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Speaker 1: And that's what you really missed with Jenna.

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Speaker 2: And Kevin An iHeartRadio.

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Speaker 3: Podcast Welcome to You, and that's what you really miss podcast.

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Speaker 1: Whoa happy opening, Kevin. You are you are in your run,

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Speaker 1: you have embarked on the journey.

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Speaker 2: Thanks.

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Speaker 1: How's it going?

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Speaker 2: I mean, so far, so.

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Speaker 3: Good, amazing, It looks amazing.

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Speaker 2: Have been great.

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Speaker 1: Oh, it's so good. Guest spellers are unbelievable. Wow.

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Speaker 2: The other day because so they post this thing on

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Speaker 2: the board where like some people want to know who's

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Speaker 2: like a celebrity guest speller if we have one and

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Speaker 2: some people don't. So it's covered and it says celebrity

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Speaker 2: guest speller. Oh I love that pull up for a reveal?

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Speaker 1: Do you do it or no?

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Speaker 4: Oh?

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Speaker 1: Yeah, yeah, you like to know.

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Speaker 2: The other day, our first like celebrity guest speller was

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Speaker 2: Stephanie J. Block. Oh icon, which was appropriate. It's very

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Speaker 2: appropriate for what we're doing today, correct, like the original

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Speaker 2: original original alphaba.

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Speaker 3: Right right right in the workshop, pre Broadway Alphaba.

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Speaker 2: And I was I was fully fanning out because in

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Speaker 2: my journey into musical theater, Block is my number one.

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Speaker 2: From what I think, she's my number one. I saw

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Speaker 2: Falsettos when it was when it was revived a number

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Speaker 2: of years ago, and I was like, who is this woman?

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Speaker 2: Because she comes out and does like her solo and

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Speaker 2: is unreal.

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Speaker 1: Who is this woman?

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Speaker 2: I obviously had no idea, And then Austin has since

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Speaker 2: fully educated me, which showed when I met her after

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Speaker 2: the show the other day. I go I was showing

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Speaker 2: some of the guys you singing memory from cats off

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Speaker 2: of YouTube today, you stop right now, and she was like, well,

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Speaker 2: I looked more like a goat in that.

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Speaker 1: But.

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Speaker 3: Oh my gosh, her whole family is so talented it's crazy,

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Speaker 3: and she's done everything.

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Speaker 1: She's amazing. Oh that's so exciting.

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Speaker 3: I can't wait to see who your guest as spellers are.

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Speaker 1: This is like such a journey and how exciting.

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Speaker 3: You should like make a list of all of your

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Speaker 3: favorite ones and such and just like so you can

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Speaker 3: remember them.

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Speaker 2: Well, I freaked out, like Nick Offerman was our second

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Speaker 2: unbelievable Yeah, I was like, oh that's huge.

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Speaker 1: Yeah, like where do you go from there?

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Speaker 2: Yeah? Like like he brought his wife, comedic icon magh Malali, and.

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Speaker 1: I just I cannot, Yeah, I cannot.

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Speaker 2: Really terrifying knowing like they're in the audience.

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Speaker 3: Well that's why people do the paper, so you don't know,

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Speaker 3: I know, but but then you're gonna find out anyway,

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Speaker 3: so he may.

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Speaker 2: I think it would be more disturbing to look into

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Speaker 2: the audience and spot someone or I think.

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Speaker 3: You guys know there's like guest spellers coming, Like there's

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Speaker 3: always somebody that could potentially have the potential to be

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Speaker 3: very famous coming. Is like the thing like otherwise you

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Speaker 3: could just kind of slight slightly avoid it if it

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Speaker 3: was just audience totally, you know, but yeah, there's there's

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Speaker 3: a whole element there that I would not. I am not,

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Speaker 3: but that is how fun. Well, congratulations on the beginning

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Speaker 3: of your runs.

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Speaker 1: It is very inciting, and I.

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Speaker 2: Would just you know, before I move on. This is

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Speaker 2: my weekly shout out to Lily Cooper for being the

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Speaker 2: funniest person on the planet.

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Speaker 5: I'm just glad that you're getting to experience her because

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Speaker 5: it's one of my favorite people and has always been

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Speaker 5: and wildly talented, good person.

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Speaker 2: She also has like she's so funny and also has

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Speaker 2: an insanely hard vocal track.

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Speaker 1: This very hard, very hard.

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Speaker 2: I don't just makes it look easy.

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Speaker 1: Effortless that's that's a Tony Tony nominee. That's what they do.

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Speaker 2: See her.

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Speaker 1: Oh, I can't wait. What a joy. I'm so excited.

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Speaker 1: I'm so excited. Well, speaking of Cooper, Wicked, Wicked, lots

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Speaker 1: of Wicked people, yes, circling. I mean, Wicked is such a.

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Speaker 3: Monster of a musical and cultural moment and truly revolutionary

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Speaker 3: for so many people that obviously we couldn't avoid doing

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Speaker 3: the movie musical Wicked, which the part two was on

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Speaker 3: its way here.

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Speaker 1: The press is here.

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Speaker 2: The press is here, speaking of which I just watched

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Speaker 2: they had Arianna and Bowen back on the Vanity Fair

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Speaker 2: like light detector test.

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Speaker 1: I love the moon thing.

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Speaker 2: And she's so funny. The whole thing is so fun

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Speaker 2: Like she's just she's great.

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Speaker 1: She's great.

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Speaker 2: I really just I feel like she's just mashing it.

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Speaker 2: Like however, she's been able to do this transition into

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Speaker 2: like and.

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Speaker 3: Yeah, I also feel like I was thinking about this

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Speaker 3: as well.

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Speaker 1: The secret sauce to this movie.

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Speaker 3: I mean, there's so many parts of it that are

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Speaker 3: secret sauce and not so secret sauce.

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Speaker 1: But like a big part of this was like the

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Speaker 1: hype and the press and the media surrounding it, like

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Speaker 1: what a brilliant campaign, and then also like building it

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Speaker 1: around these two women who clearly have a deep love

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Speaker 1: and understanding and sense of like friendship surrounding the movie

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Speaker 1: like and coming out of the movie. It's kind of

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Speaker 1: the way that like they position Leanne Groff sometimes where

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Speaker 1: it's this like magical story of these two people that

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Speaker 1: are so I don't know, it's it's the press of

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Speaker 1: it all is also so brilliant, not that they needed it, right,

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Speaker 1: not that the show needed it, but what a way

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Speaker 1: to create the genius buzz around it. I mean, the

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Speaker 1: holding space moment last year was just iconic.

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Speaker 2: Well. I think also what helps is secret sauce wise,

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Speaker 2: is when you have people working on it in front

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Speaker 2: of the camera and behind the camera who do care

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Speaker 2: so deeply about what they're doing, have been like longtime fans.

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Speaker 2: Obviously you can't necessarily have that with something that has

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Speaker 2: not been around for twenty years, right, right, Like these

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Speaker 2: people grew up loving this show, right, and this has

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Speaker 2: always meant something to write like you yeah, and so

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Speaker 2: I think to be able to and I think this

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Speaker 2: is also part of like Ariana's really great transition into

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Speaker 2: doing more films is that she works really hard at

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Speaker 2: this stuff because she really cares. Yes, you can, and

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Speaker 2: you see people who opportunities just because they're famous and

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Speaker 2: they like phone it in. She's not doing that. And

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Speaker 2: the respect she has for whether she's doing music or

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Speaker 2: she's doing this, whatever it is, there's a great respect

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Speaker 2: for it. Same with everybody and John Chu coming into

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Speaker 2: this with a deep love of music, a deep love

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Speaker 2: of musicals, and also making them accessible to a big audience.

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Speaker 2: The other part of this, I think is really challenging,

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Speaker 2: beyond a musical being successful, which seems like the odds

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Speaker 2: are stacked against you from the get go, is that

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Speaker 2: you have this gigantic and wildly successful stage musical right

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Speaker 2: all around the world. It's huge. People of it. People

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Speaker 2: have their preconceived ideas of what a film should be.

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Speaker 2: They've been trying to make this movie. This was supposed

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Speaker 2: to be a movie before it was ever a stage show,

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Speaker 2: like that was that was supposed to Like when I

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Speaker 2: went to the premiere last year, Mark Platt was saying,

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Speaker 2: like this was like it was supposed to be a movie.

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Speaker 2: It wasn't even supposed to be a stage show. And

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Speaker 2: so like the stage show was an attempt, like you know,

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Speaker 2: an ip thing to get it to be a yeah,

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Speaker 2: and so I think to be able to pull it

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Speaker 2: off and have it be successful is ext is an

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Speaker 2: extremely hard challenge, and all of these people met the challenge,

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Speaker 2: and I was very excited to get to watch it again.

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Speaker 3: Okay, well let's start, let's talk about it. So we're

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Speaker 3: doing Wicked and it premiered on November twenty second, twenty

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Speaker 3: twenty four, which is wild. It was a year ago.

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Speaker 3: I saw this in the movie theater with my newborn

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Speaker 3: son with ear muffs and a bobby and he slept

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Speaker 3: through the whole thing.

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Speaker 1: And I was able to enjoy this postpartum. It was

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Speaker 1: what a dream. The number one.

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Speaker 3: Saw in the world at this time was a bar

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Speaker 3: song Tipsy by Shaboozie.

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Speaker 1: The number one movie was Wicked.

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Speaker 2: Wicked forty six mil opening.

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Speaker 1: Day Jesus three, biggest opening day.

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Speaker 2: Ever for a film based on a Broadway musical.

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Speaker 1: Well, Yes, and Glee News.

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Speaker 3: It was our podcast and we were recapping season five

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Speaker 3: episode four, a Katie or Agaga in season five episode

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Speaker 3: five and of to work and we chatted with.

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Speaker 2: Jcse Okay, So Wicked look directed by John m two

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Speaker 2: screenplay by Winnie Holtzman and Dana Fox, based on the

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Speaker 2: two thousand and three Broadway musical by Stephen Schwartz and

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Speaker 2: Winnie Holdsman, which was also based on Gregory Maguire's nine

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Speaker 2: ninety five novel Wicked, The Life and Times of the

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Speaker 2: Wicked Witch of the West. Did you read that book? No?

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Speaker 2: Did you so? In preparation to see the movie last year,

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Speaker 2: Austin encouraged me to read the book because he was

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Speaker 2: starting to read the book. Austin, in turn, gave up

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Speaker 2: reading the book, and I finished it on my own.

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Speaker 2: I went on a trip. I thought when i'd come back,

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Speaker 2: he would be done and we could talk about it.

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Speaker 2: He gave up. The book is obviously reimagining of the

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Speaker 2: you know, L. Frank Baum's nineteen hundred classic Wonderful Wizard

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Speaker 2: of Oz. I'm not saying you need to read the book.

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Speaker 2: I don't think anybody needs to read the book, and

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Speaker 2: so many times, you know, in so many cases I

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Speaker 2: would say that you don't need to read this one.

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Speaker 2: The adaptatient the fact, first of all, the book and

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Speaker 2: the stage show are so wildly different. They are so different,

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Speaker 2: and I think the stage adapt patient is so much

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Speaker 2: better than the story in the book, and the fact

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Speaker 2: that they got that story out of that book is incredible.

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Speaker 2: The stage show just has so much, so much more

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Speaker 2: of what you want and you see, like there's so

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Speaker 2: much more magic and whimsy. And when you hear some

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Speaker 2: of these demos, I don't know if you've heard like

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Speaker 2: the early like Stephen Schort's demos and things.

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Speaker 3: Maybe I had, but it's been a while. If I have,

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Speaker 3: it is incredible. Was it even short singing them? I

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Speaker 3: think so, Oh it's like a man, not like idea.

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Speaker 3: But it was like bad, like you know, like the

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Speaker 3: song I mean.

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Speaker 1: These are yeah, oh the songs are bad.

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Speaker 2: Yeah, like everything was. Yeah, it was so strange and

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Speaker 2: like earn the process. And that's why it's so amazing

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Speaker 2: to me that, I mean, this is some of the

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Speaker 2: most incredible music ever. Yeah, And that's the magic of it.

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Speaker 2: That's why it's so successful. That's why the movie is

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Speaker 2: so successful. Like it is, Yeah, it is so so

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Speaker 2: good and complex and every line means something and anyway,

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Speaker 2: it's just a great show. What is your experience with

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Speaker 2: the show, Well, do.

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Speaker 1: You have all day?

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Speaker 2: Yeah?

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Speaker 3: In fact, I remember my dad getting a little program.

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Speaker 3: I was in high school and he got a program

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Speaker 3: like he does for discount of tickets for this new

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Speaker 3: show that was in previews, and he saw a Dina

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Speaker 3: and Kristin and he knew I, like, you know, I

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Speaker 3: knew who a Diena.

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Speaker 1: Was, of course in Kristin, you know, from other musicals.

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Speaker 1: And he said, do you want to see this? And

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Speaker 1: I said yeah. So we went in previews and.

