‘Task’ Episode 6 Recap

I need sports to have to clear the room. Stand up and walk now. Hello and welcome to the watch. My name is Chris Ryan.

I am an editor at theringer.com and joining me on the other line. It's his house. He'll smoke if he wants to. It's Andy Greenwald.

I have to literally you. First of all, I think that this is a very incredible episode of task and a serious one. And we need to treat it with a seriousness that it deserves. I must say at the outset that Grasso's house did in some way remind me of the apartment that you and your not yet wife shared in Brooklyn, which the constant factor whether it was summer or the dead of winter at your beautiful Christmas party is the cracked kitchen window.

Oh, yeah. It's a wonderful. And everyone smokes. Yes.

The rules. They were respected. Andy, we are going to talk about episode six of task, which was huge, which was momentous, which had a lot of stuff going on. So if you for some reason are tuning into the watch and have not watched task yet, stop what you're doing.

Go watch task. And then you can come back and check us out. I want to get right into it, man. I have no banter.

I have no amusing anecdotes. My amusing anecdote is this is one of my favorite shows of the year. This was, I think, the best episode of the series so far. It's called, Out Beyond Ideas of Wrong Doing and Right Doing.

There is a river. Is that a song? So Hyah song? Like what you think?

It's actually a line from a poem by the 13th century Persian poet, Rumi. That's so weird. That was my second guess. That's what it was.

This one was written by Brad Ingalls, being was directed by Sally Richardson, who also appears as a prosecutor when Maeve is being interrogated by Tom, the way through the episode. Shout out to Sally. Actually, we're going to go with Siles and Kintour. She's one of the hats in this episode.

And it continues right where episode five left off with the standoff in the woods. And one of the more unrelenting, breathless, 15 minute sequences that I've seen on TV a long time, or at least since the standalone episode of Adolescence in the interrogation room. But just an incredible 15 minutes of a stand-up in the woods. I believe the title card appears at the 18 minute mark.

So sick. That is such a sick move. And I'm sitting. If you're doing the sports center version of it, Kathleen McGinty gets shot in the shoulder.

Robbie is fatally stabbed by Jason. Lizzie is run over by an escaping Jason and Perry in a truck. And she dies in Grosso's arms despite him betraying the task force. And everyone else, moments that this show has been building towards.

And it really, really delivers. Last episode was the heat diner scene, essentially, with Robbie and Tom in the car heading out towards this spot where Robbie had grown up and spent time with Billy as a kid on Lehigh. Or in Lehigh, I don't know. Honestly, it's just a joke.

It's just a joke. I'm getting a little confused, but it is push-go. I'm honestly never been to push-go. But this was the kind of action set piece that this show hadn't really touched on since Tom and Ray wrestling in a basement kind of.

And we haven't really done a lot of talking. And then we had some serious action. I kind of complained a little bit about, oh, I think people have expected ending the episode with the bang. And they start the episode with the bang.

So much to go over here, man. We want to just do general thoughts and impressions first? Yeah. I mean, I do want to talk about, obviously, the consequential moments of the episode.

And in terms of the plot, in terms of the surprises, in terms of the masterful orchestra conducting that Brad Ingalls does here regarding when, how and where he deploys certain events. Certainly, that are inevitable, but feel surprising because of where they placed maybe surprising, but the flip side of inevitable is that that dangerous word earned. And it also helps clarify what show we've been watching in a way that I found very significant. You know, it was it's glib to say that task is really heat.

I think there were clear clearly it's not just that. But I think to use the previous episodes, Kar-Ride with Tom and Robbie as the comparison point to the diner scene, like the diner scene is a lot of it's it's Michael Mann-Mann, right? Like they're kind of like eyeing each other up and they're gauging each other. And it's kind of like a dick measuring contest in the best way with those actors.

This is about two broken men like connecting over their shared humanity, which is a little bit more my speed, but then again, I've been to a diner for a minute. So the fact that this show isn't about necessarily the mono and mono collision between these two guys, it's about the spider web prep tendrils of violence and community and loss and regret and guilt is really meaningful to me in watching it. And also feels exactly where the show should be and what the show should be. And the thing that I wrote down after watching most of it was, and since my this is my top down 100,000 foot statement that I kind of want to get your perspective on is that I just think there's something both beautiful and really, really healthy at this moment about a TV show that doesn't look away from the consequences of terrible things.

