The Criterion Channel Celebrates Debut Films from Black Women Directors

Summary

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Podcast Summary: The Criterion Channel Celebrates Debut Films from Black Women Directors

Podcast: All Of It
Host: Alison Stewart (WNYC)
Date: December 11, 2025
Guests: Ashley Clark (Criterion Channel Curatorial Director), Rogan Graham (Programmer, Writer)

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Episode Overview

This episode of All Of It explores the Criterion Channel’s new series, Black Debutantes, which spotlights the groundbreaking debut films by Black women directors. Host Alison Stewart is joined by Ashley Clark and Rogan Graham to discuss the curation process, the significance of these works, the challenges faced by their creators, and wider representation in cinema. They also take listener calls and share recommendations from the international lineup.

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Key Discussion Points & Insights

The Rationale Behind the Series

• Lack of Visibility for Black Women Filmmakers
  • Rogan Graham points out that many Black women filmmakers have only been able to create one feature, making it difficult for their work to appear on typical "top 10" lists or become well-known.

    “I found a lot of these incredible filmmakers only got to make their debut features. So that was my kind of way in… There's a lot of, you know, different reasons as to why that was.” (Rogan Graham, 01:51)

• Representation and Film Education
  • Graham highlights her motivation as a fan, noting the rarity and significance of these debut features in the larger film history landscape.

Importance of Amplifying Overlooked Work

• Criterion’s Curatorial Ethos
  • Ashley Clark describes Criterion’s dedication to showcasing undervalued works, giving them proper historical and artistic context.

    “…amplify and focus on work that might otherwise be overlooked or underrated or not contextualized properly.” (Ashley Clark, 02:52)

• Collaboration
  • Clark saw Graham’s program at BFI (British Film Institute) and recognized the potential of partnering to bring the series to a broader audience.

Challenges for Black Women Directors

• Industry Barriers
  • Many featured directors only managed to create one feature due to funding challenges, distribution hurdles, and lack of commercial support.
  • Self-funding, debt, and community support were common means of production, as explained by Graham.

    “A lot of them … were independent films. So it was the filmmakers kind of going out and hustling and getting the funding on their own, self-funding, getting into debt… their legacy still, you know, reverberated.” (Rogan Graham, 06:22)

Thematic Contributions

• Recurring Themes (1990s–2000s)

  • Identity, girlhood, coming of age experiences, resilience within environments of masculine hostility, and the pursuit of artistic dreams are central to many films.

    “There are a number of themes about girlhood, about coming of age, about… existing in a climate of masculine hostility, but also artistry… often a lot of intergenerational conversations…” (Ashley Clark, 07:54)

• Intergenerational and Cultural Legacy

  • Daughters of the Dust is noted as exemplary for addressing both the African American past (specifically the Great Migration) and future.

Notable Films Featured

• Eve’s Bayou (Dir. Kasi Lemmons)

  • Critically acclaimed, achieved mainstream success thanks in part to Samuel L. Jackson’s involvement ($14M box office on $4M budget). Noted for its confident style and depiction of Southern Black family life.

    “It’s a film that you could use to teach… about how to pace and how to block and how to work with actors.” (Ashley Clark, 05:06)

• Daughters of the Dust (Dir. Julie Dash)

  • Praised by callers for its cultural richness and inspiration.

• Pariah (Dir. Dee Rees)

  • Celebrated for nuanced depiction of a queer Black teenager in Brooklyn; praised for its aesthetic and emotional force.

    “I would say it probably has one of the most iconic opening scenes or at least opening needle drops of a movie.” (Rogan Graham, 17:24)

• Just Another Girl on the I.R.T. (Dir. Leslie Harris)

  • Centers on a bold Brooklyn teen, breaks the fourth wall, rooted in authentic NYC experience.

    “Chantel grabs you by the throat and tells you exactly what she’s thinking. It’s really fun.” (Ashley Clark, 12:56)

• Compensation (Dir. Zeinabu Irene Davis)

  • A love story between deaf African Americans set in two periods (1910s and 1990s). Notably restored with improved captioning and accessibility.

    “It’s a really beautiful love story… I want to commend the restoration for upgrading the accessible captioning… deaf audiences at the forefront.” (Rogan Graham, 14:55)

• Naked Acts (Dir. Bridget M. Davis)

  • Profound look at body image, trauma, and intergenerational relationships—highlighted by Graham as revelatory for its candor and specificity.

