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KTBS Podcasting and the Committee of 100 present Good to Know Shreveport-Bossier, a podcast series showcasing the good things happening in our area. We’ll go in-depth about economic development, community growth and other topics about initiatives that are having a positive impact in our community. We’ll have new episodes every other Wednesday. You can find the KTBS Good to Know podcast wherever you listen to podcasting. Or go to KTBS.com or KTBS Now on your streaming device to see the full interview.
Hello again, everybody.
Welcome to another edition of Good to No.
Shreveport, La.
This is our podcast.
We showcase all the good things happening
in our community, you know, minus him.
This is just fine for this is Paul Reiser.
He's a local businessman member
of the Committee of 100.
And every podcast
we focus on topics and initiatives
having positive impacts
throughout Shreveport, both here
with all new episodes,
every other Wednesday you can find
Good to know
wherever you listen to your podcast.
And as always, I will allow Mr.
Reeser to do the introductions
of our special guest. Mr.
Reeser Yeah, a rare fact
that I'm paying you today. Hi.
From the Fry with me. Well,
thank you, man.
I'm excited, super excited,
because one of our favorite topics
is economic development
here on the podcast. Right?
Today we have two big guns.
We're talking to local experts
on economic development.
And today we're going to be talking
specifically
about the resurgence of the film industry
and what that means there.
Are there any names
on our immediate future?
Yes. Okay.
The experts I'm referring to, of course,
Arlene Acree, now, she's
been in Shreveport and we've been around
a while, you know, forever.
She is the used to be
the director of economic development
for the mayor's office for many years now.
She started her own production company,
Real Faith Films.
Nice. Also, Rocky Rocket.
I got to go
because this acronym always throws me off.
He is the executive director
of the Greater Abuja Economic Development
Foundation. That's correct.
And these two know their stuff.
So I'm excited that you guys are here
today. Thanks for coming.
Thank you very much for having us. Yeah.
Glad to be here. Absolutely. What?
Why do people get so excited
about the film industry
when we say we're talking about June,
the studios themselves?
It is a big thing
because that's got it resurgent,
I guess.
I guess we'll talk about what is going on
and what's the resurgence.
Well, ladies think it's
I think it's always been exciting,
you know, from day one.
And I say day one after Katrina, you know,
we really got into the industry
for full fledge.
And I think everybody just loves
the excitement
of the movie industry
and television shows and
and now that 50 has Curtis
Jackson has made his announcement,
it's brought it up to another name
basis with 50, I call it Mr.
Century.
Well, I call it a 50, so I call him sir
Robert
Strong.
Thanks for being here. Yeah, that's good.
Yeah.
Rocky, what do you think
is the is the cause of this resurgence
all of a sudden?
Well, I think that is it.
The Court Well,
I think we've had one season two
Aussie
film projects over the last several years.
It hasn't been at the level
it was from 2015 back
to about 2006
when it really had a huge resurgence.
I think we did.
And to keep me honest,
about a billion and a half and movie
in that between 2006 and 2015,
it was a significant number about us
up to that point was about 183
film and television project.
So it was we had a significant presence.
We were actually Arleen
and I and a few others would travel out
to Los Angeles to meet studio heads
and the production people
because it was all based on budgets
and our world is all based on budgets.
So we didn't really interact
a lot with celebrities that interlocked
with the writers, interacted
a lot with the production people
and the studios to say,
Hey, you can go a lot
longer with your dollar here
if you do your project in North Louisiana.
So for us, that's the exciting part
for the community.
Going to one of the steakhouses
and seeing everybody from Val Kilmer
to Michael Douglas to Catherine Zeta Jones
all at the same time.
And the restaurant
kind of gives you a little cachet.
It makes it kind of fun.
And yeah, so
things were booming and then they kind of
no, I
don't want to say fizzle out,
but that is kind of what happened, right?
Well,
they started going back to New Orleans
or New Orleans, get back on track,
and in other cities to Atlanta, New Mexico
has still has some good tax incentives
and then now they're coming back.
So tell it
tell us why they're coming back.
Well, I think it's what Rocky said.
We get really good things
to look forward to.
The ease of getting around Shreveport
and your 15, 20 minutes.
Right.
You can do two or three locations
in one day.
That saves movie production
a lot, a lot of money.
Hotel costs, food cost is all inexpensive
compared to other cities.
Even our sister cities in New Orleans.
