This transcript was automatically generated and might contain errors.

[0:00] Andrew: We've got a mission to find the best song that's ever been on Glee. There's no rhyme or reason to it, so don't get mad at me. Gleek it by Gleek it, we'll rank everyone to see which song will move closer to spot number one. Gleek of the Week, Gleek, Gleek, Gleek of the Week. It's Gleek, Gleek of the Week. We only got round four to save the Glocken. We only got round four. We only got round four to save the Glocken. Keep it up, keep it up. Tick tock, tick tock, tick tock. Gotta give them a Glock. Gleek Glock, Gleek Glock, Gleek Glock. I think this song's in round four, right? Or maybe it's first on the playlist. Oh, yeah, you were there. It was rare. Um, okay, so I, we're back from a little hiatus.

Every time that I take a little break off, I always feel like, hey, am I able to have a conversation that's recorded and also fun and also balancing all the things that I need to get done? And it's entertaining to everybody listening. And that's a lot of pressure to put on myself. And so I figured, you know, who do I feel most comfortable with? Other than the damn Gleeky guys that I talked to every single glam glay. Um, I'm talking about Charlie and Patrick. Hello.

[1:35] Charlie: Hi.

[1:37] Patrick: Hello.

[1:38] Andrew: I can't believe it's round four. I so I am recording from my work because I did not organize myself well today. And the very first time that I recorded, I was in this very same conference room. And that was like 2022.

[1:54] Charlie: In the same episode that Charlie was in.

[1:57] Patrick: Right.

[1:58] Andrew: I know. So basically, I feel so honored to be here for round four with my two, like, top, top two of the top 10 favorite Gleeks, top 15.

[2:14] Charlie: Oh, I love that. I'm glad that we made it. Um, so how do we feel to be in round four right now? I feel really scared.

[2:22] Patrick: I am very honored is also a good word. One, just the fact that the Glockett is in round four, like what an amazing accomplishment to you, Andrew, and also just like looking at the Glockett for round four. I mean, we've been saying the top 100 songs.

[2:41] Charlie: It's definitely about like, top 95.

[2:47] Patrick: We've got some sneaks. It's a great combination of hits and shout. Like there's a place for everyone.

[2:54] Andrew: And LaToya Jackson. I feel like I'm really looking forward to like the competitions having a bigger chance of being a lot tougher. I feel like there were moments of that for sure around three but it's one of those things where if I think back to myself in like 2022 2021 when we were first listening and thinking like, how exciting it'll be when we get a little bit closer to the end and it's like a little more intense.

[3:26] Patrick: Yeah, and just be like, that's so far away. But now I feel like it's here. Like this is going to be a little bit of a shift. I think it's that percents are going to be a little bit more intense in a good way. But yeah.

[3:40] Andrew: Yeah, I just I feel like, yeah, I feel like I said this at the beginning of round two. And I said this at the beginning of round three, but I think I actually do mean it with the beginning of round four, that it's actually getting real because there's also no vote backs that we're going into the round with 100 songs and only 50 will come out and there's like, that's it. Like it's like that's over. I don't I don't know, like what the case is going to be with round five in the future rounds. But I'm like the extent of like, vote back songs like that, that little safety net is no longer there, which is really spooky scary because depending on like the day, like we can make a really tragic decision.

[4:27] Charlie: But I think that like, I think that'll inspire more interesting conversations. Because a lot of times when you're listening, or even when you know it, you can kind of tell in the back of your mind, even if you don't say it out loud, like, oh, like people kind of know this one will probably come back. So it's not that big of a deal. I think immediately to last round Valerie versus rumor has it someone like you.

[4:54] Patrick: Yeah. And I feel like that one was one where, really, it's like we didn't have in the back of our mind that there'd be a vote back. Yeah, I feel like the conversation kind of would have gone a little bit differently. So I'm looking forward to it. But maybe like, when I participate in any of these, or when I'm listening, maybe I will regret saying that I like.

[5:17] Andrew: Yeah, I think about that all the time. Like, the concept of the glock if there had never been a vote back, I don't think that the songs we are going to be pulling this round. Obviously, most of them probably wouldn't be here. But I feel like we would have had more nuanced conversations. And I feel like there are some songs that have even now made it to round four, that got some easy passes because of voted back songs.

[5:42] Patrick: And so I think about, there are songs that I don't think deserve to be in round four because they were voted back. Blame It On The Alcohol is first on the hit list. I just feel like a song that's been voted back as many times as Blame It On The Alcohol has just such a stigma with it. And that it's gonna be very hard for me to allow her to progress further having this negative.

[6:07] Andrew: This career that she's had, that is like my father, my father has gotten this kind of like Nepo song.

[6:14] Patrick: Nepo Baby song.

[6:15] Andrew: Nepo Baby. I don't know. I think that also this lack of safety net will just kind of make us think about what like the classic things we say are. Like right now, I think back to round three and how many times did one of us say or you hear it being said like, Oh, well, like, that'll just come back or I really care about like this factor now. Like how how glee is it to me or how like, I feel like round four does naturally. I'm curious to see what the logic that the guests have is in this round. Like, are we gonna kind of update the culture of like how we know?

[7:04] Patrick: Like, I'm just kind of looking forward to it. So the lack of safety net, just the fact that we have 100 songs, a lot of them that are really good. Yeah. And that's just kind of, you know, the energy of a new round. Like I am really excited.

[7:26] Andrew: I'm really excited. I felt like I felt a little crazy with the round three finale that I was like, and that was such a special episode to put together. And thank you so much again for everybody that called in to vote. But I did feel I did feel like while I was creating this episode, that it took so much time to put together and I knew in the back of my mind that it's like, both songs are going to be in round four. Because I know, I know how this this vote back is going to work, that I'm like, it's still like a fun achievement within itself to finish the round. But it's still like that kind of like, oh, wait, what are we even doing if I know that Nutbush City Limits or One Less Bell To Answer A House Is Not A Home is going to be the one that gets voted back. So it's kind of like nice to like, think like, okay, that's not going to be there anymore.

[8:10] Patrick: I do fear that not to put myself on blast like this. But I do fear that and you've you both have called me out. I've become I became a little bit more busy in recent in recent months. And so and so it's like kind of the glad casting as a medium, as an art has has taken, I fear a little bit of a backseat.

[8:37] Andrew: But I really do want to become very self aware. And I don't want to fall victim to and I want everyone to call me out when I'm falling victim to glee for dummies. And I don't want to be voting with glee for dummies in mind, because I'm not actively thinking about blacketing, because I have all the all this other shit that I'm dealing with.

[8:57] Charlie: I think that you should give yourself a little bit more credit. But like the I think when, at least I've called you out, I lose track of all the things I call you out about. But I think it's more when you don't want to fight for what I think you really want. That's when I'm like, Andrew, I know you should have fought for love song. Why didn't you fight for love song? Like, that's when I sure knocking on your door.

[9:24] Andrew: But I think the act of like having to do one of these every single week is very I just need to throw in the towel at some point and love song isn't using love song as an example. And I think we need to we need to lay to bed love song discourse. Actually, this is the last time the last episode that we're going to talk about this damn song.

[9:46] Patrick: But love song, I threw in the towel with that one, because it's like it already had such a such a beautiful career where it like it won round one, it lost round two, it had this beautiful blossom at the end of round two, where it came back. And then in round three, it did get it did eventually get voted out. And so many songs didn't get to be talked about enough.

[10:10] Andrew: Like, like as much as love song. And so I think that like, love song, honestly, we're at the end of the day, this entire exercise is just to talk about songs from Glee, if nothing more. Is that crazy to say?

[10:23] Charlie: No, that's so true that we're just simply discussing the songs. And so love song got discussed so much as a result of all the shit that it got went through, whereas because like, same with like, another one that we should never talk about again, like so emotional, like,

[10:41] Patrick: so emotional. Plenty of airtime, but I do want to I made a promise before I forget, and I think that this is a really great segue. I think we're gonna have a bonus song within this episode, we're going to watch a song that was voted out in round one, I made a promise to a really dear friend of mine, his name is Eduardo. And he, I promised him because he made a really, really valid campaign to like have creep back in for round four creep did not get voted back for round four. But I told him, you know, in the round four premiere, we will discuss creep.

[11:25] Andrew: So flowers, give her her flowers. Do would you like to go on this journey with me and watch creep and discuss it right now? If we have to? What does he have on you?

[11:37] Patrick: Well, I just think, okay, because like, it's crazy, because a few months ago, what the buck himself, Michael Buckley came to New York, and we we went out for drinks, and he's very kind person, I posted this story. And Eduardo responded to the story was like, Michael Buckley was responsible for killing creep. Michael Buckley was was the the vote that killed creep. And so it's like, that's how much it's like kind of like existing in Eduardo's mind. And I think we didn't really that was in the era of the podcast where we weren't really discussing songs as much as they probably should have creep I think.

[12:20] Andrew: You'd six times an episode. Okay. 47 minute episodes. 47 minutes. Yeah. Did you vote for creep or did Allison actually let's find out together.

[12:32] Patrick: Oh, it was against home season one Kristen Chenoweth. Yes. So the right song went through but we're gonna listen to creep. Got it.

[12:50] Andrew: Okay, okay, Eduardo, this is not only on Michael Buckley, every single person voted for home. Oh, wait, wait, Allison Dodge voted for Allison Dodge voted for home, the Instagram leaks for creep, which also like, we're really putting our trust in those people.

[13:12] Patrick: Okay, no, I do. I do want to watch this because in this episode is love song. I did the same episode is love song. Yeah, I do think that, like we were just talking about how the point of this is to like discuss Glee songs, what have you. And I think that there are and I totally get where Eduardo is coming from. There are some songs that like, are so incredible, iconic, and they died in round one, there was a lot going on, there was a lot to get through. And I think that's the hard part is when, like a song that really deserves more, like only made it to round one or round two.

[13:56] Andrew: I think that's why there's like a lot of bitterness sometimes about it. But now we're in round four. It's like any song that goes home. I think that there's gonna be a lot of them but like you, there's always that consolation like you made it to round four and like really good songs like creep didn't even make it past round one.

[14:15] Patrick: But you just said that creep wasn't good. What's the what it was the right song went through.

[14:20] Andrew: Oh, it wasn't good. My, my biggest problem in question, and Eduardo, Andrew here, Patrick actually did say.

[14:35] Charlie Gordon: Mine is "Every Breath You Take," which I feel the same way that Eduardo feels about "Creep," about "Every Breath You Take." But my question genuinely is, is that really the song for you, Eduardo? Or is that just one of them? Because it's not even the best Rachel duet. It's not even the best song for that. Wait, would you say it's the best Rachel Brody duet? I guess not. No, it's not. Give your heart a break. You also died in Round One. No, it's not. "A Change Would Do You Good" is the number one Rachel duet.

[15:09] Patrick Sammon: Makeover?

[15:10] Charlie Gordon: No, I'm making a joke. It's a joke. Honk, honk.

[15:13] Andrew: Yeah, no.

