Golden Globes Nominations, Rewatching ‘Succession,’ and a ‘Landman’ Crash Course With Timothy Simons. Plus, Paramount’s Hostile Takeover.

Summary

The Watch – December 9, 2025

Golden Globes Nominations, Rewatching ‘Succession,’ and a ‘Landman’ Crash Course With Timothy Simons. Plus, Paramount’s Hostile Takeover

Hosts: Chris Ryan (The Ringer)
Guest Co-host: Tim Simons (Actor, “Nobody Wants This”)

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Episode Overview

In this episode, Chris Ryan welcomes actor Tim Simons (subbing for Andy Greenwald) for a packed discussion about the state of awards season (with a focus on the Golden Globes), TV viewing habits, the enduring value of rewatching classics like “Succession” and “Girls,” a critical look at the new season of “Pluribus” and its philosophical intrigue, and a comedic first-timer’s dive into “Landman.” The duo also decompresses about the bombshell news surrounding Netflix and Warner Bros., share hilarious stories from awards shows and life on set, and reflect on how TV programming and consumption has evolved.

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Key Discussion Points & Insights

1. Media Industry Shake-Up: Netflix–Warner Bros. Merger and Paramount's Hostile Takeover

[01:39–03:20]

• Chris recaps the breaking news: Netflix striking a deal to acquire Warner Bros. Studios and HBO properties, beating Paramount’s competing bid.
• Paramount retaliates with a hostile takeover attempt.
  • “Warner Brothers is one of the most historically significant institutions in the history of America and entertainment. Their IP treasure chest is probably unrivaled [...] one of the crown jewels of American cultural heritage, and it’s up for grabs.” — Chris Ryan [01:58]
• Chris reflects on Netflix’s rise from DVD-by-mail to industry Goliath, recalling his own forgotten "Scenes from a Marriage" red envelope:
  • “It did make me laugh that this relatively humble, novel company ... is now this Goliath who may swallow up half of the industry.” — Chris Ryan [03:13]

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2. Golden Globe (and Other) Nominations: Awards Season & Industry Reflections

[04:33–13:17]

• Tim and Chris celebrate “Nobody Wants This” and other nomination surprises, but poke fun at the mystery and chaos of award shows.
  • “One thing that is cool about [awards] is that it’s an opportunity for underseen movies or television shows to get a bump, to get more people to know about them, to get them into the conversation.” — Tim Simons [06:21]
• Tim’s approach to voting is a mix of integrity and pragmatism (vote for what you’ve seen and loved).
  • “There are 780 television shows — there’s no way you can watch them all!” — Tim Simons [07:32]
• They note frustrations with category confusion and comedy’s second-class status (“One Battle” and “Marty Supreme” in comedy?).
• Discussion of access, publicity boost for obscure shows, and nights in “the room” with Noah Wyle and “Adolescence” cast.
• Memorable moment: Tim admits that award notifications usually leave him initially confused:
  • “My phone is blowing up, my first question is, ‘What happened?’” — Tim Simons [09:36]
• Both advocate for the career and personal morale boosts nominations can provide.

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3. The Changing TV Ecosystem: Comedy Categories, Lead-ins, & Streaming Era Programming

[11:06–31:25]

• Expansive talk about how categories like “comedy” and “musical” have become blurred, and how comedies struggle for recognition.
• “It’s almost better if...there just aren’t enough comedies being made as feature films anymore.” — Chris Ryan [12:24]
• Awards result rundown for major TV categories (drama, comedy, limited series) with quips about real/imagined shows like “The Girlfriend.”
• The nostalgia for the lost art of constructing a network “night” — the Game of Thrones–Girls–Veep HBO Sunday lineup:
  • “Dude, like the idea of, like, stitching together a night of programming ... by having a Game of Thrones lead-in ... is a lost art form.” — Chris Ryan [29:45]
• Streaming makes for solitary, binge-based viewing vs. communal appointment TV.

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4. TV & Movie Habits: The Comfort and Value of Rewatching

[16:32–24:36]

• Tim’s habits skew much more to movies during shooting seasons, catching up on essential TV later.
• Rewatching (“Girls,” “Succession”) offers new perspectives, fuels nostalgia, and exposes previously missed nuances:
  • “In the past year, I rewatched Girls and Succession and...I watched We Own This City, and I had never seen it.” — Tim Simons [21:01]
• Chris recommends “Homicide” (now on Peacock) to scratch the Baltimore vibe left by “We Own This City.”
• Rewatches highlight narrative tricks: Tim found himself reading “Succession” election scenes entirely differently the second time around.

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5. Succession & Girls: Timelessness, Character Shifts, and the Discourse

[24:36–30:46]

• Succession’s ending revisited: The ambiguity around Jared Menkin’s win; greater empathy for Shiv.
  • “Sarah Snook...you love her as a performer so much, you don’t notice that she is kind of as bad as Kendall.” — Tim Simons [25:46]
• Chris notes viewers’ struggles to separate rooting for characters from critiquing the writing.
• Rewatching “Girls” post-discourse is liberating:
  • “To have none of that noise and just appreciate it as a show was incredible. Those first two seasons...they really feel timeless.” — Tim Simons [27:30]
• Praise for the show’s feel for New York and Adam Driver’s performance.

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6. “Pluribus”: Awards, Programming, and Existential Genius

[33:31–51:52]

• Tim extolls “Pluribus” and the necessity of watching beyond the tricky first episode:
  • “If you just watch the first episode, I’m telling you, it’s the rest of it is not like that...even if you just watch 10 minutes of the second episode...you’re going to get a much better idea of what this thing is all about.” — Tim Simons [34:05]
• Rhea Seehorn’s performance hailed as a landmark, with both gushing over her physical and emotional range (“not only in every shot...but also using a pickaxe!”)
• Vince Gilligan’s craft: The show’s writers meticulously follow through on each narrative choice, refusing to skip over the logical, everyday details.
  • “This show makes me use my brain, along with the writers.” — Chris Ryan [37:55]
• Unpredictability and ethical ambiguity keep audiences riveted.
  • “At any single moment in that show, you don’t know what could possibly happen next.” — Tim Simons [38:13]
• The “Yes, and” philosophy likened to improv rules — writers never ignore the consequences of choices, making comedy from both logic and absurdity.
• The show’s philosophical, almost optimistic take on assimilation and evil — is it actually “bad”? Does benevolent control equal oppression?
  • “Are they evil or are they not? What is evil? If evil presents itself in such a benevolent way, is it evil?” — Chris Ryan & Tim Simons [50:36–50:42]
  • Chris summarizes: “I am just, like, moment to moment, this thing is so incredible.”

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7. “Landman”: A First-Time Viewer’s Crash Course

[52:22–64:38]

• Chris assigns Tim a single “Landman” episode (“Dancing Rainbows”) as a “raw dog” experiment.
• Tim is surprised by its restraint, but admits the stoic Sam Elliott–Billy Bob sunset chat won him over.
  • “You sit Sam Elliott down looking at his sunset with Billy Bob ... and they’re, like, talking very directly and unemotionally about emotions. Yeah, let’s fucking do it.” — Tim Simons [53:59]
• Chris runs through the convoluted Taylor Sheridan lore:
  • Recap of first season: Jon Hamm dies; Demi Moore takes over oil company; cartel enters the fray.
  • “This is actually, like, really worth recapping to you...” — Chris Ryan [57:33]
• They lampoon the show’s wild tonal swings (Ally Larder taking old folks to strip clubs, for example), the disaster-of-the-week structure, and the general lack of overlap with Tim’s usual tastes.
• “When Sam Elliott and Billy Bob were like, ‘You know, deserve ain’t got nothing to do with it’...I’m kind of down.” — Tim Simons [64:43]

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8. Personal Media Rituals: Couples, Family, and Hockey Hooliganism

[19:10–21:41, 65:00–66:36]

• Both share the classic “war” over what to watch with spouses; Tim’s wife doesn’t tolerate “comedy of discomfort.”
• Tim shares being banned from multiple hockey games for rowdy fanship (“We bought a bunch of fish and threw them on the ice...they asked us to leave.” [65:18]) further endearing himself as a pod guest.

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Notable Quotes & Memorable Moments

• [26:05] “Dave Mandel used to talk about Julia Louis-Dreyfus: when people would say, ‘I want Selena Meyer to be my president,’ and he would be like, ‘No, you don’t. You want Julia.’ And I think that’s something Sarah Snook sort of shares.”
• [29:45] “The idea of, like, stitching together a night of programming...is a lost art form.” — Chris Ryan
• [34:23] “It’s fun finally to have a show that’s like, oh, Wednesday nights — I get to look forward to Wednesday nights when Pluribus comes out.” — Tim Simons
• [37:55] “I love the way that this show makes me use my brain, like, along with the writers.” — Chris Ryan
• [38:13] “At any single moment in that show, you don’t know what could possibly happen next.” — Tim Simons
• [50:36–50:42] “Are they evil or are they not? What is evil? If evil presents itself in such a benevolent way, is it evil?” — Chris Ryan & Tim Simons (summary)
• [53:59] “You sit Sam Elliott down looking at his sunset with Billy Bob ... and they’re, like, talking very directly and unemotionally about emotions. Yeah, let’s fucking do it.” — Tim Simons

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Important Timestamps

• [01:39–03:20]—Paramount/Netflix/Warner Bros. merger chaos
• [04:33–09:54]—Tim on Golden Globes, nominations, awards show absurdities
• [13:09–16:22]—Rundown of TV nominations, comedy category debates
• [16:32–24:36]—Physical media, rewatching classic TV, Baltimore nostalgia
• [24:36–30:46]—“Succession” and “Girls”: rewatches, character insights, old TV nights
• [33:31–51:52]—Deep-dive: “Pluribus” as event TV and existential parable
• [52:22–64:38]—“Landman” crash course and all-star “dad TV” moments

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Language & Tone

The exchange is fast, dryly funny, full of deep pop culture references, and both irreverent and lovingly nerdy. Chris acts as both fan and cynical observer, while Tim drops behind-the-scenes anecdotes, self-effacing stories, and keen actor’s insight.

