1
00:00:01,760 --> 00:00:04,479
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
00:00:09,240 --> 00:00:13,039
Speaker 1: Welcome to You, and That's what you Really miss podcast,

4
00:00:13,320 --> 00:00:18,040
Speaker 1: Season five, Episode nine, It's frenemies. Happy New Year, everybody,

5
00:00:18,120 --> 00:00:19,560
Speaker 1: twenty twenty five.

6
00:00:20,280 --> 00:00:22,280
Speaker 2: We made it barely.

7
00:00:22,440 --> 00:00:25,760
Speaker 1: Oh boy, I mean we're still we're still ringing on.

8
00:00:26,040 --> 00:00:27,160
Speaker 1: We're still ringing on.

9
00:00:27,640 --> 00:00:32,199
Speaker 2: Who knows what a weird transitional time.

10
00:00:33,360 --> 00:00:37,400
Speaker 1: Truly, I don't know what's to come, but you know

11
00:00:37,479 --> 00:00:39,920
Speaker 1: we're going to be positive because this episode is great.

12
00:00:40,120 --> 00:00:41,880
Speaker 2: Yes, what a way to ring in the new year,

13
00:00:41,920 --> 00:00:47,040
Speaker 2: to be honest for us. Oh my gosh, loved this episode.

14
00:00:47,280 --> 00:00:50,159
Speaker 2: I cannot get over it. The front of Me's air

15
00:00:50,280 --> 00:00:52,880
Speaker 2: date was February twenty fifth, twenty fourteen.

16
00:00:54,200 --> 00:00:58,560
Speaker 1: Wow, yeah, wow, crazy, Okay, a bit of a break.

17
00:00:59,280 --> 00:01:02,360
Speaker 2: Yeah, there was break here, and I think the break

18
00:01:02,440 --> 00:01:02,840
Speaker 2: was needed.

19
00:01:03,600 --> 00:01:04,720
Speaker 1: Mm hmmm right.

20
00:01:04,920 --> 00:01:10,399
Speaker 2: It feels like everyone benefited from a break except my hairline.

21
00:01:10,480 --> 00:01:13,000
Speaker 2: My hairline is deeply receding in this.

22
00:01:14,400 --> 00:01:16,520
Speaker 1: It's just all the stress. It's all the stress you

23
00:01:16,600 --> 00:01:17,559
Speaker 1: went through last year.

24
00:01:17,760 --> 00:01:20,319
Speaker 2: It was we came back and like where did she go?

25
00:01:21,240 --> 00:01:25,880
Speaker 2: She is jumping back, but the stress, it feels this

26
00:01:25,959 --> 00:01:28,479
Speaker 2: feels like an older Glee episode.

27
00:01:28,760 --> 00:01:36,440
Speaker 1: Yes, we're a classic Glee episode, music, storyline, tone. It

28
00:01:36,520 --> 00:01:42,160
Speaker 1: was so refreshing to watch and so enjoyable, and obviously

29
00:01:42,200 --> 00:01:44,600
Speaker 1: we had such a good time shooting this as well.

30
00:01:44,680 --> 00:01:48,640
Speaker 1: We have lots of memories from this, so let's talk

31
00:01:48,640 --> 00:01:51,480
Speaker 1: about it. But in the news. Number one song is

32
00:01:51,560 --> 00:01:54,560
Speaker 1: new It's dark Horse by Katie Perry featuring Juicy J.

33
00:01:55,000 --> 00:01:57,440
Speaker 1: I'm not gonna lie. This is my least favorite carre

34
00:01:57,680 --> 00:01:58,960
Speaker 1: Katie Perry's on it.

35
00:01:59,000 --> 00:02:04,680
Speaker 2: Ever Yeah, ever, Yeah, I kind of hate this song.

36
00:02:05,040 --> 00:02:08,160
Speaker 2: I don't get it and I think it went diamond like.

37
00:02:08,240 --> 00:02:10,839
Speaker 2: I think it might be her biggest song, right.

38
00:02:11,040 --> 00:02:14,800
Speaker 1: I think we talked about this. Yeah, it's wow, absolutely insane. Wow.

39
00:02:14,919 --> 00:02:17,679
Speaker 2: Number one movie is the Lego Movie. Did you see that?

40
00:02:17,720 --> 00:02:18,240
Speaker 1: I want see it.

41
00:02:18,480 --> 00:02:20,480
Speaker 2: I didn't see it either, but I've heard nothing but

42
00:02:20,480 --> 00:02:21,000
Speaker 2: a great thing.

43
00:02:21,720 --> 00:02:24,919
Speaker 1: Great. I love that For them and Glen News this week,

44
00:02:24,919 --> 00:02:27,120
Speaker 1: on February twenty second, members of the cast performed at

45
00:02:27,160 --> 00:02:31,800
Speaker 1: the Young Storytellers Foundation's Biggest Show. This was a foundation

46
00:02:31,919 --> 00:02:35,000
Speaker 1: that Brad supported, and Brad would ask us to get

47
00:02:35,040 --> 00:02:38,560
Speaker 1: involved with sometimes, so different groupings of us were involved

48
00:02:38,600 --> 00:02:40,919
Speaker 1: in different years. This was held at the Willows Community

49
00:02:41,000 --> 00:02:44,240
Speaker 1: School in Culver City, attended by Darren, Diana, Harry Dot,

50
00:02:44,280 --> 00:02:46,359
Speaker 1: Ashley Becka, and Kurt Mega.

51
00:02:46,639 --> 00:02:50,040
Speaker 2: And on February twenty fourth, the cast and crew celebrated

52
00:02:50,080 --> 00:02:54,640
Speaker 2: the final day of filming the Landmark one hundredth episode,

53
00:02:54,919 --> 00:02:57,079
Speaker 2: which is episode twelve, so it's coming.

54
00:02:56,919 --> 00:02:59,639
Speaker 1: Up in a few I remember this day. We all

55
00:03:00,680 --> 00:03:06,680
Speaker 1: did this like these collages of over the seasons and episodes,

56
00:03:06,800 --> 00:03:09,040
Speaker 1: and they had this big cake and they had many

57
00:03:09,120 --> 00:03:12,320
Speaker 1: slashies and it was just like a big to do,

58
00:03:13,560 --> 00:03:14,160
Speaker 1: big to do.

59
00:03:14,280 --> 00:03:17,720
Speaker 2: And Dana was there look at that. It was really

60
00:03:18,560 --> 00:03:21,679
Speaker 2: that was like a very monumental day. But like you

61
00:03:21,840 --> 00:03:26,240
Speaker 2: mentioned before, when you have these celebrations, you can only participate.

62
00:03:26,320 --> 00:03:28,400
Speaker 2: You only get so much time to like enjoy the

63
00:03:28,400 --> 00:03:28,919
Speaker 2: revel rates.

64
00:03:29,160 --> 00:03:31,320
Speaker 1: That was about three minutes. See may it looked like

65
00:03:31,320 --> 00:03:34,120
Speaker 1: we partied all day, but it was literally probably.

66
00:03:33,760 --> 00:03:37,200
Speaker 2: They like put the Russis to take the photo, shakee

67
00:03:37,280 --> 00:03:39,280
Speaker 2: back down of some of the higher ups and then

68
00:03:39,320 --> 00:03:40,000
Speaker 2: get back to work.

69
00:03:42,920 --> 00:03:46,920
Speaker 1: This was directed by Brad Beaker, of course, so I

70
00:03:46,960 --> 00:03:48,680
Speaker 1: didn't see who I had directed it, but we watched

71
00:03:48,720 --> 00:03:53,680
Speaker 1: the whole episode. I couldn't remember, and then I looked

72
00:03:53,680 --> 00:03:55,880
Speaker 1: after him was like, of course it was bad. Beaker,

73
00:03:56,080 --> 00:03:59,920
Speaker 1: bring back are our guy? Bring back the.

74
00:04:01,440 --> 00:04:04,160
Speaker 2: I mean, he's just you can feel like the steady

75
00:04:04,240 --> 00:04:08,360
Speaker 2: hands of Brad Baker, can't you like it? Like this

76
00:04:08,440 --> 00:04:12,200
Speaker 2: is sh with confidence, you know exactly what the show is,

77
00:04:12,840 --> 00:04:15,040
Speaker 2: and also still trying to like there were new things

78
00:04:15,040 --> 00:04:17,520
Speaker 2: he was trying. There were a lot of like looking

79
00:04:17,560 --> 00:04:20,080
Speaker 2: into the camera or looking right by the camera povs

80
00:04:20,120 --> 00:04:22,640
Speaker 2: things in this episode that don't tell on that.

81
00:04:23,040 --> 00:04:27,200
Speaker 1: Yeah, it was great, it was really really great. I'm

82
00:04:27,200 --> 00:04:27,960
Speaker 1: here for all of it.

83
00:04:28,680 --> 00:04:30,680
Speaker 2: One of the co stars in this episode was the

84
00:04:30,680 --> 00:04:36,200
Speaker 2: salesperson Nick Nordela, who I have known since like my

85
00:04:36,720 --> 00:04:39,360
Speaker 2: sin I was like fifteen or something. Really the same

86
00:04:39,400 --> 00:04:41,360
Speaker 2: manager I think back in the day. Yeah, up in

87
00:04:41,400 --> 00:04:44,200
Speaker 2: Santa Clarita, and like he popped from the episode.

88
00:04:44,200 --> 00:04:47,000
Speaker 3: I'm like, Nick, like what did you know that at

89
00:04:47,000 --> 00:04:50,440
Speaker 3: the time? No, Oh, that's funny. We weren't super close,

90
00:04:50,480 --> 00:04:52,000
Speaker 3: like we hadn't talked to years. And then he's like

91
00:04:52,120 --> 00:04:54,679
Speaker 3: on the show, very.

92
00:04:54,480 --> 00:04:58,280
Speaker 1: Funny, so funny, very very random. Uh. There's a lot

93
00:04:58,279 --> 00:05:01,360
Speaker 1: of songs in this episode, a lot of really songs,

94
00:05:01,480 --> 00:05:05,000
Speaker 1: really really good one, two, three, four, five, six, Okay,

95
00:05:05,000 --> 00:05:09,320
Speaker 1: so it's seven. It's not your your classic five excellence.

96
00:05:09,360 --> 00:05:10,520
Speaker 1: But this is quite good.

97
00:05:10,640 --> 00:05:13,040
Speaker 2: So well, that's really good. I will say this. This

98
00:05:13,120 --> 00:05:14,680
Speaker 2: is evenly paced and line up.

99
00:05:14,800 --> 00:05:17,760
Speaker 1: Yeah, Whenever I Call You Friend with Kenny Loggins and

100
00:05:17,800 --> 00:05:20,560
Speaker 1: Stevie Nigs performed by Artie and Tina.

101
00:05:21,400 --> 00:05:24,200
Speaker 2: Brave performed by Rachel and Santana.

102
00:05:24,800 --> 00:05:33,280
Speaker 1: Love It My Lovin Never Gonna Get It performer already Tinah.

103
00:05:31,120 --> 00:05:34,440
Speaker 2: Don't Ran on My Parade, the Santana version.

104
00:05:34,520 --> 00:05:37,080
Speaker 1: Oh my Gosh, I Believe in a Thing called Love

105
00:05:37,120 --> 00:05:40,479
Speaker 1: perform by Elliott and Kurt and Every Breath You Take

106
00:05:40,560 --> 00:05:44,040
Speaker 1: performed by Rachel and Santana also Love that one, and

107
00:05:44,360 --> 00:05:48,359
Speaker 1: break Away performer ay Tena already playing in the new direction.

108
00:05:48,560 --> 00:05:54,120
Speaker 1: Wow wow, wow, wow wow, truly what a what a lineup?

109
00:05:54,640 --> 00:05:56,520
Speaker 1: We're saying three songs in this episode?

110
00:05:56,600 --> 00:05:58,720
Speaker 2: Kevin, Yeah, that doesn't happen. I pulled it.

111
00:05:58,800 --> 00:06:01,520
Speaker 1: Darren, I don't. What's ever happened to me in the

112
00:06:01,680 --> 00:06:02,280
Speaker 1: entirety of this.

113
00:06:02,680 --> 00:06:05,440
Speaker 2: No, You and I were like, you know what we

114
00:06:05,480 --> 00:06:05,840
Speaker 2: can do it?

115
00:06:05,920 --> 00:06:06,160
Speaker 1: Darren?

116
00:06:06,200 --> 00:06:09,280
Speaker 2: Does we give us three songs?

117
00:06:09,320 --> 00:06:11,760
Speaker 1: Also funny that Darren's like, I feel like I just

118
00:06:11,800 --> 00:06:15,120
Speaker 1: are in this episode. Blaine's like, I feel like things

119
00:06:15,120 --> 00:06:16,920
Speaker 1: are just handed me to me and we're like, well

120
00:06:17,960 --> 00:06:18,240
Speaker 1: it was.

