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Blue Nile.com. That's

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Blue Nile.com. Welcome

2:02

back. My name is Kit.

2:04

And I'm Steve. And this

2:07

is streaming things, streaming severance.

2:09

It's time for the finale,

2:11

Cold Harbor. Cold Harbor. That's how

2:14

we say it. Dave is hot, Kit

2:16

is hot, Andy's hot. Oh my God,

2:18

thanks. Thank you for saying that Andy

2:21

because Kit sent us this video

2:23

of a guy who created lyrics for

2:25

the Severance theme song and it's been

2:27

stuck in my head like every time

2:30

I start the show now it's like

2:32

severance starts now. Quiet part. That's so

2:34

funny. It's good. It's excellent. Yeah. Apologies

2:37

for not being here last week, but

2:39

I'm here for the finale, baby. Quick,

2:41

before I forget, it's very important. You can

2:43

email the show at streamingthingspod

2:46

at gmail.com, at streamingthingspod@gmail.com. Submit your questions

2:48

and thoughts on the finale. You're only

2:50

going to have a day or two.

2:53

to email in before we record the

2:55

mail bag. Mail bag. We haven't done

2:57

one of those in a while because

2:59

we're moving so quickly into new shows

3:02

every time we end one now, but

3:04

we are gonna do a kind of

3:06

a summation and recap of what went

3:08

down on severance. I feel like we

3:11

have to. The entirety of season two,

3:13

predictions for season three, stuff like that.

3:15

So send in your questions. Asap.

3:17

to be included in that. And if

3:19

you want your name to be read

3:22

aloud, you know, give us permission to

3:24

do that and where you're writing from,

3:26

that kind of stuff. That'll be fun.

3:28

Over on the patron at patreon.com/streaming things.

3:30

If you want more streaming things, and

3:33

you say it that way, that's fine.

3:35

Streaming. We got midnight mass in full

3:37

swing. We just finished our game. We're

3:39

still doing game of Thrones about to

3:41

start season five. A couple of bonus

3:44

movies every month, all kinds of good

3:46

stuff over there on the Patreon. So if

3:48

you'd like the show and can and want

3:50

to support it, that'd be wonderful. If you

3:52

can't afford a patronage that's completely

3:55

understandable, especially in today's climate,

3:57

you can rate and review the show

3:59

on iTunes. or Spotify, or both, five

4:01

stars preferably. If you feel

4:03

less than five stars as necessary,

4:05

maybe just think about it, don't do

4:08

it. You know what I mean? I think

4:10

that would be the best. Just think about

4:12

it. Think about your choices. Yeah, just email

4:14

the show and let us know how you

4:16

feel, but no need to put it out

4:18

there. Let's not air our dirty laundry out

4:21

in public. A lot of people have been.

4:23

I'm just saying happy people should do it

4:25

more. Those are the business news. We got

4:27

a lot to talk about. We're going to

4:29

talk about our overall thoughts on the finale.

4:31

Do a scene by scene, play by play,

4:33

recap, and then obviously we got to talk

4:36

about our KIRS three mandates, our top

4:38

three favorite moments of the finale.

4:40

KIR chosen ones. And give somebody

4:42

one last waffle party. Who's getting

4:44

the waffle party? Who's getting the

4:46

waffle party? For the best performance

4:48

of the episode. At least until

4:50

season three. It'll be the last

4:52

waffle party we give. It's the

4:54

end of the quarter guys. Waffles

4:56

for the road. Yeah, who gets

4:58

E of the Q? Personally, I

5:00

think you guys should get E of

5:02

the Q. No. I think for the

5:05

first time ever, two people should

5:07

share that role as the Viners

5:09

of the quarters. Yeah. To

5:11

celebrate the fact that you

5:13

guys have done such a

5:15

great job covering Severance, I

5:17

think in my opinion, five

5:20

stars from me. No. I've decided

5:22

to gift you all something.

5:24

And that's what Kit is referring

5:27

to a bag that is next

5:29

to him. There is the bag. I'm

5:31

going to turn on Madison's mics

5:33

who I can go over there

5:35

and reveal what it is if

5:37

you guys will vamp for me

5:39

while I do that. Yeah, we're

5:41

staring at a rather large, I

5:43

mean, I don't know. It's rotund.

5:45

Midnight blue with some starry sky

5:47

patterned. I do appreciate the bag

5:49

itself. Yeah, it looks like what

5:52

the goblet of fire is transported in

5:54

between gob in the fire. I did not

5:56

put my name in there, so don't yell

5:58

at me if that happens. We've just

6:01

been trying to pretend this

6:03

isn't here. This is a

6:06

carved watermelon head of Madison

6:08

or something. Oh! The

6:10

egg bar is coveted as

6:13

black. Wow. Are those

6:15

blackberries? Those are blackberries.

6:17

I love deviled eggs. What the

6:20

fuck? So what you see in

6:22

front of you are deviled

6:24

eggs. for our very special boys.

6:27

We've got normal deviled eggs and

6:29

we've got some deviled eggs that

6:31

were pickled in beet juice, so

6:33

they're purple, but they also contain

6:35

a filling that is curry-based. So

6:37

it has a curry flavor, so

6:39

just giving you a heads up

6:41

before you eat that, the purple

6:43

ones, curry-flavored. And yes, there are blackberries

6:46

for some panash. These were

6:48

made by our very own, Erica. Can I

6:50

have one? Of course, there for you

6:52

guys. Your waffle party will commence at

6:54

end of day, but in the meantime

6:57

I've ordered the pre-waffle party, eggbar social

6:59

for everyone because you all deserve this

7:01

for reaching quote at this quarter. What is

7:03

this little green thing and do I eat

7:06

it? It's just a garnish. Garnish is always

7:08

edible. I'm gonna eat the garnish. I'm trying

7:10

out to chew on the mic of this.

7:12

This tastes coveted coveted as fuck. Which

7:14

one did you get a purple one? No, no, I'm

7:17

not going to go straight purple. Oh, you got to

7:19

work yourself up to it. I'm going to eat a

7:21

blackberry as well. There you go. Nice

7:23

palate cleanser. Now you vap because I'm

7:25

chewing. I, you know, Erica and I,

7:28

well, mostly Erica, she spent all night

7:30

getting all that stuff ready because we

7:32

had this idea a couple months ago

7:35

that whenever season two of severance ends,

7:37

we would make an egg bar for

7:39

you guys. And, you know, that was

7:42

before egg prices went up. So this

7:44

truly is coveted as fuck. Mow it

7:46

really is. That was delicious. It's, it's

7:49

so good. I had the purple curry

7:51

curry one. Mm. Yeah. What's funny about

7:53

this, and this is so amazing, is

7:55

we were supposed to interview a very

7:57

famous, very illustrious guest. today

8:00

that's being kind of figured out

8:02

and rescheduled and that's why we

8:04

were meeting today anyway but I told

8:06

Steve hey let's just go ahead and

8:08

record the finale a couple days early and

8:10

I didn't know of course that he had

8:12

planned on with Erica making these eggbar

8:15

so he's like um okay and then I was

8:17

like hey actually we might not as we'll see

8:19

how my night goes you know and he's like

8:21

I really got a no man. I really got it.

8:23

I'm like, why? I'm going to the grocery store

8:25

right now. I need to know. What the fuck does

8:28

it matter? Just trust me, it matters. Okay, let's

8:30

do it then. So anyway, we are here. So we

8:32

just watched the finale all three of us last night.

8:34

I think Steve probably watched it again this

8:36

morning because it's kind of a studious man

8:38

that he is. We've got a lot to

8:40

talk about. We hope you guys feel good

8:43

about. We hope you guys feel good

8:45

about it. We hope you guys feel

8:47

good about. We hope you guys feel

8:49

good about. Right now, I'm so excited.

8:51

Andy called me this morning and he's

8:53

like, all right, no spoilers,

8:55

but like, how'd you feel

8:57

about the finale? And I

8:59

was like, I'm not telling you,

9:01

that's a spoiler. Oh, I'm calling

9:04

me out, dang. But Andy, now

9:06

that we're here, buddy. Oh,

9:08

we're here. How'd you feel

9:10

about the finale? I have

9:13

super conflicting feelings about this

9:15

finale. We got some answers.

9:17

But I still have a lot

9:19

of questions and I feel like

9:22

much smarter severance people are going

9:24

to pick up on a lot of the

9:26

context clues of the things that

9:28

are revealed and kind of be

9:30

able to carry the idea forward

9:32

and understand what everything

9:34

means but I'm just sitting there

9:36

like the severance severance good show.

9:38

Put that on a box like

9:41

a DVD box set of severance.

9:43

The show makes me feel dumb

9:45

sometimes for sure. But anyway. I

9:47

think that we are experiencing

9:49

something historic with

9:52

television. I think that when

9:54

the three of us are cold

9:56

and dead, people are still going

9:58

to be studying this show. and I'm

10:00

maintaining, trying to maintain the

10:02

point of view that's important to have

10:05

is that this is the finale of

10:07

season two. So of course I'm not

10:09

getting all the answers to

10:11

everything because the show is

10:13

mysterious and important. And yeah, they

10:15

can't reveal everything at, they can't

10:17

play all their cards. So I

10:19

understand that. I think that I

10:21

love the fucking way that this

10:23

episode played out. They did so

10:26

many fun and interesting things that

10:28

only the show can do. by virtue

10:30

of how it works. And so there are

10:32

moments that are like some of the

10:34

coolest like, oh fuck, you went there,

10:36

like moments ever. But part of me

10:38

is just like, oh no, it's over

10:40

and I still don't know about this

10:42

and I don't know about that. And

10:45

I really hope that's not gonna be

10:47

as long of a wait as before.

10:49

I don't know if this finale hit

10:51

quite as hard as the finale for

10:53

season one, but it still hit fucking

10:55

hard. And I had a great time

10:57

with it. Steve what you think. when

10:59

it comes to the finale for

11:01

season two of severance, my thoughts

11:04

are fucking incredible. I love this

11:06

episode, like this might be the

11:08

episode, I don't know if it's

11:10

my favorite one, but it damn

11:12

sure is maybe the closest to,

11:14

like it's definitely the most,

11:16

it's the richest, I think,

11:18

episode we've gotten of severance,

11:20

meaning like in terms of everything they

11:23

put in there is everything you love

11:25

about severance, like just on full display,

11:27

like, oh you love, You love when

11:30

Milchek had a cool dance party that

11:32

episode? Well we gave a marching band.

11:34

Here we go. Oh you love Dylan

11:36

saying, fuck you Mr. Milchek, he's there.

11:39

Oh you like it when Outies and

11:41

Innes get along? That happens. You likes

11:43

more like mysteries being expanded upon and

11:46

answered, but then more mysteries

11:48

opening up. Here it is.

11:50

Beautiful soundtrack, callbacks to other,

11:52

you know, cinematic properties. This

11:54

episode really had everything I

11:56

wanted from it. I mean. I understand

11:58

some people are gonna be. frustrated

12:00

that not every single mystery has been

12:03

answered, but that's not how mystery box

12:05

shows work. Like the thing that I

12:07

wanted to know that I wanted them

12:09

to achieve when sitting down and watching

12:12

this episode is like they have to

12:14

figure out are they getting Gemma out

12:16

of there or not? And because that

12:18

was the season, that was the heart

12:20

of this season. As Gemma's down there,

12:23

how do we get her? And they

12:25

got her out, but they did it

12:27

in a way that leaves it. What's

12:29

happening next? They got her out but

12:31

that, but now Mark's stuck in there.

12:34

What does that mean for the rest

12:36

of the show? And I think that

12:38

is a successful season two because it

12:40

leaves you wanting more. I felt satiated

12:42

enough because I mean, I mean, one

12:45

of my favorite shows is Ever's Lost

12:47

and that's like the biggest. Mystery Box

12:49

Show of All Time with very frustrating,

12:51

like, well, are we ever going to

12:54

know what that fucking polar bear was

12:56

about? Come on, it's been six seasons.

12:58

I think the creators of this show

13:00

have a very clear idea where they're

13:02

going, a very clear direction, and like,

13:05

this is confident filmmaking. You can feel

13:07

it dripping off the script. You can

13:09

feel it dripping off the screen when

13:11

you watch it. They have a direction.