Yeah. We are in sensitized, desensitized to so much because of the swirl, because of just the nature of what's popular, what's grabby. And this is a show that gives us and earns again that the tricky word, Robbie's would be father, daughter, dance with Harper and shows Harper sobbing because her father has as we learned at the end of the episode, essentially sacrificed himself for her future. Yeah.

Grosso is a full human who has done something unforgivable and has now in the last episode with the last of us has evolved into the show's villain in a very strong way. Even Jason, who is unequivocally the show's villain who has murdered both Prendergrass Brothers with his bare hands, basically. Still a lifedash. He's still a waif guy.

I think picture, maybe this is also like international picture, like I just found at this moment in history and also my travel schedule, I found that just like unshakeable humanity of the show, both affecting, but also like a restorative. Yeah, I wonder whether or not some of it is just the uncommon settings of some of these real breakthrough moments. I mean, I think I went into this series and I was like, oh, this is going to be the urban crime drama that Philadelphia has never really truly gotten. Like it's going to cat, like there's, I don't know if I thought there was going to be a shootout on Broad Street or a chase through the Italian market.

It almost was after Shane Champagne's behavior. But this show is largely takes place in the natural world. And many of the insert shots, many of the cutaways are to birds and water and trees. And the connection that these characters have to this place, places being places of peace for them, you know, in the previous episode, ruffle or the top.

They have places of peace, right? Like even that is so fragile. Yeah. And the idea that like Ruffalo is trying to relate to Robbie by describing the patterns of behavior of a bird that shouldn't be where it is, but could still find its way home or the way that Robbie releases Tom by sending him to a beautiful place that he has to get through by walking for a mile in the woods.

And you just say as someone who's not much of a hiker, that's not an easy walk, like a mile in the woods. It's more the woods part than the mile, I think. But yeah, I think there's just, you know, this is also the setting obviously for this incredibly violent exchange between the bikers, Robbie and the task force. But it's really striking how much of this show has decided to take place in an incredibly idyllic setting.

And what it's trying to do with that, I thought that a lot of the repeated imagery Robbie jumping into the quarry of birds flying of whatever, like obviously get brought back up in his last few seconds of life in a way that I thought was quite beautiful and quite earned, you know, like that can often be like, oh, yes, I'm touching wheat as I walk into, you know, Valhalla. But this was, this felt very much like they did the work to get to that moment of release. And also even though so the fact that Robbie had been basically like asking Tom, what happens when you die? Like, what do you see?

What do people seem to behave like? Cause he fucking knows in the backseat of that car, he might as well have basketballs in that stuff. Well, he's not bringing drugs. He does not expect to get out of this thing alive.

He knows he's signing up for his, that's his plan. So his interest in how do people feel when they die? What do you do when people die? Like that's real because he knows that's what's about to happen.

I also think it's significant that his dream of escape, a dream that you, I think really smartly pointed out is just punctured, like a balloon instantly by a 21 year old when he says that loud to her, the dream of going to Canada, like unspoiled green wilderness. Um, it really made me reconsider all of that because he lives in an abundant green, beautiful wilderness or he grew up in one. So it's really about returning to the innocent self. It's about returning to a time of before sin, basically.

Yes. And that place doesn't really exist. It's in brochures or it's in the Bible, maybe, you know, I find like, when people, I have seen like online, some people casually dismissing the show, not that they don't like it, but that it's just like a HBO classed up version of a more typical procedural. And I just think that that's to be to be, you know, with all due respect, I think it's really missing a point.

I think that this show is a very, very thoughtful and at times beautiful and profound meditation on life and loss. And it supports and allows this kind of like the kind of stuff that we used to like to do in college English classes. Oh, well, this imagery is significant because it represents a pre-lapse area in time when blah, like all that bullshit that we don't do anymore, because we don't even write, we just talk on podcasts. But it does feel like we could go back to some of that.

I mean, you're reading spirituality books, you know, The fucking episode is named after a line from a roomy poem. Come on. Tom talks about this bird and then a bird distracts Robbie. Is it is that earthly business or is that inevitable, like the way of the natural world goes?

