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It is Wednesday, July 8th. Moose movies are based on something. A book, TV show, a toy, a magazine story, another movie. These days, you don't need me to tell you that the internet is very hot as a place to find source materials. The huge success of Iron Lung from a popular YouTuber and especially Back Rooms, which originated as a meme on Reddit and was developed by its director as a YouTube series, that's unleashed a frenzy of sorts to identify and develop the next digital sensation that could be translated to the big screen.
It's been a welcome market for a lot of writers and producers I've talked to. They've been frustrated by the decline in development budgets at the studios, the lack of appetite for edgier material. And now along comes a couple big fat hits to justify taking chances on unconventional IP from creators that maybe don't have the traditional track record.
One of these producers is Scott Glasgow. He's got a company, 1201 Films. He's also been a talent manager for filmmakers. And his specialty lately has been finding internet-based material and packaging it with Hollywood talent and selling it to studios. Last week, Warner Brothers picked up a project of his called Siren Head, that Glass Gold helped put together with the weapons filmmaker Zack Creger and the writer Brian Duffield. It's a viral horror property that centers on a tall skeleton with, yes, two sirens as a head. Scott also sold a movie to Amazon called Seasons, based on the viral horror short that first appeared on Reddit.
We're going to talk about this booming market, what the studios are looking for here, how to actually source this stuff online, how to not source it, and whether chasing the next viral digital horror movie can really be a good business. From the Ringer and Puck, I'm Matt Belly, and this is the town.
[music]
All right, we are here with Scott Glascold, a producer at his own company, 1201 Films, also a manager, doing lots of stuff. of hyphen 8. Welcome, [music] Scott.
>> Thank you very much for having me.
>> All right, so you are on the show because everybody around town seems to be talking about this gold rush for internet-based movie development. It's like the classic story in Hollywood. Something hits really big and then there's a rush to fill the void and the studios are all of a sudden open to things that they were maybe not open to. Is that your experience as someone who's been in this market for a while? Is the recent success of Iron Lung and Back Rooms, has that boosted the market for maybe unconventional digital source material at the studios?
>> Unequivocally, yes. Uh I I've been around long enough to see a lot of micro trends. I would describe this as a macro trend.
>> Okay, that's good.
>> Oh, 100%. Like I would say over the course of the past few months starting with Iron Lung, Obsession Back Rooms, you could almost feel the DNA of the town changing a little bit. And um look, I I think it's crazy exciting. And it's also that's not entirely in a vacuum, right? You have the success of those three films coupled with some pre-existing IP projects that didn't play in the marketplace. And I think holding those two things up side by side really caused everyone in town to just do a little bit of a rethink of of where our energies and focus should be because clearly that's where the audience is.
>> And this is not entirely new. I mean, we've been talking about how Hollywood is going to create IP that appeals to Gen Z audiences for at least 5 to seven years now. I mean, I think someone I was talking to traced it back to Minecraft. The fact that Minecraft was so big and it really opened everybody's eyes to the changing nature of what is appealing. Like superhero stuff is for old people now and it's these younger properties. But the the the fun aspect for me is watching these big monolith studios and their 50 and 60-something executives try to wrap their heads around a Reddit meme or a short story that unfolds on Twitter or Reddit as as a basis for a movie. And that's where people like you come in.
>> Uh look, I I agree with you on Minecraft, but I also actually even uh saw it with Super Mario, right? Like obviously it's a huge IP.
>> Sure. Or or Five Nights at Freddy's like these kinds of younger properties.
>> Yeah. And look, I at the end of the day in terms of where the material is being sourced, I still think there's a huge qualitative aspect to it, right? Like I spend a great deal of my time in short stories. We started on Reddit. I mean, we've been mining Reddit short stories for like five years now. And at the end of the day, it's a short story. Whether it came from some literary magazine or it came from Reddit, it's a short story. And there is a long history in this town of short stories being turned into great films, right? So, you know, you Rear Window, Shawshank Redemption, like the short story in of itself as a foundational piece of material is undeniable. Having said that, what I think is very unique about the Reddits of the world and it and it is uh part and parcel with the YouTubes of the world is the democratization of it where anybody in the world can literally put their material up and just because they put it online doesn't mean it anybody's going to recognize it. That it it ultimately has to be, you know, the cream of the crop. But it is access that anyone around the world has that they didn't have before. And I think that's what is allowing for new voices to rise.