International Scope & Additional Recommendations

• Beyond the US

  • One Way or Another (Sara Gomez, Cuba): A landmark film in Cuban cinema.
  • Sambizanga (Sarah Maldoror, Angola): First feature in Africa by a woman.
  • Welcome to the Terrordome (Ngozi Onwurah, UK): Groundbreaking, intense sci-fi film by a Nigerian-born British filmmaker.

• Other Standouts

  • Pretty Red Dress (Dionne Edwards, UK): Recommended for its portrait of family, gender, and sexuality in modern Britain.

    “Pretty Red Dress will be one I really want to shout out, especially for US audiences who may be unfamiliar.” (Rogan Graham, 19:17)

  • Will (Jessie Maple, US): Early NYC indie from the first Black woman to join the camera operators’ union.

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Notable Quotes & Memorable Moments

On Discovering Hidden Gems

“You sort of realize… we've been trying to reinvent the wheel. Someone has already done this… produced this incredible, sensitive, tactile work that speaks to the very specifics of the black experience, Black female experience.”
— Rogan Graham (11:27)

On Audience Impact & Rediscovery

“I spend maybe a little bit too much time on letterboxd.com reading the comments from younger viewers who are experiencing this film for the first time and thinking, giving it four stars, five stars. Where has this film been all my life?”
— Ashley Clark, on Compensation (16:01)

On Breaking the Fourth Wall in ‘Just Another Girl on the IRT’

“She’s talking straight to you. Chantel grabs you by the throat and tells you exactly what she’s thinking. It’s really fun.”
— Ashley Clark (12:56)

On Restoring and Upgrading Film Accessibility

“I want to commend the restoration for upgrading the accessible captioning on the screenings and really putting deaf audiences at the forefront in terms of viewing experience.”
— Rogan Graham (15:17)

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Important Timestamps

• 00:09–01:51: Introduction to ‘Black Debutantes’ and guest intros
• 01:51–02:49: Motivation for focusing on debut features (Rogan Graham)
• 02:52–03:35: The importance for Criterion in supporting overlooked work (Ashley Clark)
• 03:45–04:52: Realization about only-films and personal curation journey (Rogan Graham)
• 05:06–06:07: Reception and legacy of Eve’s Bayou (Ashley Clark)
• 06:22–07:02: Funding challenges and independent spirit (Rogan Graham)
• 07:49–08:28: Themes and conversations in 90s/00s films (Ashley Clark)
• 10:06–12:11: Discovering Naked Acts and the experience of shared stories (Rogan Graham)
• 12:23–13:04: Just Another Girl on the IRT – plot and stylistic innovation (Ashley Clark)
• 14:55–15:59: Compensation – accessibility and impact (Rogan Graham)
• 16:01–17:06: The long road to Compensation’s restoration (Ashley Clark)
• 17:24–18:23: Parallels in Dee Rees’ film Pariah and her subsequent oeuvre (Rogan Graham)
• 18:41–19:12: International expansion of the program & additional film recommendations (Ashley Clark)
• 19:17–19:56: ‘Pretty Red Dress’ and the US/UK distribution gap (Rogan Graham)
• 19:56–20:03: Shout out to Jessie Maple and Will (Ashley Clark)

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Listener Engagement & Community Responses

• Personal Impact Stories

  • Callers highlighted deep connections to films (Daughters of the Dust inspiring travel and community connection) and recent festival discoveries (such as Somewhere Else by Amitas Sami Karim Ali).

• Enthusiastic Recommendations

  • Listeners texted in with their own favorites (e.g., Love & Basketball, Hairpiece), contributing to the community-building aspect of the show.

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Conclusion & Takeaways

The episode illuminates the creative resilience and cultural significance of debut films by Black women directors, emphasizing the necessity of historical preservation, equitable access, and inclusive curation. Audiences are encouraged to seek out these newly accessible works, expand their viewing habits beyond well-known titles, and recognize the vibrant power of these singular voices — not just as filmmakers, but as multi-hyphenate artists shaping global culture.

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Transcript

[Rogan Graham]

Foreign.

