Welcome to Ear Biscuits, the podcast where two lifelong friends talk about life for a long time. I’m Link. And I’m Rhett. This week at the Round Table of Dim Lighting, we’re talking about Wonderhole Season two. Season 2, 2, 2, 2, 2. Which episode? One is out now on the Rhett and Link channel, which has been branded as the Rhett and Link’s Wonder Hole. WonderHole Channel, because it’s coming out every Sunday. Um, 11:00 AM Pacific, no. Yeah. 11:00 AM Pacific late 11:00 AM Eastern, 2:00 PM pm Pacific. On Sunday? No, you just said that. Backwards. 2:00 PM Eastern, 11:00 AM Pacific every Sunday for six. If you were there for the next five weeks, you know where you’re at. Weeks for the next five weeks, because episode one we spent 100 hours on a raft is out. We’re gonna devote this entire conversation to unpacking our thoughts about Wonder Hole because, and before you click away, because that, because if if, if you’re the kind of person who’s like, well, I don’t care. So if you know, you know, please care. You, you know. No, I’m just saying like, please care. Some people are like, I like Wonder Hole and I wanna know more about it. And some people are like, I don’t care about Wonder Hole. I don’t want to, I’m gonna skip this episode. Um, I would just say, even if you’re not gonna watch it, you know, I, I think that this is a, we’re gonna talk about something that. Obviously we’re very passionate about and we put a lot of time into, and I think that if you’ve got something that you’re working on or something that you’d like to bring into the world, even if you’re not particularly into the thing that we’ve done that maybe hearing people talk about the way that they think about something they created could be a benefit to you. But if you like, wonderful. Obviously this could be insightful and informative, and we do encourage you to go and watch that first episode. If you haven’t done it, this episode will mean that much more if you have watched the first episode of Wonder Hole, season two. Yeah. So you’re encouraging people who haven’t seen the Raft episode to watch it. Yeah. To pause this, pause this. I think another reason that this conversation is important is because our creative process that went into wonderful season two is not just about wonderful season two. It’s about a trajectory us cultivating. Like developing our developing craft and, um, like building a, I’ll use an analogy, we’re building a craft that will take us forward into the future of our creative journey. And that’s a focus on craft and a channeling of passions. And as you’ll see, we had to make some def decisions and I think we learned to apply some more definitive creative decisions in this process that we are gonna carry with us into every other project that we’re gonna be doing from here on out. Yeah. So, uh, this, this was a passion project. We put, you know, it was the thing that arguably we were most passionate about over this past year as we’re working on it, because. All bets were off and everything was on the table in terms of how we could express ourselves and how we wanted to stretch ourselves and test ourselves and grow and also have fun. Yep. You know, I think one of the big things that I took from season one, my experience was an emphasis on it being we created a playground within which to have fun and then trusted that that would come through in people’s experience when they watched it. Mm-hmm. I think in season two, and maybe we’ll talk more about this later, but I, I’ll just say a little bit that I, I think in season two, I, I tried to build on that and apply it, but I also discovered how constantly difficult it is to like have fun. In like, and, and even define what it feels like to have fun when you’re creating things, when you’re encountering challenges and, um, making tough decisions and trying really hard and working really hard. Working like up, like giving all of your energy to something and then realizing, well, this doesn’t feel like a vacation. It’s not that type of fun. So for me, there was this exercise in defining a new type of fun that is the hardest work I’ve ever done. And, and I think for me, bringing that gratitude, we talked a little bit about this, but for me, I’m having the, the most fun. In our work when something that we conceptualized is actually coming together in the way that we hoped that it would like, that’s when like it isn’t, the satisfaction of it is fun. Yeah. It’s like, isn’t like, oh, well I’m laughing right now about this thing that happened. Like, I mean, that’s a, that’s fun and I like those things that happen, but the premium fund for me is when it’s like, oh, this is actually working. Or the lessons that we hope that we would be learning, we are actually learning and like the team is, is. Coming together cohesively and like plans. You like Hannibal from the A team. I love it when a plan comes together, Uhhuh. It’s like, that’s the, that’s the way he would like take his cigar and give a little puff on it and smile. Like that is the ultimate fun for me is when a plan comes together. Yeah. And I’m more of a Murdoch fun kind of guy. I love it when it’s an effortless flag by the seat of your pants and, whoa, this is, this is happening. Right. And there’s a little bit of a give and take in that process. Um, I, I think we, well I know we want spend a good amount of time talking about how we shaped wonderful season two through the lens of how it’s different from the previous season. Yeah. Um, but before we get into that and the specific ways that it’s different and the reasons why and everything that goes along with that. I think we could just hit some of the, just a few highlights maybe from Raft. Yeah. You know, since people have just watched it, um, and celebrate a little bit of that. Okay. So in a really unexpected way, that episode, the Raft episode, and also another episode that comes later in the season, um, caused us to meet a relative of someone who works at Mythical in a way that we never anticipated. That’s an interesting story. We’ll tell, uh, we found a way to work with, in that first episode, someone who is probably the first or second, maybe second person that we ever knew from Los Angeles. Oh, well, go ahead and tell us Ward. Yeah, that’s right. How did we end up working with Ward who played, uh. I don’t remember what his name was. What was his name? The pizza. It’s been a while. It’s been a while since we shot shot it. The pizza delivery son. Yeah. I don’t remember names. We never called him by his name. Uh, he, his, uh, his dad calls him by his name at the end. Um, yeah, it’s cool. I mean, it was cool to work with friends. He made a, it was very Italian name, whatever it was, cameo and Buddy system season two. But like, this was like two days of working together and it was, it was a lot of fun. Tell ’em the Nicole story. Oh, you want me to go? You wanna go ahead? I thought you wanted to tease the, the story. No, I’m, I was teasing the stuff after the stories. Okay. Um, so we needed a mansion for two episodes. Well, no, no. We need, we, we need a mansion for one episode. We, later on in the season, we have an episode called, we Spent the Night in. A $10,000 tiny home and a 1 million do, or $10 million or a hundred million dollars mansion. I can’t remember what, we don’t know what the numbers are. Numbers are. It’s like we spent a night in a meager tiny home and then a, the second night in a luxurious mansion. And so we needed a mansion Yeah. For that night in the mansion. And it turns out that, um, we couldn’t find one that was rel that was really close that we could use as a location, uh, because the exterior really mattered. Yeah. So we actually had to go pretty far outside of town, like at least an hour away. And we didn’t go to for on this scouting trip. Jenna, were you there on that first scouting trip or was that just Ben and TJ and Morgan? Who went to that? Ben, TJ and Morgan. Yeah. I couldn’t make the first one. Okay. So they go out there to tour this mansion. And the woman who is the owner of the mansion that is used mostly, it’s not, no one lives there. It’s used like as a venue to rent out for weddings and whatnot, event space. So, and she’s like, the owner and manager of this space doesn’t live there. She’s walking them around. And as like Ben just told us, he was like, man, she is. So, she, this woman really reminds me of Nicole, who works on Mythical Kitchen. And then as they leave, they’re, they’re, Ben starts talking about me. She’s like, I’ve never