Felicia Day doesn’t need Hollywood’s help making ‘The Guild’ Movie

(upbeat music) I'm Josh Christensen, and this is most innovative companies. So let me take you back to my childhood. Okay, this is gonna be a bit of a walk to stick with me. And a typical weekday afternoon for 13 year old me. After school, I'd walk home, and as soon as I possibly could, I'd log onto the family computer. Remember, we never had our own computers. There was always like a room that had a computer in it that everybody used. I had two-older siblings, so just getting some time on the computer was a struggle. But when I did finally log on, the first side I'd go to was ebombsworld.com, then I'd go over to Newgrounds. And a couple of years later, YouTube got added to the mix. Videos, creators, and the IP that's now mainstream nostalgia was at the time in niche. It was something that your parents didn't get, and something not everyone at school was in the know about. You were part of the fandom, and it felt cool, even though I was decidedly not cool. fandom is what formed the foundation of the creator economy before it was even called the creator economy. And it's what our guest today, Felicia Day, built around her seminal web series, The Guild, in 2007. The show revolves around Codex, played by Day, and her online guild, who play a multiplayer RPG together. I ran for six seasons and racked up over 800 million views on YouTube. It was the first true hit web series. 19 years later, Day is tapping into that fandom to crowdfund a reunion movie of The Guild for its 20th anniversary next year. At the time of recording this, their Kickstarter has raised $4 million. I talked today all about The Guild movie, the importance of maintaining her creative independence, and we also went down some rabbit holes about AI, oligarchy, and renfairs. I loved this conversation, and I think you will too. Felicia Day, welcome to most innovative companies. - Thank you so much for having me. - So before we get into talking about The Guild, and this movie, and the Kickstarter campaign, I have to say this isn't the first time you've been featured at Fast Company. There is an issue back in 2010. - Yep, yep. - I have the issue here. I found this where we had the new fall season. - Oh wow. - So this, you had just wrapped season four of The Guild, and we did sort of like a TV guy, The New Fall spread season on the web series back then. So this is taking us back to when web series were cultivated by The Guild really, and we're kind of taking off that even a business publication like Fast Company, a legacy print magazine was talking about YouTube and it's in its nascent days. And that fast forwards us all the way to 2026. We are currently 19 years since the launch of The Guild, gearing up for its 20th anniversary next year. For those who don't know, The Guild was a cult hit web series that you created and started in 2007. You're making a reunion movie with the original cast and it's one of the most beloved or early pieces of IP on YouTube. You made six seasons to over 800 million views. And now you've decided to self-produce and crowdfund a reunion movie. I guess the first question is why crowdfund and not go with a studio or a more traditional source of production, which I can only imagine there were offers on the table for? Well, the offers were not there because I didn't pursue them. I had no interest in going to get Hollywood mainstream financing for this because quite frankly, mainstream financing has never been interested in what I've done in the past. I've always been on the web, innovating. I like doing things that people never done before. And in general, I think legacy entertainment likes to repeat because it's all about money, right? And they want to guarantee their investment. And I totally see that. So for me, doing this as a Kickstarter was a no-brainer. In 2007, actually, I put a PayPal button up on our website and we were one of the first pieces of crowdfunded entertainment on the web ever. This was before Kickstarter was invented. So just all along the way, I've just tried to be ahead of the pack. I'm just bored if I'm not doing something that nobody's ever done before. So clearly, a lot of people have done Kickstarter's probably better than us. But we are on track to be the number one funded movie project in history. That was set by Veronica Mars in 2013, quite a bit ago. So we are definitely on track to equal that. And it's gratifying. But it's not really about checkmarks. It's really just about me making my thing without creative oversight. Creative oversight that we never had in the past. And I don't think we'd benefit the project now either. Yeah, I think back in that 2010 article that I just referenced to start, you talked about your agent, I believe George Ruiz. George Ruiz, yeah. George Ruiz talked about how many deals you had turned down before you kind of struck some deals to stream and share some distribution, but never gave away ownership of the IP, I think Xbox