‘Avengers: Doomsday’ Footage, ‘Euphoria’ S3E2, and ‘Margo’s Got Money Troubles’ Episodes 1-3

(chirping) (bell ringing) (upbeat music) - I need support staff to clear the room. - Stand up and walk now. - Hello and welcome to the watch. My name is Chris Ryan. I am an editor of TheRinger.com and joining me in the Silver Slipper. (laughing) Good, because he loves dance. - Yeah. - It's Andy Greenwald. - And I like free nachos. - Do you think they have those? - I don't remember, because I was on ketamine. (laughing) It's possible. - I love to have you pronounce ketamine as like. - Ketamine. - Oh my God, your Jewish dentist wouldn't fill it up. - First of all, I am much closer to a Jewish dentist from Philadelphia than I am to a habitué of the Silver Slipper. The truth is, you caught me. I started to back out of the comment, two thirds the way through, but I was pot committed. And frankly, that's how I live my life. - That's why I love you, man. - Okay. - 'Cause you fucking, when you're in, you're in. And we're in on euphoria season three, which we will be talking about the second episode today, as well as the first three episodes of the new Apple TV series and Margot's Got Money Troubles. Problems or troubles? - She's, Margot's Got Money, well, I think it's Troubles. Again, no way of knowing. - It's Troubles, it's Troubles. Did I say Troubles? - Yeah, but you were thinking of Northern Ireland. - That's the problem. It's like, you know, Margot and the dairy girls is a much different thing. It's really good to see you. What a weekend for us. - Oh, was it? - Yeah, no, I mean, I just mean to what a weekend for United States of America, the NBA playoffs, the NHL playoffs. - Yeah, sports wise, you're right to switch allegiances. You should leave the Phillies had it. - I'm fine with the Phillies. I have the Phillies had at home. There's no deviation from the plan. I know. - I told you on Thursday, wait for game 60, I'm getting miserable texts from you. But I'm actually honestly a whole variety of awesome texts. - Yeah, I've said some pretty funny texts this weekend if I do say so myself. - How are you doing? I have one new story for you today before we get into our TV talk, but I just want to do a temperature check. - Great, temperature feels good. The studio is nice. - Yeah, no, I mean like emotionally and spiritually. And also just like artistically, where's your soul at when you're, did you search around this weekend and watch anything that was not necessarily an assignment, but just a pleasure? - No, this weekend there was quite a lot on the TV docket. - Yeah. - So, no, I was focused. I was just working for you all weekend. - Yeah, I was actually gonna say, it might be good after we do beef on Thursday. So we're gonna, I don't know that we're gonna cover all of beef, but-- - You have beef with beef. - I don't, I watched the first two episodes. - Okay. - And I would definitely say that it's better than I thought it was gonna be. - Well, you had, you were very down. - All I did was say, this is what people are saying about it. And if it's true, watching eight hours of this is not necessarily what I wanna do this weekend. - Do this weekend. - Strong and everywhere coming up to me on the street, tears in their little straws. Saying, sir, sir, beef season two is underwhelming. - As you know, speaking of film production, today I went to go get my custom, not custom like they make it special for me, but like my coffee at my coffee shop. - See our blend. - They were shooting, somebody, they were shooting something there. Probably fucking nobody wants this or something. And. - Pins working. - Be nice. - I was just like, you guys gotta be kidding me. Of all the gin joints that you couldn't find in London or Budapest. - Oh, Cooper, wait, you decided to take my coffee. - Are you sagging on LA Film Production? - No, I'm very happy for them. But like, this is wait, hold on. You're being a nimbi about Hollywood film production within Los Angeles. - I think this is a wild new car. - It's just like, I have a few things that need to go right for me during any given day. - All right, let's go through them. - Finding my, getting my coffee. - Uh-huh. - Having the right kind of Nicarat. - What, like is it supposed to off brand? Like what? - Well, off brand or like the new flavors that the Nicarat company like introduced. We talked about this, like it's just like, I have to have like everything kind of line up in the stimulation category. And then we can get, we can get into our day. - Right. - But if I show up in Sydney Lumets, like now, now here's what you're gonna do. And it's like, no, man, I need an Americano. And also, you know what, I really don't understand. - It's North the Kettaman. - Why is that? - That's the new Lumet. - Why do you guys have to shut shit down? - To shoot. - Yeah, be like a little gorilla filmic in style. You know, G'dar, you know, get in there while I'm ordering. - Sean Baker, Tangerine style, iPhone, horizontal. - Call me in a Nora. I'll just be getting my coffee, you know? - I think that not as many people, like passers-by are historically not as open-minded and artistic as you. - Yeah. - Not one. - That's probably because if the camera was on me, I just tried to go. - He would frame Mug. - Yeah. - I'm workshopping that slang. - Yeah, you really like the mock thing. Why don't you get your book out? - No, I want you to. You want to save it for the library after dark. Watch, watch, and the books and the stacks. - No, but what if you start, you know, maybe you have an anecdote to camera about a film you saw, I'll just get a little reading in. - Okay, I did see a film this weekend and I wanted to recommend it to our viewers. It's The Christopher's, the new film from Steven Soderberg. In the news recently for saying that he was going to use AI to visualize some of John Lennon's dreams in an upcoming documentary he has about John Lennon and Yoko Ono. - That's what he said. - Yes. He was going to use AI to do some visual effects or some like imaginative visualizations of like John Lennon's dream life. And he was like, "I never would have been able to do this or would have been like a visual production house, effects house that would cost me an arm and a leg." And now it's easy. But basically is this now under the rubric of like, he can now do it himself, like he does everything else? - Yeah, I mean, I think he's always been like, how can I, what's the, not market in efficiency 'cause I don't even think it's economic. I think he's just a tools guy, he's interested in tools. - What if Mike had real magic? And the magic was AI, is that what he's doing? - You know what, honestly, I think that, you know, they name all these goddamn AI's, like just, you know, Claude, you know, what if the AI was named Magic Mike? I would use it. - Yeah, me too. If I was like, can you make me some furniture, man? - Yes, yes, can you still hang out with Olivia Munn? What's that like? - I did have one piece of actual Hollywood news for you. First versus fantastic Ian McKellen, McKellicle, it's essentially two-hander chambers piece. It's about a, I don't know if it would be like a Damien, her's Julian Schnabel era, like I can't tell exactly. He seemed like an on-front to Rebel British painter now in his Twilight living in Bloomsbury. It looks like it hit close to home. - Now I'm listening. - And lovely, lovely three-story, four-story house in Bloomsbury. McKellicle is an art-restorer/painter who takes a job with Ian McKellen's aging artist to catalog some of his work. - In his home? - In his home. - So easy access to Essex Market and Farrington. - All that. - Great lunches. - But she is, I mean, Deco, I'm surprised, Cafe Deco didn't come up. Deco is at the south end of it, but I would imagine that you'd probably get the lunch deal of quality ones. - Yeah, it's not a deal. Why not walk it out, smelling of liver when you go to quality ones? - That's not their lunch special. - Oh, okay. What's the lunch special? - We don't need to get into it. I'm just saying, it's very reasonable. (laughing) I'm interested in the job she took. - She takes it serotoniously though, 'cause she's in fact working for Julian's children who want her to finish a series of unfinished portraits called the Christopher's of his lover that he did in the '90s. - I see. - And they would fetch quite a bit of cash, but he is thus so far refused to finish them. - Are you one of the Christopher's? - No, sadly not. But it's, that was wonderful. And it was just like a great type movie. It's gonna come up later when we talk about Margot's got money, troubles, problems. - No, it's troubles. - God damn it. I really gotta get that right. You know what, those two words probably have like different meaning to different people. Again, in "Bell Fest," they do. - I wanted to let you know that Joe Russo, one of your favorite filmmakers, yes. - Yes, yes, he is the visionary. - He appeared via Zoom at the St. Andrews Film Festival, which is in Scotland. And this is a