1 00:00:01,760 --> 00:00:04,439 Speaker 1: And that's what you really missed with Jenna. 2 00:00:04,480 --> 00:00:07,119 Speaker 2: And Kevin an iHeartRadio podcast. 3 00:00:09,280 --> 00:00:12,000 Speaker 1: Welcome to and That's what You Really miss podcast, The 4 00:00:12,080 --> 00:00:18,400 Speaker 1: Mic Edition Mike, Kevin and I MIC's have been wonky 5 00:00:18,520 --> 00:00:20,360 Speaker 1: wonka wonk, But here we are and I think we 6 00:00:20,400 --> 00:00:24,520 Speaker 1: sound good. And then our very wonderful sound team, a 7 00:00:24,600 --> 00:00:28,080 Speaker 1: man of want, Brian makes it work even when my 8 00:00:28,200 --> 00:00:33,440 Speaker 1: mic goes crazy, so that you guys can listen with 9 00:00:33,560 --> 00:00:38,200 Speaker 1: your listening ears. I'm losing my mind today as opposed 10 00:00:38,240 --> 00:00:44,880 Speaker 1: you're not listening here exactly, No, truly, Okay. This is 11 00:00:44,960 --> 00:00:48,000 Speaker 1: season three, episode seventeen, Dance with Somebody. This is the 12 00:00:48,040 --> 00:00:51,040 Speaker 1: Whitney Houston tribute episode. Kevin, I don't know how we're 13 00:00:51,040 --> 00:00:56,400 Speaker 1: on episode seventeen already crazy makes no running through these 14 00:00:56,440 --> 00:00:58,760 Speaker 1: a lot faster than it takes to shoot them, that's 15 00:00:58,800 --> 00:01:03,600 Speaker 1: for sure. Well, that's for I am sure it feels 16 00:01:03,640 --> 00:01:08,600 Speaker 1: so fast, right, exactly? Okay, this is the Whinny used 17 00:01:08,720 --> 00:01:12,720 Speaker 1: in tribute episode. This is more of a character piece 18 00:01:12,800 --> 00:01:17,120 Speaker 1: than a tribute episode, as one Ryan Murphy said, Is 19 00:01:17,160 --> 00:01:18,959 Speaker 1: that right? Said that? Yeah? 20 00:01:19,080 --> 00:01:22,240 Speaker 2: Okay, what was going on in the world, in the 21 00:01:22,240 --> 00:01:25,080 Speaker 2: world somebody that I used to know. Oh, look, at 22 00:01:25,120 --> 00:01:28,200 Speaker 2: that is number one in the country, shortly after it 23 00:01:28,240 --> 00:01:32,399 Speaker 2: was featured on a Glee episode. I don't think Glee 24 00:01:32,440 --> 00:01:35,080 Speaker 2: had anything to do with it, because that's already massive. 25 00:01:35,520 --> 00:01:40,559 Speaker 1: Okay, we won't take the credit. No, not this number 26 00:01:40,600 --> 00:01:41,800 Speaker 1: one movie, Think like a Man. 27 00:01:43,440 --> 00:01:45,240 Speaker 2: Fun fact. I did not know that was based off 28 00:01:45,280 --> 00:01:48,920 Speaker 2: of a Steve Harvey book. Oh, I remember that movie. 29 00:01:49,000 --> 00:01:50,320 Speaker 2: I just did not know it was based off of 30 00:01:50,480 --> 00:01:51,080 Speaker 2: Steve Harvey. 31 00:01:51,440 --> 00:01:54,240 Speaker 1: Same. It was a big week in Glee news week. 32 00:01:54,480 --> 00:01:55,120 Speaker 1: What was it? 33 00:01:55,760 --> 00:02:01,680 Speaker 2: We on April twenty sixth did our four number and 34 00:02:02,160 --> 00:02:04,960 Speaker 2: it was seemingly a fan favorite. We've come to find 35 00:02:04,960 --> 00:02:09,919 Speaker 2: out Paradise by the Dashboard Light. WHOA at Nashville, we 36 00:02:09,919 --> 00:02:12,040 Speaker 2: were already a Paradise by the Dashboard Light. It feels 37 00:02:12,120 --> 00:02:17,600 Speaker 2: that feels like season six, fully right, very strange. By 38 00:02:17,639 --> 00:02:22,359 Speaker 2: that point, I think personally mentally, in our lives, we 39 00:02:22,440 --> 00:02:25,400 Speaker 2: had gone through so much that it had felt like 40 00:02:25,440 --> 00:02:29,720 Speaker 2: we had lived a lifetime. We had experienced the amount 41 00:02:29,760 --> 00:02:33,360 Speaker 2: of things that people hoped to experience at some point 42 00:02:33,360 --> 00:02:37,360 Speaker 2: in their lives, all within three years. It was just 43 00:02:38,840 --> 00:02:42,560 Speaker 2: we had shot sixty something episodes, we had been on 44 00:02:42,960 --> 00:02:46,760 Speaker 2: two tours, we had performed at the White House, been 45 00:02:46,800 --> 00:02:49,560 Speaker 2: on Oprah. 46 00:02:48,440 --> 00:02:49,320 Speaker 1: Been in a movie. 47 00:02:50,000 --> 00:02:53,120 Speaker 2: It was all these weird things that you hope to 48 00:02:53,160 --> 00:02:54,880 Speaker 2: achieve at some point in your life. 49 00:02:55,240 --> 00:02:59,639 Speaker 1: All in one, one bundle of a three year experience. 50 00:03:00,120 --> 00:03:03,359 Speaker 1: It truly was three years that felt like an eternity. 51 00:03:04,440 --> 00:03:06,720 Speaker 2: Yeah, because I think that's why it feels like it 52 00:03:06,760 --> 00:03:10,200 Speaker 2: was season six to us, because we had just experienced 53 00:03:10,360 --> 00:03:10,840 Speaker 2: so much. 54 00:03:11,440 --> 00:03:14,160 Speaker 1: Right, well, this is okay, So Paradise by the Dashboard 55 00:03:14,240 --> 00:03:18,680 Speaker 1: Light is coming up in season three in Nationals, which 56 00:03:18,720 --> 00:03:24,200 Speaker 1: we will get to. On the road to Nationals, we 57 00:03:24,280 --> 00:03:28,440 Speaker 1: come across a Whitney tribute that was directed by Paris Barclay. 58 00:03:28,720 --> 00:03:32,520 Speaker 1: Thank goodness, Oh Paris. Let me tell you, there were 59 00:03:32,560 --> 00:03:34,800 Speaker 1: so many times in this episode that was like, ah, 60 00:03:35,120 --> 00:03:38,880 Speaker 1: Paris reinventing the things that we've been doing already, do 61 00:03:38,920 --> 00:03:42,200 Speaker 1: you know, like making a choir room number look different 62 00:03:42,200 --> 00:03:48,120 Speaker 1: and exciting. That's right. Loved it the drama. Paris loved 63 00:03:48,160 --> 00:03:53,040 Speaker 1: the drama on set. Okay, we have the wonderful Michael 64 00:03:53,080 --> 00:03:56,720 Speaker 1: Melly back, Thank god, how will I know? By Whitney 65 00:03:56,760 --> 00:04:00,880 Speaker 1: Houston just keep saying, by winning Houston, I want to 66 00:04:00,960 --> 00:04:03,960 Speaker 1: dance with somebody. By Whitney Houston, saving all my love 67 00:04:04,000 --> 00:04:07,520 Speaker 1: for You by Whitney Houston so emotional. By Whitney. It's 68 00:04:07,520 --> 00:04:09,840 Speaker 1: not right, but it's okay. By Whitney. I have nothing 69 00:04:10,600 --> 00:04:13,520 Speaker 1: and my love is your love. That's a lot of Whitney. 70 00:04:15,520 --> 00:04:18,240 Speaker 2: There's a lot of Whitney. But it's not even enough Whitney. 71 00:04:19,320 --> 00:04:21,880 Speaker 1: I mean, there's so much more Whitney. You can't have 72 00:04:22,000 --> 00:04:25,000 Speaker 1: enough Whitney. Where's the same StarSpangled banner even. 73 00:04:24,839 --> 00:04:28,720 Speaker 2: Though no, no, no, no, look no. 74 00:04:28,800 --> 00:04:32,440 Speaker 1: At least Richel was talking about it. Okay, yes again, Yes, 75 00:04:32,520 --> 00:04:35,599 Speaker 1: I'm great. We should never see anybody do that except 76 00:04:35,600 --> 00:04:43,520 Speaker 1: for Whitney, Houstons Whitney Spears. This is Spears episode. 