1 00:00:00,200 --> 00:00:03,440 Speaker 1: Before we begin today's episode, we want to acknowledge that 2 00:00:03,560 --> 00:00:07,480 Speaker 1: the episode of Glee that we'll be discussing includes sensitive 3 00:00:07,520 --> 00:00:09,520 Speaker 1: topics related to a school shooting. 4 00:00:09,920 --> 00:00:13,160 Speaker 2: These themes can be deeply distressing, especially given the tragic 5 00:00:13,200 --> 00:00:15,120 Speaker 2: reality of school shootings in our world today. 6 00:00:15,400 --> 00:00:17,959 Speaker 1: We want to take a moment to recognize that just 7 00:00:18,160 --> 00:00:21,599 Speaker 1: last week there was a devastating school shooting at high 8 00:00:21,640 --> 00:00:22,640 Speaker 1: school in Georgia. 9 00:00:23,079 --> 00:00:25,480 Speaker 2: Our thoughts are with the victims, their families, and everyone 10 00:00:25,520 --> 00:00:27,040 Speaker 2: impacted by this tragic event. 11 00:00:27,400 --> 00:00:30,760 Speaker 1: This episode was recorded prior to this tragedy, and. 12 00:00:30,720 --> 00:00:32,680 Speaker 2: If these themes are triggering or upsetting to you, we 13 00:00:32,800 --> 00:00:34,879 Speaker 2: encourage you to take care of your mental and emotional 14 00:00:34,880 --> 00:00:36,800 Speaker 2: health and even skip this episode if needed. 15 00:00:37,240 --> 00:00:40,800 Speaker 1: Thank you for listening, and please proceed with caution and 16 00:00:41,000 --> 00:00:45,720 Speaker 1: head to everytown dot org for more information on gun safety. 17 00:00:47,560 --> 00:00:50,280 Speaker 1: And That's What You Really Missed with Jenna. 18 00:00:50,280 --> 00:00:52,920 Speaker 2: And Kevin an iHeartRadio podcast. 19 00:00:55,600 --> 00:01:01,040 Speaker 1: Welcome to and That's what You're Really miss podcast. Oh Oh. 20 00:01:02,960 --> 00:01:05,840 Speaker 1: It is season four, episode eighteen, and this is episode 21 00:01:06,200 --> 00:01:13,280 Speaker 1: Shooting Star. This is a departure from our normal episode content. 22 00:01:14,160 --> 00:01:18,760 Speaker 1: It was an interesting one to shoot to watch to rewatch. Also, 23 00:01:18,840 --> 00:01:22,839 Speaker 1: in the light of this episode airing four months after 24 00:01:24,319 --> 00:01:32,800 Speaker 1: the tragic Sandy Hook Elementary School shooting. So anyway, let's 25 00:01:32,880 --> 00:01:34,200 Speaker 1: have a conversation, Kevin. 26 00:01:34,920 --> 00:01:38,840 Speaker 2: Yeah, let's tiptoe through this. 27 00:01:39,400 --> 00:01:40,440 Speaker 1: Yeah, so this is. 28 00:01:40,400 --> 00:01:43,000 Speaker 2: A complicated one. We're going to do our best to 29 00:01:43,319 --> 00:01:49,840 Speaker 2: get through this, be objective as possible. But let's just 30 00:01:49,880 --> 00:01:52,040 Speaker 2: start how we dorably do in the news and the 31 00:01:52,080 --> 00:01:54,920 Speaker 2: number one song was Thrift, shot by Malcomore and Ryan Lewis. 32 00:01:55,280 --> 00:01:59,160 Speaker 2: The number one movie was Evil Dead another one I 33 00:01:59,200 --> 00:01:59,680 Speaker 2: didn't see. 34 00:02:00,280 --> 00:02:03,640 Speaker 1: Didn't see it. This aired on April eleventh, twenty thirteen, 35 00:02:03,680 --> 00:02:08,040 Speaker 1: as well Shooting Star And there was not a ton 36 00:02:08,040 --> 00:02:12,600 Speaker 1: of lean news in the news this week, thankfully we 37 00:02:12,600 --> 00:02:14,240 Speaker 1: were working away. 38 00:02:14,440 --> 00:02:17,079 Speaker 2: There also weren't a lot of songs in this episode, No, 39 00:02:17,200 --> 00:02:19,920 Speaker 2: there were not. There were three songs. 40 00:02:20,680 --> 00:02:23,800 Speaker 1: Your song that was performer Rider. 41 00:02:24,320 --> 00:02:27,800 Speaker 2: More than Words by Sam and Brittany in the new directions. 42 00:02:28,040 --> 00:02:31,760 Speaker 1: Also a strange time to do this number, not the 43 00:02:31,800 --> 00:02:35,919 Speaker 1: song itself, but just listening to Lord Evington and say 44 00:02:36,600 --> 00:02:38,120 Speaker 1: by John and I are performed by. 45 00:02:38,080 --> 00:02:43,800 Speaker 2: The new directions going into this, do you I remember 46 00:02:44,639 --> 00:02:46,760 Speaker 2: because we tackled a lot of heavy subjects on the 47 00:02:46,800 --> 00:02:49,760 Speaker 2: show totally that it definitely was sort of like a 48 00:02:49,800 --> 00:02:52,320 Speaker 2: recurring do you think we would do a school shooting 49 00:02:52,360 --> 00:02:56,280 Speaker 2: episode totally? And we were all like, I don't think so, 50 00:02:56,480 --> 00:02:58,360 Speaker 2: because that seems wild. 51 00:02:59,200 --> 00:03:04,880 Speaker 1: Yeah, And when it came up, I think I think 52 00:03:04,960 --> 00:03:08,320 Speaker 1: everybody felt, and I mean I felt, let me not 53 00:03:08,360 --> 00:03:12,760 Speaker 1: speak for everybody. I felt like, Okay, let's if we're 54 00:03:12,760 --> 00:03:16,560 Speaker 1: going to do this, which I don't know what the 55 00:03:16,600 --> 00:03:20,400 Speaker 1: thought process was. I don't know why. You know, obviously 56 00:03:20,480 --> 00:03:24,679 Speaker 1: you said they they do we handle topics like this. 57 00:03:24,840 --> 00:03:29,320 Speaker 1: We've done a ton of other controversial things that happened 58 00:03:29,440 --> 00:03:32,320 Speaker 1: in real life, and I think it Ryan is known 59 00:03:32,440 --> 00:03:36,320 Speaker 1: for tackling things head on kind of in his work, 60 00:03:38,680 --> 00:03:42,040 Speaker 1: but as an actor, like, we don't really have the 61 00:03:42,480 --> 00:03:46,040 Speaker 1: choice to say like yes or no for this kind 62 00:03:46,080 --> 00:03:47,560 Speaker 1: of stuff, do you know what I mean? 63 00:03:47,640 --> 00:03:52,320 Speaker 2: Like it's not our show. Yeah, this writing their vehicle 64 00:03:52,440 --> 00:03:55,080 Speaker 2: to do what they want to do. 65 00:03:55,880 --> 00:03:59,720 Speaker 1: So you're like, okay, we had got a script we 66 00:03:59,800 --> 00:04:03,840 Speaker 1: don episode tread lightly. That's what I remember, like, we 67 00:04:03,960 --> 00:04:05,520 Speaker 1: better do this some justice. 68 00:04:05,960 --> 00:04:08,680 Speaker 2: Yeah, And I think the fact that we it had 69 00:04:08,760 --> 00:04:14,640 Speaker 2: been a topic of conversation amongst ourselves of will this 70 00:04:14,760 --> 00:04:20,000 Speaker 2: or will does not happen? Was informative already because it 71 00:04:20,000 --> 00:04:22,800 Speaker 2: wouldn't be that shocking if we were going to do that, 72 00:04:23,440 --> 00:04:26,200 Speaker 2: But it also felt like almost an impossible task of 73 00:04:27,040 --> 00:04:29,560 Speaker 2: how how do you do this? And I do think 74 00:04:29,960 --> 00:04:32,680 Speaker 2: we had that conversation a couple of weeks ago where 75 00:04:33,600 --> 00:04:38,520 Speaker 2: people seeing this outside of the US had an impact 76 00:04:38,600 --> 00:04:44,080 Speaker 2: that we never considered because school shootings, unfortunately, right or 77 00:04:44,880 --> 00:04:49,520 Speaker 2: semi regularly happening, and when these tragic events are happening, 78 00:04:50,560 --> 00:04:54,000 Speaker 2: you don't necessarily want to have to see that in 79 00:04:54,040 --> 00:04:57,520 Speaker 2: your off time, right, Like when it happens, it's awful, right, 80 00:04:57,560 --> 00:05:00,359 Speaker 2: and then you go to turn onto your favorite show 81 00:05:00,600 --> 00:05:01,080 Speaker 2: and then. 82 00:05:01,200 --> 00:05:04,520 Speaker 1: To escape reality and we're watching reality. 83 00:05:04,600 --> 00:05:07,640 Speaker 2: Yeah, but I think it is very glee to tackle 84 00:05:07,720 --> 00:05:13,640 Speaker 2: something like this and watching it back the way it 85 00:05:13,720 --> 00:05:21,680 Speaker 2: was done technically speaking, I think was quite good effective. 86 00:05:21,920 --> 00:05:25,200 Speaker 1: Yes, I mean poor Brad Baker being the director on 87 00:05:25,279 --> 00:05:28,760 Speaker 1: this one. And I say that from with empathy for 88 00:05:28,920 --> 00:05:34,560 Speaker 1: somebody who has such a sensitive subject to broach and 89 00:05:34,640 --> 00:05:39,880 Speaker 1: be in charge of. Right, that's a heavy load to 90 00:05:39,960 --> 00:05:41,200 Speaker 1: carry on your shoulders. 91 00:05:41,600 --> 00:05:43,839 Speaker 2: Yeah, it's sort of like it's it might be a 92 00:05:43,880 --> 00:05:48,440 Speaker 2: lose lose, yeah, like no, and yeah, and like poor 93 00:05:48,520 --> 00:05:52,960 Speaker 2: Hotson Matt Hodson, who his name is on the script. 94 00:05:53,520 --> 00:05:56,919 Speaker 2: Santana and Brittany. Fans were already mad at him for 95 00:05:58,480 --> 00:06:01,400 Speaker 2: that episode, and then he he gets assigned to this episode. 