film festival, I believe. I've read about the Russo's being patrons of before. - What do you think that is? - I don't know. I really don't. Any other podcaster would probably be like, "Well, you have to understand." - I was waiting for that. - But honestly, I feel like I sometimes it's okay to be like, "I have no idea." But I've read like them, I've read bits and pieces of them appearing in this festival. I mean, he did this via Zoom to talk about Doom's day. - What a journey this has been. - I'm trying to do a cool intro to this. It's essentially that, you know, they're making Doom's day and now they're gonna re-release endgame in September, I think. With either recontextualized old footage, I imagine or perhaps new footage from Doom's day that they're putting into endgame. But to put endgame now on the Doom's day narrative rails. And I thought this was really interesting because first of all, it is kind of a tacit admission that the last six years of, seven years of Marvel has kind of not worked between the multi-versal shenanigans and Kang and Johnson Majors and some of the other things that they've tried that haven't worked and the fact that Fantastic Four, I mean, Fantastic Four is obviously gonna be a major part about this but it was not, it may be living up to people's expectations. - Right. - What do you think about the idea of a filmmaker going back and tweaking something in mid-air to connect it to another part of the franchise? - Redo shot first. - But they never actually made that canonical, did they? Who's the, in this case? - Disney. - George Lucas? - Yeah, if he made it, I mean, he touched it. - Okay, but like-- - Cannon. - But the point is of like-- - So low of a Star Wars story, I guess. - I don't know, I mean, like, what has this been done before? - I think what you're asking is interesting, because in terms of like tweaking a prior movie to retconnet into alignment with a sequel, I'd be hard-pressed to think of an example of that. I mean, I think Disney, especially like the animated movies, like Frozen 2, a movie I know that's near and dear to your heart. - Honestly, this is where you actually talk to my kids. You talk about this a lot because one of the things that I find really interesting about that movie from like a process standpoint was the entire movie is created out of whole cloth of a larger overarching plot that 100% didn't exist at any point during the decade plus development of Frozen. - Okay. - Where they like retcon that the parents, like in the opening of the first movie, the parents went off on a boat adventure and sadly, spoiler for the first 30 seconds of Frozen, did not survive. The second movie suggests that they were actually going on a quest to discover the origin of their daughter's powers when they were sunk. - It's suggested that they told the daughter, it was a boat, like a cruise, a glide or-- - No, we know Kings and Queens are always going on boat trips, probably. - Yeah, yeah. - You know, we've all got troubles. But no, but to answer your question, Frozen was not re-released with swashbuckling footage of the dead parents attempting to get to the-- - And I don't know the extent to which they are going to tweak Endgame. I think it's a pretty savvy idea, although I'm surprised we're finding out about it via Zoom in Scotland instead of like a big cinema con announcement or like a big, maybe even a trailer for the re-release of Endgame to prep you for Doomsday. - Well, a couple of things. The Doomsday footage has been screened. - Yes. - They played it at CinemaCon, it has not released yet, but every single detail of it has been leaked. And I think it was intentionally designed to push back on your, I think quite accurate observation, the less six plus years have been a complete wash. The footage features many characters from this cursed phase engaging with each other. Like it's Shang-Chi fighting Florence Pew. - No, flying, fighting Gambit. I read the same recap, but yeah, that's a bummer. - Yeah, I pushed the Atlantic magazine out of the way and I said, let me read this blog post describing the Doomsday trailer. - That was a text I sent you. I said, attention, a little worried about things at FBI HQ. Thoughts? - Question Mark, you didn't respond. - Then I wrote back flyers. - Go flyers. - So I don't know, but they are also, I found it interesting that they are doing a really interesting thing where they are trying to convey complete confidence that they have this thing in the bag. And so there's a beginning drum beat of this tested better than anything since end game, they're dropping all these things. Like we had 40 actors on set standing in a blank room, you know, where they drew in the background later. They are re-releasing one of the, was end game, like top three most successful movies of all time. They're re-releasing that to prime the pump to remind people of how great this was with new footage to get people in the theaters. They are claiming that they don't need the IMAX screens that doon three. - Oh, 'cause they're making a proprietary technology of like, so that it always shows in the way it's put into-- - Infinity Vision? - Yeah. - Can you just make a proprietary format? - I hope it makes euphoria season four in Infinity Vision. Because it'll go on forever. The episodes, I think, are made in Infinity Vision. - Honestly, they were these right by me. - Incredible. - So, yeah, I don't know. I mean, what's your, what's your doomsday temperature check? - I was immediately started thinking about other franchises that have perhaps made some wrong turns and filmmakers going back and tweaking them. You know, so the first franchise that comes to mind are Star Wars and they've had this largely stalled out movie production development process where they've given out all these like deals to people to make trilogies and to make one-off movies that haven't really come to light or haven't come to fruition. They've continued to kind of mind these in between years, between the trilogies and to some success. But I think that the thing that's missing is the feeling of forward momentum and the feeling of the unknown because like any kind of well-versed Star Wars fan can watch one of these shows and just be like, yes, and then this has to happen because this happened. Star Wars legendarily does not mess with Canon. Marvel is a little bit more like, guess what? Everybody was dreaming that day, you know? - Well, or it was a different universe. - Yeah, and they've been playing with that for a few years. But if you were doing Star Wars and if you were like, hey, why don't we just go back to right before Force Awakens or why don't we go back to right after the last Jedi and just do this? And basically, I mean, it sounds like Steven Sutterbergs, the hunt for Ben Solo movie, was in its own way. Like, well, what if he wasn't dead? And that was a bridge too far for Bob Iger. But it is kind of interesting that the same company is like, yeah, we'll tweak a little bit of end game and probably like Yada Yada, some of the stuff that's happened in between. - I think that the main difference here is that in the case of Marvel, they are going back to their last greatest success and just basically moving the off ramp in a different direction. - Yes, Steven Sutterberg wanted to revisit the last Skywalker. - Well, yeah, because those Star Wars movies, the Skywalker, right? - I think in retrospect, those movies are not thought of fondly, but particularly they are not just thought of fondly, they are like ground zero for a lot of the toxicity of fandom and fandom's relationship to the projects that they love or that they love to hate. And so it would just be a minefield to go back because it wouldn't just be like, let me pick up on the really cool adventures of Admiral Holdo or whatever Laura Dern's name was. It was like, let us pretend none of that woke shit that Ryan Johnson did ever happen. Please attribute that quote to Chris 'cause he needs a couple of dings in his Mando armor online. - Go on, I'm just saying. - This episode is brought to you by Amazon Prime. Ever have a plan come together out of nowhere and realize you're missing something? Like a last minute beach day, a spontaneous hike or an outdoor movie night you didn't plan for, that's when Prime's same day delivery has your back. Getting you exactly what you need fast and reliably so you can actually join the moment instead of watching from the sidelines. Same day delivery, it's on Prime, visit amazon.com/prime to find millions of items delivered fast, available in select areas, terms apply. Was your reading of the Doomsday trailer? - Are you excited? - With the scrolls. - Not the scrolls, the scrolls. I'm choosing to be very excited about this movie. Why not? - Great, you know? - That's fantastic. - I want to know how you're feeling about the X-Men casting rumors. I know Van doesn't like it when we talk about that, but. - I don't know if I saw. - And girl Odessa is being circled for Rogue. - I didn't know