonna hear the door close.
Speaker B:You're gonna hear the footsteps come into the kitchen.
Speaker B:And he's just, you know, putting away the groceries.
Speaker B:And like.
Speaker B:Like, if I'm fuck, right.
Speaker B:Like, what do I even say?
Speaker B:Because one, I.
Speaker B:I know this thing that you didn't tell me.
Speaker B:I'm upset.
Speaker B:There's lots of things going on, and it's just like the way he's like, putting things away.
Speaker B:And like you said, the demeanor so very closed off.
Speaker B:It's very closed off.
Speaker B:But it doesn't.
Speaker B:And this isn't as apparent like, his actions necessarily because, like, how the camera is kind of cutting it off or like there's something in the way.
Speaker B:But like, he kind of.
Speaker B:He doesn't necessarily like, slam the cabinet door, but he kind of does because you can kind of see it like, ricochet.
Speaker B:And then he's like throwing something on the stove or not on the stove, but, like by.
Speaker C:Oh, yeah, yeah, yeah.
Speaker A:No, that's definitely an aggressive.
Speaker C:That's.
Speaker B:Yeah.
Speaker A:Irritating.
Speaker C:Like when he kind of just like shoves the cereal into the cabinet.
Speaker C:I know we're not there yet, but it's just like.
Speaker C:Like he's just so done.
Speaker B:Yes, he is done.
Speaker A:This is such a quintessential couple thing.
Speaker A:Like, cannot explain this enough where, like, you're having a fight.
Speaker A:It's not about the thing you're fighting about.
Speaker A:Right.
Speaker A:Like, at the beginning of this, you would be like, oh, they're fighting about the groceries.
Speaker C:It's never about the groceries.
Speaker A:That is the forum in which Buck is.
Speaker A:Is serving up the passive aggressiveness.
Speaker A:But first of all, if I was Buck, I'd be like, you said you'd get them, but obviously you didn't came home, there's no groceries.
Speaker A:And it's kind of like that thing where you keep asking your partner to do something and they don't do it, and they don't do it, and they don't do it, and then you finally just angrily, passive aggressively do it.
Speaker A:And then at that point you're angry at them for, like, not doing that thing, but because they're not following through.
Speaker A:Like, it's not even about that thing anymore.
Speaker A:It's about not doing the thing that you said that you would do.
Speaker C:A mountain gets made out of a molehill sort of situation.
Speaker A:So that's what we're already facing here just with the groceries.
Speaker C:Do you also think that, like.
Speaker C:Because Buck has had to, like, you know, he's.
Speaker C:He's in the middle of his, like, learning to be alone lesson or whatever, he's trying to put forth this, like, almost like, hyper independence sort of thing.
Speaker C:It's like that he's not relying on Eddie to get the groceries.
Speaker C:He's like, well, I was already out and I'm.
Speaker C:I have to rely on myself, so I'm gonna get the groceries sort of thing because I'm mad at you.
Speaker B:Well, this is where I have to put what I had assumed was the original scene, the original opening of this episode, which was like, him getting the groceries.
Speaker B:He just took these home because he wasn't able to use them at the fire.
Speaker B:Yeah.
Speaker B:From the stills or.
Speaker B:Because originally I.
Speaker B:The way this episode was supposed to open was with him bringing in the groceries because he was going to cook for the.
Speaker B:For the 118.
Speaker B:But then he opens that refrigerator and he says all these, all the takeout and everything.
Speaker B:So it's just like, well, I guess I have these.
Speaker B:This.
Speaker B:These two bags of groceries.
Speaker B:I'm taking them home.
Speaker C:So it's like on top of him, feeling, like, unnecessary, he's learned this thing about Eddie that Eddie didn't tell him and he's only heard through the grapevine.
Speaker C:And he just like, well, screw this.
Speaker A:So the way I look at it is because I, you know, I like where you're coming from.
Speaker A:So.
Speaker A:But since we don't see that where I think Buck's head Is at.
Speaker A:Is that.
Speaker A:Well, he better get used to just doing all the shit by himself again anyway, because.
Speaker A:Yeah, well, he already knew that Eddie was going to go back, but now he knows that he's going back in, like, a day or two, like a couple days.
Speaker A:So he's like, well, I might as well just start doing all my own shit again.
Speaker A:He can't even tell me he's leaving.
Speaker C:So, like, how can I rely on him for anything?
Speaker A:How can I rely on him to get the groceries?
Speaker B:Yeah, okay, point.
Speaker B:Yeah.
Speaker C:But I do think you're right.
Speaker C:Still about, like, that opening.
Speaker C:I do think that's where the groceries came from.
Speaker A:So he says, I was out, it's fine.
Speaker A:And he sounds like he's been crying.
Speaker C:Like his voice is raw.
Speaker A:Yeah.
Speaker A:It's all the telltale signs of, like, you're choked on emotion.
Speaker A:So, like, even if he wasn't crying, he's either, like, really angry or there's some sort of emotion that he is trying to stuff down that's making his voice sound like he's trying to not become too emotional or that he's trying to, like, get over having just cried.
Speaker A:I could have been.
Speaker A:Sorry.
Speaker A:I'm just picturing him in the grocery store.
Speaker C:Oh, no.
Speaker B:Oh, no.
Speaker C:No chance.
Speaker C:Oh, my God.
Speaker C:No.
Speaker C:Crying over spilled milk.
Speaker B:I think about his outbursts in 8, 10, where he's actually, like, expressing all the things that are going wrong.
Speaker B:And, like, because of, you know, how.
Speaker B:How he's been showing his.
Speaker B:Or technically not showing his grief and all of that, like, he's just.
Speaker B:Just trying to keep it, and he's just.
Speaker A:It's.
Speaker B:He's like, choking up, but, like, he's not.
Speaker B:He doesn't want to say it.
Speaker B:He doesn't want to, like, express it at all.
Speaker B:Because what is the point at this point, especially with him leaving, it's like.
Speaker C:He'S trying so hard to, like, maintain whatever semblance of control that he has.
Speaker C:Which is not to say that there's a lot that he can control right now, especially with everything else going on.
Speaker C:But.
Speaker C:But he's so focused on controlling his own emotions so he can be there for everyone else that I think this is just one of those things that, like, it's kind of bubbling up and then he's trying to push it right down.
Speaker C:Because nobody can know.
Speaker A:Yeah.
Speaker A:Because feeling his emotions would be making it about him.
Speaker C:So there must be no emotions.
Speaker A:Right.
Speaker A:Because that's how humanity works.
Speaker A:That's how being there for people who are grieving works.
Speaker A:You don't show them your grief at all.
Speaker C:I know.
Speaker C:Okay, so we just saw Eddie say, like, it doesn't seem fine, and Buck, like, kind of rounds the.
Speaker C:The island, like, just kind of going past Eddie and going to the other cabinets on.
Speaker C:On the opposite side of the kitchen.
Speaker C:And just like the way that they have this blocking for this whole scene because it's like a very push and pull sort of thing.
Speaker C:Right.
Speaker C:And they continually have Buck try to turn away from Eddie, at least in the beginning of this scene as well.
Speaker C:So, like, we saw when Eddie came in and his back was towards Eddie, and then now Eddie is talking to him, but he's still turning away from Eddie and going to this opposite side.
Speaker C:So he's making, like, as much physical space in the kitchen as possible.
Speaker C:And he only kind of like, he has to, like, steel himself for a second before he like, turns around and tells him exactly what's the issue.
Speaker C:Which is, like, I heard, not through you, all this stuff about, you know, you getting the job at the El Paso Fire Department.
Speaker C:It's still like him trying to.
Speaker C:To maintain some control of the conversation.
Speaker C:Like, like he's not going to look at Eddie until he's ready to, like, confront.
Speaker A:Confront him.
Speaker A:Yeah, I think he's debating with himself to.
Speaker A:Whether he wants to or not.
Speaker C:Yeah.
Speaker A:But, like, knowing him, he just like.
Speaker C:Kind of has to, like, wrestling within himself, like, trying to again, hold it down, hold it down.
Speaker C:But then it just kind of like bubbles up from.
Speaker A:But I also think he's thinking of, like, should I give him a chance to tell me?
Speaker A:But then, like, thinking about an 808, like, how Eddie.
Speaker A:He wouldn't have known that Eddie was even planning on moving.
Speaker A:He hadn't, like, accidentally seen it on the iPad.
Speaker C:So, like, this comes after, you know, the blow of finding out about Eddie moving on the iPad.
Speaker C:It comes out after, you know, overhearing Eddie saying, like, yeah, the opportunity was la.
Speaker C:Everything is everything that's important or whatever is back in Texas.
Speaker C:So this is just like.
Speaker C:And all of this happens, like, within quick succession.
Speaker C:Well, I guess Eddie's been gone for a couple of weeks.
Speaker C:Ambiguous time here, but I think it's.
Speaker A:Been like a month and a half, two months, a month.
Speaker C:Ish.
Speaker C:Or more around there.
Speaker C:So it's still like a pretty, like, condensed time period for all of that, like, change to happen and for him to, like, overhear this stuff so indirectly, because Eddie is not telling him that kind of big stuff and he's so.
Speaker C:Still so hurt about, I think just the first one about moving and he, if he didn't pick up that tablet right, when would Eddie have told him?
Speaker A:Yeah, I'll dive into that a little more.
Speaker A:Like after he says a line about, oh, but you didn't tell me.
Speaker B:You know what I think about when I hear him say congratulations?
Speaker B:I'm like, where's the edit?
Speaker B:The Hamilton edit?
Speaker A:Congratulations.
Speaker A:You have invented a new kind of stupid, damage you could never do kind of stupid.
Speaker C:I'm so glad.
Speaker C:Yeah, we're same brain, right?
Speaker A:Really didn't think this through.
Speaker A:Kind of stupid, that is.
Speaker C:Every time I see that, I'm just like.
Speaker B:Like I just hear her.
Speaker B:I'm like, yes.
Speaker C:I don't know why.
Speaker B:I don't even.
Speaker B:I don't even know if it really applies here, but like, it's the energy.
Speaker C:Yeah, it's the energy.
Speaker C:It's a similar cadence with the delivery.
Speaker A:Well, here's the thing.
Speaker A:Her delivery is like, I sacrificed my happiness for yours.
Speaker A:I devoted myself to you, and this is how you repay me.
Speaker A:Yeah, like go fuck yourself.
Speaker C:Which actually is kind of similar.
Speaker A:Yeah.
Speaker C:In, in this instance, because like, here you have Buck.
Speaker C:He sacrificed his loft.
Speaker C:He's taking over Eddie's lease.
Speaker C:He's, you know, making it so easy.
Speaker B:For Eddie, and Eddie doesn't have the decency to just tell him.
Speaker B:And I get why, but, you know.
Speaker A:But here' the thing is, Eddie has never actually given Buck the chance to react to something by telling him himself.
Speaker A:So I really think Buck would react better if he was told the thing, like, directly.
Speaker A:Because not only would it be like, oh, he trusts me, but it would be, oh, I'm important to him for him to open up and tell me this thing.
Speaker C:Exactly.
Speaker B:No.
Speaker B:And, you know, now that I think about it, because I was like, wait, but what about the will scene?
Speaker B:But the will scene is like, he waited.
Speaker B:He wasn't gon tell him anyway.
Speaker C:Yes.
Speaker B:And it had to be, you know, Bug had to be in a place where he was like, putting his own life in danger to be like, okay, listen, you do matter.
Speaker B:Stop trying to get yourself killed.
Speaker B:He didn't get the chance to, to react if he had initially told him.
Speaker A:You know, I don't think that message got across the way that it was supposed to.
Speaker A:I think Eddie was trying to say, you're part of my family and important to me.
Speaker A:And Buck heard, oh, you're my backup plan.
Speaker A:You can't kill yourself.
Speaker C:Yes, we can discuss this on Eddie's side when we get there too, but it's this pattern that Buck ends up finding himself in on the other side of these kind of conversations where he's just kind of like bowled over by something that is either not told to him directly or is just something told to him born out of necessity almost rather than a genuine trust in trying to like confide in Buck.
Speaker C:Right.
Speaker A:Yeah.
Speaker A:I mean, think about it too.
Speaker A:He didn't confide in him about the Kim thing.
Speaker A:He had to.
Speaker A:He had to find out about that and confront him about that too.
Speaker A:He didn't find out about the panic attack thing.
Speaker A:He had to find out and confront him about that.
Speaker C:And that's why he pushes.
Speaker A:Yes.
Speaker C:Because he finds out about this stuff and is not told directly.
Speaker C:So he feels like so kind of tossed to the side sometimes.
Speaker C:And in these kind of big things.
Speaker A:Yes.
Speaker C:And they're always big things.
Speaker A:He found out when everyone else did.
Speaker A:Well, I guess Bobby found out first and then everyone else that he was leaving the 118 in season 5.
Speaker A:Didn't discuss with him, like, what was going on.
Speaker A:Chris and like why.
Speaker A:You know, that's his best friend, that's his work partner.
Speaker A:Like you think he would just want to give him a heads up on a respect level of that and that Buck would understand more than anyone else.
Speaker C:Yeah.
Speaker A:That, like, it's for Chris, which we'll.
Speaker C:Get into this probably a little bit later on.
Speaker C:But I think that's one of the reasons why the apology with bringing in Peppa and Christopher is so important because it does do so much to say, like, you are part of the family, but it's just like, why does that have to happen after all of this where Buck feels so just like last thought sort of thing.
Speaker C:Yeah, I know it feels so bad to like do one sided, but I'm like, eddie, I'll get to you.
Speaker A:So he like looks at Eddie while Eddie has his back to him and kind of like jaw open, then clenches it and then kind of shakes his head and is like, fuck it, like.
