These dreamy, trippy short films. Same with the music videos. The only way to parody that or pastiche it is to pastiche the very idea of the artsy piece itself. Aline and I had both been reading this book called Unrequited, by Lisa Phillips, which is a wonderful read about unrequited love.
That seemed like a really interesting song idea, but we had to add a comedic take to it. So the take was to get overly metaphorical with it, and have it be super-dreamy and super-trippy in this self-indulgent way. She was in the middle of an actual love triangle, so we wanted to fit in this self-indulgent, conflicted emotion. Oh, Marilyn Monroe, definitely.
It seemed like the natural song for a love triangle. The interesting thing about writing that song was you could almost see it being a Marilyn Monroe song, like, trying to figure out the actual math of it all. The way to elevate it from being cute and clever to being funny and making fun of a genre is to completely ignore math and have the guys try to teach her math.
One that was very important for Rebecca and the show and for us. There were a lot of discussions and the songwriters went down a number of different paths, and then we would come together and talk about it frequently. During the first month of writing, there were a lot of versions of Rachel and Adam [Schlesinger] and Jack [Dolgen] popping in and out and trying different versions of a good-bye song. The team probably wrote 15 or 16 versions of different types of songs.
We had these bleeps on hold in our bank account! Rachel had this brilliant idea of the two of them coming back to haunt her.
The tapping came about because Vincent and Santino are both tappers. You know, sometimes these songs are birthed in a very laborious fashion. Sometimes the baby is breaching backwards. But not with this one! We were talking about wanting her to have some sort of song that Rebecca and Valencia see in their heads. There were a lot a ways to go about doing it, but at the end of the day, we were like, What about a seduction song?
This kind of seductive, young girl, slow pop song. I just really wanted to do a Spice Girls number. Leaning into this idea of the group having very distinct personalities was very fun. So, what was the flip side? We were like, okay, nobody is going to come between you and your friends. Who is actually going to come between you? I really love dystopian topics in general, so the idea of taking it to the fifth degree, where they want to create a like world where the only thing that matters is their friendship, was appealing.
Originally, it was going to be a wedding. My son just had his bar mitzvah, so that was a very ripe opportunity still fresh in my mind. This is a slightly less offensive way of conveying that. As soon as the trio had the idea, they stepped out, came back into the writers room, and sang it to us.
It was a really fast turnaround. We separately had this idea of a very specific California thing, which is the Santa Ana winds and how they make people behave. We were writing the story and putting an outline up, and talking about the Frankie Valli and the Four Seasons sound, and Rachel got very giddy and started walking around the room going, weeeeeeeee. Even when we were writing the episode, every once in awhile she would break into the weeeeeeeee.
So we added that little blip of him being the weatherman wearing that suit and moving in a certain way, and that was a last-minute story addition to justify the song. I was like, We are making this happen! By the time we teased it in the third episode, we knew it was going to be a full song at some point. I got in a booth with Adam and we collaborated on it. The bridge was completely improvised and Adam created music around it.
The song is kind of disgusting but also really empowering.