1
00:00:01,720 --> 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
00:00:09,280 --> 00:00:11,880
Speaker 1: Welcome to you when that's what you're in this podcast.

4
00:00:12,560 --> 00:00:20,119
Speaker 1: Hello Kevin, Hello Jenna. So we're back in New York. Fully,

5
00:00:20,000 --> 00:00:25,439
Speaker 1: we are with the backup Plan, and I have lots

6
00:00:25,440 --> 00:00:26,000
Speaker 1: of thoughts.

7
00:00:26,239 --> 00:00:32,880
Speaker 2: We have Sherilan McClain, which is crazy, crazy, So let's

8
00:00:32,920 --> 00:00:35,560
Speaker 2: get into this because we've been on a really good

9
00:00:35,600 --> 00:00:37,160
Speaker 2: run with New York episodes.

10
00:00:37,680 --> 00:00:41,160
Speaker 1: Okay, let's get into it. This is season five, episode eighteen.

11
00:00:41,200 --> 00:00:43,200
Speaker 1: This is the Backup Plan and it aired on April

12
00:00:43,240 --> 00:00:44,720
Speaker 1: twenty nineth, twenty fourteen.

13
00:00:45,880 --> 00:00:48,560
Speaker 2: Number one song is Still Happy. The number one movie

14
00:00:48,800 --> 00:00:50,360
Speaker 2: is The Other Woman.

15
00:00:51,040 --> 00:00:51,600
Speaker 1: Never saw it.

16
00:00:51,960 --> 00:00:55,360
Speaker 2: I don't remember this at all. Nicki Minaj is in

17
00:00:55,440 --> 00:00:55,840
Speaker 2: it though.

18
00:00:56,320 --> 00:01:00,200
Speaker 1: Interesting? Okay, yeah, all right. Glee News is Week. On

19
00:01:00,240 --> 00:01:03,400
Speaker 1: April twenty fifth, Darren and Lea attended the Johnson Cancer

20
00:01:03,440 --> 00:01:07,080
Speaker 1: Foundation's nineteenth Annual Taste for Cure gala as well as

21
00:01:07,160 --> 00:01:09,240
Speaker 1: Ryan Murphy was there and the event was held at

22
00:01:09,240 --> 00:01:14,400
Speaker 1: the recent Beverly Hotel in Beverly Hills. Darren performed Crazy

23
00:01:14,480 --> 00:01:18,000
Speaker 1: Love Ye, Van Morrison, Interesting and Let It Be, and

24
00:01:18,560 --> 00:01:21,760
Speaker 1: Leah joined him after and they sang somewhere after Somewhere

25
00:01:21,760 --> 00:01:26,840
Speaker 1: over the Rainbow, and this EP came out because obviously

26
00:01:26,920 --> 00:01:29,280
Speaker 1: we know the rest of the episodes released an.

27
00:01:29,280 --> 00:01:32,000
Speaker 2: EP speaking of Somewhere with the Rainbow, How did you

28
00:01:32,000 --> 00:01:34,240
Speaker 2: feel about the opening of the oscars?

29
00:01:35,440 --> 00:01:40,680
Speaker 1: I loved it. I loved it. I love that She's

30
00:01:40,680 --> 00:01:42,080
Speaker 1: sang home.

31
00:01:43,280 --> 00:01:46,360
Speaker 2: Yeah, I screamed, And I love that.

32
00:01:46,319 --> 00:01:49,560
Speaker 1: They did fine define gravity. I was like here for it.

33
00:01:50,080 --> 00:01:53,280
Speaker 1: They looked great, they sounded great. I loved Ariana like

34
00:01:53,400 --> 00:01:57,760
Speaker 1: staring at Cynthia that way. We all love that, and

35
00:01:58,080 --> 00:01:59,920
Speaker 1: I just I really enjoyed it.

36
00:02:01,640 --> 00:02:05,480
Speaker 2: Ord also because this episode came out on the twenty

37
00:02:05,600 --> 00:02:09,320
Speaker 2: ninth of April, Happy birthday, Jenna and Harry the day

38
00:02:09,360 --> 00:02:12,480
Speaker 2: before April twenty eighth, and Diana on the thirtieth.

39
00:02:12,919 --> 00:02:13,480
Speaker 1: That's right.

40
00:02:13,639 --> 00:02:15,240
Speaker 2: It was always a busy time for us. So this

41
00:02:15,360 --> 00:02:19,239
Speaker 2: episode was directed by Ian Brennan, you know, one of

42
00:02:19,280 --> 00:02:23,280
Speaker 2: the co creators, written by Roberto and we have, like

43
00:02:23,320 --> 00:02:28,680
Speaker 2: we said, Shirley McLain and like, for some reason a

44
00:02:29,000 --> 00:02:31,119
Speaker 2: small appearance from Eric Roberts.

45
00:02:32,000 --> 00:02:38,320
Speaker 1: Yes, very interesting. Yeah, Okay. The songs are wake Me

46
00:02:38,400 --> 00:02:42,000
Speaker 1: Up by Vichi, perform by Rachel Do.

47
00:02:42,160 --> 00:02:45,880
Speaker 2: Up, That Thing performed by Mercedes and Santana.

48
00:02:46,240 --> 00:02:49,760
Speaker 1: Story of My Life performing Blaine and Kurt.

49
00:02:50,320 --> 00:02:54,040
Speaker 2: Piece of My Heart performed by Blaine and June Dollaway.

50
00:02:54,280 --> 00:02:57,960
Speaker 1: And The Rose by Rachel oh Man.

51
00:02:58,480 --> 00:03:00,880
Speaker 2: Okay, there are some really fun on facts. So this

52
00:03:00,919 --> 00:03:04,200
Speaker 2: episode has the most absent main cast members to date,

53
00:03:04,400 --> 00:03:06,360
Speaker 2: with ten characters missing.

54
00:03:06,520 --> 00:03:10,160
Speaker 1: Wow. Yeah, there was not a lot of people maybe

55
00:03:10,240 --> 00:03:15,560
Speaker 1: lent to the tone of the episode. This is the

56
00:03:15,560 --> 00:03:18,120
Speaker 1: first episode in which Sam is absent since his return

57
00:03:18,160 --> 00:03:21,080
Speaker 1: in season three. Wow episode eight Hold on to sixteen

58
00:03:21,480 --> 00:03:24,480
Speaker 1: And this is the second without rdy ABMs.

59
00:03:25,800 --> 00:03:28,160
Speaker 2: Do up. That thing was filmed under the set of

60
00:03:28,240 --> 00:03:28,919
Speaker 2: Doctor Phil.

61
00:03:30,960 --> 00:03:34,040
Speaker 1: And this is the third episode ever where all the

62
00:03:34,040 --> 00:03:37,880
Speaker 1: main characters present in the episode aka Rachel, Kirk, Blaine,

63
00:03:37,920 --> 00:03:41,480
Speaker 1: and Santana sing and the first being The Power of

64
00:03:41,560 --> 00:03:44,160
Speaker 1: Madonna and the second being New New York.

65
00:03:45,080 --> 00:03:51,360
Speaker 2: And this episode marks the final appearance of Sidney Green. Okay,

66
00:03:51,560 --> 00:03:55,320
Speaker 2: so Jenna. This episode, Rachel jeopardizes her funny girl lead

67
00:03:55,400 --> 00:03:59,840
Speaker 2: when she auditions for a television pilot. Meanwhile, Mercedes tries

68
00:03:59,880 --> 00:04:02,600
Speaker 2: to help get Santana in on her recording deal and

69
00:04:02,720 --> 00:04:05,320
Speaker 2: Blame be friends an older, rich socialite.

70
00:04:05,640 --> 00:04:09,760
Speaker 1: All right, okay, let's talk about Mercedes and Santana. Okay,

71
00:04:10,120 --> 00:04:16,000
Speaker 1: let's talk about them. Because Mercedes is trying to find

72
00:04:16,000 --> 00:04:18,080
Speaker 1: a single on her album, and she said that her

73
00:04:18,080 --> 00:04:22,440
Speaker 1: producer doesn't hear a single like on her album, so

74
00:04:22,520 --> 00:04:24,600
Speaker 1: the label won't give her the release date that they

75
00:04:24,640 --> 00:04:29,680
Speaker 1: have set for her. So of course she's with Santana,

76
00:04:29,800 --> 00:04:33,480
Speaker 1: and she has Santana to help her find like her groove,

77
00:04:33,640 --> 00:04:39,480
Speaker 1: I guess, and to find a song. And so they

78
00:04:39,520 --> 00:04:43,640
Speaker 1: go to the studio and she's like on the clock

79
00:04:43,839 --> 00:04:45,800
Speaker 1: and she can't really get it, and we don't really

80
00:04:45,839 --> 00:04:50,400
Speaker 1: know what's happening, and Santana suggests that they get out

81
00:04:50,440 --> 00:04:55,960
Speaker 1: of the studio and find that New York sound. So, okay,

82
00:04:57,640 --> 00:05:02,400
Speaker 1: I understand, I don't I understand this is what I

83
00:05:02,440 --> 00:05:06,599
Speaker 1: do understand. I understand Mercedes trying to find a sound

84
00:05:06,600 --> 00:05:08,960
Speaker 1: for an album, right like, I understand that, and I

85
00:05:09,000 --> 00:05:11,960
Speaker 1: understand why she can't to New York for it. What

86
00:05:12,000 --> 00:05:17,080
Speaker 1: I don't understand is does that means getting out of

87
00:05:17,160 --> 00:05:21,840
Speaker 1: the studio and singing while doing it down a hallway

88
00:05:22,520 --> 00:05:29,680
Speaker 1: and in a bathroom. I'm confused by the bathroom because

89
00:05:29,680 --> 00:05:30,560
Speaker 1: that's not New York.