96 00:06:01,440 --> 00:06:04,680 Speaker 2: It's like, oh God, his name's just on it. 97 00:06:04,800 --> 00:06:08,160 Speaker 1: He didn't know everybody wrote this. Everybody wrote this. 98 00:06:09,240 --> 00:06:12,320 Speaker 2: Whoa. You know, everyone showed up and did their job 99 00:06:12,480 --> 00:06:15,680 Speaker 2: and so let's let's talk about it. Certainly so. This 100 00:06:15,720 --> 00:06:20,080 Speaker 2: episode aired after a three week hiatus wait to come Back. 101 00:06:20,279 --> 00:06:22,640 Speaker 2: This is the second episode that did not feature time 102 00:06:22,640 --> 00:06:25,320 Speaker 2: for some girl talk during the closing credits. The first 103 00:06:25,360 --> 00:06:25,919 Speaker 2: is the pilot. 104 00:06:27,160 --> 00:06:30,960 Speaker 1: When this episode aired in Australia, it was rated M 105 00:06:31,000 --> 00:06:35,680 Speaker 1: fifteen plus instead of PG thirteen. I think it's appropriate. 106 00:06:36,080 --> 00:06:40,000 Speaker 1: This is the third episode to show a viewer discretion advice, 107 00:06:40,120 --> 00:06:43,080 Speaker 1: content and writing message right before the airing of the episode, 108 00:06:43,200 --> 00:06:46,400 Speaker 1: the first being Sexy and the second being the first time. 109 00:06:47,440 --> 00:06:49,680 Speaker 2: This is the third episode of season four without a 110 00:06:49,800 --> 00:06:51,640 Speaker 2: New York storyline. 111 00:06:52,839 --> 00:06:55,479 Speaker 1: And this is one of only three episodes where Rachel 112 00:06:55,480 --> 00:06:58,240 Speaker 1: does not appear in the other two being The Role 113 00:06:58,279 --> 00:07:01,520 Speaker 1: You Were Born to Play and Dynamic Duets. 114 00:07:01,760 --> 00:07:04,560 Speaker 2: This is the only episode in the entire series where 115 00:07:04,640 --> 00:07:06,520 Speaker 2: neither Finn nor Rachel appears. 116 00:07:06,520 --> 00:07:11,080 Speaker 1: WHOA, That's crazy and this episode was submitted for dot 117 00:07:11,080 --> 00:07:13,160 Speaker 1: Mariy Jones for the twenty thirteen Emmy's, where she was 118 00:07:13,160 --> 00:07:15,960 Speaker 1: nominated for Outstanding Guest Actress in a Comedy Series. 119 00:07:16,440 --> 00:07:18,040 Speaker 2: This also felt like you know how the Bear keeps 120 00:07:18,040 --> 00:07:21,480 Speaker 2: getting nominated in the comedy category. Yes, definitely, and people 121 00:07:21,600 --> 00:07:27,360 Speaker 2: have yeah, like we're very much there exactly, We've been there. 122 00:07:27,440 --> 00:07:29,840 Speaker 2: With only three songs, this episode has the least amount 123 00:07:29,840 --> 00:07:33,880 Speaker 2: of songs since I Am Unicorn, which also had three. 124 00:07:34,160 --> 00:07:37,600 Speaker 2: So look the episode summary. The members of the New 125 00:07:37,600 --> 00:07:40,640 Speaker 2: Directions are prepping for regionals, but when an unthinkable event 126 00:07:40,640 --> 00:07:44,360 Speaker 2: occurs at McKinley High, perspectives are put into order. 127 00:07:45,800 --> 00:07:49,480 Speaker 1: Let's talk about all the things happening. 128 00:07:50,520 --> 00:07:54,720 Speaker 2: There's a lot of foreshadowing happening. There's Brittany brings up 129 00:07:54,720 --> 00:07:58,920 Speaker 2: this whole thing about an asteroid or comet or Metea 130 00:07:58,960 --> 00:08:01,080 Speaker 2: or whatever she wants to call it, heading towards Lima 131 00:08:02,040 --> 00:08:08,320 Speaker 2: and inspired by this mister Shoe who uses it as 132 00:08:08,360 --> 00:08:12,600 Speaker 2: a lesson to express your hidden feelings, as like a 133 00:08:12,760 --> 00:08:15,200 Speaker 2: last chance say something before we die. And even when 134 00:08:15,600 --> 00:08:19,920 Speaker 2: Beast and Shoe have based off of that lesson, they 135 00:08:19,920 --> 00:08:22,840 Speaker 2: have a little dinner and Beasts you know confesses that 136 00:08:23,760 --> 00:08:28,160 Speaker 2: she wants to be with Will. There's like two jokes 137 00:08:28,160 --> 00:08:34,880 Speaker 2: in there about death. It kept happening in numerous scenes, 138 00:08:36,400 --> 00:08:38,720 Speaker 2: and knowing what was coming, I was like, oh God, 139 00:08:38,800 --> 00:08:53,720 Speaker 2: this feels wild. So this meteor thing happens and everyone's, 140 00:08:53,800 --> 00:08:56,760 Speaker 2: you know, faced with what am I going to say? 141 00:08:56,800 --> 00:08:59,680 Speaker 2: Who do I want to say it to? And Brittany 142 00:09:00,200 --> 00:09:05,360 Speaker 2: besides that, she wants to reconcile with her cat, Lord 143 00:09:05,760 --> 00:09:09,400 Speaker 2: Havington and Sam. 144 00:09:10,040 --> 00:09:15,559 Speaker 1: It's crazy. I remember shooting this and thinking, what where 145 00:09:15,600 --> 00:09:22,319 Speaker 1: are we? What show are we in? We're shooting shootings 146 00:09:22,640 --> 00:09:26,600 Speaker 1: like school shooting episode and let's sing a song with 147 00:09:26,679 --> 00:09:31,559 Speaker 1: candles to a cat. I did enjoy working with Lord Tumington. 148 00:09:31,760 --> 00:09:42,320 Speaker 1: He was crazy, but I enjoyed the gargantuan escape from 149 00:09:42,360 --> 00:09:46,319 Speaker 1: reality that is Brittany, Like there's no other characters that 150 00:09:46,760 --> 00:09:49,959 Speaker 1: I can buy this with, like that can justify this 151 00:09:50,120 --> 00:09:51,920 Speaker 1: kind of insanity. 152 00:09:52,400 --> 00:09:55,040 Speaker 2: And maybe that's why this is also in the episode 153 00:09:56,559 --> 00:10:03,760 Speaker 2: seriousness of the most serious topic possible with the silliest. 154 00:10:03,800 --> 00:10:08,360 Speaker 1: Stuff right imaginable, because this does feel like Glee, right, 155 00:10:08,480 --> 00:10:11,559 Speaker 1: like this is Glee. I totally buy this in the world, 156 00:10:11,960 --> 00:10:16,040 Speaker 1: Lord Covington, there's we've already had the mind Calendar with 157 00:10:16,080 --> 00:10:20,079 Speaker 1: Sam and Brittany a few episodes back. We've even acknowledged 158 00:10:20,120 --> 00:10:21,520 Speaker 1: that we've been here before. 159 00:10:22,040 --> 00:10:23,640 Speaker 2: You'd worked with Lord Tevington before. 160 00:10:24,000 --> 00:10:25,800 Speaker 1: Yeah, I did fund for two with him. 161 00:10:26,520 --> 00:10:28,840 Speaker 2: This is crazy, I think the first time and maybe 162 00:10:28,840 --> 00:10:30,760 Speaker 2: the only time I got to work with Lord Temington, 163 00:10:31,400 --> 00:10:33,880 Speaker 2: and I remember hearing from all of you how difficult 164 00:10:33,920 --> 00:10:34,880 Speaker 2: Lord Tevington could be. 165 00:10:34,840 --> 00:10:37,720 Speaker 1: Sometimes sweet boy, a sweet little man? 166 00:10:37,960 --> 00:10:39,800 Speaker 2: Was it only one cat? Were there two cats that 167 00:10:39,840 --> 00:10:41,280 Speaker 2: played Lord Tmington? Was always? 168 00:10:41,320 --> 00:10:43,600 Speaker 1: Remember I only worked with one. There was only one 169 00:10:43,640 --> 00:10:45,680 Speaker 1: on set when I worked at Tebbington, I think, but 170 00:10:45,760 --> 00:10:49,280 Speaker 1: there might be the interchange them. They look very similar, Oh, 171 00:10:49,320 --> 00:10:55,920 Speaker 1: sweet Lord Tmington. So we sing, We sing more than words. 172 00:10:56,400 --> 00:11:00,800 Speaker 2: I remember from that is you had to wheel half 173 00:11:00,840 --> 00:11:03,120 Speaker 2: wheel me because I couldn't hold a candle and wheel 174 00:11:03,160 --> 00:11:05,880 Speaker 2: myself at the same time. At first, I was like 175 00:11:05,960 --> 00:11:08,880 Speaker 2: trying to put it in my lap, so that doesn't work. 176 00:11:09,600 --> 00:11:13,520 Speaker 1: I enjoyed watching the reactions of everybody, and I feel 177 00:11:13,559 --> 00:11:16,120 Speaker 1: like it was similar to the filming of the episode 178 00:11:17,480 --> 00:11:23,240 Speaker 1: when we were kind of confused as to what we 179 00:11:23,240 --> 00:11:24,400 Speaker 1: were doing and where we were. 180 00:11:24,480 --> 00:11:29,040 Speaker 2: Yeah, it felt very apropos of. It was meta in 181 00:11:29,080 --> 00:11:29,440 Speaker 2: that way. 182 00:11:29,640 --> 00:11:33,240 Speaker 1: Yeah, it was very meta. But did we get this 183 00:11:33,280 --> 00:11:37,160 Speaker 1: really nice song? They sounded great and it's weird beautiful 184 00:11:37,200 --> 00:11:40,079 Speaker 1: Tomton's there. But then we get this really nice scene 185 00:11:40,160 --> 00:11:47,080 Speaker 1: with that's also kind of foreshadowing with Becky and Brittany. 