Ear Biscuits with Rhett & Link - Why We Relaunched the OG Rhett & Link Channel | Ear Biscuits Ep. 374

Episode Date: March 20, 2023

Rhett and Link talk about why they are making new videos on their old channel, and discuss everything that went into making the very first one – We Dug a Medium-Sized Hole. Subscribe to the Rhett and Link Channel: https://www.youtube.com/rhettandlink Check out the Mythical evergreen collection at mythical.com! This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/EAR and get on your way to being your best self. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

This, this, this, this is mythical. Shop Best Buy's ultimate smartphone sale today. Get a Best Buy gift card of up to $200 on select phone activations with major carriers. Visit your nearest Best Buy store today. Terms and conditions apply. Welcome to Ear Biscuits, the podcast where two lifelong friends talk about life for a long time. I'm Link. And I'm Rhett. This week at the Round Table of Dim Lighting, we are finally able to talk in specific what we've been talking about in code and in generalities over the past few months.

We're going to be discussing our We Dug a Medium-Sized Hole video that we just launched on the Rhett and Link channel. Yes, the original Rhett and Link channel, which I would say, if you haven't watched the video yet, this episode of Ear Biscuits will be that much more enjoyable if you just pause and go watch the video. It is about 26 minutes long, at least the current cut, which we assume is what we ended up releasing. I don't think you have to. You don't have to.

You could, and if you're not going to, you should still listen to this. Because then going and watching the video will be that much more enjoyable from a different perspective if you listen to this first. I prefer that you watch it before and after and during this. What we want is we want the listen on this and the watch on the other thing. You know what's up. That's what we're asking for of you. Here's how I'm going gonna set up this episode.

Okay, well, what if I wanna set it up completely differently? Well, you've already set it up. So now my version is- I'm joking. This is a creative celebration episode. If you, dear Ear Biscuitier, have ever had an idea

or ever created something, idea or ever created something. And to me, the point of celebration is when you're finished. I just so happened to be listening to Rick Rubin's book on Audible. What's it called again? The Creative Act. The Creative Act, A Way of Being, I think, yeah. Yeah, which you recommended a while back. I've been listening to it

and he was talking about creative success. And success is the point where you've completed something and then you're about to put it out into the world. It's not commercial success, which is like making money off something or-

Getting the response that you have for it. Any other type of success that is getting a desired response from an audience. Like, I'm glad that we're recording this podcast at the point where, we actually haven't completed the entire video. Like, we've basically locked the edit, but the music is not final,

and the dramatic death scene, we haven't seen. Spoiler! Well, that's a teaser. Yes, there's a death scene. And it may be one of us. Is not, well, I haven't seen that final cut either. But we kind of know how this thing is going to fully come together. And we know in the next couple of days it is going to come together.

And by the time you're listening to this, it's already out into the world. But that's my point is that this is a celebration of having an idea. And there's a lot of stuff that I imagine we'll talk about that led up to this particular idea and the fact that we're relaunching videos on the Rhett and Link channel this year. A lot goes into that. There's a lot behind it. And this is the first of many videos. But it's the perfect time to celebrate it because we did it.

We set out to do it and we did it. We can later celebrate whether people get it, whether mythical beasts like it if we want to, but that's a separate thing. We rob ourselves of something very precious if we don't stop and celebrate the fact that we did make it. We set out to make it, and we made it, and I'm very, very happy with it, and it makes me very happy, period. So that's it. I mean, I think that's...

Because I did fall into this trap of like, well, I kind of wish we could record this after we knew what people thought about it so we could respond to it. It's like, fuck that. You know, it's like that's not... That robs us of this creative celebration that is now. So back to what I was saying.

If you've ever had an idea, if you've ever thought about doing something, taking a risk, making something, whether it's for an audience or not, that's beside the point. Would you join us in a celebration today of expressing ourselves? And I'm talking about you, too. of expressing ourselves. And I'm talking about you too. I celebrate you for whatever risk you're taking to put yourself out there to nobody, somebody, or a lot of people. Whatever it is, it could be anything.

I bet there's a creative element to it. And I agree that the, it's great to talk about this before we get the response, because we have been in, we've been playing this game. There's the creative side, right? And then there's sort of the gamesmanship side of what we do as a career, because obviously you couldn't really do anything creative as a career if there wasn't some way for you to make money off of it, right? If not enough people liked it that we could be able to do this for a living, then we'd just be doing it as a hobby. So we're blessed with the fact that people have responded

well enough to a lot of things that we've created in the past that we sort of have this baseline in this audience that we can kind of release things out into. But I do think there is a distinct difference between the way that we're viewing the content that we're creating now, starting with this video, and there's more in the works right now, as it isn't designed. I mean, hopefully it'll be a success in the traditional sense, right? But that is not the first thought. That is not the first thought.

You know, Good Mythical Morning is this thing where we've got this team, we've got this system, we have this very well-oiled machine that puts out this show, and we're going into our 12th year, and we've gotten to this place that is this perfect environment and setup for us to be ourselves. We have a great time making the show. We've never been having more fun. Hopefully that's coming through. And it continues to be a commercial success, and it kind of has to be a commercial success for the amount of effort and the team

and the salaries and all that that goes into it, right? Right. And the ambitions we have beyond it that are fueled by it. Right. But this thing that we're working on now, we'll talk about how it came about and then how this specific idea came about and talk about some of the stuff that you may not,

questions that you might have by just watching it. This was, this idea that we've been talking about in this nebulous way of soul-driven content, of doing things for the creative act, for the sake of creativity, which we've done a bunch of things for the sake of creativity over the past decade and a half, but we have found ourselves in this place where we've got this thing that people know us for, namely GMM, currently. We did a lot of things in the past that people might still remember, but in terms of current programming, the thing that you would know us from is Good Mythical Morning.

And then we've always had these ambitions to do these more substantial, more creative things, because we've said many times, GMM isn't really about us being creative. It's about us being ourselves and having a good time and our team creating an atmosphere for us. Right. But we got into this business because we wanted to create art. We wanted to do, we had ideas that we wanted to bring into the world. We have all kinds of creative ambitions and we've been, you know, in the early days, we funneled those into a series of videos, whether those be music videos or local commercials

or sketches and all these, you know, throwing all this stuff at the wall that ended up enabling us to create a career out of this. But once we got out here to California, we got these things running. We got Mythical up and running. And also the dynamics of the way that YouTube worked and the things that they were rewarding kind of shifted a little bit. But we've been creating a lot of stuff. If you go back over the past 10 years or so, it's like, yeah, wrote a book, wrote a novel, tried to develop that novel into a TV show, wrote a pilot for that TV show, ended up shifting and having somebody else write a pilot for that TV show, wrote a couple of pilots with a couple of people, wrote a pilot on our own, wrote a feature film, came up with all these different things that

we've been doing over the past year. And it has been this process of going across town, getting into a room with a traditional network outlet or whatever, and trying to convince them that we're worthy of making something on their terms and having to overcome the stigma of being a YouTuber, being guys who eat weird stuff on the internet, whatever. And so we finally said, let's stop trying to play that game and recognize that we have an audience that we can create for.