met someone that had like such similar mannerisms to Nicole. That is wild. Mm-hmm. Well, it was Nicole’s sister, which they found out after. Afterwards. Yeah. We didn’t even, we had no idea. We had no idea that they were going because he didn’t want to say to her, you look and act just like somebody I know. Somebody I, because that’s always, that’s not the type of thing you wanna say. And. She, I think she ended up saying when they were like, mythical entertainment, she’s like, mythical entertainment. Mythical as in mythical entertainment. And then she was the one who put it together and told them later that it was like, oh yeah, I’m, so we ended up shooting that episode that you’ll see later in the season. I can’t remember what episode it is, uh, about the, the tiny home in the mansion. But while I think it may be the last episode, I don’t remember. Maybe while we were there, or while they were there, Ben was like, there’s a giant pond in the backyard of this mansion. It’s a, it might’ve been Morgan, I don’t know. Morgan was kind of the location. It’s a big, it’s a big, uh, property. And we knew that we wanted to do this episode one a hundred hours on a raft. And if you look at all of the thumbnails, and we’ll get into again, like why all the episodes are named the way that they are and why that strategy is what we employed. But if you look at every single one of those thumbnails you see, it’s. A guy or two guys on a raft that looks like it’s in the ocean, it looks like it’s in a big SP space. Right. So we knew we needed that vibe for the thumbnail and for the opening of the video. And again, we weren’t gonna set it up, but we weren’t gonna go out at house. We weren’t gonna set it up in the ocean because that’s really problematic and expensive. And, and then there’s other bigger lakes around la. Not many big lakes isn’t like North Carolina. Like we could have easily done this in North Carolina, but out here the lakes, there’s fewer of them and they’re, and the big ones are like really controlled. And so having a private pond be our lake was much more strategic and it just turns out we were able to, Nicole’s sister had one right there. Yeah. Yeah. To shoot both of those episodes at the location, two for one. So that was pretty good. Um, the manhood mania of it all from this first episode Yeah. Was. Not real. No. That is not a real story. But it’s, but it’s, it’s based on, well it’s an amalgamation of our church summer camp experience kind of mixed with all of the like, weekend retreat experiences in high school and in college through like church trips. Yeah. Which would sometimes be focused on manhood. We would go to a, um, um, yeah, we, the story we tell about going camping with our youth group in high school and Chad sometimes say last name. Well, that was, that was in high school. That was middle school, right? Yeah, yeah. Middle school when he got lost overnight and then everyone had to stay in their cabins ’cause they were like searching for this kid. And then he buried himself in, buried himself in leaves and woke up the next morning and they found him. And we talk about it all the time. We talk about it all the time, but we can’t. We, he, he basically ruined our, our weekend we had to stay in our tents. Right? Yeah. Thanks Chad. So that sucked. Um, yeah. So it wasn’t amalgamation all those things. I mean, he was found those things, that’s fine. But we had a sucky time and there, you know, your dad wasn’t. There was never a point in time where your dad and my dad went to the same church. No. Like, that wasn’t ever, you know, so we kind of made up some of those, those elements. Uh, but again, the whole thing was fictitious and I think it’s very clear and we’ll talk about like why, and we made those specific decisions, but I know people are like. Because we put in real stuff into our stories all the time. Like every episode does have things that are true to our lives. Yeah. And our backgrounds in some ways, or a lot of them do. And then sometimes they just have things that feel like they could be real in order to accomplish something that we want to do with a story. Like you never read a Margaret Thatcher biography or watched a documentary or whatever it was. No, but I did read a lot of, well, I won’t say a lot. I did read some stuff about her before that day if she Oh yeah, right. Yeah. So that I would have some, you got caught up. I had to have some stuff to know about her. Um, before we go into the next segment, I just want to quickly say, shout out to what’s going on over on The Mythical Society, the Special Make Retina Link Laugh, where you submitted your jokes. And our funny, funny crew, a few of them, um, embodied your jokes and so you can see if the jokes you submitted actually made us laugh. Over on the mythical society as business owners and fathers and as just men who have hobbies and interests. We got a lot to pay for all at the same time. And sometimes it would be nice if we were able to split things up. And you know what, that’s where Klarna is actually a really cool tool because whether you’re using the app or online, you can use it for large purchases and spread out the payments instead of paying all at once. And you know. I think back in the day when we were spending all the money associated with our business, we were making all the purchases ourselves. It would’ve been, yeah. We were making all the purchases ourselves and IT cameras, and we definitely would have been Klarna, if I am, to make it a verb. Oh yeah. To split out. Split up those pages, because we were just waiting and waiting until we had the money for a camera or for a computer. Right. I remember the first stuff that we bought and we’d be so much, we were taking some hits back then further ahead if we would’ve done that, then a Klarna is your smarter everyday spending partner, and it isn’t just about splitting payments. It’s a way to help you shop smarter. Oh yeah. They got the shop and compare functions, so you know that. You’re getting the right deal. Mm-hmm. And the best deal, you know what you should have clarified? Mm-hmm. When you went to, um, Solvang and you were talking to me about that. Oh, the c clock, the cuckoo clock. Yeah. Yeah. I couldn’t justify it. I couldn’t definitely not justify it, but if you could have spread it out, the payments, maybe you’d be cuckooing right now. I should’ve cornered it. Uhhuh. Uh, well, you should be Klarna Klarna your, uh, your DJ set up. I mean, I saw those speakers you put in the creative house and the speakers that you’re putting in your house. Yeah. I, I kind of have a thing with, uh, spending money on that front. So Yeah, you do it. It would be nice to know. And Klarna does help with reporting and budgeting, so it’s not just splitting up payments or shopping for the best thing, but reports on your spending. So you have an added level of accountability and planning and budgeting for everything, so you’re not just going wild. Uh, yeah, and I mean, she just went to the, uh, the summer program that he did all summer, and of course had to pay for that all at once. It would’ve been nice to be able to klarna that. That’s something to think about. Klarna in experiences. Okay. And I like that you’re using it as a verb now. Yeah. Which I think is because of my influence on you. Yep. Mm-hmm. Uh, they do have a lot on the app. So you should check that out. But you can get a whole garden patio set up, which I like that idea. Maybe I’ll be throwing a garden patio set up over there at the creative house when I step away from my loud speakers. Yep. Thanks to Klarna. Whether you’re paying now or later, Klarna helps you stay in control with no interest and no surprises. Klarna is your everyday spending partner that makes managing money feel easy and stress free. You can use Klarna at checkout in the app and see how it fits perfectly into your existing shopping routine. Download the Klarna app to get started or learn more at Klarna. That’s with a k.com California Resident loans made or arrange pursuant to a California finance law license, NMLS number 1 3 5 3 1 9 0 Klarna balance account required. Klarna may get a commission. Limitations terms and conditions apply. Season two is different than season one. Well, one of the things that we saw a lot of people say about season one and we also agreed was what was that like? What, what, what were you, how is it a show? Because, and let me do episodes feel disjointed and they feel different and there’s a completely different approach. Some