# Vice and ComicBook.com owner Savage Ventures turns to collectibles as ad model falters Beyond Speculation, a Stabledash show. Oct 30, 2026. Maurice Chalfin. https://live.stabledash.com/shows/beyond-speculation/episodes/marvel-and-dc-comics-are-a-collectible-asset-class-now-and-B0apuTFVDS8 Maurice Chalfin argues that comic and superhero card collectibles, sold through ComicBook.com vending machines on Solana, can succeed where mainstream Web3 and meme coins did not. Maurice Chalfin says Savage Ventures owns Vice, ComicBook.com, PopCulture.com and American Songwriter, which he calls Internet native media brands. He leads the company's ComicBook.com work with the Solana Foundation and Collector Crypt, which centers on a vending machine and marketplace for collectible cards and comics. ## Web3 after FTX Maurice Chalfin says Web3 never reached the mainstream. "Web three didn't really happen," he says, adding that SocialFi never became a thing. In his view, FTX burned the bridge with brands to such an extent that they never came back. ## Why media needs commerce Maurice Chalfin says advertising-driven media "just doesn't work anymore" and has not for a long time. He says many media companies are still around only because of a decade of zero-interest debt. Citing AI and structural changes to the Internet, he says media companies need commerce touch points that fit their brand and audience. For ComicBook.com, he describes a full-stack consumer app for the fan economy: discovery through news and editorial, collecting through the gotcha machine and marketplace, and community through events at major industry conferences. ## Comics versus Pokemon Maurice Chalfin says comic books are a much smaller asset class than trading card games, noting that Pokemon alone is maybe 70% of Collector Crypt's volume. He says that leaves more market inefficiencies in comics. He adds that a case can be made that Pokemon is in a bubble, while comics and games have grown steadily and would not drop much in a burst. He expects a coming Avengers movie and new Star Wars and Superman films to create short-term opportunities. He also argues that Spider-Man assets carry cultural provenance on par with fine art, which he says nothing on chain, especially meme coins, can replicate. ## A hedge and a pitch Maurice Chalfin describes physical collectibles as risk free in terms of AI and quantum, and as privacy tech the NSA cannot track. On inflation he says, "I don't know where to keep my money." He points buyers to comicbookvending.com, where the machines hold Marvel and DC comics and cards. Chalfin's pitch links a media business moving away from ads with physical collectibles and on-chain infrastructure. He calls Solana the only place in crypto to get real scalable consumer traction, which he says is "disappointing, but it's just what it is." ## Key takeaways 1. Maurice Chalfin says Savage Ventures owns Vice, ComicBook.com, PopCulture.com and American Songwriter, and that ComicBook.com now runs a vending machine and marketplace for cards and comics. 2. He says advertising-driven media no longer works, and that media companies survived on a decade of zero-interest debt. 3. He argues comic collectibles are less efficient than the Pokemon market, which he says may be in a bubble. ## Chapters - 0:00 Guest moved from podcasting and crypto to Savage Ventures - 2:22 Web3 never reached the mainstream after FTX drove brands away - 5:04 Collectibles carry cultural history that meme coins cannot replicate - 8:41 Ad-driven media is broken, so ComicBook.com is adding commerce - 13:31 Local comic shops are partners and community hubs, not targets - 16:15 Comic collectibles are smaller than Pokemon but less efficient - 20:03 Vending machine brings collectors on chain without them knowing - 26:09 Collectibles as a hedge amid inflation and uncertainty - 30:34 Machines stocked with Marvel and DC, and Solana praised ## Transcript **Drew Rogers** (0:00) Andrew, what's going on? Can you hear us? Hello. I can hear you. **Maurice Chalfin** (0:04) What's up, guys? **Drew Rogers** (0:06) Well, hey. Good to have you on the show today. Thanks for coming on Beyond Speculation. **Maurice Chalfin** (0:12) Good to be here. Let's go. Yeah. Yeah, brother. **Zach Fowler** (0:16) So would love to just kinda get very quick, like, two minute intro. Who's Andrew Berkowitz? How did you end up here? And what's your role at comicbook.com? **Maurice Chalfin** (0:28) Cool. Thanks for teeing that up. So out of college, I started a podcast in my parents' basement because I was like, we need more white guys doing podcasts. No. I'm just saying back in 2016, there there weren't that many people doing podcasts. So I had this vision back then of building a media platform, to create content about startups in emerging markets. Back then, everyone was