186 00:11:48,440 --> 00:11:51,880 Speaker 2: Yeah, and it was a really last episode. I said, 187 00:11:51,920 --> 00:11:55,960 Speaker 2: I wanted more Becky and we got it. We got it. 188 00:11:55,960 --> 00:11:57,760 Speaker 2: They gave us this really beautiful scene. 189 00:11:58,400 --> 00:12:00,600 Speaker 1: Oh sweet. Other was. 190 00:12:02,400 --> 00:12:08,040 Speaker 2: Acting this episode because you always see Brittany doing the 191 00:12:08,080 --> 00:12:12,080 Speaker 2: silly stuff what she was doing and then switching and 192 00:12:12,080 --> 00:12:16,640 Speaker 2: then switching in this like real conversation with Becky, who 193 00:12:18,040 --> 00:12:22,040 Speaker 2: is expressing real concerns about going out into their world 194 00:12:22,080 --> 00:12:24,080 Speaker 2: outside of the safety net of what the high school 195 00:12:24,120 --> 00:12:27,200 Speaker 2: has represented. Think about like how popular Becky has become, 196 00:12:27,200 --> 00:12:30,880 Speaker 2: how much power and respect she has within that school, right, 197 00:12:30,960 --> 00:12:35,200 Speaker 2: and Brittany being there as long as she has. Yeah, 198 00:12:36,000 --> 00:12:41,079 Speaker 2: and yeah, it's also like a very relatable feeling leaving 199 00:12:41,200 --> 00:12:45,920 Speaker 2: high school. And I loved how, you know, for how 200 00:12:45,960 --> 00:12:51,360 Speaker 2: wacky and how the rest of this episode was shot, 201 00:12:51,520 --> 00:12:55,559 Speaker 2: you know, handheld, and you had like some of these 202 00:12:55,559 --> 00:12:59,880 Speaker 2: messy shots and then you had the camera and the 203 00:13:00,120 --> 00:13:04,880 Speaker 2: asteroid thing the camera. Yeah, and so to have and 204 00:13:05,040 --> 00:13:08,320 Speaker 2: how this scene was shot so simply, Yes, it was 205 00:13:08,400 --> 00:13:15,680 Speaker 2: so effective and also as like I think a literate 206 00:13:15,800 --> 00:13:22,120 Speaker 2: or narrative device was I thought really effective before you 207 00:13:22,160 --> 00:13:27,240 Speaker 2: know the gunshots happened a little later in the episode. 208 00:13:27,400 --> 00:13:31,959 Speaker 2: And just really impressed by Lauren and Heather in the scene. 209 00:13:32,240 --> 00:13:40,400 Speaker 1: No, definitely, very very beautiful. Ryder discovers that Katie goes 210 00:13:40,480 --> 00:13:46,040 Speaker 1: to mckimley so over the episodes they've been chatting right 211 00:13:46,400 --> 00:13:51,600 Speaker 1: via messaging and only messaging, and he tells Jake, like, 212 00:13:52,400 --> 00:13:55,240 Speaker 1: I she goes to the school, I saw her. I'm 213 00:13:55,240 --> 00:14:01,959 Speaker 1: gonna find her. And he sees her in the hallway 214 00:14:02,040 --> 00:14:04,600 Speaker 1: at the lockers and she's like excited to see him, 215 00:14:05,160 --> 00:14:07,760 Speaker 1: kind of misleading in a way where he thinks she's 216 00:14:07,800 --> 00:14:10,640 Speaker 1: excited to see him because obviously they've had their in 217 00:14:10,679 --> 00:14:15,680 Speaker 1: a relationship of sorts. And he sings your song, I 218 00:14:15,720 --> 00:14:18,839 Speaker 1: love your song beautiful. He sounds great, that's great, sounds great. 219 00:14:19,560 --> 00:14:23,000 Speaker 1: We got some we got acting from Blake this episode too. Yes, 220 00:14:23,760 --> 00:14:27,720 Speaker 1: the catfish is not catfishing. Well, no, because you can't 221 00:14:27,800 --> 00:14:32,040 Speaker 1: choose someone from the school who you're going to run into, right, 222 00:14:32,360 --> 00:14:36,720 Speaker 1: But that's the point, right, And this poor girl who 223 00:14:36,760 --> 00:14:40,000 Speaker 1: looks starstruck by Writer, then gets brought into this room. 224 00:14:40,040 --> 00:14:42,520 Speaker 2: She gets picked up and put on a piano, gets 225 00:14:42,520 --> 00:14:45,400 Speaker 2: sung to with the full band orchestra. 226 00:14:46,680 --> 00:14:47,920 Speaker 1: And Marissa is her name. 227 00:14:49,720 --> 00:14:52,840 Speaker 2: Yeah it's not her, No, it's not her. It was 228 00:14:53,040 --> 00:14:56,960 Speaker 2: a really fun little side quest that happened. 229 00:14:56,600 --> 00:14:59,320 Speaker 1: In this episode. Yeah, we got to keep the catfish going. 230 00:15:00,040 --> 00:15:03,080 Speaker 2: Ends up becoming a pretty serious and significant thing because 231 00:15:03,240 --> 00:15:09,480 Speaker 2: Writer freaks out, goes after Marley accusing her, and then 232 00:15:09,560 --> 00:15:13,280 Speaker 2: eventually Kitty you know, of all these people like who 233 00:15:14,320 --> 00:15:18,120 Speaker 2: did it? Who did it? Because like he clearly is 234 00:15:18,160 --> 00:15:23,840 Speaker 2: like struggling to find connection relationship. The thing with Maley 235 00:15:23,920 --> 00:15:28,560 Speaker 2: isn't working out, and Jake is trying to help him. 236 00:15:28,680 --> 00:15:31,880 Speaker 2: Which also they resolved their stuff pretty quickly, like they're 237 00:15:31,920 --> 00:15:35,000 Speaker 2: back to just being bros. And Jake's like, you need 238 00:15:35,040 --> 00:15:36,640 Speaker 2: to do a big gesture hence you know, the full 239 00:15:36,640 --> 00:15:42,640 Speaker 2: band and orchestra, and it seems like he's spiraling a bit. 240 00:15:42,640 --> 00:15:45,920 Speaker 1: I mean to be that upset about and be tavish, 241 00:15:46,080 --> 00:15:48,200 Speaker 1: Like it doesn't feel like the stakes were all that 242 00:15:48,400 --> 00:15:51,600 Speaker 1: high for them because we'd only seen a few interactions 243 00:15:51,640 --> 00:15:55,520 Speaker 1: with their messaging, and you know, they're getting to know 244 00:15:55,600 --> 00:15:56,240 Speaker 1: each other. 245 00:15:56,080 --> 00:15:58,120 Speaker 2: But when you're that young, those things feel like such 246 00:15:58,120 --> 00:15:58,880 Speaker 2: a big deal. 247 00:15:59,280 --> 00:16:02,840 Speaker 1: And and also like you're you're revealing secrets to somebody 248 00:16:02,840 --> 00:16:04,440 Speaker 1: you think you know and you don't know who it 249 00:16:04,520 --> 00:16:07,360 Speaker 1: is anymore, and so the states are higher at that point. 250 00:16:07,680 --> 00:16:10,720 Speaker 2: I mean, the betrayal of it is just yes, yes, 251 00:16:11,000 --> 00:16:12,520 Speaker 2: like who am I actually speaking to? 252 00:16:13,560 --> 00:16:15,320 Speaker 1: So we don't know who the We don't actually find 253 00:16:15,360 --> 00:16:17,080 Speaker 1: out who the catfish is in this episode, but it 254 00:16:17,120 --> 00:16:20,320 Speaker 1: will become an important integral part in a little bit. 255 00:16:20,800 --> 00:16:21,280 Speaker 2: Yeah. 256 00:16:23,360 --> 00:16:28,200 Speaker 1: And the meanwhile, Beast is also using this time to 257 00:16:28,720 --> 00:16:33,280 Speaker 1: tell Will that she has feelings for him and they're 258 00:16:33,320 --> 00:16:35,720 Speaker 1: both single, and so I think she expects that they're 259 00:16:35,760 --> 00:16:38,600 Speaker 1: going to give this a shot. He's the only one 260 00:16:38,640 --> 00:16:42,120 Speaker 1: who's ever kissed her or the first person who's ever 261 00:16:42,160 --> 00:16:45,480 Speaker 1: kissed her like that, And it's so sweet. I meant, 262 00:16:45,880 --> 00:16:49,040 Speaker 1: even in like this crazy storyline where you go like, 263 00:16:49,160 --> 00:16:51,400 Speaker 1: Beast has more more wearable with all than this, do 264 00:16:51,440 --> 00:16:53,120 Speaker 1: you know what I mean? I expected more from her 265 00:16:53,120 --> 00:16:56,440 Speaker 1: to understand, like We'll just was supposed to be engaged 266 00:16:56,640 --> 00:17:01,200 Speaker 1: and married a week ago, a couple of weeks ago. 267 00:17:01,920 --> 00:17:06,280 Speaker 1: With the gestures and the vulnerability that Dot brings to 268 00:17:06,320 --> 00:17:09,080 Speaker 1: this just makes you love her even more. 269 00:17:10,800 --> 00:17:13,800 Speaker 2: And it makes sense like the if she had been 270 00:17:13,840 --> 00:17:16,080 Speaker 2: secretly pining for Will this whole time. 271 00:17:16,640 --> 00:17:20,560 Speaker 1: This is her opportunity to take the time to tell 272 00:17:20,600 --> 00:17:25,199 Speaker 1: how she really feels. And that also gets beasts to 273 00:17:25,240 --> 00:17:28,320 Speaker 1: come into the room free shooting. 