‘The Pitt’ S2E7 and an ‘Industry’ S4 Mailbag. Plus, Trailers for ‘The Mandalorian and Grogu’ and ‘House of the Dragon’ Season 3.

Summary

The Watch – Feb. 20, 2026: “The Pitt” S2E7, Industry S4 Mailbag, and Trailer Roundup

Episode Overview

Andy Greenwald and Chris Ryan reunite for a lively deep dive into recent television highlights, breaking down The Pitt S2E7, answering listener mail about Industry’s polarizing fourth season, and riffing on trailers for both The Mandalorian and Grogu and House of the Dragon S3. Along the way, the duo balances sharp criticism, genuine enthusiasm, memorable digressions into pop culture, and crowd-sourced insights from their famously engaged listenership.

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Table of Contents

1. Podcast Banter & Weekly Catch Up (01:39–06:00)
2. Trailer Talk: The Mandalorian & Grogu (06:28–14:22)
3. Trailer Talk: House of the Dragon Season 3 (14:23–20:19)
4. Streaming & Preservation: 000 Vanishes (21:26–23:38)
5. Mailbag: Industry Season 4 Deep Dive (24:03–43:28)
6. The Pitt S2E7: Recap & Analysis (44:57–63:24)
7. Closing Notes & Upcoming Pods (65:33–66:12)

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1. Podcast Banter & Weekly Catch Up (01:39–06:00) <a name="banter"></a>

• Mood Check: Chris is “in a great mood”, Andy’s “going to interrogate this and try to bring you down.” Classic playful back-and-forth.
• Pop Culture Detour: Chris describes hitting “flow state” while driving, listening to Sun Kil Moon’s “Gentle Moon,” comparing himself to Ryan Gosling in Drive (02:38).
• Flood Story: The Spotify studio was hit by rain-induced flooding; Andy describes the adventure and the team’s crisis response (04:05–06:15).
  • “Crises reveal character. It’s something I’ve said since the White House correspondents dinner in 2012…” — Andy (04:22)
  • Chris jokes he would not have been that helpful in a real emergency.

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2. Trailer Talk: The Mandalorian & Grogu (06:28–14:22) <a name="mandalorian"></a>

Cultural Resonance & Soderbergh Anecdote

• Chris and Andy riff on Fred Again’s residency with The Streets & Underworld for a beat (07:40), then pivot to the big Star Wars movie trailer drop.
• Notable thread: Steven Soderbergh disclosed, in a high-profile interview, his frustration at two years “wasted” on a canceled Ben Solo movie.
  • “I wasted two years of my life on it. And we were a go. Like, this was a go picture, and they canceled it…” — Soderbergh, quoted by Chris (10:11)
• Andy: “Baby Greedo is our future.” (11:04)

Mandalorian Movie Skepticism & Youth Appeal

• Chris shares uncertainty over the film’s actual premise, riffing that these live-action Star Wars movies are driven by lovable “creature slop” and kid appeal (13:53–14:04).
• Kaya, their producer, is prompted to relate with Gen Z slang: “Kids are grogu maxing.” (13:22)
• Andy notes his own children’s enthusiastic reaction to seeing familiar characters: “My children sat up straight on the couch…that’s the guy who had leg surgery.” (14:15)
• They speculate on Disney’s mindset: “Maybe nobody wants to see this movie.” — Chris (12:17)

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3. Trailer Talk: House of the Dragon Season 3 (14:23–20:19) <a name="hotd"></a>

New Trailer, New Vibe

• Chris flags his excitement over House of the Dragon S3’s teaser, highlighting James Norton’s casting and a tonal shift compared to recent “street-level” shows (15:01–15:25).
  • “How different it feels from what we’ve gotten used to these last few weeks.” — Chris (15:09)
• Andy admits he’s “not eager to get back to this world,” feeling out of touch with the show’s plot after a long break (15:56–16:09).

Series Duration & Source Material

• They debate whether four seasons is the right length as suggested by HBO’s Casey Bloys (17:10).
• Discussion on A Knight of the Seven Kingdoms’s potential expansion beyond Martin’s novellas and the risk of “diverging from George R.R. Martin’s sacred texts” (17:25).
• Chris and Andy agree that the best spin-offs “feel different” and credit Seven Kingdoms with bringing new energy to the universe (20:04–20:21).
  • “It just feels different. And that is as significant as anything else, I think, when you’re trying to mine IP for multiple seasons in multiple years across multiple corporate regimes.” — Andy (20:19)

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4. Streaming & Preservation: 000 Vanishes (21:26–23:38) <a name="streaming"></a>

• Chris bemoans the removal of 000 from Amazon Prime, using the show to illustrate the precariousness of streaming libraries (22:15).
  • “The more streaming services we get, there are still things falling through the cracks.” — Chris (22:45)
• Andy: “Most of them [shows] I think [will disappear], other than like the prizes that get kicked around.” (23:18)

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5. Mailbag: Industry Season 4 Deep Dive (24:03–43:28) <a name="mailbag"></a>

Community Engagement

• Chris: Substantial listener email, especially from “finance bros,” about S4’s realism and Harper’s arc (25:20).
  • “Contingent of people who kind of are still really, really vibing with the show… and a healthy group of people who are like, I don’t know if this Russia thing works for me.” — Chris (25:20)
• Andy proposes more mailbags and even a life advice segment, joking about their value as advice givers: “What is the value of me surviving if I can’t lift up others?” (25:41)

Notable Listener Insights

Will, Ex-Investment Banker (28:38)

• Praises S1’s sense of “truthiness” over realism: “I do not care if it is true. I care if it feels true.” — Chris (29:42)
• Critiques S4’s lack of believability and compressed storytelling: plot points feel arbitrary, “telling, not showing.”

Oscar from Caracas (34:11)

• “[Industry S4] is quickly becoming one of my favorite seasons of television…something being not perfect is usually a sign of greatness…” (34:19)
• Defends S4’s harshness and risks: “Not perfect…shows more raw identity and intent.” (34:37)
• Feels “sending-off for Eric to be really emotional,” and appreciates risk-taking even if the FSB subplot is divisive.

Jake, M&A Lawyer (36:53)

• Sees the show as capturing Michael Mann vibes: “This is the best homage to Michael Mann I have seen since Tenet… the players are professionals carrying degrees of hollowness… necessary for survival.” (37:20)
• Andy: Wishes for more off-the-clock, mask-off scenes, noting their reduction has “thrown off the balance” (40:07).

Hosts’ Takeaway

• Chris and Andy agree: It’s not about documentary accuracy but emotional truth and committed character work.
• Andy: “We don’t go to a gallery…to look for photographs. We’re going to see emotion, artistic sensibility…” (31:03)
• Chris: The need for the show to keep its nerve — “As long as it holds its nerve, I’m down.” (42:49)
• Chris (on Harper): “She doesn’t even sleep.” (43:21)

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6. The Pitt S2E7: Recap & Analysis (44:57–63:24) <a name="pitt"></a>

Jack Abbott’s Arrival

• Chris: “Do you know what time it is? It’s fucking Jack Abbott time.” (45:06)
• Andy: “All cops are beautiful doctors.” (45:15)
• Abbott is described as a “thermostat” — changes the temperature of any room (45:54).

Dana’s Standout Episode

• Chris: “This show knows what it has in Catherine LaNasa… the dignity it bestows on almost every single person who comes onto that screen…” (46:59)
• Andy praises the show for creating space to portray sexual trauma nursing: “Most shows don’t have time for that. Slower paced shows don’t have the time…” (48:42)
• The episode’s handling of a rape victim’s case — “Just absolutely extraordinary piece of television. It’s very hard to watch. It’s sensitive and it’s straightforward and it doesn’t adorn it with music… it is what it is.” — Chris (51:08)

Craft & Structure

• Andy: “Good storytelling isn’t complicated. It’s fucking hard, but it’s not complicated.” (51:08)
• Praises use of teaching relations (Dana and a first-year nurse) for both character and audience exposition.

Character Developments & Theories

• Recentering of Dr. Al Hashimi: Panic attack, possible undisclosed neurological disorder. Chris: “That she could have a neurological problem that’s affecting her hands.” (59:52)
• Fandom engagement: Detailed attention to “clean shirts” (Al Hashimi not doing much hands-on work), patient storylines, and possible foreshadowing.
• Santos’ behavior: Noted anger in fan circles, but Chris sees it as organic: “Her stresses and her attitude… are rooted primarily in her mixed feelings about Langdon being back…” (55:58)
• Speculation about future cast turnover as characters advance in their careers: “Practically speaking, we probably should [have some turnover].” — Chris (56:50)

Subplots & Final Scene

• Roxy storyline (terminal cancer patient who won’t go home): Hard to watch, prompting theorizing about hidden motives (62:14).
• Andy: “That knowledge of when to drop a little bit more to draw you back in is masterful.” (55:50)
• Season pivots to new crisis: Cyberattack/catastrophe; CEO shows up in shorts: “Some people are born to be CEOs.” — Andy (63:24)

Funniest Moment

• Andy, musing: “What would be the craziest off hours thing for you to choose to do?” Chris: “If during my off hours I was actually really about this life and was robbing banks and then I came back in and potted about movies…” (64:33)

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7. Closing Notes & Upcoming Pods (65:33–66:12) <a name="closing"></a>

• Teasers: Season finale of A Knight of the Seven Kingdoms and penultimate episode of Industry next week.
• Chris pitches Andy on Shorzy S3: “The funniest thing I have seen since Eastbound and Down.” (65:53)
• Banter ends with a weather joke about leaving the studio in the rain (“Hope you brought your snorkel.” — Andy, 66:12).