talking about startup ecosystems, Silicon Valley, how do we replicate that? But no one was talking about startup ecosystems in Africa, Latin America, Caribbean, Southeast Asia. And so we built a media platform to cover those markets. Our flagship shows were African Tech Roundup and the global startup movement. I scaled that company up, and, this good first company, first experience. From there, I became a media fellow at an organization called the Milken Institute. Was there for a couple years before starting my first company in the crypto space. It was a gamified, social fi UGC platform. We worked with a lot of the big advertising agencies like Publicis and Dentsu. We had clients like Time Magazine, Lyft. Unfortunately, as we all know on this call, Web three didn't really happen. Didn't really happen. Brands particularly. So, unfortunately, that company didn't really work out. And I joined Savage Ventures, which is kind of a private equity venture operator in the media space. So Savage owns Vice. They own comicbook.com, popculture.com, American Songwriter, a lot of really cool Internet native media brands. And so I'm a general manager of the portfolio, but my core focus at the moment is, leading what we're doing with comicbook.com and the partnership we have with the Solana Foundation, CollectA Crypt, and a lot of other, really awesome crypto, organizations. **Zach Fowler** (2:22) I I love I love that, and I just wanna double click on something really quick because I think it's very prescient to the time... To to the current age of crypto where we are today. You said Web three is dead. I tend to agree with you on that. I'm not a huge fan of the term anymore. Although, I must admit, I used to love the term. Can you give me just, like, thirty seconds on why you think it's dead? Why it doesn't apply anymore? Like, how would you shift that that descriptor? **Maurice Chalfin** (2:53) I mean, specifically, I said is web three didn't happen. Look. I mean, at the end of the day, like, you only have so much... Like, trust is hard to build, and bridges are burned very quickly. So when FTX happened, brands never came back. I mean, I'm sure everyone, like, in this kind of ecosystem, everyone remembers. Like, NFTs were massive with brands and, like, was a part of, like, brand marketing and, like, Starbucks launched their own on chain loyalty plat... So, like, all these brands were making moves, into crypto using it as a platform platform for marketing customer engagement, customer loyalty. And from... In my mind, like, that was Web three. It was like a bridge into the mainstream with all sorts of novel use cases. FTX, like, I guess we didn't realize it at the time, but that burned the bridge to such a massive extent where it never came back. And so then we had MemeCoin era, which was what it was, but it wasn't something that brands or anything in the mainstream was was gonna touch. It just... Yeah. So it just never... Yeah. Things never came back the way we all thought it would. SocialFi never became a thing. Will it come back? I mean, maybe. It's not... It hasn't been looking good over the past couple years. Did there are pockets and use cases that do have momentum. Obviously, you know, TCG and collectibles was always an, like, obvious narrative, and it's no surprise that that's one of the pockets of things that are back. But at the end of the day, like, meme coins cannot be the main dish. Meme coins can be a side, but the industry needs to find other things as the main course. **Zach Fowler** (4:59) I... Go ahead, Drew. I mean, Zach. Sorry. **Drew Rogers** (5:04) Zach. No. I was actually gonna ask, like, though, what would you say to somebody that looks at meme points and then maybe they look at, like, Pokemon cards or they look at comic books and then look at collectibles and they put them into this kinda, like, same mental bucket as, like, not being worth anything? How would you kinda compare and contrast, like, again, like, the evolution of this infrastructure to be applied? Like, k. We learned from MemeCoins. It stress tested the system. We've seen it be able to, you know, handle this trading volume. We've seen what NF... NFTs can do to ownership, and now we're applying to something real and tangible. And maybe people are thinking about this the wrong way. I mean, obviously, Savage Ventures has has some convictions about the collectibles market. What would you say to somebody that looks at collectibles and and kinda writes them off in the same way that people write off meme coins? Okay. I think thank you for clarifying because I'm not gonna go to bat for meme coins. I'll tell you that. Yeah. Yeah. Yeah. Yeah. Will we. Neither will we. What's **Maurice Chalfin** (6:01) I thought that meme coins would mature into tokenized IP. That's what I thought we were moving