January 5, 2026 • 42 mins
What better way to kick off 2026 than with a smashing good time!
Jenna and Kevin are taking a look back at the TV musical series, "Smash," often seen as Glee's "competition." They have plenty to say about the pilot episode! They compare their initial impressions of the show to their rewatch, the memories the audition scenes brought up for them, their thoughts on the original songs versus the covers, and what they thought was excellent about the show and what didn't quite work for them.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
And that's what you really missed with Jenna.
Speaker 2 (00:04):
And Kevin an iHeartRadio podcast.
Speaker 1 (00:09):
Welcome to you, and that's what you were in this podcast.
Speaker 3 (00:11):
Happy New Year, Happy New Year.
Speaker 1 (00:15):
To twenty twenty six Kevin, ooh, well, top of the year.
We're coming out with a bang with smash.
Speaker 2 (00:25):
Yeah, it was starting off with a smash Jenna.
Speaker 1 (00:28):
And this actually premiered February sixth, but in twenty twelve on.
Speaker 3 (00:33):
NBC, right right, right, right right. Do you remember when.
Speaker 1 (00:37):
This came out.
Speaker 2 (00:39):
A little bit? Yeah, vaguely, vaguely because it was like
the first musical show after Glee was on. I remember,
and we've talked about it a little bit before. I
remember feeling a little likeugh, another musical trying to copy us.
Speaker 1 (00:53):
Yeah, yeah, yeah, I definitely remember everybody talking about the
auditions for this new musical TV show that was coming
out in New York. There's a lot of hubbub about
it in the Broadway community. Of course, there's a million
people I know in this pilot and then the show
to go. But like, I truly, wow, this is like
me watching my life happen ten years ago.
Speaker 3 (01:15):
I was like, this is crazy. Okay.
Speaker 1 (01:18):
So in the news The number one song was set
Fire to the Raid, honestly.
Speaker 2 (01:23):
One of the greatest songs of all time.
Speaker 1 (01:25):
Sid fye, okay, so good. The number one movie is
Chronicle Michael B.
Speaker 3 (01:29):
Jordan.
Speaker 2 (01:30):
I loved that movie. I mean, oh that broke Michael B.
Jordan like that was his first the one.
Speaker 3 (01:37):
Yeah, I don't think oh yeah, okay, cool cool.
Speaker 2 (01:41):
There's actually glean news this week. On January thirty, first
season three episode eleven, Michael had just aired, and on
February seventh, season three episode twelve, The Spanish Teacher would air.
Speaker 1 (01:54):
Special special Okay, fun fact.
Speaker 3 (01:58):
I did.
Speaker 1 (01:59):
I think I knew this, but I forgot. Maybe Michael Mayer,
my friend Michael Meyer. He directed Spring Awakening and Funny
Girl and Chess he directed this pilot.
Speaker 2 (02:12):
Yeah, I did not know that.
Speaker 1 (02:15):
I think I knew, but I forgot.
Speaker 3 (02:18):
I was like, wait a second, I was like, who
directed this?
Speaker 2 (02:20):
Michael? Team is shared on front of in front of camera,
and behind camera. This is like a who's who of
the theater world. They really like went local in a
good way.
Speaker 3 (02:31):
You kind of have to write, yeah.
Speaker 2 (02:34):
Uh.
Speaker 1 (02:34):
Series creator Teresa reebec uh. Just a few people that
produced this. Steven Spielberg that name puffed up on my
screen and I was like, excuse me, yeah, excuse me,
Craig saidan Neil morn Uh, Teresa Rebec, Darryl Frank, Justin Falvey,
(02:58):
Mark Stamon, Scott Whitman.
Speaker 2 (03:00):
What Yeah, it's pretty it's pretty nuts. The original music
was originally written by Tony and Grammy winning duo Mark
Shaman and Scott Whitman.
Speaker 3 (03:09):
No big deal coming.
Speaker 1 (03:10):
Up the heels of Hairspray Uh. Choreography by Joshua Bergassi
or Bergas. I never know how to say his last name,
but he's a famous choreographer in New York for.
Speaker 2 (03:20):
Gas and this cast was just stacked. Weff, do you
have Angelica Houston in your TV show?
Speaker 3 (03:28):
Well, you you don't because she's never n.
Speaker 1 (03:32):
Like what But when you have Steven Spielberg calling, you
say yes.
Speaker 2 (03:37):
Yeah, And there's there's a speaking of Jelica Houston. I
feel like throughout the show there's so much reference to
her dad, John Houston, the very famous director, I mean
Deva Messing and Brian Darcy. James's last name in the
show was Houston spelled differently. They referenced Marilyn Monroe movie
(04:00):
that her dad, John Houston directed in the second episode.
So like there's just a lot going, Like, you know,
if we're gonna put in Jelica in it, let's pay
our respects.
Speaker 3 (04:10):
Yeah, yeah, no, we have to. We have to.
Speaker 1 (04:15):
Christian Barrel, Broadway legend, Katherin McPhee, Megan Hilty what yeah.
Speaker 3 (04:23):
Absolutely nuts. So where should we start? So let's talk
about what the show is about.
Speaker 2 (04:29):
The show is about a talented newcomer, Karen Catt right,
Katherin mick Vee. She's up for a roll of a
lifetime and a new Broadway musical based on the iconic
life of Marilyn Monroe. The only thing standing in her
way is Ivy Lenn Megan Hilty, icon a seasoned theater
veteran true who is determined to land the part herself
(04:50):
and will stop at nothing to realize her own dreams
of fame.
Speaker 1 (04:54):
I think like having some space from theater and from
Lee at this point, rewatching this, I had knew a
new fresh pair of eyes because I think I watched
this just because like either I was hate watching it
or I was watching it to be like, what's our competition,
et cetera.
Speaker 3 (05:09):
During that time. If I watched it at all we did.
We watched it together. You made me.
Speaker 2 (05:16):
We lived together, and you said, I think I'm gonna
watch Smash and I did.
Speaker 3 (05:23):
I did.
Speaker 1 (05:23):
I watched some I watched, and we did. We sat
down and watched this. Okay, so I don't remember that,
but I do remember flashes of watching this. I think,
I'm not gonna lie. I wanted to watch what was next.
Speaker 3 (05:41):
I did watch what was next?
Speaker 1 (05:43):
Well, if David wasn't in the room, I probably would have,
but I had. We had to switch, but I had
to watch what was next. I'm gonna tell you, I
really enjoyed this pilot. I really enjoyed this pilot. And
I don't know if it was like just like the
right kind of writing where it was like what's gonna happen,
(06:05):
what's gonna happen, what's gonna happen. I kind of have
to watch it. I kind of got a seat. The
music was enjoyable to me. I liked most of the performances,
the voices to me, like, right now I'm in a
in a Broadway musical listening album phase right now with
my life. Sometimes I'm like, can't listen to this at all.
(06:26):
Right now, I am listening to like all the soundtracks
and the recordings, so I feel like listening to these
women's voices, watching these performances, I was like, I'm in
this world right now. I'm in it, I'm feeling it,
I'm enjoying it. And I think there were some things
that were a little too cliche and a little too forced,
(06:50):
and some of these actors were like in different versions
of the show, but overall I needed to watch. I'm
gonna watch it today. I have to know what happens.
I think I remember, like, we've got to get both
girls in the show. So one's gonna play the understudy,
one's gonna play Marylyn. We know this, but I just
don't remember which is which.
Speaker 3 (07:13):
Oh really, it.
Speaker 1 (07:14):
Does not happen like that, Okay anyway, okay, okay, so
it doesn't talk.
Speaker 3 (07:18):
I definitely have to watch today.
Speaker 1 (07:19):
But I'm just saying, like I really the songs were good,
Like I enjoyed listening to the songs, even though like
I'm not a person who's like very attached to original music.
I like going in knowing what I'm listening to. And
I was very impressed by how much I liked listening
to this music and listening to these women saying their
(07:41):
voices are just unbelievable. So like, I think that's part
of it. But I do feel like this is with
some time jumps and things and you know, some discrepancies
on how actually things work, like we're not putting things
on YouTube and writing a song overnight.
Speaker 3 (07:58):
But like I overall was like, Okay, I believe this world.
Speaker 1 (08:03):
They're in the forty two second forty second street stage,
virsual spaces like they felt familiar to me, and there
was something about it.
Speaker 3 (08:12):
It was very comforting. I love how excited you are.
I didn't think I was gonna like it as much
as I did.
Speaker 2 (08:22):
No, I didn't either. I don't think it's like I
don't necessarily think it's like a great episode of television, totally, totally.
I also really enjoyed it. Yeah, and I think the
thing that makes.
Speaker 3 (08:40):
Me want to continue to watch it, and it made
me like it.
Speaker 2 (08:43):
Was watching the creation of this thing with two really
talented people who it makes a lot of sense for
them to be up for this role.
Speaker 3 (08:55):
Do you know what it like?
Speaker 2 (08:58):
I think what the show does really well obviously, Yeah,
they like the musical never happens this quickly, like there's
a lot of things that make no sense. Yes, there's
a lot of extra storylines I just don't care about totally,
but totally, what they do really, really well is make
us believe or make us buy into like we don't
(09:20):
know who you're going to choose, because I can see
both of them playing this part. Yes, and this musical
is really can good, like the original music is excellent.
And I also think one of the weakest points of
this is when they don't do original music. I think
they do a bad job at choosing covers totally, like
(09:40):
Katherine McPhee going in there to sing some weird arrangement
of beautiful Oh yeah no yeah yeah, like no, no, no, no.
I don't buy it. I don't I don't buy it
at all. But when you see both of them sing
these original.
Speaker 3 (09:53):
Songs, oh are you kidding?
Speaker 2 (09:56):
Unbelievable, and I like I like the I.
Speaker 3 (10:01):
Like seeing yeah yeah, like what is happening? I want
to know what happens. I don't really remember what happens
at all.
Speaker 2 (10:07):
Right, but what I do remember for people talking about
it is that like Maryland, the musical is actually like
really good and the original music is really good. I
don't think like yeah, again, I don't think like on
a technical level it's done.