Speaker C:Stealing himself for this confrontation.
Speaker A:Yeah.
Speaker A:And then he says, I heard you finally got the call from El Paso Fire.
Speaker A:Congratulations.
Speaker A:He still sounds like he has been crying or I don't know, like that tone to his voice was there the entire time.
Speaker A:And I just like, I want to know what Oliver was thinking like while he did this scene because I.
Speaker A:It adds a lot to it for me because it doesn't sound like Buck.
Speaker A:It sounds so like small.
Speaker B:Amongst other things.
Speaker B:Like, I feel like he's just like defeated at this point.
Speaker C:Yeah.
Speaker A:Yeah.
Speaker A:It just sounds so, so small.
Speaker C:He's utilizing so much energy and keeping like we said, all of his emotions so far down that he doesn't have enough energy to, like, project his voice, that it's just kind of like a little bit.
Speaker C:There's like a little bit of that fry on there.
Speaker C:He just doesn't.
Speaker C:Cannot find it within himself to, like, pull up enough energy.
Speaker A:Yeah.
Speaker C:Because he's already defeated.
Speaker A:So Eddie gets jump scared when he says, like, I heard congratulations, and he looks spooked.
Speaker A:And I'm trying to decide because we don't see Buck's face right when he has that reaction.
Speaker A:But I'm like, I know me.
Speaker A:I would feel some sort of satisfaction in, like, him finding out something, you know, in a roundabout way, like, almost.
Speaker C:Like he's one upping him.
Speaker C:It's like, you didn't tell me, but, yeah, I found this out anyway.
Speaker B:Mm.
Speaker C:What do you think about that?
Speaker A:Eddie says, who told you?
Speaker A:Like, I feel like that set the tone for the rest of this conversation because I feel like he could have started with, I was going to tell you.
Speaker B:Yeah.
Speaker A:But I think instead of the who told you?
Speaker A:Kind of has the same energy of.
Speaker C:Like, well, how'd you find out?
Speaker A:No, in 809, he's like, you were spying on me?
Speaker C:It's like, bro, it's accusatory.
Speaker A:Yeah.
Speaker A:You found out or you heard a thing that I didn't want you to hear.
Speaker A:He looks like he's pissing his enclosure, but he is still just angrily putting the groceries.
Speaker B:Well, yeah.
Speaker C:And it's like the kitchen is so, like, bifurcated.
Speaker C:Right.
Speaker C:Because now they're on these opposite sides of the kitchen and Buck is.
Speaker C:Is just.
Speaker C:It's pacing that one side and not crossing over.
Speaker C:Right.
Speaker C:They are very separate and they are for most of this scene where there isn't, you know, crossing over that.
Speaker C:That invisible boundary.
Speaker C:Right.
Speaker C:So he is kind of like he's making the most of his space, which is an even smaller space than the small kitchen usually is.
Speaker C:Such a tiny kitchen.
Speaker C:He's explaining this, like, chain of events of so and so to so and so, to so and so to me.
Speaker C:And all of this, I think, is.
Speaker A:To say, you told every single person except me.
Speaker C:I don't know that he did tell every single person.
Speaker C:I think it went through one person and through the.
Speaker B:It was a whole game of telephone here.
Speaker C:I think the takeaway from this piece of dialogue here, like, I'm assuming everybody assumed that Buck already knew because that's why Ravi asked Buck, like, if he should bring a gift and not, you know, any question about that.
Speaker C:So it's his hurt of not hearing, first of all, is compounded by the assumption, rightly so, of everybody else, that Buck was the first one to know, when in reality, he's the last one to know.
Speaker C:So that's like.
Speaker C:That's a hard pill to swallow because he's hearing.
Speaker C:Not even.
Speaker C:Just like he's hearing it.
Speaker C:So down the line.
Speaker A:Also, chimney, my man, at the scene of the crime.
Speaker A:Once again.
Speaker B:Once again.
Speaker B:And Ravi.
Speaker A:Well, yeah, Ravi is also at the scene of the crime, but he, like, he just genuinely doesn't know that he's stepping in it.
Speaker C:Yeah.
Speaker C:No, like, for chimney to tell hen, like.
Speaker A:Well, hen for hen to tell chimney.
Speaker C:Yeah.
Speaker C:Why did you do that?
Speaker B:Yeah.
Speaker C:And considering they're gossip girls, we've said.
Speaker A:That she knew she was outing Eddie with that.
Speaker C:Yeah, he's.
Speaker C:He's just so aggravated.
Speaker C:Not even aggravated, just frustrated that everybody else.
Speaker A:No, he's angry.
Speaker A:He's trying to be chill, but, like, he's bad at it.
Speaker B:It's like a quiet anger.
Speaker B:Yeah, yeah.
Speaker A:It's a simmer, not a rolling boil.
Speaker B:Yeah.
Speaker B:Because I don't think he's.
Speaker B:Yeah.
Speaker B:Kind of like what I said earlier.
Speaker B:He's not gonna allow himself to do that.
Speaker B:It's not the same.
Speaker B:We're not in the same circumstances that we were literally, like, seven episodes ago.
Speaker A:So the lighting in this is so.
Speaker B:We haven't even talked about them.
Speaker C:I know.
Speaker A:The lighting is so crazy.
Speaker A:Like, so when he's saying this, when he's, like, doing the pacing thing and he's delivering that.
Speaker A:Not the accusation.
Speaker A:He's just telling him, like, here's how I found out this thing that you should have told me your self.
Speaker A:It's like he's under bright, very blue, cold fluorescent.
Speaker C:Yes.
Speaker A:Lighting, which.
Speaker A:We've never seen that kitchen look cool toned before.
Speaker C:No.
Speaker C:This is so interesting, the way they lit this whole scene, because it is very cold.
Speaker B:Clinical.
Speaker C:Yeah.
Speaker C:Oh, that's a great word for it.
Speaker C:It does feel very clinical.
Speaker C:And just like these white kind of fluorescent.
Speaker C:Very overhead.
Speaker C:So you get these intense shadows as well.
Speaker C:And it really helps to illustrate how frosty this whole interaction is.
Speaker C:And it is so unusual for this kitchen, which is so often just like, a very, like, diffuse, warm lighting.
Speaker C:And one of the interesting things that I really am fascinated by in this whole seen in the kitchen is that there's secondary lighting.
Speaker C:Right.
Speaker C:So you have these, like, really cold, harsh overhead lightings when they get closer to the island.
Speaker A:Yeah.
Speaker A:Because there's a light above, and it.
Speaker C:Kind of like, almost washes things out.
Speaker C:But then if you look back to the other side of the kitchen, where there's Eddie, there's this like, warm light over the kitchen sink.
Speaker C:And I think like some of like over the stove as well, which are on and those are warmer.
Speaker C:So it really gives that kind of like, contrast is almost like off putting on purpose.
Speaker C:Right.
Speaker C:Because, like, this is supposed to be a warm, like, welcoming environment.
Speaker C:And right now it is so the opposite of that.
Speaker C:But it's like, it's kind of still giving.
Speaker C:Like, this is what it usually is.
Speaker C:This is what it can be at another time.
Speaker C:But you have to like, wade through this weird, like, juxtaposition of the cold and warm lighting.
Speaker B:And not to mention that, like, the sides that they're on.
Speaker B:So, like, Buck, I feel like, is more on the cooler side of the kitchen.
Speaker B:And Eddie, even though it's like.
Speaker B:So it's a smaller light or like, it's a lot dimmer on that side, but he is nearby the.
Speaker B:The bit of warmth that we have in there.
Speaker B:And then obviously, as the scene progresses, he goes more into the shadows, I would say.
Speaker C:Yeah, that is an interesting thing too because you have Buck again, like we said, pacing facing his enclosure.
Speaker C:But he's going from like that very corner of the kitchen where it is, where the light doesn't touch him as much.
Speaker C:And then he moves like, the blocking of this whole scene is so fascinating.
Speaker C:So he moves from like the darker corner of the kitchen to the island which is flooded with that, like, bright, colder light.
Speaker C:And then he goes back.
Speaker C:So it's like.
Speaker C:It's this dance almost that both of them do.
Speaker C:Like they're in.
Speaker C:They're in the shadows kind of of their feelings.
Speaker C:And then they come closer to the middle and retreat again a little bit, like at different times.
Speaker C:It's fascinating.
Speaker C:And this is all done with like a handheld camera, which gives it an even more like, intimate.
Speaker A:Because it's unstable.
Speaker C:And because it's unstable, it's a little shaky.
Speaker B:Shaky.
Speaker C:It's not.
Speaker C:It's not so sturdy as if it's on a rig or anything like that, which is so such an interesting choice because they don't.
Speaker C:I don't think they usually do handheld cameras.
Speaker A:I think it's all very close up shots too.
Speaker A:Whereas, like, normally we have like a.
Speaker A:Like a medium or a wide, wider shot.
Speaker A:And then, you know, the coverage of both actors close up.
Speaker A:In most of this, you don't see them in one shot.
Speaker A:And most of them are close ups.
Speaker C:Yeah.
Speaker C:Like, it's either the waist up or like busts.
Speaker A:Yeah.
Speaker C:Which are still pretty close.
Speaker C:That's really showing the physicality of the space that they're in.
Speaker C:That we are in.
Speaker C:Because now it's like, we are.
Speaker C:We are in that scene.
Speaker C:Everything.
Speaker C:All of the choices that are being made with the camera.
Speaker A:Very immersive movement.
Speaker C:Exactly.
Speaker C:It's like we are there witnessing.
Speaker A:Like, you're not watching a show.
Speaker A:You're in this fight right now.
Speaker C:Yeah.
Speaker B:This is why.
Speaker B:This is why everyone is like, I feel like I'm interrupting something, or I should not be watching this.
Speaker A:This.
Speaker A:I was so deeply uncomfortable the first time I watched this.
Speaker C:Yeah.
Speaker C:It's so purposeful.
Speaker C:It puts you right in there.
Speaker C:Like you are watching this fight happen in front of your own eyes.
Speaker C:And it's like, I should not be here to see this right now.
Speaker C:If this does not pertain to me.
Speaker C:The camera movement does that.
Speaker C:The proximity of the shots as well.
Speaker A:It's just.
Speaker C:You are in it with them.
Speaker C:And it makes the small kitchen feel even more crowded.
Speaker A:Yeah.
Speaker C:Because it's not just two people.
Speaker C:It's like three.
Speaker A:So Eddie says, I was gonna tell you.
Speaker A:And then Buck starts with the pointing.
Speaker A:And he's really angry.
Speaker A:He's got some really angry facial expressions happening here.
Speaker A:And his voice.
Speaker A:This is kind of like the strongest we hear his voice.
Speaker A:I think this is in this entire conversation.
Speaker A:Yeah, but he's like, yeah, but you didn't, did you?
Speaker A:No.
Speaker A:Instead, everyone has been tiptoeing around my back because apparently I'm too fragile to accept the truth.
Speaker C:He's just really, like, laying out exactly how frustrated he is with the whole situation.
Speaker C:And part of it is of his own making.
Speaker C:Everyone is tiptoeing around him because they think he's too fragile, because he's trying so hard to be what everybody else needs him to be, which is what he thinks is, like, strong and stoic and okay.
Speaker C:Which is not what everybody needs him to be.
Speaker C:They need him to be himself.
Speaker C:So he's in this weird feedback loop of, I'm trying to be there for everybody by being, like, strong.
Speaker C:And everybody else is handling me, like, with kid gloves and thinking that I'm weak, but I'm.
Speaker C:I'm being so strong.
Speaker C:I'm being so brave for them right now.
Speaker C:Like, and.
Speaker C:And I think he has a lot frustration with that as well.
Speaker A:Just feel like he's like, nothing is ever good enough.
Speaker C:Yeah.
Speaker B:Yeah.
Speaker C:He's trying so hard, but he's getting nothing in return.
Speaker C:So what he's trying to do, which is what Bobby told him to do, which was the last things that Bobby said to him.
Speaker C:And it's not working.
Speaker C:And again, it's feeding into this, like, feeling of being unnecessary for Buck, which he's already sensitive to, because nobody's, like, talking to him, and nobody's, like, you know, confiding in him.
Speaker C:But it's.
Speaker C:It's that thing because he's closed himself off so much with that.
Speaker C:Well, that's going to close off other people.
Speaker C:But he doesn't.
Speaker C:He doesn't realize that.
Speaker C:But it.
Speaker C:Or he doesn't realize that's why.
Speaker C:And so he's frustrated with that.
Speaker A:So then Buck hits him back with, like, you really think I wouldn't have been happy for you?
Speaker A:Because, like, hello, I'm sublighting this place for you because I knew you needed to be with Christopher.
Speaker A:I've supported you the whole time you're in El Paso, you know, helping you decide to stay there when you wanted to run at the first sign of things not working out, telling you to dad up, helping you get your kid back.
Speaker A:But you think I wouldn't have been happy for you?
Speaker A:He's done nothing but be supportive of Eddie.
Speaker A:Like, yes, he crashed out, but ultimately he is doing nothing but supporting Eddie.
Speaker C:And I think he looks like.
Speaker C:When Eddie says the whole trials and tribulations thing, I think Buck kind of looks really taken aback because it does.
Speaker C:A quick shot to his reaction, and he's just kind of like.
Speaker C:Like what?
Speaker A:He's like, whoa.
Speaker C:Yeah.
Speaker A:Yeah.
Speaker C:He.
Speaker C:He kind of, like, takes.
Speaker C:Takes a moment.
Speaker B:Me and you, bro.
Speaker C:Yeah.
Speaker C:And he's like, where's this.
