October 13, 2025 • 38 mins
When one of the most successful medical dramas of all time tried to pump up the adrenaline with a musical episode, it left some fans with an adverse reaction. Yes, Kevin and Jenna are dissecting the infamous Grey’s Anatomy Season 7 musical episode, “Song Beneath the Song.” They reveal what shocked them the most about the episode, what worked and didn’t for them, standout Sara Ramirez, and whether they think Grey’s should have done the episode at all! You’re going to want to hear this one stat! For fun, exclusive content, and behind-the-scenes clips, follow us on Instagram@andthatswhatyoureallymissedpod & TikTok @thatswhatyoureallymissed
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Episode Transcript
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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 and that's what you were in this podcast.
Oh my gosh, it is TV musical, but not a
TV musical. The one of the longest running shows ever,
is that right, Yeah, one of the most popular shows ever,
one of my favorite shows ever.
Speaker 3 (00:30):
Did a musical episode.
Speaker 1 (00:32):
Yeah, we are doing Greats and Anatomies today they did
a musical episode song Beneath the Song. This is season seven,
episode eighteen. I can't wait to get into this with you, Kevin,
because I have no idea, but I have so many
thoughts and so many things. So here we are a
(00:53):
TV show, a medical drama with maybe a few singers,
a lot of nonsens, not not something that normally would
be a musical. And it premiered on March thirty first,
twenty eleven, on ABC.
Speaker 2 (01:10):
Yeah. So in the news this week, the number one
song in the country was Born This Way by Lady Gaga.
Speaker 1 (01:19):
Wow.
Speaker 3 (01:20):
Oh that's a good one.
Speaker 2 (01:22):
That's a really good one.
Speaker 1 (01:23):
The movie was Limitless, starring Bradley Cooper, Ye de Niro.
Obviously I didn't see it.
Speaker 2 (01:30):
I didn't see this either, and Glee was on, and
Glee was on episode season two, episode sixteen. Original song
had just aired on March fifteenth. Wow, Yes, these are
like me. Trotty Mouth, Blackbird, Raizor Glass and the first
clean Kiss. What another huge.
Speaker 1 (01:47):
Also on March sixteenth, the cast and crew participated in
a panel discussion at the Pailey Fest. And we always
did these yearly. Lots of fans would come and we
would just gab and we would find out new information
from the creator. This was at the Savon Theater in
Beverly Hills. It was Matt, Jane, Corey, Chris Amber, Kevin
Shenn and I, Heather, Darren Bryan, Ian Brad and Dante
(02:08):
were all there. I remember that, I definitely remember that.
Speaker 3 (02:12):
But I remember Paleyfests by my outfit.
Speaker 2 (02:15):
Yes. Same.
Speaker 3 (02:16):
There's a lot of.
Speaker 1 (02:18):
Oral history of the song beneath the song, which I
did not know.
Speaker 3 (02:21):
So before we.
Speaker 1 (02:22):
Dig into the nitty gritty of our opinions and what
happens and all of this, Kevin, I just wanted to
share this with you.
Speaker 3 (02:32):
So in twenty twenty one, Shanta Land published.
Speaker 1 (02:34):
An oral history of the episode marking its ten year anniversary,
and the interview Shanda and lots of the writers and
ko show runners and cast members, And they did talk
about how Shanda first pitched this idea, convincing ABC to
say yes, cast members who were panicking over having to
(02:56):
sing writer so and what it was like filming those
bear very surreal emotional moments and sometimes goofy scenes. It
came from a two thousand and eight benefit concert Kevin
where during the writer's strike were cast members from Gray's
and Private Practice and all of the Shonda shows sang
on stage, and she realized that she had a lot
of Broadway level talent right in front of her. Obviously,
(03:17):
the hero of this episode and one of the most
loved characters on Grey's Anatomy Sata Ramirez, who's a Tony
Award winner. I saw them perform on the Tonys for.
Speaker 2 (03:27):
What was It?
Speaker 1 (03:28):
Monty Python?
Speaker 2 (03:29):
What a boys? Truly insane.
Speaker 1 (03:31):
Truly they carried this episode. They were the hero. So
at first they even considered writing all new music, Evin,
but they scrapped that idea and they leaned into Grey's classics.
Which did you watch Grays?
Speaker 2 (03:47):
Yeah? I think I watched the first three or four seasons.
Speaker 3 (03:51):
Okay, those were important ones.
Speaker 2 (03:53):
Those all these relationships, all those songs that were so
instrumental and making the show what it was like that
early music choices, the Fray especially, it was like Gray's
Anatomy scored by the Fray. Literally, it was a moment.
It was a huge deal to get your song on
Gray's Anatomy, like Chasing Cars and all that by Snow
(04:14):
like that was just huge.
Speaker 1 (04:16):
Mm hmmmm. Okay, so yes, all these songs She's in Cars,
how to Save a Life like all part of the
show's DNA. So Shanda convinced the network. They initially said no,
and they were like, can't you just see another love triangle?
And she was so mad. She was like, no, I'm
not doing a love triangle. Imagine asking Shanda, can you
(04:36):
just do another love triangle instead of a musical episode.
Speaker 2 (04:39):
Well, imagine your show being that successful already for that
long and the network being like, no, you're doing twenty
two episodes in a season, Like, yeah, give them one.
Speaker 1 (04:52):
So the cast put on a mini concert for all
of the executives at ABC. Kevin and Chandra and Sada
perform and Shannon narrated it, and Sandro even showed up
just to cheer them on. It was decided later that
Christina was not going to sing at all, which I
totally respect as an actor to being like, no, my
character wouldn't sing. But the network caved and they gave
(05:15):
the green light. And yeah, so this is very this
is very exciting and very inter racking for me to
watch this episode initially and then also yesterday.
Speaker 2 (05:28):
Yeah, because they knew this was coming, you know, like
for us, when we would get songs and everything, we
would record them in like thirty minutes. We hadn't necessarily
learned them before. For this episode, they rehearsed for months.
They took vocal lessons choreography on top of their long
shoot days that they're already filming. Yeah, and so like,
(05:50):
you know, this was a moment that was building and
the story was building to this, So it wasn't just
you know, done on a whim of Shonda Rhymes being like,
let's do it, and then they did it. Yeah, this
is methodical and done with the right intention.
Speaker 1 (06:08):
So they also had Debbie Allen in their corner, who
was a character on the show and also a beloved
director of Grays. So Debbie was cree for then.
Speaker 2 (06:19):
I mean really, yeah, it wasn't like they just did
a musical a couple of musical numbers. They did so
many songs.
Speaker 1 (06:27):
It really drove the episode, whether it should have or not.
I guess like if you're doing a musical episode like
in this format with this show, like you kind of
have to just lean into it, or like, why are
you doing it all at all?
Speaker 3 (06:41):
Is my feeling about it.
Speaker 1 (06:44):
I will say this is a fun fact that for Shonda,
it is firmly in her top ten episodes of favorite episodes.
Speaker 2 (06:52):
For Grays ever, Wow.
Speaker 1 (06:54):
Which they are on season what twenty at this point?
Speaker 2 (06:57):
I think more than that. I think you're on twenty
one or twenty two.
Speaker 3 (07:00):
I mean, it's a cult favorite.
Speaker 2 (07:04):
I understand that. And you know you warned me, you
said I would hate this episode. Yeah, I didn't hate it. Wow, Okay,
And I didn't hate it because I think I do
have that base, that foundation of knowing the show and
knowing the characters, and you still have so many of
the original characters on there, and they're so good. They're
(07:26):
chemistry with each other, their familiarity with each other is
so solid that you can fit in eight or nine
songs into an episode, and even if a number of
them aren't even singing that I just want to see them,
I just want to see them in relation to one another.
Speaker 1 (07:44):
Yeah. I also think the formula of the show is
it it's procedural right where there is a formula, and
within that formula, I mean, there's nobody who does this
better than Shanda. There's a It's excellent at its best
(08:04):
form because the characters are there, the context of storylines
and the drama and the relationships and the subject matters
are all just really at a premium level, like everybody
is just doing the best at what they do. And
(08:25):
so that's I mean, that's a part of why I
love Grace so much. Was it really it just the characters,
the feelings, you feel the reality of their dialogue. Now,
I know the medical stuff is always like controversial, you know,
they're like, oh god, that's not how you do that
or whatever. I don't really care. It doesn't matter to
(08:45):
me like that. That doesn't matter to me at all.
