Caspar Nadaud, founder of theatrical distribution company Piece of Magic Entertainment, joins Andy, Emily, and Jo to unpack exactly how The Amazing Digital Circus went from a YouTube finale to a global cinema event — and what it reveals about the new relationship between creators, fandoms, and the big screen. Piece of Magic handled European distribution and helped take the Glitch-produced finale to roughly $14 million across 38 markets, with the film's combined US, Canada, and European box office likely exceeding $50 million once Latin America and Asia are factored in.

Caspar walks through the mechanics in detail: why engagement, not follower count, is the real predictor of cinema success; why scarcity (limited cinemas, a tight release window) actually amplifies fandom rather than suppressing it; and why The Amazing Digital Circus's event-model release strategy — concentrating nearly all box office into one mobilised weekend — differed sharply from the slower, word-of-mouth build of Markiplier's Iron Lung. He's candid about the projects that didn't work, where huge YouTube numbers didn't translate to engaged, mobilisable audiences, and about how Piece of Magic is still learning to read which fandoms will actually show up.

The conversation also covers the changing power dynamic between distributors and creators — a genuine partnership model rather than the old gatekeeper relationship — and closes with a tease of Piece of Magic's next major announcement, plus a broader reflection on cinema's surprising post-pandemic resurgence, driven in large part by Gen Z's appetite for communal, dressed-up, FOMO-driven theatrical moments.

Well, hello and welcome to another episode of the Kids Media Club podcast.

I am Andy Williams, I'm Emily Horgan and Jo Redfern.

We have a guest.

We do have a guest today and we are thrilled to welcome Casper Nardo to the podcast.

He is from Piece of Magic Entertainment, who were distributors, theatrical distribution partners for the Amazing Digital Circus.

And if you haven't heard about the success of the Amazing Digital Circus in cinemas, then where have you been hiding?

Because their feature, which comprised the last two episodes of the YouTube series from Indie studio Glitch, completely blew everybody away with its success.

So welcome Casper.

We can't wait to dig into this with you.

Thanks for having me.

You're most welcome.

So give us a little bit of background on you, Piece of Magic and how you got involved with the behemoth that the Amazing Digital Circus became recently.

Oh, so next year will be our 10th year anniversary.

So it's been now a while, I must say.

So theatrical is this business, basically our core activity, theatrical distribution.

We have a strand of a lot of different types of content which can be documentaries, animation, preschool gaming.

And now also we ventured into this content creator content which we rolled out across Europe.

So we've been doing that for quite some time.

And we had the luck to work with Markiplier on his film Iron Lung, which is of course also a prime example of a content creator, YouTube content creator who found this cinema.

And on the back of that, I think we got this opportunity to work with Glitch on the Amazing Digital Circus, which was a beautiful ride, great success.

I must say that more than we expected.

But I think we will talk about that more during this podcast because you know, there's still a lot of learnings.

But I think it's a good starting point for sure.

So the just a recap of the box office.

So the latest I could find was that the Amazing Digital Circus, it was initially slated for quite a limited run, that was then extended and Internationally it took 13 million, which then combined with the domestic in the US and Canada, it was over 36 million.

I think it was at box office, yes.

I mean, so you're talking now about dollars.

So in Europe, the markets that we oversaw, 38 markets, we did just over $14 million.

The US 27.

But that is not taking into account Latin America and Asia, which I don't have those numbers at the moment.

But I would say that we Are, I mean without having the figures, but I could imagine that it's well above 50 million which is an incredible result.

And you mentioned about the creator led phenomenon of the amazing digital circus and iron lung.

Do you think those are anomalies or do you think we're at a point where we're seeing a real shift in the relationship between cinemas and a new kind of trend that's moving forward that's more of a creator led IP than the traditional studios?

Well, I would say that hopefully this is a starting point of this generation of YouTube content creators who find their way through the cinema.

And I think that the examples that you just mentioned, let's of course talk also about obsessions and backbones.

Those are prime examples of how success can look like and know it makes sense that those people that have used YouTube as a first platform to push out their content and to build audiences that at a certain moment they, the cinema is sort of the next step.

Now there's a lot of, still a lot of learnings here and you know it's very important to say that a very big YouTube following does absolutely not mean that it is box office success.

But I'm sure there's going to be a trend, I mean everyone is talking about it, the industry, I mean it's a hot topic at the moment of course, but it's a logical path, I would say whereby the cinema, the theatrical becomes an additional outlet.

