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AMBITION Season 1 ♫ “These Boots Aren’t Made For Dancing” [ 1.08 ]

CREATED BY Esther (rapunzles) & Maggie (quincywillows)

CULTURE SWAP – As part of the truce, the performers and techies walk a mile in the others’ shoes – almost literally. Some students are more equipped for the change than others. A technician performance at the end of the week promises plenty of surprises.

50 Minutes (10K words) || No warnings apply.

[ ← Black, The Color of Techies Scorned ] [ S1 Synopsis ] [ The Miserables → ]

( Follow along with the music on Spotify here! )

INT. AAA - BLACK BOX THEATER - DAY

Song Cue ♫ ♪ “Better When I’m Dancin’” as performed by Meghan Trainor || Performed by Zay Babineaux (feat. AAA Sophomores)

The new world order is in full swing at AAA – and the students are just beginning to figure out what exactly that means. To launch into the change, ZAY BABINEAUX leads the full class in a loose and upbeat rendition of the light-hearted bop.

Yes, that is the full class. Not only are the performers jamming together, but the techies are getting pulled into the dance and each getting their moment to show off their moves. Zay has a little duet with each of them (except Lucas, naturally), including a true standout moment with JEFF MONROE who actually seems to have a semblance of rhythm in his body.

JADE BEAMON allows Zay to twirl her, before scrambling bashfully back to her desk. DYLAN ORLANDO trips over his feet trying a step Zay attempts to teach him and ASHER GARCIA. DAVE WILLIAMS knocks over a desk and sends NICK YOGI and NIGEL CHEY into hysterics. The dancing isn’t good, but gosh if it isn’t charming as heck!

INT. AAA - AUDITORIUM - DAY

The parade progresses into the auditorium, much like the last time Zay dragged them all into a dance. Everyone is twirling around and shuffling together, laughing and taking the challenge in stride. It’s a message of encouragement, both to the techies doing something they’re not great at and to Zay’s fellow performers, who are stressed as hell about what this episode might entail for them. It’s cute! It’s endearing!

But why is it necessary?

SHAWN HUNTER and ANGELA MOORE explain it to us, as the class settles into their seats in the front of the auditorium. They stand together on the stage, addressing the class and explaining what the assignment is going to be for the week.

Angela: Considering both sides of the class have now come to a truce –

Charlie, fondly: This school is bananas.

Angela: We want to keep that collaborative spirit and sense of exploration going as we try to navigate how to work together moving forward. This necessitates a better understanding of one another.

Shawn: An exchange of ideas, if you would.

So, to follow this trend and foster a better understanding of one another, they will be swapping sides for the week. Yes, the performers will be working through each of the roles a technician typically puts into a production. Meanwhile, the techies will be preparing their own number, which they will perform at the conclusion of the assignment. Then, all the elements will come together for the full production experience. It’s a culture swap, baby!

Although there are students clearly not enthusiastic about this development – if LUCAS FRIAR’s disdainful expression or FARKLE MINKUS’ nervous twitching are any indication – but there’s also tentative excitement in the air. This could be fun.

Cue opening titles.

INT. AAA - CAFETERIA - DAY

The performers are discussing these new changes at lunch, and already the subtle changes in dynamic are already on display. Rather than all sitting in different corners of the room, Farkle, MAYA HART, Zay, and CHARLIE GARDNER are enjoying their lunch together at the same table. Nigel and YINDRA AMINO are also with them.

The reviews about the announcement of this week’s assignment are, decidedly, mixed.

Maya: This is insanity. Absolute anarchy.

Farkle: Look, everyone wanted me to lay down my arms and come to the negotiating table, so I did. This is what happened. I’m not taking any blame, thank you very much.

Charlie: Oh, come on. Maybe it’ll be good for you all to… learn something.

Maya: I’m sorry, when did we promote you to speaking level?

Zay gives Charlie a playful nudge. He almost chokes on his food.

Even more surprising is the arrival of Lucas to their table, floating over and carrying a stack of paper. His mere presence anywhere near the performer tables is unprecedented, so guess that’s the new world order talking. He greets them all stiffly before handing out the papers, a flyer explaining all of the tasks they will be learning over the course of the week.

Zay: Oh, and you’re gonna perform, right?

Maya, mockingly: Ooh, hear that? Huckleberry is gonna perform!

Farkle: You mean embarrass yourself. You’re going to embarrass yourself.

[ Lucas laughs along, taking the moment in stride. In some ways, this is scarier than if he showed anger. ]

Lucas: I’d be careful if I were you, Minkus. To progress through each station, you have to get approval from a senior technician to confirm that your work is of a satisfactory quality. Do you have any guesses who that senior technician might be?

[ Farkle has stopped laughing, mouth hanging open slightly. Charlie speaks for him. ]

Charlie: Is it… you?

Lucas: (: See you all in lab!

At the other end of the cafeteria, RILEY MATTHEWS is seated at the indoor techie table. She is eagerly discussing the assignment with ISADORA DE LA CRUZ, rambling on about how amazing it is that they’ll finally get to perform and already imagining what the number might be like. She can’t wait for the entire class to see how talented Isadora is.

Her rant is interrupted when Lucas rejoins them, sliding into the seat next to Riley and bumping her shoulder in the process. She clears her throat, getting distracted by how close he’s sitting. It’s hard to forget she now knows very well that he and Isadora are nothing more than platonic…

Isadora has no such distractions. She glances over her shoulder at how shaken the performers seem before looking back at the mischievous expression on his face, giving him a look.

Isadora: What did you do to them? Lucas, don’t –

Lucas: What? What, I did nothing! Nothing. I was just… preparing them. (:

Isadora rolls her eyes, already prepping a retort as Lucas smirks to himself. Riley glances at him, unable to hold back a smile. When he locks eyes with her, she bashfully looks down at her food.

Isadora: Don’t cause any more trouble, please. We finally have a school-wide truce, and I wouldn’t mind it if that could stick for a while.

Riley: It does seem like a long time coming.

Isadora: I just want everything to be normal now. That’s it. No changes, no drama, just… normalcy.

At Adams? That’s an impossibility. As if on cue, Yogi runs in, raving about whether or not everyone has “seen it” yet. Their table exchanges exhausted looks, assuming he’s referring to the AAA Confessions page and telling him they don’t wanna hear it. But that’s not what Yogi is talking about.

He slaps down his phone on the tabletop, the assembled brigade of techies leaning over to take a look at it. It’s open to an article from a tabloid, the focus being Isadora and her famous connection to Valerie De La Cruz. She’s officially low-hanging publication fodder. Lucas, Riley, and Isadora look up at the same time, exchanging matching looks of shock with varied degrees of indignation.

So much for normalcy.

INT. AAA - BLACK BOX THEATER - DAY

Shawn and Angela are together in the theater classroom, enjoying their lunch as a pair. Shawn is seated in the desk chair, looking up at Angela sitting with her legs crossed on the desktop. It’s her desk, after all, so who is gonna tell her not to sit on it?

They’re flipping through the tabloid themselves, getting a sense of what storm might be brewing next. It never ends at the Academy for the Arts, it seems. Angela also drops the news during the conversation that she is eyeing a few auditions in the coming weeks, and she thinks she’s going to go out for them. She’s been putting them off because she wants to be present for as much of the musical casting process as possible – which is coming around the bend in a week or so – but she’s got a few auditions slated for Thursday and Friday. She wants to start trying to get some actual roles and pursue her dream again, crazy as it still seems.

Shawn is obviously a bit uncertain about this development. He makes a cheeky comment about how telling it is that he just got her back and off she goes again with this dream thing, but he’s mostly kidding. She tosses a playful statement back his way, kicking at him lightly with her heel.

