Will Friedle

It makes.

Right.

And I think I I think I resented that.

Yeah.

And we're starting over.

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 versus Lopez.

But every time for camera, they would only want to do it once.

And they'd say it's going to completely change when our.

first team gets in here because they are go, they are going to move in and they're going to, they're going to be more fluid stand-ins really very much want to do exactly what they're supposed to do, which is like, and so where do you want me to stand?

You want me to stand right here?

And then they light for this line and then for this line.

And guess what?

When Mr. George Lopez walks onto set, I'm not going to say, you know, you're a stand-in stood four inches over

Could you do closer to what your stand-in did than what you, the person this show is named after?

Like we're relying on him to be the, everything should work around him, not the other way around.

So it is one of those situations where you're like, okay, I guess we have something temporary.

But it's not the real thing.

I know.

So this episode was written by Patty Carr and Laura Reynolds.