Jun 2, 2026 · 1 hr 21 min · 11 segments
(00:00) Chris and Andy talk about the ‘Euphoria’ series finale (02:22) and the choices behind Rue’s ending. Then they discuss the finale of ‘Hacks’ (49:47) and how its ending differs from Euphoria’s much darker sendoff. Later, they break down ‘Star City’ (01:02:27), the new For All Mankind spinoff, and why it’s one of the most exciting shows they’ve seen in a while. Subscribe to the Ringer TV YouTube channel here for full episodes of The Watch and so much more! Hosts: Chris Ryan and Andy Greenwald Producers: Kaya McMullen and Stefano Sanchez Additional Video Supervision: Sarah Reddy Order and it will come. Like today. Learn more about your ad choices. Visit podcastchoices.com/adchoices
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Hello, and welcome to The Watch.
My name is Chris Ryan.
I am an editor at theringer.com, and joining me in the studio, yes, he asked to scrap that Colman Domingo Rolling Thunder remake, it's Aiden Greenwald.
[laughs] It's absolutely the opposite.
No, it's, it's, it's all time [laughs] like-
It's hot right now
... it's the hottest it could possibly be.
Mm-hmm.
Greenwald, great to see you today on The Watch podcast.
Mm.
We are going to talk about the conclusion of a little TV series called Euphoria, which ended last night with an hour and 45 minute series finale, as HBO has announced that that was-
What-
...
the end
... what a three-month journey it's been for some of us.
[laughs] Um, yeah.
And so we're gonna talk about Euphoria.
We are also gonna talk-
Yeah
Mm-hmm
... of For All Mankind, but something altogether different and cool to, to talk about.
There's a couple of other things, but I think Euphoria is definitely the headline.
Uh, first of all, you can hit us up, The Watch-
Mm-hmm
... @spotify.com. Instagram is thewatchpod_.
You can watch us on YouTube at the ringer-tv, along with the Prestige TV podcast who went live last night to talk about Euphoria.
That was wild.
I wonder if Joanna and Rob knew that that was gonna be an hour and 45 minute episode before they, they signed up-
I-
... for that, but they did a great job and, uh-
Yeah
... um, they had a, some really great takes on the show.
Do you think the Germans have a word for that feeling you get when you turn on an episode of television and see 1:45-
[laughs]
... looking at you?
How often do we see 1:45?
I-
It's among the longer episodes of TV I can remember.
I have some thoughts on that, yeah.
Uh, yeah, there is...
I wonder if there's a German word for that feeling that I had when we had to go live for Talk of the Thrones-
Mm-hmm
... uh, while the Sixers were still [laughs] playing the Raptors in 2019.
Oh, I didn't have to do that.
I did, yeah.
Wow.
What was the word, do you think?
Shite.
[laughs]
[laughs] That's bad, man.
Um-
That's bad.
Okay.
And then, you know, we might t- touch on, like, the end of Hacks and, like, what, where HBO is at right now.
You're taking me on a journey today.
I am.
I love it.
Um-
How was your...
You have anything else for your weekend? Anything you wanna-
No, like, we could do, we can do that for Watch After Dark.
Uh-
Okay.
We're gonna get right into it.
Yes.
Uh, let's talk about how we felt about this finale.
Okay.
I guess I'm gonna start here because you had the more unique viewing experience, these being the only, uh, eight episodes-
Yes
... of Euphoria that you've ever seen.
Did you leave the finale satisfied?
I found this hour and 45 minutes to be a relatively perfect encapsulation of my three-month journey in that I found it, by...
I won't say exactly equal turns, but certainly some in each camp.
I found it exhilarating, hilarious, outrageous, ridiculous, frustrating, bordling, bordering on infuriating.
Mm-hmm.
That was my journey this year.
Before we get into the specifics of that, I think it's important, if you don't mind, I think we could just go right at the main story here.
Yeah.
Which-
And for people who are just taking a little dance with us here, this is gonna spoil, uh, the, the final episode, and thus the season of Euphoria.
And thus the series.
Yeah.
Which has now been confirmed.
Um, I thought that the almost...
It's certainly tragic, and the almost undersold death of Rue was artful and deeply upsetting-
Mm-hmm
...
in ways that really highlight the fact that even in my limited engagement with the show, it was very clear that the heartbeat, certainly no pun intended, of the series is Sam Levinson's relationship to addiction and to his particular worldview on the scourge of drug addiction in contemporary American society.
Yeah.
And for it ultimately to take the form of this, like, beautiful, radiant, charismatic, surprising, hilarious, life-seeking protagonist, for her to go out with not even, like, what we've come to experience in media, hopefully, although p- potentially in our actual lives, of, uh, OD'ing and coming back and struggling.
But just the automatic existence life switch that is fentanyl-
Yeah
... was a gut punch, but I also thought that was really, really, um...
I thought it was a powerful use of his medium to communicate what this drug does, you know? And then it built on...
And by building on that, it had the almost Landman-esque Ali, uh, explanation of what happened and what's happening in America during what appears to be his last, uh-
Very much his last-
His last-
... his last AA meeting, yes
... meeting.
NA, yeah.
Um, and we can talk about that.
I, and I, and I have a lot to say [laughs] about the Colman Domingo thing, but, but, but I, I really wanna hear your thoughts on the extinguishing of a character that has meant a lot to you and to the series.
But I found, and we can talk about the artfulness or however you found it to be, of the dual, uh, the, the, the choose your own adventure morning, that we see a fantasy morning and that then spins out quite clearly into a, a last moment's death nightmare.
But, like, I, I did find that if you just scoop that out, I found that effective, but also I found that was a moment when, as an audience member, I felt very in tune with what I believe the creator to be intending.
Yeah.
Yes.
You know? And I guess it was.
And also, I, this is sorta silly, but, like, [laughs] I was watching Bill's Instagram over the weekend and, and his daughter Zoe had, had a good point on one of his walk and talks-
Mm-hmm
... where she was like, "Well, Rue's the narrator."
Mm-hmm.
"So how would you, how would you break that-"... that sort of level of storytelling if-
Yeah
... all of this is being discussed by Rue in some sort of kind of omniscience.
There, there is a cinematic tradition of posthumous narrators.
Yes.
Yeah.
I mean, she, she doesn't quite h- achieve Sunset Boulevard here, but yeah, there is some of that.
[laughs]
Um, I was deeply moved by it.
Uh, I think that, uh, there are other shows that would've broadcast her death much more clearly in so much as there would be, like, a, a sacrifice that she needed to make, whether it was for Ali, whether it was for one of her friends, for Jules, whether it was to do the last good thing that she could do.
Mm-hmm.
And in her fantasy and in her imagination, I think she is doing that.
She's coming through-
Yes
... for Fez, who came through for her.
I think the fact that the actor who played Fez, Angus Cloud, passed away, um, after a battle with addiction-
But specifically, if I'm not mistaken, he, what, what ended his life was fentanyl-laced-
Yeah
... narcotics
And Sam, uh, went on Popcast, The New York Times', uh, pop culture music podcast with Jon and Joe, and talked about, um, how...
And he has spoken at, at length about how, like, if he were using today the way, w-
Mm-hmm
... w- in, in whatever capacity he once did, there's, in all likelihood he would be dead because there is this silver bullet and bullets out there-
Mm-hmm
... that, like, take addicts out in this kind of, um, vengeful almost way.
Mm-hmm.
I, I just found myself, like, really al- going along on that journey, and I thought that, um, the two best actors on the show-
Yeah
... got an incredible showcase.
The Rue and Ali, um, relationship was the most meaningful one to me probably of this series.
And in a lot of the ways that Rue kinda fantasizes about what she wants her last day to stand up to, which is being there for Fez, reconnecting with her family, going back home, I think that Ali's final act, which rubbed a lot of people the wrong way-
Yeah.
I, I, I'm eager to talk about that
... is in and of itself a fantasy.
Yes.
And I think it, it...
I do think it, quote-unquote, "happens" in the world of Euphoria.
Yeah, yeah.
But-
But I think that turning into Dirty Harry, Rolling Thunder, Taxi Driver-
Mm-hmm
... and, you know, even the Rolling Thunder, which is, like, this very well-loved, uh, B movie from, from the '70s.
Mm-hmm.
I don't know if you can call it a B movie, but Tommy Lee Jones and William Devane.
Mm-hmm.
And about a returning soldier who is, you know, takes vengeance on those who take advantage of his family.
Um, that was a very knowing nod.
Sam has, uh, when he did his Euphoria Film Festival at the American Cinematheque in LA, the one that he spoke for was Dirty Harry.
Mm-hmm.
So I was like, "Oh, that's why [laughs] I guess."
Yeah.
Um, and I think that that is probably honestly a fantasy of the people who have lost-
Yes
... their children-
S-
... their loved ones to fentanyl, is that someone should pay for what, what is happening.
So I thought...
I completely agree with you about that, and I think that the most...
Sympathetic is the wrong word, but the, the, the most maybe empathetic or the most attempting to be attuned to the journey of the show and the creative process of the show take that I can give is that this entire thing, and made, really made clear this season, which is the one I watched, but you can speak to whether this hangs over the entire series.