I don't know. But I think it's worth talking about because we've been praising Brad's architecture skills throughout the whole season. So I feel like it's worth diving into just exactly what he did here, because in addition to playing, you know, I've been saying this for years, and I'm not the only one saying it, playing one of the most effective and still underutilized cards in the show running deck, which is show your hand early or kill someone before you think it's time or time is really the thing that is still most potent. I think for show runners in terms of breaking through to a jaded audience, in addition to doing all of that and along with Sally and the crew, like designing this incredible action sequence, he also roped doped us because everything was so full on.

I can't be the only one who didn't really think about Shelley. I didn't think about that business. I just, the only reason I thought about it the moment only more than once is that Nikki Sumner is very good and far as you have her do one and a half scenes, you know, but she had the she said for what she has one line. But the fact that everything about the like I found, you know, I'm talking about how how beautiful and profound and how moved I was by how like bleak at the show sometimes is.

No moment, maybe more so than when Robbie has his revenge and then he too gets killed by the same monster that ruined his life. Yeah. Only to find out as you were learning to that this entire thing was a suicide play and that the money was already secured and it was about keeping. Maybe there was a, maybe he hoped to get out of those woods.

I don't think he seemed surprised by the amount of motorcycle guys shown who showed up. I do think he was surprised that the task force found him and I do the key would be was hindered by the fact that Grosso was doing chip Kelly hand signals all over the place to get guys to like do this. Don't do that. Do not take a shot at Lizzie.

Talk about the creators to Philadelphia. Yeah. You know what? There's something about how a lot of what happens in this episode feels inevitable.

Like I did not assume Robbie was going to get out of this series alive. Right. And I didn't think everybody from the task force was going to live. I don't think I foresaw it being as not random, but seemingly arbitrary in terms of its circumstances, the way that Lizzie died.

But the connection that she and Grosso I think sincerely had. I don't think that that was part of the assignment. I think all he had to do is just be like, they're coming for you here. You're, you know, like he obviously opens himself up to her.

The arbitrary nature of the way that she dies in a car crash rather than a shoot out, you know, I mean, not crash, but she gets run over. She is run over. And she can't. And the reason she gets run over is because she can't hear the truck coming because Grosso is fired off a gun right by her head.

So she's lost her. I'm sure you're done. I kind of figured a Leo or Lizzie would probably die out there or McGinty. But this show isn't about those kinds of moments.

It's about the moments afterwards. And that's what you're hitting at the wrecking, reconciling and dealing with violence. The set piece works better because we are now going to spend an hour and a half thinking about and talking about what happened. And there may be some shoot out in the finale and it may be Jason versus Perry versus Grosso versus Tom versus Alia.

But I think that it it's so much more effective to think about it in terms of like these people, these characters lives go on, even if the series ends, you know, and even when Maeve gets that money at the end, which would be the end of any of 90% of versions of the show is Maeve gets a huge bag of money. And I think Maeve's in trouble, man. Yeah. Maybe 20 years old.

Fucking these kids. You know, and a lot of people are watching it or looking for it. And it was so important to Jason that Jason was like still out there eating, eating Perry trout, you know, trout ala Perry. Did you think, well, I should do quick side questions for you digressive questions for you.

One, are you excited for the day in 20 years when Bradiglesby announces that he's making tasks to lean order to Caprio in the Maeve part about what happens to the money? I feel like that's just, just book it in advance, get your tickets in this division. And the second question is I did wonder, like sometimes, you know, often around where I am right now in the beautiful city of London, you and I will like indulge little fantasies of like, Oh, what if just two chums shared a flat for a time and, you know, split the G together on occasion or whatever. Do you think we could have hung in a Perry and Jason type way?

Like, I feel like that would be a recipe for the just you still you just get on your phone. Why you doing that? I'm trying to make you dinner. Some respects.

I just am wet fish from straight from the river. That's how I saw the show going. I didn't see the show going in like a weird, like all of these people are trapped with their own decisions now. Grosso is there are people there are writers.

I'm sure in any medium, but let's talk specifically about television. There are writers who are obsessed with plot and there are writers who are obsessed with aesthetics and they're writers who are obsessed with style and they're writers who are obsessed with surprises. And those are all valid and they're examples in each category of shows that I love. What's clear about Brad Inglesby is he's obsessed with life.

He can't stop drinking from the cup of life like in some sort of dramatic religious analogy that I can't quite pull off here. Everyone is given a full life. Everyone exists in all ways, all at once. Like you're saying, Jason is a wife guy, but like everyone is the totality of their experience.