>> But I want you to take us through your sourcing process.
>> Sure.
>> Because I have this vision in my head of 20 assistants at the agencies and management companies all combing Reddit during the day like they've got like it's 19, you know, like it's 1849 and they're in the Sierras with their mining equipment trying to find that gold nugget in the stream when most of it is just garbage. Like, how do you do that? How do you source material on digital platforms?
>> I >> It's a great question and maybe I I'll walk you back to the very beginning for our first Reddit short story and then from there I could speak to sort of the the apparatus that we built, right? Um a few years ago now, uh a writer that I work with, Harrison Quiry, incredibly talented, was like, "Hey, my brother wrote a short story on Reddit and it's blowing up. Will you check it out?" Now, mind you, you like this is like during COVID where no one's mind was really on like what's the next hot Reddit short story. And he's like, "Well, you read it." And I'm like, "Oh, like there goes my afternoon, right? I got to read a brother a writer's brother short." [snorts] And I read it in one sitting and it was amazing. Like amazing. It was this piece called My Wife and I Bought a Ranch. And I was like, "Oh, like conceptually it was big. The writing was exquisite." And I was like, "This is a movie. Like we can build this into something."
>> Okay. So, so you you identify it as something great. What are the IP rights issues involved there? Can you just take it and he claims ownership? Does Reddit have a stake in this? Like, how does that work?
>> That's a great question. So, there is a release that Reddit signs where they don't really have any rights, but you do ultimately need Reddit to sign a release.
>> Oh, you do? Interesting.
>> It's um it's some sort of like third-party usage uh that that you need. And we've they've always been great partners. They've always signed it.
>> For no money.
>> For no money. For no money.
>> Oh wow. Yeah. Because this is like you're talking about a project that has now become this Project Seasons with Lily James that is set up in Amazon MGM and this could potentially be a hundred million dollar grossing movie and Reddit gets nothing.
>> They get nothing. They get nothing. Interesting.
>> Um I mean if I if I'm being entirely transparent where even now when we have original short stories that we curate, we don't always put them on Reddit anymore for those exact reasons. There's no reason to introduce a third party uh when it's it's or you know it's almost like reverse engineering. So we don't we do that less and less.
>> Yeah. I did notice that YouTube was very quick to congratulate Kane Parsons on Back Rooms. I wondered if deep down they were like, man, do we just give up a big stake of money?
>> I mean look it's possible but like to me what's what's so interesting about all of this and and Kane and Curry and Parker like all incredibly talented is like there's a 1.0 know to all of this where everyone's talking about like the the craze of of of the YouTube filmmaker, but like you know, one generation prior to all these very talented people is like you've got Dan Tractorberg, you've got Wes Ball, you've got Fetty Alvarez, you got David Samberg, all who made viral shorts on YouTube and got gigs and that went on to great su like huge success.
>> But those were those were different because they were proving grounds for directorial talent. What is going on now is the actual IP being created on these platforms is what is being turned into movies.
>> I I completely agree. Samberg Lights Out took off on YouTube and they turned that into a movie. But for the most part, you're 100% right. And it it's a thing that we concentrate on where one is a calling card and one is doing a calling card that is also transactional. And when you're doing something that's transactional, that's when you have this huge inflection point. And the other sort of third piece of that is that they've built an incredible following where even you know Curry with Obsession like Obsession isn't something that necessarily was born out of the pieces of material he was doing online right however he's got millions of people that are aware of him and it just sort of all boats rise with that.