13:13

I just loved everything about this show

13:16

in particular. The performances were outstanding. The

13:18

cinematography was outstanding. I think this season

13:20

finale was a 10 out of 10

13:22

for me. But Kit, what do you

13:24

think? I agree with you 100% I

13:27

mean, both of you. But I didn't

13:29

experience really any frustration whatsoever because like

13:31

Steve said, I think there are season

13:33

long arcs in a really good show

13:36

has. The same way that a movie

13:38

has beats that become scenes, that become

13:40

sequences, that become acts, that become the

13:42

entire film. A great show has episodes

13:44

that tell a contained story that cycle

13:47

into a season-long arc, and then of

13:49

course a really good show that's planned

13:51

rarely from inception. They have an end

13:53

point they want to get to as

13:55

an entire satisfying arc as well. And

13:58

I think... That Severance does that like

14:00

the first season has this really great

14:02

story about the any's realizing something's up

14:04

Realizing the gym is alive and fighting

14:07

back and you know trying to get

14:09

access to the OTC procedure and reaching

14:11

the outside world And that was completed

14:13

with like so many questions left unanswered

14:15

a major cliffhanger, but an arc satisfied

14:18

a place that we got to Whereas

14:20

season two is all about the rescue

14:22

of Gemma And we got there. Now

14:24

there's so many questions left unanswered because

14:26

the show's not fucking done. But wow,

14:29

do we get an excellent telling of

14:31

that particular story? I was watching this

14:33

last night and I'm so engaged in

14:35

certain things like the Mark talking to

14:37

Mark and the way that they shot

14:40

that was so fucking cool. It's such

14:42

a fascinating idea. But there was a

14:44

point toward like the kind of third

14:46

act of this show where there's a

14:49

very big surprise. in a comical way

14:51

where things just really ramp up out

14:53

of nowhere. Best moment on TV in

14:55

fucking forever. It is. It truly is.

14:57

It was so good. I'm not being

15:00

hyperbolic when I say that it's one

15:02

of my favorite things I've ever seen.

15:04

My notes are just like 17 haz

15:06

and all caps because I contained myself.

15:08

It was so fucking amazing. I think

15:11

this is an incredibly satisfying show and

15:13

it definitely won't be as long. I

15:15

mean the world's crazy and it's we

15:17

might all be dead but... the strike

15:20

was a major impetus for why it

15:22

took so long for season two to

15:24

come out and yeah obviously we don't

15:26

have that right now so and also

15:28

things are cooking also I think the

15:31

show really hit it stride in terms

15:33

of like pop culture popularity and entering

15:35

the zeitgeist this season it didn't quite

15:37

reach that hurdle at the end of

15:39

season one whereas like everyone's talking about

15:42

the show yeah yeah yeah and so

15:44

Apple's very much more gonna be like

15:46

let's get this rolling let's do this

15:48

there stranger things or whatever you know

15:50

this is their big money We didn't

15:53

need to in case of emergency break

15:55

the Ted Lasso glass but But we

15:57

did it anyway. I was going to

15:59

say, and they're bringing Ted Lasso back,

16:02

which is really funny. I wasn't here

16:04

last week, and I loved last week's

16:06

episode mostly, but I did have more

16:08

major criticisms about last week's episode than

16:10

I've ever had before, which I got

16:13

a lot of shit for on my

16:15

other platforms. But I did personally, apparently none

16:17

of you guys thought this way, it felt

16:19

this way, but I did think it was

16:21

really, the writers had put themselves in a

16:23

corner by having Cobell and Mark meet

16:25

up. Just in general, that's a puzzle

16:27

that needs solving because you have a

16:30

character that wants to know everything desperately

16:32

and a character that knows everything. And

16:34

you put them together and you have to find

16:36

a clever way to not reveal that to an

16:39

audience. And I don't think they did that.

16:41

I think they did it very clumsily by

16:43

just having them hang out for seven

16:45

hours and not speak in front of

16:47

us. And because of Patricia Arquette's diction

16:50

when she's portraying Cobell, it was

16:52

extra comically frustrating. watching her speak so

16:54

slowly. Oh, but. And only answer things

16:56

that we knew. And it kind of

16:58

makes sense based on how her character

17:01

is, but it mostly just felt like

17:03

I could see the writer's room being

17:05

coy with us as the audience. It was

17:07

a tiny criticism, but it was like

17:09

in the show that's damn near perfect.

17:12

I feel like it just stood out

17:14

extra. I think on the pod last

17:16

week, I had mentioned that I feel

17:18

like people would be frustrated by that,

17:20

but I was arguing that the real

17:22

emotional. weight is the conversation between Cobell

17:25

and any mark and that's what they

17:27

like ended on like we're gonna have

17:29

them those two characters do it which

17:31

kind of happened it is mostly like

17:33

really through outy mark but I still

17:35

think that I still think the emotional

17:37

weight of the reveals happening between those

17:39

two characters was much more gratifying than if

17:41

Cobell was like we're in the woods

17:43

and this is the thing in the

17:45

moment I totally understand why someone would

17:47

be frustrated but like I think they

17:49

held their card for when for maximum

17:51

damage No, a thousand percent, and like that's why

17:54

I said I could see the rider's room, because

17:56

obviously it doesn't make sense for anything to be

17:58

really revealed out there in the woods. With

18:00

Devin, you know, I'm not a better

18:02

writer than these people, but I just

18:04

felt like there was a different way

18:06

they could have maybe sold it like

18:09

if she had been like I Can't

18:11

tell you it wouldn't make any sense.

18:13

I have to show you I've got

18:15

to tell him something. Yeah, like there

18:17

was like okay You know, they just

18:19

kind of just said hmm Colin to

18:21

work sick say you've got the run

18:24

well actually loved that scene, but anyway,

18:26

but anyway, I really felt like I

18:28

didn't feel anything like that with this

18:30

finale. And we'll get to the finer

18:32

points through the recap. I just felt

18:34

like everything that needed to be buttoned

18:37

up and answered was. And because of

18:39

the show being the way that it

18:41

is, some crazy philosophical possibilities were explored

18:43

and toyed with, and so much was

18:45

left open to explore. It's gonna be,

18:47

honestly, season three predictions are gonna go

18:49

crazy because things are definitely different now.

18:52

Yeah. And I love the way the

18:54

show like took a pretty big mystery.

18:56

answered it maybe 80% of the way,

18:58

but like expanded upon it in a

19:00

much larger like in season three like,

19:02

oh, there's a grand plan. What is

19:05

the grand plan mean? The grand agenda.

19:07

The grand agenda. Like they're operating on

19:09

like a bigger scale than we even

19:11

thought possibly. And I just love how

19:13

they solved like what are the numbers

19:15

for, what are the different rooms that

19:17

Jemma's in. And then that just kind

19:20

of like organically led to this even

19:22

bigger mystery that's coming. We had it

19:24

all wrong. This is even bigger than

19:26

all of us. Can I say my

19:28

favorite part of the finale? Of course.

19:30

It's not a specific scene. I don't

19:33

want to offend anybody. You have to

19:35

understand how I navigate the online and

19:37

random spaces is a very contentious way,

19:39

and it's not my fault. It's because

19:41

people harass me. But my favorite thing.

19:43

Is that? Oh, I know where you're

19:45

going with this. Halley's not pregnant. Devin

19:48

doesn't work for Lumen or is otherwise

19:50

severed in some way and Irving was

19:52

never reintegrated and you can all suck

19:54

my balls. You were really fucking mean

19:56

to me about all that and I

19:58

was right. Just wait for... the immediate

20:01

response. Oh yes, I already like, we

20:03

don't know yet. We don't know. Yeah,

20:05

I don't think it's coming. Yeah, season

20:07

three of the first episode is like,

20:10

hell, he's like, I'm preggers. I

20:12

just feel really good about that. You

20:14

know, I wouldn't have even bloated at

20:16

all if everybody wasn't like, this

20:18

fucking guy stinks. A lot of

20:20

that's fun, but some people were

20:23

just really super confident and mean

20:25

about it. Those are the people

20:27

that I'm talking to. It's fun

20:29

to be like, wouldn't it be

20:31

cool if or oh I think

20:33

this could happen? But when you're

20:35

just like, I solve severance everybody,

20:37

it's like, fuck off. Well, there's

20:39

a lot of guys and gals, a

20:42

lot of people is what I'm

20:44

meant to say that backed it

20:46

up with like some analysis and

20:48

evidence and we're still wrong ultimately

20:51

about certain things. But when they

20:53

were walking me through their videos

20:55

and stuff, I was like, oh, I could

20:57

see that you know. I'm really excited to

21:00

hear from you guys about

21:02

what you think is going

21:04

on here now that we

21:06

know some things that we

21:08

know but I want to

21:10

save that for after the

21:12

recap because there's some things

21:14

I'm definitely not clear on that

21:16

I'm excited to get your

21:18

perspective on. Before we do

21:20

any of that though we

21:22

got to take a brief

21:24

break to hear from one

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of our spots. An enterprise

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22:15

See full terms at MintMobile.com. I wish

22:17

it had just said season finale because

22:20

that's how it starts. season finale and

22:22

I would laugh, but it says Mark

22:24

forms a shaky alliance in an all

22:27

or nothing play while the team makes

22:29

a dangerous last stand. It's funny because

22:31

reading that before I press play I

22:34

thought they meant a shaky alliance with

22:36

Cobell and it might, but I also

22:38

think it means the shaky alliance with

22:40

himself, the any. Yeah, totally neat. It's

22:43

so funny. I like that. Only in

22:45

the show could you have a guy

22:47

argue with himself in a such a

22:50

compelling crazy way. Yeah, it's so good.

22:52

But also there's no there's no more

22:54

dangerous of a last standard against a

22:57

marching band. Just throwing that out there.

22:59

All my band kids, you know what

23:01

about what it's about. We found out

23:04

about crazy. How many new departments are

23:06

we gonna discover? We got choreography and

23:08

merriments. I love that their whole deal

23:11

is that they're just jamming all the

23:13

time for years. That's part of what

23:15

I know I said we savored for

23:18

the end but my mind is fucking

23:20

blown because it like What it looks

23:22

like is going on Does not require

23:25

anyone else to be severed and that's

23:27

what's blowing my mind Yeah, why are

23:29

they severed? Because all the severed floor.

23:32

It's the top secret floor. Yeah, it's

23:34

just an exterior on a different floor

23:36

Well, they have to keep him there

23:39

so he doesn't escape. Just have drumming

23:41

to go get the goat from a

23:43

normal goat trainer. No, you need the,

23:46

you need the lumen goats. You know

23:48

what I'm saying? Just hire a marching

23:50

band. If you ask a regular goat

23:53

farmer, does this one have wiles? Doesn't

23:55

have for... He's good bite. Yeah, man.

23:57

Well, he's got four legs. He's gonna

24:00

want to upsell that goat. He wants

24:02

to make a sale. Oh, hell yeah,

24:04

it does. Well, he's got him. He's

24:07

got built in Wi-Fi. That'll help his

24:09

closest deal. I'll tell you what this

24:11

goat has been listening to the verve

24:14

all day. Mater sweet. She's alive. And

24:16

I laughed, but we're right back. We're

24:18

right back in where we left off

24:21

at the end of nine, which was

24:23

very satisfying. I think it begins the

24:25

same way the season began, because the

24:28

season began with that sound hit, too.

24:30

Really? Because it's alive, because then they

24:32

picked up right there. This is the

24:35

will of severance. It also begins with

24:37

the title sequence, which I think is

24:39

the first and only time they've done

24:42

that. There's usually a cold harbor opening.

24:44

Exactly. And Cobell asks, have you finished

24:46

Cold Harbor? He's very confused. So where

24:49

the fuck am I? Devin? Devin's there,

24:51

like, it's cool. You're in a cabin

24:53

for giving birth. Why am I here?

24:56

You're pregnant. It wasn't helly. It was

24:58

you the whole time. That's the plot

25:00

to us to this show. And so

25:03

they find out she is alive because

25:05

he has not finished Cold Harbor yet.

25:07

Oh, cool. We can save her, right.

25:10

And again he's still very confused. And

25:12

she's so like confused and intrigued about

25:14

that. We know where it is. He's

25:17

like, oh. And we cut briefly to

25:19

Helli and Papa. Remember last time we

25:21

left her, it was any Helli and

25:24

Jane Egan down there on the severed

25:26

floor. One of the, again, I'm not

25:28

mocking anybody. I just think it's, when

25:31

you take it a step further is

25:33

where this stuff gets silly. But one

25:35

of the big theories from last week

25:38

is that that was Helena again. Yeah.

25:40

And people were talking about how the

25:42

elevator ding about how the different tamber.

25:45

That's how they were convinced, right. The

25:47

reason that doesn't make any sense, and

25:49

you think about it for more than

25:52

a second, don't focus on like things

25:54

and do's. Things and do's. Why would

25:56

Helen be down there memorizing the directions

25:59

to something? She definitely knows where it

26:01

is. Yeah, right? Come on guys. Yeah, come

26:03

on guys. Yeah, come on guys. Yeah, and the

26:06

Dings and Dues have been ever since

26:08

the Helena reveal they haven't been consistent

26:10

either. So yeah, you've always been a

26:12

proponent of fuck the Dings and Dues.

26:15

Yes, they don't fuck the Dings and

26:17

Dues. They mattered for four episodes.

