The Watch - Breaking Down the First Half of ‘Mindhunter’ Season 2 and ‘Succession’ Episode 2, Season 2 | The Watch

Episode Date: August 19, 2019

We break down the first five episodes from ‘Mindhunter’ Season 2, including a brief recap of Season 1 (1:00), the shooting style of the show (11:17), and the different serial killers we’ve met so far (31:44). Plus: the second episode of our ‘Succession’ aftershow, ‘Number One Boys’ (42:58). Host: Chris Ryan Guest: Jason Concepcion Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today's episode of The Watch is brought to you by Navy Federal Credit Union. Navy Federal is proud to serve over 8 million members, including active duty military, the DOD, veterans, and their families. You'll receive a lifetime of membership benefits with Navy Federal. And you can easily access accounts, transfer money, pay bills, and deposit checks with the Navy Federal mobile app. Visit NavyFederal.org slash watch. For more information, call 188-842-6328 or download the Navy Federal Credit Union app, message and data rates may apply.

I need sports to have to clear the room. Stand up and walk now. Hello and welcome to The Watch. My name is Chris Ryan. I am an editor at the ringer.com and joining me in the studio after a brief stint in the Vacaville Prison Mental Hospital,

it's Jason Concepcio. Yeah, the thing you got to understand, man, is like you're out there, but we're in here, and you've got your reality, but what about this one? I don't go by your rules anymore, Chris. Jason is referring to something that happens midstream in MindHunter's Season 2.

And that's what we are talking about today. Jason and I are going to be breaking down the first five episodes of MindHunter's season 2. It's a double Jason episode. So first half of the show, Jason and I are going to be talking about Mindhunter season 2, the first five episodes. And then in the second half, we'll have the audio for number one boys, episode two, our succession after show, breaking down the episode of Walter. All right, Jason, let's just get right into Mine Hunter.

Yeah. My most anticipated show of the year, they took David Fincher, they added Andrew Dominic and Carl Franklin. They are taking on a wider range of, I think, like, both American underworld history in this season. And yet the first episode, I feel like, I think we might be seeing a lot more episodes like this in other Netflix shows where it's like, hey, I know we haven't been on in two years. Here's what happens on this show. And that was really an effective way of doing it. it, they give you that early shock of a

BTK killer doing some stuff by himself in the bathroom, and then boom into really an extended exposition about how we got here, where we are. Yeah, structurally, they're still teasing the BTK as a point

of view character in the beginning and sometimes at the end of episodes. And they're sort of showing the side of these killers that we never see when Tench and Holden and Wendy talk to them in their interrogations, which is this sort of, these private moments of contemplation about what he is and what he's becoming and what he wants to be.

And throughout the season, we get these ideas that he is essentially grappling with the emergence of this other persona for himself. This is such a show, compartmentalization is a real theme. Huge. Huge theme in this series, particularly season two. and we're seeing Dennis Raider, the BTK killer, grappling with how to keep those walls up.

How to be a seemingly functioning member of society with a wife, with a job, goes to the library, who does all these normal things while he's got this incredible darkness inside of him. Yeah, just struggling to get out. It's chilling because it's also like, what Fincher's sort of chronicling here

is the things in between the lines in a newspaper story that you would read in the 80s or even today where you're just like oh this seems just horrific who can imagine? And then you kind of as a reader as a person in the world move past that and go off and do your own life but he's sort of mired in

the little details of these people's lives that build up to that story being written and this idea that this guy is like you know has these sexual proclivities that he's hiding and he's not supposed to be home in the first episode when he's in the bathroom doing some stuff

with a mask on And then later on when he's burying that box in the backyard and you're just like, that box is not buried. You were not burying what you were doing. Your wife's book on sexual deviancy did not work. So, yeah, the BTK stuff is a really nice thematic template. It's a really nice tone setter. Let's talk a little bit. I don't know if you want to go through episode by episode.

Obviously, spoiler-wise, we're going to be talking about everything that happens through the first five episodes. And I will say even if you just are riding on the, riding on the episode, edge with us here, stuff happens in four and five that is going to be a spoiler. So I don't want to spoil things for you in regards to the main characters. Goes up a level four or five. It does jump up a level. So first episode, like we said, is largely a recap of where the first season ended. It's tension windy trying to sort of grapple with the internal investigation of the, you know, after they've deleted these transcripts that betrayed Holden kind of going safety off. Crossing a line and crossing some lines. Yeah, in several. Yeah. In several

interviews. Holden has been hospitalized due to a panic attack after his last encounter with Kemper. And Shepard is sort of trying to do damage control. You've got Greg who they think is, they don't quite know yet. He's betrayed them, but is obviously got a lot of misgivings about what they're doing. Yeah, we learned a lot about Greg in the course of episodes one through five. Yeah. Just about kind of what a, his particular and very conservative really worldview for that group. Yeah. And you say worldview. And I kind of want to get immediately into the tone of the show. Sure, let's do it. Because I feel like last season was, or the first season, was really atmospheric. A lot of it was told through the

perspective of Holden, who was new to this science. That was kind of Tensh's protégé. And then kind of by the end of the season, it clips his tench. But for the most part, a lot of it is just like incredibly moody. You've got a lot of shots of like all the ants eating the tuna fish at the end, you know, the cat in Wendy's basement. These kind of like lynchian. notes of eerieness, like that ring out underneath normal reality, that kind of stuff. And the ideas, the themes I felt like really didn't emerge until Holden and Tens investigated the school, the teacher, right? The administrator.

Right. The idea of, at what point does behavior cross the line into something that is truly disturbing and criminal and how do we stop it? Yeah, and if you're basically creating models of behavior, at what point is behavior predictive. At one point to somebody who's maybe exploring kinks, essentially. And also, you know, and those kinks could totally cross lines. Yeah. As the principles did. Yeah. As the principles did. Yeah. But does that necessarily indicate you've got a serial killer on your hands? Because they are inventing this science and they're inventing this vocabulary as it goes along.

