The Lonely Island and Seth Meyers Podcast - Popstar 10th Anniversary Q&A

Episode Date: July 7, 2026

On this episode of The Lonely Island and Seth Meyers Podcast, we've got a special one this week: a live Q&A recorded at the American Cinematheque's 10th anniversary screening of Popstar: Never Stop Never Stopping at the Egyptian Theatre in Hollywood. It's a solo Akiva episode, which makes sense, because he’s the only one not too good for it. Moderating duties go to Daniel Scheinert (of the Daniels, and noted theater rake expert), who comes armed with some very important questions sent in by Andy about martinis and whether Akiva is finally ready to apologize for his Sergio takes. He is not. Kiv gets into shooting a five-hour movie in 27 days, the Taylor Swift joke that bombed in every test screening until it didn't, the cut songs from the movie. Plus the reshoot the guys literally paid for out of pocket. It involves a penis. Enjoy! Special thanks, again, to American Cinematheque and the Egyptian Theatre for putting on the event! Popstar: Never Stop Stopping Soundtrack | https://spti.fi/hans conner4real - "F**k Off" | https://www.youtube.com/watch?v=t3jKtjgRZQY Mona Lisa | https://www.youtube.com/watch?v=0D3NN6M_DYk Should I Move? | https://www.youtube.com/watch?v=nlxxA-ymMkc Send us an email: [e-mail] Send us a voice note: https://www.speakpipe.com/thelonelyisland Send us stuff: P.O. Box 4024 New York, NY 10185 Photos and everything else can be found by following us on Instagram @lonelymeyerspod (Not all the clips we mention are available online; some never even aired.) If you want to see more photos and clips follow us on Instagram @lonelymeyerspod. Send us an email! [e-mail]

Seth Myers and Andy Samburg are Hollywood elites. King in New York, Brunson or Myers. Yorma Ticone is an ultra-right-wing nut job. Very right-wing, and I don't like wood card. They'll share a nice meal at a restaurant, then not tell you what the restaurant is, to keep it all to themselves. Akiva Schaffer is Salt of the Earth.

He wears normal clothes, drives a normal car, and doesn't gatekeep stronts. For podcast host, Choice is clear. Akiva Schaffer. He's normal. I'm Akiva Schaffer and I approve this message. Hello, Quaid Army.

It's Akiva. Hi. So today we have a live recording from an April 17th, 2026 screening of Pop Star, Never Stop, Never Stopping. It was at the Egyptian theater in Hollywood. It was organized by American Cinematheque, who do cool screenings all over Los Angeles year round. The Q&A that you're going to be.

going to hear was hosted by Daniel Shiner of the Daniels, who are a directing team, who made Swiss Army Man and everything everywhere all at once, as well as some of my favorite music videos. And he actually just randomly texted me a few weeks before the screening being like, I'm so excited to see it at this screening. And I was like, well, if you're going to be there, maybe I put you to work. So big thank you to him. The screening was honoring the 10-year anniversary of Popstar's release, which just happened on June 3rd. So we just passed that. And the audio you're about to hear is from after the screening.

So we're in a room of about 500 people who just saw the movie. I apologize if it's a little sloppier or what have you, because obviously I could use a shorthand since we had all just seen it. But I know you guys haven't memorized anyways. I hope you enjoy. Hey, here's a voice memo from me, Daniel Shiner, the moderator for this Q&A that became a podcast. I guess. I'm so

flattered that this is getting released and grateful that I got to listen back to it before it got released and my main takeaway listening back to it was that I sound nervous and I guess that's because I was I was so excited to get to do this and was kind of giddy.

I think meeting a comedian you love is always kind of nerve-wracking because you've heard their voice a lot but especially if you're part of Quaid Army I've just listened to a lot of these guys talk lately but It was such a treat, and I hope you all enjoy it. And I'm sorry, I just keep interrupting Akiva and saying, right, right, throughout the whole interview.

So hopefully that's not too distracting. Roll the tape. Hey, everybody. Hey, wrencheskill. You beat me to it, Quaid Army. French is kill. Do I have to say it each time? I don't know.

Yeah. Hi, I'm Daniel. I did not make this movie at all. I'm just a huge fan. I've seen it many times, but it's really fun to see it with the crowd again. I think this was my first time since the premiere, but I'm not sure.

Yeah. I've seen it since then at home a few times, but with an audience. How was it? It was good. The first half, I'll give you my honest take, was that the first 30 minutes I ate was, I was like, whoa, we really brought this together.

