1 00:00:01,720 --> 00:00:05,680 Speaker 1: And that's what you really missed with Jenna and Kevin An. 2 00:00:05,680 --> 00:00:12,160 Speaker 1: iHeartRadio podcast. I'm Jenna, I'm Kevin, and this is and 3 00:00:12,280 --> 00:00:17,000 Speaker 1: that's what you really missed. I wasn't gonna eat the 4 00:00:17,000 --> 00:00:22,640 Speaker 1: opportunity to say some other version hijacked what this show is. 5 00:00:24,920 --> 00:00:28,000 Speaker 1: I was trying to think of it. It's fine. It's 6 00:00:28,040 --> 00:00:29,760 Speaker 1: great to be here with you, Jenna. This is great 7 00:00:29,800 --> 00:00:32,400 Speaker 1: to be here with you. This is very exciting. This is, 8 00:00:33,320 --> 00:00:37,760 Speaker 1: you know, another big episode for Argentina. It's right, yeah, 9 00:00:37,760 --> 00:00:40,640 Speaker 1: these are our favorites because we can talk about ourselves, right, 10 00:00:41,159 --> 00:00:46,159 Speaker 1: so much fun. This was a really fun one, especially 11 00:00:46,159 --> 00:00:51,120 Speaker 1: because we get to see Kevin Dean. Yes, and I 12 00:00:51,240 --> 00:00:53,840 Speaker 1: wish I went when we get to it, I want 13 00:00:54,240 --> 00:00:57,440 Speaker 1: to get some fan reaction. I want them to write 14 00:00:57,480 --> 00:00:59,360 Speaker 1: in and tell us what they thought, because I have questions. 15 00:00:59,680 --> 00:01:04,679 Speaker 1: Oh yeah. So this episode is season one, episode nineteen, 16 00:01:05,360 --> 00:01:10,320 Speaker 1: dream On. It originally aired on May eighteenth, twenty ten, 17 00:01:11,040 --> 00:01:15,040 Speaker 1: which was almost to the day, the year anniversary of 18 00:01:15,080 --> 00:01:18,479 Speaker 1: the pilot premiering after the American Idol finale and how 19 00:01:18,520 --> 00:01:22,600 Speaker 1: far we've come? How far? Like you know, Ryan said, 20 00:01:22,840 --> 00:01:27,560 Speaker 1: I remember after one of those initial parties, after the 21 00:01:27,680 --> 00:01:32,280 Speaker 1: premiere who I think Chris and Chenowith asked him, like, 22 00:01:32,319 --> 00:01:35,119 Speaker 1: oh well, Kevin never like get up and sing and dance. 23 00:01:35,160 --> 00:01:37,680 Speaker 1: He's like, no, that's never going to happen. I remember 24 00:01:37,720 --> 00:01:39,720 Speaker 1: that yep cut. Two year later, here I am. We 25 00:01:39,920 --> 00:01:45,080 Speaker 1: are dancing tales oldest time. Don't put the idea in 26 00:01:45,160 --> 00:01:48,680 Speaker 1: Ryan's head because he doesn't forget. I also watched a 27 00:01:48,680 --> 00:01:52,000 Speaker 1: little bit of the Glee tour last night online and 28 00:01:52,080 --> 00:01:54,120 Speaker 1: he brought back a lot of memories. Now I remember 29 00:01:54,200 --> 00:01:57,680 Speaker 1: the songs that we performed because the other one is 30 00:01:57,720 --> 00:02:00,360 Speaker 1: fresher in my mind. So this was a good good 31 00:02:00,000 --> 00:02:02,440 Speaker 1: I was like, I forgot they did boys mine. I 32 00:02:02,480 --> 00:02:07,760 Speaker 1: forgot they did we did too jobs. I forgot. Yeah, 33 00:02:07,800 --> 00:02:09,760 Speaker 1: we didn't do as many shows, so the other one 34 00:02:09,840 --> 00:02:13,440 Speaker 1: was much more ingrained in our bodies. That's right, that's right. 35 00:02:13,880 --> 00:02:17,800 Speaker 1: So this time, so this was the anniversary and May 36 00:02:18,000 --> 00:02:21,280 Speaker 1: twenty to twenty second, we kicked off our first three 37 00:02:22,040 --> 00:02:26,480 Speaker 1: our three night gig at the Gibson rip Amphitheater at 38 00:02:26,680 --> 00:02:30,400 Speaker 1: Universal CityWalk, and that was fun because we were on 39 00:02:30,440 --> 00:02:32,280 Speaker 1: home turf. It was nice to be sleeping in your 40 00:02:32,280 --> 00:02:35,240 Speaker 1: own bed and then going to the theater or the 41 00:02:35,600 --> 00:02:40,200 Speaker 1: right as a theater and performing the show and it 42 00:02:40,240 --> 00:02:44,960 Speaker 1: was just such a fun, fun experience to be back 43 00:02:45,040 --> 00:02:48,000 Speaker 1: at home. And if you go to Universal Studios in 44 00:02:48,160 --> 00:02:54,000 Speaker 1: La now that's now Hogwarts, That's right. So the Gibson 45 00:02:54,240 --> 00:02:58,800 Speaker 1: got knocked down to become Hogwarts. So whatever do you remember, though, Kevin? 46 00:03:00,160 --> 00:03:03,800 Speaker 1: In between shows one day we asked them I think 47 00:03:03,800 --> 00:03:05,880 Speaker 1: it was Amber who was like, can we go on 48 00:03:05,960 --> 00:03:12,200 Speaker 1: some of the rides? And they were like, um, maybe, 49 00:03:12,360 --> 00:03:13,800 Speaker 1: and we were like, we all want to go on 50 00:03:13,800 --> 00:03:17,720 Speaker 1: our rights And then we started bugging everybody and they 51 00:03:17,800 --> 00:03:20,639 Speaker 1: got security to take us to like the back lot 52 00:03:20,720 --> 00:03:25,639 Speaker 1: tour and we we did Jurassic Park, right, I think 53 00:03:25,639 --> 00:03:29,200 Speaker 1: we Jurassic Park. We yep, Mommy was a big one. 54 00:03:29,240 --> 00:03:31,799 Speaker 1: We didn't we do the studio a lot tours? Did 55 00:03:31,800 --> 00:03:36,120 Speaker 1: we do that? I don't remember. Yeah, we were very excited. 56 00:03:36,360 --> 00:03:39,400 Speaker 1: Were we doing matinees? I think we had done to 57 00:03:39,600 --> 00:03:43,480 Speaker 1: a two day, two show day to day do two 58 00:03:43,640 --> 00:03:48,000 Speaker 1: doche there we go there is yeah, which I know. 59 00:03:48,280 --> 00:03:53,119 Speaker 1: Jamie Lee Curtis said she wishes bands would do matinee's 60 00:03:54,240 --> 00:03:58,880 Speaker 1: on the performance side of it personally when you have 61 00:03:59,240 --> 00:04:02,520 Speaker 1: so normally cats don't have matinees on both glee tours. 62 00:04:02,600 --> 00:04:04,640 Speaker 1: We had matinees because they were really trying to get 63 00:04:04,680 --> 00:04:06,800 Speaker 1: their money's worth for the allotted time they had us 64 00:04:06,840 --> 00:04:11,600 Speaker 1: under contract. Tell me what the audiences were like, Kevin, Look, 65 00:04:12,000 --> 00:04:16,240 Speaker 1: it's not just on our end doing a matinee. And 66 00:04:16,279 --> 00:04:20,000 Speaker 1: you can talk about this Janet as doing theater. Yeah, 67 00:04:20,000 --> 00:04:23,680 Speaker 1: where it is a slog to get your body geared 68 00:04:23,760 --> 00:04:27,320 Speaker 1: up to be at a ten by one pm. Correct, 69 00:04:27,680 --> 00:04:31,159 Speaker 1: because and especially when you're doing music or doing a concert, 70 00:04:31,720 --> 00:04:34,200 Speaker 1: you people normally make music late at night. It is 71 00:04:34,279 --> 00:04:37,320 Speaker 1: very much a nighttime thing. People are out there drinking 72 00:04:37,400 --> 00:04:40,360 Speaker 1: or doing whatever. And you feel that when you're on 73 00:04:40,400 --> 00:04:45,120 Speaker 1: stage because the audience reacts completely differently and nine times 74 00:04:45,120 --> 00:04:47,280 Speaker 1: out of ten and audience in the middle of the 75 00:04:47,360 --> 00:04:50,920 Speaker 1: day also feels that way. And so when you're on stage, 76 00:04:50,920 --> 00:04:52,760 Speaker 1: you're feeding off what the audience is giving you and 77 00:04:52,920 --> 00:04:55,200 Speaker 1: at one pm they're not giving you a ten. I 78 00:04:55,240 --> 00:04:58,919 Speaker 1: can turn that. I will say as a mom Aftu 79 00:04:59,120 --> 00:05:02,400 Speaker 1: concert sound lightful. No, Logistically it makes a lot of sense, 80 00:05:02,480 --> 00:05:06,120 Speaker 1: and especially for children's concerts, Yes, But performance and energy wise, 81 00:05:06,680 --> 00:05:10,000 Speaker 1: it's brutal. It's brutal. It is brutal, and especially because 82 00:05:10,040 --> 00:05:12,200 Speaker 1: if you've done a show the night before. That's a 83 00:05:12,200 --> 00:05:14,680 Speaker 1: half of the time of the turnaround you normally, Yeah, 84 00:05:15,440 --> 00:05:19,440 Speaker 1: you're flemmy, you're tired, it's still light out. There's just 85 00:05:19,520 --> 00:05:22,200 Speaker 1: a lot of things, so I know, when the sun 86 00:05:22,279 --> 00:05:25,320 Speaker 1: goes down, it's it's time to go, like you're you're 87 00:05:25,360 --> 00:05:27,920 Speaker 1: ready to go, And when the sun's up mid day, 88 00:05:28,000 --> 00:05:32,080 Speaker 1: like you just had lunch and you're gonna go, it's weird. Yeah, 89 00:05:32,120 --> 00:05:34,920 Speaker 1: I agree. However, I will say this was a different tour, 90 00:05:34,960 --> 00:05:40,000 Speaker 1: but