Original subtitles

Welcome to the season finale of Crazy Ex -Girlfriend!

This is the finale of shooting Crazy Ex -Girlfriend.

I'm tired.

Cable and streaming shows will write, shoot, edit.

But most of the time, about 80 % of the time, we're doing all three.

When we're just writing, it feels doable, and then we add shooting, and

feels like...

Hard but doable, and then we start editing, and then it just all goes to

and then we just do the best we can.

There's a technique in Meisner, a game called, I think it's called the

impossible task.

It's like try to fit a thimble over your scalp. Like you try to do an impossible

task, and the journey is like trying to do a task that you'll never do, and this

is felt like one big Meisner exercise.

work on the show i made these finale t -shirts that say i'm not sad you're sad

on this side and on this side they say this is the end of the story whoa whoa

whoa rachel and i met on a blind date in the offices of cbs and we started

working on this show 10 minutes after we met and we've been working on it every

day since sometimes people say i discovered rachel but i wasn't really a

until i met rachel so i always feel like rachel discovered me six years ago

I was making Internet videos and trying to get hired on TV pilots and trying to

get staffed on TV shows.

Then one day I got an email saying someone named A -Line Brosh McKenna

meet with me to discuss a musical television show.

Six and a half years later, I'm still flabbergasted that we get to do this

of work. And thank you for such a fantastic show. Thank you. Thanks,

This table read was different from the other table reads because usually we

in a tiny conference room.

Sometimes they just kind of felt like joking around with friends in a really

way.

I sing live at the table reads because it's way more fun than listening to a

demo. This is our horny, angry tango!

And we need to feel the full energy of the episode. The world was all

like... No.

The only time when someone wouldn't sing at a table read is if they hadn't even

learned the song yet or occasionally the song hadn't been written, which was

always terrifying.

Rachel and I are the writers of episode 417, and I'm pleased to be directing

417. And let's do our usual thing and jump right in. Door is closed, and here

are.

Wait, let's just take a breath.

The table reads are my favorite days because we get to see the episode as a

piece. Everything comes together, and it's not until the episode is put

that that happens again.

Sometimes you have a great table read, and it's funny, but Aline will come back

and say, this story doesn't work, or this needs help, or this needs support.

So after the table read, we get notes.

from the studio, and then I grab Rachel, and I get as many notes as I can from

Rachel, and we sort of talk, and she goes through all her notes, and then

hand me her script.

And then I get together with the writers.

She put together this unbelievable writing staff. We all love each other.

Everyone is super smart.

Everyone is super funny.

Great storytellers.

The writers.

room as other people probably told you um hasn't really changed much it's kind

of been the same people for almost the entire time the writer's room is really

the engine room of the show you know everything kind of originates there and

flows from there we all get together and really talk about how that table read

felt and it's not really often about how funny it is it's about did it deliver

on what the episode needs to be the song lost its weight for me because we

already knew she was a year ahead and fine when we flash back to it.

There was one main song in the finale, and Audrey was talking about whether it

was placed in the right spot.

But now when she comes out of the song, she's like, I know what I need to do. I

know who I need to choose. I know who to love. We've had all lines like that

kind of thing.

Because the song had been in Act 5 sort of towards the end of the journey, and

Audrey was saying, you know, maybe that's too late.

It became very clear to me that the song needed to be earlier.

What the song does, which is great, is that it says your hero is almost

almost there, but there's one big final last challenge in the last, like, ten

minutes of the movie. So there's two different ways to structure that. One

That's right. That's what I'm saying. Make more of a meal of that. There we

There's just never a time where you're pitching something and someone's like,

that's stupid, or why would we ever do that? Which would obviously cause

to clam up and not want to speak.

There's like a hierarchy normally in a writer's room where like executive

producers are expected to solve big problems and staff writers at the bottom

the totem pole are sort of expected to just pitch jokes and speak when there's

space. Early on in our writer's room, Aline made it very clear that there's

truly no difference between any writer in that room.

