The Watch - Do the Golden Globes Matter for TV Anymore? Plus, Criterion Collections for Television.

Episode Date: February 5, 2021

Chris and Andy make some predictions about who the surprise cameo at the end of ‘WandaVision’ might be (4:16). Then, they get into the Golden Globes nominations and whether or not they really matter for TV anymore (13:17). Finally, they come up with a few collections that would exist if there was a Criterion Channel for television (37:44). Hosts: Chris Ryan and Andy Greenwald Learn more about your ad choices. Visit podcastchoices.com/adchoices

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 on the other line. Best podcast host, musical, or comedy, it's Andy Greenwald. Did you submit me this year? I did.

You know, I did a lot of pressing of the flesh. I'm the only guy doing FYC events in person. And I'm doing it all for you, baby. It's Thursday afternoon when we were recording this. You'll probably hear it Friday. Maybe you'll hear her Thursday night. And Andy and I are going to talk about the Golden Globes. No fresh, Kaya.

And Andy and I, yeah, Kai, take your time. This is not urgent content. Let's get into the watch. Did you know about one in three people with plaques psoriasis may also develop psoriotic arthritis, which causes joint pain, stiffness, and swelling? Does this sound like you? Listen to what it sounds like to be a million miles away.

Trimphaya, Gussain. Taken by injection is a prescription medicine for adults with moderate to severe plaque psoriasis, who may benefit from taking injections or pills or phototherapy, and for adults with active psoriotic arthritis. Serious allergic reactions and increased risk of infections and liver problems may occur. Before a treatment, your doctor should check you for infections in tuberculosis. Tell your doctor if you have an infection, flu-like symptoms, or if you need a vaccine. Imagine being a million miles away.

Explore what's possible. Ask your doctor about trimfaya. Tap this ad to learn more about trimfaya, including important safety information. This episode is brought to you by Brooks. Running connects us to a rush of energy that flows through our world. The cheers of friends that unlock a new gear within us, the intersection of interest that inspires a run crew, the support that gets you over the finish line. Connection is why we move forward and what inspires us to keep going. run there. Learn more at brooks running.com. What's up, man? Happy Thursday. How are you? Well, thanks for asking. Happy Thursday to you, too. You know, it's been a roller coaster over here in a very unimportant and non-serious way. As you and Kaya know, because you have been my fellow travelers on the road

of me having a beard, which went from January 2021 to, I would say, early February 2021. And those of us who part of the journey, I think we'll never forget it. I feel erased. I don't feel seen here anymore. As some people may know from, if you follow my Easter eggs and the cryptic messaging that I have been sprinkling throughout my various podcasts that I appear on,

I have been trying to grow a mustache since I think April or May. And I get no respect for it. Andy pretends like it doesn't exist. And yet Andy is just able to sprout like a Chia pet, a beautiful, lustrous salt and pepper John Hammbeard. Mostly salt. Yeah, for, in the matter of weeks.

And then he just shaves it off, like it's nothing. But it wasn't nothing because I've been dominating the conversation because I can't stop, I can't stop thinking about it. But, Chris, first of all, a couple things. Yeah. You look great. Thanks. There is no try with you.

There is only due. Two, you are a fair fellow. You are a fair, complexed gentleman. Yeah. Yeah. And though I have seen you at a very, probably overly safe distance a few times over the last few months, I think it looks nice on your face. It's just that in the shadows of Zoom, it's hard to see. It's hard to see.

And, you know, I went on this solo journey and I didn't know what to do. You know, it worked, I guess. Wildly inconsistent opinions in my own household. You know, I needed a compass to help me through. ultimately I decided to get rid of it, one, because I didn't like how it felt. And two, it's extremely COVID unfriendly because for people out there who have struggled with the early days of beard building, you cannot keep your hands off of it. It's just ridiculous.

Yeah. You're just listening to Boni Vair. And you're just like, it's not even a cool Nick Offerman, you know, in devs just like stroking and thinking about space time. It just feels gross. It just feels. Itches, yeah. Andy, a couple of things I wanted to do today.

Number one, I wanted to talk to you a little bit about, oh, you want to keep talking my beards? No, I just wondered where beards fell. Do you want to do your Liza Minnelli joke? No, no. Don't know what you're talking about. I just want to know where facial hair talk falls in the table of contents you were about to unveil. It doesn't.

I like to keep this opening couple of moments just for us time, you know, and then we lose all of the stragglers, all of the looky-lose, all the people who are like, I heard these guys were doing Wanda vision every week. And then it's just like two mid, you know, 40-year-old dudes. I keep saying 40 like we're 40.

two mid-40s dudes talking about their facial hair. We can still round down. Yeah, exactly. And two, I assume that when we start, when you say Wanda Vision, I assume that it triggers some sort of alert on Kaya's system, and she begins recording. That's true. Hey, did you see, speaking of Wanda Vision that,

so last week, they obviously, the last episode was this expansion, it got outside of Westview and felt much more like a Marvel movie. And did you see like the next, next phase of rolling the show out was poor Lizzie Olson walking the plank and being like, guess what? Big cameo coming soon on the level of Mark Hamel. I did see that and that was really weird. That was weirder. I mean, I couldn't tell, did that generate from Disney? I shouldn't. You know, we're not friends. Maybe she doesn't like

being called Lizzie. Not like Lizzie Moss. No. We know goes by Lizzie Grubman. She's on my rush more of Lizzie's. she's the one who the publicist who backed over people in Montauk once yes I dated a Liz I never dated a Lizzie do you think that the the extra syllable is what causes someone to commit vehicular what are you what are you suggesting I just I'm just you need to you need to disavow your comments that you made on Lizanon forums tell me what you think about Elizabeth Olson teasing a massive cameo on Wanda Vita. I'm very sincere when I say, did this come from the Disney press operation?

Or was she just doing an interview and she dropped it herself? I have to be honest. I am definitely being, I'm a victim of like clickbait here because I don't even know that I actually went through and read this piece. And if I did, it was like aggregated from cinema blend, aggregated from like superhero force.org, aggregated from bloody disgusting.net. Like it was you, was it an option to click on? I don't even know if Elizabeth Olson actually said this, but it definitely was a true. trending topic. Did you reach the bottom of an article and you saw this nexus something that said, click here, you won't believe what Hillary Duff looks like now. Invest in this company is like investing in Apple in 88. Yeah. Yeah, GameSpot. So I guess it's, it, I just file this away and do

under weird press vulnerability that I don't think seems necessary. It just doesn't strike me that this is really a trouble spot for either of the bobs, Iger or Chepec. And so it does feel. feel super thirsty to be like, well, now we're done with the interesting thing we were doing, but don't worry, we're still going to do the thing that that other show did. It's bizarre. I don't think it's moving any needles, but... From, ranking from, and you can do as many as you want, ranking from, this would change my life if they brought this person on this show to you were serious about that. Who would you be most excited about, who would you be least excited about being the big name person

that Elizabeth Wilson is talking about? Okay. All right. Wow. Well. I'm going to go, so she referenced Mark Hamill. I think it would be funny if they brought Luke Skywalker onto Lawnd Division. I think that would be funny. Okay. We're just going for the lulls. Yeah. I would say any of, I'd say any dark elves wouldn't interest me.