Toronto. If there's anybody in Toronto listening, greatest of 91 00:05:40,040 --> 00:05:43,200 Speaker 1: all time matinee crowd, yea we had they brought to 92 00:05:43,360 --> 00:05:48,520 Speaker 1: matinees and yes, if that matinee was not louder than 93 00:05:48,520 --> 00:05:51,560 Speaker 1: any of the evening shows because they were bringing it. 94 00:05:51,600 --> 00:05:53,640 Speaker 1: And I think if you look somewhere on YouTube, I 95 00:05:53,640 --> 00:05:56,440 Speaker 1: think I mentioned that as well. Well. The Canadians are 96 00:05:56,480 --> 00:06:00,000 Speaker 1: just nice people, so they give us what we need. Yeah, 97 00:06:00,200 --> 00:06:04,839 Speaker 1: you're right, all right. So that was the tour where 98 00:06:04,880 --> 00:06:10,400 Speaker 1: there will be more tour later and um okay, I 99 00:06:10,480 --> 00:06:13,480 Speaker 1: have a lot of notes for this this episode, just 100 00:06:13,520 --> 00:06:17,680 Speaker 1: because there's so many memories that I didn't want to forget. Yes, 101 00:06:17,880 --> 00:06:22,520 Speaker 1: all right. This episode was directed by Joss Wheden. This 102 00:06:22,720 --> 00:06:30,160 Speaker 1: was pre Avengers right very early like post Buffy, Yes, um, 103 00:06:30,920 --> 00:06:34,040 Speaker 1: what was the other? It was shortly after this where 104 00:06:34,080 --> 00:06:39,279 Speaker 1: he sort of took all those first two Avenger movies 105 00:06:40,000 --> 00:06:44,320 Speaker 1: character movies and then he crafted what we know today 106 00:06:44,320 --> 00:06:46,719 Speaker 1: to be the Avengers and did the first Avenger movie. 107 00:06:46,760 --> 00:06:51,240 Speaker 1: And he also was very musical. He was a very 108 00:06:51,320 --> 00:06:55,560 Speaker 1: musical guy. So this was like, you know, just directorially, 109 00:06:55,640 --> 00:06:59,840 Speaker 1: like right up his alley. And we also had he 110 00:07:00,080 --> 00:07:03,920 Speaker 1: interacted with us very differently than any director had up 111 00:07:03,920 --> 00:07:07,560 Speaker 1: to this point. This was our nineteenth episode, and so 112 00:07:07,600 --> 00:07:09,280 Speaker 1: we sort of had a rhythm. We had a series 113 00:07:09,320 --> 00:07:14,520 Speaker 1: of the same directors coming right now. And when he 114 00:07:14,560 --> 00:07:16,320 Speaker 1: came in, because you and I had also like a 115 00:07:16,320 --> 00:07:21,560 Speaker 1: lot of sensitive scenes in this that he do you 116 00:07:21,600 --> 00:07:24,560 Speaker 1: remember this? He came to base camp, he pulled us 117 00:07:24,560 --> 00:07:28,000 Speaker 1: out for a acting rehearsal which never happened never, and 118 00:07:28,040 --> 00:07:29,680 Speaker 1: took us up to the dance studio of the Tin 119 00:07:29,760 --> 00:07:33,440 Speaker 1: Shed and we worked on that scene with the tapping 120 00:07:33,480 --> 00:07:38,280 Speaker 1: and where you fall. Yeah, And he just showed so 121 00:07:38,360 --> 00:07:43,280 Speaker 1: much care and thoughtfulness, and I think you're able to 122 00:07:43,280 --> 00:07:45,480 Speaker 1: do that when you're just coming in for one episode 123 00:07:46,280 --> 00:07:50,240 Speaker 1: like this and you have the time to plan and 124 00:07:50,320 --> 00:07:52,480 Speaker 1: do it, and the script is written. And I was 125 00:07:52,480 --> 00:07:56,800 Speaker 1: going to say, clearly the script was on time, Yes, exactly. 126 00:07:57,520 --> 00:08:01,240 Speaker 1: M Yeah, we'll get to that. Uh, this is a 127 00:08:01,280 --> 00:08:05,160 Speaker 1: big episode. There's a lot happening. Brian Ryan is here, 128 00:08:05,520 --> 00:08:08,280 Speaker 1: you know, Patrick Harris, who Josh has worked with UM 129 00:08:08,480 --> 00:08:15,280 Speaker 1: in other things, and Um, Kevin is a dance and 130 00:08:16,320 --> 00:08:21,480 Speaker 1: Shelby Corkoran has lots to do Our Greenwitch, Dinna man 131 00:08:21,560 --> 00:08:28,280 Speaker 1: zeal And. Yeah. So the songs in this episode are 132 00:08:28,640 --> 00:08:33,560 Speaker 1: dream On by Aerosmith wild Um, the Safety Dance Dance 133 00:08:33,679 --> 00:08:36,079 Speaker 1: by Men Without Hats, and I dreamed a dream by 134 00:08:36,080 --> 00:08:40,640 Speaker 1: the castline. It's very exciting. And then dream a little dream. 135 00:08:40,800 --> 00:08:44,040 Speaker 1: That's right, Dream a little dream, Kevin. You had a lot, 136 00:08:44,640 --> 00:08:47,000 Speaker 1: a lot of recording to do, and this I did. 137 00:08:47,280 --> 00:08:50,320 Speaker 1: But it was one afternoon actually, oh it was one 138 00:08:50,360 --> 00:08:55,640 Speaker 1: evening pre a Glee dinner at the Chateau Marmont. Oh really, yeah, 139 00:08:55,880 --> 00:09:02,760 Speaker 1: pretty usual. I had a slight meltdown, which you know standard. Um. 140 00:09:02,360 --> 00:09:06,440 Speaker 1: Both my voice just didn't feel great, you know, some 141 00:09:06,840 --> 00:09:11,760 Speaker 1: days it just doesn't feel great. And yeah, and I 142 00:09:11,800 --> 00:09:14,440 Speaker 1: did Safety Dance first, and because actually it was sort 143 00:09:14,440 --> 00:09:19,000 Speaker 1: of like talking, it was harder. It was harsher on 144 00:09:19,080 --> 00:09:21,800 Speaker 1: my voice, I think, and then you get into this 145 00:09:21,920 --> 00:09:26,079 Speaker 1: really soft and you're like, oh well my voice is 146 00:09:26,120 --> 00:09:29,320 Speaker 1: now gone. So but I was really excited. I remember 147 00:09:29,360 --> 00:09:31,680 Speaker 1: talking to Amber at that dinner about how I was 148 00:09:31,880 --> 00:09:38,600 Speaker 1: trying to make Dreamy Little dream Um sound older, you know, 149 00:09:38,760 --> 00:09:41,480 Speaker 1: like do a different vibrato and things like that. I 150 00:09:41,559 --> 00:09:45,080 Speaker 1: was very excited for the vocal challenge. It was okay, 151 00:09:45,120 --> 00:09:47,480 Speaker 1: it was a great little number. Also, is that just 152 00:09:47,559 --> 00:09:51,640 Speaker 1: the most like sampled and used song now and everything? 153 00:09:51,960 --> 00:09:55,320 Speaker 1: I think every commercial I hear in every restaurant, It's 154 00:09:55,400 --> 00:09:59,120 Speaker 1: just everywhere. There's a billion different versions of it. Yes, Yes, 155 00:09:59,480 --> 00:10:12,839 Speaker 1: that's a great there's an episode summary. Do you want 156 00:10:12,840 --> 00:10:16,800 Speaker 1: to talk about it? Sure? So, Will's former high school 157 00:10:16,840 --> 00:10:21,360 Speaker 1: nemesis classic Brian Ryan shows up and causes some trouble 158 00:10:21,400 --> 00:10:24,760 Speaker 1: for the glee club. Mm hmmm, that's no good. Then 159 00:10:24,880 --> 00:10:29,760 Speaker 1: Rachel struggles with a lifelong personal issue, plus Artientina your 160 00:10:29,800 --> 00:10:32,280 Speaker 1: favorites try to find a way for Artie to live 161 00:10:32,280 --> 00:10:36,680 Speaker 1: his dream of walking again. Oh well dancing really right, 162 00:10:36,880 --> 00:10:38,880 Speaker 1: that's what it is. So let's get into it. Well, 163 00:10:38,960 --> 00:10:42,480 Speaker 1: let's talk about Brian Ryan. Let's talk about Brian Ryan. Um, 164 00:10:44,160 --> 00:10:48,319 Speaker 1: so we learned that that's Will's arch and ousts from 165 00:10:48,400 --> 00:10:51,760 Speaker 1: high school and he just happens to be on the 166 00:10:51,800 --> 00:10:58,600 Speaker 1: school board and he wants to cut the glee club. Well, yeah, 167 00:10:58,640 --> 00:11:00,959 Speaker 1: he wants to cut the glee club. He has to 168 00:11:01,000 --> 00:11:04,199 Speaker 1: cut funding from the arts somewhere, from some extracurricular thing, 169 00:11:04,240 --> 00:11:07,320 Speaker 1: and obviously, because he hates Will, it's most likely going 170 00:11:07,400 --> 00:11:10,400 Speaker 1: to come from there, that's right. So he comes in 171 00:11:10,520 --> 00:11:13,920 Speaker 1: and he talks to all of us and the a 172 00:11:14,040 --> 00:11:17,160 Speaker 1: choir room scene where he says, you know, most of 173 00:11:17,200 --> 00:11:21,080 Speaker 1: you probably want to pursue this and want to do this, 174 00:11:21,360 --> 00:11:27,080 Speaker 1: and you know you shouldn't. You you shouldn't because you're 175 00:11:27,120 --> 00:11:31,720 Speaker 1: not going to succeed. He's a drein killer. He had 176 00:11:31,800 --> 00:11:34,679 Speaker 1: us actually write down on pieces of paper what it 177 00:11:34,720 --> 00:11:37,200 Speaker 1: is we want already obviously wrote he wants to dance. 