1 00:00:01,720 --> 00:00:04,440 Speaker 1: And that's what you really missed with Jenna. 2 00:00:04,440 --> 00:00:07,080 Speaker 2: And Kevin an iHeartRadio podcast. 3 00:00:09,119 --> 00:00:11,640 Speaker 1: Welcome to you, and that's what you were in this podcast. 4 00:00:11,920 --> 00:00:15,160 Speaker 3: Happy New Year, Happy New Year. 5 00:00:15,360 --> 00:00:22,239 Speaker 1: To twenty twenty six Kevin, ooh, well, top of the year. 6 00:00:22,360 --> 00:00:25,080 Speaker 1: We're coming out with a bang with smash. 7 00:00:25,520 --> 00:00:27,520 Speaker 2: Yeah, it was starting off with a smash Jenna. 8 00:00:28,480 --> 00:00:33,279 Speaker 1: And this actually premiered February sixth, but in twenty twelve on. 9 00:00:33,360 --> 00:00:37,559 Speaker 3: NBC, right right, right, right right. Do you remember when. 10 00:00:37,360 --> 00:00:38,080 Speaker 1: This came out. 11 00:00:39,640 --> 00:00:43,640 Speaker 2: A little bit? Yeah, vaguely, vaguely because it was like 12 00:00:43,720 --> 00:00:47,800 Speaker 2: the first musical show after Glee was on. I remember, 13 00:00:47,920 --> 00:00:49,280 Speaker 2: and we've talked about it a little bit before. I 14 00:00:49,320 --> 00:00:53,680 Speaker 2: remember feeling a little likeugh, another musical trying to copy us. 15 00:00:53,760 --> 00:00:56,560 Speaker 1: Yeah, yeah, yeah, I definitely remember everybody talking about the 16 00:00:56,600 --> 00:00:59,200 Speaker 1: auditions for this new musical TV show that was coming 17 00:00:59,240 --> 00:01:03,240 Speaker 1: out in New York. There's a lot of hubbub about 18 00:01:03,280 --> 00:01:05,840 Speaker 1: it in the Broadway community. Of course, there's a million 19 00:01:05,880 --> 00:01:07,959 Speaker 1: people I know in this pilot and then the show 20 00:01:08,720 --> 00:01:11,560 Speaker 1: to go. But like, I truly, wow, this is like 21 00:01:12,000 --> 00:01:15,240 Speaker 1: me watching my life happen ten years ago. 22 00:01:15,360 --> 00:01:18,000 Speaker 3: I was like, this is crazy. Okay. 23 00:01:18,120 --> 00:01:21,360 Speaker 1: So in the news The number one song was set 24 00:01:21,440 --> 00:01:24,319 Speaker 1: Fire to the Raid, honestly. 25 00:01:23,959 --> 00:01:25,319 Speaker 2: One of the greatest songs of all time. 26 00:01:25,480 --> 00:01:28,600 Speaker 1: Sid fye, okay, so good. The number one movie is 27 00:01:28,680 --> 00:01:29,560 Speaker 1: Chronicle Michael B. 28 00:01:29,720 --> 00:01:30,039 Speaker 3: Jordan. 29 00:01:30,800 --> 00:01:34,400 Speaker 2: I loved that movie. I mean, oh that broke Michael B. 30 00:01:34,560 --> 00:01:37,080 Speaker 2: Jordan like that was his first the one. 31 00:01:37,680 --> 00:01:41,400 Speaker 3: Yeah, I don't think oh yeah, okay, cool cool. 32 00:01:41,959 --> 00:01:44,680 Speaker 2: There's actually glean news this week. On January thirty, first 33 00:01:45,120 --> 00:01:48,040 Speaker 2: season three episode eleven, Michael had just aired, and on 34 00:01:48,080 --> 00:01:53,000 Speaker 2: February seventh, season three episode twelve, The Spanish Teacher would air. 35 00:01:54,360 --> 00:01:58,800 Speaker 1: Special special Okay, fun fact. 36 00:01:58,800 --> 00:01:59,120 Speaker 3: I did. 37 00:01:59,760 --> 00:02:03,440 Speaker 1: I think I knew this, but I forgot. Maybe Michael Mayer, 38 00:02:03,640 --> 00:02:06,720 Speaker 1: my friend Michael Meyer. He directed Spring Awakening and Funny 39 00:02:06,720 --> 00:02:10,760 Speaker 1: Girl and Chess he directed this pilot. 40 00:02:12,440 --> 00:02:13,520 Speaker 2: Yeah, I did not know that. 41 00:02:15,919 --> 00:02:17,600 Speaker 1: I think I knew, but I forgot. 42 00:02:18,040 --> 00:02:19,639 Speaker 3: I was like, wait a second, I was like, who 43 00:02:19,680 --> 00:02:20,240 Speaker 3: directed this? 44 00:02:20,919 --> 00:02:24,400 Speaker 2: Michael? Team is shared on front of in front of camera, 45 00:02:24,400 --> 00:02:26,560 Speaker 2: and behind camera. This is like a who's who of 46 00:02:26,760 --> 00:02:30,120 Speaker 2: the theater world. They really like went local in a 47 00:02:30,160 --> 00:02:31,240 Speaker 2: good way. 48 00:02:31,639 --> 00:02:33,960 Speaker 3: You kind of have to write, yeah. 49 00:02:34,280 --> 00:02:34,520 Speaker 2: Uh. 50 00:02:34,760 --> 00:02:41,359 Speaker 1: Series creator Teresa reebec uh. Just a few people that 51 00:02:41,480 --> 00:02:47,639 Speaker 1: produced this. Steven Spielberg that name puffed up on my 52 00:02:47,760 --> 00:02:51,079 Speaker 1: screen and I was like, excuse me, yeah, excuse me, 53 00:02:51,480 --> 00:02:58,320 Speaker 1: Craig saidan Neil morn Uh, Teresa Rebec, Darryl Frank, Justin Falvey, 54 00:02:58,480 --> 00:02:59,840 Speaker 1: Mark Stamon, Scott Whitman. 55 00:03:00,160 --> 00:03:05,160 Speaker 2: What Yeah, it's pretty it's pretty nuts. The original music 56 00:03:05,440 --> 00:03:08,320 Speaker 2: was originally written by Tony and Grammy winning duo Mark 57 00:03:08,320 --> 00:03:09,359 Speaker 2: Shaman and Scott Whitman. 58 00:03:09,720 --> 00:03:11,119 Speaker 3: No big deal coming. 59 00:03:10,919 --> 00:03:15,040 Speaker 1: Up the heels of Hairspray Uh. Choreography by Joshua Bergassi 60 00:03:15,440 --> 00:03:17,520 Speaker 1: or Bergas. I never know how to say his last name, 61 00:03:17,560 --> 00:03:20,640 Speaker 1: but he's a famous choreographer in New York for. 62 00:03:20,760 --> 00:03:25,160 Speaker 2: Gas and this cast was just stacked. Weff, do you 63 00:03:25,200 --> 00:03:27,320 Speaker 2: have Angelica Houston in your TV show? 64 00:03:28,000 --> 00:03:30,760 Speaker 3: Well, you you don't because she's never n. 65 00:03:32,320 --> 00:03:35,920 Speaker 1: Like what But when you have Steven Spielberg calling, you 66 00:03:35,960 --> 00:03:36,520 Speaker 1: say yes. 67 00:03:37,680 --> 00:03:41,160 Speaker 2: Yeah, And there's there's a speaking of Jelica Houston. I 68 00:03:41,200 --> 00:03:46,240 Speaker 2: feel like throughout the show there's so much reference to 69 00:03:47,160 --> 00:03:51,440 Speaker 2: her dad, John Houston, the very famous director, I mean 70 00:03:51,520 --> 00:03:55,920 Speaker 2: Deva Messing and Brian Darcy. James's last name in the 71 00:03:55,920 --> 00:04:00,840 Speaker 2: show was Houston spelled differently. They referenced Marilyn Monroe movie 72 00:04:00,840 --> 00:04:04,600 Speaker 2: that her dad, John Houston directed in the second episode. 73 00:04:04,880 --> 00:04:07,600 Speaker 2: So like there's just a lot going, Like, you know, 74 00:04:07,600 --> 00:04:09,280 Speaker 2: if we're gonna put in Jelica in it, let's pay 75 00:04:09,320 --> 00:04:10,320 Speaker 2: our respects. 76 00:04:10,600 --> 00:04:13,960 Speaker 3: Yeah, yeah, no, we have to. We have to. 77 00:04:15,440 --> 00:04:24,159 Speaker 1: Christian Barrel, Broadway legend, Katherin McPhee, Megan Hilty what yeah. 78 00:04:23,320 --> 00:04:27,080 Speaker 3: Absolutely nuts. So where should we start? So let's talk 79 00:04:27,120 --> 00:04:28,279 Speaker 3: about what the show is about. 80 00:04:29,279 --> 00:04:32,840 Speaker 2: The show is about a talented newcomer, Karen Catt right, 81 00:04:32,960 --> 00:04:36,000 Speaker 2: Katherin mick Vee. She's up for a roll of a 82 00:04:36,040 --> 00:04:38,799 Speaker 2: lifetime and a new Broadway musical based on the iconic 83 00:04:38,839 --> 00:04:41,720 Speaker 2: life of Marilyn Monroe. The only thing standing in her 84 00:04:41,760 --> 00:04:46,360 Speaker 2: way is Ivy Lenn Megan Hilty, icon a seasoned theater 85 00:04:46,480 --> 00:04:50,640 Speaker 2: veteran true who is determined to land the part herself 86 00:04:50,680 --> 00:04:53,040 Speaker 2: and will stop at nothing to realize her own dreams 87 00:04:53,040 --> 00:04:53,520 Speaker 2: of fame. 88 00:04:54,160 --> 00:04:57,440 Speaker 1: I think like having some space from theater and from 89 00:04:57,560 --> 00:05:00,760 Speaker 1: Lee at this point, rewatching this, I had knew a 90 00:05:00,880 --> 00:05:04,839 Speaker 1: new fresh pair of eyes because I think I watched 91 00:05:04,839 --> 00:05:06,839 Speaker 1: this just because like either I was hate watching it 92 00:05:06,920 --> 00:05:09,120 Speaker 1: or I was watching it to be like, what's our competition, 93 00:05:09,240 --> 00:05:09,679 Speaker 1: et cetera. 