But this as a project is a personal labor of love for someone who clearly throughout his life, and not just because of his, his parentage and where he grew up, has found both escape and meaning in, in art, but specifically in cinema.
Who among us? [laughs]
And truly.
Yeah.
[laughs]
I mean, look what we do for a living.
Yeah.
And, um, so we did note throughout this season particularly that everything felt a little bit like kids playing dress-up.
I mean, these are 23-year-olds supposedly, um, set loose in this, you know, sinful, um, uh, hellscape-
Mm-hmm
... of modern Los Angeles.
And sometimes it, it struck me as very discordant and, like the other day when I called it, like, you know, uh, Bugsy Malone, um, in stilettos.
And other times you could sort of understand what the fantasy was doing for these characters.
So my, my most generous interpretation of the end, without getting into dismissing it as just, like, sub-Tarantino, um, almost pastiche schlock, was that-
The Alamo stuff
... yeah.
Yeah.
Which wa- which c- always it kind of was, is that the entire season is a referendum on the fact that in 2026 or whenever the show is set, most addicts-
2024
...
most addicts-
Yeah
... do not get second chances.
Mm-hmm
... like her constant near misses, are not actually a hero story.
These are just the last moments of thrashing in the net that's already caught you.
Yes.
And that, um, if you look at where she was, she hadn't made it very far at all.
I mean, she was sort of toggling between these two almost, um, obscenely cartoonish extremes of violence, with the Nazis and then the, the cowboy gangsters at the strip club.
And all of that being said, what happens in the last 30 minutes or 40 minutes of the show is a character who, you know, on Thursday I was saying I wish there was a spinoff that was just Ali doing his work.
[laughs]
That this character...
Slow show.
[laughs]
Well, depends.
[laughs]
In a commercial...
Well, was a thing, his previous one.
That his saying that Rue being the, the, the last straw for him.
Mm-hmm.
And him s- immediately then take, picking up a drink, quitting meetings, sawing off a shotgun, and doing what he does.
That it was in some ways, like, giving this character, who has lost so much and has b- been burdened by so much, the grace to also lose himself in cinema, where he becomes Dirty Harry-
Yes
... and he can do something on screen that no one in the messy, complicated real world can do, which is shoot addiction in the head until it explodes like a B character on The Boys.
Mm-hmm.
Mm-hmm.That I think, as I'm, as I'm pitching you on that, Sharks, like do you buy that emotionally? Does that make sense to you? I'm not saying that it, I, it worked for me, but I found that ar- I find that argument that has come into my head more compelling.
Yeah.
You know what's funny is that I think that you, when we intellectually, like, get into, like-
Mm-hmm
...
the project here-
Mm
... and what, what this fi- So your description of that-
Mm-hmm
... second half of the episode, and I'm ex- Uh, let's put aside the searcher's prayer coda.
I, I, I-
Because-
Well, bring it back.
I do wanna talk about that.
That, that...
Well, I found that incredibly moving.
Yeah.
Um, the bar, the, the silver slippers sequence with Ali and Alamo I think is like, it's one thing in, in, i- in, when you describe it-
Mm-hmm
... or when you talk about, like, "This is the best possible version of it." And I think the, one of the things that was difficult about this entire season is that I can tell you that, but, uh, it's also got, like, eight Brazilian butt lift jokes.
It sure does.
And a s- like a r- a runner with a white dog, and, uh, you know, a kind of-
And Matty
... hat on a hat with Matty being there as well.
But-
And Super Bowl MVP Marshawn Lynch getting his dick shot off.
Yes, which he was very disappointed not to actually do that stunt, as I learned from the after-
Mm
... after show.
Um [laughs]
Did you stick around for that?
I did, [laughs] yes.
That's nice.
You do the work.
Well, I just wanted to make sure I wasn't getting, uh...
What was the one that we just, like, I missed the credit sequence of?
Oh, yeah.
You hadn't even seen it.
Uh, it was the, uh-
The pit
...
the pit.
The pit.
Um, it's one thing to describe it, and then it's another thing to experience it.
And I think that-
Mm-hmm
... during that, it is set in a strip club, and I get it, but, like, there are elements of it that I think are distracting it from its pure power, you know? And that, that, the-
Yeah
...
it, it, it kind of-
It-
... diminished the impact that I think it could have had.
There's also just, like, storytelling stuff-
Yes
... that I don't think he took care of.
Yes.
I don't think he properly set up Bishop turning on Alamo.
That was not set up.
Or what it means to them.
And whether, like, Matty ever puts together-
That it was her
... "I told Alamo that Rue was a-
I-
...
DEA informant, and then days later she's dead."
I, I, I will jump on one thing with that, and I don't know why I ca-
Well, I guess everybody is just assuming that Rue overdosed.
Yeah.
I mean, I'm not-
Yeah
...
I don't wanna carry too much water for this because I think that ultimately for me, as a [laughs] storytelling mechanism in an episode of television, it failed.
Okay.
I was...
But as we've agreed, like we, we were moved by, and I think I deeply respect the decision to handle the end of the main character the way he handled it.
And I think that there's an interesting conversation to be had, and we'll continue to have it, about whether it is, uh, illuminating or ultimately kind of simplistic to have both a director, a creator, and characters lose themselves in the extremity and artifice of cinema as opposed to actually staying in the uncomfortable place-
Mm-hmm
... that the show flirted with.
But I will say that I th- the way that...
So like the wa- and the entire way the season came together, again, we're gonna choose to use the high-minded version of it, which was this was all a vision as opposed to, man, this was what he could string together considering the cast availabilities-
Sure
... and all the budgetary stuff.
Not budgetary stuff meaning, like, he didn't have enough money, but, like, what it would cost to mount X, Y, or Z thing.
Well, I just-
But-
...
I just don't know whether-
We don't
...
Hunter Schafer was a-
Yes
... available.
Exactly.
You know what I mean?
So-
It doesn't seem like it
... what, what I mean is if you look at it that way, you can...
There's a, there's a positive spin and there's a negative spin, and when you, of course, listen to Sam Levinson talk, it all seems like the vision came together.
I find that hard to believe because Rue is the main character of the show, and yet kind of haunted the show in a weird way in the margins, existed in a different show, and never really crossed paths with anyone else to leave a meaningful mark emotionally that landed on other characters, which is a hallmark of serialized television.
That said, you could say, and maybe he said in interviews that I haven't seen yet, that was always the point.
Because Rue is the main character, and when she shows up to Maude Apatow...
What's her name?
Lexi.
Just a crazy girl in her home
...
this is someone she knew four or five years ago-
Yes
... who she opens the door to, but then doesn't think about in the intervening weeks and months.
Yeah.
So when you hear about it, it is, like you said, it's like a, "That's a bummer, but in a way I've mourned her already."
Yes.
Yes.
You know, it, it's, I think perhaps her friend, friend group at that moment is like, "Ah, the, the phone call we were always expecting finally came."
Yeah.
"And what a tragedy," and don't put together that in fact she probably took like one or two Percocets for the pain of her hand.
I think likely one.
One, and that was-
Because he made a show of taking, uh, from a different batch, of taking one and giving her one.
Yes.
Yeah, because he took the one, which was, you know-
Not from the-
... that was probably actually...
Like, when you look back on that episode, I guess it's been, it was kind of broadcast that that's what was gonna happen to Rue.
Well, also his joy of her being employee of the month and doing a great job-
Yes
...
in the first conversation they had since he-
A bit right.
Yeah
... yeah.
Where to go from here? I mean, I guess-
Well, well, do you wanna talk...
I'd, I'd like to hear your thoughts on both the, the violence, you know, just in terms of that turn for the character of Ali, but then also the turn back, in a way, of going to the homesteader stuff.
And I, I really wanna...
I'm really curious your take on the show's almost Old Testament interest in the Old Testament, in the sense that it f- I, I cannot tell if it is skeptical, credulous, mocking, true believer, um, or if it is just what it seems to be, which is a creator, or either for his own life or thinking of his characters-... grasping on to something like you would a, a life preserver-
[laughs]
...
in the middle of the ocean, in that it's like you'd never thought about a life preserver before until you were drowning.
Because the wa- like, I, I thought the weakest scene by far in the episode is, um, Lexi talking-
Lexi and Cassie
...
I, I mean, the other thing is, I don't wanna be unkind, but, like, Zendaya and Colman Domingo and, um, my guy, Adewale Akinnuoye-Agbaje, who plays Alamo, are exceptional actors doing exceptional work on this show, even when I don't love the material.
Some of the other cast members, particularly the ones we're talking about [laughs] in this scene, are quite weak, in my opinion.
And really cannot carry-
I just don't know that they had a ton to do.
I-
Yeah
... or they don't know what to make of it, and maybe they weren't given sides.
They didn't know where they were in a story.
But that scene where she's like, "You ever read the Bible?" was tough sledding for me.
But I'm wondering how you felt about all of that.
So, uh, here's...
I'm gonna make the case for it, that the show's interest in and the characters' emerging interest in the Bible is, in and of itself, not all to- together different than Sam Levinson using these sort of pre-established, much beloved cinematic tropes and forms.
Mm.
Spaghetti Westerns, B-movie vengeance thrillers.
Uh, Douglas Sirk melodramas, like-
Hollywood pictures about Hollywood.
Yeah.