live. And a few other, I think Xbox live was the main one if I'm not mistaken. For four seasons. And then we finished it off on YouTube as a part of the package for Geek and Sundry, which was one of my funded YouTube channels. Yeah. Right. And you said that you maybe aren't doing Kickstarter as well as other people have, but 3.9 million as of recording this. I've had your page open the whole day just to see how much it was going up. It's a substantial amount. I'm even the ticker's going up. Yeah. That's very sweet. Yeah, no, it's great. It's really, really impressive. We're in a lull right now. We have a big event at GenCon that we're planning for Thursday. But no, you're right. I mean, here's the thing. Movies are very expensive. And I, there is a reason why people have not raised this much money for movies since 2013. And that was a huge IP of a very well established television show whose probably each episode was about $5 million when they shot it. So like there's, you know, it's just the scale, the economic scale of being able to raise this money and in the minds of viewers justifies a dollar's millions for two hours of content. It's really tough. It really is. It's tough for me as a filmmaker because my goal is, is a low budget film. I'm going to struggle to make this film at this budget level and yet it's a lot of money. So, you know, it's, it's something that we're going to accomplish really well with the, with the support of our fans, but duplicating it, I think we'll be challenging. The thing is, we approached it like a merch store. Yeah. So essentially we're selling merchandise to support the movie. And I think that's the only way you get over like a million dollars for a movie. And that's why I decided to do it this way. Even though I will be fulfilling merch through next year and dealing with all the fulfillment, the staff to do it, shipping things overseas, patching it up, making sure it gets to everybody around the world. Yeah. It's not something I'd like to duplicate at this scale, but being empowered by fans, again, not having to compromise my creative vision. It's always been super important to me. And the fact that I held the IP in a way that was maybe, I don't know why, I just thought I could do it better than the establishment. And I guess I did, to a certain extent. But yeah, here I am. I'm going to be making a movie and nobody's going to tell me what to do except, you know, the fans. So I want to get a little bit into kind of the ownership conversation in a little bit. But first I want to ask why a movie? Why not another season? I wrote the seasons after season one as movies. So this is not a familiar format for our audience even because on Netflix, we cut it together as a movie. So a vast, not majority may be, but a very big chunk of our audience has experienced this show as seasons which were full movie length seasons. So format wise, I think it will be familiar enough. And it's 20th anniversary, you know, like I wanted to blow it out. I wanted to do a bigger setting where we're setting a whole movie at a ren fair, which means building, which means costumes, which means fantasy. Yeah, I think, you know, the world for web series like I used to do is not there anymore. There's verticals, there's other ways. There's really, you know, it really is a movie world. I mean, look at back rooms and obsession and Markiplier's movie Iron Long and these are all coincidences. I was planning on doing this movie before all those movies came out, but it's a very happy coincidence that, you know, there are now ways to do things that weren't before. I don't need to innovate everything. I love to hang on a coat tail. And the coat tails are very long right now in this movie, indie movie model. Yeah, that's, it's an interesting time to do this, but obviously back rooms and obsession like you talked about huge hits Iron Long, I think grossed 25 million opening weekend, 50 million globally. Yeah. I think back rooms is well on its way to being over a hundred obsession is, is a huge hit. These movies beat out notable IP like Star Wars movies that just kind of flopped and tanked on much higher. right now, but this isn't really necessarily new. The conversation always around like YouTubers to mainstream always kind of gets memory holds, where we've seen this a number of times, Broad City came out of YouTubers. In comedians, we had Eseret. Eseret, Rachel Bloom. Rachel Bloom, a number of people have crossed over yourself as well, although you tend to keep-- I'm certain they said, yeah. Well, you were on Buffy, then you were at this web series, and then you've had other mainstream things you've seemed to always want to go back to this independent route. But this is to say that this isn't a new cycle, but there's new attention on YouTubers to the mainstream conversation. Why do you think that this keeps getting put on the back burner by traditional gatekeepers and the studio system? I mean, I've been doing this a long time, and I think that when