April 8, 2025 • 58 mins
Rosie and Jason are trying out new terms for this sudden era of quality television we're experiencing. With returning favorites like White Lotus, the resurgence of former struggle shows like Yellowjackets and Invincible, plus the surprise hits like Paradise, The Pitt, The Studio, and Adolescence it's time to define the times. Is it stress-stige or niche-stige?
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Warning.
Speaker 2 (00:01):
Today's episode Candad's spoilers for various television programs such as
White Lotus season three, such as Yellow Jackets, such as
The Pit, such as Paradise and Invincible, and more. Be warned. Hello,
(00:31):
my name is Jason Concepcion and I'm Rosy Night, and
welcome back to x Ray Vision of the podcast where
we dive deep into your favorite shows, movies, comics and
pop culture. We are coming to you from my Art podcast,
where we'll bring you three huge episodes a week every Tuesday, Wednesday, Thursday,
plus news on Saturday.
Speaker 1 (00:49):
In today's episode, we are talking about some of.
Speaker 3 (00:51):
The deluges of terrific television that twenty twenty five has
had to offa and we're gonna be starting by talking
about the current error of television that we're watching and
living through.
Speaker 1 (01:03):
What is this era of TV?
Speaker 2 (01:08):
Okay, Rosie, you and I watch a lot of TV.
We watch too much TV, we do. I've always watched
too much TV and I continue to watch too much TV.
We are living through a crazy era in the globe.
What do you think is this era of TV? We've
kind of come out of the peak TV era during
which you know, technology and streamers entered the entertainment fray,
(01:31):
pouring billions of dollars into this space, creating dozens and
dozens and dozens and hundreds of new TV shows which
we're debuting at a tremendous clip. That bubble has essentially popped.
It feels like we're kind of post prestige, where at
least everything that isn't reality and that isn't on network
(01:53):
could be reasonably construed as prestige. But much like many
of our adjectives currently Rosie like post capitalist or new
people peak TV and prestige TV or like they're an
adjective searching for a meaning, they kind of don't mean
anything anymore. So what is this era of television?
Speaker 1 (02:15):
Okay?
Speaker 3 (02:16):
So I'm I I was testing this one in pre
pro but I think I do think this is what
I would call it, especially because I feel like it's
appropriate for the the feeling and experience of living through
twenty twenty five. I'm like, it's it's streaming prestige, right,
which is completely different from normal prestige. So I'm calling it.
I'm saying it's stressed eage TV stretch stage. I think
(02:38):
if you look at the shows that are popular that
we are going to talk about the pit adolescence, the
Studio White lois that.
Speaker 1 (02:44):
Also shows that make you stressed.
Speaker 3 (02:46):
Yes, So I'm like, maybe the key of streaming and
prestige is you have to have a dark, anxiety inducing overtone.
I think a lot about that first episode of The
Bear if you had ever worked in like a kitchen
or a retail experience or a restaurant, it was just
so unbelievably stressful.
Speaker 1 (03:06):
But that made it feel like you were in the show.
You were experiencing it, You're immersed in it. It's very
different from the first episode of.
Speaker 3 (03:13):
Game of Thrones, where it more feels like you're walking
around a theme park and you're learning about the world
and these exotic spaces and this new kind of landscape
that you're going to be introduced to. So yeah, I'm
going I'm going for stress tage TV. It's it's streaming,
it's prestige. Some of the shows aren't really prestige, but
because they, you know, had five million dollars in an
(03:34):
episode but don't necessarily look like it, they're still kind
of acclaimed as prestige TV.
Speaker 1 (03:40):
But the quality is it always there?
Speaker 2 (03:41):
I don't know I'm going to uh coin this era.
My pitch for this era is niche stige, niche TV
literaliche because it's real. Because I do feel like we've
entered in an era with the kind of bifer ky
of all the platforms and the post peak crash in
(04:07):
which you're seeing, you know, the platforms fight for their
lives and shows move from streaming to network or vice versa,
and you've got all these different types of smaller productions
like Scrabbling for the Top. I think we're seeing explorations
like of niche occupations and lifestyles in a way depicted
(04:31):
in a way that we haven't necessarily seen before. You know,
it used to be like cops, fireman, lawyers, right, your FBI,
that's it, that's your kind of procedural, and now it's
like with I think maybe the Harbinger was the weird
successive suits that we're starting to see these you know,
(04:55):
shows like The Studio on Apple TV Plus where it's like,
you know, there's always been shows and movies about shows
and movies, but I think this is taking it to
a different kind of level. The Pit feels like a
much more granular type of medical show than we've seen before.
You know, there's you know, fire Country. It's not enough
(05:16):
to just do like Fireman, Fire Department. Now you have
to do like the hell Jumpers that like go up
into the woods. And so I think that there's it
feels like we're it's a much more granular kind of
TV experience. And with that, let's talk about let's talk
about some of the shows that that have been really
(05:37):
making news this cycle and shows that we really like.
But first let's take a quick break and we'll be
about that.
Speaker 1 (05:57):
And we're back.
Speaker 2 (05:58):
First up, you mentioned it over on Max Slash HBO,
The Pit Noah Wiley's return to the emergency room as
a harried emergency room doc dealing with the fallout the emotional,
the physical, the economic, the socioeconomic fallout from COVID as
(06:24):
he tries to kind of mentor young doctors through the
experience of working in a very active hospital. This is
a great show.
Speaker 1 (06:34):
It's an incredible show.
Speaker 3 (06:35):
And I also think something that you sum up here
with this idea of Niche Stiege, which I really like,
is like, also, even this is not an expanded soap
opera esque er where you get to know all the
characters and see the love interests and all that kind
of stuff very much that one fifteen hour shift and
(06:56):
every hour is a real time and I think there
is something about that zoomed in what is it really
like to be a human being who is working in
a hospital in a restaurant. That is definitely a space
that we are more kind of entering into. I would
(07:18):
even say like House of the Dragon, which is definitely
obviously one of the more out there fantasy shows, but
even their take on Game of Thrones is a much stralistic,
chamber drama, intimate relationship focused kind of intrigue and conflict.
So yeah, I think the Pit is amazing. I saw
(07:38):
a great meme about it, which is like, you know,
if you go into that hospital, they're going to find
a reason to intubate you. Like everything here is the
worst possible, Like you are getting intubated, You're seeing some
really grotesque, like terrifying stuff.
Speaker 1 (07:53):
I love that.
Speaker 3 (07:54):
I also think this show does one of the best
things from old school prestige TV, which is you are
bringing in your Noah Wiley's You'll bringing Noah Wiley has
up until now mostly just been doing like the librarian movies.
Speaker 1 (08:07):
Sci fi. You know this, librarian, my librarian.
Speaker 2 (08:12):
You want to feel like this is the shit that
makes me feel like one hundred million years old.
Speaker 1 (08:16):
I feel like, yes, I.
Speaker 2 (08:16):
Don't want to look it up, but I'm I'm convinced
right now if I looked it up the library and
happened fifteen years ago.
Speaker 1 (08:22):
Oh no, no, I think it. Yeah, I will tell you.
Speaker 3 (08:24):
I do believe it was about fifteen years ago. Another
person that I loved to see in this that I
think is a really great addition to this kind of
unexpected character actor role is Sean Hatosi, who I know
best as Stan from the Faculty, one of my old
Countryvorite actors. Yeah, doctor Jack Abbot, He's incredible. I also
have loved to see that a lot of the TV
(08:46):
people that I really follow and love are women, and
like the amount of hilarious like Abbot fan cams there are,
and the kind of way that people will interact with
something that, even though it is really brutal and real, real,
there is also an element where people can still make
it light. They can still find the characters that they love.
(09:07):
I think that's the fandom X aspect is still there.
Speaker 2 (09:11):
It's the pit has some of the best Filipino representation
on television and as a person with multiple Filipino nurses
and my direct family, like a lot of this rung
very true, really really good show. Now when we say prestige,
I feel like that to me, the number one thing
when we say prestige is does it look great? Does
(09:34):
it look like it could have been a movie twenty
years ago or fifteen years ago? Yeah, And I feel
like the pit on all you know, on all levels
is that it just looks fantastic production design, amazing camera work,
really good. It is the fabulously dynamic show.
Speaker 1 (09:57):
Yeah.
Speaker 3 (09:57):
I also think they just put a level of Karen
too it that a lot of streaming shows do not have.
And I think part of that comes from the genesis
of the show was to make a show that ten
years ago would have been on broadcast, but you make
it now for streaming, So I guess really more fifteen
years ago.
Speaker 1 (10:12):
I think that comes through.
Speaker 3 (10:13):
I think Nina Rashio, who is the production designer, she
was designing the entire set before the show was even
properly picked up, so and in production. So I just
think this is a really special show, incredibly stressful show though.
So I'm also saying stress addition stress teach, Yes, don't
watch it as the last thing you watched before bed
(10:34):
that I.
Speaker 2 (10:35):
Usually watched like Park and Rec bloopers.
Speaker 1 (10:40):
I'm a murder, she wrote, Guy, I hear Jessica Fletcher.
Speaker 3 (10:42):
I know everything's going to be okay. There's going to
be a murder, but I don't need to worry about it.
It's going to be some ketchup style murder. But also
speaking of incredibly stressful TV shows that have kind of
taken over the news cycle right now, let's talk about Adolescents.
Speaker 2 (10:56):
Let's talk about Adolescents and Stephen Graham's you know, elevation
to creative force and showrunner Stephen Graham. You are familiar
with him from his many many, many, many many roles
it with you know, deploying multiple different accent accents over
(11:17):
the years and.
Speaker 3 (11:18):
One of the great character actors, whether it's in The
Lobal Empire or one of my favorite films, This is England. Yeah,
an unbelievable show that is also taking part, interestingly in
one of the stylistic trends right now, which is embracing
the one shot. Every episode of Adolescents is a one shot,
(11:40):
and if you don't know what.
Speaker 1 (11:41):
The show is about.
Speaker 3 (11:42):
It's got a pretty simple premise, which is it's set
in England and a teenage boy is picked up by
the police because a girl in his school was stabbed
to death. And the first episode is about how his
parents are obviously on his side, and the episode ends
with a video showing him killing the girl at his school,
who it turns out, had told him she didn't want
(12:05):
to go on a date with him. And it is
essentially an explorer four episode mini series exploration of the
kind of toxic manisphere, the notions of misogyny, and it
is an unbelievable piece of TV.
Speaker 2 (12:19):
It's harrowing, it is intense, and it's well, it's a
show that you will be thinking about. You will think
about this show and it is one that stays with you.
It's an incredible piece of television production.
Speaker 3 (12:39):
That's a very interesting point you raised there is part
of nistige stresstige.
Speaker 1 (12:44):
This era of TV is part.
Speaker 3 (12:47):
Of it that the stuff that sticks with us, I
would say particularly is stuff that maybe does make you
think a little bit more. The Pit, for example, that
is a show that is absolutely about the American healthcast
them a reaction to COVID. It's also dealing with issues
of transphobia. Like there is a lot in that show
(13:08):
where that it doesn't feel like a very special episode.
It feels like a show that is aware it's about
human beings. It makes you think adolescence is like one
of the most haunting.
Speaker 1 (13:17):
Shows absolutely of the last like ten years. And I
think because.
Speaker 3 (13:22):
It is really scary to imagine that space. I think
there's it's also inspired a good conversation. I mean in England,
it's inspiring potential legislation change which would be unbelievable and
I think was largely.
Speaker 2 (13:37):
Called social media around.
Speaker 3 (13:39):
I think also as well, I think what people really
want is legislation change that supports mental health care for
young people and young boys especially, which has been you know,
under the austerity era of the Tories and now the
continuation that under the labor is still going on.
Speaker 1 (13:57):
Right. But that again is a show.
Speaker 3 (13:59):
That absolutely inspires conversation, makes you want to think about
the children in your life, the people in your life.
Speaker 1 (14:08):
I think that is a resounding.
Speaker 3 (14:10):
Theme of even some of the sillier shows that we're
gonna kind of get into after we talk about a
couple more including obviously the one you all want to
hear us talk about, which is a definite prestige classic show,
The White Lotus.
Speaker 1 (14:22):
Which we'll be talking about in a couple of minutes.
Speaker 3 (14:24):
But like, I do think that there is an element
of this era where the things that stick with us
are not necessarily the classic like mad Men esque, like
gorgeous gowns, incredible acting, throwing you into a world, and
instead they're like, here's our world, now, let's make you
think a little bit about our world.
Speaker 1 (14:44):
Rather than escapism, it's more like immersion.
Speaker 2 (14:47):
I think that there is something to that. Certainly, the
shows that most resonate with me resonate because they're able
to take some piece of modern life and really make
me think about it for a while, such as like
how we're all dealing with the traumas of the of
COVID still in our life without really realizing it. In adolescence,
(15:10):
it's I'm glad I didn't grow up in an era
where everybody had a cell phone and bullying takes on
this almost dystopian type of thing, and it also makes
you think about you know, young young boys and men,
and how we're still not able to have a conversation
(15:32):
about their mental health in a way that doesn't feel
like either patronizing or letting them off for being terrible,
Like there's it still feels like we're trying to find
that exactly well to you mentioned the one shot. The
one shot in Adolescence is interesting because it it underlines
(15:56):
this feeling of you're a fly on the wall. This
documentary kind of ambitious.