And Holden is the kind of like the tip of the spear there because he too is finding himself awakened to all these different ways of thinking and all these different behaviors. And obviously it compromises his relationship with his girlfriend at the time. Right. At what point does Holden, you know, I think about that moment when he's addressing the class and he's talking about abusing animal. You know, one of the signs we see is abusing animals. You're mean to animals. And I think that's a thing that, you know, has crossed over into pop culture at large as like an indicator of something that many serial killers have done. Yeah. You know, at what point are you, does Holden start seeing these things in places where they don't belong? And that's really kind of, as his walls come down,

that's really one of the themes of particularly the end of season one. Yeah, and then we get into season two, and the prospective characters, the characters that we're spending more time on are Windy and Tensch, which is really fascinating, right? It's really, really cool. Because I think you could have said that Wendy and Tinch were going to remain these sort of supporting roles

that were really just there as counterbalances to Holden, that they were just going to be there to say, like, Holden, slow down, you don't know what you're doing. And instead, we get really into the, their personal lives in the second season. I'm blown away by the patience of this show. It is slow moving, and that is by no means a bad thing, but the fact that we've, you know, at season two,

now all of a sudden we're going to open up this entire new world of getting into Tentges' home life, getting into Wendy's. It's tragic home life. Really tragic home life as it develops, Wendy's personal life and how she came to be here. And all the while, much like Holden at the end of season one, these walls that they've put up between their personal life and the work that they do are seeming more and more porous.

Yeah. More things are crossing over. There's an incredible moment in episode four that we'll talk about where Wendy and Greg are doing an interview with a criminal and it's like they're talking, each of them is talking past each other and on multiple levels seemingly at once. That's the thing I'll say about. So I find this season to be quite frankly. drier. You know, like, I don't think that there's that many emotional moments. There's not that many

cathartic moments so far, at least in the first five episodes. It is absolutely, like, complete, like, Wagu beef lead. It is just, like, there is not a single morsel of this show that is not absolutely important. I've rewatched parts of the first five episodes already, just to get ready for talking with you today. And I cannot believe how every single scene, even the Wendy and Kay, scenes where I think when you're first going through it, you're like, oh, cool, they get, like, Wendy has a girlfriend now. And, like, and she's, like, going on. But she is essentially doing the same lap around America that Holden did, where she's like, so what do you mean? You live in this place and you live life of abundance, but it has nothing to do with, like, capitalist accumulation

of material items. She's turning that same kind of investigative lens on this budding relationship and also on herself as she's trying to navigate, like, what, how do you, what is this place? Like, she is, she has a great line when she first approaches her. Like, is there a place for us? Yeah. And I found that really affecting. Everything that happens that seems trivial is then used somewhere else to layer in the character worth that is really, really stunning. Yeah, and so once you know that, yeah, the interactions with Berkowitz, who's Pierce, is that the guy and the first Atlanta guy they talked to?

And especially Henley and then obviously Manson in episode five resonate because you can find all these connections not only between each killer and Kemper. Kemper who's now like the public, he's like the public editor. He's like the ombudsman. He's like, let me just tell you about

how you should think about interacting with all these people. But also the way in which those interviews wind up having a lot to say about the very various investigators. Right. There are various characters. So in that sense, it is maybe the most efficient show I've ever seen in that way.

Everything is a mirror. Every layer of this show is a mirror in which the characters are projecting some part of themselves and reflecting some part of themselves. We could talk a little bit about some of the specific things that happen in episodes in a second, but I did want to talk a little bit about the filmmaking and the writing in that way because, you know, I think that we associate Fincher with a certain virtuosity that he certainly had much more, he was much more flashy earlier in his career

with like Zodiac, or more like with Fight Club and Seven, and he was highly stylized, and there was a lot of like really flashy stuff. Of course, like in Fight Club, the opening credit sequence of like going through all the wires to get to, you know,

I actually think that over time, he's become a much more restrained, even if he's much more, his level, his attention to detail and his exacting nature of his framing, of his pacing, of his cutting, of his movement is so high. Carl Franklin, when he came on the watch last week, who directed some of Mindhunter's season two,

he really was conscientious about keeping the filmmaking language of this consistent with what would have been filmmaking language of the early 80s, the late 70s and early 80s. So a lot of master shots, wide frames, you can see the entire room, not a lot of unnecessary close-ups. If it's a close-up, it's because it matters. If the camera moves, it's because it matters. It's not just because, like, oh, let's just get a little bit of juice going by moving the camera around.

And that can be, you have to teach yourself to watch that. So, like, you'll be watching it. You're just like, this is really great. On first glance, it doesn't necessarily, I don't feel like I'm watching the new David Fincher movie, which essentially the first three episodes are. Yeah. And then when Tench goes to visit Kevin, the kid, the witness, the living witness of the BTK killer. Oh, man, that is.

And in Kansas, and he's with a Wichita cop, and they get in, they're in a truck in a parking garage. And this kid who was shot in the face three times by the BTK killer gets in the backseat of the truck, and he's got nerve damage from his wounds. And you're like, oh, God, this is going to be gruesome. Or they're going to, it's, whatever. And the guy, the cop is like, don't look at him in the face. Yeah, just keep looking forward. So Tench is looking forward.

We're looking at Tench. The camera is looking at Tens. And we never see the kid's face. And it's, it was amazing to kind of like process the tension that I felt watching that. Because I kept, unbelievable. Because it just focuses you like a laser because you're thinking, when am I going to see it? Am I going to see his face? And also, why the fuck do I want to see it?

Yeah, it's like, why do I? Yeah. And that's the thing is I think it's really confrontational. It's because a lot of this show, I think in the back of my mind, I'm still waiting for like a chase. I'm still waiting for a like, we got. And so much of the show is about how these guys are like, we're not, we're basically scientists. Yeah. We're not Sherlock Holmes.

Like, we're not here. Like, Tensh is like trying to get that across the hold in Atlanta. He's like, you are not doing the necessary legwork to call yourself an investigator. That, that I think is really the central idea by which it is necessary to understand Mindheartedly. They're not going to catch these people. Yeah. Right? They're either caught, and BTK is not going to get caught for decades.

They're not going to catch them. So what is this? It's a meditation on a really particular form of violence. And I'm glad you said exacting before. Fincher is incredibly exacting in the way he makes films. And he seems to really have a particular fascination with people who are exacting, social network, Zodiac, the game. And these very violent men are extremely exacting in the way they do things.

I was thinking of, like, ritual in episode one when we see Dennis Raider. going through that particular ritual that he needs to feel gratified, which is like truly a shocking thing. You just see it from the outside, the door shaking, and then when you finally see what's going on inside, you don't really see much, but what you see is like there's a lot, there's ropes, there's different articles of clothing.