>> right so okay so continue through the process you've identified this short story and that's on Reddit you are developing it what are the next steps I mean, this one took off like a rocket because remember this was the first one. So there there was no blueprint. Now we have a blueprint. So I you know I do a lot of uh work with with my friends at Verve. I called
>> Verve the talent agency
>> talent agency David Boxerbound Adam Lavine. I'm like, we've got something really special here. I think we could take it to market. Like it it's just so conceptually clear. And I kid you not, I read it on a Tuesday by Friday five studio bidding war. And I know you never believe the numbers, but this one sold for over a million bucks, right? And
>> as long as Shane Serno is not involved, I I will I'm more likely to believe it if Shane Soleno is not involved, but keep going.
>> So So sold that. And then a week later, we we did a book deal for it and that's very much became like the blueprint of how we operate. like in in a total of 10 days of not even being aware of this short to 10 days later where we had a film project. I partnered with uh Dan Con and Michael Clear, same guys who just did backgrounds this 5 years ago to make this movie and now like you said like we're green lit we're making that in in August. So like that's the from from what was just a a Reddit short to uh uh development. We we moved studios from Netflix to Amazon to a go movie.
>> Why did Amazon take over from Netflix?
>> You know, it it's an old regime at Netflix. So So the person who bought This is pre Dan Lynn. The the people who bought it weren't even there anymore. Like our executive was gone. And these things happen, you know. So
>> So you got it back.
>> We got it back. And
>> you know, credit to her to this is an interesting side note of like Alicia Holmes was at MGM and she bid for it and lost it to Netflix and she never let it go. She's like, "This is an incredible project. Incredible project." And when it came out of Netflix, she's like, "I still want this." And she's our executive at Amazon and we're making it. So, it sort of all is well dead ends well. It was where it was meant to be.
>> And how long is that? If it were a book, how long is that short story that was on Reddit?
>> Typically, our shorts are between like 10,000 to 12,000 words.
>> Okay.
>> Um, and you know what happens is on on the course of development, we're creating books as well. And what that does is a few things all at once. It allows us to grow the IP while simultaneously developing the project. So My Wife and I Bought a Ranch, the short story became a book called Old Country. And that was a really well-received book. And I think that very much helped us forward when it came time to find a new home for the project where we could point to something where like Washington Post did a huge spread of like, are these writers the next Stephen King? And I say all that because that very much becomes baked in to how we approach our short stories moving forward. Um after the success of that project, I immediately like called a timeout like on my business and I was like oh this is a model and I'm I'm finally going to answer the question that you asked three minutes ago of like okay so what does the process look like? In the wake of that success, I said th this is this is where where we should be looking. And I scoured Reddit, scoured No. This is a few years ago. And what I found for the most part was there was interesting stories to your to your point. Like there was no curation here. There there there wasn't just sort of the silver bullet home run idea sitting there. But you know what was there were incredible voices, just really talented people who maybe weren't focused on writing the right thing. And there's one writer in particular I found by the name of Marcus Clever and he ultimately became the next writer that we we sold with. But Marcus was and he tells this story all the time. So I so I'm free to tell it. Marcus was living on his uncle's couch in Canada literally on like Canadian welfare just trying to make it as a writer. And like I said I I got him on the phone and I said your writing is beautiful. Truly like the voice is extraordinary, but we need to focus on something more conceptual like that sweet spot for for Hollywood. And he listed out five ideas and one of them was this piece called We Used to Live Here. And and it was just had a great hook to it. Okay, great. That that's that's what we should focus on. And we spent the next four months developing it. We took it to market.
>> Does that mean did you tell them, "Hey, sign up for Reddit. get on Reddit and instead of publishing this as a screenplay or book, you should start doing it as Reddit."
>> Exactly. Well, he was already I found him on Reddit, so it was very organic to We took the short that he developed, right?
>> Yeah.
>> And when it was done, we put it on Reddit and it just became something to point to of, hey, this is ascending. People were finding it while we simultaneously took it to market.
>> I I have this vision in my head of development executives passing on a short story and then you take that same story and put it on Reddit and then sending it to the same executive who says this is brilliant. I'm I'm buying it immediately.
>> I mean I I would I that doesn't sound so farfetched. Let's put it that way, right?
>> Yeah.
>> What does traction look like on Reddit, Scott? Like how well does it need to be doing? Is there like a general how many up votes? Like when do you determine that something has kind of crossed the barrier where you actually want to start going after it?
