Devin and I untangle our recent lack of enthusiasm for TV and explore the current state creatively and commercially of the television landscape.
In a throwback to the early days of our podcast, Devin and I caught up on some TV we’ve been watching recently.
The Good Place: 0:00 – 3:00
BoJack Horseman: 3:00 – 8:30
Insecure: 8:30 – 13:30
Forever: 13:30 – 19:45
Succession: 19:45 – 28:15
American Vandal: 28:15 – 33:10
Big Brother: 33-10 – End
Here are predictions for this year’s Emmy awards from me and my podcast partner Devin Mitchell. They are official and binding, and we arrived at them separately. If you bet on our picks and come up short, you may sue us for all we are worth.
Each day this month (assuming I don’t get busy or bored!), I’ll reflect on a tiny sliver of pop culture that I enjoyed or appreciated this year — scenes, shots, gestures, verses, sights, sounds, moments. Today: Jeannie Berlin’s performance on HBO’s The Night Of.
Even if you’ve never seen Jeannie Berlin — and given her slim IMDb resume, it’s quite possible you haven’t — you instantly feel a connection with her when she appears onscreen. She’s a character actress in the most widely accepted use of the term, someone who inspires the reaction, “Oh, her!”
She only appears in seven of the ten episodes of The Night Of, a “limited” series (maybe) created by Steven Zaillian and Richard Price that unspooled on Sunday nights this summer on HBO. Her character, veteran prosecutor Helen Weiss, is a tough nut to crack. She carries herself with dignity and poise, but also sneers at her conversation partners and appears unmoved by appeals to her emotions. For a few episodes, she’s a background player, visible in one or two scenes only to disappear for most of the main action.
And then the trial of our protagonist, maybe-murderer Naz Khan (Riz Ahmed), begins, and Helen Weiss shines.