I would say any of the Rokes Gallery from the Iron Man solo flicks other than Ben Kingsley. Okay. We don't want Mickey Rourke coming back? Okay, I'm open to that. I'm open to that. I feel like Iron Man is actually... Yeah, Iron Man, we actually have... There's a lot of untapped IP in those stray Iron Man movies.

This is why I'm no longer a member of Kevin Feige's inner circle, his brain trust. I'm no longer the Ludwig Goranson to his Ryan Coogler. Uh-huh. It's because just generally, I perhaps misunderstood the purpose of these Disney Plus television shows. as opportunities to make the inessential essential, as opposed to continuing to float inessential things with ballast made of essential things. I see.

You know what I mean? Like, I don't, I would like you to convince me, Disney and Marvel, that the Scarlet Witch is a viable and fascinating character slash threat or hero, depending. without having, I don't know, Kurt Russell saunter on as the living planet being like, damn, respect.

Right. You can do it too. Right. You go, girl. So if she actually did phrase it in the sense of, it's as big as Mark Hamill showing up on the Mandalorian, then that would suggest it would be some sort of Tony Stark from the Great Beyond message, although we have already got that.

Yeah, that's. So that was, I think, the first one. There was also obviously that, like, those rumors about Chris Evans, isn't done playing Captain America, although he seemed to shoot that down. If I had to guess, given the way that Marvel has done these things in the past, whoever is showing up is going to effort to set up the next thing. So I would imagine it would be Jeremy Renner or it would be Sebastian Stan or Anthony Mackey,

because those are the next shows that are coming, right? Well, I think that's very smart. Why wouldn't they continue to world build in the television space like they did in the movies? I think the only counter I would throw is that the schedule was very, very much affected by the pandemic. And so, as we've said before, Falcon Winter Soldier was meant to premiere already. So it would be strange to kind of backdoor something that was already supposedly front-dored. And the Hawkeye show, at least, again, I don't know when they finished Wanda Vision. But that was a question mark for a while and then suddenly was in production.

But I think you're thinking correctly. there's two paths. Either she creates, I mean, what if it's spader? What if it's spader as Ultron? Ultron back? Well, I mean, Ultron is key to the mythologies of these characters. For sure. And she seemed extremely upset when that got mentioned the other day.

And in the... Aren't you Ultron's kid? Yeah. And in the comic books, Ultron created Vision originally. Right. Ultron, good dad, bad dad. Oh, sure. I mean, honestly, you know what that is, Chris?

That's just dad. Yeah. You know, we all contain multitudes. And in a sense, you probably identify with him because he really went above and beyond when it came to creating Daddington Island. Like, he literally lift Sikovia out of the ground. I would do, Chris, I would do a podcast, no offense, with Ultron where we just talk about Bluey, especially season two. It's great. I feel like that is common ground that we could reach.

That's the one thing we never really found with Ultron is common ground. Speaking of Ultron, do you know that the black list is still on? Is it? Do you know, it's still on? Like, how long was this list? What's the longest running show you're watching right now? Like, what, are you on season five of anything? Season five, oh, call my agent is the longest running show.

And I still haven't watched season four. And that's only like, six. episodes a season. Right? Yes. Right. Yeah. I mean, it's a great question because we, it's about time we turn the mirror back on

ourselves because here we are saying, you know, there's not a market, how dare Netflix cancel these shows or whatever, but I'm not practicing what I preach. I mean, you, I can imagine, so for a couple of those things, like, I imagine you would have just like watched glow until for as long as they wanted to make it. Yeah. Absolutely. Right. Well.

What's the longest running show? Wait, what about you? well right now I'm really into reading the episode descriptions for Gamora because I feel like you priming the pump I mean like I've watched the first like two seasons of Gomorra and and I'm gonna get back into it but like I just keep I just like look at them because it'll just be like rival dealer makes a terrible mistake and I'm like that really does sum it up you know yeah it's there's not a lot more to it I'm kind of treading water here and stalling because I don't want to talk about the Golden Globes,

but I do feel like we owe it to listeners to weigh in on it. I'm ready. This was probably the most roundly rejected batch of nominees that I can remember in recent awards history to the extent that I keep those kinds of things in my head. But the double middle fingers that people gave the Hollywood Foreign Press Association upon the early morning reveal of this year's Golden Globes was so pointed and

like vitriolic, cleansingly vitriolic. I feel like we all cleanse the TL by like yelling at the HFPA. The big thing that everybody has been talking about this week. Before you even say it, Chris, can I just say jokes on you people

giving double middle fingers to the members of the HFPA, you forget about the fact that they are the FPA, they just think you're pointing at the ceiling. That's right. Like that is not a rude gesture in their countries of origin,

so it's fine. If you gave them the two, they would be like, Some of them. Some of them. Not all of them. Are there any British people in the Hollywood Foreign Press Association? Chris, no one knows who's in the Foreign Press Association. Well, there's 100 people and they vote on these things, right? Yeah, and I've got, you're going to clear me some space in the offense to work on this because I'm ready.

But set this up. Do you want to do that part first? Because I want to get to the I may destroy you part separately. Right. The massive, not just snubs, but it feels like a razor. Yes, right, right. You go first. I want to take a couple steps back. And just, you know, I know that for those of you who listen every week, Kaya, this show is becoming increasingly old guy corner. Are you telling Kaya that some people do listen every week, unlike her? I think Kaya is the only one who does listen every week.

So I'm really only speaking to her. However, I do think this needs to be said because I just notice it more and more. The idea that an awards show needs to reflect. collect good taste, our taste, the zeitgeist taste, feels like a particularly contemporary concern. For all of our lives, everybody rolled their eyes at all of it all the time. And if something good was nominated or snuck in or like Tarantino got the Oscar for writing Pulp Fiction, because of course Forrest Gump was going to win Best Picture, like you took your W and you went home, right? Like the Grammys have always been a joke.