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Notable Quotes & Moments by Timestamp

• On emotional believability vs. realism:
  “I do not care if it is true. I care if it feels true.” — Chris, 29:42

• The healthy risk-taking of Industry S4:
  “Something being not perfect is usually a sign of greatness in the sense that it shows more raw identity and intent…” — Oscar (listener email), 34:19

• On The Pitt’s narrative bravery:
  “The dignity it bestows on almost every single person who comes onto that screen is kind of…I can’t really think of too many other television shows that I’ve seen do this.” — Chris, 46:59

• Summoning the joy of recurring characters:
  “Do you know what time it is? It’s fucking Jack Abbott time.” — Chris, 45:06

• Pop culture riffing:
  “My children sat up straight on the couch…that’s the guy who had leg surgery.” — Andy, 14:15

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Summary

This episode of The Watch blends sharp pop culture banter, layered TV analysis, and dynamic listener interaction. It’s as much about dissecting the creative intent of today’s buzzy shows as it is about celebrating the community of fans who watch them — and it’s never afraid to critique, praise, or clown on the culture and on each other.

Transcript

[Chris Ryan]

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[Andy Greenwald]

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[Chris Ryan]

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[Andy Greenwald]

Stand up and walk now.

[Chris Ryan]

Hello and welcome to the Watch. My name is Chris Ryan. I am an [e-mail] and joining me in the studio going analog, it's Andy Greenwald.

[Andy Greenwald]

We have a lot to talk about.

[Chris Ryan]

We have so many, so much to talk about. I'm in a great mood. It's great to be back with you and Kya and Kai here at Spotify where we make podcasts. I hope you're listening to us on Spotify. You can email [e-mail] some great emails about industry. I'm still sort of sorting through them because a lot of them are comments more than questions.

[Andy Greenwald]

Oh, like my dad at a film festival.

[Chris Ryan]

And you can follow us on the Instagram @thewatchpod and you can watch us here here on Spotify or on YouTube at the Ringer Dash TV channel.

[Andy Greenwald]

So we're gonna do pit, we're gonna do some trailers, we're gonna do some industry. I mean I yeah, we got some stuff at the top.

[Chris Ryan]

We got stuff at the top. I'm feeling great. I Was, you know, what was happening today on the way in. First of all, I just. I don't know why. I'm just in a good mood.

[Andy Greenwald]

Second of all, I'm gonna interrogate this and try to bring you down. Was.

[Chris Ryan]

Do you ever. When you're driving, you get into the flow state and you're like, I'm him. I'm Ryan Gosling. And drive. And I was listening to. I know this guy's canceled, kind of. But I was listening to sunkillmoon.

[Andy Greenwald]

Yeah.

[Chris Ryan]

And you know that song Gentle Moon that was in Friday Night Lights, when Street and Riggs go to New York. I was listening to that, and I was like, there is no road.

[Andy Greenwald]

You know what I mean? I interviewed that guy in a Austin motel 26 years ago during south by Southwest, and I don't know if I emerged alive. Like, that may have been. That was a weird.

[Chris Ryan]

This has all been a dream since then, honestly.

[Andy Greenwald]

Yeah. You're still in that bathtub. I could wake up in that bathtub, but that kidney. But with a haunting acoustic melody. Yeah.

[Chris Ryan]

But at least Trump wouldn't be president.

[Andy Greenwald]

Right? Fair.

[Chris Ryan]

In this dream that you're having in the Austin.

[Andy Greenwald]

Oh, my God. Can you imagine? It's like that was that James Franco. Hulu series about the Stephen King. The time travel. Stop. The Kennedy assassination. But it's all to stop Obama from making fun of him at the White House Correspondent's Dinner.

[Chris Ryan]

No jokes. Can you imagine? And then we'd be fine.

[Andy Greenwald]

We would be fine. I want to. You hate shit like this, but we got to talk about it. Monday.

[Chris Ryan]

Yeah.

[Andy Greenwald]

President's Day.

[Chris Ryan]

Yeah.

[Andy Greenwald]

You took the day off.

[Chris Ryan]

I didn't. I worked.

[Andy Greenwald]

Health reasons.

[Chris Ryan]

I did multiple pods.

[Andy Greenwald]

Dnp.

[Chris Ryan]

Yeah.

[Andy Greenwald]

Coach's decision. You're the coach. I just want to, like, put on the record what you missed because. What. You know, people like to pull back the curtain a little bit, and people don't know that. That there are torrential rainstorms in Southern California this week.

[Chris Ryan]

Yeah.

[Andy Greenwald]

And after we wrapped our podcast, Spotify flooded.

[Chris Ryan]

Well, I mean, there was some flooding.

[Andy Greenwald]

Some flooding. Okay. Man.

[Chris Ryan]

It's not like in Crimson Tide when we lose Rick Schroeder. You know what I mean? It's like you guys had some water on the ground and you had some complications about which door to get out of.

[Andy Greenwald]

Here's the thing that I want to talk about. And, Kaya, feel free to jump in. First of all, you know, crises reveal character. It's something I've said since the White House correspondents dinner in 2012 or whenever that was. And I do think we lacked your head on a swivel. Let's get this done. Leadership. Because I think, as we've discussed, every time we talk about a dystopian zombie show, we all agree. You do great.

[Chris Ryan]

I started to wonder about that.

[Andy Greenwald]

Really?

[Chris Ryan]

Yeah.

[Andy Greenwald]

What about you in the flow state?

[Chris Ryan]

Well, that's like when I'm listening to Gentle Moon.

[Andy Greenwald]

Oh, so you just put the little airpods in, crank up red house painters like baby driver. Yes.

[Chris Ryan]

Just like.

[Andy Greenwald]

And then get us all out of here. Because what was insane about being here was that the courtyard was raging waters. It was like, you know, it was shin deep. Is that fair?

[Chris Ryan]

Yeah. Come on, dude.

[Andy Greenwald]

I'm not saying I was. My point is not that we were in danger. You're misunderstanding. You weren't here. Okay.

[Chris Ryan]

I saw your. Your content. You made about it, though, where you were taking pictures and sending them to me.

[Andy Greenwald]

Just to you, though. Yeah. That's a private feed.

[Chris Ryan]

Yeah. My point was keeping that footage.

[Andy Greenwald]

Okay. My point wasn't that it was dangerous. My point was no one would let us leave. And then at one point, we were like, there are unflooded streets out these doors. And the gentleman who worked here said, well, these are emergency doors. And I was like, aha. Yeah.

[Chris Ryan]

But it wasn't an emergency. It was just like. If it was, like, truly waves of water coming, I'm sure he would then

[Andy Greenwald]

be allowed to leave.

[Chris Ryan]

Yeah. But it was probably, like, ankle, shin deep. What was it?

[Andy Greenwald]

Look at this boot looking unbelievable. Thank God I was wearing boots because I got out of here. Kya.

[Chris Ryan]

Did you.

[Andy Greenwald]

You. You were calm, cool, collected.

[Chris Ryan]

Well, I wasn't really providing a lot of sol to you either. I was kind of just like, I don't know, Andy, you're gonna have to wait it out. You like to get out of here when this.

[Andy Greenwald]

But she also said, I misunderstood you. You said, you're gonna have to wait it out. And I waited my way to the parking garage. That was what happened.

[Chris Ryan]

I was like, I have a meeting. Sorry, I can't help you. And then five minutes later, I got a video of Andy splashing through some puddles.

[Andy Greenwald]

I did share the text. I shared it with Kya too. It's separate channels. Cause I didn't want. You know, I don't want the streams to cross.

[Chris Ryan]

You and I, we text about Fred again, and underworld in the streets, and you and Kya talk about rain. Do you want to talk about any of the trailers that have Dr. This week before we get into the pit? And Other stuff. I mean, there's some. There's some interesting stuff. I'm trying to think if there was any, like, news news, aside from you

[Andy Greenwald]

don't want to talk about the streets in Underworld.

[Chris Ryan]

I mean, Fred Again had a. Like a. For night residency at.

[Andy Greenwald]

I didn't know about this guy. I don't understand.

[Chris Ryan]

I thought he was like, mad popular.

[Andy Greenwald]

I thought he was like Rufus Du Sole. These other acts that. I don't understand that you never saw

[Chris Ryan]

the video of Fred Again making a beat in front of Zane Low.

[Andy Greenwald]

No.

[Chris Ryan]

When he's like, do it. And Zane Lowe's just like, God damn. It's like. It's very funny.

[Andy Greenwald]

One of my favorite things in my now three to four hours of knowing about Fred again was that he grew up, like, he grew up in the Wilshire countryside next to Brian Eno.

[Chris Ryan]

Do you. Do you check someone's biography as soon as you come into contact with them to start placing their education and their background?

[Andy Greenwald]

That's why I don't drop Sun Killmoon references anymore. I. I was born with receipts. Okay. I mean, it might be. Must be fun to shoot from the hip all the time, but. Yeah.

[Chris Ryan]

Anyway, I was. I was. When I got back from the. From dinner last night, I came across this.

[Andy Greenwald]

So Fred again, who is a big deal that I knew nothing about.

[Chris Ryan]

Yeah, huge. Real big with the kids. Real big.

[Andy Greenwald]

Thank you.

[Chris Ryan]

Real big with everybody. I mean, I think it expands beyond generations.

[Andy Greenwald]

Well, it does now.

[Chris Ryan]

And he had a residency in London at the Alexander palace, the Alley Pally, and had Mike Skinner, AKA the Streets, performing with him. And he had. The Streets was like, kind of doing his rap over Born Slippy, which is the iconic anthem of train spotting.

[Andy Greenwald]

Darren Emerson comes out, drops the. Drops the heavenly keys. And Mike Skinner came out and did the verse from Weak Become Heroes.

[Chris Ryan]

And then Carl came out.