feel like they’re totally scripted. Some go into like a sci-fi place. Some just stay in the real world the whole time. They all have elements of BS that are obviously made up, but some more than others. Like, what was that? Yeah, that was okay. And so what we wanted to do in season two was we wanted to create, we wanted to hone in on what made it feel like more of a cohesive show. And I, you know what, let me just go through the list so that, because all of these things are interrelated that are different between season one and season two, that being one of them, I’m gonna list. All of ’em out. Okay. And then we’ll just kind of go back through ’em. Yeah. In season two, we wanted to make a cohesive season that felt more like a show. We wanted to tell stories, so it was a focus on stories. We wanted to improve our performances by developing a better approach to scripting. Uh, and we still wanted to maximize the reach of these episodes by working with and not against the algorithm we had to reckon. With the algorithm, and of course, you know, you can kind of see where that’s going, but you know, well the, the cohesive show thing, people may take that the wrong way and think, well, let’s go back to that. What, what we mean by that is that we told a story over the course of six episodes, and that is not what we mean. No. Each episode stands alone, which is why we don’t know which episode is last or first we, we shot all of, and then we decided what order to put them in afterward because it doesn’t matter. What link means by cohesive show is that the approach to every episode is the same. So you can say the way that you describe there’s an identity describe the show is, the way I would describe the show to people is the title and thumbnail. Is always going to be something that looks and feels like a viral video. That probably, or actually definitely does already exist somewhere on YouTube. Like it’s a genre of viral video, like an extreme hide and seek. Or one night in a tiny home and one night in a mansion, uh, one, one star review a hotel reviews, like all of these genres of videos exist. So we’re always gonna start with a title and thumbnail that looks like, oh, re link decided to make a video in that established viral YouTube genre. And then every single video starts as if we are really gonna do the thing that you clicked on. Like, oh, they are going to a one star hotel, or they are going into a tiny home or a mansion. But then. Somewhere near the beginning of the video. Sometimes it’s a couple minutes in, sometimes it’s several minutes in. Sometimes it’s over the course of a few scenes. Yeah. Sometimes it’s immediate and sometimes it kind of, that you kinda shift into the gray area. We go into the wonder hole. Where I would roughly say what that means is that something happens in the world that we’re in, that that’s unexpected and sends the story in a direction that you would not have expected. But also when it clearly becomes something that if you’re paying attention is made up, is is a story, is narrative not made up in like metaphysical, but is like, oh, now they’re doing a story that they wanted to tell versus just doing the video. That would’ve just been this vlog and. We wanted to be consistent in our approach across all six episodes. And so it always kind of happens. Yeah. If so, you could describe it in that way, like the way I just described it, you could describe all six episodes in that way. That wasn’t the case in season one. No. It hap sometimes what I just described happened, but sometimes it was completely a departure from that. Yeah. It was experimental in a lot of ways. So the consi, like that need for consistency and cohesion led us to grapple with genre shifts as one example. Um, we did, you know, because we played around with that in season one a lot, it goes to sci-fi, it goes to a musical, um, it goes to, well, I can’t even remember all the other stuff. Flashback to when we were kids. None of that. So this is where I, you know, I know, I know what it’s like to be a fan of something. And so I think that people might be like, well, you didn’t, you did that in season one. And I love that. My favorite episode was the sci-fi, and you didn’t do any of that in season two. So the reason we didn’t do any of that in season two is because the goal for season two was for us to really d to figure out what the next step is in the way that we perform scripted. And when I say scripted, it’s loosely scripted material. And so we feel that genre shifts and musical numbers and some of that stuff, a lot of times can be a crutch. It could be a crutch if you really want the store to move forward based on your performance. And that’s what we’re trying to develop personally. Even if you, we place, let’s put performance to the side for a second even. We’re placing an importance on. J sucking you into a story, sending you down a wonder hole into this story that you care about. Now there’s a problem. What’s gonna happen? How is it gonna resolve? We wanted to re, we wanted to craft that story in a way that is the same from episode to episode that drew you in. And we wanted to see if we could succeed at that. So we wanted to focus Yeah. On, on that part of it. Um, and we wanted to serve the fact that the starting point was a YouTube video. So the genre at the beginning is docu follow. That’s how all of these YouTube genre viral genres are. Yeah, this is really happening. It’s, and there’s just you, it’s either vlog mode or mostly like cameras shooting it, but it’s reactive. And the camera’s a little bit behind. You know, there was a Ben really committed from a directorial standpoint, and us, as we collaborated all of us on writing this thing that it was informed by that genre. So even when the story began this, the cameras that we had and the characters that we were, which was ourselves, needed to stay intact because it didn’t make sense for that to shift just as a gimmick or to puff up the, your experience as a viewer. So we started setting ground rules before we really started writing, and that was, yeah, we’re not gonna, we’re not gonna do the genre shifting thing, we’re gonna stay in the docus follow, because that is the conceit of the entire angle of this season. Right? As you’ll see that we’re we, we lean into really hard. From the top, uh, of, of developing this thing? No. Make belief stuff. We also said no, make belief stuff like no metaphysical, like the rules. No magic. The rule. No magic. So the rules in this world are the same rules that exist in the real world again. So wild stuff can happen. We love fantastical stuff, but it needs to be, we love mystical, magical stuff. But it can be unbel, it can, what did we say it needs? It can be unbelievable, but it has to be feasible. I think we said it can, it can be implausible or improbable, but it can’t be impossible. Okay. That’s what we said. And that’s, that is what we said. But it was kind of the same thing as what I just said in different words, but yes. Um, yeah. So implausible but not impossible. Yeah. Right. Because all the stuff is implausible that happened, but it’s not possible. Yeah. Because we still want it to be. Wow. And again, that’s not like a unpredictable, that’s not a shift that we’re like, we’re never gonna do impossible stuff again. Of course not. It’s just for this season, it was like, let’s, let’s set these parameters that then cause you to ha like they cause you to have to adapt. Because a lot of times as creators, we’ll make a decision to be like, oh, something fantastical happens because it’s fun and it is fun. But then I think we end up relying on that to be like, that’s the thing that people will remember about it. And we’re like, but yeah. But, and it’s, it’s really disjointed. Yeah. And it, and it distracts, it can distract from the story. I know that. And this created concerns for us that we still have a little bit. I mean, I know that a lot of mythical beast loved episode two of season one with this, you know, we go into the future because we can live forever and we’re having this like bromance. Mm-hmm. And there’s death and there’s fighting and there’s epic windy desert scenes and futuristic production value and awesome costumes. We don’t have any of that in season two. So it’s like, well, and I wanna, shit. Are they gonna, are they, are people gonna be disappointed? Is it gonna feel like, is it gonna be experienced on a gut level as a step backwards? For some people. Sure. Yeah. And maybe so for some people. But