‘Something Very Bad Is Going to Happen’ Creator Explains Everything You Want to Know About Her Netflix Hit. Plus, ‘The Pitt’ S2E13 and Prime-Time TV Grids With Joanna Robinson.

- I'm supposed 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 TheRinger.com. - Joining me in the studio.

- It's the Night Shift. - Oh yeah. - Tell me a lot of incidents for your performance. - I am so happy that you're here. Thank you for joining me today

doing a double shift on the pit today. - It's true. - I know Andy today, but I do have Joanna, and I do have Haley Boston, the creator, and writer of something very bad is going to happen,

which is now the number one show in Netflix. - And here I have the charts. - Talked about it on Monday. We'll chat a little bit about that. We're going to chat about the pit,

the most recent episode of the pit, which is 7 p.m., I did my research this time. (laughing) - I really lost count of episodes and time in this hospital. - Episode titles are great for a reason.

- Yeah. - They should go back and come up with a cute title for everyone of them. - Yeah. - Like deep rating, or whatever.

- And so we're going to talk about the pit. We're going to talk about, and then we're going to bring back a watch staple, which is the Primetime Grid, which is something that I can't tell if anybody really likes or understands except for me.

But if you were going to have a 1988 or a 1994 night of watching TV and you started an eight and you finished it like 1130, 1145, like a normal person, what would you watch? - It's a great question.

I used to have those grids memorized. - Yeah, yeah.

“- Yeah, come on, it's the Thursday night, you know?”

- Yeah, it's on NBC, you know? What's going on over in ABC? - Do you think you ever watched, like, I mean, I now know we professionally or obligated to do so, but did you think you were much of an eight to 11 person

when you were a teen? - I think when ER was on, when it was like, musty TV into ER, that's locked in three hours. Every Thursday.

- Let's talk about the pit first

because we also have some pit news. - Breaking. - Which is, I thought very interesting that this came out today. So, Superior Ganesh plays Dr. Mohan on the show

is going to be leaving the series and Dr. Ellis played by Isha Harris is upgraded to main cast. This is interesting on a couple of different levels for pitheads.

One seems like they're getting out in front of obviously, like Mohan's departure, which I don't know if you feel like it deflates the drama of it or is her arc so obviously pointed towards an exit. - I would be surprised, I've kept waiting for

the Samira storyline to turn around this season because they love to do that a reversal.

“That's what happened to her last season, right?”

Everyone's like, you're so slow, and then she just really came through in the mass casualty. You got the Ogle the Redemption.

You've got some joy, we're always turning on a character,

but Samira just keeps going down and down and down and down and in this episode, 7 p.m., she's like, wilted completely. - She's just like, given two to the OR. - Yeah. - I know, so I guess I don't even,

you know, variety reported this first. I were a reporter picked it up. There's no quotes or statements really of significance. To me, it's like a little bit deflating 'cause I think you'd wanna have that moment dramatically,

but I wonder whether or not that moment doesn't even occur dramatically on screen, like maybe this is an off-screen departure. Not unlike Dr. Collins is not gonna say. - Yeah, to departure last season, which was,

I'm going home, getting in the bath, and turning my phone on, do not disturb, and I miss news of a mass casualty event in Pittsburgh. - Right, and then we get to sort of like a side recap of where she's been and when she's up to,

so we'll get a little like Dr. Mohan update next season.

“But this is the nature of the world they set up, right?”

If we're doing one 24-hour shift every however many months, the nature of a teaching hospital ED is that people are rotating in and out. So I think they're gonna have to bend a little, they had to bend a little to get rid of her is still here.

He went from med student, so in terms of the org chart, you can't keep everyone there 'cause they're meant to be going on to specialties or all these other things. And so I'm like having only one cast member turnover, I'm surprised by I would expect maybe even more.

- So this was my next question, which just gets into this episode specifically, which is this episode has got a lot going on, but one of the, I think most delightful things is the appearance of the night shift.

- Tell you. - So Dr. Shen, Dr. Ellis, Mateo, Dr. Abbott, and I know that they're well, well, Dr. Abbott's not well rested. He's been catching power naps in the backs

of ambulances in between SWAT reads. - Dr. Ellis also gave her deposition today and barely got an app in, so. - Look, it's fan casting and it's not probably going to happen, but if I told you season three was night shift.

- Oh yeah, I'm in, but even better than night shift. What if they'd gave us two pit seasons a year? - I know. - I'm gonna get greedy and say, what if we get the January day shift

and then the September night shift?

We worked so hard.

- It's for pitheads, it would be amazing.

I was curious whether or not there was what percentage of your brain is entertaining the idea that the next season is like five minutes later. - And that it's this-- - Or five hours later?

- Who is this shift? The night shift in the midst of their-- - I mean, how often can they bend over backwards to get Abbott and, you know, they really want Sean Hadiseen there,

“I think as much as possible, Dr. Abbott is so popular.”

Dr. Ellis and Dr. Shen are two of my faves, the introduction of Dr. Chris Henderson in this episode, great range. - Ultra sound waves, yeah, great addition. So I would love, I don't think they're gonna do

a full night shift season. We had sort of entertained this. - You and I had talked off-pod about this idea of, is no whiley taking a season off, given that he's like EPing and writing and directing episodes.

And, you know, everywhere on every single interview, getting his Hollywood Walk of Fame star is no whiley gonna take a slight backseat from leading man territory and give us a night shift season. Not that Dr. Robby doesn't make it out of the season alive.

I don't think there's any version of the pit. - I don't think that that's the case either. - No whiley in it for the foreseeable future. But if it's more night shift oriented and we get like a few hours of day shift instead,

I thought that would be maybe interesting, or half-and-half, as you say. - Yeah, this is such a fascinating show. And I kind of wanted to talk a little bit on a macro level about what I think the season is doing

so successfully is because, obviously, they could have played the hits and had explosion at a fireworks factory, you know?

“- I thought that's what they were gonna do.”

- Had 150 people coming in while a cyber attack was happening. - And it's really an incident at the water park. I was like, oh, this is it, this is our mass casualty, over the Fourth of July, but it was like three people, so. - But this is a much more, I think, considered character study.

And the cases are interesting and like Orlando and all these people who are kind of occurring and dig bees been there for most of this season. - I'm really proud of Charles Baker getting paid for the full season. - It's awesome.

- I love them for him. - Maybe he can just become like a janitor at the hospital and just stick around. But it's really cool to see a show that the thing about procedurals is you'd want it

to play the same notes every week. And they're like, I think looking at the long game here and they want to make five seasons at least of the show, which in our time is like equivalent of having a 12 season show back in the 90s.

And I think that like to sustain that, you have to like kind of play, you know, you have to know when to push and we know when to pull. - Yeah, and I think having the mashed catalyst he shooter event in season one and the cyber attack in season two,

“you know, I think they don't want to push their luck”

in terms of how many big events can we get away with that makes sense. You don't want to just give us the same formula again. I think it's been really interesting in the last couple episodes to sort of track

who's clocking out. We're just gonna slowly see people clocking out. Like that's an interesting way to end this season. I don't think it's gonna be everyone gathered in the park having beers again, you know?

So what are we gonna get?

Maybe the next season is actually Santos never clocking out.

She's just working on charts. (laughing) - Forever shreds. - They set up a special room for Santos to chart and she's just stuck there the entire time.

- So super, so super is not coming back next season. Is there anyone else where you're like, I could see them sort of moving on? - I mean, I think the robby thing, so this episode obviously ends with,

they have been very manipulative with cliffhangers the season where it's like, you know, Emma in a headlock. - And you're like, cool, I have to wait six days for this nap. - Dr. Lashimi is zoning out and we still don't know

exactly what happened. - I think one, I like your idea of Noah not being front in center. I do wonder whether, 'cause okay, so he is EPing directing an episode writing an episode.

He is the voice and face of the show on every panel talk and in every interview. He's playing with puppies on Instagram to promote the show. And then on top of that is probably gonna be up for awards

for the next couple of years for this show. And I think that's a grind. I mean, when Andy and I talked to him, he was in between coming from the writer's room and then I think the globes were like the next week,

which, you know, it's not working in a factory but that's a long hours and a hard work. - And it's more, you know, like when you think about ER and it's heyday, the sort of like starring job was spread out against across a couple of different people.

Like with Clooney and his height, there were still just like a couple of people who are the face of ER.

And Clooney was never like EPing, writing and directing

and all the other things. And so I just don't want Noah while it'll burn out. - I don't either, but when people are like, it's probably leaving the show. - No.

- But Noah while he has been kind of like waiting for I think, 'cause it's fair to say, like, it has been waiting for this to happen for a while. - Like I'm not going back to the librarian. - Exactly.

- Exactly. So I think that there's a possibility,

what if I don't come back at all?

I think there's a over-tone of, is he having suicidal ideation,

“but I think maybe it's like more like Dr. Hildei's self,”

like you're saying that Mohan is burning out, you're saying, like this person's burning out, maybe you're the one who's deeply burning out. And then the other person who I think is kind of like, you know, jovadi, I think you could say,

maybe found yourself in that OR, doing brain surgery with Mary McCormick, but also is obviously like a little bit screwed up from this day and from losing a patient. And I, you know, I'm trying to think of who else,

I think is on the line there. Well, you know, I don't think Al Hashimi and Robbie are gonna be working in the same VR next year. - Yeah, I'm curious how that all results itself, but the idea of her floating the idea

why don't we have two attendings is,

you know, that she didn't a previous episode.