And in this context, like I don't care if they
don't have good voices. I don't care if the music
is not that good. It doesn't matter to me. It
is so it is important. This episode is important, and
I think that the formula still stayed the same with
the music, Like, despite some of the questionable songs that
(09:10):
they did, Like, I still think that the formula was there,
and the show was still there, and the characters show
and the story was still there, and what they were
fighting over would have happened in a dialogue or would
have happened with a song regardless, right, Like, regardless of
the music, if this wasn't a story, it could have existed. Right.
(09:30):
I have favorites, and I have ones that I didn't love,
But let's just talk about the songs for a second,
and then let's just talk about like a kind of
our feelings in more in depth. So it starts with
Chasing Cars by Snow Patrol, which is, like I think,
for me, one of the most quintessential songs that speaks
grace anatomy to me.
Speaker 2 (09:49):
Oh yeah, I did, and they I loved that they
did it. I love that this was the first song
they did. Yea, you also have like the best singers
doing this song, like starting it off strong, like this
is what we're doing. I also think the whole sort
of Zoe's extraordinary playlist meets crazy anatomy aspect of this
of having Callie like watching herself and like explaining what's
(10:16):
going on in her head through it was like such
a strong concept that I also think it was sort
of for me the downfall of some of this music
stuff because they kept doing it, like every musical number
was almost the same because of that, Well.
Speaker 1 (10:33):
You kind of needed her to do that because she
can't sing while she's in a coma, but also she
is the singer. Yeah, Calli is the singer.
Speaker 2 (10:43):
They are the.
Speaker 1 (10:47):
Unbelievable. So we breathe, Breathe, two am. That was also great.
Speaker 2 (10:57):
Yeah, I I think the the hard part of this
episode for me is I don't necessarily think any of
these songs are moving the story. I think they're.
Speaker 3 (11:17):
They're extensions of the scenes, extensions.
Speaker 2 (11:19):
Of the scenes where a lot of the time I
was like, I just want to hear what's happening, because
the story is so compelling that like I want to know,
I want to hear all the jargon and the emotional
stuff that's going on between all these characters. And sometimes
it felt like the songs actually impeded that. Yeah, yeah, yeah,
they took away from it and the songs are almost
(11:41):
too long. Yeah, and Grey's Anatomy and Shonda Rhymes are
so great at they fit in a lot of words
into like forty two minutes. Yeah, and the rhythm was broken,
and I love the Shonda Rhymes rhythm, whether it's on
Scandal or whether it was Yeah. Yeah. That being said,
(12:04):
I still thought a lot of these were like really
cool numbers, especially the first half I think of the episode.
Speaker 3 (12:10):
Agreed.
Speaker 1 (12:10):
I think it came out strong in the first half.
I think we've you know, a little bit through the middle,
we've kind of dip. But then to oh, to talk
about moving the plot, the one we're going to talk
about is the story.
Speaker 2 (12:27):
Then, well, before we get there, Kevin mckid's voice, Oh yeah, beautiful, Yes,
beautiful voice. Beautiful when he started singing during Chasing Cars,
was like, because you know, I knew Sarah Ramirez's voice,
(12:50):
I've seen them perform in person. Yeah, Tony Winner, don't
take it for granted, but like, yeah, when the start
of this episode and should be the start of this episode,
but when Kevin mcgids are, I was like, oh my gosh.
Speaker 3 (13:03):
It sings.
Speaker 1 (13:04):
Also Eric Dane surprisingly like wonderful tone.
Speaker 2 (13:08):
But see, I think how they fit in all those
people who aren't necessarily comfortable singing, Yes, and was just
really really because all these actors on the show are
so good. It is so hard to be in a
procedural like this where you have to come in emotions
are on the surface already. I think it is so
impressive anybody who is on this type of show and
(13:30):
these people are the masters of it, like masterclass PhDs
of being on an emotional drama procedural. Yeah, yeah, like
that is such specific skill. I cannot overstate that enough.
And to do that while there are people, you know,
Eric Dane was an earlier in the episode where he's
(13:51):
behind someone who's singing, and like the scene continues on,
to be able to continue that emotion through these things
that I imagine for them weren't necessarily because like they weren't
doing music every week.
Speaker 1 (14:03):
It's a very uncomfortable place to be to have music
playing and you be singing. Hearing these actors you've worked
with for so many years who have never sung in
their lives, being out of their comfort zone in their
home and their characters that are a home for them,
it is wildly uncomfortable. And if you don't ignore that
(14:23):
feeling like you're it's too much, right, so you have
to just kind of like power through and like and
they did. They really did.
Speaker 2 (14:33):
Oh I still button. Their performance did not suffer one percent.
I think another hard thing is when you're performing a
musical on TV or on film and you don't have
a lot to do with your body. There's a lot
of this episode which I think this is what bothered
me a lot, was that the performances were a lot
of standing like park and in the O R Yes,
(14:55):
and like every almost every every song was the same
sort of set up of just parking bark or it's
like now we're in a hallway and somebody's crying and
I'm going to stand here and park and park.
Speaker 1 (15:08):
Well. I think that's why chasing cars, like the bookends
songs that are were the strongest were chasing cars in story,
and I think because they were moving, like on the
gurney and like when when Cali is like going through
the halls and like telling the story of where they've
been and where they're going.
Speaker 3 (15:27):
And coming back into their own.
Speaker 1 (15:28):
Body, You're like, oh, you know, like there's movement and
you feel motivated and energized versus like what are they
doing with themselves, like or we're just watching them and
they're watching us, right, But it started out really strong
with chasing Cars.
Speaker 2 (15:48):
Yeah, I was like, Jenna's wrong, I'm not going to
hate this.
Speaker 1 (15:53):
I I'm so glad to hear this. And I also
watched it again, and I think watching it this time
because I think I also didn't love it the first
time I saw it, Like I would have just preferred
to watch Grace right, probably also because we were you know,
Glee was on and we were just like enveloped in
(16:16):
musical TV and you're like, oh, no, the Perston's doing
musical TV show, not that we should be the only
ones doing it.
Speaker 2 (16:22):
But.
Speaker 1 (16:25):
And watching it through the lens of like loving the
show so deeply. It's still being on television, transcending so
much time and these characters still there and coming back
and returning, and it is so meaningful to me and
powerful to me from where this show started and where
(16:46):
I was in my life. I remember watching the pilot
and exactly where I was. I remember like coming home
every weekend from college just to watch grays Natomy with
my parents, like it was special.
Speaker 2 (16:58):
Like you show like this is give that grace to
like try it yeah, you should be given.
Speaker 1 (17:04):
You got it? And where was I going with this?
I don't even really know. I just I think watching
it this time around, I was more forgiving and also
more understanding of the way that Shanda wanted to do
this and for all these actors in the position they
were in, and then also just being like, wow, let's
(17:27):
just make excuse my language, working art and like make
it for the hell of it, and like take the
risk and do it because you know, why not?
Speaker 2 (17:37):
Yeah, I think that's exactly right. Like it felt like
a medical opera and a number of ways, and I
was like, why ye try it, Like, yeah, you have
the money, you have the budget, you have the talent,
Like do it again, You're doing twenty think of it.
We did twenty two episodes a year, gosh a season,
and like you take some big swings and some of
(17:57):
them work and some of them don't. But when you're
filling up twenty two episodes, you have the space to
try things.
Speaker 3 (18:04):
Yep.
Speaker 2 (18:04):
And I think this show is no different. It's sort of,
you know, an encapsulation of like what it is to
do a full season of a musical where some of
them really really work when they do connect with the
characters and the story and like how it's blocked properly,
like really beautifully and entertainingly, and then some of.
Speaker 1 (18:22):
Them work and it's like, well, even like you know,
Jessica Capshaw laughing about doing that number in the Clouds
like feeling ridiculous. She said that she felt ridiculous filming
the scene in the clouds in the car because it
was like a dream sequence and Scott Poley was just
(18:43):
freaking out and like cracking up every time. Was everybody
was doing like the Running on Sunshine dance sequence, because
it is it's like you're like, we do a drama
where people get like cut open every week and lies
are on the line and you know, all these things.
But then like we're just gonna add some danced and
I like that there was like the self awareness to
(19:05):
know like this isn't insane, you guys, but we're doing it.
Speaker 2 (19:09):
I also liked that they did do that though. I
was like, they're going to do a musical episode, they
got to throw in.