that. - And our guy Sir Dunc, Peter Klaffy, is rumored to be beast. But they haven't gotten sidecloths. - No. - They haven't gotten the new Wolverine. Wake me with that. - Is there gonna be a new Wolverine? - So old-ass Hugh Jackman is gonna be hanging out with Peter Klaffy and Odessa O'Zion. - First of all, we are now on the other hand of these cross-generational Odessa O'Zion. Like she was also in the troubles. - I think that they are going to slow walk Wolverines. I think they are gonna go back to some of the original X-Men before he joined. - Okay, cool. - Keep me up to date on that. - I will, hold on. Breaking news. - No, let's talk about you for it. - You for it. - A episode to America, my dream, the title of the episode is spoken by Cassie, played by Sidney Sweeney's housekeeper at one point when she's taking some content shots. - Say her name. - Wana. - Wana? - Well, it comes up a lot because there's a lot of jokes made of her expense. - Sure. - This one is a tale of two or three different TV shows, I think, or-- - Yeah. - I mean, I think this is a really useful conversation that I think also bleeds into Margot. - Okay, so let's-- - Because it's about like tone and it's about making a couple of different things at once. But I think for Euphoria personally, for me, it works. - Well, let's also preface this by saying for people who are just, this is their first ever episode of the watch. - Yes. - This is my second ever episode of Euphoria. - And I gotta admit to you something. I'm about 70% in on this bit, but the number, the interest level I have in this bit, shot up last night when you sent me one text message. - I got a question. I've tried to avoid asking these questions. - And here's a 9.45 pm. And I was just like tomorrow, okay, what are we gonna talk about? And Andy sends a text message that just goes, "Is Rue canonically gay?" (laughs) I didn't know. And I thought I should, you know, be prepared for that information. - But the word canonically is what got me. - Because first of all, I need to know who she's romantically interested in before she returns in Doomsday. - Yes, yes. Yes, Rue is canonically gay. - Thank you. - Was that, was that so hard? - But it is an interesting situation for you because I have a question. Now, we're gonna talk a lot about the Rue stuff because that remains the thing that I think I'm most attached to about this show. - Do you think I should keep a list of questions I almost ask you and deliver them live on the podcast? - Absolutely. - Yeah, I am also not necessarily the keeper of Euphoria lore nor do I think Euphoria is being overly sort of sanctimonious. about like everything that's happened in these characters' lives adding up to something. - Which I appreciate. - That being said, I wanted to start in a stranger place than maybe you thought I would for this episode, which is meet the Jacobal Lorde character, who is so far been portrayed as a sort of flustered. I'm in over my head, but I'm ultimately seemingly a good guy who likes to get his work done, and I just don't have the money right now for $50,000 worth of flowers from my wedding, but I've got an alcoholic dad who's also quite a sex pest. I have my fiancé, Cassie, who is making certain demands of me and-- - And making certain content. - And making content, and also he's in Hawk to a seemingly like a underworld figure for about half a mill. - Underworld figure in the sense that he services bodies to the underworld. Literally, he does seem to be like a fuel hole. - Yeah, I also think if he's like dealing out $500,000 and is like in a week, that will be $600,000 or whatever then that's-- - Well, you think he has some untoward. - Yeah, I think the interest rate is maybe above Wells Fargo's, for instance. - I think Tim Levinson is blowing the lid off this whole coffin thing. - But guess what, man? - Yeah, yeah. - Nate's kind of a piece of shit, and I didn't know if you knew that. Nate-- - No, he seemed like a good guy. - No, not really. He's pretty dark prince. - One thing about me, I'm very credulous of people. I take him as a-- - Why are you wondering what you thought? I was wondering like there's a line in this episode when Wana, the aforementioned Wana, the housekeeper, is going through every single thing from their barbecue. - Yes. - And is like, would you like to keep this? - Yes. - Would you like to save this? Would you like to save that? And at one point he goes, "Wana, I'm going to kill you." - He did save me, yeah. - Now he says it very dryly. It's a laugh line in the episode, I think. But that's Nate's vibe. Season 1, 2, Nate, can get pretty fucked up. - It's very, we mentioned this last week, but there's a pretty senella suspect to it that he is a little American psycho. Like he is the perfect cyan of a West Coast dynasty and has the right jawline to either run for office or to go to jail forever for murder. - Yes. And so I was curious whether or not you picked up on that as this being your second episode of Euphoria. - I didn't because this episode, well, say two things. One, part of his storyline is probably at the bottom of my power rankings because we're now two for two in him voicing something that I have to believe is near and dear to creator Sam Levinson's heart, which is that all Californians of good standing should care about P and Z laws and how difficult it is to build here. - Why can't you separate art from artists? - Literally the guy's like all Californ, it's like the pit. He like turns to camera. And there's like, do you know planning and zoning regulations? - Because the Republican pit, yes. This is how we win at podcasting. Say it slower to the camera. - Actually, women are allowed to make content about whatever they want, you know what I mean? - There you go. - That is sort of what the show is doing. - I don't know if I agree that all Californians should be worried that it's challenging to build here. - How do you feel about the zoning laws of this great state? - Not my top 20 of curbs concerned living in this great state? - No, it's really not. - Okay. - But then again, I'm not really part of a real estate empire. - The ironic thing is I don't think it's lost that Nate is complaining about starting a somewhat nefariously funded, you know, he's like an honest businessman. It's like Nate's the furthest from, you know? - I, he's like, have these guys move sand around when the developers, when the investors come? - The reason I've liked my experience watching the show called is because it is never boring. And I actually feel like, and this is obviously self-fulfilling, but that my experiment is supporting itself that like there's very little that I need to be standing on to just be present with these characters as they are going about whatever it is they are building towards in this undoubtedly final season of the show. That said, your question brings up one thing that I was picking up on, which is, as certain threads, currents bubble up. Some of them are tonal, but some of them feel canonical or biographical in ways that I met C with. - And I, and it's hard to-- - The Maddy. - So, exactly. - So Nate. - Love triangle, yeah. - Absolutely no idea what any of that was about. - Sure. - Nor did I honestly have any idea what Maddy was who she was and what she was doing. I found that less compelling. - Did you look it up on Wikipedia? - I didn't. - I didn't. You know, I was reading the New Jonathan Franz novel at the time. - Where is that, do you have it with you by any chance? - I do, but we're, I'm pretty locked in right now. - Okay. - And I'll let you know if that changes. And people watching at home will see, that's my interest level dips in the show. It's like retreat to the warm embrace of literature. My true home. But yeah, so the backstory of that was a little bit confounding and I guess I will say that the Cassie-Nate relationship, as far as I can tell, I don't actually care what they were like in high school. Them as starter pack. - He used to date Maddy in high school. - Sure, but them now as a starter pack, upwardly mobile, you know, would be Nouveau-Riche couple living in this hellscape. Like works for me. It's fine. - Yeah, I think that the show, it's interesting to hear you say that. I think that the show is very much depicting them as like frozen and amber out in Calabassas somewhere, and not truly part of like the kind of zeitgeist and maybe even tapped into the money stream that runs through Los Angeles. - Right, Cassie is very excited to be on the roof of the peninsula. - Yes, and where's like, what was that magenta fuchsia? What was her top color? Was that? - I was not staring at her top in that scene. I have to say, I was not focused on that. Because-- - What were you looking at? - The Hilda Brandt family in 1971 Chicago. They're the protagonists of Crossroads. Were, it was pretty interesting. - Did you like this episode of TV? - I actually, I really did enjoy it, but I really enjoy it because the, first of all, I do like the chaos theory