Inside Late Night with Mark Malkoff - Mike Drucker

Episode Date: April 22, 2025

Comedian Mike Drucker joins Mark to talk about working at Saturday Night Live, writing for Jimmy Fallon, producing Samantha Bee’s TBS show, and his new book. Buy Mike’s Book: Good Game, No Rematch: A Life Made of Video Game Follow on IG: @mikedruckerisdead Follow on X: @mikedrucker

Hi, I am Mark Malkoff and welcome to Inside Late Night, presented by late-nighter.com. Today's guest is Mike Drucker. We talk about him working at Saturday Night Live, writing for Jimmy Fallon, his new book, and much more. Now, it's time to go inside late night. Mike Drucker, thanks for joining us. Thank you for having me. So you're at Dillard High School, you're in Fort Lauderdale, you're at a magnet. at school. Are you in your head? Are you thinking I'm going to be a comedian? Are you watching Saturday

Night Live? Because it's amazing. You got to work in that building on two different shows. I don't talk to a lot of people that got to do that. But what is your mind as a kid in Florida? You know, honestly, as a kid in Florida, I loved comedy. I did watch Saturday Night Live. I was like obsessed with stand-up. I didn't know I was going to become a comedian because that seemed like something that someone else does. It never seemed like it was a job path for me because, you know, my school had a drama program, but it was all, you know, relatively serious acting or musical theater, neither of which I'm that good at. So just comedy never seemed like a possibility. I really wanted to make video games, but I was so bad at computer programming that I kind of gave up on that as well.

And you get to that as well. You work for Nintendo. We'll talk about your book. How do you become an intern at Saturday Night Live for two years? Because the people, I normally, that I've talked to, unless something maybe it was different back then, only are able to do a semester, maybe two semesters. Is it true that you were there from, is it, 2005 to 2007? And how did that all happen? I was able to get an internship at NBC casting in New York, you know, and they were kind of like, you know what, if you give us a good internship here, we'll refer you to another, anything else you want to do. So, yeah, so I, you know, interned at NBC casting in New York where it's, you know, a lot of obviously casting for shows like long. order. A lot of dead bodies. A lot of people were coming into play a dead body. So I did that for a semester. And then they recommended me for Saturday Night Live for the writers department. So I got to be an intern. And honestly, the way I stuck with it was I just kept, one, I worked very hard. And I think I kind of both impressed them because I loved comedy. So it was clear that like I wasn't there to meet a celebrity. I was there because I loved comedy. And two, I just was so persistent that they

let me stay on for a while. And I, yeah, I interned. for two years. And then after I graduated from getting my master's degree, I spent a year kind of flailing about. And then I got a job there as a researcher slash assistant. When you were an intern, were you getting college credit the entire time? Or were you, were you kind of sneaking it in? Or you were actually getting legit credit the whole time for two years? I was getting college credit the whole time. NYU was pretty loosey-goosey about it. This was before that they were, this was before they were paying interns, though. There was a big, you know, change in the way internships everywhere are run in New York, where you're now paid to do

so. I can't even imagine. I did so many of those things and never got anything. It's never. Unbelievable. I know that they had a lot of interns, but were you the only one that they really knew their, everybody knew your name by a certain time? Because normally the interns are kind of invisible to the cast and the writers only because they are so focused on everything. And then suddenly, I'm guessing everyone knows who you are since you're an intern and you made yourself so indispensable. I think me and maybe one or two other people who are also big comedy nerds, those were probably the ones where they, like, everyone knew your name. You know, and of course, like, just through

working with people, writers and cast members, we get to know everyone else's name, but I think like me and a woman named Jess Conrad, who's also a TV writer now, I think we just really put in the hours where they were kind of like, okay, these two clearly want to stick around. You're doing update jokes. You can submit up to 10 per show, and you did it for something like two years before you got anything on. Yeah. Every week you're doing like an Alex Bays who didn't, I don't think got anything on his first two years when he was submitting.

So is it every week you're handing in those 10 jokes? Every week I'm handing in those 10 jokes. Every week I'm hoping for the best. And it took me two years to get on, but there was one or two almost moments where I got into, you know, the dress rehearsal and the joke wouldn't work or it just wouldn't work as well as the others or it just happened to get cut because, you know, they have to cut out a large chunk of time from that show after the dress rehearsal. There was a couple of near misses, but it definitely took me about two years.

