Transcript of Conan O’Brien Must Go: Season 3 Roundtable Discussion Part II

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Hey, Conan O'Brien here, and we are back with part 2. Very special 2-part series we're doing, behind-the-scenes look at Conan O'Brien Must Go season 3. And in season 3, I go to India, The Netherlands, Morocco, and the Philippines. And last week, we discussed India and the Netherlands, 2 shows that really made us happy. And today, we're going to talk about Morocco and the Philippines. These are all out now. Conan O'Brien Must Go, HBO. We're very happy with how it all came out. And I'm sitting here with 3 of the writer-producers that have done every travel show with me. And that is Mike Sweeney. Hello, Mike.

Hello.

Yep.

Can't be real. And Jesse Gaskell.

Hi.

Yes, very good. And, uh, hello. And, uh, uh, you know him as Dr. Arroyo, but we call him José Arroyo. José.

Hi, Conan.

And, um, yeah, pretty good. Uh, the only one here with a soul is Jesse. Uh, but I can't stress enough how hard these talented people work to make these shows really fun. It's a lot. It's very labor-intensive. And I know that anyone watching these shows just thinks, oh, that's Conan just improvising and having fun and being funny off the cuff. And 98% of the time, that's true. But you do— you work very—

I was expecting you commenting that.

Yeah, but you work very hard on that other 2%. No, the— Since the beginning, what's the first show we all did together?

Cuba.

It was Cuba. That's right. Cuba. And how many countries have we done now, if you count Conan Without Borders, plus then we changed to Conan O'Brien Must Go for HBO? So that's 25.

Yeah.

Gone to 25 countries. There are 25 nations where I'm no longer welcome.

Actually, 26 if you count the US.

Yeah. You know when you pass a bad check, they put your picture up on the register?

Yeah.

I'm at the— I'm at the cash register of every country that we visited. And how it works is, and what's really happened with Conan O'Brien Must Go, is it begins with a fan from another country calling into the podcast, Conan O'Brien Needs a Friend. I chat with them, and if you sense a certain kind of electricity, that resonates. It doesn't happen with everybody, but sometimes we notice, oh, I've just talked to You know, 2 really funny fans from Japan, and the next thing you know, we're going to head to Japan. Or, I've just talked to 2 really funny fans in India. Let's go. So, once we know we're going to go, Mike Sweeney, Jesse Gaskell, and José Arroyo drill down. They think a lot about the country. They try and— figure out what are the fun places we could see Conan going, what are kind of the fun activities that are, you know, uh, that this country's known for that Conan could participate in. And then you guys meet with me, I throw in some ideas, we all hash it out, and then we, uh, we take off. There's a whole other apparatus. There's Jeff Ross, our executive producer.

There's, uh, Jason Chelemi, who's been with me since early days of Late Night. He started as an intern. Yeah.

Yes.

Invaluable field producer, gets everything done.

He knows where the bodies are buried.

He knows where the bodies are buried. And he's the guy, if you say— if we are on the streets of Bangalore, and one of us says, it would be really funny if, in this moment, if Conan was able to hold up a cuckoo clock made of caramel.

Yes.

We say to Chelemi, Jason Chelemi, cuckoo clock? made of caramel? And he goes like, hold on a second.

I packed it.

He— no, he— yeah, yeah. Or he goes rushing off down an alley and comes back 20 minutes later with one.

Yeah.

And maybe he killed somebody, I don't know. But—

And he, he picks all our local producers, all our fixers.

Oh, and that's it. We should also— I didn't— I neglected to say that last time, but in all of these countries Jason finds— and he has a perfect batting average.

Unerring.

Unerring batting average.

Yes.

Finding these people who are so good at what they do. They live in-country, they're from that country, and they just know how things work. And so—

But also have good chemistry with us.

Yeah.

And they become— every time, we become friendly with them. It's very emotional when we leave these countries because we have been living with these people for a week. It always starts with them being very formal and polite when they meet me. I'm coming down the escalator in one of 25 countries, and I say hello to them, and they say, oh, hello. Hello, Mr. O'Brien. I go, no, no, no, it's Conan. And within 24 hours, they're making fun of me.

Yeah.

And then we're all joking around. We have inside jokes. And at the end, we're all crying and hugging each other. Yeah. It's such a—

Drunk kickboxing.

Sometimes they're in the show, like in the Philippines.