Speaker 3 (10:22):
No particularly not groundbreaking in anyway, but no, but all the.
Speaker 2 (10:26):
Stuff that has to do directly with musical theater, like
all the performance numbers, the rehearsals are really good because
you have all of the real dancers, the audition scenes,
like all those are so so good.
Speaker 1 (10:38):
Yeah, I also enjoyed. I appreciate like two women at
the helm, right, like I always appreciate that they're so talented.
There's enough conflict to keep me watching, right, Like they've
built that world enough that we know what they want separately,
we know what they want together, and that to me
(10:58):
is enough.
Speaker 3 (10:59):
Like, Okay, I'm I'm invested.
Speaker 1 (11:03):
I don't know that I'm fully invested, but I'm invested
for this forty minutes.
Speaker 2 (11:07):
Yeah, I'm saying this to Awesome. I'm like, I kind
of like it. He's like, see, I'm teaching you well
because you can sort of see through the crap to
see what's good about it.
Speaker 3 (11:15):
Yes, yes, that's right, that's right.
Speaker 2 (11:17):
Yeah, Yeah, I fully like, yeah, you know I want.
Speaker 3 (11:21):
To Yeah, I mean I just want to know because.
Speaker 2 (11:25):
Okay, the crazy thing is so the idea is in
the first place came from Steven Spielberg, who purchased the
book titled Smash about making Funny Girl and kept only
the title and then was developing this at showtime where
each season would be the development of a musical reliant
which makes so much sense because I mean that's also like,
(11:47):
that's the part I like.
Speaker 1 (11:49):
This, and the Broadway music would then be actually be
produced on Broadway.
Speaker 2 (11:53):
Yeah, there's a brilliant model if it worked, but they
could still do that well.
Speaker 3 (11:58):
They did Smash on Broadway and that didn't work.
Speaker 2 (12:00):
So well, because I think that's that's it was.
Speaker 1 (12:02):
The story of the story, right, It's not it's not
the actual musical. I see what you're saying. Yes, I agree,
that's actually where.
Speaker 2 (12:08):
And like it was Spielberg's idea. It was adamant about
the show having original music, and so they got incredible songwriters.
I think that's why the music is so good, like
it just fits. And I also think the casting was
quite brilliant because I remember thinking at the time, like
Katherine McPhee, like she's from American idol, like can she yes,
(12:33):
she can? And her and Megan Hialthy are so different
and they're both so good.
Speaker 1 (12:39):
I really liked Gathering mcfee's performance in this. I really
she really bought me into this whole thing.
Speaker 3 (12:44):
I thought she's I thought she was very very good,
very good, and her voice is stupid And.
Speaker 2 (12:52):
The only time I didn't buy her is doing some
of these covers. And I don't think that's her fault.
Speaker 3 (12:58):
It took me out. It took me out, beautiful took
me out.
Speaker 2 (13:03):
It felt like that was probably the thing to help
get it sold at the time, because Glee was doing
it and like it's working, and so there.
Speaker 3 (13:09):
Was the other problem that I had.
Speaker 1 (13:10):
And look, it worked on Glee, So I'm not I'm
acknowledging the truth that is Glee and I'm not biased.
But in the audition room, yes, it's a dream sequence, right,
the lighting was different, all of it goes different. But
when you come back to the audition room and you
come back to that table of people hurt, the instrumental
(13:32):
is still a band, it's a full band, and the
transition just didn't work for me. I was like, we
are not again in that world like it is, you know,
like it shorted out as a dream and it ended
in this dream, But visually.
Speaker 3 (13:48):
That was not what it was.
Speaker 2 (13:50):
And I also think they it would have been helped.
I mean, look, I understand the practical nature of it
not being probably feasible, but you have two women, like
with Wicked, that can really sing. Their face is off, yes,
and there's a couple of times like maybe one each
where they sing I think they sing.
Speaker 1 (14:10):
Live probably yeah, And it didn't and it's so good
and I loved it, and it was like I want
more of that from them for this type of show.
Speaker 3 (14:20):
Yes, like let me be your star produce it.
Speaker 1 (14:23):
You know, there's a montage, there's it's big, it's the
stakes are high. But like beautiful and like, I see
what you're saying about trying to sell the show, Like yes,
I get that, but like beautiful, let her sing. She
can sing, hive and probably just as good. She's almost
been perfect. Like it's it's really good. So that was
my qualm with that. This series aired and premiered with
(14:59):
an exorbitant amount of views.
Speaker 2 (15:01):
So it had eleven and a half million viewers on
the initial broadcast after the the day after the Super Bowl.
Speaker 1 (15:09):
That's a lot.
Speaker 3 (15:10):
That's a lot. That's a lot.
Speaker 1 (15:13):
I'm just saying that's I don't think that's wildly normal.
But yes, they were promoting the crab out of it
during the Super Bowl. So, like it had a big.
Speaker 2 (15:21):
It was highest NBC drama series premiere in four years.
Speaker 1 (15:25):
I'm saying it was huge. It received widespread critical acclaim
and everybody praised the cast and the musical numbers and
the ambition of it. And it was different than Lee,
I think at that time, like it was more about
the making of versus this Glee club, right, so like
it didn't feel.
Speaker 3 (15:43):
It was very different and it was close to us.
It was just too close to us at the time.
Speaker 2 (15:48):
And I think people if people weren't watching these things
live at the time, musicals did not work, and so
it was weird to all of a sudden then have
another musical because like Glee was working, which was defying
all odds. They're like, oh, now there's another musical and
they're trying it. But like this should have worked. This
(16:09):
should have gone on for a lot longer. I mean,
I haven't seen the rest of it yet, but like
in theory, this deserves too, I think.
Speaker 3 (16:19):
Yes.
Speaker 2 (16:20):
I mean, so Austin was sort of like filling me
in because he watched it and he was filling me
on that sort of some of the storylines that happened
later on, and it does feel like a little soapy.
Speaker 1 (16:30):
Well, here's the interesting part about that. It was made
for Showtime, right, Like they were doing this for Showtime
to start, and then they made a shift to NBC.
And when they did, they had to push it away
from cable style, right, And approximately twenty minutes were cut
from the pilot and the language and explicitness were significantly
(16:52):
toned down to.
Speaker 3 (16:54):
Meet broadcast banners on NBC.
Speaker 1 (16:57):
I think there was a shift there that had to
be made that then made it a little bit more popcorn,
you know, like and the less kind of gritty, which
went along with some of the coloring of the show.
Speaker 2 (17:15):
So as soon as you get to the next episode
is just darker and it looks better.
Speaker 1 (17:21):
Okay, because I was a little off with the color
of the show and and I saw the shift somewhat,
but like I just I don't know, there's something off.
Speaker 2 (17:30):
It's all of a sudden, like you can see like, oh,
the pilot got picked up. Now we're making this and
it's a completely it looks very different. I do think,
you know, for us personally, we were not giving it
a fair shot. I think it is such a different story.
And I also wonder if, like the is there a
(17:51):
broad enough appeal about what happens in the theater world
like on Broadway. I would hope so, because good story
is good story and like.
Speaker 3 (18:00):
A more commercial audience, like a big but you know,
if it has this big premiere and then gets canceled
after two seasons.
Speaker 1 (18:10):
Well, there's also some shift that happened within the creative team.
So Joshua Saffron took over as a showrunner for the
second season, and I think there was internal struggle creatively
that didn't help the story and didn't help all of that.
So I do think that when you have those kind
(18:32):
of internal struggles that we were in Privy too, But
that's definitely going to take a toll, especially in so
early and it's seasons, like to have that struggle, I
think it's definitely going to have a moment.
Speaker 2 (18:47):
I mean, I feel like, especially for a musical like
you have to have. I mean, we were so lucky
that Ryan Bred.
Speaker 3 (18:53):
And Ian Yes, we're so.
Speaker 2 (18:55):
Solely controlled the first two seasons, like the first.
Speaker 1 (18:58):
I had a lot of at Fox at that point
thanks to you know, Dana and Garrett and all those
people who were at the Helm that allowed him to
do the things that we did because because of that,
like I remember, you're like, oh my god, we did
that on broadcast television, Like a lot of people weren't
didn't have that kind of liberty, you know.
Speaker 2 (19:19):
I also wonder you know, look, I think musicals are
hard to sell, and I'm wondering if Smash was more
adult and the demographic that would sit together to watch
Smash is and like feel okay about it. Yeah, it's
probably very different than watching a satirical, like a satire
(19:40):
about these like dysfunctional kids. Yes, yes, or you can
get away with singing this music and it's like fun
and bright and then like I also think that's where
Smash succeeded in positioning itself as something different than Glee,
is that it was adult and it was real life,
and it was like putting you in those situations that
for us, like audition rooms and things that felt real.
Speaker 1 (20:03):
Right.
Speaker 3 (20:04):
But like again, I'm I mean, I guess we're not
here to talk about.
Speaker 1 (20:08):
The audience was, But I do think there's also a
part of it that, like I keep coming back to
the showtime of it all, like those scenes where you
have like Catherine being called to the director's layer, you know,
at night, and she she like shows up and also close.
(20:29):
But like if this was Showtime, would we have seen
something different?
Speaker 3 (20:35):
Yeah?
Speaker 2 (20:36):
And also there was a shot in that where I
was like, I like how this looks and I like
how this feels.
Speaker 3 (20:41):
Yes, that felts very different yes than than some of
the other pieces. Yes, and it's like this is what
I want from all of it. Yes.
Speaker 1 (20:50):
And and had it been on Showtime, and I think
that's the show we would have gotten.
Speaker 2 (20:53):
Catherine was excellent. Oh no, she was thinking about that
scene too where she's like being sexy, Yes, and like
the good she's really good.
Speaker 1 (21:03):
When they were coming out of the subway during Let
Me Be Your Star, did you think of Naya?
Speaker 3 (21:08):
Yeah?
Speaker 2 (21:08):
Fully well I was also like, oh it looks beautiful.
Speaker 3 (21:12):
I was like there the budget for this pilot.
