 Oh, this is so fun. This is so fun. We got a special, special guest today. And we're so lucky and we're so blessed and so inspired. People like Young Jin Lee, they inspire me just by being like in the proximity vicinity. So this is a pretty good day. I'm gonna give you a little of her bio and then we're gonna do our regular watch we work stuff and Young Jin Lee is gonna join in. So Young Jin Lee is a Korean American playwright, director and filmmaker. She was the artistic director of Young Jin Lee's theater company, a not-for-profit theater company dedicated to producing her work. She has written and directed 10 shows for Young Jin Lee's theater company and toured her work in over 30 cities around the world. And Lee was called, quote, the most adventurous downtown playwright of her generation by Charles Isiewic in the New York Times and quote, one of the best experimental playwrights in America by David Cote of Time Out New York. So she's got the people behind her. With the 2018 production of Straight White Men at the Hayes Theater, Lee became the first Asian-American woman to have a play produced on Broadway. It was an awesome production and every time I see her work, I just get all happy. So we're so happy that you're here and you're gonna join us for Watch Me Work, which is gonna be fun. What we're gonna do like we did yesterday with Oscar everybody, what we're gonna do, I'm sorry, waving, no one can tell. These cameras are so weird. What we're gonna do is we're going to work together for 20 minutes and then we're going to talk with Young Jin Lee about her work specifically and then we're gonna open it up and she will take your questions about your work and your creative process. Okay, and if there are any questions about that, I'll just go tell us how to get in touch. Yeah, hi, ready? So as a reminder, if you want to ask a question and you are inside of the Zoom, all you need to do is click on the raise your hand button in the participant tab, likely at the bottom of your screen on a laptop or the top if you're on an iPad or a tablet. And if you're watching on HowlRound.tv, all you can do is tweet at us at Watch Me Work SLP with the hashtag HowlRound, H-O-W-L-R-O-U-N-D, or you can tweet at us at at public theater NY or send a message to our Instagram. That's all. That's all, that's all you need to do. And the first part is where we create some of the action of this together and we work together for 20 minutes. I'll set the timer, Audrey will back me up and here we go. All right, here we are, oops. All right, all right, all right. So now we are gonna talk a little bit, Young Jean Lee, about her work and her creative process. I got some questions I wanna ask her because things I've always wondered about. But no, specifically, if it's cool to talk, sister, about what you're doing, what you're working on right now. You feel like sharing a little bit? We'd love to know. Sure, some of the stuff I can't talk about, but well, the thing that I was just working on now during our work session was I'm working on a musical. It's my first actual musical musical and it's a comedy, it's a satire of the left and it's just, it's kind of kicking my butt. Like the few people who have seen it so far are like, oh my God, you can't do this. So I'm just trying to figure out a way that I can do it and still have a career after I put it out. So it's just a really tricky thing right now because the right is just so powerful right now. And the right, it's such a problem that to satirize or make fun of or critique the left feels a little bit potentially counterproductive or not a good idea, but at the same time, I feel like part of the reason why the right is so powerful right now is because of the things that the left is doing. So I don't know, it's very, very, it's very complicated and I'm scared to even work on it in this session. Like somehow it's a project that really scares me and so that's pretty typical for me but just right now is a volatile time. So I'm both excited and yeah, just legit terrified. That's thrilling, but you're right. You do, you always go to those places that scare you as an artist, you'd never sit in your comfort zone. So, and that's one of the reasons why we love you. So best of luck with that. I'm not gonna ask you anymore about, I mean, I wanna ask you one little thing about it in a sec, but are you gonna direct it? Are you planning to direct it? Cause you direct most all your own work, right? Are you gonna direct this one? Yeah, I mean, I've been experimenting the past few years with not directing my work but I really miss it a lot. So I think coming up, I'm gonna be directing again. Does that change the way you're writing it? I mean, what's your experience? What do you think? Well, I've only done revivals with a director so far. Like I've never worked with a director on a new play. I can't imagine doing that because I do the writing and the directing at the same time. So yeah, I just love to direct and for me it's hard to be a part of the process and to have something going on that I love doing that I'm not the one doing. So that's been a challenge. So I think I'm gonna go back to trying to direct for a while. Yeah, yeah, but it's cool that you do the world premiere and then you share the experience, a directing experience with another director, which is pretty cool. Yeah. Which is pretty cool. And you also produce, you do it all. You also produce your own work. What I wanna know, did you produce straight white men on Broadway or was it a collaborative? No, I actually, the last thing that I produced with my company was straight white men at the public. Which I saw, which I liked. And then after that, I actually shut down my company because the thing about having a company is that you can't ever take a break from it because you're running a business. So