A lot of people have been wondering, does that mean we could get Abbott and Robbie on the same? - Can you handle that? - Shift, I don't think so. But like the night shift is interesting

because Dr. John Shen and Dr. Abbott are both attending. So they've got two attendings on the night shift, why not the day shift? I don't know, something I think about. But I think that Dr. Al Hashimi,

I don't think she's coming back next season, - Yeah. - Which I'm really curious to see how that wraps up. I don't know that I am like absolutely in love with what this arc has been for her, like,

woman comes in, man thinks she's not fit for the job and then she's not fit for the job is like, yeah, my faith. - It's funny, I saw a clip of Noel Wiley and Katherine Linasa talking about the show

that people are watching versus the show

that people are making, that they're making.

“And I think this is a pretty rampant condition”

in modern TV watching, which is like, people kind of having these parasocial relationships with fictional characters and starting to personify them as if they're like, people. - Yeah, and being like, I can't believe Kendall did that

kind of rather than Jesse Armstrong is writing and Greek tragedy and Jeremy Strong is bringing that to life. But they were talking about like, in very polite way, but I wonder whether there was a little bit of an edge to like, yeah, like, people watch this show

and they're like, Robbie should be brought up on charges for snapping at Dr. Mohan and it's like, well, it's a tense workplace and also like, I think they're trying to say, this guy is on the line. Like, this guy's gone from like,

let's all have a, you know, moment of silence for a dead patient to like, is this about your mother give me a fucking break? - Totally, and I think there are two ways in which I think people are, I don't like to say people are watching TV

and correct them, but like, the mystery boxing of this show that people are treating like heat stroke mom, like it's a, it's a mystery we have to solve rather than the show presenting us with a woman where we're asking questions what happened with her kid,

but it's not gotcha, like, you know, that kind of thing. And then also there's Dr. Robbie's point of view and there's the show's point of view and I think it's really easy to get confused between the two. To see Robbie as a leader of this environment

and to say, okay, if Robbie disapproves, it's wrong and if Robbie approves, it's right, but what the show is challenging us to see is that sometimes he's right and sometimes he's wrong. And that's really hard.

I think I know a lot of people are watching the show thinking, Robbie's Pew, I look to Robbie to see if I'm supposed to interpret this, especially when like the medical jargon is over your head, you're like looking to him just to like guide you through

morally and emotionally what's going on.

“And I don't think that's what the show is trying to do,”

but like, we'll see. - I don't think so either. I think that we bring baggage to it from watching Noah Wiley for decades and then I think that we are told or,

and I think there is an inherent like understanding that when you're watching the protagonist of a TV show, you're not thinking, oh, like this person's out of line or this person, like you said, is made a mistake and the ERM made a mistake

in the way that they're dealing with them. And that's an interesting commentary on where this character is. You're like, this is making me mad because I'm here for this guy to save the day.

And instead he's like screwing up, yeah. - I'm like, yeah. - Bumping Duke up the line and CT scans, you know, when maybe that's inappropriate, right? - That's not the what's inappropriate.

- And Elvin from the Cosby Show has to show up and be like, no man, you don't get to do that. - Please just keep bringing TV people and random characters. Like just bring us all these TV doctors, right? Like Mary McCormick and ERVette,

Jeffrey Owens, who was a doctor on the Cosby Show way back in the day, and I love that. Like keep doing that. - Okay, so then I wanted to talk a little bit about Whitaker's scene with Olga V.

I think is it's kind of so funny to, I don't like doing the ER to pick comparisons overly 'cause I'm sure that people making the pit are like legally, that is not true. - If Michael Frank's estate is listening,

Whitaker is definitely becoming Carter, you know?

Like where it's sort of like this do-odd cares too much, but now is sort of like able to take Olga V into the ambulance band. Kind of give you the thesis of like, I think emergency medicine, which is,

“you have to accept that this is the worst day”

of this person's life, and it might actually be that. And we might not save everybody. - I literally wrote my notes this week, underlined it, this is the thesis of the show, right? And sometimes the, sometimes the pit,

in ways that I don't like, just says the thing, rather than, you know, showing it to us, that's what they often do that. And so there are times when I really bump on that, but this one really worked for me just because

it felt like I'm authentic, character moment for Whitaker. Yeah, just saying like, I like being there for people on the worst day of their lives. And I'm like, okay, that's the theme of the show.

- Yeah, right. - But the Olga V arc this season and the, you know, people were calling him like sort of evil, Whitaker, evil, you know, like whatever you wanna call him. So for Whitaker to be able to help him

the way that Robby and other people helped him in the first season, that's what you want to see. - Yeah. - So this is like one instance where I didn't mind the pit just saying the thing, you know.

- Kind of, and I do think that his relationship to Farmer Amy, is that her name? - Sure, as far and bad if it's. - Is like, do you take it beyond the hospital? Like, is does he care so much that he is like,

and then, you know, McKay got dinged for that earlier in the season when she was treating the trunk addict in the park where it's just like,

you guys can't, I need you here for this crucial moment

in the ED, I can't have like your big heart going out into the wider Pittsburgh on the shift. - This is why I'm, the, the mystery that I'm really trying to unravel is what is it that sets Robby off when he comes down too harshly on people?

'Cause in this episode, Dana calls him out for being too harsh on McKay and Melhan. And I was like, why are those two doctors? Really the one, you know, we're as he's like, very gentle with Whitaker and like a couple of other.

- And Ogle V, right? So, like, is it a gender thing that could be, I think that's certainly in the mix, but I was wondering if it's something to do with like, Samira always goes above me on McKay, always goes above me on.

So if it's that sort of like, I recognize myself in this and I don't like it, I get too emotionally involved in this when he gives Samira the whole and McKay the whole speech about sort of like, you know, you leave this hospital,

that's it, end of your day. But like Robby's like, I can't even leave the hospital. - I just live here. This is where my heart and my brain resides. - He is kind of Whitaker living in the hospital,

but yeah, I think it's exactly exactly. So I don't know, that's something I'm really fascinated by this season. - Let's talk about Robby and Dana. So there's two conversations in this episode

that have basically happened in other episodes

“and one, I think with Robby and Dana is one where like,”

it's great because like, they've had the volcanic blowout they've tried to have a quiet moment. And those two in their dynamic is one that feels the most organically television to me in a great way because they are writing into, I think,

an obvious palpable chemistry and star power to, for lack of a better term, that Katherine Lanassas now brought to this character and she's an award-winning actress now and they're like, let's give her stuff to do.

And let's put her in opposition of some stuff

and let's put her in lots of crucial moments.

And it's great because that's actually how fight's work is they do not end. - I know, I loved that. - And somebody walks out and they're not like, and now we've resolved it, I'm gonna say.

- You haven't seen, right? - No, it's like, you know what, fuck you, I'm still thinking about that, especially in the premise of the show where we're with them every hour of the day. So things should not wrap, you know, cases don't wrap up

tightly in an hour. We have people extend over the course of the season or several episodes. So that's, you know, there are disadvantages to like, let's do an entire character arc in one shift

at the ED, that's that, you know, they really stretch and pull to make the show, but there are advantages where it's like, let's make this a more natural, several hour long conflict, you know, between two people

and that, you know, to go back to this idea of like, Robby's POV and the show's POV,

“I think having Dana as an off a strong opposition to him”

is a really good way to sort of challenge viewers and ask them to question Robby's POV. If Dana's questioning him, you know, we're with Dana too, this is mom and dad of the ED. And so if mom and dad are fighting,

who's side are we on and the answer, similar to sort of like the Santas LinkedIn conflict earlier this season is, they're both right and they're both wrong. - Yeah, which is like what the life is.

- That's when the pit is the best. - I mean, it's like if for every moment, I don't know if you, I'm sure you've seen the video, the Instagram video, the person doing pit characters being like, did you know violence happens to nurses

5% more than anybody else?

like, that is probably the pit,

it's most pedantic, but then like, we call it living out with the pit. - Yeah, yeah, we're on the pressee, T.B. - Yeah, it's the pit is that it's best

“when it can be like, how does time and pressure affect character?”

- Yeah, yeah. - The one that I was like, I thought we did this conversation was the Whitaker Santos housing arrangement, where last episode, they had a very cute kind of like,

oh, you actually like being my roommate and you want me to stay and if you say it, I will stay. And I thought that that scene was wonderful and obviously ended with a note of like, yeah, he's just gonna go check on Robbie's plans

like three times a week and pick up his mail. And now it's like, we've reopened that like an hour later and that one, it didn't feel sloppy per se, but I was like, I don't really understand if all we kind of handled this last week.

- Maybe, was that Santos like couldn't say it

and he, you know, he's her main safe space in this place and if he's just sort of like, even if you can't say it, I'm just gonna do it and I'm gonna be here for you. And I liked their little sort of like non-look looks and stuff like that.

And what I love about, you know, to your point earlier about, people getting overly emotionally invested in this show and maybe watching it in a different way than the creator's mean, the constant shipping of various characters

that is happening in the fandom is fun in some regards and then you constantly have the actors coming out and saying like, actually, for Frank Lang did an melking, this is like a mentor medd, we believe it's a tonic. - It is a lesbian man, yeah.

- So like, for Santos and what, like those kinds of relationships, they give each other these sort of like shy looks, but it's about their friendship, them being roommates and I did really like that.

The one that really, I thought was sloppy writing in this episode was when the new intern on the night shift Nazalee when she was like, there's a new guy in that bed that would be there before, but it was just like, okay, the shape of the herds.

- Don't come in. - Yeah, I got a herds cut, I got a herds cut. - Yeah, I liked her though. - Yeah, I liked her though. - She was cool.

Yeah, the night shift appearance, you know, the idea of these people being there, their shift is done and we're probably not gonna get a cold beer in the park to end the season and it's actually probably gonna end

and maybe a grimey way where, you know,

whether it's like Robbie basically like storming out

and we don't know when he's coming back or maybe one of the things I've dug is that for his effective as the Hawaiian prayer for instance of last season was, people have tried to make their cases,

you know, they've tried to make their big speeches and like I don't know that like Duke is gonna be able to convince Robbie that like he's gonna be okay, he's gonna go for treatment or that Robbie's gonna be able to convince Duke or that obviously with Mohan,

like it's not gonna end in a place where Mohan is like, I've realized that emergency medicine is my passion. You know, she probably is gonna be like, I got a weird phone call from my mom and I do have to go to New Jersey or something.