Yeah, there's masks. And then all of a sudden we cut to the Tench family at church. And it's just these ideas of, on the one hand, these people who are creating their rituals for themselves and then rituals that are impressed down by society and these ideas of these kind of behaviors that are either passed down through culture or that are created by these like renegade criminals

who are creating their own culture. That idea of ritual and exactingness is something that comes out in like every frame. Yeah, and also you just said that like these renegade criminals, they are starting to become conscientious. of their role in culture. Yeah. And that's the thing that I think in the first season,

I'll never forget that slideshow, that Tench, and forgive the local police department. I think it's in Pennsylvania, if I remember correctly. And they're kind of going through it, and they bring up Manson and the guy's all grown. Yeah, yeah. But they're basically trying to wrap their minds around the idea that we're starting to see

basically random acts of violence committed by strangers. Everything is passion or everything before that was an act. It's an act of vengeance. It's a member of the family. There's a cause and effect thing here that we can understand. A member of the family. And now we're just starting to see these acts of violence emerge. And it is essentially a virus.

And these guys, like Kemper tells them, these guys all know who the other are. And that's why Kemper's so titillated when they're waiting for Manson in five and they talk to Kemper again. And he's like, have you found someone who the news hasn't started disgust? He picks up on that immediately. And it's like, it's absolutely like the air goes out of the room when you're watching it because you're just like they understand that they are all as deplorable as the behavior is,

as horrifying as the behavior is. BSU, the only people who understand BSU are the killers and the only people who understand the killers are BSU and other killers. That's how Tengen Holden unlock Berkowitz, who to that point was, you know, sticking with his, the dog maybe do it, kind of story. And then as soon as they're like, man, there's a guy in Kansas who's like obsessed with you. Yeah. Like he's doing all the stuff that you did.

You see that light come into his eyes. I mean, these are people who have such a singular focus and complete lack of morality that the only people that can really understand them are these other people who are doing the same thing. Yes. And that time and again is how BSU. reels these people in. Yes. And the only thing that seems to actually interest them is discussing that part of it.

I mean, like, they'll eventually start talking about themselves. And as you alluded to, the conversation between Wendy, Greg, and Henley is maybe one of the highlights of the show so far. But this idea that Kemper is, you know, that everybody

has to wait for Charlie and that, like, he loves to talk and all this stuff. A note of jealousy that was really interesting. Absolutely. And just also like the idea that like they're so consumed with either with shaping their own narrative. Like Henley is consumed with the idea of like I don't care what's in the affidavit. I don't care what you think. I know what I did.

I never killed them. Yeah. Even though he procured kids. He was doing all this horrific stuff. And of course, the connection between like what Henley is talking about and what's happening in Tentious family. Yeah. And the idea that Brian. And again, you talk about this idea is like, is this a virus?

Is this poison? Is this out in the air? Is this in the culture? Is this somehow spread in modern America that people get these ideas? And then, like, I mean, it's almost sickly, like, darkly. It's not funny, but it's like the idea that Brian would think he could bring that kid back to life

by putting him in a crucifix. Yeah. Is like, well, these myths are just way older than mass media consumption. Again, this idea of ritual and behavior that's impressed down. And, you know, in a lot of ways, I think the Manson interview really, nail some important ideas, which is, you know, he's a bullshit artist to the extreme, but also

the thing that it feels like he unlocked in the people that followed him was this idea of all this stuff is just baggage that comes down from your parents from these other generations. Real freedom is just casting, and you can cast that stuff off at any time and just believe what you want to believe. Yeah. I think what you want to think. And that is a really compelling. an interesting idea.

I find myself watching this show, you know, like full disclosure, I have gone on numerous serial killer deep dives just in my personal life, like any, you know, like throughout my relationship with the internet. It's just a subject that fascinates me.

I find myself interrogating that. Because of the show. Yeah, because of this show, trying to figure out, like, why is this stuff so interesting to me, you know? Yeah. I mean, so that's exactly what I was saying with the Kevin's scene, with that scene in Kansas when Tensh is talking to Kevin. I'm like, what do I want out of this scene?

As a viewer, what am I looking, what gratification, catharsis, why do I want to see this person? Is it, like, is it important to me that I can tell what the actor is? Right. Is it important to me that, like, the violence inflicted on this character is somehow physically shown? Right. So that, like, I am aware of the consequences,

even though the way it is actually shot is, you don't ever get to see the kid's face. You get one shot of his sort of profile, but the glare off the car window obscures his face. And what you're forced to do is listen. And this is kind of an ingenious move by one of the most visually distinctive filmmakers in the last 30 or 40 years

is Fincher has made a show where it is absolutely essential to listen to every word. And the writing, I would say, is not exactly like crackling with like dramatic energy. Sure. Most of the FBI agents are very, they're all super toned down.

Tensch can get a couple of drinks into him and kind of get a little swashbuckling, but for the most part, Anatoor, Jonathan Groff, Holt McElheny, like they play their characters exactly who they probably would have been, which is like,

you don't get into FBI because you're Al Pacino and heat. Right, there's one time that Tens kind of raises his voice in this, And that's it. And then he goes to a cocktail party and tells war stories and people are super into it. And he becomes like kind of the face of the BSU.

The Mad Men, Mindhunter does Mad Men in that moment. But they're restrained. And you're forced to listen to what is essentially sounds like transcripts. Right. A lot of the dialogue sounds like it's transcription. And then when something happens, when something notable happens, whether it's the interview with Kevin and that the way that the music kind of rise. with the sound of the L train or whatever is going by that garage.

And like you realize like you are being, you're not witnessing the events, you are witnessing the trauma. Like you are witnessing this kid have to relive the trauma of the events. Like that is incredibly high level filmmaking. That is like that that isn't insanely precise filmmaking. Yeah, the most like,

Fincher is incredible with drawing your eye to the perspective of the character that he wants you to see from. Yes. And that, the Kevin scene is great at that because you see the cops crystal clear and you never see Kevin really clearly. Yeah.

Your attention is drawn as his would be to like all these places. And you just see him kind of furtively trying to hide himself. And, you know, Fincher does that a lot with like, when he has two characters in the same frame and the kind of rackbook is coming back and forth.

That stuff is amazing. And you really notice it when all of a sudden he'll give you a POV shot or a dolly shot that's just rolling ominously towards a building. Yeah, Dominic actually is probably a little bit more loosey-goosey with that in his two episodes in four and five that I've seen so far. The other thing that comes up a little bit here is so in that Kevin scene that I was thinking about, you get an idea also about the, as the BSU grows and as we kind of see it in the context of the American judicial system, is for lack of a better term, the access to justice.

Yeah. Tensh, you know, Tensh's son is essentially mixed up in a murder, you know, and Nancy is like, you're an FBI agent, like make this go away. Pull a string. Yeah. You pull a lever, do something. Tensh understands, like, he's like, this is like what they're doing to us is what I do to other people. Right.