There was a weird period in the last decade where everyone was like, oh, it is music's biggest night? Is it? Since when? I don't understand that. I just fundamentally don't understand it. And it strikes me as a little bit part of the same kind of fan culture that I don't understand where people get angry

if someone denies Selena Gomez the number one slot, like on the Billboard charts. It's like, well, we must, we are not just consumers of or fans of this enterprise. we must also become stakeholders in its larger success. So I kind of struggle with that.

Generally, and it's doubly or even trebly so when we're speaking of the Golden Globes. The most amazing snow job the entertainment industry has ever pulled, the most successful, is taking the Golden Globes seriously. Which isn't to say they cannot be significant because they can. but people freaking out over erasure or snubs or not getting things right or ignoring critical consensus.

I've said this before. I'll say it again. This is a opaque group that is essentially a shadowy cabal of international weirdos. We do not know who they are. We do not know what motivates them. They are not critics. They are not tradespeople. They do not work in the industry.

If you'd like to see what writers think is good writing, look at the Writers Guild nominations that just came out. Or actors, the SAG Awards. Or the Critics Choice Awards. Or anybody's top 10 lists, yeah. Yes. Those are reflections of those things. The Oscars and the Emmys, I mean, we can put them aside for a minute because they generally try to canvas all of the industry and do labor.

And I think with... And are largely voted on by your peers, even if that in and of itself is sort of weird at times. Yeah. And I think, though the pace may be glacial, I think that their efforts to improve the representation both of the creative class and also. of the work and audiences shifting tastes or whatever, I think is in good faith. I think they're trying. Throw all that out when you get to the Golden Globes. You are essentially polling 100 people who are not at all reflective of the listenership of this podcast or the viewership of FX or the

viewership of CBS. They're just people. And the benefit of the Golden Globes can be that when you have such a very small group, weird things can bubble up occasionally, weird passions. Or, in the case of the Golden Globes, expertly run marketing campaigns can put things, can elevate things first. And so I think in normal years, when Hollywood is humming and the pop culture machinery is working at a healthy, a familiar pace, the Golden Globes placement just before the Oscars and a few months before the Emmys has allowed things to pop earlier and to be, to basically debut on the national stage in a way that sets them up for plausibility later at the more. award shows. And, you know, the year that... It's the Iowa caucuses. Great. Great analogy. Exactly. Yeah. It's like nobody really understands how it works, but somehow it confers a degree of officialness to somebody's awards potential. And is it predictive? No, but momentum is legitimate

in these things, because maybe if something wins the Golden Globes, in the same way that someone telling you something is good, it might make more Oscar voters regard something. Yeah, and also might flip it where somebody feels like, oh, this person. since momentum peaked too early. Like they got ahead of their skis a little bit here. I think that what's really interesting about the Golden Globe nominees and the backlash is that this year

they were really and truly operating in a weirdo bubble, in a weirdo vacuum. Not only, is Hollywood basically ground to a standstill in terms of movies, you know, so it's just not a normal year for the movies. We can talk about those nominations in a minute. But the Golden Globes is,

you joked at the beginning, but it is fueled by, FYC stuff and like very, very bespoke FYC stuff, like Al Pacino will come to the dinner and touch your arm and then you'll nominate him or whatever. Like, it's not saying that's bribery or untoward. That's just how it works. And things can be put in front of them and be considered differently. All of that was out the window this year.

So instead, this is truly the reflection of a very strange group of people's tastes. And you could make the larger argument that the HFPA should be. be more diverse or should be more global or open-minded or whatever you want to say it. But they're a totally opaque, bizarre institution. You can't change the rules, right? In the same way that, like, I mean, it is shameful that the best piece of television art of 2020 isn't represented in this award show, but my dad hasn't seen it either. You know what I mean?

So here's one thing I would say. I'm disheartened, but I'm not surprised. This is, they are who we thought they were. My statement about the, I may destroy you, not getting nominated for anything is that that just makes I may destroy you that much more cool with me. Yeah. Great. That I think that when we go back, we do rewatchables, yes, like we will bring up Oscar snubs or Oscar wins or whether or not something should or shouldn't have been nominated for an Oscar. But after we get past that part, generally, we don't ever really think about movies in terms of what they did or didn't win or what they could or.

couldn't have won. I mean, there's plenty of snubs, and that does fuel it. But, like, something's lasting artistic value really has very little to do with what awards it got. And to me, I don't know Michael Cole. I've read interviews with her, but there is something like, I hope that there is a part of her that was like, good, fuck you guys then. You know what I mean? Like, good. I, this wasn't made for you. You know what I mean? This wasn't made to make you feel, whatever you're supposed to feel to give this thing a nomination. And maybe that's right, maybe that's wrong. I guess the concern would be this.

If Michaela Cole, or if I may destroy you, had garnered some nominations, if she or that show had had a moment on stage to say, thank you to the Hollywood Foreign Press, and 25 or 50 or 10,000 or 100,000 more people heard about that show that hadn't, would that at all change her bargaining leverage next time she goes to make a show in terms of what she wants to make or how much she gets paid

and the things that she gets to do in the future. Now, I personally doubt it, but I could be wrong. Yeah, I think that's a valid question. And I think it's unknowable, obviously, because she was nominated this time. I'll say that... You'd have to tell me, like, if you were going in and if Briar Patch had been nominated for a Golden Globe, too soon. I'm just, but like, let's just play a hypothetical. Would that at all figure into what your representatives were saying to a studio about your next project? One million percent, yes. But I am also, and I'm sorry to ruin people's image of me, especially after the beard travesty, I am not Michaela Cole. No, right. Michaela Cole is a unicorn in the sense that that is unanimously the best show of 2020 among the creative class, among the television community, among anyone who wants to make TV, who makes TV, writes for it,

produces it, studios. That's, they all, everybody knows that's the best thing. She can do whatever she wants. She has a blank check green light. I'm sure of that because of the achievement that she did. That was not the case of the prior patch, which is fine. In the case of something that is, you know, overlooked or underseen or whatever, it makes a huge difference.

Absolutely. In, you know, in terms of getting more people to watch it, but also the creative people's leverage because, you know, I hope I'm being clear enough. I don't think it's mutually exclusive to say, this is meaningless, but it does mean a lot. Yeah, of course. And, you know, I also want to separate, I don't mean to diminish the,

as strange as the sounds after the rant I went on, I don't mean to diminish the accomplishment of people who were nominated, because, you know, you see Emerald Fennell who wrote and directed Promising Young Woman Freaking out on Twitter, there's a difference, and I hope it's articulated clearly, it's great that somebody liked what you made.