Speaker 2 (21:15):
Oh, I think was like the same as the Glee pilot,
and I feel I'm like, okay, you're like this budget's
going to this.
Speaker 3 (21:22):
You also have to get people to write original songs here.
Speaker 1 (21:24):
Do you get a team, a very established team of
writers to write this so you know, like you know
this or that we're licensing, don't stop believing or like
you're getting you you have to create people. They go
whole musical.
Speaker 2 (21:39):
Yeah, that's the musicals are expensive. They're really expensive to produce.
Speaker 1 (21:44):
Can we talk about National Pastime though? With like twenty
of the best male dancers in New York and.
Speaker 2 (21:50):
I just get yelling out names of people.
Speaker 1 (21:52):
I was seeing Alex and like a friend Spencer.
Speaker 3 (21:56):
It was so good, but I was like, I'm we
ever there.
Speaker 2 (22:00):
Yeah, that's what I loved about it. I was like,
when they are doing this stuff, it is excellent.
Speaker 1 (22:07):
Yeah, yeah, yeah, yes, I was like this.
Speaker 2 (22:10):
Is really good. And I like seeing like the like
the the little flashes of like what it might be
on stage or it's like, oh, this is just an
idea still. So it's like, oh, we're seeing these like
baseball uniforms, like bedazzled and she's in a red dress
(22:31):
and it feels fun, but it's the set, the stage
is still pretty bare because like we're still developing this.
I have questions about, like technically speaking, because I have
not done as much theater unditioning as you have the
process that happens in this pilot. How accurate is this
(22:52):
like a callback second callback? Like always one on ones
with these people, Like what is.
Speaker 3 (22:58):
What the directors want?
Speaker 1 (23:00):
On one? Was weird?
Speaker 3 (23:00):
But that doesn't happen.
Speaker 1 (23:02):
But yeah, no, normally, like there's an audition and then
there is a callback, and I was like, oh, they're
not going to pick these girls from this callback because
there's always a final callback. They always call it a
final callback. I mean at least in my experience. And so.
Speaker 3 (23:23):
Whether it's one of you or three of you.
Speaker 1 (23:24):
Or five of you, like there's always a third one.
Speaker 3 (23:29):
Oh no, not for a workshop.
Speaker 2 (23:31):
Because that's what this is for, isn't it now?
Speaker 3 (23:33):
I don't know about that.
Speaker 2 (23:36):
I was just assuming it was for a workshop.
Speaker 1 (23:39):
That's a that's the discrepancy too, of like how did
they get to be auditioning these people already when the
thought was a week ago?
Speaker 3 (23:48):
Like who wrote it?
Speaker 2 (23:49):
Yeah? Is it? Is it written already?
Speaker 1 (23:51):
Yeah? Yeah? Yeah?
Speaker 2 (23:52):
And also showing up in full Maryland glam like Emilie Ashford.
Speaker 1 (23:55):
Well, I will say that is not far from the truth. Really,
you will get people who actually do and it's a
big no no. But like people do it, or people
show up and things like it, or you know, like
it's pretty crazy what I've seen. Also Annihtley Ashford and
that doing a small bit is my favorite, a little cameo.
(24:17):
She is my hero. I love her and she's so
wildly talented. To see her dressed up in Maryland garb
and doing that was just a joy.
Speaker 2 (24:30):
There's a lot of Tony's going on in this show.
Speaker 1 (24:33):
But it's not it's not far from it, especially at
the callback too, of like that's why they said, like
you're the only one who didn't show up in Maryland,
Like that's actually I believe that whether it's an ode
to or a full Diamonds a Girl's best Friend costume
different Like you know, Megan Hilty showed up with the
(24:54):
hair and the dress that looks like Marylyn, but not
a full Marylyn outfit. So anyway, but yeah, that's the
that is the process and it is very similar in
that way. And then also like she didn't have to dance,
but Catherine mcfew does because they know who Ivy is
and she's not Broadway already, so does that happen? Yeah,
(25:15):
I mean like for Glee, I didn't have to sing
on my first audition. What I just sent in a
tape stuttering for my first audition.
Speaker 2 (25:30):
I didn't know that.
Speaker 1 (25:32):
None of the Spring Awakening cats had to sing for
their first session.
Speaker 3 (25:36):
Oh man, I'm sure I gotten pass.
Speaker 2 (25:42):
I mean, that makes sense, but I had no idea.
Speaker 1 (25:48):
That's why the first time I sang was for Ryan
and Ian and Brad and Dante in at Jim Carnahand's office,
like months after the tape, and it was my first
time singing.
Speaker 3 (26:00):
I'm like, what am I going to sing?
Speaker 2 (26:02):
Wild?
Speaker 3 (26:05):
Yeah?
Speaker 2 (26:07):
Interesting?
Speaker 1 (26:10):
Yeah, I mean, like of course when Ryan's there were singing, but.
Speaker 3 (26:16):
You didn't know that. No, Wow, it doesn't happen often.
That's probably the only time.
Speaker 2 (26:23):
I mean, but watching the show also, just watching people
have to audition really stress. It is one of the
worst things.
Speaker 1 (26:35):
And everybody in the room, you know, when you're sitting
there and in the tiny hallway where you can tear
everybody's saying, it's just the one.
Speaker 2 (26:43):
I think theater auditions are like an extra particular brand
of horrible.
Speaker 1 (26:49):
I have like ones that run in my head that
were just so bad.
Speaker 3 (26:54):
That I just they keep me.
Speaker 1 (26:55):
Up at night.
Speaker 2 (26:56):
Did I ever tell you I have enhance an audition?
Maybe you did, but I forgot it was when Ben
was leaving. Jackie Burns convinced me to go audition and
(27:16):
I was like, you guys, I don't have the range,
and you're all like, yes, you do, you can do it.
I was like, no, I can't. I went in. I
did waving through a window. I got to the last
note and my voice cracked so hard and everyone looked
like I killed the puppy. There were a lot of
(27:38):
people in that room.
Speaker 3 (27:39):
I'm telling you that was not the first time they
heard Sony crack on that note.
Speaker 2 (27:42):
No, but they look so serious and they're like, should
we do it again? And lowered half a step and
I said, it's not gonna matter, but sure, and then
I did it again. Voice cracked again, like let's do
the scene. I'm like, okay, scene fine, it was this
big monologue, Fine, no problem. Yeah, and then I turn
(28:08):
and run to the door and I said, I'm so
sorry you had to witness.
Speaker 3 (28:11):
That, and ran out of the room.
Speaker 1 (28:13):
I've done that.
Speaker 2 (28:14):
I didn't wait for them to say anything.
Speaker 3 (28:16):
I've apologized on the way I left. So that's how
I feel about auditioning for theater.
Speaker 1 (28:21):
Yeah, no, no, I've had similar experiences. I remember auditioning
for the Jimmy Buffett Musical. It was like nine am
and I think you were with me, were in LA
and I had sang. I had to sing a Jimmy
Buffetts song. I don't know, I sang, Finns. I had
never been so nervous, because I don't when I don't
know a song and I don't know what I'm doing,
(28:41):
I'm nervous if I know, if I know the song,
I'm usually not as nervous, like for a time, I'm nervous.
But it was truly treacherous.
Speaker 4 (28:50):
I mean, Finns, it was so bad.
Speaker 1 (29:01):
And at this point, you know all these cast characters,
they're your friends, and you're like, do I have to
do this for you? Do you really want to see
me do this? Are you sure that you want to
see me do this? That's exactly why you're there. They
don't know if you.
Speaker 3 (29:15):
Can, and you're just proving them right.
Speaker 1 (29:19):
They're like, I don't know, we should probably foller it.
Speaker 3 (29:22):
See uh.
Speaker 1 (29:24):
Tommy Caley auditioned for a play and I like, don't
not too her plays and I don't take the time
to work on monologues and I don't. I was not prepared,
and I just I didn't.
Speaker 3 (29:34):
I apologized.
Speaker 1 (29:35):
I was like, thank you so much and I'm really
sorry about this and walked out. That was it. That
was my last audition. Okay, So it would you keep
watching based just on the pilot or do you want
to just like go through the next episode and fast
(29:56):
forward to see what happens?
Speaker 2 (29:58):
No, I mean I did keep watching. Immediately played the
second episode. I feel like, in a way, this show
it's like Nashville.
Speaker 1 (30:08):
Okay, That's what I was going to ask you, because
you were like to watch it.
Speaker 2 (30:12):
Yeah, because I think though the soapy nature of the
drama was more compelling and the Nashville pilot for me,
I think both pilots were a bit clunky. Yes, agreed, Yeah,
but I thought Nashville, I.
Speaker 1 (30:31):
Think visually also, Nashville was shot a little bit better
and the and the color was right, like color correction
was right, and like it was brighter, and it felt
a little more glamorous that I was, like visually a
little bit more stimulated than I was watching this like
very muted show that was supposed to be about.
Speaker 3 (30:50):
Like a big I think it's darker in color, which
I kind of liked, but I think it's richer color.
It's darker, but it's a difference.
Speaker 1 (30:59):
It's like like Stepia toned. Yeah. Yeah, yeah, yeah, Like
I'm like confused by it. Yeah, I was confused by it.
So that took me a while and I never got
over it.
Speaker 2 (31:10):
But I think I have a harder time getting buying
into some of like the extra stuff in the show.
Speaker 1 (31:16):
Like I just like the like the family and like
all that stuff happening and the Yeah yeah I get that.
Speaker 3 (31:25):
I get that, uh, because.
Speaker 2 (31:28):
It's not a lot of drama, where like Nashville was
really laying and I'm.
Speaker 3 (31:33):
Thick with all of these like secrets.
Speaker 2 (31:37):
Yeah, but they knew what they were doing, like they
that was the show they were making. Yeah, like I smashed.
I know for sure what they know what they're doing.
When it comes to the musical yeah yeah, But the
other I'm like, I don't know. It feels like in between.
Speaker 1 (31:54):
Yeah, I see what you're saying, like a little soapy
but not drama enough, but like not like at least
like Nashville. You're leaning into the country drama of like
this could this could live on CMT and work really
well and.