26:19

Everywhere else they don't matter. But I

26:21

love Jane Egan like, you have a

26:24

fine speech. I was so mad I

26:26

threw a tin of candy. Good,

26:28

he's such. James Egan's performance is

26:30

like a distilled version of what

26:32

Steve is going for when he

26:34

does a silly character on streaming

26:37

thing. You know what I mean?

26:39

It's 100% what I'm channeling when

26:41

I do Dr. Brenner from Stranger

26:43

Things. It's like, what a tin

26:45

of candies. What a funny speech

26:48

you gave at the party. God,

26:50

you're fucking weird. I love that

26:52

line delivery. Because she's literally the

26:54

audience in that moment, like, oh my

26:56

gosh, dude, what is your deal? I

26:59

do not love my daughter. I love

27:01

that she just immediately grabs a weapon.

27:03

She's just like... But it's like a

27:05

felt pen. It's not even a pen

27:08

pen, I think. Isn't it like one

27:10

of those marker pens? Oh, I don't

27:12

know. Maybe. I mean, if you really

27:14

went hard and got through the felt

27:17

to the plastic, you could do some

27:19

damage maybe. I saw it others

27:21

in the shadows. We found

27:23

that out last week. But

27:26

he wasn't there even. So

27:28

I imagine he like has

27:31

a baby. He's like, Kear

27:33

you in there? It rattles

27:35

the baby around. Oh,

27:37

fine. Come on out,

27:40

Kear! Oh, he's dead.

27:42

This one's useless and

27:44

just chucks it behind

27:46

him. Time for skin to

27:48

skin. And here's what I love

27:50

about this. This is fucking genius, I

27:52

think. We'll see where it goes. Because

27:55

of the ending of this episode, everything

27:57

we like about the show is

27:59

upended. and it's hard, like we

28:01

thought it would be impossible to go

28:03

back to the office after season one.

28:06

What the fuck are we going to

28:08

do now? It makes no sense for

28:10

any Helli to even exist after this

28:13

episode, except they've set this up that

28:15

he like prefers her and sees Kier

28:17

and her. So that's how we have

28:20

the character of any Helli persisting after

28:22

this finale, this way. And I'm like,

28:24

genius, done. Next. Yeah, this is such

28:27

a well-written episode, like even. The whole

28:29

season, the whole show is so well

28:31

written, like there are things that come

28:34

up in this episode, I'm like, oh

28:36

that's such great writing because you, that's

28:38

how they get through that door and

28:41

stuff like small shit like that is

28:43

the blood. It's great. Well, the more

28:45

like Drummond's body just blocking the elevator

28:47

from closing. Yeah, there's so many little

28:50

tight things, Chekhov's body, Chekhov's blood. It's

28:52

great, but he says tomorrow is a

28:54

special day, because he knows Cold harbor

28:57

is a special day, because he knows

28:59

cold harbor will finally be completed. But

29:01

he's been promised that every day for

29:04

like three days. Seriously, though. I really

29:06

hope I will throw so many candies

29:08

if it doesn't go down. He's sent

29:11

to here. It's Christmas City. Tomorrow is

29:13

a special day. Dr. Marry, I want

29:15

to go to the Christmas room. It

29:18

just hangs out in there. They do

29:20

a test. Wait. My note doesn't make

29:22

any sense. Mark. And they kill her.

29:25

But they walk through the plan and

29:27

they're going to have to work together

29:29

any and outy mark. So he'll go

29:31

in as an outy. Obviously the severed

29:34

floor, he'll become any mark who then

29:36

has to go get to the dark

29:38

hallway after completing cold harbors. So he

29:41

has to actually complete the cold harbor

29:43

and then hurry before they kill her

29:45

to rescue her. But down on the

29:48

testing floor, he will be outy mark

29:50

again. Yeah. And then he'll come back

29:52

out, become any mark and Miss Casey.

29:55

So it's this crazy like reverse heist

29:57

where any and outy have to work

29:59

together. And it's really fucking cool. It's

30:02

like the culmination of the coolest video.

30:04

game of all time and like, oh

30:06

nice, I get to be both characters.

30:09

And you're escorting Natalia who's just gonna

30:11

run into the wall. I'm invincible. Nice.

30:13

That was good. They have to communicate

30:16

together. I love this twist though because

30:18

you're like, okay, bing, bing, bing, bing,

30:20

boom. You're just in any, here's what

30:22

we gotta do. But then any mark,

30:25

hold up. What happens

30:27

to us? And Devin and Cabell?

30:29

Nobody had thought of that, because

30:31

they're prejudiced against Annie's, right? I

30:34

forgot, your people too. Are you

30:36

though? Like it's a great philosophical

30:38

question, but of course, Mark's perspective,

30:40

any Mark, is yes, I am.

30:42

I'm definitely a person. Yeah, all

30:45

the outies, like, you'll be fine,

30:47

because you'll come out of the

30:49

elevator in your mark again. You're

30:51

okay. Exactly. And he's like, so

30:54

you want me to give my

30:56

life. on this person that you

30:58

guys like. Yeah, for this one

31:00

person you care about? It's so

31:03

good. Because that's like, even as

31:05

the audience, you're the asshole, because

31:07

you're like, well, yeah. They're real

31:09

people. Wait. And then Devin says,

31:12

I think it's Cobell, it doesn't

31:14

have to end your life. So

31:16

then someone else wants to talk

31:18

to you and open the door.

31:20

Like, because I was like, oh,

31:23

they're good to talk to each

31:25

other! Like, I geeked out so

31:27

hard. No, I'm dumbest shit. I

31:29

was like, who? Melchick? Seth Watson,

31:32

like, hello. I brought a pineapple.

31:34

Well, it would have been a

31:36

good opportunity for someone else joining

31:38

the team as a lesser show.

31:41

It would have been, you know

31:43

what I mean? The Avengers. Fucking,

31:45

I don't know. It's me, Petey,

31:47

I'm OK. No one knows the

31:50

inside of that place better than

31:52

me. Yeah, that's lost, right? Yeah,

31:54

that's 100% lost. It's petty. Actually,

31:56

yes. Like that would have... People

31:59

would have fucking love that. I've

32:01

been alive this whole time. That

32:03

would have been kind of

32:05

dramatic though, because any market

32:08

would be like, oh my

32:10

guy. Rigabi and I

32:12

are married now. Rigabi comes

32:15

out. I've been

32:17

wanting to meet

32:19

you Mark. And

32:21

she's pregnant. It

32:23

wasn't helly. Congratulations.

32:25

Weird show. Yeah, so he's got

32:27

to watch the video of Audi Mark

32:29

and record his response. And it's a

32:31

great scene because it escalates at first

32:34

that shows them recording and going back

32:36

and forth and finally it becomes this

32:38

edited together conversation because they're skipping the

32:40

bits a little bit. And it's just

32:42

them talking back and forth. I love

32:45

the way this this exchange starts because

32:47

he sits down with the camcorder Anymark

32:49

and he plays the first message from Audi

32:52

Mark and just his face lights up because

32:54

it's like that's... Oh shit, that's me.

32:56

That's my that's my dude. That's my Audi.

32:58

That's the guy who dresses me every morning

33:00

But I mean, that's got to be such

33:03

a complicated thing to go through, but I

33:05

love how they had that Before the

33:07

conversation leads to where it ultimately is

33:09

going to lead to, I just love

33:12

that little moment of like, my guy,

33:14

my buddy, that's my other half, me.

33:16

And even any, I'm sorry, Audi Mark

33:18

himself is like, oh shit, oh my

33:20

God. Yeah, he was so excited to

33:23

see Audi Mark, and it's such a

33:25

touching moment. I would 100% fuck

33:27

this up, because he's got to walk

33:29

outside. I would have forgot the camera.

33:31

I mean like, no way I got

33:33

this right on the first trail like

33:35

he did. But Mark says that he's

33:37

sorry for doing this for him, you

33:39

know, and he presses record and it

33:41

goes really well at first But he

33:43

again he starts to miss at some

33:45

point the conversation turns and he's like

33:48

how can and he has every right

33:50

to not trust outy Mark After what

33:52

happened that you know, he's seen outy

33:54

hell. Yeah, this stuff doesn't go well

33:56

for them and he's like have a

33:59

good track record without he's wait a

34:01

second you know assuming you're telling the

34:03

truth this still sucks me and he's

34:05

trying to explain reintegration to him which

34:07

he doesn't even fully understand which he's

34:10

right he's completely full of shit by

34:12

saying yeah then we'll both be alive

34:14

buddy and he's like wait Is this

34:16

a top bottom situation? Couldn't be like

34:19

way more you than it is me?

34:21

Right side, left side, top, bottom situation.

34:23

And he's like, well, statistically speaking, there

34:25

are more bottoms than top. So I

34:27

guess you would be the top and

34:30

I would be the bottom. And I'm

34:32

like a power bottom, though. Yeah. I

34:34

mean, we got that going for me.

34:36

My note is, oh, there is tension.

34:39

Because the idea that him talking to

34:41

himself, there's so much tension in this

34:43

conversation is such brilliant television. And

34:45

he, so Mark tries a different

34:47

tactic, and we get a little

34:49

bit of backstory that I don't

34:51

think we've gotten before, that he

34:53

got fired from teaching for drinking

34:56

light of that. And then he,

34:58

this is where he makes a

35:00

mistake. Ms. Cabell told me you'd

35:02

like someone down there. Hellene? Hellene?

35:04

Oh, yeah. I'm glad you got

35:06

to experience that, but like, imagine

35:08

what you felt, but like multiplied

35:10

by thousands of days. What I

35:12

care about is more important than

35:14

what you care about, right? This

35:16

is a totally not a good

35:18

tactic, right? And then Mark turns

35:20

on him. Any Mark is helly, actually.

35:22

Which you know, if you've ever

35:24

taken an interest in my life

35:26

before you needed something. A little

35:28

earlier in the conversation, any Mark

35:30

says something along the lines of

35:32

like, you describe my life as

35:34

a nightmare, that's not the right

35:36

word. Like, it's not perfect, but we

35:38

make it our own. Yeah, we

35:40

just have half a life, but

35:42

it's our life and dannies or

35:44

the indies. Yeah, we're gonna fight

35:46

for it Yeah, because that's even

35:48

the the quote-unquote good people and

35:50

this is so I might be

35:52

getting to and I'm not the

35:54

person to talk about this look at

35:57

me, but there's a kind of

35:59

a You know how get out

36:01

was this indictment of like liberal

36:03

racism and microaggressions. Yeah, it kind

36:05

of felt that way here with

36:07

the way that these like Devin

36:09

and Audi Mark. Yeah, like we're

36:11

so sorry what happened to you,

36:13

but also like your life's clearly not

36:15

as important. You know what I

36:17

mean? It's like they're not as

36:19

bad as Drummond and James, but

36:21

there's an insidious prejudice. underneath their

36:23

underlying thinking and approaching this whole

36:25

situation. Yeah, he's still being othered

36:27

by them. Exactly, like yeah, but

36:29

obviously like your shit doesn't matter as

36:32

much. Like me and my wife,

36:34

that's a real thing. You and

36:36

Helen, Helen, aren't a real thing.

36:38

Exactly, because you're not real people.

36:40

And he's like, well, she's the

36:42

person I'd lose. She won't reintegrate,

36:44

assuming that's even real. And then

36:46

Audie Mark starts to kind of

36:48

like... Dude, you know, because again, like,

36:50

he's so close to saving his

36:52

wife and I get his perspective

36:54

too, like, listen, fucker, you know,

36:56

I need my wife. So the

36:58

Annie flips out, Cobell wants to

37:00

speak to him at this point,

37:02

like, let me talk to him

37:04

alone. I love the, can't you just

37:06

trust me? No. Of course not.

37:08

Imagine the panic you would feel

37:10

at that point as Howdy Mark,

37:12

you know what I mean? I'll

37:14

beat your ass, dude. I love

37:17

how he's still on the porch,

37:19

but the doors are open. He's

37:21

like, Devin, he's a child. He's

37:23

being mean to me. So Cabell's tactic

37:25

is to tell him some exposition,

37:27

some answers for the audience at

37:29

this point, right? Like, the numbers

37:31

are your wife. And like, this

37:33

was spot on to, you know,

37:35

we kind of figured this one

37:37

out. Everybody did. Over time, it's

37:39

labeled there on the computer, but like

37:41

it was great to hear. cross

37:43

dissolves or whatever it is to

37:45

the dancers the waffle party dancers

37:47

and she says that the clusters

37:49

are her her tempers every file

37:51

you've completed is a new consciousness

37:53

for her a new any and

37:55

he's like I've the 24 files.

37:57

Yes, Cold Harbor will be the last.

