We interviewed a YouTube employee about why videos go viral

25:59I also think many years down the line, you may see the beginning of intergenerational creators. If you go really far down the line, Mickey Mouse has been around for generations because it's an animated character. You can just recreate it in many forms. And now there may be a scenario where a creator is a VTuber, gets to a point in their career where they've built something really interesting, they have a business, they're excited about it, but they're done. They want to retire. Someone who maybe works for them steps in. And that transfer is relatively seamless. And the more, the better AI and generative AI get, the voice can be, you know, AI.

26:35Altered as well. Yeah, the voice can be AI. So you then have a scalable human that can scale, like Colin said, hundreds of years as a brand. And I think that's an interesting business case for it that's fascinating that maybe we'll see more companies get involved with virtual humans and virtual creators. Yeah. Because they have the potential to write the scripts, have the voice generated, and have this human host and connect. If people are willing to connect with virtual humans, then that feels like an obvious future. Yeah. And I think about this all the time because immediately my mind's like, what's this going to do for beauty standards?

27:13And like, you know, there's all kinds of things that come up where you immediately go there. But I don't know. I do sometimes feel like I'm the old man in this conversation and that, you know, one of the defining dividing lines between generations will be our comfort with AI generated anything content. Yeah. That will be, that will probably be a dividing line. Who knows, you know? And even it may just enter so seamlessly and, and kind of slower than we expect. Like we said earlier, we're already using, a lot of creators are already using AI and a lot of audiences don't really know. Yeah. Right.

27:47And I wonder if VTubers is a spectrum as well where little elements of it will be ushered in. And over time, people don't even really fully realize how much they're taking in. Yeah, and I think this is why the creators of today who are messing with this technology and exploring it, they are defining what will happen with it. Because that's how it gets normalized, is people do inventive things with it and then more people want to do that and see what happens. that's the nature of internet content. Yeah, exactly. And so what's happening now is step one. And the things that I'm seeing from creators on YouTube, they're setting the tone for this.

28:30So one of the trends from the trends report that I really want to talk about, multi-language audio. What's really interesting there is that there are creators on the platform who are uploading videos that can be watched in multiple languages. and that is now connecting humans in a way that we've never been connected before. The fact that language is and was a barrier for humans, that we're the same species, but we actually can't communicate, may be over. And it can be something that can be done easily and quickly and perhaps cheaply by creators is pretty wild. Let's watch an example so that the audience has a frame of reference of what this looks like.

29:13It's titled How Gas Bottles Are Made, and it's actually originally in Portuguese.

29:21I don't know about you, but I've always been very curious about the gas cylinder. There's an opportunity to just click the gear and switch the language between Portuguese and English. And the English here kind of sounds obviously dubbed, right? It sounds obviously, maybe it's AI generated. Is that right? It is. It is. but there's other versions of this that are using actors, right? Mr. Beast uses actors in 13 different languages. So you can click on one of his videos and click the gear and go into many, you know, from Japanese to Thai to Hindi, just incredible voice acting. And it's pretty similar experience, I would imagine, in every language.

30:08This to me is one of the biggest changes to YouTube. and changes to media that we've seen. I guess the question is, how have you seen this already impact the platform? Well, it's early days right now on this because it's a pretty new feature. But we've already been seeing, before this was even launched, we were starting to see MrBeast and other creators who were launching separate channels in other languages and seeing those channels become very popular. But you're seeing things like that creator from Brazil who's a popular educational content creator who can now reach a much larger audience. He's using a platform called Allowed, which is a Google Area 120 project that they're trying to figure out how to create on the fly dubs across different videos and things.

30:54There's a whole tool that you can use. So it's a Google tool. Yes. And you can imagine a future where, like similar to clicking captions on or captions not on, I can say, yeah, I want this in Japanese. Yes, and totally. And there are lots of other third-party softwares that are starting to do this stuff now, I think. The YouTube tool itself just allows you to upload whatever, you know, track. And there's like some guardrails around that and everything. But - Feels to me like that's the future though, that we upload a video and we check the box of which language we want it dubbed in. The thought of having our interviews available in many different languages is a very exciting thought.

31:34And I think for every creator, I think the way you get to hundreds of millions of views really is by global accessibility. Exciting, but also could lead to more competition. The video we just watched, very similar to Tom Scott. And I wonder, is the competition on the platform now level? Is it global? Many years from now. Is it global? And that is good, and that is perhaps bad at times. The thing, I think one thing to know here, and again, I think we come at this from a sort of US perspective because dubbing and things are very popular in other countries as it is with movies and TV. And so it's a little bit less of a foreign concept.