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Speaker 3: I remember sitting there not knowing anything about the show,

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Speaker 3: not having any context of like what this was about,

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Speaker 3: except for that, you know, there was a Wizard of

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Speaker 3: Oz connect here. That's really all I knew. So I

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Speaker 3: sit down start watching the show. I'm like, Wow, this

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Speaker 3: is great. And then Defying Gravity hits and the lights

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Speaker 3: go down at the intermission, and my life was changed,

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Speaker 3: you know. And I think I went back four or

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Speaker 3: five times and that next year to see that show

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Speaker 3: again with those with that cast, that original cast, my

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Speaker 3: sweet friend Chris Fitzgerald, and it was truly life changing

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Speaker 3: for us. I mean, anybody in musical theater pursuing musical

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Speaker 3: theater at the time I was, I think I was

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Speaker 3: in my junior year hub or senior of high school.

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Speaker 3: Like every person was seeing spat suite spot Yeah, yeah, yeah,

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Speaker 3: life changing female strong women in the leading positions. Songs

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Speaker 3: to sang for Good was at every high school graduation.

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Speaker 3: Definitely sang it at mine, like listened to it in

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Speaker 3: the car every day on the way to school. Like

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Speaker 3: truly groundbreaking, life changing, a part of musical theater history forever,

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Speaker 3: kind of like what Hamilton, you know, the kids had

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Speaker 3: for Hamilton, you know, more recently seeing it take on

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Speaker 3: another life with the tour and people are friends going

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Speaker 3: into the show, like Jackie Burns playing Alphaba and Stephanie

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Speaker 3: j Block one of the you know, coming in after aDNA.

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Speaker 1: Left, and it's just.

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Speaker 3: It was a really important musical and clearly like then

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Speaker 3: Glee's doing it on the show in so many ways,

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Speaker 3: we do it a million times and so many numbers,

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Speaker 3: and then Kristen comes on the show. So it's just,

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Speaker 3: I don't know, it was just a really important musical

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Speaker 3: to me. And to see a movie that was done

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Speaker 3: successfully not just successfully, like exceedingly excellent in every way

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Speaker 3: and the masses really appreciating it as well in this

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Speaker 3: new medium is like, so it's just everything you dream

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Speaker 3: of as somebody who loved musical leader and loves the show.

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Speaker 2: It was that it's that magic of you know, to

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Speaker 2: what you were talking about, how obviously people want these

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Speaker 2: things to get funded and they want them to do well,

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Speaker 2: so they hire really famous people, and like hiring Ariana Grande,

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Speaker 2: who was arguably one of the most famous people on

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Speaker 2: the planet. Yep, But that a lot of times doesn't

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Speaker 2: necessarily translate into like box office success, right. And so

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Speaker 2: this was all of those things coming together in the

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Speaker 2: exact right way and having quality of work matching the

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Speaker 2: quality of a press tour right, right, stars aligning and

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Speaker 2: making it like a cultural phenomenon, right.

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Speaker 3: And I remember John talking about how he was thinking

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Speaker 3: about cast saying, you know, newcomers for these roles, obviously

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Speaker 3: through all the different versions of people who were attached

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Speaker 3: to it throughout the years, but like bringing in Ariana

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Speaker 3: and Cynthia, who are well known and famous, and you know,

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Speaker 3: but then them really taking on these roles inevitably, like

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Speaker 3: them not being able to look away from these women,

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Speaker 3: that these were the.

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Speaker 1: Ladies who took on the roles.

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Speaker 3: Was I think the right approach or I mean, who

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Speaker 3: am I to say what approach? But like it was

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Speaker 3: like the it seems very genuine that they were like,

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Speaker 3: oh no, we're going to do newbies and newcomers, and

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Speaker 3: then all of a sudden we decided we had to

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Speaker 3: cast these already kind of established, you know, very famous actresses, right.

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Speaker 2: I mean, the best person wins. It's just like if

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Speaker 2: the team making it feels the most inspired by these

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Speaker 2: two people who also just happened to be really famous. Yes,

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Speaker 2: and that's sort of like a dream, totally totally in

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Speaker 2: terms of creativity, and I'm like the producer end of it.

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Speaker 1: Yes.

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Speaker 3: Yes, So this wasn't initially supposed to be a movie

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Speaker 3: you hadn't like you had mentioned h And in the

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Speaker 3: nineteen nineties, Demi Moore, producer Suzanne Todd, and Linda Woolverton

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Speaker 3: from Being to These pitched a live action adaptation in

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Speaker 3: Maguire's book with the mechis Is, at one point being

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Speaker 3: considered to direct.

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Speaker 1: Isn't that crazy?

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Speaker 2: Susanne was the producer. Listen Suzanne's My Girl No Stop.

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Speaker 2: Susan Todd. I played poker with her, Stop played poker

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Speaker 2: with her for like a decade, all through the pandemic.

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Speaker 2: We were on Zoom Poker. I can't even tell you

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Speaker 2: the other people who were in there. It was I

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Speaker 2: was the youngest and poorest by far. Wow.

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Speaker 3: But Suzanne is I love Susanne Wow, Like she's she's great.

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Speaker 3: Clearly she's got, you know something, she knows what's up.

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Speaker 2: So over the years, names like Whoop Beee, Claire Danes,

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Speaker 2: i'm ahayak, Laurie Metcalf were inked for the project, while

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Speaker 2: Michelle Pfeiffer, Emma Thompson, uh, I know, Cale Kidman were

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Speaker 2: rumored for Glinda and Alphabet.

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Speaker 3: That's really crazy, Like I get it, but I also

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Speaker 3: a'm like, could you imagine.

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Speaker 2: Well, if they were doing a direct a direct adaptation

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Speaker 2: of the book, different, I see that. And here's the

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Speaker 2: thing I would like to see, like a series maybe

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Speaker 2: based off the book, because the book is a lot darker, is.

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Speaker 1: Right.

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Speaker 3: And that's what they were saying, was like there was

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Speaker 3: all these different inceptions like not being a musical until

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Speaker 3: Stephen Schwartz came along.

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Speaker 1: Yeah, right.

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Speaker 3: Stephen Schwartz, who now is known for Wicked but has

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Speaker 3: had an incredible career aside from Wicked. He read Maguire's

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Speaker 3: novel in the nineties and envisioned it not as a film.

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Speaker 1: But as a musical. Thank Goodness.

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Speaker 3: Schwartz persuaded Universal then had a production Mark Platt to

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Speaker 3: support the idea, along with David Stone, Winnie holtzman, Joe Mantello,

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Speaker 3: choreographer Wayne Cliento, and they began shaping what would become

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Speaker 3: one of the most finding musicals is twenty our Century Wicked.

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Speaker 2: Speaking of David Stone, who I think has the rights

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Speaker 2: of spelling Bee, I've seen him a lot lately, and

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Speaker 2: he reminded me how we saw him on the Wicked stage.

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Speaker 2: I like first met him when we went to visit

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Speaker 2: during Glee. Remember the day we met Bloomberg that picture,

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Speaker 2: and then we went on the Wicked.

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Speaker 1: I don't think I was there.

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Speaker 2: Oh you weren't there for that.

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Speaker 1: I don't think I was there.

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Speaker 2: We went on the Wicked stage because I was either

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Speaker 2: were filming it from the show and we met him,

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Speaker 2: and I had no idea what I was, you know,

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Speaker 2: I didn't know anything about Wicked.

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Speaker 3: Yeah, yeah, wow, wow, wow. How well the show was

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Speaker 3: a It was an understandment. This show was a success.

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Speaker 3: It won three Tony Award.

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Speaker 2: It's crazy it only won three.

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Speaker 1: I feel like it was in a weird year with

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Speaker 1: Avenue Q, which took away a lot.

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Speaker 2: Avenue Q won Best Musical, didn't.

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Speaker 3: It, which we were like what and like, obviously I

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Speaker 3: love Avenue Q. Great time for musical theater. Truly a

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Speaker 3: golden era of musical theater in my opinion. Yeah, but

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Speaker 3: it was a tough one because you know, you had Wicked.

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Speaker 3: It just goes to show you never know.

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Speaker 2: Wicked, which twenty years later has grossed over six billion

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Speaker 2: dollars around the world.

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Speaker 3: It's been seen by sixty five million people across sixteen

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Speaker 3: countries and over one hundred cities.

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Speaker 2: Yeah, like money, money, Mon seventeen, it surpassed The Phantom

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Speaker 2: of the Opera to become Broadway's second highest grossing musical,

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Speaker 2: only behind The Lion King. Wow wow. Yeah.

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Speaker 3: Well, Universal obviously immediately began exploring a film adaptation of

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Speaker 3: the show. The project went through years of development and rewrites,

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Speaker 3: shifting creative teens before finally finding it's footing.

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Speaker 2: So it took a while, I mean yeah, like two

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Speaker 2: thousand and nine. Even after Wicked the stage musical was big.

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Speaker 2: Sama Jayek's production company Weird was going to adapt it

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Speaker 2: for TV and non musical adaptation, but like that didn't

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Speaker 2: happen then, Yeah, twenty eleven, they are all these other ones.

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Speaker 2: Twenty twelve, Mark Platt announced there's going to be a film.

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Speaker 2: Obviously didn't happen. Yeah, yeah, Stephen Daldry was set to

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Speaker 2: direct it at some points. Steven Daldry's incredible. He did

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Speaker 2: the Hour actually Elliott and huge theater director as well. Yeah, yeah,

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Speaker 2: but it didn't work out. Yeah.

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Speaker 1: And then John cheu Lands and Oz thank goodness.

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Speaker 3: So he obviously is coming off to the heels Crazy

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Speaker 3: Rich Asians in the Heights. He's been a lifelong fan

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00:22:18,080 --> 00:22:22,960
Speaker 3: of the musical. Uh, and he just felt like the

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Speaker 3: like when when they announced John, I was like, yeah,

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Speaker 3: for sure.

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Speaker 2: It makes sense. And I think I think the biggest

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Speaker 2: reason it makes sense is because John's movies are accessible.

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Speaker 2: Crazy Rich Asians is a perfect rom com. Like I

385
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Speaker 2: love that movie. It's my comfort movie. He makes like

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Speaker 2: family friendly. And I say that in a good, in

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Speaker 2: a positive way. Where Wicked the Stage musical is a

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Speaker 2: gigantic blockbuster of a production, it is that musical can

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Speaker 2: be enjoyed by every single person. Yeah, and I think

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Speaker 2: if you're looking at like the text, if you're looking

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Speaker 2: at the book, like, oh yeah, it could be dark

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Speaker 2: and gritty, and that's not what the stage musical is really, No,

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Speaker 2: there are some very deep and dark themes in it. Yeah,

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Speaker 2: I mean, like visually John's John's tone and style I

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Speaker 2: think matched. I think matches it really really well.

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Speaker 1: Well, this reminds me a little bit.

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Speaker 3: I'm curious to see where part two goes, because everybody

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Speaker 3: has been saying it's darker, it's grittier, it's different, which

399
00:23:35,359 --> 00:23:38,720
Speaker 3: is a slight departure from what John is normally used

400
00:23:38,720 --> 00:23:42,239
Speaker 3: to doing and what he does best, right, agreed, And

401
00:23:42,280 --> 00:23:45,920
Speaker 3: the musical does have it, just because it is on stage,

402
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Speaker 3: has this component that's a little bit darker, a little

403
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Speaker 3: bit more minimal, a little.

404
00:23:50,320 --> 00:23:53,400
Speaker 1: Bit more you know. It's just it's different.

405
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Speaker 3: But I think the beginning had to be bright and

406
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Speaker 3: vibrant and beautiful, like she's coming down in a bubble.

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Speaker 1: This is it has to be magical. This reminds me of.

408
00:24:03,320 --> 00:24:05,400
Speaker 3: Harry Potter a little bit, yes, in the way that

409
00:24:05,960 --> 00:24:10,080
Speaker 3: it starts off kind of a little boppy and kid friendly,

410
00:24:10,680 --> 00:24:12,720
Speaker 3: et cetera. Not that it won't be kid friendly, but

411
00:24:12,840 --> 00:24:18,720
Speaker 3: like it gives off this like younger, brighter theme of like,

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00:24:19,240 --> 00:24:22,840
Speaker 3: you know, okay, and then it gets darker after three,

413
00:24:23,040 --> 00:24:25,399
Speaker 3: three or four, right, you know, yeah, and it just

414
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Speaker 3: keeps getting darker. So I'm so excited to see what

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Speaker 3: that means to them.

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Speaker 2: I am too, and I'm excited to see like John's

417
00:24:34,240 --> 00:24:37,280
Speaker 2: growth as a director, Like I think, yeah, Wicked was

418
00:24:37,320 --> 00:24:41,000
Speaker 2: already a huge you know that, pushing the bounds of

419
00:24:41,040 --> 00:24:43,879
Speaker 2: what anybody can do. You have a different budget, you

420
00:24:43,880 --> 00:24:46,320
Speaker 2: have this story that is so important to people. You're

421
00:24:46,359 --> 00:24:50,600
Speaker 2: building these massive, practical set pieces that they were using

422
00:24:50,600 --> 00:24:54,840
Speaker 2: that were beautiful. Wow, you're dancing in all those spaces.