Speaker 1 (19:14):
You better, so just to recap the whole what's happening
in the episode actually for people who didn't watch it
or don't remember and had seen it once, before. This
is a series first, and the music that had been
(19:36):
at the heart of the show, it had been beloved
by fans. It comes to life for Grays Anatomy the
music event. It's a cataclysmic event that rattles the doctors
of Seattle Grace to the core, which is usually like
a season finale, but Catalie, on the verge of an
enormous life changing moment with Arizona, envisions her hospital and
friends as it has never been seen before, chasing cars,
(20:00):
no patrol, how to save a life the story Randy
Carlisle and that was from Abe see Publicity.
Speaker 2 (20:07):
It's a perfect episode. Obviously they knew what they were
doing to do this with because you have the culmination
of what I'm assuming and what you can feel is
not just this season's worth, but like previous season's worth
of entanglements and drama coming to a head quite literally
with a car crash. And then like it's Gray's Anatomy,
(20:29):
take out the music, It's still Gray's Anatomy at its best.
Like what it does best, you take these beloved characters
and put them into really really intense, high pressure environments
and you have fights and you have conversations like a, well,
you have conversations like go terribly, you have hard conversations
(20:52):
about like in Vitro, you have questions, you have conversations
about like religion and the universe. All of that is
happening in this episode, while there's also eight musical numbers,
Like all of those things happen, and it's just I'm
in awe of like how ELM Pompeo can have a
sixty second scene. Oh my, and just a look from
(21:13):
Patrick Dempsey and I'm like, what what what is you
guys are saying so good?
Speaker 1 (21:19):
It's just we love an elevator scene.
Speaker 2 (21:22):
I do also like on a technical level, everyone sounded great,
Like the recording was great. Everyone was lip singing well.
I also love the medical masks over the mouths when
they're singing. I was like, good for you guys.
Speaker 1 (21:32):
Yes, well you have to.
Speaker 3 (21:35):
How do you not like you just have to?
Speaker 1 (21:38):
I that's the reality of it though, Like we're still
in a medical show. Mm hm, you know, we're still
in a medical TV show where these things have to
be even if it's in Calli's dreamland of what she
thought happens at the hospital, right and like she's seeing
this through music through the lens of music.
Speaker 3 (22:00):
She is still.
Speaker 1 (22:02):
In her world m h.
Speaker 2 (22:05):
But also.
Speaker 1 (22:08):
It was also fun to like go back because I
haven't seen this season in a very long time and
I didn't remember who was dating who at this time
to go back and like revisit which characters were entangled
and intertwined at the time, and like where Derek. I
learned some things, Oh did you where Derek and Meredith
were in their relationship at the time, Like they were
obviously trying to have a baby and so like they
(22:29):
were farther into their relationship. And so it was definitely
exciting for me as a fan to revisit this, Like
I was like, do I go back and watch isn't
it I mean now.
Speaker 2 (22:42):
Maybe? I also liked that there was like and there
was like a little joke of making fun of themselves
of just like what's going to happen now, like all
these characters, because I also think I have friends who
are doctors, and I think when I originally watched this,
I didn't and when you are dealing with such high
pressure stuff and they're so cavalierly in that one conversation
(23:02):
with Krev, like talking about yeah, she may live or
the baby may live, but if the baby lives and
she may die, or vice versa, and it feels like
flippant and they're making jokes, and then you have the
dream sequences, like all these things that feel crazy to
be happening. Is such a high stakes, high pressure life
or death situation, but it's like you sort of have
(23:23):
to do that in the face of like the darkness
and heaviness all the time. And I like that they
are facing that head on. I didn't remember that from
Gray's Anatomy when I started watching it. Mm hmmm, Like
that was a nice surprise, Like, oh, even in this
we're still getting a little bit of like dark humor.
Speaker 1 (23:39):
Yes, yes, yes, there's also like I always liked these
episodes best where something was happening to one of their own,
Like it happened initially when they set the precedent when
they found out that Double O seven was George. It
was George who was the one who had gotten what
(24:02):
do you got hit by a car burned or something.
It was just it was something very dramatic and she's like,
it's George, and I will never heard of at that moment.
But I always liked it because you just are so
much more invested in these characters because it's one of
your own. And to have like these scenes where everybody's
entangled with Kelly. I mean, like doctor Sloan's having a baby,
(24:23):
but you know, Jessica Capshaw, it was Dakota's like all
you know in the relationship and she was about to propose.
And so everybody's so deeply involved with the patient like
that when they're talking about this person, it's like they're
talking about it like a patient, but then they're also
talking about it, like you said, as one of their own,
(24:43):
and it raises the stakes of course, and you're just
I just I always like those episodes more and when
they're like you're too close to this, get out. So
then when Jessica Capshaw's character has to step in for
the baby, when the born and they look at each
other and she like nods and she goes over and
(25:04):
she like goes to work, it's like the work and
personal split combined that every day they're battling.
Speaker 3 (25:13):
That is just it is so effective.
Speaker 1 (25:15):
It is so effective, and it's just what makes the
show so good.
Speaker 2 (25:20):
Which is sort of what bothered me about the music,
to be honest, because those moments are so good and
like when she steps up in that moment, I was like,
you know, like and like I don't want to hear
a song. I don't want someone to break into song
right now, Like I just want to like go back
to Cali, like I just want to know what's happening
there except accept the story.
Speaker 1 (25:45):
I mean, I was waiting.
Speaker 3 (25:46):
I knew it was coming. That's waiting.
Speaker 2 (25:51):
When the first chords of that song started, I was like, oh,
I was like, let me buckle up because I know
that song well. I know Brandy Carlyle well, like her
voice well. And after seeing a full episode of Sara
Ramirez singing, it was like, this is going to be
(26:11):
by your works. Little that I know it was going
to end with Sara Ramirez singing at themselves waking themselves
up out of a coma Jenna by grabbing their own ankles,
have goosebumps.
Speaker 3 (26:27):
And then slipping back and.
Speaker 2 (26:28):
Slipping back into it and then looking and saying, yes,
get out of here.
Speaker 1 (26:34):
I know.
Speaker 2 (26:35):
And I think that was truly the only moment for
me where the song was at the same level of
the normal Gray's Anatomy storytelling, and it progressed the story
like the whole episode was for that and it's and
it's worth.
Speaker 1 (26:51):
It, worth it.
Speaker 3 (26:51):
Yeah, yeah, yeah, I agree.
Speaker 1 (26:52):
I mean I think, like I said, the only other
one that I think was at that level might have
been chasing cars and it was still like when you're
in the r you're not expecting to see surgeons, your
your favorite character.
Speaker 2 (27:06):
I think it could have been a little shorter and
I would have bought it a little.
Speaker 1 (27:09):
I think the way that the story was shot also,
and then also being in that like bridge hallway with
the white and this, you know, the movement behind it.
I was like, okay, okay, sawdust performance though, but uh, I.
Speaker 3 (27:26):
Think you're right.
Speaker 1 (27:27):
I think it is like it's the it's the one,
and it's worth it, and it is at the level
it's I mean, I have to go back and listen to.
Speaker 2 (27:36):
That, because, like any covering a Brandy Carlile song is
like a stupid idea in general, because her voice is
so unique and powerful and she writes so well for
her own voice. Yes, but this is justice. The original
No Discover is just as good.
Speaker 1 (27:58):
And the song is so good, and I remember this
song like re emerging after Sada did it, So I
guess the question that I had for you going into
this episode, which I think you answered for me, but
we entered it earlier on in the episode, was like
should they have done this?
Speaker 2 (28:20):
Ultimately yes, yeah, but I feel like yes because.
Speaker 1 (28:24):
Why not exactly right, why not take the risk do
the thing?
Speaker 2 (28:29):
And also if it's like, look, we can get Sara
Ramirez singing the story by Brandy Carla at the end
of this and like, yeah, do what you gotta do.
Speaker 1 (28:40):
The other song, when Kevin the Kid's in the they're
all the all the sergeants are arguing about like how
they're gonna proceed, and Kevin sings the song it was
how we operate or wait, I can't remember, and he's like,
walk with me, and then they all walk with him.