It's really validating and rewarding that you send something out into the universe and it hit its target. And if it's target, if it was these hundred people who I keep castigating as weirdos, if they loved it and were moved by it, that's hugely validating and lovely for the people who worked really, really hard on it. It doesn't stand in as a value judgment of the work or the time spent, right? It's not saying unanimously or unambiguously this is good or bad. It just means someone liked it, and that always is worthy of celebration.

But then you start to take these steps out away from it, and you look at the entire list, which we can go through some of the lowlights. And it is damning not just because one show, the best show, isn't there. It's just because it is a snapshot of an industry that I don't recognize. You know, if you look at the nominees for best drama series and best comedy series, so just to run through. It's head scratching. Yeah, the best drama series television is the Crown, Lovecraft Country, Mandalorian, Ozark, and Ratchet. And then musical or comedy.

Say the last one again? Ratchet. Yeah. Okay. And then the musical or comedy is Emily and Paris, flight attendant, the great Schitts Creek and Ted Lasson. And, you know, there are some good shows there, and there's some. some bad shows there and there are some, yeah, there are some shows where it's like, you're just somehow Ryan Murphy has this award show unlock. And if he makes anything,

it's going to get nominated. Yeah. And it's bizarre, but it is also, you know, we should, I should have been more prepared for this. You know, you get to the time with the award shows. And we talked about this with the Emmys that the drama series category was such a bizarre catch-all. But I guess it was reflective of the, not just the diversity, but the lack unanimity about that type of television show at this moment. But succession was there, and succession deservedly won. Golden Globes were now into the next year of eligibility, and there's no succession, and Atlanta isn't back yet, you know, and these shows that have broken through aren't there, and we're not sure when they will be there, hopefully in time for the Emmys in the fall,

but it's unclear. Yeah. So, you know, they were, this sounds silly in a year of horrific actual damage and loss. But as an entity, I guess the Golden Globes were dealt a bad hand because they don't just have that much stuff to work with. They dealt a bad hand and then they doubled down on some really bad cards. You know what I mean? Like it's not like they made the best of it. I thought last year was a really great year for television, despite everything else that was happening in the world. And, you know, I may destroy you as just one of a number of snubs. Better Call Salding it nominated for best drama, you know. And Ray Sehorne once again was overlooked. I mean, I think it's also worth saying that you and I and maybe most of Twitter would support an opaque, strange awards group with their

own show if it was a different group with a different taste, because that's when strange things could pop. I mean, you could look at this and say the 100 people in America who thought Ryan Murphy's Cuckoo's Nest prequel Ratchet was good finally have their moment to champion it. Yeah. Like, it's tough. It's not tough. It's actually quite easy. to pick and choose who gets to champion idiosyncratic tastes when they don't align with ours, right?

Like, that's a pretty weird pull. And I should probably think of it that way in the same way that I used to look at, like, a random nomination for his second reference on the show of like Nick Offerman when he finally got nominated for Parks. It's like, oh, something snuck in. I guess that's what Ratchet is doing right there. Yeah, I think that I think of these things is for people like our parents. You know, they're broadcasts on either network or basic cable.

They introduce people who are not extremely online to shows that they may have missed or skipped over or not really thought twice about. But to me, it's like, I don't know, you answer, tell me this. Do you think that there are very many TV shows that I think are like, cool? You know, there are not very many TV shows that I feel particularly challenged by. And there are not many TV shows that make me really step back and think about. the world I live in. There are a few, but when you accomplish that, like I May Destroy You did, or like normal people did, or Better Call Saul did, or

you know, a number of other programs, Atlanta, even though it wasn't on last year, who gives a shit about a Golden Globe? Like, the thing that I may destroy you did for people is it doesn't need it doesn't need this benediction from some fucking shadow group. I agree with you, totally. And the legend only grows. Your point is right. You know, that show has found the people it needed to find. And it is so wildly influential that I think its, its stature is only going to grow over the next few years. The only thing that kind of bumps me out is I was thinking about the character T on that show and what she goes through to kind of garner any success as an actress. And I was like, I bet T would be pretty psyched to have a golden cloak. And I'm sure that there would be that kind of, that kind of, what that would do for somebody's career, I kind of wish that for the people

who are on that show. The real benefit, I mean, the real positive of the Golden Globes, the reason why it has the affection, people have the affection for it that they do, is that it's a better ceremony. And it will be a better ceremony again this year because Tina Faye and Amy Poehler

are hosting once again. What are they going to do? Are they just doing it on Zoom or something? I don't know what they're going to do. Because the room that they have it in, I think I've probably said this in the podcast in years past. I've been in that room.

I've moderated an event in that room. It's a tiny hotel ballroom. Yeah. It is weird how small it is, considering the star wattage that's crammed into it. And yeah, everybody's drinking, and that's fun. And what would be extra fun would be the young, vibrant, enthusiastic cast of I May Destroy You, Passing Around the Bottle of Dom at a table next to whoever is in that Aaron Sorkin movie. You know what I mean?

Like that would be fun. The last thing to say, though, about what the Golden Globes left us with, it's not just at the very top of, like, a lot of our very favorite shows, the very best shows were missing from this year. There's also been erosion at in the, not at the bottom, but at the middle, which is to say that for years, before, before anybody started thinking TV was quote unquote good, when TV was just good enough and that's what TV was, it would reward a certain type of show always, right? And like modern family or what are you talking? Exactly like modern families from going with it. Right. A show, it's like a four quadrant show that is inarguably quality. You know, good performers, great writing, good production values, reliable, good time, like a lot of different people tuned to that show and enjoy it.

And so even when it kept winning, you sort of could understand why it kept winning. I mean, everything about it was award worthy just in terms of its consistency and its quality, even if it wasn't as edgy or interesting. or entertaining after a certain amount of time as other comedies were. You could say the same thing about shows like the West Wing or ER that reliably filled those roles before Cable really got in the mix.

Modern family's gone now. And, you know, I know you mentioned Superstore, but Superstore is also going off the air. I'm not sure what's taken its place as the kind of aspirational gold standard sitcom. Like the best, yeah, right. You know, this is us and was getting nominated.

for a while as the best of broadcast. But broadcast has kind of given up a lot of that too, which was their bread and butter and was acceptable, literally bread and butter. Like, everybody, it's on every table at every restaurant. I'll tell you what it is. I'll tell you exactly what it is. It's Ted Lasso. Okay. I mean, that is, I mean, like, honestly, that is, like, the, the reason why that show, I think, has resonated aside from its qualities, is because of its appeal on that level. Like, I don't know if it's probably not doing modern family numbers, but anecdotally,

it has very few detractors, and it is such a huge, like, sensation among the people who have seen it. Yeah, and I don't want to wait into this contentious water. No, no, not at all, but I'm just saying... I am the most prominent detractor, I believe. But regardless,

I can't appreciate what it is, and that it is good for people who love it, and that it is, like I was saying about modern family, of a very high quality and consistency, and it's and it is moving needles for a lot of different types of people and TV watchers. It's a workplace comedy. It's a sports show. It's a rom-com.