And let's go back and do this through the Rhett and Link channel because it's just kind of sitting there waiting, you know. And so this video sort of represents step one in that direction and there's a lot more to come in the near future. I feel the need to step back and not to pull back but to clarify something that I said. You know, when I said like, F that earlier,

when it was like waiting to celebrate creating something, like waiting to celebrate this video's release if based on the reaction that it gets or how it performs. Yeah, I'm saying screw that like we can celebrate now the creative act does that mean that our audience doesn't matter does that mean that their reaction is not something that i'm curious about or that in certain context action is not something that I'm curious about or that in certain contexts doesn't matter. No way. No way. But I feel like we are making, this is a trust exercise. We are expressing ourselves and then trusting that like, that's the best thing we can do. And people's response to it, And people's response to it, whether they're a long-term aligned fan or just a passerby, across the entire spectrum, it's like that's now that we've made the thing and we've put it out there, that part's beyond our control. I think that we owe it to the mythical beasts to make things that we believe in

and that we're passionate about. We owe it to them to do things that we want to do and not do things just because we think that they want it. There's nothing about this particular video that's controversial, that's going to get some negative reaction. Some people may scratch their heads. People can be critical any way they want. And I'm fine with that because it demonstrates this level of care about what we do. It turns into criticism and that's even okay. So I'm even

choosing to see whatever criticism comes from this thing as something that is, it's just a demonstration of care. You're not going to criticize something if you don't care about it. Especially when it's like, there's nobody professionally criticizing any of our work. It's just people who do it from a passionate standpoint. But we owe it to our fans to make things that we want to make. Yeah. And put our heart and soul into it, you know, and not just try to pander to them or this is not, you know, we're not,

we're not providing a service with this, with this, this, these videos we're putting out on this channel. Right. You know? But if it resonates with you and it moves you, then that's great. I mean, I do have certain desired outcomes for this thing, but I'm separating myself from that

and allowing myself to celebrate what we've got. I do think that's important from a creative standpoint. I don't think it's important. And I'm not crapping on, I just don't want it to seem like I'm crapping on fans in the process. I know, I think what you said makes sense. It's a win-win. I think not only, yes, it actually, what is best for them,

and when it comes to this content, is what we personally feel the best about because that's what this particular exercise is. But I also think, yes, this is a different strategy. This is we are taking creative joy in the thing that we're creating, and obviously it would be super awesome and encouraging if people resonated with it,

and people's response to, it would be super awesome and encouraging if people resonated with it. And people's response to, if we're going to throw a bunch of stuff at the wall this year, well, if we resonate with something and the fans don't resonate with it, we are less likely to dip back into that well because that, you know, we are going to, there is going to be a little bit of a dance. But when it comes to an individual idea, the execution of the idea, and how we feel about it when it's done, the most important thing is how we feel about it when it's done. And then there's a secondary thing is how people respond to it. Yeah.

That's specifically the strategy with this content. And there's no shame in that. And listen to the way that we're talking about this. It's like it means so much to us. Like I am so engaged in this with so much of my being. Like every part of my being feels like is activated. Activated. This is, it's an enlivening process to dream up something and then to do it. Now, all of that being said, and as serious as we've been talking about it,

it's a video about digging a medium-sized hole. Yeah. That's it. And we did that on purpose, right? So both of these things are true. It's like we want to have like this pure creative expression, but it just felt important that we didn't make it too self-important. We actually made it anti-important. I mean, there's irony in the fact that we're removing all of the boxes

that you would check in order to make something successful on the internet as a video. successful on the internet as a video sensationalism um controversy uh i mean nudity i don't know fill in the blank with whatever you want to fill in the blank with that we are we we kind of shunned all those things to make it more of a creative exercise and so and not take ourselves too seriously. So I do acknowledge we're taking this very seriously. So at the same time, we didn't want to take our, we gotta have the other side of that coin. Let's just dig a medium-sized hole. Well, I think what I heard.

Let's keep this inconsequential. I heard recently, I'm not gonna make this my rec, and so I won't tell you where I heard it because it's your rec and I'm gonna save this rec. You're make this my rec, and so I won't tell you where I heard it because it's your rec, and I'm gonna save this rec. Oh, you're gonna respect my rec? I have found a source of creative inspiration that I will talk about later, but this one artist was,

basically said, don't take yourself seriously, but take your work very seriously. And I think that that is- Yeah, I like that. That is, that really embodies the way that we're seeing what we're doing. I mean, obviously we're gonna sit here

and we're gonna talk about it as if it's important enough to do a podcast about, but we've sort of, the fact is, is that most, if you're listening to this podcast on a regular basis, you've made the decision that we at least talk about things that you care about enough to have the right to then talk about this stuff.

Can we have permission to talk about a medium-sized hole as if it's the best thing on the planet? We'll get into the details. Thank you. But I do want to talk about the details of what I'm wearing right now. Yes, this is from what we're calling the Mythical Evergreen Collection, and I guess that means that we're gonna keep it around for a while. So essentially, these are, you know, a little bit understated tees that have

the embroidered M. It's got a little sheen on it. Also the embroidered Mythical logo on the right sleeve, And it comes in this color, which is olive. It also comes in black, ivory, and mustard. Nice. This is if you're just like, hey... There's some hats, too. There's a hat, and the hat comes in cayenne. Exactly. I wanna represent Mythical, but I don't necessarily want questions about it. I wanna be classy. No questions, just class.

Yeah. Get all this and more at mythical.com. Your teen requested a ride, but this time, not from you. It's through their Uber Teen account. It's an Uber account that allows your teen to request a ride under your supervision with live trip tracking and highly rated drivers. Add your teen to your Uber account today. So let's talk a little bit about how we got to this point from a practical standpoint to this video and how the team came together because it's, you know, interestingly enough, especially as it relates to this first video, the team came together because it's, you know, interestingly enough, especially as it relates to this first video, the team, and one person in particular, it ended up being very important.

