The Prestige TV Podcast - ‘The Studio’ Series Premiere: What Seth Rogen’s Hollywood Satire Gets Right (And Wrong)

Episode Date: March 26, 2025

Bill Simmons, Joanna Robinson, and Sean Fennessey visit set to recap the two-episode series premiere of ‘The Studio,’ the Apple TV+ comedy starring Seth Rogen. They discuss whether or not the satire will land with mainstream audiences, why the Matt Remick character is so fascinating, and the frenetic energy of its filmmaking style (1:35). Along the way, they highlight Seth Rogen’s strong performance and debate what the show is trying to criticize about Hollywood (16:30). Later, they talk through how the show might calibrate its many celebrity cameos throughout the season (45:15). Email us! [e-mail] Subscribe to the Ringer TV YouTube channel here for full episodes of ‘The Prestige TV Podcast’ and so much more! Try Coffee mate Creamers Now: http://coffeemate.com Hosts: Bill Simmons, Joanna Robinson, and Sean Fennessey Producers: Kai Grady and Donnie Beacham Jr. Video Supervision: John Richter Additional Production Support: Justin Sayles Learn more about your ad choices. Visit podcastchoices.com/adchoices

This episode of the Prestige TV podcast is brought to you by CoffeeMate. CoffeeMate has been searching the globe for flavors that pair perfectly with coffee. So when they heard that the new season of HBO's The White Lotus was set in Thailand, they were inspired to broop two new flavors, Thai ice coffee and pinia colada flavored creamers. They're available for a short time only. So for the love of coffee, go try them now. What's up, everyone? It's Rachel Lindsay. and if you love all things Bravo,

then you need to be listening to Morley Corrupt. Every Tuesday and Friday, your favorite ringer podcasters and I dive into Bravo's biggest moments and dish out hot and always unfiltered takes. And guess what? Now you can watch us too.

That's right, Morley Corrupt is now available in video on Spotify. So whether you're listening in your family van or watching next to your white refrigerator, don't be all uncool and miss out. Catch new episodes every Tuesday and Friday, only on the Ringer Reality TV feed. This episode is brought to by Borris Head.

What if we told you the taste of deep fried turkey is now available at your local deli? Well, Borershead just did that. Bursting with flavor, perfectly seasoned with that indulgent taste that usually means pointing your whole day around it. Presenting the Friars turkey breast only from Borgeshead. The backyard tradition now available behind the counter. Visit your local deli today. Discover the craftsmanship behind every bite.

Boris Head committed to craft since 1905. It's the Prestige TV podcast. You can watch it on the Ringert TV YouTube channel. You can watch it as a video podcast. We cover all kinds of TV here and on the watch with CR. We need to Greenwald as well. We have two TV pods. We're covering the studio, first two episodes, on Apple,

which you guys like more than me. And then I watched it again. I liked a little more than the second time. But you loved it. I did. Not surprised. You're kind of the audience for it. I am.

I wonder if I am the direct and primary audience for this show. Correct. It's a love letter to Sean Fennon. Well, it's a love letter to lovers of the movie The Player, which is a movie that we covered on the rewatchables, an Altman movie from the early 90s, about people who work in Hollywood, particularly on the executive side and what they allow to happen and not happen on their watch, what the state of Hollywood was at that time in the 90s, and that's what the show is. It's a contemporary spin on that, created and written and directed by Seth and Evan Gold, Seth Rogan and Evan Goldberg. Long time partners. Long-time partners. And it's a zippy 40-minute satire of something that I talk about constantly on the podcast that I'm on here at The Ringer. So I'm very interested in it. I think it's also whether or not it is connectable for other people, I think is a good topic of conversation for us.

Will people get into it? Because Seth Rogen, I think, is one of the most accessible stars that we have. He's a very regular seeming guy. But this subject matter is very intricate. And there are a lot of Easter eggs. What did you think? Did you like it? I love that you want to call it an Easter egg.

Well, I'm doing it for you. Thank you so much. I loved it. I had the same way. Loved it. Well, I love these first two episodes, I'll say. I have watched five episodes, and there's like a few later that I didn't love as much as I love these first two. But I'm not quite Sean Fennacy.

I don't talk about this on twice a week, but it is an industry that we've all been adjacent to for a while. And there are a lot of, like, fun, sly, I will call them references rather than Easter eggs. That I don't, I'm sure I don't get all of them, but I get plenty of them. And that feels, that feels great when you're like, I know that Catherine Harris playing Amy Pascal or whatever the case may be. And I think watching Seth and Evan sort of exorcise some of their frustrations that they've had working through this industry via their comedy is really fun. So I had a great time with them. Yeah, there's legacy with Larry Sanders, the player. We've seen people, the late shift, the movie, which is a great HBO TV movie.

So we've seen people kind of parrot it. And they always ramp up the Hollywood executives and make them deranged. Buffoons. And for some reason, Hollywood loves this. They're like, that was awesome when you fucking ridiculed us for who's Brian Cranston supposed to be. And they do love this stuff. The big question for me is how many people are going to watch this? Because the bubble's fine.

All the people out here will watch it. Yeah. I'm sure there'll be a huge chunk of New York. But are you getting people in, like, Winnipeg? No. And are you getting people in Kansas City and you're getting people in Houston, Texas? The only reason you might, so later, I think it's okay to say in the trailer we've seen that people like Sack Ephron or Zoe Kravitz, like people who have broader appeal than like, you know, what exactly is Brian Cranston parodying here. Watching them play themselves might have some kind of draw for people. But I don't think this is going to be a broadly popular show. But I think it's going to be a show that everyone who likes to talk about film and television wants to talk about.

Do you feel like it's a show Seth and Evan kind of had to do with the point of their careers they're at where, you know, it's 20 years removed from 40-year-old virgin, you know, and these guys are adults. And Seth, he did, what was that movie with Charlize? Long shot. Long shot, which I really liked. And for some reason, kind of came and went, didn't do as well as maybe it should have. I'm sure that their experience on that movie informed this because that's a movie that in

1987 would have been a $100 million movie and in 2019 was a $44 million movie and most people can't remember it. Yeah. And I said to you after I watched it, I was like, this feels like a show made by people who've been told no, but the show is about the people telling them no. And trying to explore why they've been told no and what the psychology is of the people. And these are people who are, you know, studio executives. in the last five years,

I've gotten to know a lot of people that are somewhat similar to the people that are portrayed in this show. And I think one of the things that I like about it is that I don't think that Seth and Evan hate these people. I think they actually have a lot of affection for them, but they know that they're basically

morally compromised, that they get into the business for the right reasons, then they go up the food chain and they have to tell the people that they worship, no. Yeah. And what is that like?

