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

Summary

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Pod Meets World

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

Date: May 7, 2026
Hosts: Danielle Fishel, Will Friedle, Ryder Strong

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Episode Overview

The trio returns to rewatch and break down "Boy Meets World" Season 7, Episode 17: “She’s Having My Baby Back Ribs.” This episode, first aired in 2000, tackles body image, diet culture, and the awkwardness of young adult weight gain, exploring how these issues played out on screen and behind the scenes. The hosts reflect with raw honesty about the personal and professional discomfort the episode caused them, as well as its surprising moments of humor and lasting impact on fans.

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Key Discussion Points & Insights

1. Initial Reactions and Dread

• [11:04] Danielle: Opens with how much she has dreaded rewatching and discussing this particular episode due to personal discomfort and negative associations.
• All three hosts recall feeling uneasy or resistant to the storyline at the time of filming.

2. Episode Recap & Directorial Dynamics

• The plot: Eric and Topanga notice weight gain and go on a secret diet, while Corey suspects Topanga is pregnant.
• Director Jerry Levine:
  • [11:59] Ryder: Remembers connecting with Levine, an actor-turned-director who inspired his own interest in directing.
  • [12:38] Danielle: Admits she “didn't take him seriously at the time,” and reflects on the cast’s autopilot mentality by the show’s seventh season.
  • [13:24] Danielle: “We were on, we should have had... two to three hour work days... but new or first-time directors made our days longer... I think I resented that.”

3. Behind the Scenes: Blocking, Stand-Ins, and Set Culture

• [15:22–16:45] Will & Ryder:
  • Discuss the unique set culture: cast members blocked their own scenes rather than relying on stand-ins, which, though more work, fostered a sense of connection and mastery.
  • Ryder carried this philosophy into his own later directing work.
  • Reflection on how new industry practices (robotic cameras, etc.) impact the performative aspect and “theory of mind” (empathy) during tapings ([19:14] Ryder: “It makes you feel disconnected without humans in the crew.”).

4. Writing, Gender, and the "Shield" of Female Bylines

• The episode script is credited to two women writers, but the hosts suspect this was a "strategic shield" for controversial or sensitive topics.
  • [21:41] Danielle: “Some of the weirdest scripts that feel the worst toward women... are written by women writers—or at least have women's names on them.”
  • [22:24] Danielle: Shares Michael Jacobs' (series creator) comment: “I write every episode. But you mean whose name was on the front.”
  • [23:01] Ryder: “Is putting a female name on the script... a shield?”

5. Body Image, Fat Jokes, and Double Standards

• [23:07] Ryder: Decries one of “the most devastating lines in Boy Meets World history... 'you lost your figure,'” and calls out the episode’s premise that Danielle (Topanga) or Will (Eric) were “fat” by any reasonable standard.
  • [24:21] Will: “For Eric, it's just literally none. Just the fat joke…”
• [26:22] Danielle: Notes: “I could see that both of you were uncomfortable [filming]. Especially you, Will, I can tell your commitment level. You’re still giving a 10, but you’re dying inside.”
• [30:02] Will: Observes gender disparity: “Put on 50 lbs as a guy, totally acceptable if you’re funny. As a woman, five or six—write a story about it.”
• [31:53] Danielle: Shares feeling that “the writers didn't know what to do with me” once her appearance changed.
• [32:19] Will: Acknowledges some responsibility as young actors to maintain the character’s look, given the industry standards of the time: “Part of the job is you've got to look the part.”

6. Audience and Personal Reflections

• Fan Impact: Despite their pain, Danielle recounts hearing from women for whom the episode was affirming:
  • [29:24] Danielle: “This episode was the one that finally made them feel beautiful... made me feel accepted and beautiful.”
  • [29:26] Ryder: “It comes full circle for you... not for Eric.”
• [45:09] Ryder: “I left Boy Meets World feeling like a very unattractive person...you spend whole lines of dialogue talking about how beautiful Maitland [Rachel] and Matt [Jack] are.”

7. Notable Behind-the-Scenes Moments

• [34:46] The group cracks up over a Matt Lawrence (Jack) blooper in the student union scene that repeatedly made them laugh during their rewatch.
  • [35:45] Danielle: “Of all the moments where you can tell we're trying to make each other laugh, this is my favorite one any of us have ever done.”

8. Episode Craft and Humor

• Despite misgivings, they find the episode “funnier and smarter than expected,” especially the subplot about Corey thinking Topanga is pregnant ([26:03] Will: “This was a good episode.”)
• [38:22] Will: “Honestly, when we do our draft, this might be my first pick for season seven.”

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Notable Quotes & Memorable Moments

• Danielle [14:08]: “This is not a compliment to me… but we should have had two to three hour work days... when you get a first-time director your days were longer... and I think I resented that.”
• Ryder [22:04]: “He only wanted it to be his words ultimately.”
• Will [23:07]: “One of the most devastating lines in Boy Meets World history—‘you lost your figure’... that’s insanely insulting... and also, she's beautiful. What is that?”
• Danielle [29:24]: “This finally made them feel beautiful. That’s great. And it’s so sad that you have such a negative association to that episode…”
• Will [30:02]: “Put on 50 lbs as a guy, totally acceptable if you’re funny. As a woman, five or six [pounds], and we gotta write a story about it.”
• Danielle [31:53]: “What I was feeling was the total discomfort at least one person in the writers' room felt with the fact that they no longer found me attractive and therefore didn’t know what to do with me.”
• Will [32:29]: “You have this delusion that maybe nobody else sees it... then you’re called into the office and they go, ‘You guys are fat. We’re gonna write to it.’ It’s like, oh no, everyone sees it too.”
• Will [34:31]: “Matt does, to me, the funniest thing I’ve seen maybe in all seven years of Boy Meets World.”
• Danielle [36:41]: “I literally just kept watching it. I was like, I can’t stop laughing. Every time it got a bigger laugh for me.”
• Ryder [45:09]: “I left Boy Meets World feeling like a very unattractive person... I absorbed a lot of that into my sense of myself.”
• Will [48:22]: “You’re lumping in being an actor and being a child actor—completely different thing.”
• Will [51:11]: “Which is why I’m all for absolutely banning social media until you’re 21… Being 14 is hard enough.”