[15:14] Charlie Gordon: Oh. Okay, wait. Okay, so we're watching "Creep." Let's watch the damn thing.

[15:18] Andrew: Okay. Now I feel crazy because now are all the Gleeks going to come out of the woodwork and be like, you need to talk about this song. You really need to think about that because... Patrons, this is not your opportunity to...

[15:31] Charlie Gordon: Would the patrons vote for a song to have a moment of remembrance in certain episodes or something?

[15:39] Patrick Sammon: That'd be kind of fun.

[15:41] Andrew: Sure. We're looking at the first thumbnail.

[15:45] Charlie Gordon: Oh, the bangs.

[15:46] Patrick Sammon: It's teary bang troll.

[15:49] Andrew: Here we go. Can I say some things?

[15:53] Charlie Gordon: Please do.

[15:55] Patrick Sammon: Yes.

[15:56] Andrew: Are you both at a loss of words or do you have things that you need to say?

[16:01] Charlie Gordon: I have things to say.

[16:02] Patrick Sammon: I have things to say.

[16:03] Andrew: You need to say.

[16:04] Charlie Gordon: I want to start off by saying that I was regretting as we were having a conversation of what is the can of worms that is potentially being opened by being like, hey, Eduardo wants us to talk about this song and here we are talking about this song. But I will say, no, I really enjoyed doing this because it wet my palate and it was perfect timing because I was like, okay, let me get into the zone of watching a Glee performance and talk about it after like over a month of not doing it. So I liked it. I had a good time watching it. I have a lot of notes, actually.

[16:40] Patrick Sammon: I had a lot. I took a lot of notes.

[16:43] Charlie Gordon: My very immediate reaction was I forgot how 2012 they dress in season four. Like Rachel's is Rachel wearing the dress that everyone thought was white and gold and also blue and black. Like it took me out. Also, Brody's cardigan. Like, why were we all wearing cardigans? And then I was watching the ballet scene and I was like, this is "Total Eclipse of the Heart's" ugly stepsister.

[17:07] Patrick Sammon: Oh, my God. Yes.

[17:09] Charlie Gordon: They wanted to recreate what that was in season one so bad. And what makes "Total Eclipse of the Heart" work so well is the ballet.

[17:17] Andrew: Yeah, I love.

[17:18] Charlie Gordon: Who wins it for this? Eduardo, thank you for your fervent belief in this exercise.

[17:25] Patrick Sammon: But Mama, no, no, I.

[17:31] Charlie Gordon: Patrick, go ahead.

[17:36] Patrick Sammon: I think that some people get really entranced by a really high Rachel vocal. I'm thinking about what's the season six episode "Uninvited."

[17:51] Charlie Gordon: Yeah.

[17:52] Patrick Sammon: And people are you talking about?

[17:53] Charlie Gordon: Let it go.

[17:54] Patrick Sammon: Right.

[17:55] Charlie Gordon: Not talking about "Uninvited" vocal.

[17:57] Patrick Sammon: Okay.

[17:58] Charlie Gordon: Okay.

[17:59] Patrick Sammon: No one's understanding that I'm making jokes this episode. I'm so sorry.

[18:05] Andrew: Okay.

[18:07] Patrick Sammon: Okay. So the point being that like there are ways that we have Michelle sings that like really just like get stuck in your head and like you can't get it out. I think of the faithfully runs that she does like that's and I feel like I can understand that but I struggle to love this one because like I don't care about Rachel and Brody.

[18:42] Charlie Gordon: I think that yeah, we made a joke about it, but Brody does kind of is never seen again.

[18:48] Patrick Sammon: It's and like though the thing that I really don't like about like every Rachel of interest besides Finn is that we really don't understand if these people actually love her like Jesse St. James and Brody are both kind of like, I guess they really did actually love Rachel even they treated her like shit because like they said they did and they're hot.

[19:16] Charlie Gordon: Okay, so I'm not the biggest fan of them and in general like it sounds good to my ears but the performance doesn't do anything for me.

[19:28] Patrick Sammon: I'm going to change my IP address. I am going to double check every piece of mail I get.

[19:39] Charlie Gordon: I'm very scared of saying those things but it had to be said.

[19:44] Andrew: No, I fully agree with Pat and Andrew. I think how I feel about Rachel specifically in "Creep" is also how a lot of the conversation about Lea Michele not getting a Tony nomination is happening right now.

[19:57] Patrick Sammon: Oh, no, we can't.

[19:58] Charlie Gordon: No.

[19:59] Patrick Sammon: We don't have the time.

[20:00] Andrew: We don't have the time.

[20:01] Charlie Gordon: Stop.

[20:02] Patrick Sammon: But also I just want to say Lea Michele is so afraid to sing bad and you can you can witness it in "Chest." You can witness it on the "Chest" recording. That's why she didn't get a Tony nom because she's afraid to sing bad.

[20:13] Charlie Gordon: If you don't know what I'm talking about.

[20:14] Patrick Sammon: What does that mean?

[20:15] Charlie Gordon: Like she's just so trained and she's just such a perfectionist.

[20:19] Patrick Sammon: What do you mean she's afraid to sing bad?

[20:22] Charlie Gordon: Like listen to "Nobody Side" on the "Chest" recording and then go listen to any song that the girl that plays Finn, Lana is Hannah Cruz. I think it's her name.

[20:31] Patrick Sammon: Yeah, it's singing like she sounds bad on the recording because it's she has so much emotion. Lea Michele is like I'm here to sing. Lea Michele sang that song very beautifully.

[20:41] Patrick Sammon: But that's all she did.

[20:42] Charlie Gordon: She sang very beautifully.

[20:43] Patrick Sammon: And if you go watch "Chest," she kills it.

[20:46] Charlie Gordon: But her character doesn't have anything other than her dad walking out at the end, which is the best part of the entire show.

[20:52] Patrick Sammon: The best part.

[20:53] Charlie Gordon: If you go watch Mickey Joe Theater, this is a shameless plug.

[20:56] Patrick Sammon: Mickey Joe Theater.

[20:57] Charlie Gordon: Not Mickey Joe Theater. He's listening.

[20:59] Patrick Sammon: I know he is.

[21:00] Charlie Gordon: He does an entire episode on why Lea Michele didn't get a Tony Award. And I feel like every single person like the circle of League of the Week listeners is the same circle as Mickey Joe.

[21:10] Patrick Sammon: Mickey Joe.

[21:11] Charlie Gordon: I don't know. I think it's like kind of like it's the most Lea Michele thing that could have happened is to not get a Tony nomination.

[21:15] Patrick Sammon: Perfect way to explain it.

[21:19] Charlie Gordon: That's my exact feeling. It's just like, oh, that's another drop in the Lea Michele weird-ass career bucket.

[21:26] Patrick Sammon: And that's all I really have to say.

[21:31] Charlie Gordon: I think that like the thing with her is that she really is drawing in like attention and audiences and stuff just because, like it or not, like the story of her career and her being like half taken seriously, half meme is really generating a consistent stream of buzz.

[21:55] Patrick Sammon: So I think it was probably really disheartening to her.

[21:58] Charlie Gordon: But I think that like I believe in the butterfly effect. Like maybe if she had not sang "Creep," she would have gotten a Tony nomination.

[22:10] Patrick Sammon: Maybe she didn't.

[22:11] Charlie Gordon: Maybe she was like, Adam Anders, I'm not coming into the studio. You're going to have to find somebody else to do it.

[22:15] Patrick Sammon: Who would have done it?

[22:16] Charlie Gordon: Who would have done it?

[22:19] Patrick Sammon: It would have been Santana and Brody.

[22:22] Charlie Gordon: They would have like worked it out in the remix kind of thing.

[22:26] Patrick Sammon: I really think it would have been Marley.

[22:28] Charlie Gordon: You think of Marley?

[22:29] Patrick Sammon: Marley Brody duet.

[22:30] Charlie Gordon: Can I please fucking say all of my notes about this song?

[22:33] Patrick Sammon: Please, please, please.

[22:35] Charlie Gordon: Okay. First of all, the lyric "couldn't look you in the eye" always takes me out.

[22:42] Patrick Sammon: Isn't the saying "couldn't look you in the eyes"?

[22:45] Charlie Gordon: Caught. Boom. Busted. What does that even mean?

[22:50] Patrick Sammon: Sleeping turns.

[22:52] Charlie Gordon: They take turns sleeping.

[22:54] Patrick Sammon: I hated that.

[22:56] Charlie Gordon: Right?

[22:57] Patrick Sammon: Thank you for saying that.

[22:59] Charlie Gordon: It almost feels like one of them is like keeping lookout.

[23:02] Patrick Sammon: Like they're going to get robbed.

[23:04] Charlie Gordon: And so like we're going to take turns sleeping.

[23:07] Patrick Sammon: And they're just like, hey, Brody, it's your turn.

[23:10] Charlie Gordon: It's your turn to keep watch.

[23:13] Patrick Sammon: I'm going to sleep.

[23:15] Charlie Gordon: And then it's like the other person sings while the other one's trying to sleep. Kind of a gag.

[23:25] Patrick Sammon: Oh, and then also this kind of like I realized this for the first time.

[23:30] Charlie Gordon: They really take the lyrics really literally with this one with running out the door.

[23:36] Patrick Sammon: I think it's actually so funny that they have them running down the hallways while they're singing the she's running out the door.

[23:48] Charlie Gordon: The Michele high note right there. Did you hear that?

[23:50] Patrick Sammon: Was I able to?

[23:54] Charlie Gordon: Yeah.

[23:56] Patrick Sammon: The what?

[23:58] Charlie Gordon: Afraid to sing back.

[24:00] Patrick Sammon: What do you want to say?

[24:04] Charlie Gordon: I will say that this was a heavy stream for a heavy stream.

[24:14] Patrick Sammon: This is a heavy stream for me in high school because I'll be so real with everybody.

[24:20] Charlie Gordon: This was the version that I knew before the original.

[24:23] Patrick Sammon: And I'm not afraid to say that.

[24:25] Charlie Gordon: I was 17 years old. And the Glee version was the first version. But I will say, okay, I realize why I probably don't like this song. And here's my trauma.

[24:37] Patrick Sammon: I like this song.

[24:39] Charlie Gordon: And then there was a guy on my cross country team that we had pasta night all together at one of our teammates' houses. And there was karaoke. And this one guy, I won't say his name because why would I? He sang "Creep" for karaoke. And then a few months later when I came out of the damn closet, I had so much fucking shit in my drafts for my Twitter. Because this was when I was really into tweeting. And so I had so many things where I was like, I'm going to tweet this after I come out because it's so fucking funny. And I can't wait to tweet it. And then he tweeted, okay, man, we get it. And I was just like...

[25:23] Patrick Sammon: So now I think I kind of associate "Creep" with that trauma for me.

[25:30] Charlie Gordon: Does that make sense?

[25:32] Patrick Sammon: Yeah, man, we get it.

[25:34] Charlie Gordon: Yeah, man, we get it. I was just like...