32:14And I will say in the US, 37 % of people in the survey agree that they follow a creator who creates content in a language other than their own, which is a surprising step. That's way higher than it would have. Yeah, it is. But it's, so you see this happening now, right? We're starting to have this sort of more transference of things. But there are differences in culture. And I think I don't want to sort of diminish the importance of cultural differences. There are trends. The way that dance trends work in Africa is different than the way they work here because of the culture of the place. And I think it's not like everything exists the same way everywhere.

32:53And so the things that will matter to people, the conversations that matter and things will vary. And so the appeal of those perspectives will vary as well. But you're no longer limited by the ability to speak a language, potentially. And that has huge potential to change, as a viewer, as a consumer, the perspectives that we have access to, the creativity we have access to. My hope is that it promotes empathy, that there are videos that eventually come across my feed from countries that I know little about and that I probably would not have learned about had I not learned about them through this creator.

33:27Yeah. It's funny because early viral video YouTube, if you actually just went and looked at the most popular things, it was a lot of cats and a lot of babies and the pets and babies. And the reason for that was those things were language agnostic. You could watch like one of the most popular cat videos all time was this like cat hugging video. It was in Russian, but there was no language in the video. So now we're all of a sudden in this place where we've removed the language barrier. And so now everything can have that potential to resonate with people in the way that something that's so universal that was language agnostic in the past.

34:05You know, for me, I agree on that. Like, I think the importation of other cultures to the U.S. has already really started. Largely, like Korean culture has really impacted U.S. entertainment, right? like Parasite, Squid Game. There's a new Netflix show, I think Physical 100. It's a Korean show. Like the Korean style of entertainment clearly connects with the US audience. And that was not really a thing before. And you imagine that today, you know, could there be a Korean Casey Neistat that emerges that, you know, someone in South Korea who is vlogging every day and we get access to what does life in Korea look like and get to watch it in English.

34:48Yeah. Or someone in India can watch it in Hindi. And that to me is interesting. Like, is there a possibility for global creators? And I assume a lot of the American creators are relatively global, you know? And I guess Mr. Beast is the obvious example here that when he launched his other language channels, he was reaching millions and millions of people. You put that all into one channel now and it's like, that's probably the first like really mega global creator. Yeah. That is understood in 13 languages. Yeah. No, it's true. I mean, captions are also big. And so a lot of people do watch stuff with captions.

35:2550 % of people in the US agree that they prefer to watch content with subtitles and closed captions on. So, which is kind of a crazy stat. And when you look at, if you look at the Gen Z slice, so 18 to 24 slice of that in terms of how many of them do actually say they watch captions regularly, there's a big jump there. Gen Z, what an interesting population It's true, but I think captions we are already primed for expanding and there's lots of reasons why people use captions some of them are situational because there's background noise or whatever I do think we're already primed to have an experience that is text-based or audio-based in these ways that unlocks a lot of that I wonder if it ends up leading to the ability to have a monoculture again.

36:11Of course there will always be individualized experiences. But when you think about Squid Game, that kind of was a monocultural moment. And I think that's because it was released in, you know, a lot of languages. I don't know what the exact number was. It was like 80 to 100 languages or something on the exact day that it was released. And because of that, everyone all over the world was able to experience it simultaneously. Sort of. You had to pay for the subscription, right? There's a barrier, of course, of like, there's a barrier of paying for a subscription. Yeah, yeah. Obviously. The ring fencing of that stuff.

36:41But on YouTube, in the future, there's not as much barrier, especially with internet being available increasingly all over the world. That could be a reality that something gets uploaded. It could be, but I think everything else is also sending this opposite signal, which is that given the choice between this thing that everybody likes and this thing that I know you like, you'll probably want the thing that we know you like. And so it'll be interesting to see the interplay between this more personalized, individualized pop culture and the ability for people to, you know, no longer be obstructed by language barriers.

37:18Maybe if anything, it just connects subcultures all over the world. I think that to me is the more interesting application, right? Which is the elevator video channels can all communicate with each other, you know? And what will that be? It's like kind of a beautiful thing. That is really interesting. Like the weird subcultures can now connect globally. The ASMR video from Japan can connect with the ASMR video from Brazil. Even for us, like the creator economy, YouTube enthusiasts all over the world can connect. That's true. Yeah. One of the biggest themes of the report, and it was a line that really hit me, was this concept of the loss of monoculture and the rise of personalization.

