From KCRW Santa Monica and KCRW.com, it's The Treatment.

It's the Treatment.

It's the Treatment. I'm Elvis Mitchell.

The last time my guest, Alan Bull was here, we talked about his affinity for intergenerational conflicts

and how it's run through so much the work he's done, be it Swingtown or six feet under

or Tales of the City.

I think that certainly depends to the second season and as well as the first season of the

adaptation of Tokyo Vice, which is on Max.

First of all, Alan, thanks for coming back.

I want to get into this thing

because it's very much about intergenerational conflict in the show, isn't it?

Yes, it is very much. And it was a time, it's the year 2000 now in season two, and it was a time

when there were big shifts going on in Japan between generations, and that applied to the

police world, the Yakuza world, the world of the press, and the world of the nightlife,

which are our four main spheres. So it was really nice to be able to showcase that more in the second

season. I think, though, it's fascinating because we realize this are watching a show about a crusading

newspaper journalist, which almost makes the feel like a Sam Fuller film in some ways.

And there's so many things about it because it's also about this shift in power,

especially if we read the book, Tokyo Vice,

this shift in power from the older generation of the Yagasa to the younger generation,

but still the small formality about what need to be done and did need to be done.

And then I think in the second season,

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