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0:40

Would. That hero's welcome back to another

0:42

episode in Shot! I'm your host and

0:44

Gm Dylan and I'm really excited to

0:46

hear the inclusion of Slut City and

0:48

are play through. Have seen these! I

0:50

had a blast and I always have

0:53

a blast playing possible world games. Truly,

0:55

these are some of my all time

0:57

faves in this collection. Are

1:00

I will enjoy the rest of this

1:02

silly little heist. And.

1:20

Oh bugger eggs with the throw in the plane out with

1:23

well. At a. Young

1:26

know rabbit. Does have to be

1:28

in the black I believe. So we spent

1:31

the beginning of our play. When.

1:33

We had fun. And. Then we had one. Of your

1:35

and. Then we met. Lancelot.

1:38

Didn't learn his name. Signed.

1:40

A little bit of backstory, and now we're sort

1:42

of following. Know. Him as he

1:44

goes, yet. You. Know the background

1:46

schist but the the terms

1:48

or tabling. If. You well, Ah,

1:51

Things are moving around getting

1:54

ends. We. End up in

1:56

a in a different set that's very similar.

1:59

To. You are. Ah, Like

2:02

going of years home. sad because you

2:04

know different enough. That. You

2:06

know it's a different. Guys house. And

2:08

then there is in fact on stage. Alive.

2:11

And or a rabbit. I. Don't

2:13

know why a special that there was one for

2:15

the costuming department to look at. A citizen

2:17

it mister. Just

2:20

season high that. No one to

2:22

and such. Systems. Such

2:24

as well. It's the side hustle of

2:26

off Eastgate like team is that we

2:28

are also part of. The

2:31

end. Of

2:34

this is our first time. In

2:38

other classes department ever did not either

2:41

Rabbit because there are working behind the

2:43

scenes then it's only limited on save

2:45

every now and rabbit hutch and then

2:47

Fraxel run. And. The

2:49

way that we learn more about. Lancelot.

2:52

As a character, Is. Of

2:55

course that he breaks added this on. A

2:57

vous. Say. Yes, Yes,

3:00

Girl that he just met on the

3:02

street, tap dancing and rubber chicken as

3:05

you do. But. It's all son

3:07

to the rabbit, the way the you'll

3:09

sing. Dear Pat said that it's normal

3:11

to monologue about yourself. Is.

3:13

How it is. Frames yeah.

3:16

And. That's that's when it is. I

3:19

know I have no lyrics in my heart for

3:21

you. What? Is a song about

3:23

though like as assault like what is

3:25

the the just of like what. What

3:28

he's saying Because you see.

3:32

Comments: they can't open. It's hard after

3:35

a recent vote tragedy and even if

3:37

they can connect over you can get

3:39

hurt like that again. but it's a

3:41

very poppy okay so it's it's very

3:44

out that some magically but it's like

3:46

a real man. The listen to you

3:48

can it be like kids choreography around.

3:50

The rabbit like I want to ship

3:53

that doesn't seek kind of thing. Think

3:55

that? ah yes, our goods. Yeah,

3:58

I hate to tell you that. There

4:00

are no ships that never do. This is

4:02

our first failure for the play. No. Guys,

4:06

I'm sorry. Why

4:08

doesn't it land? You

4:14

know, the thing about having a limited

4:17

availability for the rabbit to actually

4:19

be on stage because they're so

4:21

precious is that

4:24

the rabbit is not used to it and

4:26

hate it. And

4:31

it's like really obvious that the rabbit's

4:33

not digging all the lights and the

4:35

sounds and the audience picks up on

4:38

that. At one point, I think there's

4:40

like a stage hand all in black

4:42

that like crawls out and like has

4:44

to hold the rabbit and the rabbit

4:47

fights them. Like

4:51

trying to jerk its way off stage.

4:54

And I imagine that at

4:56

some point, people are like, hey,

4:59

is that like an indoor? Aren't those in danger? Like,

5:01

is this animal, that rabbit is not able

5:03

to be like, that shouldn't be here, right?

5:05

Like, those are really, really like not

5:08

good in the wild. Like wasn't there a map?

5:10

And there's like a whole lot now there's conversations

5:12

about like the ethics of using live animals in

5:14

play. And that's kind

5:16

of her maybe not only is

5:18

that rabbit endangered, but the audience

5:20

gets to play so bad. Classic.

5:28

What a good zinger from the Muppet guy.

5:30

Yeah. Glad

5:33

Waldorf said that. How's

5:42

the vibe? But we're getting too into it.

5:44

I'm just, I'm laughing at that. We

5:47

should take this on the road. We have to do this three

5:49

more times. Hey,

5:52

so at GenCon, we're like launching this, right?

5:54

Like this is, yeah. Yeah. Yeah,

5:57

we can still submit panels, right? Jen,

6:02

it might also be

6:04

a retelling of Arthur.

6:06

Okay. In Chicago with

6:08

some minor Arthurian mirrors.

6:10

Yeah. That's a lot. And

6:14

I got two, which is my own

6:16

prompt. And that

6:18

prompt is moon shoes. Moon

6:21

shoes. Something anti

6:24

gravity. I went more

6:27

or less with 90s things. We

6:32

all took different directions and they're

6:34

equally valid. Yeah. So

6:37

the moon shoes, the heist. Okay.

6:44

With Henrietta out of play, the

6:48

stakes have, have gotten pretty dire. I

6:53

think now it's time we have to

6:55

get into the rigging and

6:58

we've got to get into the play

7:00

itself. We need to cause a distraction

7:02

to make sure that the audience

7:07

does not look in the

7:09

direction of where this is

7:11

all going down. And so I think

7:15

too. So

7:18

if, if, if Waldorf and

7:20

Statler and the head of

7:22

Lin-Manuel Miranda are on

7:25

like the stage left side

7:28

booth, we're

7:30

going to have, um, um,

7:35

I think, uh,

7:37

I think stones is who we're

7:40

going to call this person. Stones

7:42

is, um, a kind

7:44

of squirrely, uh,

7:48

non-binary, like

7:50

super androgynous punk rock,

7:53

like just

7:56

kind of class person. It's

7:59

so funny. Their name was stones

8:01

and you didn't need to describe them

8:03

lighting the i had the exact we're

8:05

on the about the all the assets

8:07

that yeah real of everyone knows a

8:09

star yeah. Sit still

8:11

and I'm. Has

8:13

then like a clown like I

8:16

can picture them like looking around

8:18

the corner and being that apostle

8:20

with the rabbit happening and being

8:23

like yes ah excessive gagged that

8:25

happens is gonna go around a

8:28

into the backstage area of. And

8:31

is a fully all

8:33

dressed in black and

8:35

his gun. It's like

8:38

stealth their way through

8:40

to. Like. Some

8:43

of the lighting fixtures now

8:45

getting up there is tricky

8:47

but not were wrong. Stones.

8:51

Not a surprise. Surprise is a

8:54

nickname. Actually, we run. That's

8:57

only they're close friends. call

8:59

them ah up. I'm still

9:01

their legal name so stones,

9:04

ah, get back there. And.

9:08

Needs. To obviously get up

9:10

high to get up into

9:12

the rigging because distractions and

9:15

obviously strapped. Into. Their

9:17

moon boots to do so.

9:20

And where the fuck did I put my

9:22

point here? It is okay, I

9:25

really set this up as a pass

9:27

fail sort of situation. so like really

9:29

hope that this goes well. I don't

9:31

know what the lose outcome is. When.

9:35

An Absolute, that's his. Own

9:38

know, Okay, Okay,

9:40

hold on. says.

9:43

Safe zones. Straps.

9:45

On the Moon boots, And.

9:48

Should be able to get. Like.

9:51

One good balance and beat up

9:53

in the rafters. But I think

9:55

what happens instead is that. Stones.

9:59

Bounces. Get. About

10:01

half way into the ropes

10:03

grips on and the rope

10:05

is gonna like whole. Life.

10:09

On. A curtain or

10:11

something that isn't close and

10:13

is gonna like start a

10:15

commotion. It's not the one

10:17

that they intended to create.

10:19

Ah and so people are

10:21

going to come over and

10:23

start tugging on this ropes

10:25

pulling it as Jones Down

10:27

and Stones is gonna have

10:29

to very quickly. Run

10:31

the no way but they're wearing

10:34

moon boots said it's gonna be

10:36

like a very i found no

10:38

the audition paper Shredder yeah as

10:40

they have the rhine and evade

10:43

the the people on set trying

10:45

to now find them. But.

10:50

I think I big bear it because

10:52

they're gonna get away. but the. The.

10:55

This as intended distraction is not going

10:57

to happen. In.

11:00

The plan. It's

11:02

been an emotional is thinner Mosul scene.

11:05

and it or do. For.

11:08

A party. Scene yes

11:10

a party scene in

11:13

which our to star

11:15

crossed victims of random

11:18

mysterious. Up here

11:20

until death. Ah, we'll

11:22

both be in attendance.

11:25

Organize. Of course. By

11:27

Ferdinand who come back

11:29

hours and a announces

11:31

the party's audience. You

11:34

are of course invited.

11:36

Everyone is bases web

11:38

series events of the

11:40

year I want you

11:42

dress in basically nothing

11:45

ring know innovation. And

11:48

brings everybody and six it's

11:51

a hit hit, hit and.

11:54

The party is

11:56

like. a

11:59

it It's

12:01

basically like what

12:03

it's like a really rich person try

12:06

like was tasked with throwing

12:09

a DIY punk show is

12:12

what this is. Like it's

12:15

like it's like to like things look

12:18

like when rich

12:20

people tried to mimic

12:24

any sort of grunge idea everything

12:27

is like super nice and polished

12:29

and like there's like graffiti but

12:31

it looks like really like

12:34

crispy and perfect and yeah

12:36

there's like there's like

12:38

there's a

12:40

sticker toilet but all the stickers are

12:43

like evenly in a grid like all

12:45

on this. And

12:52

so at this party everybody

12:55

is to obviously

12:58

have to wear a mask. What

13:01

are what what do what do our

13:03

two lovers masks look like? Do

13:08

we lean into ship and helicopter do a

13:10

sea and sky thing or do we make

13:12

them both? I think Guinevere's mask

13:14

is a kind of kind of like

13:16

incorporates both where it's like a

13:30

half broken ship that

13:33

is like coming out of

13:35

a screaming chicken's mouth. So

13:37

it's like a chicken's mouth which is fully open

13:40

and then out of the mask

13:42

is like a ship that is

13:44

clearly crashed. So

13:47

it's like their mask is like it

13:49

like goes down because it's like kind of hanging

13:51

off. Yeah

13:54

delicious. Dramatic. Thank

13:56

you. I think I Think

13:58

this Lancelot will go. Similar

14:00

sort of macabre. Call

14:03

to the where the other one's parrot died.