38:00

Tomorrow is his final day. So

38:02

basically, I love that she tells

38:04

him this. This is, I think

38:06

this works so well that this

38:08

is how she brings any more

38:10

back into the folks. If you

38:12

remember in season one, he point

38:14

blank asked her, what do the

38:16

numbers do? What are the numbers for?

38:18

And she, I can't remember if that

38:20

was the same scene, she threw something

38:22

at him or not or not, but.

38:24

I'm going to throw a coffee cup

38:26

at you if you don't leave. That

38:29

hurt me more than I heard you.

38:31

That might not be the same scene,

38:33

but he did ask your point blank

38:35

what the numbers were for and she

38:37

refused to tell him. So her being

38:40

like, hey, numbers of this is a

38:42

good way for him to be like,

38:44

wait, what? Like to re kind

38:46

of center him in the conversation?

38:48

It's an offering, but also

38:50

it's harsh reality. Or you can

38:52

just die for no reason at all, but

38:55

either way, you're fucked. Yeah. And then he

38:57

tells her, what are you doing here really?

38:59

Which is good, because we as the

39:01

audience don't really know. Like what are

39:03

her motives? We know that they've kind

39:05

of pissed her off and pushed her

39:07

away. She's got lots of resentments

39:09

about her mother, and maybe she's

39:11

capable of being reverse indoctrinated.

39:14

I don't know. Is that free? Yeah.

39:16

I didn't say this last episode, but

39:18

I made a note of it and

39:21

I forgot to say it. I've been

39:23

kicking myself for a week because I

39:25

wanted to make the joke that Cobell

39:28

is the magneto to the Nies X-Men

39:30

where they work together sometimes, but they're

39:32

ultimately, she's the main antagonist I think

39:35

for them in a weird way. I don't

39:37

know. So I kind of get this thing

39:39

where they're like dynamic of the

39:41

relationship that totally fits. Yeah. Yes,

39:43

obviously Helli's Storm. I don't think

39:46

it, because she brings the storm.

39:48

Dylan's Gambit. The name's Dylan, remember

39:50

it. But she tells him you're

39:52

not gonna have a honeymoon ending.

39:54

Helen is an Egan, you know,

39:57

you're nothing to them. And then

39:59

he wigs out. again. The next thing

40:01

I see had better be the fucking

40:03

severed floor and it is. That's

40:05

fucking fire. Great transition. Did you catch

40:08

when he's storming out and Cobell says

40:10

like Mark I care for you? Yes.

40:12

You're like my professor X and I'm

40:15

your magneto Mark. These are references you

40:17

would get if you read a comic

40:19

book. The only thing that analogy falls

40:22

apart on is like she wasn't

40:24

in a concentration. Yeah, the only thing.

40:26

No, no, no, but I mean, like,

40:28

the X-Men's actually a great analogy in

40:31

the sense that, like, that show was

40:33

really about people being othered and racism

40:35

and stuff. It's a weird word to

40:38

put in stuff after. And she's very

40:40

much not, like, the hardcore, free-the-people

40:42

person that Magneto is. Yeah, right. That's

40:44

true, yeah. But I do understand what

40:47

you're saying about the antagonist. Metaphor there,

40:49

and it's an interesting dynamic that they

40:51

have. Well, this is like Severin's days

40:54

of future past. She's becoming that person,

40:56

you know. Sure, sure. It's true. There's

40:58

an epic new painting of all

41:00

of them. Whoa. Oh, indeed, whip that

41:03

together quickly. Yeah, they did. Speaking of,

41:05

whoa. It's Woe's Hollow. Yeah. Even Rickens

41:07

in there? Literally everyone's in there. The

41:10

doubles are in there from Woe's Hollow.

41:12

The ghost lady of Woe is in

41:14

there. It's fucking wild. I want that

41:17

on my wall. We should put

41:19

that in the studio. The three MDRs

41:21

are in there. Rickens friends are in

41:23

there. Well, you mean the subs? Yeah,

41:26

the subs are in there? It's interesting,

41:28

Rebecca, why is Rebecca in there? All

41:30

like, what's the other guy's name? The

41:33

one who's like, I found the child,

41:35

he's in the very back, yeah, they're

41:37

in the very back left group. Interesting,

41:40

but Helli comes out after Mark comes

41:42

out of the elevator. They embrace, they

41:44

both say they have to tell each

41:47

other something because they do have some

41:49

crazy stuff to talk about. The lights

41:51

get crazy and Milchik has designed it

41:54

to lead them to the other. And

41:56

then the sheer egan, like mannequin wax

41:58

statue is in there, holding a note

42:01

from Mark from Milchick, the founder wished

42:03

to witness the completion, Elie, oh,

42:05

she'll also witness from her chair. Love

42:07

Mr. Milchick. And then there's like a

42:10

little pop-out waffle. I love the whole

42:12

time Elie's like, or Hellie's looking around

42:14

like, his eyes are following me. I

42:17

love that one photo shot. So good.

42:19

It is creepy. Shout out Mark Keller,

42:21

his likeness. I zoned out because

42:23

when I was getting harassed for saying

42:26

I was a little disappointed in the

42:28

episode 9 I did get another DM

42:30

from Mark who cure himself. I appreciated

42:33

your video just so you know I

42:35

thought it was fascinating and I said

42:37

thanks buddy. I said praise Kier. I

42:40

love you. It was a voice text

42:42

but it was Keanu Reeves doing it

42:44

is weird. And then the computers turn

42:47

on on their own. Take that stumbling

42:49

for the switch people. They can just

42:51

turn those on the whole time Yeah,

42:54

yeah, how they fumble. Yeah, those assholes.

42:56

What the fuck? I just love how

42:58

this is the moment in the episode

43:01

where I'm just kind of like I'm

43:03

so in, like I was already like

43:05

in and in, but this is the

43:08

moment that I'm like, I'm not

43:10

moving from this leaned in position for

43:12

the rest of the episode because this

43:14

is so weird and fascinating. I love

43:17

it. I had set up like some

43:19

some sunflower oil tuna and like veggie

43:21

chips and cheese squares and shit. I

43:24

was eating a shark kudri board. A

43:26

little bit, a little bit. And

43:28

at this point I'm like, I'm like,

43:30

I can't. just watched it and then

43:33

gone back and re-watched and taken my

43:35

notes then. You know what I mean?

43:37

That's the play man. To feel it

43:40

as it's happening because I'm like pausing,

43:42

rewinding, you know, ticker, ticker, ticker, ticker,

43:44

and yeah. So I'm shady. That's why

43:47

I have to do it the way

43:49

I do it because I feel like

43:51

most of the time when I'm taking

43:54

my notes I'm not even looking at

43:56

the screen at this point, I'm just

43:58

listening to it. that. We got too

44:01

much shit going on. Next season, next

44:03

year. I just let Steve do it.

44:05

Call my shot. But she says, Hellie

44:07

says to him, Jane Egan was

44:09

here, today is a special day. He

44:12

said some cryptic shit about the

44:14

fire of gear being inside me. Yeah.

44:16

And Mark says, I know why. Because

44:18

he has what he has to say

44:20

is that he knows exactly what's

44:23

going down, right? It's interesting too,

44:25

because we know that there's like

44:27

the Protoo MD. Because you think

44:29

a mower would have been like

44:31

red flag red flag. Yeah, seriously.

44:34

Oh, well, it's fine. It's

44:36

the only little. They're probably

44:38

like, it's that whole thing where

44:40

they're just so in control and

44:43

they're so close. They're like. Yeah,

44:45

because nothing's ever gone wrong before

44:47

with him thinking that. As accurate

44:50

now in our moment of triumph,

44:52

he just general tarkens it down

44:54

there. Yeah. Dylan shows up. He

44:57

meets him at the elevator. And

44:59

he's, I got a lot of comments too,

45:01

like, I can't believe they let Dylan

45:03

quit. And it's like, guys, we know

45:06

that Dylan, or we know that the

45:08

way that it works is that they

45:10

can fill out a resignation form and

45:12

that the alleys always decline. So I

45:15

never thought I wasn't going to see

45:17

Dylan in this episode, but he pops

45:19

out and like he said no, because

45:21

he's shocked to even be there. He

45:24

wanted to even be there. Briefly

45:26

right after you see Dylan it

45:28

says the exalted victory of Cold

45:30

Harbor. That's the name of the

45:32

painting. Yeah, because Dylan sees the painting

45:34

and is going, what the fuck? I

45:36

don't have time for that. Got way

45:38

too much to prop. Where's Gretchen? We

45:40

cut to Jimma opening her closet and

45:42

what they have given her is the

45:45

coat she was wearing the night that

45:47

she left the last time she saw

45:49

Mark. She recognized that shit. Ice Cold

45:51

Harbor, dude. And then we cut to

45:53

Annie Mark, how can we trust Cobell?

45:55

Or that's what Hellie says. And Mark's

45:58

like, I mean, she was different. She

46:00

was the same, but she was

46:02

like different, same. Kind of like

46:04

that time you became Helena for

46:06

a couple weeks. Right? The design of

46:08

his bloodshot eyes is awesome. Yeah,

46:10

he ain't been sleeping. And Mark

46:12

says, I could just not do it,

46:14

referring to completing Cold Harbor. And

46:16

then Helen's like, well, if she's

46:18

telling the truth, we're screwed either way.

46:21

Right. This whole setup between the

46:23

two of them and his commitment

46:25

to saving Jimma involves also saying goodbye

46:27

to the person that he loves.

46:29

The major attention of this finale,

46:31

and it's done so fucking well, and

46:34

I love the bit where she's

46:36

just like, it's the right thing

46:38

to do basically, right? And she kind

46:40

of gives him permission to do

46:42

this with her eyes, and it's

46:44

devastating. But the nurse tells Giamma to

46:46

get dressed. She's starting to get

46:48

pretty rude. Get out of here.

46:50

They're so close. Just do it. It'll

46:53

be fine. Put your shoes on.

46:55

It's a great jacket. You look

46:57

great. Look at that face card.

46:59

And then so Mark and Helli are

47:01

still talking about what can maybe

47:03

happen. Maybe that will take down

47:05

Lumen and Helli's like, we could do

47:07

the combining thing, you know? What

47:09

if he's not a liar? You'll

47:11

have a chance at living. She wants

47:14

him to have a shot and

47:16

that's true. But I want to

47:18

live with you. No. But I want

47:20

to live with you. No. Stop

47:22

it. Steve. I wasn't going to

47:24

say that. I'm gonna cry, but these

47:26

motherfuckers online are gonna ruin it.

47:28

They're gonna be like, that's what

47:30

she met with, I'm her, Mark, you

47:33

know what I'm saying? Yeah. No,

47:35

it doesn't. It means she's Helen

47:37

and Helen will never let her out.

47:39

Yeah. No, she's her right now.

47:41

Yeah, she's, she's confessing, guys. And

47:43

he says, okay, and gets cooking on

47:45

the numbers. Click it's time to

47:47

scroll this bolly thing and click

47:49

B every now and then. Maurer

47:52

and Drummond are watching with bated

47:54

breath as it clicks to 98%

47:56

I'm so excited right now I'm

47:58

going to use bucking hard. I'm

48:00

going to talk monosyllabically. I just

48:02

learned that word, but I'm excited.

48:04

And Dylan's Audi has responded, Milchick

48:07

says. And this seems really funny.

48:09

I'm curious how you guys interpret

48:11

it. It looks like he's super

48:13

scared of Dylan's reaction, but I

48:15

guess he was just really in

48:17

a hurry to get to dress

48:19

rehearsal. Yeah, just really fucking sprints

48:21

out. I, dude, I laughed out

48:23

loud. And I was like, Andy

48:25

loves this joke. I think that

48:27

shot is sped up slightly because

48:29

the quickness is unnatural and it's

48:31

so funny. It's like, Jamal Tellman

48:33

is just the fucking athlete. Because

48:35

it's so, listen, an embarrassing response

48:38

and I am duly swamped, I

48:40

will leave you to it alone.

48:42

He does like this slow push

48:44

of the envelope and then fucking

48:46

bolts, dude. It's so awesome. to

48:48

keep, you know? I cried way

48:50

harder here than even watching Mark

48:52

and Helli talk to us now.

48:54

I cried here too. This is

48:56

crazy, crazy work, because he's like

48:58

three points, right? Number one, fuck

49:00

you. That's my wife and my

49:02

beloved. Fuck you. And this is

49:04

what broke me. It's deeply in

49:06

decorous, Chris. Number two, I get

49:09

it. She's perfect. You know what

49:11

I mean? Like, attracts that you'd

49:13

agree. What does he say, anatomically

49:15

similar or something? Or shared physiology.

49:17

Because of our, yeah, anatomically, it's

49:19

kind of gross. Because we both

49:21

have a dick, I get it.