121
00:06:19,680 --> 00:06:25,560
Speaker 2: I will say the undercurrent of some truth in reality

122
00:06:25,800 --> 00:06:29,600
Speaker 2: in this episode through multiple storylines is too good.

123
00:06:29,880 --> 00:06:34,360
Speaker 1: Is very much there? So there's a lot of it, okay.

124
00:06:34,360 --> 00:06:37,520
Speaker 1: So this episode aired after the fall hiatus. Starting with

125
00:06:37,880 --> 00:06:40,720
Speaker 1: this episode, and Glee episodes moved back to Tuesdays at

126
00:06:40,720 --> 00:06:43,760
Speaker 1: eight pm. What does that mean? Because I know the

127
00:06:43,760 --> 00:06:46,040
Speaker 1: time slows meant things to you, Kevin that I didn't

128
00:06:46,160 --> 00:06:47,240
Speaker 1: really fully understand.

129
00:06:47,920 --> 00:06:51,279
Speaker 2: So when we first started, if I remember correctly, we

130
00:06:51,680 --> 00:06:56,520
Speaker 2: started on Tuesdays at nine pm after American Idol, and

131
00:06:56,560 --> 00:06:59,880
Speaker 2: then in season two we became the lead in show,

132
00:07:00,160 --> 00:07:02,599
Speaker 2: We became the big show, so we moved up to

133
00:07:02,600 --> 00:07:05,800
Speaker 2: eight pm. That's when Chord came on. Remember we couldn't

134
00:07:05,800 --> 00:07:08,239
Speaker 2: say certain words now because we were an hour earlier.

135
00:07:08,880 --> 00:07:12,720
Speaker 2: And then I believe we moved to Thursdays or some point, yes,

136
00:07:12,920 --> 00:07:16,120
Speaker 2: and it didn't hit the same And so I think

137
00:07:16,200 --> 00:07:19,960
Speaker 2: this is them trying to be like, the ratings are slipping,

138
00:07:19,960 --> 00:07:21,840
Speaker 2: how do we get it back? Let's go back to Tuesday.

139
00:07:22,360 --> 00:07:23,280
Speaker 1: Got it? Got it?

140
00:07:23,760 --> 00:07:27,760
Speaker 2: The episode contains the show's six hundred musical number, which

141
00:07:27,800 --> 00:07:29,080
Speaker 2: is Whenever I call you friends.

142
00:07:29,480 --> 00:07:33,200
Speaker 1: Hooray. I'm proud of that, me too. This is the

143
00:07:33,200 --> 00:07:35,120
Speaker 1: eighth time two duets are sung by the same people

144
00:07:35,120 --> 00:07:37,400
Speaker 1: in the same episode. The others are thrown down home

145
00:07:37,520 --> 00:07:41,000
Speaker 1: duets rumors. The first time Big Brother and Love Love Love.

146
00:07:41,920 --> 00:07:43,600
Speaker 1: It was really nice to share that with you, Jenna,

147
00:07:43,760 --> 00:07:45,120
Speaker 1: I know truly.

148
00:07:45,760 --> 00:07:48,160
Speaker 2: This is the fourth time Rachel has sung two duets

149
00:07:48,200 --> 00:07:51,000
Speaker 2: with the same person and the same episode. She's used

150
00:07:51,000 --> 00:07:51,440
Speaker 2: to this.

151
00:07:51,720 --> 00:07:54,240
Speaker 1: Yeah, and she's like, I got this. I've sang five

152
00:07:54,280 --> 00:07:57,160
Speaker 1: songs in an episode. Yeah. This is the third time

153
00:07:57,200 --> 00:07:59,160
Speaker 1: Already has sung two duets but the same erson.

154
00:07:59,000 --> 00:07:59,720
Speaker 2: The same episode.

155
00:08:00,200 --> 00:08:03,640
Speaker 1: Wait, was it Puck you and Puk?

156
00:08:03,920 --> 00:08:10,760
Speaker 2: I don't know, A, I don't know. Very strange, Okay.

157
00:08:10,760 --> 00:08:13,960
Speaker 2: This is the second time two different pairs sing two

158
00:08:14,080 --> 00:08:16,800
Speaker 2: duets in one episode, the first being Big Brother.

159
00:08:18,520 --> 00:08:22,040
Speaker 1: That's funny. Tina Parker Baker of Glee's hairstyling department, the

160
00:08:22,080 --> 00:08:27,840
Speaker 1: Head makes a cameo appearance as herself and sodas.

161
00:08:27,520 --> 00:08:32,000
Speaker 2: Kelly Mitchell of the makeup department, looking at beautiful like

162
00:08:32,080 --> 00:08:33,360
Speaker 2: right in the middle of the frame. I was like,

163
00:08:33,520 --> 00:08:35,679
Speaker 2: Kelly is so gorgeous.

164
00:08:35,960 --> 00:08:40,240
Speaker 1: I know, she's stunning. That like perfect complexion, the red

165
00:08:40,240 --> 00:08:46,640
Speaker 1: hair like Whoever, this is sad news. This is the

166
00:08:46,720 --> 00:08:51,760
Speaker 1: last appearance of Figgins in the fifth season. No devastating.

167
00:08:52,480 --> 00:08:57,560
Speaker 1: What we need Morphiggins, I do, I know, but like

168
00:08:57,640 --> 00:09:02,800
Speaker 1: in general, we've needed more Faggins. Agreed. When Rachel and

169
00:09:02,800 --> 00:09:05,040
Speaker 1: Santana are fighting, Rachel mentions the number they did in

170
00:09:05,040 --> 00:09:08,640
Speaker 1: the choir room after graduation, referring to so emotional, when

171
00:09:08,679 --> 00:09:12,160
Speaker 1: in fact it was before graduation. This mistake was fixed

172
00:09:12,160 --> 00:09:14,240
Speaker 1: in the Latin America dub of the show, where Rachel

173
00:09:14,280 --> 00:09:16,000
Speaker 1: doesn't mention cratuation.

174
00:09:16,440 --> 00:09:20,439
Speaker 2: At least somebody was on it. In Extraordinary Merry Christmas,

175
00:09:20,520 --> 00:09:24,120
Speaker 2: Tina says that Artie's rewalk broke the next day. However,

176
00:09:24,280 --> 00:09:27,200
Speaker 2: during the valedictorian speech, Artie says it broke an hour later.

177
00:09:27,320 --> 00:09:31,120
Speaker 2: You know, close enough. I think that's basically the same

178
00:09:31,160 --> 00:09:31,480
Speaker 2: thing in.

179
00:09:31,400 --> 00:09:35,000
Speaker 1: Glee World, agreed, and Sue mentions the both Tina and

180
00:09:35,000 --> 00:09:37,800
Speaker 1: already have perfect attendance. However, Tina was absent in season

181
00:09:38,120 --> 00:09:43,120
Speaker 1: three's The Spanish Teacher, something that was even mentioned in

182
00:09:43,240 --> 00:09:46,760
Speaker 1: On My Way. Well maybe we're talking about a different

183
00:09:46,920 --> 00:09:48,559
Speaker 1: year of perfect attendance.

184
00:09:48,920 --> 00:09:51,800
Speaker 2: Oh so you're saying lady should have had it, should

185
00:09:51,840 --> 00:09:54,079
Speaker 2: have been given valedictorian because he didn't miss a day.

186
00:09:54,920 --> 00:09:58,720
Speaker 1: No, I'm not saying that that's what I heard. Okay, great,

187
00:09:59,120 --> 00:10:11,000
Speaker 1: well I'm here where you want to Okay, give me

188
00:10:11,080 --> 00:10:13,120
Speaker 1: the the the some sum.

189
00:10:13,280 --> 00:10:17,760
Speaker 2: The sum is Santana auditions and snags the role of

190
00:10:17,840 --> 00:10:22,760
Speaker 2: Rachel's understudy and funny girl, causing a feud between the roommates. Meanwhile,

191
00:10:22,800 --> 00:10:25,880
Speaker 2: back in Lima, Tina and Already compete against each other

192
00:10:26,520 --> 00:10:28,400
Speaker 2: to be the class valedictorian.

193
00:10:29,120 --> 00:10:33,760
Speaker 1: Wow, okay, where do you want to start? Kevin Tree

194
00:10:33,800 --> 00:10:36,439
Speaker 1: starves and Janna Rachel start child. Let's start child and

195
00:10:36,600 --> 00:10:41,000
Speaker 1: Kurt Let's start trial and Kurt let's build up. I agree, Okay.

196
00:10:41,480 --> 00:10:46,400
Speaker 2: This is also fun. I do enjoy like feud or

197
00:10:46,520 --> 00:10:49,760
Speaker 2: like SmackDown. I like when they pit two people against

198
00:10:49,800 --> 00:10:53,920
Speaker 2: each other. It works really really well in this show totally,

199
00:10:54,080 --> 00:10:58,280
Speaker 2: always has worked totally and it works naturally, And I

200
00:10:58,280 --> 00:11:00,760
Speaker 2: think maybe it's something to do with like high schoo dynamics,

201
00:11:01,800 --> 00:11:06,760
Speaker 2: but it's something that always feels right agreed.

202
00:11:07,240 --> 00:11:10,000
Speaker 1: Maybe it's because we started that way, but maybe there's

203
00:11:10,080 --> 00:11:13,719
Speaker 1: this like really good conflict resolution that we is satisfying

204
00:11:13,760 --> 00:11:16,880
Speaker 1: to us or I don't know, but I totally agree.

205
00:11:17,000 --> 00:11:19,400
Speaker 1: I'm here for it, and it's not like it's kind

206
00:11:19,400 --> 00:11:24,800
Speaker 1: of harmless in their in their situation with Starchild and Kurt,

207
00:11:24,840 --> 00:11:28,280
Speaker 1: because Kurt is feeling threatened by Starchild, thinking that he

208
00:11:28,320 --> 00:11:31,840
Speaker 1: wants to take over the for the band and he

209
00:11:31,880 --> 00:11:35,320
Speaker 1: should be scared of Starchild because Starchild is a star.

210
00:11:35,559 --> 00:11:39,640
Speaker 2: But Adam Lambird is like the most talented person on

211
00:11:39,679 --> 00:11:40,600
Speaker 2: the base of the planet.

212
00:11:40,679 --> 00:11:44,320
Speaker 1: It's actually insane. So Blaine's advice is to keep your

213
00:11:44,320 --> 00:11:48,200
Speaker 1: friends closer, and he's closer, so Kurt decides to like

214
00:11:49,000 --> 00:11:51,920
Speaker 1: keep him real close tight, which I always worry about.

215
00:11:52,000 --> 00:11:53,920
Speaker 1: I'm like, why does this person want to get close

216
00:11:53,960 --> 00:11:55,000
Speaker 1: to me? Do they hate me?

217
00:11:56,559 --> 00:11:56,959
Speaker 2: Really?

218
00:11:57,640 --> 00:12:01,520
Speaker 1: Yeah? Sometimes I like question it first, not the whole time,

219
00:12:01,600 --> 00:12:04,240
Speaker 1: but it's like an initial thought that I always have.

220
00:12:04,600 --> 00:12:11,480
Speaker 2: I wonder if I should start considering that. Oh no, no,

221
00:12:11,640 --> 00:12:14,959
Speaker 2: it's just me and my guard. What I really enjoyed

222
00:12:15,160 --> 00:12:22,119
Speaker 2: was watching Chris Colfer play like the the their frenemy's

223
00:12:22,160 --> 00:12:24,280
Speaker 2: story right, because I feel like each one has like

224
00:12:24,320 --> 00:12:27,480
Speaker 2: a different lean and his is trying to be like

225
00:12:27,640 --> 00:12:32,360
Speaker 2: super nice and cults him into like doing things together,

226
00:12:33,120 --> 00:12:35,520
Speaker 2: and I kill him with kindness, but like not be

227
00:12:35,600 --> 00:12:38,960
Speaker 2: obvious about it, and watching Chris do that was very satisfying.

228
00:12:39,040 --> 00:12:40,320
Speaker 2: I could watch and do that all day.

229
00:12:40,840 --> 00:12:46,480
Speaker 1: They also have a great on screen chemistry, like I

230
00:12:46,559 --> 00:12:50,559
Speaker 1: love them together, and not in like a romantic way,

231
00:12:50,840 --> 00:12:55,880
Speaker 1: just in like a very they they they're very different

232
00:12:56,040 --> 00:13:00,880
Speaker 1: but yet similar in some ways, and it's very satisfying.

233
00:13:01,040 --> 00:13:03,920
Speaker 1: I feel I could watch them all very long.

234
00:13:04,320 --> 00:13:06,520
Speaker 2: Kurt doesn't have a lot of gay friendships on this

235
00:13:06,640 --> 00:13:11,280
Speaker 2: show like male friendships, and it is really nice to see.