- More like I am gonna try to carry out tricks or something like that. I mean, that's not really interesting because again, that's more like real life because we're watching Mohan as a character, I really like Supriaz and actress

and I really love that character and I'm trained as a television watcher to be like, okay, she's struggling and then she's going to figure it out or someone's gonna say something to her, you know, so many people mel to LinkedIn inside of this episode

would occur to Ogilvis, so many people have given grace to someone who's struggling today and Samira's not getting it and sometimes that's just true, you know? Sometimes you don't get the advice you need or the support you need to make it

and sometimes you--

“- For how could you if you were at the end of a shift like that?”

- Exactly. - So, you know, as much as I want because I'm rooting for Samira for her to figure it out, maybe she will be happier. - Yeah, more else.

- Yeah, and also there's a natural kind of like you cycle out of this job, unless you decide that this is your passion and this is what you want to do all the time. Like that's gonna have to be something that us as watchers and fans of the show accept.

- Right. - To the extent to which, so you bring up LinkedIn and I would put him in my maybe not coming back zone. I think that Mel does a good job of cheering him up a little but I don't think he's gonna get closure with Robbie

and I don't think he's gonna get closure with Santos. - There's a couple of hours left of the shift so who knows what's gonna happen but yeah, it's possible and like it's also from this sort of meta-watching these actors kind of way, like I could see Patrick Ball who'd love to do theater

and stuff like that, you know, being kind of busy and it's just doing something to handle it. - So what's doing to handle it? - It's the Geffen or whatever. - Yeah.

“- I know, did you hear about that production of him?”

- So I'll describe it to me. Apparently they were like, and then we do this major twist and it's something else. And I was like, "Break it, just do what I'm gonna do." But he's gonna show on Broadway right now, you know?

So there's, you know, or Esabriana's, like, there's a lot of these actors, the pit like old school television is a huge time commitment.

And so, you know, how many of them are gonna cloney out of here? - Yeah. - And how many of them are gonna stick around? - Moving and doing the cloney is a lot more accepted, no. - Right.

- Right. And it's like people do do multiple shows. This is sort of like a reality of the way that Hollywood has changed the way they make television, right? Is that in the same way that writers are having a hard time

like scraping together like, okay, I did two episodes of this show and then I did an episode of this show and I'm trying to pitch my show like these actors like, yeah, the pits like a really steady paycheck. But I bet that they're like, I need to also have like

a stable other thing going, too, you know? - Yeah, you don't want to do the full sort of wreckage on page like, I don't need you, Bridgetton. - Sure. - So I'm in love and tell them to get me over that.

- Yeah, so did you see that you did you see that he in Nicola Coffland, we're sort of in the first episode of SNL-EA and everyone's like, are you coming back to Bridgetton and there's this sort of like look on his face like,

“I made a huge mistake in my Bridgetton with so much, you know?”

- He was really good in black bag. - He was really good in black bag. And the D&D movie, actually, I thought he was good in that too. - Who else did I want to talk to you about on this episode? So we talked a little bit about Alshimi,

but like Robby being like, I've identified this from across the room that she paused during her erage on speech. I thought that was eagle-eyed, but that'll be a good test of what we're talking about is like, Robby might be right, but he might not be nice, you know?

And I think they have obviously laid some foundation

for Alshimi to be like, here's what happened to me

in my life, like why I might, this might be happening to me. So whether it's a neurological problem, like sort of in suggested 'cause she's calling her doctor's office at one point or whether it's PTSD or I don't know, but yeah, there's a little lot actually now that I think about it

that they're gonna have to address unless they wanna drive people nuts for the nine months and it's not on. - Right, you need a Dr. Alshimi sort of diagnosis or information or something like that.

Something for LinkedIn, you know? I think we need another LinkedIn Robby scene whether or not that is like a closure scene or something else, like, doubt it, Robby does not seem like he's in a place to give grace, any kind of grace

to LinkedIn at all. - Yeah, I mean, I saw, this is like, people may or may not wanna know this because in some ways it's indicative of what might happen, but I heard a Noah Wiley interview

where he was like going through the themes of the seasons.

“- Yeah. - I can't remember how he'd actually described it,”

but it was like, "Dr.s make bad patients." - Dr.s make, and he's like,

and he's like, "Dr.s, but the third season is about

"Dr.s healing and Dr.s making good patients." - Making good patients, yeah, yeah. - And that might suggest a much different kind of season. - I was thinking, yeah, therapy, or doing in treatment, you know,

everyone goes up to the therapist over the course of the shift or something like that. - Yeah, they've been free. - It's really interesting. - They give themselves a lot of rules, and obviously like they built this set in Bobank

where they have this full 360. - Right. - You can be in the ED and like there are times where they're like, it feels like we are actually doing it, but the exception of a remarkably bright outside Pittsburgh

for some DM, rarely go outside the walls, only to the ambulance bay or to the internment room where Louis was kept for a while. - The part this, so like there's, they went to park. - And the roof. - There's Robbie's motorcycle ride

in where you get a little bit. There's Mel Lassie's and picked up her sister. I think that's as far as we've gone. - Okay. - Then there's the roof and then with a curse.

- Oh, like we never got to go to Edmund

to hear about the cyber attack or when it comes to it. - Right, or we're not following like, Howard, a patient we really invested, we don't go up to surgery with him as stuff like that. So will we go in a meaningful way to another floor

in this hospital? - Should we fantasy cast Robbie's therapist? (laughing) - It shouldn't be his pal who was like, "Hey, man, get some baby." - Should be Eric Lassal.

- Yeah, it's actually, yes. Where are you on the season versus season one? - There were more memorable like, enshrined that in some sort of TV Hall of Fame moment. Like, wing in the first season,

but the second season in a way is better. Like, the second season to me is like, riskier, braver, like, more interesting and as a drama, whereas the first season had moments where I was like,

"I forgot to breathe for five minutes." That hasn't happened as much this season.

“Like, I think my relationship to some of the cases”

and patients have been, like, they have lost that many people, like, on screen. Like, a lot of it has been like, "Oh, Oglevee's patient got, like, they lost him upstairs." But there hasn't been the, like,

"Guard of honor for dead child stuff." - Right, a girl drowned or a young man is Brenda. - Yeah, like, rocksy happened off screen. - Yeah. - So like, there's a lot of it has been, I think a little bit more about--

- Louis, Louis. - Oh, yeah, Louis, that's right. - And that was really beautiful,

and their, like, internal crisis sees. - Yeah, it's interesting because when something explodes out of its first season, the way that the pit did,

I'm always so nervous about the second season

because how much of it is novelty, how much of it is just sort of like, "Oh, they're doing a full shift." Or, "Oh, my God, procedural television is back and a prestige kind of way."

Or, "No, while we missed you, or in the case may be,

“I think there's a lot of great examples of that."”

Empires, the first one that always comes to mind where people were just obsessed with the first season of empire and then it just sort of, the second season comes back in that momentum of the newness isn't there. And so I think the pit did something really smart

in what you're saying, which is just sort of, "Hey, come spend time with these characters. You're invested in." - Yeah. - Not, we're gonna shock and all you, but, you know, yes, there's cyber attacks,

yes, Emma's in a headlock. Like, we do have these moments, but it's about you hanging out with people who, over the course of a day, are sometimes right in sometimes wrong.

- Yeah, and I mean, even the big moments from the season like Jessie being arrested by ICE just seems like Jessie is gonna be in prison for the weekend. So I doubt-- - I know. - I don't think we're gonna get, like,

Robbie writing his motorcycle with a helmet to the courthouse to save Jessie. - I should have free Jessie. - I should have. - I should have. Let's talk a little bit about what else is on

easiest way to do it is kind of like this prime time grid. But before we do, because I have this interview with Hayley, and I don't know if something very bad is going to happen is on your prime time grid, but I wanted to just see if you'd gotten a chance

to check it out and what you thought. - I did because of you. - Thanks for Ryan, what an influencer you are. No, I had heard, like, some negative things about it, and then you were like, I'm really digging it.

And then you said it, you doubled down on that. And so, I checked it out. I really loved the, I watched the whole thing. I really, really loved the first couple episodes. I think the cast is incredible.

The leading actress, who I thought was one of the best parts of Daisy Jones in the six, which I thought was like a mix bag, but I thought she was a real person now.

“I think she's like Sarah Pigeon in love story level”

of just really watchable. Just I want to see everything that she does. I think she's really like, this is just a huge, I think, hopefully boost up for this actor, so I think is incredible.

But I think all of the performances are really great. And this is an interesting experiment for like this sort of like produced by Defer Brothers era of Netflix, right? So major things is over, but they have all of these other projects that they've touched, and this is one of them, right?

And so, and it's a hit, which is not always the case

of these big Netflix videos, yes. - Yeah, I mean, they have the bros coming next, which is their kind of, they're E.P.ing, which is like a kind of like, it sounds like Koon. - Right.

It's like at a senior home, or it's not assistive living, but like a senior citizen, like elder care place. And it sounds like there's aliens or something happening, but it's got like fucking crazy cat, like Alfred Woodard is in that. - Yeah.

- There's the animated stranger thing. - That's right. - Yeah. - Are you like I need a little bit more stranger things? I want it.

- I'm pretty good, but I'll watch it. - Pretty good. I'm obsessed with how they styled this character. - Carey's the show as like a lived Tyler and Empire Records, like in the craft like 90's sort of--

- I think she styled on Haley. - Yeah, it just feels very reflective of her personal style. - I mean, just great stuff. I'm a huge fan.

“- Here's the thing I would say for anybody listening.”