Speaker 2 (29:00):
Well having with Chandra Wilson started singing when they're all
arguing about like what to do? Yeah, and like she
turns to the camera. There's also one where I forgot
who was walking in the hallway and you catch them
look through the door and they're singing. I'm like, this
is very Rachel Barry Coach, like singing through the hallway
(29:21):
door into the choir room. Did you feel like any
sort of dream sequence, like you know when Tina had
her dream sequence when she falls into the fountain and
we and we do that, or and everybody gets high
off the gas and there's pilots, or everyone gets high
from John Samos and we turn into Britney Spears puppets
puppet Like did you feel did you think of that
(29:42):
at all while watching this?
Speaker 1 (29:43):
Like?
Speaker 3 (29:43):
Oh didn't. I didn't.
Speaker 1 (29:45):
It's so separate.
Speaker 2 (29:47):
Question, Kevin, good question.
Speaker 1 (29:49):
It was separate because I think anything grais anatomy in
this particular show. I'm not comparing to Brink.
Speaker 2 (29:57):
Yes, you know, I don't either.
Speaker 1 (29:59):
I don't think I'm thinking about that. I actually didn't
even really think about it until this morning. But now
that I know that you mention it, Like, yeah, sure,
I get it. I get the concept behind it. It's
not what we did. And I think it had to
happen this way for Grace, like this had to be
the context in which they are, you know, they were
gonna have a whole newsical episode. Was like seeing it
(30:20):
through the lens of somebody who was, you know, an
outer body or whatever they were. You know, But I
know I didn't really. But let's let's create some performances. Okay, great,
chasing cars.
Speaker 2 (30:35):
I mean A, yeah, breathe how we operate.
Speaker 1 (30:43):
B.
Speaker 2 (30:46):
If we're just talking the song, I think it's like
an A. I think Kevin McKidd sounds great. Yeah. Yeah,
context with the show would be.
Speaker 3 (30:53):
B wait.
Speaker 1 (30:56):
B minus running on Sunshine. You know what, I'm just
gonna give it to them because that was out of
their comfort zone. And I know how hard that was
probably for a lot of people to stretch the Robber
Band that far. So I'm just gonna go with A
B plus.
Speaker 3 (31:09):
Yeah, same universe, knew.
Speaker 2 (31:13):
B B Grace. I liked all their voices together a lot. Yeah,
I wish we had more of that, to be honest, Yeah,
this is trio here. Yeah, I'd give it an A
how to.
Speaker 3 (31:28):
Save a Life?
Speaker 1 (31:29):
I wanted it to be better.
Speaker 2 (31:30):
I was just about to say I wanted this because
the song is want to say, this is what I
think of Yeah, like this to me, Yeah, like this
is what made the whole like musical Gray's Anatomy musical
Combo made in Heaven. Thing happened right, and it just
felt like.
Speaker 1 (31:48):
And like I think like some of the actors made
the choice to like talk this one more, and I
just wanted to like hear the song something like I.
Speaker 3 (31:57):
Think Kevin McKidd like, no, but I think Kevin McKay.
Speaker 1 (32:00):
It started it and he chose to like start this
in like more of a dialogue form, and I'm like,
but it's how to say a life, Like, let's just
sing it, you know, like, let's just sing the song
the way it's supposed to.
Speaker 2 (32:10):
I think because they only had one episode to do
this with, like they tried everything and so yes, yes,
they hadn't. They didn't have another song where they sort
of like talked their way into it. I know, so
like they tried it, but like, don't do it on
this song.
Speaker 1 (32:23):
I know, I know. Give it a be minus yeah,
but then we have the story, which I'm gonna get
a plus plus.
Speaker 2 (32:35):
A plus plus plus plus. Like really, if you haven't
seen this episode, I think if you go into it
thinking it of like a an opera, yes, it's really
fun is probably the wrong word for it, but it
is because it breaks the mold of what you're not
(32:55):
you're used to seeing in a procedural obviously and especially
in Grace. But it's easier to do it on because
it's not like you have shows like Chicago Med that
are more like medically focused, not so much behind. Yeah,
Grays is a little more soapy, yeah, and I mean
that complimentary.
Speaker 1 (33:12):
Yeah.
Speaker 2 (33:14):
Or it's more about the emotion and the inner workings
of the relationships, dynamics of the characters, and so like
having music to do that does fit more organically. Should
we do some tarty takes?
Speaker 1 (33:32):
Oh, that's definitely do it. Cringe moments. I don't know
if there was anything.
Speaker 2 (33:38):
No, I mean the dream sequence sort of made me
a little uncomfortable, but like, yeah, but that's not like
cringe because it's wrong.
Speaker 1 (33:46):
Right exactly, didn't age differently? The best dance move and
there are no dance moves.
Speaker 2 (33:52):
No, I think the best song the story, Oh, the story,
best prop I mean this is the baby, the little baby.
Speaker 1 (34:00):
Well this week little Baby, that one got me good.
Best line.
Speaker 2 (34:05):
What I was talking about earlier with Kreb being like,
no big deal. She works here at Seattle Grace Mercy Death,
so I'm sure she's pretty much gonna go crazy or
get cancer or shot by a gumman or hit by
a truck, So don't get your hopes up for Creb's
big happy ever after.
Speaker 1 (34:21):
I love Krab and I love the way they write
krab for him to be so I don't even know
what the word I'm looking for is.
Speaker 3 (34:29):
But she's like.
Speaker 1 (34:33):
Crass.
Speaker 3 (34:35):
Yeah, but he also says.
Speaker 1 (34:37):
Like the right things. So Lucy says, it makes me
look like a complete moron in front of my colleagues
when they're up on the helipad and he's like, they're
not thinking about you, they're thinking about Torres.
Speaker 3 (34:46):
I'm sorry, but suck it.
Speaker 1 (34:47):
Up, like, yeah, he has like no filter and he
doesn't care, and he's like, you're wrong, you know.
Speaker 2 (34:52):
So it's not personal, like he's not he doesn't take
these things personally. He's just like, let me read you.
We know what we didn't mention. I know. I think
she was not on the show by this point, but
I loved seeing Kate Walsh.
Speaker 1 (35:07):
Oh yeah, she she comes back and forth at this point.
She's on and off at this point.
Speaker 2 (35:12):
But I really enjoyed lot. Like, especially someone who has
not watched grays a out of me in a long time. Well,
I've watched some of the new episodes because you know, Harry,
but like some of the earlier people on the show,
it's like it feels like home.
Speaker 3 (35:26):
No, I know, I loved these early days.
Speaker 2 (35:29):
Uh performance, MVP Sarah, you can't you can't not say
the Tony Winner, I mean the hero a vocalist. Gosh,
so good and also just like shout out to the
ensemble for all those incredible emotional scenes that they do
week in week out. This episode was ripe with them.
(35:51):
I do like them. I miss seeing Sandra, Oh I
missing ELM Pompeo and an elevator. Oh my gosh, it's great.
Speaker 1 (36:01):
I know.
Speaker 2 (36:03):
On a completely different note, the ship we found on
TikTok trigger warning. It says the f slur and I'm gay,
so I can. It has that scene from K Not
Wheels or Not Wheels with K. I don't know. It's
(36:24):
an outfit and Target is this target. I'm assuming it's target.
Speaker 1 (36:30):
One of us.
Speaker 2 (36:30):
It looks like Target. It's very much something Fin would wear.
And it says I can't unsee it and it is
right legit.
Speaker 1 (36:41):
Oh my gosh, it's so good. The shirt.
Speaker 2 (36:47):
The shirt, it's like it's the way that Finn stands
like the mannequin wearing this.
Speaker 3 (36:53):
I know.
Speaker 2 (36:55):
It's so good.
Speaker 1 (36:56):
Okay, thank you for posting that. I mean not that
it was.
Speaker 2 (37:00):
For us, but you know, some once that I want
to repost so bad. I know it feels like a
weird one of like can we repost it's a little inappropriate,
but oh, in all, I had fun watching Gray's anatomy.
Speaker 3 (37:13):
I'm so glad. I'm relieved.
Speaker 2 (37:16):
I think it's good when you set my expectations really low.
Speaker 1 (37:22):
I'll just continue to do that. Then, thanks for listening.
Speaker 2 (37:26):
I just want to say, like, when we do these
things and we're like critiquing them or saying negative things,
it's never about like the people in it are doing it.
These things are always hard to do and it's not
always going to be like successful or too let's say
like our tastes. That doesn't not mean it's not valid
and good, Like I don't. Oh no, for sure, you
(37:47):
know we're just talking and.
Speaker 3 (37:50):
No basis true.
