Kareem Rahma: How SubwayTakes Became the New Late Night

Summary

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Podcast Summary: The Colin and Samir Show

Episode: Kareem Rahma: How SubwayTakes Became the New Late Night

Release Date: June 3, 2026
Host(s): Colin and Samir (plus Alex)
Guest: Kareem Rahma (creator & host of SubwayTakes, Keep the Meter Running)

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Episode Overview

This episode features a wide-ranging and deeply insightful conversation with Kareem Rahma, the creator and host of "Subway Takes" and "Keep the Meter Running." The discussion dives into the evolving landscape of late night and talk show formats, the creator economy, and the future of unscripted digital content. Kareem shares his philosophy on format creation, how he approaches booking and curation, candid stories about the struggles and joys of producing shows as an independent creator, and his experiences navigating both digital virality and traditional media. The conversation is filled with humor, honesty, memorable anecdotes, and tactical advice for creators.

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Key Discussion Points & Insights

1. Redefining Late Night for a New Era (00:38–06:42)

• Kareem’s inclusion in Vanity Fair’s "new late night" creators:
  Kareem reflects on being grouped with other digital creators as modern late night hosts, clarifying he never set out to replace late night or become a talk show host, but is honored to be recognized.
  "If I wasn't in that photo, I would have been upset for sure. I probably would have cried." (01:00, Kareem)

• Talk Show Distinctions:
  Kareem identifies "Subway Takes" as “a talk show for the streets,” interviewing mostly working class creatives rather than celebrities. His show’s focus shifts away from celebrity culture and towards everyday voices, which he feels is what differentiates the new wave of digital talk shows.

• Cultural Guides & Monoculture:
  Colin and Samir discuss the idea that traditional late night provided a monocultural guide through hosts like Carson or Colbert—a role that’s now fragmented in the digital age. Kareem reflects on how creators can become new "parasocial" companions for their audiences.

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2. The Ethos & Format of Subway Takes (07:15–15:55)

• Show Purpose and Curation:
  Kareem emphasizes following his gut, pursuing formats and topics that feel fun, and pushing genres forward.
  “I want people to see something and essentially have the reaction of, like, I haven’t seen that before, or that’s such a good idea. I wish I would have thought about that.” (03:45, Kareem)

• Booking Philosophy:
  Episodes primarily feature working class creatives, not traditional celebrities. Selection is based on who Kareem finds interesting or thinks deserves a platform, not on clout.

• Format Development & Accidental Genius:
  The now-iconic “100% agree/disagree” is an accidental catchphrase, born from the very first episode. Kareem discusses the importance of leaving space in your concept for authenticity and evolution.
  “You should develop a format 80% of the way and then go do it. The 20% fills itself in.” (10:16, Kareem)

• Subway as a Public Forum:
  The subway setting is an “equalizer” and public square—the movement and unpredictability add to the show’s energy, but also to his production stress.
  “I want so badly to have a show in a studio... but the chaos is what makes it beautiful.” (12:14, Kareem)

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3. Viral Success, Building Audiences, and Platform Strategy (16:31–32:09)

• From Premium Podcaster to Short Form Pioneer:
  Kareem recounts the pivot from failed premium podcast ventures, almost out of funds, to trying the total opposite—a short-form, vertical video show with no longform episode behind it.
  “The big idea is that there is no long form. The show is the show. The show is the clips.” (18:19, Kareem)

• Focusing on the Clip:
  He questions whether audiences actually follow clips to longform, arguing that the majority consume only the short clips.

• Growth Trajectory:
  “Keep the Meter Running” grew even faster than “Subway Takes,” but he paused it due to production demands. He discusses expanding from Instagram/TikTok to YouTube Shorts and the slog to organic traction on YouTube.

• Brand Partnerships:
  Early brand deals came from clothing brands (H&M, Uniqlo, Urban Outfitters), who dressed the guests. Google became a multi-episode partner after an organic “Android vs. iPhone” episode went viral. Kareem stresses only collaborating in ways that feel authentic.

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4. Comedy, Ethics, and Social Commentary (25:11–41:45)

• Not Exploitative, but Redemptive:
  Kareem contrasts his shows with other street-interview content, explaining he avoids exploitation and instead aims for “ethical, highbrow” engagement:
  “My goal was to get people to watch me, but in a way that I felt was ethical and highbrow and playing at the top of my intelligence.” (25:11, Kareem)

• Creating Memorable Content:
  The goal isn’t to go viral, but to create memorable, engaging content. Subway Takes stands out by evoking real emotional attachments and inside jokes that persist beyond watching.

• Inclusivity and Equalization:
  Both hosts and audience discuss how “Subway Takes” levels status by bringing celebrities and creatives onto the same literal and figurative platform, highlighting the show as the “great equalizer.”

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5. The Creator Journey: Agents, Monetization & Validation (41:45–51:00)

• Professional Frustrations:
  Kareem recounts tales of firing agents and navigating “showbiz bureaucracy,” only to find that independent hustle often pays off more than traditional rep-driven pathways—firing his agency the day a major New York Times profile dropped.

• The Road to One Million:
  Kareem went “all in” treating “Subway Takes” as his job, focusing on daily uploads, tracking the “road to a million” followers, and seeing real deals come once he built scale.

• YouTube Plaque as Milestone:
  The symbolic power of earning the YouTube million-subscriber plaque becomes a motivating force and source of pride.

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6. Keep the Meter Running—Origin, Format, and Revival (51:00–59:21)

• Conception and Inspiration:
  Inspired by meaningful connections with cab drivers (and losing his father young), Kareem draws parallels between the life advice of cabbies and the search for wisdom and empathy.

• Format:
  Kareem rides with cabbies, asking them to take him to their favorite places, discovering food, culture, and life stories.
  “Some ideas you just gotta do them even if they don’t make a ton of sense.” (56:12, Kareem)

• Challenges with Hollywood:
  Numerous attempts to sell “Keep the Meter Running” as a TV show ended in protracted negotiations, restrictive contracts, and surreal requests (turning it into a competition show). Eventually, Kareem returned to making the show on his own terms for YouTube.

• Seasons as Self-Celebration:
  Embracing the “season” model and doing his own press tour, Kareem seeks the traditional feeling of celebration that comes with launching a TV show, independently.
  “I realized if I can make the show independently, I can do the press tour independently.” (68:02, Kareem)

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7. The Future: Format Creation, Punk Energy, and Impact (69:15–89:26)

• YouTube as the New TV:
  Kareem aims to be among the first to define TV-quality content for YouTube, targeting younger viewers who now watch YouTube on their TVs:
  “The focus is making the best TV show possible on YouTube. To me, that is the future of television.” (70:37, Kareem)

• Cultural Nuance & Empathy:
  The show spotlights diverse American cultures via cab drivers, channeling the spirit of Anthony Bourdain—both empathetic and opinionated.

• Punk Attitude and Momentum:
  Despite his mainstream success, Kareem identifies as a “punk,” emphasizing the importance of impulsive creation, momentum, and not waiting for perfection or validation from institutions.