approach. - It's scary. - Sorry, does that make me the bad guy? There are other things on the screen, you know? I am enjoying full stop, like we said last week. I'm enjoying Zendaya. I don't know what's going on with this character or where she's headed, but I just think it's pretty funny. And I also really like that. I have no sense of how much time is passing at any moment in an episode of the show. So the fact that she like goes to this silver slipper club, I have no idea where this is either. It looks like it's-- - A club, Valley, Palmdale, Lancaster, I don't know, maybe-- - Sure, yeah, and maybe Nevada, I don't know. - Unclear. - But the team immediately just starts running shit there and it's just like hanging with everyone. I found that to be kind of fun. - Yeah. - And I also have to say that I'm interested in the way, okay, so wait, one step back. During the long gestation period for this season, we had heard all these stories about the type of show that you for you, if it were to return, how it would return. And the one that obviously we fixated on was, oh, it's gonna be a private detective show. Watching this episode particularly, there were moments when Sam Levinson moves the camera or sets up scenes in ways that suggest the things that interest him may have outstripped the bounds of the show that he's making. - Yes. - So when Maddie arrives at the peninsula and it does this like wide shot of her crossing the boulevard and it's like classic Hollywood and war, and I'm interested in that. And I kind of like the idea of him casting his Hollywood Fantasia, whatever this is, spectacular, with not just the actors from his previous high school piece, but the characters of his high school piece who are now playing very different roles in the movie he wishes he was making. When the show so far has elevated to me this season, that's what he's been doing and that's when what's on screen and what clearly is in his head seem to align. The moments that I'm less interested in are on the margins and lead to me almost sending you texts like I almost did in the first 10 minutes of this episode asking if this blonde woman coming to LA during COVID was the Cassie origin story, didn't she go to high school with them? Because again, maybe it's like I wasn't looking at the right part of her. I didn't, I thought that was Sydney Swini. - No, it was not. You were just staring at her eyes. I mean, that's a lie. - Just locking. - So it's interesting to hear you say that. I probably give this show credit because it's doing something that I rather enjoy when TV shows at least effort to become, which is the bucket show that allows a showrunner or a creator to basically be like on the side of the bucket, it says euphoria or on the side of the bucket, it says leftovers or the Americans or whatever. - Industry. - Industry. But we're gonna make it a receptacle for everything that we're interested in. And for Sam Levinson, obviously, he is interested in the American dream, the American debt, the absolute attraction, repulsion, nature of California to the point where he talks about its geological evil magnet that's underneath. - The big magnet under the soil attracting evil. - It's spoken by a character named Angel. - I like that. - Yeah. And I think he's obviously playing with a bunch of different styles of filmmaking within this. And for him, you know, if Zendaya, Jacob, and Lordy and Sidney Swini are in something, 20 million people about are gonna watch it every week. So it's gonna be this big thing. And he could kind of then get away with making a spaghetti western mystery movie if he wants to or a pop art almost commentary on exploitation slash also a piece of exploitation itself. I think that's fast. And I think also like this show is not boring and I've been struggling for the last couple of months with the shows that aren't Ones that you can tell that Andy and I have really positively responded to that it's hard for me to get by on like a 65 407 D with a show or like it's like it's pretty good It's like this show like is exciting to watch I don't know what's gonna happen next. Yes. There are things that perhaps like offend people and there are things that I feel like I've watched that Big conversation like the one that Alamo and Marshawn Lynch have in any number of Tarantino and Tarantino rip off movies Like there's definitely like homage that borders on this was Kirkland Tarantino. Sure, but I I just give it a ton of credit for holding my interest and for being I Know I don't want this to be clip but stimulating Um, I'd like to be clip but connected to something we were talking about about two three minutes earlier I'll come into the the studio with you guys later. It's it's a it's a the show is stimulating. I Never thought I would say this but I Understand Sam S. Mel better No, when our friend Sam would come on the podcast and do his top 10 list often what he would rail against would be you know would he was joking about as laundry folding shows and He would praise things that were aesthetically bold and directorially driven even past the point of what I and maybe so nice we felt were reasonable or like entertaining or even generous in terms of the effort they were making to include an audience now Sam despite being very successful and very good at making television historically doesn't love or watch a lot of television So he's less interested in the things that we praise for hitting familiar comforting technically excellent beats like the pit for example or the story connecting the the bits on madmen where despite pushing things forward visually and thematically they are just a family in the workplace at the end of the day Yes, all of that being said The moment we're in with television where everything is received Received through this lens and viewed through this lens that everything is excellent and everything is prestige whether it's because of the money Apple or whomever has spent on it or the actors who were in it were used to seeing them in films when in fact a lot of the Meet of television shows from minute 14 to minute 48 Or laundry folding, you know This will come up with margo as well. I think it can be elite laundry folding but it's laundry folding and the best thing that I want to say at the end of this long Degression is there's no laundry in the show and if I had been watching it With any laundry in mind over the past few years I think that I would be having a lot harder time Just breezing along but because I have no stakes here I like the fact that I don't have any idea where it's going um and that every everything on the screen Somebody had an idea. Yeah, sometimes too many ideas maybe and too many ideas piled on top of each other But they had some ideas. Yeah, and I also I mean frankly find the Photography of southern california and and the desert that he's doing to be as like exciting as anything that happens inside of the silver slipper Like I think that he's doing really really beautiful work in In being a vocative of the entirety of the southern california region. Yeah, southern california not LA then away You know, I think it's relationship to Los Angeles and This idea of suburbs and city is almost antiquated or at least because I moved here so late in life It never really resonated with me is like, you know You growing up in the valley but going into the city for fun like that doesn't scan for me. Yes, but it is obviously something as it as an LA kid that he's thinking about yeah Maybe as an LA kid he's thinking about that but also maybe as an LA rich person he's thinking about it the same way like You know the the great Kanye song no more parties in LA which is basically about how annoying it is to drive from calabassus to a party Super relatable, but like this is a show built by people who exist only in siloed spaces and only ever Traverse through the middle of the city either ironically or being driven in an air conditioned SUV like And I'm not saying that that ruse perspective is of a rich person, but I think the vision of it Which is not to invalidate the vision it is incredibly haunting and it feels very of the moment and it's claustrophobic and also a gorephobic and equal measure, but everything about it is siloed and I think intentionally and I feel like that aesthetically is kind of interesting to me that Cassie goes from her you know Golden prison somewhere out in the hills and where she goes that's exciting to her is the roof of a building We never see her actually touch the ground and suddenly she's around people again or at the very end when Rue goes to visit Jules who's a character I've never seen before encountered before Jules is a major major major character on the show Once again like absolute siloed somewhere at the penthouse of the building. Yeah, a lot of Jules and and Rue this Jules has historically been the sort of I would say the love of Rue's life, but in some ways you you wonder whether it's She's just an object of her kind of fascination and affection more