David Zazlav's Disturbing Success Story; Are Zendaya and Robert Pattinson good in "The Drama"?; Parsing "Project Hail Mary" Box Office

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Welcome to Screental and DIYer's weekly podcast, bringing you up to speed on the latest goings on in Hollywood. I'm Ann Thompson and I'm at the Sonoma International Film Festival.

0:36

And I'm Ryan Lattanzio in New York. This week we're gonna look at some of the movies that we hope and hear might be turning up at the Cannes Film Festival with that lineup being announced on April 9th. We're also going to look at recent Warner CEO David Zaslav's disturbing success story and exit from the company as Warner's heads toward Paramount.

0:45

And we will parse the extraordinary box office of Project Hail Mary, which I think is great, by the way. I'm very pleased. I mean, anything that goes as well as that is a good thing and what it might presage for the future. I love being able to use the word presage. It always makes me feel erudite and smart. And we both got screenings of of Neon's The Christophers, the new Steven Soderbergh and Exit 8, as well as A24's

1:07

the Drama, which we can't say very much about because the Embargo is on March 30, which is a few days after this episode airs. But if you do some Internet sleuthing, you will find all the spoilers you need to know. Recently on tmz, actually.

1:33

Yeah, that's what I gather.

1:50

But first, Anne, why don't you tell us what's happening in Sonoma where you just saw a movie called Poetic License, which was at tiff. It's Maude Apatow's directorial debut and this was going to be distributed by Ro K, who we spoke to on the podcast before Sundance that is now a company in crisis.

1:53

It is definitely a company in crisis, given that most of its lead executives have split and left. And so they went out and bought like four movies, five movies, and, and Poetic License was one of Them Dead Man's Wire was the one they chose to open first and they got some good people. I mean, Megan Colligan is a very respected and experienced executive and as you said, we had her on the podcast and they were very excited about their new venture, but the money behind it didn't come through. And after the first movie tanked. And it's also a situation where you look at the. The reality of what it takes to open a movie in today's marketplace and a movie with no stars in it is sort of a problem. A movie that is good but not great is sort of a problem. I like Dead Man's Wire, actually. But they talked themselves into something that wasn't going to, you know, bear fruit. And so this other movie, Poetic License, is looking for a home. And, and it is actually an interesting case of another movie that is good, not great, that now they weren't, you know, they did deliver it to the Sonoma Film Festival. It played, it played really well. The audience seemed to enjoy it. It's a very funny movie. That's the thing that it has going for it. And it has a great cast. So you've got Maude Apatow's debut, obviously, Daughter of Judd. You've got. And he was involved that I listened to the Q and A with the writer Raffi Donatic, her debut also. And the star. It's interesting because it's Maude Apatow's mother. Leslie Mann is the star, Jud Apatow's wife, who's a very capable comedic actress and she's really the star of the movie. And then Cooper Hoffman and Andrew Barr. So she's a disaffected, lonely wife. They've just moved. She's the wife of a, of a professor. They've moved to a new college. And she befriends in her poetry class these two boys who are adorable and good friends and really fun to watch together. So Cooper Hoffman and Andrew Barth Feldman, they're great. The cast really elevates this to a degree. But is it, you know, it's a little scruffy, it's a little bare bones, low budget kind of thing. But the script is great. This young woman is going to have a future. And she and I spoke and she said basically there was a bidding war for the movie at TIFF and it's going to go to one of those bidders. Presumably they'll make a deal and onward

2:09

with the arts, most likely. Here, Roque offered a figure that would allow the producers, the financiers to pay everyone back on their investment on this movie. And so one of these bidders that we're talking about probably was not the case. You know, this is actually something that I just heard about Josephine as well. And then fact that there was a kind of a bidding war at Sundance, but Sumerian Pictures was the one that offered the most money.

4:54

Yeah. And now everybody's wondering if Sumerian Pictures is solid, too. You know, this is what. Look, the long list of casualties, the graveyard, if you will, of independent distributors. You know, they saw an opportunity in the marketplace. They were able to talk people into investing in something where there might be an opportunity to fill some holes. But the truth of the matter is that Neon and A24 struggle to get some of these movies across the finish line. It is not an easy time to release movies in any way, shape or form.