When I was the writer's assistant, I was acting as a writer on staff and I knew

that that was something that Aline encouraged.

She models what she wants to see.

Yeah, we've learned a lot going forward. We're like, okay, well, in the past we

would have probably just smiled and said, okay, we have to do this. And now

we're like, what would Aline do? Literally, we watch Aline at work and

like, okay, Aline would say something. So we have to say something.

I remember there was a moment we were doing the Thanksgiving episode where

Rachel goes to her first Filipino Thanksgiving.

He tries to cook, didn't go on. It came out odd. There was a delay in the

packaging. In any case, as we shot it, my back started sweating, and I started

thinking about all the times in my previous writer's rooms when I had to,

speak up and, you know, have, you know, 13 very experienced, very wealthy,

successful writers tell me that, like, that doesn't matter.

Aline catches this, and she goes, what's happening?

I share that with her, and she pumped the brakes on the entire thing and made

right. West Covina especially is an incredibly what you would call diverse

place. People of many different backgrounds, many different religions

nationalities and then also sexual orientations. That's just what life is.

so if you're not portraying that, you're not accurately reflecting life.

At the very beginning of the season, Rachel is there with us because filming

hasn't started. So she's there every single day, which is fantastic.

And then as time goes on, Rachel will come in and out at least once a day,

sometimes several times a day, depending on what her shooting schedule is. Where

did Rachel go? She was working. Did she go to set?

She's probably going to set.

Rachel's schedule is so crazy. When we're in production, she's...

acting the show she's writing songs she's running back and forth to post

to edit the music videos but let's start playing with the the visuals not coming

out we can't use that but that's really funny whatever giant

sandwich of work i had rachel which has always had a foot long hoagie in front

of her rachel can take off her acting hat and put on her her writing hat

with Rachel Bloom has been quite an experience. She's like no one else.

She's a tornado.

And to be even sort of close to that tornado is mind -boggling.

If anyone needs a time turner, it's Rachel Bloom and her 8 ,000 jobs that

does at home.

We would literally be doing a scene and she would go run over to her office, do

a quick change, then go to the edit bay, approve an outline, come back and nail

her coverage.

And she brings so much joy.

to the work, and it kind of gives us permission to have our joy.

Dance break, dance break, dance break.

She just is a bundle of energy and has so many good ideas flying out at any one

time. How about, that's right, keep spinning, don't pause it, exit, you

TK, whatever.

Did you just come up with that's right, keep spinning, don't pause it? Well,

pause it is the rhyme that I had, so I thought, how can we use pause it? Oh,

even.

How's it going? Good.

I might re -rescript this with this stuff in mind just to do it while I'm

thinking of what? This is probably very quick, though, right?

It's kind of quick, yeah.

Rachel's an amazing singer and an amazingly natural musician. She's

well -versed in musical theater in particular and in lots of other music as

well. Rachel Bloom is insanely talented and...

It's insane to do this much work.

If I'm there early to be on set, her car is usually there because she has to be

in hair and makeup hours before we get there.

So I do pretty constant fitting once a week. And it's often like late

at night, early in the morning, or like on a turnaround.

And these people have seen me naked so much. It's like six people.

I'm so used to getting naked at this point because of necessity. I just don't

even notice when I'm topless anymore.

All right, I'm going to change.

I don't think I'll ever work this hard again in my life.

If anybody was unsure about, like, how wide her talent is and the breadth of

Rachel can do absolutely everything, including tap dance.

Welcome to 417. We're missing a song.

It was written by me and Rachel, and I'm going to direct it. Ready to go, and

I'm excited, so let's jump in. There are a lot of meetings. There's a concept

meeting and a production meeting, and all the department heads are there.

one.

On this show, every episode is given seven days to shoot it, to make that

of television, and also seven days to prepare to shoot it. You start.

Prep, you'll have the script.

Going through the script with the key players.

With the bride, Rebecca, dress.

