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Broadway Breakdown
Announcing: Broadway Breakdown's Lineup for 2024
00:37:11
The Winners of "Grab Bag" are Here
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Well, Cosmoma bitch She's a big fat bitch she's the biggest bitch in the whole wide world She's a stupid bitch and everyone's a bitch She's a bitch who walls up boys and girls On Monday she's a bitch On Tuesday she's a bitch and Wednesday to Saturday she's a bitch Then on Sunday just to be different She's a super king come a mayor bitch have you ever met my big house mom? She's the biggest bitch in the whole wide world she's amino bitch and she has super nerd She's a bitch, bitch, bitch, bitch bitch bitch bitch bitch bitch bitch, bitch, bitch, bitch, bitch.
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Well, hello all you theater lovers both out and proud and on the de yell. And welcome back to Broadway Breakdown, a podcast discussing the history legacy of American theater's most exclusive address, Broadway. I am your host, Matt Koplik, the least famous and most opinionated of all the Broadway podcast hosts. And sorry, I just had a little bug in my throat. And we have some news for all of you guys today. We have finally, finally made our selections from the new series, Grab Bag. This is the series where the listeners of this podcast joined the Broadway Breakdown Discord Channel. And on the Discord Channel submitted their five options that they wanted Broadway Breakdown to cover for the Grab Bag series. And after all the votes were tallied, they were put onto little slips of paper, put into Ms. Sally bowl, and then selected from Instagram Live. And those of you who attended the live. Sorry, a little burp there. Those of you who attended the Live know that it was very fair. We actually selected a couple of repeats because there were some shows and movies and whatnot that had multiple votes. And when we got a repeat, I had to toss it aside and pick a new one. But we did select quite a few options, and I want to let you all know what those options are in just a second, because if you weren't on Instagram, then you don't. You didn't get a chance to see what we picked. And if you're not on the Discord Channel, then you don't know what it is, because on the Discord Channel, everyone's been updating each other with all of the news from the Instagram Live. We have a member who actually select. Took all of these shows. This person's a total boss. When all of the options were being submitted. So when people were, you know, going, I want to put in Little Shop of Horrors and Merrily We Roll along and annie. But the 1999 version of Annie and I also want to put in this play and this thing. One of the Discord members made a Spotify playlist of every show and movie musical so that way people could listen to it in preparation for the selections. And then when the shows and movies got selected, they made a second Spotify playlist of just the selected pieces so people can bone up on that material for the upcoming series. So props to ya, mama. You are awesome. I also gotta say, I said on the last episode that you had to join the Discord Channel if you wanted to submit options for the podcast. And at the time we had 99 members. Sorry, I don't know why my mouth is all mushmouth right now. Maybe I had like one shot of red wine and all of a sudden I'm like slurring my words here and I don't. I thought I had a higher tolerance than that, but I guess not. The point is, we had 99 members about a week ago. Actually less than a week ago, because I'm recording this on. Oh, no, no, sorry, I take that back. A week ago, Saturday, August 31st, I'm recording this. We had 99 members. And then when I announced the new series and how you had to join the Discord Channel, we shot up from 99 to 160. People really stepped up to the plate. And this Discord channel has taken on a life of its own that I couldn't even possibly imagine. So it's really exciting to see. And it's only like a month and a half old, so it can only grow from here. And I say this because that's going to come into play as I announce the lineup for the new series. But before we do any of that, I have a little bit of housekeeping to do because we got a new review, guys. We got a couple of new ratings. We're at 249 on Apple Podcasts. I think according to Chartable, we're at 273 overall. So that's through Spotify and all the other websites that people might listen to this podcast. But 249 on Apple Podcasts. And we have a new five star review, and it's a long one. So I want to give it its due now and tease you all for the upcoming Grab Bag series. So without further ado, play the Light and the Piazza Overture. Five stars. The only man whose opinions about theater mean as much to me as my own about theater is in parentheses. I'm glad that they don't take my opinions about the world seriously. Matt Koplik Koplik is not spelled the usual way. It's spelled K O P L I C K. But it's okay. The rest of this review is on point. Matt Koplik's podcast is a must listen for anyone who considers theater to be among the highest forms of artistic expression. It should be essential listening for aspiring theater students who might mistakenly believe that American musical theater began with the opening of Wicked. Matt's deep academic level understanding