Jeremy Lambert – Writer of Doom Patrol! Goosebumps! Hellmouth! Buffy!
Today we are joined by prolific writer Jeremy Lambert to talk about his process, imposter syndrome, and working with some of the current greats in the industry!
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Interview scheduled by Jeffery Haas
Theme music by Ardus and Damn The Cow
Announcer: Nathaniel Perry
Renee: [00:00:00] All right. Hey everyone. Welcome back to spoiler country. I’m Renee and we are joined today by Jeremy Lambert, prolific writer of doom patrol, Buffy the vampire Slayer, goosebumps monsters at midnight. Just to name a few, the highlights, if you will. No big deal. Thanks for being here, Jeremy, how are you doing today?
Jeremy Lambert: great. Thank you so much for having me.
Renee: I, thanks. I have to ask, like, when I was looking at like all those names right now, everything you’ve written for, I was like, did you ever picture yourself? Doing that or like being where you are now, right? Like, like when I read this titles off, like how does that, how’s that sound to you?
Like, did you
Jeremy Lambert: sure that completely cereal to be honest? I mean, I, you know, and, and those are big, there’s such huge monumental, I mean, just titles [00:01:00] alone for me, especially from, you know, it’s just, they’re such that the point where I was a little scared of taking them on because of how much of a fan I was of each of these things beforehand.
So it’s a little scary on that front. But you know, I came to, to Buffy the vampire Slayer late in terms of the actual TV show in, in my co-writer my initial co-writer on the, on the series and, and with Hellmouth as well at Jordy bell. Was the one who got me into Buffy. You know, Matt say I was maybe 20 years old and we’ve, we’ve been good friends for a long time, but that, that show watching that show was, was a huge experience for me and, and very I mean, I think for everybody that’s a fan of fan of the show is very emotional experience and journey for me to go on, you know, it just, and also being in the position to have to sort of binge everything.
But it’s the same thing with like goosebumps in a lot of ways. That was my first [00:02:00] horror love, I think. And that was also my first sort of major gig in comics and, and then doom patrol, of course. I mean, literally, I mean, those, those three things it was, it was pretty daunting. I did not expect it at all.
And it would, the focus was literally just, you know, trying not to mess anything up of, of these things that have such a, such a huge fan of. So, I think the answer is not at all, did not expect this at all, but Leapt at it and, and saved the panic for a little bit after I’d said an emphatic. Yes.
To each of those things.
Renee: I it’s funny. Cause like, I think of like, of course you’d want to say yes. Right? Like I can’t imagine not saying no, but then once you say yes, right. Like a panic of like, oh my gosh, I’m actually going to have to do this now. Do you ever get like imposter syndrome or does like having a co-writer like Jordy help, [00:03:00] like mitigate some
Jeremy Lambert: of that a little bit.
So the imposter syndrome I answer is yes. All the time. I mean, it’s a constant, I think you just kind of live with it or at least for, for me. And I’m a fairly anxious person. And I worry all the time about whatever, you know, minuscule thing happened or whatever it might be. But it, it definitely is anxiety-inducing and you do FANUC and you get the imposter syndrome constantly.
And, and to be honest, I still kind of live, you know, I just deal with that. I mean, that’s the expectation and it’s not an easy thing to deal with, but you’re in such a an incredible position and the excitement just kind of, you know, overwhelms and, and and it’s an interesting point that you bring up the co-writing because in both cases, I feel like.
I’ve I’ve, I’m insanely lucky to be in, in the position that I, that I’m in and to, you know, more importantly, be working with the people that I’ve worked with and [00:04:00] had the opportunity to collaborate on and to team up with because especially, you know, speaking to my co-writers in, in Jordie Bellaire and in Gerard way, it just seems like you’re getting a masterclass every time you work on something together.
And for me, who, I still very much consider myself a beginning beginner writer at least in the professional sphere. It is immensely reassuring to have. People who you can go through the process with, but also people who will be honest with you about your work and vice versa, and just sort of, you know, the co-writing space is different.
I think with each individual, I, I am lucky enough to have, you know, been co-writing with Jordy and lucky enough to have co-written with, with Gerard. And, and I think that it’s just, you know, there’s so much to learn and, and, you know, my, my whole I guess emo about the whole thing is, is that you know, [00:05:00] the second that I stopped learning or being open to education or wanting to be in some element of school and, and, you know, the, that kind of structure as when I start to, you know, decline and fall off the the wagon.
So I think that That’s that’s really important. And, and it’s, it’s interesting that you bring that up with the, with the imposter syndrome and with the anxiety, because it is reassuring. I mean, in, in working with co-writers, it’s also panic inducing on its own level, you know, when you’re working with friends, but when you’re also working with people that you deeply deeply admire.
So, so, you know, there’s two sides to teach you those coins, but there, there really is a a support there that is immensely important, at least for, for me speaking for me. But it’s a, it’s a, it’s a good, good question. It’s a good point.
Renee: Thanks. It’s interesting. Cause you, you said like, oh, cause I’m a beginner.
Like just now I’m like, so wait, how [00:06:00] many times do you have to write before you think you’re not a beginner? This reminds me of like the guy at trader Joe’s, right? That where’s the light. It’s my first day stickers. The first year that they’re working at trader Joe’s or they’ve worked at trader Joe’s for 10 years and they still have my first day.
Right. I’m curious, like when do you think you’re going to feel like you’re not a beginner?
Jeremy Lambert: No, I, you know, and, and like I said, I I’ve, I’ve had the incredible opportunity to be working on, on all of these, these priorities working with. So many talented people in the comics fear that you know, it’s, it’s so inspiring, but at the same time, I think it might just be part of that imposter syndrome.
Cause it, you know, trying to look at it objectively, it’s just like, well, of course you’ve been around for a number of years. You’ve been working in gangs for a number of years. You’ve been putting books on the stands and, and you know, immensely excited about, about all of those [00:07:00] things. But I don’t know. I, I guess it’s
I, it’s a, it’s a tough question cause I, I don’t I don’t know. I, I think it just might be part of my anxiety to be honest. And my, you know, the, the, the nervousness that comes with, with all of these things and, and the way in which these things happen, you can kind of justify it to yourself in any number of ways, just be like, oh, well, I only got this job because of this thing with this, with this, you know, and, and my career might be over in the next week.