I wanted to do something really almost like she just went to a department

But it's a white light or white wedding dress. It looks like a wedding dress.

Yeah. You know, we talk about how they want it done, how they see it, what

vision is. We go back and forth. Melina, our costume designer, has been with us

since the beginning and really, I think, has a unique understanding of how to

balance the realistic elements of the show with the costume elements of the

show.

O -M -G.

Scene three.

Cabaret Theater.

It's a dark space dotted with tables.

It's almost like a comedy club, really.

Stephen McCabe is our production designer.

He's amazingly gifted.

You know, in addition to the scripted things, he has to build sets for musical

numbers, and he's a very calm person, fun to work with, resourceful.

Scene 27.

We're going to go to Guatemala. This is where we're shooting Guatemala.

It's in the office PA's parking spot.

That's where Guatemala is.

There's Brian, who's a head of set deck, has great ideas.

Is that our juice bottle?

Yeah, possibly, if you like it. Great. I love it.

Fantastic. I would like for it to be very sludgy.

Tom Cahill, who does our props, he's tireless, and anything you throw at him,

has a million great ideas.

They'll get like that. Stuff is pretty thick, and I can whip up a little extra

banana in there or something to kind of make it a little thicker.

And it tastes good, too. Oh, okay. So it's not like, oh. Oh, okay, great.

So with prepping the finale, we had a very complicated dream sequence.

I was going to be using green screens and interesting transitions.

So Dr. Akopian.

opens her door and then into Serrano's. It's going to be designed so it looks

like one continuous shot.

We were transporting doors. We were shooting places that didn't exist

doorways. And so it's something that is designed to look very simple, but was

actually very complicated. We had many meetings about it. Elaine tries her

hardest to keep, I think, all the departments involved from start to

We're all sort of united in purpose.

Here we're making pretty pictures because this is in her imagination.

We have Ian, our director of photography, who is such a delight to

and I really, really enjoyed my collaboration with him on the finale.

Big windows, the soft curtain, the golden light.

Do it.

How are you feeling?

I'm good. I'm good. I think we got it. I like it. Then you start getting the

barrage of 5 ,000 questions that you're not thinking about that everybody else

has to do their job, so they need to know what.

What's on your mind? I would prefer a door at the doors at the side than doors

in the middle. We'll just have some nice lights pouring in.

I wouldn't really need the wine bar. Is it up?

I'm hot and I'm tired. And I've been talking a lot.

Oh, they can put plants in here.

This is for plants.

I've said to Roger many times, like, we're going to kind of hold hands and

in. Good schedule.

Going well.

Oh, so no 13 -hour day.

Uh, no.

Welcome to Rebecca's house. Join me, won't you?

No one can work on this show and be working at 98%. You just can't. And so I

surrounded every day with people working at capacity.

Keep having these anxiety dreams where we rehearse the thing and I just go off

and everyone's looking for me.

That's been my anxiety dream.

And she goes, blah, blah, blah, blah, blah, blah, blah.

It's a 37 -page script, and we have 47 fiends in it.

So it's a lot of chopped up tiny little fiends. Looks great. Let's hit it.

Lightning delay for safety.

We're back. We're back.

Yeah! Woo!

Gryps, electricians, hair, makeup, wardrobe, special effects, post

pre -production, office staff, transportation.

Hundreds and hundreds of people make it all work.

Everybody working together.

It's really this amazing group of collaborators.

Oh my God, it's freaking me out!

Every little corner of the screen is populated with someone's love and time.

The nature of this show is that it's very supportive.

It really feels like a very social environment.

They're us and we're them. You understand that, right?

We're the same.

And action.

And cut.

We have such different

bodies.

Let's get dressed first, then we can meet our kids.

I have a lot of pride in this show.

and a lot of joy in my heart about the show.

I love it.

You never get a cast who like and love each other this much.

It's really like doing theater, like in high school or college, like that amount

of bonding.

The actors on the show have gotten intensely close.

I mean, Pete is Donalyn's son's godfather. The closeness of the

with the actors is really, really amazing and profound.