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Important Segment Timestamps

| Timestamp | Topic/Insight | |-----------|---------------------------------------------------| | 11:04 | Dreading the episode recap, synopsis, initial reactions | | 12:37 | Actor-turned-director dynamics, Jerry Levine memories | | 14:08 | Cast resentment over new directors, set workflow | | 15:22 | Blocking scenes vs. using stand-ins; philosophy for actors | | 19:14 | Robotic cameras & theory of mind | | 21:41 | Women writers as a shield for controversial scripts | | 23:07 | “Devastating” lines about body image; double standards | | 26:13 | “This was a good episode”—surprise at episode’s humor | | 29:24 | Fan accounts of episode’s positive impact | | 31:53 | Female body ideals and writer discomfort | | 34:46 | Matt Lawrence’s iconic blooper | | 38:22 | Choosing this episode as a season favorite despite history | | 45:09 | Personal impact of set beauty standards | | 48:22 | Child acting and identity formation | | 51:11 | Celebrity and social media: 90s vs. now |

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Flow & Tone

The tone oscillates between candid vulnerability and playful banter—mirroring the hosts' friendship and willingness to process complicated emotions publicly. They hold nothing back when wrestling with body image, gender roles, and the evolution of TV, though they find humor wherever possible.

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Additional Highlights

• Eric’s (Will’s) “fat joke” storyline has no closure or resolution, unlike Topanga’s.
• Scripts credited to women writers do not guarantee a feminist perspective, especially when showrunners rewrite deeply.
• Real-life physical changes of actors dictated storylines, breeding discomfort and self-consciousness.
• Multiple hosts experience catharsis rewatching, altering previously negative memories.

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Conclusion

Despite having “genuinely feared” this revisit, the hosts ultimately find nuance, serious laughs, and even some healing in breaking down “She’s Having My Baby Back Ribs.” Their insider candor about 90s TV culture, child acting, and the unique chemistry of the "Boy Meets World" cast makes for a rich, emotionally resonant listen—critical both for nostalgic fans and anyone interested in the intersection of TV, adolescence, and self-image.

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End of Part 1.
(Stay tuned for Part 2 as the conversation about this infamous Boy Meets World episode continues.)

Transcript

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I got to get in the front seat. And it was so funny because he had joked about how small the back seat was. He was like, oh, no adult could fit back there. Your legs would have to be this big. And in my mind, I'm thinking, like, okay, sure. I'm sure they wouldn't do a backseat if an adult couldn't sit back there. And then I get into his car and I'm looking around, I'm like, oh, my gosh, Will, it's beautiful. And I look at the seat behind his. It is like, what's the point?

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This.

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This much room.

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Now, granted, it's because Will is driving it. If I moved my seat forward to a place where I still had plenty of room, you know, I'm only 5:1, so, like, I still have.

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Nobody would be comfortable back there.

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Unless you're.

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Why do they even have a back seat then?

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Like, there's like, some reason for it. It's. It's either like insurance or there's some reason it's like, it's a four seater

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where it's like, technically a sedan. Tax break on our imports.

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Not at all. Yeah.

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So are you driving with a top down everywhere?

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Everywhere.

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It was. It was gorgeous.

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That's what I remember. I loved having a convertible. I really, like, I totally got into it. I was like, I would just try. And it's so funny because when you don't have it, like, I never rolled out my windows. You know what I mean? Like, I'm like. But then when I had a convertible, it was open all the freaking time, and I was just always in the sun or out in the weather. And, like, it's so weird that convertibles

[B]

at night are one of my favorite things. Oh, so dropping the top at night and I don't put any music on. You just listen to the engine and the. The wind. It's great.

[A]

I wanted that red Toyota Celica convertible when I turned 16. And my mom was like, no, you're not getting a convertible. If you've car flips, you're dead. That was my mom. Flips.

[C]

You're probably not in a great place anyway.

[A]

I mean, I was gonna say, I'm not sure how many times in my life I've heard of flipped cars. Like, I've heard.

[C]

I. I know a couple people have flipped their cars. Ocean flipped his car once.

[A]

Like a sedan. Or was it SUV?

[C]

No, he was in an SUV.

[A]

Well yeah. SUVs you hear because they're top heavy.

[B]

Yeah.

[C]

Yeah. I don't know man. That's. I. I don't. I wonder what the actual safety issue because my parents were the same way. They didn't because originally I wanted to. To get an older convertible. I wanted to get a Karma and my. My parents were like no. And that's why I ended up getting a BMW because they were like well if it's a newer car it's safer. It has airbags and all that.

[A]

Right.

[C]

But I still. Convertibles are also.

[B]

Convertibles are also heavier than non convertibles because of all the mechanisms. Everything you need to do your roof. A convertible is always heavy. That's why.

[C]

Yeah.

[B]

Quote unquote true car people like I don't want a convertible because they don't handle as well as the regular cars because they have to make them heavier

[A]

because of all the metal.

[B]

Take the top down. It's all the scaffolding and the stuff you need to do it is actually you. It's heavier. A conversible.

[C]

That doesn't make sense because my BMW was cloth though. It was literally there was no mechanism.

[B]

It's still, it's still the to all because when you take off the roof of a car you can fact check it but when you take off the roof of a car it becomes less stable. So they have to. They have to reinforce other parts.

[C]

Okay. And.

[B]

And you know there's more metal here, more metal there. More metal to reinforce the thing of where the. To make it more easily sound.

[C]

They're small cars often like my BMW is tiny and like you think about the Mazda Miatas like those are little toy cars. Like if that gets hit by a

[B]

truck they're so much over.

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I just like to read. I'd just like to read what Google says here. Yes. A convertible is almost always heavier than its hard top coupe counterpart. While removing the roof seems like it should lighten the car. The necessary added structural reinforcement for safety and rigidity along with the roof operating mechanism typically adds over 100 hundred to 300 pounds.

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Yeah. Makes it a lot heavier.

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Okay.

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So pretty.

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Thank you. Check Mark.

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What's the BT for?

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Okay. That's what it is.

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I'm Ryder Strong.

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[C]

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[A]

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L the Love hypothesis and much much more.

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[A]

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[A]

Welcome to today's episode recap. We are recapping season seven, episode 17, she's having my Baby Back Ribs. It's an episode I have genuinely feared a little since we started.

[B]

Me Too.

[A]

Season 1, episode 1. It originally aired March 3, 2000, and the synopsis Eric and Topanga go on a diet because they've noticed they've gained weight and Corey thinks that Topanga is pregnant. It was directed by Jerry Levine, his fourth of five that he directed.

[B]

I still can't believe he did five episodes.

[A]

If you had get offered me $1 million, I would not have been able to tell you who directed this episode.

[B]

Oh no, I couldn't have either. But I also.

[C]

What do you mean? Just because you blocked it out or.

[A]

I think I've blocked so much of this. I don't remember. I mean, I really.

[B]

Do you remember Jerry directing five episodes? I didn't remember him directing five episodes.

[C]

I did. That's so funny. I really connected with him directing. Like I think it was because it was one of the first times I was like, oh, an actor. Because I mean, obviously we had had actors turn directors. But like he was taking it so seriously that I was like, I learned from him. Like I remember talking to him about it. So in my mind he was like my favorite director. Just cause I. I could see myself in him. Do you know what I mean? I was like, someday I'll get to direct. I think it's probably because he said that he's like, you know, because I've heard this before and I don't know if maybe he was the first person to like. It's the masterclass in acting is to be a director is you finally learn what it's like to be. And I feel like I learned that from him. Like. Or he was maybe. Because I remember thinking, like, someday I'll get there. Like I want to direct someday based on working with him.