178 00:11:37,400 --> 00:11:41,720 Speaker 1: What were some of the other ones? Um, I have 179 00:11:41,760 --> 00:11:49,160 Speaker 1: a threesome, not have stretch marks, and and then Tina. 180 00:11:49,440 --> 00:11:54,120 Speaker 1: He breaks Tina basically yeah, and this was the first 181 00:11:54,160 --> 00:11:56,960 Speaker 1: time that I had to cry. This is one of 182 00:11:56,960 --> 00:12:00,240 Speaker 1: the first of many that will come. See, here's the thing. 183 00:12:00,520 --> 00:12:04,600 Speaker 1: You do something and you do it too well, that's right, 184 00:12:04,640 --> 00:12:06,480 Speaker 1: and they're just gonna keep having you do it because 185 00:12:06,840 --> 00:12:09,320 Speaker 1: Tina cried one time and she never stopped crying. Run 186 00:12:09,320 --> 00:12:12,120 Speaker 1: it into the ground. We did, Yes, that's we did. 187 00:12:12,920 --> 00:12:15,559 Speaker 1: It's also not that easy for me to cry on you, 188 00:12:15,960 --> 00:12:17,720 Speaker 1: like I can do it, but it takes a while 189 00:12:17,760 --> 00:12:20,800 Speaker 1: for me to get there. So this was not something 190 00:12:20,840 --> 00:12:24,160 Speaker 1: that was like in my back pocket, like I could 191 00:12:24,160 --> 00:12:27,880 Speaker 1: cry out of one eye like Rachel Barry. But anyway, 192 00:12:27,960 --> 00:12:33,800 Speaker 1: that's the beginning of that. So Will is like, what boo, 193 00:12:34,240 --> 00:12:39,760 Speaker 1: he's Brian, Ryan's wrong. So I just had a memory. Yeah, 194 00:12:39,760 --> 00:12:43,880 Speaker 1: do you remember when we filmed this, Neil Patrick Harris 195 00:12:43,880 --> 00:12:47,960 Speaker 1: had hosted the Oscars the day before. Well, this was 196 00:12:48,040 --> 00:12:52,080 Speaker 1: also the one when we want to the parties the 197 00:12:52,200 --> 00:12:58,120 Speaker 1: night before, so everyone it was so if you go 198 00:12:58,200 --> 00:13:02,880 Speaker 1: watch that scene, Neil Patrick Harris looking fresh and rested, glowing, 199 00:13:03,640 --> 00:13:08,760 Speaker 1: had hosted the Oscars, the biggest award ceremony of the year, 200 00:13:09,960 --> 00:13:14,600 Speaker 1: and everybody, including him and us, we're out pretty late, 201 00:13:15,360 --> 00:13:20,360 Speaker 1: not party, praying, partying or drinking water. Yeah, no, we were. 202 00:13:20,960 --> 00:13:24,520 Speaker 1: And Mondays is the earliest call. So normally on Mondays 203 00:13:24,520 --> 00:13:26,400 Speaker 1: you have like a girls have like a five thirty 204 00:13:26,440 --> 00:13:30,280 Speaker 1: am call. We were there, and we were in that 205 00:13:30,400 --> 00:13:33,160 Speaker 1: choir room. That was the first team we did with them. 206 00:13:33,679 --> 00:13:36,840 Speaker 1: It was the jacket one, right, yeah, first up, first 207 00:13:36,920 --> 00:13:41,760 Speaker 1: up for him and for Joss and for everybody. We 208 00:13:41,800 --> 00:13:46,480 Speaker 1: were just looking puffy. Neil Patrick Harris got an Emmy 209 00:13:46,520 --> 00:13:50,560 Speaker 1: for this, so he's fine. And he did great, like 210 00:13:50,679 --> 00:13:55,839 Speaker 1: he looked glowy. Um. Yes, good memories though. I remember 211 00:13:55,880 --> 00:13:58,880 Speaker 1: sitting there being like, how is he doing this? I 212 00:13:58,920 --> 00:14:01,040 Speaker 1: know we were like I I have no lines and 213 00:14:01,080 --> 00:14:06,600 Speaker 1: I'm barely truly, I think I think there was somebody 214 00:14:06,840 --> 00:14:11,600 Speaker 1: they will rename, real name, will remain Wow, Okay, they 215 00:14:11,640 --> 00:14:17,040 Speaker 1: will remain nameless. You try and say that um fell 216 00:14:17,080 --> 00:14:21,720 Speaker 1: asleep on the back wall. So this is why I remember. 217 00:14:21,960 --> 00:14:25,920 Speaker 1: Because there is a shot of us and somebody looks 218 00:14:26,040 --> 00:14:33,640 Speaker 1: very sleepy, more sleepy than the others. And yea, she 219 00:14:35,040 --> 00:14:41,440 Speaker 1: her eyes were barely. She loves to dance. She does 220 00:14:41,520 --> 00:14:44,160 Speaker 1: love to dance. She loves to dance. There's a couple 221 00:14:44,160 --> 00:14:50,160 Speaker 1: of girls who would regularly fall asleep in all right, 222 00:14:50,280 --> 00:14:52,160 Speaker 1: So they go they go to a bar, right, they 223 00:14:52,160 --> 00:14:57,600 Speaker 1: go to the bar. Umar because Weill was just like, look, 224 00:14:57,680 --> 00:15:00,160 Speaker 1: you're wrong about this. I remember how good you or 225 00:15:00,840 --> 00:15:03,840 Speaker 1: like and let me take you out and refresh your 226 00:15:03,840 --> 00:15:08,040 Speaker 1: memory about how rewarding this is. Like, let me just 227 00:15:08,240 --> 00:15:11,600 Speaker 1: remind you. And so Will takes him out to this bar, 228 00:15:12,200 --> 00:15:19,000 Speaker 1: reminds him how they used to sing together. Will and 229 00:15:19,520 --> 00:15:22,160 Speaker 1: Brian talk about their crushes and Brian's like, oh, I 230 00:15:22,280 --> 00:15:25,040 Speaker 1: love that Terry Delmonico girl, and He's like, oh I 231 00:15:25,160 --> 00:15:28,600 Speaker 1: married her. What a last name? Right? It also makes 232 00:15:28,600 --> 00:15:39,080 Speaker 1: me hungry for steak. Um. And then and then they 233 00:15:39,120 --> 00:15:41,120 Speaker 1: do this. You know, there was a lot of live 234 00:15:41,200 --> 00:15:44,840 Speaker 1: singing in this episode that never happens. So when they 235 00:15:44,840 --> 00:15:48,760 Speaker 1: are when Neil Patrick Harris is singing in the flashback scene, um, 236 00:15:48,920 --> 00:15:52,480 Speaker 1: he is singing live. And then when they go to 237 00:15:52,520 --> 00:15:55,360 Speaker 1: the bar and they do Piano Man, they're singing live again. 238 00:15:55,480 --> 00:15:59,280 Speaker 1: You're like, oh, yes, I have these musical theater pros 239 00:15:59,440 --> 00:16:02,160 Speaker 1: sing live because they sound incredible. Do you know why 240 00:16:02,360 --> 00:16:05,000 Speaker 1: was that just the request or was that Joss or 241 00:16:05,040 --> 00:16:07,160 Speaker 1: what do you remember? I'm not sure, but I think 242 00:16:07,160 --> 00:16:11,240 Speaker 1: it's because they're singing to track, like they're singing over 243 00:16:11,240 --> 00:16:14,080 Speaker 1: like piano Man was singing to the actual song. Right, 244 00:16:14,160 --> 00:16:16,880 Speaker 1: it's not supposed to sound super predict no, yeah, and 245 00:16:16,920 --> 00:16:18,640 Speaker 1: it sounds great and that could have been a Jos thing. 246 00:16:18,720 --> 00:16:21,640 Speaker 1: Jos was very much about. Even though he's famous for 247 00:16:21,800 --> 00:16:25,880 Speaker 1: doing sci fi shows, he was very much into grounding 248 00:16:26,520 --> 00:16:34,120 Speaker 1: this show correct. So then you know, Brian Ryan and 249 00:16:34,160 --> 00:16:37,360 Speaker 1: Will hit it off, and it was like, look, they're 250 00:16:37,400 --> 00:16:42,120 Speaker 1: doing lay miscasting. You should audition with me because I'm 251 00:16:42,120 --> 00:16:45,240 Speaker 1: going to audition, Like, let's reignite this flame. So they 252 00:16:45,280 --> 00:16:48,040 Speaker 1: go to audition for it, and all of a sudden, 253 00:16:48,840 --> 00:16:52,560 Speaker 1: their nice little moment, you know, the reprieve of hating 254 00:16:52,600 --> 00:16:56,040 Speaker 1: each other is ended because they realized they're doing the 255 00:16:56,080 --> 00:17:00,240 Speaker 1: same audition song, and so we get a very good duet. 256 00:17:00,600 --> 00:17:04,119 Speaker 1: Brian Ryan copies Will. Yes, It's like, that's funny, I'm 257 00:17:04,160 --> 00:17:07,800 Speaker 1: doing that. Yeah, that's funny, I'm doing that. And then 258 00:17:08,119 --> 00:17:11,680 Speaker 1: the guy says do it as a duet, which would 259 00:17:11,720 --> 00:17:16,000 Speaker 1: never happen. But I feel honored to have watched that number. 260 00:17:17,320 --> 00:17:23,680 Speaker 1: It's wild. That is a crazy high song. And it 261 00:17:23,720 --> 00:17:25,760 Speaker 1: made me think of something that Ryan said in our 262 00:17:25,800 --> 00:17:28,480 Speaker 1: last interview with him, where people forgot that the show 263 00:17:28,640 --> 00:17:31,000 Speaker 1: was a satire. Right, you know, you watch a lot 264 00:17:31,040 --> 00:17:32,800 Speaker 1: of it and you take it so seriously, like why 265 00:17:32,800 --> 00:17:36,760 Speaker 1: are they doing this? Watch Will Schuster and Brian Ryan 266 00:17:37,280 --> 00:17:40,800 Speaker 1: do this number like Matt with his hand over his face. 267 00:17:40,880 --> 00:17:44,640 Speaker 1: This show is a satire people, right, that's right, that's right, 268 00:17:45,040 --> 00:17:47,639 Speaker 1: And it is very much like a local theater thing, 269 00:17:47,680 --> 00:17:50,440 Speaker 1: like yeah, I run the dry cleaners. You have thirty minutes? 