Andrew has watched Amazon's Wheel of Time adaptation, because you don't read a 14-book fantasy series and not watch the TV adaptation. Then, the three of us are whisked back to the magical world of Dan Brown, where everyone is always in on the scheme and all the evil masterminds are named "Zachary." 

On this week's show, two reoccurring segments: the first return of "We Were Wrong About-- OR WERE WE?" (subject this time: Apple TV PLUS) and the final iteration of The Old Type about, inevitably, I Love Lucy. We discuss the episode "Lucy Does a Commercial" (which we all watched together) and then in turn the episodes "Lucy Thinks Ricky is Trying to Murder Her," "Job Switching," and "Lucy Meets Orson Welles." And speaking of our man Orson, here is the wine commercial outtakes reel of which we speak in the episode: https://www.youtube.com/watch?v=Nvxwf1jxdaM. Trust me, you WILL want to watch it. Love, The Podcast. 

In this episode of ATV, Robert Langdon visits a quarry, and that is how we know that this show was our destiny! Also featuring: bad arm casts, Dell desktops, pyramid tops, masonic squares, CIA psychics, and some Netflix metrics reporting! 

On today's episode: Andrew and Kathryn spoil one particular scene of the new season of Succession for Margaret (terminally behind on all television) in a segment Andrew's eloquently dubbed "Jesus CHRIST, Kendall Roy," resulting in what we must assume is a record number of shell-shocked "oh BOY"s for any single episode of the podcast. Then we introduce a new retrospective segment: "We Were Wrong About-- OR WERE WE?", wherein we revisit opinions of old and see if any of our minds have changed since they were initially formed. Our first topic for reexamination? Well, it's only our least-popular opinion ever: Nailed It, the show only we appeared to dislike. WERE we wrong about it? Only by listening to the show can you find out.

This week we continue our final TV Book Club selection, carefully studying and then improbably deciphering the ancient secrets of episodes 2 and 3 of Peacock's Dan Brown's The Lost Symbol.

This week's episode is mostly a conversation about some important podcast business things. We love you all so much, and we hope you'll forgive us for all the many thoughts and feelings and also some truly bad pretend podcast titles that are all stuffed in here. We expect to hear from many of you lovely weirdos in the tumblr box, and we will treasure each and every one of those messages except for obviously the ones that are mean or gross. <3

On today's episode, we examine the last of our Fall 2021 Good One-Bad One pairs: Foundation, on Apple TV+, which is a perfectly acceptable good one, and La Brea, on NBC, which proved much more fun to chat about than it was to watch (please don't watch it). Join us as we answer the big questions: WHO at NBC is in the pocket of big tar pits?

If you'd like to hear Andrew talk about the book version of Foundation on his other podcast, the link is right here: https://overduepodcast.com/episodes/2015/3/9/episode-103-foundation

If you subscribed to Paramount+ (née CBS All Access) for one month, what would you watch? Our answer to this question is complicated by the fact that Paramount+ actually has a back catalogue, but the short version is that you should start with Evil and work your way out from there.

It's the second installment of 2021's fall Good One / Bad One, this time discussing the new FOX drama The Big Leap, and Apple TV+'s news/comedy/journalism/the fact that we don't know what to call it is part of the problem here/discussion show, The Problem With Jon Stewart. In this episode, Margaret has many problems with Stewart, Kathryn and Andrew have fewer problems, and everybody agrees that there are zero problems with Scott Foley. 

In today's late-because-of-water-heater-chaos episode, we discuss three key things:

• The origin of the name Peaky Blinders (in which Margaret and Andrew each invent new terms)
• The pilot of Hulu's new adaptation of Y: The Last Man (which Margaret likens to this extremely timely and relevant cultural property)
• And then the gonzo excellence of Peacock's adaptation of Dan Brown's The Lost Symbol