And honestly, at that time, I was just really happy that I got the chance to even try. At this point, like Alex Bay has told me, he had no idea how to write a topical joke. You eventually were working for Fallon and writing monologs. It is one, is it one of those things. You're just, you're learning as you go. You have no idea. You're jump into the pool without learning really yet. You don't know how to swim.

And it's just trial by air until, you know, like, just practice makes perfect, and then you suddenly get this skill set, but it took a while. It took a long time, you know, because you know what's funny to you, but you're, you know, you have to learn how to maximize, you know, both like the setup giving enough information and the joke being funny enough without it like just being in your head and being able to, you know, both make it as funny as possible, but as short as possible. And also, you know, the skill of learning what hosts like, what weekend update anchors like. And, you know, later on what late night show hosts like is part of the challenge. Because when you're first doing comedy, whether

it's stand-up or improv or prose, you really know what you think is funny. And you're trying to learn how to bridge the gap to the audience thinking what you think is funny is actually funny. But there's an additional gap to that to trying to figure out what other people want to say as a funny thing. And that took me a little while as well. So Seth was the anchor, I believe, Seth Myers. It was the joke that you got on about it. Was it the 700 Club with the VHS tapes? the trampoline inventor. Which one was that? Do you remember? The 700 Club was the first I got to the air. And what was that joke? That joke was, to be honest, it's not even that great of a joke, but it is something like someone on eBay bought the entire run of the 700 Club on VHS at an auction.

No, no, someone at an auction house bought the entire run of the 700 Club on VHS. Here's how that auction went going once, going twice, sold to nobody, because no one would want that. I already screwed it up because it was years ago. It was not the best joke. The trampoline joke is a much better joke that I'm much more proud of. After two years, do you just run to Wally Ferrisdon after the show our friend Wally and ask for the Q card? Or do you not even do that that was red? Do you still have the Q card or not?

I did that a couple times. I did that when I first got to dress rehearsal and absolutely bombed. Just because I was like, you know, the first time I got to dress rehearsal, I was like, okay, this is the only time I'm even going to get this close, you know? And so I might as well just get the cards from it because this was my one shot. I almost got it. And occasionally, if I really like the joke, the problem was I started, especially around Falun times when I'd like a joke and get the cards where I just had this collection of massive cue cards I didn't know what to do with. And my parents, like,

wanted one. But I had like eight or nine. And so eventually I just like, I think I gave them all to my parents and they must be in their garage still. I was at this dress rehearsal. And I've never heard this from an intern. Maybe this has happened before. But this was a long time ago. This was like 2005 when Zach Braff hosted. Monday they do a pitch meeting. I guess they're going to do a Bronx beat sketch, which they did a bunch of times. How does Zach Braff start doing you as the character? Was it the writers picked up and be like, this is, you have to meet this intern. This is how I want you to play it. Were you just in the room? And Zach Braff was like, oh, this kid is very interesting with the manner. How does he, he was basically doing an impression of you, correct? Yes, but he layered in like a

thick long island accent, which I don't have being from Florida. But, you know, honestly, I think it was the writers, which I include the cast members in, because Bronx Beat was written by Emily Spivey, Maya Rudolph, and Amy Polar. I think that they just noticed that I was kind of like a little bit of like an awkward, eager dude who really liked them. And so I think to them that was a little bit endearing. And at that time, I'm sure they still do it, but obviously I only know about at that time. Occasionally, if they really, really, really liked you, they would put you in like some, they would put your name in some random thing. And usually it was like kind of like a joke that then got removed later or it was like, you know, a fake sketch at read through

to wish someone a happy birthday. And even then, it was so exciting as an intern. And I think for this one, they were just like, you know what? It works. Nobody's mad at us and it's not confusing to the audience because we're not like really referencing something on a deep level. And they, and they went with it. So I was an intern watching a TV movie star play me on Saturday Night Live, is odd. The show was not happy with the dress rehearsal audience. I was there and I remember going to the after after. That was, I think, Professor Tom's and I was talking to somebody over there, a top producer. It's like, I was addressing like, you were a bad audience. I was like, listen, they were horrible. I work on TV shows where you have, I'm in charge of the audience. I was the

one that was laughing if you could hear you laugh at every single sketch. So then you get hired at SNL and research and you're working for Tom Wilson, who was there forever, like decades. Now, was he, this is research, was he the son of Davy Wilson? He was, in fact, the son of Davy Wilson. Did you get to meet Dave Wilson, the famous director who was there for the first, you know, 1875, it was there until, I guess, like, 94, 95 season? Yeah, he was, he was there forever. I'm not sure if he was alive, actually, but I, he might have been, I mean, you know,