37:58And as I thought about everything that's happening, all the big shifts that are happening in media with generative AI technology, with, you know, multi-language audio, with the amount that we can personalize our experience online, it's hard to have a singular stream of culture. You mentioned you were involved in Rewind. Yeah. And I thought about, you know, obviously Rewind famously kind of ended and was like, you know, disliked. I think the most disliked video on YouTube. but I thought about the concept of could rewind happen today and I don't think it could because I think everyone's YouTube experience is so vastly different now that I'm not positive there could be a single here's the biggest things that happened because the biggest thing in my opinion is different from the biggest things in your opinion and your experience I'm so glad you finally invited me here to clear the air about YouTube we should clear the air Yeah, well, look, the thing about the thing, someone, someone, I'm going to go back and I can't believe you were talking.

39:02I can't believe this whole thing turned into a rewind. It haunts me. It haunts me. But title changes to confronting YouTube. About rewind. About the fall of rewind. But rewind actually broke like four rewinds earlier than that. And I don't think anybody really noticed. But if you were for us, we could kind of see it. But everybody loved it so much that we didn't want to give up on the dream of it. But like I always had a dream of being in rewind. and I can't believe it ended before we could even be a part of it but whatever this is our version of being a YouTube Rewind the first couple it really is emblematic of where YouTube was at that time it was a very US centric platform at the time in terms of the top creators and everything and you could get them all in a room VidCon was like that all the top creators would be there because they all knew Hank and John that's how YouTube and internet culture was at that point but it's interesting if you go back and I'm not talking about the last one which is its own thing but if you look at some of the ones previous to that you started to see the dislikes kind of going up on those things and part of it is that you had people being like I don't know who any of these people are and we got to the I think the 2017 one and there was no person who worked at YouTube who could tell you who everyone in the video was like I was like my team helps figure out the video and no one could explain who all the people were and it's because, you know, you see, who is this person?

40:27It's like, well, you don't watch Brazilian YouTube. So like, of course you don't know this or you don't watch creators in India. So like, yes, I get why you don't know this and stuff, but it just became so, it was already a bit of a far-fetched idea that you could create that singular view of what was popular, but it just really broke down over time. It's true, I don't, it's not possible. It's not that it's, it's not that, could it be possible? It's literally not possible because I feel like I've thought about this a bunch. And it is because we are in this time, this era of a more fragmented popular culture where, you know, we may be familiar with the same topic or the same conversation, but we may experience it in a completely different way.

41:12And when we do have singular moments. But in many cases, the stuff that we watch, the things that we care about are unique. There's a staff from the Trends Report last year that I love. I cite it all the time, which is that more than half of Gen Z watch content that no one they know personally is interested in. Right. And it's like you, I was a student of mass media. Like I was fascinated by film. I'm sure you guys were too, like, you know, given what you do. But the idea that not only would are people watching content that no one they know is interested in, that 50 % of an entire demographic is watching content that no one they even know also likes is emblematic of this change.

41:52And it's really confounding for and confronting for a lot of people who make content and who make creative work and whose job it is to reach large audiences because it just flies in the face of how you think about distribution and these things. But it's the reality of how things work today. And it's interesting how much personality drives that interest, right? And topics. And we look at groups of channels that are all focused on a similar topic and how big some of those audiences can be. You're not sacrificing size necessarily for this, but you are introducing this feeling that you're not in step with how everyone else is.

42:40It's funny how often, and I'm curious how you guys feel about this. It's funny how often I will talk to creators and ask them if they have trouble feeling like they're keeping up with what everybody else is talking about. And to a man or woman, everyone says the same thing. Yes, they struggle with that. And it's just the reality of where we are now with different platforms, different formats, different personalization algorithms, all this stuff together. This episode is brought to you by LifeLock. Between two-factor authentication, strong passwords, and a VPN, you try to be in control of how your info is protected.