He reaches up and pulls her off the desk, pulling her onto his lap instead as she bursts into laughter. They exchange a kiss, obviously in a better place to have this conversation than they were in their early twenties. Hopefully that mojo persists…

INT. AAA - ERIC’S OFFICE - DAY

The chaos unfolds in Eric’s office, where Riley and Lucas marched Isadora as soon as they saw the article. ERIC MATTHEWS listens calmly while they rail on how ridiculous this all is, not to mention an invasion of privacy. Isadora is also quiet in the chair across the desk, not offering much to say herself.

JACK HUNTER is also present, equally as up and arms about the whole thing. Rather than playing his usual role of diffuser, he feeds off of Riley and Lucas’s frustration, the three of them just riling each other up and backing one another up. It takes Eric a hot minute to get them all to shut up, finally allowing Isadora the floor to speak.

When she does, however, she doesn’t say what any of them were expecting. She states she basically wants to ignore it. Yes, it’s stressful, and yes, it’s freaking her out, but she’s sick of reacting to it already. She just wants to pretend it’s not happening.

Lucas: Dora, are you serious?

Isadora: It’s not like I can make it go away, can I? But it’s just words on paper. It can’t do anything to me. And who actually reads that thing anyway?

Lucas: Yeah, but –

Jack: Are you sure that –

Isadora: I just want to pretend it’s not there, and focus on the assignment. Is that too much to ask?

No, it’s not, really. Lucas and Riley exchange a look, before looking to Jack. He steps forward, assuring Isadora that he will do whatever he can to get to the bottom of this. They’re going to figure out who leaked this information, and they’ll put a stop to it. Isadora is skeptical.

Isadora: Oh, yeah? You can’t even figure out who is running an anonymous Instagram account for a high school of 200 students. You’re really going to deduce the source of a nationally printed tabloid? [ off Jack’s flustered response ] Sure. Give it a try. Otherwise, I really just want to go back to the usual routine.

If that’s what she wants, there’s not much more they can do. Eric assures her that she can come to him at any time, which she already knows. She gets to her feet, leading the way out. As they’re leaving, Jack has one more comment to make towards Lucas.

Jack: You know, I think this is the first time you’ve left one of our offices without saying something inappropriate or knocking something over.

Lucas: [ with a cheeky grin ] Revolution is beautiful, isn’t it?

Eric: Yes, my yet-to-be-broken mugs and I are very happy with this new world order.

After Jack exits as well, Zay pokes his head in. Eric lights up when he sees him, responding in affirmation to Zay’s statement that he asked to see him and eagerly gesturing for him to take a seat. He explains they’re just waiting for one more person, just as Charlie appears in the doorway.

Eric happily greets him, inviting him in to join them. Charlie spots Zay and has a split second of hesitation and what could be described as panic, but he breezes past it and pulls himself back together in a blink. Could’ve just been a trick of the light. But the moment he’s seated, he immediately asks what Eric could’ve called both them in for specifically.

As he explains it, he pulled the two of them in because they’re some of the most universally liked students in the class. They have a reputation for good attitudes and keeping things positive, and given the challenge present this week for many of their classmates, he was hoping that they could work together to actively make sure things stay light and people are feeling good.

There’s a bit of a question of like… isn’t that Eric’s job, but Zay and Charlie exchange a look before agreeing that they’ll do it. Eric is thrilled.

INT. AAA - HALLWAY - DAY

As Zay and Charlie step into the hall, they both agree that they have no idea what exactly they’re supposed to be doing. But hey, Charlie says, they’ll try their best. Together, as Zay reminds him. He pats him on the shoulder, and Charlie glances at his hand before breaking into a grin.

INT. AAA - AUDITORIUM - DAY

And together, Angela reiterates in class, is how they’re all going to manage this week. It’s going to take collaboration from both sides to get to the end of the assignment successfully. And Shawn agrees. Thus, let’s kick off this exchange of swapping sides…

Song Cue ♫ ♪ “Strangers Like Me” as performed by Phil Collins || Performed by AAA Sophomores

A montage carries us through the start of this immersion project, chronicling all the ways that they’re beginning to step into one another’s shoes.

The techies attempt to teach confused performers the basic ropes of their usual jobs. Jade leads them through a costuming seminar, Yogi inevitably sticking himself with multiple pins. Nate painstakingly shows Haley, Clarissa, and Darby how to construct a set piece, but they can barely carry the wood by themselves. Isadora runs them through basic stage mechanics, almost knocking Farkle off the stage on accident.

On the lyrics “Every gesture, every move that she makes makes me feel like never before,” the focus is on Charlie and Zay. The latter is helping Isadora and Asher with a bout of choreography, and as Charlie watches it’s evident that he’s clearly… struggling with something. He keeps wiping his palms on his jeans, and swallowing hard like he’s dying of thirst. Maybe he is! It’s a relief when Dylan pulls him away again for more help.

When it comes to “Why do I have this growing need to be beside her,” the moment belongs to Riley and Lucas. He and Dave are teaching her and a group of performers about crewing and moving set pieces during a scene, proper protocol for moving in the dark and where to hold the pieces. Riley evidently says something silly that makes the group of them laugh together. Lucas catches himself smiling at her like an idiot, and then is like. Wait a minute. What am I doing.

Riley, of course, doesn’t notice a thing.

On the flip side, performers are also attempting to give tips to the techies – teaching them dance moves, helping them stand taller with more stage presence, etc. Charlie spends a chunk of time with Dave, Dylan, and Nate, maintaining a positive attitude while showing all of them and their left feet basic dance steps. Maya examines each of them and adjusts their posture. When she gets to Lucas and he just glares at her, she just skips over him. Smart move, miss Hart.

INT. AAA - TECHNICIAN’S BOOTH - DAY

When the bridge arrives and we’re at the slower reprieve (“Come with me now to see my world…”), Lucas brings Riley into the technician’s booth for the first time. She follows him up the steps and then hesitantly into the space, knowing full well how sacred it is. She glances at Lucas for a sense of permission before stepping up to the lighting board and main window, getting a taste of the view.

She’s totally entranced by the view of the stage, but Lucas isn’t looking at that. He can’t stop looking at her.

INT. AAA - AUDITORIUM - DAY

The rest of the montage progresses with an epic feeling, showing the opposing sides beginning to get the swing of their new stations. Dave does some terrible dance moves, but with confidence! Zay manages to build part of a set piece without killing anyone. The only downbeat is Farkle, who is clearly struggling with every task put in front of him. Poor, poor, little diva…

Angela and Shawn watch all this unfold, exchanging smirks before lightly high-fiving one another. So far, so good.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Riley is still in the booth with Lucas, getting her lesson in lighting from him. He’s showing her how to operate the board, sort of mumbling through it as he’s not the instructor Jeff or Isadora would be. But Riley is being a good student, listening very attentively and asking plenty of follow up questions.

When it’s her turn to set up the correct lighting design, she’s cautious as she places her fingers on the board. Partially because it’s an expensive board and she doesn’t want to like, break it, but also because she doesn’t know what she’s doing and doesn’t want to mess up. Lucas senses her hesitation, leaning closer and helping guide her hands to the right sliders.

Yes, it’s that kind of classic maneuver. Lucas leaning over her shoulder, his hands lightly resting on top of hers. It’s difficult to tell whether the move is intentional on either of their parts, but the moment they realize how close they’re standing it’s clear they weren’t prepared for it.

Riley catches her breath, tilting her head to look at him. She speaks softly, telling him that she thinks she understands why he likes being up here so much. The way it’s sort of removed, has this sense of quiet isolation… but how you can still see everything. The whole world is within your reach, even if you’re safely on the other side.

Riley: There’s something… I don’t know, beautiful, about that. Isn’t there?

Lucas: [ gazing at her, swallowing ] Yeah…

The moment is interrupted when Isadora storms in, wondering if either of them are going to do the hell job they’re in charge of and change the lighting? The two of them jump away from one another in seconds, shaking off the tension.