Tom talked about him, but Tom sort of like talked about him in the past 10, so I never got to meet him, but, you know, Tom had been not just working for the show forever, like, there's an early seven there's like a 70s sketch where he's like a kid like I think belushi Santa Claus and he's like a kid in you know the sketch like an extra so he was like there from the beginning and in fact he actually fun fact has my he came up with the idea for my favorite sketch on norm macdonald's sketch album the fantastic four sketch was his idea and originally norm macdonald wanted to do that as an s and l sketch but there was no way in like the mid 90s to do the fantastic four and tom you know tom wilson basically he was friends with

Norm, they were friendly. They, like, played, I think they played basketball or something. And he was like, you know, isn't it weird to you that Mr. Fantastic is called Mr. Fantastic and everyone else is just called the same thing? And he wasn't even pitching it as a bit. He was just kind of mentioning it. And Norm ran with it. So if you look at the liner notes of that album, Tom is actually credited as a writer on it. I never would have thought of that. Did he tell you old stories from the 70s of visiting the show or any of the folklore you can share with us? He didn't talk, he didn't talk much about the 70s in terms of, in terms of folklore. I think for him, like, he was a little kid and it was just really cool to, like, meet all these people who were the most famous

people on television at the time. He loved talking about the 90s. He clearly was friends with all the cast members. It was when he was the same age as the cast members. Like I said, he, like, would play, like, basketball or something with them. He would hang out with them. And it wasn't like, we were, it wasn't stories about partying hard. It sounded like stories of someone having, like, almost a second college experience with the most fun guys imaginable. I love hearing that. I'm going to talk about when you were an intern with Wii Sports in a second. But I wanted to ask you, either being an intern or working at the show, what were something like the three most surreal moments other than the Nintendo we will get to and stuff. But what are a few that other than getting your jokes on update? What stands out? It could be during the show. It could be during the week. It could be an after party. But what stands out is just surreal to you? I'd say the most surreal things. One, I was actually. put into a sketch as an extra just sort of like as kind of like

a nice thing for them to do. This was when I work there as an employee. And I forget what it was. I think it was like saving political cartoons was, I forget the name of the exact sketch or not, but it was written by John Mullaney and so on else. It was one of the time Seth Rogan hosted. And I was just like

in the background, but like I wasn't really much of an actor. So I was sort of sitting there even though I had no lines and I was not really playing in that sketch like terrified and being like I'm I'm on the set of SNL like I've been working there years but I was literally about to be on camera at Saturday Night Live and I had to go to cost I had to go to like wardrobe I had to go to hair and makeup for it and that was one of the first times I ever really had to do that in my life so it really felt like

this weird weird moment I would say that was one definitely as an intern back in the day when I had to run scripts to like you know camera on operators and producers, and there would be changes. And I would have to, like, run line up changes. And you're book in it. Like, this is, you know, in those interstitial moments when they're redressing somebody or, you know, resetting for the next sketch. And you're just running.

You're a 21 years old running to give someone a script before the cameras come back on. The third thing I would say is just, and it's a weird memory, but I just remember, like, maybe my first, second or third episode as an intern, I was, you know, just in college. And I remember at an after party, like, dancing with Rachel Dratch and not like anything weird or anything, just being like, you know, it's a party. There's music playing. Everyone's on the dance floor. And you're like, and I'm like, I'm dancing with Rachel Dratch. I'm facing Rachel Dratch. And I'm on the dance floor. What is going on? So definitely those moments. Yeah, she's wonderful. She's been on the podcast. So let's talk about we sports. So how was it determined that you were going to be, you were an intern at the time that you're the one that's going to be showing, I guess the cast and the writers how to use this. And this, they a sketch and how did this all kind of come together? And what was your, what were you thinking this entire time as a fan of the show? It must have felt kind of fish out of water that this was your big time to shine in front of everybody. No, it felt like I was like finally a fish in water. It felt like I was fine. They had put the fish into the water finally. I think, well, here's the

thing is I in college probably didn't have the biggest wardrobe. And so I think I wore the same red, bright red Nintendo sweatshirt to that internship for like a year almost every day, if not maybe every other day. And so they knew. They knew that I was into video games. It was like, I advertised it openly. I didn't like bring it up, but, you know,