Speaker 3 (16:00):
Fly on the wall, kind of following the horror of anhaction. Yeah,
which especially episode three, I mean we got to shower
Owen Cooper, who this was his first ever acting role.
He plays Jamie, the kid at the center of the story,
and there's an at the third episode where he's talking
to a kind of a psychologist that is one of
(16:22):
the most like scary and brilliant episodes. And the one
shot is very much you are the fly on the wall.
But there is another show using one shots that is
very much in the stress tige era that I think
has one of the for me, the most stressful episodes
of TV I've seen all year in complimentary way, which
is Yeah, the Studio, The.
Speaker 2 (16:42):
Studio on Apple TV Plus is I think one of
the Uh, it's definitely the most fun show that's happening
at the moment. It is very stressful. It's a show
about a the head of a studio, Seth Rogan played
by Seth Rogan, who loves movies, loves loves loves movies,
(17:03):
but in his own words, his job now is to
ruin them and to make sure that they make a
lot of money. And it is you want to talk
about Niche Stiege like this is as people who live
in La So much of this brings true the characteristics
of the people, the conversations that you overhear. You know,
(17:24):
Katherine On is like as the head of marketing of
the studio is like on an insane here all the time.
Brian Cranston basically is like stan Lee.
Speaker 1 (17:39):
He's like, He's like, what if Stanley ran a movie studio?
Speaker 3 (17:42):
But at Stanley from like the late eighties, early nineties
and his trip to la had actually worked and gotten
him a job.
Speaker 2 (17:48):
And this is a show in which the ononer, I
think is much more, much more divisive, because it is
definitely it is both a recognition of of how the
wonner has become like the like the the deep three pointer.
Speaker 1 (18:07):
Of like yeah, the the andand of like You're doing something. Sack.
Speaker 2 (18:10):
Look at how cool this is, Like, I'm a good
director because I gave you a cool woner. And at
the same time it the whole thing is wonners. So
it's yeah, it's both the the subject of the joke
and it is the joke itself.
Speaker 3 (18:26):
And also they are doing some technical, like technically unbelievable
things in season two, which I love, and Jason, I'm
sure that you, as someone else who has been.
Speaker 1 (18:33):
On sets, found incredibly stressful.
Speaker 3 (18:36):
Is Seth Rogan's character goes to visit a set because
he wants to see Sarah shoot a wanner. And the
episode is a woner and at every point he fucks
it up. And the rule is you don't have an
exec on set if you don't want a distraction, but
he is distracting everyone.
Speaker 1 (18:52):
You get pratfalls.
Speaker 3 (18:53):
And there is an unbelievable moment that I had to
watch multiple times that inspired so much conversation that Seth
Rogan joined threads to contradict people who are claiming they
knew how they did it, which is they drive up
and you're following Seth Rogen as he drives up and
then immediately without any kind of change, somebody picks up
the camera and you can't see it, there's no reflection
(19:15):
in the window, and essentially keeps following them and it feels.
Speaker 1 (19:19):
Like an impossible shot.
Speaker 3 (19:20):
But it was a real shot that was done with
a magnetic camera on the hood that they then lifted off.
But there are so many moments in that show where
you The thing I love about the use of the
one shot in this show and the use of the
handheld camera and stuff is you feel like you are
Seth Rogan's assistant who is rushing around on the.
Speaker 2 (19:37):
Sacket after him.
Speaker 1 (19:38):
Yeah.
Speaker 3 (19:38):
It's a level of immersion that I don't think you
get to see. I mean, the first episode also has
an incredible Martin Scorsese subplot.
Speaker 1 (19:46):
It is like.
Speaker 3 (19:47):
Completely should absolutely not work and should be completely tasteless.
Speaker 2 (19:51):
I'm saying that she would when she says like, we
can't I can't sell a movie with Steve Shemy as
the star, and somebody else says, but he's one of
the greatest actors we have, and she's like, listen, if
he was here, I would throw him on this table
and fuck him to DEVI right now, I can't sell
this movie. I won't kill it.
Speaker 3 (20:12):
And also we do get there has actually been multiple articles.
It's so LA specific that Catherine O'Hara Carrot has very
clearly been kind of not exposed, but people understand that
she is Sony's Amy Pascal, and it's quite close to
her real life kind of experience. I have a friend
(20:33):
who was a tour.
Speaker 1 (20:34):
Guide on Sony at Sony.
Speaker 3 (20:36):
Who would constantly see seth Rogen and there is a
tour guide point of being, and everyone at Sony, everyone
who is a tour guide, is like, oh, like he
saw us too, Like this is like a point of
real understanding.
Speaker 1 (20:48):
So again, extremely niche.
Speaker 3 (20:50):
I wonder how it's playing outside of LA But I
do think, and I'm gonna bring this up later in
the show. I do think that it makes the argument,
alongside Severance that Apple TV has made some of the
best TV of this era, maybe the best TV of
twenty twenty five.
Speaker 2 (21:04):
They're throwing money at the problem and I can't. I
love it. Keep doing it? Please another billion dollars? Yeah,
next up. White Lotus just had their finale this Sunday,
and I think a divisive finale. I'm seeing some of
the responses.
Speaker 1 (21:22):
Some people love it. I agree.
Speaker 2 (21:24):
My my good friend and critic at Variety, Alison Herman,
thought that the finale kind of redeemed some of the
more meandering aspects of the season. Me personally, I watched
White Lotus not to see how they tie up loose ends,
but because of all the weird kind of call the
sacts you end up in through the course of the season.
(21:44):
So I didn't mind it. I know, a super producer
Joelle did not like the finale, but I you know, personally,
for me, I think it was the best season of
White Lotus.
Speaker 3 (21:54):
Hey, you're not the only one, and I kind of
love this about an anthology show, as you do get
to have that exploration.
Speaker 1 (22:01):
I also really enjoyed the finale.
Speaker 3 (22:03):
I'm like, I'm a middling White Lotus fan, Like it's
not appointment TV for me, but I do enjoy what
I call a vacation show or of a quacation movie,
where that a bunch of rich people just go and
film somewhere they want to hang out, like a Four
Seasons in Thailand I did. I thought the finale had
some interesting roots. I was definitely rooting for the Jonestown
esque family killing. I thought that would have been a
(22:26):
really interesting oblique way to go. But I thought that
the ending that they did provide of Rick and Chelsea,
I thought for Mike White, it was actually quite an unexpected,
kind of straightforward revenge story.
Speaker 1 (22:39):
It's very much in.
Speaker 3 (22:41):
The lane of like, if you go after something that
you hate, you're gonna lose something that you love. I
personally did gasp at the moment when they revealed that
after spending his life trying to hunt down his father's killer,
Rick was his father's killer.
Speaker 1 (22:57):
The end, I felt like the way moment, yeah, a.
Speaker 3 (23:02):
Lot of Greek tragedy, which Mike White alluded to in
his THHR kind of finale interview. Yeah, I thought it
was a satisfying ending. And also I am an Amy
lou stand so I love Chelsea. I hate it that
she died. But I felt like something that was kind
of interesting was I did feel like the show hinted
(23:22):
at this notion of like maybe what she was talking
about was true, like maybe there is something after and
maybe they will get to be together forever. Like I
felt like there was romantic readings that were interesting.
Speaker 2 (23:36):
Interesting. I here's my take on the White lotus, And
I think that perhaps this is why this is a
divisive show or the ending was divisive. I think the
ultimate message of the White Lotus is you can be
bought off. Yes, you you know, I think, and I
have a lot of I have a lot of friends
who are like, man, if I had a billion dollars,
(23:58):
if I was like as rich as you, Musk or whoever,
I would solve homelessness. And I'm like, bitch, no, you wouldn't.
You wouldn't because you to get there, you have to
be so indoctrinated into that that society, that lifestyle, that
amount of wealth, that you simply wouldn't do it. You
(24:20):
wouldn't do it. And I think the to me, the
message of White Lotus is, oh, this woman that touched
your life. You know that she was murdered, you know,
set up by her husband. Well you can move on
for that, for the low, low price of five million
dollars so that you could start your life. And it
presents it that choice is like you know, not certainly
(24:44):
an awful and a bad one, but also a rational
one that I think describes much of our interactions in
society and life. Is like, sadly, you can be bought off.
And I think that's an uncomfortable thing to realize. Is
that everybody likes the sixties, the boomers, they were the
(25:06):
most progressive generation ever, you know, like fighting for civil rights,
marching to end uh a terrible war in Vietnam.
Speaker 3 (25:16):
Uh.
Speaker 2 (25:16):
The you know, the nascent uh gay rights movement happening
then started with them, you know, second and third wave feminism,
all of these very progressive things happening with that generation.
And then they get in power, and it's this, it's
this that we're living through right now. Why did that happen?
(25:36):
Because they got Because if you get if you have
a bunch of like communist semi communist weathermen loving hippies,
and you give them very very very cheap higher education
and access to like uh audiability to buy a house
on like one salary. Guess what, they're not communists anymore.
(25:59):
They're right capitalist baby, yeah, and like okay, and all
of us can be bought off like that. And I
think that's an uncomfortable thing to think about.
Speaker 1 (26:07):
I agree. I also like that.
Speaker 3 (26:09):
One of the I think something as well that's really
good about this specific season, and I do think other
seasons too, is just like a lot of people can
go through unbelievable events and just be unchanged especially if
they're incredibly rich, yeah, and have a safety net like
this family, uh you know, and this kind of like
their dad almost murdered them all going to lose all
(26:30):
their money.
Speaker 1 (26:31):
But he's just like he's just like, they're like, we'll
get through that.
Speaker 3 (26:34):
He's like, we'll get through this as a family, and
now they're gonna be happy. No, But also Saxon is
like an unchanged person despite everything that happened, everything he's
sold the other thing, that's still just that person. Still,
I think that's interesting. Okay, let's tap in super producer Joe.
Speaker 1 (26:48):
I'll tell us why it didn't work for you guys.
Speaker 4 (26:51):
Okay, remember when I told you I don't watch White
Lotus because I don't like seeing white people make poor
decisions and have no consequences. What are we even doing here?
When this little girl said there's a stain on the
mattress and the food.
Speaker 2 (27:03):
You can.
Speaker 1 (27:05):
I was ready to kick her down the stairs.
Speaker 2 (27:07):
Honestly, did that not resonate with many people?
Speaker 1 (27:10):
It was so real, it was painfully rare.
Speaker 4 (27:14):
That's really bothering me. Here's the thing that's really bothered
me is it is actually a reflection of real life
and therefore you cannot disit for like being authentic. Well,
the part that really killed me was the three girlfriends.
This girl comes back to dinner and she's like, I
don't care. They have a pretty face and you have
a good life. I'm just happy to be here and
her friends and nothing they do not affirm her to
(27:37):
be like, we love you are so wonderful to have
around that we loved to know. This is not a friendship.
She literally just says, oh, time connects us, and so
I'll coast on that. I guess my heart broke for
her in a million piece.
Speaker 1 (27:49):
For the guests that Emmy with that one, she.
Speaker 4 (27:52):
Really was And I think what really disturbs me about
the show is like there's this I understand the idea
of like, Okay, it takes place in a like one locations.
It's away from everything, and it's whatever happens on vacation
is what we're capturing on camera. Like the thing is
like you're running to get away from these problems. They
follow you everywhere. I get that. I feel like they
(28:14):
worked really hard to try to include like the local
population this go round, and those stories fell so flat
for me where I was like I don't really know
who these people are. I don't really under this conflict
isn't really going anywhere, even main rich dad guy who
tried to kill a family, like the whole time he's
on this like family annihilatorship, But does he have an arc? Really,
(28:37):
like there's no where's where's he going?
Speaker 2 (28:39):
He's not changed.
Speaker 4 (28:40):
We're not a circle, We're not an arc. We're just flat.
I just feel bored. I feel bored.
Speaker 1 (28:45):
Well, you know what I will say.
Speaker 3 (28:46):
I do think it falls more into after our conversation
about Niche Stiege, Prestige, Stresstige, I think this falls more
into like a classic HBO prestige show, where it's more
about like you're just watching. You're like watching these people
have an experience that you wouldn't have, and the experience
here is you're poor, so you ain't getting to go
on this trip. And maybe maybe the trip is actually bad.
(29:09):
Maybe sometimes rich people have bad times too. But I
will say I think Jason, you actually with your conversation
about like did you know anyone can be bought off?
Speaker 1 (29:19):
And Joelle you bringing up.
Speaker 3 (29:21):
The local population, I did find something that I found
really heartbreaking. But I do think Jason is in line
with your idea of what the white Lotos is about,
like anyone can be bought off. Money will corrupt anyone.