Isadora pushes past Riley, fixing the board herself. She claims they’ve been shouting up at them for like three minutes, what the hell were they doing up here, playing cards? Lucas can’t even look at them, turned away in the other direction.

Guess Riley’s turn in the lighting booth is over. Whoopsie!

INT. AAA - PROP LOFT - DAY

Farkle and Maya are in the prop loft, receiving instructions from Asher about the best way to handle each item. He’s going to detail about the elaborate organizational method he has set up for the place, and how it took his entire freshman year to implement it. He emphasizes how each prop is like a child that must be well cared for, handled delicately and with patience… just as Farkle accidentally knocks over one of the tables and sends a bunch of items scattering all over the floor. Asher lets out half a shriek as Maya scrambles out of the way of the wreckage, Farkle sputtering out an apology.

Asher looks like he might pass out, but he assures him it’s fine. He heads out to get a dustpan in case anything was broken, although the possibility seems to kill him as he speaks it. Maya and Farkle bend down to start gathering the fallen. She jokingly claiming that he’s a natural prop master, but Farkle doesn’t really find it funny. It’s obvious he’s in a mood, so she decides to zip it for now. They continue to clean up in silence.

INT. AAA - AUDITORIUM - DAY

The techies are assembled on the stage, grouped together to discuss their assignment. Much like their brainstorm in 1.02, they’ve got the rolling whiteboard out and Dylan and Asher are alternating taking notes. Most of the suggestions written so far are nonsensical or silly, demonstrating just how seriously they’re taking this potential performance.

Isadora has a surprising amount of ideas, throwing them out there passionately. Nate points out that it seems she’s been bitten by the performer bug, but she simply states it’s the auteur in her and she doesn’t want them all to embarrass themselves so it may as well be good.

Lucas, conversely, is the grumpiest about the whole thing. He claims they should just not do it. There’s no way they can force them to perform. It’s against their rights – those ones they just fought tooth and nail for. Dylan and Asher exchange a hesitant look, while Jade states that maybe they should just try and approach it optimistically.

Lucas: I would rather cut my feet off with a rusty hacksaw than do this.

Dave: Well, that would hurt. :(

It’s clear this brainstorm isn’t going anywhere productive, especially with Lucas in his current mood. The group disbands, sauntering out until it’s only Isadora remaining. She hangs back and keeps working on the whiteboard, scribbling a couple more ideas. She even starts to storyboard a sequence, muttering some potential lyrics under her breath.

It’s clear – she’s enthused about this performance. Now there’s a cinematic twist…

INT. SHAWN’S APARTMENT - NIGHT

Shawn and Angela are eating dinner together on Shawn’s cushy couch, discussing how they think the assignment is going. The conversation quickly devolves into kissing, the two of them back in the honeymoon phase of their relationship, until a knock at the door yanks them out of it. Angela asks if he’s expecting anybody, which of course he isn’t, but he gets up to investigate.

When he pulls open the door, Jack is standing there. He’s out of breath, having ran all the way from the nearest subway station. Well, not the nearest, in his haste he jumped off a stop too early, but case in point he made it. Shawn is like great… and why are you here?

Jack invites himself in, settling down next to Angela on the couch after greeting her offhandedly. Angela is a bit embarrassed to be seen in such a situation by her boss, but when she exchanges a look with Shawn he just shrugs.

Jack doesn’t seem at all fazed by it, pulling out his laptop with urgency. He explains that he’s gotten a lead on the tabloid debacle, after spending the past couple of days doing some deep diving and investigating.

Jack: It took some research, and some conferring with online sources, not to mention a lengthy thread of rather persuasive emails –

Shawn: God, you need a hobby. Or a hook-up.

All this aside, Jack was able to retrieve the IP address of the source the tabloid used for the story. He turns his computer to show Angela, Shawn leaning over to take a look as well. She recognizes it first.

Angela: [ with a gasp ] Is that – ?

Jack: The IP address for Adams. Yes, yes it is. [ With gusto ] The source came from inside our school.

So there it is. Someone at AAA is leaking things about Isadora, and now they’re going to get to the bottom of it.

INT. MAYA’S APARTMENT - DAY

Maya is getting ready for school, KATY HART finishing up dressing in her waitress uniform for work. Bag gathered, she takes a moment to admire her mother, who questions why she’s looking at her with that goofy expression.

Maya makes a point of saying how much respect she has for her, considering she’s been working a fraction as hard as she does for the past couple of days and absolutely hates it.

Maya: I’ve been doing manual labor and things for other people eight hours a day for two days, and I wanna die. You, you do it all the time and don’t even bat an eye. I don’t think I appreciate that enough. I love you.

Katy smiles, wandering over and giving her a kiss on the head. She claims it’s entirely worth it, especially getting to see her follow her dreams. If that means making coffee and serving pie to greasy New Yorkers, then so be it. Oh, and the occasional well-groomed arts student.

Maya accepts the playful jab, claiming that since she’s been getting a taste of her life, Katy deserves a slice of hers. She prompts her mom to pick a song, whatever comes on the radio at work a lot of that she finds herself humming a lot. Katy is hesitant at first, but then she tells Maya to hand her her cell from the coffee table.

The moment she hands it over, Katy already knows exactly what song to play.

Song Cue ♫ ♪ “9 to 5” as performed by Dolly Parton|| Performed by Maya Hart & Katy Hart (feat. AAA Sophomores)

The moment the jaunty piano rings through the apartment, Maya already knows the vibe. Katy is like you think you can keep up? And Maya is like it’s not even a question.

Katy takes lead on the first verse. When she sings “pour myself a cup of ambition,” Maya lets out a laugh. And yeah, it’s because it’s a nod to the title of the show. Cue credits!

The mother-daughter duo dance around together for the first chorus, and it is absolutely charming. We can see where Maya gets her love of performing from, even if Katy never got to see that dream realized. But for a moment in that morning, she gets a taste of it.

INT. AAA - BLACK BOX THEATER - DAY

Maya takes the energy and sentiment back to school with her, leading the rest of the performers along with it as they complete their techie tasks. It’s another number that allows us to feature smaller moments with performers we don’t spend much screen time with, such as CLARISSA CRUZ and HALEY FISHER.

All in all, an endearing fun time through and through. Make the dull work flashy, Maya!

INT. AAA - AUDITORIUM - DAY

Riley is attempting to tackle set construction again. Dave is trying his best to help her, but she’s not quite getting it. She’s too delicate with the tools, and you have to be a little forceful with them if you want them to get the message. Lucas walks over to check in and Dave explains the situation.

He steps up to help, coming up close to Riley again and showing her how to properly use the staple gun. It’s another classic maneuver in the vein showing someone how to bowl or golf only… staple gun, and once again necessitates more physical contact than either of them have ventured before. He explains that she has to give it a little more pressure, successfully planting a staple while pressing down his hand over hers.

Dave applauds the success, but Riley isn’t even aware of it. She is totally struck, just staring at Lucas over her shoulder and trying to figure out how to use words again.

Isadora stomps over, proclaiming that this job should not be taking so long. She essentially pushes them to the side, taking the staple gun like ugh, just let me do it! She does the full swath in like fifteen seconds, tossing the tool back at Dave. Riley backs off apologetically, claiming it wasn’t Dave’s fault and she’s just slow on the uptake.

Isadora nods her along, before turning her glare to Lucas. Her expression clearly conveys disdain, like, hello? You’re slipping? Please pull it together in the one week we need to be on top of things? Yes, Isa, he is indeed slipping…

INT. AAA - JACK’S OFFICE - DAY

Another bulletin has been released about Isadora, discussing how she might be following in Valerie’s star-studded footsteps considering she is opting to perform in class that week. Eric and Jack are both hunched over the tabloid article, deducing that culprit likely isn’t in the sophomore class. All of them know the expectations of the lesson this week and are aware this performance isn’t anything more than a requirement.