77 00:04:44,320 --> 00:04:47,080 Speaker 2: This is the first time two consecutive tributes have aired 78 00:04:47,120 --> 00:04:50,000 Speaker 2: in one season, and it's the second tribute episode that isn't. 79 00:04:49,839 --> 00:04:52,200 Speaker 1: Written by Ryan Murphy. Oh you beat me to it. 80 00:04:52,400 --> 00:04:56,920 Speaker 1: Oh I'm so sorry. That's okay. This is the second 81 00:04:57,000 --> 00:04:59,919 Speaker 1: tribute to a deceased artist. In the first one was 82 00:05:00,200 --> 00:05:07,480 Speaker 1: Michael Mark is not in It's not right, but it's okay. 83 00:05:08,440 --> 00:05:12,039 Speaker 1: Maybe had a dentist appointment. Maybe it's also interesting because 84 00:05:12,120 --> 00:05:15,880 Speaker 1: Puck had some interesting story like this episode, like very 85 00:05:17,960 --> 00:05:23,960 Speaker 1: standalone one off episode scenes. If you will story of 86 00:05:24,080 --> 00:05:31,560 Speaker 1: the gift bag. I'm I'm confused by the gift bag and. 87 00:05:33,480 --> 00:05:36,480 Speaker 2: Scenes like that, right, And we were talking before it 88 00:05:36,480 --> 00:05:40,240 Speaker 2: started recording with Sam Our, producer, about how that in 89 00:05:40,279 --> 00:05:45,200 Speaker 2: the scene with Rachel and Santana making up, they are 90 00:05:45,240 --> 00:05:51,400 Speaker 2: significant scenes, especially for those characters, but they're also sort 91 00:05:51,400 --> 00:05:54,760 Speaker 2: of like what are you doing here? 92 00:05:54,800 --> 00:05:55,400 Speaker 1: Like why? 93 00:05:55,880 --> 00:05:57,159 Speaker 2: Kind of everyone's emotional. 94 00:05:57,800 --> 00:06:00,520 Speaker 1: That's right, and it's a big everything is leading up 95 00:06:00,520 --> 00:06:03,920 Speaker 1: to the graduation. Right, we have a few, you know, 96 00:06:04,400 --> 00:06:08,279 Speaker 1: fifty or seventy days left like of school. So crazy 97 00:06:08,400 --> 00:06:13,680 Speaker 1: that they're graduating this here, Like that's wild. 98 00:06:14,000 --> 00:06:19,080 Speaker 2: I felt also reflective of I think personal relationships to 99 00:06:19,120 --> 00:06:23,680 Speaker 2: an extent in real life. I think around that time too, 100 00:06:25,120 --> 00:06:27,240 Speaker 2: there might have been some things in the press about 101 00:06:27,279 --> 00:06:29,599 Speaker 2: people not getting along and all that, and I think 102 00:06:29,640 --> 00:06:32,240 Speaker 2: this was sort of a way to like show that 103 00:06:32,240 --> 00:06:33,520 Speaker 2: that wasn't true. 104 00:06:33,800 --> 00:06:36,880 Speaker 1: Right, when Blaine and Encourage were talking about talking at 105 00:06:36,880 --> 00:06:40,560 Speaker 1: Blaine's locker, the music note in his locker versus during 106 00:06:40,600 --> 00:06:45,919 Speaker 1: a camera angle change continuity or switched it. Yeah, I know, 107 00:06:46,400 --> 00:06:48,800 Speaker 1: weird unless they flipped it. Oh no, they couldn't have 108 00:06:48,800 --> 00:06:56,599 Speaker 1: flipped it. Interesting, it's so strange, so weird. Okay, after 109 00:06:56,720 --> 00:06:59,279 Speaker 1: so emotional Rachel Sis here in Santana wasted three years. 110 00:06:59,320 --> 00:07:05,200 Speaker 1: That's saying you wet when they in fact sang three. 111 00:07:05,560 --> 00:07:10,240 Speaker 1: It's really good season. So just a little mishap there, 112 00:07:10,400 --> 00:07:13,960 Speaker 1: just a little some miscommunication. The lines of communication were missed, 113 00:07:14,480 --> 00:07:21,720 Speaker 1: like literally they did one this year. Oh my gosh, 114 00:07:21,800 --> 00:07:26,800 Speaker 1: oh lord. I really like them together though, always do, 115 00:07:27,640 --> 00:07:30,160 Speaker 1: always do, And I think it's because I like the 116 00:07:30,200 --> 00:07:36,280 Speaker 1: tension they have as characters, because they're both like leading 117 00:07:36,360 --> 00:07:44,360 Speaker 1: ladies and are in competition but yet so different. So 118 00:07:44,680 --> 00:07:46,720 Speaker 1: and we'll see more of that obviously in coming seasons 119 00:07:46,760 --> 00:07:47,120 Speaker 1: as well. 120 00:07:49,360 --> 00:07:51,240 Speaker 2: Chris said I Have Nothing was the hardest song he 121 00:07:51,280 --> 00:07:53,880 Speaker 2: had to do on the show thus far, and was 122 00:07:53,920 --> 00:07:57,360 Speaker 2: really nervous about it. Yeah, I would believe that, terrified. 123 00:07:57,800 --> 00:08:01,920 Speaker 2: I didn't want to touch a Whitney song. No, I 124 00:08:01,920 --> 00:08:05,840 Speaker 2: I think it's very brave of anyone to do that, 125 00:08:06,120 --> 00:08:07,120 Speaker 2: especially a ballad. 126 00:08:08,120 --> 00:08:11,120 Speaker 1: I could hear Chris saying I didn't have a choice, 127 00:08:11,960 --> 00:08:12,320 Speaker 1: you know. 128 00:08:13,040 --> 00:08:15,680 Speaker 2: Like who wants that is an impossible mission. 129 00:08:16,000 --> 00:08:20,160 Speaker 1: That's also a very high song for him. It's crazy, 130 00:08:20,240 --> 00:08:23,480 Speaker 1: but you know what Chris has. Chris has the acting 131 00:08:23,560 --> 00:08:25,840 Speaker 1: chops to pull it off. He does he hit it 132 00:08:25,840 --> 00:08:28,480 Speaker 1: because his voice is super high but also makes you 133 00:08:29,880 --> 00:08:33,520 Speaker 1: feel it. So it's like, Okay, yes, he's not Whitney. 134 00:08:33,679 --> 00:08:38,079 Speaker 1: Nobody is Whitney. And how dare they make a man 135 00:08:38,800 --> 00:08:42,320 Speaker 1: try to sing that song? And how dare they not 136 00:08:42,360 --> 00:08:45,440 Speaker 1: give her Amber more song? I mean, why was she 137 00:08:45,640 --> 00:08:48,439 Speaker 1: just doing every song? All I want to hear is Whitney. 138 00:08:49,240 --> 00:08:52,480 Speaker 1: That's all I want to hear. The same week as 139 00:08:52,920 --> 00:08:56,839 Speaker 1: the Glee singles charted, Whitney's Whitney's the Greatest Hit Album 140 00:08:56,960 --> 00:08:59,960 Speaker 1: jumped back to number one on the Billboard Top cattle 141 00:09:00,000 --> 00:09:03,600 Speaker 1: Plug Albums chart and climbed seven spots number twenty and 142 00:09:03,640 --> 00:09:05,640 Speaker 1: on the Billboard two hundred. I don't know, Kevin, we 143 00:09:05,679 --> 00:09:07,439 Speaker 1: were talking about not taking credit, but. 144 00:09:09,320 --> 00:09:11,679 Speaker 2: I don't know it was because they were like, I 145 00:09:11,720 --> 00:09:12,760 Speaker 2: can't listen to these. 146 00:09:14,240 --> 00:09:17,960 Speaker 1: Well, I mean, to be fair, Whitney had just passed away, 147 00:09:18,120 --> 00:09:22,520 Speaker 1: so like, of course everybody's listening to Whitney. Yeah, I'm 148 00:09:22,520 --> 00:09:33,559 Speaker 1: not taking credit for it either. Tell me what's going on. 149 00:09:33,880 --> 00:09:36,760 Speaker 2: So this episode is about the Glee club covering Whitney 150 00:09:36,800 --> 00:09:40,839 Speaker 2: Houston thanks to Will and M's uston plan, while they 151 00:09:40,880 --> 00:09:45,000 Speaker 2: simultaneously come one step closer to their dream wedding. 152 00:09:47,600 --> 00:09:51,720 Speaker 1: They get a wedding planner, wedding. Look, if you can 153 00:09:51,800 --> 00:09:56,560 Speaker 1: afford it, build it into the budget, because let me 154 00:09:56,600 --> 00:10:03,800 Speaker 1: tell you, your planning is or just don't have the 155 00:10:03,840 --> 00:10:05,559 Speaker 1: wedding to stillope and save the money. 156 00:10:06,360 --> 00:10:09,120 Speaker 2: I feel like to be a wedding planner you have 157 00:10:09,200 --> 00:10:13,200 Speaker 2: to be a strong, strong, resilient person. 