14:06

Any specific. To

14:09

sort of like a winged

14:11

outstretched bird. But it's upside

14:13

down, has clearly falling, not fly

14:16

and. Yeah. Now.

14:18

I get. An. There's

14:22

I got a little dance scene

14:24

and then Ferdinand is the instigators

14:26

in this to us as the

14:29

as the narrator of this story

14:31

as they as a storyteller and

14:33

the lever of this will dance

14:36

with each of these first. and

14:40

then kind of full you

14:42

closer together and then like

14:44

sort of valid out and

14:46

excuses himself. From. The

14:48

scene placing you just facing

14:50

each other in the middle

14:52

of this grungy little a.

14:55

Full of i'd get aesthetic blame,

14:57

rarely get a dancer, the day

15:00

wraps hilarious as realize that the

15:02

gathering and is very. Them that

15:04

there was a seagull, A. Very

15:07

narrow is still resume and happiness.

15:09

Real life for yeah. Yeah,

15:14

imagineer year two people face each

15:16

other and you just keeping parallel

15:18

lines. just sort. Of wobbling back

15:20

and forth on your parallel man

15:22

the would you be so they

15:24

have who is in the year

15:26

three thousand and sweaty for it's

15:28

a cool as hell than yeah

15:30

yeah. Everybody knows how

15:33

you properly. Court each of yeah,

15:35

skirt. A man bows out. And.

15:38

Leave you to the spotlight signs on

15:40

the both of you and the background

15:42

answers. The music slows down face or

15:44

to dance in slow motion but you

15:46

are in real life. You.

15:49

Are the moment. Now

15:51

are we thinking that they recognize each other

15:53

from the masks? Or is it very much

15:55

like are they don't know who each other.

15:59

and the point of mask because you don't.

16:03

And they've only had the one meeting. Yeah,

16:06

that's true. So maybe it's another

16:08

meet cute. It's a second meet

16:10

cute. These

16:13

two don't get together throughout the whole play.

16:15

They just have meet cutes over and over

16:17

and over again. At the end, at the

16:20

end, they just recognize each other at the

16:22

grocery store. They're like, oh, shit. That's

16:26

what city has been. That's

16:29

it. Let's say it is the home

16:31

of me. No coincidence in here. Yeah. Yeah. That's

16:33

why everyone keeps having meet cute because every time

16:35

you meet someone, you just act like it's the

16:37

first time. This is a

16:40

failure. Meet

16:43

ugly. Meet

16:46

ugly. Yeah.

16:51

Yes. Yes. I have an idea. Make a

16:53

suggestion. My suggestion would

16:56

be that while you guys are mid

16:58

dance, there is a mysterious

17:00

third person also wearing a

17:02

rubber chicken themed mask that

17:06

causes Guinevere to wonder if this

17:08

person who she thinks she's meet

17:10

cutie is the same. And

17:13

I think it should be another

17:15

mask with a similar tragedy. I don't know.

17:19

It could be like both of them

17:21

collided. Yeah. It's a helicopter colliding. A

17:23

helicopter colliding with the ship for sure.

17:27

How do we feel about that? I

17:30

feel very good because it adds to

17:32

the mystery element of the

17:35

whole thing. I think it's fun. Yeah. Yeah.

17:37

So like they dance and it's nice.

17:41

There's this like, you know, it's very

17:43

tender. They're friendly. They're like in each other's arms, but

17:45

they don't know it. And it's

17:48

that kind of warmth that only

17:50

comes with kind

17:52

of like holding someone that you're like kind of like

17:55

interested in, even though they don't know that. But

17:58

then Guinevere keeps. none

18:00

of the audience is paying attention because they're

18:02

all looking at the guy. Yeah, she came

18:04

out too early and like, and

18:08

so it's like kind of slightly in the shadow

18:10

and people aren't sure like, are we supposed to

18:12

be looking at that? She's

18:14

not lit yet, but like, there's

18:17

a guy there. Really

18:21

taking a lot of the stage presence. The

18:23

problem, the problem isn't that the scene isn't

18:25

acted well, it's that the person with the

18:28

rubber-shaking mask has such good stage presence that

18:30

no one can stop looking at them.

18:32

It's just outstanding. I'm so

18:35

sorry. I

18:40

know this is a weird thing to

18:43

bring up since we don't know who each other are at all. That

18:48

guy over there, he reminds

18:50

me of an accident

18:54

that my mother was in. That

18:57

one reminds you of an accident. Yeah.

19:00

Oh, that one. Um,

19:04

yeah, my

19:08

mother was in an accident where a helicopter hit

19:10

a cruise ship. Oh. And

19:16

it's kind of like... That's so strange. Why

19:19

is that strange? My father

19:21

was in an accident where a cruise ship hit

19:24

a helicopter. Wait,

19:28

that's so strange. Part three, that's

19:30

so strange. Because

19:33

I met someone the other day

19:35

who had the same thing happen to them. Well,

19:38

I guess

19:41

you can't be the same person because cruise ships are really big and

19:43

it was a really big deal, so a lot of people are on

19:45

the cruise ship. Right,

19:48

it had to have happened everywhere. Everyone

19:51

knows someone who was on the cruise ship because they

19:53

had a helicopter. There's a reprise

19:55

of... It never

19:57

happens twice. I

20:00

said this time

20:02

it happened twice. The

20:06

third guy is still just standing

20:08

there. All

20:15

of the background dancers are free to

20:17

leave the slow motion and everybody's like I'm

20:20

in heaping drive in

20:22

New Day, New Day. And

20:28

the party is over. And

20:31

that's gonna be Robin. That's gonna be your

20:33

turn. Next,

20:36

you're gonna have number 11. I

20:39

don't think we've rolled that yet. No,

20:41

I believe so. About 10 maybe? Yeah,

20:44

I have 11. Hell

20:46

yeah. Bring it home baby. What we got? Okay,

20:50

well this one we can make it more

20:52

of a prop because initially I

20:54

had the word hurricane. Because

20:59

Lin-Manuel likes to use it but I like to think

21:01

it's like those like

21:03

blue silk ribbons that people use

21:05

for storms and the big metal sheets

21:07

that go whoop whoop whoop whoop whoop whoop whoop

21:09

whoop. Yeah, the noises. So that's what you got.

21:13

Silks and whoop whoop whoop. But

21:15

specifically the fact that Lin-Manuel Miranda loves

21:17

putting the word hurricane in song. Yeah,

21:20

that's a good word. He

21:22

does it a lot. Speaking

21:25

of, Harvey

21:30

successfully having distracted looks at

21:32

his watch and

21:34

is like, ah, about this time, the

21:37

big mama is doing a really funny bit and big

21:39

mama has to tell me they'll be perfectly

21:42

distracted to do part two of my

21:44

distraction plan because it's

21:46

all sci fi world. Actually,

21:48

not because it's sci fi world. I

21:51

think this is a thing in the 90s. The little.

21:56

It's like the little thing that you would

21:58

have in like a. like

22:00

a kid's bedroom that is just like it's

22:02

a thing that's half full with water and

22:04

then when you press it it like Makes

22:06

it likes, you know make yeah, I know

22:08

exactly what you're talking about Sometimes

22:11

they had the little things in it and they're like floating

22:13

around Yeah, yeah. Yeah.

22:15

Yeah, absolutely and kind

22:17

of sneaks

22:19

up to near

22:22

where Limo mama and there is

22:24

and throws it out throws out one of

22:26

these toys and it starts like spinning

22:30

and There's a little hurricane.

22:32

Oh my god Like outside

22:34

limo mama and his room and a member of

22:36

staff walks by and they're like, oh My

22:39

god, that's like a tiny hurricane and

22:42

then limo mama and depending on whether

22:44

it's successful successful or not successful He

22:47

is oh my god. There's a hurricane and is

22:49

so overcome with curiosity and joy that

22:52

he has to go see it He

22:54

loves her he loves hurricane in

22:56

success in the hall.

22:59

There's a hurricane and it's tiny And

23:07

then Miranda Yeah,

23:10

but he has a little I picture

23:12

him with a little robot like like Like

23:15

from Toy Story. Yeah. Yeah, he

23:17

looks like like that little creepy

23:19

head from Toy Story. Yeah In

23:22

my head he was in it. I also thought He

23:26

is also in a job thing

23:29

spiderleg Yeah understood

23:34

walked outside in Robin's

23:37

best limo mama Miranda impression. Oh

23:40

my god. I don't know how he sounds Thank

23:43

you He

23:48

bites his lips really seductively at the

23:50

hurricane And

23:52

then as he as his little robot legs

23:54

walk toward it Harvey like

23:57

pulls string attached to this little

23:59

hurricane slowly starts moving further away

24:01

from him. So then Limo Momoranda walks

24:03

out of the hall and to Harvey,

24:05

where Harvey puts a bag over Limo

24:07

Moranda's head and is like,

24:09

we did it. We

24:13

did it. Hiced over? No, heist over because

24:15

we need to get out first. Yeah. There's a

24:17

lot more and people are going to

24:20

be wondering where Limo Momoranda is. Oh, I'm way ahead

24:22

of y'all now. No. No.

24:28

No. In the play, in the

24:30

musical, Slut City. Yeah. Swooping

24:34

the nation. Swooping the nation. Will be

24:36

soon. Swooping the planet. In

24:39

charge of the whole planet soon. Guinevere

24:42

is once, is looking

24:45

like watching a news report

24:48

of the helicopter and

24:51

cruise ship crash. And

24:53

they see that

24:57

there is like, as the

24:59

helicopter like careens kind of out of

25:01

its like airspace and flies in, there's

25:03

like, there's like dust of air.

25:07

But, and then again, Google's

25:09

like, large dust of air, Slut

25:11

City. Slut, like big

25:14

gust of air knocking helicopters out

25:16

of the sky. Hurricane

25:19

knocking a helicopter out of the sky.

25:21

And then there's like, oh, there was

25:23

a small hurricane that knocks the

25:25

helicopter out of the sky and

25:27

flew into the cruise ship. And

25:29

it's like, but a small

25:31

hurricane. It's not just a small hurricane. It would,

25:33

everyone would know about that. And then it kind

25:35

of like makes this mystery of like, someone

25:38

must have started a

25:40

small hurricane, localized hurricane to knock

25:43

the helicopter out the sky into

25:45

the cruise ship. And

25:48

I seem to be the only one who's connected these

25:50

dots. So I need to find

25:52

out this mystery. And then there's this whole song

25:54

of like, you know, in

25:56

the eye of a hurricane, there are

25:58

helicopters like that. kind of

26:01

thing. It's inspired by Lin-Manuel

26:03

Miranda, so I think it should be like

26:06

spoken, like in that

26:08

spoken rap. That's it. Yeah. And

26:10

then over the course of the song,

26:13

she figures out that the

26:16

only way that she's gonna solve this

26:18

mystery. She's never gonna solve

26:20

this mystery in Slut City by with,

26:22

you know, this big jumper with this long skirt

26:25

with this handmade and tails, like

26:27

headpiece, whatever it's called.