>> Okay, I see what your question. Your question is if there's something online and I'm chasing it versus something that we put online, right, Craig? Yours is
>> Yeah. Something that you discover or someone in your company discovers.
>> Yeah. Because there's millions of things that are viral online. Like how are you determining the right things to go after and how viral it needs to be?
>> I mean, honestly, it's about taking off like your internet beer goggles, right? and really looking at it as is this a viable idea? Like sure, it could be going viral, but you have to feel at the end of the day that there's a movie in there or there's a TV show in there. And it just because it's getting tons of clicks doesn't mean it's necessarily actionable. So, to me, it it's it's far less about the up votes than, you know, the funny thing about Reddit is usually the title of the piece is 25 words and it's like the concept, you know, whatever it is. And honestly, like if if we're doing our job well off of that title, you should at least know like, oh, there might be something there or not there. I mean, like that's the initial litmus test.
>> Yeah.
>> I built a swimming pool in my backyard and it opened a portal to hell.
>> Basically. Basically, right? That's a pass for me. Sorry, Matt. But [laughter] yes, uh uh
>> Wes Anderson gets stuck in an elevator for a half hour with James L. Brooks.
>> I was there. I was there for that screening. I literally [laughter] saw him coming out of the elevator. The
>> fanfiction off of that video is pretty good. That could be a movie someday. Oh, that was amazing. Yeah, I literally was there for that Q&A. Um, but so, so to your point, Craig, like to me, it's it's I think it's really less about the chase and the heat on that stuff because inevitably if it's chase and heat, it's it's a it's a stampede. It's a thousand people chasing this one thing. And I to me it's more about getting there first than it is, you know, because honestly, look, I I if I it's it's about either getting there first or being the 800lb gorilla. I'm not an 800 lb gorilla, so I need to get there first.
>> But you have a track record now. You can go to these people and say, "Listen, do you want this? I just sold this, this, this. This other guy chasing you is not that."
>> Well, that's why I'm on the town. This is my advertising. I'm just saying.
>> I know. You can send him the link. I want a commission. No, but to finish the point with Marcus Cleaver, so so what we did with Marcus was we built the short out, got it what I think was airtight. We took it to market and it went became sort of this bidding war. We sold it to Netflix as well, coincidentally back to back and similarly Marcus we held back publishing. Marcus wrote a book called We Used to Live Here and it broke out. It's a huge success. Huge success, right? And now his next book is called The Caretaker. It came out a month ago. New York Times bestseller. So this is a guy who started on Reddit living on his uncle's couch and as of last month is a New York Times bestseller. Right. And the second book was called The Caretaker. That was a short story that we sold to Universal a couple years ago with Sydney Sweeney. Active development. David Brookner's writing the script right now. Lots of promise. But in the interim of that development process, we have a New York Times bestseller. So I can go back to Universal and say, "Hey guys, remember that 30-page PDF you bought? Guess what? In addition to Cindy Sweeney and David Brook, like literally we're about to sell a million books, right?" So, it it's to me it's less about like what's going viral this minute as much as how can we authentically build an awareness and and truly turn it into an IP is where the where the real traction is.
>> Hm. And you feel that the rush to this genre right now is not going to create oversaturation in a year? Cuz I'm I'm looking out right now for a year or two from today and I'm seeing a horizon with tons of these ripped from Reddit, ripped from YouTube movies. And it may be a glut. It may turn the macro trend into a micro trend.
>> Well, that's that's where I go back to sort of identifying this first and foremost as a medium, right? Whether it's short stories or whether it's
>> got to be good first and foremost.
>> That's right. Like it it's the the internet is is new to all of us relatively to where we are developing things in in in film and television, right? So, you know, we're we're we're old enough to remember the craze of when every TV show needed to turn into a movie, right? And you get Mission Impossible out of that. You get Equalizer out of that. And you also get a host of bad things. So
>> Chips,
>> chips was the worst.