274 00:17:29,000 --> 00:17:31,920 Speaker 2: So that's the lay of the land. 275 00:17:33,480 --> 00:17:33,920 Speaker 1: Yeah. 276 00:17:34,400 --> 00:17:42,640 Speaker 2: Yeah, And we had talked about this before about when 277 00:17:42,680 --> 00:17:47,800 Speaker 2: we were talking about recapping this episode, Yes, about how 278 00:17:47,960 --> 00:17:54,520 Speaker 2: the shooting comes out of nowhere. But that's also brings 279 00:17:54,720 --> 00:17:58,840 Speaker 2: a much more realistic perspective to this because that's how 280 00:17:58,880 --> 00:18:02,760 Speaker 2: it would just happened. And you know, most of the 281 00:18:03,119 --> 00:18:05,440 Speaker 2: club to you, yeah, most of the glee club or 282 00:18:05,440 --> 00:18:08,200 Speaker 2: in the choir room, you hear it immediately everybody jumps 283 00:18:08,240 --> 00:18:20,159 Speaker 2: into action and then the whole world stops. And a 284 00:18:20,280 --> 00:18:24,840 Speaker 2: testament to Brad Beeker's ability as like a storyteller, yes, 285 00:18:25,119 --> 00:18:30,280 Speaker 2: to really capture the immediacy of the scramble of we 286 00:18:30,320 --> 00:18:34,040 Speaker 2: don't know what's going on. Also, just how sad it 287 00:18:34,119 --> 00:18:39,840 Speaker 2: is that in America people know what that is. They're 288 00:18:39,880 --> 00:18:43,879 Speaker 2: not confused by oh, there's been a gunshot in school, right, 289 00:18:44,040 --> 00:18:45,840 Speaker 2: it's the piano's going up against the door. 290 00:18:46,680 --> 00:18:51,719 Speaker 1: Everybody's hiding, even in these days, like false alarms probably 291 00:18:51,760 --> 00:18:54,960 Speaker 1: happen often because you think it's a gun. Like I 292 00:18:55,000 --> 00:18:58,119 Speaker 1: think even in my normal day life at night, you 293 00:18:58,160 --> 00:19:01,080 Speaker 1: hear fireworks in the area or something and you think, oh, 294 00:19:01,080 --> 00:19:03,359 Speaker 1: that must be a gunshot. Because of the world we 295 00:19:03,440 --> 00:19:04,200 Speaker 1: live in now. 296 00:19:04,440 --> 00:19:06,960 Speaker 2: I forget the stat but it's, you know, one in 297 00:19:07,640 --> 00:19:12,280 Speaker 2: a very low number either knows somebody who has been 298 00:19:12,320 --> 00:19:15,919 Speaker 2: affected by gun violence or has personally been affected by 299 00:19:15,960 --> 00:19:17,680 Speaker 2: gun violence. I was in DC a couple of months 300 00:19:17,720 --> 00:19:21,040 Speaker 2: ago in an uber and heard what I thought was 301 00:19:21,040 --> 00:19:24,080 Speaker 2: a car backfiring, and it was not. It was clearly shocked. Wow, 302 00:19:25,160 --> 00:19:26,920 Speaker 2: outside of this club that I was heading to. 303 00:19:27,440 --> 00:19:27,880 Speaker 1: Wow. 304 00:19:28,040 --> 00:19:31,840 Speaker 2: And so this is still very much I mean, if anything, 305 00:19:31,880 --> 00:19:36,919 Speaker 2: it's I don't know, Yeah, I gotten worse, but and 306 00:19:37,000 --> 00:19:41,200 Speaker 2: in that way, there's just no I mean, there's been 307 00:19:41,240 --> 00:19:45,280 Speaker 2: movies that have covered this topic, and it's I never 308 00:19:45,320 --> 00:19:47,720 Speaker 2: know how to feel about it because it is a reality. 309 00:19:48,000 --> 00:19:53,159 Speaker 2: And yeah, stories are a reflection of society, and that 310 00:19:53,280 --> 00:19:55,880 Speaker 2: is very much a part of American society. 311 00:19:56,280 --> 00:19:59,080 Speaker 1: I think that the criticism that came from Glee and 312 00:19:59,200 --> 00:20:01,000 Speaker 1: some of the articles and things that I had read 313 00:20:01,080 --> 00:20:03,280 Speaker 1: were but a lot of it was like the timing 314 00:20:03,359 --> 00:20:07,679 Speaker 1: of it, not the awareness of like that this is 315 00:20:07,840 --> 00:20:10,720 Speaker 1: the reality of the world we live in now. It 316 00:20:10,960 --> 00:20:16,400 Speaker 1: was things are pretty fresh because a tragedy just struck 317 00:20:16,880 --> 00:20:18,960 Speaker 1: a lot of families and direct you know. 318 00:20:19,119 --> 00:20:23,760 Speaker 2: And Sandy Hook was particularly tragedy devastating. 319 00:20:24,359 --> 00:20:27,240 Speaker 1: Yeah, and those are real people with real families, with 320 00:20:27,320 --> 00:20:32,200 Speaker 1: real losses, with real features. And so with Brad Beeker, 321 00:20:32,240 --> 00:20:36,000 Speaker 1: it's like all of us, I think, felt an incredible responsibility, 322 00:20:36,920 --> 00:20:40,480 Speaker 1: more than more so than we have before we did. 323 00:20:40,600 --> 00:20:42,840 Speaker 2: There was definitely that sense while we were filming all 324 00:20:42,880 --> 00:20:45,080 Speaker 2: of this. It was very serious. 325 00:20:45,440 --> 00:20:57,160 Speaker 1: Yeah, and not to be taken lightly. Let's just talk 326 00:20:57,160 --> 00:20:58,640 Speaker 1: about this for a second, because I have a lot 327 00:20:58,640 --> 00:21:02,280 Speaker 1: of questions for you because Tina was not when I 328 00:21:02,280 --> 00:21:05,280 Speaker 1: got this script, I read the episode. We knew this 329 00:21:05,440 --> 00:21:10,320 Speaker 1: was the episode we're going through it, and I was like, oh, wow, Tina, 330 00:21:10,440 --> 00:21:13,200 Speaker 1: what's not there? Fascinating? 331 00:21:15,800 --> 00:21:16,920 Speaker 2: Do you know why she wasn't? 332 00:21:17,320 --> 00:21:19,719 Speaker 1: No. I think it was just I mean, perhaps storyline, 333 00:21:19,760 --> 00:21:26,440 Speaker 1: I don't I don't know, Yeah, for sure, and alongside Brittany, 334 00:21:26,480 --> 00:21:32,200 Speaker 1: who also was not there with you guys, who joins 335 00:21:32,280 --> 00:21:36,600 Speaker 1: later and is a big part of Sam's hole, you 336 00:21:36,640 --> 00:21:40,119 Speaker 1: know arc in the episode. But I remember reading it 337 00:21:40,160 --> 00:21:43,439 Speaker 1: and going like oh wow, and feeling like kind of 338 00:21:43,760 --> 00:21:46,800 Speaker 1: mixed about it, right, like, yeah, I don't really want 339 00:21:46,800 --> 00:21:50,639 Speaker 1: to film that's it's a scary heavy thing to take on. 340 00:21:51,480 --> 00:21:55,560 Speaker 1: But also Tina's stuff was also very heavy and emotional, 341 00:21:55,560 --> 00:21:58,640 Speaker 1: and when I watched it back, it took me back 342 00:21:58,680 --> 00:22:01,280 Speaker 1: to that place of like feeling very heavy. 343 00:22:01,880 --> 00:22:05,800 Speaker 2: It felt very reflective of what you just described how 344 00:22:05,840 --> 00:22:07,399 Speaker 2: you must have felt in real life, where it's like 345 00:22:07,480 --> 00:22:11,680 Speaker 2: you wanted to be with everybody. Yes, because you're filming 346 00:22:13,320 --> 00:22:17,199 Speaker 2: something really significant that like we experience everything together and 347 00:22:17,240 --> 00:22:19,400 Speaker 2: so then like you're filming this really heavy thing. But yeah, 348 00:22:19,400 --> 00:22:25,040 Speaker 2: it helps the numbers. You feel in a weird way. Yeah, 349 00:22:25,080 --> 00:22:26,679 Speaker 2: not a part of it, which it's not something you 350 00:22:26,720 --> 00:22:28,680 Speaker 2: want to be a part of, but missing something out 351 00:22:28,720 --> 00:22:32,199 Speaker 2: as like the group feels exactly. But I thought it 352 00:22:32,240 --> 00:22:41,919 Speaker 2: was particularly impactful seeing Tina trapped away from all of 353 00:22:41,920 --> 00:22:46,199 Speaker 2: her closest people and having that perspective I think was 354 00:22:46,280 --> 00:22:55,080 Speaker 2: really valuable. Yeah, and the helplessness that one must feel 355 00:22:56,160 --> 00:23:00,680 Speaker 2: like that. And I thought you did a really and 356 00:23:00,840 --> 00:23:03,280 Speaker 2: every I thought you were so good and your performance 357 00:23:03,320 --> 00:23:07,040 Speaker 2: is really powerful and I'm really proud of everybody in 358 00:23:07,080 --> 00:23:10,480 Speaker 2: this episode. Because I thought everyone was really challenged and 359 00:23:10,520 --> 00:23:13,800 Speaker 2: stretched in ways that you know, on a show that 360 00:23:13,960 --> 00:23:20,000 Speaker 2: was nominated for comedy things, we were not normally on 361 00:23:20,119 --> 00:23:24,080 Speaker 2: the whole doing really super dramatic things like this, Like 362 00:23:24,119 --> 00:23:26,200 Speaker 2: it was a full team effort. 363 00:23:26,720 --> 00:23:31,680 Speaker 1: Across the board. The performances were outstanding. And then I 364 00:23:31,760 --> 00:23:33,879 Speaker 1: will say it over and over again, Brad Beeker just 365 00:23:33,960 --> 00:23:38,200 Speaker 1: to like man the ship of this and deliver those 366 00:23:38,280 --> 00:23:42,879 Speaker 1: performances from every or to get every performances from everybody 367 00:23:42,920 --> 00:23:45,000 Speaker 1: like that was really powerful. 