Creator Eric Kripke on Ending ‘The Boys.’ Plus, ‘Top Chef’ Season 23, Episode 10 and ‘East of Eden’ Trailer.

Summary

The Watch – May 14, 2026: "Creator Eric Kripke on Ending ‘The Boys.’ Plus, ‘Top Chef’ Season 23, Episode 10 and ‘East of Eden’ Trailer."

Overview of the Episode

This episode features Andy Greenwald (with Kaia McMullen subbing for Chris Ryan) tackling the latest pop culture headlines, in-depth thoughts on the new 'East of Eden' trailer, a lively assessment of 'Top Chef' Season 23, and a wide-ranging, detailed interview with Eric Kripke, showrunner of Amazon Prime's 'The Boys,' as that series approaches its much-anticipated finale. The tone is witty, self-aware, and often playful—especially during discussions about current TV industry trends, streaming woes, and culinary mid-offs.

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Key Discussion Points & Insights

1. Opening Banter & The State of TV/Pop Culture (01:00–16:00)

• Andy and Kaia riff on podcast titles and missed opportunities, particularly their hopes of podcasting on location in London during the Eagles-Jaguars NFL game.
  • “I think the Watch podcast needs to be boots on the ground for this event.” — Andy (03:27)
• They joke about cultural hooks to justify the trip—like tying in discussions of ‘Pride and Prejudice’ or HBO’s ‘Industry.’
• Quick sidebar on why NFL plays games abroad:
  • “I think they are attempting to grow the game.” — Andy (04:40)
• Touch on email feedback, kind filtering, and the strange experience of NFL fans in London.

2. Preview: Netflix’s Prestige Push & ‘East of Eden’ Trailer (06:50–13:30)

• Netflix is going all-in on high-prestige literary adaptations, drawing comparisons to HBO’s “steak” approach ("suddenly they're back in the steak business" — Andy, 11:53).
• Trailer breakdown for Zoe Kazan’s miniseries ‘East of Eden’:
  • Florence Pugh’s casting, tone differences versus original film/book.
  • Complaints about filming in New Zealand instead of Central California:
    • “Steinbeck is so…that area...it's basically a character in the books. And would be nice for it to be a character in the show.” — Kaia (10:08)
  • The adaptation appears “dark,” “girl-bossing” a classically evil character, possibly lost some regional flavor and authenticity.

3. Big TV Industry Trends & Release Gaps (17:07–26:37)

• Critiques the multi-year gaps between big drama seasons, notably ‘The Terminal List’ (2022–2026) and ‘Ahsoka’ (2023–2027).
  • “Four years is an insane amount of time... It just does not seem to me to be a successful strategy...” — Andy (19:08)
• Riffs on how "market inefficiencies" mean there’s a lack of good, ongoing drama in TV, replaced by fragmented event and genre series.
• Emmy nominations comparison: The shift from year-to-year ongoing series to anthologies and “prestige” one-offs.
• “Some of this is presaging the conversation I'm gonna have with Eric [Kripke], which is just like he's really good at making a show that isn't trying to answer a question but is just trying to keep it going.” — Andy (25:08)

Notable Quote

• “Some of this is, obviously, presaging the conversation I'm gonna have with Eric, which is just like he's really good at making a show that isn't trying to answer a question but is just trying to keep it going.” — Andy, on showrunning and TV models (25:08)

4. Streaming & Production Industry Woes (26:37–30:27)

• The inefficiency and bloated cost of TV production now, especially for streaming—all shows take years, despite being fewer episodes.
  • “Everything is like eight episodes now. And it just seems like somewhere along the way everything got way more expensive and also way more inefficient.” — Kaia (25:20)
• Discusses lost opportunities for mentorship/learning due to disappearing TV writers’ rooms; compares 'The Pit' (a cop show) as a model for production efficiency.

5. ‘Top Chef’ Season 23, Episode 10: Mid-Off and Personality > Cooking? (31:06–44:13)

General Feel of this Season

• Both are “genuinely enjoying” it, but Kaia notes it's because “there’s not a clear frontrunner.”
• No Buddha-like technical destroyer—just two front-runners, Anthony and Lawrence, with the rest “having a mid-off.”
  • “Let’s call it the Sherry zone. Sherry might be the most mid contestant in the last decade of Top Chef.” — Andy (32:11)
• Loss of Dwen (strongest personality left) after a technical cooking mistake “emblematic of where we’re at.”

Where’s the Excitement?

• Challenges now feel budget-limited, smaller, with less focus on “what greatness in American cookery might look like.”
  • “Maybe the personalities are outshining the food. Like, I genuinely like, like most of the people on the show…” — Kaia (34:55)
• Discussion of how the show’s post-COVID era feels a bit deflated, like the restaurant and music industries.

The Value of Winning ‘Top Chef’ (37:43–44:13)

• Andy: Winning no longer launches restaurants, but platforms for “media chef” careers.
• Kaia wonders if the show’s relevance is waning as recruiting the very best gets difficult.
• “I mean, I think I would agree that as a whole, the cooking on this season has been poor, not up to snuff.” — Kaia (35:14)
• Andy: The show is still enjoyable, the judges are great, but the overall ambition and stakes feel shrunken.

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INTERVIEW: Eric Kripke on Ending ‘The Boys’ (47:50–85:37)

[Key segments with timestamps]

a. The Show’s Origins and What Drew Kripke In (49:12–53:38)

• Kripke describes being a huge fan of Garth Ennis’s comics—first drawn to “taking the piss out of celebrities” in a world obsessed with superheroes.
  • “We started with, it would really be fun to take the piss out of celebrities.” — Eric Kripke (51:02)
• The show was pitched and begun pre-Trump. The election, and how reality began to outpace satire, fundamentally changed its direction.
  • “Did we accidentally stumble into the metaphor of the moment?” — Kripke (54:03)

b. The Changing TV Industry & Making a 'Hit' (56:02–58:05)

• Kripke on making the jump from ‘Supernatural’ (cult hit, under restrictions) to ‘The Boys’ (massive, riskier, very personal hit).
  • “For it to have this reaction is mind blowing... it was the first thing I’d ever done that was genuinely me.” — Eric Kripke (56:35)

c. Ending a Serialized Show: Choosing Hope (59:17–61:54)

• Articulates the writers’ challenge: the early seasons were focused on “naming problems,” but the last season forced them to attempt solutions—without betraying the show’s irreverent, sarcastic tone.
  • “We actually have to say a solution. So you started having conversations we had never had before…” — Eric Kripke (59:17)
• Final season focuses on hope, sacrifice, and “service to 15 characters,” knowing not all fans would get their preferred ending.

d. The Final Season’s Structure & Writers’ Room Logistics (65:07–69:12)

• Detailed look at how the writers built character arcs toward the last 10 minutes, tracking every beat for main characters.
  • “We had columns on the whiteboards for every character…And we had that last beat for all of them.” — Eric Kripke (65:57)
• They maintained a “menu” of unresolved storylines and characters to reward loyal fans with callbacks (e.g., Eagle the Archer; Adam Bourke).

e. Satirizing Authoritarianism—When Satire Feels Too Real (69:12–72:37)

• Kripke recounts reactions in the writers’ room when real-life events begin mirroring fictional, satirical ones (e.g., Trump’s golden statue).
  • “It’s not a good feeling. Like no one is sending each other the high five emoji. Got it.” — Kripke (69:30)
• Emphasis that ‘The Boys’ is about “fascist creep,” not apocalypse: “I wanted to show Berlin 1938, not Berlin 1944.”

Notable Quote

• “These are warning signs. These are not good, funny things. These are bad, bad, bad things. I’m as powerless as anybody. I think, if anything, the show has demonstrated an unbelievable ability to not change anything.” — Eric Kripke (72:35)

f. Homelander and Antony Starr’s Emmy-Worthy Performance (72:39–76:47)

• Celebrating Antony Starr’s nuanced, collaborative process and Emmy-dodging genius.
  • “If there’s any television Academy listeners: please give this guy an Emmy. Like, I don’t need any for me, but give Antony Starr an Emmy, for Christ’s sakes.” — Kripke (73:12)
• Stories of workshopping Homelander’s dialogue and psychology; Starr deeply “locked in.”

g. Key Themes of the Final Season: Fear, Power, Hope (76:55–79:03)

• Explores the “limits of fear as a cudgel”; how ultimately, bullies are revealed as powerless and thin-skinned.
• “The famous McCarthy at long last. Sir, have you no dignity? There’s a moment with which the fever breaks and you’re exposed and the crowd is like, oh, this person is insane.” — Kripke (78:05)

h. Setting Up a Spin-Off: ‘Vought Rising’ (79:19–81:35)

• How to organically introduce new characters (e.g., Bombsight/V1 MacGuffin) to act as bridges to a prequel series, without making it feel like “homework.”

i. Hopes for ‘The Boys’ Finale & Legacy (81:35–85:16)

• Kripke promises “most confrontations happen,” and wants the takeaway to be: “hope is hard…but if everyone just tries to do it a little bit every day, then we have a chance to save the world.”
  • “We really did the exercise of, what does the audience want in this finale? And let’s make sure we give it to them and don’t do that rug pull thing…” — Kripke (82:08)
• On the “privilege” of choosing his own gruesome death if he cameoed (“zombie intestine-eating, still alive” scenario—84:23).