158 00:10:13,760 --> 00:10:17,080 Speaker 1: Yes, I think so. People bring out the weddings bring 159 00:10:17,120 --> 00:10:20,600 Speaker 1: out the worst side of people aka bridezillas, And so 160 00:10:20,840 --> 00:10:25,360 Speaker 1: you're dealing with people really high stakes and making life 161 00:10:25,440 --> 00:10:30,400 Speaker 1: changing decisions that or transitions if you will, and like 162 00:10:30,679 --> 00:10:34,959 Speaker 1: I just don't I bow down to them. Our wedding 163 00:10:34,960 --> 00:10:37,319 Speaker 1: planners were amazing. But this is not about a wedding. 164 00:10:37,360 --> 00:10:43,240 Speaker 1: This is about Glee. This week's assignment is Whitney Houston 165 00:10:44,000 --> 00:10:49,520 Speaker 1: because the kids have not moved on from mourning the 166 00:10:49,559 --> 00:10:52,600 Speaker 1: loss of Whitney and it's been quite a bit of time, 167 00:10:53,280 --> 00:10:57,240 Speaker 1: and so she suggests a will that they should do Whitney. 168 00:10:59,240 --> 00:11:02,319 Speaker 1: It's similarly in the way that she mourned Princess Diana. 169 00:11:03,320 --> 00:11:09,240 Speaker 2: That opening number, Oh my God, sensational perfect an a 170 00:11:09,280 --> 00:11:13,280 Speaker 2: cappella walk through the school so good. That was beautiful, 171 00:11:13,320 --> 00:11:15,200 Speaker 2: And I think this is the key when you are 172 00:11:15,200 --> 00:11:19,960 Speaker 2: doing covers, like with Michael, when you have an artist 173 00:11:20,200 --> 00:11:25,920 Speaker 2: who is so good and like almost uncoverable. The different 174 00:11:26,000 --> 00:11:28,320 Speaker 2: versions of the songs, the different takes on the songs, 175 00:11:28,360 --> 00:11:31,040 Speaker 2: I think are the key to making them work. And 176 00:11:31,080 --> 00:11:36,040 Speaker 2: when you don't do that, you're not really giving an 177 00:11:36,040 --> 00:11:38,640 Speaker 2: opportunity to the person who's covering them to do their. 178 00:11:38,480 --> 00:11:42,440 Speaker 1: Best right because you're competing with Whitney and no one 179 00:11:42,559 --> 00:11:45,160 Speaker 1: can come close to Whitney. I mean, mom, would you 180 00:11:45,160 --> 00:11:47,720 Speaker 1: want to try? No, unless you're being paid for it 181 00:11:47,760 --> 00:11:49,680 Speaker 1: on a TV show, in a contract where you can't 182 00:11:50,040 --> 00:11:56,320 Speaker 1: decide what you say or say. I wouldn't know. This 183 00:11:56,880 --> 00:11:59,280 Speaker 1: also makes everyone realize that there are only so many 184 00:11:59,280 --> 00:12:01,880 Speaker 1: weeks let us go well before graduation for some of us, 185 00:12:03,000 --> 00:12:07,640 Speaker 1: and a duet between Santana Rachel inspires them to finally 186 00:12:07,640 --> 00:12:12,320 Speaker 1: make peace and be friends for the rest of the 187 00:12:12,360 --> 00:12:16,080 Speaker 1: school year. And Puck gives out some goodie bags to 188 00:12:16,120 --> 00:12:19,880 Speaker 1: the boys of the glee club as graduation approaches to 189 00:12:19,960 --> 00:12:22,679 Speaker 1: show his appreciation, which we've talked about already. That's the 190 00:12:22,760 --> 00:12:24,199 Speaker 1: only time I want to talk about the gift bags 191 00:12:24,200 --> 00:12:27,960 Speaker 1: in this episode. I am. 192 00:12:29,760 --> 00:12:35,600 Speaker 2: Santana's reaction to Will theorizing why the kids are taking 193 00:12:35,640 --> 00:12:40,480 Speaker 2: Whitney's death so hard, is so good and so real 194 00:12:40,600 --> 00:12:44,240 Speaker 2: and very much us. It's like, no, maybe just we're 195 00:12:44,240 --> 00:12:48,199 Speaker 2: sad because Whitney was incredible. Like that said, it's not 196 00:12:48,880 --> 00:12:53,000 Speaker 2: doesn't have to be that deep. It's just sad, you know. 197 00:12:53,320 --> 00:12:55,559 Speaker 1: I feel like, also, we were singing a lot of 198 00:12:55,600 --> 00:12:58,280 Speaker 1: Whitney on set, not that we should have been, but 199 00:12:58,320 --> 00:12:59,800 Speaker 1: we were singing out of Whitney, and I feel like 200 00:12:59,800 --> 00:13:03,199 Speaker 1: they heard it and they were like, oh. 201 00:13:02,240 --> 00:13:06,280 Speaker 2: I mean it also sounds like yes capitalism. 202 00:13:06,920 --> 00:13:08,640 Speaker 1: Well, okay, that's true too. 203 00:13:12,520 --> 00:13:15,320 Speaker 2: Not to get too off track here, but you know, 204 00:13:15,440 --> 00:13:19,200 Speaker 2: we were a pop culture based show, right, and so 205 00:13:19,800 --> 00:13:22,880 Speaker 2: witness passing is someone like that. Like when Michael passed, 206 00:13:22,920 --> 00:13:26,800 Speaker 2: we were bumping Michael music for a week. 207 00:13:27,600 --> 00:13:29,920 Speaker 1: Yeah. So Brittany and Santana, do I want to dance 208 00:13:29,960 --> 00:13:34,800 Speaker 1: with somebody? What a cute musical number. Santana has some 209 00:13:35,000 --> 00:13:41,240 Speaker 1: good duets. Nice. She was just smashing it this episode. Yes, Oh, 210 00:13:41,280 --> 00:13:42,199 Speaker 1: we smashing. 211 00:13:42,600 --> 00:13:46,079 Speaker 2: Heather dancing with her. Heather's number also like props to 212 00:13:46,880 --> 00:13:53,160 Speaker 2: hairs here, there's two numbers in one, yes, and that 213 00:13:53,320 --> 00:13:57,440 Speaker 2: whole backlit stage thing. All the dancers are backlit and 214 00:13:57,440 --> 00:14:01,000 Speaker 2: in shadow and like Heather's and there's also a different style 215 00:14:01,040 --> 00:14:03,080 Speaker 2: of dance than she normally gets to do on the show. 216 00:14:05,480 --> 00:14:09,120 Speaker 2: And it was just then you throw tiny dancer in there, Okay, 217 00:14:09,200 --> 00:14:13,880 Speaker 2: Naya just towards the end, and she's just singing her 218 00:14:13,920 --> 00:14:14,400 Speaker 2: face off. 219 00:14:15,000 --> 00:14:17,560 Speaker 1: Get her in there in her cute little outfit, Paris 220 00:14:17,559 --> 00:14:18,080 Speaker 1: smash it. 221 00:14:18,160 --> 00:14:21,520 Speaker 2: I loved the art direction of that, and I also 222 00:14:21,680 --> 00:14:25,320 Speaker 2: loved I really did like the Santana and Rachel duet 223 00:14:26,360 --> 00:14:30,800 Speaker 2: because we do how many duets or numbers in the 224 00:14:30,840 --> 00:14:34,160 Speaker 2: choir room. We've done countless numbers, but there was something 225 00:14:34,200 --> 00:14:37,840 Speaker 2: about the way that number was shot and lit, the 226 00:14:38,800 --> 00:14:41,960 Speaker 2: light streaming in through the hallway. It looked different. It 227 00:14:42,000 --> 00:14:43,520 Speaker 2: looked exciting, It looked. 228 00:14:45,040 --> 00:14:45,160 Speaker 3: Well. 229 00:14:45,160 --> 00:14:48,000 Speaker 1: They were very like music video asking that song that's 230 00:14:48,040 --> 00:14:52,600 Speaker 1: Paris and him his you know, experience, and pasted with 231 00:14:52,720 --> 00:14:57,120 Speaker 1: music music direction. But also it felt like we were 232 00:14:57,160 --> 00:14:59,560 Speaker 1: transported back to the time like of Whitney and her 233 00:15:00,040 --> 00:15:02,640 Speaker 1: probally like the lighting and it just like it felt 234 00:15:03,200 --> 00:15:06,080 Speaker 1: it was very late eighties early now yeah, yeah, which 235 00:15:06,120 --> 00:15:06,760 Speaker 1: I loved. 