[B]

Which is cool.

[A]

I don't know, I feel like maybe I was like, oh, he's not a real director, he's an actor. Like, I was like, I don't need to take this guy seriously.

[C]

He's lucky to be here.

[A]

Yeah, he's an actor. He's friends with Michael.

[C]

Well, there's a thing exactly of people were just kind of getting shots and we didn't take them all seriously. I totally. Yeah, no, I know. I mean, cuz even like. Cuz I mean even Rusty didn't really direct outside of Boy or Girl afterwards, you know, like he went pretty much back to acting.

[B]

Yeah.

[C]

But you know, you think about it, you know, Jeff was. McCracken was an actor originally too. I know, it's just that we only knew him as a director, but like he had already made that transition.

[A]

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

[C]

just assumed he was lucky to be there. And yeah, it was also we were

[B]

on such autopilot that it was like, are you really? And it's like, you know, some of these directors were. They were first time directors, they wanted to like direct.

[A]

Yeah.

[B]

And it was like, let me tell you what Eric should be doing. And I'm like, really? This is episode 154. You're not going to come in and

[C]

tell me what Eric should be doing?

[B]

And it's an ego. It's an actor ego thing where it was just like, I know what I'm doing. I don't need you. No.

[C]

Well, they mostly been the other way, out of our way. They just mostly stayed out of our way. That's what I remember.

[A]

I do remember that it's like the

[B]

B episode where it was like, oh, you're gonna direct me now. Even though we've been doing this for seven years. It's like, tell me where to stand. Because that's what you should be doing. Block the scene out. I'm gonna totally listen to you. But let's not talk about what Eric should be thinking in this episode. I'm Eric.

[A]

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

[B]

Yeah, right.

[A]

And I think I resented that. I think I felt like I did too.

[B]

I felt it was a total actor ego thing. Like we know what we're doing and you're kind of new on the set. But there was something else that we've never really talked about which was such a, such a difference when I went on to do other shows is we always, unless we were in school when we were kids, we always blocked our own scenes.

[A]

Yeah.

[B]

So we had stand ins, but we were actually doing the blocking. We were sitting there and blocking our own scenes. And then even for camera day, we were sitting there and doing the blocking. Whereas I would go on to other shows afterwards and we'd, you know, rehearse it once and then they'd be like, all right, second team in and they do all the camera blocking with the stand ins. Which we didn't do.

[A]

Yeah, I mean, I know what you mean.

[C]

The camera blocking. Not.

[B]

Yeah, camera blocking.

[C]

But you're not, but you're. They weren't determining where you went. You were still figuring out.

[B]

No, no, no.

[C]

But I'm saying I was confused.

[B]

Shows though, you would run it once for the cameras and then leave lighting and the stand ins would do. Whereas we did all that for ourselves. And I actually, as much as it was a lot more work, I preferred it. Yeah, I liked being on the set. I also knew then by the time we went to shoot, we'd done the scene with rehearsals and blocking 50 times. So you didn't have to worry about anything. I felt very detached on other shows where it was like, wait, I didn't do the camera.

[C]

I got some from the stand ins on Girlmates World because I didn't want them to be doing the work for the kids. I wanted everybody to do the blocking. And so I like.

[B]

We did.

[C]

Yeah. And Frank Pace, I remember that producer was like, yeah, we don't need them for like the camera blocking day or like there was an extra day. And so it sucked because they lost a day of work. But I was like, but it's better for the actors, it's better for me, it's better for the camera and you know, save the production money. So Frank liked it too. But yeah, and it sucked. And I remember them coming up to me and they're like, hey, you know, they're telling us that you don't need the stand ins and that's like our job. And I was like, I'm so sorry, but it actually really hurts us when you, when they, when they stepped in, did the blocking, then the kids would show up and not know the blocking and the camera and starting over. Yeah. And I just wanted it to be. I wanted the camera department and the actors to be communicating with each other, which is how we were on Boy Meets World. Yeah. And when you had an intermediary day where that doesn't happen, you lost that and I would. Yeah, yeah, yeah. So I'm with you, man. I, I think, I think it's important to stand in for yourself if you can. I absolutely love.

[B]

I guess I get it on film more than on tv where it's like, I guess if you're going to be sitting there forever, if you're relighting and you're in makeup, turn around.

[C]

Sure.

[B]

That I understand but on a sitcom, I, I missed it. I feel disconnected to this scene now because I wasn't here when they blocked the whole thing out.

[C]

Exactly.

[A]

And as an, as a director, when, let's say you're not working with kids, you're working with adults. Because we used to do this on Lopez. We had a wonderful stand ins on Lopez vs Lopez. But every time for camera, they would only want to do it once and they'd say it's going to completely change when our first team gets in here because they are, they are going to move in, they're going to, they're going to be more fluid. Stand ins really very much want to do exactly what they're supposed to do, which is like. And so where do you want me to stand? You want me to stand right here? And then they light for this line

[C]

and then for this line.

[A]

And guess what? When Mr. George Lopez walks onto set, I'm not going to say, you know, you're saying stand in stood 4 inches closer to the. Could you do closer to what your stand in did than what you. This, this person, this show is named after? Like, we're, we're relying on him to be the, the. Yeah, everything should work around him, not the other way around. So it is one of those situations where you're like, okay, I guess we have something temporary, but it's not the real.

[C]

It's like a general map. And, and I mean, the camera operators usually know their job so well that they don't, they don't even need to see it once. They can do it live practically. It's like they've been around. They know I've had the crazy experience. I don't know if you guys have done this. I've been, I've done two morning news shows lately. Oh, no. Camera operators. Do you know this? Just robots.

[A]

Oh, it's all the robot stuff.

[C]

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

[B]

I'm like, you kind of buried the lead, though. Why were you on morning shows?

[C]

Red weather for the podcast. Gotcha. Gotcha. So I did two, like, an LA morning show, ABC morning show, which was great. And then I did another one that was like an online morning show, news. But it was, you know, one of the. But in both times it was a full newsroom, which I hadn't done in years. And, yeah, now they're all robots. And it makes sense, right? It's like, saves so much money. They get the perfect shots. They can control them from a booth. I have no. I never even saw or heard no. Who was controlling it? Because everyone has earpieces except me as the guest.

[B]

Right.

[C]

So they're all communicating with the director, camera ops. And I'm just like, these things are moving by themselves. They're getting a shot of me. It's so uncomfortable. It's so weird. I hate it.

[B]

I mean, I hate.