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Notable Quotes (with Timestamps and Attribution)

• “NFL schedule…was announced that my beloved Philadelphia Eagles will be playing in my beloved city of London…” — Andy, 03:16
• “Netflix is back in the ‘steak business’…suddenly they’re back in the steak business.” — Andy, 11:53
• “Everything is like eight episodes now…and also way more expensive and also way more inefficient…” — Kaia, 25:20
• “The show is going to be worse off for losing a personality than…worse off for losing culinary excellence.” — Andy, 34:50
• “For it to have this reaction is mind blowing…To be able to do it all without any restrictions and then to have it hit, it’s a very lovely feeling when you really put yourself out there.” — Eric Kripke, 56:35

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Important Timestamps

• 03:16 — London NFL game & podcast banter
• 06:50–13:30 — ‘East of Eden’ trailer & Netflix’s prestige pivot
• 17:07–26:37 — TV drama industry woes; release gaps; Emmys talk
• 31:06–44:13 — ‘Top Chef’ Season 23, Episode 10 breakdown
• 47:50–85:37 — Eric Kripke Interview: Origins, Finale, Industry Change, Series Legacy

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Memorable Moments & Closing Thoughts

• Andy’s deadpan rants about the state of TV, the “mid-off” on ‘Top Chef’, and the generational divide on cult IPs.
• Kripke’s blend of self-deprecating humor, deep process insight, and genuine emotion about bringing ‘The Boys’ to a close with a message about resisting cynicism.
• Multiple bits about parenting, streaming fatigue, and “is anything good anymore?” energy prevail throughout.

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Summary Takeaway

This episode of The Watch offers both trenchant pop-culture critique and a surprisingly heartfelt meditation on storytelling legacies. In both the light-hearted panel and the thoughtful Kripke interview, the recurring theme is the tension between cynicism and hope—whether it’s the state of streaming TV, reality cooking competitions, or the satirical superheroes of ‘The Boys.’

If you missed the episode, you’ll walk away understanding:

• The TV and streaming industry feels stuck—but hope and craft persist.
• The Boys’ ending is less about shocking twists than emotional payoff and real-world resonance.
• Even as formats and fortunes shift, great characters (and deeply mid personalities) still matter.

Transcript

[A]

This episode is brought to you by Brooks. Running connects us to a rush of energy that flows through our world. The cheers of friends that unlock a new gear within us. The intersection of interests that inspires a run crew, the support that gets you over the finish line. Connection is why we move forward and what inspires us to keep going. Let's run there. Learn [e-mail]. This episode of the Watch is presented to you by Amazon Prime. Ever have a plan come together out of nowhere and realize you're missing something? Like a last minute beach day, a spontaneous hike, or an outdoor movie night you didn't plan for? That's when prime same day delivery has your back, getting you exactly what you need fast and reliably. So you can actually join the moment instead of watching from the sidelines. Same day delivery. It's on Prime. Visit Amazon.comprime to find millions of items delivered fast, available in select areas. Terms apply.

[B]

I need support staff to clear the room, stand up and walk now. Hello. Welcome to the Watch. My name is Andy Greenwald. I still have no official title at the Ringer, but I'm joined by someone who does. Kaia McMullen. Welcome back to the big chair.

[C]

I promise you we're working on it still. Maybe like three years from now, what

[B]

do you think my title would be? Person most desiring Parking validation.

[C]

We love to call people a talk strategist lately. So, like, I think we could probably grab you one of those.

[B]

What do you think my talk strategy is? Show up a little late, unprepared, Talk

[C]

a lot, Watch like three trailers before we get going.

[B]

Just did.

[C]

Yep.

[B]

Well, just to bring people up to speed, I have to sit in the big boy chair today. It's not very comfortable for me. I'm not wearing enough layers. I'm not wearing a hat. But Chris is continuing his drinking tour of the east coast and we miss him dearly. But thank you for stepping up. We are gonna talk about a bunch of headlines, some new stuff, and then later in the show I will be joined by Eric Kripke, who is the showrunner and developer of the Amazon series the Boys. The Boys will be ending next week, so we're talking to him in anticipation of the finale. We haven't actually done that interview yet, so I can't do that thing where I say what it's gonna be like. But I think it's gonna be pretty good. I think it'll be nice and I will let people know. I intend to have the first be generally spoiler free. Cause I am curious about what it's been like running the show essentially for a decade. It was announced in 2016.

[C]

Yeah, I know. I was gonna say that's really rare these days.

[B]

It's so rare. And he has gone through so many permutations of not just the show, but of the industry itself. So we'll talk generally about that, and then we'll pivot into some more specific things. And, Kya, I know that you wanted to join me for Top Chef talk.

[C]

Yes.

[B]

You've been sidelined from these quick fires for too long.

[C]

I know. I've made my way back from Last Chance Kitchen.

[B]

You did. You're back on the big show, and now you have to handle dessert, just like Rhoda. Okay. But the first thing that I really want to talk about with you is this might seem like an After Dark thing, but I promise it's not. So this week, as I'm sure you know, the NFL schedule was announced. I know you've been following this very, very closely. It was announced that my beloved Philadelphia Eagles will be playing in my beloved city of London against the Jacksonville Jaguars on Sunday, October 11th.

[C]

Perfect time of year to go to London.

[B]

That's kind of the time I'm always there. But I don't know if I will be there this year for any number of reasons. But here's what I want to say to you. I want to speak it into the universe.

[C]

Let's do this.

[B]

I think the Watch podcast needs to be boots on the ground for this event. One way or another.

[C]

Of course.

[B]

I think we could talk culturally about this game. I think that we could. I don't know, the Jacksonville part. Maybe we talk about Jason Mendoza from Parks and Recreation. No, I'm sorry. From the Good Place. Like that. We could bring TV into it. I'm pretty sure we could wrangle an invite to the industry set. They will be filming the final season. Then I think could do it. Or at least I think Chris could do it, because he spoke more consistently, positively about the last season than I did. Shout out to the fellas. What's the third thing? What's the third heat that's gonna get us there? And I'm not above asking people to email suggestions or to come up with boondoggles to get us there. What's the email address? I don't have access to this email account. Bwatchpotify.com these emails will be read. Not by me.

[C]

No.

[B]

So if you would like to continue, and I say you generally, the insane comments that people like to make about Me, you can do that in the email safely.

[C]

Our email inbox is very positive. I will say we get some really. We get lots of thoughtful stuff, but

[B]

you also, you're the filter. Yeah, it's very nice.

[C]

Well, Chris and I. Chris and I filter.

[B]

You guys protect me.

[C]

One thing I've always been curious about is why, why do we do. Why do we play NFL games abroad?

[B]

I think they are attempting to grow the game.

[C]

Okay.

[B]

And during my time, though, the last two years, when I would sort of see sad faced, hungover, slash on their way to getting drunk, Jaguars or Titans fans wandering around Fitzrovia, I can't say that I felt like it was making a profound cultural impact. But they do it and they do it every year. And they've played games in Brazil and Germany and other.

[C]

The fantasy football podcast went to Dublin last year.

[B]

Which camera's on the fantasy football podcast went to Dublin. So why should.

[C]

Why, why not us?

[B]

What's more fantasy football than this podcast?

[C]

When's the Pride and Prejudice adaptation going out? Can we make this like a threefer?

[B]

We need a threefer. We need a third thing.

[C]

Yeah.

[B]

So we'll do an event. We'll come to your business. I. I don't.

[C]

I don't know.

[B]

I don't know. I don't even work here, so I will do anything. But let's get there. Let's make that a goal.

[C]

Okay. And we're putting it out there now, so.

[B]

Okay. So. So I want to go to the. The game. Chris wants to go to visit industry. And you want to be Pride and Prejudice adjacent.

[C]

Yeah, I'd like to be on the ground just, you know, assessing.

[B]

So this is the Netflix series.

[C]

Yeah.

[B]

We don't have a new release date for that, do we?

[C]

It's supposed to be this year, so I feel good.

[B]

Late 2026. I think you might be right about this.

[C]

That feels good for an October release for me.

[B]

What are your Pride and Prejudice power rankings? Like, what's the definitive for you?

[C]

I mean, probably the movie.

[B]

The 2005 movie. Yeah, I've said it before. It's the number one draft pick for Movie Night in my House. And.

[C]

And I've said it before, your daughters have great taste.

[B]

Great taste. But it's impenetrable because I was like, look, there's a new series coming out. No interest. Absolute no interest. Yeah. And in fact, like, I can't even be like, look, there's your beloved Mr. Darcy. He's starring in the Miniature Wife.

[C]

Well, I think that's fine.

[B]

Yeah, the no interest.

[C]

Who do you think would have to be in the Pride and Prejudice adaptation for them to be like, yes, Sabrina Carpenter.

[B]

Okay, you think we could squeeze her in there? She's not too tall. Could probably fit her in.

[C]

Okay, so did your daughters go and see the Devil Wears Prada, too?

[B]

They did, and I think their review was perfect. Everyone looked great.

[C]

Okay, well, I'm gonna go see it this weekend.

[B]

So they did not advocate strongly for the plot.

[C]

That's fine.

[B]

But they thought everyone looked great. I was like, you really understand the assignment? You know what I mean? They get it. Next point of business, you brought this to my attention is that Netflix, which really is suddenly in the prestige business here, dropped the trailer for this long, gestating miniseries adaptation of John Steinbeck's east of Eden. This is notable because. I mean, it's notable for a number of reasons. One reason was I really feel like this has been in development for half a decade for numerous different outlets.

[C]

I feel like there's been multiple east of. Wasn't there just a Jude Law east of something that.

[B]

I don't know. Hold on. Are we in the Steinbeck Sans? What makes this interesting? There are many things that are interesting about this. The cast is bananas, and we'll get to them. But Zoe Kazan directed this, wrote and directed this. And famously, her grandfather, Elia Kazan, Hollywood Legend, directed the 1950s film that James Dean starred in.

[C]

And the Jude Law property I was thinking about was just a movie titled Eden. Oh, so we have an Eden verse.

[B]

Do you think they're related?

[C]

Nope, not at all.

[B]

This is just slightly to the east.

[C]

A group of disillusioned Europeans settle on a remote uninhabited island in the Galapagos.

[B]

That was the Ron Howard sex movie, right? And it did about as well as a Ron Howard sex movie would be expected to do.