49:23

And he says, I've never been

49:25

an impressive person, and she told

49:27

me you're like this self assured

49:29

badass, and it hurt. But number

49:31

three, I hope someday she sees

49:33

in me what she sees in

49:35

you, and I like knowing that

49:37

you're there. If you want to

49:39

leave you can, but I think

49:42

you should stay. And if you

49:44

look, the Deny and Approve Boxes,

49:46

neither is checked. So he leaves

49:48

it up to any Dylan, which

49:50

is a really good thing to

49:52

do. It's so good. And the

49:54

way they cut back and forth

49:56

between any Dylan reading the letter

49:58

with the cold color. grading of

50:00

Lumen and then going to Audi

50:02

Dylan with his family and get

50:04

the warm color grading. It's just,

50:06

I don't know, it really accentuates

50:08

that moment really well. And what

50:10

you said earlier in your opening

50:13

statement was so brilliant because there's

50:15

something I felt but didn't think

50:17

consciously that I was totally going

50:19

to steal. But they do have like one

50:21

of the crazy genius layers to this

50:23

finale is the greatest hits. component

50:26

of it. Yeah, you know, with the

50:28

musical dance experience, but one-up and Dylan

50:30

being Dylan fighting milchick, but

50:32

one-up, you know, and there's

50:34

probably more too. But there's like, this

50:36

is like, this is a fucking finale finale,

50:39

you know. They're running through the the

50:41

hallways, but one-up. We got hallway running.

50:43

We got Miss Casey action. We got

50:45

brand of goats. We got brand of

50:47

goats. We got everything you want.

50:49

Milchick is taking off his

50:52

tie and running. Mark is working

50:54

and working. Hell is witnessing. Witness

50:56

me. Medioca. And she, this is

50:59

so good. She's like, I was

51:01

trying to think of other places

51:03

I'm aware of. And part of

51:05

me, such an asshole, I was

51:07

thinking from Mark's perspective. I'm really

51:09

trying to work here. You know

51:11

what I mean? Like there's a

51:14

moment. She's like, I thought of

51:16

Europe, Zimbabwe, and the equator. Is

51:18

that a building or a continent?

51:20

A building so big it became a

51:22

continent. It's a moment between them,

51:24

but it's also beautiful symbolism because

51:26

all they've ever known in life

51:29

is this building. And to them,

51:31

it's so big that it is

51:33

a continent. It's their whole life.

51:35

And it's just brilliant symbolism. And

51:37

he says, I just wish we

51:39

had more time. I can't even

51:41

fucking talk about this episode. It's

51:43

so good! And he looks at

51:45

her as he finds the last

51:47

numbers and he doesn't want to

51:50

click the button. She pulls out

51:52

the map quest instructions to the

51:54

dark hallway and walks to him. And

51:56

she says, she looks at it, at least

51:58

it's a happy one. Oh. Oh man,

52:00

that fucking broke me. Stop.

52:02

I don't know if

52:05

there's any significance to

52:07

those numbers specifically, but I

52:09

wrote them down, I don't think

52:11

it matters, but. Yeah, I don't

52:14

know either. And then she slides

52:16

the directions to him. Six, three,

52:18

oh, nine, yin. It's eight, five,

52:21

four, three, seven. No, it's eight,

52:23

five, four, three, seven, zero,

52:25

five, but they click it

52:27

together, kind of. Hit the B

52:29

for bucket I assume. I thought

52:31

it was bin. I think it's season

52:33

one goes bin it or something

52:36

like that. It could be bucket.

52:38

I like bucket better actually. Control

52:40

the hit that mr. bucket. Buck

52:42

again me I would click the

52:45

wrong button. You can't delete. Yeah.

52:47

Sorry demo. I lost everything. Gilder.

52:49

I was so disappointed that we

52:51

didn't get a little 16-bit video

52:54

of him flying off the mount.

52:56

I love you. No, we got

52:58

a live. I don't know. We

53:00

got a live performance. I just

53:03

enjoyed that so much last time. I

53:05

love you. I think that music cue

53:07

from that little animation is the

53:09

music cue that the computers boot

53:12

up with this season that I

53:14

thought it was kind of funny.

53:16

The file hits 100% and Drumman

53:18

says, called Mr. Mr. Egan. The

53:21

MDI, excuse me, the MDR lights turn

53:23

off. I thought it was gas to

53:25

kill them at first. I did

53:27

too. I was like, oh, fuck,

53:29

this is not in the plan.

53:32

But it's just the smoke machine.

53:34

And then Kier kicks into action

53:36

like fucking creepy chucky cheese dude.

53:38

Thank you for helping me fulfill,

53:41

get closer to my grand agenda.

53:43

You are now. and one of

53:45

the most important people in the

53:47

world. It's three. Revel now on

53:49

the fruits of your labors and

53:52

hail your earthbound steward. The floor

53:54

manager. And it's milking. When they

53:56

cut over to that and he didn't

53:58

come in right. I was like,

54:00

oh, milchicks not going with

54:02

Lumen's plan. What's he gonna...

54:05

And then he comes through

54:07

like a split second later,

54:09

but I was like... He

54:11

was late from doing this

54:13

thing? I was given his

54:15

arc this season, I was

54:17

surprised that he was going

54:19

along with things as much

54:21

as he does. There's still,

54:23

that's not complete. I did

54:25

expect something. That was an

54:27

amazing moment. That's just a season

54:29

three. Yeah, season three milchick fights

54:31

back will definitely be a thing.

54:33

Yeah, because milchicks and like, like,

54:35

he, like, Mr. Drummond is the

54:37

source of his unhappiness at the

54:39

moment. And I think only this

54:41

is the first time when the robot

54:44

here is given. Well, who's voicing

54:46

the robot? Is it drumming? I

54:48

assumed it was drumming. I don't

54:50

know for sure. But like, like,

54:52

now I think this is laying

54:54

the eggs. a whole systematic thing

54:56

and not just my immediate superiors

54:58

disrespecting me. Agreed. Because he kind

55:00

of took back his power with

55:02

that scene with Drummond last

55:04

episode, like Devour Feculence, he's taking

55:07

back his power, but now he's

55:09

losing it already again. Yeah,

55:11

well, it does seem like it's

55:14

drummond with my, your verbose,

55:16

good thing you didn't write that, you

55:18

know, all that, and Milchick does not

55:20

laugh. Yeah, Because he's like, oh, the

55:22

larger than life joke was great. Like,

55:25

by that, you mean that you're five

55:27

inches taller than you actually were, right?

55:29

Right? So good. But then he calls

55:31

in. I'm ordered to receive your

55:33

barbs. Yeah. But he calls in

55:36

choreography and merriment, which we find

55:38

out is a whole other department.

55:40

And it's like this lumin marching

55:42

band playing their hymn, but like

55:44

a happy marching version. This whole

55:46

scene, starting with the robot up

55:49

through the. The marching band coming out

55:51

is a fever dream of the

55:53

best order. It's fucking wild. What

55:55

is this? I love it. It's

55:57

so weird. Especially how they continue

55:59

playing. throughout all of this crazy shit.

56:02

And then like, it's kind of like

56:04

a score to the other scene, like

56:06

when it cuts the drum and going

56:08

on the secret door and stuff, you

56:11

can hear the marching band, but it

56:13

acts as like this really, like the

56:15

fucking orcs marching, you know what I

56:17

mean? Like, it's awesome, it's awesome. It

56:19

looks like me, it's back on the

56:22

menu, Halley. But yeah, the band comes

56:24

out pop and Jimma is now dressed.

56:26

And Millchick is conducting. I love it

56:28

so much. I knew Steve was having

56:30

the best time. That was his second

56:32

costume change. Because now he's got a

56:34

white coat and gloves and shoes. I'm

56:36

grabbing another egg and I'm going to

56:39

take an opportune moment to pop it.

56:41

Oh, pop it. Pop it like a

56:43

topic. Okay. But I love the different

56:45

ways they film the marching band. There's

56:47

like a couple shots of like, it

56:49

looks like a GoPro that's on one

56:51

of the drums as they're kind

56:53

of like rhythmically

56:57

thrusting thrusting

56:59

their you

57:02

know what

57:05

I mean?

57:08

And so

57:11

that was

57:14

the only

57:17

one where

57:20

I was

57:23

like, ah.

57:25

But other than that, I fucking love the

57:27

marching band scene. It was fucking great. It was

57:30

just when they hold up the mark 100% thing,

57:32

I was like, oh, come on. It's just pointing

57:34

it to the audience, I guess. That's Jane Egan

57:36

they're doing that for. Oh, I guess. You know

57:38

what I'm saying? He's watching on the cameras. I

57:41

love marching bands. I was going to throw my

57:43

candies if they didn't do it. I hope they

57:45

play the ballot of Ambrose and Gunnell next.

57:48

Yes! Yes! My playlist made it!

57:50

Because Gunnell is an Egan. When does

57:52

WAP happen? Gunnell's an Egan we just

57:54

found out about in episode 9,

57:57

right? Oh, the Gunnell Egan. The Gunnell

57:59

Egan empathy. And I was

58:01

like, I don't think we've ever heard of Gunnell

58:03

before, because in this episode, he's like the ballot

58:05

of Ambrose and Gunnell. And the way he

58:07

says it, it was like, okay, well, Gunnell Egan's

58:10

gonna be like a thing, I guess. I thought

58:12

that that was just the name of Saul. There's

58:14

Egan's, Ambrose, Ambrose, and Gunnell, yeah. Well, that makes,

58:16

that makes sense, because it was the Gunnell Egan,

58:19

what was, Amphithy Center, because Ambrose, because Ambrose is

58:21

Kier's is Kier's, he's, he's, he's, he's, he's, he's,

58:23

he's, he's, he's, he's, he's, he's, he's, he's, he's, he's,

58:25

he's, he's, he's, he's, he's, he's, he's, he's, he's, he's,

58:27

he's, he's, he's, he's, he's, he So maybe Gunnell

58:30

was the person, like just another

58:32

black sheep of the family, I

58:34

guess? Or somebody Ambrose married or

58:37

something? Maybe. Who knows? But that's

58:39

what happens, maybe. James takes an

58:41

elevator to like this just computer,

58:44

tiny room, and Dr. Maurer. That

58:46

seems like torture for an old

58:48

person, locking them in a room,

58:51

how to turn it on. I

58:53

need to check my email. I

58:55

deleted my PC. Power on, power

58:58

off, dammit! Dr. Maurer says welcome

59:00

over the voice box to Gemma. She's, it's

59:02

time for the efficacy test. And the ballot of

59:04

Ambrose and Gunnell, what we were just talking about,

59:06

that happens now. Song's fire. And He asks to

59:08

mark, are you ready? And he's like, oh yeah,

59:11

it's real sick of this. Instead, it's been real

59:13

confused the whole time, and she says, see you

59:15

at the equator. No. And then He takes Seth's

59:23

And then Hellie takes Seth's walkie -talkie

59:25

and runs And runs. It's so funny, this

59:27

is kind of, I think this, if I

59:29

have any criticism for this episode, this is

59:31

the one moment where I'm just kind of

59:33

like, Seth, you really don't think anything's up,

59:35

because he's like, his fucking bitch. Like that's

59:37

the energy he's going with, and there's like,

59:39

where'd Mark go later on? Like, come on,

59:41

my guy, you know, at this point. He

59:43

can't just let her take his walking. But if

59:45

he didn't, he would just be like. My job

59:47

is make sure you stay here Mark in

59:49

his defense like in your defense like I

59:51

said earlier How many times does this got

59:53

to happen? Yeah, if he had been like

59:56

not again, but also in I forgot to

59:58

tighten the leash today shit. He has no

1:00:00

way of knowing that he talked to his

1:00:02

outy at the demona birthing retreat and Cobell

1:00:04

and knows about Cold Harbor and knows about

1:00:07

the hallway. They shouldn't know about any of

1:00:09

this shit. And could, what are they gonna

1:00:11

do? Go have sex again and O&D? He's

1:00:13

thinking like at worst. And honestly, Milkjack's probably

1:00:16

more word like, I've spent three months choreographing

1:00:18

this shit with this department. And you are

1:00:20

ruining my chance to shine. That's his biggest

1:00:22

upset moment is like, these moments are supposed

1:00:25

to be appreciated. He were, did you see

1:00:27

that? body roll he did. Oh yeah, he's

1:00:29

got moves. I was fit in a bust.

