When The Onion announced that it would take over Infowars in 2024, I had a hard time imagining a single funnier and more perfect thing than the ghoulish legacy of Alex Jones being stomped all over by the satirical news outlet.
A few years and several legal back-and-forths later, The Onion still doesn’t quite own Infowars. But it is proceeding apace and recently announced that none other than comedian Tim Heidecker would serve as creative director (and chief Alex Jones impersonator) when Infowars’ brand is finally handed over. And just like that, something even funnier and more perfect came to be: In Heidecker’s first video as Jones, an 18-minute “
Emergency Broadcast,” he offers up a spectacular impersonation of the conspiracy theorist, announces an alliance between God and Satan, and ends by imploring viewers that “Infowars is a movement, and you’re on it. You’re on our ship. Come on board.” (While drinking a wine glass full of adult blood, obviously.)
At WIRED, we’re longtime fans of both The Onion and Tim Heidecker—a match made in heaven, if you ask me—so I had to take the opportunity to sit down with Tim and find out more about what kind of movement, exactly, he was busy plotting for the Infowars of the future. We talked all things Infowars, including the latest on The Onion’s legal efforts to acquire the brand and its archives, plus the shift of Heidecker’s own comedy into newsier terrain, his thoughts on the death of late-night, and why he never tries too hard to get attention online.
Read our conversation below, watch it on YouTube, or listen at the podcast provider of your choice.
This interview has been edited for length and clarity.
KATIE DRUMMOND: Welcome, Tim.
TIM HEIDECKER: Thanks for not calling me Eric.
Oh my god, I can't even imagine. Has that happened before?
Yeah, and even with close friends.
I have to start by asking, what goes into the uncanny parody of Alex Jones? How did you try to capture his id, if you will?
I guess I just can do it. I don't know. I don't think about it. I've been doing it for 10 years or more. When he was at the first Republican convention in Cleveland, a guy I do a lot of work with, Vic Berger, we went to the convention, and at the time, there was this chat—what was it called? Snapchat—which I guess still exists.
Yeah, I missed that boat. I don't understand it.
For a minute there, it did really good face-swapping—or, it probably still does. But you can do that real-time face-swapping. So I was doing it with Alex Jones, and he was there. So I just started doing it, and I could do it. I don't know how I could do it. I guess the key to it is to not stop talking, and to keep going, and filibuster as much as you can with not really any information.
In the 10 years that you have been parodying him, have you learned anything about the guy? Do you have a better understanding of his whole deal?
No. I think he's a great entertainer, a great talent. There's great broadcasting talent there. He’s taken it into a very dark place, where essentially it's a pills delivery system. That's the business.
Right, they sell supplements.
They sell supplements. I think that's the bread and butter. That's what they're there to do, and to keep people afraid.
If there's anything that might prevent you from becoming part of the many casualties of the globalists, it is to be stocked up with iodine and various silver components and things. So it's a big circus, you know, a big P. T. Barnum-y kind of a blustery thing.
You've been pioneering a certain brand of satire for a very long time. Starting with Tim and Eric Awesome Show, Great Job! It's been described as absurdist, surreal, maybe cringe. I was very young, I won't tell you how young, when the show debuted, but knowing what I know about it, I wouldn't describe it as overtly political.
No.
That, though, has changed for you. How would you describe your personal brand of comedy as having evolved in the last 20 or 25 years?
I instinctively said no when you said it wasn't political. I think in a sense it was; it had a point of view that had a set of values attached to it that looked at consumer culture mostly, capitalism, and found some sort of nihilistic, very cynical look at the modern world, which I think is a political point of view.
We didn't get into current events and didn't necessarily mess with the news, but I've always been that way. Most of the people I work with have very progressive politics. A bunch of artists and weirdos and musicians and comedians.
Obviously comedy's gone in a very strange direction recently. But I guess I would say the first five or six years of Tim and Eric was very much about Tim and Eric, not Tim Heidecker or Eric Wareheim. It was about a comedy duo that really didn't involve our own personal lives in any way, very much in character.
After that, it got a little tiring for me, or it got a little restrictive. So I think honestly back to the good old days of Twitter, I think Twitter—if the youngins can comprehend this—used to be kind of a fun place.
Oh, it was the most fun place.
It was great.
Well maybe not the most, but it was fun.