I also think that, you know, we, we fooled you a little bit in season one, episode two because the reason or the production value is because we had access to that festival. Yeah. But could have tried to do that in season two. It, but it, but again, it was like that. Yeah. It would’ve been really hard to do and it would’ve take what production value and cost, because again, just like season one, season two is not necessarily making any money. I mean, it’s making, you know, it’s not making back the money that we spent on it because it’s completely self-funded. Yeah. So it’s, it, this is still like an investment in our, in in the storytelling. Our storytelling and the storytelling of our team to then apply it to what’s gonna happen next. I think to, I’m very confident. I’m not second guessing our decision. I’m just like, you know, it’s like anticipating certain, yeah. Yeah. And it’s like, season one was better type of vibes, but I will point out. The finale of season one had, I mean there was basically no Wonder Hole moment and it, the whole thing, we were making gummy versions of ourselves that failed and then we ended up going on this retribution journey of destroying my truck. You know? And it was all docu follow, like literally we, yeah, I mean we, we cameras just following us actually doing the things we said. Right? And it was very compelling in like, I really liked that episode. It has nothing to do with the approach to see episode two, the sci-fi episode. So then you’re left thinking, and then you’ve got this episode in the middle where we’re talking about our deceased friend, Ben, and there’s like a musical with squirrels and people are like, how the hell do I take this? And it’s nothing had anything to do with anything in terms of approach. We were throwing a lot of things at the board and. Except at the very end, it’s revealed why it was that way. So we did answer the question at the very end of the season, but you were left feeling like, okay, I don’t, I don’t know how to describe this as a show except as a fever dream. Yeah. Which it was. But to do that again, like we knew we couldn’t do that again. Yeah. Yeah. And so we got really excited about leaning into this and about how it, it makes, I, I, I really, I, I don’t like to sound pretentious, but it, I do feel like it’s a focus on craft and like not just doing what will, will get the biggest oohs and ahs, but will be a, as a season it will be a, um, it’ll be a cohesive thing. Yeah. Yeah. I mean, this is a. I think it all comes down to the, the like why we even do Wonder Hole in general, like why we started doing this and why, and why we decided to do season two in the way we did. You know, when you talk about se the last episode of season one and it being all docus follow and us just doing this ridiculous thing with the gummies in with your truck, there’s a world in which that’s the only thing that we do. And some people, again, I, we already saw the comments from last year, and again, I’m not, this is just to kind of give you, this isn’t trying to convince you of anything. This is just to kind of explain why we made the decisions we do about this element of our creative life is that some people are like, why don’t you guys just do the vlogs? Like you did those vlogs a few years ago where we would just do stuff and we’re not acting and we’re just documenting something that’s happening and we’re just being ourselves. A, we know that those would be well received. We know that they would be, they would get a lot of views and we know that we would be very good at them. Like we know how to be ourselves and be funny and be comfortable with each other because we’ve kind of cre made a career of it. But the reason that that is not interesting, at least, I mean, I’m not saying we won’t ever do something like that again, but the reason that that is not what we’re doing with Wonder Hole is because that’s what we do on good mythical mourning. Like that’s, it’s close to that. The bulk of, and we’ll talk about what, how that creates a problem that then Wonder Hole seeks to address, but. The bulk of the content that we have put out on the internet over the course of our careers has been us just being completely ourselves and just reacting to stuff. Right? I mean, probably at this point, just based on runtime, 99%, 99 plus percent of the stuff that we’ve put on the internet is us just being ourselves. But what it doesn’t have is this intentionality of shaping and making something behind closed doors that then you say, I, here’s a gift for you to enjoy. That has been a gift for me to make. Yeah, it’s a totally different experience. Right? And it, and we, you know, we’re, we’re very privileged in that we have the opportunity to do it. That the, the thing that creates the 99% of the content works well enough so that it has, that we are able to have this team and then have the ability to self-fund. I mean, not, you know. Significantly self-fund, but you know, self-fund something adequately enough to make what it is. It’s still very cheap for what it is, but we have the freedom to do it and we have this talented team to help us make it a reality. And then we have the platform with our, you know, original YouTube channel to put it on. So yeah, we’re kind of, this is about that 1% of that me, it means a whole lot to us. It’s much bigger in our minds than 1% because it’s like, it’s why we got into this. Right? And, and it’s interesting because it creates this challenge and we talked a little bit about this last year, but when you know us from that 99% and you’re like, oh, I like Link because he’s this way and I like RET because he’s this way and I like them together because they’re this way. And you see us in that natural environment, us being ourselves. And that’s where all the humor comes from. And then you see us playing ourselves still Rhett and Link. But now we are doing some form of acting. We’re doing some, we’re trying to execute a story with a pre-planned, planned story. Right. Especially when we have pre-written lines and a tight script that we’re following. Now, all you can do, and I, it’s funny ’cause I, I recognize this, like I have, they’re standup comedians that I enjoy and then when I see them in a movie, I’m like, Hmm, they’re not funny anymore. Or better yet, there are people who are really good at podcasting mm-hmm. And are funny in a podcast sense. And then you see them do their standup routine and you’re like, that’s not, they’re not funny anymore because I wanna see them do the unhinged thing. Right. So I know what that feels like and that’s a challenge because you are. Perceiving people through this lens of all the other times that you found them funny. The challenge for us is that we start acting and then a couple of things happen. Number one, you recognize right off the bat, well these guys are not trained actors. It’s like these guys have, these guys are trained at making podcasts and GMM and you know, internet videos and we’ve never taken an acting class and that kind of thing. So it’s like, as a craft, it’s not something that we’ve invested in and developed. And then the second thing that happens is that, uh, you are just, and this is more significant, ultimately, you’re immediately comparing whatever’s happening to us with how you think the real link would’ve reacted to that, or the real rut would’ve said that or reacted to that. And so we thought to ourselves, okay, this is a really significant challenge. Like, you’re not wrong if that’s the way you perceive what we do when we play ourselves. So how do we address that? And we did it a little bit in season one, but in season two, the reason we decided to go this. Totally fabricated storyline. Like as soon as we go into the Wonder Hole, the entire thing is pre-written. And I’m using putting quotes around written, because none of it is tightly scripted. The whole thing is outlined. So a scene will simply be, you kind of know what you’re gonna say. I kind of know what I’m gonna say. We kind of know where this is going, but let’s play around with it and see what happens. And maybe what will happen in that process is we’ll find a little bit more of who we actually are in the scene. And you’ll say things that are, oh, that’s the kind of thing that Link would’ve said. Mm-hmm. And maybe, I didn’t even know you were gonna say it. And let’s see if that draws out. I, I think maybe that could play on some of our strengths of being able to improvise and that kind of thing. And this is also