The Prestige TV Podcast - ‘We Own This City’ Episodes 3 and 4

Episode Date: May 17, 2022

Bill Simmons, Chris Ryan, and Wosny Lambre recap episodes 3 and 4 of the HBO series 'We Own This City,' including its spiritual relationship to 'The Wire,' the exceptional performance of Jon Bernthal at the center of the show, and whether the series has a chance to slot amongst the best of the century so far. Hosts: Bill Simmons, Chris Ryan, and Wosny Lambre Producer: Bobby Wagner Learn more about your ad choices. Visit podcastchoices.com/adchoices

What's up, guys, Rachel Lindsay here, and I am teaming up with your favorite Ringer podcasters to deliver the Bravo drama and news that you've been craving on morally corrupt. It's the show about all things Bravo. From the Housewise to Summer House and everything in between, we'll be mentioning it all every week. Check it out on Spotify and the ringer.com. It's the Prestige TV podcast. My name is Bill Simmons. I am here with Chris Ryan.

Big Lois. we are doing episode three and four, really more four of We Own This City. Happy Wayne Jenkins Day, motherfuckers. Wayne Jenkins, the last two episodes, has moved into a very, very short list for me. Pantheon TV characters, anti-heroes. He's put it all together.

We felt like the ingredients were there. And then these last two episodes. And listen, there's a lot of sobering stuff that happened in these last two episodes. There's a lot of plot stuff that happened. We're going to get to all of it. But I just want to talk about Wayne Jenkins first. This is a force of nature performance-wise that is very, very rare for television.

Yeah, the whole episode, episode four where the finding forest dude is basically setting up. He's explaining to you the escalation of insanity of Wayne Jenkins and his behavior. and his lawlessness and his recklessness and all of that. And, like, legitimately horrible things. Old people dying in car crashes. Yeah. Like, planning guns and drugs on people. Like, just strippers getting robbed?

That's where I was going. And it builds to the worst of the worst, the lowest of the low. This guy taking a small person stripper into the boom boom room and robbing them. And thinking it was the first of the first. funniest, coolest, most bad ass shit he'd ever done. The way they set that up was just chef's kiss. You guys aren't even mentioning the fact that this character says the name of the show

in the show. I had it. I had it. I had it. And Burntzol is so good that it actually pulls it off when he goes, we own the city. And you're like, God damn it, Berndtell? I don't think I've ever rooted for a worst person in a TV show. And I'm not even rooting for him. I just want him to be on screen more. You just want him to be on screen the

whole time. Yeah. Yeah. More Bernthal. I thought episode three when they raid, uh, what was that, the car wash or the auto body thing or whatever. That's a car wash. Yep. That whole, Chris, just do some of the lines from that scene because that's when Bernthal's like, hey, guys, we're taking this to 11 starting right now. Jamie Hector and Bernthal go into this car wash and essentially like tear it apart. And Jamie Hector's character, Sean Suter, finds guns and money and drugs. Oh yeah, and drugs. Hold on. You didn't set that up enough. Okay. They're throwing, Bernthal is getting madder or

madder. They have the guy sitting down. He's starting to break stuff because he knows stuff's there. Right. This guy's calling him names. Yeah, they're going back and forth. It's getting testy. And then Sean Suter's like, hey man, there's something up with this table. I don't think this is a table. And so then Bernthal flips it over They discover all this stuff And he goes on to be like You just imagine yourself Getting the greatest pep talk of all time

From your co-worker Of this guy being like damn I didn't know how I was here for suck fucking super cop You got guns You got money and a motherfucking brick It's it's It's fantastic And the beauty of that scene is like

They're showing you like you can be a cop the other way and it's perfectly fine and you'll get stuff done. You don't have to break people's flat screens because you don't want to do the actual work of actually searching the freaking premises, right? Like, it's so beautiful how they show that. And then, you know, they just continue to show that like Bernthal's terrible behavior just continues to be rewarded at every freaking turn. That part where he gets made Sargian.

and he pulls up on these And he's doing the Roger Rabbit. Yeah. And then he flexes and he shows the stripes and he's smacking his stripes. It's just perfect. Yeah, he's a wrestler. He's like a great wrestling heel.

You have the Patron. You have that scene. Patron. You have Patron, whatever says. He's drinking spiked iced tea. Basically. Mike's hard lemonade. Yeah.