than it is like a Life partner kind of thing just because of the way they are talking at the at the end of that episode a lot of their Romance tends to happen in an almost fantasy world At least to my eye visually and you could see in the flashback of Jules's time at art school when Rue goes to visit her It's taking place in a loft that looks like a soundstage basically and that Like a Hollywood romance and her high-rise apartment luxury apartment that she's living in that that Jules is living in at the end Has like the fakest of fake sort of night scapes outside of the window. So I think From scene to scene and from storyline to storyline and from Coupling to coupling throughout the show. It almost has a completely different visual language It's to a credit to the show's credit that you can have something like Cindy Sweeney's bubblegum like far out like pop pop pop LA the sort of glam luxury Nightmoir of Jules's LA Rue's Desert scape and that you can go from like Cindy Sweeney's pretty comic arc so far this season to Rue in a bathroom with another woman Telling her that her best friend just died of a fentanyl overdose and that it's being kept from her Yeah, and then that woman spiraling out on drugs. Who's the character who I met last night who I'm forgetting whose story is a management manager Nate's ex Maddie And Maddie storyline which is more or less the Rachel senate storyline from i love LA. Yeah, you know Which is just like the Day-to-day nuts and bolts of managing this crazy town, you know And I but I say that not I say that to support your point that there's all these different versions of it Ultimately in terms of vision Why I am like good faith enjoying this exercise is because the shot of Rue begging her mother to come home well a gas station late the gas station goes out behind her Is it's an astonishing image. It's a beautiful image. Yes. She's acting the hell out of it and Every so often every time the show starts to trip into something where I want to take out my like stern little red pen and mark it up It does something that is genuinely moving and quite I catching and breathtaking and beautiful and that's enough to keep me going I would say largely and we don't need to segue now although we could and you don't need to have watched both episodes for this point to be relevant and not spoilery euphoria and margo have Both staked out some terrain on only fans island and what a moment for only fans great I'm just glad the little guys just succeeding as in well the guy made away fans is dead. Oh no as did he set everything up So are his children going to benefit Look A mess, you know, so I hope that he had his affairs and there was the only fans guy Yeah, yeah, it was But we don't know about who's I don't know what they can do with airs are yeah I mean in some ways we all are we're all sharing in the the wealth because only fans redistributes You know, it goes back to the content creators, you know, really Karl Marx was only a fan of that kind of redistribution of wealth Yes, we can get into margo if you'd like it, but we don't need to segue necessarily. I just wanted to make the point that The euphoria vision of this is in keeping with there is a devil magnet underneath the san Andreas fault And everything is absolutely cynical and evil and this is just a turbocharged vacuum Attached to what was already a soul sucking enterprise of celebrity and fame and devaluation of human spirit And then you have the margo vision of it, which is isn't that neat We can all take advantage of this and become better people and pay for diapers sure and I would like to posit I know this is a little radical that Somewhere in the middle of these two aesthetic viewpoints there might be some nuance in a even more interesting story I wish you luck with your third way my third way I'm gonna do the Andrew Yang storyline of only fans clip that I dare you Trying to think about anything else really to say about euphoria There's not Obviously arc dane. This is his final performance on camera In do you think he will appear in other episodes do we know I do think that this Season seems to be building towards this wedding. I've not, we have not watched ahead, but obviously the wedding is an opportunity to bring together the entire cast in a way that I don't know necessarily we will have otherwise. And I would imagine, given everybody's release schedules in the major movie theaters, that he shot Zendaya stuff. And sometimes Alexis Demi would be on set for that. And he shot Sydney Swini stuff with Jacob Ellority. And you know, like I think he kind of had to work around a lot of schedules to do this. And so maybe some of the separation is representative of that. But then again, you know, you're not necessarily always around people you went to high school with, even if you live in the same city. So I think it is a legitimate depiction of their lives, even if it doesn't necessarily feel like they're all on the same TV show all the time. I have not seen what people have, many people have celebrated Eric Dane's performance on the show that it was very different to what he'd done before. And, but even without that knowledge, I thought this was pretty great. - I have to say that him being vulnerable enough about his illness, but that took his, I believe it was MS, correct? - No, he had Lou Geiris. - Lou Geiris, sorry, ALS. To take that and be like, what I'll do is have, we can have Cal basically be always four beers deep. - Yeah, and seated, and they treated, it seemingly treated him with dignity and giving the opportunity to deliver a very good performance that was not in any way like a, it wasn't just like a, you know, a moist-eyed tribute. - Yeah, here you go, but guy, thanks, man. Yeah, it was, it was really cool. Honestly, like just the, the, the Zendaya note that I will hit every week, which is that, she's compulsively watchable. She communicates so much of the necessary ambiguity that come to come with a show like this because it would be easy to take everything at face value, but like obviously her trepidation, so as you obviously probably have deduced, the Rue character has been through several, like rehab and intervention situations, including just absolutely astonishing intervention and second season. - Her dropping angel off at this sort of, looks like K-town sort of like fly-by-night rehab facility that didn't quite scream on the level. - To me, yeah, or, it seemed like she was gonna be-- - It seemed like a way station. It seemed like where you stash people that you don't want out in the world for whatever reason. - And potentially never want them to appear again. - Yes, and the lighting of that whole scene and her promising her that she was gonna come pick her up in a couple of weeks, I thought it was great, and that they never come out and have Rue say like, this place doesn't seem like a reputable facility, but I'm gonna look into it. It's just everything is looks. Everything is the texture of the plexiglass between the person who's just playing video games behind the counter, and it's just really good. - The one counter to your beautiful bucket analogy that I generally agree with in terms of ongoing television shows, because honestly, nothing is worse than a show in which the creative team behind it has lost interest in what they're doing and going through the motions. - I'll say that even as potentially overheated and pulp fiction coded as the whole Alamo silver slipper storyline is, I would be really interested in this is the first season of that show of Zendaya working at this place in the middle of nowhere. - Yeah, Zendaya's strip club Michael Clayton. - Yeah. - I mean, when you put it like that, but yeah, like that pops, yeah. And the rest of the stuff is interesting, but it is not that. - I'm just gonna throw up a quick note here, which is I was trying to do a powerful of shows that are on right now. This is like a post, pit, rooster, DTF. So stuff that-- - We were very busy watching all three of those shows. - I think I gave DTF a college try. I have not received, there's never been a show I have received more contentious emails about, and it's basically insisting that I did not get it and that I should try again. - People want Joe Russo to go back and change the ending to that podcast, like they're changing endgame. So that you become a big DTF fan. - So Bill often does, Bill Simmons often does, like Powerples in the midst of an NBA season, where he's just like, I'm just gonna kind of go from bottom to top here or from top to bottom and rank these shows. We have not watched maybe enough of this to do a hearty Powerpool. For instance, I have not watched any of the miniature wife with Elizabeth Banks and Matthew McFaden. - Neither have I. - But Margot's got money troubles. Your friends and neighbors, euphoria, beef, big mistakes, which is the new series from Dan Levy. On Netflix, which honestly wasn't that bad. I watched two episodes of that. - Look at you doing the work. - Honestly, it's