Yes, yes. Well, let's get into it. Let's start with Morocco because that is the 3rd show. And the reason we're having these special podcast episodes is because all 4 are out now. And so, season 3 complete is available on HBO, Conan O'Brien Must Go. And Morocco, let's talk about it because—

It's funny you mentioned— Jason Chilemi, right before we started this podcast, he came in and he said, Morocco is wildly popular on HBO. It's like the one that's really kicking it off.

Why is that, do you think?

It's a completely different look, for one. Two, you have Sona with you on this episode.

The road trip element, I think, is really fun.

And the chemistry between the two of you is so strong. It just builds laughter.

You should have her on your podcast.

I mean...

Yeah, but she's such a wallflower.

No, no, you gotta draw her out.

She's so quiet.

Yes, she's, um, so—

but, uh, well, go ahead, Mike. Yeah.

Oh, I was gonna say my favorite thing about this episode. When we were planning it, we had to plan it quickly after the Oscars, and we're like, oh, it'd be great to have Sona to, you know, for different looks, Sona come to Morocco. That would be great. And we're like, we're like, What?

We need an organic reason. There needs to be an organic reason for Sona to come.

Jesse remembered her talking about—

On the podcast.

Yes. About argan oil for her hair.

Yes. No, on the podcast, Sona—

A lady knows.

On the podcast, Sona—

A lady recognized game. Yeah.

Sona had talked about needing argan oil for her hair, which— and, and it, it, you know, you have to get it from Morocco. And she had gone on about it, and then we thought, oh, wait a minute. This is already in the ether. She has talked about this. So, that became a quest. Sona's here to get her argon oil. And then, obviously, I adore Sona, and she is such a good, natural improviser. I mean, I hired her to be my assistant. I didn't know. That's wild. And it just turned out That she was one of the funniest natural improvisers, and also has a completely different energy, background, point of view from me. And she's—

A good foil for you.

She is just the best. So, having Sona along was magic. And then, these sweeping desert shots. We're in, like, a part of the Sahara Desert. And it looks like a David Lean movie. It looks like Lawrence of Arabia.

It doesn't— yeah, I mean, so often we're used to seeing shots, especially in LA, where it's like, oh, I know where they went. They went to Barstow for that.

Oh, right. Or Lancaster. Yeah.

And this is like, you can't recreate that anywhere.

They went to Pasadena for that. I can see Gorley's house.

The little Sahara neighborhood of LA.

Little Sahara. Oh, they have such good restaurants there. But yeah, so, for all the reasons, Morocco is so iconic. And the fans that we talked to in Morocco were great. And we knew, okay, they'll be good to talk to. We'll have a good connection with them.

Yassir was the guy in Casablanca who admitted to you that he had never seen the movie Casablanca.

Which enraged me. Enraged you? Like, we're going to Morocco! Yeah, we got to get this guy to watch it. And yeah, that was brilliant. And also, this is not in the show, but speaking of Casablanca and the movie, there was some snafu at the airport, and we had to fly out of Casablanca, but there was a major bureaucratic holdup, and we needed to get on this plane to fly to a different part of Morocco.

Yes.

And they— we couldn't get on the plane, and we were trapped in this airport for a bunch of hours. You guys were playing, like, Pictionary.

Yes!

And everyone's— you know, we're walking around, we're stuck in this airport, and then I realized the plot of Casablanca is people trying to fly out of Casablanca, but they can't. So, you know, real quick, I need my papers! You know, no one can get out of Casablanca. They're trapped. And so, I kept going up to the customs guys, and trying to say, isn't this kind of funny? 'Cause the plot of Casablanca is that they can't get out of Casablanca on a plane, and that's the whole thing. And now I'm stuck in Casablanca. These guys hadn't seen Casablanca.

No, no.

Didn't think I was funny. And they may be right about that. And so, the whole thing was an absurdity. But that was a little behind-the-scenes story. We were in vans driving We came ready to shoot with GoPros in the van. So, you really see Sona and I just tooling around the desert.

In a vintage Land Rover, I think.

Yeah.

Or—

A Defender? Or is that the—

Yeah, one of those sort of classic-looking desert vehicles.

Yeah. Which, by the way, and this is not that— it just was an older truck. It was maybe a 25, 30-year-old truck. 40-year-old, 70, 100-year-old truck. Um, and it, it drove for shit. I mean, it just, it was, it was—

That's interesting.

And it was also way too small for you. I mean, it—

Oh, I didn't fit. My legs were all, uh, tied up in pretzels. But also the amount of play in the steering wheel was, um, suicidal. Yeah, it was suicidal. But that's all in the, that's all in the episode.