Uh-
Sunset Boulevard.
True
... you know, Antonioni, like-
Mm-hmm
... close-ups of people's crying faces.
You know, like, these kinds of-
Mm-hmm
... things that I think, um, as, as a, a, a, a kid who is largely raised by screens, like, I identify with the need to, like, look at real life and think about w- what movies I've seen that can explain it, you know?
Yeah, and to mitigate your own-
Absolutely
... emotional-
And it's, like, a-
Mm-hmm
... dissociative kind of thing, which frankly is also what drugs are about.
Mm-hmm.
Like, drugs are a way of pulling down the shade-
Mm-hmm
... and existing in a completely different world for a while, where your brain is moving fast or slow, or is feeling no pain, or whatever it is.
So I get it.
I, uh, your mileage may vary on how you feel about Maude Apatow as a performer.
I think her reading of it as, I hate to use the Didion, "we tell ourselves stories in order to live" stuff, but that the Old Test- Testament-
It's true
... is no different than Dirty Harry.
All Spotify podcasts are using the Didion reference-
[laughs]
... way too much.
That the, the Old Testament i- is no different than Dirty Harry.
It's a story you tell yourself to, like, understand why bad things happen to people you love.
Yes, and that, yeah, that, that s- sex, betrayal, and violence-
Goes all the way back
... all the way back.
Yeah.
And-
When they be begetting st- people left and right back then.
[laughs]
Begets? Bring your begets to the...
Yeah.
I, um-
The idea of, like, Lexi just being like, "Man, these guys are just begetting left and right." [laughs]
This is great.
Yeah.
Yes.
I, this is why I think I have more tenderness towards this, like, completely unwieldy, impossible finale than, [laughs] than I expected-
Yes
... or maybe anyone listening expected, is because it...
I, I don't know.
I, I, I felt all, all any of us are doing is trying to tell ourselves a story to keep the, the scaries away, to get to, to get rid of the anxiety-
Yeah
... or to mitigate the anxiety or delay the anxiety, and he is reaching for primal stuff, the most primal h- human stuff when he brings the Bible into it.
Um, there was a feeling of just, like, the, the, the Texas family as the, "Wait, this is really what Rue wants? This isn't a bit?" And then, no, these people are her heaven-
Yeah
...
in a way, um, was confounding.
Because there...
it was a level of sincerity that, in my limited engagement with this show, felt quite surprising and untrustworthy.
It was revealed to be quite trustworthy at the end.
Right.
Um, and interestingly, where Ali is, at this point, he's Martin again, and he, as he said earlier in the episode, he's been a Christian, he's been a Muslim, he's been a drinker.
He's, you know, he's been almost everything.
Sure.
And it's almost as if the horror of everything that he's seen and done has scoured him clean, and he arrives, you know, like a, like a, a pilgrim, basically, to this nothing desert place, and he is not ostensibly religious.
But then when he says grace, and he's with this family, and they're holding hands, and he sees Rue, he's a believer again in something.
Yes.
I thought that that was the most effective use of a cinematic reference point that this episode had for me, which was framing Ali as Ethan from The Searchers multiple times-
Mm-hmm
... as the outsider who can't come in to this domesticated-
The way he's dressed, yeah
... um, peace palace, essentially.
You know? And it, and, and I thought he very knowingly was doing that framing.
And then to have...
You get the, the last image of him outside of the barn, um, and the little girl comes up to him and is like, "That's actually essentially Rue's spirit reborn-
Mm
... three months ago, and it's a miracle that this cow had a baby, but here it is."
Yeah.
Bringing him in.
And then, you know, uh, this show's relationship to religion and what religion can and does mean to people, I think sometimes is fast and loose.
I also am not a religious person, so it's not really, like, my place to speak on what it means to the characters when I don't really have-
No, but-
... a spiritual life, so to speak.
But there is something very, if you listen to the words, and if the moment is right, there is something very calming and peaceful about prayer, you know? And especially that-
Yes
...
the grace that they say at that table.
And, like, that to me was like, this is the baseline.
This is what all humans should hope to strive to achieve.
And even though those, I believe, if I remember correctly, like, those people had some pretty-...
some political opinions maybe that I don't [laughs] agree with, you know-
Mm-hmm
... earlier in the season.
But the idea that it's like, you know, w- we basically remember the dead.
May their memory be a blessing.
Well, that specifically, I... made me st- sit up a little bit.
Yeah.
Because that is, uh...
Traditionally, that's a Jewish saying when people pass away.
And I, I appreciated in that moment that if we were talking about-
Doop.
Got 'em.
[laughs]
Finally, some representation in Hollywood.
Yes.
[laughs]
Um, no, but that like, Martin at this point is a, a pilgrim who has moved through everything.
Yeah.
And when he's praying at that moment, I took that to mean he is now forming a collection of things that are meaningful to him.
I also can't help but, you know, think that Sam Levinson put that in, because the Levinson family probably has said that when they have lost people in their lives.
Sure.
And, um, I found that moving.
I found that, like, interesting and expansive in its engagement with religion.
But, like, prayer and religion, this is maybe just getting older, I think become... has become more interesting to me too, both because of the ability to, like, um, connect to anything bigger than yourself-
Yeah.
[laughs]
... and get out of your own head.
But also, that, like, so much of what we talk about, and not just us in Los Angeles, but I think there's, like, a secular religion that is getting better about telling people to practice gratitude, you know? Which is essentially saying a prayer, it's just maybe not to anybody.
And that there is a cert- and actually certainly in Los Angeles [laughs] there is a very strong spine of that type of belief out there.
And the fact that the show, up until the very end maybe, existed in a much more Old Testament binary, heaven and hell, but you've never gonna, you're never gonna see heaven, was holding it back in a way.
Yeah.
Like, I, I don't know.
I think that I'm, I'm engaged with this finale, and we...
There's plenty that I didn't like, and we could get into it if we wanted to.
But I'm much more engaged with it, and this is a me thing, not a Euphoria thing.
But there were aspects of this season that really rubbed me the wrong way and activated me in a way that only things that I find to be spectacle-driven or cynical do.
And there was a sincerity to the main thrust of this episode and to the, the grace of the w- it was handled despite this silver slipper thing, that makes me feel...
Look, whatever you say about this show and about this guy, and whatever he does next, and whether you make me watch it on the podcast or not, he believes it.
You know what I mean?
Yes.
Like, there is no lack of courage of convictions here.
So I wanna be...
That's al- another reason why I don't...
I'm trying not to be as reactive as I normally might be to things that drive me insane.
Yeah, and I also...
I think I have gone back and forth where I was like, uh, you know, in the beginning of the season I was like, the th- my, my selling point on Euphoria is it's never boring.
Yeah.
And-
The first episode got me because it was, like, the shot of her teetering on the wall.
Like, that was cinema.
Yeah.
That was awesome.
And there, uh-
Like, cool
... that can be damning praise, because that can't be the only thing that art does, is-
Mm-hmm
... stimulate some, you know, some frontal lobe stuff for you.
The way, the way drugs do?
Yeah.
Yes.
But I didn't think that this episode was boring.
I thought it would be...
It was able to do things where you were like, "Oh, of course.
Of course this is what had to happen."
Mm-hmm.
But also be like, "I had no idea that this was going to happen." Like, in the back of my mind, I was like, Ali's gonna try and save her-
Mm-hmm
...
in a shootout of some kind, and his sacrifice-
Mm-hmm
... is what finally sends her down the right path, or something like that.
Yeah.
And I should've thought more about, um, the fact that they had kept the Fezco character canonically alive on the show.
Yes.
I should have thought about the, the sort of plot that they had kept going with him about escaping and the, this...
That that moment when she's woken up-
Yeah
... and he doesn't see the pill bottle that is right in front of her, and they're talking about this escape and she goes running out the door, that that, that wasn't real.
And that when she-
Mm-hmm
... starts seeing images from her own childhood, that that was obviously the last moments of her life.
The, the, the, the inclusion, we sort of glided past it, but the inclusion of Fez, a character I have never seen-
Yeah
... was, I thought that was really remarkably done.
And, um, and again, a sign of my complicated relationship to the show, where when it says, like, "Escaped, inmate escapes via parkour," and I was like-
[laughs]
...
this show will do anything to perpetuate itself.
Yes.
When in fact, what it will do, and again in that moment, like, there have been, there have been, in the history of television, there have been, sadly, multiple tragedies where cast members have passed away or have, for whatever reason, been unable to continue on with a show, or the show has continued on without them.
And the show tries to build that into the show world with very mixed results, and I thought this was one of the most touching and human ways that I've ever seen it done.
You could see it was, like, a very personal-
It-
... story to him.
It may-
Yeah
...
The show, that was the, that was canonical, I guess is what I mean to say.
What happened to Angus Cloud is the story of the show.
Mm-hmm.
And I, you know, and Sam Levinson has said in interviews that, like, it changed his idea of what the ending was going to be.
Mm-hmm.
So I thought that that was a pretty powerful tribute.
Yeah.
And then, I, I mean, just to put a bow on the ending, I thought, you know, in, in The Searchers, the John Wayne character cannot come back inside after what he's done.
Mm-hmm.