I did find like the GUYE talk like ending where
he went against his pacifism. He killed the guy and
then he's rich and he can go and look, I'm
(29:41):
not gonna lie. Would I murder someone from hook?
Speaker 1 (29:44):
Maybe maybe I would? Who could not relate to that?
She's very beautiful, like I understand, but.
Speaker 3 (29:49):
Like everyone everyone some you know, but at the same time,
like I found that the most unsettling, like sad, unsatisfying
part of me. And you know what, Jason, it sums up,
but it's in line with you read of the themes,
which I do think is.
Speaker 2 (30:03):
It's a show about class solidarity and the workings of it.
How does white wealthy class solidarity work? It works just
like that. It works by keeping you on the outside
so that you could see all the beautiful racks of
sweets and candy and all the things inside, and says
how long you want to stay out there? How long
(30:24):
you want to stay out that shit? Do you want
to come inside or not? Here's all you need to
do sell this little piece of idealism, morality, whatever it
is that you have that's keeping you for coming in here,
get rid of that, and then you can come in
and by the way, then you won't ever want to leave.
And sadly there's that's how it works. People will want
(30:48):
to do that. People will do that every day, are
selling some piece of themselves to enter that illusion of
class solidarity at the top. And I think that's what
show is about, and I think it it picks it
pretty well from.
Speaker 1 (31:01):
What pressing and true.
Speaker 2 (31:03):
Yeah, nothing happens to the you know, to those folks.
Guy almost kills his family, he's walking home to like,
you know, devastation economically around him, maybe federal changes. Is
he exactly is anything really gonna happen to him? Probably not,
Like probably gets away. He's rich, he's he's still got
over you know, half a billion dollars. He's never gonna
(31:26):
he's never gonna face a consequence. Natasha Rothwell sold for
morality for five million dollars in the opportunity to start
a business. And then I do support how the left
the guy that she had a connection with, who is
the exact mirror image of her from season one, left him.
Speaker 1 (31:45):
I thought that I thought that wasting.
Speaker 2 (31:48):
Okay, and I think, yeah, it resonated for me even
though I hate all those people.
Speaker 1 (31:53):
Yeah, I'm like, is this this is interesting?
Speaker 3 (31:55):
Is this an enjoy Is this a show I can't
enjoy but I can recognize is pretty good?
Speaker 1 (32:00):
Yeah?
Speaker 3 (32:00):
I think Actually That's where I'm coming to after this. Like,
like I said, not appointment TV for me, but interesting
to have the conversations around it.
Speaker 1 (32:10):
And also, you know what, I will say something that.
Speaker 3 (32:12):
I will mention about niche, the stress these Sometimes I
get immersed in a show about the like the pit,
the bear, you know, working class people, real stories.
Speaker 1 (32:23):
Like and then I'll be like, oh wait, this is
just what actors do. They love to do this. They
love to be rich and pretend to.
Speaker 3 (32:29):
Be poor and go on like a weird poverty vacation.
And it's been like that throughout the history of movies
and TV.
Speaker 1 (32:36):
But you know, I will say, the White Loas is
just rich people being rich. So good for them, you
know what. Good They're not playing.
Speaker 2 (32:43):
One more thing before we move on, because we are
going to talk about Landman later, which I think is
like one of the leading you know, lights of Red
State television. But to me, what makes Landman more of
a caricature and white lotus more of a honest depiction
of people who would vote for Trump. Is that at
(33:07):
least the ones that like I encounter, they want it
both ways. They want to vote for Trump, but they
also want you to like them. You also want to
be like respected by like really by culture and by
you know, they're friends and that. Like that conversation with
(33:28):
the three women where they realize that one of them
voted for Trump, that was like, that's fucking real shit,
Like that's uncomfortable, real shit. And that's why I like
this show. Okay, up next, more TV and we're back
(33:56):
Invincible season three. I think a little bit of a
reclamation project here towards the end, and I mean the
very end, it starts to recapture some of the energy
from season one.
Speaker 1 (34:11):
Your your thoughts, I definitely saw that. I think I
have never been truly hooked back in.
Speaker 3 (34:18):
I will say, you know, I we have like a
little comic book stand now in Pedro, a craft market,
and the kids are coming.
Speaker 1 (34:27):
In and asking for Invincible.
Speaker 3 (34:29):
Season three got them hooked back in. Like the comics,
the interest of the comics are there. There is a
cultural conversation happening about it. Another thing I noticed, and
this will come up with the next show we talk
about too. With the Yellow Jackets, the discord started popping
off again when the season cut last couple of episodes
season finale came out.
Speaker 1 (34:50):
Does it justify a fourth season?
Speaker 3 (34:52):
I think it is my understanding from recent advertising I've
gotten from Skybound on Instagram, I believe they are looking
for a kind of Legion m esque fan investment at
the moment. But Invincible is there and Amazon's biggest revenue driver,
so I think it is still doing well for them.
Speaker 1 (35:11):
Joelle, what were your feelings.
Speaker 3 (35:12):
On the finale and where the show ended and did
you feel like it was a good ending?
Speaker 1 (35:16):
Do you care about season four?
Speaker 2 (35:18):
Oh yeah, season three ending slapped, y'all.
Speaker 4 (35:21):
I'm not gonna lie. We get an ass whipping of
a lifetime. Like I I love a fight, and they said,
we don't have a lot of money for graphics and fights,
so what if we just saved it all for the end,
which we all have to slog through a couple of
really mediocre fights to get.
Speaker 1 (35:36):
To the ending. But when you get to the ending, holy, Like,
it's real good.
Speaker 4 (35:41):
I really liked it. I think what's interesting about this season,
Timmy is one. I have a lot of feelings about
voice actor stunt casting, but damn it, they did a
pretty good job here. And I love Sandra Oh and
I think she's really giving to this character. I think
Stephen has to be showered with awards for his sensational
(36:06):
work he is doing. I was really excited to see
that he did.
Speaker 2 (36:08):
He just join Avatar movie.
Speaker 3 (36:12):
Yeah, he will be the Avatar the Lost ebb End
and not Avatar James Cameron, Yes.
Speaker 4 (36:17):
And so so I think on that, like, you've got
these people, you have Seth Evan who are doing they
thing over on studio but also killing it over here.
There's like a lot of juice left in this bottle.
I think here's the problem. I think for a lot
of Kirkman projects, like with The Walking Dead, things get
so depressing and stay that way for so long that
for a lot of people it's taxing to stay into
(36:37):
the story. And we're sort of getting that way with
Mark's character. He turns into somebody who's like, yeah, I
have to kill and yes. I think the show writers
have done a good enough job to be like, you're
kind of in the same boat with him, you're like, yes, Mark, uh,
if you don't look at what happens like, it's really
bad if you don't. And so you're like, you're you're
in the decision making boat with him in a way
(36:59):
that doesn't feel to totally alienating the other thing. I
think the show has done well. That sort of made
me inspire for a season four. I'm not a comic
book reader. I've heard many a bad thing. I hope
you are recommending other comics for the kids at the
shop to be like, hey, if you like the.
Speaker 1 (37:13):
Show, they want to do it.
Speaker 3 (37:16):
We've will got to read we've all got to read
a bad comic parents, and that you know, got to
forget the parental approval.
Speaker 4 (37:23):
To check it out. But yeah, they decide to veer
away from the comics they bring up. And so I thought, like,
because I was watching, to be like, oh, wow, I
guess the fans must be really excited about this moment.
Speaker 1 (37:34):
I don't know.
Speaker 4 (37:35):
I went online and they were not all excited, but
they were really intrigued. But the fact that we're bringing
somebody back and that it's a new angle is really
inspiring for an IP because it just keeps fans around
and engages them in a new way. It also sort
of brings old fans and new fans to the same place,
which makes it like interesting sort of watching guests together.
So yeah, you know, I think I hope they get
(37:56):
the show a little bit more of a budget. To
be honest, I think I think that was part of
the reason they said they were on hiatus before, and
it's been a struggle back and forth.
Speaker 1 (38:05):
We know.
Speaker 4 (38:07):
The general struggles the animators go through. I think the
show could use a little bit more money in the
animation department. Yes, I uh, you know, so they can
meet the talent they've brought to get to the table
to make the show.
Speaker 3 (38:18):
Yeah, you've got when they built season one on how
great the action was, how great the animation was, and
then season two obviously had the issues with timing and
release that kind of truncated the passion.
Speaker 1 (38:30):
For the season, and then season three. I do think
they get it back.
Speaker 3 (38:33):
But it's really clear that seven and eight are the
big money episodes where the animation is amazing. Honestly, if
I was Amazon, I probably would have released them at
the cinema Star Wars style, you know, like when you
just do the one episode really get them out there
showcase it. Yeah, I'm interested to see what happens next.
I'm not wholly you know, invested, because I do think
(38:54):
we get so many stories about like what if a
superho who didn't kill decided to kill? You know, there's
a lot of gritty storytelling that's been done. But I
will say I think this version of Mark is so
much more interesting than the comic book version. I think
Sandro adds a whole different level to it, and I
obviously will.
Speaker 1 (39:11):
Check back in.
Speaker 3 (39:11):
But guys, now I have to talk about another show
that has the people talking, that people are saying is
on a comeback trail from a disappointing season two, and
that is Yellowjackets season three.
Speaker 1 (39:24):
So let's talk about it. Jason, your feelings are more middling,
so let's have a conversation.
Speaker 2 (39:29):
They're a little bit more middling. I do think that
there is a soapy element that was ramped up in
season three, along with a much more obvious increase in
the like the plot movement cadence that made the show
feel very propulsive. Towards the end, there were some wonderful
cliffhanger moments and wonderful character moments. I thought that the
(39:55):
I you know, I continue to be much more interested
in the nineties timeline and the modern timeline, and I
think that's a problem the show has, especially yes this season,
where so much of the stuff happening back on the
island was like holy shit, what.
Speaker 3 (40:09):
Yeah, You're like, this is some amazing narrative story. I
mean to the point where even the actors. I think
that is one of the interesting things that we've seen
in season.
Speaker 1 (40:17):
Three and across the show.
Speaker 3 (40:19):
The concept of the two casts is really really interesting.
But then both the casts are so good that you
start to want interplay between the versions of the characters,
but that becomes impossible to do.
Speaker 1 (40:32):
Without dream sequences, death, yes, et cetera.
Speaker 3 (40:35):
But when it does happen, like in the most recent
episode where we lost put yours on if you haven't
watched it and you.
Speaker 1 (40:41):
Want to watch it, spoiler spoiler spoiler, we.
Speaker 3 (40:44):
Lose Adult Van in a really heartbreaking scene and we
get to have some interplay between Lauren Ambrose who plays
Adult Van, and Liphuson.
Speaker 1 (40:56):
Who plays Team Van, and they are so incredible.
Speaker 3 (40:59):
Together, and you I kind of think like, oh, man,
like I want more of this, the same way we
got to see Adult Nat and Young Nat when adult
Nat died. I think that they almost found themselves in
a very weird and almost completely unique situation, which is
that they happened to have a casting director who was
so fantastic that the cast kind of outshines what they're
(41:22):
doing with the show.
Speaker 1 (41:23):
Though, I will say for.
Speaker 3 (41:24):
Me, as a kind of like nineties TV Lover and
X Files Lover and that kind of stuff, I did
love that huge hook that we got where it kind
of turns the whole season on its head when you
realize that maybe the girls are not as kind of,
you know, far as far away from civilization as we
thought they.
Speaker 2 (41:43):
That made me question everything just in terms of like
how how well they've been searching this area. Anyway, I
agree with you, and I do think this is a
show that, despite what the showrunners say, I do think
that whatever plan they had in the beginning has changed
(42:04):
multiple times.
Speaker 1 (42:05):
Mm hmmm.
Speaker 2 (42:06):
And I think, yeah, I get that from comments the
showrunners have made comments the cast members of Mede. There's
this notable, you know, clip from a panel where Juliet
Lewis kind of suggests that she signed on for a
different for her character to have like kind of different
arc than the one it ended up having, and then
(42:28):
like since fifth finale.
Speaker 1 (42:29):
Even Live Houston.
Speaker 3 (42:30):
I think Van was originally supposed to die after the
wolf attack. I don't think that she was ever meant
to come back as a character. So yeah, it definitely
changes the law. I do believe that in the original
pitch they say that this big twist where oh, somebody
shows up and it makes you question everything was always
was always in that, But I'm like, that could have
been in season one. Honestly, yes, like you, I think
(42:52):
the success of the show made it so they stretched out.
I am very interested to see what happens in the
finale because I think if they have a great finale,
this could have the propulsion and the cultural conversation back again,
because people are talking about the show again as we
head into that finale, because it's balancing this kind of
emotional haft with these really crazy, soapy moments. But if
(43:14):
it doesn't hit, then it's gonna be Yeah, it's an
interesting It's going to be interesting to see where we land.
