The Always Sunny Podcast - Organized Choreographed Dance!

Episode Date: August 22, 2022

How can ya have drama when you're dancing? Ya can't.

Attention listeners, just a heads up that this episode is especially visual because the guys are taking us through all of the best dance moments from 15 years of Sunny. So you might want to consider becoming a creep, just this once, and watch the podcast on YouTube or Spotify to get the full picture. Or don't. Do whatever the hell you want. I'm not your mom. Now let's boogie. Ladies and gentlemen, welcome to the podcast. We have a very special podcast. I'm excited about this one. I'm excited too. Meg looks very excited over there. Meg, welcome back. Thank you very much. Happy to be here.

Now you look different, Meg. Yeah. Did you change your hair? No, you were going to change your face. You were gone for an episode and it appears you changed your face. You changed your whole persona. I did. I did. Got a little curling iron. Got a hand. It looks good. It looks great.

Well done. It looks great. Well, Meg has put together a fun little montage. A fun little montage. Apparently we've done quite a bit of dancing on the show. Now I didn't think that we had enough to put together a whole show of dancing clips, but apparently we do. I have not seen these clips. I've not seen this montage. We're going to watch them for the first time together. In real time.

In real time, baby. In real time. However, for the creeps who are listening or for the listener watching and for the listeners who thought Meg sounds different, would you like to introduce our Meg replacement? Yes. Mara, could you introduce yourself to America, please? And to the UK? Absolutely. America and the UK. This is Mara Herron reporting live from the Sunny Studios, the RCG.

Happy to be here. Now, Mara's been working on the podcast since day one. She's been behind the scenes and now she's going to be out in front of camera. We're popping you in front today. So here we are. We're going to watch dancing. There's more dancing in the show than I think we even realized. I guess so.

And we're going to kind of go through and we're going to talk about these dancing moments. And we're going to have that. That'll be interesting. We're going to have a lot. So I'm getting the sense that Charlie doesn't want to do this. And I do want to do it. I just, you know, I like that. I like that.

Nice to be a little cervic. I like that. Yeah, I do. I like to be a little contrarian. This isn't going to work. Otherwise, we're just like, it's one of those shows where everyone's just like agreeing and like just like loving each other. And like, who wants to listen to that?

All right, let's, we'll fight. What's the drama? I'll, I'll, I'll, I'll fight with you guys about something. Yeah, yeah, yeah. We'll find something. We'll find something. We'll find something to disagree about. But how can you have drama when you're dancing?

You can't. That's the answer. That's, that's the beauty of dancing. I believe we've established that is how people of a modern era navigate conflict through organized choreographed dance. Now, I for one, don't consider myself a dancer. I like to boogie at a wedding, but I don't. I think, you know, that dancing is a talent that some people really have that I'm like, I don't have it.

I mean, well, it's one thing for professional dancers to have it and that's always impressive to see, but it's, it's always equally mystifying when I see someone who's not a professional dancer goes to say a wedding and they can just dance. Yeah. Or you go out into a nightclub, which I used to do back 20 years ago, and you would see just someone who you wouldn't assume was a great dancer. Just be a great dancer. Yeah.

Because you're just born, you're just born with rhythm or something. You know, how to move your body. Well, I'm not one of those people. Was it, was it more of a thing where just like everyone used to have to know how to dance that you're like. Yeah. I think so. I think, I think, I think more people knew how to dance back in the day because.

There was less to do. There was less to do. There was less to do. You wanted to find a mate. You had to go out there and prove your worth. Now moving your body. You just watch a show about people who can dance. Mm hmm.

Mara, do you dance? Yeah, I dance for 25 years and taught for 15. Yeah. What kind of dance? It is perfect that you are subbing in for this. Yeah. There you go. Um, I jazz ballet and hip hop, but then I taught hip hop for like 15 years.

Holy shit. This is perfect. All right. This is perfect. That's amazing. And you will be the dance expert. So I'll be judging. No, do we have any video on that?

Because I'd like to see, I'd like to see. Oh, can we cut in some stuff? Sure. Sure. We'll cut in some stuff. Get some links. Yeah. Because you could be lying.

Yeah, I could be lying. You could be lying for attention. I moved more to the choreography side and like after because I just, you get old and. But it's good that we'll have an expert eye looking at this and being able to talk about it. So we need to know who we're doing this against and. Yeah. Yes. Yes.

So that's where the conflict becomes. Yes. Yes, we need some. Okay. So Mara will maybe break some of it down and we'll fight her. Okay. Great. We'll fight her.

Great, great, great, great. Okay. All right. Ready? Let's do this. Oh, I know what this is gonna be. Yeah, this is gonna be. Club.

Oh, well dancing. Well, there's dancing guy who's known for his dancing. Yeah. What is this? This is public access. Now these were his moves. Uh-huh. Yes.