Like, it's cooking, and then that kind of intensity cannot sustain. And so then I was just watching and going like, oh, I hope it doesn't dip too much. Which is true, I think, of this genre for all of this genre. Like, even the best ones, the Christopher guest ones. There's a moment where you have to like settle into a different pace because it's just impossible to do that first 30 minutes the whole time.

It's so dense. Yeah, it's so high energy. There's so many shots in it where I'm picturing that there was a different scene we had done. and by the end we had edited it down to like a shot. And that is what makes it feel kind of real. Yeah. Is like there's a shot I was watching and I forgot about it where it's like MTV Movie Award, or not movie award, sorry, spring break.

Yeah. And you're just like, man, that was a whole setup. And it's just in there for a split second. Yeah. Yeah. Was there a whole MTV scene? It was just longer. It wasn't like a big scene, but just there's so many little things like that.

Yeah, that was, was the script like enormous? or was it kind of ever evolving? Because it does feel like you shot like a five-hour movie. It was just a lot of bullet points a lot of the time. So as you know, as anyone that makes, well, your movies have a lot of montage too, especially everything, every world all at once.

Now, this is about him. But whenever you write a montage in something you're going to shoot, it's the worst part of shooting because you have to, you know, it's 30 setups or something. and you realize you look at your schedule and it's such a big part for so for so little movie and this was like an entire movie of that

so it was very inefficient but it was like 27 days we just went 27 days we just did it very very we shot it efficient even though it was inefficient like our I was remembering our costume woman Sophie who does huge

movies but being like usually you have like six costume changes in a whole movie maybe 10 and this was like I forget if it was was 90 or 130. Because it was just for Andy. It was every day, every moment had to be like, it's a different day. Yeah.

So we just had to keep putting on. It feels like you traveled the country, went to 10 different, it's just one stadium day, or like one stadium week. They had just renovated the forum, and so it wasn't booked all the time yet, and we got it for 11 days.

So half our shooting schedule, we were just in the forum, and we would use every nook and cranny and just kind of decorated a little bit, So any backstage, anything that looks like a concert, all the, like, alley, you know, the little alleyways or dressing rooms or whatever. Yeah. It's all the forum.

A little bit of Long Beach Arena down, you know, that one. We did like a day there. Yeah. Wild. With like, yeah, it just feels enormous. Yeah, you said your family is here. Yeah, there's the first time for my kids seeing it. Yeah.

Yeah. They're not that young. I just don't force it down there. If when they were enjoying it or not, or did you get any reviews during the closing credits? No reviews during the closing credits, but I think it seemed like they were enjoying it. I don't know.

I'll quiz them on the way home. Did they know that you and mom make out? They did know that. I think they had seen that scene out of context. Yeah. That's the origin story. That's like the origin story. Oh, you know what?

I mean, I was remembering something literally like three times a minute being like, oh, that's something we could talk about. And then the moment the next joke comes, I forgot everything. but the one that got a huge laugh that I remembered immediately was the Taylor Swift joke. I forgot about that. It's on the phone, and I had kind of forgot about it because it's just ADR, because you can say anything. It's just on Andy's face with Sarah's voice.

And it was not that in the script. And it was one of those ones where it was a dud in every test screening, not that joke, a different joke every time. And it's a real lesson about like never giving up when you're cutting something and just going, well, that didn't work. You don't settle because we just kept trying. And then it was the very last time we were like, how about this? How about she committed murder?

It's one of the, it wasn't even about Taylor before. It was just something else. It was just different jokes every time. And then that was just one more of many. And it was like, maybe this. And then it's one of the better jokes. Are there any jokes that, like, you miss?

There's so much on the album. I don't know if, like, if folks haven't listened to the, Spotify full album. It's like, it's a whole universe of stuff y'all made that like it's in the background of scenes and... Yeah, I mean, because we just didn't know. We just recorded a ton of stuff before we were

doing the movie. Did you shoot a lot of it? Yeah, so when we were on the stage we did, you know, and they're on the DVD or on the internet, some of them, but like Mona Lisa, we have the whole song performed and it's out there. Yeah. But it's...

And then you just do the movie and it's all about momentum. Yeah. And did you shoot fuck off? Yeah, then that's out there as well. There's like a, there's a song for kids.

It's so dark. When it's playing that last song over the credits that legalize it one, it's fine. And then me and Andy specifically, me and him were like, this is a great one. And then in hindsight, I like fuck off so much more.