You know, you're mileage may vary on horror, and you're mileage may vary on like, if you want to be in that head space for that long.

I found it like the second half of the season

is actually quite funny, and I wouldn't say daffy in places, but like it's a different vibe than the first few episodes. It's different, and like I've been kind of waiting for something to come along this season. I was gonna ask you like, if you would have any like leaders

for like, this is my favorite thing so far of the year. But like what this did was like, I had seen a fair amount of stuff that, even if it was good or fine, I was like, okay, I feel like it's still like,

throwing the same pitch that I've been watching for a while, and this felt very different, you know? - For, you know, this primetime grade assignment that you said, yeah, I was checking out some things that I was a little behind on, and stuff like that,

and it did all feel very like, samey, especially since, you know, there's like this massive billorance spread across, you know, you've got, you know, the Taylor shared it. You know, there's just like a lot of things

that feel like they're the same show reiterated by one creator. - Yeah. - So I think in that way, this like fresh new voice, I'm excited to check out that interview is really exciting. And then I think, for me, my leader would be a night of the 17th, that's very much, you know,

my, my shit in general, but I do think it was like, thrones, but a different tone, you know? - You can message, every day, on other, and I, and on the house.

and when you can, can we, and in the sky, that's, you don't have to ask. Then it's credit, so, just want to know more. Or do you have time, credit, of Augs Money.com? Augs Money, credit, einfach online.

- So I would give it that, yeah. All right, let's do our grids. - Okay. - So I usually style this in a traditional fashion, but you can take the assignment anywhere you want.

Now, here's the funny thing about the way we used to do TV, is I realized that, like, in my normal everyday watching, I do the reverse of this. So it used to be that they would leave the comedies from eight until 10, and then they would do a drama at 10,

and then you would go to bed or you'd watch late night. - Right.

- I watch the hard stuff first now,

and then try to do a come-down from that sitcom or comedy show after. - Okay. - But I'm doing the grid as if it was like Thursday night. - I don't think I intentionally stack shows that way,

that's interesting. - Oh, so you don't ever, like, that was a lot. Like, you don't watch an episode of industry, and you're like, if I'm gonna watch something else, it can't be like an hour-long intense drama.

- No, mostly, I don't know, just mostly because we're doing it for work, it feels a little different,

“but I think that, I'm thinking about the way”

that, even HBO Sunday night, used to be two comedies into a drama, sort of thing. No, I don't think I do, like, I shouldn't do that for my mental health. - To be a depression television, I don't want a great idea.

- There is sometimes, like, I can't, my wife and I watch horror a lot, like on Friday or Saturdays, and it's just like really weird dreams, like when you watch, like, you know, - I had really weird, I watched a lot of something

we were about, it's gonna happen yesterday, and I had some weird jokes last night, very weird. - Okay, walk me through your grid. - Okay, so I get two comedies, two dramas, or, right?

- It's however you want to do, like, I tried to do this of shows that weaver haven't really talked about, or haven't talked about a while, but it can be whatever you want, as long as it's the sort of eight to 10,

or eight to 11, and then the bonus is like, are you watching any, like, late night variety, whatever? - Or whatever you're watching on YouTube. - Yeah, right. - Or 90 minutes of survivor to the truth,

me crazy last night. I mean, survivor is absolutely rotting my brain right now. - Also, if I can shout out, being like, I'm preempting survivor to just read my, my truth social posts, and not actually do anything.

- You love to shout out, Trump won't shout out, rather than shout out, Trump won't. - Thanks, thanks for that. - So I'll start with the comedy, and I'll say, the comeback.

- We have not checked out yet. - Season three of this show that has been you've sort of come and gone a couple times, and it's, I think, three episodes into the season, maybe two or three episodes into the season.

And this has never been my favorite favorite,

you know, HBO show, or Lisa Kudervitt. Vehicle or anything like that. So I don't have a long-term investment in it, but what they're doing with this season, and there's a lot of shows right now

that are very like Hollywood-looking word.

“That's what the comeback has always been,”

but there's a lot of shows like, sure, right now. But how it's engaging with, basically, you know, the sag after a WGA strike, COVID, which all seems like very ancient history, but like, it's a very piercingly funny show.

- Okay. - And I think in contrast to sort of the bill-lawn spread, which you're getting with like shrinking scrubs and rooster all being on at the same time, which is very like kind gentle comedy,

something more incisive and cutting, like the comeback is really welcome. - Okay, I was reticent to jump in because I was like kind of neither here nor there about its earlier iterations,

but I'll definitely check it out. - Yeah, I don't think you need to be at all. And I think that the strike and the COVID of it all is very beginning, but what happens because of the state of the industry

that we find this character of Alexandria in, is she gets tucked into doing a sitcom that's written by AI. So Andrew Scott is here this season as like a horrible exec, Abby Jacobson,

and John Early, who are her comedian stalwarts, are here as the headwriters of a show that's being written by AI. And it's just like a great premise. Like it's really good.

“All keeping it secret that it's written by AI,”

but like, you know, there's all these jokes about it's very good.

So that would be my first comedy.

Do you wanna like ping pong or do you? - Sure, like we can ping pong. My first one is one that Annie and I discussed a little bit about them. Maybe actually a while ago because it did debut on peacock

and then did the like, and seven weeks from now, we'll start airing this now. But it's the fallen rise of Redgiting. - Oh yeah, yeah. - Which is the Tracy Morgan Daniel Radcliffe vehicle

from Robert Carlach and the Tina Fade industrial complex.

- And is incredible 30 rock methadone

for people who are still looking for can you fit nine jokes onto a page triple like visual sight gags in this frame? I see with great excitement that the Daniel Radcliffe

Megan, the Stallion relationship on this show has started to take flight on the internet and listen, this is really special stuff. (laughing) - His obsession with her.

- Yeah, and her like relating to him being like, okay, talk to you later is like amazing.

“They have a trist in the back of a male van I believe”

and he becomes smitten. But yeah, this show in case you don't know is about a disgraced ex-athlete Tracy Morgan's Regidenken character who was trying to make a comeback after being kicked out of the NFL for gambling

and Daniel Radcliffe's character is a failed documentary and who is making his comeback as well trying to make a doc about Regidenken's life and the cast is stacked, everybody is hilarious. There are some like episodes better than others

but it is really, really, really good. Like solid sitcom making. - I think it's offering you something you already know you love which is Tracy Morgan just doing the only character - Tracy Morgan with a head stack of himself.

- Yeah. - And then Dan Radcliffe, like if you didn't see his TBS sitcom, like this is what Dan Radcliffe additional winning Tony's for musicals and whatever. This is what he loves doing and he's very good at it.

So like, you know, there's something familiar and then if you aren't, I love Dan Radcliffe in this mode.

“Like, and I think he's a great fit for this universe”

and I love that this is a project. I love all of his choices that he's made in the last couple of years.

- What's your second show?

- My second show, even though I just talked shit on the Bill Lawrence bread as I will say, I don't mind Rooster. Like, it is the exact same show that he's making, I saw Bill Lawrence making fun of himself

about this 'cause someone tweeted out sort of like, Bill Lawrence just makes the same show over and over again and then he'd quote treat it with like, no, oh, bad monkey was totally different. - You know, you can't really say anything about the Lawrence show

'cause you will quote tweet it. - Yeah, yeah. - Talk about that familiarity. Like, I was thinking about the fact that we have like, no while in Lisa Cudro, Steve Corel, Tracy Morgan,

you know, like, all the, you know, Ted McGinley, Kristen Miller, like they're all back here on our televisions, but like, Steve Corel back as a lead of a sitcom is far preferable to Steve Corel in the morning show or anything else

that he is wanting to do recently. - Lisa Cudro, wrestling coat. (laughing) - I'm a big fan of the, yeah. Wow, we'd love to come back to Fox Catcher.

- Yeah.

“- Daniel, Daniel Deadwiler is kind of wasted here, I think,”

but Phil Dunster, who I was like my favorite part of Ted Lasso is like a great pomp as character who we have Robbie Hoffman, who was such a great breakout on the last season of Hacks and is a community I really like, is here to make fun of his character.

That's a delicious dynamic. - Okay, I'm gonna dip back into this. The, honestly, like, I think my lasting takeaway was like, I need, I need more for Daniel Deadwiler after the first episode, like, just bring me the X-Files

immediately. - Exactly. - Oh, I got it so excited. - But yeah, like, I, I, I don't think I am a Bill Lawrence sitcom guy. Like, I, I, I, I, I don't know if that monkey too

will be, work better for me, but like, for some reason, I just need a little bit more of an edge, I think, in, in my style. - Bad monkey was like a really great half season and then I just kept going and just sort of got lost. I think, but yeah, I agree, I, I'm a little frustrated

with how prevalent the Bill Lawrence effect has been in the last couple years, but I think Rooster is something I could hang with a bit. - Okay, so my second, my second comedy kind of thing is something that I didn't really think was a real show

until I made sure to check it out, and that's last one laughing. - Yeah, I don't know, that's my late night one, okay? - Okay, okay, okay, so, I saw the premise for this show that Jimmy Carr was hosting what is essentially big brother for some of the funniest people in comedy in England.

- Yes. - That they're trapped essentially in a room together and they are all trying to make each other laugh and you know, if you laugh you're out or whatever. I was like, yeah, I got to watch that for like five minutes,

but like, I think this is incredible. - Yeah.

- I think this is unbelievable because it's never just people

trying to tell like a crazy joke that we'll get a laugh. It is full on like characters and bits and long stories and performance pieces by these. You'll definitely recognize some of the people when you watch it, but it's on Amazon

and it is so delightful to check this out. So my favorite person on this David Mitchell's incredible when it Bob Mortimer is really, really funny. - Bob Mortimer is an icon.

I don't want to ruin any of the gags, but you're also a fan of this.

“- Yeah, so this is the second season of the break.”