they could tell by the merch I wore that I was the guy. And I was. And the cool thing about Rockefeller Center, maybe the coolest thing about Rockefeller Center is it's very close to one of Nintendo's flagship stores. So when I was bored at work or had like some downtime and there was nothing to do, I could you know, leave and spend 10 minutes at Nintendo, then come right back up. So I'd been trying out

the Wii for weeks before it came out, like because it was easy to do and they had this giant display. When the Wii hit the office, one, they knew I was into Nintendo. Two, I think I had brought it up to not the cast, but I think one of the producers that like I was playing it and I loved it. And so they were like, okay, you know how to do this. You know how to do this. you know how to set this up. It was kind of like, everyone wants this system. Because if you remember, when the Wii came out, it was like a phenomenon.

And they were like, everyone wants this. And they just wanted to play it. It wasn't like for research or anything. We're going to set it up. So me and a producer who was like sort of an AV guy who did like a lot of sort of that side of things of the show. And one of the IT guys, we got it set up on this giant TV that was in sort of the middle of a hallway.

And, you know, I started showing it off. Like people started crowding around. And it was, again, another surreal moment where you have some of the best comedy minds in America watching you play a game. And they're actually interested. They're not being nice. They're not, you know, doing it because I'm an intern they like and they want to make me feel good about myself. They're actually interested in what I'm doing.

And it's a very, very strange moment. And I'm like, kind of sweating because I want to do a good job. But I also want to, like, prove myself to them. Yeah, that's amazing that because a lot of times with interns and and stuff. Again, they're there only for a semester. And yeah, they're kind of a little bit forgettable. You get hired. You wrote for Jimmy Fallon's 1230 show, the late night and the Tonight Show. If you had to put in a time capsule, I don't know, like three pieces that you wrote that you're proud of, that 50 years people looked at, that you people would look back at that

you just really, really enjoyed. Or maybe just to show your family that you're really proud of, what would those be? That's a good question. I would say, I really loved a lot of the thank notes I wrote. So one giant thing, like my, I would say my favorite thing to write for that show. And for a while, I also produced the bit was thank you notes. I loved it. I endlessly wanted to do that bit. If that was my only job, I would have been so happy because you just got to write observational comedy one-liners. Like, it was kind of like, it was almost, not the exact same, but it was almost like if someone was like, hey, you just have to write Jack Handy's deep thoughts. I'd be like, perfect. That's all, that's all I want out of life. I don't

have to do more jokes about Trump. I can do jokes about, you know, ghosts. Great. So I think like that, like I have so many of them that I loved, that it was just so, I don't know, for some reason, some people hated it, but it was my favorite. So I would say that. I would also say, a sketch I was really proud of was the sketch that he did with Ryan Reynolds called I respect that about you. And it was just a way to get Jimmy to be mean. Jimmy doesn't like being mean. likes being a nice guy. He wants everyone to have a good time. He wants the audience to sort of feel comforted. He, he, you know, he wants it to be a positive experience. So he's reluctant to go negative on people, especially other celebrities. So I kind of wanted to think about that. I was like,

how is there a way that I could get him to like roast a celebrity? And I kind of thought, okay, well, Ryan Reynolds, you know, we needed pitches for him. And I was churning it in my mind. And I was kind of like, okay, what if we make it where it's just passive aggressive? So they're saying nice things, but the joke is how mean it is. He went for it and they did it and Ryan was great and Jimmy was great. And it was, I don't know, it was one of those moments where I was like, this is, this is fun. This is showbiz. You know, you're, you're standing on the stage and you're looking at things and you're looking at the set and you're like, move that over there. And you're like, oh, I'm in show business. So that was, that was super cool. And I think my favorite single joke I

wrote for the show, which I will think about until the day I die. And I'm just proud of it because of how silly it is, was Leonardo DiCaprio had sued a magazine in France for claiming that he got someone pregnant. And he didn't. And he won. And I remember reading the news story, but what stuck out at me about the news story was that the award was $9,000. And I remember thinking, $9,000 is the perfect amount where it's a ton of money for someone like you or me and nothing for someone like Leonardo DiCaprio. But for you or I, if you suddenly just got $9,000 out of nowhere, it would change your year. And so I was like, okay.

