Jaime French - Navigating YouTube Success #110

In this week's episode of The Screen Lawyer Podcast, Pete Salsich III HITS the road! 

Pete visits the studio of Jaime French, a YouTube star, comedian, commentator, and content creator. Jaime discusses her journey as a creator, her content curation process, and her frequent struggles against copyright infringement abuse.

Original Theme Song composed by Brent Johnson of Coolfire Studios.
Podcast sponsored by Capes Sokol.

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Transcript

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Hey there. Welcome to The Screen Lawyer podcast. On this week's episode, I get a chance to sit down with my friend, my client and my favorite YouTuber, Jaime French, who's going to take us behind the scenes. We're here in her studio, which is also really cool, and we're going to see a little bit about how the content gets made, the struggles, the challenges, the business and everything that goes into putting content on a screen. Join us. It's going to be cool. Hey there. Welcome to The Screen Lawyer Podcast. I'm Pete Salsich, The Screen Lawyer. And today I'm joined by Jaime French. Well, Jaime, welcome. Thanks for having me. You're welcome. And, well, actually, I shouldn't say welcome. You've welcomed me. We're sitting here in your studio, which is super cool. This is our very first Screen Lawyer On-the-Road podcast. So maybe this is a trend. If you're out there and you want me to come to your studio. All expenses, you know, we can work out a deal. That's right. So, Jaime, tell us about Jaime French. Tell us about the Jaime French Empire. How did it get started? Well, I started off I was a hairstylist and makeup artist for ten years, and I really wanted to do YouTube. I spent a lot of time consuming other people's content. And I actually went to high school with a girl who got really big on YouTube, and it became her career. She moved to Los Angeles. She was the first person that made me realize you could make it a job. Yeah. And I was like, Well, how could I do YouTube? I didn't really have the confidence at the time to just make videos about nothing. I felt like I needed you know, I felt like I needed to have a skill or something of value. So I started making beauty content and I realized over time I kind of had a bit of a thing for comedic timing. And I really liked making the videos not just about makeup, but funny, right? But I was really struggling to grow because the beauty market is so overly saturated. So as time went on, I realized that my only videos that were doing really well were ones that were funny, like make up, but also funny. Right. And it began a slow transition into comedy, which I realized I liked way more. And eventually, I just I think in 2019, I quit my job as a stylist and decided to do YouTube full time. And the rest is history. That's amazing. That's awesome. So you were I didn't realize it because among the first videos of years that I saw where some of your very, very funny makeup videos, but I didn't realize that that was and I guess when watching it now I think about it. You must have known what you were doing because making it was really cool. But I didn't know that that's where the background was kind of like to me, I was a mediocre makeup artist. I didn't ever feel fully like I knew exactly what I was doing, and I felt much more confident with comedy, Right. So you can a little bit of making fun of yourself while doing it, but also having the skills to do it. So do you remember what your first your first YouTube video was that you put out there under your own name? Yes. It's the most heinous thing you'll ever see. It was a makeup tutorial and I had like a gold sparkly background. And I did the really cringey thing all the beauty YouTubers did in the beginning, back in like 2014, where the beginning in the video you would like pose with your makeup. I could probably send you a screen recording and it was just a tutorial and I did a voiceover, so I didn't speak when I did the makeup and I went through and did a voiceover later, and I think every every 2 to 5 seconds I went, I was making these horrible noises. I just didn't know how to be on camera. Sure. Yeah. No, I think that's that's interesting. And I, I don't really know how to be on camera either, but one of the things I've learned in this process is that you say “um” a lot more than you realize and try not to, but it is what it is like. Yeah, well, that's it. That's a that's a generational thing. I remember asking my children, Hey, what's it like? I didn't ask you what it's like. What is it it looks like now, anyway. Well, so. But take us forward from there. Right. So you do this first one and you realize that you're, you know, making these, you know, sounds all the time. And so what change? How did you stick with it? Because I would imagine a lot of people maybe think I could do this. And then it gets started. And then the first time you watch yourself, you're like, Oh, yeah, it's amazing what you can learn just by hindsight, just by being on the other side and looking at yourself, editing the footage. That was really how I learned was my own, you know, just the editing process. I would get the footage in there. I'd be like, Oh my gosh, I didn't realize the camera looked like that or I didn't realize this angle or. A lot of times my camera would go in and out of focus. You know, the autofocus was on. I didn't know any of that was happening. So you learn over time what you need, like a monitor. You need good lighting, you need good audio, right, etc. And you get better and better. But I don't think