Like, do you remember what that pressure felt like? 'Cause that's a lot of pressure for your first sitcom episode you ever wrote and produced.

I r- 'cause again, I always start with the, for me, like something that makes me laugh or the comedy hook of it.

And I remember, I, I feel like I, I knew it was March Madness and I don't remember what the pitch was, but I remember Jamie Rohneimer pitched something about the bracket and being a, the bracket.

And I remember, uh, you guys liking it, and it being, and knowing I was gonna write the episode.

I remember going, "All right.

I, I, this is gonna, this is gonna be fun." And I almost instantly just thought, like, I forget how we broke it and everything, but it's, I just remember, like, debating between the girls and, like, fake baby and no, it was this one and that one.

Yeah

... and then watching the episode, it was a very Himym-y thing and a very Carter and Craig thing.

Can you give a quick little rundown of what a, because you're there right now, what a Marvel Summit is like? How many days does it last? Is it just editorial? Is the sales and marketing team also there? Do people just go around a table and just sort of like, here's what I'm thinking for this book? And then you sort of break it and rebuild it in the room, sort of like walk people through what is a Marvel summit.

Yeah, it's I mean, it's a lot of what you what you laid out.

I mean, the way and I've got many different summits over the years have been different.

I mean, the in the very beginning of my career, we you know, Marvel was it was pre bankruptcy and they were very flush with cash and they used to bring everybody out to this retreat on Long Island that looked like Xavier's mansion.

And we all hung out there for a bunch of days and talked and hung out and tried to crack big stories.

But in general, what you're doing is you're bringing together A lot of the writing talent and some of the art talent, not usually too many.

It's usually some artists that are also kind of writers, but not always.

No,

In your mind, what is the most important and what is the least important of those three aspects

as a career? I would love to say that talent was the top, but I don't think that's true.

I really don't.

Steve Siegel, one of my... uh best friends and and partners of men of action you know he his hierarchy is like do i know you is number one like do i know you do i like you can you help me i think then it's are you fast and are you talented you know it's like or can you make me money it might be number four You know, he has talent as five.

So it really I think when you're working for this is for other people.

I think that's that's a really critical distinction here, too.

It's not you're working on your own project, writing your great American novel.

What advice do you give to sort of emerging or mid-career writers who are trying to navigate working on big IP for larger companies like that?

[laughs]

... as, as, uh, Spider-Man.

Norman did, he tried really hard to be a Spider-Man, and he was not asked to do so.

I mean, this was something that was sort of ego-driven.

It was not, like, a plan that Peter had put in place because even though he's been absolved of his sins, he's still Norman Osborn.

You know, he's still got a massive ego.

He's still, uh, quick to anger, and he has a run-in with the Spiders, the young Spiders, because they're like, "We know you're not Peter Parker.

book.And Joe, anything most exciting for fans to discover?