You Need to be Watching ‘Furious.’ Plus, ‘Spider-Man: Brand New Day’ Preview

For adults with Crohn's disease or ulcerative colitis symptoms, every choice matters. Tramphya offers self-injection or intravenous infusion from the start. Tramphya is administered as injections under the skin or infusions through a vein every four weeks, followed by injections under the skin every four or eight weeks. If your doctor decides that you can self-inject Tramphya, proper training is required. Tramphya is a prescription medicine used to treat adults with moderately to severely active Crohn's disease and adults with moderately to severely active ulcerative colitis. Serious allergic reactions, increased risk of infections or lower ability to fight them, and liver problems may occur. Before treatment, get checked for infections and tuberculosis. Tell your doctor if you have an infection, flu-like symptoms, or need a vaccine. Explore what's possible. Ask your doctor about Tramphya today. Call 1-800-526-7736 to learn more or visit www.tramphyaradio.com. Call 1-800-526-7736 to learn more or visit www.tramphya.com. Hello and welcome to The Watch. My name is Chris Ryan. I am an editor at TheRinger.com and joining me in the studio, his interests are music, fashion, and film. It's Andy Greenwald! Charles XCX. We actually have Charlie XCX on the show. Today doing an unplugged performance of the new Strokes album. That's phenomenal. No auto-tune. Will you be playing the role of David Cronenberg? Yes. Over the final track, I will be like, "I don't like this Strokes album." It's great to see you. Just incredible slander, by the way. People will hear this Strokes slander before they hear the Strokes slander that you did on what is now next week's episode. I have no problem just being open about it. First of all, I don't rise to the level where Julian Casablanca is going to write a diss track about me. Second of all, I'm one of the world's great promoters and proponents of Room on Fire. Yes, I know. So that's why your talk that no one can hear until Monday shocked me. And I do the work and Undercover of Darkness. Yes, a great song. The best Strokes song. It's the best Strokes song. Among many on the best Strokes album. Angles? I think it's Room on Fire, dude. No, Undercover of Darkness is not on Room on Fire. It's on Angles? Yeah, I think so. This is a great podcast. Riveting. First of all, we have a lot to talk about today. I'm excited about a new TV show, but I do think it is important to note. I do not buy it when you're like, I don't rise to the level of a Strokes diss track because one of the great joys of life and late period friendship with you is just discovering random people who just out themselves as like big time CR heads. Like who? Or like, you know, members of Congress, for example. Who's the member of Congress who did that? There are numerous senators on both sides of the aisle. This is true. People listen to these shows. There's no Republican senators who like the rewatchables, are there? If there was one, who do you think it would be? I think it would be Josh Hawley. No, Josh is busy. He's got Fauci in his sights, you know? Right. Josh. My guy. No, he seems like a bad dude. All right. Regardless. We can cut that part. This is our Thursday energy today. Today on the podcast, Andy and I are going to talk a little bit today about a modern syndication story, television syndication story, because news came across a deadline today that Netflix was going to be paying a handsome fee to AMC for the Walking Dead franchise and the rights to broadcast it for five years. I want to talk to Greenwald about that. And also we have a new show that we love, Furious on Hulu, starring Emmy Rossum and comes from Liz Meriwether. And it is basically what I had been pining for when a couple weeks ago, I think I did this with Joe, where we were talking about the dog days of summer and the drought on TV and not really getting that fired up for Ted Lasso season four and not really sure what's on after Dragon and a couple of other things end. And not kind of out of nowhere, Furious hits us. So I'm excited and I'm excited about how excited Andy is. I'm excited. Let's talk a little bit at the top. Do you have anything you want to get off your chest? Did you have any topics you wanted to bring to the pod? Like, did you add all these like hidden prompts and like secret segments that you wanted to do? I'm on the record as from the beginning saying it was a lab leak. So I have nothing to hide from you. Bring it. Do you really think that? I've arrived here. No, can I tell you the real truth? This makes me a terrible podcaster. I have no opinion. I actually don't care. Okay. Everything seems fine. We're still talking about The Walking Dead, right? Yes, I think that it was designed. Yeah, no, I don't have it. Do you have a take? No, I don't think so. You a big lab leak guy? I don't know enough about it. How many? That doesn't stop me from commenting on a lot of things I don't know a lot about, but this one I just don't know a lot about. Historically, are you a big wet market or dry market guy? We've talked about this. I love a wet market. I know. It's much more interesting. Dry markets are what, like sacks of lagoons? Yeah, it's like, they have spice places in Silver Lake. I don't need to go to Wuhan for that. It's true. Although I think that would have reinvigorated my coverage of Game of Thrones because I did spend the last three seasons talking about how if only we could get back to Essos and the various spice traders. I never actually used the term dry market. I feel like that could have been a good look for me. I don't think it was in our lexicon back then. Did you want to ask me anything? You had these segment ideas. Oh, I think we should. I think we can. Let's do more news and then let's see if we have to do any padding at the end. I do have some segments. There's something I really enjoyed watching, but let's talk syndication. You had a vision. Netflix pays $500 million for five more years of The Walking Dead universe. This comes from the Deadline. To be clear, to continue to air the universe. They've been doing it for a while. But Deadline, "Netflix has renewed The Walking Dead, paying $500 million to AMC Global Media for five years of rights to the original zombie franchise and all of its spinoffs. The deal is co-exclusive." So Netflix is paying $500 million to also air something that is readily available on Amazon, which is just amusing to me. The 371 episodes of the original series and its six spinoffs will stream on Netflix in the UK, Italy, Australia, New Zealand, and other new territories. Also, you can watch a full episode of Deadline on Netflix. Along with United States, where it has been since 2011. So I wanted to talk to you about this for a couple of different reasons. We had a mailbag question that we'll be addressing Monday. So this is a little bit chronologically off. That was Julian C. But it was about he was just like, don't knock auto tune until you try it, bro. We had a mailbag question that was more about producer fees. Yeah. And how do producers, like when Reese Witherspoon gets a taste of Lucky or whatever Hello Sunshine is up to, you know, well, how does she make her money? How much does she get paid when she is an executive producer on a show? That's what we do on this podcast. We look out for the little guys like Reese Witherspoon. I believe in small businesses. And that's one kind of syndication story or one kind of like economic story within the industry. But this is an interesting one just because syndication used to be, Mm-hmm. the lifeblood of television. You know, like when we were growing up, the idea was you get to 100 episodes on a network television show or any really kind of television show, but for the most part, a network television show. And then it would go on to TBS, local networks. Who among us can forget the lazy days spent watching PG-rated Sex and the City episodes on E! Entertainment television? Oh my God. This is now the Netflix model where they obviously rely on Walking Dead and its, uh, ancillary properties as a kind of staple of, of, of, of like viewing hours, because otherwise why would you cut a half a bill check to ostensibly not a competitor, but like, you know, they are, It's