26:29

So she must instead integrate

26:32

herself into Slut City and become a

26:34

slut. Or like, you

26:37

know, I feel like I was

26:39

calling this Slut City, embrace Slut

26:41

City. Embrace Slut City.

26:43

There we go. Yeah. Maybe

26:45

this Slut City is rife for people. Rife

26:49

for people making it sound like this is a bad

26:51

thing. No, it's a good thing. When it's good because

26:54

it's freeing. Yes. And it's

26:56

like there's this hurricane on

26:59

the stage that kind of like tears

27:01

the velcro costume off and

27:03

revealing her like act two outfit going

27:05

into act two when she's integrating herself

27:07

into Slut City. And

27:09

I don't know if and if

27:12

we could flip the coin to find out,

27:14

see if this successful or not. The

27:16

audience likes it. Or if they think it's a really

27:18

weird thing. There's also a lot of wardrobe things happening

27:20

too. This is a failure. Yeah, a lot of things

27:22

could go wrong. This is a failure. The

27:27

hurricane that's supposed to just tear this

27:29

tear away these tear away clothes off

27:32

this this like repressive repressive

27:34

outfit off of Guinevere.

27:38

The clothes actually get caught on her and

27:41

she gets swept

27:43

away in this hurricane

27:46

because they're using practical effects. And so it's

27:48

like a real hurricane that they're making happen

27:50

and she kind of gets swept away and

27:52

kind of goes up into the rafters a

27:54

little bit. And then as the hurricane like

27:57

ends, she falls and

27:59

gets actually like Ooh, I twisted my ankle,

28:01

I got actually hurt as I fell to the ground.

28:03

Oh no! And

28:06

she like hits the ground really hard and there's

28:08

like a yelp of, oh

28:10

shit, this hurts. And she tries to play

28:12

it off, but a bunch of people in

28:14

the audience are like, ooh, gosh, that's rough.

28:17

I think even into the rafters part,

28:19

people were like, wow, this is really

28:21

cool. Like they're really going for it.

28:23

Yeah, this is huge. And

28:26

then she falls and then she hurts herself pretty seriously. Gonna

28:30

have to bring on the understudy. Oh

28:33

no, devastating. Possibly the understudy,

28:35

or she could just have a like a crutch for the

28:37

whole thing. Well, we

28:40

get more intensive dancing once you've embraced. Yeah,

28:42

it is like a lot of high kick. The

28:45

second half of subsidy is so good and

28:47

like you just can't perform it if you're,

28:49

if you haven't played ankle, it just doesn't

28:51

work. Yeah. Yeah. Milk.

28:57

Yeah. No, no, no, no, no, no. It

29:01

gets a really nice. Okay,

29:07

nine was mine. Great.

29:10

And it's delicious. So,

29:15

I think I had a backup one for this

29:17

one because I just wanted to make a joke

29:19

here. And I'll tell you both of them

29:21

and you guys can pick which one I do. So,

29:25

in Hamilton, there's

29:27

a character who's called the bullet

29:29

because any time a gun is

29:31

fired, everyone dances in slow motion

29:34

and she moves from the direction

29:37

of the shooter toward their target.

29:40

And it's in a straight line where

29:42

everyone's doing swirly lines in

29:44

slow motion choreography. So, that was

29:47

basically the concept that I had written out.

29:49

And then the other backup one, because I

29:51

admit that was a little less sealed, is

29:53

just a bag of weed. 21

30:00

Jump Street. Great.

30:05

Oh, the one specifically from 21 Jump Street? Yeah,

30:07

they're all in a one-round Miranda

30:10

references. Yeah. Which one

30:12

would you guys rather me work with in this

30:14

media? What do you feel more

30:16

comfortable working with, I think is the better.

30:18

Equally uncomfortable, to be honest. Let's go. Just

30:20

like with your first prompt that you gave

30:22

me, I want you to feel comfortable. I

30:25

want you to feel real settled in. I

30:29

want you to feel at home in this space.

30:32

I thought we don't like rhyming. It's not

30:34

a prop, is it? It's just

30:37

not a note. It's just working into what you're

30:39

doing. I want your thing, Melly. I want your

30:41

thing. Say, it's just not a

30:43

prop, Melly. These are just a bag

30:46

of- Why are you the bullet in neither? I

30:49

gave a bag of weed. Okay.

30:54

Okay. I think what

30:56

happens here is we

31:02

have Lin-Manuel Miranda's decapitated still

31:04

living head in a jar on

31:06

spider legs in a bag. We

31:10

should probably buy ourselves some time. Datler

31:12

and Waldorf are probably

31:14

going to notice pretty quickly. We

31:19

need to put a

31:21

fake Lin-Manuel Miranda

31:24

head in the spot

31:26

where the original one was. I imagine he's

31:28

very polite at the theater. He's not going

31:30

to talk a little bit, and Spatler and

31:32

Waldorf are not going to notice that

31:34

he's not talking. There we go. We

31:37

just need something

31:39

vaguely head-shaped and

31:42

jar-ish to put there. I

31:46

think what happens

31:49

is going

31:51

to go backstage to find a prop

31:54

in the play that we know is

31:56

going- that was used in Act

31:58

1 as a set piece. And

32:01

we knew it was going to be there, but we couldn't

32:03

take it before the first part of the play because then

32:05

people would go and they'd look before we don't need anyone

32:07

on high alert. So I

32:09

think what's going to happen is

32:12

not Otis because Otis is standing guard.

32:14

So probably like Bodis is

32:16

going to go and

32:19

try and blend in

32:21

backstage, dancing through

32:23

all of the people who are kind

32:25

of warming up to blend in to

32:27

try and get the, I think

32:31

it was like an aquarium

32:34

fish tank from the background

32:36

of Glenevere's house from

32:38

the first flashback. Oh,

32:40

beautiful. It's going to

32:42

take that and it's going to shove a rubber chicken in

32:45

there and passable Lin-Manuel

32:50

Miranda as they

32:52

dance through. Yeah,

32:57

it's the same. Yeah. I

32:59

can't tell the difference. Yeah. Can

33:01

you put the coin on that? I can

33:03

surely do. There were so many times

33:06

as we were playing this heist that you did that

33:08

and Harvey was like, Oh, we got it. That's the

33:10

one. That is a success. Of course it is.

33:12

Beautiful. Obviously. So,

33:18

yeah, so they dance

33:21

their, Bodis dances their

33:23

way back through the stage to secure

33:25

that. I think what

33:28

even happened since it was a success is

33:30

that on the way back, they are on

33:34

stage, but like

33:36

there's a couple lines of dancers for

33:38

whatever song is happening next and

33:41

they're just sort of like moving through it

33:43

and the audience just thinks that that's another

33:45

high concept thing. Like, no, you have to

33:47

see the direction that all of the actors

33:49

and all of the dancers are moving every

33:51

single moment. If you stare at this one

33:54

guy throughout the play, I promise it pays off in

33:56

the last 10 minutes.

34:01

Very gently puts

34:05

the head back where the

34:07

other one once stood. Okay.

34:10

And then sneaks out back

34:12

past Otis who they

34:14

just happen to have similar names, no relation

34:16

or anything there. Right, right. No,

34:19

no, no, no. No, no, no. Okay,

34:21

good. What's happening in

34:23

the play? What is

34:25

happening? Well, our lead got

34:27

an ankle injury. And

34:30

like we said, we're gearing up. I

34:32

think we're about to get to the big, what

34:35

is it, ensemble number that happens

34:37

before the intermission, I'm sure. So

34:40

this is going to be kind of a like throwaway,

34:44

not a throwaway song, but you know, not as

34:46

much plot is going to happen here because we're basically

34:48

just gearing up for that. And

34:51

I think what happens now is one

34:53

of years understudy

34:55

is now

34:57

taking part in a

35:00

very intensive solo piece. Well,

35:02

not a solo piece. It's

35:04

a solo song. And

35:08

it's just kind of about, you

35:10

know, this new information and trying

35:12

to make sense of the

35:15

world, trying to find your

35:18

way in Slut City when you're just

35:20

a girl. And

35:26

there's a lot of jumps, there's a lot

35:28

of twirls. There's

35:32

the Lancelot standing on one side kind

35:34

of doing a thing. And

35:37

she dances. Oh, it's like a dream ballet situation.

35:39

There we are. That's the one I was thinking of. Yes,

35:41

yes, yes. And

35:43

then there's this mysterious other person with

35:45

incredible stage presence. And honestly, I don't

35:47

know, when a very two, one of

35:50

your one was barely like keeping up

35:52

with that. I don't know about

35:54

when it was you and like the back and forth. And

35:57

then in the background, you see like projected.

36:00

twirl of a hurricane and then

36:02

the waves turn into a capsizing ship

36:04

turns into the propellers of a

36:06

helicopter and it's all spinning and

36:08

back and forth in flood city

36:11

and she doesn't

36:14

know what to do. And

36:18

we should flip the coin to see if she

36:21

can bring it home for the big finale. She

36:26

cannot bring it home. It is a failure. And

36:30

right at her big note

36:32

where she's

36:34

like doing these twirls back and forth

36:36

across the stage and she's

36:39

singing about how she's stuck

36:41

in flood city. It's just

36:43

she just trips. And

36:47

she doesn't catch herself. She doesn't hurt herself.

36:50

But she's a little bit

36:52

paranoid after the raster and

36:55

when she gets up, entirely

36:57

freezes. Oh, no. And it's

36:59

so noticeable because there's just

37:01

a very specific movement and

37:03

everyone else is dancing around and

37:05

at first the audience thinks it's again

37:07

like a character choice. But

37:10

it's like it takes her. It's

37:13

not even too long. It's like

37:15

15 seconds. But 15 seconds in

37:17

the middle of a song and

37:20

it's just like barely getting back on

37:22

track. And as the rest of the

37:26

ensemble begins to move and it

37:28

just it just

37:30

kills like what was one of

37:32

the like big character moments

37:34

of the first act. Oh,

37:37

my God. Dang. That's

37:40

heartbreaking. That's tough. She's just

37:42

a girl. Oh, okay.

37:45

So that's devastating.

37:50

Really? Hayley,

37:54

let me roll. Let me

37:56

roll you. I'd love a number. Have

37:59

we done 12? 12 yet? No.

38:01

Oh no. I'm so okay. What is 12?