He was not. He received no direction. There was no choreography. No. Well, there may have been a choreography. It was just only happening in his head. Yeah, yeah, yeah. Yep.

Yep. Oh, yep. And now here's Glenn. Now this is, this is some moves. D-I-S-C-O. There's a guy. Oh, I love your show, man. So I'll say, I'll say as far as that goes, that was a great representation of drug-fueled dancing.

Yes. Club dancing. Thank you. Yes. Breathing really good, kind of like deep breaths because the drugs are pouring through your veins. Well, you're rolling. So I believe I was on ecstasy, right? And I really like your glow stick moves, man.

Those hand rolls, you know, are tight. They're quick. Yeah, it's interesting. I really am not, for the most part, comfortable dancing in front of people. I don't like it. But maybe slightly more comfortable doing it in character. Sure. Definitely more comfortable knowing that the dance is being fueled by a crazy drug, right?

That brings something to it. It gives me something specific to do. And then the glow sticks, having a prop. Super helpful. Yeah. Because otherwise I'm like, I don't know what to do with my fucking hands. Like I'm always, you know. So if you got the glow sticks and you make it about that, then all of a sudden, you know,

because I've got decent rhythm. I just, I just don't know what to do with my body. And the good thing about the drugs is that doesn't matter whether in real life, whether or not you're dancing well or not. That's right. You're just having fun. Yeah, that's right. The drugs will help you think you're dancing really well.

Sure. Yeah, yeah, yeah. Sure. Yeah, that's part of what they're designed to do. Yes. Yes. You know what we should do actually is because Charlie was dancing to a different song, we should in the podcast see what it would be like

if you put that Queen song. The Queen song. I'm back in just to see how it, I like to see that. It's just the intro, right? Yeah. So just tonight, I'm gonna have myself. I'd like to see that. I'd like to see a recut of that.

Okay, come here. Tonight, I'm gonna have myself a real good time. Charlie, you look like you've had some ballet training. Have you in theaters? Yes. I studied ballet at the London Conservatory for, no, what makes you think that? But go on. Just the arabesque and like your arm movements, like you just look like you.

I'm just doing what I assume a dancer would do. He's very athletic. Got some technique. I have some athleticism, but you know, the left leg just isn't good. I'm spinning on the one leg that works. Yeah, yeah, yeah. Oh, yeah. There we go.

There we go. I like that move. What is that little motorcycle? It's pretty, yeah, not like that though. It's pretty good, but you gotta use a little bit more shoulder. I like the way he's doing it actually. Yeah, because I'm like, I'm I'm bending the bike, but that's not really how you drive a motorcycle.

Yeah, but you're not really driving. It's my thing. Okay. Right. Okay. So that's that's dancing at each other. That's dancing versus each other. At some point we realized it was funny to start a scene with a little bit of

inexplicable dancing. Well, I don't that wasn't. I don't think any of that was scripted. I think that was something that happened on the day. Like you just start. I don't remember why, but you just started doing that motorcycle dance. That was a move. That was a that was.

Yeah, that was a move in popular culture. Yeah, but then I think I call it. I say I call it by the name. What did I say? Bending the bike or doing? No, he says what he says. I was like, he says he's bending the bike and you don't like that. There.

Okay. That's not really how you drive a motorcycle. There is. As if my guy could get you wanted there to be some veracity to it. Country mattress motorcycle. Sure. You look up to him. Yeah.

Yeah. No, but I think as I recall that none of this was in the script and it just became like. I think this was a move. This was a move and saw in popular culture at the time. It was from the young jock video. It's going down. You guys know that one? No, but we'll put it in the podcast.

Leave me in the trail. It's going down. Leave me in the mall. Danny, what's Danny's? What's Danny doing? He's doing like. Danny's is sexual. Danny's is sexual.

Danny's a little glass guy right there. Danny doesn't know what we're doing. So he's like, what are they doing? Yeah, he's little tune in Tokyo. He's doing some tune in Tokyo. Yeah, yeah, yeah. Okay. This is this is a classic.

Now we hadn't established that Sweet D was pregnant, but Caitlyn was very pregnant. Yes. And she was very angry at the baby at this point because she really, she did not think she did a very good job here. And she she wanted to nail it and she wanted to fling her body around like. Oh yeah, she couldn't move as much as she wanted to. Great. She got the moves.

Does anybody want any more catfish? She does a surprisingly good job of like following along with that. Yeah, she really nailed that. What are those things called? What are they called? The inflatable. The inflatable tube man, Danny. Flailing arm man.

I will say that that's probably one of the most popular things she gets on social media, almost on a daily basis. Oh yeah. By one of those things somewhere in the in the world and they send that to her. Yeah. I'm really enjoying the the musical, the music as well. So we're we're we're being we're we're seeing the dancing and we're also hearing some of the musical choices.