So this budget stuff you were
talking about, it goes back to budget.
One of the interesting things
about Hurricane Katrina
is that it took about five years
before insurance companies
would consider
insuring a film in a hurricane alley.
So we were beneficiaries of that
because you can get lower rates
of insurance for a film in this market.
And you still can because
we're not affected overall by the weather
to damage sets or delay production
and so forth and create scheduling issues.
This is stuff people don't think about.
We nobody thinks about that kind of thing.
Right, Right. Correct.
Unless you're the person who they do
because it's cost money.
Right.
Right.
Yeah.
Actually, I'm talking about, you know,
people like me that have no idea
what's going on right now.
It is unbelievable.
So a lot of us have heard about
the excitement around 50 cent opening
G-Unit Studio, which changed the name
of Millennium Studios to G-Unit Studios.
And what does that mean?
What does he stand for? Who do we know?
I don't know.
I don't think I know because I'm trying
to figure out now how he got the name 50.
Okay, I'm sure there is.
We'll find out.
But you know, that's why right.
We know what we're going to say.
That again.
What They're talking in my ear.
Sure. Got it.
The voice is the gorilla unit.
That's what it sounds really good. Okay.
Okay.
Thank you. Thank you. That's upstairs.
The voice from above comes through.
Do I have those connections?
Wow. Wow.
What is.
Yeah, what's
going to be going on at G-Unit Studio?
And what do we see to come from that?
Well, right now
they're doing still the restoration
and there was a flooding issue last year.
And so they're addressing that right now.
So I think I'll be meeting
with their head of production saying again
and I think you're going to see
some activity happening this summer.
So I'm interested
like all of a sudden this
I mean, not all of a sudden
I know there was work behind that.
She is going on for a while
to to get these guys here. But
do you go out and advertise to say, hey,
great deal available
big movie studio available in Shreveport.
I mean does that pretty much I'll work the
if if I can answer that
The studio itself
had a lot of positive attributes
in Los Angeles from the ownership
previously there was a lot of it's unusual
to have a studio of the caliber
with the special effects division
that it had in there to market.
So it was had opportunity.
It just needed to have some bigger space
to actually make it more marketable.
And I think that's what Mr.
Jackson's looking at
doing, is to add space.
One of the reasons
I think some of the things are actually
coming back here, frankly, is and
it does involve some legislation.
So Georgia did some legislation
that was not pro film
mindset, it, so to speak.
And some of the other opportunities
here were
New Orleans has a lot of activity
so their studios aren't always available
and then the rollover site for Baton
Rouge isn't always available.
So now they'll roll over
site for here is available.
So when you fill up a warehouse
in New Orleans,
in a simple warehouse in Baton Rouge, you
look for the next warehouse, so to speak.
And that's what's put us back in play
because we're still available
for the same incentive.
Plus, we had an extra 5% outside
of the central New Orleans district.
So if you do a project here, you can add
another 5% to your incentive package.
Okay. Incentives from a tax incentive.
Tax incentives, correct? That's correct.
So we lost the tax incentive for a while.
You save some. So some of our
some so some things that we did were
not as a state, we're not friendly
to the film industry as well.
In 2015 or 16, there was a pause
and the spirit of the pause was right
because the state
was giving out the incentive packages,
but they weren't able to budget for it.
In other words,
I'm going to give you a credit now.
When do you use that credit?
There was no limitation to the credit.
So if you do $100 tax credit
and use it two or three years later,
the state can't budget for that.
So they were trying to do that.
So they had to take a pause,
which did leave some folks holding the bag
for a period of time.
They weren't expecting it.
And that put a bad taste
in some of the productions mouths.
Understandably.
But I think we're back in the swing
when they understand,
okay, we've got our ducks in a row,
we could do that business side
and create that incentive package
we can hold to it and go forth with it.
Everyone understands
the same rules and plays by the same game.
So Louisiana as a
whole is bouncing back to get production.
Oh yeah.
And after that pause,
I mean, we really never lost production.
Totally. Okay.
It did slow down.
The whole state did, actually.
But we still have some of the best
tax incentives in the US.
We get 25% on the first level.
Then you have What does that mean
when you say first level
that that means that
what the expenditures are so tax credit
and then if they if you if your production
was written by a Louisiana screenwriter,
then you get an additional ten.
So do the math.
I mean, it's up to 40%
if they come to Shreveport.