like at the end of the evening, kind of like before we fall asleep thing and I was like, this is pretty, this comment. - Yeah. Bandy, which we talked about last week, Rashont's new Martinique-based. - What were the numbers on our Bandy Convo? - I don't know, it's still in the top 10 in Netflix. You know what I'm saying? Sometimes you gotta look beyond your echo chamber, you know? - Thank you. - I appreciate that. - Hacks, which I have not discussed. Have you discussed it when I wasn't looking? - No. - Okay. Abitella Mentor, which I still watch and still love. - Huge in my house, but we're behind. - Okay. - Kids are watching it on Hulu a season. We're behind. - And then two AMC shows, one which I have often said to my own detriment, I have not watched Dark Winds, but I want to and half, I was half thinking about - Just you for it. - Going at Greenwald and just jumping in on season four, and then if it works going back, and the Audacity, which is a new series with Billy Magnussen and Zach Alifanakis. - I feel like we owe that a watch. - Because we run AMC as a network. - Well, no, we're gonna be inheriting it, and we're gonna have to make the decision about Greenlighting season two. - He's gonna be inheriting what seems to be on your mind. - Well, it's heavy. Yeah, yeah, you know. - I'm trying to accrue powers of attorney as much as possible across any field in relation to my parents. - Do you like that responsibility for me? - To be, to have your power of attorney? - Yeah, you just be letting all my doctors know DNR. (laughing) - Listen, he's here for a good time now, a long time. - He's coming in because he tore his labor and weightlifting, but don't take any extraordinary measures to keep the sky on the table. - My home means compliment him on what it's done to his physique. - No, I don't want that smoke. - In your estimation, I mean, obviously, I think against all odds, euphoria, would seemingly be your number one right now? - Yeah, although I, you know, I'm approaching beef with excitement-- - With open up. - An optimism. - With an open, and an empty stomach. - An empty stomach, big appetite. - Yeah, so this is an interesting moment. - There's no clear alphas, what you're saying. - Yeah, and I think also with something like your friends and neighbors, which has already been renewed for season three. - Oh yeah. - And I could see being a four, five, six, for as long as Ham wants to do this kind of thing. You kind of get to a point where there's some of these shows and you're like, "This is gonna be what it is." And I will, if I like it, I'll keep watching it. - Before we even answer the question, you're smartly asking, I will say that this is an interesting snapshot of kind of what TV is now in a way that it hasn't been. - This is what I wanted to get into. This is the stuff. - A number of the shows you're mentioning, especially shows like your friends and neighbors and rooster. Those are ongoing shows. They're designed to be ongoing shows. They are going to be greenlit before the first seasons or current seasons have ended. And similarly, the other types of shows that we're talking about in the margins, Margot and stuff, there's, if Apple had its way, there's always going to be a Margot-like show on the air. And we will discuss and debate the merits of the show in particular, which I think is worthy of our conversation. But what's interesting about all the shows we're talking about is that they are starry at a certain level and they are safe on a certain level. And I don't mean that judgmentally. When we talk about them individually, I'm happy to be judgmental about their attitude towards risk and storyteller. But they are dependable. And even like your friends and neighbors and the season three announcement, and this wasn't a surprise that it was getting renewed again, even before the second season premiered, much like last year they said, it's coming back and James Marzen will be one of the friends and neighbors. This year, Michelle Monahan is joining friends and neighbors. And who better to represent that certain type of affable, contemporary television plus celebrity than those two? Very, very high approval rating. - Absolutely. - Good in basically everything dependable and feel like the people who have always been on these shows, even if they haven't been before, and even if they're only doing an arc. - Yeah. - This is a relatively healthy snapshot of a moment that even if we're not engaging with a lot of it, or are we necessarily fired up about it? - And I think some of it is firing these shows all off around one another to get in under the wire for Emmy considerations. - There's that. - Usually that window ends around May 31st. - Yeah, so the next couple of weeks will also be busy. I'll be curious to revisit this list after we've gotten a chance to maybe watch some more of beef, maybe the audacity. I think we'll pick hacks up as a, where we add as the final season comes to a close kind of thing. Let's talk about Margo. A show from Davidi Kelly. It's adapted from a novel by Rufy Thorpe. - By Rufy Thorpe. - It's only a 2024 novel. So it's a quick turnaround from page to screen. - She's been recommended to me as a barred of Coach County. - Do you know Rufy Thorpe at all? - Yeah, I read this book. - There you go. This is actually useful. And Kaya, if you feel like it, please jump in. I don't have a specific prompt for you. - I feel mid about it. - That's how I feel about this show. But here's what I want to ask you. You know, ever since the wire, we've talked about TV as the great opportunity to novelize story. Yeah. To tell a long form story. And I think now we've kind of bled into especially since Apple has thrown its weight around in the adaptation space and Amazon as well. And a bunch of these places are now like just buying up novels that seem to have a viable screen story for TV. If you gave me L-fanning Michelle Fifer and Nick Offerman, and if you even gave me a Fullerton English student unexpectedly gets pregnant by her creative writing teacher or what her writing teacher and decides to keep the baby. I don't know if in like a hundred years I would have come up with this specific mixture of character and tone that this show did, and I wonder whether or not it's just because it's like we're adapting this book and that's what the book is like, but I'm starting to wonder whether or not like TV is the right place to adapt novels because this to me is like a perfectly fine example of like in the 1996 this would have been an adaptation of a monosymson novel that lots of people liked. Can you imagine Curtis Hanson's month, Margot's got money troubles? Absolutely. Yeah. Absolutely. And you know what it would have been better than anyone expected and really satisfying. Yes. And there's something about this. You were talking about the safety of it. I think we were talking about the element of surprise that Euphoria packs in to each scene to each shot. There's part of it is because I know what is going to happen on this show because you watch a trailer for it. You know that Margot gets into only fans and you know that her father was an ex-professional wrestler who's gotten that rehab to come back to her. Yeah. I mean, the log line of the book was like, it almost felt like a like a chat GPT stunt to get optioned, which is again, people really liked the book. I had not so much, but like it was it was a hit book and it is a legitimate thing. I am not trying to discredit the author, but the series of words strung together. I was like, well, that's, but that's going to have to have a sensation when I'm watching shows now. And Karen directed the third episode, like it looks cool. Like it. Elle Fanning is wonderful. Like, dear, but Walsh who did bad sisters really counted her as director. I hate one scene start and I know exactly how they're going to end. Oh, I am. If you think I'm insufferable, imagine me watching the show saying what was going to happen in this. Yes. And it's not like, oh, I will get. Let me guess. She's actually going to do only fans. I mean, like, let me guess she's going to get insulted by this HR or person or let me guess. Like Michelle Fightford is not going to be able to take care of the baby tonight. So she's going to ruin her restaurant job or let me guess. And I, yes, like TV. There's a huge swath of television where I'm like, I want a reliable, repeatable emotional experience. Yes. Along with a couple of laughs or a couple of thrills every week for 42 minutes. Or 59 minutes or an hour and five minutes or whatever it is. But more and more, I think TV like the pit and industry and, you know, euphoria kind of makes it hard for me to watch stuff where I'm like, no shit. Well, that happens. If you're committing to eight, 10 hours of something, you don't necessarily want extremity, which I think was a misunderstanding of a lot of the last 10 years in terms of pushing genre things or violence or shock to the forefront to get people to keep watching. You don't need