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For Listeners Who Missed the Episode

• The media landscape is shifting under Hollywood’s feet with a Netflix–Warner Bros. deal threatening studio tradition.
• Awards season brings both chaos and opportunity (and a dose of imposter syndrome for nominees like Tim!).
• “Pluribus” stands out as TV’s philosophical and narrative highlight, with Rhea Seehorn delivering a performance for the ages.
• “Landman” is an oddball delight — at least if you’re craving gravitas, Sam Elliott, or old folks in strip clubs.
• TV viewing has moved from communal events to atomized binging, but rewatches are keeping the classics alive.
• The guys reminisce about “Succession,” debate who they’d golf with in a post-apocalyptic world, and cop to being thrown out of hockey arenas — all with the sort of sharp, affectionate banter that makes “The Watch” essential listening for pop culture obsessives.

Transcript

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[Chris Ryan]

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I need support staff to clear the room, Stand up and walk now. Hello and welcome to the Watch. My name is Chris Ryan. I am an [e-mail] and joining me in the studio today shortly will be Tim Symonds because Andy is traveling and Tim was nice enough to come by and guest host the episode with me today. Obviously coming out of this weekend, you know, Tim and I talked about Golden Globes of which nobody wants this. The show he's on is nominated. We talked a little bit about Pluribus and Landman and just TV in general. It was really fun chat. But coming out of this weekend there's really only one story and that is the announcement on Thursday night and the developments over the weekend about Netflix making An offer to buy and entering into an agreement with Warner Brothers to purchase their studios and their streaming service HBO Max, as well as the network hbo. This comes on the heels of Paramount's competing bid for Warner Brothers. Warner Brothers went with the Netflix offer. Warner Brothers is one of the most historically significant institutions in the history of America and entertainment. Their IP treasure chest is probably unrivaled in, in Hollywood, with the exception of perhaps Disney. And it's a huge crown jewel of honestly American cultural heritage at this point. And it's up for grabs. And we're really, really, really only in the prologue of this story. As we were recording today this morning, Paramount announced that it was going to be conducting a hostile takeover bid of Warner Brothers. I had a very funny experience this weekend where I was cleaning out my kitchen and I saw.

A red envelope next to an old toaster and it turned out to be disc two of Ingmar Bergman's Scenes From a Marriage. I have no recollection of renting from Netflix when it was simply a mail order DVD company, but it was there and it's been there for several years. And I hope my credit rating is okay because of that. But it did make me laugh that, you know, this relatively humble novel company, when it first started of like, what if we just sent you DVDs in the mail and you sent them back when you were done with them? Is now this Goliath who may swallow up half of the industry. And Andy and I will talk more this week about the pros and cons of that and also just probably how helpless everybody feels in the face of it. I'll save a lot of this stuff for, for me and Andy. Let's get into my conversation with Tim Symonds, which takes up the rest of the show. Like I said, we talked about the most recent episode of Pluribus, the most recent episode of Landman, the Golden Globes rewatching succession, and who we would want to play golf with if we were the last people on earth. All right, I'm now joined by the critics motherfucking choice, Tim Symonds. Tim, you know what? You are not the only award nominee in this room right now.

[Tim Symonds]

I know. I. While you were out getting the water.

[Chris Ryan]

I. Jerry Bruckheimer of Good Hang With Amy Poehler is also nominated for a Golden Globe. Thanks. Do you get to go to the room? I. I don't know. I would say there's probably a long list of people before me that will be in that room. Not that long. I mean, I'm very excited for this possibility, if only for like the idea of you being in proximity to. I'm very excited to maybe meet Mel Robbins. Oh, yeah, right. I wonder if there's a separate podcast ceremony or are they be. Are they gonna be part of the evening? I could see it being like an off camera, like, congrats, you know, like creative arts Emmys kind of deal.

[Tim Symonds]

I. I do wanna just throw this out. Kya. I feel like we don't know each other super well. Historically. I've enjoyed talking to you, but if for some reason the table placement is much more favorable for Kya, like, I'm gonna absolutely just like mad dog her every time. I. I will never. I won't even throw you like a cursory glance.

[Chris Ryan]

It will just be like, blank. Do I know you have.

[Tim Symonds]

We know.

[Chris Ryan]

Yeah, that's cool.

[Tim Symonds]

Hey, Tim. I just keep introducing myself politely. Hey, I'm Tim. Nice to meet you.

[Chris Ryan]

The Golden Globes were announced this morning. Andy obviously is going to be on or later in the week and we'll probably recap some of this stuff in more depth, including the merger stuff. But the Globes nominations were this morning. I have a funny relationship with the Globes. I'll just, I'll just tell you where. I don't really understand who nominates things or votes on them, but I do find award shows to be relatively amusing and, and useful as markers of like, oh, this is what people generally who watch a lot of TV or a lot of movies were into. Congratulations on. Nobody wants this getting nominated, right?

[Tim Symonds]

Like, yeah, nobody wants this got nominated. Adam and Kristen both got nominated, which is rad. And like, yeah, whenever people bag on award shows, like, I get it. There are more important things going on in the world. But one thing that is cool about them is that that is an opportunity for like, underseen movies or television shows to get. To get a bump, to get more people to know about them, to get it, to get them into the conversation. Especially if they're sort of like criminally underwatched.

[Chris Ryan]

Did you ever, throughout your time on Veep or on Nobody wants this, like, do a deep dive into, like what the advanced analytics are to get nominated for a Globe or is it still just like you believe in magic? When it happens, it happens. I believe.

[Tim Symonds]

I believe in magic. But there is also a part of me that, like, I don't know if this is.

Incredibly stupid on my part. Like, that side of the business. I almost am like, willingly telling myself to not know about. And I don't know if that works to my Detriment or to my overall benefit.

[Chris Ryan]

Do you vote in sag?

[Tim Symonds]

I vote in sag, and I vote in Emmys. Oh, wow. Yeah. That's cool. Yeah.

[Chris Ryan]

Do you ever do zag hard when you're voting? Do you ever, like, throw, like, some random stuff in there or, like, you know, like, kind of try to stand out a little bit from the masses?

[Tim Symonds]

I tr. What I try to do is because there are 780 television shows, there's no way that you can watch them all. Yeah. So I do try. I know there was, like, that thing with the Oscars, like, recently. They were like, by the way, you have to watch a movie. You think that would be a prerequisite?

[Chris Ryan]

I think it's honor system, but yes.

[Tim Symonds]

Yes. Yeah. And. And so I really do try to go for the things that I've not only seen but thought were great. And what that means is that sometimes there are some people that are very much in a conversation, but I'm just can't. I can't in good conscience vote for it. I just. I haven't seen it. Right.

[Chris Ryan]

What? One thing that's always sort of strange about the Globe nominations and the Globes themselves is that because of the timing of it vis a vis the Emmys, there will always be, like, a. Wait, I don't understand. I thought adolescence won everything already. Like, how are we doing adolescence again towards the end of the year or. It's very strange when those kinds of, like, recycled word runs happen.

[Tim Symonds]

Yeah. And you wonder, like, is Stephen Graham gonna be as excited. Yeah. As the one. Because, God, that guy rules. That guy rules.

[Chris Ryan]

He'll be sincere, but I don't know if we're gonna get the same level of Emmy's candor from him.

[Tim Symonds]

Yeah, it was really fun. Like, at the Emmys this past year, I was in. I was in a row. Like, we were right next to Noah Wiley. And as we've talked about before, I was a huge fan of the hit. I came to it late after you guys saying over and over again that I should watch it. And I came to it late, and it is as advertised, really.

I was in. And then to our right was the entire Adolescence crew. So to, like, be in between that level of happiness was like, a really amazing.

[Chris Ryan]

Was Owen Cooper from adolescence giving, like, a lot of, like, the V's to, like, the pit people being like, how you like that?

[Tim Symonds]

I did. I did. At one point when I was talking to Noah Wiley, I really wanted it to work out. I tried to convince him to do a bit that if he won. He would stand up and, like, we would have a moment where we said, we did it.

And he didn't go for it. He went for, like, the human. Like, he hugged his wife. I thought that would have been really good. Like, we did it, man. We got there. Another reason I'm bad at the business is both on Friday morning and this morning when my phone is blowing up, my first question is, what happened? I had no idea that the Globes were cutting morning that critics choices were being announced.

[Chris Ryan]

Which you got nominated for?

[Tim Symonds]

I did, yeah. And it was great. Kid's birthday was over the weekend, and it was actually kind of lovely to be able to take a moment during, like, this birthday weekend they turned 14, and they're wonderful people. They're kind and they're creative. But it was nice to be able to take a moment to focus on their birthday weekend about what really mattered, which is individual acting.

[Chris Ryan]

Yeah. I was wondering about that. I was waiting for the butt there.

[Tim Symonds]

Yeah.

[Chris Ryan]

Their birthday weekend. And you're like, but sometimes it's about dad.

[Tim Symonds]

Sometimes it's about dad.

[Chris Ryan]

It's about what dad brings to the table.