We used to do that back in the days, unfortunately. The genesis of his evil basically comes down to being made fun of that his crabs weren't expensive enough at the barbecue. And it's honestly, every decision he makes comes from that moment where he was made to feel small because he got the medium-sized crappy crabs. And he's like, that's never happened to me again. I don't care how many rules I have to break. But then, you know, the back and forth stuff, Chris, with the narrative, which I have a lot of trouble following. But now I'm used to because you can really gauge it by the hair and the facial hair on Berthal. And that's how you know.

But it all paid off, I thought, in episode three with that scene that we just broke down. Because when he's looking at him, like, are you going to have some of this and the pressure? And then just the way they pulled that off where it's like, oh, I get it. These are why dirty cops go dirty because they feel like they're risking their lives every day. They don't get enough back. And they're just going to skim off the top. And now it becomes degrees of how much am I going to skim? Am I going to be evil skimmer?

Am I going to take a little? Just a little bit of attacks. Yeah, the Jamie Hector's, his face where he's just like, oh shit, this is like a real moment for me. What kind of cop do I want to be? I thought that was just an incredible five minutes. I thought even a more telling scene was that scene where Bernthal does do that we own the city speech. But the whole thing that they're talking about is what your base salary is versus what your overtime is. And it's like you want this really black and white, like these guys cross.

the line. These guys are evil. These guys are corrupt or whatever. But it's, it's just fucking, like, they're just doing math. And they're just like, I want to make more overtime. When they want to goose our crime stats by offering us days off to get more arrests, I don't want a day off. I want more overtime. Like, these guys are all, like, the way that they think about this stuff is the way that, like, anybody who on a basically an hourly job would think about their work. And everything is about how much am I going to, like, how much effort am I going to put forward versus the reward I'm bringing in. And there's a trope that comes out throughout the show

where they're just like, make it easy. If you make it easy on me, I'll make it easy on you. If you make me destroy this car wash looking for the drugs that I'm going to find anyway, I'm just going to come down harder on you, but if you help me out, I'll help you out. It's like all this stuff is like this economy of favor trading. And it's kind of just amazing to watch take place over real time,

but then you juxtapose that with the Freddie Gray stuff that happens in episode four. And you just realize like how like, hollow that system is when actually confronted with, I don't know, with actual rage, with actual, like, with actual feelings of a community. So the feds are interrogating the semi, you know, benevolent dirty cop, right? Who's like, look, my, my wife is BPD. Like, I couldn't go crazy with this stuff.

Like, yeah, I got scared when we were taking five, six thousand off a cast because I was used to just taking 50 off of a corner boy. Like, give me that 50. You know what I mean? Go to freaking T-Prikan. FRIGI Fridays afterwards and keep it pushing. He was like, the escalation scared me. And then they're like, well, you heard he was dirty.

You heard he was messed up. Why'd you join the union? Anyway, he's like, bro, the OT spigot was open with him. Like, it's obvious, right? Like, it's not these, like, these guys are cartoonish, cartoonishly evil guys. It's like, of course I want to make $130,000 as opposed to $55,000 this year. Like, it's like they make it so obvious and plain. And then like you said about Freddie Gray, they show you the environment that allows it to get sort of a little out of control.

Yeah. When it's like, these are the only guys who are quote, I like the phrase that they use getting out of their squad cars, right? Where you could just patrol the beat, just drive around, do whatever and go home every day and just, you know, basically spend your time collecting paychecks. Or you could get your fingernails dirty, right? and you can get this OT. And they were like, there was a bunch of guys who didn't want to do anything because they felt like, you know,

the powers that be sort of scapegoated them and made them to be like these evil idiots. And I'm like, fine, I'm not going to do the job. And Wayne and them was just like, no, we're going to do everything. And because we're the only ones doing it, we get even more leeway. I love how they set that up when they were like, why would you do that?

You heard he was dirty. Why would you do? He's like, the money, duh. Yeah, the promotion. To be on the guy. Gun trace task force is basically like getting into a Division I program. You know what I mean? And you take the money.

You're cop robbers. Yeah. Look, I think after we did the first two, all of us were like, we all really like this show. We go. It was also a hard show to follow. It had some narrative stuff. It went back and forth. But there was enough in it.

There was enough DNA where I was like, I'm in on the show. I can't wait to see where it goes. This is a good show. I think this is a great show. Yeah. I actually think, especially the Freddie, which I really want to go into the Freddie Gray stuff, but how they built to that Freddie Gray, that 10-minute sequence, and then you look back at what we watch for three and a half episodes with the payoff being that.