But you're nice because they're out
of the New Orleans area for shooting.
They get an extra five.
So we had heard from from local Oscar
winning director and writer Bill Brice.
Also previous to when I say Bill Bryson.
Yes, you did.
And that's great
because I know what I'm doing.
Bill Joyce was here. You said that? Yeah.
That the tax incentives
are going to actually
incentivize local writers and directors.
So that's, that's, that's right. To
build up our state.
Yes. Local talent.
And that's his pen name. Bill Bryson.
Spending numbers
listen to Walk in the Woods and author.
You know Paul, you hit on something there
so I always like to go back
to the origin of why this was created
in the first place, their origin.
When Governor Blanco created a film office
and the film, a tax incentive,
was to try to stem
the flow of talent out of Louisiana.
And so we have spent generations
of creative culture that
for who knows what's in the water here,
we have significant creative culture
that comes out of Louisiana,
in northwest Louisiana,
and it all has gone in
different directions, whether it be L.A.
or whether it be New York or whether it be
some other talent central area,
we've lost it.
So that was the that was the genesis
of why we did that in the first place,
was to try to keep the talent
and find a mechanism
so they could work here in northwest
Louisiana, in Louisiana as a whole.
So at one time in really almost
remember this, we hired a fellow,
David Dodd, to run a survey,
I want to say 29, 28, somewhere in there.
And he took the top 25 Billboard
country music list.
And out of the top 25,
20 of them had somebody with a direct tie
to northwest Louisiana.
Nice.
Whether we the author,
the writer, the singer,
guitarist, whomever was in the production,
what have you,
there was a directive somewhere in the top
20 of the top 25.
Pretty cool spending of local talent
I hear.
I just heard you started
your own production company, Arlene.
Yes, Well, I had a hiccup.
My business partner did pass away
during COVID, and so I haven't given up.
I'm actually writing a script
about our grandson
who went through cancer and all that
will be based on a true story.
But it's a lot
that's calling from God to do this.
So I'm I'm still working on it.
This old girl still working.
Yeah.
That's real Faith Studios.
Yeah. Real Faith Crowns
producer and writer.
Yeah. In the studio. Yeah.
So I know you've been associated
with the movie, the movie production
here in north west Louisiana
from the very beginning.
What what was your call to it so early on?
Well, I was director of economic
development during that time under Mary
Kate Hightower, and it was transitioning
because Cedric Glover
had just been elected mayor.
So anyway, he made me in charge
of the film and entertainment,
and I was still doing a little bit
of economic development at that time.
And then Ali Tyler came on,
so I was director of economic development
and doing film as well.
So 20 years with the city doing this well,
12 or 13 with the movie industry,
what kind of
strange things do you learn working with
behind the scenes with the movie?
You know what?
I love the behind the scenes
because that's when you when you go on set
and Rocky's been there.
I mean, we were out there
the night of when the Guardian shot
at the white tank
and they all got seasick.
So really?
Yeah, even the stock guys got seasick.
And I mean, not that
that's a good thing to see, but no, but it
but it was like it's funny.
Yes. It's like a fairy tale
said, you know, And it's like
because it makes such
wonderful variation of waves.
In fact, it was just used on the Chosen.
There were a couple of years ago
when God walked on water,
that part of, you know,
So it's it's still it's still in use.
It is in it's still working nice
Some remarkable assets here at Shreveport
that were built early on this studio
like civilian studio is is
I can't believe it's not big enough.
There are several soundstages in there.
There's other studios in town.
What are some of the things
that we have in town
that are attracting people
like the giant wave tank?
What is this
wave tank you're talking about?
Well, it's in the
it's like a slack industrial park.
And I don't know if you've driven by there
and you see these big green screens,
but, you know.
Okay, but that's going to make it a point
to Yeah.
It's that you can actually
I think on our website,
you know, see some video footage of it.
You know, during that time it was
the guard was the guardian.
I think all the movies are all times.
I like it.
Yeah.
So like it was the ocean but
was really right over here in Shreveport.
It was fascinating what that is.
It's actually nothing
more than little towers with barrels.
Half barrels have water
running them over and over.
This guy staying on top of it has a shoot
and they just do the water down
and that's what creates the waves.
So it's actually Kevin Costner
hanging from a crane
and it's all moving
water in a water slide.
So it's like he wants to make a film
that can come to Shreveport.
We've got the studios,
We've got this this one.