and experiential knowledge of both plays and musicals, along with the material that forms the theater canon, give him a unique perspective. He combines refined sensibilities with sophisticated taste to deliver what I consider some of the most honest, unbiased, and precise analysis available to the general public. Matt has a keen eye for every detail, no matter how small, and his love and respect for theater as an art form shine through in every episode. And this makes him not only an entertaining podcast host, but also an invaluable resource for both industry professionals and theater enthusiasts alike. His credibility allows him to provide laser focused, in depth analysis of the art he so passionately engages with. This person definitely wrote this after my Once Upon a Mattress episode where I was zeroing in on some of Lear's staging. While I don't always agree with every take, I deeply respect the thought and passion he pours into each one. Even if you're the creator of a show that Matt doesn't praise, you'll recognize and yes, you'll likely recognize the validity of his critique. And if he loves it, you can be genuinely proud knowing his approval carries weight. Thank you. His episodes may be sprinkled with microphone gonks. Unfortunately, that won't change if whenever I do solo episodes, I apologize. Salty language also will never change, and more insight into his personal life than you might expect also isn't gonna change. But this only adds to his humanity and makes him all the more entertaining. Thank you. I'll never stop recommending this podcast to true lovers of Broadway theater. Matt's love and passion for he discusses are unmistakable. Yes, his analysis may sometimes run longer than the show itself, but every second is worth it. Thank you very much, Matty Pritch from the United States of America. That was very lovely to read and I agree. I think I'm worth every second of every minute of every hour of this podcast. Fun fact. I'm also recording this on a break while I have some banana bread baking in the oven and it's got to be in there for an hour. And this is not going to run a full hour. This is going to be another Shorty McShort short, you know, episode until we get ready for the new series. As well as a couple of bonus episodes like recapping the the upcoming season of Broadway, the 2024, 2025 season. If you haven't listened yet, I am on the BPN podcast half hour with Geoff and Richie where we talk about the plays and musicals of the fall and early winter. But I would like to do an episode that covers everything that we've got so far and some possible rumors for the spring that'll come soon enough. And we are going to do the Broadway Grosses episode. I have to consult with a Broadway producer friend of mine to make sure that the information I am telling you guys in that episode will be correct. So stay tuned. That'll happen in the next, like two weeks. And also, apologies for this episode coming out on a Sunday instead of the regular Thursday. Again, I was going to have the week off, but I figured why not let the listeners know exactly what shows have been selected for Grab Bag. Which brings us to the shows that have been selected for Grab Bag. So without further ado, let us announce exactly what Broadway Breakdown will be covering for the next couple of months. First up, we have the musical American Psycho, based on the novel by Bret Easton Ellis made famous by the movie starring Christian Bale. A movie that I love very deeply, by the way. I actually stop. I saw this stage show in 2016 when it premiered at the Gerald Schoenfeld Theater, starring Benjamin Walker, directed by Rupert Gould, I think was the director. Yeah. And Duncan Cheek wrote the music and the lyrics. And Roberto Aguirre Sacasa. Yeah. Who I think went on to create Riverdale. He wrote the book for it. I did not enjoy American Psycho when it was on Broadway, but it does have a passionate fan base. And I must say the movie is incredible. The book is fascinating. The. The novel that it's all based off is a very fascinating. It's a fascinating novel. I don't think it's a good novel. It's a. It's a great idea. And there are passages that are really satirically brilliant, but it's a little messy. And I think too much of Brett's being enamored with the concept of Patrick Bateman makes him go on and on in certain sections that become far too gruesome and sexist and troubling. It goes beyond satire and beyond being uncomfortable and just goes into upsetting. But the movie really does a great job of correcting all of that. So we will be talking about the stage show and we'll see if I change my mind about it. I had the request that waiting in the wings, whatever that host's name is, he come on. Because I know he did a video about it and his love for it. Maybe I will. I can reach out to him. I know that a possible guest that we have for this series is close with that person and they might be able to introduce us. Next up, we have Angels in America. Yes, the two parter. Tony Kushner Pulitzer and Tony winning masterpiece, Millennium Approaches and Perestroika. And I was discussing that this might have to be a two parter because there's no way you can talk about both plays in one episode and not have it be a million hours long. And granted, we don't mind a million hours long episode. On this podcast, we've