90
00:05:30,760 --> 00:05:35,440
Speaker 3: The elevator, the they do like a whole we were

91
00:05:35,480 --> 00:05:40,000
Speaker 3: missing locations here, like you could have been a New

92
00:05:40,080 --> 00:05:42,600
Speaker 3: York street or the subway or something.

93
00:05:43,080 --> 00:05:47,080
Speaker 1: We're not afraid of reusing locations. We know this, so

94
00:05:47,600 --> 00:05:50,359
Speaker 1: we had to keep it on paramount and the producer

95
00:05:50,480 --> 00:05:53,560
Speaker 1: following him with a mic, following them with a mic

96
00:05:54,160 --> 00:05:55,680
Speaker 1: in Santana with a boombox.

97
00:05:56,160 --> 00:06:06,000
Speaker 2: Look, I know. The show so is constantly aspirational and

98
00:06:06,520 --> 00:06:11,280
Speaker 2: wild and fanciful and not necessarily based in reality. Sometimes

99
00:06:12,080 --> 00:06:12,919
Speaker 2: I'm fine with that.

100
00:06:13,560 --> 00:06:14,000
Speaker 1: Yeah.

101
00:06:14,080 --> 00:06:16,560
Speaker 2: One of my biggest pet peeves in movies and TV

102
00:06:16,680 --> 00:06:24,000
Speaker 2: shows is how the music business is represented. And this

103
00:06:24,640 --> 00:06:29,520
Speaker 2: is all of those cliches and reasons why I hate

104
00:06:29,520 --> 00:06:32,520
Speaker 2: when the music business is like a storyline in something,

105
00:06:33,400 --> 00:06:38,680
Speaker 2: because none of it makes sense, none of it. And

106
00:06:38,720 --> 00:06:40,919
Speaker 2: I know that's not what the show is about, but

107
00:06:41,000 --> 00:06:44,520
Speaker 2: it's like, I don't know, you have other things that

108
00:06:44,600 --> 00:06:46,040
Speaker 2: are like a lot of the stuff at the high

109
00:06:46,040 --> 00:06:48,200
Speaker 2: School is real, and then even some of the Broadway

110
00:06:48,240 --> 00:06:53,000
Speaker 2: stuff is real. None of this music business stuff is accurate.

111
00:06:53,720 --> 00:07:00,640
Speaker 2: It is so baffling to me. However, Naya, and we're

112
00:07:00,640 --> 00:07:05,880
Speaker 2: doing so many funny things like for us, like Amber

113
00:07:05,960 --> 00:07:10,520
Speaker 2: goes scoop to the note, which is what Alex used

114
00:07:10,560 --> 00:07:14,040
Speaker 2: to do. Yeah, our vocal producers used to do to us,

115
00:07:14,040 --> 00:07:16,160
Speaker 2: and we all used to talk about it. And if

116
00:07:16,160 --> 00:07:17,880
Speaker 2: you listen to the show, you've heard a joke about

117
00:07:17,880 --> 00:07:21,520
Speaker 2: it before. And she's really going scoop too. And then

118
00:07:21,560 --> 00:07:24,080
Speaker 2: like some of the dance moves they're doing and when

119
00:07:24,080 --> 00:07:27,040
Speaker 2: they're walking through whatever, I don't.

120
00:07:26,880 --> 00:07:29,840
Speaker 1: Know, hallways always yeah.

121
00:07:29,280 --> 00:07:32,000
Speaker 2: But they're doing like our funny I mean.

122
00:07:31,920 --> 00:07:33,520
Speaker 1: You have to do at that point because like it's

123
00:07:33,640 --> 00:07:37,600
Speaker 1: kind of there's no real intention behind it, Like there's

124
00:07:37,680 --> 00:07:42,840
Speaker 1: nothing clear about this that says I found my groove

125
00:07:42,880 --> 00:07:45,240
Speaker 1: in the doop song in the hallway of a New

126
00:07:45,320 --> 00:07:48,560
Speaker 1: York recording studio aka Doctor Phil's basement.

127
00:07:49,360 --> 00:07:53,040
Speaker 2: So to make it work, it just isn't. Also like

128
00:07:53,440 --> 00:07:55,440
Speaker 2: you know what we're gonna do. This is gonna save it.

129
00:07:55,640 --> 00:08:00,360
Speaker 2: We're going to record this song in the bass meant

130
00:08:01,400 --> 00:08:06,000
Speaker 2: which also what is the song? Maybe the song's bad, right, I.

131
00:08:06,000 --> 00:08:07,680
Speaker 1: Don't think they have the song yet. I think they

132
00:08:07,720 --> 00:08:10,800
Speaker 1: just figured out that they have the sound.

133
00:08:12,160 --> 00:08:14,960
Speaker 2: Like none of it makes sense. And like also I

134
00:08:14,960 --> 00:08:17,120
Speaker 2: don't know what's happening with the costumes. They're back to

135
00:08:17,200 --> 00:08:21,480
Speaker 2: dressing Amber like she's twenty years older than she is.

136
00:08:22,240 --> 00:08:23,920
Speaker 1: And Naya's I don't know what she's wearing.

137
00:08:25,040 --> 00:08:27,360
Speaker 2: I don't I don't know what's going on, and.

138
00:08:28,960 --> 00:08:29,480
Speaker 1: I don't know.

139
00:08:29,800 --> 00:08:35,040
Speaker 2: What I like about this storyline is like Mercedes is

140
00:08:35,160 --> 00:08:37,679
Speaker 2: always super loyal to her friends. I think this is

141
00:08:37,720 --> 00:08:40,320
Speaker 2: the important thing here, even in the face of her

142
00:08:40,400 --> 00:08:45,920
Speaker 2: own like professional career, something she's always wanted and should have.

143
00:08:46,720 --> 00:08:48,920
Speaker 2: She's like, let me have out my girl, because she's

144
00:08:48,960 --> 00:08:52,440
Speaker 2: incredible and right, like sits up for her and tries

145
00:08:52,480 --> 00:08:56,360
Speaker 2: to get Santana on the track with her, and the

146
00:08:56,400 --> 00:08:59,880
Speaker 2: producers like, no, no, you shouldn't do it, and I

147
00:09:00,040 --> 00:09:02,920
Speaker 2: don't disagree, Like he had some good points in Tanna's

148
00:09:03,320 --> 00:09:06,280
Speaker 2: Santana is trying to be a better person.

149
00:09:06,880 --> 00:09:09,200
Speaker 1: And yes, we see this throughout the whole episode.

150
00:09:09,320 --> 00:09:11,600
Speaker 2: Yeah, like I think you are. I think he's right.

151
00:09:11,800 --> 00:09:13,440
Speaker 2: You know I'm going to leave because you know what

152
00:09:13,480 --> 00:09:17,640
Speaker 2: I would do in this situation. What you even see

153
00:09:17,640 --> 00:09:21,800
Speaker 2: at the end of the episode with Santana and Rachel, which.

154
00:09:24,720 --> 00:09:27,800
Speaker 1: I just can't Okay, just keep going and keep going.

155
00:09:27,600 --> 00:09:29,520
Speaker 2: And we'll get back to I think we should talk

156
00:09:29,559 --> 00:09:32,120
Speaker 2: about that when we get to Rachel. But yes, agreed,

157
00:09:32,559 --> 00:09:35,480
Speaker 2: but she does a nice thing for her by stepping

158
00:09:35,480 --> 00:09:37,680
Speaker 2: into the show for her, and at the end of it,

159
00:09:37,800 --> 00:09:39,560
Speaker 2: Rachel's like, you know, what do you want to return?

160
00:09:39,600 --> 00:09:42,880
Speaker 2: And Santana's like, I don't want anything. I'm trying. I'm

161
00:09:42,920 --> 00:09:48,040
Speaker 2: working on me. But that music. That music section was

162
00:09:48,120 --> 00:09:53,400
Speaker 2: really tough because it's also like you're not giving like

163
00:09:53,520 --> 00:09:57,560
Speaker 2: the dialogue a real fair shot because what you're talking

164
00:09:57,600 --> 00:09:58,720
Speaker 2: about makes no sense.