Yes, That's state of the art,
One of the biggest in the world, correct?
Correct.
And also, you can make Shreveport
look like any place, right?
You can do it. We have a
17th century village of
Salem, the TV series that still intact.
So even though there was this pause
that you talked about,
there were still projects going on, Right?
I mean, everybody thought the film
industry was good, dad,
but there were things we still had.
We still had projects.
You know, this reason
when I was thinking about
I was in that part of the Netflix series
when Kevin Costner and Woody
Harrelson did their
I Can't think of the name of
it was a great show for Road Agents or.
Yeah, that's right.
There were early
FBI agents or Texas Rangers.
Yeah, it was a great series,
but that was one that was good.
Yeah.
And that's one that was not just
independent studios coming to town.
It's Netflix
who is what was coming and doing.
Well, we just we just wrapped a movie.
They came and scouted with me last year
and they came and shot
and it was called Drowning.
And it was a small indie movie.
But I will take any budget.
They do spend money
no matter what level their budgets are.
So but they had a great experience.
In fact,
I'm going to be getting rocky
and I on the phone with them
because they want
to tell us their experiences
and if we could do something better,
we rock.
And I want to know.
Yeah, I mean,
it is kind of amazing the number of film
and television projects that go on.
I mean,
a lot of people you don't realize this,
but you got to feed the beast, right?
Especially television. Correct.
We just had American pickers here.
I don't know if y'all got a job in town.
Yeah.
Yeah. It's content is king at this point.
So you're always think about what you were
watching on Netflix six months ago,
if you can remember that.
So you're always looking
for the next series
and they're always needing
to fill that content
because they have contracts to fill.
You know, we worked this other studios
announced a few weeks ago.
Is it trouble news
that certain segments of all
and through their ship
and product to everybody from Netflix to
variety of different markets
whether it be European or Asian markets
I mean they feed a lot like you said,
feed the beast.
Yeah, let's feed the content beast
and keep going with it.
So everybody's got to take a look at it
and keep going and try to figure out,
okay, I got to keep going for that.
Next products
and next audience demand is there.
And we I mean, I go through that every day
on a smaller scale.
Here's doing the news right
Get a feed the newscast.
That's right.
That's right.
The next. Yes.
And then we do like nine and a half hours
a day.
So it's constant going after stuff.
That's right.
Now, the same deal in the movie
industry, right? Yeah.
So are we creating a larger
pipeline of of production
staff here locally that they can come
and do the whole production here
beginning to end?
You know, it's funny you said that, Paul.
During that period of time between
six and 15, we had a significant amount
of crew
in this area who bought houses, who,
you know, built a permanent base here,
and then the pause they had to find work.
So several left.
But the interesting about market
in northwest Louisiana is a lot of them
kept their houses they could rent them
or Airbnb them
or maintain them and keep them as a base.
So this is a chance
for a lot of those folks to come back
and then build that crew base back up.
And we're talking about that with G-Unit,
folks, tribal news folks I think Mr.
Joyce has talked about in the past
and others have talked
about how we can build
that talent pool back in this area.
Now, the talent pool is also when I say
talent pools, not first line actors.
Always it's everybody from makeup
artist to hairstylist to grips
who do the construction work
to food and culinary.
I mean, you got to think about
how everything is serviced
on these sets and on these sites.
Costume designers, designers, women.
It goes on and on rip and electric.
But they are planning G-Unit is planning
on doing some type of training program.
We did that years ago
after Katrina was very successful.
It was like a six week program,
and we partnered with the city
of Shreveport for funding for
training dollars and state of Louisiana,
and it was very successful
and really turned out
some really, really good crew
that we needed at that time.
And I'm assuming a lot of those
folks are still around here.
Oh, absolutely. Yeah.
And some of them are New Orleans.
They might be in Austin.
I have a few calls
and they're going to be moving back.
So nice. Yeah.
So all the things that we hear about
that are going to surround the G-Unit
are how many permanent people will
he have on his staff,
or is this all going to be contract
workers or do we know?
I don't have that answer.
Okay, I know there's going to be permanent
staff, but I don't know how many.
All right. I'm just curious.
So what's the next big project
in the pipeline?
Do we have a handle on that or.
Well, I was working with White Wade
at Marshall yesterday
on Warner Brothers needing locations.
So occasionally we get the calls
we need location photos.
So my gallery of locations is incredible.