368 00:23:45,640 --> 00:23:49,560 Speaker 2: So I can tell you the filming of this was 369 00:23:50,640 --> 00:23:54,400 Speaker 2: different from how we actually filmed it from anything else 370 00:23:54,400 --> 00:23:55,200 Speaker 2: we had ever done. 371 00:23:55,480 --> 00:24:00,760 Speaker 1: Yeah, I remember this, you're telling me this, So take 372 00:24:01,160 --> 00:24:07,200 Speaker 1: walk me through what what it was, What the day 373 00:24:07,280 --> 00:24:11,080 Speaker 1: of the selling of this scene was like? And was 374 00:24:11,119 --> 00:24:13,080 Speaker 1: it longer than one day? Like? What was it? 375 00:24:13,600 --> 00:24:16,720 Speaker 2: I believe it was. I believe it was one day. 376 00:24:17,840 --> 00:24:24,960 Speaker 2: And Brad very you know, like he has filmed some 377 00:24:24,960 --> 00:24:29,320 Speaker 2: of the most sensitive scenes on the show, and going 378 00:24:29,359 --> 00:24:35,000 Speaker 2: into that with him, he it was much more about 379 00:24:35,560 --> 00:24:39,399 Speaker 2: how does everyone not only feel filming this and within this, 380 00:24:40,040 --> 00:24:45,000 Speaker 2: but like what feels natural to actually happen? So we 381 00:24:45,119 --> 00:24:48,680 Speaker 2: sort of and this did not happen on Glee. Normally, 382 00:24:48,800 --> 00:24:51,639 Speaker 2: like we stuck to the script and we blocked it 383 00:24:52,080 --> 00:24:55,679 Speaker 2: the scenes in a way to best to deliver, you know, 384 00:24:55,720 --> 00:24:59,560 Speaker 2: what was scripted on the page. This had a different 385 00:25:01,520 --> 00:25:05,080 Speaker 2: this set a different approach because sometimes when you get 386 00:25:05,080 --> 00:25:08,399 Speaker 2: in the room, especially with something like this is what 387 00:25:08,480 --> 00:25:09,560 Speaker 2: is this actually going. 388 00:25:09,400 --> 00:25:10,000 Speaker 1: To look like? 389 00:25:10,720 --> 00:25:14,480 Speaker 2: In this space? Totally and so very quickly he was like, 390 00:25:14,560 --> 00:25:18,960 Speaker 2: let's not worry about what's on the page at all. Wow, 391 00:25:19,200 --> 00:25:23,080 Speaker 2: He's like, let's walk through the series of events. And 392 00:25:23,160 --> 00:25:26,240 Speaker 2: so the rehearsal was much longer than it normally would 393 00:25:26,240 --> 00:25:30,719 Speaker 2: have been, understandably because we'd never done anything like this. 394 00:25:31,119 --> 00:25:35,520 Speaker 2: And once we sort of figured that out, and you know, 395 00:25:35,600 --> 00:25:41,520 Speaker 2: he worked with Andrew, camera operator, to figure out, Okay, 396 00:25:41,560 --> 00:25:46,080 Speaker 2: where's everybody going to go and how do we cover them? 397 00:25:46,200 --> 00:25:49,160 Speaker 2: And it was not very intentionally, not like, oh what's 398 00:25:49,240 --> 00:25:53,800 Speaker 2: easiest for the camera. Everybody should go where they should 399 00:25:53,840 --> 00:25:57,000 Speaker 2: actually go need to go in a real life situation, 400 00:25:57,840 --> 00:26:00,560 Speaker 2: and then we will figure out how to film it. 401 00:26:02,000 --> 00:26:06,520 Speaker 2: And that's what happened. And I remember, so we did 402 00:26:06,520 --> 00:26:09,439 Speaker 2: the takes. We did it all in one take. We 403 00:26:09,520 --> 00:26:10,080 Speaker 2: filmed that. 404 00:26:10,080 --> 00:26:12,720 Speaker 1: Whole scene you filmed and. 405 00:26:12,760 --> 00:26:17,800 Speaker 2: One take all the way through to a feeling and then. 406 00:26:17,680 --> 00:26:20,359 Speaker 1: You change positions for camera and then did it again. 407 00:26:22,400 --> 00:26:25,639 Speaker 2: So a lot of it. If I remember correctly, there 408 00:26:25,680 --> 00:26:29,720 Speaker 2: were special shots you know, setups afterwards. But for what's 409 00:26:29,760 --> 00:26:34,360 Speaker 2: called the master, Yeah, they. 410 00:26:33,080 --> 00:26:35,120 Speaker 1: Did it all the way through. That's a long scene. 411 00:26:35,320 --> 00:26:38,119 Speaker 2: And it was I mean Andrews holding a camera the 412 00:26:38,240 --> 00:26:40,480 Speaker 2: entire time, Dwayne holding a camera the entire time. 413 00:26:40,560 --> 00:26:43,240 Speaker 1: Oh, steady camp or sorry, like I believe it. 414 00:26:44,359 --> 00:26:46,080 Speaker 2: Yeah, So basically for. 415 00:26:46,000 --> 00:26:49,400 Speaker 1: People who don't know, the handhelds are like a very 416 00:26:49,520 --> 00:26:52,960 Speaker 1: large camera is resting on the shoulder, on one shoulder 417 00:26:52,960 --> 00:26:55,879 Speaker 1: of the camera, and then obviously we have you know, 418 00:26:56,080 --> 00:27:00,159 Speaker 1: assistance to help you know, light in the low a 419 00:27:00,160 --> 00:27:00,520 Speaker 1: little bit. 420 00:27:00,520 --> 00:27:04,960 Speaker 2: But wow, and because we had switched to digital, we 421 00:27:05,040 --> 00:27:11,000 Speaker 2: could do long takes and I think I remember correctly. 422 00:27:12,240 --> 00:27:17,560 Speaker 2: I think that takes were somewhere around ten to eleven 423 00:27:17,600 --> 00:27:25,080 Speaker 2: minutes whoa each time, I remember correctly. And it was 424 00:27:25,200 --> 00:27:27,439 Speaker 2: really fun in the way of like it felt like 425 00:27:27,560 --> 00:27:33,960 Speaker 2: theater or it felt like we were challenging ourselves on 426 00:27:34,000 --> 00:27:37,520 Speaker 2: an acting level, on a crew level, on a directing level, 427 00:27:37,800 --> 00:27:39,960 Speaker 2: to do something we had never done as a team before, 428 00:27:40,000 --> 00:27:42,040 Speaker 2: and after we had already done so many wild things. 429 00:27:42,119 --> 00:27:44,920 Speaker 2: It was really interesting to see the work in. Brad 430 00:27:44,960 --> 00:27:48,119 Speaker 2: Beeker allowed for that and then set that up for 431 00:27:48,160 --> 00:27:52,120 Speaker 2: everybody to succeed, and so we really did. We spent 432 00:27:52,200 --> 00:27:54,040 Speaker 2: a lot of time, you know, like I said, rehearsing 433 00:27:54,119 --> 00:27:56,040 Speaker 2: it to make sure that once that camera is up 434 00:27:56,359 --> 00:27:59,679 Speaker 2: and we are filming that everybody is where they need 435 00:27:59,720 --> 00:28:01,399 Speaker 2: to go, they know where they need to go and 436 00:28:01,400 --> 00:28:06,840 Speaker 2: they're comfortable with it. And within that, Babs the script coordinator, 437 00:28:07,680 --> 00:28:10,879 Speaker 2: was also tied in because we were not following what 438 00:28:10,920 --> 00:28:14,040 Speaker 2: was scripted on the page. So a lot of those 439 00:28:14,119 --> 00:28:19,200 Speaker 2: you know, little scenes were scripted, but and I think 440 00:28:19,240 --> 00:28:21,280 Speaker 2: they might have covered them, you know a couple of 441 00:28:21,320 --> 00:28:23,880 Speaker 2: times when they got in there for coverage to get 442 00:28:23,920 --> 00:28:27,880 Speaker 2: closer how it was scripted. But a lot of what 443 00:28:27,920 --> 00:28:30,600 Speaker 2: we were doing was ad libbed, and like if people 444 00:28:30,640 --> 00:28:33,439 Speaker 2: were freaking out, it was like let them go, Like 445 00:28:33,520 --> 00:28:36,840 Speaker 2: I think chords freak outs writer, you know, coming across. 446 00:28:37,040 --> 00:28:39,040 Speaker 2: I think a lot of those things were you were 447 00:28:39,080 --> 00:28:43,680 Speaker 2: given the space and the room to actually just go 448 00:28:43,760 --> 00:28:45,680 Speaker 2: for it and let it go and see what came out. 449 00:28:46,000 --> 00:28:52,040 Speaker 2: Especially those when Alreadie starts taking video of people. Those 450 00:28:52,200 --> 00:28:54,200 Speaker 2: some of those were scripted and then some of those 451 00:28:55,720 --> 00:28:58,840 Speaker 2: we're not we're not and then well ad libbed upon 452 00:28:59,000 --> 00:29:01,560 Speaker 2: what was actually scripted. So the storylines that they had 453 00:29:01,600 --> 00:29:03,480 Speaker 2: to get were. 454 00:29:03,280 --> 00:29:06,800 Speaker 1: Things like like the Brittany was out in the hall, 455 00:29:06,880 --> 00:29:08,800 Speaker 1: so Sam had to want to go get her, so 456 00:29:08,920 --> 00:29:12,000 Speaker 1: that was her shoe then would go get her? Or 457 00:29:12,320 --> 00:29:16,440 Speaker 1: the catfishing phone ringing that must have been written in there, yep, 458 00:29:16,760 --> 00:29:27,920 Speaker 1: as well as you're goodbye messages, and I think I 459 00:29:27,920 --> 00:29:30,160 Speaker 1: think Kitty probably apologizing to everybody. 