a way that some TV shows are made. This is the way that, um, curb Your Enthusiasm is made as an example. Right. Yeah. So that was the kind of all of that that I just explained. Contributed to how we got to the specific approach. I knew for a fact that I was, you know, we are our worst, worst critics when it comes to our acting, but even if the things that we’re describing you as a viewer, so no, I think you guys are great actors. Like we appreciate that from, well, I’d say people, I think those people are a little bit, I’m not, it’s fine. Some people think it’s good, some people think it’s bad. I think if you think it’s, but it’s not good if, if you think that we’re good or fine. I still think on a deeper level, if you are, if you’re spending five days a week with us on good mythical morning, there’s, there’s a, there’s this subconscious perception that you, that you have to overcome. You know, that doesn’t happen with a lot of actors, you know, and I also knew. That. Yeah, I wasn’t happy with my performances personally when I just like put, putting words in my mouth. It’s just not how my brain works. Right. And I, in previous projects, I did spend a lot of time developing techniques for memorizing scripts and, you know, but not, not, not enough time, not like, you know, Malcolm Gladwell hours to become a good actor. So we had to find a way to hack into the system and make it work for us to, I mean, we weren’t, we’ve never been trained as improvisers either, but we, but we’ve been self-trained. Right. And we do have those Malcolm Gladwell hours. How many is it? 10,000? 10,000. We certainly have that. Oh yeah. Um, so. Said, well curb your enthusiasm can do it. I think this will, this will unlock something for us. Hopefully. So we would, we actually, and this was really hard to do, to follow through. It’s one thing to say, well, we’re gonna practice this before we start shooting. But it was really hard to be in a room with TJ and Ben. And Ben is basically acting like he has a camera, but he’s just standing there looking at us and TJ’s sitting there on the couch like thinking about, okay, in this scene this is the objective, this is the starting point and this is the end point. So this is where you’ve gotta get, this is the point of the scene on the page in the outline. And Rhet, you’re still Rhet link. You’re still link, but. You need to understand what are your points of view and how does that get us from point A to point B? And not just that, how does that create comedy? And then how do, and yeah, it arguably more important. I, I would say more importantly, how do you create comedy? How do these two PO views while getting from point A to point B, interacting in this way actually create comedy. And so season two, so we sat there in the room and we, this is an experiment in that. Oh. So yeah, we sat there in the room, we made up scenarios. We made up scenes and Ben walked around and his eyeballs were the camera and TJ was looking at the outline and like maybe thinking of things that like, well, we would just do this scene and I can’t even remember what the scene was. Well, the first one was we were picking up that we were in a, uh, a cave. ’cause we knew we would never shoot in a cave because Ben’s claustrophobic. So we were like, let’s waste one of these scenes. And it was like, right. Uh, even though we did in season one, and this is before we made the decision for it to be, uh, he said, no more caves. We were like, all right, we’ll pretend to be in a cave. This was gonna be like a real spelunking situation. And this is before we said that it was nothing that was, IM impossible. And so we kind of had this idea that maybe there would be like a weird species of person that was inside this cave, like cave people kind of situation. And, but we were, we were setting up and we were going through the stuff that we had brought, and then we realized that something has been taken from us. So, but the scene, right. We actually ended up transferring this scene structure into, oh, the Tiny Home. The tiny Home episode where there is the conversation about what we brought, what we brought, what I brought and what you brought. So yeah, we were having this completely improvised what you brought, what I brought. And then there was, then there was mechanics of. Realizing something’s missing. And then there was another scene and there was a, what’s that noise moment or something? Yeah, there was. And so then what we would do, just to step through that process is we would like do it. And it was, again, it was so hard to say, okay, we’re actually gonna do this. We’re gonna create our own acting class. I love workshop. I was very excited about it. I was like, I was very, I was, I kind of had to be an advocate for this. You taught for the entire team. This was because everybody was, was really hard. We don’t, you already know that you can do this. And I was like, no, we’re not. Right. This is not what we’ve was done before. This isn’t what we’ve done before. It was very valuable because then we’d sit there and we would, we’d get to the end of the scene and we would look at each other and we’d say, well, I mean, how about that? And then, and then Ben would say, well, I, I, I felt like, well maybe you were kinda getting a little actorly here. I didn’t believe this or. There was a lot of just standing and talking. I feel like if you incorporate more action, and then TJ was like, you know when you said that, that was funny. Let’s do it again. Keep that, but what about at this point you could play around with this idea. So he wasn’t pitching a line per se as much as, I mean, he might pitch it as a line and then we would turn it into a concept because I didn’t wanna put words in my mouth and then we would do it again. Because that’s when it gets even more difficult is that if you’re gonna do it a second time, then you start to have things that, more things that you’re trying to recreate and, and at least in my brain, I’m devoting energy to like the honest moments and just going with it and hitting now more points of, more anchor points of, oh yeah, I gotta say this because that was funny last time. Or Yeah, we, we, we need to have this moment because it was funny last time. And, but we did make a, a note after we did that to, it started to work to tell to, to, and Ben was on the same page, but it was like, we’d really like to shoot this in a way that we could just throw multiple takes together, because sometimes the first time something happens, yeah, it’s the best time, but then we needed, we need to get something else and maybe something new happens and maybe those two things. And so it became a bit of an edit exercise. We had another scene that was about like a Checkers game where we were like making up the rules and one of us didn’t know the rules or something, but I get nervous talking about this because now I’m like, is everyone who’s listening when they watch the rest of the season, are they gonna be thinking even more mechanically about our acting? So don’t do that. Mm-hmm. Well take what you want to. I mean, I, to me, I, I see, I mean, I think that. We’re on a, we’re on a trajectory. We are headed to a place, we are trying, like we have a lot of ambitions and a lot of projects that we want to get to that require a certain skillset, a certain thing to be in place for us to be able to execute them. And Wonder Hall, season one and season two are like stops along the way. They’re like snapshots in that process. Mm-hmm. And are they like a product that we’re proud of? Of course. Like we think many people really like it, but to us it’s not like wonderful season one and season two are the end thing that we always wanted to create. They are, they are a means to an end that leads to the next thing. And when I look at what we did in season two, I, I see leaps and bounds in terms of that system of our Oh yeah. Interaction and our performances. Oh yeah. But I also see. Places where I’m like, well that didn’t work. Totally. That wasn’t funny as it wasn’t as funny as it could have been. That was stilted. That still came across like it wasn’t really me. But you know, you can’t do 25 takes until you get it right. Sometimes we got time to get one, sometimes we got time to get two. And so you, you put together in the edit the best of what you’ve got across multiple takes. Yes. And we, we might do something three times and then sometimes we would break for lunch having moved on. And then we would talk about how we, we realized that