It will not take it over but it's just an additional outlet in their ecosystem.

Yeah, yeah.

What about, so why do you think cinema works for this, for as a creator outlet, you know what I mean?

Because we've seen, we've seen some, we've seen creators go to streaming like you know, create streaming shows and stuff like that.

But I'd love to know what you think about why cinema seems to really be working on this.

Well, I think the answer would be, and that would not only be for this type of content but for all content is that obviously you know, it's cinema create something unique and unique experience.

I'm in this business because that's what I believe in, that's my passion.

So you know that.

But that's I think really true.

What's interesting here is that the amazing digital circus, for example, all those views are digital natives.

So we all in this call are sort of adapters but they grew up with it.

But they do absolutely see the value of coming together in a cinema.

It's something that they can't experience at home.

And this is also something that I find fascinating in the comments for the Amazing Digital Circle, but also for Iron Long, how for a lot of people it's been a very long time or even the first time that people go to the cinema.

And it is because I think they have this sense of exclusivity, going there to see something what others don't see.

And I think that the content creators are seeing the cinema also a platform where they can offer their fan base something unique.

You know, with Amazing Digital Circus, it was the last episode and the window was actually very short, only two weeks before it went on YouTube.

But still they were able to build momentum and to create a sort of a formal moment for that fan base.

And I think, you know, with those elements, all those elements together, the proposition of cinema is clearly unique.

That FOMO moment is interesting, isn't it?

Because it feels to me like the FOMO moment is something that they really needed to experience at that time.

It was a timing thing, this was the last episode, but it doesn't necessarily mean that they won't then go and watch it again on YouTube.

I mean, YouTube being the original home and the place where that fandom grew and was, was nurtured.

I'm interested to hear from you as someone who's been doing this for 10 years.

It used to be that the factors that drove success in cinemas were kind of star power and marketing campaign.

Neither Ian Long nor Amazing Digital Circus have the traditional factors.

You know, they had fandom and they had groups that really, really wanted to experience this together.

How have you seen that shift in your time as a piece of magic?

For sure, a very interesting development.

And I would like to say one thing is that it needs to be said, which is very interesting, is that the ninth episode of the series which we put into cinemas two weeks after it is about the amazing digital circus two weeks after on YouTube.

And actually it was the best viewed episodes in history.

So it shows simply how the one enforced the other.

So I think that is a really interesting thing.

It's what you see with the Amazing Digital Circus and with Iron Long is.

And for any.

I mean, we also did a project with Taylor Swift, for example.

You talk also about here fandom, it's slightly different.

But what they all have in common is a in baked, very dedicated fan base.

You know, those YouTube content creators, the moment that they post their first content on the platform, they basically are in the act of distribution.

So they are basically starting to cultivate that audience and so they know that audience extremely well.

So the moment that you have their commitment from the content creators and also the moment that they are actually saying you need to go to the cinema or watch it in the cinema, I think you immediately can reach all that audience because they're extremely dedicated.

And it also goes with massive speed because you can tap into a global audience immediately.

The moment that we did the announcement for the amazing Digital Circus, you know, you don't do this on a territory by territory basis.

You immediately have the whole world that is basically being communicated at, which means that as a distributor you have to be very quick to be able to answer that demand because they are incredibly vocal, the fan base and they are part of the success.

Also what I find interesting is that the moment when we started sell this into cinemas and we had the same with Arian Long is that actually the exhibitors were very relieved because they said to us, well, we've been getting emails and phone calls about us showing this content for quite some time now.

Finally we know where to get it.

So the fan base are part of this whole, you know, activity.

And that is it comes to the essence of, you know, having a very engaged audience and not having reach is one thing.

The amount of followers you have, it's all about how engaged are they.

And you know, when Glitch pushed their trailer out, within 16 hours there were 12 million, more than 12 million views.

It was the second biggest trending trailer online.

So that's quite incredible globally.

But of those, There were almost 140,000 comments on that YouTube trailer, which shows you how engaged it is.

If you go more to our level in Europe, we did a collab post with them on their European Instagram page which has 2 million followers there.

Within 24 hours we had 15,000 comments.

So that is not a like or a share.

That's actually the fan base creating content and writing down commenting.

Again, that are all indicators that you have an incredibly dedicated fan base.

And I think, you know, kudos to those creators that have been able to create that.

I mean, that's goldust.

I mean that's really difficult to replicate.

You would need a lot of budget for that, that's for sure.