conditioned ourselves to enjoy the two hour plus. In fact, I have found that when episodes of series are less than two hours, y' all don't listen to it right away. When we were doing problematic, I found that certain episodes clocked in just under two hours. Just like a little over two hours. And it took a while for them to get to a thousand. But when we had Promises, Promises and Carousel and we had another one, oh, the Miss Saigon episode, which was over three hours long, you flocked to that. I think you guys think when the episode is long it means, oh, Matt had a lot to say about this and it's true, I did. But also it just means that sometimes I was on topic far more frequently in a shorter episode. When it's under two hours, it just means I went on fewer tangents and we talked about the show itself a lot more frequently. So that's all that means really. But yes, I think Angels in America. No, I don't think. I know. I know that Angels in America is going to be a two parter. Millennium Approaches and Perestroika, hopefully with the same guest. But people are busy and we don't always know. Next up, we have come from Away, the best musical losing Broadway show about the town of Gander in Newfoundland. And this will actually be a good one to do because there is the pro shot that's available on Apple TV which will be very helpful. There is also a boot of American Psycho, the musical Angels in America. There is the HBO miniseries which I own and will be watching in preparation. I also hope to go to the library to watch the original Angels in America. I do not desire to watch the national broadcast again. I saw the broadcast and then I saw the revival on Broadway. I also Saw it at Signature. So like I know this play pretty damn well but I would like to go and watch the George C. Wolfe version if I can Come from away. I'm actually looking forward to this is a musical choice that I'm happy got selected by the fickle finger of fate, to quote Charity Hope Valentine. Next up we have another Pulitzer winner. Two Pulitzer winners so far. Fat Ham, which did not win the Tony in 2023. It lost to Leopolstadt, which I understand why Leopolstadt won. Fat hand was probably my pick to win that year. But I know that that show isn't for everyone. I look forward to talking about it. I don't believe there is a bootleg of it, although I think they did do a live stream production from Philadelphia during COVID Someone can correct me about that if I'm wrong. Next up, we have the Tony winning musical, A Gentleman's Guide to Love and Murder. This and Angels in America had some of the most votes in the grab bag submissions. It was, it was really interesting to see which shows kept getting votes over and over and over again. And Angels definitely had the most with 12, I believe. And then a Gentleman's Guide I think had nine or 10. And I'm looking forward to talking about this one too. I really enjoyed it when I saw it in the winter of 2013. A Gentleman's Guide to Love and Murder actually has a very fascinating legacy and it's not artistic, it's financial. And you'll know what I mean by that when we talk about the episode. Because all I'll just say is that some shows, there are narratives that happen a lot with some shows about trying to last until the Tonys because the Tonys can fix everything with your financials. And that's not really true, but it was true for Gentleman's Guide and a lot of people keep pointing to that when they keep throwing good money after bad with their Broadway shows. But Gentleman's Guide was a very specific situation and again, we will, we will talk about it. Next up, Jekyll and Hyde. This is our first Frank Wildhorn musical, y'. All. And I am scared because you know me, I do try to be balanced when doing episodes about shows. I let my bitchy side fly when I'm talking about other shows that were not the focus of the episodes. Maybe a Diane Paulus piece here or there or a musical that has no cast album because the producer had no money to pay anybody. Things like that. But Jekyll and Hyde, there is. Listen, there's a lot of fun to be had in Jekyll and Hyde. I enjoyed it a lot in my youth. As I've gotten older, I must say that I've become disillusioned to its quality. But I cannot deny the fun that can be had with it. I ultimately think that this show is kind of cotton candy trash and, like, not even curated artisanal cotton candy, like the cotton candy you get in the plastic bag at the sugar store. But, you know, sometimes in a pinch, when you're young and hungry and need some energy, you get that pink cotton candy. But again, we will discuss this further as we get to that episode. So Jekyll and Hyde will be an interesting one for sure. A lot of high belting in that one. Next up, Little Shop of Horrors. This is going to be so much fun to cover. I love this musical with all of my heart. As some of you know, I did this musical when I was 17 at the manor. I was Seymour. You better bet your bottom dollar I was Seymour. It was my first lead at the Manor, my first real, genuine lead. And it holds a special place in my heart. I think it's pretty much a perfect musical. I think the movie version is incredible. And even though it has a different ending, I think the ending for the movie works. And that's something that we'll talk about with the legacy of Little Shop of Horrors. And it's still running