Tom and Robbie didn't need to get along, but they did. And their behavior afterwards reflected that, you know, Grosso absolutely really cared about Lizzie, but he also is a flawed and failed person who is trying to have everything all at once and make it work out, which doesn't seem to ever work out for anyone at any point in the show. I you said that in your right that like the Lizzie death felt sort of random, but I have to say that. But I'm going to check in.

I just want to say that I was more prepared maybe than you were because early in the episode, like super early. Grosso says, Lizzie stick with me. And I was like, Oh, shit, that's the main moment right there. That's that's a wrap on.

That's a wrap on her. So talk me through your feelings. Well, I thought I was a great character. And I think it speaks to a larger conversation that probably people are going to have after this episode of like, why were these people put out a task force in the first place?

You know, because with the exception of Alia, they seem to have some some questions about their reflex preparedness. Yeah. Alia, obviously, like all about her business has this sharp shooting background. Seems like she's a pretty good detective.

You got her badge underneath. Yeah. Um, but Lizzie has a bad reputation among her fellow state troopers as being a little bit of a nervous now. He when it comes to when she goes down and Grosso has something in his file.

Yeah. That is like, is known to possibly tip off dark hearts. FYI. There's two, two strands of thought there, right?

One is being asked to join a task force is not nearly as special as you and I may have thought it was. Everyone's always getting pulled into task forces. Like being a sophomore in college and someone saying, want to join my band. Right.

Like everybody does the time. Everybody picks up a base once in a while. It was one that's in that place. I can't tell a country for two great weeks, you know, through the best weeks of your life.

Um, the other alternative, and this is something that I'm legitimately asking you because I haven't read anything about this episode yet. And I also am in the dark and I don't know if that's good or bad is McKinsey still sus because we felt that way and it seems she seemed to be cleared a little bit by the Grosso stuff, but doesn't her still being a little bit compromised cover for the motley makeup of the task force? I mean, I think that I'm open to anything happening. I would say that the difference between task and merit is found in this kind of construction where task is a crime show and a lot of a lot of what is happening is evident to viewers if it's not evident to the characters.

So the viewers know that Grosso is the mole before Tom does. I think the viewers know Cliff is dead before Robbie does, you know, like it's a totality of like this sort of these dozen characters and what they're going through and what they're doing and what they're thinking. We know that Aaron's dead before Jason does. So who killed Aaron and Jason does not.

Mayor was more of a. You would say to me, I'm a Marivy sound grads for sure. Mayor Marivy sound was more about this woman looking for the killer of a young girl and as things were revealed, um, they usually happened in the order that mayor herself was finding them. The viewer and mayor were on the same page.

So I think that there's elements of it that may make you second guess. And one thing the angles being in the show that I think is successful sometimes and everyone's a while I bump against is the someone is about to find out a very important piece of information, but the show is going to cut away from that. Well, yeah, but that's TV one at one. Sure.

I get it. I hear you. I mean, it's for me stuff like that is baked into the concept when you make a detective or crime show and it's just a question of how artfully you hide it. And you know, look, there's a character on the show who's a magician.

And so maybe there's some projection there that likes how Brad's sees himself, you know, please come to my show. Um, one thing. My point is really more that like the way that he is making it and the way that we are being given this information, you sometimes before the characters is that it creates some more of a sense of inevitability and tragedy about it. Because you're like, I know, Hey, man, Robbie, like this is about to be the most popular woods in America.

Like you please don't go here, but he's, he's got a destiny. You know, he's got, he's got something he's moving towards. And I think, you know, the idea that the show is going to be about Tom finding Robbie and instead it's almost going to be Tom finding peace for Robbie. Yes.

It's pretty amazing. Yes. I think two quick, well, one quick thing and one longer thing. The quick thing is just there was a really artful, um, reprise, reprise of the, um, crazy Robbie thing, crazy Robbie always trying to find a way to, what was it to save his life, changes life, I wrote it down.

I just can't find it in my notes. Um, this people are who they are, which is what parents refer to him as an episode. Yeah. Yeah.

And then that's how people see him because we're introduced to him as someone who is quirky and interesting and maybe, maybe biting off a little bit more than he can chew, but the nature of television is where we're right there with him. So we just kind of trust him. Oh, Cliff likes him. We like him too.