Speaker 2 (37:52):
No, but I love it. I am enjoying watching these things,
and I for what we watch next.
Speaker 1 (37:58):
So next up we will be watching Grease. So go
take a watch and thank you for listening.
Speaker 3 (38:05):
Come back next week and that's what you really missed.
Speaker 2 (38:08):
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. 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 and that's what you were in this podcast.
Oh my gosh, it is TV musical, but not a
TV musical. The one of the longest running shows ever,
is that right, Yeah, one of the most popular shows ever,
one of my favorite shows ever.
Speaker 3 (00:30):
Did a musical episode.
Speaker 1 (00:32):
Yeah, we are doing Greats and Anatomies today they did
a musical episode song Beneath the Song. This is season seven,
episode eighteen. I can't wait to get into this with you, Kevin,
because I have no idea, but I have so many
thoughts and so many things. So here we are a
(00:53):
TV show, a medical drama with maybe a few singers,
a lot of nonsens, not not something that normally would
be a musical. And it premiered on March thirty first,
twenty eleven, on ABC.
Speaker 2 (01:10):
Yeah. So in the news this week, the number one
song in the country was Born This Way by Lady Gaga.
Speaker 1 (01:19):
Wow.
Speaker 3 (01:20):
Oh that's a good one.
Speaker 2 (01:22):
That's a really good one.
Speaker 1 (01:23):
The movie was Limitless, starring Bradley Cooper, Ye de Niro.
Obviously I didn't see it.
Speaker 2 (01:30):
I didn't see this either, and Glee was on, and
Glee was on episode season two, episode sixteen. Original song
had just aired on March fifteenth. Wow, Yes, these are
like me. Trotty Mouth, Blackbird, Raizor Glass and the first
clean Kiss. What another huge.
Speaker 1 (01:47):
Also on March sixteenth, the cast and crew participated in
a panel discussion at the Pailey Fest. And we always
did these yearly. Lots of fans would come and we
would just gab and we would find out new information
from the creator. This was at the Savon Theater in
Beverly Hills. It was Matt, Jane, Corey, Chris Amber, Kevin
Shenn and I, Heather, Darren Bryan, Ian Brad and Dante
(02:08):
were all there. I remember that, I definitely remember that.
Speaker 3 (02:12):
But I remember Paleyfests by my outfit.
Speaker 2 (02:15):
Yes. Same.
Speaker 3 (02:16):
There's a lot of.
Speaker 1 (02:18):
Oral history of the song beneath the song, which I
did not know.
Speaker 3 (02:21):
So before we.
Speaker 1 (02:22):
Dig into the nitty gritty of our opinions and what
happens and all of this, Kevin, I just wanted to
share this with you.
Speaker 3 (02:32):
So in twenty twenty one, Shanta Land published.
Speaker 1 (02:34):
An oral history of the episode marking its ten year anniversary,
and the interview Shanda and lots of the writers and
ko show runners and cast members, And they did talk
about how Shanda first pitched this idea, convincing ABC to
say yes, cast members who were panicking over having to
(02:56):
sing writer so and what it was like filming those
bear very surreal emotional moments and sometimes goofy scenes. It
came from a two thousand and eight benefit concert Kevin
where during the writer's strike were cast members from Gray's
and Private Practice and all of the Shonda shows sang
on stage, and she realized that she had a lot
of Broadway level talent right in front of her. Obviously,
(03:17):
the hero of this episode and one of the most
loved characters on Grey's Anatomy Sata Ramirez, who's a Tony
Award winner. I saw them perform on the Tonys for.
Speaker 2 (03:27):
What was It?
Speaker 1 (03:28):
Monty Python?
Speaker 2 (03:29):
What a boys? Truly insane.
Speaker 1 (03:31):
Truly they carried this episode. They were the hero. So
at first they even considered writing all new music, Evin,
but they scrapped that idea and they leaned into Grey's classics.
Which did you watch Grays?
Speaker 2 (03:47):
Yeah? I think I watched the first three or four seasons.
Speaker 3 (03:51):
Okay, those were important ones.
Speaker 2 (03:53):
Those all these relationships, all those songs that were so
instrumental and making the show what it was like that
early music choices, the Fray especially, it was like Gray's
Anatomy scored by the Fray. Literally, it was a moment.
It was a huge deal to get your song on
Gray's Anatomy, like Chasing Cars and all that by Snow
(04:14):
like that was just huge.
Speaker 1 (04:16):
Mm hmmmm. Okay, so yes, all these songs She's in Cars,
how to Save a Life like all part of the
show's DNA. So Shanda convinced the network. They initially said no,
and they were like, can't you just see another love triangle?
And she was so mad. She was like, no, I'm
not doing a love triangle. Imagine asking Shanda, can you
(04:36):
just do another love triangle instead of a musical episode.
Speaker 2 (04:39):
Well, imagine your show being that successful already for that
long and the network being like, no, you're doing twenty
two episodes in a season, Like, yeah, give them one.
Speaker 1 (04:52):
So the cast put on a mini concert for all
of the executives at ABC. Kevin and Chandra and Sada
perform and Shannon narrated it, and Sandro even showed up
just to cheer them on. It was decided later that
Christina was not going to sing at all, which I
totally respect as an actor to being like, no, my
character wouldn't sing. But the network caved and they gave
(05:15):
the green light. And yeah, so this is very this
is very exciting and very inter racking for me to
watch this episode initially and then also yesterday.
Speaker 2 (05:28):
Yeah, because they knew this was coming, you know, like
for us, when we would get songs and everything, we
would record them in like thirty minutes. We hadn't necessarily
learned them before. For this episode, they rehearsed for months.
They took vocal lessons choreography on top of their long
shoot days that they're already filming. Yeah, and so like,
(05:50):
you know, this was a moment that was building and
the story was building to this, So it wasn't just
you know, done on a whim of Shonda Rhymes being like,
let's do it, and then they did it. Yeah, this
is methodical and done with the right intention.
Speaker 1 (06:08):
So they also had Debbie Allen in their corner, who
was a character on the show and also a beloved
director of Grays. So Debbie was cree for then.
Speaker 2 (06:19):
I mean really, yeah, it wasn't like they just did
a musical a couple of musical numbers. They did so
many songs.
Speaker 1 (06:27):
It really drove the episode, whether it should have or not.
I guess like if you're doing a musical episode like
in this format with this show, like you kind of
have to just lean into it, or like, why are
you doing it all at all?
Speaker 3 (06:41):
Is my feeling about it.
Speaker 1 (06:44):
I will say this is a fun fact that for Shonda,
it is firmly in her top ten episodes of favorite episodes.
Speaker 2 (06:52):
For Grays ever, Wow.
Speaker 1 (06:54):
Which they are on season what twenty at this point?
Speaker 2 (06:57):
I think more than that. I think you're on twenty
one or twenty two.
Speaker 3 (07:00):
I mean, it's a cult favorite.
Speaker 2 (07:04):
I understand that. And you know you warned me, you
said I would hate this episode. Yeah, I didn't hate it. Wow, Okay,
And I didn't hate it because I think I do
have that base, that foundation of knowing the show and
knowing the characters, and you still have so many of
the original characters on there, and they're so good. They're
(07:26):
chemistry with each other, their familiarity with each other is
so solid that you can fit in eight or nine
songs into an episode, and even if a number of
them aren't even singing that I just want to see them,
I just want to see them in relation to one another.
Speaker 1 (07:44):
Yeah. I also think the formula of the show is
it it's procedural right where there is a formula, and
within that formula, I mean, there's nobody who does this
better than Shanda. There's a It's excellent at its best
(08:04):
form because the characters are there, the context of storylines
and the drama and the relationships and the subject matters
are all just really at a premium level, like everybody
is just doing the best at what they do. And
(08:25):
so that's I mean, that's a part of why I
love Grace so much. Was it really it just the characters,
the feelings, you feel the reality of their dialogue. Now,
I know the medical stuff is always like controversial, you know,
they're like, oh god, that's not how you do that
or whatever. I don't really care. It doesn't matter to
(08:45):
me like that. That doesn't matter to me at all.
And in this context, like I don't care if they
don't have good voices. I don't care if the music
is not that good. It doesn't matter to me. It
is so it is important. This episode is important, and
I think that the formula still stayed the same with
the music, Like, despite some of the questionable songs that
(09:10):
they did, Like, I still think that the formula was there,
and the show was still there, and the characters show
and the story was still there, and what they were
fighting over would have happened in a dialogue or would
have happened with a song regardless, right, Like, regardless of
the music, if this wasn't a story, it could have existed. Right.