270 00:17:50,480 --> 00:17:52,240 Speaker 1: Like can we I don't care? Can we just do this? 271 00:17:52,400 --> 00:17:55,959 Speaker 1: You guys like who? So they do this incredible number. 272 00:17:56,080 --> 00:18:00,000 Speaker 1: I also found out my boyfriend Austin performed this version 273 00:18:01,000 --> 00:18:04,240 Speaker 1: of this song in high school with his theater rival. No, 274 00:18:05,440 --> 00:18:07,120 Speaker 1: He's like, I did this song in high school. Lets 275 00:18:07,119 --> 00:18:09,119 Speaker 1: do it? I was like, was it this version? And 276 00:18:09,160 --> 00:18:12,040 Speaker 1: then we were watching it together and he started doing 277 00:18:12,080 --> 00:18:15,440 Speaker 1: the ad libs the Glee version ads like, oh, so 278 00:18:15,520 --> 00:18:19,560 Speaker 1: what was this version? Because I guess so, Oh my gosh, 279 00:18:19,600 --> 00:18:23,120 Speaker 1: sometimes you don't you're doing the Glee versions. Oh that's 280 00:18:23,119 --> 00:18:24,840 Speaker 1: so sad, and I'm so sorry that he had to. 281 00:18:26,760 --> 00:18:34,040 Speaker 1: That was it? Yeah? So Brian and Sue, um, we're 282 00:18:34,119 --> 00:18:37,080 Speaker 1: supposed to be like we're Cotton Glee Club. We've both 283 00:18:37,119 --> 00:18:40,080 Speaker 1: were taking him down. We're taking the Little Shoester down. 284 00:18:41,000 --> 00:18:45,800 Speaker 1: But Brian Ryan decides he changes his mind and decides 285 00:18:45,840 --> 00:18:51,960 Speaker 1: to cut some of the Cheerio's budget instead, and Sue 286 00:18:52,000 --> 00:18:56,760 Speaker 1: tells will U that he got the lead in lay 287 00:18:56,760 --> 00:18:59,680 Speaker 1: Miss in front of the glee club and in front 288 00:18:59,680 --> 00:19:04,640 Speaker 1: of Brian and Ryan, embarrassing his ass. And Brian got 289 00:19:05,200 --> 00:19:08,560 Speaker 1: a townspeople role, which I will say I played a 290 00:19:08,640 --> 00:19:14,600 Speaker 1: townsperson in Lame is my freshman year of high school. Yes, um, 291 00:19:14,960 --> 00:19:22,520 Speaker 1: and so Ray who Ray? Ray? So good? Um? But 292 00:19:22,560 --> 00:19:28,240 Speaker 1: then what was the quote? He says to Brian says 293 00:19:28,320 --> 00:19:32,119 Speaker 1: to Sue, you're an impressive woman. I can't tell how 294 00:19:32,160 --> 00:19:33,720 Speaker 1: much she turned me on right now. You ever heard 295 00:19:33,720 --> 00:19:36,320 Speaker 1: of the term anger sex? And she says it's the 296 00:19:36,320 --> 00:19:38,959 Speaker 1: only kind I know. Brian. Brian says, I should tell 297 00:19:39,000 --> 00:19:44,320 Speaker 1: you I'm married, as she says, not a problem for me. Um. 298 00:19:44,560 --> 00:19:48,800 Speaker 1: So Brian decides to cut the program because he gets 299 00:19:48,840 --> 00:19:54,000 Speaker 1: mad it Will Um forgetting the part, and then we 300 00:19:54,080 --> 00:19:58,919 Speaker 1: bribe him essentially without doing it, and Will gives Brian 301 00:19:59,040 --> 00:20:03,080 Speaker 1: Ryan the part Jeanjean so that he can save his 302 00:20:03,320 --> 00:20:06,119 Speaker 1: preciously clan and then we're back to square one like 303 00:20:06,119 --> 00:20:12,560 Speaker 1: it never happened. It's a one off. Okay, he's not 304 00:20:12,680 --> 00:20:16,399 Speaker 1: available for any other traps. MPa just needed that guest star, Immy, 305 00:20:16,600 --> 00:20:20,320 Speaker 1: you know, he's like calls his agent's look, I need 306 00:20:20,320 --> 00:20:22,840 Speaker 1: a guest star. I mean which show, yes, but like 307 00:20:22,880 --> 00:20:28,000 Speaker 1: we know the one. So the other thing. One of 308 00:20:28,000 --> 00:20:31,679 Speaker 1: the other things that's going on this episode is during 309 00:20:32,760 --> 00:20:35,360 Speaker 1: that classroom scene where Brian Ryan is having everyone write 310 00:20:35,359 --> 00:20:38,440 Speaker 1: down their dreams, Artie writes and he wants to become 311 00:20:38,440 --> 00:20:42,040 Speaker 1: a dancer because Tina took it out of the trash 312 00:20:42,119 --> 00:20:44,680 Speaker 1: bin when I wanted to get my book bag. By 313 00:20:44,680 --> 00:20:47,159 Speaker 1: the way, who calls it a book bag. It's like 314 00:20:47,200 --> 00:20:49,439 Speaker 1: a pocket book. Yeah, that sounds like a Long Island thing. 315 00:20:49,400 --> 00:20:52,680 Speaker 1: All right, sorry to interrupt you, No, you're good. And 316 00:20:52,720 --> 00:20:57,359 Speaker 1: so Tina is like, come on, fess up, what's the 317 00:20:57,400 --> 00:21:00,760 Speaker 1: situation here? Why first of all, to do lie about 318 00:21:00,760 --> 00:21:02,280 Speaker 1: wanting to be an answer because that's not what already 319 00:21:02,320 --> 00:21:04,600 Speaker 1: said originally, And then she's like, I got the proof. 320 00:21:04,640 --> 00:21:09,600 Speaker 1: I have the receipts for you. And so then they 321 00:21:09,600 --> 00:21:12,080 Speaker 1: get together and she's trying to help him live this 322 00:21:12,200 --> 00:21:17,120 Speaker 1: fantasy and they decide to do a tap number with 323 00:21:17,440 --> 00:21:25,000 Speaker 1: the little tapping things on the wheels, which, oh, it 324 00:21:25,040 --> 00:21:27,439 Speaker 1: doesn't really work. The thing about a wheel is that 325 00:21:27,480 --> 00:21:29,760 Speaker 1: it needs to be round, and to think about adding 326 00:21:29,760 --> 00:21:33,200 Speaker 1: the little tapper things on is that they're not. And 327 00:21:33,240 --> 00:21:36,760 Speaker 1: so it was were not the most practical, well thing, 328 00:21:37,600 --> 00:21:40,840 Speaker 1: do you remember what? So this was. I'm glad it 329 00:21:40,840 --> 00:21:44,919 Speaker 1: turned out this way. But initially Zach had said to 330 00:21:45,240 --> 00:21:49,000 Speaker 1: the writer's room, what if we have Tina do a 331 00:21:49,080 --> 00:21:54,119 Speaker 1: sexy tap number with like canes and top hats and 332 00:21:54,400 --> 00:21:58,520 Speaker 1: have her and tap around. Now, I'm not the best tapper, 333 00:21:58,560 --> 00:22:00,159 Speaker 1: but I can take it till I make it in 334 00:22:00,200 --> 00:22:02,760 Speaker 1: an audition. You don't have to look like you're doing it. 335 00:22:06,400 --> 00:22:13,440 Speaker 1: And it turned into this, it actually was, and we'll 336 00:22:13,440 --> 00:22:15,720 Speaker 1: get to dream. We'll dream of me. That's a soft 337 00:22:15,720 --> 00:22:18,320 Speaker 1: shoe number. That's not a tap number. That was a 338 00:22:18,359 --> 00:22:21,520 Speaker 1: soft shoe number. I don't have taps on my shoes 339 00:22:21,520 --> 00:22:25,800 Speaker 1: and neither do Harry. But anyway, it's supposed to look 340 00:22:25,840 --> 00:22:28,280 Speaker 1: like it. That's movie magic. For the storyline, Yeah, for 341 00:22:28,320 --> 00:22:32,600 Speaker 1: the storyline regardless. I'm happy that this worked out because 342 00:22:32,600 --> 00:22:38,720 Speaker 1: you get to dance. But um so, so you're tapping, 343 00:22:38,880 --> 00:22:41,400 Speaker 1: You're trying to tap. Tina's trying to help you live 344 00:22:41,440 --> 00:22:47,239 Speaker 1: out your dreams of being a dancer, and and you're like, 345 00:22:47,280 --> 00:22:49,360 Speaker 1: I can do it, I can walk, I can get 346 00:22:49,440 --> 00:22:53,920 Speaker 1: up and use these things from I have some crushes 347 00:22:54,119 --> 00:22:58,080 Speaker 1: laying around, right, don't worry about it right, and you 348 00:22:58,200 --> 00:23:02,240 Speaker 1: fall and it's really sad. I was really insecure about 349 00:23:02,240 --> 00:23:05,800 Speaker 1: filming this scene, and so when Joss made us rehearse this, 350 00:23:05,880 --> 00:23:07,919 Speaker 1: I was also, you know, is that thing that I 351 00:23:07,960 --> 00:23:09,880 Speaker 1: was dreading the one scene in the script I didn't 352 00:23:09,880 --> 00:23:13,520 Speaker 1: want to do. I didn't feel confident in my acting 353 00:23:13,520 --> 00:23:19,120 Speaker 1: ability to be emotional and dramatic comedy is much more 354 00:23:19,160 --> 00:23:24,000 Speaker 1: comfortable for me to live in the seriousness, especially when 355 00:23:24,000 --> 00:23:27,439 Speaker 1: you're surrounded by so many good dramatic actors. When you 356 00:23:27,480 --> 00:23:31,080 Speaker 1: are in a scene and Chris colfor can just cry 357 00:23:32,080 --> 00:23:35,000 Speaker 1: and is so good, and I remember talking to Dante, 358 00:23:35,040 --> 00:23:37,359 Speaker 1: one of the producers, being like, oh, I think that 359 00:23:37,440 --> 00:23:38,960 Speaker 1: take was bad, and he had to sort of talk 360 00:23:39,040 --> 00:23:40,240 Speaker 1: me off the ledge and he was like, do you 361 00:23:40,280 --> 00:23:42,720 Speaker 1: think Chris is better than you because he can cry? 362 00:23:42,760 --> 00:23:46,439 Speaker 1: And I was like, yes, he's better than me, because 363 00:23:46,520 --> 00:23:51,399 Speaker 1: he's better than me. And while I do think he 364 00:23:51,600 --> 00:23:54,800 Speaker 1: is much better than me, Dante said something as executive 365 00:23:54,800 --> 00:23:56,639 Speaker 1: producers sort of you need to step in and do 366 00:23:56,680 --> 00:23:58,919 Speaker 1: these things every now and then and calm your actor 367 00:23:59,080 --> 00:24:03,360 Speaker 1: headcase down, which was me, and you know, just gave 368 00:24:03,400 --> 00:24:05,560 Speaker 1: me some nice notes of being like, no, that's not 369 00:24:05,600 --> 00:24:07,320 Speaker 1: how this works. You're bringing this, this and this and 370 00:24:07,359 --> 00:24:11,440 Speaker 1: blah blah blah, and Joss equally was the sweet about it. Yep, 371 00:24:11,560 --> 00:24:14,560 Speaker 1: and like, because it was a really sensitive dramatic scene, 372 00:24:14,840 --> 00:24:17,240 Speaker 1: Joss would come in and talk like this and he 373 00:24:17,240 --> 00:24:18,680 Speaker 1: would just he would get down when I was on 374 00:24:18,760 --> 00:24:20,879 Speaker 1: the floor, he would he would get down on his 375 00:24:20,960 --> 00:24:22,960 Speaker 1: knees and like just whisper in my ears like okay, 376 00:24:23,240 --> 00:24:26,439 Speaker 1: I'll try this, and would just say a word. And 377 00:24:26,520 --> 00:24:28,680 Speaker 1: it sounds crazy right now, but when you're doing those 378 00:24:28,720 --> 00:24:30,439 Speaker 1: scenes and you're sowing your head and you're in the 379 00:24:30,520 --> 00:24:32,879 Speaker 1: moment and you're doing it over and over again, you're like, 380 00:24:32,960 --> 00:24:35,120 Speaker 1: am I giving enough? I have nothing enough to give? 381 00:24:35,440 --> 00:24:37,280 Speaker 1: And he'll come in and be like just think of 382 00:24:37,960 --> 00:24:42,160 Speaker 1: this and he'll say where you're like, you're right, that 383 00:24:42,240 --> 00:24:45,800 Speaker 1: change and he did that every scene. Great. But we 384 00:24:45,840 --> 00:24:48,679 Speaker 1: got through that scene and I thought you and I 385 00:24:48,720 --> 00:24:50,440 Speaker 1: did a really nice job of this whole episode, Jenna. 386 00:24:50,480 --> 00:24:51,960 Speaker 1: I was really proud of this nice. I thought you 387 00:24:52,000 --> 00:24:54,800 Speaker 1: did a good job. I thought Josh really helped to 388 00:24:54,840 --> 00:24:57,800 Speaker 1: guide us because we were still so green in terms 389 00:24:57,840 --> 00:25:00,280 Speaker 1: of all of this. And now I look at back 390 00:25:00,280 --> 00:25:04,560 Speaker 1: at that and I'm like, I cringe, but at my choices. 391 00:25:04,840 --> 00:25:07,160 Speaker 1: But I wasn't looking at it from a director's point 392 00:25:07,200 --> 00:25:10,320 Speaker 1: of view, which I would now, I was looking at 393 00:25:10,359 --> 00:25:11,879 Speaker 1: it from an actor's point of view, which is like 394 00:25:12,040 --> 00:25:15,520 Speaker 1: totally different. Um I wish I had that, you know, 395 00:25:15,560 --> 00:25:19,560 Speaker 1: in hindsight, that like foresight basically yeah, But um no, 396 00:25:19,640 --> 00:25:21,479 Speaker 1: I thought we did a great job in terms of 397 00:25:21,520 --> 00:25:24,520 Speaker 1: like where we were in our lives and like and 398 00:25:25,040 --> 00:25:27,840 Speaker 1: just having the support we did. I was nervous for 399 00:25:27,880 --> 00:25:30,120 Speaker 1: that number as well, or for that scene in Jos 400 00:25:30,240 --> 00:25:32,239 Speaker 1: would be like is there anything you need? Is there 401 00:25:32,280 --> 00:25:35,320 Speaker 1: anything you need? Which is so nice. Not every actually 402 00:25:35,440 --> 00:25:37,600 Speaker 1: you know director will do that, and especially like crying 403 00:25:37,640 --> 00:25:40,159 Speaker 1: and things like that, like he's like you quiet, you know, 404 00:25:40,240 --> 00:25:42,560 Speaker 1: do you need a quiet on set? Blah blah blah. 405 00:25:43,440 --> 00:25:45,399 Speaker 1: Sometimes you just have to go off into a corner 406 00:25:45,440 --> 00:25:47,960 Speaker 1: because like there's eighteen other young people who don't have 407 00:25:48,000 --> 00:25:50,120 Speaker 1: to cry that day that are just like laughing and 408 00:25:50,160 --> 00:25:56,280 Speaker 1: doing all this stuff and it's very hard anyway, great job, Kevin. Likewise, 409 00:25:56,800 --> 00:25:59,000 Speaker 1: I think there's also something when we talked about this 410 00:25:59,000 --> 00:26:02,159 Speaker 1: with Paris too, when you know you're in the hands 411 00:26:02,200 --> 00:26:05,640 Speaker 1: of somebody who you can really trust, where like Josh 412 00:26:05,680 --> 00:26:08,600 Speaker 1: had directed so much TV and created so much TV 413 00:26:09,320 --> 00:26:13,000 Speaker 1: that he like he was a TV legend, so we 414 00:26:13,080 --> 00:26:15,040 Speaker 1: knew we were in good hands and could just sort 415 00:26:15,080 --> 00:26:17,439 Speaker 1: of trust him and also be intimidated by him at 416 00:26:17,440 --> 00:26:22,160 Speaker 1: the same time. Totally. Yeah. So Tina is then like, look, 417 00:26:22,160 --> 00:26:24,640 Speaker 1: I've done all this research on spinal cord injuries. You're 418 00:26:24,840 --> 00:26:28,320 Speaker 1: she's really trying to help Artie. And they're at the mall, 419 00:26:28,359 --> 00:26:30,480 Speaker 1: which is really cute. I love that we see people 420 00:26:30,480 --> 00:26:33,960 Speaker 1: at the mall. And then do you remember we filmed 421 00:26:33,960 --> 00:26:35,840 Speaker 1: that shot as actually outside the mall, not at the 422 00:26:35,840 --> 00:26:38,920 Speaker 1: school with those with the school buses and the sunflair. 423 00:26:39,040 --> 00:26:41,520 Speaker 1: I yelled sunflair when I saw it. Josh was so excited. 424 00:26:41,600 --> 00:26:43,400 Speaker 1: It was just one take where we had the sunflair 425 00:26:44,520 --> 00:26:46,240 Speaker 1: just happened to be in the right position at the 426 00:26:46,320 --> 00:26:51,879 Speaker 1: right time. Yep. You know. I have to say watching 427 00:26:51,920 --> 00:26:56,000 Speaker 1: people kiss is really awkward and uncomfortable, and it's not 428 00:26:56,040 --> 00:26:58,000 Speaker 1: a good testament to tell if you're a good kisser. 429 00:26:59,040 --> 00:27:02,320 Speaker 1: I thought ours looked pretty damn good, if I do 430 00:27:02,480 --> 00:27:08,640 Speaker 1: say so much. Solf the that was like, you could 431 00:27:08,680 --> 00:27:16,440 Speaker 1: tell we've done this before. That's not too strangers. Maybe 432 00:27:16,440 --> 00:27:24,439 Speaker 1: that's right. Yeah, yeah, God, sorry, um, And so in 433 00:27:24,560 --> 00:27:27,520 Speaker 1: the mall, all of a sudden, this is what I 434 00:27:27,520 --> 00:27:30,040 Speaker 1: want to address. All of a sudden, it goes into 435 00:27:30,080 --> 00:27:33,120 Speaker 1: a dream sequence without acknowledging that it's a dream sequence. 