Thank God we like each other.

Because we actually do enjoy each other's company.

I'm really happy that I'm older. I'm in my 40s and I've had a career sort of up

to this in a completely different genre.

Because I'm sort of old enough to really, really, really appreciate it.

This is the last scene that Rebecca and I will ever do together.

Happy Valentine's Day!

It's 11 o 'clock.

Already 11 o 'clock.

Sure the deadline is any time today.

For the finale, we actually did a big medley. The way that medley was born was

that Rachel first sent me a demo, which she sang a cappella into her phone.

That's right, keep going, keep spinning, don't pause it.

It's time for a medley, so let's go through my closet.

I very much am a lyricist first.

The lyrics really come first for me and so there are certain areas of technique

and expertise that I really defer to Adam on.

Over the course of working with these guys for a long time, I think I've

developed a way of understanding what she wants without her having to bother

going to the piano a lot of times, where she can sort of say, you know, this

kind of thing, or she'll sing me a little rhythm.

With this huge number of songs that we've ended up doing, it's over 150.

I don't know the exact number. There's really no one way that it gets done.

Yeah, today we're working on the last song of the series.

It plays on the clichés of 11 o 'clock numbers in musicals.

If this were a musical, this is what I would do. My big 11 o 'clock number.

a show -stopping song where there's usually some huge thematic revelation,

it usually happens around 11 o 'clock at night because musicals used to start

around 8 .30 p .m., but now they start earlier for some reason.

We were just honing in the lyrics a little bit today because Rachel had done

great pass already.

God, this medley is intense.

Life really doesn't make narrative sense. Yeah, we can keep that.

We just were sitting down to just make sure every little nook and cranny of it

was threaded properly and worked.

Right for the story forget about she had songs right like she was just talking

and she was just saying like I had this challenge and I had that challenge and I

got through it by like Processing it in my brain, but still all even after all

of that. It was all for nothing Nothing it was everything it's all okay.

Oh, that's a different You're not wrong. That's just different than what I've

been operating under I think because I was Should we get Alinda? Yeah, because

had whiplash from the last one. Yeah, let's get her over here. Okay, all

Jack and I are debating over what the ending thesis statement of the song is

before Paula comes in. Okay. Were the songs a problem or are the songs just

neutral, a symbol of all that she's been through and it still hasn't worked?

Well, to her, it's like... I've done so much and tried so hard and tried to

understand my world in any way that I could. I've done it a million different

ways and it didn't lead to anything.

And then Paula goes, no, it did. Because the thing about the guy, then you get

into like, oh, wait, were these pathological, patriarchal narratives? Is

the problem? And that's not the problem. We can change it. We'll change it. I

just want to be on the same page. Got it. So 11 o 'clock, 11 o 'clock.

Great. All right. So let's erase this.

I look around and what was this all for?

Yeah. Right?

But I had many underlying issues to address because I didn't want to be

And nothing comes from, you know. Yeah.

And still can't find love or something.

Oh.

I used to have problems, but now they're gone. You remember back when we had

problems? Oh, man, that was annoying.

And now our love is magically solved and we won't be anymore for our future at

all. We'll never have problems again.

Now everyone will know their love is undying.

Now our nights of randomly crying.

You never worry about paying the bills. The only money we need is Sunset.

When it feels like we're running out of thrills, hey, look, another Sunset.

So it's an 11 o 'clock number.

Rebecca knows what an 11 o 'clock number is. Yeah.

What would be cool is... is...

I mean, for her literally to go in a warehouse.

Where all the stuff is stored. And basically, it's us being meta for, like,

you do a television show. What I could create is almost like a Smithsonian.

The turntable with the stationary center. In the center, we could have all

costumes and wigs.

We could start with you, like, you're imagining.

And then we could start with you, like, something like this, like this, where

you're spinning.

And then reveal that you're inside of this thing. This seems very 11 o 'clock

number -y for me. Because you can go, like, you can go and get.