(09:30):
I have favorites, and I have ones that I didn't love,
But let's just talk about the songs for a second,
and then let's just talk about like a kind of
our feelings in more in depth. So it starts with
Chasing Cars by Snow Patrol, which is, like I think,
for me, one of the most quintessential songs that speaks
grace anatomy to me.
Speaker 2 (09:49):
Oh yeah, I did, and they I loved that they
did it. I love that this was the first song
they did. Yea, you also have like the best singers
doing this song, like starting it off strong, like this
is what we're doing. I also think the whole sort
of Zoe's extraordinary playlist meets crazy anatomy aspect of this
of having Callie like watching herself and like explaining what's
(10:16):
going on in her head through it was like such
a strong concept that I also think it was sort
of for me the downfall of some of this music
stuff because they kept doing it, like every musical number
was almost the same because of that, Well.
Speaker 1 (10:33):
You kind of needed her to do that because she
can't sing while she's in a coma, but also she
is the singer. Yeah, Calli is the singer.
Speaker 2 (10:43):
They are the.
Speaker 1 (10:47):
Unbelievable. So we breathe, Breathe, two am. That was also great.
Speaker 2 (10:57):
Yeah, I I think the the hard part of this
episode for me is I don't necessarily think any of
these songs are moving the story. I think they're.
Speaker 3 (11:17):
They're extensions of the scenes, extensions.
Speaker 2 (11:19):
Of the scenes where a lot of the time I
was like, I just want to hear what's happening, because
the story is so compelling that like I want to know,
I want to hear all the jargon and the emotional
stuff that's going on between all these characters. And sometimes
it felt like the songs actually impeded that. Yeah, yeah, yeah,
they took away from it and the songs are almost
(11:41):
too long. Yeah, and Grey's Anatomy and Shonda Rhymes are
so great at they fit in a lot of words
into like forty two minutes. Yeah, and the rhythm was broken,
and I love the Shonda Rhymes rhythm, whether it's on
Scandal or whether it was Yeah. Yeah. That being said,
(12:04):
I still thought a lot of these were like really
cool numbers, especially the first half I think of the episode.
Speaker 3 (12:10):
Agreed.
Speaker 1 (12:10):
I think it came out strong in the first half.
I think we've you know, a little bit through the middle,
we've kind of dip. But then to oh, to talk
about moving the plot, the one we're going to talk
about is the story.
Speaker 2 (12:27):
Then, well, before we get there, Kevin mckid's voice, Oh yeah, beautiful, Yes,
beautiful voice. Beautiful when he started singing during Chasing Cars,
was like, because you know, I knew Sarah Ramirez's voice,
(12:50):
I've seen them perform in person. Yeah, Tony Winner, don't
take it for granted, but like, yeah, when the start
of this episode and should be the start of this episode,
but when Kevin mcgids are, I was like, oh my gosh.
Speaker 3 (13:03):
It sings.
Speaker 1 (13:04):
Also Eric Dane surprisingly like wonderful tone.
Speaker 2 (13:08):
But see, I think how they fit in all those
people who aren't necessarily comfortable singing, Yes, and was just
really really because all these actors on the show are
so good. It is so hard to be in a
procedural like this where you have to come in emotions
are on the surface already. I think it is so
impressive anybody who is on this type of show and
(13:30):
these people are the masters of it, like masterclass PhDs
of being on an emotional drama procedural. Yeah, yeah, like
that is such specific skill. I cannot overstate that enough.
And to do that while there are people, you know,
Eric Dane was an earlier in the episode where he's
(13:51):
behind someone who's singing, and like the scene continues on,
to be able to continue that emotion through these things
that I imagine for them weren't necessarily because like they weren't
doing music every week.
Speaker 1 (14:03):
It's a very uncomfortable place to be to have music
playing and you be singing. Hearing these actors you've worked
with for so many years who have never sung in
their lives, being out of their comfort zone in their
home and their characters that are a home for them,
it is wildly uncomfortable. And if you don't ignore that
(14:23):
feeling like you're it's too much, right, so you have
to just kind of like power through and like and
they did. They really did.
Speaker 2 (14:33):
Oh I still button. Their performance did not suffer one percent.
I think another hard thing is when you're performing a
musical on TV or on film and you don't have
a lot to do with your body. There's a lot
of this episode which I think this is what bothered
me a lot, was that the performances were a lot
of standing like park and in the O R Yes,
(14:55):
and like every almost every every song was the same
sort of set up of just parking bark or it's
like now we're in a hallway and somebody's crying and
I'm going to stand here and park and park.
Speaker 1 (15:08):
Well. I think that's why chasing cars, like the bookends
songs that are were the strongest were chasing cars in story,
and I think because they were moving, like on the
gurney and like when when Cali is like going through
the halls and like telling the story of where they've
been and where they're going.
Speaker 3 (15:27):
And coming back into their own.
Speaker 1 (15:28):
Body, You're like, oh, you know, like there's movement and
you feel motivated and energized versus like what are they
doing with themselves, like or we're just watching them and
they're watching us, right, But it started out really strong
with chasing Cars.
Speaker 2 (15:48):
Yeah, I was like, Jenna's wrong, I'm not going to
hate this.
Speaker 1 (15:53):
I I'm so glad to hear this. And I also
watched it again, and I think watching it this time
because I think I also didn't love it the first
time I saw it, Like I would have just preferred
to watch Grace right, probably also because we were you know,
Glee was on and we were just like enveloped in
(16:16):
musical TV and you're like, oh, no, the Perston's doing
musical TV show, not that we should be the only
ones doing it.
Speaker 2 (16:22):
But.
Speaker 1 (16:25):
And watching it through the lens of like loving the
show so deeply. It's still being on television, transcending so
much time and these characters still there and coming back
and returning, and it is so meaningful to me and
powerful to me from where this show started and where
(16:46):
I was in my life. I remember watching the pilot
and exactly where I was. I remember like coming home
every weekend from college just to watch grays Natomy with
my parents, like it was special.
Speaker 2 (16:58):
Like you show like this is give that grace to
like try it yeah, you should be given.
Speaker 1 (17:04):
You got it? And where was I going with this?
I don't even really know. I just I think watching
it this time around, I was more forgiving and also
more understanding of the way that Shanda wanted to do
this and for all these actors in the position they
were in, and then also just being like, wow, let's
(17:27):
just make excuse my language, working art and like make
it for the hell of it, and like take the
risk and do it because you know, why not?
Speaker 2 (17:37):
Yeah, I think that's exactly right. Like it felt like
a medical opera and a number of ways, and I
was like, why ye try it, Like, yeah, you have
the money, you have the budget, you have the talent,
Like do it again, You're doing twenty think of it.
We did twenty two episodes a year, gosh a season,
and like you take some big swings and some of
(17:57):
them work and some of them don't. But when you're
filling up twenty two episodes, you have the space to
try things.
Speaker 3 (18:04):
Yep.
Speaker 2 (18:04):
And I think this show is no different. It's sort of,
you know, an encapsulation of like what it is to
do a full season of a musical where some of
them really really work when they do connect with the
characters and the story and like how it's blocked properly,
like really beautifully and entertainingly, and then some of.
Speaker 1 (18:22):
Them work and it's like, well, even like you know,
Jessica Capshaw laughing about doing that number in the Clouds
like feeling ridiculous. She said that she felt ridiculous filming
the scene in the clouds in the car because it
was like a dream sequence and Scott Poley was just
(18:43):
freaking out and like cracking up every time. Was everybody
was doing like the Running on Sunshine dance sequence, because
it is it's like you're like, we do a drama
where people get like cut open every week and lies
are on the line and you know, all these things.
But then like we're just gonna add some danced and
I like that there was like the self awareness to
(19:05):
know like this isn't insane, you guys, but we're doing it.
Speaker 2 (19:09):
I also liked that they did do that though. I
was like, they're going to do a musical episode, they
got to throw in.
Speaker 1 (19:14):
You better, so just to recap the whole what's happening
in the episode actually for people who didn't watch it
or don't remember and had seen it once, before. This
is a series first, and the music that had been
(19:36):
at the heart of the show, it had been beloved
by fans. It comes to life for Grays Anatomy the
music event. It's a cataclysmic event that rattles the doctors
of Seattle Grace to the core, which is usually like
a season finale, but Catalie, on the verge of an
enormous life changing moment with Arizona, envisions her hospital and
friends as it has never been seen before, chasing cars,
(20:00):
no patrol, how to save a life the story Randy
Carlisle and that was from Abe see Publicity.