Like, he is, um, kept outdoors and in the wild as America starts to build, um, like, its, it, community and its towns, and its, its sense of, like, society.
Mm-hmm.
Like, guys like that get left behind.
Mm-hmm.
So to have this end with Ali being brought inside to the dinner table, I thought was a striking difference in...
It's an inversion of what, like, the imagery suggested initially.
And, and it takes a-
Mm-hmm
...
it takes a reference point and says, like, "My thing is, is like this." I, I loved that.
I, the, the season ended, um-I, I think I've, I have seen some, some discourse about the, the last shot of the American flag billowing and being like that this was somehow like MAGA-coded, or that, like, the end of the ep- you know, that the end of the episode was, like, overly conservative.
It's not what I got from it.
You know, I did not...
That, you know-
Yeah, I, to me, the, the flag is commenting on the transformation.
There is a...
If there is any optimism, and it's certainly, um, streaked with grime, but if there's any optimism in the worldview of this show, it is that transformation is perpetually possible.
In both directions.
Yes.
I'm interested in his sense of like, can people change? Because the Nate storyline, again, if we're gonna consider this to be a season of television, we need to bring in everything.
Yeah, we need to talk about all of this stuff.
And, and, and so if you consider that storyline, I think the, the message was no.
Like, people's demons, if they are evil, in the sen- in the, again, in the binary sense that Ali says in this episode, that you're either helping the world or hurting it, then you cannot change, no matter how much you dress up, or no matter how much good you intend to do with your senior center or whatever.
But, you know, whether you are, um, an, an, an addict like Ali, or you are a, um, you know, an, an OnlyFans model, you can change your presentation.
You can transform quite easily, and not just be accepted, but in the most American form of reward, you can get paid for it.
Yeah, and I also think the dark side of that is that when you're a kid, um, th- the world feels more like, even if you're...
No, no matter what, I think, economic strata you come from, the world feels like a playground to some extent.
Mm-hmm.
Like, you don't make a distinction between, um, work and play.
Like, it's just existence, you know? Until-
Everything is a hustle.
Yeah.
Until, uh, homework starts getting due, and then [laughs] some of us rise to the occasion and some of us don't.
Do you wanna-
At this table.
[laughs] Um, but as you get older, I think you still use the tools of your childhood to give your life shape-
Mm-hmm
... and to give your life meaning.
And another charitable way I could sort of understand Cassie, Lexi, Maddy is, you know, you talked about them playing dress-up.
You talked about it being like Bugsy Malone.
I think that you could make the argument that that's what life is, is-
Sure.
Fake it till you make it.
You basically are doing, like, this mimicry.
You are doing, like, um, I guess what I have to do is take the things that come naturally to me-
Mm-hmm
... and see if I can make any money off of them.
Yeah.
And for Lexi, it's telling stories, and for Cassie, it's taking pictures, and for Maddy, it's shaping those pictures and shaping, like, the way people perceive women.
Um, and for Nate, it was real estate, you know? [laughs]
It sure was.
It, it was.
If only for those zoning boards.
And the zoning boards killed him in the end.
Who do you think he's voting for in the mayoral election? I think I know.
Uh, I don't...
I mean, if he votes, we're gonna have some, some controversies.
[laughs]
Great point.
You know? [laughs]
Great point.
Um, we could talk a little bit about some of the other plotlines.
I think, uh, it's really worth noting that Hunter Schafer does not speak in this episode.
I think you could make...
Look at that and be like, it is a beautiful final moment-
Mm
... of wordless communion between two characters who loved one another very deeply in, in, in Jules and, and Rue.
Uh, you could also say Jules' last words to Rue were kind of like, "This isn't gonna happen."
Mm-hmm.
"So let's knock this fantasy shit off.
Like, I'm here.
This really works for me."
Mm-hmm.
"I'm happy," quote-unquote.
Um, what did you think of, uh, her Medusa painting?
I am not really...
I don't feel qualified to comment on the character or the storyline, because the character didn't really exist this season and didn't really have a storyline.
Yeah.
So the, my response to it-
I believe one scene with any other characters besides Ellis the plastic surgeon and, and Rue.
Well, there was the wedding.
That's what I mean.
Yeah, that scene.
The one scene.
Yeah, exactly.
Um-
And it was my favorite scene between, uh, any non-Zendaya characters, was the Nate and Jules-
Oh, yeah
... conversation on the cigarette.
Which again, I think was the, in many ways, one of the most TV scenes, in that it paid off something that had-
Mm-hmm
... uh, occurred over multiple seasons.
Uh, so I, I don't feel qualified to comment on the performer, the performance, the character really, other than to say I am not a fan of f- fictional painters expressing their emotion through paintings, because inevitably they're not going to...
I don't think you're g- I, I don't know if they're gonna get the effect that you wish y- you would, could get from them.
She...
They, they probably should not have shown the painting.
Sure.
Yeah.
The, the, the painting seemed sort of silly to me, as did the sort of, like, this is the, the sort of self-
Can you imagine if Ellis was like, "What the fuck is that?" [laughs]
"What are you doing?" But like, sort of like the, the, the, the cho- like it's, there's more power in the silence and the expression of art, and the painting was like, you were serious about that?
Yeah.
Like, that, I, I didn't get that, and it felt...
I mean, this is, this is the thing that I think is ultimately certainly a challenge for me, and I would imagine whether it's, you know, on, on your dial it's more or less, or maybe it's not articulated.
But, like, I think one of the real challenges of the season, and I guess it was an unavoidable one, is that it is ultimately a tweener.
It was neither here nor there.
It was neither committed to being a full-throated continuation of a serialized television show that had a lot of character and emotion equity built into it, nor was it able to fully commit to being a, what I, you know, responded to in the trailer, which is a, "Fuck you guys, this show is something different now."
I mean, I think it definitely committed to the latter.
It, it committed to the latter in terms of w- w- in terms of its service to the audience.
But the fact that some of these character strands were continually attended to, even limited...
Like, my sen- what I'm trying to say is either do it or don't.
No, I, I completely agree with you.
Like, like-
And the, the, the, like-
I, I understand that you've...
Jules is part of Euphoria-
Yeah
... and Hunter Schafer is part of Euphoria, but there was no room for that character this season, frankly, regardless of scheduling, you know?
You know what? I was kinda, I was watching it, and you, y- you know, there have been shows that I think we either have a sense of how they were made or what sort-
Mm-hmm
... of challenges went into making them, or, you know, we are aware of, like, scheduling mishaps or, or, or issues that plagued the show.
Um-I think the best possible version is when it comes out and it's like Exile on Main Street, and it sounds like everybody's in the room
You s- you stop asking the questions.
You know what I mean?
Yeah.
Yes, yes.
Like, it sounds like everyone's playing in a room, but in fact, it's like one guy's in France recording on an answering machine, and-
But the art speaks for itself
...
but the art speaks for itself.
And I don't know that all t- all the time Euphoria was not Exile on Main Street.
I think that the Jules and Nate plot lines specifically-
Mm-hmm
... felt like they took place in a different working environment than the rest of the show this season, and I think it was-
Mm-hmm
... to its detriment.
Um, I wanna talk to you a little bit about the fact that, um, the show makes the choice not to do a bad news relay about Rue.
Yes.
And not to do, which is a term we sometimes throw around on the show about-
It's a Broadchurch.
It came from Broadchurch, but it's basically each character finding out the same terrible news and having a, a-
An Emmy reel [laughs]
... an Emmy reel for it.
Um, I thought that was cool.
Mm-hmm.
Mm-hmm
... that is every once in a while will pop up on somebody's couch, but that this wasn't a big shock.
But Levinson kinda went through a lot of plot bullshit to get Lexi to tell Maddy-
Yes
... that Rue is working for the DA.
This is...
Yes.
And then Maddy told Alamo, and the only real acknowledgement of that seems to be when Ali says, "I'm here for Rue," or Rue s- R- Rue Bennett sent me.
Like, they get a reaction shot from Maddy, but it's not like a, "Do you realize what happened here?"
Yeah.
No, it doesn't land.
I mean, I, I think this is...
I think you're articulating an example of what I was trying to say bothered...
Like, it's a tweener.
It's like you're servicing-
Certain TV things
... certain TV things-
Yeah
...
but then ultimately you kinda don't care about them.
And I, it, it makes sense to me, and this I mean as a, truly I mean this as a compliment, why when Sam Esmail used to come on the show and he was praising Euphoria for its directorial vision and its aesthetic, um, consistency, 'cause like Sam, both Sams write and direct everything, um, you see things on this show like you did with Mr.
Robot or S- or Sam Esmail's other things, that are contemptuous of some TV tropes.
And it allows you to separate and make, engage with the material, and make observations like we're making about, like, well, it may have felt sudden or brutal or cruel to dispatch Rue the way that, that the show did, but the show is actually telling you something about our engagement with protagonists and how we imbue hope into them when everything about their circumstance is telling you it's hopeless, you know? That's not, that's not traditional TV.
Traditional TV would walk up to that edge and then maybe, like the Hacks finale, still give you all of the, the gushing emotion that is kind of your reward for watching the show.
Euphoria didn't do that, and it leaves us making references to The Searchers and to, to Jewish prayers, you know?
Yeah [laughs]
Which is cool.
We don't usually do that.