when you run a business, you can't just say, oh, I'm gonna go do something else. So we're just gonna shut down this business for a year or so and then come back to it. It doesn't work that way. You have to keep funding it and keep the machine going. And so I felt, I started to feel a little bit too, I started feeling a little bit trapped. Like I couldn't go and try other things because I just had to keep this theater company going. And so I closed that down so that I could try other things. And it's been interesting because it's like, I was trapped in some ways, but I was also incredibly free in many ways. So it's been interesting that trade off of having this freedom where I can do whatever I want, but at the same time, I don't have the power to just snap my fingers and like now this is happening. So it changes the collaborative. Does it change the collaborative nature? I mean, you have the freedom of your theater company, but when you work with say Broadway producers or any producers or another director, does it change the nature of what you get to create when you're working with another producer or a producer other than yourself? I don't know because I don't think Carol Rothman is the only Broadway producer I've worked with. And she just started being a Broadway producer and she's producing on Broadway as if it's nonprofit. So I don't think I've actually come into contact with like the really hardcore Broadway producing yet. Oh, I guess I have a little bit. I mean, I don't know. Like I think I just don't have enough experience yet, but in my experience, like I don't know if you found this, but I think that there are great people at every level of theater who like get artists and who are good to collaborate, whether they're in commercial theater or in downtown theater and there are people in downtown theater who are not great to collaborate with as producers. So it's like, I think it's definitely harder when, everything's harder when there's actual money involved. I mean, that's the thing that I've discovered in life. Whenever people are doing what they're doing for really more for the love of it than to make money, I've found that that's just like a much easier and happier process. And it's like the more money that's involved and the more money that's at stake. It becomes, I think, I don't know. Like I think money kind of sucks magic out of things in some ways. Like even the money can also make the magic happen. It's just, yeah, I don't know. Like I think I have like a lot of, I don't know if it's nostalgia or just a lot of affection for just people just making things for the love of it, and not necessarily as a career or as a profession. Although I, at the same time, I totally think that artists should make money for what they do. So it's, yeah, sorry that was very rambly. No, but no, no, but it's great because it's sort of you're sort of talking about the tango that we're all like part of. And it's really helpful to hear other people talk about it, how I love what you said about how money, maybe money sucks the magic out of everything and how it's just hard to negotiate and how they're different people, they're good people at all levels and there are assholes everywhere. So, yeah, it's... It all comes down to what the priority is. And I think that any artistic project is blessed and magical when the priority is making the work and people are on the same page about what that is and they wanna make something great. I mean, I think that if that's the priority, then it really doesn't matter what level you're at. Like it's gonna be, you're gonna make something interesting. And what are other priorities do you think that people might embrace? Like... I mean, it's become such a piety where it's like you hear the word diversity and everybody's like, oh, yes, of course diversity. But it's almost like become a meaningless word, like you just say it in order to get people to not be mad at you or something, you know, like it's... But, you know, I truly, I absolutely am a deep believer in the power of diversity, not as like a moral, you have to be inclusive, you can't leave people out, but more just like I believe that diversity cross cultural collaboration, like all of that stuff, I think it's incredibly powerful and interesting when people who come from different experiences come together and they have a shared vision for where they want to go. So I'm a big believer in diversity for its own sake and not as this kind of scolding, you know, moral principle. Like I really believe it's a good in and of itself. And, you know, and I think that ego, I mean, I don't know, I could be wrong, but in my experience, ego is the enemy of good art. I think, you know, I'd love to be proved wrong, you know, where, you know, where there was something that was just driven, you know, something was just driven completely, you know, by someone's massive ego and that was how it became amazing. I mean, I'd be very interested to see that. I've never seen it working that way, especially not in theater or in any kind of collaboration. I think that it is possible to have a gigantic ego and to have ego not ruin what you're working on. You know, I think that happens quite a bit actually where people come together and they all have massive egos and they just find a way to put them aside because the ego is not the priority. Right, I love that. Yeah, the ego is not the problem, but it could be. That's really great. That's great. So you're a musician also, are you writing the music for your musical? Well, I don't know. Like, so I would not call myself a musician. I co-wrote the music for We're Gonna Die and that was just kind of a random thing. It was just one of those great things that you do when you're pre-professional, where you're just like, yeah, I'll just try this and see how it goes. And so