And how do you make a show about people like that because Matt Remick, who Seth plays, who is this sort of like high-level development executive at a Paramount-esque movie studio or Sony-esque movie studio, who gets the big job replacing a legendary studio head like Amy Pascal, and then finally has the chance with green light power to say yes or no to the people that he deeply admires and wants to be close to, wants to be friends with, wants to be, wants to ingratiate himself to, realizes that like, that's not how this business actually works or at least has to accept that that's not how it works.

And that's an interesting thing. I mean, it's very rare that you write a show or a movie about people who are kind of like the enemy to creativity, I think, in their minds. But have, like, I think what's so interesting about the Matt character, and I think this is what makes the show work for me, because there's a lot of cringe factor, especially in the second episode. There's a lot of, like, embarrassed, secondhand embarrassment, Pratfall, all this sort of stuff. And that's usually something that I don't like to watch.

But there's something about Matt, because he is not just a, Craven he is, but he's not just a Craven executive, but he's a guy who genuinely does like movies and genuinely does want to make cinema that lasts. And so I'm rooting for him and probably, even as he keeps fucking up and fucking up and fucking up. And so, like, if he were just, I feel like the player is a bit more cynical on this front than this property is in terms of, like, if the system weren't the way it was, then maybe we could get our real, I mean, I've been told that Maris Scorsese has been trying to. to make a Jones Town movie for a very long time.

So, like, I would watch it. Is that true? Yeah. To me, it's just, I guess my issue with it, which it wasn't as bad the second time, but this just all feels familiar to me. Oh, Hollywood. All these people are buffoons. It's so hard to get stuff done.

And it just feels like racially, this movie or show keeps getting made in some form. The parts that I really liked were the Easter egg stuff and the, who's that supposed to be. And, oh, look at what they're doing here. just like the inside baseball stuff, which also made me wonder this is why the show's not going to work. Well, I think there's one thing that I would recommend about it

that people who just really like watching cool stuff might enjoy, which is that from a formal technical perspective, this is one of the best-looking and best-made TV shows I've ever seen. There's like a big conscious choice to try to make the show with as many wonders as possible.

And so there is this kind of seamless, roving camera that is moving and following that. There's a kind of energy and a kinetic score, like a very jazzy, beat beat, beat score that works really well. It keeps like these 28 or 44 minute episodes feeling very vibrant and alive. Costuming is incredible. Everyone is dressed exactly like these people dress. It's kind of amazing.

The Catherine Hahn character is definitely a marketing executive in Hollywood. That's so funny because I asked people, I was asking people who work deeper in the industry than I do. And the Catherine Hahn character was the one character that they were bumping on because they were like, all the marketing execs that we know are like the word I got was shmurgy white guys and I was just sort of like okay I don't that the Catherine Hahn character is the one I'm like slightly bumping on I I love her

and I feel like I've been in meetings with her I think it's just it's a great looking and great sounding and great like fast moving kind of a show it kind of is trying to entertain you at all times I think the overarching sensibility that you're talking about which is like Hollywood is a pit and it's all about money and none of these people are actually creative is a tale as old as time.

It's in singing in the rain. It's a possible idea. Yes, that's definitely true. So it is kind of an update and in that way it's inward looking, but it does create great art. I mean, the player is a great movie. Singing in the Rain is a great movie.

So I think it's fertile ground. It's also ironic that a show that this well made has been made for TV by a tech company and is not a movie. And I do wonder whether Seth or Evan originally wanted this to be a movie and we're told no. Which would be fascinating.

It should be a movie, honestly. But, like, I'm, well, having only watched part of the season, I'm excited to see where it goes. But I think that, like, I think to your point, they're dressed how people dress, but there's also this, like, out-of-time element to the way they're dressing because they're so aspirationally trying to do 70s Hollywood. And so, like, the brown suits and all that, all of that stuff is really interesting to me. And I think that, like, I think there's a virtue. I hear what you're saying that you've seen this before, but I think there's a virtue of doing it generationally and saying, what are those. exact challenges now. Because when you make the player...

Seems like they're the same challenges. It's not, they weren't making Kool-Aid the movie in the player. You know what I mean? So this idea of like... They're still making crap. They're making crap. But like what is the kind of crap we have to deal with now? I have to deal with Kool-Aid as like we are the Minecraft movie is about to come out.

You know what I mean? Or like the specificity of a figure like Amy Pascal who, you know, was unsurmoniously kicked out of her job at a studio that Seth and Evans spent a lot of time with. I think the specificity of it is interesting to me. Yeah, I mean, they do the cameos. There's a lot of the same playbooks. Like Stoller comes in, he pitches something. Ron Howard's in the third episode playing, you know,

and it's like spin this version. I guess Arliss was another show that was in this world. There's been a bunch of things like this. I think one of the mistakes I made, I watched the first three all in a row, and there's like a specific, like, frenetic energy to this. that when you said it would work better as a movie, that might be the answer,

but this is not a show that you would watch. I'm going to binge five episodes of the studio. Like, this thing's like a wired. The characters are over the top. I thought Barronholz and Catherine Hahn are just fucking going for it. They're big. Yeah, it's very big. It would be like a layup for the Saul Rubin.

Everyone is kind of going big on the show. I would argue too big. And Catherine Hahn is one of my favorite actresses, but she's like out of her mind in the show. Like to the point where I'm like, this is just not realistic. And then Ike was the other one that really, like he's really going for it.

Rogan is just, he just feels like he's Seth Rogen. It's funny because like, Ike is going for it, but he's also like he's the straighter man to Seth Rogen going for it. And so I never, I don't think I've ever seen Ike Baranholt's play, the guy who's trying to restrain someone. He's usually the guy you're trying to restrain. As he's doing cocaine.

Yeah. Yeah. And Cranston's another one. He's just fucking going for it. it. So I feel like they told everybody, like, just bring the heat, man. Yeah. I mean, I think it's like a big broad satire. So it's

kind of appropriate to have these like outsized performances. Also, people in Hollywood are big. And they're weird. And people who are in these jobs are real, like old school Hollywood producers are performers. Like, they're all about the pitch. They're all about the energy in the room. I think

it's interesting that this comes along at a time when Hollywood is like a little bit more buttoned a little bit more tech, a little bit more corporate. And it's this kind of like friction between people who came up at a time, and in theory the Matt Remick character came up at a time in the late 90s, early 2000s, when you had a little bit of more that old school Raz, Mataz, Hollywood feeling. And now it's much more like, we're making our PowerPoint presentation slideshow to our corporate board members and, you know, that tightening grip that it feels like

is happening in Hollywood. I like it as like, if this was an hour-long show, show that where you were like, God, I hope that like everyone survives at the end of this season. I would not like it. I think I like it more as basically like a comedy. And it seems like future episodes are playing as like 30-minute comedies. Yeah, yeah. And that the like, I wrote down Birdman score in my notes.