[Tim Symonds]

Yeah. While they were blowing out the candles, I was like, I hope they're wishing for a win. Yeah. And.

[Chris Ryan]

Or did not get nominated for any of the major sort of drama or writing awards. But Diego Luna did get nominated for Actor Task. Had won with Ruffalo. No Taylor Sheridan. No Taylor Sheridan for none of his shows.

[Tim Symonds]

Okay.

[Chris Ryan]

And Catherine Lanassa, who plays nurse Dana on the Pit and won an Emmy, did not get nominated.

[Tim Symonds]

Really?

[Chris Ryan]

Yeah. Which was pretty surprising.

[Tim Symonds]

That's surprising. And did I see correctly that one battle didn't get nominated?

[Chris Ryan]

No, it's in comedy.

[Tim Symonds]

Which is in comedy. Okay, good.

[Chris Ryan]

I don't know how I feel about at this point. I almost feel like the Globe should be like.

I. I don't know whether I feel like it should tack closer to the Oscars in terms of its categories. I appreciate the fact that, like, more movies get nominated for Globes. And then, like, to your point, you can get, like, people being like, oh, I didn't see J. Kelly or whatever. I don't think J. Kelly got nominated. But by that same token, like, it is strange when one battle is very funny.

[Tim Symonds]

Yes.

[Chris Ryan]

Many of Paul Thomas Anderson's movies are very funny. I would not explicitly call them comedies, like, and I wouldn't call them musicals. And so it competing against other comedies.

[Tim Symonds]

And musicals a little strange.

[Chris Ryan]

There is.

[Tim Symonds]

And I think there is also that thing of, like, whether or not you agree with the category I mean, an argument can absolutely be made that one battle after another is the funniest movie that got released this year for sure. You know, like that argument. I don't think that's like a category fraud thing. Because it is fun to tell people that haven't seen it. Like, hey, in the first 30 minutes, you're gonna think I'm insane when I tell you this is the funniest movie you'll see all year. But with comedies being broadly ignored in awards, in awards talk, unless there is a specific category for it, like, a lot of comedies don't get nominated for Oscars or at least maybe more recently. I do like that there is like, okay, no, we're gonna actually put some light on those as well.

[Chris Ryan]

It almost would be better if. I mean, like, I guess this gets to the point of, like, there just aren't enough comedies being made for as feature films anymore. So you do wind up having things that are, like, whether it's a big musical getting put in there or something that is right on the line between drama and comedy and probably leading more drama, even if it's funny. Something like one battle which will probably win that. I think Marty supreme is also in the comedy category as well, which I.

[Tim Symonds]

Haven'T seen, which I haven't seen either.

[Chris Ryan]

But in any case, for the nominations, best TV drama, it was the Diplomat, the Pit Pluribus, which we're going to talk about. Severance, Slow Horses, White Lotus. For best TV comedy, it was Abbott elementary, the Bear Hacks. Nobody wants this. Only murders in the building and the.

[Tim Symonds]

Studio, which is that. Would that be studio season? Studio Season one, yeah. And they weren't. Had it not come out.

[Chris Ryan]

This is the thing is that, like, they did a whole Emmys run, and now we're getting. This is now, like the end of the cycle for, like, its awards eligibility for season one.

[Tim Symonds]

For season one. Yeah. Which I think I. Off the top of my head, that feels like outside of the studio, the exact same lineup from last year, it's very similar.

[Chris Ryan]

And they're still doing this Bear Hacks thing, you know, which is. Which I. I just find now amusing to like, watch these two go up against each other. Best limited series was Adolescence, All Her Fault, the Beast in Me, which I watched in its entirety. Black Mirror, which I kind of. That was one that I was surprised got put up for awards or like, I like Black Mirror a lot this season, but it was like I was like, oh, yeah, Black Mirror came out Dying for Sex and the Girlfriend, which I had to look up That's a Robin Wright show with Olivia Cook from House of the Dragon, and it's about a girlfriend who disrupts a family. And I was just like, this doesn't seem like a real show. And it really was.

[Tim Symonds]

And it really was.

[Chris Ryan]

Yeah, I.

[Tim Symonds]

Check it out. I like Olivia Cook.

[Chris Ryan]

I like Olivia Cooke too. She was great in Dragon. She's great in the first episode of Slow Horses.

[Tim Symonds]

Yeah.

That had to be like, House of Dragon related scheduling, right?

[Chris Ryan]

It is. I mean, we've now gotten into. I was actually going to encourage this for you. We have gotten into spoilers for Slow Horses. So you can click ahead 15 seconds. Killing people off, like, named actors. Killing them off in the early, like, first episode or so. This is the Kyle Chandler, mayor of Kingstown move. And this is a. This is a part for you, you know, to be like, pretty famous guy who's on the poster and then gets his head blown off in the first episode.

[Tim Symonds]

Honestly, that'd be sick. The only thing that I don't like about that is, I don't know, whenever I see Olivia Cook, like, when she gets. Again, spoilers for a five.

[Chris Ryan]

Five year old, five year old first.

[Tim Symonds]

Season of a television show that if you're listening to this, you probably watch. There is always that part of me whenever I see, like, an actor get shot and actually killed. I am like, fuck, I wish they just still had a job. It's like when, like whenever I, like, I had a real trouble watching the first season of Fargo, which is like a show I love, but when they were out on the frozen lakes, I was just like, man, everybody was so cold that day. You know, like, the crew had those heated vests. I know everybody like, breakfast was a nightmare. Yeah. You know, I can't. Sometimes I can't get past, like, the actual just being on set part of it.

[Chris Ryan]

I think Andy had a funny moment when he was doing Briar Patch where like, you know, he writes these scripts and then, you know, 80 of them is like, exterior, nighttime.

[Tim Symonds]

Yeah.

[Chris Ryan]

And I was like, that's sick, dude. That's gonna be awesome. Just like James Elroy and like Raymond Chandler. And then he was like, so it turns out you start shooting at midnight, like, or whatever, or like 10pm he's like, I'm gonna make some of this stuff daytime.

[Tim Symonds]

Like, I love any movie like, like Nightcrawler, any movie that takes place all at night. And. But there is that thing where it's like you're on your third day of night shoots and it's just like, oh, I Smoke again? Yeah. Like. Like, I don't know what the real world is.

[Chris Ryan]

I have a fanduel account.

[Tim Symonds]

Yeah.

[Chris Ryan]

Yeah.

All I do is bet, like, Mexican.

[Tim Symonds]

Soccer league games, Korean baseball, so that I can track it live.

[Chris Ryan]

All right, let's talk about some of the stuff that you're watching now.

[Tim Symonds]

Okay.

[Chris Ryan]

I'm really curious about. You know, you go through a year, you were shooting. Nobody wants this. What, in the spring of 25, when you do a show and when you're on a series, are you and I. Obviously, we've had. I've been on the physical media high council with Tim. I've done a recent addition.

[Tim Symonds]

Nothing makes me happier. Which, by the way, I want to tell you, Shoot First, Die later. What an incredible recommendation. We've been on this little. Is it.

[Chris Ryan]

Yeah.

[Tim Symonds]

We've been on a little bit of a run with that, and it's just been incredible.

[Chris Ryan]

Tim and I are collecting 70s Italian crime films.

[Tim Symonds]

Yeah.

[Chris Ryan]

And I would say the hit rate on those is about 50. 50. You know, you. You get some that are like, here's a hot police commissioner whose dad is corrupt and he has to sleep with every woman in Rome before he can take his own dad down.

[Tim Symonds]

Yeah.

[Chris Ryan]

And it's like, this.

[Tim Symonds]

Cool. This is cool.

[Chris Ryan]

But I don't know about how many hot police commissioners there have ever been.

[Tim Symonds]

You know, I would say, like, caliber 9 for me didn't hit the heights of Shoot First, Die later because it felt like a little bit more like it had, like, a little bit of an unearned pace. You know, there were moments that were incredible. But then I was also like, we're really just watching this guy walk to get coffee. Like, this is an. Moving it forward very well.

[Chris Ryan]

Vince Gilligan.

[Tim Symonds]

Chill out.

Like, Stocky Stam. I can't remember the actor's name, but he looked like Statham if he, like, was shooting a movie while prepping for, like, an Oscar role. You know what I mean? Where he had to, like, gain a bunch of weight. Yeah. Yeah.

[Chris Ryan]

When you're shooting a show, are you kind of zero dark 30? Like, you're not watching other TV just because of time commitment? Like, how. How do you catch up and how do you pace out, like, your TV watching over the course of the year? As a also noted cinephile, I would say that my.

[Tim Symonds]

Most of my watching habits, as we've talked about recently, have been more on the movie side. But there are things that I am just like, no, that's exactly up my alley. And then a lot of stuff, like, if it's Something that's exactly up my alley. I start it when it starts. Yeah. Like, task started it when it started, and it was with it every single week. And some of the other ones I will let pile up. And then, like, much like the Pit, it.

[Chris Ryan]

It is.

[Tim Symonds]

It, like, it kind of takes a lot of people recommending it in order for me to get.

[Chris Ryan]

And, like, for something like the Pit, which is, like, a medical procedural, are you, like, I'm good. I don't really need to do a hospital show. Or were you, like.

[Tim Symonds]

I mean, I think that was my first thought. I think that was my first thought. But when you just have that many people whose opinions you trust, and it wasn't just you and Andy.

[Chris Ryan]

It was like, everybody.

[Tim Symonds]

It was everybody. Everybody.

[Chris Ryan]

Yeah.