we didn’t get it and that we really felt like we needed to. ’cause that was too important. And then we would have to go back. We went back, we did that for episode one. We did that for, uh, for Raf the RAF scene. We re the whole Margaret Thatcher exchange, which when I’m setting the 10 up, when you’re setting the 10 up really worked. But we did three before launch. They, it didn’t work and then it didn’t, and then it worked less and less and we just didn’t feel good about it. And we were having a mopey lunch and then we, once we were honest about that and it’s, it’s hard to allocate time. You don’t have to go back for something, but I’m so glad we did. When you talk about each season be a, a stop in the road, I would say there was multiple stops and assessments within season two because we would shoot, we started seeing edits of earlier episodes while we were planning to film later episodes. Mm-hmm. Even though there was only six and we made some major adjustments, a a across the course of the six episodes. Having seen, let’s see. ’cause the first one we shot, Ralph was not the first one we shot. It was the tiny home. Tiny home like Rafter might’ve been the fourth one we shot. Yeah. But just the tiny home parts of Tiny Home Mansion. We were watching Tiny Home and our performances and then we were figuring out how we needed to rewrite things to allow us to have better performances. It wasn’t just about getting better at performing, it was about getting better at outlining and writing so that it would free us up in the right places. And like, for example, to identify, we had to get better at identifying what was supposed to be funny without it being about lines. Yeah. It’s not, not about jokes. And so specific jokes. We learned a lot about defining our points of view and how we interacted with each other and scenes got better. And then the last, we kept putting off, at least we kept putting off two episodes because they were harder to produce. One of them had a big ass slide and a deep ass hole and all of this stuff. And then we began, we took everything we were learning, we, and then we started, it started to dawn on us that this last episode that we kept pushing off was completely broken and we had to throw it away entirely. And having written all six episodes before we shot anything, yeah, we, we just, we canned it entirely. Well, and to be specific, because I think that the story sounds very funny and I was very excited about doing it, but the, uh, then we can talk about the flaws, but, so we have an episode where we buy an abandoned storage locker and then we start opening stuff that’s in it. ’cause that’s a genre video. We literally feature the Lamborghini that is in every single one of those thumbnails in our thumbnail, which is just such a ridiculous thing we could talk about in a second in terms of thumbnails, but not in the video because no one else puts it in the video either. Yeah. Um, but in our version, we were gonna start opening boxes and realize that the only thing in the boxes was lotion. Just the whole thing that we got was just lotion. But because we had made some commitment to use everything inside there, right, we were gonna have to get through all this lotion, and so we were gonna have this idea to open up. Um, a lotion park, which is like a water park, but it’s lotion. And that was gonna simply be one of those giant inflatable slides, which we were gonna actually build. And in testing it, we were gonna lather a naked link up in, uh, lotion. Yeah. And he was going to come down the slide and then skip across the ground and then go into a hole just like Baby Jessica, if you’re old enough to remember baby Jessica, who got stuck in the hole when we were kids. And it was a huge news story when this baby got stuck in this, well, this pipe for days with like. 24 hour news coverage. And we were literally looking into contacting baby Jessica because the idea was gonna be that link was gonna be stuck in this hole naked. And then we were gonna be, we were, and Lubed we were. Yeah. He’s gonna be stuck in this hole with full of lotion. So every time they tried to send something down to him, like the fireman like sends a rope, it just slips out of his hands. ’cause he’s covered in lotion. And I keep putting lotion in the hole because we gotta keep using the lotion. You keep making it worse. But what we start realizing and convincing me is a good idea. But what we start realizing is that we are getting famous or we’re getting relevant. Like people are talking about us in a new way, in ways that they don’t talk about us anymore because we’re on the national news because you’re stuck in this hole. And so then I’m like, we gotta milk this. And so we create more of a story. But then we were like, we were gonna have, uh, baby Jessica, like on the news and stuff anyway. Then we started realizing it was gonna have you in a whole, the entire time. Yeah. And we had what we’ve been learning of that doesn’t utilize my strengths. What we’ve been learning over the season is that, first of all, we had unnecessarily and unintentionally written, written ourselves into confined spaces. And I think part of this is because a lot of these YouTube videos and these genres like being on a raft for a hundred hours, that’s a confined space. You’re outside, but you’re on this raft. Um, being in a tiny home, again, these confined spaces and we’re like, why do everything seems really small? Let’s not put making up pipe, but also outdoors, like the amount of confined yet also outdoors, creates all kinds of problems, creates so many problems and frustrations and like, I mean. Jenna, I, I’m surprised you’re just not moaning over there. Like all of all of that stuff. Mm-hmm. You worked on all that, all the logistics of it. So when we told you we were scrapping the, the lo the lotion slide, whole episode. Mm-hmm. Wasn’t everybody was relieved. It had to be relieving. Oh yeah, yeah, definitely. In uh, not just the outside the, the, um, the finding the proper lotion combination that was safe for, uh, the environment. Yeah. To put a bunch of lotion outside on a slide. You would need a stunt person to go down. Right. Like the insurance for you to go down. That slide that we had, we spent all our insurance money on season one. During that parachute we did. Yeah. So, so we rewrote that and we were like, alright, we’re gonna apply everything we know. This is gonna be in a predominantly indoor space where that we can control, we can be efficient about our timing, and then we can crap each scene to be funnier now that we’ve learned stuff than the stuff we wrote earlier. And that ended up being the new version of, we bought an abandoned storage locker. And you’ll, you’ll see where that goes, which I think it’s episode four in, in the season. Um, it arguably the, it has maybe the funniest moment or scenes, I mean, it’s like, it, it depends on your sense of humor. It depends on your, I would say it has the most shocking, yeah. Yeah. It has two of the most shocking moments of the season. Yeah. Which is, which is why, that’s actually why we chose that one, even though it’s not episode two for the premiere. We chose it for our, uh, ticketed premiere just to, so we could watch it with people in the room just to see how people react to it. I think this, this raises a, a, you know, the bigger, the bigger sort of story behind all of this is that if you had a, i I, this conversation that we’re having is, uh, like if you had to, if we could hear ourselves having this conversation 10, 15 years ago, we’d be like, what, what are they talking about? Like, what are they, what do they mean genres and YouTube genres, and why are they doing it this way? And why aren’t they just making a show? And I think this is a question that we have for ourselves and a lot of fans have for us, is, mm-hmm. Guys, if you just want to tell a story, why don’t you just tell a story? Why don’t you just make a season of a half hour comedy? That is what you guys want to do. That tells a story over six episodes. Like, just do the thing. That you think that you, you seem to be working towards. And I think that this is the problem of the modern YouTuber, right? Right. If you, if you are making your living primarily on YouTube, and again, like I said, we’re not making, we’re not getting in the, just to be honest with you, we’re not getting in the black on, um, wonder Hole, but we don’t need to get too far into the red on it either. Like we’re trying to, we do need to make