Overview of The Watch — Episode: ‘Wonder Man’ Is the Rare Marvel TV Show That Works. Plus, Does ‘The Pit’ Need More Conflict?
Chris Ryan and Andy Greenwald discuss two TV series in depth: Marvel/Disney+’s new limited series Wonder Man, and the second season of medical drama The Pit. They compare tone, storytelling choices, production context, and what each show gets right (and wrong). The conversation also touches briefly on industry noise (Sundance rebrand, streamer economics) and some personal/road-trip banter.
Wonder Man (Marvel / Disney+)
What the show is and who made it
- Creators: Destin Daniel Cretton and Andrew Guest.
- Star: Yahya Abdul‑Mateen II as Simon Williams (the Marvel comics’ Wonder Man).
- Notable casting: Ben Kingsley in a major supporting role; Arian Moayed in a government role; guest turns including Byron Bowers and Josh Gad.
- Format: Eight 30-minute episodes released as a binge in January on Disney+ under Marvel’s “Spotlight” approach.
Tone and approach
- Low-key, character-led, more indie/comedies-of-manners than typical Marvel spectacle.
- Plays like an affectionate Hollywood/actors-in-LA satire and a buddy comedy (Simon and Kingsley’s Trevor), with quiet emotional stakes.
- Minimal, deliberate MCU tie‑ins — the show is designed to stand on its own for viewers who don’t consume everything else.
- Episode 4 is a tonal detour (black-and-white, contained character story) that succeeds as a satisfying, standalone chamber piece.
Why it works (hosts’ main arguments)
- Thoughtful writing and consistent tone — feels “unfucked with” by corporate notes.
- Strong performances: Yahya anchors the role; Ben Kingsley delivers a surprising, charismatic turn that shows range.
- Attentive details: authentic Los Angeles settings and cultural specificity (family, food, neighborhoods) that enrich the world beyond superhero trappings.
- Powers are treated as secondary or even unwanted, which keeps the show focused on character desires (Simon wants to be an actor, not a superhero).
- The binge release suits the show’s intimacy, even if it limited week-to-week marketing opportunities.
Criticisms / caveats
- Disney/Marvel gave the series relatively little promotion and delayed release, which could limit reach.
- Some Marvel fans may be thrown off by the series’ slow-burn, non-action focus.
- Hosts note they haven’t spoiled major plot points but are enthusiastic and recommend watching.
The Pit (medical drama) — Season 2 notes and critique
Overall take
- Hosts remain fans: they consider The Pit among the best TV around for realism and craft, but Season 2 has a different emotional texture compared to Season 1.
- The show is expertly made (writing, directing, technical realism) and still worth watching.
Main criticism: loss of interpersonal conflict
- Season 1 anchored itself in sharper, combustible interpersonal tension among the ER staff; Season 2 feels softer and more collegial early on.
- A key missing element is Dr. Collins (referred to as Tracy Esherford’s character) — her absence removes an edge that previously helped drive interpersonal drama.
- Several characters (Santos, Langdon, Robbie) feel less fraught or darker than before; Langdon’s potentially interesting darker arc has been muted so far.
- The increased number of supporting characters, students, and patients (Joy, Ogilvy, new nurse Jessie, etc.) reduces screen time for the core tensions that powered Season 1.
What still works
- Realism in medical detail and the decision to cast/sprinkle real clinicians (Nurse Jessie actor Ned Brower is reportedly a trained nurse) adds texture and credibility.
- The show remains emotionally honest and committed to depicting the moral/political stakes of healthcare work.
- Craftsmanship — strong ensemble, good use of time jumps, and well-managed procedural elements.
Structural observation
- Season 2 is front-loading character beats because the series remains confined to the hospital; once a high-stakes “bad day” kicks in, there will be less room for quieter character moments.
- The hosts accept the critique while emphasizing the show’s overall high quality and the challenge of sustaining serialized workplace drama without softening characters too much.
Other industry & meta notes
- Sundance is rebranding as an “algorithm‑free” streaming channel — hosts are skeptical/curious about what that means in practice.
- Peacock reportedly losing money but adding subscribers; streamers continue to juggle economics and content strategies.
- Hosts remark on Disney/Marvel internal changes and how that may have affected Wonder Man’s rollout.
Key takeaways
- Wonder Man: A surprising, consistently excellent small-scale Marvel show — character-first, smartly cast, emotionally resonant. High recommendation for viewers who like character comedies/dramas with a superhero garnish.
- The Pit: Still among the best TV workplace/medical dramas for craft and realism, but Season 2 has softened some of the interpersonal conflict that made Season 1 feel urgent. Worth watching, with caveats about pacing and ensemble balance.
- Both shows show that franchise or genre TV can benefit from focused, tonal clarity and creative trust — smaller, riskier choices can pay off.
Recommendations
- Watch Wonder Man (binge-friendly): viewers who want an offbeat, heartfelt, and funny Marvel entry should prioritize it.
- Continue The Pit: it’s recommended, but pay attention to how character tensions are managed across the season; it’s worth watching for the craft and the performances even if some edges are dulled.
- For industry-watchers: notice how different release strategies (binge vs weekly) and promotion affect visibility for mid‑tier/high-quality series.
Notable quotes and lines from the episode
- “This is one of the best things Marvel television has done.” (on Wonder Man)
- “It feels very unfucked with.” (on Wonder Man’s consistent tone)
- “I guess I missed Dr. Collins.” (a framing line for the main critique of The Pit’s Season 2)
- Hosts repeatedly: both shows are among their favorites right now, even while pointing out specific creative choices they’d like to see tightened.