[Tim Symonds]

I was like, well, there's gotta be something there. And my wife and I tried to start watching it. This is one thing. And. And I will say, like, my wife is great. She'll suggest a lot of shows that we watch, and then we start them. And we watched the first episode of the Pit, and she was like, I'm absolutely not watching the rest of this. Like, this is too stressful. We started watching the studio, and she kept getting up to, like, leave the room to, like, do a short errand in the house. Like, oh, I have to just, like, switch the laundry over, or I have to just run upstairs.

[Chris Ryan]

And you're like, you know, these episodes are only, like, 21 minutes long, but.

[Tim Symonds]

I would, like, pause them. And it got to the point where from the other room, she would shout, don't pause it. I'm leaving. Because she is. She doesn't do well with comedy of discomfort. She, like, internalizes, too. I know. I know. Maybe I was different. Yeah. I can't imagine I was.

[Chris Ryan]

I honestly probably share that a little bit with her. Like, when Andy and I talk about, like, Chair Company or.

Even some of the Nathan Filder stuff, like, I get. Like, it's hard for me to get through it. Like, once I have a breakthrough, like I do with Chair Company, I'm like, okay. Like, I feel like I understand it, but the initial sort of like, oh, my God, this is so awesome.

[Tim Symonds]

Awkward.

[Chris Ryan]

That's the whole kind of thrust of the joke is tough.

[Tim Symonds]

Yeah. There are moments where I think Nathan Fielder should be illegal. Like, he. Like, we should just. Like, he should be in jail. And then also, like, when he's flying the plane, I'm also like, this man is a miracle. Yeah. The. But no. So I actually do kind of find out about a lot of shows Through Annie, which I will then continue watching after she taps out.

[Chris Ryan]

This is the great debate. I mean, like, every couple has their private war. You know, I was trying to get my wife to watch UK Celebrity Traders for a couple of weeks because apparently it's, like, completely amazing. And it's. It's on Peacock now. And she was just like, I. She's like, at some point, we'll check it out one time. And then I came back. I turned around yesterday, I watched the Sixers game, and she was like, I'm five episodes in, you're out.

[Tim Symonds]

Like, you're. You're.

[Chris Ryan]

I'm not explaining it to you. Like, I'm addicted. I don't want to watch anything else tonight. Like, this is what we're doing.

[Tim Symonds]

It makes it maybe a little bit easier, I guess, for that dynamic when I'm out of town, like, when I have to go out of town for work for a couple weeks, and then it's just sort of like, oh, we'll both watch on our own time and discuss. You know, we watch great British Bake off with the family. That's like the kids.

[Chris Ryan]

Family, like, routine.

[Tim Symonds]

Good family routine there. But, yeah, like, I watch you watch.

[Chris Ryan]

Task with the kids, too.

[Tim Symonds]

Yeah, throughout. Yeah, they were really. They were in it just for the Philly accents. They were only pointing out flaws.

[Chris Ryan]

She's obviously Irish, you know.

[Tim Symonds]

But, like, I. I think I also have been doing a thing which we kind of texted a little bit about. I love rewatching things. I found, like, a lot of comfort in re. Watching things and over the course. So then you throw in, you know, an unbelievable amount of actual new television, and then you throw in that. Like, in the past. In the past year, I rewatched Girls and Succession, and. And then I. I watched We Own this City, and I had never seen it.

[Chris Ryan]

Did you do it just because you didn't just do it? Because I kept screaming like, him, right? Like, you. You actually were interested in the.

[Tim Symonds]

The subject matter or was of we own this city.

[Chris Ryan]

Do you know that? I just do Bernthal from. From we own this city, like, all the time. Like, God damn, Sean. Like.

[Tim Symonds]

Like, maybe I didn't get the reference.

[Chris Ryan]

No, it's okay.

[Tim Symonds]

Until now.

[Chris Ryan]

You independently just, like, were like, it's time to.

[Tim Symonds]

Okay, it's time. And I did it, and it was phenomenal.

[Chris Ryan]

It's mind blowing.

[Tim Symonds]

It's mind blowingly good. Yeah. And then that. And then one thing that happened was because we shot Veep in Baltimore, there were sets, like, interior sets that you recognize that I Recognized. And then it made me nostalgic for Baltimore.

[Chris Ryan]

Oh, yeah.

[Tim Symonds]

So then I. And then also just being like, yeah, George Pelocanos and David Simon are really good at this.

[Chris Ryan]

Yeah.

[Tim Symonds]

And I just kind of was like, well, I just want that feeling again. I want like a Baltimore Cop, Baltimore City feeling. So I just said it and threw the water.

[Chris Ryan]

I recommended Homicide for you for this because Homicide's on Peacock now. And you can do like, you can kind of come and go with Homicide as you please. Like, it's not something where you're like, I forgot the long running plot that's been going on this entire season. Like, you can do three episodes and then drop it for a month and then come back and do three episodes and they front load it where it's like, those first few seasons of Homicide are incredible, but if you lose interest once certain characters leave, you can be like, okay, I'm tapping out before. You know. I think they wound up doing like six or seven seasons, which is weird because it was always on the chopping block. But they kept it going. It kind of became adjacent to Law and Order after a certain point. So it was on for a while. But those first few seasons, if you're looking for Baltimore nostalgia, it's right there.

[Tim Symonds]

All right, Cool.

[Chris Ryan]

With the rewatching thing, I've really wanted to do this recently because I. I can't remember. I think it was a succession episode I was watching on a plane and I was like, this is just best show ever made. And I find that like, there's like 50 recall and then 50, like, oh, yeah, I forgot about this subplot. And it's those. Forgot about those subplots that I'm really happy to rediscover sometimes. Like when I'm re watching stuff, do you have in your re watches of like, girls or whatever, is there, like, do you find yourself drawn to different characters or different storylines more than the first time around?

[Tim Symonds]

Definitely drawn to different characters. Just like in that psychotic way that the amount of times that I've seen one battle, different things stick out each time. Maybe you're kind of more dialed in with a different character the second or third time around. I think one thing that I really noticed was especially like, in the succession rewatch was realizing that I had read scenes entirely the wrong way the first time. Oh, like what one? My memory of the first time around was that Jared Menken was definitely going to be president. Okay. That was like. Like they had done it right. And. And. And it was much more vague. Like, you hear Talk about. You hear. Talk about, like, well, they're gonna be investigations and challenges. And challenges. Like, you know, the whisker. Like, the. The. The Democratic candidate in Wisconsin, they were going to challenge that. So it wasn't so cut and dry the first time. And honestly, Shiv really stuck out a lot this time. And I think this is a credit to Sarah Snook. Like, she's such. She's such a great actress in that way that, like, Dave Mandel used to talk about Julia Lou Dreyfus when people would say, I want Selena Meyer to be my president, and he would be like, no, you don't. You want Julia to be your president. And I think that's something. Sarah Snook sort of shares that in that you kind of love her as a performer so much, you don't notice that she is kind of as bad. Yeah. As Kendall.

[Chris Ryan]

That was always, like, the most interesting thing that was happening with Succession, because I think it's a very emblematic show of this sort of, like, widespread inability to distinguish between, like, I'm watching a writer tell a story rather than, like, I am cheering for people to win or lose. And, like, we're, like, on this pod and elsewhere, like, as much responsible for that. That as anyone.

[Tim Symonds]

Because we're like, I'm glad you're taking.

[Chris Ryan]

The who's power ranking. Like, we're power ranking characters. We're like, how is this gonna end? Who's gonna win? Succession, kind of. But that was always my thing with Kendall, like, with Jeremy Strong, where I was like, I'm not saying, like, I think Kendall is an awesome hang or, like, I want him to direct a film like, that I star in. I'm just saying, like, this performance is really singular and, like, we're gonna remember it for a really long time, which we do because we're still kind of referencing it to this day. Yeah.

[Tim Symonds]

And there's also, like, Girls Rewatch because I had. Because I had been working with Jenny Connor. Jenny Connor and Bruce Eric Kaplan. Now run. Nobody wants this. And we've been talking about Girls a lot, and I was just like, it. I haven't seen it since it first came out. When it comes to, like, the power rankings thing. One thing. What was amazing about going back to that one was watching it while being free of, like, the.

[Chris Ryan]

The discourse of it. Yeah.

[Tim Symonds]

With, like, the. The take industrial complex that we all had to be a part of. Like, the discussions of how every single episod. Both the best thing that have ever happened and also setting women back a hundred years like, all of that garbage, like, to have none of that noise and just appreciate it as a show was incredible those first two seasons. I know it's a show that was very specifically about millennials. They really feel timeless. Yeah, Like a very timeless representation of that feeling of being just out of college and sort of an adult. Like, that one that really stuck out to me.

[Chris Ryan]

There's also, like, I. Whenever I go back and rewatch Girls episodes, the thing that comes scream of the screen is like, it's. It's feeling of, like, a sense of place, you know, like that they did shoot it in New York and that. That it did have that kind of, like, on stoops in apartments that looked like people's apartments in New York and at bars that looked like bars people would go to. And, you know, I mean, obviously, as it goes to, like, the Iowa Writers Workshop and. And upstate birthing facilities or whatever, like, it gets a little bit stranger, but, man, that show is so good.

[Tim Symonds]

Didn't Brody at the New Yorker put, like, Adam Driver on, like, his top 10 film performances of all time?

[Chris Ryan]

Adam Driver in Girls?

[Tim Symonds]

Adam Driver in Girls.

[Chris Ryan]

That sounds like Richard Brody.

[Tim Symonds]

And honestly, like, in going back, it's like, you know, he can make a real strong case for that.