[C]

Oh, Sidney Sweeney was in this one.

[B]

My favorite television actress. So this. So what do you think of this trailer? This is bananas. Cast. Florence Pugh, Christopher Abbott, Mike Feist. Hoon Lee. Who is the best thing about your friends and neighbors week to week? Kieran Hines, Martha Plimpton. And official friend of the pod, Tracy Letts.

[C]

Dark. Quite dark.

[B]

Yeah. You feel dark. You have dark.

[C]

The lighting was dark.

[B]

Yeah, like everything these days.

[C]

So I have not read east of Eden. I read other Steinbeck properties in high school.

[B]

Yeah.

[C]

But I mean, I love Florence Pugh, and I would really follow her anywhere at this point.

[B]

I would say that this is not how I remember the book or the film.

[C]

That's what people are saying online because apparently Florence Pugh's character is basically evil personified. And in this, they are kind of girl bossing.

[B]

Yes.

[C]

What you. Is what you said.

[B]

I did say. I did say. I mean, first of all, I think it's important. If you're going to be redoing something, you should have a different slant and you should have a new angle, a new entry into it. I do think that it's interesting that in order to film a novel set famously in Steinbeck's beloved Northern California setting, they have gone Central Valley. I'm sorry, for me, it's northern. I just live down here.

[C]

Everything above Ojai for you is northern, really.

[B]

That's really true. But you. You're actually above the Central Valley.

[C]

Yes.

[B]

I'd like to apologize to you and to our future governor, Chad Bianco for that slip up. I think they filmed the. Isn't he the sheriff who's running for governor?

[C]

There's so many people running for governor.

[B]

Listen, could we do a California politics podcast instead? I really like to. I am disgusted. Anyway, they chose to shoot this entire thing quite east of Eden.

[C]

Yes.

[B]

In New Zealand.

[C]

Yeah.

[B]

And so when they are looking. When. When Cal and Kathy are looking out over the landscape of America, they are in fact looking out over where the hobbits live in the show. Yeah, but.

[C]

Which I feel like is a bummer because Steinbeck is so. Especially that area, Salinas, like valley, Central California. It's so like it's basically a character in the books. And would be nice for it to be a character in the show.

[B]

Do you think, is the argument that. That Steinbeck's California no longer exists? That's also Matt Mahan, the mayor of Sacramento's whole campaign argument, I believe, bring back Steinbeck so that you have to sort of create it in fantasy and in aggregate and also within tax breaks.

[C]

Yeah. But I mean that just like that trailer, like, nothing about it, like you can recreate California in other locations. And I. You've seen it done many a time. That trail. Nothing about that trailer screams that area to me. I've made. I. My parents live right above the. Above Salinas, like 30 minutes.

[B]

Do they?

[C]

Yeah. So I make that drive, like, quite frequently between LA and like, Northern California. Take the 101. It's a lovely drive. Yeah. Nothing. Nothing about that trailer screen brought that back to you. Yeah.

[B]

I am interested in this for a number of reasons, but mainly as Netflix's Back to Prestige Play. It's interesting because there's this project, Pride and Prejudice, which we didn't even intend to mention. And then just knowing behind the scenes, like them maneuvering for big literary novels to try to get ahold of those adaptations, that it does seem like a return to what they were doing 10 years ago. It did seem like there was a moment when Netflix was like, why would we even be in this marketplace? We don't need to do Prestige Gourmet cheeseburger. The gourmet cheeseburger. Why do we need to serve steaks?

[C]

Yeah.

[B]

So suddenly they're back in the steak business, which made the potential Warner Brothers deal more interesting because then they would just be buying the. In this case, Peter Luger. Sorry, I'm losing the stake metaphor. But it seemed like they would be buying the thing that they were trying. The space they were trying to get back into with hbo. That didn't happen. So now they're making their own HBO shows. So we'll see. Speaking of Warner Brothers, two other small bullet points for you. One, my favorite headline of the day in the trades was Warner Brothers Pam Abdy. Half of their record breaking at the box office film team emphasizes, quote, commitment to bringing Looney Tunes back to the screen. Who said we can't do things in America anymore? I genuinely need to ask you this, Kai, as our youth correspondent, does Looney Tunes mean anything to you? Do you care?

[C]

Yeah, I loved Looney Tunes as a child.

[B]

All right, good.

[C]

And I'm sure future generations of children also enjoy some Looney Tunes.

[B]

Well, they won't unless Pam Abdy gets her button gear and brings Daffy Duck back to the big screen.

[C]

What's the Will Forte?

[B]

Yeah. Coyote versus Acme.

[C]

Isn't that. Is that not Looney Tunes?

[B]

It is.

[C]

Is that not in the Looney Tunes verse?

[B]

I believe it is in the larger Looney Tunes verse, but wasn't that canceled and now they're bringing it back, but

[C]

now apparently Pam Abdies is renewing her commitment. There's a movie that's already made for you.

[B]

Do you think that this is conn. You know how one of the reasons why the Ellisons were able to do Paramount was that they promised Trump and Brett Radner they could make. They would make Rush Hour 4. Do you think that, like, he wants to bring. Someone in the administration wants Foghorn Leghorn back on the big screen to, like, show us how it's done?

[C]

I would not.

[B]

I wouldn't be surprised.

[C]

Yeah.

[B]

Great, great, great news.

[C]

Great.

[B]

This is another thing you could put on the list of things I will be excited to share with my children that they will have no interest in.

[C]

Okay.

[B]

But I look forward to that casting announcement for Friend of the Pod, Damon Lindelof's new series, which is called the Chain. I believe it is announced as a miniseries. He wrote the pilot with Carly Rae, who worked with him on the Leftovers, and it is based on a novel that has a disturbing premise about child kidnapping.

[C]

Love it.

[B]

And he's cast Jodie Comer.

[C]

I saw that. Yeah.

[B]

I have no notes other than to say, that's awesome.

[C]

Yeah, I love Jodie Comer.

[B]

Who doesn't love Jodie Comer? Maybe Sandra. Oh, but that's only Internet scuttlebutt. I don't work here. I can say anything.

[C]

So the premise is that she. Her child gets kidnapped, and then to get her child back, she must kidnap another child.

[B]

Oh, that's out there, all right. The book's been published.

[C]

Yeah. I mean, I saw this on Twitter. I feel like that's like a.

[B]

Like, you know, this is true.

[C]

Yeah.

[B]

This is the premise.

[C]

How do we feel about that for you? Famously. No, don't let a child kidnap.

[B]

Well, how do I feel about it as an entertainment?

[C]

Yeah.

[B]

Or how do I feel about it as a premise if I was forced to do it? Let's do one and two.

[C]

It's up to you. It's your podcast today.

[B]

I think it's the people's podcast. I think for number one, I find the idea of Damon taking a really, really grabby. This will move books. This would become a gangbuster Blumhouse horror movie premise and doing Damon things to it, making it a longer series, maybe making it more psychologically complicated. I love it.

[C]

Great.

[B]

Personally, I think I could do it. Yeah, I think I could, because. Okay, the idea is, in order to get my kid back, I have to take someone else's kid. So then at the end of this

[C]

equation, you just get the person their kid back.

[B]

Well, no. At the end of the equation, do I then have an extra kid, or do I pay that kid forward to someone else?

[C]

I think you'll have to watch the series.

[B]

Who do I swap the kid with? Because I want to be clear about this. Like, there. I think there's a lie about parenting that I need to be the one to dispel on this entertainment slash fantasy football podcast. And the lie is that once you have children, you love all children.

[C]

Yeah, I like mine. Yeah.

[B]

There's some other ones I like. You know what you did, Kyle? Maybe some people are like this once their hearts expand to take in all children, but it's not like when once you have kids, Once you have kids and you hear like a kid screaming on the plane or misbehaving at a restaurant, you then have empathy with the parent.

[C]

Right.

[B]

You can still be annoyed by the kid.

[C]

Yeah, yeah, yeah.

[B]

So if I gotta take one, I'll take one.

[C]

Kids are everywhere these days.

[B]

You can just grab em.

[C]

You can just grab them.

[B]

Their parks are overflowing with them.

[C]

I love it. I feel like Jodie Comers, like has not had a great run recently, so I'm excited.

[B]

Where are we at in the comer verse?

[C]

I don't like.

[B]

What have we been doing?

[C]

I don't know. Let's pull up the IMDb I. That's. See, and that's the problem is that last duel. Oh, she was great in 28 years later.

[B]

Yeah, she was good in that. You saw that. I couldn't make it through it. Don't tell Chris. I did turn it on, but she

[C]

was really good in that. But the Bike Riders was not.

[B]

Oh my God. Remember her accent in the Bike Riders?

[C]

Yeah. That was tough.

[B]

That was a good moment on the Internet.

[C]

Yeah.

[B]

Did you watch 28 years later?

[C]

Yeah.

[B]

Oh, you guys watch scary zombie stuff all the time?

[C]

All the time.

[B]

And do you watch it in the evenings? Then you just sail off to bed untroubled. That's because you're not spending all your nights worried about who's going to kidnap your kid in exchange for their kid.

[C]

Yeah.

[B]

It's just, you can't turn it off. It's just incredible. Wonderful. My last point that I wanted to bring up, and this is something that I think that will continue to be a point of discussion on this podcast and Chris and I will get into it as these shows turn up. I believe. In the last week we had the announcements of release dates or release areas for the second season of two fairly high profile shows.

[C]

Okay.

[B]

One was Chris Pratt's the Terminal List, which was an action show.

[C]

I don't remember.

[B]

It did, by all accounts, did quite well for them.

[C]

If you say so again.

[B]

That's what they said to me. And Disney's Ahsoka in the Star wars universe, starring.

[C]

That came out what, a decade ago?