[25:38] Patrick Sammon: I'm finally being real about my identity.

[25:40] Charlie Gordon: It totally does.

[25:42] Patrick Sammon: I think of...

[25:44] Charlie Gordon: I'm not going to share.

[25:46] Patrick Sammon: I still hear songs on the radio that I have to skip because it reminds me of something that still upsets me from when I was 16.

[26:00] Charlie Gordon: I've told this story before on the podcast that I tried listening to "Hey Jude," Beatles version, not even damn Glee cast, in the car with my friend in high school. And she said she can't listen to this song for personal reasons.

[26:15] Patrick Sammon: To this day, I don't know what those personal reasons were.

[26:18] Charlie Gordon: But that's what comes up for me every time I think about "Hey Jude."

[26:22] Patrick Sammon: Wait, we need to adopt this.

[26:24] Charlie Gordon: Or at least I do.

[26:26] Patrick Sammon: When you hold the song and I don't want to talk about it.

[26:30] Charlie Gordon: I can't listen to this for personal reasons.

[26:32] Patrick Sammon: Sorry.

[26:34] Charlie Gordon: It wasn't a joke.

[26:36] Patrick Sammon: She was being for real.

[26:38] Charlie Gordon: I'm still friends with her.

[26:40] Patrick Sammon: I probably could text her.

[26:42] Charlie Gordon: I hope that the trauma isn't as large anymore.

[26:44] Patrick Sammon: I would hope.

[26:46] Charlie Gordon: I also feel like even though there are things that when we were teenagers stick with us and still are heavy on our hearts.

[26:53] Patrick Sammon: You're saying there are things that we overblew.

[26:55] Charlie Gordon: Oh yeah. It could be like this guy that flirted with me in 7th grade and never talked to me again said that he loved "Hey Jude." That could have been it.

[27:07] Patrick Sammon: I'll find out.

[27:09] Charlie Gordon: Keep me accountable.

[27:12] Andrew: This is someone I still frequently talk to. Are we ready?

[27:16] Patrick Sammon: Is there anything final we need to say about "Creep"?

[27:18] Charlie Gordon: No.

[27:20] Andrew: No.

[27:22] Charlie Gordon: But you know what? If you want an entire dissertation.

[27:26] Andrew: Please go to Patreon and go to the comment section of this video.

[27:30] Charlie Gordon: Eduardo will be there. Trust and believe. Eduardo, I feel like you're still not pleased with the discourse that was just had around this song that you were campaigning for us to talk about.

[27:40] Patrick Sammon: Or just to have back in the glacket.

[27:42] Charlie Gordon: I hope you're happy.

[27:44] Andrew: I hope you're happy now.

[27:46] Charlie Gordon: Okay. Before we get into song number 1 of round 4.

[27:50] Andrew: I feel like I say this all the time. Here we go.

[27:52] Charlie Gordon: Gloysmail.

[27:56] Andrew: I feel like you guys are going to have shit to fucking say this round.

[27:58] Charlie Gordon: Let it be known.

[28:00] Andrew: Let it be known that the effing Gloysmail number is 347-719-1177.

[28:02] Charlie Gordon: Let it be known that the effing Gloysmail number is 347-719-1160.

[28:04] Andrew: Again. Save this in your damn phone. 347-719-1160. If you are livid about something that happened.

[28:12] Charlie Gordon: Or really happy.

[28:14] Andrew: That would be also nice.

[28:16] Charlie Gordon: About something that happened. I want to hear about it.

[28:20] Andrew: And I look forward to hearing those Gloysmails. What are we listening to?

[28:24] Charlie Gordon: What are we listening to?

[28:26] Andrew: What are we listening to?

[28:28] Charlie Gordon: What are we listening to?

[28:30] Andrew: What are we looking forward to hearing today?

[28:32] Charlie Gordon: What do we want?

[28:34] Patrick Sammon: I really.

[28:36] Charlie Gordon: I really just want.

[28:38] Patrick Sammon: I want to cry.

[28:40] Charlie Gordon: Not in a sad way.

[28:42] Patrick Sammon: I want to start round 4.

[28:44] Charlie Gordon: With nuanced conversations.

[28:46] Patrick Sammon: About emotional impact.

[28:48] Charlie Gordon: Of this television show.

[28:50] Patrick Sammon: Specifically.

[28:52] Charlie Gordon: I want "Faithfully."

[28:54] Patrick Sammon: I feel like what a way to start round 4.

[28:56] Charlie Gordon: With arguably.

[28:58] Patrick Sammon: The best performance.

[29:00] Charlie Gordon: Go ahead. Pull it out.

[29:02] Patrick Sammon: I feel like.

[29:06] Charlie Gordon: It doesn't have to be "Faithfully."

[29:08] Patrick Sammon: But something "Faithfully" ask.

[29:10] Charlie Gordon: I want something.

[29:12] Andrew: That we start this round setting a precedent that these are going to be tough conversations. These are going to be emotional conversations. We are going to be walking away from this exercise as better people. Now, if that involves pulling the best duet ever on this show, I will happily be the I will volunteer as tribute. But songs like "Faithfully," "Songbird," I think about season five's version of "Loser Like Me," I think is genuinely one of the most beautiful songs ever written. Those songs that... Audio medium, Patrick, how would you describe?

[29:48] Patrick Sammon: Patrick is very, very upset right now. How are you responding?

[29:51] Andrew: One of the most beautiful songs ever written. I want you to live your truth. Continue speaking. No, but no, I just feel like we love to have fun on The Glockett. We love to have like very fun. Like there's "Let's Have a Kiki." There's "Gloria." There's "Shout" is still here for some reason. And those are those songs are fun to talk about. But there's only so much fun you can have. Like I want to have educated, emotional driven conversations in round four. And I feel like in order to do that, you have to be able to pull out the heavy hitters. Like, go ahead and pull "I Feel Pretty," "I'm Pretty." Pair them up against each other. Let's talk about it. And let's start this round off the right way. Let's not just coast through these episodes just to keep this exercise going. Like let's knock some heavy hitters out. That's and then this is why this is why you both were booked for the premiere. Thank you so much. Patrick, what do you want to see?

[30:47] Patrick Sammon: Um, I resonate with what Charlie said a lot. Like I think that for whatever reason, I feel like when a really great song is pulled, especially against one that's like, maybe a daughter, the collective understands that it's not going to go through. I feel like sometimes we don't like dig deep enough into like, why this song means a lot to you want to give the songs their flowers, you want to actually talk about the good. I think that's why like the hard competitions are so fun. Because yeah, like it's like maybe higher pressure, but it also, I think unearths a little bit more to talk about. But I do want to have a lot of really good emotional conversations. But I also still want to have some like random ass crap happen.

Like I do like it when like a song that we were not expecting is actually the winner. I like it when "Natural Woman," random things like still kind of creep into the clock. Next, you know what creep mentioned, you can put them words. I think I'm looking forward to like just more Glockett lore. Like, that's what's fun is when there's a bit but then when also there's like an emotional moment like, there can just be so many highs and lows in these episodes. And I'm just excited to get started. And I'm, yeah, I don't know, I'm interested to see what we're gonna pull tonight. But I guess what I'm really looking for, if I had to pick like song wise, is I'm always just gonna hope for some of the ones that I can advocate for that I think are good. So I'm hoping for some of my faves.

[32:48] Andrew: And I do want to say that if I did the math correctly, so there's 25 episodes in this round to get through all 100 songs in round four. And I think if I'm correct, then that means that there is like t minus 50 episodes left of this podcast. I know that people love to make jokes about like how it's going to go until like decades. But hey, you could finish this year if you didn't stop.

[33:18] Patrick Sammon: Oh, if I didn't stop, yeah, I think I would have been done. That's sad.

[33:24] Andrew: I'm not even lying. Like, I got like a like, like my heart dropped from my stomach, like genuine.

[33:31] Patrick Sammon: I know. Well, I when I did the math, it I already had that reaction. That's why I'm like kind of being able to be like tiki about it right now. But um, yeah, no, it's kind of insane to like realize like, oh, it's way much more done than there is to go. So it's time to start the victorious bracket. Make it shine. I'll pass the baton to you, mama.

[33:58] Andrew: Yeah. Okay, next. Here we go. Here's the first song. Let's see. It's really gonna set the tone. I wasn't even thinking about this one. I like it. I just don't think about it. And you're already Oh, this thumbnail gives it away. Easy. Boom.

[34:13] Patrick Sammon: Yeah, jump. I take back everything I said about emotions. That was Oh, that was precious. I love whimsy. Oh, I love I love I love when Okay, I feel crazy because like this song. No, I Charlie, I want you to like, I hate starting the round off like this. Because this is a song that I feel like I don't I don't really understand. I understand that there's water be they're having fun. And I love Okay, I'm like, I love that they're the mattress commercial plot. I think it's so fun and silly. And of course, like jump as a song is like very mattress commercial coded. And so I think it just like works. There's something about it. And I think maybe it's original artists that I'm not maybe that's where it's like not sticking the landing Van Halen.

Yes, correct. That I'm like, this is maybe where you lose me. I understand that. I'm just listing things about the song. Now I'm just going through the Glee wiki trivia in my mind. I love the thing. I think this is the highest note in the entire series that what what Amber Riley does. I think is this even higher than "I Know Where I've Been" Alex Newell clock me.

[35:40] Patrick Sammon: It sounds higher. Yeah, I think it's um, but I just I don't. This one is like kind of one that I just like I'm not thinking about. And I wonder why that is.

[35:55] Andrew: See, I, I never stream. However, and maybe it's because of what we just had to sit through with Eduardo. But like, seeing such goodness from season one, such joy, such whimsy. Also babies. Yes. Like, Kurt was 12. And like, I wrote down Kurt and Quinn snuggling like that, just that part. Oh, and so I think it's like, wasn't season one so good. And then it's either I love season four. But it's like, they had there was such a lightning in a bottle at the beginning. And that lightning fizzed out. And so like seeing creep and maybe it's because I have maybe it's the recency bias that's making me love jump more. So it'll be interesting to see how I feel when we pull the next song.

[37:22] Patrick Sammon: Well, because we're not competing. Creep, creep and jump. Do not get it twisted. It's not a creep jump.

[37:30] Andrew: Yeah, it's not a jump creep. And so I did I love the little old man jumping. And I love Quinn clapping Diana, Diana always you have to clock the Diana. You need Diana clapping. Clocking the die.

[37:43] Patrick Sammon: You're just saying title options now.

[37:46] Andrew: And I'm clocking that. I'm clocking the die. I and again, so I want to pause my thoughts and give it to Pat. Because again, do I feel this way because of how bad creep was? We'll come back more more of this at seven.

[38:07] Patrick Sammon: Yeah. Okay. So Patrick, what are you thinking?

[38:10] Um, one of the quotes from last round that stuck with me the most was one that Ian said when he was actually explaining one of the like interviews that the creators did. So maybe he's like re quoting it, but it's like glee is at its best when it's not taking itself too seriously, or the stakes are lower.