Speaker 2 (43:20):
I agree, and we will see if they truly do
have a plan. You know, the creators have been saying
essentially that they have a concept for where it's going.
Speaker 1 (43:31):
In five seasons.
Speaker 2 (43:33):
Yeah, but we will see. I'm interested as well. I
think that there have been some standout moments in this season.
Is it enough to overcome some of the chaos. We'll
see up next some other shows that we must talk about.
Then this is interesting because okay, so Paradise is a
show that many people were suggesting we watch. Many people
why discord. It is a show that had its like
(43:56):
pilot premiere on ABC, but then it moved to who
you know. It's this kind of like big promo push
to get people watch it. A lot of good word
of mouth through hula. I mean, the show is the
setup is almost comical. To say it out loud, you
can't explain it because it's because you're start laughing.
Speaker 3 (44:17):
Yeah, you gotta watch, but you gotta watch it. You
even if you're just gonna watch the first episode, you
gotta watch.
Speaker 2 (44:25):
Like imagine, I imagine scandal with a crazy sci fi twist.
Speaker 3 (44:32):
It's like that, you know the funny It sounds like
a show that somebody would pitch in the studio, right,
nobody would make, but it is.
Speaker 1 (44:41):
Become one of the most beloved shows.
Speaker 2 (44:43):
Really well done.
Speaker 1 (44:44):
Yeah, it was executed very serious unled by Starling K. Brown.
James Marsden's in this show.
Speaker 3 (44:51):
Like also feels like you're watching Lost, feels like that
big wark.
Speaker 2 (44:58):
It's that kind of air. It's I Lost type show
and a mystery box show in the mystery Box is wonderful.
They give you a lot of the mystery upfront about
like with this wonderful twist that I won't spoil because
part of the reason we're talking about this show is
not just that it was great, but that it is
apparently garnered so much praise and positive word of mouth
(45:22):
that it is now graduating to network and will in
very short order be debuting season one on ABC. So
this is that's interesting to me because we usually see
it go the other way, where you go from network
to streaming.
Speaker 3 (45:37):
Because you want to push people to pay for streaming
to work the rest of the show.
Speaker 2 (45:42):
Don't very often see a show graduate in the reverse
from streaming to network. So very interesting to see how
this performs and again, fun fun show.
Speaker 3 (45:53):
I would love to see what happens with this because,
as everyone who listens to the show notes, I love
line a TV. I have an antap I watch I
watch broadcasts constantly. I think it's great and I would
love to see Linear make a comeback for shows like
this because there are people who do not have streaming,
there are people who watch TV like this, and I
(46:13):
think that it's a fun show for that to kind
of inspire that conversation. And I think as well, it
does represent that while niche tige and stressedge, tv era
is leaning more into these small ideas, on a broadcast
platform or with the concept of a broader audience, you
(46:34):
can pitch these kind of wild, big swing ideas and
that they may may break through like that.
Speaker 1 (46:41):
So yeah, I'm I'm interested to see.
Speaker 3 (46:43):
I think if Paradise does well when they reshow, it
is a good likelihood that they will put it onto
ABC as for season two, which has already been approved.
Speaker 1 (46:53):
Also, yeah, I mean they did this with Swamp Thing.
Speaker 3 (46:56):
It didn't save swamp Thing for me, but it was
during the strikes when they didn't have anything to play.
It was during COVID and the strikes when they didn't
have anything to play, and it was great to see
that on a big screen and to see it get
a million views. So yeah, I hope that a successful
show like this could set up a great like return
to linear and broadcast.
Speaker 1 (47:16):
Okay, let's talk about other shows.
Speaker 3 (47:19):
In this era that don't necessarily fit into what we're
talking about, but definitely those broader audience shows. Just quickly
before we end this very fun look at what is
this era of TV?
Speaker 2 (47:30):
Well, you know, I think there's a lot of talk
right now about how the second Trump era is going
to affect TV and entertainment. And one thing about television
and movies is they're lagging indicators. The Pit is a
good example, you know, or Dope Thieves, where you're seeing
shows set in COVID dealing with COVID despite the fact
(47:53):
that we're now several years past the COVID era, the
past when COVID was happening. And I think Taylor Sheridan,
the Taylor Sharon verse is I will be interested to
see if we see more television like Landman, like lion Ass,
like Yellow the Yellowstone, like nineteen twenty, like his whole
(48:16):
fucking oove. He's kind of planted the flag for this
kind of you know, this like red state television movement,
and then be interesting to see if we see more
like that. I just want to say of Landman having
watched land Man insane. I you know, listen, I think
anybody interested in TV, you can't. You have to when
(48:37):
something's happened to watch, you have to watch it. I'll
say this, I think that he is a talented guy,
and I think he does conflict very well. I think
that Landman is one of the most unhinged and insane
shows I've ever seen.
Speaker 1 (48:48):
Yeah, it's one of the most insane shows.
Speaker 2 (48:50):
It leaves you wondering if Taylor has ever spoken to
a woman.
Speaker 1 (48:54):
Yeah, or like a normal human being. Honestly, Also, I
will say I do think.
Speaker 3 (48:59):
That Landman and all of his projects, even though I will,
you know, admit that, you know, he does have a
lot more money or is getting a lot more investment
than this person did early on in their career that
began with stage shows. But he, I mean, Taylor Tyler
Sheridan is very much giving like White Tyler Perry like
he writes all of his young stuff.
Speaker 1 (49:20):
He doesn't have showrunners, he doesn't have editors. He's doing fifty.
Speaker 3 (49:24):
Shows at the same time, and all of them are
absolutely unhinged. Once you get past, you know, a first
season where maybe somebody.
Speaker 2 (49:32):
Let me give you some of the headlines on them.
Speaker 1 (49:34):
Yeah, I wanted some.
Speaker 2 (49:35):
Of the headlines of Landman. So Landman is about Tommy
Norris is Billy Bob Thornton, who is like a manager
of oil Wells for this like second tier oil company,
not excellent, like the smaller quote unquote independent like type
(49:56):
oil company. And it's about his day to day work
in his life. There's really no arc to speak of.
It's just like various things that happened to this guy.
Here's some of the things that happen in this show Landman.
His daughter, who is in the show is like still
in high school, like eighteen or something, comes and stays
with him and tells her father that she and her boyfriend,
(50:21):
who she would like to sleep over at his house
with her. She and her boyfriend have a rule where
he can't come in her but he can come anywhere
he wants on her. Why she says this to her
father in the first episode of Landman. Also in Landman,
Demi mor is in Landman and one of our biggest
(50:44):
stars and one of the biggest stars certainly of her
era and a person who's we're talking a lot about
because of the substance. Demi Moore her first appearance in
Landman is from ninety feet away. She's in a swimming
pool and she yells at the camera high and that's it.
(51:05):
That's all you see of Demi Moore for like the
first four episodes of Fucking Landman. In Landman, Billy Bob
Thornton gives two unhinged pro oil monologues. Yes to the
character who is like the liberal woman who's a lawyer
but working for the right wing company and she has
(51:25):
to have like these Oh my god, I never realized
that about oil, like looks on her face as Billy
Bob gives her these oil speeches. Also in Landman, Billy
Bob Thornton cuts off his own pinky as a doctor
looks on.
Speaker 1 (51:39):
Yes, this show is insane.
Speaker 3 (51:41):
Okay. I have to say one of my favorite moments
that I've seen is that Andy Garcia comes and saves
him from the Cottel and it's like incredible because why
is the cottel involved? Also when they just randomly ki oh,
spoilery life. You haven't had this, but like just randomly
like kill off John Ham, which felt like it was
(52:02):
not well.
Speaker 2 (52:03):
Because he's also like never interacting physically with He's only
at like this golf resort. Yeah, yeah, yeah, talking about
to villif Th Wharton, like he's never like physically interacting
with anybody. They only clearly only had him for one
day at a golf resort.
Speaker 3 (52:21):
The one thing that I loved that I've seen the
clips of is like the uh the stripper at the retirement.
Speaker 1 (52:27):
Home, Like this is a show that you couldn't even
believe was real, but it does.
Speaker 2 (52:32):
It's an insane show, and one wonders if we see
more of this.
Speaker 1 (52:36):
Yeah, he was trying to he was trying to make
his own like Dallas. I think it's clearly and very much.
Speaker 2 (52:42):
You know, it's very much what it is, and I
do wonder you think, I do wonder how much of
it we see.
Speaker 1 (52:49):
I think something that's.
Speaker 3 (52:50):
Really interesting is the version that Taylor Sheridan is doing
this Red State like bombast.
Speaker 1 (52:55):
Like oil is good.
Speaker 3 (52:56):
Version is there, But I think the interesting thing is
like the liberal, let's say version of it, like is
something like Running Point, a show that is like super
popular but very unchallenging, very just like women can do
this too, likely mostly inspired by Genie Buss, you know,
(53:18):
and I will say, like they're lucky they got Kate
Hudson and the show is like very just kind of
fun and easy to watch and if you care about
back from drama, but it's very second screen. But it's
also been a massive success for Netflix. And I also
wonder how much of that continued second screen easy to
watch unchallenging more of your classic sitcom style shows that
(53:42):
streamers are gonna do when they're not making these stress
tege like super high concept stressful shows.
Speaker 1 (53:48):
I'm interested to see where we go next basically in
this era.
Speaker 2 (53:52):
Well, this has been a fantastic, a fantastic conversation. Let's
leave it with this, Rosie. What is the thing that
you're watching that you would like to promote TV? Weird
TV show that you're watching with somebody that other people should.
Speaker 1 (54:09):
Ooh, okay, this is a this is a good one.
What have I been watching a lot of?
Speaker 3 (54:14):
Man, I've been watching a lot of One Piece recently,
So I guess I really want to if you really
want to get into anime.
Speaker 1 (54:19):
But that's hardly a I'd say.
Speaker 3 (54:21):
That's hardly a low key kind of like an unpopular show,
you know what I've I do watch a lot of
old TV, so this was this is yeah, Okay, so
I'm gonna tell you guys what you should watch because
me and Joelle we recently released our Goofy episode Goofy
Movie episode, and during that I was inspired to once
again revisit one of my favorite TV shows which is
(54:43):
available now in a way it has not been before,
which is called Arie Indiana.
Speaker 1 (54:47):
Which was a kids X File esque show about a
guy called Marshall who moves to a new neighborhood where
everyone is like a weird kind of supernatural or s.
It's fiction esque character like there's an episode where all
the TopWare.
Speaker 3 (55:05):
Meetings that the moms are having, they reveal that actually
the moms are like inside the top of Giant tupwar
so they can stay young. And I think it is
one of the most underrated genre shows. I think it's
really really fun, and I think because of the rise
of places like to be and you like freeb and stuff,
(55:26):
these shows are now like you didn't used to be
able to find in the Erie Indiana anywhere. I have
all of it on DVD along with all of Are
You Afraid of the Dark Now. Erie Indiana is on Filo, Free,
Roku Channel, free cw app, Free Pluto TV, Free Plex free.
Speaker 1 (55:43):
So we are in a blessed.
Speaker 3 (55:45):
Age of being able to find essentially shows that were
not archived before.
Speaker 1 (55:48):
So that's mine. What's yours, Jason?
Speaker 2 (55:50):
Mine is it's been ten years you've been waiting I
know all of us have been waiting with baited breath
for a decade for the adaptation of the final book
in the wolf Hall trilogy. Hillary Mantel, have we not
talked about this? Well, right now you PBS subscribers, you
(56:13):
as I am supporting our public broadcasting system, folks, it's here.
It's airing now Series two, The Mirror in the Light,
the final book in the wolf Hall trilogy, the The
rocket Ship Rise and Heartbreaking Fall of Thomas Cromwell in
(56:34):
the Court of Henry the Eighth. It's happening now. It's
airing literally right now on The Mirror in the Light,
and it's so fucking good if if you love politics
and politic England.
Speaker 3 (56:48):
At Christmas it was like the it was the release,
which in England is the prime.
Speaker 2 (56:52):
It's literally very good. The costume and the show is
great as well.
Speaker 1 (56:57):
The Mirror and the Light.
Speaker 2 (56:58):
This the final season of wolf Hall. Watch it now
on PBS, Folks. That's been our show. On the next
few episodes of X ray Vision, We're recapping Daredevil one
O eight on Thursday, We're recapping season one of the
Last of Us in preparation for season two on Friday,
and of course we're back with news on Saturday. That's
(57:19):
it for this episode, folks, Thanks for saying bye. X
ray Vision is hosted by Jason Sepsion and Rosie Night
and is a production of iHeart Podcasts.
Speaker 3 (57:32):
Our executive producers are Joe Alminique and Aaron Kaufman.
Speaker 2 (57:36):
Our supervising producer is Abusafar.
Speaker 3 (57:38):
Our producers are Common Laurent Dean Jonathan and Bay Wag.
Speaker 2 (57:42):
Our theme song is by Brian Vasquez, with alternate theme
songs by Aaron Kaufman.