This is a song that we that this this now most people associate like I get so many like, you know, whenever I post something about like music that I'm listening to, people are always like, what about higher love? What about some Steve Winwood? You know, people just like a Steve Winwood joint. Five, six, seven, eight. Butt. Butt.

Butt. Butt. Oh, Charlie. Give it to me. Wait, where's this? Oh, so needy. You guys like it? Is it funny?

Yeah. So needy. So jealous that they love Schmini. Look, you're not having fun doing it. So we're not having fun watching it, buddy. Sure. That's probably an embrace. Definitely.

Butt, butt, butt, butt, butt, butt, butt, butt, butt, butt, butt, butt, butt, butt, butt, butt, butt, butt, butt. Oh, he's having fun. Well, so we're having fun. Yeah. Yeah. I love me some Sudeikis. And now we get into some real choreography.

Yeah. All right. All right. Wait, let's pause for a minute. Was this the first time we had a choreographer say, okay, here's the dance. Here's the moves. No, no. I don't.

Wasn't the high school episode before this? What season is this? No, it's the same season. It's the same season. It's the same season. Yeah. But I think, but I think we had done the, I think we had done the choreography for the high school episode before we shot the high school one, the dance before we shot this.

Yeah, not because obviously there's a lot of stuff we shot in Philly like in the parking lot and stuff like that, but I think all the dance stuff, I think that was the first time we It was the same choreographer. It was the same choreographer and either way it was the first time whether it was this episode or the other one was the first time I've ever worked with a choreographer ever. That was fascinating and fun and really fun, but we just didn't have enough time if we had more time because all the dances leading up to that are just kind of us goofing around with your body, however you're going to move it, it's going to be funny. And then this was like, okay, it's a dance. It has to look specific. And that's a whole other animal when someone's

saying at this point in the music, your leg has to be here. And then you got it. I'm just describing what dance is. What choreograph dance. So did you guys rehearse in a dance studio or did they do it on set day of? No, we rehearsed. We rehearsed. But we only had time, I think for both of them, we only had time for two rehearsals per one or two days. We had more time for the high school dance. This one came together very quickly and we did not have a lot of time to rehearse that. I do remember that. And did they just like teach you a couple of counts of eight and then you repeated it or they would teach you like a full minute of all? I can't remember. I just remember not being able to get it. I think we learned the whole thing. Well, we'll get to the part that

I remember specifically. You knew you not being able to do it. I just couldn't do it. I couldn't count. Now, this is the greatest moment. That's the top, top 10 moment in the show. Totally. Will you pause for a second? No, this is pretty good. First of all. That Rob, that fat, fat mac wiggle. Very jolly. Very jolly. Yeah, very jolly. Like the look on your face. All of it. It's just. Can we rewind that? Can we play that one more time? In fact, we'll start from the very beginning of this. And also, and we could also splice this into the podcast. This was based on something that we had seen. It was based on a beauty pageant thing, right? Yeah, from like the 80s or so. Maybe the 90s where it was like. It was Miss America or it was a big one. Miss USA or something.

And this song was meant to emulate that. Yeah. Yeah. And Cormac wrote this one. He wrote, he wrote all the music and lyrics to this one. No, I think Roselle, I think Roselle and Martyr maybe, I think they wrote the lyrics. Wrote the words? I think so. I don't even know what you're doing. I don't even know how you did that. I don't know how you did that either, but it's great. Oh, that's my favorites. We nailed that. Lace and silk is everywhere.

That was that. That was okay. The step and jump thing, he just couldn't do it. I think he got it here. There was something about the jumping off the wrong foot. Yeah, you want, yeah. Look how far away I am from you guys. Yeah, yeah, yeah. Our spacing is wack. Yeah. Here she is, Frank's little beauties. We'll get down. Still on some day man moves. See, I think Cormac wrote that rap. I think he wrote the lyrics to that rap. He might have written some of it. Yeah, no, I think he, I do think he wrote the lyrics to the rap. Yeah, from brass and glass, that seems like a very important line of music.

Like all the like magics in the air, Lace and silk is everywhere. I think that was marvelous though. I remember Sabrina from wardrobe, she came up to me and she was like, you know, I think we should get you a larger shirt. And I said, I said, why? And she said, well, because we can see your gut like keeps sticking through. And I was like, I was like, Sabrina, that's the point, like the whole point of the whole season. But she still kept like trying to protect me throughout the whole season. God bless her. I get that. I get that instinct. I think, you know, I was pulling it up. So you can see. Most actors want to look as good as they possibly can. So everything in her,

all of her instincts are being fought. Yeah. Yeah. Yeah. But the crop turtle neck makes it. Yeah. Yeah. Yeah. Yeah. That's the whole thing. It's awesome. Okay. I love this. It's such a good looking. Did Caitlyn take any dance? I don't know. Just exactly what you're not supposed to do with a kid is like, keep secrets. Why did the kid have to fake teeth? And I don't know. To give her a perfect smile. Oh, that's right. Yeah. They're really getting those steps. Vagina. Yeah.