5:20

This Roquet situation reminds me of another cautionary tale. Remember Broad Green Pictures, which actually ran for a couple of years, but it didn't have any successes. It's funny, I was spoken to about a job there, and the perks promised included a private chef and access to a private plane. So there's your problem right there.

5:56

Right there. So, Ryan, were you surprised that Project Hail Mary did so well?

6:18

You know, I had talked about feeling like the length of the movie was a barrier to entry, but honestly, that didn't really matter. I'm not surprised that it. I'm surprised that it basically is on Oppenheimer levels. With Oppenheimer almost three years ago opening at 82 million and Project Hail Mary at 80.5 million, making this Amazon's biggest success for a theatrical release, probably biggest success really for any film. They've. They've put their dollars behind at this point. But also, you know, this project was originally a baby of Michael DeLuca and Pam Abdy. Right. Who brought it to Amazon during their brief.

6:24

They optioned the material when it was just in galley form before it actually became a big. The Andy Weir novel before it became a big hit.

7:00

Yeah. That's just another reminder of the imprimatur of taste that those two bring to any projects they're shepherding. And it's great to see it trickling down. You know, Amazon has stumbled a little bit already this year with things like Mercy, Crime 101, and obviously the Melania documentary. I think with Project Hail Mary, it's really a rebuke of the sort of doomer generation of viewers that I count myself in and that this movie is consistently hopeful despite very kind of weighty material about an impending apocalypse, and it's very family friendly. Despite the complicated science, which, through Ryan Gosling's video diaries, the movie does give you a couple of chances to absorb. And finally, as you said in an article that you wrote, this is about a competent person who is fixing things. And that's reassuring for people to see right now.

7:08

You're right. The scale and scope of it is extraordinary. But it's a crowd pleaser with a star performance from Gosling, who, by the way, has not always performed. Fall Guy was not a hit and

7:55

neither the first man.

8:07

Go back to that first man the last time he was in space. And also the Blade Runner sequel. You know, these are not the original Blade Runner wasn't a hit either, by the way. But we can argue that the filmmakers and Lord and Miller were willing to make it smart. That's what I love about it. And trust the audience to follow the two main characters, the reluctant astronaut and his alien collaborator, Rocky, as they try to communicate and save the world. They were willing to be emotional, to let the film, as you said, offer hope and the idea that competent people can figure things out, which is the same thing that drives the hit series. The pit doctors take people who are broken and fix them. Ryland, Grace and Rocky will fix the universe.

8:08

Like we said, Ryan Gosling's marquee abilities have been hampered in some recent examples. But the next big tentpole that he's gonna be starring in and leading is Star Wars Starfighter with Shawn Levy, which obviously the success of that movie has sort of faded in the stars at this point, but it's certainly gonna basically secure his status as somebody who can really open a movie along with this one.

8:53

People forget that Shawn Levy was the producer of Arrival. You know, he's actually somebody, I forgot that myself, who is very, very clever. He knows he has a good team behind him and he knows how to make commercial movies. I'm a big fan of Shawn Levy's. He makes really mainstream. He's also the guy who backed Ryan Reynolds in the Deadpool movies. So he's a smart guy. I feel like that. But remember that Kathleen Kennedy booted Lord and Miller off of Star Wars. I would have loved to have seen what they would have done with that. They. She kicked him off and replaced them with who? Ron Howard? Okay, enough said.

9:17

Well, and look, she's not around anymore, so that answers that.

10:00

I have a lot of respect for Kathleen Kennedy, but somehow the Star wars match was not a match made in heaven. The other thing about this blockbuster is the marketing gosling and the team are doing a lot of video and Amazon, MGM and Lord Miller are sharing it on social media along with the behind the scenes footage to a degree that I have never seen before. They've already got a whole diagram of Rocky and how he was designed and every little bit of. Of his anatomy and where his, you know, where his inner organs are. You know, it's just, it's amazing, you know, and I love it. I eat it up. I want it. But our craft team, you know, sometimes they don't get access. Other studios don't give them access to visual effects behind the scenes stuff until way after the movie opens and people are responding. It's all over social media. So it's a very effective marketing campaign, I would say. And they're using Gosling to good effect as well.

10:05

Totally. Normally all this behind the scenes material about visual effects is embargoed to even weeks after some of these movies open. And I think a lot of that in the past has had to do with studios wanting to keep a lid on elements of practical versus digital effects and maybe leave that as somewhat of a mystery for audiences. But in this movie, not only is it good marketing, but I think it also could encourage studios to rely less on digital effects and green screens and.