Yeah. And it should be on the end credits. But at that moment, we were convinced that that reggae one. It feels good as a credit song. legalized crack. It just feels... It's like relaxing,

but like it's just so insane. It fits well. Yeah, it feels like a good like... But Fug-Off didn't make it anywhere in there and we filmed the whole thing. Oh, really? Yeah. Yeah, you can watch a full...

We edited it together. It's out there. It's on the DVD and stuff for YouTube. It's like a full concert performance of Fuck Off. Wow. Check it out. I also... With your kids.

I get little tingees of guilt towards some of our guests that are barely just knowing that they came. and sat and were interviewed, and then they're on there for, like, a split second. And I'm like, I, like, feel a little guilty sometimes. They're incredible.

The most egregious one of those is another song that we shot, but I don't know if it's on the soundtrack, but I don't know if it's on the thing, is the one with Acon, it's called Should I Move? And it's kind of like contemplating if he should... It's another good one. If he should move houses, as if that's a relatable topic. And we really liked it, so we got Acon to sing on the chorus,

and then Acon comes in. He's only in the opening, credits for a second. Like when he's singing I'm so humble and it's kind of showing different stuff from his life. Yeah. It cuts to Andy and Acon like kind of on stage like looking at each other. Yeah. And he came all the way over and like recorded and did the performance.

Have you talked to him since? Has he wasn't as good? Is he mad at you? I don't think so. I think he's fine. But I feel guilty. We also we also recorded a talking head with Ed Sharon and we recorded a talking head with Nora Jones

and those just straight up the reason we couldn't use them is because between us we stole a lot of the stuff in the movie when we were in post and we were out of money and so like some of those Andy talking heads that are on iPhone and stuff would literally just be on like the floor of the editing suite because you can do anything because it's a doc and Yorm was in New York and went and got talking heads

with Ed Sharon and Norr Jones separately and didn't do all the proper paperwork for universal. Like they were cool with it, but like this is really inside baseball, but you know how when you're dealing with an actor who's from England and they have a work permit in America, but the work permit was got from Sony or something

and you're making something for Paramount and they won't accept the Sony work permit, those sort of things? Totally. So it's nothing. Did you move? Yeah. But that was it.

So we literally wasted their time completely they recorded a bunch of things. And then we weren't allowed. Universal lawyers wouldn't let us put them in. Yeah. But sometimes, yeah, asking for forgiveness instead of permission is how you get stuff done.

Yes, there's a lot that's in there that they have no idea where the footage came from. Yeah. It's a lot in our office. There's a lot of just random stuff. I got a few questions from other people. Please. This is one.

A few years ago, you famously switched from martinis with olives to martini's with a twist. Do you think you'll ever go back, for example, on a cozy winter night with a close friend? Sorry, I should have said

the setup is, Dear Akiva, it's your friend Andy. Hold for applause, Sandberg. So sorry, I couldn't be there tonight, especially because I actually

played the character, Connor, in the movie. And then he had the martini question, and then I have one more. Yeah, I knew it was from him. just from the question. Sometimes I do go back. You go back. I even now

sometimes do, but I'm mainly on the twist. Yeah. Yeah, if you have good gin or vodka, then you want to appreciate it. It's nice, and it doesn't, you know, it feels cleaner. Okay, great. Andy's shooting, by the way, Andy, just so you guys know why they're not here,

Andy is shooting a movie and it's nowhere near here. I don't want to blow up his spot, but with Jason Momoa, it's like an action two-hander comedy. Get out. and Yorma has a new movie over Your Dead Body, which has, I mean, talk about a funny moment when he's talking that Jason Segal is the star of his new movie. Exactly. Well, also Jud Apatow produced this movie who made Forgetting Sarah Marshall. Yeah.

So, and we all knew Jason Segal and we were just doing the joke and we were like, is this okay? And Judd kept being like, I think he's going to think it's funny. And we're like, should we show it to him before we put science? No, he's just going to think it's funny. And we all don't know really what he thought of it ever. I never got feedback. But he didn't hold a grudge. They're on a press tour now.

Now's the time. Well, yeah, they could definitely ask. Yeah, we got to figure this out. That's a question for Yorma. Go give him another. But he has a press screening. I think it's in New Orleans was last night. And then another one in maybe New Jersey, either tonight or tomorrow night.