Speaker 3 (57:47):
Special thanks to Soul Rubin, Chris Lord, Kenny Goodman and
Heidi Our disc Callded moderate them
Warning.
Speaker 2 (00:01):
Today's episode Candad's spoilers for various television programs such as
White Lotus season three, such as Yellow Jackets, such as
The Pit, such as Paradise and Invincible, and more. Be warned. Hello,
(00:31):
my name is Jason Concepcion and I'm Rosy Night, and
welcome back to x Ray Vision of the podcast where
we dive deep into your favorite shows, movies, comics and
pop culture. We are coming to you from my Art podcast,
where we'll bring you three huge episodes a week every Tuesday, Wednesday, Thursday,
plus news on Saturday.
Speaker 1 (00:49):
In today's episode, we are talking about some of.
Speaker 3 (00:51):
The deluges of terrific television that twenty twenty five has
had to offa and we're gonna be starting by talking
about the current error of television that we're watching and
living through.
Speaker 1 (01:03):
What is this era of TV?
Speaker 2 (01:08):
Okay, Rosie, you and I watch a lot of TV.
We watch too much TV, we do. I've always watched
too much TV and I continue to watch too much TV.
We are living through a crazy era in the globe.
What do you think is this era of TV? We've
kind of come out of the peak TV era during
which you know, technology and streamers entered the entertainment fray,
(01:31):
pouring billions of dollars into this space, creating dozens and
dozens and dozens and hundreds of new TV shows which
we're debuting at a tremendous clip. That bubble has essentially popped.
It feels like we're kind of post prestige, where at
least everything that isn't reality and that isn't on network
(01:53):
could be reasonably construed as prestige. But much like many
of our adjectives currently Rosie like post capitalist or new
people peak TV and prestige TV or like they're an
adjective searching for a meaning, they kind of don't mean
anything anymore. So what is this era of television?
Speaker 1 (02:15):
Okay?
Speaker 3 (02:16):
So I'm I I was testing this one in pre
pro but I think I do think this is what
I would call it, especially because I feel like it's
appropriate for the the feeling and experience of living through
twenty twenty five. I'm like, it's it's streaming prestige, right,
which is completely different from normal prestige. So I'm calling it.
I'm saying it's stressed eage TV stretch stage. I think
(02:38):
if you look at the shows that are popular that
we are going to talk about the pit adolescence, the
Studio White lois that.
Speaker 1 (02:44):
Also shows that make you stressed.
Speaker 3 (02:46):
Yes, So I'm like, maybe the key of streaming and
prestige is you have to have a dark, anxiety inducing overtone.
I think a lot about that first episode of The
Bear if you had ever worked in like a kitchen
or a retail experience or a restaurant, it was just
so unbelievably stressful.
Speaker 1 (03:06):
But that made it feel like you were in the show.
You were experiencing it, You're immersed in it. It's very
different from the first episode of.
Speaker 3 (03:13):
Game of Thrones, where it more feels like you're walking
around a theme park and you're learning about the world
and these exotic spaces and this new kind of landscape
that you're going to be introduced to. So yeah, I'm
going I'm going for stress tage TV. It's it's streaming,
it's prestige. Some of the shows aren't really prestige, but
because they, you know, had five million dollars in an
(03:34):
episode but don't necessarily look like it, they're still kind
of acclaimed as prestige TV.
Speaker 1 (03:40):
But the quality is it always there?
Speaker 2 (03:41):
I don't know I'm going to uh coin this era.
My pitch for this era is niche stige, niche TV
literaliche because it's real. Because I do feel like we've
entered in an era with the kind of bifer ky
of all the platforms and the post peak crash in
(04:07):
which you're seeing, you know, the platforms fight for their
lives and shows move from streaming to network or vice versa,
and you've got all these different types of smaller productions
like Scrabbling for the Top. I think we're seeing explorations
like of niche occupations and lifestyles in a way depicted
(04:31):
in a way that we haven't necessarily seen before. You know,
it used to be like cops, fireman, lawyers, right, your FBI,
that's it, that's your kind of procedural, and now it's
like with I think maybe the Harbinger was the weird
successive suits that we're starting to see these you know,
(04:55):
shows like The Studio on Apple TV Plus where it's like,
you know, there's always been shows and movies about shows
and movies, but I think this is taking it to
a different kind of level. The Pit feels like a
much more granular type of medical show than we've seen before.
You know, there's you know, fire Country. It's not enough
(05:16):
to just do like Fireman, Fire Department. Now you have
to do like the hell Jumpers that like go up
into the woods. And so I think that there's it
feels like we're it's a much more granular kind of
TV experience. And with that, let's talk about let's talk
about some of the shows that that have been really
(05:37):
making news this cycle and shows that we really like.
But first let's take a quick break and we'll be
about that.
Speaker 1 (05:57):
And we're back.
Speaker 2 (05:58):
First up, you mentioned it over on Max Slash HBO,
The Pit Noah Wiley's return to the emergency room as
a harried emergency room doc dealing with the fallout the emotional,
the physical, the economic, the socioeconomic fallout from COVID as
(06:24):
he tries to kind of mentor young doctors through the
experience of working in a very active hospital. This is
a great show.
Speaker 1 (06:34):
It's an incredible show.
Speaker 3 (06:35):
And I also think something that you sum up here
with this idea of Niche Stiege, which I really like,
is like, also, even this is not an expanded soap
opera esque er where you get to know all the
characters and see the love interests and all that kind
of stuff very much that one fifteen hour shift and
(06:56):
every hour is a real time and I think there
is something about that zoomed in what is it really
like to be a human being who is working in
a hospital in a restaurant. That is definitely a space
that we are more kind of entering into. I would
(07:18):
even say like House of the Dragon, which is definitely
obviously one of the more out there fantasy shows, but
even their take on Game of Thrones is a much stralistic,
chamber drama, intimate relationship focused kind of intrigue and conflict.
So yeah, I think the Pit is amazing. I saw
(07:38):
a great meme about it, which is like, you know,
if you go into that hospital, they're going to find
a reason to intubate you. Like everything here is the
worst possible, Like you are getting intubated, You're seeing some
really grotesque, like terrifying stuff.
Speaker 1 (07:53):
I love that.
Speaker 3 (07:54):
I also think this show does one of the best
things from old school prestige TV, which is you are
bringing in your Noah Wiley's You'll bringing Noah Wiley has
up until now mostly just been doing like the librarian movies.
Speaker 1 (08:07):
Sci fi. You know this, librarian, my librarian.
Speaker 2 (08:12):
You want to feel like this is the shit that
makes me feel like one hundred million years old.
Speaker 1 (08:16):
I feel like, yes, I.
Speaker 2 (08:16):
Don't want to look it up, but I'm I'm convinced
right now if I looked it up the library and
happened fifteen years ago.
Speaker 1 (08:22):
Oh no, no, I think it. Yeah, I will tell you.
Speaker 3 (08:24):
I do believe it was about fifteen years ago. Another
person that I loved to see in this that I
think is a really great addition to this kind of
unexpected character actor role is Sean Hatosi, who I know
best as Stan from the Faculty, one of my old
Countryvorite actors. Yeah, doctor Jack Abbot, He's incredible. I also
have loved to see that a lot of the TV
(08:46):
people that I really follow and love are women, and
like the amount of hilarious like Abbot fan cams there are,
and the kind of way that people will interact with
something that, even though it is really brutal and real, real,
there is also an element where people can still make
it light. They can still find the characters that they love.
(09:07):
I think that's the fandom X aspect is still there.
Speaker 2 (09:11):
It's the pit has some of the best Filipino representation
on television and as a person with multiple Filipino nurses
and my direct family, like a lot of this rung
very true, really really good show. Now when we say prestige,
I feel like that to me, the number one thing
when we say prestige is does it look great? Does
(09:34):
it look like it could have been a movie twenty
years ago or fifteen years ago? Yeah, And I feel
like the pit on all you know, on all levels
is that it just looks fantastic production design, amazing camera work,
really good. It is the fabulously dynamic show.
Speaker 1 (09:57):
Yeah.
Speaker 3 (09:57):
I also think they just put a level of Karen
too it that a lot of streaming shows do not have.
And I think part of that comes from the genesis
of the show was to make a show that ten
years ago would have been on broadcast, but you make
it now for streaming, So I guess really more fifteen
years ago.
Speaker 1 (10:12):
I think that comes through.
Speaker 3 (10:13):
I think Nina Rashio, who is the production designer, she
was designing the entire set before the show was even
properly picked up, so and in production. So I just
think this is a really special show, incredibly stressful show though.
So I'm also saying stress addition stress teach, Yes, don't
watch it as the last thing you watched before bed
(10:34):
that I.
Speaker 2 (10:35):
Usually watched like Park and Rec bloopers.
Speaker 1 (10:40):
I'm a murder, she wrote, Guy, I hear Jessica Fletcher.
Speaker 3 (10:42):
I know everything's going to be okay. There's going to
be a murder, but I don't need to worry about it.
It's going to be some ketchup style murder. But also
speaking of incredibly stressful TV shows that have kind of
taken over the news cycle right now, let's talk about Adolescents.
Speaker 2 (10:56):
Let's talk about Adolescents and Stephen Graham's you know, elevation
to creative force and showrunner Stephen Graham. You are familiar
with him from his many many, many, many many roles
it with you know, deploying multiple different accent accents over
(11:17):
the years and.
Speaker 3 (11:18):
One of the great character actors, whether it's in The
Lobal Empire or one of my favorite films, This is England. Yeah,
an unbelievable show that is also taking part, interestingly in
one of the stylistic trends right now, which is embracing
the one shot. Every episode of Adolescents is a one shot,
(11:40):
and if you don't know what.
Speaker 1 (11:41):
The show is about.
Speaker 3 (11:42):
It's got a pretty simple premise, which is it's set
in England and a teenage boy is picked up by
the police because a girl in his school was stabbed
to death. And the first episode is about how his
parents are obviously on his side, and the episode ends
with a video showing him killing the girl at his school,
who it turns out, had told him she didn't want
(12:05):
to go on a date with him. And it is
essentially an explorer four episode mini series exploration of the
kind of toxic manisphere, the notions of misogyny, and it
is an unbelievable piece of TV.
Speaker 2 (12:19):
It's harrowing, it is intense, and it's well, it's a
show that you will be thinking about. You will think
about this show and it is one that stays with you.
It's an incredible piece of television production.
Speaker 3 (12:39):
That's a very interesting point you raised there is part
of nistige stresstige.
Speaker 1 (12:44):
This era of TV is part.
Speaker 3 (12:47):
Of it that the stuff that sticks with us, I
would say particularly is stuff that maybe does make you
think a little bit more. The Pit, for example, that
is a show that is absolutely about the American healthcast
them a reaction to COVID. It's also dealing with issues
of transphobia. Like there is a lot in that show
(13:08):
where that it doesn't feel like a very special episode.
It feels like a show that is aware it's about
human beings. It makes you think adolescence is like one
of the most haunting.
Speaker 1 (13:17):
Shows absolutely of the last like ten years. And I
think because.
Speaker 3 (13:22):
It is really scary to imagine that space. I think
there's it's also inspired a good conversation. I mean in England,
it's inspiring potential legislation change which would be unbelievable and
I think was largely.
Speaker 2 (13:37):
Called social media around.
Speaker 3 (13:39):
I think also as well, I think what people really
want is legislation change that supports mental health care for
young people and young boys especially, which has been you know,
under the austerity era of the Tories and now the
continuation that under the labor is still going on.
Speaker 1 (13:57):
Right. But that again is a show.
Speaker 3 (13:59):
That absolutely inspires conversation, makes you want to think about
the children in your life, the people in your life.
Speaker 1 (14:08):
I think that is a resounding.
Speaker 3 (14:10):
Theme of even some of the sillier shows that we're
gonna kind of get into after we talk about a
couple more including obviously the one you all want to
hear us talk about, which is a definite prestige classic show,
The White Lotus.
Speaker 1 (14:22):
Which we'll be talking about in a couple of minutes.
Speaker 3 (14:24):
But like, I do think that there is an element
of this era where the things that stick with us
are not necessarily the classic like mad Men esque, like
gorgeous gowns, incredible acting, throwing you into a world, and
instead they're like, here's our world, now, let's make you
think a little bit about our world.
Speaker 1 (14:44):
Rather than escapism, it's more like immersion.
Speaker 2 (14:47):
I think that there is something to that. Certainly, the
shows that most resonate with me resonate because they're able
to take some piece of modern life and really make
me think about it for a while, such as like
how we're all dealing with the traumas of the of
COVID still in our life without really realizing it. In adolescence,
(15:10):
it's I'm glad I didn't grow up in an era
where everybody had a cell phone and bullying takes on
this almost dystopian type of thing, and it also makes
you think about you know, young young boys and men,
and how we're still not able to have a conversation
(15:32):
about their mental health in a way that doesn't feel
like either patronizing or letting them off for being terrible,
Like there's it still feels like we're trying to find
that exactly well to you mentioned the one shot. The
one shot in Adolescence is interesting because it it underlines
(15:56):
this feeling of you're a fly on the wall. This
documentary kind of ambitious.