He says that in the moment when the child psychologist comes as like, I do that all the time at work. I walk the crime scene. Don't get personal with her because she's not your friend. And then obviously, like, scores points with the thing. therapist because he's like, yeah, I was just interviewing Manson and the guy's like, oh my God, I'd love to hear about that. And Nancy's just like, so the very thing, like, because you can tell brewing under the surface is that Nancy is horrified by what Tensh does for a living. And also disappointed that he's constantly on the road and like has to go to Atlanta, has to go to California,

drop of a dime. And yet that very, that, that, what he does with his life very well may save their bacon when it comes to this investigation because if people start being like, well, These guys seem like really super interesting. Yeah. So the access to justice, and that especially comes in with the Atlanta stuff. So the Atlanta stuff is like when this, I think this show just goes completely widescreen and panoramic and jumps to another level. Yeah, it's like how many big ideas can we have in a show like ritual, amorality, the porousness of culture. And then all of a sudden it's access to justice and who.

Gentrification. Gentrification. who can be hunted and who is ignored and who has paid attention to. All these like really interlocking big ideas that seem to be happening at once in almost every scene. Yeah, and you talk about how no lines are wasted. Like, for instance, the first time you watch the moment when Holden arrives in Atlanta, he gets picked up by Jim at the under construction Atlanta airport, which is on its way to becoming the biggest airport in the world, I think, right?

And he's like, bigger means better, right? And he's like kind of saying it sarcastically, but just a little bit, you're like, okay, this seems like a weird, like two guys who haven't seen each other in a while and it's a little awkward throwing dialogue around. But that's exactly what's happening at BSU. BSU has gone from three people in a basement. Tons of resources all of a sudden. On the cutting edge of behavioral science and forensics. And now they are a political tool being used by this guy, Ted Gunn, who's their new sort of overlord at the FBI,

who clearly sees this as a, if I ride the... this wave, this wade crests at being the head of the FD. This is a growth industry. There's a reason that people perk up when they hear the name Charles Manson. Yeah. And if you can attach yourself to being part of the movement that explains Charles

Manson, that's great for your career. Yes. And his, what are his obsessions? It's, I don't want to get hit with fallout from something that you guys do. He's like, he's basically like, I don't give a shit how you conduct yourselves. I mean, keep the blinders, like, keep it

within the guardrails, but I don't care if you guys make mistakes or overreach. I just want to know about it as soon as possible so that I can control the narrative. And that's what's sort of happening with Atlanta is he sends his boy down there on some Fox Mulder shit to be like, just kind of like, just kind of fly free, Holden. Yeah, just poke around, see what you can attach yourself to this case. And Holden thinks he's a genius being like, it's a black predator. Right. I found out.

I figured it out. Like the Atlanta child killer has to be a black guy because a white guy couldn't operate in these neighborhoods without being noticed. Yes. And they actually essentially do exercises to prove that when like Greg is walking around. Yeah, and they're like, hey, what do you, show us your, like, and the kids are immediately dubious. They're like, what do you want?

But the black, the black law enforcement that they have down there is able to pick up like four or five kids. Get them right in the car. Just by being like, I have two bucks for a job. So they start to basically bring in the idea that every case that they're investigating is inherently political. And that's a great line when Gunn is sort of reprimanding Tench. And Tentch is like, it seems like it's all politics.

He's like, name a big city that isn't all politics. You know, it's like it's going to be that way. But the idea that Atlanta is changing, they have a black mayor. They have the same problems that a lot of American cities have in 1980, but they are pushing through at Brignac pace to completely remake pace to completely remake that city and make it a major airline hub and make it this new sort of gleaming metropolis of the South. and they're leaving behind a lot of people in the process. Who gets left behind is the undercurrent of that theme.

And it's obviously like something that is applicable to many issues right now. Yeah. And it's also like a testament to Holden's vanity that he's just like sick. I'm not to have a one night stand. Yeah. That was that was, you know, like it's interesting when this show gives you action and speeds up. There's that great sequence where the person at the day. desk, approaches hold him, is like, yeah, um, hey, be ready. Do you want to, like, go have the best

meal in Atlanta? And then, yeah, as you noted, he thinks he's about to have a date and there's that quick cuts of like him putting after shave on, new suit, combing his hair. And then it's not that. It's not. It's not. It's definitely not. He goes and meets the mothers of these, of these murdered and or disappeared children. And you start to get into the sort of core mission of what BSU is is. Right. Because Holden is bending science to answer a need,

a need for justice and a need to help people. And Wendy and Tenture, like, that's not how this works. You can't just take what we do and make it. You're not Batman. I mean, if there's, that plot line, that sequence is amazing because if there's

a criticism of the show, it's that it like exploits violence against groups for entertainment. And here's a scene that really directly takes on the idea of are some people's lives worth more than others

when it comes to the application of justice? And it's clear... The answer is yes. Yeah, and also, like, the entire show we're constantly running into... Okay, so in Wichita, there was this small task force of cops who basically had no advanced understanding of forensics who have taught themselves, like,

analysis of copied machine toner, then you have, you know, over, overwrought or like, you know, overwhelmed local detectives in suburban Virginia investigating the case that Brian is involved with and essentially like allowing Brian's father to dictate certain things in the case. And then you have this situation in Atlanta where there are guys there, like the guy they meet who's doing the stakeout of the KKK bar. Yeah. Who's trying to explain like, yeah, man, like, look, we're actually sincerely investigating this case, but we can't go headlong into there is a serial killer in Atlanta when in fact, this is actually about on average

for the amount of children who die per year in murders in Atlanta. And at the same time, doesn't close the door to it. He's not like it's not happening, but before you go out there and say these are connected, understand the landscape that you have just entered. Yeah, and also the machinery move slowly. These are big barges that turn slowly. And that's just not how this works.

And, you know, there he is doing a stake out of the good old boys, the other KKK members. And then when... Oh, Camille, yeah, she says. She says half the force used to be KKK. So all these interlocking perspectives open up the idea of, like, where are the gaps in those perspectives? And those are the places that these criminals are plying with a plum. So I feel like we just spent about 40 minutes talking about how, you know, this really made us think a lot about our... own,

our own psychology and the culture of violence that is America. But I do think we should probably talk about the scenes with serial killers because they're like the emotional highlight of the episodes. They're definitely the dramatic highlight. They stage them as if they are boxing matches. We are, each guy gets his walk-in moment, you know, like Manson. What does Tens say? He's like a fucking king.