[38:29] Andrew: Yeah, like, this is some that's something that like really resonated with me because those are my favorite moments. The ones where it's not. Santana and Rachel are fighting over like who's gonna be on Broadway like that. Yes, no, it's fine fun TV and I'm not mad that we have it. But like the best glee moments to me are when they are having silly fun in high school.

[38:50] Patrick Sammon: And I remember watching this episode with my sister because I had the glee season one DVDs that I got for Christmas. And I was like making her watch all of them. And I remember this being one that I was like, really excited for her to see. She's a few years older than me. And I think she was like, Yeah, I have nothing to do on Christmas break. So I'll watch these with you. But you know, when you're like showing someone something that you really care about, and you're like, well, like, maybe Yeah, like this one isn't that great. But like, this one is undeniably, you have to think it's great, guys, we need to get through that we need to get through Acapella's first before we get here. Everybody, especially people like us have that where it's like, we love this niche thing. And like, I promise there are parts of it that are like so undeniably you don't want to be the coworker showing the YouTube video to you.

[39:10] Andrew: Yeah, exactly. I remember feeling this way about this one. So I kind of really do view this as like pretty peak glee. And one thing that I don't know if it's been, you know, articulated on this podcast before, and maybe I'm even wrong, but I do feel like season one, we got a lot more like shooting on location moments than we did as the series went on. And I think that's part of it too like, the world seemed like more real in season one.

[39:43] Patrick Sammon: Yeah. And like, as it went on, it really felt more fantastical. And I think that like, when I think about why season one was good, a lot of it is because I think that they like invested more in building the world. Like, like the kids got so excited to be on a mattress commercial. Like, that's just like a fun part that like, really, that sort of like special humor, like real, like capturing that excitement of high school kids essence really got lost as time went on.

[40:26] Andrew: Because I'm imagining, like, season five cast, like talking about going potentially doing like a mattress commercial, like in my mind, I just like it wouldn't work.

[40:38] Patrick Sammon: No, no, but I'm thinking like, we're gonna do a mattress commercial and me watching season five being like, I know that they're not fucking gonna go, we're not going to see them going to a mattress store, because we're stuck at this fucking school. We'd never go on location with this, this group of Glee Club members. Even when they went to fucking nationals. It was in LA. A few feet away from where the choir room is.

[41:07] Andrew: Yeah. No, I guess like, to me, Patrick, when you pulled it, you said that you weren't like thinking about this one, or this was one that you get so much. Like, to me, when I actually think of season one, I do think of this song. And it might be me in the minority of all the Gleeks. But like, this one has always kind of, like been lodged in my mind as like, for all the reasons that I explained, one that was like a little more special and different. And one that is memorable. But I can't say that, like, if this one loses in round three, or sorry, four, round four, I'm gonna be particularly devastated. Like, I could see a lot beating this. I also see myself defending this one, depending on what's picked next.

[42:01] Patrick Sammon: Yeah, no, I fully agree. And I also think about "Jump" in the context of "Mattress" as an episode, which, yeah, I like to think about, like, if you had to pick one episode from each season that like, embodies that season, that story, I do think you could make a really good argument for "Mattress." Like, greatest, like, unironically, like, I think the greatest acting in the entire series is done between Jocelyn Gilsing and Matthew Morrison. And in that episode, I think it's like, you made yourself a stranger to me.

[42:38] Andrew: I can't even think of any quotes for the pocket square.

[42:41] Patrick Sammon: I look at you, and I think about what we once had.

[42:51] Andrew: Like, if there's a Sporkle quiz about like, the dialogue in that scene, like, 93%, for sure, between the three of us. I look at you, and I think about what we did. What was your plan?

[43:07] Patrick Sammon: Um, wait, I think that, okay, so I have two, like, fun trivia things to share with you. Okay, so this was the first song pulled in round four, obviously. The first other songs of each round, do you wait? Maybe? Do you happen to know either of you? The first songs of round one, two or three? This is crazy trivia to be dropping on you very, very first. Yes.

[43:33] Andrew: The very first song was a Christmas song, wasn't it?

[43:36] Patrick Sammon: No, the very first winner was a Christmas song.

[43:38] Andrew: Was it? Um, crap. I mean, I don't remember.

[43:47] Andrew: The first song pulled in round one, or just generally, was You Can't Touch This.

[43:54] Charlie: Oh, this is so interesting. Okay, so all of them have been losers so far.

[43:59] Patrick: So You Can't Touch This, Lost, Here Comes Santa Claus, Nowadays, Hot Honey Rag was round two.

[44:06] Andrew: Eduardo, fight for that one!

[44:08] Charlie: Wait, where?

[44:10] Patrick: We need some goop.

[44:12] Andrew: Now, oh, I'll stand by you, won over Nowadays, Hot Honey Rag in round two premiere.

[44:19] Patrick: Round three premiere, Bills, Bills, Bills was the first song in that, Lost, The Total Eclipse of the Heart. And now here we are with Jump. Is Jump going to break the curse of being the first song? You know what I mean?

[44:32] Charlie: Yeah, yeah, yeah, yeah. I love, I love Gleek of the Week trivia.

[44:36] Patrick: And then also, my other piece of trivia here is I have been compiling, I've mentioned this before. Let me share my screen because it's like easier for me to show you. Okay, so with Jump, in round one, it won against Because You Loved Me. In round two, it won against I Love New York, New York, New York mashup. That mashup won against Dancing With Myself in round one. And then in round three, this was in the, I thought like, what was even happening? This was in the Abraham and Lily May episode, where Jump won over It's All Over. Not on my watch, not on my watch. But It's All Over has been shouted out loud, a song that no one ever remembers. Certainly not I. And somebody that I used to know, and somebody that I used to know, beat the Chipmunk song. So Jump, that's Jump's entire career, if that makes sense.

[45:41] Charlie: Yeah, I like that you're doing this.

[45:42] Patrick: Yeah, I like that.

[45:44] Andrew: Definitely. I had an episode with Emily, shout out Emily, last time. And we talked a lot about, should Jump have beaten It's All Over? And I said that Jump should have beaten it.

[46:03] Charlie: Why?

[46:04] Patrick: I think, probably similar to what I said already, but I think it's kind of, well, It's All Over had elements of, like camp that were just kind of silly. Like, she's better than ever running for president. Like that to me isn't fair.

[46:19] Andrew: Oh, I do remember this conversation.

[46:21] Patrick: Even though it's fun. And I really do think that Jump is like, an unsung, kind of like, quintessential season one song to me.

[46:33] Andrew: Okay. So I feel better about this. I kind of went into the discourse around this song with a stinky attitude.

[46:41] Charlie: You think that Emily, you broke Emily's rule because you pulled it from a cup and you're like, I don't like this one.

[46:47] Patrick: Yeah. This is an interesting competition. I'm not going to respond to what you just said.

[46:57] Andrew: This is really fascinating. I don't think that either of you have been here for this song before. But I feel like there's kind of an argument against this song for some reason. And actually, I know what the reason is. You know what the song is. Boom, boom, boom, bam. You know what this is?

[47:15] Charlie: Of course. This is an argument against this song.

[47:19] Patrick: There is an argument against this song.

[47:20] Charlie: No, I know the argument against this song.

[47:23] Patrick: And I will defend the fuck out of this song.

[47:26] Andrew: So you're defending the fuck out of her, her being Gloria. Here we go.

[47:31] Charlie: Gloria. So press play.

[47:34] Andrew: Give me one good argument against that song. Go.

[47:37] Patrick: No, I get it. I do understand the argument.

[47:39] Charlie: Wait. Say the argument.

[47:42] Patrick: No, I don't. I don't agree with it. But I understand the argument against it.

[47:45] Andrew: No, go on. Tell me.

[47:47] Patrick: There are some people that feel like it's just very stupid and very unnecessary and very just annoying. And it's also like, if you're entitled to your wrong opinion, like, that's fine. Like, my only qualm with it, which I think is actually hilarious and gives it bonus points is the scene right before the song, when the owner walks up. That lady wants you to sing to her for her birthday and her name is Gloria. Her happy birthday. Like, and he's like, offended that she doesn't know to sing Gloria. That's hilarious. And again, that's what makes Glee the best when the stakes are so high for something so stupid. Them having a full on diva off over singing to this random white woman. That is the. Okay, so I think this what you just said, Patrick, in the conversation around Jump is perfectly brought together in this competition, Jump versus Gloria.

Because I feel because you mentioned, like, what Ian has shared before, where it's like the Santana Rachel feud is like entertaining, but like, it's like, I would rather see them do a mattress commercial. So I'm hearing both sides. But I'm also hearing, I'm hearing Allison Dodge's point, but to me before that really opened my eyes. Allison said, isn't the Glackett just voting for the song that you like better? And honestly, that's what's coming to mind right now. I'm, I definitely prefer one song and they stream one song far more than the other. But is that suffice to say that it's like, okay, I understand that there, this, there are some qualms with this Pesbary feud plot, whereas the mattress plot, I struggle to find anybody with a problem with that one. You know?

[49:44] Charlie: Yeah.

[49:44] Andrew: But to your point, Andrew, at the beginning, when you said you don't want this to be Glee for Dummies, I think Jump is a great example of Glee for Dummies. There's all the original cast. Everyone's having a good time. I think they did this song on tour like they did.

[49:57] Patrick: Yes.

[49:57] Andrew: Whereas Gloria, no one, no one.

[50:00] Patrick: There was no, honey, there's no tour. There's not even going to be a house.

[50:03] Charlie: The three of us were the only three streaming the original episode like.

[50:10] Andrew: I think it's very, it's just circumstantial that I mentioned, I don't want to see the Rachel Santana feud. Jump and then we get this. That's kind of funny. But what I, I agree with how you're assessing it, Andrew. These are two examples of Glee not taking itself too seriously. And it's, you know, resulted in two really excellent numbers that are great. I think that for Gloria, yeah, we were probably the only people streaming it. Obviously, a lot of the other Gleeks were watching episode two. But this was a moment. Actually, this was a moment. And why I really love this is because I needed this really bad. In season five, I was like, in college, like doing shit with my life. And I was like, am I really going to like make an effort to like, keep watching the show every Thursday or Tuesday or whenever it was in season five before it got the death slot Friday and season six. I was like, when did we move to Fridays? Like that was.

[51:19] Charlie: Yeah, but like, it was kind of like, I remember, I wasn't like embarrassed about it or anything. But people were like, let's like get dinner. And I was like, Oh, maybe like a different day. Because like, you know, my mind, I'm like, I want to go to my dorm and watch Glee. It was, it was, it was getting tough back then. And I remember, literally this song, I watched it. And like, that is motherfucking Glee. Like this is so good. It's so fun. Musically, it's amazing to my ears. Stream, stream, stream, stream, stream, stream, stream. Like, I remember just being kind of reinvigorated by this song. And this like, it reinvigorates me in general, like jump, I was watching and I was loving it. But if you have the Patreon, maybe you're hearing all of us kind of badly singing along.