And I think, I think the owner was getting mad you were badmouthing this beautiful vehicle. Yeah, well, it's like, what?

Whoa, whoa, whoa.

He doesn't know how to drive it.

Yeah, yeah. He was like, that's not how you drive it.

He's a classic.

Yeah.

He's like, no, no, no, sir, I assure you, this is a piece of shit.

Yeah, yeah.

Thank God there was a—

But you getting a sand bath with Sona, being like, allowing yourself— this is where you're like the Chuck Yeager of comedy. You just put yourself in any situation where you think there might be a laugh below. You know?

It's a need. It's a neediness.

It's such a neediness. But you've done it in almost every country you've gone to. You're like—

We're fracking for laughs.

You were fracking.

Yeah.

And you'll do anything. And at one point, you're just being buried in this Sahara desert.

And it's really hot. The sand is very, very— you know when you step on a— you're on a super hot beach?

Yes.

How it burns your feet? And you imagine shovels full of that temperature sand being thrown on your bare chest. To your neck. Yeah. But again, I'm thinking, well, this could look funny.

Yes.

So, and I can go get an outer layer of skin someplace else.

Anywhere else. Yes.

No, if someone can demonstrate to me that something's funny, I will do it, and then we'll sort it out with surgeries later. That's my attitude. So, uh, Sweeney, uh, what am I forgetting about Morocco? Because there's so much, it's hard to keep track of it all.

There is great drama. There are these incredible shots of you and Sona on camels.

Yes.

against the really large dunes. And we got delayed getting— we wanted to shoot right before sunset, and we got delayed getting there. And time is running out. And we pull up. There are— that spot, there are other people on one side riding camels. So we're like, OK, we're going to the left.

We're on a travel show.

Yeah, I was going to say.

Right. Ivo Longoria was there.

We're on a travel show. Stanley Tucci was there. It's just a backed-up travel show.

It's golden hour.

So, we had to literally run up to the dune and get the camels up there. And you guys got on the camels just in time.

Yep.

And we shot it just before the sunset.

And you got that spectacular light.

Yes.

Yes.

Yeah, it's amazing.

And that's in the show, where the shadows of the camels, you see them against the sand. It's very dramatic.

Very cool. Yeah.

But that was like the country part. And then you went into the souk, into Marrakesh.

Yep. Yeah.

And you and Sona were finding comedy in the stalls of the markets.

Oh, there was— you'll always find people.

Yes.

You'll always find people. There was a guy there who was very politically incorrect.

Oh, yes.

Some of his comments.

Yes.

And to the point where I was almost choking. I was like, how is this guy not in jail? But I leave that to the authorities. And yeah, the, the, again, go ahead.

Oh, you did a portrait with a famous Moroccan artist, Hassan Hajjaj, which was amazing. That was fun.

He has shot Billie Eilish. He's, I mean, he, he's had taken so many iconic photographs of huge stars and then he decided to, to try Conan O'Brien. It was, that was really fun.

Yes.

It was really cool to watch. Yeah, it was just sort of in an alley behind his studio, but he makes it look unique with all these Moroccan textiles that he incorporates into his work.

And he got you in the mood by having a live music player there playing the ghumbri or something like that. Yeah.

Yeah.

Yeah. And it kind of puts you in a trance.

Of course.

Exactly.

Yeah.

It was really something.

Again, we had this Magical experience. Great fixers, great locals helping us out.

Um, great food.

Oh, food there is spectacular. Yeah, yeah. We had pizza. We had General Tso's chicken. Uh, I love— we go to these countries and we just only eat pizza. The food in Morocco, they make a pizza margherita.

It's on a pita.

Yeah. Marrakesh pizza.

Let's transition now to the Philippines, because the Philippines is the final episode. And again, it is out now, and all 4 are out. Philippines. We've been wanting to go to the Philippines a while because somehow, and Mike, you might remember how this happened, we became aware that for reasons that we don't completely understand, we have a big fan base in the Philippines.

A giant, giant fan base. One thing is your old late night show was broadcast there, so you had a lot of older fans and then you had a lot of younger fans from you YouTube clips. And so we've got, just for Conan O'Brien, uh, Needs a Fan, we get so a giant amount of fans from the Philippines writing in. And then when we started interviewing them, each one of them, they were so dynamic.

Yeah, it was hard to choose.

Smart, funny, sweet. We were just like, we have to go to the Philippines. It was just kind of, we have to go.

Filipinos are so— are very funny. Great sense of humor and irreverent. And they like— they seem to love silliness and irreverence. And they— one of the things that was really fun about going— so we're in Manila, we're staying in Manila at this hotel.