[Alison Stewart]

This is all of it on wnyc. I'm Alison Stewart. We're continuing on with the Criterion Channel. A new series streaming on the Criterion Channel celebrates the trailblazing debuts of black women filmmakers. It's called Black Debutantes. Some of these films are more recent, while others are one offs that have become cult classics. But all have left a mark on a generation of filmmakers. The slate includes the Southern gothic drama Eve's Bayou, starring young Jurnee Smollet as a sick 10 year old girl uncovering family secrets. The romantic drama Daughters of the Dust, following three generations of Gullah women and Pariah, a coming of age story about a queer black teenage girl. Black Debutantes is streaming on the Criterion Channel through December. Joining us to discuss the series is the Criterion Channel's curatorial director, Ashley Clark. Ashley, welcome.

[Ashley Clark]

Hi. Thank you for having me.

[Alison Stewart]

And also with us is series programmer Rogan, Graham Rogan, it's nice to meet you as well.

[Rogan Graham]

Hi, Alison. Thank you for having me. Hi, Ashley.

[Alison Stewart]

Hi, listeners. We'd like to get you in on this conversation. Have you ever seen Eve's by youy Daughter of the Dust or just another girl who is a black woman filmmaker that you admire? What do you remember about her debut feature? Our number is 2124-3396-9221-2433 wnyc. You can call in, you can join or you can text to us at that number or hit us up on social media at all of it. Wnyc. So Rogan, you premiered a version of Black Debutantes at the British Film Institute south bank earlier this year. Why focus specifically on the first features by these women?

[Michelle (Caller)]

Hi.

[Rogan Graham]

And that's a great question. So I suppose I was thinking a lot about my own film history and education and I was sort of, you know, you hear the name Martin Scorsese, right, And you think, okay, well, I'll just go back to the beginning and watch all the big hits, you know, maybe Google a top 10 list. But if people are, you know, particularly interested in black cinema or cinema by black women, you know, a lot of, a lot of these women haven't got to the 10 features to, to make a top 10 list to be able to narrow their filmographies down. So I started digging deep and what I found was a lot of these incredible filmmakers only got to make their debut features. So that was my kind of way in. And through a lot of research, there's a lot of, you know, different reasons as to why that was. But that's why I wanted to present the program that way. So anyone who, you know, has this particular area of interest, this is hopefully, you know, a good starting point.

[Alison Stewart]

Why was this important to you?

[Ashley Clark]

I mean, something that we love to do at Criterion, whether that's across our disc releases or the channel, is amplify and focus on work that might otherwise be overlooked or underrated or not contextualized properly. And I'm a big fan of Rogan's work as a writer and programmer. And when I saw that she put together this series at the bfi, which features a number of films that we've released in the Criterion Collection, like the Watermelon Woman, Cheryl Dunye's Film Compensation by Zainabu, Irene Davis, all these kinds of films that we love, but they were contextualized in such a thoughtful and generative way. And I thought it would be great to reach out to Rogan and ask if we could collect. Collaborate on something which we're really, really happy to do.

[Alison Stewart]

Yeah. Rogan, you said in an interview with Channel 4 that it occurred to you that many of these black women directors you love that this was maybe their only film that they directed.

[Interviewer/Host (Possibly Alison Stewart or another host)]

When did that moment hit you?

[Rogan Graham]

It hit me when I wasn't even thinking as a curator or as a programmer, as a film fan. You know, I watch Connie Smith's Dry Long, so. Which I did come to via the Criterion restoration a few years ago. And I was. My mind was blown, and I was so moved at the texture of the film. And then when I found out it was a debut, I was like, that. That's crazy. Like, who is this genius?

And then Colleen Smith is still an incredible filmmaker and working artist, but as feature films go Dry Long, so was the only one. And then I unfortunately started realizing that for many, many films, you know, just another girl on the irt, Alma's Rainbow, losing ground for kind of different reasons. But I just started joining the dots in my own kind of personal film watching and thought, okay, there's. There's something here, and I'll join the dots. That. That's how I. I suppose I started thinking about the curation.

[Interviewer/Host (Possibly Alison Stewart or another host)]

We get a text here that says, I loved Eve's Bayou. Such a lovely, heartfelt film with great actors. At the time of the release of East, Excuse me, Eaves Bayou, Ashley, how was it received by audiences?