1:00:31

Or this guy. Remember the Defiant Jazz Dance

1:00:34

was, we talked about how that was more

1:00:36

for a milk check than it was for

1:00:38

them. And that was his way of cutting

1:00:41

a rug and letting loose and blown off

1:00:43

some steam and he was so upset when

1:00:45

it got cut early. Now every time his

1:00:47

performances are unappreciated. You know, and it's gotta

1:00:50

be galling at the very least. She gives

1:00:52

him the slip in the bathroom and is

1:00:54

holding him in there. We see Dylan returning,

1:00:56

he's walking in the hallways, Drummond is going

1:00:59

down the dark hallway to the severed floor

1:01:01

like he came up from there and he's

1:01:03

walking out and he goes into some secret

1:01:06

door right across the street, right across the

1:01:08

hall. And Mark is running there at the

1:01:10

same time. Jimma is approaching the cold harbor

1:01:12

door. We cut to Lorn going to Lynn

1:01:15

Christie with the goat on a cart. She

1:01:17

looks pretty upset. She's taking it there? She's

1:01:19

got an outfit going on. She's stressed up

1:01:21

for a ceremony. She's got some makeup on.

1:01:24

I swear I did not see her coming

1:01:26

back. I don't know why, because it's fucking

1:01:28

Gwindle and Christie, but when she had her

1:01:31

scene and the, what was that? Two or

1:01:33

three, I was like, they were just having

1:01:35

fun with the goats. Oh, they were bringing

1:01:37

the goats back to this like epic lore

1:01:40

mythology type shit with the goats and lumenin.

1:01:42

But also still, the goat is still incredibly

1:01:44

tangential. Like they were just going to sacrifice

1:01:46

it in a big deal. It's not like

1:01:49

they were putting Jim and his brain in

1:01:51

there or something like everybody was thinking. To

1:01:53

what end? Helli and Seth are still wrestling

1:01:55

with the door and then we get the

1:01:58

ultimate hero shit return of Dylan G. Ahhhhh.

1:02:00

Pushes the bed. And he used a snack

1:02:02

machine. I hope he had the tokens. But

1:02:05

this was like the. This is epic to

1:02:07

me. Like, it's so dumb. It's just Dylan

1:02:09

putting a vending machine in front of the

1:02:11

door, but this is like, it's like watching

1:02:14

Troy or something at 11 years old. Yeah.

1:02:16

You know what I mean? Like, fuck, yeah,

1:02:18

you did a vending machine. You know, like,

1:02:20

it's like this epic moment. Petrukle's, no. No,

1:02:23

him and he'll enjoy this fruit leather milchick.

1:02:25

Yeah, so good, man. Jimma enters Cold Harbor

1:02:27

enters Cold harbor, and then enters cold harbor,

1:02:30

like, like, like, like, like, like, like, like,

1:02:32

like, like, like, like, like, like, like, like,

1:02:34

like, like, like, like, like, like, like, like,

1:02:36

like, like, like, like, like, like, like, like,

1:02:39

like, like, like, like, like, like, like, like,

1:02:41

like, like, like, like, like, like, like, like,

1:02:43

like, like, like, like, And it's empty in

1:02:45

there and it's just got the cold harbor

1:02:48

crib, the crib that they took apart. We

1:02:50

were watching this and I think Eric and

1:02:52

I both at the same time said, oh,

1:02:55

fuck you when we saw the crib. Like,

1:02:57

oh, this is so mean. Yeah, this is

1:02:59

like there because all the other rooms have

1:03:01

been uncomfortable or dark memories of hers and

1:03:04

this is like the darkest memory that they

1:03:06

could test her ability to feel with like,

1:03:08

if her separation. Again, we'll talk at the

1:03:10

end what this might mean for the company

1:03:13

and what they're doing, but it appears to

1:03:15

be a test of like, okay, if her

1:03:17

outy gets no wind of these emotions, then

1:03:19

this shit is like impenetrable. Yeah. Seems to

1:03:22

be what they're doing there. James is watching.

1:03:24

Oh, that's what they're talking about with the

1:03:26

barrier holding. Yeah. Gotcha, okay. I was like,

1:03:29

what fucking barrier? What are we talking about?

1:03:31

Well, because when she gets back from the

1:03:33

dentist, they're like, okay, your mouth hurts. What

1:03:35

do you think it hurts? You know, they're

1:03:38

trying to see if she has any memory

1:03:40

of that. Why do you think your hand

1:03:42

hurts? Yeah, they keep playing the I'll be

1:03:44

seeing you song, because that's a very important

1:03:47

song to her and stuff. through

1:03:49

the severed process. And

1:03:51

then in that episode

1:03:54

with the flashbacks, like

1:03:56

she had such of

1:03:58

this or reacted to

1:04:00

the sound of Mark

1:04:03

tearing apart the crib

1:04:05

and dismantling it. She

1:04:07

left. And that's why

1:04:09

she left, yeah. And

1:04:13

then they say, who are you?

1:04:15

And she says, I don't know. So

1:04:19

then we cut to Lorne with

1:04:21

Mr. Drummond and the little room

1:04:23

across from the dark hallway. Mamalian's

1:04:25

Nurtureville brings an offering. Has it

1:04:27

verb? Has it wiles? I

1:04:30

thought he's at the door. Bring it in. He's

1:04:32

at the door as if she was like, not

1:04:35

really. Not really. Take it away. All

1:04:37

right. We don't want any. And she goes

1:04:39

to the door. It's ceremonial, Steve. And

1:04:43

said, this beast will be entombed with a

1:04:45

cherished woman whose spirit it must guide to

1:04:47

Kyr's door. Is it up to the task?

1:04:51

Then he gets this little, the cow

1:04:53

killer thingy. Sort of those called?

1:04:55

Yeah, I don't know. A euthanasia gun.

1:04:58

Sure. The

1:05:00

A .K. Euthanasia. Immediately thinking of no

1:05:02

country. Yeah, exactly. And he busted that

1:05:04

out. He looks at the goat and he's

1:05:06

like, called it. Called it. Damn,

1:05:09

you stole my joke. I was

1:05:12

prepping for that all morning. Oh, sorry.

1:05:16

But she's like, yeah, this goat's

1:05:18

the goat. And he's like, then

1:05:20

give me its life and hands

1:05:22

her the little gun thingy. And

1:05:24

Gemma is supposed to take apart

1:05:26

the crib. We find that out.

1:05:28

Seth is fighting back hard on

1:05:30

that vending machine and Drummond is

1:05:32

droning on about Kyr's eternal war

1:05:34

against pain. What's that mean? To

1:05:36

spoiler, I don't know. Mark can't

1:05:38

get in to the room, the

1:05:40

dark hallway room. His card obviously

1:05:42

doesn't work. And

1:05:44

Lauren is starting to get

1:05:47

upset. She's fighting back

1:05:49

for the goats a little

1:05:51

bit. How many? How

1:05:53

many what? Fingers are you

1:05:56

holding up? How many

1:05:58

more must I give? As

1:06:00

many as the founder

1:06:02

requires. Their calls. Yeah, you're

1:06:05

right. Mark has been

1:06:07

taken here. Mark and the

1:06:09

other. He's like, he's like, he's like, kicking

1:06:11

the door and shit. We didn't plan this out

1:06:13

very well. And the drum into catches him and

1:06:16

marks like, oh, wrong, this is in the bathroom.

1:06:18

Oh man, wrong door. And then he just, dude,

1:06:20

punches him so matter of fact. Love that. One

1:06:22

of the most surprising and weirdly satisfying punches in

1:06:25

cinematic history. And he's like this big, honk beast

1:06:27

of a man with this goofy, fucking, quaker, quaker,

1:06:29

quicker haircut. slam him into the walls and

1:06:31

shit, and then Mark fights him. And

1:06:33

one point he grabs his leg and

1:06:35

he uses his body as a fulcrum

1:06:37

to just launch the market to the

1:06:39

wall. Just like almost a suplex at

1:06:42

one point, like this is wild. I

1:06:44

never thought we would get like knockout,

1:06:46

drag out brawls in the hallways on

1:06:48

severance. And Strumment begins choking him. Lauren

1:06:50

comes out with a gun and stops him,

1:06:52

no more killing. But then Lauren and Drummond

1:06:54

fight and because this is Gwendolin Christie, you're

1:06:56

like, fuck yeah, because we've seen her take

1:06:59

down the hound. Oh yeah, this is a

1:07:01

hound fight for sure. And right after the

1:07:03

finale of season four, watching this was like,

1:07:05

yes. We just watched the hound versus Brendotarth

1:07:08

this week. So this again, hearing the Gwendolin

1:07:10

Christie screams as she's like punched him. She's

1:07:12

so good at the physicality of these fights.

1:07:15

Yeah. It looks like she's really working

1:07:17

her ass off to try to, you

1:07:19

know, and she's hitting him with the

1:07:21

fucking bows at the end and shit

1:07:23

when Mark's holding him with the

1:07:26

tie. And he's about to, she's

1:07:28

about to blow his brains out.

1:07:30

What's, what made this later moment

1:07:32

so good and why the writing is

1:07:34

genius is when Mark stops her, you're like,

1:07:36

fuck, that dude, you know what I mean?

1:07:38

Why? Why? You know, it's so frustrating. But

1:07:41

Mark doesn't like killing, you know? I know,

1:07:43

like, it makes sense as a human. Yeah,

1:07:45

but you want that guy as a viewer.

1:07:47

As a sadist viewer, you're like, fuck her!

1:07:50

He's just going to turn on the weak

1:07:52

pastards. Yeah. And a lesser show would have

1:07:54

had that be his downfall or, like,

1:07:56

create a conflict later. But it's just

1:07:58

a setup for the best. moment of

1:08:01

all times. We cut the gym.

1:08:03

She's still taking the crib apart.

1:08:05

And this is where Maoist is

1:08:07

holding. She feels nothing. It's beautiful.

1:08:09

It's beautiful. And James, watching like,

1:08:11

yes, good. I will be having

1:08:13

raw egg tonight. To celebrate. Mark

1:08:15

goes into the hallway with drum

1:08:17

and is like a hostage. That's

1:08:19

how he gets in the door.

1:08:21

He thanks Lauren. I love this.

1:08:23

Ameel, thanks, you know. Ameel's name.

1:08:26

Oh, okay. Cool. You think she

1:08:28

named it after Ameel Hirsch? Like,

1:08:30

she's a big... Yeah. She's a

1:08:32

big girl next door fan. Yeah,

1:08:34

she loves us. She loves that

1:08:36

movie. Yeah, okay. I almost named

1:08:38

it Alicia Cuthbert. Too much probity.

1:08:40

Hmm, that's right. That was a

1:08:42

good joke. It's because of my

1:08:44

favorite value that I cannot see

1:08:46

it. Probity? Vision. Vision. So as

1:08:48

he goes down the elevator, he

1:08:51

changes into Audi Mark, who then

1:08:53

pulls the trigger because he doesn't

1:08:55

know he's holding a gun. Oh

1:08:57

my God. I fucking lost my

1:08:59

mind. Dude, seriously, the best thing

1:09:01

to happen on television in a

1:09:03

decade. It's so fucking good. I'm

1:09:05

like, no fucking way. Like, I

1:09:07

wanted to stop and start clapping.

1:09:09

Like, just the writer's room. fucking

1:09:11

bravo because he's like listen here

1:09:13

in a second I'm gonna change

1:09:16

to my my outy and you're

1:09:18

gonna help and then like as

1:09:20

he's doing the severing process I

1:09:22

guess you like tense up for

1:09:24

a second. Well and Drummond is

1:09:26

just like watching like hmm and

1:09:28

then like outy marks they're like

1:09:30

oh god this is like when

1:09:32

Helli changed while drowning like crazy

1:09:34

to him right yeah mmm it's

1:09:36

so fucking good I could talk

1:09:38

the entire hour about just that

1:09:41

moment and how fucking happy it

1:09:43

may be. So good. But like

1:09:45

we said, like from a writing

1:09:47

perspective, it's how the doors to

1:09:49

the elevator stays open so you

1:09:51

can get back, like it's great

1:09:53

writing, it's how he gets the...

1:09:55

that he can get into Cold

1:09:57

Harbor with. Wow, it's genius. But

1:09:59

Mark's, and just the visual, because

1:10:01

it's so white down there, and

1:10:03

he's covered in blood and he's

1:10:06

running through the hallway, like it

1:10:08

looks so fucking striking. I don't

1:10:10

know if it's a cubrician reference,

1:10:12

what we get with the red

1:10:14

and stuff later. Very cubrician. But

1:10:16

he sees the file names and

1:10:18

he knows to look for Cold

1:10:20

Harbor on the doors. Helli and

1:10:22

Dylan are still fighting with Seth.

1:10:24

And the marching band is still

1:10:26

doing their thing for some reason,

1:10:28

because they got one job, I

1:10:31

guess they're going to do it.

1:10:33

They've been planning for this performance

1:10:35

all quarter. And the band is

1:10:37

like offended that she took a

1:10:39

tuba, multiple tuba. It's like, hey

1:10:41

man, this belonged to choreography and

1:10:43

merriment. Oh, go ahead. No, you

1:10:45

go ahead. I think I might

1:10:47

be moving a little bit earlier,

1:10:49

but because Gemma's almost done making

1:10:51

the crib, but then it cuts

1:10:53

to the band again. And the

1:10:56

one guy and the one band

1:10:58

players like, fall back, our performance

1:11:00

has been compromised. And then Helli

1:11:02

gives a speech to choreography and

1:11:04

merriment. She's like, you know, you

1:11:06

could be next. They just take

1:11:08

whoever they want. They give us

1:11:10

half a life and think we

1:11:12

won't fight for it. Right milchick.