236
00:13:11,880 --> 00:13:13,760
Speaker 2: And I think there's something too, or maybe he's not

237
00:13:13,840 --> 00:13:17,199
Speaker 2: used to it right, like it's not romantic. Maybe somebody's

238
00:13:17,280 --> 00:13:21,040
Speaker 2: not coming after you for some ulterior motive. Maybe like

239
00:13:21,120 --> 00:13:25,760
Speaker 2: this guy's just nice and like supports you and has

240
00:13:25,840 --> 00:13:29,880
Speaker 2: been supportive in every single episode. It's a very very beginning.

241
00:13:29,920 --> 00:13:32,040
Speaker 2: And I really love how Adam Lambert's playing it because

242
00:13:32,080 --> 00:13:37,760
Speaker 2: star Child the performer is like Sasha fears for Beyonce.

243
00:13:38,080 --> 00:13:41,280
Speaker 1: Right then, and then Elliott Elliott.

244
00:13:40,960 --> 00:13:44,760
Speaker 2: Is just like super nice, soft spoken. Actually how Adam

245
00:13:44,840 --> 00:13:46,280
Speaker 2: sort of is in real life?

246
00:13:46,480 --> 00:13:48,920
Speaker 1: Oh yeah, I didn't. I haven't like spent a ton

247
00:13:48,960 --> 00:13:51,400
Speaker 1: of time about it, but he comes acrossberry grounded to

248
00:13:51,480 --> 00:13:56,120
Speaker 1: me very and that's what Elliott is like a very

249
00:13:56,160 --> 00:14:02,760
Speaker 1: sound person, and so Curtin Elliott starts to spend some

250
00:14:02,800 --> 00:14:10,480
Speaker 1: time together and we get the joy of the most

251
00:14:10,480 --> 00:14:13,600
Speaker 1: perfect song for the both of them. Honestly, it is

252
00:14:13,640 --> 00:14:17,120
Speaker 1: like if there was a song that was written for

253
00:14:17,200 --> 00:14:20,440
Speaker 1: the two of them, just saying it was I believe,

254
00:14:20,480 --> 00:14:21,200
Speaker 1: I Think all Love.

255
00:14:22,000 --> 00:14:25,040
Speaker 2: I remember sitting in the theater when they were showing

256
00:14:25,080 --> 00:14:27,800
Speaker 2: this to us at lunch. I remember watching this episode

257
00:14:27,840 --> 00:14:31,800
Speaker 2: so clearly, and when this came on, this was one

258
00:14:31,840 --> 00:14:36,640
Speaker 2: of the best things about New York happening. Is like

259
00:14:36,680 --> 00:14:38,240
Speaker 2: the sad part of it was like, yeah, we didn't

260
00:14:38,240 --> 00:14:41,000
Speaker 2: get see everybody in work with everybody all the time. However,

261
00:14:41,600 --> 00:14:44,040
Speaker 2: when a number like this comes along, or this whole

262
00:14:44,120 --> 00:14:47,440
Speaker 2: episode for New York really yeah yeah, and you see

263
00:14:47,600 --> 00:14:50,320
Speaker 2: like what your friends are doing and what the crew

264
00:14:50,400 --> 00:14:55,120
Speaker 2: has done, Like it's you're like, we were cheering because

265
00:14:55,160 --> 00:14:57,640
Speaker 2: it is so good, oh good. And also like seeing

266
00:14:57,720 --> 00:15:01,480
Speaker 2: Chris with like the band, mean, like the guitar players

267
00:15:01,600 --> 00:15:06,560
Speaker 2: and their voices sound so good together. They're so different, yes, and.

268
00:15:06,560 --> 00:15:09,880
Speaker 1: Yet it's like both in their range and it's such

269
00:15:09,880 --> 00:15:13,440
Speaker 1: a great song. And the cover is really good. I

270
00:15:13,480 --> 00:15:15,680
Speaker 1: actually like this cover better than I like the original.

271
00:15:18,720 --> 00:15:19,640
Speaker 1: Dare I say I.

272
00:15:21,440 --> 00:15:22,720
Speaker 2: Support you?

273
00:15:23,040 --> 00:15:24,160
Speaker 1: I mean I love the darkness.

274
00:15:24,520 --> 00:15:25,680
Speaker 2: Okay, I love the darkness.

275
00:15:26,120 --> 00:15:29,240
Speaker 1: I love this song, like, okay, I think I think

276
00:15:29,280 --> 00:15:31,000
Speaker 1: said this song has worn on me a little bit,

277
00:15:31,000 --> 00:15:33,040
Speaker 1: and I think that's why the original. So I feel

278
00:15:33,040 --> 00:15:35,960
Speaker 1: like I'm refreshed by this version. Maybe that's what I mean.

279
00:15:36,440 --> 00:15:37,760
Speaker 2: And you know, that's how I feel about a lot

280
00:15:37,800 --> 00:15:40,440
Speaker 2: of the songs in this episode. Yeah, I don't know

281
00:15:40,440 --> 00:15:42,920
Speaker 2: if I think they're better, but it is refreshing to

282
00:15:43,000 --> 00:15:45,200
Speaker 2: hear because they're all very well known songs.

283
00:15:45,680 --> 00:15:48,680
Speaker 1: Yes, that's right, that's right, and very good covers. So

284
00:15:51,000 --> 00:15:54,360
Speaker 1: Elliott like knows what's the ruse, he knows what's up,

285
00:15:55,720 --> 00:15:58,080
Speaker 1: and he's basically like, I get it, and I'm not

286
00:15:58,120 --> 00:15:59,240
Speaker 1: going to take over your fee.

287
00:16:00,200 --> 00:16:03,240
Speaker 2: Didn't it feel like a shock? I feel like yes.

288
00:16:03,280 --> 00:16:07,520
Speaker 2: On Glee, everyone is sort of up to no good,

289
00:16:08,120 --> 00:16:11,120
Speaker 2: Like everyone is really trying to like jockey for position.

290
00:16:11,800 --> 00:16:16,000
Speaker 2: Elliott knows what Kris is doing from the beginning and

291
00:16:16,200 --> 00:16:19,360
Speaker 2: is so confident and secure in himself that he doesn't care.

292
00:16:20,320 --> 00:16:24,480
Speaker 1: That again is also refreshing. I love the storyline. I'm like, Okay, great,

293
00:16:24,560 --> 00:16:29,600
Speaker 1: he's mature. It's great. It's so great. I love it.

294
00:16:29,720 --> 00:16:30,640
Speaker 1: I love it, I love it.

295
00:16:31,280 --> 00:16:37,400
Speaker 2: I also think the New York storylines in general, this episode. Yeah,

296
00:16:37,400 --> 00:16:39,080
Speaker 2: you know, we started off by saying, this feels like

297
00:16:39,200 --> 00:16:43,080
Speaker 2: an old Glee episode in all the best ways. And

298
00:16:43,120 --> 00:16:46,160
Speaker 2: that doesn't mean just because it's a lot of the

299
00:16:46,200 --> 00:16:49,640
Speaker 2: OG characters. I mean even in New York, who it's

300
00:16:49,680 --> 00:16:52,240
Speaker 2: not in the Halls of McKinley, it still feels like

301
00:16:53,040 --> 00:16:55,520
Speaker 2: old Glee. Yes, totally, even if it's not in the

302
00:16:55,520 --> 00:17:00,880
Speaker 2: same setting. Totally, and this storyline is perfect for that.

303
00:17:01,520 --> 00:17:05,800
Speaker 2: It's very focused. This is very focused. I think focused.

304
00:17:06,040 --> 00:17:10,439
Speaker 2: I like that feeling of like there's it's there's just

305
00:17:10,560 --> 00:17:14,280
Speaker 2: it's very clear when there's like a lot of jumblingly

306
00:17:14,400 --> 00:17:16,240
Speaker 2: a lot of the time, and there's so many things

307
00:17:16,280 --> 00:17:19,080
Speaker 2: to follow. This was the whole episode.

308
00:17:19,119 --> 00:17:23,520
Speaker 1: We had a theme, and the three of them, you know,

309
00:17:23,600 --> 00:17:26,760
Speaker 1: all the characters had this similar kind of front of

310
00:17:26,800 --> 00:17:29,040
Speaker 1: me thing going on, and so it was just like

311
00:17:29,600 --> 00:17:32,600
Speaker 1: easy to watch. You sit back, you just enjoy it.

312
00:17:32,720 --> 00:17:38,399
Speaker 1: You're not like panicking the whole time like sometimes. But yeah,

313
00:17:38,480 --> 00:17:43,960
Speaker 1: so so Rachel in Santana, Oh my god, this is

314
00:17:44,000 --> 00:17:50,399
Speaker 1: such a good storyline. Rachel invites Santana to a photo

315
00:17:50,400 --> 00:17:53,359
Speaker 1: shoot for New York magazine. Is the right New York

316
00:17:53,560 --> 00:17:54,360
Speaker 1: New York magazine?

317
00:17:54,359 --> 00:17:54,760
Speaker 2: I think so?

318
00:17:55,160 --> 00:17:58,760
Speaker 1: Or the New Yorker. It's one of those. And and

319
00:17:58,880 --> 00:18:00,600
Speaker 1: she's doing this photo shoot for front of Girl, and

320
00:18:00,640 --> 00:18:05,280
Speaker 1: she's like, why don't you come get pampered? Ca Santana's

321
00:18:05,320 --> 00:18:09,760
Speaker 1: feeling a little like she's kind of behind the curve

322
00:18:09,920 --> 00:18:13,439
Speaker 1: of everybody in New York doing things and accomplishing things.

323
00:18:13,440 --> 00:18:16,399
Speaker 1: And now she's known as the East to Stack girl.

324
00:18:16,520 --> 00:18:26,280
Speaker 1: So is this is? I love their dynamic. I like

325
00:18:26,400 --> 00:18:31,360
Speaker 1: the whole idea that, like Rachel's supporting her at first

326
00:18:31,440 --> 00:18:34,840
Speaker 1: and bringing her along. I don't feel like it's like

327
00:18:34,920 --> 00:18:37,800
Speaker 1: a oh because you're in the background thing. Like I

328
00:18:37,800 --> 00:18:42,560
Speaker 1: feel like it was genuinely a friend thing and we

329
00:18:42,640 --> 00:18:48,159
Speaker 1: get Brave, which I love that number. I love that number.

330
00:18:48,240 --> 00:18:52,600
Speaker 1: I love Sarah obviously. I don't know what it is

331
00:18:52,640 --> 00:18:55,040
Speaker 1: about this number. It's so satisfying? Is it the lines

332
00:18:55,119 --> 00:18:58,879
Speaker 1: and the choreography too when they sound really good? But

333
00:18:58,960 --> 00:19:02,600
Speaker 1: there's something about it that is also reminiscent of what

334
00:19:02,680 --> 00:19:04,480
Speaker 1: we're going to get later in every breath you take.

335
00:19:04,560 --> 00:19:08,840
Speaker 1: It's slightly similar. I don't think that was intentional, but

336
00:19:09,160 --> 00:19:09,800
Speaker 1: I liked it.

337
00:19:10,960 --> 00:19:15,320
Speaker 2: I love this number. I think it works on every

338
00:19:15,359 --> 00:19:19,960
Speaker 2: single level. It's like it's also something we haven't seen.

339
00:19:20,720 --> 00:19:23,560
Speaker 2: We've just do our six hundred number, and this is

340
00:19:23,600 --> 00:19:27,840
Speaker 2: something we have not done yet. They still there's sharp lines,

341
00:19:27,880 --> 00:19:32,240
Speaker 2: it's a different setting. Also, they both are playing their

342
00:19:32,280 --> 00:19:35,240
Speaker 2: own story. It's also a fantasy within it that feels

343
00:19:35,280 --> 00:19:38,760
Speaker 2: real and grounded. And also they still look beautiful and

344
00:19:38,800 --> 00:19:40,080
Speaker 2: it's still campy.

345
00:19:40,640 --> 00:19:41,640
Speaker 1: Like they sound good.

346
00:19:42,080 --> 00:19:47,719
Speaker 2: They so good. And the dynamic of in front of

347
00:19:47,760 --> 00:19:50,399
Speaker 2: the camera and behind the camera working with the storyline

348
00:19:50,440 --> 00:19:53,800
Speaker 2: also is like super impactful. And I think like this

349
00:19:53,880 --> 00:19:57,760
Speaker 2: is exactly where Glee hits it shride, where you're still

350
00:19:57,800 --> 00:20:04,080
Speaker 2: giving visually and audibly like a really wonderful performance, but

351
00:20:04,119 --> 00:20:06,600
Speaker 2: also the story is working within the song.

352
00:20:08,040 --> 00:20:11,040
Speaker 1: Yes, yes, it's driving.