Thing from season 3 and then you can get into the middle of it. You can go like

this Yeah, I ride around like you can go like that. You can get on the floor.

You can be in the middle You can do you know, like those things with that. Oh my

god. Yes.

Oh my god idea.

Oh my god Hey, hey idea.

Yeah, so I'm called 11 o 'clock.

I'm on a turntable, of course Can we film it outside so we can get that

shot and then I'm on a giant clock that's turning

She has an incredible understanding of what she's doing

and an incredible enthusiasm for it. And she comes up with ideas. We'll

be in the middle of a meeting and she'll come up with an idea and we'll kind of

go, hmm.

And then we all sort of think to each other like, oh, that is a great idea.

They're very user -friendly for a producer too.

So that makes it much easier for me to give them what they want.

We're going to have a turntable in this episode, which is just, it's like a lazy

Susan that you would find in a restaurant, only on a grand scale that

its own with motor and that Rachel Bloom can get on and dance and perform on.

What happens if you jump?

Yeah. Oh, but keep running. Like, that's really going to be good. Yeah.

Yeah. And that's the ice skating moment. And so you can, exactly, you can, yeah.

And then I can run. I mean, luckily, I've ridden roller coasters with Rachel,

and she does not get motion sickness. Right.

A diagnosis, and I named the star. Yeah. I mean, you could do that. Yeah.

I'll just have to, like, take some Dramamine and dance it up on a

wanted to be a good person. So she can dance all these. It's just, like,

then more dancey. I just look better than you.

De -shooting.

Play me a B -flat.

It's 11 o 'clock.

Already 11 o 'clock.

I was working hard at a New York job making dough, but it made me blue.

Just a girl in love.

To clarify, I got a diagnosis.

A diagnosis.

And I named the dog.

This medley is super intense.

Cause life doesn't make narrative sense.

And it's still 11 o 'clock.

Something like that?

We're in a completely black space.

We don't have any reference points.

Imagine that we've got a nice strong back edge on her. Yes.

As everything moves, but it's fixed in relationship to each other, the way

going to feel is in changing light. Okay.

I want to make sure that we're using the language of the turntable and not, you

know, taking unnecessary cuts, but using the turntable to move through the

space. For example, let's try this. So, Roger, be a mannequin.

We have all these options. We're going to have the great aerial shot, and

there's these really great references with the actual props.

Whoa!

That is cool.

I like to choreograph for a camera, so knowing that camera can be anywhere

helpful, but it is helpful. So what I try to do is, like...

Just pick something.

So I kind of just play and pitch what I think

the camera might do.

And then they can either say yes or no.

Let me know what you like.

If you don't like it, I'll try something else.

I did dream about turntables the whole night.

If the process before this was like classical music where we had every note

planned out, this is a little bit more jazz today.

Let's try it.

11 o

'clock,

and the deadline is any time today.

But I won't know by 11 o 'clock tonight.

Just like I didn't know by 11 o 'clock yesterday.

And like you.

The spotlight comes before that line.

11 o 'clock today.

Boom. Spotlight.

Oh, good. An abstract theatrical space.

Now I can actually think.

And cut.

We were having a great time and getting beautiful shots.

Working hard at a New York job, making dough, but it may be blue.

One day I was crying a lot, and so I decided to move to... It was looking

cool on camera, but then some of the times you would shoot something, set up

shot, and you'd get nothing because people would rotate out of frame in ways

that were almost unanticipated.

The choreography was really tricky to coordinate with the mannequins and the

camera, so Rachel and I went into the parking lot to make sure our timing was

exactly right.

The turntable stuff was just taking a lot longer than we had anticipated.

Craig,

our UPM, came down and said, you've got three hours left. And, of course, we had

way more stuff to shoot than we could fit into three hours. So we had to

scramble. But I guess you could say it was sort of like hour 11 o 'clock.

Rachel's 10 -1.

We've got to cut one.