And I wrote this bit where it was like a statement by him. Jimmy didn't play Leonardo DiCaprio. It was more like he was reading a statement. And the statement was basically Leonardo DiCaprio going, you know, this, obviously this case is very important. Not because of whether or not, you know, I win or lose, but because, you know, famous people should not be the subject of lies and defamation. No matter how famous they are, we are human beings and we should be respected.

And then like the next slide was. like, but also, guess who got $9,000? And then it was just him listing what he was going to do with it, where he was like, I'm going to buy a couch and a big TV, and then girls are going to come over. And it was like, sort of like, that's a trope that I really like is when an adult start sounding like a child because they're so excited. And for me, that was like the most fun way to do that. When you got hired at Fallon, how was your sit down with him?

Did you, I'm guessing you knew Mike Shoemaker from you were an intern. He gets hired. He's the EP. Did you meet with Jimmy before you got hired? I'm guessing you did. How did that go? It was a little nerve-wracking at first just because it was probably the most important job interview I'd had up to that point in my life. And I knew the stakes. That said, I also did my research. I, you know, looked into what Jimmy liked. I knew he liked video games, but I, you know, really did. I looked at interviews. I wanted to see, you know, what connections we might have.

And I found out that he both loved Kings Quest, which is one of my favorite games from my childhood and the legend of Zell. which I had done a small bit of work on when I was at Nintendo of America. And I had a Legend of Zelda track jacket that they only sold at the employee store. And so I wore that. My manager was like, do not dress in a suit. You're not good in a suit.

You are going to be uncomfortable in a suit. You will make other people uncomfortable if you're in a suit. John Reinman. Yeah. So I wore this track jacket. And the moment I walked in Jimmy was like, oh man, Legend of Zelda, great.

And I was like, okay, it calmed me down. And he's very, very good at making you feel like you belong in the moment. Like when you have a one-on-one conversation with him or even a conversation with him with other people in the room, he makes you feel like the most important person in the world. So I calmed down. I was able to like bring up video games here or there. And I think it actually like kind of, you know, gave me a foot in the door in the sense that I was talking about something he was interested in without it being like, you know,

and here's what I could do for you or here's, you know, you need to give me money for this. Like, it was me just being like, oh, hey, man. Oh, I love that game. That's so great. And I think it kind of, I don't know, it showed him that I was interested in him, but it also showed that, like, I was like, oh, I could have a conversation with you without freaking out. Were you writing monologue and sketch?

What was your department specifically when you were at Fallon? The first time I was there, I had two runs there. I was there from 2013 to 2016, and then I went back from 2022 to 2024 and then left again to focus on the book. But when I was first there, it was monologue, and then the second time I was there, I was sketch. So I've done both departments. That said, at Fallon, it's a little less divided than it might be at something like Saturday Night Live with sketches and weekend update. So monologue writers would pitch sketches all the time. And if we were pressed for whatever reason, sketch people would write monologue jokes. So I was in the department, but it wasn't as strict

a wall as it is at some places. Do you think monologue rehearsal, where they would bring in an audience just on like maybe I don't know how many people just during the day just to test that stuff. Do you think when that went away because of the pandemic and, you know, they haven't really, I don't think they've brought back monologue rehearsal. Do you think that's affected the show at all? Could you tell? Was that a huge advantage to do that? You know, it's hard to say because there was like a bit of a gap when I was there. I think that they helped in that, they helped, you know, Jimmy sort of figure out what he liked, even saying it out loud in front of an audience. I think made him feel a little and more comfortable when figuring out what he wanted to personally say.

You know, at the same time, those rehearsals could be a little chaotic. You know, those aren't people who had tickets and were excited to see the show that day. They're often people who, you know, someone's grabbing them out of the plaza of Rockefeller Center and being like, hey, you want to see a rehearsal. And I would say 90% of the time you had a normal audience of normal people who were happy to be there and happy to see Jimmy. and then 10% of the time you would get like five or six drunks in there and it was like 3 p.m. and someone's like screaming and you know that would kind of throw everything off because the audience would be distracted. Jimmy would be reading jokes and like they're not responding so

he's kind of being like does this not work? So I would say most of the time it was good but sometimes it really threw a wrench into things. When you were at SNL and you were there for the assistant in research, how many times a year did you actually get tickets to the live show? Once in a while, they throw you dress tickets, I'm guessing. But how often would you get tickets to dress or live? If I remember correctly, and I hate saying that phrase because it means I'm slowly dying, there was almost like a spreadsheet we had where you'd see what weeks you would get dress and what weeks you would get air.