in New York, so it's all very exciting. And we have some friends at the POD who've worked on this current running revival, so maybe they can give some insight working on that production and maybe anything they learned from Alan Menken in terms of the process of it. Next up, we have Nine. I'm also very excited to talk about this one. Nine is a show that means a great deal to me, and I both love it and recognize a lot of its flaws, while also getting wrapped up in all the things of Nine that are wonderful. It is one of the greatest scores of the 80s, if not all of musical theater. Just such beautiful music, intricate harmonies, and a real opportunity for style and panache and sexiness. And it just had a production at Kennedy center, which I saw clips of, and they exist, and we'll leave it at that. And there is a movie version that exists. We've got a friend of the pod who 9 is his favorite musical, and I'm gonna see if I can maybe corral him into coming on and talking about it. Because while I do really love this show, I am not fanatical about it. I do have quips with it. Some qualms with it. And if I can get this gentleman to come on, I think it would be nice to have him defend it wholeheartedly, if you will. Next up, we've got a Sondheim here, and our one and only repeat of. Well, technically speaking, we have two, but this is a specific repeat, which is Stephen Sondheim's Passion. This is a musical that I never liked when I was in high school or college. I came to like it a bit more when we did our episode about it at the beginning of the Broadway Breakdown rebrand. This was in early 2021. I came around to it a bit more. I've come around to it a lot more since then, just because of life stuff. So those of you who are always like, why is Matt talking about his life during podcast episodes? I'm sorry to say, Passion. You're going to hear a lot about it all coded. You're never going to hear specific details, but the emotional truth will be there. And those of you who like to hear insights into my personal life, congratulations. You're gonna hear a whole bunch of it when we talk about passion. Passion is such a very specific kind of romantic musical because it's not really romantic, but it does deal with love, which if that doesn't describe Sondheim to you, I don't know what does. A Sondheim musical that is anti romance, but is all about love. Yeah. So that'll be a fun one to do. Next up. Okay, this one I am so pumped about. This might be second only to Angels in terms of, like, the episode that I'm so fucking stoked to cover, which is South Park Vigor, longer and uncut, aka the South park movie from 1999, which Stephen Sondheim himself said was the best musical of the 90s, including anything he wrote. Sondheim thought it was better than Passion and better than Assassins and honestly, hard agree. I fucking love this movie. This movie is a masterpiece. And, oh, God, I don't want to say too much because I gotta save it all. Gotta keep it all in the kitty for that episode, and I gotta make sure I find someone awesome to cover it with me. Because, you know, you don't always want to find people who either totally hate a show or totally love a show. You want to have some. Some insight on both sides, talk about why something maybe is amazing or isn't amazing, whatever. But, I mean, this is one that I'm gonna have a hard time being unbiased about because I have loved the South Park TV show for a very Long time. It lost its way for me around 2016, 2017. I don't think that Trey and Matt, Trey Parker and Matt Stone, I don't think that they really navigated the 2016 election terribly well. Nor do I think that they realized how out of touch they were with being counterculture and on the pulse with society because they had been so rich and so famous and so successful for so long. And they failed to realize that they were now part of the system that they were mocking. And so they lost their way. They found their groove again, I would say, around Covid, when they came back with, you know, Covid specials and QAnon specials, which sounds really, like, morbid, but I swear that they actually found a really clever way of using it. It's still not as amazing as it once was, but they have had some pretty baller episodes in the last two years. And you can watch it all on Max if you really want to. But south park, the TV show overall, means a great deal to me. The movie, again, just goddamn masterpiece and should be talked about much more openly and seriously as a movie, musical, or just a movie in general. What it says about censorship, what it says about cultural outrage and mob mentality and xenophobia, all while being a silly ass cartoon that's less than 90 minutes. What it says about fucking toxic relationships between Satan and Saddam Hussein, which is such a wild sentence to say or to hear if you don't know anything about this mov they for 1999, 25 years ago. For all of the shock humor that is in there, there is a lot of heart and a lot of intelligence. And that is the kind of shit that I'm talking about when I tell you that we have musicals on Broadway right now that claim to want to be nothing but a good time and don't have a 20th the inventiveness, creativity, or intelligence of this movie. A movie that ultimately is not trying to be a message movie. It's just trying to be a raunchy good time.