• Format Building Tactics (“80/20 Rule”):
  Kareem advises creators to prepare a format 80% of the way, then let the rest emerge in the process.
  “You will lose momentum trying to figure out every step... The audience appreciates seeing the seams, seeing the looseness of it.” (79:22, 81:38, Kareem)

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8. Creators, Platforms, and Political Responsibility (89:39–97:00)

• Creators & Politics:
  Kareem believes creators have a responsibility to be “at least responsible” with their platforms, especially as the digital right outpaces the left in content production and virality.

• Platforming:
  He draws a clear ethical line—creators shouldn't platform hate or extremism, even in the name of “balance”:
  “You can say things without saying anything. That’s how I think about it... I have a responsibility with Subway Takes to book who I book.” (90:15, Kareem)

• Navigating Political Engagement:
  After supporting political candidates he personally believes in, Kareem now limits overtly political content on his entertainment-focused shows, advocating for creators to engage only when it feels authentic or responsible.

• Old Media Constraints vs. New Freedom:
  The limitations on traditional late night TV (like CBS’s “Fair Air Act”) are contrasted with the creative freedom afforded to digital creators.

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Notable Quotes and Memorable Moments

• “I call it the most sophisticated show about the stupidest subjects.” — Kareem Rahma (09:30)
• “I’m always playing at the top of my intelligence. The shows, to me, feel smart.” — Kareem Rahma (25:11)
• “My advice is go do it. There’s actually no need for thoughts because the world will tell you if it’s good.” — Kareem Rahma (81:31)
• “I love the idea of someone going, ‘That goddamn son of a bitch did it again’. And that person who's saying that is me.” — Kareem Rahma (74:31)
• “You gotta be brave. You gotta trust. You gotta commit.” — Kareem Rahma (72:58)
• “Some ideas you just gotta do them even if they don’t make a ton of sense.” — Kareem Rahma (56:12)
• “If their take sucks, I won’t let them on the show. That’s a real thing.” — Kareem Rahma (41:45)
• “The focus is making the best TV show possible on YouTube. To me, that is the future of television.” — Kareem Rahma (70:37)

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Timestamps of Key Segments

• Redefining Late Night: 00:38–06:42
• Format and Showmaking: 07:15–15:55
• Digital Pivot and Virality: 16:31–32:09
• Comedy, Curation, and Social Commentary: 25:11–41:45
• Creator Journey & Monetization: 41:45–51:00
• Keep the Meter Running: 51:00–59:21
• Format Building and Momentum: 69:15–89:26
• Creators and Politics: 89:39–97:00

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Final Thoughts

The episode illuminates Kareem Rahma’s motivating force: a blend of punk DIY ethos, empathy for overlooked voices, openness to accidental genius, and a desire to inspire fun, memorable, and resonant content. The conversation serves as both a masterclass for digital creators and a philosophical reflection on what it means to make media that matters in a saturated, rapidly-evolving landscape.

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Transcript

[Alex]

Our guest today is Kareem Rama. He's the creator and host of Subway Takes, one of the most popular shows right now on the Internet.

[Kareem Rahma]

100% agree.

[Alex]

And he's just launched a new show on YouTube called Keep the Meter Running.

[Kareem Rahma]

Now you've got a show where you talk to cab drivers and just have the most amazing conversation with the cabbies.

[Alex]

Kareem sits literally at the center of what's being called the new wave of late night. He's responsible for redefining the talk show format and pioneering what it looks like to make unscripted television style shows for YouTube. So we sat down with Kareem in Brooklyn, New York, to ask him about the success of these shows and where he thinks the future of media and attention is heading next.

[Colin]

All right, Kareem, welcome to the show.

[Kareem Rahma]

Hey, what's up, man?

[Colin]

How you doing?

[Kareem Rahma]

I'm great. I'm great.

[Colin]

A few weeks ago, I texted you a picture, this photo of you with a bunch of other creators in Vanity Fair, and the notion of it was the new late night. Do you resonate with that as, like, like, you're one of these new late night hosts?

[Kareem Rahma]

You know, I'm very thankful to have been included in that list. I think it would have been a glaring omission if I wasn't. I don't necessarily, like, think of myself as, like, I never set out to replace late night or to be late night. Like, it wasn't in my mind that this is what was happening. So I loved it. And if I wasn't in that photo, I would have been upset for sure. I probably would have cried.

[Alex]

You also had very good placement.

[Colin]

You did have good placement.

[Kareem Rahma]

Great placement. Yeah, great placement.

[Alex]

And I think you were the only person wearing brown.

[Kareem Rahma]

Right?

[Alex]

Like, everyone seemed to be in, like, black and white.

[Kareem Rahma]

I don't know about the colors I analyzed.

[Alex]

It's like, wow, Kareem front and center wearing a different color than everyone else.

[Kareem Rahma]

They put me in the center, and I did appreciate that. And I don't know what the streets. It might just be because I look cool.

[Alex]

No, I think we should look into it.

[Kareem Rahma]

We should look into it and ask. I don't know, but it was very nice. And I think to a certain extent, like, we are replacing an element of late night, which is the interview or the celebrity interview. I think what differs from my show compared to all those other shows is that, like, I don't. I have 5% of my show is celebrities, and 95% are, like, working class creative types, whether that be comedians or filmmakers or artists or authors or writers. It doesn't really matter. So I think, like, mine is more of a talk show for the streets, and that makes sense to me. The only element that we're replacing is the interview. So I'm a little bit like, how can we push the genre even more forward? One of the things I try to think about is, like, what are the criticisms that I will face in five years or three years or four years, and how do I get ahead of those things? So when I hear that we're the future of late night, I'm like, okay, well, maybe we are right now, but we won't be in three years. So how do we actually replace late night?

[Alex]

I think it's interesting too, to touch on the different segments of a late night show, like you're saying, and realize that, yeah, we have improved the celebrity interview or just the interview in general. Like, we prioritize the take or the topic of conversation. We don't just have people on just because they happen to have something to promote. But when you think about late night, I think about the monologue that, like, there's a responsibility to be a cultural, like, leader. And you're right. Like, those shows don't touch on that yet. When you talk about the next three, five years, do you think about it that way of like, oh, maybe I will willingly move more into that lane of being a face that, like, now that I've been elevated to this role, I also will assume that role too. Of like, yeah, I will talk about what's happening in culture.

[Kareem Rahma]

Right. About. About being the guy. Yeah, Yeah. I don't know, like, what I personally am doing. I really don't. Like, I can sit here and pretend that I do, but I really don't. And I think a lot of people don't. And my thing has always been, like, to follow my gut and to also do what I think is fun. Like, that is what I do. I pursue the fun. And as soon as something gets not fun, then I usually don't do it anymore. So, you know, I definitely want to push every genre that I'm participating in. I want to push it forward. And that means from the format perspective, from the distribution perspective, from the creative perspective, I want people to see something and essentially have the reaction of, like, I haven't seen that before, or that's such a good idea. I wish I would have thought about that. Like, that is kind of what I want to inspire in people. The other thing is, like, I love. I love the idea that because in that Article, for example, there, I think were 10 of us. Maybe we're all, like, collaborative and have no real reason to be competitive. I'm sure there are, like, little funny competitions of, like, I can't believe Brittney Broski got Harry Styles and I didn't.