But I think that the fact that it maybe was an ill-fitting, ill-fitting clothing this season, that it was still in the skin of a serialized television show, and most people engage with it that way, and I think they were...
I th- I, my sense is that people were either quite confused or quite pissed off-
Yeah
... by some of the storytelling choices.
Yeah, I mean, the choice not to show Rue's mother receiving the news, the choice to not have anybody else finding out about this, to see Storm Reid's characters-
Mm-hmm
...
Rue's sister finding out about this, to-
She, I mean, I think the thing-
I think that that, that feels like more like, uh...
That feels like more like something went wrong rather than a choice that was made.
Yes.
That said, Sam can go on a podcast and say the sh- "You're misreading the show.
It is ultimately about the ways in which addicts in our lives are dead before the coroner comes."
Yes, yes.
You can say that, and I've been carrying water for those arguments in this podcast, but it, you can't say that as a coming over the top argument ender to people who have engaged with a serialized television show with a certain set of expectations.
They're not wrong.
Just because you can intellectually articulate why you did something does not invalidate the emotional reaction-
Well, that's what I'm kinda trying to work through-
... that audience members have
... on the, in this conversation, is like, how can I watch something that, uh, fundamentally doesn't work on so many levels-
Yes
... that I still feel like it worked for me emotionally and intellectually in some ways, you know? Like, I guess it just made me think about things that I usually don't think about when I'm watching television, and-
In- including what the fuck are they doing.
Y- yeah, but like-
Why are they doing this?
But it made me think about addiction in, in a lot of different ways.
Yeah.
And it made me think about the American West in ways that I hadn't really thought about in a while, and it made me think about, um, forgiveness and why we w- go to the movies [laughs] and all these things.
I-
And I was like, "This is good, man.
Like, this is bigger than I thought it was gonna be," and it was...
It meant more to me than I thought it was gonna be.
I, I also felt continually, and I'm not saying this as a negative, but, like, a, a, a writer-director in a, in a movie can have his or her one to two dozen hinge points, um, exclamation points to express, like, scenes, moments, vibes that are crucial to understanding what that vision is, and the connective tissue in 90 minutes or two hours isn't really as important as we often think it is, unless it's, you know, w- why did, why did Palpatine suddenly return? Like, if it, if it's a personal story, you don't, you don't...
You shouldn't ever watch them as a redditor.
You watch them being carried along by someone trying to tell you something.
Yeah.
And I think the, where the limitations of the auteur model are evident in a show like Euphoria are you can absolutely hang a constellation of these really bright, powerful, shining star moments that moved him and that tell the story that I think he clearly wanted to tell.The connective tissue between them was often either convoluted, ignored, underbaked-
Yeah.
Uh, straight up
...
it, it-
Yeah.
Like, uh, the la-
And-
...
the previous episode, you finish up Laurie.
Yeah
... no, and, and just to say, that's why people have writers' rooms.
I am not saying Euphoria would be better with a writers' room.
It's just irrelevant to make that point.
I'm saying, and sometimes, uh, the conversation creep of a writers' room can overthink everything-
Sure
... until it's just mid, you know? But, like, there's a moment in this episode that surprised me in ways that I was really excited by.
Like, I, I still don't understand and I never asked you why Laurie is the way she is and hangs out only with Nazis on a farm.
I don't understand that.
The-
But-
... her season two kinda...
Like, y- she emerges in season two as, like, I th- I believe, like, a local drug dealer-
Yeah
... that Fez is working with.
I haven't rewatched season two, so some of this is just patching together memories.
But, uh, her character is more like, uh, the layer of drug culture that you experience when, like, you are getting serious, you know? Like-
Yeah.
All of a sudden, this is the person behind the person.
Yeah.
And, like-
And it-
... it's not just dime bags and eight balls.
It's like there's somebody who is like, "I'll give you this if you give me that." And, like-
Sure
...
it, it, she...
Her and, and Alamo emerging as these two basically satanic figures-
Yeah
...
in the desert, I, I think it was almost like dis- it's almost disconnected from who Laurie was in the sec- second season.
All that to say that, like, the moment when the guy who rodeo ropes, uh, Rue-
Early, yeah
... early in the episode.
When the scene is built, because we've seen all the same movies Sam Levinson has seen, that we understand he's going to reach for his gun and go out in a blaze of glory and everything's gonna pop off.
When he doesn't-
Mm-hmm
... worked.
That was a moment of the...
I, I took, I took notice of that.
Another, I...
Apparently, this show is also about the healing power of dogs.
[laughs] Like-
Of animals.
Yeah, exactly.
Yeah.
The dog told him not to do it.
Yeah, apparent- [laughs]
But-
I just was like, "Okay" [laughs]
But, like, we are also at the point with the show [laughs] where I was just like, th- that is a s- that is a decision and a statement that clearly has some significance to the creator and to the larger project, and then it goes off the rails ag- You know, she has this dramatic hanging off.
Like, there's...
Then it goes crazy to get to the next one of those little peg-
Yeah.
I mean, there's so much-
... pegboard points
... fucking, like...
It's so funny 'cause we're having this kind of like c- clear eye, full hearts conversation about-
Mm
...
this episode, and it, like I said, plastic surgery but Brazilian butt lift.
Yes.
Laurie blows her pants out when she hangs herself.
Uh, colostomy bags, plastic surgery in Mexico.
Um, fentanyl with scorpions printed on it, and Marshawn Lynch getting into a threesome before he gets his dick blown off.
I mean, it is so, like-
Clip that, cowards
... exploit...
It, it is exploit- ex- exploitation core, you know?
It is.
And so it's funny to also be like, "Goddamn," like, [laughs] "this brought me to tears." It is funny.
It, it's, it's just like, I guess that's the high and low that he's working with.
Yeah.
And it really, really, really pissed people off in some ways.
But I, even though you're the newcomer to this-
Yeah
...
I just, I wasn't mad that Lexi or Nate or Cassie didn't have like three more story beats at the expense of all the Wayne-
I was-
... uh, Faye and Laurie stuff
... uh.
I mean, like, I don't know why he did it necessarily, or I think it could've been a little bit more evenly distributed, but...
Yeah, I mean, I didn't understand what...
I, but I, I also, because I didn't know, I, I couldn't...
I didn't feel...
I didn't wanna spend time with really any of these other stories, but I also, that's not for me to say.
I'm coming in late, and maybe the, some of the scenes or some of the, the continuation of their stories was, was important-
Yeah
... for the viewers.
But I also think, like, the...
I, I keep looking 'cause I never wanna get his name wrong, but Adewale Akinnuoye-Agbaje, if he wasn't on this show in that role, it would've been a catastrophe of historic proportions.
Because the character is preposterous.
Somewhat intentionally preposterous.
But to go from Rue's death, to have him giving a disquisition on the power of female anatomy and the role it's played in his life, was borderline insulting-
Mm-hmm
... honestly, to what the show was, and a ridiculous digression, or maybe not digression, from what the character has been.
And, you know, he, he came on the show like a cartoon and he went out like a cartoon, but there was an actor playing him who brought real gravitas and swagger and c- dark charisma and humanity to it, which is maybe the best we can hope for.
I, I, I, I think that in a w- [laughs] like, I know this sounds crazy, but I feel like, I feel like the show got away with even more this season-
Yeah
... by casting...
And, and Darryl Britt Gibson too in that, in the part of Bishop, who, he brought some, some gravity and soul to a character that was mostly reaction shots, and then suddenly had exposition in the last 15 minutes.
Mm-hmm.
You know? Uh, it, it, it got away with a lot.
Did you understand why he turned on Alamo?
Uh, I think because of Maddy?
But was, did he seem particularly enamored with Maddy before this?
Before she liked his dog?
Yeah.
You know? I-
Okay
... not that I could tell.
I mean, he was watching everything, and I think that there was-
Yeah.
But I thought he was mostly focused on Rue and was the one who's like, "My spidey senses are tingling."
Yes.
Not, "I have-"
Like, "There's something up with this person," who's now just all of the sudden-
Empathy for this person.
Yeah.
Now, that's the other th- I think ultimately the reaction is one of frustration because maybe Darryl Britt Gibson will do an interview where he's like, "Oh, we shot all these scenes where, you know-
Sure
...
Bishop's sister died of a drug overdose and it triggered him," or whatever, and, "She's the one whose dog it was, and that's what I was playing, but we didn't show it." Or, you know, you get away with it because he's a cool-looking actor who did the fucking thing scene to scene.
Yeah.
And then you get by on, again, with the sort of surface artifice that the show can also skate by on.
[sighs]
Either way, uh, we'll never know the full answer, and we have what we have.
And I, maybe the best way to, to put a bow on it is we're never getting anything like this again
again[laughs]
Like, we're never getting anything like this again.
So that's actually a pretty good segue here.
I mean, I, I hope people enjoyed our, our rather unique perspective on this series this, this season and, and y- you know-
It was-
It was a fun experiment.
It was a fun experiment at the beginning and end.
I'll also just mention-
Mm
... that not unlike when Succession and Barry ended on the same night, I believe.
Uh, wasn't it the same night?
I think that's right.
I mean-
Succession
... you, you were kicking around Europe at the time.
I was.
Uh, Hacks also ended this weekend.
