MrBeast Reflects on Beast Games, Feastables, and the State of YouTube

24:02And if I just tried to boil it down to, he just loves his wife because she has a good personality or he just loves his wife because she's attractive. That just doesn't make any sense. And so why do we do that same thing here with this thing that for people like me, you're spending 15 hours a day on? Obviously, I'm going to have more than one motivation for it. So yeah, I love building businesses. Shocker. That is one of the things that makes me excited. it's so much fun to just build and solve like building a business is solving problems right and the bigger it is the harder the problems are and i love solving problems like that's one of the it's like i love having a stimulated brain i love obsessing over really complex things and coming to solutions and so that's all building a business is it's like taking something from zero dollars a year in revenue to a hundred million dollars a year in revenue is essentially 10 000 problems and i like and they just get harder and harder like a video game and for me that's fun you enjoy strategy games yeah so strategy and problem solving is is one thing which you could um sum up as being competitive.

24:56But then, yeah, I also like winning. And I have all these things that, yeah, truthfully, like motivate me or I find fun that aren't about making a positive impact. But then once you take all that and you use it for something positive, it just makes it more fun. Like, and this is what I've always said with making YouTube videos. Like, you know, I can make anything go viral. But and to be honest, even like the videos where I build wells or help blind people, those usually underperform compared to my other videos. But it's just like a world where I leverage everything I know to do something, you know, good is better than a world where I don't.

25:29It's not like, you know, does that make sense? And it's just like, if I'm going to spend the next 50 years of my life building businesses, like I want to build ones that are net positives, you know what I mean? It's just like, it'll make it more fun. I think it'll increase the probability that when I'm 70 and I look back, I'll go, I'm happy with what I did with my life. And so if I can solve intense, complex problems and build large companies that I enjoy while doing stuff that makes the world a better place, then it's like, I think that is a life I can live and I won't regret. Bustwood the Boys is here to let you know that every college football Saturday, FanDuel is dropping profit boosts that can turn wins into bigger wins.

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26:28You're building, though, to the point now, over the past five years since we've known each other, like you have now crossed over to the point of a massive brand. Yeah. And massive brands in the world are never seen as... I know. Like... I know where you're going with it, yeah. They just aren't, right? Like a lot of them are, they are nuanced and they do good, but they're also viewed as from the public as like, you know, mega corporations that are negative and that feed into like capitalism and whatnot. So it does feel like as you get bigger, the challenge of you coming forward and being like, I'm a nuanced, complex guy who likes all things.

27:13Yeah. Is going to get increasingly more challenging. 100%. Because people see things and they'll lump you in. You're becoming like Coca-Cola or like Procter & Gamble. You know what I'm saying? Well, Coca-Cola is a bad one. But yeah, I mean, becoming like a large company. And I mean, what I would say is actions speak louder than words. Name one chocolate company in America that's working so hard to get tens of thousands of kids out of child labor. How are you doing that? What's the path to that? How much time we got? You want the high level? High level. Okay. let me yeah because summarize essentially the reason why there's a lot of child labor in West Africa which is where so Cote d 'Ivoire and Ghana are two countries on the left side of Africa where most of the world's cocoa comes from it's like 60 or 70 percent so that's where if you're eating a chocolate bar more than likely that's where the cocoa for the chocolate bar came from and over there because chocolate companies have squeezed them dry so much like farmers make so little that they literally you know in many cases can't afford to pay people that aren't kids to work on the farms.

28:14Like they just actually can't afford someone who's over 18. So it's the number one cause of child labor is just poverty. Like they just don't make enough money. So at its, at least in the cocoa supply chain, I don't know about other ones, but so at its root, if you want to, I mean, if you want to stop child labor on your farms, you have to pay the farmers more money. So with Feastables, when I first started getting into all this, like whatever, I think I've probably been obsessing over now, like 18 months, I met a company called Tony Chocoloni. Yeah, yeah, yeah. They're a phenomenal company. They're awesome.

28:47Yeah, they're great. And so I started off by, because this is what you do. When you want to learn something new, you find who's the best in the world at it. You go to them, you obsess, and you just absorb everything they have and go talk to journalists. And so I talked to a lot of journalists who have been very critical of the cocoa industry and then ones who are very positive about it. You talk to experts in different fields. You talk to people that work in different chocolate companies. You talk to every charity in it. You just go and absorb all this knowledge. I did, and Tony Chocoloni, which is like, you know, the largest ethically sourced chocolate company in Europe.

29:17They're phenomenal. They had all the answers and they've been living and breathing this the past 15 years. So at the start, a lot of what we're doing is just doing what they're doing. And we formed a joint company with them where Feastables is sourcing their cocoa beans through Tony's. Oh, so you have like a joint sourcing company. Yeah. They call it Tony's Open Chain that we source not all of our Feastables beans, but majority through. And then we're also, because the thing is, to stand up a program like they have takes a very, very long time. Because you've got to hire people on the ground. You have to hire farm inspectors to go and audit the farms and CLRMRS and all this other stuff.

29:50So, which we're building, but it just takes time. So, we're sourcing the majority of our beans through Tony's Open Chain supply chain. And then a small amount we're doing on our own and setting up our own ethical supply chain. But at its core, you've got to pay the farmers more. But how do you decide what's enough? Like what's enough where they can hire someone who's not 18 or sorry, over 18, not under 18. And so that's where they have this living income reference price where they look at like the cost of bread and all the things you need to live in West Africa. And they come up with, you know, per a metric ton or like a shipping container of cocoa beans, a farmer needs to make blank based off of inflation, food and all these other things.

30:26And if they make under blank, it's not reasonable for them to be able to live and blah, blah. So that's called a living income reference price. And so with 100 % of our farmers and feastables, we guarantee them a living income reference price. So if you're a farmer in West Africa, and you go, you know, you harvest your entire farm, you're like, here's a shipping container of cocoa. I'm going to make up a number. I want$1 ,000. We'll go, hey, you want$1 ,200 and pay you$1 ,200 because we don't want you using child labor. And this is what you need. Because you know it's impossible at$1 ,000. Yeah, exactly.

30:55Not to do that. To make a living income. So we'll actually pay more if we need to, if they make under the living income reference price. So that, at its core, 100 % of Feastables is Fairtrade certified, which is blah, blah, blah. Google it if you want to know what that is. We'll be here a long time. And then on top of Fairtrade certification, 100 % of our farmers, we pay a living income reference price. So they actually make enough money in exchange for these things and a lot of other stuff on top. Because another, to address poverty, you don't just pay them more money, but you also help them increase their yields.