Speaker 3 (32:08):
Like be fine and be the same show.
Speaker 2 (32:11):
Yes, But that being said, I want to give it
a chance, and.
Speaker 3 (32:15):
I want to I will definitely I want.
Speaker 2 (32:18):
To keep watching. And I also now I have to
do some research into what this smash musical on Broadway was.
Speaker 3 (32:25):
I'm so sad it didn't make it.
Speaker 1 (32:26):
There were a lot of people we knew and that
we're in it, and I'm I'm sad when shows don't
make it.
Speaker 3 (32:31):
I get it.
Speaker 1 (32:31):
It's hard and I don't know what went wrong. I
didn't see it. I don't I have no intel on it,
but I'm you know, you never hope for a show
to go down, but so quickly.
Speaker 2 (32:43):
No, it's hundreds of jobs for people.
Speaker 3 (32:46):
I will say, there's something the element.
Speaker 1 (32:49):
I know this is like kind of meta, but like
watching a Broadway musical about creating a Broadway musical on
stage isn't as exciting as watching a film or TV
show about creating a Broadway musical.
Speaker 2 (33:04):
Yeah, I can see that. I also kind of just
want to see the Maryland.
Speaker 1 (33:07):
Musical right exactly, not the making of this musical on Broadway.
Speaker 3 (33:11):
When we're watching Somebody on Broadway, right, it was a
little I don't I actually don't know. I don't know either.
I don't know. I'm not going to comment too much
of it. That was my opinion it.
Speaker 2 (33:22):
Because I, like I said, I liked watching the process
of it being made. But again, I know a lot.
Speaker 1 (33:31):
I think part of it is, like I like watching
the locations of actually where people audition in New York,
where people actually rehearse in New York, where they're walking
through the actual New York City streets. There's some element
of that reality versus being it being created in a theater, right, Yeah,
(33:53):
that I appreciated, Like you felt you were actually watching
them create versus like I don't know. That's just my
take on it. Yeah, let's talk about some of these performances. Okay,
So somewhere over the Rainbow solid start for her to
sing at all? Song choice?
Speaker 3 (34:13):
Eh, yeah, I may yeah.
Speaker 2 (34:21):
But Katherin mcpee had a great Somewhere over the Rainbow
from American Idol, and I think it was probably Oh.
Speaker 1 (34:28):
I didn't know that, okay, yeah, yeah, yeah, yeah, okay, great,
so they I'll give it an a. I didn't know that.
Speaker 2 (34:36):
Well, no, but you're basing it off of you, don't
you know that?
Speaker 1 (34:39):
Though?
Speaker 2 (34:39):
Right you're watching the pilot.
Speaker 3 (34:41):
Yeah, I'm like, why are you somewhere on the Rainbow.
Speaker 2 (34:44):
Yeah, that's yeah.
Speaker 3 (34:47):
Never give it all, never give all the heart, never.
Speaker 2 (34:49):
Give all the heart.
Speaker 3 (34:50):
I she sounded so good. She sounded so good.
Speaker 2 (34:54):
She's so good.
Speaker 3 (34:55):
And the voice and the chatting and the she's excellent.
It's just really so excellent.
Speaker 1 (35:01):
I give it an A yeah, A plus. National Past
Time A plus A plus. I don't want to be
loved by you. I mean we're talking about the actual Maryland.
Speaker 2 (35:13):
Yeah, hey, hey, all these original songs excellent.
Speaker 3 (35:19):
Beautiful B minus.
Speaker 1 (35:23):
I'll go be happy. Birthday is President A Yeah? I
thought the scene yeah A let Me be Your Star
plus A plus. Yeah, I love that number. I don't
think I like that number when it came out, but
I was listening to that last night when I was watching,
and I was like, oh, this is good.
Speaker 3 (35:39):
It's excellent. It's really good.
Speaker 2 (35:42):
They were the Other thing of why I think this
works so well is because these are so often when
songs are written for a TV show or a movie
about making music or a musical or something.
Speaker 3 (35:55):
Like that, they're just bad.
Speaker 2 (35:57):
Yeah, because people are writing what they think it's supposed
to be, as opposed to they hired real musical writers
who are writing songs for a fake musical, albeit but
like writing.
Speaker 3 (36:10):
The musical, like, yeah, L show is the musical.
Speaker 2 (36:12):
And it's excellent. No, I know, excellent. I remember talking
to you about this when we watched it. Of how
is a show like this sustained? Like where does it go?
Speaker 3 (36:33):
Like the TV show?
Speaker 2 (36:34):
Yeah, And I'm wondering if, like, because I still feel
like that watching it. I'm enjoying watching it right now,
but like, at some point the show either has to
happen or not happen then what.
Speaker 3 (36:52):
Right?
Speaker 2 (36:53):
And I feel like that impacts me wanting to watch.
Speaker 3 (36:57):
It or not.
Speaker 1 (36:58):
M I see, Well, I can't tell you because I
don't know. But if they could prolong the each season
by like the show rehearsals into like opening night, Yeah, but.
Speaker 2 (37:12):
Towards the same show for this long.
Speaker 1 (37:15):
Yeah, but there's gotta be a lot of drama. I mean, look,
we're talking about a twenty two season episode season. That's
a lot different than a ten episode season. Yeah, you're right,
you're right, because if you know, obviously there's a lot
of filler in twenty two. But I see it like, oh,
one gets cast, one doesn't, or it does, one gets hurt,
We go through there's some stuff happening on the other storylines,
(37:36):
like other episodes, maybe a past episode where we like
look at where they came from and like, you know,
things like that.
Speaker 3 (37:43):
So but I see what you're saying, and I have
no real answer for you. Do you think a smash reboot?
Speaker 1 (37:51):
No?
Speaker 2 (37:53):
No, but like a whole new show, all new people.
Speaker 1 (37:55):
There's only so much different difference that you can make.
Like we're making a musical, like I don't want to see.
Speaker 3 (38:02):
It again, like a chorus line.
Speaker 1 (38:07):
Of like the cast of people, like starving actors, like
like aspiring actors trying.
Speaker 2 (38:11):
To get it.
Speaker 1 (38:13):
It's a different show.
Speaker 2 (38:15):
It's a different show.
Speaker 3 (38:16):
Yeah, it's not a musical.
Speaker 1 (38:18):
Yeah, but that's an interesting show. Okay, let's do some
tarty takes.
Speaker 3 (38:24):
Okay, cringe moments.
Speaker 2 (38:26):
Oh, there were several.
Speaker 1 (38:28):
Well, the whole like thing about Karen's weight and her
parents and the things and the and then like I
don't know, I just didn't know, and then the director
inviting her over. It's like when she said I wish
I was fat, I was like, oh, yeah, no, no.
Speaker 2 (38:46):
But you know what, it makes me feel better because
we were on at the same time. It's like, ah,
this is where we were yes, we were end this
together doing things that we shouldn't have to chingey.
Speaker 1 (39:03):
And that's why we have cringe moments.
Speaker 2 (39:05):
Yeah.
Speaker 1 (39:06):
Best dance move the National pastime.
Speaker 2 (39:08):
I mean oh yeah that people were dancing hard.
Speaker 3 (39:13):
Like cast of the Newsies, best best song.
Speaker 1 (39:17):
Let Me Be Your Star, your best performance by a
prop Oh, Ellie Ashford's costume.
Speaker 2 (39:27):
All the fake jewels. Honestly, the Katherine McPhee's headshot really
made me feel like type away.
Speaker 1 (39:35):
Yeah, yeah, yeah, yeah yeah. Best line game Man pissed
me off. That's an unfortunate position to take in the
American theater. Love that one.
Speaker 2 (39:46):
When he first said that, I was like the and
then her line was like, okay.
Speaker 1 (39:49):
It's great Christ and channel I discovered her this isn't
her part. Yeah.
Speaker 2 (39:54):
I liked that one a lot. Okay performance and VP,
I mean the ladies late McPhee and Hilty so good.
You just you can't go wrong.
Speaker 3 (40:06):
No, their their voices just and.
Speaker 2 (40:11):
Again, I truly believe that either one of them can
play the part.
Speaker 1 (40:17):
That's the thing. That's why I think I'm so invested,
because I'm like, which way are they going to go?
Speaker 3 (40:22):
You go your way?
Speaker 2 (40:24):
Yeah, and you know what, Sorry, I know we're past this,
but when she's singing beautiful and they're all having this
like we've discovered something, that performance is not going.
Speaker 1 (40:34):
To evoke that on that table, agree, I think it
was just more of the reaction to like finding somebody
like we needed.
Speaker 2 (40:42):
Yeah, if they had a better song there, I would
have been more yes, because she was doing what she could.
Speaker 1 (40:48):
But yeah, no, no, she did great.
Speaker 2 (40:50):
Okay, Jenna. Shit we found on TikTok And this happened
to me in real life a couple of weeks ago.
This is love Aaron Lounderscore Aaron on TikTok. She's me
at any function ever and holding up a phone saying
play the Glee version. Literally I looked over and someone
was saying.
Speaker 3 (41:08):
That to the DJ.
Speaker 2 (41:10):
Yeah, I don't even remember. I was in Okay, how
was that McDonald's the other day and there was like
a cover. They were playing a cover of a Chapel
Rowing song, and these like people were next to me
and they're like, this sounds like if Glee did this song.
Speaker 3 (41:29):
Oh cover, No it was not a good cover.
Speaker 2 (41:36):
But I was like, oh damn, oh no, they weren't wrong,
you know, like it was I get that so next
week your assignment You've asked by popular demand, pitch perfect.
Speaker 3 (41:54):
I'm so excited. Oh you're really excited.
Speaker 2 (42:00):
We hear you. We're listening.
Speaker 3 (42:02):
We must, we must, we must do what they want.
Speaker 1 (42:06):
All right, Well, next week we'll see you for pitch Perfect.
Speaker 3 (42:09):
Hope you guys enjoyed Smash Smash.