236 00:15:06,800 --> 00:15:08,600 Speaker 2: In subtle ways. It's like all of a sudden they 237 00:15:08,600 --> 00:15:10,320 Speaker 2: start you're in the choir room, the place we all know, 238 00:15:11,080 --> 00:15:13,680 Speaker 2: and then just like that, the lighting just shifts a 239 00:15:13,680 --> 00:15:14,080 Speaker 2: little bit. 240 00:15:14,640 --> 00:15:17,880 Speaker 1: Mm hmmm. I noticed that too, quite a bit. The 241 00:15:17,960 --> 00:15:19,960 Speaker 1: lighting in this episode actually. 242 00:15:20,360 --> 00:15:22,480 Speaker 2: Like in that opening number where you have the spot. 243 00:15:22,360 --> 00:15:27,080 Speaker 1: Oh so beautiful. Oh god, we weren't in this episode 244 00:15:27,120 --> 00:15:30,560 Speaker 1: draft yet, nor did we need to be. That's fine, 245 00:15:31,120 --> 00:15:33,800 Speaker 1: but so emotional. Was great. They sounded great, it looked great. Oh. 246 00:15:33,880 --> 00:15:36,480 Speaker 2: I also liked about that number that it looked like, 247 00:15:37,720 --> 00:15:41,680 Speaker 2: you know, me, like high school kids. Choirographed it in 248 00:15:41,680 --> 00:15:43,040 Speaker 2: like a really good way, and I mean it does 249 00:15:43,080 --> 00:15:46,440 Speaker 2: a compliment to Zach and Brook, like, yeah, it looked realistic, 250 00:15:46,800 --> 00:15:48,680 Speaker 2: like they were having so much fun with each. 251 00:15:48,560 --> 00:15:50,720 Speaker 1: Other, not like us talking about we have we have 252 00:15:50,920 --> 00:15:55,120 Speaker 1: no budget and then like having like lights, costumes, sets. Yeah, 253 00:15:55,200 --> 00:15:58,520 Speaker 1: I agree. I agree. Simultaneously, Quinn's feeling down about being 254 00:15:58,520 --> 00:16:02,800 Speaker 1: in a wheelchair and Joe who offers to go to 255 00:16:02,840 --> 00:16:05,520 Speaker 1: physical therapy with Quinn because he cares about her, and 256 00:16:08,960 --> 00:16:13,120 Speaker 1: they do this very cute number in the choir room, 257 00:16:14,880 --> 00:16:21,000 Speaker 1: and very cute number, very good for their voices. This 258 00:16:21,080 --> 00:16:22,600 Speaker 1: is where I talk about the like where they talk 259 00:16:22,600 --> 00:16:26,160 Speaker 1: about the character character piece. I'm like, okay, like we're 260 00:16:26,160 --> 00:16:29,160 Speaker 1: moving plot along with songs versus just doing a tribute 261 00:16:29,160 --> 00:16:32,880 Speaker 1: where you like Michael throwing it all in there Madonna 262 00:16:33,160 --> 00:16:36,520 Speaker 1: Madonna exactly, exactly. There's more story than there is music, 263 00:16:36,680 --> 00:16:39,920 Speaker 1: and so it is. This is a departure from the 264 00:16:40,040 --> 00:16:44,080 Speaker 1: usual norm of our tribute episodes. And then they do 265 00:16:44,680 --> 00:16:51,960 Speaker 1: they go to Pete together and it is sexual. 266 00:16:52,280 --> 00:16:56,000 Speaker 2: That pet session was every very hot and heavy teen 267 00:16:56,080 --> 00:16:56,920 Speaker 2: boys nightmare. 268 00:16:59,360 --> 00:17:02,120 Speaker 1: Well and she's like is that And I was like, wait, yeah, 269 00:17:05,520 --> 00:17:07,960 Speaker 1: he's too into her and he doesn't know what to do. 270 00:17:08,080 --> 00:17:12,760 Speaker 1: He's very attracted to her. He talks to Sam about it, 271 00:17:12,960 --> 00:17:17,080 Speaker 1: and Sam's like, look, you gotta figure it out. I 272 00:17:17,080 --> 00:17:19,359 Speaker 1: don't know. I think I feel like, yes, this is 273 00:17:19,400 --> 00:17:22,919 Speaker 1: realistic in the world of like kids figuring out their 274 00:17:23,400 --> 00:17:27,640 Speaker 1: hormones versus their core beliefs. But I was like, wow, Sam, 275 00:17:27,840 --> 00:17:30,760 Speaker 1: really you decide if you want to get closer to 276 00:17:30,800 --> 00:17:33,399 Speaker 1: her or closer to was it closer to her closer 277 00:17:33,400 --> 00:17:40,200 Speaker 1: to Yeah? I was like, wow, Wow, this is interesting. 278 00:17:40,520 --> 00:17:42,000 Speaker 2: Yeah, you know, I was working as a stripper, I 279 00:17:42,040 --> 00:17:46,560 Speaker 2: had sex. It's like, it's just unrealistic. 280 00:17:46,640 --> 00:17:53,480 Speaker 1: You can't I'm it's really funny. I didn't see this. 281 00:17:53,560 --> 00:17:58,800 Speaker 1: Quinn Joe storyline coming though, Oh I did. I didn't 282 00:17:59,119 --> 00:18:02,359 Speaker 1: remembered it. Hm, I think you were. I just like 283 00:18:02,440 --> 00:18:05,399 Speaker 1: it wasn't something. But anyway, Quinn's feeling insecure, but she 284 00:18:05,440 --> 00:18:07,879 Speaker 1: feels like Joe who turned her down because they almost 285 00:18:07,960 --> 00:18:12,800 Speaker 1: kissed and he turned her down. Like was She's feeling 286 00:18:12,840 --> 00:18:16,520 Speaker 1: insecure about being in the chair and she has this 287 00:18:16,600 --> 00:18:20,639 Speaker 1: very sweet little bathroom scene. Let me tell you, we 288 00:18:20,680 --> 00:18:23,760 Speaker 1: love those bathroom scenes. Oh. I love shooting those bathroom scenes. 289 00:18:23,840 --> 00:18:26,359 Speaker 1: I never like a few in the season that we 290 00:18:26,440 --> 00:18:29,480 Speaker 1: had that the girls all were together. One of them 291 00:18:29,520 --> 00:18:31,680 Speaker 1: was like I think when we did the class picture 292 00:18:31,720 --> 00:18:35,400 Speaker 1: with Eldi when Leddie Keene was directing. Anyway, we hang 293 00:18:35,440 --> 00:18:37,800 Speaker 1: on the bathroom and it's just like a gab sash 294 00:18:37,840 --> 00:18:40,560 Speaker 1: with the girls if everybody's getting along, like we're all 295 00:18:40,600 --> 00:18:44,040 Speaker 1: just hanging and it's a quick quick scene. You're in 296 00:18:44,119 --> 00:18:46,200 Speaker 1: and out. It's usually at the end of the day. 297 00:18:46,680 --> 00:18:49,240 Speaker 1: Like it was really fun. Those were really fun. I 298 00:18:49,480 --> 00:18:51,920 Speaker 1: don't remember doing that scene, to be very honest with you, 299 00:18:52,160 --> 00:18:57,240 Speaker 1: but I always remembered loving doing girl scenes in the 300 00:18:57,280 --> 00:18:57,960 Speaker 1: back girls see. 301 00:18:57,960 --> 00:18:59,640 Speaker 2: I think you can feel that as a viewer though. 302 00:19:00,080 --> 00:19:03,399 Speaker 2: I enjoy watching those like that all of the ones 303 00:19:03,400 --> 00:19:05,920 Speaker 2: in our show, and like I think of that one 304 00:19:05,920 --> 00:19:11,480 Speaker 2: in Euphoria season so good Oklahoma, because you do have 305 00:19:11,760 --> 00:19:15,040 Speaker 2: that like everyone stays in that confined space and like 306 00:19:15,119 --> 00:19:19,159 Speaker 2: hangs out or the normal scenes, and so there's no way, 307 00:19:19,200 --> 00:19:20,840 Speaker 2: I think there's no way for that not to translate, 308 00:19:22,280 --> 00:19:24,800 Speaker 2: and you just feel it's so it's such a joy 309 00:19:24,800 --> 00:19:25,680 Speaker 2: to watch those scenes. 310 00:19:25,760 --> 00:19:29,120 Speaker 1: I love a bathroom scene in a high school so jealous. 311 00:19:29,400 --> 00:19:30,760 Speaker 1: It's also right a passage. 312 00:19:30,840 --> 00:19:33,399 Speaker 2: I feel like every high school show or movie there's 313 00:19:33,520 --> 00:19:35,680 Speaker 2: always the guys or the girls. 314 00:19:37,000 --> 00:19:40,840 Speaker 1: A bathroom. You're right, You're totally right. Whether are kids 315 00:19:40,960 --> 00:19:43,800 Speaker 1: sitting on the toilet by themselves, eating lunch in the bathroom, 316 00:19:43,920 --> 00:19:47,520 Speaker 1: smoking weed in the bathroom, doing something weird in the mathroom, 317 00:19:48,040 --> 00:19:52,760 Speaker 1: school through the bathroom exactly exactly. Yeah, So they do 318 00:19:52,840 --> 00:19:57,320 Speaker 1: that number and they are. Their relationship is a budding. 