423
00:24:55,200 --> 00:25:00,480
Speaker 2: There's just so much material. And I'm excited to see

424
00:25:00,640 --> 00:25:04,080
Speaker 2: the attention because I think in that way, like he

425
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Speaker 2: is really good at Spectacle and the second half is

426
00:25:08,720 --> 00:25:14,960
Speaker 2: a lot about story, a lot about like groundedness and seriousness,

427
00:25:15,560 --> 00:25:19,520
Speaker 2: and I'm really I'm really looking forward to see that

428
00:25:19,680 --> 00:25:22,679
Speaker 2: all those things combined to like what that movie feels like.

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Speaker 1: And I do think like from the musical to the movie,

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Speaker 1: my overall like thought and feeling about it is like.

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Speaker 3: The goal the real goal to me of like doing

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Speaker 3: a musical movie is bringing it from stage to cinema

433
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Speaker 3: and elevating it and it becoming more intimate than just

434
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Speaker 3: theater because theater is big.

435
00:25:52,440 --> 00:25:55,360
Speaker 1: Theater is you're playing to the back right exactly.

436
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Speaker 3: So what John did with this musical movie part one

437
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Speaker 3: was bring us deeper into the intimacy of these characters,

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Speaker 3: and I think he did it in the most successful way.

439
00:26:12,800 --> 00:26:15,639
Speaker 3: And so I think if he just if, it's going

440
00:26:15,720 --> 00:26:18,000
Speaker 3: to be great because it's he's just digging deeper into

441
00:26:18,040 --> 00:26:21,240
Speaker 3: that part of it that he's already done so successfully

442
00:26:21,280 --> 00:26:21,960
Speaker 3: in the first part.

443
00:26:22,040 --> 00:26:31,800
Speaker 1: So that's my hope.

444
00:26:31,840 --> 00:26:34,960
Speaker 2: How do you feel about splitting this into two movies?

445
00:26:35,560 --> 00:26:40,760
Speaker 3: When they said it, I was like, first, I was like, Oh,

446
00:26:40,880 --> 00:26:41,800
Speaker 3: we're gonna have to wait a hear.

447
00:26:43,560 --> 00:26:47,080
Speaker 1: I think that was totally right. I think if you if.

448
00:26:46,920 --> 00:26:49,480
Speaker 3: You did do it in one film, you would have

449
00:26:49,640 --> 00:26:53,680
Speaker 3: lost so much of the intimacy that they needed to

450
00:26:53,800 --> 00:26:58,720
Speaker 3: create for this to be successful, to be an elevated

451
00:26:58,800 --> 00:27:01,520
Speaker 3: version of this musical that's already so wildly successful and

452
00:27:01,520 --> 00:27:02,560
Speaker 3: loved by so many people.

453
00:27:02,920 --> 00:27:06,200
Speaker 1: So I think it was the right choice. I'm super

454
00:27:06,240 --> 00:27:07,080
Speaker 1: supportive of it.

455
00:27:07,480 --> 00:27:10,439
Speaker 3: I think it allows for the tone to shift in

456
00:27:10,480 --> 00:27:12,320
Speaker 3: a much more dramatic way.

457
00:27:13,480 --> 00:27:17,040
Speaker 1: And I totally agree. I mean, I'm not gonna lie.

458
00:27:17,080 --> 00:27:18,840
Speaker 3: Last night, I was like, Wow, this is two hours

459
00:27:18,840 --> 00:27:21,680
Speaker 3: and forty minutes, Like, this is a long ass pilm,

460
00:27:22,520 --> 00:27:25,680
Speaker 3: and I'm grateful they didn't have to crunch a whole

461
00:27:25,720 --> 00:27:28,600
Speaker 3: second act into this two hours and forty minutes they

462
00:27:28,600 --> 00:27:29,560
Speaker 3: were able to fill.

463
00:27:29,920 --> 00:27:33,000
Speaker 2: I couldn't agree more. My favorite thing about this movie

464
00:27:33,760 --> 00:27:39,320
Speaker 2: is the pacing of it. I think how they get

465
00:27:39,359 --> 00:27:42,399
Speaker 2: in and out of these numbers, how much time they're taking.

466
00:27:42,480 --> 00:27:44,880
Speaker 2: What you said, like in the world to have us

467
00:27:44,920 --> 00:27:48,639
Speaker 2: like live in it and have a deeper understanding and

468
00:27:48,760 --> 00:27:54,480
Speaker 2: connection with this world. Nothing felt rushed and nothing felt gratuitous.

469
00:27:55,160 --> 00:27:55,600
Speaker 1: That's right.

470
00:27:55,840 --> 00:27:58,000
Speaker 2: It was like, oh, this is just this is a

471
00:27:58,280 --> 00:28:03,240
Speaker 2: perfect great standalone movie on tone. Yeah, like it fully

472
00:28:03,280 --> 00:28:05,520
Speaker 2: works and it when I first heard they were spinning

473
00:28:05,520 --> 00:28:07,480
Speaker 2: it up too, I was like, oh, it's cash grab

474
00:28:07,960 --> 00:28:10,439
Speaker 2: you know that, that's what. It doesn't feel like that

475
00:28:10,480 --> 00:28:13,600
Speaker 2: for one second. No, it feels like, oh no, creatively,

476
00:28:13,640 --> 00:28:15,399
Speaker 2: we actually had to do this, and.

477
00:28:15,480 --> 00:28:16,680
Speaker 1: Yeah it she said.

478
00:28:16,680 --> 00:28:19,239
Speaker 3: He said it's impossible to wrestle the story of wi

479
00:28:19,280 --> 00:28:21,639
Speaker 3: Get into a single film without doing real damage to it,

480
00:28:21,680 --> 00:28:22,600
Speaker 3: and I totally agree.

481
00:28:22,640 --> 00:28:24,800
Speaker 1: I think it's very genuine and.

482
00:28:24,760 --> 00:28:26,959
Speaker 2: I think we've seen that before in musical movies. When

483
00:28:27,000 --> 00:28:31,159
Speaker 2: they tried to do that you feel it, there's it is.

484
00:28:31,280 --> 00:28:34,200
Speaker 2: It is a bummer And and that's what I kept

485
00:28:34,200 --> 00:28:36,560
Speaker 2: thinking the first time I saw it. I was like,

486
00:28:36,600 --> 00:28:38,960
Speaker 2: I'm so happy we don't have to like move beyond

487
00:28:38,960 --> 00:28:41,640
Speaker 2: the scene yet, because you can just like write like

488
00:28:41,720 --> 00:28:43,960
Speaker 2: every We've all watched a lot of movies and move

489
00:28:44,160 --> 00:28:46,840
Speaker 2: movie musicals, and you can just imagine where they would

490
00:28:46,920 --> 00:28:51,840
Speaker 2: like be cutting and how like they would compact, you know,

491
00:28:51,960 --> 00:28:54,440
Speaker 2: probably four scenes worth the material into.

492
00:28:54,200 --> 00:28:56,600
Speaker 1: One scene, I know, and that's gonna do.

493
00:28:56,800 --> 00:28:58,680
Speaker 2: That's gonna do a lot of heavy lifting, Like every

494
00:28:58,800 --> 00:29:00,640
Speaker 2: every scene has to do a lot of heavy lifting,

495
00:29:00,680 --> 00:29:03,800
Speaker 2: as opposed to like we can have nuance and this.

496
00:29:04,040 --> 00:29:08,720
Speaker 1: Believer, yes it's usually done like this huge spectacle.

497
00:29:08,280 --> 00:29:10,800
Speaker 2: Of a movie, there's still nuance in the story and so.

498
00:29:11,240 --> 00:29:16,400
Speaker 3: So much and like introducing little Alphaba into this like

499
00:29:16,680 --> 00:29:20,760
Speaker 3: when she's falling before in like divine gravity, you're like, yes,

500
00:29:21,560 --> 00:29:24,160
Speaker 3: there's a just a deeper understanding of the characters and

501
00:29:24,560 --> 00:29:27,880
Speaker 3: also a chance to really fall in love with these women,

502
00:29:28,080 --> 00:29:31,600
Speaker 3: like they both are so flawed and yet so lovable.

503
00:29:32,000 --> 00:29:34,840
Speaker 3: And I think that's what's so powerful about this film

504
00:29:34,880 --> 00:29:38,120
Speaker 3: and about this musical is that these women are flawed

505
00:29:38,200 --> 00:29:41,600
Speaker 3: and they are you know, they're not perfect, but we

506
00:29:41,680 --> 00:29:44,720
Speaker 3: love them so deeply. And for the audience to get

507
00:29:44,720 --> 00:29:47,200
Speaker 3: a chance to really fall in love with these girls

508
00:29:47,240 --> 00:29:51,560
Speaker 3: before Ozo's Ballroom and then having them find each other

509
00:29:51,680 --> 00:29:54,560
Speaker 3: and then love them together as a collective is so

510
00:29:54,840 --> 00:29:58,719
Speaker 3: powerful and it's it just it makes everything even better.

511
00:30:00,080 --> 00:30:03,080
Speaker 3: I also just like the attention to detail that John

512
00:30:03,200 --> 00:30:06,560
Speaker 3: was able to with these easter eggs of like Wizard

513
00:30:06,560 --> 00:30:08,560
Speaker 3: of Oz, of like at the end of Wizard and

514
00:30:08,640 --> 00:30:10,680
Speaker 3: I and there's a rainbow at the end of the cliff.

515
00:30:10,680 --> 00:30:13,440
Speaker 3: You're like, yes, like give me all of this and

516
00:30:13,960 --> 00:30:16,320
Speaker 3: they have the space in the time to do it.

517
00:30:16,920 --> 00:30:22,000
Speaker 3: So so grateful, so so grateful, even like the like

518
00:30:22,040 --> 00:30:24,880
Speaker 3: the ozdest Ballroom, Like oh, one of my favorite numbers

519
00:30:24,920 --> 00:30:27,080
Speaker 3: is dancing through life in the answas far rooms, So

520
00:30:27,960 --> 00:30:29,320
Speaker 3: like how nice to like.

521
00:30:30,320 --> 00:30:33,440
Speaker 2: Not rush any of that. I know, like those emotional

522
00:30:33,480 --> 00:30:40,640
Speaker 2: beats right after that, like like you it does. I

523
00:30:40,680 --> 00:30:45,080
Speaker 2: know we're comparing it to Harry Potter because it's you know, wizards,

524
00:30:46,440 --> 00:30:53,719
Speaker 2: but being able to like have a peek into you know,

525
00:30:53,920 --> 00:30:57,920
Speaker 2: the wizarding world or whatever that's not at school. Yes,

526
00:30:58,320 --> 00:31:01,720
Speaker 2: Like those moments are so spad feel like like we

527
00:31:01,760 --> 00:31:05,560
Speaker 2: feel like we're getting led into this thing. And to

528
00:31:05,760 --> 00:31:09,160
Speaker 2: see the growth between these characters, between this friendship all

529
00:31:09,200 --> 00:31:13,000
Speaker 2: play out in this one scene, in this massive scene,

530
00:31:15,360 --> 00:31:19,200
Speaker 2: it was just it was beautiful. And Chris Scott, who's

531
00:31:19,200 --> 00:31:20,600
Speaker 2: a choreographer.

532
00:31:20,200 --> 00:31:23,200
Speaker 1: I could not imagine anybody else choreographing this well.

533
00:31:23,280 --> 00:31:26,400
Speaker 2: Chris Scott and John Chu have known each other for forever.

534
00:31:26,560 --> 00:31:30,440
Speaker 2: I have known them for forever. Yeah, and it's there's

535
00:31:30,480 --> 00:31:33,400
Speaker 2: not a lot of loyalty in the entertainment business, and

536
00:31:33,480 --> 00:31:37,560
Speaker 2: I love that they just are always working together and

537
00:31:38,200 --> 00:31:46,320
Speaker 2: they have such a good collaborative history together and to see,

538
00:31:46,480 --> 00:31:48,600
Speaker 2: you know, this is different and obviously they did in

539
00:31:48,600 --> 00:31:52,040
Speaker 2: the Heights, but I feel like the storytelling through movement

540
00:31:52,200 --> 00:31:56,760
Speaker 2: and this in some of these scenes, you needed that

541
00:31:56,800 --> 00:31:58,600
Speaker 2: as an additional piece of dialogue.

542
00:31:59,120 --> 00:32:02,280
Speaker 3: Yes, And some of his choreography went so viral, like

543
00:32:02,720 --> 00:32:06,280
Speaker 3: you know, the walking and the it's so fun to

544
00:32:06,280 --> 00:32:08,280
Speaker 3: see and he's I'm such a fan of his and

545
00:32:08,800 --> 00:32:11,120
Speaker 3: you know, he's been a friend of ours forever and

546
00:32:11,160 --> 00:32:14,040
Speaker 3: he's just so always sweet, bunted and sweet.

547
00:32:14,080 --> 00:32:17,160
Speaker 2: Also, I know this doesn't have to do anything with

548
00:32:17,440 --> 00:32:22,160
Speaker 2: objectively like watching and liking or critiquing the movie. But

549
00:32:22,400 --> 00:32:25,920
Speaker 2: John and Chris are two of the nicest people you'll

550
00:32:25,920 --> 00:32:26,520
Speaker 2: ever find.

551
00:32:27,040 --> 00:32:28,120
Speaker 1: I think that's why.