I think I was like, my heart was beating like, this song is a really, really high moment in a time of Glee's airing and life when it needed like a revamp, a revamp, or it needed like resuscitation. Like, so I do love it. And it's for sure to me, I'm just gonna like kind of spill the beans here. Like, this has to be maybe top five Glee songs for me. I don't think that if I pull this against something that's like, really emotional, like, I think I would put a faithfully over this. But like, personally, I love this one.

[52:55] Andrew: Okay, because like, we're talking about Glee for dummies, of course. Okay, so my question to you is Gloria versus Don't Stop Believing pilot version. What are you saying?

[53:07] Charlie: I don't know. Go ahead, Charlie.

[53:09] Patrick: No, I knew you were gonna ask that.

[53:12] Andrew: You knew I was gonna ask that?

[53:13] Charlie: I knew you were gonna ask that. I was like, because the Glee for dummies, in my mind, if we get to the end of Don't Stop Believing wins, what did we do? Like, why did we do this exercise?

[53:24] Patrick: If not just to have fun conversation and make friends along the way?

[53:29] Andrew: Well, you know, Glee is about opening yourself up to joy, I would say. But I really struggle with that response. Because I don't want it. I don't want to get to the end and it be Don't Stop Believing. But then I also...

[53:44] Charlie: I don't think that it will be.

[53:47] Patrick: I don't think it will be. But if that, again, we don't know what the next we don't know what's going to happen in the next round. I, I feel like we know how the three of us are gonna vote. But I feel like if that situation were to happen, I would be very intrigued by who the guests and who had that conversation. Because I could see it either way, I could see it as an intentional, in the same way we have laid to rest certain songs because of their connotation, and kind of looking at the song outside of the context of the show. You could also...

[54:21] Andrew: What are you talking about? Oh, you're talking about like quarterback?

[54:23] Patrick: In the quarterback, just the quarterback as a concept. Like, I don't think any song from the quarterback, I think there's like, what, one left?

[54:29] Charlie: There's one, Seasons of Love.

[54:31] Patrick: I don't think any song from the quarterback needs to be at the end, just because I feel like we need to lay respect. And I feel like there's a way to lay respect to Don't Stop Believing in a way that like, thank you for your service. Go enjoy the farm upstate.

[54:46] Andrew: Yeah, so I don't know.

[54:47] Patrick: I think it's the timing of it because to like, kill Don't Stop Believing in round four seems kind of premature. Also, what's like the psychological term, it's like Stockholm Syndrome when you like fall in love with your captor. Like we, we are Stockholm Syndrome into loving Don't Stop Believing because Glee like told us you're supposed to love that song because they covered it.

[55:08] Charlie: No, but we do! I do!

[55:11] Patrick: I stream, I stream.

[55:11] Charlie: But I mean, I stream. I am in love with my captor.

[55:14] Andrew: Yeah, I'm in love with my captor.

[55:17] Patrick: If you give me like Gloria versus Don't Stop, I think it's hard to say. I honestly don't know, I'd have to have like a really thorough conversation about it. Because there has to be a certain amount of respect, in my opinion, paid to some of the iconic Glee for Dummies songs. You know, they're not winning. We can't kill Teenage Dream in round two or round three, even though I had the chance to do so in round two and round three.

[55:48] Charlie: But round four is fair game.

[55:51] Patrick: Round four is on site.

[55:52] Andrew: We also for sure do need to kill the acapella version, burn that with fire.

[55:58] Charlie: No, that's the winner of the blocket for me.

[56:00] Patrick: But like the point being like, right, but Charlie, you put it really well. It's just gonna have to be the people who are talking about it in that moment are gonna have to have a conversation about it. And we're gonna have to go from there, because it's really too hard to like, assess that now, when even in a few months when that happens, potentially, or could happen next week. It's just, that's the nature of the blocket. Like you have to kind of take it episode by episode.

[56:32] Andrew: It's true. Okay. I feel like do we need to say I feel like we haven't said enough about Gloria just as itself.

[56:37] Patrick: I didn't know it's because I was literally shaking my singing.

[56:44] Charlie: I wrote down aggressive step touch and then sang the rest of the way but something the song Gloria for me, and this may appeal to the four people listening. I don't know if anyone else got really obsessed with four people listening.

[57:02] Patrick: No, like four other people listening.

[57:05] Charlie: I don't know if anyone else got really obsessed with figure skating during the Winter Olympics this year. But Alyssa Liu.

[57:13] Patrick: The one that Amber Riley covered when I saw her at Pride Fest in Chicago.

[57:18] Charlie: MacArthur, MacArthur Park. Yes.

[57:19] Patrick: Oh, MacArthur Park.

[57:20] Charlie: And so like, the way that people latched on to that song, and that story of just like effervescent joy and her ability to overcome everything she's done and coming back to the sport is how I feel about Gloria in season five in the same way that Pat said like, we needed that joy, we needed to be reminded why we love the show.

[57:40] Patrick: And I feel like Gloria does that anytime, whether it's the Laura Branigan version, whether it's the Glee version, whether it's whatever cover you hear on TikTok. I cannot, I cannot do anything but stop and dance with that song.

[57:53] Charlie: Oh, it's perfect.

[57:54] Patrick: It is a perfect song.

[57:57] Charlie: In the same way, like there are other songs like, there's ABBA in the in the black and I hope we get an ABBA song tonight. Like, there are just songs that mean so much to me personally, and like, bring me such light and joy. And I'm just so grateful for that music and to be able to consume that content.

[58:13] Andrew: And you know what, I think that like, okay, I'm, I, what Allison has said, where she said, are we just voting for the song that we like more?

[58:23] Charlie Gordon: Which is, you know, sometimes true. But then I think about it, and then I think about certain songs that Glee covered that I do like the original versions that I don't like how they did it. That I like, I love, no, no scrubs, no scrubs. I'm stopping and I'm listening. I'm hearing everything that they need to say about that. Yeah, you know what, this is maybe a little bit too hard of a blow. And maybe some people won't agree with me. Do bop that thing. I'm not streaming the Glee cast version. I'm so sorry to these beautiful ladies. I'm streaming the Lauryn Hill version. Yeah, he's coming to your house and killing you. I get to hang out with her before she dies. I would like to go on record by saying that Glee did not do a single Beyonce or Destiny's Child song well.

Wait, Survivor. Okay, but that's a mashup for me. That's a mashup. That's a mashup. Can you keep up, baby boy? You didn't let me finish. Lose My Breath is the winner of the Glockett. But like, Jumpin' Jumpin' is bad. From the same episode, Gloria. If I were a boy, it's phenomenal, but I'm never gonna stream the Alex Newell version over the Beyonce version. Bootylicious is fine. I will never listen to it. I'll watch it, but I'll never listen to it. Hey, how about Halo Walking on Sunshine? Again, a mashup. I'm only thinking about some of the songs. I'm not looking at mashups. And you're not saying Run The World Girl? Yeah. I don't know why we're going down this rabbit hole. I was here. I lived. I loved. I feel like I'm Allison Dodge right now. Let's get a move on.

[1:00:08] Andrew: What you were saying, Andrew, about what Allison Dodge, the Dodge, should say is like, are we just voting for what song you like more? Like, that's a simple statement. But like, what's in a song? You know, it's like the characters. It's the...

[1:00:20] Patrick Sammon: A melody, a harmony. When she said that, basically what I'm trying to say is I don't think it's like what actual song. It's like the performance, the characters, the background, the general everything surrounding it. But generally, yeah, I think that most times I will vote for which song I like more. But then there are some times when I have to take into account, like, what it means to the Glee community at large, which is some of the Glee for Dummies things. So I think that's like how I've participated in the episodes I've been on in the past. But with this one, agreed with both of you, it is just a joy bomb. It's so great. I would really like to see this go pretty far. But this is not winner of Glackett. But I think it's, it's up there. Top 16, maybe.

[1:01:26] Charlie Gordon: I'm getting euphoric when I'm listening to it. I'm really feeling euphoria on HBO.

[1:01:34] Patrick Sammon: I'm feeling Sydney Sweeney.

[1:01:36] Charlie Gordon: I'm feeling Sydney Sweeney. I'm feeling my giant jugs. Yeah.

[1:01:41] Andrew: One of my favorite songs on the Glackett is Gloria. How about you?

[1:01:46] Patrick Sammon: I don't think that's how Sydney Sweeney talks.

[1:01:49] Charlie Gordon: That's the jeans commercial.

[1:01:52] Andrew: The Glackett is passed down from generation to generation.

[1:01:57] Patrick Sammon: From round to round.

[1:01:59] Charlie Gordon: My favorite song is Gloria.

[1:02:01] Andrew: Wait, do we want to hear what Gloria won against?

[1:02:05] Charlie Gordon: I do. I do. I actually love this. I love this exercise.

[1:02:08] Andrew: So its history is that it won against Smile, Lily Allen, in round one. From the Mattress episode, of course.

[1:02:18] Charlie Gordon: Reminds me of, maybe this reference will not hit you, but most popular girls in school.

[1:02:26] Patrick Sammon: La la la la la. I love gossip girls so much.

[1:02:30] Charlie Gordon: I just think of La La Crocodile.

[1:02:33] Andrew: And then in round two, it won against Jukebox Hero.

[1:02:40] Charlie Gordon: And then in round three, it won against Home Season Six, which I remember Ian Allred had a major stink about.

[1:02:49] Patrick Sammon: I think he can sit in that stink.

[1:02:56] Charlie Gordon: I think Gloria is very obviously better than Home Season Six.

[1:03:00] Patrick Sammon: He can sit in the stink.

[1:03:02] Charlie Gordon: He can be stinking.

[1:03:04] Andrew: So, Charlie, you voted for Gloria, is this correct?

[1:03:07] Charlie Gordon: Correct.

[1:03:09] Andrew: Is that you? Uh huh.

[1:03:11] Patrick Sammon: I'm going to give it to Gloria, but I do want to shout out Jump. And I am sad that two kind of unserious but really iconic songs got pit up against each other. But I guess that's kind of going to be how a lot of this round is. I just think Jump is a song where I feel comfortable sending it home in round four. I'm sad that I don't feel distraught about it. But if Jump lost in round two or round three, I feel like I would have made a little bit of a stink. So goodbye, Jump. You are a gorgeous, gorgeous girl.

[1:04:02] Charlie Gordon: Does anybody care what I do?

[1:04:04] Andrew: No.

[1:04:05] Charlie Gordon: All right, what's the next one?

[1:04:07] Andrew: I'll say it.

[1:04:09] Charlie Gordon: Elijah, stop.

[1:04:10] Andrew: No one knows that you were joking.

[1:04:12] Charlie Gordon: My heart doesn't know the difference.

[1:04:17] Patrick Sammon: So, Elijah, for your record, I'm not doing a pity vote for Jump. You're not going to catch me doing that. I'm voting for Gloria. Gloria deserves it. And I mean, we just talked about how happy it makes us. And I think that one of the next times I'm feeling down, which is unfortunately often, I am going to keep Gloria and I backpack it. It's a good one to have.