[Andy Greenwald]

Carl came out and did and finished them Born Slippy.

[Chris Ryan]

And when the beat dropped on Born Slippy, it was like, yeah, that's why. That's what I put John Wick. Make it end.

[Andy Greenwald]

Now it's like everyone within seven years of us in either direction, just check on them today. They probably need a hug. That was very, very meaningful.

[Chris Ryan]

Okay, let's start with the Mandalorian and Grogu.

[Andy Greenwald]

You love talking about this movie. Well, you're gonna zag.

[Chris Ryan]

Still don't know what it's about.

[Andy Greenwald]

Well, it appears to be about some beloved cartoon characters making the leap to live action.

[Chris Ryan]

That's not what a movie can be about. Interesting. Excuse me. The last five years Interesting that this trailer drop. And this is the week that Steven Soderbergh decided to break his silence about the hunt for Ben Solo.

[Andy Greenwald]

Did he Wait? I didn't.

[Chris Ryan]

Yeah, because he's doing a red scene.

[Andy Greenwald]

Did Fred again bring him out? What if Fred again just brought out all your heroes? Taylor Sheridan comes out to read the scripts from Linus Season 3.

[Chris Ryan]

Del Toro comes out. He's like, we are in the land of wolves now.

[Andy Greenwald]

And Bill comes out to reiterate that they're doing Sicari on the rewatchables. How many people are backstage? It's like a clown car.

[Chris Ryan]

I thought it was. It was. I doubt it was in any way tied to it.

[Andy Greenwald]

So what does Soderbergh say?

[Chris Ryan]

Soderbergh is doing a sort of artist in residency at the Nighthawk Cinema in New York, where he's presenting, I think, like, 10 or 11 movies that have shaped him as a filmmaker. He did an interview. Can't remember quite where. It was about talking about that. And then at the end of the interview, he kind of got into the Ben Solo stuff. And, you know, usually I would describe him as candid but incredibly abled. Incredibly able at, like, deflecting and kind of being like, oh, it's not that big of a deal, and blah, blah. He was like, no, I wasted two years of my life on it. And we were a go. Like, this was a go picture, and they canceled it without being like, what's the budget like? He's like, I'm pissed. And me and Adam and Rebecca Blunt, who I think is Jules Asner.

[Andy Greenwald]

Right.

[Chris Ryan]

That's the pen name.

[Andy Greenwald]

That's such a sick penny pen name.

[Chris Ryan]

I. I think it's cool that he and his wife have all these different pseudonyms for the different jobs they do on his movies. In any case, he was just like,

[Andy Greenwald]

it's what keeps it spicy.

[Chris Ryan]

I'm salty that I had made the movie in my head. Yeah, we were like. We were getting going.

[Andy Greenwald]

He says, nearly three years. Time inflation.

[Chris Ryan]

Yeah. But I mean, the thing is, Steven Soderbergh, quote, unquote, wasting three years of his life. He made nine movies in that time.

[Andy Greenwald]

Yeah. And he watched every season of Below Deck again. Blogged about it. Yeah.

[Chris Ryan]

So I thought it was interesting that his comments about Ben Solo came out the same week. The Mandalorian and Grogrew, because it's almost like, you know, the road is diverging into two paths, and we have taken the one where it's a lot of creatures jumping around.

[Andy Greenwald]

Baby Greedo is our future.

[Chris Ryan]

Is he in this.

[Andy Greenwald]

Yeah.

[Chris Ryan]

I did not read a frame by frame breakdown of this. I did not. Baby Greedo.

[Andy Greenwald]

Yeah.

[Chris Ryan]

The same guy.

[Andy Greenwald]

We don't know. Maybe it's. Maybe it's Grigu. You know what I mean? Like, I. We, we have to learn. We as a people have to get better. And we can't just assume just because there's a little version of something that it's a baby of the other one.

[Chris Ryan]

Well, that was my mistake initially with Grogu.

[Andy Greenwald]

Right.

[Chris Ryan]

We were all like, it's Yoda. This is his origin.

[Andy Greenwald]

That was my mistake with Austin Butler, too. I was like, he's a movie star. Not sure about that. You don't think so? I'm not sure.

[Chris Ryan]

Okay.

[Andy Greenwald]

I didn't mean to, like, do a drive by. We don't know yet.

[Chris Ryan]

We get a little bit more of.

[Andy Greenwald]

Look how you're being. You're like that dude on CNN right now, just asking questions.

[Chris Ryan]

What'd you do?

[Andy Greenwald]

Scott Jennings?

[Chris Ryan]

I am not being like Scott Jennings.

[Andy Greenwald]

You're just like, sitting back. You started this fire. Disney released this new trailer because of you.

[Chris Ryan]

Well, I think that in the same way that I was concerned that they felt the need to do a send up of the Budweiser Clydesdale commercial.

[Andy Greenwald]

They did. Yeah.

[Chris Ryan]

During the Super Bowl. I'm equally concerned that they were like, oh, shit, we better show Pedro Pascal, like, a lot.

[Andy Greenwald]

I mean. Yeah, like, because.

[Chris Ryan]

Because maybe nobody wants to see this movie.

[Andy Greenwald]

Yeah. It's so much. Can you imagine, like in, like in broadcast news, like, someone running up to Kathy Kennedy's office and just putting out a piece of paper.

[Chris Ryan]

She's not there.

[Andy Greenwald]

And she's not there. The desk hits empty and Dave Filoni is sitting, like, in the chair in the corner. You know what I mean?

[Chris Ryan]

And, like, I think I know what you mean.

[Andy Greenwald]

And the piece of paper just has like Eddington's box office numbers. Like, get me that face. Get me that face.

[Chris Ryan]

Give me the mayor from Eddington.

[Andy Greenwald]

Put him in this movie.

[Chris Ryan]

Did you see Eddington?

[Andy Greenwald]

No. That's on my list, though. I mean, pre Oscars list. Not that it was nominated.

[Chris Ryan]

So. Yeah. I just think that I still don't know what this movie's about, but I think from my understanding, the young people of the very young people out there are very excited about this and I support them. Kaya, not Kaya's age. No.

[Andy Greenwald]

But Kaya knows about Fred again. So, Kaya, what are the kids saying about Mando and Grogu? And use some slang too. Say low key.

[Chris Ryan]

Yeah. Say Aura Farming Kids are. Kids are.

[Andy Greenwald]

Fuck. This is so exciting, Kai. Clips.

[Chris Ryan]

I'm trying to figure how do I work? How do I work? Looks maxing. Kids are grogu maxing. Yeah, they're grogu maxing.

[Andy Greenwald]

Puppet maxing in this trailer.

[Chris Ryan]

Any other takes on Mandalorian?

[Andy Greenwald]

I don't know. We should get Matt Bellany on. I just genuinely is Matt Bellany.

[Chris Ryan]

We should do a pod with Matt Bellani.

[Andy Greenwald]

I agree. Matt Belloni is down, but only about his appearance on the studio.

[Chris Ryan]

No, I want to talk to Matt about all the ins and outs, man.

[Andy Greenwald]

I do too. His Ted Saratos interview was fascinating. That he just did. But I guess this hasn't hit tracking yet.

[Chris Ryan]

Yeah, I guess not.

[Andy Greenwald]

But they just keep dumping more creature slop into this. And I don't understand the purpose, I

[Chris Ryan]

think, to get children to come see it. And if enough kids. If enough parents have to take their kids to this movie, it's gonna be successful. If it's like dudes who still haven't gotten over Lonnie and Andor. Probably not for them.

[Andy Greenwald]

For what it's worth, when this new trailer aired, my children sat up straight on the couch and they were like, that's the guy who had leg surgery. And materialists. Let's go.

[Chris Ryan]

That's a good line.

[Andy Greenwald]

Thanks.

[Chris Ryan]

Yeah. Another parallel that I'll draw here is that it's the week of the season finale of A Night of the Seven Kingdoms already.

[Andy Greenwald]

Yeah, I know, but I wasn't trying to like. You got worried for a second. No. That's a bummer. I enjoyed it.

[Chris Ryan]

You sounded some reservations about the last episode. I could never tell really where you're going and when you're buying and selling shows.

[Andy Greenwald]

I love the show.

[Chris Ryan]

Okay, we've got the last episode of that, but today I saw the new trailer for the third season. It's a teaser really for House of the Dragon.

[Andy Greenwald]

And you didn't gatekeep it. You sent it to me right away.

[Chris Ryan]

You know, James Norton joins the series this season.

[Andy Greenwald]

Saw him.

[Chris Ryan]

You saw him in. In the trailer? Yeah, I thought you meant.

[Andy Greenwald]

No, I did the Leo on the

[Chris Ryan]

couch thing at the Delta 1 lounge or something like that.

[Andy Greenwald]

Well, it's possible with me.

[Chris Ryan]

And I was struck by the. How different it feels. How different it feels from what we've

[Andy Greenwald]

gotten used to these last few weeks.

[Chris Ryan]

Hearing Matt Smith be like, today you turn into King. You're going to be the queen. Now, that's quite a transition.

[Andy Greenwald]

But that's not what I mean.

[Chris Ryan]

Yeah, I just. I'll have to adjust to get back into House of Dragon mindset, you know, of big flying beasts and literally Game of Thrones rather than the kind of more street level and more character driven stuff that we've been watching now. It doesn't necessarily mean that House of the Dragon can't kind of correct course from where it was. And I think adding some cast members will at least be interesting, if not a saving grace. Anything you took away from this.

[Andy Greenwald]

I am not eager to get back to this world. Not Westeros generally, but this version of Westeros. It's been a long time, so I don't really remember.

[Chris Ryan]

I think I forgot what's happening on the show a little bit.