It's the, it's the, it's the growl she puts into it. This is a good accent. But all that was choreographed. Yeah. Yeah. Yeah. Yeah. And then this is just this kid freewheeling, right? Oh, no, no, no. The guy helped. There was choreography, but I think there was some improvisation. And the three of us are basically like, we're doing basically a divo thing. Yeah. We're kind of making ours up as we are. Yeah. Yeah. We're just doing like the robot and shit back there, right? Is that what we're called? The chimes. I forgot we drew the abs on the kid. Yeah. Yeah. That's right.

All right. Is dad? Yeah. So stupid. Oh, the parents are so disturbed. Yeah. What are you people doing to my son? Go back to your seat. All right. Who's in charge here? Sir, I'll go back to your seat. Wait a second. I always love that. Like, sir, I'll go back to your seat like that. The guy playing the dad did a great job. Yeah. He's amazing. Yeah.

Love art. This is so much. There's a sweetness to this because we're letting the kid like be himself. Yeah. That's right. Yeah. Just let him dance. You know what I mean? He wants to do it and fucking do it, man. That's right. Just expressing himself. For once, the, you know, the other characters are big. Yeah. Yeah. Yeah. Yeah. Yeah. Was that supposed to be drawn on abs? Yeah. Yeah. Yeah. Yeah. Yeah. We established those in the wrestling episode. Yeah. Yeah. The gang wrestles for the troops, the birds of war. It's a birds of war move. Yeah. How it came up with it. That was last. I don't remember. That was the last minute thing, I think. It was the last minute edition. We were like, I think there was some

discussion about whether it'd be funny to draw abs on him or not. And it was. Oh, sure. Yeah. Yeah. I remember having a lot of fun with this. Wow. Yeah. Your reaction to it. Like, how'd you do that? Oh, and this is just the whole concept of it. The whole concept of plucking my eyes out, eating them, them coming back up and becoming your eyes. Becoming my eyes. Blew my fucking mind, like, while on this. Well, I didn't tell you I was going to do that, right? Like, what's that? I didn't tell you I was going to do that, right? No. No, I meant it was blowing Dennis's mind. I know. No, I did not know what you were doing.

So you were, you reacted properly in real time? Yeah. Yeah. Well, we, like, if you've ever done, like, any kind of like a drug like ecstasy or, you know, Molly or anything like that, where, you know, just everything's like, oh, my God, like, I see the world a totally different way now. Like, what are we sniffing here? Turpentine? Turpentine. Yeah. Why are we sniffing turpentine? Like, oh, we, we've given up on trying to be like our best selves. Yeah. And we just want to get high in the back office. Yeah. Yeah. Yeah. Want to get, yeah. There's been a lot of negative energy going on at the school, okay? So I want to talk to you guys a little bit about dancing. Now, back in the 50s and the 60s and the 70s, people used to dance all

the time. That's the way we solved our problems. That's how they solved their problems through dance. Then all of a sudden we stopped dancing. You know, grunge came in. We dressed in plaid and oversized jeans. Then later on, kids wore trench coats and shot each other in school. And that's not cool. But guess what? Guess what's going on in the high school now? Kids are dancing again. Organized choreograph dance. This was very, very choreographed and rehearsed. Yes. And of course, us not being dancers, it took us forever to learn it. We shot this whole day, which is very unlike. Yeah. Like, Jill could learn this choreography in 10 minutes. Of course, we established later that this is all in our imaginations.

Yes. That's right. This is not what's happening. I also remember there being a choreographer, a choreographer, and then he had a couple of other dancers and they would show us the choreography. And we would do the choreography. We would do the moves exactly the way that they're showing it to us. But it looked so different when they were doing it because they knew how to dance. Stick those lines, man. It's all about the lines. No matter how much we practice over the course of two days. And then there's like an imbalance where that's like someone hits it harder than someone else. And it all just doesn't look good. But yeah, that's okay. I mean, it looks good enough. But we know it's pretty good for us. It's good. It looks pretty good. Yeah.