towards. Like, I thought Nintendo was about to launch p... Pikachu coin, and it'd be a $100,000,000,000 coin. And it'd be, like, the official, like, IP coin of of the thing. That didn't happen. Maybe that will still happen. Where I I see collectibles as an asset class... Like, the reason it's different is because there's a historicity of these things that have real cultural significance. We just had a massive moment in August where the Spider Man movie came out, and it broke broke all sorts of records. It captured the zeitgeist and all sorts of cultural tension. The fact that there are nineteen sixties, nineteen seventies assets of Spider Man as an IP, like, that's a larger intellectual property trade. That's on par with fine art that you would find in a museum. The... There will never ever again be a 1963, you know, comic book of first appearance Spider Man. Like, it's not gonna happen again. So the the the the the cultural providence owning this moment in history is, in my mind, a big part of the value that nothing on chain will ever be able to replicate, especially meme coins. You know, I could imagine in a hundred, two hundred years going into a museum and, like, seeing these types of assets in the same way we see, like, Picasso's or historical art. I think the is also making an investment with a vision that the whole... The owner of the IP will steward it correctly. So that... So then... Okay. So then there's, like, the historicity of the asset. There's the bet on the IP holder that they're gonna take it in the right direction. And that's also the bet you're making with Pokemon and, like, Nintendo as as, you know, the steward of the IP. So it's a completely different trade that represents, like, real world physical value, that can't be replicated on the Internet by AI. It's quantum proof. It's the best privacy technology out there. So **Zach Fowler** (8:41) Something something that really... Sorry. Something that really killed me about the whole IP play and the creator coin play, which I I kind of bundled together is it really broke that relationship between fandom and and and creator or artist or IP, and it turned that fandom into shareholders. And the shareholder concern is not like, will the IP make more amazing movies or cool comic books? It's token price go up. Right? And and I think that was that was like this massive kind of break in the in the dynamic that people didn't plug into, which I thought was quite quite kind of painful. Right? Because like there were people that invested tons of money into... Like physically invested into it and then the time and the energy, like it it really sucked a lot of air out of the room and I think it kinda set us back a bit. So I know you like to call the the meme coins a side dish. I I would I would call it an amuse bouche or something quite small and quite quite negligible in the grand scheme of things. But, you know, something kinda interesting that I I would love to ask about or double click on is, like, comicbook.com and popculture.com are in, the news and media businesses. Why shift into actually selling these collectibles? Or why shift into something more tangible for the end user? **Maurice Chalfin** (10:08) Yeah. I mean, at the end of the day, like, media as a business model is very challenged, and it has been that way since the Internet started to get traction and distribution. I mean, media as a advertising driven model, it just doesn't work anymore. It hasn't worked for a long time. The only reason a ton of media companies are still around is because, there was a decade of of zero interest free debt that all these medias, you know, piled on. And the digital transformation of these companies are very slow, and you need the c suite approval. And then they need to get the board approval, and then there's maybe even, like, a larger portfolio or ownership structure that needs approval. And so in that whole chain, the answer is always no. We're not doing that. And so, like, media as an industry is just like... I mean, the economics don't make sense anymore. Savage ventures, as, like, a broader thesis has always been focused on kind of digital native properties, like comicbook.com, like Vice, like pop culture, where it's not just about editorial and news. There's larger larger cultural relevance to the brand and to the asset, that can't be replicated. And so comicbook.com is a really good example of that, because of the domain, because of how long it's been around. Like, we get the best media rooms every single year at Comic Con. Mhmm. And as an asset, there are aspects to it that cannot be replicated because of the cultural credibility that's been established and built. That all being said, my vision for media and what I've introduced into this portfolio is media companies need to move on from advertising as the