Um, I'm gonna just say one quick thing.
I know you didn't get a chance to see this yet, but I know you've also read about it, so I'm not spoiling anything for you.
Yes.
But this will be spoilers for Hacks, which we have not discussed.
Um, it was, uh, really interesting watching this with a, an avowed fan of the show, my wife, who I think was quite moved by the ending-
Mm-hmm
... and was like, "That was very satisfying."
Mm.
And I, I kind of have come in and out, like, as Hacks has gone on, I have, like, kind of...
I'll watch an episode, maybe miss two or three, watch an episode, and feel like I'm on top of what's happening.
Mm
... returned, and she's decided that it's going to be...
She's going to choose to have assisted suicide in Switzerland-
Mm
... rather than go through treatment.
So her and Ava go on this sort of last lost weekend in Paris.
It's actually quite beautiful.
Like, you know, obviously Paris is just incredibly cinematic and filmable and-
Just ran into Amanda Dobbins.
She said the same thing.
I bet.
And then, you know, they're going back and forth making jokes about dying, and, uh, Deborah has the revelation that she, in fact, has more jokes to tell-
Mm
... more work to do, and that that is a substitute.
That is essentially, like, standing in for she also loves the people around her-
Right
... and has learned-
'Cause there's always the work
... learned to be a part-
Mm-hmm
... of a community and is gonna go and, and try, you know, um, clinical trials of, of new drugs for, for cancer.
And, you know, as I was watching it, I was feeling like I was getting a little Chewbacca'd.
Like, for s- was that-
Explain that.
Uh-
Because that is still important to us.
That was...
No, that was the, the truly odious Rise of Skywalker.
Yeah.
In Rise of Skywalker, there's like, you basically spend five minutes thinking Chewbacca has been blown up and-
But somehow Chewbacca has returned.
But somehow Chewbacca has returned, and I got really mad on, on a podcast where I was like, "You can't manipulate people like this." Like, you prepare them for the possibility that characters, people die.
Mm-hmm.
You take them through that experience, and then-
And you get-
... you tell them, "Actually, psych."
And you get everything.
You, you hoard...
You're like a, you're like Colin Robinson on, on What We Do in the Shadows.
Energy vampire.
Yeah.
You're an emotion vampire.
Yeah.
You have stolen people's feelings and then said, "JK."
Yeah.
So I th- I...
It's interesting to look at the two in comparison.
In some ways, Hacks was a much more complete, satisfying, and-
Mm
Yes
... which is say, "Well, what if, what if what we are actually telling you is, is going to happen happened?" With-
And, and-
... you know, with a main character, and how would people feel about that? I think Hacks killing Deborah would be, like, quite controversial, so I understand why they didn't do that, but it, it was interesting to see them play with stakes that were so severe-
Yes
... and then decide to back off in the last minute.
I cannot criticize Hacks for that decision from the perspective of someone who has just been advocating for the unspoken covenant between television creators and their audience.
I think that there is, and this can be h- this can hamstring creators creatively over the long term, but I do think shows, you know I've said this before, teach you about themselves and tell you what they are-
Yeah
...
even before they've reached the precipice of choosing an ending.
And the worst endings tend to be the ones that betray that core belief at the last moment in search of something extra or something else, or, or, or in this case of some creators, wanting to play a higher note than they've been allowed to play on the keyboard of their show for this many seasons.
People like Phoebe and the millions of other people and Emmy voters who love it are like, th- one of the reasons this show continues is because year in and year out, Deborah and Ava are delivering.
Mm-hmm.
And the tone of the show is delivering, and the stakes of the show are consistent.
That's really, really hard to do.
What I tapped out when I realized that the show's most provocative ideas about Deborah being a monster, about show business being a gaping maw of whatever, was always going to be fixed with hugs and understanding before we run it back again.
Sure.
The constant breaking up and bringing back together, while done artfully, was too much of a yo-yo for me and reminded me of the l- I mean, Mike Schur is an executive producer of Hacks, but he, he, it's not his show.
You know, um, Paul Downs and, and Lucia Aniello and Jen Statsky did, did the damn thing-
Mm-hmm
... and ran the shit out of an enormously successful beloved show.
But Mike Schur is an executive producer of it, and there's a tendency that it reminded me of ultimately that...
And he's made some of my favorite shows of all time.
Parks and Rec, uh, and The Good Place particularly, unimpeachable, except for the one little thing, which is what I'm trying to articulate, which is every so often the, the s- the softness and the gentleness and the schmaltziness and the optimism start to, like, overwhelm.
The TV-ness too.
Yeah.
Yeah.
And, and that's not a sin.
The shows are good because there is a, there is a Leslie Knope and there's a Ron Swanson.
And when they start hugging, that's when it starts to get a little-
Sure.
Anyway, so that, that, that was my interact- that, that was my reaction with the thing.
But, like-My, the reason why I walked away, but when you're describing that finale to me, I think, I, I think I would've been incredibly frustrated by it, but frustrated for the same reasons I'd been frustrated for three seasons, and ultimately, that was the show.
Sure.
It's also, you know, just, it's hard to watch when you're just like, The Bear is just clearly much funnier.
[laughs]
Exactly.
Exactly.
Where are the laughs in comparison?
Um, I was just gonna go through HBO's, like, current st- slate-
Mm
... right, really quickly.
Um-
Okay
... uh, so you've got...
I would say these are the sort of ones that are, are, like, kind of, not propping up, but, like, are the flagship sort of titles for HBO right now, which is White Lotus returning, currently shooting in the south of France.
Mm-hmm, mm-hmm.
Task, we know is coming back.
Knight of the Seven Kingdoms, um, critically, item- I believe commercially very successful new iteration of Game of Thrones.
Yeah.
Um-
I, I actually was gonna reference it when we talk about Star City.
Good.
Gilded Age, The Pit, Rooster.
These are not all shows that we have love or talk about necessarily, but shows that I think are doing well for HBO and are in, in current production.
I was just laughing.
It's like, [scoffs] I guess, obviously.
[laughs]
Well, they bought it back-
That's our feeling about it
... and it's a Dune show.
Yeah.
So I'm kinda like-
Yeah
...
it, it bears mentioning.
Then there are the shows that are winding down or ending.
Mm-hmm.
Industry, House of the Dragon, Last of Us.
Last of Us still may be on the air for a couple more years, but I think are...
They're probably, like, thinking of ways to start bringing the ship back home.
Um-
I think they said four, didn't they?
They did.
I don't, I don't know how long that's gonna take, but-
Truly
... um, and then, you know, Half Man and DTF.
We didn't talk about Half Man.
DTF we talked about briefly, but those seem like one and dones.
I, I, I'm surp- I mean, I don't know.
I don't have insider knowledge on this.
Um, but, and I know it, it wasn't for us, and it make, made people quite frustrated.
But it does seem like DTF was a success ratings-wise and internally.
Yes.
And so I d- I have no idea about their, HBO's relationship with Stephen Conrad or Stephen Conrad's desire t- to do any- But, like, you could do DTF Des Moines.
Like, I, uh, that could be White Lotus.
Sure, or you could do another Stephen Conrad show, which I think is what I-
Right
...
I would like to see.
Um, and then they have, uh, Lanterns and House of the Dragon on the way imminently, and Harry Potter, obviously, at, at, at Christmas time.
It's an interesting moment because, you know, like, I think we have, uh-
Do you want me to talk about if Peeves is in it?
If who?
Who's Peeves?
From Poltergeist.
He wasn't in the movies.
Oh.
So that's two ways you haven't ever encountered this character.
[laughs]
Go on.
Um, we've done state of HBO conversations before.
I think a lot of the slate looks very strong.
It really doesn't matter 'cause it's...
It c- it can't be repeated enough.
[laughs] They have been purchased by Paramount.
You also, I think, left out the most interesting returning show on the HBO network set in Delaware County about a task force at HBO.
I said Task.
Did you say Task?
Yeah.
Sorry, I was blanking out.
I'm, we're having a problem, not you and I, but, like...
You know, when I was doing the Buried Alive thing when it-
Yeah, yeah
... last, last episode and I was like, "Hey, everybody.
Like, tell me who you think the best Buried Alive.
Yes.
Unless I was having a stroke and didn't say that, but-
Hmm
...
I, maybe I'm not-
Only a few of the emails were from me
... distinctive enough podcaster.
Yeah.
[laughs] Um.
It's fine.
Anyway, I just thought I would mention that t- these two shows are ending.
Uh, that, that Euphoria, which obviously was a, a intermittent presence-
Yeah
...
in, in HBO's lineup, and Hacks, which has been a very consistent presence.
Uh, that's-
And, well, the, well, Max has its two pit, um, adjacent-
Yeah
... series coming.
There's, there's the, the police show.
Is that Catalina Island?
No.
What is that?
There's-
Oh, that, is that the family show?
No, that's the one about a guy, a, a sheriff on Catalina.
Is, is it about him policing the Catalina wine mixer?
I hope so.
[laughs]
No. There's the Milo Ventimiglia show.
Yeah, there's a cop show.
I don't-
And then there also is, there's a family drama, um-
That's the one waiting to go
... being led by Ray Romano.
Yeah.
So I, it, I guess not...