It was a really funny and fun place. I also found it was a way that I could talk about what was going on in the world very quickly. I can react to things. Then there was just stuff happening in politics that felt very Tim and Eric-y, or it felt very much like my kind of humor.
Herman Cain ran for president. He was the CEO of Godfather’s Pizza. This was 2012. It was when Mitt Romney was running against Obama. He put out this campaign commercial that was kind of almost like a-social media-style, very low-budget kind of thing. At the end of the commercial, his campaign manager is standing, looking cool, and he has a cigarette.
No! In 2012?
Yeah. Not Herman Cain, but his campaign manager was doing the commercial.
Why was his campaign … ?
It was just this creepy dude. He was being a cool guy. That was the funniest thing I had ever seen.
That's really weird.
It was like we had kinda gone through Sarah Palin a little bit, and even Donald Trump at the time had done his first foray, saying insane things about Obama.
There was just a lot there that felt mockable, and I'd eventually made a whole record about Herman Cain, a whole record from the perspective of, like, a lunatic who is a big supporter of his. I put it out, called it Cainthology. So that was probably my first overt political comedy thing.
But fast-forward to now, I would say that real life has eclipsed comedy in the Trump era. Like, we are talking a day before Donald Trump hosts a UFC fight outside the White House in an arena that he had built.
That he might not take down.
Right. Who can say, really? I mean, that would be extremely funny if it weren’t actually happening.
I think it can be both things, by the way.
But how do you think about that? How does the surreality of everyday life and Donald Trump and politics, how does that affect the work that you do?
I think it can be depressing and anxiety-inducing, and then also very funny at the same time. I love dark comedy. I love the darkest of comedy, and I think the best comedy reveals a pain that we all experience and fears that we all experience. So at the moment when people say, “How can you satirize this stuff anymore? It's too crazy”...
To me, it's not like “How could you possibly do that?” It's like “how do you do it?” Because it's so bleak, and it's so outrageous.
I think even if you did something where we would on Office Hours say, “Just talk about the UFC thing, and talk about how crazy it is, and don't try to top it. Just to be open about how it makes us feel and how funny it is and how absurd it is.” There's an audience of people out there who are feeling that same thing and want to know that they're not alone and they're not crazy.
I think at the moment, it feels like my best answer for that is that just acknowledging the insanity right now is enough to make people feel like there's a community of sanity out there.
I think that's what satire does. It acknowledges a problem or it acknowledges something that's crazy or wrong. It says, “I see this,” and some people, somebody just out there trying to teach kids at school or some nurse out there or somebody else is just like, “Oh, thank god, I thought it was just me.”
Alex Jones had a truly crazy response to the news of you becoming the creative director [of Infowars]. He posted, on X, a 30-minute video about you and your previous work. He also posted, quote, “The man hired by The Onion to take over Infowars produced pro-pedophile/child torture and murder shows for Adult Swim in conjunction with Will Ferrell, who took part in Satanic rituals with spirit cooking high priestess Marina Abramovic.” What did you think when you saw those responses?
Christmas morning.
Was it really Christmas morning?
Oh, metaphorically speaking.
I’m Canadian, very gullible. Now you know.
Good to know.
It was a total joy, because I've been swimming in these QAnon, 4chan, right-wing waters for a long time. I think when it was quite new and scary in 2016, 2015, when you had Pepe the Frog and memes of people being put in gas chambers and stuff, I'd never experienced anything like that before. That was like, oh my god.
Did you ever worry about your safety?
Oh, sure. At that time, there were a few incidents that were like, "Ooh, maybe we should get something," you know? Different. I'm not living behind a wall or anything, but you take some precautions.
We have reporters who cover the waters that you swim in. And it can be very scary. I looked at the responses to Alex Jones' post on X about you, and it was all people just being like, “Fuck you, Alex Jones.”
Well, the funniest thing was I think even a lot of his supporters were like, “Alex, this was a comedy show. Like, this is kind of embarrassing for you.”
It's very funny to Eric and I, and to our friends, because we were obviously the people making that, and we know who we are, and we know where our intentions are.
You look at it now, and you go, “Yeah, I guess, you know, I could see you taking this the wrong way,” but at the time we were just making each other laugh, you know? So I'm not here to defend it. It was very funny to see him get riled up about that stuff, for sure.