43:14But many other places also have it, and they might not be as careful. That's why LifeLock monitors hundreds of millions of data points a second for threats. If your identity is stolen, they'll fix it. Guaranteed, or your money back. Save up to 40 % your first year. Visit LifeLock.com slash podcast for 40 % off. Terms apply. Yeah, I think it's it's the beauty of the internet and of youtube and what what drew us to it originally, right? Like we started by making videos about lacrosse in 2012 on youtube Everyone around me was like that is not a good idea Um, but we were able to carve out a pocket of people who were interested in that as well And that has been the theme of our entire career is Can we talk about something we're into and it feels like none of our friends are into it?

44:02but can we find people on the internet who are into it? And that proved to be true. And I think that like incredible rise of personalization has only accelerated now with multi-format and with like everyone becoming a creator. Like for us, we released an interview with Destroying a few weeks ago. Now that interview went live, a couple hundred thousand views, but then we saw a short that had 1.5 million views from the conversation that we didn't cut, that someone else got. And then we saw other shorts from that conversation that had hundreds of thousands of views. And I recognize that more people had watched those shorts than had watched the original source material.

44:41So they were experiencing that conversation or that moment completely differently than we had intended them to experience it. And also they experienced it in their own way through the shorts feed, through a small bite size, maybe through someone sending them that clip. and maybe they'll never watch the long form piece, but the person who watched the long form piece and the short form piece actually consumed the same 60 seconds, but just completely differently and different intents. And you zoom out and think about that as everyone is becoming creators, as people are clipping things and remixing things and saying, here's the source material, but I'm gonna, it applies to my community like this, right?

45:26Because there's like financial YouTube channels that take some of our clips and take what we're talking about in the context of finances or business and curate our show for their community. And they might never come and watch our show, but they're experiencing our source material in a way that's relevant and personal to them. Yeah. And yeah, that feels the biggest difference. There's a stat in the report about how people would rather watch a creator talk about an event than watch the event itself. Yeah, 45 % of people in the US would prefer to watch creators breaking down a major event than the event itself.

45:57That's pretty interesting. And I think when I think about that, I assume, oh, the event must be the Grammys or the Super Bowl. But it's actually further down the chain, like it's a Colin and Samir episode with destroying. Yeah, yeah, yeah. Like there are some people who may actually just rather watch a clip or someone else's interpretation of it. Yeah, I think, you know, I fall into this category. If something big happens, I'm interested in hearing about it from Ludwig on Mogul Mail or from Phil DeFranco. Like I want them to contextualize it for me because they're part of my community. So I'd rather watch it there than on the news or somewhere else.

46:36And there's people who, you know, would prefer moist critical or so. So everyone has their own news anchor in some ways. Any tech keynote, I'm just going to watch the Marquez video. Yeah, exactly. Yeah. I'd much rather. Totally. I didn't watch the Apple keynote. I watched Marquez's videos. Yeah. It's so interesting that, and then that is completely different from how all of my friends experience that one event, that feels like a very substantial difference in the direction of YouTube and the direction of media that I think all creators should be thinking about. And sometimes it makes, we've thought about it after we read the report of like, how does this impact us?

47:16And sometimes what we think about is we're too late to talk about a subject matter. Sometimes we're like, so many people have already made the video. We don't need to talk about that. but then recognizing that actually there's a lot of people who would want to hear us talk about it. Even if that event happened weeks ago, our community hasn't heard it in their personal way from us. Totally. That's something that at least for us, when we read the report, we were like, that's a tangible thing that we can now take into our creative process to say, hey, you know what? We are building our own subculture, right?

47:50The Colin and Samir world is a subculture. It's a community in itself. That's a part of a broader community. And then within our community, there's even more communities. There's a funny meme that someone made in our Discord that's an iceberg that goes underwater and it shows the different layers of fandom of our community. And it's fascinating to look at because I had never put vocabulary around it, but they did. And they showed like, okay, if you're at the tip of the iceberg, you watch the main channel interviews, right? But then you go all the way to the bottom And it's like a very niche reference to something that we talk about.

48:25Yeah. And it shows the different layers. And I think what's added to this is the fact that our audience, like that fans are creators and creators are fans, right? Like we are fans of a bunch of creators that we watch. We're creators ourselves. So we can take inspiration from them and create something. And then our community who watches us can create not only for the broader YouTube community, but like people can emerge within our community as creators. Yeah. For the community, which is a pretty wild just. Yeah, there's like an economy to fandom. Yeah. You know, there's also the element that a lot of the people who work for us or with us started out as fans of ours early on and now work here with us or work on the Discord.

