 there you are. We will get through this Nancy. No, I know we will be a lot better in person on in person on stage. Absolutely. So I'm at the cottage here with my handy husband with my handy engineer husband and I told him yesterday about the research that you shared with the functional MRI and how improv and hypnotism in a state of hypnosis. We, the part of the brain, the lateral prefrontal cortex, that self-monitoring self-guardedness is suppressed. We started to really wonder why that is how how that evolved anthropologically or how you know, I mean, it's a pretty cool neurochemical or to have the human brain to have an off switch that when we are willing to be hypnotized, we can allow our state of being to be altered by another. Yeah. And how do we how do improvisers do it naturally? Indeed. How do we, in a situation that I think would frighten most people being in front of an audience who want to show that you don't have, you would think there'd be I don't know if it's a survival thing. No, there's this there's this theory that, you know, when people are in dangerous situations and basically their life flashed before the round. Yes. There's this theory that it's the brain downloading everything they've ever learned to see if there's anything that will help get out of this particular predicament. I've never heard that really. And I just wonder if that happens in some way while you're improvising, where you go through everything you've ever, because in times where I make a reference, I go, well, Parabelle, the clown from Howdy Doody, what the? So yeah, I just wonder at the brain, it's just wacky. Oh, it's fascinating. Yeah. I love that. I love that. What a massive, you know, and I can, I'm a visual person. So I immediately go to the metrics of everything downloading at the last, you know, I know when I'm learning lines or something, I kind of see it on the when I'm first learning it, I see it on the page, what particular page it is until I've got it down and then it becomes part of my character. Right, right. So when you did get your start in Vancouver in improv, tell me, tell me a little bit more about that. What was your history there? Tell me about your first improv class and, you know, how that was at theater school at Studio 58, Langara College. A friend of mine was doing a play reading at the Waterfront Theater. And part of that evening was this demonstration of a thing called theater sports. So Keith Johnson had come in and given some workshops. And so so I saw this demonstration and just thought it was like the coolest thing in the world. And it's interesting, one of the people who was improvising had, I've just reconnected with him, like in the last eight years, and he directed me in the production of art. No way. Morris Panich, yeah, a very respected playwright. And so yeah, so so I thought, oh, that'll be interesting. And then I think it was a few months later, they started an improv, they started a theater sports league and they had classes. So I took a class. And then they said, you want to play tonight? And I went, sure. So at that point, they had they would have a rookie match. And then they had the veterans that I'm thinking after a month, I don't know how they qualified as veterans, but still. So I did very well in the rookie match, and they needed someone for the veterans. So I joined one of the teams there, did well again, and then just it just became that was my weekend. That was the thing I was looking forward to, to going out and doing theater sports at City Stage. And then we started doing plays. And it was still, I mean, when we first started, it was it was literally pulling people out of McDonald's and saying, come see this. And then within a year, it was lined up around the block. And wow, big thing. And yeah, I made some good money from from improv in those days. My God, that's not a line we hear often. No, no, it isn't. It isn't. I could pay rent because I was playing a lot. And it was a co-op. So everybody was cool, was it? Yeah. So we split the funds. And then when we started doing shows. Yeah, so it was my best friend, then I met my best friend there. And a lot of his name is Jim McClarty. He's now living. He moved to New Zealand to start to take over theater sports there 20, 30 years ago. Oh, more. Really? Like 35 years ago. Yeah. We have a ton of Aussies coming to this. It's a fantastic improv community in Australia. They're crazy. They're so much fun. And know a couple of Australians. And so a Canadian who lives in Australia, Patty Styles. Oh, I know. I know. Yes, yes. Yeah, we have worked together a lot. So yeah. And it's and when I started, it wasn't all theater people. We had a guy who worked for the cable company. We had a couple of writers. We had some students, but it wasn't. It was a fair mix. And then as time went on, it became more more theater people. But at the beginning, it was just regular people. Right? Yeah. Isn't that amazing? We have in my town, Hamilton, that, you know, that is experiencing sort of a cool arts resurgence in our lots of good stuff happening in the hammer. And the improv classes, when I go, have a couple waitresses, a physicist, you know, a bunch of theater people, and then a couple business people, like it's just it's a it's a wonderfully eclectic group of people just to come and connect and communicate and tap creativity. And interestingly, an intuitive knowledge that rarely sees the light of day. You know, I find I find your earlier comment so intriguing about, you know, that on our death, all of that, all of our memories come to fore. I mean, I think that what improv does is tap a different intuition and creativity that comes out only when we when we connect with another, you know, it's pretty it's pretty cool when everybody has the same joke at the same time. And then it's like, okay, I know we all have it, we're going to be nice and let someone else say it, or are we we're having a couple of races at