Ellie can't write her latest book and Emily and Andrew get to watch Dott try to bribe her into writing it. At least Dott doesn't offer up her underage son as tribute. (MIght've worked, though). Lots of not laughs, meanness, badness, and a truly sad finale. Our intrepid hosts have a swell time.

Can HIGH SOCIETY disappoint? Technically, yes, because Dott's mom doesn't come back to grace in this episode. And, so, intrepid hosts Emily and Andrew get to watch the already awful show resume its free fall in search of its own personal hades. But there's a cute dog, at least.

Emily and Andrew discover HIGH SOCIETY can get worse, even as it gets to a plot point Emily's been waiting for since the pilot. Listen as our hosts can't help but give good notes, and discover they don't agree about bad fashion and its place on American television.

The show does not improve and our intrepid hosts, Emily and Andrew, find they have even more things to talk about than they'd like. In addition to talking about the not funny proceedings, they also get to talk about the particular way the show objectifies its female actors. Fun!

Through nineteen seasons our intrepid hosts have discovered the difference between pilot episode and regular production--rarely, however, do Emily and Andrew get to talk about what happens when there don't seem to be any lessons learned from the pilot. Join them as they try to figure out why HIGH SOCIETY is such low quality (wokka wokka). Also it's not a mystery, it's godawful writing. But still.

Emily and Andrew travel back to 1995 and the era of USian adaptations of British (hey, sometimes, French) media with abjectly awful results. Even though our hosts thought they'd be relatively safe since it's Jean Smart and Mary McDonnell, surely they wouldn't be forced to embarrass themselves on CBS every week. Well, dear listener, to that... buckle up and prepare yourself for HIGH SOCIETY.

Emily and Andrew reach the final episode with some callbacks, remembering the breakdown the episode after last week, lots of positivity, and then some negativity. Not about this show but about some plans for our next season, but then Emily reveals an even more amazing selection. Tune in and find out!

As they try to catch up with Kamala in 1947 India, Emily and Andrew find themselves in a multiverse where ONESIES episodes are incredibly short. (There's a connected but detached prologue flashback and like two scenes after it... three. It's such a quick episode). Tune in and get ready for next week's season finale and Emily's announcement of the new amazing!

Emily and Andrew follow the show to modern day (and historical) Pakistan (which, in the MCU, has the street layout of Bangkok), where Kamala and her mother both bond with Grandma, Kamala learns about her power, there's tragedy, joy, and action sequences. And both hosts independently decided to research to talk about the things they like so much in the show! Weird.

Emily and Andrew find themselves in the middle of another good television program and have to re-orient themselves. They find nice things to talk about--again a re-orientation--such as strong performances and thoughtful integration of culture and history, while also having a very cool action scene!

Emily and Andrew head back into the Marvel Cinematic Universe where Andrew starts the mansplain early--they missed the end credits tag from last episode, kicking off a discussion of Marvel watching ettiquette. Or something along those lines. They also lose track when they've got a series with so much intentional character development, though they are able to get on familar footing regarding a pecularily timed late afternoon "snack" and its implications regarding family dinner. Tune in for this and other MARVELLOUS insights!

Emily and Andrew are off to the Marvel Cinematic Universe, albeit with some confusion about what exactly that setting will entail. Listen as they discuss young adult targeted ficton, competent--and, dare we say it--engaging storytelling, and... good acting? What are they in for?!? (Specifically Emily, who unfortunately finds herself in the fields of mansplaining). Tune in and find out!

In this very special double-length season finale (so they could get the show done), Emily and Andrew's adventure through modern streaming series comes to an end (though stay tuned for a not dissimilar announcement for next season), as they no longer have any questions why THE BONDSMAN didn't get a second season. They get to talk about "pointed" characterizations, plot holes, bad acting, bad special effects, bad writing, and egregious ineptitude.

The show makes some particularly bad moves, while giving Damon Herriman his best episode (truly surprising), and Emily and Andrew valiantly attempt to recount its goings on. They don't always succeed but they do make it to the ending, which is setting up a show they could've set up in the first place. After making everyone unlikable, lil' bit ick, or a combination. Joy.

Once again, for their sins, Emily and Andrew ask for a feature episode about a character they think they'll like, and for their sins, they get one. But it makes for interesting conversation, even though the cliffhanger and the series's "new normal" are the pits.

Another thirty minutes or less, another set of new questions, and another episode of backhanded compliments from Emily and Andrew. Our intrepid hosts agree it's the best of the show so far (saying what exactly) and, darned if the show's basically just wrapping it's "pilot" proposal. Halfway through.

Well, another episode, another twenty minutes of reasons not to like the characters on THE BONDSMAN. Emily and Andrew do find some other things to talk about, such as men's fashion, implied better programs (i.e. with Kevin Bacon not around), and horror action on a budget.

Second episode in and Emily and Andrew are starting to have some ideas why the show failed to connect with viewers. The pacing's off, the payoffs' off, and Kevin Bacon is way too dismissive of his mama, demonically fueled, resurrected man or not. Listen as our intrepid hosts dissect the episode... with none of the gore of the episode itself!

Emily and Andrew head to the honkytonk with Philadelphia-born Kevin Bacon, who's playing a bounty hunter with a big secret--he's maybe just risen from the dead. Listen as our hosts suss out... competent television? Likable acting? It's a very strange experience for everyone involved. Except Kevin Bacon, who does not guest star on the podcast this week.

Ever the consumate professionals, Emily and Andrew finish RAISING DAD even though Andy Kindler is nowhere to be found. And Grandpa's kind of a dip again. And there's a whole "let's get it on" juxtaposing with Saget and Kat Dennings (not together, this was WB not HBO). But it's a weird, confused finish.

ALSO! We're on hiatus for a couple weeks but Emily's got us post-modern (ish) next season!