[Chris Ryan]

Sure.

[Tim Symonds]

Brody is. Or Adam Driver is absolutely unbelievable.

[Chris Ryan]

Did you. Did Girls and Veep ever, like, share Sundays? I feel like there was, like, a legendary HBO Sunday.

[Tim Symonds]

Yeah, that was like, Thrones, Girls, Girls, and then Veep. Veep and Girls. We premiered on the same day. I think it was season. Possibly. I think maybe season two of Game of Thrones, but that was the run that we were there for. It was always. It was Thrones and then Girls and then Veep.

[Chris Ryan]

That's the thing is that, like, I obviously probably would have. I think I was an Iannucci fan and, like, a fan of so many of the people involved in that show and Julia Louis Dreyfus. So I would have watched Veep. But I do think that to your point earlier about award stuff, where you're like, hey, some. Some people might not know some of these shows and just simply them getting nominated or getting talked about at a award show might bring new people to the series. Dude. Like, the idea of, like, stitching together a night of programming in order to, like, bring things up.

[Tim Symonds]

Yeah.

[Chris Ryan]

By having a Game of Thrones lead in. And then you're like, not only is it a great lead in because it's so popular, but I need to come down after, like, watching a pregnant lady get stabbed to death on Game of Thrones. So I'm going to watch Jonah and Hannah like for the. And it's really, really like it's a lost art form, I think.

[Tim Symonds]

Yeah. And even the idea that like, you know, Lena Dunham was like not as well known a commodity or an actress or performer, writer as Julia. So even to be like, hey, in between Game of Thrones, which you're watching, and Julia who, you know, there's this other thing that's really good. Like that actual sort of like that programming art. Like. Yeah, we watch Andy and I used.

[Chris Ryan]

To do this thing every once in a while called like the, like, I think it was like the, the primetime. Like what was it like the streaming TV programming grid or something like that? Kaya. It was like basically we would make a 8pm to 11:30pm like Night of television based on like stuff that was on streaming.

[Tim Symonds]

Yeah.

[Chris Ryan]

So that it would basically be like what it was like to watch NBC on like a Thursday in the 90s or something like that. And it, it is tough. I do think that they're, they've kind of gotten away from half hour comedies so much now that it's sort of difficult to like, do the, like, I'm gonna do two comedies at 8, a drama at 9, maybe another drama, 10, or maybe two more comedies to kind of like be a, be a buffer for them. But it is, it is difficult to like, kind of because of all the choice people have with streaming services. I don't think people are ever thinking in terms of two TV shows that might complement each other. They're thinking of, I'm gonna watch four episodes of this and then go to bed.

[Tim Symonds]

Yes.

[Chris Ryan]

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[Tim Symonds]

Just to that awards conversation thing and this will be a little, I guess a little bit of a segue into.

[Chris Ryan]

Pluribus like, like, which also got nominated.

[Tim Symonds]

Which also got nominated. Like, that is a show that the, the premise of like, and I've been telling people about it recently and I will say like that thing that they did, like, maybe this is like a programming thing. Like, we're going to give you the first two episodes because if you see the I, I, I tell people, like, this show's incredible. And if you just watch the first episode, I'm telling you it's the rest of it is not like that. Like, if you are somebody that doesn't like horror movies or doesn't like sci fi and you watch the first episode, you might be like, this show's not for me. But I'm like, you just like, even if you just watch 10 minutes of the second episode, you're going to get a much better idea of what this thing is all about. Yeah, but it's fun finally to have a show that's like, oh, Wednesday nights. Like, I get to look forward to Wednesday nights when Pluribus comes out.

[Chris Ryan]

It's also to your point about the Sarah Snook performance. Like, this Ray Seahorn performance is such that.

She tran her like, kind of like skill and ability, like, transcends like Carol. So even though you're watching plural, and I think a lot of people might be like why is she doing this? Why is she doing that? Like, why. Why would she be so mean? And if she knows this is going to happen, why is she going to do that? But like, Seehorn's performance in and of itself is something to root for.

[Tim Symonds]

Yeah.

[Chris Ryan]

So I can spend as much. And it's, it's really interesting to get to see your current through six. Like you watched the most recent one. Yeah, yeah, it's really interesting because now I think we're about to sort of start to bring maybe some more people into the show because it's been such a one hander. I was watching an interview with Bob Odenkirk a little while ago where he was talking about doing the first season of Saul and how he's like in like every shot. Like, like his character Saul Goodman is like in every shot of the first season of, of Better Call Saul and how hard it was and like how exhausting it is to just be like on all day long. So for so many hours. I can't imagine. I truly for Seahorn, like how like she's not only in everything, but physically has to like traverse like, you know, great distances. Do all these things, be in these.

[Tim Symonds]

Emotional states and like, you know, and like use a pickaxe.

[Chris Ryan]

Yeah.

[Tim Symonds]

Like I. I've used a pickaxe for like 15 minutes before and it was laid up for. Or was this like actually in la? Oh, yeah. Was digging up like a flower bed that was like left over. You know what I mean? It was like. It was a bunch of lava rock and it looked really bad and I was like, whatever, I'm gonna do this on your compost. Yeah. And then I was like, just in traction.

And not only is she carrying like all of the emotional weight of the entire show, and not only is she in every shot. Like there was the one episode, was it four or five when everybody leaves, and then it's just her. Like she doesn't even have another actor.

[Chris Ryan]

To play off of.

[Tim Symonds]

To play off of. Like, the level of difficulty and the seeming ease which. With which she pulls it off is unbelievable.

[Chris Ryan]

There's been some really good Vince Gilligan interviews where he. Especially on Polygon, where he's talked a little bit about, you know, basically like this.

[Tim Symonds]

Wait, is Polygon the one where you can like bet on if there's going to be.

[Chris Ryan]

No, that's Polymarket.

[Tim Symonds]

Polymarket.

[Chris Ryan]

Okay. Like, do you want to get into that? Yeah. What do you want to bet on?

[Tim Symonds]

Over. Under three and a half more boat strikes before the end of the week.

[Chris Ryan]

Week.

[Tim Symonds]

Jesus. Christ.

[Chris Ryan]

So you want to talk about that? We don't want to talk about the merger.

[Tim Symonds]

We didn't. Strikes. All right, I'm all in on my guy P. Yeah. Right.

[Chris Ryan]

He. He's a piece of. I can say that pretty confidently. No, the Gilligan's talking about, like, the way that the writer's room kind of is. Is sorting through the permutations of this story and going through step by step. And it really is.

[Tim Symonds]

Is.

[Chris Ryan]

It's basically. You could cut and paste an interview from Breaking Bad or Saul. Like, the way they kind of interrogate every piece of narrative and plot point. And the show is, like, really shockingly. I think it's refreshingly so far, everything that's coming out, whether it's a character beat or whether it's an idea about the world, it's all plot and it's like, plot to the point of, like, how is she gonna get her food if nobody is around?

[Tim Symonds]

Yeah.

[Chris Ryan]

Or how does she get rid of her trash if wolves knock over her trash can? And, you know, what will she do? Like, how would she get to Vegas if no one's willing to fly her? So she'll drive her cop car to Vegas? Like, I love the way that this show makes me use my brain, like, along with the writers.

[Tim Symonds]

Yeah. That feeling. And I don't know that I've had this feeling in a long time of at any single moment in that show, you don't know what could possibly happen. Happen next. You know what I mean? Like, like, story wise, I have no idea what anybody's next move is going to be. You know, like, that, like, meme format of, like, don't let them know your next move.

[Chris Ryan]

I do know that format.

[Tim Symonds]

It feels like. But, like, without Rhea Seehorn being, like, as emotionally grounded in it, it might just become boring. It might just become like, well, I just want to know what happens. And I'll watch it on, like, two times speed just to know what happens. But you, you're with single, like, emotional beat as well, which is incredible. Like, but even, like, her.

Yeah. Like, even as you're watching it, you ask those questions of, like, oh, like, if wolves were trying to dig up or coyotes were trying to dig up, like, the shallow grave that I had buried my. My wife in. How would I go about.

[Chris Ryan]

Well, it's pretty easy. You would have asked the others to give you a full predator. Like, like the. The predator scene.

[Tim Symonds]

Trust me. I've also. I mean, like, the fact that the one guy, I can't remember his name, but the guy who's like, just acting out, like, the last scene in a James Bond movie. I have thought to myself, like, what.

[Chris Ryan]

Would you put yourself in? Yeah, I know exactly what I would do.

[Tim Symonds]

When everybody. Everybody that surrounds me is a cinematographer, like, you know, has. Has, like, the knowledge of Robert Ellswit in their head. Like, we could just fucking make a movie.

[Chris Ryan]

Yeah. I mean, I would also just do. I would just rob the bank from Heat. I'd have to know.

[Tim Symonds]

Great idea.

[Chris Ryan]

I'd have to know what it feels like.

[Tim Symonds]

Just load them up with, like, full.

[Chris Ryan]

For the bank's money.

[Tim Symonds]

Not your money.

[Chris Ryan]

Your money is insured. Don't be a hero.

[Tim Symonds]

You could also have, essentially, Val Kilmer train you how to do the mag switch. I could. You know what I mean? So you could even spend weeks in training getting the mag switches. Right, Right. For that. For the bank heist scene. That'd be great.

