When I was doing the historical series for Daily Wire and Empire of Terror in the Cold War,

you've got this, you're like Dorothy in the middle of the tornado.

You know, there's just, here comes a cow, here's a woman on a bike, and all of this, all of this stuff that you can pull

from. And the trick to it is, what can humans connect to? What, what in this enormous

tapestry of horror or war, whatever, what are the actual human things that the people can

connect to? And that storytelling aspect of it I think is

always about finding the the little thing among the big things that can take a person listening

to the story and say okay I can I can imagine myself in that in that world and in that environment

I want to I mean obviously we go wherever you want with this, but you mentioned the audience

before.

And I think, I just think it's so important, you know, whether it's a cold crowd or a hot

crowd, whether you're broadcasting, whether you're podcasting, on the one hand, it's so

important to know who you're talking to.

But on the other hand, you know, when to know who you're talking to, but on the other hand,

you know, when you talk about your favorite comedians, you know, who are those people,

really?

You know, are, are they people who have focused grouped their work?

Are they looking at the, no, man, they're people who are trying to amuse themselves.

Yeah, when Sam Kinnison came out and said,

you live in a desert. Nobody approved, nobody, no committee ever approved that. I thought I was

going to have a brain hemorrhage. I did too, man. That was the single funniest thing I felt like

I've ever seen in my life. Yeah, I thought so too. Yeah. And maybe on paper, no. Maybe in a

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