Because as far, like, developing material, I think it's really important to stretch out a little bit because you're creating, like, you've composing something, you're putting something together. A peak in a valley, and. Yeah. You know, Diaz and I had a conversation about that yesterday. He was like, I got to go to more places where I could work an hour. He goes, because sometimes I'm home for, like, a month, and I don't go on the road, and I don't do an hour set, then I got to go do an hour set. True. And I got to piece it all together. I'm like, that makes sense. I don't like shorts, and especially if you. If you're touring a lot, like I have been, and you're doing that long set every night. Yeah. I don't particularly get a thrill out of a 15 minutes spot. I feel like. It feels like. I mean, I understand it's a totally different thing, and it becomes, like, a different skill set, but it doesn't even feel that rewarding because, like, the benefit is, like. Doesn't feel like it. Like, lines up with what I'm doing. Yeah, you just can't. Cooking. Yeah, yeah. You're just getting started and the light goes on. All right. Yeah, yeah, yeah. I know what you're saying. But to me, I treat them as blocks. Like, I have 415 minutes blocks. Yeah. And so, like, if I'm doing a set tonight, I'll say, okay, well, I did this block last night, so tonight I'll do this block. That's true. You know, and then one of the cool things about LA is that I can do three or four blocks a night. Like, I'll do one set at the improv, and I'll do two sets of the comedy store. I did three sets of the comedy store and one set of the improvised on two Thursdays ago. And you had, like, sets? Yeah, well, no, one. One different to the same. And one was the Jeremiah Watkins around show. Yeah, I'm doing that next month. That's a great show. Can't wait to. I've never done it. Oh, it's the best. People, they yell out a subject, and then you start riffing on the subject. It's the best. Yell out, like, hats? Yeah. Yep, yep. And you start talking about it, and it's. You come up with material and punchlines. You come up with taglines. You come up with, like, you might, like, have a section of something that you ran about that doesn't fit anything, and then one day you have a new bit, and then you go, oh, and then there's that thing that I did on stage that night, and that it slides right into there. I'm a big believer in that. It's not that hard, you know, relatively speaking, to say something like a joke, come up with something funny. It's much more of a challenge to come up with an interesting topic or a premise. Yes. You know, so that's what, like, that show sounds exciting. Yeah. I feel like saying, like, talk about this topic. Yeah. Premises are giant. Premises are giant, and a point of view is giant. And then from there, I feel like it's like, that's the scaffolding that you'll add jokes to. You'll figure out a way to make it funny and figure out a way to just do it the right way. And for me, one of the things that I started doing really recently that really made a big difference is I'll have a bit, even if the bit's killing. And I know, like, this bit's going well. It is developing well. I will, outside of stand up, I'll sit in front of my computer and just write on that subject. Write on it in a completely different way. Like, say, if I approach it from one, like, say, like you're talking about going on a boat, you approach it from this. Then I'll just approach it from a completely different way and just say, okay, well, this is already in the can. This one's done. All right, I've got it. So let me just try a new attack on it. And I've come up with so many different punch lines coming at it from a different angle, but forcing myself to sit in front of the computer and you know I use that program, right? Room. You ever showed you that program blacks everything out? Blacks everything out and gives you green font. So it's like the Matrix font. Yeah. And I just sit there and I can't access email. I don't get notifications, nothing. So when you, when you write from the different angle, will you then in your bit do the chunk that works and then be like. Or what if somebody's. And then like also present the other angle or sometimes it fits in. Sometimes I just, I just find a way. Fits in? Yeah. Yeah. But it's just, it's just creating more tags lines, more taglines, more punchlines. So you're, you have a new hour though, right? Yeah. Yeah. So how long does that take you? That didn't take you that long. Six months. Yeah. That's awesome. Every day I'm hustled. Yeah, you are though. But I've seen you actually. It's a good lesson, I think for a lot of comics like you, it came out and then you didn't haven't chilled at all on that. You just like were. I see on posts all the time that you're just like spot, spot. Like working, working, working all the time. Yeah. I do five or six nights a week lately. At least four. Always at least four. Really? Like I worked last night, I took off tonight. I'll work Tuesday, Wednesday, Thursday, Friday, Saturday. I got a hot date with the wife. Nice. And then I'll probably work Sunday too. And then I'll go out it again next week. And you're doing, by the way, congrats on this tour, cuz. I saw it's. It's big time shit, man. Crazy. It's crazy. You're doing the theater at Madison Square Garden?