Absolutely.

That what I find interesting with that as well is that there's feels like there's a causal relationship between the fan base and their passion of the fan base.

But also the fact that cinema, cinema isn't kind of doesn't have an infinite supply in the same way that YouTube does.

They, they need to kind of mobilize and, and express themselves to make sure that scenery is going to be showing that film that they really want to see.

In some ways that resistance helps because it gives the fans something to strive for.

Really.

Yes.

And.

Yeah.

And that.

And it also give.

It also bakes in that FOMO and that exclusivity because.

Because they're only going to be a number of cinemas that you can see it in.

There are only going to be a number of seats, so.

So actually the fact that there's not an infinite supply is part of the appeal, really.

Exactly.

And also.

Yes.

And also the way how you distribute it.

For the Amazing Digital Circus, we went very much on the event model, so, meaning we focus on one weekend to create really this awareness, this buildup.

We did screenings after we called them on course, but that only contributed around 5% of the box office.

So I can say that that that was the right approach, making sure that that first weekend you mobilize everyone and that in your whole communication.

That's the case with ironlung.

It was different.

That's where we actually laid out a traditional release.

We also had no visibility on when it would sort of be online, so we had, so to speak, a longer window.

And that's where we sort of had more sort of a traditional approach where we had weekly holdovers.

And the great thing about Iron Long also is that built organically, you know, with Amazing Digital Circus, you had this massive hit on that first weekend with Very Long.

It actually built organically.

And I think what is great about that is with the genre, with this horror, we could reach actually wider audience than just a fan base.

Also people that are just interested in the genre and that you need word of mouth and you need a longer time, actually to really be able to reach that audience.

So I think it's easy for us to sit here in both of these success cases and be like, there we go.

It was a win.

But I'd love to hear more about where you were at before this, in that Risk phase, where you're looking at these things and you're going, I'm going to take this risk.

I think this might work.

And I think this is why I think this might work.

What brought you to kind of looking at these IP in this way?

Because it's, you know, as I said, we can all sit here relieved and happy that there's success, but there is a moment there where you're like, this is where the risk comes in.

Talk to us about what that felt like.

Absolutely.

And, you know, we've had those.

I mean, we talk now about the successes.

You know, I can also talk to you about many, you know, many, you know, successful areas, but the learnings are too right.

It's absolute part of it.

I mean, if you look at what we've been doing for the last sort of almost 10 years is that we focus a lot on fandoms or sort of a sort of specific target audiences and being able to monitor them.

So if you look at all our contents that we do, we always have a very designated audience.

So if you look at the documentaries, there's always.

We did a documentary on Jeff Buckley.

We know where to look and so all type of content, you see this.

So we believe in the strength of that fan base and we believe that if we can sort of mobilize them, this could be a success.

I think what's interesting here, because with a documentary you still go to the traditional.

You still have a traditional approach with publicity, marketing and, you know, it's just sort of how you would normally do it, but with this, it's completely different.

I think what we're learning here is what does fan base mean and what is the engagement?

What are the engagement levels?

And I think that's sort of where we are mitigating that risk.

And we've had projects, I'm not going to name them where it wasn't a success, where we had, on paper, it looked great, massive YouTube followers.

But I think we underestimated how little engagement there was, basically.

And I think that's what we are getting better and better.

And there are still.

This is now a lot of people are talking about this and we'll see more of those.

And I think there will be also failures in the future in the sense of.

Because there's still a lot of learning.

I think those fan bases all really act differently.

And I think that's where the challenge is.

How can you basically read the engagement with Amazing Digital Circus and with Iron Lung?

I think it was apparent to us that that engagement was strong.

And the moment that an inhibitor is telling us, hey, we're getting emails and knocks on the door, that people want to see this not only in one market but in many markets, then we know there is something there.

But it's.

And also I think what also should be said, and we often forget talking about this, is the word quality, because it's often this idea of YouTube, specifically YouTube content creators, that there's a lack of quality, while the opposite is true.

I think with amazing digital Service, also with IronLong and of backrooms, et cetera, you have really quality content.

And that would be our first point of discussion what is it and how does it look like and what does it mean?

Not sure if you saw it in Visual Circus, but it is a super original, super fun content.

So we knew, I mean that's the starting point.

Otherwise you would also not be able to amass such a fan base.

Yeah, you've spoken about certain traits, particularly across Meijing, Digital Circus and Iron Lung and that being the number of comments, how willing those fans were to mobilize.