[C]

I understand why it happens, but it's like, it takes away. It also changes. There's a performative element knowing that the crew is in the room. Like, that's actually who. Your audience. Yeah, it's your audience. So even when I'm doing an interview, there's a human behind the camera that I feel like I can put my brain. It's like, what is it where you, like, have the. You understand that somebody else has a brain? Like, you know, it's like a human ability to, like, that thing has, like. And when you can't do that, when you're just like, it's a robot, I lose my interest in impressing the camera. I'm like, you know what I mean? I'm like, this is so weird.

[B]

I'm not gonna do this.

[C]

Theory of mind. That's the word. It's a theory of mind. Like, when you can put a mind into the thing that you know or the person or the animal or whatever. And in this case, it's like, I can't do that. And so it's. It's so weird. That's the way we're going, guys.

[A]

I know. So this episode was written by Patty Carr and Lara Runnels. And I do think that at this point, it really is a pattern worth noting that some. Some of the weirdest scripts that feel the worst toward women

[B]

are written by

[A]

women writers have women's names on them.

[B]

That's the difference than women writers have women's names on them.

[A]

I think it's.

[C]

Yeah. So how do we analyze that? Do we think it's just that they are pitching the storylines for the episode and they Immediately are like, well, this one's a little sensitive because it involves pregnancy and weight. Let's give it to a female writer. And they do that. And then Michael rewrites it anyway, because that's what Michael did.

[B]

That's interesting.

[C]

I mean, he explicitly told me that he would honor writers. Right. To have their names on the script and to get the residuals. Like, that was always something he cared about, giving them the credit and the shot, but that he didn't care that any of their actual language stayed on the script. Like, he only wanted it to be his words. Ultimately.

[A]

I had a conversation with him once, and I don't remember how the question came up, but I think I asked something about, well, who wrote that episode? And he went, well, I write every episode. But you mean whose name was on the front.

[B]

Yep.

[C]

He looked at it as like an apprenticeship where you got the credit and you got the residuals, but you don't actually write anything, which is his version of events. You know, I'm sure a lot of the script actually was in the first draft with some of these writers. Not all of them, but for a lot of them, it probably didn't change all that much. But Michael ultimately took credit for whatever was on the screen. Anyway, going back to. I think, what started this conversation, we still haven't gotten to the episode.

[B]

Do we.

[C]

We think that. That. That by putting a female name on the script, it was sort of a shield.

[B]

Yes.

[C]

For. One of the most devastating lines in Boy Meets World history is in this script. In this script, when she says you lost your. When he says you lost your figure to his wife, I was like, hold on. Not only is that insanely insulting and, like, crazy, but also she's beautiful. Like, what is that?

[A]

Yes, I know.

[B]

But this is also. This is a world where you have to instantly buy the fact that Danielle, the way she looks in this episode

[C]

is a problem or is noticeable in

[B]

any way, and she's just anything not. So. I mean, the episode. And I hate to hate to say this, because you guys are gonna be like, no, stop. But I'm dressed very big in this episode. I'm clearly very large. This. In this episode. The episode should have been about Eric gaining weight, because you don't look at Topanga and go, wow, she's really put on. She's really packed on the pounds to the point where they. I mean, and we'll get into this. At least they finish her storyline. Eric's just the fat joke and ends. Just the fat joke.

[A]

Literally never.

[B]

That's. It.

[A]

Feels.

[B]

No, there's nothing storyline wise.

[C]

Because I just think that. Yeah, because the arc. I was actually surprised to see the arc come full circle where it was like, oh, actually, you know, Topanga's told she is beautiful and she's not there. It does. It does sort of come full circle with. With her. And I was like, thank God.

[B]

Not at all.

[C]

Not at all.

[B]

For E. It's just literally none. And it's just. And again, I. And Daniel's about to ask us what we thought of the episode, and we'll get into that too. But that was the biggest takeaway for me was it's just like, I know. Just make it about Eric. Because the entire premise is essentially, you have to buy that, you know, Danielle is fat and she's just not. So it's like, okay, but even you,

[A]

dude, I feel the same way about you, Will.

[C]

Yeah, I feel the same way.

[B]

I've got to be at least £200 in the same.

[C]

But you're weighing. You weigh a little bit more than you did at the age of 16.

[A]

Correct.

[C]

Like, that is.

[B]

Compare yourself.

[C]

It's all relative.

[B]

It's got to be £40, though. But again, that. But that you can write to. At least that's something that makes sense. You write to that where it's like, you know, you're not huge, you're not obese, but, man, you've put on some weight. You can see that. That's at least. You put up a picture of me there and a picture of me even just a season before.

[C]

It's also behavior.

[B]

40 pound difference.

[C]

They may put up a picture of

[B]

Daniel and then a picture of Danielle a year before. It's not that big a difference at all.

[C]

No. And when she's trying to squeeze into those jeans, I'm like, those are tiny. I mean, what are we talking about?

[A]

Also, they're supposed to be Ben's jeans. Yes.

[C]

They are clearly female jeans.

[A]

Yes.

[C]

So weird.

[B]

Like, yeah, it was. It was so. Yeah, that was more. The thing for me was just like, well, there's no arc for Eric. It's just. No, I know the fat joke. And that's the whole story. He's the fat joke.

[A]

I know the episode did well. We can talk about it now. And let me. Let me jump into our guest stars. Well, do we want to talk about our overall thoughts before we jump into our guest stars?

[C]

I don't know. I mean, I. I think if you had shown me this episode and I wasn't considering the lived experience for you guys, it was better Than I expected.

[B]

I was like, 100%.

[A]

This episode.

[B]

This was a good episode.

[C]

I was like, it's smart. It has great points. The whole twist of Ben thinking you're pregnant is actually very funny.

[A]

That's actually.

[C]

Yeah, so.

[B]

And there's huge laugh out loud moments in this episode.

[A]

Yes.

[C]

And not just the fat joke stuff. There's actually funny stuff. Corey is Corey spinning his wheels. It's very fun. Like, I was just like, oh, this is actually a pretty good episode. The Sean, Corey stuff is good. The Sean, Corey. I was like, for the first time, I felt, like, relaxed to Sean. Like, Sean and Corey, like, us in bed together. I was like, this is great. I just want. I want to hang with these guys and I want to hang in this.

[B]

So you know why you were also. You shot it. You shot all your without later.

[C]

And I was relaxed.

[B]

You did. Because.

[C]

Yeah, without an audience. There was an audience. But, yeah, I got sick this week. I remember that.

[B]

I mean, but see how pale you were. I mean, it was like you were sick.

[C]

But anyway, overall, I was surprised by how much I did think this episode was intelligent and got to a really cool spot. There's just. Yeah, I just. Then when I was watching it, I could see that both of you were uncomfortable. Knowing you well, and especially, like, with you, Will, I can tell your commitment level. It's like you're still doing it. You're still giving a 10, but you're dying inside, you know? And, like, I can see that now. I don't know. I can see that now. In multiple episodes where we've done this, where they're just pushing you to go so over the top.