anybody can really know until they start. Like, you have to do it wrong, it seems before you can be a professional. I certainly, yeah. And hopefully you don't have to do it wrong for years and years and years before you get it right, because obviously you've evolved quite a bit over that time. So let's talk about your YouTube channel. So you and you really have a primary channel. Then you have like series. Can you lay out kind of how you built that? And and we want to make sure everybody can find you. So we'll we'll make certain of that. But tell us a little bit how that was built in then, because then you've also expanded. You're on other platforms as well. So let's talk walk us through that process. Well, in the beginning I knew just based on what I saw and like research, I did that to be successful on social media. The more platforms that you post to the more likely you are to be successful. Because like a big way I grew my channel in the beginning was directing my Facebook audience to my YouTube audience. And I every time I post a new video, I make sure I tell my Instagram viewers because people will find you. Some people might only find me on TikTok and won't even know I do YouTube, right? So I cross-promote like crazy. So that's kind of why I do all the platforms. Also, it's fun. Sometimes it's more fun to make a short, vertical Instagram or a TikTok and not have to think much, right. You know, and as opposed to the long form. And then on my channel, I have in the past tried to create certain series is I don't know if that's going to series, certain series, but I'm kind of the queen of overpromising and under-delivering in that area. It's so hard to keep commitments. Like if I say, Oh, this series is going to happen every week at this time. I mean, you saw the technical difficulties we had today. Something goes wrong and I can't keep the commitment. So for now I have shelved all my series and I'm just doing general comedy and commentary. And so if this week's comedy and commentary happens to be a movie review, then it happens to be a movie, but it's not. Okay, it's Thursday, so we do another movie review now. It's never but we've tried really hard to stick to a schedule, but every project is different. You don't know how long the editing will take and you don't know what's going to go wrong. I mean, there's been days where he's spent half the day on the phone with Apple support because Final Cut stopped working or yesterday he had an issue for probably an hour. The camera, the computer wouldn't recognize the memory card. So there's just no way of predicting. Right. I the people who are able to do it really regimented, I envy them. I think the viewer really likes that they either have like a massive team or the production level is a little lower or they're less concerned about all the editor and they can just talk to the camera instead of more raw. Yeah, I think they're more skilled actually, than I am. Well, maybe skilled in a different way. Yeah. You know, not necessarily quantitatively more, but a different set of skill sets or a different comfort level with this or what you're trying to achieve. Yeah, because when I watch your I, you know, and I, I don't mean to say that they look edited. Of course they're edited. People know that. But what I mean is they look at they're really well edited right. You know and I know that's not easy. I you know, when I work for production companies and I was in-house and production companies and I've been on sets, it's very clear nobody wants me helping with the creative process. I they don't want me saying, oh, that cut actually camera would be better. You know, that's not me at all. But I've watched it enough to know and to be able to sort of see. And when somebody is doing something, you can't see it and all of a sudden it comes together. And they had seen it in their own mind right before the editing. So that is really impressive. You must see that, you know, as it comes together or does it happen organically? There's times like I write my scripts and I will write little notes in bold for them as editors. And like I'll say, zoom in right here or add this clip or so there. There are some things that come to me ahead of time, but much of it is once I sit down and look at it, I'm like, Oh, this looks like it needs this or This looks like I need this. And there are times where I've gone back and watched my own content and thought it was way too much. But you get so when you're sitting there looking at the computer screen day after day, year after year, it's like I keep thinking it's dull and boring. So I'm like, add more, add more. So I like having editors because I a different perspective to help me realize sometimes I'm over editing. Interesting. So not necessarily over over content, just over editing over it. Let it, let it flow, let it roll and let a few mistakes in or whatever. Yeah, like I have this thing where I think I have to zoom in and scale the camera up constantly because I do like it, feel so flat without it. And then I realize watching some of them back, I'm like, I'm getting dizzy, you know? So yeah. So I think editors need people, you know, to help edit, to balance out and stuff like that. Well, it's interesting. It's almost like the two different sides of your brain. You think of, you know, famous directors that always worked with the same DP in the same set or same editor, because they do read each other's minds a little better, they can see, but they also bring a different perspective and they trust each other. Yeah. You know, and that that's, I think, sometimes difficult to do. Yeah, you got to find the