non-exclusive. Yes. And it's not exclusive, but obviously like it's good for The Walking Dead because it keeps these shows in circulation. And every once in a while, like Daryl Dixon will just pop into the top 10. And. I saw some people make this comment. I'll ask you, if you're going to pay $500 million for the rights to air Walking Dead, how much do you think it would cost outright to buy the IP off of AMC to be able to make more Walking Dead? I hadn't considered the question. I mean, I think that what's important to think about is that AMC's investment in this IP and in this franchise has been not just like a saving grace of the network as it's gotten more and more subsumed by the bigger fish of the tech streaming corporate merger era, but it is their lifeline. The story that you're citing in Deadline immediately pivots to AMC holding the stock price and how this affected it. It's unbelievable that they have this, and it also helps understand why they continue to mine the IP themselves to keep things in production, to always have a show. And look, I'm not pretending our podcast is at the vanguard of representing what people watch uniformly across the country or the world, but I think you can fairly say that recent eps of Dead City don't hit quite as hard in the monoculture as the original Walking Dead did. I did see at Comic-Con that there was Lauren Cohen, who's still on these shows. She was gone for a while, and then I think she came back for The Ones Who Live. Sure. I think. And that they're doing a multiverse episode, her sister, I guess the actress was Emily Kinney, who died in the episode with, sorry, 10-year-old spoiler alert, is the episode with, what's his name, from Gregory from Abbott Elementary. Oh, yeah. And my dear friend and the very talented Christine Woods, I believe, is the one who pulls the trigger on her. Anyway, she's back in a multiversal episode where, what if she was still alive? There's Walking Dead multiverses? I'm just saying, like, that's where we're at with the IP, where they're like, let's just do an episode where we can bring everybody back. You know what it kind of reminds me of is, like, the CW. Where they had seven DC-related Berlantiverse shows that were kind of always cranking, always doing crossovers, always having multiversal, yeah. That is the CR, Glenn Gary, Glenn Ross crossover. Always be cranking, I believe. And they, but, like, this is what keeps that network afloat in a lot of ways. Yeah. And no disrespect. And so it just seems to me, I mean, the conversation about syndication is separate, but this just seems to me to be good business, because the other thing that is made clear in the article that Netflix is doing with this is that it is buying the rights for many more territories globally that Netflix exists in than AMC has ever gotten to. So it is spreading the good word, almost like an infectious disease that transforms people into something other than what they were. So it just seems like good business, and the number is the number, but that's really insignificant to Netflix in the scheme of things. Yeah. For another reliable bedrock. And I think that's the plank of their programming, especially when, you know, in their more expansive era, they were spending that much money easily on making three times as many original shows per year purely for the sake of catalog enhancement. Yes. And I was curious what, I mean, like, every once in a while on Instagram, I'll get, like, videos of actors opening up a residual check and being like, $1 for being on, like, SVU six years ago or something. Like, I'm curious whether, like, Kim Dickens gets, like, a balloon. A balloon payment, you know what I mean? Like, not to pocket watch Kim Dickens. Should I text her? I mean, you're the guy, but, like, you're the one with Kim Dickens in the contact list. That's true. You know? But I was, you know, whether or not so much of what Netflix does is buy out back ends, right? Because that's why a lot of their movies, quote, unquote, cost what they cost is because the payment is for all of, like, in perpetuity, your sort of payment for this movie comes in a front-end check rather than, man, you know, a few good men's been on TNT a lot, so I keep getting checks for that. That's definitely the case for movies, and it was the case for TV shows. I can only speak to, from the writer's side of it, I do know that in the recent, not the most recent, but I think the strike era renegotiation, one of the things was you have to provide some metric for shared success. And there are tiers in which if you hit, I don't know if it's the top 10, if you hit 100,000 views, a million views or whatever, you can, you get something. Extra, a little sweetener. It is not like the era of just green checks arriving for people all the time for something they did 17 years ago. Those days are over. I was on an episode of Roseanne. Look at my house. But to your question about specifically the actors, I have no idea. And I have no idea if, for example, the contracts that Andrew Lincoln and John Bernthal signed in 2009 or whenever it was reflect the same industry realities that the contract Coleman Domingo signed when he was starring in the other one. What was the other one called? Fear of the Walking Dead. Oh, right. So I don't know if there's a difference there in terms of era or if there is still some. And I don't mean to cast aspersions on AMC, although there has been quite a long and I believe still slightly unresolved court case. The Walking Dead rights and the Walking Dead. I like that whole thing has been very litigious. And Frank Darabont, who brought it to TV, was suing. And anyway, so I'm not trying to cast aspersions, but there is a long history. In all caps, this town of companies being like, gosh, we still haven't really turned the corner on profit yet. Yes. So we'll get back to you that I don't know. The answers is what I'm saying. And the large thing that you can the larger takeaway is just the opacity of all of this. Now, it used to be pretty clear to your point, like people would say infamously or famously, people would be like, I can pay my mortgage every year because I did five lines on friends. Right. That is just a lifeline that I get to participate in. Which is pretty good. It's not to date myself. I don't think it's actually possible to date ourselves more than we do on a weekly basis. But I really, truly believe that my first understanding of the passing of time was watching the five or six p.m. hour of Fox 29 in Philadelphia go from like MASH, Three's Company and It's a Living to Seinfeld. Yeah. You know what I mean? Like shows that are no first cheers. And then it's like, wait a second, that family ties. And it's like you see your childhood. Yeah. It's kind of like when you are watching. A guy and they're like, at the ancient age of 34, Bryce Harper takes the and I'm like, I remember when Bryce Harper was in high school and I was like drinking, you know, like. Also, when people are like, wow, I can't believe the corpse that was once Kyle Lowry has finally admitted that he, too, is just dust. Yes. Like at the age of 38 is pathetic. But I also was like very old when he won the national championship. Yes. I remember we had to wake you up at your life alert. And you were doing your Nosferatu in bed. I do wonder whether or not this I mean, I don't know how interesting people find all of this, but I do wonder whether or not this recommitment to the Walking Dead universe on the part of Netflix is going to be tied at all to the rumored always on channels that they're developing. Good. Look at your little industry thinking. Well, I was just like, you know, for them, what would you put in these different buckets? Right. Like you could. Would they be title based? Would they be? Genre based? Would there be, you know, would there be comedy like specials? I could totally see that. But if you have six. Serieses of Walking Dead, you could just basically like put them in the spin cycle and have them on all day long. I hope Ted Sarandos is listening. I mean, I know he usually does, but in the bath like Mallory Rubin does, but not in Mallory's. No separate tub like a Cialis commercial. Yes. I. I think this is very smart on your part. The idea that like to diversify, they're going to