Right.

And every day I'd come downstairs and the lobby would be filled with people who wanted to say hello and maybe have me sign something. And some of them had made gifts, and it was a love-in. I'd come every single day.

It was surreal.

Every single day, I would go down to the lobby, and sometimes I'd say, I really need to get my coffee first. Or I'd do it for a while, and then I'd say, I just gotta go get some coffee. And I'd go into the restaurant to get some— just some coffee. And they would come with me and sit down at the banquette. And I'd be like, okay. But it was a great— it was just a great vibe.

Yes.

Yes.

And they knew— I mean, this was surreal for me because it's not like I'm a forward-facing part of the show, but they knew all of our names.

They did.

And they wanted autographs from all of us. Oh, they knew.

They were like, oh my God, it's Jeff Ross.

Yeah.

And then, do you want some soup, Jeff? They know little side things. Little bits that I was doing, uh, they would be like, oh my God, it's, it's Blay!

Blay!

Blay, right? They, they all knew you from, from Clueless Gamer.

It was incredible.

Yes.

So the outpouring of love was incredible in the Philippines.

Really good.

Yeah. Yeah. And, um, can't say enough about how gratifying that was and how spectacular they were. And I have to say, one of my— one of the fans who had called in was this gentleman who was very interested in becoming— he's a really good martial artist.

Mustafa Mustafa.

Mustafa Mustafa. The name's so good, it's so nice, they named him twice. Mustafa Mustafa. And he was really funny. I mean, that's one of those conversations I had on the podcast where 30 seconds into the conversation, I said, I am going to go to the Philippines and hang out with Mustafa Mustafa. So he was great. And then he wanted to be an action star, and I was like, I will make you an action star. So we actually— and again, great fixers, great helpers, great research.

And Gurley were the fixers, and they were characters themselves.

These 2 women that were so funny, we ended up putting them in the show. And then they make it into the promo for the show.

They were clearly a comedy—

they'd been a comedy team.

They're a comedy team.

I don't care what anyone says. They don't know it, but they're a comedy team. So they helped us arrange to get myself and Mustafa Mustafa on this local procedural action show. Yeah.

Police show.

And so—

Sangang Dickett.

Yeah.

I think it was that.

Okay, let's just watch it.

The line.

Okay. Sorry.

That's the name of the show.

Sangang Dickett.

Oh, okay.

I'm sorry. I thought you finally cracked. Yeah. So they— and that was fun because, again, anytime I get to wear a mustache or wear a shirt that's open to my navel and be a dick, which I get to do in my private life all the time, but whenever I get to do that in front of a camera, I'm just so happy. And then Mustafa Mustafa was great. We did a— and so we got to be in this show together and—

Mm-hmm.

Again, our thanks to the producers and writers of that show.

Yes.

Because I love hanging out with TV writers, 'cause that's how I got started. And so, the next thing I know, I'm talking to the woman that wrote the episode and the guy that wrote the episode, and they were just like, they're fantastic.

They're just like us.

Yeah.

No, you know what's so funny? We started— I said, like—

A lot of complaints.

Yeah, we started just bitching about some of the things about being a comedy writer. Goddamn actors.

Didn't read the line right.

Yeah.

Yeah.

And I was up all night.

and they just ad-libbed through that line that I worked really hard on. So, it was nice to know that wherever you go, there you are.

Yeah.

That's true.

But we had— There was another fan.

The Philippines has some of my favorite—

You had 3 fans. You had Mustafa, you had Tricia, and then you had Charles. And Tricia, with her husband, ran a hotel in the outskirts outside of Manila. And you offered to help them drum up business for the hotel.

Yep. And I basically got to reprise the Jerry Lewis role in The Bellboy. Again, anytime I'm given the slightest bit of authority, and I get to wear a suit— And a costume. A costume and a hat, and I'm given a tiny bit of authority, I become worst guy ever. It was so much— it was such a delight. And I was so impressed by the culture, the people. And we found people along the way. We found a balut salesman who agreed to play along with us. He had a great— Balut is a— Describe what balut is so I don't—

Balut is a—

You ate it.

I actually— actually, yeah. Erin Blair and I wound up eating balut, which is a duck egg. that has been fertilized and is actually the— and the duck has formed a little bit, and then they steam it, and then you eat it, and you eat the whole thing.

It's a little crunchy because there's a little bit of—

Well, sure.

Bones and—

Little bones and cartilage.

And the beak.

