Speaker 1: We're Tom Lorenzo and this is the Pop Style Opinion
Speaker 1: Fest Telekitt's Welcome back to another edition of the Pso
Speaker 1: I'm the Tea and you're Tee Low Tom Fitzgerald, and
Speaker 1: I'm here with the Low and your t less my
Speaker 1: love husband, I do how.
Speaker 2: We Hunter is here too. It's so funny. Every time.
Speaker 1: Big twenty pounds boy cat, Yes, go ahead.
Speaker 2: Every time we set up the equipment, he jumps on
Speaker 2: the table and he wants to befart of it. So
Speaker 2: it's really cute.
Speaker 1: Sticks his butt right now, you and everyone. Every once
Speaker 1: in a while someone will ask why we never hear him.
Speaker 1: Tab is not now. He's a silent gentleman.
Speaker 2: He's very gentle.
Speaker 1: He's not a mewing cat. He mind's a little bit
Speaker 1: every now and then, but he's not someone who's going
Speaker 1: to be out into the mics thet all right. So
Speaker 1: for this week's podcast, we are going to unpack the
Speaker 1: season three finale of House of the Dragon, and that'll
Speaker 1: be the back half of this podcast. But for the
Speaker 1: front half of this podcast, we thought we'd talk about
Speaker 1: a movie discussion that's been happening all week long and
Speaker 1: it gets into larger discussions about the culture and about
Speaker 1: generational differences and what we want out of our entertainment.
Speaker 1: And I am talking about the film One Night Only
Speaker 1: starring Callum Turner and Monica Barbara. Is it Barbara or barbaro?
Speaker 2: Good?
Speaker 1: You know, good question. I've never heard her name set
Speaker 1: out loud.
Speaker 3: Probably Barbara, Yeah, yeah, don't know, Okay, So I one
Speaker 3: not only is the film that most people are referring
Speaker 3: to as the sex spurge film, which the premise of
Speaker 3: the film is that it's a it's a sex comedy,
Speaker 3: it's a roman.
Speaker 1: Actually it's a romantic comedy because there's not surprisingly, not
Speaker 1: that much sex in it. And it's about two people
Speaker 1: who meet on the one night of the year where
Speaker 1: unmarried people are legally allowed to have sex. Yes, that's
Speaker 1: as dumb as it sounds.
Speaker 2: But it's KELLM. Turner.
Speaker 1: The whole film hinges on this highly unlikely idea, and
Speaker 1: it goes to certain lengths to explain the mechanism behind it,
Speaker 1: like they people are fitted with sensors to make sure
Speaker 1: that they're not you know, they're dopamines. Blah blah blah.
Speaker 2: It's weird. It's just a weird setup. But yeah, and
Speaker 2: there's not much story there. That's pretty much the story.
Speaker 2: But there's KELLM. Turner, so the reason to watch it.
Speaker 2: But the funny thing is that any discussion you see
Speaker 2: about the movie is about sex, is about these people
Speaker 2: having sex. And then the director, I forget his names,
Speaker 2: gave bilg luck there you go, Will Cluck gave an
Speaker 2: interview to Varietyvariety, Primary Variety and so talking about the
Speaker 2: movie and all that, and then the interviewer said, recent
Speaker 2: studies have found that gen Z and Jen Alpha don't
Speaker 2: want to see sex on screen.
Speaker 1: So can I just jump in here right right there? No, No,
Speaker 1: I just I want to add something here, which is
Speaker 1: that the film has gotten very poor reviews. I initially
Speaker 1: had heard that it was getting good reviews, but actually
Speaker 1: they were getting good Callum Turner and Monta Barbara were
Speaker 1: getting good reviews. But most of the reviews have trashed.
Speaker 1: I think it's something like twenty seven percent on No,
Speaker 1: maybe it's not that low. I think I'm getting that
Speaker 1: confused with The Last House, which I watched last night.
Speaker 1: But I know the critics have drafted and one of
Speaker 1: the things that have been you know, I'm gonna spoil
Speaker 1: this about the film spoiler. They never have sex in
Speaker 1: the film, the two lead characters. I mean they do.
Speaker 1: They wait a year until the next night where they
Speaker 1: are legally allowed to have sex. And I'm not gonna
Speaker 1: get into criticisms of film that I haven't seen, but
Speaker 1: there are there was a pretty uniform set of critiques
Speaker 1: against this film, one of which is that the characters
Speaker 1: don't actually have The lead characters don't actually have sex,
Speaker 1: and the film doesn't make a very good argument as
Speaker 1: to why that would be. It doesn't explain the world
Speaker 1: that any of these people live in very well. And
Speaker 1: I think there was there's been a lot of backlash,
Speaker 1: and I think the director Will Gluck has been unprepared
Speaker 1: for this. He seems a little defensive in some of
Speaker 1: these interviews, and he says, you know, the stars are
Speaker 1: are being forced to explain this too much, and blah
Speaker 1: blah blah blah, and people just need to watch but
Speaker 1: you know, you're not giving us a reason to watch it.
Speaker 1: This story makes very very little sense right now. The
Speaker 1: reason this has exploded as a topic and in the
Speaker 1: discourse this week is that one of the things Will
Speaker 1: Gluck said was that, as you noted, gen Zi and
Speaker 1: jen A. Audiences typically do not want to have sex scene,
Speaker 1: do not want to watch sex scenes in a movie theater,
Speaker 1: in a mainstream film, and he admitted that he had
Speaker 1: the film actually did have a lot more sex in it.
Speaker 1: It does not sound like the main characters, I mean,
Speaker 1: their arc remains the same. But he said there were
Speaker 1: always people in the background having sex because that was
Speaker 1: the point of the comedy, is that everyone was just
Speaker 1: banging in the street because it's the one night that
Speaker 1: they can do so. And he pulled all of that
Speaker 1: out because test audiences didn't like it.
Speaker 2: Interesting. Yeah, so he cut out all the sex scenes
Speaker 2: and nudity and all that. And that's the explanation he gave,
Speaker 2: which I don't know if the movie is about sex,
Speaker 2: I mean there should be sex in the movie, that's
Speaker 2: my mighty. And this whole thing about gen Z and
Speaker 2: Jen Alfa not comfortable with, you know, sex scenes and stuff, well, yeah,
Speaker 2: I explain heated ribery to me.
Speaker 1: Well, no, I can explain that to you. That's not
Speaker 1: in a movie theater. And he actually made that point.
Speaker 1: Well Gluck made that point, and several other people have
Speaker 1: made that point as well. It's the public aspect of it.