Speaker 2 (42:11):
I'm going to keep watching TV, watching text me when
you watched the second episode, will do. Thanks for joining us,
and that's what you really miss Thanks for listening and
follow us on Instagram at and that's what you really
miss pod. Make sure to write us a review and
leave us five stars.
Speaker 3 (42:30):
See you next time.
And that's what you really missed with Jenna.
Speaker 2 (00:04):
And Kevin an iHeartRadio podcast.
Speaker 1 (00:09):
Welcome to you, and that's what you were in this podcast.
Speaker 3 (00:11):
Happy New Year, Happy New Year.
Speaker 1 (00:15):
To twenty twenty six Kevin, ooh, well, top of the year.
We're coming out with a bang with smash.
Speaker 2 (00:25):
Yeah, it was starting off with a smash Jenna.
Speaker 1 (00:28):
And this actually premiered February sixth, but in twenty twelve on.
Speaker 3 (00:33):
NBC, right right, right, right right. Do you remember when.
Speaker 1 (00:37):
This came out.
Speaker 2 (00:39):
A little bit? Yeah, vaguely, vaguely because it was like
the first musical show after Glee was on. I remember,
and we've talked about it a little bit before. I
remember feeling a little likeugh, another musical trying to copy us.
Speaker 1 (00:53):
Yeah, yeah, yeah, I definitely remember everybody talking about the
auditions for this new musical TV show that was coming
out in New York. There's a lot of hubbub about
it in the Broadway community. Of course, there's a million
people I know in this pilot and then the show
to go. But like, I truly, wow, this is like
me watching my life happen ten years ago.
Speaker 3 (01:15):
I was like, this is crazy. Okay.
Speaker 1 (01:18):
So in the news The number one song was set
Fire to the Raid, honestly.
Speaker 2 (01:23):
One of the greatest songs of all time.
Speaker 1 (01:25):
Sid fye, okay, so good. The number one movie is
Chronicle Michael B.
Speaker 3 (01:29):
Jordan.
Speaker 2 (01:30):
I loved that movie. I mean, oh that broke Michael B.
Jordan like that was his first the one.
Speaker 3 (01:37):
Yeah, I don't think oh yeah, okay, cool cool.
Speaker 2 (01:41):
There's actually glean news this week. On January thirty, first
season three episode eleven, Michael had just aired, and on
February seventh, season three episode twelve, The Spanish Teacher would air.
Speaker 1 (01:54):
Special special Okay, fun fact.
Speaker 3 (01:58):
I did.
Speaker 1 (01:59):
I think I knew this, but I forgot. Maybe Michael Mayer,
my friend Michael Meyer. He directed Spring Awakening and Funny
Girl and Chess he directed this pilot.
Speaker 2 (02:12):
Yeah, I did not know that.
Speaker 1 (02:15):
I think I knew, but I forgot.
Speaker 3 (02:18):
I was like, wait a second, I was like, who
directed this?
Speaker 2 (02:20):
Michael? Team is shared on front of in front of camera,
and behind camera. This is like a who's who of
the theater world. They really like went local in a
good way.
Speaker 3 (02:31):
You kind of have to write, yeah.
Speaker 2 (02:34):
Uh.
Speaker 1 (02:34):
Series creator Teresa reebec uh. Just a few people that
produced this. Steven Spielberg that name puffed up on my
screen and I was like, excuse me, yeah, excuse me,
Craig saidan Neil morn Uh, Teresa Rebec, Darryl Frank, Justin Falvey,
(02:58):
Mark Stamon, Scott Whitman.
Speaker 2 (03:00):
What Yeah, it's pretty it's pretty nuts. The original music
was originally written by Tony and Grammy winning duo Mark
Shaman and Scott Whitman.
Speaker 3 (03:09):
No big deal coming.
Speaker 1 (03:10):
Up the heels of Hairspray Uh. Choreography by Joshua Bergassi
or Bergas. I never know how to say his last name,
but he's a famous choreographer in New York for.
Speaker 2 (03:20):
Gas and this cast was just stacked. Weff, do you
have Angelica Houston in your TV show?
Speaker 3 (03:28):
Well, you you don't because she's never n.
Speaker 1 (03:32):
Like what But when you have Steven Spielberg calling, you
say yes.
Speaker 2 (03:37):
Yeah, And there's there's a speaking of Jelica Houston. I
feel like throughout the show there's so much reference to
her dad, John Houston, the very famous director, I mean
Deva Messing and Brian Darcy. James's last name in the
show was Houston spelled differently. They referenced Marilyn Monroe movie
(04:00):
that her dad, John Houston directed in the second episode.
So like there's just a lot going, Like, you know,
if we're gonna put in Jelica in it, let's pay
our respects.
Speaker 3 (04:10):
Yeah, yeah, no, we have to. We have to.
Speaker 1 (04:15):
Christian Barrel, Broadway legend, Katherin McPhee, Megan Hilty what yeah.
Speaker 3 (04:23):
Absolutely nuts. So where should we start? So let's talk
about what the show is about.
Speaker 2 (04:29):
The show is about a talented newcomer, Karen Catt right,
Katherin mick Vee. She's up for a roll of a
lifetime and a new Broadway musical based on the iconic
life of Marilyn Monroe. The only thing standing in her
way is Ivy Lenn Megan Hilty, icon a seasoned theater
veteran true who is determined to land the part herself
(04:50):
and will stop at nothing to realize her own dreams
of fame.
Speaker 1 (04:54):
I think like having some space from theater and from
Lee at this point, rewatching this, I had knew a
new fresh pair of eyes because I think I watched
this just because like either I was hate watching it
or I was watching it to be like, what's our competition,
et cetera.
Speaker 3 (05:09):
During that time. If I watched it at all we did.
We watched it together. You made me.
Speaker 2 (05:16):
We lived together, and you said, I think I'm gonna
watch Smash and I did.
Speaker 3 (05:23):
I did.
Speaker 1 (05:23):
I watched some I watched, and we did. We sat
down and watched this. Okay, so I don't remember that,
but I do remember flashes of watching this. I think,
I'm not gonna lie. I wanted to watch what was next.
Speaker 3 (05:41):
I did watch what was next?
Speaker 1 (05:43):
Well, if David wasn't in the room, I probably would have,
but I had. We had to switch, but I had
to watch what was next. I'm gonna tell you, I
really enjoyed this pilot. I really enjoyed this pilot. And
I don't know if it was like just like the
right kind of writing where it was like what's gonna happen,
(06:05):
what's gonna happen, what's gonna happen. I kind of have
to watch it. I kind of got a seat. The
music was enjoyable to me. I liked most of the performances,
the voices to me, like, right now I'm in a
in a Broadway musical listening album phase right now with
my life. Sometimes I'm like, can't listen to this at all.
(06:26):
Right now, I am listening to like all the soundtracks
and the recordings, so I feel like listening to these
women's voices, watching these performances, I was like, I'm in
this world right now. I'm in it, I'm feeling it,
I'm enjoying it. And I think there were some things
that were a little too cliche and a little too forced,
(06:50):
and some of these actors were like in different versions
of the show, but overall I needed to watch. I'm
gonna watch it today. I have to know what happens.
I think I remember, like, we've got to get both
girls in the show. So one's gonna play the understudy,
one's gonna play Marylyn. We know this, but I just
don't remember which is which.
Speaker 3 (07:13):
Oh really, it.
Speaker 1 (07:14):
Does not happen like that, Okay anyway, okay, okay, so
it doesn't talk.
Speaker 3 (07:18):
I definitely have to watch today.
Speaker 1 (07:19):
But I'm just saying, like I really the songs were good,
Like I enjoyed listening to the songs, even though like
I'm not a person who's like very attached to original music.
I like going in knowing what I'm listening to. And
I was very impressed by how much I liked listening
to this music and listening to these women saying their
(07:41):
voices are just unbelievable. So like, I think that's part
of it. But I do feel like this is with
some time jumps and things and you know, some discrepancies
on how actually things work, like we're not putting things
on YouTube and writing a song overnight.
Speaker 3 (07:58):
But like I overall was like, Okay, I believe this world.
Speaker 1 (08:03):
They're in the forty two second forty second street stage,
virsual spaces like they felt familiar to me, and there
was something about it.
Speaker 3 (08:12):
It was very comforting. I love how excited you are.
I didn't think I was gonna like it as much
as I did.
Speaker 2 (08:22):
No, I didn't either. I don't think it's like I
don't necessarily think it's like a great episode of television, totally, totally.
I also really enjoyed it. Yeah, and I think the
thing that makes.
Speaker 3 (08:40):
Me want to continue to watch it, and it made
me like it.
Speaker 2 (08:43):
Was watching the creation of this thing with two really
talented people who it makes a lot of sense for
them to be up for this role.
Speaker 3 (08:55):
Do you know what it like?
Speaker 2 (08:58):
I think what the show does really well obviously, Yeah,
they like the musical never happens this quickly, like there's
a lot of things that make no sense. Yes, there's
a lot of extra storylines I just don't care about totally,
but totally, what they do really, really well is make
us believe or make us buy into like we don't
(09:20):
know who you're going to choose, because I can see
both of them playing this part. Yes, and this musical
is really can good, like the original music is excellent.
And I also think one of the weakest points of
this is when they don't do original music. I think
they do a bad job at choosing covers totally, like
(09:40):
Katherine McPhee going in there to sing some weird arrangement
of beautiful Oh yeah no yeah yeah, like no, no, no, no.
I don't buy it. I don't I don't buy it
at all. But when you see both of them sing
these original.
Speaker 3 (09:53):
Songs, oh are you kidding?
Speaker 2 (09:56):
Unbelievable, and I like I like the I.
Speaker 3 (10:01):
Like seeing yeah yeah, like what is happening? I want
to know what happens. I don't really remember what happens
at all.
Speaker 2 (10:07):
Right, but what I do remember for people talking about
it is that like Maryland, the musical is actually like
really good and the original music is really good. I
don't think like yeah, again, I don't think like on
a technical level it's done.
Speaker 3 (10:22):
No particularly not groundbreaking in anyway, but no, but all the.
Speaker 2 (10:26):
Stuff that has to do directly with musical theater, like
all the performance numbers, the rehearsals are really good because
you have all of the real dancers, the audition scenes,
like all those are so so good.