Showing up. Yeah. Everyone is loving it. And it took a while to cut this, right? To be like, oh, what's the speed of the cuts? In Good Nelson. In Good Nelson. And then this is what's really happening. Michael Jackson, homage. Glenn, I like your moves. So much energy, you know what I mean? Yeah, I like the more erratic little breath in between. Come on, guys. J. Frank throws up. Yeah. Yeah, that's a good one. Charlie and D find love. What is the dancing in this? Oh, yeah, right, of course. D doing the doing the classic D of getting too drunk when

she likes a guy, which we established in season one. What the hell is she doing? She's gonna ruin this whole thing. Bad company. Getting the lyrics wrong. Yeah. I love how free and uninhibited you are. Unchoreographed. Yeah, just a bad drunk. Just a bad. Sloppy boogies. Slop dance. Well, I got a question for you guys. So obviously, she's very drunk there. Do you guys feel like you dance better when you're drunk or sober? Drunk, definitely. What kind of dancing? Just like at an event? At a wedding? Just like if you're at a wedding or something like that. I would have to be a little bit, a little bit. But any kind of like that, but any kind of choreographed stuff, I'd have to be so focused on dead sunshine. For sure. Fall down. Yeah, I don't mind going to

a wedding and just doing a little bopping out there. Like, that's fine. It's so much harder when it's like no spin. I'll get your leg here and like, yeah, yeah, yeah. My legs like, nah, man, no. No, man, don't go that high. No. Don't do that. I know what you're telling me to do, but I ain't gonna do it. I won't do it. I won't do it. I refuse. Not for you, not for anybody. Yeah. All right. Oh, this is good. Oh, yeah. This has been something I've seen a lot. Danny's moves, man, are great. Yeah. Danny's got great little moves, man. This is what I'm talking about, guys. He's still got the moves. I mean, playing online video games and watching stupid reality shows, that's not real life. It's teaching people from experiencing

real life. Still doing karate. You're on some karate moves, isn't it? It's real, but it feels weird and shit. There's nobody else in the bar dancing. What's up with your tone, Frank? You know, motorcycle dance. Others will follow. I'm stopping. Oh, come on. Let's go do some shots, and that'll get you guys fired up, and we'll come back out. We'll do some more of this or whatever. You know, do the move and come on, come on, come on. We're referencing every dance we've ever done. Yeah. Elbow, karate dance, the motorcycle. That's characters forcing it. That's just get like a man trying to force a situation that's just not happening. That's a good way to just start a scene with three guys dancing. You don't know why they're dancing.

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slash sunny. That's BetterHelp. H-E-L-P.com slash sunny. Go check it out and live life in the driver's seat. He got it. He got it. Charlie got it. I got it. That's prescripted. What's Danny's reaction when you guys tell him he's gonna do a dance scene or dancing? Oh, he's down. He's just got his funny little moves that he does. I mean, have you ever seen Danny dance as Danny? Well, when we did the whole choreograph thing, I don't remember Danny's take on it. Was he like, he just was down for whatever we're doing, right? Yeah. He was definitely struggling with the choreography, but I don't think it mattered that much, I don't know. Yeah. He's always up for learning. Yeah. Yeah. Yeah. This is a good one.

Oh, it's just enjoying the music. Yeah. Yeah. Yeah. Yeah. Yeah. Why are we doing this? What are we doing? Is that what we do? Is that what we say after that? Like, why are we dancing? I think so. Yeah. Yeah. Yeah. I think so. Why are we doing this? Yeah. Then we find out it's because a psychopath is in town. Yeah. You guys are not happy with it. We let out the institution. Yeah. Why would we dance about that? We're gonna have the freight train back. Yeah. All right. This is all choreographed. So here we're trying to do a little bit of the choreography from the whiz. Yeah. You know, kind of yellow brick road thing. And then I remember having a real hard time

with this one. Oh, really? There was like some move in it. Well, it was because we were trying to stay so in sync with each other. And so there's a lot of like, oh, shit, he's on his left foot. We're supposed to be on a right foot. You know, like it was a lot of the like just small details that we were worried about because we wanted it to look really. And also in a real performance, in a movie or a stage performance, you would have weeks. That's right. Weeks to rehearse this. And I think we probably went over it twice. Especially with actors who don't really want to do this. Yeah. Yeah. Also, you guys, in all of these, like the choreographed ones, you have to keep your formation, you know? That's right. So that's also another thing.

Remember the moves. You're trying to like sort of be aware of the spacing. Right. Exactly. It's a good location. This is Philly. Yeah. It's a nice street. Oh my god, man. I just had the weirdest dream. That's it. That's it. That's it. That's it. That's it. That's it. That's it. That's it. That's it. The horrible beatboxing just makes it all makes me very uncomfortable. So good. What is with the baseball cap? Yeah. I don't know. We had a thing. There was something that we had. There was a reason for it. There was a reason for it. I can't remember what it was either. Finally. Look at your face. Finally.

I'm rehearsing. Great. I'm rehearsing for a strip dance. That's what you're doing. I'm rehearsing and you're watching me and so I come and close the doors. Is that meant for your eyes just yet? Not just yet. Okay. Yeah. Yeah. This is Carter. This is Carter. Yep. We also got Bless's Heart. Knew nothing about dance. Knew nothing about dance. Not a dance at all. So we wanted this to feel like Magic Mike and so we reached out to Allison Falk who is the choreographer for Magic Mike. So she choreographed this. And I remember sitting in the back office and we were looking at the monitors and I was talking to her and I was like, I don't know how to dance at all. But I would love to do something on the

show at some point where I just learned how to dance just because to do something different. And she said, oh, just call me. I'll teach you. And so that's what went up happening. I'm sure we'll get to that. She choreographed the dance that you did. The next season was either next season or the season after that. It was 13. What season is this? This might be 12. So I just kept her contact and then the following year I asked her how long would it take me to learn how to do something more substantial. And she said months. Yeah, a long time because you got to start from scratch. That's right. Well, yeah, that's right. And it did. It was months months. We'll talk about that.