[B]

Yeah.

[C]

But especially on this one where it's just like, oh, this sucks. Like this.

[A]

There's a resignation behind the commitment.

[C]

Yeah, exactly.

[B]

There is.

[C]

So I felt that and that hurt.

[B]

You know, maybe other than the personal stuff, I was going through my life and watching it back like that as just a standalone episode of a television show or of Boy Meets World. This episode had me laughing my ass off.

[A]

Me too.

[C]

I think you rewrite the first scene aggressively, and this could be a very salvageable episode. Like, it could have been a perfect episode. It's that first scene.

[A]

Ooh, so cringe.

[C]

Just the opening with them, like, showing off their abs and talking about their looks. And then the scene between you two, like, if you rewrote it so it's less of like, we're fat and more like we feel bad about ourselves or, you know, there's a way to, like, phrase this that could still have the same storyline without just hitting that, like, you're fat. You're fat, too. I don't know. It was just like. It was icky and like. I don't know. But I think if you had rewritten that first scene and then. Yeah. The scene with the parents in the kitchen, which just hurt my soul.

[A]

Yeah. I mean, there.

[C]

I think it could have. I think it could have been a great. Because it's very similar to the haircutting episode. It's a very similar theme. It could have had that. Those kinds of layers.

[B]

Yeah.

[A]

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

[C]

It comes full circle.

[A]

Yeah, it comes full circle for you.

[C]

For me, exactly. Not for Eric.

[D]

No.

[B]

But it also shows just how much harder it is for a woman, I imagine, to put on weight than it is for a man. This was so 97. This was 99. 2,000. I mean, 2,000. Right now, he had passed in 97, but we're in the age of Chris Farley and being big and funny as a guy, Totally acceptable. Completely and totally acceptable. As long as you're funny, you're good to go. You can put on £50, but if you're making him laugh, it doesn't matter. Put on five or six as a woman, and we got to write a story about it.

[A]

Yeah.

[B]

And it was so. That, to me, was also the glaring thing where it was just like, wow, it's. It's really interesting that that's what triggered it. Yeah. Yeah. It's Just big difference.

[C]

And, you know, honestly, you go back and you look at, like, Chris Farley and John Candy, they weren't actually that big. Farley was.

[B]

Farley was Big John Candy, not so much if you go back and look. But. But Farley, towards the end was. He was very unhealthy. He was a big, big guy. But again, there was the. The age of the. The plus size woman who was funny hadn't really started yet. You had RoseAnne in the 90s, but it wasn't, you know, when you got the Melissa McCarthy's and some of the people that came on later where it was like, I don't give a what she looks like. She's hysterical. That kind of changed the ball game a little bit. But in the 90s, it was all thin, thin, thin, thin.

[A]

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

[B]

Yeah.

[A]

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

[B]

Yeah, right. Well, there's also the idea that it's like, maybe you have this, this. And Danielle, you and I have talked about this. You have this weird, I don't know, delusion that maybe nobody else sees it. Maybe I'm the only person who sees that I've put on weight and I'm being too hard on myself. And then you're called into the office and they go, well, you guys are fat. We're gonna write to it. It's like, oh, no, everyone sees it too.

[A]

And they've been talking about it. They've decided, when are we calling them in for the meeting? What are the jokes that have been made? Like, you. You know, you've been the topic of conversation for a while and then I

[C]

went through this whole other side.

[B]

I'm trying to play devil's advocate too because as young actors, you know, as Danielle's, we were talking about at the beginning of the, of the show, there's, you know, we could have done three day weeks. We were, we were coasting towards the end there. And one of our jobs and it's not a lot to. To ask is you also have to keep yourself in check shape. I know that's part of the job is, is too is taking care of yourself. And at the time in the 90s especially being aesthetically pleasing. We were teen quote unquote idols. We were in the magazines. And part of the job is you've got to look the part.

[A]

Yeah, we wouldn't have died here, you know, rainbow colored with stripes even if we really wanted to because that would have changed the character.

[B]

So that was on me as well. I let myself go badly and I had reasons for it. I had legitimate reasons for it. But I also wasn't taking care of myself, wasn't working out, wasn't eating well. And that was on me.

[C]

But you know what will. I mean, I think an interesting counterpoint to what you're saying or maybe just additional point, not gonna count is I could tell that Matt was incredibly uncomfortable. And you know, he hated like having to have that first scene and. Cause he didn't talk about how good. You know, he just takes care of his body because he likes to be healthy and he likes to work out and he does, he does care about. Especially back then. I think he did care about how he. But he didn't wanna talk about it. If anything, it was like bragged about

[A]

how gorgeous he was.

[B]

Never.

[A]

No, never.

[C]

So having to say these lines, I could tell were so painful for him. And like, even like when he like he kind of tanks the joke at the end when he's like, I was jumbo. He has to like make it into like a joke because he's so uncomfortable with the like bragging about how hot he is guy that they're writing him to be. So in a weird way, no matter what, even if it was positive, having to talk about your body and what you look like in the way that this episode is written is just not cool. Like this is not. It's just a weird thing and it's. Yeah.

[B]

I mean, he's also a good guy and he knew that. It's like essentially by me lifting up my shirt and showing my abs, I'M making these guys look even worse. He hated it. He hated it. And you can see. I mean, in one scene he does to me the funniest thing I've seen maybe in all seven years of Boy Meets World. But it is so has not he. He literally just makes fun of the thing. You know exactly what I'm talking about.

[C]

Wait, I missed it four times.

[A]

Five times will same. I literally.

[C]

What are we talking about?

[A]

Okay. In the student union when I call that I go everyone. When I'm about ready to tell people, he goes yeah. And runs. Yeah.

[B]

Yeah.

[A]

Because he had to get to they basically Jerry was like, you get to this point. He wanted him standing there for no reason at all whatsoever. Why does Jack have to answer Topanga immediately? But I literally go everyone. And he has his back to me and he's upstage and he goes yeah. And runs.

[B]

Yeah.

[C]

So he was just making fun of like.

[A]

And then he goes like this.

[B]

Yeah.

[C]

Oh, I totally.

[A]

Like.

[B]

He didn't know they were filming or didn't care. It was the best. I think he's.

[A]

I don't know if he's trying to. I don't know if he's laugh if. If I'm also. Because I think it was like maybe something. It's either between me and him or me and him and Maitland where all of us. Cuz Maitland also has to get back kind of fast and we all are kind of looking at each other.

[B]

Oh, it's the.

[A]

I watched it over and over again.

[C]

It's the completely missed it.

[A]

That's so of all the moments where you can tell we're trying to make each other laugh. Well, that. This is my favorite one that any of us have ever done where we're just like effing.

[C]

We have to watch it. I completely missed it.

[A]

When we get there. Maybe maybe between now and then if someone. One of our producers.

[C]

Because my favorite was. Was it the Christmas episode?