But you've also had releases across preschool and gaming, so are there any other shared traits that really then set your spider senses going?

You know this is going to work?

Well, it's always a combination of multiple things.

It's, you know, first of all, what is the audience?

How can I find that audience?

What are we actually proposing, you know, what's the content then?

The timing of it.

Very important.

Specifically when you look at preschool.

And so those are the elements that you're looking at.

I think that at the end what we need to put forward is that the cinema provides an exclusive experience and that's what we need to try to put together in our campaign when we communicate with the audiences, with the gaming, which is an interesting example, which we always broadcast the final of the League of Legends finals, the Worlds, basically.

And you can watch this for free on Glitch.

But still people do go to the cinema to watch this.

Why?

Because we are pushing this communal experience.

The slogan is also experienced together.

And on top of that we have merchandising and we have digital tokens, et cetera, to make it even more interesting.

So it's finding the right tools to put forward this exclusive and this sort of unique experience that the cinema can give.

And that's interesting.

Do you feel like there's going to be a lot of different areas and formats where people typically hadn't gone to the cinema to see those, but they'll go more and more for that communal experience in a way that it's not something that they'd ordinarily think of as being a cinema experience.

They mentioned gaming.

I mean, just having kind of a YouTube show that's kind of put together for a feature length episode.

That's a very different format than you'd be used to seeing at cinemas.

So do you think that whole thing has been blown wide open in terms of the different things people could expect to see at the cinema now?

Well, I mean, for sure the cinema is not anymore a place where you just watch film.

I mean, the palette of different content that is on offer is very wide and it needs to be said that the exhibit is also really pushing that and are great partners in that to try new things.

Obviously the brand and butter remains at the moment, you know, the big temple Hollywood fair.

But you know the types of content will be widened.

I think that a good example are sort of, I mean with Glitch it's the last episode of a series.

This is not new.

I mean you see this also with anime, you know where you know episodes episodical content is being released before it's being put on the platform.

And actually the anime strand is, I mean they were doing this before, I mean digital natives and they then found you know the cinema to you know, as a platform and massively successful.

But I do think that being like where the creativeness comes is episodical is beginning of a season or the end finale.

I mean just sort of, you can play around with a lot of things and I think Glitch is a really good example with amazing digital circus how you can do a finale and how you can create something really, really massive into cinemas.

But it depends really on those content creators how creative they are.

But yeah, let's see what the future says.

But I'm very bullish for what will come.

I mean there's also, you know, if you look at the Gen Z audiences that everyone is always talking about, I mean they are the growing audiences in cinemas whilst a couple years ago that's great.

And do you feel like so this trend of creator led IP that started as a digital first thing, do you think that will really empower independent cinema and film distributors?

Does that kind of create a space where it allows them to kind of compete more head to head with more of the established studios and distributors?

Well, I'm not sure if it's compete.

I would say you know it should all live next to each other.

But obviously distributors are looking at it and at the end they are in the business of finding audiences.

Our focus is really theatrical.

So that's the only interest that makes maybe for the more traditional distributors a little bit more complicated because they would more look at all rights.

But for sure everyone is looking at it and if you look at the numbers obviously they will look at at opportunities.

Now the amazing digital circus and Iron Long, you know it's a really global phenomenon but you have also, you know, you have also local examples.

An example in France for example within Inux stock released by, you know, it's an example we have a local talent who where you know who basically a YouTube star, you know who built also who Nurtured this audience online and then found a way to the cinema to release a documentary which was, I think over 200,000 admissions, as I'm not mistaken, which is a massive success.

So also on the local base, I think exhibitors, distributors, sorry, and exhibitors alike actually will look at opportunities.

Yeah, it's amazing, isn't it?

I do think, like, there's a couple of things you've touched on in the whole of the conversation.

It's like the, it's, it's the quality of the audience, not just the quantity, right?

Like you can have 10 million followers on Instagram, but like, like you were saying, Casper, about engagement, right?

Like, will these people actually show up for you?

And that's, you know, that's not something you can, you can tell by follower count.

And then just the, the moment and the transactionality of, of a cinema moment, right?

Like, it's not subscribing to a streaming service to see the series.

It's, you know, it's, it's, it's, it's just, it's one and, you know, one and done, right?

Like, it's, it's a moment rather than like some sort of commitment or like, you know, and it's an opportunity to be there with other fans and partake in something that's shared, which I think is great and it's interesting to hear.