Speaker C:Where's this coming from?
Speaker A:Yeah.
Speaker C:In.
Speaker C:In the direct aftermath of, like, the trials and tribulations of Evan Buckley.
Speaker C:And Eddie says, you know, that Buck has been spiraling since the funeral, and nobody knows how to talk to you about it, which is true.
Speaker C:That is exactly what Buck had just said.
Speaker C:Like, everybody's been treating him so fragile.
Speaker C:And then Buck says in like, such a.
Speaker C:I'm sorry.
Speaker C:It's kind of bratty a little.
Speaker C:So he says, sorry, I'm sad that Bobby's dead.
Speaker C:This elicits a strong reaction.
Speaker C:It's like he's finally saying his actual emotions, but he's saying it in such, like, a blase way, like, sorry, I'm sad that Bobby's dead.
Speaker C:Like, everybody else is.
Speaker C:Is kind of like, seems like they're moving on.
Speaker C:Seems like they don't need me.
Speaker A:I think he's just kind of like, what do you want from me?
Speaker A:That's what.
Speaker A:That's giving to me, sorry, I'm sad he's dead.
Speaker A:Like, what are you.
Speaker A:Like, what kind of action are you looking from for me in order for you to tell me things?
Speaker A:I think he's just, like, at the end of his rope here.
Speaker A:Like, he's been trying to hold it together.
Speaker A:This ticked him off.
Speaker A:And, like, this response of, like, can you blame us for treating you like this?
Speaker A:Like you've been spiraling.
Speaker A:And he was like, what else would I be doing?
Speaker A:And I've been trying so hard to, like, not do that.
Speaker A:So I think he really is just like, what?
Speaker A:What do you want from me?
Speaker A:I think, yeah, the brattiness just come out because he's like.
Speaker A:It's flippant because it's like, what the fuck else can I do at this point?
Speaker C:I think it's also Buck's reaction to everybody else seeming fine.
Speaker C:Like, he did those, like, psychological grief assessments on everybody, and they had, like, whatever scores, so it seems like they're doing okay.
Speaker C:So I think Buck is also feeling in.
Speaker C:In his, like, trying to be there for everybody.
Speaker C:And nobody likes leaning on him that everybody else is.
Speaker C:Is not as upset about Bobby dying as he is because he's trying so hard to, like, keep it down and keep it under control so that he can be there for everyone else.
Speaker C:But everyone else is doing, like, kind of okay.
Speaker C:They're, like, starting to move on with lives and.
Speaker C:And just, like, go about normalcy as much as they can.
Speaker C:And Buck's just sitting there just watching that happen and being like, how can you go about normal things when Bobby's dead?
Speaker C:Like, I'm, like, gutted about it, but he can't show it.
Speaker C:And this is why they're in this situation, I think.
Speaker A:It's not even like, how can you go about normal things?
Speaker A:It's like, how can everyone else.
Speaker C:Or ignore it?
Speaker A:How can everyone else, like, go about business as usual, but also all of the things that kept us together, united as a family, we don't do anymore.
Speaker C:Yes, that plays into it definitely.
Speaker A:Which were the only things, let's be clear, that Buck was a part of, because he doesn't go home with them to their nuclear families.
Speaker C:No.
Speaker A:So, like, the 118 is a family for Buck, is at work where they are supposed to eat together.
Speaker A:And then, like, at, like, get togethers, which we see none of other than, like, the actual fucking funeral.
Speaker C:I think Buck is feeling the fracturedness more than anybody else.
Speaker C:Oh, yeah, well, besides Eddie.
Speaker C:But because he doesn't have anyone else to, like, go home to for that extra, like, pillar of support.
Speaker A:He kind of says it with a.
Speaker A:Like, a shitty little, slight bratty smirk, too.
Speaker C:Yeah.
Speaker A:Says, sorry.
Speaker A:I'm like, it is really snarky.
Speaker B:I'm having a hard time finding the.
Speaker B:The.
Speaker B:Not the article, but just, like, the actual quote about it.
Speaker B:Oh, then I'm definitely gonna have a hard time looking for it, I thought.
Speaker B:I.
Speaker B:Like, I know it's the Cat Pettibone interview, but he definitely got a note to make it more bratty, for sure.
Speaker A:Buck has this habit.
Speaker A:He pokes Bear immediately.
Speaker A:Feels bad about poking Bear every single time.
Speaker A:Like, whenever he.
Speaker A:And it's normally Eddie, where he says something kind of snarky or kind of mean to and then sees the reaction and is immediately like, oh, I.
Speaker A:That was mean.
Speaker A:Oh, I feel bad about that.
Speaker A:Like.
Speaker C:Like he's trying to square up.
Speaker C:And then it's just like, yeah, actually, that was not a good move.
Speaker B:Yeah.
Speaker B:You see that in 809 when he, like, he's like, well, you're.
Speaker B:You're not the only one who can do that about leaving, about moving just out of nowhere, you know?
Speaker A:Yeah.
Speaker B:And he's like, oh, Buck was bratty.
Speaker A:And immediately, this is the most emotion that I think he's seen about Eddie's grief from Eddie the entire time.
Speaker A:So he immediately is like, oh, I feel really bad.
Speaker C:I pushed too hard.
Speaker A:Huh?
Speaker A:Like, that.
Speaker A:He looks like a kicked puppy.
Speaker A:As soon as Eddie says, we're just trying our damn best to get through it, and he turns his back to him and it cuts back to Buck.
Speaker A:He literally is like, oh, I am.
Speaker A:I am Puppy.
Speaker A:Who knows he did wrong.
Speaker A:And, like, his head hangs his head.
Speaker C:Yeah.
Speaker C:Yep.
Speaker C:And you can also see, like, he kind of almost shrinks back into that corner of the cabinets again.
Speaker A:Yeah.
Speaker C:You know, when.
Speaker C:When.
Speaker C:As opposed to when he said, like, that bratty thing of, like, sorry, I'm sad about.
Speaker C:He said he, like, like, puffs himself up a little bit, like.
Speaker C:Like to take up more space and stand his ground.
Speaker C:And then right after, you know, this, he.
Speaker C:He shrinks back into himself a little bit more.
Speaker C:But it's interesting, though, because it seems like he's so much more open and receptive to.
Speaker C:To now hearing what Eddie has to say because he's not turned away from him anymore.
Speaker C:He is actually facing him.
Speaker C:Like his.
Speaker C:Well, his head isn't, but, like, he has an open ear.
Speaker C:And, like, his.
Speaker C:His body language is more open.
Speaker C:He's just kind of like, okay, I.
Speaker C:I pushed too far.
Speaker C:I overstepped.
Speaker C:Let me take a step Back so I can listen now after.
Speaker C:You know, is a little more open and receptive to actually hearing what Eddie was going through.
Speaker C:Because, you know, Buck didn't ask what Eddie was going through.
Speaker C:So this is.
Speaker C:This is the time where Eddie is finally telling him something directly.
Speaker A:Yep.
Speaker C:And you see kind of how much that wrecks Buck to hear.
Speaker A:Yeah.
Speaker C:That, like, he.
Speaker C:And I think he is also realizing I didn't know so much was going on under that surface.
Speaker A:Well, yeah, because.
Speaker A:And that's what prompted Eddie to, like, open up and say what that felt like for him.
Speaker A:Because Buck says, like, after Eddie goes, we all lost him.
Speaker A:We're just trying to do our best to get through it.
Speaker A:And Buck's like, yeah, I know.
Speaker A:And he's like, really?
Speaker A:Because you never asked.
Speaker A:And you don't see a lot of coverage of Buck, like, while Eddie is.
Speaker A:Is saying this, but, like, the shots that you do, like, he.
Speaker A:He looks pretty devastated.
Speaker C:Yeah.
Speaker C:Like.
Speaker C:Like really taken aback just because I.
Speaker A:Don'T think he thought about it.
Speaker A:I think he's been so focused on trying to be okay that he hasn't thought about how to actually be there for the people who need him.
Speaker C:No.
Speaker B:And I feel like, as Eddie's describing all of this, he's having.
Speaker B:I feel like there's a moment where it kind of hits him, like, what.
Speaker B:He's describing that in which it's something that has happened before because, you know, when Eddie has his breakdown.
Speaker C:Yes.
Speaker B:And Buck not being there and Eddie trying to.
Speaker B:He's.
Speaker B:You know, Eddie's describing how, like, he's taking.
Speaker B:He has taken steps to not have that be a repeat moment.
Speaker B:And he's like, oh, yeah.
Speaker B:Like.
Speaker B:And then getting hit with the fact that Christopher could have witnessed something.
Speaker B:Something similar.
Speaker C:Yeah.
Speaker B:He's hearing that not only Eddie is being impacted by this, but Christopher as well.
Speaker B:There's, like, more layers and layers, and he's like, oh.
Speaker C:And I think so much of it is, like, because Buck's not a selfish person.
Speaker B:No.
Speaker C:He just has a harder time putting himself mentally in the.
Speaker C:In a different pov.
Speaker C:Right.
Speaker C:But that.
Speaker C:But that doesn't mean that he can't.
Speaker C:It just means that's not his immediate.
Speaker C:And it doesn't mean that he doesn't, like, have empathy, because obviously he does.
Speaker C:It's just not as practiced as some other people.
Speaker C:So he needs to be, like, kind of prompted or told these things so he can actually understand what.
Speaker C:What someone else is going through.
Speaker A:Okay.
Speaker A:So Buck apologizes.
Speaker A:After Eddie explains what it was like for him, he says oh, I'm sorry.
Speaker A:I know he was important to you too.
Speaker A:I don't think it's that he didn't realize that Bobby's importance.
Speaker A:No, I just think that it's like he was going about this so clinically that he wasn't.
Speaker A:I think there is a hyper empathetic part of Buck, but I think he shut that down because that's attached to his feeling things.
Speaker A:And since he's not letting himself feel things.
Speaker A:This is what I wanted to say because you were saying a thing and I was like, I don't think that's quite correct.
Speaker C:I know.
Speaker A:I'm sure you could see my face.
Speaker A:I'm sorry.
Speaker C:Yeah, I wasn't explaining it well.
Speaker A:I think when he, when he shuts down that part of himself because he's trying to operate more based off of logic.
Speaker A:Right.
Speaker A:So he's not dwelling in his emotions.
Speaker A:So like clipboard Buck.
Speaker A:Right.
Speaker A:Just to kind of have an easy touch, base, touchstone for what that looks like.
Speaker A:It's just that he's looking at things from just logical steps, processes, paperwork.
Speaker A:So he's like, he's probably googling like, how do I, how do I support people going through grief and like doing that and giving people tests for their grief index.
Speaker A:Like he's trying to go about it in some sort of like professional psychological, like a psychiatrist kind of way.
Speaker A:And I think that's why he can't kind of see the forest for the trees, especially with Eddie, because it's like he's a 12, you know, so it's not that the empathy is gone, it's just that that part of his brain is kind of switched off in order for him to be functioning the way that he thinks he needs to be functioning right now.
Speaker C:Yeah, no, that's, that's a much better way of explaining it because I was like, it's not that he doesn't have empathy, it's just that he, he's not.
Speaker B:Able to, to access that empathy.
Speaker A:Yeah, I think he can operate off of one thing at a time.
Speaker A:Logic or emotion?
Speaker A:Like, I don't think he can do both.
Speaker C:Never the twain shall meet.
Speaker A:No, and I think it's such a.
Speaker A:And I mean it's just my headcanon, but like, I think he's Audi hd, so I think he's like, I know it's widely accepted, including Oliver, that he's, he has adhd, but I also think he's on the spectrum.
Speaker A:So that is kind of like something that Audi H D people experience where it's like we are very highly empathetic people.
Speaker A:We have, like, this hyper vigilant sense of justice and, like, really want to be there for people, but also like, if we're in the mode of that logic and looking at things black and white, it's hard to reach it.
Speaker A:Like, you kind of have to like, be smacked back into someone else's experience.
Speaker A:Kind of like this.
Speaker C:Yeah.
Speaker A:Be like, oh, oh, okay.
Speaker C:And I think that's what was lacking in his approach as a whole.
Speaker C:It's just like, because he was reverting to so like, logical, clinical, like, removed.
Speaker C:It took out all of the.
Speaker C:All of the personal connection to it too, which is what really put up that, I think, blockade between him and.
Speaker C:And everybody else, but especially with Eddie, because they couldn't get through that either.
Speaker C:And like, he was trying to do that, but it was, it was backfiring so much because that, like, wall was up that prevented the connection of connecting with everyone else's emotions.
Speaker C:Just like, just took it right off the table.
Speaker A:So he apologizes and then Eddie says, you know, he saved my life and I wasn't there.
Speaker A:And a part of me is always going to wonder, if I was there, could I have made a difference?
Speaker A:And this is really where I feel.
Speaker A:Fuck.
Speaker A:Really missteps.
Speaker A:And I think it's the only part of this where he is unjustifiably making it about himself.
Speaker A:Because Eddie just was so vulnerable, like, tearing himself open to talk about this, needing Buck to be Buck.
Speaker A:And instead Buck hears it as like an accusation.
Speaker C:Yeah, yeah.
Speaker A:And it's not about him.
Speaker A:It's literally not about him at all.
Speaker A:It's about Eddie.
Speaker A:But he's projecting because he feels like it's his fault.
Speaker C:Right.
Speaker C:So, like, they both feel like it's their fault.
Speaker A:They both feel like it's their fault.
Speaker A:So he's like, you.
Speaker A:You don't think I did everything I could to save him?
Speaker A:And it's like, baby boy, that's not what was being said here.
Speaker C:There's a little part of me, like, I agree with that a hundred percent.