31:23So we have coaches that help these farmers increase yield. Because if you can help them get 10 % more cocoa per hectare of trees, then that's 10 % more money as well. So we have coaches that help them get more yield, help them have less trees, get diseased, blah, blah, blah, make sure they're doing everything correctly. So all these things, you work with them to help them generate more money, make more income. And then in exchange for all these things, it's like, hey, we don't want kids working on our cocoa farms. And then you have to audit the farms. You simply want to inspect them. And then if there is a case where there is child labor, they have to remediate it and you check back in in the future.

32:01And if they don't remediate it, then you drop the farm. But it's like, we're not trying to just be like, oh, you have child labor, drop them, never talk to them again because that would screw them over. So it's like educating them why this is bad. Like, hey, you want your kid to get an education. You don't want them to have to work on a farm forever. And so they need to do this. And so we're going to check in on the future. We really need this kid to go to school and not be working on this farm. And here's all these guidelines. Work with us so we can keep buying from you and paying you this premium and all this stuff and not taking an approach of, oh, nope, bad, and kick them to the curve.

32:32And so it's like, it's really in-depth, a lot of stuff like that. And like Feastables is the largest ethically sourced chocolate company in America. I mean, there's not a chocolate company in America that is doing the kind of revenue we're doing and anywhere near as ethically sourced as we are. I mean, I can't even think of a large chocolate company in America that pays their farmers a living income. So I think it's very important for Feastables to succeed and do well because, I mean there's over a million kids in West Africa that would benefit from it and if we can get it where Feastables is doing over a billion dollars a year in revenue while paying our farmers a living income while doing all these ethical things then and while being profitable big one is while still being profitable because if we're doing all these things and losing money because it's very expensive like we're building schools in West Africa because like you know a problem I run into with some of our farms is like we'll be like hey I don't want this kid working on your farm put him in school and they're like there's no school in our village I'm like fuck you know so like we're building schools in west hours like we're we're it's it's a lot we're i'm trying to bring in some other uh non-profits like help us out and like ones that build schools like hey can you build schools here in this village because i'm getting all these kids out of child labor and i need a school for them to go to and not i gotta build it but i don't have that kind of money and it's like getting it's um you really took the simplicity of launching a youtube channel and yeah yeah like well that's not what i thought i was getting into when i sold chocolate i just thought of selling chocolate but then i'm just like well i'm gonna keep selling chocolate but i don't want to use child labor so yeah i just like fuck it i gotta solve it but um to wrap that up though it's like with feastables if i think like over because the problem now like for us not problem like we're getting pretty big but a lot of these you know they're chocolate companies that sell per day 50 times more chocolate bars than we do so they'll you know they can say well yeah if we did a little volume like you we could ethically source but you don't understand jimmy we're much bigger that stuff doesn't work on scale so i got to get to the point where we're actually large or i can go no look we did achieve scale while doing these ethical things fuck you stop using child labor or and if you don't i'm going to start blasting you on my youtube channel which i don't currently do it because i i don't think we're big enough yet where like we can prove these things and i want to i really want to get things like fleshed out to a crazy level where you know they can poke because like the second i start going at other companies for using child labor and being unethical and like, uh, and not trying to stop it, um, is, uh, they're obviously going to just come at us super hardcore.

34:57And so I want to make sure everything with feastables is like perfect before I do it. Um, so we can just be like, look, here it is, it's working. And I'd also prefer not to get to this thing where I'm slamming other brands. I'd rather they just be like, you know what? We want to ethically source as well. You're doing it properly. Teach us. And we'd work behind the scenes to help them out and that kind of stuff, which would be the best outcome. but we know that's not going to be the outcome but it would be ideal so that's been, it's funny while I'm making YouTube videos and the show that's like my third life and it's the crazy part is like setting all this up takes forever and I don't, I didn't want to be like hey I am doing this, I'm going to do this because that feels weird, I was just like you know what screw it I'm just not going to say anything publicly and I'm just going to work on this and however long it takes, it takes and I'm probably closing in on 18 months now and like I didn't even really mention this publicly to like another podcast like a week ago So it's like, it's basically, it's kind of crazy that it's been such a large part of my life and I've never even spoke about it publicly.

35:51And even now, we're still building a lot of the things. Like we haven't even finished a single school in West Africa. Well, not for Feastfuls, hasn't it? I mean, Beastful Anthropies built schools, but not for our farms. And a lot of the things I want to do just take time. And so it's like, this is like probably like the next five to 10 years of my life going to be pretty intensely revolved around this. What have you learned about scaling companies in this process? because there's this massive spectrum for YouTube creators of the Ryan Trahans on one side of I have a couple employees or a few employees or whatever and I'm really close to every edit.

36:24And then there's you who's like, I'm actually scaling so much that I'm taking on the responsibility of building schools in West Africa for my CPG brand, which is truly the far end of the spectrum. So when we used to sit down with you, it was like AVD, CTR, here's the metrics you need to know about YouTube, here's how you do storytelling. But now we don't talk about that stuff. because you've scaled? Yeah. What have you learned about scaling? Yeah. I mean, the shortest answer, it's hard. I do not recommend. I think very, a lot of creators obviously try to do what I do. And I know your audience is almost all creators.

37:01It's very, very difficult, especially because so many creators now are launching CPG brands. Yeah. And I mean, you see them, they go, and then they nose dive. They go up and down. It's a very like attractive thing to do as a creator. Because the base premise is because I have an audience, I can have a lower customer acquisition cost on a product. Yeah. Right? That's the base premise. And that sounds really practical. But that's the thing is it's like almost everyone is not making products that are better than what's out there. Most best case are making something that's just parity what's out there.

37:33But the thing is it's like there's so much more to a company, especially a CPG company, than just having a product. It's like putting it on the shelf, knowing the right pricing, knowing the right, you know, skews and like, you know, even especially if you get into beverage, DSD, like direct service delivery and all that kind of stuff. And there's just, it's such a, it's like, it's like if some, you know, movie star, I mean, actually this is a great example. If like some famous movie star was like, yeah, I have all these people who love watching my movies. YouTube's easy. I'll just, you know, spend a couple hours a week making YouTube videos.

38:04Surely I'll be one of the biggest YouTubers, which we've seen a million times and never, ever, ever worked. It's the same way people in CBG look at creators. they're like fucking idiots like they don't like just how we would look at movie stars coming over you know and be like that is just the most lazy mid content ever that's never going to do well and it doesn't it's a good um it's like that's exactly how the people in the cbg world when i look at them they're they're talking to them they're like wow that's like a fine product but they're like literally doing nothing right like what do you like and these are things that again you would think it's as simple as just put a product on a shelf people buy it but it's not there's so much more to it just like making a youtube video isn't just turn on a camera and hit record and so um i would highly recommend for most creators almost every like like feastables now i don't know where it's at maybe 100 employees but i mean i'm hiring so many people west africa but even if you ignore all the ethical sourcing i just want to make my life easier just scaling the chocolate company and like you know inventory management and all these other things we're doing in margin profile which you know like for us like going into whether we sell like here's one right Our normal bars are 60 gram.