Speaker 1: People now see sex as something that you watch at home,
Speaker 1: or you watch on your phone, or you know that
Speaker 1: sort of thing. It's not so much. And because the
Speaker 1: rhetoric goes in one direction and everybody starts saying the
Speaker 1: same thing over and over and so all week long
Speaker 1: it's ben gen Z and Jen Alpha are a bunch
Speaker 1: of prudes and prime example is something like heated rivalry,
Speaker 1: not just that only fans. You know, like, there's plenty
Speaker 1: of sexual material out there, and young people are accessing
Speaker 1: it at the same level that previous generations were. What
Speaker 1: they don't want is sex in a mainstream film.
Speaker 2: So we're back to sex is dirty, and it should
Speaker 2: be done in your price. It should be.
Speaker 1: Done in the privacy of your home. Great, wonderful whatever.
Speaker 1: I'm not here. I'm not sitting here to tresh I
Speaker 1: mean whatever. I think it's an interesting development. And when
Speaker 1: you talk and you know, it should be clear that
Speaker 1: when you talk about gen Z and Jena Alpha, you
Speaker 1: were talking about the only generation who literally grew up
Speaker 1: with pornography. And by that, I mean it was accessible
Speaker 1: to them when they were children. And we can all
Speaker 1: pretend that that wasn't the case with the Internet but
Speaker 1: pretty much anyone under the age of thirty can tell
Speaker 1: you when they first saw full blown pornography, and it's
Speaker 1: a lot younger than you might find acceptable.
Speaker 2: I guess. I guess.
Speaker 1: So we created the world that they're in, and we
Speaker 1: can't start rolling our eyes and making fun of them
Speaker 1: because they have different ideas about sex than say Gen
Speaker 1: X or baby boomers.
Speaker 2: That's that idea that you know, it's accessible, it's easy.
Speaker 2: I don't see the big deal. That's why I don't
Speaker 2: want to see it kind of thing. Maybe I don't know.
Speaker 2: I do think that sometimes sex is necessary movie, or
Speaker 2: it doesn't have to go on forever. In fact, sometimes
Speaker 2: I think some sex can go on forever.
Speaker 1: And I do think they're boring. Yeah, And I'm like,
Speaker 1: all right, and.
Speaker 2: Yes, I mean it is uncomfortable if I'm watching a
Speaker 2: movie with my mother and somebody start banging somebody, no
Speaker 2: matter what, gaye straight, forerever, there's always that uncomfortable feeling.
Speaker 2: I joke about having a bunch of people here to
Speaker 2: watch something I forget, and there was a lot of
Speaker 2: texts and I was like, so uncomfortable I think with
Speaker 2: family members and I'm like, oh, so, how was the
Speaker 2: driving and I kept like talking while they were having texts,
Speaker 2: like yo, was it easy to park around here? And
Speaker 2: because I wasn't coomfortable with them sitting next to me.
Speaker 2: So I kind of understand. But cutting out something from
Speaker 2: a movie or TV show because you few blah blah blah,
Speaker 2: I think that's completely bullshit and that shouldn't be done well.
Speaker 1: I mean, if audiences didn't want it, that's very common.
Speaker 1: If audiences didn't want it, then do you cut that
Speaker 1: stuff out? But granted, the film's a flop, so I'm
Speaker 1: not suggesting that, but I think the film is a flop,
Speaker 1: not because you cut out these sex scenes, but because
Speaker 1: it was such a confused idea I feel. I let
Speaker 1: me just state this. I'm one hundred percent for sex
Speaker 1: scenes when and you know, I was just about to
Speaker 1: say when they're warranted. But even that, screw it. If
Speaker 1: you just want to put hot people together on screen,
Speaker 1: right and you think you can make something interesting out
Speaker 1: of that, fine, put a sex scene in the middle
Speaker 1: of a cop movie or something like that, science fiction
Speaker 1: movie or anything like that. Not only that, sex is
Speaker 1: a huge component of everyone's life. Not everyone, some people
Speaker 1: don't have sex, but it is a huge component of life.
Speaker 1: Generally speaking, most of it is a big part of
Speaker 1: our lives. It is a big part of our development.
Speaker 1: And the sexual act can range from something that's you know,
Speaker 1: fun and dirty, to something that's very meaningful and emotional
Speaker 1: and profound, for the two for the number of people
Speaker 1: involved in it. I'm trying not to be heteronormative here
Speaker 1: or anything like that, but my point being, if you're
Speaker 1: telling stories of human existence, then yes, sex scenes need
Speaker 1: to be part of that. And there's an argument to
Speaker 1: be made that, well, you know, you don't show people shitting.
Speaker 1: That's part of human experience and a there are there
Speaker 1: are movies where people have been shown to actually, there
Speaker 1: are plenty of movies like Bridesmaids. They're like shitting in
Speaker 1: the street. But not only that. Sex is not a
Speaker 1: bodily function. It's like, as I just said, it has
Speaker 1: tremendous meaning, it has emotion, it has it can be
Speaker 1: tremendously fun, and it can be demeaning. It can be
Speaker 1: all of these things. Taking a poop is taking a poop.
Speaker 1: It's not something that you know, whatever, If a filmmaker
Speaker 1: has a reason to show it on the screen, fine,
Speaker 1: But it's not comparable to a sex scene. That's silly.
Speaker 2: I think. I think it's part of it's part of
Speaker 2: the conversation. It's part of the story most of the time.
Speaker 2: And I think you should they I think they should
Speaker 2: show it. If you don't want to see it, then
Speaker 2: don't see it.
Speaker 1: But I just think it's silly to make a sex
Speaker 1: comedy a film that is that's it. It's an old
Speaker 1: school sex comedy and you are afraid to have sex
Speaker 1: scenes in it. And like I said, test audiences didn't
Speaker 1: like it. But clearly, with the film flopping, it wasn't
Speaker 1: a good idea to take those scenes. It probably didn't
Speaker 1: help the film to take those scenes, right, Because here's
Speaker 1: the thing. The premise of this film is very stupid
Speaker 1: and it makes no sense at all. Right, but if
Speaker 1: there had been a lot of hot sex in it,
Speaker 1: it would have been a huge hit. Like people would
Speaker 1: I'm sorry, people would line up to watch Calm Turner,
Speaker 1: Monica Barbara go for it.
Speaker 2: But if things go that way, then you know it's
Speaker 2: just gonna be stupid. Okay, So if you don't want
Speaker 2: to see sex, go see a movie. You want to
Speaker 2: see a lot of sex, go watch TV. It's just
Speaker 2: like ridiculous. So we're like, Okay, we have we have
Speaker 2: a story here that would like to develop, but we
Speaker 2: can't do it for a movie, So we're gonna have
Speaker 2: to do a TV show because nobody wants to see
Speaker 2: sex in the in the movie theater. That's just so ridiculous.