Speaker 1 (10:38):
Yeah, I also enjoyed. I appreciate like two women at
the helm, right, like I always appreciate that they're so talented.
There's enough conflict to keep me watching, right, Like they've
built that world enough that we know what they want separately,
we know what they want together, and that to me
(10:58):
is enough.
Speaker 3 (10:59):
Like, Okay, I'm I'm invested.
Speaker 1 (11:03):
I don't know that I'm fully invested, but I'm invested
for this forty minutes.
Speaker 2 (11:07):
Yeah, I'm saying this to Awesome. I'm like, I kind
of like it. He's like, see, I'm teaching you well
because you can sort of see through the crap to
see what's good about it.
Speaker 3 (11:15):
Yes, yes, that's right, that's right.
Speaker 2 (11:17):
Yeah, Yeah, I fully like, yeah, you know I want.
Speaker 3 (11:21):
To Yeah, I mean I just want to know because.
Speaker 2 (11:25):
Okay, the crazy thing is so the idea is in
the first place came from Steven Spielberg, who purchased the
book titled Smash about making Funny Girl and kept only
the title and then was developing this at showtime where
each season would be the development of a musical reliant
which makes so much sense because I mean that's also like,
(11:47):
that's the part I like.
Speaker 1 (11:49):
This, and the Broadway music would then be actually be
produced on Broadway.
Speaker 2 (11:53):
Yeah, there's a brilliant model if it worked, but they
could still do that well.
Speaker 3 (11:58):
They did Smash on Broadway and that didn't work.
Speaker 2 (12:00):
So well, because I think that's that's it was.
Speaker 1 (12:02):
The story of the story, right, It's not it's not
the actual musical. I see what you're saying. Yes, I agree,
that's actually where.
Speaker 2 (12:08):
And like it was Spielberg's idea. It was adamant about
the show having original music, and so they got incredible songwriters.
I think that's why the music is so good, like
it just fits. And I also think the casting was
quite brilliant because I remember thinking at the time, like
Katherine McPhee, like she's from American idol, like can she yes,
(12:33):
she can? And her and Megan Hialthy are so different
and they're both so good.
Speaker 1 (12:39):
I really liked Gathering mcfee's performance in this. I really
she really bought me into this whole thing.
Speaker 3 (12:44):
I thought she's I thought she was very very good,
very good, and her voice is stupid And.
Speaker 2 (12:52):
The only time I didn't buy her is doing some
of these covers. And I don't think that's her fault.
Speaker 3 (12:58):
It took me out. It took me out, beautiful took
me out.
Speaker 2 (13:03):
It felt like that was probably the thing to help
get it sold at the time, because Glee was doing
it and like it's working, and so there.
Speaker 3 (13:09):
Was the other problem that I had.
Speaker 1 (13:10):
And look, it worked on Glee, So I'm not I'm
acknowledging the truth that is Glee and I'm not biased.
But in the audition room, yes, it's a dream sequence, right,
the lighting was different, all of it goes different. But
when you come back to the audition room and you
come back to that table of people hurt, the instrumental
(13:32):
is still a band, it's a full band, and the
transition just didn't work for me. I was like, we
are not again in that world like it is, you know,
like it shorted out as a dream and it ended
in this dream, But visually.
Speaker 3 (13:48):
That was not what it was.
Speaker 2 (13:50):
And I also think they it would have been helped.
I mean, look, I understand the practical nature of it
not being probably feasible, but you have two women, like
with Wicked, that can really sing. Their face is off, yes,
and there's a couple of times like maybe one each
where they sing I think they sing.
Speaker 1 (14:10):
Live probably yeah, And it didn't and it's so good
and I loved it, and it was like I want
more of that from them for this type of show.
Speaker 3 (14:20):
Yes, like let me be your star produce it.
Speaker 1 (14:23):
You know, there's a montage, there's it's big, it's the
stakes are high. But like beautiful and like, I see
what you're saying about trying to sell the show, Like yes,
I get that, but like beautiful, let her sing. She
can sing, hive and probably just as good. She's almost
been perfect. Like it's it's really good. So that was
my qualm with that. This series aired and premiered with
(14:59):
an exorbitant amount of views.
Speaker 2 (15:01):
So it had eleven and a half million viewers on
the initial broadcast after the the day after the Super Bowl.
Speaker 1 (15:09):
That's a lot.
Speaker 3 (15:10):
That's a lot. That's a lot.
Speaker 1 (15:13):
I'm just saying that's I don't think that's wildly normal.
But yes, they were promoting the crab out of it
during the Super Bowl. So, like it had a big.
Speaker 2 (15:21):
It was highest NBC drama series premiere in four years.
Speaker 1 (15:25):
I'm saying it was huge. It received widespread critical acclaim
and everybody praised the cast and the musical numbers and
the ambition of it. And it was different than Lee,
I think at that time, like it was more about
the making of versus this Glee club, right, so like
it didn't feel.
Speaker 3 (15:43):
It was very different and it was close to us.
It was just too close to us at the time.
Speaker 2 (15:48):
And I think people if people weren't watching these things
live at the time, musicals did not work, and so
it was weird to all of a sudden then have
another musical because like Glee was working, which was defying
all odds. They're like, oh, now there's another musical and
they're trying it. But like this should have worked. This
(16:09):
should have gone on for a lot longer. I mean,
I haven't seen the rest of it yet, but like
in theory, this deserves too, I think.
Speaker 3 (16:19):
Yes.
Speaker 2 (16:20):
I mean, so Austin was sort of like filling me
in because he watched it and he was filling me
on that sort of some of the storylines that happened
later on, and it does feel like a little soapy.
Speaker 1 (16:30):
Well, here's the interesting part about that. It was made
for Showtime, right, Like they were doing this for Showtime
to start, and then they made a shift to NBC.
And when they did, they had to push it away
from cable style, right, And approximately twenty minutes were cut
from the pilot and the language and explicitness were significantly
(16:52):
toned down to.
Speaker 3 (16:54):
Meet broadcast banners on NBC.
Speaker 1 (16:57):
I think there was a shift there that had to
be made that then made it a little bit more popcorn,
you know, like and the less kind of gritty, which
went along with some of the coloring of the show.
Speaker 2 (17:15):
So as soon as you get to the next episode
is just darker and it looks better.
Speaker 1 (17:21):
Okay, because I was a little off with the color
of the show and and I saw the shift somewhat,
but like I just I don't know, there's something off.
Speaker 2 (17:30):
It's all of a sudden, like you can see like, oh,
the pilot got picked up. Now we're making this and
it's a completely it looks very different. I do think,
you know, for us personally, we were not giving it
a fair shot. I think it is such a different story.
And I also wonder if, like the is there a
(17:51):
broad enough appeal about what happens in the theater world
like on Broadway. I would hope so, because good story
is good story and like.
Speaker 3 (18:00):
A more commercial audience, like a big but you know,
if it has this big premiere and then gets canceled
after two seasons.
Speaker 1 (18:10):
Well, there's also some shift that happened within the creative team.
So Joshua Saffron took over as a showrunner for the
second season, and I think there was internal struggle creatively
that didn't help the story and didn't help all of that.
So I do think that when you have those kind
(18:32):
of internal struggles that we were in Privy too, But
that's definitely going to take a toll, especially in so
early and it's seasons, like to have that struggle, I
think it's definitely going to have a moment.
Speaker 2 (18:47):
I mean, I feel like, especially for a musical like
you have to have. I mean, we were so lucky
that Ryan Bred.
Speaker 3 (18:53):
And Ian Yes, we're so.
Speaker 2 (18:55):
Solely controlled the first two seasons, like the first.
Speaker 1 (18:58):
I had a lot of at Fox at that point
thanks to you know, Dana and Garrett and all those
people who were at the Helm that allowed him to
do the things that we did because because of that,
like I remember, you're like, oh my god, we did
that on broadcast television, Like a lot of people weren't
didn't have that kind of liberty, you know.
Speaker 2 (19:19):
I also wonder you know, look, I think musicals are
hard to sell, and I'm wondering if Smash was more
adult and the demographic that would sit together to watch
Smash is and like feel okay about it. Yeah, it's
probably very different than watching a satirical, like a satire
(19:40):
about these like dysfunctional kids. Yes, yes, or you can
get away with singing this music and it's like fun
and bright and then like I also think that's where
Smash succeeded in positioning itself as something different than Glee,
is that it was adult and it was real life,
and it was like putting you in those situations that
for us, like audition rooms and things that felt real.
Speaker 1 (20:03):
Right.
Speaker 3 (20:04):
But like again, I'm I mean, I guess we're not
here to talk about.
Speaker 1 (20:08):
The audience was, But I do think there's also a
part of it that, like I keep coming back to
the showtime of it all, like those scenes where you
have like Catherine being called to the director's layer, you know,
at night, and she she like shows up and also close.
(20:29):
But like if this was Showtime, would we have seen
something different?
Speaker 3 (20:35):
Yeah?
Speaker 2 (20:36):
And also there was a shot in that where I
was like, I like how this looks and I like
how this feels.
Speaker 3 (20:41):
Yes, that felts very different yes than than some of
the other pieces. Yes, and it's like this is what
I want from all of it. Yes.
Speaker 1 (20:50):
And and had it been on Showtime, and I think
that's the show we would have gotten.
Speaker 2 (20:53):
Catherine was excellent. Oh no, she was thinking about that
scene too where she's like being sexy, Yes, and like
the good she's really good.
Speaker 1 (21:03):
When they were coming out of the subway during Let
Me Be Your Star, did you think of Naya?
Speaker 3 (21:08):
Yeah?
Speaker 2 (21:08):
Fully well I was also like, oh it looks beautiful.
Speaker 3 (21:12):
I was like there the budget for this pilot.
Speaker 2 (21:15):
Oh, I think was like the same as the Glee pilot,
and I feel I'm like, okay, you're like this budget's
going to this.
Speaker 3 (21:22):
You also have to get people to write original songs here.