But it was too tight. Anyways, they send their regards. Or perhaps they've sent you other messages. Right. Over Your Dead Body, April 20 something. That's like a week from today. Rock and roll. Yeah.

You have famously taken issue with the beloved S&L Digital short Sergio, which you did not direct because of the artistic use of crossing the line. Do you feel like here tonight in front of this fine group of people and your Scientologist God that you are ready to finally admit that you were wrong? Sadly, this one could be from a lot of people now. Yeah. And then I was instructed to watch the movie and look for crossing the line. And I feel like there's no line in this movie.

That's just it. There's no line, brother. There's no line. This is a very inside baseball question for people who listen to the podcast. Seth Myers' Lonely Island podcast. If you love this movie and you don't know about the podcast, I feel like this is not the audience for me to pit. Seems like they know it for the most part.

It's really genuinely interesting process discussion about making comedy. I like listen to it as a filmmaker and learn a lot. That's very kind of. I really love how, yeah, honest you all are, especially about the bad ones. Those are the more fun ones to talk about. Yeah, the best episodes. Who was that from? Was it from Chrysville?

Yeah, it was more Andy. Oh, it's just Andy. Yeah, that was his part too. I didn't think Christa would be quite as mean. Yeah. And so the penis scene, I just have like a, I have like five questions about that. That was a reshoot. It was a reshoot.

Yeah, like, you know, we shot so much stuff, but we kept a little money for talking heads knowing, like, we better edit this and then go record some of the famous people where we can know, better know what we want them to say to fill gaps. Yeah. And then we were just adamant. And we realized that there was like a dip in the middle and we went to Judd and we're kind of like, why? What's happening? And it was his idea of like, so the setup was all the same of like, we're going to get parent trapped. And even the stuff in the hallway was partially the same of Yorma saying like, you know, he's here and Andy saying this is a parent trap. But then that conversation went way longer and Andy basically said, fuck that shit.

I'm not going to see him. and then left. And then it was Yorma coming to meet me at a bar where I was supposed to be meeting Andy and Yorma was saying, sorry, he's not going to show up and me being like double-pissed. And Judd was the one that was like, I think at that moment the audience just wants

to see you guys together, like deal with the central relationship in this movie a little bit. And so that's why it's in a limo because that's what we could afford because that's just a parking lot. We didn't have an arena anymore. Yeah.

And so it's just, we were like, well, we could do it a limo in like 20 extras and just crowd around it and you won't know what's going on. And yeah, so it was maybe four or five months after we shot the movie, we shot that scene. And we knew at that point, this might be answering or not answering your questions, but we knew from test screenings that like the crazier the movie got

the more the audience liked it, which is what gave us the courage to make it that crazy. I don't think we would have written that into the original script and had the guts to do it. Yeah. I love the idea of you telling the studio, we've got a scene we just have to shoot. Well, if you want the real, the real, since I'm being very honest right now, we paid for it. Get out.

Yeah. Because we were out of money. Yeah. And we wanted the movie to be good. And so us and Judd chipped in and paid for it. That's even more amazing. Did you pay the dick actor well? I didn't like line produce it.

We hired a line producer. We got to find out. But our email, I don't know if you've ever. Redell with nudity, but when you're casting, your emails become just like a scary place. Because people audition. They are sending in their head shots, and it's all, yeah. That's wild. Yeah.

And it's interesting trying to choose it. Was that one of your questions? How do you choose it? I don't know. You're just on a roll. I love all these stories. Yeah, I don't have, yeah. I mean, you have to.

You have to find the right comedy. You can't feel like a joke on top of the joke because then you're being like... The joke isn't that it's a weird dick. The joke is just that it's a dick. Yeah. Exactly. Right.

And so all the choices were made for that. And I don't need to go into what that is. Did you and Yorma have a... Did not make it that the joke is little or big or... Did you and Yorma fight about this a lot? Well, he kept being like, that's the hugest one I've ever seen. That's not... You have said, that's not normal.

That's like ten times what normal is. that was we're okay on time that was one of my other questions is like what you guys have worked together obviously a ton but you and Yorma sharing directing duties did it feel different on this one

or no we had done so much where before SNL where you don't say what anybody's doing you're just making something and then at SNL where you're going so fast it's just the credits that lay We're all just doing it all together. Yeah.