core meat of how the company grows. That's because of AI. It's because of just a lot of structural changes to the Internet over the past few years. And so there needs to be commerce driven touch points introduced that are relevant for that brand and for that audience. And with comic book, I mean, it's obvious. And there's a larger problem in collecting where discovery in the industry happens on websites like ours, but then the collecting happens on a ton of fragmented low trust marketplaces like eBay and trade shows and Facebook marketplace and TikTok and all these kind of fragmented platforms, we see the opportunity to be the full stack consumer app for the entire fan economy experience. And so that means the discovery through the news and editorial. That means collecting through the gotcha machine and marketplace that we launched. Yeah. And it also means community through the events and experiential that we organize in all the major industry conferences. And so when you combine all of that into one consumer platform and experience, then you have a company that could be a multibillion dollar company versus a media company that across the industry, like, nobody's scaling a company like that. **Drew Rogers** (13:31) Andrew, when you think about, like, this, like, culture of collectibles and I think about, like, my local, like, trading card store, it has a little bit of comics, a little bit of TCG, magic, kind of all the above, and, like, there's something to be said about, like, the local market... Like, the local community going to that store. I can remember going as a kid and begging my dad to, like, take me there to, you know, go find baseball cards, and there's multiple people hanging out. How do you think about, like, the digital community, the in person community? Are you aiming to maybe, like, disrupt the local stores, or is there a place for them within this, like, evolving marketplace and ecosystem? Like, I'm thinking, like, for the mom and pop shop that the discoverability problem was you'd go sift through their... From whatever 500 comic books they have hoping to find a grail. And is there a is there a new way for them to, like, kinda stay alive because of what you're building now? **Maurice Chalfin** (14:26) I mean, we're... We have a great relationship with a big network of local comic shops across the country, and we have tried to focus our curation, and, you know, efforts of, like, the assets that go into the machine, by buying from local comic shops. So that doesn't mean every single asset that goes in the machine are are through those channels, but we do our best to do that. And it's important to support local comic shops because it's it's always been a local hub for the community around this. And so as a, you know, company, like, the events and the experiential that we're looking to invest into, really does incorporate a vision of activating events and activating local communities at these local comic shops. And we feel like that's really important, for many reasons. But just structurally as a society and especially in The US, like, we've lost that third, that third locate... Like, you have home, you have work, and, like, where else do you got to go to build community, build friends? Well, local comic shops, I think, are important pillar, really, of society to to create that for this specific niche. **Drew Rogers** (15:44) Yeah. Yeah. So it's it's important to Well, even just like I think of the the network effects and even, like, distribution around those, you know, especially when you think about it maturing as an asset class even, you know, when you can go to a combo shop and share it with your friends and it's easier to trade. You know, you're not just confined to your local market and maybe the few guys that live in your hometown. It's it's an interesting, paradigm to think through. It's like a mechanism to to grow these markets. **Maurice Chalfin** (16:11) 100%. **Zach Fowler** (16:15) How does comic book collectibles market compare to the TCG market? And I'm a big bang theory fan. If if anything, **Drew Rogers** (16:28) it taught **Zach Fowler** (16:30) there's a massive market for this that is possibly far larger than Pokemon or One Piece or Lorcana or name your TCD du jour because you have films, you have comics, you have animated series, you have figurines. I mean, the the list is endless. And while you see that parallel in the Pokemon universe, somewhat in the One Piece universe, in the comic book universe, I mean, it's it's it's kind of endless. **Maurice Chalfin** (17:01) Yeah. I mean, we view our opportunity with comicbook.com not just within the scope of comic books, but really it's about superhero collectibles and superhero IP. And that really expands beyond just comic books. And, like, there's a ton of Marvel and DC, trading