[1:04:38] Charlie Gordon: I want to just bring up the fact that it's from the trio episode and the three of us, the trio us, trio voted for Gloria.

[1:04:47] Patrick Sammon: That's beautiful.

[1:04:49] Charlie Gordon: I like it when friends get along.

[1:04:51] Patrick Sammon: I don't think it's going to happen again.

[1:04:53] Charlie Gordon: I also like it when friends fight. And I hope that I can fight you guys on this next one. What are we doing?

[1:04:57] Andrew: Content farming for Gleek of the Week.

[1:05:01] Patrick Sammon: Content farming for Gleek of the Week.

[1:05:03] Andrew: So this is crazy. This is our first, I'll say it, sneak of round four.

[1:05:09] Charlie Gordon: If it's natural woman, I will leave the room.

[1:05:13] Patrick Sammon: It's like, and you know, wait, can I tell you who has like a really crazy relationship with this song?

[1:05:19] Charlie Gordon: Please do.

[1:05:21] Patrick Sammon: Is Alison Alamode. Do you know what song this is?

[1:05:25] Charlie Gordon: Is this Will You Still Love Me Tomorrow?

[1:05:29] Patrick Sammon: No.

[1:05:31] Charlie Gordon: Can you give me a little hint besides the Alison Alamode factor?

[1:05:35] Patrick Sammon: Her lore in my head, but I can't. Her lore with this song is that she was here for its episode in round two and round three.

[1:05:45] Charlie Gordon: Oh, crap.

[1:05:47] Patrick Sammon: And she voted it through, I think, reluctantly both times.

[1:05:53] Charlie Gordon: Oh, okay. Interesting.

[1:05:57] Patrick Sammon: Alison Alamode is god tier to me.

[1:06:01] Charlie Gordon: God tier.

[1:06:03] Patrick Sammon: I hope to do right by her.

[1:06:07] Andrew: Let's see.

[1:06:09] Patrick Sammon: Okay, here it is.

[1:06:11] Charlie Gordon: You already know what the hell this is.

[1:06:13] Patrick Sammon: Oh, my god.

[1:06:15] Charlie Gordon: Oh, interesting.

[1:06:17] Patrick Sammon: I do remember this now.

[1:06:19] Charlie Gordon: It's Baby One More Time.

[1:06:21] Patrick Sammon: It's Baby One More Time.

[1:06:23] Andrew: Here we go.

[1:06:25] Charlie Gordon: I really hate that you kept the John Stamos.

[1:06:27] Patrick Sammon: Yeah, the John Stamos jump scare. Don't do that ever again.

[1:06:31] Andrew: Rachel? Can I start off with a legal note that I think is very important to keep in mind before we have any discourse? Is that there are four Rolos in round four, two of which, half is from the Brittany Brittany episode.

[1:06:47] Patrick Sammon: Isn't that only one?

[1:06:49] Andrew: And you know what? I will kill that one.

[1:06:51] Patrick Sammon: It's pulled because I will kill that one with fire.

[1:06:55] Charlie Gordon: Wait. The only exception.

[1:06:59] Andrew: Of course. We're talking about the only exception.

[1:07:01] Patrick Sammon: Stop. If this was actually against the only exception, and it could be, you would vote for Baby One More Time over only exception?

[1:07:13] Charlie Gordon: No. But I would not be happy about it.

[1:07:17] Patrick Sammon: I really don't want the only exception to go through.

[1:07:21] Andrew: Are those your only legal notes?

[1:07:23] Charlie Gordon: Because I have to start.

[1:07:25] Patrick Sammon: I only said one. That's the only thing I wanted to say.

[1:07:29] Charlie Gordon: Wait, can I go?

[1:07:31] Patrick Sammon: Yeah, you can go ahead.

[1:07:33] Patrick Sammon: Patrick Ryan Salmon reporting for duty as the Gleek of the Week resident Britney Spears expert. Thank you very much.

[1:07:41] Andrew: The full government name on the pod.

[1:07:43] Patrick Sammon: They do recall that my confirmation name is John for all you Catholics out there.

[1:07:51] Charlie Gordon: For all you Catholics out there. Make some noise.

[1:07:55] Patrick Sammon: Okay. The one I want to share with you all some lore about this music video. Maybe this is a fact that some people know, but most people probably don't. In the actual, well in this Glee version, so the actual Glee cover, whatever performance they do, they have Finn being like the basketball guy on the bench. But in the actual music video, Britney Spears music video, that the love interest is her cousin, because she was trying to get her cousin like a modeling career. So that's like a fun little fact. Like the guy who's like her love interest who's like playing basketball that she's pining over is her cousin.

[1:08:41] Charlie Gordon: I mean he is from Louisiana. I think that fact actually makes me really uncomfortable.

[1:08:47] Patrick Sammon: It's just a fact. It doesn't have to be fun.

[1:08:49] Charlie Gordon: Flowers in the garden.

[1:08:51] Patrick Sammon: It's just a fact. It doesn't need to be fun. Okay. The second is that Britney like chose the outfit for this like the iconic like tied up like sweater.

[1:09:05] Charlie Gordon: You're talking about Britney Spears, not Britney Spears.

[1:09:07] Patrick Sammon: Yeah, Britney Spears. She like kind of picked that outfit, which like is iconic because she's a visionary, she's a pop culture tour de force, or however that. Okay, the third fact is that this is actually the greatest pop song of all time, and there is no argument to that ever. Unless you make an argument that Taylor Swift's Cruel Summer is the best pop song of all time.

[1:09:31] Charlie Gordon: Whoa, that's not the one that I was gonna argue with.

[1:09:34] Patrick Sammon: Anyway, that's a fact. Unless you want to say Cruel Summer.

[1:09:42] Andrew: All right, but actually, um, this to me, I don't love because this is like Britney Spears for dummies, or it's like, yeah, it's a music video. But at the same time, like, I am and I've spoken about this before on the pod, like I am grateful sometimes when they do recreate things shot for shot, because it just exposes the audience to that source material, which is a fun part about Glee. I know so much more about pop culture and pop music because of Glee and like how it kind of brought me to those things and the references that, you know, it makes are very fun. But I do recall Yeah, Allison voting this through twice and kind of begrudgingly.

[1:10:24] Andrew: Can you share the history?

[1:10:26] Patrick Sammon: Of course, I would love to share the history.

[1:10:29] Andrew: Segway. So it actually was the competition directly after Gloria in round three, which is really interesting. So maybe one more time in round one, it beat downtown that was in the famous Cameron Mitchell episode. He loved glacketing. He's constantly emailing saying, can we just do it again, please? That's right. He really loved the concept of watching performances from a show.

[1:11:01] Patrick Sammon: He did not go on.

[1:11:04] Andrew: Have you ever even seen the show?

[1:11:06] Patrick Sammon: Did we ever do we ever fully unpack that?

[1:11:08] Andrew: We can't unpack it right now.

[1:11:10] Patrick Sammon: But I don't think that he did.

[1:11:12] Andrew: Karen Mitchell, much love.

[1:11:14] Patrick Sammon: He he did not. I think I've said this before. I'm getting like more like I'll reveal all the juice if anybody cares. Karen Mitchell thought that what coming onto this podcast is going to be a completely different thing than it actually wound up being. And I actually feel really bad about it. He did not understand that he was going to be glacketing.

[1:11:36] Andrew: How did you present it?

[1:11:38] Patrick Sammon: I said I always say in the email, like, hey, we're going to be watching six performances. I think that what they're seeing is an opportunity to talk about. The Glee Project or Glee or, you know, so I feel bad about it. But that was that's the past. And I'm living with that. So that beat downtown in round one and round two. So these were the two competitions that Alice and Alamode were here for. It beat Spotlight in round two. And then in round three, this was the one of both Spotlight and Trouty Mouth in round three. You can catch me voting for both Trouty Mouth and Spotlight. I would have to again, humongous Britney Spears fan. I I don't think this is that great. But I think it does speak to the iconicness that is Miss Britney Jean Spears because people are compelled to vote it through because she has because the iconography.

She's just so fucking iconic. But, no, I was on an episode last round where I said I would have for sure voted for Trouty Mouth over this. How about wait, can we can we put a spotlight on Spotlight? I love over this too, I think. I love Spotlight. Yes. I think I think this.

[1:12:59] Charlie Gordon: Doesn't need to be here. It's not a little bit too far backstage. You need to go back outside now. I'm like kind of wanting to re-listen to those episodes because like I... Will it make sense? I just want to know like why people love this so much. I mean like the actual... okay if you don't agree that this is like the best pop song of all time, if you don't you're wrong, but like this is like by far one of the most iconic pop culture music videos of all time, like undebatable. So like I can get why I'm... yeah what is yours? My alternate is, and we don't need to unpack it, but I think it's a good one too. What is it? Style by Taylor Swift. That's also one of the best pop songs ever written. That's crazy. No, my number one, I've said it before, I think Crazy in Love is like the best pop song of all time. The Beyoncé, Jay-Z, him kind of like being a predator to her. My god! But I do love that one. I played that on my DDR3 for Xbox.

[1:14:08] Patrick Sammon: Not your DDR. Thank you. I just kind of want to advocate for blonde women such as Taylor Swift and Quinn Fabray and Britney Spears, but you know that's just my line. Not Lea Michele who's not blonde. Do you care that a non-blonde is singing the song? I do. One thing I want to say is I kind of want to give Lea Michele her flowers. She doesn't do awful in like dancing. It's fun. But the vocals, I do not like the Britney for dummies, like trying to do all the Britney ad-libs. It doesn't sound good from Lea Michele. Wait, no, I have something nice to say about this song and maybe you won't agree and this might be surprising to you as a Britney Spears fan. I listened to this song over the original. I listened to this version. Why would that make me feel good as a Britney Spears fan when I just said that? No, I said it's not going to make you feel good. Wait, what did I say? I don't know. Carly, why don't you go?

[1:15:10] Charlie Gordon: Again, that's kind of fucked up. Yeah, no, I don't think that. I don't have time to unpack that because specifically I would like to go back to 45 minutes ago where I said that Lea Michele is afraid to sing bad. The long vowels, you can see them in her mouth. Her final part of the song is bad. One more time. Like it's so bad. It is so just. No, but I think that's kind of like why I think it's kind of fun for me personally. Again, are we here to have fun or are we here? I never voted for this song. Even downtown. I voted for downtown. I do love downtown. Downtown is a sleeper. And Lea Michele put in her head out the window like little diva from hereditary. Yeah, but no, it's just I cannot. I cannot justify.

I cannot allow this song to continue in the Glacket. It shouldn't be here in the first place. We have too many more solos, so I don't want spotlight. Paradise by the dashboard light. Let's get Charlie to vote for Paradise by the dashboard light. Let's pull Paradise by the dashboard light. Oh my God.