[B]

This is better.

[A]

This is funny.

[B]

It's just Matt going you. It's the greatest thing in the world.

[A]

It really is. That's. It's so good.

[B]

I just kept watching it over and over. I gotta see this again.

[A]

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

[C]

I can't believe I missed. I must have looked. I'm going to it right now.

[A]

Now, because I can look away.

[C]

I guess I missed it.

[A]

While you're looking for it, I'm going to tell you who our guest stars are. We have Peggy Miley, who arrives as the oft mentioned Nana. Boo. Boo. I can't believe it.

[C]

Boo.

[B]

Boo.

[C]

And I didn't remember this at all. I didn't realize.

[B]

I didn't either. And it's made me feel bad because I've met this woman since and I worked with this woman since, and I was like, that's where I knew. Every time I saw her, I was

[A]

like, oh, my God, she be a

[B]

big fan because I know her. Well, it's because we work.

[A]

It's because you work together.

[B]

Yeah.

[A]

Well, Miley has been in a ton of things, including shows like Ale Mac, Frasier and Big Love and movies like Star Trek Insurrection. And she's still alive and working. Listeners may recognize her most recently as Mrs. Driscoll in four episodes of Stranger Things where she becomes infected by a flayed rat and melts into goop. Yeah, I've never seen that show.

[B]

So this isn't. When it's good, it's great.

[A]

That's what's happening on that show. Okay, well, in that episode, okay, Ryan Wilcox appears as coffee guy. And. And this is his only credit.

[B]

Okay.

[C]

Is that the guy that's getting the pizza that Eric takes? He doesn't have any lines.

[A]

No, no, he. This guy. No, this guy has lines. He's the guy who's drinking coffee. Yeah. Someone turns and talks to him.

[C]

Yes.

[B]

Yeah, yeah, yeah. No, it's the guy who goes, I. Wow.

[C]

That's Cory and Topango.

[B]

You were Cory and Topango.

[A]

Exactly.

[C]

Low key. My favorite joke, that Bill thing. And then get into the Chinese adoption.

[B]

That, to me, is the best joke Bill's ever said.

[A]

I know. It's so funny. The telephone storyline, the whole thing.

[C]

There were some jokes that were great in this. It's a funny episode, guys.

[A]

It really is. I know, I know. I can't.

[B]

I was honestly thinking. It's so ridiculous. But I was honestly thinking when we do our draft, this might be my first pick for season seven.

[C]

Yeah.

[B]

And I couldn't believe I was going to think that with how scared I was to get into this. I was like, this is a great episode.

[A]

I know. I did really think. I. I honestly, I feel like watching this Episode was worth five years of therapy, right?

[B]

Exactly. Exactly.

[A]

Oh man.

[B]

Summertime is here. And you know what that means.

[A]

Beach trips?

[C]

Family vacations? Nope.

[B]

It means it's time to find your next obsession on Prime Video.

[A]

Oh yes, we do love a good obsession here. Especially when you could talk about for years and suggest to everyone you know.

[C]

Steamy romance, addictive love stories and the book to screen favorites you've already read twice.

[A]

Because when a story hits, it really hits off campus.

[B]

L the love hypothesis and much, much more.

[C]

Slow burns. Second chances chemistry. You can feel through the screen the

[A]

type of binge worthy shows and can't miss movies where you're fully invested staying up all night just to finish it. Just one more. Oh, all right. One more. You know the feeling.

[B]

The kind of stories that pull you in and don't let go in the best way.

[C]

Your next obsession is waiting.

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Watch only on Prime. Let's talk about modern home shopping.

[B]

It's sort of becoming like a fun side hobby, right?

[C]

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[A]

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[B]

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[C]

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[C]

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[D]

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[A]

So Jack is on the couch, flanked by Rachel and Angela, and proudly asks, who here has 6% body fat? Ladies? I do. The girls look impressed. And then we cut to Topanga sitting on a nearby chair eating a slice of pizza with.

[C]

Okay, can we just find a way into this storyline with. It's literally two women who are not dating him.

[A]

No.

[C]

And he's just talking about his body.

[B]

Yeah.

[A]

By the way, why isn't. Why isn't one of the story lines? Because it's another. Honestly, I think it's such an important aspect of this conversation and dialogue around body image. Why is. Why doesn't it start with Topanga walking in with a pizza going, guys, I got us all pizza. And Jack going, oh, sorry, I. I can't eat. I can't eat pizza. What do you mean you can't eat pizza? Pizza. Oh, well, you know, I. I can't eat any carbs. But carbs are where you get your energy. Like, we could have had a conversation around food culture, diet culture.

[B]

Yep, yep. And instead of Jumbo Jack at the end, it's him just going like, I'm

[C]

hungry all the time.

[A]

Yes, give me the pizza. You know, and like, the episode could have been about moderation rather than and. Or frankly, just priority, to be honest. If you want to say that the number one most important thing in your day is being skinny and having low body fat. Okay. If that's what you want to spend your hours, your time, your mental energy.

[C]

I don't want to hang out with that person.

[A]

Sure.

[C]

Don't like that person.

[A]

Exactly. I don't. But. But no judgment to you.

[B]

Go ahead.

[A]

Then that's. That's gonna bring you the most pleasure and enjoyment in your life. I get very Excited and still do a dance at even the thought of a good meal. So, yeah, those are just those. We just have different priorities. That conversation between Topanga and Jack, it's so weird.

[C]

It's so unmotivated. It just.

[A]

I know.

[C]

Let's just talk about body fat. That's the first line of the episode.

[B]

We know what it's going to be. Let's get into it. So it's like, here we go. You know what I mean? It's like, this is what the episode's about. He's. He's in amazing shape. And she's not go.

[C]

Yeah.

[B]

And it's like, all right.

[A]

It's also, ooh, tall, skinny redhead. Tall, tall attractive guy. Not super tall, gorgeous Trina, who's also thin. Sean doesn't have a weight problem. Corey doesn't have a weight problem. Oh, look at those two. We better comment on why they're here. Why. Who let them onto the stage? They didn't always look like this.

[B]

It's because of those two. We have such a big craft service budget. It's like, wow.

[C]

But it's funny. Like, I remember feeling ugly. Like. Like, and like, they don't talk about how I look in this episode. And it's like, we're so. Like, I left Boy Meets World feeling like a very unattractive person. Because the vibe on Same Girl same was that, like, Matt Lawrence was a beautiful person, right?

[A]

Maitland was a beautiful person.

[C]

Maitland was a beautiful person. I remember feeling like I was lucky to be there and that I actually was, like, very unattractive and nobody was willing to say anything to me. Like, that's the way I walked away. You know what I mean? And it's because of episodes like this where they would literally spend whole lines of dialogue talking about how beautiful Evelyn and Matt are. And, like, I just remember feeling like, you know, and now I look back and I'm like, ryder, what are you talking about? Like, so even without saying anything, that was the vibe on set. Well, that was hair to the beautiful people.