And then, oh, well, I only got this job because of this, this and this. And and I, yeah, I it’s so it’s so funny because I think it’s just part of at least for me, part of, part of the
I don’t know. It’s I think you, you go to Comicons and you see all these people that have known each other for so long and had been around and you just still feel green and, and you don’t you know, you don’t have like a I don’t know, you haven’t tabled that a bunch of cons and you’d you’d you, haven’t done all the things that you supposed to do and ticked all the boxes in order to, to, you know, to say that, yes, I [00:08:00] am an official comics writer person.
And not assuming that I am ever going to get another email from anyone ever again in
Renee: the comics industry. Right? Like you’re not, you haven’t made it until you’re in the big auditorium at Comicon. Is that the level that we’re holding ourselves to? I
Jeremy Lambert: don’t know. I think, you know, I think a level of it too, is, is the, his original work as well.
And sort of getting that off the ground. I think, you know, just to, to be perfectly honest, I think that’s, that’s part of it. And that’s my focus now I’ve been working on, on a lot of original stories that have been, that have been trying to get together for some time. And some are, you know, with publishers and, and in the works, but, you know, graphic novels sure.
To you know, I guess a long, a long track that you gotta run really enjoyable track frankly to me. But you know, it’s, it’s not it’s not monthly comics in terms of the, the releases and that sort of thing, but I know it’s, it’s you know, you’re just [00:09:00] trying to, as a workaholic, trying to do as much as it can and all the, you know, the rejected ideas and things like that, I was just like, okay, you pivot and try and figure something else out.
And but yeah,
Renee: king of original work, I saw that there’s a Kickstarter just got released. I feel like just yesterday or the day before, like I saw a post for it. And is that. That looks well. Hey, it looks really cool. I love this like music golf sort of theme, but is that original work that you have
Jeremy Lambert: there?
It is. Yeah. So Joe Carollo and Eric Malicky reached out and were looking for stories to be in the anthology deadbeats to and I was extremely excited to, to jump at that. So, so we have a short story in there. I’m working with an amazing artists to Lydia Collins and Jay Barnes.
I’m a huge fan of both their work. And and, and yeah, so we’re, we’ve been working hard on that. And, and I think you know, [00:10:00] fingers crossed, everything goes well with the Kickstarter and, and, you know, it seems like people were really excited for it. And why wouldn’t they be? I mean, I was a big fan of the first deadbeats that they, that they put out.
I think it was, it was nominated for a Ringo or maybe want to bring cool. I should know that. But either way extremely. And and so, yeah, and so I was, I was very very excited to, to to join up. But, but yeah, that’s a, it’s a, it’s an original short story.
Renee: Hi. Yeah, I have to say some of the names on that on deadbeats.
You know, Lilah, Sturges, Phil Messner and Don Mars, you know, and I was just like, wow, this is like some really big names. Like no joke,
Jeremy Lambert: Jody Houser too. I mean, it’s just, there’s so many, you know, people who I’m just such a huge fan of and. It’s again, what comes right back around the, the imposter syndrome was like, oh, why they’ve does it belong out there?
Like, get that out of there, make room for somebody else.
Renee: On the thing it’s like fair, right? Like if it’s a [00:11:00] band, cause it looks like a band post, which I also kind of love just in the spirit of music. And I’m like, yeah, you’re like one of the heavens
Jeremy Lambert: oh goodness. And see that there is a reason why he just 30 minutes after that, I was basically hyperventilating.
Like, you know, and it’s like, okay, that’s not, that’s not accurate. But but again, just extremely grateful to be a part of that team and, and And yeah, absolutely. I mean, you know, star struck is definitely one word for it and you just, again, focus on, on doing the best that you can and, and, you know, working with your collaborators and, and you know, coauthors, you know, to, to get the best stories out there that you can, and it’s just have fun.
Cause with a lot of the anthology work, I find that what’s most fun for me, especially with short fiction of any kind short comics or short stories or anything that that I want to say out and write is, is. You know, just having as much fun with it as possible because they’re really [00:12:00] fun to work on and, and the commitment isn’t quite as, as long as anything like you know, ongoing or, or limited series or, or mini series or anything like that.
And you get to work with really great people. And, and so that’s a lot of fun. It’s just, you know, blessing, you know, whatever music that’s, that’s on the playlist for whatever project you’re listening to and, and, you know, maybe pouring a beer or something, and then just having, you know, having a fun coming up with the concept.
But but yeah, it’s just, it’s just a lot of.
Renee: If I was reading, it said like, this is a book for music, obsessed cops. And like you were saying, like, you were playing, you know, you like just jam out and right. Like, are you, would you consider yourself a music obsessed goth or what
Jeremy Lambert: actually, I worded it, but it’s just so funny because I I, I was like the They internal goth.
You know, for basically all of my youth, because I was in a, I was raised [00:13:00] Catholic slash Methodist and there were quite a few boundaries I couldn’t cross necessarily in terms of outward appearance for, for whatever reason. But but you know, I’m sitting there. Crying to, you know, Villa Valo singing and him, or, you know, set up a negative or something.
So it’s just kinda like, you know, you just, you fall into it and you’d never let, never let a, never, never get out of it. And so, you know, when I was talking about music for this, this latest, short story that I was doing him was definitely important it as well. But but yeah, I, I think you know, Mallory and I, my girlfriend, Mallory Romera and I are both very much you know, everything and anything golf and horror.
And in terms of music, I mean, we’re, you know, all over the place, but but very much, very much in that vein. I mean, we’re, we, she just put together a this summer got jams plays that she does. So, you should definitely check that out, but it’s it’s great. But yeah, I mean, that’s, that’s a huge part of it.
I think for me is, is, you know, especially if it’s in the title and [00:14:00] if it’s in the pitch and, you know, blast it and run with it and do your thing, you know? But but yeah,
Renee: well it sounds like right, like whore meets music, right? Like, you know that to me, right. Like is like, I think a lot of I don’t know, maybe this is just me, but when I was reading doom patrol, it was like, where the worlds, it felt musical in a way, like, yeah, but like in a, like, I don’t know, like I’m on guard, jazz symphony where I didn’t understand what
I was like, this is like a cacophony of comic. Right. Like, but like, I dunno, it was just really cool. And
Jeremy Lambert: oh, thank you very much first off for saying it. And that, that speaks a lot, obviously to the brilliance of, of Gerard. And then of course, to the artists that have that, you know, how we joined up with, for weight of the worlds and, and yeah, it I mean, [00:15:00] you know, there’s just this moment where.