[B]

No, the cartoons did. The point is, Terminalist premiered to great fanfare in the year of our Lord 2022. July 1, 2022 is when the premiere episode of the Terminalist debuted.

[C]

Okay.

[B]

Season two is now been announced to premiere, I believe, in October of 2026. This is a four year gap between seasons one and two of each for

[C]

a show that, I mean, who watched that?

[B]

Chris this is why we can talk about it. Well, I mean, this was also part of what appeared to be Amazon Prime's successful strategy of doing pulpy, right leaning,

[C]

the Jack Ryan manosphere type things.

[B]

Yeah, Reacher.

[C]

Reacher.

[B]

Especially with movie stars. In the terminalist defense, there was a spinoff series prequel series starring Taylor Kitsch that did premiere last year, so the list was growing over the past few years. But four years is an insane amount of time to do between seasons. Similarly, Ahsoka premiered with my beloved Rosario Dawson in 2023. Okay, they. Dave Filoni, the now head of Lucasfilm, said that first of all, he said that of all the Star wars characters, Ahsoka, his own creation, is his favorite character, which is a bold choice. Um, he announced that season two will be coming in early 27, putting it right in that sweet and entire college career window of four years between seasons. And I guess what I wanted to say was, what are we doing? Like, I understand Chris Pratt's a big actor and has movie commitments. I understand that Chris Pratt at one point was a big actor and has a lot of voiceover commitments. I understand that Disney shows require a lot of post production, although I didn't think they needed this much since they do a lot of it in front of the volume which fills in the background as you're filming. It just does not seem to me to be a successful strategy to delay that long between the first and second seasons. You know, I mean, we're going to be talking to Eric Kripke soon. And there were delays between seasons of the Boys, but there was a global pandemic and a strike. They still managed to get the show out on time.

[C]

And now that they are able to, I'm watching them crank out the pit literally, like year after year at the same. Like, there's a new season every year. I'm just like, so what? Why can they do that over there and not do that?

[B]

You can make the point, you can make the argument I won't, but someone could that these specific shows are in genres that are challenging to reproduce on the old television model. There's a reason we didn't have action stars starring in these types of global action shows every year. Back when it was must see TV on Thursday night in the 90s or Star wars on TV, that's harder to do. The problem is, like with everything else in this country, we have so radically abandoned the middle in the middle class that the glaring delays here really, really stand out.

[C]

Well, and in the case of the Terminalist, why are you making a spinoff to your show before you've even made a second season to your show.

[B]

I don't know. I think you could also say, my understanding is that this has been in the can for a while and that you could point to institutional changes that Jen Salke departed Amazon, Peter Friedlander took over the programming slate at Amazon and maybe took some time to make decisions about Windows and releases and what the overall plan was. But it's a real problem and it's a problem that trickled down to like we. You just did. We would do it all the time too. Point to the Pit as the example of what you can do. I worry about that a little bit because the Pit perfected the broadcast television show for the modern streaming era. What seems to be the market inefficiency now is the good ongoing drama now. This has been something that's been an inefficiency for a while. It's not easy to say like, hey, we found a succession. We found Mad Men. Like, that's not hard to do. If it was, we would be living in a very different universe. But I do feel like attention strayed so far from those things that we just lack that backbone to our television in a way that isn't. Obviously those of us who do a weekly podcast are really feeling it, but I think audiences are feeling it too.

[C]

Yeah, it's just we need to get a little bit more serious here.

[B]

We have to get serious. Talk to your camera when you say it. I think it's okay. You have standing here. We have to, have to, have to get more serious here.

[C]

But I'm happy for Chris that his beloved terminal list is finally returning.

[B]

He loves it.

[C]

Does he? Did he actually like it?

[B]

I mean, I think that I don't want to put words in his mouth. Yes. First of all, I want to put words in his mouth, but I don't feel qualified here. Chris is a pretty easy sell for shows about guys wearing non branded baseball caps carrying guns. Yeah, it's. I mean, it's not that complicated, but I was looking at like the 10 year shift in drama series Emmy nominations and just to realize the way that event series, genre series and anthology series have just eaten the heart out of what used to be the bread and butter of our television viewing experience 10 years ago, for the purposes of the Emmy conversation, I went to 2015. So 2025. The 2015 Emmy nominees for outstanding drama series were Game of Thrones, big genre show, still managed to make it come out mostly on time. House of Cards, which at that moment was still A year to year show. Downton Abbey Year to year show, Better Call Saul Year to year show. Mad Men, the last great year to year ongoing drama. Orange is the New Black year to year ensemble show. And Homeland, the same. Like that was what we were used to having. And you can argue the merits of each one of those shows, but you understood what they did, what your relationship to them could be, and on and on. So fast forward 10 years and the nominees are. Andor one of the greatest shows of the century, but always two seasons and done with a significant gap. Slow Horses year to year show.

[C]

Hey, and they are real. They're almost like clockwork.

[B]

They have the trailer for the next season at the end. But I would argue a slow horses 10 years ago would not have made it into that category. Yeah, it would be like a nice thing to enjoy. It would not have been considered the stake.

[C]

The backbone of the drama category.

[B]

The Pit, which we just discussed. Deserving. The Diplomat, which I think quality wise, you may vary on, but I think that there is a. There's delays, but it is a good faith attempt to like have something going. Severance. See in 2028, White Lotus. Not the same show year to year and not, you know, and also you can't always count on it. Schedule wise. Paradise, Lots of fun. Deserving, I don't know. And the Last of Us, big genre show, couple years in between. And what's the Runway like? It's created to end. So some of this is obviously presaging the conversation I'm gonna have with Eric, which is just like he's really good at making a show that isn't trying to answer a question but is just trying to keep it going. But I don't know, am I. Am I drawing too wide of a net here by pointing out these long season disparities and then railing about the Emmys?

[C]

And that's another point too, is that everything is like eight episodes now. And it just seems like somewhere along the way everything got way more expensive and also way more inefficient, which is not. Yeah, I don't know. Like. And I'm sure it's like a combination of like lasting Covid effects and lasting strike effects. But, like, it just seems so confusing to me that it just takes so long to do these things. And also they cost a lot of money. And then also you get the east of Eden trailer and everything's dark and filmed in New Zealand.

[B]

Voice of the people on this one. I think there are a lot of reasons that go into it. And one of Them is of course like budgets. When you, if you have the Apple strategy, which seems to be like, if we can get an Oscar nominee to do it, we'll do it.

[C]

If we can get three Oscar nominees to put in one scene together.

[B]

Exactly. Then we'll renew it. Like Margot's got money Troubles, which apparently is an ongoing series now, that raises the price. If it's a Star wars show, if it's a Game of Thrones show, that raises the price and it raises the post production time. All that's baked into it. I continue to think one of the biggest problems is we skipped a generation in terms of teaching people how to make television.

[C]

Right.

[B]

This, this deeply speaks to some of like the writer's guilt stuff. A little bit in the weeds. Yeah, but in terms of.

[C]

Yeah, I mean, I remember that was one of the big discussions. The last round of negotiations was like, let's have. Can we have writers back on set

[B]

on set to learn how to produce so that you don't have to hire people who have never been on set to run shows and then you ship them to Budapest in control of a hundred million dollar budget and they inevitably fail and then you have to bring in more people to back them up and then you have to shut down production to rewrite the scripts. And I'm not necessarily looking at you Dune prophecy, but it could be any of the many dunes comma prophecy out there that this is not really sustainable. I think it's really notable that the pit we're holding up with good reason and celebrating it and the guys who make it, I'll have a little gray in their beard and literally they are the guys who made ER and they were on the shelf for. I mean John Wells was never on anybody's shelf, but like Scott Gemmell was like, give me a chance, I'll do it again.

[C]

Or you have something like Widow's Bay right now where you have someone who had lots of reps on Parks and Rec and now Katie Dippold is making a really good show.

[B]

It's a really good example. And I wish I could sit here with you and talk about this week's episode, but I had to watch so many episodes of the Boys to catch up.

[C]

It's okay. I also wish I could sit here with you and talk about this week's episode, but you have more.

[B]

Okay, fair. The last point about the ongoing show thing, I think it's worth discussing is when network streaming services do stumble on something that is working, they cut it short today. This week alone, Netflix announced A fourth and final season for the Night Agent and a fifth and final season for the Lincoln Lawyer. Neither of these are shows that I watch.

[C]

I watched the first season of the Night Agent.

[B]

Did you. Did you like it? It was good. The phone rings, right?

[C]

Yeah. The phone rings, and then he has to go save the girl.

[B]

So it's a horror show. Nothing is worse than the phone ringing.

[C]

I would say it's a thriller.

[B]

Okay, I. I was gonna say, when has not watching a show ever stopped me? What I can tell about these shows is that they are working in the sense that, like, people enjoy them, they understand what they are, the audience is good and consistent. Production seems to be flowing well enough. They get the shows on the air with regularity in the model that we're talking about, and yet they're ending. And I think that's when we talk about the inexperience on the writers or production side. It's not inexperience on the streamer side. It's just a disparity in goals.

[C]

Yeah.

[B]

Netflix reaches the fifth season of something. And even if there's more creative road, or if there's. In the old days, NBC would be like, this is one less problem for me to keep something going and to keep people tuning in and guaranteeing advertisers a certain thing. Netflix is like, well, now we have five years of the show and we're done.

[C]

People get to sit in our library forever.

[B]

Exactly. It's never leaving. They don't have to do any kind of costly renegotiations with cast or crew for second contracts or reflecting the success or whatever that may look like for them. And also, it's this weird brain space that they're allowed to occupy, which is. We're not. We can be concerned about our current audience of the Lincoln Lawyer, and we feel bad for them, but we are also measuring their sadness and engagement with the untold millions of future viewers of the Lincoln Lawyer who will be in our systems, in our ecosystem, discover a show and be, like, sick. Five years of it. Yeah, probably in their algorithms. That's more millions later.