We've got to cut either the West Virginia Dress or the Stupid Bitch

There's no option to push anything later.

It's 11 o 'clock.

11 o 'clock.

I need to end this song, but I don't know how.

The thing that we build to is the reveal of the Stupid Bitch Dress.

I think I've got to wear it.

I'm willing to sacrifice other shots.

I think I got to wear it. That's the only heightening of it, because

I'm just looking at mannequins the whole time. I radically shortened the amount

of shots that we were using, and Rachel really has a very strong visual

imagination, and she was like, look, if we get this shot and that shot, then we

can drop this shot. And Jack was weighing in very much on the

was helpful.

It was important to get the transitions locked in for all the edit points to

work from one bit to the next.

So I was trying to make sure we had exactly what we needed.

walk and turn away from him. And on that, we reversed to her in the dress.

You ruined everything, you stupid bitch.

A prude.

Rachel, Jack, and Kat, you know, we've all been working together for five

And I think it was a really great illustration of how everybody was able

in.

You really have to trust the people around you to help you. In case you

tell time, it's still 11 o 'clock.

You did a great job today.

Oh, thank you. So did you. You did a really, really good job. Thank you for

snapping to and, like, and, like.

running and gunning with me. Okay, good night. Good night.

Oh, this is great.

I have a warm lap.

And I'm not gassy anymore.

Those were really spicy tacos.

Yay!

And then if we could just cheat a little bit of like, a little bit of like a...

This

is the finale.

The very last day of the finale. Series finale of Crazy Ex -Girlfriend. Series

finale. Have a good show. Have a good show.

And I'm wearing all my Crazy Ex swag. I got...

Our writer's room jacket.

I got have a good show. I got I'm not sad, you're sad. I got the whole, all of

it. All of it. This is also our last chance to have a good show. I know.

Yeah. If you don't get it now, you'll never get it.

People don't have to wear them.

If we don't, we might not have a good show, though. That's true.

Actually, I'm going to wear it on my next show. I feel like we had a good

We had four years. We did have a good show.

I'm wearing no makeup because I have already cried a couple times, and I

anticipate more crying.

I haven't cried because I'm a sociopath.

I feel nothing.

We all ran outside, got our picture taken.

We hadn't taken one since season two, and I really wanted to get a record of

the people who were working on that finale.

And the shirts was great because, you know, the people who had them wore them,

and it kind of unified the bunch.

It's the last day.

Will I be able to keep it together? I can't answer that right now. This all

away. This whole thing is truly being ran.

And you can be sad and eat pistachios at the same time. I think that's, people

who say you can't, don't listen to them. Why this is an ad for pistachios.

Yeah, it's the last day. I feel like it's like high school, like I'm in

week or something like that.

Before we take this photo with everyone here, I just wanted, because the day is

about to be crazy, to thank the reason that we're here, both because of these

shirts, but also in theory, my partner, Aline Brosh McKenna.

As she says, it's a conversation that we had five and a half years ago that

we've been having ever since. But Aline steers this ship.

She runs the writer's room, which is the creative hub of this entire show.

She approves. She watches every single casting video. She approves every

costume. She literally approves everything and steers this giant ship so

doesn't become a Titanic. And I just, I am so immensely grateful to her. And I

just wanted to have you all here to say thank you to her with me. So thank you.

All right, let's get everybody back in. I was on set during the finale, and I

was a second set of eyes as a director. You have so many things on your plate,

and you're trying to get so many shots.

Josh, Nathaniel, Greg.

Yes. Then Jason.

Yep. Bert.

Yep. Jim. Yep. And then Father Brian, AJ, are a pair.

Yes. We have boobs. You have boobs. They are for feeding babies. My husband,

Gregor, has written on the show, has directed episodes of the show, and it

so special to have him at the series finale.

Part of my job was to keep the 5 ,000 people from yelling and laughing and

jumping around because she's trying to focus and get so much done in so little

time. It was crazy. This is a really sacred day. We've done a lot of numbers

here. Obviously, we've shot spiders here, and we're going to finish the show

here. Let's honor this by being super quiet on set and helping Aline improve,

make this day some great television.