94 00:05:09,960 --> 00:05:14,039 Speaker 3: During that time. If I watched it at all we did. 95 00:05:14,080 --> 00:05:15,440 Speaker 3: We watched it together. You made me. 96 00:05:16,240 --> 00:05:19,640 Speaker 2: We lived together, and you said, I think I'm gonna 97 00:05:19,640 --> 00:05:22,760 Speaker 2: watch Smash and I did. 98 00:05:23,160 --> 00:05:23,520 Speaker 3: I did. 99 00:05:23,560 --> 00:05:26,240 Speaker 1: I watched some I watched, and we did. We sat 100 00:05:26,279 --> 00:05:28,159 Speaker 1: down and watched this. Okay, so I don't remember that, 101 00:05:28,320 --> 00:05:33,520 Speaker 1: but I do remember flashes of watching this. I think, 102 00:05:36,640 --> 00:05:40,520 Speaker 1: I'm not gonna lie. I wanted to watch what was next. 103 00:05:41,320 --> 00:05:42,800 Speaker 3: I did watch what was next? 104 00:05:43,240 --> 00:05:45,640 Speaker 1: Well, if David wasn't in the room, I probably would have, 105 00:05:45,720 --> 00:05:49,000 Speaker 1: but I had. We had to switch, but I had 106 00:05:49,040 --> 00:05:54,159 Speaker 1: to watch what was next. I'm gonna tell you, I 107 00:05:54,279 --> 00:05:59,720 Speaker 1: really enjoyed this pilot. I really enjoyed this pilot. And 108 00:06:00,240 --> 00:06:02,680 Speaker 1: I don't know if it was like just like the 109 00:06:02,760 --> 00:06:05,479 Speaker 1: right kind of writing where it was like what's gonna happen, 110 00:06:05,520 --> 00:06:07,400 Speaker 1: what's gonna happen, what's gonna happen. I kind of have 111 00:06:07,440 --> 00:06:11,159 Speaker 1: to watch it. I kind of got a seat. The 112 00:06:11,279 --> 00:06:16,520 Speaker 1: music was enjoyable to me. I liked most of the performances, 113 00:06:17,120 --> 00:06:19,520 Speaker 1: the voices to me, like, right now I'm in a 114 00:06:19,640 --> 00:06:23,760 Speaker 1: in a Broadway musical listening album phase right now with 115 00:06:23,839 --> 00:06:26,520 Speaker 1: my life. Sometimes I'm like, can't listen to this at all. 116 00:06:26,920 --> 00:06:28,880 Speaker 1: Right now, I am listening to like all the soundtracks 117 00:06:28,880 --> 00:06:32,839 Speaker 1: and the recordings, so I feel like listening to these 118 00:06:32,839 --> 00:06:36,640 Speaker 1: women's voices, watching these performances, I was like, I'm in 119 00:06:36,680 --> 00:06:39,080 Speaker 1: this world right now. I'm in it, I'm feeling it, 120 00:06:39,200 --> 00:06:46,599 Speaker 1: I'm enjoying it. And I think there were some things 121 00:06:46,600 --> 00:06:50,200 Speaker 1: that were a little too cliche and a little too forced, 122 00:06:50,279 --> 00:06:53,640 Speaker 1: and some of these actors were like in different versions 123 00:06:53,680 --> 00:07:00,200 Speaker 1: of the show, but overall I needed to watch. I'm 124 00:07:00,240 --> 00:07:03,200 Speaker 1: gonna watch it today. I have to know what happens. 125 00:07:03,240 --> 00:07:05,760 Speaker 1: I think I remember, like, we've got to get both 126 00:07:05,760 --> 00:07:07,840 Speaker 1: girls in the show. So one's gonna play the understudy, 127 00:07:07,880 --> 00:07:10,120 Speaker 1: one's gonna play Marylyn. We know this, but I just 128 00:07:10,160 --> 00:07:11,480 Speaker 1: don't remember which is which. 129 00:07:13,680 --> 00:07:14,240 Speaker 3: Oh really, it. 130 00:07:14,240 --> 00:07:17,360 Speaker 1: Does not happen like that, Okay anyway, okay, okay, so 131 00:07:17,400 --> 00:07:17,920 Speaker 1: it doesn't talk. 132 00:07:18,000 --> 00:07:19,120 Speaker 3: I definitely have to watch today. 133 00:07:19,320 --> 00:07:23,360 Speaker 1: But I'm just saying, like I really the songs were good, 134 00:07:23,760 --> 00:07:27,360 Speaker 1: Like I enjoyed listening to the songs, even though like 135 00:07:27,480 --> 00:07:30,840 Speaker 1: I'm not a person who's like very attached to original music. 136 00:07:30,880 --> 00:07:33,800 Speaker 1: I like going in knowing what I'm listening to. And 137 00:07:34,200 --> 00:07:39,000 Speaker 1: I was very impressed by how much I liked listening 138 00:07:39,040 --> 00:07:41,400 Speaker 1: to this music and listening to these women saying their 139 00:07:41,480 --> 00:07:44,400 Speaker 1: voices are just unbelievable. So like, I think that's part 140 00:07:44,400 --> 00:07:50,280 Speaker 1: of it. But I do feel like this is with 141 00:07:50,320 --> 00:07:53,840 Speaker 1: some time jumps and things and you know, some discrepancies 142 00:07:53,840 --> 00:07:56,880 Speaker 1: on how actually things work, like we're not putting things 143 00:07:56,880 --> 00:07:58,400 Speaker 1: on YouTube and writing a song overnight. 144 00:07:58,440 --> 00:08:03,640 Speaker 3: But like I overall was like, Okay, I believe this world. 145 00:08:03,680 --> 00:08:06,600 Speaker 1: They're in the forty two second forty second street stage, 146 00:08:07,280 --> 00:08:11,480 Speaker 1: virsual spaces like they felt familiar to me, and there 147 00:08:11,520 --> 00:08:12,240 Speaker 1: was something about it. 148 00:08:12,080 --> 00:08:17,120 Speaker 3: It was very comforting. I love how excited you are. 149 00:08:19,520 --> 00:08:21,480 Speaker 3: I didn't think I was gonna like it as much 150 00:08:21,480 --> 00:08:22,000 Speaker 3: as I did. 151 00:08:22,440 --> 00:08:27,280 Speaker 2: No, I didn't either. I don't think it's like I 152 00:08:27,280 --> 00:08:33,760 Speaker 2: don't necessarily think it's like a great episode of television, totally, totally. 153 00:08:34,120 --> 00:08:38,880 Speaker 2: I also really enjoyed it. Yeah, and I think the 154 00:08:38,960 --> 00:08:40,239 Speaker 2: thing that makes. 155 00:08:40,000 --> 00:08:41,640 Speaker 3: Me want to continue to watch it, and it made 156 00:08:41,640 --> 00:08:42,520 Speaker 3: me like it. 157 00:08:43,320 --> 00:08:49,440 Speaker 2: Was watching the creation of this thing with two really 158 00:08:49,559 --> 00:08:53,400 Speaker 2: talented people who it makes a lot of sense for 159 00:08:53,520 --> 00:08:54,760 Speaker 2: them to be up for this role. 160 00:08:55,320 --> 00:08:56,080 Speaker 3: Do you know what it like? 161 00:08:58,240 --> 00:09:01,760 Speaker 2: I think what the show does really well obviously, Yeah, 162 00:09:01,840 --> 00:09:05,960 Speaker 2: they like the musical never happens this quickly, like there's 163 00:09:06,000 --> 00:09:08,920 Speaker 2: a lot of things that make no sense. Yes, there's 164 00:09:08,960 --> 00:09:11,960 Speaker 2: a lot of extra storylines I just don't care about totally, 165 00:09:12,720 --> 00:09:16,160 Speaker 2: but totally, what they do really, really well is make 166 00:09:16,240 --> 00:09:20,280 Speaker 2: us believe or make us buy into like we don't 167 00:09:20,320 --> 00:09:22,120 Speaker 2: know who you're going to choose, because I can see 168 00:09:22,160 --> 00:09:25,480 Speaker 2: both of them playing this part. Yes, and this musical 169 00:09:26,240 --> 00:09:30,640 Speaker 2: is really can good, like the original music is excellent. 170 00:09:30,720 --> 00:09:32,720 Speaker 2: And I also think one of the weakest points of 171 00:09:32,760 --> 00:09:35,400 Speaker 2: this is when they don't do original music. I think 172 00:09:35,440 --> 00:09:40,400 Speaker 2: they do a bad job at choosing covers totally, like 173 00:09:40,720 --> 00:09:43,120 Speaker 2: Katherine McPhee going in there to sing some weird arrangement 174 00:09:43,160 --> 00:09:47,920 Speaker 2: of beautiful Oh yeah no yeah yeah, like no, no, no, no. 175 00:09:48,120 --> 00:09:49,880 Speaker 2: I don't buy it. I don't I don't buy it 176 00:09:49,920 --> 00:09:52,520 Speaker 2: at all. But when you see both of them sing 177 00:09:52,520 --> 00:09:53,640 Speaker 2: these original. 178 00:09:53,280 --> 00:09:56,160 Speaker 3: Songs, oh are you kidding? 179 00:09:56,280 --> 00:10:00,960 Speaker 2: Unbelievable, and I like I like the I. 180 00:10:01,000 --> 00:10:04,319 Speaker 3: Like seeing yeah yeah, like what is happening? I want 181 00:10:04,320 --> 00:10:06,360 Speaker 3: to know what happens. I don't really remember what happens 182 00:10:06,400 --> 00:10:06,959 Speaker 3: at all. 183 00:10:07,040 --> 00:10:09,800 Speaker 2: Right, but what I do remember for people talking about 184 00:10:09,800 --> 00:10:13,760 Speaker 2: it is that like Maryland, the musical is actually like 185 00:10:13,960 --> 00:10:17,320 Speaker 2: really good and the original music is really good. I 186 00:10:17,360 --> 00:10:21,200 Speaker 2: don't think like yeah, again, I don't think like on 187 00:10:21,240 --> 00:10:22,560 Speaker 2: a technical level it's done. 188 00:10:22,880 --> 00:10:26,800 Speaker 3: No particularly not groundbreaking in anyway, but no, but all the. 189 00:10:26,720 --> 00:10:29,400 Speaker 2: Stuff that has to do directly with musical theater, like 190 00:10:29,480 --> 00:10:32,679 Speaker 2: all the performance numbers, the rehearsals are really good because 191 00:10:32,679 --> 00:10:35,600 Speaker 2: you have all of the real dancers, the audition scenes, 192 00:10:36,200 --> 00:10:38,199 Speaker 2: like all those are so so good. 193 00:10:38,440 --> 00:10:43,120 Speaker 1: Yeah, I also enjoyed. I appreciate like two women at 194 00:10:43,120 --> 00:10:47,359 Speaker 1: the helm, right, like I always appreciate that they're so talented. 