- 6 hours ago
Join Noah Wyle (Dr. Michael ‘Robby’ Robinavitch) as he relives some of the biggest moments from The Pitt Season 1. From “the four things that matter most” to the Pittfest tragedy, Robby takes a look back at the major moments from The Pitt’s first season.Credits:Director: Kristen DeVoreDirector of Photography: Jon CorumEditor: Matt BraunsdorfTalent: Noah WyleProducer: Sam DennisSenior Producer: Michael BeckertLine Producer: Jen SantosProduction Manager: Evie RoopTalent Booker: Lauren Mendoza; Ernesto MaciasCamera Operator: Shay Eberle-GunstSound Mixer: Glo HernandezProduction Assistant: Hope Millner; Marquis WootenPost Production Supervisor: Jess DunnPost Production Coordinator: Stella ShortinoSupervising Editor: Rob LombardiAdditional Editor: Jason MaliziaAssistant Editor: Justin Symonds
Category
🛠️
LifestyleTranscript
00:00Hello, GQ. I'm Noah Wiley, and these are the biggest moments from The Pit, season one.
00:10COVID flashback.
00:14Robbie, we need a pen to be here.
00:18Dr. Adamson just went down with a full socks of 65.
00:20This show really was born in the pandemic in 2020 when I was sitting at home receiving a lot of mail from first responders and people that are in the front lines who had felt that ER was somehow inspirational to them going into that line of work.
00:39So they were touching base with Dr. Carter and saying thank you or just telling me how hard it was out there and what they were going through.
00:47And I was really moved by all that mail, and I didn't really know how to participate or be of service at that moment.
00:55So I just pivoted it all to John Wells, and I called him up, and I said, hey, you know, I'm getting a lot of interesting letters that are telling me there's another story to tell in the health care sphere.
01:05And I know you don't want to do the old show, and I don't want to do the old show.
01:09But if you ever wanted to talk about what's happening right now and scream something from a mountaintop, I'd volunteer to scream it.
01:15That started the whole conversation of what this show eventually became, which is ostensibly a love letter to first responders.
01:22We wanted to analyze what aggregate toll working in those jobs has been like for those practitioners over the last five years and have that embodied by a single character who had to work through that period of time and hasn't had time to unpack any of it yet.
01:40But has compartmentalized those traumas the way we all have in order to get on with our daily lives and show up for our co-workers or our families.
01:49But this is the day that the demons come to call.
01:51This is the day that that's no longer sustainable.
01:54And over the course of this shift, for various reasons, he's triggered into those traumatic flashbacks that took place five years ago during COVID when he had to take his mentor off life support in order to save another patient.
02:07And ultimately, everybody died that undealt with memory, that repressed guilt is what's coming up in these flashbacks when Robbie gets triggered.
02:17When he comes into work, he's fairly unaware of how close to being a drowning man he is.
02:24You know, the water is at his ankles when he walks to work.
02:28And it progressively rises over the course of the shift until by the end when he's back in that peds room showing Leah's dead body to Jake and recounting all the people that he's lost that day.
02:39The waters are over his head and he's drowning.
02:42This is the job that keeps on giving.
02:45Nightmares.
02:47Ulcers.
02:49Suicidal tendencies.
02:52Besides, if you jump on my shift, that's just rude, man.
02:56It's a funny thing when you go to a wardrobe fitting to choose a season's costumes, but you're only going to wear one thing.
03:03So it's almost overwhelming when you're given that kind of choice.
03:08So I remember thinking, I can't put any more thought into this than Robbie would put into it on a given Tuesday.
03:12So you grab what's clean.
03:14Grab that shirt, grab those pants, grab that hoodie, grab those socks, grab those shoes, out the door.
03:19So that's exactly as much thought as I put into that costume.
03:22So I got such a kick out of seeing people wearing that hoodie for Halloween and for people selling it.
03:27It was such a random choice, but it seemed to work.
03:31I usually steal a piece of wardrobe for every show I'm in, and that seemed to be the most representative piece of clothing for Robbie.
03:37I am told that we had between six and eight of those.
03:42There was always a clean one in my room for the most part.
03:46Pupils, four millimeters, and reactors.
03:48Okay, that's encouraging.
03:49What do you want for meds?
03:50120 ketamine, 80 of rock.
03:52That's a lot more blood than expected.