[Ashley Clark]

It was well received, actually. It was a kind of critical hit, and it did, I think, relatively well at the box office for. For a studio film. It benefited in some ways from the input of Samuel L. Jackson, who signed on, who was a relatively large star at the time. But really it benefits most from the vision of its filmmaker, Cassie Lemons, who just gives it such an incredible, incredibly confident style and pace and movement. It feels so lived in. And it's a film that you could kind of use to teach, you know, students at film school about how to pace and how to block and how to work with actors. And she has actually gone on to have a really solid career as a studio filmmaker and opera director. And a lot of these filmmakers in this series are very multi hyphenate. They work in dance, music, theater, literature as well. So it's by asking us to kind of collect these filmmakers together, we're also not just looking at them as filmmakers, but as artists in, in their whole, in their whole kind of being, which is kind of exciting as well.

[Interviewer/Host (Possibly Alison Stewart or another host)]

I interviewed her a couple years ago. She's amazing.

[Ashley Clark]

Yeah, incredible.

[Interviewer/Host (Possibly Alison Stewart or another host)]

Really cool woman. So Cassie Lemons made eve's bayou about 28 years ago. It grossed 14 million on a 4 million dollar budget. Rogan, how, how are these films funded?

[Rogan Graham]

Oh, well, it, it depends on the film and I suppose that's the beauty of the program as well as a variety of genre. They all have very unique origins. A lot of them kind of came up through, I suppose, collectives. The majority of them are independent films. So it was the filmmakers kind of going out and hustling and getting the funding on their own self funding, getting into debt, you know, doing what they needed to do to, to bring their, their vision to life. And a lot of them, you know, didn't have the initial kind of commercial financial success as Eves by you. But their legacy still, you know, reverberated.

[Interviewer/Host (Possibly Alison Stewart or another host)]

A new series streaming on the Criterion Channels channel celebrates the trailblazing debuts of black women filmmakers such as Daughters of the Dust, Eve's Bayou and Pariah. I'm here with Criterion's curatorial director Ashley Clark and programmer Rogan Graham to discuss the series Black Debutantes. We'd like to hear from you who is a black woman filmmaker that you admire, what you remember about her debut feature. Our number is 212-433-969-22124. WNYC got a text here that says love and basketball comes to mind. Shout out to Gina Prince Blythewood. That's a good one. A lot of these films actually were in, in the 1990s and the 2000s. What themes were black women.

Discovering during that period and contributing to the conversation during that period?

[Ashley Clark]

There are a number of themes about girlhood, about Coming of age about, you know, existing in a climate of masculine hostility, but also artistry and art and pursuing your vision and your dream. And often a lot of intergenerational conversations like Daughters of the Dust is a great example of that. A film that is about history, it's about the great migration, but it's about looking forward to the future. And it's about art and community and bonds. And those things tend to kind of drift throughout all the films and kind of interweave throughout all of them in the 90s and beyond.

[Alison Stewart]

Rogan, in curating the program, which film made you rethink an element of identity or politics in a way that you really hadn't thought about before?

[Rogan Graham]

Oh, what a good question. How long have we got?

[Alison Stewart]

Do you want me to take a call? And you want to think about that?

[Rogan Graham]

You can if there's a call there.

[Alison Stewart]

We do have a call, so you think about that. Let's talk to Michelle from the Bronx. Hi, Michelle, thanks for calling, all of it.

[Michelle (Caller)]

Hi, thanks for taking my call. I have been, from the time it first came out, Daughters of the Dust has been one of my all time favorite movies. And Julie Dash visited Detroit and I found out that there are a lot of people who worked with her on that film from Detroit and to talk to her and to hear what it was like for her to develop the film. I mean, she was so open, so willing to do it. I mean, it had such an impression on it that one of the first places as an adult I wanted to go was to South Carolina and visit that community, the Gullah community. She is a treasure. And the fact that she lifted up and stays in touch with other filmmakers who worked with her on that to lift up arts in the African American community.

[Alison Stewart]

Thank you so much for calling, Michelle. We really appreciate it. Okay, I'm going back to you, Rogan. The question was, what film made you rethink an element of identity or politics or society in the way you hadn't thought before you curated this program?

[Rogan Graham]

Well, I think a really big discovery for me and hopefully for people who come across the film on the channel, would be Naked Acts, Bridget M. Davis's film. It was recently restored and it kind of. It was completely sort of out of circulation. And in the uk, it didn't reach the UK at all, really, and until this restoration. But the story of a woman dealing with a black woman, dealing with issues around her body and how that related to sexual violence as a child and how that impacts every relationship with your life in your life with your mother. With your grandmother that it felt like, you know, witnessing conversations that I have seen and feeling that they were so feeling isolated by them. And I think what so many of these films do is reveal that, like, we're not existing and in a vacuum, and we don't have these struggles alone. We are all interconnected. And it. So many of these films, it kind of. It's when. When they're rediscovered. And I think that's something that, you know, the Criterion Collection and the channel does so well.