Speaker C:There's.
Speaker C:There's like a teeny, tiny part of me that also kind of thinks that especially in the wake of, you know, we were just talking about how Eddie doesn't tell him things directly.
Speaker C:So that makes Buck sometimes feel that, like, that Eddie doesn't trust him to be able to tell these things.
Speaker C:There's a little part of me that thinks he's.
Speaker C:He's posing this.
Speaker C:You don't think that I did everything I could almost as a question, because he's like, you don't.
Speaker C:You don't believe that I'm trustworthy enough or you don't think that I'm.
Speaker A:Oh, yeah, for sure.
Speaker C:Enough to.
Speaker A:That's where it's coming from.
Speaker C:To do what I.
Speaker C:To do what I can.
Speaker A:Because he's already in that headspace right now.
Speaker C:Yeah.
Speaker C:But also because, like, right now.
Speaker C:Yeah.
Speaker C:Eddie doesn't trust him enough to tell him these big things.
Speaker C:So he's writing himself off in Eddie's name in his own mind.
Speaker C:It's like, well, this is just another thing that Eddie didn't.
Speaker C:Couldn't rely on me to do sort of thing.
Speaker C:So I think it's.
Speaker C:I think it's a little layered there.
Speaker A:I think that's for sure.
Speaker A:The.
Speaker A:The motivation of why he feels like it's an accusation for sure.
Speaker A:When Eddie says things, when he actually, out loud says things, he rarely says things that he doesn't mean, just mean at face value.
Speaker A:And yet Buck will take it the wrong way.
Speaker B:It's kind of like.
Speaker B:I mean, what we've been seeing from, like, Poppy's goodbye to this.
Speaker B:So it's an established pattern.
Speaker B:I mean, he.
Speaker B:Actually, this season, he kind of has done that a lot Again.
Speaker B:I.
Speaker B:I keep thinking about 809.
Speaker B:Like, I feel like this was kind of like their.
Speaker B:It is their parallel episode.
Speaker B:So 809.
Speaker B:817 is the parallel episode.
Speaker B:So it's.
Speaker B:It's one of those things where.
Speaker B:Where he hears something and he takes it and.
Speaker B:I don't know, he just.
Speaker B:He just takes it in the most Buck way possible.
Speaker B:I don't know how else to describe it.
Speaker C:Yeah.
Speaker A:But I feel like this is actually a great scene to look at if you want to see what rejection, Sensitive Dysphoria or RSD looks like.
Speaker C:Oh, he absolutely has rsd.
Speaker B:Yes.
Speaker A:Yes.
Speaker A:So if you don't know what.
Speaker A:What RSD is, it's something that you can have without having adhd.
Speaker A:But it's.
Speaker C:It's very, like, common.
Speaker A:Common in people with adhd.
Speaker A:And basically it's like you get an intense, like, overwhelming emotional response that sometimes feels physically painful at any perceived or actual rejection.
Speaker A:Criticism, failure.
Speaker A:It's normally like, disproportionate emotional reactions to situations that are not normal.
Speaker A:Rejection.
Speaker C:Yeah, it's like.
Speaker A:Like, it's like minor things.
Speaker A:Yeah.
Speaker A:Like, it can be.
Speaker A:It can be big things, but it can.
Speaker A:A lot of the time, it's little things.
Speaker C:Exactly.
Speaker A:It's.
Speaker A:It's just your brain hearing taking that as, oh, I failed.
Speaker A:Oh, they're Rejecting me.
Speaker A:Oh, oh, they hate negative thing about me.
Speaker A:And then it's, you know, your nervous system is like, oh, I'm gonna take it from here.
Speaker A:So I think that's what's happening here.
Speaker A:And I think that's what's happening a lot of the time when we see Buck do this kind of spiral, especially.
Speaker C:With Eddie, because it feels like a rejection.
Speaker C:And I think this is like the straw that breaks the camel's back on the rest of his feeling of rejection because nobody else is leaning on him or relying on him in that way.
Speaker C:So.
Speaker C:Yeah, so this is.
Speaker C:This is just kind of like the scene with Eddie is all of that just really concentrated and funneled in to, like, one person.
Speaker C:Yeah.
Speaker A:So the scene just ends with Eddie.
Speaker C:Leaving the kitchen, Eddie leaving, and Buck.
Speaker A:Kind of just looking just like despondent, like off to the side.
Speaker A:Like.
Speaker C:Like that did not go as planned.
Speaker A:That whole thing that he thought it was gonna go.
Speaker A:Well.
Speaker A:No, I don't think he thought it was gonna go that poorly.
Speaker C:Probably like it was even worse than he imagined.
Speaker A:Oh, probably.
Speaker B:Yeah.
Speaker C:So he's like, oh, great.
Speaker A:Because I.
Speaker A:Again, he wasn't thinking that, like, Eddie was doing this badly or feeling all of this.
Speaker B:No.
Speaker B:Because he's a 12.
Speaker C:He's fine.
Speaker A:All right, are we ready for Edmundo?
Speaker C:Oh, boy.
Speaker A:The beginning of the scene cracks me the up because it is literally just so married.
Speaker A:It is literally so we have been married for years and, like, we're having a passive aggressive fight about just asinine.
Speaker C:I do love also, though, that when Eddie enters the kitchen, we get this, like, POV shot.
Speaker C:And that's one of the reasons why we know it's a shaky cam or a handheld cam because.
Speaker C:Because it's a POV shot.
Speaker C:So it pans over to the, like the island with the groceries and then over to Buck.
Speaker C:So.
Speaker C:So it's like we are inhabiting Eddie in this moment.
Speaker C:Just kind of like taking stock of what we're walking into here.
Speaker C:And we already know, like.
Speaker C:Like we mentioned with Buck.
Speaker C:We already know, like, right off the bat.
Speaker C:It is.
Speaker C:It is kind of a hostile environment.
Speaker A:Well, in the body language for Eddie is he's walking with his hands in his pockets.
Speaker C:Yeah.
Speaker A:Which is a weird thing to do in your own home.
Speaker A:Like in your pants pockets.
Speaker B:Well, not really his home right now.
Speaker C:Well, I know.
Speaker A:That's what I'm saying.
Speaker A:It's.
Speaker A:It's very.
Speaker A:It's very, like, protective, like, defensive.
Speaker C:It looks like he was.
Speaker C:Whatever he was just doing, wherever he's just coming Back from.
Speaker C:It looks like he was doing a lot of, like, contemplation.
Speaker C:Right.
Speaker C:Because he kind of.
Speaker C:He kind of had that, like, in his head look as he's walking in to.
Speaker B:Maybe he was contemplating actually telling him.
Speaker B:Except people beat him to it.
Speaker C:Yeah.
Speaker C:And I.
Speaker C:I do also love that, like, he's seeing Buck, you know, put the groceries away.
Speaker C:He doesn't go and help at all.
Speaker C:He doesn't, like, reach into the bag.
Speaker C:No.
Speaker C:He just goes and gets a cup of coffee.
Speaker C:So it.
Speaker A:Oh.
Speaker A:Because he's pissed immediately because he's like, I said I would do that.
Speaker A:It's the same thing where I was, like, from.
Speaker A:From Buck's point of view, where I was like, when you ask your partner again, I'm gonna do a thing, and they don't do it.
Speaker A:It's the opposite where you're like, I told you I would do it, and you doing it for me.
Speaker C:You didn't let me do it for you.
Speaker C:So he's like, fine, I'm gonna let you do the groceries.
Speaker C:Let me pour myself a cup of coffee.
Speaker C:But.
Speaker C:But also, you know, as he's walking in and.
Speaker C:And says the.
Speaker C:I was gonna get the groceries, he.
Speaker C:He removes his jacket.
Speaker C:So you already see this kind of, like, healing of a layer.
Speaker C:Right.
Speaker C:So you're already.
Speaker C:We're already seeing visually that, like, kind of say that, like, because Buck has his sweater and a T shirt on, and I think Eddie's is just, like, the jacket and the.
Speaker C:And the.
Speaker C:Is it a Henley?
Speaker C:So he's, like, removing this layer.
Speaker C:So he's, like, getting ready to be, like, more vulnerable in a way.
Speaker B:Mm.
Speaker A:But Buck's like, I was out already.
Speaker A:It's fine.
Speaker A:And he's, like, reaching out the cupboard and shaking his head like you can barely see it.
Speaker A:But he's like, God, you tell.
Speaker A:He's rolling his eyes.
Speaker A:Even though you can only see the.
Speaker C:Back of his head, there's still, like, backs turned to each other.
Speaker C:And.
Speaker A:Well, he's sneaking a glance at him, and he sneaks a glance at him before he's like.
Speaker A:Doesn't feel like it's fine.
Speaker C:Yeah.
Speaker C:Which is kind of, like, prompt something.
Speaker C:But it's just like.
Speaker C:That's so passive aggressive, too.
Speaker C:Doesn't feel like it's fine.
Speaker A:Such a married thing.
Speaker A:It's such a cohabitating with someone thing.
Speaker B:Like, it doesn't even feel passive aggressive.
Speaker B:I just feel like, oh, well, this.
Speaker A:Is a way to, like, it's fine.
Speaker B:It's.
Speaker A:It's kind of, like, passive aggressive adjacent.
Speaker B:Yeah.
Speaker C:Like, he's opening the door to the dialogue in the conversation, but he's doing it in not like the most.
Speaker C:Most open way.
Speaker C:Like, he's coming into it with a little bit of like a.
Speaker C:Well, you're angry at me.
Speaker C:Okay, tell me why.
Speaker C:I guess.
Speaker A:Yeah, well, it's.
Speaker A:It's giving very much.
Speaker A:I'm not a mind reader, but everything about you is not giving fine.
Speaker A:Right now.
Speaker A:The tone, the vibes, they're off.
Speaker C:But it's also.
Speaker C:It's also part of the issue.
Speaker C:Part of the greater issue.
Speaker C:Right.
Speaker C:Because Buck isn't confiding in anybody his feelings because again, he's pushing them so far down.
Speaker C:So Eddie's just like, I know you're not.
Speaker C:Fine.
Speaker C:You're not telling me about it.
Speaker A:It's just one of the most hilarious married things they've ever written for them.
Speaker A:To me, it brings me so much joy.
Speaker C:The writers of this episode, I'm pretty sure it's Molly Green and James Leffler.
Speaker A:Yeah.
Speaker C:Incredible work.
Speaker A:Yeah.
Speaker A:Comment on the episode, like on wherever you're watching it or on social media, if you are in a long term relationship.
Speaker A:How often do you say, doesn't seem like it's fine.
Speaker A:I'm just curious because I'm at least like two, three times a week.
Speaker C:Yeah.
Speaker B:It's like.
Speaker B:And it doesn't even have to be that same wording.
Speaker B:It's like, you don't seem okay.
Speaker A:Yeah.
Speaker C:Are you good?
Speaker A:Yeah.
Speaker A:Where it's like, there's like they say something and the tone's off and it's like.
Speaker A:Are you okay?
Speaker A:Yeah, I'm fine.
Speaker B:Are you sure about.
Speaker A:Sure.
Speaker C:Like, is there something you're not telling me?
Speaker C:And it's just.
Speaker C:It's just that.
Speaker C:That prompting and that reaching to try, like across the aisle almost of like, tell me something because this is obviously not okay.
Speaker C:And I'm trying to get like, reach you emotionally.
Speaker C:You're giving me nothing.
Speaker C:As Eddie is pouring himself some coffee, you know, both of their backs are turned and Buck drops the whole like, congratulations on the job from, you know, El Paso.
Speaker C:And it is comedic.
Speaker A:Is such a deer in headlights.
Speaker C:It's so funny the.
Speaker C:The way Eddie responds to that.
Speaker C:Like the mug almost up to his lips and then it freeze.
Speaker A:If he had been mid step, he would have.
Speaker A:It would have been like a mild spit take.
Speaker A:It would have been like a.
Speaker A:I feel he was spooked.
Speaker B:No, he was like caught, like red handed.
Speaker B:Like, handed the cookie jar.
Speaker C:Yeah.
Speaker C:Like, yeah, that's exactly what this is.
Speaker A:Buck's gotcha face.
Speaker A:Oh, God.
Speaker A:Yeah.
Speaker C:Like, oh, no, it's.
Speaker C:It's.
Speaker A:Oh.
Speaker C:Oh.
Speaker C:He's nodding.
Speaker A:I didn't even notice that.
Speaker A:It's so minute.
Speaker A:So, like, Eddie's like, oh, face.
Speaker A:And then Buck's like, tiny little minute nod, like, huh?
Speaker A:Yeah.
Speaker B:Yeah, I know.
Speaker A:That's what I thought.
Speaker B:Yeah.
Speaker C:Which kind of goes with what we just said about that.
Speaker C:Just like, he's.
Speaker C:He was really, like, angling for that, like, gotcha moment.
Speaker A:Yeah.
Speaker C:And he did.
Speaker C:And Eddie's just like, oh, no.
Speaker C:He has to do, like, some damage control.
Speaker C:He chooses, like, kind of, like, the worst thing to say where.
Speaker C:I think Han, earlier you said, like, he didn't.
Speaker C:He doesn't go for.
Speaker C:I was going to tell you.
Speaker C:I just wasn't ready yet.
Speaker C:Which would have probably, you know.
Speaker B:Yeah.
Speaker C:Sidestepped a lot of this.
Speaker C:But he decides to say, who told you?
Speaker A:And he says it while he looks away from Buck.
Speaker A:Like, he looks up at him because he's ashamed.
Speaker A:Looks up, looks back down, takes a sip.
Speaker A:Right after asking, who told you?