03:53We pride ourselves on being the most medically accurate show to date on television, and we arrive at that by having an incredible team of technical advisors on our staff, led by Dr. Joe Sachs and Dr. Mel Herbert, who are both legends in the field of emergency medicine.
04:11Joe was a technical advisor on ER and also a writer as he is on this show as well.
04:17Dr. Mel Herbert created MRAP, the largest compendium of online knowledge for medical students ever.
04:24They both bring over 100 years of combined expertise to our show, in addition to real-life trauma nurses and ER physicians who are on the set all the time.
04:33Explaining pronunciation, explaining procedures, but maybe even more significantly, explaining the specificity of emotional reaction to a case depending on what level of year you are in your education.
04:48So if we're in a trauma room and there's a patient on the table and I'm in the room and Samira's in the room and Whitaker's in the room, those are three very different perspectives on the same case.
04:58One is a student, one is an R3, and one is an attending, and each one of those brings a different level of anxiety and a different level of problem-solving skills.
05:07So we rely really heavily on our technical advisors, not just for the physicality, but also the emotionality as well.
05:16Whitaker's first patient dying.
05:18Five minutes since the last epi.
05:21Okay, that's it.
05:24All compressions.
05:24Everybody loses a patient for the first time, and it's a significant event in medical education, and it happens to Whitaker on his first day.
05:36And it was a patient that he had started to build a personal rapport with, which often hits harder.
05:41And it's significant for Whitaker, it's significant for Robbie being the attending.
05:48You know, when these things happen to your staff, you need to be able to help them contextualize, compartmentalize, analyze, and hopefully move on from in the healthiest way possible.
06:00And in imparting that advice to Whitaker in the beginning, saying, these things are random, it's a numbers game.
06:09A lot of people die every day.
06:10This one happened to show up on your watch.
06:12This one happened to show up on your table.
06:14It's no fault.
06:15You know, maybe two or three people in the world could have caught this case.
06:18I'm not one of them either.
06:19You know, it's all geared towards saying, we play the percentages here, we do the best we can, and we get bogged down in our mistakes at the detriment of treating our next patient.
06:29We don't walk into the room still treating the patient we just came from.
06:33We have to walk in objective and clear.
06:36That's easier said than done, and over the course of the season, what you begin to see is that Robbie preaches what he can't practice.
06:43His advice to move on and not let things debilitate you is exactly his issue.
06:49He was your patient, Dr. Whitaker.
06:50Would you like to say something before we all take a brief moment of silent reflection?
06:56Um, he liked Kentucky bourbon?
07:02Okay.
07:02Good.
07:03Me too.
07:03We shoot with two cameras.
07:05We have two operators in the first season who shot the entire season simultaneously.
07:10We have an operator named Amy who wears a handheld camera on her shoulder.
07:14And then we have an operator named Erdem who uses a device called a ZG, which is sort of analogous to a Steadicam.
07:22It's not exactly a steady image, and it's not exactly easy rigged bounce.
07:27It gives a kind of a texture that's really specific.
07:30We tend to shoot only with about two lenses.
07:33We shoot with a 50mm lens and a 75mm lens.
07:36Those are the two lenses that are most comparable to a human eye's perspective.
07:40We never put a camera on a gurney wheel going down a hallway.
07:43We never put a camera on a ceiling shooting an overhead shot.
07:46All of the photography is subjective to a character's point of view and to somebody who's in the room voyeuristically,
07:52which gives this sense of presence for the viewer that you aren't a passive viewer in this experience.
07:58You're sort of a participant, and you're being asked to be on the same endurance test that these characters are.
08:04Can you stay in your feet?
08:05Can you sit through all these cases and make it to the end of the shift?
08:10In your attempt to try to create a show that breaks through the noise and differentiates itself from every other show that's come before it,
08:16you think about ways you can shake up the form.
08:20And Scott Gemmell had two really interesting ideas to try for this one.
08:23One is to play the show in real time and limit the entire structure to 15 consecutive hours.
08:28And the other is to strip away all the artifice as possible, especially the music and the sound design,
08:33and let the environment and the beeps on the machines and the sound of an event or later
08:38and the sound of a baby crying and a man screaming be the soundtrack for the show.
08:42Those were all really speculative ventures that we were really gratified to see worked exactly the way we had hoped,
08:48which is the lack of music and the lack of manipulation and telling a viewer how to feel
08:53actually increases the degree of engagement.