And the beak.

And the beak is in there. But it's, you know, it's actually widely popular throughout Southeast Asia. There's balut versions in Vietnam and other countries. Yeah.

No, it's a— people love— they go crazy for balut.

It's a popular street food, and you found a street and you had a great conversation with them.

And then things there go kind of off the rails, where I end up having an argument with a duck.

A metaphysical discussion with a duck?

Okay, listen, let's— I'm sorry, am I giving away a little bit? A surprise appearance by Dr. Arroyo.

Well, sure, sure. Stay tuned.

So many different adventures.

This one went off the rails in a lot of places.

It's a beautiful way.

There's also the MacArthur Suite. General MacArthur.

had a suite when General MacArthur was in charge of the Philippines. Actually, he lived there before the war. He lived there— I believe he returned after the war. Yeah.

He said he would return and he did.

He did return. But yes, I got to be in that suite. And then I don't know what happened.

You dressed up as MacArthur.

I dressed up as MacArthur.

You had the pipe and the cap.

And then things got X-rated at one point when I'm lying on—

Yeah, we realize when you lie down, like, some things go to another level. Usually there's something—

I am so— I am so repressed that when I lie down, all this sexuality comes out of my pores. But it's not really sexuality. I don't know what it is. It's— it's some—

No one's aroused.

Why do we shoot you in the upright position?

You should only be lying down.

No, the Philippines has a lot of great It's got a lot of— again, we're finding that when we go to these different countries, the country takes over.

Yes.

It's the people and the culture and the humidity in the air and the smell of the food takes over, and that becomes the improv partner. And then we can plan so much. And you guys work really hard. at planning as much as possible. And then it's not unlike a good quarterback. You go in with a plan, and then 80% of that time, that plan goes to shit and you need to quickly pivot.

Yeah.

And so the country takes over at some point, and sometimes all the planned stuff works really well. Sometimes we show up and we realize immediately, Well, we planned to do this, but that's not happening. But hey, what's that over there? Who's that guy? So, anything can change at any moment.

In every episode, there were things—

That's what makes it so much fun, yeah.

That we had to drop for one reason or another, and we found something, or you discovered something.

It's always the most exciting part of any show is when things go— when we have to do that pivot. We have to do the pivot.

Yeah.

It's so funny because I found out Yes, there are— people talk about, oh, like, my favorite Late Night with Conan O'Brien clip, or Conan clip from TBS, whatever. Yes, there's a lot of good stuff that writers worked really hard on, that they planned, and that was mapped out, and it's great. And then, I also am aware that so many great moments are accidents. Something kind of went wrong.

Yes.

But we were able to— you know, go with that.

Incorporate it.

'Cause it's really fun. And people have a sixth sense. Audiences, fans, anyone has a sixth sense of when something is organic. And I think you can tell just from looking at internet content.

Yes.

When people are faking it, it's like drinking wine that's like, it's just flat.

It's like, oh, this is just a sponsored—

Yeah, yeah, whatever. Exactly. But when you see something real, Humans know it.

Yeah.

The way, like, a dog can sense danger, or like an earthquake's coming, humans know when—

AI could never do what we do.

Actually, this has all been AI. Well, those are the shows. That wraps up our 2-part discussion of these travel shows. It's called Conan O'Brien Must Go. And I'm very grateful to my—

Season 3 currently streaming on HBO.

Yeah.

This season is India, Netherlands, Morocco, Philippines. There are 2 other seasons. I'm very proud of these shows and grateful to you guys for working so hard and being so talented, and the whole team. I mean, everybody— it is a labor of love, and so many people are involved. But my favorite thing about these shows is that— and I know it sounds corny, but I do believe— that we make a lot of friends when we go to these places. And we— there's a— we go in with a lot of goodwill, and then we're usually— we're just inevitably always met by these wonderful people with great energy and enthusiasm. And so it's just a joy all around.

It's the best thing.

Right.

I can't imagine a better job. I think penicillin's the best thing. Like any kind of really effective antibiotic. But, you know, I guess that's being challenged these days. What do I know? Anyway, check those shows out. Mike Sweeney, José Arroyo, Jessie Gaskell. Of course, shout out to Bley too, who comes on every show. Jeff Ross, Jason Schelemy. Jason Schelemy, Scott Chronic, and his costumes. Scott Chronic coming up with crazy outfits. And I'm sure we're forgetting people, but I want to forget some people.

Our crew.

Oh my God!

That's right.

What the hell?

Emily.

Emily and Brenda.