353
00:20:11,320 --> 00:20:14,520
Speaker 2: And this was again another one of those things in

354
00:20:14,520 --> 00:20:18,000
Speaker 2: the screening were like what is So it's also I

355
00:20:18,080 --> 00:20:24,680
Speaker 2: think as a viewer really satisfying this dynamic for two reasons. One,

356
00:20:25,000 --> 00:20:28,800
Speaker 2: you know, like in the earlier seasons, when any members

357
00:20:28,800 --> 00:20:30,680
Speaker 2: of the Glee Club would go up against Rachel because

358
00:20:30,680 --> 00:20:33,359
Speaker 2: she always tried to like dominate the setting, it was

359
00:20:33,400 --> 00:20:35,919
Speaker 2: always sort of like satisfying as a viewer right to

360
00:20:36,040 --> 00:20:40,520
Speaker 2: be like humble her. She obviously is so super talented,

361
00:20:40,920 --> 00:20:45,800
Speaker 2: but like this is an ensemble thing, right, And it's

362
00:20:45,960 --> 00:20:48,560
Speaker 2: one of those moments again. And it's nice also to

363
00:20:48,600 --> 00:20:53,280
Speaker 2: see Santana come from where she's come from to be

364
00:20:53,440 --> 00:20:57,840
Speaker 2: the one who can match Rachel totally going toe to

365
00:20:57,840 --> 00:21:01,479
Speaker 2: toe with her, and I feel like this episode there

366
00:21:01,560 --> 00:21:06,120
Speaker 2: is no distinction because you are literally seeing Santana play

367
00:21:06,119 --> 00:21:12,000
Speaker 2: in Rachel's like sandbox, yes, like doing Funny Girl, doing

368
00:21:12,040 --> 00:21:17,240
Speaker 2: this number. And also they're both just so talented as

369
00:21:17,280 --> 00:21:22,439
Speaker 2: actors and singers that and so beloved as characters, like

370
00:21:22,480 --> 00:21:27,600
Speaker 2: they're both equally as beloved and known and attached to.

371
00:21:27,800 --> 00:21:30,560
Speaker 2: And so you see two people that you're rooting for

372
00:21:32,160 --> 00:21:37,560
Speaker 2: on each on a different level, Like I'm not I'm

373
00:21:37,600 --> 00:21:39,880
Speaker 2: just rooting for them in general. Yeah, Like I don't

374
00:21:39,880 --> 00:21:41,480
Speaker 2: know if one of you is right or wrong. I

375
00:21:41,520 --> 00:21:43,240
Speaker 2: don't know how I feel about it, because you both

376
00:21:43,280 --> 00:21:46,560
Speaker 2: have really good points totally and it feels like really

377
00:21:46,600 --> 00:21:49,680
Speaker 2: real and you're both acting asses off, I.

378
00:21:49,640 --> 00:21:54,080
Speaker 1: Know, and like. And then Rachel is obviously being told

379
00:21:54,119 --> 00:21:57,240
Speaker 1: that they're going to cast an understudy for Funny girlers

380
00:21:57,320 --> 00:21:59,800
Speaker 1: is like, I'm not going to miss a show and

381
00:22:00,520 --> 00:22:02,400
Speaker 1: they're like, well, legally we have to so.

382
00:22:02,920 --> 00:22:06,040
Speaker 2: True to have Yeah, yeah, yeah, I think so.

383
00:22:06,320 --> 00:22:10,000
Speaker 1: In some levels of contracts there's there's requirements that you

384
00:22:10,080 --> 00:22:12,800
Speaker 1: have to have an understudy, like Broadway, Yes, you have

385
00:22:12,880 --> 00:22:13,639
Speaker 1: to have understudies.

386
00:22:13,680 --> 00:22:16,879
Speaker 2: I have a question. Yeah, so this whole auditioning for

387
00:22:17,000 --> 00:22:22,280
Speaker 2: an understudy thing looks very TV suspect we don't know

388
00:22:22,520 --> 00:22:23,479
Speaker 2: how theater works.

389
00:22:24,480 --> 00:22:28,360
Speaker 1: Yeah, it's a little like a little Chicago y right,

390
00:22:28,520 --> 00:22:31,960
Speaker 1: Like we're auditioning on a stage and we're like we're

391
00:22:31,960 --> 00:22:36,080
Speaker 1: there for the understudy role and like really, I mean

392
00:22:36,200 --> 00:22:38,280
Speaker 1: it should be more generic in a regular room, and

393
00:22:38,320 --> 00:22:41,360
Speaker 1: like it's I don't know, and like the bad singing,

394
00:22:41,480 --> 00:22:45,080
Speaker 1: the whole thing. It feels a little bit campy, like.

395
00:22:45,119 --> 00:22:47,840
Speaker 2: You wouldn't have singers in there who could not sing.

396
00:22:48,400 --> 00:22:57,000
Speaker 1: Well, I'm director that badly? Yeah probably not. No, And yeah,

397
00:22:57,040 --> 00:22:59,600
Speaker 1: I mean there's people who botch auditions who are good,

398
00:23:00,000 --> 00:23:01,160
Speaker 1: and there are people who.

399
00:23:01,119 --> 00:23:04,840
Speaker 3: Wait, can go on, like I mean like an intentional botch.

400
00:23:05,320 --> 00:23:07,640
Speaker 3: Oh no no, no, no, no, okay, I mean like.

401
00:23:07,560 --> 00:23:12,960
Speaker 1: A you're nervous and you're I'm familiar. Yeah, yeah, yeah,

402
00:23:13,000 --> 00:23:16,840
Speaker 1: we all are. But like, yeah, in general, it's a

403
00:23:16,840 --> 00:23:22,560
Speaker 1: little less. You know, on a big it feels like

404
00:23:22,640 --> 00:23:26,240
Speaker 1: on a big like high stakes, big scale. And I

405
00:23:26,280 --> 00:23:28,560
Speaker 1: don't know. I think you just auditioned and then they

406
00:23:28,600 --> 00:23:30,919
Speaker 1: cast an understudy or somebody that they loved for the

407
00:23:30,960 --> 00:23:34,040
Speaker 1: part that Rachel went up against or something like that.

408
00:23:34,440 --> 00:23:36,640
Speaker 1: I don't know. And I don't think that they would

409
00:23:36,640 --> 00:23:39,880
Speaker 1: have put brought the star and to cast their understand

410
00:23:39,960 --> 00:23:44,480
Speaker 1: right if it was a chemistry read and they're casting

411
00:23:44,520 --> 00:23:47,840
Speaker 1: the other guy, that's different, which was yeah, we did

412
00:23:47,920 --> 00:23:51,600
Speaker 1: see exactly exactly, but yeah, you don't. You don't see

413
00:23:51,640 --> 00:23:55,480
Speaker 1: that all that often unless they're part of the creative team.

414
00:23:56,080 --> 00:23:58,280
Speaker 1: Santana comes in because she gets wind of it, and

415
00:23:58,320 --> 00:24:00,800
Speaker 1: she comes in and she bursts in doing don't rant

416
00:24:00,840 --> 00:24:01,800
Speaker 1: in my preay through.

417
00:24:01,680 --> 00:24:04,960
Speaker 2: The aisle, like it's such a good reference.

418
00:24:05,960 --> 00:24:14,840
Speaker 1: Now, to be fair, it's she's not funny, No Naya

419
00:24:15,800 --> 00:24:20,240
Speaker 1: put her own spin on it. This is fully Naya.

420
00:24:20,320 --> 00:24:22,880
Speaker 1: I don't think she was even trying to be funny girl.

421
00:24:22,960 --> 00:24:26,400
Speaker 1: She was just trying to show what she can do,

422
00:24:26,600 --> 00:24:29,919
Speaker 1: which she did. I love this version.

423
00:24:30,359 --> 00:24:32,360
Speaker 2: It's so that version is so funny.

424
00:24:32,800 --> 00:24:38,000
Speaker 1: It's ridiculous. It's ridiculous. It did the job though, because

425
00:24:38,000 --> 00:24:40,120
Speaker 1: I was like, oh my god, this is so good.

426
00:24:42,080 --> 00:24:49,200
Speaker 1: It's ridiculous, and she's so she sounds so good song

427
00:24:49,359 --> 00:24:52,920
Speaker 1: in her own way, like Leah, obviously this is her song,

428
00:24:53,119 --> 00:24:56,280
Speaker 1: right like this is when she was talking about how

429
00:24:56,320 --> 00:24:59,160
Speaker 1: like when you know, when it's not Barbara's anymore, it's hers,

430
00:24:59,280 --> 00:25:02,119
Speaker 1: it's kind of Leah now, So like I you know

431
00:25:02,200 --> 00:25:07,280
Speaker 1: what I mean. But but I appreciate that Santana did

432
00:25:07,280 --> 00:25:10,960
Speaker 1: her own version, not trying to fit into the mold. Also,

433
00:25:11,119 --> 00:25:13,760
Speaker 1: that was the music people being like, let's just go.

434
00:25:15,920 --> 00:25:19,080
Speaker 2: Damn, it's all right, like it is all of it.

435
00:25:19,000 --> 00:25:21,879
Speaker 2: It's just all of it works. They like like Adam

436
00:25:21,920 --> 00:25:25,359
Speaker 2: and Alex and the music people and the writers like

437
00:25:25,480 --> 00:25:28,640
Speaker 2: all of it makes so much sense that Santiano would

438
00:25:28,640 --> 00:25:29,760
Speaker 2: go in there and just like.

439
00:25:30,680 --> 00:25:32,480
Speaker 1: The no, I wouldn't do that either, you know what

440
00:25:32,560 --> 00:25:34,800
Speaker 1: I mean, She wouldn't try to be something that she's not.

441
00:25:35,320 --> 00:25:40,159
Speaker 2: She would do the same song. I definitely, absolutely that

442
00:25:40,480 --> 00:25:45,040
Speaker 2: absolutely would and be like I can do this's my version.

443
00:25:45,160 --> 00:25:46,640
Speaker 1: Yeah.

444
00:25:46,680 --> 00:25:49,800
Speaker 2: All the storylines in this episode work so successfully, and

445
00:25:49,840 --> 00:25:53,320
Speaker 2: it all seems organized and all seems like classic Gleat. Yeah,

446
00:25:53,359 --> 00:25:56,960
Speaker 2: but I think the self referential stuff that we've always

447
00:25:57,000 --> 00:26:02,240
Speaker 2: done is perfect in this episode because because I don't

448
00:26:02,240 --> 00:26:06,280
Speaker 2: see how it was not intentional that they're going at

449
00:26:06,359 --> 00:26:08,480
Speaker 2: it in this episode in such a specific way when

450
00:26:08,520 --> 00:26:11,400
Speaker 2: there were like rumors out in the world that they

451
00:26:11,440 --> 00:26:14,320
Speaker 2: didn't get along for sure, and you know, she would

452
00:26:14,320 --> 00:26:17,040
Speaker 2: have loved that shit Like Naya and Leat were probably yeah,

453
00:26:17,440 --> 00:26:20,160
Speaker 2: do this, because all those things were always blown out

454
00:26:20,160 --> 00:26:20,800
Speaker 2: of proportion and.

455
00:26:20,760 --> 00:26:22,639
Speaker 1: Not correct exactly.

456
00:26:22,880 --> 00:26:26,159
Speaker 2: So like watching it was also like fan service in

457
00:26:26,200 --> 00:26:28,560
Speaker 2: a way of like, oh, you think they hate each other,

458
00:26:28,640 --> 00:26:29,119
Speaker 2: let's give.

459
00:26:28,960 --> 00:26:30,680
Speaker 1: It to you. Just do it. Yeah, give the people

460
00:26:30,680 --> 00:26:31,160
Speaker 1: what they want.

461
00:26:31,320 --> 00:26:34,040
Speaker 2: Yeah, And it works because they're also playing into it.

462
00:26:34,040 --> 00:26:37,040
Speaker 2: It's like they're in on the gag of it all totally.

463
00:26:38,200 --> 00:26:45,240
Speaker 1: It was. It was great. And then Santana gets the

464
00:26:45,240 --> 00:26:46,360
Speaker 1: the understudy role.

465
00:26:46,680 --> 00:26:49,640
Speaker 2: Well before we get to that, okay, because that scene

466
00:26:49,680 --> 00:26:51,600
Speaker 2: where they come in and they have their like first

467
00:26:51,680 --> 00:26:56,159
Speaker 2: run in post her auditioning and Santana's like, I'm going

468
00:26:56,240 --> 00:26:59,080
Speaker 2: to move out. It's like, yeah, right, you should, and

469
00:26:59,119 --> 00:27:02,719
Speaker 2: then she gets the call that she's that she's going

470
00:27:02,760 --> 00:27:09,000
Speaker 2: to get it, and like Kurt witnessing this, the fallout

471
00:27:09,040 --> 00:27:16,720
Speaker 2: from this preceding the next scene is genius. Genius genius,

472
00:27:16,760 --> 00:27:20,840
Speaker 2: like I I want to talk to them to be like,

473
00:27:20,880 --> 00:27:22,679
Speaker 2: do you remember how it felt to be shooting this?