So, you know, we worked on Inside Eats last year on the Food Network, we made four episodes. That was over the summer? Yeah, spring and summer. No, no, no, no, no, no, no. They came out then. We shot it before Christmas break. Oh, we shot it, right, yeah. December is on. No, no, no. They came out then. We shot it before Christmas break. December, yeah.

In 2022. In like two weeks in December we shot those four episodes. 2021. 2021. Yeah, yeah. Yeah. Just to give you an idea of how long it takes this stuff to come together. But we're not gonna belabor the point and talk about that in detail, but I think that

it's an incredible juxtaposition between what we're doing now because this was an opportunity that we had based on Food Network approaching us. They already had a show that was essentially conceptualized. They needed hosts for it. We said, we'll do it if we get to be executive producers

and get to be very involved in the creative process. Long story short, as much as we were involved in the creative process, we were making a show for the Food Network, and the final product was very much what the Food Network wanted. In fact, what they wanted, in many different turns, usurped what we wanted. And what we ended up getting is a compromised product

from our standpoint, right? Right. And that's the nature of working in traditional media. And it's not a game that we'll never play again, but it's not the game we're playing right now. But the best, there's two things that came from that experience. The first thing, it's just another reminder of what it's like to go through that process of developing something for a traditional outlet and going through the process of producing

it. And it's just compared to the independent creator game, there's things that are better about it, certain things that are better about it, namely financially, but almost every other aspect of it is more frustrating and less rewarding, right? Again, not ruling it out.

There's still pitches that are out there that are in different stages, whatever. If they come about, we'll probably work on something else. But as compared to what we're doing right now, it's a completely different process. So it was that lesson, that reminder. It was great that that reminder came last year and was kind of resonating in our minds as we moved into this process. Yeah, by the time Thanksgiving of last year rolled around, we were starting to get very specific about the plans that led to the relaunch of the Rhett and Link channel.

Yeah. At first we were thinking about, well, we weren't thinking about where it would be. It wasn't really about the Rhett and Link channel. It was about let's create things that we can put out into the world like from start to finish once we have the idea we know it will be seen we know it will come to completion we'll release it into the world it will be created yeah um and we will have much more creative control

than over the Food Network show, which was the only thing of all these other efforts that actually did come out and people did get to see it. Right. So we... But the second piece from that was TJ, TJ Chambers, who was the showrunner, producer on Inside Eats. And sometimes you work with people

and you just immediately have this creative connection, right? And you gel and you basically realize that you're speaking the same language. And when you communicate something, they understand what you're saying. Right. They also come up with ideas that are the kind of ideas that you would come up with. And we've been doing this long enough to know that that doesn't happen every day. It's not easy to do that. You know, we've had hundreds of people work at Mythical, right? And I think that the number of people who you like you get onto this creative wavelength with, that's a very small number of people. It's difficult to find those people. And we saw that in TJ. And so we said, listen, even before we really had an idea of what

we were doing with this content strategy, we said, we need to hire TJ. We were saying, let's just figure out a way to get him to work at Mythical even before we knew what we wanted him to do. So we started the conversation. Yeah. And it's funny because he was very, very close to taking another job that would have taken him out of town and basically eliminated him

from the potential of working with us. But- We planted seeds early enough that it came together. Well, it's funny. I haven't even thought about this because there's some serendipity in this, as we'll talk about with the idea.

But now that I'm thinking about it, there's some serendipity in the nature of the way that happened because we ended up saying, hey, let's just have lunch together. Yeah. And that was, he came to the office

and had lunch with the two of us and Stevie. And that was when we said, Hey, listen, we don't have enough. We don't have a role right now, but we anticipate having a role probably in 2023. And we just want to see where your, your head's at because we know that you do freelance production work for TV. And that's typically what he's done. I don't think he's ever been like a long-term employee somewhere, at least not recently. He's been doing freelance production. And he was like, well, this comes at an interesting time

because I actually owe someone a response to whether or not I'm going to go and work for them. And it was digital. It was digital content, and it required a move. And he was like, I don't know how I feel about it, but it's a pretty good deal in some respects. And we were like, well, when are you supposed to tell him? And he was like, technically today. Yeah.

You know? And it's like, we had scheduled this meeting based on our schedules, and it just coincided to the day that he needed to send this message. And he ended up telling us later, we were like, well, I wish we could just say, yes, you have a job here, but we can't say that. So don't let that affect this opportunity. But he ended up not taking it. And one thing led to another.

And now he is leading that team, which you can kind of describe how that team came together. I think it was important for us to, I mean, build a team because we didn't, like our existing team here at Mythical, no one had enough margin to just like say, oh, you're great for this and you're not doing anything. Or, you know, there were certain, so we had to kind of pull, we had to pull things together. We had to pull TJ from outside and then Ben, who was our DP and co-director on lots of things, just celebrated

10 years here at Mythical. He was hired by Stevie like weeks after she started. And he's been in development and directing on the Mythical Kitchen channel for a good while, and we were like, okay.

But just so you know, he was the one who was essentially co-directing, but directing the photography and making a lot of creative decisions on so many of the classic Rhett and Link things like OCD, I'm on Vacation, those sketches we did for that Sketchtober back in whatever year that was. Buddy System season one, DP. Yeah, and also, you know, he was our closest creative collaborator on Hazel last year,

or whenever that was. Right, so we knew we needed him on this project. So we had to lay some ground work to migrate him off of Mythical Kitchen and backfill over there. Morgan stepped into more of directing over

there. Annalise stepped into more of into a more developed role. A lot of people started moving up. So it was kind of a fun little game which gave a lot of people opportunity and then allowed him to kind of come over here with us.

Because we talked about getting back to our roots and the way that we used to do things and the way we used to work with Ben. And he met TJ. That seemed like they were hitting it off that we used to do things and the way we used to work with Ben. And like he met TJ that, that, that was, it seemed like they were hitting it off and like, we were off to a good start. And we've been talking to Jenna about her being able to move into like expand her roles and her contribution here. So we were like, all right, look at, look at all this stuff that you did and helping with our vlogs when we were doing those back pre-pandemic

and start a pandemic. So it's like, hey, is there more of a production role for you in this? So then Jenna comes over to the team and then we just start having all these meetings and then we're bringing in, yeah, And then we're bringing in other layers of people, like more camera work with Dylan coming in and then in post. And he's editing as well.