Like that like drum score is definitely like agitates you. And I could not sustain that on a long binge or a really long episode, I think. And I think that like to your point, yes, people are going broad. But the reason the second episode works so well for me is someone like Sarah Polly who's actually doing something I think like her gradual frustration is nuanced, I think,

and really good. And Greta Lee as well. Like those aren't like huge big Pratt Folly performances in contrast to what Catherine Hahn is doing. Yeah. Yeah, I mean, for people in Hollywood, this is, if they do this show correctly,

this is the kind of show you love to pop on, get to be on be two, three days, get to play some version of yourself. Like I saw Pete Berg or like he's in the first scene. It's like, of course he was going to do this.

Yeah, yeah, yeah. Well, like, yeah. And Paul Dano's like there for a second and them calling on a Charlie's their own who they worked with in Longshed or Nick Stoller or they worked on with neighbors or Zach Afron from neighbors

like just calling their pals and collaborators and saying, come play yourself. It's very, um, this is the end of them. Like, let's have a part.

and talk about this wild thing that we do. But also, I just think there are these little tossed off lines. What was the place you cited that people might not get this Winnipeg? Is that what we should be aiming towards? Well, for the record, Seth and Evan are from Vancouver. So, you know, they have a strong Canadian-continent contention. Okay. But I think that, like, in the oner episode, the second episode with Sarah Pauley,

when Matt is trying to say, oh, she wants my notes. and Sal just, like, tosses off, yes, she's still a very good actress. Like, I think that's just a really funny line. That might not play for people who don't even know who Sarah Polly is. Right. I thought the pilot, my favorite part was Scorsese, who has this really weird kind of acting career

where he's just popped in different things. And, like, even he's been on SNL. And every time I see him, I'm always like, is this guy a good actor? Am I crazy? Yeah. He's really good in the pilot. He's also,

one of the great actors at playing himself. Yeah. Which is a weird skill. It's almost like the Lord Michael's quality. Yes, exactly. You're playing the parody of when people think you are. Yeah, yeah, yeah. I thought, like, he's good when he's pitching the movie to Seth.

He's real, that Charlie's scene is probably my favorite scene in the, that whole stretch when he's like, wait a second, what's going on here? Yeah. Why are you looking furtive? Yeah, yeah, yeah, yeah. But just, I thought he was really, really good. I thought Rogan was really good. And I've always liked him in things like this. I think he's become a really good actor.

And this part, especially surrounded by all these big people, his medium energy, his like just sweaty energy is really, really good in this. Yeah, because he's, I always like him and stuff. I think he's always found a way, found a hard way to break out of I'm Seth Rogen. So like you think about, I thought he was really good in the Sandler movie, though, I'm blanking. What was the funny people? Funny people, yeah.

That was the first time you watched Seth Rogen and something. and you go, there's something more here. He's not just like a goofy guy with a fun laugh. And then I thought he was really good in long shot, even though that, you know, that movie's got some flaws, but I really like that movie. Yeah, I think Steve Jobs too was another good example. The Fableman's he's really good in.

I think he's become a very, very good actor. I think he's great, yeah. And I love the neighbor's movies. Like, I think they're great movies. But if we were like Seth Rogen's manager, I don't even know what things are movies I would tell him to do other than the stuff he's done. Because, you know, I don't know.

could you see him in the way back in the Affleck role? Like there's stuff he's, you just couldn't separate the Seth Rogen from the role. There always has to be like a tinge of comic sensibility, I think, to the character. A little frenetic and a little like he's self-esteem's a little lower than it should be. And he's trying to impress people and he's funny and he's quick. And he's always at his best when something's falling apart. Yeah. Which in this show, that's basically half the show.

And he doesn't play assholes. He plays like, eager to please people. Yeah, you always like them. Yeah, you like them and everything he does. So I think this is a good thing for him. And I agree with how you said about some of the shooting. Like, that one scene on the table when they're going around, I don't even know how they film that. Yeah.

It almost seems like they're using like a drone where it's like a table like we're at right now. And the camera's just like flying around. It's like really cool to watch. Yeah, same with the scene when he gets the job to run Continental. And it's kind of following him down the hallway. And he goes into this big art room where he meets Cranston. And then the camera's on Cranston and it's spinning around and it's following him. And there's just like, um,

To me, that's just like very involving in the story. Like I think some people watch something like that and feel it's distracting, right? Because it's very showy in terms of what it's trying to accomplish. But for me, I really like perspective-driven story. And especially with something where you're like, you're starting to root for the character. Like you're saying, you're starting to be like, I hope this guy gets this job. He seems like not such a bad guy. And then slowly you learn, like he has all these incredible weaknesses.

But following him as closely as we can until he fucking tells Marty Scorsese, he's not making his movie. Yeah. I think one of the reasons why that formal stuff is help. and not hurting the show. We've been talking a lot on The Watch and on the prestige fee this week about the show Adolescence, which is on Netflix, which is four episodes, hour-long episodes that are WONER's, actual organic WONERS versus the virtual Wonders that they talked about in the second episode of this show.

And the acrobatic nature of that filming is so incredible to watch, the behind-the-scenes of how they pulled that off. And I also had that question of, like, is this too distracting, especially for the subject matter of that show, and I think occasionally it is. But here, when it's just sort of like, we're putting, we're putting on a show energy of this, this backstage putting on a show energy of this show, I think all of those fun camera techniques really work. And the way that they lampshaded it and talking about 1917 in the second episode, I thought was really brilliant. The playoffs are here. And you can predict the action all the way to the finals with Fandul

predicts. Follow all the playoff dishes, swishes, wishes, wishes, and misses. Predict the spread, the total points, and even the game winner. Sign up for Fandual Predicts and predict it from the couch. Offered by Fandual Prediction Markets LLC, a registered

futures commission merchant. 18 plus. Trading derivatives involve significant risk and may not be suitable for all investors. Manage your activity with our consumer protection tools. Snoring, gasping during sleep, feeling fatigue? Ask your doctor about Zepvow. terseptide, the first and only FDA-approved prescription medicine for moderate to severe obstructive sleep apnea, OSA, and adults with obesity.