Speaker C:Now he's, like, caught with his tail between his legs because it's like, I.
Speaker C:He didn't get a chance to tell Buck.
Speaker C:But also, the time for that has long since passed, and now he has to, like, scramble to figure out, okay, how can I make this better?
Speaker C:Or how can we, like, you know, come to a, like, an understanding of it?
Speaker C:Eddie, in this instance is.
Speaker C:Or at this point in the conversation, it's almost like he's on the defensive and.
Speaker C:And Buck is on the offense.
Speaker C:And those roles do change as the conversation goes on.
Speaker A:He's also looking for the path of least resistance.
Speaker A:So he's just kind of letting Buck talk because he.
Speaker C:That's what does.
Speaker C:That.
Speaker A:He doesn't want to step in it more than he already has.
Speaker C:And there.
Speaker A:And he gives the big doe eyes, like, almost pleading eyes.
Speaker A:Emoji.
Speaker A:I was gonna tell you.
Speaker C:That's what he should have led with.
Speaker A:Yeah.
Speaker B:Yeah.
Speaker A:Not who told you?
Speaker A:Because it's such a.
Speaker A:Like an accusatory.
Speaker A:And again, it really reminds me of.
Speaker A:You were spying on me.
Speaker C:Yeah, I was gonna tell you, and you found out before I was ready to tell you.
Speaker C:But then that leads to the question of, well, when were.
Speaker C:When were you going to be ready to tell him?
Speaker A:Yeah.
Speaker C:Because that's the issue that we run into so many times before.
Speaker C:It's like you.
Speaker C:Eddie waits too long to say something, and then it blows up in his face.
Speaker C:And I think that is partially because of him, like, doing that, like, trying to choose the Path of least resistance thing.
Speaker C:But it keeps blowing up in his face.
Speaker C:And he should know by now, no.
Speaker A:Learn from his own mistakes.
Speaker A:So he's looking at him, like, pleading, like, please be the good book.
Speaker A:Please be the buck that I need right now.
Speaker B:But it's also like an oh.
Speaker B:Because, like, he's hearing how he.
Speaker C:He found out.
Speaker B:It's like a whole list of people, and he's like, oh, like, I really fucked up.
Speaker C:Yeah.
Speaker A:His face is open when he's like, I was gonna tell you, but fuck.
Speaker A:Immediately rebuttals with that.
Speaker A:Yeah, but you didn't, did you?
Speaker A:And then we get.
Speaker C:Which is fair.
Speaker A:And then we get the.
Speaker A:Now we're.
Speaker C:Now we're fighting.
Speaker A:Now we're fighting.
Speaker A:The squint.
Speaker B:The eyebrow just, like, went down.
Speaker A:Yes.
Speaker C:The eyebrow furrow of, like, it went.
Speaker A:From like, a relaxed, like, big pleading eyes to, like, kind of like the ass eyebrow emoji.
Speaker A:Like, straight face emoji.
Speaker C:No, it.
Speaker A:Yeah.
Speaker C:Yeah, it's.
Speaker C:It's okay.
Speaker C:It's.
Speaker C:It's him realizing, okay, this is how we're going.
Speaker A:Oh, we're.
Speaker A:We're.
Speaker C:This is how we're gonna deal with this.
Speaker C:Okay, let me get into fight mode.
Speaker C:Like.
Speaker C:Yeah.
Speaker A:Because he's already cooking up trials and tribulations.
Speaker C:Exactly.
Speaker A:He's working on it.
Speaker C:Exactly.
Speaker A:He's going to go into my Rolodex of dramatic gay shit to say, all.
Speaker C:Right, this is how we're going to.
Speaker C:This is how we're going to address this.
Speaker A:But.
Speaker C:But exactly.
Speaker C:I've got stuff in my back pocket that I've been holding on to.
Speaker C:No, like, because.
Speaker C:Because if there's one thing that we know sometimes, it's that.
Speaker C:What?
Speaker C:If there's one thing that we know, it's that Eddie, when he's grieving, he gets angry.
Speaker B:Oh, that.
Speaker B:That man is a scorpion ready to strike back when, you know, when the time calls for it.
Speaker C:He lives in that anger sometimes, and it really doesn't.
Speaker A:Oh, yeah.
Speaker C:Come out too often.
Speaker A:Right, Scorpio.
Speaker A:Moon.
Speaker B:Oh, Moon.
Speaker A:Okay, so those emotions where all the grief is.
Speaker B:Yeah.
Speaker A:He's waiting.
Speaker C:He's waiting for the opportunity.
Speaker C:And he's also, I think, kind of maybe hoping that, like, if he goes kind of for the jugular, which we know that he does, he.
Speaker B:Yep.
Speaker C:That will also elicit a reaction from Buck as well.
Speaker C:So I think as much as, like, Buck is pushing Eddie, Eddie is pushing Buck, too.
Speaker C:It's.
Speaker C:Again, it's that push, pull.
Speaker C:It's that offense defense.
Speaker C:And I think this is where it kind of, like, starts to swap, right?
Speaker A:I think they're both pushing at each other because I think they're both just like, we're not.
Speaker A:Are normal selves.
Speaker A:And, like, they're not comfortable with that.
Speaker A:And so they're kind of trying to, like, poke each other to, like, get them to be what they normally are, even if it's like, in an angry way.
Speaker A:When Buck says, you've been tiptoeing around my back and doing the point thing, right?
Speaker A:Eddie whips his head to the side to look away from him and move as far to the complete opposite side of the kitchen, as far away as he could possibly be.
Speaker C:They are complete, like, diagonals, like, the furthest points in the kitchen that they can be.
Speaker B:Also, I find the dialogue again because I keep saying this is like the parallel episode.
Speaker B:So like we had in 809 also, Buck saying something around the lines of, like, you.
Speaker B:You only say things around behind my back.
Speaker C:Yes.
Speaker B:And so we have a repeat.
Speaker B:We have a callback to that.
Speaker B:Not really callback, but we're like a repeat of that.
Speaker B:So Eddie's heard that before.
Speaker B:So he's like, okay, he's already making.
Speaker C:It about himself, which it's like, triggering for.
Speaker C:For Eddie.
Speaker B:It's triggering.
Speaker B:And no, but also, like, Oliver has said that it is kind of like.
Speaker B:I don't know if he used the word trauma, but he did say.
Speaker B:But he did say that that's how Eddie see it.
Speaker B:That how.
Speaker B:That's how Eddie sees it, how he.
Speaker A:Finds out is about him.
Speaker A:So I think he's justified.
Speaker B:I'm not saying he isn't.
Speaker A:I'm just right.
Speaker A:I think he's justified in being like, why can't you tell me things, bro?
Speaker C:But it's also a little bit of a fallback for Eddie to say, like, oh, you're making these things about.
Speaker C:About yourself.
Speaker C:Because this is what, at least three times.
Speaker C:But it's four times.
Speaker A:But what are you making things about Buck?
Speaker A:It's Eddie making things about Book.
Speaker A:We saw at the beginning of the episode, he was making it about Buck.
Speaker A:He's literally at the Wilson residence being, like, worried about Buck's level of worry.
Speaker A:And, oh, I was hoping his new captain could tell him that I got the fire fighting job because he doesn't.
Speaker C:Want to tell him directly.
Speaker C:So it like.
Speaker A:But he's making it about Buck.
Speaker A:Like that whole conversa.
Speaker C:It was about Buck.
Speaker C:Well, yeah, because, like, Eddie.
Speaker C:Eddie makes this about Buck because he refuses to go directly to Buck.
Speaker C:So then Buck's reaction to that is to make it about himself.
Speaker C:Because there has to be something about him that makes Eddie not want to tell him these things.
Speaker A:Yep.
Speaker C:But for Eddie, he doesn't really, like, understand that.
Speaker C:So he's just.
Speaker C:I think he's also, like, really deflecting.
Speaker C:You're making it about you again.
Speaker C:It's like, because you are.
Speaker B:Yep.
Speaker C:And he doesn't know.
Speaker C:He doesn't understand.
Speaker C:That's what he.
Speaker C:He's creating that problem himself, too.
Speaker A:He literally does all of this shit to himself.
Speaker C:Yeah.
Speaker C:These lines that Eddie says to Buck where.
Speaker C:Where Buck's like, what?
Speaker C:You didn't.
Speaker C:You wouldn't think that I would be happy for you.
Speaker C:And Eddie just says, no, I know you wouldn't be.
Speaker C:Which on one point is kind of fair because he's acknowledging that, like, Buck doesn't have to be okay with everything all the time, which Buck has said, you know, in 809 and 10, like, yeah, he's mad, but he's trying to be brave about it.
Speaker C:Being angry about it isn't going to help the situation.
Speaker C:So, like in 809, where Eddie's like, if you're pissed, just be pissed.
Speaker A:Yeah.
Speaker C:So, like, I think that's.
Speaker C:He's basically using his own words and Buck's own feelings, like, against him.
Speaker C:In this.
Speaker B:Yes.
Speaker C:In this instance, which, again, this whole thing is going for the jugular, and it works.
Speaker C:And then you get into, like, the trials and tribulations in nine of Evan Buckley in 97 acts.
Speaker C:And, like, that is Shakespearean level.
Speaker B:That's.
Speaker B:That's the same.
Speaker A:That's a gay roast.
Speaker A:Like, this is a homosexual roasting of Evan Buckley.
Speaker C:How did he come up with that?
Speaker B:At this point?
Speaker B:I feel like he got it from the telenovelas he's been watching.
Speaker C:Oh, yes.
Speaker C:He.
Speaker C:He felt the spirit, like, move through him.
Speaker B:It's like, I have to be the most, like, dramatic.
Speaker B:I have to give you the most dramatic comeback possible.
Speaker B:Yep.
Speaker C:And this is where, like, it's fully switched to, like, he's on the offense now.
Speaker C:Buck is taking all that in, like.
Speaker C:And I just love, like, he has the hand up in the air, too.
Speaker C:Like.
Speaker C:Like, this is a to be or not to be question.
Speaker A:Like, it really is.
Speaker A:Like, this.
Speaker C:Like, this is Hamlet level.
Speaker C:Like, he's got the skull.
Speaker C:What the hell?
Speaker C:Yeah.
Speaker C:Oh, Yorick.
Speaker A:Just a fun little tidbit that, like, this could be on purpose, but probably isn't.
Speaker A:But it's just kind of funny that one of our Patreon subscribers, Britt, came up with.
Speaker A:Oh, yeah, that.
Speaker A:Because, like, it Is Shakespearean.
Speaker A:Right.
Speaker A:Like, we've all been saying that.
Speaker A:Sonnet 97.
Speaker C:Oh, my God.
Speaker A:Because, like, he wrote plays like Shakespeare, but he also wrote poems, which are.
Speaker C:Often like, love poems.
Speaker A:Yes.
Speaker A:So this was about one of his male lovers who, like.
Speaker A:And they were separated and apart.
Speaker C:Shut up.
Speaker C:Yeah.
Speaker C:Brit was so smart for this.
Speaker C:It's kind of.
Speaker A:It's kind of hilarious.
Speaker A:I hope they did that on purpose.
Speaker B:And I know, like, we just watched Boy Next Door, right?
Speaker C:Oh, God.
Speaker A:Yeah.
Speaker B:Ryan's character is obsessed with.
Speaker C:What was it, the Iliad or the Odyssey?
Speaker C:It was.
Speaker C:It was like, Achilles, whichever one that belongs to.
Speaker B:So I just.
Speaker B:I don't know.
Speaker B:I just found it funny.
Speaker C:Yeah.
Speaker B:The connection here is just kind of funny because, like, then.
Speaker B:Because if it wasn't really telenovelas that.
Speaker C:Inspired this, the Greek tragedy, it's just.
Speaker A:Yeah.
Speaker B:It's just maybe.
Speaker B:Maybe at some point when he was growing up, he really liked English.
Speaker A:English.
Speaker C:Yeah, yeah, yeah.
Speaker B:English lit.
Speaker C:Like, this is his time to perform, which is actually.
Speaker C:That makes sense because that is so much of what Eddie does, just like.
Speaker A:Oh, yeah.
Speaker C:In general.
Speaker C:So actually.
Speaker C:So, like, this kind of.
Speaker C:It's like he's putting on this performance to get, like.
Speaker C:Like there's real feelings there.
Speaker C:It's rooted very much in reality of, like, how Eddie's feeling.
Speaker C:But he's kind of, like, putting on this performance to goad Buck into revealing more of his true.
Speaker C:More of Buck's true emotions because he's so walled off.
Speaker C:So he's like, I know this is gonna sting.
Speaker C:I'm gonna do it anyway, and I'm gonna get this reaction out of you because how else am I going to reach you otherwise?
Speaker C:And so much of this scene is Eddie reaching out to Buck because he.
Speaker C:He feels like he hasn't been able to.
Speaker A:Yep.
Speaker C:After, like, the trials and tribulations of Evan Buckley, which, like, is a crazy line.
Speaker C:Crazy line.
Speaker C:Then we have, you know, Eddie rounding the.
Speaker C:The kitchen island in the distance onto Buck's side of the kitchen.
Speaker C:So he is really.
Speaker C:He is.
Speaker C:He is closing the distance physically and emotionally at the same time, getting closer and closer to Buck and saying, like, you've been spiraling since the funeral and nobody knows how to talk to you about it.
Speaker C:And I think there's so much where, like, Eddie just knows how and when Buck is spiraling, and he's there for Buck, like, in every kind of spiral, and he doesn't know how to be there for this one.
Speaker A:Yeah.
Speaker A:So this is.
Speaker A:I think I.
Speaker A:I touched on this a little bit in The.