to be surprised. I think you ought to be delighted. And when you get the feeling that things are moving along a predictable track, that for me saps my enthusiasm of spending this much time watching something. Now, if I had a lot of laundry to fold, I get it. I will also say that like, this is from the book. I am, this might be considered a zag, considering I am the daddington of this particular island. But I do find the unexpected pregnancy story arc to be diminishing returns. I dare someone to show me a version of this story that follows a different path, other than throwing up in public and finding out the hard way and taking multiple tests and saying, no, no, no. And then the chat, like, it's hard and this is a legitimate part of the human experience. But dramatically, it's increasingly kind of inert because it follows a very similar pattern. Before we get specifically even more into the weeds of the show, I wanted to say some positives. I think that the, for example, the production design, I'm biased. This is Richard Bloom, who worked on my show. But I think he did a beautiful job showing a part of Attention Sam Levinson, a part of Southern California that is very specific and not the version you often see. This is like on the outskirts of Pomona ish. And one of the things that I noticed that I really appreciated is like in Margot's apartment, Margot is the main character played by L fanning. It doesn't look like poverty porn. No. And it doesn't look like there's a bowl of plums on the table for no reason, which is often the case. It's right in the middle. It's like, oh, some people live here and sometimes they eat cereal. And I noticed that in location to location to location. And when the show does put a little curly cue on it, like the scene in Bloomingdale's when Margot has sort of a panic attack and falls on the ground, Michelle Pfeiffer is yelling at her to get up. You can see that he hung these furry, Cassie and Nate-esque lilac lamps over her, which I don't believe are a feature of Bloomingdale's, but accentuated the shot. I was just in Bloomingdale's last weekend. Shopping for strollers? No. As a gift. We were looking for home goods and we went to a Bloomingdale's that didn't have them. Okay. Well, you should go to the one in your Pomona. It's classier. And the music, original music is by Nathan McKay. We love from industry and executive producer and I think essentially day-to-day showrunners Evanderson, who's incredibly talented writer who I work with, who I love to see her succeed in something like this. I will also credit one other huge thing here that maybe goes against our initial take. The episodes are like 36 to 42 minutes. Bravo. Huge. Let's normalize this. Once you get through your friends and neighbors trailer, 38 minutes. Although this started with a trailer for itself, which I was like, relax apple. You have a winner I'm here. I really appreciated that like there is nothing, few things worse, few things worse than you fire it up and it's like 64 minutes, but you know what else is worse than that? A 36 minute half hour comedy. But if you tell me it's an hour long drama and you hit that 40 minute sweet spot, I'm paying attention. I sincerely would probably, I would watch every episode of Fallout if they were 42 minutes. It makes these huge difference. Huge difference. So there's that. I think the other thing I will say that's really positive is I think Nick Offerman is amazing so far in the show. Three episodes in. He's playing a just out of rehab, former wrestling great name jinx name jinx he this. This feels a little like, you know, you're talking about the tops on euphoria to say this. But like the version of the show that's focusing on the the man is pretty interesting. He's really good. Well, this is kind of the thing is like, but it's a different show. Yeah. And I was most delighted by the opening episode, the first episode, specifically, Elfanning in college and like maybe being in Fullerton and having a gift that should be bigger than Fullerton. The great Michael Langerano. Yeah. And wearing a weird gold button blazer. Yeah. Like suburban, ex-burbon, California higher education, living in an apartment with a bunch of roommates who all seem like they could have their quirks and would be pretty interesting to get to know. And Elfanning kind of working at a Benagons or a Chili's or whatever and and having dreams beyond Fullerton, but not really sure how to get to them in a in a different world. That's enough. That's a good show. Like I would watch Elfanning doing Francis Ha, you know, like I would watch her kind of just be like, yeah, like I wish there was some bigger out there for me. But I think part of it might be because when you get big, big, big stars, like Michelle Fiverr, who is married to David Kelly and I think has made a turn to television in these last few months with the Madison in this. Her storyline with Greg Keneer is kind of bigger than I thought it would be or maybe bigger than it needs to be. And then offer him in could just be a dad that comes back into the picture, but you add on this whole element of wrestling and it's a lot of extra. But I would also and the baby becoming the Fulcrum to grew you night, this kooky family and make things work out. I mean, look at us, which is a couple of kids who started a TV podcast and now we're talking about Michelle Fiverr projects twice a month. So really the culture moved to us. Yeah. So thank you. Yeah. Gratitude. But the tone and the consistency of the characters to be all over the place and I wondered if it was the creeping reach of celebrity. And what I mean by that is when we first meet Michelle Fiverr's Cheyenne character, she is, and it was interesting. She is made up heavily and is seemingly trying to embody this lower class ex-hooders waitress piecing it together, now trying to pretend to be a different person to marry a preacher who apparently only dines at Cheyenne restaurants played by Greg Keneer. The next time we see her, she looks completely different. little bit more like she does on the Madison, which is, Michelle Fiverr looks incredible all the time at any age of her life and in any setting. And she seemed a lot softer and more likeable and nicer. And so then when the turn is that she won't hold the baby, her grandchild or take care of him or help or talk to her daughter, it felt like suddenly we've twisted it again. The drift towards likeability and wanting to be a hero in a story that almost inevitably will turn to some kind of mush started really, really early. Maybe it's the familiarity with these characters. Maybe it's a little bit of the ego of who they want to play and how they want to be seen creeping in. But what I didn't understand really was the troubles that anybody was in. Up into a certain point, everything seems to be working out fine. She's spending hundreds of dollars in diapers and things up until one of the roommate moves out. And then suddenly the crisis is writ large for us. Suddenly she says, I could have moved in back with you, but your dress is filled in the other rooms. And I don't really understand the peril. Everything is a little bit agreeable. Everything is a little bit nice until it's not for the purposes of the plot. So a character who is kind and one scene comes over to pick another fight with someone else because we're in episode three and we need more content. Yeah. And we introduce, I think it's in, is it two or three that we introduce Marsha Gaye Harden, Purplays, Michael Orangos, mother. Michael Angerano's character is a professor, the father of the baby, Marsha Gaye Harden shows up really shows up and turn up as a character who immediately announces that her hair looks like a skunk. And she has some of the, sorry, a raccoon, are you sure was raccoon? I think it was skunk. raccoon because she's like, and I fight like one too. That's generally, again, you know, I've been paying a lot of attention to inheritance and family matters and legal stuff. That's generally how people behave in legal mediation type of circumstances, you show up and you say, I'm a villain. Now please speak to my attorney. It's all over the place. Yeah. Yeah. I feel like I'm sounding more negative than I intended to be because it is a good expression of what Apple likes to do and tends to do on things either executive produced by Nicole Kidman or spiritually executive produced by Nicole Kidman. It's, it's, it's, maybe it's hello sunshine core, but it's also like, it's not dissimilar to how I feel about the episodes of shrinking that I've watched, which is, this is about taking these incredibly vulnerable, destabilizing moments in characters lives, but creating the feeling that everything is fine and safe and good. And cushioning. I don't mind going either way. You know what I mean? Like, I don't necessarily need everything to be last exit to Brooklyn, but if somebody loses their wife in a car accident or someone has an unexpected pregnancy and finds themselves in dire