Yeah, I’ll, I’ll even bring up a specific to, to make it pretty direct, I guess, with it, but the reality of, of doom patrol, but there’ll be times when, you know, Danny, the ambulance you know, there there’s in some fashion music or some kind of contextualization, some dialogue that comes across anything that has a kind of, I guess, relation to, I guess I don’t want to spoil anything, but the radio maybe inside Dan and the ambulance and and it got to the point where it just, you know, we have to write lyrics for you know, for a lot of for a lot of the dialogue that came to a page or two, and it’s just like, you’re sitting in a room.
Because Jared and I would co-write, we would just be in the same room and it was really funny cause we work off the same Google doc and we would just be able to talk to each other and just kind of, you know, just have a really fun way of, of co-writing. But like I said, I’m, I’m in this room with your right way lead singer, my chemical [00:16:00] romance.
And I’m just, and we’re just like, so I wonder, who’s going to write the lyrics on these next two pages. Could it be Jeremy or, you know, absolutely not. It’s just but, but bringing it further out, which was again, super fun and you bring up that, that imposter syndrome that rears its ugly head again.
But I think that the I mean what a joy first off, but, but when bringing it a bit further out to. The comic as a whole, in terms of the pacing and the structure of it, and the sort of lyricism of it that you, that you were talking about is a lot, is so much of what, what Gerard brings to a team book and to the personalities and emotions.
You know, with each character, let alone somebody like crazy Jane where there’s just so much there, that can be sort of imbued into the character work and the emotional state and sort of a back and forth of whatever issue it [00:17:00] might be. And we had a lot of these sort of Not one shots, but just very one-off adventures that you would have as your, a story throughout the entire the entire run just for that book.
And then we would jump to a different adventure and jump to a different one. So it was a very sort of, I guess episodic narrative that, that we had along with with a lot of the things that were sort of just bubbling underneath the surface. From from a to Z. But I think that, you know, that’s just so much of what he brings to that book and just striking that kind of balance in the storytelling and the pacing of, of a book.
And and like I said, I, I mean, I, it was just, I’m just happy. I was even in the room, you know? But you know, it’s it was definitely, I think, a big unconscious part of, of doom patrol right
Renee: now. I imagine you’re not listening.[00:18:00]
be like some weird Meadows stuff right there. Some
Jeremy Lambert: weird stuff not to write too, but you know, I I’d get a glimpse of a project or two or he’d, you know, take a break to, to. Jammed something out in the room next door or whatever it was. And you know, that yeah. Is, is extremely cool. I, I played a, an NCR song once we were at, we were going, we went to medieval times on my birthday and at
all times all the time I was in the world in the world before absolutely loving it with times now I played it upstairs. Once it, it was, I don’t wanna embarrass the guy, but but no, no. And it honestly, and you know, I’ve talked to Tim about this before too is just like, I’m such a huge fan before, before we became friends and, [00:19:00] and you know, it, it definitely means it means a lot to.
Yeah, connect with somebody like that. But I mean, he’s, he’s also, he’s just one of my closest friends now and, and and again, such, I’m so grateful for, you know, being able to, to work with him and, and a lot of that stemmed from from you know, RPGs and, and you know, playing D and D and, and Warhammer, you know, role play and all this other stuff.
And I think that’s honestly what kind of clued him. And he’s like, I hear a good DME pieced together story, and you’re at that goosebumps book and, you know, all that stuff. So it’s it was a great opportunity and, and and yeah, it, it’s just a, just a lovely guy, but, but I, I really don’t we’re, we’re not, we’re not rocking out to that necessarily.
It’s mostly like ambient, you know, dark and. Music or some, some really strange you know, like, like what is, what is this black metal [00:20:00] mixed with a cavern sound from D and D or, you know, what is a goblin kingdom mixed with death? What does that sound like? What if it was just strum of a guitar in, you know, a blacksmith shopper.
So like we would, whatever it was, you know, agree to have like, like ambient element to it and we’d, we’d get, you know, we’d have some fun with it. But I think for honestly, I think to be honest, most of the time we weren’t listening to too much music, at least while we were writing. Which is something that I, I tend to do, especially if I’m not On an extreme deadline.
If it’s an extreme deadline, the white noise machine goes on or something. And just like, yeah, exactly. Like in the zone, but it’s a lot of ambient stuff and film soundtracks and things like that. Soundscapes and, and stuff like that.
Renee: The writer’s room or like what? I imagined it for doom patrol, like it reminded me actually a little bit of something I heard about like the office where they’re just putting up like post-it [00:21:00] notes of like random thoughts.
Right? Like, and it’s like,
Jeremy Lambert: you’re talking about
Renee: show the office. Yeah. It was. You know, like Ryan has a goatee and you just put a post to them and it was like, you know, and so hearing you talk about that, right. It kind of reminds me of that because so many of the ideas and doom patrol it’s like virus baguettes, right?
Like that had to have been just some like random ideas that like, just like made it, you know, like it was like, how can we work this in, in a way? And so like, I mean, which is, sounds like so much fun, like, you know, just whatever you can come up with and like, how can we work it in? But I’m curious, was there any ideas that didn’t make it in?
Cause it seems like there’s so much here, right? Like I’m like, was there anything that you all were talking about that you’re like, that just didn’t make it in?
Jeremy Lambert: There is a lot there’s a lot, [00:22:00] honestly, and it’s kind of a. Across the board. You know, just speaking about weight of the worlds and a lot of the things that, that we were going back and forth on for weight of the worlds, you know, Gerard had a really strong idea of the arc of the book.
And then also a lot of individual stories that he wanted to bring in. And so we just, you know, go into the room and he’d have, you know, this idea that we would just sort of crack open and try and figure out and, you know, move as as well as we can on each of those stories. And, and they started like, it’s just where of the worlds is so fun because it’s so calcified in each issue of how different of an adventure each of these, these issues goes on.
And it was all dried. I mean, he had, you know, all of those core elements kind of already figured out But there’s, there was so much that we didn’t that we didn’t end up being able to do. In terms of a lot of additional sort of [00:23:00] do patrol stories that we wanted to tell things that focused a bit more on, on characters that we wanted to, to expand on a bit more.
And, and but yeah, there’s, there’s actually a lot, I, I, it’s funny, you kind of make me want to go through my, the notebook here and just kind of like see where, where we left a lot of these things. But I, you know, I think there’s, especially with a book like that with the team like that, with any one of those people those lovely, lovely members of the doom patrol could have their own book and, and What Brent, what makes doom patrol so special is because of all of those personalities and those presences together.