08:55Because when you're on your phone and you're, oh, the violins, oh, sad scene, I get it.
08:59Then suddenly you don't see, hear the violins.
09:02You don't know quite how you're supposed to feel about what you're watching.
09:04It forces you to kind of look for clues within the frame and abandon that other screen that you had in your hand.
09:14And as you get more immersed in the storytelling, hopefully you realize very quickly that you don't have the objectivity of looking down on this pit.
09:23You're inside this pit with everybody else.
09:25The four things that matter most.
09:29Basically just a few key things that we can say when we're saying goodbye to a loved one that can really help.
09:33What are they?
09:35They're going to sound really simple, but I swear I've seen them work.
09:38Okay.
09:39I love you.
09:44I forgive you.
09:46Please forgive me.
09:48The four most important things, the Ho'oponopono ritual that we borrowed.
09:53In pre-production, I met a man named Dr. Ira Byrock, who wrote a book called The Four Things That Matter Most.
10:01And his specialty is sort of end-of-life care, palliative care.
10:05And he had adopted this Hawaiian ritual called Ho'oponopono to his practice, where basically he found that if you could say,
10:13thank you, I love you, I forgive you, please forgive me, it had an unbelievably catalytic effect in beginning the grief process on a healthy road.
10:25And even with somebody that you don't have the opportunity to have closure with, just saying those out loud seems to give a sense of peace and closure to somebody witnessing an end-of-life event.
10:37And so I was really taken with it, and we thought, well, let's put that on the show somehow.
10:41And then I was lucky enough to get assigned episode four, where that was on the board, and it fit beautifully, you know, as a piece of architecture to work through for the whole episode.
10:53And it was a really lovely piece of messaging to put out there.
10:56And I've received a lot of mail back from people since that episode aired, saying that that has been a real aid in their own grief process.
11:08What were those four things again?
11:10I love you, thank you, I forgive you, please forgive me.
11:14I love you, Dad.
11:16I've loved every minute we've gotten to spend together.
11:19Interestingly enough, this was the first time I think this has maybe ever happened, where we hired a production designer before we'd even written a word on the page,
11:26because we needed to have a set to write to.
11:29Because this all takes place in real time, we needed to know how long it took to get from trauma one to central 14, and how long it took from central 14 to north four, so that we could write dialogue that would take up exactly that period of time.
11:44And we could begin to plot these characters in a three-dimensional space and have their journey not repeat itself over the 15-hour shift.
11:52So we hired Nina Ruscio, who's just a brilliant art director and production designer.
11:57And she did a lot of research on emergency room design and optimum flow and sight lines, and we told her kind of what we needed.
12:08We needed an arena space that you could shoot 360 degrees in, but we also needed some private spaces for conversations to feel like they were slightly tucked away.
12:18We wanted some exam rooms to have doors, and we needed some curtained areas where you would feel very public.
12:25We needed a doctor's lounge, we needed a bathroom, we needed this, we needed that.
12:29And then we said, we need this other room.
12:30We need this room, the room where it all happens.
12:33It's the PEDS room, it's in the northeast corner of the hospital.
12:37We need it to feel incongruously pleasant.
12:41The imagery in there should feel almost sickly positive, you know, cartoony in a way that feels reassuring when you're first in there,
12:52but then almost becomes a macabre sense of dissonance when you see what actually happens in that room.
12:57This is happening, like now.
13:00We just decided that Dad is going to die in this room, in a room with cartoon forest animals all over it.
13:07God, if you think about it, it's kind of perfect.
13:13So we talked a lot about, you know, animals, and maybe it's a zoo motif or a circus motif.
13:20I don't know why we landed on that fox as being the emblematic sort of iconic image in that room, but that's what we landed on.
13:28And so it became a touchstone room for me when we were constructing the set.
13:32I would go in there when it was just plywood and think to myself, this is the room where it all happened.
13:37This is the room where it's all going to happen.
13:39This is the room where the backstory took place, and this is the room where we're going to tell our story.
13:44And then as it came together, I'd go in there and just spend even more time in there, more time in there,
13:48to the point where that room and I had an intimate relationship before we got to shooting those scenes.
13:54And then once we came to shoot them at that place was, and still is, a very alive environment for me.
14:01The Drowning Victim.