HARLEY KEINER shows up, asking if Jack still needs access to the databases. Jack responds emphatically, allowing him to do whatever he needs to his laptop. When Eric questions what is going on, Jack explains that Harley is giving him access to the school online usage database so they can see who has been using the library computers which route to that specific IP address.

Eric: I didn’t realize you tangled with the technical, Harley.

Harley: I, janitor Harley Keiner, am a man of many interests. I am not simply limited to the sanitorial arts.

Well, no arguing with that. The three of them crowd around the computer, watching as Harley enters the database. Hopefully, taking them one step closer to finding their leak.

INT. AAA - AUDITORIUM - DAY

The class has come back together for specified costuming time, a duo of performers each assigned to design the costumes for a technician.

Zay and Riley have been assigned to work with Lucas, who absolutely refuses to talk about the assignment itself. Zay is fishing for details about what their number might be considering they need it to, well, design costumes, but Lucas doesn’t even want to talk about it.

However, all hope is not lost considering they are at least getting measurements. Yes, it is worth noting that Lucas is perfectly fine letting Riley touch him all over to get statistics with her measuring tape – across the shoulders, around the torso, obediently following her soft-spoken directives and doing whatever she needs. Zay is lowkey raising his eyebrows at this, but Riley isn’t saying a word about it because she does not want to jinx herself. Clever girl.

When Zay tries to step forward to help, Lucas reverts back to his Shawn-dubbed “feral cat” state and hisses at him but, you know, in brooding human form. Zay backs off with his hands raised in surrender, more than happy to let Riley do all the work if it’ll keep him from getting rabies.

INT. AAA - BLACK BOX THEATER - DAY

Farkle and Maya are working on Isadora, getting much more about the performance out of her than Lucas. Maya is doing the measurements for her, approaching all of the close contact delicately and waiting for cues from Isadora to proceed considering she knows how uncomfortable this might be for her. Behind them, Farkle attempts to piece together scraps of a costume with the sewing machine. Maya asks if the techies are excited about the number, or if they’re all dreading it as much as Lucas clearly is.

Isadora: Is he that obvious?

Farkle: It’s like he’s sweating mediocrity.

Maya: Us performers can smell fear. Especially his; it’s rare.

Farkle also comments that the pressure of the tabloid can’t be helping Isadora’s nerves. Maya shoots him a look to shut up, but Isadora claims it really isn’t bothering her that much. She’s hardly keeping up with it considering how much work she has to put into this week. But so far, she’s kind of enjoying it.

Maya seizes this excitement, stating that Isadora should totally audition for the musical next week. They could certainly use the additional female star power, and what does she have to lose if she actually enjoys it? Isadora seems reluctant, but the more Maya goes on about it the more it seems she may be warming up to it.

Farkle interrupts the train of thought, sticking himself with a pin for the fourteenth time and letting out a resounding “FUCK!”

Maya: It’s costuming, Farkle, not brain surgery.

Farkle: Brain surgery would hurt less.

EXT. AAA - LUNCH COURTYARD - DAY

At lunch that afternoon, the techies are deep into discussing their performance, Isadora leading the charge. They’re running out of time, after all, so they need to get it together.

Lucas is zoned out, his mind elsewhere. Isadora calls him out, snapping him back to reality and expressing disdain that he isn’t paying any attention.

Isadora: God, where is your brain this week?

He doesn’t know, Isa, he doesn’t know! Riley took it and she won’t give it back! He snaps instead, getting defensive about how they shouldn’t be concerned about him considering he doesn’t even want to do it anyway. If Isadora is having such a good time with the whole thing, what does she need him for?

Isadora holds his glare, before pointedly continuing the discussion about the choreography. Lucas rolls his eyes, stabbing at his food. Dylan and Asher share another tacit exchange.

INT. AAA - BLACK BOX THEATER - DAY

Unfortunately for Farkle, he’s the next person who has to deal with Lucas. He’s still stuck on the costume construction assignment, and Lucas isn’t in a very forgiving mood.

Lucas: Look at that. [ Looking up from the mess of cloth. ] Still sucks!

He tells Farkle to try again, which he’s sick of hearing. Farkle jumps to his feet, throwing the costume down and claiming he’s not doing shit again. Lucas claims he will, that is if he wants to pass. The moment is tense between the two of them.

Farkle: You’re enjoying this, aren’t you? Must be so nice to finally wield control over the people who are so frustratingly more talented than you. Does that make you feel better? Less inadequate?

Lucas: I’m not the one who’s been stuck on the same assignment for three days because I can’t figure out how to work a little needle.

For a second, it really seems as though Farkle might pounce. Lucas raises his eyebrows, amused, but the moment is disrupted when Shawn pops in. He summons Lucas to his office, sensing the tension the second he steps in but deciding to just diffuse it rather than comment on it.

Farkle waits for them to leave, before kicking at the ruined costume again in frustration.

INT. AAA - SHAWN’S OFFICE - DAY

Lucas is seated across the desk from Shawn and Angela, who are confronting him on the basis that they’ve heard from his classmates that he isn’t taking the assignment seriously. He scoffs at this, defending himself and pointing out that he’s done nothing but patiently train the performers all week despite their glaring incompetence.

That’s not what they’re referring to, though, and Lucas knows it. Angela goes on to highlight the upcoming techie performance, citing specific things that Lucas has said or done over the course of the week that indicate his lack of compliance. All of the above have concerned his classmates, and made them worry about how their final assignment was going to turn out.

Lucas deflects and focuses on the very notion that his fellow technicians snitched on him, demanding to know who told them these things. Shawn states that he knows damn well they can’t divulge that information, and that shouldn’t be his takeaway from this conversation anyway. When they push him again on the assignment he gets defensive, claiming that they literally can’t force him to do this if he doesn’t want to.

Angela points out that he’s a student of this school and it’s part of the curriculum. So, actually, they absolutely can. Lucas storms out, knocking a stack of papers off the desk on his way out for good measure. Angela is totally shocked by this behavior, but Shawn seems totally unimpressed. Nothing he hasn’t dealt with before. He starts gathering the papers again, unbothered.

She laments that he absolutely shouldn’t tolerate that kind of outburst, but Shawn states it’s hardly different than when Farkle has a diva meltdown and stomps off. He comes further to Lucas’s defense, claiming he used to be the same way in high school. She should remember, shouldn’t she? Besides, he knows how it feels to be so reluctant to perform, certain you can’t do it. It’s difficult when everyone around you is so talented, and you know you’re not.

This parlays back into a discussion about Angela going off to try and get back into the business, only this time the focus is about what it would mean for the two of them. It’s evident that Shawn still has some leftover bitterness from being left behind the first go around. Angela assures him that it’s not going to change anything between them, as they’ve both grown and changed yet came back together anyway.

She also tells him that if he wants to become a better performer, then all he has to do is ask.

Song Cue ♫ ♪ “Over And Over Again” as performed by Nathan Sykes|| Performed by Angela Moore

Angela pulls Shawn into a slow dance with her, singing the romantic tune to convey that her devotion to him is indeed true. Although he’s a reluctant dance partner at first, he loosens up over the course of the song. Now that’s romance!

INT. AAA - BLACK BOX THEATER - DAY

Charlie has stepped in to help Farkle, as he’s clearly struggling the most out of all of the performers. Although he has as generous and soft an approach as ever, Farkle is basically foaming at the mouth at this point and is like I’ll kill you, saying some harsh and not very grateful statements to Charlie and what he can do with his plucky positive spin on things.

Zay steps to Charlie’s defense, pulling him away from Farkle and taking over. Only his lecture is far less encouraging and more of a wake up call.

Zay: Look, we’re here to be emotional support, not your personal punching bag. So first, you can apologize to Charlie, and then, you can stop being a royal bitch to everyone who just wants to help you.