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But they can't help but have a message because Matt and Trey are too smart and too empathetic and too passionate to not have something with a message behind it. And this one actually has a good one. Team America, which is their follow up movie, has a solid message as well. But I feel like that's sort of the beginning of their being out of touch just a little bit because they're still a little too nasty in a way where you're like, you know, that you are part of the group that you're making fun of. Right. And I don't think they realized it yet. Anyway, so South Park. Bigger, longer, uncut, Very excited. Next up, we have another play, the Pulitzer winning A Streetcar Named Desire. This is our first Tennessee Williams, y'. All. And this one is a classique. This is perhaps the most famous Tennessee Williams play of all time. The movie version is definitely the most iconic and most well loved of all of his movie adaptations of his stage shows. And we will talk about the movie adaptation because I personally think Tennessee Williams might be the most fucked over American playwright to have his plays get turned into movies because so many of them are classics or at least well regarded and yet they're all kind of bastardized from the original stage versions. And you'll know what I mean when we talk about it. And also in relation to Cat on a Hot Tin Roof and Sweet Bird of Youth, Suddenly Last Summer. Suddenly Last Summer actually might be the least censored of all of his plays, which is wild to think about, but we'll talk about it. But I'm very excited to talk about this one. And of course there will be Carousel references because I have said before, Carousel has a lot of DNA. With Streetcar Named Desire, I have always felt that Rodgers and Hammerstein were Tennessee Williams of musical theater. They dealt with with messy, horny people making messy bad decisions. And it's all great. And I'm looking forward to talking about Streetcar. Next up we have this one is a semi repeat, but it's not a real repeat. The west side Story remake that came out in 2021 and was nominated for a whole bunch of 2022 Oscars, winning one for Ariana DeBose. I was very up on this movie when it came out. I still think I'm pretty up on it, but I feel like my luster on it has dimmed in the last two years. I still think it's good at times, incredibly good. But I do have feelings about it. I have notes on it and I look forward to coming back to it. About a year and a half since I last watched it and discussing them. Yeah, especially I know I've mentioned them on the podcast before, but the podcast blank check. David and Griffin, they very much are anti Rob Marshall. And I understand that because I will say post Chicago, Rob has not really done anything worthwhile. The best you can say is that into the woods is competent but boring and 9 is beautiful but a mess. And Mary Poppins Returns is a giant fucking. Yeah, Pirates of the Caribbean makes no sense, but I don't really blame him. For that, he was a hired hand at Disney. And then the Little Mermaid remake is, in my opinion, awful. Memoirs of Acacia is similar to Nine. It's beautiful to look at, but it's boring and it's messy. Chicago, though, is a perfect movie musical, and I will stand by that. And it annoys me when I listen to David Sims talk about Chicago being sort of. Oh, people just liked it. It was fun. At the time, we needed fun, and that's why it won't Best Picture. And he's very up on the west side Story remake. And I do genuinely believe it's because he is a straight, sensitive boy who's into movies. And thus he worships at the altar of Steven Spielberg, as do most sensitive straight boys who are cinephiles. And Spielberg is a great director. He's made some incredible movies. E.T. is one of the greatest works of art of the last hundred years. Just point blank. Raiders of the Lost Ark is popcorn fun. Jaws is great. The Color Purple movie is beautiful. It's a little overblown, but it's beautiful. Schindler's List masterpiece, Saving Private ryan, the first 20 minutes are a masterpiece. After that, in my opinion, gets a little boring. And there's a lot of stuff he does great in west side Story. But I do feel like, and I've talked about this before with shows on Broadway, right? Like, the true test of how good it is is its legacy. How much are we talking about it now? How much are we holding up to esteem now? And Chicago, people