[B]

That was in the rest of the episode. Yeah, that was Ben in the episode for Harry Today, Goon Tomorrow. It was, right? Look at what your brother's hair and everything. Look how everything he does.

[C]

And I imagine. I mean, I don't want to put them, but I imagine that Ben must have carried around a lot of. Because the entire show from the get go was that he was average Corey, right? So, I mean, he must have felt like, oh, they brought in all these beautiful people around me, and I'm just the Normal looking or, you know, like the average guy. That sucks, man. That's hard. That's just a weird thing. It goes through an actor like, you know, as a kid especially.

[A]

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

[C]

But. So I was. I hung out with a friend this weekend who's an editor and he's working on the new Baywatch show. And we were talking about it and I was just like, what? You know, he's describing it and all those actors just have to be in their bathing suits all, every scene. And he's like, it's really weird. Like you just. They're just walking around their bathing suits. Like, he's like, I went to set and. And he's like, they're just basically naked. And you know, and I'm like, ah, that's my nightmare. Like that would be nightmare, you know, and. But it's. I guess, I guess I bring it up because that is part of that job, right? Like, people watch Baywatch 2C, hot, muscly people look good in bathing suits. And you know, the conversation I was having with him is like, well, how are they as actors? And you know, his response was like, well, they're all over. You know, it's varied. Like any show, he's like, but it's so weird that in some ways it doesn't matter. Like, you know, sometimes it doesn't matter. Like, they just need to look good in the bathing suit because that's why they're there and that's why they're on the show. So it's weird. Like, do you think that there's something about. Is our discomfort and what we're describing just the process of being an actor, or is there something special about the way Boy Meets World wrote to looks and the conversations around it? That, that. Because I feel like we comment on our characters a lot on this show and there's a lot of conversation about, you know, what type of person you are and what type of character you are. And I felt I absorbed a lot of that into my sense of my. Myself, like the Sean Hunter and Riderness got. And I don't know if that's just because I was young or that's just what being an actor does to you or if it's something about our show in particular. But I absorbed a lot of it into my sense.

[B]

But I think, I think you're, you're, you're lumping in being an actor and being a child actor.

[A]

That's exactly what I was gonna say.

[B]

Completely different thing.

[C]

So when you're an adult actor, you can draw that line easier and be like, hey, I'm just here to play this part. And I, yeah, yeah, yeah, I gotta work out to look good and everyone wants to see me in my bathing suit. So that's just part of my job. And it's cool.

[B]

We're developing as people as we're developing as actors. When you're a child actor and so dissecting the two, you can't. And so the character, you absorbing everything from the character because you're not, maybe smart's not the right word, but you're not savvy enough as an actor to know that it's two completely different things. It's not, Eric's fat, I'm fat, I'm stupid.

[A]

I think your entire sense of self as a teenager is determined on, on how do. What do they think of me if they what. And whatever they think of me is therefore what I am. Which is exactly why you're supposed to validate your kids feelings. You know, it's like the reason why you're supposed to say it's okay that you feel that way. And of course you're angry. It's a normal thing to. It's a normal thing to feel that way. And it's also why you're supposed to, you know, tell them they're more than just good looking or they're more than just smart because they, they only know what they are based on what you tell them they are reflected back. What's reflected back to them. And so, so, you know, I remember leaving like leaving Boy Meets World and then at some point when I would have an audition for something and I was only, you know, 23 and it would say early to mid-30s. And I would then call my agent, go, I can't audition for this. It says it's early to mid-30s and I'm 22 and they would be like, who cares? Go in for it anyway. You never, you never know. But I would, it would bother me because I'd think, are they, Am I, I'm not old, I'm not old. I don't look old. Or if a description of a character said, you know, curvy or plus, I can't be.

[C]

That I'm not.

[A]

That I'm not. That I'm not. Even now as an adult who fully knows who I am, I would ugly myself up for. I would. I would do something to play like a good character.

[C]

Oh, you know what that speaks to me is that I wouldn't. You would. You know, now that actually they don't know what they're looking for until somebody walks in and owns the character and then rewrite the script to it. Whereas we were on a set where we felt like we had to live up to whatever was in the script and that the script wouldn't change to adjust for us. We had to adjust for the script, which is why I think acting was hard for us, because that's not a great acting approach. As an actor, the most important thing is that you are confident and that you are doing what you artistically want and what you believe in. And then whether they cast you or not is up to them. Who cares? You can not get the part or they can readjust. But for you to walk in and think, I have to live up to somebody's vision for this character or somebody's vision of the script, that's like. That's just one form of acting that's not going to get you very far because that's not very creative. It's puppeteering, you know?

[D]

Yeah.

[A]

Right.

[B]

I also though, with what you're saying about just your whole life when you're a teenager is you're right what other people think of you.

[A]

Yes.

[B]

Which is why I am all for absolutely banning social media until you're 21.

[A]

Yeah.

[B]

You don't. Nobody. Nobody needs. You don't need to. To put yourself out there. You don't need the criticism coming back. It's hard enough being 14. You don't also need to be living your life on social media. It's very bad for people. And we kind of experience that in. In that, you know, we had the social media experience back in the day, as quote, unquote. We were the influencers of the 90s.

[A]

Yeah.

[B]

What is Rider Strong wearing? What is. Right. It was just in magazines or on the show. But it's can be very unhealthy.

[C]

It's true, man. It's like being social media sort of makes everybody a celebrity from the 90s. Right. It's like overshare your personal information and images of yourself and everyone likes or not, you Know?

[D]

Yeah.

[A]

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

[C]

No acknowledgment of Jack and Rachel having dated each other.

[A]

Well, that is the. Well, the acknowledgment is, I've already seen them. Yeah, that's it.

[B]

But they also live together. I mean, so of course you're gonna see.

[C]

Yeah.

[B]

Nobody also mentions the fact that arguably the best body on our show besides Matt, is Ben. I mean, Ben's body was shredded by this point.

[C]

It's like, never brought up.

[B]

Never brought up.

[C]

So true.