[C]

Yeah. Like, how many people are waiting for the next season of Lincoln Lawyer versus

[B]

how many people might discover it and be excited to find it? Another reason not to cancel this month. And that's cheaper for them. So, anyway, all of this was this segment of the show that I like

[C]

to call Everything is bad.

[B]

We're screwed. Everything is bad. But everything is bad.

[C]

And nothing works anymore.

[A]

This episode is brought to you by Amazon Prime. Ever have a plan come together out of nowhere and realize you're missing something like a last minute beach day, a spontaneous hike, or an outdoor movie night you didn't plan for. That's when Prime's same day delivery has your back, getting you exactly what you need fast and reliably so that you can actually join in on the moment instead of watching from the sidelines. Same day delivery. It's on Prime. Visit Amazon.com/prime to find millions of items delivered fast, available in select areas.

[B]

Terms apply before we bring in Eric Kripke. Kaya, your silence on Top Chef has just been too much. We need to talk about Top Chef.

[C]

I really enjoy this season.

[B]

Tell me. Tell me where you're at with it and then we could talk specifically about this week's episode. I will call up the specifics.

[C]

I don't know why I was trying to figure this out last night. I don't know why I'm particularly enjoying this season more than others. I think it's because there's not like a very clear front runner.

[B]

Yeah, there, there, there is. You could argue after this week there is, but I know what you mean. There's not someone who is doing donuts. Not literally making donuts.

[C]

Yeah.

[B]

Dunking on everyone week after week.

[C]

Yeah, exactly. Like, there's not a Buddha where it's this, like. And like, that can be fun to watch where you're like, wow, this guy is just like a master of his craft and like, he's just like dominating. But I mean, the key to reality TV competition shows is kind of that you need to not know what's going to happen next.

[B]

True.

[C]

And also I like, I feel like all. There's like Anthony and Lawrence who are kind of like the two front runners, tier one. And then everybody else below them is kind of having like a mid off.

[B]

Let's call it the Sherry zone.

[C]

Yeah.

[B]

Sherry might be the most mid contestant in the last decade of Top Chef.

[C]

Yeah. But like, that's almost it. Almost. Because there's so many mid contestants, it's almost fine, I guess. I don't know. And then you have like, Rhoda, who's

[B]

just, like, very inconsistent.

[C]

Yeah.

[B]

Let's say. I think, I think I'm struggling with it and I'm trying to identify. I'm trying to identify what the major problem of the season is, like, because there's a bunch of stuff that we could list, including, like, the clearly reduced budgets that they're dealing with in these last few years. They got outside.

[C]

They got outside the

[B]

de emphasis of the quick fire as Something that has anything to do with what. Again, this week was different. This week did lead directly into the elimination. But broadly speaking, the quick fire is just brand management and cash winning, which is not really related to the larger competition. Maybe this is just like the glorified bubble that I allowed myself to exist in because this is the only competition show that I watch. It did feel in many. It did feel in many years that we were seeing some sort of real time conversation about what greatness in American cookery might look like. Like when, you know, when Chef Eric shows up with West African ingredients that the show had never brought in before. And I'm like, oh, this is now new. A new line of conversation has entered the chat. Or Buddha's like, absolute technical excellence versus and I'm not gonna be able to name contestants off the top of my head anymore. But like, versus, like grueling. But like, there were people who are like, well, what I do is more soulful and homey versus technical brilliance. And what does that look like? And are we entering the era that I think Chris has talked about, like the Survivor era, where there are people who are students of the game coming to the show? And that's kind of what Buddha was. He's like, I know how to win this. I know that he cooks at a restaurant in New York and people enjoy it, but I don't think he's gonna be the face of cuisine. He's the face of competitive cuisine, which is a different thing. And was, you know, maybe not my favorite either, but interesting to watch in the dynamics. The fact that. That this week felt so crushing because we lost Dwen, who was by far the most engaging television personality, but failed to cook the fish properly in a fish challenge was kind of emblematic of where we're at.

[C]

Well, and lost your. Your nemesis.

[B]

I've heard that Seeger stands are big in our emails right now.

[C]

Yeah, there's a lot of justice for Seeger.

[B]

How many burners do you think Seger has right now?

[C]

I mean, he looks like a guy

[B]

who would have a few, but I feel like that was. I don't remember the last time that happened where I was like, the show is going to be worse off for losing a personality.

[C]

Right.

[B]

I see what you're saying to worse off for losing culinary excellence.

[C]

Maybe that is why. Maybe that's a component of why I'm enjoying this season more, is because I. Maybe the personalities are outshining the food. Like, I genuinely like, like most of the people on the show and like, I think each I was sad to lose the other, the brother. And I was really, I've been really enjoying that dynamic.

[B]

Yeah, that was nice.

[C]

But yeah, I mean, I think I would agree that as a whole, the cooking on this season has been poor,

[B]

not up to snuff. And then I think you notice then I've said this every week. I just think editorially, they know what they're doing in a way that is confident and good. And the judging panel, those three are phenomenal. And when they bring in old friends, like an emeril or something, it does elevate it, but it feels so small week to week. Like, even when they went outside, you know, to go fishing, the challenge was just like using these small fish that they or their associates managed to catch and serving them to a very small table of people. And it's like, in a way, I mean, maybe in a way, it's representative of the world that we never recovered from COVID because there's an element of the season that feels like it's still a little pandemicy. Like we can't let that many people in and we can't let them go out.

[C]

They came out of COVID so strong.

[B]

So strong with that global all star season.

[C]

Yeah. And I wondered what's. If what's happening now is kind of also parallel to what's happening right now in like the concert, like, industry where people came out of the pandemic and they were so ready to like be with other people again. And so it led to like a huge surge in like tours and like ticket prices and blah, blah, blah. And now people are kind of like, okay, I did it, like I was with the people again. And now I can't really justify spending $400 to go see like a mid level person.

[B]

And plus, if you're out there, your kid could get snatched by Jodie Comer.

[C]

Exactly.

[B]

Gotta be careful.

[C]

That's what I was thinking about too.

[B]

I knew you were thinking about that to me.

[C]

But I wonder too if it's now with the same thing with the restaurant industry, where post Covid people were so eager to be out and like at restaurants and trying food. And now that's kind of waned and what we're left with is really, really high prices and like, it's kind of like, do I need to go spend 200 on a meal?

[B]

Like, listen, our podcast where we just talk about how mid all Los Angeles restaurants are and also how sad our politics are. I don't know if we would do numbers, but like, like the experience of staring at the ballot we got in the mail, and then staring at postmates and being like, man, we are cooked. Like, I don't want anything on either of these lists right now. Is a real, real problem.

[C]

I think it's expensive and nothing really works anymore is kind of the general theme.

[B]

A hundred percent.

[C]

I have a question for you. Does it still mean something to win Top Chef if you are a chef, does it still mean, like, does that still carry a lot of weight?

[B]

Do you feel it's a great question. I think broadly speaking, it doesn't in what we might have once thought of as a career. But I think that long ago, the path, the traditional path for restaurateurs and cooks diverged where the first few seasons, the first 10 winners of top Chef, I think almost to a person, immediately opened a restaurant with their winnings in their hometown. And. And some of those restaurants thrived. Some of them, like, we're recording in Spotify, there's a girl and a goat, which is Stephanie's restaurant here. A lot of those restaurants closed because most restaurants close. And really the path open to winners is to become professional media chefs. And the migration from the Top Chef universe into the Food Network universe, like, immediately start competing on those shows, immediately start hosting things over there when those used to be a much bigger, thicker firewall between them that's vanished. Or like Buddha, who immediately went on to the Padma's rival show to compete on that, do a circuit now. That's what he's good at.

[C]

We also get a lot of emails about how your silence is noted on Padma's cooking show.

[B]

The reason for that does. That's not. That's just like, I don't have time to watch it. And then it was like, six weeks in. I'm interested. I mean, she got good cooks to be a part of it. I've heard that the competition level is really good, but that the production for, like, the first season of a show has been spotty in terms of, like, actually executing it. I don't know. I mean, it was interesting. So Dwen got kicked off, and she was a sparkling personality. Two personalities at times. When she asked Jonathan, Dwayne. Yeah. When she said to Jonathan, do you want to call your brother? Was low key. One of the most savage things ever said on this show. But she immediately did. Went on her Instagram and once the elimination aired and did a ama. And of course, all the questions are about, like, would you go on Tournament of Champions on Food Network? Would you come back for an all Star season? Would you do that. And she's like, yes, yes, yes, yes, yes, yes. I think that the brand is the front of house person that she did more than.

[C]

Right, I see. Yeah. Cause her cooking was never particularly.

[B]

I mean, it seems like it's what I would. I would want to eat those things.

[C]

Yeah.

[B]

But either you. To do that, you either move to a smaller town in America and open the restaurant that does that and devote yourself to that life. Perhaps Widow's Bay needs some Vietnamese flavors, or you become the public face of something. And that's also not something that every chef can do. I mean, I do think it's interesting that, like, Brandon is in. I think he's in Montana, like, some of these rotas in Hawaii, that they're pulling chefs who are able to make their life and their restaurants work outside of the major spotlight cities. But what it means, I don't know. I mean, I don't watch any other competition shows. So do you feel like, is Top Chef still meaningful and entertaining if it is just another Food Network tournament of champions where a bunch of interesting people run the race? You know, it definitely always succeeded, you know, in. In terms of the reception, because it was like, well, Tom Colicchio is here, and we get Danielle Ballud to drop in. And this is, like, the gold standard.

[C]

Yeah.

[B]

Does it matter?

[C]

Is your pool of contestants getting smaller and smaller because less people are incentivized. Incentivized. Like, your best chefs are like, I don't really need to do that anymore. It doesn't really mean a whole lot. Then that might be the reason why season after season, like, the. We're getting less of an interesting cast.