552
00:32:28,240 --> 00:32:31,240
Speaker 2: Yes, and John has like continued to just go from

553
00:32:31,600 --> 00:32:33,800
Speaker 2: movie to movie to movie, and they've gotten bigger and bigger,

554
00:32:33,800 --> 00:32:38,160
Speaker 2: bigger each time. Everyone likes working with him. He is, Yeah,

555
00:32:38,200 --> 00:32:40,360
Speaker 2: he's great at what he does, but he also is

556
00:32:40,960 --> 00:32:41,800
Speaker 2: just so kind.

557
00:32:42,440 --> 00:32:44,720
Speaker 3: When you have a really big heart that you wear

558
00:32:44,960 --> 00:32:51,040
Speaker 3: so uh so openly as a person, it bleeds through

559
00:32:51,040 --> 00:32:53,680
Speaker 3: in all of his work. Liking crazy rich Asians like

560
00:32:53,880 --> 00:32:55,920
Speaker 3: that could have been a simple wrong com based on

561
00:32:55,960 --> 00:32:59,240
Speaker 3: this like very ornate novel that like, you know, people

562
00:32:59,280 --> 00:33:04,920
Speaker 3: love and it's post but like the heart and the

563
00:33:04,920 --> 00:33:09,040
Speaker 3: the emotion that he got his his start, you know,

564
00:33:09,080 --> 00:33:11,880
Speaker 3: the actors to he brought out of those those guys,

565
00:33:12,080 --> 00:33:16,000
Speaker 3: was like, I think it's what makes it so excellent

566
00:33:16,160 --> 00:33:20,920
Speaker 3: versus just good, you know. And this like you for

567
00:33:21,000 --> 00:33:24,160
Speaker 3: somebody who loves Wicket so deeply and was such a

568
00:33:24,200 --> 00:33:29,040
Speaker 3: part of my upbringing, to see it like come to

569
00:33:29,160 --> 00:33:31,400
Speaker 3: life in a way where it's more than you could

570
00:33:31,400 --> 00:33:34,920
Speaker 3: ever imagine emotionally, Like I watch it and every time

571
00:33:34,960 --> 00:33:38,040
Speaker 3: I cry and like these same parts and it never

572
00:33:38,120 --> 00:33:45,080
Speaker 3: ceases to hit me just the right way, and like

573
00:33:45,680 --> 00:33:47,600
Speaker 3: that's effective storytelling.

574
00:33:47,600 --> 00:33:50,400
Speaker 2: Because you could easily in movie form script that out

575
00:33:50,440 --> 00:33:51,440
Speaker 2: of this by accident.

576
00:33:51,520 --> 00:33:54,840
Speaker 1: That's what I'm saying, and like keep yeah.

577
00:33:56,400 --> 00:33:58,400
Speaker 2: I also think like they were filming both movies at

578
00:33:58,400 --> 00:34:01,320
Speaker 2: the same time, there was there were breaks in there

579
00:34:01,320 --> 00:34:04,920
Speaker 2: because of the writer's strike and the actors strike. They

580
00:34:04,960 --> 00:34:06,600
Speaker 2: filmed it for like there was like one hundred and

581
00:34:06,640 --> 00:34:09,960
Speaker 2: fifty five production days. I think all about starting and

582
00:34:10,000 --> 00:34:15,279
Speaker 2: stopping and these huge, big, like practical set pieces, there's

583
00:34:15,320 --> 00:34:18,080
Speaker 2: a lot to manage. There's a lot of planning. There's

584
00:34:18,120 --> 00:34:21,760
Speaker 2: a lot in like I think, to put everything together

585
00:34:21,920 --> 00:34:27,920
Speaker 2: and make it feel so cohesive and rich and like

586
00:34:28,080 --> 00:34:30,480
Speaker 2: everything is there for a reason. There's a purpose to

587
00:34:30,560 --> 00:34:35,040
Speaker 2: every single piece. How grateful are you that they sang

588
00:34:35,080 --> 00:34:42,400
Speaker 2: live on set? I'm always conflicted about this really obviously

589
00:34:42,440 --> 00:34:45,200
Speaker 2: these two should be singing live on set. Wow, Like

590
00:34:46,120 --> 00:34:48,719
Speaker 2: I don't know, obviously they're not saying everything.

591
00:34:49,680 --> 00:34:52,880
Speaker 3: You know, Well, it's touched afterwards for sure, Yes, and

592
00:34:53,080 --> 00:34:56,239
Speaker 3: I want it. That's without without question, Yes, yeah, without question.

593
00:34:56,320 --> 00:34:56,920
Speaker 1: It has to be.

594
00:34:57,560 --> 00:35:01,080
Speaker 3: This has to match the rest of the production of

595
00:35:01,120 --> 00:35:01,640
Speaker 3: the film.

596
00:35:01,840 --> 00:35:05,600
Speaker 2: And I think this was the most excellent version of

597
00:35:05,640 --> 00:35:10,960
Speaker 2: that correct, right, Like I think lay Miz I had

598
00:35:11,480 --> 00:35:14,719
Speaker 2: moments of it. This was the same sound mixer, but

599
00:35:14,800 --> 00:35:19,440
Speaker 2: I think like this is now we know, and it's

600
00:35:19,480 --> 00:35:21,560
Speaker 2: even better because there's always a sound quality, like you're

601
00:35:21,600 --> 00:35:24,680
Speaker 2: recording your voice when you're in a movie on different

602
00:35:24,719 --> 00:35:27,719
Speaker 2: microphones and you're recording and recording studio. But like you

603
00:35:27,840 --> 00:35:29,760
Speaker 2: wanted to be recording studio quality.

604
00:35:30,800 --> 00:35:32,800
Speaker 3: You wanted to be the quality of but you want

605
00:35:32,840 --> 00:35:37,560
Speaker 3: the performance element, the live performance element that matches what

606
00:35:37,640 --> 00:35:40,200
Speaker 3: they're giving in every other scene, that characters are able

607
00:35:40,239 --> 00:35:41,880
Speaker 3: to be in the moment. And I think that's what

608
00:35:41,920 --> 00:35:44,840
Speaker 3: they were trying to achieve with lay Miss. There's a

609
00:35:44,840 --> 00:35:47,200
Speaker 3: lot of characters in the Miz. I don't know exactly

610
00:35:47,280 --> 00:35:50,240
Speaker 3: how the production all went for Lamez, but I will say,

611
00:35:50,760 --> 00:35:53,319
Speaker 3: like you said, if there's anybody that should be singing live,

612
00:35:53,520 --> 00:35:56,520
Speaker 3: like Cynthia doing her own freaking stunts, flying through sixty

613
00:35:56,640 --> 00:36:01,160
Speaker 3: and singing belting at full voice, like those are the

614
00:36:01,160 --> 00:36:02,239
Speaker 3: people who should be doing it.

615
00:36:02,680 --> 00:36:06,400
Speaker 1: That's and they are. That's the excellence, Like the level

616
00:36:06,800 --> 00:36:08,200
Speaker 1: is no question.

617
00:36:08,640 --> 00:36:11,040
Speaker 2: I think here's the difference between hiring them and hiring

618
00:36:11,080 --> 00:36:15,960
Speaker 2: people who are new. Is that, Yes, Cynthia has been

619
00:36:16,000 --> 00:36:19,120
Speaker 2: on stage, has been done eight shows a week for years,

620
00:36:19,640 --> 00:36:25,160
Speaker 2: are runs marathons, Yes, has done world tours, a lot

621
00:36:25,239 --> 00:36:31,120
Speaker 2: of them. That is a different type of vocal athleticism. Yes, yes,

622
00:36:31,239 --> 00:36:34,160
Speaker 2: you can only have if you're put into those situations

623
00:36:34,320 --> 00:36:37,920
Speaker 2: and you gain it over time. Is it? Because like

624
00:36:38,080 --> 00:36:41,160
Speaker 2: why we didn't sing live on Glee almost you know,

625
00:36:41,280 --> 00:36:45,040
Speaker 2: ninety nine point nine percent of the time your voice

626
00:36:45,080 --> 00:36:47,000
Speaker 2: will go out. There's no way you can maintain a

627
00:36:47,040 --> 00:36:51,320
Speaker 2: healthy state of doing that. These two are Olympic athletes

628
00:36:51,320 --> 00:36:54,799
Speaker 2: a vocalists, Yes, yes, and they are Olympic olympius. And

629
00:36:54,840 --> 00:36:57,440
Speaker 2: if you tell them this is the schedule, this is

630
00:36:57,480 --> 00:37:00,399
Speaker 2: what we're doing, they prepare they're going to be able

631
00:37:00,440 --> 00:37:03,040
Speaker 2: to do it. Yeah, there's not many people in the

632
00:37:03,040 --> 00:37:04,320
Speaker 2: world that could.

633
00:37:04,360 --> 00:37:04,799
Speaker 3: Tend to that.

634
00:37:05,200 --> 00:37:09,960
Speaker 1: Yes, I know there's also, uh, just not as technical.

635
00:37:09,960 --> 00:37:13,040
Speaker 3: But like I had a thought last night and it

636
00:37:13,120 --> 00:37:16,840
Speaker 3: never occurred before that, Like I was watching to Find

637
00:37:16,880 --> 00:37:24,920
Speaker 3: Gravity and beautifully done, beautifully performed, oh so good, never

638
00:37:24,960 --> 00:37:25,359
Speaker 3: gets old.

639
00:37:26,200 --> 00:37:28,960
Speaker 2: That moment when this volume goes out and like everything

640
00:37:28,960 --> 00:37:32,440
Speaker 2: like sucks back in like is one.

641
00:37:32,640 --> 00:37:33,760
Speaker 1: It is actually a share perfection.

642
00:37:33,880 --> 00:37:36,240
Speaker 2: I think it's one of the greatest moments in cinema history.

643
00:37:36,400 --> 00:37:39,759
Speaker 3: But rewind thirty seconds when she comes out from you know,

644
00:37:39,840 --> 00:37:44,879
Speaker 3: doing that extra you know, unlimited up in the sky right,

645
00:37:45,239 --> 00:37:48,480
Speaker 3: and she comes back down and then she's at the

646
00:37:48,520 --> 00:37:54,120
Speaker 3: balcony with the guards and with Glinda and everybody, and

647
00:37:54,160 --> 00:37:56,920
Speaker 3: she's saying, so if you care to find me, And

648
00:37:57,000 --> 00:38:00,440
Speaker 3: for the first time in my life, I've seen this

649
00:38:00,520 --> 00:38:04,560
Speaker 3: a thousand times, you know, I was like, that's what

650
00:38:04,600 --> 00:38:05,480
Speaker 3: it's supposed.

651
00:38:05,120 --> 00:38:05,600
Speaker 1: To look like.

652
00:38:06,160 --> 00:38:13,400
Speaker 3: No, this is her in the air, is opposite them

653
00:38:14,120 --> 00:38:19,400
Speaker 3: on the balcony, telling them she's unlimited in that way.

654
00:38:19,280 --> 00:38:21,359
Speaker 6: And I was like, that's what it's supposed to look like.

655
00:38:21,680 --> 00:38:28,040
Speaker 6: I never I had a full revelation last night. Yeah,

656
00:38:28,320 --> 00:38:31,040
Speaker 6: and John did that. He did that, Like that's what

657
00:38:31,160 --> 00:38:34,680
Speaker 6: it was like. Oh, what I imagine in my mind is exactly.

658
00:38:35,160 --> 00:38:38,360
Speaker 6: You just gave it to me and better and better,

659
00:38:38,840 --> 00:38:42,959
Speaker 6: more than I coultive ever expected. Uh, there was a funny.

660
00:38:44,960 --> 00:38:45,839
Speaker 2: On stage, like.

661
00:38:47,680 --> 00:38:51,880
Speaker 3: I just wanted to point out this funny little tidbit.

662
00:38:52,000 --> 00:38:54,160
Speaker 3: So Jackie Burns, who's a friend of ours and she's

663
00:38:54,480 --> 00:38:58,960
Speaker 3: Broadway's longest running alphabet. She's one of the most perfect

664
00:38:59,000 --> 00:39:05,759
Speaker 3: alphabets there ever was and she used to tell us

665
00:39:05,800 --> 00:39:09,920
Speaker 3: about these no fly shows, and we just have to

666
00:39:10,000 --> 00:39:11,360
Speaker 3: talk about them for a second. Do you know what

667
00:39:11,360 --> 00:39:12,960
Speaker 3: a fly show is?

668
00:39:12,960 --> 00:39:15,080
Speaker 2: Is it when like the little outlift doesn't work.

669
00:39:15,680 --> 00:39:20,480
Speaker 1: Yeah, so Alpha bat, she says, it's me and the

670
00:39:20,560 --> 00:39:21,120
Speaker 1: cherry pick.

671
00:39:21,120 --> 00:39:23,799
Speaker 3: It's a cherry picker, and then there's curtains and so

672
00:39:24,000 --> 00:39:26,840
Speaker 3: it lifts up like a machine and they go straight

673
00:39:26,920 --> 00:39:29,160
Speaker 3: up and it gives the illusion and the lights and

674
00:39:29,200 --> 00:39:30,640
Speaker 3: the cake grows right, and so.

675
00:39:30,800 --> 00:39:32,000
Speaker 1: It gives the illusion she's flying.