[A]

Topanga scoffs. Don't you beautiful people have anything better to do? Jack realizes they're late for class, so they all head out. Topanga and most likely Danielle looks sad, so Angela asks if she's okay. Topanga insists while shaking pizza crumbs her fingers. I'm fine. I'll catch up with you guys later. They leave and Topanga examines her pizza with a critical eye. Over at the coffee counter, Corey is staring at Topanga in awe. Is she gorgeous or what? I tell you, Sean, I could watch that girl eat pizza forever. Sean, now with a distinct goatee, tells him. Boy, marriage really agrees with you. Corey grins. Yeah, it does. I love every wonderful thing we do. He then gets very suggestive. Every wonderful, wonderful thing. The audience ooze at the implication of sexual encounters between married people. Oh, yeah. And Sean rolls his eyes. I get it. Because you tell me every wonderful day. Eric walks over with a hoagie in hand. He attempts to take a seat next to Topanga, but runs into an issue. Sometimes one button isn't enough. Then proceeds to unbutton his pants. Much better. He sits down, spread eagle, and a preoccupied Topanga earnestly asks him, do you think I'm fat? Without hesitation, Eric nonchalantly responds, yeah. And then the audience erupts into laughter. He looks at Topanga's pizza slice and asks if she's going to finish it. She throws it into the box in disgust and Eric happily takes it. She tells her brother in law, you know, you've packed on a few pounds too, Eric. He blows it off. It's college. You've heard of the freshman 15? Topanga reminds him he's a senior. And Eric realizes, wait a minute. Four years times 15 pounds? That's like. That's like 500 extra pounds. She comforts him and assures him he's not that overweight. But Eric admits, I see the way the girls flock to Jack and his 6% body fat and ignore me and my 70% flab. By the way, that is so obviously written by a man who's insecure because

[C]

anybody who knows anything, women mostly are attracted to personality.

[A]

Correct.

[C]

And if you are funny, you get.

[A]

Think of all the funniest people in the world. They all have hot wives. They all have hotties on their arm. Because there is.

[C]

But I do think that a lot of men absorb the idea that they have to be good. You know, there's still pressure, but of course. But yes. Yeah, but.

[B]

Yeah.

[A]

Yeah.

[C]

I mean, but also like. Yeah.

[A]

What writer?

[C]

No, I just. I just don't like. It's. It's. It's. The only way this line works is if Eric overheard Jack in the previous scene. He literally references 7%.

[A]

Yeah.

[C]

It's like. It's so divorced from reality. It's just. It is.

[B]

I think you're supposed to also it. If you. If you follow it out to its logical conclusion too. It also makes Jack look awful because what it is, is he talks about this all the time. So Eric heard it somewhere else.

[A]

Exactly.

[B]

And he's just walking around Talking about his 6% body fat, which makes him look bad, which made Matt look bad, which is why you could tell he hated doing.

[C]

Hated this episode.

[B]

Yeah. Hated this episode.

[C]

I did go back and watch that. Yeah. Moment. It's hysterical.

[B]

It's the best.

[A]

Oh, my God, I died. I just.

[C]

Yeah. He's so pissed off.

[B]

Oh, God. He's just. He's like, I'm not even gonna. I'm not even gonna try.

[C]

He does a big turn. Yeah. What are we doing? What's going on?

[B]

Yeah. Oh, God, it's the best.

[A]

He whines, what am I gonna do? I feel so alone. She holds on to him and promises, you're not alone. And Eric cheers up and hugs her. That's right. You're fat, too. She tries to stay positive and suggests they help each other. Eric wonders how. We're pigs.

[B]

It's very funny. It's awful and I'm dying inside, but it's funny.

[A]

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

[C]

Why is it. It's just embarrassing to be on a diet.

[B]

Like, it also wasn't. I mean, again, now everything's diet. It's a big diet fad and all that stuff. But in the 90s, it was, you know, it just look good. And don't let anybody know that you're dieting.

[C]

Everyone talked about.

[A]

Everyone talked about sugar free, fat free. Everything was low fat.

[C]

Because story wise, we have to be correct. Keeping it a secret.

[B]

Keep it a secret.

[C]

Right. But it's.

[B]

Yeah.

[A]

No, it doesn't. It doesn't really make sense. Except for the fact that we need it to be a secret so that no one's talking to each other, but does. It doesn't really make sense.

[C]

Eric has no shame about anything, really. You know what I mean? Like, he would. He would be the first one, like, all right, I can't eat. And I'm telling everybody about it.

[A]

Topanga does.

[C]

He continues to talk about how hungry he is all the time.

[A]

Yeah. And three of Topanga's good friends were just over there talking about how they have model bodies and 6% body fat. It'd be very easy to be like, honestly, I want to look like you guys. I'm gonna. Help me out. Yeah, help me out. Yeah. They nod in agreement. And when Topanga gets up to leave, Eric says, see you, fatty.

[B]

That was ad libbed.

[C]

Yeah, I could tell.

[B]

And none of this was in the script. Like, from this point on, that's where the scene ended.

[C]

Oh, so were you shoving the pizza in your mouth?

[B]

Well, no, we shot it once or twice. No, it's totally Michael. Michael came up to me and he goes, can you. Can you fit the entire piece of pizza. Pizza in your mouth. And I went, I think so. And so that we only did it once and that was it. But that was totally Michael, it looks

[A]

like you're about ready to choke too.

[B]

I thought I was because I thought I was gonna start to laugh.

[A]

Yeah.

[B]

And then I can't believe I have the whole. I got the whole thing in my mouth.

[A]

He stares. He stares at the leftover pizza slice and sandwich in his hand. This is what I need in my life. A little self control. He places the pizza slice and sandwich onto the table, then grabs another slice for him himself. He stares at it and then shoves the entire thing into his mouth at once. The audience erupts in laughter, and therapists around the nation wonder what their rewatch podcast in 25 years will sound like

[B]

exactly. Welcome to Pod Meets Trauma.

[C]

Welcome to Podmits Trauma.

[A]

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

[B]

Don't build it up. Don't build it up.

[A]

Okay. Pod Meets World is an iHeart podcast produced and hosted by Danielle Fishel, Will Friedle and Ryder Strong, executive producers Jensen Karp and Amy Sugarman, executive in charge of production Danielle Romo, producer and editor Tara Sudbaksh, producer Matty Moore, engineer and Boy Meets World super fan Easton Allen. Our theme song song is by Kyle Morton of Typhoon. Follow us on Instagram odmeatsworldshow or email us at podmeatsworldshowmail.com here's another mouthwatering recipe idea from Morakan, the world's finest rice vinegar. Try a Morakan hot chicken sandwich with pickled cucumbers made with chilies, garlic and the vibrant, zesty flavor of Morakan Genuine Brewed Rice Vinegar. Or go sweet and savory with Maracan Seasoned Corn Beef, a flavor bomb for veggies and grilled proteins. Get the green label for Genuine Brewed or the orange label for Seasoned Gourmet. Then check out ricevinegar.com for more delicious recipes because the food you love is better with Maracon.

[B]

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Learn more at Wells Fargo.com ActiveCash Terms apply Hot Take you can disagree with someone and not hate them. I know really groundbreaking stuff, but lately that line seems blurry because hate is rising across communities in all kinds of ways, and Jewish communities are getting a lot of it right now. You don't have to agree with people, you just have to not be awful. The blue square is a simple way to say I'm with you and I don't tolerate hate of any kind. Go to bluesquarealliance.org, get a pin, share it, and stand up.

[D]

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[A]

This is an iHeart podcast. Guaranteed Human.