Overview of The Watch (The Ringer)
This episode of The Watch (hosts Chris Ryan and Andy Greenwald) was recorded in London and covers TV culture, recent trailers, and a strong recommendation: Netflix’s new historical limited series Death by Lightning. The hosts debate whether Stranger Things represents the “last gasp” of blockbuster TV and survey several other current shows (Pluribus, The Morning Show, I Love LA, Chair Company), with notes on tone, production, and casting.
Main segments
Stranger Things — is this the last gasp of blockbuster TV?
- Trailer and tonal shift: The new Stranger Things trailer signals a tonal evolution from 1980s Amblin/coming‑of‑age nostalgia toward big, Terminator/T2-style action and spectacle.
- Ten-year arc: The hosts note the show's unusual decade-long lifecycle (kids who became stars, now adults) and how that enabled its tonal and scale shifts. Millie Bobby Brown, Finn Wolfhard, Maya Hawke and others have grown into larger careers alongside the series.
- Theatrical/episodic release: Netflix is splitting the final season into big chunks (some episodes getting theatrical play), which underscores its blockbuster ambitions.
- Industry implications: Andy and Chris argue this kind of slow-burn, small-to‑huge growth (start small → build to massive production) feels rarer now—streamers often must “start big” with big IP to justify budgets. That makes Stranger Things’ arc a potential relic or time capsule of a particular era of TV.
- Comparison to other long-form arcs: They compare its tonal evolution to shows like Breaking Bad and Game of Thrones—TV can legitimately transform over time when creators stick around.
Death by Lightning — why to watch (Netflix)
- What it is: A short historical limited series (four episodes), adapted from Candice Millard’s Destiny of the Republic, focused on the political world and assassination of President James A. Garfield. Creator/writer: Mike Makowsky (Bad Education); director: Matt Ross; score by Ramin Djawadi.
- Key cast: Michael Shannon (as James A. Garfield), Shea Whigham, Betty Gilpin, Bradley Whitford, Nick Offerman and others.
- Tone and style: Described as lively, briskly paced, and not reverential; blends Gilded Age/Deadwood sensibilities with tight plotting and strong character work. The show opens with a 1960s archive framing device (explaining anachronistic music choice) and then moves into 1880s Chicago and Washington D.C. during the Republican convention.
- Performances: Hosts praise the cast’s chemistry and measured choices—Shannon’s stoic Garfield set against an electric performance from the actor playing Charles Guiteau (the would‑be assassin). Shea Whigham and Bradley Whitford are noted for memorable character moments.
- Production notes: The show feels cinematic while remaining focused (less obviously CGI‑heavy than some recent period pieces). It’s praised as a compact, actor‑elevated series and a good win for the Netflix development deal that brought it to screens.
- Recommendation: Strongly recommended—recommended as an efficient, well‑performed historical drama that rewards viewers unfamiliar with the underlying history.
Other shows discussed (short takes)
- Pluribus: Praised as a creator/star‑driven project that benefited from Apple’s willingness to give multi‑season guarantees; represents a model where creator authorship can justify early network confidence.
- The Morning Show (latest season): Conversation around AI plotlines, production logistics (actors not always filmed together), and turned‑up set pieces. Andy found it entertaining and noted some striking use of digital tools/volume stages.
- I Love LA: The second episode is enjoyable and funny; hosts wondered about whether longer influencer‑drama arcs will sustain viewer interest versus episodic, character-driven comedy.
- Chair Company (referred to as Chair Company on the episode): Described as wild, uniquely staged, and risky television—an episode includes surreal and extreme set pieces that made an impression (the hosts encouraged viewing to understand).
- Predator: Badlands: Brief mention of Chris recording a Big Picture episode about it after watching it in IMAX at BFI Southbank; it was a hit with audiences.
Notable insights and themes
- The economics of prestige TV have shifted: newer shows often need to begin with scale and pre‑sold IP to justify massive budgets, which reduces opportunities for small, slow‑burn breakout hits.
- Creator continuity matters: Shows that retain their creators and writers (allowing tonal evolution) are likelier to land a satisfying arc (examples: Breaking Bad; contrasted with shows that lose focus).
- Performance calibration: The hosts emphasize the art of casting and performance gradation—big ensemble pieces succeed when acting levels balance so scene partners can amplify each other rather than compete.
- Production realities: Scheduling, actors’ external commitments, and modern visual effects/volume stages complicate production and on‑screen interactions; these constraints influence storytelling choices.
Recommended viewing (from this episode)
- Must watch: Death by Lightning (Netflix) — a concise, accomplished historical limited series recommended by both hosts.
- Keep an eye on: Stranger Things (final season) — for cultural impact and how large-scale TV endings are staged; Pluribus and The Morning Show for creator‑led experiments and current streamer strategies.
- Comedy/drama picks: I Love LA (funny, second episode strong) and Chair Company (odd, provocative).
Memorable lines / quick quotes
- “It looks more James Cameron than Amblin.” — about Stranger Things’ new trailer.
- “This will go down as a time‑capsule piece from a very specific era of TV.” — on Stranger Things.
- “Heavy is the head.” — used jokingly in the Garfield/leadership discussion.
- “Gilded Age by way of Deadwood” — a shorthand for Death by Lightning’s tone.
Episode logistics & contact
- Hosts: Chris Ryan and Andy Greenwald.
- Recorded in London; they return to LA next week.
- Contact: The Watch email (mentioned on episode): thewatch@spotify.com; social handles: thewatchpod / thewatchpod_ on Instagram and Ringer TV on YouTube.
If you want a short take: watch Death by Lightning now; treat Stranger Things’ final season as a cultural event and a useful case study in how blockbuster TV endings are made (and how that model may be changing).