676
00:39:32,040 --> 00:39:34,799
Speaker 2: It's so magical. It sounds so gross to hear that

677
00:39:34,800 --> 00:39:37,880
Speaker 2: it's a cherry picker, but oh god, it's so effective.

678
00:39:37,480 --> 00:39:39,640
Speaker 3: And it really takes away the magic of it. But

679
00:39:40,880 --> 00:39:44,719
Speaker 3: there it's Broadway. Sometimes a cherry picker didn't work, and

680
00:39:44,760 --> 00:39:46,680
Speaker 3: that would be a no fly show. And a no

681
00:39:46,840 --> 00:39:50,439
Speaker 3: fly show is all the guards are underneath with their

682
00:39:50,440 --> 00:39:55,520
Speaker 3: big you know, tall fork pitchforks, and they're tall dancer

683
00:39:55,560 --> 00:39:56,440
Speaker 3: men at six.

684
00:39:56,600 --> 00:39:57,719
Speaker 2: They know it's not going to work.

685
00:39:57,760 --> 00:40:01,480
Speaker 3: Beforehand, they don't, but as soon as they hear it,

686
00:40:01,640 --> 00:40:03,880
Speaker 3: they know, right. They're like, no fly, no fly er.

687
00:40:04,040 --> 00:40:06,319
Speaker 3: There's some magic word that they say where they know

688
00:40:06,600 --> 00:40:10,280
Speaker 3: right or if it doesn't go, tell they can tell

689
00:40:10,640 --> 00:40:13,440
Speaker 3: and they have to. So Elpha is then on the

690
00:40:13,520 --> 00:40:17,040
Speaker 3: floor singing this song at the end of act one,

691
00:40:17,400 --> 00:40:22,680
Speaker 3: and the men have to lay down on their sides

692
00:40:24,080 --> 00:40:26,600
Speaker 3: and hold their forks up so that it looks like

693
00:40:26,640 --> 00:40:31,120
Speaker 3: she's in the air. And it is the funniest thing.

694
00:40:31,800 --> 00:40:33,840
Speaker 3: I was never there for a no fly show. I

695
00:40:33,960 --> 00:40:36,160
Speaker 3: dreamed of seeing a no fly show. I'm sure there's

696
00:40:36,200 --> 00:40:39,440
Speaker 3: one online, you guys. But and a guest I was

697
00:40:39,480 --> 00:40:41,080
Speaker 3: talking about it in an interview as well, and she

698
00:40:41,200 --> 00:40:44,040
Speaker 3: was explaining it and she's like, everybody has to lay down,

699
00:40:48,000 --> 00:40:51,319
Speaker 3: and it's one of my favorite Broadway stories ever, like

700
00:40:51,400 --> 00:40:53,960
Speaker 3: these no fly shows and the idea that like Elpha

701
00:40:54,000 --> 00:40:55,360
Speaker 3: but doesn't get.

702
00:40:55,239 --> 00:40:58,719
Speaker 4: To that climax because it is the best thing in

703
00:40:58,719 --> 00:41:04,320
Speaker 4: the entire show. It's so funny. It's so so funny.

704
00:41:05,600 --> 00:41:07,400
Speaker 4: Do you want to give us a little summary? I mean,

705
00:41:07,480 --> 00:41:10,280
Speaker 4: everybody knows who what Wicked is, but for those few.

706
00:41:10,400 --> 00:41:13,080
Speaker 2: Right right, Sorry, we get carried away. We'll give you

707
00:41:13,080 --> 00:41:18,160
Speaker 2: the summary forty minutes into this, the official universal summary

708
00:41:18,280 --> 00:41:21,279
Speaker 2: is when Alphaba, a misunderstood young woman who has yet

709
00:41:21,320 --> 00:41:24,319
Speaker 2: to discover her true power, meets Glinda, a popular young

710
00:41:24,320 --> 00:41:27,920
Speaker 2: woman who has yet to discover her true heart. At university,

711
00:41:28,000 --> 00:41:31,960
Speaker 2: they forge an unlikely friendship. Their lives take different paths

712
00:41:32,000 --> 00:41:34,960
Speaker 2: after an encounter with the Wonderful Wizard of Oz, ultimately

713
00:41:35,000 --> 00:41:37,600
Speaker 2: fulfilling their destinies as the Wicked Witch of the West

714
00:41:37,680 --> 00:41:42,759
Speaker 2: and Glinda the Good m h. I mean, it's like

715
00:41:43,000 --> 00:41:46,719
Speaker 2: the best fanfic possible, That's really what it is.

716
00:41:47,800 --> 00:41:52,880
Speaker 1: For sure. These girls come in really not you know,

717
00:41:53,000 --> 00:41:53,839
Speaker 1: not friends.

718
00:41:54,239 --> 00:42:00,120
Speaker 3: Glinda's the elite and Alphaba is the assistant to her

719
00:42:00,120 --> 00:42:02,919
Speaker 3: sister who she is the fault and the reason why

720
00:42:02,960 --> 00:42:04,080
Speaker 3: her sister is in a chair.

721
00:42:04,480 --> 00:42:06,880
Speaker 2: Well, I mean there's a lot of a lot of

722
00:42:07,040 --> 00:42:09,959
Speaker 2: socially relevant themes here. It's like, yes, yes, he's green,

723
00:42:09,960 --> 00:42:13,800
Speaker 2: the color skin is different, she's treated, she's ostracized. Yes,

724
00:42:14,920 --> 00:42:18,320
Speaker 2: but she has this power and then she's taken advantage

725
00:42:18,320 --> 00:42:22,080
Speaker 2: of because of that power. Yes, and you know, quote

726
00:42:22,160 --> 00:42:27,600
Speaker 2: unquote the man wants is to abuse up or use

727
00:42:27,640 --> 00:42:28,200
Speaker 2: that power.

728
00:42:29,440 --> 00:42:30,920
Speaker 1: And she's hard to use that power.

729
00:42:30,960 --> 00:42:35,759
Speaker 3: And she's good, yes, and and but but everybody has

730
00:42:35,840 --> 00:42:42,680
Speaker 3: been told or is convinced that she is not right.

731
00:42:43,640 --> 00:42:46,719
Speaker 3: And it's the power of the influence of and.

732
00:42:46,719 --> 00:42:52,000
Speaker 2: Unfortunately it's just like very relevant. I mean, so and

733
00:42:52,920 --> 00:42:58,759
Speaker 2: the very important plexities of her character. I also think

734
00:42:58,880 --> 00:43:03,279
Speaker 2: this is Cynthia Rivo's best performance in anything ever.

735
00:43:04,239 --> 00:43:07,200
Speaker 3: I think, I mean, and we saw we didn't know

736
00:43:07,360 --> 00:43:12,840
Speaker 3: about the beauty of Cynthia Arivo, and we we uncovered

737
00:43:12,960 --> 00:43:17,719
Speaker 3: and discovered her live sitting next to each other and

738
00:43:17,719 --> 00:43:19,080
Speaker 3: probably one of the only Broadway.

739
00:43:18,760 --> 00:43:21,839
Speaker 2: Shows you've seen together with Jackie Burns with.

740
00:43:21,880 --> 00:43:26,480
Speaker 3: Jackie Burns yea.

741
00:43:25,960 --> 00:43:27,920
Speaker 1: And saw her singing that song at the end of

742
00:43:27,920 --> 00:43:29,759
Speaker 1: A one and said, who is that?

743
00:43:30,280 --> 00:43:30,440
Speaker 4: Yeah?

744
00:43:30,760 --> 00:43:34,759
Speaker 2: Who is this? But what I like about her portrayal

745
00:43:35,560 --> 00:43:40,720
Speaker 2: of Alpha ba is I actually think so I really

746
00:43:40,760 --> 00:43:46,480
Speaker 2: like Alphabet in the book. It's okay, She's okay, really complicated,

747
00:43:47,280 --> 00:43:50,279
Speaker 2: and I like it. I love an imperfect character, and

748
00:43:50,360 --> 00:43:53,440
Speaker 2: I think she's even more imperfect in the book. But

749
00:43:53,520 --> 00:43:57,920
Speaker 2: yet this way all of her like horrible things she

750
00:43:57,960 --> 00:44:01,920
Speaker 2: faces from child to it. And that's why I because

751
00:44:02,200 --> 00:44:04,560
Speaker 2: when I said they were putting this and breaking in

752
00:44:04,560 --> 00:44:07,279
Speaker 2: its two movies, I was hoping they were going to

753
00:44:07,400 --> 00:44:11,080
Speaker 2: use more stuff, certain things from the book. They didn't

754
00:44:11,120 --> 00:44:14,680
Speaker 2: really in part one at least, And my favorite part

755
00:44:14,680 --> 00:44:18,320
Speaker 2: of that is the backstory of like how she obviously

756
00:44:18,320 --> 00:44:19,960
Speaker 2: we get a song about it. We get that whole

757
00:44:20,000 --> 00:44:25,760
Speaker 2: little like montage of how Alphaba was created and born.

758
00:44:27,320 --> 00:44:29,880
Speaker 2: In the beginning, you see little Alphaba with her sister

759
00:44:30,000 --> 00:44:32,799
Speaker 2: and all that, which is great, right, But there's so

760
00:44:32,920 --> 00:44:36,520
Speaker 2: much good stuff there in the book, and Alphaba's life

761
00:44:36,719 --> 00:44:39,520
Speaker 2: is really complicated and despite all of that, she's willing

762
00:44:40,840 --> 00:44:43,879
Speaker 2: to be the bad guy because she has to be.

763
00:44:45,480 --> 00:44:51,120
Speaker 2: And it's such a good allegory for I think people

764
00:44:51,160 --> 00:44:57,399
Speaker 2: who are like othered where it's like, despite being treated

765
00:44:57,960 --> 00:45:02,920
Speaker 2: like from all of society, like, she still gets up

766
00:45:03,200 --> 00:45:07,560
Speaker 2: and does the right thing every single day and doesn't

767
00:45:07,640 --> 00:45:09,840
Speaker 2: let what other people say. You know, the fine gravity

768
00:45:09,920 --> 00:45:12,960
Speaker 2: is finally about like I can't let these people affect

769
00:45:12,960 --> 00:45:16,120
Speaker 2: me anymore. I'm free and I'm not going to be

770
00:45:16,640 --> 00:45:19,279
Speaker 2: I'm not going to be taken away from my own

771
00:45:19,320 --> 00:45:21,560
Speaker 2: power and made to feel bad about it or whatever

772
00:45:21,600 --> 00:45:24,719
Speaker 2: it is. And I think Cynthia's portrayal of that and

773
00:45:24,800 --> 00:45:31,720
Speaker 2: this was a little darker and more grounded like the book.

774
00:45:32,920 --> 00:45:36,600
Speaker 2: And I think with Cynthia's like acting style and how

775
00:45:36,640 --> 00:45:40,719
Speaker 2: like she's pretty like serious and focused, and I just

776
00:45:41,360 --> 00:45:44,440
Speaker 2: you know, sometimes when people get a roll and everything

777
00:45:44,520 --> 00:45:47,040
Speaker 2: just matches up and aligns to who that person is

778
00:45:48,520 --> 00:45:50,839
Speaker 2: this is yes, and it feels like for her that's

779
00:45:50,880 --> 00:45:54,240
Speaker 2: exactly what this was happened.

780
00:45:54,400 --> 00:45:58,480
Speaker 3: Yeah, yeah, yeah, yeah, I mean and I love that.

781
00:45:58,719 --> 00:46:03,200
Speaker 3: I think that's why that it's so define. Gravity is

782
00:46:03,200 --> 00:46:06,080
Speaker 3: obviously so important, but as is like I think Ozdes's

783
00:46:06,080 --> 00:46:08,360
Speaker 3: ballroom to me and like dancing through life that in

784
00:46:08,440 --> 00:46:12,359
Speaker 3: her heart and that line that Fierro says, Wow, she

785
00:46:12,400 --> 00:46:16,160
Speaker 3: really doesn't give, you know, a crab about what people think,

786
00:46:16,600 --> 00:46:18,439
Speaker 3: and Glinda says she does.

787
00:46:18,480 --> 00:46:19,280
Speaker 1: She just protects.

788
00:46:19,320 --> 00:46:19,600
Speaker 2: She does.

789
00:46:19,680 --> 00:46:24,479
Speaker 3: Whole thing is like that's her right and let's smell

790
00:46:24,520 --> 00:46:27,319
Speaker 3: it out loud, you know. But it's really beautiful to

791
00:46:27,360 --> 00:46:31,680
Speaker 3: see it and have somebody else see it and heavy

792
00:46:31,719 --> 00:46:36,319
Speaker 3: be Glinda of course. But these two women, and Ariana too,

793
00:46:36,560 --> 00:46:43,040
Speaker 3: I mean, what a what a for somebody for two

794
00:46:43,200 --> 00:46:46,359
Speaker 3: roles that are so iconic, and for Kristin Chenwith who

795
00:46:46,440 --> 00:46:50,600
Speaker 3: originated a role that is so quintessentially Kristin and what

796
00:46:50,719 --> 00:46:53,480
Speaker 3: she does, putting her stamp on this role as Glinda

797
00:46:54,360 --> 00:46:57,719
Speaker 3: and creating, you know, the future path for all these

798
00:46:58,200 --> 00:47:02,440
Speaker 3: future Glinda's. For Ariana to take this and to own

799
00:47:02,520 --> 00:47:08,319
Speaker 3: it in a way that's so genuine and everything that

800
00:47:08,360 --> 00:47:10,959
Speaker 3: comes out of her mouth I'm like, Wow, I never

801
00:47:12,600 --> 00:47:16,240
Speaker 3: hurt it that way, And it's so true to her

802
00:47:17,320 --> 00:47:20,200
Speaker 3: that it's not a character herse. It's so easy to

803
00:47:21,080 --> 00:47:24,480
Speaker 3: create have Glinda be a caricature of somebody, somebody playing

804
00:47:24,600 --> 00:47:25,920
Speaker 3: Glinda versus being Glen.