>> So no comment. So anyway, [laughter] so so but the point is is a television show as a medium a bad thing to adapt? No. But you have to make sure you're focusing on the right thing. And I think
>> what will happen is if there's too much of that on the wrong thing, there will inevitably be blowback until there's a success and then we rediscover it again.
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How savvy do you think the studio executives you're pitching are about what's going on online?
>> Well, look, I I from what I see is that there's absolutely a very clear-cut mandate across the board for studios and executives to be focusing in this area. And then I think from there it it's really case specific to the executive. Um we just sold a piece uh last week called Siren Head. Uh, it made a lot of noise and when we first started making those calls, it was prepackaged.
>> So, so explain what that means. You you took the property and you attached producers and a writer to it.
>> Sure. I I'll go back even further. So, Trevor Henderson is a fantastic creature designer. And I actually I hired him for a movie I I made called Tarot. He made nine non monsters for me. I got obsessed with the guy. I became obsessed with him because he created this creature called Siren Head in 2018 and it went nuts. Like it went nuts online. Like totally viral. Uh like three billion Tik Tok views and it's actually a mod on Roblox. Like it's
>> it literally I looked at it literally has a it's a skeleton creature with two sirens as a head.
>> Well, it's funny because it also has like this sort of mystical quality to it. And I I joke like that it's sort of like the internet's Bigfoot, right? like it's because kids were like, "Is it real? Is it not real?" Um, so it's something I've been interested in for a really long time and for one reason or another wasn't available, but Trevor and I always stayed in touch and in the wake of these past few months, I just went back to said like, if we're ever doing this, like now's the time to do it because right so it was a perfect confluence.
>> And when it was in development, it was in development somewhere else like at another studio.
>> It had been but it had been had come out of development and and it was fully available. Right.
>> Okay.
>> Um and simultaneously uh Roy Lee is a producer who who I do a lot of work with Roy had already expressed interest in it as well. So let's partner up and and for anyone that's worked with Roy Lee like Roy Lee can move mountains. He he is the
>> Yeah. Great producer and he has a relationship with Zack Kger who's probably the hottest guy in genre filmm right now.
>> That's right. So initially what we started making calls just to sort of to your point of like talking to executives to familiarize themselves with like us and the material with just like hey this is coming how does everyone you know putting it on your radar and some some places were like oh that's cool yeah I think I know it and other places were like say less like we want it right so you you start sort of getting a sense of the market and simultaneously you know Roy was was on set with Zach and they started having the conversation about Siren Head and [snorts] And one thing led to another where Zach really sparked to it. He's going to co-write it with Brian Duffield. Brian Duffield's going to direct it. And it became this really fantastic package. But it it all started with to me like Trevor Henderson's great creation. Like it it to me it goes back to what you were saying just in the sense of like it can't just be this sort of sizzle. It there's got to be stake to it. to Siren Head has always something that to me has had stake to it, right? Regardless of what's going on, it just taking it out at this moment made the perfect sense, but irregardless of of this moment, it still always felt like viable uh IP to me.
>> Most of these projects are in the horror genre or the thriller genre. Do you see this trend metastasizing into other genres, comedy, romcom? You put your life story on Reddit, your meat cute with your husband or wife and that can be developed.
>> I'm always say that that we're agnostic to genre, right? Over the past year, we sold a a political thriller, a romcom, uh like sort of an apocalyptic movie, suburban thriller, like really across the board, we've we've touched nearly every genre, uh except straight drama. To your point, I I don't think there's any real room for uh a straight drama with the short stories that we do, right? I always say the short stories that we curate live somewhere between the pitch and the spec, but what all three of those things have in common is that they're very large conceptually,
>> but none of those projects are go movies, are they? It seems like the green lights are coming for the horror stuff.
>> I would say it takes time. I I don't I think we're really close on a handful of things. Uh that I would say cut to 6 months from now, I think we're going to have more than more than horror going. That's that's that's my gut.
>> So, the moral of the story here is Craig should be on Reddit while this show is taping and just banging it out.
>> I think Craig and I should sidebar. He should spitball a few ideas that he's sitting on and we'll figure it out.
