Andy Greenwald

And I was like, I can't wait to tell Chris I did this so he'll be proud of me.

And I tapped out.

Okay.

I tapped out early.

Because of this 360 shots of guys eating deers or whatever?

No, deer can be delicious if prepared properly.

Sometimes you have to be warned about buckshot.

Couldn't agree with you more.

I feel like you even, another example, even from just that opening that's explaining the story of how a hero has ostensibly been turned to be a villain within the narrative of the show, the moment when he is approached by the Western operative to turn him, intern him because of the exposure of his wife to protect her.

they're waiting for a bus and then the bus engine starts and we don't hear the conversation.

Real Gs know you can move in silence like lasagna and you can do that like sometimes in art with negative space and you can do it and it's hard to do it, particularly hard to do it as a writer in a shrinking industry like television where you can't trust, you can get your point across to the various levels of executives and development people and producers.

But ultimately, it's a visual medium.

And if you trust the story you're telling and your collaborators in it, they can tell you the story with the pictures and you can win by saying less.

And that was an incredible moment that captures that at its best.

You mentioned For All Mankind earlier.

I would say that the for all mankind-ness of this episode for me at first was the groaning runtime.

And I say this to people, if anyone is still listening who wants to be sold four episodes in on the show, I hear you.

I didn't feel particularly fired up to watch the fourth episode of Star City because it is so visually committed to the color palette and the world and the moment.

and the very, very specific storytelling that I was like, is this really, after watching Cote d'Ivoire, is this really gonna be the rest of my Sunday night?

And when it's an hour and 10 minutes.