11:03

Oh, I think it's gonna change the world.

11:27

Yeah. Lean into more classical modes of filmmaking that can still surprise and awe audiences while also tapping into nostalgia.

11:29

Yeah. And also they like to boast about the practical sets and puppeteering that they used. They, you know, I actually think so. They have less to hide. If you like, less pixels is more. That's another lesson from this. Let the audience find, you know, their level of intelligence. You know, they don't have to understand everything. Gosling is very smart because he gets on there and says, I didn't understand everything. I had Andy Weir explain, you know, write out all the. They had an earwig in his. In his ear and told him what to put on the board, you know, that kind of thing. He isn't pretending to be, to be that smart. So. So the thing to look for this weekend is what is the hold and what is the fall off, given what the numbers are during the week? It's gonna be a very good hold. It's gonna be like 30%, 35% something. 40 maybe. That would all be good numbers. Anything under 50 is a good number, but I think it could even go up. It could be amazing.

11:36

People in my life who have not gone to a movie in six months to a year, they're Going to see this?

12:35

Yeah. I have a friend who never goes to the movies. It's, she's an academy member and she actually went to the theater. You know, she gets to see them at the Academy screenings, which aren't happening right now. So she had to see this. It's a, it's a conversation movie. All right, so our colleague Chris o' Fault wrote a terrific essay about how David Zesloff's Warner Brothers represents the absolutely the wrong way to run a studio. And I've argued this in the past that the studios are aiming their short term goals at Wall Street. It's all about what the numbers are and how you can improve the stock instead of worrying about making the company better or long term goals. And if people are saying, well, Bob Iger went back to Disney, but he didn't manage to raise the stock price, well, maybe he was making long term decisions for the good of the studio, for Disney. That's what Netflix does. That's one of the reasons why Netflix is so extraordinarily successful. They're not worrying about, they do look at the stock price obviously and make course corrections, but for the most part they're investing in their own company. And he comes out with this enormous exit package, you know, 800, what is it, $800 million or something.

12:40

Yes.

13:56

So he's really, I will say this, there was a party, pre Oscar party and I've heard other people report this at the Vanity Fair party as well. He would be walking around the party with his, with his wife. No one would go up to him, no one would say hello. I think he's gonna be a real pariah in Hollywood. I think he's in for a real rude awakening when this change occurs.

13:57

The outcome of this is depressing in the sense that for the last four years and looking into the next however many years, the people who are really in control of the studio are not inside the system. It's stockholders demands that are really pulling a lot of the strings here. And that's how you end up with something like this streaming slop series at HBO Max. That's the new Harry Potter series which looks ghastly and like a total cash in on nostalgia for the original movies that aren't even that far in the rear view. This is a series that, similar to Lord of the Rings at Amazon, which they don't really share their viewership numbers. They've given some vague ideas, but I

14:21

don't know, it looks like an accident made to happen when you're going from, well, I Remember, I've said this before when they announced, you know, Superman versus Batman, Ken Tsujihara at Comic Con, you could tell, you knew it was just a stock market play, that they were reverse engineering into a movie. That's not the way to run a studio.

15:02

No. And that's exactly what they're doing with this Harry Potter series in preparation for HBO Max or HBO even to become a tile on a broader Paramount platform. This series is coming out at Christmas, so I won't be viewing it, but I'm sure many will.

15:24

I haven't looked at it yet.

15:42

Don't bother.

15:43

So, Ryan, the Cannes lineups are coming out. I'm dashed that we won't see the Spielberg or the Inary 2 or the Ostland because they're not ready apparently. But I'm excited for new films from Polish director Paul Polakowski and Russian Andrey Zvi. Let's see if I can do this. Zwieginsev. What are you looking forward to that you expect to see there, Ryan?

15:46

You're right, Anne. And that I think this is gonna be a can that's light on studio fare. We're not gonna have a Mission Impossible final reckoning. It's gonna be heavier on auteur movies and European art house, which that's home sweet home for me. So I'm super happy about that. Yeah. You're talking about Andre Zinsev who has a movie out coming called Minotaur, which all his movies have played at can and it seems like a lock. And from. From his first movie, the Return to Leviathan and Loveless. He's someone who always works in political allegory out of Russia. But there is. It's grounded in real emotion. I'm a huge fan of his.