It's, yeah. It's insane that it's on Apple TV Plus. It's totally bizarre. You know, it, he played that character in NBC sports commercials. Why isn't this on NBC?

Why isn't it on ABC? Why isn't it on Peacock? Why is it on Apple? Which, despite, you know, Joe Adelian wrote a loving piece about what a giant success it secretly is,

almost no one has it, unless they bought Apple Watch and they don't even know they still have it if they do. You know what I mean? That's not an... Now we're going full circle. I mean, it was nominated for Golden Globes.

It should have been. But it should be on TV, right? I guess. Everything's gone... What's on TV, though? Like, I don't even... Like, I now think, like, when I'm ready to watch Mr. Mayor,

I think of Mr. Mayor's purely as, when does this go on Peacock? Oh, you should... Or Hulu, because there's no commercials on Hulu. Right. So it's, it's bizarre. It's like, I don't, even, you're right. Ted Lassau should have been a hit network television show. There's like half a

dozen risque jokes in that show. But there's no reason why that's not like the biggest sitcom in the world right now. It's just, it's just going to be interesting to watch. It's going to be interesting to watch as the floor drops out of all of this. You know, in a way, there, things were already collapsing in TV because the conversations that were happening around television as a creative medium were so completely bifurcated, right? Like our, sorry to do it, like our politics, you know, there is a whole industry and we're a part of it devoted to talking about shows that very, very few people proportionally watch.

And then there's people who watch TV the way they always have. And it's still good, still fine, still hitting all the marks. But that is slowly being abandoned. And I don't know as the ground shift, who is resettling where. And just to, you know, as an example of that, again, it's always a little weird when I'm talking about people I know are companies that I'm under contract to. Feel free, man. But NBC Universal is, you know, is announced some more of its restructuring and a good friend of mine and a great creative collaborator who is, you know, really, really important to the development and airing a Briar Patch. Alex Sepio is still there, happily promoted as a, and he's a listener of the podcast.

So he's going to tell me if I got some of the details wrong. But EVP of drama, co-evap of drama for Peacock and NBC. It's all one thing now. And I bring that up not only to big up someone who's great in this industry who deserves it, but to say there are people in this country, millions of people who are still watching the Chicago shows on NBC, right? And they watch linear TV. And I'm sure they also have other things in their house and in their repertoire or the regimen of like what's available to them. but NBC is just

inching away from being a thing and eventually it will be Peacock and people will start feeling that and then will they know? How many? What? Is there a lost generation coming? Where they're just like,

what happened to my TV? How do I get it now? We just did a podcast where Kaya was like, I saw a CD once. Yes. There is a loss. Like nobody is going to give a shit

about this conversation in like three years. There is just like, I have conversations and I adore these people like with younger, coworkers and they are like, yeah, like I don't have any like relationship to old media like in terms of like I do not have a cable subscription. Like I had to, I was explaining Charles Holmes on the ringer music show. I went on to talk about the weekend doing the Super Bowl halftime show. And he was just straight up like, I'm not sure how I watched the Super Bowl. I'm like, you can plug your TV into the wall and put a hanger on top of it and you should be able to watch the Super Bowl. It's free. It comes, it just gets beamed in there, man, in the sky. There's a particular silence. It's a very heavy silence that I hear on the phone with my parents

when I recommend something for them to watch. And then there's this silence, this gravity. And then I hear my father say, and how does one watch this? And I realize it almost wasn't worth recommending it. The amount of money there is to be made, they would never ever be able to do this because they're essentially like ending their business. But if Netflix could make an agreement with carriers to just be like Netflix's channel 1000. I know. I know. Do you know how many older people like my mom would watch the shit out of those shows but like can't figure out how to get her TV to get to Netflix? Yes. I love my mom and I definitely have tried to show her. I was I don't know why I felt I struggled with what to watch. Yeah, you've been protesting a little bit too much there.

I struggle with what to watch or where to find it on a given night. And, you know, I'm semi-savvy. I just text Chris. But do you remember the cell phones that came out, like in 2005, there were flip phones, but they just had three buttons and one was just like operator, one was police, and one was call my son. And like, that was just for, like, they should make a remote. I always used to hit call my son just to see who would call.

Do you love me? Future boy? Like, they should invent that because what's happening? I don't know. Maybe it's the caffeine that I'm on right now. Maybe it's the game stop story, just, you know, the disruption that's happening across all, you know, I believe in capitalism, Chris. And now I'm shaken. But it's just like, all of this is kind of built on sand.

Yeah, sure. And we are in the moment where we are in that moment of transition in this particular industry that we're covering and that we are a part of where you start to see the seams. You know, before we haven't reached the next lily pad yet. So this is actually all sets up really well to talk about what I wanted to talk about in the last third of the show. But let's just take a quick break and we'll be right back. The playoffs are here and you can predict the action all the way to the finals with Fandul Predicts. Follow all the playoff dishes, swishes, wishes, wishes, and misses. Predict the spread, the total points, and even the game winner.

Sign up for Fandual Predicts and predict it from the couch. Offered by Fandual Prediction Markets LLC, a registered futures commission merchant. 18 plus. Trading derivatives involve significant risk and may not be suitable for all investors. Manage your activity with our consumer protection tools. This episode is brought to you by Amazon Prime. Ever have a plan come together out of nowhere and realize? you're missing something. Like a last minute beach day,

a spontaneous hike, or an outdoor movie night you didn't plan for, that's when Prime's same day delivery as you're back. Getting you exactly what you need fast and reliably so you can actually join the moment

instead of watching from the sidelines. Same day delivery, it's on Prime. Visit Amazon.com slash Prime to find millions of items delivered fast, available in select areas.

Terms apply. This episode is brought to you by the active cash credit card from Wells Fargo. a mouthful, but that's because it packs a lot in. Earn unlimited 2% cash rewards on purchases with it, big or small. So whether it's buying tickets at the game or grabbing a coffee, it earns unlimited 2% cash rewards on purchases. Say it with me. The Active Cash credit card from Wells Fargo, be a 2%er. Learn more at Wells Fargo.com forward slash active cash terms apply.