It's like, Yeah, so
and if I don't have the photos, I go out
and take them for locations because that's
part of the bringing them here.
You got to prove that
you have the locations for their project.
I can just say that she's talked to Warner
Brothers.
Paramount was here
two weeks ago looking for sites
and there was another studio here looking
for sites the week before that. Okay.
So we get the emails that come through
about what we're needing and whether it be
prisons or a church in 1930, US Midwest.
I mean, they they do see us
and we have this reputation.
And I'm going to brag
a little bit on somebody. Sure.
I have been to the studio heads of
Paramount, Screen Gems, Warner Brothers.
And the first question now to everybody's
my mouth is, how's our Lena?
I'm not kidding.
Malina established this area as a true
film hub and has done some fine work.
And I'll just kind of look at,
Oh, she's doing fine.
Okay, cool.
Yeah, I'm doing great.
Well, that's kind of cool that, you know,
we think of you like that as well.
I still have their phone numbers.
I still have actors
phone numbers in my phone.
You know, I don't know because it captures
numbers like, oh, no, I don't have his.
I heard he was great when he came in.
He was a super nice guy. He's
been here three times. Yeah.
So we had one house in our neighborhood
that was a nice house
and it was up for rent.
Apparently, every movie star
that came through HBO's to say that.
That we call it
the movie star house. Yeah.
And some of them were very, very friendly.
Yeah. Like Samuel Jackson.
He would wave, he would wait. Oh, yeah.
He was golfing every day.
And then some of them would just,
you know, put the door down and right.
Which I understand.
I mean, big celebrities,
you probably get that.
Sure. All the time.
People talk.
Yeah, I know.
The kids in the neighborhood
knocked on the door
and tried to take them brownies
and they were like, Yeah,
I do have a Kevin Costner story, though.
So back when I worked in Wichita, Kansas,
at the time, Wichita State
was the big in college baseball.
They were kind of like LSU,
and Fresno State
came to town for a regional
and way up at the top of the stands
was this dude all alone.
I said, I think that's Kevin Costner
who's in the press box.
Yeah.
And it was he was a Fresno State fan,
and he just was out all by himself
watching the baseball games. Yeah,
that's funny.
I never met him.
I just saw him pulled over at such
a great game, went out
and did batting practice with the one day
that there was a big baseball. Yeah.
Yeah,
well, he's made enough baseball movies.
I got a funny story along those lines
to my daughter at the time
when she was six or seven years old,
when she came to the living room
and Top Gun was on the TV
and she goes, Hey, daddy, that's the guy.
Eat lunch with him yesterday.
And I'm like, What?
And she was saying, No, a lot of that guy,
him and his baby.
I play with him all the time.
So his wife at the time, Katie
Holmes, was here filming
and I called the school and said, Hey,
just out of curiosity,
another using y'all's parking
lot for the trailers, huh?
And he goes, Oh, yeah,
that the kids in my daughter's name was
Caroline is Caroline.
Caroline,
who had kind of take it to the babies,
and she always has
and was playing with Suri Cruise
the whole time
that they were in the middle of recess.
And they love taking Caroline places.
Caroline ever told me that. So yeah.
So Caroline and Tom were like that
very go around.
I don't know if her around it up
he'll tell me in the middle.
Said we were up 2 minutes.
Yeah, but back to you a little bit
more than that, but not much part of it.
It is fun. You start,
you know, movies are exciting.
I want to ask early and how to
how do you get to be an extra?
How do you get involved in the movie
stuff?
Well, we usually will make
those announcements via
all the media outlets,
and I used to send them out constantly.
So that and all of the media
outlets have been
just so supportive of the industry.
So when we would do straight closures,
road closures or anything
like that, you know,
we would go through all the media sources.
But for Paul and I, you're just going
to give us a behind the scenes video call
for you guys. Come on over.
I we'll call you right.
So that actually helps
some of the casting.
Yeah.
Yeah.
You yeah.
When you know, one of the concerns
that I hear some business people say,
well, they're taking away tax dollars,
you're giving all these people incentives.
What does it mean financially for,
you know,
we give them an incentive for a reason.
We want them to come to town, right?
So what is the economic impact
when a movie comes to town
positive for that for the area?
You know, that's a really good way
to split those hairs.
So if you don't have the incentive, you
don't have the opportunity, period, Right?
Yeah.
So let's talk about because somebody
has given it somewhere, Correct.