money back through AdSense when you people watch these videos. Right. But it takes getting a couple million views on an episode in order to really make that make sense, which doesn’t always happen, usually doesn’t happen. And so, and we want it to be something that people actually see. And so we play this game and we did it a little bit in season one, especially in episode one, where it was like we took a first class flight or whatever, ’cause that was a genre, but we decided. We’re gonna do that on every single episode in season two. So that there, there’s no, we, we were really proud of like the, we drank a cloud episode of, of episode of season one, but, but we couldn’t even call it that, which is the perfect title for it. And, but nobody cared because they’re like, what do drink a cloud? What do you mean? The algorithm just didn’t sh show it to people and it didn’t get the clicks, but red versus blue, whatever we call that one, we spent 24 hours in red and blue rooms, whatever it was. Yeah. And the thumbnail, and that thumbnail was half red, and red looked amazingly red and half blue. And I looked amazingly and completely blue was irresistible. For some reason. To click on that just worked. And we had a reckon with that ’cause everything that we said we wanted to do, but. Yeah, we need to try to, we need to defray the cost and we need to, we want as many people to see this as possible and we’re not asking permission and pitching wonderful season two for somebody to fund. We’re not, we didn’t have any meetings we followed through on, ’cause we would, the video where we said we would still be talking about it with somebody right now versus ha having it had come out for you to see. Like, that’s just the reality. We followed through on the, that video before season one called We Are Done Where we said We’re not asking permission to make things. We’re making things and then we’re figuring it out. Now I’m a bit frustrated that we’re still figuring out the financial side of this, that season two still isn’t paying for itself, but we need to do, but maybe it will, you know, like the ticketed Premier event helps with that. And this strategy of working with the algorithm sets it up to um, you know, rake in some AdSense and. Also expand our audience. So that’s a win-win. We just had to get over the bitterness of having to play nice with Mr. Algorithm, but, and we said, you know what? Let’s stop flirting with it. Let’s just go all the way and each epi episode, we are not gonna green light an episode of this show unless we know the title and the thumbnail, and it has to be a title and a thumbnail day. We know it’s gonna work. We have every reason to believe we’ll get clicks now, because now maybe things have changed enough. Like we made all these decisions about a year ago. The algorithm changes. Maybe some will work better. I some will work better than others, whatever. But here’s what we were tapping into Someone. It may be Mr. Beast, it may be Ryan Rehan. It may be, I mean, there’s, there’s an so many of these YouTubers that they do invent genres that are irresistibly clickable. It’s like I liken it to kinda like a, it’s like the Michael Bay effect of movies, you know? It’s like, oh, I gotta see that because of that exp explosion. Right. You know, you know this, but what I didn’t fully appreciate was then other creators will do the exact same video. The only difference is it’s them doing it. The title will be exactly the same. The thumbnail will be exactly the same, except it will be their faces instead of somebody else’s. Yeah. And it works, it, the algorithm just like slurps it up and then spews it out to everybody. This, you know, the, the mindless clickability of it. And what we would never do is so powerful. What we would never do, and I think you understand this, we can never make those videos. We would never, we don’t want, like, we don’t want to, like, we, we’re not, its not exciting. We’re not just doing this just to get views, but we were, we’re doing it to tell the story. And to work on, you know, this approach and develop our craft. But it was a tough pill to swallow, but we have to do it, we’ve gotta do it on YouTube. And we had to tell the team, you know, it was like, it was tough to, for us to convince ourselves, but then we were like then talking to Stevie and then like figuring out, okay, can we keep our artistic integrity and do this? And we, we were like, yes, let’s focus on the craft of it and let’s, let’s take people down the wonder hole and then we have to earn their retention. Is our story good enough? Once they realize that it’s not what they clicked on to keep them there. And that’s on us. And let me just say to an extent, well, lemme just say, I think that that is going to happen for a certain person and that is the person that we’re actually trying to reach with our storytelling. And I don’t think. That’s the average person. So I, we don’t know what the algorithm is gonna do with that. Well, no. And how many people, what I, what I mean specifically, I’m not talking about how the retention affects views. What I’m talking about is, one of the things that is going to happen in an episode, in the comments on an episode of Wonderful is gonna be, I wish you guys would’ve just done the thing that I clicked on. I wish you had just done it, because that would’ve been funnier to me. That would’ve been better to me, and that’s what I wanted when I clicked. Right? And so, and I, and so, and you have every right to think that we’re not trying, like, we’re not trying to make content for that person who thinks that we’re trying to make content for the person who wants, who would prefer the half hour comedy intact, 10 episode scripted show from us that we hope to eventually make. But this is the way that we begin to cultivate the audience that actually wants that from us. And I just think that if that was the audience, if that was what the audience wanted on YouTube, then there would be more shows on YouTube that look like shows on these other streamers. Right? But, and there aren’t, but there aren’t. ’cause of the way the algorithm works is that it is a, it causes people to make individual decisions about individual videos. People commit to, they don’t commit to seasons of things in the same way because you never know what the first video you’re gonna find is. It’s just a different algorithm and it’s, we’re in incredibly thankful for it, and we are actually really good at exploiting it. Uh, and we’ve made a career out of it. But there we have ambitions to do things that don’t fit within the w just the, the prevailing forces of that algorithm. So, lemme tell you what we did at the very beginning. Once we made that decision and communicated that. To the team and then lemme talk about the conundrum that that creates that we’re currently in. We dec, once we made that decision, we sat in a room and people brought their research of viral genres in the last year that it’s more than one video where something goes extremely viral. And then there’s all these copycats that do the exact same title and thumbnail at a certain point very early in that process. You don’t even have to watch the videos at all. Well, you’re just watching. Well, I didn’t in most, well, no, I’m saying in most cases you don’t want to subject yourself to him because it feels like a piece of your soul leaves and will never come back when you watch. All. I know he did a good amount of that. I know Stevie did a good amount of that and uh, TJ did a good amount of that. Yeah. And so. You came back with these lists and we sat in the room and then we were like, okay. That’s when it was like, are we really gonna do this? Because it was these, I don’t know, it just felt like my soul was just melting through the floorboards when I was reading the titles that were gonna be the titles of our videos. But what we did was we said, this is a clinical exercise based on a decision we’ve already made. And we started to rank the effectiveness of these in terms like whi, which had the highest probability of performance based on everything we could assess. Yeah. And then we narrowed it down to eight. And so having those titles, then we started saying, all right. What could happen. These are just starting points for a story. You got these two characters that are endeavoring to do this thing. And then we have our ground rules of like no magic, no genre shifts by this point. So we just started writing what’s the, IM implausible, but not impossible. Things