But you know, it’s just like, you know, I don’t think it’s any secret that I desperate. My favorite comic book character is Dorothy spinner. I absolutely love Dorothy spinner with the entirety of my being and would loved. And we weren’t able to really use [00:24:00] Dorothy and and in our run and, and in, in dreads previously, but I had plenty of ways to try and make that happen that didn’t quite line up, you know, and who knows maybe, maybe in the future.
We’ll see what happens, but sounds listening please. But but yeah, I, I think there’s, there’s quite a bit, and, and for Gerard, I mean, I’ve seen all those notebooks. Plenty. I know there’s he’s, he’s got plenty. So I don’t know.
Renee: I feel like I want to be like, okay, universe, like fingers crossed, like there’s notebooks of ideas.
Like please make them happen. Oh my goodness. As a writer. So like, you’ve talked about Dorothy, wanting to explore her story a lot more. I know writers like often there’s like side character. You know that like you sometimes like maybe just write like one, one little tiny, like story for them. And you’re like, [00:25:00] man, it would be cool to like, do a whole adventure for them.
And like personally, like wild ass
probes. Like I need, I need their adventure story. Like, what’s the name of my new band? Like Tron vibes. I’m I’m big on the eighties. So like, it was just, it was great. I, I it’s like so cool, but I’m curious, like, are there any other side characters, like maybe, maybe not even like outside of doom patrol or in doom patrol that you like, you just like think to yourself like, oh, it’d be so cool to explore their story or do like a run with this character.
Jeremy Lambert: Yeah. I mean, for me, honestly, Dorothy would be number one. But character that was in and doom patrol would be flex mentality. I love flex mentality. And the strangeness of flex mentality, the [00:26:00] wholesomeness of flex, and, you know, Gerard started like handing over those lines to write to me, because I just have so much fun with, with a lot of flexes mannerisms and dialogue and, and just this sort of lack of veneer.
And and it’s just you know, getting to explore flex his hard, a bit more for me is, is, you know, was really high up there. And Dorothy, of course, and Lucius, I mean, we had plenty of Lucius and of course, lotion, lotion, the cat. Oh my goodness. But anyway, I, you know, I think You know, with, with doom patrol, I found myself in particular wanting to write more with crazy Jane writing, writing more for Jane and writing more for Casey.
I always thought that there might be something that can happen there. I mean, I’m not in control of the books and, and you know, the, the [00:27:00] opportunities there, but, but we definitely would, you know, figure out a lot of things that we we’d like to do and maybe not quite, quite get to. But but yeah, I, I, in terms of side characters, I’m still trying to think there’s, there’s a lot of side characters in the Warhammer university.
I would love to write about which is total different direction, I suppose. But but yeah, that, that’s, that’s a top of mind right now just because I have a few. These books next to me that have been researching for another project. But but yeah, another
Renee: project project. Oh my goodness.
Jeremy Lambert: This other project that I can’t say anything about it, fortunately, which sounds so pretentious, but what is true?
But but yeah, I, in comics, the list is kind of endless for me. I mean, I think it’s, it’s quite quite big in terms of the things that I’d like to go after, but, but I think as a, as a writer, especially on a team book for me personally you know, the urge to. [00:28:00] Distill things down as much as possible especially with one character with two characters or something like that is really strong.
And you find yourself, I mean, and you have, you know, you have very limited real estate, you have 22 pages, you know, each, each book and and there’s a team and sometimes you can go on one direction and one issue could be all about one particular character or whatever that might be, but there’s still a balance.
And there’s a lot that needs to be sort of, managed with, with a team book that that you need to have all the players in and focusing on. And so you know, it, it is quite interesting cause I think at least when working on team books for me, I always have this present urge to just sort of like run with one in this direction and, you know, just kind of, you know, focus, focus a bit more on.
You know, you’d say that a story is or whatever the, the the top story is there that you’re, that you’re focusing on and you just kind of use [00:29:00] all of those different things, all of the plethora of, of elements in a book like that, to just kind of, you know, follow your heart and follow your gut and just make make something that’s, that’s true to you and, and fun and, and new and going for I guess, shooting your shot really, because, you know, you don’t want to fall into, into the rut of balance, which, which can be which can take away from, from some, some stories and some things, but it’s, it’s a really interesting Point because it’s kind of a push pole and out of that push pole, you, you, you know, you figure all of these things out, you, you, you, you, the team and the, the pacing of a particular issue, and oftentimes the arc itself comes out of that because you’re, you know, just throwing everything at the wall, seeing what sticks and you know, which the Getty’s still hanging up there or whatever
Renee: I have to say.
I like the spaghetti that,[00:30:00]
Jeremy Lambert: oh my goodness. Wild ass was a trip for me too, because I think the way that, that came up in another idea of Gerard’s. I looked at him one day and I was like, oh, what’s a, it’s like, I need to figure out the names. You know, we need to start figuring this all out. And he’s just like dead pan. And just says while this is
just like, perfection. Yeah. Absolute perfection. That is incredible. It’s got all these baguettes.
Renee: Yeah. I think also like, just as someone who’s like, I feel like then on like every diet there is right. You know, and like, you know, living I’ve lived in California on the west coast and you know, I live in Seattle now, but you know, there’s an emphasis on fitness.
Right. And so like the deadly baguette variable, you know, feel in that way, like, yeah, [00:31:00]
Jeremy Lambert: we were both in this, in a similar state of mind when, when it came to that and then the, the fitness planet And both of those issues kind of came out of of, at least for me. And, and, and speaking with your art kind of images, there’s a similarity there, but I think there’s, there’s a lot of that in there, like that, you know, what’s the marathon eternal.
Why, why does the marathon eternal exists? Why, you know, is this planet just a giant treadmill? It’s just like, well, you know, everyone has to be this, this and this, like Y Y Y that need to be the case. And, and yeah, it’s just like, whether it’s, you know, a planet like that, or whether it’s while that’s in the alternate reality and their virtual reality You get to explore things like that.
And, you know, you get to talk about like personal body dysmorphia in a book that is about a frog [00:32:00] throwing back acid, everybody virtual reality. You know, and just kind of like exercising those, those or
Jeremy Lambert: those muscles, I guess, a bit of your own, which are deeply personal and, and, you know, sort of emotional and, and you know, put it in that context that you can really run with it.
Renee: I want to get back a little bit to the war hammer. Oh my goodness.
Jeremy Lambert: I’d be amiss. There are plenty of models that you can survive.
Renee: I like, I’ve only played a handful of like RPG campaigns myself, but I love RPG. Like, as, as someone who’s like was quote, unquote had a vivid imagination as a kid, like I was like, wait a second.