have to have always on channels or like maybe different ad tiers where they just show stuff and become more TV more overtly. But I think so. A Walking Dead channel would do numbers for them. But the one thing that I got excited about when you said that was, you know, remembering the glory days of HBO, HBO 2, HBO 3, HBO 4. What if they had channels that was like Netflix 1.0 and it was just Lilyhammer and like House of Cards? Yes. And then it was like Netflix 2.0 and it's Orange is the New Place. And Master of None and Mindhunter and then Netflix 3.0 and it's just Floor is Lava. Yeah. 24-7. And Virgin Canyon or whatever it is. Like they should own their history. So much of the Internet just it's about what are you doing for me now? Like, let's really, really do it. Or they do Netflix. Oh, Netflix like 0.5 is it's just a blank screen with a mailing address and you send a red envelope to them and they send you a show back. Bergman scenes from a marriage that I never returned. Well, then no one else ever got to see it. I know. I robbed some some other guy with glasses. Not to do the age thing, but like, did you engage much with the red envelope era? Was that something that was in your household? I think like we got. Yeah, I think we got Netflix, but like it was like a very short window of time. Right. And then we're like, oh, wait, we can just have this all on our television. It was quite useful. I have to say. There was a great system. It was also just like it was just something that worked really, really well and I think made people like deeply engaged with what they were watching. And it was it was a great library system. The thing that it actually did for me that I'd never considered was how much it helped the TV watching, because, you know, how you famously were too busy to watch TV from 1998 through 2006. Brother, I think it was closer to 10. Sure. I also. didn't watch the first season. seasons of like when the sopranos went like you were in on the wire from the beginning but i only got into it like season three and the red envelopes brought me home baby well there was also like the sensation of crisscrossing brooklyn looking for uh the next disc in the 24 season 2 collection so you would would you ever engage with 24 missing the hours of 4 p.m to 8 p.m and you'd skip to 9 p.m phoebe and i binged it i can't remember if we then became weekly 24 watchers because i can't remember i think it was season three and i don't really remember what that guy was getting up to then i bet it involves strapping people to chairs i'm pretty sure that when i i there was an la season okay i think i saw that season yes i'd watch that i think i watched that isn't that the season when edgar and what's her name are like in the glass and like we say goodbye to one of them and oh man one of my favorite eras that i feel like we should get back to speaking of 1.0 is keifer sunderland uh electrocuting guys with lamps let me take it a little further there was a period when you were still outside as the philly special podcast would say but you were also engaging with tv to a degree like lost friday at lights yeah but what i remember most about it was that you were really watching television in the way that i watched food network in terms of like oh now i know how to mince garlic because you would watch house and you would give medical advice you would watch 24 and you would expressly talk about what you would have done the same and what you would have done differently in these high octane interrogation scenarios that was a really interesting way to approach the media he never he was not really much of a de-escalator and i feel like i'm a more conciliatory personality i'm a little bit more conflict averse no but that was not your attitude like entering like the hi-fi bar in 2004 you never went in being like hey everyone let's take it down a notch right you know what i mean right you also didn't think that one of us was a traitor to our country so that was a cool attitude that was a cool era it was a cool era um why don't we why don't we talk about furious okay i i wasn't sure if you wanted to pivot to your spider-man fan casting but we can do that at the end no no no let's do that now gray roots entering the chat uninvited garnier's got you garnier color sensation retouch covers up to 100 percent of grays in just 10 minutes no ammonia no mess and the color lasts up to four weeks it's as easy to apply as shampoo plus it's vegan and cruelty free 10 minutes sensational color sensational price with those savings your next girl's night is basically free find your perfect match at walmart.com or at a store near you this episode is brought to you by panda express telling someone you love them it isn't always easy but showing them through food sometimes that's better than words especially when that food's wok cooked at panda express a joe has favorite pick from delicious classics like orange chicken honey walnut shrimp kung pao chicken and black pepper sirloin steak perfect for when you're watching the team you love or eating with the person you love have you eaten yet click or tap the banner to order or visit a panda express near you this episode is brought to you by nas energy every ounce of dirt sweat and gears every checkered flag and trophy raised every lap every race every hard-fought place they're all jammed inside every can of nas energy high performance energy for burning the midnight oil in the garage and pedal to the metal human horsepower for the streets go ahead crack open a can of nas energy and get after it this episode is brought to you by boar's head it may have been years ago but i still remember the feeling of unpacking my kids lunch boxes after school and find that nothing left as a parent that's a total win boar's head maple honey ham american cheese maple honey turkey all-time greats in the school lunch game it's real quality protein that tastes great so you can feel that winning feeling all term long whether you're doing wraps sandwiches or a quick snack box boar's head makes packing school lunches easier you'll be proud of what you pack they'll be happy to finish it fuel their school day with the premium choice boar's head for lunchtime inspiration visit boar's head.com slash back to school or head to your local deli counter i did want to ask you what's the spider-man plan thanks for asking um it's like we're sadly not recording next week we have two shows next week but we're not live recording or we're doing any post spider-man recording i think it's good i think we can let the first reactions die down and we can come in with some truth bombs um i uh i like the way you asked me that the way like like psa's ask if you have a disaster plan yeah like what do you have packed and ready to go it's honestly at that level in my house my daughters are completely locked in on this movie and have been for a while leading me to do i think maybe my first ever like two weeks out ticket purchase really just so like i could well after you learned your lesson from odyssey where you're like i'll go see it in imax 70 yeah that's the way christopher nolan asked me to and the only place showing it was fucking ithaca yeah and it's hard to get there as a dad um so we are we are locked in and we are ready it's interesting because i guess it's not interesting like their their desire well my 13 year old's desire to see it is entirely tom holland and zendaya okay i think the nine-year-old's desire to see it is entirely her sister's interest in tom holland and zendaya but they do like those movies they do like those movies they do like those movies a lot they like the spider verse cartoon movies a lot and uh i'm actually feeling i really hope it's good because they're so excited so that's an interesting like wrinkle to it where like you know you'll go to the odyssey maybe and you're just like let me kick the tires here and see whether emily wilson was right about this emily wilson and i approached it the same way with the same level of rigor and cinematic history in mind but like spider-man do you think you have like a more open heart because like your kids are so fired up you're like it's gonna take a lot to disappoint me about this well yes for sure but like i am you know what i'm just gonna say this i actually have no idea