Yep. He and Ben are editing. And then bringing in help from other members of the team after that too. So there's more people involved. But you've got this core team that we started meeting together and talking about, like like this is our vision we're not we don't want to be beholden to a schedule we want the creative to drive these ideas but yeah i mean what i mean give or take every month it will be nice if something came out but and and and i also but

we're not going to really it's not gonna be about a schedule. And I think this represents a bit of a creative resurgence of the way that we work with Stevie as well, right? Yeah, definitely. Because with the systems that we have built at Mythical, and the way that Stevie is so intimately involved with so many things beyond just the things that we're working on directly, right? So very early on, Stevie established herself as the person who could make creative decisions with our full trust. And so that she became an extension of us. And back in the day, it was very much all this stuff that we're just kind of dreaming up,

and then she was making happen. And then we started doing so many other things as a company that she's been spread very thin for a really long time, and she's great at spreading herself very thin and doing a lot of really incredible work. Like a glaze. But we kind of got to this place where we're off developing these things

that might end up being a TV show or whatever. And she was involved in that and would have different points where she would get involved. But like the last time that she was in a car with us going to a shoot, like it's just been so long. I don't know how many years it's been, right? I mean, yes, she was there for Hazel, but Hazel was like this blip on the radar in sort of the dark ages in some way from us just getting creative stuff out there personally. Yeah. So as we, you know, she went on the shoot with us,

which is just, that's not something that has happened in a really long time. You know what I mean? Like being able to be there and be present for it. And having a team of people that you want to work with and that you want to create an experience with. You know, I think one of the things I've been focused on is finding joy in the process of what we're doing, you know? And I think that comes out in the actual video. There's conversations about like, you know, my mindset is yes.

And I'm not gonna like hold on so tightly to what it is that we're making that like it's only about the final product. I'd really want to enjoy spreading our creative wings and having people that we enjoy doing that with being there with us. Well, I want to talk about that very thing of like the way that this kind of video

and what we envision to be future videos comes together in a way that doesn't happen in any other medium. But first, let's talk about the way the idea came about, because it was the thing I hinted at in my three-year deconstruction update as one of these synchronicity things that was happening. I will say, this was not our first idea. No, no, no.

This was not our second or third. I would say we had maybe six or eight ideas. I think we had about 30 ideas. Oh yeah, I guess you're right. I mean, so I'd been working on a document over last year, just slowly adding ideas. Right. And then we had a meeting where I kind of just, like, threw them all out there, and it's like, what resonated?

Which was, I mean, there was a bunch of really bad ideas in this because there was no filter on any of them. But the point was the breadth of type of our approach to videos is pretty wide. These are not a set format. This is not a series of videos. They are each standalone exercises in creativity. Where we can try something and learn something,

and then maybe return to it, or maybe just take a lesson and move forward. It's very experimental. So we had all those ideas. We couldn't land on... We had like three or four ideas that we felt like, okay, of the first six videos, these are three or four of them. But we just didn't have what we felt was the first video, because so many people are going to make decisions about this whole effort

based on this first video. And all those videos that we came up with, none of those felt like a great first video. Right. So this is when we had a meeting to come up with, to sort of establish like, what are the first four videos? And that was that day I took that power nap. Right.

And when I woke up, I had an idea in my head. And the idea that was in my head was, what if we just dug a hole? And I immediately dismissed the idea in my own head. Never, I was like, well, that's dumb, and I don't know why I had that idea, and it just feels stupid. And I wasn't thinking about like an anti- internet idea, which we'll kind of get to why we ended up gravitating towards this. Yeah. But that was literally the extent of it. No development, no real consideration.

It was just kind of plucked out of the ether. But definitely very much a specific idea of what if we just dug a hole? And then later that day we had the meeting and TJ starts the meeting with saying, I have an idea, and I love it. And I think he said, I love it, and it's stupid. And he had talked to Ben about it. Uh-huh. And Ben didn't crap on it. I think he liked it, too.

And I'm trying to remember if when he pitched it, did he pitch the full title? I can't remember. I think it was. I think he did. I can't remember. But he essentially said. That's his story. He essentially said,

all that happens in the video is you guys dig a hole, but you take the digging of the hole incredibly seriously. Yes, yeah, that's what it was. You take it like it's about the process. And immediately, the first thing I thought was, holy shit, what's happening? You know? And again, listen. Wait, this is my idea is what you said. You can't have it. No, I said that after the meeting, I was like, hey man, I want you to know that

I'm not going to be in the habit of claiming that I had an idea in my sleep every time you come up with a great idea. It just seemed weird to me and I thought it was worth mentioning. And, you know, listen, my worldview is not changing because of that. Some people would be like, well, clearly, you guys, there was a discussion about a hole or somebody was digging a hole, it was in the ether, it was not just in the ether, it was in people's minds, and so, whatever, I don't really care, it felt awesome when it happened. And it was really confirming.

And no one could explain where, like, he couldn't explain where, that he got the idea from anything. There wasn't, there's no source, practical source, that any of us can point to. Right. So anyway, so it's cool to think that maybe there was an idea out there in the ether, but I can't prove it, and I don't even care whether you believe it or not. So, but... And you hadn't pitched it to me.

No, because I wasn't going to pitch it to anyone. I wasn't at the... Yeah, you weren't going to... I had dismissed the idea as stupid before it even became anything. You didn't mention it to me. TJ didn't mention it to me. TJ didn't mention anything to me. I was at home, so I got on the video call. You were on a computer in the meeting.

Yeah, and then he pitched it, and that's when you told him, I love this idea because I had it. Because I've already had it. Because I've already had it. Because I've already had it. This morning while taking a nap, which is hilarious. Wherever you're going, you better believe American Express will be right there with you. Heading for adventure? We'll help you breeze through security. Meeting friends a world away?

You can use your travel credit. Squeezing every drop out of the last day? How about a 4 p.m. late checkout? Just need a nice place to settle in? Enjoy your room upgrade. Wherever you go, we'll go together. That's the powerful backing of American Express. Visit amex.ca slash yamx. Benefits vary by card. Terms apply. But it immediately resonated with all of us because we could devote ourselves completely to the creative exercise of something that was so low. It was just anticlimactic. Yeah. Antisensational.

The fact that it was like not a – it didn't seem like – even in a best-case scenario, when you try as hard as you can, it's not like this thing is going to break the internet. It's not going to be – And so it's not – from the ground up, it's not a manipulative exercise. It was freed up to be more of a creative exercise in the journey we're taking you on than in the destination. Because we already told you, at the top right there, we dug a medium-sized hole. Set your expectations

low. This is not about you getting wowed and you feeling like this is something you've never seen before. It's not about the whole. It's about how we go about it. So then we wanted to surprise you and reward the viewer with this journey of, I mean, really, I've been saying it so much, but creative expression.