cards, not TCG like Pokemon, but trading cards. And, I mean, most of the Marvel is is is more... Is Fleer, f l e e r, is the company. And there's a ton of grails from, like, the 2013, 2017 sets. There was a tops DC run back in 1966 of cards. And one of the big, like, DC grails is a 1966 tops, you know, call it a Batman rookie card. But, I mean, look. Like, comic books as asset class is much smaller than TCG. I mean, Pokemon alone, I think, for Collector Crypt is, like, maybe 70% of their volume in their business. But that also means that there's a lot more market discrepancies and inefficiencies in these other classic classic classes like comic books, like graded games, you know, stuff from... Yeah. Yes. This is the one. This is the one. So, like, there are a lot more opportunities to find really good deals for a graded comic book or a graded game that you're not gonna find in Pokemon because there's so much more liquidity and market efficiencies that have, formed around Pokemon as an asset class. So that's something that's really exciting and an opportunity right now. And then if you think about this stuff long term, I mean, you can definitely make an argument that Pokemon is in a bubble, and you'd have probably a really good case for that. These other assets, like comic books and, and, you know, games, like, if there is a bubble burst, like, the prices of these assets are not gonna drop that much. They've been very consistent and steadily growing. And I think it's also partly a hyperinflation trade, hard asset trade. But the opportunity right now is, in my opinion, in these kind of superhero IPs. And, like, there's a huge, doomsday, Avengers movie coming out soon. Next year, there's a new Star Wars movie. There's a new Superman movie. So as these kind of, cultural moments happen through these massive failed marketing budgets that these IP holders are gonna spend on these different IPs, like, you know, that's where you're gonna find opportunities in the short term that the downside risk isn't that much because these specific assets haven't really plumped in the same way as Pokemon. **Drew Rogers** (20:03) When we think about... I'm I'm kinda transitioning this to the comic book vending machine and and maybe introducing people to these to these assets or collectibles. I think about, like, my dad maybe, for example, or, you know, my family friend who's, I say lovingly, like, Meganer, garages decked out. Like, this is stuff that's right up his alley. When you think about introducing them, is the... Do you see the comic book vending machine as that that first step into getting deeper into this hobby? Or is... Do you want this to be the main thing? And even, like, what's been the reception of since launching the the vending machine? And, like, really, who who it's for right now? Yeah. I mean, the vending machine and the marketplaces... **Maurice Chalfin** (20:47) In the in the marketplace we have are are two different ways that we can go to market with the broader offering of kind of, you know, bringing people into on chain collectibles without them knowing it's on chain. Like, the behavior of opening a pack has been so ingrained into geek culture that, like, the the the vending machine, the gotcha machine, whatever you wanna call it, it's not really that big of a change in behavior. What we're not seeing and what we're we're not gonna see is, you know, with with these, like, more crypto native types of users, you know, they they they can come to a machine and rip a $100,000, just crank it through the machine. That's not the behavior of our audience or that you're gonna see from, like, a hardcore nerd collector who just, like, has a small collection in their garage. You know, they're gonna come, and they're gonna spend a couple $100. And if... You know, they're gonna kind of repeat that behavior if they had a good experience or if they pulled good things. So it's not really... It's not just about, getting an ROI. It's about getting assets that are curated and just cool. You know? Like, there's a lot of cool Marvel cards Yeah. Like the nineties and that, you know, were created before... There you go. Created before Pokemon even existed. And that's just cool. It'll never be recreated. That moment in history will never happen again. And so the ability to just, like, rip a pack, get a cool, you know, card that's like a Spider Man from 1991, that's a PSA eight, that's something I'd be comfortable with passing down to my kids and grandkids. And it's not gonna... Like, it's always gonna be worth something, and it'll probably keep on par with inflation, sans any, like, cultural moments that happen that make you **Drew Rogers** (22:52) Yeah. It's a very different paradigm than I think, like, for people that may not be familiar with collectibles or trading cards or any of