because everything i've tried to clamp down the filters and like i know spoilers to the degree that i'm capable of not having spoilers um but the two strands of information that seem to be dominating about the movie are one vibes that maybe it's it's mid and there's no clear villain or whatever and the other one being well it's not a spider-man movie it's a peter parker movie and those are always the best stories anyway so thus it's good right weirdly and i know i know you often look to x.com for accuracy and reporting yeah i have it open right now just uh translating this to grok are you getting a lot of like like really really really passionate posts about how john watts ruined those other movies and now finally we have like like now are you getting those on for you or are you getting those and following oh no i only follow like ej smith and other like eagles beat writers so it's like not i mean maybe but you're for you that's a very very specific thing yeah and so for you thinks i hate the director john watts but you don't absolutely not he seems like a lovely guy and those movies were very enjoyable yeah especially the last one also i'm not a guy i'm idiosyncratic in some ways but i don't make or break my interest in spider-man media based on like the gravitational reality of swinging sure listen you've got principles the swinging in the ice storm maybe but the swinging in spider-man homecoming trilogy what do i know about that yeah yeah you know uh i have not gotten a lot of that served to me recently is yours just mostly like josh hawley fan edits what is it it is let's doll it up uh but this this is one of the new segments i wanted to do what does the algorithm say for the movie i don't know i don't know i don't know what the algorithm says for the movie what does it say for you there's a bunch of stuff about kawaii leonard okay the odyssey the idaho murders heat getting made and ross duhat leaving the new york times for 60 minutes that's that is for you that's really accurate i would have guessed five out of the six of those things and i would have started with ny times op-ed writers going to the the garden of barry uh mine is just vick fangio making fun of anthony fauci that's your for you this is the top of my for you did he make fun of fauci yeah he went to his press conference and he's like i'm just gonna be like fauci did you guys see that so glad football's back holy shit yeah yeah yeah yeah yeah yeah man so that's my dc i guess yep uh your district of columbia or your vision for what washington should be anyway uh yeah i didn't know that the fandom was like tom and zendaya are freed from the shackles of this schlock merchant and like this movie is going to be incredible oh i had no idea that that was a narrative it's just interesting that like this but that is also definitely one of the planks that is fueling this movie to what may be the biggest opening in five or six years yeah it is people like spider-man movies and they like the fact that they are generally pretty good and haven't been tainted by the occasional misfire recently but uh they also just like the stars a lot do you think that there is a correlation between like spider-man will obviously do bonkers numbers uh almost regardless of whether or not people like it's mid but do you think a astronomical performance from this movie bodes well for doomsday no but it will be interpreted as such for sure the sheep will think that sheeple on their for you pages they don't understand the real detectives no better you know did you see that yeah did you see that yeah you have so many mysterious things pretty good i heard it was good yeah - Yeah. - But like, did you go to the theater to see it? - No, we watched it on streaming. who was the pilot on that i said there's a movie where sheeps solve a crime oh she's gonna watch my wife was like that sounds incredible let's fire that up i have been you know not sheeps that that is plural yeah uh i have been a loving third to your couple for many decades and i a hundred percent could have predicted exactly how that could have gone it would have gone like i i see it my wife responds really well to these two things yeah one animal solving crimes yeah two found footage horror where a folkloric witch rises out of the woods to kill many people are you seeing what i'm seeing though yeah connect the streams go right now into jason blum's office and be like there is a terrible murder found footage at a farm yeah and the only people left to solve it are the farm animals why not that would do numbers anyway no i just think that that the i think the uncomfortable truth is that the spider-man movies have succeeded so entirely because they have been i mean you watch those first i re-watch the trilogy now and i completely forgot that like the whole beginning of the first one is about like lost avengers tech being picked up by the wrong people like the shoehorning is so much more intense than i remembered but i think i'm not alone in that the cultural memory of what was good about those movies is never the crossovers it's tom holland's performance of spider-man and zendaya and whatever and the lighter tone and the fact that broadly they were in their own sandbox even if they had to like make it make adjustments for like the larger marvel thing and that like the third movie did multiversal storytelling about as well i mean we'll see but i think about as well as it can be done because it was it was entirely emotional about the character that we'd grown to love and had stakes and everything like that and so i think if this movie does well it's because people are like i'm interested in these characters not necessarily this type of movie or storytelling and i think that's the thing that's the thing that's the And my fear is that based on the spoiler stuff that I think we both have known for a while is that this if this is more of a backdoor pilot to the next brand new day of Kevin Feige's grand MCU and the stories he wants to tell, I think that would be a bummer. I will say this. I saw recently that Holland is like, I'm happy to play Spider-Man for as long as I'll have me. And he's 30. So I guess that would probably be like, say, 10 more years. Although I mean, you say that, but what do have we ever had? A 45 year old Spider-Man? Yes. Tobey Maguire in Spider-Man No Way Home. And I would imagine Doomsday as well. I think Tobey Maguire was younger, but like by playing poker all night for six years, he aged a little bit. Tobey Maguire. Like, what's interesting is that as we age and we are, people really talk about, like, you know, moisturizing and sun protection and whatever. But then you just hold up Tobey Maguire, who I believe has not seen Earth's sun in many decades. And that's a different kind of costume. A cautionary tale. I do think that more comic book franchises should strive to get to movie number six, because my favorite thing about comic books is like not the origin story. It's like the story, like five years in where they're like, or just like a run where they're like, yeah, of course you are. We already know, like, how these people got their powers. Oh, you don't. The origin story stuff. Yeah, let's move on. Yeah, I don't want to restart Spider-Man. But to these movies. This will be my last Spider-Man. Like, this, like, Tom Holland. Really? Is my final Spider-Man. Yeah, I'm willing to say that. Where are you going? If I'm 55 and I'm like, let's see if, like, Pipsqueak McGee can, like, relaunch the Spider-Man franchise. Like, we've got problems. I'm trying to think who it is. It's like, it's like son of Mr. Beast. Yeah. It's going to be. It's like he's half minion, half beast. Now I'm interested. I think. He's a detective. You're just giving these ideas away for free. I constantly tell you that. I mean, but to this, this series is credit. We actually never saw the Tom Holland origin story. He is Spider-Man at the beginning of Homecoming. I forgot about that. And we were. And I believe, you know. I have to admit, I do not have, like, a comprehensive memory of, like, these Spider-Man movies the way, say, maybe Godfather and Godfather 2. So I don't remember, like. Wow. Like, what happened in the Jake Gyllenhaal movie. They went to Europe for that. I know that. Yeah, they went to Europe. Those