like David can say, oh, it was just a fun time and people needed the fun time. That's why it won Best picture. It is 22 years later, we are still talking about that goddamn movie. We are still referencing it as the ultimate of the last 30 years of movie musicals, of just being this incredible accident that should not have worked as well as it did. And yet it does. And every time you watch it, you're reminded how amazing it is. It's been a year and a half since the west side Story Oscars. No one's really talking about it anymore. We're talking about Rachel Zegler, but not really in relation to west side Story, more in terms of her online personality, the Snow White remake. And now with Romeo and Juliet on Broadway, we talk about Ariana DeBose, but because she's a terrible Tony host. Nope, we keep forgetting that Ariana is an Oscar winner. I'll say the legacy of the remake will be interesting in terms of the cast and how they're doing, because Mike Faist is also or Mike Feist. And I never knew how he said his last name. He's kind of getting a really great career now. I really enjoyed him in Challengers, but we'll see because he's not really a movie star. Challengers was a hot button movie for about three weeks. I still love it. I highly recommend it. I love that soundtrack too. But I feel like he's not really charting in the same way that like Jeremy Allen White is. So I look forward to talking about this remake. Next up, we have the Wiz movie with Diana Ross and Michael Jackson and Lena Horn. And if you were on my I believe it's now defunct Patreon. You've heard me talk about this Wiz movie with friend of the pod, Amanda Lee Hawkins. No, we talked about Cabaret. Nevermind. I talked about the Wiz. Maybe on my own. The Wiz movie means a lot to a great many people. It's a cultural touchstone for so many people, including Griffin Newman of Blank Check. I did not grow up with the movie. I came to it late in life. And when I came to it, it kind of confused me. Confounded me, one might say. I. And I look forward to coming back to it now, knowing what it is and seeing how I feel about it, because I have feelings about the stage show as well, both positive and negative. And the movie I think I'm a little more negative on than the stage show. But the movie, by being a movie and being more widespread and being available on TV and rentals, is how many people understand the Wiz as a musical. And it's what ultimately gave us the warped and untrue mind frame that it is a. That it is an urban retelling of the Wiz where Oz is set in a metropolis, a.k.a. new York City. And that's just not what the original intention of the show was. That's what the movie did. But again, we will talk about all of that final, final option we have here. Our final winner is the play the Women. Now, some of you may not know this play. You should. It's a ball and quotable as fuck. And if you haven't read or seen the play, there is a movie version from 1939 starring Norma Shearer, Joan Fontaine, Rosalind Russell. Sorry, not Joan Fontaine. I said Nora Mashear, Joan Fontaine, Joan Crawford as well, Rosalind Russell. It's the movie is pretty great and actually surprisingly faithful to the play considering it's 1939 and it's written by Clare Boothe Luce. And if you don't know who that Is that is the part that Carmen Cusack played in Flying Over Sunset. It is an interesting play with a million performing opportunities for women. I do think the politics of the show are kind of off, but ultimately you don't care because it's just so goddamn enjoyable and again, so quotable. This is a bitchy play. It is this, this play is sort of the mother to Valley of the Dolls, which is then the mother to like Gossip Girl. The Women is a play about high society women of New York all gossiping about relationships and whose husbands are cheating and who has money and who doesn't and all these things and all of their relationships with each other as well as their relationships to men and both finding their independence but also staying true to what makes them happy. And again, when we discuss it, it's a little tricky in terms of what that happiness is reliant on. It is ultimately a very conventional moral, moralistic play, but fun nonetheless. And then had a remake with my beloved Meg Ryan. Not a good remake, but a remake. So, yeah, those are our selections. To sum it up, we have American Psycho, we have Angels in Two Parter, Come From Away, Fat Ham, A Gentleman's