165
00:09:59,200 --> 00:10:00,840
Speaker 1: Well that's it, It's like.

166
00:10:00,679 --> 00:10:04,079
Speaker 2: What are you like? I think Amber and I did

167
00:10:04,080 --> 00:10:04,760
Speaker 2: a great job.

168
00:10:05,679 --> 00:10:07,760
Speaker 1: Yeah it's not a great but they looked.

169
00:10:07,720 --> 00:10:10,400
Speaker 2: Like also something was off with the lip sinking. I

170
00:10:10,480 --> 00:10:11,240
Speaker 2: think probably because the.

171
00:10:11,240 --> 00:10:12,560
Speaker 1: Whole episode, right, the.

172
00:10:12,559 --> 00:10:16,280
Speaker 2: Whole episode was weird. Everyone was over enunciating their words,

173
00:10:16,320 --> 00:10:18,680
Speaker 2: but especially in that thing, and it feels like that

174
00:10:18,760 --> 00:10:21,839
Speaker 2: had to have been a note from somebody. I also

175
00:10:21,840 --> 00:10:23,960
Speaker 2: think they probably were messing up the lips think of

176
00:10:23,960 --> 00:10:28,960
Speaker 2: it because it's so many words.

177
00:10:27,000 --> 00:10:30,479
Speaker 1: Like a lot of weird ad lives and like underneath

178
00:10:30,520 --> 00:10:31,640
Speaker 1: and yeah.

179
00:10:31,480 --> 00:10:33,400
Speaker 2: It was just cutting around it.

180
00:10:33,559 --> 00:10:36,760
Speaker 1: I felt confused and I was like, where what journey

181
00:10:36,800 --> 00:10:39,079
Speaker 1: were on? Right now? Where are we going with this?

182
00:10:39,800 --> 00:10:43,000
Speaker 1: Where is this taking us? Why are we here? It

183
00:10:43,040 --> 00:10:46,160
Speaker 1: didn't feel warranted. I just felt like it was filling

184
00:10:46,200 --> 00:10:46,720
Speaker 1: the space.

185
00:10:47,280 --> 00:10:50,240
Speaker 2: It felt goofy. Yeah, and I don't mean that in

186
00:10:50,240 --> 00:10:51,160
Speaker 2: a good way.

187
00:10:51,640 --> 00:10:52,800
Speaker 1: No, No, I know what you mean.

188
00:10:53,200 --> 00:10:55,840
Speaker 2: The whole tone of the all these storylines of this episode,

189
00:10:55,960 --> 00:10:59,200
Speaker 2: everything felt goofy. It just didn't feel grounded. It didn't

190
00:10:59,200 --> 00:11:00,520
Speaker 2: feel grounded in reality.

191
00:11:01,080 --> 00:11:04,640
Speaker 1: Like there if there's a reality in the story, the

192
00:11:04,720 --> 00:11:06,800
Speaker 1: characters can kind of be elevated and we can kind

193
00:11:06,800 --> 00:11:08,320
Speaker 1: of be KOOKI and kind of be weird and do

194
00:11:08,400 --> 00:11:11,200
Speaker 1: our whole thing and do our spiels. But when it's

195
00:11:11,200 --> 00:11:17,840
Speaker 1: not grounded in that, you lose it loses the the

196
00:11:17,880 --> 00:11:21,960
Speaker 1: glee thing that of being able to like suspend the

197
00:11:22,000 --> 00:11:25,360
Speaker 1: reality right because it just feels so out of left field,

198
00:11:25,440 --> 00:11:27,200
Speaker 1: like out of thin air.

199
00:11:29,280 --> 00:11:31,959
Speaker 2: I don't know, maybe I'm being hypocritical. I'm not sure,

200
00:11:31,960 --> 00:11:35,480
Speaker 2: but like even how some of the musical numbers were

201
00:11:35,520 --> 00:11:38,959
Speaker 2: blocked and filmed, how it was lit, everything just felt different.

202
00:11:39,960 --> 00:11:44,679
Speaker 2: And I agreed, I was just a little confused bout

203
00:11:44,679 --> 00:11:47,199
Speaker 2: what was going on. It felt like a little senior itis,

204
00:11:47,200 --> 00:11:49,040
Speaker 2: like we're at the end of the season here.

205
00:11:48,920 --> 00:11:51,320
Speaker 1: A totally season totally.

206
00:11:51,920 --> 00:11:53,720
Speaker 2: And I also think it's because I've been on like

207
00:11:53,720 --> 00:11:57,360
Speaker 2: we've been on such a high, We've we've loved these

208
00:11:57,520 --> 00:12:00,880
Speaker 2: past couple episodes in New York, and so this is

209
00:12:00,880 --> 00:12:13,240
Speaker 2: like a glaring thing for me. Funny girl.

210
00:12:13,800 --> 00:12:22,920
Speaker 1: Okay, it's a success. We know this. And there Rachel's singing,

211
00:12:24,559 --> 00:12:30,240
Speaker 1: wake me up. She's bored. She's not. And I wouldn't

212
00:12:30,240 --> 00:12:33,880
Speaker 1: say like that's the character or the way she's portraying it, like,

213
00:12:34,400 --> 00:12:38,199
Speaker 1: oh I'm bored, but it's the way it's being portrayed,

214
00:12:38,320 --> 00:12:42,199
Speaker 1: like like Lee's doing a great job with what she's given,

215
00:12:42,880 --> 00:12:47,080
Speaker 1: Like she's done the show for what She's got fifty

216
00:12:47,120 --> 00:12:49,640
Speaker 1: something shows under her belt. Now it's not that many.

217
00:12:50,880 --> 00:12:52,320
Speaker 2: She's like a month in or something.

218
00:12:52,320 --> 00:12:56,600
Speaker 1: A month in and all of a sudden she's getting approached.

219
00:12:56,640 --> 00:12:59,400
Speaker 1: She's hot, you know, the big a girl. She's hot.

220
00:12:59,440 --> 00:13:01,520
Speaker 2: News people want her an.

221
00:13:03,440 --> 00:13:06,240
Speaker 1: Ica, Oh yes, thank you, so so. Richard Kine's there,

222
00:13:06,320 --> 00:13:09,720
Speaker 1: he's her agent. It's a very funny scene, but basically

223
00:13:09,760 --> 00:13:11,640
Speaker 1: he's like, what do you want? This guy's the limit

224
00:13:11,800 --> 00:13:15,680
Speaker 1: And then but we think you have a face for radio.

225
00:13:15,840 --> 00:13:19,560
Speaker 1: So really kind of just bringing her down to this

226
00:13:19,640 --> 00:13:22,960
Speaker 1: place of like you're not gonna work how you want

227
00:13:22,960 --> 00:13:25,360
Speaker 1: to work on TV and film forever and like kind

228
00:13:25,400 --> 00:13:32,080
Speaker 1: of like make your way to the next step. She's

229
00:13:32,080 --> 00:13:35,720
Speaker 1: feeling like Funny Girls getting a little redundant. Based on

230
00:13:35,920 --> 00:13:39,719
Speaker 1: Wake Me Up, where she does this, they show her

231
00:13:39,960 --> 00:13:43,320
Speaker 1: coming out night after night to do the show and

232
00:13:43,360 --> 00:13:46,200
Speaker 1: it feels repetitive and she's doing the same thing, and

233
00:13:46,400 --> 00:13:49,240
Speaker 1: I thought that was cool, but I don't think it

234
00:13:49,360 --> 00:13:53,000
Speaker 1: was warranted for the timing of the show that it's

235
00:13:53,080 --> 00:13:56,760
Speaker 1: so quickly after. I am glad that Kurt did mention

236
00:13:57,120 --> 00:14:00,200
Speaker 1: like this is what you've always wanted you just start

237
00:14:00,440 --> 00:14:03,280
Speaker 1: Why are you going to f it all up now?