Speaker 2: I don't buy that. I don't buy those studies. I don't.
Speaker 2: I don't. I don't know. I don't know if they're
Speaker 2: actually one hundred per cent ecurate, But I don't know.
Speaker 2: I you know, I don't know.
Speaker 1: I think the the dislike of sex scenes is pretty
Speaker 1: well documented among gen Z and Jena, So.
Speaker 2: What the fuck is their problem.
Speaker 1: I'm not doing a I'm sorry, I'm not doing it
Speaker 1: generate if you want to trash people anyway, Yeah, you're
Speaker 1: annoyed by I think it's a step back, to be
Speaker 1: honest with you, I just think it's a development. I
Speaker 1: just think again, we handed them the Internet when they
Speaker 1: were ten years old. They've been looking at pornography their
Speaker 1: whole lives. They can which they can get some of
Speaker 1: the most sexually explicit television shows in the history of television,
Speaker 1: and they love them. So it's really not about them
Speaker 1: being prudes. It's simply about them having a preference as
Speaker 1: to where they want those scenes.
Speaker 2: But there's a much bigger picture here that goes beyond sex.
Speaker 2: I mean, what I fear is that these people don't
Speaker 2: want any interact or any public anything at all. Silly, silly,
Speaker 2: it's not silly. It's a much bigger picture here that
Speaker 2: the Yeah, I see what's going on out there, So
Speaker 2: I feel like, yeah, the less outside the better. The
Speaker 2: more inside your home and on your phone, you know.
Speaker 1: Absolutely not doing one of those generational things. So you ahead, No, I'm.
Speaker 2: I think it's beyond sex. I mean, sex is the
Speaker 2: topic here, but I think it's beyond sex when it
Speaker 2: comes to things they don't want to do anymore.
Speaker 1: I think it's just a goofy film and a very
Speaker 1: confused director who did know what he wanted out of it.
Speaker 1: And I should note that he didn't write the film.
Speaker 1: And I looked up the guy who did write the film,
Speaker 1: and I don't want to trash someone's resume, but most
Speaker 1: of his resume is children's television.
Speaker 2: Right.
Speaker 1: It's like Poppy dog Pals and monsters at work can
Speaker 1: up at babies and maybe you maybe you don't graduate
Speaker 1: from that stuff directly into an adult sex comedy if
Speaker 1: you cannot handle the premise of it.
Speaker 2: I just few and I'll repeat here. If that direction,
Speaker 2: we're going, okay. If it's something we see in public
Speaker 2: with other people, then we can't have sex, and if
Speaker 2: something we see on your screen at home, then we
Speaker 2: can have plenty of Second, that's stupid. I don't have
Speaker 2: a creative speaking creative speaking, I mean, you know, in
Speaker 2: terms of creating something entertainment, that's stupid. If that's the
Speaker 2: conversation you're gonna have, we can't have more, say, we
Speaker 2: can't have sex anymore in a movie theater, that's stupid.
Speaker 1: Yeah, I don't. I don't think. I don't really have
Speaker 1: an issue with that, especially since most people don't go
Speaker 1: to movie theaters at all anymore. They watch everything at home.
Speaker 1: So it's not a distinction that matters. That's my point.
Speaker 1: It's not a distinction that matters.
Speaker 2: Right.
Speaker 1: If if there was evidence that you know, younger generations
Speaker 1: are completely prudish about sex and don't want to watch
Speaker 1: it in any form at all, then you have a
Speaker 1: social issue that's worth discussing. But as as you said
Speaker 1: at the top of this discussion, heated rivalry puts all
Speaker 1: of that to rest. They have healthy attitudes towards sex.
Speaker 1: They just don't want to sit in a movie theater
Speaker 1: with strangers and be exposed to it. Oh, I don't
Speaker 1: have an issue with it. I don't agree with it,
Speaker 1: but it doesn't bother me. It doesn't bother me, right, it.
Speaker 2: Bothers me creative as a speaking because then you are
Speaker 2: restrain yourself from creating something.
Speaker 1: No, you're not. You're just making it for television.
Speaker 2: Yeah, well then I gain so.
Speaker 1: No, but what's the difference between a you know, an
Speaker 1: Apple TV movie and a movie.
Speaker 2: Well, things are getting smaller and smaller and the same.
Speaker 2: But no, But anyway, the lines are blurred when it
Speaker 2: comes to movie and TV these days. But you're still saying,
Speaker 2: you know, we can't do this for this form of
Speaker 2: entertainment anyway, that's my thig.
Speaker 1: I agree or I don't agree, but I agree. I
Speaker 1: think it's an interesting discussion anyway. I would love to
Speaker 1: know what all y'all feel about this. If you think
Speaker 1: this is a disturbing issue, a generational issue, or simply
Speaker 1: a blip in culture happening right at the moment. And
Speaker 1: I also want to say that I think some of this, honestly,
Speaker 1: is very wrapped up in COVID lockdown and all of that.
Speaker 1: I think our attitudes towards this sort of stuff has
Speaker 1: changed a lot because of lockdown. But we'll see. All right,
Speaker 1: let's take a short break and we'll come back and
Speaker 1: talk about House of the Dragon. Yes, we're back, and
Speaker 1: then we're going to talk about the I was going
Speaker 1: to say explosive season finale of House the Dragon, but
Speaker 1: I really wouldn't say it was explosive. I was a
Speaker 1: little surprised to see that some people thought it was
Speaker 1: anti climactic in the manner of last year's or last
Speaker 1: season's finale, but I don't actually think it was. In fact,
Speaker 1: there's so much happened that I have to get you know,
Speaker 1: I had to, you know, put together some those to
Speaker 1: keep track.
Speaker 2: Of it all. A lot happened. Some characters didn't show
Speaker 2: up at all. Yeah, Alison got hurt five seconds and
Speaker 2: the dragon girl I forget her name now, Raina, Yes,
Speaker 2: they just did show up at all. Anyway, I saw
Speaker 2: a lot of discussion on line, especially book read. It's
Speaker 2: obviously about how they expected more in terms of the
Speaker 2: battle that the battle was kind of like low key
Speaker 2: right then they were expecting more and a longer battle.
Speaker 2: They thought it was a little short.
Speaker 1: I don't Yeah, yeah, I don't agree with I mean,
Speaker 1: I don't know what a longer battle would have done.