Somebody else is giving it somewhere.
And so we're talking about 55% of let's
just say $100 million
in an actual film budget. Right.
Let's say that film has 35, 40
people below the line.
It's working.
They're all earning
and they'll have to stay here for the six
or eight week period
they're making the movie now.
This is just on a location shoot.
This is a studio film,
okay? There's not a studio located here.
The different dynamic there don't rent,
like you said at the hotel.
They're going to spend money for food.
They're going to spend money for goods.
They're going spend money
for all their lumber, dry cleaning.
Then you have everything that goes along
with the film itself,
because I actually worked
with the gardening folks
to get them a credit at Home Depot
and they spent five or $6 million on Home
Depot here.
Then of course,
you build a swimming pool here.
Then you built, you know,
everything that goes along with it.
So there's all the sales
tax and everything. So.
That's right. That generates that tax.
That's right.
The back end of it to me
is an easy understanding.
Then the initial give that's
based on every incentive package to me,
so that if we're going to compete
with Georgia Park,
if we're Hollywood or anywhere,
we're going to have to
you have to give incentives,
not to mention the best
PR you can buy for the state of Louisiana.
Yeah,
they like northwest Louisiana, Shreveport.
But in L.A.
now, government
hates us because we're taking all kinds
of product away from them.
I've actually gotten chewed out from
I forgot the name of that bank, that bank,
that call me ripped me one more time
because we took a took a project from them
and they were furious.
Capital Pacific Capital think it was
they ripped into me about people like me,
you know, do better.
Did you apologize?
You know, it's a better hate.
The thing that, you know.
I don't know. I was kidding.
I know. That was.
I knew. I want to know. It's right.
It's pretty competitive.
When we would go out
and set up our boats in L.A.
and promote, you know, our our region,
it is very competitive.
Well, we got like a couple of minutes now,
so I did see a number
just just for big numbers that in 2022,
the film industry accounted for $286
million of resident payroll in Louisiana
and $607 million of in-state expenditures.
And that was 2022 when the film industry
was just starting to kind of correct.
So, I mean, it is in the millions
and that's not insignificant.
It is a no.
No, it's not. No.
Last couple minutes we got here.
Leave us with some final thoughts
about what's coming
and what we should look forward to
in the next week or two.
We hope to be announcing projects
not only with G-Unit,
but some other projects that are coming
in, and
it has caused a lot of interest
where they are the production companies.
I bet it has been out there from the very
I mean, he has a plan for a show
that he's going to be producing there
specific.
I think there's probably going to be
several shows right there.
Know, I know they're going to be doing
television stuff.
One of the interesting moments
you have when you play in
this kind of industry
is just random run ins.
And Mark
Harmon and I had a conversation from NCIS
and he and I was talking about television
and he said, If you can land a studio
that does television projects,
that's nine months worth of work.
That's what you want. You want people.
He goes, I'm not leaving L.A.
because I go home at night
and I see my family.
Yeah, but once you create a studio
that does long term television projects,
then they can build their family here
and they can grow.
And that keeps a permanence
of expenditures in your market.
But ideally, you want both.
Absolutely right.
You want to do a film where you want to do
everything from studio films
to television to animation,
and everybody's employed reality
shows, TV shows, commercial,
really good, you know, commercial.
And they come in, Yeah, well,
let's try it.
And you thought about that? Yeah. Yeah,
absolutely.
I spent a lot of money.
All right, well,
that's going to wrap it up for us.
You guys come back some time
and update us on how everything's going.
Okay. Well, we will.
All right, everybody.
I know it's not easy.
It sounds all glamorous.
You know, my kids playing with
the cruises, but I know you're traveling.
You guys are working hard at Heartland.
You've been doing this forever.
Work hard to go out and convince people.
Appreciate it. Yeah. Thank you.
Thank you.
All right. I think a Korean rocket, Iraq.
You're telling us all about how the film
industry is having a resurgence.
And true for both. You're right.
It is a resurgence.
A resurgence. That's correct.
Call it. Yes, it is. Yeah.
All right.
That's going to do it for us. This is
what it the name of this.
Good to know.
Darn good to know.
We're gonna change the name
to. Don't forget it.
Always good stories are melting my mind.
All right.
You can watch this podcast wherever you
whatever platform you get your podcast on.
And thanks for being here,
everybody, as always.
This has always been good to know.