195 00:10:48,160 --> 00:10:51,360 Speaker 1: There's enough conflict to keep me watching, right, Like they've 196 00:10:51,400 --> 00:10:54,360 Speaker 1: built that world enough that we know what they want separately, 197 00:10:54,559 --> 00:10:58,800 Speaker 1: we know what they want together, and that to me 198 00:10:58,960 --> 00:10:59,480 Speaker 1: is enough. 199 00:10:59,880 --> 00:11:02,240 Speaker 3: Like, Okay, I'm I'm invested. 200 00:11:03,080 --> 00:11:05,000 Speaker 1: I don't know that I'm fully invested, but I'm invested 201 00:11:05,080 --> 00:11:06,360 Speaker 1: for this forty minutes. 202 00:11:07,559 --> 00:11:09,920 Speaker 2: Yeah, I'm saying this to Awesome. I'm like, I kind 203 00:11:09,920 --> 00:11:12,360 Speaker 2: of like it. He's like, see, I'm teaching you well 204 00:11:12,400 --> 00:11:14,199 Speaker 2: because you can sort of see through the crap to 205 00:11:14,240 --> 00:11:15,160 Speaker 2: see what's good about it. 206 00:11:15,320 --> 00:11:17,320 Speaker 3: Yes, yes, that's right, that's right. 207 00:11:17,440 --> 00:11:22,160 Speaker 2: Yeah, Yeah, I fully like, yeah, you know I want. 208 00:11:21,920 --> 00:11:25,679 Speaker 3: To Yeah, I mean I just want to know because. 209 00:11:25,400 --> 00:11:28,600 Speaker 2: Okay, the crazy thing is so the idea is in 210 00:11:28,640 --> 00:11:33,000 Speaker 2: the first place came from Steven Spielberg, who purchased the 211 00:11:33,040 --> 00:11:37,240 Speaker 2: book titled Smash about making Funny Girl and kept only 212 00:11:37,280 --> 00:11:40,679 Speaker 2: the title and then was developing this at showtime where 213 00:11:40,720 --> 00:11:44,680 Speaker 2: each season would be the development of a musical reliant 214 00:11:44,800 --> 00:11:46,960 Speaker 2: which makes so much sense because I mean that's also like, 215 00:11:47,400 --> 00:11:49,160 Speaker 2: that's the part I like. 216 00:11:49,400 --> 00:11:52,200 Speaker 1: This, and the Broadway music would then be actually be 217 00:11:52,640 --> 00:11:53,559 Speaker 1: produced on Broadway. 218 00:11:53,760 --> 00:11:56,520 Speaker 2: Yeah, there's a brilliant model if it worked, but they 219 00:11:56,559 --> 00:11:58,280 Speaker 2: could still do that well. 220 00:11:58,320 --> 00:12:00,199 Speaker 3: They did Smash on Broadway and that didn't work. 221 00:12:00,080 --> 00:12:02,240 Speaker 2: So well, because I think that's that's it was. 222 00:12:02,200 --> 00:12:04,360 Speaker 1: The story of the story, right, It's not it's not 223 00:12:04,400 --> 00:12:07,480 Speaker 1: the actual musical. I see what you're saying. Yes, I agree, 224 00:12:07,559 --> 00:12:08,480 Speaker 1: that's actually where. 225 00:12:08,400 --> 00:12:11,400 Speaker 2: And like it was Spielberg's idea. It was adamant about 226 00:12:11,440 --> 00:12:16,520 Speaker 2: the show having original music, and so they got incredible songwriters. 227 00:12:17,040 --> 00:12:19,240 Speaker 2: I think that's why the music is so good, like 228 00:12:19,800 --> 00:12:23,000 Speaker 2: it just fits. And I also think the casting was 229 00:12:24,400 --> 00:12:27,920 Speaker 2: quite brilliant because I remember thinking at the time, like 230 00:12:28,200 --> 00:12:32,800 Speaker 2: Katherine McPhee, like she's from American idol, like can she yes, 231 00:12:33,960 --> 00:12:37,080 Speaker 2: she can? And her and Megan Hialthy are so different 232 00:12:37,559 --> 00:12:38,960 Speaker 2: and they're both so good. 233 00:12:39,360 --> 00:12:42,520 Speaker 1: I really liked Gathering mcfee's performance in this. I really 234 00:12:42,559 --> 00:12:44,520 Speaker 1: she really bought me into this whole thing. 235 00:12:44,800 --> 00:12:48,280 Speaker 3: I thought she's I thought she was very very good, 236 00:12:49,000 --> 00:12:52,920 Speaker 3: very good, and her voice is stupid And. 237 00:12:52,880 --> 00:12:56,240 Speaker 2: The only time I didn't buy her is doing some 238 00:12:56,320 --> 00:12:58,800 Speaker 2: of these covers. And I don't think that's her fault. 239 00:12:58,920 --> 00:13:02,440 Speaker 3: It took me out. It took me out, beautiful took 240 00:13:02,440 --> 00:13:02,760 Speaker 3: me out. 241 00:13:03,160 --> 00:13:05,120 Speaker 2: It felt like that was probably the thing to help 242 00:13:05,160 --> 00:13:07,320 Speaker 2: get it sold at the time, because Glee was doing 243 00:13:07,360 --> 00:13:09,240 Speaker 2: it and like it's working, and so there. 244 00:13:09,240 --> 00:13:10,520 Speaker 3: Was the other problem that I had. 245 00:13:10,600 --> 00:13:14,240 Speaker 1: And look, it worked on Glee, So I'm not I'm 246 00:13:14,400 --> 00:13:18,199 Speaker 1: acknowledging the truth that is Glee and I'm not biased. 247 00:13:18,200 --> 00:13:22,280 Speaker 1: But in the audition room, yes, it's a dream sequence, right, 248 00:13:22,320 --> 00:13:25,480 Speaker 1: the lighting was different, all of it goes different. But 249 00:13:25,600 --> 00:13:28,080 Speaker 1: when you come back to the audition room and you 250 00:13:28,120 --> 00:13:32,040 Speaker 1: come back to that table of people hurt, the instrumental 251 00:13:32,200 --> 00:13:37,280 Speaker 1: is still a band, it's a full band, and the 252 00:13:37,360 --> 00:13:40,040 Speaker 1: transition just didn't work for me. I was like, we 253 00:13:40,120 --> 00:13:44,600 Speaker 1: are not again in that world like it is, you know, 254 00:13:44,840 --> 00:13:47,040 Speaker 1: like it shorted out as a dream and it ended 255 00:13:47,080 --> 00:13:48,679 Speaker 1: in this dream, But visually. 256 00:13:48,360 --> 00:13:49,400 Speaker 3: That was not what it was. 257 00:13:50,559 --> 00:13:53,240 Speaker 2: And I also think they it would have been helped. 258 00:13:53,920 --> 00:13:57,439 Speaker 2: I mean, look, I understand the practical nature of it 259 00:13:58,200 --> 00:14:01,560 Speaker 2: not being probably feasible, but you have two women, like 260 00:14:01,600 --> 00:14:06,360 Speaker 2: with Wicked, that can really sing. Their face is off, yes, 261 00:14:06,720 --> 00:14:09,520 Speaker 2: and there's a couple of times like maybe one each 262 00:14:09,520 --> 00:14:11,000 Speaker 2: where they sing I think they sing. 263 00:14:10,880 --> 00:14:15,000 Speaker 1: Live probably yeah, And it didn't and it's so good 264 00:14:15,480 --> 00:14:18,000 Speaker 1: and I loved it, and it was like I want 265 00:14:18,160 --> 00:14:20,400 Speaker 1: more of that from them for this type of show. 266 00:14:20,680 --> 00:14:22,760 Speaker 3: Yes, like let me be your star produce it. 267 00:14:23,360 --> 00:14:26,960 Speaker 1: You know, there's a montage, there's it's big, it's the 268 00:14:26,960 --> 00:14:29,920 Speaker 1: stakes are high. But like beautiful and like, I see 269 00:14:29,960 --> 00:14:31,680 Speaker 1: what you're saying about trying to sell the show, Like yes, 270 00:14:31,760 --> 00:14:34,440 Speaker 1: I get that, but like beautiful, let her sing. She 271 00:14:34,440 --> 00:14:38,280 Speaker 1: can sing, hive and probably just as good. She's almost 272 00:14:38,320 --> 00:14:42,280 Speaker 1: been perfect. Like it's it's really good. So that was 273 00:14:42,320 --> 00:14:58,600 Speaker 1: my qualm with that. This series aired and premiered with 274 00:14:59,200 --> 00:15:01,360 Speaker 1: an exorbitant amount of views. 275 00:15:01,480 --> 00:15:05,360 Speaker 2: So it had eleven and a half million viewers on 276 00:15:05,400 --> 00:15:09,240 Speaker 2: the initial broadcast after the the day after the Super Bowl. 277 00:15:09,280 --> 00:15:09,840 Speaker 1: That's a lot. 278 00:15:10,560 --> 00:15:12,120 Speaker 3: That's a lot. That's a lot. 279 00:15:13,360 --> 00:15:17,040 Speaker 1: I'm just saying that's I don't think that's wildly normal. 280 00:15:17,040 --> 00:15:18,880 Speaker 1: But yes, they were promoting the crab out of it 281 00:15:18,960 --> 00:15:21,480 Speaker 1: during the Super Bowl. So, like it had a big. 282 00:15:21,560 --> 00:15:25,480 Speaker 2: It was highest NBC drama series premiere in four years. 