39:07There's 12 gram bars you can put in pouches like Halloween bag ones. Or we could do a pop-up, our own version of an M &M or something. Both are miniature versions of what we sell. But which one do you go into? Those are big decisions. And there's a theoretical fork in the road where one could sell$100 million a year and one could sell$10 million. And your decision can make that big of a difference. You know what I mean? But there's all these micro decisions you're making. And if you're not living and breathing and obsessed with it, you're just going to fuck it up because you're competing against just like on YouTube.

39:38You're competing against, you know, or I guess social media in general. You're competing against speed. You're competing against Kai. You're not even just competing against me. You're competing against all these freaks that live and breathe this. And CBG, it's the same way. There are thousands of monsters that this is all they've done for the last 30 years. This is what they live and breathe. And if you think just on a whim, you're just going to make better product decisions, better placement decisions, better. You're just not, you know. So it's one of those things where you're either all in, which then is the problem is if you go all in on that, you're just going to destroy your channel because most people aren't like me and have all these employees and infrastructure set up and blah, blah, blah.

40:12And yeah, so you shouldn't go all in unless you're just planning on quitting to be a creator. But that doesn't make any sense because that's the reason they got into it. So then I think for almost everyone, it makes sense to partner with someone who is an expert in the field, have them run the business and you just kind of do the marketing and that kind of stuff. I think that makes sense. But anything past that, you're just going to destroy your YouTube channel or it's just going to fail. Because a business isn't like, if you, let's say you launched, let me think of a product. No one's launched.

40:39They don't think I'm targeting them. Let's think, let's say you launched peanut jelly. Like, yeah, a bottle of jelly. Yeah, a bottle of jelly. You know, sure, you can get a lot of people to buy a bottle of jelly once. You can't. A lot of, and we've seen that with influencer products, but that's not a business. A business is getting someone to buy that bottle of jelly every two months for the next 10 years. That's a business. and basically every creator company minus prime, you know, Feastables, Lunchley, and maybe one or two others, like they don't, they just get that. You literally just see in their sales graphs, it goes up and then it nosedives.

41:10And that's not, like at that point, just do a brand deal if you're a creator. Like why start a business? You know what I mean? Yeah, I think just because of the attractiveness of it. Because it sounds like, I think everyone is looking for, can I get equity in a thing? And then that sells and I make a large sum money, right? Everyone's looking for a big, Can I de-risk myself from the YouTube platform? And people only buy the companies because it has consistent repeat purchase rate over long terms. And they believe if they acquire that company, years in the future, they'll be getting the cashflow off the repeat sales.

41:40And that is why there are sales. There's not sales just because, which like the thing is, you know, it's not all creators' faults. It's also like the companies that are working with creators and getting them to start these. And they're not educating the creators. They make it seem like, oh yeah, you just build a business. You just sell a couple million dollars and then people pay 5x that. And there you go. you made 10 million bucks. And it's like, no, like they're only, messengers are only going to pay that kind of money if they believe you're going to keep doing those sales and growing year over year.

42:04You know, because like, let's say you do theoretically 2 million in revenue and you have 10 % EBITDA, so you make$200 ,000. You know what I mean? Like if someone's, you know, like if you think someone's going to pay $10 million for that business, you know, at your current rate, even if sales stayed steady, that would take 50 years for them to make that 10 million back. The reason people pay crazy multiples is because if you're 2 million, but you're projected to do 3 million the next year and then 5 million and then 6 and then, you know, four years from now, 10 million. Well, now it's like, if you look four years in the future, you're doing a million, you're spitting off a million of free cash.

42:35That's only 10 years to recoup. And then if, you know, you assume 30 % growth and it makes sense if a business is growing fast while having good margin, then it like acquisitions make sense. But that's not what's happening with a lot of these creator brands and the repeat purchase rate isn't there. So there's just never going to be an acquisition. And there's not much money to make along the way. Yeah, and that's why I just wish someone would educate a lot of these creators because then the problem is you spend all this money on inventory and just like with the new startup, you burn so much cash, you mess so many things up.

43:00Like I messed a bajillion things up with Feastables. Like we launched with the like wrong boxes where the bars were falling out of the boxes. I think I've told the story before. It was horrible. And that cost me tens of millions of dollars to fix. And it was a really bad thing. And like a lot of creators, you know, make all these mistakes and the repeat purchase rate is there and they end up not making anything or very little. And it's like if they, like instead of launching a jelly company, just did a partnership with the jelly company, not even for equity, just for brand deals. It's like the difference over a four-year spectrum of like doing i mean for like uh i don't know like a creator with 10 million subscribers it's like they could get paid theoretically we'll say 50 grand a video to promote this jelly and let's say they do like fucking seven promotions a year that's 350 000 times seven you know um that's how much money they could have in their bank account whereas if they launch a jelly company they spend all this money on inventory they make all these mistakes and then four years later no one's buying it and they shut the company down it's like one scenario you know they basically have zero dollars or lose money.

43:55In the other scenario, they just did brand deals risk-free. They had more time to put in through content so their videos do better. And they're walking away with$1.5 million. It's like, and it hurts to see so many creators just ruin that, you know, because they're just, I think in a lot of times, it's just they're not getting advice from the right people. And a lot of managers or companies just are taking advantage of creators because they're just not business savvy. Like they didn't get big on YouTube because they know how to run a business. They got big on YouTube because they know how to make great videos.

44:22and they're trusting business people who aren't giving them the real picture. Right. So let's talk about that then if the trajectory is not getting into like CPG products and it might be getting deeper in the world of content because creators are great at making content. So let's talk about this intersection of YouTube and streamers because you experienced this now firsthand, right? With Prime Video and Beast Games. Do you believe that that is a future for creators? Why or why not? Like, do we get the opportunity in a year from now to explore, like, is Netflix calling creators now? Is Prime Video calling more creators?

44:58In what world would you recommend that we do it? Yeah. I, it's hard. I think it should be because you want to do it, right? Like, at its core. Because again, you have to maintain your YouTube channel or what's the point if you just kill, you know, the thing that's feeding you. So if it's something a creator really wants to do, then yeah, I think it makes a lot of sense. Like we talked about before, it's a way to go deeper with your audience, provide something different. And truthfully, there's just a lot of money in streaming. I didn't make any money off my show, but if I wanted to, I could have made a lot of money.