And this was the same. Like, you know, Andy doesn't deal with the camera stuff that much, but he could. He just doesn't have to because he has us on something like this. But all the decisions are being made by all of us all the time. So it felt very seamless and easy. And that's why we got

the DGA, not to get into that, but I'm sure you did the tribunal to get approved as a directing team. And it's difficult to get approved as a team if you didn't work together all the time. to really, like, they won't let two random people be like, we're a team now. Right. It's a weird.

Did you have an interesting experience with that? I have so many. Yeah, we can do a whole. Yeah. For those that don't know, like, the Directors Guild has like a lot of rules about who can and can't direct movies together. And I did a solo movie and got in a whole bunch of trouble. Oh, we talked about that, actually.

Yeah, yeah. And so I had to go and beg to all my favorite filmmakers to please, please, please, let me make movies with my friend again. Yeah. And the first time they said no. and then I had to get a bunch of people's help and go again. Got it. Thank you, Seth Rogen, for helping me.

Was that between, that was after everything everywhere all the once, but before whatever is coming next? No, before everything everywhere, so I would have been a producer on the movie. Got it. Like the Cohen brothers, that's why it always seemed like just one of them directed and one produced, but they were doing it together.

Yeah, it's weird. Yeah. Yeah, I have so many directing duo questions, But we have time for a couple audience questions. I feel so greedy. I asked so many of my own. Does anybody want to use around the aisle here? Yeah?

So I'm very curious about the process of obviously you've been doing this comedy for so long, and then there's a lot that goes into it. And I was actually very fortunate to go to the very first in the screening of this movie when it was all on a room and turned into pop star. And the amount of footage that's in that obviously isn't, it's just crazy.

I don't know how we've all managed to, like, shape it into what it is, but what I'm curious about is, in sort of the discussion, is that, like, because the studio company had to talk to the studio and kind of box things that you guys ask, like, what does the process, like, as the test screens go on, like, how technical it is to, like, a studio copy. I can imagine it's like that for a lot.

Yeah, well, this one was, I mean, you kind of answered your own question almost with the amount of footage. Like, we did so many talking heads, And when you get like Nause to come sit down, you don't just have them say three lines. You also don't know exactly what you need for. So we would talk for 45 minutes and Ringo, 45 minutes. And by the end, you have,

plus we had three cameras on everything when we're shooting because we're shooting doc style, and we would shoot all these extra scenes just being, because there's no wrong answer. You can go over here and shoot, and you go over there, shoot it's all real. It can all look right. So we had like the amount of footage you'd have

for a real documentary, but our schedule was like it was, it was a normal studio comedy where it would have like 35 scenes. That can pretty much only go in one order. Whereas in this, it can go in any order. You can rearrange it. I mean, editing, I would just do talking heads into, as if I was Andy, into my phone, and then just air drop it in and put it in just to be like, okay, now it's doing that.

And you can just write it as you go. So it was very overwhelming. And that test screening, we really fought that test screening that you were at because we were like, we are not ready. Like, we have not found the shape yet. Like, this is a move. These kind of movies have to be 85 minutes at the most. And it was longer than that.

And, you know, I think was equal rights even in it or if it was, it was at the end. It was towards the end. Like, we really hadn't found the shape in the movie. The beginning would have been totally different. It was just very different. Yeah. And at one point... Do you remember was the edit really long?

It wasn't... It was too long for this. It was definitely longer than this. I don't know that, you know, Or I mean like how many months you were cutting. Oh, well, yeah. So at a certain point, similarly, we were running out of money because of the amount of weeks. And so we, I honestly, I went to Judd and I was like, shut us down.

I hear about movies getting shut down because people are incompetent. Uh-huh. But I was like, I know there's a way movies get shut down and then brought back to life. And I was like, do that to us because I had all the footage. But when you have editorial, it's so much money every week. Right. And so it was like, I was like, just stop. Stop the flow of money.

And let me go find the movie and then bring us back once I found the movie. And so I just, he was like found an excuse of moving us from Universal to his office in West L.A. And then it was like, it's the holidays coming up. Why don't we just do it in January? And we got shut to end. So we just stopped working for two months. And I went off and changed the first act of the movie completely, like did like seven versions. of the first act until finally we found one that was like what you see basically what you see here.

And then we came back and then we could then we could edit more like a real movie because we knew what our outline was. Well, yeah, great job. Thank you. Yeah, you can tell that that's hard. It's like watching it. I'm like, what does the screenplay look like? And then like, yeah, it feels like you've found it.