[Alex]

Right.

[Kareem Rahma]

Like, that. That. That happens. But because we're not all fighting for the same airtime, it literally doesn't actually matter. You know, there's like, enough room, there's enough airtime because our shows are digitally distributed that there's no time slot. So, like, we can all be friends and not have this super competitive thing happening. Like, the challenge with calling those select few the new late night is that there are, like, every podcast is like, this is a late night show. I don't know what the difference is between this and Subway Takes, to be completely frank, you know, And Alex Cooper show is a podcast or a talk show, and Joe Rogan's show is a talk show. They're all talk shows. Everything's a talk show. So what is, like, what defines an actual talk show? I don't know.

[Colin]

I think it has to do. I think our obsession with the concept of late night is having these cultural guides that we turn to.

[Alex]

Right.

[Kareem Rahma]

Like the host. The host, which is really nice of you to say.

[Colin]

Yeah, when something happens, you want to hear from Colbert or Kimmel or back in the day, Johnny Carson, and they. It creates a sense of something very different from the news and a news anchor, someone who's kind of like a relatable guide to what is happening in the world. I think there's almost a unspoken fear of the loss of that because then we will just be in the abyss of, like, culture is just so fragmented, and there's no singular host that we can all go, okay, we'll latch onto this person and hear about culture from this person. Because this conversation has been happening for a long time about late night.

[Alex]

Right.

[Colin]

Like, it's not. It's not a new conversation, but it actually has formalized in a new way through the interview format. But I think our obsession is because we don't want to lose these, like, monocultural guides.

[Kareem Rahma]

I think that's really. I've never really thought of it from that perspective, that the audience actually has, like, this parasocial relationship with the host. And I haven't really thought about that before. I guess that makes a lot of sense because, like, why would someone prefer Letterman over Leno? Right? And it's probably because they vibe with Letterman's delivery and his more like, intellectual thought provoking monologues. And it makes me think about how and what I can do to actually build that parasocial relationship with my audience in a way that they see me as that person that they can, like, call upon when they need to.

[Colin]

Do you want that reluctantly, you know, I totally know what you mean, reluctantly.

[Kareem Rahma]

I think I want to entertain. And I also want people to love me. And, yeah, I love the love, you know, And I've always kind of erred on the side of positivity and optimism and kind of, like, nonchalance, because it's not that serious, right? Like, the world is serious and the news is serious and what's happening today is serious, but I'm not there to provide that. I'm there to provide the opposite of that. I'm there to provide the comfort and the consistency and the, you know, the knowing that regardless of what is happening, there's always kind of a place for fun and entertainment where things don't ever get too serious.

[Alex]

You, as a curator, too, specifically on Subway Takes, for me, is where a lot of the guidance comes from. Like, I'm not always watching Subway Takes to Be. Like, what does Kareem think about this take? And what does that tell me about the world, but the curation of all of the people. Like, every day when I open Instagram, I'm getting a new one. I'm like, oh, I'm going to see a new person with a new feeling about the world and a new tone and the accumulation of all those people across a month. I'm like, yeah, okay. There's all types of people, and they're all existing on this subway with you.

[Kareem Rahma]

You get the vibe check, temp check. Yeah. And the booking of the show is, like, one of the hardest parts about it, and it's always been one of the hardest parts about it, because trying to balance everything, it's all hanging on by thread. I've done, I think, 650 episodes at this point have been aired, and every single time, I'm like, well, this is the one that is going to destroy my career, you know, this is for sure the one that's gonna. Every time. Because as you guys both know, even if it is an inconsequential nothing burger of a take, such as, we don't need the funny photo.

[Colin]

The silly one, or the silly photo. Yeah, that was almost. That was almost the end of my. Yeah, it took a really long time to come back from that.

[Kareem Rahma]

People have super strong opinions on something that actually doesn't matter.

[Colin]

Right?

[Alex]

Yeah.

[Kareem Rahma]

And I am in on the joke. Because I program the show, so I know that all of these things don't matter. Like, I call it the most sophisticated show about the stupidest subjects. I think a lot of times people forget that this is a comedy show, and they just have. They're so ready to defend their position. The fact that I 100% agree and 100% disagree is really a reflection of America today, where there is no gray area. You're either on this side or that side. And the point of the show is, is to prove that that's not really possible. Like, that's a myth. There is no black and white. Like, we live in the gray area. So anytime I 100% disagree, I don't even believe what I'm saying. I just unfortunately created that mechanism.

[Alex]

That's the format of the show.

[Kareem Rahma]

Yeah. And that happened by accident. Like, that happened episode one. I have this thing about, like, you should develop a format 80% of the way and then go do it. And the 20% fills itself in. And so for Subway Takes, I had this idea of doing a show on the subway where I say, what's your take? And then people talk about anything. That part with the 100% agree, 100% disagree didn't happen until I just shot the first episode, and it's the first thing that came out of my mouth.

[Alex]

Wow.

[Kareem Rahma]

With the take. The first take, it was that vertical video has been, like, the bane of a cultural existence and has ruined society. And I disagree. 100% disagreed. Or, like, maybe it was more about. It ruined cinema in General. I said 100% disagreement. And, you know, we had this great conversation about how movies are horizontal because your eyes are horizontal, which is not, in my opinion, not true. And, you know, like, the screen is here, so why would you need vertical eyes if you're looking like, it's just this whole stupid debate. But that video, immediately, it got a million views, and I was like, hilarious. This is funny. Like, this is gonna work.

[Colin]

You said something earlier about how you want people to feel. And I would say when I first started seeing Subway Takes and then when we shot it with you, I don't think I've ever felt more kind of angry about a format because, like, of its simplicity and the beauty of, like, I actually believe Subway Takes is a perfect show right now for this exact moment. And there's something so beautifully simple about it of even, like, starting with, so what's your take? Like, as simple as that feels, that comes from, like, a lot of understanding of the current world. And even the Fact that almost every. Every day when I open Instagram, it's the first thing I see. I don't know how that has happened.

[Alex]

Only show that can be shot with this quantity and maintain quality. Like, there aren't many shows on the Internet where it's like, yeah, I can shoot 12 in a day.

[Kareem Rahma]

Well, here's the thing. I think, like, when I have to shoot, I get really stressed out because doing it as many times I've done it, I've probably shot. I've had at least 100 shoot days. And every single time, it's a disaster because it's not a studio. Right. And every single time, I get in a really bad mood the night before because I know that I'm about to spend five hours in figuring it out. The train live producing something that is almost impossible. It looks easy and it might even feel easy, but the amount of cortisol spike that I have that day is awful. And you know, you have. You can't imagine how much I want to have a show in a studio. You know what I mean? I want it so badly, like, every day I'm like, what can I do? And that's, like, why I, like, kind of started doing the lotto shows like this in my office. Because unfortunately, all of my shows require transit and live shooting in the streets of New York. So nothing is fully produced. Nothing is fully controlled. There's always curveballs constantly. So as you know from producing, like, it's. It's difficult. Yeah. And.

[Alex]

But that's also what makes it fun.