460 00:29:31,640 --> 00:29:34,120 Speaker 2: I think, and I think when we filmed the really 461 00:29:34,160 --> 00:29:38,000 Speaker 2: long takes, we space it all out so we could 462 00:29:38,040 --> 00:29:40,000 Speaker 2: have the Sam moment, we could have the writer moment, 463 00:29:40,200 --> 00:29:44,880 Speaker 2: and then the writer Jake and Marley moment. I don't 464 00:29:44,920 --> 00:29:47,160 Speaker 2: know if we really did the I think we sort 465 00:29:47,200 --> 00:29:51,680 Speaker 2: of faked the goodbye videos because for that. 466 00:29:51,840 --> 00:29:52,880 Speaker 1: Yeah, what did you guys do? 467 00:29:53,920 --> 00:29:58,880 Speaker 2: Andrew got dressed from the waist down and already clothes 468 00:29:59,640 --> 00:30:08,160 Speaker 2: stop and filmed it so it's my voice talking behind 469 00:30:08,200 --> 00:30:12,320 Speaker 2: the camera, but it's Andrew actually filming everybody doing it, 470 00:30:14,480 --> 00:30:18,320 Speaker 2: so you'll see like my legs. I believe it's just 471 00:30:18,360 --> 00:30:22,600 Speaker 2: Andrew's legs. Oh my gosh, if I remember correctly, and 472 00:30:23,280 --> 00:30:25,479 Speaker 2: he's filming everyone because you don't want me filming it, 473 00:30:26,400 --> 00:30:27,120 Speaker 2: for sure. 474 00:30:27,680 --> 00:30:31,000 Speaker 1: A regular camera. It was like one of our camera 475 00:30:31,160 --> 00:30:33,400 Speaker 1: like the Glee cameras. I don't remember, to be honest, 476 00:30:33,600 --> 00:30:39,320 Speaker 1: maybe afterwards. Yeah, I'm entirely sure. They had me holding 477 00:30:39,480 --> 00:30:42,120 Speaker 1: and recording things on a phone. I did do that. 478 00:30:43,080 --> 00:30:46,000 Speaker 1: I do not think that's what was used to Andrew. 479 00:30:46,040 --> 00:30:48,520 Speaker 1: Andrew got in there, it was a real camera and 480 00:30:48,560 --> 00:30:52,640 Speaker 1: actually got shot it. One of the most embarrassing things 481 00:30:52,640 --> 00:30:56,040 Speaker 1: happened to me because I had a monologue. We all 482 00:30:56,120 --> 00:31:02,000 Speaker 1: had monologues scripted, sort of saying goodbye on camera, and 483 00:31:02,040 --> 00:31:04,160 Speaker 1: when we got in there and started doing the ad libs, 484 00:31:04,200 --> 00:31:06,560 Speaker 1: we did them back to back to back really quickly, 485 00:31:07,040 --> 00:31:09,560 Speaker 1: like we were in it. We didn't really cut and 486 00:31:09,720 --> 00:31:12,200 Speaker 1: we just went And then I was so under the 487 00:31:12,240 --> 00:31:15,440 Speaker 1: impression that we were ad libbing. Oh and so. 488 00:31:17,600 --> 00:31:20,840 Speaker 2: I the very last shot of the episode is me 489 00:31:21,600 --> 00:31:26,000 Speaker 2: saying something to camera that is all ad libbed, because 490 00:31:26,040 --> 00:31:29,560 Speaker 2: I thought that's what we were doing. Oh, and I 491 00:31:29,640 --> 00:31:34,360 Speaker 2: did it, and Sweet Brad and Sweet Babs they're both like, 492 00:31:34,400 --> 00:31:37,720 Speaker 2: that was beautiful. However, we're going to go again, and 493 00:31:37,720 --> 00:31:43,280 Speaker 2: can you do what scripted? And I was so mortified 494 00:31:43,280 --> 00:31:46,520 Speaker 2: because I thought we were doing the ad libs whatever, yeah, 495 00:31:46,560 --> 00:31:50,080 Speaker 2: because it's like you're doing something emotional, I know, But 496 00:31:50,560 --> 00:31:53,640 Speaker 2: in the moment it was like we oh my god, 497 00:31:53,720 --> 00:31:58,680 Speaker 2: I just like did my really vulnerable thing and they're like, 498 00:31:58,920 --> 00:32:02,280 Speaker 2: we don't do that. Yeah. And then I was really 499 00:32:02,280 --> 00:32:06,960 Speaker 2: pleasantly surprised when I saw the episode yet and they used. 500 00:32:06,760 --> 00:32:11,040 Speaker 1: It meanwhile though, So there's like a few storylines happening 501 00:32:11,080 --> 00:32:15,000 Speaker 1: within here where Marley can't get hold of her mom 502 00:32:15,080 --> 00:32:17,680 Speaker 1: as well. And I like these moments that they wrote 503 00:32:17,760 --> 00:32:22,600 Speaker 1: in to the kids that were in the room for 504 00:32:22,720 --> 00:32:25,600 Speaker 1: you guys, like Sam wanting to get to Brittany and 505 00:32:25,640 --> 00:32:28,120 Speaker 1: Marley not being able to reach her mom, and Rider 506 00:32:28,160 --> 00:32:32,280 Speaker 1: trying to reach Katie, and then you know, going to 507 00:32:32,800 --> 00:32:36,480 Speaker 1: Trish Millie's you know, in the in the cafeteria was 508 00:32:36,600 --> 00:32:39,800 Speaker 1: just chilling, and like being so close up on her. 509 00:32:40,160 --> 00:32:46,000 Speaker 1: It's just it was really effective in understanding the perspective 510 00:32:46,040 --> 00:32:50,200 Speaker 1: of the kids who were impacted by this, right like 511 00:32:50,360 --> 00:32:54,320 Speaker 1: being in the classroom and have not having touch with 512 00:32:54,440 --> 00:32:59,680 Speaker 1: other with the outside world, and feeling very isolated or 513 00:32:59,800 --> 00:33:04,360 Speaker 1: very distance from the people they love while also going 514 00:33:04,360 --> 00:33:07,520 Speaker 1: through this very traumatic event. And so I thought that 515 00:33:07,560 --> 00:33:10,640 Speaker 1: was really beautiful that Marley was trying that was also 516 00:33:10,800 --> 00:33:12,040 Speaker 1: like integrated into it. 517 00:33:12,280 --> 00:33:13,440 Speaker 2: Yeah, it's heartbreaking. 518 00:33:13,720 --> 00:33:19,719 Speaker 1: And Brittany being in the bathroom was also devastating. But 519 00:33:19,800 --> 00:33:23,040 Speaker 1: this is like the reality not everybody's together in like 520 00:33:23,200 --> 00:33:25,880 Speaker 1: one room protected and the lights are off and the 521 00:33:25,920 --> 00:33:27,600 Speaker 1: doors are locked, do you know what I mean? 522 00:33:27,680 --> 00:33:36,600 Speaker 2: And how Brad Baker filmed Brittany in the bathroom. You 523 00:33:36,680 --> 00:33:42,040 Speaker 2: have the silent shot of the empty hallway, it's handheld. 524 00:33:42,800 --> 00:33:46,440 Speaker 2: The magic of handheld and how Ryan established glee using 525 00:33:46,480 --> 00:33:49,520 Speaker 2: that in the pilot. It always puts you. It's like 526 00:33:49,560 --> 00:33:52,600 Speaker 2: how the Office was filmed. It puts you in the action. 527 00:33:52,680 --> 00:33:55,120 Speaker 2: It feels like the camera is a character, right, And 528 00:33:55,200 --> 00:34:00,000 Speaker 2: so when you see the camera in that empty hallway 529 00:34:00,280 --> 00:34:04,120 Speaker 2: and then in that bathroom and underneath the stalls and 530 00:34:04,160 --> 00:34:12,360 Speaker 2: coming into the stall and the silent weeping of Brittany 531 00:34:13,520 --> 00:34:22,600 Speaker 2: holding herself up on that toilet was devastating, devastating and 532 00:34:22,640 --> 00:34:27,120 Speaker 2: also from like a work standpoint, I think one of 533 00:34:27,120 --> 00:34:31,120 Speaker 2: the best things Heather has ever done. Yeah, definitely, And 534 00:34:31,360 --> 00:34:33,919 Speaker 2: it was the way Baker film that I just thought 535 00:34:34,040 --> 00:34:43,080 Speaker 2: was unbelievable, chilling and positioning that in between you know, 536 00:34:43,120 --> 00:34:49,600 Speaker 2: you you being stuck outside and then at some point 537 00:34:50,800 --> 00:34:52,920 Speaker 2: like when Sam tries to get out and beasts like 538 00:34:53,040 --> 00:34:54,680 Speaker 2: you're putting everybody's life in danger. 539 00:34:54,920 --> 00:34:56,840 Speaker 1: Yeah, like very. 540 00:34:56,760 --> 00:35:00,040 Speaker 2: Very real and like everybody having a different reaction, and 541 00:35:00,120 --> 00:35:05,200 Speaker 2: how that was covered even filming style was I thought, 542 00:35:05,280 --> 00:35:12,120 Speaker 2: really just really well done. And like when Will then 543 00:35:12,200 --> 00:35:17,440 Speaker 2: goes out to find Brittany, oh my god, because it 544 00:35:17,480 --> 00:35:19,480 Speaker 2: makes sense like if he knew she was going to 545 00:35:19,520 --> 00:35:24,000 Speaker 2: the bathroom, then he knows where to look. And him 546 00:35:24,040 --> 00:35:26,080 Speaker 2: walking in there, we don't know who's walking in there, 547 00:35:27,520 --> 00:35:29,799 Speaker 2: and the relief of them finding each other and there's 548 00:35:29,800 --> 00:35:32,680 Speaker 2: other students that ran into the bathroom clearly yeah. 549 00:35:34,360 --> 00:35:40,000 Speaker 1: I know rough well, who's the Brade Beaker and all 550 00:35:40,040 --> 00:35:42,120 Speaker 1: of you guys in that room. Because it was really 551 00:35:45,280 --> 00:35:50,799 Speaker 1: really emotional and powerful, and I thought everybody did the 552 00:35:50,840 --> 00:35:55,719 Speaker 1: best work they could possibly do under the circumstances of 553 00:35:55,760 --> 00:36:01,360 Speaker 1: what the the context of it is, right, what we're doing. 