We have this Amazon, this crew of Amazons. Let's discuss them briefly because we have to.

We do. Yeah, we have an all-woman crew that I love. I mean, you don't talk about it that much, but I think, feel like we should because it's unique. And they're all so good at their jobs. They chase after you, and Brenda gets backwards on a horse, and they're all—

Brenda's this camerawoman who, no matter what we're doing, she's very athletic. She will grab this camera that weighs more than I do, and she will jump on a horse and ride it backwards so that she's in front of me.

Yeah.

She does stuff like that.

She did it underwater.

She went underwater in the Philippines.

She's scuba certified and will film you underwater. Yeah. Brenda Zuniga.

The last scene of the Philippines show, all the entire crew just leapt into the water to shoot it.

Yeah. And then Emily Topper.

Who is amazing.

Emily Topper.

She's incredible.

Emily Topper is, you know, she was the first person we found in this crew, and she's spectacular.

She's our director of photography.

She's the director of photography, and she is just— I've never seen her once get rattled.

Unflappable.

And guess what? All of us get rattled.

All of us.

I've had to slap José countless times. Jose has slapped Mike. Mike has slapped Jesse. We're all slapping each other like the Three Stooges and losing our heads.

She never gets diarrhea. She doesn't. It's amazing.

You know what? That was the first thing on her resume. Yeah.

She's never—

Can't get diarrhea.

She has this skill.

No, she's absolutely incredible. And then—

And then Emily Strong is the last one.

Oh my God. Emily Strong does sound. I'm yelling at her all the time 'cause I never want to be Mike. And I have to be mic'd, and that is her job to mic me. And every time she's putting a mic on me, I'm saying, do I have to wear a mic? Because I thrash around so much. And she's like, yeah, you have to wear a mic, idiot.

But whether you're in the winds of the desert or in a studio—

They were in their sand bath being buried, and she's off to the side in long sleeves and pants, and she's holding the boom mic, and she's laid down with— It's exactly 100 degrees. Yes. Equipment.

Yeah. No, they're— we are— I am so glad that we stopped at the very end of this episode to credit the people who— you know, it's a cliché to say, we couldn't do it without. If we didn't have these 3 women shooting the show and recording the sound, there'd be no show. And they are just great souls. They are great souls. And good hands. And good hands.

While we're still here, I gotta mention our editor, Matt Shaw.

No! No editing!

I'm sorry.

Should be done.

And our graphic artist, Chris Weller.

Yes. Shaw and Weller are amazing. I just—

Brad Rowland, the other editor.

No!

Come on, let's go. What is it, mission creep?

These people are integral parts of the show. Excuse me. William Morris Endeavor. William Morris Endeavor. They've done a great job. Gavin Pallone was the one that got me that peanut butter commercial. No.

Staff at HBO.

No, no, no. I mean, first of all, anyone who knows anything about television production knows that, especially, especially, especially in comedy, editing. Editing, editing, editing. And I know you guys work very hard on the edits, but this group, Shah and co., they do such an amazing job.

Yeah, yeah, yeah.

Such an amazing job.

The instincts are perfect. And he's so fast.

And fast.

Yes.

Um, I just want to mention that my brother Neil has done nothing to help me.

Okay.

And I won't even watch them. I don't even think he watches them.

He's loitering.

No, he— you know what? He doesn't have— he doesn't have HBO. Do you know that? My brother Neil, who's watched every one of my— he doesn't have HBO. And I keep saying to him, like, hey, Neil, Neil, I'll get you HBO. And he's like, I'm good. I'm good. Don't you want to see my shows? He said, I'll catch them later. Catch them later?

How?

That's my brother.

Anyway, we are not thanking him. Thanks to everyone. If you're listening, check out a show. I think you will— or check out all 4 and then watch them again. They're really fun, and I hope you agree.

All right.

Peace out, Tupac.

Bye.

Bye.

Conan O'Brien Needs a Fan, with Conan O'Brien, Sona Movsesian, and Matt Gourley. Produced by me, Matt Gourley. Executive produced by Adam Sachs, Jeff Ross, and Nick Liao. Incidental music by Jimmy Vivino.

Take it away, Jimmy.

Supervising producer, Erin Blaird. Associate talent producer, Jennifer samples. Associate producers Sean Doherty and Lisa Berm. Engineering by Eduardo Perez. Get 3 free months of SiriusXM when you sign up at siriusxm.com/conan. Please rate, review, and subscribe to Conan O'Brien Needs a Fan wherever fine podcasts are downloaded.