kids take a lot of trips. Well, it's a, it's a pretty elite school. Academy. Yeah. I think they get a lot of opportunities. But yeah, but we, I'm sure there's a podcast of us nine years ago being like, actually, it's really interesting. They chose to forsake the origin story and we're just going to join it. And you could be like, and you were probably like, that's what I want out of a Spider-Man. An 18-year-old with no origin story. No notes. John Watts, you've done it again. And then you, then you, then we both, like, compared our. Four pages. Elizabeth Warren 2020 stickers. And we were like, things are going to shape up great for this version of the multiverse. Oh, fuck. Yeah. Well, let's talk about Furious. But wait, are you going to see Spider-Man? Yes, I'm actually going to see it this weekend on vacation. Nice. Is that because you told Phoebe it's about a spider solving a crime? We are hanging out with, with my, my, with Phoebe's best friend's family and we are taking the, the, the kids to Spider-Man. And is their interest because they are spider completists or because of that tunnel? I haven't had a chance. I haven't had a chance to really interrogate them about it. Sorry. It seems like you're really just walking into this blind. She was like, I want to see Spider-Man. I wasn't like, let's go through the top 10 reasons why you want to do that. Okay. And why you don't want to see like Blue Heron, you know, like, I was like, let's go, let's just go to Spider-Man. I don't ask any follow-ups. Okay. Now, finally, let's talk about Furious on Hulu. The first three episodes were released, I believe last week. I first kind of heard about this show a while back, then, you know, filed it away and then saw that Roxanna. Hadati on Vulture had written like a really glowing piece about it. So my eyebrow went up and, you know, it's really cool. The wide spectrum of people who have hit me up about this really like was was like, yo, Furious is amazing. And there's something in there's something to that. There's something to a show so specific in its tone, appealing to so many different people in my life. Yeah. And it appeals to me. I thought. This show. I want to try and articulate exactly what I want to say here, which is that there's lots of things in this show that you have, quote unquote, seen before. For sure. It's definitely in a tradition of cop procedurals and serial killer stories that will ring familiar. And there's even dynamic scenes, dialogue, things that you're like, ah, yes, the troubled but genius detective. Ah, yes. You know, like her complicated relationship with a possibly platonic partner or whatever. And yet every scene kind of has its own cadence. And it's like watching someone play a jazz standard and then take it off into a completely different direction that you've not heard before. Yeah. And I. I. I. That's. It's down to the performances, which are soulful and they're not just like, oh, I'm going to do all the little bits that my character does. And I have, like, all these little, like, quirks that I'm going to rely on. Like, they are I am struck by how much time Emmy Rossum's Alice character who plays and she's an FBI agent, a new FBI agent, a new FBI agent who's come over from NYPD after, I think, best way to phrase it would be unofficially accusing a coworker of domestic violence that she was in a relationship with, but never brought it like official charges against him and then was ostracized from the NYPD. She goes and she becomes an FBI agent and is put on the on the tail of, like, this burgeoning serial killer who is stalking men in New York. And that serial killer is played by little Lola Pettigrew, who we fucking loved on say nothing a couple of years ago. Emmy Rossum's partner, Danny Kelly, no relation to Danny Kelly, works at the ringer that we know of. Is played by Scoot McNary. And it's, you know, the first three episodes set up this cat and mouse game where we know who the cat is and we know who the mouse is. You know, we are seeing 50 percent of what the serial killer does. 50 percent is what the cops chasing her, the agents chasing her doing. But you will be watching this and you're like there even moments where you're like, I have seen this scene before in other shows and in other movies. And they'll just do something different. Like, I'm struck by how much time Emmy Rossum's character spends listening and watching people and how she's such a powerful performer in this that that in and of itself is like appointment television. Yeah, it's like watching her, like, stare at somebody and process what they're talking about and how she like how she is sort of framed in the show is just great. I can't wait to hear what you think about it. I know that you're very fired up about it, but it's really cool to have a new show that we're really pumped up on. I agree. And let's just to take. Take a step back, say that, like, let's let's talk about why you guys should be watching it and then maybe we could do a little. Yeah, we don't have to get into any spoilers yet. We'll do that in a minute. Yeah. I. You know, some say I don't watch as much TV as I used to, and some say I don't enjoy as much TV. Are some in the room with us right now? I don't need to say I don't need to say people's names. I don't think that. No, Kaya knows what she did. But she has a lot of Reddit burners. But as of 9. 56, I said this as I came in at 9:56 p.m., when I had seen zero episodes of Furious and when I sat down to record with you this morning, having watched all three that are available, I experienced like old school excitement and exhilaration over something. Something being not just better than I had anticipated it to be, but something being so energizing, exciting, fresh, and thrilling that it's a Bugs Bunny meme. Got to go back to the old me. I love this show, and I'm invigorated by this show, and I did not see it coming. We should say that the origins are pretty interesting, that it is loosely based on a 1987, I believe, movie that I have never seen called Black Widow. Have you seen that movie? I don't think so. I've heard of the movie, but I don't think so. It's a late period Raffleson, which makes it interesting to me, but it's Deborah Winger and Teresa Russell. Dennis Hopper is in it as well. The person who adapted it. That must have been a fun set. It must have been a memorable set. Raffleson, Hopper, and the two women star. The three women starring in the movie is Liz Merriweather, who is well known for being the creator and honestly the wunderkind of New Girl on Fox a number of years ago, and since then has had a more diverse career venturing into drama with The Dropout, which is the Liz Merriweather, sorry, Too Many Liz's. She worked with Liz Hanna on that, and it starred Amanda Seyfried as another Elizabeth, Elizabeth Holmes. Last year, she was the executive producer of The Dropout. She was the executive producer of Dying for Sex on FX. It is as exciting to me in a TV world, I think, as it was for the movie world when the guy from The Whitest Kids You Know made Barbarian. Sure. To see the person who made New Girl make this. Yes, and see that the person who made New Girl made this, and what all it requires is just a slight dial shift in one direction or another, which isn't saying that Furious is a comedy. Although it is incredibly funny, and it is incredibly surprising in its deployment of comedy, and it's incredibly agile in the way it integrates the comedy of awkward life into something that is oftentimes quite horrifying. Specifically, Rob Delaney, who is a very funny actor and a very good actor, has a two-episode appearance in the show that gives him a chance as an actor to play the spectrum of almost every human emotion. Yeah. But it never attempts to squelch what makes him charming in Catastrophe. It just leads emotionally to a different kind of catastrophe in the hands of the show. So it is an incredibly nimble, I think, tightrope walk of tone, one that I'm really impressed with. But more than anything, I was just incredibly excited by the way it takes elements of lurid 80s and 90s serial killer thrillers. Yeah. I was thinking of copycats. Sure. With Sigourney Weaver. Do some bone collecting. Let's talk about it. And with a much more modern strain of understanding and