And all the stuff Simon does, he did this in the wire too. He loves to make you like characters who aren't good people. Yeah, but there's no sequence in the wire like this, the Freddie Gray sequence. Well, yeah, yeah. But I'm saying like he's paying off with Bernthal where it's like, I don't want to like this guy, but he's so much fun on TV. This is a TV show. I'm enjoying the anti-hero thing.

But now all of a sudden with Freddie Gray, there's real stakes. And we're like, oh, my God, this is a whole other level. What he's able to capture with the two sides staring at each other and how much emotion and anger there is, it pays off because of the first three and a half, all the terrible shit we saw these cops do. And then it builds to that moment. And you're like, oh, my God. It's just, it's so well done. It's so well set up. I was just, I was really impressed. I think it's as good as anything he did with the wire. I really do. The stuff that they're doing, like when I think that you're right. You know, the narrative is complicated. The narrative can be a little confusing at times. You're basically

hanging on to like whether Bernthal's got a mustache or it seems like his hair has got highlights or or not. And then you get to the Freddie Gray sequence and just the way that they build it up. and Arnold Marcus Green basically, you know, is unlike any director. I don't think that Simon's worked with before where he puts so much visceral energy into that sequence from the moment when Bernthal is just like, fuck this, we're getting in this fight at the office and gets in his minivan with his other cop. And they drive like crazy down to the to the scene. And Bernthal's like, they're going to hurt us. We're going to hurt them more. I think is the line he uses.

He's got no helmet on. But when you hear that line, you're just. And you're just like, this isn't, this isn't like any kind of public service. This isn't like any kind of like any kind of offer of community protection or community like anything. It's just a fight. No, he's offended. Like he's not even looking at it as to protect the cityway. He's offended that their spot is being threatened.

Yeah. And he's like ready to go. He's like, I don't want a fucking helmet. Let's go at these guys. Territory type of situation. Like he's protecting the territory. And, man, and again, the show was doing just amazing work and just explaining a period of time in a specific place where, you know, even somebody like me who, not going to lie, just like as a black kid who grew up in New York City, I'm not the biggest police fan ever. But I watch people burning shit down and fucking shit.

I'm like, damn, did you have to fuck all of that shit up? Right? Like, even me who is like as anti-copas is probably going to get. What the show is explaining to you is like, yo, they bring you to that courtroom where they can't even get anybody to be a juror because everybody's so biased against the cops. It's like, no, this is what they did in the city that made people go nuts. Like, they didn't just wake up one day and want to start breaking shit. It's like, no, it's a system that's perpetuating all these injustices against everybody in the community. You know, it's not just concentrated to one part.

They're getting everybody. They fucking everybody up, robbing everybody. And then it culminates in this huge moment. So I love that they explain, like, this is how you get a riot. You know, like, they show you all of the stuff that leads to the police, the environment that leads to the police behaving this way. They show you the consequences of that. And then they show you the aftermath.

Like, they just put all the pieces together. It's just beautiful. Also, I mean, what's the line? I think Rob Brown, has where he's just like, Wayne just love going after dudes with backpacks. Backpacks. And he was just like, Wayne really had something for guys with backpacks. It was just like he always thought he could get something out of a guy with a backpack. And it's just like, no fucking wonder this happened then. You know what I mean? If you've got a cop out there. That's not exactly police work.

Yeah. It's like Sherlock Holmes is not out there. Yeah. And you know, all the examples we see of Wayne's policing are increasingly winding up with him basically needing to frame the suspect to get away with it. But they're all on the edge. Like they're just like him rolling up on somebody with no probable cause with really no intention of actually doing any good. He's looking to attack somebody.

He's going to get a quick arrest even if that person gets released. So I just think that the entire depiction of the criminal justice system and the way that that city was working at the time is masterful. The planting scenes. There was planting stuff in the wire not as good as the two planting scenes

in episode four. where he's calling, it's almost like he's on postmates ordering like a pizza. He's like, hey, man, can you get a gun down here? Can you, uh, cool, you be in 10 minutes, all right, great. And then they're throwing the gun. And it's like so obvious. And then you have the people being like, wait a second, they play it. They play it to that.

I just don't remember it being that effective in a TV show. We've seen planting scenes before. And the buildup was great. We don't have this conversation enough when we're talking about the cops. and why they need to be held to a high standard because it's like, the concept is that, like, these dudes are doing this essential job and they have to be trusted for all of it to...

Like, once the trust is lost, we can't do anything else, right? Like, once you can't get 12 jurors to believe that evidence was implanted or a cop isn't lying on the stands, like, everything breaks down afterwards. And so, like, this is why this is like, the worst thing a cop could be doing, right? Like, it just breaks down the public trust. And so the public has to be a participant in, you know, justice, right?