Like a king, led in by a guard much bigger than him, who unlocks his manacles, and then made them wait. Made them wait like a long amount of time for it. And then he comes in and sits very performative weight on the top of this chair to get that, you know. Because he's short. Get the high ground, get the height of, which is, you know, like I do in an ever meeting. Get the height. Also, I make sure I never have any.

I'm kind of worried about all the cords I have here. I could kill you with that microphone cord, man. If I wanted to. his sort of jumping right into the mind of Tensh and just like completely like dunking on that guy like a meet like

unbelievable and the sense that almost like he can like like smell the pheromones coming off of Trench of like how much he resents the existence of someone like Manson so we said and the way that that is almost like a condemnation of his generation's way of living

the way that is set up is incredible So Tensh's and Nancy's son, Brian, gets involved with some older kids. Right. Who he's obviously very influenced by. That's like the first or second scene of the season is like Tensh leaving church and be like, Brian, why don't you go play with these older kids? And you're like, whatever. I don't even think twice about this.

Don't even think about it. These kids end up killing a much younger child. And Brian in an empty house that Nancy is selling. And then Brian kind of very naively suggests putting him on a cross because maybe that'll bring him back to life. So in Tensh's mind is this idea of naivete and an innocent being led down a garden path by a much more experienced, hardened and malevolent figure. And here is Manson the very embodiment of that who, as everyone says, as can't, Hempner derisively says he never did it himself. Yes.

Never did it himself. Yes. And here he is, the very embodiment of that kind of influence, picking and picking and picking at that. These are your kids. These are your kids. That wound that he senses in Tens, and then Tentz just blows up. And it is an incredible magnetic scene where you just feel like there's conversations and

thoughts and things happening on all these different levels. You know, Tentius is talking to Manson, but he's also. trying to work through his feelings about what happened with Brian and work through that stress. Yeah, and meanwhile, we're talking about Manson's influence over people. Yeah. Fucking Ford is sitting there with a smile on his face, like he's just gotten asked out to go to prom.

He bought a new microphone to impress the guy. He brought his book to get autographed. Manson knows he brought his book to get autographed and fucking autographs. Immediately autographs him without saying anything. It's like, hey, I love your sunglasses. Can I have them? And Holden's is like, yeah, sure, man. Yeah, you can have many sunglasses.

I kind of understand that because when you think about what's happening in the, when you think about the cocktail party that Trench goes to, and Tensch is like, yeah, you know, like, Pierce was like this. He was such an idiot. And like, here's what it was like with Kemper and here's what it was like with spec. And Holden's just like, we're finding some really interesting connections between these kinds of behaviors and this kinds of behaviors. And you're just like, oh, man, like you're,

You're not a prime time player yet. You're really just better in these interrogation rooms. And you can see, Holden is seemingly never more comfortable than he is talking with Manson. And then the flip side of that, and that's the other one I wanted to ask you about. Because in some ways, it's almost as impressive a piece of writing and a piece of acting as the Manson scene for as flashy as Damon Harriman's performances as Manson. And it's an incredible performance and it's an incredible scene. The text scene that comes after. Oh, yeah.

where Ford talks to Tex, the guy who actually did these murders, solo is breathtaking. And another moment where this is Dominic this time, this is Andrew Dominic directing, but subtly, if you go back and watch that interrogation, when Tex is describing the Mansa murders, you can hear men and women shouting. Yeah, in the background, hey.

There's no reason, there's no women in that prison shouting. It's happening in this sort of like, is this diagetic sound? or am I hearing something that's like kind of an astral projection of what the story that this guy is telling. And you are completely again, taken to as he's going through and being like, and then Folger and then Sharon.

And it's like going through all these moments of the case. And you're like, you know, coming out of Once Upon a Time in Hollywood, and obviously this has been part of the conversation for a while, what a stunning piece of storytelling? And it's just two people sitting at a table. And all the while, Tentches, a real need. to feel that Brian was not involved in the incident that he was involved in or directly involved,

that he was acting under the influence of others. That need to feel that and to believe that is just like bubbling under the surface. He hangs on like everything that Texas saying. Yeah. But he was there, but Manson was there and when, you know, he went back and why did he, why did he go in first? And it is really incredible.

that thing of hearing those people in the background, like, hey, what's, you know, like, in these, like, little, like, Sharon being, like, take me with you. So I let me have the baby. Like, it's, and he's like, well, we were thinking about it. It's like, God, that was, like, just heartbreaking. I mean, I think the thing that we've, as we wrap this up, the thing I want to think about most going into the second half of the season

is this idea of porousness that you're talking about. Because that text, Manson, in the dual interrogation, really made me think about, like, well, we say a word is, like, you're culpable. Right. And throughout these episodes, with Henley, with, to some extent, Berkowitz, with his, like, hoax about, like, this dog told me to do it. Yeah.

And then Holden basically goads him into saying it isn't. With Manson, with tax. It's like, and with Brian. It's like, well, so if you're, if you're just running shotgun to this, what does that mean? Right. Is it your responsibility to stop it? Is your responsibility to get help? Of course, of course it is.

For 99.99% of people, it doesn't even get to that point. But when you get into these murky territories of cycles of abuse, of substance abuse, of basically falling under the influence of different people, and also falling under the influence of whatever else is out there, this dark demon out in the sky, or whatever it is inside of people's brains that put them in this place, we start to lose the ability to accurately describe these things. And we start to lose the ability to accurately kind of,

say, well, this is where the line is. Right. From sexual deviance to disorder to predictive behavior of something much, much, much more significant. That's a great point because, you know, like the levers of justice. Justice is really a real blunt instrument as depicted by this show. And Tensch, Holden, Wendy, or Greg are going way beyond that into these kind of trying to find these pinpoint edges of where one person's culpability stops and where does another person's culpability begin? At what point are you responsible? Are you insane? And at what point are you in control?

And that kind of laser precision, you know, Finchner, this show seems to be saying, is maybe not possible to discern through the tools that we have. Yeah, absolutely. And I think that actually, in some ways, the style of the show is a commentary on that. Because, traditionally what you would expect from a hacky or set of filmmakers, maybe with no disrespect. I mean, I guess it's disrespectful to say hacky, but you would expect camera work and visual storytelling that is somewhat more representative of the interior lives of the characters. And this is like, no. All exterior.