>> I do have ideas. I have a lot of ideas. Yeah, if you do swimming pool ported to hell, I want a cut of that.
>> You got it. You got it.
>> Scott, have you had any experience with like the studios or other producers learning the wrong lessons from this macro trend, as you call it? Like, hey, what what about this viral thread that I saw online? Like, could this be a movie? Are you seeing a lot of that?
>> Yeah. Dumbest email from a studio executive where their kid showed them something at home and they're like, "Oh, maybe this is a movie. I'll check in with Scott." Like can you feel the outofouchness coming from studios or other producers or would you say like well yeah sure that's always been the case and the point is to have young savvy producers who understand what works and what doesn't?
>> Yeah, I mean to me it's always for any film it's always going to be the marriage of concept with the filmmaker, right? So it's as much and to your question Matt about where we are in terms of development and things getting made like we've got some extraordinary filmmakers on our our our material that ultimately if you're going to make a movie that's what you need. No, no matter how, you know, sticky the idea is, how clever it is, or how viral it is, if you don't have a truly talented person actualizing it, you you're you're not getting off the runway. Or if you are, you might have a lot of turbulence along the way. So, it it's ultimately about the marriage of the two things that will yield success. So, I, you know, it's got to start, at least for our purposes, with the big idea. Has to, has to just be conceptually sound, but then you truly need a team to actualize it. uh if you really want to have success.
>> Well, that's why a lot of these successful production companies also have talent management firms attached to them where you can develop the clients as writers and then hopefully introduce them to different concepts or IP or they can introduce you and then you can package it up and produce it together. I mean, look, the the the most fun about all of this with a short story in particular, to your point, is like it feels like you can alart and and I mean that in a way of whether it's designing a vehicle that's perfect for we've got this, you know, amazing short story that we were lucky enough to attach to the rock. The the part is perfect for him, right? So,
>> which project is that?
>> It's called Ripped. It's at 20th.
>> That's not the one where he has dementia, is it?
>> No, that's a new one that was just announced. This is uh [laughter] we'll call it fight club adjacent, but it's really cool. But my but but what I'm getting at is more so it's designing these pieces in a way where you can curate where it's like this would be perfect for the rock and and a short story is something that's so sort of easily accessible. Like a pitch is sort of vapor and a specs very binding. It's like hey x huge movie star will you here's a script will you star in it? It's like whoa. Versus like you give them a short and they can say I like this, I like that. So before we go and build this out as the screenplay, we can curate together and it it's far more accessible.
>> That's a nice way of saying you don't have to make the rock read a whole book.
>> I mean, he's been a great partner and I'm sure he would read a book if if we sent a great book.
>> I'm joking. He's probably read more books than I have this year. All right, thank you, Scott. Appreciate you coming on the show.
>> Thank you guys very much. We are back with the call sheet. Craig, this morning Emmy noms HBO slapped around Netflix. 122 nominations bigger than Netflix, although I think the story is probably the 87 nominations for Apple TV Plus or just Apple TV now plus two for commercials. Uh, what did you think of the nominations?
>> Yeah, you know, you can really feel the lack of monoculture this year and the Emmy nominations. It just seems to be a lot of shows that are good shows, but not shows that are really kind of taking over the the zeitgeist. Other than, of course, the Taylor Sheridan shows, which are actually the most popular TV shows, but those never get nominated, which is hilarious.
>> It is amazing that they continue to snub Taylor Sheridan, who continues to [ __ ] all over Hollywood in every interview that he does. It's It's an amazing blood feud. But the the big gripe I always have with the Emmy Noms these days is that voters check the box on the five shows that they love. Yes,
>> you know, the the Pit and Hacks set records for nominations and they know this going into the season. So, like something like the the the Hacks final season, it was insane. They got five separate nominations for guest actress on Hacks and they programmed the episodes. It's like they did an episode where they go to this lesbian retreat and Cherry Jones and Lesie Bib are the two women they meet there because they know that they're going to get nominations.
>> Oh, so you're saying they gamed the casting?