14:03Thank you for saving me.
14:06When you come home, I promise I won't touch your toys without asking.
14:14And I try not to fight because you're my best friend in the whole entire world.
14:19I love you.
14:20That was a script written by Dr. Joe Sachs.
14:23That anecdote came to us from a woman who's a, I think she's a charge nurse that Joe works with at Northridge.
14:31And she came in, and we were interviewing her just anecdotally.
14:35And she told us a story about a child that had died.
14:38And in an effort to break the news to the sibling, she'd gone to the gift store and bought a stuffed animal
14:44and come back and said, whisper whatever you want to tell your sister into this stuffy's ear.
14:49And I'll take it in there, and she'll tell them.
14:52And as soon as she told us that story, we all were like, oh my God, that may be the saddest thing we've ever heard.
14:57That all of us were like, I want that story.
15:00You know, I hope I get that one.
15:02And Joe got it.
15:03And, you know, Joe got nominated for that episode.
15:07He got nominated for an Emmy for that episode.
15:09And it's a beautifully written episode, but it's so unrelentingly sad.
15:14You have this eight-year-old girl who drowns in the attempt of trying to save her sister, which she does,
15:22while the grandmother's vacuuming in the house and can't hear any of it.
15:26Then you have the parents showing up, and obviously you don't want to be the grandmother in that situation.
15:30You don't want to be the little girl on the table, and you certainly don't want to be the little sister.
15:35You look at this and you go, I don't want to be anybody in this story.
15:37I don't want to be anybody in this room.
15:39This is horrible.
15:41Obviously, they're going to save this child.
15:43And then we don't.
15:44And you're like, how can you betray my faith in television happy endings this way?
15:50Are you telling me that this isn't going to have a happy ending?
15:52And the only happy ending I'm going to see is this holistic honor walk that honors the organ donation
15:58that this 18-year-old kid is going to go through on the other side of a fentanyl overdose
16:02while his own family's falling apart?
16:04Like, it was such a one-two punch.
16:06One storyline you've been invested in since the first episode.
16:10One you're just getting hit with, you know, immediately.
16:12The fentanyl patient.
16:16Like you're going to make it?
16:19Didn't he respond to Narcan?
16:20I think his pinpoint pupils just grew into bloom pupils from brainstem death.
16:24Shit.
16:25There was something really beautiful about Robbie knowing in episode one that this kid was dead,
16:29but not wanting the parents to have to face that reality before they were ready.
16:35So it's the way that he says we could still do these tests to confirm,
16:40and then we'll know more, and I'll come back in a little while,
16:43and we can talk about where we'll be at that point.
16:45It's this slow and steady acclimation to really hard news that is, I think,
16:51what differentiates Robbie from a lot of other physicians, that sensitivity.
16:55And that understanding that, you know, you don't compound tragedy with tragedy.
16:59You've got to, you know, give people a little bit of a sense of hope in order to be able to come to a place of closure.
17:06That's what I think he was trying to do, and that brain image is the very last step on that tour towards acceptance.
17:13It is so conclusive when you see what a healthy brain looks like when it's being perfused with blood and oxygen,
17:20and then what's going on with their son is just the opposite.
17:23It shows it in very stark relief, the reality.
17:25At that point, they are willing to accept their son's death,
17:30but they aren't anywhere near ready to accept the concept of organ donation,
17:35so that becomes the next set of chapters.
17:37I remember seeing an interview once with Sir Ben Kingsley,
17:41who talked about the funniest set he was ever on was Schindler's List.
17:44I was like, what?
17:45And he said that because everything they did all day long was so heavy and so depressing,
17:51they would go out at night, and they would dance, and they would sing, and they would play music,
17:55and they engendered these wonderful relationships with each other just out of necessity,
17:59just to reaffirm something positive, life-affirming.
18:02The same is true in a hospital situation.
18:05You know, you get some really funny people saying some really funny things in really harrowing circumstances therapeutically, medicinally.
18:13You owe me a dance.
18:14Well, I am a little rusty, but let's give it a go, shall we?
18:18Mm-hmm.
18:20Ready?
18:21Mm-hmm.
18:22Ooh.
18:28That's something we've tried to weave into our show, not just because it's real,
18:31but because audiences need to have a little bit of relief from that tragedy.
18:37They need to kind of go positive, negative, positive, negative in order to appreciate and enjoy the ride.