God bless him. God bless him for doing this. Yes, this is amazing. It's so disturbing. It's so disturbing. Yeah, very, very upsetting. God bless Carter for being so game to because I could tell, you know, he was he was like he knew it was funny. He knew it was worth it. Yeah. But it was not something that he, you know, wanted it. Nobody wants to do that. Who doesn't want to do it for a living. You look good. Yeah. Guys, we're going to bring it down for a minute here. Yeah, gonna bring it down

for four and a half minutes. It's how long? It's long. Todd Bierman directed this, correct? Yeah. Yeah. So so Allison, Falk and Leo Maktasuma are the choreographers. The dancer is a woman named Kylie Shea. So she's a legit ballerina ballerina. She's and she would pick it up so fast. And I would just she would come in for an hour and then I would and then she would leave and I would work with Allison and Leo for for hours. But again, it was just like if I didn't know you and I didn't know I'd be like, oh, it's just two professional dancers out there dancing, you know, like you really I mean, you can see it man. You can see where you don't have the sort of like the foundation of the form. However, for a non dancer, who's never really danced, you know, you get you've

got some pretty good lines. I mean, you you know, thank you. Yeah, I mean, it was it was truly months like right there. That always bugged me and bugged you because you felt like the spin like I couldn't quite get the spin right. Yeah, the a lot of the stuff like where I throw her around. That's that was easy because that's just you've been if I was in good shape. And then again, just practice. But then we didn't add the water until so we I kind of got it down in in a stand studio. Like for that movie, I mean, yeah, that was good. Good, dude. Once we added the water, it became infinitely more dangerous. Right. Just began. We also shot this on different cameras than we show on. Yeah, actually, nice cameras that look good. Much more stylized. Much more better.

Much more better. Yeah, but like you see how it's soft focus. Yeah, there like our cameras are always one continuous. So do we were using our cameras though on the audience? No, no. Oh, no, both. Both sides. Yeah, you wanted to have the whole thing. It wouldn't match. Yeah, yeah, yeah. What's great with work. The reason, by the way, for the audience that I'm asking all these questions, I had nothing to do with this episode. I'd stepped away from the writers room. So I don't know that much about it. Oh, yeah, that's right. Yeah. And we would, we would be in the writers room. I think I would go over to Allison Studio twice a week, or sometimes three times a week for like three months. I remember you were working on it a lot.

Yeah, a lot. What's fun? That's a good shot that Todd did. That's like crashing in on you guys. Yeah. Yeah. What do you have a dolly down for that? How many times did you, I don't remember how many times did you do the dance? A lot. Wow. We did it all day. It was like a full day of shooting the dance, right? But again, I was in good shape and I had been practicing for a long time. So I had the energy. But but I was that was that's awesome. That's cool. That's fucking amazing. Yeah, that's amazing. And she did that, you know, like the first day. That's good for him, Rob. This moment's amazing. Oh my god. I can't. Did Danny nailed it? No, that's no. He's just, you know, he has, he's,

Danny has these moments on it where you're like, yeah, there's a reason why you're a giant movie star because you're a fucking great actor. You're a phenomenal actor. Phenomenal. Yeah, well, I trained for four months to get that right. And right again. He just stepped right in it. But that's what that's what the scene is about and should be about. That's what the whole episode's about. That's right. It's his catharsis, not mine. That's exactly right. It was both. It's both. It was an incredible experience. The I think the best part was how patient they were. Like Allison and Leo and Kylie were so patient because they knew I was a non dancer. So probably if they would get frustrated if it was another dancer, but they would just like keep showing me running it,

running it, running it, running it, running it. Do you feel like you, that this was a transformative experience for you in your life doing this dance, getting in this shape for this season? Like I feel like you have continued to be, obviously you're bigger in this episode, like bigger muscles, but you've maintained the same sort of level of fitness of the guy who could do this since this moment. I just had so much fun. And there was something about the discipline of having to go through not only learning something completely new, but then the fitness it would take to keep doing it. And I felt good. I felt so good. So I don't feel as good as I did then, but I wasn't drinking really. I was just working out constantly. And then also just the endorphins