I co-wrote that with a co-composer and I might do that again. I'm not sure, yeah. But it was fun. It was a, well, I mean, it was a great show, We're Gonna Die, and it was great to see you performed. You were on stage. In the original production. Okay, that's the one I saw and I loved it, loved it. And so in the original production, others have gone on and done it all over the world. But so it's not gonna be the same team, the musicians. You're gonna work with other musicians on this new musical. I don't know. It's still too early to say, you know, but yeah, I'm not exactly sure what's gonna happen with this. I mean, it really is, it's been taking me forever to write it just because every version of it is not really producible that I've written so far. So I'm just writing and rewriting to get to the, I mean, I'm scared to even show it to my agent right now. And it's at that level. So I just, I need to get it to the, I've been working on it forever and I just need to get it to the place where I can show it to someone and they're not gonna freak out. Like that's basically my goal where I can show to someone and they're not gonna freak out. And, you know, because for me, I guess the one place I'm not willing to go is I, the one thing I'm afraid of is doing something that makes it impossible for me to keep doing future work. Right? Like that's, you know, that's, so I, and I'm probably overly worried about it. But, you know, like that is something like when I'm taking risks and when I'm potentially making people angry, you know, there is sort of a thing in the back of my head that says, well, actually don't go so far that you won't be able to make work anymore. You know, because that would just, I can't imagine a worse fate. So you, we were talking the other day about our relationship with the police and, you know, the police on the street, but also the police in here and the police in our community. You know, do you feel that there are police in our community, art police? Art police? Yeah. Oh, definitely. Yeah. I think about them all the time, actually. The art police and, you know, the people whose jobs it is, you know, or, or, or not, you know, like I think, yeah, the art police, I sort of feel like, oh man, that's so, that's such a tough one. We can talk about it another time. But it's just, it's just, you know, because there's so many things that, well, I mean, we gather together here to encourage each other. And the more we gather together and encourage each other, I'm aware of just that there are just things that are going on in our heads, whether it's art police or just our own baggage from our childhood or whatever that, that continues to encourage us not to. And what's great about having you here today is that you're such, I mean, really every time I see your work, I'm just feel like, yes, you know, go, girl, go. It's always the best night of the show is when you're there because the cast always freaks out and you're so nice and you'll like leave a note and you're like, you're just such a, you're just one of those people where you're in joy wherever you go. That's the kind of, as, as to you, as to you. But, you know what? Actually, I can say something about the art police. So I teach playwriting at Stanford and, like the thing that I am just so careful about, you know, pretty much every second that I'm teaching is not becoming the art police, right? Because that's a very art police-y type of job, you know, to be a professor of playwriting and to have students. And so I basically have structured all of my classes and everything that I do to prevent that dynamic where I'm the authority figure and my taste and like what I, you know, what I think is right somehow gets into the students' psyche, you know, and so like my process is very much about, like when you said that you're doing this just as sort of like an encouragement, this kind of encouragement, I would say that that's probably like at the core of my playwriting teaching is just basically figuring out how to do this. How to create a community of people who support each other and, you know, where the professor is a member of that community and not this art police. Right, right, right, right, right. Who's determining your fate. Right, but at the same time, I'll just say something that will take the questions from the, but at the same time, I mean, I feel like, I mean, I don't know if you feel like, I feel like I do have some kind of obligation as one of the guardians of the galaxy to say, hey brother, hey sister, hey friend, that is uncool, but you're putting on the pages uncool. I'm just gonna say it, you can put it on the page if you want, it's your play, it's your novel, whatever, but I'm just gonna say, and that, you know, so I don't think that's policing. I think that's something that comrades in the field do for each other. No, that's helping, I think. I think that's helping. You know, the kind of policing I'm talking about is like, this is good playwriting and that is bad playwriting, you know, and there's a big difference between that and saying, hey, you know, you're doing something in this play that I don't know that that's what you want to be doing. I mean, my nightmare, I have this nightmare scenario where a student comes into my class and says, like my goal is to write the most successful piece of white supremacist propaganda ever, you know, and sort of like dealing with that situation. Like I kind of have like a nightmare about that, like when that's the intent. And fortunately, I've never had that and knock on wood, I, you know, that won't happen to me. But aside from that, like I think, you know, I've never had a student where that was their goal to hurt people with their art. And so when you point out that they're doing it, you know, that's, I think that that is, that's a helpful thing to