1:11:14

Oh, it's fucking epic. I love

1:11:16

how because she's probably meaning like.

1:11:18

Yeah, you'd think that about us,

1:11:21

right? But to him, those words

1:11:23

probably mean something else, because he's

1:11:25

like, oh, they do kind of

1:11:27

do that to me too. Oh,

1:11:29

absolutely. Absolutely. He's just an employee

1:11:31

that they shit on. And Mark

1:11:33

finds Cold Harbor. He runs into

1:11:35

the nurse. This is the best.

1:11:37

Because this is how we're used

1:11:39

to seeing this actor. Step off

1:11:41

Fucko! Fucko! Yeah! And they just

1:11:43

scream at each other! Fuck you!

1:11:46

Fuck you! It's so... And he's

1:11:48

got the gun that doesn't do

1:11:50

anything anymore, because I think it's

1:11:52

not a bullet, but that's like

1:11:54

a little CO2 canister. Right. So

1:11:56

it's not going to do anything,

1:11:58

and he's just like, ah! I

1:12:00

love how as she's running away.

1:12:02

She gets one less, fuck you

1:12:04

in before. Yes, it's amazing. It's

1:12:06

the fucking spouse. He tries the

1:12:08

little stabby finger trick and realizes

1:12:11

what it's doing and realizes that

1:12:13

he has drumming blood on him.

1:12:15

So he puts the tie in

1:12:17

there and enters the room. Jimma

1:12:19

has one little piece left. He

1:12:21

got there just in time. And

1:12:23

then Maurer is like, oh, fuck.

1:12:25

Oh no. And he's like, I'm

1:12:27

your husband. Because she's like, who

1:12:29

the fuck are you? What the

1:12:31

fuck? I don't even know who

1:12:33

I am. Who the fuck are

1:12:36

you? Why is that blood? Do

1:12:38

I know what blood is? And

1:12:40

James is watching in horror and

1:12:42

Mark explains, we had a life

1:12:44

together. And she finally does grab

1:12:46

his hand while Maurer's like, don't

1:12:48

touch him. If you come with

1:12:50

me, we can get that life

1:12:52

back. Oh. Oh, fuck. I'm going

1:12:54

to throw so many tins of

1:12:56

candies. Maurer begins running, he runs

1:12:58

into the nurse, get drumming, right?

1:13:01

It's the fucking spouse. I love

1:13:03

Maurer's dorky run. He looks like

1:13:05

a guy who does not ever

1:13:07

leave this floor and never breaks

1:13:09

into a run and forgot how

1:13:11

to. It's such a great small

1:13:13

little character choice. My notes are

1:13:15

leave the fucking room gymma because

1:13:17

she stops at the precipice of

1:13:19

turning back into real gymma and

1:13:21

I was like... getting so edged,

1:13:23

like, dude, if they ended here

1:13:26

or something, I'm going to lose

1:13:28

my god damn mind. But they

1:13:30

do, they release me, they give

1:13:32

me sweet, sweet release. She walks

1:13:34

through, comes Mark, and then they

1:13:36

embrace. Oh, yay. The alarm goes

1:13:38

off, it cuts to Halley who

1:13:40

sees the alarm and kind of

1:13:42

looks satisfied, like yes. He did

1:13:44

it. I'm getting chills, just remembering

1:13:46

it. Milchick is like looking in

1:13:48

the mirror, summoning the strength of

1:13:51

an angry middle uh... like these

1:13:53

mother buckers there's nothing more powerful

1:13:55

than the anger of a middle

1:13:57

manager mower screams you'll kill them

1:13:59

all Yeah. Does he mean all of the

1:14:01

gymnas that he's in love with? Yeah, I

1:14:03

think so. Steve, have any different thoughts? You

1:14:05

know, I didn't think of it at the moment,

1:14:08

but I like that read. I think

1:14:10

that actually is probably what he's referring

1:14:12

to. I just thought like maybe there's

1:14:14

some other nefarious thing it worked. Like

1:14:16

you're going to get all the out,

1:14:18

all the any's killed by doing this,

1:14:20

that type of thing. I thought that

1:14:23

initially, but as I said it here,

1:14:25

but as I said it, I said

1:14:27

it, I said, I said, I said,

1:14:29

My ladies! They become... You can take

1:14:31

Jim away from me, but don't you

1:14:33

dare take Christmas Jim away from me?

1:14:35

I love watching her write thank you

1:14:37

cards. I love that they become

1:14:40

Mark and Casey while they're

1:14:42

making out. Yeah, they finally

1:14:44

have that beautiful word

1:14:46

together. And then they

1:14:48

separate Mark, yes. What's taking

1:14:50

place? That's the last time

1:14:53

Audi Mark saw her. Whenever

1:14:55

he comes back, he's not going to,

1:14:57

he was just kissing her and now

1:15:00

she's going to be gone again. I

1:15:02

assume he's going to be a

1:15:04

captive of Lumen. We'll talk about

1:15:07

that soon. We're almost there. Yeah,

1:15:09

they become Miss Casey. Miss Casey

1:15:11

goes, what's taking place? She didn't

1:15:14

hate it. What's this feeling? And

1:15:16

then Seth is power running and

1:15:18

hitting the vending machine over and

1:15:20

over as Miss Casey and any

1:15:23

Mark are running through the hallways.

1:15:25

Do that jump from Seth is

1:15:27

fucking epic. Oh, and he pounces

1:15:30

on it. Yeah, that's like a

1:15:32

super villain like move. Yeah. Does

1:15:34

that or affect you than Spider-Man?

1:15:37

My notes says go right now.

1:15:39

Where? But I don't know who

1:15:41

says that. Oh, you make it

1:15:44

to the threshold door and Mark

1:15:46

is telling her. Get out of

1:15:48

here. And where? You have to

1:15:50

go right now. Dylan is

1:15:53

there with the whole

1:15:55

marching band staring

1:15:57

at Seth. Fuck you Seth.

1:15:59

It seems like merriment and choreography

1:16:02

are down for the belt. They're

1:16:04

about to choreograph a kind of

1:16:06

whoop ass on his ass. Yeah, they

1:16:08

are. Like Mark, come on. And

1:16:10

now she can see her fucking

1:16:12

husband standing in there. She has

1:16:14

no concept of why he wouldn't

1:16:16

come. It's so brutal. He hesitates.

1:16:18

Then hellies behind him and he's

1:16:21

symbolically between the two. his wife

1:16:23

and the love of his life.

1:16:25

This is fucking genius. It's so

1:16:27

good. And then he walks back

1:16:29

to Helli and Gemma has to

1:16:31

just like process this like, what

1:16:34

the fuck are you doing? And

1:16:36

it's another woman and it's so

1:16:38

painful. And I am screaming at

1:16:40

my screen. I'm like, no, no,

1:16:42

she's right there. But also, it's

1:16:44

brilliant and like you totally understand

1:16:46

anyone. You know? I kind of wonder if

1:16:48

Gemma knows who Hellie is, or at

1:16:50

least who Helena is, because there's that

1:16:52

one shot where she clocks that she's

1:16:54

there, and there's a little bit of

1:16:56

a change in how she performs and

1:16:59

tries to get Mark out. So it

1:17:01

makes me wonder if she's like, oh,

1:17:03

that's the woman that tricked me to

1:17:05

get down here, don't go there Mark. I

1:17:07

wonder. I wonder. I lost it when

1:17:09

they're running through the hallway and the

1:17:11

soundtrack is so good and the red

1:17:14

and the white with the lights. Yeah.

1:17:16

Recreating that opening shot of Mark from

1:17:18

the first episode running through the hallways.

1:17:20

But now he's got cameras chasing behind

1:17:22

him, but yeah, now it's red and

1:17:25

he's got helly. It's fun. Is this

1:17:27

like a North by Northwest reference or

1:17:29

something? It's Thomas Crown affair. That's what

1:17:31

it is. So the windmills of your mind

1:17:34

is a song. from the Thomas Crown affair

1:17:36

at one best original song in 1968. This

1:17:38

is actually a cover of that version. This

1:17:40

is a cover by, done by Mel Torm.

1:17:42

The original song was performed by Noel

1:17:45

Harrison. But this this whole sequence

1:17:47

is very 1970 cinema. Yes, like

1:17:49

because that's soundtrack. And then they do

1:17:51

the 60s. But yeah, 60s. It does like the

1:17:53

freeze frame kind of like the butch casting a

1:17:55

Sundance kid ending and it like zooms in on

1:17:58

the still image of the free frame. I love

1:18:00

it so god damn much. Oh my

1:18:02

god, I loved it. It's beautiful. And

1:18:04

I sat and listened to the credit

1:18:06

song for a good while. There's even

1:18:08

a little bit of a hint, I

1:18:10

think, of the graduate in the last

1:18:12

scene when they're holding hands running because

1:18:14

she smiles and he doesn't. They look

1:18:16

weird, they look at each other, they

1:18:18

smile and then they look away from

1:18:21

each other and then they both look

1:18:23

like, oh, fuck. What do we do?

1:18:25

Which is a brilliant pool. Which is

1:18:27

very how the graduate ends. That's one

1:18:29

of the greatest endings of all time.

1:18:31

Because they're like, we did it. And

1:18:33

then they realize like, we're just, oh

1:18:35

shit, we do. We do. We keep

1:18:37

the camera rolling. Yeah. Yeah. You know

1:18:39

how they shot that? Like the back?

1:18:41

What do you mean? The graduate, I

1:18:43

mean I know how the graduate ends.

1:18:45

No, no, yeah, but the director didn't

1:18:47

tell the actors. Oh, yeah, yeah, he

1:18:50

just kept the camera running. Yeah, absolutely.

1:18:52

Okay. We ended it. And that creates

1:18:54

this brilliant, like, oh, fuck, what are

1:18:56

we going to do for the rest

1:18:58

of our lives? Maybe this was a

1:19:00

mistake. I don't even know you that

1:19:02

well. Effect to it. And you're right.

1:19:04

It does do that. Is this the

1:19:06

best thing ever? I think so. I

1:19:08

fucking love it. This is when I

1:19:10

say how frustrated I am, it's because

1:19:12

of this, because of the character decisions,

1:19:14

not how it was done. The execution

1:19:16

was fucking genius. I'm just like, no,

1:19:18

no, go out there with her by

1:19:21

far. No, I get you're supposed to

1:19:23

feel that. Yeah, yeah, yeah. From that

1:19:25

perspective, it's like, God damn. And then

1:19:27

another like little layer to this is

1:19:29

the Thomas Crown affair is about. I

1:19:31

don't know what that means. Is that

1:19:33

a movie? It is a movie. There's

1:19:35

two movies. There's a movie in 1968

1:19:37

and then a 1990. It's a Pierce-Brosznan

1:19:39

remake. It's basically a rich dude commits

1:19:41

some sort of crime. It's different in

1:19:43

each movie. Commits a crime like a

1:19:45

heist. And then there's a woman who

1:19:47

represents the insurance company that's trying to

1:19:49

figure out who stole it. uses her

1:19:52

to pull off another ice, but there's

1:19:54

like an open-ended like you can join

1:19:56

me or or you can turn me

1:19:58

in and I can see the the

1:20:00

ripples from the that story in in

1:20:02

this situation with Helen Mark as well.

1:20:04

And that's the end of season two

1:20:06

of Severance. How are we going to

1:20:08

choose our CIRS three mandates, dude? Dude,

1:20:10

I don't know. Our top three favorite

1:20:12

moments are coming up. But first, take

1:20:14

a quick break to hear a word

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from one of our sponsors.

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1:21:20

Hello stream fiends as we march

1:21:22

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1:21:24

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chill starts the wane we want

1:21:29

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1:21:31

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1:21:33

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for supporting streaming things all this

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time. And with that, let's get

1:22:38

back to the episode. And we're

1:22:40

back. It's time to talk about

1:22:42

our top three favorite moments of

1:22:45

the finale. Andy, I do not

1:22:47

envy you for having to go

1:22:49

first. What is your number three?

1:22:51

My number three is any mark

1:22:53

choosing Helli over Jimma, the ending.

1:22:56

It's just fucking genius to bring

1:22:58

back the severed threshold door to

1:23:00

have the two loves of his

1:23:02

life on either end. when he

1:23:04

hesitates, I'm like, oh no, like,

1:23:06

but I'm frustrated in the best

1:23:09

possible way because it's just genius

1:23:11

fucking writing. It's heartbreaking. The, fuck,

1:23:13

Miss Casey is Miss McGuffin, right?