Wishing you could be there live for the big game, soaking up the atmosphere in the crowd. but too often life gets busy or the price hold you back Priceline is here to help you make it happy With millions of deals on flights, hotels and rental cars You can go see the game live Don't just dream about the trip Book it with Price Line Download the Priceline app or visitpriceline.com

Actual prices may vary limited time offer Okay buddy we're back Now what I wanted to do with the last bit of this show was try to bring order to the chaos that we're talking about. The sandcastle, it's melting back into the ocean. We don't know how people are watching what they're watching. And we don't know whether or not there's going to be these large swaths of televised television history that are just going to be lost to time

and lost to, yeah, maybe there's a message board thread about this or somebody will put this in a list somewhere. But it does feel like because these libraries and because these all the new shows, are getting divided up into these different streaming services at different tiers of payment, at different availability levels. And sometimes it's on Netflix for a couple years and then it'll go back to Peacock. But on Peacock, it'll probably go back to Paramount, just talking about Yellowstone right now. I don't know why. But, you know, like, it's definitely... So are the people who work at those companies, Chris. It's a fluid situation. It's a fluid situation. So I wanted to do something

where Andy and I could give ourselves the opportunity. to give a little bit of order to all this chaos. And one thing that's been consistent if you've been listening to the podcast for the last couple of months, but if you were privy to Andy's text message thread with me, is that Andy has been spending a lot of time

watching the Criterion Channel. Now, it's been a lovely addition to our discourse where... Our late night bants? Yeah, where you're just like Christoph Khrislauski? What if it was Kirstov-Kristofferson?

And he was a truth-tops. telling Polish country singer. On any given night, Andy is just going to chime in because he's watching a really moody 1980s French movie about a woman having a nervous breakdown. Or a 60s Japanese noir

about a woman having a nervous breakdown or whatever. But I got me to thinking, we don't have a criterion channel for TV. What would it look like? What would it feel like? Because what the criterion channel does is it not only gathers together

some of the greatest visual arts of the last 120 years, or whatever and puts it together so you can kind of learn about how the aesthetics of film were sort of formed and see all this amazing culture from all these different parts of the world. But it's not just the best. It's also important historically. It's also important to sort of see where this person started or the sort of foundational bones of a genre will be like exposed or the way different countries understood American popular

culture or the where American popper culture understood different countries' culture. And they sort of transnational, trans-oceanic almost, I guess, dialogue that happens in the arts. So big criterion channel fans, obviously, if you don't already subscribe, you should, you should do so. Yes. Let's just say that first. There are three things, three or four things that got me through the last year. We've already discussed Larry McMurtry. We've already discussed Benny the Butcher. I've talked too much about going running. Its criterion channel is the other one. Right. I love this service so much and it has been such a joy. It is not just a masterpiece of access

in the sense that, as Chris saying, like, you will never run out of brilliance to watch or to revisit or to learn about or to discover. It's also just brilliant in its curation. Yeah. It's not just action. between self-discovery and recommendation, right? Like, it's like, you can snoop around and be like, well, I like that, I like that still. I like that poster. I like this actor.

I like this director. But then they might also put together a bunch of stuff in a collection, like 70s horror. And you're like, oh, I've never seen these. Or they had something, they had like a blue holiday where they were like melancholy movies set around Christmas time. And it's like, oh, that's great.

Or here's a French director I've never heard of, like Bertrand Tavinier, I've been watching his movies. Or this week, just been watching Carrie Grant comedies. My favorite collection for them was Happy Hanukkah, where it was just a bunch of people having a great time during Hanukkah. That was actually when we zoomed with you.

That was actually, that wasn't on TV. That's it. So before we get into this, because I know you did some crowdsourcing too, I just wanted to throw one other thing onto this, which is in order to have a successful criterion channel for television, we have to poke some holes in our assumptions about how we watch television or how watching television has changed. Because I think that one of the things going forward

that it's going to present an obstacle towards lifelong enjoyment of certain things or much later, decades later, things being revisited, is the serialization problem that is stopping people from watching things now. The cost of the buy-in. Yeah. Meaning in order to appreciate the Sopranos,

do you have to watch all seven seasons? Now, this last year, we've learned that in certain moments in people's lives or particularly collective lives like a pandemic, that's what people want. They want as much as possible to digest and sink into and lose themselves in. But I would push back and say, I mean, first of all, TV wasn't serialized or meant to be consumed in giant chunks or binges for all of its history until about 15, 20 years ago. But two, I would say that we're going to have to, in order to start appreciating the singular brilliance of style, storytelling, performance, whatever,

we're going to have to decouple the episode from the series in a way that I don't think we're able to. Because to make a really successful collection, we're going to want to cherry pick and give people a sense of things, not just say, watch all of the series, all of the series, and all of this series, because then the barrier to entry is too high. Yeah, so this is not about putting together like, you know what's good, ER. Watch all of ER. Like that, and I don't know, and now ER now is a throwback to a time where I don't

think that watching ER, you did not need to see every episode of ER leading up to that moment. There are like, you know, maybe a dozen episodes where you would be like, this character is leaving or something has happened to this character that obviously was foretold in previous episodes. But for the most part, ER did a pretty seamless job of bringing you into the fold. And I would say the same thing goes for a lot of television up until the Sopranos. I mean, even I've been watching Mary Tyler Moore episodes at night on Hulu. and I jumped right in at season four. That's in one of my criterion collections that I made.

Oh, awesome. Well, we can talk about that, but for as deeply character-rooted as that show is, I don't think that I needed to see the first three seasons of Mary Tyler more to understand the journey. Yeah, and similarly, like, when we... I hope that people will become less precious about this. You know, a show like The Wire,

which intentionally followed David Simon, idea, which is these are chapters in a book, right? He was very much against the flashiness of a singular episode. That said, you could still pull one out and be fine with it. I just hope that we get less precious about it so that if we want to talk about the Sopranos, I think it's okay to watch Pine Barrens or White Caps. You know what I mean? Like, I think you can do that. I think that there is interesting, in fact, it might make your experience with the show, whether you've seen it a long time ago or never seen it, it might make your interaction with it more interesting.