But maybe interesting, too, to see how his influence has waned?. I was surprised to see that it didn't generate the kind of response that I thought it would.
I almost wish we had gotten to this sooner. I mean, that whole movement is so fractured. He's at war with Trump every other day.
There's certain things he kind of gets close to being right about. He's on our side right now, apparently, with the war in Iran and thinks that's a bad idea. So, you know, he's shifting and changing, probably for cynical reasons or whatever, trying to grab the flow, wherever the culture is going on that side.
He’s gotta sell some supplements.
It's all about that. I think at the heart of it, though, is still this feeling of very uncomedic ideas like retribution and justice and consequences for your actions. Ideas that I didn't necessarily expect to be in the middle of.
But after learning more about the families and what they've been through and everything, it felt like a pretty noble activity to be a part of.
Well, let me turn to that then, in earnest. How did you get involved in all of this in the first place? Take us back to before you became creative director of the new Infowars. How did that even become a glimmer of a possibility?
I remember that they made an attempt to buy it, I saw that on the news. I kind of cold-called them on it. The Onion. But Ben Collins, who is the CEO …
Love Ben.
Great guy. I didn't know him at the time, but he was very active on Bluesky. So I reached out, I think actually just through my agent, to keep it kind of professional. But I just said, “Hey, I'd love to talk to you about it.”
I wasn't sure what they were planning on doing. I think my idea at the time was really just to get our hands on his master tapes, like on the hard drives, and just do something fun with those.
Does the archive come with the deal?
Uh, yes. I would think so, yeah. Unless they've been ... What did Hillary Clinton do? She bleached all her hard drives or something like that?
I don't remember that.
Really? Well, you're Canadian.
I'm Canadian, but also, I mean, I've been living in the US for 20 years. A lot has happened.
No, she bleached her, she did …
Don't give Alex any ideas.
So that happened, and then nothing happened. I didn't hear anything. I think their deal fell apart.
I didn’t know anything. I just went back to my life and did my normal things. Then they reached out to me, emailed me and asked me if I could get on the phone, and then it started with that. It started with a big question of what would you do if you had control of Infowars? Like, what do you think we should do?
What did you tell them? And how has that evolved since then?
The two things I said were, “Obviously, you're a satirical institution, and you should make fun of Alex Jones. The joke of you buying Infowars should last a period of time. It should be mean, and cutting, and hopefully land some blows and make him look like a fool. But that can't go on for very long. That's gonna get pretty old, because what else is there to say? He's a buffoon.
You know, The Onion is trying to grow, as every company tries to grow, but their comedy is very restrictive. Their tone, their sensibility is a perfect, beautiful thing.
It is. It really is.
It really is. But you can't bring in other voices. It can't make other shows that don't feel like The Onion. So they're kind of limited in that. But if they had another property, if they had another brand, and wanted to grow the overall company, the parent company, Global Tetrahedron, they could use this.
This could be the vessel for that, and they would bring in somebody like me who's not of The Onion, but is Onion-adjacent, with a similar sensibility, to build a comedy streaming platform.
Have you talked to any of the Sandy Hook families?
Yes. Once on a Zoom. It was a very moving and very powerful, but also a very positive experience. They were all in, very excited. One of the families was like, “I can't watch your video.” We had put out one of my videos of me doing Alex Jones. “I can't watch it with my wife, 'cause she gets mad when she hears your voice 'cause she thinks it's him.”
They were laughing about it. They thought it was funny. They're like, “Go harder. Do it, be as mean as you want.” They just want to, I think, see this guy—I don't want to put words in their mouth—but pay for what he did to them.
All accounts that I get from them and their lawyer and all those people are just thrilled about all of this, as much as you can be thrilled about something like this.
I'm curious, for you becoming the creative director of Infowars, there's the obvious comedic appeal of that, right? And the ability to build something, which I want talk more about. But there’s obviously an added layer here. And it's a really painful one. How do you think about the importance of this move for you? Getting it right, doing right by those families? What added complexity does that create for you when you're trying to build something?
You know, it's a frustrating process on lots of different levels. Certainly going through the legal process with the Texas courts has been an up-and-down battle and struggle. Just starting anything, whether it's a laundromat or a comedy streaming network is slow and painful at times and you're in the dark and so all those things are part of what's happening here.
Plus I'm trying to do, like, nine other things in my career.