436 00:27:33,600 --> 00:27:36,280 Speaker 1: All of a sudden's like, hey, ye I've been trying 437 00:27:36,280 --> 00:27:39,480 Speaker 1: all those therapies and look and I get up out 438 00:27:39,480 --> 00:27:42,280 Speaker 1: of the wheelchair and I do this line that I 439 00:27:42,320 --> 00:27:48,480 Speaker 1: was like, really I want to do? Is damn? And 440 00:27:48,800 --> 00:27:50,840 Speaker 1: I was. It hit me And I didn't feel this 441 00:27:50,840 --> 00:27:52,880 Speaker 1: obviously when I watched it the first time because I'm 442 00:27:52,920 --> 00:27:56,200 Speaker 1: too biased in it, But like, what the hell did 443 00:27:56,240 --> 00:27:59,440 Speaker 1: people think when that happened all of a sudden? Because 444 00:27:59,440 --> 00:28:01,720 Speaker 1: it looks the same, It looks natural, it looks like, oh, 445 00:28:01,720 --> 00:28:04,040 Speaker 1: he's just getting up. I think that's the idea who 446 00:28:04,080 --> 00:28:07,000 Speaker 1: was supposed to trick? Yeah? Yeah, but were people like 447 00:28:07,160 --> 00:28:11,080 Speaker 1: what the Oh? I'm sure and they're probably really people 448 00:28:11,080 --> 00:28:13,240 Speaker 1: who would get mad that they're like, what, he can 449 00:28:13,240 --> 00:28:15,679 Speaker 1: just get up and ma walk right right? And then 450 00:28:15,680 --> 00:28:17,760 Speaker 1: there were other people who probably were like what this 451 00:28:17,880 --> 00:28:21,199 Speaker 1: is amazing? So yeah, I'm sure, but yes, okay, so 452 00:28:21,240 --> 00:28:23,680 Speaker 1: this is where your questions come in. Yes, I just 453 00:28:24,320 --> 00:28:27,520 Speaker 1: because I really felt for a second of how bamboozled 454 00:28:27,880 --> 00:28:31,120 Speaker 1: or like slapped across the face an audience might feel 455 00:28:31,119 --> 00:28:33,680 Speaker 1: when you're watching that. But I mean, yeah, the mad 456 00:28:33,720 --> 00:28:35,760 Speaker 1: the whole point is is that it does feel like 457 00:28:35,760 --> 00:28:38,440 Speaker 1: it's not a dream sequence until it is. And this 458 00:28:38,560 --> 00:28:40,760 Speaker 1: isn't the craze of the flash mobs. Right in the 459 00:28:40,800 --> 00:28:44,000 Speaker 1: middle of flash mobs being such a huge thing, wedding 460 00:28:44,040 --> 00:28:49,160 Speaker 1: proposals and ye marriage proposals and at schools and malls 461 00:28:49,200 --> 00:28:51,040 Speaker 1: and it was everywhere. And so we did it, and 462 00:28:51,160 --> 00:28:53,720 Speaker 1: Joss had that really cool idea of filming it and 463 00:28:53,760 --> 00:28:57,080 Speaker 1: all these different types of cameras and you see that, 464 00:28:57,080 --> 00:28:59,080 Speaker 1: you see people actually doing it. It felt real. They 465 00:28:59,080 --> 00:29:02,800 Speaker 1: filmed it unreal phones. Like Andrew Mitchell said in that 466 00:29:03,280 --> 00:29:05,280 Speaker 1: interview with him, we filmed it on a mall that 467 00:29:05,320 --> 00:29:08,640 Speaker 1: had like a fish market right off the bottomore. Yeah, 468 00:29:08,640 --> 00:29:11,160 Speaker 1: where we were filming, when we were laying on the floor, 469 00:29:11,280 --> 00:29:14,480 Speaker 1: that part we were facing like where the camera was 470 00:29:14,520 --> 00:29:16,320 Speaker 1: in front of the fish market. So where I was 471 00:29:16,360 --> 00:29:21,040 Speaker 1: performing to was directly into this fish market people were 472 00:29:21,080 --> 00:29:24,600 Speaker 1: coming in and out of and it just smelled. It 473 00:29:24,720 --> 00:29:27,120 Speaker 1: smelled so bad. And we shot a couple of things 474 00:29:27,120 --> 00:29:30,120 Speaker 1: at that mall. Buy that fish market did, and it 475 00:29:30,240 --> 00:29:35,160 Speaker 1: was smelly, especially that time. I remember that one especially. 476 00:29:35,360 --> 00:29:38,560 Speaker 1: And then your family was there. Yeah, my mom and 477 00:29:38,560 --> 00:29:40,600 Speaker 1: my sister happened to be in town or I don't know. 478 00:29:40,600 --> 00:29:44,239 Speaker 1: If I coordinated this in advance, I don't know, but 479 00:29:44,280 --> 00:29:46,720 Speaker 1: I didn't tell them what we were doing, and I said, 480 00:29:47,320 --> 00:29:49,560 Speaker 1: come to this mall we're shooting. It's easier, you know, 481 00:29:49,600 --> 00:29:51,320 Speaker 1: to have someone visit when we're on location like that, 482 00:29:51,600 --> 00:29:56,120 Speaker 1: because it's a public place. And jes see, and I 483 00:29:56,200 --> 00:29:59,040 Speaker 1: remember them when we were filming down on the floor, 484 00:29:59,080 --> 00:30:03,000 Speaker 1: you didn't see anything else. They were standing up on 485 00:30:03,040 --> 00:30:05,840 Speaker 1: the ledge that you see later on above the escalators, yep. 486 00:30:06,280 --> 00:30:08,480 Speaker 1: And I remember right before take looking up and like 487 00:30:08,480 --> 00:30:11,560 Speaker 1: waving at them and they're just saying hi. And then 488 00:30:11,600 --> 00:30:15,040 Speaker 1: all of a sudden, I do the whole huge dance 489 00:30:15,120 --> 00:30:18,479 Speaker 1: number with like eighty billion backup dancers, and after I 490 00:30:18,520 --> 00:30:22,800 Speaker 1: look up at them and they're crying. Oh. They were like, 491 00:30:22,960 --> 00:30:27,440 Speaker 1: you sign up a big us because they know how 492 00:30:27,520 --> 00:30:29,440 Speaker 1: much I love to do that and love to perform 493 00:30:29,440 --> 00:30:31,400 Speaker 1: in that way, and so they were just really excited 494 00:30:31,400 --> 00:30:34,640 Speaker 1: that I got to do it. And I remember watching 495 00:30:34,640 --> 00:30:37,160 Speaker 1: it too. I can tell I'm not confident doing it. 496 00:30:37,240 --> 00:30:39,000 Speaker 1: I felt like I was not used to having the 497 00:30:39,040 --> 00:30:41,800 Speaker 1: attention or spotlight on me. I remember even showing up 498 00:30:41,800 --> 00:30:43,480 Speaker 1: to dance rehearsal. They had a whole because there were 499 00:30:43,480 --> 00:30:45,280 Speaker 1: so many dancers, we had a whole different the same 500 00:30:45,320 --> 00:30:47,320 Speaker 1: sound stage we used to rehearse in for a jump 501 00:30:47,560 --> 00:30:50,240 Speaker 1: to all the mattresses. So we had this gigantic empty 502 00:30:50,240 --> 00:30:52,960 Speaker 1: sound stage, all these dancers, and they were all waiting 503 00:30:53,000 --> 00:30:54,600 Speaker 1: for me to show up because I was also filming. 504 00:30:54,880 --> 00:30:58,360 Speaker 1: And then all of a sudden, staff yeah, and I 505 00:30:58,440 --> 00:31:01,280 Speaker 1: was very, very uncomfortable. I was like, I am very 506 00:31:01,280 --> 00:31:06,720 Speaker 1: happy being supporting Roland. Yeah, give me my two lines 507 00:31:06,760 --> 00:31:09,560 Speaker 1: per episode. I am not used to this. But it 508 00:31:09,600 --> 00:31:11,800 Speaker 1: was fun. It was It was so much fun. It's 509 00:31:11,840 --> 00:31:14,320 Speaker 1: such a great number and we can talk about that 510 00:31:14,320 --> 00:31:16,440 Speaker 1: when we get to the tour. I love that everybody 511 00:31:16,520 --> 00:31:18,880 Speaker 1: was in it too. Yes, I just like all the 512 00:31:18,880 --> 00:31:20,600 Speaker 1: Glee club was in it, and that was so sweet. 513 00:31:20,720 --> 00:31:23,840 Speaker 1: Everyone looks so happy. I don't know if it was acting, 514 00:31:23,840 --> 00:31:25,360 Speaker 1: but it was just fun. It was. We were so 515 00:31:25,400 --> 00:31:27,600 Speaker 1: happy to that you got to dance. We got to 516 00:31:27,640 --> 00:31:29,640 Speaker 1: watch you do that, and we knew how happy you were, 517 00:31:29,680 --> 00:31:32,640 Speaker 1: and it was just a big happy black mom yeah, 518 00:31:32,680 --> 00:31:48,000 Speaker 1: it was great. Then Artady goes to Emma and shares 519 00:31:48,200 --> 00:31:50,680 Speaker 1: the research that her, you know, him and Tina had 520 00:31:50,760 --> 00:31:53,720 Speaker 1: found and he's like, when I start walking again, and 521 00:31:54,200 --> 00:31:58,360 Speaker 1: there's this kind of magical, hopeful thinking. That's very sad, 522 00:31:58,400 --> 00:32:03,040 Speaker 1: and Emma has to kind of take Alreadie back down 523 00:32:03,120 --> 00:32:05,760 Speaker 1: to earth and tell him the truth of like what 524 00:32:06,760 --> 00:32:10,320 Speaker 1: you know, what the reality truly is. And so that 525 00:32:10,440 --> 00:32:14,080 Speaker 1: was really sad. And that leads to Alreadie telling Tina 526 00:32:14,360 --> 00:32:17,680 Speaker 1: in a very sweet scene that she should find a 527 00:32:17,680 --> 00:32:20,080 Speaker 1: new dance partner. And I remember this scene to Joss 528 00:32:20,160 --> 00:32:22,880 Speaker 1: being like this, you should be very quiet, you should 529 00:32:22,880 --> 00:32:27,160 Speaker 1: get down on his level. And yeah, it was very 530 00:32:27,200 --> 00:32:30,240 Speaker 1: specific with his vision. He wasn't forcing anything, but it 531 00:32:30,280 --> 00:32:36,640 Speaker 1: was just very clear. And I remember shooting this and 532 00:32:36,640 --> 00:32:38,800 Speaker 1: and then we go into dream a little dream with 533 00:32:38,840 --> 00:32:41,200 Speaker 1: Tina and Mike Chang, and this is the beginning of 534 00:32:41,280 --> 00:32:45,720 Speaker 1: Tina and Mike chan tell us about your fake tap number, 535 00:32:45,760 --> 00:32:48,120 Speaker 1: your soft shoe number. So this is wasn't my big 536 00:32:48,120 --> 00:32:52,080 Speaker 1: tap sexy tap number. And it turns really sad. Sad, 537 00:32:54,520 --> 00:32:56,680 Speaker 1: She's not sad. I just mean how everybody is acting 538 00:32:56,680 --> 00:32:59,360 Speaker 1: in the scene is really sad. Yeah, everybody has their 539 00:32:59,400 --> 00:33:01,360 Speaker 1: own story line going on. This is a very true 540 00:33:01,400 --> 00:33:04,880 Speaker 1: Colors moment. I guess where everybody's sitting in their little things, 541 00:33:05,120 --> 00:33:10,040 Speaker 1: um semi circle. We rehearse this probably one day, on 542 00:33:10,040 --> 00:33:14,120 Speaker 1: one short day, I think, maybe twice, and it was 543 00:33:14,240 --> 00:33:17,920 Speaker 1: very quick and as Harry's not a tap dancer, No, 544 00:33:17,960 --> 00:33:19,800 Speaker 1: but here's a dancer, and he looks better than I 545 00:33:19,840 --> 00:33:22,800 Speaker 1: do because my arms are swamping arms the whole time. 546 00:33:22,880 --> 00:33:27,640 Speaker 1: It's just very cringey. And that is not my thing, 547 00:33:27,840 --> 00:33:31,600 Speaker 1: like I like express my express yourself, that's my thing. 