Guide to Love and Murder, Jekyll and Hyde, Little shop of horrors, 9 passion, South Park, Bigger, Longer and Uncut, A Streetcar Named Desire, west side Story, the Remake, the Wiz Movie, and the Women. That is one, two, three Pulitzers. We've got three Pulitzers here. We have two Tony winning musicals and a bunch of other classics here. I'm very excited. I think this is going to be a very fun series. I know, I'm looking forward to it. I hope you guys are as well. And I've just got nothing else to say. I know we closed out with South Park, Bit Girl Hunger and cut the other day, which was just sort of on a whim. So I didn't expect it to actually be submitted. I didn't expect it to get picked. So I'm not going to close out with that. I say because it's probably going to be two weeks till we do the grossest episode and then maybe a rundown of the upcoming season and then going into Grab Bag. Why don't we close out with. Hmm, you know what I'm feeling? I'm feeling a little gay today and we haven't closed out with her in a long time. So we're gonna close out with Ms. Barbra Streisand herself. Because I enjoy Prime Peak Babs, don't you? Yes, you do. Okay, so that's what we're gonna do. We're close out with Barbara. I'll see you guys in about two weeks for the grosses episode and then for the upcoming Broadway season episode and then for Grab Bag. Should be fun. Oh, wait, I meant to say this. Yeah. Shit. Fuck. Okay, if you haven't done it yet, you should join the Discord Channel. A because it's fun. The link will be in the description for this episode. It is a fun group. Everyone is having a blast there. Again, we are now up to 160 members. Everyone's very kind and very considerate. We can be a little snarky, but no one has crossed a line yet. And I think it's very, it's a very respectful group. But the reason why I mention this as well is because as we get into Grab Bag, as you know, I try to get listener questions to, you know, cover certain topics for the shows that we, that we do deep dives on. I will not be taking to Instagram for those questions. I will be taking to the Discord channel and asking everyone on the Discord channel to submit topics or moments or things from the plays and the movies that they want us to cover. That doesn't mean we'll always get to cover them. Sometimes we run out of time or we forget. But on Discord, you'll be able to write out a much fuller in depth question or statement as opposed to Instagram where you only have so many characters. Also on Discord, I'm going to make it so that way people can share material that they find online that you can read or watch to bone up on the episodes before listening to them. We already have the Spotify playlist made by a listener, thank you very much. But you know, if people find scripts, if people find videos, if they go, oh, hey, this movie's actually streaming on Max. Like I think west side Story is streaming on Disney plus and I think the Women is streaming on Max, or at the very least the remake is. And I know come from away that pro shot is on Apple TV or Apple plus and the Angels in America miniseries is on Macs. And there are so many ways to get prepped for these things. And there are multiple bootlegs of many of these shows on YouTube and everyone's really good at finding stuff. So it's just a good place to sort of come in and get the materials you need so you can be informed when you listen to the episode because you can listen to it blind not knowing what we're talking about. And that's fine. Lord knows I do that on Blank Check a lot with the movies they discuss, but I think it's even more fun to know the material a little bit. And plus, if you. If you do the research, it's a new show for you to have in your rep. And I always say, knowledge is power. Don't. Don't just limit yourself to the four shows you like or the ten shows you like. Get into more shows. Maybe you won't like them, but it'll help inform you about your taste and who you are if you don't. Yeah. So that's it. Make sure to join the Discord Channel so you can then submit your questions or things about the shows or movies you want us to cover. I will be starting that subgroup on the Discord Channel this week, so look out for that when you do join. And that's it for now. Yeah, take it away, Ms. Barbra Streisand. And I'll see you guys soon enough. Bye.
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A
Else blue over you. I rather be blue over you with somebody else.