right people and yeah, that's why I really wanted a lot of people hire editors remotely, but I wanted us all to be in the same vicinity so that we could talk and, you know, we pass hard drives around, or I'll come look over their shoulder or vice versa. They've taught me how to do stuff. You know, I'll be like, How did you get how did you put my face in a circle? You know? And it's some they, you know, had the time that I didn't have to look it up, Right? Yeah. And also, like, these days, there's something new that's literally while we're sitting here talking, there's three new software apps, There's three new things that are coming online that will let you do this with graphics. I let you do that or different things. Yeah, it's never ending. I can imagine. So speaking of never ending, how do you choose your content? Like what? How do you try to not get stale? You mentioned earlier sort of that there the makeup tutorials or the even the makeup humor, it's sort of ran its course and maybe you'll bring something back and something, but you sort of exhausted it. Right. And and maybe the moment in time where everybody thought those were hilarious has also passed. When Tik Tok came around, it got so even more overly saturated than it was. And the attention spans got shorter because people can swipe, swipe, swipe. So beauty for now, I don't think it's died. I think it's at a lull. But now, now it's quite easy to find content that I've switched to. COMMENTARY The process of landing on commentary took forever. You know, I had to learn what my strong suit was, but now it's quite easy. If it's a movie review, there's endless movies. And so as long as I find one that fits my criteria, that is like easy go to When I started running to issues with copyright claims and stuff, I had to think, okay, I don't just want I can't just do movie reviews. But thankfully there's always something to talk about. I really like talking about New trends on Tik Tok and there's a new one every day, right? Or Yeah, that's what I've noticed a lot of some of your most recent ones that I see is this new Tik Tok trend is weird. Weird or funny or crazy or wrong or stupid or whatever, right? And then you go into it. Yeah. I mean, it feels weird to say, but I like to make fun of stuff. Yeah. You know, not nasty or, you know, and that's that's an important part. I mean, isn't that you just said something that's real important to you, right? You have a very strong set of rules about what you say and what you don't say and how you use language, Right? Yeah. I think that makes I think that, you know, one of the words that you hear all the time in Social media and YouTube in particular, it's got to be authentic. You are who you are and you do. And and you show up every day as Jaime French the people that are expecting to see you that day on their screen don't want to be like, oh, wait a second. What happened to her? Yeah, I like her the way she is. Yeah, You can't really change much of yourself at all on social media. If you do something, your audience will go and new ones will come. But most people to me are, you know, you evolve a little bit with getting more comfortable, but most creators I watch are the same they were a few years ago. And the beauty of YouTube, I think, in a way, is that, you know, that the the success of the channel doesn't depend on millions of viewers sitting down on a Thursday night or whatever. Right? It's you. You have a certain population, you have a big following. But that big following is still small to a network or a studio. But it's it's really significant. But those are really like and they find you at two in the morning and 9 a.m. or whatever when they are interested in it all hours of the day. Like you can pull up your YouTube analytics and it'll tell you how many people watched which videos in the last 60 minutes. And I mean, sometimes it'll be like 200 people watch this video from four years ago. So it's at all hours of the day and that's a little intimidating. I've never been intimidated by numbers. I'm more intimidated by this is forever. All this content is on there forever. Yeah. And at any given time, yeah, someone is listening to me talk. It's a little weird. Well, speaking of people listening to you, Todd, the movie studios are listening or trolling or using algorithms to spot when you use clips in your movie reviews. So let's talk about that for a second, because when we were we actually did work together a year ago when you had a movie review that was taken down by Lionsgate. And so for the audience, it is no explain what happens when you put something up and you get a copyright strike and then I'll get to do some lawyer stuff and we'll explain some of the rules there. But what's it like in your experience? How does it happen? It's miserable. It's like so devastating. It was a movie review I did about a movie called LOL with Miley Cyrus, and I was very proud of this particular movie review. Some of them I'm like, Oh, this one was okay, but I really liked this video. We put a lot of work into it. We uploaded it and it was okay for a few days and I think they four or five YouTube sends an email and says, Your video received a copyright claim and in the beginning it's not a strike. There's a difference between a claim and a strike. A claim is just basically saying they recognize their clips and they're going to take the ad revenue from this video, but it gives me the option to dispute it. So I disputed it. I think that might be it wasn't my first dispute, but I think that was the first time I asked for your help with the wording. And I was so confident. I was like, Man, he