do. Right on, right on. Okay, so Audrey's gonna help us do the questions and I'll just put myself on mute. All right, amazing. All right, up first, we've got Elena. Elena, are you with us? Yes, I'm here. All right, I just want to thank you so much, Alian and Dain Lee for joining us today. You're one of my favorite playwrights and we're gonna die as one of my favorite pieces. I have a question for you about younger playwrights that are starting off that are writing pieces that are traditionally like long, well-made plays with, you know, like the three unities and whatnot and that are trying to submit their work to theaters, but that's not the type of kind of like what you were talking about, like with money earlier. That's not the type of like work that theaters want to produce and they want to accept because it's a risk and they don't want to take a risk, risk on young playwrights. So if you have any advice concerning that? Well, I, you know, that, I get asked that question all the time and so I've been sort of looking into it and asking people, like I asked people on Twitter or like how did you get produced? And it turns out that there are, there are, let's see. I mean, there's a number of ways. I think it is very, very difficult. I think right now the system is set up in kind of an unfair way where, you know, people who go to these really expensive MFA programs are often, you know, there's this kind of pipeline of privilege where, you know, you go through this very expensive process and then you, and then the doors sort of open for you. And, you know, and that's obviously one way. People who can't go in that direction or don't want to go that route, you know, when I asked on Twitter people said that competitions, you know, like basically anything that you can enter that is a competition or a development series or whatever, like I've had, there were people who had applied for a grant and they didn't get the grant, but then there was a panelist on the grant panel who was the artistic director of a theater and then they were interested and they reached out. I've had, there are people who, there are playwrights who have had readings and that led to, that actually led to production. It went through development and led through production. I'd always thought that was kind of an urban myth, but apparently it does happen where you manage to bust through the development process and actually get produced. There was another story about someone who just started chatting with an artistic director at some event and the artistic director got interested in their work, asked to see the script and ended up producing it. So, you know, I think that, you know, the sense that I get is, and I talked to artistic directors at theaters about blind submissions and everybody was basically like, we don't do that, like almost no theaters except blind submissions or read them or anything like they usually work with agents, you know, whom you get a lot of the time through being through the, you know, going through the pipeline of privilege, but you know, it's, there are, I think one thing that people don't realize is, you know, so I was in Chicago and I invited a bunch of Chicago theaters, to smaller Chicago theaters to come to see my show that I was doing and they wrote me back the nicest email and they said, you know, oh, like, you know, we really, you know, love you and we respect your work, but we can't go to a white supremacist theater. And I remember thinking like, oh, well, but you know, I wrote back and I was like, oh, you know, I'm sorry, I'm a little confused. The only artists in this theater right now are all people of color and they said, yes, but the theater is still created by white people for white people largely, you know, attended by white people and no offense, but they only produce artists like you who have been sanctioned by the white supremacist pipeline of privilege. And they basically said this to me and they described the work that they were doing and it just sounded amazing. Like they relied on no outside funding. All the funding they got came from within their own communities. They were making work for their communities and doing great, you know, like butts in seats, like a lot of enthusiasm. So, I mean, what that taught me is that there are, there's so much theater going on in this country and so many different models and ways of doing it. And, you know, I think that, you know, if you look at the actual list of theaters in this country, it's like, we, you know, when my students talk like they only name like the same five theaters over and over again, you know, but those theaters program actually very little and there's like, you know, so many theaters, you know, hopefully they will stay, you know, they will be able to keep going, you know, and survive this crisis. But, you know, people are out there getting produced, getting discovered and, you know, the dramatist skilled actually, you know, one of the best things you can do is join the dramatist skill because they have so many resources. They have a hand of book that tells you tons and tons of things you can, a guidebook of all these things that you can apply to. And then you can access it, the eversion free online if you are a member and they have like discount memberships for students and it's like, yeah, that's a really great resource. Yeah, I love the dramatist skill. Thank you so much. We're gonna go to Natalia next. Natalia, are you there? Yes, hi. Hi, so thank you so much for taking your time here and sharing your thoughts with theater and privilege. And honestly, I am a playwright that just started to call themselves a playwright and it's scary, especially now just because I have so much pent up story in me that I wanna just pour out. And so far I've been doing a lot of the word vomiting. As I've