The other version, the one he saw, their main differences in the beginning was that it started like it was just a straight puff piece dog. on Connor, like as if it was the doc he wanted to make, which would have no mention of the rest of us. Yeah. And then as things start going bad or whatever, then they start talking about the past and all that stuff about us starts coming up maybe 10 minutes, 15 minutes in. And I think it was Drew Goddard that saw that at one point. It was like, I think this movie's about the three of you, right?

And we were like, yes. And they're like, he's like, then I think you want to tell the audience that in the very beginning. And I was like, ah. then I cut this version. Totally. Yeah. It's such a sweet movie about friends making stuff.

Yeah. Yes. Yeah. It resonates. But that's why the first image is the three of us as young, younger. Yeah, right out the gate,

it's not funny. They're just French fry guy. Exactly. It's like right out the gate, they're just having fun. Yeah. Yeah. It's great.

Okay, sorry, I keep babbling. Someone in the way back, you sir, you're like one seat in. Yeah. Yeah, I was wondering, one of your favorite, Give a favorite cameo. You're going to talk to like a video.

Tonight. Yeah, I don't know what my favorite is. But Bill is definitely up there. Like, that's... Tonight, my favorite cameo. You're asking me, right? Yeah, I'd rather hear yours. Was the stock footage of Paul McCartney standing up?

Yeah, yeah. It fits really well. He loves what he saw. Yeah, it hit me so hard. He's standing up just... Yeah. They all had to approve it. So on the plus side, all of them or somebody in their world saw the context and went,

yeah, you can use that, which is nice. Yeah. Yeah. That's great. That makes it, you know, the two surviving Beatles are both in there. So that's a pretty big good. That's pretty huge endorsement. Unreal.

Okay, one more. You, sir. Yeah. Oh, but you don't have the luxury of time. How else do you have any other tricks that you use to maintain? some semblance of objectivity. When you don't have the luxury of time. In which part of the process, I guess, is my...

Oh, when you're basically like, racing against a deadline and you've lost all objectivity, and then it's like, you've got to lock it, and you're like, just need a month where you could not watch it and then watch it again? Yeah. To somehow step away from the week there. I think it's seeing it with people.

Like, every time you watch it with people. whether it's a big group of friends that I haven't seen it, people that have never seen it. But even if it's just like two people in the room that you respect, you feel in your body when you're uncomfortable and embarrassed and feel shitty, and you feel when you feel pride and like, I did it. And that's a pretty good, like, that's like a huge percentage

of what you get out of any screening, a friends and family screening, recruited a test screening, is even if you never got like the feedback, the feedback you get by just sitting, there and feeling embarrassed is pretty strong. And it kind of lets you see it through their eyes fresh again, right? Yeah. No, I feel that someone told me that advice years ago, and it's so helpful just to watch it

in the same room with someone. And instantly, I'm like, no, this part is boring. Just even inviting someone into the edit and just sitting next to you. Okay, that makes me think of a question. So, like, on SNL, you didn't have the luxury of, like, time. Like, would you try to do test screenings before, Saturday night. It generally wasn't edited before.

Yeah. But, you know, if we're editing all day, Saturday, even just when we'd be halfway done, sometimes we'd be pulling in interns or, you know, other cast members or whatever, whoever was in the hall and just go, oh, oh, come in and look at this. Is it working? Is it working? Yeah.

Yeah. But it's also so fast, you don't really become too lost in it. Like, you don't have that loss of objectivity as much because you shot it yesterday. You're editing it today. there's not a lot of time to be like, I've seen it so many times, I forgot what it is. Right.

It can't happen. Yeah, this makes sense. Well, thank you so much for letting me do this. Oh, my God. I was so happy when you agreed to. And congratulations. And congrats to the film festival and everyone come see the other movies.

Thanks for having me. Okay, my part two voice memo. Hello, it's me, Daniel Scheinerd again. Just wanted to give my review of the Q&A experience. It was a dream come true. I didn't quite realize it until I was driving home afterwards, but I got so hyper and giddy driving home with my partner who saw it for the first time and loved it, which made me happy. And I just kind of realized that I got to tee up Akiva to tell a joke. Like how dreamy to have a comedian you love and get to tee them up to tell a joke. So thank you again,

but especially thank you for letting me tea up that joke about Yorma's penis. And thank you Yorma for letting us make that joke. I hope you're not mad at me. Y'all are the best. Oh, I sound nervous again, because I am. Okay, goodbye. So that was the Q&A. I hope you enjoyed it. I hope it wasn't too rambling. Um, later, Arnold. Later, Quates.