worded this so good. There's no way they can reject this dispute. And they have seven days or 30 days or something to reject it, which they did. And then I was like, Crap, Well then you have the option to appeal. So I appealed it. And usually 80% of the time, if you go so far as to appeal it, I don't know what happens on the other side, but it looks to me like that's when an actual human will step in probably and read it. And a lot of times they let it go. But they rejected my appeal and I got a notice that said, Your video will be taken down in three days and you will receive a copyright strike unless you I don't remember the word. It was like cancel your appeal. And I thought about it long and hard because I was like, I didn't want to give in, you know, rights, especially after you verified for me that what I was doing was okay, right? But I was like, I didn't think there was any other option, so I canceled the strike or I canceled the appeal to avoid the strike. And so explain the copyright strike because you only get so many strikes and then your channel goes away forever. Three you get three copyright strikes. I've never heard of it actually happening to anybody. Right. I sometimes I see people on Twitter saying my channel got taken down, but I don't know if it means it's gone forever. It seems like the wording is for your business. That would be devastating. Yeah, it would be detrimental. Yeah, for sure. And so what we're in what we're talking about here is the concept of fair use in the copyright law. And we got you got pretty knowledgeable about this in our conversations. But you know, the way it works is that while you're using clips from your the LOL, the Miley Cyrus movie, the LOL. well and you're taking some clips and you're in your video you're commenting on and it's you're reviewing the movie, but you're also skewering it and making funny and putting yourself in and doing different things. It's not it's not the old Siskel and Ebert version of, you know, the review, but it's still the same thing. It is commentary on copyrighted works. And you're only using if you have a 15, 20 minute video that’s yours, you might be using 3 to 5 minutes total time of clips, maybe not even that much sometimes. Probably there are usually like four or 5 seconds at a time. Yeah, exactly. And so in and this is an area of law where fair use is part of the Copyright Act. It's built into the statute and the concept is that there are certain times when you use those clips without permission, they are copyrighted by Lionsgate or whatever the studio is. And normally if you take someone else's copyrighted material and you use it without their permission, that's copyright infringement. And that's what YouTube is set to do. You know, hey, we have our notice and takedown provisions under the DMCA. You see somebody infringing your work, you give us notice and it comes down or diverts the revenue or whatever it is. But diverting the revenue doesn't really matter to the average person who's just having fun. But for your business, diverting the revenue is huge. It's essentially the same as closing your doors. I always write that in the you know, when you submit an appeal at the end it says, Is there anything else you want to say? And I usually plead with the claimant. I'm like, These movie reviews are my livelihood, right? You know, it's not going to benefit your studio to take it down. It will only hurt mine. Right. And so and that's one of the things in the fair use concept, because even something that would otherwise be infringement is okay, is permissible is it is actually fully legal and non-infringement if it fits in the concept of fair use. And there's multiple factors in other times on this podcast I've talked about and will again, I'm sure fair use comes up all the time. But one area that it's not in dispute is movie reviews. It is literally in the language of the fair use. One of the things such as commentary or criticism is criticism. It is literal, only built into the first amendment of the Constitution. And therefore, if a studio says a movie review has infringing content, that's a false statement. That's not a close call. It's simply false. I'm so relieved when you told me. Well, and so there's it when what we're learning more and more is that there are mechanisms, I think, in place and you and I have talked about this to make you better armed if that happens again, including the claims under and now I'll get a little lawyer Section 512(f) of the Digital Millennium Copyright Act of Section 107 of the Copyright Act. Right. But it's there. And I think you're right, the algorithm isn't Zzzt. They don't care about that. So you need to almost get to that appeal right away. And but when a studio or when anybody says what is essentially a false statement, a misrepresentation, so their statement is this content is infringing. If this content is a movie review, it is not infringing. That's not close. That's not debatable. So if they say it's infringing, that is a knowingly false statement. And there are cases that have decided that said that's the case and you can recover damages that you've lost, you can recover attorney's fees, but it's not a YouTube issue. And this is the thing that I think it's hard for people to understand YouTube and Facebook and any of those platforms. They have what's called a safe harbor under the DMCA that says as long as they have this notice and takedown process, then you can't sue YouTube for the presence of infringing material. But you can sue whoever put it up or you can have the platform simply take it down. And that as long as that process is there. So