There’s a whole game where I just got to make up whatever I want. And like, like, I can just say things like this. Magical. Like, I was like, why didn’t I know about this before? And it makes me sad that none of my geeky friends [00:33:00] growing up ever got me into their D and D campaigns.
Jeremy Lambert: I didn’t play a lot of D and D when I was a kid.
Cause I didn’t have anyone that wanted to play D and
Renee: D I didn’t even know it was there. I would like, had I known I would have jumped right in and you know, like then, like, yeah, I’ll be in, I’ll be in all the kinds of things, but I’m curious, like as a writer, right? Like, you know, you’re talking about like, yeah, there’s a limited amount of stuff you can put into a comic.
Right? Like, whereas in maybe. You know, a campaign, it’s the sort of like endless creativity and you can explore the character, you know, like, I mean, you can just go on and on with one thing forever and at like how those two interplayed for you and like, do you, do you still DM a lot or like,
Jeremy Lambert: yeah. Well, not as often as I’d like to really is the, is the short answer.
I’m working on a new campaign to see if we can, we can get the group back together. But it’s, you know, D and D RPG putting those things, [00:34:00] it’s the ultimate co-writing experience already. Like you’re, you know, you, you are, co-authoring a world. I mean, the DM, you know, and the players are all literally working together in, in creating this people with more focus on, you know, certain players and things like that.
And, and character. But it, I think it’s absolutely related. And, and I think that, you know, it doesn’t happen in the direct way so much for me, at least where, you know, I’m, DM-ing a campaign or I’m coming up with something or whatever it is that I directly use in, you know, writing or a story, or I move that over to, you know, a manuscript or whatever it might be that doesn’t quite happen very often for me.
But the exercise of playing those games, the storytelling that you do, creating backstories for, you know, miniatures or why, you know, they’re in this [00:35:00] position or why they have this, that, why do they, where are they, why do they not have a weapon other than a tanker that is full of beer? Like whatever, you know, all these things think kid here, like who, yeah, why are they here or what what’s going on?
And what do they want and what do they need? And you know, the things that the obstacles they faced in life and, and all these different things is just, it’s excellent, excellent character work, which is the core of, you know, every story, at least for me, is, is, is character and starting everything with character and figuring out the plot and everything else.
As a, you know, the characters, a springboard for, for all of those things, sometimes, you know, bots come right in your lap and you run with that. And, and that’s, you know, one of those one of those moments, but, but I think with RPG games and, and with, you know, something like D and D or Warhammer for me, I think those are really.[00:36:00]
Very very, very, very, very fun ways of sort of flexing those, those muscles again, like, you know, just doing character work and, and any player in that’s, you know, played a game of, of D and D or any of these things has, you know, been writing as it has been a writer for, for that little period of time.
Whether they think of that or not. And, and same with thing with, with fan fiction and, and, you know, I, I think that you know, it’s just incredibly useful and it’s such a fun way to, to really get involved in and find for me, like where I have the most fun, what clicks most for me, you know, maybe number crunching is not quite there for me, but it absolutely is for this other person or, you know, You know how they, they, you know, build a character and then because of those abilities, then, you know, they fall into all these other things and, and start, you know, [00:37:00] developing you know, whatever it is.
It might be. It’s just as kind of, you know, archaic magic that people were putting in a different rule sets that just gets the, at least for me, really, really gets me excited and gets, gets the gears going. And, and and you can tell a lot of stories in a lot of different ways. And I think a lot of what you were talking about previously is, is very true about I can create my own world.
I mean, the, the, the possibilities are just, you know, practically endless when it, when it comes to a lot of these things. So some the. You know, the way that that a game means to one person does not mean that, you know, that transfers directly to another person. They, they have you know, the meaning of, of the game with them and it can be totally different and, you know, working totally different elements in the story or whatever it might be or a different game or anything.
So it was all just very fun to think about I’ve, I’ve been, you know, stuck in the Warhammer world, wherever fantasy world [00:38:00] for, for a long time, myself, just, just, you know, painting miniatures when I was, when I was a younger kid I still, so, love that universe. And and yeah, so it’s just, you know, you not a fan of, of a lot of the things that the game represents in some areas or, you know, certain people that are in the hobby or whatever it might be, but it’s just like, you, you make it your own and you take the good from it, you know?
And, and do you think, which is, which is the magic of it all?
Renee: I it’s, it’s funny. I have some friends who have done that with D and D where they’ve turned it into like queer D and D and like, just like, they’re like, we like this game, you know, there’s some problematic things here and there. We’re just going to take it and make it our own.
And I think that’s like, beautiful. Yeah. I’m like, yeah, that’s, that’s the whole point is making it your own. Anyone, like whole thing is making it your own. I’m curious. So like, What I love about [00:39:00] role-playing is like, you get to be in the story, right? Like, even though you’re playing a character, you know, it’s still like, there’s you, right?
Like, you’re in that. And I’m curious, like, if there there’s like in doom patrol, there’s like a moment where one of the characters and I forget the name now, but like falls into the comic. And I was like, oh my God, I’m in the comic. Right. Yeah. And I’m like, I’m in thinking about that with RPG. I’m curious, like, have you ever thought about like creating a campaign with a comic, like title or like, if you could maybe be like, like in like fall into an RPG of a comic, is there one that you would like love to?
Jeremy Lambert: Wow. What a good question. And it’s, it’s really interesting too, cause that that was issue five and the way the world’s run, which was, which was the Issue that was written by Becky Cloonan and Michael W. Conrad, which was amazing because it was just sort of this like [00:40:00] superstar guest appearance, you know, as you five, like in, in the middle of the run and, and we absolutely loved it.
And it was just, it was so fun to, to work with, you know, or with friends, they, I mean, that was, that was all them. And it was just, it was wonderful. And, and D and D wise, we knew Gerard and I did our best writing a D and D comic issue. It was issue 12 of well, I guess it was the sixth issue in not so, but, but issue 12 of Gerard’s prior run prior to the way to the worlds and.
And we put an old module cover as the cover of the comic. I was lobbying so hard for you know, like cutout characters that we could put into the book. And we got that in a map and, you know, it was just such a fun, fun experience like XP earnings at the end of this at the end of the book and, and that sort of thing.
So we, we definitely did do what we could with with that one. And then for dropping into an, like, as a, me as [00:41:00] my own character in an RBG of like a comics universe. And now I’m going to take way too long to answer this question now. Yeah, it’s so great. Having so biased. I just want to hang out with the den patrol.