I first broke out in 2008, everybody thought Indy Film was here. This is where the creators were going to come. This is where IP was going to be made. And people started playing in this field. And unfortunately, when I started doing my company, Giketsundri with YouTube, which was great, there was a huge shift in ad dollars, and essentially advertisers figured, "Well, I can play my ad against a hamster video or a vlogger as easily as I can, you know, a two to three hundred thousand dollar piece of content." And so then we entered more of the influencer era where it's easy to pay somebody a hundred thousand dollars to endorse your product and they cost nothing to do their content. So, are we getting the same eyeballs? Well, it kind of makes economic sense. So, all the Indy Film aspect of online video kind of went away. And that's when I stopped the show, because I simply could not find enough money to do additional seasons at the standard that I wanted to do. You know, the irony is that today, this shows that I made on Giketsundri like tabletop and these other, you know, things that I made as pseudo television, you know, quality at very low budget. You could still watch these videos today and they're relevant. And the guild IP is still relevant. None of the stuff that was made just with quick and dirty, faster quantity over equality kind of stuff, that doesn't last more than one second. And so, I'm hoping that, you know, that combined with the idea that development is kind of dead, it's broken in Hollywood, the things that are being greenlit are, you know, not created driven, they're not interesting to audience. I think people just want novelty and they kind of know what they're going to get with Hollywood. And they don't know what they're going to get when a creator comes out of left field and does something strange. Like, for example, animation has had a real movement lately with Haspen Hotel, Epic The Musical. You have creators proving their concepts in huge ways and creating, you know, franchises that will last, could last decades. Who knows? I mean, look at the Simpsons. Haspen Hotel is such a hit. So, I think that we're kind of, the pendulum is swinging back only because I think the system is a little bit broken and what they're making is not connected with audiences. And I think as people who've natively grown up on the internet grow up, it's just going to get worse and worse because the sensibilities just aren't matching. What people can get on their phone is not what they're seeing on the bigger screen and they're kind of fine with their phone stuff. Yeah, but that stuff's also crossing over to theaters, like not even making it as a moving. Why am I forgetting the name is it? Amazing digital circus, just release their, what, two-part finale in theaters. So, there's kind of two conversations. There's the advertisers and the big streamers who are looking for, you know, how can we, you know, compete with sleep as the famous line goes. Then there's the theater owners who really we've seen some fits and starts with the return to theater and we had Barb and Hymer and people are like movies are back and then we sort of have it low. And then things pick up again and now this year you've seen a really confusing picture. So, that's part of the conversation. Is that something, like, well, one, I think with the guild, what is your approach to theaters? Are you going to do a wide release? Are you going to do a mix of streaming and different sort of approaches? How are you approaching the distribution this time? Well, number one, I just want to make sure my backers are satisfied. You know, and this is about community and I think, I think your global observation is that the power has gone from advertisers to community at this point. I mean, if I got 50,000 backers on my movie, I'm making a bigger movie than I could ever have hoped. And that those are numbers that nobody in Hollywood would care about. I would go in and pitch some of the shows that I had that had like a million views on videos or half a million views. And they would look at it like it was trash. I mean, you know, they would see these numbers and not care. And yet nowadays, if you really knew the numbers on streaming, these, I mean, the hour of television is five to eight million dollars. Yeah. If we knew the real numbers, I think we'd all be shocked. And so the pendulum is naturally swinging toward audience and community because they're showing up, they're supporting. And they're supporting local, you know, their creators directly. It's like Patreon, you know, blowing up on a huge level. And this Kickstarter, I think, is a great example of eventizing community in a way where we're making something very cool and we're going to continue to do it. So I would love to be in theaters. That's something we're definitely going to have conversations about. But number one is just me and a backer. Like I need to make sure they're happy. And then everything else is gravy. You talked about