Speaker A:The episode we did on 17 and 18.
Speaker C:Yeah.
Speaker A:Where I said it's a role reversal here, because normally Buck's the one who's, like, prodding and waiting.
Speaker A:And this is Eddie trying to do it.
Speaker A:But, like, it.
Speaker A:It doesn't work because this was.
Speaker A:That was supposed.
Speaker A:That line was supposed to be the.
Speaker A:Hey, talk to me about, like, you're spiraling, how you're feeling.
Speaker C:Like, I knew.
Speaker A:I really think that's what that was.
Speaker A:Yeah.
Speaker A:I, like, no one knows how to talk to you about it.
Speaker A:Talk about it.
Speaker A:And instead, he's a brat.
Speaker A:Like, I think that really was him, like, trying to, like, close the distance between them and be like, talk to me.
Speaker C:Yeah.
Speaker C:I just think.
Speaker C:I just think of the Supernatural episode where, like, Dean sits on the bed talking to cast, and it's just like, talk to me.
Speaker C:It's the same kind of thing.
Speaker C:It's just like.
Speaker C:It's almost begging him.
Speaker A:Yes.
Speaker C:To open up.
Speaker A:Yeah.
Speaker C:But, like, assertively.
Speaker A:I mean, he's more open when he walks over there.
Speaker C:Yeah.
Speaker C:He's, like, desperate.
Speaker A:He is desperate.
Speaker A:He looks desperate.
Speaker A:And his face gets softer and softer as he walks over there.
Speaker C:Exactly.
Speaker C:Like, he's not.
Speaker C:His facial expression is not anger.
Speaker C:It is desperation.
Speaker C:It is.
Speaker C:Please let me in.
Speaker A:Yeah.
Speaker C:And this is him trying to extend that olive branch.
Speaker C:And Buck is just like, nah, I'm gonna be a brat.
Speaker A:It's him going, I have no idea what's going on with you because you won't talk about it.
Speaker A:Like, you need to, like, talk to me.
Speaker A:And.
Speaker B:And this really, like, should have been apparent because of Eddie's opening scene in this episode.
Speaker B:Like, I.
Speaker B:I think.
Speaker B:I think I'm just so stuck on how it was interpreted in the first watch through.
Speaker B:Like, this was all about Buck.
Speaker A:This.
Speaker B:This whole conversation.
Speaker B:This is him reaching out.
Speaker B:This is him finally getting as close as he possibly can.
Speaker C:Yeah.
Speaker B:And then Buck just.
Speaker B:Buck's just like, well, I'm sad, Branch.
Speaker A:And Buck lights it on fire.
Speaker C:Yeah.
Speaker C:Just like.
Speaker C:Like, steel door.
Speaker A:Like, he just spit on it.
Speaker A:So.
Speaker C:And.
Speaker C:And that's why I think Eddie.
Speaker C:Eddie is trying to push Buck to open up and push and push.
Speaker C:And I think this is why we have, like, this kind of physicality to this scene.
Speaker A:So Eddie is trying to be Buck.
Speaker A:He's trying to, like, be Buck to Buck, to get him to open up the way he does to him.
Speaker A:Right.
Speaker A:But the problem is that works with Buck and Eddie because that is how Eddie responds.
Speaker A:It's by being prodded a little bit.
Speaker A:But, like, given the time and the space for him to like gather his thoughts, to actually talk and open up.
Speaker A:For Buck, he needs to be asked direct questions because otherwise he's gonna take things when he's in like an agitated or an emotional state.
Speaker A:He's going to take it as like a rejection, a failure, an accusation.
Speaker A:It's going to come across to him negatively.
Speaker A:You need to just outright ask him a question.
Speaker A:How are you feeling?
Speaker A:What's going on with you?
Speaker A:Like a question.
Speaker A:Instead of the open endedness beating around the bush.
Speaker C:Like all Buck has to do for Eddie is just kind of like knock on the door.
Speaker A:Yes.
Speaker C:And open it a crack and look at him.
Speaker A:Like once he gives him a bullshit answer, it's just like, you want to try that again?
Speaker A:Exactly.
Speaker C:But, but like you said with Buck that it's not a knock on the door and like open it a crack.
Speaker C:It is, it's.
Speaker C:It's I'm in your wall, the ram, the door ram.
Speaker C:Like boom.
Speaker C:Direct question.
Speaker C:And I think a lot of that is just like his.
Speaker C:It's on everybody.
Speaker C:Like, like people's Buck translators.
Speaker C:Not.
Speaker C:I think I mentioned this too like the 17 and 18 episode.
Speaker C:Like people's Buck translator is not calibrated correctly.
Speaker C:But also when Buck is in such like this kind of state, his translator for like how to interpret other people's stuff is also not calibrated correctly.
Speaker C:So it's just like massive communication.
Speaker A:So after Buck is a brat, Eddie gets in his face, the finger and a hand on the wrong shoulder.
Speaker A:I don't know if it was on purpose.
Speaker A:I think Ryan said that he did that like of his own.
Speaker A:Like it wasn't scripted I think though, like he was getting notes like, how is he making you feel?
Speaker A:Like, do you want to punch him?
Speaker A:And he was like, I don't want to punch him.
Speaker A:But I think this was improvising.
Speaker A:Like Oliver didn't know he was going to do this.
Speaker A:But it's like every other time we get a shoulder touch, it's usually the right hand.
Speaker A:Left, right hand, left shoulder.
Speaker A:And it's left hand on right shoulder.
Speaker A:And it just feels wrong.
Speaker A:And I don't know if it was like a conscious decision or subconscious, but it just adds another layer of like nothing is right that I love.
Speaker A:Eddie just wants.
Speaker A:He just wants comfort.
Speaker A:Like he wants it verbally, emotionally, but he really just wants a fucking hug.
Speaker A:He can't just ask for a hug.
Speaker A:So he's trying to reach out physically here.
Speaker C:Yeah, this is really what it is.
Speaker C:It's not, it's not an act of violence or anger.
Speaker C:If you look at his facial expression, it's not aggressive.
Speaker C:There is no aggression there.
Speaker C:It is again, just, like, absolutely pleading to be let in.
Speaker C:Listen to me, the minutia in the facial expressions here that Ryan does with, like, the eyebrow quivering and just the big bleeding eyes is so perfect.
Speaker C:It's so well done because of the subtlety to it.
Speaker C:And it just really starts open, like, opening up this very deep, deep hurt that Eddie is feeling that he hasn't been able to communicate about at all.
Speaker A:He doesn't let himself show these emotions around anyone but Buck and Bobby.
Speaker A:And Bobby's gone.
Speaker A:So.
Speaker C:Woof.
Speaker C:Yeah.
Speaker C:He's like, literally all Eddie wants to do is for once talk about his feelings, and he's not being given an opportunity to.
Speaker A:It's like he's waiting to be asked.
Speaker A:He's waiting for the permission to break down.
Speaker A:Right.
Speaker A:To.
Speaker A:To cry, to, like, the permission to cry, to, like, feel like he's in the safe space that Buck normally is.
Speaker B:And I think he said this before, like, which is why he hasn't left for El Paso.
Speaker B:He's been there for, like, a couple weeks now, and he's been waiting for the moment to.
Speaker B:To break down and.
Speaker B:And.
Speaker B:And grief with Buck, and he just hasn't.
Speaker B:And that's why he's just been there.
Speaker B:And I think there's also the added layer of also being worried about him.
Speaker B:So he has just not left and just trying to shoulder what is going on with Buck and between them.
Speaker B:And finally it's coming to a head here.
Speaker C:And I think this is the moment too, because again, we.
Speaker C:We keep saying, like, you know, they're.
Speaker C:They're pushing each other.
Speaker C:Right.
Speaker C:It's less of a push and pull and more of a push and push.
Speaker C:I think this is kind of the.
Speaker C:The climax of that for.
Speaker C:For Eddie.
Speaker C:Like, he's.
Speaker C:He's kind of pushed Buck enough to, like, kind of shake him mentally a little bit physically, but.
Speaker C:But more mentally, like, listen to me right now.
Speaker C:And that.
Speaker C:But also that kind of break in Eddie's more calm demeanor as well that he's also been carrying around that allows him to kind of open up to Buck.
Speaker B:Like, I never felt like this was a.
Speaker B:Being angry.
Speaker C:No.
Speaker B:Or anything.
Speaker B:I think it's like.
Speaker B:It's definitely a.
Speaker B:Like, hey, listen to me.
Speaker B:That, you know, we.
Speaker B:We've all lost him.
Speaker B:I lost him.
Speaker B:And, like, kind of like wake up a little bit.
Speaker B:Like, not in, like, in a hostile way.
Speaker B:It's just like a.
Speaker A:It's very Much like, begging.
Speaker A:Like, we're in this together and you aren't letting us be.
Speaker C:Yeah, he's just trying to reach out so far to Buck that he ends up just, like, touching him physically to be like, hey, like.
Speaker A:And, like, Buck wasn't scared.
Speaker C:No, no.
Speaker A:He doesn't flinch.
Speaker A:He doesn't move.
Speaker A:So it wasn't even very forceful.
Speaker A:It was just.
Speaker A:It was hand on the shoulder and, like, just lurching forward into his space.
Speaker A:And there was a finger.
Speaker A:He loves pointing.
Speaker A:Yeah.
Speaker A:But, like, I mean, when I watched this the first time, I was like, ooh, that makes me uncomfortable because I don't like confrontation like that.
Speaker A:Like, I.
Speaker A:I very much don't like fighting verbally at all.
Speaker A:I'm kind of like, let's cool off, and then let's, like, talk about it logically once we've both kind of, like, had some space from.
Speaker A:From the moment.
Speaker A:So it made me, like, deeply uncomfortable.
Speaker A:Even though it's uncomfortable to watch, I don't think that it is, like, aggressive.
Speaker C:Or it's purposefully uncomfortable to watch because it's an uncomfortable confrontation and conversation.
Speaker C:I think this whole action that Eddie takes is completely within character because we see.
Speaker C:We've seen how he grieves before with someone else who is very, very close to him.
Speaker C:With Shannon, he is angry, but he always turns that anger inward on himself.
Speaker C:So it's not that he was acting aggressively or angrily towards Buck.
Speaker C:He was.
Speaker C:He's just so, like, roiled with.
Speaker C:With anger at the situation.
Speaker C:He does kind of know how to funnel it because he's always, like, very gentle, and he feels the anger, but he doesn't let that really control him.
Speaker C:And I think the only time that did was, like, Fight Club, But.
Speaker C:But he's learned his lesson with that.
Speaker A:But, yeah, well, that was more like punishing himself.
Speaker C:Exactly.
Speaker A:I really think that just had a slight brain blast.
Speaker A:I think for Eddie, who has experienced a lot of grief, the people he served with the grief from that, he was in it all alone because literally all of them were gone, and no one else was left to grieve with.
Speaker A:And then with Shannon, like, he had Christopher, but, like, he can't really.
Speaker A:He can't really grieve his porter.
Speaker A:Exactly.
Speaker A:All seven, seven, eight, whatever.
Speaker A:But, yeah, you can't.
Speaker C:Young child.
Speaker A:It's not the same thing.
Speaker A:Like, it's your kid, and, yeah, they're very young.
Speaker C:He has to be the parent.
Speaker A:Yes.
Speaker A:And no one else was close.
Speaker A:I mean, like, his family hated her.
Speaker A:So, like, there was no one for him to grieve with, and he was all alone.
Speaker A:And I think this was the one time that he was like, I'm gonna be able to get to go home and be with my best friend, my partner, and I'm gonna be able to, like, let go.
Speaker C:Finally have someone to lean on.
Speaker A:Yes.
Speaker A:And we'll be able to lean on each other.
Speaker A:And, like, this is horrible, but, like, we'll be okay because we have each other and we can get through it together.
Speaker C:And they're in it together, so.
Speaker A:Yeah, because they always are in it together.
Speaker C:So it's not even like Eddie would be the only one in that kind of mental, emotional space.
Speaker C:He'd be sharing it with Buck.
Speaker A:Yes.
Speaker C:And that whole opportunity to, like, get even closer together in that way has just been absolutely squandered because.
Speaker C:Yeah, because Buck is trying to be what he thinks other people need him to be in a way that doesn't come naturally towards him.
Speaker A:So he showed up expecting to go through this with Buck, and instead it's some pod person version of Buck.
Speaker A:And that's why it's been weeks, because he's waiting for, like, him to crack.
Speaker A:He's waiting for.
Speaker A:He's waiting for him to spiral into the actual emotion so that he can be in it with him.
Speaker C:Waiting for Buck to blow up from that spiral.
Speaker A:Yeah.
Speaker C:To, like, crash out.
Speaker C:Because it always happens.
Speaker A:Yeah.
Speaker C:And it's almost like he's trying to accelerate that process.
Speaker A:Well, yeah, because, I mean, he has to go, but, like, he's also like.
Speaker B:Well, I think.
Speaker A:I think it's just very much like, I don't think he thinks that he is allowed to.
Speaker A:Well, yeah, he's never gonna ask, but he doesn't think that he's allowed to be open and kind of, like, break down the way he needs to and cry and seek comfort without Buck doing it first and, like, doing it together.
Speaker A:Because he just never has.
Speaker A:Not how he works.
Speaker B:No.
Speaker B:And.
Speaker B:And I'm sure that's from, like, past trauma where, you know, you shouldn't be crying for whatever reason.
Speaker B:Like, you have to be just, like, not feel those emotions, especially outwardly.
Speaker B:Like, that's.
Speaker B:I'm pretty sure.
Speaker B:I think we all agree that that's how he was raised.
Speaker A:Oh, yeah, for sure.