[Colin]

Yeah, that's what makes.

[Alex]

To watch or to be there in person, for sure. Like, at any given time, someone chimes in from like eight seats down and the camera pans and like, it's amazing.

[Kareem Rahma]

No, it's an amazing show. And I do agree that, like, the format itself, like, like the miniature elements of it. I think the fact that it's shot in public makes it feel like it's a public square where anyone can have their opinion. The fact that it's moving even is like this momentum. The fact that I 100% disagree, 100% agree. Like, and then the booking of it, like, the. I'm trying to essentially give a platform to people who need the platform but wouldn't necessarily get booked on Fallon or, uh. What are the others who are the other. Is that it?

[Colin]

Colbert, Kimmel.

[Kareem Rahma]

Yes.

[Colin]

Seth Meyers. Yeah.

[Kareem Rahma]

So, like, people that. That are almost there, like, that have this. That it would benefit them to get booked on Kimmel. Like, that's how I try to, like, I'm like, okay, this is a musician who is close and might be close in two years or three years or four years to getting on that show. Like, how can I help them? And that's really the lens that I try to process things through. And, you know, one of the biggest criticisms of the show, which I like to address is that they're like, have regular New Yorkers on. And I'm like, I do. You know, they have a motive, they have an. They have a desire to come on the show because they are promoting something. But most of these people don't have PR agents, they don't have agent agents, they don't have managers. They're early on in their careers and they could use the airtime like a comedian. A standup comedian in New York, to me is a regular person that's a working class creative, right? And like, sure, I could have a plumber on the show or an electrician on the show, but they don't need to be on the show. It's not helpful to their career, really. You know, we've chosen nonprofits that we have had on the show to help them. And this idea of, like, have a regular New Yorker on the show. I don't know if you've interviewed a regular New Yorker. It's like, like a truly, like, just like, guy that has nothing to do with it. Like, a lot of people freeze up or they don't have a take ready, right? You know, the camera comes on and they go. That's happened many times also. There are plenty of other shows that cater to the regular, like, the fully regular New Yorker. Right. But my show is a talk show.

[Alex]

It's also like a comedy show.

[Kareem Rahma]

Yeah, it's a comedy show. And in talk shows you book guests and people that have something to say and a reason to be on the show. I try to keep it as regular as possible in the sense that, like, everyone's a working class creative. And then the occasional Ethan Hawker, Jason Bateman, which is more of like, I'm interested in that conversation. Like, I would love to meet my heroes and I have a vehicle to do it. Why wouldn't I take opportunity?

[Colin]

Yeah, of course.

[Kareem Rahma]

But you will never see me book someone because of their social following or their clout. In any sort of industry. It's always based on, like, do I want to hang out with this person? Do I have an interest personally in this person?

[Colin]

So let's go to, like, the creation of the format. Did you know it was going to work? Like, take me into the writing room. I guess, or even just the thinking process of how this format comes together, because you are uniquely good at making formats.

[Kareem Rahma]

Me and my friend Andrew, who's a co creator of the show, we had started a premium scripted podcast company where, like, this is right in 2020. We started like, kind of like mulling about this idea to create premium scripted podcasts. Felt like a good idea. And he went out, he raised some money, and we started packaging these shows and developing these shows with other networks. And, you know, we had like a little bit of momentum and traction and we got like two projects on air, but they were so expensive. It's so time consuming. I mean, it was like literally making a movie for years.

[Colin]

And you were producing, producing and developing and you're not hosting these.

[Kareem Rahma]

I hosted one of them.

[Colin]

Okay.

[Kareem Rahma]

I hosted one of them. But at the time I was like, I did have a desire to be talent. Like, I wanted, like, the reason I started the company was because adjacent to my desire to be a producer and talent. So I was like, okay, this is a vehicle where some of my. Some. I can do some stuff myself and then partner with other people to do stuff on the other side. But so, you know, I think we ran that for like 3ish years and had some successes and had some wins, but, like, it never took off and we never made enough money to make it a sustainable business. So this is premium scripted podcasting. I. We're, we're like, we have like $7,000 left in the bank account. And I was ready to just go, let's just distribute $3,000 each.

[Alex]

I can use the money.

[Kareem Rahma]

Let's get. We'll save 1500 for like, closing up the company or whatever. And like, let's call it a day. Andrew was like, do you have any Hail Mary ideas? And I was like, I have one idea that's to do the complete opposite of what we're doing. So, like, not premium, unscripted, short form, vertical video content. Like, let's do the complete opposite. And I had been kicking about this idea that, like, you know, we were in the podcasting space and every conversation was like, well, how are you gonna market the podcast? Oh, we're gonna put the clips on Instagram and then blah, blah, blah, we're gonna push people to the podcast. And I was like, and the big idea is that there is no long form. Like, I was like, the show is the show. There's no long form show. The show is the clips. Everyone's making clips to promote the show. But it's a lot easier to Focus on the show. If it's just the clips and people

[Alex]

aren't necessarily going from the clip and then listening to an hour and a half.

[Kareem Rahma]

I don't think so. I mean, of the. Like, I'm aware of Theo Vaughn. Never listen to Theo Vaughn. I'm aware of Amy Poehler's podcast. Never listen to Amy Poehler. I'm aware of Colin and Samir. Never seen or listened to, Never will

[Alex]

have no desire to.

[Kareem Rahma]

I've seen the clips of Colin. I've seen Colin and Samir clips.

[Alex]

And I have told myself I will never watch that.

[Kareem Rahma]

45. I don't have 45 minutes. I don't even listen to podcasts.

[Alex]

So. So there will be people who watch that clip and they're like, he's right. I'm not gonna go listen to Creek.

[Colin]

I'm not gonna listen to this.

[Kareem Rahma]

Yeah, we get it. Yeah. You know, like, we understand enough. You guys are gonna publish the three best clips. What's the point of listening to the rest of it? So. So I was like, okay, let's extract the DNA, the clip and just focus on that. And it was. It really made the job so easy because I wasn't thinking about marketing. I wasn't thinking about pushing people across platforms. I wasn't thinking about, like, if the. Like, the goal of getting people to listen to the full thing. So it was a moment where we were either going to throw in the towel or do it. We went out and did it. That first shoot, I was like, there is energy. Like, there's a real energy here. And I was booking. I booked the same people that I booked now, all of my friends comics. I published a trailer that did pretty well. And then episode one ripped. And I was like, oh, I think, you know, in episode one, like, a couple of famous people left comments. And I was like, oh, that's crazy. Like, how did they get to their feeds?

[Alex]

And did you have any success like that before on Instagram?

[Kareem Rahma]

Yeah, with Keep the Meter.

[Alex]

With Keep the Meter Running.