16:11

I love his work.

16:50

Yeah, me too. Another Russian guy that we love that is pegged possibly premiere there is Kantamir Baligov who did Beanpole and that was in 2019, but he's since left Russia post the invasion of Ukraine. He's got a movie called Butterfly Jam that's an English language movie with Barry Keoghan and Riley Keough and our friend Harry Melling. So that could end up.

16:51

You like Harry Melling?

17:13

Yeah. The other one I'm hearing is Locked and a lot of people have reiterated this already is Christian Moonju's feature Fjord, also an English language debut. And this one with Sebastian Stan, who is Romanian and part Romanian. So I'm presuming there'll be some Romanian in the film. But then you also have Renata Rheinzva in it. Other ones that are pretty sure bets are the new Ryosuke Hamaguchi French language all of a sudden with Virginie Efira. I also heard that James Gray's movie Paper Tiger truly isn't ready. Often not ready is a misdirection. That means it got rejected or something. But I'm hearing that's actually not the case. But it did apparently receive an MPA rating even though it doesn't have a US distributor. So I.

17:14

Well, James Gray has always been, you know, Ken friendly. But is there any possibility that Joel Cohen's Jack of Spades will be there?

17:58

I did hear that that is submitted, so I think that would make sense unless it goes to Venice or goes the way of the Fall. Pavel Pavlikovsky has a new movie, 1949 with Sandra Huller and this is about author Tomas Mann. I'm sure it's like another black and white movie that is somehow an ode to his parents, which he loves to

18:07

do, but can't wait.

18:28

I'm a big fan of his.

18:29

Well, Sandra and the others that were. I can't wait to see her anytime, anywhere, including the project Hail Mary, by the way.

18:30

Yeah. So Anne, there was a movie that premiered at Toronto last year that's coming out April 10th, but we want to talk about it now a little bit, which is Steven Soderbergh's the Kristoffers. This is his second movie. No, I mean last year he really had three movies come out between Presence, Black Bag and then this movie at TIFF. And this is with Michaela Cole and Ian McKellen. What were your thoughts?

18:36

I really, really liked this and my big question after I saw it was why didn't it have more buzz at Toronto? And you know, it has a decent Metascore in the 70s and you know, it would have been, I would think, one of the better films that played at Toronto given everything else, but it really didn't. I didn't hear much about it, which makes me wonder about Toronto as a place to, you know, how things get lost there.

19:01

There's like 300 features there every year.

19:28

It's been true for a very long time. It's a two hander between a garrulous old artist. I like using the word garrulous as well. A garrulous old artist, Ian McKellen and his almost silent younger artist that he's hiring as his assistant. Supposedly, as you say, McKella Coel, who is expressive in her own way. She is remarkable actually to look at and to. And to watch. And she holds the screen in a very interesting way. The only thing I can think of, because it's so claustrophobic, because it is so much about the two of them navigating this rather tricky situation where he hasn't finished all these paintings and she might want to finish them for him, but he might not want her to. And his children are involved in trying to cheat death with these paintings. But the screenplay is fantastic by Ed Solomon. I'm going to meet him while I'm up here. I really enjoyed this. It's a smart audience movie, like most of Soderbergh's movies.

19:32

Yeah, I loved it. And it doesn't pander to the audience either. You're exactly right. It's for smart viewers. And I don't know how many we have left, but actually we do. We do. I should be more hopeful in that regard. Yeah. Michaela Cole is not only extremely striking looking, she's also a brilliant actor. And she also is starring in David Lowery's Mother Mary from A24 that I am also embargoed from speaking about, which I have seen. So I think between these movies she's doing some of her deepest work since I May Destroy youy, which was her HBO series from 2019 that won a bunch of Emmys. And then you have Ian McKellen having great fun. Fun playing a gay character, which I love to see. And you know, here he is hilariously spewing vitriol and cynicism while doing these cameo birthday missives for fans to earn money that he doesn't really need now that he hasn't had a good painting and couple of decades. And these actors have a great rapport. This is out April 10th and I am really excited for.

20:38

Absolutely recommend that. So Ryan, the other movie that I that we saw from Neon recently, did you see it? Did you see Exit 8?

