All In is a song performed by Cynthia Zdunowski in the Paramount+ original series, Grease: Rise of the Pink Ladies.
Overview[]
Cynthia followed Lydia into the hall of mirrors to confess her love for the girl, and to convince her that she wasn't going to bail if they committed to a relationship. She belted out the song as proof, followed her around the exhibit, and they ultimately danced together. The song ended when they held hands and Cynthia revealed she came out to her friend Nancy, who would hold her accountable and remember the relationship so Cynthia couldn't pretend she didn't commit.[1]
Lyrics[]
I know
Someone has bruised your heart before
Someone was reckless with your love
I know it's hard to trust me
'Cause I was too
But I’m all in on you
Oh, I wont disappear, no, I’m right here
No, I’m not going any, anywhere
My arms are open up a mile wide
So I can hold all of your love for all time
I know we’re both afraid
And, baby, that’s okay
We have a right to be, but I won’t let it change the way
The way that I’m feeling
Let me say it again
I’m all in
I’m sorry that I ran away from this
But I’d be lying if I said fear don’t exist
But somethings different something deep within
I've learned the hell of fear don’t beat love’s heaven
I know we’re both afraid
And, baby, that’s okay
We have a right to be but I won’t let it change the way
The way that I’m feeling
Let me say it again
I’m all in
Say that you’re with me
And I’ll give you everything I have
Even when the world is mad
Baby, I’m all in
I know we’re both afraid
And, baby, that’s okay
We have a right to be but I won’t let it change the way
The way that I’m feeling
Let me say it again
I’m all in
And I’m all in
If you’re all in
Then I’m all in
Performers[]
Appearances[]
Notes and Trivia[]
- The choreography that Lydia and Cynthia do together is the same moves they did in Merely Players.
- Lead songwriter Justin Tranter spoke about the song in his interview with Consequence music, saying, "What we wanted was that sort of old school musical theater feel — the early, early show tunes, like more than half of the jazz standards that we all know and love and have heard our whole life at coffee shops and movies and Barbra Streisand concert specials — most of them are all show tunes. And so we really thought we wanted a classic jazz standard, but a belty show tune, about a woman loving another woman. We made it very classic on purpose."[2]