45:38And I think it's obviously a great way to diversify. It's just all around. If you can do it without destroying your YouTube channel, then yeah, it's a no-brainer for a lot of creators. it's just doing it um well is is not as straightforward you know a lot of people go to do streaming shows and then they just uh bring in people who normally do streaming shows and give them control and then they lose what makes their channel special and the soul or what their community likes and then it ends up flopping and being a giant waste of time so it's just like you just gotta make sure you do it right right because like you know if someone tried like if a Minecraft Let's Player wanted to make beast games, that's like A, that's not why people watch that Minecraft Let's Player.

46:22And B, they would just suck and it would flop because they've never done something like that. And so, I think streaming shows make sense if you take what your community loves about you and why your community likes you, plus your area of expertise and zone of genius, and then you modify it towards a streaming show. I think that is a formula that will work. But when you try to be something you're not, do something that is not why your community likes you and do a streaming show i think that's why there's been so many flops in the past and it's like on paper it's like this doesn't make any sense like this person has so many followers so many people love this person why the hell aren't they watching the show and it's like that's not that show isn't what they're good at that's not the kind of content they know well and that's not what their community wants so it flopped you know um do you think prime video or netflix prime video prime video would ever open up like a creator program where they essentially say, you're an approved creator.

47:14You can upload to our platform. Here's our specs. Here's what we need. And we'll give you a share of subscription based on the viewership you drive. I mean, I could call them and ask. I mean, I'm sure they... Or do you think that would be a good... Because the question obviously is the cost of programming is getting really high on streaming platforms, right? Especially when you're working with legacy actors. Talent fees can be through the roof for that. You can end up spending millions and millions of dollars, tens of millions, hundreds of millions of dollars on programming. YouTube obviously has this incredible model of uploading content.

47:52To just answer it though, the problem is it's available on YouTube for free. It's not that valuable. I know a lot of creators who have gone to streaming platforms and been like, hey, how much would you pay me to put my catalog up there? And it's like, it's funny because some of them will call me and be like, I think I can get like$500 ,000 per YouTube video to put it on Netflix because I'm getting this many views or blah, blah, blah. Or I won't even say a streaming platform. And I'll be like, yeah, they're just not going to pay that. Like, unless, especially if you're not doing exclusive. It's like, no, we get this.

48:22And then like, they'll call me back a week later and they'll be like, yeah, it was like 30 grand. Right. And I'm like, yeah. I guess the only reason would be if the economics of share of subscription revenue was higher than the economics of Yeah, but they don't share subscription revenue. They just pay flat fees. Because the subscription revenue is like all the upside for them. That's how they make money. They think, oh, this show is going to get 20 ,000 people to subscribe and the LTV of that is blank. So we're going to pay them blank and over three years we'll quadruple our money. I know you listened to our Dude Perfect episode.

48:55Would you ever do something similar to what they're doing with the Dude Perfect app, where it's like you get your own app, you're selling your own app. I'm going to be honest. I didn't know that was, well, I knew it was a thing, but I didn't know how big it was to your episode. Like I called their CEO after that episode and talked to him. And I was like, yo, tell me more about this app. That was very fascinating. That was one of your better episodes. I texted Samir afterwards. I was like, that was good. That was high praise. That was probably in the same vein as like, I would be terrified to send any of our videos to Casey Neistat.

49:24I think that's like what you do is like, that to me is like terrifying. Like even the BTS video we did together, like I like to see his storytelling notes would be terrifying. Especially too close to the release. I would need a good like. I'll send it to him an hour before you drop it and like here's all of Casey's notes. That would stress me out so much. I think I'd quit. Yeah. But you texting me about the Dude Perfect thing was a similar experience of like, okay, Jimmy liked that. I'm really happy to hear that. Yeah, it was good. I mean, I don't know if smaller creators liked it, but as someone, because they're doing very similar things to me, I was like, this really hit home.

49:54But I don't know about doing an app like that, I've got enough going on right now. I really want to solve ethical sourcing festivals and I want to launchly keep improving the SKUs and then view stats and keep helping creators. And then I really want to make a video game. So those things, plus everything we're doing in the studio, that's kind of enough for me at the moment. And I feel like my brain is always stimulated and I always have plenty of stuff to work on. But I know a couple of creators who are on that app and they say they're making pretty good money. It's going really well. I'm like kind of surprised.

50:27What does it mean for Beast Games to be ROI positive for you and for Prime Video? Well, it's not going to be... In terms of money, it won't be ROI positive for me. But let's say like in terms of brand or in terms of like, what does it mean if it's successful? It might be if there's a year two or a year three and it becomes a whole... Yeah, it could eventually. Whatever they pay me for season two and three, I'm just going to reinvest. I hope I break even on season two and three, but that's not... I'm not good at breaking even. It's not your vibe, yeah. But yeah, but I get you. What is, I guess, success?

50:58Success, yeah. On both sides. Well, I guess at its core, like at the high part of the Mount Everest is do people watch the show and obviously enjoy it, right? That is success. Like do, I think I said it earlier, but do people get connected to the contestants? Do they feel like they know them? Do they, I guess this is more success on my side. I mean, Prime Video probably cares about these things, but ultimately they have data and analytics. But on my side, do people watch the show, get to know the contestants, love them, and just feel things? The wave I've been on the last 18 months is making people feel things and telling stories and less about retention, data, analytics.

51:37Because if people feel stuff and know that they can watch this and it's going to give them emotions, then that, to me, is a win. But obviously, there's not just one singular thing. So that's one. I mean, obviously, I want Beast Games to be the biggest competition reality show to ever exist. So I don't think that's going to happen with season one. But hopefully— That means by viewership? Or by what? I don't really know what that means. I just want to win. By like brand? I guess. I haven't really thought that far. I just know I want it to be the biggest. But I guess views. Yeah, sure. And so, which again, I don't think season one will do that.

52:19But I think over time, that would be a success for Beast Games is that this, you know, it's just people are like, wow, I can't find anything like this. Like just kind of like on YouTube, like there's a lot of great content. But in terms of like big spectacles, like you just can't find anything even a third as big as ours anywhere else. And so people are like, wow. And they keep coming back. This is great. I can't find this anywhere else. I want that. But for there are a lot of people every year that watch competition shows, that watch reality shows, like tens of millions of people. I want those tens of millions of people to be like, damn, I've been watching competition shows for decades.