283 00:15:25,560 --> 00:15:30,720 Speaker 1: I'm saying it was huge. It received widespread critical acclaim 284 00:15:32,240 --> 00:15:34,880 Speaker 1: and everybody praised the cast and the musical numbers and 285 00:15:34,920 --> 00:15:37,520 Speaker 1: the ambition of it. And it was different than Lee, 286 00:15:37,560 --> 00:15:39,760 Speaker 1: I think at that time, like it was more about 287 00:15:39,800 --> 00:15:42,720 Speaker 1: the making of versus this Glee club, right, so like 288 00:15:42,760 --> 00:15:43,840 Speaker 1: it didn't feel. 289 00:15:43,640 --> 00:15:46,840 Speaker 3: It was very different and it was close to us. 290 00:15:46,920 --> 00:15:48,760 Speaker 3: It was just too close to us at the time. 291 00:15:48,840 --> 00:15:51,840 Speaker 2: And I think people if people weren't watching these things 292 00:15:51,880 --> 00:15:56,200 Speaker 2: live at the time, musicals did not work, and so 293 00:15:56,320 --> 00:15:58,000 Speaker 2: it was weird to all of a sudden then have 294 00:15:58,040 --> 00:16:03,120 Speaker 2: another musical because like Glee was working, which was defying 295 00:16:03,160 --> 00:16:06,320 Speaker 2: all odds. They're like, oh, now there's another musical and 296 00:16:06,360 --> 00:16:08,960 Speaker 2: they're trying it. But like this should have worked. This 297 00:16:09,040 --> 00:16:10,840 Speaker 2: should have gone on for a lot longer. I mean, 298 00:16:10,880 --> 00:16:13,720 Speaker 2: I haven't seen the rest of it yet, but like 299 00:16:13,800 --> 00:16:17,160 Speaker 2: in theory, this deserves too, I think. 300 00:16:19,360 --> 00:16:19,680 Speaker 3: Yes. 301 00:16:20,360 --> 00:16:22,400 Speaker 2: I mean, so Austin was sort of like filling me 302 00:16:22,440 --> 00:16:24,480 Speaker 2: in because he watched it and he was filling me 303 00:16:24,520 --> 00:16:26,280 Speaker 2: on that sort of some of the storylines that happened 304 00:16:26,320 --> 00:16:29,520 Speaker 2: later on, and it does feel like a little soapy. 305 00:16:30,360 --> 00:16:33,840 Speaker 1: Well, here's the interesting part about that. It was made 306 00:16:33,920 --> 00:16:36,520 Speaker 1: for Showtime, right, Like they were doing this for Showtime 307 00:16:36,600 --> 00:16:40,240 Speaker 1: to start, and then they made a shift to NBC. 308 00:16:41,040 --> 00:16:44,280 Speaker 1: And when they did, they had to push it away 309 00:16:44,280 --> 00:16:49,040 Speaker 1: from cable style, right, And approximately twenty minutes were cut 310 00:16:49,080 --> 00:16:52,880 Speaker 1: from the pilot and the language and explicitness were significantly 311 00:16:52,880 --> 00:16:53,840 Speaker 1: toned down to. 312 00:16:54,000 --> 00:16:56,320 Speaker 3: Meet broadcast banners on NBC. 313 00:16:57,920 --> 00:17:01,560 Speaker 1: I think there was a shift there that had to 314 00:17:01,600 --> 00:17:06,119 Speaker 1: be made that then made it a little bit more popcorn, 315 00:17:06,640 --> 00:17:11,080 Speaker 1: you know, like and the less kind of gritty, which 316 00:17:12,119 --> 00:17:15,480 Speaker 1: went along with some of the coloring of the show. 317 00:17:15,720 --> 00:17:17,640 Speaker 2: So as soon as you get to the next episode 318 00:17:18,640 --> 00:17:21,359 Speaker 2: is just darker and it looks better. 319 00:17:21,400 --> 00:17:24,760 Speaker 1: Okay, because I was a little off with the color 320 00:17:24,960 --> 00:17:27,360 Speaker 1: of the show and and I saw the shift somewhat, 321 00:17:27,400 --> 00:17:30,160 Speaker 1: but like I just I don't know, there's something off. 322 00:17:30,600 --> 00:17:32,119 Speaker 2: It's all of a sudden, like you can see like, oh, 323 00:17:32,119 --> 00:17:33,840 Speaker 2: the pilot got picked up. Now we're making this and 324 00:17:33,880 --> 00:17:38,240 Speaker 2: it's a completely it looks very different. I do think, 325 00:17:39,359 --> 00:17:42,720 Speaker 2: you know, for us personally, we were not giving it 326 00:17:42,800 --> 00:17:46,200 Speaker 2: a fair shot. I think it is such a different story. 327 00:17:47,440 --> 00:17:51,480 Speaker 2: And I also wonder if, like the is there a 328 00:17:51,480 --> 00:17:54,480 Speaker 2: broad enough appeal about what happens in the theater world 329 00:17:54,600 --> 00:17:57,600 Speaker 2: like on Broadway. I would hope so, because good story 330 00:17:57,640 --> 00:18:00,280 Speaker 2: is good story and like. 331 00:18:00,200 --> 00:18:06,480 Speaker 3: A more commercial audience, like a big but you know, 332 00:18:06,520 --> 00:18:08,439 Speaker 3: if it has this big premiere and then gets canceled 333 00:18:08,480 --> 00:18:09,760 Speaker 3: after two seasons. 334 00:18:10,400 --> 00:18:15,119 Speaker 1: Well, there's also some shift that happened within the creative team. 335 00:18:15,880 --> 00:18:19,159 Speaker 1: So Joshua Saffron took over as a showrunner for the 336 00:18:19,200 --> 00:18:23,639 Speaker 1: second season, and I think there was internal struggle creatively 337 00:18:24,680 --> 00:18:29,000 Speaker 1: that didn't help the story and didn't help all of that. 338 00:18:29,359 --> 00:18:32,360 Speaker 1: So I do think that when you have those kind 339 00:18:32,400 --> 00:18:35,639 Speaker 1: of internal struggles that we were in Privy too, But 340 00:18:36,240 --> 00:18:38,960 Speaker 1: that's definitely going to take a toll, especially in so 341 00:18:39,080 --> 00:18:43,919 Speaker 1: early and it's seasons, like to have that struggle, I 342 00:18:43,920 --> 00:18:46,280 Speaker 1: think it's definitely going to have a moment. 343 00:18:47,320 --> 00:18:49,800 Speaker 2: I mean, I feel like, especially for a musical like 344 00:18:49,880 --> 00:18:52,520 Speaker 2: you have to have. I mean, we were so lucky 345 00:18:52,520 --> 00:18:53,400 Speaker 2: that Ryan Bred. 346 00:18:53,200 --> 00:18:55,480 Speaker 3: And Ian Yes, we're so. 347 00:18:55,119 --> 00:18:58,120 Speaker 2: Solely controlled the first two seasons, like the first. 348 00:18:58,720 --> 00:19:01,960 Speaker 1: I had a lot of at Fox at that point 349 00:19:02,359 --> 00:19:06,640 Speaker 1: thanks to you know, Dana and Garrett and all those 350 00:19:06,640 --> 00:19:09,199 Speaker 1: people who were at the Helm that allowed him to 351 00:19:09,240 --> 00:19:11,560 Speaker 1: do the things that we did because because of that, 352 00:19:11,680 --> 00:19:14,680 Speaker 1: like I remember, you're like, oh my god, we did 353 00:19:14,680 --> 00:19:16,720 Speaker 1: that on broadcast television, Like a lot of people weren't 354 00:19:16,920 --> 00:19:18,959 Speaker 1: didn't have that kind of liberty, you know. 355 00:19:19,400 --> 00:19:21,480 Speaker 2: I also wonder you know, look, I think musicals are 356 00:19:21,520 --> 00:19:26,439 Speaker 2: hard to sell, and I'm wondering if Smash was more 357 00:19:26,480 --> 00:19:31,320 Speaker 2: adult and the demographic that would sit together to watch 358 00:19:31,359 --> 00:19:35,840 Speaker 2: Smash is and like feel okay about it. Yeah, it's 359 00:19:35,840 --> 00:19:39,800 Speaker 2: probably very different than watching a satirical, like a satire 360 00:19:40,320 --> 00:19:44,239 Speaker 2: about these like dysfunctional kids. Yes, yes, or you can 361 00:19:44,240 --> 00:19:46,160 Speaker 2: get away with singing this music and it's like fun 362 00:19:46,200 --> 00:19:49,720 Speaker 2: and bright and then like I also think that's where 363 00:19:49,760 --> 00:19:54,200 Speaker 2: Smash succeeded in positioning itself as something different than Glee, 364 00:19:54,240 --> 00:19:56,240 Speaker 2: is that it was adult and it was real life, 365 00:19:56,280 --> 00:19:59,760 Speaker 2: and it was like putting you in those situations that 366 00:20:00,320 --> 00:20:03,040 Speaker 2: for us, like audition rooms and things that felt real. 367 00:20:03,560 --> 00:20:03,800 Speaker 1: Right. 368 00:20:04,200 --> 00:20:07,080 Speaker 3: But like again, I'm I mean, I guess we're not 369 00:20:07,119 --> 00:20:08,240 Speaker 3: here to talk about. 370 00:20:08,800 --> 00:20:12,760 Speaker 1: The audience was, But I do think there's also a 371 00:20:12,760 --> 00:20:14,040 Speaker 1: part of it that, like I keep coming back to 372 00:20:14,080 --> 00:20:19,280 Speaker 1: the showtime of it all, like those scenes where you 373 00:20:19,359 --> 00:20:25,720 Speaker 1: have like Catherine being called to the director's layer, you know, 374 00:20:25,760 --> 00:20:29,280 Speaker 1: at night, and she she like shows up and also close. 375 00:20:29,359 --> 00:20:33,080 Speaker 1: But like if this was Showtime, would we have seen 376 00:20:33,119 --> 00:20:33,840 Speaker 1: something different? 377 00:20:35,440 --> 00:20:35,760 Speaker 3: Yeah? 378 00:20:36,000 --> 00:20:38,280 Speaker 2: And also there was a shot in that where I 379 00:20:38,320 --> 00:20:40,199 Speaker 2: was like, I like how this looks and I like 380 00:20:40,240 --> 00:20:40,959 Speaker 2: how this feels. 381 00:20:41,160 --> 00:20:44,840 Speaker 3: Yes, that felts very different yes than than some of 382 00:20:44,880 --> 00:20:47,280 Speaker 3: the other pieces. Yes, and it's like this is what 383 00:20:47,320 --> 00:20:49,800 Speaker 3: I want from all of it. Yes. 384 00:20:50,119 --> 00:20:52,160 Speaker 1: And and had it been on Showtime, and I think 385 00:20:52,160 --> 00:20:53,439 Speaker 1: that's the show we would have gotten. 