[Andy Greenwald]

It was weird that in updating us. Like they showed us a lot of the main cast. They showed us some new casts. But my favorite dynamic character from season two, the weirwood tree, that had about 50% of the screen time with Matt Smith. Like, what happened? Maybe the fire. Like that's the. What happens to that wood. I do remember a lot of those scenes. Okay, we'll see. Yeah. Like, weirdly enough time has passed that now when they showed Fabian Frankel, I was like, that's my guy.

[Chris Ryan]

I know.

[Andy Greenwald]

We were so fucking down for 180 on him. I'm mostly excited for him. I guess the most charitable response to something that's a teaser, so we don't know anything yet is that they have had enough time now both making the show and reacting to the making of the show, to know what they are doing and have a couple reps now. And infamously, season two ended on the cusp of the big battle that people were excited about.

[Chris Ryan]

Everybody's marching off, so I would imagine season three begins with it. Unless it's like some throat clearing before

[Andy Greenwald]

we get to it. Yeah. And did Kayce confirm it? But I think the sense is that four seasons is it for the show.

[Chris Ryan]

Yeah, I think he said, like, I leave that up to the creators, but with something that's as expensive as this. And I, you know, there's. There's a finite amount of story they're moving through it.

[Andy Greenwald]

What's crazy to me is how quickly high quality TV can change one's perspective and opinion about things. Because I did pick up just some headlines and some chatter with Ira Parker, who's the showrunner of Night of the Seven Kingdoms. People were asking him about. I mean, they're shooting season two now, but asking about potential seasons that could outpace the novellas. Yes. And I know Diverge from George R.R. martin's sacred texts is controversial. And now the strict Scalia esque reading of that is now back in fashion.

[Chris Ryan]

Although to Iron Partner's credit, there's several things in this season of Night of the Seven Kingdoms that are either mentioned briefly as text or not in the books at all. And he's kind of not embellished, but had a flourish. So I don't. This is the problem is that Martin's working pretty closely on the Night of the Seven Kingdoms and has talked about how he has ideas for several more novellas than have actually been published. That's where you start to get into late period of game, late period Game of Thrones when it's like, well, we have the blueprint, but we don't have the actual working documents.

[Andy Greenwald]

Yeah.

[Chris Ryan]

I would hope that with something that's as compact as this, they're able to kind of, you know, I don't even know if there needs to be 10 seasons of this.

[Andy Greenwald]

All I was going to say was that made me excited. If they could make this a regular occurrence. Dunk and egg having adventures, fixed location adventures for a couple years. What a delightful addition to the HBO programming slate.

[Chris Ryan]

That would be one of the things that was interesting about the Stoederberg. Ben Solo idea was one of the few franchise ideas that actually was going forward. Unless, of course, it was like Ben Solo actually in a hotel room with Sunkill moon in 2002, punching the wall, like, marathon is a dream. But it was basically this, you know, it was going to continue to push that, that franchise forward rather than doing prequels and historical lookbacks. And Thrones is kind of creeping up on that precipice as well, where I think they could continue to do great historical moments in the history of the realm. But it seems to be very little interest on the Martin side in having a Arya or Jon Snow show.

[Andy Greenwald]

Yep.

[Chris Ryan]

Or whatever happens after this. But I, I, you know, I wonder how many, how many of these, like, you know, can you do the,

[Andy Greenwald]

I

[Chris Ryan]

don't know, not the Blackfyre rebellion, because it's in house. It's in Night of the Kingdoms. How many, like, historical events in Game of Thrones can you do before anybody is like, hey, can we, like, see what happened after Daenerys?

[Andy Greenwald]

I think that. But that's also my only response to that good observation is that's one of the other reasons why Night of the Seven Kingdoms is such a success, because it is going historical, but it's also going kind of sideways and in a different lane.

[Chris Ryan]

Well, it just feels different.

[Andy Greenwald]

And that is as significant as anything else, I think when you're trying to mine IP for multiple seasons in multiple years across multiple corporate regimes. I am sure one of the most fascinating things that we could ever get access to probably would be the Game of Thrones development History of 2020 until present day of just how many pitches they've heard, what directions they've gone. Because I would imagine they've actively engaged on almost all of them, including ones that would not necessarily may ultimately push the story forward with characters we know but might just be like, yeah, we're in Essos now. We're telling that story.

[Chris Ryan]

We got to get out of this Snow Lannister or Stark Lannister Targaryen triangle.

[Andy Greenwald]

It's cool. But I think the other lesson hopefully, you know, this is just wishcasting. The lesson that I hope these people learn is that it is very much about the people you empower to tell the stories as much as it is the stories that you choose to pursue.

[Chris Ryan]

I had two more things for you. News. Did you have anything for news headlines?

[Andy Greenwald]

Well, these trailers.

[Chris Ryan]

This isn't a headline. This is more of a personal observation and a cry in the dark. 0001 of my most beloved shows of the decade so far. Something that we talked about a fair amount during the pandemic when we were recording from our living rooms and stuff and. Or from our offices. And I had Andrea Riseborough on the show to talk to her about the series. It's an example of a time when Prime Video, Amazon's TV's philosophy was kind of like let's give this filmmaker a ton of money and see what happens. And you got things like too old to die young and some of the Soloway stuff.000 is definitely my favorite thing to come out of Amazon Prime's early days. And it is now no longer available on Amazon Prime.

[Andy Greenwald]

No. How did you find out?

[Chris Ryan]

I was looking for it the other day because I was gonna be talking

[Andy Greenwald]

about his Eyes Wide Shut ended. And you were like, let's keep the mood going.

[Chris Ryan]

Sean and I on the Big Picture are Talking about Crime 101, the movie, and also stuff that's been influenced by Heat. And I was like, oh, I wonder how many TV shows I could come up with that could be credibly influenced by Heat. And 000 was at the top of my mind because of the way that some of the gun battles work. So I was like, oh, you just fire up some vampiros and it's not there. It's gone.

[Andy Greenwald]

That's a bummer.

[Chris Ryan]

Too Old to die young. Incredibly still on the surface even though it was never ever promoted by anybod, Amazon. But it just goes to show you man, I mean the more. The more streaming services we get, there are still things falling through the cracks.

[Andy Greenwald]

Oh yeah.

[Chris Ryan]

So I. I got. I got 000 on Blu Ray.

[Andy Greenwald]

Did you?

[Chris Ryan]

Yeah. I don't know.

[Andy Greenwald]

This is on Blu Ray.

[Chris Ryan]

Not a conversation you probably are like dying to have. It's just like this sucks that like these. This is going to happen that where especially if we get the merger one way or the other towards Netflix or Paramount. I wonder how many. How many series is this going to

[Andy Greenwald]

happen to most of them I think other than like the prizes that get kicked around. Yeah. Speaking of heat, which doesn't get a lot of airtime across the ringer property. No.

[Chris Ryan]

It's still sort of a cult thing.

[Andy Greenwald]

I thought you had a good conversation with Bill about Miami Vice.

[Chris Ryan]

Oh the other day. Yeah.

[Andy Greenwald]

On the podcast. You did a great mailbag appearance. Thank you. That's really good.

[Chris Ryan]

I really appreciate that.

[Andy Greenwald]

I thought it was really entertaining. I thought you had some very good

[Chris Ryan]

points about Miami Vice.

[Andy Greenwald]

Well, about Michael Mann's filmography and how across all of them there is a man looking out over an expanse of water from his weirdly expensive, sparsely modern living room.

[Chris Ryan]

Yeah. Yeah.

[Andy Greenwald]

That was a really good point. It did make me think. And I know we have some industry questions, but I feel like there's more meat on the mailbag bone for us.

[Chris Ryan]

You and me.

[Andy Greenwald]

Yeah, sure. Because I feel like we do them often, like when there's a holiday or we're pre recording and recently, especially with the email address, we've gotten really good questions.

[Chris Ryan]

Yes.

[Andy Greenwald]

But the questions we do tend to fall into one of two categories like what are the best shows of prestige TV and what ranking or what books are you guys reading? You know what. And I feel like we could do. I'm not saying we're going to turn into.

[Chris Ryan]

Sometimes when you see your students and they're not achieving, you got to look at the teachers.

[Andy Greenwald]

Yes. It's not the questions, it's us.

[Chris Ryan]

Our industry responses were quite good because you and I, which we probably should disagree more, but what can we do about that? There's some slight, slight disagreement about where this season of industry is at. And we asked kind of our. We asked our listenership to weigh in on. On where they. Where they were at. We got a lot of finance bros writing it and just being like the ebitda, you know, like, I'm sorry, the EBITDA and like, like the valuations of things. But generally speaking, I think it's like 50, 50, pretty split. It's like most. There's a contingent of people who kind of are still really, really, really, really vibing with the show and kind of thinking about it somewhat in the way I am. And then there's a healthy. A healthy group of people who are like, I don't know if this Russia thing works for me. And I don't know if I can track Harper's character arc.

[Andy Greenwald]

Yeah.

[Chris Ryan]

Anymore. And I kind of miss kids at their first job going out at night.

[Andy Greenwald]

Sure.

[Chris Ryan]

As if it was ever that innocent. But yeah, some really great questions.

[Andy Greenwald]

It was a great segue. I was just going to say we should do more like life advice segments.

[Chris Ryan]

Just you and me giving life advice to other people.

[Andy Greenwald]

Yeah. Cause we. We got it. I mean, not for nothing, we nailed it. Yeah.

[Chris Ryan]

I'm just a dude who gets overwhelmed by two inches of water.

[Andy Greenwald]

Yeah, well, no, I got out and I'd like to teach others. What is the value of me surviving if I can't lift up others?

[Chris Ryan]

Sure.