554 00:36:01,920 --> 00:36:04,400 Speaker 2: It was a heavy, heavy day. 555 00:36:04,719 --> 00:36:07,480 Speaker 1: I'm sure this. I remember the rest of this episode 556 00:36:07,520 --> 00:36:12,480 Speaker 1: aside from more than words being incredibly heavy, Like when 557 00:36:12,520 --> 00:36:15,640 Speaker 1: I went into rehearse for the scene with Blaine with 558 00:36:15,840 --> 00:36:20,120 Speaker 1: Darren and Blaine in the hallway at the end, I 559 00:36:20,239 --> 00:36:25,320 Speaker 1: was so emotional that usually they would shoot the wide first, 560 00:36:25,400 --> 00:36:29,560 Speaker 1: the master and then move in for coverage. Rad they 561 00:36:29,680 --> 00:36:33,240 Speaker 1: were set up for coverage for the wide for the master, 562 00:36:33,840 --> 00:36:36,239 Speaker 1: and he saw how emotional he I was and he 563 00:36:36,320 --> 00:36:37,680 Speaker 1: was like, we have to go for coverage right now. 564 00:36:37,760 --> 00:36:40,880 Speaker 1: We're changing the setup. So they changed his setup really quickly. 565 00:36:41,280 --> 00:36:42,960 Speaker 2: Wow, and then just. 566 00:36:42,920 --> 00:36:46,040 Speaker 1: Went in for coverage because he's like, I don't want 567 00:36:46,440 --> 00:36:51,160 Speaker 1: I don't want to lose this moment that feels very real. Wow. Yeah, 568 00:36:51,960 --> 00:36:56,000 Speaker 1: So we did that first, and then we moved out 569 00:36:56,080 --> 00:36:59,040 Speaker 1: and did the wide, and you know, and then Darren's 570 00:36:59,040 --> 00:36:59,879 Speaker 1: coverage as well. 571 00:37:00,200 --> 00:37:02,000 Speaker 2: I just think, what an intuitive director. 572 00:37:02,200 --> 00:37:07,440 Speaker 1: Totally thank goodness for him. Yeah, but yeah, I mean 573 00:37:07,560 --> 00:37:10,040 Speaker 1: the whole episode and then say, you know, doing the 574 00:37:10,120 --> 00:37:13,520 Speaker 1: number two felt like everybody was coming out of the 575 00:37:15,000 --> 00:37:18,839 Speaker 1: that as actors, coming out of that emotional state of 576 00:37:18,840 --> 00:37:21,799 Speaker 1: being in that moment and you know, hearing about it. 577 00:37:21,840 --> 00:37:25,799 Speaker 1: And yeah, Rider though the scene. Okay, so within the 578 00:37:25,880 --> 00:37:28,719 Speaker 1: choir room and some of the storylines that also had 579 00:37:28,840 --> 00:37:32,400 Speaker 1: happened were I think one of the ones that we 580 00:37:32,480 --> 00:37:36,200 Speaker 1: have to talk about are that Rider calls Katie because 581 00:37:36,239 --> 00:37:38,080 Speaker 1: he's like, it's she's still a person to me, I 582 00:37:38,120 --> 00:37:42,680 Speaker 1: still care about her, and the phone goes off and 583 00:37:42,840 --> 00:37:47,000 Speaker 1: it's in the choir room and it's somebody in our 584 00:37:47,160 --> 00:37:47,880 Speaker 1: lee club. 585 00:37:47,800 --> 00:37:50,479 Speaker 2: And we don't know which backpack it's coming out of. 586 00:37:51,000 --> 00:37:55,000 Speaker 1: We don't know. It's chilling the whole thing, the sound itself. 587 00:37:55,080 --> 00:37:57,240 Speaker 1: I just kept being like, turned the phone off, stop, 588 00:37:57,320 --> 00:38:02,520 Speaker 1: hang it up. And the fear of everybody when Ryder 589 00:38:02,560 --> 00:38:04,759 Speaker 1: have put himself in front of this and saying like 590 00:38:04,840 --> 00:38:06,920 Speaker 1: I need to know who this is in this moment. 591 00:38:07,400 --> 00:38:12,080 Speaker 2: Yeah, but well you're gonna get everybody killed. 592 00:38:12,280 --> 00:38:19,320 Speaker 1: Yeah, no, but it was questionable. But so it's somebody 593 00:38:19,360 --> 00:38:21,600 Speaker 1: in the glee club and we still haven't found out 594 00:38:21,640 --> 00:38:24,680 Speaker 1: who the catfish is. And it seems like by the end, 595 00:38:25,920 --> 00:38:27,719 Speaker 1: Rider has come to peace with the fact that it's 596 00:38:27,719 --> 00:38:28,840 Speaker 1: not Marlo or Jacer Kitty. 597 00:38:29,440 --> 00:38:32,520 Speaker 2: Well, he names a lot of people. He I mean, 598 00:38:32,560 --> 00:38:35,799 Speaker 2: he said it's not He had reasons why it wasn't you, 599 00:38:36,239 --> 00:38:40,120 Speaker 2: It wasn't n't. 600 00:38:38,560 --> 00:38:41,000 Speaker 1: And he knows it's somebody close to him though, because 601 00:38:41,280 --> 00:38:48,000 Speaker 1: they know things about him. And and so we're getting there. 602 00:38:48,680 --> 00:38:50,719 Speaker 1: I think we're going to find out soon, and. 603 00:38:50,800 --> 00:38:56,000 Speaker 2: He sort of, it feels like, surrenders to it and 604 00:38:56,080 --> 00:39:00,160 Speaker 2: to them, being like, why are you doing this. Who 605 00:39:00,239 --> 00:39:02,319 Speaker 2: are you like? You mean a lot to me. Let's 606 00:39:02,400 --> 00:39:05,279 Speaker 2: just meet up mm hmm. And he tries to meet 607 00:39:05,360 --> 00:39:09,279 Speaker 2: up and they obviously stand him up. Yeah, because the 608 00:39:09,320 --> 00:39:11,960 Speaker 2: rest of the glee club is singing to each other on 609 00:39:12,000 --> 00:39:13,000 Speaker 2: the auditorium stage. 610 00:39:13,800 --> 00:39:21,320 Speaker 1: Right. The outcome of this, though, is Sue and figgins, 611 00:39:22,800 --> 00:39:28,680 Speaker 1: and Sue quote unquote admits that she has her gun 612 00:39:28,760 --> 00:39:32,160 Speaker 1: Numa Thurman, who she holds in school. Kind Of hard 613 00:39:32,160 --> 00:39:35,239 Speaker 1: to believe at this point that she's doing that, but 614 00:39:36,000 --> 00:39:40,240 Speaker 1: she's actually covering up for Becky, which we learn, which 615 00:39:41,040 --> 00:39:47,480 Speaker 1: is valiant in a way. It makes her character more 616 00:39:47,520 --> 00:39:51,080 Speaker 1: relatable and empathetic at the same time, Do I have 617 00:39:51,160 --> 00:39:56,760 Speaker 1: a problem with hiding somebody who has a gun brought 618 00:39:56,760 --> 00:40:00,560 Speaker 1: a gun to school? Yes? Right, No, no matter who 619 00:40:00,560 --> 00:40:06,239 Speaker 1: it is. I understand her protection against over Becky and 620 00:40:06,280 --> 00:40:11,080 Speaker 1: her maternal kind of vibes over Becky. But do I 621 00:40:11,120 --> 00:40:17,000 Speaker 1: have questions on how we are who we're protecting? 622 00:40:19,120 --> 00:40:23,680 Speaker 2: Right? That seems like a there's a bigger issue going 623 00:40:23,680 --> 00:40:29,120 Speaker 2: on exactly that maybe Sue shouldn't be the only one 624 00:40:30,200 --> 00:40:34,280 Speaker 2: making the decisions about the call about how to handle 625 00:40:34,320 --> 00:40:36,520 Speaker 2: that situation. It's a very serious situation. 626 00:40:36,920 --> 00:40:41,200 Speaker 1: But more Importantly, we move on from this episode. Sue 627 00:40:41,280 --> 00:40:45,600 Speaker 1: is fired from her position at school and she's gone. 628 00:40:46,280 --> 00:40:50,560 Speaker 2: How did she come back from this? Because how can 629 00:40:50,600 --> 00:40:51,520 Speaker 2: you come back from this? 630 00:40:52,040 --> 00:40:55,480 Speaker 1: I don't know. I don't remember unless the truth comes out, 631 00:40:56,200 --> 00:40:57,160 Speaker 1: which I don't remember. 632 00:40:57,640 --> 00:40:58,600 Speaker 2: I don't know either. 633 00:40:58,880 --> 00:41:01,160 Speaker 1: We'll find out. 634 00:41:02,000 --> 00:41:07,400 Speaker 2: I feelings aside about how, you know, the result of 635 00:41:07,560 --> 00:41:12,000 Speaker 2: who brought the gun, how that was handled, the scenes 636 00:41:13,440 --> 00:41:17,239 Speaker 2: with Jane, with Figgins, and the scenes with Becky, and 637 00:41:17,280 --> 00:41:21,880 Speaker 2: then the scenes with Shoe Jane, Oh, some of her 638 00:41:21,920 --> 00:41:22,640 Speaker 2: best work. 639 00:41:22,880 --> 00:41:25,960 Speaker 1: To everybody, really just bringing it. 640 00:41:26,520 --> 00:41:30,920 Speaker 2: Yeah, and that scene with Becky especially which she does 641 00:41:31,000 --> 00:41:33,440 Speaker 2: bring the gun and she gets up to grab the 642 00:41:33,440 --> 00:41:36,160 Speaker 2: gun and the gun goes off, and their reactions and. 643 00:41:37,800 --> 00:41:40,840 Speaker 1: Yeah, yeah, scary. 