21:34

I did see Exit 8 and this was at Cannes in 2025. It's based on a walking simulator video game called the Exit 8 and it's directed by Genki Kawamura and it was already released in Toho to great success in Japan last year. And. Well, I'd love to hear what you thought of it. But what I enjoyed about this, which is it takes place almost entirely in a Japanese metro station and some audiences might find it a bit one note, but in terms of the latest craze of movies cashing in on video games, it's refreshing to see such an original piece of ip.

21:43

I couldn't agree more. It's a Very strange. Labyrinthine, as it were. Right.

22:16

You're using your words today, Anne.

22:22

I know. I love using my long words. Japanese movie with a high concept which I don't want to give away. Yes, he's in a loop. He's kind of trapped in the subway. But why? And how does he get out? And so it's a thriller with a few well placed jolts. So I don't want to scare people away. Like it's a horror movie. It's not. It's much more conceptual and it's given the repetitive nature of the movie, it's visually very sophisticated and extreme. Extremely riveting, even if it recalls, you know, last year at Marian Pod. So the drama which we both saw is something that we can only discuss quietly and carefully. But I will say that I was a little bit amused by it. I found it funny. Ryan, what was your take?

22:24

I did laugh. Certainly there were a lot of laughs in this movie, especially from Alana Heim and Haley Gates.

23:21

She had more to do than we've ever seen her do before.

23:27

Totally, totally. I know, because you think about Alana Heim in one ball after another, she gets her brains blown out after a few seconds on screen. And then in the Mastermind, her biggest scene is relegated to a phone call where she's mostly off the screen and this movie.

23:30

But she had a little more time in the Paul Thomas Anderson movie with Cooper Hoffman.

23:46

Licorice pizza, definitely. Yeah. That was her entree basically as a big screen actor. So in this movie you have Robert Pattinson and Zendaya who are going to get married and then on the eve of the wedding, basically in the lead up, she drops this bomb that puts their whole marriage into question and turmoil. And this is from Norwegian director Christopher Borgli. This is a second English language movie after Dream Scenario with Nicolas Cage. And I think similar to some of his previous films, which I have really liked, this one's kind of an elevator pitch that doesn't go anywhere. A lot of his movies have these great launching points, but they end up spinning their wheels. And without any spoilers, this really kind of hits a dead end. And again, without any spoilers, I think a lot of people are going to find this movie in bad taste. It's definitely going to be a conversation piece. What did you think about the actors?

23:51

Well, it really made me question Robert Pattinson. I really like Robert Pattinson, but it made me question his ability to play characters who are really not very likable. He's willing to do that, which is a skill which is good. But if you're trying to, you know, lure people in, it can't just be that you're good looking. You have to, you know, so this is a, as you say, this is an underwritten premise. And because romances are so overdone and so overtly beat driven, this movie tries to skip a lot of the steps. And so at the very beginning, you find this guy sort of looking at Zendaya. Now, anyone would look at Zendaya, of course, in a restaurant and be attracted to her. But you have no. There's no buildup, no romance, no step by step. Even a silly series like One Day, you know, on Netflix, with My current heart, Throbblia Woodall, you want there to be some reason why there should be strong feelings, sexual attraction. It's like they drop you right in, they're already getting married, they don't show you any of those steps and then they throw the big bomb into. Then you have an impediment. Then you have something they have to get over. And it's all about Pattinson, really. And I don't think he carries it. And I don't think she carries it either, either of them. That said, it might be commercial anyway, because there they are on video having these cute video interactions on social media, just the way Pattinson and Lawrence did with Die My Love. This reminds me of Die My Love in the sense that this movie is cold and heartless and it doesn't have a beating, warm core to it. It's a concept.

24:45

People are going to turn out for this movie because of the actors, because of a 24. But the second weekend drop the CinemaScore. These are going to be dire, I have a feeling. And Zendaya, I'm afraid, isn't a strong enough actress to carry this kind of a role. And I don't know that she is that strong when it comes to subtlety. She often. She's not internalizing anything here. There's not a lot of depth. And I think she is best in roles where she is going out of body in things like Euphoria or Malcolm and Marie. Remember when we thought that she was gonna get an Oscar nomination for that?

27:04

This is a story where Ryan and I were both up late at night. Maybe we'd had a few drinks and we just responded incredibly well to this. And I think I even tweeted something like, this is gonna be an Oscar contender.