Eh, you know, and everyday it’s just like, let me spend, you know, just give me an hour and Sunnydale high library and I’ll be great. You know, like I said, it like that, that’s immediately wherever where my brain goes is just all of those places of, of comfort, you know, w in, in these other universes, that, that is just a, and to me, the libraries is very much one of those places, especially for, for Buffy.
Oh goodness. This is, this is impeccable. I’m trying to think, cause it’s just like so much of it. I want, you know, it’s just like, whatever, I’m the biggest fan of, I just want to pop down and be like, hell boys. So nice to meet you. But [00:42:00] that is it’s. It’s a good question. Honestly, I think I’d probably, I I’d probably be.
Extremely biased and, and have to, you know, pop down and Danny land or something. Nice. Just because I want to meet all of these people. Cause they’re, they’re essentially, you know, my heroes. Yeah.
Renee: Yeah. Well, and I mean, it makes sense because you’re familiar with them too, right? Like, I mean, I think about like Buffy as like also a great answer because like, you’re it, you’re writing, you know, you’re writing that series and you’re, you know, like you’re immersed in that work.
Of course. You’re like, oh yeah, I want to like meet these guys. You’re close
Jeremy Lambert: to it. Yeah. You’re really close to it. And you know, and then a part of me is just like, all right, well just, you know, if I can. Bumped down, you know, in such and such place marble, et cetera, then I can meet everyone. You know, I just, depending on what earth I’m on, [00:43:00] I can make it happen.
Try to hit them all at
Renee: once or
Jeremy Lambert: at it. Yeah, exactly. But no, I think that would be too overwhelming for me. I don’t think I could, I don’t think I could handle it. But but yeah, I mean, you get, you get, you definitely get really close to to the, to those characters and to, you know, just the, the places in the settings.
I think when you’re working, especially on a, on a, let’s say a property like Buffy the vampire Slayer, for example, which I’m closest to right now because I’m I’m still cranking away on, on a few deadlines. But, but yeah, I think, you know, you just, at least for me spend so much time Choosing the locations and the settings for each and every scene, because I’m just like, okay, you know, the emotional resonance here is different than if it’s here.
And then, you know, how many times can I put them in the cemetery, the library, I could’ve given it so many times is this too much? But but that’s a lot of fun because I think you get so much from, from the environment as well, when you have [00:44:00] the association of whatever, the piece of media that that came before was, you know, so in that case, you know, the Buffy, the vampire Slayer TV series or the previous, you know, do patrol books or, you know, a lot of these you know, everyone just like immediately just pick up at 10th street, you know, Total magic.
So I, I think that it’s just, you, you, you fall in love with a lot of the locations as well.
Renee: So I so I’m a big lumber James fan, like Sonya, like, you know, another boom studios title for anyone out there. I was like, Hey, boom’s 2d house. But for me, like, I love that world, right? Like, and again, the location of summer camp, I’m like, I could be there all day every day.
Like it is, there’s something not just about the characters, but the place and the setting and the world building again, back to world-building. Right. Like, you know, I mean, it’s, you’re, you’re not just [00:45:00] creating the, the world becomes a character almost in that way. And I, I feel like, you know, I think if something like Buffy or even I loved Archie comics too, like Riverdale has its own, like, you know, the, the towns themselves become these characters.
And so yeah, it’s interesting. It’s interesting that you were like talking about location in that
Jeremy Lambert: way. It isn’t, I mean then of course, if you’re bringing it, I don’t want it to be misconstrued. I mean, if you’re, if you’re talking about Danny, Danny is a person Danny’s, Danny’s essentially, you know, street and, and that is well, it, depending on the comics, you know, Danny de ambulance and in our, our books.
And I think that’s, that’s a very interesting you know, thought process, but I’m sorry, I, I was talking coldly about locations and, and I didn’t want it to come across as I was speaking that way, but beloved Danny. Yeah. But yeah, it is. It’s it’s just a very, I mean, you, you’re speaking now bringing it back to Buffy.
The library is as [00:46:00] much a character as is a lot of these, you know, characters that you’re writing dialogue for and, and you just kind of have to, you know, it’s a, it’s an important piece of, especially, you know, something that, that, that people are familiar with, even if we’re in an updated, you know, world of Buffy the vampire Slayer, there’s still an association with places and, and obviously with people so you different as you are making them you still kind of have to be cognizant of.
The immediate associations or, or, you know, of places, people, et cetera, have an established property. And so sometimes you get a little too hung up on that and remind yourself, you eat, you’re going to be free from a lot of these things and you can, you know, do your own thing. But but yeah, I think it’s, it’s just a really interesting thing to think about, particularly with with, with licensed properties that before.
Renee: Yeah. So I’m curious about that a little bit. I know I was listening to another interview of yours and you’re talking [00:47:00] about how you had like a mentor, you know, who kind of guided you through the, you know, the comic writing, like knurled a little bit, and I’m curious. I am. I’m tying it back to the beginning cause I love to bring it back.
I know maybe you don’t think of yourself as a mentor level quite yet, but if you are going to mentor someone in terms of writing for like established properties, cause you’ve done, you know, you’ve, you’ve worked in that space a lot. What, what would you tell someone, you know, in terms of like guiding them to write for you know, such well-known, you know, titles or universes.
Jeremy Lambert: Oh, there’s so much that goes into You know, a lot of those first off thing. Great question. And I think there’s just so much that goes into the various properties and you know, where one book is the level of control that you have and, and like that kind of thing, but really, it all just keeps coming down [00:48:00] to following your, your gut and following your heart on the story that you want to tell in that space.
And I, it seems like a, like a stock answer, but to be honest, they keep coming back to it myself and, and, and writing and, and in, in working with, with with properties like this, because for me, I, you know, the, the the urge to self. Before sending off the draft, the, the urge to rework something that you might, that I might be anxious about, or that I might pull back to play it safe.
Or, you know, for instance, knowing that, you know, there’s a, there’s an established direction. For a book or for, you know, there’s an expectation or there’s something that’s, that’s there that you would be going against the grain on. [00:49:00] If you can just boil all that down, you know, and, and, you know, you, you, you’ve got to this position, you’re in this immensely lucky position to be working on something that you really, really love or that you haven’t had a history with, but you’re on now.