that. Like, I think they automatically assume that they're just, like, the most risk you could buy or put your money into. I had a friend messaging me even last week because he was like he's like, I I don't even know what mental category to think about these. I'm feeling some FOMO. Do I need to go start buying some stuff? He's like, I just don't even know how to fit this into my my portfolio to say. And, obviously, this has changed a lot in the past, you know, five years ever since COVID when it was like, hey. Wait. Now you see institutions allocating money to collectibles and adding them as parts of their portfolio. What would you maybe say to somebody that's, like, wanting to get started in this hobby, whether it's, you know, Marvel cars or comic books or even TCG? Like, how how do you balance, like, the ROI aspect and even just having fun? **Maurice Chalfin** (23:50) I mean, I don't think it's a different answer than Pokemon or, like, anything else. I'm sure you guys have talked about on the show before. Know, like, there was this... There... You know, in crypto, it's like we're in it for the tech. You know? We're in it for the tech. We don't... We're not... We don't care about prices. Obviously, that's not true for anybody. And if they're telling you that, they're a liar. I think with these assets specifically, it's really about collecting... Yeah. Like, there's an element of collecting what you like, but also, like, thinking about, like, where this IP sits within the broader movement of culture. And that's why I brought up in August the Spider Man movie. Like, it it broke a ton of records, created this massive cultural moment for this IP that was created, you know, eighty... You know, seventy, eighty years ago. And so I think Marvel and DC have enough of a moat on the core IP that they own, Batman, Superman, Spider Man, the Avengers, like, all these characters. It's not something that's going away. It's not something that's going away. And it's something that will continue to just, like, have $9.09 figures consistently being pumped into production, marketing, distribution, creating new assets. And in my opinion, the real target here should be accumulating these vintage cards from the eighties, nineties that... You know, again, they'll never be recreated even though the IP itself will continue to be invested in very heavily by these studios. **Drew Rogers** (25:42) You got any doctor Doom cards in the vending machine? **Maurice Chalfin** (25:45) I can't confirm nor deny. **Drew Rogers** (25:50) Or deny. **Maurice Chalfin** (25:52) Yeah. I can't confirm nor deny that. Love it. Coming soon. Maybe. You Coming soon. Tune in. Tune in to Comic Book HQ. **Drew Rogers** (26:04) Tune in. You heard it here first. **Zach Fowler** (26:09) Amazing. I I definitely feel like one other thing that I feel I've been... And part of why I'm so excited about this alternative asset class, comic books, collectibles, whiskey, right, Whatever it might be that people collect and ascribe value to. I think, like, as the government keeps printing dollars, as the debt continues to rise, as yields and and classical ways of making money. Like, I'm in the home buying process right now. I'm trying to sell a home. I'm trying to buy a home. It's absolutely miserable. But I grew up my whole life being told, you make it in America by getting a job, saving money, buying property, holding it, and selling it. Right? Or investing in the stock market. And more and more, it seems like the older generations are the ones that are... Were or are able to do that. And the current generations are struggling a bit, and I love this idea of investing in these alternative asset classes. And and I kinda see... See comic books like that. I see TCG like that. And, you know, one thing I would say though is... And I wanted to kinda like highlight it, like I absolutely agree with you on this this... You have to look at the history and you have to look at the, like, the cultural pull. Right? We saw Lububus go crazy for twenty minutes, but they had no history, they had no cultural buy in, they had no, you know, stories from mom and dad, but but I have that with the Spider Man and Superman. I have that with Pikachu and Charizard And I think that that's something like really interesting because, you know, some people collect for the love of it, some people collect as investments. I do both. I I collect certain things because I think it will, you know, price go up and then some stuff I collect for the love of it. And and, you know, this is one of those things. Like, I just love the idea of having the tangible card. **Maurice Chalfin** (28:10) If the price goes up, great. If it doesn't, I have something I'm gonna hand down to my son. Yeah. A 100%. I feel the same way. And and what I said before, like, these... A lot of these