27:36

We were drunk and it was Covid and we were on different coasts and we were. This was when the Netflix premieres were they would send, you know, they would put you. Give you a.

27:53

They would send you a meal.

28:01

Yeah, meal and wine to your house because you were watching it in bed, basically on your computer.

28:03

It was bad. So. So. But, but she is capable. I loved her. I love her in Euphoria. I love her in Dune. She's very good in Dune. You know, all those close ups of her looking, you know, worried about. About Paul Atrides. But she isn't good in this. She seems sort of light and silly and I have to blame the writing because I think she is a good actress. Ryan. I just think when somebody falls down this badly, both of them, it has to do with the writing. And I want to say to them, both pick better movies.

28:08

Yeah, no, they're both left marooned by the material here that underserves them. It doesn't give them a lot of subtext.

28:43

I mean, Wuthering Heights is interestingly comparative, I think, in terms of why it doesn't. They don't build. I'm sorry, I keep bringing it up. Heated rivalry. This reminds me more. It's not nearly as good, but it reminds me more of something like the menu where the idea is that you're thrown into a maelstrom of what. What could happen. And that part of the movie is very entertaining in many ways.

28:50

It's certainly not boring.

29:21

No. Never a dull moment.

29:22

No, but it doesn't really go anywhere.

29:25

You are on the edge of your seat at a certain point. Like what? What's going to. Cause there's a wedding involved. What's going to happen? Are they going to ditch the wedding? Are people going to say terrible things at the wedding? You know, it's going to be interesting

29:27

and you know, the wedding is going to be chaotic. So this movie is opening next Friday on April 4th. Reviews are gonna drop on Monday. But Anne, what can you recommend that is coming out this weekend?

29:39

I confess that I didn't watch every episode of every Peaky Blinders. Like one of those things where I popped in and out and was aware of it and knew what it was, but I wasn't necessarily invested. And yet the new movie, also written by Stephen Knight, one of my favorite writers, brought back Helen Murphy, one of my favorite actors to play Tommy Shelby. They brought in Rebecca Ferguson, they brought in Tim Roth. And the great Barry Keegan, who does not disappoint. He plays his son. And Barry Keegan, there is something in his eyes, there's something in his body, there's something coiled and dangerous in him that you cannot avoid. So this is a very good movie. It's actually a very smart, sharp movie that I would argue that stands alone, even if you never watched Peaky Blinders, because it's obvious what Peaky Blinders was. And you have this character who is trying to recover, who is trying to find his identity, who's trying to come back into the world and figure out how to deal with his son. And it works.

29:51

I will take your word for it. I have never watched the series, so the barrier of entry is a bit high for me. But I'm hearing good things about this one.

30:56

It actually opened at number one on Netflix and over the. And it played around the world to great, great, great numbers.

31:04

Yeah, it's a hugely popular series. Everyone in my family watches it except for me. I have watched plenty of things. They don't, though. For my recommendation, I'm going to go more arcane and more errant and predictably in my own direction. And this is directed specifically at people in New York City who are listening, which is at an IFC center. The great Japanese horse horror master Kiyoshi Kurosawa is showing two films. One Back to Back is a double bill. One is a 4K restoration of one of his early movies, 1998 Serpent's Path. Now this is a director of movies including Cure this, the Great serial killer from the 90s serial killer thriller, and Pulse and Cloud as well last year. But the other draw of this double bill is that there is a movie called Chime, which is about 45 minutes, and this was premiered at the Berlin Film Festival two years ago. It actually was an NFT in Japan, so it's showing in North America for the first time. And it's never going to stream or be on physical media because people will

31:11

show up for that.

32:11

Yeah, exactly. And it is super creepy and I don't want to spoil anything about it. And it's just. It's a great, really scary, disturbing, nasty little movie.

32:12

That's Ryan's favorite way to praise anything, I would suggest. Okay, so I'm going to go travel a bit and I will be back in New York for an episode that we're going to record live in New York on April 13th at Lincoln center because we're going to be talking to someone around the new director's new film series, which we always do every year.

32:21

Yeah. So we're going to take a break from Screen Talk next week, but we will pick up with another episode on April 10th in which I'll be joined by David Ehrlich to talk about the Cannes LineUp, which drops April 9. And then later in the month, we have some really great special guests that we're going to be announcing very soon.

32:47

You got it. See you later. Bye bye. Bye.

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