that get released of learning something new and exercising that much. So I try to keep up with some of that. And dance works out every part of your body. Like you start to feel you're like, what? Every part of your arm, but you did such a beautiful job, Rob. You should be really proud. And the patience I think is the hardest is like having patience for yourself, learning it and not being like, fuck, you know, because it's hard. But also like how much of this mental, like how much, I didn't realize how much of dance is mental is like putting the and having the allowing for the neurons to make connections and as you're using a hand. Yeah. And some ways like if you're, if you really are thinking about the

choreography, it's actually harder for you to get it. You know what I mean? You kind of have to like feel it a little bit. You know what I mean? It's like, it's almost like trying to memorize your lines and forgetting the intention behind the line. Sometimes like if you get, if the choreography really flows nicely and you understand the intention behind it and you just feel it, it's there for you when you need it, you know, in the same way that like now I know I'm sure you guys the same way you get to the point where you get so used to memorizing lines that like if you understand the thought, you understand the intention, you just trust that the line will come to you when it's time. You know, and I think it's probably the same way

with dance, I would say, right? Exactly. I was going to say, because you can see the emotion on your face. So like the moves were a part of you. You weren't like, like, concentrating on that. But once, yeah, once you get the choreography inside, it just becomes part and you just, it's that feeling and you trust yourself. You trust your body. But only for knowing that you, knowing that you couldn't just, because I mean, knowing that you couldn't, it would be very tempting because, you know, we're all very busy and you're very busy and, you know, to just be like, I'm sure I can learn this in three weeks. You know what I mean? But you knew, you were like, this has to be

like way beyond anything that we've ever done, choreographed and... Well, also with the tones of what the episode was saying, we knew it couldn't be a joke, like a typical sunny episode, right? There's plenty of jokes leading up to it. But like, once you got to this, it couldn't be one of our like, oh, it's kind of funny because he's doing it in half bad. Like it's all or nothing, right? You're either going to nail that or you can't do, you can't have that be the end of the episode. Because the funny version of that just wouldn't work. It would be a different thing, you know? Yeah. Well, I heard Mara mention this a couple times and you brought up Glenn that trust is a huge part of it. Like you have to,

you have to trust that you're going to pull it off. You have to trust that people aren't going to laugh at you. You have to trust your partner because I was putting her and the choreographer was putting her into potentially dangerous situations and vice versa, where she's got to make sure that I'm not going to drop her or I'm not going to. So all through the whole process, you're trusting that you can do it and you're trusting your partners to be there for you. You're trusting that the choreographer understands your limitations, but also what you're capable of. And it just feels like a lot of any of the artistic, you know, expression that we do in acting or any kind of performative art, you're trusting the other people in the room and you're

trusting the audience that they're going to go along with it as well. Can I ask you a question about like, so as you were learning, obviously you had to learn the choreography, but I'm sure they had to teach you like form, right? And what, and like lines and like, you know, like what your hand is supposed to be doing because I mean, you have to, you know, it's not just what your arm is doing. It's all the way down to your fingertips. Like, were you having to learn about like pointing your feet when it's time to put your feet and stuff like that? Yeah. And then visualizing what could she would say things like about your fingertips, like taking it all the way out to your fingertips and I'm like, what does that mean? I don't even know what that means. Not about how

you point them, but how you what you're supposed to feel in them. And it's just more about visualizing what that is. And then also retraining my brain to think, well, in my mind, that doesn't look right. And then she would take a photo of it and I would look at it and I would say, oh, that that does look right or something that looks cool. It's just like choreography, like choreographing a fight, you know, you hear a lot of you hear a lot of fight choreographers talk about professional fighters and how they're the worst. They're the hardest. It's the hardest people to train to do a movie fight. Really? Because sometimes if something looks like is technically right, right, it doesn't look good on screen. Oh, yes. Right. It's a totally different skill set.

It's a totally different skill set. You have to bring your elbow like way higher than you ever would for a punch so that like crosses so that you're seeing the arm. Otherwise it happens too fast. Yeah. Or it's too low and the camera misses it. Yeah. So so something similar here where they would pitch something and it wouldn't feel right and then they would record it and it just looked right. Yeah. And so you just have to trust them. And then I don't know. It's also an amazing community of people, the dance community. And that was the first time I had ever been introduced really to to so many people in it. But you know, there's not a ton of money in dance, like maybe the top 5% of people make a really great living. Everybody else is doing it because they love it

because it's it's it's an artistic expression that it just speaks to them and always has. So Jill and I both love so you think you can dance or we watch. I haven't seen every season, but I've seen a lot. And that's always been one of the things I was always like, why do I like this so much? Well, obviously, it's amazing because the dancers are like beyond incredible on that show. So the actual performances are just stunning to watch. But I think the thing that I've always really liked about it is I've always been skeptical of competition shows because if I get a whiff that someone is doing something in their goal is to become famous. I don't then all of a sudden, like, I'm like, I don't trust the art. I don't trust the thing

