For our 220th episode, the Munchies voted and selected a wild Season 11 SVU which sees the unit inexplicably called to investigate an arson leading them first to suspect streaming TV's It Boy, Jeremy Allen White, who is sporting the most disgusting zit makeup ever imagined, before the investigation shifts to a grief-stricken dad. This one marks the first appearance of Sharon Stone as Jo Marlowe, and makes the savvy Munchie wonder if Benson has seamlessly shifted from BenBot to JoLivia in the few episodes since Cabot left for the Congo.

When the Randomizer chose an SVU featuring one of the Munchie Boys' all-time favorite actors (Ian McShane) as the Harvey-Weinstein-esque heel in Warren Leight's triumphant return to showrunnerdom, we were understandably excited. While McShane shines, certain choices by said showrunner leave the boys baffled and wishing for what might (should?) have been.

Picking up where we left off last week, things get even Durstier as ME/murderer Carl Rudnick jumps bail, leaving the Unit in his dust, making a break for the border, and giving us as close as we’re going to get to an SVU/Midnight Run mash-up. And of course, Rollins needs to keep being the Clarice to Yates's Hannibal, so he can smell how pregnant she is. Unlike a lot of two-parters, this one’s actually a lot of fun, with anything from Rollisi’s cholesterol-hardened livers and Buffalo fair game to be cut into on the slab.

In Part 1 of an epic double-episode of SVU, we see Rollins Clarice-it-up with the truly disgusting serial killer Dr Greg Yates, whilst ME Rudnick Robert-Durst's-it-up in a shocking series of ante-mortem dismemberment murders. Along the way, we talk about State Fair fare, address justified criticisms of the podcast, and debate whether or not serial killers have a peculiar sense of smell.

What happens when SVU drops a fading Norman Mailer analog into a Ripped-from-the-Headlines family drama with his daughters pitted against his new wife, who the daughters think is sending dear ol' dad to an early grave by way of force-fed Viagra? Rectal probe electroejaculation and lewd talk of stiff, varnished eels, obviously.

Why does Rollins hate sex workers? Why is Wayne Knight only in this episode for two minutes? Why did they commit zero screen time to showing why the perp did what he did? Why did they rip this story from the headlines to inelegantly wedge trans rights into the final third of the show? We watched "Service" from Season 19, and ideally there would be answers to all of those questions, but the Season 19 qualifier is all you actually need to know. There may not be answers to your questions. Such is life in Season 19 of SVU.

We watched the impromptu finale of Season 21, which lost four episodes due to the COVID-19 pandemic in 2020. While that might not have mattered in most seasons of SVU, Season 21 was trying to do some things which definitely demanded resolution. Of course we talk about a whole range of ridiculous topics including early attempts at adding serialization to weekly procedurals, post-modern philosophy, and the Borg. Apologies for weird sound, particularly on Adam's track. He was having some software issues which hopefully have been resolved.

Adam and Josh wrestle with a high-profile headline rip as Reasonable Doubt casts Bradley Whitford as the Woody Allen/Roman Polanski analog in an episode that doesn't do a particularly good job of establishing what its title might suggest it should: Reasonable Doubt. Rollins and Amaro don’t believe women, a faux celebrity couple act out the Woody/Mia divorce virtually note for note, and anti-Tibetan racism runs amok. In other words, SVU still SVUs. Adam looks into the Roman Polanski rape case and the victim and poses the ideal solution for what the US Government should do with the frozen real estate of Russian oligarchs, while Josh wonders whether this episode acts in tandem with the one that follows it in sequence to mete out some revenge on The West Wing. Y’know, Munchie stuff.