community. And you've had some recent interviews where you've talked about how much harder it is to build that community, especially for creators now. You had the luxury, while I say luxury, it was a lot of hard work back in 2007 to put something out on YouTube. But there wasn't as much the competition. It was the sort of new thing and the people who were on YouTube, like myself, were diehars into what they found. I remember watching the Guild when it first premiered in 2007. Yeah. Yeah. When your PR rep originally pitched this to me, I was like, "Oh my God." Yeah, of course. That's so cool. Yeah. So the Guild was cool. I watched Dr. Harble sing a long blog when that came out, which was also excellent. All the early stuff on YouTube, but Burnham back in the day was making stuff out there. Oh my gosh. They're so amazing. And some of them smosh. Yeah, smosh. Yeah. Retting Link, Freddie Wong, who's now, he has a movie coming out too, and he's doing a Kickstarter for his own Dutch and the Dragons. Some of us really love it. And I will tell you, all of us have scars from going and trying to work in mainstream media. And it is unpleasant to say the best. To say the least. And when COVID hit, I decided I love acting. I love posting. I love doing those things. I will do them anytime somebody wants to hire me because I have a lot of joy there. My stories are my own. The number of development, you know, hells that I've been in, the stories that I've abandoned along the way because I'm like, well, I don't think anyone will buy this. Well, I want to tell these stories. So if you noticed in the last five, six years, I've been doing, I did an audible TV show in audio form. I did a movie in audio form. I did a graphic novel. I've done all sorts of creative formats because stories can be told a lot of different ways. And, you know, like you said, the community is there. And my community means a lot to me. And I have people who have been with me since 2007 still along for the ride. And I see them in person and I recognize them. And, you know, it's, I consider myself not so much, you know, an influencer where people are following me. I would like it to be, I'm a leader. And people are, it's better what do I do, but they're connecting together. I can't tell you how many people got married because of my forums or my show, name their child after me. Like, it's not a cult, but it's just, I want to inspire people to do what I'm doing. I want you to be as creative as I am because it's the most fulfilling thing in the world. And, you know, yes, it's great to pay the bills, but, you know, Hollywood at this point is not paying people's bills very well. So I think you're going to see increasingly more creative people looking for their avenues to tell stories. And maybe make movies or, you know, we're going to set the bar high for this movie. And hopefully break the record, the Veronica Mars sets. I have no ego in this. I want someone to break my record to do better than me because that means somebody else is getting their story out without the gatekeepers telling them that what they want to do is not right. Even though I know my community better than they do. So it's a form of independence that is, it's a lot of responsibility, but it's something that I cherish because it means we're caring for each other in a special way that only the internet can foster. And here's a dirty secret about Hollywood. They've never been good at making money. Like it's constantly this conversation with gatekeepers of like, well, we know what sells. We know what work. My wife is a, she runs a non-for-profit off-Broadway theater company here and she's constantly working with, yeah, talk about who doesn't know how to make money. It's commercial theater producers. I'm going to tell you, I've been trying to get the Gil musical made for years now. It is, that is a whole other world. Oh, that is listen, if you want a development house, it's a non-for-profit. My wife develops. new musicals. That's what she does. I will connect you. Please send me your info. I will. I absolutely will. Because yeah, that would be right up her. I heard we can talk about this awful. Let's offline. Let's offline. But this is the thing in Hollywood and then with my wife working with these commercial producers, who they're always like, the thing she hears all the time is like, well, you know, that's not really a broad way show. That's more of an off-broad way thing. And I'm like, you're the people who put Queen of Versailles on Broadway. You are the people who put flop after flop of trying to capitalize with badly written shows on IPU think that would work and you keep failing maybe something else we should we should try that. It's the same thing in Hollywood. Everybody's figuring. Everybody's just kind of pretending until they figure it out. So then it's it is refreshing when you see these sort of break through movements built around community. I did a feature in 2024 on dropout while they were kind of ascending