[Chris Ryan]

There's something about the way they plot this show that makes me think of improv comedy, and I just wanted to bounce this off of you. Like, I don't know a lot about, like, the rules and regulations and philosophies of improv comedy, but I am familiar with, like, the idea of. Yes. And. And, like, doing, like, basically, like, how this show never lets go of a decision. So once they make the decision, like, this is happening with the world, they don't just say, like, and we'll come back to that in a couple of episodes. But right now, let's go over here. They're like, no. Okay. So she discovers this. But what if people were actually okay with it? You know what I mean? Like, there is, like, a way that they're using the writer brains, and they're putting characters in positions of, like, every time you think you're gonna be like, oh, no, it's Body Snatchers. It's on. Like, everybody's gonna. Now we have to start a resistance to the alien invasion. There's like, this slight kind of like, what if we didn't. You know, like, what if they. Or what if it was. Yeah, they're eating people, but what if people were okay with it? Kind of thing.

[Tim Symonds]

Yeah. And before I answer the improv comedy thing, I would just say that one interesting thing about it is that it kind of over and over again. I mean, we're six episodes in, and you're kind of still asking the question, like, I don't know, is it so bad? Right. They all seem to be pretty good to one another. They're all concerned about their community. Like, we lack a little Individuality, you know what I mean? Done a really good job balancing whether or not this is actually a bad thing.

[Chris Ryan]

Yeah. And I think a lot of the questions that the show asks are moral and ethical and philosophical, which makes it really engaging to chew on.

Engages a different part of my brain than a lot of other TV does where it's just like, simply, like, will Billy Bob Thornton, you know, tell this guy how oil really works? You know, like, this is. Those are.

[Tim Symonds]

Those are the two parts of your brain philosophical and will be.

To your improv question. And there are going to be a lot of people that are way more able to answer this question than I am, who just have, like, more experience or, you know, whatever, if while she was in here, he wrote books on it. But there is something that I remember from when I first moved out here and I was, like, taking classes at ucb. This idea of, like, I can't remember what they called it, but, like, it was like, the weird thing that just happens on stage that can't be ignored. And, like, you go out on stage and you think, like, oh, this is gonna go this way. But then something happens where you just have to be like, no, no, no, that happened. You have to address it, and you lock onto that and that becomes the game. And in that way, like, it does feel like that in, like, the game of them just needing space from her is so funny.

[Chris Ryan]

Yeah.

[Tim Symonds]

But every.

[Chris Ryan]

And then the answer machine message is the best.

[Tim Symonds]

Like, and the way they make. They make you play it out every time. They make you wait with her every time. There is something to that. Like. Like the show is as much philosophical drama as it is comedy. Like, one of the funniest things I've seen recently was that drone trying to pick up the trash bag that's just a little bit too heavy and then ends up swinging around. And it takes so long. But I think, like, I guess my. The best answer that I could come up with is, like, the attention to the little details and not just skipping over the weird thing to get further into the story or into the plot. Being like, no, like, we are. This weird thing happened, and we have to spend time with it because to ignore it would mean it would leave the audience with the question. And I think maybe that was one of the things that. Why they. Like, in improv classes, they pointed that out because, like, if you skip over that, the audience is going to be wondering why nobody responded.

[Chris Ryan]

One of my biggest pet peeves of. I. I think I've. I've said this enough times that I Feel like I'm repeating myself now. But like, one of my biggest pet peeves in TV writing is when two characters are having a conversation, they get to the most important part of the conversation and one character kind of inexplicably walks out of the room and it. And it's because they need to end the scene or go to commercial or keep.

[Tim Symonds]

Keep.

[Chris Ryan]

Whatever. But this would happen all the time on like kind of pulpy dramas where it'll be like this guy just drove across the city to have inexplicably a face to face conversation with you. You get right up to the most important part where you're like, I'm just not gonna do that. And they're like. And they leave. Instead of just being like, wait, no, wait, I drove over here. We have to talk this out. We have to figure this out.

[Tim Symonds]

I, I dealt with crosstown traffic at like 4:30 on a Thursday.

[Chris Ryan]

Do you know how busy it is in the Ozarks right now? Yeah, for Ozark.

[Tim Symonds]

Yeah.

[Chris Ryan]

Like, I drove around this lake, I found out that you're growing heroin. And now I'm leaving.

[Tim Symonds]

Yeah, yeah. Like I didn't get all the information. Like, no, like it, like if I'm gonna go to the west side to ask somebody one question, I'm gonna ask it. I'm not just gonna like freely get back on the 10.

[Chris Ryan]

For the last five minutes, I've basically been a little bit distracted because I keep thinking about what, what truly your vision of an alien invasion utopia would be. And it would be living at Bandon with Tiger Phil and Rory.

Engulfing every day. But they always lose by like one.

[Tim Symonds]

Stroke to you.

To the point where they are like, like we don't have to discuss it. They all just know.

[Chris Ryan]

But like you could get like Jim Nance to come to end now, you know.

[Tim Symonds]

Well, I mean, we'd have to pair this because you would be there.

[Chris Ryan]

I would like to be.

[Tim Symonds]

Yeah.

[Chris Ryan]

But I don't know if I would have been one of the. I don't know if I would have. Would I be an Other or would I be one of the survivors?

[Tim Symonds]

You know, what do you want to be? I think it would be fun if the two of us were there as survivors and we were like doing like a two man Ryder cup style.

[Chris Ryan]

How many years would we. I would have so many things. I was like, if we're just acting stuff out, you know what I mean? Like, I'd love to just act out Rio Bravo. I'd love to act out like an Italian police crime Movie like we would be pretty busy for like a decade.

[Tim Symonds]

We. There is no reason to think that we could make that or that we couldn't make like a Gus Van Zant Psycho shot for shot remake of Of Shoe First, Die later or of Gus.

[Chris Ryan]

Van Sant's Psycho or Gus.

[Tim Symonds]

A shot for shot remake of Gus Van Sant's Psycho.

[Chris Ryan]

Yeah, I think that the aliens would be like.

You guys are pretty stupid.

[Tim Symonds]

This is like we can't tell you if there's a way to revert back to the way it was. And we're also not going to do that. We'll give you the atom bomb. We'll do that. But we're not going to. Do you want to do like we could even. I mean, the planes are there for us. We could go shoot on the original locations.

[Chris Ryan]

I know of.

[Tim Symonds]

Shoot first, die later.

[Chris Ryan]

They're there for us. I mean, Hoyt Van Hoyt of a trailer shoot like an IMAX for us if we wanted to.

[Tim Symonds]

Yeah, everybody knows how to do everything. We could do it. You're not going to have to wait to see the Christopher Nolan Odyssey.

[Chris Ryan]

Fuck that. Fuck that.

[Tim Symonds]

You're in it. I am Odysseus.

[Chris Ryan]

Odysseus.

[Tim Symonds]

And you have the time and the access to people who can get you in the shape that Matt Damon is in currently. Yeah.

[Chris Ryan]

I'm trying to think of when I would get bored of this.

[Tim Symonds]

It would get bored.

[Chris Ryan]

It would be a decade. I think I have 10 years of stuff I'd like to experience before I'd be like, oh, oh God. I really love to protect my individuality here.

[Tim Symonds]

Yeah. But I would definitely be along for the ride of. Of you and me and the other survivors band in 5, 6 days at a time. Try, you know, getting stock tips from Phil Mickelson at the bar afterwards.

[Chris Ryan]

He's betting on us. Okay. Last Pluribus thing is this episode, the sixth one did seem to be the one that started to trigger some fan theories, some like, I. Some conversations about like, what's going on here, where is this going, what might be at stake? The thing I wanted to ask you is, have you considered whether or not while they can't lie and they don't want to hurt anything, that this force, this virus, this, this outside force.

[Tim Symonds]

That.

[Chris Ryan]

Basically like, they will sometimes lie by omission mission and because the theory out there is that, you know, this idea that this, they come to this planet and they're like, well, we can't kill anything, so we're going to starve in 10 years or whatever it's going to be, but that. That might be in and of itself some kind of weapon to wipe out the planet of human life. Oh, so that Carol's even initial kind of fear about, oh, is this. Is this like an alien invasion or is this an apocalypse? It is, but it's like slow cinema apocalypse.

[Tim Symonds]

Oh, man. I'm like, God, I'm such a trusting person.

[Chris Ryan]

Well, that's the thing, is that I think that there's something about this show that almost makes you trusting. This was in Polygon. Somebody had, like, somebody wrote this theory up. And I was like, yeah. Because I do wonder what. Whether or not, like, Gilligan will identify, like, the. The true tension of the show or the true obstacle of the show. Is it just Carol.

And her wandering the kind of the wasteland like. Like, you know, and figuring out different problem solving exercises? Or is there something that we're gonna find out where it's like, no, this is why they came here, and this is why this is happening.

[Tim Symonds]

It's hard for me.

[Chris Ryan]

Or this is why they sent this virus here.

[Tim Symonds]

Yeah, yeah. It's a little hard for me to, like, prognosticate on it, I guess, only because, like. Because I am so trusting. Like, I'll just take exactly what they give me and believe in it.

But I do wonder, like, if it is that. And I'm making this up in this moment. So if it doesn't make sense, I apologize. If it is that, if it is ultimately a thing of, like, our goal is to, like, wipe out that planet, and it is just sort of like an, like an arch evil thing, does that make the show less interesting? Like, obviously, like, they're incredible writers and, like, they're always going to make a good show, but does it become a little bit more regular? You know what I mean? If it's all of a sudden just, oh, yeah, they're all evil and we got to stop the evil. Whereas this world that we're in, it's so. It sort of swings wildly back and forth between, are they evil or are they not?

[Chris Ryan]

Or what is evil? If.

[Tim Symonds]

Or what is evil?