It's like, what can we do? How much fun can we have with this inconsequential idea? And I don't think, I don't know if it made it in the final edit. It was in there at one point, but I'll acknowledge it here because it's based this idea that you're throwing out there. So the, of all the videos that you can watch on the internet on YouTube of people digging holes, the ones that will pop up when you search,

are going to be much more... The hole is going to be much more impressive than what we did in the video, right? I mean, first of all, there's those channels which are mesmerizing, which is sort of like primitive technology on crack, where they're somewhere, I don't know what country they're in, and they dig these crazy holes in this really, really awesome clay, and they make these incredible apartments with hot tubs and sinks and beds and stuff. I don't know what channel it is. There's multiple channels where they do it. And that is so much not what we did. And so this isn't... And of course, if Mr. Beast were to

dig a hole, he's gonna dig the biggest hole in the world and like put a bunch of people in there and the last person to get out is gonna, or the first person to get out is gonna win a million dollars. I don't know how it's gonna work, but that's also not what we're doing, right? Why would it be the first person to get out? Well the last person to leave the hole. Well if you're in a hole, you're trying to get out of the hole. Oh really?

Mr. Beast will come up with that video, and it'll be great, and it'll get 100 million views. Our video's not gonna get 100 million views. It's not intended to get 100 million views. We couldn't get 100 million views if we devoted the rest of our lives to it. I'm convinced of that. That's not what we're good at. Right? We're not good at getting 100 million views. But, maybe over time, but not in one video. Right. So, the whole thing... That's cool, man. at getting 100 million views, but maybe over time, but not in one video. Right.

So the whole thing- That's cool, man. The whole thing was like an anti, not anti-comedy, hopefully, but anti-internet video in many different ways. But the thing that you were getting at a second ago with the way that the different parts, that was, I think this is something I'm so excited about because one of the things that has happened every single time we've been in a room with someone talking about an idea is there has been this predominant confusion

from the development people that we're talking to as to what role we play. Because in traditional entertainment, you have a director, you have a writer, you have the actors, you have a producer, you have the actors, you have a producer. And sometimes you might get a director, a writer-director. And then very, very occasionally, if someone was an actor and then they decide to direct, they might be a writer-director-actor or a director-actor. But you have to climb so many different rungs of the ladders in this town in order to get the privilege to be able to do that, right?

And sometimes actors with American accents are British. Most of the time, actually. Most American actors are British. But none of those rules, none of those expectations, and none of those restrictions apply to YouTube. and none of those restrictions apply to YouTube. We've always just said, what is the way that makes sense for us to bring this idea into the world? And for us, that's been, we know what we're good at.

We know the pieces of the puzzle that we bring to the table and we know how to empower other people who are better at different things in order to bring something to the table. And that's why the video looks the way that it looks because of Ben, right? And also Ben is directing us in a lot of different aspects, right?

There are these moments where we'll be like, let's come together and we're this like three-headed monster who's making these decisions together in sync kind of as like one directorial force. But it's such an ease. And then Stevie, if she's there, she's gonna, and she's got an idea. We respect her ideas and her perspective too

from a like executive producer level. And this is a really easy conversation that we have honed over years. And then TJ folds into that really, really easily. And I'm saying that because that's not how traditional film sets work. There's one person who's in charge. It's a hierarchy. And I think there's just something about the way we've always worked with the fact right from the top, there's two of us that are constantly compromising with one another and constantly working together. There's not one of us that's in charge of anything. And so we come into

this with this collaborative mentality that if we trust someone creatively, the collaborative mentality spills over into their lap too. And it doesn't become the too many cooks in the kitchen. Sometimes maybe in post, in the edit, it can get a little too many cooks in the kitchen, but I don't really think that happened on this one. But there were moments when it was like, okay, there's four or five people with an idea, but we ended up getting what we all felt was best, ultimately. But I just love the fact that we can know, and then things like the song. Well, even before we get to that, like the planning part,

I really enjoyed being in a room and trying to land on what this thing was. It's like you have this idea, and you have ideas that you want to explore within it, and maybe there's a little bit of commentary that we're throwing out there about internet videos in general. And there's also a lot of self-deprecating humor about what we do. I mean, like the magnet thing, obviously, was like... It's intended to be... It's real, but it's intended to be a joke. Making fun of ourselves and the internet video culture.

But I had a lot of fun tossing out ideas in the room and trying to get on the same page about what the overall tone, feel, vibe of this video was going to be. What's the voice here? You know, what's the, how's it gonna feel when it all comes together? And every time you're throwing out ideas, you're like, that doesn't fit what I think I'm picturing that I wanna feel like when I watch this thing. The vibe. Yeah, so it's, there's a lot of fun in that of like,

cause it could go in so many different directions and you just start to like chip away at the rock to form what it is. This is very unique style and tone of video that I hope is very fresh and different than you can't really compare to any one thing out there. And the genre, right? So this, I think there's two things that go into this. I mean, first of all, I think our mentality with this video and with these videos in general,

and I'm not saying every single video is gonna do this, but as a whole, this effort is, I think it's characterized by us saying, what do we do well? Or what do we think we do well? You know, like we think we do a few things well. And we would like to be able to throw those things at these ideas.

And sometimes one idea will catch all the things that we think that we do well or the things that we want to do and the ways that we want to express ourselves. And again, in comparison to traditional Hollywood, there's some people breaking the mold, but we have to come into a situation and be like, well, this is all scripted, or this is all unscripted.

And we always have this desire to be like, why does it have to be one thing? So obviously the backbone of this video is an unscripted docu-reality following us through the process, documenting the process of us digging a hole. But we didn't want to make it Vlogs 2.0. Right. So we didn't want to film ourselves. But more importantly than that, we didn't just want to do that again. We've done it

that wasn't but we wanted to take what we learned from that and it could impact our approach to the the docu-reality part of this like the fact that we are honestly and sincerely setting out to dig a hole yeah we're not faking it we're not getting somebody else to dig the hole for us. This is a legitimate exercise in something silly. So we definitely pulled from the vlogs, but we definitely didn't want to go back there and do more of it. And you know what?

I think it's fitting that you mention that, especially before it's out into the world, because I'm just going to go ahead and prepare you and me for the response from some fans. And I don't have anything against these fans. I'm just letting you know that there are going to be people who are like, it's not the vlogs, and I don't like it as much because it's not the vlogs. Rhett and Link don't have a camera. They're not filming themselves. It feels too produced. We're gonna get those comments. And it's like, you know what? It is more produced than the vlogs. On purpose. This is a different exercise. Some of the videos are not gonna...