Like, they got to talk to cops when a crime happens to give them information about what they saw, what they heard, who they think might have done it. They have to sit on juries. Like, the public has to participate in the process. And so when this dude is just planting heroin on people and everybody knows somebody who got drugs planted on them or their cousin did or their... or their brother did, or their brother got robbed, or all of this stuff got jammed up for no reason.

Everything breaks down. And they're just meticulously putting together all of the parts that make for a complete breakdown in public trust. Chris, you know what I was thinking after this episode four? We talked on the other two pods we did about the show. We were saying it's like the spiritual, what do we say, like cousin of the wire? Yeah, it had like a spiritual connection to the wire. Right. This is the son of the wire.

I graduated into direct lineage. I told my dad, because my dad loved the wire and he wasn't watching me on the city and he asked me if he was good, there's a couple weeks ago, and I was like, yeah, it's good, you should watch it, but I didn't like give him the hard sell.

And after episode four, especially, I was just like, dad, you have to watch this. This is the epilogue to the wire. And I think what's so cool about it, and we've seen, you know, we've seen other TV shows try to take stuff that happen in the last five years and move it into storytelling, right?

Like, I think Atlanta has been really clumsy this year. And Van and Charles Holmes have been breaking it down. And Van Rember did too, where they had a specific idea for this season. And they've tried to do it. And it's been all over the place. And there's been good shows, bad shows. This was like Simon was like the perfect person in Pelican to basically take everything that happened in the last six, seven years and do it the right way.

right with just like TLC not like trying to exploit anything but just trying to explain here's how we got to these points here's all the ways the system is broken and it's a lot like what he did with the wire honestly like especially season three and season four season four was my favorite season of the wire where over the course of what 12 episodes he explains how the school system is so fucked up and it's not it's not one episode it's got to be 12 and you need to go up and down with the characters. And that's why I think this show is just so crucial, especially whether you love the wire or not.

And you don't have needed to watch the wire to watch this. But I do feel like if you like the wire, if you cared about it, I don't know why you wouldn't be watching the show. So, like, I've been obviously talking about Better Call Saul a lot, its relationship to Breaking Bad as it ends. You know, we talk so much about franchises around the whole ringer podcast network, Star Wars and Marvel stuff.

So we're always aware of like the sort of anxiety. of going next and what are you setting up and what happened before. But when you think about when you were watching the wire, it's actually really useful to watch the wire along with we own this city. Because when you see how militarized and how cowboy shit

these cops are in this show compared to the way we think of like Bunk and McNulty. Yep. You know, like when you think about these... That's chicken shit. Rolling around with their bulletproof vests on 24-7, getting out of unmarked Ford Must. stangs to jack up dealers and that's like the top of the line policing in Baltimore at this

point like granted this is happening in a semi fictional universe or whatever but like just think about how your ideas about policing have evolved from when you started watching the wire to now you know and the depiction of like their behavior it's actually incredibly useful to think about this in the context of the wire yeah and i was talking to somebody this weekend and they like, I don't know if it was a critique, it was an observation. They were like, well, they felt like maybe David Simon might have felt like he made, the wire was a bit of copaganda and this is like an atonement for that. But like, to be honest, me watching the wire, I never felt that way.

It felt like he was explaining like the cops and the criminals basically behave in many of the exact same ways, right? Like, they get these orders from the brass and they try to do the people that are in charge or at the top and they try to work it so that they can figure it out and not get fired or in the case of the drug deal is not get killed.

I never felt like I was watching cops being valorized on the wire. I mean, the wire got criticized for valorizing the villains. That's what I'm saying. Yeah, I mean, it took more shit for that than the cop again. I'm with you. I don't agree with that theory. Yeah.

I just think he's telling this story of like motherfuckers who literally were robbing. They still were. They were bank robbers damn here. And the wire. The wire, everybody is kind of like a product of this system. And whether or not they're basically going along with this system or trying to buck against the system.

So McNulty and string are going against the system. But, you know, then there are people who kind of like perfectly operated with it. in it, like Marlowe, right? And Marlowe is just like, I'm just like the next iteration of Avon. This show is kind of like the system is in such tatters. It's so broken that bad actors like Wayne don't actually know that they're bad actors. You know what I mean? Like they're, right. It's not that you think Wayne is cool, but you're almost like, this dude has like maximum self-awareness. It's just that he's self-aware that this is the way you get to make $150,000

and put your kid into private school or whatever it is he wants to be doing. Get those crabs and stuff. Get a hot tub in your crib. Pay all his boys. Yeah. And pay all his boys and keep, yeah. I mean, that whole. And you can see the slippery slope where it starts with taxing dealers.