So my understanding is that it's sort of an international hit they've done version of this around the world

and UK finally like, hopped on, I'll be curious

to see if there's an American version that we wind up doing. But I had watched the first season. So this is the second season. Bob Mortimer won the first season so they brought him back for her first season too.

And yeah, and these are my favorites. Like I love British comedy. I watch, as I've talked to you about before I love I watched British panels shows all the time. So this is such an interesting experiment

because it's quite cringy to watch these like comedy assassins who are the peak of their game or Alan Carr is here like all, you know, romance romance things here like they're all here and they're doing their best

and nobody's laughing except for like Jimmy Carr and other room. And so you're like kind of dying inside while you're watching it, but you're right that in that sort of big brother reality show kind of way once you sort of settle into the social experiment

of it, it's really absorbing it.

- The funniest thing on the show by far is the faces people make an effort not to laugh. - Oh yes. - Like what they have to do. - Melga drutsch is not on the face.

- They look like they're all having hard attempts. - Yeah. - It's unbelievable, but honestly, these episodes are like 30 minutes. - Easy, easy, easy to six episodes a season.

- I could definitely see it this actually being a better late night hit. But what's your next one? So this would be nine p.m. - Nine p.m.

“I think I'll do something very bad is gonna happen.”

Like I think I would put that on my grid. I think if you watch the comeback in Rooster and then you get like weird creepy horror drama with Jennifer Jason Lee. Like I think that's a good mix.

Maybe the opposite is true, given your prescription of watch a drama that comes down with the comedy. (laughing) But I couldn't think of another,

I'm not watching, I mean, if we're not gonna do the pit, which we could do. - Yeah, the pit would be really logical. - You know, really easy. I'm not down with DTF on HBO.

So I don't think there's a lot of great options in the drama, in the hour-long drama space right now. What did you dig up? - It's not really a drama, it's not really comedy. And I don't even know if it's that good.

(laughing) But Kiki Palmer's really good on the bird. - Oh, okay, I haven't watched it, but like, I do go to the Grove sometimes and if you've gone to the Grove in the last couple months,

it's just sort of like-- - It's really bird owl. - It's really bird owl. - It's bird owl. - It's on peacock.

- Yeah, I think the whole season's up and I'll be completely honest with you about how this is working out. - This is the show that I put on as I'm falling asleep. - Yeah.

- I thought I was on episode seven. It turns out I'm on episode two. It feels a little longer than it needs to. - Okay. - It is that kind of very last three, four years

phenomenon of a basically murder mystery with comedy.

Like there's definitely like they're trying to do only murders, they're trying to do. - All right. - Like a lot of twists, a lot of red herrings. - Jack White Hall plays Kiki Palmer's newly like newly wed

and also new parents and they've moved back to his hometown and then they are interacting with all like the neighbors. The two neighbors who are like unrealy, like they're just so good on this is Paula Pell and Mark Prash from what we do in the shadows.

And he's riding a recumbent bike and I guess much like DTF but like they are trying to solve like multiple mysteries just in Kirk isn't it? - That's I was gonna ask how my guy Justin Kirk was.

- So for unrecognizable I thought it was episode six. - Yeah. - Just in the three episodes, we mostly see him as the creepy neighbor that nobody understands across the street.

- He's rattling it up our guy Justin Kirk. - Kiki Palmer's like one of the best comic actresses that we have right now and this is about as close to like, let's give her like a classic diet and keep in roll and let her just interact with all these people

and do her thing but also be very, very funny. And it's like a little like Normie but it is really, really like. She is worth watching at least one. - Is it connected to the film The Burps? - It is based on characters created by the person

wrote The Burps. I did not rewatch The Burps, it feels like it's like our suburban nightmare is like the premise but maybe there will be more of a connection too. - This is like a few blocks over in the same neighborhood.

“I think it's just like IP they had lying around”

and like what if we turn this into a comic mystery? - What if we picked up the Burps IP? - Yeah, it's been clamoring more, sounds great. - Okay, what's your drawback at Ted? - Oh, that's where I put something very bad

is gonna happen.

which I love for both of us, I'll do SNL UK.

“Two episodes in I think, right, Tina Fey hosted,”

Jamie Dornan hosted a bunch of like other British comedians I like but much newer on the scene, British comedians. And I, you know, you and I are both fond of English culture and it might be confusing to people who don't know who like Kirstalmer is or like whatever the case may be.

- They born David Attenborough. - Yes, but like the Prince Andrew sketch I thought was really, really good. So there's just like some real gems there and they've got a good, some good weekend update host.

So I'm just like curious to see if this very American property can translate over to the UK. - Yeah, it seems like it's doing well over there. I think the thing that's been interesting is that the on the English side of like the media

and also the commentary around it is the emphasis on like the money that was spent to make it. But more as an example of just people don't make it like salaries are different there.

And like I think people are like, wow, like this isn't just a set

where like four people sit at a table and go through the news and make quips, right? - Right, right, right. - They actually like spend a ton of money and like silent lives.

- Fuck expensive shows, right. - So even even like the UK version, I don't know if they do as much stuff as the US version, but they are, you know, everybody is like, wow, like this is like an American style production here.

That reminds me of like what they did with like the last couple seasons of Doctor Who where they got this sort of like Disney Plus money into the Doctor Who budget. And all of a sudden it looked better but it looked wrong

because Doctor Who should look kind of janky and under budgeted. So yeah, that's interesting. Alternatively, if you don't want to do a UK show, though that's available on peacock, right.

Have I got news for you speaking of sort of like newspanel shows in the American version of a UK panel show, Michael Ian Black, Roy Wood Jr., it's a really, really fun sort of like newspanel shows. - Yeah, it's interesting.

- Yeah, it's really good.

“- Okay, so that's like your 10pm kind of or is that?”

- Yeah, I'm gonna, well no, I'm gonna say, so I've got two comedies of drama and then that's my like late night. - Okay. - Yes, what else? - So I have fall and rise of Regidenken's last one laughing,

the Burbs, a show that Andy and I are gonna talk about on Monday that we had gotten some emails for encouraging us to check out, is a Netflix spy series called Unfamiliar. - Yeah.

- You guys got me? - Yeah. - Yeah, this is... - You see our cadet. - Basically, Eastern Gate meets the Americans.

- Yeah. - And it's fucking good. It's a Berlin set spy drama about a married couple who are running basically a safe house business for spies on the run.

While also running a lovely farm to table restaurant in Berlin and they get pulled back into an old case that they were involved in in Belarus and Andy and I discussed this a little bit on text. Has anything good ever happened in Belarus?

- Not one thing. - Is anybody ever like, I had a incredible Honeymoon in Belarus?

It's just always like some really fucked up stuff

happened in Belarus. - Yeah. - Watch two episodes of this last night. I'm hooked, it's interestingly, written by a British author, British writer, TV writer.

And I assume, unless he's also fluent in German, translated into German to be made as a German TV show. So the international co-pro... - Yeah.

“- This is Gomont, who I believe also did LeBuro,”

but it does a lot of, I think Gomont is zero zero zero. They do a lot of international buyers. - They are sub-not dub, right? - I'm sub-not dub.

- Yeah, yeah. - Okay. - I'm trying not to, I'm trying to get off subs all. - For English English? - I can't, probably I'm out of my cold dead hands.

- I was watching, what was I watching the other day where I was like, I can't be this stupid. I can, oh, survivor. I was like, I don't think I need subs for survivor. - That's fair.

- But I think for, I think especially when we cover it for work, I don't wanna, you know, miss a key word that I miss interpreted or something like that. - The thing that was driving me nuts was industry because I wanted subs for like the off screen banter

and I also needed subs for the elaborate financial jargon. - Yes. - But found myself reading blocks of text at the bottom of the screen rather than looking at Marisa Bella's face, you know?

- I'm crime against humanity. - Yeah, I think that the thing that disturbs me is when I go to movies now and I'm like, where are myself? - I know, I was, you know, I got my progress bar.

- Project Hell Mary, I was like, I wonder how much longer this is. Not in a bad way, but I was like, I'm not, you say not being able to like- - I'm disoriented, I can't like,

wiggle the mouths of bite out how much longer. - Yeah, yeah. So yeah, unfamiliar, we'll be talking about this on Monday. There's a couple of pretty cool international crime

which I'm gonna check out this weekend. Yeah. - I mean, this isn't, you asked,

“you gave me this prompt in an interesting time”

because we've a lot coming, you know, like hacks and euphoria beef, like all these sort of like very muscular shows are coming back. And so I'm really excited to see what happens in it. - We're gonna be busy.

- Yeah, I'm also really looking for the widows bay. - Yeah, yeah, the mathy ratio. - No, I'm curious, did you see, kind of what was it called? The Apple due law show that was sort of about like

an isolated island community. - That was, - Wasn't that Apple? - HBO. - That was HBO.

- That was HBO, I can't remember, but that was a classic like,

me and Andy watched the first one

and we were like, "Is the show the goat?" Like this is the best thing ever. - And then like, like, okay, yeah, that's the game of it. - I can't remember it either. - The third day.

- Thank you. - For some reason, that's such a COVID era show. - Yeah. - Yeah. - And that was also a time when like,

they were like, Jude Law's happy to like, call in from his garden if you could make the time.

“- They were like, they really do one episode,”

you know, like there was like a weird gimmicky thing about it, but like, for some reason the trailer, like they released a little teaser for this and I was like, oh, I'm all the way in it. It helped very peeksy like, really excited about what it was bay.

And then they like dropped a trailer and I watched it and it gave me third day vibes in a way that I was like, I watched that whole show. (laughing) Please don't do this to me again.