[1:16:20] Patrick Sammon: But no, I it's just again, I think so the last time the three of us did this exercise, we had me against the music and we had this conversation about recreation of a music video because they recreated that music video. And so I don't mind the like we're trying to just recreate a music video aspect of it like that doesn't bother me. It's Lea Michele's approach to I don't want to sound bad. So I'm going to over sing it and sound like I'm trying to be on this is something I'm really going to think about. I've never heard this before. But no, like I need you to go home. I will send you home. I need you to go into the other room. I will send you links after this recording ends of Lea Michele trying not to sing bad.

And it becomes too bad because she's over singing. Wow, because she's so afraid to sound bad. I think that's great, Charlie, because the reason why this isn't great is because like, Lea Michele is trying to Lea Michele-ify Britney Spears ad libs, which is fun, but it's not fun to be in round four of the Glacket.

[1:17:29] Charlie Gordon: No, I agree. But I want us to all acknowledge there is something inherently fun about Lea Michele covering Baby One More Time. It's absolutely great that they put it in that episode. And I don't necessarily want to change it. I just don't like like, I just think that it's like silly goofy that she's singing this song. I don't want it here though. I want it out of my house. Completely agreed. You said that you would rather stream this over the original that's insane. I'm mad at you. Also, the best pop song of all time is Break Free by Ariana Grande. Wow. Actually, and you know what? I would stream the Glee one over the top. You would stream the Dot Marie Jones version over Ariana Grande. Break Free by Ariana Grande is a great pop song.

And you know what all these songs have in common? Max Martin. And you know what I just saw on Friday night? He flopped on My Official Showgirl and I'm not forgiving him for that because that album's ass. The silence is deafening. I saw Anjuliet on Friday night for the second time in the Max Martin musical. And I heard all these songs. Oh, you people can't you see? Can't you see? And you know what song wasn't in Anjuliet that I'm like, honestly, we're missing out if we're having it if we're actually doing a Max Martin musical. Put Loser Like Me In. Right. Put Loser Like Me In. Right, right, right, right, right.

[1:18:52] Charlie Gordon: No, exactly. Final song of the episode against Baby One More Time. Okay. Paradise, paradise, paradise, paradise. No, I'm really happy. I'm really happy this is happening because I think we're finally getting we're finally getting some lick back. Yeah, we're gonna wanky. Okay, Mercedes is specifically getting her lick back. Mercedes has so many songs in round four. No, but she needs this one. She needs this. Okay. She's a mother. Well, to me. Um, here we go. Wait, do we know what this is? Is it Disco Inferno? It is Disco Inferno.

[1:19:38] Patrick Sammon: Wow. And that is how she won Dancing With The Stars. And that's how Heather Morris lost Dancing With The Stars. I just think it just always flabbergasts me like how talented she is. Wait, okay, wait, wait, wait, come before you go any further. I feel like unpack before going into the performance. You were kind of a big time hater. Well, I'm a hater because I, I, it doesn't really sit right with me that that beat We Are Young. That's correct. Right? The song that changed everything. Yeah. I just going back to earlier in the recording tonight, we talked about how like some, like, we for dummies like needs to be paid respect. Like I do think that We Are Young got cut a little too early for how like, impactful it was, and how like, much conversation had around it, though I do think it's interesting that like a lot of the Gleek of the Week community doesn't like seem to be too upset or care too much about that song. I was like surprised.

[1:20:49] Charlie Gordon: Yeah, right. So like, it feels weird to me because especially because like, I think that was on Heather's episode. And yes, I thought like the logic that she used, like, it was like funny and cute. But she was bored. But also like, I, I kind of like, have a little weird taste in my mouth about this one, because I'm like, it's not like that iconic, where now I think it needs to be in round five. And I think that like, there are just some matchups with like, there's so many Mercedes songs still in the pocket. And I think that there absolutely should be and she should realistically be the soloist with the most songs at one time, like in the Glacket. Yeah, in a sense. But like, I'm just kind of like, why is this in round five?

Like, I kind of view like, this is gonna be a sneak to but then I watch it. And I'm like, so damn, like, it's so fun. She's such a good dancer. She's such a good vocalist. Like, I don't blame it. But like, I'm just kind of like, if you told me that this song was going to be in round five over some other things that we've lost, including We Are Young, in my opinion, I'm going to be like, and like, that leaves a weird feeling in myself. But I am contradicting myself a lot because Amber Riley's is so fucking good. And this is so it was so much fun to watch. I get it. But I'll throw it out for We Are Young.

[1:22:20] Patrick Sammon: So okay, also on the We Are Young train, I want to go the opposite approach of like why Disco Inferno is here over We Are Young. We Are Young is trying to replicate Dog Days Are Over, which is currently in round four. Dog Days Are Over, post sectionals performance, the group is back together. We've gone through all this turmoil. We're finding joy again. We are the same sky backdrop.

[1:22:43] Charlie Gordon: The exact same sky backdrop. Yeah, whereas We Are Young is trying to do the exact same thing. We've done this wasn't a moment. Like We Are Young was a pop culture moment.

[1:23:00] Patrick Sammon: And no, we are the version or the fun version.

[1:23:01] Charlie Gordon: The version was don't pretend like it wasn't.

[1:23:03] Patrick Sammon: I disagree.

[1:23:04] Charlie Gordon: Wait, no, no, no, wait, you're saying okay, because like We Are Young Glee version skyrocketed the original version. Is that what you're saying?

[1:23:09] Patrick Sammon: I think that's true.

[1:23:11] Charlie Gordon: And it's true.

[1:23:14] Patrick Sammon: There's no thinking. We know it's the greatest pop song of all time.

[1:23:18] Charlie Gordon: Greatest pop song of all time, We Are Young. Fun fact, Fun was my very first concert, different conversation, but I just...

[1:23:28] Patrick Sammon: Fun period, you know?

[1:23:30] Charlie Gordon: Period.

[1:23:31] Patrick Sammon: Period. No, I just feel like the reason We Are Young lost to Disco Inferno is because kind of going back to the same conversation we had with Gloria, like Disco Inferno just excites such joy. Whereas We Are Young, to me, it's just like, okay, we get it. The trouble tones are going to come back because we're not just going to not have the show without them. Like there was no, there was no meat to this drama of like, how are these Glee Cubs now going to reunite? Whereas like Dog Days are over, Kurt's at a different school, Rachel's having to cope with not having a solo. We finally get to hear and witness Mike and Brittany and we get to hear Valerie from Santana. Like sectionals of season two is way more impactful than sectionals of season three.

And so in the context of the show, the song has more weight. Whereas I feel like We Are Young in the context of the show does not have as much weight as Dog Days are over. Now, as a standalone song, you're both correct. We Are Young was the song that changed everything. I'll let her, I'll let her have it.

[1:24:32] Charlie Gordon: I want to say one thing, which is that's, I don't think the Dog Days comparison is like resonating with me. Like it makes sense. But like, I don't feel that argument in my spirit. But like, the thing with We Are Young is that I do think maybe for me, I have some, you know, memories of like, that song in this season being my senior year of high school, like whatever. But also like, when you do fine arts in high school, you know, it's so like, dramatic all the time where it's like, why did so and so get the solo over me? And like, like, I'm not like, it's my senior year, and I'm not being appreciated. And like, so and so doesn't deserve that. And like, blah, blah, blah, blah. And like that happens.

And I actually really love when we leaned into that, because like, that is a part of the high school, like arts kid experience. Yeah. And so like, I did always feel though, really, really good. When like, despite all the drama, you always, you know, got that high from like, well, we pulled off the show, we pulled off the concert, like, I always felt that way. And I think that's like, why We Are Young, like matters to me. Because, you know, you, it just kind of reminds me of like, looking back, oh, like, all that stuff was kind of silly. And I'm just glad at the end of the day that I was like, a part of stuff like that. And I had like, the opportunity to like, participate in the arts in high school and like, come together with people who like, pissed me off, because I felt like I was a better actor or whatever, you know, whatever.

So that's why I like We Are Young and maybe not everyone vibes with that. But like, that's my piece. And then like, Disco Inferno. It's just like, so fun to watch and high energy, but like the episode in general kind of pisses me off. Because it's like, hey, just so you know, Mercedes, you actually don't have a plan for your life. It's just like, so let's get you to sing Disco Inferno. Like it just, it's silly to a degree where it takes me out of it a little bit. And I'm like, eh, blah, whatever. But then when I watch the actual song, and I'm like, I love it. This is great. But it doesn't have that same like, emotional attachment to this at all.

[1:26:49] Patrick Sammon: Yeah, and I understand that. We Are Young, I think like has like, a number of like, really wonderful moments in it. I'm thinking about the Diana vocals. I'm thinking about the Naya vocals. I just think that it's a really great ensemble. And it's, I think it does deserve to be in the top 100 without a doubt. I think with Disco Inferno, however, it's just like, I think the way that I feel about this song is that like, I feel like they gave Amber so many songs where it was like, this feels like the obvious choice to refer back to our last episode where it was like natural woman feels like the obvious choice to sing. And it's like, well, here we are singing damn natural woman.

[1:27:35] Charlie Gordon: Um, whereas like Disco Inferno, like it's not the obvious choice. You can genuinely see, and this is no strike against Amber Riley, of course, that you can genuinely see that she's having so much fun performing this number. And like the smile is there, like she's so genuinely overjoyed to be doing this number. And it's so different than And I Am Telling You and Ain't No Way, where like, Ain't No Way, I'm thinking about like the fact that they made her like kind of like dress and like funeral garb. Like they make her like look so much older too. In this number, she looks like so young and like full of life. And I just think it's just really, really great. And it's so different. I think it's so representative of like such a different Mercedes solo, Disco Inferno.

So that's why I'm like really advocating for that. Like that, I feel like is like, you can have like either Ain't No Way or And I Am Telling You, but like, I feel like Disco Inferno is so representative of like a different type of Mercedes song. You know what I mean?

[1:28:41] Patrick Sammon: That's really, I'm really glad you said that. That's really good. Because I think like, I just feel bad because I struggle to articulate it. But that was well put. Like they sometimes it's like, I feel like here's I Will Always Love You. Yeah, they like ignore Amber and how like talented and like magnetic she is. And then they'll be like, well, I mean, we do have an amazing vocalist and performer on our hands. Let's like not give her anything to do. And then it's like plop a number in and then like have her sing it really well and leave the audience like jaw drop. Wow, that was really great vocals. We talk about like we do the glacket and stuff. And then like, when I think about like what the best song is on Glee, a lot of times it's like, well, what is like the context of this song?

Yeah. And what is like all other stuff. And then I think sometimes with like the Mercedes solos, like I find myself just being like, wow, Amber is so great and amazing. And I love her and I wish I did more with her. But then I don't have as much else to say because the show really just like shoehorn random stuff for her to do in this. And I'm like, that like makes me feel weird.