[Andy Greenwald]

This is a rising tide.

[Chris Ryan]

Very Noah's Ark of you.

[Andy Greenwald]

What? Is that what it was like out there? Are you crazy? They needed two of every kind of podcaster and all we had was white men in glasses.

[Chris Ryan]

So Greenwald is tough. This episode is brought to you by Volkswagen. It can be hard to do your own thing when everyone else is following everyone else. But that's what some of the best films are about. An outcast striving to make their own way in the world. And this is your sign to be that outcast. From us, from vw, from the other outcasts out there. Take a chance, make the most of every day, and don't be afraid to veer off course every now and then. Because if you don't do it now, then when. Learnmorew.com these emails are relatively long. They're longer than usually we get for our mailbag, but I think I'll try to throw some out there. These are Industry Season 4 emails, so if you haven't watched Industry Season 4, I definitely would skip.

[Andy Greenwald]

I also, just in context, and not just to gas you up, but I also enjoyed hearing you talk to Bill about industry because it was a helpful reminder that as the show's audience has grown, the segments of audience has diversified as well. So that there are like a portfolio, if you will, that it was interesting just to hear his perspective of, like, what he likes about it and what he was saying about what other people in the parts of the country might like about it.

[Chris Ryan]

Sure.

[Andy Greenwald]

And that it is, it is interesting to note that, like, as a show becomes more successful, the fan base is no longer unified. It's not like one face of the fandom that likes the show because of vibes or because of finance or because of ketamine. Yeah, like that. There are, that. There's different, there's different ways to engage with the show.

[Chris Ryan]

Oh, I mean, there's plenty of people, I'm sure, who watch it because it sounds really good and people look cool on it. And I don't mean that in a bad way because I watch some shows that are like that. But it's really nice to watch these people sort of move in and out of beautiful spaces as Nathan McKay music

[Andy Greenwald]

plays the other awesome thing about it that I think speaks to something that we have long been passionate about is that the opportunity that Sunday nights on HBO gives to creators who are ready, talented and willing to take it is still unmatched in the sense that the show has a week to week stature and pride of place that allows and encourages conversation. And so there are people watching industry this season who maybe haven't watched previous seasons, who maybe aren't liking the season or have different opinions about the season. But because it feels significant and it's cumulative and it does not, as we've been saying in ways both praising and criticizing, it does not shy away from the moment that makes it feel a certain kind of way, a certain kind of special.

[Chris Ryan]

Here's an email from Will, longtime listener, first time writer, and once an investment banker here. After hearing Andy express, possibly for the first time, a few reservations about industry on the most recent episode, I wanted to write in and share a few thoughts of my own. For context, I usually avoid shows and movies about the world of finance because they tend to simultaneously hit too close to home and turn me into a pet ant about little inaccuracies. Succession was the rare exception, and when it came to industry, rave reviews of earlier seasons convinced me to give it a try. Despite some obvious artistic liberties, the first season did manage to hook me, especially after Harper's Wrong Way Cable Sterling dollar pair trade with Aubrey. I kind of remember that the hairs

[Andy Greenwald]

in the back of my neck stood up, even though I don't remember anything about it.

[Chris Ryan]

The way the writers had her, escalating each batshit crazy move with an even crazier one was completely outrageous, yet also elegantly plotted and true feeling to her character. And just as me talking. I think ultimately this is where I net out with any show about a very specific discipline, which is that I do not care if it is is true. I care if it feels true.

[Andy Greenwald]

Absolutely.

[Chris Ryan]

I don't really go to industry to be like, is this how people trade currencies? I'm going to industry to feel like it feels real. As the show evolved, I stuck with it despite feeling its realism and believability fading with each season. But season four really jumped the shark for me. First, while the show was never particularly concerned with verisimilitude, it felt to me like the creators became progressively less interested in that aspect, to the point where key plot points were based on things that made no sense. And then he goes into a lot of stuff about Evie Ebitda, multiple Bill Adler's ouster, like a bunch of stuff about Harper and Petra's Fun being up 600 million and then shorting Pierpoint, et cetera. We can ask Mickey and Conrad about that as it relates to season 4. I agree with Andy that the writers are trying to stuff too much plot into eight episodes and in the process creating clunkiness and telling, not showing character behaviors that don't make much sense. For example, I understand that for plot tension reasons, the Tony Day turn and Eric Saul sacrifice are two big dramatic turning points in season four, episode six. But while dramatically impactful, neither made much sense to me if tender stock was down 30%. The market has clearly lost faith in the narrative that management, including the CEO and CFO have been weaving. So why would a lower ranking employee going on TV to defend that very same narrative have any ability to assuage those doubts and turn the stock around? So that kind of stuff.

[Andy Greenwald]

But your point I think is we are not interested. I think we share this and we encourage other people to engage with art this way too. It's like we don't go to a gallery, we don't go to a painting, a gallery filled with paintings to look for photographs. We're going to see emotion, artistic sensibility, artistic decision making and to see what can be communicated in non direct, non reproductions of life. Yeah, and I have as someone who proudly sits here before you, volunteering to give you life advice, who knows nothing about financial anything. Any criticism I have about industry this season, none of it has anything to do with losing the third rail of verisimilitude. If anything, I think it speaks to a happy marriage between Mickey and Conrad's changing interests, which is good for creators to stay curious and to chase what interests them more as well as the necessities of an Ongoing TV show where it is, if the beginning, maybe it's about characters feeding the narrative and feeding the plot. Later, it becomes bending the story and bending the situations to feed the characters.

[Chris Ryan]

Yes.

[Andy Greenwald]

So that all. That all works. That's fine for me. And I think one of the things that they've done really well from the beginning is, like you said, communicating what matters on an emotional level about those moments and scoring them appropriately, directing them, editing them appropriately as well.

[Chris Ryan]

Yeah. I'll always use the Moneyball example as what we're talking about here, where the adaptation of Michael Lewis's book, the Brad Pitt film, feels true, even though I know that the pitching staff of the Oakland had a lot to do with their success that season and are never mentioned in the movie.

[Andy Greenwald]

Yes.

[Chris Ryan]

Except for Chad, what's his face, who does the submarine.

[Andy Greenwald]

The funky submarine arm.

[Chris Ryan]

No.

[Andy Greenwald]

And there's Ricardo Rincon. Wasn't he a relief pitcher?

[Chris Ryan]

Yeah, he was.

[Andy Greenwald]

Did they get him? That's the trade. That's the trade, but it's not Tim

[Chris Ryan]

Hudson, Mark Mulder and Barry Z. I

[Andy Greenwald]

just have very few opportunities to prove that I've rewatched films. You know what I mean? So I just.

[Chris Ryan]

They had a good closer that year, too. It wasn't Keith Folke, but it was

[Andy Greenwald]

like, is that later? Why are we doing this?

[Chris Ryan]

Sorry.

[Andy Greenwald]

Will be like some notes about your mangling. As a longtime fan of Rotisserie league baseball.

[Chris Ryan]

Yeah.

[Andy Greenwald]

You are disgusting.

[Chris Ryan]

Greetings from Caracas.

[Andy Greenwald]

Last thing.

[Chris Ryan]

Yeah, sorry.

[Andy Greenwald]

No, I'm not about baseball. We're going to talk about the Pit in a minute. The Pit is rightfully praised for its accuracy about emergency room medicine. And we have often gotten. We get messages. But also, clearly the culture understands that people who work in the medical profession are by and large fans of the Pit because they're like, I've never seen this level of accuracy before. They could all be gaslighting me. Every single thing that they say on the Pit when they need a trauma room could be lies.

[Chris Ryan]

Sure.

[Andy Greenwald]

It could be gibberish.

[Chris Ryan]

Yes.

[Andy Greenwald]

And the show would still work. And I think that's an important test. Like, the reason that the show is exceptional to me is very little to do with the fact that they can spout differential diagnoses for almost any circumstance. Right.

[Chris Ryan]

Well, let's get into another email here from. From Oscar from Caracas, Venezuela.

[Andy Greenwald]

Oscar, close the laptop. A lot going on.

[Chris Ryan]

I just wanted to say season four of Industry is quickly becoming one of my favorite seasons of television. I agree that it is not flawless, but something being not perfect is usually a sign of greatness in the sense that it shows more raw identity and intent rather than meticulous restraint. I agree with you Oscar put that on my tombstone.

[Andy Greenwald]

Also why you died, not just your core belief system.

[Chris Ryan]

I disagree with Andy regarding episode six in the sense that it is much quote in character for the series to progress. That way they do not waste time in over explaining what you already can know because you understand the characters based on previous seasons and the dynamics between each other. For example, Harper's reaction to Eric's statements on cnn. I always got the sense that Harper had doubts about Eric's abilities because she doubts everyone's ability in front of her own. Furthermore, I agree with Chris regarding the bleakness of Rishi and Eric's return. Nevertheless, I just found the whole sending off for Eric to be really emotional. One of my favorite sequences this season is their conversation throughout the episode where Sweet Pea and Quebenna go to Accra. It provides a lot of context as to why they feel towards each other at all. I ad the FSB side of things is a risk taken that feels off putting. But is that not a reason why we love Mickey and Conrad? Sorry for the rant. Don't turn on industry. I'm not turning on industry. I mean and that FSB is real man. Read about it.

[Andy Greenwald]

Oh I thought blink twice.

[Chris Ryan]

No, just yeah, they get up to some nasty work man.

[Andy Greenwald]

Yeah, yeah, they're, they're low key winning as my daughter would say about Animal Crossing or something. Look, I just praised how the experience and the engagement afforded to industry by the week to week thing. This point that Oscar brings up very well is what makes this a challenge because and in addition to the fact that like nuance in 2026 and on podcasts is hard. Like I love this show and I love this project and I will always choose exactly how he described it. Like running towards risk and making potentially making wild mistakes much like Harper over conservative television making. Particularly when you have the bully pulpit that these guys have. The fact that to my mind so far there have been stumbles ultimately makes me more affectionate about the project.