Speaker 3 (16:00):
Fly on the wall, kind of following the horror of anhaction. Yeah,
which especially episode three, I mean we got to shower
Owen Cooper, who this was his first ever acting role.
He plays Jamie, the kid at the center of the story,
and there's an at the third episode where he's talking
to a kind of a psychologist that is one of
(16:22):
the most like scary and brilliant episodes. And the one
shot is very much you are the fly on the wall.
But there is another show using one shots that is
very much in the stress tige era that I think
has one of the for me, the most stressful episodes
of TV I've seen all year in complimentary way, which
is Yeah, the Studio, The.
Speaker 2 (16:42):
Studio on Apple TV Plus is I think one of
the Uh, it's definitely the most fun show that's happening
at the moment. It is very stressful. It's a show
about a the head of a studio, Seth Rogan played
by Seth Rogan, who loves movies, loves loves loves movies,
(17:03):
but in his own words, his job now is to
ruin them and to make sure that they make a
lot of money. And it is you want to talk
about Niche Stiege like this is as people who live
in La So much of this brings true the characteristics
of the people, the conversations that you overhear. You know,
(17:24):
Katherine On is like as the head of marketing of
the studio is like on an insane here all the time.
Brian Cranston basically is like stan Lee.
Speaker 1 (17:39):
He's like, He's like, what if Stanley ran a movie studio?
Speaker 3 (17:42):
But at Stanley from like the late eighties, early nineties
and his trip to la had actually worked and gotten
him a job.
Speaker 2 (17:48):
And this is a show in which the ononer, I
think is much more, much more divisive, because it is
definitely it is both a recognition of of how the
wonner has become like the like the the deep three pointer.
Speaker 1 (18:07):
Of like yeah, the the andand of like You're doing something. Sack.
Speaker 2 (18:10):
Look at how cool this is, Like, I'm a good
director because I gave you a cool woner. And at
the same time it the whole thing is wonners. So
it's yeah, it's both the the subject of the joke
and it is the joke itself.
Speaker 3 (18:26):
And also they are doing some technical, like technically unbelievable
things in season two, which I love, and Jason, I'm
sure that you, as someone else who has been.
Speaker 1 (18:33):
On sets, found incredibly stressful.
Speaker 3 (18:36):
Is Seth Rogan's character goes to visit a set because
he wants to see Sarah shoot a wanner. And the
episode is a woner and at every point he fucks
it up. And the rule is you don't have an
exec on set if you don't want a distraction, but
he is distracting everyone.
Speaker 1 (18:52):
You get pratfalls.
Speaker 3 (18:53):
And there is an unbelievable moment that I had to
watch multiple times that inspired so much conversation that Seth
Rogan joined threads to contradict people who are claiming they
knew how they did it, which is they drive up
and you're following Seth Rogen as he drives up and
then immediately without any kind of change, somebody picks up
the camera and you can't see it, there's no reflection
(19:15):
in the window, and essentially keeps following them and it feels.
Speaker 1 (19:19):
Like an impossible shot.
Speaker 3 (19:20):
But it was a real shot that was done with
a magnetic camera on the hood that they then lifted off.
But there are so many moments in that show where
you The thing I love about the use of the
one shot in this show and the use of the
handheld camera and stuff is you feel like you are
Seth Rogan's assistant who is rushing around on the.
Speaker 2 (19:37):
Sacket after him.
Speaker 1 (19:38):
Yeah.
Speaker 3 (19:38):
It's a level of immersion that I don't think you
get to see. I mean, the first episode also has
an incredible Martin Scorsese subplot.
Speaker 1 (19:46):
It is like.
Speaker 3 (19:47):
Completely should absolutely not work and should be completely tasteless.
Speaker 2 (19:51):
I'm saying that she would when she says like, we
can't I can't sell a movie with Steve Shemy as
the star, and somebody else says, but he's one of
the greatest actors we have, and she's like, listen, if
he was here, I would throw him on this table
and fuck him to DEVI right now, I can't sell
this movie. I won't kill it.
Speaker 3 (20:12):
And also we do get there has actually been multiple articles.
It's so LA specific that Catherine O'Hara Carrot has very
clearly been kind of not exposed, but people understand that
she is Sony's Amy Pascal, and it's quite close to
her real life kind of experience. I have a friend
(20:33):
who was a tour.
Speaker 1 (20:34):
Guide on Sony at Sony.
Speaker 3 (20:36):
Who would constantly see seth Rogen and there is a
tour guide point of being, and everyone at Sony, everyone
who is a tour guide, is like, oh, like he
saw us too, Like this is like a point of
real understanding.
Speaker 1 (20:48):
So again, extremely niche.
Speaker 3 (20:50):
I wonder how it's playing outside of LA But I
do think, and I'm gonna bring this up later in
the show. I do think that it makes the argument,
alongside Severance that Apple TV has made some of the
best TV of this era, maybe the best TV of
twenty twenty five.
Speaker 2 (21:04):
They're throwing money at the problem and I can't. I
love it. Keep doing it? Please another billion dollars? Yeah,
next up. White Lotus just had their finale this Sunday,
and I think a divisive finale. I'm seeing some of
the responses.
Speaker 1 (21:22):
Some people love it. I agree.
Speaker 2 (21:24):
My my good friend and critic at Variety, Alison Herman,
thought that the finale kind of redeemed some of the
more meandering aspects of the season. Me personally, I watched
White Lotus not to see how they tie up loose ends,
but because of all the weird kind of call the
sacts you end up in through the course of the season.
(21:44):
So I didn't mind it. I know, a super producer
Joelle did not like the finale, but I you know, personally,
for me, I think it was the best season of
White Lotus.
Speaker 3 (21:54):
Hey, you're not the only one, and I kind of
love this about an anthology show, as you do get
to have that exploration.
Speaker 1 (22:01):
I also really enjoyed the finale.
Speaker 3 (22:03):
I'm like, I'm a middling White Lotus fan, Like it's
not appointment TV for me, but I do enjoy what
I call a vacation show or of a quacation movie,
where that a bunch of rich people just go and
film somewhere they want to hang out, like a Four
Seasons in Thailand I did. I thought the finale had
some interesting roots. I was definitely rooting for the Jonestown
esque family killing. I thought that would have been a
(22:26):
really interesting oblique way to go. But I thought that
the ending that they did provide of Rick and Chelsea,
I thought for Mike White, it was actually quite an unexpected,
kind of straightforward revenge story.
Speaker 1 (22:39):
It's very much in.
Speaker 3 (22:41):
The lane of like, if you go after something that
you hate, you're gonna lose something that you love. I
personally did gasp at the moment when they revealed that
after spending his life trying to hunt down his father's killer,
Rick was his father's killer.
Speaker 1 (22:57):
The end, I felt like the way moment, yeah, a.
Speaker 3 (23:02):
Lot of Greek tragedy, which Mike White alluded to in
his THHR kind of finale interview. Yeah, I thought it
was a satisfying ending. And also I am an Amy
lou stand so I love Chelsea. I hate it that
she died. But I felt like something that was kind
of interesting was I did feel like the show hinted
(23:22):
at this notion of like maybe what she was talking
about was true, like maybe there is something after and
maybe they will get to be together forever. Like I
felt like there was romantic readings that were interesting.
Speaker 2 (23:36):
Interesting. I here's my take on the White lotus, And
I think that perhaps this is why this is a
divisive show or the ending was divisive. I think the
ultimate message of the White Lotus is you can be
bought off. Yes, you you know, I think, and I
have a lot of I have a lot of friends
who are like, man, if I had a billion dollars,
(23:58):
if I was like as rich as you, Musk or whoever,
I would solve homelessness. And I'm like, bitch, no, you wouldn't.
You wouldn't because you to get there, you have to
be so indoctrinated into that that society, that lifestyle, that
amount of wealth, that you simply wouldn't do it. You
(24:20):
wouldn't do it. And I think the to me, the
message of White Lotus is, oh, this woman that touched
your life. You know that she was murdered, you know,
set up by her husband. Well you can move on
for that, for the low, low price of five million
dollars so that you could start your life. And it
presents it that choice is like you know, not certainly
(24:44):
an awful and a bad one, but also a rational
one that I think describes much of our interactions in
society and life. Is like, sadly, you can be bought off.
And I think that's an uncomfortable thing to realize. Is
that everybody likes the sixties, the boomers, they were the
(25:06):
most progressive generation ever, you know, like fighting for civil rights,
marching to end uh a terrible war in Vietnam.
Speaker 3 (25:16):
Uh.
Speaker 2 (25:16):
The you know, the nascent uh gay rights movement happening
then started with them, you know, second and third wave feminism,
all of these very progressive things happening with that generation.
And then they get in power, and it's this, it's
this that we're living through right now. Why did that happen?
(25:36):
Because they got Because if you get if you have
a bunch of like communist semi communist weathermen loving hippies,
and you give them very very very cheap higher education
and access to like uh audiability to buy a house
on like one salary. Guess what, they're not communists anymore.
(25:59):
They're right capitalist baby, yeah, and like okay, and all
of us can be bought off like that. And I
think that's an uncomfortable thing to think about.
Speaker 1 (26:07):
I agree. I also like that.
Speaker 3 (26:09):
One of the I think something as well that's really
good about this specific season, and I do think other
seasons too, is just like a lot of people can
go through unbelievable events and just be unchanged especially if
they're incredibly rich, yeah, and have a safety net like
this family, uh you know, and this kind of like
their dad almost murdered them all going to lose all
(26:30):
their money.
Speaker 1 (26:31):
But he's just like he's just like, they're like, we'll
get through that.
Speaker 3 (26:34):
He's like, we'll get through this as a family, and
now they're gonna be happy. No, But also Saxon is
like an unchanged person despite everything that happened, everything he's
sold the other thing, that's still just that person. Still,
I think that's interesting. Okay, let's tap in super producer Joe.
Speaker 1 (26:48):
I'll tell us why it didn't work for you guys.
Speaker 4 (26:51):
Okay, remember when I told you I don't watch White
Lotus because I don't like seeing white people make poor
decisions and have no consequences. What are we even doing here?
When this little girl said there's a stain on the
mattress and the food.
Speaker 2 (27:03):
You can.
Speaker 1 (27:05):
I was ready to kick her down the stairs.
Speaker 2 (27:07):
Honestly, did that not resonate with many people?
Speaker 1 (27:10):
It was so real, it was painfully rare.
Speaker 4 (27:14):
That's really bothering me. Here's the thing that's really bothered
me is it is actually a reflection of real life
and therefore you cannot disit for like being authentic. Well,
the part that really killed me was the three girlfriends.
This girl comes back to dinner and she's like, I
don't care. They have a pretty face and you have
a good life. I'm just happy to be here and
her friends and nothing they do not affirm her to
(27:37):
be like, we love you are so wonderful to have
around that we loved to know. This is not a friendship.
She literally just says, oh, time connects us, and so
I'll coast on that. I guess my heart broke for
her in a million piece.
Speaker 1 (27:49):
For the guests that Emmy with that one, she.
Speaker 4 (27:52):
Really was And I think what really disturbs me about
the show is like there's this I understand the idea
of like, Okay, it takes place in a like one locations.
It's away from everything, and it's whatever happens on vacation
is what we're capturing on camera. Like the thing is
like you're running to get away from these problems. They
follow you everywhere. I get that. I feel like they
(28:14):
worked really hard to try to include like the local
population this go round, and those stories fell so flat
for me where I was like I don't really know
who these people are. I don't really under this conflict
isn't really going anywhere, even main rich dad guy who
tried to kill a family, like the whole time he's
on this like family annihilatorship, But does he have an arc? Really,
(28:37):
like there's no where's where's he going?
Speaker 2 (28:39):
He's not changed.
Speaker 4 (28:40):
We're not a circle, We're not an arc. We're just flat.
I just feel bored. I feel bored.
Speaker 1 (28:45):
Well, you know what I will say.
Speaker 3 (28:46):
I do think it falls more into after our conversation
about Niche Stiege, Prestige, Stresstige, I think this falls more
into like a classic HBO prestige show, where it's more
about like you're just watching. You're like watching these people
have an experience that you wouldn't have, and the experience
here is you're poor, so you ain't getting to go
on this trip. And maybe maybe the trip is actually bad.
(29:09):
Maybe sometimes rich people have bad times too. But I
will say I think Jason, you actually with your conversation
about like did you know anyone can be bought off?
Speaker 1 (29:19):
And Joelle you bringing up.
Speaker 3 (29:21):
The local population, I did find something that I found
really heartbreaking. But I do think Jason is in line
with your idea of what the white Lotos is about,
like anyone can be bought off. Money will corrupt anyone.
I did find like the GUYE talk like ending where
he went against his pacifism. He killed the guy and
then he's rich and he can go and look, I'm
(29:41):
not gonna lie. Would I murder someone from hook?