[B]

Yeah.

[C]

I mean, I. My theory with reality TV shows is that they're almost always best at the beginning when you're not especially. And this is, like, less for, like, reality competition shows and more for just, like, a housewives type of deal. But, like. Like, Love is Blind really faces this where, like, it was really great at the beginning when it was, like, lesser known. And so people, in theory, were more on the show to actually find love. And now people are just on the show because they want to, like, launch their influencer career.

[B]

Yes.

[C]

And it just gets all. A little too meta and a little too boring.

[B]

Yeah. People go on Top Chef. They know what the score is at this point, and it's. You know, every so often, you'll get a sous chef who's like, my boss was this champion, and now I want to come on and do the same thing. And, like, they're sponsoring me almost to. To have my chance to do it. But otherwise, there's also these just changing trends in. In dining where, like, 10 or 15 years ago, like, Voltaggio Brothers would be like. Or Richard Blaise would be like, the assignment is to make a cheesecake. I will reinvent cheese and cake. And that was a certain type of energy and a certain type of show. Trends in dining are definitely more like, how much homier can we make this? How many ways can we do a smash burger? How many ways can we do fried chicken?

[C]

How many ways can we do an elevated Chili's?

[B]

Exactly. And that or all restaurants want, and they should want to be Houston's or Hillstone group, like, which I love. But you want to see the imagination.

[C]

Do you find me bashing?

[B]

It's as good as it gets, but I don't know if I want to watch that in a competitive setting. And so bringing it full circle to this season, like, what Lawrence did this week, I would. I would pay money any night to eat what he made. Like, the classic Chinese style steamed fish with rice inside. Like, that is exactly. That is my favorite thing to eat, as Chris loves to mock me for it.

[C]

You like a steamed fish?

[B]

I love a delicate fish over rice. But it is reflective of where the show is at that he seems like on a glide path to certainly the finals by just executing something very, very, very well. Or like, no shame in that.

[C]

But was it Rhoda who just gave them, like, the fried fish over, like, a pureed.

[B]

Yeah, she cooked it perfectly in that.

[C]

And so, yeah, at, like, whatever week we're at, is that it's.

[B]

Right. That's a great point. That's a great point. And is that a fault of the challenges and the ingredients and the budgets, or is that just where they're at? Where they are, like, scrambling to stay alive, where if Dwen had just cooked the fish, it was uncooked, not only would she be safe, she would have been in the top three because she did something that is from her perspective, from her culture. Everybody liked, and it would have been done well. What was exceptional?

[C]

Yeah.

[B]

Nothing. Really?

[C]

Yeah.

[B]

Damn.

[C]

So where do you think they're gonna

[B]

go next place in America? Yeah, whoever gives them a tax break. Like, there's always someone on Reddit who's just like, I have looked in the city records of Charlotte, and I see that they got $1.3 million to film there. So that's also why they will likely never. I mean, you know, we'll see if I'm wrong. And maybe Gail can talk about this. If she comes back on. But I don't think they will ever be back in la, New York, Chicago. People are like, will they? Obviously I would like this. Why don't they go to Philadelphia, which has truly great restaurants right now? And the answer is Philadelphia does not have a. From what I understand, there's. There's no line item budget for attracting. They do have. I do believe they have some Hollywood tax breaks and credits, but I think I read that they do not pay productions outright to come as part of, like, civic boosterism.

[C]

Bummer.

[B]

I know. They're too busy just letting people park in the middle of the street and, you know, sell their tickets to Knicks fans.

[C]

I will say, as a whole, I want to read it. I am really enjoying this season. And I love Top Chef.

[B]

Oh, yeah. But it wouldn't be a podcast.

[C]

I know.

[B]

If we didn't pick knits. Yeah. Kya, thank you for sitting in with me. It's always a pleasure.

[A]

Wow.

[C]

We went right up to the wire.

[B]

Right up to the wire. And we didn't even get to Book Talk, so we'll have to circle back to Book Talk. Did you read Playworld by Adam Ross?

[C]

No.

[B]

Okay, well, maybe we could. Maybe you can. Well, Chris made me read it, so it's good.

[C]

I know that's what all the dudes want to read right now.

[B]

It's true. All the dudes. Man, I got a zag. All right, give me. We'll go offline. You'll give me a book that the ladies like. We'll get right back to it. In my interview with Eric Kripke. The playoffs are here and you can predict the action all the way to the finals with FanDuel predicts. Follow all the playoff dishes, swishes, wishes and misses. Predict the spread the total points and even the game winner. Sign up for FanDuel Predicts and predict it from the couch. Offered by FanDuel Prediction Markets, LLC, a registered Futures Commission merchant.18 Trading derivatives involve significant risk and may not be suitable for all investors. Manage your activity with our consumer protection tools.

[A]

This message is brought to you by Apple Card. Hey, you could be earning 2% daily cash back on that purchase. And that one and even that one. That's because Apple card users earn 2% daily cash back on every purchase, including everyday items they buy online or in store when using their Apple Card. With Apple Pay, not an Apple Card customer, you can apply in the Wallet app on iPhone, subject to credit approval. Apple Card issued by Goldman Sachs bank usa, Salt Lake City branch terms and more at Apple co benefits for adults

[D]

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[B]

tremphyaradio.com I am thrilled to be joined once again by the showrunner, the developer, the lead voice behind Amazon prime series the Boys, Eric Kripke. Welcome back to the Watch.

[E]

Hey, thanks for having me.

[B]

Very happy to have you. Because we are talking at a fraught, not vought time. We have just watched the penultimate episode of the series, the seventh episode of season five. So we will at some point talk about the events of that episode and the season and look ahead to the finale, which I have not watched, but I kind of wanted to, instead of starting at the end, start at the beginning. Both to avoid spoilers, but also I'm really, really curious about this journey. So if you don't mind, I want to like make you send your mind all the way back. I realized this morning that the Boys was announced as a TV show in April of 2016, which was a decade ago. That's 10 years of your life and the world has changed enormously since then, both politically, culturally and specifically to our conversation within the industry. It was announced as a Cinemax original, I believe at the time. Could you talk a little bit about what drew you to the project then, what you thought was cool, interesting and relevant 10 years ago, considering how much all of that must have changed since.

[E]

Yeah, I came into it first and foremost as a super fan of Garth Ennis, the author of the comic, and for my money, Preacher is one of the two or three best comics, period.

[B]

Did you also have the experience? I did, which is inappropriately reading it as a teenager and having your mind blown but in a way that you could never Explain to anyone around you.

[E]

I did, except I was like 22. But yes, close, but it's fun. What's great about his comics is you really can't read them in public. You really have to shoulder it in case you get arrested for indecency, which

[B]

is great socially for 17 and 22

[E]

year olds reading, especially when you're on a plane and it's your job to read that issue of the Boys and you're sitting next to a kid.

[B]

Well, Eric, you've done that to me because I've had had to catch up on the Boys while traveling. And so my laptop is open with unspeakable things. So thank you.

[E]

And now you can't go 500 yards within a school. So I was really into just Garth Ennis. And so I found the Boys as a comic and read it voraciously. And then I was talking to a producer friend of mine, Ori Marmer, who had the rights, and I just jumped all over it. Around the same time, Seth Rogen and Evan Goldberg were coming on board as well. So we all met and just kind of came on together. And we started with, it would really be fun to take the piss out of celebrities.

[B]

Right.

[E]

You know, Seth's pitch when we first went around town was, what if Iron man was Robert Downey Jr. Good pitch. And then I would pitch the story. So it started with, like, almost in a proto the studio way, which is Seth and Evan know an incredible amount of insider knowledge about celebrities and the industry and how celebrities are packaged. And we're going to put all of that into a superhero show and make the world's most realistic superhero show.

[B]

But it's interesting because at the time, like taking the piss out of celebrities, sort of knocking superhero culture down a peg just as Marvel was ascendant, that that was enough, I would imagine, to get you some interest and maybe a green light at a certain point in your development process. Reality began to outpace fiction, I think, in ways that probably surprised all of you. Was there a moment that you point to as like an inflection point where things that you may have thought were extreme or wild or fun in the comic or in your writer's room were suddenly becoming plausible? And you may have to rethink some of them.

[E]

There's more of like, a couple small moments. I mean, you know, we took it out and pitched it before Trump was elected, for example. And when we first started talking about it, he was the insane dark horse candidate that no one took seriously. If you can go all the way back to that. And so it was a few things. It was. I had dinner with Garth Ennis and I was picking his brain about

[B]

what

[E]

he liked about, like, what inspired him to make the boys. And he, and he said something and again, this was, this was before the election. And he said, you know, he's like, I was thinking about how terrible some celebrities behave, but ultimately they don't have that much impact on the real world. You know, he said, but what if they had the impact of politicians? So what if you crisscrossed celebrities with authoritarians? What would happen? At the time, honestly, it washed right over me. I was like, wow, that's a kooky sci fi concept, my man.

[B]

Are we ordering desserts?

[E]

Yeah, yeah, exactly. And then obviously Trump was elected around when we were initially developing, you know, I may have written the pilot, but we were, you know, starting to put a room together and really develop what's this show? And that sort of came back to me. And I was looking at the characters and I said, yeah, they really are, you know, forward facing celebrities and reality TV stars with the souls of authoritarians and fascists. And suddenly that was happening in the world. And I said to one or two of the other writers, I said, did we accidentally stumble into the metaphor of the moment? And we sort of felt like we were talking about the current world we were living in, maybe more than any other show. And most importantly, we were way ahead of everybody else. Right. People were only then just starting to take out pitches and stuff, and we were heading into pre production. So I'm like, we can get first to market, which is part of the game too. And we can get first to market with maybe one of the most current shows on television. And wouldn't that be amazing if our superhero show could also be a satirical metaphor for not just the celebrity world we're living in, but the political world.