Speaker A:Like, there's so much.
Speaker A:There's so much machismo that, like, he had to have been instilled with as a child from his father.
Speaker A:But he has, like, all of these very consistent tells of, like, when he's trying not to cry.
Speaker A:And he does this right after.
Speaker A:Like, he.
Speaker A:He Says the.
Speaker A:You're not the only one who lost him.
Speaker A:We're just, you know, trying to do our damn best.
Speaker A:He turns around because he's starting to cry.
Speaker C:Yeah.
Speaker A:Because he's trying to hold it back.
Speaker A:He's trying to get together, and he can't look at Buck finally being kind of, like, open and listening to him and not cry.
Speaker A:And this is so relatable.
Speaker B:No, it's so relatable to me.
Speaker B:I'm like, I have to do.
Speaker B:I do the mouth thing that he does.
Speaker A:Mm.
Speaker C:Me too.
Speaker B:Mm.
Speaker B:And I'm like, I can't look at anyone.
Speaker A:Yeah.
Speaker A:What it is.
Speaker A:I think he's chewing on the inside of his lip because I do that constantly.
Speaker B:The voice crack at when he finishes saying, just so I don't have to scare the crap out of my kid.
Speaker C:Yeah.
Speaker C:Oh, felt.
Speaker A:Yeah.
Speaker C:Yeah.
Speaker C:I.
Speaker C:I think.
Speaker C:I think one of the reasons that this has been so difficult for Eddie is because, you know, we were talking a little bit about role reversal, and Buck has always been the one to, like, have his emotions so readily available, so, like, on the surface sort of thing, so that it's.
Speaker C:It's easy for Buck to be the.
Speaker C:To be the instigator in, you know, knocking on the door, opening, opening it a crack and.
Speaker C:And allowing Eddie to just, like, answer in.
Speaker C:In his own time sort of thing.
Speaker C:So I think, because Buck isn't being how he normally is with the emotions, like, so easily tapped into because they're so pushed down.
Speaker C:He has that steel wall all around him.
Speaker C:It's so difficult for Eddie to.
Speaker C:And you were.
Speaker C:You're right.
Speaker C:When you.
Speaker C:When you were saying earlier that, like, he's trying to be Buck in this situation, to, like, bring those emotions up to.
Speaker C:To, like, the surface level.
Speaker C:But that's just not who Eddie is.
Speaker B:They are.
Speaker C:They sit so deep within him.
Speaker A:Buck is normally, like an emotional conduit.
Speaker C:Yeah.
Speaker A:Yeah.
Speaker A:And so he's trying to do it.
Speaker A:He's trying.
Speaker A:He's trying so hard.
Speaker A:But he's just so bad at talking.
Speaker C:About his emotions because he's not like Buck, where they sit on the surface or just under the surface.
Speaker C:No, they are 40ft deep.
Speaker A:And.
Speaker C:And so it takes so much more effort for him to drudge those up to the surface.
Speaker C:And that's why it's so much more difficult for him to start kind of like, these conversations and him.
Speaker A:Whereas Buck, it's so easy for him most of the time to just spit out the emotion because it is so close to the surface.
Speaker A:For Eddie, it's Almost just like vivisection.
Speaker A:Like, he has to take himself apart.
Speaker C:Yeah.
Speaker A:In order to do it.
Speaker A:Like, it's like he's.
Speaker A:It's like he's cutting into himself, like, and it's.
Speaker A:Physically remove it to get it out of, like, operations.
Speaker A:Yes.
Speaker B:Yeah.
Speaker A:Like, it's just really hard for him.
Speaker C:I think you see that in the way this part is being blocked, where he's telling Buck actually what he was going through, because so much of it is kind of like half and half.
Speaker C:He's, like, turned away, like, back to Buck, like, facing the island.
Speaker C:So he can kind of like, steel himself to continue to dredge up these difficult emotions and.
Speaker C:And be transparent in that because it's very difficult for him to do.
Speaker C:And it's hard to look someone in the eye when you're talking about that stuff, even if it's Buck.
Speaker C:And that's.
Speaker C:That's just who Eddie is.
Speaker C:So, like, it's interesting though, when he.
Speaker C:When he faces him and he's so open, he's talking about how he had to tell Christopher.
Speaker C:And I think that is very telling that he's so open in that, because that is something that Buck understands.
Speaker C:That is something that Buck has actually had to do himself with.
Speaker C:You know, telling Christopher about Eddie getting shot and not knowing that if he would survive or not.
Speaker C:Yeah.
Speaker C:And when Chris called him to come over because Eddie was having his panic attack after finding out that the rest of his squad was no longer alive, like, that is the one of the strongest points of connection for them.
Speaker C:And I think that's one of the reasons why they're both facing each other at that moment.
Speaker C:Because, you know, the saying of, you know, everything is about Buddy except Buddy, which is about Christopher.
Speaker C:So.
Speaker C:Yeah, I think.
Speaker B:And that's where I was saying, like, like, we do get like a.
Speaker B:Like a.
Speaker B:Not a second cut or like, you know, like a one second cut to Buck.
Speaker B:To Buck's reaction before the.
Speaker B:The second reaction, which is the O.
Speaker B:And I know, like, that's where it hit him.
Speaker B:Like, you know, this is.
Speaker B:This is.
Speaker B:This is where they do connect because.
Speaker C:Of Christopher and like, the easiest connection that they.
Speaker C:That they can get so they can go deeper again.
Speaker A:Yeah.
Speaker A:And I think it.
Speaker A:It hits him then too, that, like, obviously.
Speaker A:Yes.
Speaker A:Oh, oh, the Christopher and him having to, like, make sure that he doesn't scare him again, like you said so earlier, like he did when he had his breakdown.
Speaker A:But also, yes, he had to tell his kid that he lost someone else.
Speaker A:But it's also.
Speaker A:Oh, Eddie lost another Person who he loved.
Speaker A:Like, this isn't the first.
Speaker A:Very close person who he loved, who he's lost.
Speaker C:So again, right.
Speaker A:Again.
Speaker A:Who he wasn't able to save.
Speaker A:I think that's when it hits him.
Speaker C:Every person that Christopher has lost, Eddie has also just, like, inherently lost plus more.
Speaker C:Yeah, so that I think really starts hitting home.
Speaker C:And when Eddie is relaying, like, how he got that phone call.
Speaker C:And I think this was the.
Speaker C:The exact right decision for them to film this, like, interstitial cut of Eddie finding out that, like, has no dialogue.
Speaker C:It's just the dialogue of him explaining.
Speaker A:I think there, like a whole scene of dialogue and stuff shot.
Speaker C:And I think so too.
Speaker C:But we didn't.
Speaker C:We didn't get that, I think.
Speaker C:Yeah, we know.
Speaker C:We know.
Speaker C:That was a longer scene than what we got.
Speaker C:Like, I think it still played out perfectly.
Speaker C:I would love to see more of that anyways.
Speaker C:But I think this was like, such a.
Speaker C:Such a perfect decision to include that be.
Speaker C:Not only because we didn't get it.
Speaker C:We didn't get Eddie's reaction in 8:15 or.
Speaker C:Or 16, but.
Speaker C:But because it, again, kind of puts us in the POV of Eddie.
Speaker C:Exactly that we're there, we're seeing it happen as it's happening.
Speaker C:And, like, still has been saying that that does very, very similarly and visually.
Speaker A:Ties very parallels to him, season five.
Speaker C:Like, because he's.
Speaker C:He's on the floor, he is not on the bed.
Speaker C:And he is.
Speaker C:He is trying.
Speaker C:And you also see, like, how immediately he has to.
Speaker C:He has to try to tamp down those emotions which he is obviously feeling because he can't be as open with that for Christopher's sake.
Speaker C:So he's.
Speaker C:He was really hoping and like, leaning on the fact that he would be able to do that with Buck, and that's just not happening after Buck says, I'm sorry.
Speaker A:Sorry.
Speaker C:I know he was important to you too.
Speaker C:That is where Eddie actually.
Speaker C:Actually breaks.
Speaker C:Like he has been given permission to.
Speaker A:But he doesn't fully break.
Speaker C:But he breaks more than he has been.
Speaker A:Well, yeah, but he's not.
Speaker A:He's still not letting himself cry.
Speaker A:He's still shaking it off.
Speaker A:He's doing that little head shake he does when he's trying not to cry.
Speaker A:Like, he brings his hand up to his head.
Speaker A:Like a lot of similar stuff that I do when I'm trying not to cry where I'm like, okay, like, pull your shit together.
Speaker A:But he's like, very close to it.
Speaker A:It's really close to the surface, but he's still tamping it down.
Speaker A:But.
Speaker A:But apologizing is what, like, almost makes him break and finally, like, let himself cry.
Speaker C:So close to what he needs.
Speaker A:Yes.
Speaker A:So he was facing away from him completely back completely to him.
Speaker A:And then for the next part, he kind of does start to turn towards Buck.
Speaker A:This drives me bonkers.
Speaker A:This drives me fucking bonkers.
Speaker A:Because this man is so clearly asking for a hug without asking for a hug.
Speaker A:Like, literally would have just fallen apart and cried.
Speaker B:Yeah.
Speaker A:If Buck had just hugged him in a second.
Speaker B:He was right there.
Speaker A:So Eddie says, he saved my life and I wasn't there to save his.
Speaker A:And he.
Speaker A:Then he turns completely back around a Buck, and it says, a part of me will always wonder if I was there, could I have made a difference?
Speaker A:And he's is very obviously.
Speaker A:I mean, to us, it's about him then him blaming himself and him needing comfort to not blame himself because he, like, he can't let himself feel the emotion because he blames himself.
Speaker C:Yeah.
Speaker C:And I think that is like him being the most vulnerable in this entire scene because that is like the deep, the deepest rooted part of himself of.
Speaker C:Oh, yeah, of him blaming himself because he wasn't there.
Speaker C:Again, so much of Eddie's trauma, as opposed to Bucks, which is being.
Speaker C:Which is abandonment.
Speaker C:Eddie's is not being there.
Speaker C:And so that just like, brings all of the.
Speaker C:All of that trauma back up again.
Speaker C:And he is playing himself open for Buck at this moment.
Speaker C:And I do love how steady Buck's gaze is on Eddie.
Speaker C:He doesn't blink.
Speaker C:He.
Speaker C:His eyes don't, like, look around too much.
Speaker C:He doesn't close his eyes to, like, take it in.
Speaker C:I think that's a very smart decision on Oliver's part to just have him watching Eddie, like.
Speaker C:Like, just then, that whole time, like, undivided attention.
Speaker C:Because Eddie has just wanted to be seen this whole time.
Speaker A:He just wants to be told that it's not his fault.
Speaker A:And yeah, hugged like that's literally all Buck had to do here to land the plane.
Speaker A:It's all he had to do.
Speaker A:But instead his.
Speaker A:His fucked up brain.
Speaker C:Yeah, they're the wrong way.
Speaker C:They're both so embroiled in their own insecurities of what has happened.
Speaker C:Being abandoned by Bobby, Eddie not being there for Bobby, that they can't even.
Speaker C:Even though Eddie is doing so much to reach Buck emotionally and to open himself up so Buck can then open up.
Speaker C:It's that.
Speaker C:It's that give and take that we see so often with.
Speaker C:With other couples like Chimney and Maddie that they do so, well, this, like, I'm gonna be a little vulnerable, so then you can be vulnerable right back at me.
Speaker C:And Eddie is trying so hard to do that, but they're just so.
Speaker C:They're still so, like, far apart in their insecurities.
Speaker C:They're.
Speaker C:They're so entrenched in it that they.
Speaker C:You know, Eddie is trying to reach out, but he can only reach out so far.
Speaker C:And Buck is, like, so insulated into himself, like, small inside his, like, steel wall of.
Speaker C:I gotta be fine.
Speaker C:Like that they.
Speaker C:That they just can't reach each other at this point.
Speaker A:It's also, you know, they've never grieved together, so it's.
Speaker A:It's a new language.
Speaker A:It's not something that they can.
Speaker A:Like a lot of the other things.
Speaker C:They don't know how to.
Speaker C:How to navigate it.
Speaker A:They don't have an unspoken.
Speaker A:You know, we just make faces at each other, and that's how we communicate about the situation to know what the other person needs.
Speaker C:They don't know what these faces mean.
Speaker B:Yeah.
Speaker B:This is the season of season eight, buddy.
Speaker B:Miscommunication.
Speaker B:That's really what the season was.
Speaker A:Oh, it's.
Speaker C:It's gonna keep happening, and it's on purpose, and.
Speaker C:And it's gonna continue into season nine.
Speaker A:Yep.
Speaker C:And is.
Speaker C:But I'm so glad we have this kind of scene because it really is so fascinating.
Speaker C:It's such a good character study.
Speaker A:Eddie's face immediately closes off after Buck comes at him with, you didn't think I did everything I could to save him.
Speaker A:His face closes off and he looks.
Speaker A:He looks angry again.
Speaker A:But again, it's all.
Speaker C:It's not at Buck.
Speaker C:It's not himself.
Speaker A:It's at himself.
Speaker A:He's like, I don't know, Buck.
Speaker A:I wasn't there.
Speaker A:And it's just like, they're having two different conversations.
Speaker C:They are.
Speaker C:That's the thing.
Speaker C:They're.
Speaker C:They're having two different conversations.
Speaker C:They think they're having the same conversation.
Speaker C:They're not.
Speaker C:And also the way.
Speaker C:The way Eddie says, like, I don't know, but I wasn't there.
Speaker C:He.
Speaker C:His head kind of shakes a little bit.
Speaker C:And, like, his body, like.