Some of these things that we're gonna make aren't gonna be a reality at all. They're gonna be completely scripted. You know, we are throwing a lot of things at the wall, and there might be, oh, well, this one we made, we are throwing a lot of things at the wall, and there might be, oh, well, this one we made, we do have cameras and we are filming ourselves. We're going to do whatever we think serves that idea the best. Right. And so this isn't to say that you're wrong if you feel one thing's better than another

or you want more vlogs. I'm saying this is not that. We're scratching itches. And we're doing something that is a, again, we've got a vehicle that's just us being ourselves. It's Good Mythical Morning. We want a creative expression vehicle, and that's what this is. And so just letting you know, when you make that comment,

which I know people will, that's how we feel about what you're saying, and that's how we're considering it. Meaning we understand that opinion, but we're not taking it into account. I'm just being honest with you. This is a creative expression. It's not the vlogs. So we're getting the shots, or Ben and Dylan are getting the shots

to create a different product versus us like, hey, I'm going over to Link's house and I got my camera and I'm filming myself in my car. That's not the vibe for this. You know what's great about ambition? You can't see it. Some things look ambitious, but looks can be deceiving. For example, a runner could be training for a marathon,

or they could be late for the bus. You never know. Ambition is on the inside. So that road trip bucket list? Get after it. Drive your ambition. Mitsubishi Motors. And then we have these other itches.

Like, oh, we should get some music in this. Yeah. We should have some music in this. Yeah. We should have some, you know, like keeping people guessing with the things that we can be excited about putting in there and shifting genres. So, like, the music video thing was a lot of fun, you know. It's like it was easy to write. It was fun to produce. And then we got to work with Mark Byers on producing that thing and getting it to be this. That's a whole experience in and of itself.

And Mark did produce all the music for Buddy System. All the music for the music videos for season one and two. We've collaborated with him a lot. Oh, yeah. And I don't. There's a few things I want to kind of keep behind the curtain, right? Which is what parts of the video were predetermined? And the song is a great example. Did we sing a song in the field and then come back and finish it

knowing we were going to make it into a music video and then just get some shots. Well, that would help explain the fact that we're not lip syncing anything. Once we start singing, we're just doing weird stuff with shovels, et cetera. Right. Or maybe we did. Maybe we wrote the whole thing ahead of time

and we wanted it to seem like we were writing in the moment. There's multiple moments throughout these videos that are going to be that way and all we're interested in is just a vibe, right? It's not about making you think a certain thing. You think whatever it is you want to think about it. We are creating something that is the product that we want to create. Yeah, I think I'm much more interested in getting people to feel something

than to think something. Yeah, exactly. You know, I think that, and it's, I don't know that I've ever said that about something that we've made before. I think that's,

that's an exciting part of this, is that if we bring all of ourselves to it, like the honest, sincere parts and the creative parts and the unexpected parts and the twists and turns and the silliness and whatever it is, like I'm interested in what is this trying to create a pure expression of creativity,

what does it make people feel, you know? And that's exciting to me. And I think that if I can interact with the response in that way, that would be a healthy way to do it. Versus, like, did enough people get it? Versus, and a lot of comments aren't really, they're not typically about feelings, you know? Sometimes they are.

But like a video about digging a medium-sized hole? How many comments are we going to get about how it made you feel? Like, I don't, I almost don't like saying this because I feel like I'm asking people to do that. And I'd rather have not said it and just, that's what I'm after. And maybe, and if it doesn't come through the comments, that's because people

don't comment enough about their feelings is what I'm gonna say. But, yeah, so writing, like, having music,

being able to produce that, yeah, just having a, and then the surreal elements, like, towards the end, you know, saying,

hey, we can, we can, hey, we can play in this sandbox. Like, I think we're going to have to literally build a sandbox for someone else to play in. Yeah, so that particular scene, you know, with the mole. With the puppet, I don't really, yeah. Because I'm not a fan of puppets. Yep. You know? You've made that clear.

I'm a fan of this puppet. I don't think I'm going to have any, like, I don't know. I'm not a fan of acapella either. I don't want to have any acapella in it. But we've done that too. We kind of do. I mean, it's got some stuff, but it essentially is like an old school acapella in it. But we've done that too. We kind of do. I mean, it's got some stuff, but it essentially is like an old school acapella song. But that particular, you know, the decision to do that, again,

it was this, alright, well we like making scripted stuff. Like, we've always made, loved making scripted stuff. Are we, is it what we're best at? Love making scripted? Is it what we're best at? Scripted love making? No. We're not, like, if you, I think, when you think about things that we're best at. Love making scripted? Is it what we're best at? Scripted love making? No, we're not. I think when you think about things that we're really good at, I think Good Mythical Morning and making a show like Good Mythical Morning, I think we're really, really good at playing that role in that way compared to other people in the entertainment

business. But the entertainment business in the scripted world, there's so many more people who are way better at that than we are, but we love doing it, right? Now, sometimes if we throw ourselves completely at like a completely scripted project, it exposes some of our weaknesses in one way or another, right? But I think that when we're like, hey, we've got this isolated moment where we can call on a favor from a friend, and that friend happens to be Tony Hale, you know, who's got some pretty recognizable voiceover work.

Yeah. To be the voice of this mole, that is just something that is exciting to us. Like, being able to say, hey, let's write this really short thing that's like 90 seconds or whatever. Let's send the script to us. Like being able to say, hey, let's write this really short thing that's like 90 seconds or whatever. Let's send the script to Tony. He's in Rome working on a film and he's going to just do the voice into his iPhone and that's what we're going to use. And it's going to be good enough and it's going to create this

weird moment and then we're going to get dad magic. Now, first of all, if you want to know the story of the puppet and the trials and tribulations of said puppet, being a member of the Mythical Society, this is another reason to be a member of the Mythical Society, because the behind the scenes for this video and specifically that moment is something that unfolds in a BTS on the Mythical Society, and by the way, that is what we're going to be doing

for all these videos. So there's gonna be kind of peeling back the layers of how things happen. It's not always gonna be behind the scenes, but like certain stories from each video. I think the story of the mole

and like how it came to life and I guess died. Shh. You keep spoiling it. Oh. But maybe they've already watched it. But yes, Mythical Society is going to have that for every single video. And if you like, we also plan to be able to discuss and go into more detail about these videos on ear biscuits when it makes sense. I mean, right now we're talking a lot, we've been talking a lot about like the whole

idea and the whole initiative. Moving forward, since we've done that, we'll be talking more about the specific thing that we're making if it warrants an ear biscuit, which I think for a lot of these it will. But yeah, and being able to see that, in fact, as we're recording this, it was just yesterday where we saw the final, filmed the final scene

with the puppet because of, as you'll see on the Mythical Society, things didn't necessarily go as planned the first time. But that,

seeing that, and right now when we watch the edit it's just it says mole footage on the screen really big when you hear Tony talking

but then you just see the footage of us on the other end of the shovel right but I just I personally love

the fact that it goes from this oh we think we're done to no we're not done and now we're talking to this mole. I just, I love stuff like that so much.