Farkle, stunned: … sorry.

Zay: Needs improvement. But you can figure that out on your own.

Farkle is floored. Charlie is floored, watching the exchange with wide eyes. He doesn’t even react when Zay takes his arm and drags him from the room, leaving Farkle alone.

INT. AAA - COSTUME LOFT - DAY

Zay leads them to the costume loft, climbing up the ladder into isolation first while Charlie follows along in a daze. The costume loft is a rather confined hideaway in the realm of the auditorium, a place where students go to chat in private or… confer in other ways. Heaps of costumes make for suitable enough cushions, the rest of the eclectic assortment of clothing hanging from racks.

Zay continues to complain about Farkle’s behavior, flopping onto one of the piles. Charlie catches up to the last few minutes, coming back to reality and claiming that Zay didn’t have to do all that.

Zay: Of course I did. No one should talk to you that way. You let people talk to you like that all the time?

Charlie: I, uh… just never seemed like a big deal. Just trying to keep things polite.

Zay: There’s being polite, and there’s being a pushover. You’re way too good to let people step on you like that.

Charlie blinks, absorbing this sentiment. It’s unusual for someone to stand up for him so pointedly, and it clearly means a lot for him. Whatever he’s starting to feel here, it’s definitely deeper than he thought…

INT. AAA - HALLWAY - DAY

In a quick cut montage, Lucas goes around to each of the techies and interrogates them about who snitched on him. It’s accomplished in a relatively comedic manner, especially for people like Dave who clearly have no idea what’s going on. By the time he gets through a majority of the crew, it begins to become clear exactly who the prime suspects are.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Asher and Dylan show up to the booth, asking if Lucas wanted to see them. He greets them cheerfully, gesturing them in and telling them to get comfortable. He asks if they want anything – snacks, a juice box, whatever – which Dylan definitely takes. Fun times with techie dad!

Or so they thought. Once he’s got them all cozy and secure, Lucas turns the tables on them and methodically questions them about whether or not they ratted him out. They start out resolute at first, adamant that they didn’t do anything, but as Lucas speaks more quickly and with more authority, clearly laying out the logic for how he figured out it was them, Asher cracks first.

Asher: Alright, okay! It was me, okay! We did it!

Dylan: Ash!

Asher: Oh, don’t look at me like that. He’s onto us! He knows! Look, you can see it on his beautiful, withholding face!

Lucas questions why they did it, but it doesn’t take much more to get them to spill all of it. Asher explains that they felt like he was holding back the group, and this week was going to be difficult enough as it is. Once Asher falls it’s not long until Dylan is confessing too, expressing that it took everything in them to turn him in, but they didn’t want the rest of the techies to bear the brunt of the decision. They really believed they were doing what was best for everyone involved.

Both of them apologize profusely, claiming they never intended for it to get back to him this way and they completely understand if he wants to pitch both of them off the catwalk.

Dylan: Just, please, let Asher wear a blindfold. He’s scared of heights. Me, you can just look me right in the eyes when you – [ Gestures a violent shove. ]

Surprisingly, however, Lucas is rather level-headed. He states he’s not mad, which both of them have trouble believing. He starts pacing, trying to figure out how to move forward with this revelation. Dylan rubs Asher’s shoulder reassuringly.

Lucas: … did you really do it because you’re concerned about me? You think I’m holding back the group?

Asher: Not you, specifically. Like, not you or your ability or anything like that.

Dylan: I actually happen to think with a little bit of practice, you could be quite the leading man.

Asher: [ hurriedly, off Lucas’s eyebrow raise ] We just know how much your opinion means to us, and we know it’s true for the rest of the crew. So when you keep shooting down the project, it’s like… it’s hard to get everyone in the right spirit.

Dylan: Yeah. If your attitude was a little more, like, receptive, the crew would totally go into the whole thing with more confidence. That’s all.

Lucas takes this in. It sure demonstrates the impact of his leadership, just like Riley said he had. He releases a sigh, before requesting that the next time they have an issue with him, they just come to him with it instead of going through a third party. They eagerly agree, apologizing again and promising him they will.

It’s evident that despite his demeanor, Lucas does care about his techie crew and the way they perceive him. He doesn’t care about much, sure, but the things he does? He’ll do anything for.

And boy, is he gonna have to do something…

INT. AAA - BLACK BOX THEATER - DAY

Farkle is tackling the costuming assignment for like the fifth time, well on his way to losing his mind in that claustrophobic black box. Jade is present now, doing her best to talk him through each step. He’s just totally frazzled and basically shutting down, and when Riley walks in to see how things around going Jade is more than happy to pass the responsibility of him to her. She makes a beeline out of there, Riley approaching and settling down across the table from Farkle.

Riley coaxes him into giving the assignment one more try, her calm demeanor and patience alone helpful in its own right. As they’re working through the costume piece by piece, she nudges him into expression why he thinks this assignment is so difficult for him. Farkle opens up a bit – it’s the Riley effect, after all – about how this situation just feels out of his control. Like there’s all these elements that he can’t control, and the less competent he is the more that feeling escalates. It’s a vicious cycle.

Riley empathizes, considering what’s going on with her parents. She states that Farkle can only control what is, well, within his control. And, believe it or not, accomplishing this costuming task is within that sphere. All in all, a key friendship building moment for the two of them.

INT. AAA - HALLWAY - DAY

Isadora gets a notification from a messaging app, startled to discover it’s from her mother. It’s the first correspondence she’s received from her in months, since she went to visit for winter break. Valerie apologizes for the way the tabloids have seemed to jump on her, and promises that she will take care of it.

Isadora ignores the messages, opting not to respond. She’s obviously still hurt by the state in which her relationship with her mother exists.

When she looks back up again, she’s made it back in front of the black box. The audition sheet for the musical is glaring back at her, almost daring her to put her name on it. It goes against everything she’s ever thought about herself and performing in general… and yet, she can’t seem to look away from it.

Clearly, she has some deliberating to do.

INT. AAA - AUDITORIUM - DAY

Lucas is alone at center stage, trying and failing to teach himself the choreography for the techie performance. It’s partially his fault considering he put it off until the last minute, but the fact that he clearly has no idea what he’s doing regardless certainly doesn’t help. Not to mention the nerves. That never improves a difficult situation.

Riley pushes through the stage doors and wanders into the wings just as he’s starting over from the top, evidently frustrated. She hangs back for a moment to observe, clearly finding the visual wholly endearing. Then, she decides to throw him a life preserver.

Riley: Well, there’s a sight I never thought I’d see.

Lucas brushes off her teasing commentary, explaining that given how important grades are to his crew he figures he should at least put a semblance of effort. Riley nods along, seeing right through his aloof exterior. If he really didn’t care, he wouldn’t be here attempting to rehearse.

Riley volunteers to walk through the steps with him, picking up the choreo sheet and taking a look at it. She observes his approach to a couple of the steps as he walks through it, stating exactly just how stupid he thinks each move is.

After getting a good sense of where he’s at, Riley claims that his main problem is that he’s too stiff. He’s all lost in his head, and there’s no way he’s going to be able to perform the number if he’s so locked up. She claims she can help him, but only if he trusts her and allows her to do so. Can he do that?

After a moment of hesitation, he agrees. He raises his hands in surrender, telling her to do whatever witchcraft it’s going to take to suddenly make him a good dancer.

Amused, Riley pulls out her phone and finds a waltzing track. She explains that it’s important to just get comfortable with movement first, and a waltz is probably one of the most basic forms of dance there is. It’ll at least loosen him up. He seems hesitant, but when Riley holds out her hand, it doesn’t take him long to take it. She adjusts their posture, Lucas allowing her to take the reigns and set them up correctly.

Riley: We’ll use the 3-count – you can count that high, right? [ Off his offended expression ] Just kidding.