[Chris Ryan]

Sure.

[Andy Greenwald]

But it's been a challenge because we are in the middle of something quite audacious with the season. Not the middle. We're now rounding third in the moneyball sense of things. So. So we'll see.

[Chris Ryan]

Yeah. To speak to your we'll see. I'll end on this email from Jake okay. I started my career as an M and a lawyer at a Magic Circle firm in London and have enjoyed watching industry since day one.

[Andy Greenwald]

I'm googling Magic Circle Firm I am

[Chris Ryan]

somewhat surprised to hear some pushback from Andy and Chris about the direction of the season.

[Andy Greenwald]

Do you know what that Magic Circle Firms are an elite group of five London headquartered law firms that are renowned for high stakes corporate banking and M and A work. That's a cool name. That is Circle.

[Chris Ryan]

To me this is the best homage to Michael Mann I have seen since Tenet. No one in Miami Vice or Collateral talks like a real person. And frankly, very few people in finance talk like real people either. In each case, the players are professionals carrying degrees of hollowness that are necessary for survival. Much like any espionage tale, man's protagonists know that standing on principle often means certain death. The dramatic tension for us as viewers is witnessing when they choose to take that stand and suffer the consequences, eg Eric on cnn I would be curious to know what each of you think the show needs to accomplish in the next two episodes. You continually express admiration at the risk taking on an episode to episode basis, but it sounds like you need something more grounding. Is that a through line, emotional arc, character growth or something else happy? Blah blah. And thanks for making your podcast.

[Andy Greenwald]

So before we answer the question, I would like to digress slightly and say that as perhaps American Podcast's two biggest fans of Tony Gilroy, I love people who talk like this. And we know Mickey and Conrad love Tony the person and the screenwriter. And it's a great it's a great style to chase and to pursue. I think that my criticism of some of the language this season is related to my criticism of the real estate problem in this show's history. In the first few seasons there was a more equitable it felt anyway, equitable split between work hours and nightlife hours. Now obviously the core tenet of the show is that everything is everything all the time. But often the excesses of adrenaline during the day would be equaled with the excesses of drugs and alcohol at night, which would lead to a different kind of intimacy and honesty that would then feel even more raw in the harsh glare of the trading floor in the next morning. And I felt like there was a balance created between the types of conversations people would have in suits and out of suits. Earlier this season there was a scene at in Somerset, I believe it's at Henry's party, but I may be conflating events, but there is a Harper and Yasmine scene where they are talking.

[Chris Ryan]

Oh, they're being really snippy with each other.

[Andy Greenwald]

No, they're being snippy often, but they're being a little more intimate and, like, they are friends. And, yeah, they're being a little snippy with each other, but they're being. It's from a place of. Between them as opposed to where the season was inevitably going. And I think Yaz is chopping up lines or something, which makes it tonally consistent with the previous three seasons.

[Chris Ryan]

Sure.

[Andy Greenwald]

As the story has ramped up this season, we've lost a lot of those scenes. And so now whenever characters speak to each other, they are wearing their power suits and they are speaking in their Tony Gilroy monologues to each other. And for me, that. That throws off the balance. Sure.

[Chris Ryan]

So for you, the answer would probably be feeling like that. Hey, we took the masks off. Intimacy. Coming back in the last couple of episodes to make you feel a little bit closer to the characters again.

[Andy Greenwald]

And for what it's worth, like, everything we're talking about is the project, which is why I'm always trying to be careful about how we criticize or even discuss it. The fascinating aspect of Rob and what made him so essential in the balance of the show was that when the drugs came out and when the alcohol started pouring, he became more vulnerable and more honest, and that kind of made him more at risk because the other characters just became heightened versions of themselves to a different degree. But he was always leading with his bleeding heart. And that character and that energy is gone now. Yeah. So you just notice it. But the point you made so well the other day when we were talking about the episode is there is no division anymore because Eric is living where he is working. This is a forest, not trees. Brilliant iteration of the show. It's where it was always going. It's not just defensible. It's an excellent idea.

[Chris Ryan]

I saw it.

[Andy Greenwald]

But execution is where I'm starting to get tripped up. You can defend. And not just defend. You can make really strong arguments in favor of every decision, which is the sign of a quality program.

[Chris Ryan]

There's a fan edit floating around, basically. You know, like, so when people make their own montage and stuff like that of mixtapes, of.

[Andy Greenwald]

Of.

[Chris Ryan]

Of television shows or movies. And there's one that's basically Eric's speech from the first episode of the series.

[Andy Greenwald]

Yeah.

[Chris Ryan]

And he talks about how.

[Andy Greenwald]

With a baseball bat. Or is that later?

[Chris Ryan]

I can't remember if he has a baseball bat. I think it's like, when he's doing the actual, like, welcome to Pure Point speech, and he's talking about how half of you will not be Here when we get to the end. And then it kind of goes through all the people who have been vaporized by this business or, you know, from death to choosing to go do something else, to being exiled to America, to being, you know, where Eric is now. And now Eric is one of the half of the people that he is talking about. And I don't know, I think as long as the show keeps its nerve when it comes to stuff like that. And it. I think the problem I have when shows or movies or anything dabbles in the real Michael Mann shit like that is that they don't have the guts to follow through. And then at the end it'll be like, no, actually he just needed to kind of connect with his trauma and now he's fine. It's like, that's not how this works. These people aren't fine. That's why they are the way they are in the first place. Cause they're not fine. And they don't get it fixed within the 45 minutes to an hour of a television show or two hours of a movie. So as long as it holds its nerve, I'm down.

[Andy Greenwald]

It's gonna hold its nerve. The show, I mean, shows become main characters are often avatars of the spirit of the show. And the show is Harper. And the show doesn't give a fuck. Yeah, and the show is not gonna be felled by your by the numbers trauma or your. I'm trying to think, like, what happened? Like, what was Don Draper's weakness was that he was gonna get found out. Well, Harper got found out early on,

[Chris Ryan]

like midway through the first season.

[Andy Greenwald]

Didn't matter.

[Chris Ryan]

Yeah, but then it turns into a long term trading of secrets and lies between these people.

[Andy Greenwald]

What undid Tony Soprano, he had weird dreams. Yeah, Harper doesn't dream, man. She doesn't even sleep. So not worth.

[Chris Ryan]

This podcast is brought to you by Carvana. Selling your car shouldn't feel like a second job. It should feel easy. With Carvana it is. Just visit Carvana.com, enter your license plate or VIN, answer a few quick questions and get an offer in minutes. Like what you see, we'll pick it up right from your door and hand you your check. No haggling, no hassle, no problem. Car selling made easy on Carvana. Pickup fees may apply. This episode is brought to you by Whole Foods Market. And New year means a whole new batch of wellness goals. And Whole Foods Market is the best place to start from sales on supplements and vitamins, protein powders, probiotics and much more. They've got everything you need to upgrade your routine with ingredients you can trust. You'll also find lean proteins like sustainable wild caught sockeye salmon. Plus smart meal shortcuts from the 365 brand like their ready to eat salads. Even dry January is covered with a host of non alcoholic drinks. Shop all things wellness at Whole foods market. Must be 21 plus in select states.

[Andy Greenwald]

My day kicks off with a refreshing Celsius energy drink. Then straight to the gym pre K pickup back home to meal prep.

[Chris Ryan]

Time for my fire station shift.

[Andy Greenwald]

One more Celsius. Gotta keep the lights on when the three alarm hits. I'm ready. Celsius live fit. Go grab a cold refreshing Celsius at your local retailer or locate [e-mail].

[Chris Ryan]

let's do the Pit.

[Andy Greenwald]

Yeah.

[Chris Ryan]

This will be for the. What is this? 2:00pm 1:00pm look man, it doesn't really matter.

[Andy Greenwald]

2. Oh, see, I come in with the episode number.

[Chris Ryan]

Do you know what it is? You know what time it is? It's fucking Jack Abbott time. Because we scream acab. Except for Jack Abbott. You know what I'm saying?

[Andy Greenwald]

All cops are beautiful doctors.

[Chris Ryan]

This guy on his time off.

[Andy Greenwald]

This is so funny.

[Chris Ryan]

He's doing field medicine for SWAT teams.

[Andy Greenwald]

My guy comes in in full camo drip with a gunshot impact wound from stop by his vest that he attempts to self surgery. This reminds me of when you show up for the watch. Having done four other podcasts in your free time.

[Chris Ryan]

I just need to say that this show jumped up a notch when he showed up. Like it is the absolute. It's the example of, you know how like Trent Dilfer once said about quarterbacks, there are thermostat guys and thermometer guys.

[Andy Greenwald]

Yes.

[Chris Ryan]

So some change the temperature, some read the temperature. This is what he's talking about.

[Andy Greenwald]

Which one? Which one is he?

[Chris Ryan]

Thermostat.

[Andy Greenwald]

Yeah.

[Chris Ryan]

Wait, thermostat comes in, you change the temperature.

[Andy Greenwald]

Oh, he changes the temperature.

[Chris Ryan]

Some people react, some people proact, you know, or whatever.

[Andy Greenwald]

It's like, which one, which one are. Which one are we.

[Chris Ryan]

I think you're. You're more reactive. I think you really feed off my energy. Yeah, I do.

[Andy Greenwald]

It's 100% true.