and what Sam Reich has done there. Oh, they're amazing. They're doing great stuff. They doubled down on community and depth over with. You geek and sundry was part of our the company that launched critical role. Same thing there. They have built depth and then they were selling out radio city dimension 20 selling out Madison Square Garden. The audiences are there. But here is my here's my fear with this movement with back rooms with the mark applyer head with what's inevitably going to be a huge hit with the guild movie is that Hollywood executives are going to learn the law wrong lesson and throw a bunch of money at the wrong creators who for whose formats will not translate. A few things will fail and they will go back to what they were doing before. How is that inevitable? How do you think about that sort of conundrum? I used to care. I don't care. I don't think anyone from CA is going to call me and want to do anything with my career at this point. I mean I'm a woman who doesn't look like a lot of other women. I am in my 40s now. There's no magic key that's going to turn where I get a few jacked in career off of this and I don't care. I don't I mean honestly I want to go write novels. I want to stream my twitch thing if something were to happen that someone would fund another movie. Great. Let's have a conversation. But there's no ragster riches scenario where Hollywood is some how going to embrace me and I will admit that I had a faint hope. I used to work so hard to prove over and over again. These things will work. Long form or work on YouTube. Streaming, D&D will work. I was told every single time nothing would work and yet over and over I proved it and nobody cared. They didn't look it to me as talent to raise up to give a budget. I will tell you, frankly the reason why I'm doing this movie other than I wanted to do a big splash or the 20th anniversary and I love my cast. I was called by a development executive who was from a very fancy producing place and they wanted to do something with the guild and this is the first time in since 2008 that this ever happened and nobody ever wanted to do TV development. They wanted to buy for the web and that's why I turned them down. I was like you're not doing it better than me so no thank you. I was excited because I'm tired. I would love some help and some budget. Could I not have to get hoagies for everybody? And yet the only thing they wanted was to develop a show and reboot it with younger actors and I can't tell you the pregnant pause that you know just hit me like they're never going to love you Felicia. They're never going to help you out. You're not ever going to get a budget from them and it's fine because this is the way you like to work. You're not willing to compromise in a lot of ways and sometimes like I tell my daughter everybody's not for everybody but there's always someone for you. Hollywood might not be in that area in that development it might just never be for me and that's okay because again I'm okay to live on a smaller scale. I don't have an appetite for that platform anymore. I do hope that it does inspire younger people to go and keep their IP do things around the gatekeepers know that they're valuable and not just be excited that someone you know with a big name comes and backs the truck up because ultimately that's why I kept the IP to the guild. There was a person who did a web series called God Inc and he sold the rights to sci-fi and he got into development on several projects was paid for it, sold the rights and never made anything again and that was kind of the horror story that really made me jaded. You know it's it's a complicated world and you either want to play by their game, the rules are not and either one is fine like they're fine doing what they do but the cool thing is there's a blurry world now where people can do things differently and maybe succeed on a higher level and it's taken 20 years to get here but I'm excited for like anybody else. Yeah I mean that there's also the sad reality when you sell your IP like sometimes if say you sell something to Netflix and it's not working it could just disappear it can just go away and then you don't have it and I've heard tons of just devastating stories of being like I worked for years on something that nobody can see. And there are some streamers or some more niche streamers I'm thinking of like Nebula and I'm thinking of 800 pound gorilla the comedy streamer just launched a streaming service where they have a different sort of rights share agreement with their creators where there is more retention of IP or at least a share in that from the creators which I think is going to become more and more of a trend particularly I hope so to be is leaning into creators I hope that's a thing but I do want to get getting back to kind of your point a little earlier I want to you at an interview recently and this quote really really stuck with me and you said what has been a great deliberating factor is that