This is just, we are paging through these documents with you. So it's such a fascinating show. It's such a interesting show to get into. Thank you so much for talking me about it. So we just did one through five. I think we're going to hit the second. half maybe on Thursdays. That sounds good. And then so you can stay tuned after a quick break to hear the audio from me and Jason's

succession after show. That's number one boys. We talked about the second episode, which aired last night. Obviously, you can watch that if you want to see me and Jason wearing nicer clothes. You can see us on YouTube and on the ringer's Twitter account. It's pretty easy to find. It's just number one boy succession after show. Jason, thanks for joining me, man. Thanks for having me. Today's episode of The Watch is brought to you by the National Highway Traffic Safety Administration. Everyone knows about the risks of driving drunk. You could get in a crash.

People could get hurt or killed. But here are some surprising statistics. Almost 29 people in the United States die every day in alcohol-impaired vehicle crashes. That's one person every 50 minutes. Even though drunk driving fatalities have fallen by a third in the last three decades, drunk driving crashes still claim more than 10,000 lives each year. Drunk driving can have a big impact on your wallet too.

You could get arrested and incur huge legal expenses. You could possibly even lose your job. So what can you do to prevent drunk driving? Plan a safe ride home before you start drinking. Designate a sober driver or call a taxi. If someone you know has been drinking, take their keys and arrange for them to get a sober ride home. We all know the consequences of drunk driving, but one thing's for sure, you're wrong if you think it's no big deal. Drive sober or get pulled over.

Today's episode of The Watch is brought to you by The Righteous Gemstones. What happens when the creators of Eastbound and Down and Vice Principles turn their attention to the world. world of televangelist preachers. Find out in The Righteous Gemstones airing Sundays on HBO. The new comedy from Danny McBride centers on the Gemstones, a celebrity televangelist family behind a popular megachurch that also happens to be a major money-making enterprise. McBride stars as Jesse Gemstone, the eldest of three gemstone children, who sees himself as a maverick in the ministry game. Joining Jesse are his sister Judy, played by Edie Patterson and brother Kelvin, a pseudo-hipster who always finds a way to get under his brother's skin, played by Adam Devine.

John Goodman stars as the family's patriarch, Eli, who finds himself at a point of crisis as he mourns the loss of his wife. He also questions whether the gemstones are still serving a higher purpose as they aggressively expand their empire. The righteous gemstones is a hilarious and irreverent look at high-living holy rollers, whose world of mansions, jets, greed, and corruption belies their virtuous, godly mission. The half-hour comedy airs Sundays at 10 p.m. only on HBO. Welcome to Number One Boys, the ringer's Succession After Show, aka Fear and Self-Loathing in Tribeca. My name is Chris Ryan. This is Jason Concepcion. We're your number one boys, and we're going to get into Succession, Season 2, Episode 2,

Walter, aka the Kendall Roy game. That's right, baby. We start off each episode of number one boys with Buy or Sell, which means what are we investing in and what are we divesting in. we talk here about who we're into, what we're into on this show. So first, for Bye, I'm going to go Kendall as a son, right? So if we take all of what Kendall's actions are off the table in this episode, and you just talk about whether or not he is executing against his assignment as a son, he's crushing it. He did a great job.

He's tearing throats right now. He has said over and over and over again, what does he say at the end of the episode? Because my dad told me to. my dad told me to. That's literally like, and you can see, there is no soul inside of him anymore. It is left his body. It's like Ed Reed hit him in the back with a helmet. Right. And you saw the soul actually just come out the back like woo, bobble, blah, bo, bo, bo, bo, bo, but he is literally doing exactly what Logan wants me to do. And that's doing it in a way that in the previous season, I don't know that he was necessarily capable of.

I don't know if he showed that kind of, not savviness, but like ability to be clandestine. That's a great point because in the past, he's kind of been not honest with himself about the fact that he's doing things because his dad either directly told him to or because his dad said him on this course to be the person he is. And now he's just plain spoken about it. My dad told me to do this. My dad told me to gut your company, so I did. He reminds me of Darth Vader in a way in this episode because he's like, you know, Darth Vader is the henchman. The emperor calls the shots. Darth is extremely powerful and scary. But there's like a lot of roiling emotion inside.

And Kendall, that scene when he's staring at himself in the bathroom mirror after doing a bump of coke off the back of his hand. And immediately his demeanor changes to kind of giddy or just at least bemused at his own misfortune. and he balls up that napkin just throws at himself. Yeah. That was an incredible moment. I think you could make the argument that, like, Kendall's character has sort of, not regressed, he definitely has regressed as human, but that they've dialed him back to the beginning of where he was in season one.

But when you think about the guilt that he's probably carrying around, whether or not he's reckoning with that or not, that's sort of like an integral part of, like, cleaning up. It's to kind of come to grips with what you've done. And that's so it's not surprising. all that he's doing key bumps in bathroom stalls and kind of laughing at the own absence of his own soul. You know what's really incredible about season two is they're doing a prequel without doing a prequel. Right. You know, we saw Logan fall apart right at the beginning of last season. We met Kendall post-rehab. And now it's like we've brought all these characters to probably

the way they were before season one happened with Logan in full control, his kids jockeying for position, and Kendall absolutely a drug addict. Yeah, yeah. And also, not for nothing, if you notice, they've changed the structure to show. It's no longer these preordained months apart reunions of the family. Maybe that will come into play in the second half of the season or in future episodes. But right now we are in a much more traditional, like Romans over here, Kendall's over here, shivs over here, and we're cross-cutting. Now, for as much as we may be buying Kendall as a son, you're selling Kendall. I'm selling Kendall. I'm telling Kendall as a human being. As a human being, yes, he was, uh, he's being a good

father to his daughter. Kind of. She got to meet Snow Joe, but also like he was like, yeah, turn that, turn that roller coaster up to almost a dangerous level. What's the, it goes, how fast does this go? Up to a point. Let's take it to that point. He, but, you know, as a human being, inside, he is a mess, staring out into the night, like the skyline, looking at the skyline, looking at the skyline of New York City thinking about who knows what, stealing stuff from bodegas, doing coke, drinking, just draining flutes of champagne, pills, dealing with the fact that he, very high-key committed manslaughter, and that his dad is essentially blackmailing him with that fact to get him to do stuff.

And then pushing him into positions where he basically has to pretend as if he's not being blackmail, but do things that make no sense whatsoever. And at what point does Kendall absolutely break irrevocably inside? Or is this how guys like Logan are made? Right. It feels like something is coming. Either he turns into that black-hearted killer like Logan, or he absolutely shatters into a million pieces.