Zepbound is a prescription medicine used with a reduced calorie diet and increased physical activity to help adults with moderate to severe obstructive sleep apnea, OSA, and obesity to improve their OSA. Zepbound is approved as a 2.5, 5, 7.5, 10, 12.5, or 15 milligram injection. Zepound contains terseptide and should not be used with other terseptide containing products or any GLP1 receptor agonist medicines. It is not known if Zepound is safe and effective for use in children. Don't share needles or pins or reuse needles. Don't take if allergic to it or if you or someone in your family had medullary thyroid cancer, or if you've had multiple endocrine neoplasia syndrome type 2. Tell your doctor if you get a lump or swelling in your neck.

Stop Zepbound and call your doctor if you have severe stomach pain or a serious allergic reaction. Severe side effects may include inflamed pancreas or gallbladder problems. Tell your doctor if you experience vision changes before scheduled procedures with anesthesia. If you're nursing, pregnant, plan to be, or taking birth control pills. Taking Zepbound with a sulfoniluria or insulin may cause low blood sugar. Side effects include nausea, diarrhea, and vomiting, which can cause dehydration and worsened kidney problems. Talk to your doctor. Call 1-800-545-99 or visit Zepbound.lily.com.

This episode is brought to you by Prime. Obsession is in session. And this summer, Prime Originals have everything you want. Steamy romances, irresistible love stories, and the book to screen favorites you've already read twice. Off campus, L, every year after, the love hypothesis, Sterling Point, and more. Slow burns, second chances, chemistry you can feel through the screen.

Your next obsession is waiting. Watch only on Prime. What did you think of the Catherine O'Hara character and performance? It's just so transparently a person that we know about. That exists. I think. But they even like weave in like she slept with people on the path. There's some stuff there.

I'm like, oh. Yeah, the Rayliota stuff. Yeah. How close to the fire is this going? On the one hand, yes. But on the other hand, like she also seems so much more competent than them. I think it's like a, she's not, she, she like has these moments where she's like, Maddie, you know, she has these like shrill moments.

But at the end of the day, she's just so much more in control of what she's doing. And like, it talks about how she would have held the line against a Kool-Aid movie and all these other things. So I think they're giving their- She's negotiating with them and she's crying, but ultimately she gets what she wants. Yeah. All of a sudden, she's fine. So, yeah, like, the wig is Amy Pascal. The, I sent you a link of her house in the New York Times. the house is Amy Pascal's house.

All of this is very much her. But how many people are getting that? So you're talking like this is super stealth. So on the inverse, for me, well, I don't think you need to enjoy, like, understand that to enjoy it. Yeah. I think you can just say that there was a woman who was in charge of this studio

who has a kind of manic energy but is brilliant. That was kind of what Amy Pascal was, right? She was really hard charging, really straight talking, and she got pushed out after the Sony hack. Which we should mention Seth Rogen's involved in the Sony hack. That part's a little weird too. And I think like wending some of that stuff in here is potentially very interesting. We'll see if it happens.

The stuff that I didn't like is the stuff that the show needs to make it more legible to regular folks. At the very beginning of the episode, we see Seth Rogen after he leaves the shoot, hop on the cart with Chase Suey Wonders. And he starts like explaining things about the studio to this person who is his assistant. Yeah. Who has clearly been his assistant for a little while. Like they wouldn't talk that way. It's a TV show. We kind of have to over-explain what Continental is, you know, what.

Patty did and what her legacy was. How long I've been waiting for my shot to do this. There's something kind of unnatural in the TV of it. Whereas I felt like in the player, they don't bend over backwards to explain how the world works. They're just like you're inside of it because the murder mystery was as much a part of the story. We've always talked about this with the content we do. Like let the audience catch up to you, not vice versa.

Don't dumb down the stuff you're doing. I agree. They built this as a temple beat, which has hit a couple different times in the first episode is some of the stuff that doesn't work for me. But that's the thing. You're doing that, but then you're also doing this stealth, stealth, Stealth, Amy Pascal character that. But I don't think you need to know that that's Amy Pascal. Like, there's layers to it. You can enjoy it on a different layer. You can think about what Amy Pascal did after her. She got kicked out of Sony, which is great stuff, little women, challengers. She's like the most successful

producer in Hollywood. She's maybe the next Bond producer. Yeah, she might be the next Bond producer. So they're not kicking someone necessarily when they're down. And they're just sort of like, here's a very distinctive woman that we came into contact with in our work at Sony, and we're going to capture this odd blend of competence and eccentricity. And Catherine O'Hara, who's a master of what she does, is giving us, you know, we've been talking about her in the Christopher Guest films, like giving us one of those classic Catherine O'Hara roles. What did she say?

What was her name in that? Cookie? Yeah. Oh, yeah. You've grown up. I guess here's the thing. I guess it's just my personal preference for how this stuff is done.

I'm always going to be partial to the way the player that handled it. Like the over the top version of it, I'm always going to feel like it's a little bit of a bit. And I think there's Catherine Hahn character, Barron Holtz, Cranston, even Catherine Herr in that scene, which I thought she did a good job.

But it's all like the ramped up crazy version of it. Every character in this version, at least the first couple episodes we watched, including Ron Howard in the third episode. It's big. is big and on tilt. And I think for 10 episodes, I just don't know if that was the right decision,

but we'll find out when we keep going. I think part of it, too, is like asking these people to, you know, what Catherine Harrod is doing with Amy Pascal is one thing. But asking Olivia Wilde, who has like a big reputational black cloud hanging over her after Don't worry, darling, to come in. I'm not going to like split, but she's... Not in my house. My wife liked that movie.

But she's in the show playing herself as a director in a later episode. And so she's decided to willingly engage with, you know, this big PR thing that happened in her career. And in order to do so, to do it huge, I think is something that's more comfortable for them than to do the smaller version of that. Yeah, but I just think it's the easier way to do it. And I think there was another level of this show that I think if I personally think if it had been a little more subtle, but I also know the why they did that. It's the whole point in the show is it's frenetic. Well, I think there's one other. logical reason why they made this choice.