Um, that put an era, added an era of tragedy and inevitability to his art for sure, realizing that everyone was kind of like this guy's, this guy's just going to keep trying and we don't think he's ever going to get there. Um, this, this subtle reveal that the show actually isn't the two-hander. Um, it's the Tom show. Uh, it was, I think kind of beautiful and felt surprising in a way.

And I don't say that to diminish Tom Felfry's performance because it's one of the best performances of the year. And I think Emmy voters are going to agree with me on that. Um, yeah. All they have to do is watch, watch his scene with the Margarita, LaVevo when he finds out close dead.

This is such a sneaky, good, rough performance. And one of the things that is a hallmark of Ruffalo's, you know, 25 year career is that you could say that about all of his best performances because he's such an unshoey actor, the spotlight to be just side, like he is just, he just sinks into things and he just embodies a kind of conflicted morality, but always erring towards good that I think is really, really compelling. And so his performance, the pairing of the two we've talked about is so brilliant that he's just such a steady, speaking of bass, like a steady bass drum underneath the, like the more frantic snare of like what Robbie's doing with Cliff. And to have it emerge into the solo and realize that this has been about, I mean, everyone's the main character of their own story, but he becomes the main character and his story becomes the main story of the show of one of redemption.

And I think that Ruffalo is astonishing in this episode. Like he has big action moments and it's clobbering the shit out of Perry. And it's like, well, I didn't know Tom had that in his bag. But what he then goes through in the aftermath and you see the priest emerge again in terms of like giving Robbie last rights.

And then there is a moment. And I know I feel like you had you lost all his knowledge performance. So you went through your creating process. I didn't.

You were emotional, maybe uncharacteristically. So it could be the jet lag. I miss my kids. But when he when Tom comes home with Sam, and again, we were joking over texts last night and we both watched the episode and you were like, well, the inevitable happened in a compelling way.

And I was like, Oh, Tom adopting Sam, which is right. I don't have receipts I didn't say on the podcast. It just felt like something that we were headed towards. But he shows up and he's got a Batman Lego and he goes in the kitchen to make peanut butter and jelly and his daughters who are now united in a really beautiful way.

And again, this is a subtle thing. Clearly, Brad has multiple children because a sign of a healthy home is the children conspiring against the adult, right? And not being on the adult side anymore being like on each other's side, which is sort of beautiful and subtle and definitely recognizable, I would say as a hashtag girl, dad, but he's making peanut butter and jelly sandwiches. And they're saying, like, why are you doing this?

Is this a why did you do this? Are you sure this is a good idea? And I'm sure the audience is saying that as well. And she basically says, I saw him in this place, this awful, hopeless place.

And I thought about your mother and I thought, what would she do? And the best answer I could come up with was to bring him home. He says, like, there's no way she would let him be there. Like she would never let you stay in this place.

Yeah. And that was anyone else want to be in a better and jelly sandwich. And it got super dusty in this London executive. It's just like, and the totality of the experience of watching Tom basically get the second lease on life from Robbie, because Robbie is, you know, they do this car ride.

They talk about Team Susan or Team Tom and what happens after he die and birds. And Tom thinks he's going to be killed. He's going to be executed out in the woods by Robbie. And he's just like, just let me talk to my kids.

Let me talk to my kids. And Robbie's like, I'm going to actually send you somewhere beautiful, you know, and he lets him go and he makes him walk through the woods and that his emergence from those woods seems to revive not only his ability to be a police, a law enforcement officer or an agent, but also father and also a communicator and somebody who's like, opening up his heart. And maybe that's also what happens after Robbie dies in his arms. You know what I mean?

Like he's given this gift that allows him to return to who he was. I mean, think about like he's now got two kids in his house. He has now got another third child that he is essentially fostering. He's pursuing this case outside of like what is just the bare minimum of what is required from him in his job.

He's like, no, I'm going to go to Kathleen's house. I'm going to keep looking after this. And then he goes after Grosso. And what was I thought a wonderful scene like, yes, it is the third time Grosso has pointedly asked about the Catholic Church, but I actually thought it was pretty cool that Grosso wasn't like, I didn't do anything like that.

That he was like, is that rhetorical question? Or are you really asking me? And it's like, what can you prove versus what do you know? It's the whole thing.

Before we get there, just to say like this entire series is above my religious pay rate, like there is something that strikes me as profoundly Catholic about all of it in ways that I don't know. When I get to the chapter that explains that. I was asked if you could talk me through it. And maybe if we get a chance to talk to Brad again, we can talk specifically about this stuff because the idea of life and death is connected as a circle is, you know, is stitched into every fabric of the show.

