Andy Greenwald

And like the little things of like this set decoration, you know, one thing that drives me crazy, this is what I look at, is when you see rich people's homes and they are just full of large bowls full of artichokes.

Well, remember, the story is telling us that there's houses in constant repair and reno.

Well, also like, but then the kitchen has these like palm tree wallpaper that looks like, you know, a now out of business W Hotel in New Orleans right before Katrina.

But like,

But again, my thing is this.

You are always telling a story with every frame of the show.

And the pilot makes good use of the low, heavy trees, enough to make me think that they filmed this in Savannah, which apparently they did not, although maybe they got some exteriors.

I'm not really sure.

But everything is an opportunity to tell a story.

And when you put things in a house that just has these

as like inconsistent room to room without committing to the bit that every member of this family lives in his or her own psychological slash physical space, which is a choice.

But make the choice so that when you're in the kitchen and over the son's shoulder, when you see him taking out like energy drinks for his mystery night out,

On the table, there is a beautiful piece of sourdough with two slices cut and like spilling open as if you're waiting to celebrate the breakfast at this Airbnb and it's been cut for you.

I'm like, that was a choice you made and you didn't pay attention to it.

It's giving us this sort of like moneyed laziness when I want every frame to compelling and tell us a story.

And you were praising the directors.

I put some of this on Morton Tilden.

I don't know the man.

Yeah.

He makes a beautiful picture and he keeps things moving and he does seem to understand the assignment.