Speaker 1: And I hear this all the time from book fans
Speaker 1: about well, they cut that battle shorter, they cut that
Speaker 1: battle out, And it's like, do you understand that long
Speaker 1: battle scenes are first off, insanely expensive to shoot, which
Speaker 1: and this show has a budget. They also slow the
Speaker 1: story down, and not everybody wants to sit through twenty
Speaker 1: minutes of battle scenes. I think it's a smart idea
Speaker 1: to keep doing, especially since this whole Dance of the
Speaker 1: Dragons thing is nothing but battle after battles, skirmish after
Speaker 1: skirmish all over the place. You've got to condense some
Speaker 1: of that in order to have like drama, in order
Speaker 1: to have a real story.
Speaker 2: I agree. I don't like violence most of the time.
Speaker 1: Yeah, so every time opposed to that.
Speaker 2: No, I'm not opposed, but I personally don't like it.
Speaker 2: So when there's a battle like that and people are
Speaker 2: dying left and right and stab like, I usually just
Speaker 2: wait until it's over. I'm just like, all right, I'm
Speaker 2: just gonna wait until this is over because I'm just
Speaker 2: not uncomfortable with that thing. Not that I ask people
Speaker 2: to not see that in a public a movie theater
Speaker 2: or something like that, just watch it on TV, but I, yeah,
Speaker 2: that's just me. But I thought it was okay. The
Speaker 2: scene was okay. The bad the battle, I thought the
Speaker 2: battle was okay.
Speaker 1: So the episode opens with Ryaniera having an absolute mountdown
Speaker 1: because she finds out that Agon, the king who is
Speaker 1: many people consider the rightful king, Agon, is alive and
Speaker 1: his dragon is alive. And I thought that was an
Speaker 1: interesting scene. Emma Darcy was great, well, Emma Darcy has
Speaker 1: been great all season long, and they have to do
Speaker 1: something that uh, you know what is his name? Emily
Speaker 1: Clark could not pull off. And part of that was
Speaker 1: because of the writing for Denaris and House of the Dragon.
Speaker 1: But she's doing or I'm sorry they're doing Emma Darcy
Speaker 1: is doing a slow turn towards madness and h they're
Speaker 1: making it extremely clear to the audience without being you know,
Speaker 1: without and that was the problem with the Danaris turn.
Speaker 1: It was just she went from being kind of tense
Speaker 1: and to like this snorting super villain overnight and was
Speaker 1: it always felt weird here. We feel that encroaching sense
Speaker 1: of targarian madness in her.
Speaker 2: I think it has a lot to do with Emma
Speaker 2: Dorsey's talents as an actor.
Speaker 1: But I do think the writing's better.
Speaker 2: The writing is better, and people love it. I mean,
Speaker 2: if you read discussions online, they absolutely love this queen.
Speaker 2: They think this queen the madness is what they're we
Speaker 2: waiting for, right, Like they really wanted to see her
Speaker 2: full blown, you know, crazy, and well they did.
Speaker 1: What I thought was interesting about that opening scene though,
Speaker 1: was that she I'm sorry, well she We're gonna talk
Speaker 1: about the character. It's very different. It's very difficult because
Speaker 1: I'm sort of going back and forth between the character
Speaker 1: and the actor. They made a very good choice, very
Speaker 1: smart choice, or a very interesting choice to play her
Speaker 1: as weepy and nearly hysterical, right, And that is not
Speaker 1: a great image of Ryani Era. It doesn't actually elevate
Speaker 1: her as a very strong person or a capable It
Speaker 1: actually makes her look completely overwhelmed by this job. And
Speaker 1: as I said, I've been interested all season long in
Speaker 1: the in the fact that the show and the story
Speaker 1: comes very clearly down on the idea that she should
Speaker 1: not be king. She's not capable of it.
Speaker 2: I mean, the whole speech thing. You know, everybody was
Speaker 2: just looking at her.
Speaker 1: He was great, it was really good. Ranierra demands to
Speaker 1: go to the sept and she's gonna demand to be
Speaker 1: anointed by the High Sept and who had already turned
Speaker 1: her down, and when and he turned her down even
Speaker 1: more forcefully this time and came out and said that
Speaker 1: Agon is the rightful king, which is treason to you know,
Speaker 1: if you were standing there talking to the person who
Speaker 1: actually does sit on the iron throne, then technically that
Speaker 1: is treason. And I'll get to the speech in a second,
Speaker 1: because we need to talk about Sir Allen of Hall, Yes,
Speaker 1: who has turned well, there are lots of turns this episode,
Speaker 1: which is interesting.
Speaker 2: Again. People were talking about how fast he's changed. Happened, like,
Speaker 2: you know, Sir Alan's changed.
Speaker 1: I don't think so. I think that's really well documented.
Speaker 1: There was so much resentment towards his father. Then his
Speaker 1: father acknowledged him right and he got asked to sit
Speaker 1: at the queen's table like he was a bastard. He
Speaker 1: had no standing whatsoever. And now he's commanding men.
Speaker 2: Yeah, so and his ambition, you know, like she wants,
Speaker 2: he wants.
Speaker 1: To want completely disappointed in him, and yeah, he steps
Speaker 1: over a line and he kills the sept the Sceptin
Speaker 1: on her command, and that's you've made your choice. And honestly,
Speaker 1: I don't think his father would be happy with him
Speaker 1: for that. In fact, I know he wouldn't because his
Speaker 1: father seems to be pretty much turning against the whole thing,
Speaker 1: the whole thing. So that's an interesting turn. And then
Speaker 1: Ryanira comes out and stands in front of this whole
Speaker 1: out and gives a completely insane, insane Hitler speech. First off,
Speaker 1: she gives most of it in high Valirian, and I
Speaker 1: don't think any of those people could speak it, so
Speaker 1: they're just watching someone babble weirdly up there. Got to
Speaker 1: say her costume is amazing, Yes, yes.
Speaker 2: I actually posted in the lounge one of the lounges.
Speaker 1: Yes, yes, I think they talk about with the dragon
Speaker 1: wings and gorgeous.
Speaker 2: Yes.
Speaker 1: But what's interesting about that is that rhani Era basically
Speaker 1: gives away the whole Song of Ice and Fire, the
Speaker 1: prince who was promised prophecy, all of that which has
Speaker 1: been a family secret. Nobody knows about it. Granted she
Speaker 1: did it in high Biliian, so I don't even know
Speaker 1: if anybody.
Speaker 2: They just looked at her and she's crazy, just.
Speaker 1: Went out there, actually super fucking crazy. What what do
Speaker 1: you want to talk about? Name a character, just name Helena.
Speaker 2: Helene that that her whole thing is very sad, and
Speaker 2: she knew what was going to happen. She knew was coming,
Speaker 2: and you know, she knew she was going to die
Speaker 2: at some point she saw the whole thing, right U,
Speaker 2: And she chose to you know, in her life, which
Speaker 2: it's interesting. And then you see the last scene. The
Speaker 2: only time we see, you know, Alison is when she
Speaker 2: see the butterfly and she understands that, you know, she's dead.