38:04

12 is the line where the

38:06

sky meets the sea. So

38:22

like how did you envision that being used in

38:24

a high sort of the

38:27

general context of the horizon? Also it

38:29

is on theme for the story we've built with these two

38:31

lovers. It is. Yeah,

38:40

we can make it work. You can make

38:42

it work in the play very easily I

38:44

think. You can

38:47

project a horizon line. It could be

38:50

you make it work. You're smart. Oh

38:52

yeah, that smells. I'm

38:58

trying to think of any

39:00

instances of something resembling a horizon

39:02

line that one might see when they're inside

39:04

a theater building. Give me a moment. You

39:06

could always do a bag

39:08

of weed. That

39:11

was my back on one. I

39:13

went into building an out. I

39:16

know it's very high concept. The

39:18

props I bring to the table.

39:20

The thing about you Mills is

39:22

you're just a high concept guy.

39:27

It's so insufferable of me.

39:29

I do apologize. You don't

39:31

apologize to me. I love

39:33

it. It makes you an

39:36

incredible creative partner and sometimes

39:38

you want to shake you until you

39:40

fall down. That

39:49

means I'm scrappy Mills. Come on.

39:52

And young and hungry. Let's go. I

39:55

get you the knee. Oh,

40:02

it's a mid-roll! Ha, did you know

40:05

that I have to record these live

40:07

as the episode is airing? It's

40:10

a real-time crunch, and the timing is an

40:12

absolute bitch, I gotta say. I

40:14

have to run all the way from the

40:16

A-suite, get past the sphinx that guards the

40:18

elevator, and down into the studio right at

40:21

the exact mid-point of the episode, every single

40:23

week. These conditions

40:25

are unreasonable. Anyway,

40:27

I do have some news for you to put

40:29

your peepers on this week. James

40:31

DiMotto, my friend and the creator of

40:33

this show and network, has a new

40:36

book out now as part of the

40:38

Ultimate RPG Guide Collection. This

40:40

one is the Ultimate RPG Game Master's

40:42

Guide, which includes both advice and actionable

40:44

content to help you GM better. I'm

40:46

gonna link in the show notes to

40:48

where you can order your own copy.

40:51

And before I continue on to Long

40:53

Please, let's hear a word from our

40:56

sponsors and get back to the

40:58

end of this series. Good

41:07

lord! Alright, Lin-Manuel Miranda has been

41:09

captured. Yes.

41:14

The flawless duplicate has been put in

41:16

place. Oh, and wait, let me

41:18

just interject here that this is the end of

41:20

Act 1. So you... So

41:24

we may want to have

41:26

a cliffhanger of some kind. It's

41:29

about to be intermission. So

41:31

whatever we do has to

41:35

put us in a solid place that

41:37

during intermission, the audience won't see anything weird

41:39

and that the crew moving from

41:41

the corner, intermission won't do anything weird. So

41:43

I can't do anything super goddamn

41:45

weird. Hmm.

41:50

We have Lin-Manuel Miranda's head in the

41:53

back. Yeah, we do.

41:57

Um, geezie crease. Nails

42:00

it's not a noun. You

42:03

could take the bag of weed. I don't

42:05

want the bag of weed. You could get women

42:08

while Mar had a high? Well

42:11

it's a prop weed so it's not real weed. Prop

42:14

weed? It's

42:18

just oregano. Yeah. It's a

42:20

regular bag crushed up. It's

42:22

a kale salad. Yeah. We

42:25

can't bring real weed, that's illegal. Oh

42:29

no, we need to leave it in New York

42:31

City? It's New York City in the

42:33

90s, yeah. Yeah, rain

42:35

is in space. Space weed's gotta

42:37

be legal. Well if it

42:40

was space weed it would have been spice. This is

42:42

regular weed. No! Oh damn it.

42:49

I think... I

42:52

think I'm going to take the general

42:54

concept of horizons in veiling. Okay.

42:58

We're going to do a show with Kurt and Nails if you'll allow.

43:00

I love it. Okay. Yeah.

43:04

I'm glad you're just playing in the sandbox with

43:06

me. Yep, and I love it here. So

43:08

I'm gonna... We

43:11

have one of them. Melinda and Mel Miranda. What

43:13

we definitely don't want is for Walter

43:16

and whatever up in their Muppet balcony

43:19

to realize that something's been replaced and then

43:21

for them to like do something about it

43:24

and try to go get them. Can they leave the balcony? I don't

43:26

know my Muppet floor. No, they have

43:28

to be hoisted out. They can't. Yeah.

43:30

Yeah. They can't. Okay,

43:36

in that case I don't want anyone else going into their balcony either. Yeah.

43:40

So I think the... What

43:44

I'm gonna do with this prompt is

43:46

say that somebody's gotten

43:48

the signal that we've got Lynn and

43:51

Mel Miranda's head out of

43:53

there. That balcony, the way into that balcony,

43:55

we don't need it anymore. It's figured out. So...

44:00

My guy, Jonathan, is

44:02

coming in with a big sheet. A

44:06

big, heavy, blackout curtain sheet

44:09

that is painted to look exactly like

44:11

the wall and doorway. But we will affix

44:13

it to the wall over the

44:15

entrance into that balcony. And

44:17

make it cover up the door. Make

44:20

it one of those- Looney Tunes. Yeah, it was. Yeah,

44:22

I love that. Yeah, yeah. Could

44:25

they eventually get through it? Yeah, maybe. Are we

44:27

gonna notice? Yes, we are. Ha ha ha ha.

44:30

Ha ha ha ha. Ha

44:32

ha ha ha. So I'm affixing

44:34

a Wylie Coyote blackout curtain over

44:37

the balcony doorway. Especially if the Muppets

44:39

can't get down. Makes

44:41

it so much faster than I should. Yeah, that's completely screwed. The

44:44

door's just finished. And it means they're not gonna be trying

44:47

to get down during intermission either, so. True.

44:51

Mm. Okay.

44:53

Does everyone like my painting? Let's see. I worked really

44:55

hard on it, Dylan. I loved it. Dylan,

44:58

I spent days on this blackout. He worked really hard on

45:00

it, dude. Come on. Yeah, it's just

45:02

Jonathan, you already- It's successful.

45:05

Ha ha ha ha ha. You're

45:09

lucky that Jonathan dropped out of art school to

45:11

do this criminal thing. That's what I'm saying. Yeah,

45:14

we're all very lucky. Ha ha

45:16

ha. For that. And so is

45:18

he. Ha ha ha ha

45:20

ha. I think this is far more

45:22

lucrative than what he was

45:24

going. Ha ha ha ha ha. He

45:26

was doing really good painting fake tunnel

45:28

entrances on the sides of brick walls,

45:30

you know? Yeah. Yeah. And

45:32

then got arrested for it. Yeah, well,

45:34

he was a public match. And- Ha

45:37

ha ha ha ha. And

45:39

his choice was be arrested or join

45:41

this crew. Or join this. Much like

45:44

taking the black in Game of Thrones.

45:46

Ha ha ha ha ha ha. We

45:48

had a choice. I joined the group

45:51

that's going to take down Lin-Manuel Miranda.

45:53

Ha ha ha ha. Look, once you

45:55

get arrested once, you're like, I might

45:57

as well be a criminal. And also- Right.

46:00

I end up winning this whole thing, I can

46:02

become the chancellor of painting

46:05

doorways and tunnels on walls.

46:07

That's right. My favorite branch of government.

46:10

So Jonathan wins. That

46:16

wins. Okay,

46:19

that's my first success. Congratulations. I'm

46:21

so proud of you. And

46:25

then I think the sort of

46:27

closer to act

46:30

one is got to

46:32

be one of those like big ensemble,

46:35

kind of like building, building, building pieces.

46:38

You've got everybody in Slut City

46:41

dancing around on the turntable,

46:43

swirling and whirling. They've got

46:46

ribbons to mimic storms

46:48

and hurricanes. They're singing about

46:50

the line where the sky

46:52

meets the sea is where

46:54

you found me and it's

46:58

and it's

47:00

still oh,

47:03

and it looks like

47:05

they're finally going to meet and actually see

47:07

each other when who's that in the back?

47:11

Who is it? It's one

47:13

of your mother. And

47:16

you just hear one of

47:18

your and the lights go out. Holy

47:23

shit. That's a great. That's

47:26

a good. That's good. It's a success. It's

47:28

a fucking success. Holy shit. Okay,

47:31

I don't want to play this

47:33

anymore. Haley,

47:36

just what's the rest of the show? Okay.

47:39

Okay. I have it is

47:42

interesting. It's

47:45

all the answers. They

47:49

never answer what that was. Just

47:52

like so many plays. Act

47:54

two is a disappointment. So

47:58

two things. Well the high kicks

48:00

are. In

48:04

intermission what we do is we read out

48:06

where we're at in terms of how

48:08

we're doing in both the heist and the play.

48:12

In the heist we're doing

48:14

well. It's a five to

48:16

three success. In

48:19

the play it is dead even.

48:23

It is cut high in success and

48:25

failure. It could go either way. So

48:28

gamers let's go. Let's

48:32

do act two. We're going to do act two

48:35

should be two rounds per person but we

48:37

are a little bit pressed for time so

48:39

we're going to do one round per person

48:41

and finish our act on this next round

48:43

of players. So we're going to be back

48:45

up to me. Now there

48:48

is another special mechanic in act

48:51

two wherein we still roll or

48:53

draw a prop but

48:56

we are allowed to add

48:58

a second prop from act one

49:00

that's already been pulled if

49:03

we want to. So you

49:05

have to use the prop that you

49:07

roll but you also can incorporate another

49:10

one from the previous act. So

49:15

oh god okay. Did

49:18

we draw three? No

49:21

because that's mine. Okay

49:24

this prompt was this prop was

49:27

what's left of the Statue of Liberty.

49:30

So that's a great

49:33

one. Why is that a new

49:35

New York City? What

49:37

happened? I

49:41

love that you open this by saying

49:43

all of yours are 90s themed. That's

49:45

a lot of special liberties. That

49:48

famous 90s thing. Did they not tell you what happened in the 90s? Yeah.

49:51

Oh my god no they didn't. They

49:54

had to rebuild it out of cardboard and plastic. Yeah.

49:58

The only thing that remained is. in

50:01

2090 when York

50:06

blew up. Okay so

50:09

we've got the head it's

50:13

but the situation's precarious. Getting

50:17

it to the truck is gonna

50:19

be tricky. There are a whole bunch

50:21

of people not distracted at all downstairs.

50:28

And I think that what's gonna

50:30

happen is alarms

50:33

start to go off in

50:36

like the hall in the back as

50:38

we're all starting to

50:40

converge and like run away

50:43

trying to get this head

50:45

out. Obviously not all of us some

50:47

of us have joined the art department.