52:49None of them were anywhere near Beast Games level. This is my new thing. This changed everything. So that, and then obviously, I want to break any records we can on viewership. I actually, this is so funny. Because if you compare our interview now to the first interview we did, I'm going to seem like such a different person. But I think success on my side too would be I'd love to win an Emmy or some kind of award. I think that would be great. Personally, I don't care about awards. I mean, I've won a lot of streamings and I've never even gone, which I feel kind of bad because I wish you would stop you would stop winning no no I'm gonna go I'm gonna go to this next streaming so I'll go because I what if this is the one you go to and you don't win it's fine I don't care I mean like if Speed or Kai won one that'd be cool but yeah I think Link when I didn't show up was like said like diss me last year and I was like aww I feel kind of bad so I'll go but I having said that I don't care about it but my team really does they're like Like our editors, an example, we have some editors who like, they've dreamed for years, like their whole lives of one day winning an Emmy or something like that.

53:57And so like I feel, I see their energy and I see that we've now worked on something that could and I know how much it would mean to them if we did. So like that energy is infectious. And so now I really want to win one just so I can see how happy you'd make my team. But also I think it would be a good reflection on creators because if Beast Games wins an Emmy, then it's like, see, creators can't make good shows. Creators are fucking awesome. where creators five years ago versus creators now are not the same. It's a totally different line. Creators are building businesses, especially in the content world and building mini production companies and doing it successfully.

54:28Arguably, some of the biggest production startups over the last few years, all of them basically have been creators. And so success is ideally winning an award of some type. And then success is having this crush so other creators can use it and go, look, Jimmy killed it with Beast Games. Give me a good deal. Believe in me and get more creative freedom, get better terms. and that kind of stuff with the streaming deal. And yeah, on my side, success is a lot of things. I think those are the major ones. On Prime's side, it's probably just how many people sign up for Prime Video and, you know, they stick around.

54:59What's your advice to both sides? Like, if in the next year, more YouTubers get into rooms with streamers and get into negotiations, what's your advice for both sides? Like, how should Hollywood be thinking about working with creators? And how should creators think about working with Hollywood? Well, we'll start off with the easy one. Hollywood working with creators. you know, when I was, I talked to every platform for our show before we landed with Prime Video and I mean, there's some pretty dumb things that were said, like even, like I won't name specific platforms because obviously, but like one, they, like a high up exec at one of the streaming platforms like was telling me how they did a deal with a different influencer and it's like, it didn't do well and they were like running me through and I was like, they're like, what makes you different?

55:46And I was like, that person does like a million views of video and has like two employees. Right. I do a 200 million views of video and have a 200 person production team. Why? Why are you? And you're telling me you don't know the difference between me and them. Like, it's just like, oh, my gosh. How are you in charge of this? So it's like for I was having to do a lot of educating with a lot of these platforms, which, you know, if I'm playing devil's advocate, obviously. in terms of knowledge in the creative space I'm probably like sure the top 10 top 3 number 1 maybe so it's like I guess it's not fair to expect them to be at my level because this is all I've done with my entire life but also the fact that someone when they're talking with me wasn't in the room on their side that was at that level is just kind of sad so I think it's a lot of education for them to be honest and I would say it's like the number 1 lesson they should take away and you know and one of the biggest reasons why I went with Prime is because they actually watched a lot of my content and were big fans of it.

56:47I wasn't having to go like, hey, I did this. And when I say I buried myself alive, they didn't go, you buried yourself alive? It's like, yeah, I've done it three times. Did you even open my channel? So that, you know, and then on the creator side, that I have a lot to say. Yeah, these are, this is not, this is, it's a big deal when you, it's not just money, right? Like a lot of creators are just thinking how much money I can get. But, you know, There are a lot of levers that... There are a lot of instances where you should take less money if it means you get more creative freedom, if it means you own the IP, if it means you get blank, blank, blank, or deciding, do you sell...

57:26Let's say... I'm just going to pick a random... Let's say... Just make up a streaming platform's name. I don't want to say one because someone might... You know how big clips are? Oh, make up one. Yeah, because someone might clip this and then it might seem like I'm talking about something. When you're negotiating with Netflix, So like, what's a fake streaming name I can use? The Beast app. Streamflix. Streamflix. Yeah, Streamflix. That's fine. It might be real, but... But it's fine. Streamflix, good. That way people can clip this and it doesn't seem like I'm shit talking on a platform. So like, let's say you're negotiating with Streamflix, right?

57:55Like, you know, even something as simple as like, what if they try to buy the first three seasons, you know, how well do you think season one will do? Because if you think season one is going to crush and you've never done anything on a streaming platform before, you would make infinitely more money and have more leverage. if you just did season one, you know, and then negotiated season two and three afterwards because, you know, like you would theoretically could get an offer like, we'll give you$5 million for season one through three, you know, upfront to do all of them. But, you know, there's a separate world where you just sell them season one for 1.5 million.

58:29It crushes. And then you come back and you get 7 million just for season two and three. Now that's a net difference of, you know, 60 % just because you believed in yourself and took a risk, right? Like that's a thing that most of these creators wouldn't even think of. But this is just an example of one of the many things that like my biggest advice for creators would be like, you don't know how to negotiate these kinds of deals. Because that's like a very simple one. It goes all the way in depth of the IP, the ownership rights of the show, who has control over the edit, even like how you have to do the budgeting, the line by line.

59:00These are big deals, especially the bigger they get. And so there are people who have negotiated hundreds or thousands of these streaming deals on behalf of other people. First thing I would do is get on the phone with them and educate yourself. and then just say, I don't know anything and let them handle it. And like, you know, and bring experts in. Don't try to negotiate these with your internal team. If you have a manager who has never negotiated a streaming deal or has negotiated less than 100, don't have them negotiate this deal, right? Because they're going to block you into things. They're going to leave money on the table.

59:27They're going to not get you the creative control you need. They're just like, yeah. Like, I mean, I'm very happy with the deal I got with Amazon and, you know, and it worked out very well. But, you know, when I saw like some of the stuff, the other platforms were putting on the table. And in there, things that I was like, oh, this isn't a big deal. But then I would talk to these people who have negotiated lots of these deals and they showed me 10 examples of how other shows left those in and it became a big deal. And I was like, oh, I didn't even know that's what that meant. And I negotiate a lot and do a lot of contracts and build business for a living.

59:58And even there are things that I just know a normal creator would just get screwed on. So yeah, that's kind of my advice. So we're recording this right before Beast Games comes out. I know. I almost wish it was after so we could talk about it. By the time we publish this episode, there will have been tons of reviews. Yeah. There will be positive ones. YouTube's about to explain. Yeah. Positive ones. Your BTS video will be out. I can't wait to see what people think of that. There's going to be positive ones. There's going to be negative ones. When you look out, if you had to guess, why do people love it and why do some people hate it?