18:42The Pit Fest tragedy.
18:47God.
18:50Yep.
18:52Code triage.
18:55Multiple GSWs.
18:57There's an active shooter at Pit Fest.
18:58At the end of episode 11, I believe, we get a call over the radio that there's an active shooter at Pit Fest and that as the nearest trauma center,
19:08we're going to be getting the bulk of the cases that are coming and they are going to be horrific.
19:14And knowing that my stepson and his girlfriend are there puts a personal spin on it for Robbie,
19:22but it's such a community event that everybody feels somehow connected to this and it's going to be the last thing that this hospital needs right now.
19:32And so in the structure of the season, it was like, okay, let's create a pressure cooker where we add ingredients and heat and pressure over a period of time,
19:43like 10, 11 hours until this thing's ready to explode.
19:47And just at the moment when it's about to explode, we'll drop a piano on top of it.
19:51And that's what Pit Fest represented to the staff.
19:56And we defined the whole series from that point forward.
19:59You know, everybody that you'd seen experiencing their first day on the job was about to get tested mightily.
20:04Your protagonist that you expect to be the white knight that's going to come charging in on his horse and save the day.
20:10Suddenly that horse comes in without its rider because the rider's on the floor of the peds room having a breakdown.
20:14Having lost his number one mentor student in Dr. Langdon, who was just kicked out an hour earlier for a revealed drug addiction.
20:25Having lost his charge nurse who just got punched in the face by an aggressive patient two hours ago.
20:31He lost his other best fourth year resident in Dr. Collins, who's gone home and suddenly finds himself without any of the architecture apparatus that would sustain him in this moment.
20:41Completely alone right when he needs everybody the most.
20:44And then the shit really hits the fan.
20:47Larry, Larry.
20:49Edwards don't go to yellow.
20:50Wait, what?
20:51Trias has yellow.
20:52Hold on.
20:53Go.
20:54I've got this.
20:54We modeled it after the Las Vegas shooting.
20:58The hospital that received the bulk of those trauma cases did an unbelievable job.
21:02Everybody that went into that hospital with a life-saving injury went upstairs to surgery alive.
21:08And they saved so many people because of the protocols that they put into place in the event of a mass casualty event.
21:16What were those protocols?
21:18They didn't exist in that hospital until one of the doctors who happened to be on shift that night months earlier had decided that they were ill-equipped to handle a mass casualty event.
21:27And so he himself went to Israel and went to a hospital and studied how they do it there when they are in the receiving end of a terrorist attack.
21:35And he copied all the notebooks and brought them all back and stuck them on the shelf in the hospital.
21:39And they just happened to be there when this happened.
21:41And they pulled the binders off the shelves and said, this is what we're doing.
21:45And because they did that, when they did that, they saved a lot of lives.
21:48So we wanted to replicate that and add to it in a way.
21:54And so, again, Dr. Joe Sachs came up with this really interesting protocol of using slap bands that are color-coordinated to determine degree of severity of case.
22:04Up until that point, usually they do kind of tags, colored tags.
22:08But this idea of slap bands was something that Joe came up with and is now being marketed and implemented in hospitals.
22:14So we've actually contributed to these protocols with our show.
22:19But, yeah, it's the moment when all of the medicine that we've been practicing to that moment and all the tools and diagnostic equipment that we have at our disposal is all going out the window right now.
22:31We are going to do frontline war zone medicine where it's live or die, dying in the first hour, dying in the next hour, dying in the next five minutes.
22:40This is what we're treating first.
22:42It's a trial by fire for all the characters.
22:44It just worked really, really well.
22:46But we also kind of invented this really cool—Nina Ruscio, again, came up with this wonderful idea of modular blood that was like—it's plastic.
22:57It's a synthetic, but we could lay it out almost like a carpet, and it could come in all these different forms.
23:02It could be a spill, or it could be a spill with gurney wheel tracks going through it, or it could be a splatter, or it could be a spill that's in the process of being mopped up by a janitorial service.
23:12But at the end of the day, you could pick these things up, and you could move them around, and best of all, if you walked through them, you didn't track blood prints everywhere unless we wanted to.
23:20So the times when we're walking through it and leaving tracks is super specific.
23:23The other times, all that stuff is plastic and laid down on the ground, and you could pick it up and move it wherever you want.