50:52

Yeah I also think it's funny because is

50:54

it the premise of this game that we are

50:56

doing the play as a cover? Yeah the

50:59

play is a cover. So

51:01

we all set it as

51:04

a cover but then we're

51:06

also meeting everyone. Yeah. So

51:09

some of the emergency doors shut

51:11

closed. And

51:13

I think I think it's actually

51:16

Stone who although

51:19

had a really bad flop earlier

51:22

trying to get into the rigging

51:24

to do a distraction has come

51:26

around and leans down like crouches

51:28

down pulling out a bag of

51:30

tricks and reaches in and pulls

51:32

out just like the

51:35

tip of the

51:37

torch from the

51:39

Statue of Liberty. Just that little

51:41

tip. Just the tip. Yeah just

51:44

the tip. And is going

51:46

to use it to try

51:49

to unlock the

51:52

special gate here. And

51:54

it's just like it's just like everybody

51:57

calm down. I got it. I

52:00

got it. I got it. We'll we'll be okay

52:05

And it's a success Beautiful

52:09

and Let's go Don't

52:15

Kind of uses it and and pop

52:17

that door open like just in time

52:19

for security guards to be like running

52:21

around the corner we're able to go

52:24

and like shut the doors behind us

52:26

and they jam the the torch into

52:29

The locks on the other side to buy

52:32

us some time At

52:38

the same time on stage

52:42

there is a Silhouette

52:45

as the curtain kind of fades

52:48

and flickers away to A

52:50

certain and

52:54

just on stage by

52:56

himself leaned

52:58

against like

53:01

just like the the sort of like

53:05

Decrepid bottom half

53:07

of the Statue of Liberty. It's just

53:09

just a skirt And

53:13

he's leaned on it

53:16

uh, like it's a pole smoking

53:18

a real cigarette You

53:21

thought that there was no

53:23

way she could come back

53:29

I don't know what this section is It's

53:33

gorgeous is what it is There

53:35

could be no way that she could come

53:38

back And

53:40

there could be no way that this Could

53:43

be an accident Could

53:46

it all be an accident? Is

53:49

anything that happened? An

53:52

accident and i'm bringing back

53:55

the rhyming. I knew you were gonna do it Nice

53:58

rhyming But I

54:00

didn't want to say anything. I

54:02

had- I have written down words,

54:04

like ways that I could rhyme

54:06

the same words again. Yeah,

54:09

I also wanted to pull that one back because I

54:11

just like rhyme and shit. Yeah.

54:13

Yeah. Yeah. Yeah,

54:15

it's about the cadence. The

54:18

mystery is not yet solved. And

54:23

the lovers have yet to truly

54:25

meet. And

54:27

we'll sort of back away to

54:30

gasps in the theater. Do

54:35

I pull that off? Are they gasping?

54:37

I don't. I don't.

54:40

Not again. I don't. They're

54:42

tired of the meet-you. Yeah, they're-

54:44

Yeah, they're like just fucking meet-already.

54:47

What is happening? Me or- It's

54:50

like when you watch a new Spider-Man movie and

54:52

we're like, we get the origin story. We

54:55

don't have- Yeah, please stop. Or another

54:57

Batman. Like we don't need to watch

54:59

it. We know. They

55:03

shouldn't fall in love. They should fall

55:05

into the Hudson is what- Yes.

55:14

And that will be Robin. Well,

55:16

no more of a Got Gamer. It-

55:20

oh. Seven? Have

55:23

we done seven? Nope.

55:26

A Mission Impossible-esque Lin-Manuel Miranda

55:28

mask. Damn. Wow.

55:32

You know what? Good. Jeez.

55:35

Harvey. Mm-hmm. Knowing

55:37

that the head of Lin-Manuel Miranda

55:39

is being- is in

55:42

safe hands with Bodice? Yes.

55:45

Yes. Yeah. Yeah.

55:48

Good. Yeah. It's

55:50

in Bodice's capable hands. Very capable, strong hands.

55:53

Harvey then says to himself, time

55:55

for Act Two. Pulls over

55:57

an insanely- accurate

56:00

Limon one Miranda mask and

56:03

then kind

56:06

of walks into the

56:09

security office Big Momma's house to

56:11

closed out with you know Instagram

56:14

hey guys I grew legs

56:17

of the body again so if you see me

56:19

as just a head don't even worry about it

56:23

I was hoping it would just be a

56:26

bald faced lie just

56:40

here I am well Miranda

56:45

oh oh I will say that it does

56:47

say instead of flipping a coin you can add a

56:49

second prop from act one into the callback and that

56:51

lets you choose whether you succeed or fail but you

56:53

have already flipped it I did do you want

56:56

to do that though no I want you

56:58

to tell me my fate I don't want to

57:00

cheat chance it was a failure the

57:05

security guards look at him and

57:07

they're like that's just

57:09

bad you can't happen hey pal

57:11

that ain't how bodies work he

57:13

ain't a lizard perhaps

57:28

Harvey arrests him

57:31

and then turns to the rest of the

57:34

security guards like hey keep a real strong

57:36

lookout for the head of Limon Miranda when

57:38

you place good I have a feeling that

57:40

this wasn't an isolated incident should we should

57:42

we go check on it should

57:45

we go up there and look at

57:47

the head just yeah yeah yeah

57:49

let's do that that sounds like that sounds healthy that

57:51

sounds like a good idea yeah they go and they

57:53

run up but then when they get to the hallway

57:55

Oh beans they can't tell where it is because of

57:58

the perfect Wily Coyote painting that has happened So

58:00

they're up and down there for a bit. It takes

58:02

them a while to figure it out. I

58:04

swear the door was here at some point. Yaketty

58:09

Sax has played on a rubber chicken. As

58:15

Ferdinand was at the bottom of

58:18

the Statue of Liberty, Guinevere

58:20

and her mother are at the top

58:22

of the Statue of Liberty. But

58:27

the Statue of Liberty's face has a

58:29

Mission Impossible style Lim and Mo Miranda

58:32

mask over it, because

58:35

the face of the Statue of Liberty in

58:37

this new New York is Lim and Mo

58:39

Miranda. That tracks with everything else we've set

58:42

up, world building one. Yes, yeah. So

58:52

all this time you were alive and

58:54

everything was a lie? How

58:58

could you make me believe that you were dead? Says

59:02

Guinevere to the mother if someone

59:05

wants to play the mother. I will do both

59:07

if you want this to be a woman show. Wait, wait, wait.

59:09

I think Mills was pro because I think Mills was doing it. Oh

59:12

yeah, sorry. Oh what? Yeah. Okay, you're

59:14

back. You

59:16

want to be Guinevere's mother? I did want to be Guinevere's

59:18

mother. Is that cool? Was someone else

59:20

wanting to be it? Absolutely. No, I love

59:22

that. Perfect. Please do. Okay,

59:25

can you, what did you say you

59:27

said the thing about? And

59:29

I said... I thought you were dead. Yeah. I

59:32

didn't try to trick you of anything. You

59:34

chose to believe that I was dead. I

59:37

mean, the helicopter was

59:40

perfectly intact from what I've

59:42

heard. There was no sign of

59:44

anything. I just... I've been

59:46

trying to find my way back to you all this

59:48

time. But

59:52

I saw the footage. A

59:54

hurricane or something took

59:56

the helicopter and it careened into the cruise ship.

59:58

The cruise ship? definitely crashed.

1:00:01

The cruise ship crashed for sure.

1:00:03

I think. But you survived. I

1:00:11

was in the

1:00:14

helicopter and everyone

1:00:17

knows the helicopter will beat a cruise ship in

1:00:19

a fight. Oh,

1:00:21

yes. After the- Just

1:00:23

the rock, paper, scissors. Helicopter

1:00:27

cruise ship rock, I think. Don't.

1:00:31

Come to cruise ship hurricane. Well,

1:00:35

as soon as the initial impact

1:00:37

happened, the helicopter, well,

1:00:39

perfectly intact, couldn't fly

1:00:41

very well and I

1:00:44

made my escape on the lifeboat and

1:00:46

I've just been drifting at sea floating

1:00:48

from hurricane to hurricane hoping one of

1:00:50

them would take me back to new

1:00:52

New York City. Back

1:00:55

to you, my love. I-

1:01:08

I searched for so long and

1:01:10

I thought,

1:01:16

Mother, this is gonna sound silly, but I

1:01:19

feel like I've met someone. Well, two people, I

1:01:21

think. And

1:01:23

my heart is torn in twain because the

1:01:26

one thing we had to bond over was

1:01:28

the fact that both of our parents had

1:01:30

died in the hurricane

1:01:32

helicopter cruise ship accident of

1:01:35

last year. Mother,

1:01:38

do you have any advice for me? Anything

1:01:41

that can help me through this predicament? Which one

1:01:43

do I choose? Do I choose either? Do I

1:01:45

cut a full connection because it's just too embarrassing

1:01:47

of a situation? I

1:01:49

don't think any of this is embarrassing at all. Well,

1:01:53

I also found someone. Oh

1:01:58

my god. Oh my god. It

1:02:03

was a while ago. I'm not

1:02:06

friends. Am

1:02:08

I not friends anymore? No, your voice

1:02:10

is coming through. Okay,

1:02:13

great. I just

1:02:16

also want to say I flipped the

1:02:18

coin. It is a success. Nice. Okay,

1:02:21

great. Perfect. In

1:02:24

the aftermath of the

1:02:26

crash, I was drifting on a lifeboat

1:02:29

by myself for however long we

1:02:31

established earlier that I had been drifting, but

1:02:33

maybe minus a few months. And

1:02:37

I came across another

1:02:39

person also drifting

1:02:42

in a lifeboat. And for a while, we

1:02:44

drifted together in between the

1:02:46

hurricanes when it would allow. But

1:02:49

you can't control a hurricane anymore than you

1:02:51

control the beating of your own heart. And

1:02:55

as much as I was looking for you, I was looking for

1:02:57

him too. So if

1:02:59

you found someone and you've met them at

1:03:02

least once, maybe two or three times, you

1:03:05

have to go for it. You

1:03:09

have to be a little bit of a nut about it.

1:03:12

I'm pretty sure we met you once. That's

1:03:16

it. Then that's where the music hits.

1:03:18

That's the perfect moment. That's where the music hits. The

1:03:20

classic number, you have to be a slut about it, comes on.

1:03:22

You have to be a little bit of a slut about

1:03:24

it. And

1:03:26

it's the best song. It's the

1:03:28

best song in the whole thing. It's

1:03:31

the mother's one song and it just

1:03:33

kills. It's great. Yeah. The

1:03:36

one in the alto range. I know it well

1:03:39

in the musical. Yeah.

1:03:42

There we go. That's right. Yeah.

1:03:46

That one's great because Ferdinand makes out with every

1:03:48

chorus member in that song. And

1:03:50

then all the Miranda Statue of Liberty

1:03:52

as well. Yeah. Yeah. Yeah.

1:03:56

That's the big final as the big

1:03:58

bit is going. Yeah, exactly. Yes.