The morning of the finale, I woke up very sick.

I had a bad cold, and I thought, okay, I'm going to keep it together today

and do my best, not just for me, but for Rebecca.

This is my day to send her off.

And action.

And I want to do her, Justin.

For the first time in my life, I feel truly happy.

And cut.

And then I start drinking and phoning it in. I'm kidding.

It's the bell, David. Let's roll sound on the martini.

God,

I wish you were not still single.

I will not feel safe until one of you is married.

Shh, just let her talk.

Okay, can we do that again and be a little less whispery, both of you guys a

little less whispery, because lots of people in the room.

And action, Rachel.

One of the moments that I will remember forever was all the people who were

there at 2 in the morning still there, who's really been, you know, shoulder to

shoulder with me.

And turning around and looking.

Does anybody have any notes?

And cut.

Cut. All right, guys, let's keep it quiet.

It was a wrap.

I'm not fully processing what just happened.

What I want to do is go around and individually thank every single person

this room. Do it.

Because.

Every time I direct, I'm just blown away by how hard you guys work. It's really

your dedication to your craft and to this show is just staggering. I did want

to acknowledge my leading lady and my muse.

I just have been so, so proud to stand by your side as we become...

rapidly the same age and you become a middle -aged lady which is what i'm

looking forward to it was my plan all along but you are so talented and so

special and so funny and so amazing and um i'm just like so blown away that that

first little meeting led to so many episodes and all these wonderful

relationships and friendships to this collective madness and that's what it is

it's Not my madness. It's not Aline's madness. It is truly a collection of

madness.

So, that's a wrap.

It's not possible that that was it.

I guess now if the show's over, I could say, I would have done it for free.

I haven't really been letting myself feel too much about it.

I'm joking.

But I'll miss it.

Thank you to everybody who did watch the show, and thank you to the crew and the

actors and all the people who have come through here who helped make it

something really quite special and unusual, and I think we were all very

Anybody can sing and dance and write interesting stories and whatever, but...

After four years of working together and working very closely together and

working very hard together, everybody was smiling and everybody was having a

good time. And I really do believe that that's that extra thing that makes it

magical. I think for everyone it's just been this, like, huge, like, huge, like,

gift. I got to lend my voice and lend, you know, my perspective.

It got to be really authentic and really, really me in this really special

You can make funny things that you care about and that matter to people.

It can be right, you know.

And Aline showed that to me, that you don't have to compromise there.

Oh, God, don't put this in there.

I think there's a humanity to the show that overrides the comedy.

And I always think that the show comes from love, and it comes from, you know,

the love that Rachel and I have for each other and the love that people have for

this material.

Everyone came together to tell the story, to tell Rebecca Bunch's story.

What I love about the show is the message that no matter what your flaws

matter where you are in life, you can be accepted, you can grow, you can learn,

you can love, people can love you as well.

It kind of mimics how we are as humans in the world. We're not perfect, we're

not trying to be perfect, but it doesn't mean we can't enjoy living.

I think one of the most weirdly daring things that Rachel and I decided to do,

was to show someone getting better.

I am incredibly proud of this show. It means a lot to people, and not just the

people with mental health issues, just people, the weirdos, the outsiders, the

musical theater geeks, the women.

I think it's an important show.

The core of the show is a friendship between two women who are 20 years

The middle -aged lady gives the young lady a pen and says, you need to express

yourself.

And I think what we've done is extraordinary.

I just wanted to say thank you so much for giving this opportunity to make

music videos with you. You have given us literally all of our dreams and then

some. You gave us everything, you stupid bitch.

You gave us everything, you brilliant genius

bitch. You made this world out of your own.

Bitch, you're a stupid bitch.

You made us rich.

You gave us everything like Lilo gave

to Stitch.

You may have mostly been pooping or talking about pooping or hawking

But when you work.