Speaker C:Like, he looks like he's almost gearing up for a fight.
Speaker C:Like, again, almost like.
Speaker C:Like stealing himself to, like, yeah, I'm good.
Speaker C:I'm gonna be tough again, like.
Speaker C:But it's not directed at Buck.
Speaker C:It is actually, again, directed at himself.
Speaker C:All of that is internalized.
Speaker C:So when Eddie is like, I don't know, Buck.
Speaker C:I wasn't there.
Speaker C:Yeah.
Speaker C:This Is just like that.
Speaker C:That major miscommunication because Buck thinks that he's blaming.
Speaker C:That Eddie's blaming him for not being there and.
Speaker C:But it's just like they're so involved in their own issues.
Speaker A:Sorry, I just had this thought.
Speaker A:Eddie storms.
Speaker A:Eddie storms out to the couch.
Speaker A:Like 10ft away.
Speaker C:In the open, somebody.
Speaker C:I can't even slam a door.
Speaker B:I think I wanted to fix that.
Speaker B:I read there some.
Speaker B:Or maybe it was a Twitter.
Speaker B:It was like a tweet and someone.
Speaker A:Was like.
Speaker B:Something about like one of them storming off and like they go outside and then they're like, oh, wait, I actually live here.
Speaker A:I sleep here.
Speaker C:And then have to like slink back inside.
Speaker C:Being like.
Speaker A:Like the most privacy you could have gotten was like just going to the bathroom and taking a shower or something.
Speaker C:Yeah, yeah.
Speaker B:The bathroom's too close to Buck's room.
Speaker C:I also.
Speaker B:We don't even know what's happening with the guest.
Speaker B:With Christopher's room.
Speaker A:I mean, shrine.
Speaker C:It is.
Speaker A:It's empty.
Speaker C:I also find it kind of fascinating that Eddie is the one to leave this scene.
Speaker C:He's the one to exit the kitchen because he was the one to enter the kitchen.
Speaker C:Buck was already there and he left first.
Speaker C:Buck was already in the kitchen.
Speaker C:He was already there.
Speaker C:He's staying in the kitchen.
Speaker C:And it was Eddie to like, come in and leave.
Speaker C:Okay.
Speaker C:Almost like he is.
Speaker C:He's so much more transitory in Buck's life now because maybe he doesn't belong anymore because he belongs in El Paso.
Speaker C:We know that's not true.
Speaker C:But, like, he doesn't feel like he has the right to stay or.
Speaker C:Or the plans to stay.
Speaker C:But also.
Speaker B:Well, yeah, it's not.
Speaker B:It's not his house anymore.
Speaker C:I know.
Speaker B:Well, it's technically still his house, but it's not.
Speaker A:He's leasing it.
Speaker A:But yeah, I kind of just read it as he kind of opened up as much as he was fucking able to.
Speaker A:And now he has to go, like, sew himself back up.
Speaker C:Yeah.
Speaker A:All the wounds that he just self inflicted to try and like, get Buck to open up.
Speaker C:And he also does like to have the last word a little bit.
Speaker C:Well, yeah, part of that, like, last little sting of.
Speaker C:Well, think on that.
Speaker C:And now I'm gonna leave.
Speaker C:But again, it wasn't directed.
Speaker C:This one.
Speaker C:This last one wasn't directed at Buck.
Speaker C:He is so angry at himself for not being there again.
Speaker C:Yeah.
Speaker C:Then he just goes and pouts on the couch.
Speaker A:You think how the blanket over his head.
Speaker A:So that when Buck came through, he Couldn't see him.
Speaker C:But the thing is too, like, when Buck leaves the kitchen, he has to walk right by.
Speaker A:That's what I'm saying.
Speaker C:And are they just like.
Speaker B:No, no.
Speaker B:He has to go through the living.
Speaker B:Like the.
Speaker C:Oh, true.
Speaker C:Okay.
Speaker B:That walkway that's in front of Christopher's room, he could have just.
Speaker C:There's.
Speaker B:Whoops.
Speaker B:There's a.
Speaker C:Never mind.
Speaker C:Yeah, but it is.
Speaker C:Okay.
Speaker C:So then it is interesting, though, in the next scene, which I don't think we.
Speaker C:We have here, but, like, that next day, you know, when Eddie has, like, folded up the sheets and put it on the couch and gives the.
Speaker A:No.
Speaker C:And.
Speaker C:And Buck comes out and he's like, hey, Eddie.
Speaker C:And he's so ready to finally talk about something.
Speaker C:And then Eddie's just not par for the course.
Speaker C:Eddie's just not there.
Speaker C:And Buck thinks he's been abandoned again.
Speaker C:And we know it's.
Speaker C:This is for good reason because this is Eddie making his apology and bringing Christopher and Peppa back into the picture.
Speaker C:But just, like, the way that that leaves it, too, is so indicative of this entire thing.
Speaker C:Like, it's.
Speaker C:It's the same issue.
Speaker C:Eddie is not there.
Speaker C:Buck feels left again.
Speaker A:They just.
Speaker C:They just.
Speaker C:Oh, my God.
Speaker A:It's just.
Speaker C:They need to talk.
Speaker A:It's also just so purposeful because, like, Buck was ready to talk, but Eddie wasn't there.
Speaker A:So, like, if he had been there, they would have actually had a conversation, but instead they were like, no.
Speaker C:Yeah.
Speaker C:Which, again, we're gonna write this again.
Speaker C:Purposeful.
Speaker A:I think we're seen to show how embedded he is in this family, not just with Christopher, but with Peppa and continue to not let them actually have real conversation.
Speaker A:Interesting choices.
Speaker C:Yeah, they're.
Speaker C:They're really driving home this.
Speaker C:Like, they're on opposite sides.
Speaker C:They're not communicating the way they normally do.
Speaker C:Oh, yeah, it's gonna be so juicy when they finally.
Speaker B:I know.
Speaker A:This scene just, like, every single part about it.
Speaker A:It could straight up be, like, ripped out of, like, a romantic, like, drama.
Speaker C:Yes.
Speaker A:Of a married couple.
Speaker C:Because this is what that is.
Speaker C:It's.
Speaker C:And it's filmed in that way, down.
Speaker A:To Eddie sleeping on the couch and leaving a note that he left the next morning.
Speaker A:Yeah, like.
Speaker C:Like this.
Speaker C:This whole scene could have been in a marriage story.
Speaker C:Right.
Speaker B:Oh, my God.
Speaker B:Not that movie.
Speaker C:Except maybe without, like, the making Holes in the wall.
Speaker C:Already seen that.
Speaker A:It's the vibe.
Speaker B:It's the fact that it is the vibe.
Speaker A:Yeah, it's.
Speaker A:It's that everything was so intentional from every piece of this from the dialogue itself to the.
Speaker A:The direction.
Speaker C:Yes.
Speaker A:In the script to the blocking, the lighting.
Speaker C:Yeah.
Speaker A:Costuming, acting, the directing, the cinematography, the shaky camera, the, like, everything we've talked about, like, all.
Speaker A:It's also intentional to make it feel this way.
Speaker C:This is possibly one of the best scenes of 91 1.
Speaker C:I think it's a fantastic scene of television.
Speaker C:I do think everyone involved should like.
Speaker C:It's a perfect mesh of all of the different people involved in this.
Speaker C:I do just want to say, like, the.
Speaker C:The credits for this episode because it was written by Molly Greene and James Leffler, it was directed by Jonathan Lawrence.
Speaker C:And then the.
Speaker C:The director of photography was Andrew Mitchell.
Speaker C:And I think we know.
Speaker C:We know the actors, obviously, but I think.
Speaker C:I think everything just like, came together in such a perfect way.
Speaker C:Like all of.
Speaker C:All of those different elements just works so well in the way that they decided to play this, like from the.
Speaker C:From the handheld camera.
Speaker C:And I think Andrew Mitchell often focuses a lot on.
Speaker C:On movement.
Speaker C:And I think that really gives a great dynamic to this scene.
Speaker C:The way they.
Speaker C:They had the blocking with the turning away and opening up to each other and, you know, in the different corners of.
Speaker C:Of the kitchen, the different sides is just so fantastic.
Speaker C:And the writing, which.
Speaker C:I think we are pretty big fans of Molly Green and James Leffler's work this season.
Speaker C:It's their being their first season on 91 1.
Speaker C:OG I think they wrote for Lone Star previously, but, like, to understand the characters so well like that, that really shines through in this.
Speaker C:Because in order for.
Speaker C:For the characters to be at such odds like this in a way that is so in character, you have to really understand them just like, generally.
Speaker C:Right.
Speaker C:And then the.
Speaker C:Like, the acting choices, there's a lot of care.
Speaker B:So much care put into this scene.
Speaker B:And I don't know, like, this.
Speaker B:This is.
Speaker B:I mean, I'm not trying to downplay it, but I'm just saying, like, for such a scene where it's.
Speaker B:It's starts off as a silly, silly argument, but not argument over groceries to what it became at.
Speaker B:To the.
Speaker B:You know, how we got to the end of it.
Speaker B:Like, there was just so much.
Speaker B:So much care and so much.
Speaker B:So much nuance.
Speaker B:It's just.
Speaker B:It's so.
Speaker B:It's an impactful scene with a lot of.
Speaker B:A lot of meat in it.
Speaker C:Yeah.
Speaker A:It's like she's gonna say meat or juice.
Speaker C:Either way.
Speaker A:A lot of juice.
Speaker A:Yeah.
Speaker A:And it's.
Speaker C:And I.
Speaker A:Very juicy.
Speaker A:I should have said juicy.
Speaker B:Don't drink the water.
Speaker B:Sorry.
Speaker C:That's what this episode is all about.
Speaker C:You gotta drink the juice.
Speaker B:Yeah.
Speaker C:Instead of the liquor.
Speaker A:They should have just doordashed the groceries and drank the juice.
Speaker A:We solved it.
Speaker A:This would have like, feral dispute over.
Speaker C:So much, like sidestep so much.
Speaker C:I think also just to like give some extra praise to Oliver and Ryan.
Speaker C:I think they also.
Speaker A:Oh, yeah.
Speaker C:Really show their incredible range that they have and how well they know the characters and how well, like in addition to the writing.
Speaker C:Because you, you know, you base what's on the page but.
Speaker C:But in some of those moments that they find together, like within the characters of themselves, but also the relationship that Buck and Eddie have and that push and pull, or push and push rather.
Speaker C:And I really want to say, like, they found the textures of the characters so well.
Speaker C:I know you're going to laugh at me, but that's what this is.
Speaker C:It's like because.
Speaker C:Because it is so nuanced, it is so like deep that they just, they just get it and it's.
Speaker C:It's played so well on both of their parts.
Speaker C:So, like I could watch this scene.
Speaker A:It's so good.
Speaker C:So it's 10 hours long.
Speaker C:It's a three minute scene.
Speaker C:It's 10 hours long.
Speaker C:To me, like we've been platinum in.
Speaker A:My head three hours and talking about it for two and a half of those.
Speaker A:So, yeah, needless to say, we love this scene.
Speaker A:We think it's incredible and we can't wait for more like it next season.
Speaker A:Hopefully next season.
Speaker A:Yeah.
Speaker C:Just like a master class of.
Speaker C:Oh, yeah, Television.
Speaker A:Yeah.
Speaker A:I like, I would love for them to get this director again.
Speaker C:Yeah.
Speaker B:Yeah.
Speaker A:This is one of Tim's good friends.
Speaker C:I think so.
Speaker B:I believe so.
Speaker A:That's what the street said.
Speaker B:That's what the streets said.
Speaker A:This was the streets reported.
Speaker B:The streets reported from Tim's Facebook.
Speaker A:Great choice, Tim.
Speaker A:Yeah, great choice.
Speaker B:Bring him back.
Speaker C:The matching of the director to the writers.
Speaker C:Writers, that was just kind of magical.
Speaker C:So like that.
Speaker C:That worked out really well.
Speaker C:Yes, please, everybody, more.
Speaker B:I need that trio.
Speaker B:Or actually no, that.
Speaker B:Is it a quad.
Speaker B:Yeah, I need that quad from this.
Speaker B:From the two writers, the director and the director of photography.
Speaker B:And those four to do another.
Speaker A:I love Andrew Mitchell's stuff.
Speaker A:So.
Speaker C:Yeah.
Speaker C:It's so cool.
Speaker A:I mean, I love all of the.
Speaker A:It's just like everyone has their own flair, but the, the movement based of like his stuff.
Speaker C:Yeah.
Speaker A:Is so like, I'm like, I'm in it.
Speaker A:I'm here.
Speaker B:Yeah.
Speaker B:Consistently like this whole season has that, that kind of camera yeah, it's been really good.
Speaker B:It's, it's, it was different even from the start because I think we did notice it from like the first episode.
Speaker C:801.
Speaker B:From 801 we were like, whoa, this is different.
Speaker C:It's very immersive.
Speaker C:So, yeah, it's just an.
Speaker C:A really even easier way to get us as the audience, like, entrenched in what's going on on screen, which is a great, like, that's so cool to be able to like, do that through visual language like that.
Speaker A:Remember, don't divorce your baby daddy in the kitchen.
Speaker C:Don't forget to doordash.
Speaker B:Don't forget to doordash Doordash your groceries.
Speaker A:We're really trying, really working for sponsorship.
Speaker C:Are we, Are we meeting a dead horse or.
Speaker A:Remember, don't divorce your baby daddy in the kitchen.
Speaker B:But if you do, take a buddy with you.
Speaker A:Thank you for listening to the Buddy System podcast from start to finish.
Speaker B:We literally cannot shut up about 91 1.
Speaker B:So please come talk to us on your favorite social media platform.
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