Speaker 1 (29:44):
Maybe maybe I would? Who could not relate to that?
She's very beautiful, like I understand, but.
Speaker 3 (29:49):
Like everyone everyone some you know, but at the same time,
like I found that the most unsettling, like sad, unsatisfying
part of me. And you know what, Jason, it sums up,
but it's in line with you read of the themes,
which I do think is.
Speaker 2 (30:03):
It's a show about class solidarity and the workings of it.
How does white wealthy class solidarity work? It works just
like that. It works by keeping you on the outside
so that you could see all the beautiful racks of
sweets and candy and all the things inside, and says
how long you want to stay out there? How long
(30:24):
you want to stay out that shit? Do you want
to come inside or not? Here's all you need to
do sell this little piece of idealism, morality, whatever it
is that you have that's keeping you for coming in here,
get rid of that, and then you can come in
and by the way, then you won't ever want to leave.
And sadly there's that's how it works. People will want
(30:48):
to do that. People will do that every day, are
selling some piece of themselves to enter that illusion of
class solidarity at the top. And I think that's what
show is about, and I think it it picks it
pretty well from.
Speaker 1 (31:01):
What pressing and true.
Speaker 2 (31:03):
Yeah, nothing happens to the you know, to those folks.
Guy almost kills his family, he's walking home to like,
you know, devastation economically around him, maybe federal changes. Is
he exactly is anything really gonna happen to him? Probably not,
Like probably gets away. He's rich, he's he's still got
over you know, half a billion dollars. He's never gonna
(31:26):
he's never gonna face a consequence. Natasha Rothwell sold for
morality for five million dollars in the opportunity to start
a business. And then I do support how the left
the guy that she had a connection with, who is
the exact mirror image of her from season one, left him.
Speaker 1 (31:45):
I thought that I thought that wasting.
Speaker 2 (31:48):
Okay, and I think, yeah, it resonated for me even
though I hate all those people.
Speaker 1 (31:53):
Yeah, I'm like, is this this is interesting?
Speaker 3 (31:55):
Is this an enjoy Is this a show I can't
enjoy but I can recognize is pretty good?
Speaker 1 (32:00):
Yeah?
Speaker 3 (32:00):
I think Actually That's where I'm coming to after this. Like,
like I said, not appointment TV for me, but interesting
to have the conversations around it.
Speaker 1 (32:10):
And also, you know what, I will say something that.
Speaker 3 (32:12):
I will mention about niche, the stress these Sometimes I
get immersed in a show about the like the pit,
the bear, you know, working class people, real stories.
Speaker 1 (32:23):
Like and then I'll be like, oh wait, this is
just what actors do. They love to do this. They
love to be rich and pretend to.
Speaker 3 (32:29):
Be poor and go on like a weird poverty vacation.
And it's been like that throughout the history of movies
and TV.
Speaker 1 (32:36):
But you know, I will say, the White Loas is
just rich people being rich. So good for them, you
know what. Good They're not playing.
Speaker 2 (32:43):
One more thing before we move on, because we are
going to talk about Landman later, which I think is
like one of the leading you know, lights of Red
State television. But to me, what makes Landman more of
a caricature and white lotus more of a honest depiction
of people who would vote for Trump. Is that at
(33:07):
least the ones that like I encounter, they want it
both ways. They want to vote for Trump, but they
also want you to like them. You also want to
be like respected by like really by culture and by
you know, they're friends and that. Like that conversation with
(33:28):
the three women where they realize that one of them
voted for Trump, that was like, that's fucking real shit,
Like that's uncomfortable, real shit. And that's why I like
this show. Okay, up next, more TV and we're back
(33:56):
Invincible season three. I think a little bit of a
reclamation project here towards the end, and I mean the
very end, it starts to recapture some of the energy
from season one.
Speaker 1 (34:11):
Your your thoughts, I definitely saw that. I think I
have never been truly hooked back in.
Speaker 3 (34:18):
I will say, you know, I we have like a
little comic book stand now in Pedro, a craft market,
and the kids are coming.
Speaker 1 (34:27):
In and asking for Invincible.
Speaker 3 (34:29):
Season three got them hooked back in. Like the comics,
the interest of the comics are there. There is a
cultural conversation happening about it. Another thing I noticed, and
this will come up with the next show we talk
about too. With the Yellow Jackets, the discord started popping
off again when the season cut last couple of episodes
season finale came out.
Speaker 1 (34:50):
Does it justify a fourth season?
Speaker 3 (34:52):
I think it is my understanding from recent advertising I've
gotten from Skybound on Instagram, I believe they are looking
for a kind of Legion m esque fan investment at
the moment. But Invincible is there and Amazon's biggest revenue driver,
so I think it is still doing well for them.
Speaker 1 (35:11):
Joelle, what were your feelings.
Speaker 3 (35:12):
On the finale and where the show ended and did
you feel like it was a good ending?
Speaker 1 (35:16):
Do you care about season four?
Speaker 2 (35:18):
Oh yeah, season three ending slapped, y'all.
Speaker 4 (35:21):
I'm not gonna lie. We get an ass whipping of
a lifetime. Like I I love a fight, and they said,
we don't have a lot of money for graphics and fights,
so what if we just saved it all for the end,
which we all have to slog through a couple of
really mediocre fights to get.
Speaker 1 (35:36):
To the ending. But when you get to the ending, holy, Like,
it's real good.
Speaker 4 (35:41):
I really liked it. I think what's interesting about this season,
Timmy is one. I have a lot of feelings about
voice actor stunt casting, but damn it, they did a
pretty good job here. And I love Sandra Oh and
I think she's really giving to this character. I think
Stephen has to be showered with awards for his sensational
(36:06):
work he is doing. I was really excited to see
that he did.
Speaker 2 (36:08):
He just join Avatar movie.
Speaker 3 (36:12):
Yeah, he will be the Avatar the Lost ebb End
and not Avatar James Cameron, Yes.
Speaker 4 (36:17):
And so so I think on that, like, you've got
these people, you have Seth Evan who are doing they
thing over on studio but also killing it over here.
There's like a lot of juice left in this bottle.
I think here's the problem. I think for a lot
of Kirkman projects, like with The Walking Dead, things get
so depressing and stay that way for so long that
for a lot of people it's taxing to stay into
(36:37):
the story. And we're sort of getting that way with
Mark's character. He turns into somebody who's like, yeah, I
have to kill and yes. I think the show writers
have done a good enough job to be like, you're
kind of in the same boat with him, you're like, yes, Mark, uh,
if you don't look at what happens like, it's really
bad if you don't. And so you're like, you're you're
in the decision making boat with him in a way
(36:59):
that doesn't feel to totally alienating the other thing. I
think the show has done well. That sort of made
me inspire for a season four. I'm not a comic
book reader. I've heard many a bad thing. I hope
you are recommending other comics for the kids at the
shop to be like, hey, if you like the.
Speaker 1 (37:13):
Show, they want to do it.
Speaker 3 (37:16):
We've will got to read we've all got to read
a bad comic parents, and that you know, got to
forget the parental approval.
Speaker 4 (37:23):
To check it out. But yeah, they decide to veer
away from the comics they bring up. And so I thought, like,
because I was watching, to be like, oh, wow, I
guess the fans must be really excited about this moment.
Speaker 1 (37:34):
I don't know.
Speaker 4 (37:35):
I went online and they were not all excited, but
they were really intrigued. But the fact that we're bringing
somebody back and that it's a new angle is really
inspiring for an IP because it just keeps fans around
and engages them in a new way. It also sort
of brings old fans and new fans to the same place,
which makes it like interesting sort of watching guests together.
So yeah, you know, I think I hope they get
(37:56):
the show a little bit more of a budget. To
be honest, I think I think that was part of
the reason they said they were on hiatus before, and
it's been a struggle back and forth.
Speaker 1 (38:05):
We know.
Speaker 4 (38:07):
The general struggles the animators go through. I think the
show could use a little bit more money in the
animation department. Yes, I uh, you know, so they can
meet the talent they've brought to get to the table
to make the show.
Speaker 3 (38:18):
Yeah, you've got when they built season one on how
great the action was, how great the animation was, and
then season two obviously had the issues with timing and
release that kind of truncated the passion.
Speaker 1 (38:30):
For the season, and then season three. I do think
they get it back.
Speaker 3 (38:33):
But it's really clear that seven and eight are the
big money episodes where the animation is amazing. Honestly, if
I was Amazon, I probably would have released them at
the cinema Star Wars style, you know, like when you
just do the one episode really get them out there
showcase it. Yeah, I'm interested to see what happens next.
I'm not wholly you know, invested, because I do think
(38:54):
we get so many stories about like what if a
superho who didn't kill decided to kill? You know, there's
a lot of gritty storytelling that's been done. But I
will say I think this version of Mark is so
much more interesting than the comic book version. I think
Sandro adds a whole different level to it, and I
obviously will.
Speaker 1 (39:11):
Check back in.
Speaker 3 (39:11):
But guys, now I have to talk about another show
that has the people talking, that people are saying is
on a comeback trail from a disappointing season two, and
that is Yellowjackets season three.
Speaker 1 (39:24):
So let's talk about it. Jason, your feelings are more middling,
so let's have a conversation.
Speaker 2 (39:29):
They're a little bit more middling. I do think that
there is a soapy element that was ramped up in
season three, along with a much more obvious increase in
the like the plot movement cadence that made the show
feel very propulsive. Towards the end, there were some wonderful
cliffhanger moments and wonderful character moments. I thought that the
(39:55):
I you know, I continue to be much more interested
in the nineties timeline and the modern timeline, and I
think that's a problem the show has, especially yes this season,
where so much of the stuff happening back on the
island was like holy shit, what.
Speaker 3 (40:09):
Yeah, You're like, this is some amazing narrative story. I
mean to the point where even the actors. I think
that is one of the interesting things that we've seen
in season.
Speaker 1 (40:17):
Three and across the show.
Speaker 3 (40:19):
The concept of the two casts is really really interesting.
But then both the casts are so good that you
start to want interplay between the versions of the characters,
but that becomes impossible to do.
Speaker 1 (40:32):
Without dream sequences, death, yes, et cetera.
Speaker 3 (40:35):
But when it does happen, like in the most recent
episode where we lost put yours on if you haven't
watched it and you.
Speaker 1 (40:41):
Want to watch it, spoiler spoiler spoiler, we.
Speaker 3 (40:44):
Lose Adult Van in a really heartbreaking scene and we
get to have some interplay between Lauren Ambrose who plays
Adult Van, and Liphuson.
Speaker 1 (40:56):
Who plays Team Van, and they are so incredible.
Speaker 3 (40:59):
Together, and you I kind of think like, oh, man,
like I want more of this, the same way we
got to see Adult Nat and Young Nat when adult
Nat died. I think that they almost found themselves in
a very weird and almost completely unique situation, which is
that they happened to have a casting director who was
so fantastic that the cast kind of outshines what they're
(41:22):
doing with the show.
Speaker 1 (41:23):
Though, I will say for.
Speaker 3 (41:24):
Me, as a kind of like nineties TV Lover and
X Files Lover and that kind of stuff, I did
love that huge hook that we got where it kind
of turns the whole season on its head when you
realize that maybe the girls are not as kind of,
you know, far as far away from civilization as we
thought they.
Speaker 2 (41:43):
That made me question everything just in terms of like
how how well they've been searching this area. Anyway, I
agree with you, and I do think this is a
show that, despite what the showrunners say, I do think
that whatever plan they had in the beginning has changed
(42:04):
multiple times.
Speaker 1 (42:05):
Mm hmmm.
Speaker 2 (42:06):
And I think, yeah, I get that from comments the
showrunners have made comments the cast members of Mede. There's
this notable, you know, clip from a panel where Juliet
Lewis kind of suggests that she signed on for a
different for her character to have like kind of different
arc than the one it ended up having, and then
(42:28):
like since fifth finale.
Speaker 1 (42:29):
Even Live Houston.
Speaker 3 (42:30):
I think Van was originally supposed to die after the
wolf attack. I don't think that she was ever meant
to come back as a character. So yeah, it definitely
changes the law. I do believe that in the original
pitch they say that this big twist where oh, somebody
shows up and it makes you question everything was always
was always in that, But I'm like, that could have
been in season one. Honestly, yes, like you, I think
(42:52):
the success of the show made it so they stretched out.
I am very interested to see what happens in the
finale because I think if they have a great finale,
this could have the propulsion and the cultural conversation back again,
because people are talking about the show again as we
head into that finale, because it's balancing this kind of
emotional haft with these really crazy, soapy moments. But if
(43:14):
it doesn't hit, then it's gonna be Yeah, it's an
interesting It's going to be interesting to see where we land.
Speaker 2 (43:20):
I agree, and we will see if they truly do
have a plan. You know, the creators have been saying
essentially that they have a concept for where it's going.
Speaker 1 (43:31):
In five seasons.