IPs, like, they don't... It's not that, like, they they don't go back to the nineties. They they go back to the twenties and thirties and forties. And so there's so much cultural providence and investment that's been built up over, I mean, now over a hundred years for some of these IPs. And so... And there's no slowing down. Like, a lot of these, like, superhero... Like, there's just consistent Batman movies all the time. There's consistent Superman movies all the time. So even if there's, like, a flop or, like, something like... The IP is is... It's just not going away because these are actually deeper archetypes of humanity that have existed even before the IP was created. And so that's, you know, big fat. And then, you know, like, your... The the theoretical scenario you said of, like, you know, convince your friend who's, like, risk adverse to invest in these things. Like, I don't know where to tell that guy to put their money. Like like, did you keep it in dollars and have that inflate away? Like, do you keep it in, like, all time high real estate or, like, you know, I think some startup just figured out how to alchemize gold, like, a couple weeks ago. Like, I don't know where to keep my money. Like, I just know that I need to, like, invest in my skills and my ability to make money. Mhmm. Where do I keep my money? I have no idea. Like like like, AI just destroyed the Internet. So, like, I don't know. Like, go, you know, go buy an HVAC company. **Drew Rogers** (29:48) Collectibles **Maurice Chalfin** (29:50) as a hedge against AI and IP? That's an interesting, like, kind of angle and thesis even AI risk? Build it It's it's it's risk free in terms of AI. It's risk free in in terms of quantum, whatever that means. No one even knows what that actually means. And it's the ultimate privacy tech. I can I can buy? You know, I can can can trade with Maurice. Itself. I can trade with Maurice, and the NSA can't track that. Unlike some of the other private private points. **Zach Fowler** (30:27) Oh, man. Love this so much. How are we on time, Zach? **Drew Rogers** (30:34) We're good. I think we got a few... We got a minute or two. Nikki, I think, just joined. He's getting ready to go right now. I guess, Andrew, I would just like, what should people do next? They should go rip some packs on comicbook.com. It sounds like they have a few few things that they should look ahead to and and stay tuned for if they're into Marvel. **Maurice Chalfin** (30:55) But, yeah, what what what what said it. Horizon not me. So, I mean, our machines right now are stocked with Marvel and DC comics and cards, not just comics. Okay. A ton a ton of really cool Marvel cards in there. Most of the grails are comics. But, like, for the Spider Man machine, for example, if you scroll down a bit, like, you can see we have some Oh. Yeah. So, I mean, there should be some pretty sick cards, like that row right there. I see an Andrew Garfield autograph card in there. Oh, so... And so, like, that... That's really where we're looking to double down on. You know, like, the Avengers as an IP, like, a ton. X Men, Fantastic Four. We launched our DC machine, which is full of, you know, Aquaman, Batman, Superman, Wonder Woman stuff. And so those are the IPs we're looking to double down on, and there's a lot that we have in store to really expand on our machine, mostly around thinking ourselves as, like, a social collecting platform. Those are some of the things that we have in development that, will be coming out over the next couple weeks, couple months. But comicbookvending.com is where you can find the machines and go rip some packs so I can meet my KPIs. **Zach Fowler** (32:23) Beautiful. Go rip some packs. Yeah. Yeah. So, as we close out and transition to, Nikki from Stupid Team USA, which I know you are also a member of the of the of the of the team. Yes. Where could people find you? Will you be at break point? What what closing message do you wanna leave for the people? **Maurice Chalfin** (32:46) I think my x handle's linked or shown somewhere. I don't see it right now. But it's it's the Witz Carlton, so like the Witz Carlton, but with a w instead of an r. I will most likely be at breakpoint. I haven't booked my flight yet. I'm a very last minute booker in terms of my travel. Cool. But, you know, excited to be here. I think, like, you know, I've been in crypto a long time, and I've never really, had a partner like Solana has been for us. It's really the only place that you can get real scalable consumer traction in the industry. And that's disappointing, but it's just what it is. So don't know what else to say about that. It's just what it is. **Drew Rogers** (33:32) Shout out, Solana. Good to meet you, Andrew. Thanks for coming on today. Likewise. Thanks, guys. **Maurice Chalfin** (33:37) Thanks, brother.