49:12there was something I remember hearing about like K-pop fans who are like full-time fans covering what's happening with like their favorite K-pop band. Can you describe the different levels of fandom and the hierarchies? Yeah, I mean, I wish I had an iceberg. But I think the way that I think about it and the way that my team thinks about it is you kind of have this surface level, you know, engaging with the content as a consumption, a light level of interest in something related to it. Then you kind of go to this next level where you become a more active participant in that, whether that is commenting or some sort of lighter weight thing or whether it's making short form clipping.

49:54We're seeing millions of clips now, people using the clipping features on YouTube, clipping and stuff happening to another tier where you've got sort of, I don't know, these are the presidents of your fan club type of thing where you have some sense of influence within that fan community, right? And that's where a lot of the K-pop stuff comes in. The K-pop economy and groups have really mastered how to enable an entire entertainment experience that exists within the fandom of something. And obviously we have this in other things. You'll get big IPs like Star Wars and stuff. They've always done this.

50:30Or like the Dream SMP. There are so many levels of fandom within the Dream SMP where there are creators creating their own offshoots. Totally, totally. So this exists. but like then you get to the, and even another tier where you almost, you're at a professional, you're actually earning your living as a fan of stuff. And sometimes that's quite broad. You look at, I like to joke, and actually this is still this from my wife, but like a lot of the biggest YouTube creators you could describe as professional fans. Yeah, I was going to say, like I would say we are kind of professional fans, right? Fans of YouTube and of these creators and of the space.

51:06Marquez is a fan of technology, right? like Anthony Fantano needle drop like you know there's a long list there's like so many of of those those folks and some of them branch out and do other things but um it often there is this commonality I think because fan what is what is being a fan it's being passionate about something and the the single most important thread between what makes stuff successful and that exists on YouTube is the number of people who are passionate about something. That's really, it's a passion driven platform in a lot of ways. So it makes sense that these two things go together.

51:44I think fandom is what's driving the culture ultimately. Like, of course you have to have creators put out source material, but it's the fans that then take it and iterate. I'll never forget when you talked to us about Amelia de Moldeberg's chicken shop date with Louis Theroux and how that one moment got turned into a viral trend. I don't think we can play the clip, so maybe we should sing it just so people are familiar. Oh, I can't sing it, but. Louis Theroux says, he remembers a rap that he is talking about. Yep. I like it when you jiggle, jiggle. Yes. My money don't jiggle, jiggle. It falls.

52:15I like it when you wiggle, wiggle. For sure. Yeah, there it is. Okay, so you're familiar with it, I hope. Yeah. Not you, but them. But everybody told you about it. You don't want to tell us about it. But, you know, you explained how like that one moment resulted in this whole stream of creation that eventually really drove culture, drove a moment in time. Yeah, totally. And there's probably only a few people who've watched the original interview from Amelia. Yeah, right. Totally. And Amelia, her whole thing is that she's a fan of the, I mean, usually it's rappers. Like she's usually got UK rappers on that show and she's just a fan of UK hip hop.

52:55Yeah. And that's how, that's what the whole premise of that show is. Yeah. Yeah. But I think that example is one that, you know, you were talking about the fragmentation. It's almost like a light that's going through a prism where it's like, here's the original source. It goes through a prism and just goes in all these different directions. Right. It turns into a dance. Yeah. Like that song turned into a trending dance. It turned into a song. It turned into a Jason Derulo song. A Jason Derulo song. Yeah. It like. And Emilio was in the music video. Yeah. It went like so many different directions and everyone experienced that moment differently.

53:26Yeah. And also to me, it feels like everyone experienced that, but it's also possible that a ton of people did not experience it. And that is like the thing that has been blowing my mind so much of this concept that everything that feels like the end all be all, the biggest moment of the week in the internet, the amount of people who don't experience it and have their own version of the biggest moment. Yeah. You know, I've been giving talks for YouTube for a very long time. and there's always, it's always a three-point talk. One of those points is always participation. And it's been that way for years.

53:59But now you're really seeing what that looks like at scale because you've got a whole generation of people who grew up using these technologies, right? Who are very fluent in using video to express themselves and engaging around video content. And so it's all just accelerating. But because of the way that the personalization works, the media that is created becomes part of the phenomena, you know? And that may be the lens or the path in that you experience, which wasn't always the case in the past. There was something that was referenced in the report of a Brazilian creator who got the rights to stream the World Cup and was able to actually have people watch the World Cup with him.