644 00:41:41,880 --> 00:41:44,800 Speaker 2: Yeah, they were just both I mean, Lauren and Jane. 645 00:41:45,239 --> 00:41:45,560 Speaker 1: Man. 646 00:41:48,560 --> 00:41:50,080 Speaker 2: I had to take myself out of it. I'm like, 647 00:41:50,160 --> 00:41:54,000 Speaker 2: it's crazy, you know in a way that this is 648 00:41:54,080 --> 00:41:57,759 Speaker 2: the subject matter that this episode is about. Yeah, but 649 00:41:58,320 --> 00:42:00,040 Speaker 2: if I try to take myself out of that a 650 00:42:00,440 --> 00:42:06,239 Speaker 2: bit and just be really in awe of you know, 651 00:42:06,280 --> 00:42:08,320 Speaker 2: what they were doing performance. 652 00:42:07,800 --> 00:42:13,480 Speaker 1: Wise, totally totally coming at this from two separate yes, 653 00:42:14,400 --> 00:42:17,080 Speaker 1: cog yeah, yeah, exactly. 654 00:42:17,880 --> 00:42:22,560 Speaker 2: I do remember. Final thought here we were all dreading 655 00:42:22,960 --> 00:42:33,160 Speaker 2: obviously doing the school shooting scene, and we were all 656 00:42:33,239 --> 00:42:36,440 Speaker 2: just sort of like, let's okay, we have to do it. 657 00:42:37,200 --> 00:42:41,719 Speaker 2: Let's just get through it, and like the relief of 658 00:42:42,880 --> 00:42:45,040 Speaker 2: having done it. And I also remember when the episode 659 00:42:45,080 --> 00:42:48,319 Speaker 2: was coming out of just sort of burying my head 660 00:42:48,320 --> 00:42:51,480 Speaker 2: in the sand a bit of like I don't want 661 00:42:51,520 --> 00:42:55,440 Speaker 2: to know because I didn't know if what we were 662 00:42:55,480 --> 00:43:01,520 Speaker 2: doing was the right thing or not. And I remember 663 00:43:01,600 --> 00:43:06,200 Speaker 2: intentionally keeping myself from like reading what anybody said about it, 664 00:43:06,920 --> 00:43:08,600 Speaker 2: because it was one of those things I'm like, this 665 00:43:08,640 --> 00:43:13,640 Speaker 2: is not my call, and I know we showed up 666 00:43:13,640 --> 00:43:16,759 Speaker 2: and did the best job we could, and so I 667 00:43:16,840 --> 00:43:20,399 Speaker 2: tried to like protect myself or sanity in that way. 668 00:43:20,640 --> 00:43:22,319 Speaker 1: Like I'm with. 669 00:43:22,360 --> 00:43:26,280 Speaker 2: You, I don't know. This is a very gray, murky area. 670 00:43:26,880 --> 00:43:27,440 Speaker 2: I don't know. 671 00:43:27,920 --> 00:43:30,600 Speaker 1: I know, No, I agree, I mean, and I've said 672 00:43:30,600 --> 00:43:34,200 Speaker 1: it before, but like I'll say it again. We came 673 00:43:34,280 --> 00:43:37,279 Speaker 1: from we came to this and from the perspective of 674 00:43:38,200 --> 00:43:44,239 Speaker 1: a TV show, it's written acting in it, there are performances, 675 00:43:45,200 --> 00:43:51,720 Speaker 1: and then also from the perspective that it was controversial. 676 00:43:52,800 --> 00:43:55,600 Speaker 1: We don't know it was right, but what we do 677 00:43:55,760 --> 00:43:59,160 Speaker 1: know is that this is real. There are real families, 678 00:43:59,280 --> 00:44:03,120 Speaker 1: There are real Peo people who have lost their lives 679 00:44:03,160 --> 00:44:06,520 Speaker 1: to have families who have left, you know, people left 680 00:44:06,560 --> 00:44:13,520 Speaker 1: behind now that this will ever forever mark their their 681 00:44:13,560 --> 00:44:24,319 Speaker 1: lives in a very important and tragic way. So we 682 00:44:24,360 --> 00:44:28,959 Speaker 1: don't take this lightly. And as we talk about it, 683 00:44:29,600 --> 00:44:34,399 Speaker 1: we didn't. You know, we always are keeping the back 684 00:44:34,440 --> 00:44:36,279 Speaker 1: of our minds or the front of our minds that 685 00:44:38,560 --> 00:44:42,880 Speaker 1: this is something that we will hopefully never have to 686 00:44:43,960 --> 00:44:46,440 Speaker 1: experience ourselves in a very more direct way than we 687 00:44:46,520 --> 00:44:50,880 Speaker 1: have already. You know, we feel very strongly about Gun Reformed, judge, 688 00:44:51,080 --> 00:44:57,160 Speaker 1: you know, like I, you and I and our hearts 689 00:44:57,200 --> 00:45:02,040 Speaker 1: go way way out to anybody who's been touched by 690 00:45:03,280 --> 00:45:06,759 Speaker 1: a mass shooting of any sort. Yeah, that episode is 691 00:45:07,719 --> 00:45:14,040 Speaker 1: that episode. And now we're going into podcast mode where 692 00:45:14,040 --> 00:45:25,040 Speaker 1: we're grading episode performances. Oh your song, I give it 693 00:45:25,080 --> 00:45:36,720 Speaker 1: a A minus more than words say plus A Okay, fine. 694 00:45:36,920 --> 00:45:39,000 Speaker 2: I liked that there were different risers. That was new. 695 00:45:39,480 --> 00:45:44,400 Speaker 1: That was nice, interesting, it's like facing each other. Chartie 696 00:45:44,440 --> 00:45:50,919 Speaker 1: James cringe moments. I think the whole school shooting the episode. Yeah, 697 00:45:50,960 --> 00:45:55,319 Speaker 1: the episode great, moving on the best dance move. I 698 00:45:55,320 --> 00:45:58,200 Speaker 1: don't know there wasn't real dancing, so none. 699 00:45:58,880 --> 00:46:01,440 Speaker 2: Yeah, I don't think any qualifies in this episode. 700 00:46:02,040 --> 00:46:06,279 Speaker 1: The song say I like more than words? Okay, great, 701 00:46:06,280 --> 00:46:10,600 Speaker 1: I'll say say using more than words great prop prop performance, 702 00:46:12,239 --> 00:46:15,760 Speaker 1: Brittany's collide just scope our Lady Tubbington. 703 00:46:16,719 --> 00:46:19,600 Speaker 2: Sam's video saying that there's a cat and his locker 704 00:46:19,640 --> 00:46:25,640 Speaker 2: in his backpack. If anything happens, it's like devastating Lord Tubbington. 705 00:46:25,680 --> 00:46:27,279 Speaker 2: I know Lord Tumming is not a prop, but maybe 706 00:46:27,360 --> 00:46:31,600 Speaker 2: Lord Tubingcom's bad. Oh the couch, Oh the couch? Is 707 00:46:31,600 --> 00:46:36,000 Speaker 2: that what it was? Okay? 708 00:46:36,239 --> 00:46:38,360 Speaker 1: The best line in this episode? 709 00:46:43,920 --> 00:46:48,040 Speaker 2: Can I just save a full conversation between Brittany and Becky? 710 00:46:47,600 --> 00:46:47,799 Speaker 1: Yeah? 711 00:46:48,239 --> 00:46:50,279 Speaker 2: That was just really beautiful for sure. 712 00:46:52,200 --> 00:46:57,960 Speaker 1: That's performance or performance in VP. I think Heather. 713 00:46:58,360 --> 00:47:01,800 Speaker 2: I yeah, I'm gonna go with Heather. Yeah, she really 714 00:47:02,480 --> 00:47:07,000 Speaker 2: she had to show all the emotions and I don't 715 00:47:07,000 --> 00:47:10,839 Speaker 2: think anything was more powerful than that shot of her 716 00:47:10,840 --> 00:47:12,400 Speaker 2: in the bathroom this episode. 717 00:47:12,719 --> 00:47:13,640 Speaker 1: Yeah. 718 00:47:13,680 --> 00:47:17,400 Speaker 2: Well, on a different note, should we found a TikTok? 719 00:47:18,760 --> 00:47:19,600 Speaker 2: I feel insane? 720 00:47:20,239 --> 00:47:21,520 Speaker 1: I feel crazy right now? 721 00:47:23,000 --> 00:47:30,160 Speaker 2: Okay, so where you're planted? Sarah Lynn on TikTok does 722 00:47:30,200 --> 00:47:34,320 Speaker 2: a full breakdown of a chapel roon episode of Glee 723 00:47:34,760 --> 00:47:38,600 Speaker 2: and breaks down which character would sing what and I 724 00:47:38,640 --> 00:47:39,839 Speaker 2: think she's right on. 725 00:47:41,320 --> 00:47:41,840 Speaker 1: Wow. 726 00:47:42,160 --> 00:47:47,279 Speaker 2: Yeah, it's a really good breakdown. I you know, this 727 00:47:47,320 --> 00:47:49,400 Speaker 2: is one of those instances where I'm upset that we 728 00:47:49,960 --> 00:47:54,080 Speaker 2: can't see it. I want to see it. This is 729 00:47:54,080 --> 00:47:58,680 Speaker 2: one of those let us you agree. I think she's 730 00:47:58,719 --> 00:48:02,879 Speaker 2: pretty pretty. Come on here. She gives Teena the song, 731 00:48:03,440 --> 00:48:06,919 Speaker 2: so check it out. Check it out, and she has storylines, 732 00:48:07,840 --> 00:48:10,320 Speaker 2: some suggestions of how they'd be used, and I think 733 00:48:10,920 --> 00:48:15,560 Speaker 2: it all tracks mm hmm. Yeah. 734 00:48:16,080 --> 00:48:21,759 Speaker 1: I thank you all for joining us on this tiptoe 735 00:48:21,760 --> 00:48:26,399 Speaker 1: through this episode. I understand how sensitive it can be. 736 00:48:26,480 --> 00:48:30,839 Speaker 1: It is, and so thanks for joining us if you did, 737 00:48:31,600 --> 00:48:32,959 Speaker 1: and we'll see you next week. 738 00:48:32,960 --> 00:48:35,879 Speaker 2: First, Sweet Dreams and that's what you really missed. Thanks 739 00:48:35,920 --> 00:48:39,080 Speaker 2: for listening and follow us on Instagram at and That's 740 00:48:39,080 --> 00:48:41,239 Speaker 2: what you really miss pod. Make sure to write us 741 00:48:41,239 --> 00:48:43,839 Speaker 2: a review and leave us five stars. See you next time.