This is, just to be clear, not your full-time job.
But having that grounds the whole thing a little bit when you can go back to why you're doing it. One of the reasons we're doing it is the legacy of that incident and the way he corrupted it and abused his voice to really add salt to the terrible wounds that were already there. I think it's helpful to empower us to keep working on it.
Now, legally speaking, and you are not a lawyer, but the deal is not actually done. Can you update us on where it stands now?
I can try. My impression is that there's a receiver, and I don't even know what a receiver is, frankly. It's a person. It's a man with that title. It's like a notary public. Somebody who has been given all these assets. We had an agreement with that person to then lease all that stuff from them.
Right, on, like, a month-to-month basis.
Yeah. What we really care about is the DNS server. This is very WIRED talk.
Ah, yes, the DNS server.
Basically your GoDaddy password or whatever. You know what I mean?
We don't love GoDaddy. But I'm sure Alex is using GoDaddy.
Probably.
That's really the core of it. I mean, there's gear and there's hard drives. … I think the supplements are outside of that purview. But anyways, about a month ago the Texas Court of Appeals issued a temporary stay, which says nobody can do anything until we rule on it.
Every other court in Texas has come back to the state, to the Court of Appeals, and said, "Stop it. Let them do what they wanna do. You're interfering," or something to that effect.
Nobody truly owns this at the moment. It's in limbo. Even the receiver, I think, isn't allowed to do anything. It's like cast in amber, which is a beautiful metaphor.
It is the GoDaddy password.
But we are proceeding as if we have it. We don't care. No one's going to do anything about it. We are Infowars. That is who we are.
You are wearing his skin.
It will eventually resolve. We will get it. The timeline is the court moves slowly. We’re just plowing ahead.
Where do you think your audience for this is? Are they going to Infowars.com? Or are they …
Instagram and YouTube. I mean YouTube is big.
So you plan to be everywhere?
Yeah, we're just going to be everywhere. I really want to push for its own streaming app. You know, five years ago we started the HEI Network, which is now an app. It was a website. It is a website, but now it's a streaming app. It's a subscription site, but you go in there, and we're still working on some bugs and everything, but it's essentially a Netflix experience for this world of comedy. There's plenty of what they call FAST channels, or different ...
There are so many ways to watch.
There's so many ways to watch things, and YouTube is great too, but the problem with YouTube and Instagram, first of all, they're run by the worst, very worst people. We're giving them free content by the truckloads.
They're giving you very little, if anything. I speak from personal professional experience.
Yes. And you never know when they're just going to say, “Well, we're not doing this kind of stuff anymore” or “You can't use this word.” They're very Byzantine and confusing, and the more independent you can get and still connect to an audience out there, every creator should be thinking that in some way.
You've talked about a few months of the Alex Jones bit. You've mentioned in other interviews that you want Infowars eventually to be a place where comedians get their start, where people experiment, where they try different things. Can you talk more about that vision; a year after you get that GoDaddy password and you're off to the races. What do you want Infowars to look like? What do you want it to be for an audience?
I think there should be a sense that the comedy coming out of Infowars should be reflective of the internet and the moment we're in. The satirical doesn't have to be entirely satirical or straight one-to-one parody, but like a food influencer parody show or something.
You know, something that feels like this is reflecting how I use the internet. That's probably, like, the main ethos of the thing or the main driver, because that's where a lot of talented, funny people are and how they're expressing themselves. I think the medium of your comedy is becoming important, like the vessel the joke sits in.
It's like what is the thing? It's not just gonna be a sketch with people in a living room talking about a crazy boyfriend or something.
What's it gonna be instead?
I keep saying food influencer, but um, you know …
Will it be like “my 5-to-9 before my 9-to-5”?
That I don't know.
It's a TikTok format.
Well, yeah, format-based. That's one way of thinking about it. I think there will be a sense of curation, the same way Adult Swim was a brand. I'm gonna watch this show because it's on Adult Swim.
They have curated it, certified it.
Yeah. You know, we thought this was good. And then hopefully, when we figure out the tech side of it, there will be a place to go, like an app.
Also there will be world building in there, and there'll be characters that might start as just a reference or a mention in somebody's sketch or a character that comes and then they branch off, sort of the SCTV mode.