a much more, I would say, female perspective on an understanding of violence and trauma and victimhood. But at least through three episodes, this is not a show about violence and trauma and victimhood. It is a show about people living in the aftermath day to day in life, in a life that just. By existing, contains victimhood and violence and trauma. It's not treated like a, you know, there is not a before and after for these people's lives. Yeah. There is just their lives. And it is unflinching in that. And, you know, there are some hashtag girl dad moments that are real tough in the show already. But it's doing something so, so interesting that I can't look away. There's something incredibly contemporary about it. And I want to celebrate it for that. Because you mentioned that the ideas of victimhood and trauma, like, are front and center here. But that, those ideas are, like, debated by characters within the world of the show. So there is a, the show kind of, like, jumps up a notch, I think, when Alice, who, you know, is being, she's assigned out to work for a special agent who works in human trafficking and sex crimes. The agent's name is Norwood. She's in Washington, who's played by Quincy Tyler Bernstein, who is a very quirky, idiosyncratic character who also confronts Alice with, I think, a, how do I say this? A way of thinking about her character that I don't think I've seen on TV shows in a long time. Where she's not only asking Alice to basically work through and get over her own experiences. With abuse. Because there is, like, a greater good and a greater mission for her. But she's also getting into the nuances of whether or not someone who was a victim and be, like, if you were a victim, does that mean you were a good person somehow? That you have now earned some sort of righteousness. Yes. Or that you were incapable of wrong because you were working through your trauma. And we can start getting into a somewhat more detailed discussion of the show. But essentially what is happening is that this character. Catherine, who Lola Pettigrew plays, is working through a kill list. Like, she has a list of men who are responsible for her corruption and her. She was trafficked. Yes, that's what I mean. As a teenager, yeah. And there are sort of philosophical debates among characters about, like, what is she then? What is her sort of, where does her personhood start? Where does her responsibility start for what she's doing versus how a system failed her or a group of men? Yeah. Destroyed her. And it's, like, a fascinating debate to watch take place among characters. Not that it's stopping the action or getting in the way of any of that. But I thought to really reckon with that stuff in the context of a cop show, essentially, or procedural, is really wild and pretty breathtaking. And it runs right at, with a deep understanding, I think, it runs right at audiences' sympathy triggers. Mm-hmm. That when we watch a TV show, whether we try to do it with integrity. An elevated intellectual mind or just, like, laundry folding to annoy Emmy's husband, Sam Esmail. Our brains naturally reach for the characters and try to sort them into good and bad. We look for POV characters. We look for sympathetic characters. We look for the show to, in ways overt and unsubtle or maybe subtle and artistic, to give us a permission structure for who we are meant to root for. So that we can become more empathetic and engaged in the action of the show. So we're not, you know, just on our couch. We're right in it with the characters. And right from the beginning, the show does not allow you to do that. The characters interrogate it themselves, as you're saying, with these really brilliant scenes where Nora is doing the very TV thing of giving this untested, clearly traumatized person, Alice, a chance. And the other characters are like, what the fuck? And then, after the other characters say what the fuck, she pulls her aside and is like, what the fuck? You better get it together because I am doing this for this reason and I also have motivations. The show also does it really, really, I would say, uncomfortably and radically with Catherine. Yeah. Who is both a, like, lurid serial killer who does terrible things on screen. Wears cool masks and shit. Yeah. And says, you know, and is clearly disturbed in a way that is familiar to audiences of watching disturbed serial killer shows, but also is profoundly a victim, is when left alone to her actual self, a child, in ways that are upsetting. And then, specifically. In the second episode, there is a, the show immediately pushes its cards into the middle of the table by having a character, I guess we'll now get into slightly spoiler territory, but a character, a victim, a monster from Catherine's past, his daughter shows up. And I was immediately, it's like a topsy-turvy feeling of like, you can't do this because then you can't be okay. You can't emerge from the scene rooting for Catherine as an avenger of bad people. It immediately complicates it. And then what was crazy to me about that episode is Liz Merriweather, like, handles it in a certain way. Like, putting the victim, in this case, the man, like, off screen and allowing the killer and the daughter to have some scenes that are certainly not wholesome. Sure. But you're like, well, at least it's going to be okay. Yeah. And then. I think that's also the first sign that she's, like, basically still that age. Yes. Emotionally. And then it lulls you as a viewer into a sense of. Almost forgetting that there's going to be a recoil from this because the show is still the show. Yeah. And then what happens at the end of the episode is absolutely horrifying without any guardrails about how to feel about it. And I thought that was really bold and really rare. Shows in ways that are, like, really big and clumsy and clunky and network mandated hold your hand these days. And then shows that are artfully done kind of sometimes hide the hand holding. Yeah. But still nudge you in a direction. And this show resisted. I think one of the criticisms I have of a lot of current one hour dramas is that why do we need the 60 minutes? You know, what are you guys doing with this runtime, with this episode count? What was essential about these various buckets that you're filling to the story? Because in my mind, because I don't work within the television industry, I'm like, it seems like you have 42 minutes of story this week. Why don't you tell that? Yeah. You know, the episodes here vary between, like. 40 to 50 some minutes. And I have to give the show a tremendous amount of credit for using every moment well. Not always. dazzlingly or brilliantly but there's a moment in the third episode that i wanted to highlight so um somewhere in the in the in this three episode run we're introduced to jake lacy's character it's a great piece of counter-programming casting where jake lacy plays alice's ex-boyfriend who also was her abuser he's still on the force um and basically what happens is we're led to believe that uh scoot mcnary's character was the one person who spoke up for alice in like her in the fallout from this relationship he has been ostracized and and sort of nobody talks to him anymore but this guy marshall has now you know gone on with his life and that's the understanding until we finally get like a real marshall scene and the scenes that they choose to like give jake lacy are really really interesting and provocative because first he's sort of like i was drinking you know he has this tearful confession to alice because he see they go to because they are of course working together i mean that's the other thing it's a tv show so let's let's bring the characters in contact with each other let's not pretend that this isn't a contrivance and they go to a um a shelter for abused women yeah domestic victims of domestic violence and he sees a woman who has been hit and he is overcome yeah and he's like did i do that to you and she's like did you hit me in the face yes you know and he's crying and he's talking about how he was drinking at the time he only remembers little parts of it and he eventually convinces alice to come to his house because his mother is entering hospice i believe right well she's come home and she still misses you and she