Tom lost his wife and essentially lost his son in the process. Robbie kills Sam's parents and takes Sam and all of this awful, awful, deeply felt death leads to Sam snuggling up and falling asleep safe for the first time in maybe many years in his life in Tom's house. And that's what I think anyone who's ever lived or gone through any kind of grieving process cleans to and comes out the other side of it. It's like we have we have life still, we have more life and we have to make the most of it when we have it.

And I just I found that again, I found it very affecting. I found it very moving and I feel lucky about the show because it gave me the action highs and it gave me this. Yeah, I mean, I think of emotion. Even I think sometimes like Catholic imagery and religious imagery and crime and stuff can be it can be a side of heavy handedness.

Yeah. It has been both. I think at one point in the fifth episode, when Shelly and Robbie meet in the beginning of the episode and Robbie's like, why should I trust you? And Shelly is like, here I have this plan.

We're going to sell the drugs on our own. She's like, why should I trust you? And she's like, because I'm a good person. And he was Jesus Christ.

And I'm a good person or am I a good person or we bad people is like a very, very, very overworked trope in crime television and prestige television over the years. But I don't know, the show just kind of earns those kinds of discussions. And I think that when Grosso is asking about confession and talking about like the nature of like, you know, unburdening himself and Tom just says like confessions for human beings, like humans, a human practice to help us with our shame. It's not for God's sake.

If you want to be forgiven, all you have to do is ask. Yes. Yes. About that.

Like a vengeful God, Tom's like, if you're not going to come clean with me, I'm coming for you. Pretty ballsy to show up at the new bad guys house alone, especially now that you've taken on the charge of a traumatized eight year old boy. Yeah. But you got to make, I mean, I've got to be TV show, I respect it.

One thing I want to say, I want to make sure that this is on the record, that I will no longer be slandering Sir Kristen Cole. I got it. It is an incredible thing when you realize that your only experience with an actor is seeing them essentially in a corset or like in his case, like a very tightly fitting armor. I'm not saying he's bad on that show.

I'm saying, what does he do it? And it's certainly not. We've been talking a bunch of the last few weeks about shows or directors that understand the actors that they cast and how do you showcase them and unlock them and unleash them like Ethan Hawke in the lowdown or whatever or Tom Pelfrey here or actually most of the million Jones was maybe like the MVP of the entire series. We haven't even mentioned her much today.

Um, he's so good. He is just purely good. Probably in Frank. Oh, like English actor who is just understanding the assignment.

And I feel like maybe we'll ask him about this, but like I just without naming names, I bet they auditioned a lot of people who thought they were auditioning for Delco Heat, you know, and we're playing not to the cheap seats, but playing to the popular seats. And this guy is so haunted. He's just deeply haunted throughout and the turn from calling him boss and seeming to be really like the supplicant, like going to him for confession to the devil. Yes.

Is so elegantly done. Um, I think he's like, uh, Grosso and his, uh, county detective boss who was also obviously in goods with the dark arts and then talking about, and like Grosso just being like, she died in my arms and like, he's like, forget her. Yeah. I mean, I, I was a good scene.

Um, a lot of younglings, a lot of younglings, morning, noon and night, which I don't necessarily disrespect. Um, one thing I'm learning, you know, when you get like TV brain, when you see the shows too close to each other and like after I watch this and then I watch the first house of Guinness and I was like, boy, men do not like to have liquid board on them. Like that is just like a real violation to your head in the sink or have a drink thrown in your face. Um, yeah, like I've seen, but like, I just, I guess the other thing to say about the surprise, um, like finding out where we are in the show, like all these things happened and that pivots into kind of a different type of story for the last episode.

The proof that it works and it's a leap of faith shut up. Catholic church. It's a leap of faith that we, that they would get to episode six and take the one A on the call sheet off the board and essentially solve many aspects of the task force's case. And I don't feel diminished.

Like I'm not thinking that it's going to be like in the grand tradition of the wire where the last episode is like a long day new month, like that is not the case. We are dealing with something deeper from a different perspective than we had previously realized. Yeah. I haven't watched, obviously we have not watched the finale, but given what we know now about what this show is really about and given what even Tom and Grosso talk about in Grosso's house, you have to assume that Ethan's court hearing is coming up and that is going to be about like physician healing myself.