So that cinema distributors are like, are in on this, right?

Because, you know, I would have thought you would have to be going like, begging to say, like, listen, there's this crazy idea we have.

We think this is going to work, but actually you're getting the feedback from cinema distributors that they're up for these types of things, these types of more experimental approaches.

I presume you mean exhibitors.

Yeah, sorry, exhibitors.

Sorry, yeah, absolutely.

I mean, they, I think exhibits are incredibly active in trying to find new audience.

I mean, and they love, of course, younger audiences, but they're constantly looking at.

Widen the customer base, so to speak.

And that means really that if cinemas want something, they go quickly.

And at the end, we were nearly 3,000 across Europe, which is, you know, that's a really wide release.

I think they are completely, absolutely open to try new things.

And they are, of course, very important element in this success.

They've been pushing those releases also massively through new channels.

I mean, those are also new channels for those content creators, channels where they normally would not really Be targeting, you know, the cinema ecosystem.

But yeah, they're absolutely, you know, I think the exhibitors.

The exhibitors, they know that they need to widen their palette of content and so they are constantly open to try new things.

And that's something that I see not only in one market, I see this across the board.

I just came back from Sydney, Europe, and also that's a big convention where all the cinemas come together.

And that's sort of a constant debate.

What do you have?

What is new?

How can we work together?

So there's absolutely an appetite there.

Do you.

So I mean, clearly you have an eye for this in that you worked with Markiplier and Iron Long and Amazing Digital Circus.

One of the interesting things you said in the prep call for this was we were talking about how theatrical distribution was to.

To a large extent locked out.

Creators weren't.

They didn't get access to that previously and now this seemingly has opened up.

But it does necessitate much more of a collaborative partnership between people like you and the creators.

Whereas it used to be much more of a controlling kind of gatekeeper type relationship.

How has it changed how you approach it now?

I think here we have, we really.

Well, first of all, it's a partnership.

So it's not that I acquire the rights, it's a partnership.

I think that's really important to say.

So those creators, how they understand the audiences is unique and it would be wrong for us to have a strong opinion on that.

Of course we have an opinion when it comes to how distribution works and how the theatrical ecosystem works.

But they have a really good understanding of the audiences and what they need and how to communic with those audiences.

So what I think is going to happen more and more, and that's what happened also with Iron Long and the Amazing Digital Circus, is that we really are in constant conversation and they are part of the decision making.

So they really.

That balance.

It's a very equal collaboration, to be very honest.

And because they are not only the creators, but also they are the people that own that audience and they build that.

So you need to respect that.

I think that's maybe a little bit different with the more conventional traditional model where you have a creator, the content is then bought by a distributor, by a studio, and then the life after is executed by those parties.

Here it's a full dialogue and I think there's a much more equal relationship there and we learn from them.

I mean, how often is it so that we couldn't really understand how that audience was behaving especially if you monitor pre sales, for example.

It was really interesting to see how that went.

And the learnings from those creators was very valuable for us to know how to adjust our campaign.

So again, they are very important in the whole process.

And we are sort of at a, I would say, in how we work with them.

We listen to them and we are partners.

It's not that we just stay their content and release it.

That's.

That's great because I, I really remember when you had kind of the new run of Star wars movies or you had kind of the Marvel movies where the studio's behavior would be to be slightly terrified of the original fan base of those movies or that comic.

And it was all about managing that fan base.

Whereas I think you've.

You're flipping it on its head to really engage with that fan base and have that kind of open dialogue and make them kind of partners effectively in the marketing of the movie and the success of it.

Yeah, I mean, the content creators are.

And that's a really important point because they are such an important element within the success the fan base are making.

Also the success.

I mean, they are mobilizing.

They are mobilizing everyone to do this.

They are posting, they are saying, you have to see this.

But interesting with Iron Long, for example, is that during the process of making the film, actually the fan base could actually experience it.

And interestingly enough, he was posting about it.

But also all the people that worked on the film were allowed to post about it.

I'm sure with many films, you know, all the NDA, NDAs that are floating around that you cannot show any film.

Here's the opposite, actually.

No, we want to show you how we create this and that builds such a, you know, dedication.

Participate.

Yeah.

Participation of the audience.

They feel like they're part of it.

Yeah.

Buy it.

Yeah.

And.

And that is not something that, that's.

That comes naturally to those creators because again, the fan base is what makes them.

So it comes really natural to them to share that.

And.