23:29And that was a really exciting kind of novel approach to doing it.
23:32I'd never seen that done before.
23:34I don't know how many people I've helped today, but I can tell you every other person who has died.
23:39There was a man named Mr. Spencer who died in front of his children, and an 18-year-old who was brain dead from a fentanyl overdose, and a little girl who drowned trying to save her sister.
23:47And I'm going to remember Leo Long after you've forgotten her.
23:50I'm wired kind of funny.
23:52It sounds funny to describe it this way, but to me, those are really wonderful days, because that feeling that comes out in that breakdown,
24:04I had been carrying since pre-production and kindling like a little fire in my stomach so that I could be at a brunch with friends and go,
24:12Is it there?
24:12Yeah, it's still there.
24:13I could do it right now.
24:14And I'd be in bed with my wife, and I'd go, Is it there?
24:16Yeah, it's there.
24:17I could do it right now.
24:18And I'd be making breakfast for my kids, and I'd say, Is it there?
24:20Yeah, it's right there right now.
24:21And I would just keep checking in with it over weeks, over months.
24:25And then finally, we got to close that day, and I was like, You know what today is?
24:28Today is the day.
24:29You don't have to carry this anymore.
24:31You get to let it go today.
24:32And it becomes sort of a liberation moment where you get to put it down.
24:38And, oh, my God, I loved it.
24:40Loved it.
24:40I'm a little emotional now because we're shooting episode 13 currently.
24:47We finish it tomorrow.
24:49Start episode 14 on Tuesday.
24:51We're in the championship rounds of season two when all of the same attendant emotional baggage is coming up for the character.
24:57It's easier for me to stay in it than to try to come out of it.
25:02So, again, I'm kindling it as we speak.
25:05But it is also full of miracles, and that is a testament to all of you coming together and doing what we do best.
25:11Thank you for everything you did here today.
25:17We were looking for a very specific type of performer for this.
25:21It sounds funny to say, but a lot of the intentionality behind this show was born.
25:25And the idea was born in pandemic.
25:29How to make this show or the way I wanted to make this show was born during the strike.
25:33198 days, two labor unions in solidarity, shutting the industry down.
25:38All of us with picket signs walking around in circles, thinking about what work should mean, could mean, used to mean.
25:47What would we want it to be like if we got the privilege of doing it again?
25:50And I kept thinking about ER.
25:53I kept thinking about how the first 15 years of my career were spent in this lovely, hermetically sealed environment where we worked hard and played hard and made a great show that felt inclusive and relevant and resonant all over the world.
26:07Why can't we do that again?
26:08How did we do it the first time?
26:10Did we really do it the first time?
26:12All that stuff was going through my head.
26:14And then this show presented itself.
26:16And I found myself again with John Wells and Scott Gemmell.
26:20And we started to say, hey, we could try to do this again.
26:24And early on, I sent a letter to our casting director, Kathy Sandrich, and I said, this is kind of what we're doing.
26:29I said, it's kind of like an Altman movie.
26:30It's kind of like Nashville.
26:31It's kind of like MASH.
26:32It's kind of like McCabe and Mrs. Miller.
26:34It's an immersive experience.
26:35It's the camera is going to be shooting 360 degrees.
26:38You may be in the deep background for four hours and then find yourself in the main part of the narrative for the next three.
26:43You may only be in the deep background, but when the camera finds you, you have to be at the apex of your storyline.
26:48It's going to require total focus, total dedication, total buy-in for an extended period of time.
26:55This is an ensemble piece.
26:56And if it's going to succeed, it needs to be almost egoless in its approach.
26:59So I basically said, bring your creativity, bring your imagination, leave your ego.
27:04This is a different animal.
27:05And it's going to move fast, but it's going to be really rewarding.
27:10And it was like, if you build it, they will come.
27:12Like people just kept showing up saying, this is what I've been craving.
27:16This is what I wanted to do.
27:17This is the meaning I've been missing in my work or the sense of community or family or solidarity.
27:23And I feel like we threw a really great party for ourselves.
27:29And then the world was like, that looks like fun.
27:32I want to come to that party.
27:33And so we're throwing it again.
27:35And hopefully they'll feel the same way about season two.
27:37What do you think?
27:38We're trying to get some people.
27:39I want to go to that party.
27:40We'll see you next time.
Be the first to comment