238
00:14:03,920 --> 00:14:06,320
Speaker 2: It also makes zero sense I think for her character

239
00:14:07,280 --> 00:14:11,520
Speaker 2: where totally that like she has been driven from day

240
00:14:11,600 --> 00:14:15,640
Speaker 2: one to basically get to where she is. And obviously,

241
00:14:16,840 --> 00:14:19,800
Speaker 2: yes she left Nada early to do this, but that

242
00:14:19,840 --> 00:14:21,960
Speaker 2: makes sense and is still in line with like what

243
00:14:22,040 --> 00:14:26,080
Speaker 2: her dream has been. Yeah, and like you said, you're like,

244
00:14:26,080 --> 00:14:27,680
Speaker 2: why would you keep going to school if you're already

245
00:14:27,720 --> 00:14:30,400
Speaker 2: like the lead in a show like right that you're

246
00:14:30,440 --> 00:14:33,080
Speaker 2: going to school to do that thing right? Right? So

247
00:14:34,360 --> 00:14:36,360
Speaker 2: like that makes sense. But then she turns around and

248
00:14:36,440 --> 00:14:41,120
Speaker 2: does it again, but with this like TV movie stuff,

249
00:14:41,520 --> 00:14:44,880
Speaker 2: and again, like you said, if the story is grounded,

250
00:14:45,520 --> 00:14:48,360
Speaker 2: then like they can be crazy and like, yeah, that's

251
00:14:48,400 --> 00:14:52,200
Speaker 2: why all of her like leaving Niata early and acting

252
00:14:52,200 --> 00:14:56,360
Speaker 2: a little crazy. It's fine because it's within line with

253
00:14:56,520 --> 00:15:00,440
Speaker 2: like how she's been for five seasons. Yes, this feels

254
00:15:00,480 --> 00:15:02,480
Speaker 2: like totally out of whack for me.

255
00:15:02,720 --> 00:15:07,120
Speaker 1: Well yeah, so I mean, like, okay, So for example,

256
00:15:07,480 --> 00:15:10,440
Speaker 1: this Paul what's his name.

257
00:15:10,520 --> 00:15:13,960
Speaker 2: Lee, Paul black Lee Paul played by Jim Rashers, and

258
00:15:14,000 --> 00:15:17,240
Speaker 2: I thought he was so a lot of good guest stars,

259
00:15:17,240 --> 00:15:21,160
Speaker 2: like you said Richard Kind. Jim rash was hilarious and

260
00:15:21,200 --> 00:15:23,840
Speaker 2: did like a really grounded performance of this.

261
00:15:23,960 --> 00:15:29,960
Speaker 1: Yes, I loved it. So he comes in. The Fox

262
00:15:29,960 --> 00:15:33,720
Speaker 1: exec comes in and says, I, after Rachel's had her meeting,

263
00:15:33,960 --> 00:15:37,320
Speaker 1: her very discouraging meeting with her agents, and he says,

264
00:15:37,880 --> 00:15:41,640
Speaker 1: there's this show on Fox that a little meta, we

265
00:15:41,680 --> 00:15:46,160
Speaker 1: want you to come and test for and uh your

266
00:15:46,200 --> 00:15:50,280
Speaker 1: perk before it and blah blah blah. So she's trying

267
00:15:50,280 --> 00:15:52,080
Speaker 1: to get out of the show, out of her Broadway show.

268
00:15:52,080 --> 00:15:53,880
Speaker 1: He's like, can you make it on Tuesday night? And

269
00:15:53,880 --> 00:15:55,960
Speaker 1: she's like, no, I have a show and he's like, well,

270
00:15:56,000 --> 00:16:03,160
Speaker 1: you're under study. It's a show. Now, Well, people do

271
00:16:03,240 --> 00:16:07,960
Speaker 1: this right, People call out of a show. It's frowned upon.

272
00:16:08,760 --> 00:16:12,760
Speaker 1: It's probably a breach of contract realistically, but people call

273
00:16:12,800 --> 00:16:16,920
Speaker 1: out her shows for reasons, right, like I just you

274
00:16:16,920 --> 00:16:18,920
Speaker 1: don't leave town if you're the star of a show

275
00:16:19,000 --> 00:16:22,160
Speaker 1: unless you get approval, which she tried to get out Sydney,

276
00:16:22,160 --> 00:16:24,560
Speaker 1: but like didn't work. He was like no, no, no.

277
00:16:27,800 --> 00:16:30,200
Speaker 1: She calls out of the show after having a conversation

278
00:16:30,320 --> 00:16:34,160
Speaker 1: with Kurt, who I appreciated that conversation of him keeping

279
00:16:34,200 --> 00:16:40,920
Speaker 1: it real with her, and flies to La to test

280
00:16:41,400 --> 00:16:45,080
Speaker 1: where she didn't get the script and sings a song,

281
00:16:45,800 --> 00:16:51,200
Speaker 1: sings the Rose. Now the Rose would have been funny,

282
00:16:51,240 --> 00:16:56,080
Speaker 1: but we weren't in on the joke. We didn't know

283
00:16:57,920 --> 00:17:00,920
Speaker 1: that it wasn't a singing audition, that there were sides

284
00:17:00,960 --> 00:17:04,120
Speaker 1: and it was a space sci fi show. I mean

285
00:17:04,200 --> 00:17:06,920
Speaker 1: I got it from their reactions totally, but I wasn't

286
00:17:06,960 --> 00:17:11,159
Speaker 1: sure if she's sang the wrong song or it. Like,

287
00:17:11,240 --> 00:17:13,840
Speaker 1: I didn't know what they were looking for, and so

288
00:17:15,000 --> 00:17:17,640
Speaker 1: it wasn't like, oh, she wasn't supposed to sing like

289
00:17:17,720 --> 00:17:20,040
Speaker 1: I just thought like, oh, she's singing, and they're like, oh,

290
00:17:20,760 --> 00:17:23,080
Speaker 1: you know this is this is not the right character

291
00:17:23,240 --> 00:17:29,520
Speaker 1: you're auditioning for. So that was one two so weird

292
00:17:29,560 --> 00:17:33,840
Speaker 1: to be in like a Fox studio room. It's not

293
00:17:33,920 --> 00:17:36,080
Speaker 1: how a test really looks, but I could kind of

294
00:17:36,080 --> 00:17:40,479
Speaker 1: look like a test. Yeah, but it's just like the

295
00:17:40,520 --> 00:17:45,040
Speaker 1: whole thing of the Lee Paul Blatt walking into her

296
00:17:45,160 --> 00:17:48,600
Speaker 1: dressing room with unannounced She has no idea he's coming.

297
00:17:48,760 --> 00:17:53,919
Speaker 1: Sits down also like so weird to me, like so

298
00:17:54,080 --> 00:17:55,200
Speaker 1: many realistics.

299
00:17:55,240 --> 00:17:58,199
Speaker 2: Everything was weird. The only thing I enjoyed in this

300
00:17:58,520 --> 00:18:00,640
Speaker 2: was like there was some good comedy the two of them.

301
00:18:00,680 --> 00:18:03,640
Speaker 2: They were really funny together. Yeah, yeah, yeah, yeah, sure,

302
00:18:04,640 --> 00:18:10,000
Speaker 2: Like Leah was really funny and so is Jim.

303
00:18:10,359 --> 00:18:10,880
Speaker 1: It was great.

304
00:18:11,359 --> 00:18:13,959
Speaker 2: I love seeing Paramount. It's like, oh, that's where we shot,

305
00:18:14,320 --> 00:18:16,680
Speaker 2: Like that's where it's clearly everything had to be filmed

306
00:18:16,720 --> 00:18:18,720
Speaker 2: at Paramount. At the end of the season, we're not

307
00:18:18,760 --> 00:18:19,600
Speaker 2: going to New York again.

308
00:18:20,960 --> 00:18:25,600
Speaker 1: Yeah, yeah, yeah, for sure. Her audition was really bad,

309
00:18:25,880 --> 00:18:28,800
Speaker 1: which was actually funny too to like see as an actor,

310
00:18:28,880 --> 00:18:31,600
Speaker 1: to watch a bad audition, not to watch her fail,

311
00:18:31,640 --> 00:18:36,080
Speaker 1: but like it happens and it's real and it's sometimes

312
00:18:36,080 --> 00:18:39,359
Speaker 1: you're just not right for the part. It awful and

313
00:18:39,400 --> 00:18:42,080
Speaker 1: you're like, I'm actually like in the middle of an

314
00:18:42,119 --> 00:18:44,840
Speaker 1: audition like that, I'd be like thinking to myself like,

315
00:18:45,760 --> 00:18:47,800
Speaker 1: let me just excuse myself and do you all a

316
00:18:47,840 --> 00:18:51,480
Speaker 1: favor right now, because like we all know this isn't.

317
00:18:51,280 --> 00:18:53,160
Speaker 2: Right, you knowing everybody's time.

318
00:18:53,320 --> 00:19:00,240
Speaker 1: Yeah, like maybe maybe I should just leave. And she

319
00:19:00,240 --> 00:19:03,159
Speaker 1: gets stuck in and city calls that her understudy had

320
00:19:03,440 --> 00:19:06,200
Speaker 1: uh slipped and hurt her neck, right.

321
00:19:06,400 --> 00:19:08,320
Speaker 2: Something like that fell off the stage or something.