And I think it was sort of like the staggered system. I feel like I didn't get dress tickets every week either, but I would get dressed tickets more often than air. And when you got air, was like really special. That said, I am, this is the loosest thread of a mess. memory. Yeah, it was a long time ago. So when you were at the show for those two years and then as an intern, did you have any face-to-face at all interaction with Lauren Michaels? No, no. I mean, I saw him in the hall and we'd make eye contact, but they're very clear,

you know, he is busy. Do not bother him. Do not ask him for anything because he just wants to work. He just wants to work and he doesn't need a 20-year-old being like, hey boss, you should hire me some time. When you were at Jimmy's show for all those years, did you have any interaction with him? No, but I do have a cool, from the first episode of the Tonight Show, a cool little ticket from the tonight from the first episode of the Tonight Show and says, thanks, L.M., and that is Lauren Michaels. I wanted to talk about your book. You've been prolific. You've written other books. I see your hat right there, but let's look about your book, a good game, no rematch. A Life made of video games, praise from Seth Myers, Sam B., who you worked for Sam, Samantha B.

for the full front of your producer as well as praise from Ben Schwartz. Tell us about the book. So the book is a series of comedy essays about going through my entire life with video games up to pretty much close to today. Video games have always been a giant part of my life. Like I said, as a kid, even before comedy, I was like, I'm going to make video games. And they also really influenced my life. Like I said, like they helped me with Fallon. They helped me when I was an intern at S&L.

They, you know, they've paid my business. a lot of the times. I still do freelance work for video games, writing punch up or, you know, what's called barks, which are like little one-liners for characters. So they've had such a big impact on my life and such a positive impact on my life that I wanted to write about that in a way that was just going beyond, here's the history of Nintendo or here's why this game is good, end of story. I really wanted to personalize it the way that people like Pat and Oswald personalize films in their books or other writers, you know, personalized music in their books. I wanted to do that for video games, but from the perspective of comedy.

I wanted to write it like a stand-up comedian would write a book. I mean, in terms of credibility, I mean, you worked for Nintendo, you're in Seattle. How does that pitch go when you get married that you want a Mario-themed wedding? You've been playing video games since three years old. What does that pitch like? It was, um, you know, I think it was sort of like a compromise of sorts where I was like, we can do we can have it where you want we can do kind of you know what you want the place you want we can have it the size you want can we have a little bit for me in terms of the mario thing

and you know she was like sure yeah no problem and it was it was a very it was a very fun wedding we were only married for like a year and a half so the marriage didn't last long but it was a very very fun wedding i'm so sorry do you want me to take that out the story i'm so sorry i didn't know that you weren't together do you want me oh don't worry about it i say that in the book don't worry You're all good. No, I'm not sure. Okay, good. I was going to say, what was the highlight of being a producer at Sam B working at San B? You're in a co-EP. I mean, I think one of the best parts of working at Sam B was that I got to, I mean, initially working at San B as just a writer. It was fun to be back in the game of just writing like topical joke after topical joke after topical joke. You know, I loved going into a script when they asked for pitches and punch up of things. That was my favorite to just go in and add jokes. As a producer, it was really. fun to just put the show together. It was also fun to hire people who, you know, got their first writing job. We hired multiple people that this was their first time writing for TV. We got to promote a writer's assistant. And as someone who I was never a writer's assistant, but, you know, I was in

equivalent jobs where I desperately wanted to break in and I saw all these people who seemed to be having the best life. It was almost kind of like paying it forward or paying it back to hire someone who really wanted to break in and who had worked so hard over the years. Yeah, you absolutely paid your dues. This is exciting with your book out, and you've done so much. I know Bill Nye saves the world, and you've done so many things. And, yeah, it's really exciting for somebody that worked really hard and is an unpaid intern and worked their way up. Thank you so much for doing this.

Mike Drucker, this was fun. Thanks for listening. Please subscribe so you never miss an episode. On Apple Podcast, please rate it and leave a review. Be sure to go to late-nighter.com for all. your late night TV news, and you can find my podcast at latenighter.com forward slash podcasts. Have a wonderful week, and I'll see you next Tuesday. We're going to be able to be.

I'm going to be. I'm going to be. I'm going to be. We're going to be able to be. Thank you.