for me from day one I was always driven by making things outside the system but I still always sort of drawn back into the system in one way or another kind of hoping someone would make my journey easier. I think that's such a universal feeling for creators on any sense I mean I started in New York as in theater and entertainment wanting to be a TV writer moved into journalism and still it's it's something where I've I've worked for public radio I've worked for a number of different companies and I'm really proud of what I've made but there's still some moments where I'm just like damn nothing I have made truly outside of a few passion projects are mine therefore someone else what would your advice be to a creator who has that feeling of I think maybe beyond just make it for yourself like what's step one in doing that like how do you like get over the analysis paralysis and actually figure out how to do that yeah I mean this is a good question and it's so difficult because it's different for everybody and we all have bills to pay like our dream is to do what we do and get paid for it that's that's and that requires a paycheck and that requires having a boss and so I can't imagine a lot of other lead actresses are constantly on zoom eight hours a day looking at development of an RPG game and putting a graphic up and you know editing my own videos for socials and taking meetings for distribution like these are these are skill sets that I somehow am middling and everything and I kind of like it but another person who's just a straight actor it's it's a weird time because doing one thing is kind of not the avenue that you need to do to be empowered anymore and so you know on a fundamental level you have to make sure that what you're making is so important to you and so meaningful as a person that you'll do anything for it and that I think requires a lot of introspection and internal gratification work versus external because even if you no one sees what you made and it touches maybe one person the fact you made it is the great relief off your chest that you've done what you need to do as a as a person in your life and it doesn't need to be like an Oscar winner it just needs to be like I need to tell the story I need to make this thing like you have to be able to scratch the itch of being a true creator or otherwise you know just be be a commoditizer that's fine like you just have to choose your path and I think that's the one thing that where I got distracted a lot in success pulling me in directions and me following that it sort of tore me apart because I was going I wasn't clear on what I wanted from the steps so you have to be your own advocate you have to have an end goal you have to look at each piece of creation as a stepping stone and quite frankly what I would do is I would cultivate audience single person by single person whether it's a patreon whether it's a newsletter where it's a discord whether it's a church channel you know you have to start small and concentrated and that's and and they're going to be on a journey with you for 20 years right like the same people so yeah there's no magic wand but I will say that if you create things that are true to you and you have to get them out there and you don't just get them in some development hell which I've been in where you're just like I don't know why I started this this is not the story I wanted to tell you know I could do that for a paycheck but you gotta have your thing that you're doing to cultivate yourself as a creator this is why I hate AI so much because everybody's using it and it just makes me mad because you are just robbing yourself as a creator I mean if If you're looking at it just as volume and commodity, go with God. But if you want to truly know who you are as a person, you want to make something that will impact people. You can't base it on stealing everybody else's work and sort of repackaging it. You have to level up by the process of creating. And that's probably why I'm like, I'll go do a graphic novel, I'll do a video, I'll do this. I work in a lot of different venues because I want to see what's in me. I want to see what will uncover when I tackle something I've never done before. And that will make me a better artist in every single place. So you got to be your best friend first and then get your voice out there however you can. And the great thing is that there's tools to be empowered on so many levels that you don't have to have money for. After this movie, I would love to make an iPhone movie for as little money as possible. That would be my joy. But right now we're going to do this movie that's as good as possible and then I want to go small again because small is controllable. Or at least more so. Yeah. Well, I mean, you know, maybe you have some money left over from this Kickstarter if it keeps going on. We will not. We will not. Movies are so again, an hour of TV is like five to seven million dollars and more if you're like talking games of