But it might be racist in it and I'm gonna watch it. Can I just dump from one other British? - Thanks. - And this is very me-coded. The other Bennett sister, which is, you know,

burn it up over the UK right now and then I was gonna hit Britbox. I think at the beginning of May. But this is like a very snobby and picky about my Jane Austen adaptations

and this is Pride and Prejudice, a bit of Pride and Prejudice than after told for the point of view of Mary Bennett who's like, the sister nobody likes and it's really, really, really good.

- Is it good? - Where is it? - Where is it? - It's gonna be on Britbox, I think May 6 is when it starts.

- Britbox, yeah. - You guys, I'm also delivering. Do you wanna do like two minutes on survivor? Did you watch last night? - Yeah.

- I am always wondering whether or not,

“I think the reason, one of the reasons why I don't think”

I was a huge survivor person from its inception, a side room, whatever, reasons. Is that like I always just kind of found like the alliances to be unbreakable? Like in my experience watching it earlier seasons

where it would just be like, we have seven, they have five, we're just gonna pick them off. And then Matt's on our side. - Yeah.

- And so it was fascinating last night, there are articulating like three and a couple of other people really articulating well, like, there is an old school block of players here

that wanna play, I got your back brother. - Yeah. - Style survivor. - Yeah. - And last night, you know, Colby goes,

Genevieve goes and Camilla goes. Got kind of like a mix of both sides of that game. - Yeah, two new schoolers in an old school and like the old schooler in code. - My biggest takeaway was just like,

that was an interesting gambit to make it, like blood moon, nothing is safe but then it's like, yeah, but this person has an idol, this person has a immunity. So it's only one of two people and I just,

regardless of whether I wanna like hang out with her, Genevieve's just a really good survivor player. - Yes. - And so I was bummed that she got photo to that. - Mela, too.

Mela's a really good player. It's tough because the dynamic of the blood moon episode, Jeff taking like literally five, five.

Which is basically say triple elimination,

that are the Applebees promo. Is that your question? - Was it the bacon burger or the blood moon that got more time? - Why didn't they have like a blood,

blood moon bloody Mary available from Applebees, where was the synergy there? The Alpeys logo has a red apple. You could have just turned it into a red moon that he might be like,

- So why don't you worry? - We're calling me. - For Mark Burnett, that's just a destiny. (both laughing) - Before I go out by,

but yeah, this is a real luck of the draw episode. It's just like they drew rocks for these five people a person team, and if you were, as Genevieve was, just sort of like the odds are completely stacked against you.

There was no maneuvering for her. It was just like a real, there's so there's no social game to it. Inside of this episode is just a real luck, and then we'll see what happens in the merge.

But yeah, I love this old school. What they're trying to do on this season of Survivor, and I'm not gonna tell you anything you don't already know, is try to do this like Avengers Endgame almost like referendum on the whole franchise.

These years you've spent with this show matters. We're trying to give you as many flashbacks as we can to make you really feel the like passage of time, we're showing you that like Colby's foot hurts, and all these back hurts, and all those other stuff like that.

But D is crying at Tribal, because she has to send Colby home, and Colby is a player that inspired her to get into the game in the first place. So there's this big tapestry of history,

they're trying to present, but also this old school, new school, is so we're gonna be successful because she's an old school,

- Yeah. - Well, Chrissy was, you know, Chrissy was able to do tearful, like, I get it. It's not personal, and immediately went and was like, we can't do me.

“Like, what do we have to do, not to forget to be me?”

- Call it an ambulance, but not for me. Like, real power from Chrissy. But I think that like, another thing about a returny season, and I was on Tyson's podcast early this week,

talking about it is like, all the pre-gaming alliances that have happened, you know? Which is like, no shame in the game. Like, what are you gonna do? Like, not pre-game when you go into a returning season,

but the Colby coach, Stephanie, Jonathan, that whole sort of thing is a pre-game. - Coach is giving me a nickname. - Yeah. - Which is part of that, right?

Like, the Zoom Alliance. - With you, Cruza. - Exactly. - Yeah, we're cut from the same cloth. - I did I miss what the inciting incident was between Aubrey and Genevieve, because...

- It was, so Mallory and I are in a survivor pool. And we put Aubrey on high and our list to go all the way because we thought that Aubrey Genevieve, they did an Aubrey Genevieve scene in the first episode. That was so weird and out of nowhere in the edit,

where it was just Genevieve walking up to Aubrey and being like, "Hey, do you wanna play with me?" And Aubrey's like, not sure. Which is a really weird thing to do when they wanna survive. - Sure.

- The common thinking is that you always say yes,

no matter if you plan to or not. Like, first day of survivor, you're just like,

“"Yeah, I'd love to work with you, that's what you've got to do."”

Aubrey, for some reason, I think it's just like, they're too similar, smart girl, smart girl. - Not gonna be like, challenge camp lord, but like, we have to play our social game and that's what it involve you.

- Yeah, too much like me and I don't want you here. - 'Cause I thought that their blood feud was like, I was like, you guys really could have helped each other like in this game and also neither of you, both of you play pretty fluid games,

so it wouldn't be like, "Hey, I can't do anything about it, "and I'm in an alliance." Like, Genevieve, I think, like, I don't know what it is, or she's like, really, really good at survivor,

but like, clearly like, everybody's like, "We gotta get Genevieve out." Like, when she was talking to Christian, I was like, "That was a great argument." - And I was like, "You're just too good."

- It was really smart argument. - And Christian was like, she's very convincing and that's why she has to go. - Yeah, yeah. - Yeah. All right, well it's a good season so far.

- I'm excited. - Thank you so much for joining me. - Thanks for having me. - Thanks for pulling double duty on the pit. And let's get into my interview with Haley Boston,

who's the creator and writer of something very bad is going to happen with just on Netflix. This conversation is full spoilers. So if you have not finished the show, I recommend you do so before listening to this interview.

I didn't recommend you do so anyway, because it's a great show. So let's get into my interview with Haley. Thanks to Kaya, thanks to Kai, thanks to everyone here at Sikomore for producing today.

Andy and I will be back on Monday. We'll probably be talking on familiar, maybe some privileges. And maybe we'll dabble with the new season of your friends and neighbors.

We'll see how much time-group all has. And I can't wait to do it. Thanks so much for joining me, Joe. - Thanks for having me. - Haley, thank you so much for joining me on the watch.

Something very bad is going to happen is,

“I think it's like one of my favorite shows the year.”

For sure. I wanted to talk to you obviously about some granular plot stuff, but if we could start with a conversation talking to Andy and I kind of brought up on the show

on Monday when we were first discussing it,

is like the challenges of sustaining horror over, like a multi-episode kind of track. - Yeah. - 'Cause obviously there's like the things you can do in a two-hour feature that you're building up

to certain crescendo and then like exploding it. - But this is like, okay, how do I keep tension throughout an eight-hour kind of run? And I have like theories about how you did that, but I was curious if you could tell me a little bit

about your approach. - I mean, honestly, I am surprised that people think the show is so scary because it's hard to be objective about that. It's been living with me for so long that I getting

that response was like, oh, good. It's effective, but I think what we talked about a lot was like changing the genre a bit as the season goes on. So the first episode has a lot of jump scares. It is a lot of that dread and tension.

And I don't think you can do that for eight episodes. You know, you got to change it up. - We actually, I was like, I think we had talked about it. I'd seen two and Andy had seen one. And I was like, I don't know if people could handle it.

- Right.

- If it's the first episode for eight hours.

- Yeah. I mean, I think like David Lynch can do that. - Sure. - And has, but honestly, I had a lot of trouble finishing the return.

- The return? - Yeah. - Because of the like four episodes of Dougi wandering around. It was like, I don't know. - I like respect it.

- Yeah, I don't ever want to watch it. - So the first two episodes have a lot of that dread

thriller in episode three.

“And then we've got the found footage and episode four.”

And then the whole season shifts into the supernatural.

And I was inspired by the first season of servant.

I thought was really the way that it shifted the genre. - Yeah. - And the audience doesn't know by the end of the pilot. You're like, is he crazy? Is she crazy?

Is this supernatural? - Right. - What's going on? And I think you kind of need to do that in order to sustain the horror in a series.

And in something very bad, it's like, then there's a bit of body horror. I would say, obviously the last episode, the horror's, I think quite poetic. - Yeah.

- It doesn't, it's not a scary in the-- - It's like, yeah. - It's like, there's so much red that you're like, this is kind of beautiful, yeah. - Yeah, so, but it was really about approaching it

within those subgenres and talking to each director about, you know, then we have the sounds in episode six that try and get that kind of talk to me energy in there. - Yeah.

- And then a lot of it was figured out in the edit and in the mix. - You say that you are pleasantly surprised to find out people find it scary. Did you have a hope for what people would find it

in your most sort of, kind of like, okay, keeping all the stuff grounded? How did you want people to receive it, you think? - I want people to react to the emotional story and that was so important to me when we were

figuring out the curse and what that would look like. - Yeah. - I really did, I rode out Rachel's emotional arc and you know, took away the genre. And then once I figured that out and figured out

that she is someone who has a lot of doubt and then needs to believe by the end, that's where the idea that the curse, the antidote to the curse is belief. - Yeah.

- That's where that came from. And so I knew I wanted everyone to bleed to death but it was a matter of figuring out how to make that work in this supernatural logic but it all came from emotion.

“And so that's what I hope people who aren't horror fans”

even like really to the emotional story. - Yeah, there's something like kind of beautiful about how at the end we can get into like

sort of unpacking what happens at the end in a second

but like there is that idea that like the characters who survivor the ones who are like living honestly in some ways, like an even if their honesty is like the way jewels and now are kind of brutal with each other, it's still like a truthfulness

that other people don't touch on because they live like these lies. I wanted to talk a little bit about the way you can structure the show a little bit more because I was thinking about how if the show had begun

with the two of them pulling up the driveway to Nicky's parents place, it feels much differently if Porsche and jewels like arrive are on like the second scene. And he's like, okay, my family's weird by the way and then they walk in.