[Chris Ryan]

Evil presents itself in such a benevolent way, Is it evil?

[Tim Symonds]

Like, is it more interesting to watch her figure that out? Or. Or, like, I guess that's my question. Would that make it. And I'll ask it to you, like, would that make it a little bit too? Just sort of like good versus evil Avengers end game. We got to destroy these guys who are trying to snap away 50 of the world or whatever?

[Chris Ryan]

I. I don't know, but I Also know that, like, the way that Breaking Bad and Better Call Saul changed from their first season to their fifth seasons or their third, you know, it's like, I, I don't think, think that Pluribus season three is going to look like Pluribus season one at all, you know.

[Tim Symonds]

In that, in that way. Pluribus season or Pluribus episode three didn't.

[Chris Ryan]

Look like anything in Pluribus episode one. Yeah. Right.

[Tim Symonds]

Yeah. Like, they're all so different. That, like, one amazing thing about it is that, like, my interest in where it goes is kind of small because this is. I mean, it's like one of the first shows in a while where I am just, like, moment to moment. This thing is so incredible. Yeah. That I'm like, wherever it goes. That's great with me because I get to watch all this happen.

[Chris Ryan]

Yeah. And it's also like, you. You can take joy in, like, every moment of it where it's like, it's like, to the same point about the answering machine message. Like, all of the stones that she puts down as a memorial slash protective layer to, like, keep Helen's body safe. You're like. Like, just put 100 stones. I. I just like the way this is shot, the way it looks, the way it's cut. It's so. It's so rewarding. All right. I gave you one piece of homework you did for this Andy Greenwald fill in job. I asked you to watch your first ever episode of Landman.

[Tim Symonds]

Yeah.

[Chris Ryan]

With this weekend's episode, Dancing Rainbows.

[Tim Symonds]

Yeah. Just a fully raw dogging Landman with dancing Rainbows.

[Chris Ryan]

Any. Did you have any preconceived notions going into this? Did you know anything about it? Had you seen any commercials for it? Anything?

[Tim Symonds]

All that I knew about it was you talking about it. Andy kind of making fun of you for talking about it.

[Chris Ryan]

No, but he's. This is. This is the thing is that, like, he's now secretly addicted.

[Tim Symonds]

Oh, okay.

[Chris Ryan]

Yeah. I think, like, he got a little taste and now I think he's dabbling on the side where he's like, I watch Lay a Man just in case, like, if you're ready.

[Tim Symonds]

If you're ready, if you want. I mean, it's completely up to you. The only other thing that I knew about it was, was like, Billy Bob Thornton, like, on the PR train, wearing all, like, the jingle jangle. Like, that was the only other thing I knew about it. So truly. That's it. That's all I knew.

[Chris Ryan]

The floor is yours.

[Tim Symonds]

I gotta say.

After watching that episode and the way you almost, like, presented it to me, it was like, oh, big episode tonight. And so I was, like, really expecting, like, fireworks and executions. You know what I mean? And so maybe there are some emotional things happening here that I probably didn't land as much. That probably didn't land as much.

[Chris Ryan]

Spent that much time with the Norris family yet.

[Tim Symonds]

Yeah, yeah, I will say, like, I. I dug it. And. And part. And like, part of it is like, man, if you sit Sam Elliott down looking at his sunset with Billy Bob. With Billy Bob, yeah. And they're like, kind of talking very directly and unemotionally about emotions.

[Chris Ryan]

Yeah.

[Tim Symonds]

Yeah, let's fucking do it. I'm probably gonna watch some more Landman.

[Chris Ryan]

This is a strange episode to be giving you as a first piece of homework, because I think there are others specifically, like, there are episodes, many episodes where the Ali Larder character has an outsized role and does things that are tonally incongruous with the rest of the show, really. So in some ways, you may have seen the most sober, solemn, and traditionally, quote, unquote, good episode of Lambman that you possibly could have seen.

[Tim Symonds]

Okay.

[Chris Ryan]

But in that it is not actually representative of Layman or the glories of this show, because the only thing that was sort of off, quote, unquote, for this show was Rebecca, who, you don't know, who is the lawyer for the Demi Moore, Billy Bob Thornton oil company. She went to Northwestern. She's an outsider in this oil industry. And so she's constantly being lectured about how things. Things are done in Texas now. She is like the corporate lawyer for this company. I don't know where she was going on that plane that we saw her on, but the. The plotline of her on this episode where she is getting on. Watermelon infused vodka.

[Tim Symonds]

Yeah.

[Chris Ryan]

From a ranch hand.

[Tim Symonds]

Yeah.

[Chris Ryan]

And then really enjoying the. I have never flown on a private plane. Had you ever heard of that taking off from my full stop kind of thing that they do there?

[Tim Symonds]

No, no, not into it. But I have been on planes that have been knocked around that much. Okay. And I. I will tell you, I'm on her side of, like, this is death of the. This is. What the. Are we doing? This is immoral. Yeah, yeah.

[Chris Ryan]

So in this episode, Rebecca takes this private plane, I assume, to Fort Worth, and they're like, oh, yeah, a lot of wind. And they explain that, like, the private plane is going to do basically, like, a takeoff from a stopped position, which ESS puts it on a elevator going up through, like, incredible turbulence and it just looks like the worst thing I've ever seen in my life. And the dude next to her was like, we don't die this way. I was like, are you sure?

[Tim Symonds]

Are you sure?

[Chris Ryan]

Because this is how many. Whenever you read about an airplane crash in la, it's always one of those. And they go right into the ocean. So, I mean, is.

[Tim Symonds]

Is that a big thing for her that she would. Is he. Would he be considered a roughneck or.

[Chris Ryan]

Is he think, like, we're going to find out that he's also a geologist or something? Like, he has. Has. I mean, it's got a pretty nice place in Fort Worth.

[Tim Symonds]

Yeah.

[Chris Ryan]

So he works in the oil industry, but I don't know what he does yet.

[Tim Symonds]

Okay. Yeah, but am I getting the sense that maybe this is not the person she would normally choose?

[Chris Ryan]

Opposites track, brother.

[Tim Symonds]

Okay. Yeah. All right. Yeah. Kind of like that.

[Chris Ryan]

You'd expect her to be with some dweeby guy in New York who does like mergers and acquisitions, but, you know, the heart wants what the heart wants.

[Tim Symonds]

The heart wants what the heart wants. And I do like that he is like.

It's a great character introduction of, like, he seems sweet and he seems charming and, like, when he's telling her, like, you know, use the aromatherapy thing. You gotta put it on. You gotta put it on the sink drain.

Like, I kinda. I come. I'm kinda into this guy. Like, he seems like a good dude.

[Chris Ryan]

I would imagine that being your first episode, you are not aware of the fact that Andy Garcia's character is, in fact, a money launderer for the cartel.

[Tim Symonds]

No, I'm not.

[Chris Ryan]

But that's.

[Tim Symonds]

I'm not.

[Chris Ryan]

That's sort of the wrinkle in her asking Andy Garcia to fund her offshore drilling thing. Now, Demi Moore's character was married to John Ham. Jon Ham, awesome, on the first season, dies of a heart attack.

[Tim Symonds]

Okay.

[Chris Ryan]

So she inherits this company.

[Tim Symonds]

Truly had no idea.

[Chris Ryan]

The entire first season of the show. This is actually like, really worth recapping to you. The entire first season of the show. Demi Moore's in, like, five episodes of the first season swimming laps or, like, walking around in the background of a scene or maybe having like a line or two. But it's usually like, honey, have your green juice, or honey, honey, take your heart pill. And then Jon Hamm drops dead at the end of the first season, and Demi Moore takes over, like, the company.

[Tim Symonds]

Jon Hamm is in the entire first season of this television show.

[Chris Ryan]

Okay, mostly him getting off private planes, talking on his cell phone. To Billy Bob. So, like, he could have shot his stuff in like six days, honestly.

[Tim Symonds]

Okay.

[Chris Ryan]

But like, he is. He is like Billy Bob. He's 1A with Billy Bob the first season and then has. Dies at the end.

[Tim Symonds]

End of it.

[Chris Ryan]

So Demi Moore has taken over this company. They have, like, an outstanding lawsuit problem with, like, an offshore facility off of Louisiana. And they quickly need $400 million because it turns out Ham was not good with money.

[Tim Symonds]

Okay.

[Chris Ryan]

And they're going to get it from the cartel. It would appear the cartel is also heavily involved with Billy Bob's son's oil fields.

[Tim Symonds]

Which is the guy who wore the Texas Tech hat. Yeah, I, that might have been. And this is. I can't pretend to know about the Panhandle, but growing up in rural Maine, there is something so lived in and familiar about somebody putting on a sport coat and a tie.

[Chris Ryan]

Not taking their hat off.

[Tim Symonds]

But not taking their hat off. Yeah. And, and, and, and that no one in that world would be like, look, we're at a funeral. You have to take that hat off. No, no, that's. That's old Connor. It's Connor.

[Chris Ryan]

Cooper.

[Tim Symonds]

Cooper.

[Chris Ryan]

Yeah.

[Tim Symonds]

That's Cooper's hat.

[Chris Ryan]

Yeah.

[Tim Symonds]

Like, he doesn'. Like that felt really specific and lived in, in a way.

[Chris Ryan]

Yeah. So that guy recently became like a billionaire.

[Tim Symonds]

Okay.

[Chris Ryan]

Because he dug six wells in these really random parts of Texas and they all hit. But it was funded by a fly by night finance company that is apparently like Andy Garcia's cartel.

[Tim Symonds]

Cartel related.