322
00:19:08,600 --> 00:19:10,560
Speaker 1: Yeah, yes, I fell off the lip of the stage

323
00:19:10,760 --> 00:19:12,679
Speaker 1: and hurt her neck. And so she he needs she

324
00:19:12,720 --> 00:19:15,040
Speaker 1: needs to hydrate and show up and she's in La

325
00:19:15,280 --> 00:19:18,200
Speaker 1: and she can't make it back, and so she calls Kurt,

326
00:19:18,240 --> 00:19:24,119
Speaker 1: who enlists Mercedes and Santana to help him like stall

327
00:19:24,200 --> 00:19:26,439
Speaker 1: the show, figure it out so that she doesn't lose

328
00:19:26,560 --> 00:19:30,720
Speaker 1: her job and uh in breach of contract, and so

329
00:19:31,240 --> 00:19:39,320
Speaker 1: Santana has an idea to go step in as Fanny Bryce. Well.

330
00:19:39,359 --> 00:19:44,480
Speaker 2: Also when Kurt comes in to tell Santana Mercedes is

331
00:19:44,480 --> 00:19:49,679
Speaker 2: there offering Santana a recording like a contract so she

332
00:19:49,680 --> 00:19:52,320
Speaker 2: can sing on a song with her, I was like,

333
00:19:52,400 --> 00:19:55,440
Speaker 2: what is happening. It doesn't happen, none of it well,

334
00:19:55,440 --> 00:19:57,639
Speaker 2: because it was like it's not only the music storyline

335
00:19:57,640 --> 00:20:02,840
Speaker 2: now like the Rachel's storyline. Also it's cliches about TV

336
00:20:03,520 --> 00:20:05,480
Speaker 2: and agent Broadway and Broadway.

337
00:20:05,760 --> 00:20:08,280
Speaker 1: Yeah yeah, yeah, yeah.

338
00:20:08,400 --> 00:20:12,840
Speaker 2: Okay, so now we're compounding that right, right, Like two

339
00:20:12,880 --> 00:20:14,920
Speaker 2: negatives does not make a positive.

340
00:20:15,040 --> 00:20:19,199
Speaker 1: Right exactly. And Santana shows up and turns around and

341
00:20:19,200 --> 00:20:24,560
Speaker 1: she's in the Fanny Rice costume and it's just so unrealistic,

342
00:20:24,680 --> 00:20:27,520
Speaker 1: like it would never happen like that, given granted she

343
00:20:27,840 --> 00:20:31,520
Speaker 1: was hired as the understudy to start, so there's like

344
00:20:31,680 --> 00:20:34,080
Speaker 1: at least a piece of it that kind of makes sense,

345
00:20:34,480 --> 00:20:41,120
Speaker 1: but like, no, it wouldn't. It wouldn't happen like that,

346
00:20:41,960 --> 00:20:44,440
Speaker 1: and after wouldn't tell a producer that she's stepping in.

347
00:20:45,600 --> 00:20:49,640
Speaker 1: Santana wouldn't be ready. She doesn't fit into Rachel's costumes.

348
00:20:51,040 --> 00:20:53,679
Speaker 1: She looks like she's going on for a concert, not

349
00:20:53,800 --> 00:20:58,439
Speaker 1: a musical. I don't I don't fully understand any of it.

350
00:20:58,480 --> 00:21:02,399
Speaker 1: I didn't believe a word of it, and so it

351
00:21:02,520 --> 00:21:07,120
Speaker 1: just felt very looked out of thin air, not based

352
00:21:07,160 --> 00:21:10,560
Speaker 1: in reality at all. She does save the show, I guess,

353
00:21:10,560 --> 00:21:12,840
Speaker 1: and apparently she was very good, and apparently Rachel makes

354
00:21:12,840 --> 00:21:14,720
Speaker 1: it back to see her in the second act, and

355
00:21:16,359 --> 00:21:21,720
Speaker 1: so she's very good and she thanks Santana, and that

356
00:21:21,840 --> 00:21:25,160
Speaker 1: very nice scene that you had talked about earlier where

357
00:21:25,440 --> 00:21:28,480
Speaker 1: she's like, Okay, tell me what you want, and Santana

358
00:21:28,920 --> 00:21:32,560
Speaker 1: very kindly says, like, you know, let's kind of just

359
00:21:32,600 --> 00:21:35,119
Speaker 1: start over. And you can see this as a gesture

360
00:21:35,160 --> 00:21:37,400
Speaker 1: of like me trying to be a better person, which

361
00:21:37,400 --> 00:21:39,680
Speaker 1: is really great. And of course we love a scene

362
00:21:39,720 --> 00:21:44,439
Speaker 1: with Rachel and Santana, love to watch them together. And

363
00:21:44,520 --> 00:21:50,240
Speaker 1: I appreciated that because I do think that it's nice

364
00:21:50,280 --> 00:21:53,320
Speaker 1: to see a character still evolving at this point in

365
00:21:53,359 --> 00:21:58,320
Speaker 1: the show, and for a character to continue to have

366
00:21:58,359 --> 00:22:06,320
Speaker 1: an arc that makes sense, something something I just I

367
00:22:06,359 --> 00:22:09,720
Speaker 1: feel like redeeming in this episode, in this very harsh

368
00:22:09,760 --> 00:22:17,680
Speaker 1: episode that feels very yeah. And Rachel has a meeting

369
00:22:17,680 --> 00:22:22,840
Speaker 1: with Sydney and she is very prepared for him to

370
00:22:22,960 --> 00:22:25,320
Speaker 1: fire her because of what she did. She told him

371
00:22:25,320 --> 00:22:29,760
Speaker 1: the truth and you just don't do that and you

372
00:22:29,800 --> 00:22:33,560
Speaker 1: don't leave and call out for another audition. It's just

373
00:22:33,640 --> 00:22:39,720
Speaker 1: not right. There would also be a second Fanny stand by.

374
00:22:40,040 --> 00:22:43,480
Speaker 1: There'd be a stand by and an understudy. I wanted

375
00:22:43,480 --> 00:22:46,000
Speaker 1: to ask you the title orle would have more than

376
00:22:46,080 --> 00:22:50,720
Speaker 1: one cover, for sure, they generally have two covers. One

377
00:22:50,720 --> 00:22:53,160
Speaker 1: would probably be the stand by, which is the one

378
00:22:53,160 --> 00:22:55,879
Speaker 1: who goes on the most. But then there would be

379
00:22:55,960 --> 00:22:59,600
Speaker 1: another person who also covers Fanny. Because of times like

380
00:22:59,640 --> 00:23:04,560
Speaker 1: this and two people are out, which happens, it realistically happens,

381
00:23:04,840 --> 00:23:11,760
Speaker 1: So that wouldn't have happened. And that meeting.

382
00:23:11,520 --> 00:23:14,200
Speaker 2: Seemed pretty real though that I like that felt grounded

383
00:23:14,280 --> 00:23:18,200
Speaker 2: and like shocking in a way. That was yes, because

384
00:23:18,240 --> 00:23:20,040
Speaker 2: you know, you just assume like she's gonna get away

385
00:23:20,080 --> 00:23:22,280
Speaker 2: with it, She'll get a little but like he was mad.

386
00:23:22,600 --> 00:23:26,920
Speaker 1: Yeah, I agree, Kevin. The the producer meeting was Actually

387
00:23:27,160 --> 00:23:29,320
Speaker 1: I think it did its job. We were supposed to

388
00:23:29,359 --> 00:23:32,920
Speaker 1: feel very downtrodden and taken down by this whole thing.

389
00:23:33,080 --> 00:23:37,159
Speaker 1: Like Rachel was really getting more than just a slap

390
00:23:37,160 --> 00:23:40,359
Speaker 1: on the wrist and really hit her hard, and it

391
00:23:40,440 --> 00:23:43,600
Speaker 1: was kind of it was inappropriate in a way that

392
00:23:43,680 --> 00:23:46,960
Speaker 1: I don't think somebody should speak to somebody else, whether

393
00:23:47,040 --> 00:23:51,679
Speaker 1: it be a boss to a employee of any kind.

394
00:23:53,560 --> 00:23:57,679
Speaker 1: It was more of a hit on her person and

395
00:23:57,760 --> 00:24:00,639
Speaker 1: it felt like that. And so I think her response

396
00:24:00,840 --> 00:24:06,639
Speaker 1: coming out of that meeting was valid and how upset

397
00:24:06,680 --> 00:24:08,920
Speaker 1: she was because she knew she had messed up, and

398
00:24:09,359 --> 00:24:11,280
Speaker 1: you know, it happens, but I don't think it called

399
00:24:11,320 --> 00:24:14,680
Speaker 1: for that, but I do think it justified her wanting

400
00:24:15,640 --> 00:24:19,160
Speaker 1: to take on this show and leave Fanny Brice at

401
00:24:19,160 --> 00:24:23,080
Speaker 1: this point because the workplace has then become toxic with

402
00:24:23,119 --> 00:24:26,920
Speaker 1: how Sydney's treating her. So therefore then she's going, Okay,

403
00:24:26,920 --> 00:24:28,840
Speaker 1: they're going to make a show for me. I got

404
00:24:28,840 --> 00:24:32,320
Speaker 1: to get out of here. So sure, none of that

405
00:24:32,480 --> 00:24:35,480
Speaker 1: really happens like that, And also like the development deal,

406
00:24:35,760 --> 00:24:39,560
Speaker 1: it doesn't really happen like that, but they are Lee.