In 1992, when the player was being made and came out, one, you've got a guy who's much older making that movie, Altman's been through 40 years of Hollywood history by that point. Two, Hollywood is on top. In 1992, Hollywood is the absolute center of American culture, whatever is being made there. And so what it can be is really more

this sort of like behind the scenes, surreptitious vision of like the way that things really work and this quiet but aggressive competition happening at the executive level. Like that's the thing that is undergirding the murder mystery in that movie. Right now, if you're an executive or a writer or any number of roles in Hollywood, you're like, fuck, I think it's over. Like it's ending. There's this panic and anxiety among all people who work in this industry.

It's very real. And so I think it's pitched up in this tenor because people are nervous and they're like kind of afraid that they made a mistake getting into it. this line of work. And if you're Matt Remick, and this is your big shot, and you screw up, there may not be another job for you. You may have to go figure something else out to do. So I think that's why they've created this kind of like shaky hands version of the broad satire, which I'm enjoying, but I think we'll rub people the wrong way. Well, the other piece of that, they're also leaving stuff on meat on the bone with just where

Hollywood is now because Hollywood is so tech-driven with some of the, even some of the people Like, think about the people, there was that story about Apple this week about them losing a billion dollars. And the people ultimately making the decision are two people that aren't content people in that way at all. Yeah. So I almost wonder like, this is not an Apple series. Yeah, it's a lot of Apple series. Yeah, yeah. And Marty's Chris says, he's like, I'll take this movie to Apple.

Yeah. Their version of Hollywood in this show, I think, is skewed toward this version of Hollywood we all grew up with in the 90s and 2000s. That's why I think there's that like. I think Hollywood's a little different now. I think that's why they're. there's that like slightly out of step of time element to it. Everything is sort of like 70s, Golden Hour, Laurel Canyon, sort of visually. And mid-century modern architecture.

Yeah, exactly. And then I think that then you just inject Kool-Aid into that mix. Because you've got it cranson doing Bob Evans, but like Bob Evans telling you to make a Kool-Aid movie? But can you do this if you're making the show for Apple? It's a contradiction. I don't know. Can you make a show about the horrors of a white walled workplace if you're at Apple? That's what severance is. But here's the thing. This is a big topic on Sean's pod the last few years. Like, what is the biggest issue with Hollywood right now. What they're saying in this show...

Tell me. I'd love to... I need to know. The biggest issue with Hollywood, they're saying right now is like IP-driven, sell-out moves for whatever. Cool, I would say that's one issue. But another big issue is like what the streamers have done to movies over the last five years, which this show isn't going to touch that. And that's like, so you're, we're skewering Hollywood, but also this is over here because we're making it for Apple. I do wonder. I think that that, I mean, maybe this is self-satisfying, but I agree with everything that you

just said. And if they do touch it, then I'll be impressed. I think it's, they're basically Paramount or Sony is what this studio is. Feels like Sony to me. But like it has the historical thing that Paramount has for the huge decision makers for the most part. But they don't have their own streaming services. You know, like, that's the thing.

Like, if this was set in the world of Warner Brothers, you'd be like, oh, well, there's Max. And Max, Max intersects. Yeah, but Paramount doesn't really make, like, original movies for their platform. Like, it's a much smaller proposition to me. Okay. And they're also, like, their theatrical distribution, they used to be a major player.

And now they put out seven movies a year. And, like, two of them are going to hit. And then the other five are, like, God, I don't know. But that's the thing is, like, is this a more interesting show if the studio is really, set at Netflix or Amazon or Apple because they're the people spending the most money. No, they would never do it.

But that's why when you said, would this have been better as a movie? I think the 2025 version of this show is actually a movie set at Amazon or Netflix or where they're making those decisions. I've only seen five episodes. There is a lot of, like, the movies that they are making outside of the conceptual Kool-Aid seem like

mid-level nostalgic movies that we don't really see any, Z-made anymore. Even the guys watching Goodfellas at the end of... And the thing, that's a movie that came out 32 years ago. Yeah. But that's supposed to show that like they love...

They actually love good movies. I mean... But also rest and penis is like a great joke. I'm the same age as South Rogen. You know, like we are the exact same age. His reference points and his like aspirations toward a version of Hollywood that no longer exists. I think I don't know him, but I think we share that.

And so I think that's part of the reason why I'm connecting with it. And what do I do? do when I go home, but cozy up or show up at the Coolidge Theater in Boston and watch a movie like Goodfellas, you know, like that's. So I think generationally, it's actually right. It's like a bunch of people that are now in their 40s waited all this time. What? I don't know if this is apocryphal, but Wikipedia, deeply unreliable, has Ted Sarando's as himself listed in the like season-long cast list. Maybe they will. So if they hit the streamer side, then this becomes fascinating on a whole other level.

Because right now this is the easier way to do it. Where you're doing it. It's like a studio and we're just shipping. We got a, oh, there's IP and I bought Kool-Aid. And the Kool-Aid thing is just ridiculous enough that it's actually like really funny. And it's like, it's just plausible enough

that this would happen, but it's completely ridiculous. I think what works about that is that the Nick Stoller pitch is like so perfectly what you imagine a pitch like that would be. And that sequence works so well. Yeah. It's just really dumb. enough, it's just smart enough to be dumb, you know?

I really, I thought that was really well written. And it's like, and then we get green involved and yellow. And they're, they're, and then they see when a friend says like, diversity. And it's like, I got your brother. Like, all that stuff is very, very fun. Yeah, yeah. Are we sure Matt, so Matt gets this job out of nowhere? Well, he's like in line for it.

Well, he's in line for it, but he doesn't realize his boss. And then they're like, oh, it's, this is happening. Boom. I feel like he has like one project in his back pocket. he's going to try to move on right away that his boss never let him make and now it's like this is the time to do it. It goes really quick to like all of a sudden

he's making Kool-Aid and taking shit on Matt Bellany's podcast at town. Good podcast, by the way. I've heard good things. But I feel like there's a moment when you finally get the car keys like that, you have a couple weeks there where you're like, all right,

my director that I'm close with, I'm going to do a deal with them. Like you start taking care of your favorites, and he never does that. He's just off making Kool-Aid. Well, the premise seemingly in this world is that Kool-Aid is a test of like if he is suited for the job.

But he has the job. Right, but Griffin-Mill, this character that Kranston is playing, like, I've got this Kool-Aid IP, I want to see what you can do with it, and the implication is sort of like, if you fuck this up, it's Ike Baron Hulse's turn. You know what it is? It's like, it's both. Like, we're watching a real-life version of this transpire

right now, Warner Brothers. Old administration goes out. Mike DeLucan, and Pam Abdi come in to run the studio. David Zazlov hires them. Here's two things that happened when they got hired. One, Mike DeLuca, who produced in Greenland Boogie Nights, signs up for a new Paul Thomas Anderson movie, a very expensive Paul Thomas Anderson movie,

takes care of his guy, somebody he's worked with for 30 years. So it's what you're talking about. Also, a movie that is opening this weekend, the Alto Knights is reportedly a movie that David Zazlov wanted to be made. For his friends, for Barry Levinson, for Nick Pilegi. this is how Hollywood works. Yes. It felt, it could have happened in 92, it could have happened in 52.