1:04:00

And they kiss the big

1:04:02

mouth on Mo Mo Miranda, Satio Liberty. Mills,

1:04:05

that's you. I'm gonna. Okay. I'm

1:04:07

gonna roll you a number. Yeah. One.

1:04:14

Oh, dang. Which is mine. And this is. The

1:04:16

loneliest number. This is a

1:04:18

talk boy, which is the recording.

1:04:21

It's like a Walkman. Sayback thing

1:04:24

that Kevin McAllister had in Mo

1:04:26

Malone. Where

1:04:28

he could like alter voices and

1:04:30

play them back at like a

1:04:32

different pitch. So it'd be voice

1:04:34

encoded. Yeah. Yeah.

1:04:37

Okay. So, God. Bodis

1:04:40

catches up with Odis. We're

1:04:42

moving. The security

1:04:45

doors have started closing. The

1:04:47

alarms have gone off. Security is aware that things

1:04:49

are happening. You managed to pick a lock, I

1:04:51

think, through an exit to provide

1:04:54

us a weight of egress. Henrietta's

1:04:56

nowhere to be found. I have to

1:04:59

assume she's captured. She just said something.

1:05:05

And we have Lin-Manuel

1:05:08

Miranda's severed head and a

1:05:10

jar on spider legs in a bag. And

1:05:12

we've got to move. I

1:05:15

think it's just about getting to the getaway

1:05:17

car. And we

1:05:20

peer around and we see

1:05:22

that there's just like a

1:05:24

line full of security officers

1:05:27

who are just looking around. They're not

1:05:29

turning around 180 degrees, but

1:05:32

they're looking side to side. That

1:05:34

was her back conveniently toward us.

1:05:36

Yeah. Trying to keep an eye

1:05:38

out for anyone who's, anyone who

1:05:40

might be a miss and for

1:05:42

Lin-Manuel Miranda's head. And I think what

1:05:45

happened is. Bodes

1:05:48

says, Hey, it's

1:05:51

me. I'm Lin-Manuel Miranda and I'm over here. And

1:05:53

I think does another one. It says,

1:05:55

no, it's me. They've got my head. And

1:06:00

I can't move because I'm in a

1:06:02

bag or something. It's very dark I'm

1:06:04

over here and I think I

1:06:07

record like a few Because

1:06:13

bodice is like the brains of the operation right

1:06:15

bodice was the one who came up with being

1:06:18

insanely clever fake head Rubber

1:06:22

chicken idea is there's like a delay

1:06:24

on it So you wait

1:06:26

like 30 seconds before you record to impress his

1:06:28

play on him and Lynn like throws them all

1:06:31

Throughout and then they lie in wait hiding

1:06:33

so at different times Based

1:06:36

on when they delayed the recording it'll

1:06:38

start playing as if it's Lin Manuel Miranda's

1:06:40

voice all over And if you would flip

1:06:42

a coin, we'll see how that turns out

1:06:48

Okay, okay That

1:06:52

Is a success And

1:06:57

it works Lin

1:07:00

Manuel Miranda everyone heads that way and then

1:07:02

the second one starts and all of a

1:07:04

sudden all of the security Realizes they don't

1:07:06

know where the real Lin Manuel Miranda is But

1:07:08

they have to check all of them because one of

1:07:10

them got to be the real thing right in the meantime

1:07:13

As all these are going off actual Lin

1:07:15

Manuel Miranda's probably figured out what's going on

1:07:18

because he's just Yeah,

1:07:20

he's in a bag. I'm over

1:07:22

here and they don't hear it

1:07:24

because there's so many other fake

1:07:26

Lin voices happening And then notice

1:07:28

that that records Lin Manuel saying

1:07:30

that just for later just in case

1:07:32

and then they start making their way

1:07:35

To the getaway car the path is

1:07:37

clear. The light is good. They have

1:07:39

no fear nor no one should and

1:07:44

They jump in Oh

1:07:46

my god, okay Perfect

1:07:49

what's going on in the play? Bomb

1:07:55

was dropped. Yes.

1:07:58

Yeah. Yeah and there's

1:08:00

a little bit of a cute, you have to

1:08:02

be a little bit of a slut dance and slut

1:08:04

city. And that kind

1:08:06

of just happens more as a transition thing to

1:08:09

kind of move the stage a

1:08:11

bit. And I think

1:08:14

we see Guinevere walking in

1:08:18

the center of the stage, heading

1:08:21

toward Lancelot. And

1:08:23

she runs up to him and I think

1:08:25

announces that

1:08:28

she's finally decided to follow her heart in

1:08:31

whatever way that means. Beauty.

1:08:34

So Guinevere is telling Lancelot? You can decide

1:08:36

what Guinevere wants to say. I want to,

1:08:38

you've been inhabiting her this whole time and

1:08:40

I want to give you that. But

1:08:44

I want to say that the conversation, you're

1:08:46

deep in the role, the conversation with her

1:08:49

mom provided some clarity on

1:08:51

how she's feeling with

1:08:53

these conflicting emotions. Yeah.

1:08:58

So, all right. My

1:09:04

hip thrust, like hip fire scene

1:09:07

start, not hip

1:09:09

fire, thank you very much. My

1:09:12

sexy little hip thrust idea for this

1:09:14

thing is that Guinevere

1:09:16

is like sat on a bench, feeding

1:09:20

the birds. And then Lancelot

1:09:22

comes by, feed the birds. And

1:09:24

then Lancelot comes by, sits on the bench and

1:09:26

then also starts feeding the birds. And this is

1:09:29

another meet-cute. And they don't recognize

1:09:31

each other because the

1:09:33

masks aren't there and they don't have a

1:09:35

rubber chicken. They're new guys, basically. Yeah,

1:09:38

new people. So

1:09:42

like tearing off pieces of bread and throwing it.

1:09:44

And then, as Lancelot sits down,

1:09:46

there's this big like, continues

1:09:51

to throw bread out. Oh, sorry,

1:09:55

I didn't see you there. It's

1:09:57

okay, I didn't ask. if

1:10:00

I could sit here. Is it taken? No, no,

1:10:03

no, please, please sit. So

1:10:08

to catch you up, what I'm going

1:10:10

to do... You

1:10:12

seem stressed. Okay. Can I throw a

1:10:14

wrench into this real quick? I

1:10:16

was like, to have Ferdinand come out and like walk across the

1:10:18

stage and and

1:10:26

to thematically remind us that within

1:10:28

the next two screens we have

1:10:30

to answer the question just the

1:10:32

end. Do

1:10:40

you see that? Just by the

1:10:42

means, I think Ferdinand will just

1:10:44

walk across the stage with that

1:10:46

question on a sign. Well,

1:10:52

well,

1:10:56

to catch you up on all the things I've been going on. A

1:10:59

few years ago my mother and

1:11:03

my father got divorced because they were very unhappy and

1:11:05

then last year my mother went on

1:11:07

a helicopter ride for her birthday because I bought the ticket

1:11:09

and she was really... and because she loves helicopters, damn she

1:11:11

loves them. And

1:11:22

then as she was flying there was

1:11:24

a small hurricane that swept

1:11:26

her up much like, you know, you know the

1:11:28

game, helicopter, uh, hurricane,

1:11:31

cruise ship. Yeah. And

1:11:34

then it crashed into a cruise ship that was just there

1:11:36

and the cruise ship crashed and I

1:11:38

thought for the past year that my mother was dead. But

1:11:41

it turns out that she's actually

1:11:43

alive and she was out to sea and

1:11:46

she met someone new and all this time

1:11:48

I was feeling such heartbreak. I

1:11:51

was, um, you know,

1:11:53

watching our favorite movie by myself and, you know, I

1:11:55

was crying and it took me so long to to

1:11:58

get rid of all her stuff in the attic. But

1:12:00

then, you know, it turns out that she's alive. And

1:12:05

she says that she's happy and that she's found someone. But

1:12:10

after all this heartbreak that I went through, even

1:12:14

though, yes, she's happy now, I

1:12:17

had to go through all this sadness and... I'm

1:12:20

just wondering, do you think the me...

1:12:22

the N has justified the me? What

1:12:31

does Lancelot say to that? Yeah.

1:12:35

I think a happy ending can be

1:12:37

justified by a whole lot. It

1:12:39

doesn't really matter what you have to go through to get there as long

1:12:42

as you can get there in the end. But

1:12:44

it's the strangest thing, because my father... So,

1:12:52

aside, when a helicopter crashed into his cruise

1:12:55

ship, me and all

1:12:57

seven of my brothers pooled our money together to get him

1:12:59

a ticket on this cruise ship. The

1:13:03

helicopter crashed in. And just

1:13:05

like in Hurricane Helicopter Cruise Ship,

1:13:08

it capsized. And

1:13:10

my father was presumably

1:13:13

lost to us. But if

1:13:15

your mother's alive, I

1:13:18

guess who knows? How

1:13:22

strange. Oh,

1:13:24

yeah. I was just going to narrate what's happening

1:13:26

on this stage. It just happened. And then

1:13:28

you see... What do they call it? The Talk Boys? That

1:13:31

you pre-recorded the things and replay

1:13:33

it? Yeah. All

1:13:36

of the... You see

1:13:38

the chorus comes

1:13:40

out, and they're doing this slow

1:13:42

dance with these... Each one has a

1:13:45

rubber chicken. Except when they squeeze it

1:13:47

this time, it plays a recording from

1:13:49

earlier in the play every single time

1:13:51

they bet where someone has detailed

1:13:53

the thing. Them meeting. Them talking.

1:13:56

The mom talking to them. And then another...

1:14:00

thing that we didn't even hear on the play,

1:14:02

which is the mom in the

1:14:04

ocean talking to this guy about how

1:14:06

she was in a helicopter that crashed

1:14:09

into a ship that capsized. And he

1:14:11

says, that's so crazy. I was just

1:14:13

in a ship that I happened to

1:14:15

have her crashed into and it capsized.

1:14:17

And we see it's just echoing the

1:14:19

same conversation because it doesn't, you

1:14:22

know, we're trying to figure out if the

1:14:24

end justify the needs, but remember, it's also

1:14:26

the middle is not important. It's important how

1:14:28

it starts. That's right. That

1:14:33

must be the name of the song. It's important how

1:14:35

it starts. Yeah. How does the

1:14:37

audience feel about that? It's important how

1:14:39

it starts. That

1:14:43

was in fact a failure. I think that says, aww, get out of here. Yeah,

1:14:46

no, it was a very big swing. The audience was like, oh, I'm sorry.

1:14:48

I'm sorry. I'm sorry. I'm

1:14:50

sorry. I'm sorry. I'm

1:14:52

sorry. I'm sorry. I'm

1:14:54

sorry. I'm sorry. I'm sorry.