Lucas: Ha ha ha. Very funny.

Song Cue ♫ ♪ “Princess Diaries Waltz” as performed by John Debney || Instrumental

They start off slow, taking the dance one step at a time. As they’re going through the motions, Riley can tell that he’s still stuck on the technicalities of it all. His head is constantly down, focused on what his feet are doing rather than letting them operate on their own.

Riley: That’s your problem. Don’t you see it? You’re overthinking. You keep looking at your feet.

[ Riley reaches out and lifts his chin, putting them back at eye level. Lucas locks eyes with her, speechless. ]

Riley: Just look at me.

From that moment, it’s clear – Lucas has slipped. He is cascading off the mountain top and falling head over heels.

As the music swells, the two of them continue their lesson. The longer they work at it the more they get the hang of it, actually getting comfortable with the whole thing and, dare it be said, having fun. Lucas even ventures a twirl under the arm, Riley breaking into laughter.

Definitely loosened him up, that’s for sure.

As they waltz, Isadora runs in looking for Lucas. She intends to tell him about the message from her mom and ask what he thinks about her potentially auditioning for the musical, but the second she sees them on the stage together she stops. She ducks back into the shadows of the aisle doors, watching them dance together.

She can tell from the look on her best friend’s face that something is different. Something is changing, and she gets the feeling she shouldn’t interrupt. But the notion also spooks her – if they’re changing, what does that mean for her? What else might change in the process?

Isadora backs off, disappearing back through the doors and leaving them alone.

INT. AAA - LIBRARY - NIGHT

Jack and Eric are both staying late, working together to comb through pages and pages of computer usage records. Eric flips through the documents while Jack cross references using one of the library desktops, the screen washing them both in blue-white computer glare.

As they’re searching, the two of them vaguely discuss the current sophomore class assignment and whether or not they think anything is actually going to change because of it. Eric points out that it’s impressive how quickly things can change under the right circumstances – including their dynamic.

Eric: I mean, at the risk of jinxing it, never before would I have believed you and I would be working together so effectively with such a clear goal.

Jack: Yes, I suppose our priorities tend to be… rather divergent.

But they both care about the students. That’s the obvious unifying motivation for both of them, and perhaps they should default to that train of thought more often. Something to think about.

The somewhat vulnerable conversation screeches to a halt when Jack stumbles upon what he thinks might be exactly what they’re looking for. There’s information about an email exchange with the supposed IP of the tabloid, and the student logged in at the time is a junior named Marly Evans.

Jack and Eric exchange a look. One step closer to answers…

INT. AAA - AUDITORIUM - DAY

The performers are all seated in the front section of the auditorium, chattering lightly and impatiently waiting for whatever is supposed to happen next. It’s odd for them to be there in the audience rather than getting ready to perform.

Suddenly, music blasts on over the speakers, being operated by Clarissa.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Clarissa leans back, looking rather pleased with herself at having done the maneuver correctly, as well as relieved. CHAI FRESCO, working the lights, gives her a congratulatory pat on the back.

INT. AAA - AUDITORIUM - DAY

The moment the track begins, it’s clear what performance they’re about to be experiencing. All of the performers in the audience react accordingly, jaws dropping and excited laughter already premeditating the performance.

Song Cue ♫ ♪ “Dancing Queen” as performed by Mamma Mia! Original Movie Cast || Performed by AAA Sophomore Techies

As the first opening chorus kicks off, all eight of the usual techie crew make their way down the center aisles on either side of the center section. They’re going into this ridiculous number full throttle, singing along to the track with fervor and sporting the hilarious and amazing costumes that the performers put together for them over the course of the week.

Coming down the aisles, Lucas and Isadora lead the lines on either side and make their way up to the stage. As they pass through, the techies interact with their classmates in the audience. Nigel and Yindra pat Jeff and Nate on the backs as they sashay their way past. Dave high-fives Yogi and Haley, while Dylan and Asher blow kisses to Riley.

Isadora takes a brunt of the singing – and given the talent level of most of the techies vocally, this is for the the best. However, Dylan does get his claim to fame on the line “you’re a tease and you turn ‘em on, leaving ‘em burning and then you’re gone,” which he delivers with such a flourish. Asher joins in with him on the second half of the line, the two of them standing back to back and just belting that jazz.

In moments where the choreography pairs them off, the duos are Lucas & Isadora, Dave & Jade, Dylan & Asher, and Nate & Jeff. It’s so cute to watch them goof around with each other. They may just pull this heist off yet.

During the midst of each chorus (“having the time of your life, ooh”), Dave gets a mini dance solo. It’s all like, bad dancing – the robot, flossing, moonwalking – but it’s hysterical. Jeff also break dances, which is just legendary.

For each beat of the chorus where they sing “you can dance, you can jive,” the choreography involves pointing out towards the audience before turning to the side whilst Dave takes his solo to finish with a spin on the ooh. During one of these points, Lucas directs his point to Riley and winks. Yes, I did say that right. That idiot actually winks. Riley hides her face in her hands, a la Rachel Berry in Never Been Kissed.

They bring the number home going back to back with their dance partners, Lucas and Isadora at center stage. The moment their part is done and the final music swell takes over Lucas breaks into a relieved smile and pumps his fist in the air, so happy to have the whole thing be done with. But he did it!! Isadora tilts her head back against his shoulders, also relieved they managed to pull it off.

Dylan and Asher are jumping around and hugging. Dave hugs Jade and twirls her around. From the audience, the performers leap up and giving them a resounding standing ovation. I could never convey how truly iconic this whole sequence is, but there you have it. One of the best numbers in the full series of AMBITION.

INT. AAA - AUDITORIUM - DAY

Given that it’s usually the techies who clean up and strike each performance, now it is up to the performers. Charlie and Zay are cleaning up the stage, cheekily congratulating one another for successfully keeping their class from imploding.

Now that he’s had a couple days to think on it, Charlie makes a point of thanking Zay for standing up for him. Zay tells him he’d do it any time, and admits that he’s actually had a really good time this week goofing around with him. Charlie is all nervous chuckles and flustered waves of dismissal, but it’s clear the sentiment means a lot to him.

As he’s heading out, Zay calls after him.

Zay: Think I might take you up on that offer to hang out sometime. You know, if that offer is still valid.

Charlie: [ with a smile ] Hit me up, and I’m sure we can work something out.

Zay watches him go, unable to hold back that smile that blooms across his face. Then he gets back to work, putting the last of the set pieces back into place.

INT. AAA - GIRLS DRESSING ROOM - DAY

Maya finds Isadora in the dressing room, having just changed back into her usual clothes. Maya congratulates her on a job well done, and Isadora returns the notion by thanking her for the ridiculous but effective costume.

Maya reiterates her stance that she believes Isadora should seriously consider auditioning for the musical. Even though she did clearly have a lot of fun with “Dancing Queen,” Isadora hesitantly admits that her reluctance doesn’t just stem from the performing aspect of it.

Without saying much else, Maya senses that she’s referring to her mother, and all the baggage that comes with that. So she takes a different persuasive approach.

Maya: I get what you’re feeling. It may seem like I take after my mom, and I guess I do in some ways – especially the vocal ability. But otherwise, I really don’t. She’s sweet, just naturally, and softer than anyone I know. I’m not like that. [ a beat ] I’m more like my dad. And I fought against that part of me a lot, because he’s trash. He left me. He hurt my mom. But… it’s those parts of me that are like me that help me get where I want to go. The determination. The ability to be demanding, when necessary. The stubbornness –

Isadora: Yes, all of your best traits…

Maya: [ with an eye roll ] I know they’re not the most popular, believe me, but they’re a part of me. He’s a part of me, even if I wish he wasn’t. So I embrace it instead. Because I’m pretty effing awesome, and I’m not holding myself back because of him.