mentioned, maybe a few weeks ago at the SLP and it's been helping because I now know when my creative flow comes out which is around midnight when I'm trying to go to bed and I've been trying to connect with my history and with family and trying to produce work and write work that is authentically, I guess in terms like the culture that I was born in. My mom is from Guatemala and my dad's from Cuba. So I'm trying to incorporate a story that blends two stories and how I'm in this in between of a Latina, but also an American and can also come off as white passing and trying to check myself when it comes to privilege and sharing these stories. So my question would be like, how do you navigate that space in, I'm trying not to bark out my story. I want to roll it out and I want to get feedback, honest feedback when it comes to writing a story. How to get honest feedback on your experience? How to get honest feedback because I feel like a lot of people they get uncomfortable when it comes to truth and when it comes to just reading something that's just not the most positive or at least in their mindset, not the most positive but it's what I'm like, it's my norm. So like how do I navigate that space of honest feedback when it comes to writing? This is a great question and it comes up every time I make a new show because you need your collaborators to be honest with you. The worst thing for a show is to be surrounded by yes people who don't say what they really think because that's how bad things stay bad and Susan Laurie's thing about pointing out, this is messed up, that's messed up, you need those people around or you're dead because it's like someone's gonna do it. If your team doesn't do it, someone else is gonna do it and you'll be in trouble. So what I do is when I, the first time I'm sort of talking to everyone, whether it's a team I put together for a show or whether it's just a one-time audience for a reading or what happens when you're on a show or what have you, I just say, like I speak in a very honest way about, from the outset about my fears about the project, my insecurities, the bumps we've encountered along the way and I sort of model what I want them to do for me. So I'm very honest and I share things that are a little bit scary to share and then I just ask them, like it would be so great, it's not helpful to me unless you tell me honestly what you really think and you're here to help and I would just be so appreciative of it. And then if anyone gives a criticism, you really react with gratitude so that everyone else can see like, oh, okay, this isn't gonna be a dangerous situation because a lot of people don't really wanna hear criticism and when you're honest with them, it will make them not like you, which I think is so unfair. I think that's so unfair to ask for criticism and then dislike the person who gives it to you. But if you're just sending clear vibes of like, I'm being super transparent about this, I really wanna hear your thoughts and then you back that up by not getting mad about the things that people say, which may or may not be helpful, like I think that has always worked for me. All right, well, thank you so much. I appreciate it. Sure and good luck. Thank you. Thanks Natalia. All right, we've got a little less than 10 minutes left and we're gonna go to Maggie. Maggie. Hey, Maggie. Hey, this is crazy. Y'all are two of my favorite playwrights of all time. I'm like a little nervous sitting here in my bedroom. My question is super specific. I'm working on a play right now that has a ton of stage directions. It's sort of weird like sci-fi type kind of thingy. And I find myself like getting super bogged down in the stage directions and like wondering about consistency of language and just things like, do I always refer to it as her chair or is it gonna be the chair? Does it even matter? I'm like looking at this thesaurus all the time and I'm kind of like, I don't know. When you're dealing with a lot of stage directions in a piece, like what the hell do you do? So I just, I have a script that's about to come out. That's just all stage directions. It's a show called Untitled Feminist Show. There's no dialogue. It's all stage directions. It was total nightmare. So I know exactly what you're talking about. It was total nightmare. Stage directions are a nightmare. I would say don't worry about that stuff until it's time to publish it, right? Like just make sure that the stage directions are clear enough for your director, your actor. It's just all of that nitpicking. That's, you generally don't have to worry about most of that stuff until it's time to publish. And then you'll be in for it but at that point you'll have less to worry about and all you'll have to worry about is just the wording and consistency and all of that stuff. So I think that depending on where you are in the process, I always tell my students that if your brain is a dial, my students will have the dial at 10 when they're starting and I'm just like, that is never gonna work. Like that is never gonna work. Like start at a one or at like a point two. Start at a point two and you don't go to 10 until it's the final rehearsal before opening and you just wanna get those final little details right. Like that's when the 10 is really useful but the 10, and it sounds like right now you're at a 10 with the stage directions too early. So just think of it as the dial and just keep the dial where it should be in your process. That's so helpful. Thank you so much. Sure. Thanks, Maggie. All right, up next we've got Kate. Go for it, Kate. Hi, yes, I'm here. Can you hear me? Yes. Okay, this is uncanny because I wanted to ask you about Untitled Feminist Show when you were writing. It's one of my favorite works of all time. When you were writing, were you imagining the movement? And if you could