And in reading and discovering all of the books that are out there, you’ve fallen in love with it. Or, you know, it’s just like, there’s so many different ways to kind of come to it. You don’t have to be. And I think a lot of people would say that maybe you shouldn’t be a massive fan. And for me, you know, double-edged sword, like I was talking about earlier, like, you know, absolutely elated, you know, getting the, the project and then total terror, you know, it just directly act immediate panic.
And then the. Know, subsides a little, but it never goes away. And you know, and that’s good. It keeps you on your toes, but, but but still I think that, you know, it is, [00:50:00] it’s just, when you have the story that you want to tell or that the things kind of click into place for you don’t let the noise in, just try and push everything else out, just push everything else out, other people’s expectations.
You know, frankly, in a lot of cases, your publisher’s expectations, maybe you don’t want to go too far down, but at the same time, you just, you know, focus on that, that story and, and and, you know, send off the draft you want to send off. And, and I, you know, maybe that seems like a, like a basic answer.
But I think that. When you’re getting into all of the nitty gritty of it in the, and the details of it, you get, you get overwhelmed or you can get overwhelmed by the balancing act of, of all of the expectations and all of the stories that came before or threads that came before that you have to decide what to do with, or, or tie up, or there’s just a lot that [00:51:00] you are balancing with an established property.
And you know, I think the biggest thing that it comes down to every time is, you know, if you’re working by yourself, you’re writing by yourself, then following that, or if you’re working with a co-writer. Hashing it out to the point where you are both, you know, at the same level and, and are of the same mind or of different minds, but, you know, speaking to each other to get to whatever compromise it might be, that is normally a fun story compromise that often better than, than what was there or whatever it is.
You know, that’s part of the joy of it. But I think the biggest thing is just trying to keep all of the noise out. And that includes reviews. That definitely includes reviews which can, you know, knock you on your butt sometimes. But I think that, and you know, again, maybe you shouldn’t read them, but whatever it is, it’s it’s, it’s, it’s a lot of it is about you know, having a [00:52:00] healthy respect for the property, having a healthy respect for the people that are working on that.
But then also respecting yourself and, and, you know, shooting your shot, like I said, and, and going fleeting and believing yourself and confidence, which, you know, is terrible for a lot of us. I I’ll admit for, for me definitely, but I think that that it’s important and it’s, it’s respecting yourself as much as, as respecting your collaborators, which is equally as as important.
And you know, and yeah, I mean, for me, a lot of it just comes down to like, I have, you know, tethers, I guess I would call them. I have, you know, like for, you know, for, for doom patrol things, for example the first day that I came over to right, doing patrol Gerard had had a post-it note I don’t know if I can tell us what I’m going to tell it.
I think it’s fine. It doesn’t really, I don’t, I don’t see why it would be probably bad. He had a post-it note that how all the characters of the current run, just their first names written [00:53:00] on the, on the post-it note in his notebook. And it was just this incredible. And he, he took the, when I came into correct, took the, the post-it note out of his notebook and put it in mine.
And I had this post-it note, which I could easily have just written down, you know, the character’s names in my own notebook. And, you know, like we’re talking like really, really step one level stuff. Yeah, but I kept that post-it note next to me, every time we were writing an issue every time, like whenever I was working on, on doom patrol, because it, it just reminded me of, it was just like an, an adrenaline hit of the character.
We were writing and we were working with but it was just like representative of the whole process for, for me, but also just like the reference that I have for one for Gerard but two for, for doom patrol and for, you know, it just and the characters and, and and with Buffy, it would be, you know, I [00:54:00] have a few different things, but and like goosebumps, I have sorry, I’m jumping all over the place, but these bumps in particular, I have one of my goosebumps books from when I was a kid that he just kept on my desk when I, when I wrote, because it’s just that fun reminder of just like, Who the hell would have thought this, like, what the hell is going on
Renee: and love to case bumps as a kid?
Jeremy Lambert: I mean, I had my parents ship out, you know, my books cause I’m in, I’m on the west coast now I’m in the LA area now in the mountains around LA. But but you know, I’m from Maryland and so I had, my parents should have been out, but but but yeah. And then, and then with Buffy you know, I have, I have a couple of different things.
One of them being the, one of the first things that, that journey and I we’re, we’re working on for, for how mouth and I also have this. There’s these Buffy script books that they did awhile back. A while back, I think,
Renee: And like every collector out there is probably geeking out a little bit.[00:55:00]
Jeremy Lambert: like the Watchers guide and a few different things. And so I kept the Watchers guide on there because Giles was just like a personal and it still is a personal hero of mine. Just specifically, so seeing, you know, Buffy and Giles on the cover of the watches guide or whatever it is was, it was a big thing for me.
And I gave that to Janine Schaefer who our editor was, our editor on hell mouth. And for the first I think it was probably. Eight issues that that I was working on in the Buffy, the vampire Slayer main main book. I ended up giving that to her as, you know, another tether, I don’t know, but but it just kind of, you know, it, it it brings things back to ground level.
And also, you know, it helps with that keeping the noise out like I was talking about earlier, which is
Renee: tinker, right? It’s an anchor anchor. Great word, better word for it.
Jeremy Lambert: I’m much better way to go. You [00:56:00] should, you should write all of this.
Renee: We should be recording. I’m curious. So you’re a huge Buffy fan and we get to write for Buffy.
Is there any other like dream projects? You, I mean, I feel like you’re already living the dream, right? We’ve we’re, we’re, I’m keep going back here, but like, is there another dream project that you would want to write for? Like, if I could wave my magic wand and be like, here you go. You’re the writer for this series now, is there another one out there that you would like to write for?
Jeremy Lambert: And it’s true. It’s kind of like a monkey’s par, right? Like you never know the circumstances of value be ready, but, but that being said absolutely. Bringing it back to Warhammer Godrick and Felix books were big for me when I was, when I was younger. And so writing Godrick and Felix book would be next level, just like pulp fantasy, you know, and I guess you could call it low pulp or low fantasy rather.
Which I think some people will take as an [00:57:00] insult, but is a glory to me. But I’m trying to think of Oh, by the way, this plan, obviously, like I said, Dorothy spinner is, is huge. I would absolutely love to, to, to work with I guess it’s sending a doom patrol vein, but so many to count, I’m staring at my bookshelf and getting rather overwhelmed.
But but yeah, I, I, you know, when I was, when I was younger there was just a lot of, at least for me, it was just, you know, I had Lord of the rings Harry Potter, which is, is the tougher thing for me to, to, to grapple with now. Of course, but and then got chicken and Felix and and then eventually Buffy.
And those were kind of like my, my holy trinities at some time or another. But but there there’s plenty. And I feel like if I name. Even my top five I’ll jinx myself.