1:23:15

She's the one that they're all

1:23:17

after and they finally do the

1:23:19

thing. And like you guys talked

1:23:22

about in your opening thoughts about

1:23:24

the episode, like. that it had

1:23:26

an arc and it did it

1:23:28

and it did it fucking perfectly.

1:23:30

Will they get her out? Yes,

1:23:32

they do, but, you know, and

1:23:35

the but is just fucking devastating

1:23:37

and genius writing. Devastating but. I

1:23:39

think about you every day, cricket.

1:23:41

So damn devastatingly good. What is

1:23:43

your number three? Dude, this is

1:23:45

such a hard, like, I can

1:23:48

give you three moments, and there'll

1:23:50

all be a lie, because every

1:23:52

moment's number one. Well, to be

1:23:54

honest, there's a clear number one,

1:23:56

and then there's like everything else

1:23:58

is clearly tied for number two,

1:24:01

and I'm having a hard time

1:24:03

figuring out which ones I'm gonna

1:24:05

put on there. Just for the

1:24:07

sake of diversity, I will choose

1:24:09

things that Andy doesn't choose. Just

1:24:11

so we can talk about other

1:24:14

scenes, but I'm gonna say it

1:24:16

number three. the any and outy

1:24:18

dealing Dylan moment like that is

1:24:20

such a tear jerking moment and

1:24:22

you're right like they have good

1:24:24

reason to not trust the outies

1:24:27

because from their perspective the outies

1:24:29

don't see them as equals their

1:24:31

shadow and all this stuff and

1:24:33

this whole season you're kind of

1:24:35

you know you're kind of prime

1:24:37

for like ooh outy Dylan's gonna

1:24:40

be at odds with the anyone

1:24:42

because of Gretchen and is like

1:24:44

that's my wife you know and

1:24:46

I just love how outy Dylan

1:24:48

it just so he's just as

1:24:51

good as any Dylan. Really, like

1:24:53

he doesn't have confidence and that's

1:24:55

the difference between the two of

1:24:57

them, but they're just as good.

1:24:59

And the fact that he's like,

1:25:01

you know, hey, fuck you, that's

1:25:04

my wife, that's really funny, but

1:25:06

then it gets real, like, but

1:25:08

I get it, she's awesome, and

1:25:10

you're great, and I like knowing

1:25:12

that you're there, if you want

1:25:14

to, and then he gives him

1:25:17

the choice, and I think that's

1:25:19

what the biggest plus to that

1:25:21

is, because you could, because that

1:25:23

benefits me. But that's not what

1:25:25

any Dylan did. He said that

1:25:27

that does make me feel better,

1:25:30

but it's your choice, ultimately, and

1:25:32

he didn't fill out the boxes.

1:25:34

And I'm almost tearing up just

1:25:36

thinking about it, because it's such

1:25:38

a beautiful moment. That's my number

1:25:40

three. That's my number three as

1:25:43

well. I can't leave it off.

1:25:45

I'm obsessed with that. It made

1:25:47

me cry just talking about it

1:25:49

on the pod. One of the

1:25:51

few moments that did that. And

1:25:53

I can't say it any better

1:25:56

than you said. in this episode,

1:25:58

which is really fascinating. such a

1:26:00

twist that Audi Dylan is so kind

1:26:02

and understanding to him.

1:26:04

And I actually kind of extremely

1:26:06

vulnerable. Yeah. And we all have

1:26:09

parts of ourselves that things that

1:26:11

we're capable of that we're proud

1:26:13

of that we can't always muster.

1:26:15

And just the idea that he's like,

1:26:17

it's just good knowing that you're

1:26:19

there. You know what I mean? Like how it

1:26:21

helps him. Like it gives him

1:26:23

hope. Like obviously I'm capable of

1:26:26

what you're doing. because you are

1:26:28

me, but I just can't figure out

1:26:30

how to get my stupid brain to

1:26:32

turn off. And I think we've all

1:26:35

felt that way. And yeah, it's just

1:26:37

deep, man. It's deep. And Zach

1:26:39

Cherry, incredible work

1:26:41

there. Very phenomenal. And you

1:26:43

can see I'm just taking off

1:26:45

his glasses stunned at the end

1:26:47

of that. It's such a good

1:26:49

scene. That's my number three. Andy,

1:26:52

you're number two. My number two

1:26:54

is the birthing cabin with Mark

1:26:56

and Mark going back and forth

1:26:58

Steve. I'm sorry because I feel

1:27:00

like you that would have to be

1:27:02

in your top three and if you're

1:27:04

gonna pick different ones than me But it's

1:27:06

just again conceptually like only the show

1:27:09

could do this and they do it

1:27:11

so fucking well. They're like it's just

1:27:13

two shots of fucking Adam Scott

1:27:15

talking into a camera corridor camcorder

1:27:18

right and it's cutting to like

1:27:20

the shitty little grainy screen and

1:27:22

like visually they still managed to

1:27:25

make it fucking incredible with like

1:27:27

zoom into the camera lens and

1:27:29

it warps and now he's outside

1:27:31

and stuff and then they do

1:27:34

this cross fade where they're sitting

1:27:36

in opposite chairs but indoors facing

1:27:38

one with outdoors facing the other

1:27:41

and it's just fucking brilliant and

1:27:43

the shift in the stakes of

1:27:45

like oh my god like that's

1:27:47

my fucking and they're both like

1:27:49

that's fucking genius but then to

1:27:51

flip it and have it be

1:27:53

like Helenie. It's like, oh, you said

1:27:56

it wrong, you know, and like it's

1:27:58

the the subversion of like how

1:28:00

I thought that this conversation was gonna

1:28:02

go was fucking genius and like no

1:28:05

I can't trust you and God the

1:28:07

writing room or if it was one

1:28:09

person whoever bravo just fucking awesome Steve

1:28:12

Andy I'm glad you've brought that up

1:28:14

because again I'm glad you've brought that

1:28:16

up because again I have like 12

1:28:19

moments that could be number two so

1:28:21

I'm glad you're bringing stuff up so

1:28:23

I can talk about other scenes because

1:28:25

I'm gonna say the moment that honestly

1:28:28

just made me I've watched it twice

1:28:30

scene pops up, but this scene, for

1:28:32

every reason, just punched me in the

1:28:35

gut, is just that little moment when

1:28:37

Mark and Helly are at the table.

1:28:39

He's considering not just doing it. And

1:28:42

she's like, well, hey, you'll get a

1:28:44

chance to live. And he says, but

1:28:46

I want to live with you. And

1:28:48

then that because they know they're being

1:28:51

watched that he can't look at her

1:28:53

and that little tear and he's just

1:28:55

trying to hold it together. His performance

1:28:58

is so good there. Both of their

1:29:00

performance. Brit Lauer, just her eyes are

1:29:02

just emoting so much in that scene.

1:29:05

And every time I just want to

1:29:07

like burst into tears when that one

1:29:09

line is uttered. And it's just like,

1:29:11

these two, these two kids, God, I

1:29:14

love them. I want them to have

1:29:16

that honeymoon ending. Cobell be damned. So

1:29:18

that's my number two. Kit. My number

1:29:21

two is Andy's number two, the conversation

1:29:23

in the birthing cabin. It's just such

1:29:25

a fascinating thing, like Andy said, that

1:29:28

only the show could do, Annie Mark

1:29:30

talking to Audi, Mark talking to himself,

1:29:32

and specifically that moment where the video

1:29:34

first plays and he sees that it's

1:29:37

his Audi and he gets just so

1:29:39

happy and fascinated like this window into

1:29:41

another world that he's always wondered about

1:29:44

but never could possibly see and yet

1:29:46

here it is. And even though he's

1:29:48

scared and confused, like, oh, this is

1:29:51

wonderful. Oh, and he seems nice, you

1:29:53

know, before the turn. It's just an

1:29:55

all-time or great TV moment. And this

1:29:57

episode is filled with them. That's my

1:30:00

number two. Andy, your favorite moment of

1:30:02

the finale. Now Steve, I feel like

1:30:04

we have to we all everybody list.

1:30:07

It's the fucking severing in the. elevator

1:30:09

with Drummond's gun. I thought it was

1:30:11

being a dick for putting that as

1:30:14

my number one. No, dude. It's so

1:30:16

fucking good. It's so genius. You're like,

1:30:18

holy fuck, they went there. And then

1:30:21

like the chaos that ensues after it.

1:30:23

When Mark becomes Audi Mark, he's like,

1:30:25

do I just fucking kill a guy?

1:30:27

Like blood squirt and everywhere. He doesn't

1:30:30

even know that guy. Yeah. It's so

1:30:32

fucking good, man. It's just, like I

1:30:34

said before, and with my previous one,

1:30:37

the Mark and Mark going back and

1:30:39

forth, only the show could do this.

1:30:41

And it's so fucking good. It's like,

1:30:44

whoever thought of it when they were

1:30:46

writing it had to have been like,

1:30:48

you guys. It's so fucking good, man.

1:30:50

It's just genius, fucking writing. That's, we

1:30:53

all everybody. We all everybody. Everything you

1:30:55

just said. It's such an iconic scene

1:30:57

and. Well, only severance can have someone

1:31:00

getting shot in an elevator be the

1:31:02

most shocking, hilarious, dramatic thing all at

1:31:04

the same time. There's so many feelings

1:31:07

in that one moment and it's just,

1:31:09

what a great punctuation. And they did

1:31:11

it in his neck, so it made

1:31:13

it so much more like, as opposed

1:31:16

to like, if he was holding to

1:31:18

his head, just been, oh my God.

1:31:20

But like, they just ramp it so

1:31:23

fucking well. It's great. It's one of

1:31:25

the best moments ever. I love it

1:31:27

that I feel like. Less corny now

1:31:30

for being like, oh, I like the

1:31:32

neck thing the most. The neck thing

1:31:34

is the funniest. But also, shout out

1:31:36

the nurse, fuck yeah, fuck yeah. That's

1:31:39

great. Get out of your fucko. It's

1:31:41

time to somehow pick a waffle party

1:31:43

recipient the last time we can do

1:31:46

this for season two. The best performance,

1:31:48

our favorite performance, I should say of

1:31:50

the finale. Andy. Who do you give

1:31:53

the last waffle? I give it to

1:31:55

Adam Scott. I mean, he was front

1:31:57

and center in all of my favorite

1:31:59

scenes and he's doing so fucking much,

1:32:02

not just with like the back. and

1:32:04

forth of Audi and Anymark talking, but

1:32:06

like his moments with Helli, you know,

1:32:09

like I'll see at the equator and

1:32:11

stuff, it's heartbreaking, the shit with the

1:32:13

elevator, the chaos, the screaming at the

1:32:16

nurse, the everything he does in this

1:32:18

episode is fucking incredible. Steve. I am

1:32:20

also gonna give this one to Adam

1:32:22

Scott. I think he's the one doing

1:32:25

the most, like everyone's doing incredible work

1:32:27

in this episode, but he's doing the

1:32:29

most diverse set of. things like that

1:32:32

conversation with himself is so impressive because

1:32:34

a the way they shoot it but

1:32:36

also the way he plays the different

1:32:39

versions of him so well like you

1:32:41

really feel like these are two completely

1:32:43

different characters even up through when they're

1:32:46

going up and down the elevator in

1:32:48

the severed floor and changing roles at

1:32:50

that point and then like I said

1:32:52

that that that that little delivery of

1:32:55

I want to spend my life with

1:32:57

you is it's heartbreaking and he's been

1:32:59

doing incredible work all season. So I

1:33:02

want to give him this last waffle

1:33:04

party to that guy, Adam Scott. I

1:33:06

agree. We all, everybody. We all, everybody.

1:33:09

Adam Scott, shout out to to Brit

1:33:11

Lauer, but he, like Michael Siberi, who

1:33:13

plays James Egan, I think he's up

1:33:15

a fascinating performance. Oh yeah. Oh, fuck.

1:33:18

Zachary. Olafar, Dari Olafsen, who plays Mr.

1:33:20

Drummond. I definitely didn't pronounce that correctly,

1:33:22

but I mean, everything. There's so much

1:33:25

like great character work and unique decisions

1:33:27

throughout, but Adam Scott does profound work

1:33:29

in this finale. And I do think

1:33:32

it is the choice. Well done. Well,

1:33:34

you know, he's helping me just for

1:33:36

my grand agendum of enjoying TV. And

1:33:38

he's the most important person in history,

1:33:41

perhaps right now. But that's the end.

1:33:43

I know we're having a whole. Season

1:33:45

2, Recap Mailbag, season 3, Predictions episode.

1:33:48

I mean, so maybe we don't want

1:33:50

to get too in the weeds. on

1:33:52

what we think a lot of the