For a lot of people who might have gone around town pitching stuff to Adult Swim or Comedy Central, and they say, “Yeah, we just don't do that anymore. We don't take risks like that anymore. We're just revamping The Man Show or whatever it is. You know, we're rerunning The Office or something.” Those people, I hope, we will be able to give some money to. I mean, the best thing about my experience with Eric and I coming up was we didn't get a lot of notes. Mike Lazzo, who ran Adult Swim for so many years, just had a good feeling about us and thought we were funny and gave us the opportunity to go off and try stuff and see what worked.
So you want to be that?
Yeah. I mean, that person was so impactful for me. I always say this when we talk about it. People are pitching ideas, and I'm a terrible reader, terrible comprehension person, and I'm like, “I don't know. I like this person. That's why we reached out. Like, let them make something, and let's see what it is.” And that's the best way to figure it out.
You mentioned at the top of the conversation that comedy was in a weird place right now. What did you mean by that?
Well, mostly like the Rogan, right-wing, Tony Hinchcliffe, the return to this kind of conservative ... I say return because I think there was a fair amount of that happening in the ’80s when I was growing up. There was, in culture, kind of this conservatism that was in something like Top Gun or I want to say Andrew Dice Clay—but, you know, I knew he was really doing a character; I think he did get kinda lost in the character there for a while—brought out the very worst in a lot of people.
But there's a lot of intersecting things. There is the rise of the podcast, which, in a way, I think a lot of the big companies are like, “We don't have to spend a lot of money on these things anymore.”
We can just stick them in this tiny studio …
… put a couple mics and chairs down and that's the new talk show. And some of it's really good.
And I do have a podcast that I don't think about as a podcast. I think about it as a TV show because it is on YouTube. We've got five cameras. We have musical guests. We do bits.
It's a more ambitious talk show than what most media companies are calling podcasts.
I think it's a way to, like, skirt unions. It's a way to, like, not pay people enough money to live. No judgment of Condé Nast here.
Those guys were in the beginning of that. And so you have not a lot of interest in comedy coming from cable networks and the bigger companies. There's stuff that comes out, of course. Tim Robinson …
He’s so good. Insanely funny.
He's so good. He's pushed through. Nathan Fielder’s pushed through.
I’m shocked when I see something that he made on my television. Because I can't believe they let him make that show.
There's room for that, but there's not a lot of room for a lot of smaller stuff, I guess, or more experimental stuff. Maybe there never was, but there was certainly a little period of time in the early 2000s, where it really kinda worked for a lot of people.
Those guys got this audience that was a little more conservative, a little more aligned with the MAGA world, and their comedy plays to those people. I guess those people need comedy, too, but I don't know if you've ever seen any of it. It's pretty bad.
I probably have not. Or I wouldn't last long.
I think it's objectively pretty bad. Tony Hinchcliffe put out a special that was shocking. It's like he went and got the joke book from like the ’70s maybe. Like the Truly Tasteless Joke book or something. He's just kinda memorized some of it, and that's about it, you know? The standard seems really, really low. The bar seems really low.
There's been a lot of hand-wringing about the quote-unquote “death of late night.” Colbert, et cetera. Are you saddened by the death of late-night TV, or do you think it’s a format whose time has come?
I think it's a format whose time has come. It came a while ago. I grew up on Letterman and Conan O’Brien. Loved those shows.
There was, especially with Letterman, a sense of experimentation and trying things and it feeling like these are just some weirdos who accidentally got a TV studio, and it’s being broadcast to the whole world, you know? It was really exciting and funny.
There’s none of that right now, anywhere on any of those shows that I've seen. It’s a dinosaur. It's locked in. It’s gotta be super expensive to make those shows. I don’t understand why they exist, you know? Everybody can go on podcasts and you want to talk to, you know, name a celebrity that I don’t give a shit about. Josh …
I was about to say Josh Brolin for some reason.
OK, Josh Brolin.
Sure, I want to interview Josh Brolin.
Nobody gives a shit about what he did this summer, you know? I don't either. And because also, Josh Brolin probably just told you that on his own TikTok. Right?
He took you on his vacation.
We have total accessibility to these people. When James Stewart went on Johnny Carson, it was like climbing up to the top of the mountain to get a glimpse of some kind of demigod for 10 minutes at night. Like George Washington in the flesh, you know?
But we've all seen a lot of Josh Brolin.