thinks of you as a daughter they were kids they were they were boyfriend and girlfriend from like a very young age like high school sweethearts and she goes to the house to visit with the mother and the mother said it turns out that this is all a ploy for the mother to pressure alice to recant any unofficial statements she may have made about my mother and she's like i don't know i don't know i don't know i don't know i don't know i don't know i don't know i don't know i don't know i don't know i don't know so that he can make lieutenant because it's holding him back and in that moment like you know you just get this completely nuanced in-depth picture of this guy that is still like pathetic and you know he is not a good person by any means but it it chooses to show a bunch of different sides of somebody rather than just that's the guy who beat alice up and he's a piece of shit and he's going to get what's coming to him eventually and it doesn't quickly this is the third episode where it immediately adds these shades and layers and and still somehow is holding true to this idea of what is right and what is wrong even as it feels like it's slipping through alice's fingers and um have to talk about casting um i think emmy is phenomenal in it and i think it's like a really really careful performance it's a studied performance you know it it is one that clearly was given a lot of thought in terms of the of how to control her physical body in the performance and what she is carrying every time she walks into work or what when she what she's releasing when she goes home hair various points it's it's it's really well done and has a lot of layers i imagine still to be revealed lola pedicure we love from say nothing you fucking blacked out in this and yeah and particularly like it's a very like it's giving jennifer jason lee in a and i mean that is a very big compliment yeah um if there's something remarkable about being able to do and maybe this is a companion comment to what i was saying about rob delaney but to like to be character and caricature and deeply honest at the same time and to be able to sort of toggle between those extremes is awesome but also to be a kind of slick crime show and serial killer show where there is a cheap thrill in watching the katherine character like change change disguises as she moves through new york city and blackmail people and have all these little safe houses that she goes to she's like a uh a sort of uh like an attending live-in nurse for someone she you know has all these little like kind of home bases and that part is kind of exciting to watch because that's that's kind of like you know you're watching the guy from pelican brief change into a completely different person you know like it's it is really neat but it's also like always in service of character so i just think the other reason why i'm so enthused about the show is it's it's a really good articulation of something that i try to try to articulate many times when shows fail at this but it's that like great things are really defined by small choices and there are examples of that all across the show one is is casting i mean whether it's scoot mcnary who we always like getting a chance to play a more prominent part that has different layers different it showcases a different kind of charisma than he usually brings or is allowed to bring whether it's i have a comment on him let's let's circle back but but quincy is brilliant in the show and quincy is a brilliant actor and has been and is on stage a lot doesn't get parts like this often and parts like this aren't written to magnify actors as specific as quincy in both an appearance and in affect and how she delivers lines and it's thrilling every time she's on screen the hospital scene that she's in is it's killer yeah um rob yang who plays an fbi agent is incredible and steve way who was on rami is plays the the the person suffering from i believe muscular dystrophy who katherine takes care of yeah and like those scenes are fantastic and funny and present and it's like oh it's another layer here and to your point about like how time is used we've introduced a new context two episodes in and i'm it's does not feel like filler for the cat and mouse game to you know to to fill eight episodes of what was adapting a two-hour movie but like but it goes into the script like when we meet scoot mcnary's character danny the first thing he does is pinches out a cigarette with his fingers and before the audience can be like wait what what's going on alice goes why did you do that didn't that hurt and he went it really fucking hurt i don't know why i did that yes and it's because he's nervous to see her because he's like yeah i think he's nervous about all the cops who are going to be sort of ridiculing her when she's on this in this crime scene but yeah i mean the scene the the there are i you know i i did this uh talk with shane black a couple weeks i guess by the now it'll be last week at a movie theater when we were you know we were introducing we're talking about nice guys it's the 10th anniversary nice guys and he's so sharp when it comes to the conventions or talking about the mechanics of screenwriting and a lot of what he is exploits tropes so something will become a cliche or a trope and what he does is say but what if it went this way you know and uh he was he was like you have to be very careful though because before you know it the inversion of the trope is the trope yes it sure is and so he's like you always have to be kind of aware like you pull a move a couple of times and then other people pull the move and then all of a sudden there's 10 movies and 10 shows that have done the like what if we were getting off the elevator but the gunfight was happening already so we just stayed on the elevator and went away like there is a moment in uh furious where we are being set up to be incredibly sympathetic for this young girl who nora and alice are are talking to about being a witness in a trafficking case right and we're like oh god you know alice gave her the gave her her blazer there's a good gesture and then we find out that she's in the hospital she's been beaten and is now on a breathing tube and what does nora do when she walks into that that scene she's just like she was a trafficker i was flipping her you know every time she turned a girl she got to work less and it's introducing this idea that there is not a good and a bad and a hero and a villain in this world when you get into the underworld everybody is compromised everybody is um has a boss everybody is both a criminal and a possible witness and you have to get used to this kind of and i thought that was just such a great inversion because what we should have is like this is why we do it to protect girls like this and we failed her but we're not going to fail yeah the hero's journey yeah exactly and instead it's like see this this is how fucked up what we do is she's a trafficker and i was going to flip her and she got she got put in a hospital because of that and and what does um alice say to nora what's that smell and she goes tequila i'm drunk yes this is middle of the night yeah and she's like i'm gonna do this i'm gonna do this i'm gonna do this i'm gonna do this it's it's just these little things that just remind you that someone there's a lively mind at work here there is something with a point of view there's a spirit there's a tone that that that they are searching for and that they are that they are finding with the help of collaborators who are in on it like i think one of the other things that's really noteworthy about the show is the music the score is by ariel marks who's done a bunch of movies um shiva baby i think worked with liz on a previous television show but like it is not a conventional score and you notice it yeah and that can go one of two ways and what it did for me here was again signaling something's at work here something is active this is a choice this isn't music that is designed to fill the whole mark music in your budget yeah or in your show it's part of the storytelling the opening credits the fonts the design it's all part of it i did take issue with um rob delaney's character playing geese before he uh had sex with katherine talk about it well i just it