805
00:47:26,200 --> 00:47:28,760
Speaker 2: That's a hard thing setting up roles on Broadway in general,

806
00:47:28,800 --> 00:47:30,239
Speaker 2: when people take over it.

807
00:47:31,080 --> 00:47:32,840
Speaker 3: Yes, you want to keep the integrity of what the

808
00:47:32,920 --> 00:47:35,600
Speaker 3: character is and what they've created, but yet putting your

809
00:47:35,600 --> 00:47:37,800
Speaker 3: own thing on it, but not too much, right, because

810
00:47:37,800 --> 00:47:42,280
Speaker 3: then it airs away from the show that it's locked.

811
00:47:42,400 --> 00:47:42,520
Speaker 2: Right.

812
00:47:42,560 --> 00:47:44,160
Speaker 1: The show is locked in a lot of ways.

813
00:47:44,280 --> 00:47:49,120
Speaker 3: So Arianna to take this role from the thousand Glinda's

814
00:47:49,120 --> 00:47:52,319
Speaker 3: before and Kristen specifically, and to make it her own

815
00:47:52,400 --> 00:47:56,239
Speaker 3: and to make it so real and so authentic.

816
00:47:56,320 --> 00:47:58,160
Speaker 1: Is not easy to do.

817
00:47:59,120 --> 00:47:59,520
Speaker 2: Is this?

818
00:47:59,600 --> 00:48:01,120
Speaker 1: Is it huge feet?

819
00:48:01,120 --> 00:48:05,680
Speaker 3: And I really was like deeply impressed with her and

820
00:48:05,719 --> 00:48:07,560
Speaker 3: the work she did and the character and the way

821
00:48:07,600 --> 00:48:09,680
Speaker 3: she gets her and the way she sees her and

822
00:48:09,719 --> 00:48:13,919
Speaker 3: the way that she played her. And I was thinking

823
00:48:13,960 --> 00:48:15,719
Speaker 3: about that because like, it's so easy to get into

824
00:48:15,760 --> 00:48:17,719
Speaker 3: the inflictions and the things that Kristen does and the

825
00:48:17,760 --> 00:48:20,200
Speaker 3: way she says them, and if you don't understand why

826
00:48:20,280 --> 00:48:22,279
Speaker 3: Kristen said them the way she said them, it's not

827
00:48:22,280 --> 00:48:25,680
Speaker 3: going to read the way that you you say them,

828
00:48:25,719 --> 00:48:28,040
Speaker 3: you know what I mean. And so Ariana really you

829
00:48:28,080 --> 00:48:31,920
Speaker 3: could tell the work she did, the understanding it took

830
00:48:32,080 --> 00:48:36,960
Speaker 3: for her to get to that place. Yep, beautifully said exactly.

831
00:48:37,280 --> 00:48:39,759
Speaker 3: So I was just really impressed by the both of them.

832
00:48:39,800 --> 00:48:41,480
Speaker 3: You can tell how much they love this and how

833
00:48:41,520 --> 00:48:44,160
Speaker 3: collaborative it was. And it sounds like I was watching

834
00:48:44,200 --> 00:48:47,759
Speaker 3: last night, even like Michelle Yo being like, I don't

835
00:48:47,800 --> 00:48:49,959
Speaker 3: sing this role as a singing role and I don't sing,

836
00:48:50,000 --> 00:48:53,160
Speaker 3: so you're crazy John, and he was like, don't worry,

837
00:48:53,160 --> 00:48:57,160
Speaker 3: it's fine, You're You're gonna be fine. And then Arianna

838
00:48:57,200 --> 00:48:59,560
Speaker 3: and Cynthia sending her a message, being like, you have

839
00:48:59,640 --> 00:49:03,280
Speaker 3: to come to us, And it was this collaborative effort

840
00:49:03,280 --> 00:49:07,080
Speaker 3: probably of them being like who best to bring into

841
00:49:07,120 --> 00:49:09,799
Speaker 3: this world? Right, who do we want to play with us?

842
00:49:09,840 --> 00:49:11,879
Speaker 3: Who can we bring in that's going to elevate this

843
00:49:12,360 --> 00:49:15,319
Speaker 3: and them just it sounded like them deciding they were

844
00:49:15,320 --> 00:49:17,640
Speaker 3: going to sing live was a decision. They all meet together,

845
00:49:18,040 --> 00:49:20,759
Speaker 3: right John bringing the women in And so you can

846
00:49:20,800 --> 00:49:22,600
Speaker 3: see why in the press and all of these things

847
00:49:22,640 --> 00:49:25,359
Speaker 3: that they're doing. It's not just press right like they are.

848
00:49:25,480 --> 00:49:27,399
Speaker 3: They are willing to be there, they want to be there.

849
00:49:27,560 --> 00:49:30,279
Speaker 1: They're proud of this press.

850
00:49:30,320 --> 00:49:33,799
Speaker 2: It's sort of just like a peek into the community

851
00:49:33,800 --> 00:49:35,279
Speaker 2: they had all built.

852
00:49:37,200 --> 00:49:40,480
Speaker 3: Yes, Yes, and and you can tell how collaborative it was,

853
00:49:40,520 --> 00:49:43,319
Speaker 3: and how they felt, how proud they felt of this

854
00:49:43,360 --> 00:49:44,719
Speaker 3: film For them to be.

855
00:49:44,600 --> 00:49:47,200
Speaker 1: Promoting it in this way, do you know what I mean?

856
00:49:47,280 --> 00:49:49,799
Speaker 3: Like you have to really feel good about this to

857
00:49:49,840 --> 00:49:52,440
Speaker 3: be doing that to press all the time, you know,

858
00:49:53,480 --> 00:49:56,799
Speaker 3: like showing up everywhere versus just like oh, I'll do this.

859
00:49:56,760 --> 00:49:58,279
Speaker 1: And this and this, and you know, we'll promote the

860
00:49:58,280 --> 00:49:59,160
Speaker 1: film how we're supposed to.

861
00:49:59,600 --> 00:50:02,560
Speaker 2: I think it's no small feat that both of these

862
00:50:02,600 --> 00:50:06,839
Speaker 2: women were able to come in make it their own,

863
00:50:08,560 --> 00:50:13,840
Speaker 2: redefine who these characters are for the whole new generation

864
00:50:14,880 --> 00:50:19,480
Speaker 2: with the same heart and essence of Adina and Kristin.

865
00:50:20,880 --> 00:50:22,320
Speaker 2: How did you feel about their little cameo.

866
00:50:23,040 --> 00:50:24,759
Speaker 1: I mean it wouldn't be the same without them.

867
00:50:24,800 --> 00:50:26,600
Speaker 3: I think it was weird to be honest of like

868
00:50:26,680 --> 00:50:29,600
Speaker 3: adding this piece in that I was like, what is this?

869
00:50:30,080 --> 00:50:32,920
Speaker 3: But at the same time, like it didn't matter, right,

870
00:50:33,000 --> 00:50:36,120
Speaker 3: You're like, great, bring these ladies in they must be

871
00:50:36,320 --> 00:50:39,719
Speaker 3: acknowledged and honored, and they're so funny and it was

872
00:50:39,760 --> 00:50:42,800
Speaker 3: fun to see them in their own you know, taking

873
00:50:42,840 --> 00:50:47,720
Speaker 3: on something different and being so you know, it sounds

874
00:50:47,719 --> 00:50:51,480
Speaker 3: like it looks like even Ari and Kristen are so

875
00:50:51,640 --> 00:50:55,840
Speaker 3: tight and just like the mentorship and like the passing

876
00:50:55,880 --> 00:50:56,560
Speaker 3: of the baton.

877
00:50:56,880 --> 00:50:58,359
Speaker 1: So I thought that was really fun.

878
00:50:58,400 --> 00:51:00,960
Speaker 2: When did you love? That could have been a little shorter,

879
00:51:01,280 --> 00:51:05,080
Speaker 2: but yeah, like whatever.

880
00:51:04,840 --> 00:51:07,640
Speaker 3: But again, like you're reading the people who you know,

881
00:51:07,840 --> 00:51:10,600
Speaker 3: just I was so happy about who cares?

882
00:51:10,840 --> 00:51:13,680
Speaker 2: Hope there's something And then and it's all in the

883
00:51:13,719 --> 00:51:18,080
Speaker 2: same sections like them, Scott is in there, Stephen Schwartz

884
00:51:18,160 --> 00:51:21,840
Speaker 2: is in there. Yeah, Whennie Holtzman is in there, she

885
00:51:22,040 --> 00:51:24,359
Speaker 2: like screams, you know, when they have like the they're

886
00:51:24,440 --> 00:51:27,200
Speaker 2: telling the story of the Wizard of Oz. Yeah, look

887
00:51:27,200 --> 00:51:29,520
Speaker 2: at the man in the balloon. Like it's when she's

888
00:51:29,560 --> 00:51:32,000
Speaker 2: like pointing up like, oh, he's reading the book or

889
00:51:32,040 --> 00:51:35,000
Speaker 2: whatever it is. And then Stephen Schwartz is the one

890
00:51:35,840 --> 00:51:36,960
Speaker 2: who says they could come in.

891
00:51:37,160 --> 00:51:48,360
Speaker 1: Yes, of course, let's talk about some of those music.

892
00:51:49,080 --> 00:51:50,719
Speaker 3: You know, when like no one warns the wig it

893
00:51:50,880 --> 00:51:54,560
Speaker 3: starts and you're like ding, like you know that it's

894
00:51:54,640 --> 00:51:56,960
Speaker 3: kind of like Halilton when you hear Hamilton start, you know,

895
00:51:57,080 --> 00:52:01,320
Speaker 3: like bottom.

896
00:51:59,680 --> 00:52:02,000
Speaker 1: And you're like, Okay, I know what I'm in for now,

897
00:52:02,080 --> 00:52:07,000
Speaker 1: and this is so it's so comforting. God, there's not

898
00:52:07,080 --> 00:52:08,000
Speaker 1: a song.

899
00:52:09,480 --> 00:52:13,200
Speaker 3: Well maybe Doctor Dylan, but there's not a song in

900
00:52:13,239 --> 00:52:17,000
Speaker 3: this show that I don't play when I listen to

901
00:52:17,040 --> 00:52:24,720
Speaker 3: this album recording. Oh yeah, I what is your favorite

902
00:52:24,760 --> 00:52:26,160
Speaker 3: song in this act one?

903
00:52:26,640 --> 00:52:26,719
Speaker 2: Oh?

904
00:52:26,800 --> 00:52:31,720
Speaker 3: An act one in the movie, in the movie, this movie,

905
00:52:31,920 --> 00:52:35,840
Speaker 3: because I can't wait for No Good Dan, Yeah, no

906
00:52:35,920 --> 00:52:42,120
Speaker 3: good deed for good like I, yeah, I'll give you mine.

907
00:52:42,200 --> 00:52:48,200
Speaker 3: Dancing through Life is my favorite. Really yes, and define gravity,

908
00:52:48,239 --> 00:52:49,160
Speaker 3: of course, I.

909
00:52:49,120 --> 00:52:51,360
Speaker 2: Mean probably define gravity. I do like The Wizard and

910
00:52:51,440 --> 00:52:52,120
Speaker 2: I a lot.

911
00:52:53,280 --> 00:52:56,600
Speaker 1: This Wizard and I yeah, also was.

912
00:52:59,320 --> 00:53:03,200
Speaker 2: What I love Jenna so good, having just read the

913
00:53:03,200 --> 00:53:06,840
Speaker 2: book before I saw this, Yeah, because they did, I

914
00:53:06,920 --> 00:53:09,440
Speaker 2: do know what the world looks like. They do a

915
00:53:09,480 --> 00:53:11,440
Speaker 2: really good job. He does a really good job describing

916
00:53:11,640 --> 00:53:14,480
Speaker 2: like there's just like desert beyond and her running to

917
00:53:14,560 --> 00:53:15,759
Speaker 2: like this cliff.

918
00:53:15,840 --> 00:53:19,360
Speaker 3: The field I cannot and to the cliff where the

919
00:53:19,480 --> 00:53:20,360
Speaker 3: rainbow is.

920
00:53:20,280 --> 00:53:22,400
Speaker 2: And I was like, absolutely, it took me.