It still happens in 2025. So maybe there is a world where later in this season we see Matt get to take care of one of his guys. Yeah. I'll be curious because if he's only making Kool-Aid for the whole series, that will seem a little too broad, maybe for how things actually work. He's trying to get a bunch of shit done because he doesn't know if the carpet's going to get pulled out of him. Right. So he's taking, he's going to grab the best script he's ever had in his own. backpocket. He's taking care of his Paul Thomas

Anderson. He's doing it all. Time is passing in large chunks between episodes because when we get to episode two, Catherine Harris character, Patty says she's been on this film with Sarah Polly for a while. Yes. But Sal is like, I've been taking care of her for four years, which I also liked. I'm not sure

that Sal's communicating guy who has been shepherding Sarah Polly Greta-Lee movie for four years, but that, you know, that's not that important. But like that Patty's like, I've been here for a while. So it's been like a minute since episode one as we go into episode two. Yeah.

So a Kool-Aid movie might already be, you know, in the can sort of thing. Oh, interesting. On the way. Yeah. Yeah. And then the only other one I saw was the third one, and that's also not really tied to the Kool-Aid movie at all. A different movie, yeah. Yeah.

It's hard to know how much time is passing. I have a really important question for Sean specifically. Okay. Martin Scorsese's Kool-Cool-Aid about the Johnstone. The Johnstown, Jamestown, Jamestown. Jonestown? Jones Town Jones Town Massacre

Yeah I would watch in a heartbeat You're there first day Stacey Bouchemy is Jim Jones I hopefully They have Hopefully they show it to me

a month in advance And I can build an entire month of programming around it What are Yes as we learn in the show One of our greatest living actors What are the needle drops

That you're waiting for In Kool-A Rolling Stones are left Yeah Yeah Roling Can't you hear me knocking Topps

What's playing on the tarmac As like Monkey Man I'm obsessed with Jonestown That's like a, you know It's a Bay Area-based You know That's one of the reasons

It hasn't really been made in a movie yet Tough ending Yeah Not not well You know Scorsese A bummer ending is in his arsenal Not a lot of sunshine and rainbows At the end of his movies

It's another part of this show That I'm glad I watched it again Maybe I was in the But it's It is funny Like Kool-Aid by Martin Scorsese It's ridiculous But it's not

So ridiculous that it couldn't happen. I think it's so, it's such a clever turn of the script to have Scorsese come in with this Jones Town project, which apparently, like, what comes first? Them knowing that Martin Scorsese in the real world wants to make a Jones Town project, or what if we had Kool-Aid as our IP? You know, like all that sort of stuff is, I think, brilliant inside of this. What was your Kool-Aid idea? Oh, if I could bring any brand to the table?

No, if it's just they're asking you for a Kool-Aid pitch. Do you have one? Did you get excited about the thought of Kool-Aid is a movie? We've never really had a great horror movie with a tie-in like that. Like if you drink Kool-Aid, like there's a really low-budget movie called The Stuff that's about this yogurt that takes over the world. What if like Kool-Aid transformed, like drinking Kool-Aid transformed you into something. I don't want to see a movie with a Kool-Aid, that's fucking weird.

But they bought the IP rights, which means they can do anything they want or they're trying to do right by Kool-Aid. I was also a lot. Good question. When you have the IP for something like Kool-Aid, I'm not going to tell you anything you don't no, you are, when you make Barbie, you want to make a movie that is interesting, but also we'll sell more Barbies. But I'm sure Mattel wouldn't be like, here's your Barbie IP. Could you make like a massacre movie about Barbie?

Like probably wouldn't have flown. Well, that's what I'm saying. You want to sell Barbies. You want to sell Kool-Aid. So Kool-Aid is owned by Kraft. Which owns everything. Which owns many food products. So I think part of the genius of Stoller's pitch is like you can build out the world of craft products,

Velvita also owned by craft that gets a mention. Yeah. You know, there is a kind of synergistic quality to the way you'd make that movie. That is very, I totally agree with you. I think it's really clever. The K-C-U. They set up that first episode of K-C-E. I mean, yeah, because I'm supposed to be rooting for Matt, right?

He's the hero. But Matt also has no ideas. You don't have to root for Matt. I'm just saying like a character. But I'm saying technically on the show, Seth Rogan is playing our lead, Matt, and I think I'm supposed to be rooting for him. I will say...

Are you rooting for Tony Soprano? Are you rooting for Walter from Breaking Bad? We can't talk about Tony Soprano because Joanne is number six. So Tony Soprano is the lead character in a series called The Sopranos. I don't think that Matt Remick is an anti-hero. I don't think he's a golden era of a TV anti-hero. The first thing we see from him is he bursts onto the set of Peter Berg's new movie starring Paul Dano, and he sweatily introduces himself to Paul Dano and tells him he loves his directing.

and Paul Dale could not give a fuck. But, like, that's endearing in a way that like... It's also like this guy... First of all, I say this with all self-awareness. This guy is a loser. Oh, yeah. He is not cool. No, I'm not saying he's cool, but that's not an anti-hero.

Like, Tony Sopranos is cool. You know, Walter White is cool. He's cool. He's a big dad from New Jersey. He's cool. Like, Tony, like, people have... Chewana, you're not allowed to talk about it. I am allowed to talk about anti-heroes of all-age.

Don Draper is cool. Don Draper is cool. And, like, Matt, is not allowed to talk about it. And, Matt, such a loser that, yeah, I do want to root for him. But there's also the character of Quinn, his assistant, who he promotes. And what's

interesting on this show is that a friend of mine pointed this out to me, Frida Perez has an EP credit on this show. We're like, who is she? She's former Seth Rogen assistant. Yeah. That he, like, promoted to EP on this show. I'm sure she's a big inspiration for Quinn. I think that's cool.

What do you think that Paul Dana Peter Berg movie was? You think it was like Were they making it for Amazon Prime? I have to assume that the guy who shot Paul Dano In that scene is Mark Wahlberg You know, it's just given Burke's directorial history Is it like a one last job gone wrong?