What else are we buying and selling this week? That's all our stuff on Kendall, but who else are you buying on this show? I'm buying Jerry. Oh, Jerry stock. Get the bump. Not a big Jerry episode, but I think it's very notable that Roman has now reached out to her again when he needed help.

Like, what do I do when Walter? I don't understand what Kendall's doing. Let me call Jerry, who by the way is like, I have 90 seconds to talk to you. And I think as Roman continues to spiral, which he surely will as Ken, at least for now, appears ascendant, I think we'll see him reach out to Jerry Moore as a touchstone, as a weird, a weird kind of mentor. A maternal figure. A maternal figure. And I really look forward to that relationship because he's like, can you, the way he was like, well, can you just be here?

Can you just be in the room? That weird neediness. And the fact that Roman chose Jerry as that point person, I think, is very interesting. Because Jerry is just as much as a shark as anyone. And that's an opportunity for her. and I look forward to her potentially exploding that opportunity. Yeah, the pairing of Roman and Kendall

is essentially just about two, like, well, one person telling another person that they're a piece of shit. But I do think it's pretty interesting how Roman is so honest about what he is. Like, he is, like, I don't read. I don't work hard.

I don't try. I am essentially just like here to be important without anything ventured. Yeah. And, like, watching him wreck him with that and then Tabith would be like, oh, by the way, you did a good job here.

And he's like, I don't know how to process that. I don't know how to process the fact that I had an idea. Sounds like you kind of did your job. And he's just like bent over. I would say that one of the things I'm buying this week on Succession is just one thing to keep an eye on is this idea of efficiency, which Tom stresses to Peach, who runs ATN, which obviously Kendall applies to his vision of Walter,

is all these ideas that you can strip mine. all these, like, links in the production chain, get me skulls, like, how do you tighten the belt? And whether or not, like, this is something that, like, I think Wastar Royco obviously just applies to any of their mergers and acquisitions. They obviously have done away with any speed limits on their roller coasters. So, yeah, efficiency is definitely something I think is going to be a keyword that comes up multiple times this year. Are you buying selling anything else? I'm buying Greg the Egg. Yeah. Listen. Good season for him so far. A great season for my guide.

Great middle of relief. Shows that he has some principles, very flexible, at this point. Listen, everybody's got to make a living. We'll get to that line in a bit. Still Ken's Coke Runner, and listen, job security. If you're looking for a job that will absolutely just be there in this economy, it's delivering cocaine for Kendall Roy. To Kendall Roy's of the world, yeah.

And then he got like a $5 million apartment, because Kenneville. It feels like, yeah, I just had my guy try to flip these, but like the market kind of not great right now, so it's yours. There's a catch to that, though, because I'm selling Kendall as a landlord. I thought that was a very nice human moment where Kendall was just like, this is just like, also a very sad statement on the state of New York City real estate where they're just like, here's all these like multi-million dollar condos empty. So my developer is going to flip them. So in the meantime, you who is like looking at like half of a loft in Staten Island. A closet. Yeah.

You couldn't actually sit up in. You can have this huge multi-million dollar apartment downtown in New York City. So Kendall then comes through and is like, by the way, this Austin needs to be my den of... Wait, hold on. I'm like, I'm looking for pussy like a techno-geat-be. What the fuck is that? What are the odds that Kendall's actually read Gatsby? I think he probably read the first three-paved.

That's like somebody told him that at a restaurant. He saw the Gatsby movie and was incredibly moved, and I think he probably, I think he tried to, I think he was like, tried to invest in that movie when it came out. My last sell is Tom as Edward R. Morrow. Tom's in a great spot. They really put McFadden in, like, this really interesting place where, like, he's always got, like, these watery eyes. And he's just, like, so naked in his ambition, he's like, well, it's great shift, but that's not the plan. I thought his meeting with Peach was incredible. Unbelievable.

And also, it's not that he wants to push ATN to the left. It's that he just wants them to not only sell shit pills to 68-year-olds. Jay, did you have anything else you were selling this week? I'm going to sell Schiff. Listen, you finally got a measure of clarity about what the timeline for the turnover will be. Approximately three years. she really got Logan's attention with the PR strategy to fire back at Stewie and Sandy, but with Kendall Ascendant at the end and the way the caginess of Logan,

there's no way he is not setting her up for some kind of betrayal. There's no way! All these kids have a propensity for self-destruction. Yes. Which is really interesting because they manifest themselves in different ways. Roman is incredibly external and obvious. Like he blows satellites up. Yeah. Kendall is traditional in the sense that it's like got a lot to do with substances, substance dependency.

Shiv doesn't have to end her relationship with Gilda. Yeah, she doesn't have to burn it. She could be like, hey, it's time for me to step back. Right. Like, this is where you need to go or whatever. And instead she kind of, she takes such a front to him upbraiding her about that working man joke and the, do you need Purell, that she's just like, no, screw this. I'm destroying this on the way out. I'm going to burn the bridge, I'm going to nuke the ashes,

and then I'm going to bulldoze the entire valley that the bridge stood over. Also, amazing that she stays in the car. As they're doing it, she's just like, I'm not getting out. Yeah, I'm not like, you get out. Yeah, you get out. We're going to talk about number one. Boy, it's essentially who won the episode. I think it's only a field of one.

It's Kendall. Yeah, it's Kevin. Absolutely crushed it. At the end of the episode, he is brought into Logan's good graces. And here's the thing, Logan's like, make yourself at home. Yeah, I was going to ask you about that. So what did you think of the fact that he's like, okay, make yourself at home, which is like obviously proximity to the seat of power is very important.

Roman seems very alarmed that there's a meeting happening without him. This showed his office politics so well. Yeah, it really does. But when he's like, make yourself comfortable and he like essentially sits down like the mountain and he's just like, I'm going to sit here at this table. And watch you look out the window? Yeah. And that was the other thing that was a very Vader-ish moment.

There's that moment in Empire where we first see Vader. just staring up, you know, he's staring at that out of space through the back of the windows, and they returned to that shot and returned the Jedi. But that, it was like the emperor in his chair and his henchman just looking out over the empire. Incredible and weird moment, because it's like, I'm not actually giving you the office.

I just want you to be in here with me. So that's Kendall. He's the winner of the week. He is the number one boy. What a TechMail Gatsby. All right, biggest burn of the week, and this gives me and Jason, One, two former New Yorkers, an opportunity to talk about one of our favorite topics, the New York MTA.