>> Of course. You know, there's a reason why Lori Metaf showed up in the finale of Hacks, and it's because they know that they're gonna get a nomination for her, and they want to blow it out of the water and beat the Bear and and Studio Records from the previous year, which they did.
>> Well, to me, it just feels like, look, if you have The Sopranos, sure, everybody from The Sopranos should be nominated. But but now that there aren't real there isn't that show that's like the the biggest show in the country that everybody's watching where everybody deserves a nomination and yet they still follow that formula. It's like no matter what shows there are, they just have to pick five where everybody gets nominated.
>> Yeah, I would argue that The Pit is actually a hugely popular show that that that everyone is nominated from. The numbers on The Pit are insane, especially for appearing on HBO Max, which is a smaller service.
>> I agree with that. It's just funny though, just because I don't know, there's like more TV than ever and yet kind of the the saturation of the nominations is still so strong. Like I it's like we can't broaden out. Maybe it's because it's literally impossible for anybody to actually be watching all of the television shows that exist now.
>> Yeah. So, best drama series, The Diplomat, The Gilded Age, A Night of the Seven Kingdoms, Paradise, The Pit, Plurabus, Slow Horses, Your Friends and Neighbors. Three Apple shows. Yeah,
>> pretty pretty big for Apple.
>> Yeah,
>> Apple now is becoming People are starting to confuse Apple shows with HBO shows, which is a huge compliment to Apple. It feels like
>> that's a win for Apple.
>> It's a huge win for Apple.
>> I know. I'm going to do a couple predictions. I I think that for drama series, it's going to be really tough to beat
>> The pit.
>> The Yeah.
>> Yeah. It's just the show everyone watches. They have been very smart. The campaign has focused on the fact that they shoot in LA. Mhm.
>> Like literally every other day there's some news article and we're guilty of this and we had John Wells on the show to talk about it. But the whole campaign is vote for The Pit, you love the show and it supports a ton of jobs in LA.
>> Yeah. Yeah.
>> Which is a good campaign. Honestly, I I'm for them using that in, you know, if Netflix is going to make most of their shows in New Jersey and uh New Mexico, then they that should be used against them in in the Emmy camp. I know it should be about the quality of the show, but campaigns matter and that's what people think about when they're voting.
>> What do you think for comedy?
>> So, comedy is tougher. The the noms are Abbott Elementary, the bear hacks, Marggo's Got Money Troubles, that's a new one. Uh David E. Kelly came on the town and did our event. Good for him. Nobody wants this. Only Murders in the Building, Shrinking, and Widows Bay. Uh I'm going to go out on a limb here again. Three series nominations for Apple. A lot of love for Apple. Everybody is going to pick Hacks to win. They've won before.
>> Final season. Yeah,
>> they got the most nominations. I think the momentum here is Widow's Bay.
>> Yeah,
>> I think it's going to be the surprise, the Matthew Ree show. It's got an element of horror. It's a comedy quasi. And I think that it's going to be like the studio where it becomes the show that everybody's talking about and they end up voting for it.
>> Yeah. I think if anything could unseat Hacks, it would be Widow's Bay. I agree with you. It has all the momentum. I'm kind of bummed that like Jury Duty, Chair Company, like actual hard comedies didn't get nominated in this category. But
>> don't even get me started. Like Jury Duty was hilarious. They got a writing nom, which is cool, but [clears throat] that, you know, I wish that they would boot some of these shows that are clearly not comedies, like The Bear.
>> Chair Company's a hard comedy that's going for it. And I don't know, I they got a couple nominations, but it's always a bummer when you see like the bear once again and I'm like, give it to a show that's an actual real hard comedy. But
>> I know. And some of these shows are past their prime. Like you and I are going to be dead and buried and Only Murders in [laughter] the Building is still going to be putting out seasons.
>> Steve Martin and Martin Short will outlive us all.
>> Yeah.
>> But uh so my big prediction today for the Emmys is I think Widow's Bay is going to shock and end up [music] winning comedy series. All right, that's the show for the day. I want to thank my guest Scott Glasgold, producer Greg Horbeck, our editors Matt Peek and Jesse Lopez. And I want to thank you. We will see you one more time this week. [music]