1:00:31If you had to guess. Oh, no. Yeah. The hate, I don't know. I think the show's phenomenal. I mean, obviously, some people are not going to like it, but I'm not but like your deepest fears like when you send a Casey Neistat and you're like oh I hope he likes this I guess my deepest fear would be it probably at the start we have more contestants than any show in history so the character building doesn't really start until episode 3 but it like really really doesn't start until like episode 5 or 6 like where you actually can name the characters and know them and so I guess my biggest fear would be that people think how episode 1 and 2 are it's how all 10 will be and episode 1 and 2 are phenomenal but I think like halfway through is when people are just going to be like, wow, this is crazy.

1:01:11I feel like I'm friends with these people. I feel like I know what they're going to do before they do it. And I really, you're going to have people you're rooting for and it's just going to be great to a level that you never expected. And so, and then on the positive side, I would say, yeah, I mean, I think people are going to be like, how did they build this? How did they do this? I just like, I know, I feel like people are going to love it because it's just like, you don't, it's not one of those shows where, like a lot of times when I watch these kinds of shows, like I'm struggling to keep up.

1:01:37It's like a chore at certain parts. I'm like forcing myself. Because there are great moments in competition reality shows. But a lot of times they're then followed by a lot of boring stuff that you almost watch on 2X feed. But this isn't that. You're just like, it's good. And so I think people are going to love the way they feel. And if they watch deep enough, they're going to love the way they get to know the contestants like nothing else. Week to week versus binge. I know we talked about that a bit before. Yeah. Was that a decision that came really easy? of like, hey, we'll release these three and then we're going to go week to week?

1:02:08Because that, to me, again, feels like a big conversation in the world of entertainment of mostly what happened was, you know, the streaming platform introduced the binge model, which was like, here's a whole season. Yeah. Watch the whole thing. But we're also working in a direction, even where creators are doing appointment viewing, Speed or Kai, they market the hell out of their streams. You're going on a stream right after this that's been marketed, like where it's like show up at this time at this date. So was that a discussion that you guys had between binge and appointment? Oh, of course.

1:02:36I mean, that was a rough decision to make. I think weekly is the correct play, especially for us because these episodes are so grand and big. I feel like you almost need time afterwards to digest the volume of stuff that happened because these are big. And I think the enjoyment of being able to talk to other viewers and like, you know, if you just binge it and it ends, it's like there's nothing to really discuss. But every week being able to discuss with your friends, like, yo, did you see what this contested? because there's so much backstabbing. There's so many crazy social experiments. And to be able to discuss it, I think will make the viewing experience way more fun.

1:03:10So based on the data I've seen and the more I've thought about it, I think weekly is the way to go. But honestly, time will tell. And maybe season two, we do the binge model. I mean, yeah. You talk about season two and three quite a bit. Is that something that's like happening or what needs to happen? No, I probably shouldn't. I was told not to talk. Okay, got it. But the thing is, I loved what we did with Beast Games and I'm doing it now. And I love working with Prime Video, so I'm sure we're going to do it with them. But the concept of Beast Games, you want to continue. Oh, yeah. There's no world where I'm not.

1:03:42Would you do a thousand contestants again? Or two thousand on zero? It was a lot. I see why no one's ever done a thousand. I see why that was a world record. I mean, I even saw it from them lining up to get into set and out of set. It was such a long process. It would take an hour and a half for bathroom breaks. Yeah, just being there was overwhelming with a thousand. Like just being there. I know. I can't even imagine what 2000. Seeing a thousand people with so many people. Bathroom breaks. The other thing is the GoPros. Everyone had a camera. There's footage of a time-lapse of your team unboxing a thousand GoPros.

1:04:19Really? I haven't even seen that. It takes so long. Like to do anything times a thousand is insane. I guess you'll see if it's worth it, right? As it comes out, how people receive it. It's like, was it worth it? Yeah, because it's so much effort. And then inversely, the more people you have, the less depth you can develop. Or do you pick the top people from your episodes? Yeah, so right now, I need the show to drop and I need to see what people think. I'm not opposed to doing 100. I'm not opposed to trying to do 10 ,000. I just like, I need to see what, I'll do whatever I think people want. I just need to.

1:04:51I actually think, I think probably less. I mean, personally. Same, I'm leaning towards less now, but you never know. Because you're right. Like as I've watched through the season, like anything else. You want to know the characters. And it's easier to know when there's less. Yeah, all that matters is that the characters are good. It's like even with like American Idol, they start with like thousands and thousands and thousands of candidates. But they only show you even in episode one the best stories. The people that are going to pretty much make it. Yeah, and maybe the answer is I do a thousand but I just hone in on 30 and just ignore the rest.

1:05:19At least when it comes to stories. Like you know who has the best story. But I think the sheer spectacle of a thousand is cool but I think it's more impactful if it's just like here, here's these 100 people and they're vying for this thing. I agree. Or it might be, you know, instead of, like, we just can't keep people quicker, right? In episode one of season two, maybe we just go from 1 ,000 to 100. Yeah. Maybe in the future, like, what happened in episode one in terms of dwindling down actually happens in the first five minutes. Exactly. Which is crazy. In the first three minutes of season two of Beast Games, we eliminated 900 people who gave away$5 million and did blank, blank, blank.

1:05:52And that is just in the first three minutes of the show. I think the crazy thing is, though, your YouTube videos are like a season of television. in one video. Like the wilderness video. Yeah. That's a season of TV. I could make an entire show on Prime Video over that. And it would crush. People would love it. Beat Ronaldo. That is a season of TV. That's pros versus Joes, you know? Okay, I wanted to show you a clip. We have to get you out of here. Okay. Very soon. In like three minutes. And I want to take some photos. But I just want to show you the opening of Beast Games episode one and the opening of two of your YouTube videos.

1:06:25Okay. Because I thought it was just interesting. You kept saying you wanted more, like, you had the opportunity to go slower on Prime Video. Yeah. And I just, I was trying to understand what that meant. And then I watched this. I am standing on$5 million of real money. The largest grand prize in entertainment history. And competing for$5 million are these 1 ,000 contestants. Okay, so that's the opening of Beast Games episode one. Behind me are 100 sets of twins. And they're going to compete for$250 ,000. Everyone, go to your cube. Out of these 100 pairs of identical twins, only one is walking away with this quarter of a million dollars.