54:43I think that's emblematic of this concept that people want to watch these events with creators. Yeah. You know, dude perfect is doing Thursday night football, right? Where you can watch a stream with them. You talk about, um, the Mannings, right? Watching football with the Mannings. Like you now have this one source and it's, how do I want to consume it? Yeah. Do I want to consume it? You know, with this creator, that creator in that style, with this community, um, you have your own personalized version of it. So what does this, um, what does this all mean? You know, we have all these trends. We, we kind of have our own takeaways.

55:17is like this has really informed a lot of how we think about the future. Probably the burning question for everyone listening is like, so are we going to get replaced by robots? Is AI going to kill us all? What is happening here? What can we take from this report? The AI killing us all part is I think not in my lifetime, so I'm not worried about it presently, but future generations. No. The, the, I am actually, as, as much as I feel a sense of, um, anxiety about some of the things that we're, we're seeing, I find myself a bit optimistic about this from a creative perspective because what I think it enables is it, it unlocks the, the, the, you guys talked about, you were, you had, um, uh, Miles, Miles Fisher on.

56:07And one of the things that you talked about early in the interview was how talent and the actual skill of being a performer was still so central to the work that he does. Right. He does this deep fake Tom Cruise. And if, for me, if he wasn't such a good performer, it's not convincing. Yeah. Yeah. And so I believe that you can extrapolate that across a lot of the things that we're seeing, which is the human creativity, the human insight is the differentiator, right? If everybody can make everything and make it, then it becomes the insight, the perspective, the unique point of view that matters.

56:40So the thing that makes me optimistic about this is that I do think we are in this sort of transitional moment, perhaps, or not, who knows, in this moment, that seems to bring with it a lot of change in the tools that we use, the technology that we have available to us as consumers and as creators. But it should, theoretically, as one output, but create a world in which we have access to more perspectives. We have access to more unique points of view and new types of creativity than we have today. VTubers, do I think, and virtual humans. I don't think that that replaces the creators that we love today.

57:22I think that opens up a whole new set of creators that would maybe have not made content in the past that I might now be able to hear from. So that's my optimist's view on this whole thing. and I think there's a lot of opportunity right now to figure out what this means for you and the unique perspective that you have on the creative process and the things you're passionate about in your business and whatnot, but I am optimistic. I also am optimistic and for me, I think the biggest takeaway is the availability of tools and the new tools that have emerged, whether it's multi-language audio, generative AI, that are lowering the barrier to entry for some people, but also enhancing creativity for others, right?

58:07You look at Corridor Crew, again, the input, the amount of time they put towards making that animation, it was not easy. It still took time and intelligence that no one else really had, right, for them to create that, but they were able to make something totally new and novel and interesting with these new tools that we have. I would say for me, the biggest takeaway I have is like in this concept of the rise of personalization. I think a lot of creators feel a level of anxiety around needing to achieve extremely high viewership levels to make a career. Millions of views, and that's how you make a career on YouTube.

58:43I actually think because we're moving in this direction of more and more personalization, we're moving to a place where you can build a very tight-knit core community, and that carries a lot of value. And I think a huge part of how you do that That is opening up participation and allowing people to participate in the conversation that you're starting. And that creates a very sticky audience that is their world, just like we talked about. That's their culture. And if you can create culture for a group of people, then you have the opportunity to have a career. And you're only competing with yourself.

59:14Yeah. You're not competing with everyone else making similar types of content because you have your own world, your own community, and your own subculture. Yeah. The thing that it's, it goes back to your point earlier of, could I, are we too late to get into this conversation? Right. If you, if the most important thing in that conversation is your perspective on that topic, then you can never be too late. Right. Right. Where can people find this report? And if they, if people are as big of YouTube nerds as all of us, how do they learn more about all of this? Because I spend time with your resources, so I'd love to give them.

59:54Yeah, youtube.com slash trends has a lot of the big reports that we put out. We have a YouTube channel and we sometimes put things on, but youtube.com slash trends is the best place to sort of see the more report type stuff that we put out like this. We can also put the link in the description. Yeah, yeah. Yeah, we'll do that. Yeah, thanks. There it is. We'll put the link in the description. we'll put that in there. Kevin, thanks so much for joining. This was awesome, man. This has been so fun. Thank you for having me. This was really fun.

1:00:21for yourself, just click the link in our description.