[B]

I'm also curious if you can think back the major differences. Again, this is from the 10 year window of like, okay, you're talking to Seth and Evan and you're pitching something to Cinemax versus you are bringing this ship to a close for Amazon prime in a very different world. In terms of. I'm wondering if you have an ability at this moment to reflect on what the show became versus what you initially thought it could be. Your own expectations, what has surprised you and its role within, like, what it means to make a. This is very broad, but I'm specifically, like, what it means to make a show feels so significantly different 10 years on post Covid, post strikes, post so much.

[E]

I think this show frankly succeeded far beyond my wildest dreams all the years on Supernatural. So I've been on a show that has gone years and years. And granted I left it after somewhere in between seasons five and six, but

[B]

we should note that it ran another 10 years.

[E]

Yeah, then it ran another 10 years.

[B]

Crazy.

[E]

But we always said the whole time, like, it sure would be nice to be a hit instead of a cult hit. And the Boys just to be on a big fat hit. And it captured the zeitgeist and it captured politicians attention and Barack Obama is telling people to watch it. And it was incredibly gratifying because it was the first thing I'd ever done that was genuinely me because I was, you know, I had network standards and practices for anything I did for Supernatural. But to be able to completely do my sense of humor, my influences, which is like half Sam Raimi and half the movie network and what I find important and interesting and funny and to be able to do it all without any restrictions and then to have it hit, it's a very lovely feeling when you really put yourself out there is weirdly the most personal thing I've done. And for it to have this reaction is mind blowing. I mean, it's never gonna happen again, but it was a nice ride.

[B]

Well, first of all, we don't know that, as your show has proved, we don't know a lot of things about what's to come. One of the things that I admired and always commented on and complimented year to year was what it felt like watching the boys was for all of the forward facing, you know, as relevant as looking at the news ticker stuff that you were playing with, like as the fissile material. The show had old bones in the sense of like, these characters are on this story, these characters on this other story. We will tell a story this episode that will build into a larger jigsaw puzzle, et cetera, et cetera. And I love that about the show. And I wondered if you could thinking of that sort of how to make the trains run on time element of TV that you learned in the trenches of your previous jobs. How do you approach a final season? Because I think inevitably when you end a serialized show, you choose the answer and you choose the question that it was asking the whole time. It's no longer about all the fun things that you could explore. It has to be about one thing. How did you decide to make that turn into the final leg of the race? What was interesting to you to settle on as it was time to Wrap it up.

[E]

Well, what was really challenging and interesting was we had spent the first four seasons talking about pointing out everything that was messed up in the world. Nothing but naming problems. We were naming problems for years. And then finally, in the fifth season, we all look at each other and we're like, we actually have to say a solution. So you started having conversations we had never had before, which is like, where do you find hope in the world? How do you think we make things better? How do we get that in the show without being deadly earnest? Right. Because it's a show that sort of lives on its. I wouldn't call cynicism, but it sort of has this irreverent, sarcastic vibe. So you can't suddenly become, you know, Jimmy Stewart, Mr. Smith goes to Washington. You have to couch it in its tone. So how do you get all that across was a big thematic concern for us. And then how do you properly service 15 characters in a way that feels satisfying and emotional? And that was, you know, our attack. You know, look, finales are hard, people. What I've come to really very much realize as we've been airing it is everyone has a very distinct idea of what they want the finale to be.

[B]

Always. Yeah.

[E]

And when you're not doing the thing that they had in their. The vibe that they had in their mind, they're very vocal. But I approached it, and the writers approached it of, like, we've always put the characters first. Like, we're just going to keep doing what we're doing in that. We're going to track, you know, through every episode and then those, as you said, through every episode, and then puzzle pieces into the season. We're going to track these characters to their conclusion, and if we get that right, then everything else is gravy.

[B]

I think it's such an interesting point, and I want to drill down on it. And so this is. I'm going to jump into some spoilers for the season through episode seven on this, but specifically, when you're talking about what. What fans want and the way fans engage with the show and the way audiences broadly engage with the show, I think it's interesting to, like, let's carve out, like, what happens with Kimiko in episode seven, which is, like, you can look at it in terms of, like, the plot, of trying to expose her to radiation to give her a power that might kill Homelander. That's not something that was seeded like, that emerged in this episode. But if you watch it as the a. The A plot or the A side of the Record that is about the end of her relationship with Frenchie. Then it becomes something quite different. And so I think it's interesting to consider the way an audience who is gaming out a season and gaming out character and plot might bump up against something that I would imagine not to put words in your mouth. And I'd like to hear your perspective on it. You were building from the other side of that wall a few things.

[E]

I mean, one is, you know, obviously we were building towards spoiler Frenchie's death. And so we wanted Kimiko to be. You know, we wanted to talk about this episode as if Kimiko's. We were trying to put in all the clues and breadcrumbs that Kimiko was gonna die by the end of the episode to try to take a little bit of the attention off Frenchie. I think with frankly, middling success. I think once Frenchie starts talking about

[B]

his future, I was gonna say it was a McBain Simpsons moment when he's like, and we can adopt a dog. The three kids.

[E]

Sure. But yeah, yeah. When Scoe is gonna have by the boat called the live forever. Exactly. Right. No, for sure. But. But, you know, there's also. I. There's also something like you're watching this slow motion car crash and you know that it can't be averted. And so we wanted to do that. We actually went back because we always do. One big value of streaming. I'm sure you know, it on the shows you work on is most of them are written before you shoot. And so you could really go back to episodes. You know, once you really have a better handle of how the ending is going to work, you can really go back and seed them in. So, you know, as early as I think episode four, Butcher is having witnessed Soldier Boy depower that guy in the wall, and you see that his wheels are turning. He's watching the Soldier Boy video in episode five. He's carrying all this weird equipment into the back. And he says, me and Frenchie are working on something. Because proper planning and preparation, you can start seeding in all these things that they're actually in the background of the show. They've been doing this all along. And so that was valuable. But yeah, to me, the moment is about the end of the episode. You're building to ripping those two apart and really showing that if there's going to be any victory, it's gotta come with terrible sacrifice.

[B]

There's no way to get too granular on this answer. Cause I think our audience is interested in what goes on in Writers rooms generally. I wonder if you could talk about the process, especially for this final season, of, like, addition versus subtraction. And what I mean by that is I wondered if you had a whiteboard where you wrote every single dream thing that you and your team hoped to get on the screen, whether it's bringing back PJ Byrne or killing Seth Rogen or giving, finally, the dog vomit POV that the audience had been demanding versus all the things you have to winnow away to, as you said, service 12, 15 characters. So I don't know if it's worth talking about just in terms of the whiteboards themselves or looking at a character, if it's easier for you, like looking at Huey or something, like, all the things you want for someone versus how much you have to take away and trust that, like in the Coco Chanel line, less is more.

[E]

Well, I mean, a lot of it came. It's a good question. And a lot of it comes out of the first five, six weeks of the room, because that's when we're really more than anything talking about the overview of the characters. And I think the thing we were most clear on was the last 10 minutes of the finale. After the big fight and explosion, we sort of knew where we wanted every character to end up. So we have columns on the whiteboards for every character and call it beats 1 through 10 or whatever that stretch over the eight episodes. Sometimes it's more, sometimes it's less. And we had that last beat of all of them. And so then it became, all right, well, what's the first beat? What do we think is in the middle? How do we make it feel so that they're moving and growing and turning to get to this ending that we want to get to? And then whatever didn't service that, usually that was a good clue that it had to. It had to go away. I mean, we throw in jokes and moments and satire and our usual nonsense, but the spines were always looking at what they needed to go through to hit the beats that we needed to hit. Like, there's a written on the board for episode seven was, we need to remind Hughie and remind the audience that Butcher will murder anyone who gets in his way on his way to his ultimate goal and to beware. You'll see in episode eight that that becomes an important piece of information. So they're all built of a piece. The other thing we did, because I heard anecdotally that this is what Breaking Bad did, and I liked the idea is we had our writer's assistant Go through every single loose end, every single character that was alive, every single storyline that we left on the floor, and they had an entire board filled with it. And so it's sort of a good buffet. Right. When you're looking for what's a story that we want to play or what's a character, we're like, well, let's go to the board. Is there something we can pay off that we set up seasons ago? And then we'll look like geniuses, because we did that. And so that's where, like, bringing out Eagle, the archer again. And, you know, Langston's great. Yeah. Like Adam Bourk and, you know, all those things came out of just having, like a menu up that we could play with internally.

[B]

What is the reaction, like in the writer's room when someone suggests a gold Christ, like, Statue of Homelander vs 2 weeks ago in your writer's group chat when someone sees the gold. Gold Christ, like, statue of Donald Trump that everyone is prostrating in front of? That seems like a full circle moment.

[E]

It's not a good feeling. Like no one is sending each other the high five emoji. Got it.

[B]

Yeah.

[E]

Yeah. It's only like, this is really creepy. And what people have to remember is we wrote it two years ago. Right. We wrote it before he won his second term. So we're trying to come up with. Here's what's really scary and unsettling. I think we weren't even reacting to the shit that Trump pulls like we had in previous seasons. That was not what we were studying. We were studying countries that had authoritarian creep and what that looks like in its early stages. You know, that golden statue is a Saddam Hussein thing. That wasn't. That's where we got it from, you know, and going into sanctuary cities and, you know, starting to claim yourself as thereby divine right. And we were, if anything, we were really looking at history. Because the truth is. And I think some fans I've seen are expecting, like, oh, it should have been this apocalyptic battle deep into World War II or something. And that just one, we can't afford that. But two, that's not the story I wanted to tell. I wanted to tell the story that the fascist creep to. We're building camps and we're moving people into camps. What's scary about it is it looks like the world you're in. There's no moment where the switch flips and Thanos is there and suddenly it's some big apocalyptic fight. It's your world with groceries and reality shows and Soap operas and the people in charge saying, oh, this is absolutely the patriotic, right thing to do. And so I wanted to show that world. I wanted to show not Berlin 1944. I wanted to show Berlin 1938. And so I can't tell you how unsettling it is that when every one of these things come true and it's based on something we found in Eastern Europe or Germany or one of the banana republics, because they're all warning signs. And so when everyone's laughing like, oh, my God, they did it. I'm like, no, you guys, you feel a little bit like the dude at the end of Invasion of the Body Statures. You're running up and down the street and you're like, no, these are warning signs. These are not good, funny things. These are bad, bad, bad things. I'm as powerless as anybody. I think, if anything, the show has demonstrated an unbelievable ability to not change anything.