[Chris Ryan]

And the cartel already doesn't like Billy Bob because they beefed in the first season. So there's. Now they're intertwined. But this weird thing that Taylor Sheridan does where he'll be like, what if for two or three episodes, Andy Garcia was just a co and hung out and drank tequila and like, warned Cammy off of, like, dealing with him and all this stuff and has a nice wife. He'll be the villain at some point. But.

There was that. And then there's also Cooper and his girlfriend Ariana, who they've broken up and gotten back together like two or three times since we're only on episode four of the second season.

[Tim Symonds]

I mean, that was the one thing where there are gonna be some things in, like, relationships that maybe feel a little bit regressive.

[Chris Ryan]

Sure.

[Tim Symonds]

There were moments in that where I was like, oh, this is like borderline on, like, oh, this is borderline. Like, actually, like a good lesson here. Yeah. Like, listen, you know, don't try to make decisions for that person. But then Sam Elliott comes In with you ain't gonna know the rules.

[Chris Ryan]

Yeah.

[Tim Symonds]

At least you'll just be thankful you knew what they once were.

[Chris Ryan]

I gotta say, man, Sam Elliott could be like reading a Chinese menu backwards and I'd be like, boy, that's really profound.

[Tim Symonds]

God, he's so fucking good.

[Chris Ryan]

And he doesn' stand up in this, in this season of TV. He his hip up during making 1883.

[Tim Symonds]

Okay.

[Chris Ryan]

Have you ever watched any Taylor Sheridan shows?

[Tim Symonds]

Yes.

[Chris Ryan]

Did you watch Yellowstone at all or.

[Tim Symonds]

I didn't. I started Yellowstone. Didn't. Didn't really continue with it. I think. I think honestly the only terrorist Taylor Sheridan show that I've really seen a lot of is Sons of Anarchy before he got run over by that truck.

[Chris Ryan]

All right, well he's just an actor in that one.

[Tim Symonds]

Yeah, he's just neck. Oh. But I will say like, I think I do really like terror Taylor Sheridan's movies. Yes. Like that. I know that's a conversation with you and Sean.

[Chris Ryan]

Yeah, well, we like. It's. He's definitely by being the most prolific and successful television showrunner in modern times, has left his true calling, which is writing like super tight awesome 90 minute thrillers and crime movies.

[Tim Symonds]

Yeah, crime movies. And like it is that thing of like, like I'm so glad that he, he is employing half of the country on these television shows. But also man, like as like as we've talked about as like fans of the genre of like high water. Yeah, yeah. 90 minute crime thrillers. Like couldn't you just squeeze out a couple more of those?

[Chris Ryan]

Yeah. I mean.

This episode was like kind of amazing because it was one of the first times they've brought a lot of these characters together into the same room and then made them behave themselves. Usually they'll have have Billy Bob's wife and daughter. Much of the first season and second season so far have been their work. I swear to God, all my life in a senior citizens living community where they are trying to basically sexually awaken these old people by taking them to strip clubs, getting them drunk on margaritas, just trying to make them feel again. I don't know if they're associated with a charity or why. I can't remember why they started doing this, but they're only be like four scenes of life or death negotiations of oil fields and also cartel activity. And then it'll just like hard cut Ali larder in a old person's home being like, yeah, mama shaking and like get getting like they're doing Zumba dancing or going to a strip club. So it Is definitely.

[Tim Symonds]

I love seeing Ally Larder. It's great. Love seeing Ally Larder.

[Chris Ryan]

I really enjoy.

The fact that he is also just making, like, another show that. Where it's like, the disaster of the week at an oil field. So this week we had a huge car crash to start.

[Tim Symonds]

Yeah.

[Chris Ryan]

You're not really supposed to know what's going on there.

[Tim Symonds]

Okay.

[Chris Ryan]

I don't know. We haven't really haven't revealed it, but the week previous, there was a chemical leak at a different plant at a different gas field. And so, like, you're just supposed to get the feeling that, like. Like, there are always fires to put out at this oil company and that things are going wrong, like, in and around them. I don't know what the larger story is going to be with that.

[Tim Symonds]

That was the one thing, as somebody who knew nothing about cold open must have been very. The cold open was like, oh, shit. Chris wasn't lying when he said, this is going to be an insane episode. There's somebody, like, running a tube from their exhaust.

[Chris Ryan]

The guy was trying to take his own life.

[Tim Symonds]

Yeah.

[Chris Ryan]

While another guy was just like, I just happened to be driving down this dirt road and I hit you going 80 miles per hour car. But the truck driver died, and the guy in the pickup truck lived, but lost an arm.

[Tim Symonds]

Oh, so that guy with the arm was the. Okay, so the pickup truck driver lived. Yeah. Ah, tough situation.

[Chris Ryan]

And now he's in the same hospital as the dude who's got.

[Tim Symonds]

With the blind chemicals.

[Chris Ryan]

Chemical leak, blindness. So, yeah, I'm glad you. I'm glad I introduced this to you.

[Tim Symonds]

I mean, it's fun. It's not like a. Like, it's not like a lot of. There's not like a lot of Venn diagram overlap with my interests, I would say broadly. But, like, walking away from it, I was like.

When Sam Elliott and Billy Bob were like, you know, deserve ain't got nothing to do with it, I was like.

[Chris Ryan]

All right, I'm forgiven. Let's go.

[Tim Symonds]

Let's fucking go. Like, I'm kind of down.

[Chris Ryan]

If I can give you one assignment for your holiday viewing and then maybe you give me a shout in January. Manzukas is already on board with this. Mallory Rubin's already on board with this. I need you to watch Shoresy.

[Tim Symonds]

I. I will. I will.

[Chris Ryan]

I did.

[Tim Symonds]

Do.

[Chris Ryan]

You grew up playing hockey?

[Tim Symonds]

No, but I grew up watching.

[Chris Ryan]

Okay.

[Tim Symonds]

Yeah.

[Chris Ryan]

It'll mean a lot to you.

[Tim Symonds]

Okay. I got kicked out of, like, the. My high school's club hockey championship because we went to the grocery store and bought a bunch of like, fish. And then whenever they scored a goal, we would throw fish on the ice. And they were like, guys, like, this isn't like an NHL game. Like, it's actually really hard for us to clean this up.

[Chris Ryan]

Yeah.

[Tim Symonds]

And so we got kicked out. And also There were like 30 people there, so it was pretty clear who was doing.

[Chris Ryan]

It's not like you could be like, I don't know, the other guy.

[Tim Symonds]

Yeah. Not to bore you with me getting kicked out of ice hockey games.

[Chris Ryan]

No, please.

[Tim Symonds]

But there was a. There was an ice hockey, like, wreck, sort of like industry ice hockey league out here that I think Bruckheimer played in.

[Chris Ryan]

No way.

[Tim Symonds]

Yes. And. And my old manager Ben had like, come up as like, you know, he was like on the possibly going professional hockey track. Like went to a high school to specialize in that.

[Chris Ryan]

Okay.

[Tim Symonds]

Played around. And so he had a bunch of like, hockey friends and they played in this thing. And we all went to like one of like, we all went to one of his games. And this is even dumber because there were like seven of us that were friends with him that went to that game. There was nobody else. And we were all banging on the glass so hard that they asked us to leave.

[Chris Ryan]

Are you serious?

[Tim Symonds]

This is true. This is the second I've been. I've been to not very many hockey games, but I. Apparently I've gotten kicked out of the majority of them.

[Chris Ryan]

That's incredible.

[Tim Symonds]

Yeah.

[Chris Ryan]

Tim, thank you for joining me today.

[Tim Symonds]

Chris, what a pleasure. Wait, do we need to check in with Kaya to see. Do we know yet if you're going to the Golden Globes? Has anything changed since the beginning of this episode?

[Chris Ryan]

Still a question still up in the air. I don't think you guys ever circle back on Zins and golf, though. No, I mean, we talked about golf. In terms of what we would do with our fantasy pluribus time if this happened, I definitely would just start smoking again because I would just assume that they would have top of the line healthcare. Never have to pay for a pack again.

[Tim Symonds]

Yeah.

[Chris Ryan]

Also get packs delivered to me via drone or person.

[Tim Symonds]

And you could actually just like, you could just be like, look, I want you to. To get 10 million of the best scientific minds together and focus specifically on lung cancer. And then I want you to take another 10 and have them focus specifically on how to get rid of the feeling you get when you smoke too much the night before.

[Chris Ryan]

Yeah. Also, like, there should be a spray that takes the smell off you so that like if other people. But then again like by that point there would only be nine other people in the world who had any real individual taste any anyway so you would really not have to worry about that that much. You could just. I just want to go back to. I want to have like one week where I get to smoke indoors again.

[Tim Symonds]

Yeah. God, that would be great. It was nice also to see in Landman. Speaking of Landman, everybody smoking indoor.

[Chris Ryan]

Oh, smoking darts.

[Tim Symonds]

Just ripping darts rules.

[Chris Ryan]

Tim, thanks so much for joining me. We'll be back on Thursday with Andy and thank you to Kaya and Kai.

Hey, Ryan Reynolds here wishing you a very happy half off holiday because right now Mint Mobile is offering you the gift of 50% off unlimited. To be clear, that's half price, not half the service. Mint is still premium unlimited wireless for a great price. So that means a half day.

[Tim Symonds]

Yeah.

[Chris Ryan]

Give a it it a [e-mail] Switch upfront payment of $45 for 3 month plan equivalent to 15 per month required new customer offer for first 3 months only. Speed slower 35 gigabytes of networks busy taxes and fees extra cmn.