921
00:53:22,680 --> 00:53:24,719
Speaker 3: I was like when I first saw that for the

922
00:53:24,719 --> 00:53:27,759
Speaker 3: first time, I almost burst into tears, like like this

923
00:53:27,800 --> 00:53:30,000
Speaker 3: is what I want to say because in the show

924
00:53:30,600 --> 00:53:32,720
Speaker 3: and great, like she's standing in front of the clocks

925
00:53:32,719 --> 00:53:35,040
Speaker 3: in the school like that's it, That's all you got,

926
00:53:35,560 --> 00:53:37,840
Speaker 3: and to see this world with the lights and the

927
00:53:38,480 --> 00:53:44,280
Speaker 3: reflection pieces, and like I was like, yeah, take me there.

928
00:53:44,600 --> 00:53:45,520
Speaker 1: And I'm just so glad.

929
00:53:45,520 --> 00:53:47,480
Speaker 3: It was an extension of the book too, of like

930
00:53:47,640 --> 00:53:53,360
Speaker 3: that that oh too, you know that the book the book?

931
00:53:53,880 --> 00:53:56,960
Speaker 2: So they did, you know, I'm class like me going

932
00:53:57,000 --> 00:53:59,400
Speaker 2: back on what I said of how I I wanted.

933
00:53:59,600 --> 00:54:04,000
Speaker 2: They didn't necessarily add in more narrative components, but they

934
00:54:04,120 --> 00:54:07,879
Speaker 2: did enrich Yes, what was there? Yes, with the things

935
00:54:07,920 --> 00:54:08,560
Speaker 2: from the book.

936
00:54:09,239 --> 00:54:11,560
Speaker 3: Oh was it the So let me ask you about

937
00:54:11,600 --> 00:54:17,360
Speaker 3: the scene with the where Alphaba freezes everybody with the poppies,

938
00:54:17,600 --> 00:54:19,120
Speaker 3: or Paul everybody with the poppies.

939
00:54:19,160 --> 00:54:22,240
Speaker 1: It's different in the musical, Oh it is? I don't remember.

940
00:54:22,880 --> 00:54:25,759
Speaker 3: Well, it's like no, no, no, and everything moves around

941
00:54:25,800 --> 00:54:27,680
Speaker 3: and the lights go kind of like when her music

942
00:54:27,680 --> 00:54:29,640
Speaker 3: happens and the chair, you know, like when the chair

943
00:54:29,680 --> 00:54:33,960
Speaker 3: moves in there in the opening versus this like beautiful

944
00:54:34,120 --> 00:54:37,320
Speaker 3: poppy scene with everybody falling asleep. And the poppies rising,

945
00:54:37,360 --> 00:54:39,640
Speaker 3: and it's just like it was different.

946
00:54:40,000 --> 00:54:42,200
Speaker 2: I believe it's different in the book. Don't quote me

947
00:54:42,239 --> 00:54:45,320
Speaker 2: on this, but the book the thing because that exact

948
00:54:45,360 --> 00:54:51,920
Speaker 2: scene doesn't happen. M I don't. Oh god, people are

949
00:54:51,920 --> 00:54:52,439
Speaker 2: gonna be mad.

950
00:54:52,560 --> 00:54:54,440
Speaker 1: I'm into it though I was into it.

951
00:54:54,440 --> 00:54:56,880
Speaker 2: It's like, I'm so I'm so glad there was so

952
00:54:57,000 --> 00:55:00,600
Speaker 2: much of that with doctor Dolman because that is a

953
00:55:00,719 --> 00:55:04,640
Speaker 2: huge part of the book and that's Alphabet's whole reason

954
00:55:05,600 --> 00:55:08,280
Speaker 2: for her caring and I'm so glad Like that felt

955
00:55:08,320 --> 00:55:11,279
Speaker 2: really substantial in the movie, and that was one of

956
00:55:11,280 --> 00:55:13,279
Speaker 2: those parts where was like I'm glad, like this is

957
00:55:13,320 --> 00:55:16,479
Speaker 2: something that would have gotten cut down. I'm so glad

958
00:55:16,520 --> 00:55:16,880
Speaker 2: it is not.

959
00:55:17,320 --> 00:55:21,680
Speaker 3: Yeah, I cannot wait for as long as you're mine.

960
00:55:21,760 --> 00:55:23,960
Speaker 1: Like, I'm really excited now I forgot this whole.

961
00:55:24,000 --> 00:55:28,120
Speaker 3: Act Too is so fruitful and I'm not that girl

962
00:55:28,239 --> 00:55:29,799
Speaker 3: the second time and a girl it is.

963
00:55:30,040 --> 00:55:32,120
Speaker 2: Oh man, I think a lot of people talk about

964
00:55:32,160 --> 00:55:34,400
Speaker 2: Act Too like like, oh, it's sort of like the

965
00:55:34,480 --> 00:55:35,520
Speaker 2: music's not as good.

966
00:55:35,840 --> 00:55:38,880
Speaker 1: No, you get out of here. It's my favorite.

967
00:55:39,040 --> 00:55:43,600
Speaker 2: No, I'm excited because it's it's darker. I'm and like

968
00:55:43,719 --> 00:55:47,120
Speaker 2: the The word on the street is like, Ariana and

969
00:55:47,160 --> 00:55:50,520
Speaker 2: Cynthia are incredible, like even better, and I too, of course.

970
00:55:51,320 --> 00:55:54,040
Speaker 1: Oh I can't wait, I can't wait. I'm so excited.

971
00:55:54,719 --> 00:55:55,799
Speaker 1: Should we just rate some.

972
00:55:57,840 --> 00:56:00,520
Speaker 2: One? I mean these are all going to be A plus?

973
00:56:00,280 --> 00:56:06,200
Speaker 3: Yeah, okay, yeah, I mean maybe i'd give something bad

974
00:56:06,239 --> 00:56:09,560
Speaker 3: an A instead of an A plus. I thought Popular

975
00:56:09,800 --> 00:56:12,200
Speaker 3: was really Oh, Popular was perfect.

976
00:56:12,560 --> 00:56:15,920
Speaker 1: Yeah. I actually liked this version better.

977
00:56:17,200 --> 00:56:23,680
Speaker 2: I think I think this is probably the best like

978
00:56:23,880 --> 00:56:26,759
Speaker 2: choreographed stage sequence in the entire thing. I think this

979
00:56:26,920 --> 00:56:30,000
Speaker 2: was just like this, This is the power of like

980
00:56:30,160 --> 00:56:33,640
Speaker 2: movie musicals. Yes, that define gravity to me.

981
00:56:33,960 --> 00:56:36,520
Speaker 1: Also, One Short Day is a bop?

982
00:56:37,400 --> 00:56:38,879
Speaker 2: Like, oh yeah, One Short Day is great.

983
00:56:40,160 --> 00:56:45,400
Speaker 1: The Broadway version, the cast recording, I love that. I

984
00:56:45,840 --> 00:56:47,120
Speaker 1: love One Short Day did.

985
00:56:47,520 --> 00:56:49,839
Speaker 3: I didn't like it at first, and then as I've

986
00:56:49,840 --> 00:56:50,880
Speaker 3: gotten alder matured.

987
00:56:51,520 --> 00:56:54,680
Speaker 1: Yeah, I found myself listening to the whole thing.

988
00:56:55,120 --> 00:56:57,919
Speaker 2: I mean, Wizard and I A plus plus love it?

989
00:56:59,400 --> 00:57:04,520
Speaker 3: What does this feel? A something bad? A Dancing your Life?

990
00:57:04,920 --> 00:57:07,680
Speaker 2: I mean, Dancing through Life is an incredible number.

991
00:57:08,239 --> 00:57:09,319
Speaker 1: God, It's so good and.

992
00:57:09,280 --> 00:57:12,600
Speaker 2: It goes on for so long. That library scene is

993
00:57:12,800 --> 00:57:18,200
Speaker 2: just unreal. The Spring Things and Jonathan Bailey is just

994
00:57:18,240 --> 00:57:26,960
Speaker 2: so charming, so hot, so hot, popular again. Alas, Okay,

995
00:57:27,120 --> 00:57:29,080
Speaker 2: I'm Not That Girl is my least favorite number in

996
00:57:29,080 --> 00:57:29,520
Speaker 2: this movie.

997
00:57:30,600 --> 00:57:34,160
Speaker 1: Interesting. You know, I don't think that people love I'm

998
00:57:34,160 --> 00:57:36,400
Speaker 1: Not That Girl all that much. I do personally, But.

999
00:57:36,560 --> 00:57:39,800
Speaker 2: I like this song. I this was my only bone

1000
00:57:39,800 --> 00:57:41,760
Speaker 2: to pick. I don't like how this number was.

1001
00:57:43,240 --> 00:57:44,919
Speaker 1: Interesting. Interesting.

1002
00:57:45,200 --> 00:57:49,320
Speaker 2: It feels like a nineties music video. Okay, and like,

1003
00:57:49,640 --> 00:57:54,800
Speaker 2: because you've done so many incredible numbers, yes, everything's justified.

1004
00:57:54,840 --> 00:57:57,600
Speaker 2: And I'm Not That Girl. It feels like we ran

1005
00:57:57,600 --> 00:57:58,080
Speaker 2: out of time.

1006
00:58:02,200 --> 00:58:03,800
Speaker 1: That's fair, that's fair, that's fair.

1007
00:58:04,000 --> 00:58:05,720
Speaker 2: Thing you need to do a lot, like we recently

1008
00:58:05,720 --> 00:58:10,160
Speaker 2: watched We Devoted to You is perfection, And she's just

1009
00:58:10,200 --> 00:58:10,920
Speaker 2: taken a stroll.

1010
00:58:11,840 --> 00:58:12,520
Speaker 1: Yeah, like what time?

1011
00:58:12,760 --> 00:58:12,920
Speaker 2: Yeah?

1012
00:58:13,000 --> 00:58:14,040
Speaker 1: What time did they shoot that?

1013
00:58:15,120 --> 00:58:15,360
Speaker 3: Yeah?

1014
00:58:15,440 --> 00:58:17,240
Speaker 2: Like I'm just like, I don't need her sitting on

1015
00:58:17,280 --> 00:58:17,720
Speaker 2: a bench.

1016
00:58:18,240 --> 00:58:21,040
Speaker 3: I know, I get it. It's a tough one. Give

1017
00:58:21,080 --> 00:58:24,040
Speaker 3: them a pass, you know, I give them a pass?

1018
00:58:24,280 --> 00:58:27,800
Speaker 2: Oh yeah, I mean sure, short day. We're looking for things.

1019
00:58:27,800 --> 00:58:28,960
Speaker 2: One short day great.

1020
00:58:29,160 --> 00:58:32,680
Speaker 1: A plus sentimental, man, I.

1021
00:58:33,520 --> 00:58:36,720
Speaker 2: Yeah, the song itself, I'm like, eh, however, the scene

1022
00:58:36,840 --> 00:58:41,640
Speaker 2: loved A plus for me. The miniature, very clever, him

1023
00:58:41,640 --> 00:58:46,440
Speaker 2: going behind that curtain with the yellow bic road. It's beautiful.

1024
00:58:46,960 --> 00:58:50,760
Speaker 2: I loved how like silly it was and like stupid

1025
00:58:50,760 --> 00:58:53,360
Speaker 2: and also like sinister knowing what was coming.

1026
00:58:53,720 --> 00:59:00,840
Speaker 3: Yes, Yes, Define Gravity a million plus. Yeah, just life changing.

1027
00:59:02,080 --> 00:59:04,480
Speaker 3: Oh I had a question for you. Actually it is

1028
00:59:04,520 --> 00:59:07,600
Speaker 3: a question. Sam just our producer, just reminded me of it.

1029
00:59:07,840 --> 00:59:08,240
Speaker 5: Yeah.

1030
00:59:08,720 --> 00:59:13,400
Speaker 2: Was throughout this movie. Sometimes they're taking breaks, like getting

1031
00:59:13,400 --> 00:59:15,320
Speaker 2: in and out of songs and I's just dialogue in

1032
00:59:15,320 --> 00:59:19,120
Speaker 2: the middle of the song, whatever it may be. Define

1033
00:59:19,120 --> 00:59:23,800
Speaker 2: Gravity is broken up quite a bit a lot. There's

1034
00:59:23,840 --> 00:59:27,640
Speaker 2: a lot happening in Define Gravity. Like I think there's

1035
00:59:27,680 --> 00:59:30,640
Speaker 2: like don't you think there's like her flying, there's a

1036
00:59:30,640 --> 00:59:33,760
Speaker 2: lot of like extra things added of like that isn't

1037
00:59:33,840 --> 00:59:36,920
Speaker 2: just like if you on the cast recording just hit play.

1038
00:59:37,560 --> 00:59:39,640
Speaker 1: Oh it's close to the show.

1039
00:59:40,760 --> 00:59:45,160
Speaker 3: It is they they do Maybe I'm wrong, but they

1040
00:59:45,240 --> 00:59:48,880
Speaker 3: do it where it's like they knock on the door.

1041
00:59:48,960 --> 00:59:51,560
Speaker 3: They're in the attic, she puts the cape over her,

1042
00:59:51,960 --> 00:59:55,760
Speaker 3: the broom comes up. That all is like part of

1043
00:59:55,920 --> 01:00:02,360
Speaker 3: Define Gravity. Additionally, that extra unlimit and the flashark of

1044
01:00:02,360 --> 01:00:05,400
Speaker 3: the kid, like I actually that was new right, And

1045
01:00:05,440 --> 01:00:07,760
Speaker 3: then like the silence before the big off.