It's when... It's going great. Tom goes up to Greg and says, Greg is getting the ferry to work. Check out Brian Ferry! What a burn. Dude, why stop at the ferry just come in from Cleveland on a Greyhound? That's very funny, because when you were in New York and you were Greg's age and you're dealing with Greg's economic circumstances, you're definitely, like, could I live in suburban Philadelphia?

and still commute to New York every day. And the other thing that that brings up is when I was looking at places, I would look at literally like a ditch behind an apartment building and any of the four other boroughs before I was like, I guess I'll look at Staten Island, I guess. Oh, my God. I would rather live in Maine and commute. I'll live under a sink, I guess.

There's a water source. A steamer every day that just like brought me in and dropped me off at the harbor. Who takes a boat to work? There was another great burn this week. You want to handle the Tabithas? Tabitha, who you may remember, we were introduced to her at the Underground Party, episode 8, Prague, of season one, where, how to put this in a way that we can...

It's a closed-loop system. Tom, she orally serviced Tom, and then spit the... He's pretty explicit about it. I think we could follow suit. Okay, he spit the cum back into his mouth and he swallowed it. And so they're at, you know, Shib and Tom are having dinner with Roman and Tabitha, and Tom has a bit of a cold. Everybody kind of walks away.

Tabith and Tom are there for a moment, and Tabith looks at him and says, you should try swallowing something. And Tom is just like, and he goes, like honey. The adultery between Tom and Shiv. and then also like Nate and his wife I don't know if we're done with that because it seems to be like a real like Tom and Shiv's sex life seems to be something

that they need to discuss constantly so I think they're doing that definitely to keep that in our minds the line of the week which is slightly different than Burn of the Week and it doesn't have to be so scabbars line of the week this is great

Tom says to Greg as they were walking into ATN and Greg is expressing some moral some reservations slight reservations and he says he says he He has principles. Tom's like, name me one principle you have. And Greg's like, I don't know. I'm against racism? Bullshit! I'm against racism. Everybody's against racism. What else?

It's great. Tom's amazing. I love, I've got Tom from my line of the week as well. So Tom is talking about an empty, big empty wall in the apartment that he and Shiv have. And he says, you know what, I don't care. This empty wall? I don't care if it's incredible ghost. But can we just not have a big, beautiful portrait of us up there? To Saddam, to Asadi? I also really enjoyed Kendall's COO keywords. Super casual feet on the table, a lot of crackle in the air, ethos and culture, body pit, Potemkin Village.

And full fiber optic clear channel shit, the CT scan on your metrics. I just want to chop up the language in this show with the edge of my credit card. card and snort it directly into my brain. Let's talk finance. Yeah. We're experts. No, I mean, essentially, like, when we were sort of picked out of like the field here to host this show, it was about our underlying the foundational knowledge that we had about the market. Guiding hand, Adam Smith, all that stuff. The thing is, it's about China, but it's not.

Right. We're LinkedIn, but we don't have to be. It's adversarial, but it's also cooperative. So you come to us to explain some of the more high-key economic terms on the show. And this week, the one that we keep hearing a lot about is proxy fight. Right. So it's like how to best explain proxy fight? Right. Obviously, conflict is part of it. You know, fight meaning some sort of battle squaring off.

From the Latin meeting to battle over silverware. No, yeah. And proxy, you know, meaning. who is... Like, approximately. Approximately, kind of like... I'm trying to eyeball this fight and who... But it's an estimate.

Right. I'm estimating the battle. What could this be? I'm looking at it, and what do I think? Actually, a proxy fight is when a group of shareholders try to induce another group of shareholders to join them in a takeover. So it's essentially that it's like... You have one group of shareholders who want to have a takeover or maybe an outside force that want to have a takeover,

and they try to get a bunch of board members, a bunch of shareholders to go their way in the takeover. Well, that's the Keynesian view. But, you know, the Lacanian view is actually also very similar. You want to talk mirror phase now, dog. Let them eat cake. This is our crazy rich moment of the week. And this was, I think, first of all,

we could just take everything Connor did. The sliders, the long-term rental of a hotel room. Why don't you? Have you considered a hotel? Suggesting to Greg that he rents a hotel room as a solution to his housing problem. And then he's just sort of like unending run for the White House. And his assumption that he is just going to get it, which is now not that funny. Actually, like, maybe feasible? But the one throwaway line that I really liked was Shiv walks into the very awkward double date with Roman and Tabitho with Tom.

And it has champagne. and Roman literally just swipes the champagne out of her hand and it says, would you like some Japanese whiskey? I'm going to go with shutting down an entire amusement park for the benefit of the family. Snow Joe. Okay, so predictions for next week. I think that Shiv's going to have a reckoning now

because Shiv's going to start to put the pressure on Logan. This has sort of been, if you look at this as like a three-episode arc, so far, Shiv and Kendall of all, both been put in like sort of Logan's spotlight. I don't know that Roman will ever get seriously considered for this. So I think that this is essentially going to be a tug of war between Shiv and Kendall. I thought the balcony moment was really interesting in the second episode. But what do you think is going to happen the next way? I'm going to just go straight out of the box. There's these moments whenever Greg and Willa are in the same place, being in the same age range

and she's always, she's got those great eye rolls. And it's really Greg is the only one who picks up on him. Yeah, he's got principles. I'm going long range. I see a little... You're shipping? I'm shipping, I'm shipping, I'm shipping Greg and Willa at some point in season two. Greg, the motherfucking egg. I'm not saying anything will happen, but Willa, listen, I think it would be, uh, it's an understatement to say Willa is probably not emotionally satisfied in this relationship with Connor. Yeah, I think you're right. We'll be back next week on number one boys, the ringer succession after show after the third episode. episode of Succession Season 2.

We can't wait to see it. Today's episode of The Watch was brought to you by The Righteous Gemstones. Don't miss The Reeous Gemstone Sunday nights on HBO from the team behind Eastbound and Down. And Vice Principles comes the story of a popular megachurch slash money-making enterprise, starring Danny McBride as a bad boy preacher, Jesse Jamstone, John Goodman as the family patriarch Eli and Adam Devine and Edie Patterson as the younger gemstone siblings.

The Righteous Gemstones air Sundays at 10 p.m. on HBO. Today's episode of The Watch was brought to you by the National Highway Traffic Safety Administration. If you think drunk driving is no big deal, you couldn't be more wrong. You could get in a crash, people could get hurt or killed, and you could get arrested, incur huge legal expenses, or even lose your job. So next time you plan on drinking, make sure you plan ahead, designate a sober driver

or use a ride service to get home safely, drive sober, or get pulled over.