straits economically, I find it difficult to sometimes like square the circle of, but actually in terms of the televisual experience that you're going to have, it's fine. You know, it's like, it's safe and it's cool and it's nice and like, you're going to get to know and love these characters. And honestly, let's just try to keep these characters in play for two, three seasons, but keep them more or less in the same way. Like so, we're going to want them all existing in this same world and in the same circumstances forever. Yes. And in some ways, that's how I feel about your friends and neighbors, which is like a cool concept that I would have liked to have watched a 90 minute to 120 minute movie about a guy who's fallen out from an investment bank and starts robbing houses in his rich neighborhood. But when you're like, here's episode 11 of him doing the same thing. Well, but also the central problem with your friends and neighbors and maybe this is this, maybe this is just the note that they don't give it Apple, or maybe this is just Apple, where everything is smooth and contoured and we're satisfied. Well, maybe they're like, this is exactly what we want. That's what I'm saying. Yeah. John Ham's character and your friends and neighbors turns to a life of crime for reasons that are kind of shrug emoji. Like, he loses his job that pays him seven figures. So he starts stealing paintings, but don't worry, his daughter still gets into Princeton. The stakes are never really that bad for them. Even when they try to create the sense that they are, he the biggest risk he has is of maybe not being able to pay for the tennis club membership anymore or hang out in the sauna with his equally rich friends. Yeah. This is not really a problem. It is a conceit for a television show fine, but we are living in this moment where where it does feel like some of these streamers, studios, creators are trying to cherry pick the trappings of a grungeer, more intense kind of drama that we have history and success with on television, but really just standing off the edge and making it TV. Maybe you can't get in the door unless you're like, here's the sticky, hooky part of this. If you pitch John Ham loses his job at a big-time investment fund or private, you know, what a badge fund. And in the midst of a divorce, needs to recalibrate how he fits in to this Tony Long Island community. That's just, like, John Hamdo and John Chiever. And I'd probably be really into it. And I wouldn't have any expectations about how he doesn't, doesn't change. But to get it sticky, you have to be, like, and then he turns to a life of crime. But don't worry. It's not like Breaking Bad. We're like, it's not like Breaking Bad. I mean, this is the, this is the example. It is not something we generally do, which is hold up one of the, you know, generally acknowledged. Greatest shows ever. Rushmore shows ever and say, well, you're not doing that. Nobody needs to do that. Very few people could do that. And if they did it again, we'd be like, you're just doing that. I hear all of that. But early on in that show, Walter White reaches the first of what it ends up being, you know, dozens, on dozens of absolutely, existential catastrophic decision points. And he does the thing that you can't believe that he's going to do. It begins with the first, you know, the guy who's in the basement, who they then have to, like, they melt his body in the bathtub. You can't really walk back from that. What a lot of these other shows do is they create a clever opportunity and circumstance parachute to get away from you go near the body of the bathtub. But then you're not really responsible for it. And he was just sleeping anyway. And you're off to, to, to flirt with danger again the second, that you know, the next week. Yeah. That's kind of a bummer. And I, I can understand why you might do it in an ongoing show. But it's like something about the mechanics of the storytelling sticks out to me too. If you were going to pitch justified as a movie, you would pitch it as, all of fun versus Goggins and the end of the movie would be their showdown. If you pitch it as a TV show, you're like, this is a week to week show about a really cool martial who returns home to Kentucky after he gets in trouble in Florida and has to deal with all of the like rural crime outside of Lexington and the hills outside, you know, and that's awesome. And then it emerges over the course of the season that there's going to be this big bad. But they are like from any given week, you're not going to know what the story is going to be. And it's all these different cool little procedural martial stories. I don't think that they are using the same logic of like what makes an entertaining television show week to week anymore. Understandably, because a lot of people are waiting for all the episodes of your friends and neighbors to go up so that they then just watch them over a weekend or whatever. And I don't know. With Margot, it's the same thing. It's like, how much, how long can you do a show about someone who didn't expect to be a mother and now is? Well, I think I could do it for a while, I guess. But we should separate the conversation because, how would you characterize the book? Like, is the book surprisingly dark at times? Or is it essentially like a fun read that touches on contemporary society? Yeah, I would say the latter. I think my issues with the book are also like my, I watched the first episode of this and my, I think the tone of the book was a little bit off-putting to me similarly in the way that the tone of this show is a little bit off-putting where it just feels like overly tweey. Yeah, I think like, I don't think it's not necessarily fair to combine that into this conversation because if this is true to the spirit of the book, like one thing that David Kelly is just expert at, and especially this later part of his career, is he's really good at finding the thing that made the thing successful. And he just expands on that and celebrates it. So turning this into a glossy but affirming sort of tweey magical creative family story, that's fine. There's plenty of space for that on TV. There are a lot of talented people working to make that happen. And maybe it'll have a couple twists and turns along the way. And also with a show like this, it's like, oh, that's Kerry Kenny Silver in one scene being funny. That's Laura Sanjakamo as a minor character. I haven't seen her in a minute. That's great to see. It's attracting Marsha Gaye Harden of a very, very, very high level. But the bummer is when that sensibility, that kind of apple just contoured smoothing everything out sensibility, becomes the lingua franca of the medium or becomes the expected thing. Now, to bring it all the way back to the first point, we were making when you were talking about what's out there right now. Historically, TV is pretty laundry folding and affirming and magical and fill space and fill time. And it's okay to bring some of that back into our lives. The pit proves that you can be pretty boundary pushing and thrilling within some using some of that old language. I think the problem becomes when all of the resources at the shrinking number of streaming services Poor all of those resources. into that. Now, we're not at that point. There's still 300 new shows and absolutely an Apple UK, especially, is putting out a lot of relief to it. And you also might speak to the difference between watching TV as a professional pursuit versus watching TV as like a way to let off steam at the end of a long day. So I acknowledge that and I, you know, I, there, but there is something fuzzy going on with me and with these shows where I'm just like, I'm not connecting with as many as I usually do. Well, I think, I think that goes back to the, I think you were right about the shrinking observation. And I also think that it's just a lot of hours to fill. Like not many stories are deserving of this much of our time, frankly, you know, and, and, and some, even some of the spy shows that maybe people think we overrate, but it's like, well, I also read a lot of spy books in my spare time and probably couldn't tell you about half the plots. Like that is a, that is something that I enjoy doing once I'm in that world, but I wouldn't give the same, I probably wouldn't give the same grace to books in different genres, just a filled time. They would have to earn my, my attention. Thanks for your participation in the show today. Thanks to the other plans. No, I got another pod I gotta go to. Oh, well, please, by all means. And we'll be back on Thursday with beef top chef and wild card. I mean, I listed all those shows. Maybe we should check out the audacity for that. I mean, I don't want to over commit because it's kind of a busy week, you know, with all the probate stuff I got going on. But I don't really, I got to get to the bottom of this. Now I'm just, that was just a bit. Thanks everybody for listening. We'll be back on Thursday.