Speaker 1: I know there's some butterfly imagery with Helena in the past.
Speaker 1: I'm not sure if that was delibered or not. I
Speaker 1: thought that was a little goofy as a way of
Speaker 1: showing that show. I mean, it was Alison's only scene.
Speaker 1: And also, where the hell are you? Who are these
Speaker 1: people you're with? Literally ran out of her with nothing
Speaker 1: but a dagger, so where are you?
Speaker 2: Well, the uber didn't show up.
Speaker 1: She had to walk well, actually, I do want to
Speaker 1: say something about that is I think the show is
Speaker 1: slightly falling into a trap of that house the Dragon
Speaker 1: fell into in its last couple of seasons, which is
Speaker 1: people are just bouncing around all of over the place,
Speaker 1: and it's like as if they have cars or planes.
Speaker 1: And I get that some of these people are dragon riders,
Speaker 1: but again, you can't cross a continent on a dragon
Speaker 1: in like a couple of hours, right, And people are
Speaker 1: showing up and then disappearing, and it's happening a little
Speaker 1: too easily, I think. And one of the things I
Speaker 1: liked about the earliest seasons of Game of Thrones was
Speaker 1: that when people needed to go somewhere, it took several
Speaker 1: episodes and you went with them, like you camped with them,
Speaker 1: you were on the roads with them. And you don't
Speaker 1: really get that with this show because they've got so
Speaker 1: much ground to cover, so they have to do it fast.
Speaker 1: Helene's death was sad. I really don't understand. I don't
Speaker 1: know if it's a book thing or whatever where she
Speaker 1: saw the image of the horse and the cart or
Speaker 1: she saw the horse and the cart that she saw
Speaker 1: in her dream, but.
Speaker 2: Yeah, what was that?
Speaker 1: Did that have any meaning or is that just her
Speaker 1: telling her it's time for you to kill yourself. I
Speaker 1: didn't really get that. I did get all along that
Speaker 1: the tapestry that we were watching during the opening credits
Speaker 1: was the thing that she was working on the other
Speaker 1: point that she was working on, which is interesting and
Speaker 1: I don't know how much of it we're going to
Speaker 1: get to see going forward, but apparently it was fairly prophetic.
Speaker 1: The image of Rhiniera sitting on the throne and it
Speaker 1: looks like she's surrounded by flames. So that's not good. No,
Speaker 1: and she saw that, she she did, but the typical Ryania,
Speaker 1: I think she's probably going to ignore it.
Speaker 2: She ignores a lot of things. She's been ignoring a
Speaker 2: lot of things lately. I do agon, I thought.
Speaker 1: Before we get into Agon, I do want to say
Speaker 1: Bayla because she only has a small scene and it's
Speaker 1: a good one.
Speaker 2: That was good.
Speaker 1: That was a really well. It was good to see
Speaker 1: her angry. Yes, no one's allowed to get angry with Rhinira, right,
Speaker 1: but clearly everybody is, and it was good. This is
Speaker 1: like her stepmother, This is her, Yeah, this is her
Speaker 1: stepmother and also cousin.
Speaker 2: And also her her whole family, her whole house is
Speaker 2: it's falling apart.
Speaker 1: And you know, Raniera has not been a good friend,
Speaker 1: and they have been a good friend to her. So
Speaker 1: I was really good, I'm sorry, very loyal to her.
Speaker 1: So yeah, I was really glad to see be able
Speaker 1: to have that moment and get to get to say that.
Speaker 1: But again, it was a short vignette that really showed
Speaker 1: you how far Rania is gone because she grabbed her
Speaker 1: face rather violently and called her an insolent child, which
Speaker 1: again that doesn't even sound like the Venia from last season.
Speaker 1: This is how far she's gone.
Speaker 2: But she's a mad queen.
Speaker 1: Now she's a mad queen, let's see. And I do
Speaker 1: want to get into agone, but I'm trying to do
Speaker 1: all these side characters. Misaria, Oh yeah, that was interesting. Yes,
Speaker 1: who didn't see that? Everyone saw that coming except MISSI do.
Speaker 1: We don't understand this character, to be honest, if she
Speaker 1: was some sort of mastermind, I would be like, all right,
Speaker 1: I understand why we're paying attention to this character, but
Speaker 1: she doesn't really do anything. What does she do? So
Speaker 1: I don't understand why we're spending so much time with her,
Speaker 1: Like I think the Mistress of Whispers is an interesting position.
Speaker 1: I think if someone's really good at it, wasn't that
Speaker 1: little Finger in the old wasn't he the Master of Whispers?
Speaker 1: And I think if someone's good at it, they can
Speaker 1: be an interesting character. She doesn't appear to be very
Speaker 1: good at it, So I don't understand why why are
Speaker 1: we spending so much time with this person who doesn't
Speaker 1: seem to have much information. She's just constantly bad mouthing
Speaker 1: Damon to her. I understood why she sent her away
Speaker 1: even though they slept together at the end of the
Speaker 1: last episode. It's I mean, that's scene at the beginning
Speaker 1: with her melting down when she finds out that Eggon
Speaker 1: is alive. I'm talking about right near her Damon gives
Speaker 1: her that speech and Valerian where he's just like, it
Speaker 1: doesn't matter, We're just gonna take it. We're just gonna
Speaker 1: you know, it's the Targarian speech. Basically, we have the dragons,
Speaker 1: we have the power, We're going to kill anyone who
Speaker 1: stands in our way. And she's been spending all season
Speaker 1: listening to Misaria whisper in her ear that you know,
Speaker 1: Damon can't be trusted. That the small folks. You need
Speaker 1: to worry about the small folks. So from a storytelling perspective,
Speaker 1: I do understand that that Misaria represents, in some ways
Speaker 1: one more thing that Ranier is turning away from right.
Speaker 2: She doesn't want to hear any of that because it's
Speaker 2: the truth.
Speaker 1: I just wish Misaria had been had a couple wins
Speaker 1: under her built, had done something to make us believe
Speaker 1: that she's she's smart, she's manipulated, whatever.
Speaker 2: I think that's the rush with the show. They have
Speaker 2: so much to cover. Maybe we should have more seasons
Speaker 2: like Game of Room to have like five.
Speaker 1: I don't know. I am loving that this is ending
Speaker 1: after next season. I really am. It's really energized the show,
Speaker 1: and it I realized that for book fans things are
Speaker 1: getting cut out left and right. But I also don't
Speaker 1: think I would have sat through eight seasons of this story.
Speaker 1: These are mad, crazy, violent people. There isn't a good
Speaker 1: person in the lot. It's a fascinating story, but I
Speaker 1: don't need it all drawn out. I don't need more
Speaker 1: battle scenes and stuff like that.