[Kareem Rahma]

Keep the Meter Running. Ripped out the gate. I mean, Keep the Meter Running was a faster growing show than Subway Takes. Yeah, I did less episodes and had more followers than Subway Takes. No trailer on that one. But episode one. Wake up. Two million views. And I'm like. And like, real engagement. I think that's the other big thing is, like, real emotional attachment to the format and what is happening. Like, real high stakes and people saying, like, I love this, which is a lot different than somebody just getting mad at you or, like, being like, this is hilarious. Like people are like, I love this want encouraging you to do more of it. So it was, it was, it was. The feeling though was that like Keep the Meter Running I had put on hiatus because to your point, very difficult to produce. Even more difficult than like. So it's like A, it's not in the studio, B, the shoots are like 12 to 15 hours. So like you have two things go. Like two things going against me is that it's totally unpredictable because it's shot in the world and it's a 12 hour shoot versus subway takes, which is like at least a shoot is constrained and you're getting more than one asset out of it. One more than one video. I had put that show on hiatus to kind of like focus on building something more scalable because I knew that I was still early in my career and that like, even though Keep the Meter Running was a hit, it was going to be really, really difficult to like make it a scaled show, a scaled format.

[Colin]

What was your experience between like the platforms at the time of even like Instagram and TikTok and you know, we were just like very native to YouTube. So we're always and have always thought about YouTube. YouTube's really hard to get someone to watch something new for sure. Almost impossible for sure. Truly.

[Kareem Rahma]

Yeah.

[Colin]

I don't think in Instagram shows, nor did I even think about a show for Instagram around this time.

[Kareem Rahma]

That's funny. Yeah.

[Colin]

Like when you were in the premium podcast world, why was Instagram even a thought? And do you think of Subway Takes as an Instagram show, a TikTok show, what's like its primary home?

[Kareem Rahma]

I call it unscripted, short form, vertical video content. And we publish on X, YouTube shorts, Instagram, TikTok. I was doing LinkedIn for a while because I thought it was hilarious. Literally threads, like anywhere where vertical, unscripted, short form, vertical video content can be ingested. I put it there and I don't know, like at the moment I felt like there was an opportunity. You know, I think Keep the Meter Running was the first ever format for vertical video. Like I'm, I'm almost 100% certain. And before that I had, I had tried, then failed because I was way too early to do a show called Stupid Studies which was like Trevor Noah of TikTok. Like that's what in my mind I was like, I will do the monologue. That's what I was doing. I was doing, I was breaking up, I was deconstructing the talk show. At that point I was just doing the Monologue and I would kind of deliver the news in a two minute clip. And there was no long form. Again, I was already thinking in this, like, what if there's no long form? And maybe that hunch was based on my own consumption habits, which is I rarely am consuming long form content unless it's a well produced television show. I'm now stepping into YouTube because I like the challenge and I like changing and I like keeping things interesting. And, you know, when something of mine becomes successful or like, feels like it's peaking or on its way to peaking or I know will peak, then I'm like, okay, what's the next. What's the evolution of what I've done?

[Alex]

Yeah, I feel like you managed to get people invested in you even though you're giving the majority of the time to the guest in both formats. I think one of the reasons that both of the shows are successful in my eyes are because they are redemptive, not exploitative. We had a creator on the show, Ryan Trahan, who said that he was like, a lot of the Internet is exploitative and you can feel it. And a lot of the short form formats feel exploitative of like stopping someone on the street and being like, hey, show me this. How much do you make here? It feels like you're like, ah, I get it, I'm kind of interested. But it feels like you're taking that from the person on the other end. And I think you toe a fine line of like giving space.

[Kareem Rahma]

Well, I think the big difference is a lot of those shows, especially the short form ones, are about going viral. That's the goal. Like, that's literally the creator's goal is to go viral. They're like, I see all these other people going viral doing this thing. I'm going to do this thing and also go viral. Like, my goal was never to go viral. My, my goal was to create entertainment and to create entertaining content. And I'm amazed and happy and shocked that it has done so well. But the goal was never to go viral. The goal was to get people to watch me, but in a way that I felt was ethical and highbrow and playing at the top of my intelligence. And so that's also a really important thing. Like, I'm always playing at the top of my intelligence. The shows, to me, feel smart. Like they feel like you have to have some level of critical thinking skills to watch the show. It's not slop, in other words, you know, and it's not just like rage bait or viral bait. And I think that is why the engagement is so high. People watch, like, when people quote. Like, people know the episodes. Like, they see you and they go, I remember your episode. I remember your episode. I remember you when you said this. My favorite episode was this. And even quote, things that happen at the last 30 seconds of the episode or, like, love how it ended. So the completion rate is really high because I'm playing at the top of my intelligence. I'm challenging the audience to keep up with the conversation. I'm not just, like, giving them exactly what they want all the time, you know? And I think that's a big, big difference. And also treating every guest with this, respecting dignity. And, like, everyone feels like my friend. And that's a big problem for me. Like. Like, I can't do anything. Like, and. But it's also amazing because, like, I feel like I walk around New York City and I feel like I'm in Sesame street, you know, I feel like everyone's a close, personal friend of David. I said close, personal friend of David Carr. Amazing guy. Used to be a media writer at the New York Times, and he has this book where he always felt like a close, personal friend. Yeah. And for his birthday once, his friend gave him a shirt that said, I am a close personal friend of David Carr. And that always stuck out to me. But, yeah, close personal friend of Kareem Rama and or Rahma, depending on who I'm talking to. I'm like, so also, while all of this is happening, I have agents and managers, and I am with Keep the meter running. I'm like, holy shit. Like, there's a Vanity Fair article that says, this is the best show on TikTok. It was the only show on TikTok, but it was still the best show on TikTok. And I'm sending them an article. They go, awesome. Great job, Kareem. I go, how do we? Like, should we package this? Do we do a TV show? Call some people. Hey, I just got an executive producer. Nice. Keep us updated. I'm like, please help. I'm literally like, please help me. Okay, then Subway Takes comes out. Holy shit, guys. I just did it again. You don't know how hard it is to do it once. I just did it. I just did back to back, which is why I'm afraid of launching a third show, you know? Like. Like, that's really hard. So I'm cooking up. I have something. I don't know, man. I have a huge one. Literally huge. I look and sound like Trump. I have a huge, big idea. You guys have no idea this thing's going to be okay. But, hey, Subway takes ripping guys million feet. Oh, my God. Blah, blah, blah. I can. I'm begging for their attention. I go, I can help you. I will book any of your clients. Let me know who you want me to book. Yeah, we'll let you know. Nothing. They're totally asleep at the wheel. 50 episodes in. Hey, I just got a brand deal for $5,000 myself. Why didn't you loop us in? Well, you guys have been completely silent. Then they're like, you know, they're like, great, good. Good job. Maybe that was even 100 episodes in. Can you do more? How do we sell this? Blah, blah, blah, nothing. And so I was like, I don't understand if this is going to make any money, but it's fun and people seem to enjoy it, and I hope it makes money, but, like, am I not? And that's okay. And then I get this amazing New York Times profile in the arts and culture section, which is about subway takes and about keep the meter running and about my career as a host. And I fired my agents and managers the day that that came out. It was amazing and awesome, and I was super happy. And I think that they regret it because I never resigned with an agency. I still don't have an agency. I have great management. And they were like, you're big. I think we had 300,000 followers. They were like, you're big, but you're not that big, and you're definitely hot and in a really interesting position where people are paying attention to your show more than they're paying attention to any other show. And I think that was because of the booking, to your point. It was people of interest, and it was people that wouldn't necessarily get booked on other shows. So there was something interesting and novel about my idea that other shows didn't have, but they were like, look, you're just. You're not monetizable yet because you're small. They were just like, that's. That's the point. And I was like, okay, if I get big, do you pretty much guarantee me that I will be able to make a living? And they were like, yes. And they're like, how do you make it big? And I was like, they were like, it's obviously you got to book more celebrities, right? And I was like, no, I think I just have to make more videos. Like, I don't make a lot. I'm treating this as a side hustle. But if I treat it like a career And a job. Then what I should do is wake up and go to work every morning and make these videos and show up every single day and do it. That's when I paused everything. You know, like, I stopped writing scripts, I stopped making movies, I stopped doing. I stopped doing anything. I was like, I'm going to focus on subway takes. And I did that for a year. And I used to call it the road to a million. That was my. My plan was like, for that year, it was like the road to a million. Sending updates to the team really just that was my goal and making sure that quality was not sacrificed. But it was like, how do we get to a million? And that is when really like on the road to a million things started coming in and deals started coming in and it really looked like it would be a business. And that's when we started expanding beyond TikTok and Instagram to YouTube and YouTube shorts. And YouTube was so hard. I remember I posted for like at least six months and would get 400 views per video. And then one day, finally, just something happened. I got like 10,000 subscribers in a day. And then from there it's been a slow build, almost at a million. Probably when this comes out, it'll have a million. Wow.