386 00:20:53,720 --> 00:20:56,600 Speaker 2: Catherine was excellent. Oh no, she was thinking about that 387 00:20:56,640 --> 00:20:59,600 Speaker 2: scene too where she's like being sexy, Yes, and like 388 00:21:00,119 --> 00:21:02,720 Speaker 2: the good she's really good. 389 00:21:03,280 --> 00:21:05,240 Speaker 1: When they were coming out of the subway during Let 390 00:21:05,320 --> 00:21:07,440 Speaker 1: Me Be Your Star, did you think of Naya? 391 00:21:08,400 --> 00:21:08,640 Speaker 3: Yeah? 392 00:21:08,920 --> 00:21:12,680 Speaker 2: Fully well I was also like, oh it looks beautiful. 393 00:21:12,680 --> 00:21:15,320 Speaker 3: I was like there the budget for this pilot. 394 00:21:15,040 --> 00:21:17,440 Speaker 2: Oh, I think was like the same as the Glee pilot, 395 00:21:18,040 --> 00:21:20,400 Speaker 2: and I feel I'm like, okay, you're like this budget's 396 00:21:20,440 --> 00:21:21,320 Speaker 2: going to this. 397 00:21:22,320 --> 00:21:24,800 Speaker 3: You also have to get people to write original songs here. 398 00:21:24,800 --> 00:21:28,560 Speaker 1: Do you get a team, a very established team of 399 00:21:28,600 --> 00:21:32,440 Speaker 1: writers to write this so you know, like you know 400 00:21:32,960 --> 00:21:36,199 Speaker 1: this or that we're licensing, don't stop believing or like 401 00:21:36,240 --> 00:21:38,639 Speaker 1: you're getting you you have to create people. They go 402 00:21:38,680 --> 00:21:39,240 Speaker 1: whole musical. 403 00:21:39,400 --> 00:21:43,320 Speaker 2: Yeah, that's the musicals are expensive. They're really expensive to produce. 404 00:21:44,280 --> 00:21:48,320 Speaker 1: Can we talk about National Pastime though? With like twenty 405 00:21:48,359 --> 00:21:50,760 Speaker 1: of the best male dancers in New York and. 406 00:21:50,960 --> 00:21:52,440 Speaker 2: I just get yelling out names of people. 407 00:21:52,480 --> 00:21:55,960 Speaker 1: I was seeing Alex and like a friend Spencer. 408 00:21:56,280 --> 00:21:58,359 Speaker 3: It was so good, but I was like, I'm we 409 00:21:58,440 --> 00:21:59,080 Speaker 3: ever there. 410 00:22:00,720 --> 00:22:04,000 Speaker 2: Yeah, that's what I loved about it. I was like, 411 00:22:04,320 --> 00:22:07,560 Speaker 2: when they are doing this stuff, it is excellent. 412 00:22:07,960 --> 00:22:11,000 Speaker 1: Yeah, yeah, yeah, yes, I was like this. 413 00:22:10,880 --> 00:22:17,919 Speaker 2: Is really good. And I like seeing like the like 414 00:22:17,960 --> 00:22:20,439 Speaker 2: the the little flashes of like what it might be 415 00:22:20,560 --> 00:22:23,320 Speaker 2: on stage or it's like, oh, this is just an 416 00:22:23,359 --> 00:22:26,240 Speaker 2: idea still. So it's like, oh, we're seeing these like 417 00:22:27,560 --> 00:22:31,560 Speaker 2: baseball uniforms, like bedazzled and she's in a red dress 418 00:22:31,720 --> 00:22:35,000 Speaker 2: and it feels fun, but it's the set, the stage 419 00:22:35,040 --> 00:22:37,359 Speaker 2: is still pretty bare because like we're still developing this. 420 00:22:39,080 --> 00:22:42,160 Speaker 2: I have questions about, like technically speaking, because I have 421 00:22:42,240 --> 00:22:46,879 Speaker 2: not done as much theater unditioning as you have the 422 00:22:46,960 --> 00:22:52,200 Speaker 2: process that happens in this pilot. How accurate is this 423 00:22:52,440 --> 00:22:57,359 Speaker 2: like a callback second callback? Like always one on ones 424 00:22:57,400 --> 00:22:58,760 Speaker 2: with these people, Like what is. 425 00:22:58,880 --> 00:22:59,919 Speaker 3: What the directors want? 426 00:23:00,080 --> 00:23:00,800 Speaker 1: On one? Was weird? 427 00:23:00,840 --> 00:23:02,200 Speaker 3: But that doesn't happen. 428 00:23:02,280 --> 00:23:08,720 Speaker 1: But yeah, no, normally, like there's an audition and then 429 00:23:09,160 --> 00:23:12,760 Speaker 1: there is a callback, and I was like, oh, they're 430 00:23:12,800 --> 00:23:14,920 Speaker 1: not going to pick these girls from this callback because 431 00:23:14,920 --> 00:23:18,080 Speaker 1: there's always a final callback. They always call it a 432 00:23:18,080 --> 00:23:21,040 Speaker 1: final callback. I mean at least in my experience. And so. 433 00:23:23,200 --> 00:23:24,760 Speaker 3: Whether it's one of you or three of you. 434 00:23:24,800 --> 00:23:28,840 Speaker 1: Or five of you, like there's always a third one. 435 00:23:29,320 --> 00:23:31,320 Speaker 3: Oh no, not for a workshop. 436 00:23:31,080 --> 00:23:33,879 Speaker 2: Because that's what this is for, isn't it now? 437 00:23:33,920 --> 00:23:34,840 Speaker 3: I don't know about that. 438 00:23:36,320 --> 00:23:38,680 Speaker 2: I was just assuming it was for a workshop. 439 00:23:39,560 --> 00:23:42,560 Speaker 1: That's a that's the discrepancy too, of like how did 440 00:23:42,600 --> 00:23:45,760 Speaker 1: they get to be auditioning these people already when the 441 00:23:45,840 --> 00:23:47,760 Speaker 1: thought was a week ago? 442 00:23:48,080 --> 00:23:49,120 Speaker 3: Like who wrote it? 443 00:23:49,680 --> 00:23:51,119 Speaker 2: Yeah? Is it? Is it written already? 444 00:23:51,320 --> 00:23:51,920 Speaker 1: Yeah? Yeah? Yeah? 445 00:23:52,200 --> 00:23:55,520 Speaker 2: And also showing up in full Maryland glam like Emilie Ashford. 446 00:23:55,800 --> 00:23:59,679 Speaker 1: Well, I will say that is not far from the truth. Really, 447 00:24:00,080 --> 00:24:02,439 Speaker 1: you will get people who actually do and it's a 448 00:24:02,440 --> 00:24:05,920 Speaker 1: big no no. But like people do it, or people 449 00:24:05,960 --> 00:24:08,679 Speaker 1: show up and things like it, or you know, like 450 00:24:08,960 --> 00:24:13,000 Speaker 1: it's pretty crazy what I've seen. Also Annihtley Ashford and 451 00:24:13,080 --> 00:24:17,159 Speaker 1: that doing a small bit is my favorite, a little cameo. 452 00:24:17,600 --> 00:24:24,159 Speaker 1: She is my hero. I love her and she's so 453 00:24:24,280 --> 00:24:26,640 Speaker 1: wildly talented. To see her dressed up in Maryland garb 454 00:24:26,720 --> 00:24:28,320 Speaker 1: and doing that was just a joy. 455 00:24:30,040 --> 00:24:32,159 Speaker 2: There's a lot of Tony's going on in this show. 456 00:24:33,000 --> 00:24:36,320 Speaker 1: But it's not it's not far from it, especially at 457 00:24:36,320 --> 00:24:38,800 Speaker 1: the callback too, of like that's why they said, like 458 00:24:38,840 --> 00:24:41,320 Speaker 1: you're the only one who didn't show up in Maryland, 459 00:24:41,480 --> 00:24:46,600 Speaker 1: Like that's actually I believe that whether it's an ode 460 00:24:46,680 --> 00:24:51,000 Speaker 1: to or a full Diamonds a Girl's best Friend costume 461 00:24:51,720 --> 00:24:54,000 Speaker 1: different Like you know, Megan Hilty showed up with the 462 00:24:54,040 --> 00:24:56,919 Speaker 1: hair and the dress that looks like Marylyn, but not 463 00:24:56,960 --> 00:25:00,720 Speaker 1: a full Marylyn outfit. So anyway, but yeah, that's the 464 00:25:01,160 --> 00:25:05,040 Speaker 1: that is the process and it is very similar in 465 00:25:05,080 --> 00:25:07,040 Speaker 1: that way. And then also like she didn't have to dance, 466 00:25:07,080 --> 00:25:10,480 Speaker 1: but Catherine mcfew does because they know who Ivy is 467 00:25:10,520 --> 00:25:15,240 Speaker 1: and she's not Broadway already, so does that happen? Yeah, 468 00:25:15,280 --> 00:25:19,359 Speaker 1: I mean like for Glee, I didn't have to sing 469 00:25:19,400 --> 00:25:26,240 Speaker 1: on my first audition. What I just sent in a 470 00:25:26,280 --> 00:25:28,080 Speaker 1: tape stuttering for my first audition. 471 00:25:30,240 --> 00:25:31,840 Speaker 2: I didn't know that. 472 00:25:32,920 --> 00:25:35,199 Speaker 1: None of the Spring Awakening cats had to sing for 473 00:25:35,280 --> 00:25:36,080 Speaker 1: their first session. 474 00:25:36,880 --> 00:25:41,760 Speaker 3: Oh man, I'm sure I gotten pass. 475 00:25:42,840 --> 00:25:46,320 Speaker 2: I mean, that makes sense, but I had no idea. 476 00:25:48,200 --> 00:25:50,919 Speaker 1: That's why the first time I sang was for Ryan 477 00:25:51,800 --> 00:25:56,600 Speaker 1: and Ian and Brad and Dante in at Jim Carnahand's office, 478 00:25:56,760 --> 00:25:59,800 Speaker 1: like months after the tape, and it was my first 479 00:25:59,800 --> 00:26:00,280 Speaker 1: time singing. 480 00:26:00,320 --> 00:26:01,440 Speaker 3: I'm like, what am I going to sing? 481 00:26:02,640 --> 00:26:03,240 Speaker 2: Wild? 482 00:26:05,160 --> 00:26:05,600 Speaker 3: Yeah? 483 00:26:07,560 --> 00:26:08,879 Speaker 2: Interesting? 484 00:26:10,760 --> 00:26:13,120 Speaker 1: Yeah, I mean, like of course when Ryan's there were singing, but. 485 00:26:16,280 --> 00:26:22,320 Speaker 3: You didn't know that. No, Wow, it doesn't happen often. 