319 00:19:58,160 --> 00:20:00,000 Speaker 1: It's budding, and they're very key. 320 00:20:00,720 --> 00:20:04,400 Speaker 2: And I do think it's nice that Quinn's been through 321 00:20:04,400 --> 00:20:04,760 Speaker 2: a lot. 322 00:20:06,520 --> 00:20:06,879 Speaker 1: Quinn. 323 00:20:07,200 --> 00:20:09,520 Speaker 2: Just take a seget and to think about the things 324 00:20:09,600 --> 00:20:13,560 Speaker 2: Quinn has been through in three seasons. 325 00:20:13,200 --> 00:20:14,240 Speaker 1: She said a baby. 326 00:20:14,840 --> 00:20:19,639 Speaker 2: She went from being popular like number one cheerleader to 327 00:20:19,800 --> 00:20:22,800 Speaker 2: like the pregnant outcast and the glee club. 328 00:20:23,000 --> 00:20:25,840 Speaker 1: Then going under the bleachers and smoking Siggi's and dyeing 329 00:20:25,920 --> 00:20:29,040 Speaker 1: her hair to then getting in a car accident. 330 00:20:29,440 --> 00:20:33,320 Speaker 2: To steal her baby back right, planting drugs. 331 00:20:33,440 --> 00:20:36,840 Speaker 1: Very dark. She's had quite the arc. Yeah, I'm worried 332 00:20:36,840 --> 00:20:42,479 Speaker 1: about her. Where will she end up? Normal guy at Yale? 333 00:20:43,960 --> 00:20:48,160 Speaker 1: That's so bad? Should we talk about Will and Emma? Yeah? 334 00:20:48,200 --> 00:20:53,600 Speaker 2: Because what out of nowhere? Well, it's like, we got 335 00:20:53,640 --> 00:20:57,840 Speaker 2: to get married. You got to get married in May. 336 00:20:58,040 --> 00:20:59,840 Speaker 1: Does he want to get married in May? I don't know. 337 00:20:59,840 --> 00:21:03,159 Speaker 2: And then hires a wedding planner to like speed up 338 00:21:03,200 --> 00:21:03,840 Speaker 2: the process. 339 00:21:04,040 --> 00:21:04,720 Speaker 1: And then. 340 00:21:06,560 --> 00:21:09,400 Speaker 2: When he actually has that conversation with the wedding planner, 341 00:21:09,760 --> 00:21:11,840 Speaker 2: a by the venue in a stage so the glee 342 00:21:11,920 --> 00:21:13,280 Speaker 2: kids can perform. 343 00:21:13,480 --> 00:21:15,280 Speaker 1: He's scared that the kids aren't going to come back 344 00:21:15,320 --> 00:21:17,880 Speaker 1: for his wedding, which Finn's his best man, so he's 345 00:21:17,920 --> 00:21:21,119 Speaker 1: definitely coming back for hit the wedding. 346 00:21:21,359 --> 00:21:23,560 Speaker 2: Get some friends your own age, will. 347 00:21:23,440 --> 00:21:28,800 Speaker 1: Schuster, right, And then that all the kids he's worried 348 00:21:28,880 --> 00:21:31,360 Speaker 1: aren't going to come back from college. I mean, we're 349 00:21:31,359 --> 00:21:33,520 Speaker 1: not going anywhere, so we're definitely going to be there. 350 00:21:34,760 --> 00:21:37,720 Speaker 1: All the seniors aren't going to come back. So yes, 351 00:21:37,760 --> 00:21:41,600 Speaker 1: he gets the the Ohio Wedding Planner to speed up 352 00:21:41,640 --> 00:21:47,040 Speaker 1: the process. I have to be completely honest with you. 353 00:21:47,119 --> 00:21:55,800 Speaker 1: I don't remember if they get married or not. We're 354 00:21:55,880 --> 00:21:59,000 Speaker 1: being really honest in this episode. So I've been thinking 355 00:21:59,040 --> 00:22:03,240 Speaker 1: this whole time. Don't you trust you? Guys, We're just 356 00:22:03,320 --> 00:22:08,040 Speaker 1: we're watching, We're just like you. They know more. 357 00:22:08,760 --> 00:22:13,800 Speaker 2: The weddings I remember attending are Burton Carroll, Burton Carroll, 358 00:22:14,359 --> 00:22:17,159 Speaker 2: and then the double wedding. What the double wedding in 359 00:22:17,200 --> 00:22:17,520 Speaker 2: the barn? 360 00:22:17,840 --> 00:22:20,480 Speaker 1: Oh, the barn but the bar, Yes, of course. Okay, 361 00:22:20,520 --> 00:22:23,480 Speaker 1: so they're planning their wedding. Who knows if it's going 362 00:22:23,560 --> 00:22:27,399 Speaker 1: to happen or not. They're impending wedding. That clock's a 363 00:22:27,440 --> 00:22:30,320 Speaker 1: ticken and Will and Emma have this you know, sweet 364 00:22:30,320 --> 00:22:34,000 Speaker 1: little storyline that's kind of brushed over, but not really 365 00:22:35,560 --> 00:22:38,639 Speaker 1: about him freaking out the Glee Club's not going to 366 00:22:38,680 --> 00:22:50,520 Speaker 1: make it. Yeah. The big storyline, it feels this episode 367 00:22:51,080 --> 00:22:56,439 Speaker 1: is Kurt cheating on Blaine, emotionally cheating on Blaine. 368 00:22:56,520 --> 00:22:59,080 Speaker 2: Kurt is stepping out via text. 369 00:22:59,440 --> 00:23:03,639 Speaker 1: He really is is taking it a step farther than 370 00:23:04,320 --> 00:23:08,400 Speaker 1: he should, two steps further than he should be fair. 371 00:23:09,680 --> 00:23:10,240 Speaker 1: Kurr meets a. 372 00:23:10,240 --> 00:23:18,320 Speaker 3: Guy at the UH music store, Yes, at the music 373 00:23:18,320 --> 00:23:24,840 Speaker 3: at the record store, which who okay, best by just 374 00:23:24,880 --> 00:23:27,680 Speaker 3: took out all their products, like their their media out 375 00:23:27,680 --> 00:23:29,080 Speaker 3: of their stores. 376 00:23:29,480 --> 00:23:33,880 Speaker 1: They no more CDs. I'm actually surprised that they still 377 00:23:33,920 --> 00:23:42,359 Speaker 1: had it anyway, I digress. Kurt meets Chandler and he's 378 00:23:42,359 --> 00:23:46,480 Speaker 1: helping him find a song, a Whitney song for his 379 00:23:46,960 --> 00:23:57,399 Speaker 1: callback for Niana and Ohio. You know, imagine it's hard, yeah, 380 00:23:57,440 --> 00:23:59,320 Speaker 1: And he gives him his number, he gives them his 381 00:23:59,359 --> 00:24:03,760 Speaker 1: memory in his member and Blaine's Kurt's just texting like 382 00:24:04,040 --> 00:24:08,919 Speaker 1: very freely about with Chandler and then telling Rachel about it. 383 00:24:08,960 --> 00:24:11,359 Speaker 1: I was like, if you want to do this, you 384 00:24:11,400 --> 00:24:13,800 Speaker 1: don't tell. But here's the thing. Kurt doesn't think he's 385 00:24:13,800 --> 00:24:16,280 Speaker 1: doing anything wrong, and I think that's why he's kind 386 00:24:16,280 --> 00:24:23,480 Speaker 1: of open about it, and Rachel's like smiling through it. No. Meanwhile, 387 00:24:23,640 --> 00:24:28,399 Speaker 1: Kurt Is also has this really nice scene with Bert, 388 00:24:28,760 --> 00:24:31,560 Speaker 1: his dad, Michael Melly, who is in Congress now coming 389 00:24:31,560 --> 00:24:37,320 Speaker 1: back from DC, and they're talking about this sweet storyline 390 00:24:37,320 --> 00:24:40,320 Speaker 1: about a kid leaving the house, you know, flying the coop, 391 00:24:41,040 --> 00:24:43,439 Speaker 1: going to college and they've been avoiding talking about it 392 00:24:43,520 --> 00:24:46,920 Speaker 1: and haven't done their Friday dinners. And gosh, I miss 393 00:24:46,960 --> 00:24:48,400 Speaker 1: Burt and Kurt scenes. 394 00:24:48,920 --> 00:24:55,160 Speaker 2: Because that Bert dialogue. Whoever wrote that scene beautiful earned 395 00:24:55,160 --> 00:24:59,359 Speaker 2: their paycheck that way that scene. I was just aghast 396 00:24:59,600 --> 00:25:04,760 Speaker 2: the whole time time, Like this is dialogue and Michael 397 00:25:04,760 --> 00:25:08,520 Speaker 2: O'Malley is delivery. I mean, they're on a different show. 398 00:25:09,119 --> 00:25:10,399 Speaker 2: They're so good together. 