[B]

What a legacy, right?

[E]

Right, Exactly.

[B]

We can't talk about the gold statue without talking about the man and the actor who inspired it. Because as a longtime holder of Antony Starstock, as one of the world's biggest Banshee fans, I knew that this guy could do anything, but even I didn't know he could do this. And I wonder what the experience has been like writing for an actor who almost. Who I think is deeply underappreciated in this role because people just think that's what he's like or that's what he's doing, but he is capable of pushing it. He finds new layers to this very, very complicated, flawed monster week to week.

[E]

He's astounding in the role. And if there's any. If there's any television Academy listeners like, please give this guy an Emmy. Like, I don't need any for me, but give Antony Star an Emmy, for Christ's sakes.

[B]

The thing that will convince them is the do POV sex dream where he offers his ass to the dog. I feel like if you can get someone who's for your consideration to consider that part of him.

[E]

Well, if nothing else, we could put up that clip as he's going up to accept the award.

[B]

Absolutely. I mean, what more does this man have to do to earn your respect?

[E]

But to answer your question, it's an incredibly collaborative process where we'll write what we need the story to be. And then I have a lot of really in depth conversations with Ant where we go over every line, and I completely welcome it. I actually love that process when somebody is as locked into the character as he is. He never says the character cliched actor things of like, well, why don't I do the cool thing? Or why don't I have more screen time? He's only like, you know, I'm really trying to prove to my dad that I'm a real man. So maybe when the President offers me a glass of milk, I get really mad and puffed up and I ask for a Manhattan instead. Like, that's the type of conversation and that'll come. That came from him, you know, And I'm like, that's amazing. We're definitely going to do that. And then he'll say something. I'm like, well, I don't actually think that's where we want it to go. Or this is going there. Maybe that's too far. And we'll just go back and forth and I'll end up rewriting their live as he and I are just talking about the psychology of the character. And so then he gets really locked in about it. Also helps him understand the character beats one to one to one. So when he gets on set, he knows exactly where he's moving through a scene, which he really needs to know. I mean, that's something that he likes to be prepared.

[B]

It's so subtle. I was watching Singin in the Rain again with my daughters, and I was watching Gene Kelly in the beginning, and I was like, oh, my God. There's some of this in Antony's performance, the part where he's saying dignity, always dignity, and the lights are blinded and like, he's pulling on so much to play a character that in the wrong hands could be so one note. It's amazing in the spirit of we were saying, like, where is hope in this universe? The one thing that I was noticing and I was curious your thoughts about it was this season, as much as anything else, has seemingly been about the limits of fear as a cudgel, which is another thing that I think might be. This is a more positive thing that you could send around in the group chat where there's like a whole article in the New York Times about how some European leaders aren't saying how high anymore when our president tells them to jump and how small that is, but how the effect it can have on bullies, and we saw it in a train or Frenchie just not being scared of him to his face. Now, it didn't work out well for them. Did work out well for Paul Reiser, which I think was great, because you can't kill Paul Reiser.

[E]

You're not gonna Kill.

[B]

Maybe Homelander. Love's mad about you. But I did wonder if you could speak on that a little bit as a theme.

[E]

Yeah, there's a couple in there, which is one, the fact that if you take away his power and if you take away the power of a lot of autocrats, they've got real glass jaws, you know, real thin skin, insecure, narcissistic, ego driven. Like, they're like, take away their power and they're the most pathetic kid in your history class. And we all make this sort of pact of like, well, I guess they're all in power, but it doesn't necessarily have to be that way. And I think that's a point we're making with Homelander, and I think you'll really. No spoilers, but really be driven home in episode eight, which his characters keep saying to him, soldier boy, a train. They keep saying to him, like, you're nothing. And that's a point we're making. The other thing is, you know, this thing that, you know, where he. There's an emperor's, you know, new, new clothes factor to this, where for the first time, his people are saying, like, oh, shit, this guy is really crazy. And so what do we do? And. And most of them acquiesce. But the point is, there is a point with which most autocrats eventually go too far. The famous McCarthy at long last. Sir, have you no dignity? There's a moment with which the fever breaks and you're exposed and the crowd is like, oh, this person is insane. And that's another thematic that we're trying to head for, which has, you know, precedent in history. And it's hopeful. It's a little wishful thinking. Maybe.

[B]

I do want to end with a thought about the finale. But before we do, I did want to point out the other artful, if not downright acrobatic thing that you guys have done this season is you are setting up the prequel series, which I believe is. Is it 27 likely to.

[E]

Prequel? Yeah, yeah, yeah. Early or first half of 27, Vought rising.

[B]

And I've never. Maybe this has been done before, but I've never seen an example of a show introducing a character at the end of their story, knowing that we have a lot of beginning of the story. I mean, I guess, broadly speaking, that's Saul Goodman on. But that was not the intent. Whereas Bombsight shows up at the. I would imagine, if not the end, close to the end of his adventure. And there's a lot of road to come in the new series. In which he is a regular. How did you do that balancing act?

[E]

A balancing act is exactly right. How do you do enough that you can touch on it, but not so much that you feel like it's homework or you feel like it's just a commercial? Where it really came from, honestly, was we had this notion of this V1 MacGuffin, and we knew Soldier Boy was going to be a character this season, and just like, well, why is he immortal? And why is Stormfront immortal? And what is it about, you know, whatever they had. Right. And so once you come up with V1, we didn't start it with, like, we gotta get Bombsight in there, guys. We gotta set up our thing. It's just more like Paul Grellong, who runs that show. His room is down the hall. And so we're hearing in our room what's coming out of that room, and we're, like, excited by it, you know, and so. And we got to hear what he was doing with Bombsight, this character, and it was all very cool. And so when the question comes up in our room of, like, well, who ultimately has the V1? You know, is it just some rando old hero that you never will see again, or should it be one of those characters? Because those characters are so badass. That's how it kind of evolved. It was pretty organic. There wasn't, like, a lot of craven commercialism in there. It came from a spot of. It's a full universe. And we have these pieces, and so if we're able to use them, why

[B]

not without spoilers, what would you like to set up for the finale? What would you hope people are excited about what you hope they will take away from it? Anything that you'd like to give to the adoring public in the days before they learn everything right?

[E]

I would say I hope they like it. I would say most confrontations that they're hoping for happen. We really did the exercise of, what does the audience want in this finale? And let's make sure we give it to them and don't do that rug pull thing, which is, like. It's more artful to not give you the thing you're counting on.

[B]

Like, people love that.

[E]

Yeah, yeah. Like, I just, like, give them the thing that they want. So the things happen that I think they will want to have happen, hopefully in some interesting and surprising ways. And I want them to, you know, walk away feeling like what we've been saying throughout, which is hope is hard, and it's difficult to make the world a better place. And it comes with incredible setbacks, and it comes with lots of failure, and it comes with a lot of sacrifice. But if everyone just tries to do it a little bit every day, then we have a chance to save the world.

[B]

I think that's beautiful. That's better than the legacy. What was the previous legacy you had? Which is. I hope they like it. I think that's a stronger act out.

[E]

Okay, I'm gonna go with this.

[B]

That's my note. Last thing a week ago, you had a number of celebrities clearly fans of the show, some executive producers of the show, guest star. All of them had the privilege of having their bodies ripped apart by a super speedster literally running through them with just the most. What does the Foley use, like, for the exploding body sound? It's really resonant.

[E]

It's a lot of stakes getting ripped in two.

[B]

There you go. Okay.

[E]

And I think there's some smashed melons in there as well.

[B]

There's a little frisson of Gallagher that I notice each time. Okay. So they all got that, that. That privilege, that honor on screen. Eric Kripke, the developer, the showrunner of the show. If you did your Hitchcock moment, maybe you did. I haven't seen the finale yet. What would your preferred gruesome, explosive, destructive death be? Because truly, if you want a second legacy, the grossest deaths may be ever on television.

[E]

I'll happily take that. You know what? Death I always really enjoyed because it really creeps me out. You know that moment when someone is surrounded by zombies and the zombies start ripping out their intestines and eating them while the person is still alive. Yeah, and that's what I would want.

[B]

You'd want that moment of, like, awareness.

[E]

Yeah, like, where you see that it's happening and your lower intestines are being pulled out, but you're not dead yet. And that feels like the type of movie death I would want.

[B]

It's not.

[E]

I want to be super clear. I don't want that death in reality.

[B]

But I feel like you were projecting a little bit with Seth Rogen, who has half of that, is aware that his body is ripped up, and then someone brings up the pickle movie he made. So I wonder if. Can I. Hat on a hat. You are attacked by zombies. You see them eating your appendix and your whole body, and then one leans over and says, Supernatural Season 3 was kind of mid like, with that.

[E]

I enjoy that.

[B]

I think.

[E]

No, I think that's the. I think that's the bow on the whole thing.

[B]

Perfect. As perfect bow as I can come up with. Eric, thank you so much for your time. Congratulations on all five seasons of the Boys and we'll look forward to the spin off and maybe we'll get another chance to talk.

[E]

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[B]

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[E]

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[B]

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[E]

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