Andy Greenwald

Right.

I would say so.

Yeah, and I think the nature of television requires, despite many, many brilliant creators valiantly attempting otherwise, television requires some audience buy-in and empathy.

And at a very base level, maybe it's because of the time commitment.

Yeah.

You have to want an outcome, which I think is not... That doesn't reflect the best of cinema, frankly.

Like, the best movies keep you on your toes and you can switch allegiances and you can question your own empathies and all that stuff, but for 10 hours...

I'm not saying you have to pick a side, but you kind of have to settle in and root for something.

He is a very, very good maker of television and producer of content.

I mean that in a really...

I mean, in the best, most generous way possible, and particularly because he has a real sense of what types of stories interest him.

And he is interested in the horror, in the lurid stories, in the sordid stories.

And from everything we understand about this,

this wasn't necessarily Amblin taking generals on how they can profit from this sitting in their catalog.

He wanted to do this.

And I think the thing that I, starting with Praise, because, spoiler, I did not really enjoy watching the show, I think that this is sort of all the way back to where you started, but there is a full-throated embrace of a kind of tawdry, summer,

80s and 90s blockbuster entertainment that is, you can't half-ass.

And I think that that was clearly both inspiration and the goal here.

And I think it's why I was also comparing this, maybe unintentionally at first, to last summer's version of this.

Maybe now it was two summers ago.