Speaker 2: Guy, I think what I liked in the beginning of
Speaker 2: this show was how how is it was slow? Paid?
Speaker 2: Very slow, a lot of conversations, you know, and all that.
Speaker 2: I like that, but I understand you can't have that
Speaker 2: forever for six seven seasons. But because these characters are terrible, right,
Speaker 2: I mean, there's nobody rooting for or or that you like.
Speaker 2: So maybe that's that's why with Game of Thrones, I mean,
Speaker 2: you actually liked a bunch of people and you follow them.
Speaker 1: So it's interesting to kind of wonder what's happening with
Speaker 1: the Valerian family because Bela is on the ounce with
Speaker 1: Rhanier or who I mean, Rhinier is not putting in
Speaker 1: a redungeon or anything. She grounded her right like, she couldn't.
Speaker 2: Fly, she couldn't go anywhere.
Speaker 1: Alan of Hull is off killing Septans on her behalf,
Speaker 1: and Corliss tried to negotiate a peace and then got
Speaker 1: taken Damon's prisoner. I mean, they're heading back to King's landing.
Speaker 1: But it'll be very interesting. There's you know, there's like
Speaker 1: four people left in that family or no, and oh
Speaker 1: there's then there's Raina, who is I guess she is
Speaker 1: in a dungeon. So that whole family is completely splintered.
Speaker 1: And actually I feel like they are wild cards, Like,
Speaker 1: I really don't know where all of this is going
Speaker 1: to go with that family in the endgame, because she
Speaker 1: has screwed them over and there are so many competing,
Speaker 1: you know, perspectives in that family that I feel like
Speaker 1: it's really volatile, right anyway.
Speaker 2: I don't think she I don't think she cares, you know,
Speaker 2: Rinier the Queen. She wants power and she doesn't care.
Speaker 2: And I don't think she's going to listen to anybody
Speaker 2: anymore except Damon. Yeah anyway, and he's not going to
Speaker 2: die anytime soon. I wish she did die. We'll see why.
Speaker 1: Don't we take a break and come back, and we'll
Speaker 1: come We'll cycle through the rest of the cast members.
Speaker 1: We'll be right back. We're back to talk about my
Speaker 1: favorite witch, Alice Rivers at Heron Hall. She had a
Speaker 1: great scene this episode, played by Gil Rank, and I
Speaker 1: should say where we got to hear Alice rivers whole
Speaker 1: story story and it turns out she's a noble lady.
Speaker 1: She's a lady of Parenhall, and in fact, she was
Speaker 1: the mother of the heir to Aaron Hall who was
Speaker 1: killed by Dragonfire. And of course that happened centuries ago.
Speaker 1: Or a century ago and she's a witch. She's a
Speaker 1: witch and she can't die.
Speaker 2: I thought that was lovely.
Speaker 1: It was a great scene.
Speaker 2: Yeah, she's a fantastic actor, and uh and you get
Speaker 2: to know more about her because you knew nothing.
Speaker 1: You just I also like when these shows. One of
Speaker 1: the things I didn't like about House of the Dragon
Speaker 1: was how scared the show was of depicting anything supernatural,
Speaker 1: even though George R. Or Martin put it all through there.
Speaker 1: Dragons are supernatural, white walkers are supernatural. You know, the
Speaker 1: children of the Forest are supernatural. But the show was
Speaker 1: very you know, circumspect about depicting any any and still
Speaker 1: to this, I mean, even House of the Dragon, it's
Speaker 1: not depicting much in the way.
Speaker 2: You meagine you made Game of Thrones in the beginning.
Speaker 1: In the beginning, I was talking about Game of Thrones,
Speaker 1: and now I'm saying that show never liked shit depicting magic,
Speaker 1: even though right there's so much supernatural stuff in that world,
Speaker 1: and Hou's of the Dragon. Similar issue. Although this story
Speaker 1: is not nearly as supernatural in nature as Game of Thrones.
Speaker 1: It's because Game of Thrones dealt with the prophecy that
Speaker 1: dealt with you know, zombies and then encroaching apocalypse and
Speaker 1: all this other stuff, and House of the Dragon is
Speaker 1: just about its succession with dragons. It's just a family
Speaker 1: fighting for the inheritance, so it doesn't have as much
Speaker 1: of that scope of like it's not using you know,
Speaker 1: the the Red Priestesses or any of that stuff that
Speaker 1: was in House of the Dragon that was in Game
Speaker 1: of Thrones, but it was nice to get this little
Speaker 1: indication that, yes, there are supernatural things that happen in
Speaker 1: this life, and she's one of those pople And actually,
Speaker 1: I like, I like this idea that you know, almost
Speaker 1: like the Jedi in Star Wars, where it's like people
Speaker 1: know that those things exist, but when they actually encounter
Speaker 1: someone who admits to being one hundred years old, like
Speaker 1: Aiman was a little freaked out by that story, Like, yes,
Speaker 1: they live in a world with that stuff, but it's
Speaker 1: not like they're all walking around encountering supernatural stuff all
Speaker 1: the time. That I mean, the thing with the Children
Speaker 1: of the Forest in House of the in Game of
Speaker 1: Thrones was that they were hard to find and almost
Speaker 1: nobody had ever seen them. So I don't I'm not
Speaker 1: wishing for some sort of supermagical dungeons and dragons style world.
Speaker 1: But I do like when this world because, as I've said,
Speaker 1: you have dragons, they don't exist in the real world,
Speaker 1: and there is no biological explanation as to why those
Speaker 1: things breathe fire, so clearly their magic right anyway, So
Speaker 1: I yes, And Gail's Rankin is a great actress. And
Speaker 1: what I love about Gail Rankin because she was she
Speaker 1: used to be on the Orange is the New Black
Speaker 1: or no, she was in Glow, Actually she was, Yes,
Speaker 1: she was in Glower. Remember she was an Orange in
Speaker 1: the Black House. And she always played weird, weird characters,
Speaker 1: slightly weird. And this is one of the things I
Speaker 1: like about Alice Rivers is that I think the last
Speaker 1: season I said she was like this working class witch
Speaker 1: because you know, the the impulses like to play like
Speaker 1: Melissandra in you know, The Night is Dark and like
Speaker 1: these matresses, these sorceresses. You know, there's a certain way
Speaker 1: of playing that kind of cat. And she is a temptress,
Speaker 1: Alice Rivers, and there's a certain way of playing that character,
Speaker 1: like Calypso in the Odyssey and everything, but she doesn't
Speaker 1: play her that way. She plays her as sort of sarcastic.