Speaker 1 (21:24):
Do you get a team, a very established team of
writers to write this so you know, like you know
this or that we're licensing, don't stop believing or like
you're getting you you have to create people. They go
whole musical.
Speaker 2 (21:39):
Yeah, that's the musicals are expensive. They're really expensive to produce.
Speaker 1 (21:44):
Can we talk about National Pastime though? With like twenty
of the best male dancers in New York and.
Speaker 2 (21:50):
I just get yelling out names of people.
Speaker 1 (21:52):
I was seeing Alex and like a friend Spencer.
Speaker 3 (21:56):
It was so good, but I was like, I'm we
ever there.
Speaker 2 (22:00):
Yeah, that's what I loved about it. I was like,
when they are doing this stuff, it is excellent.
Speaker 1 (22:07):
Yeah, yeah, yeah, yes, I was like this.
Speaker 2 (22:10):
Is really good. And I like seeing like the like
the the little flashes of like what it might be
on stage or it's like, oh, this is just an
idea still. So it's like, oh, we're seeing these like
baseball uniforms, like bedazzled and she's in a red dress
(22:31):
and it feels fun, but it's the set, the stage
is still pretty bare because like we're still developing this.
I have questions about, like technically speaking, because I have
not done as much theater unditioning as you have the
process that happens in this pilot. How accurate is this
(22:52):
like a callback second callback? Like always one on ones
with these people, Like what is.
Speaker 3 (22:58):
What the directors want?
Speaker 1 (23:00):
On one? Was weird?
Speaker 3 (23:00):
But that doesn't happen.
Speaker 1 (23:02):
But yeah, no, normally, like there's an audition and then
there is a callback, and I was like, oh, they're
not going to pick these girls from this callback because
there's always a final callback. They always call it a
final callback. I mean at least in my experience. And so.
Speaker 3 (23:23):
Whether it's one of you or three of you.
Speaker 1 (23:24):
Or five of you, like there's always a third one.
Speaker 3 (23:29):
Oh no, not for a workshop.
Speaker 2 (23:31):
Because that's what this is for, isn't it now?
Speaker 3 (23:33):
I don't know about that.
Speaker 2 (23:36):
I was just assuming it was for a workshop.
Speaker 1 (23:39):
That's a that's the discrepancy too, of like how did
they get to be auditioning these people already when the
thought was a week ago?
Speaker 3 (23:48):
Like who wrote it?
Speaker 2 (23:49):
Yeah? Is it? Is it written already?
Speaker 1 (23:51):
Yeah? Yeah? Yeah?
Speaker 2 (23:52):
And also showing up in full Maryland glam like Emilie Ashford.
Speaker 1 (23:55):
Well, I will say that is not far from the truth. Really,
you will get people who actually do and it's a
big no no. But like people do it, or people
show up and things like it, or you know, like
it's pretty crazy what I've seen. Also Annihtley Ashford and
that doing a small bit is my favorite, a little cameo.
(24:17):
She is my hero. I love her and she's so
wildly talented. To see her dressed up in Maryland garb
and doing that was just a joy.
Speaker 2 (24:30):
There's a lot of Tony's going on in this show.
Speaker 1 (24:33):
But it's not it's not far from it, especially at
the callback too, of like that's why they said, like
you're the only one who didn't show up in Maryland,
Like that's actually I believe that whether it's an ode
to or a full Diamonds a Girl's best Friend costume
different Like you know, Megan Hilty showed up with the
(24:54):
hair and the dress that looks like Marylyn, but not
a full Marylyn outfit. So anyway, but yeah, that's the
that is the process and it is very similar in
that way. And then also like she didn't have to dance,
but Catherine mcfew does because they know who Ivy is
and she's not Broadway already, so does that happen? Yeah,
(25:15):
I mean like for Glee, I didn't have to sing
on my first audition. What I just sent in a
tape stuttering for my first audition.
Speaker 2 (25:30):
I didn't know that.
Speaker 1 (25:32):
None of the Spring Awakening cats had to sing for
their first session.
Speaker 3 (25:36):
Oh man, I'm sure I gotten pass.
Speaker 2 (25:42):
I mean, that makes sense, but I had no idea.
Speaker 1 (25:48):
That's why the first time I sang was for Ryan
and Ian and Brad and Dante in at Jim Carnahand's office,
like months after the tape, and it was my first
time singing.
Speaker 3 (26:00):
I'm like, what am I going to sing?
Speaker 2 (26:02):
Wild?
Speaker 3 (26:05):
Yeah?
Speaker 2 (26:07):
Interesting?
Speaker 1 (26:10):
Yeah, I mean, like of course when Ryan's there were singing, but.
Speaker 3 (26:16):
You didn't know that. No, Wow, it doesn't happen often.
That's probably the only time.
Speaker 2 (26:23):
I mean, but watching the show also, just watching people
have to audition really stress. It is one of the
worst things.
Speaker 1 (26:35):
And everybody in the room, you know, when you're sitting
there and in the tiny hallway where you can tear
everybody's saying, it's just the one.
Speaker 2 (26:43):
I think theater auditions are like an extra particular brand
of horrible.
Speaker 1 (26:49):
I have like ones that run in my head that
were just so bad.
Speaker 3 (26:54):
That I just they keep me.
Speaker 1 (26:55):
Up at night.
Speaker 2 (26:56):
Did I ever tell you I have enhance an audition?
Maybe you did, but I forgot it was when Ben
was leaving. Jackie Burns convinced me to go audition and
(27:16):
I was like, you guys, I don't have the range,
and you're all like, yes, you do, you can do it.
I was like, no, I can't. I went in. I
did waving through a window. I got to the last
note and my voice cracked so hard and everyone looked
like I killed the puppy. There were a lot of
(27:38):
people in that room.
Speaker 3 (27:39):
I'm telling you that was not the first time they
heard Sony crack on that note.
Speaker 2 (27:42):
No, but they look so serious and they're like, should
we do it again? And lowered half a step and
I said, it's not gonna matter, but sure, and then
I did it again. Voice cracked again, like let's do
the scene. I'm like, okay, scene fine, it was this
big monologue, Fine, no problem. Yeah, and then I turn
(28:08):
and run to the door and I said, I'm so
sorry you had to witness.
Speaker 3 (28:11):
That, and ran out of the room.
Speaker 1 (28:13):
I've done that.
Speaker 2 (28:14):
I didn't wait for them to say anything.
Speaker 3 (28:16):
I've apologized on the way I left. So that's how
I feel about auditioning for theater.
Speaker 1 (28:21):
Yeah, no, no, I've had similar experiences. I remember auditioning
for the Jimmy Buffett Musical. It was like nine am
and I think you were with me, were in LA
and I had sang. I had to sing a Jimmy
Buffetts song. I don't know, I sang, Finns. I had
never been so nervous, because I don't when I don't
know a song and I don't know what I'm doing,
(28:41):
I'm nervous if I know, if I know the song,
I'm usually not as nervous, like for a time, I'm nervous.
But it was truly treacherous.
Speaker 4 (28:50):
I mean, Finns, it was so bad.
Speaker 1 (29:01):
And at this point, you know all these cast characters,
they're your friends, and you're like, do I have to
do this for you? Do you really want to see
me do this? Are you sure that you want to
see me do this? That's exactly why you're there. They
don't know if you.
Speaker 3 (29:15):
Can, and you're just proving them right.
Speaker 1 (29:19):
They're like, I don't know, we should probably foller it.
Speaker 3 (29:22):
See uh.
Speaker 1 (29:24):
Tommy Caley auditioned for a play and I like, don't
not too her plays and I don't take the time
to work on monologues and I don't. I was not prepared,
and I just I didn't.
Speaker 3 (29:34):
I apologized.
Speaker 1 (29:35):
I was like, thank you so much and I'm really
sorry about this and walked out. That was it. That
was my last audition. Okay, So it would you keep
watching based just on the pilot or do you want
to just like go through the next episode and fast
(29:56):
forward to see what happens?
Speaker 2 (29:58):
No, I mean I did keep watching. Immediately played the
second episode. I feel like, in a way, this show
it's like Nashville.
Speaker 1 (30:08):
Okay, That's what I was going to ask you, because
you were like to watch it.
Speaker 2 (30:12):
Yeah, because I think though the soapy nature of the
drama was more compelling and the Nashville pilot for me,
I think both pilots were a bit clunky. Yes, agreed, Yeah,
but I thought Nashville, I.
Speaker 1 (30:31):
Think visually also, Nashville was shot a little bit better
and the and the color was right, like color correction
was right, and like it was brighter, and it felt
a little more glamorous that I was, like visually a
little bit more stimulated than I was watching this like
very muted show that was supposed to be about.
Speaker 3 (30:50):
Like a big I think it's darker in color, which
I kind of liked, but I think it's richer color.
It's darker, but it's a difference.
Speaker 1 (30:59):
It's like like Stepia toned. Yeah. Yeah, yeah, yeah, Like
I'm like confused by it. Yeah, I was confused by it.
So that took me a while and I never got
over it.
Speaker 2 (31:10):
But I think I have a harder time getting buying
into some of like the extra stuff in the show.
Speaker 1 (31:16):
Like I just like the like the family and like
all that stuff happening and the Yeah yeah I get that.
Speaker 3 (31:25):
I get that, uh, because.
Speaker 2 (31:28):
It's not a lot of drama, where like Nashville was
really laying and I'm.
Speaker 3 (31:33):
Thick with all of these like secrets.
Speaker 2 (31:37):
Yeah, but they knew what they were doing, like they
that was the show they were making. Yeah, like I smashed.
I know for sure what they know what they're doing.
When it comes to the musical yeah yeah, But the
other I'm like, I don't know. It feels like in between.
Speaker 1 (31:54):
Yeah, I see what you're saying, like a little soapy
but not drama enough, but like not like at least
like Nashville. You're leaning into the country drama of like
this could this could live on CMT and work really
well and.
Speaker 3 (32:08):
Like be fine and be the same show.
Speaker 2 (32:11):
Yes, But that being said, I want to give it
a chance, and.
Speaker 3 (32:15):
I want to I will definitely I want.