I think so. Like a horror movie? I couldn't get a feel for the genre I tell you I'd love a Peter Burke horror movie If you want to tell Pete he should do that. How do you feel about Patty dropping a line from that movie at the end of the episode and Matt not clocking it at all?

Yeah, it's a good question Does Matt really, is he really in the work? Is he really well suited to this or not? Well, but that's part of like why I'm really interested to see where the rest of it goes. Because it's, I can't tell if Matt is somebody that ultimately we're going to be like, what a fucking idiot that guy was. Or if there's like, it seems like he loves movies. Yeah.

Right? Maybe he was over promoted too high. It doesn't seem like he really has any ideas yet. He stumbled into every piece of every episode we've seen so far. So what are we... Does he need a big win? What are we trying to say about Matt? What's...

What are it supposed to be my feelings about that? Yeah, what are they trying to say about people in this job? Yeah. I would guess at the end of the day... Yeah. That they don't really like people like this, because they don't make anything. Do you see any, like, Tom Rothman in the mix here?

I don't know. I mean... Elaborate for the people in Winnipeg. Who's at the head of Sony. Tom Rothen's the head of... of Sony, longtime studio chief ran Fox for many years. One of the old school studio chiefs,

very values theatrical over other things, likes the big, big easy win is something that he is known for pushing forward. I don't know if there's like quite a character because the Brian Crancing character, who was also called Griffin Mill, which is Tim Robbins' character's name

in the player, is the idea of it being the same Griffin Mill is amusing. I wonder if they went to Tim Robbins for this. Cranston's really big. Like, he's wearing jewelry and necklaces. Yeah. He's...

Wide lapels. Yeah. He's very, very over the top. I didn't like the Griffin Mill thing. Okay. Get Tim Robbins if you're doing that. Yeah. You'd like stay off my secret cow that is the player.

Allman's not alive anymore, right? He's not alive now. I wonder if, because Griffin Mill is a murderer, maybe they felt like this was just another. guy named Griffin Mill. You know? Spoilers for the player. Sorry.

No, I'm just kidding. That's the first 20 minutes. If you haven't seen the player, go check out the player. I have seen the player. Not you, of course. The player and Larry Sanders were both a lot more subtle with some of the stuff. They were a lot. There was a lot of people feeling each other out.

And it was their version of Hollywood. This is just big and bombastic. Did you ever watch the Rick Hugee Bay Show extras? I did. I wasn't a huge fan. Yeah. I wasn't like a huge fan of it on. a week to week, but certain people showing up to play themselves is incredible David Bowie in that

series, yeah. Great Kate Winslet talking about what you need to do to win an Oscar and then she did exactly that to win her Oscar. I think it's really hard to pull off the celebrity cameos because I, spoiler alert, like episode three of Ron Howard. I didn't think it was, I didn't think he was good. That's funny. You didn't love it either.

I really liked episode three. I just felt like, oh, watch this. Ron Howard, we're going to flip it. Everyone says he's the nicest guy. It's like, all right. I see this coming down the highway. I was really more into the Anthony Mackey, who's not really having the best 2025,

but I enjoyed what he was up to. Well, people will get to that when they get to that. I think that whether or not Matt is a likable hero is ultimately immaterial because all of these kinds of movies are about whether or not this is a good place to be creative or not. And I think we're going to find out it's not. Don't we already know the answer after all these attempts?

We do. No, with TV shows and movies. Ultimately, they all land in the same point. But it's like, yeah, creativity loses and dumbass people win. Was Larry Sanders likable? I find Matt likable. And I think it's because people are constantly like making fun of him and putting him down, that he's just got this underdog spirit to him.

And he's not an asshole. Like he makes asshole moves for his job, but I, but feels tremendously guilty about it. Like I do not fundamentally think he's a soulless character. And I think that's a hard, hard thing to pull off. And Rogan, that's something he really excels at. Yeah. I thought Larry Sanders was more realistic. Yeah, it is. I think the characters on that show,

I mean, Hank's one of the great characters of all time, the sidekick. But we'll see with this one. I wouldn't say that's the most subtle character of all time, Hank. Hank? Yeah. No, but it's just that whole concept of the sidekick who just secretly hates himself and has a huge ego and he doesn't. There's like some really good stuff in there. Yeah, yeah.

RD2 is not, these are not subtle characters. I think that world is a little dingier, the little smaller. and it felt very like really almost literally behind the curtain. Whereas this is like boardroom culture, going on set of big productions. It's a slightly more elevated. Less Grossman Tropic Thunder kind of level. It is. That's a good comparison. What was the last thing that really tried to dive into this world?

I was trying to think about this. Because there's been pieces of it and there's always been like the Tropic Thunder moments. A unbearable weight of massive talent, which is not about, you know, the boardroom. but is an incredible actor playing themselves and artistic selling out and all of that was a tremendously great movie. What about that Lisa Kudra show, the comeback?

I never watched that show. Yeah, that's definitely in the mix. That's definitely a mix. Yeah, I think Argo is in this vein as well. Once upon a time in Hollywood, would you count it? Gets a shout. More historical, but sure. Yeah.

It's a good movie. It's a great movie. Hail Caesar, also historical. Yeah. No, there's one. Oh, the disaster. I feel like it's an interesting example. It's kind of a forgotten movie because of James Franco

being deleted from our culture, but speaking of Seth Rogen. Are we seeing James in season one? I don't think so. Maybe you'll get a Dave if you're lucky. Oh, we're definitely getting Dave. Well, for your consideration, that was the other Christopher guest movie, right?

Yeah. Not as successful. Can we, before we go, can we talk about Krumholtz, one of my favorites of all time? He's super funny. I think he's really funny in this. Go ahead. What do you want to say?

David Krumholz shows up to play this agent and it's just like going a mile a minute. And I feel like we're in a little Krumholzs as aunts after Oppenheimer, et cetera. And I just have always loved him. And I want nothing but the best for him. Can I give you my biggest gripe of the whole pilot? Please. You can't bring Charlize out of the bullpen and play her music and get the crowd fired up for her to get the ninth inning save. And then she's got one line and she's out.

Do you think it's the last you see of her this season? It better not be. point. If you, if you, if you can play the Charlese card for literally a cameo. But isn't it literally

Mariano Rivera coming out of the bullpen? Base is loaded. Six two game. I needed her like for, like this is like, like she's, she's buddies with these people.