Then it starts with planting evidence and taking large sums of money. And now he's got this. I mean, the character that they've got playing the bail bondsman, who's only ever wearing Ray Lewis jerseys. He is a great character. And he's like, I just deal a little bit of Coke. And he's just like, well, I got all this oxy from the Freddie Gray riots. And it's just like, dude, like, where do you find a character like that?

Where it's just like this Ray Lewis motherfucker is going to sell your oxy for you now? This is crazy. But the Bill Bondsman thing is like a real thing. Yeah, I know. And that was part of some of their drug dealing stuff. And that's the thing that I just mean like they, the actor who they found to play that. Oh, he's incredible.

Where I'm just like, where did you find this guy? By the way, Bernthal's Baltimore accent, can we talk about it? Like, as the episodes go on, it's getting better and better and more and more pronounced to where it's just like, this is incredible. And obviously, we all know when we hear the twos. Yeah. We all laugh a little bit inside. But it's even beyond that.

When he is just on fire with the accent. And the bail bondsman is an incredible Baltimore too. We're going into the casino. With the Bernthal, it's like, I don't even think this is a criticism. But if somebody wanted to criticize him, it's like he's too charismatic. He's too amazing of a character. Yeah. My answer to that would be, I think somebody, one of these guys has to be charismatic.

You almost need like the leader. It's almost like a cult leader where it's like this is the worst of all of these guys. he sees the chessboard in a different way and he has the charisma to try to rope them into doing this increasingly evil shit. Like I actually think he needs to be that way, but we're just talking about like the great evil characters ever. I think he's on the list now.

I think like if we're ever like sitting around one day, we're like, hey man, who are the like just best evil characters who've ever seen on TV show? This would be one of the ones that jumped to mind for me. man, the way he's, the way he plays with language, again, like when he's code switching, when he's talking to the black dudes or when he's talking to the Bell's Bondsman or when he's

talking to the cops that are having a little barbecue, you know, drinking Petron and all of that. Like he's, he has his, like, when he's talking to the black dudes, he's often using these, like, hip-hop vernaculars, like, yeah, I'm going to keep him on it. Or he says, yes, er. Yeah. Yeah. Yeah. It's incredible, these little subtleties.

And again, like somebody who can pull this off has to be obviously that charismatic and just that magnetic. You know what I mean? And that stuff is enjoyable as well. You know, I've been trying not to read too much about this show because I really want to like just have my own thoughts and opinions on it, not be have it towered by eight people writing about it. But I was really interested to see how they did the Freddie Gray stuff, especially in the city of Baltimore, how they used the extras, what was the mood of the city where you have this TV show

being like, hey, we're basically going to recreate the Freddie Gray thing. Is everybody cool with it? And apparently the wire has so much cachet in Baltimore and so there's so much trust with the filmmakers that they were able to do it. But, you know, it's, you think like, that's a. really painful wound to reopen and just go in the city and use the locals and things like that. But I think that speaks to how important the wire was and how important Simon and his crew is just to the city because I think, I just think they're probably really respected.

So that's how they were able to do it. I thought that was interesting. That brings true because, and obviously this is a lot different, but I think about 9-11 and the memorial that's downtown, I've never been. I just have no interest in going and reliving that. Like, it's so like, like, I can clearly remember what that felt like. So, like, the idea of revisiting that is not something that I want to do in a museum or whatever. So, you know, people being like, man, this was some traumatic shit.

People, like, really felt shaking by this event and be like, nah, we think David Simon and them know what the hell they're doing. And we're going to let them rock. That's amazing. And it's like, you know, they're using Freddie Gray. they're using that day as a kind of example of why Wayne

was up to a point, bulletproof, right? Because it's the, what they say is that if you want to know what happened into them looking into Wayne, Freddie Gray happened. And then they do the day

of like Wayne basically being like, you know, he was a hero that day, bought the fried chicken. So the cops he was. Yeah, right. He's like,

he's like the greatest coach of all time. He's giving prep, pep talks. He's bringing in food and orange. slices and everything. So he's doing it all. And then I think we're obviously supposed to see at the end when he's given that speech at the restaurant that he's kind of come out on the other side

of that with a lot of credibility with the higher ups. So it's actually a kind of a very subtly dark way of looking at that to be like this was actually a great advantage to crooked cops was to have this situation with the Freddie Gray response. But then you look at the other end like the episode four starts with this poor old couple that's just driving somewhere. and the guy who's driving is dead because this guy's an asshole. You know, then we have the thing later where when they plant the gun

the second time, same thing. Like, just, like, he's just wreaking havoc in the worst possible ways. And he's getting promoted. He's moving up the ladder. There's no gun here. Like, I know that he's just like, look for the gun. And he's just like, all right, Wayne.