[Chris Ryan]

Jack Abbott was a necessary shot in the arm in a show where there are lots of shots. And I thought he was fantastic, but I'm almost skipping the lead here because this show knows what it has. In Catherine Lanassa. There's been the first few weeks of the season, obviously, like a lot of memes about Baby Jane Doe and you know, Dana's perhaps losing the hold on the Pittsburgh accent. There's been some talk about whether where that accent is going.

[Andy Greenwald]

I don't. By the way, it's 1:00pm I don't. Yeah, we don't need to dwell on that. I don't think she's ever done a Pittsburgh accent. She's doing Delco.

[Chris Ryan]

Yeah, she's extraordinary in this episode. And this is why this show is more than just a really cool piece of ER karaoke and a great kind of. The dignity it bestows on almost every single person who comes onto that screen is kind of. I can't really think of too many other television shows that I've seen do this.

[Andy Greenwald]

The genius, like absolute God tier artistry of this show is not where we thought it was going to be. The headlines about the Pit before it premiered was this is going to be an ER broadcast style medical show done for the Prestige era in real time. And everyone, us included, understood that to mean it'll be gorier, it'll be more intense and it will do more formalist trickery because it's given itself this almost painterly challenge of real time storytelling. Sure, it did all that and that wasn't even a stress for it. The incredible achievement of this show is really coming into focus this season in the way that in the midst of the chaos, it finds pockets of space for absolutely reverent and, as you said, deeply respectful recreations of actual medical emergencies. The fact that in episode seven of season two, there was enough space and they had enough confidence to take the space to have Dana show us what it means to be an emergency response for sexual trauma nurses. Yes, I got the letters wrong, but most shows don't have time for that. Slower paced shows don't have the time for that.

[Chris Ryan]

The PIP probably shouldn't because of the way a typical. I don't even know what a typical episode is anymore. But finish your point. I didn't mean to cut you off there.

[Andy Greenwald]

No, you did. That's the point. It finds these pockets of air to do these stories and to do them well. We joke about how there are moments where essentially the characters turn to the camera and deliver ActBlue emails to us, which guilty can't spam them all. But nothing about the representation of this traumatic event and how it plays out with people like Daena. It felt canned or forced or declarative. It was just living in the midst of an episode in which, as you said, Jack Abbott comes in in camo and is just like, you're gonna make it Buddy, we've just found the hole in your trachea. It's a miracle.

[Chris Ryan]

Obviously. It's a very raw and volatile moment. This character, Alana, is a rape victim, and Dana, and I believe Emma is the first day nurse.

[Andy Greenwald]

And you said it's sane. It's sexual assault nurse examiner. And when they first say sane, I thought they were saying saint, which also works.

[Chris Ryan]

Yeah. And it's strange to be like, this is really savvy storytelling about something like this. But. But the fact that you bring along the first day nurse allows Dana A to say, you should sign up to be one of these, because we need one and we need more of. Of these, like nurses in. In hospitals 2. It allows her to walk the nurse.

[Andy Greenwald]

Yep.

[Chris Ryan]

Through it step by step.

[Andy Greenwald]

Yeah. Like the audience.

[Chris Ryan]

So there's basically a double VO Is like, Dana's explaining to the victim, here's what I'm going to be doing. Here's what I'm doing. And then she can turn to the nurse and be like, here's how we save this sample for collection later. And here's like, why the chain of evidence needs to be strict because of X, Y and Z. And it's a just absolutely extraordinary piece of television. It's very hard to watch. It's very. But I think it's. It's sensitive and it's straightforward, and it doesn't adorn it with music, and it doesn't have unnecessary, like, banter or anything like that. Like, it is what it is. And I thought it was just a great act of television making in this episode. And Lynass is fantastic in it.

[Andy Greenwald]

Something I believe in my bones is that good storytelling isn't complicated. It's fucking hard, but it's not complicated. And as obvious as it seems, now that we're enjoying the fruits of this decision, someone in this creative team and in this writer's room had to walk in one day to the Warner Brothers lot and was like, well, the way to give Dana more screen time is to do what we did in season one with the doctors, and she needs a resident. And now all of those avenues of storytelling and of teaching are now available to this character. And that gives us different ways into these rooms and different ways to. The beauty of the show. And why I never get tired of talking about it is because we can praise it for the. The storytelling and the drama and the performances, but we can also break down the X's and O's, and that when you give more story to the nursing staff, everyone else gets a breather. Everyone else can move more naturally between rooms.

[Chris Ryan]

Princess and Dana rolling around. Yeah.

[Andy Greenwald]

When you spread the offense like that.

[Chris Ryan]

Yeah, I mean.

[Andy Greenwald]

I mean, that's the Sean Manion method,

[Chris Ryan]

I believe this, I think will stand as like where the season turned. If I express some reservations about, you know, what an average temperature episode of the Pit felt like. I always enjoy watching this show. It was really more of a just like, what does this show do when it's not Apocalypse now at this place? And I don't have to worry about that anymore because obviously the episode ends with this cyber attack or at least a feared one. And before we get there, I did want to talk a little bit about Al Hashimi, Dr. Alashimi, who's another person that we've been kind of not concerned, trolling about, but just kind of concerned about. Like, you know, it's been six hours. We're gonna get another wrinkle to this person other than them walking in and saying generative AI all the time. What did you think of the hints of something going on with her? As the young man who was sort of arrested and or brought in after being tased in his school library, he's developing, I don't. Schizophrenia, bipolar disorder.

[Andy Greenwald]

He's presenting some concerning mental illness.

[Chris Ryan]

And as I believe was it Javadi talks about that with the parents of this kid. Al Hashimi seems to have a moment, a panic. A panic goes into a bathroom and calls her a neurologist. Yeah, we don't really know what's going on there, but what did you think of adding a layer to her, dude?

[Andy Greenwald]

Also, if an attending ER physician has to do the press 2 to make an appointment menu with doctors, we are cooked. Like that made that. That stressed me out more than anything. Someone give her a real life person to talk to. I mean, it was troubling for the character, clearly, but promising for the storytelling. And of a piece with the other thing that these guys just seem to be just preternaturally gifted at, which is anticipating audience temperature and reaction. There was a period of time like the dawning of fan Internet, when Television without Pity existed. And that was the early message board where people talked about TV in a different way in terms of being fans, but also critical and also talking about the craft. And there was a real dividing line. This is in the early 2004. 5, 6, 7, 8 of people. So pre Grantlin even. But some creators engaged with it and some people didn't. But probably everyone looked and you could probably do a forensic examination of some of the TV from that era and be like, they got too deep in the boards because things became reactive. You know, like what Lost did to Nikki and Paolo is an example of reading the audience reaction to it and just hitting the ejector seat on whatever plan you have in a kind of vengeful way. What the Pit is doing at such an advanced level is it just seems to understand, like the electorate.

[Chris Ryan]

Yeah.

[Andy Greenwald]

Last week was our breaking point with Al Hashimi. This week we get depth. One thing that I've noticed in the Pit fandom is that the past two weeks seems to have been a breaking point with super fans. With Santos. There's a lot of fan anger, hatred of this character. She's so mean. She's so whatever. This is the episode where they cleared a little space for her to show those Broadway chops and sing. And that knowledge of when to drop a little bit more to draw you back in is masterful.

[Chris Ryan]

I fully disagree with any.

[Andy Greenwald]

I don't agree with the criticism, but please give me the.

[Chris Ryan]

I just think that that character is different than she was in the first season.

[Andy Greenwald]

Yes.

[Chris Ryan]

I think that her stresses and her attitude in this season are rooted primarily in her mixed feelings about Langdon being back and avoiding him. And, you know, the pressure that she's feeling to finish this the second year of her residency or whatever year of the residency that she's now worried about having to redo if she falls behind too much on her paperwork. And she's sort of being used as an example of the bureaucratic and clerical pressures that doctors under. Outside of. Outside of. Of. Of of the actual day to day job that they have to do. I think it's pretty interesting that she and a couple of these doctors, I believe would be now having to choose what to do with their jobs. So I.

[Andy Greenwald]

That came up with Javadi.

[Chris Ryan]

It did make me wonder whether we'll have some cast turnover.

[Andy Greenwald]

It's inevitable.

[Chris Ryan]

Practically speaking, we probably should. Yes.

[Andy Greenwald]

They did a rather. Rather large time jump. So they are now. These are all into their second years. Basically. They could do a shorter time jump to keep them in their current places. They could inevitably.

[Chris Ryan]

July 6th,

[Andy Greenwald]

Robbie's just rumbling away in his motorcycle. Just know while he's sitting the season out. Inevitably some of these young pups will be like, emergency medicine is my calling.

[Chris Ryan]

Yeah.

[Andy Greenwald]

But I think you're right that some won't. Some might move upstairs to other departments and then we might expand the aperture of the show to them coming in and out. You know, the show won't really go upstairs that often. Yeah.

[Chris Ryan]

It seems like it's very dedicated to staying within the emergency department and the ambulance bay of the emergency department.

[Andy Greenwald]

Sometimes the roof.

[Chris Ryan]

Sometimes the roof. I mean, it's essentially if a doctor goes somewhere, it opens it up to following them. But for the most part, it seems like it shoots.

[Andy Greenwald]

You were saying before about industry having the courage of its convictions. I mean, the pit is designed to be forward thinking and nimble and also backwards looking and comfortable. There could be a breaking point when it will have to make tough decisions about fan favorites or about losing people to gain people. That may be controversial, but that's all in the future. In the meantime, making those kinds of future decisions part of the story. It's important. Yeah. And so, like, for example, we learned this week that Javati has a fun dad. Fun dad really like that plotline that, like, I just felt like that was really, really a cool choice. Fun dad likes. What does he like? Pickleball and whiskey. Yeah, great, great. He has like a fun handshake with

[Chris Ryan]

his daughter and the mod is like, give up pickleball or, you know, give up both. Yeah, she's tough. Have you noticed? I saw you. Speaking of pit fandom, they're very attentive. The fandom is very, and I'm not

[Andy Greenwald]

trying to strawman the fandom that, like, if I go on the Reddit website, it's all pit stuff now to me, and it's all like, Santos.