that could happen that could delight and surprise you and be fun for us to make within our means. So there’s all these parameters, but it’s like, okay, this is actually, these are this compartmentalizes in a good way where you can channel your creativity. And we started writing and we gotta the point we’re at. Yeah. But it was, you know, it was a rigid commitment to that starting point. And the conundrum now is what you were talking about a second ago. And that’s, are people going to, well, crap, I can’t even remember the conundrum. I. How are people gonna, are people gonna step up and respond to what we’re doing? Or are the p Well, no, that’s not it. That’s what you were talking about before. Here’s the new conundrum. Are we going to reach the people that want the stories we’re telling in spite of the, the appearance of it people? Are they gonna judge the book by its cover and not read the story? Another, another way to say that is typically people who are, are the kinds of people who would appreciate the sorts of stories that we want to tell are not the kind of people who click on titles and thumbnails. Exactly. Like we’re using for wonderful season two. So how so what we’re relying on how we shot ourselves in the foot? Well, well, no, because I think that, I don’t know. We have a lot of people who’ve watched us for a long time who when they see us, they see a title and thumbnail like that from us. They know they didn’t really do that. I mean, in fact, if you look at episode one, look at a lot of the comments on episode one of season one. Yeah. Yeah. And people are like, I saw most expensive food. I saw when you guys did this that you probably weren’t gonna do it in the way that everyone else has done it, because you never do everything else in the way that somebody else has done it. And some people were like, I couldn’t believe you did it. But I clicked anyway, and then I was surprised. So, so we’re kind of relying on that. And again, this isn’t, and that’s, I think that’s the other reason why we’re talking about it here, is to get some sort of alignment so that like the, the titles and thumbnails don’t turn off the fans of well ear biscuits or the, the extra from GMM stuff that we do. Yeah. I ha I have faith, not necessarily that this, this season’s gonna get a lot of views. I have faith in the process. I have faith in us leaning into. This type of storytelling, doing it in the way that is most strategic on the platform that we currently have the most access and control over. And doing that to find the people that want to see this kind of thing from us, and then are expecting the next thing from us and the next thing that we’ll work on. Mm-hmm. And again, I, a lot of those people also watch good mythical mourning. Right. And a lot of those people have learned that, oh, I may, okay. Yes. They’re testing chicken sandwich, they’re taste testing chicken sandwiches today. I’m not really, now this, there’s two types of fans. There’s multiple types, but there’s two gen general fans of GMM. There’s the fan that’s like, I’m showing up because I wanna hang out with you guys every day and whatever you do, it’s gonna be funny and I’m gonna be into it. Mm-hmm. And yes, certainly there’s certain things that you do that I’m more interested in. I’m more likely to click on, but I’m kind of there because I’m committed to the show and you guys’, friendship, whatever. And then there’s the people who are like, oh, they’re tasting chicken sandwiches. I literally want a chicken sandwich right now. And I want to know which one they think is the best. And the fact that I think that they’re funny enough to make this interesting causes me to click on it. There’s a lot of people like that as judged by the fact that if we right eat chicken sandwiches discrepancies versus play mystery countdown theater, the views will be like two x on the chicken sandwiches. So there’s like twice as many people in that camp. But I think that, you know, if you’ve been watching this show for a long time, that we make the show for those people who are coming back. But we have to, we, we have to also take into account the people who only come for the chicken sandwiches because. We had, we have to make money doing it. Like it has to be a business that is sustainable and it has to, and, and so, and also we think that those chicken sandwiches videos are pretty damn entertaining. And even if you’re not into chicken sandwiches, it’s still a great foil for us to do the things and be ourselves. But I ki but we’re slowly building that group of people who are like, I’m there because I like the way you guys interact with each other. There’s also a group of people who are like, I’m there because I like the things that you guys create. I remember those local commercials back in the day, or your sketches or your music videos or whatever. And I, and I like the things that you make, not just the way you talk to each other. I like the things that you make. Mm-hmm. And you know, we’re not doing it for those people. Like we’re doing it, let’s be honest. We’re doing it for ourselves. Like we want to make this kind of content. That’s why we got into this, this is our childhood dream, right? We made a blood oath about it in a field when we were in 14 years old, but. We have to have an audience there to watch it, and I trust that they’ll find it. And I, I trust that enough people will find wonderful season two to kind of come on board and be like, all right, what else do you guys got? Because we got, we got something else. We got something else we’re already working on. Yeah. That is what I, I’m so excited to enjoy the rollout of season two of Wonder Hole because of how it will impact what we do next and how it won’t it, what it won’t do is it’s not gonna impact what the next project is because we’ve already decided it’s gonna impact more, it, it will impact, most likely how we go about it. You know, I’m sure there’s a lot that we’ll still learn in this rollout and, um, all the questions that we’ve raised. Over the course of this conversation that will be answered, but we already know what it is we’re doing next, and. We’re excited about that and, uh, I think you will be too. Um, so yeah, I, I plan to enjoy it. That’s the other reason why we didn’t just wanna sell tickets to a premier in order to defray the cost. We wanted to do it for the experience, and I think that was the first reason. So, um, as of the recording of this, we’re, I haven’t gone on ’em yet, but, um, yep. I’m very excited about that, to experience it in a room, but also I enjoy, I I look forward to experiencing it with you if you’re a mythical society member. Yeah. Early and ad free. Uh, right there. Um, you get the first look at it, so. The, the comments that we’ll read there from, uh, mythical Society members will be the first, first response We see, first online comment responses. That’s on we, that’s on the Wednesdays before the Sunday. We’ll be there every Wednesday, uh, you know, reading every single one of those. And then I look forward to experiencing the comments and, uh, the reactions on social media to it. And, um, you know, I think it, I, we, I’ll approach it with curiosity. You know? Yeah, I’m, yeah, I’m definitely, I’m kind of beyond like an enjoyment. Yeah. I’ve, I’ve been surprised in my, had my expectations subverted so many times in this job. That Right. I’ve kind of gotten, I’m more detached from the outcome than I’ve ever been. Probably a combination of having done it for so long, a little bit of maturity, a lot of the therapy. So I’m just more like, okay, this will be interesting to see how people react to it. But thank you for indulging. Let’s talk about this, and thank you for going down the Wonder Hole with us each week for those six episodes. Let us know how you experience it and we’ll talk out to you next week. Hey guys, listen, I drink my coffee every single morning on the way to work, and this morning I’m listening to this episode, the latest one about you guys with the pills and the chewing. And I legitimately almost spit my coffee out two times and because I just going about my morning, just, you know, doing my thing and then you say something just so unhinged, I, I almost just spit it out twice. So I just thank you for that and I might actually even listen to this episode another time because like you guys are so, I love you so much, but I just thank you. It’s ridiculous. Love you guys. Bye. Watch try to make Rhett and Link laugh on the Mythical Society now.