[Ashley Clark]

Thank you.

[Rogan Graham]

Is that when these films get to be restored and recirculated and you experience them for the first time, you sort of realize that, oh, we've been trying to reinvent the wheel. Someone has already done this. Someone has already. You dug deep within themselves and produced this incredible, sensitive, tactile work that speaks to the very specifics of the black experience, Black female experience. And it just. That in itself, which is a bit. Maybe a bit more broader than what you've asked, really spoke to me, because I think what it does is you kind of stop. There's a lot of conversation about, you know, we don't have any films about this or whatever, and it's like, no, maybe they're just not accessible to you.

[Interviewer/Host (Possibly Alison Stewart or another host)]

Yeah.

[Rogan Graham]

But people have been having these conversations and making art about these things. And I'm just really pleased that so many of those stories are now just more readily available, I suppose.

[Interviewer/Host (Possibly Alison Stewart or another host)]

Ashley, Just Another girl on the irt. What is it about?

[Ashley Clark]

It's about the life and times of a very, very spirited, opinionated young Brooklyn woman in the early 90s, directed by Leslie Harris, which is a feature film that grew out of an early project, which was a more educational project around Planned Parenthood. And this is a just a fun, freewheeling film that takes a few turns, and it kind of is an emotional roller coaster, but it's a lot of fun. And it's really one of my favorite films in the program.

[Interviewer/Host (Possibly Alison Stewart or another host)]

And it breaks the fourth wall.

[Ashley Clark]

Oh, yeah, yeah, yeah. It's. She's talking straight to you. Chantel grabs you by the throat and tells you exactly what she's thinking. It's really fun.

[Interviewer/Host (Possibly Alison Stewart or another host)]

Let's listen to an example from just another girl on the irt.

[Actor/Character from 'Just Another Girl on the IRT']

Y' all people today be Foggies. The other day I was on the number two train with my friends, just bugging out, having a good time, and people just started staring at us like we were some sort of street girls with no future. Yo, when I'm with my friends, I act like it don't matter because it don't. But between you and me, pisses me off when they think they can just judge you by the way you dress. Uh, I always get A's and B's in all my classes. I'm the best student in my calc class.

People be tripping when they find out how smart I really am.

[Interviewer/Host (Possibly Alison Stewart or another host)]

I think she rode the train with me yesterday. Let's talk to Nusreet calling from Morristown, New Jersey. Hi, thank you so much for calling all of it.

[Nusreet (Caller)]

Hi, Alison. I'm so happy to be here. I had the pleasure of going to the New York Short Film Festival just about a month and a half ago, and I was able to see a series of films. And the film that really caught my eye was Somewhere Else by Amitas Karim Ali. Amitas Sami Karim Ali. And it was an incredible film from her. Her debut film, and she also acted in it, and it was just really relevant to today's times in regards to women's reproductive health. It was really profound. And we got a chance to meet her and the other filmmakers, which was also pretty exciting.

[Interviewer/Host (Possibly Alison Stewart or another host)]

That is exciting. Thanks so much for calling in Rogan. As a part of the series, there's a 1999 film called Compensation, which is a portrait of deaf African Americans, but It's set in two different time periods in the 1910s and the mid 1993. 1993. How do the two stories meet?

[Rogan Graham]

Oh, my goodness. So it's the most beautiful love story told. Yeah. Over these two time periods. The two different chance encounters between two people at different times in their lives and how they build those relationships. And I think there's something really.

It's just. It's a really beautiful love story. It's a really beautiful drama. But I also want to commend the restoration for upgrading the accessible captioning on the screenings and really putting deaf audiences at the the forefront in terms of viewing experience. Zainabu Irene Davis, I know, has been incredibly passionate about that since first making the film. And as technology's evolved, so has the way the film can be viewed, which is wonderful. And when we premiered it in the uk.

It was just really special to see so many deaf and hard of hearing audiences come out to that screening where they may not have been able to access others.