1:07:10And if either twin crosses the red line, they'll both be eliminated. Let's find out which pair of you is the best set of twins and wins$250 ,000. I have never been around this many sets. I mean, you get the point. I'm basically saying that what's really interesting is the opening of Beats games has no cuts. The first 12 seconds of Beats games is just you. I am standing on five million dollars. Yeah, it is. Yeah, it doesn't like whoosh into the five million. Ah, that's such a good shot. Fuck yeah. There's 1 ,000 contestants. But that's a, I actually think that's more symbolic than people might realize that that is just a shot of you for 12 seconds.

1:07:54You guys never do that. Not on an intro. You would never hold on an intro for 12 seconds. No. And it's just like on, cause on YouTube you have to, it's just different, man. It's different expectations. It's different. It's like YouTube, you just got to reassure them. The title and thumbnail is like a big problem with my YouTube videos is people just don't think they're, they're real. And so I have to show so much at the start. I have this 10-second window to convince someone, I did this. I did this. I did this. I swear to God, I did it. I swear. Promise. I promise. Here's proof. I did it. I did it.

1:08:25I did it. You know what I mean? In the twins video, 100 twins compete for 250K. It's like, no, here's 100 twins. Look, here's a close-up. They're twins. There's 250K. That's real money. I'm giving it to them. All right. But now it's like, okay, there's twins and money, but are they just going to stand here? Now, all right, there's cubes. Look, there's a big set. this is a good video and like on YouTube at the start you almost have to like beg like you're like look I promise what I put in the title thumbnail is real especially for us because what we do is so big and you have to convince them of all of it and then get permission to slow down whereas on beg yeah with these shows like I mean you know most competition shows are like you know a fraction as big as this and so it's like and people still sit down and watch like people like will give you at least a couple minutes on a show before they give up on it it's not like 10 seconds out you know what I mean?

1:09:11Like how, I can't think of a time I've ever clicked on a show and then 10 seconds later clicked off. Like I want to, you understand that it takes a little bit of time to get to know what's going on and so you, like what in YouTube you have to do in 20 seconds and streaming you can do in, you know, three minutes and like that's a huge difference. I got a question about like what you said about viewers on YouTube think it's not real so you have to prove that it's real. Yeah. I want to ask about the creative choice of using CGI. Yeah. Because I feel like CGI, although it looks cool and it's not impacting like the challenge, right?

1:09:40It's not like you're not using it to alter the challenge. You're using it to alter the environment. To extend sets. To extend sets. Yeah. But I feel like even just using CGI gives ammo to people who are like, oh, it's not real. Yeah. Or it takes them out of the realness of it. 100%. And that's where I've thought about this so much. And that's why we very rarely use it. Like we're literally talking about like, I mean, CGI also is incredibly expensive. So it's expensive and like 0.1 % of the content we use has it in it. So it's like, but I agree with what you're saying, but then like look at our Squid Game video and imagine if we didn't do like use CGI, like how much like, that's like part of what made it so cool and like closed the gap between what happened in the show and what we did.

1:10:24And so I'm cool with never using CGI again. I don't care. Like we build phenomenal sets and I don't want because we use CGI people to doubt the authenticity of our videos. And so that's something I've thought about a lot. And what I wish is like, I wish more creators used it in entertainment videos so I could kind of look at how they gauge it and like get inspiration. But I'm kind of trailblazing here. No one else does these big budget YouTube videos. And so we already dial it back way more than traditional does. And yeah, I mean, the honest answer is I don't know. Like, I think this is something if you asked me three years from now, I'd be like, yeah, this is how you use it and blah, blah, blah.

1:11:01I said this on a different podcast, but something I've been thinking a lot about is like maybe watermarking it every time we use CGI. And I've been working with the team to try to figure that out. Like if every time we do something, there's just like a Beast logo that's on the side of it. So you would know if you see that Beast logo, you know, we extended a set or something like that. So it's like, or timestamp again in the description. I think I felt it the most in the city, the wide shot of the city with the moat around it. Yeah. You know, that's where I felt it the most. Because I mean, probably because I was there.

1:11:28You were there. Yeah. Yeah. Well, it's also, oh, you're talking about in Beast Games. Well, Beast Games, we were talking about YouTube. quite a bit. But that's why for Beast Games we're doing a lot of BTS. We have your video and you guys had Mr. Who's the Boss did the YouTube video because that was a big one. You guys have basically all of episode one. The lead up to it is great. And then John and a couple other people are taking over the later stuff. So that's why I was so intent on doing BTS because I was like here's everything that happened so we're not hiding things because the CG and Beast Games we built the craziest sets in the history of entertainment.

1:12:04it and i didn't want people to think like that that city cg when it's not like yeah they put a little moat around it and i'll be 100 honest this is what's crazy is like because there's seven hours of content here and i can't be involved in everything i didn't even know they're putting a moat around it i like because there's like a bunch of uh trucks and cars around the city yeah yeah and um and you know for simplicity because we wanted people to focus on the city you know just removing that all the the stuff around the city um is what i was under the impression we were doing and the thing is we locked the episode but the like intense uh computer stuff happens after you lock it so i didn't so like they made all these decisions after it was locked i was already moving on to future episodes and then i watched i received the final cup of episode one and i saw that mode there and i was like what why the fuck is there a mode here but it's a lot but it's too late now because uh the team's working on the future one so i actually agree i was like i don't i don't know why we put a moat there i like i was under the understanding we were just gonna you know make it grass yeah just make it grass I was like this doesn't especially because like when we're on top of the tower and stuff you can see out back behind and you can see there's not a moat so it's also just like not even immersive it was a very it's also only that one shot it's just one shot one shot and seven hours of content there's one single shot and they put a moat someone somewhere of the 100 editors we're working with made a decision to put a moat there and not running it by me and uh yeah I I don't agree with it but it is what it is I can't change it now.

1:13:28I want to ask you about my home country, India, because you went to India. I did. And, you know, I've witnessed over the past probably 10 years the creator economy just start to slowly grow. And it feels like it's exponentially growing. In India? Over there. Yeah. Like the first time I went out there, I got asked to speak at a college. Like this is years ago, because I was just like an Indian guy on YouTube that everyone was like, oh my God, there's an Indian guy on YouTube. Yeah. And I went and I spoke. And at that time, TikTok existed. in India. And there was people making, you know, a couple thousand bucks a month, which was super significant in India.