1:14:57

I'm sorry. I'm sorry. All of the thing

1:14:59

that's happening- What was that talking

1:15:01

talk boy? Yeah, it works quite loud

1:15:03

enough to actually even catch all the dialogue. So

1:15:06

it's like, what? Yeah, like is that a recording?

1:15:09

At first, at first it's like, okay, you

1:15:11

know, like, oh, this is cute. I see

1:15:13

what they're doing there. And then the other

1:15:16

ones start and it's like fun, except then

1:15:18

all the dialogue. And it's like that, like

1:15:20

mechanical sounding noise too, from like cheap old

1:15:22

recorders. Yeah. It's

1:15:25

very bad to listen to. It's just cacophony.

1:15:27

And by the time you get to the

1:15:29

end, like, hello, like there's certain phrases

1:15:31

like that's so strange that work and

1:15:33

everything else. Plus

1:15:35

the fact that they're in the chickens means you still

1:15:38

get some of the chicken honk noise when you squeeze

1:15:40

on it. And it is

1:15:42

not. Oh, of course. They're

1:15:45

like, why didn't they just- They're like, we

1:15:48

should have just mixed this beforehand. We could

1:15:50

have just done this in the studio and

1:15:52

played a prerecorded mix. But no, we needed

1:15:54

the physicality of the pieces there. Yes,

1:15:58

of course. Holy shit.

1:16:01

Okay. Well, that

1:16:03

scene was a win for me. That

1:16:05

was a win in my heart. Hayley,

1:16:11

my love, take us out. What is

1:16:13

the... Okay, so I

1:16:15

will say this is the last scene

1:16:17

that you will be in charge of,

1:16:19

but then we do all get to

1:16:21

decide the final scene together. So you

1:16:23

don't have to do the finale. You

1:16:27

just get the last scene that's going to add

1:16:29

to our successes and failures. Okay. Did

1:16:32

we do eight yet? No. That's

1:16:36

one of the ones I've been slowly curling up

1:16:38

is confetti in my fingies, which means it's one

1:16:40

of mine. Beautiful.

1:16:43

You know, I got out paper and scissors

1:16:45

and that was really a mistake. A trombone soloist.

1:16:47

A soloist on the trombone. Dang,

1:16:49

that's good. Dang, that's so good. That's

1:16:52

really good. Excited to hear how that

1:16:54

comes into the hype. Well, can my two things be one

1:16:56

thing? Yeah.

1:17:02

Because here's

1:17:05

what I'm thinking about a trombone

1:17:07

soloist helping you out in a hype. If

1:17:10

you've got a guy planted in the

1:17:12

live orchestra with a trombone, he

1:17:16

can have a signal where it's we're

1:17:18

getting Lin-Manuel Miranda's head out of

1:17:20

here. You need to

1:17:22

draw every eye in the room, every ear

1:17:25

in the room. Run

1:17:28

up onto the stage and start doing a trombone

1:17:30

solo at an inappropriate moment. Like

1:17:33

I don't know when there's a

1:17:35

cacophony of recorders all playing the

1:17:37

same sound bite all on top

1:17:39

of each other. And the

1:17:41

audience also doesn't know what's going on.

1:17:44

Right. I think the

1:17:46

audience is like visibly

1:17:48

groaning and so they're trying to turn them off,

1:17:50

but they're all stuck inside a rubber chicken. And

1:17:52

so they're just trying to find where the off

1:17:54

bush is. And then a

1:17:57

guy with a trombone hops onto

1:17:59

the stage. Yeah,

1:18:01

doing crazy slide runs Get

1:18:07

loud and shit if you're trying yeah,

1:18:09

I'm gonna tell you right now that's

1:18:11

a success. Oh hell yeah I

1:18:23

I can the tromboning slide

1:18:25

stops in here. Yes, and it goes right

1:18:28

back into it I Mean

1:18:35

I see that successes for the heist cuz no way

1:18:37

this is good for the play Yeah,

1:18:39

the place gonna recover We'll

1:18:44

leave that to the coin Yeah Yeah,

1:18:46

so just the entire audience

1:18:49

is was already thrown off and now they're

1:18:51

all covering their ears because

1:18:53

this guy does not know how to play the trombone and And

1:18:56

Nobody's happy security is trying to figure out how to get this

1:18:58

guy to leave all resources

1:19:01

zeroed in on trombone guy. I Don't

1:19:04

know what to say about the play Well

1:19:08

the song the song

1:19:10

of the meeting is just met with a

1:19:13

trombone Have

1:19:17

to start improv dancing as

1:19:19

though this was The plan Dance

1:19:24

numbers come in and this

1:19:27

is going to be or two mind you At

1:19:32

the beginning at the beginning

1:19:35

of the heist they're like, okay during this

1:19:37

play we have this script But at some

1:19:39

point there's gonna be a trombone solo. That's

1:19:42

the end of the play wherever it plays

1:19:47

Bring it home You

1:19:51

just need to be We

1:19:55

wrote like six hours of play It's

1:20:00

not worth it. There's a five act. A

1:20:06

trombone doesn't sound entirely unlike the

1:20:08

musical equivalent of a rubber chicken

1:20:10

horn. I'm just saying. So it

1:20:12

probably does fit. Yeah, especially if

1:20:15

you're not very good at playing

1:20:17

it like this guy who's just

1:20:19

out there living his truth doing

1:20:21

his best. Wait, did we

1:20:23

determine if it succeeds or failed? I just

1:20:25

rolled and it is a success. Nice.

1:20:28

It's not even two pulls it off.

1:20:30

She brings it home. It's

1:20:32

really good. And I think this one of those guys

1:20:34

is probably good at it. She's figuring it out. Yeah.

1:20:37

Yeah. It's like we just paid

1:20:39

a guy off in the orchestra. The orchestra doesn't know

1:20:41

what the fuck's going on either. They're

1:20:44

like a professional orchestra and they're like,

1:20:46

okay, trombone's out of time, apparently.

1:20:49

Yeah, we are. Trombone's

1:20:51

gone. Ferdinand was about to run on stage

1:20:53

to pull him off but then realized that

1:20:55

the audience was starting to feel sexy. And

1:20:58

he was like, oh, I can't interrupt this.

1:21:00

This is exactly the kind of vibe that

1:21:02

we need for this show. And

1:21:06

at this point, I

1:21:08

think everybody

1:21:10

comes back on stage like

1:21:12

we're slowly bringing an ensemble

1:21:15

back to highlight. But our

1:21:17

couple, our couples

1:21:19

maybe are in the center, do we

1:21:21

think? Yeah. I

1:21:24

was thinking that the second person,

1:21:26

because I assume Wenevere looks kind

1:21:29

of like her mom. You

1:21:31

have to be styled similarly at least.

1:21:33

Yeah. Otherwise, it'd be too confusing

1:21:35

for the audience. We have so much high concept stuff, some

1:21:37

things we need to want to want. I

1:21:41

imagine that the other mysterious

1:21:43

person who was following

1:21:45

around Wenevere and Lancelot

1:21:48

and revealed like take off the

1:21:50

mask and it was Lancelot's father.

1:21:53

Yes! Looking for

1:21:56

Wenevere's mom. And

1:21:58

too nervous because it fell off. really

1:22:00

awkward because he'd been away at sea

1:22:02

for so long and forgot how to

1:22:04

toss shit. That's good. Fuck. That's amazing.

1:22:08

Okay. So now

1:22:10

for our finale, where

1:22:13

we finally answer the question, does the

1:22:17

A and Z just define the means?

1:22:20

Yeah. And we close out this

1:22:22

play. What we can know is

1:22:25

that the heist, based on our tally, is

1:22:28

overwhelmingly successful. We

1:22:31

have gotten the

1:22:33

head of Lin-Manuel Miranda into

1:22:36

our getaway car and Chanaide

1:22:38

is driving us clean away.

1:22:41

The play has

1:22:44

failed to reach our audience. Weird.

1:22:47

It's not like it's going so

1:22:49

well. It is

1:22:51

not by a huge margin, but

1:22:54

it is down

1:22:57

by two. So

1:23:01

I think after

1:23:04

this winning scene, this

1:23:07

big trombone scene that does win over the

1:23:09

hearts and the minds of the audience, what

1:23:13

is the most, I think,

1:23:15

middling way that this show

1:23:17

could end? I

1:23:21

do have an idea here. Yeah. Okay.

1:23:23

I'm ready for it. I'd love to

1:23:26

hear it. We told all of the

1:23:28

cast, hey, when this

1:23:30

trombone so happens, no matter what

1:23:32

the play ends. I

1:23:35

don't think we really gave them a like,

1:23:37

and here is how you end the

1:23:39

story. Oh my God. I

1:23:43

don't think we got that far. I think we

1:23:45

were assuming it would sort itself out. So

1:23:49

They're all dancing and then the trombone

1:23:51

goes for a while. And then eventually

1:23:53

trombone guy is like, this is exhausting.

1:23:56

Am I Done? And All the actors

1:23:58

are like improv dancers. The and there

1:24:00

also like how long are we doing this Oh.

1:24:05

Absolutely Us. And I think

1:24:07

it just yeah, it just

1:24:09

stops. Yeah. Ah I'm like vet

1:24:11

because they planned five hours of content.

1:24:13

So many questions from as for one

1:24:16

and two don't get answered. Who was

1:24:18

the guy at a party who had

1:24:20

like the crusts Sit with or without

1:24:23

think that was. Oh, that was

1:24:25

him, but we the audience doesn't know

1:24:27

that. Really good. We didn't explore that

1:24:29

and I are so. I think the most

1:24:31

important person that didn't get answered his do. The

1:24:33

end justifies it was

1:24:36

established defiantly did. Not

1:24:38

say this, I think. The.

1:24:40

Issue is it adds three and four.

1:24:42

Really dig into the intrigues of like

1:24:45

what it means to recover there's be

1:24:47

we get the couple of when is

1:24:49

the or Lancelot like. Thriving

1:24:51

in the world. but it's hard. And

1:24:54

is difficult and their navigating these

1:24:56

parental relationship and like the people

1:24:58

but they say become. Trying to

1:25:00

avoid becoming their parents and all of

1:25:02

this, and it's is. Unfortunately, this humble

1:25:05

Zola data happen part of the way

1:25:07

be the second I said there's this.

1:25:09

We've barely even set up those plot

1:25:11

hooks for the ends of. and it's.

1:25:14

It's. Wild as well because Acts three

1:25:16

is like objective Lena my yeah it's

1:25:18

like four and five basis have skeleton

1:25:20

for it by did do that much

1:25:22

work for five the like gas was

1:25:24

examining our. One. Answer

1:25:27

that like. Is. This anything and

1:25:29

then Serious. Like. This. Actually are

1:25:31

like a better than I do. This is our

1:25:33

second one was just like okay we had to

1:25:35

introduce these characters act you would like We have

1:25:37

to like get them to what happens in Act

1:25:39

three because Act three is so strong we just

1:25:41

need to get that bar and it'll carry the

1:25:43

retina. No, no give a shit about anything else,

1:25:46

can we get their act Very. Act.