399 00:25:10,520 --> 00:25:13,280 Speaker 1: It's true, that's true, not saying the rest of us. 400 00:25:14,520 --> 00:25:19,440 Speaker 2: Well, it's like they're always it's always serious and it's 401 00:25:19,960 --> 00:25:25,040 Speaker 2: really meaningful, grounded dialogue with one another. Yes, and Bert 402 00:25:25,040 --> 00:25:29,360 Speaker 2: has a way to like beautifully delivered concepts that are 403 00:25:29,920 --> 00:25:31,280 Speaker 2: hard and like big. 404 00:25:32,640 --> 00:25:39,040 Speaker 1: Everything. Yes, you're right, You're right. It was beautiful. It 405 00:25:39,080 --> 00:25:43,240 Speaker 1: was really beautiful, beautifully done, written, executed, directed. It was 406 00:25:43,320 --> 00:25:46,240 Speaker 1: really really really well done. And that leads into Chris's 407 00:25:46,240 --> 00:25:51,280 Speaker 1: song or Kurt song. But man, I miss I miss 408 00:25:51,320 --> 00:25:51,960 Speaker 1: Michael Malley. 409 00:25:52,440 --> 00:25:56,119 Speaker 2: So before we get to Chris's song, we have Darren's song. Okay, 410 00:25:56,880 --> 00:26:03,520 Speaker 2: because Blaine finds out about the texts, right, and he's 411 00:26:03,600 --> 00:26:07,240 Speaker 2: really pissed off, and like we've all been there, we've 412 00:26:07,240 --> 00:26:10,840 Speaker 2: all picked up the partner's phone and looked through it. 413 00:26:10,880 --> 00:26:14,560 Speaker 2: Maybe when we shouldn't have. Right, have you done that, Jenna, 414 00:26:15,600 --> 00:26:19,680 Speaker 2: No ever? Okay in my past, yes, yes, like when 415 00:26:19,680 --> 00:26:21,000 Speaker 2: you're young, when you're in high school. 416 00:26:21,119 --> 00:26:23,399 Speaker 1: Oh yeah you have to yeah, do it. 417 00:26:23,440 --> 00:26:25,480 Speaker 2: And it's like, oh that I shouldn't have done that. 418 00:26:25,680 --> 00:26:29,160 Speaker 1: But maybe I needed to, right, right, yes, but don't 419 00:26:29,200 --> 00:26:33,560 Speaker 1: do it. But if you did relatable Kurt saying it's 420 00:26:33,640 --> 00:26:39,840 Speaker 1: okay and Blaine saying it's not right but it's okay. 421 00:26:40,160 --> 00:26:42,800 Speaker 1: Good on Darren. You know, he did the best he 422 00:26:42,840 --> 00:26:49,280 Speaker 1: could with that life, just making it work. This number. 423 00:26:51,200 --> 00:26:54,960 Speaker 1: It brings back a lot of memories, many memories, a 424 00:26:54,960 --> 00:26:57,760 Speaker 1: lot of memories. So we didn't learn this song. We 425 00:26:57,800 --> 00:27:01,320 Speaker 1: didn't even know the song was coming until maybe that morning, 426 00:27:02,040 --> 00:27:05,840 Speaker 1: And there was a lot of background vocals, and then 427 00:27:05,880 --> 00:27:08,920 Speaker 1: there was a lot of acting during those background vocals 428 00:27:08,920 --> 00:27:12,080 Speaker 1: that we had to be delivering. If you notice in 429 00:27:12,080 --> 00:27:15,720 Speaker 1: the choir room we're all singing backup vocals the whole time, 430 00:27:15,800 --> 00:27:18,320 Speaker 1: but then having to act awkward and weird, like we 431 00:27:18,320 --> 00:27:19,200 Speaker 1: didn't want to be there. 432 00:27:20,280 --> 00:27:22,760 Speaker 2: And you know, when you're a fan of somebody's music, 433 00:27:23,760 --> 00:27:26,359 Speaker 2: you think you know the lyrics, like you think you 434 00:27:26,480 --> 00:27:29,119 Speaker 2: know all these lyrics to Whitney Houston songs. 435 00:27:29,440 --> 00:27:33,239 Speaker 1: You don't, you don't, but when you're on camera, and 436 00:27:33,320 --> 00:27:38,240 Speaker 1: it turns out we didn't know any of them actually, 437 00:27:39,080 --> 00:27:42,320 Speaker 1: And so we get these wonderful lyric sheets from Tim 438 00:27:42,400 --> 00:27:46,960 Speaker 1: Davis that are color coded obviously, and have all the 439 00:27:47,280 --> 00:27:50,120 Speaker 1: breakdowns of all the ooze and the ads and the 440 00:27:50,240 --> 00:27:53,160 Speaker 1: lyrics and the lead vocals, and there were a lot, 441 00:27:53,240 --> 00:27:54,879 Speaker 1: I mean there were a lot. There was like fifteen 442 00:27:54,920 --> 00:27:56,080 Speaker 1: different colors on that sheet. 443 00:27:56,160 --> 00:27:59,800 Speaker 2: I remember there was multiple sheets because normally you could 444 00:28:00,200 --> 00:28:03,639 Speaker 2: put it onto one page, so everything there were multiple 445 00:28:03,840 --> 00:28:04,879 Speaker 2: pages of this. 446 00:28:05,440 --> 00:28:07,600 Speaker 1: So we're doing that number and we're on stage in 447 00:28:07,680 --> 00:28:11,080 Speaker 1: the auditorium doing the one. We're all kind of standing 448 00:28:11,119 --> 00:28:16,920 Speaker 1: behind the desk, right and we were hooligans that day. 449 00:28:17,359 --> 00:28:20,760 Speaker 1: I remember we were hooligans and we didn't know what 450 00:28:20,800 --> 00:28:24,440 Speaker 1: was going on. We were acting full and nobody knew 451 00:28:24,480 --> 00:28:25,000 Speaker 1: the words. 452 00:28:25,160 --> 00:28:29,360 Speaker 2: Why didn't I distinctly remember not knowing anything about this. 453 00:28:30,040 --> 00:28:32,160 Speaker 1: We walked on set and we were like where are 454 00:28:32,160 --> 00:28:34,399 Speaker 1: we right now? I'm not kidding, like being like, what 455 00:28:34,440 --> 00:28:38,280 Speaker 1: are we doing here? And I don't know if maybe 456 00:28:38,400 --> 00:28:41,440 Speaker 1: it wasn't scripted, And then they decided to bring us 457 00:28:41,440 --> 00:28:43,400 Speaker 1: all in because of the back of vocals there's something 458 00:28:43,440 --> 00:28:45,840 Speaker 1: like that, but I think it probably was felt very 459 00:28:45,920 --> 00:28:47,680 Speaker 1: out of place, like we were like, what are we 460 00:28:47,760 --> 00:28:48,160 Speaker 1: doing here? 461 00:28:48,280 --> 00:28:50,320 Speaker 2: We're never normally that unprepared. 462 00:28:50,920 --> 00:28:54,720 Speaker 1: Yes, agreed, we were just moderately unprepared most of the time. 463 00:28:55,040 --> 00:28:58,480 Speaker 1: So I have this blue dress on and I remember 464 00:29:00,120 --> 00:29:03,959 Speaker 1: you guys pinning, pinning, safety pinning the lyrics to the 465 00:29:04,000 --> 00:29:07,479 Speaker 1: back of my dress so that you could cheat and 466 00:29:07,560 --> 00:29:10,360 Speaker 1: look at my back to know the words. And I 467 00:29:10,400 --> 00:29:13,400 Speaker 1: was like, I could do I was you were in 468 00:29:13,400 --> 00:29:15,720 Speaker 1: front of me, and the next way, that's right, what 469 00:29:15,760 --> 00:29:18,560 Speaker 1: am I going to do? So we were the idiots 470 00:29:18,560 --> 00:29:21,080 Speaker 1: who didn't have anything, And and then there's a shot 471 00:29:21,200 --> 00:29:24,280 Speaker 1: of like us, we're staring with Leah and she's like 472 00:29:24,360 --> 00:29:26,560 Speaker 1: fixing her hair like before, like as if the take 473 00:29:26,640 --> 00:29:28,760 Speaker 1: is about to start. And I was like, oh, they 474 00:29:28,800 --> 00:29:32,120 Speaker 1: were rolling and like we didn't know. My mouth is 475 00:29:32,160 --> 00:29:35,440 Speaker 1: not doing a single word correct. That was a mess. 476 00:29:35,680 --> 00:29:36,560 Speaker 1: We were a mess. 477 00:29:37,600 --> 00:29:40,560 Speaker 2: And if you notice, I don't know if it was 478 00:29:40,600 --> 00:29:43,960 Speaker 2: because of the lighting. I had to keep my head down. 479 00:29:44,840 --> 00:29:45,720 Speaker 1: It was the lighting. 