just talk about your writing process in terms of seeing and writing, if you know what I mean. Yeah, well, I did not write that in advance. Like that was made collaboratively with my team and with my cast members. And then the script is more of like a documentation of what happened and it's also a documentation of what I was trying to do throughout with the collaborators. But that process was very much like coming into rehearsal and saying, hey, I want a scene that does this. How do we make that happen? And then we all tried to figure out a way to make that happen with bodies on stage. It was a very different way of working for me. And yeah, I've never done that since. Awesome. Thanks, Kate. All right, we've got Giselle. Go for it, Giselle. Hey, hi, I'm Jean Lee. Hi, SLP. I love you both so much. So it's an honor to be here with you. I actually assistant directed Straight White Men at Marin Theater Company. And it was a blast. I had so much fun. Thank you for writing. So I'm a director and I've always been a writer but like a closet writer. And during quarantine, it suddenly dawned on me. Like I think I want to step into my writing personhood but it's scary and it's just a completely, not completely new because I'm a storyteller but it's a very new path. And I know that just reading your biography that like you fell into playwriting kind of abruptly, at least that's how I read it. But I was just wondering if you could offer any advice to those of us here who feel like playwriting is something we want to do but it's very new, just how do we get onto that path? You know, I actually have a recorded Zoom workshop that I made at the beginning of the lockdown and it's like a workshop that basically takes a total beginner or a more experienced person through the beginning stages of writing a new play. So it's on Vimeo. I'm just wondering how you would find it. It's on my Twitter page if you scroll down but you might be able to just Google it. I don't know, let me, yeah, just if you go to my Twitter page, like you'll be able to see it but it's people have been writing plays just using that workshop as a guideline. It's basically designed, I designed it exactly for somebody in your position. So I would check that out. You might find that helpful to just go through that workshop. Well, thank you. Thank you. If you wanna send it to me, I can tweet it to the Watch Me Work channel. Oh yeah, that would be great. Yeah, I'll send it to you. Thank you. Awesome, of course. All right, we've got about three minutes left and we're gonna go to Greg. Oh, thank you. So maybe more than a three minute question, I don't know, but I love what you were talking about at the very beginning, that you worked on this piece that you're terrified to work on. And so I'm working on a piece that I don't want anyone to know what it is or what I'm writing about. And I've gotten some critiques from people that are quite appropriate and right. And so it's like these police that we've been talking about. When like my own inner playwriting police kind of get together with the playwriting police out there and there's some really accurate and precise and good contributions that they're making, how do you incorporate that in your process? Like I put that voice right into my play and I'm finding it really helpful and successful in that way. But I'm also really interested in hearing what other people do. And oh, and by the way, thank you both so much. It's been really exciting. Yeah, no, that's exactly what I do. I put the voice in my play. It just becomes a part of, so rather than becoming like an obstacle or a problem in what I'm trying to do, it just expands it, right? So it's like I was here and now I'm here. So that is, I find that that's always a positive thing. The one thing that I'm careful about though is sometimes there will be like an outlier, someone who has an opinion that nobody else agrees with. And I've never known it to be the case that that one outliner, if you consult a large enough group of people up who have the appropriate knowledge for what you're doing, I've never known it to be the case that the one person was actually, usually it's just a very personal idiosyncratic thing. So I've known people to get really screwed up by listening too much to one person who doesn't agree with it. So say you get, you ask a large group of Korean Americans, do you think this thing is offensive? You ask 10 people, one person says, yes, it's offensive. Everybody else says, no, it's not offensive. It doesn't mean it's not offensive. It just means that there's disagreement and one person's an outlier and it's something to take into consideration, but I don't, my rule is never, like no person can ever be offended or object to anything ever. Because then, I mean, that's impossible. There's no way to do it. Oh, that's so helpful. Thank you so much. Thank you, thank you, thank you. It's six o'clock. That was amazing. Corey, thank you so much for having me. Thank you. That was amazing. I feel like I came to the magical world and like soaked up all the magic from everyone. It was like amazing. And you gave so much magic too. You're welcome back anytime you wanna stop by, girl. You come, you stop by and hang out and do things like you did today. I think people really get a lot out of hearing you talk about your process and help them with their work. And we really, really appreciate you. You're such a blessing and inspiration. Best of luck on your musical. It's so great what you're doing. Can't wait, we love you. We love you. We'll be back tomorrow, everybody. We'll be back tomorrow. Okay, we'll be back tomorrow. And Audrey will tell you what to do. Sign up and move us. Yeah, sign up by 3 p.m. Eastern every single day. And I'll send you a link between 3 p.m. and 4.30 p.m. Eastern time. See you tomorrow. Okay, love you.