1:14:02And rupees, like, that's really significant. But now I'm looking at it, I'm like, these are some of the biggest channels. Yeah, biggest creators. In terms of just straight up views. What do you think about, what was your experience like in India? And what do you think about the importance of India to the digital entertainment world? Yeah. You know, India is my second largest audience behind us uh usa now it's like it's very big for us so um yeah india was it was it was not what i was expecting there um people like how do i say this where it doesn't sound arrogant i mean they just like they really liked our channel over there like they were when i i mean i didn't tell anyone i was going there or anything but there were like tons of people waiting at the airport for me to land and say hi to me there it's indian hospitality yeah hospitality i'm kidding no no but it's a crazy celebrity culture oh yeah different that is it yeah it's like it was they were yeah just so i met so many people that had just seen every video i've ever made knew every mr beast lord they were just so into it and um they yeah just the create and the the thing that actually was the craziest because i went over there to film well we launched feasts and prime in um india but while i was there i filmed with carrie minati yeah um and he brought like all the biggest creators from India over like Mythpat and a couple others.

1:15:25And I was just like, they're like, Carrie'd be like, oh, here's this guy. And I'd look at their channel. I'd be like, this guy's pulling 20 million views a video. I've never even heard of him before. And it's like, there's so many large creators over there. And like, you know, what's interesting, I don't think Carrie would mind me saying this, is like, you know, Carrie's audience is like almost 90 % in India. It's like, it was like 86%. And the other 14%, I believe it was like, whatever, like, Pakistan or whatever that other country that speaks Hindi. And so it's like, and I'm looking at all these other creators' analytics, and it's like almost all India.

1:15:59And so that's why we don't know who they are, right? And we don't know they exist. And most of your viewers don't know they exist because if you're not in India, you literally just don't get served their content. And it's because a lot of them do this thing where they speak English and Hindi and they bounce back and forth. So then boom, it just dies there. Or they have, you know, cultural. Cultural, yes. but then they also have a lot of accents that are pretty thick and hard to understand if you're in america or europe and so um but yeah it's like for people who don't know there is a massive creator scene in india like these there are a lot of creators over there that are pulling tens of millions of views of video that are massive like borderline like demigods to like people in india but the thing is their audience their viewership is like basically all india so you you'll probably never hear of them unless you go there or like try to study it how does monetization get solved there, you think?

1:16:47Because those are huge views, but monetization is really hard in India because there's not as big of an ad culture. There's not as much disposable income from consumers. What happens? Do they join? But isn't there a wave of GDP growth that's coming in a major way? That's why all the CPG brands are so interested in India. Also, let's say you make one-seventh per view, because these guys are pulling disgusting views because Because you get way more viewers. Maybe that helps close the gap. So I think the hope for them in the long run is as more and more people over there come online and start using these platforms, they'll just get more and more viewership, which will increase incomes.

1:17:27Plus, like he said, GDP is rising over there. I think it's one of the fastest growing economies in the world. And so increased GDP plus more people coming online. I think the next couple of years, it just is what it is. They're not going to make that much money. But I do think you got to take a loan. like I've been doing YouTube for 15 years. You know what I mean? You take the long-term approach and I would say long-term, they're like a decade from now. Like I wouldn't be surprised if some of the top earners were in India, you know what I mean? On YouTube. But yeah, in the next three years, I just don't see it happening.

1:17:59I think there could be scripted shows that emerge on YouTube that eventually turn into like Bollywood productions on YouTube. Yeah, but even like Bollywood, like the highest grossing films just pale in comparison to Hollywood's highest grossing films. So it's just like, you know, it's just not a level playing field for them. But I do think the playing field, I mean, it won't be level in 10 years, but I think it will get more, you know, equal liberalized over time. And so I think the answer is just keep building, get the resources you can, go all in and realize that like the reward you'll get for the value you create will be higher in the future and you just got to win.

1:18:28I'm surprised that there hasn't been as much exports of Indian entertainment to the US in the same way that South Korean entertainment has come to the US. Yeah. You know what I mean? Like Parasite and Squid Game. I'm like, I'm just surprised. Maybe that's something that ends up happening is that some Indian creativity ends up in the US. Yeah, that'd be great. I want to shift gears and ask you questions about Hot Ones. Okay. So we made an episode about Hot Ones and it actually just sold. So BuzzFeed sold Hot Ones back to Sean Evans and some investors. George Soros. Oh, I thought it was Red and Link.

1:18:57Mythical, yeah. Well, yeah, they're a part of that too. Mythical is a part of it. The article headline I saw said Mythical bought Hot Ones. It's a group of people. It's George Soros, Mythical, and Crooked Media. Yeah. And Sean Evans and Chris Schomburger bought a hot one. So it sold for$82 million. But when we made our episode, it hadn't sold yet. And David, our showrunner, was on the show with us. And he was like, I have a hot take. I think that Mr. Beast would potentially buy hot ones from BuzzFeed. He never reached out. I mean, if he did, I'd probably— Is that something you'd be interested in?

1:19:24Of course. You would acquire media properties like that? I mean, I don't have that kind of money right now because I'm dumping everything into everything I'm doing. But I mean, we could have financed it through a bank. And I would have actually really loved to help run the show and you know just because especially with how knee deep I am in CPG I mean I could have showed him probably how to 2-3 exit sales and the sauce pretty quickly so maybe there's still an opportunity there it sounds like when I saw that article I was like oh he should have called me second question why haven't you been on Hot Ones yet I need to I mean it's because I'm too busy doing 10 ,000 interviews with you guys okay hey make a note next time we're going on Call Samir Canit we're going on Hot Ones seems like you should have been on with that i think i know i i want to totally cool i i mean i hate with a passion hot food like i spicy food or whatever i don't i hate it i hate it i hate it i hate it so that's perfect that's great yeah you're the perfect candidate for it but i just don't want to do it i wish i could just go talk to sean without eating spicy shit but that's not the case i think i'll do it just because uh like some of my most few videos are when i bury myself alive solitaire people love watching me suffer.

1:20:33And so I think the same thing will happen here is like, because I hate it so much, it will really shine through and then that will make people enjoy it. I agree. I think that would be an astronomically viewed episode of Hot Wheels. But dude, you got a long day ahead of you. I thought this was one of our better podcasts. It's fun. Thanks for coming on. We're only getting better with time, man. I remember, are we still doing this? I remember we used to do one a year and it was always it always outperformed the best one. But I feel like we haven't topped that one from a couple years ago. We got a, I think your BTS video, which they haven't uploaded yet.

1:21:02I think depending on their title and thumbnail I haven't seen it yet but assuming they don't butcher it I think that's going to be one of their most few videos I think that BTS video is crazy like there's no way that doesn't have like 25-30 minute retention yeah it's going to be fun it's going to be really fun well dude I'm excited for you I'm excited to see how people react to the show thank you