480 00:29:46,120 --> 00:29:47,840 Speaker 2: I think it was the lighting. And I think did 481 00:29:47,880 --> 00:29:51,360 Speaker 2: we try to have lyric sheets taped to the back 482 00:29:51,400 --> 00:29:51,880 Speaker 2: of the desk? 483 00:29:53,600 --> 00:29:56,040 Speaker 1: We tried to take them down below the camera. I 484 00:29:56,040 --> 00:29:58,040 Speaker 1: think it was, yes, but we also. 485 00:29:57,960 --> 00:30:01,160 Speaker 2: Couldn't look down, like I couldn't move my head to 486 00:30:01,240 --> 00:30:04,040 Speaker 2: actually see where the lyric sheets were. 487 00:30:05,200 --> 00:30:09,040 Speaker 1: Harry close up was so funny. We were just acting 488 00:30:09,200 --> 00:30:10,120 Speaker 1: cuckoo that day. 489 00:30:10,880 --> 00:30:13,560 Speaker 2: I also love when Blaine has an insane number like this, 490 00:30:13,720 --> 00:30:16,400 Speaker 2: like with his brother, where he's on the auditorium stage, 491 00:30:17,000 --> 00:30:18,320 Speaker 2: so dramatic. 492 00:30:18,000 --> 00:30:20,320 Speaker 1: Committed, yes, committed. 493 00:30:21,160 --> 00:30:24,640 Speaker 2: Yeah, all the reactions to him performing in the choir 494 00:30:24,720 --> 00:30:28,800 Speaker 2: room almost looking back at Kurt like what is going on? 495 00:30:28,880 --> 00:30:31,800 Speaker 1: Is going on? You love that love. 496 00:30:31,800 --> 00:30:35,479 Speaker 2: And props to Paris again for you know, inventing new 497 00:30:35,520 --> 00:30:37,920 Speaker 2: ways to make the auditorium interesting. 498 00:30:38,000 --> 00:30:40,920 Speaker 1: Oh he's props to Paris, props to Paris. And I 499 00:30:41,000 --> 00:30:44,600 Speaker 1: like the tension between Kurt and Blaine. Yeah, it can't 500 00:30:44,600 --> 00:30:47,000 Speaker 1: always be rainbows and butterflies with them, right. 501 00:30:47,280 --> 00:30:50,280 Speaker 2: And they're oh my god, they're scene with Emma love. 502 00:30:50,880 --> 00:30:52,960 Speaker 2: Are you qualified to do this? No? 503 00:30:53,520 --> 00:30:56,280 Speaker 1: When she hides the pamphlet like sing to sing a song? 504 00:30:56,360 --> 00:31:01,920 Speaker 1: Why don't you try and sing a song? Very funny. 505 00:31:01,960 --> 00:31:09,320 Speaker 2: All of Blaines like points are so valid. Also, Kurt 506 00:31:09,320 --> 00:31:11,480 Speaker 2: would have been done for me if we were together 507 00:31:11,520 --> 00:31:13,320 Speaker 2: and he was snapping at the white staff to hurt 508 00:31:13,360 --> 00:31:15,720 Speaker 2: it up for cheesecake cheesecake factory. 509 00:31:16,480 --> 00:31:20,320 Speaker 1: No no, no, no, Please says please stop slipping bronzer 510 00:31:20,320 --> 00:31:22,400 Speaker 1: into my moisturizer, and Krit says you look good with 511 00:31:22,440 --> 00:31:24,040 Speaker 1: a little color, and Plane says, I only use the 512 00:31:24,280 --> 00:31:27,240 Speaker 1: lotion on my hands. It looks weird if a person 513 00:31:27,440 --> 00:31:31,520 Speaker 1: just says, Tanny so good. That scene is so good. 514 00:31:31,800 --> 00:31:34,880 Speaker 1: It's so good. We love those scenes with Emma. The 515 00:31:34,960 --> 00:31:38,040 Speaker 1: Chandler texts also to Kurt are very funny. I don't 516 00:31:38,040 --> 00:31:40,640 Speaker 1: know if you caught them, but are you an astronaut? 517 00:31:40,680 --> 00:31:44,640 Speaker 1: Because your smile is out of this world. I'm pretty 518 00:31:44,640 --> 00:31:47,160 Speaker 1: sure you're Cleopatra in another life. You've got a great 519 00:31:47,200 --> 00:31:51,160 Speaker 1: asp that was insane. Can you see it in my voicemail? 520 00:31:51,200 --> 00:31:56,640 Speaker 1: I want to make your voice my ringed very inappropriate, Chandler, 521 00:31:56,920 --> 00:32:00,480 Speaker 1: because that also leads you to believe that Curt mentioned 522 00:32:00,520 --> 00:32:05,920 Speaker 1: he had a boyfriend. He definitely did not. He definitely 523 00:32:05,960 --> 00:32:06,200 Speaker 1: did not. 524 00:32:06,560 --> 00:32:08,800 Speaker 2: Because if somebody's coming on to you like that, you're like, hey, 525 00:32:08,960 --> 00:32:14,000 Speaker 2: just FYI, I'm with someone. So we got to keep 526 00:32:14,040 --> 00:32:22,120 Speaker 2: this PC right. Yeah, it's but here, this is the thing. 527 00:32:22,280 --> 00:32:25,920 Speaker 2: You can't even so Kirk just have not been doing that. 528 00:32:27,400 --> 00:32:30,280 Speaker 2: I mean the youth, you know, yeah, yeah, yeah, that's fine. 529 00:32:30,480 --> 00:32:32,520 Speaker 2: They're all young and hot and horny. 530 00:32:33,160 --> 00:32:35,440 Speaker 1: We're in high school. We forget that, like we're in 531 00:32:35,560 --> 00:32:40,560 Speaker 1: high school, right, They're most sound decisions were so then 532 00:32:40,640 --> 00:32:45,760 Speaker 1: Kurt performs his song and I was taken aback because 533 00:32:45,800 --> 00:32:51,640 Speaker 1: it's so pointedly. It's so pointed at Blaine. But we 534 00:32:51,840 --> 00:32:54,800 Speaker 1: just come off that really beautiful scene between Burt and Kurt, 535 00:32:56,360 --> 00:32:59,240 Speaker 1: and it's like, damn, it's full of fire after this 536 00:32:59,320 --> 00:33:05,040 Speaker 1: sentimental sean yes, and everyone's uncomfortable again. But I don't know, 537 00:33:05,160 --> 00:33:08,520 Speaker 1: Parish is making the choir room look beautiful again once again, 538 00:33:09,640 --> 00:33:12,600 Speaker 1: like yeah, that's help. I was like, where did that 539 00:33:12,720 --> 00:33:15,360 Speaker 1: come from? But it gives him something to do, I guess. 540 00:33:15,400 --> 00:33:18,160 Speaker 1: I don't know. It is Whitney. I don't know if 541 00:33:18,160 --> 00:33:20,760 Speaker 1: that makes a difference, but a prop is always good. 542 00:33:21,080 --> 00:33:24,200 Speaker 1: We need more mics. I don't know about that. I 543 00:33:24,240 --> 00:33:29,840 Speaker 1: love a mic bands, but also like, do you need 544 00:33:29,880 --> 00:33:32,240 Speaker 1: a mic in the choir room? I don't know when 545 00:33:32,240 --> 00:33:38,920 Speaker 1: have we ever talked about it? Fine? Fine, well again, 546 00:33:39,040 --> 00:33:42,840 Speaker 1: Chris did a great job. That is a very hard, 547 00:33:43,600 --> 00:33:49,000 Speaker 1: very high song for him to say and that's a 548 00:33:49,640 --> 00:33:54,840 Speaker 1: that's a Whitney. That's an icon. Oh my god, that 549 00:33:54,960 --> 00:34:04,000 Speaker 1: is an iconic number by Whitney. I short circuited. That's 550 00:34:04,000 --> 00:34:04,520 Speaker 1: an icon. 551 00:34:05,880 --> 00:34:09,080 Speaker 2: That's an and Whitney are both icons. 552 00:34:09,320 --> 00:34:12,040 Speaker 1: That is correct. That is correct in different ways. I'm 553 00:34:12,040 --> 00:34:17,879 Speaker 1: not comparing Kurt to Whitney's. They are in their own right. 