[Colin]

Plaque.

[Kareem Rahma]

Yeah, I know I can't. That's the only reason I'm doing that. Plaque really works.

[Alex]

It really works. It really does.

[Kareem Rahma]

Right? Like you really want.

[Colin]

It really works.

[Alex]

Yeah.

[Kareem Rahma]

I can't wait to replace my 100k.

[Colin]

Yeah.

[Kareem Rahma]

And give it to Andrew.

[Colin]

Yeah.

[Kareem Rahma]

The hand me down.

[Colin]

Yeah.

[Alex]

You know, we spent years of our life with just no viewership, irrationally trying to get the plaque to then show our parents and our wives who didn't care. Like, we have the plaque.

[Kareem Rahma]

Well, it really works. What?

[Alex]

Who were the brands that came in? What type of brands was it? Like, we want you to wear this type of clothing. Like, how did they see themselves integrating onto the show?

[Kareem Rahma]

It was really interesting. The first couple were brands that were clothing brands. It was like H and M, Urban Outfitters, Uniqlo, they were early adopters and I think it made sense, you know, like they would be like, oh, like they would actually dress the guests.

[Alex]

Interesting.

[Kareem Rahma]

Not me. Yeah, they would like, but. But again allowed me to book the show. So I would literally, I would go like, hey, guys, are you around? Do you want to make X amount of dollars? You just need to wear this cool clothes. This is all head to toe. Unique love. By the way, he's wear like this clothes on the show and give me five take Options that we can vet with a client and we'll make it work. So those were the first. And then it became more brands. I think Google was an early one. Google was early, and it was really cool because what happened was we did a subway take with. Or, no, we did an organic take where Millie Tamaras came on the show and she was unpaid by anyone. She was just like, Android is better than iPhone. That was the take. And I had nothing. She wasn't being paid. I wasn't being paid. No one was being paid. That was just her subway take. And it made it to the front page of Reddit, got like 21 million views. And then Google was like, this is amazing. How do we double down on this? So we rebooked Millie to actually have a reason. What are the real reasons that Android is better than iPhone? Right. Like, and I think then we work together again. So Google's been like, multi. I think we've worked with them three or four times. They were really great clients. So they were early and. And then it's just like, a lot of, you know, the. The entertainment industry because it's so hard to book a celebrity on our show because there's just not enough space. Like, sometimes they've been like, hey, we have this new Netflix show coming out or this new Hulu show coming out. And they've been great partners because it's amazing for me because essentially I need to get paid for my time and my platform that I've built, and I don't have time for everyone. So if I have to rush home or I can't put my kid to bed or I have to miss out on something else that I would rather be doing to do the show. I should be paid, even though I would have this person on the show for free. You know what I mean?

[Colin]

Right.

[Kareem Rahma]

So it's like that rate is a lot lower than just, like, the fully branded rate, because I do get something out of it, which is, you know, an interesting person and I don't have to do all of the work.

[Colin]

Is an example of that. Jason Bateman.

[Kareem Rahma]

No, I was not paid for that one.

[Colin]

I was not paid.

[Kareem Rahma]

No, no, no, no.

[Colin]

Fantastic take.

[Kareem Rahma]

He was great.

[Colin]

Yeah, he was.

[Kareem Rahma]

And he was such a pro, professional. So much fun to spend time with. I loved shooting with him.

[Alex]

His take was that dogs should wear shoes.

[Colin]

Yes.

[Kareem Rahma]

Right. And they should.

[Colin]

And I. Samir says that. I totally agree. Yeah.

[Kareem Rahma]

I say that it's just crazy that they don't.

[Colin]

I think it's crazy they don't.

[Alex]

I'm not putting my dog in shoes.

[Colin]

I think also just the comfort level.

[Alex]

Okay.

[Kareem Rahma]

With this.

[Colin]

I think the comfort level of a dog crawling into your bed when they've just kind of been around or like, you know, there's a lot of beings, including ourselves, that when you poop, you wipe, or you clean in some way, shape or form a dog, our expectation is not that. Yeah, they just poop and then they get in our bed and they lay on our pillow. Now, granted, I don't have a dog.

[Kareem Rahma]

Yeah.

[Colin]

I'm just saying.

[Kareem Rahma]

But imagine New York City. I mean, New York. Anyone that has a dog in New York City, I am, like, shocked.

[Colin]

Yeah.

[Kareem Rahma]

That you could live with the animal. Seriously. Because.

[Colin]

Because I'm like, the bed is the big thing.

[Kareem Rahma]

People, they don't wear their clothes on the bed because you ride the subway. And so there's like, imagine like, me going home and laying on the bed. Like, I definitely have never worn my shoes in the house. And especially in New York, Though that actually changed when I moved to New York because I used to wear it in Minneapolis. Who cares? Like, I would wear my shoes in the house.

[Colin]

Sure.

[Kareem Rahma]

Here. No way. So to have a dog that's, like, walking through piss and shit and then comes home and does not take their shoes off.

[Colin]

Right. And then, like, or take a shower

[Kareem Rahma]

or anything and then goes in the bed or the couch, It's. It's shocking to me. And I have two cats. And even then, sometimes I'm like, I wonder what's on you. They're indoor cats.

[Alex]

Totally.

[Kareem Rahma]

But I don't watch them every day. And they sleep in my bed, and I'm like, I wonder what's on you

[Alex]

walk in your own home without socks or shoes, and then look at your feet. It's not good.

[Kareem Rahma]

It's not good.

[Alex]

It's not great.

[Kareem Rahma]

It's very bad. Yeah, it's very bad. But anyway, shout out dog owners.