Well, I believe that the engagement of that fan base is only bigger because of it.

Agree.

Yeah.

So you, I mean, we've said there's a big hefty caveat on this.

This is not a blueprint that will work the same for every creator or every piece of content going forward.

But that said, you said you've just come back from Cine Europe.

What do you think are the biggest opportunities?

What's coming down the pipe?

What can you give us a heads up on?

Well, I think the Biggest opportunity is really, well, that more content creators are going to find their way to the cinema, that's for sure.

But, but, but as we all discuss today, you know, it, it, it, there's a lot of elements that, that are needed to make it a success.

But I think, you know, it also, you know, there's all this debate whereby people say, look, YouTube is, is, is saving cinema.

Or, you know, I think it's it.

That's a bit of a nonsense because it's not.

People are not watching, are not going to the Cinema to watch YouTube content.

No, it's basically a YouTube.

People that are brought up or have grown with YouTube are going to the cinema.

I mean, that's, I think, a really big difference.

And so I think we will see more of those and also for the establishment, an understanding that these are creators, those are artists, those are filmmakers, and they hack you a place within on the big screen.

And that needs to be said.

And I think for a very long time they probably felt it was really interesting.

I went to a panel during the Cannes Film Festival where you had Markiplier was also on that panel where they were talking, a couple of YouTube content creators on that panel and they were talking about this and they all sort of put forward saying, you know, that they felt for a very long time very insecure to.

They felt for a very long time insecure to even think about it, or they felt, well, you know, the big screen is never going to be part of our output and that has not really changed.

I think people understand that this generation can provide great quality.

So anyway, to answer your question, I think we are absolutely looking at that space.

I'm sure we are not the only one.

And I think where we strongly believe in is that the cinema can create a unique experience, a communal experience.

So we're constantly looking at types of content that sort of fills that need.

We have a couple of things.

I mean, I think in a week's time this will be broadcast, but we have something that is going to be announced which we think is, which we are very excited about, but it will be announced hopefully in a couple of days.

So I'm not sure if I can already talk about it, but anyway, we have our next big thing coming up, which we are very excited about.

That's such a tease.

Have an exclusive.

But it's an exciting space and I'm just so pleased that the cinema is at such a forefront.

Obviously it's the business I'm in, but it's just very exciting to see.

And that's the sense that I had at Cinemacon and also at in Europe.

Oh, and on the scene, for example.

Also, you know, there's an overall very optimism about, you know, about the cinema in general.

Absolutely.

And it isn't that kind of amazing contrast when you think back to I'm just coming out of the pandemic when the.

The received wisdom was be that kind of.

In some ways cinema people wouldn't be returning to the cinemas.

And yet here we are now and.

And younger audiences are really kind of flocking to see films there and kind of, you know, there's a big revival.

Yeah.

I think there's kind of a lot of reasons to be optimistic.

Yeah.

It feels like a reminder and thanks to creators, as we've spoken about.

But it feels like they've helped remind us what the cinema is about.

That collective communal experience that you don't get sitting at home in front of your TV set.

It's with your friends.

I thoroughly adored all of the cosplay that was going on around Amazing Digital Circus.

I mean, just the creativity and imagination and fervor with which they embraced that opportunity to get together with fellow fans and go and see that finale.

That's Gen Z, right, Joe?

It's like, you know, we like coming out of the pandemic.

You gentle minions.

You'd Barbie, you'd Wicked.

Yeah.

Even K Pop Demon Hunters.

Right.

That had a limited release and all the fans came out in October.

Right.

All dressed up.

Minecraft movie.

Yeah, yeah, it's.

It's great.

And it really does.

To your point, Andy, it feels like there's a.

There's a vitality to it which is, you know, which is great and obviously a great opportunity for someone like you, Caspar, and Piece of Magic.

So thank you so much for joining us.

What a treat.

We can't wait to hear your exclusive.

We will of course, champion it when we release the podcast.

Well done for holding tight.

Well, thank you for having me.

It was great speaking to you all.

Super interesting.

Thank you.

I'm going to throw to you, Andy, to do your thing.

Yeah, thanks, Casper.

So creators plus engaged fandoms creates fantastic cinema experiences.

So thanks very much for that, Casper.

That was really interesting and insightful.

Hope you guys enjoyed listening and please like and subscribe and follow us wherever you get your podcasts and we will see you all next week.

Badoom, Badoom, Badoom.

Don't Badom.

Badu.

Badu.

Badu.