407
00:24:39,680 --> 00:24:41,720
Speaker 1: Paul Black calls her and says, look, we know that

408
00:24:41,760 --> 00:24:46,040
Speaker 1: you weren't right for this sci fi show, but we

409
00:24:46,080 --> 00:24:48,160
Speaker 1: are going to give you a development deal in which

410
00:24:48,160 --> 00:24:50,720
Speaker 1: we're going to create a show around you, which we

411
00:24:50,760 --> 00:24:54,399
Speaker 1: will get you the untitled Rachel Barry Project, which I

412
00:24:54,480 --> 00:24:56,320
Speaker 1: don't know anything about. I don't know how that ends,

413
00:24:56,320 --> 00:24:58,400
Speaker 1: so I am curious how they're going to handle all

414
00:24:58,400 --> 00:25:05,240
Speaker 1: of that. But I again, none of this felt real

415
00:25:06,040 --> 00:25:08,840
Speaker 1: and maybe and it's also kind of sad because like, yes,

416
00:25:09,000 --> 00:25:11,280
Speaker 1: we've worked on Broadway, we've worked in the music industry,

417
00:25:11,320 --> 00:25:13,520
Speaker 1: we know how this all works. For people who don't,

418
00:25:13,680 --> 00:25:16,200
Speaker 1: that's their take on what happens.

419
00:25:16,520 --> 00:25:19,919
Speaker 2: Yes, but I also feel like that this show is

420
00:25:20,400 --> 00:25:25,800
Speaker 2: generally ground smarter, like getting wittier than that, agreed, and

421
00:25:25,880 --> 00:25:28,920
Speaker 2: so it just felt like often that way. And I

422
00:25:29,359 --> 00:25:31,840
Speaker 2: think because like the writers have been doing such a

423
00:25:31,880 --> 00:25:34,040
Speaker 2: good job of raising the bar of what we've been

424
00:25:34,080 --> 00:25:37,439
Speaker 2: seeing right now, and you totally told that. It's like,

425
00:25:37,480 --> 00:25:40,720
Speaker 2: that's what you've come to expect, We've adjusted our expectations,

426
00:25:40,800 --> 00:25:44,800
Speaker 2: and I'm like, this doesn't meet that, right. But I

427
00:25:44,840 --> 00:25:48,480
Speaker 2: do think there's also a trend of, like some of

428
00:25:48,520 --> 00:25:52,960
Speaker 2: the episodes, not just in our show in general, when

429
00:25:52,960 --> 00:25:56,000
Speaker 2: it gets towards the end of like a long season,

430
00:25:56,760 --> 00:26:00,320
Speaker 2: you have a couple of clunkers, and that's fine writing

431
00:26:00,359 --> 00:26:03,439
Speaker 2: twenty twenty two episodes a season whatever.

432
00:26:05,640 --> 00:26:11,200
Speaker 1: Totally, it just it really it ended my streak for sure.

433
00:26:12,640 --> 00:26:14,080
Speaker 1: I think it ended a lot of people' streaks. But

434
00:26:14,080 --> 00:26:16,440
Speaker 1: I would be curious to hear people think that's that

435
00:26:16,520 --> 00:26:18,760
Speaker 1: we still haven't finished. We have Kurt and Blaine, so

436
00:26:18,800 --> 00:26:23,920
Speaker 1: curtain Blaine. Kurt is going to sing and perform at

437
00:26:23,920 --> 00:26:26,080
Speaker 1: the renaming of the Nanda Dance Studio.

438
00:26:26,520 --> 00:26:33,119
Speaker 2: For selected to be the performer, Okay, and then just

439
00:26:33,160 --> 00:26:36,000
Speaker 2: has Blaine. And you're at the opening of a dance

440
00:26:36,040 --> 00:26:39,040
Speaker 2: studio and there is no dancing. You're actually just singing

441
00:26:39,080 --> 00:26:41,080
Speaker 2: like a mid tempo song on stools.

442
00:26:42,640 --> 00:26:43,879
Speaker 1: It's really weird.

443
00:26:44,520 --> 00:26:47,440
Speaker 2: It's so strange because those two can do such high

444
00:26:47,560 --> 00:26:49,320
Speaker 2: energy performances as well.

445
00:26:50,200 --> 00:26:55,000
Speaker 1: I do. I will say while the song choices, I

446
00:26:55,040 --> 00:26:57,560
Speaker 1: didn't think we're quite correct for this. I do love

447
00:26:57,640 --> 00:27:00,840
Speaker 1: these songs like I love Waiting Up, I loved Up,

448
00:27:01,119 --> 00:27:03,840
Speaker 1: I love Story of My Life like I'm I'm here

449
00:27:03,920 --> 00:27:07,560
Speaker 1: for it. But I I just didn't and yeah, exactly

450
00:27:07,720 --> 00:27:10,880
Speaker 1: exactly didn't quick fit into the storyline. But there are

451
00:27:10,920 --> 00:27:13,200
Speaker 1: episodes where that's going to happen, where we're writing around

452
00:27:13,400 --> 00:27:16,920
Speaker 1: you know, we're writing and the songs just happened to

453
00:27:17,240 --> 00:27:20,840
Speaker 1: make it in and they do. Yeah, they do. Story

454
00:27:20,840 --> 00:27:23,439
Speaker 1: in My Life for Dune Dollaway and June ends up

455
00:27:23,480 --> 00:27:26,360
Speaker 1: being and Kurt is obsessed with Dan all the way.

456
00:27:26,440 --> 00:27:30,640
Speaker 1: He's like a huge fan, totally aware of like her

457
00:27:30,840 --> 00:27:34,000
Speaker 1: body of work. And Blaine's just kind of there for

458
00:27:34,040 --> 00:27:38,520
Speaker 1: the ride, and June perks up, which is the Shirley

459
00:27:38,600 --> 00:27:41,199
Speaker 1: McLean who is in the show, and she perks up

460
00:27:41,200 --> 00:27:44,600
Speaker 1: and sees Blaine and sees his potential and she takes

461
00:27:44,680 --> 00:27:47,000
Speaker 1: him under her wing and they go to this charity

462
00:27:47,000 --> 00:27:49,600
Speaker 1: dinner together and they decide. She decides she's going to

463
00:27:49,760 --> 00:27:53,000
Speaker 1: do a show for him to showcase his talents, and

464
00:27:53,320 --> 00:27:57,959
Speaker 1: Blaine very kindly is like, I'm going to include Kurt

465
00:27:58,400 --> 00:28:00,440
Speaker 1: or where does Kurt fit in to all of this?

466
00:28:00,600 --> 00:28:04,160
Speaker 1: And she's like, no, no, it's not going to happen

467
00:28:04,280 --> 00:28:08,879
Speaker 1: like that. Now. I don't think Blaine should have been

468
00:28:08,880 --> 00:28:14,920
Speaker 1: afraid to tell Kurt like June doesn't really like you,

469
00:28:14,920 --> 00:28:16,840
Speaker 1: because Kurt was like, oh I thought she hated me,

470
00:28:16,920 --> 00:28:19,800
Speaker 1: like he didn't even expect her to be in any

471
00:28:20,160 --> 00:28:23,879
Speaker 1: this show. So again, I was like confused why they

472
00:28:23,880 --> 00:28:26,159
Speaker 1: couldn't just have an honest conversation about it. But I

473
00:28:26,160 --> 00:28:34,760
Speaker 1: guess that wouldn't be good TV. I don't know, I.

474
00:28:32,160 --> 00:28:38,560
Speaker 2: I don't know. It's sort of it felt like everybody

475
00:28:38,680 --> 00:28:42,200
Speaker 2: was acting out of character and not like if I'm exciting, Oh,

476
00:28:42,280 --> 00:28:44,040
Speaker 2: they're acting out of character.

477
00:28:45,080 --> 00:28:48,120
Speaker 1: I just felt like out of sorts completely.

478
00:28:47,880 --> 00:28:52,680
Speaker 2: Yes, like it didn't make Yeah, yeah, I'm sorry, I'm sorry.

479
00:28:52,720 --> 00:28:54,560
Speaker 2: I'm studying that. I was. I was watching it in

480
00:28:54,560 --> 00:28:55,880
Speaker 2: sort of each scene that happened.