Isadora considers this, avoiding her gaze. Maya gives it one last push.

Maya: You’ve got talent, Smack. Don’t let the things your mom has done hold you back or stop you from doing what makes you happy. Don’t give her the power of taking away another good thing from your life.

Hanging on this sentiment, Maya gives her a light touch on the shoulder before heading out. Isadora ruminates on all of this, turning back to face herself in the mirror. She starts to wipe off her stage makeup… before hesitating. Tilting her head, trying to decide if she likes it or not. If this is something she may actually want to investigate…

Song Cue ♫ ♪ “Bird Set Free (Live for Spotify)” as performed by Sia || Performed by Isadora De La Cruz

Isadora launches into this anthem for self-expression, growing more empowered the further into the song she gets.

INT. AAA - AUDITORIUM - DAY

She takes the performance into the auditorium and owns the stage, not inhibited by anybody watching her or the pressure of living up to expectations. Just fully leaning into the interest in performing she’s been holding back for so long, potentially opening up the gates to pursuing it.

And boy, will she get to pursue it…

INT. AAA - JACK’S OFFICE - DAY

Jack confronts MARLY EVANS (17), the student who has been leaking information about Isadora to the tabloids. She claims that it was just to make a quick buck – she’s trying to pay for college soon, after all – and she never meant to like, hurt anyone. Jack states that her behavior is an intrusion of privacy, and such treatment of another student could warrant expulsion.

Marly points out the hypocrisy that Lucas can literally start a fight and not get expelled, but Jack highlights the glaring differences in both of the situations. Angling for one last plea, Marly claims he might reconsider her sentence after she offers what information she knows about the AAAC. Which is to say – she knows things that he might find interesting.

Jack hesitates… this could be a good lead in an other cold case…

INT. AAA - AUDITORIUM - DAY

The world seems to have righted itself once again, as Farkle and Maya are back standing at center stage while the techies are seated in the center section. They first commend them on their fun and energetic performance, before going on to explain that although the week was brutal, they learned a lot and are happy to have participated in it.

Farkle: Really, I’m just happy to have passed.

But as the techies should well know, they’re performers, and they can’t get through an entire week without a song of their own. This one, though, they claim is dedicated to their crew.

Maya: We lean on you guys all the time, usually without even realizing it. I think after this week, it’ll be hard to forget how crucially.

Farkle: So this time around, we’re extending the invitation back to you.

Song Cue ♫ ♪ “Lean On Me” as performed by Glee Cast || Performed by AAA Sophomores

The rest of the performers take the stage as they hum their way into the number, Zay coming to join the other two divas at the front. He takes the first verse, the class joining in on the chorus.

About halfway through, the performers take to the edge of the stage to gesture the techies up there with them. They help pull them up over the front of the stage, climbing up to share in the performance with them. As the song slows to the bridge, the divas give the solo to Isadora who delivers it with gusto.

The class dances together through the rest of the number, emphasizing some of the new bonds that have been built through the episode or strengthening the old ones. Dylan and Asher each have an arm around Lucas. Dave is jamming with Haley and Nigel. Isadora fits pretty effortlessly in with the core group of performers, bringing the song home with them.

Angela and Shawn watch from the back, swaying together and reveling in the fact that their two sides of the school have finally made peace. She leans her head on his shoulder. Shawn smiles watching the sophomores band together and bring down the house to close us out. Finally coexisting.

For now.

END OF EPISODE.

#S1 #episodes #108

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torentialtribute · 5 years

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MARTIN SAMUEL: Save exhausted stars by binning football’s most pointless game

At 2 p.m. on Sunday in Guimaraes, Portugal, the most pointless game in the history of football takes place.

It took a while, but UEFA came to the end there. On 9 June, the people who brought the European final to a location east of Basra will play inaugural third place for their Nations League tournament .

The D Stadium Afonso Henriques with its capacity of 30,000 is the location for an event that is hard to believe that someone is ahead or wants to. Two sets of players, whose season was effective the previous week, will instead be made to shake it again for the colors and the sponsors.

Gareth Southgate's England could play in the far-flung Nations League play-off for third place

It is not enough that we have just seen the Champions League final that resembled one of those dance marathons that was popular in America during the Great Depression. UEFA now demands that the players go again. What was a summer holiday, in the year between the World Cup and the European Championship, is now eaten with qualifying matches and finals of competitions that are essentially unnecessary.

It was great for Gareth Southgate and England to monitor progress in Russia, but if the European Championship remained a compact competition, the qualifying groups would still be relevant and the League of Nations would not have to to exist. The entire competition is the solution of UEFA for a problem that is entirely of their own creation.

But we are stuck with it, so there. Having a third and fourth place play-off is an abomination. Do you not see what they look like before their eyes? Do you not see how exhausted everyone is or do you listen to those at the end of this madness, such as Liverpool manager Jurgen Klopp? His assessment of the Champions League final was downright frightening for anyone who cares about football and soccer players.

& # 39; Have you ever seen a team like this? & # 39; he asked proudly. & # 39; Fighting with absolutely no more fuel in the tank – both teams of course. & # 39; This was a reference to the numbers that Liverpool's staff saw in the run-up to the competition, which sheds light on fitness and energy levels. The Klopp players were ready. The proof was there.

The pursuit of Manchester City and Europe & # 39; s biggest prize had caught up with them. Liverpool analysts have since admitted Tottenham was the first to score because they didn't think their players had the necessary endurance to make a comeback. Judging by the evidence at night, Tottenham was issued equally

Liverpool players were out of the Champions League victory at Tottenham "

Liverpool players were up from the Champions League final victory over Tottenham

After they had chased the game from the second minute on, they let 78 minutes pass before they 10 of those finalists are involved in the Nations League this week and FIFA confirmed Monday that it has planned the renewed Club World Cup with 24 teams between June 17 and July 4, 2021. Liverpool, which host three exhibition games for the season that had last played summer before the World Cup finals took place on July 15. At what point can these players stop?

It is not UEFA's fault that their showpiece game so & # 3 9; n was a bad spectacle. The date of the Champions League final must be suitable for all major competitions throughout Europe, not just in England. The Premier League starts early because English football holds on to two domestic cup competitions, one with a semi-final two-legged and replays in early FA Cup rounds. For example, the calendar has at least a little – not much – room to breathe.

But with the Spain season not ending on May 25 with the final Copa del Rey – La Liga ended on May 19 – the last Champions League could only take place on June 1. This created a problem for the finalists, who was last played on May 12. By that time the tiredness of the season had begun. Do you know how to take a week off after a few hard months at work and get a cold immediately? That's how it is.

The statistics confirmed the dip in quality. Liverpool only completed 101 passes before half-time, the worst return in every match, in every competition this season. After 30 minutes, the percentage completion of both teams was poor for a Champions League match in 2018-19. Tottenham & # 39; s average pass finishes at the final whistle 63 percent, their average in the Champions League this season is 84 percent.

But although circumstances that cannot be influenced, such as oppressive heat, also formed a conspiracy against the occasion on Saturday, football governors ignore warning observations of players on their legs. All too often the stars of the show reach the final or the prestigious summer tournaments, with nothing left.

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toll on players

And what is UEFA's answer: another competition, with at least one contest tagged at the end that is almost contemptuous in its existence. Playing for the third time is bad enough, but this? We hardly know what it means to win the Nations League – it does not even guarantee access to the European Championship – but to finish third? Why don't the semi-final losers just go home? There are plenty of great competitions in which that happens.

We don't have to find the third best team in the Champions League or the FA Cup every year. It's a knockout, you lose, you're gone. What is wrong with that? The European Championship – UEFA & # 39; s international top tournament – has not delivered a third-place finisher since 1980.