486 00:26:22,480 --> 00:26:23,640 Speaker 3: That's probably the only time. 487 00:26:23,840 --> 00:26:28,320 Speaker 2: I mean, but watching the show also, just watching people 488 00:26:28,359 --> 00:26:33,919 Speaker 2: have to audition really stress. It is one of the 489 00:26:33,920 --> 00:26:34,720 Speaker 2: worst things. 490 00:26:35,359 --> 00:26:37,840 Speaker 1: And everybody in the room, you know, when you're sitting 491 00:26:37,920 --> 00:26:41,280 Speaker 1: there and in the tiny hallway where you can tear 492 00:26:41,400 --> 00:26:43,400 Speaker 1: everybody's saying, it's just the one. 493 00:26:43,480 --> 00:26:47,119 Speaker 2: I think theater auditions are like an extra particular brand 494 00:26:47,119 --> 00:26:47,880 Speaker 2: of horrible. 495 00:26:49,080 --> 00:26:51,080 Speaker 1: I have like ones that run in my head that 496 00:26:51,119 --> 00:26:52,720 Speaker 1: were just so bad. 497 00:26:54,280 --> 00:26:55,640 Speaker 3: That I just they keep me. 498 00:26:55,640 --> 00:26:56,040 Speaker 1: Up at night. 499 00:26:56,280 --> 00:26:58,040 Speaker 2: Did I ever tell you I have enhance an audition? 500 00:27:05,359 --> 00:27:10,200 Speaker 2: Maybe you did, but I forgot it was when Ben 501 00:27:10,320 --> 00:27:16,320 Speaker 2: was leaving. Jackie Burns convinced me to go audition and 502 00:27:16,359 --> 00:27:20,080 Speaker 2: I was like, you guys, I don't have the range, 503 00:27:20,720 --> 00:27:22,679 Speaker 2: and you're all like, yes, you do, you can do it. 504 00:27:22,840 --> 00:27:26,959 Speaker 2: I was like, no, I can't. I went in. I 505 00:27:27,000 --> 00:27:30,159 Speaker 2: did waving through a window. I got to the last 506 00:27:30,200 --> 00:27:35,240 Speaker 2: note and my voice cracked so hard and everyone looked 507 00:27:35,240 --> 00:27:38,159 Speaker 2: like I killed the puppy. There were a lot of 508 00:27:38,160 --> 00:27:38,760 Speaker 2: people in that room. 509 00:27:39,280 --> 00:27:40,960 Speaker 3: I'm telling you that was not the first time they 510 00:27:41,000 --> 00:27:42,120 Speaker 3: heard Sony crack on that note. 511 00:27:42,160 --> 00:27:45,520 Speaker 2: No, but they look so serious and they're like, should 512 00:27:45,520 --> 00:27:48,320 Speaker 2: we do it again? And lowered half a step and 513 00:27:48,359 --> 00:27:55,200 Speaker 2: I said, it's not gonna matter, but sure, and then 514 00:27:55,400 --> 00:27:59,240 Speaker 2: I did it again. Voice cracked again, like let's do 515 00:27:59,320 --> 00:28:01,960 Speaker 2: the scene. I'm like, okay, scene fine, it was this 516 00:28:02,040 --> 00:28:07,440 Speaker 2: big monologue, Fine, no problem. Yeah, and then I turn 517 00:28:08,119 --> 00:28:10,760 Speaker 2: and run to the door and I said, I'm so 518 00:28:10,760 --> 00:28:12,240 Speaker 2: sorry you had to witness. 519 00:28:11,880 --> 00:28:13,400 Speaker 3: That, and ran out of the room. 520 00:28:13,640 --> 00:28:14,159 Speaker 1: I've done that. 521 00:28:14,200 --> 00:28:16,199 Speaker 2: I didn't wait for them to say anything. 522 00:28:16,240 --> 00:28:19,959 Speaker 3: I've apologized on the way I left. So that's how 523 00:28:20,000 --> 00:28:21,359 Speaker 3: I feel about auditioning for theater. 524 00:28:21,720 --> 00:28:25,520 Speaker 1: Yeah, no, no, I've had similar experiences. I remember auditioning 525 00:28:25,600 --> 00:28:27,840 Speaker 1: for the Jimmy Buffett Musical. It was like nine am 526 00:28:27,960 --> 00:28:30,600 Speaker 1: and I think you were with me, were in LA 527 00:28:30,680 --> 00:28:32,520 Speaker 1: and I had sang. I had to sing a Jimmy 528 00:28:32,560 --> 00:28:37,000 Speaker 1: Buffetts song. I don't know, I sang, Finns. I had 529 00:28:37,040 --> 00:28:38,800 Speaker 1: never been so nervous, because I don't when I don't 530 00:28:38,840 --> 00:28:41,680 Speaker 1: know a song and I don't know what I'm doing, 531 00:28:41,840 --> 00:28:44,400 Speaker 1: I'm nervous if I know, if I know the song, 532 00:28:44,520 --> 00:28:47,600 Speaker 1: I'm usually not as nervous, like for a time, I'm nervous. 533 00:28:47,600 --> 00:28:50,640 Speaker 1: But it was truly treacherous. 534 00:28:50,840 --> 00:29:01,200 Speaker 4: I mean, Finns, it was so bad. 535 00:29:01,280 --> 00:29:03,600 Speaker 1: And at this point, you know all these cast characters, 536 00:29:03,600 --> 00:29:06,040 Speaker 1: they're your friends, and you're like, do I have to 537 00:29:06,040 --> 00:29:08,160 Speaker 1: do this for you? Do you really want to see 538 00:29:08,160 --> 00:29:11,160 Speaker 1: me do this? Are you sure that you want to 539 00:29:11,160 --> 00:29:14,640 Speaker 1: see me do this? That's exactly why you're there. They 540 00:29:14,640 --> 00:29:15,280 Speaker 1: don't know if you. 541 00:29:15,280 --> 00:29:19,040 Speaker 3: Can, and you're just proving them right. 542 00:29:19,080 --> 00:29:21,400 Speaker 1: They're like, I don't know, we should probably foller it. 543 00:29:22,080 --> 00:29:23,920 Speaker 3: See uh. 544 00:29:24,360 --> 00:29:26,880 Speaker 1: Tommy Caley auditioned for a play and I like, don't 545 00:29:26,920 --> 00:29:29,240 Speaker 1: not too her plays and I don't take the time 546 00:29:29,280 --> 00:29:32,080 Speaker 1: to work on monologues and I don't. I was not prepared, 547 00:29:32,800 --> 00:29:34,200 Speaker 1: and I just I didn't. 548 00:29:34,480 --> 00:29:35,680 Speaker 3: I apologized. 549 00:29:35,800 --> 00:29:37,960 Speaker 1: I was like, thank you so much and I'm really 550 00:29:38,120 --> 00:29:43,280 Speaker 1: sorry about this and walked out. That was it. That 551 00:29:43,360 --> 00:29:50,920 Speaker 1: was my last audition. Okay, So it would you keep 552 00:29:50,960 --> 00:29:53,760 Speaker 1: watching based just on the pilot or do you want 553 00:29:53,800 --> 00:29:56,040 Speaker 1: to just like go through the next episode and fast 554 00:29:56,080 --> 00:29:57,200 Speaker 1: forward to see what happens? 555 00:29:58,120 --> 00:30:00,920 Speaker 2: No, I mean I did keep watching. Immediately played the 556 00:30:00,920 --> 00:30:04,880 Speaker 2: second episode. I feel like, in a way, this show 557 00:30:06,480 --> 00:30:07,400 Speaker 2: it's like Nashville. 558 00:30:08,680 --> 00:30:10,680 Speaker 1: Okay, That's what I was going to ask you, because 559 00:30:10,720 --> 00:30:11,840 Speaker 1: you were like to watch it. 560 00:30:12,680 --> 00:30:17,320 Speaker 2: Yeah, because I think though the soapy nature of the 561 00:30:17,400 --> 00:30:20,480 Speaker 2: drama was more compelling and the Nashville pilot for me, 562 00:30:20,640 --> 00:30:27,360 Speaker 2: I think both pilots were a bit clunky. Yes, agreed, Yeah, 563 00:30:27,400 --> 00:30:31,080 Speaker 2: but I thought Nashville, I. 564 00:30:31,000 --> 00:30:34,160 Speaker 1: Think visually also, Nashville was shot a little bit better 565 00:30:34,240 --> 00:30:36,720 Speaker 1: and the and the color was right, like color correction 566 00:30:36,840 --> 00:30:39,200 Speaker 1: was right, and like it was brighter, and it felt 567 00:30:39,200 --> 00:30:41,760 Speaker 1: a little more glamorous that I was, like visually a 568 00:30:41,800 --> 00:30:44,240 Speaker 1: little bit more stimulated than I was watching this like 569 00:30:44,520 --> 00:30:48,760 Speaker 1: very muted show that was supposed to be about. 570 00:30:50,080 --> 00:30:55,640 Speaker 3: Like a big I think it's darker in color, which 571 00:30:55,640 --> 00:30:57,640 Speaker 3: I kind of liked, but I think it's richer color. 572 00:30:57,720 --> 00:30:59,240 Speaker 3: It's darker, but it's a difference. 573 00:30:59,360 --> 00:31:04,480 Speaker 1: It's like like Stepia toned. Yeah. Yeah, yeah, yeah, Like 574 00:31:04,520 --> 00:31:07,560 Speaker 1: I'm like confused by it. Yeah, I was confused by it. 575 00:31:07,600 --> 00:31:10,120 Speaker 1: So that took me a while and I never got 576 00:31:10,160 --> 00:31:10,520 Speaker 1: over it. 577 00:31:10,520 --> 00:31:13,120 Speaker 2: But I think I have a harder time getting buying 578 00:31:13,160 --> 00:31:16,600 Speaker 2: into some of like the extra stuff in the show. 579 00:31:16,800 --> 00:31:20,760 Speaker 1: Like I just like the like the family and like 580 00:31:20,840 --> 00:31:25,200 Speaker 1: all that stuff happening and the Yeah yeah I get that. 581 00:31:25,440 --> 00:31:28,760 Speaker 3: I get that, uh, because. 582 00:31:28,520 --> 00:31:33,000 Speaker 2: It's not a lot of drama, where like Nashville was 583 00:31:33,040 --> 00:31:34,000 Speaker 2: really laying and I'm. 584 00:31:33,880 --> 00:31:36,720 Speaker 3: Thick with all of these like secrets. 585 00:31:37,040 --> 00:31:39,400 Speaker 2: Yeah, but they knew what they were doing, like they 586 00:31:39,600 --> 00:31:43,160 Speaker 2: that was the show they were making. Yeah, like I smashed. 