1046
01:00:08,400 --> 01:00:09,360
Speaker 2: Okay, that's crazy.

1047
01:00:09,440 --> 01:00:12,240
Speaker 1: Okay, yeah, So and like when she falls, but it.

1048
01:00:12,160 --> 01:00:15,840
Speaker 3: Doesn't I think, because it's already so broken up as

1049
01:00:15,840 --> 01:00:19,200
Speaker 3: long as it's additive and not retractively, like you're not

1050
01:00:19,240 --> 01:00:22,600
Speaker 3: taking away, it's adding to. Like, it didn't bother me

1051
01:00:22,600 --> 01:00:25,320
Speaker 3: because it's already broken up so much, and I just knew, oh,

1052
01:00:25,320 --> 01:00:25,840
Speaker 3: it's coming.

1053
01:00:25,920 --> 01:00:29,720
Speaker 2: So I was like, I also love the orchestration of

1054
01:00:29,720 --> 01:00:33,840
Speaker 2: those new pieces. Beautiful, like those arrangements, Oh my gosh,

1055
01:00:34,080 --> 01:00:35,360
Speaker 2: how beautiful. Right?

1056
01:00:35,720 --> 01:00:37,760
Speaker 1: Yeah, yeah, really well done.

1057
01:00:38,680 --> 01:00:41,720
Speaker 3: Uh No, I don't think I noticed it all that much,

1058
01:00:41,760 --> 01:00:45,080
Speaker 3: to be honest, like it didn't feel different to me.

1059
01:00:45,440 --> 01:00:47,920
Speaker 2: Okay, good, yeah, I mean because I thought it all

1060
01:00:47,920 --> 01:00:49,160
Speaker 2: worked wildly successfully.

1061
01:00:49,160 --> 01:00:50,840
Speaker 1: But yeah, yeah, I think so. I think.

1062
01:00:50,880 --> 01:00:53,680
Speaker 2: So is this a lyric change when they say you're

1063
01:00:53,760 --> 01:00:59,880
Speaker 2: here and they're singing that's in the show, Yes, it

1064
01:01:00,160 --> 01:01:03,400
Speaker 2: is get her, it's get her, But in the movie

1065
01:01:03,600 --> 01:01:07,000
Speaker 2: they say kill her. And I loved that. I was like, yes,

1066
01:01:08,280 --> 01:01:12,040
Speaker 2: shy away from Yeah. And because when define gravity ends,

1067
01:01:14,160 --> 01:01:16,520
Speaker 2: it's like best shot after best shot, and then she's

1068
01:01:16,600 --> 01:01:20,240
Speaker 2: flying away on that broom into part two. It is

1069
01:01:20,760 --> 01:01:23,720
Speaker 2: just I'm so exy. I haven't seen the stage show

1070
01:01:23,840 --> 01:01:26,560
Speaker 2: in a few years, so I don't really remember what

1071
01:01:26,600 --> 01:01:30,640
Speaker 2: happens in Act two. I remember the book, and so

1072
01:01:31,040 --> 01:01:33,400
Speaker 2: I'm very interested to see it's.

1073
01:01:33,280 --> 01:01:35,760
Speaker 1: A little slower. There's a little bit more dialogue. There's

1074
01:01:35,760 --> 01:01:36,400
Speaker 1: a little bit.

1075
01:01:36,240 --> 01:01:38,960
Speaker 3: More of like the you know, when she's in her

1076
01:01:39,120 --> 01:01:42,520
Speaker 3: in the castle, like she's you know, and chi history's there,

1077
01:01:42,680 --> 01:01:46,360
Speaker 3: and she's kind of devising this plan and she's evil,

1078
01:01:46,440 --> 01:01:49,280
Speaker 3: but we know, like she's still good and there's all

1079
01:01:49,360 --> 01:01:49,960
Speaker 3: that castle.

1080
01:01:50,000 --> 01:01:54,040
Speaker 2: She's in an act too, is she brought herself in

1081
01:01:54,040 --> 01:01:54,880
Speaker 2: the castle.

1082
01:01:55,880 --> 01:01:59,720
Speaker 1: With the monkeys and her history and all of her monkeys.

1083
01:02:00,160 --> 01:02:01,960
Speaker 2: Okay, so yeah, yeah.

1084
01:02:02,360 --> 01:02:06,960
Speaker 3: And then they do like the reflection of Dorothy with

1085
01:02:07,080 --> 01:02:10,680
Speaker 3: the water, do you remember that with the pail in

1086
01:02:10,720 --> 01:02:13,520
Speaker 3: the water. They pulled the curtain back and then she

1087
01:02:13,640 --> 01:02:15,160
Speaker 3: disappears into the bottom.

1088
01:02:16,240 --> 01:02:18,760
Speaker 2: Mm hmm. I'm just a lout of.

1089
01:02:18,680 --> 01:02:21,440
Speaker 1: The and the scarecrow and Fierro turning into scarecrow.

1090
01:02:21,760 --> 01:02:24,000
Speaker 3: It's like it's a lot more of that, like planning

1091
01:02:24,000 --> 01:02:26,200
Speaker 3: of the seeds of like what's to come in mister Oz.

1092
01:02:26,760 --> 01:02:27,720
Speaker 2: None of that's in the book.

1093
01:02:28,400 --> 01:02:35,200
Speaker 1: Mmmmm. I love And then also the nessa rose and the.

1094
01:02:35,200 --> 01:02:41,080
Speaker 3: Ruby slippers, well that nessa man. There's two songs in

1095
01:02:41,160 --> 01:02:44,240
Speaker 3: for good new songs, which I'm yes, I don't. I

1096
01:02:44,280 --> 01:02:45,880
Speaker 3: don't know how I find I know.

1097
01:02:46,360 --> 01:02:49,120
Speaker 2: I feel scared too, because I feel like anytime a

1098
01:02:49,160 --> 01:02:52,160
Speaker 2: new song is written for a movie, it sticks out

1099
01:02:52,160 --> 01:02:53,840
Speaker 2: like a sore thumb, and it always feels like it

1100
01:02:53,880 --> 01:02:54,880
Speaker 2: was just a song written.

1101
01:02:54,960 --> 01:02:56,640
Speaker 1: But it's even Schwartz's a part of it.

1102
01:02:56,640 --> 01:02:58,880
Speaker 3: It feels like maybe something he had always thought about,

1103
01:02:58,920 --> 01:03:00,400
Speaker 3: and like, I'm okay with that, but.

1104
01:03:02,440 --> 01:03:05,480
Speaker 2: They gotta win that Best Original Song, Oscar. I know,

1105
01:03:05,600 --> 01:03:06,160
Speaker 2: I get it.

1106
01:03:06,280 --> 01:03:08,520
Speaker 1: I just am okay. We'll see.

1107
01:03:08,560 --> 01:03:12,440
Speaker 2: We'll see no Place Like Home for Alphaba and the

1108
01:03:12,440 --> 01:03:13,480
Speaker 2: Girl on the Bubble.

1109
01:03:13,240 --> 01:03:16,600
Speaker 3: For a new song called no Place Like Home and

1110
01:03:16,640 --> 01:03:19,520
Speaker 3: something will saying it is just I'm okay, all right,

1111
01:03:19,720 --> 01:03:20,440
Speaker 3: I'm here for it.

1112
01:03:21,040 --> 01:03:23,320
Speaker 2: Those are two very good names and it's.

1113
01:03:23,120 --> 01:03:25,360
Speaker 3: Just for the two women. So like I we give

1114
01:03:25,360 --> 01:03:27,480
Speaker 3: it to me, give it to me, let's do some

1115
01:03:27,640 --> 01:03:28,560
Speaker 3: charity takes.

1116
01:03:29,000 --> 01:03:34,440
Speaker 2: Okay, I don't think there's any cringe moments. No, everything

1117
01:03:34,560 --> 01:03:36,720
Speaker 2: is a character driven and yeah, exactly.

1118
01:03:36,400 --> 01:03:39,400
Speaker 3: Like Linda's rude, but like you know, all of it is, yes,

1119
01:03:40,160 --> 01:03:44,160
Speaker 3: her journey, best dance move, I mean dancing through life

1120
01:03:44,400 --> 01:03:45,000
Speaker 3: in the balls.

1121
01:03:45,080 --> 01:03:48,920
Speaker 1: That was this ballroom. Yeah, totally, Chris Scott.

1122
01:03:49,680 --> 01:03:54,000
Speaker 2: Yeah, best song define gravity.

1123
01:03:53,800 --> 01:04:04,320
Speaker 1: Yeah yeah, performance by a prop I mean at the broom.

1124
01:04:04,600 --> 01:04:10,800
Speaker 2: Oh no. Also the poppies that they grew, they actually

1125
01:04:10,800 --> 01:04:19,920
Speaker 2: planted and grew so good, insane, best line Omaha, what

1126
01:04:20,000 --> 01:04:22,600
Speaker 2: is it? I like it?

1127
01:04:25,800 --> 01:04:29,520
Speaker 1: Glinda with the guy. The guy is silent.

1128
01:04:30,160 --> 01:04:33,720
Speaker 2: It's so hilarious when he's reading like this bell book

1129
01:04:33,760 --> 01:04:35,360
Speaker 2: and he's just saying, omaha.

1130
01:04:38,200 --> 01:04:39,040
Speaker 1: Oh my gosh.

1131
01:04:39,440 --> 01:04:41,360
Speaker 2: Okay performance m VP.

1132
01:04:42,680 --> 01:04:43,600
Speaker 1: I mean the ladies.

1133
01:04:43,960 --> 01:04:51,640
Speaker 2: Yeah, simply just duh, duh okay, Jenna shop we've found

1134
01:04:51,640 --> 01:04:57,400
Speaker 2: on TikTok this this year. Wow, today, I see ladies,

1135
01:04:57,680 --> 01:05:05,080
Speaker 2: Big Time Cooper mon log included completely dance correctly shot

1136
01:05:05,120 --> 01:05:12,200
Speaker 2: for shot, Glee, Halo Walking on Sunshine Mashup. It is

1137
01:05:12,240 --> 01:05:15,160
Speaker 2: so brilliant. It is very very good.

1138
01:05:15,480 --> 01:05:16,640
Speaker 1: Wow you guys.

1139
01:05:17,240 --> 01:05:22,000
Speaker 3: Yeah, and that Alfred's Look where do they get these

1140
01:05:22,120 --> 01:05:25,080
Speaker 3: dresses from? I don't know, because these are our dresses.

1141
01:05:27,960 --> 01:05:29,640
Speaker 3: Someone says, the dress is being accurate.

1142
01:05:30,080 --> 01:05:35,240
Speaker 1: No, That's what I'm saying. Wow, Okay, big Time Cooper,

1143
01:05:35,400 --> 01:05:35,960
Speaker 1: we see you.

1144
01:05:36,600 --> 01:05:39,680
Speaker 2: They said, we see lots of researching on resale sites

1145
01:05:39,680 --> 01:05:45,920
Speaker 2: for the costumes. Oh yeah, this is incredible. Wow, like

1146
01:05:46,520 --> 01:05:50,160
Speaker 2: it feels like it's twenty twelve, No really, or twenty ten.

1147
01:05:50,200 --> 01:05:54,200
Speaker 2: Whenever this was into it, someone said, this feels like

1148
01:05:54,240 --> 01:06:00,160
Speaker 2: twenty twelve YouTube in the best way possible. Wow, this

1149
01:06:00,160 --> 01:06:03,840
Speaker 2: this is really incredible. Oh my god, they have blue

1150
01:06:03,880 --> 01:06:05,800
Speaker 2: in the hair for you. She did it.

1151
01:06:05,880 --> 01:06:08,040
Speaker 1: No, it's all you need is some five hour energies

1152
01:06:08,040 --> 01:06:08,560
Speaker 1: and a red Bull.

1153
01:06:09,080 --> 01:06:11,480
Speaker 3: Okay, we're going to do a spoiler filled review for

1154
01:06:11,560 --> 01:06:14,120
Speaker 3: Wicked for Good, So this is your warning. Y'all.

1155
01:06:14,720 --> 01:06:19,160
Speaker 1: Goe before you listen or listen, but be prepared.

1156
01:06:19,800 --> 01:06:22,200
Speaker 3: So there are really screenings happening all week and it's

1157
01:06:22,200 --> 01:06:25,560
Speaker 3: officially opening on the twenty first, so let us know.

1158
01:06:25,920 --> 01:06:28,680
Speaker 1: Come back, we're gonna talk about Wicked for Good.

1159
01:06:29,640 --> 01:06:30,600
Speaker 2: I'm so nervous.

1160
01:06:31,080 --> 01:06:32,480
Speaker 1: Oh my god, I'm so excited.

1161
01:06:32,880 --> 01:06:35,960
Speaker 2: And that's what you really missed. Thanks for listening and

1162
01:06:36,120 --> 01:06:38,720
Speaker 2: follow us on Instagram at and that's what you really

1163
01:06:38,760 --> 01:06:40,880
Speaker 2: miss pod. Make sure to write us a review and

1164
01:06:41,000 --> 01:06:42,959
Speaker 2: leave us five stars. See you next time.