Speaker 2 (32:18):
To keep watching. And I also now I have to
do some research into what this smash musical on Broadway was.
Speaker 3 (32:25):
I'm so sad it didn't make it.
Speaker 1 (32:26):
There were a lot of people we knew and that
we're in it, and I'm I'm sad when shows don't
make it.
Speaker 3 (32:31):
I get it.
Speaker 1 (32:31):
It's hard and I don't know what went wrong. I
didn't see it. I don't I have no intel on it,
but I'm you know, you never hope for a show
to go down, but so quickly.
Speaker 2 (32:43):
No, it's hundreds of jobs for people.
Speaker 3 (32:46):
I will say, there's something the element.
Speaker 1 (32:49):
I know this is like kind of meta, but like
watching a Broadway musical about creating a Broadway musical on
stage isn't as exciting as watching a film or TV
show about creating a Broadway musical.
Speaker 2 (33:04):
Yeah, I can see that. I also kind of just
want to see the Maryland.
Speaker 1 (33:07):
Musical right exactly, not the making of this musical on Broadway.
Speaker 3 (33:11):
When we're watching Somebody on Broadway, right, it was a
little I don't I actually don't know. I don't know either.
I don't know. I'm not going to comment too much
of it. That was my opinion it.
Speaker 2 (33:22):
Because I, like I said, I liked watching the process
of it being made. But again, I know a lot.
Speaker 1 (33:31):
I think part of it is, like I like watching
the locations of actually where people audition in New York,
where people actually rehearse in New York, where they're walking
through the actual New York City streets. There's some element
of that reality versus being it being created in a theater, right, Yeah,
(33:53):
that I appreciated, Like you felt you were actually watching
them create versus like I don't know. That's just my
take on it. Yeah, let's talk about some of these performances. Okay,
So somewhere over the Rainbow solid start for her to
sing at all? Song choice?
Speaker 3 (34:13):
Eh, yeah, I may yeah.
Speaker 2 (34:21):
But Katherin mcpee had a great Somewhere over the Rainbow
from American Idol, and I think it was probably Oh.
Speaker 1 (34:28):
I didn't know that, okay, yeah, yeah, yeah, yeah, okay, great,
so they I'll give it an a. I didn't know that.
Speaker 2 (34:36):
Well, no, but you're basing it off of you, don't
you know that?
Speaker 1 (34:39):
Though?
Speaker 2 (34:39):
Right you're watching the pilot.
Speaker 3 (34:41):
Yeah, I'm like, why are you somewhere on the Rainbow.
Speaker 2 (34:44):
Yeah, that's yeah.
Speaker 3 (34:47):
Never give it all, never give all the heart, never.
Speaker 2 (34:49):
Give all the heart.
Speaker 3 (34:50):
I she sounded so good. She sounded so good.
Speaker 2 (34:54):
She's so good.
Speaker 3 (34:55):
And the voice and the chatting and the she's excellent.
It's just really so excellent.
Speaker 1 (35:01):
I give it an A yeah, A plus. National Past
Time A plus A plus. I don't want to be
loved by you. I mean we're talking about the actual Maryland.
Speaker 2 (35:13):
Yeah, hey, hey, all these original songs excellent.
Speaker 3 (35:19):
Beautiful B minus.
Speaker 1 (35:23):
I'll go be happy. Birthday is President A Yeah? I
thought the scene yeah A let Me be Your Star
plus A plus. Yeah, I love that number. I don't
think I like that number when it came out, but
I was listening to that last night when I was watching,
and I was like, oh, this is good.
Speaker 3 (35:39):
It's excellent. It's really good.
Speaker 2 (35:42):
They were the Other thing of why I think this
works so well is because these are so often when
songs are written for a TV show or a movie
about making music or a musical or something.
Speaker 3 (35:55):
Like that, they're just bad.
Speaker 2 (35:57):
Yeah, because people are writing what they think it's supposed
to be, as opposed to they hired real musical writers
who are writing songs for a fake musical, albeit but
like writing.
Speaker 3 (36:10):
The musical, like, yeah, L show is the musical.
Speaker 2 (36:12):
And it's excellent. No, I know, excellent. I remember talking
to you about this when we watched it. Of how
is a show like this sustained? Like where does it go?
Speaker 3 (36:33):
Like the TV show?
Speaker 2 (36:34):
Yeah, And I'm wondering if, like, because I still feel
like that watching it. I'm enjoying watching it right now,
but like, at some point the show either has to
happen or not happen then what.
Speaker 3 (36:52):
Right?
Speaker 2 (36:53):
And I feel like that impacts me wanting to watch.
Speaker 3 (36:57):
It or not.
Speaker 1 (36:58):
M I see, Well, I can't tell you because I
don't know. But if they could prolong the each season
by like the show rehearsals into like opening night, Yeah, but.
Speaker 2 (37:12):
Towards the same show for this long.
Speaker 1 (37:15):
Yeah, but there's gotta be a lot of drama. I mean, look,
we're talking about a twenty two season episode season. That's
a lot different than a ten episode season. Yeah, you're right,
you're right, because if you know, obviously there's a lot
of filler in twenty two. But I see it like, oh,
one gets cast, one doesn't, or it does, one gets hurt,
We go through there's some stuff happening on the other storylines,
(37:36):
like other episodes, maybe a past episode where we like
look at where they came from and like, you know,
things like that.
Speaker 3 (37:43):
So but I see what you're saying, and I have
no real answer for you. Do you think a smash reboot?
Speaker 1 (37:51):
No?
Speaker 2 (37:53):
No, but like a whole new show, all new people.
Speaker 1 (37:55):
There's only so much different difference that you can make.
Like we're making a musical, like I don't want to see.
Speaker 3 (38:02):
It again, like a chorus line.
Speaker 1 (38:07):
Of like the cast of people, like starving actors, like
like aspiring actors trying.
Speaker 2 (38:11):
To get it.
Speaker 1 (38:13):
It's a different show.
Speaker 2 (38:15):
It's a different show.
Speaker 3 (38:16):
Yeah, it's not a musical.
Speaker 1 (38:18):
Yeah, but that's an interesting show. Okay, let's do some
tarty takes.
Speaker 3 (38:24):
Okay, cringe moments.
Speaker 2 (38:26):
Oh, there were several.
Speaker 1 (38:28):
Well, the whole like thing about Karen's weight and her
parents and the things and the and then like I
don't know, I just didn't know, and then the director
inviting her over. It's like when she said I wish
I was fat, I was like, oh, yeah, no, no.
Speaker 2 (38:46):
But you know what, it makes me feel better because
we were on at the same time. It's like, ah,
this is where we were yes, we were end this
together doing things that we shouldn't have to chingey.
Speaker 1 (39:03):
And that's why we have cringe moments.
Speaker 2 (39:05):
Yeah.
Speaker 1 (39:06):
Best dance move the National pastime.
Speaker 2 (39:08):
I mean oh yeah that people were dancing hard.
Speaker 3 (39:13):
Like cast of the Newsies, best best song.
Speaker 1 (39:17):
Let Me Be Your Star, your best performance by a
prop Oh, Ellie Ashford's costume.
Speaker 2 (39:27):
All the fake jewels. Honestly, the Katherine McPhee's headshot really
made me feel like type away.
Speaker 1 (39:35):
Yeah, yeah, yeah, yeah yeah. Best line game Man pissed
me off. That's an unfortunate position to take in the
American theater. Love that one.
Speaker 2 (39:46):
When he first said that, I was like the and
then her line was like, okay.
Speaker 1 (39:49):
It's great Christ and channel I discovered her this isn't
her part. Yeah.
Speaker 2 (39:54):
I liked that one a lot. Okay performance and VP,
I mean the ladies late McPhee and Hilty so good.
You just you can't go wrong.
Speaker 3 (40:06):
No, their their voices just and.
Speaker 2 (40:11):
Again, I truly believe that either one of them can
play the part.
Speaker 1 (40:17):
That's the thing. That's why I think I'm so invested,
because I'm like, which way are they going to go?
Speaker 3 (40:22):
You go your way?
Speaker 2 (40:24):
Yeah, and you know what, Sorry, I know we're past this,
but when she's singing beautiful and they're all having this
like we've discovered something, that performance is not going.
Speaker 1 (40:34):
To evoke that on that table, agree, I think it
was just more of the reaction to like finding somebody
like we needed.
Speaker 2 (40:42):
Yeah, if they had a better song there, I would
have been more yes, because she was doing what she could.
Speaker 1 (40:48):
But yeah, no, no, she did great.
Speaker 2 (40:50):
Okay, Jenna. Shit we found on TikTok And this happened
to me in real life a couple of weeks ago.
This is love Aaron Lounderscore Aaron on TikTok. She's me
at any function ever and holding up a phone saying
play the Glee version. Literally I looked over and someone
was saying.
Speaker 3 (41:08):
That to the DJ.
Speaker 2 (41:10):
Yeah, I don't even remember. I was in Okay, how
was that McDonald's the other day and there was like
a cover. They were playing a cover of a Chapel
Rowing song, and these like people were next to me
and they're like, this sounds like if Glee did this song.
Speaker 3 (41:29):
Oh cover, No it was not a good cover.
Speaker 2 (41:36):
But I was like, oh damn, oh no, they weren't wrong,
you know, like it was I get that so next
week your assignment You've asked by popular demand, pitch perfect.
Speaker 3 (41:54):
I'm so excited. Oh you're really excited.
Speaker 2 (42:00):
We hear you. We're listening.
Speaker 3 (42:02):
We must, we must, we must do what they want.
Speaker 1 (42:06):
All right, Well, next week we'll see you for pitch Perfect.
Speaker 3 (42:09):
Hope you guys enjoyed Smash Smash.
Speaker 2 (42:11):
I'm going to keep watching TV, watching text me when
you watched the second episode, will do. Thanks for joining us,
and that's what you really miss Thanks for listening and
follow us on Instagram at and that's what you really
miss pod. Make sure to write us a review and
leave us five stars.
Speaker 3 (42:30):
See you next time.
Host
Jenna Ushkowitz
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