587 00:31:43,320 --> 00:31:45,600 Speaker 2: I know for sure what they know what they're doing. 588 00:31:45,640 --> 00:31:49,920 Speaker 2: When it comes to the musical yeah yeah, But the 589 00:31:50,000 --> 00:31:53,880 Speaker 2: other I'm like, I don't know. It feels like in between. 590 00:31:54,800 --> 00:31:57,320 Speaker 1: Yeah, I see what you're saying, like a little soapy 591 00:31:57,640 --> 00:32:00,360 Speaker 1: but not drama enough, but like not like at least 592 00:32:00,400 --> 00:32:03,560 Speaker 1: like Nashville. You're leaning into the country drama of like 593 00:32:03,640 --> 00:32:07,760 Speaker 1: this could this could live on CMT and work really 594 00:32:07,800 --> 00:32:08,560 Speaker 1: well and. 595 00:32:08,400 --> 00:32:10,440 Speaker 3: Like be fine and be the same show. 596 00:32:11,480 --> 00:32:14,440 Speaker 2: Yes, But that being said, I want to give it 597 00:32:14,480 --> 00:32:15,400 Speaker 2: a chance, and. 598 00:32:15,320 --> 00:32:18,480 Speaker 3: I want to I will definitely I want. 599 00:32:18,320 --> 00:32:21,280 Speaker 2: To keep watching. And I also now I have to 600 00:32:21,280 --> 00:32:25,000 Speaker 2: do some research into what this smash musical on Broadway was. 601 00:32:25,240 --> 00:32:26,800 Speaker 3: I'm so sad it didn't make it. 602 00:32:26,840 --> 00:32:28,080 Speaker 1: There were a lot of people we knew and that 603 00:32:28,080 --> 00:32:30,640 Speaker 1: we're in it, and I'm I'm sad when shows don't 604 00:32:30,640 --> 00:32:31,040 Speaker 1: make it. 605 00:32:31,160 --> 00:32:31,920 Speaker 3: I get it. 606 00:32:31,920 --> 00:32:35,040 Speaker 1: It's hard and I don't know what went wrong. I 607 00:32:35,080 --> 00:32:37,680 Speaker 1: didn't see it. I don't I have no intel on it, 608 00:32:37,800 --> 00:32:41,560 Speaker 1: but I'm you know, you never hope for a show 609 00:32:41,560 --> 00:32:43,160 Speaker 1: to go down, but so quickly. 610 00:32:43,920 --> 00:32:46,000 Speaker 2: No, it's hundreds of jobs for people. 611 00:32:46,400 --> 00:32:48,960 Speaker 3: I will say, there's something the element. 612 00:32:49,320 --> 00:32:51,200 Speaker 1: I know this is like kind of meta, but like 613 00:32:52,120 --> 00:32:56,320 Speaker 1: watching a Broadway musical about creating a Broadway musical on 614 00:32:56,480 --> 00:33:00,440 Speaker 1: stage isn't as exciting as watching a film or TV 615 00:33:00,520 --> 00:33:02,920 Speaker 1: show about creating a Broadway musical. 616 00:33:04,600 --> 00:33:06,360 Speaker 2: Yeah, I can see that. I also kind of just 617 00:33:06,400 --> 00:33:07,560 Speaker 2: want to see the Maryland. 618 00:33:07,280 --> 00:33:11,680 Speaker 1: Musical right exactly, not the making of this musical on Broadway. 619 00:33:11,720 --> 00:33:15,960 Speaker 3: When we're watching Somebody on Broadway, right, it was a 620 00:33:16,040 --> 00:33:19,720 Speaker 3: little I don't I actually don't know. I don't know either. 621 00:33:19,760 --> 00:33:21,360 Speaker 3: I don't know. I'm not going to comment too much 622 00:33:21,360 --> 00:33:22,640 Speaker 3: of it. That was my opinion it. 623 00:33:22,680 --> 00:33:26,480 Speaker 2: Because I, like I said, I liked watching the process 624 00:33:26,600 --> 00:33:30,400 Speaker 2: of it being made. But again, I know a lot. 625 00:33:31,280 --> 00:33:33,440 Speaker 1: I think part of it is, like I like watching 626 00:33:33,480 --> 00:33:36,200 Speaker 1: the locations of actually where people audition in New York, 627 00:33:36,400 --> 00:33:39,800 Speaker 1: where people actually rehearse in New York, where they're walking 628 00:33:39,800 --> 00:33:43,000 Speaker 1: through the actual New York City streets. There's some element 629 00:33:43,200 --> 00:33:52,320 Speaker 1: of that reality versus being it being created in a theater, right, Yeah, 630 00:33:53,360 --> 00:33:56,400 Speaker 1: that I appreciated, Like you felt you were actually watching 631 00:33:56,440 --> 00:34:00,600 Speaker 1: them create versus like I don't know. That's just my 632 00:34:00,640 --> 00:34:03,800 Speaker 1: take on it. Yeah, let's talk about some of these performances. Okay, 633 00:34:04,240 --> 00:34:09,960 Speaker 1: So somewhere over the Rainbow solid start for her to 634 00:34:10,080 --> 00:34:13,080 Speaker 1: sing at all? Song choice? 635 00:34:13,360 --> 00:34:21,440 Speaker 3: Eh, yeah, I may yeah. 636 00:34:21,480 --> 00:34:24,360 Speaker 2: But Katherin mcpee had a great Somewhere over the Rainbow 637 00:34:24,920 --> 00:34:27,960 Speaker 2: from American Idol, and I think it was probably Oh. 638 00:34:28,000 --> 00:34:31,280 Speaker 1: I didn't know that, okay, yeah, yeah, yeah, yeah, okay, great, 639 00:34:31,920 --> 00:34:35,719 Speaker 1: so they I'll give it an a. I didn't know that. 640 00:34:36,160 --> 00:34:38,440 Speaker 2: Well, no, but you're basing it off of you, don't 641 00:34:38,840 --> 00:34:39,200 Speaker 2: you know that? 642 00:34:39,280 --> 00:34:39,520 Speaker 1: Though? 643 00:34:39,800 --> 00:34:41,240 Speaker 2: Right you're watching the pilot. 644 00:34:41,920 --> 00:34:44,080 Speaker 3: Yeah, I'm like, why are you somewhere on the Rainbow. 645 00:34:44,600 --> 00:34:45,839 Speaker 2: Yeah, that's yeah. 646 00:34:47,040 --> 00:34:49,760 Speaker 3: Never give it all, never give all the heart, never. 647 00:34:49,600 --> 00:34:50,200 Speaker 2: Give all the heart. 648 00:34:50,320 --> 00:34:53,919 Speaker 3: I she sounded so good. She sounded so good. 649 00:34:54,160 --> 00:34:55,359 Speaker 2: She's so good. 650 00:34:55,840 --> 00:34:59,280 Speaker 3: And the voice and the chatting and the she's excellent. 651 00:35:00,040 --> 00:35:01,840 Speaker 3: It's just really so excellent. 652 00:35:01,880 --> 00:35:05,799 Speaker 1: I give it an A yeah, A plus. National Past 653 00:35:05,800 --> 00:35:08,200 Speaker 1: Time A plus A plus. I don't want to be 654 00:35:08,200 --> 00:35:12,840 Speaker 1: loved by you. I mean we're talking about the actual Maryland. 655 00:35:13,440 --> 00:35:19,120 Speaker 2: Yeah, hey, hey, all these original songs excellent. 656 00:35:19,480 --> 00:35:21,600 Speaker 3: Beautiful B minus. 657 00:35:23,520 --> 00:35:27,200 Speaker 1: I'll go be happy. Birthday is President A Yeah? I 658 00:35:27,239 --> 00:35:29,879 Speaker 1: thought the scene yeah A let Me be Your Star 659 00:35:30,120 --> 00:35:33,239 Speaker 1: plus A plus. Yeah, I love that number. I don't 660 00:35:33,280 --> 00:35:35,279 Speaker 1: think I like that number when it came out, but 661 00:35:35,360 --> 00:35:37,600 Speaker 1: I was listening to that last night when I was watching, 662 00:35:37,600 --> 00:35:38,719 Speaker 1: and I was like, oh, this is good. 663 00:35:39,280 --> 00:35:42,439 Speaker 3: It's excellent. It's really good. 664 00:35:42,680 --> 00:35:45,719 Speaker 2: They were the Other thing of why I think this 665 00:35:45,880 --> 00:35:49,279 Speaker 2: works so well is because these are so often when 666 00:35:49,320 --> 00:35:52,320 Speaker 2: songs are written for a TV show or a movie 667 00:35:52,440 --> 00:35:56,200 Speaker 2: about making music or a musical or something. 668 00:35:55,880 --> 00:35:57,640 Speaker 3: Like that, they're just bad. 669 00:35:57,880 --> 00:35:59,960 Speaker 2: Yeah, because people are writing what they think it's supposed 670 00:35:59,960 --> 00:36:05,280 Speaker 2: to be, as opposed to they hired real musical writers 671 00:36:05,960 --> 00:36:09,480 Speaker 2: who are writing songs for a fake musical, albeit but 672 00:36:09,560 --> 00:36:10,920 Speaker 2: like writing. 673 00:36:10,600 --> 00:36:13,040 Speaker 3: The musical, like, yeah, L show is the musical. 674 00:36:12,800 --> 00:36:24,560 Speaker 2: And it's excellent. No, I know, excellent. I remember talking 675 00:36:24,560 --> 00:36:28,680 Speaker 2: to you about this when we watched it. Of how 676 00:36:28,800 --> 00:36:32,719 Speaker 2: is a show like this sustained? Like where does it go? 677 00:36:33,440 --> 00:36:34,279 Speaker 3: Like the TV show? 678 00:36:34,600 --> 00:36:40,600 Speaker 2: Yeah, And I'm wondering if, like, because I still feel 679 00:36:40,600 --> 00:36:43,640 Speaker 2: like that watching it. I'm enjoying watching it right now, 680 00:36:44,480 --> 00:36:47,040 Speaker 2: but like, at some point the show either has to 681 00:36:47,080 --> 00:36:50,040 Speaker 2: happen or not happen then what. 682 00:36:52,680 --> 00:36:53,040 Speaker 3: Right? 683 00:36:53,320 --> 00:36:57,480 Speaker 2: And I feel like that impacts me wanting to watch. 