was just like a random kind of a random needle drop you know i don't know i don't know i don't know i don't know i i feel like this is a the in the brief the broad brushstroke we saw of him I think that he probably he's like I like music so he looks at what has gotten BNM on Pitchfork and just buys the CDs you know what I mean sure my guess is he wouldn't have been able to be like well 3D Country was better that's what I say you know just fucking so I felt like that was earned for him but you know what else I think I think there was a discussion yeah I bet this conversation happened I'm talking about tropes and inverse I wanted to ask you about I also found the direction really good and what I thought was interesting about it sorry that was really insightful commentary but Brian Kirk directs the first two episodes and he has directed things I think in this vein before like I think he has a very looking at his like he's done he's done Game of Thrones episodes he's done Penny Dreadful he did a bunch of Day of the Jackal so he has done big ticket shows that don't necessarily subvert and I don't mean those shows are bad I'm saying that he is able to deliver a mood and a vibe and what I thought was cool about his episodes and Karina Evans who directed the third episode is that they also seem to be there just seems to be a consistency of aesthetic point of view and vision in that they are in no time are they running from the fact that they are making a New York City thriller based on an 80s movie but within it there is room for life like the style that is we have we have all seen style done by more and I'm not saying this is who Brian Kirk is but sometimes when you hire someone who does one thing really well the thing that that person does well is signaling so strongly to the audience that the audience can struggle to identify what makes this one special and sometimes that's the goal as a streamer it's just like you know we do well in the women in peril space so we're going to make more shows like that because they will there's a floor for that and it's a pretty high floor and so I was impressed by the way that the direction communicated something that was familiar like you were saying at the top but still had room for for surprise I want to plant my flag on something here I'm excited but I want to give if listeners don't want to contemplate where the show is going and they just want to end our conversation now I think this will be the final segment of the episode so people can feel free to peace out Scoot McNary's character is given real Evan Peters and task vibes in terms of his long term viability long term viability on the show when you when you are that nice of a guy and you're like I will sit outside of your bathroom while you shower for the first time because the shower is traumatic because the shower is traumatic but I will just stand watch and he's such a good dude and he's like you know I stood up for you and all these things like it's either going one of two ways is one of the ways back to what appears to be his native Boston because his accent choice is interesting the accent is the accent okay you know what I mean we work we work with what we've got I think that maybe his backstory is like I'm from Boston but I came to New York to be a cop you know like okay I buy it but it's gonna speaking of those inversions you know what I mean like you don't get to be that nice I thought you were gonna say that he because there's the reference of like did you ever go to this tug joint where all the cops were no I didn't even get a hand job in high school do you think he protests too much oh you think he's gonna wind up on Catherine's list do you think he's the hand job king of Bayside you know what I'm saying you know what I mean I'm sure that's a hard fought for title like I'm sure there are a lot of guys literally jockeying for that yeah it's like one of those years where one guy's batting 340 the other guy's batting 338 you know it goes down to the wire yeah I think that's possible okay any other flags you'd like to plant because it I'm interested too that you're watching it with crime show mind that like you're like there's gonna be a solve here there's gonna be a surprise here I'm not saying there won't be my only my only uh hesitation is we have been down this road before which is like incredible prestige crime show that starts like gangbusters and then has to like maintain tension by you know we were all we all watched presume innocent you know so are you saying is this the Shane Black in you being like what once was novel has now become no I'm just saying that like it's hard to do these things over the course of six hours eight hours whatever it's gonna be yeah I agree and it's especially hard to do these things when as you said at the top we know who the cat we know who the mouse sure and but what's interesting about it and what gives me I mean everything about this gives me a lot of confidence and excitement about finishing the series but um you know when we were speaking and I we are we are like Desmond on lost we are unstuck in time currently I think I was about to say remember when we talked about something that I think is actually part of Monday's mailbag it's August but but there was there is a conversation in a podcast you guys will enjoy soon a brief one about contemporary spy shows reluctance to engage in the world as it is and I I like so far I like the this show furious is instinct to go big and to reach for the headlines and to suggest that in you know in a in an Epstein era that that that that the targets that begin small will inevitably go up the food chain they sure will apex predators and you know a built in culture of trafficking yeah and that that is got a little true detective you know yes yeah I mean I it has that it has a little bit of that you know it's like how how how how far does this go and and again who knows where we go in the remaining five episodes but like calibrating this stuff is so much harder than it seems when it's done well how are we going to do a micro story or macro story are we trying to make a point are we trying to make you entertained you know is this funny is this serious is it how much do we indulge in people's suffering and trauma especially in the demands that streamers make where you front load front load your shows yes this show starts with Catherine killing a guy by injecting fentanyl into him you know like it is it is like it's grabby so it's grabby and I don't mean to disrespect the Hulu television network and all the programming that they make that I like and all the programming they make that I don't engage with but Hulu does true crime and does miniseries pretty well like that is it has a brand identity so this being on the service makes sense and then you you dig deeper and it's so far it's just so much better and so much more interesting than I think I would have expected so I'm I'm I'm curious is it is it goes to the machine or is it is the machine going to win it's interesting we'll have to see so let's stop there Andy and I will be back on Monday with a mailbag episode and next Thursday with an Anthony Bourdain special in honor of Tony being released I hope everybody is going to have a great weekend and thanks to Kaya Kai Sarah everybody for producing this episode is brought to you by Whole Foods who has your back to school eats sorted wow we're going back to school already they've got your fast and easy breakfast covered with frozen waffles and pancakes lunchboxes are looking tasty with organic seedless grapes and baby carrots and essentials like cheese sticks then for dinner you can build your own meal choose from a variety of entrees like chicken scallopini two sides and it's all good too Whole Foods has banned more than 300 food ingredients store wide shop back to school must haves at Whole Foods market in store or online endless summer escapes start here travel the worlds of Netflix IRL inspired by fan favorites like Stranger Things and Squid Game brave the upside down face off with the front man play leveled up arcade games shop exclusive merch and enjoy themed food and drinks be the heat play eat and shop on repeat at Netflix house at Galleria Dallas bring your crew and save get your tickets today at netflix.com/house