[Colin]

But that was like. Yeah, it's amazing because, like, you can. In a world where I don't remember 90% of the things I watch on social. Right. Yeah. Like, we talk about this all the time. That when you open up, like, right now, 95 million photos and videos are uploaded to Instagram every day. That's insane. And the amount of time that we all spend, like, we traveled in yesterday. When I'm on an airplane waiting for it to take off, 100%, I am cranking through Instagram reels.

[Kareem Rahma]

And I can fill me up.

[Colin]

I can fill me up for sure. Just like, yeah. And I like my AirPods died before we took off from just cranking through reels. And I was like, whoa, that means I've been doing this for hours.

[Kareem Rahma]

Yeah.

[Colin]

But I don't remember a single reel I watched yesterday, and it was hours.

[Kareem Rahma]

That's amazing.

[Colin]

I don't remember a single reel. And so I think in a world where we have, like, we're just inundated with so much, like, you have made a memorable show. Thank you. I really don't. It's, like, very hard for me to fully navigate, you know, how you did that and how a lot of people who make memorable shows have made those in today's era, because I think it's impossible. The only way that I can understand it is if you're saying and doing something honest. Meaning, like, if I watch your thing and I can feel like you said that you're outcome oriented to go viral or there's a strategic element to this, I'm not going to remember it because it's just like. It's just in the ubiquitous kind of world of, like, everything.

[Kareem Rahma]

Yeah.

[Colin]

But if there's something I watch where I'm like, oh, that person's being honest, there's something different, I think.

[Alex]

So you said something that, like, social media flattens us into one dimension, and obviously that's a negative. But at the same time, with Subway takes, I think in many ways, you have flattened some of the people on the show to their take. Like, when I think about it, I'm not doing that.

[Kareem Rahma]

I mean, you have to go to their page.

[Alex]

But I think that's what makes it memorable, is that, like, I see Jason Bateman now and I'm like, like, oh, yeah, Dog Boost. They should wear shoes. Or like, Austin Butler. I'm like, you should go to a bachelor party.

[Kareem Rahma]

Like, that's unfair. You should. I feel bad for the guy.

[Alex]

And now I told you. But whenever I go anywhere, people are like, how should I approach you? Like, should we handshake? Should we hug?

[Kareem Rahma]

And it's shocking, man. It is really shocking, and it's amazing. Like, it's truly like, I went to Puerto Rico, and here's the other thing I'll say is, like, I've always been like, if the streets love you, like, that's where the power and that's where, like, that's where everything really matters, you know, it's like, it's like, why rappers are so ingrained in the culture is like, the streets love them. And I went to Puerto Rico for one day. Four selfies in the airport, Staff at the hotel. Love your show like, working class people, bodega, deli, MTA workers, they love the show. That's different. That is something different. It doesn't feel like foreign to them to watch the show. It's like, feels familiar and comfortable and like we're all on the same page. And I think that is what it is. It's the great equalizer, man. Jason Bateman, right? And like, I had this amazing comment that stuck out to me that I loved. And it was like, subway Takes is the only show. And this was a comment on a video. And it was like, subway, Texas is the only show where one day it's John C. Reilly complaining about people eating food on camera, and the next day it's a female director talking about selling her eggs to make a movie. And I was like, that is exactly so spot on. And exactly what makes the show special. And I think you can't lose the celebrity element of it because their takes, like, if their take sucks, I won't let them on the show. That's a real thing. Like, if they come in with some softball, PR take, I'm like, I'm sorry, you gotta come up with a better one. And you know what's awesome? They trust me and they do workshop the takes and they are worried. That's what's also funny is they're like, is this good enough? You know, they have. They have nerves. And it's the greatest compliment I'll ever receive was. Who was I with? I was with someone that was like, man, you're so good at this. And I was like, thank you. Oh, Willie Woody Harrelson, like, complimenting me. He's like, man, you have. You're like, I had so much fun. This was awesome. Like, thank you for having me on the show. I'm so excited. Like, I love this show. And that was a real legitimizing moment for me where I was like, I'm actually, like, not important, but, like, I'm on. Like, I don't need to feel weird around these people because they seem. They view me as an equal in a way. Right. Like, they value what I'm doing and I'm not doing them. Like, they're not doing me a favor.

[Colin]

Yeah.

[Kareem Rahma]

And getting out of that, like, oh, man, thank you. Like, you know what I mean? Like, I feel like I am equal.

[Colin]

The ask is also a very important one, you know? Cause obviously we have a guest based show. This is actually a pretty big ask for you to come here. Multiple hours. We're gonna have a long conversation. Like, this is a pretty Big ask.

[Alex]

It's a big ask of the audience, too.

[Colin]

And it's a big ask of the audience. And I think, when I think about even coming on, Subway Takes pretty simple ask. And it took 30 minutes total. And I watched. I was take 12, so I watched everyone else's take.

[Kareem Rahma]

Hey, don't. Don't show how the sausage is. Yeah. But I will say, with Woody Harrelson, it's a bigger ask because we do Subway Takes uncut, right. Which is on YouTube. And that is those people's times, because they're doing multiple shows or whatever. They're on their way to 30 Rock, like, right? I'm asking them for at least an hour, so it's still a big ask.

[Colin]

What is people's typical reaction on the subway? Does anyone care?

[Kareem Rahma]

No, they love it.

[Colin]

Like, if Jason Bateman's there or Austin Butler or Woody Harrelson or John C. Reilly, the bigger. The celebrity you are shooting in this very public.

[Kareem Rahma]

I mean, they love it. Think about getting on the train and seeing John C. Reilly just hanging out.

[Alex]

But isn't that also just like, the subway in New York? Like, when you call the show, like, an equalizer, it's actually because, like, the subway experience, people have always said that.

[Kareem Rahma]

Yeah.

[Alex]

Like, that's what's great about New York.

[Kareem Rahma]

Michael Shannon takes the subway.

[Alex]

Anyone, like, anyone takes the subway.

[Kareem Rahma]

You can see them on there. And I do think it is a. I mean, it's fun for them because they're performing in front of a live audience. So, like, Woody Harrelson was so in his zone, flinging the mic around, interviewing other people, like, having the best time of his life. I'll never forget it. Like, engaging with the audience, a crowd forming and watching the show. It's a live audience for the guest and for myself and for them. It's like, most of the time, it is like, you know, we're trying to take up as little space as possible. I'm super respectful. I'm, like, not trying to get in people's ways. I know that I'm in their space. They're trying to get to work. They're trying to get their kid to school. Like, I'm trying to minimize my footprint. So most of the time, like, they're happy to see the show, and they're excited to see the show, and they're taking. Can I get a selfie? Recording it like, it's cool. Very, very, very rarely is someone peeved that this is happening. So I'm really grateful that, like, New Yorkers are a different breed. And if you're pissing in the corner of the subway, people are going to leave, let you piss, you know, Like. Like no one's really trying to get in anyone's business unless you're like, wearing a business backpack. And like, it jumped into my face and I say, excuse me, take your backpack off. Like, if you're over there doing your thing, it's. It's all good.

[Alex]

Have you learned anything about New Yorkers or American culture through the takes that you get? Like, are they trending a direction or speak to the times?