474
00:27:22,800 --> 00:27:26,359
Speaker 2: Because watching it feels electric all these it.

475
00:27:26,280 --> 00:27:32,240
Speaker 1: Does it does. It's I think they all know each

476
00:27:32,240 --> 00:27:35,399
Speaker 1: other so well too. M h. It's like when we

477
00:27:35,480 --> 00:27:39,520
Speaker 1: do our stuff, if it's very easy, it's very easy

478
00:27:39,520 --> 00:27:43,760
Speaker 1: to work together. It's very easy to know these characters

479
00:27:43,800 --> 00:27:46,280
Speaker 1: and to know the chemistry and the energy you're going

480
00:27:46,359 --> 00:27:49,880
Speaker 1: to get, and and it's just there's an ease to it.

481
00:27:50,520 --> 00:27:54,120
Speaker 1: And so when the stakes are even higher, there's an

482
00:27:54,160 --> 00:27:56,840
Speaker 1: ease that you get. But then also the steaks on

483
00:27:56,920 --> 00:28:00,880
Speaker 1: top of it, and that's that's the magic. Well.

484
00:28:00,960 --> 00:28:04,240
Speaker 2: And then they're also everyone's played these characters for so

485
00:28:04,359 --> 00:28:09,120
Speaker 2: long that these scenes were written so well that they're

486
00:28:09,880 --> 00:28:15,679
Speaker 2: playing on and using four seasons full of material to

487
00:28:15,800 --> 00:28:20,119
Speaker 2: get to this point, right, So Naya and Chris and

488
00:28:20,200 --> 00:28:23,960
Speaker 2: Leah obviously deeply understand their characters. Yes, And so when

489
00:28:24,000 --> 00:28:29,040
Speaker 2: you're finally given something to use all of that history

490
00:28:29,480 --> 00:28:31,879
Speaker 2: and it all comes out. Because this wouldn't have worked

491
00:28:31,920 --> 00:28:35,400
Speaker 2: with newer characters, with us being out at newer characters,

492
00:28:35,840 --> 00:28:39,360
Speaker 2: it could only be it could only work just deeply

493
00:28:39,400 --> 00:28:41,920
Speaker 2: in the successfully with characters who have been together since

494
00:28:41,960 --> 00:28:42,280
Speaker 2: day one.

495
00:28:42,720 --> 00:28:47,520
Speaker 1: Yes, and also that slam whoa wow wow wow wow

496
00:28:47,560 --> 00:28:53,400
Speaker 1: wow wow wow. It was all really good.

497
00:29:02,400 --> 00:29:05,280
Speaker 2: So then there's the other scene. They come back and

498
00:29:05,320 --> 00:29:08,800
Speaker 2: then they have this whole the argument or they're standing

499
00:29:08,840 --> 00:29:12,160
Speaker 2: on opposite sides of the loft. Rachel tries to get

500
00:29:12,240 --> 00:29:16,160
Speaker 2: Kurt to decide, and he's very much being Switzerland, like

501
00:29:16,240 --> 00:29:21,080
Speaker 2: this is crazy, Like we're friends, we're friends, We're friends.

502
00:29:21,520 --> 00:29:25,280
Speaker 2: Everybody just like, can we get a long We can't.

503
00:29:26,520 --> 00:29:34,000
Speaker 2: And it was like the first time that Santana and

504
00:29:34,040 --> 00:29:36,560
Speaker 2: I use the term win loosely because I don't really

505
00:29:36,600 --> 00:29:43,560
Speaker 2: know if she ultimately if it's winning, but Santana fully

506
00:29:43,600 --> 00:29:46,560
Speaker 2: stands her ground and Rachel concedes and is like I'll

507
00:29:46,600 --> 00:29:54,400
Speaker 2: go then, yeah, yeah yeah. And it was so powerful

508
00:29:56,040 --> 00:30:03,440
Speaker 2: because the magic of Lee and Leah playing Rachel. It's

509
00:30:03,920 --> 00:30:09,160
Speaker 2: like deep understanding of like Rachel is probably deeply insecure.

510
00:30:10,080 --> 00:30:14,160
Speaker 2: They all are to an extent, right, but Rachel's has

511
00:30:14,160 --> 00:30:17,680
Speaker 2: like always been thinly veiled behind her bravado as a

512
00:30:17,760 --> 00:30:24,760
Speaker 2: human being, right, And like the brilliance of watching her

513
00:30:24,800 --> 00:30:28,480
Speaker 2: face when Saint Annah's like okay, yeah, fine go and

514
00:30:28,600 --> 00:30:31,960
Speaker 2: now it hit her she called her bluff and watching

515
00:30:32,000 --> 00:30:33,920
Speaker 2: them do this, I just couldn't get it, Like I

516
00:30:33,960 --> 00:30:34,440
Speaker 2: may have to.

517
00:30:34,360 --> 00:30:38,400
Speaker 1: Go watch this episode again. Red, Yeah, Yes, And Rachel

518
00:30:38,480 --> 00:30:41,200
Speaker 1: says something. She's like, she only wins if I lose.

519
00:30:41,400 --> 00:30:43,600
Speaker 1: I can't be around this negative energy anymore. This is

520
00:30:43,640 --> 00:30:48,920
Speaker 1: my big break. She's poisoning it. That to me is

521
00:30:49,040 --> 00:30:58,000
Speaker 1: like Rachel saying, like, we can't. It's kind of like,

522
00:30:58,080 --> 00:31:02,120
Speaker 1: I see the pot. I see, I see both sides,

523
00:31:02,120 --> 00:31:04,400
Speaker 1: like we talked about earlier, I see both sides. It's

524
00:31:04,600 --> 00:31:11,280
Speaker 1: very it's very real. It's very real feeling that she's feeling.

525
00:31:11,480 --> 00:31:14,400
Speaker 1: She's feeling jealous, she's feeling stepped on, she's feeling like

526
00:31:14,480 --> 00:31:17,600
Speaker 1: this is her moment in Santana's is blowing it for

527
00:31:17,680 --> 00:31:20,880
Speaker 1: her or taking it away from her in some way.

528
00:31:21,280 --> 00:31:26,040
Speaker 1: And Rachel being the insecure, being so insecure about this,

529
00:31:26,360 --> 00:31:30,000
Speaker 1: like she she can't see that there's room for everybody,

530
00:31:31,440 --> 00:31:37,240
Speaker 1: and so she's choosing to let Santana poison this. She's

531
00:31:37,280 --> 00:31:39,719
Speaker 1: not you know what I mean, give her gives her

532
00:31:39,720 --> 00:31:45,600
Speaker 1: AMMO right, like the victim of it right, And she's

533
00:31:45,640 --> 00:31:50,880
Speaker 1: giving her too much power, I think. But and Santana,

534
00:31:50,880 --> 00:31:53,680
Speaker 1: I don't think is wrong for going in to get

535
00:31:53,720 --> 00:32:01,320
Speaker 1: a role and get a job. But the way they

536
00:32:01,320 --> 00:32:03,800
Speaker 1: play it out, in the dynamic in which they play it,

537
00:32:03,840 --> 00:32:06,720
Speaker 1: and the honesty and the truth behind both of their

538
00:32:06,720 --> 00:32:10,360
Speaker 1: truths is so real that you're like, I am here

539
00:32:10,720 --> 00:32:11,120
Speaker 1: for this.

540
00:32:12,160 --> 00:32:15,160
Speaker 2: Every breath you take was sort of oh God, like

541
00:32:15,320 --> 00:32:18,959
Speaker 2: a not to be too serious about this, but like

542
00:32:19,640 --> 00:32:25,280
Speaker 2: a revelation because never would I ever think to put

543
00:32:25,320 --> 00:32:26,040
Speaker 2: that song there.

544
00:32:27,520 --> 00:32:31,920
Speaker 1: Totally totally, but it is so good.

545
00:32:32,240 --> 00:32:35,040
Speaker 2: Because it's also like funny, but they're playing it so

546
00:32:35,280 --> 00:32:36,600
Speaker 2: serious that it.

547
00:32:38,040 --> 00:32:39,960
Speaker 1: And the most the melody of it and the hook

548
00:32:40,000 --> 00:32:42,600
Speaker 1: of it is so good that you're like, I'm so

549
00:32:42,760 --> 00:32:46,280
Speaker 1: invested in this. Like it the feeling that that song

550
00:32:46,360 --> 00:32:49,160
Speaker 1: gives you, even though it's like a little funny and

551
00:32:49,200 --> 00:32:52,400
Speaker 1: a little weird, like and a weird choice, like something

552
00:32:52,400 --> 00:32:59,360
Speaker 1: we wouldn't have thought of or predicted, it just is.

553
00:33:00,080 --> 00:33:02,560
Speaker 1: It's actually brilliant. It's brilliant.

554
00:33:02,840 --> 00:33:04,520
Speaker 2: I think they also made each other better.

555
00:33:04,920 --> 00:33:10,040
Speaker 1: Oh totally, it's really good. It's really really good. Rachel

556
00:33:10,080 --> 00:33:17,920
Speaker 1: moves out, she rooms up that photo. My heartbroke tuned.

557
00:33:18,760 --> 00:33:23,160
Speaker 2: I mean, what a great I think this like single

558
00:33:23,160 --> 00:33:25,640
Speaker 2: storyline has been like the most successful storyline in New

559
00:33:25,720 --> 00:33:26,280
Speaker 2: York so far.

560
00:33:26,800 --> 00:33:28,640
Speaker 1: Agreed. Agreed.

561
00:33:29,560 --> 00:33:32,880
Speaker 2: It also felt Yeah, it matched. It matched everything like

562
00:33:33,480 --> 00:33:36,560
Speaker 2: it matched their age, the things they've been through, their history,

563
00:33:37,960 --> 00:33:39,680
Speaker 2: also paired with the people who are actually doing it

564
00:33:39,720 --> 00:33:41,880
Speaker 2: like it all just was phenomenal.

565
00:33:42,440 --> 00:33:46,600
Speaker 1: Well, Kevin, and then there's Tina and Artie, and Tina

566
00:33:46,600 --> 00:33:56,360
Speaker 1: and Artie are their title valedictorian. Prior to that, we

567
00:33:56,400 --> 00:34:04,080
Speaker 1: see them amicable, all besting, having lunch their Tuesday lunches

568
00:34:04,160 --> 00:34:10,280
Speaker 1: together already is being supportive about, you know, being Tina

569
00:34:10,320 --> 00:34:14,359
Speaker 1: being waitlisted for Brown. You cheer up, you break into song.

570
00:34:14,480 --> 00:34:17,400
Speaker 1: It's our six hundredth number. It's one of my favorite

571
00:34:17,480 --> 00:34:23,080
Speaker 1: numbers we've e were done together. I love doing this

572
00:34:23,280 --> 00:34:29,000
Speaker 1: number with you. This is reminiscent of that scene we'll

573
00:34:29,040 --> 00:34:30,799
Speaker 1: have later where we decide we're going to get married

574
00:34:30,840 --> 00:34:34,120
Speaker 1: if we're not together with anybody by the time we're

575
00:34:34,120 --> 00:34:38,640
Speaker 1: thirtieth Is this that episode? No, No, that's later, But

576
00:34:39,160 --> 00:34:40,719
Speaker 1: it felt like that, and I think that was Brad

577
00:34:40,760 --> 00:34:44,520
Speaker 1: Baker as well. That's fine. Yeah, this was so much fun.

578
00:34:45,760 --> 00:34:49,719
Speaker 1: It was episode was the storyline was so great. I

579
00:34:49,760 --> 00:34:53,400
Speaker 1: loved it. I was thrilled when I read it. It

580
00:34:53,440 --> 00:34:56,799
Speaker 1: felt it also felt like after all the chaos that

581
00:34:56,920 --> 00:35:00,880
Speaker 1: was happening. The storyline was focused. It was and Artie,

582
00:35:01,000 --> 00:35:03,960
Speaker 1: it was you and me. We were running lines like

583
00:35:04,160 --> 00:35:09,319
Speaker 1: all the time for all of this, and like it

584
00:35:09,480 --> 00:35:12,680
Speaker 1: just felt comfortable. It felt like we were back in

585
00:35:12,760 --> 00:35:15,080
Speaker 1: a place where it was like this is safe, this

586
00:35:15,160 --> 00:35:16,320
Speaker 1: is so safe. Yeah.

