transcript
show notes
Bryan Stevenson’s chronicle of death row in the American South could easily have been a despairing piece of legal homework, but down the pub it landed as an urgent, fiercely human thriller. The table wrestled with the bitter irony of Monroeville, Alabama—celebrating Atticus Finch while railroading Walter McMillian—and came away marveling at how a lawyer’s granular proximity to broken lives turns outrage into grace. It is a bruising discussion about state power, racial terror, and the stubborn necessity of hope.