thrown. So at our 4.5 minus our manufacturing and stuff, we're still a low budget movie. It's going to be a struggle, but we're going to make a goddamn great movie. Yeah. That's kind of at the core of the plot to the guild from the star was a community. Exactly. It was called the game. Oh, okay. That makes sense. For some reason, again, happy accidents, you know, like I just was like, I think there's a problem with copyright. I shouldn't put my wild characters in here like I wrote in the script. Just ran them. And then through that, you know, I had the outfits. I made a hit video. We have new rent fair outfits. You know, we're going to maybe make another who knows. So again, sometimes the limitations create the opportunities. You just have to roll with it. And that's, I mean, that's the fun part of being a creator for me. All right. Here's a few here's some quick fire questions. All right. You can only play one game style for the rest of your life. Which are you choosing? Tabletop, RPG, RPGs or MMORPGs. Oh, only for the rest of my life. Tabletop because I wouldn't want to get my daughter addicted to MMOs like I was. And I would want to play with her. Another this or that question, you have one weekend. This is kind of a good timing because you just came from San Diego Comic Con. You have Jen Con coming up and you're making a movie about set at a rent fair. You have one weekend. You can choose one, a Comic Con or a rent fair. Which are you going to? Red fare. Red fare. It's everything's ham, ham made. I just love that. Artisans making their stuff. That's where my jam is. I've actually never been to a rent fair, which is strange for who I am and my general, just ethos running with your wife. You guys got to go. No, I need to go. Yeah, we would love it. We're theater kids. It's just. Oh, you're going to love. You got to be kidding me. It's so fun, man. Most underrated game in your opinion. I mean, the Ultima series is why I am who I am. I think it's been forgotten by mainstream. I want them to update it. I don't know. I know that. They're like the OG. They're the ones who inspired Larian Studios to do Divine Divinity, which then spurred, which then rubbed off to make Boulder's Gate 3. So Ultima was the ultimate. It had a philosophical core. They had the tenants, compassion, valor, all these things. It was so good as a child, I was addicted, and that's what got me into fantasy worlds. And ultimately this run for it. There's roots of them all in the Ultima series. There were seven games in man as a child. It was my one joy in life. One piece of media you're obsessed with right now, other than your own. Oh, gosh. I mean, I love, I love LitRPG. I've been reading LitRPG since 2021. One day I hope to write a book in there in that format because I love it. It is Brain Candy. It is basically watching someone leveling up in a book form. Dungeon Crowler Carl recently broke out. One of my favorite series is called Apocalypse Parenting, and they are getting a release. I think in the fall with it, tour books. So that author, I tried to hook her up wherever I could. And the fact that she got a deal is amazing. And so I would recommend that as a book series to pick up if you like Dungeon Crowler Carl. All right. And one last question. Who's one up and coming creator who you think is next blow up? Oh, boy, that's hard. I mean, for me, I'm obsessed with this girl named Ginny D. And her first cause, she's a cause player, but she also makes all sorts of content. I'm doing a show with her at Junkon. And she's just so adorable, but she makes everything, you know, she's a self starter. I just, I'm just impressed with anybody who's like, yeah, let me wear 15 hats. I'll do it. Cause I'm going to own my world. And you know, it's just, it's such an empowering thing that could exist in no other time, you know, especially in nerd and geek. There's so many. That's what I love about the genre, the genre of world I am in because a lot of nerds and geeks can make their way. They can own their own business. They can, it's the middle class. It's thriving in the nerd and geek world. It's not all owned by Marvel and Dungeons and Dragons and stuff. You have that. You also have people who are doing awesome stuff and remaining independent. And I wish that template would cross over to every genre because that just means more diversity, more people, you know, paving their own way. It's just that's the way it should be. Well, that's a great place to end it. Felicia Day, thanks so much for coming on most innovative companies. The Kickstarter is live now and the Guild movie will be coming somewhere near you in it 2027. Next year. We're going to be shooting. I'm hiring people. Yay! She's a thank you so much. That's all for today's episode. Make sure you subscribe to the Fast Company YouTube channel and leave a comment and a thumbs up on this video. If you liked this video, we've got another one you'll definitely like right over in the corner of the screen. Thanks so much for watching.