481
00:28:55,600 --> 00:28:59,000
Speaker 1: I was like, wait, what's happening. I also just like

482
00:28:59,120 --> 00:29:02,080
Speaker 1: I I to be honest, like I didn't care. I

483
00:29:02,120 --> 00:29:08,160
Speaker 1: didn't care, about the storyline, and it wasn't that I

484
00:29:08,160 --> 00:29:10,120
Speaker 1: don't care about the characters and I didn't care about

485
00:29:10,320 --> 00:29:14,040
Speaker 1: like how cool it was for Shirley McClain to be

486
00:29:14,120 --> 00:29:17,920
Speaker 1: there and for but like, Curt and Blaine have been

487
00:29:17,920 --> 00:29:20,600
Speaker 1: through so much more than this, and it felt so

488
00:29:22,760 --> 00:29:27,760
Speaker 1: high school yeah minute in what they've been through that

489
00:29:27,840 --> 00:29:30,640
Speaker 1: I was like, why why do I care about this storyline?

490
00:29:33,080 --> 00:29:36,200
Speaker 1: So fine about it? Yes, exactly. So it's more of

491
00:29:36,240 --> 00:29:40,400
Speaker 1: like Blaine's fear of hurting Kurt, but which I guess

492
00:29:40,440 --> 00:29:43,800
Speaker 1: is sweet. But anyway, so June and Blaine they perform

493
00:29:43,920 --> 00:29:46,360
Speaker 1: at the dinner and so she's like, I got to

494
00:29:46,360 --> 00:29:48,440
Speaker 1: get to know you. I got to know all about

495
00:29:48,480 --> 00:29:50,480
Speaker 1: you if I can talk about you and get you

496
00:29:50,520 --> 00:29:52,880
Speaker 1: to network. And Kurt's like super's reported, which I love,

497
00:29:54,040 --> 00:29:57,560
Speaker 1: and she's going to help him put on a showcase.

498
00:29:57,600 --> 00:29:59,600
Speaker 1: But she also tells him to break up with Kurt.

499
00:29:59,640 --> 00:30:02,360
Speaker 1: She's been through love and she's been in love many

500
00:30:02,400 --> 00:30:05,960
Speaker 1: many times, and I'm like, but wait a second where

501
00:30:06,240 --> 00:30:07,600
Speaker 1: she says she has to get to know you, but

502
00:30:07,680 --> 00:30:10,480
Speaker 1: then she's like giving you like life advice, like big

503
00:30:10,520 --> 00:30:11,280
Speaker 1: life advice.

504
00:30:13,120 --> 00:30:15,360
Speaker 2: I don't know, it just feel like we missed a

505
00:30:15,400 --> 00:30:18,760
Speaker 2: lot of steps, Like this episode felt like a bunch

506
00:30:18,760 --> 00:30:21,400
Speaker 2: of storylines that could have happened in a couple episodes,

507
00:30:22,720 --> 00:30:26,920
Speaker 2: Like we skipped to the end of like these significant

508
00:30:26,920 --> 00:30:27,880
Speaker 2: plot points.

509
00:30:28,600 --> 00:30:31,720
Speaker 1: Yeah, where is this going? Where's this going? Now?

510
00:30:32,080 --> 00:30:36,400
Speaker 2: If you could build Rachel being tired of, you know,

511
00:30:36,480 --> 00:30:38,440
Speaker 2: the show, or like the show is starting to strain

512
00:30:38,560 --> 00:30:41,480
Speaker 2: on her, if you could build this relationship, it'd be

513
00:30:41,520 --> 00:30:46,200
Speaker 2: treating her terribly or whatever, or you build the you

514
00:30:46,240 --> 00:30:50,720
Speaker 2: know with Blaine and Kurt and June, that dynamic being

515
00:30:50,760 --> 00:30:55,320
Speaker 2: strained over some time and then her getting the like

516
00:30:56,080 --> 00:30:58,080
Speaker 2: you know, if if she had I'm not a writer.

517
00:30:58,160 --> 00:31:01,520
Speaker 2: I don't want to give notes this is however, it's

518
00:31:01,560 --> 00:31:07,960
Speaker 2: like sure, Sherley McLean also side note, is so good

519
00:31:07,960 --> 00:31:10,560
Speaker 2: in this and I enjoyed watching her just do everything.

520
00:31:10,640 --> 00:31:14,160
Speaker 2: She owns every single scene she's in. And I liked

521
00:31:14,560 --> 00:31:18,200
Speaker 2: her and Darren together. They were really great together, great,

522
00:31:19,040 --> 00:31:23,040
Speaker 2: and she's so funny, very and it was so real.

523
00:31:23,200 --> 00:31:28,160
Speaker 2: It was wild. Obviously she's a legend, but imagine, like,

524
00:31:28,240 --> 00:31:31,400
Speaker 2: you know, you built that sort of tension between three

525
00:31:31,440 --> 00:31:33,959
Speaker 2: of them over a couple episodes, and then when you

526
00:31:34,000 --> 00:31:37,560
Speaker 2: think like I'm your biggest advocate, actually get rid of

527
00:31:37,560 --> 00:31:41,080
Speaker 2: your boyfriend. It means more totally, but we're running out

528
00:31:41,080 --> 00:31:43,400
Speaker 2: of time and season and we probably don't have Shirley

529
00:31:43,480 --> 00:31:46,760
Speaker 2: for that many episodes, so we got to can't move in.

530
00:31:48,400 --> 00:31:52,520
Speaker 1: All right, Okay, sorry we're so down on this episode.

531
00:31:52,680 --> 00:31:54,640
Speaker 1: I know, I know. I hate to be like that,

532
00:31:54,720 --> 00:31:57,040
Speaker 1: but it is like a kind of a filler transition

533
00:31:57,160 --> 00:32:02,160
Speaker 1: episode in a lot of ways. Aside there's moments. There's

534
00:32:02,200 --> 00:32:04,840
Speaker 1: definitely moments, and I think everybody's doing a really great

535
00:32:04,920 --> 00:32:07,600
Speaker 1: job and there's really good performances. But like, we're working

536
00:32:07,640 --> 00:32:20,800
Speaker 1: with what we got here. Let's grade some performances. Wake

537
00:32:20,840 --> 00:32:24,959
Speaker 1: me up. I don't feel like this tone worked for

538
00:32:25,040 --> 00:32:30,800
Speaker 1: this song. It felt like contrasting genre with what I

539
00:32:30,840 --> 00:32:34,320
Speaker 1: was seeing on the screen. Yeah, so I'm giving this

540
00:32:34,400 --> 00:32:35,120
Speaker 1: a B minus.

541
00:32:35,520 --> 00:32:38,440
Speaker 2: I think I would like to repeat what you said earlier.

542
00:32:38,520 --> 00:32:42,560
Speaker 2: The caveat or the qualifying statement for all of these

543
00:32:43,680 --> 00:32:50,920
Speaker 2: performances is that the recorded versions are awesome. Chris love

544
00:32:51,000 --> 00:32:57,200
Speaker 2: all of them. This is grading the performances in the episode. Yeah,

545
00:32:57,280 --> 00:33:02,960
Speaker 2: I'd give it a bee do op that thing. I'll

546
00:33:03,000 --> 00:33:03,440
Speaker 2: give it.

547
00:33:03,520 --> 00:33:09,480
Speaker 1: And it's hard, it's hard to separate it because, like

548
00:33:09,520 --> 00:33:12,160
Speaker 1: I can't stop watching them walk down the hallway with

549
00:33:12,200 --> 00:33:15,000
Speaker 1: like a tiny mic kind of like lagging behind them,

550
00:33:15,280 --> 00:33:18,960
Speaker 1: but also like it's obviously we love that song. Obviously

551
00:33:18,960 --> 00:33:24,560
Speaker 1: we loved Amber and not on it. B plus Yeah,

552
00:33:25,120 --> 00:33:31,600
Speaker 1: sorry to say, Story of my Life be plus again, Yeah,

553
00:33:31,760 --> 00:33:38,440
Speaker 1: be plus, Peace in my Heart benus Yeah, and then

554
00:33:38,480 --> 00:33:44,680
Speaker 1: the Rose B plus. Okay, it's a good average there.

555
00:33:45,760 --> 00:33:49,240
Speaker 1: Let's do some tarty takes, some cringe moments. Okay, I

556
00:33:49,280 --> 00:33:57,200
Speaker 1: will say the blame thing. It does feel a little grooomy,

557
00:33:58,880 --> 00:33:59,640
Speaker 1: just a little bit.

558
00:34:00,080 --> 00:34:04,000
Speaker 2: Yeah, I don't And also like just the way that.

559
00:34:06,080 --> 00:34:09,880
Speaker 1: Sydney's speaking to Rachel is like it just is like ikey.

560
00:34:10,000 --> 00:34:11,960
Speaker 1: It's so ikey to me. I don't like it.

561
00:34:12,400 --> 00:34:16,200
Speaker 2: Well, all the like sort of the show bised stuff.