Like, we just, we just kinda did our best to find the positive in Euphoria, so I don't wanna do any more, um, what's the term the kids use? Glazing.
But I do think what you described-
[laughs]
... is actually a best case scenario, I think, in terms of, um, industry position of a network that has a very, very steady floor.
Yes.
And it's a very different floor than HBO had 10 years ago, or certainly 20 years ago, in the sense that it is built on more mainstream facing stuff that works, like Game of Thrones stuff, and DC stuff, and, um, you know, Bill Lawrence comedy, Rooster, and then also all of this, you know, broadcast-minded, all those things on Max.
Sure.
The optimist case for that is Paramount or whomever [laughs] in the end, but probably Paramount, is buying something pretty solid.
Yeah.
And that there is room, uh, to iterate on top of it, and there's room for Casey to, to, to say to, um, all of the Ellisons, perhaps in a, some sort of, like...
You remember when on Righteous Gemstones, when the Gemstone siblings would receive people sitting on their three thrones? I imagine that's-
That's how the Ellisons do it?
That's what it, that's what it'll be like, where it's, like, um, Larry Ellison and, and, and, and, and the young Ellison.
Megan?
Uh, no, not Megan.
W- what's our, what's our guy?
David?
David Ellison.
Yeah.
And then maybe, like, Scott Bessent or whatever.
[laughs]
Being like, "Actually, it's a good sign for the economy that everyone's poor." Uh, and anyway, Casey could be like, "There's actually room here for me to take a little money off the top for, like, three more Somebody Somewheres or a bigger artistic splash."
Sure.
Um, but do you feel like it's an end of an era in a different way with these shows done?
No, I mean, I think it's an end of an era because of the corporate machinations.
I don't think...
I think, I think if anything, the end of Succession and Bear should... should show us that we shouldn't do this kind of like, "What's HBO gonna do now that Hacks is gone?" It's like, I think they'll figure it out.
Well, we just did it.
I know.
But-
You think we shouldn't do the thing we just did?
We shouldn't...
No, I think that the reason to, uh, to be like, "I wonder what's gonna happen next for HBO-"
Mm-hmm
... is because they are gonna be part of a different corporate parent.
Mm.
Not because they, they continuously...
You know, and they morph.
They, they change.
There's, there's always gonna be these, like HBO 2027 is not gonna look like HBO 2021.
Right.
But it, you know, it...
We always wind up kinda coming back home.
Did you mention Harry Potter in the list of shows?
I did, man.
Yeah, yeah.
Be-
Is that where Peeves-
Beatrix.
Peeves, yeah.
Yeah.
Peeves or Beeves?
[laughs] Were you doing the Arrested Development bit?
[laughs]
Beads.
Bees?
Um-
It's Beeves, man.
Let's talk about a show, uh, before we get outta here-
Mm-hmm
... that I fucking love.
Yeah.
Uh, and I did...
I, I knew I was gonna like it.
I didn't think I was gonna be blown away by it the way I was.
We're talking about Star City.
This is a...
I, I, I guess it's a spinoff.
There are characters in Star City that appear in For All Mankind.
They're-
Play- played by different actors, I think
... different actors.
It's, it's set in the, uh, '60s in Russia, um, then the Soviet Union.
This comes from Matt Wolpert, uh, Ben Davidi, and Ronald Moore, who are also in charge of, of, uh-
...
Although I believe Wolpert and Davidi basically do the brunt of that show.
Yes, they are the showrunners of both of these projects.
Um, and I'm gonna say this, and I don't really have a way of making this statement true-
[laughs]
...
but it's how I feel.
Okay.
Is this, uh, the Andor of For All Mankind Star Wars?
Wow.
Um, okay.
Sure.
Uh, they Chernobyl-ed this.
This is, uh-
It's, it's 100...
I, it's rare to see a project of such deep, deep influence, but also kinda get away with it.
Yeah.
So it is Russian characters speaking in English accents-
Mm-hmm
... portrayed by English-speaking performers for the most part-
Mm-hmm
...
I believe.
Uh, it stars Rhys Ifans as the, uh, chief designer of the Soviet space program.
Uh, Anna Maxwell Martin as Ludmilla Raskova, uh, a KGB intelligence-
Mm-hmm, mm-hmm
... uh, officer who oversees the security of that space program.
Mm-hmm.
And then it's got a bunch of performers that I am either now fans of or had never seen before.
Um, so we have Agnes O'Casey playing Irina, who will turn up on For All Mankind eventually, and she is, uh, L- Raskova's new pr- protege at the KGB.
Oh, wait, so this character is on...
The reason it's a different actor is because it's an older version-
Yes
... of the character on For All Mankind?
Apparently, I think that they-
That's cool
... showed up on...
She shows up in season four.
Uh, Alice Englert, uh, who plays Anastasia Belikova, the first woman in space.
Um-
First woman on the moon, dog.
Sorry, on, on the moon.
Yeah.
Uh, Adam Nagaitis and Sally McLeod, they play Valya and Sasha respectively, who are two-
Adam, and Adam we know because he was one of the firefig- firefighter buddies on Chernobyl.
That's right.
Mm-hmm.
And there are some Chernobyl faces on this show.
Mm-hmm.
The, uh...
I mean, this is not really, like, a piece of cultural criticism.
I like, uh, watching trained English, Irish, Welsh, and otherwise actors-
Mm-hmm
... imbuing scripts with just incredibly lived-in performances immediately.
This feels like a '70s conspiracy thriller with a sci-fi, a, a plausible, realistic sci-fi bent.
It's an alternative history of the space race.
For All Mankind is told from the US perspective.
Mm-hmm.
This is told from the Soviet perspective.
And what you get in the first episode is essentially, um, Raskova is leading a mole hunt inside of the space program.
Star, Star City.
Um, and when the prospective first woman on the moon is thought to be a spy for the Americans, she's replaced by Anastasia Belikova, played by Englert, and, uh, because it's thought that Anastasia will be more pliant to the-
Mm-hmm
...
the party's needs.
Um, and meanwhile, so that, that whole, like, going up to the moon with a woman is, is happening.
And it's quite tense and well shot, and-
It is gorgeous.
Nick Murphy directed this first two batch, this two-episode batch that went up.
Um, and then the second episode, which I don't wanna get too far into-
Mm-hmm
... 'cause you haven't had a chance to see it, uh, is about Anastasia's victory and promo tour, and, um, the ways in which they are using her to sort of y- as a propaganda piece.
Mm-hmm.
But deepening the mole hunt and Irina's, um, being pulled into the dark side of security work for the KGB.
I don't know if there is a light side of security work for the KGB.
[laughs]
[laughs]
Yeah.
Sort of the, the light fun-
Who's on, who's like the Luke Skywalker of the KGB? [laughs]
I guess we're gonna find out.
Um, the show is fucking awesome.
It uses, uh, in much the same way Chernobyl does, the brutalist, decaying textures of-
Of Lithuania
... y- they shot in Lithuania?
Hell yeah.
Uh-
Shout out, Lithuania
... to just give everything this kind of, like, light cigarette smoked on, moldy, decaying, the lights don't always work feel.
And yet at the same time, you know, you're watching, um, this moment of great optimism and idealism, and to see it sort of broadcast in this different way-
Mm-hmm
...
in both, two different ways.
One, if the Soviets made it to the moon first, but two, in this way in which, like, every victory is also a thing that needs to be controlled-
Yes
... a thing that needs to be interrogated, a thing that needs to be buttoned up.
Whereas on the US side, everything is sort of this expression of a new kind of a- American exceptionalism and-
Yes
... and American imperialism.
I, I, I mean, it, it's, it's beautifully characterized in the scene in which, uh, the chief designer is rewarded for his... is absolutely outrageous victory-
Mm-hmm
...
but it's in an empty room and he-
Yes
... has to give the medal back.
Yeah.
Um, Paul Spriggs is the name of the production designer, who previously worked on Sex Education.
Mm.
Which is a very different palette.
Yeah.
So bravo.
Production designers, unsung heroes of all television.
So for as much as this is...
First of all, I just wanna get your general thoughts on the episode you watched.
Well, I kinda wanna...
I loved it, and I, I can't wait to watch more.
I ki- it's...
This may seem counterintuitive, but my reference point for watching the show was actually Spider Noir, which we talked about last week.
Mm-hmm.
Which is to say, I no longer understand what gets greenlit and what doesn't.
Nothing makes sense to me anymore.
For All Mankind, which is a sturdy show in terms of its, I believe, its performance, uh, and the engagement that it gets for Apple, is not a hit show, I think, by any metric, even within Apple's own...
You know, not many people have Apple, despite its, um, ubiquity and its unlimited budgets.
So the fact that that series is getting a Russian-centered spinoff back in the '60s, in many ways telling the B side to a story that was the story of the first season of For All Mankind, which was eight years ago-
Mm-hmm
... is fucking crazy.
Like, spinoffs-
[laughs]
... spinoffs, in their best case, don't-
Also-
... retain the full audience of the mothership.
With Rhys Ifans and Anno Maxwell Martin leading it.
Leading it.
Yeah.
And without any attempt to make this sex-
And it's like Russell Crowe-
I mean, there's, there's sex in it, but like-
... is playing this guy.
You know what I mean? It's like they didn't-
No.