Speaker 1: She's got all these little asides. She gets annoyed with everyone,
Speaker 1: and she's not particularly alluring. She doesn't try to be
Speaker 1: because she thinks everyone around her is kind of dumb.
Speaker 2: And she's desperate, you know, like.
Speaker 1: In a there is a certain desperation there, yeah, which
Speaker 1: I like, which you don't get to see until other
Speaker 1: people show up. So when Alison showed up last episode,
Speaker 1: it was very clear she's like, I got to get
Speaker 1: this pitch out of here. This is not good, this
Speaker 1: is fucking up my plans.
Speaker 2: Right, And and then the other one shows up.
Speaker 1: Well, then Agon shows up and she's nervous, like you
Speaker 1: can tell. Well, first off, okay, let's just unpack the scene.
Speaker 1: Tom Glenn Carney, who plays Agon, has been doing spectacular
Speaker 1: work all season.
Speaker 2: No idea he could do that.
Speaker 1: He just gets better with each episode. And that's the
Speaker 1: thing is like, No, the show does not give you
Speaker 1: someone to root for her. I am not rooting for Agon.
Speaker 1: He is a slout, monster up.
Speaker 2: Crazy like everybody else.
Speaker 1: But he's fun to watch. And this was always my
Speaker 1: complaint with Rania and Allison, when the show had made
Speaker 1: them the center of the story. It was like, these
Speaker 1: two women are not interesting or fun to watch. They're
Speaker 1: morose and unpleasant, and you know, they do stupid things
Speaker 1: all the time. You got to give me a villain
Speaker 1: or a main character or someone that I'm like, all right,
Speaker 1: I'm just on board with this freak show. And when
Speaker 1: he he showed up and laughed in his brother's face,
Speaker 1: it was perfect. I'm sorry.
Speaker 2: I think he's very real, Like the whole thing when
Speaker 2: he went on that journey, like how he would get
Speaker 2: impatient with everybody because he was the king. You know, right,
Speaker 2: that's real, Like he couldn't even hide it. And now
Speaker 2: he's back and you know, facing his brother and the
Speaker 2: whole thing was just hilarious. The brother started to polo jet.
Speaker 2: He's like, no, no, no, yeah, he was like, what,
Speaker 2: I'm not expecting to. I I do think it's interesting.
Speaker 1: Again, I don't know whether this is the plan or
Speaker 1: or they know that they're doing this, but they're making
Speaker 1: the argument that Agon should sit on the throne. They're
Speaker 1: making the argument in this story that I mean, look
Speaker 1: at him, look at all that he's overcoming. He came
Speaker 1: back from death and he has scratched his way back
Speaker 1: and he is command, and his brother is falling to
Speaker 1: his feet, and Alice Rivers is nervous around him, and
Speaker 1: Rhiniera can't even handle bad news without melting down, right,
Speaker 1: It is making that point, Like, it's slightly making the
Speaker 1: point that like Aimon would have been a bad king
Speaker 1: because he's a psychopath, and Raniera is a bad king
Speaker 1: because she's just you know, there's just a bundle of
Speaker 1: issues psychological issues there, and it's making the point, well,
Speaker 1: he probably should be king because he loves it and
Speaker 1: he isn't like tortured over it, and yeah, he is
Speaker 1: a psychopath because everyone in that family is a psycha.
Speaker 1: I'm not really arguing for his you know, but whatever,
Speaker 1: But I feel like this show is making the point
Speaker 1: that if you need to put someone on the throne,
Speaker 1: he's probably the best bet for it. He's the most
Speaker 1: suited for it, and he has the most I'm not
Speaker 1: saying that's how the story ends, because I do know
Speaker 1: how the story ends, but I feel like the show
Speaker 1: is making that argument with him, whether they intend to
Speaker 1: or not. He seems the most kingly in that scene
Speaker 1: with Amond and where he's shutting up Alice before she
Speaker 1: can get her claws in It felt very kingly in
Speaker 1: that old school.
Speaker 2: And there's also the whole thing with the people. Everyone.
Speaker 1: The people want him, thinking that he's a miracle or
Speaker 1: the dragon resurrected the dragon and all that, so you know,
Speaker 1: he might have their support. It was a mistake not
Speaker 1: to make sure he was dead, and that's Damon's fault.
Speaker 1: Speaking of Damon got his ass kicked and Dumbleton. That
Speaker 1: was lovely to say.
Speaker 2: God, finally, these people I kept saying all the time, Yeah,
Speaker 2: you know, to you, Funny told me to shut up.
Speaker 2: These people are not invincible. I mean they shouldn't be,
Speaker 2: you know, like the people they just yeah, I mean,
Speaker 2: get a few punchs here and there, people come on.
Speaker 1: Yeah, that was a great scene to say. And it
Speaker 1: was fine, you know, and you're right, especially when it
Speaker 1: comes to someone like Damon, who you know, just walks
Speaker 1: around all cocky like he's you know, Superman or something.
Speaker 1: And there's no reason why someone can't beat the shit
Speaker 1: out of that guy. And what is his name, sir
Speaker 1: Roxon or whatever his name is the actor was on
Speaker 1: and or he's a huge guy. So it was a
Speaker 1: it was a believable route and it was it was
Speaker 1: just really nice to see his face all bloody and
Speaker 1: him looking scared. That was a great choice on Matt
Speaker 1: Smith's part. I always want to call him Matt Damon
Speaker 1: because the character's name is Damon and his name is Matt. Anyway,
Speaker 1: it was a great choice on Matt Smith's part to
Speaker 1: actually play him scared during it, like, oh shit, I'm
Speaker 1: going to die here.
Speaker 2: No, I have to say, I hate the character, but
Speaker 2: he's doing a fantastic He's really good because I hate
Speaker 2: that character.
Speaker 1: And when I first saw Matt Smith and Doctor Who,
Speaker 1: he was playing the most lovable children's show character he
Speaker 1: could ever ever fine, and he is playing the sleepiest asshole.
Speaker 1: So Tumbleton. Tumbleton was like the Helm's Deep scene, I know.
Speaker 1: And it sort of gets to my point using that
Speaker 1: reference of Helm's Deep, which of course I'm referring to
Speaker 1: the Two Towers, the massive battle scene in the Two Towers.
Speaker 1: You can't do a scene like that without everyone comparing
Speaker 1: it to the I mean with the lining the kids
Speaker 1: up on the wall, and this is very Helm's Deep,
Speaker 1: and that's I'm not I'm not criticizing them for that.
Speaker 1: Actually it was a good bit of character, you know,
Speaker 1: info that Ormond would line the wall with little boys.
Speaker 1: That's just what a shithead he is. But it goes
Speaker 1: to my earlier point about you don't want to overdo
Speaker 1: these battle scenes because you know they've been done and
Speaker 1: you're gonna just get garner these comparisons to bigger, better scenes.
