Overview of The Watch (The Ringer)
This episode of The Watch (hosts Chris Ryan and Andy Greenwald) reviews a big weekend of TV and franchise news. The conversation centers on the new Game of Thrones spinoff A Knight of the Seven Kingdoms, the changing leadership and creative direction at Lucasfilm/Star Wars, a close read of Industry S4E2, and thoughts on the Landman Season 2 finale. The hosts mix plot impressions, casting and production notes, and bigger franchise strategy takes about scope, budget, and authorial stewardship.
A Knight of the Seven Kingdoms — what the hosts liked
- Tone and scope
- Praised for feeling like “Game of Thrones at its best”: character-first, smaller in scale, and more approachable than recent franchise entries.
- The episode is relatively short (~35 minutes) and intentionally compact—sets and action are concentrated (e.g., a single tournament/field setting), which helps align budget to creative aims.
- Adaptation approach
- Based on George R.R. Martin’s Dunk & Egg novellas; the adaptation is faithful but willing to add small tonal flourishes (hosts noted a deliberately irreverent moment not in the books).
- Seen as a corrective to larger, event-driven spinoffs—this one centers on ordinary goals and slice-of-life stakes rather than nonstop throne-chasing.
- Casting & creative team
- Hosts called out strong casting and veteran British theater actors as a “cheat code” (theatrical depth and reliable performances).
- Specific performances highlighted: the chemistry between the leads (Dunk and Egg) and a memorable Lionel Baratheon turn that subverts expectations.
- Larger franchise implication
- The series is presented as an example of careful franchise stewardship: smaller stories, slower build, and tonal variety across spinoffs instead of instant escalation to spectacle.
Star Wars — leadership, strategy, and risks
- Personnel and power
- Kathy Kennedy’s exit and Dave Filoni’s promotion to a major creative leadership role (co-president of Lucasfilm) were discussed as a pivotal industry development.
- Hosts debated pros and cons of a single creative “GM” model (a la Kevin Feige/James Gunn) versus a pluralistic approach that curates many voices.
- Creative direction and pitfalls
- Praise for Andor as an example of how to tell lower-key, character-centered Star Wars stories successfully.
- Concern that many Star Wars projects (e.g., The Mandalorian) sometimes “reach for” big-name elements (Luke, digital likenesses, etc.) too soon, turning smaller stories into spectacle-driven events.
- Filoni is characterized as a Lucas “originalist” with a committed fan base; the transition to his leadership raises questions about tone and the politics of franchise messaging.
- Narrative noise vs. stewardship
- Hosts criticized industry rumor/PR narratives (e.g., leaks that Filoni “hated” Andor) and argued for clearer creative messaging from Lucasfilm.
- Theme-park note
- Disney’s Galaxy’s Edge adjustments (timeline/character appearances) were discussed as an example of corporate attempts to keep immersive franchises commercially viable—sometimes requiring retconning or tie-in comics.
Industry (Season 4, Episode 2: “The Commander and the Grey Lady”)
- Structure & ambition
- Episode receives strong acclaim for bold structure: parallel, emotionally intense arcs for Henry (Kit Harington) and Yasmin that dovetail powerfully by episode end.
- Praised for density — the show compresses near–series-level emotional work into a single episode through theatrical staging and careful scripting.
- Performances and direction
- Kit Harington’s performance is singled out as committed and transformative; hosts likened his work to a “night of the soul” sequence.
- Camera work, sound, and staging were called “maximalist” in a good sense—at times it teeters on excess but largely lands because of craft.
- Themes
- Major themes: privilege, identity, second acts, loneliness, and the toll of performative masculinity/elite life.
- The episode uses ghostly and stage-like devices (flashbacks, hallucinations) to heighten the psychological stakes.
- Reservations
- Some cast arcs (e.g., Max Minghella’s Whitney) are described as ambiguous in purpose so far — the hosts are curious how those threads will pay off.
The Landman (Season 2 finale) — mixed reactions
- Overall assessment
- The finale and season were seen as uneven: the show reached an emotionally satisfying and exciting place, but the journey felt overlong and sometimes unfocused.
- Specific criticisms
- Arc diffusion: multiple wild pivots (cartel threads, political drama, romance, high-risk drilling gambles) sometimes made the season feel scattered rather than tightly plotted.
- Character inconsistency: some high-profile cast members (Demi Moore is discussed) had uneven utilization — moments of compelling material followed by seemingly gratuitous or underwritten detours.
- Positives
- The season ends in a place that promises drama and escalation — there’s appetite for a Season 3 if the show tightens focus and improves narrative economy.
Notable insights & recurring themes
- Cart before the horse (plot vs. characters): The hosts argue great franchise TV often succeeds when horses (characters) pull the cart (plot), not the other way around.
- Budget and scope alignment: Smaller, character-rooted shows (e.g., A Knight…) can deliver quality while being economically sensible—an argument for thoughtful IP expansion.
- Franchise stewardship models vary: single visionary “franchise GM” vs. broad, curated multi-voices — both have trade-offs; success depends on clarity of taste and consistent communication.
- TV language and risk: Contemporary premium TV can and often does adopt stagey, theatrical techniques; when handled well, that risk yields emotional impact.
Select quotes / soundbites from the episode
- “This is the first Thrones show I think you can get into and want them to succeed because their goals are relatively modest.”
- On Industry: “We would rather die afraid than be present for a single second of our lives” — used as an encapsulation of the show’s emotional urgency.
- On franchise strategy: “Start with people rather than a thing.”
Recommendations (what to watch/track next)
- Watch A Knight of the Seven Kingdoms for a character-driven, compact take on Westeros.
- Keep following Industry (Season 4) — S4E2 is highlighted as a must-see episode for its ambition and performances.
- Reassess The Landman more cautiously — the finale promises more, but the season’s unevenness is worth noting.
- Track Lucasfilm’s slate and leadership moves: Dave Filoni’s stewardship will shape the next wave of Star Wars projects and tone across TV and film.
If you want a one-line takeaway: the hosts celebrated small, well-scoped storytelling (A Knight…) while warning that large franchises risk dilution without disciplined creative stewardship.