554 00:34:19,640 --> 00:34:21,839 Speaker 1: My love is your love, Jenna. What did you think 555 00:34:21,880 --> 00:34:25,080 Speaker 1: when you had to record this, Kevin? Oh? I hated it. 556 00:34:26,360 --> 00:34:34,120 Speaker 2: I hated I hated everything I did. I Yeah, I 557 00:34:34,160 --> 00:34:37,840 Speaker 2: was upset about my performance in it, but it was 558 00:34:37,920 --> 00:34:40,160 Speaker 2: really nice after having an episode of everybody going through 559 00:34:40,200 --> 00:34:43,960 Speaker 2: their personal issues, they're coming to terms with the school 560 00:34:44,000 --> 00:34:49,799 Speaker 2: year ending, half the people leaving, it felt really really 561 00:34:49,920 --> 00:34:52,680 Speaker 2: nice in old school Glee. And I think since Paris 562 00:34:52,719 --> 00:34:55,680 Speaker 2: hit it out of the park with Dog Days that 563 00:34:56,360 --> 00:35:00,479 Speaker 2: he sort of gets free rein to make those vibe 564 00:35:00,520 --> 00:35:05,319 Speaker 2: and yeah, rehearsal vibe performances and it feels good. It 565 00:35:05,360 --> 00:35:09,040 Speaker 2: felt really good. I love that number now though. 566 00:35:09,880 --> 00:35:12,919 Speaker 1: Yeah, I thought it was great. I think it's it's 567 00:35:13,000 --> 00:35:17,360 Speaker 1: just quintessentially and just like my Amber. Yeah, exactly. Please, 568 00:35:17,400 --> 00:35:19,920 Speaker 1: guys were great. You guys are very good. I wanted 569 00:35:19,920 --> 00:35:23,000 Speaker 1: more of that actually you an Amber, No, I didn't 570 00:35:23,040 --> 00:35:25,600 Speaker 1: need to do anymore. No, no, no, that was I was 571 00:35:25,600 --> 00:35:28,960 Speaker 1: just saying you left me warning more, not less. That's 572 00:35:29,000 --> 00:35:32,040 Speaker 1: a good thing, you know, I'll take it. Yeah, let's 573 00:35:32,040 --> 00:35:35,600 Speaker 1: great these performances, Kevin. Oh, yes, I was waiting for this. 574 00:35:36,040 --> 00:35:39,800 Speaker 1: How will I know? A plus? Yes, I want to 575 00:35:39,880 --> 00:35:43,640 Speaker 1: dance with somebody? A A damn it, I hate when 576 00:35:43,760 --> 00:35:47,640 Speaker 1: we agree. Save what all my love for you? I 577 00:35:47,719 --> 00:35:50,840 Speaker 1: really liked it. It would be plus. 578 00:35:51,880 --> 00:35:58,600 Speaker 2: I'll go okay, so emotional, I think I like this 579 00:35:58,600 --> 00:36:00,000 Speaker 2: more than you did, and go A plus. 580 00:36:00,360 --> 00:36:03,200 Speaker 1: Oh wow, I'm giving it an A. It's not really 581 00:36:03,200 --> 00:36:15,680 Speaker 1: but it's okay, be mine. I have nothing B plus 582 00:36:16,320 --> 00:36:21,800 Speaker 1: my love is your love. Hey as okay, cringe moments 583 00:36:21,800 --> 00:36:26,960 Speaker 1: AKA out jeez. The cheating, yes, the cheating, and then 584 00:36:27,000 --> 00:36:32,160 Speaker 1: also sam more of saying like you can give up 585 00:36:33,000 --> 00:36:38,839 Speaker 1: your belief. That whole conversation, Quinn, Yeah, okay, best dance move, 586 00:36:40,760 --> 00:36:43,920 Speaker 1: Oh my god, Brittany, Yeah, I want to dance with somebody. 587 00:36:44,120 --> 00:36:47,640 Speaker 2: Yeah that was incredible. The leg kick, that floor work, 588 00:36:48,880 --> 00:36:50,560 Speaker 2: it was exceptional. 589 00:36:52,120 --> 00:36:54,719 Speaker 1: Best song. How will I know? How will I know? 590 00:36:55,360 --> 00:36:59,560 Speaker 2: Agreed, prop Well, your answer is obviously going to be 591 00:36:59,560 --> 00:37:05,239 Speaker 2: the goodie. I think that Princess Dianna pamphlet for me. 592 00:37:05,600 --> 00:37:08,320 Speaker 1: Yeah, that's a good one. Okay, it is the Goody Bags. 593 00:37:08,360 --> 00:37:18,680 Speaker 1: That's worst performance by a prop best line, Oh, I 594 00:37:18,680 --> 00:37:25,000 Speaker 1: think Brittany. Brittany has this really good line to Quinn 595 00:37:25,239 --> 00:37:29,400 Speaker 1: in the choir room where she says about dancing with 596 00:37:29,480 --> 00:37:31,719 Speaker 1: Santana and all of us, and then she says, and Quinn, 597 00:37:31,760 --> 00:37:33,600 Speaker 1: You're still dancing in my dreams and you can fly 598 00:37:33,680 --> 00:37:34,239 Speaker 1: and breathe fly. 599 00:37:36,920 --> 00:37:40,359 Speaker 2: I think I'm gonna go serious with this one and 600 00:37:40,440 --> 00:37:41,480 Speaker 2: say a berntline. 601 00:37:42,000 --> 00:37:42,399 Speaker 1: Mm hmm. 602 00:37:42,920 --> 00:37:45,040 Speaker 2: You know you and me, we made each other men. 603 00:37:45,280 --> 00:37:47,239 Speaker 2: Just sometimes I want my sweet little boy back. 604 00:37:47,400 --> 00:37:53,600 Speaker 1: Okay, you did it. I think that's the first serious 605 00:37:53,680 --> 00:37:56,680 Speaker 1: quote we've had this whole maybe and maybe the last. 606 00:37:56,840 --> 00:38:06,560 Speaker 1: Okay performance MVP. This is so hard, you know, it 607 00:38:06,640 --> 00:38:09,800 Speaker 1: was so spread out between everyone. It was. 608 00:38:11,360 --> 00:38:15,640 Speaker 2: I feel like, I feel like it's got to be 609 00:38:15,800 --> 00:38:16,560 Speaker 2: Chris or Darren. 610 00:38:17,280 --> 00:38:19,520 Speaker 1: Can we give it to both? Yeah? 611 00:38:19,800 --> 00:38:26,239 Speaker 2: Okay, yeah, let's give it to both. Okay, So Jenta shit, 612 00:38:26,640 --> 00:38:31,880 Speaker 2: we found ow the TikTok friend of our podcast, the 613 00:38:31,920 --> 00:38:37,239 Speaker 2: good old Icon TikTok Icon Max. So do you know 614 00:38:37,320 --> 00:38:43,600 Speaker 2: that Chris is part of Rose's turn is like going 615 00:38:43,680 --> 00:38:47,320 Speaker 2: viral on TikTok at the moment, and people. 616 00:38:47,080 --> 00:38:54,279 Speaker 1: Have made some really really incredible It's the beginning, right, yeah, 617 00:38:54,360 --> 00:38:55,239 Speaker 1: exactly what it is. 618 00:38:55,960 --> 00:38:58,239 Speaker 2: And Max's is when I go to the gym once 619 00:38:58,280 --> 00:38:59,200 Speaker 2: but I still look the same. 620 00:39:00,480 --> 00:39:04,080 Speaker 1: But there are so many, and I implore you to 621 00:39:04,160 --> 00:39:07,439 Speaker 1: watch all of them. That's really funny, very very good, 622 00:39:09,160 --> 00:39:09,719 Speaker 1: very good. 623 00:39:10,200 --> 00:39:14,120 Speaker 2: Yes, because somebody, I think Austin showed it to me 624 00:39:14,440 --> 00:39:16,520 Speaker 2: somebody else's I was like, wait a second. 625 00:39:16,840 --> 00:39:18,680 Speaker 1: Is that Chris, Oh my god? 626 00:39:19,440 --> 00:39:23,560 Speaker 2: And then I saw that there were like hundreds of them. 627 00:39:23,719 --> 00:39:28,799 Speaker 1: Wow yeah, wow m Thanks for that, Kevin, and thanks 628 00:39:28,800 --> 00:39:31,880 Speaker 1: for that Max anytime, and anybody posting about that that 629 00:39:32,040 --> 00:39:35,719 Speaker 1: makes me laugh. Thanks for listening to another episode. This 630 00:39:35,760 --> 00:39:39,000 Speaker 1: is the Whitney Tribute, and I would love to hear 631 00:39:39,000 --> 00:39:40,600 Speaker 1: what you guys think about the Whitney tributes. So it's 632 00:39:40,600 --> 00:39:44,080 Speaker 1: different from our tribute, so right in and it's been 633 00:39:44,120 --> 00:39:46,800 Speaker 1: a pleasure, y'all. And that's what you really missed. 634 00:39:47,320 --> 00:39:50,480 Speaker 2: Thanks for listening and follow us on Instagram at and 635 00:39:50,520 --> 00:39:52,759 Speaker 2: that's what you really miss pod. Make sure to write 636 00:39:52,840 --> 00:39:55,120 Speaker 2: us a review and leave us five stars. See you 637 00:39:55,120 --> 00:39:55,520 Speaker 2: next time.