Speaker 2: I guess if you read the books, you expect that
Speaker 2: kind of thing, the same way people are expected when
Speaker 2: they read the books. You know, Lord the I think
Speaker 2: that's I'm.
Speaker 1: Just saying you don't need to do episode long battle
Speaker 1: scenes anymore. I'm fine with the Battle of Tumbleton only
Speaker 1: taking up part of this episode. Real quick. I don't
Speaker 1: see the point today, Ron, the the other king, the Ormond, Like,
Speaker 1: I don't see the points of this character or where
Speaker 1: he's going or whatever. I'm like, why are they gonna
Speaker 1: kill this kid? But I mean, it was interesting that
Speaker 1: GWayne high Tower and Hey went to Damon with a
Speaker 1: plan behind Ormon's back, and that would have gotten them
Speaker 1: both killed. But luckily for them, Ormond got killed in
Speaker 1: the worst funniest.
Speaker 2: I love that man. He gave it a whole interview
Speaker 2: about how he died. I think it's hysterical. I think
Speaker 2: he's such a great actor and he's everywhere. I love him.
Speaker 2: I love it as a guy, and I think he
Speaker 2: did a good job. These costumes were insane too, So yeah,
Speaker 2: good job there. And like I said, I'm not a
Speaker 2: fan of battles and people dying, getting stabbed all that,
Speaker 2: so I'm fine with the short version of it. I usually,
Speaker 2: you know, that's just me. But I thought it was
Speaker 2: kind of well done. And as you said, you know,
Speaker 2: some of the fights and all that. I did think
Speaker 2: was interesting that the dragon writer what's his name again,
Speaker 2: completely went insane and killed everybody.
Speaker 1: All the way. Yeah, and I do one of the
Speaker 1: things I like, and I think it's a little bit
Speaker 1: better in House of the Dragon, although it was a
Speaker 1: good it was decent in Game of Thrones as well.
Speaker 1: Is that sometimes disaster comes because there are just too
Speaker 1: many moving pieces and someone doesn't have the correct information,
Speaker 1: or someone makes an assumption that they shouldn't make, And
Speaker 1: there's something about that that's very human that I like that.
Speaker 1: So that's a very human way to tell these types
Speaker 1: of stories. And in this instance, Ormond high Tower, so
Speaker 1: high on his own supplies, so full of himself, thought
Speaker 1: that he just had to slap off around the couple
Speaker 1: of times, and he was going to do what it
Speaker 1: was and that was your That was his downfall. The
Speaker 1: Ormance downfall was partnering with Olf and then mistreating this
Speaker 1: angry drunk. So it's interesting to see, I know, it'll
Speaker 1: be interesting to see the fallout front of us.
Speaker 2: What's gonna happen. Yeah, Hugh.
Speaker 1: Was supposed to stay in King's Landing to guard the
Speaker 1: dragon pit Hue the Hammer, and instead he flew his dragon.
Speaker 1: Oh that's what I That's what I'm talking about. People
Speaker 1: are like flying off to Tumbleton and what, hiding their
Speaker 1: dragons in a in a garage and then walking into town.
Speaker 1: Like how does that work?
Speaker 2: I know?
Speaker 1: Uh? And Old the White he was in town drunk,
Speaker 1: uh huh. But then he's on his dragon and I'm like, okay,
Speaker 1: so where was his dragon? He partnered close? I mean,
Speaker 1: it would have taken him a day to walk to it. Similarly,
Speaker 1: with Hugh the Hammer, it's like, well, somehow he got
Speaker 1: inside the well. They did show him getting inside the
Speaker 1: city walls last episode, but where you're dragon anyway, whatever,
Speaker 1: There's gonna be a huge fallout from that because he
Speaker 1: was supposed to be back in King's Landing and he
Speaker 1: flew off, so it'll be Yeah, it's all falling apart
Speaker 1: in kings Landing. But Tumbleton was a lot of fun.
Speaker 2: Uh.
Speaker 1: It was great to see Orman High Tower killed. I'm
Speaker 1: trying to think, is there anything else that's it?
Speaker 2: I'm I'm I think the final scene, we're near closing
Speaker 2: the windows because she couldn't deal with the with the
Speaker 2: disaster that she created. Yeah, very Telly, And I can't
Speaker 2: wait to see Wendy come back. You know what's gonna happen.
Speaker 2: She's going to be in denial. She still thinks she's,
Speaker 2: you know, the best thing that ever happened, and she's
Speaker 2: gonna go crazy and Damid's going to be playing her. Yeah,
Speaker 2: and it'll be interesting to see how things, you know,
Speaker 2: work from that point. Alison Beck, what's gonna happen to her?
Speaker 2: You know?
Speaker 1: Yeah, I mean I'm assuming Alice Well, I don't know
Speaker 1: where Allison's gonna go. I thought she was going to
Speaker 1: go to be among her people.
Speaker 2: But maybe she'll support her son that she I don't
Speaker 2: think she knows well at this point. Maybe she does
Speaker 2: that her son is alive.
Speaker 1: And no she knows, but she hasn't seen them since, so.
Speaker 2: So maybe she will be back with him and support him,
Speaker 2: and you know.
Speaker 1: We'll say, but it's it was a good season. I
Speaker 1: really I enjoy I was not into this season when
Speaker 1: it started. I was like, whatever, this has been going
Speaker 1: on too long and I don't even know if they
Speaker 1: know what they're doing. But they really showed me that
Speaker 1: they do know what they're doing, and I have a
Speaker 1: lot of faith. I know the book fans are going
Speaker 1: to be really pissed next season. I know they are,
Speaker 1: but I have a decent amount of faith that the
Speaker 1: creators of this show are going to create craft a
Speaker 1: good ending to this television show that is not going
Speaker 1: to match the ending to the books.
Speaker 2: Well, they keep changing things every now and then, and
Speaker 2: they have to. I mean it's necessary. I think they're
Speaker 2: doing a good job. And I agree with you. In
Speaker 2: the beginning, I was like, oh, I don't know, But
Speaker 2: then he kept getting better and better and better. And
Speaker 2: for someone who didn't read the books like me, I
Speaker 2: think the explanations quote unquote explanations kept getting better and better,
Speaker 2: you know, like, so you begin to understand more where
Speaker 2: the characters came from.
Speaker 1: Agreed, I think we have beat this one to death.
Speaker 1: I think we've talked about pretty much every living character.
Speaker 1: So we'll be back next week with whatever crosses our
Speaker 1: eyes across our desk. Until then, take care of yourselves,
Speaker 1: love you mean it. Bye bye bye