587
00:35:16,360 --> 00:35:19,120
Speaker 2: And again, like drawing on the history of like all

588
00:35:19,160 --> 00:35:23,600
Speaker 2: of our scenes have that sort of like friendly intimacy

589
00:35:24,040 --> 00:35:27,320
Speaker 2: from the very beginning, but also like they're a little quiet,

590
00:35:27,640 --> 00:35:31,400
Speaker 2: They're really comfortable. It's like the safe space. And it

591
00:35:31,480 --> 00:35:33,920
Speaker 2: was nice that we could sort of like full circle,

592
00:35:34,160 --> 00:35:38,400
Speaker 2: bring that back a bit from the very beginning. I

593
00:35:38,440 --> 00:35:41,680
Speaker 2: love this number. I really it was so much. I

594
00:35:41,719 --> 00:35:44,760
Speaker 2: also like shouted to Brad Beeker that into the camera.

595
00:35:45,560 --> 00:35:49,439
Speaker 2: Stuff was wild, I know, but also like you could

596
00:35:49,440 --> 00:35:53,239
Speaker 2: tell we were having fun. Everybody. Yes, it was nice.

597
00:35:53,360 --> 00:35:59,120
Speaker 2: It felt good. This beautiful arrangement, Like those backgrounds are

598
00:35:59,360 --> 00:36:00,719
Speaker 2: stupid beautiful.

599
00:36:00,920 --> 00:36:02,880
Speaker 1: I love this cover. I just love it. I can

600
00:36:02,920 --> 00:36:06,640
Speaker 1: listen to it all the time. I really do sound great, better.

601
00:36:06,440 --> 00:36:07,120
Speaker 2: Than the original.

602
00:36:07,680 --> 00:36:13,000
Speaker 1: Oh whoa, you're also like throwing down some crazy.

603
00:36:12,680 --> 00:36:18,040
Speaker 2: I think Luke and all those people really came up

604
00:36:18,080 --> 00:36:21,560
Speaker 2: with a beautiful arrangement. And now I've gone back and

605
00:36:21,600 --> 00:36:23,440
Speaker 2: I've listened to the original. I'm like, I missed these.

606
00:36:25,840 --> 00:36:29,520
Speaker 1: And I also feel like this fits our voices very well. Yes,

607
00:36:30,520 --> 00:36:32,320
Speaker 1: some of these songs are a little bit of a stretch,

608
00:36:32,440 --> 00:36:33,680
Speaker 1: like I don't.

609
00:36:33,440 --> 00:36:35,719
Speaker 2: Know, well this one is a bit of a stretch.

610
00:36:35,440 --> 00:36:41,720
Speaker 1: For me, but but I mean totally like yes, our voices,

611
00:36:42,040 --> 00:36:42,759
Speaker 1: Yes it does.

612
00:36:43,640 --> 00:36:46,800
Speaker 2: And doing a seem of Jane, which like in the office,

613
00:36:46,960 --> 00:36:47,720
Speaker 2: can't get enough.

614
00:36:48,640 --> 00:36:51,960
Speaker 1: Also, her sitting behind us on that ball. Is that

615
00:36:52,040 --> 00:36:55,000
Speaker 1: the second scene or the first scene? It's so funny.

616
00:36:55,719 --> 00:36:57,959
Speaker 1: I remember doing that being like we're in Jane's oven.

617
00:36:58,880 --> 00:37:03,200
Speaker 2: I also remember being every other scene I had had

618
00:37:03,239 --> 00:37:05,680
Speaker 2: with her up to that point. You know, Artie is

619
00:37:05,719 --> 00:37:09,840
Speaker 2: scared of her, right, it's Sue, but this was like

620
00:37:09,880 --> 00:37:13,120
Speaker 2: we're almost graduating, we're used to her antics, and it

621
00:37:13,160 --> 00:37:15,440
Speaker 2: was like the first time that we're both not we

622
00:37:15,480 --> 00:37:20,040
Speaker 2: don't care what she says in terms of like intimidation.

623
00:37:20,800 --> 00:37:23,920
Speaker 1: Yes, yes, which was also really.

624
00:37:23,680 --> 00:37:27,000
Speaker 2: Fun to like play against her in that way.

625
00:37:27,520 --> 00:37:34,719
Speaker 1: Yes, And it's always just fun Jane. We have to

626
00:37:35,000 --> 00:37:38,160
Speaker 1: do a speech for her an audience or her choice,

627
00:37:39,040 --> 00:37:43,759
Speaker 1: and we're also competing for I guess a solid nationalist

628
00:37:43,760 --> 00:37:46,319
Speaker 1: as well in this like it just adds that on

629
00:37:46,360 --> 00:37:46,920
Speaker 1: top of it.

630
00:37:48,680 --> 00:37:50,759
Speaker 2: Because what Blaine has given up his even though the

631
00:37:50,800 --> 00:37:53,719
Speaker 2: whole last episode or the puppet episode was solely about.

632
00:37:53,480 --> 00:37:57,719
Speaker 1: That and a solo, I can't and then it never

633
00:37:57,760 --> 00:38:03,520
Speaker 1: plays out the way we talk about it anyway already

634
00:38:03,560 --> 00:38:06,520
Speaker 1: and Teina are going to get into it. And that scene,

635
00:38:06,600 --> 00:38:09,440
Speaker 1: those scenes in the hallway where you're rolling down the

636
00:38:09,480 --> 00:38:12,120
Speaker 1: hall and I'm chasing you or I'm in front of

637
00:38:12,120 --> 00:38:14,680
Speaker 1: you and I'm those were really fun. I have some

638
00:38:14,719 --> 00:38:18,759
Speaker 1: photos from those where I'm sitting when when it's your coverage,

639
00:38:19,040 --> 00:38:22,960
Speaker 1: I'm sitting with Andrew Mitchell, our a camera operator on

640
00:38:23,239 --> 00:38:27,400
Speaker 1: the dolly that they're wheeling and moving while you're moving

641
00:38:27,520 --> 00:38:30,480
Speaker 1: and doing these monologues, and I remember we had like

642
00:38:30,520 --> 00:38:33,040
Speaker 1: big paragraphs. We're like, yes, we have line, a lot

643
00:38:33,040 --> 00:38:37,520
Speaker 1: of lines. It moves really fast. We're also like moving

644
00:38:37,600 --> 00:38:40,439
Speaker 1: down a hall and I remember be like, oh my god,

645
00:38:40,480 --> 00:38:43,800
Speaker 1: this could go really badly. It didn't for some reason.

646
00:38:43,840 --> 00:38:46,000
Speaker 1: We just we did it. We made it work. Yeah,

647
00:38:47,040 --> 00:38:50,680
Speaker 1: But I remember like sitting on the dolly, like being

648
00:38:50,800 --> 00:38:53,760
Speaker 1: rolled and talking to you at the same time behind

649
00:38:53,800 --> 00:38:56,840
Speaker 1: the camera. I love these scenes.

650
00:38:57,000 --> 00:38:58,160
Speaker 2: Those are so much fun.

651
00:38:58,520 --> 00:38:59,680
Speaker 1: They were really fun to do.

652
00:39:00,120 --> 00:39:05,200
Speaker 2: It's our characters always talk so quickly to one another.

653
00:39:06,160 --> 00:39:08,640
Speaker 1: I think we speed each other up, maybe.

654
00:39:08,400 --> 00:39:10,440
Speaker 2: Yeah, and then they expect that. So then you're doing

655
00:39:10,480 --> 00:39:12,400
Speaker 2: those hallway scenes and they're like fast, you have to

656
00:39:12,440 --> 00:39:15,560
Speaker 2: make it because the hallway is only so long. So screwed.

657
00:39:15,760 --> 00:39:17,479
Speaker 2: It's all done by a certain time.

658
00:39:20,000 --> 00:39:24,799
Speaker 1: I wrote a speech for you, right, we were really

659
00:39:24,840 --> 00:39:25,520
Speaker 1: mean to each other.

660
00:39:26,239 --> 00:39:27,120
Speaker 2: Well, you pushed me.

661
00:39:28,600 --> 00:39:31,279
Speaker 1: Well, that we have to talk about. That was a

662
00:39:31,320 --> 00:39:32,120
Speaker 1: bridge too far.

663
00:39:32,480 --> 00:39:35,200
Speaker 2: I mean, all of it was like. The cattiness of

664
00:39:35,239 --> 00:39:37,719
Speaker 2: like going back and forth was also so much fun

665
00:39:37,840 --> 00:39:39,359
Speaker 2: because we never got to do that.

666
00:39:39,760 --> 00:39:42,720
Speaker 1: No, it was I think the fall was a bridge

667
00:39:42,760 --> 00:39:46,239
Speaker 1: too far. I don't think it was fully necessary. It

668
00:39:46,360 --> 00:39:49,319
Speaker 1: was genuinely an accident from Tina. That's the way. I

669
00:39:49,400 --> 00:39:51,759
Speaker 1: thought she would never push him like that.

670
00:39:51,880 --> 00:39:53,960
Speaker 2: I fully played it like that, and I think that.

671
00:39:54,160 --> 00:40:01,200
Speaker 1: Yeah, you can't. I mean, I don't know. Yeah, we

672
00:40:01,360 --> 00:40:04,120
Speaker 1: got We are pretty catty there. I think everybody did

673
00:40:04,160 --> 00:40:07,200
Speaker 1: in this episode, obviously like Rachel and Santina as well.

674
00:40:07,280 --> 00:40:11,719
Speaker 1: But these spitches, these speeches are you call me McKinley's

675
00:40:11,719 --> 00:40:17,960
Speaker 1: biggest bitch. It's funny, it's very funny.

676
00:40:18,040 --> 00:40:21,200
Speaker 2: You know, nobody read us more than Suit did. When

677
00:40:21,239 --> 00:40:23,680
Speaker 2: she was saying like, oh, he's probably just in the

678
00:40:23,320 --> 00:40:26,839
Speaker 2: background saying like, yeah what Kitty said, it was like, ooh,

679
00:40:27,320 --> 00:40:31,799
Speaker 2: what a read. Yeah, that is exactly what what we do. Oh,

680
00:40:31,880 --> 00:40:39,160
Speaker 2: Kitty's right, that's what it is, Blaine, are you serious?

681
00:40:40,000 --> 00:40:42,040
Speaker 1: But the oh yeah, so we do in Vogue, which

682
00:40:42,040 --> 00:40:44,799
Speaker 1: was really fun too, also very strange looking into a

683
00:40:44,840 --> 00:40:48,120
Speaker 1: camera see a song like that. I'm like, this is

684
00:40:48,200 --> 00:40:51,560
Speaker 1: not quite whenever I call you friend in terms of

685
00:40:51,600 --> 00:40:54,640
Speaker 1: my style and not what we're used to. But I

686
00:40:54,640 --> 00:40:56,640
Speaker 1: thought it was fun. I thought it was really fun.

687
00:40:56,640 --> 00:41:00,480
Speaker 2: To do you sounded great on it.

688
00:41:00,480 --> 00:41:03,759
Speaker 1: It was fast. I remember shooting this really fast.

689
00:41:03,560 --> 00:41:06,880
Speaker 2: Very fast. Yes, yeah, okay, like both of these numbers

690
00:41:06,880 --> 00:41:10,000
Speaker 2: are pretty quick because they're sort of free form rock out,

691
00:41:10,120 --> 00:41:11,440
Speaker 2: just you and me going at.

692
00:41:11,320 --> 00:41:12,040
Speaker 1: It a bit.

693
00:41:12,280 --> 00:41:16,200
Speaker 2: Yeah, yeah, for sure, completely different ways. Yes, I forgot

694
00:41:16,320 --> 00:41:17,240
Speaker 2: this number existed.

695
00:41:18,080 --> 00:41:18,760
Speaker 1: Oh you did.

696
00:41:19,120 --> 00:41:22,680
Speaker 2: I completely forgot that we did this, And as an

697
00:41:22,880 --> 00:41:26,120
Speaker 2: in Vogue fan, I I was like, yes, okay, great,

698
00:41:26,160 --> 00:41:27,560
Speaker 2: I get another in Vogue song.

699
00:41:27,440 --> 00:41:35,680
Speaker 1: To do we do these speeches? Well, she pushes arready,

700
00:41:37,360 --> 00:41:44,680
Speaker 1: and we do these speeches. Obviously we're going to nominate

701
00:41:44,719 --> 00:41:49,839
Speaker 1: each other. It's redeeming, it's very sweet, it's very arty.

702
00:41:49,920 --> 00:41:54,000
Speaker 1: Tina Yes seem to Rachel wouldn't be voting for each other,

703
00:41:54,360 --> 00:41:57,319
Speaker 1: but Artie and Tina would end up getting there. I

704
00:41:57,360 --> 00:42:02,760
Speaker 1: love these speeches. I was so emotional on that first part,

705
00:42:03,360 --> 00:42:05,680
Speaker 1: and I remember being like, I'm never going to get

706
00:42:05,680 --> 00:42:08,840
Speaker 1: through this speech and I knew it. Think it's because

707
00:42:08,880 --> 00:42:12,480
Speaker 1: we knew graduation was coming. I was like, the end

708
00:42:12,560 --> 00:42:13,839
Speaker 1: is yeah.