Similarly, like, going down this road, if we continue to develop this idea, then hopefully, clearly sell it at some point and just gets super rich off of it. Breaking Bad is like granite state, right? Like the episode before the episode, or the episode right out, the episode that is in between Osamandias

with the one that people think, and I think I agree with is the best in the whole series and the finale, which is obviously memorable for other reasons. It was the sort of maybe finale, the faint. Like, that's a fascinating episode. just in and of itself. Yeah, penultimate episodes alone

would make a great collection. Yeah. The wires notorious for having incredible penultimate episodes. So I think that part of bringing up this idea is pushing us towards a different way of thinking about how we remember, how we study, how we appreciate,

and memorialize TV. Right. So we're not putting together a collection of shows themselves. We're trying to give them some themes. We're trying to give them some angles, some ideas. So let's get to see what happens

when we put them next to each other. Right. So I guess I'll go first. and I have a bunch that we got from listeners too on our Facebook page so I'll drop them in Yeah we got like over 200 comments on this so I'm looking It's a 300 Wow it's gone up since the last time I checked so and maybe we can

throw some on next week when we kind of revisit this idea if if you guys keep Keep chiming in so the first collection that I put together is from probably If not that he's not the most successful television writer of all time But he's probably my favorite and that's David Milch So I wanted to put together a collection of early David Milch. That would include the Trial by Fury episode

of Hill Street Blues. An episode from a show called Bay City Blues, which is about a minor league baseball team. And it was a show that starred Michael Norey, Ken Olin and Dennis Franz,

and in small roles, Sharon Stone and Michael T. Williamson. And David Mills wrote an episode called Zircons. Zircons are forever. You can watch those on YouTube. Like they're up and around. ESPN Classic used to air this, but otherwise I can't find it. And then I also don't remember this

show at all, and it's not streaming anywhere, but David Milch wrote the pilot for a show called Capital News. Do you remember this? No. It was basically a Washington Post show. And Ken Tucker in his grade C review for an entertainment weekly said, if it takes off, Capital News will probably do immense damage to American journalism. Smart young viewers will want to avoid the profession like the plague

and every little loudmouth creep in the country will be lining up for a spiral notebook and a press patch. Oh, so the show was a success. It was not. So,

the last one I was going to throw on there is a show that he worked on called Murder One, which would be, you know, he did the pilot. Milch has also had a lot of interesting failures and shows that never got off the ground,

both pilot episodes that were shot for HBO or shows like luck that only went for a couple of seasons. But this would be early milch. This would be seeing what it was like for this guy when he was still working within the network, still working under showrunners like Stephen J. Cannell. And to that point, Matt Jordan on our Facebook group said he would love to see a collection called before they were showrunners.

Select episodes from big superstar showrunners when they were staff writers, David Chase's mobster-themed cult check, Vince Gilligan's X-Files, Damon Lendoloff's Nashbridges. about this is my, I'll just, I have that. That was my idea. And like CV dives, basically. And I should say when I was thinking about this, and I agree with the listener, like to see before they were showrunners, before they were brand names, before everyone was trying to write like

them, what were they like when they were employed by others? What were they like operating within the rules that they would soon apply to people below them, which is to say, like, you have to match your voice to the larger, familiar voice, either of the showrunner of the established show itself, what peaks out, what things can be noticed about their particular interests or what drives them. I should say that when doing this, and I can add a couple to the list that he had, but I basically have the same thing. It is, you know, very clearly an indictment of the TV industry that the majority of people who would even qualify to be in this are older white men. I mean, that is the industry, right?

And I would love, much like as the Criterion channel has opened itself up to more diverse voices and representation and has gone deep into like films that were underappreciated, unseen, unappreciated completely and put them on the same playing field in a way that has been, that's really interesting. I mean, just as a side note, like the other week we watched a movie called Old Boyfriends, which was directed by Joan Tewkesbury, and it was the only movie she ever directed. She co-wrote Nashville for Altman. And it's this really interesting, it's written by Paul Schrader and his brother. And it is one of the most egregious, like, why is this horror movie score in this light drama? Like, you see the problems. But it also has an incredible performance by John Belushi and Keith Carradine and Talia Shire as this woman who is driven by tragedy to revisit every relationship she's ever been in.

And it matters now that it's on the service because it is worthy. I mean, it is not flawless, but it's worthy. forgotten and she didn't get to make another movie. So anyway, I would love people to, for our non-existent service, to do that kind of deep diving and sort of restorative work. But yeah, I had a similar thing, which was for David, like David Chase, watching episodes of All Fly Away and Northern Exposure and the Rockford Files, you know, I mean, or Matthew Weiner, obviously on The Sopranos before that, he was on sitcoms, you know, he was on Becker and Andy Richter controls the universe. Makes sense. Bad Men, funniest show on TV a lot of the years that

it was on. But what was it that went from one thing? to the other thing. Kind of funny to note, you mentioned Colchak the Nightstocker, which David Chase worked on. Vince Gilligan was on the reboot of that. Oh, really? Right after the X-Files

and the lone gunman before he did Breaking Bad. To varying degrees, these people don't, Vince Gilligan is different, but Weiner and Chase pretty public that they don't like TV. And yet,

they really know how to do it. Yeah, it was a job. So I think that's kind of interesting. My next collection, would be inexplicable crime. So this would highlight two, I think pretty underrated shows from the 80s and 90s.

One is called Unsub, which was part of like the Stephen J. Cannell like umbrella of shows. And it ran for eight episodes. It starred M. Emmett Walsh. And it was about basically like crimes. I think it was an FBI group that solved or investigated inexplicable crimes.

You know, and maybe they had a little bit of like a paranormal scope to them or they just felt particularly silence of the lamsy. But I thought that this show was like haunting when I saw it and it's just not available anymore. So I'd love to rediscover that or have that be able, people of a new, new generations be able to rediscover it. The other one that I would throw into this collection is Millennium, which was the Chris Carter show that he did after or sort of in parallel with X-Files. And it started Lance Henriksen as a possibly psychic FBI profiler who worked on cases that seem to have

like an almost biblical Armageddon tinge to them and that this show fucking ruled if you've not seen it you should check it out I would throw those two together and then I would also throw the two seasons of Mind Hunter in there oh I love it

wait so but explain more clearly like why because what would be interesting about a collection like this is I think Millennium was really interesting and I think its ideas are really good and big but it didn't quite it wasn't have it was was the wrong time because it couldn't do all the like the racy violent stuff you would want it.

I'm not sure Chris Carter was the right guy for it either. I mean, it was in the wrong box. But it was playing on shouts to Tricky, the pre-millennial tension. Sure. It was rampant in the culture, you know, and so it felt like it was touching the third rail of something bigger than what it was, but then the show kind of never got bigger than that. Whereas Mind Hunter, as we've said many times on the show, I think is totally a success. Sure. Yeah, I don't know that there's necessarily like a coherent like this plus this. equals this, although you could make that argument. But I thought that watching shows go up against the limits of what they could do in network television is interesting to me, especially in retrospect.