That whole first episode, it's so important to the rest of the season, but it's also a fair amount of like red herrings or stuff that's just like really cool but you don't 100% need to know about the end.

So like when you're writing that first episode

and you're kind of like, yeah, like Larry, you're blipool and the Barbie shoe and the dead foxes. Like they're important but they're not like central to what happens to racial.

“Is that hard to convince anyone that it has to start this way?”

- Yeah, I mean the first version of the pilot that I sold, they don't meet the family at all. - Oh wow, okay. - Really all the road trip caught the house at the end. And it was quite different but, yes, it's a bit of a prologue

and that's challenging and in TV. And then it sort of like slowly turned into being a little more traditional on that that you're meeting the whole family but I wanted to really capture what it's like to be Rachel

and she is like living in a horror movie as a person. - Sure. - And I wanted to make sure you're getting a bit of their relationship before it gets kind of disrupted by this family.

There isn't actually that much time in the show that Rachel and Nicky spend together. - Yeah, and that was something I was worried about in the writer's room. Just, you know, oh, God are people looking at them.

Roof for them, are they gonna care about them? But yeah, that was important to me and then there is a lot of thematic groundwork that we're laying in the pilot.

for what Rachel's going through.

Larry Pool as a red herring.

“I've read some internet comments or not satisfied”

with Larry Pool not being a thing. But that podcast episode that they listened to, I mean Victoria Predreddy recorded that, but that's an Easter egg as well. - Yeah, I was, as it was happening as like issue the baby.

But like, yes. - So it's sort of, and there's this pregnant woman who gets murdered or almost murdered by Larry Pool and then they find the baby. Like, yes, plot-wise it doesn't matter.

But it's meant to be this sort of like, Rachel has a, has this premonitory dread. - Yeah. - And these things she's encountering listening to, being thrust into these situations,

it's just meant to highlight all the things she's going through and will be going through. - Yeah, I mean even like the diner conversation

is obviously like this hugely crucial thing

to understanding like how she came into the world. And I liked it a lot because like you're also watching them and you're like, are these guys in love? Like, you know what I mean? Like you're kind of even in the first pass of it,

which is funny, it's like a horror fan.

“I think you're just like always waiting, right?”

Like I personally really love to set up almost as much as the scare because if it's a good set up to scare, it doesn't even have to be that spectacular. It can just be something kind of like,

I mean leather faces extraordinary, but like I watch Texas to watch them in the van. - Totally. - See how weird it is. In some ways that road trip is the van

at the beginning of Texas and you're just like, okay, I care about what happens to these people. - Yeah, yeah, there's the conversation they have in the diner is also sort of, you know, it's a brief moment where Rachel talks about this girl

Kathy who could see her pass life. - Yeah. - And Nikki's like, or she had a great imagination. And it just really immediately sets up the fact that he doesn't believe, he doesn't believe in this stuff.

“And you should have seen it coming, you know.”

So I wanted to really look at everything they were going through and make sure it felt, you know, telegraph to the end of the show. - Sure, I wanted to talk to you a little bit about the mechanics with sort of behind the scenes

because I think typically I think of horror as like a director's genre as a director's medium, kind of and tell me a little bit about your relationship with the filmmakers and the directors working on the show because I imagine there's collaboration,

but there's also like, I do need you to do XYZ on this block, right? - Right, so yeah, like Veronica obviously comes in

and it's got like this incredible sensibility,

but can you tell me a little bit about working with this folks? - Yeah, I mean, Veronica has really incredibly talented and so great with perspective. And that was the thing that drew me to her after watching Baby Rainier.

And I really felt like she nailed being in Rachel's head. So when we were talking about the horror of the first two episodes, especially it's like very much about Rachel's subjective experience. And she, you know, shot everything

also in Rachel's POV and that was so helpful on the edit to be able to have all these characters like that dress fitting scene, and absolutely circling her and looking at her directly into the camera. And so that was a huge piece of it.

And then in talking about the scares, we really just looked at how to technically kind of achieve, you know, the Fox in the bathroom was inspired by a scene in Scream when Sidney's in the bathroom. - And you got the steps short on today, thank you.

- Yes, big Scream fan. Talking about the tension, the, you know, impending dread and having all these long shots. And it was something that she and I just understood together that found footage stuff.

I mean, Axel, who directed that episode, is a big horror person. I mean, she's done a bunch of Mike Flanagan stuff. - Yeah. - And I thought that sequence was so well done

and Victorian Logan performed it very well. And we got away with having 15 minutes of story that had nothing to do with, I mean, not nothing to do with, but we cut away from our main characters and that was something that was challenging

- Yeah, it was originally written to be in our cut with Rachel watching this. - Oh, okay. - And then in the edit, it was just like, how much can you really cut back to her watching?

- No, but then when you do cut back, it's fucking like, oh my God, she's been watching this. - Yeah, putting her, I mean, I love the moment where her mother says, "Hi, Rachel," and like, you know, you realize you're on the same journey

basically as the pilot.

“And I think, I think, you know, tying up some of the threads”

from the pilot and episode four, I feel like having the opportunity to do that kind of helps with some of the questions, but you're left with in the pilot, you're seeing, oh, Rachel had stopped at all these same places

as her mother, and it's almost like they're, kind of on the same. - It also helps if there's like the boys in the back of your head, it's like, she could just leave, like why doesn't she just get in the train and drive away?

Like, these people are really weird. This isn't working, like, go, go, go.

Which is like, they think that's always happening

when you're watching it, all right now. So you're like, get out of the basement, but she can't leave if she can't leave, it's like because she's always supposed to have been there, you know? - Totally, yeah.

- Yeah, there's sort of like a faded aspect to this place. - Yeah. - And in a familiarity, I mean, she heard remembering the coldies logo is impossible. - Sure.

- She was technically there since this side of her mother. And there was a character description of Rachel that was in the pitch where it was like, she believes that she and her mother share the same body.

And I think it was like, and if she ever got pregnant, she would birth herself in the world would end. Like, that's a Rachel anxiety. And so I think some of that stuff

just stayed within the story,

you know, it's never explicitly mentioned.

- Camilla, I was curious, like, to what extent the character morphed at all once you decided to go with her. Because even watching her watch her mother die, first of all, that scene kind of reminded me of red rooms,

did you? - Yes. - I love that movie. - It's amazing. And, but it's like, I was like damn,

like, she has one of like, she's got a top five watching something face. - Yes, very, she's so good. - And so I was curious like, how much, once you cast her,

did you start writing into her and her specific skills? - I would say, no. - Yeah, that's, yeah. - But the character as originally written

was more sarcastic and dry. - Okay. - And Camille brought a lot of warmth and humanity to her, just by being who she is.

And that, I always saw Rachel

as being sort of the more like, even, like sort of Aubrey Plaza energy and Nikki being more like golden retriever. And Adam is a little more subdued and Camilla is a little more energetic.

So it ended up kind of still having the balance that I had initially conceived of, but in the opposite. - Yeah, I remember it a little bit, yeah. - So watching them together,

I didn't change any of the writing, but it made sense still.

“And I think there were some lines in the script”

that could have come off as unlike, but whatever one's worried about it, unlikeable, the protagonist, especially, yeah. - There was a line that we cut where she says in the car. I don't see old people as people.

(both laughing) I got a lot of, like-- (both laughing) - Lots of people of '65. - Yeah, Camille brought a lot of charm and warmth

to the character that I think is fantastic. And I think makes Rachel even more relatable and she's just so great. Her expressions are so delicious. It was so fun being in the edit,

just watching all of her takes and going, "Oh, yes, let's put that reaction in there." - Like one of my favorite passages of the series is her retelling their origins, so we're like 10 times increasingly,

like I was actually wondering, like, are you like, okay, you're on champagne six now? - Right. - So like do this, you know?

“- Totally, yeah, it was the only way for that episode”

to work was for it to feel like a whirlwind. And actually when I wrote that episode after I wrote it, it happened to me. - Oh, okay. - I wrote the episode, and then I was flying

to my brother's wedding, just like Mickey. - Yeah. (both laughing) - And at the airport, someone told me they were afraid

- Come on, did you already name the show this? - Yes, I was like--

“- I was like, I was like, I had turned in,”

like Netflix dropped one of episode five, and I was doing a rewrite.

This is why I always say that I'm actually Mickey

and I'm not ritual. (both laughing) And this person was really scared because we were flying out of the Burbank airport. - Oh, well to be fair. (both laughing)

- And it was really hot, and that's, I think has one of the shortest runways of any more. - Very much so, yeah. - So the plane had to stop in Ontario to refuel and then fly to Oregon.

- Okay. - And this girl was just like really scared, had tears in her eyes, and asked me if I would-- - I might have been in my life before going. (both laughing)

- She was like, I'm, I asked me if I was getting on the plane, and I was like, yes, I have a thing, 'cause I'm afraid of flying too a little bit, but I have a thing where if I have, like, passively envisioned something happening

in the future, that means I'm not gonna die, and it's going to happen.

“- Oh, I've envisioned myself at my brother's wedding,”

which means we're not gonna crash. - That's my logic. - A more healthy coping mechanism than either someone famous is on this plane, and I don't think this is how they die,

which is one of the ones that you see used, or babies. - Yeah. - Yeah, but none of that. None of that means anything. - I know.

(both laughing) - Neither does my answer to some tests. - But I told her that, and I was also like,

Sarah Pulse and always talks to the pilot

before getting on a plane. I've read that somewhere. - Okay. - I don't know, as I could be spreading a rumor. But so I was like,

she was like, I'm gonna wait and decide, and I was so, I really just wanted to follow the plot, and see what happens. - See if she wanted to drive to Portland. - I was like, I can't miss my brother's wedding.

I said, all right, while I'll see you on the other side, try shouldn't have said. And then I went through security, she did too, and she asked if I would sit with her on the plane. - Oh, hell.