You got to like play that card hard. I think what's interesting and I'll be curious to see how much we're getting like a season long arc, like how much they're able to shuffle these episodes. However they want, if there isn't a ton of continuity between,

like it would be, aren't checking back in on the Kool-Aid movie. In that case, you can be like, okay, we're going to come out hot with Scorsese and Charlize their own and blah, blah, blah. And then episode two, we've got Greta Lee and Sarah Polly, which is just like not for Houston, Texas, or Winnipeg. You know what I mean? And sort of like calibrate the level of, because then you've got Ron Howard and

then you've got Zach Gaffron and you've got Olivia Wild. Like what level of, you know, mega favor are we pulling in to do this? I just wish, I didn't love the Greta Lee. episode. But I wish that second movie had been I just think they should have been a parody of like Fast and Furious or one of those type of franchise. Like a franchise movie

that's in like it's 11th installation and the stars hate each other. Maybe they'll go their way down the road. In the future in this series there is a maybe not quite fast and furious but an event movie, an IP movie. Yeah. I want to start getting into that world where it's like oh they're doing

they're doing fast. I mean that would be just a more realistic portrayal than like a mid-budget it's Sarah Polly movie is set in the 50s. A lesbian drama. That's what it's supposed to be. That movie is just not being made anymore. Not in a big studio. Yeah.

It's at A-24. Yeah. So I suppose Sarah Polly is like I won my Oscar. Let me do this, you know? On a movie that I believe was greenlit by Mike Duluca and Pam Abdi before they left MGM, right? That was what women talking was. So, you know, every once in a while one slides in. Have you seen every episode?

No. I've only seen. But it's funny the way that you described it at the beginning of our conversation because I have a very vivid memory of this. It was the, when the fires hit in Los Angeles, we left town and I was like, you know, bored and concerned like everybody else in the city of Los Angeles and trying to find anything to distract myself. And I powered through five episodes in one night, which, as you guys know, as a TV watcher is doing cocaine. That's not something I do. Yeah.

I can't watch more than two consecutive episodes of TV because I find it kind of enervating. And this was the opposite. I think because it's not like, oh, they're really stringing out what's going to happen next. It's not one of those shows. it's contained. The drama of each episode is what entertains you. It's not like, oh my God,

I hope they get this project off the ground. We'll have to tune in next week. So I think I was kind of relieved to not have a show like that. And weirdly, that propelled me forward with it rather than holding me back from it. But I realize I'm not a normal TV watcher. You hate continuity.

Well, I don't know if that's the word. You hate long arcs. I don't like a long arc. Also, is Matt like, is he dating? What's going out on that? I wondered that too. Is he like I needed like a Raya reference? this is going to be so great for my Raya.

Like there's some subtle stuff that I just didn't. Like is he fucking his assistant? Like what's going on with him? The 1995 version of this would have featured that. That is not, that's harder to get away with now in storytelling and in the business. Is there a Tinder moment with him? Like what's happening with Matt? He should be on Raya.

Is he a Heidi Flyce, 2005, whoever Heidi Fleece is now a client? Sure. Kind of like in a NNOR situation or. Yeah, I don't know. I wonder if they'll get to that. I wonder. I think him and Sal cozying up at the end of a long day together to watch Goodfellas. Seth loves a bromance.

It's a bromance. That's his speed. I just don't feel like 40-year-olds are hanging out at one of the morning watching Goodfellas. If they want to call. CR and I will call you next time. What was I said me to watch a movie at 1230 at night? Just the two of you. I mean, for me, I'm like, who are these people?

I have a small child at home. No one does this. So if you have kids, and that's the thing, these are childless people also. And so they can afford to watch Goodfellas at 1 o'clock in the morning. I can't. What are the LA of, like the restaurants that are going in and out of the like, you know. So that Burbank restaurant, that's a really good movie location. Oh, yeah.

It's called the, I think, the smokehouse. It's almost like they made that. First of all, it's a big studio steakhouse restaurant, but it's also like a great, it's like Musso and Franks. It's like one of those great movie locations. So it's in a later episode. Yeah. I'm sure is Dananas. I'm sure Dananis is coming in.

at some point. Smokehouse is not the one across from Warner Brothers? I think it's right in that mix but it's a pretty famous one. Will you keep watching the show? I think I will. I'm probably going to stick to one at a time because I think it's a lot.

It's like you know, it's like a double espresso. You don't want to have, I wouldn't have two. When are we going to get the live Bill tries cocaine for the first time pod? And what should be the movie? I don't know. Like, while talking about blow?

Joanna finishes the Sopranos for the first time, and then I just do blow. And you do Blow? As she gives a review. Yeah. Just one line. I'm just like cutting it up. Like, yeah. One more inducement to watch the sopranos.

That's the best one yet. All right, the studio, you can find it on Apple. Great TV stretch right now. Best we've had in a long time. Absolutely. Well after the writer's strike is over and people have a little more money to spend. What do you have your eye on? Like, what are you like when's Bill Simmons coming back to TV podcasting?

Well, we farmed out the last of us to House of R and to Midnight Boys. I think the next prestige one, and I don't know if I'm going to be involved, but it's that your friends and neighbors. Oh, yeah. John Hams is an Apple. There's some good buzz on that one. Yeah. But you never know with Prestige TV.

It's surprises. Like, who knew adolescence was coming, and that turned out to be the best show of the year so far. Netflix, to their credit. They keep pulling that off. They keep pulling that off. We've got to fucking have this now. What's up with, um, Joe's usage rate.

Are you thinking about maybe some saving her for the playoff stuff? Because this is really an all-time high. I don't know how she's alive right now. When Joe's in L.A., everyone wins. Okay. It's great. And she's like a starting pitcher that can just go out every couple days.

240 innings this year. Yeah. Just throw innings. No load management for you. You are just, yeah, starting five days a week. Do we have? A mega blush. Wow.

Do we have, what do we have for like Ring averse era stuff coming? Not only Last of Us, but Andor, which rules? Do you watch Andor? No, but it's the one if I watch one. I do think you would like that one. I think you would like that one. Yeah. And then there's a new Game of Thrones show, not of the Seven Kingdoms.

When's that come out? Yeah, it's, I think it's June. I think that's right. Whoa, that's soon. That's going to be after the NFL draft. It's like, Matt, what are you up to? I'm doing my rewatch of all Game of Three. Rooms episodes and House and Dragon and rereading 19 books to get ready for this new show.

That might not tie into any of it at all. The best. Maniac. Sean, great to see you. Joanna, great to you as always. Wonderful. Thanks to the crew. Prestige TV.

Check it out on Ringer Dash TV on YouTube or you can watch this video pod. Thank you. Thanks.