There’s a documentary that has just filled me with delight. It’s a Hulu documentary, many of you may know what I’m talking about, that’s focused on The Dana Carvey Show, and a show that you helped, you really got your start. Yeah, I’ve done some work before that, but that was really, I got my break. Dana Carvey and Robert Smigel, of course, your old friend– Yes, Robert Smigel, a great comedy writer. (crowd cheers) (mumbles) and Steve Carell. Steve Carell was in the cast. And I remembered this very well because I am friends with Dana, I remember the launch of this show. And the show didn’t last long. No, no, we only shot eight of them. Only seven of them made it to air, yeah. And what’s interesting about the documentary, it’s so fascinating to me because so many people are interested in the behind the scenes of comedy, is you had these powerhouses of talent. Oh, unbelievable. Robert Carlock, who did 30 Rock, Kimmy Schmidt with Tina, Charlie Kaufman, of course, Eternal Sunshine of the Spotless Mind, and many genius people, Louis C.K., incredible people working on it and just evaporated like a snowball coming in from low, in low orbit. It did not last. This was a primetime show, and this was back when– Primetime was primetime. Primetime gave you, they gave you a massive budget. This was a big network, massive budget. Oh, unbelievable! I had already worked for a small cable show called Exit 57, and we were like, you wrote a sketch and go like, “Oh, there’s a jackhammer.” And our producers would go, “Do you have a jackhammer? “Because I don’t have a jackhammer.” (audience laughs) So I go over there. I’m living in Chicago. I get the job in New York. I fly to New York a month before my wife and our child came out there, so I’m living by myself in the city. And Robert Smigel, again, the executive producer goes, “Hey, you should pack a bag. “We gotta go to Florida to shoot the second half “of a three-minute sketch that we shot in New York. “We’re just gonna shoot the second half in Florida “because we need some warm weather for it.” So I go, “Oh, okay.” So I go down to Florida– For the second half of a three-minute sketch. The second half of a three-minute sketch. That’s the old network money. It just doesn’t exist anymore. Only HBO has that. (audience laughs) So I go down to Florida, and I haven’t talked to my wife. And there were no cellphones, only payphones. This is ’95 or ’96, something like that. So what we’re doing is we’re doing this thing where we’re doing “animal experiments”. I’m one of the Rockefellers in the Rockefeller Institute for Animal Studies or something, and we’re just doing things like gluing things to mice and stuff like that. Not really. Don’t hate me. This was the sketch premise. The sketch. And this sketch premise was we wanted to see what would happen if you threw a horse out of an airplane, (audience laughs) like what happens to its heart rate. It has a parachute and everything. So they build like, I shit thee not, like a $15,000 horse prop, articulated limbs, full size, drive it overnight all the way down to Florida. We’re down there waiting for it to come. They put it in an old US Army constellation, jump a plane. They fly it over this field in Florida just for a test drop, just to see what it would look like before we rolled the cameras. No cameras rolling. Nobody’s doing anything. And I decided, oh, I’ll call my wife. So I call my wife on the phone, “Hey, hey Evie, hi. “Yes, listen.” And I said, “Listen, I’m down in Florida.” And she goes, “What are you doing in Florida?” I said, “Well, we have to throw the horse “out of the plane down here.” (audience laughs) And she goes, “What horse out of what plane?” And I say, “Hold on, it’s coming over right now.” (audience laughs) And at that moment, the horse in the plane came over, and I just start shrieking because they pushed the horse out of the plane and becomes transcendently clear within seconds that the parachute is not gonna open up. (audience laughs) And I’m just on the phone going (shrieks). My wife thinks that I’m being killed, I’m being murdered because I’m just shrieking. And the horse plummets at terminal velocity and explodes when it hits the field. (Conan laughs) So we rebuilt it. We stayed a couple extra days. And I said to myself at that moment, I have to get back to that network money someday. (audience laughs) I tell stories now, we all tell stories about the early ’90s and network TV. You remember this, Andy. Our writers, Louis C.K. was a writer on the show, it was his first job on TV, and Dino Stamatopoulos, all these great people were working on the show. And every night, they would pick the most expensive restaurant in New York, order food on it, and charge it to NBC. And I’d come in and they would be cracking lobsters, wearing giant bibs, and laughing. (laughs) (audience laughs) We went to a Kobe steakhouse in Florida on the same trip where, again, we’re not shooting anything but the horse exploded. And we went to a Kobe steakhouse and we said, “We’ll have the surf and turf.” And they said, “We don’t have that.” And I said, “Bring us a full lobster dinner. “Bring us a whole Kobe steak dinner, “everybody at the table.” I think that’s why we were canceled. Yeah, yeah, exactly. (laughs) (audience laughs) We went through everything. The entire budget was gone.