[Chris Ryan]

It's not, this is not the way I watch this show, which is like looking for clues and threads and mysteries. I, I, you know, there's a couple of things that I've, I've noticed that they have, you know, this helmet thing with, with, with Robbie. With. Robbie has come up a bunch. The Al Hashimi thing with her talking to a neurologist. A couple of people have pointed out that she has done very little hands on doctoring.

[Andy Greenwald]

It's true. So like she says, do you need help in here a lot?

[Chris Ryan]

Yeah. Robbie and Abbott are often like, I'm shoving a Nerf ball into this guy's abdomen to, like, keep it inflated. She's like, I instruct others.

[Andy Greenwald]

She's quite clean.

[Chris Ryan]

But I don't know, I don't know whether that's worth noting in relationship to whatever she's talking about.

[Andy Greenwald]

To her neurologist, that's like a soccer thing, right? He keeps a clean jersey. No, no, it's a clean sheet.

[Chris Ryan]

Clean sheet, meaning you want to.

[Andy Greenwald]

Baseball is the. Baseball is what you want to get.

[Chris Ryan]

Yeah, you want to get dirty.

[Andy Greenwald]

You slide a little bit. Charlie looks like you right?

[Chris Ryan]

Just saying. That's out there. It's floating out there.

[Andy Greenwald]

So where do we think that's going?

[Chris Ryan]

That she could have a neurological problem that's affecting her hands.

[Andy Greenwald]

Oh, whoa. I didn't see that coming at all.

[Chris Ryan]

That's a guess. This is just. I am nothing. I'm just a conduit.

[Andy Greenwald]

What kind of doctor are you?

[Chris Ryan]

I go out, I get the information, I bring it to you, and I share it with everybody else. And I take no responsibility for the information.

[Andy Greenwald]

Well, you fit right in on the intern.

[Chris Ryan]

This is.

[Andy Greenwald]

You've found the perfect medium for your particular set of skills.

[Chris Ryan]

I really have.

[Andy Greenwald]

It is amazing. We still all talk about that, all of us, the old gang from New York, when a man, Chris, got in

[Chris Ryan]

a microphone, just started talking about driving and listening to gentlemoon.

[Andy Greenwald]

Which you did before there was a microphone.

[Chris Ryan]

I did.

[Andy Greenwald]

So when a man meets the moment, you can't front any other pit news. Langdon, Robbie, you know, up on the roof. That's a weird moment to shout at each other. They should get a podcast, you know, work it out the way modern men do. I don't think Robbie's wrong. You know, I, I, I think that we, We. We are.

[Chris Ryan]

He may have wanted to try and make that decision before Langdon came back, but obviously.

[Andy Greenwald]

But also he thought he was on the way out and he. And, and his. It was interesting to see Robbie's coaching style not work for all players anymore.

[Chris Ryan]

Yeah.

[Andy Greenwald]

You know, because he was. Langdon was freezing up some people and maybe it's new school, like Gen Z, sensitive snowflake stuff, but you want to be lifted up. You don't want to be put on the spot like that.

[Chris Ryan]

Yeah, I guess we can wrap it up there.

[Andy Greenwald]

I guess any couple other things just to throw out at you.

[Chris Ryan]

Please.

[Andy Greenwald]

We can move on. Santos lingering on some scarring on her leg.

[Chris Ryan]

Yes. Just cutting a cutter.

[Andy Greenwald]

Cutting perhaps. We don't really know the full story there. The Chekhov's deaf patient stressing me out. Speaking of Santos, I feel like not

[Chris Ryan]

a great match between patient and doctor. I don't think, like, Santos is being kind of beleaguered and needing to move through some stuff.

[Andy Greenwald]

Also the speed with which a lot of things get done once you actually enter the er, you know, you're out in triage or waiting for a long time. But then once you get in, usually you gotta free up the beds. And she really seems to have an unlimited.

[Chris Ryan]

Well, this is the crazy thing about this season is they've got several people who are kind of squatting you know, they've got Digby, the homeless guy. They've got Roxy, the terminal cancer patient.

[Andy Greenwald]

He doesn't want to leave.

[Chris Ryan]

And they had the prisoner who was gonna get fed, but is, I think, going up to another bed.

[Andy Greenwald]

Do you have any takes on Roxy?

[Chris Ryan]

I'll be honest, it's kind of, like, a hard thing for me to watch. It's not my, like, preferred storyline. You know, this is another plotline where I'm like, what's also happening here? That I think I will also. I think what is actually happening is exactly what we're watching.

[Andy Greenwald]

Yes.

[Chris Ryan]

But I'm like, why does she keep trying to not go home?

[Andy Greenwald]

That's the. About the show.

[Chris Ryan]

That's TV brain.

[Andy Greenwald]

No, but it's. Again, they have that brain. So this storyline could be exactly what it appears to be. That her husband is too solicitous, too kind, has given up too much of himself, and she has hit her breaking point where she does not want to be treated this way or to be in a mausoleum of her own home or whatever the case may be or. And they know it as well as we do. Is there something ominous?

[Chris Ryan]

Yeah. I mean, I think the reason why I'm even, like, wandering off into what's wrong with Al Hashimi and what did the husband do is because the opening few episodes did have a couple of zags of like, you think this guy's sick, but it's actually his wife.

[Andy Greenwald]

Oh. Remember that?

[Chris Ryan]

Yeah. So it's like. It'll play around with that. But I think once we get into the real fire of going analog, which this episode ends with. That's nuts.

[Andy Greenwald]

The CEO shows up. Trent Norris. CEO Trent Norris. Some people are born to be CEOs.

[Chris Ryan]

That's true.

[Andy Greenwald]

Wearing his little pink shorts. Yes.

[Chris Ryan]

Because he was at a July 4th party.

[Andy Greenwald]

Didn't wanna. We don't know that. That just could be what he wears.

[Chris Ryan]

I think the idea is that he has been ripped from his grill.

[Andy Greenwald]

Disagree. I think he is a fun CEO.

[Chris Ryan]

Oh, yeah.

[Andy Greenwald]

And he always dresses in bright colors and shorts.

[Chris Ryan]

Mr. Kaiser Permanente is kind of like an Hawaiian shirt.

[Andy Greenwald]

Yeah. When Pat Croce was CEO of the Sixers. And he's just like. I'm like you.

[Chris Ryan]

Yeah, that's true.

[Andy Greenwald]

I wear shorts.

[Chris Ryan]

Yeah. See you guys at TGA Fridays.

[Andy Greenwald]

It'll be fun. Yeah. That was wild. That was a. So here we go. Not that we weren't already going.

[Chris Ryan]

Yeah. Thank God they have Jack Abbott on the fucking. On the clock now. The night shift came in early, brother.

[Andy Greenwald]

What? Before we Go. And you could punt this next week if you want. But like what would be the craziest off hours thing for you to choose to do? And honestly, I think you do it because you just admitted on this podcast that in your downtime you fired up a rewatch of 000. But this dude is a night shift emergency room doctor who in order to chill out during the day goes on SWAT team raids.

[Chris Ryan]

Do you know what it would be? Honestly?

[Andy Greenwald]

Yeah, talk about it.

[Chris Ryan]

If I took down scores. If during my off hours I was actually really about this life and was robbing banks and then I came back in and potted about movies. I like that. Rob banks, get robbed.

[Andy Greenwald]

First of all, someone just sold that idea. Why didn't you keep that bat?

[Chris Ryan]

Podcaster.

[Andy Greenwald]

No. The rewatchables esque podcaster who then commits crimes inspired by the lifestyle of the criminals in the movies that he has unusual insight into. You want to go half writer?

[Chris Ryan]

Yeah. You go half. I get a piece?

[Andy Greenwald]

Yeah, you can get a touch. You can get a taste. Can I get your life rights? Because travel baseball. I just pre sold that to Amazon Baseball. Sicario, where a 15 year old catcher in his downtime in flip flops as

[Chris Ryan]

is Josh Brolin from Sicario is also

[Andy Greenwald]

Josh Brolin from Sicario.

[Chris Ryan]

Gotta wrap it up there.

[Andy Greenwald]

I guess so.

[Chris Ryan]

Thanks to Kaia McMullen. Thanks to Kai. Thanks to everybody. We'll be back on Monday. Season finale of A Night of the Seven Kingdoms and the penultimate episode of Industry. I mean, some fun guests coming up. Shorzy's back. I'm going to make you watch the first episode of the new season of Shoresy. It is the funniest thing I have seen since Eastbound and Down.

[Andy Greenwald]

That's big words. I'm always willing to do things you suggest. Yeah, you want to follow up?

[Chris Ryan]

I am always willing to do things you suggest. Except watch animated films.

[Andy Greenwald]

There it is. Just to leave people on a cliffhanger.

[Chris Ryan]

Yeah.

[Andy Greenwald]

You think it's still drizzling out there or what?

[Chris Ryan]

Yes, I do. I don't think we're going to get. And don't think we're going to walk out into brilliant sunshine.

[Andy Greenwald]

Okay, wish us luck. This might be our last bud. Hope you brought your snorkel.

[Chris Ryan]

There's a world where legends race across city skylines.

[Andy Greenwald]

Romance glossy blossoms in glittering ballrooms.

[Chris Ryan]

And there's magic around every corner. It's a world known to many as Great Britain. You've seen the action on screen. Now visit the real star of the show. Visit Great Britain to discover more go to tripadvisor.com Great Britain.