548 00:33:31,760 --> 00:33:35,040 Speaker 1: Like this was not my thing at all, partnering being 549 00:33:35,080 --> 00:33:38,640 Speaker 1: solo danced. It should have been Heather like me. And 550 00:33:39,360 --> 00:33:42,920 Speaker 1: those are my dance shoes though from college and no way, yeah, 551 00:33:42,960 --> 00:33:46,080 Speaker 1: that I'm wearing and they're not tap shoes. And Zach 552 00:33:46,120 --> 00:33:52,160 Speaker 1: had to go in and in post production and do 553 00:33:52,320 --> 00:33:55,040 Speaker 1: the tapping the sound. It was it all Zach. I 554 00:33:55,080 --> 00:34:00,280 Speaker 1: was wondering who was doing that. It's all Zack. I 555 00:34:00,320 --> 00:34:04,200 Speaker 1: can't imagine how meticulous and draining that must be to 556 00:34:04,480 --> 00:34:06,840 Speaker 1: match up the taps to that number. Well, let me 557 00:34:06,880 --> 00:34:11,200 Speaker 1: tell you it's very We weren't even nearly doing the 558 00:34:11,800 --> 00:34:14,520 Speaker 1: proper tapping anyway, so we really just had to look 559 00:34:14,560 --> 00:34:16,560 Speaker 1: like it. But we didn't learn in the actual taps 560 00:34:16,600 --> 00:34:20,080 Speaker 1: off shoe number. And it's very simple, basic moves. Anybody 561 00:34:20,120 --> 00:34:21,479 Speaker 1: can do it them if I can do them. So 562 00:34:21,920 --> 00:34:26,080 Speaker 1: um anyway, that was the Yeah, it was a very 563 00:34:26,160 --> 00:34:30,000 Speaker 1: quick thing. And I have these pictures from it that 564 00:34:30,040 --> 00:34:33,879 Speaker 1: I can share from Adam Rose, who was our onset photographer, 565 00:34:34,000 --> 00:34:37,040 Speaker 1: who's lovely, and I had some of these rehearsals, but 566 00:34:37,120 --> 00:34:39,600 Speaker 1: I was like, this is annoying because this looks I know, 567 00:34:39,680 --> 00:34:44,759 Speaker 1: I look terrible. I was just really annoyed. But that 568 00:34:44,800 --> 00:34:48,719 Speaker 1: beautiful scene, that beautiful shot at the end of you 569 00:34:48,920 --> 00:34:50,960 Speaker 1: in the foe, you know, in the foreground, and then 570 00:34:51,040 --> 00:34:54,520 Speaker 1: us in the background. It was just really sad. It 571 00:34:54,680 --> 00:35:00,680 Speaker 1: was a movie. It was a movie, and and that's it. 572 00:35:00,840 --> 00:35:05,719 Speaker 1: So wait, but do you remember the line when you 573 00:35:05,840 --> 00:35:08,160 Speaker 1: say I sound like someone put te she's on a 574 00:35:08,160 --> 00:35:12,160 Speaker 1: horse and she. I love that line. And I think 575 00:35:12,239 --> 00:35:15,520 Speaker 1: you and Harry sold the tap dancing, you know whatever, whatever, 576 00:35:16,600 --> 00:35:21,200 Speaker 1: give me swamp hands all day. I love it. So 577 00:35:21,239 --> 00:35:25,200 Speaker 1: the only thing that's happening in this episode, there's several 578 00:35:25,280 --> 00:35:27,160 Speaker 1: there's like a reveal within a reveal. It's like when 579 00:35:27,200 --> 00:35:28,799 Speaker 1: a drag queen takes off a wig and there's another 580 00:35:28,840 --> 00:35:35,239 Speaker 1: wig underneath. That's what happens with this storyline. So Jesse 581 00:35:35,320 --> 00:35:39,320 Speaker 1: Saint James, who was on the spring break apparently comes 582 00:35:39,360 --> 00:35:44,600 Speaker 1: back and encourages Rachel to, you know, find her dream. 583 00:35:44,640 --> 00:35:47,399 Speaker 1: What's her dream? She says she wants to find her mom, 584 00:35:47,600 --> 00:35:50,000 Speaker 1: but she doesn't know how. She just knows that her 585 00:35:50,080 --> 00:35:54,319 Speaker 1: dads have information in the basement. So Jesse's like, then 586 00:35:54,400 --> 00:35:56,960 Speaker 1: let's go do it. And so there's this really I 587 00:35:57,040 --> 00:36:01,040 Speaker 1: love the scene of of a trill and Jesse going 588 00:36:01,080 --> 00:36:04,320 Speaker 1: through things, and then Rachel keeps referring to Patti Lapone 589 00:36:04,400 --> 00:36:08,799 Speaker 1: as mother. Well, mother was here on this day. Yes, 590 00:36:09,520 --> 00:36:12,600 Speaker 1: that was a very funny little vignett. Yeah, I love that. 591 00:36:12,680 --> 00:36:15,400 Speaker 1: And then she also talks about how she has a 592 00:36:15,440 --> 00:36:17,839 Speaker 1: theory that her mom is burned at Peter's and like, 593 00:36:18,400 --> 00:36:20,719 Speaker 1: you know, I get it. Who wouldn't want them as 594 00:36:20,760 --> 00:36:26,080 Speaker 1: your mom. So while this is happening, they find a 595 00:36:26,200 --> 00:36:31,800 Speaker 1: tape and there and it says from mom, and Rachel's 596 00:36:31,880 --> 00:36:35,400 Speaker 1: like what is this? And she freaks out and she 597 00:36:35,440 --> 00:36:38,200 Speaker 1: can't listen to it, even though Jesse's like, you should 598 00:36:38,200 --> 00:36:39,640 Speaker 1: do it, and he's like, she was like, no, no, 599 00:36:39,680 --> 00:36:45,359 Speaker 1: you need to leave. So then cute I love when 600 00:36:45,400 --> 00:36:48,680 Speaker 1: there's like Mistery Shenanigan's happening. It's raining and it's dark, 601 00:36:48,760 --> 00:36:51,799 Speaker 1: and it's in a car always, it's always raining in 602 00:36:51,800 --> 00:36:54,320 Speaker 1: the car and Jesse comes in the car and who's 603 00:36:54,320 --> 00:36:59,400 Speaker 1: there but Shelby. And then we find out that Shelby 604 00:37:00,520 --> 00:37:03,799 Speaker 1: because the whole thing with Jesse and Rachel is like, 605 00:37:04,000 --> 00:37:06,279 Speaker 1: is this real love? Because in the beginning, where like 606 00:37:06,880 --> 00:37:10,120 Speaker 1: everyone in the glee club is fairly certain that Jesse's 607 00:37:10,160 --> 00:37:12,800 Speaker 1: up to no good, right, and now it's been weeks 608 00:37:12,840 --> 00:37:15,000 Speaker 1: and we've forgotten about it and they do just like 609 00:37:15,200 --> 00:37:19,440 Speaker 1: each other. Right. Nope, this whole thing has been a 610 00:37:19,440 --> 00:37:24,560 Speaker 1: plan of Shelby's because Shelby directed Jesse to go become friends, 611 00:37:25,320 --> 00:37:30,759 Speaker 1: not necessarily become lovers. But Jesse's you know, saying that, well, 612 00:37:30,760 --> 00:37:33,080 Speaker 1: he thinks he's starting to actually have feelings for her. 613 00:37:34,080 --> 00:37:38,960 Speaker 1: And it also turns out that it's Shelby's dream, even 614 00:37:39,000 --> 00:37:41,840 Speaker 1: though she's legally bound to not do this, to somehow 615 00:37:41,920 --> 00:37:45,960 Speaker 1: have Rachel find out she's her mother a wig on 616 00:37:46,080 --> 00:37:51,120 Speaker 1: a wig A reveal after a reveal, And so what 617 00:37:51,239 --> 00:37:55,520 Speaker 1: happens is Jesse goes back to Rachel's and gets her 618 00:37:55,560 --> 00:37:59,920 Speaker 1: to play that damn tape. Well, Shelby's very adamant requests 619 00:38:00,000 --> 00:38:05,319 Speaker 1: to the d yes, so Rachel listens to the day 620 00:38:05,520 --> 00:38:08,040 Speaker 1: and of course we go into some beautiful dream sequence 621 00:38:08,080 --> 00:38:11,200 Speaker 1: of I dreamed a dream, and which is pretty stunning. 622 00:38:11,880 --> 00:38:14,640 Speaker 1: It was and this too wasn't like the big wavy 623 00:38:14,840 --> 00:38:23,840 Speaker 1: um and they do look oddly similar. It's so crazy, um. 624 00:38:23,880 --> 00:38:29,759 Speaker 1: And they basing this beautiful duet of I dreamed a Dream. 