709
00:42:13,920 --> 00:42:15,960
Speaker 2: He was finally hitting yes.

710
00:42:16,280 --> 00:42:18,360
Speaker 1: And You're like, oh, I begged for this for a

711
00:42:18,400 --> 00:42:22,560
Speaker 1: long time. I've wanted out, I've blacked out, I've raged,

712
00:42:23,040 --> 00:42:28,000
Speaker 1: and here I am now like sad, Sad, it's over, Sad,

713
00:42:28,040 --> 00:42:30,120
Speaker 1: It's coming to an end. Sad, We're getting to this

714
00:42:30,160 --> 00:42:33,560
Speaker 1: point where we're talking about avaledictorian for graduation. But I

715
00:42:33,600 --> 00:42:38,080
Speaker 1: thought it was so sweet. And also these lines are

716
00:42:38,640 --> 00:42:43,960
Speaker 1: outrage I guess progressively just crazier. As he strains to

717
00:42:43,960 --> 00:42:46,080
Speaker 1: push his wheelchair up that ram, the ghosts of fallen

718
00:42:46,120 --> 00:42:50,120
Speaker 1: heroes followed close behind. Rosa Parks, Mohammeda Gandhi and Ardie

719
00:42:50,200 --> 00:42:54,000
Speaker 1: Ingrams holds the torch Hi whole time, the Torch of Dignity,

720
00:42:54,360 --> 00:42:57,080
Speaker 1: also calling you a bridge too far. That's where I

721
00:42:57,080 --> 00:42:58,800
Speaker 1: got that from this episode. I was like, is it

722
00:42:58,840 --> 00:43:04,480
Speaker 1: a push too far? Yes? Calling Arnie Abrams an American hero, it's.

723
00:43:04,520 --> 00:43:06,960
Speaker 2: Exacting when I say that Tina took my broken body

724
00:43:06,960 --> 00:43:09,560
Speaker 2: in her arms and taught me how to love. My

725
00:43:09,640 --> 00:43:12,719
Speaker 2: favorite part that was, like, my favorite part of what

726
00:43:12,800 --> 00:43:18,400
Speaker 2: I say is when I call you a patriot. I

727
00:43:18,400 --> 00:43:19,120
Speaker 2: remember reading that.

728
00:43:19,200 --> 00:43:22,960
Speaker 1: It was like, yes, yeah, I think we've read this together.

729
00:43:24,680 --> 00:43:26,920
Speaker 1: You're reading this at the same time when when we

730
00:43:26,960 --> 00:43:27,600
Speaker 1: first read it.

731
00:43:27,719 --> 00:43:30,000
Speaker 2: Yeah, and these are like the lines we'd practice these

732
00:43:30,000 --> 00:43:32,719
Speaker 2: monologues because we would shoot them all as one for ourselves,

733
00:43:33,200 --> 00:43:34,440
Speaker 2: and then they edited it together.

734
00:43:34,480 --> 00:43:37,360
Speaker 1: When it went back and forth, yes, it it was

735
00:43:37,360 --> 00:43:43,400
Speaker 1: so sweet, Dot crying and everybody just like, so the

736
00:43:43,480 --> 00:43:46,279
Speaker 1: vote was split. She calls you make a wish, but

737
00:43:46,760 --> 00:43:47,560
Speaker 1: the vote was split.

738
00:43:47,680 --> 00:43:48,680
Speaker 2: Our plan backfired.

739
00:43:48,840 --> 00:43:52,080
Speaker 1: Blaine gets it, and then this scene in the hallway

740
00:43:52,600 --> 00:43:54,759
Speaker 1: when he's like, oh, it sounds like a humble rag,

741
00:43:54,800 --> 00:43:57,120
Speaker 1: but honestly, sometimes I just feel like things get handed

742
00:43:57,120 --> 00:44:03,840
Speaker 1: to me. We're like, really, it's so fun, honey. I

743
00:44:03,840 --> 00:44:07,000
Speaker 1: think it's the funniest one. I just love it. He's

744
00:44:07,040 --> 00:44:10,760
Speaker 1: playing it so well. We're like, really, no, it was very.

745
00:44:10,600 --> 00:44:12,440
Speaker 2: Real because he would be like that in real life.

746
00:44:12,880 --> 00:44:19,759
Speaker 1: Totally, totally, And but then we get to do he

747
00:44:20,080 --> 00:44:22,799
Speaker 1: graciously is doing a trio with us.

748
00:44:22,840 --> 00:44:25,760
Speaker 2: His royal highness has allowed us to grace the stage

749
00:44:25,800 --> 00:44:28,480
Speaker 2: with him. Also, this whole thing about Tina getting waitlisted

750
00:44:28,480 --> 00:44:33,440
Speaker 2: at Brown. Oh yeah, but like you keep talking about, like, oh,

751
00:44:33,680 --> 00:44:35,359
Speaker 2: you need to give the speech she can get into Brown,

752
00:44:35,480 --> 00:44:38,200
Speaker 2: or oh if we do break Breakaway, can we can

753
00:44:38,280 --> 00:44:38,879
Speaker 2: submit it?

754
00:44:39,120 --> 00:44:39,359
Speaker 1: Yeah?

755
00:44:39,480 --> 00:44:40,760
Speaker 2: Like is that how that works?

756
00:44:41,160 --> 00:44:43,920
Speaker 1: No, a trio song is not going to get me

757
00:44:43,960 --> 00:44:44,560
Speaker 1: into Brown.

758
00:44:45,520 --> 00:44:48,360
Speaker 2: That's not going to do it. You know what, any

759
00:44:48,480 --> 00:44:50,360
Speaker 2: school should let you in after that song?

760
00:44:50,600 --> 00:44:56,239
Speaker 1: Because well, we get to do Breakaway, and oh I

761
00:44:56,360 --> 00:45:01,640
Speaker 1: love doing this number. I love seeing this song. I

762
00:45:01,680 --> 00:45:05,120
Speaker 1: love this Kevin like two of our favorites whenever I

763
00:45:05,160 --> 00:45:08,400
Speaker 1: call you friend and Breakaway one episode. How do we

764
00:45:08,440 --> 00:45:09,160
Speaker 1: get so lucky?

765
00:45:09,400 --> 00:45:13,880
Speaker 2: I don't know. And honestly, everything about the process of

766
00:45:13,920 --> 00:45:19,000
Speaker 2: Breakaway was a dreamy recording. It was just like wonderful,

767
00:45:19,239 --> 00:45:23,279
Speaker 2: It felt good, It was so satisfying. These harmonies are

768
00:45:23,400 --> 00:45:32,360
Speaker 2: so good. The arrangement was unbelievable, and I just felt like, Also,

769
00:45:32,400 --> 00:45:34,680
Speaker 2: the three of us never do anything together like that.

770
00:45:35,280 --> 00:45:37,040
Speaker 1: No, we don't. That's why it was. I think it

771
00:45:37,080 --> 00:45:41,000
Speaker 1: was so fun. It was like it just it was

772
00:45:41,040 --> 00:45:42,200
Speaker 1: so great.

773
00:45:43,200 --> 00:45:44,800
Speaker 2: Yeah, it was easy.

774
00:45:44,920 --> 00:45:48,200
Speaker 1: Damn there and sing god flats.

775
00:45:48,960 --> 00:45:52,640
Speaker 2: Also, and then the editing with this seeing Rachel pack

776
00:45:52,719 --> 00:45:58,120
Speaker 2: her bags being so emotional, and then that whole bit

777
00:45:58,200 --> 00:46:01,719
Speaker 2: with her getting the picture, tearing it in half and

778
00:46:01,760 --> 00:46:03,720
Speaker 2: walking out, all while the song is playing.

779
00:46:04,239 --> 00:46:09,600
Speaker 1: Man boy, man, I am just I'm thrilled. I'm thrilled.

780
00:46:09,760 --> 00:46:12,080
Speaker 2: No notes for this episode, no notes.

781
00:46:11,840 --> 00:46:14,080
Speaker 1: I get I Oh man, I can watch this one

782
00:46:14,239 --> 00:46:26,640
Speaker 1: again and again. I'm just so happy. Okay, let's grade

783
00:46:26,680 --> 00:46:27,920
Speaker 1: these performances.

784
00:46:28,520 --> 00:46:29,520
Speaker 2: I would love nothing more.

785
00:46:29,719 --> 00:46:37,400
Speaker 1: Please whenever I call you friend A plus, Brave A

786
00:46:37,560 --> 00:46:39,759
Speaker 1: plus plus, my lovin.

787
00:46:41,000 --> 00:46:42,920
Speaker 2: A minus.

788
00:46:43,280 --> 00:46:47,480
Speaker 1: Sure, okay, don't read in my parade A plus I

789
00:46:47,520 --> 00:46:50,080
Speaker 1: believe in and think all up, Wait, don't rid my parade?

790
00:46:50,320 --> 00:46:55,080
Speaker 2: Did you also giggle when Yeah? Some of those yeah,

791
00:46:55,200 --> 00:46:59,000
Speaker 2: the options ups theres also the track with it.

792
00:46:59,280 --> 00:47:00,600
Speaker 1: I can't, it's too much.

793
00:47:01,160 --> 00:47:02,560
Speaker 2: I was giggling.

794
00:47:03,000 --> 00:47:04,800
Speaker 1: I can't. I can't.

795
00:47:05,800 --> 00:47:08,160
Speaker 2: Like they were out of their minds. That arrangement is

796
00:47:08,200 --> 00:47:08,720
Speaker 2: so silly.

797
00:47:08,840 --> 00:47:10,879
Speaker 1: You feel like it was like you had to do

798
00:47:10,920 --> 00:47:13,840
Speaker 1: something like that in order to not try to be

799
00:47:14,440 --> 00:47:17,680
Speaker 1: what Leah does with that number at all, because you

800
00:47:17,760 --> 00:47:20,279
Speaker 1: just can't match that in any way, like it's it

801
00:47:20,440 --> 00:47:27,680
Speaker 1: just feels like wrong. But loved it. Yeah, believe in

802
00:47:27,719 --> 00:47:31,160
Speaker 1: a thing called love. Hey, Hey, every breath you take

803
00:47:31,719 --> 00:47:34,400
Speaker 1: a hey half plus.

804
00:47:35,080 --> 00:47:37,440
Speaker 2: Okay, that's a minus.

805
00:47:38,840 --> 00:47:42,800
Speaker 1: No, it's not. Well, it's a positive, Kevin, it's positive,

806
00:47:43,000 --> 00:47:47,400
Speaker 1: all right. It's a tea a sideways tetris tea okay,

807
00:47:47,480 --> 00:47:52,120
Speaker 1: Breakaway a plus A plus Okay, that is a really

808
00:47:52,440 --> 00:47:54,880
Speaker 1: solid average. No, it's an excellent average.

809
00:47:54,920 --> 00:47:58,320
Speaker 2: That's excellent. I approve of all of this. I listened

810
00:47:58,320 --> 00:47:59,480
Speaker 2: to Breakaway a lot.

811
00:47:59,880 --> 00:48:02,799
Speaker 1: I do. I don't listen to it enough. But I'm

812
00:48:02,840 --> 00:48:04,320
Speaker 1: going to go listen to Every Breath You Take and

813
00:48:04,360 --> 00:48:06,879
Speaker 1: don't rain on my parade right now and Brave and

814
00:48:06,960 --> 00:48:07,640
Speaker 1: when I call you.

815
00:48:07,800 --> 00:48:09,759
Speaker 2: This episode needs to have its own little EP or

816
00:48:09,760 --> 00:48:10,680
Speaker 2: its little playlist.

817
00:48:11,160 --> 00:48:13,160
Speaker 1: Yes, I'm just gonna make a little playlist on my

818
00:48:13,160 --> 00:48:13,800
Speaker 1: Spotify for this.

819
00:48:14,040 --> 00:48:16,880
Speaker 2: Brave is so good. I really enjoyed watching that.

820
00:48:17,000 --> 00:48:19,680
Speaker 1: Really really good. Okay, let's do some tarty tap.

821
00:48:20,200 --> 00:48:22,000
Speaker 2: This happened last time when Sarah we had a Sarah

822
00:48:22,000 --> 00:48:23,719
Speaker 2: Breilla song, didn't it? Love song?

823
00:48:24,040 --> 00:48:25,920
Speaker 1: Love song? You love love song? I think you like

824
00:48:25,960 --> 00:48:29,280
Speaker 1: love song a little bit more than I did, but

825
00:48:29,280 --> 00:48:30,279
Speaker 1: but it's very good.

826
00:48:30,600 --> 00:48:32,440
Speaker 2: Yeah, okay, Tarty.

827
00:48:32,200 --> 00:48:41,879
Speaker 1: Takes cringe moments. I mean calling you make a wish

828
00:48:41,960 --> 00:48:45,520
Speaker 1: was kind of yeah, kind of cringey.