1:25:48

Three is where the big number slot

1:25:50

city is in. yeah sorry about your

1:25:53

you a cellar i forgot my city

1:25:55

for has enough of about him is

1:25:57

in act Three of it's. Like why would

1:25:59

the coast. Hi.

1:26:03

Sonia. Yes, like got changed.

1:26:05

to like go into the bowels of slugs city but then

1:26:08

a mom came and of a kind of pivoted real hard

1:26:10

to. Assess the

1:26:12

beginning as. I was like a big

1:26:14

deal with see didn't look like a. Slot.

1:26:20

Is as is. Leave their

1:26:23

like there's so can be less. They're like

1:26:25

going out during says or being like I

1:26:27

just I just live with like there are

1:26:29

some couples that you'll find out where like

1:26:31

one of them is is like known in

1:26:34

L A I I do get it Of

1:26:36

course ago I started jagger in Butte in

1:26:38

his seat and catch on to the metaphor

1:26:40

then that that that slut city is yeah.

1:26:42

I know that guy. Annoying. I look

1:26:45

like yeah the guy looked like Lancelot

1:26:47

because that is evil twin clearly. Come

1:26:51

on. And pays.

1:26:55

Us out how you use

1:26:58

frozen you run through his

1:27:00

would die like flies. Flags

1:27:02

were no oh. No

1:27:07

ah that like oh yeah that

1:27:09

would. Like that one guy looks kind

1:27:11

of like landslide is is clearly as evil

1:27:13

twin or it's like a shadow from silver

1:27:15

easier if we have. Many have a

1:27:17

theory as Nasa. Yeah, it's like.

1:27:19

The. Slots City is in the soul

1:27:22

of the character. Yeah, it's like.

1:27:24

Sluts. City is is that you know? but I

1:27:26

think a job. To say that we don't

1:27:29

win president really of this plan

1:27:31

as a real of America. For

1:27:33

solar minimum Miranda and where

1:27:35

you surfing the whole i

1:27:37

am organ meats are tested

1:27:39

zola to remind me Done.

1:27:43

On T. V

1:27:45

Voters would know that Odis was just

1:27:48

here. Where are you know it was

1:27:50

the overseer, right? This is by the

1:27:52

way to visit canonical conversation without ever

1:27:55

address rising away. I like. A

1:27:59

specific. My

1:28:01

point is when Sinead turns around and

1:28:03

it's like we're gonna get all of

1:28:05

the coffee that we could ever want.

1:28:07

Most of all the good of all,

1:28:09

where did we have to make all

1:28:11

the decisions about musical theater in this

1:28:13

town? So.

1:28:15

It was but about but tell ya broker.

1:28:18

Just. Doesn't. Sit. This

1:28:23

may. Message

1:28:25

as powerful as the. Best.

1:28:28

Oh My God. My apologies

1:28:31

that Tyler, I'm so sorry

1:28:33

I. Said you were making

1:28:35

the game and and beg you for

1:28:37

letting me blaze. Thank you for joining

1:28:40

me. I'm going to do a quick

1:28:42

little around a of just reminding people

1:28:44

were they can find you. I will

1:28:46

have links to all of your things

1:28:48

in the shown as obviously by Haley.

1:28:50

Could you just reminded me how amazing

1:28:52

you are as the most Amelie with

1:28:55

Jack even for me over the internet

1:28:57

fanatics aka rejected it Ip Jack even

1:28:59

funny on Twitter which activates Ip be

1:29:01

A D Jackie Sue them Haley Which

1:29:03

academic videos that. Are way too long

1:29:05

and even as I'm he had undertaken

1:29:08

the my hide. That's.

1:29:10

Right Robin. Please.

1:29:15

Have. A beautiful the will of the

1:29:17

you So much for listening to art

1:29:19

theatre The perfect situation. A

1:29:22

perfect movement that we have definitely just

1:29:24

started. My name is Robyn. I.

1:29:28

Outside of this primarily Gm the Atomizer

1:29:30

supposed ah find a show about a

1:29:33

bunch of broken people flying on a

1:29:35

broken spaceship trying to do all the

1:29:37

get that they can and failing often.

1:29:39

We should be in the middle of

1:29:41

Ahora out at the minute. And speaking

1:29:44

of Horus, I also gm a short

1:29:46

series called Frequencies which is about a

1:29:48

group of creative people who have a

1:29:50

radio show and then having to battle

1:29:53

the like manifestations of anxieties about being

1:29:55

a creative. It's very, very good and

1:29:57

Dylan. Is in both him and

1:29:59

it's. One has. Music as are

1:30:01

some really good music actually because

1:30:03

we got licensing some fun stuff

1:30:05

and go. Listen to that all cats and.

1:30:07

Trial on all things is also my Twitter that's

1:30:10

important and out. Amelia.

1:30:13

Hello my name is Amelia Some you

1:30:15

can find the most places and us

1:30:17

on or by going to Lean Familiar

1:30:19

some.com if you are a few the

1:30:21

things I'm doing that's the best ways

1:30:23

to follow me somewhere if you want

1:30:25

to continue the see me play games

1:30:27

wrong on purpose and. I also I

1:30:30

do that on the podcast unfair Casters we

1:30:32

see in The Well Jack. And

1:30:34

yes, And set

1:30:36

your very shady delays is

1:30:39

beautiful and we will feel

1:30:41

for a new series next

1:30:43

time. Yes thank you and

1:30:45

it's a nice. This

1:30:53

of said one shot teachers music

1:30:55

from the following artists: Greed.

1:30:58

Welcomes Muslims are by maverick

1:31:01

did. We were outside

1:31:03

my work branch had sent off

1:31:05

for Neon Beach. Spring unfolds by

1:31:08

moments. Beat the system

1:31:10

I could emerge. The. Flamingo

1:31:12

Heist by Dresden. The Flamingo. He

1:31:15

buns by id banks. Unchained

1:31:18

my Lunar rain. Breakfast

1:31:20

Club breakout I passed escape

1:31:22

the oppression, my interested and

1:31:25

with great vengeance by moments

1:31:27

demagoguing by Cody Martin's. Just

1:31:30

when you least expect it by late bloomer.

1:31:33

Sweet Memories by Adam Seven Ice

1:31:35

to buy sore and wistful from

1:31:38

King Flamingo. This episode of One

1:31:40

Shot was edited and sound design

1:31:42

by Tracy Barnett. You could find

1:31:45

more of their work on line

1:31:47

anywhere at the other Tracy. You

1:31:56

heroes, they're listening to what is definitely

1:31:58

a very good and Syria. Omar

1:32:00

to Chicago. Flat. City,

1:32:02

Haley, Amelia and Robin are some of

1:32:04

my favorite people on earth to play

1:32:07

games with, so I hope you enjoyed

1:32:09

them and their antics. Ah, despite the

1:32:11

fact that yeah brother heard Chef and

1:32:13

yes Captain on me and my dreams

1:32:15

now. Please check out

1:32:17

Robbins work on the Adam list

1:32:19

and Healy and Amelia on unprepared casters

1:32:21

for more incredible games and storytelling. And.

1:32:24

Before I go. If you enjoy

1:32:26

theater which this game seen these

1:32:28

is really inspired by and surrounding

1:32:30

and and supporting those who make

1:32:32

it you can check out and

1:32:35

incredible feat that was pulled off

1:32:37

really recently a live streamed completely

1:32:39

remote performance of Romeo and Juliet

1:32:41

that was hosted on Twitch recently.

1:32:43

It was a great fusion of

1:32:45

medium is something to see and

1:32:47

I really think you should check

1:32:49

it out or the people who

1:32:51

made it put clearly a lot

1:32:53

of work into. Making something like

1:32:55

that happen and happen. Well, As

1:32:58

so, I think it's definitely worth putting your eyes on.

1:33:00

I'll drive a link in the show notes for you

1:33:03

to check out and I will see you next week

1:33:05

with a new game to play! Heroes. As.

1:33:08

Always thank you to the wonderfully generous people

1:33:11

who support one shot. Unpatriotic, but if you

1:33:13

want to support the show in a non

1:33:15

monetary way, it is as simple as just

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talking about the show. Tell. Your friends

1:33:20

about the show up, rate or leave a

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review or tag us on social and tell

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us your thoughts. For. Updates and one

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track news please follow me on Twitter,

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Instagram, or Tic toc at Super Dylan

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that as U P E R D

1:33:33

I L L I N or check

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for updates on our website at One

1:33:37

Shot podcast.com. For. Information about ad

1:33:40

rates, live appearances, commissioning episodes, or

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a general comment: please message me

1:33:44

at Dylan at One Shot podcast.com

1:33:47

Again, that's D I L L

1:33:49

I N. Finally, the music

1:33:51

are reaping up Behind me is

1:33:53

Adventure by be Your Own Pet

1:33:55

courtesy of Infinity Kept Records. I

1:33:57

can't wait to have you back

1:33:59

for. The next adventure Heroes. In

1:34:03

the universe of Star Wall Odyssey,

1:34:05

Space is made out of the

1:34:07

collective imagination of all the thinking

1:34:09

beings who live on various planets.

1:34:11

These worlds are connected to each

1:34:14

other through imagination, common themes and

1:34:16

ideas or strings between universes and

1:34:18

to get between them people. Why

1:34:20

wouldn't ship that look like animals?

1:34:22

Which are powered by emotions. Also, people

1:34:24

communicate with each other by contemplating orbs.

1:34:27

The only way to take pictures is

1:34:29

getting stared out by a big psychic

1:34:31

ball. Descend People have already declared victory

1:34:33

in a war over the very concept

1:34:36

of evil, but I'm getting ahead of

1:34:38

myself. Star Will Odyssey Balls The adventures

1:34:40

of the hapless inhabitants of the Lucky

1:34:42

Finn tenement buildings who suddenly find that

1:34:45

their apartment is actually a spaceship and

1:34:47

that they're lost in a sea of

1:34:49

boundless imagination. It's an actual play starring

1:34:51

Need James. The smell, the Moto,

1:34:54

Sally Grauer, and Drummers Gst as

1:34:56

we play test the new Things

1:34:58

system which will hopefully one day

1:35:00

be this guy that roleplaying systems

1:35:02

it does the line between weird

1:35:04

and wonderful. Slice of Life and

1:35:06

high flying. Space Fantasy. You can sample

1:35:09

the first five episodes by searching for

1:35:11

Star Wall Odyssey and your favorite podcast

1:35:13

app. Forget the whole thing by having

1:35:15

to patriot.com/one Shot Podcast and signing up

1:35:18

for five dollars a month for me.