Speaker 2 (20:07):
It's a perfect episode. Obviously they knew what they were
doing to do this with because you have the culmination
of what I'm assuming and what you can feel is
not just this season's worth, but like previous season's worth
of entanglements and drama coming to a head quite literally
with a car crash. And then like it's Gray's Anatomy,
(20:29):
take out the music, It's still Gray's Anatomy at its best.
Like what it does best, you take these beloved characters
and put them into really really intense, high pressure environments
and you have fights and you have conversations like a, well,
you have conversations like go terribly, you have hard conversations
(20:52):
about like in Vitro, you have questions, you have conversations
about like religion and the universe. All of that is
happening in this episode, while there's also eight musical numbers,
Like all of those things happen, and it's just I'm
in awe of like how ELM Pompeo can have a
sixty second scene. Oh my, and just a look from
(21:13):
Patrick Dempsey and I'm like, what what what is you
guys are saying so good?
Speaker 1 (21:19):
It's just we love an elevator scene.
Speaker 2 (21:22):
I do also like on a technical level, everyone sounded great,
Like the recording was great. Everyone was lip singing well.
I also love the medical masks over the mouths when
they're singing. I was like, good for you guys.
Speaker 1 (21:32):
Yes, well you have to.
Speaker 3 (21:35):
How do you not like you just have to?
Speaker 1 (21:38):
I that's the reality of it though, Like we're still
in a medical show. Mm hm, you know, we're still
in a medical TV show where these things have to
be even if it's in Calli's dreamland of what she
thought happens at the hospital, right and like she's seeing
this through music through the lens of music.
Speaker 3 (22:00):
She is still.
Speaker 1 (22:02):
In her world m h.
Speaker 2 (22:05):
But also.
Speaker 1 (22:08):
It was also fun to like go back because I
haven't seen this season in a very long time and
I didn't remember who was dating who at this time
to go back and like revisit which characters were entangled
and intertwined at the time, and like where Derek. I
learned some things, Oh did you where Derek and Meredith
were in their relationship at the time, Like they were
obviously trying to have a baby and so like they
(22:29):
were farther into their relationship. And so it was definitely
exciting for me as a fan to revisit this, Like
I was like, do I go back and watch isn't
it I mean now.
Speaker 2 (22:42):
Maybe? I also liked that there was like and there
was like a little joke of making fun of themselves
of just like what's going to happen now, like all
these characters, because I also think I have friends who
are doctors, and I think when I originally watched this,
I didn't and when you are dealing with such high
pressure stuff and they're so cavalierly in that one conversation
(23:02):
with Krev, like talking about yeah, she may live or
the baby may live, but if the baby lives and
she may die, or vice versa, and it feels like
flippant and they're making jokes, and then you have the
dream sequences, like all these things that feel crazy to
be happening. Is such a high stakes, high pressure life
or death situation, but it's like you sort of have
(23:23):
to do that in the face of like the darkness
and heaviness all the time. And I like that they
are facing that head on. I didn't remember that from
Gray's Anatomy when I started watching it. Mm hmmm, Like
that was a nice surprise, Like, oh, even in this
we're still getting a little bit of like dark humor.
Speaker 1 (23:39):
Yes, yes, yes, there's also like I always liked these
episodes best where something was happening to one of their own,
Like it happened initially when they set the precedent when
they found out that Double O seven was George. It
was George who was the one who had gotten what
(24:02):
do you got hit by a car burned or something.
It was just it was something very dramatic and she's like,
it's George, and I will never heard of at that moment.
But I always liked it because you just are so
much more invested in these characters because it's one of
your own. And to have like these scenes where everybody's
entangled with Kelly. I mean, like doctor Sloan's having a baby,
(24:23):
but you know, Jessica Capshaw, it was Dakota's like all
you know in the relationship and she was about to propose.
And so everybody's so deeply involved with the patient like
that when they're talking about this person, it's like they're
talking about it like a patient, but then they're also
talking about it, like you said, as one of their own,
(24:43):
and it raises the stakes of course, and you're just
I just I always like those episodes more and when
they're like you're too close to this, get out. So
then when Jessica Capshaw's character has to step in for
the baby, when the born and they look at each
other and she like nods and she goes over and
(25:04):
she like goes to work, it's like the work and
personal split combined that every day they're battling.
Speaker 3 (25:13):
That is just it is so effective.
Speaker 1 (25:15):
It is so effective, and it's just what makes the
show so good.
Speaker 2 (25:20):
Which is sort of what bothered me about the music,
to be honest, because those moments are so good and
like when she steps up in that moment, I was like,
you know, like and like I don't want to hear
a song. I don't want someone to break into song
right now, Like I just want to like go back
to Cali, like I just want to know what's happening
there except accept the story.
Speaker 1 (25:45):
I mean, I was waiting.
Speaker 3 (25:46):
I knew it was coming. That's waiting.
Speaker 2 (25:51):
When the first chords of that song started, I was like, oh,
I was like, let me buckle up because I know
that song well. I know Brandy Carlyle well, like her
voice well. And after seeing a full episode of Sara
Ramirez singing, it was like, this is going to be
(26:11):
by your works. Little that I know it was going
to end with Sara Ramirez singing at themselves waking themselves
up out of a coma Jenna by grabbing their own ankles,
have goosebumps.
Speaker 3 (26:27):
And then slipping back and.
Speaker 2 (26:28):
Slipping back into it and then looking and saying, yes,
get out of here.
Speaker 1 (26:34):
I know.
Speaker 2 (26:35):
And I think that was truly the only moment for
me where the song was at the same level of
the normal Gray's Anatomy storytelling, and it progressed the story
like the whole episode was for that and it's and
it's worth.
Speaker 1 (26:51):
It, worth it.
Speaker 3 (26:51):
Yeah, yeah, yeah, I agree.
Speaker 1 (26:52):
I mean I think, like I said, the only other
one that I think was at that level might have
been chasing cars and it was still like when you're
in the r you're not expecting to see surgeons, your
your favorite character.
Speaker 2 (27:06):
I think it could have been a little shorter and
I would have bought it a little.
Speaker 1 (27:09):
I think the way that the story was shot also,
and then also being in that like bridge hallway with
the white and this, you know, the movement behind it.
I was like, okay, okay, sawdust performance though, but uh, I.
Speaker 3 (27:26):
Think you're right.
Speaker 1 (27:27):
I think it is like it's the it's the one,
and it's worth it, and it is at the level
it's I mean, I have to go back and listen to.
Speaker 2 (27:36):
That, because, like any covering a Brandy Carlile song is
like a stupid idea in general, because her voice is
so unique and powerful and she writes so well for
her own voice. Yes, but this is justice. The original
No Discover is just as good.
Speaker 1 (27:58):
And the song is so good, and I remember this
song like re emerging after Sada did it, So I
guess the question that I had for you going into
this episode, which I think you answered for me, but
we entered it earlier on in the episode, was like
should they have done this?
Speaker 2 (28:20):
Ultimately yes, yeah, but I feel like yes because.
Speaker 1 (28:24):
Why not exactly right, why not take the risk do
the thing?
Speaker 2 (28:29):
And also if it's like, look, we can get Sara
Ramirez singing the story by Brandy Carla at the end
of this and like, yeah, do what you gotta do.
Speaker 1 (28:40):
The other song, when Kevin the Kid's in the they're
all the all the sergeants are arguing about like how
they're gonna proceed, and Kevin sings the song it was
how we operate or wait, I can't remember, and he's like,
walk with me, and then they all walk with him.
Speaker 2 (29:00):
Well having with Chandra Wilson started singing when they're all
arguing about like what to do? Yeah, and like she
turns to the camera. There's also one where I forgot
who was walking in the hallway and you catch them
look through the door and they're singing. I'm like, this
is very Rachel Barry Coach, like singing through the hallway
(29:21):
door into the choir room. Did you feel like any
sort of dream sequence, like you know when Tina had
her dream sequence when she falls into the fountain and
we and we do that, or and everybody gets high
off the gas and there's pilots, or everyone gets high
from John Samos and we turn into Britney Spears puppets
puppet Like did you feel did you think of that
(29:42):
at all while watching this?