times where it's so exciting. That's right. That's right. Is there something what talk about the everyone loves whose line. And in fact, the one of the things that I'd like to chat about on Friday, you know, when I finish compiling all of the stats when we chat on the Friday evening of the conference, the views of YouTube, whose line reruns are just off the charts, right? Like it's, it's crazy. It's like, I feel we should be richer somehow. I agree. Worked out. Yeah, I mean, that was the reason the show came back. Brad and I found our audiences were getting like, you know, 10, 12 years into our tour, our audiences were getting younger, which doesn't happen. And it was because kids that hadn't been born during the original show were catching up on YouTube and there was this groundswell. And that's how we ended up on a youth network like CW, where we actually could have fired every other star of the other show. Awesome. Yeah. Amazing. Amazing. And I understand that you have just completed the last whose line a couple months ago. Is that right? That's in theory, that is what has happened. I actually, I'm our surprise guest for lunch yesterday. Yeah, yeah, actually, one of the producers from whose line and they've ordered another season. But we don't have to shoot anything. Because they still have so much stuff that happens. It's insane. It's insane. It's insane that the pandemic, the show was still happening. And we hadn't shot for like years, a couple of years before that. And the CW is becoming a non scripted network. So, you know, there's always a chance it will come back. It's hard to say. I don't know. Well, here's hoping. I mean, because that is just, it's a completely, it's unlike anything else out there, despite the fact that, you know, now there are Netflix shows with as improv and dry bar comedy and, you know, all of that, all of the other initiatives that are trying to trying to replicate maybe whose line in some form. Yeah. Yeah. Yeah. The what are the what are some of the things from whose line that just slayed you, you know, like that just you and Ryan had a had a crazy connection. Wayne was so talented. Everyone was just, you know, off the charts talented. But was there one, was there one scene, one day, one crazy adventure that you? Well, I mean, the thing, and especially with the show, because I think when we're shooting, it'd be like 22, 24 games. So, and it was just one after the other. So nothing, you know, not a lot of it stuck because you're just surviving the next one. The one that did was the scene with Richard Simmons. Only, well, for many reasons. I mean, he was still committed and it was lovely. But the scene where I, the part where I was using him as a jet ski. I know, I know this one. From the, I mean, the final project that you see, they had to cut down that laugh, because it was like two minutes of Richard's head bobbing at my crotch, which is an incredibly long time. So, so long. So that stuck in my mind. So bad. And, you know, little things where when I could break up Ryan or the other guys, it always felt good because, you know, they're pretty jaded and they've seen everything. So it was always, but it was also a reminder of, oh, yeah, because we don't know what comes next. Of course, we're going to laugh at things that will be just as surprised as the audience. So it was really good. So great. I love the fact that as humans, you know, laughter, being our language before we had language, laughter in the form of just losing our ability to stand, you know, when we just fall over. And some of the scenes that I recall from Who's Line with Wayne or Ryan and they just, and they just lose it, right? They absolutely, they lose their balance. Nothing. And making Drew cry was always special. But he would just, he was such a fan of the show. It was just lovely. But yeah, he was in that shape. He was. So the fact that Applied Improv now is this learning modality for businesses and where we've got it in medical schools and law schools. And now Improv is in the curriculum of engineering schools in Carnegie Mellon, Northwestern, MIT. You know what this, it is, there's some street cred now. And we are seeping into academia and corporate and tech and everything. How do you think that, how did that contagion happen? What? I'm going to say Who's Line started it all just because when I think of academia, I think of who you are. I don't know. It could have been just one person applying it to engineering or whatever and going, Oh, wait a minute. I thinking outside the box just opened up this entire new area to me. And maybe it caught on from there. Or maybe, I mean, I'm constantly telling people, you know, take improv classes, even if you're not going to be an improviser, it's such a great life skill. It's a great way to get over little obstacles that you're meeting, just to sort of figure out just to have different options instead of not you have a problem. You just keep going at it the same way over and over again. With Improv, you sort of learn to try from a different angle, think, and it may not lead somewhere, but it may. It may lead to a whole new outlook. And so, yeah, maybe just someone saw the possibilities of science and improv. Because I know, I mean, some things, cooking is great for Improv. Making not so much because you need the actual, you can slightly improvise, but you need the exact scientific measurements of how to make the cake and things, but you can certainly improvise around that, maybe with flavors. I don't know what my point was, but I think it's about time venturing out into that uncertainty and learning a different way and the experimentation is absolutely part and parcel of the scientific method. That is exactly what it should be and exactly what improvisers do. Exactly. Yeah. There's no way science and art, I think that'd be a very happy marriage with some problems throughout, but a little few speed bumps along the way and broken beakers.