And to be able to put it in something and not have to ask anyone's permission. And just, it's in the world. And he's a dirty mole. Yeah, yeah. Really, really dirty. I mean, what would you expect? I mean, he's got a dirty mouth.

He's got a dirty mouth. He's got dirty fur. He's got a dirty mouth. He's got dirty fur. He's got a furry butthole that's dirty. But yeah, he's got some spicy language. He's dirty. He's a dirty mole. What was your favorite part of this whole thing so far? Or now that it's done?

far or now that it's done? I think that, and it's funny cause I don't think I've yet, I haven't experienced it yet because we haven't seen the final thing that's going out. Cause we haven't had the final music, uh, laid in for Mark and we haven't had the final mole footage edited in because we just recorded it yesterday. But I think for me, my favorite part of all of this, I mean, first of all, I love the initial phases of conceptualizing things. That's always going to be the most exciting thing for me,

like the initial idea. And then this sort of initial, like as it comes together, oh, and then this will happen and then this will happen. And then, oh no, and then we'll bring in this other thing. Like that is super exciting. I'm most engaged then. And then sometimes it's like, well, there's a process that goes into making things actually happen. And, you know, I'm like, yeah, okay, whatever. Yeah, like now let's get to the final product of how it all comes together. So the other bookend for me that is so enjoyable is when we can watch what we made and have a feeling about it. Yeah. One of my favorite parts was, and Jen, I'm going to ask you what your favorite part is

So heads up Okay When Instead of just sending out a link For people to write edit notes And then We all got in a room And we screened it

And we watched it together And to me that was important because It's the camaraderie of we're making this thing together We're all invested in it And then we're watching it together. And to me, that was important because it's the camaraderie of we're making this thing together. We're all invested in it, and then we're watching it together. And you get laughter in the room. You get reactions. You actually learn things from that, and it makes the final product better. But the main reason I wanted to do it is because it would just be a fun way to give notes.

And I just think it was more profitable too. But I also had a lot of fun on the excavator. Yeah. I think that was... Yeah, that was risky. Yeah, that was fun. That was one of my most fun parts. I actually had... I think during the making of it,

my most fun part was when you were on the excavator and I was mimicking you on the ground. Oh, well, and I didn't know until afterward that you were doing that. Some of that is in the edit. Which is great. Oh, you wanted more of that? You want your own? Well, the funny thing is, it took a while,

and I did so much interpretive dancing. Were you sore? I wasn't sore, but I was exhausted. I mean, it was over an hour, right? There could be a cut, you probably didn't dig for an hour, but it was at least half an hour, and I basically was doing this dance thing, just like feeding off of the energy of you

in the excavator and digging my own little hole. It was beautiful, Rhett. It was beautiful. I was, it was, I think what it was. I really didn't see you at the time, but it was beautiful. It was pure joy. It was pure joy. I knew that some of it was gonna make it into the edit,

and so it was performative in one sense, but the majority of what I was feeling at that time, I think it was a interpretive dance expression of the way I feel about the fact that we're getting to do this. That we finally, and listen, we only have ourselves to blame, and I don't blame ourselves, and I have no regrets. Because people might be like, why didn't you start making stuff like this earlier? Why did you try to do all this other stuff? There's a time for everything, right? It's like this is coming.

Itches to scratch. This is coming at exactly the right time. I've never been more excited about what we do creatively. But I think that the interpretive dance, which felt, the funny thing is, I remember going over to, I heard Stevie laughing because it was all MOS

so it didn't matter that people were making noise. By the way, the excavator was making quite a lot of noise too. It was, yes. But I just remember going over to Stevie

and I was like, I hope that was as funny as it felt. You know, like sometimes you're just doing something. And again, it might just, it's this little almost incidental moment in this thing. But I was just having so much fun because again, that wasn't planned. It wasn't like we were, we only won. There was a point in which we thought we would have both of us in the excavator at the same time

because it would be funny to be like, oh, they can't... They all have to share everything and they couldn't decide who was gonna run the excavator, but it's not safe. That's not a safe way to run an excavator. No. It's also not terribly safe to have someone within the range of the bucket and the arm dancing with their eyes closed, especially when you're operating the excavator. Your eyes are closed?

At times. I was completely in the moment. Yeah, man. That was dumb. But again, I was like, well, what am I going to do? I've had to do something. I have to interact with this thing. Were you scared for him, Jenna? There were a few moments when I was like, I did the whole safety briefing. Yeah. And now they're...

The safety briefing was completely out of my mind at that time. Completely out of my mind, yeah. But again, that was just one of those, there's the things that you plan, and there's the things that you don't plan. And it's funny because one of my favorite parts of the video is when I come back with the other excavator, and then you do the same. You do your own interpretive thing. The dinking and sinking was a good moment. That was a TJ.

TJ came over and he's like yelling at me. He was like, you should probably do like a dinkin' and sinkin'. I'm like, I love you. With your shuttle. Jenny. Jenny. Hey, Jenny. That's what we're calling Jenna on this project. Her codename is Jenny. Jenny, Jenny. That's what we're calling Jenna on this project. Her codename is Jenny. Jenny, what was your favorite?

My codename for the shoot was the shoveler. Yeah, you were. She taught us how to properly transport shovels. Yes, yeah, we had a whole safety briefing. How to hold a shovel. TJ's nickname was Scoops. Okay. You guys missed the whole thing.

That's you? Yeah, I was the shoveler. Yeah, you hold the shovel with the spade part down. Okay. You guys missed the whole thing. That's you? Yeah, I was the shoveler. Yeah, you hold the shovel with the spade part down. Yes. And you walk with it that way. Vertically. Uh-huh. Yeah.

Don't put it over your shoulder. Nope. Don't put it under your shoulder. Mm-mm. Hold it in the middle of the handle with the spade part down at the ground. And nobody got hurt. Nobody got hurt. Mm-mm.

Was that your favorite part, that nobody got hurt? That was, yes. I loved And nobody got hurt. Nobody got hurt. Was that your favorite part, that nobody got hurt? That was, yes. I loved that nobody got hurt. That was great. But I also loved being able to ride the excavator as well. You positioned it. And then you filled up the hole, right? TJ and I filled up the holes, yeah.