[Alison Stewart]

That was so interesting. You nodded your head when she said that.

[Ashley Clark]

Yeah, absolutely. I just wanted to give a shout out to Zainabu Irene Davis, who is also a professor and one of the most inspirational people that I know. She spent many, many years writing and developing this movie. It was released in 1999 with a screenplay by her husband, Mark Sherry, and it screened at the Sundance Film Festival and is so often the case. People saw it, liked it, but it never found distribution, and it kind of slipped into that netherworld of not quite lost, but not really released. So to spend the last four or five years working with Zainabu directly to. To bring this film back to life and back to circulation, and I spend maybe a little bit too much time on letterboxd.com reading the comments from, from younger viewers who are experiencing this film for the first time and thinking, giving it four stars, five stars. Where has this film been all my life? You know, it's a black and white silent film about relationships between deaf and hearing people in the 1910s and the 1990s. It feels pot. It sounds academic and forbidding, but it's really true to Zainabu's spirit. And it's actually an extremely accessible and entertaining film. And I can't recommend it highly enough.

[Alison Stewart]

Rogan, I want to talk to you about Pariah. It was written and directed by Dee Rees, now an Academy Award nominee, but this is when she was first starting out. It's about a Brooklyn teenager from 2011 who's exploring her sexuality. When you look at it, what says D. Rees to you about this film?

[Rogan Graham]

Oh, my goodness. Well, it's gorgeous. It's, it's. I think the way the characters that are lit and the coloring on the film, I think that is something. You see it in the short, the earlier short of Pariah, and it's carried throughout her. Her filmography, I think about. I'd say Mudbound is probably her more, you know, better known film, but that you see that style and that finesse in Pariah, and I would say it probably has one of the most iconic opening scenes or at least opening needle drops of a movie. I won't spoil for people. You have to check it out. But it's been, it's one of the films where, yes, the director has gone on to have, you know, a wider filmography, which is really exciting. But I think if Mudbound was the entry point to definitely go back and watch Pariah and if I can, Bessie, which isn't on the channel but is also a great Derace film.

[Alison Stewart]

This text says hairpiece. I saw it in London, in Brixton, I believe, in 1980 at a church screening of female filmmakers from America. Black filmmakers opened my head up, no pun intended.

We've only got about a minute left. Is there anything you want to recommend, Ashley, that people should check out.

[Ashley Clark]

I want to flag that this is an international program. We've spoken about a lot of American films, but there's a Cuban film called One Way or Another, a film from Angola called Sambi Zanga which is the first film made by in Africa by a female filmmaker. An extraordinary film from the UK I have to represent home. Welcome to the Terror Dome by Ngozi Onwura, who's a Nigerian born British filmmaker. The first film made and released by a black woman in the UK in 1995. It's very upsetting, very hardcore science fiction film. You won't forget it. You may not want to watch it with the whole family.

[Interviewer/Host (Possibly Alison Stewart or another host)]

Okay, you got 50, you got.

[Alison Stewart]

Well, I'll give you 30 seconds.

[Interviewer/Host (Possibly Alison Stewart or another host)]

Go for it, Rogan.

[Rogan Graham]

Which films Pretty Red Dress, Pretty Red Dress by Dionne Edwards, fellow South Londoner. But the film didn't actually get distribution in the U.S. which is why I really encourage, you know, listeners to, to check it out. It's a queer, I would say, coming of age story about a black father who is just released from prison and he comes home and he now has this teenage daughter who is experimenting with her own sexual identity and he himself goes on his own journey. But Pretty Red Dress will be one I really want to shout out, especially for US audiences who may be unfamiliar.

[Ashley Clark]

And will by the amazing New York legend Jessie Maple, the first black woman to join the New York camera operators union. Incredible.

[Interviewer/Host (Possibly Alison Stewart or another host)]

The series is called Black Debutantes. I've been speaking with Criterion's curatorial director, Ashley Clark and programmer Rogan Graham.

[Alison Stewart]

Thank you so much for all the work that you do.

[Interviewer/Host (Possibly Alison Stewart or another host)]

We appreciate it.

[Ashley Clark]

Thank you, thank you, thank you, thank you for having us.

[Alison Stewart]

And that is all of it.

[Interviewer/Host (Possibly Alison Stewart or another host)]

I'm Alison Stewart. I appreciate you, I appreciate you listening and I will meet you back here tomorrow.

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