562
00:34:16,200 --> 00:34:19,400
Speaker 2: It's sort of gross. Like the way her agent is

563
00:34:19,400 --> 00:34:26,000
Speaker 2: speaking to her is obviously terrible. Yeah, I think all

564
00:34:26,080 --> 00:34:28,839
Speaker 2: that is. And yes, some of those things happen in

565
00:34:28,880 --> 00:34:32,560
Speaker 2: real life and some of them are that bad. But

566
00:34:32,640 --> 00:34:36,400
Speaker 2: it was just like a lot all at once, you know. Yeah,

567
00:34:37,000 --> 00:34:41,720
Speaker 2: best dance move. There's not really dancing in this, however,

568
00:34:43,200 --> 00:34:45,759
Speaker 2: props to I think I want to give it to

569
00:34:46,880 --> 00:34:50,600
Speaker 2: whatever Shirley MacLean is doing in Peace of my heart

570
00:34:50,680 --> 00:34:53,800
Speaker 2: because like she's doing crowd work.

571
00:34:54,480 --> 00:34:56,880
Speaker 1: Yeah fair enough. I mean I don't think Charlie McLean's

572
00:34:57,000 --> 00:34:57,680
Speaker 1: just doing some.

573
00:34:57,680 --> 00:35:00,680
Speaker 2: Like leans and stuff. And I was like, you're getting it.

574
00:35:01,000 --> 00:35:05,000
Speaker 1: Give it to us, Okay, that's good, surely deserves it all.

575
00:35:06,520 --> 00:35:14,760
Speaker 1: The best song. I don't know. I don't. I actually

576
00:35:14,800 --> 00:35:15,160
Speaker 1: don't know.

577
00:35:15,600 --> 00:35:21,360
Speaker 2: You know, I may give it a piece of my heart. Interesting, Actually,

578
00:35:21,400 --> 00:35:24,520
Speaker 2: I don't know. I liked the version of wake Me Up.

579
00:35:25,320 --> 00:35:29,160
Speaker 1: Oh you jad like good on it. I like the

580
00:35:29,200 --> 00:35:34,160
Speaker 1: slow version. I just I can't un see the situation

581
00:35:34,280 --> 00:35:36,359
Speaker 1: in which it was in. That doesn't feel.

582
00:35:36,200 --> 00:35:40,440
Speaker 2: It's the multiple walking down the hall. Yeah no.

583
00:35:40,600 --> 00:35:42,920
Speaker 1: And I liked a story in my life, like I

584
00:35:42,960 --> 00:35:43,720
Speaker 1: love that song.

585
00:35:45,280 --> 00:35:47,359
Speaker 2: Maybe I'm gonna go with do up that thing.

586
00:35:48,280 --> 00:35:51,200
Speaker 1: Okay, let's do it. I'm just gonna follow the crowd

587
00:35:51,360 --> 00:35:55,720
Speaker 1: this week. Best performance by a prop.

588
00:35:57,160 --> 00:36:01,760
Speaker 2: I think all the funny girl signs and posters, okay,

589
00:36:01,760 --> 00:36:02,120
Speaker 2: bench I.

590
00:36:02,200 --> 00:36:03,759
Speaker 1: Was gonna go with the tidy microphone.

591
00:36:04,360 --> 00:36:07,040
Speaker 2: Oh god, actually, I think you're right. And Nya holding

592
00:36:07,040 --> 00:36:07,640
Speaker 2: the jam.

593
00:36:07,440 --> 00:36:12,759
Speaker 1: Box, the gym box, we all have those too, right, Yeah,

594
00:36:12,840 --> 00:36:16,280
Speaker 1: what a time? Okay, that's a capsule in time. Best

595
00:36:16,320 --> 00:36:21,399
Speaker 1: line Okay, I will say, uh the whole like Song

596
00:36:21,440 --> 00:36:24,960
Speaker 1: of Solomon, like the scenarios they were given and the

597
00:36:25,000 --> 00:36:30,480
Speaker 1: script in it was so bad, Like I did it appreciate,

598
00:36:30,560 --> 00:36:33,760
Speaker 1: Like He's like, Song Solomon is a sci fi space opera.

599
00:36:33,920 --> 00:36:37,399
Speaker 1: Andrew Here plays Captain dax Anders who pilots to ship

600
00:36:37,440 --> 00:36:40,719
Speaker 1: the Solomon across the Andrometa Galaxy with the glad Roel

601
00:36:40,840 --> 00:36:44,719
Speaker 1: of the Star Morian. It's like, it is like so ridiculous,

602
00:36:44,719 --> 00:36:47,520
Speaker 1: and there are shows like that, but I appreciated that.

603
00:36:47,600 --> 00:36:49,080
Speaker 1: I don't know if it's the best quote.

604
00:36:48,840 --> 00:36:54,319
Speaker 2: But I did, Like, Kurt, You're this huge talent. It's

605
00:36:54,320 --> 00:36:56,680
Speaker 2: like Russell Crow and Johnny Carson. No matter how awful

606
00:36:56,719 --> 00:37:00,000
Speaker 2: you are, people are always gonna want to work with you.

607
00:37:00,120 --> 00:37:02,080
Speaker 2: And you spent six hours a day with her, and

608
00:37:02,120 --> 00:37:04,160
Speaker 2: I have yet to receive one text being like, hey,

609
00:37:04,200 --> 00:37:07,480
Speaker 2: I'm talking poverty with Bono or Tales of Lunch at

610
00:37:07,560 --> 00:37:10,520
Speaker 2: Balthazar with Carl Lagerfeld or Condi Rice.

611
00:37:11,040 --> 00:37:17,239
Speaker 1: That was a good one, go Kurt performance MVP. I

612
00:37:17,280 --> 00:37:19,480
Speaker 1: think Leah and Charlote McLain.

613
00:37:21,080 --> 00:37:22,120
Speaker 2: Yeah, I think Leah.

614
00:37:22,960 --> 00:37:23,440
Speaker 1: Yeah.

615
00:37:23,560 --> 00:37:26,839
Speaker 2: I think Leah really had a lot to do here,

616
00:37:27,080 --> 00:37:31,000
Speaker 2: and she was like her physical comedy was great, she cried,

617
00:37:31,239 --> 00:37:32,400
Speaker 2: like she's do a bit of everything.

618
00:37:33,160 --> 00:37:35,239
Speaker 1: Yes, I'll take it.

619
00:37:35,400 --> 00:37:37,920
Speaker 2: Okay, So Jenna, should we found on TikTok tell me

620
00:37:38,040 --> 00:37:41,960
Speaker 2: we're doing things a little differently here. It's not directly

621
00:37:42,160 --> 00:37:43,320
Speaker 2: gly related.

622
00:37:43,320 --> 00:37:44,359
Speaker 1: Okay, but.

623
00:37:47,280 --> 00:37:51,440
Speaker 2: Gigs at gigs, commented Sue Sylvester in Action in twenty

624
00:37:51,480 --> 00:37:53,920
Speaker 2: twenty five. And it is a video of an older

625
00:37:53,920 --> 00:37:58,080
Speaker 2: gentleman in a full red track suit and sunglasses walking

626
00:37:58,080 --> 00:38:04,240
Speaker 2: out of Costco with a full card of beefsteaks, getting

627
00:38:04,239 --> 00:38:09,319
Speaker 2: to his limo via red carpet and velvet rope.

628
00:38:09,840 --> 00:38:13,600
Speaker 1: I gotta know this, I gotta know this whole story.

629
00:38:13,840 --> 00:38:17,120
Speaker 1: I have to know what is going on. So it

630
00:38:17,160 --> 00:38:20,240
Speaker 1: feels like an episode of Glee.

631
00:38:19,960 --> 00:38:23,680
Speaker 2: Also of like Curb Your Enthusiasm or Modern Family. It's yes,

632
00:38:24,239 --> 00:38:26,520
Speaker 2: very good, so wild, but also yeah, that is so

633
00:38:26,680 --> 00:38:29,840
Speaker 2: Sevester in twenty twenty five fully excellent.

634
00:38:30,280 --> 00:38:32,320
Speaker 1: Well, I'm so sorry that this was such a downer

635
00:38:32,560 --> 00:38:38,759
Speaker 1: from our last few episodes of joy and excitement, but

636
00:38:39,000 --> 00:38:41,480
Speaker 1: this one was just a little weird. So thanks for

637
00:38:41,520 --> 00:38:45,279
Speaker 1: hanging in with us, and Chris Colfer's episode is next week,

638
00:38:45,440 --> 00:38:48,080
Speaker 1: so please tune in with us for all dog Nu

639
00:38:48,160 --> 00:38:49,239
Speaker 1: tricks and.

640
00:38:49,400 --> 00:38:52,320
Speaker 2: Don't hate us, and that's what you really missed. Thanks

641
00:38:52,360 --> 00:38:55,480
Speaker 2: for listening, and follow us on Instagram at and that's

642
00:38:55,520 --> 00:38:57,640
Speaker 2: what you really miss pod. Make sure to write us

643
00:38:57,640 --> 00:39:00,239
Speaker 2: a review and leave us five stars. See you next time.

644
00:39:01,800 --> 00:39:01,840
Speaker 1: M