It was dark and the sun was, there was just a little bit of sun left. I mean, we could have done it. We just wanted you to have your fun. I had fun. I literally wanted to fill in that hole and I was like, I know that Jenna and TJ want to do this. It was fun. But yeah, it did take all night.

Plus, I ended up having to stay overnight with the excavators for security reasons. But you stayed in the RV. Yeah, yeah. But you were alone, and I gave you a big knife. Yes, which I loved. It's such a cool knife. I have a giant. If you want to get that for me for my birthday, I do like it. I have a giant hunting knife in the FJ, in the camping area.

I took a photo of myself with it and sent it to Laura. And I was like, hey, don't worry. I'm in the desert, but I have this huge knife with me. It's a big knife. I mean. I slept with it next to me and I slept so good. Oh, wow. It was sheathed.

It was sheathed. Yes. You don't want to be grabbing that thing. You don't want to take knife advice from me. That's a bad sign. When I'm the one telling you. Link's not allowed to touch that Okay. Yes, yes. You don't want to be grabbing that thing in your dreams. No, no. You don't want to take knife advice from me. That's a bad sign when I'm the one telling you. Link's not allowed to touch that knife. No, no. What can you do and not do with the knife?

So that was your favorite part. I'd say that and, yeah, I think. Nothing related to me. Okay, I get it. No, I loved watching it as well, like watching it all back and hearing everyone laughing and getting the reactions. It was really nice because, yeah, we usually don't do that for credits. Yeah, it's just like we're getting to experience the different stages of a creative process, including not committing to a schedule.

You mentioned that earlier, but I think it's important because everything that we've done over the past 10 years has been like, we're doing this and we're doing it every week, or we're doing this and we're doing it every single day. And that's not the deal with this. We're approaching this in the cadence of the release of these videos and the process

of development of each one of these videos as if we have this portion of ourselves and our company that is cordoned off as a traditional YouTube creator. Most of the YouTube channels that you watch, they might be like, oh, every Tuesdays or Thursdays, but usually they're like, guys, sorry, it's late this week or whatever. We're actually embracing a little bit of the chaos

of the earliness of our career where it was like, you have an idea, you figure out what it takes to make it, you make it in a certain amount of time, whatever it takes, and then when you get it right, you release it. And that's what we're doing with these things. We're not overly committing to a schedule whereby which we become essentially beholden to meeting this cadence. And that's when things sometimes don't get as fun. We want this to remain fun because we want to stay really engaged with it. And we have so many things that we want to do

already. Already there's so many things that we want to do. I'm excited already about the next one and the next one and maybe even the next one. and maybe even the next one. But the next one is the amount of risk involved. The fact that there's a genuine question. We don't know how it's going to go. Of how this is going to go is very exciting. Because we're not in control of everything that happens i'm actually exploring like the concept of and talking about it some in therapy

about how do you how do i understand the difference between anxiety and excitement because they show up in very similar ways in your body know, you start to feel like you got butterflies, like I lose my appetite, and I wake up and like, I have this like, if I feel like things are out of control, I'll have like a free falling kind of a feeling, but just a nervousness, devoid of the free fall feeling, I think is just that I'm devoid of the free fall feeling, I think, is just that I'm so freaking excited about the fact that we're taking a genuine risk here.

And we don't, you know, it's a dynamic question that we don't know what the answer is. And that's going to be, that's why we're doing it, you know. And then we're sharing it once we know so i don't want to tease it any more than that but that's how i look at it uh because i mean tomorrow we're going out and shooting part of that yeah yeah we're all i mean so we're kind of again it's good to stop and celebrate because we're on to the next they're overlapping because again while i said we're not committing to a cadence You know, we do have like four videos

Planned right now We're going to try to, like Link said Hope to get to like once a month But There's multiple things in process On multiple videos right now We're planning and then you got to shoot And then you're looking at the edit

I don't know Things are going to get very busy, and they already are, but it's doing things that we're so excited about that it doesn't feel like work. You know? It just doesn't feel like work. It's a good place to be. I'm very, very, very, very excited. So thanks for giving it a watch, or multiple watches, and sharing it with people. And yes, letting us know what you think and what you feel. It's called We Dig a, is it We Dig?

We Dug. We Dug. We Dug. We Dug a Medium-Sized Hole. Yeah. Wherever you get your YouTube videos. That's not my recommendation, but... And subscribe to that Rhett and Link channel, by the way.

We need... Do it, yeah. You know, it's been stuck just under 5 million subscribers for a very long time. So, you know, we made a decision... Tell your people. ...to not put this on like... We could have put it on like The Weeknd,

A Good Mythical Morning, and it would probably get more views initially. But this is a different thing, so we're putting it in a different place. But there's a lot of stagnant accounts over there because it's such an old channel that, hey, subscribe to it. Tell your people to subscribe to it.

Freshen it up. Also, of course, let us know what resonated with you in this creativity conversation using hashtag Ear Biscuits. And you can call us and leave a voicemail. 1-888-EAR-POD-1. Can I give a rec? Yeah.

My favorite thing on TikTok, and I've mentioned this before. If I've rec'd it before, so be it. It keeps coming up for me. On TikTok, SBMowing, as in lawn mowing. He's got two and a half million followers. And what he does

is this dude goes to lawns that are overgrown and just totally neglected. He popped up recently when the neighbor came up to him and got mad at him, right? Is that the same guy? Yep, yep. Making too much noise with a weed whacker. Making too much noise with a weed whacker.

Yeah. And then it's like time-lapse video of free of charge, fixing dilapidated lawns and edging the freaking sidewalks. Woo, it makes me so happy. And knowing that he's doing it for free for these people who obviously they just don't have the ability or whatever their story is to be able to keep their lawn up.

It's just so satisfying to see a complete landscape finished. And it's a form of cleaning video. An altruism. S.B. Mowing. And then he's got a YouTube channel, too. YouTube.com slash C slash S.B. Mowing. I've never been. More of the same?

I think it's longer. Full videos with the homeowners' reactions. Oh, dang! Oh, crap. I haven't even gotten into that yet. Haven't gotten off of TikTok. There we go. All right.

Thank y'all for celebrating with us. Hi, guys. My name is Casey. I just finished listening to the episode where Rhett talks about going to the Carolina basketball game. The feeling that he is describing is something called collective effervescence, which is where a group of people have a shared purpose and experience the same sorts of feelings because they're all doing the same thing. You can experience it at concerts, religious services, and yes, even basketball games. Bye.