in the YouTubes and Facebooks of the world, nine times out of ten, they're not going to weigh in on whether something is fair, fair use, because a judge has to decide that. It's just like you said, take it down, you fight it out. And that's what kind of annoys me is that it allows the platform, allows its creators that are making them money right. To get their livelihoods affected and right. But I suppose it would be I don't know anything about it, so it'd probably be hard to step in every single time it would be is literally be impossible. You think of the sheer volume of content, but it but the statute says if somebody is issuing these takedown notices wrongfully, then the people who are affected it have a claim and can go after them directly. And so I think that's the process and that's something that, you know, when you're doing your commentary, when you're doing and again, movie reviews are probably the easiest example to give when I teach copyright law as an adjunct professor St. Louis U Law School and we talk about fair use, the example is a movie review because it's so well known. I want other creators who know this so much because I did not. They had convinced me that I was committing some sort of like crime until you validated right. You know, I tried to I tried to double check it on my own, but I don't know anything. So I wish creators knew that they had more of a leg to stand on. Well, and I think that's a message we would like to get out. Right. Because if it's happening to you, it's happening to others as well. And you're right. And it's probably something built into an algorithm at the studio, built into an algorithm there, and it happens automatically. So you've got to get to a person as quickly as possible. Yeah, and I know it is an algorithm because I am also on the other end of it. So YouTube has a little section in your studio called The Rights Manager, and I can go to my rights manager and see who has used my content. Sure. And I can see what percentage of my video they've used. And there's people were the percentage is 100%. But I don't and it gives me I can copyright claim them. Sure. And I would never because it's like this is the internet if I put something up there, it's there's a chance somebody is going to reuse it and it just feels it just feels silly to be copyright claiming people trying to get all their ad revenue, you know. Well and it but it's interesting you say that and I can understand that now and this is where we all you know because the lawyer in me right away says, well, of course you should do that. Let us help you set up a scheme and it's a whole other revenue stream. But the person in you says, I'm an organic, I built a business, I have a successful business, but it's still sort of an organic YouTuber and then the community. I don't want to get in the way of other people trying to be creative, but if somebody is just being lazy, I mean, you go to all the work to make your videos. I do get upset and I have left comments before, you know, I mean, comments if they straight up just re-upload my exact video. But if someone uses it in a compilation or like stitches it or something, that's kind of what I'm what I'm saying But I wouldn't. There was one video I did recently where I made a stitch with a girl and I was pretending she was doing my makeup and someone took the video and any time I was on camera, they replaced it with themselves. So they altered it a little bit. It was still annoying, but I was like, I'm not going to copyright claim this because he did alter it a little. He stole my idea, passed it off as his own. But that's the internet. It is. It is. And that's and but it's also copyright infringement. I mean, probably. And so but that's one of those things where that's that's more of a judgment call. Right. I mean, and that's. Did he do enough? Is it transformative? And this is the part of fair use law where it's long cases get fought out to argue and they're very expensive. And so most people, you know, typically the advice is avoid having to defend that way. But in the movie review context, it's automatic. And I think that's that's an area where where and again that's not some of the YouTube or getting this is a movie studio just need taking taking taking and diverting ad revenue and things like that. Well one of the people who claimed me, one of the companies I should say that claims me a lot on Facebook, I Googled them because I had never heard of this before. And I don't know if I can name dropper. Yeah. So this company Lasso Group, they claim a lot of my movie reviews on Facebook and I googled them and it literally says on there we are another source of revenue for you basically. So like their whole thing is copyright claiming people. Yes, absolutely. There's a whole world about it. And if they're doing it wrongful, then they're a potential defendant too. If you're making claims against them because they're getting hired by studios or others in that for the sole purpose of watching for that and they're taking a percentage or whatever they recover and all that. It's a whole industry and it affects the overall health of your page, which I didn't know is a thing. Sure. And the people who help me run my Facebook page, they're like, all these copyright strikes are hurting your overall page. And it's causing Facebook to not push your content out. Interesting. So it in itself has a dollar for dollar impact on your revenues. Yeah. Yeah I it I took a huge nosedive in revenue on Facebook when I started getting claimed. Yeah. So we're going to work on trying to get that fixed right. So one more thing I want to get. So this