Yeah.
The, there seems to be an understanding that this is going to be mostly, uh, an artistic [laughs] frankly, project in the shadow of a show that i- isn't, hasn't set the world on fire.
Now, maybe this will be a wonderful outcome for everyone, where what we felt about the first episode or two episodes will be borne out by the rest of it, and then it'll have a sudden surge and may, you know, become incredibly popular in its own right, and we'll do our best to make that happen.
But it's wild to me.
And i- is it a, is it...
A- and secondarily, I think we should say for people listening, um, you do not need to watch For All Mankind, I think, to engage with the show.
Yeah, I've watched the first-
There might be-
... two and a half seasons of For All Mankind.
I watched the first two seasons.
I was talking to my daughters about it on the way to school, 'cause they asked what we were talking about on the podcast, and then they asked me to tell them everything that happened at the end of Euphoria.
And-
How did you do that? [laughs]
I mostly focused on the laxatives that Wayne took.
Um, because that kind of humor is always sells, especially on the way to school.
Okay.
Um, the premise of For All Mankind remains elite.
Mm-hmm.
And so cool and so compelling, and such a great use of television to be like, "No, let's do this, and let's really, really try it." But, um, I found it too big and too ambitious, and I just didn't enjoy the watching of it as much as I admired it.
Um, I don't think you need to have watched it to watch this or to appreciate it.
I just spent half this episode being like, "How are we getting this? This is wild." Um, but I should not question it.
Um, I'm glad they're spending their money on this.
The...
There was something kind of like, um, I, I, and I don't, I don't mean this as a blanket criticism of a show that I, I haven't watched in a couple of seasons.
I've kept up with what's kind of happening on All Mankind, but I-
So, so For All Mankind, from what I understand, every season is a decade leap forward-
Yeah
... into this alternate history.
They're in the '90s, I think now.
Or, or the, into the 2000s, and now there is a full colony on Mars.
Yes.
Because the idea of For All Mankind, the fundamental, like, rupture in our space and time is that the Russians won-
Yeah
... which is what we see happen in the opening moments beautifully and brilliantly.
I mean, pilots are hard.
The opening moments of this show are so excellent-
Are-
... at bringing you into everything that the show's gonna be about, and also making you understand something, if you are a fan of the other show, that you're gonna be seeing it from the other side.
Yes.
But-
And it's like the paranoia and terror that then mixes with a moment of triumph is-
And pride
... is, is really, really excellent.
And, and the domestic versus the profe- just a completely different perspective on it.
It's so, so, so well done.
Um, but that the idea that in For All Mankind, this loss of the space race led to an American obsession of catching up, which led to a completely transformed second half of the century into the new century, in which space is everything.
Yes.
As opposed to something we did and we won and we moved on from.
[smacks lips] Uh, there are these character moments, and I...
You know what? I, I want you to watch the second one, and then we can talk about it in more detail.
But what I will say is that, um, I'm sure if I did, like, a forensic scouring of what's happened on For All Mankind, I could come up with, like-
Mm
... a pretty solid synopsis of what's going to happen on Starcity.
But there are these character beats that I find enchanting.
Enchanting in a way that, like, kind of reminds me of the f- of Battlestar, Ronald Moore's Battlestar Galactica, of, like, you start out and you think, "This is gonna be the mechanic."
Mm-hmm.
I get it.
And you're like, "Oh my God, I had no idea, like, this is where we were gonna wind up." And even some of the cosmonauts are being given character depth that you just didn't...
You know, you would not necessarily need to imbue the seventh guy on the show-
Mm-hmm
... with this, like, "This is what I want, and but this is who I am."
Mm-hmm, mm-hmm.
"And this is the frustration that comes along with it." It's, it's really, really top-notch TV, and I'm really excited to keep watching it.
I think you're gonna adore the second episode.
Even more.
Oh, I think so.
Yeah.
Um, and if I had a critique of All M- For All Mankind, even though I, you know, I like, um, Joel Kinnaman as a performer.
I like a lot of the-
Mm-hmm
... people who are on it.
There was a certain kind of, like, uh, it's not like a, a falseness.
There was like an...
All wa- I was always aware that I was watching people on a TV show.
Okay.
I understand what you mean.
Um, and it felt like dress-up, and this doesn't, even though there is a complete artifice to the fact that all of these people are Russians speaking-
W-
...
English
...
the, the least generous take on that is that they found the Chernobyl filter that works.
It's a filter on the show, the way they speak accented English as Russian, the way Russian sounds in English, you know, referring to people as chief designer, which actually is-... more common-
Mm-hmm
...
in Russian than it would be in, in English.
Um, but we under- we, we speak this fictional language now.
Yes.
And it, and they, they're doing a great job of doing a show in that language.
It's not, um, just mimicry.
Yeah.
Um, we got a, a couple things on the cast, couple small notes.
Sure.
One, happy to see Eliot Salt.
She plays the other, um, listening person.
Remember she was on Slow Horses, uh, in like two seasons ago.
Um-
Damn, that's a-
This lady, recognized her immediately from that.
Right, right.
Love seeing these people get-
That's a deep cut
... get good work.
Yeah.
[laughs]
Um, I'm paying close attention.
Yeah.
Partly because, as you know, I'm constantly on Nepo watch.
Ever since we started this podcast and I've looked across at you, you know it's Nepo watch.
Sure.
And-
As I stand on the shoulder of giants.
[laughs] I mean, who amongst...
Uh, I mean, what other critics were willing to shit on Godfather II, you know, in a way?
Yeah.
Like, imagine he would've killed on a podcast.
Um, so I think we, we have to talk about the fact that Alice Englert is clearly [laughs] the daughter of-
You have to defend this-
No, I don't actually
...
Atticus Finch.
This is, this is-
You know? Like, come on
... actually fun for me.
No, she is the daughter of Jane Campion, who's the great-
Yeah
... director.
She was in Top of the Lake, her mom's TV show.
She's awesome.
I don't actually have a take on this.
It was just funny to see that.
It is.
And a- as it was funny to see that Tanya Mironova, who's one of the cosmonaut's wife who's keeping up a little something on the side, is Andy Serkis' daughter.
I did not know that.
Yeah.
Uh-
Her name being Ruby Serkis didn't give it away?
The, the character who I think is, is, has been the, the one that has blossomed for me the most-
Mm
... is, is Alice Englert's Anastasia character.
She, she is a, a, the, the, the Nepo thing is a joke, especially when we're talking about, um, a dedicated art- artistic person like Jane Campion [laughs] and her family.
Sure.
Like, I'm not really worried about the benefits of the leg up she got in the Kiwi film industry.
But, um, it's actually-
Do you think when she's, like, at, at auditions they're like, "Top of the Lake, must be nice." [laughs]
No.
No, they'd be like, "The, the piano, huh? When'd your mom show you that?"
Yeah.
Um, no, I, I, I think that as an actor she is surprising in her presentation, in her line readings, in what she brings to it, and this is just through one episode, that, like, you notice.
Yeah.
And it's, and that's especially noteworthy casting, I think, in a show in which the aesthetic is primary, that everything is kind of brutalist and gray, and there's snow, and you can't do pops of color to distinguish, "Oh, well, that character wears a saucy scarf.
That's telling us something." No, they can't do that, so casting becomes even more important.
Yeah.
And the contrast that the show does between her and the cosmonaut that she replaces within the episode is, is expertly done.
Yes.
Uh, we will continue to talk about this.
The third episode goes up on Friday, so maybe, maybe we'll talk a little bit about episode two on Thursday, but I, I think we'll probably consistently chat about this show throughout its season, if I had to guess.
Yeah, and then we're gonna hit Maximum Pleasure.
We're gonna stay in the Apple ecosystem.
Apple's just got us.
We, we, we, we do nothing but serve our [laughs] big brother.
Team Apple.
Um, yeah, so Widow's Bay on Thursday, Top Chef on Thursday.
Mm-hmm.
Maybe a little bit more Star City, um-
Kris- Kristen said this is her favorite episode of Top Chef this season.
Okay.
Did you know that?
I did not know that.
Mm-hmm.
That's good to know.
I also heard, this is just now we're just into Reddit stuff, but, like, a PA who worked on the show said this sh- that, said that the edit actually helped Seeker, 'cause it was much worse.
The edit of h- of his behavior-
Mm-hmm
... during the jury or his-
Mm-hmm
...
the edit of, like, his cooking?
No, no, the jur- like, his, his crash out.
Oh, so they crashed out.
Yeah.
And that they were like, "Let's be decent about this."
Mm-hmm.
Release the Seeker cut.
Okay.
That's, that's my hill.
Seeker stans, h- hit us up about your man.
Tell us.
[laughs]
Just, just tell us about what it's like eating melted chicken livers.
Uh, thank you for watching Euphoria with me.
Thank you for podcasting with me today.
Thank you for inviting me.
We're gonna be back on Thursday, and everybody have a good week.
Okay.
[upbeat music]
“Hear Andy unpack Rue's gut-punching series demise.”
“Andy explains Rue's near-misses weren't heroic, actually.”
“A wild metaphor comparing cinema to salvation.”
“Chris connects Euphoria finale to vigilante cinema.”
“Searching German vocab for marathon TV episodes.”