Usually all third places play

Since the World Cup became a 32-team tournament in 1998, only 11 the match in third place had fewer goals than the statistical average: in 2018, Belgium beat England 2 – 0 in a tournament that otherwise produced 2.65 goals per game

More typically 2010 was a dismally low-scoring World Cup, with more than double the average number of goals scored in the game in third place . It was also double in 2002. Why? Because the players have stopped worrying.

In 1994, Sweden scored four goals past a Bulgarian team that had barely gone to bed since losing to Brazil in the semi-final. Nobody accused them.

Just as no one will blame Southgate or his players, whatever action is considered appropriate in the event of defeat by the Netherlands on Thursday. & # 39; Would we rather have gone home two days ago? To be honest, yes, & # 39; said the manager of England, before losing third place to Belgium a year ago.

Maybe this time I have to take my own advice with a similar fate.

That is more than 13 years lead time.

It took more than 13 years for delivery to ensure that adequate ticket arrangements were made. Instead, there have been long queues and refunds for fans who have missed innings due to incompetent distribution.

Sincere apologies are not enough. The person in charge must go now.

The Head of League's Great Deception about Racism

Javier Tebas, President of La Liga, denied allegations of racism in his crusade against the Gulf-owned clubs. Manchester City in particular denounces their thoughtless attitude with Paris Saint-German, as if all the clubs in that region are the same.

They are right. It does not happen with American clubs, or those whose wealth is generated in China or Russia.

The defense of Tebas, however, was invaluable. & # 39; I have no questions about ethnicity, & # 39; he insisted. & # 39; How can I be racist if two of my grandchildren are Arabic? & # 39;

Thebes would be more persuasive if I claim to have a vacation home in Dubai or regularly flew on Emirates Airlines. At least those are conscious choices. The ethnicity of your grandchildren, on the other hand, has nothing to do with you.

<img id = "i-7b529af8eb0ea079" src = "https://dailym.ai/2Z5LCsS image-a-85_1559587918814.jpg "height =" 401 "width =" 634 "alt =" <img id = "i-7b529af8eb0ea079" src = "https://dailym.ai/2WgE5KP /03/19/14319602-7099971-image-a-85_1559587918814.jpg "height =" 401 "width =" 634 "alt =" <img id = "i-7b529af8eb0ea079" src = "https: //i.dailymail. co.uk/1s/2019/06/03/19/14319602-7099971-image-a-85_1559587918814.jpg "height =" 401 "width =" 634 "alt =" La Liga president Javier Tebas <img id = "i -7b529af8eb0ea079 "src =" https://dailym.ai/2Z3WRlI "height =" 401 "width =" 634 " alt = "<img id =" i-7b529af8eb0ea079 "src =" https://dailym.ai/2Z3WRlI "height = "401" width = "634" alt = "La Liga President Javier Tebas had to deny allegations of racism but his excuse was ridiculous had to deny allegations of racism n, but his excuse was ridiculous " [194590]

La Liga President Javier Tebas had to deny allegations of racism, but his excuse was ridiculous

In the course of the some outdated postures. I mentioned the Chinese slit eyes and asked a group of native Australians if they had thrown spears.

Does the marriage of Meghan Markle with the Windsor family and the ethnicity of her children with Prince Harry mean great? grandfather gets a free pass? Like in: & # 39; How can I be racist if one of my great-grandchildren is partially black, with an oblique look, with spears on and with fools wearing pajamas & # 39; s? & # 39; This is essentially Thebes' reasoning.

The RFU lost £ 1 million in sponsorship after England's sevens headrest went into administration. Secure Trading offered payment solutions to companies and ironic pay-off lines to people who write newspaper columns.

Congratulations to Maurizio Sarri – the Roman Abramovich would leave on his own terms.

Yet there is still an unsatisfactory part of this story. If it seems likely, Sarri is leaving for Juventus, he will have negotiated a better fit with a larger and more stable club. If Chelsea had offered Sarri more support from the public in times of crisis this season, if the club's ownership had not been chosen for silence again, leading to the usual negative speculation, he could have felt more loyal after turning his season.

there should be no dislike – Chelsea and Sarri were good for each other – but only at Stamford Bridge could that season end with a European trophy and the Champions League place has a search for a new manager like his coda.

<img id = "i-3ba398957dcf2892" src = "https://dailym.ai/2Z1EpKz image-a-86_1559587966020.jpg "height =" 951 "width =" 634 "alt =" If Maurizio Sarri goes to Juventus, he will enjoy a better fit with a larger and more stable club Maurizio Sarri goes to Juventus, he will enjoy a better and more stable club "

If Maurizio Sarri goes to Juventus, he will enjoy a better fit with a larger and more stable club

Harry Kane will tell Gareth Southgate that he is fit and ready to take the lead for England in the semi-final of the Nations League with the Netherlands on Thursday. He didn't see it.

Kane was bad against Liverpool on Saturday and took a shot in a match that followed Tottenham from the start. More importantly, the player who kept him quiet, Virgil van Dijk, has the task of doing this for the Netherlands.

Kane is a talismanic presence for club and country, but only when he is fit. Modern football is too demanding, too athletic, to play well.

Liverpool has won, so certain sub-plots have been forgotten, but choosing Roberto Firmino after an injury guard was also not good for Jurgen Klopp. At least I recognized that early in the second half. Kane remained seated for 90 minutes without ever being able to exert any influence.

Kane always runs back from an injury, always makes himself available, and that is admirable. You understand why his managers also want him on the team. It would be the brave man who would reject a & # 39; n proven match winner in Tottenham & # 39; s first Champions League final.

<img id = "i-15856c66d049def9" src = "https://dailym.ai/2EQoWVP image-a-88_1559588220648.jpg "height =" 423 "width =" 634 "alt =" <img id = "i-15856c66d049def9" src = "https://dailym.ai/2WgE5KP /03/19/14319742-7099971-image-a-88_1559588220648.jpg "height =" 423 "width =" 634 "alt =" Harry Kane expects to play for England on Thursday evening, but he looks far from fit "expect Thursday evening to play for England, but he seems far from completely fit "

Harry Kane will expect to play for England on Thursday evening but looks far away from being fully fit

not much well done in Madrid and Kane should have made a clear improvement in the matter of days to be the best option for Southgate. ]

England would like to win the UEFA Nations League, but it is hardly a top achievement. It is much more important that Kane is properly rested when the new season starts, and has more in the tank when it also ends, as England hopes to be one of the participants in the European Championship 2020.

After he selected Kane for the team and saw him return to play in the Champions League final, it would be a blast for Southgate to send him home, but the bank offers a sensible compromise. Marcus Rashford, Raheem Sterling and Jadon Sancho are a lively starting three, with Kane as the replacement option.

There is a larger picture here. The fast track back from injury does not seem to work. Kane has lost 27 weeks to ankle injuries in the past three seasons.

David Tua was a stocky New Zealand from Samoan

heritage that, in 2000, fought against Lennox Lewis for the heavyweight title in Las Vegas. Lewis predicted a boring fight and was properly delivered.

The champion has never taken the risk of letting him enter. He had a strong punch but was considerably shorter with an inferior range. For 12 rounds at Tua Lewis & # 39; s jab, outpunched by 261 shots, and out-landed by 190. That's the art of boxing, and Anthony Joshua must learn it quickly if he ever gets near the top again his sport is coming.

<img id = "i-61bca8bd0eada1b0" src = "https://dailym.ai/2ETxHyG image-a-87_1559588173372.jpg "height =" 574 "width =" 634 "alt =" Anthony Joshua must learn the art of boxing as Lennox Lewis demonstrated in defeating David Tua (19459011)

Anthony Joshua has the Learned the art of boxing, as Lennox Lewis demonstrated by beating David Tua.

Dominic Thiem got the push of his own press conference at the French Open-tennis, because a defeated Serena Williams was impatient waiting to give hers Imagine that the call was made the other way around, we would never have heard the latter.

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