Renee: Right. Like you never know
Jeremy Lambert: you good know, but yeah, I mean, quite a bit. And, and a lot of it has to do with, you know, the properties that [00:58:00] have meant so much to me in the, you know, I guess just in the journey, part of everything where, you know, you’re, you’re, you’re figuring things out on your own.
I still obviously feel like I’m figuring things out. Like, you know, but there’s still those stories that come to you at the right time. The characters that come to you at the right time. And I think that has a lot to do with it. Is that, that time element goose I needed, I got goosebumps when I needed goosebumps.
I got, you know, Lord of the rings when I needed to learn the rings. I got, you know, Buffy when I, when I needed Buffy, which was in my twenties. I was, you know, I was, I think I was 20, maybe 21. And. You know, they just, sometimes you just need to be at a particular point in that journey for something to hit as hard as it does.
And, and yeah, so I, I think you know, the, the one that I’ll I’ll fall back on is, is the obscure fantasy characters that probably nobody knows Godrick and Felix, but
Renee: I feel like [00:59:00] you’re doing a lot and I feel like we’ve, we haven’t even touched on half of it, you know, but is there anything that we can look forward to coming up from you?
Like what new projects you have on the horizon you want to tell us about?
Jeremy Lambert: Yeah, I mean, unfortunately there’s the, you know, the original stuff is, is under lock and key at the moment. So that’s, that’s a bit NDA aid, but There’s I still got a few more issues of Buffy at least, uh that’ll that’ll be coming out.
And that’s, that’s, you know, monthly, I think we’re, we’re issued 26, just got released yesterday. So she 27 is coming soon and we’re just starting. I guess I couldn’t, I can’t say too much. It’s gonna have speed there’s on spoiler country. It’s things gonna happen. Uh it’s it’s gonna, it’s gonna get quite a bombastic and there is a big, bad that I have had a lot of fun writing and pulling so much of my own [01:00:00] fears.
Into, I guess, and you know, talking like night terrors from when I was, you know, much younger and all kinds of things that, that are quite personal to me. And to be honest, I had, you know, my questions of putting them into a book that isn’t, you know, an original property necessarily, but it’s just everything lined up perfectly.
And it’s for the sake of this story. And I know a lot of, you know, there’s a lot of I guess just a lot of good advice I think out there that’s just like, you know, watch, you know, it, you could, you could watch your, your your baby just get carried away and taken away from you. And you know, all this other stuff that goes into a lot of these things.
But to me, I, I have a hard time Holding anything of like that back just because I don’t know if it fits for me and, and you know, these characters are just as important to me and I know I’m [01:01:00] not gonna, you know, it’s not going to be something that. Copyright all inclusive. I can tell every story that I want to, and this thing with these characters characters from here on out.
But it worked, it works for me. And I think that it’s, it’s, you know, really good to, to focus on, but anyway, I’m totally veering off course. But but yeah, that and the deadbeats to anthology short story which which will only be coming out later this year. I totally believe that it will I believe it’s in October.
But if you want to, you know, get digital copies, PDF copy, or print copies, anything like that the Kickstarters, right. They’re still going, I would just started. So, so, so go give a deadbeats to a visit and see if you know, music and horror are your thing. And especially,
Renee: we’ll put a link in the show notes too.
Jeremy Lambert: great. Thank you very much. Yeah. But but yeah, I’m, I’m, I’m very excited too about the graphic novels that I’m working on. I’m working with Dream artists who I have been a [01:02:00] fan of for so long. And I’ve been working with them for past I mean almost, you know, year or two at this point. But but yeah, so we’ve, we’ve been, we’ve been hitting the ground running and so very excited for, for this to be an asset and to, to come out into the world.
And, and in the meantime I’m working on a novel which I’ve tweeted about. So I feel like I, you know, totally say that. But you know, like, I feel like anybody worked on a dollar, you just like, you don’t want to sit, you’re working on a novel, cause it’s just like, oh no
good for you, you know? But but now it’s just a very, very exciting project. And one that, that is also quite personal. I mean, there’s. Probably the two most, most personal things that I’m working on. And so I’m very excited about those. I’m so sorry that I am pulling that horrible writer thing of just be like, oh, I can’t say anything about it.
It’s okay. No
Renee: worries. Where if we wanted to keep track. And so when it does get announced, where can we find [01:03:00] you on the web and yeah,
Jeremy Lambert: yeah. On Twitter, I’m at Jeremy underscore Lambert that’s J E R E M Y underscore L a M B E R T a. And then my Instagram handle is Jeremy Frank Lambert. So at Jeremy Frank Lambert, which is my full name.
So it makes it easy. I think.
Renee: So for those who are interested in the mysterious of coming projects, I can follow you there. I, you know, last but not least, I have to acknowledge. It is Stanley cup playoffs time. It is, I heard you were a hockey fan. And so I was just curious who he written for you going all the way.
Jeremy Lambert: So. I’m a Washington capitals fan. I grew up in Maryland, grew up just outside of DC Bennett capital’s fan my whole life and loved getting the $5 tickets when they were absolutely awful for the majority [01:04:00] of my life. I guess maybe it’s getting close to not being the return of my life now. But oh my goodness.
I, they were limited in the first round by the Bruins is here, so I’m trying to tune everything out. But I think it’s, I think it’s the avalanches year. I think it’s the Colorado avalanche shitter that are going to go all the way. They have an old capital’s GoLean and Phillip group hour, so, you know, best of luck to them, but but but yeah, the heartbreak is just, just set for, for us.
Renee: Yeah. Do you have any? My brother-in-law is a Toronto fan, so I’m sorry. Sorry. Sorry. Strong for us.
Jeremy Lambert: I’m very sorry. I am hoping that that the captain, it gets back on his feet and this.
Renee: Jeremy, this has been just so much fun. I had a great time chatting with you. I hope you can come back because I, especially when these mysterious new projects I’d love to have you back and much for having me seriously.
Yeah. It was [01:05:00] great. Yeah. I had a great time. So. For all of you out there and spoiler country land. This was Jeremy Lambert. You can check out the Kickstarter for deadbeats to London calling. We’ll put that in the show notes and I highly recommend checking out Buffy and doom patrol and goosebumps all by yours.
Truly Jeremy pointed at you. I’m like,
Jeremy Lambert: this is amazing. Thank you seriously. I’m glad nobody can, can see me blushing
Renee: radio. All right. Well I’m Renee and this is spoiler country.