So that's my second one. Andy, what's your second one? Okay, so you mentioned Dick Van Dyke show. So I feel like one of the great things would be, and obviously this is inspired by recent conversations about Wanda Vision is just to provide a sense of history, shouts to this being the old guy pod. But like doing a curated collection called America's Funny Bone and trying to track where did the type of laughter that we associate with television come from. And so then the sort of first one of that would be collecting the works of the people

who were in the legendary writer's room for Sid Caesar Show of Shows. So Sid Caesar and Carl Reiner, Mel Brooks, Larry Gelbart, Neil Simon, Mel Tonkin, who then went on to do from Sid Caesar Show of Shows, which I think is probably available on YouTube, but I'm not that familiar with it. The Dick Van Dyke Show, Larry Gelbart went from Show of Shows to Creating MASH, which is weirdly vanished for a show that was the biggest show in the history of television when it was on. And then Mel Tonkin went from show of shows all the way up to All in the Family in the 70s also. And I feel like those shows would be the first chapter of it. What I would love to ultimately do would be almost like a daisy chain of this person was on this and then went to this. Because there are certain names that we remember growing up being like running like a spine through the good shows. And people, obviously, Cheers was the big.

We talk, you know, I was going to say we talk. I never talk about it. On the NFL programs, you talk about like the coaching tree. Yeah. You know, like hiring Andy Reid's assistants or whatever. try to replicate that or the, obviously, the Belichick coaching tree. Like the Cheers coaching tree, for example. Simpsons coaching tree. Yeah, exactly. That would be the next phase of it. Like, the shows went from Cheers to Frasier to where do those guys go next. It's some of them go,

or Modern Family had writers who were on the Daily Show and some of them were also were involved with the rest of development. Like, what is that, how do you draw that map and what does it teach us about how we laugh? That's great. I love that. My last one would just be, this one's probably a little bit more mainstream or not mainstream, but it's like these shows are a little bit more well-known and it's Teenage Wasteland. And it would be freaks and geeks, my so-called life, and as a wildcard Jack and Bobby, which was a one-season show starring Christine Lottie, right? Yeah, it was a Greg Burlante and Vanessa Taylor show that it ran for one season and it started Lottie, Logan Lerman, and this guy, Matt Long, and it was basically a, the format of the show is that there are two brothers.

one of them will grow up to be president in 2049, and this is the story of how one of them gets there. And I think if I remember correctly, it's presumed that one of them dies. And aside from the high concept part of it, it's just a really effective family drama. So I just feel like that one's been lost to time, so I wanted to shout it out.

Do you know what show in that vein that I really miss and really, really loved was once and again? Oh, yeah. Which was a... Yeah, is that a award? I believe she was in. those sisters.

Evan Rachel Wood was the breakout from it. But I think it was his Wicken Herskowitz show, the guys who did 30-something. And it was just one of those things that is just, there aren't shows like that anymore. It was thoughtful, nuanced, emotionally centered, broad, but compelling. And that type of storytelling, again,

being able to show that they were all a part of something, that they weren't just little like, it wasn't just like whack-a-mole of an idea over here, an idea over here separated by networks by years or decades. Last thing, I also think that one of the great things of that criterion is its ability to celebrate individuals, but also to celebrate individuals

who might not be well known or might not be above the fold. And you mentioned freaks and geeks. That plays in here, too, because I would love to do a celebration of Allison Jones, who is the casting director. Yeah. And generally, when you see,

obviously she was hugely influential in Judd Apatow's work and also then clearly the careers of both him and many of the people who worked with him. But whenever you see, particularly in comedy, an ensemble cast where you're like, I don't know half these people and I will never forget them now.

Sure. She worked on it. So here, going from contemporary, moving back in time, here are some of the shows that would be eligible for an Allison Jones celebration or collection on our criterion channel.

What we do in the shadows, Brooklyn 9-9, The Good Place, Arrested Development, Veep, Parks and Rec, undeclared, Roswell, Spin City, freaks and geeks,

Boy Meets World. Wow. I mean, those are some, those are some casts, you know, and that's not counting the movie work

she's done. And so you imagine certain ensemble-centered episodes of some of those shows interspersed with interviews with her, interviews with the cast about their first auditions,

or maybe you get the audition tapes. Yeah. You know, Seth Rogen videotaped in Vancouver or whatever. I think it would be fascinating because those are the building blocks of almost an entire segment of the industry

all connected by a woman that most people don't know. I want to shout out some of our listeners who sent in some really great ideas. Daniel Ford has a collection called From the Cockpit, the definitive pilot episodes that immediately took flight. That would be ER Friday Night Lights, lost homeland and arrested development.

Good idea. Allegra Tepper had city essentials, which would be like collections that represent a city. So essential LA could be you're the worst selling sunset entourage, love, Vanderpump rules, Mr. Mayor,

the Hills, Californication, the L-word, gentified, insecure, and better things. Great idea. What else we got here? Melissa Appell said an 80s miniseries one for Lonesome Dove Shogun and North and South. Ian Braithwaite had the

Bobby Conavale heat check collection, the Bobby Seast Epps from Mr. Robot, Boardwalk, Empire, Homecoming, and Oz. Shannon Early said, you're going to see something you wish you hadn't, which would be episodes from Tosh, ridiculousness, and jackass. Matthew Romanada had the best of Tom Fontana, which would be St. Elsewhere, Homicide, and Lost. What else we got here?

Adam Lee Wood's Lockhart had Andy Greenwald Presents, Nailed It, The Food Doc Collection to Show Your Kids, featuring Forks Over Knives, Hungry for Change. fat sick and nearly deaded what? I don't even know if this is all one show nearly deadly. Is that a show? I'll watch it. And fed up. Is that one? Those are all like nutrition documentaries.

Okay. Well, I guess those are kids safe. So anyway, are they? No, I wouldn't say that. Okay. Thanks, Kaya. Thank you, Kaya. And lastly, Eric Bresslauer said the watch belt holders. Atlanta watchmen, the People versus OJ Simpson, Twin Peaks, the return, and the night of. So the only seven shows we ever used that bit on? Yes.

I feel like there's a little bit of a jab in there. It's hitting us while it's hugging us. I just wanted to thank our listeners for chiming in. If you have a chance, subscribe or join our Facebook page, and you can see everybody's suggestions, and we'll throw a couple more out there next week. Andy, this is a fun exercise. Thank you for doing this.

This is a great idea. I think we should continue it as either our ideas warrant it, Or maybe there's a day we don't have anything to talk about. Just in full transparency. I feel like this is a good thing for us to always talk about. I like it. For sure. Andy, it was great to see you.

I'll talk to you soon. Great job, Branski's. I have to go resign my seat in the Hollywood porn press association. I may have said too much. Yeah.