I’m the biggest Beatles fan in the world, but I didn’t watch the interview with Paul McCartney. They’re like, “Our big musical guest is Paul McCartney,” and he just did Saturday Night Live the night before. And you're just like, “All right, there he is doing a song again. Good for you. Sounds good,” you know? I don't know who it’s for, you know? That's just me.
What is your general mood about comedy? What makes you hopeful? Where is the exciting new comedy right now?
Good question. I hate name-checking people [but] there's a kid, Jay Weingarten, that I love. He's not really a kid, he's a man. But he taps into this sensibility of the TikTok, Instagram voice. “I went to a hamburger place, and by the time I got back, I couldn't believe how much …” That sort of droning thing. He's really good at that. I mean, obviously, I think Conner O'Malley is at the top of [his game], is doing the best stuff right now on the internet.
God, you got me. I'm blanking. Sorry.
Are you hopeful?
Sure, yeah. I mean, I think with this we're opening a door for people. Edy Modica is terrific. When names come to me, I'm just gonna say them.
Just start screaming them. Yeah, that’s great.
I'm a snob about comedy, and I think the stuff I make with my friends is the best there is. Sorry. I think we're really good at it, and it's not very popular, but it's popular enough that I get to do it for my job. So I tend to be a fan of my friends and the work we do.
But I think there's other good stuff out there. There's stuff for all kinds of people, so there's shows that I might not think are funny, but people enjoy them, and I think it's great.
Yeah, I think you referred to a few of them earlier.
I think that it's always been that way, and there's always been a little tiny strip of stuff that's going to really last a long time, that really feels special and different and groundbreaking.
And then there's gonna just be a ton of stuff that's fine. The Munsters. The Brady Bunch, just comedy that people can have on.
Modern Family.
Modern Family. Well-crafted.
Fine.
Put it on. It takes me away from my worries and my troubles for a half hour.
That's always gonna be here, and some of that now is just online. It's just silly stuff online.
This is my last question for you, speaking of the internet. Something we think about at WIRED a lot is the World Wide Web. We also think increasingly about how to get attention on the internet. How do you do that? How does someone get attention on the internet anymore?
I can’t think about that. I really refuse to, because if you try, you lose.
Maybe we're trying too hard.
I can’t predict it. On our shows, we have social media people that claim to have little tricks and things about when you're supposed to post, when you're supposed to tag.
I think the companies, these Instagrams and TikToks, have become incredibly manipulative. It's hard for organic growth to happen anymore. But I think you just try to do what you enjoy doing, what you feel good about, and then just throw it into the wind and hopefully that connects with people enough.
You’re an art not a science guy.
Yes, and I've given up on trying to game the system in that respect. It's just, there's no hope.
Well, I would love to end with a little game.
Yeah. Baseball … ?
No.
What's the game?
No, not baseball, not basketball, not soccer. It's called Control, Alt, Delete. I want to know what piece of technology would you love to control? What would you love to alt, so alter or change? And what would you delete from the world forever, if you could?
These are nonbinding answers.
I would delete the ability to comment on anything.
Anything? Interesting. We're getting back into comments at WIRED. Nobody talks anymore, you know?
Oh, I get a lot of chatter.
I bet you do.
I think my big alt was that I think Twitter should have become a world heritage site.
You're laughing …
Explain how that would work. Explain your idea.
I think that it should be managed by a nonprofit.
So it's like an online museum.
Or it's an online forum that has no profit incentive.
Makes sense.
Why does that cost anything to run? The servers?
Twitter? Yeah, I mean, I think just maintaining the product.
Maintaining the product. The UN could do it. Somebody like that. And it's just like the world has a way to talk to each other. Twitter, that's what it should have been.
Twitter. UN. Sorry, Elon.
What was that? Alt? Yeah. And then Control?
I think you did delete. Yes, comments. Control …
No, I said alt was …
Alter the ownership of Twitter, to be owned by the UN.
And then now here's my control ... I control Twitter and make that happen.
I become the sole owner, and then I give it to the world …
… the world, to the UN. You bequeath …
… bequeath it to the world. This is what it should be: a document of human culture of the past 25 years.
I mean, I love the concept. As I said, these are nonbinding, and they don't need to be based in reality. I applaud your entrepreneurialship and your creativity. Tim, thank you for being here.
Pleasure talking to you.
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