[1:29:51] Charlie Gordon: So I did that to her. I feel like this song specifically, Disco Inferno is to me like is the is the Mercedes arc. Like if we're looking at our solos as an arc, like her first is And I Am Telling You, which I it's amazing, but I don't love that in that episode, she turns to Brad and goes, do I even have to tell you what song it's like, of course, she's going to sing And I Am Telling You, it's the power ballad for a strong black performer. But also it's like, that's such a cliché. It's like, why are we playing into clichés, but also I'm like, and also it's like, it's like, so like, I've said it before, like that, that performance just feels like unearned. Yeah. Well, that it's like, I would have so much rather heard that song at a huge, like story point for Mercedes instead of like a, hey, I'm gonna sing this later on in this episode.

And it's like, damn, I know you're never going to see this again because we're never going to see this again. You're doing the entire number in front of us right now. And so it's like, we get to Disco Inferno and she's had this journey of coming into her own and owning her performances and wanting to be this, this person that she does end up becoming, but then you see her in seasons four, five and six. And she always is just the second, like you've said, like, it's just like, we have nothing else to do. Let's just have Mercedes sing. And I think about the final episode a lot when she sings probably her worst solo Someday We'll Be Together.

[1:31:07] Patrick Sammon: Oh, no, I really do love that. I'm sorry. I just think it's terrible. But it's like, she's just like, it's like, what else do you have to do with me? I might as well just sing my way out. And but it's like, for Disco Inferno to be able to tell that story of where she has come in that growth. It just makes me sad for what they could have done with her. But we were so focused on the Lea Michele train that we just forgot everything else. And so I think that like, when you also consider, I think this is so interesting to see Baby One More Time against Disco Inferno with all this being said, because we're seeing two wonderful soloists, balladeers, if you will. And we're seeing them in doing dance routines, and one of them is outperforming the other.

And like, that is what is like really like weighing up because we're getting Disco Inferno in the same caliber as like, Sweet Transvestite to me, where it's like, you're, like, you're doing something really interesting with Mercedes. And like, she's able to have fun, she's able to give a performance. She's not just standing there, which is like, she can stand there. And it's like, great, like, in a way is perfect. But like, I know, like, Jesse St. James was silenced when he watched this on Sam's YouTube recording. Right? When I want to see Jesse St. James in the comments. I take back everything I said. There we go, choreo. Finally.

[1:32:35] Charlie Gordon: Yeah. And so I just think that this, this competition is so interesting, because of that, that we get, we get the, we get like the performance spectacle of like the two main girls at the Sling Club. I think, I think what like pisses me off, and I only say this, because like, we've done the exercise of like, how many, like, representation do we have of everyone in black? I think it just like makes me annoyed that like, Rachel, some of her like, really good songs, like didn't get as many freebies. Like, this is like a freebie getting into like, round five. And I'm not saying it's necessarily super undeserving, though. I said, like, I would have liked to see some other songs above it. But like, it's all coming back to me now, like getting killed, but maybe brought back. I don't know. Maybe brought back. We don't actually know. We don't know. We should actually have context, but we don't.

[1:33:23] Patrick Sammon: Okay, but like, there are examples of like, really iconic Rachel solos that are in the air. God, like, I'll say I won't give up. I won't give up. Just like, there are some like, really good ones. I'm just like, damn, like the fact that now we're only gonna have three roles in the placket in round four, it like doesn't seem that representative. And I just got like, a few more easy ones in there. And then I see like, Disco Inferno, and I'm not trying to compare the like, to whatever, but I'm just kind of like, damn, like, like, I'm just like, annoyed by the blackness of something sometimes. Rachel's drop if like, let's just say Rachel gets to round six with only drop left. I think that Rachel's drop in the Glee for Dummies and also just in the black itself, stands alone against if you had, you would have to combine Ain't No Way, Try Little Tenderness, and Disco Inferno to go up against drop.

[1:34:25] Charlie Gordon: I don't want to like, direct compare the two. But it's like, I don't I think I think it's okay to be like, it's okay that Rachel's only going to have three after this, because the ones that Rachel has left stand.

[1:34:37] Patrick Sammon: Yeah, but one of them is awful.

[1:34:39] Charlie Gordon: I just want to say out loud that the three roles left, we're saying, wait, are we voting? We're voting? Okay. I'm voting for Disco Inferno.

[1:34:53] Patrick Sammon: Okay. And Charlie?

[1:34:54] Charlie Gordon: Disco Inferno, yeah.

[1:34:55] Patrick Sammon: Okay, so now there is officially three roles left. They are Drop, My Man, and Only Exception. I think Drop, obviously, I say obviously, but who knows? I say like, I think that that obviously has the largest chance of moving forward.

[1:35:12] Charlie Gordon: And Manifesting My Man verse four minutes in round four. And then it has to go to four minutes, because it's round four, you know?

[1:35:20] Patrick Sammon: And them's the rules.

[1:35:23] Charlie Gordon: I guess like, I'm getting like, nervous about how I'm coming across. I'm just kind of like, this particular song, I do like a lot. I just don't know if it's round five in my mind. But then I watched it, and it was really great. And obviously, I would refer it with no hesitation. So I'm just kind of, I'm interested to see, I guess, what else makes it but like, kind of a freebie.

[1:35:47] Patrick Sammon: Yeah. If I'm considering like, this is like a rule that I'm just making up here on the spot, that it's a good song, I'm looking at three determiners. Good song, we get the performance aspect, whether that be like dancing, some like location, whatever. And then three, surrounding plot. And I think that the Disco Inferno is kind of losing it on the three there.

[1:36:16] Charlie Gordon: It has the only exception.

[1:36:19] Patrick Sammon: Um, so next only exception doesn't have dancing either. So an exception is one of the three.

[1:36:23] Charlie Gordon: No, because like the performance there is we get to see into the life, the life of Finchel and Finn.

[1:36:27] Patrick Sammon: No, we're not having this conversation again.

[1:36:32] Charlie Gordon: I'm so glad it took us four rounds to finally get a context of what we're actually scoring on.

[1:36:36] Patrick Sammon: So yeah, wait to see how the rest of you.

[1:36:38] Charlie Gordon: We finally figured it out what the metrics are. Okay, was that a fun episode? Was that a fun premiere?

[1:36:45] Patrick Sammon: I feel like we did what Charlie wanted to do. Like, I think that we actually had like, nuanced conversations about these as opposed to just like playing some of these things for laughs.

[1:36:55] Charlie Gordon: Um, oh, wait, I need to recap. Sorry. Okay, recap. For this episode, Jump.

[1:37:04] Patrick Sammon: You jumped into the barrels of hell.

[1:37:14] Charlie Gordon: You jump right into them. Um, Gloria, you have a glory, glory, glory be to the highest.

[1:37:30] Patrick Sammon: Baby One More Time on the bracket that's it for you.

[1:37:35] Charlie Gordon: Best pop song of all time.

[1:37:37] Patrick Sammon: And best pop song people are saying Disco Inferno, um, you are not going to be in the Inferno of hell you are going to be in the glory be to the highest in heaven. Amen.

[1:37:51] Charlie Gordon: Amen.

[1:37:51] Patrick Sammon: Is Blackett Allison Alamo going to be happy with this? I think so.

[1:37:55] Charlie Gordon: I think I forget like, I feel like she reluctantly did it both times if I'm not mistaken, but she's gonna correct me when she comes back on. Okay. Um, no, I think that we had good combos. And I think this is a fun little, little start.

[1:38:07] Patrick Sammon: So it was so much fun. I'd like genuinely love chatting with me. Do you, Patrick, do you want to leave the Gleeks with anything?

[1:38:19] Patrick Sammon: Um, I don't think so. I just hope all the Gleeks have a really wonderful start to their round four.

[1:38:28] Charlie Gordon: Kiss kiss.

[1:38:30] Charlie Gordon: Carly, do you need to leave the Gleeks with anything?

[1:38:32] Patrick Sammon: Oh, happy Gleek summer, everyone.

[1:38:35] Charlie Gordon: Wait, Gleek girl summer.

[1:38:37] Patrick Sammon: Gleek girl summer.

[1:38:38] Charlie Gordon: Gleek girl summer. Wait, what was the title of this episode? Did we do it again?

[1:38:44] Patrick Sammon: Oh, Clocking the Di. I think that's I think that might be it. Clocking the Di.

[1:38:48] Charlie Gordon: Well, we it's always fun to see what you pick.

[1:38:53] Patrick Sammon: Sometimes it like it really comes out to me while I'm editing.

[1:38:56] Charlie Gordon: While you're editing.

[1:38:57] Patrick Sammon: Oh, like no one even said anything about this. But this is so iconic.

[1:39:01] Charlie Gordon: Yeah.

[1:39:01] Patrick Sammon: I'm proud of this. Because actually, I'm part of both of you. Because I did listen to our past episodes before I did. And this is the nicest you've ever been to me.

[1:39:13] Charlie Gordon: So good. And you didn't bring up Young Sheldon once.

[1:39:19] Patrick Sammon: Okay, everybody. This is what I leave. I leave them with.

[1:39:23] Charlie Gordon: Yeah, everyone at the Gleeks. Everyone has their like random ass, like TikTok or YouTube shorts or reels thing where the algorithm thinks you love a show. The algorithm thinks I love Young Sheldon. I've never seen a full episode of it. But like low key. I love the clips. I watch every single one. And I'm starting to like like them. Okay, like, and I love me. I love Georgia. I love the twin sister character. Missy. And I told Charlie and Andrew this, and they left me on read.

[1:40:05] Patrick Sammon: It's not that again, comment below what your random like, Andrew, what is your mind's the fosters?

[1:40:15] Charlie Gordon: No, I hate what mine is. And I think that like, I'm like, really like not proud of it.

[1:40:21] Patrick Sammon: Mine is because they get me every time when I'm going through TikTok. It's the fruit, like adultery, plot lines, the AI generated.

[1:40:28] Charlie Gordon: Okay, but did you watch fruit? Did you watch Fruit Love Island?

[1:40:35] Patrick Sammon: Those are I hate to say I'm I, those are just so fucking funny.

[1:40:42] Charlie Gordon: I think that like, I stopped like, it really grabs my attention. Each time there was one where like watermelon, you know, there was one where like a strawberry was like, farting on a plane and then got kicked off the plane, and then like landed on an island and then farted with all the natives surrounding them and then killed all the natives with their fart, and then farted off the island as propeller. It was just like, it was crazy. But it got me.

[1:41:15] Patrick Sammon: Please keep this in because we all are addicted to our phones. And I think this is funny.

[1:41:23] Charlie Gordon: I think that you should also be addicted to your phones in the sense of leaving a voicemail. So again, that number is 347-719-1160. If you have a feeling if you have a thought about what transpired in this episode, leave a voicemail. We might play it in a future episode. But we will not be taking requests for special songs. But I think that you could give Eduardo a voicemail response. Maybe. We'll see. We'll see what he does.

[1:41:47] Patrick Sammon: Okay. I have a heart out at seven. So can we can we end?

[1:41:56] Charlie Gordon: Yeah, we're done. Okay, until next week, where we find out we're one step closer to finding the best song on this damn show. Okay. Bye. It's Gleek. Gleek of the week.