has been fascinating. First of all, let me just say thank you. I could sit and talk to you for hours and learn through the entire process. But one of the things I like to do and this and you're a perfect example here, is I like to ask people what's on their screen. And so part of the premise here is that I you know, these days we all have our screens all the time right there in our hands there on our walls. We're working on them, we're surrounded by them. And so when I ask somebody what's on their screen, I get somebody wants to say what they're watching at the end of the day, somebody what they're working with, stopping their thumb. I just think it's an interesting conversation. And I also make notes of shows I should go watch. Oh, yeah. So what's on your screen? Well, it depends if my husband's in the room or not. If he's with me, we will watch, like, comedy movies. We just watch Liar, Liar... Bruce Almighty. You know anything from any comedy from that time when we were younger. And then when he goes to bed, I watch YouTube. I watched my YouTube creators that I like. So I like a lot of other commentary creators and I watch I'm a typical woman and I watch gruesome true crime. You know, Forensic Files and I found a new YouTube channel called Explore With Us, and it's True Crimes. And they have all the body cam footage and police interrogation. Oh, my gosh. I can I can sit there for hours with that, even though it's depressing. So and I think that's I think that's fascinating because I think as a YouTube creator. Right. You're you're involved in putting content on there, but you're also a YouTube consumer. Yeah. Yeah. I would choose YouTube over movies at this point. Yeah, I had a guest on earlier this year who's a musician, and he talked about how YouTube has become part of his practice method. And so it's like you know, he used to in his mind think “If I'm watching YouTube, I'm being lazy or I'm vegging or I'm doing whatever.” And he said, “Now I realize I'm watching other musicians. I'm watching sometimes where YouTube just takes me, but there's something I see in a stage presence, something that appears to me that I don't even I'm not making a note of it, but I find later in a performance or in a practice, I'm using something there. There is a lot of inspiration, and I've learned editing techniques without actually learning them, just seeing it happen. Right? And a lot of times other creators are much faster than me at getting the latest topic out. So I'm like, Oh, this is what everyone's talking about, you know? So there's a lot you can and that's why they call the “University of YouTube”, because there's also anything I ever need to learn. I go to YouTube. Right. Yeah. Same for me. If I have to change a faucet in the sink, that's YouTube helps. Or any new editing technique. Yeah, I go to YouTube. So last question for you. How do you what's next? Like, how do you find you were in make up in the movie reviews or certainly always a source but is there some trend or something that you're looking forward to to stay fresh? On YouTube or just in life? Just in general, when you're and well both actually it's a really good yeah, both and we talked earlier about possibly acting but as you think of if you're going to be in the business of putting content out full time, how do you come up with the next idea? Well, I don't necessarily have to come up with the next idea because I have this whole other passion, which is music. And I think my next step, in addition to YouTube, I don't know if I could ever really give it up, I would have to get pretty bad. So I would like to stick with this career, stick it out with my channel until I get become irrelevant. But I want to also put out music. So you record your own music. And of Cool. I sing and my husband's a serious musician and we have a recording studio at the house and it's something my viewers have been asking for for a long time. And it was another one of those things like I dreamed of as a kid. But you don't think. Sure, if anyone could ever actually do it. And now the YouTube has really made me realize the possibilities are endless. Do anything. So I want to pursue that. I think. Fantastic! Well, that'll be the next time we visit you when you're dropping your first album. Or because I covered a song and got a copyright claimed. Well, I'll talk about that as as you know my my musicianship is playing in in dad band classic rock cover band. So all we do is cover stuff. And you do In fact, I'll put a plug September 16th at Humphreys here in Saint Louis. Come check out Eighty-One. Yeah, I'll, I'll, I'll shamelessly promote that for sure and let you you let you put it out there to your million followers. Jaime, this has been great. Thank you. Pleasure's on this side of the table. Thank you very much. This is awesome. And thanks, guys for some of these arms are really tired holding that boom mic, but he looks really strong so this is fantastic folks if you've enjoyed this, you've got to check out Jaime. Jaime, full name of your title. Jaime French like French fry and spell my first name right - J A I M E. Jaime French. All right. And we going to put that all over, folks, if you've enjoyed this and you want to see more Screen Lawyer content, please like and subscribe. If you're watching this on YouTube, check us out at TheScreenLawyer.com - And if you're getting this on your audio podcast, find us. Follow us wherever you get your podcasts. We drop every other Wednesday here at The Screen Lawyer Podcast, and hopefully a lot more. Good stuff to come. Jaime, thank you. Thanks for having me. You bet. (we did it). All right. We're out.