625 00:38:30,080 --> 00:38:36,759 Speaker 1: Rachel says, when they're looking through the boxes, this quote, um, 626 00:38:37,040 --> 00:38:39,680 Speaker 1: my first singing competition. I came in first place. And 627 00:38:39,800 --> 00:38:42,080 Speaker 1: Jesse says, you were eight months old, and Rachel says, 628 00:38:42,480 --> 00:38:44,960 Speaker 1: I was very musically vable. I also like when you're 629 00:38:44,960 --> 00:38:47,719 Speaker 1: looking at the sonogram and he says, it looks like 630 00:38:47,719 --> 00:38:52,800 Speaker 1: you're in fifth position. And that's that's dream on, folks. 631 00:38:53,600 --> 00:38:56,600 Speaker 1: That is dream on. What a fun episode to do. 632 00:38:56,960 --> 00:39:00,400 Speaker 1: I also, as an overall creative stylistic note, did this 633 00:39:00,440 --> 00:39:03,680 Speaker 1: episode feel darker in terms of like how it was 634 00:39:03,719 --> 00:39:05,960 Speaker 1: colored or how it was shot? Like the whole thing 635 00:39:06,000 --> 00:39:07,680 Speaker 1: feels darker to me, And I'm wondering if that was 636 00:39:07,719 --> 00:39:12,000 Speaker 1: like a Joss decision. Yes, you definitely, definitely looked a 637 00:39:12,040 --> 00:39:16,200 Speaker 1: bit a little different, right, yeah yeah, yeah, yet so 638 00:39:16,560 --> 00:39:21,520 Speaker 1: Tarty takes Jenna, let's do it. Cringe moments aka Paris 639 00:39:21,560 --> 00:39:29,120 Speaker 1: Berkeley out cheese, I don't know I either. Actually weren't 640 00:39:29,160 --> 00:39:33,520 Speaker 1: that many cringe moments in this episode for me, except 641 00:39:33,600 --> 00:39:41,520 Speaker 1: for in the Brian Ryan storyline. Just the the married 642 00:39:41,880 --> 00:39:45,120 Speaker 1: whole Brian Ryan married Sue thing was kind of like 643 00:39:45,160 --> 00:39:47,360 Speaker 1: the cringeest thing of the episode, to be honest, I 644 00:39:47,360 --> 00:39:52,480 Speaker 1: think that was, um, it's been worse than other episodes. 645 00:39:53,719 --> 00:39:55,960 Speaker 1: I think also we can do this with worst Dance Move. 646 00:39:56,120 --> 00:40:00,400 Speaker 1: I think Brian Ryan and Will Schuster there sort of 647 00:40:00,480 --> 00:40:03,600 Speaker 1: rivalry and competitiveness and singing is cringey in like a 648 00:40:03,640 --> 00:40:06,680 Speaker 1: different way, like a funny comedic way, like they're cringey 649 00:40:06,719 --> 00:40:09,080 Speaker 1: because they're both like what do you You're both grown 650 00:40:09,080 --> 00:40:12,239 Speaker 1: ass men upset about a glee club, Like can you 651 00:40:12,480 --> 00:40:16,760 Speaker 1: calm down in a community theater? Yeah, and they're jumping 652 00:40:16,800 --> 00:40:21,320 Speaker 1: around this stage like they're like okay on the bron Wood. 653 00:40:23,320 --> 00:40:25,239 Speaker 1: I think we should do best dance move, and I 654 00:40:25,480 --> 00:40:29,360 Speaker 1: vote safety dance, thank you very much. Would I would agree. 655 00:40:29,560 --> 00:40:31,279 Speaker 1: I think some of that soft shoe was very nice. 656 00:40:31,320 --> 00:40:35,960 Speaker 1: Jenna hair was really getting on the extension of those 657 00:40:36,080 --> 00:40:38,880 Speaker 1: arms in those hands. He was really I know, because 658 00:40:38,880 --> 00:40:44,400 Speaker 1: he's a dancer, professional professional. Okay, best song this song? 659 00:40:45,480 --> 00:40:51,960 Speaker 1: Um obviously safety Dance. Yeah, Safe Dance. I don't like 660 00:40:52,160 --> 00:40:57,000 Speaker 1: that song generally speaking, but it's the sentiment behind the 661 00:40:57,080 --> 00:41:00,840 Speaker 1: actual It was really fun to get to do. Yeah, 662 00:41:00,880 --> 00:41:06,120 Speaker 1: it was best performance by a prop, Kevin, you think 663 00:41:06,160 --> 00:41:09,960 Speaker 1: I'm a prop? Jenna, wait till we get the episode 664 00:41:09,960 --> 00:41:14,520 Speaker 1: to the episode props. Oh, yeah, the best performance by 665 00:41:14,560 --> 00:41:17,400 Speaker 1: a prop. I think the little tappers on my wheelchair 666 00:41:17,560 --> 00:41:24,320 Speaker 1: were pretty great. That's good Shelby's tape to Rachel. That 667 00:41:24,400 --> 00:41:27,279 Speaker 1: means I actually did a lot. Yeah, that was an 668 00:41:27,280 --> 00:41:33,320 Speaker 1: actual problem. Best lines, best line I think my favorite 669 00:41:33,400 --> 00:41:36,319 Speaker 1: line honestly is John Groff saying you look like you're 670 00:41:36,360 --> 00:41:41,160 Speaker 1: in fifth position at a sonogram. I gotta say, I 671 00:41:42,880 --> 00:41:50,200 Speaker 1: feel like all I want to do is dance, Jenna, 672 00:41:52,400 --> 00:41:57,160 Speaker 1: I hate you. Just the wall of CD players as well. Also, 673 00:41:57,200 --> 00:41:59,440 Speaker 1: it was like, yeah, let's take out those burned CD 674 00:41:59,640 --> 00:42:02,279 Speaker 1: and it in this wall of CD play. Get your 675 00:42:03,080 --> 00:42:09,560 Speaker 1: zipber CD case out in your car. Okay, should we 676 00:42:09,560 --> 00:42:14,000 Speaker 1: found on TikTok It is the Year of Our Lord 677 00:42:14,040 --> 00:42:19,600 Speaker 1: twenty twenty three and somebody's having a Glee Night at 678 00:42:20,640 --> 00:42:24,880 Speaker 1: like a proper venue in New York City. I don't understand. 679 00:42:25,320 --> 00:42:28,919 Speaker 1: If you go on TikTok, it's Glee Night tour and 680 00:42:29,840 --> 00:42:33,239 Speaker 1: they're throwing like a full I think they're gonna be 681 00:42:33,280 --> 00:42:35,359 Speaker 1: playing like music videos. It's a full party of all 682 00:42:35,440 --> 00:42:41,480 Speaker 1: Glee music in twenty three. What is happening? What is? 683 00:42:42,080 --> 00:42:45,160 Speaker 1: I think it's hilarious and great, but I had no 684 00:42:45,200 --> 00:42:48,879 Speaker 1: idea this was a thing. But we've been tagged on 685 00:42:48,920 --> 00:42:54,359 Speaker 1: Twitter and on TikTok everywhere. Yes, is that a big venue? Yeah, 686 00:42:54,360 --> 00:43:00,880 Speaker 1: it's a very popular Like what what? I'm perplexed? Yeah, Also, 687 00:43:01,120 --> 00:43:05,040 Speaker 1: like are we invited? What's the deal? What's the plan? 688 00:43:05,680 --> 00:43:10,240 Speaker 1: I guess if you go to Glee Knight, send VIDs, 689 00:43:10,440 --> 00:43:16,919 Speaker 1: send pics. Didn't happen? Um? Great? Yeah, I think that's great. 690 00:43:17,120 --> 00:43:20,440 Speaker 1: There's also a really cute video. So Chris Carmack, who's 691 00:43:20,640 --> 00:43:24,160 Speaker 1: co stars with Harry on Craze, took a video of 692 00:43:24,600 --> 00:43:27,839 Speaker 1: Harry videoing him dancing just to get his reaction, because 693 00:43:27,840 --> 00:43:31,040 Speaker 1: you know, Harry's a professional, as we've learned with that 694 00:43:31,200 --> 00:43:35,440 Speaker 1: fake tap dancing, and that's also very cute, and Harry 695 00:43:35,480 --> 00:43:39,120 Speaker 1: looks the exact same. He does look he looks younger. Actually. 696 00:43:39,400 --> 00:43:42,319 Speaker 1: You know, this was a viral thing though, because they 697 00:43:42,360 --> 00:43:47,120 Speaker 1: were it was parents videoing asking their kids to video 698 00:43:47,200 --> 00:43:52,240 Speaker 1: them dancing, and but they turned the camera around on them, 699 00:43:52,239 --> 00:43:54,959 Speaker 1: so you actually get the kids reactions, which is very 700 00:43:55,000 --> 00:43:59,520 Speaker 1: sweet and and very like innocent and young on fun. 701 00:44:00,000 --> 00:44:04,160 Speaker 1: And then Harry did it and Harry doesn't look so pleased. 702 00:44:05,040 --> 00:44:08,360 Speaker 1: Harry has no christ is dancing. It's wild, you know, 703 00:44:08,480 --> 00:44:10,160 Speaker 1: it's very funny. It's very funny, and they look like 704 00:44:10,280 --> 00:44:13,240 Speaker 1: having a great time on set. I know we shouldn't 705 00:44:13,320 --> 00:44:20,080 Speaker 1: go visit. I would just lose my marbles. That is, 706 00:44:20,120 --> 00:44:22,120 Speaker 1: And that's what you really missed for this week. Everyone, 707 00:44:22,160 --> 00:44:25,359 Speaker 1: Thank you for joining us, and come back for next 708 00:44:25,400 --> 00:44:30,680 Speaker 1: week's recap. Theatricality. It's a good Lady Gaga, the beginning 709 00:44:30,719 --> 00:44:35,920 Speaker 1: of the Lady Gaga right over Glee, and thanks for listening. 710 00:44:35,960 --> 00:44:39,640 Speaker 1: And that's what you really missed by see you. Thanks 711 00:44:39,640 --> 00:44:42,759 Speaker 1: for listening, and follow us on Instagram at and that's 712 00:44:42,800 --> 00:44:44,960 Speaker 1: what you really miss pod. Make sure to write us 713 00:44:44,960 --> 00:44:47,560 Speaker 1: a review and leave us five stars. See you next time.