Speaker 1 (29:43):
Like?
Speaker 3 (29:43):
Oh didn't. I didn't.
Speaker 1 (29:45):
It's so separate.
Speaker 2 (29:47):
Question, Kevin, good question.
Speaker 1 (29:49):
It was separate because I think anything grais anatomy in
this particular show. I'm not comparing to Brink.
Speaker 2 (29:57):
Yes, you know, I don't either.
Speaker 1 (29:59):
I don't think I'm thinking about that. I actually didn't
even really think about it until this morning. But now
that I know that you mention it, Like, yeah, sure,
I get it. I get the concept behind it. It's
not what we did. And I think it had to
happen this way for Grace, like this had to be
the context in which they are, you know, they were
gonna have a whole newsical episode. Was like seeing it
(30:20):
through the lens of somebody who was, you know, an
outer body or whatever they were. You know, But I
know I didn't really. But let's let's create some performances. Okay, great,
chasing cars.
Speaker 2 (30:35):
I mean A, yeah, breathe how we operate.
Speaker 1 (30:43):
B.
Speaker 2 (30:46):
If we're just talking the song, I think it's like
an A. I think Kevin McKidd sounds great. Yeah. Yeah,
context with the show would be.
Speaker 3 (30:53):
B wait.
Speaker 1 (30:56):
B minus running on Sunshine. You know what, I'm just
gonna give it to them because that was out of
their comfort zone. And I know how hard that was
probably for a lot of people to stretch the Robber
Band that far. So I'm just gonna go with A
B plus.
Speaker 3 (31:09):
Yeah, same universe, knew.
Speaker 2 (31:13):
B B Grace. I liked all their voices together a lot. Yeah,
I wish we had more of that, to be honest, Yeah,
this is trio here. Yeah, I'd give it an A
how to.
Speaker 3 (31:28):
Save a Life?
Speaker 1 (31:29):
I wanted it to be better.
Speaker 2 (31:30):
I was just about to say I wanted this because
the song is want to say, this is what I
think of Yeah, like this to me, Yeah, like this
is what made the whole like musical Gray's Anatomy musical
Combo made in Heaven. Thing happened right, and it just
felt like.
Speaker 1 (31:48):
And like I think like some of the actors made
the choice to like talk this one more, and I
just wanted to like hear the song something like I.
Speaker 3 (31:57):
Think Kevin McKidd like, no, but I think Kevin McKay.
Speaker 1 (32:00):
It started it and he chose to like start this
in like more of a dialogue form, and I'm like,
but it's how to say a life, Like, let's just
sing it, you know, like, let's just sing the song
the way it's supposed to.
Speaker 2 (32:10):
I think because they only had one episode to do
this with, like they tried everything and so yes, yes,
they hadn't. They didn't have another song where they sort
of like talked their way into it. I know, so
like they tried it, but like, don't do it on
this song.
Speaker 1 (32:23):
I know, I know. Give it a be minus yeah,
but then we have the story, which I'm gonna get
a plus plus.
Speaker 2 (32:35):
A plus plus plus plus. Like really, if you haven't
seen this episode, I think if you go into it
thinking it of like a an opera, yes, it's really
fun is probably the wrong word for it, but it
is because it breaks the mold of what you're not
(32:55):
you're used to seeing in a procedural obviously and especially
in Grace. But it's easier to do it on because
it's not like you have shows like Chicago Med that
are more like medically focused, not so much behind. Yeah,
Grays is a little more soapy, yeah, and I mean
that complimentary.
Speaker 1 (33:12):
Yeah.
Speaker 2 (33:14):
Or it's more about the emotion and the inner workings
of the relationships, dynamics of the characters, and so like
having music to do that does fit more organically. Should
we do some tarty takes?
Speaker 1 (33:32):
Oh, that's definitely do it. Cringe moments. I don't know
if there was anything.
Speaker 2 (33:38):
No, I mean the dream sequence sort of made me
a little uncomfortable, but like, yeah, but that's not like
cringe because it's wrong.
Speaker 1 (33:46):
Right exactly, didn't age differently? The best dance move and
there are no dance moves.
Speaker 2 (33:52):
No, I think the best song the story, Oh, the story,
best prop I mean this is the baby, the little baby.
Speaker 1 (34:00):
Well this week little Baby, that one got me good.
Best line.
Speaker 2 (34:05):
What I was talking about earlier with Kreb being like,
no big deal. She works here at Seattle Grace Mercy Death,
so I'm sure she's pretty much gonna go crazy or
get cancer or shot by a gumman or hit by
a truck, So don't get your hopes up for Creb's
big happy ever after.
Speaker 1 (34:21):
I love Krab and I love the way they write
krab for him to be so I don't even know
what the word I'm looking for is.
Speaker 3 (34:29):
But she's like.
Speaker 1 (34:33):
Crass.
Speaker 3 (34:35):
Yeah, but he also says.
Speaker 1 (34:37):
Like the right things. So Lucy says, it makes me
look like a complete moron in front of my colleagues
when they're up on the helipad and he's like, they're
not thinking about you, they're thinking about Torres.
Speaker 3 (34:46):
I'm sorry, but suck it.
Speaker 1 (34:47):
Up, like, yeah, he has like no filter and he
doesn't care, and he's like, you're wrong, you know.
Speaker 2 (34:52):
So it's not personal, like he's not he doesn't take
these things personally. He's just like, let me read you.
We know what we didn't mention. I know. I think
she was not on the show by this point, but
I loved seeing Kate Walsh.
Speaker 1 (35:07):
Oh yeah, she she comes back and forth at this point.
She's on and off at this point.
Speaker 2 (35:12):
But I really enjoyed lot. Like, especially someone who has
not watched grays a out of me in a long time. Well,
I've watched some of the new episodes because you know, Harry,
but like some of the earlier people on the show,
it's like it feels like home.
Speaker 3 (35:26):
No, I know, I loved these early days.
Speaker 2 (35:29):
Uh performance, MVP Sarah, you can't you can't not say
the Tony Winner, I mean the hero a vocalist. Gosh,
so good and also just like shout out to the
ensemble for all those incredible emotional scenes that they do
week in week out. This episode was ripe with them.
(35:51):
I do like them. I miss seeing Sandra, Oh I
missing ELM Pompeo and an elevator. Oh my gosh, it's great.
Speaker 1 (36:01):
I know.
Speaker 2 (36:03):
On a completely different note, the ship we found on
TikTok trigger warning. It says the f slur and I'm gay,
so I can. It has that scene from K Not
Wheels or Not Wheels with K. I don't know. It's
(36:24):
an outfit and Target is this target. I'm assuming it's target.
Speaker 1 (36:30):
One of us.
Speaker 2 (36:30):
It looks like Target. It's very much something Fin would wear.
And it says I can't unsee it and it is
right legit.
Speaker 1 (36:41):
Oh my gosh, it's so good. The shirt.
Speaker 2 (36:47):
The shirt, it's like it's the way that Finn stands
like the mannequin wearing this.
Speaker 3 (36:53):
I know.
Speaker 2 (36:55):
It's so good.
Speaker 1 (36:56):
Okay, thank you for posting that. I mean not that
it was.
Speaker 2 (37:00):
For us, but you know, some once that I want
to repost so bad. I know it feels like a
weird one of like can we repost it's a little inappropriate,
but oh, in all, I had fun watching Gray's anatomy.
Speaker 3 (37:13):
I'm so glad. I'm relieved.
Speaker 2 (37:16):
I think it's good when you set my expectations really low.
Speaker 1 (37:22):
I'll just continue to do that. Then, thanks for listening.
Speaker 2 (37:26):
I just want to say, like, when we do these
things and we're like critiquing them or saying negative things,
it's never about like the people in it are doing it.
These things are always hard to do and it's not
always going to be like successful or too let's say
like our tastes. That doesn't not mean it's not valid
and good, Like I don't. Oh no, for sure, you
(37:47):
know we're just talking and.
Speaker 3 (37:50):
No basis true.
Speaker 2 (37:52):
No, but I love it. I am enjoying watching these things,
and I for what we watch next.
Speaker 1 (37:58):
So next up we will be watching Grease. So go
take a watch and thank you for listening.
Speaker 3 (38:05):
Come back next week and that's what you really missed.
Speaker 2 (38:08):
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. See you
next time.
Host
Jenna Ushkowitz
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