Like you can't just go around telling people, you know, what happens when you die and how forgiveness works without reckoning with family and not like people with this fucking shows about like the Perry and the Perry and Jason and Grosso stuff could get wrapped up in five minutes. It's really going to be about like, is this guy's soul capable of being revived? I can't be the only one who thought that when there's the shot of Tom walking into not coming into house, but essentially the juvie where it's going into prison. That's not a good thing.

You're right about Perry and Jason, like all Jason has to do is figure out what happened with Aaron and then that's a that's a rap on a compare. Do you think we're going to have much of an explanation as to like how they how Grosso comes comes to be a departed style to like, yeah, I do because I think there's a lot more there and that like that character is going to reveal himself. And like I said, it's suddenly he's the villain now and sure that doesn't really do villains other than I mean, Perry and Jason are villains, but they still love their ladies. You know, anything else from this episode?

I mean, I have a bunch of stuff that I thought was just really what lovely, like we're well done. I mean, obviously, Lizzie's death, her whole like sequence of events in the woods, getting basically like terrified and then killing Shane when Shane, obviously, thinks that Grosso is going to stop her from pulling the trigger. That quick moment where Grosso, where she is just like, I'm going to kill her and Grosso is like, if you touch her, you're fucking dead, you know, his efforts to protect her while also trying to do whatever he's trying to do out there. I mean, I don't think he wanted the bikers there in the first place because he had told Jason, yeah, he's got an agent with him.

Don't come out here. And look, man, I mean, like that's a fucking brutal death scene for Lizzie. I will note with it, you know, getting hit full speed by a pickup truck. I don't think you look as lovely and peaceful afterwards.

I respect the fiction. Yes. I was grateful for the fiction. I was in Oliver, get your flowers.

Yeah. Incredible, incredible 110% commitment performance. I watch conversation with friends and I, you could have given me 10 guesses about what I would see her do next and it would have been this. Yeah.

And I like that show fine. And I was just going to win a Lea Fines the Bulls, I patch, you know, heartbreak, beautiful. I love the Maeve Confession scene. I think Amelia Jones is just God, dear.

And I love the writing and I love just enough. You know, like I find myself in two handed scenes like that. I was like, is she just going to say that's the same guy who killed my dad. Now he's taken everyone away, but she did it in a look.

You know, and so when you have a chance when actors take dialogue off the board, not saying that line was written, but it could have been and it wasn't necessary. I love that. I love Maeve's release, like when she gets home. I did too.

There was again, it's a that reminded me of mayor in the sense that like I think some people who were watching that show also as like a crime show or procedural were like, Oh, it's a little bit fantasy at the end. Like it's a little bit rewarding, but I'm like these people deserve a reward. Like I think I think that Brad is essentially optimistic about life, even though the shows are quite dark. It's funny to say that though.

I did read a little bit of ambiguity in the reaction where she was like, now I'm the mother of two children. It's exactly it is it's hugging you and it's hitting you. I mean, it's it's better for the world. Tom is factually right when he says that, but it's not like her life gets that much easier even than when the drug cash is up.

I liked how strongly Tom kept saying with the hickin. Yeah. That's the word. You know, we used to hear a lot in our life and in our life and 30 years.

And I said to wait for an HBO series to say a lot. That was pretty much all I had for this one as far as like unanswered questions, like we've kind of gone over the period and Jason are still out there. The Aaron mystery to the extent that there is one we're just waiting for Jason to put two and two together and then it's grotto and his boss and whether or not the boss will get implicated and just where's Freddie? Cause we've spent some time with you and look, I think that there is some chatter out there about this not being a limited series.

So I was about mayor to and remain the limit series season three. We bring the two the two houses of Philadelphia together. Jesus Christ, don't tell me this time. Mayor of tasktown.

I wonder whether or not they would let anything be the is grotto in the wind is is anything dangling. Yeah, sure. Yeah. Yeah.

I don't think so. I don't think so either, but it does. I thought the thing that jumped out at me most was McGinty saying, I'm not going to put you up for my job. Like maybe she will.

Yeah. Well, let's find out what her intentions are. Great to talk to you, man. We'll be back on Thursday with some more watchpot stuff.

Everybody enjoy task. I hope you've very enjoyed tasking. That'll be a weird way to. And I can't wait to talk about the finale with you.