because it's like, you know, sometimes with like American Idol and those like those kind of competitions, you just you're like, I don't know that you really care that much about singing, but you like the idea of being a pop star. And that just kind of taints it for me. And as a dancer, like because there's so few people who actually could ever become rich off of it or, you know, or even famous for being a dancer. And the level of dedication and difficulty that to become a dancer at that level, it's just like, and to do it knowing that, you know, at best, you'll be able to you'll work and you'll make money and but you're never going to be, you know, so it's like it doesn't it's not tainted for me. I think that's what I like about it. Well, Sudeika says it in the the comedy version

of it is when Sudeika says and it's totally true. Well, you're not having fun. So I'm not having fun watching it. And that's exactly right. Like that goes for any discipline where if and I think maybe that's part of the charm of this show is that it's clear that we're having fun making it. And I think people are on board with that. Yeah. And so I think it's the same thing here where I I think it's clear that the people who are involved in this entire process loved what they were doing. And I think it comes through. I'm curious about the fan feedback from this. Like what was some of that like, what have you heard from fans about the performance? It was overwhelmingly positive. Yeah, I think it's just because of the tone of the entire episode and where the characters arc

was going, which is very unsunny. Right. But again, I think that's why people enjoy sunny too is that we are not giving them the same episode over and over and over again. I mean, I feel like if there were criticisms, it was just that we sort of betrayed the existing tone of the show by doing something that was deadly serious. And I think this was the first time in one of the few times ever that we've done that where she was like to this degree to this degree to this length, which is not just like a moment, but an entire four or five minutes of not sorry, no jokes and any of the episode like sorry, nothing. Yeah, which is fair. Which is fair. I get it. But yeah, but I think we reserve the right at this point, especially when we're trying to do something

effort as long as we've been doing it to mix it up and try those same people would be complaining about being bored that we keep doing the same things over and over again. If if we did, if we don't make everybody happy. Hey, guys, today we are supported by fuel, a nutritionally balanced plant based meal made in less than a minute. Okay, so if you're looking for a product that will simplify your routine and is also nutrient dense. Yeah, well, that's just it, right? I mean, I eat only for function, you know, for sustenance. I've long said if I could ingest a nourishment paste and get all my daily nutrition, I would do that. Now, all you do is add two scoops of fuel to water, shake and boom, you've got your nutrition solution of the future ready to go.

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Hell no. No. No. Okay. Didn't think so. No. Not because of the dancing though. Because of the stars. Yeah. Yeah. More because it would feel like a... Has been? Yeah. Yeah. It always feels like to me and yet, yeah. Sorry. Go ahead. Oh, so I just don't have interest. Like it just doesn't interest me. It'd be funny to like sign up for dancing with the stars only to find out that you're not the star. You're dancing with somebody who's a bigger star than me. Oh, I thought I was the... Oh, you're the dance. Oh, you're on the dancer. You're dancing with the star. Oh, there's been a mistake. There's been a mistake. Yeah. All right. Is that the last of the dances? No. There's two more. Oh great. More

dancing. What dancing? I do like that. I love that. This scene was really hard to cut together. Remember, Charlie? Yeah, it was. We spent a lot of fucking time on this. I don't know why. I like this a lot. Why are we doing it? Out of that. Tell you what, man. Roller skating was trickier than I thought it was going to be. Well, now you grew up, you grew up playing hockey. You grew up on ice skates, but... I knew how to ice skate, but it felt different. It's also been a while since I've been on either, but... We should have put you on blades, but that doesn't have the right look to it. You got to be on four wheels. It's a blade rink. Yeah, it's not the right thing. It's not the right

thing. You pulled it off. You pulled it off. It's a little scary. Yeah, I moved around. Yeah, it's okay. It's okay. Oh, here we go. Okay, here we go. Yeah. So these girls are all skaters and Caitlyn. She was having a hard time just standing still. And do we want to give away which parts are... I think it's pretty obvious, right? Which parts are her? Which parts are stunt double? Caitlyn with the stunts. Yeah, boy. She could practically be a stuntman at this point. Stunt person. Stunt person. Well, that was the stunt person in that right there. Yeah, yeah. That was the running into the wall. Actually hitting the wall, yes. That was the stunt performer. Yes. See, the magic of Hollywood. You didn't even know that.

Well, I look forward to years of dancing with you all. Because that's the other thing. There's a time stamp on a dancer like at 25 years old. So it's a lot different than like an aging comedian. Tough on the body. Yeah. An aging comedian. An aging comedian. At 45. An aging comedian. Aging clowns. Have a tough time with it. Middle-aged dancing clowns. Middle-aged dancing clowns have a tougher time. Old jock at this point. Old jock at this point. Young jock, it's going down. That's where you gotta do the... Yeah, you gotta have the... I mean, if you're doing your bike right, they're all the way up here. Yeah, seriously. You're riding like this. You got the ape hangers. Yeah, yeah.

Yeah, you're... Nice. Organized choreographed dance.