829
00:48:46,560 --> 00:48:50,560
Speaker 2: The racist woman at the diner calling Santana Mexican.

830
00:48:52,320 --> 00:48:58,360
Speaker 1: That was it, that whole conversation, and like Leah and

831
00:48:58,680 --> 00:49:01,719
Speaker 1: Rachel saying like I've you were just gonna, like, you know,

832
00:49:01,840 --> 00:49:04,719
Speaker 1: go line behinds on her like you know, we we

833
00:49:04,960 --> 00:49:10,120
Speaker 1: addressed it, but it was it was it was cringey.

834
00:49:10,560 --> 00:49:16,280
Speaker 1: It was cringeing for sure. Best dance move, oh man.

835
00:49:18,440 --> 00:49:19,920
Speaker 2: I mean there was not really a lot of choreo.

836
00:49:20,080 --> 00:49:21,320
Speaker 2: I think Chris on a pole.

837
00:49:21,960 --> 00:49:24,680
Speaker 1: Yeah yeah, yeah, he loves the pole. Let's just give

838
00:49:24,760 --> 00:49:25,000
Speaker 1: him that.

839
00:49:25,440 --> 00:49:27,560
Speaker 2: Yeah, he was waiting for that one.

840
00:49:28,320 --> 00:49:30,040
Speaker 1: I don't know, Kevin, what are you going to say?

841
00:49:30,480 --> 00:49:36,200
Speaker 2: Best saw? I'm going breakaway? Yeah okay, But honestly, there's

842
00:49:36,239 --> 00:49:38,719
Speaker 2: not a wrong choice in this episode.

843
00:49:39,040 --> 00:49:42,080
Speaker 1: It's so true. I mean I would say, you could

844
00:49:42,160 --> 00:49:46,080
Speaker 1: leave out my lovin' yes, and I think that's the weakest,

845
00:49:46,520 --> 00:49:48,399
Speaker 1: and you could leave out maybe every breath you take.

846
00:49:48,440 --> 00:49:52,920
Speaker 1: But it's close. It's close. Yeah, okay, Bess very prop.

847
00:49:54,920 --> 00:49:57,840
Speaker 2: Oh Leah's wig.

848
00:50:00,280 --> 00:50:04,680
Speaker 1: Yes, yes, there was a lot. The picture, the ripped

849
00:50:04,760 --> 00:50:05,560
Speaker 1: up picture.

850
00:50:06,200 --> 00:50:09,680
Speaker 2: Oh oh that was good.

851
00:50:09,719 --> 00:50:18,440
Speaker 1: The umbrellas yeah yeah yeah good are lunchboxes? Oh yeah? Okay.

852
00:50:18,680 --> 00:50:21,880
Speaker 1: Best line, oh man, is it a bridge too far

853
00:50:21,920 --> 00:50:24,000
Speaker 1: to call lady as an American hero? I think not

854
00:50:24,880 --> 00:50:28,280
Speaker 1: very good. Not the delivery, just like the line itself.

855
00:50:29,920 --> 00:50:32,000
Speaker 2: You delivered it very well, Jenna, Well.

856
00:50:31,880 --> 00:50:34,279
Speaker 1: Thank you. But also it's just it's really the line.

857
00:50:35,400 --> 00:50:37,000
Speaker 1: But there was the one line that I was like, oh,

858
00:50:37,000 --> 00:50:37,480
Speaker 1: this is the best.

859
00:50:37,520 --> 00:50:39,279
Speaker 2: I would love for things to get physical. I will

860
00:50:39,320 --> 00:50:40,719
Speaker 2: hit you so hard that you won't be able to

861
00:50:40,719 --> 00:50:43,480
Speaker 2: wake up until you're old enough to be funny. Lady.

862
00:50:45,280 --> 00:50:46,080
Speaker 2: That's a good joke.

863
00:50:46,280 --> 00:50:51,719
Speaker 1: That's a good one. MVP. I don't know, I gotta say,

864
00:50:51,800 --> 00:50:57,880
Speaker 1: Leah Nyah, yeah, I do too. It was it was seamless,

865
00:50:58,160 --> 00:51:02,520
Speaker 1: true truly a seamless storyline and performances. I really I

866
00:51:02,560 --> 00:51:03,760
Speaker 1: could watch it all.

867
00:51:03,680 --> 00:51:09,719
Speaker 2: Day and I might. And also the writers, the music producers,

868
00:51:09,840 --> 00:51:15,000
Speaker 2: everyone really just did it. This episode A yaker really

869
00:51:15,640 --> 00:51:19,120
Speaker 2: like special, wow, wow, wow, smash it.

870
00:51:19,400 --> 00:51:20,480
Speaker 1: There's a special episode.

871
00:51:20,920 --> 00:51:23,680
Speaker 2: Okay, Jenna. Shit we found on TikTok this week. This

872
00:51:23,880 --> 00:51:26,239
Speaker 2: was nine one one Yeah, This was nine one one,

873
00:51:27,600 --> 00:51:28,920
Speaker 2: another Ryan Murphy show.

874
00:51:29,280 --> 00:51:34,359
Speaker 1: My dad texted me about that. Really, he said, there's

875
00:51:34,400 --> 00:51:36,400
Speaker 1: a show. He said, there's a Glee reference on nine

876
00:51:36,440 --> 00:51:39,880
Speaker 1: one one, and some of your friends were in Doctor Octopus.

877
00:51:39,960 --> 00:51:40,640
Speaker 1: Is that what the show is?

878
00:51:40,719 --> 00:51:41,440
Speaker 2: Doctor Odyssey.

879
00:51:43,640 --> 00:51:47,480
Speaker 1: I have too many children's songs in my head. Doctor Octopus,

880
00:51:48,560 --> 00:51:53,520
Speaker 1: my doctor. My daughter calls my daughter, Emma calls octopuses

881
00:51:54,760 --> 00:51:57,520
Speaker 1: apple juice. It's like apple juice, octapuse.

882
00:51:57,719 --> 00:51:59,440
Speaker 2: Octopus is hard to say, it is.

883
00:52:01,600 --> 00:52:04,480
Speaker 1: That's where my head's at. Sorry, yes, they're cord being

884
00:52:04,520 --> 00:52:09,200
Speaker 1: in Doctor Odyesty. Okay, wait, but that is crazy because

885
00:52:09,200 --> 00:52:11,480
Speaker 1: it's not just like a one off Glee reference like

886
00:52:11,520 --> 00:52:13,239
Speaker 1: that is a full monologue.

887
00:52:13,280 --> 00:52:16,440
Speaker 2: No, we got a full dramatic monologue reading somebody about

888
00:52:16,600 --> 00:52:19,360
Speaker 2: gay rights and how there's pre Glee people who world

889
00:52:19,600 --> 00:52:21,640
Speaker 2: in post Glee world, and to honor the people who

890
00:52:21,680 --> 00:52:24,160
Speaker 2: came before the Glee world because Glee made it a

891
00:52:24,200 --> 00:52:31,239
Speaker 2: little easier. It's not Ryan Murphy claiming he created gay

892
00:52:31,320 --> 00:52:32,720
Speaker 2: rights the TV shows.

893
00:52:35,800 --> 00:52:38,640
Speaker 1: It's great. I love it. I love it.

894
00:52:39,200 --> 00:52:41,439
Speaker 2: Look we did. There was a lot of educating going

895
00:52:41,480 --> 00:52:42,480
Speaker 2: on in Glee.

896
00:52:42,560 --> 00:52:44,520
Speaker 1: Yeah. Yeah, People mad at Ryan Murphy for writing this,

897
00:52:44,600 --> 00:52:47,239
Speaker 1: but really, forgot how much Glee genuinely did do for

898
00:52:47,400 --> 00:52:50,319
Speaker 1: LGBTQ plus rights. Hate it or love it, you can't

899
00:52:50,320 --> 00:52:52,600
Speaker 1: deny the Glee had a greater impact than we realize.

900
00:52:53,000 --> 00:52:55,960
Speaker 1: You know, there's a lot of This is a teaching moment, Kevin.

901
00:52:55,960 --> 00:52:57,880
Speaker 2: It is, and I like, you know, when we were

902
00:52:57,920 --> 00:53:00,799
Speaker 2: out in public or still when people come up to us,

903
00:53:02,600 --> 00:53:05,520
Speaker 2: we see the different demographics who watched Glee, and when

904
00:53:05,520 --> 00:53:08,560
Speaker 2: it was on, you would have these people who you

905
00:53:08,560 --> 00:53:10,840
Speaker 2: would never think would ever watch a show like this,

906
00:53:10,880 --> 00:53:13,399
Speaker 2: and they either watch it with their girlfriends or their

907
00:53:13,440 --> 00:53:18,520
Speaker 2: mom or whatever it is, and they're exposed to characters

908
00:53:18,560 --> 00:53:20,319
Speaker 2: that they wouldn't normally ever be exposed to. And in

909
00:53:20,320 --> 00:53:23,640
Speaker 2: that moment that those are teaching moments by seeing different

910
00:53:23,680 --> 00:53:27,480
Speaker 2: people who are unlike themselves. So I love that they

911
00:53:27,480 --> 00:53:30,240
Speaker 2: did that. Ryan Murphy self referential moment.

912
00:53:31,680 --> 00:53:32,480
Speaker 1: Funny.

913
00:53:32,640 --> 00:53:34,800
Speaker 2: You know what, when you build an empire TV empire,

914
00:53:34,840 --> 00:53:35,279
Speaker 2: you can do that.

915
00:53:35,800 --> 00:53:40,480
Speaker 1: You can do that because you're in control. That was

916
00:53:40,560 --> 00:53:43,440
Speaker 1: fun of me as you guys, I'm so honored to

917
00:53:43,440 --> 00:53:47,040
Speaker 1: go on that journey with you because I really enjoyed that.

918
00:53:47,120 --> 00:53:48,600
Speaker 1: And I'm not being biased. I know I do that

919
00:53:48,640 --> 00:53:51,080
Speaker 1: a lot with like Tina episodes. Sometimes I'm like, this

920
00:53:51,160 --> 00:53:51,880
Speaker 1: is a great episode.

921
00:53:52,719 --> 00:53:56,600
Speaker 2: Tina has great episodes. Those storylines are always in a

922
00:53:56,600 --> 00:53:57,400
Speaker 2: really good episode.

923
00:53:57,440 --> 00:54:00,680
Speaker 1: When they slap, they slap. This one was really great though,

924
00:54:00,680 --> 00:54:06,680
Speaker 1: and so Steller's all around direction, music performances, like writing.

925
00:54:07,680 --> 00:54:10,439
Speaker 1: It was across the board, really really good. Next week,

926
00:54:10,520 --> 00:54:13,279
Speaker 1: you guys, is the Tria is trio and that is

927
00:54:13,320 --> 00:54:18,479
Speaker 1: the makeout, and that is the makeoup. That's also Kevin.

928
00:54:18,560 --> 00:54:22,840
Speaker 1: This is also hold on Wilson Phillips. There were that

929
00:54:22,880 --> 00:54:31,120
Speaker 1: one with the curtains in a hole, the one Monday,

930
00:54:32,480 --> 00:54:40,640
Speaker 1: Come yes, Kevin, you're in it okay. Also, though I

931
00:54:40,680 --> 00:54:43,239
Speaker 1: had a lot, to be fair, this is a very

932
00:54:43,480 --> 00:54:46,160
Speaker 1: Tina heavy episode as well, So my memories are very

933
00:54:46,160 --> 00:54:47,320
Speaker 1: clear of this episode.

934
00:54:47,440 --> 00:54:49,720
Speaker 2: Yeah you can tell. I mean, if you've been listening

935
00:54:49,760 --> 00:54:52,800
Speaker 2: to this. If we're not in a lot, the memories out.

936
00:54:52,680 --> 00:54:55,160
Speaker 1: The window tend to go out the window. Well, thanks

937
00:54:55,160 --> 00:54:58,080
Speaker 1: for joining us, you guys. It's been fun.

938
00:54:58,880 --> 00:55:01,080
Speaker 2: This has been great. I hope everyone had a great time.

939
00:55:01,120 --> 00:55:03,680
Speaker 2: Happy New Year, Jenna, Happy new year. Great to see you.

940
00:55:03,840 --> 00:55:04,560
Speaker 1: Happy new year.

941
00:55:06,000 --> 00:55:08,080
Speaker 2: I hope this is a good year for everyone. See

942
00:55:08,080 --> 00:55:10,360
Speaker 2: you next week. And that's what you really missed. Thanks

943
00:55:10,360 --> 00:55:13,520
Speaker 2: for listening, and follow us on Instagram at and that's

944
00:55:13,520 --> 00:55:15,680
Speaker 2: what you really miss pod. Make sure to write us

945
00:55:15,680 --> 00:55:18,279
Speaker 2: a review and leave us five stars. See you next time.