684 00:36:57,280 --> 00:36:57,640 Speaker 3: It or not. 685 00:36:58,120 --> 00:37:01,120 Speaker 1: M I see, Well, I can't tell you because I 686 00:37:01,160 --> 00:37:05,480 Speaker 1: don't know. But if they could prolong the each season 687 00:37:05,600 --> 00:37:10,960 Speaker 1: by like the show rehearsals into like opening night, Yeah, but. 688 00:37:12,360 --> 00:37:14,399 Speaker 2: Towards the same show for this long. 689 00:37:15,000 --> 00:37:17,520 Speaker 1: Yeah, but there's gotta be a lot of drama. I mean, look, 690 00:37:17,560 --> 00:37:20,000 Speaker 1: we're talking about a twenty two season episode season. That's 691 00:37:20,040 --> 00:37:23,239 Speaker 1: a lot different than a ten episode season. Yeah, you're right, 692 00:37:24,000 --> 00:37:26,640 Speaker 1: you're right, because if you know, obviously there's a lot 693 00:37:26,680 --> 00:37:29,880 Speaker 1: of filler in twenty two. But I see it like, oh, 694 00:37:29,960 --> 00:37:33,319 Speaker 1: one gets cast, one doesn't, or it does, one gets hurt, 695 00:37:33,480 --> 00:37:36,560 Speaker 1: We go through there's some stuff happening on the other storylines, 696 00:37:36,640 --> 00:37:39,880 Speaker 1: like other episodes, maybe a past episode where we like 697 00:37:39,920 --> 00:37:42,239 Speaker 1: look at where they came from and like, you know, 698 00:37:42,360 --> 00:37:42,879 Speaker 1: things like that. 699 00:37:43,000 --> 00:37:45,279 Speaker 3: So but I see what you're saying, and I have 700 00:37:45,360 --> 00:37:50,440 Speaker 3: no real answer for you. Do you think a smash reboot? 701 00:37:51,239 --> 00:37:53,279 Speaker 1: No? 702 00:37:53,280 --> 00:37:55,320 Speaker 2: No, but like a whole new show, all new people. 703 00:37:55,920 --> 00:37:58,759 Speaker 1: There's only so much different difference that you can make. 704 00:37:58,840 --> 00:38:03,040 Speaker 1: Like we're making a musical, like I don't want to see. 705 00:38:02,920 --> 00:38:05,400 Speaker 3: It again, like a chorus line. 706 00:38:07,520 --> 00:38:10,640 Speaker 1: Of like the cast of people, like starving actors, like 707 00:38:10,640 --> 00:38:12,120 Speaker 1: like aspiring actors trying. 708 00:38:11,920 --> 00:38:12,200 Speaker 2: To get it. 709 00:38:13,600 --> 00:38:14,520 Speaker 1: It's a different show. 710 00:38:15,120 --> 00:38:15,919 Speaker 2: It's a different show. 711 00:38:16,160 --> 00:38:18,080 Speaker 3: Yeah, it's not a musical. 712 00:38:18,960 --> 00:38:23,680 Speaker 1: Yeah, but that's an interesting show. Okay, let's do some 713 00:38:23,719 --> 00:38:24,320 Speaker 1: tarty takes. 714 00:38:24,360 --> 00:38:26,480 Speaker 3: Okay, cringe moments. 715 00:38:26,719 --> 00:38:27,960 Speaker 2: Oh, there were several. 716 00:38:28,719 --> 00:38:33,239 Speaker 1: Well, the whole like thing about Karen's weight and her 717 00:38:33,280 --> 00:38:36,080 Speaker 1: parents and the things and the and then like I 718 00:38:36,080 --> 00:38:38,480 Speaker 1: don't know, I just didn't know, and then the director 719 00:38:38,600 --> 00:38:42,080 Speaker 1: inviting her over. It's like when she said I wish 720 00:38:42,080 --> 00:38:46,480 Speaker 1: I was fat, I was like, oh, yeah, no, no. 721 00:38:46,719 --> 00:38:50,520 Speaker 2: But you know what, it makes me feel better because 722 00:38:50,560 --> 00:38:53,680 Speaker 2: we were on at the same time. It's like, ah, 723 00:38:53,719 --> 00:38:58,600 Speaker 2: this is where we were yes, we were end this 724 00:38:58,760 --> 00:39:02,719 Speaker 2: together doing things that we shouldn't have to chingey. 725 00:39:03,040 --> 00:39:05,360 Speaker 1: And that's why we have cringe moments. 726 00:39:05,640 --> 00:39:05,879 Speaker 2: Yeah. 727 00:39:06,280 --> 00:39:08,400 Speaker 1: Best dance move the National pastime. 728 00:39:08,560 --> 00:39:13,640 Speaker 2: I mean oh yeah that people were dancing hard. 729 00:39:13,440 --> 00:39:17,200 Speaker 3: Like cast of the Newsies, best best song. 730 00:39:17,719 --> 00:39:20,560 Speaker 1: Let Me Be Your Star, your best performance by a 731 00:39:20,560 --> 00:39:25,480 Speaker 1: prop Oh, Ellie Ashford's costume. 732 00:39:27,880 --> 00:39:33,880 Speaker 2: All the fake jewels. Honestly, the Katherine McPhee's headshot really 733 00:39:33,920 --> 00:39:35,080 Speaker 2: made me feel like type away. 734 00:39:35,520 --> 00:39:41,320 Speaker 1: Yeah, yeah, yeah, yeah yeah. Best line game Man pissed 735 00:39:41,360 --> 00:39:43,520 Speaker 1: me off. That's an unfortunate position to take in the 736 00:39:43,560 --> 00:39:45,160 Speaker 1: American theater. Love that one. 737 00:39:46,320 --> 00:39:48,520 Speaker 2: When he first said that, I was like the and 738 00:39:48,560 --> 00:39:50,200 Speaker 2: then her line was like, okay. 739 00:39:49,880 --> 00:39:53,359 Speaker 1: It's great Christ and channel I discovered her this isn't 740 00:39:53,360 --> 00:39:54,359 Speaker 1: her part. Yeah. 741 00:39:54,440 --> 00:39:57,919 Speaker 2: I liked that one a lot. Okay performance and VP, 742 00:39:59,080 --> 00:40:04,440 Speaker 2: I mean the ladies late McPhee and Hilty so good. 743 00:40:04,840 --> 00:40:06,120 Speaker 2: You just you can't go wrong. 744 00:40:06,560 --> 00:40:11,799 Speaker 3: No, their their voices just and. 745 00:40:11,760 --> 00:40:16,400 Speaker 2: Again, I truly believe that either one of them can 746 00:40:16,440 --> 00:40:17,080 Speaker 2: play the part. 747 00:40:17,960 --> 00:40:20,200 Speaker 1: That's the thing. That's why I think I'm so invested, 748 00:40:20,239 --> 00:40:22,200 Speaker 1: because I'm like, which way are they going to go? 749 00:40:22,680 --> 00:40:23,560 Speaker 3: You go your way? 750 00:40:24,320 --> 00:40:27,239 Speaker 2: Yeah, and you know what, Sorry, I know we're past this, 751 00:40:27,400 --> 00:40:30,120 Speaker 2: but when she's singing beautiful and they're all having this 752 00:40:30,280 --> 00:40:34,760 Speaker 2: like we've discovered something, that performance is not going. 753 00:40:34,600 --> 00:40:38,040 Speaker 1: To evoke that on that table, agree, I think it 754 00:40:38,080 --> 00:40:41,040 Speaker 1: was just more of the reaction to like finding somebody 755 00:40:41,160 --> 00:40:41,920 Speaker 1: like we needed. 756 00:40:42,320 --> 00:40:45,399 Speaker 2: Yeah, if they had a better song there, I would 757 00:40:45,400 --> 00:40:48,799 Speaker 2: have been more yes, because she was doing what she could. 758 00:40:48,840 --> 00:40:50,239 Speaker 1: But yeah, no, no, she did great. 759 00:40:50,719 --> 00:40:54,240 Speaker 2: Okay, Jenna. Shit we found on TikTok And this happened 760 00:40:54,280 --> 00:40:55,680 Speaker 2: to me in real life a couple of weeks ago. 761 00:40:57,520 --> 00:41:02,000 Speaker 2: This is love Aaron Lounderscore Aaron on TikTok. She's me 762 00:41:02,040 --> 00:41:04,520 Speaker 2: at any function ever and holding up a phone saying 763 00:41:04,520 --> 00:41:08,200 Speaker 2: play the Glee version. Literally I looked over and someone 764 00:41:08,239 --> 00:41:08,800 Speaker 2: was saying. 765 00:41:08,600 --> 00:41:09,160 Speaker 3: That to the DJ. 766 00:41:10,719 --> 00:41:14,920 Speaker 2: Yeah, I don't even remember. I was in Okay, how 767 00:41:15,000 --> 00:41:17,920 Speaker 2: was that McDonald's the other day and there was like 768 00:41:17,960 --> 00:41:21,400 Speaker 2: a cover. They were playing a cover of a Chapel 769 00:41:21,440 --> 00:41:25,400 Speaker 2: Rowing song, and these like people were next to me 770 00:41:26,160 --> 00:41:29,640 Speaker 2: and they're like, this sounds like if Glee did this song. 771 00:41:29,960 --> 00:41:34,200 Speaker 3: Oh cover, No it was not a good cover. 772 00:41:36,440 --> 00:41:41,120 Speaker 2: But I was like, oh damn, oh no, they weren't wrong, 773 00:41:42,440 --> 00:41:46,800 Speaker 2: you know, like it was I get that so next 774 00:41:46,800 --> 00:41:54,600 Speaker 2: week your assignment You've asked by popular demand, pitch perfect. 775 00:41:54,920 --> 00:41:58,600 Speaker 3: I'm so excited. Oh you're really excited. 776 00:42:00,200 --> 00:42:02,160 Speaker 2: We hear you. We're listening. 777 00:42:02,520 --> 00:42:05,319 Speaker 3: We must, we must, we must do what they want. 778 00:42:06,719 --> 00:42:08,880 Speaker 1: All right, Well, next week we'll see you for pitch Perfect. 779 00:42:09,000 --> 00:42:11,680 Speaker 3: Hope you guys enjoyed Smash Smash. 780 00:42:11,760 --> 00:42:17,080 Speaker 2: I'm going to keep watching TV, watching text me when 781 00:42:17,160 --> 00:42:21,520 Speaker 2: you watched the second episode, will do. Thanks for joining us, 782 00:42:21,560 --> 00:42:24,200 Speaker 2: and that's what you really miss Thanks for listening and 783 00:42:24,320 --> 00:42:26,959 Speaker 2: follow us on Instagram at and that's what you really 784 00:42:27,000 --> 00:42:29,120 Speaker 2: miss pod. Make sure to write us a review and 785 00:42:29,239 --> 00:42:30,280 Speaker 2: leave us five stars. 786 00:42:30,480 --> 00:42:31,160 Speaker 3: See you next time.