- So I did. - When you're like, I actually move an aisle, so it's kind of like where I was sitting. - I actually had a business class C, but I went back to sit with her, and she bought me a drink,

but it was funny 'cause I told her on the plane. I was like, just so you know, I'm writing the show, I've, when you see it in two years, like I've already read this story about it, it's very strange to me that this is happening.

It's not based on you because it already has been written, and then she was like, what's the name of the show? And I was like, I didn't know if I had told you until we went. - It almost, we've got it because you were like,

plane crash, it's the name of the show. - She asked, does the plane crash in the show? And I was like, no, the plane doesn't crash. - Oh my god, that's too much. Nick is, I wanted to talk to you about Nick,

'cause that's interesting that you're like, I see myself, I see more of myself in Nicky, like, I have, I've actually like of, you know, often it's like a mixed bag when you're looking online for reactions to stuff, especially in, like,

message boards or whatever, but like, I found like people's different interpretations of Nicky to be kind of fascinated. - I haven't read anything. - Well, just sort of like, is he, like, a simp,

or is he, like, an actual, like, is he a romantic? Or is he just destroyed by his parents in the same way that Rachel was kind of destroyed but in a different way? And, you know, I, I think Adam does like this

really interesting thing is him where I'm like, I like him, you know, but I don't love him the way I do Rachel, can you talk a little bit about

“where you have to put a character like that”

to make the rest of the story work versus like, also wanting to give him like a definitive, like, arc. - Yeah, it's tricky and, and that was a really big challenge because there's, you know, the horror trip of the, has been who doesn't believe the wife.

And, and also, I, I wanted people to root for them. So, I didn't want you to be like yelling at your TV, just dump him and I've seen that before in a lot of horror. - Sure. - So, I'm sure some people did have that reaction

but, but I was trying to make him sympathetic and loving and, and I think you do feel that Rachel really loves him and that's obviously why she has this dilemma. It's like, well, he's great. I'm not gonna, am I really gonna leave

because if this guy told me about this person? - Yeah. - So, and, you know, the, the emotional version of that is like, I love this person, maybe they're not the right person for me, but there is a lot of good

and how do you wrestle with that? I'm a Nikki Apologist, like, I think he is just, he's trying to do the right thing. I think it is romantic what he does at the altar.

He just should have done it the first time.

- The first time. - But him realizing, like, what he says, you know,

You never wanted this.

That is a loving thing to do.

- Sure. - It's just that he doesn't see her fully and then, of course, the trace her.

“But I think Nikki is someone who needs other people”

to model behavior for him. So he's looking at his parents' marriages like, well, if I just do what they did, then I'm good. And then, of course, that is shattered for him, which is based on my own, like, I remember

the writer from someone asking me 'cause we figured out we wanted Nikki to say no pretty early, but then it was like, how do we get there? And one of the writers asked me,

well, what would make you question everything? And I was like, if I found out my parents' marriage is not what I thought. - Yeah. - It would completely change my understanding of love.

And so, for someone who puts so much stake in that, it shatters his world. And then after that happens, he's looking at everyone else. For, what do I do now and his mom being like, just go get married again and then his brother saying,

I know what we can do and he's just, he doesn't, he's not much sure enough to have his own backbone and Rachel clearly is. - Yeah.

- So I was always looking for ways

to make their relationship feel like it's not quite balanced and that they're not quite seeing each other without making the audience, you know, to aware of that that they are not rooting for them. So it was a real balance.

“- Yeah, I mean, do you consider him doomed at the end?”

- Totally. - Yeah. - I mean, he, he, hopefully learned something from that. - I feel hurt a lot. But the other thing, when we were sort of figuring out

the ending, I, I wanted to have the drag me to hell ending, which I find so satisfying because, you know, you're watching Rachel do everything, right? And, and then it's sort of like Nicky is a forgotten, you forget that this wedding is two people

and that he's off having his own arc and, you know, it would be interesting to see the, the Nicky version of this show, what all the emotions he was going through that we don't see. - The Nicky cut.

- The Nicky cut. - Yeah. - What does he think on his, on his, a border drive back to get the dress? - Yeah, but what is he doing?

- I could ride it. - Oh. - Yeah. - Is he just like re-listening to the Larry Paul podcast? - He's just vibing.

She's like, everything's great. My family's wonderful. - That actually does bring up something I wanted to ask you about is like, I'm sure, like, you going back through the, the pages of the script, but also if you,

and when watching the finished products are like, there actually is a Wicker Man show, and there is like a fucked up Mohan Drive show in this show, you know, before especially before you get to the second half and then the second half is obviously like,

brings in like the idea of like the supernatural, like decades span and curse. Is there a clubhouse favorite of like, ugh, I kind of want to go back and do this version of this show. - You know, this sorry man, every time I watched the pilot

and you hear a portion story of the sorry man, I'm like, man, I wish we saw that guy. - Yeah. - Like, that's fucking cool.

I've always been interested in the idea

of someone being turned inside out. And so, what portion, how Porsche describes it. Yeah, that would have been cool. I definitely didn't want to do any visions or nightmares 'cause at one point I was like,

should we show the sorry man, but then it's like, who's perspective are we in? - Also like the most of what Rachel experiences at the house feels like a nightmare anyway. So it's like how, if you break it

and you start having nightmares, then it's like, well, then what's real and what's not real. - I know it becomes confusing and yeah. - The mechanics of the curse was that fun to like diagram or were you like, fuck like,

- It was honestly, man, you talked to my writer's assistant because poor Isaac did you become the keeper of the curse? - Well, when I, when you know the WGA has this like new rule

“where you have to have a writer come to set?”

- Yeah. - My show predated that. - Okay. - So they were like, no, none for you. - Wait, so they're just onset trying to like be like,

so this curse is like what? - Well, I didn't have anyone. So I was like, we figured out the curse in the writer's room

how do we make this all make sense

and also like try not to dump exposition with the witness at the bar? I think that scene is really fun. Looking back in this lock, I was so weird and cool. - Yeah.

- But yeah, I mean, it was challenging and I actually did end up changing the mythology during prep. - Okay. - It was originally the curse just spread, not to Nikki's bloodline, it just spread.

- Like a virus out, yeah. - Okay. - And I think it was Veronica's idea to put it on Nikki's bloodline to give it more you know personal consequence for Rachel. So it's about really like,

do I sacrifice myself or do I sacrifice him? And so that came into the picture a little later. But yeah, trying to get it to all make sense and then of course Rachel becoming the new witness and figuring out, okay, at one point it was,

you know, is this something that she does in the finale or she like makes a deal with death in order to live but it just felt like too much happening in the finale. And I just, I wanted it to be the kind of like surprising but inevitable ending where I actually told you

how the whole curse works and I'm so forward.

“So at this point, you should be able to you know,”

logic out why she becomes the new witness. - Yeah. - And maybe even the moment that Nikki says no, you're already kind of telegraphing it. But all of it again was in service of the emotional story.

So you know, it's ultimately a breakup story

and it's Rachel choosing herself and realizing Nikki doesn't see me on better off on my own and when you get out of a relationship, it's like a death of the self and a rebirth. - Yeah.

- And so she's free from that and drives away with this little relief that she now can go find the right person. - Do you feel like there's more Rachel to talk to like, a more Rachel's story to tell now that if you introduce her as a witness like,

- In theory. - In theory. - I think that I think Rachel would be a much better witness than-- - Yes, I'd much rather hang out with her.

- There's a lot cause witness 'cause I mean, he's 200 years old, yeah. He's over at this point.

“I think she would really try to prevent people”

from bleeding to death. - Yeah. - There was a version of the show where it did have more of a like left-overs vibe to it where there was no explanation

and it was just a global phenomenon. - Yeah. - And Rachel, this was like season two back when before the curse and before I figured all that stuff out, it doesn't work anymore.

But Rachel's like a couple therapists. - Oh my God. - And for this like new dead girl's world of like, if you marry the wrong person, one of you will bleed to death at the altar

and like no one knows why. So it was about trying to figure out why and what makes people right for each other. So that was something that wasn't defined in season one originally, but then it became clear to me

that would be satisfying. - Yeah, I mean, I like a show like this that ends on that note where it's like, if she becomes,

I'll always show the hitchhiker,

where it's just like he's just driving around. Like there is a version of this where she's just like going from wedding to wedding, but I also thought it's such a complete like statement. - Right.

- It sounds like a very compressed and like quick turnaround for a show, but like are you kind of like through processing that like this is out? - No. - And number one on Netflix and that people are freaking out about it.

- Not at all.

“Are we finished the show on Monday after it came out?”

- Yeah. - I mean, I finished the final mix of eight two weeks before the show came out. - Okay. - So I haven't even recovered from finishing the show.

- Yeah, yeah. - So it's almost, I'm almost like, what do you mean you've already watched it? - I mean people obviously watched the whole thing the day came out. - Yeah.

- Which is crazy. - Yeah. - To be like, I spent two weeks making this and you're done. And DMing me on Instagram being like season two. I'm like, I haven't even slept.

- It's fun though, though, like, I love when this happens on like the, especially if this happens with like new Netflix shows where like you can kind of see it kind of like,

starting to check it out and then obviously

it just goes into some sort of, like, slipstream of like, oh, my God.

“Now everybody's watching it, that's cool.”

Thank you so much for joining me today.

- Thank you. - And go back with everything in the future. - Thank you so much. It's great to be here. (upbeat music)

- It's almost over the street.

Also this school of Netflix, just over the street. And then hopefully this is stimmt. - Paul, nee, garney. This street is so my safe space.

- Mm, do you think that's all right? - Yeah, exactly. This street is like this street app that I just understand. Egalobstudium, job, or on to.

- Caste. - Cras. - I don't know how to stay on it. - Stay on the bed. - Safe.

- With this street.