Speaker 2 (43:33):
Yeah, but we will see. I'm interested as well. I
think that there have been some standout moments in this season.
Is it enough to overcome some of the chaos. We'll
see up next some other shows that we must talk about.
Then this is interesting because okay, so Paradise is a
show that many people were suggesting we watch. Many people
why discord. It is a show that had its like
(43:56):
pilot premiere on ABC, but then it moved to who
you know. It's this kind of like big promo push
to get people watch it. A lot of good word
of mouth through hula. I mean, the show is the
setup is almost comical. To say it out loud, you
can't explain it because it's because you're start laughing.
Speaker 3 (44:17):
Yeah, you gotta watch, but you gotta watch it. You
even if you're just gonna watch the first episode, you
gotta watch.
Speaker 2 (44:25):
Like imagine, I imagine scandal with a crazy sci fi twist.
Speaker 3 (44:32):
It's like that, you know the funny It sounds like
a show that somebody would pitch in the studio, right,
nobody would make, but it is.
Speaker 1 (44:41):
Become one of the most beloved shows.
Speaker 2 (44:43):
Really well done.
Speaker 1 (44:44):
Yeah, it was executed very serious unled by Starling K. Brown.
James Marsden's in this show.
Speaker 3 (44:51):
Like also feels like you're watching Lost, feels like that
big wark.
Speaker 2 (44:58):
It's that kind of air. It's I Lost type show
and a mystery box show in the mystery Box is wonderful.
They give you a lot of the mystery upfront about
like with this wonderful twist that I won't spoil because
part of the reason we're talking about this show is
not just that it was great, but that it is
apparently garnered so much praise and positive word of mouth
(45:22):
that it is now graduating to network and will in
very short order be debuting season one on ABC. So
this is that's interesting to me because we usually see
it go the other way, where you go from network
to streaming.
Speaker 3 (45:37):
Because you want to push people to pay for streaming
to work the rest of the show.
Speaker 2 (45:42):
Don't very often see a show graduate in the reverse
from streaming to network. So very interesting to see how
this performs and again, fun fun show.
Speaker 3 (45:53):
I would love to see what happens with this because,
as everyone who listens to the show notes, I love
line a TV. I have an antap I watch I
watch broadcasts constantly. I think it's great and I would
love to see Linear make a comeback for shows like
this because there are people who do not have streaming,
there are people who watch TV like this, and I
(46:13):
think that it's a fun show for that to kind
of inspire that conversation. And I think as well, it
does represent that while niche tige and stressedge, tv era
is leaning more into these small ideas, on a broadcast
platform or with the concept of a broader audience, you
(46:34):
can pitch these kind of wild, big swing ideas and
that they may may break through like that.
Speaker 1 (46:41):
So yeah, I'm I'm interested to see.
Speaker 3 (46:43):
I think if Paradise does well when they reshow, it
is a good likelihood that they will put it onto
ABC as for season two, which has already been approved.
Speaker 1 (46:53):
Also, yeah, I mean they did this with Swamp Thing.
Speaker 3 (46:56):
It didn't save swamp Thing for me, but it was
during the strikes when they didn't have anything to play.
It was during COVID and the strikes when they didn't
have anything to play, and it was great to see
that on a big screen and to see it get
a million views. So yeah, I hope that a successful
show like this could set up a great like return
to linear and broadcast.
Speaker 1 (47:16):
Okay, let's talk about other shows.
Speaker 3 (47:19):
In this era that don't necessarily fit into what we're
talking about, but definitely those broader audience shows. Just quickly
before we end this very fun look at what is
this era of TV?
Speaker 2 (47:30):
Well, you know, I think there's a lot of talk
right now about how the second Trump era is going
to affect TV and entertainment. And one thing about television
and movies is they're lagging indicators. The Pit is a
good example, you know, or Dope Thieves, where you're seeing
shows set in COVID dealing with COVID despite the fact
(47:53):
that we're now several years past the COVID era, the
past when COVID was happening. And I think Taylor Sheridan,
the Taylor Sharon verse is I will be interested to
see if we see more television like Landman, like lion Ass,
like Yellow the Yellowstone, like nineteen twenty, like his whole
(48:16):
fucking oove. He's kind of planted the flag for this
kind of you know, this like red state television movement,
and then be interesting to see if we see more
like that. I just want to say of Landman having
watched land Man insane. I you know, listen, I think
anybody interested in TV, you can't. You have to when
(48:37):
something's happened to watch, you have to watch it. I'll
say this, I think that he is a talented guy,
and I think he does conflict very well. I think
that Landman is one of the most unhinged and insane
shows I've ever seen.
Speaker 1 (48:48):
Yeah, it's one of the most insane shows.
Speaker 2 (48:50):
It leaves you wondering if Taylor has ever spoken to
a woman.
Speaker 1 (48:54):
Yeah, or like a normal human being. Honestly, Also, I
will say I do think.
Speaker 3 (48:59):
That Landman and all of his projects, even though I will,
you know, admit that, you know, he does have a
lot more money or is getting a lot more investment
than this person did early on in their career that
began with stage shows. But he, I mean, Taylor Tyler
Sheridan is very much giving like White Tyler Perry like
he writes all of his young stuff.
Speaker 1 (49:20):
He doesn't have showrunners, he doesn't have editors. He's doing fifty.
Speaker 3 (49:24):
Shows at the same time, and all of them are
absolutely unhinged. Once you get past, you know, a first
season where maybe somebody.
Speaker 2 (49:32):
Let me give you some of the headlines on them.
Speaker 1 (49:34):
Yeah, I wanted some.
Speaker 2 (49:35):
Of the headlines of Landman. So Landman is about Tommy
Norris is Billy Bob Thornton, who is like a manager
of oil Wells for this like second tier oil company,
not excellent, like the smaller quote unquote independent like type
(49:56):
oil company. And it's about his day to day work
in his life. There's really no arc to speak of.
It's just like various things that happened to this guy.
Here's some of the things that happen in this show Landman.
His daughter, who is in the show is like still
in high school, like eighteen or something, comes and stays
with him and tells her father that she and her boyfriend,
(50:21):
who she would like to sleep over at his house
with her. She and her boyfriend have a rule where
he can't come in her but he can come anywhere
he wants on her. Why she says this to her
father in the first episode of Landman. Also in Landman,
Demi mor is in Landman and one of our biggest
(50:44):
stars and one of the biggest stars certainly of her
era and a person who's we're talking a lot about
because of the substance. Demi Moore her first appearance in
Landman is from ninety feet away. She's in a swimming
pool and she yells at the camera high and that's it.
(51:05):
That's all you see of Demi Moore for like the
first four episodes of Fucking Landman. In Landman, Billy Bob
Thornton gives two unhinged pro oil monologues. Yes to the
character who is like the liberal woman who's a lawyer
but working for the right wing company and she has
(51:25):
to have like these Oh my god, I never realized
that about oil, like looks on her face as Billy
Bob gives her these oil speeches. Also in Landman, Billy
Bob Thornton cuts off his own pinky as a doctor
looks on.
Speaker 1 (51:39):
Yes, this show is insane.
Speaker 3 (51:41):
Okay. I have to say one of my favorite moments
that I've seen is that Andy Garcia comes and saves
him from the Cottel and it's like incredible because why
is the cottel involved? Also when they just randomly ki oh,
spoilery life. You haven't had this, but like just randomly
like kill off John Ham, which felt like it was
(52:02):
not well.
Speaker 2 (52:03):
Because he's also like never interacting physically with He's only
at like this golf resort. Yeah, yeah, yeah, talking about
to villif Th Wharton, like he's never like physically interacting
with anybody. They only clearly only had him for one
day at a golf resort.
Speaker 3 (52:21):
The one thing that I loved that I've seen the
clips of is like the uh the stripper at the retirement.
Speaker 1 (52:27):
Home, Like this is a show that you couldn't even
believe was real, but it does.
Speaker 2 (52:32):
It's an insane show, and one wonders if we see
more of this.
Speaker 1 (52:36):
Yeah, he was trying to he was trying to make
his own like Dallas. I think it's clearly and very much.
Speaker 2 (52:42):
You know, it's very much what it is, and I
do wonder you think, I do wonder how much of
it we see.
Speaker 1 (52:49):
I think something that's.
Speaker 3 (52:50):
Really interesting is the version that Taylor Sheridan is doing
this Red State like bombast.
Speaker 1 (52:55):
Like oil is good.
Speaker 3 (52:56):
Version is there, But I think the interesting thing is
like the liberal, let's say version of it, like is
something like Running Point, a show that is like super
popular but very unchallenging, very just like women can do
this too, likely mostly inspired by Genie Buss, you know,
(53:18):
and I will say, like they're lucky they got Kate
Hudson and the show is like very just kind of
fun and easy to watch and if you care about
back from drama, but it's very second screen. But it's
also been a massive success for Netflix. And I also
wonder how much of that continued second screen easy to
watch unchallenging more of your classic sitcom style shows that
(53:42):
streamers are gonna do when they're not making these stress
tege like super high concept stressful shows.
Speaker 1 (53:48):
I'm interested to see where we go next basically in
this era.
Speaker 2 (53:52):
Well, this has been a fantastic, a fantastic conversation. Let's
leave it with this, Rosie. What is the thing that
you're watching that you would like to promote TV? Weird
TV show that you're watching with somebody that other people should.
Speaker 1 (54:09):
Ooh, okay, this is a this is a good one.
What have I been watching a lot of?
Speaker 3 (54:14):
Man, I've been watching a lot of One Piece recently,
So I guess I really want to if you really
want to get into anime.
Speaker 1 (54:19):
But that's hardly a I'd say.
Speaker 3 (54:21):
That's hardly a low key kind of like an unpopular show,
you know what I've I do watch a lot of
old TV, so this was this is yeah, Okay, so
I'm gonna tell you guys what you should watch because
me and Joelle we recently released our Goofy episode Goofy
Movie episode, and during that I was inspired to once
again revisit one of my favorite TV shows which is
(54:43):
available now in a way it has not been before,
which is called Arie Indiana.
Speaker 1 (54:47):
Which was a kids X File esque show about a
guy called Marshall who moves to a new neighborhood where
everyone is like a weird kind of supernatural or s.
It's fiction esque character like there's an episode where all
the TopWare.
Speaker 3 (55:05):
Meetings that the moms are having, they reveal that actually
the moms are like inside the top of Giant tupwar
so they can stay young. And I think it is
one of the most underrated genre shows. I think it's
really really fun, and I think because of the rise
of places like to be and you like freeb and stuff,
(55:26):
these shows are now like you didn't used to be
able to find in the Erie Indiana anywhere. I have
all of it on DVD along with all of Are
You Afraid of the Dark Now. Erie Indiana is on Filo, Free,
Roku Channel, free cw app, Free Pluto TV, Free Plex free.
Speaker 1 (55:43):
So we are in a blessed.
Speaker 3 (55:45):
Age of being able to find essentially shows that were
not archived before.
Speaker 1 (55:48):
So that's mine. What's yours, Jason?
Speaker 2 (55:50):
Mine is it's been ten years you've been waiting I
know all of us have been waiting with baited breath
for a decade for the adaptation of the final book
in the wolf Hall trilogy. Hillary Mantel, have we not
talked about this? Well, right now you PBS subscribers, you
(56:13):
as I am supporting our public broadcasting system, folks, it's here.
It's airing now Series two, The Mirror in the Light,
the final book in the wolf Hall trilogy, the The
rocket Ship Rise and Heartbreaking Fall of Thomas Cromwell in
(56:34):
the Court of Henry the Eighth. It's happening now. It's
airing literally right now on The Mirror in the Light,
and it's so fucking good if if you love politics
and politic England.
Speaker 3 (56:48):
At Christmas it was like the it was the release,
which in England is the prime.
Speaker 2 (56:52):
It's literally very good. The costume and the show is
great as well.
Speaker 1 (56:57):
The Mirror and the Light.
Speaker 2 (56:58):
This the final season of wolf Hall. Watch it now
on PBS, Folks. That's been our show. On the next
few episodes of X ray Vision, We're recapping Daredevil one
O eight on Thursday, We're recapping season one of the
Last of Us in preparation for season two on Friday,
and of course we're back with news on Saturday. That's
(57:19):
it for this episode, folks, Thanks for saying bye. X
ray Vision is hosted by Jason Sepsion and Rosie Night
and is a production of iHeart Podcasts.
Speaker 3 (57:32):
Our executive producers are Joe Alminique and Aaron Kaufman.
Speaker 2 (57:36):
Our supervising producer is Abusafar.
Speaker 3 (57:38):
Our producers are Common Laurent Dean Jonathan and Bay Wag.
Speaker 2 (57:42):
Our theme song is by Brian Vasquez, with alternate theme
songs by Aaron Kaufman.
Speaker 3 (57:47):
Special thanks to Soul Rubin, Chris Lord, Kenny Goodman and
Heidi Our disc Callded moderate them
Hosts And Creators
Jason Concepcion
Rosie Knight
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