Yeah, like, well, look. He pointed it right at me. Does it feel like Jamie Hector's character is going to be the key guy in these last two episodes? I think so, because he hasn't testified yet. Yeah, are they dropping the breadcrumbs for that? Yeah, I think, I think that the Jamie Hector character is going to get, be important. But I also think I'm really curious to see whether or not there is a, uh, sort of extensive Jenkins interrogation. Because all these other characters have kind of gone through the whole thing. And so far, yeah, yeah, yeah, yeah. We need that. It's just been like, do you know who I am and shit like that? So it's like, well, Carolina versus Bernthal would be great. do we want more from Carolina in this show or is she intentionally stripping it down?

I think everything is stripped down. I just listened to her interview that she did before this show on the HBO's officials podcast joint. And she was like, the lady who she's portraying was like, I don't wear makeup to work. I keep my hair in a ponytail every day. I wear men's shoes. I try to be as comfortable as possible.

I basically just go in there and do what I do. I'm not a character. That's what the lady told me. her. That's what the Fed told her. And so it makes sense to watch. He's executing it that way. How about the Josh Charles character? It feels like his minutes per game just isn't high.

They bring him in and he's like Davos Burthans. He just comes in and hits a couple threes. He's like Bileika. Yeah. Just shoots immediately. Feels like he has to pay off at some point because they've built that character as like Wayne Jenkins is fucking evil. But this guy is like maybe another level of evil.

so I don't know what to expect from him. They're doing a lot of what you would call it too, face acting. Like, Perthall has this thing that he does where he's like puckering his lips after he said something. Because he just knows he delivered like some game on the people who are listening

to what he had to say. And the same with Josh Charles. Like, he just looks like a bastard. Even when he's not even speaking. He's resting bitch face. Yes, 100%. Damn, I didn't realize I was working with SuperCock. And a motherfucking brick.

And a brick. Oh, my God. That's some good ass police work, Sean. It's one of the great TV performances I can never remember. He's so fucking good. We've had Bernthal stock for, what, a decade? It's just so nice. The Tom Cruise Werewolves of London scene

in color money if it was four hours long. Oh, my goodness. Why does this dude dancing around for four hours? It's crazy. How about happy Wayne Jenkins Day just killed me? He didn't think he's going third person by episode four. He's just calling himself Wayne Jenkins. I'm super cop.

Yeah. And unironically, the dude goes, that's how I know the department's fucked up. They let people like you are like, so shit. And he's saying it. He's like, it's a joke to him. Oh, my God. All right. Perfect.

We cover everything. We're good, right? Yeah, we got it. Episode three and four, listen, you're probably already watching this show if you listen to that whole podcast. But if you did, this is a spread the word show. I think we've officially, I really do that. I get annoyed when people hit me over the head and try to, you're not watching this weird, angry guilt trip thing. But certain shows are pretty special.

And I think this show, I just think this is a special show. It is. I can't wait to see where it goes. I love the fact that it's only six episodes. They easily, we talked about this previous podcast, they easily could have padded it, could have backstory. We could have Carolina as a divorce mom.

They're going to need it. I don't need it. You know about your kids. I don't care about it. Oh, you're going to a rehab meeting? All right, let's go there. Oh, cool. Oh, you're going to have a moment outside the rehab center

with the new mom. The one cop who's definitely like recovering alcoholic, whatever, demons. Is this out? That stuff's all out of the show. We should have the right to opt in to seeing Wayne Jenkins try to talk his kid into playing peewee football. I would have enjoyed that, for sure. Fair.

That should be in the deleted scenes or something. They could have put that under. What do you think he's like he got lit up and now he's spiraling? Listen, man, the first time I got hit doing nutcrackers in freshman football, I was like, I don't know if this football shit is for me. And I was 14. All right, fellas. Jane Jenkins Day. Incredible show. Spread the word. This podcast was produced by Bobby Wagner, and we

will see you on the prestige. We are doing the next two episodes. Hell yeah. So we will see you for episode five next week.