[Kareem Rahma]

I think everyone's fucking, like, really stressed out. Yeah, I think everyone's really stressed out and I think everyone's trying to not be stressed out and decompress and kind of like pop the balloon or deflate it at least. Maybe not a pop, but like put some air out, you know? Trepidation. Do you know what that is? I think everyone could use a little bit of that.

[Colin]

Yeah.

[Kareem Rahma]

Is that what it's called, Trepidation?

[Colin]

No, I don't think so.

[Kareem Rahma]

I mean, it's where you like drill a little hole in your skull.

[Colin]

I don't think that's trepidation.

[Kareem Rahma]

I think it is trepidation.

[Colin]

I think trepidation is like using caution.

[Kareem Rahma]

I think there's another thing.

[Colin]

Really.

[Kareem Rahma]

We'll have to fact check it.

[Colin]

I'll look it up right now.

[Kareem Rahma]

Just type, Type in like, this is

[Alex]

like a fictional thing from a movie.

[Kareem Rahma]

No, this is a real thing. Type in drilling a small hole into your skull.

[Colin]

Okay.

[Alex]

And it's not sci fi. This is a thing.

[Kareem Rahma]

No, this is a thing that, like, I think like some sort of natives do a small hole. Yeah, you let some of the pressure out. I'm serious. Think about it. That makes sense. Your brain, your head.

[Alex]

Trey panning, Trepidation.

[Colin]

Trepanning.

[Kareem Rahma]

Trepanning.

[Colin]

Trey panning.

[Kareem Rahma]

Trey panning. What does it say? What's the definition?

[Colin]

A surgical intervention in which a hole is drilled into a human skull.

[Kareem Rahma]

Two let's. I feel like everyone needs a little bit of that. Like, we gotta let some. We gotta. You know, like when you see a cartoon and the steam is blowing out of the ears, like, I think that's where everyone's at right now.

[Alex]

Especially on a short form feed right now where you're just like, ah, fuck.

[Kareem Rahma]

I saw a great meme the other day and I posted it was like 2007 and it was like the iPhone, headphones, and like dancer and it was like, whoa, cool. It's like a little computer that you can touch and put in Your pocket. And then it was like 20, 27, like consuming rage, hate watching the world collapse. 24 7.

[Alex]

Like it was someone like doom scrolling in bed.

[Kareem Rahma]

Yeah.

[Alex]

Yeah.

[Kareem Rahma]

It's such a good. It was. I was like, man, this is what's happening. And I was. I was on a flight. I think my screen time yesterday was 10 hours.

[Colin]

Yeah.

[Kareem Rahma]

And it was injecting current affairs right into my veins.

[Colin]

Yes.

[Kareem Rahma]

And I couldn't stop. You know what I did when I got home? Turned on cnn. Like, I was like, I am going this whole day, I will 100% be focused on global affairs when I'm pissing at the urinal, when I'm going through security at the airport and when I'm lying in bed. And that is not healthy.

[Colin]

Well, I think there's also this thing that right now with how much is available to us and how fragmented everything is that politics and global affairs creates like relative monoculture. It's the thing we can all talk about. It's the assumption. That's the only thing when you walk in here. It's the assumption of our common ground. I don't know what else you watch, you know, or listen to. Like, I have no idea. But I know you know, about what's going on in the world. So I think that is. And then it's also similar to like, why takes are good is because there's an opportunity for us to have me to have an opinion on something and you to have another opinion on it.

[Kareem Rahma]

It's nice to find common ground, man.

[Colin]

Yeah, it's.

[Kareem Rahma]

And it's really hard to find common ground. So. You know, I love the Subway takes audience because they are maybe not looking for common ground, but it's not that serious. And the feed is serious most of the time. The feed is serious.

[Colin]

Yeah. To be honest, I think it's really insane to me that on a given day you can open the feed and watch someone die.

[Kareem Rahma]

I know.

[Colin]

I actually.

[Kareem Rahma]

You would have to go to a weird website.

[Colin]

Yeah.

[Kareem Rahma]

And like, you'd have to seek it out, essentially.

[Colin]

Yeah. But now you open your phone and it's possible if you open it on a certain day time when something just happened, that you're watching someone get killed.

[Kareem Rahma]

Literally.

[Alex]

So 2025 felt like the year that we crossed over to that where it was just like, I will watch people.

[Kareem Rahma]

And I don't think, like, if you are a person without that phone or feed, you will probably go your whole life without seeing someone die.

[Alex]

Of course.

[Colin]

Yeah.

[Kareem Rahma]

So it's just whatever's happening, we're in uncharted territory. And like, I don't know, there's like ways to like, I think we are. I don't know. I don't know what's happening. Sometimes I feel like it's normal and I'm like, well, this is technology. And other times I'm like, this shouldn't be normal at all.

[Colin]

Yeah.

[Kareem Rahma]

And other times I'm like, it's not a big deal. And other times I'm like, it is a big deal. Sometimes I'm like, six hour screen time is fine. Sometimes I'm like, I need to get this done to do like, I'm working through it, I think, just like everyone else. Yeah.

[Alex]

Lately I've been scrolling and I keep seeing this study that like scrolling short form feeds has led to like cognitive decline. Have you seen that study? Like low brain activity. And I'm like, oh, there's that one again.

[Kareem Rahma]

Well, dude, like smoking is. It says on the box smoking kills. Literally says on the box of every cigarette.

[Colin]

But it looks cool

[Kareem Rahma]

or like.

[Colin]

Yeah.

[Kareem Rahma]

Does it still look cool? I don't know.

[Colin]

No, I don't think it still looks cool.

[Kareem Rahma]

Joe Camel school. I can see why they got rid of that guy.

[Alex]

Yeah, a Joe Camel vintage T shirt is so sick.

[Colin]

It was like too cool.

[Kareem Rahma]

I'm so.

[Colin]

That's what I mean. Like Joe, it doesn't look cool. You don't look cool, do.

[Kareem Rahma]

Well, I actually stopped doing it on the train because people were taking pictures of me like, like paparazzi style. Like, oh, look, it's the guy. And they weren't being mean, but I would see the photo and I would just be me. Like, it doesn't look cool. It looks really bad. So now I raw dog their subway

[Colin]

ride and I just stand headphones in

[Kareem Rahma]

or no headphones in, but no nothing playing. Cuz I, you know, I feel like you shouldn't have. You should use your senses when you're on the train.

[Alex]

Sure.

[Kareem Rahma]

But sometimes I'll just have a book and I'll, you know, read the same paragraph over and over, but that looks a lot cooler way and it signals what I'm reading. And it's almost like subliminal messaging.

[Alex]

You're sending one message.

[Kareem Rahma]

Yeah. Sending a message that like I am reading this book about XYZ and yeah,

[Alex]

I'm this type of guy.

[Kareem Rahma]

Yeah. Performative.

[Colin]

Let's talk about keep the meter running. Cause that was a show you made prior to Subway Takes. It's a show that has been compared to Bourdain, which I think is a very Fair comparison. Actually, I wouldn't say I don't think that comparison should be taken lightly, but I think it is a fair comparison. That Keep the meter Running is similar to the feeling that I got when I watched Bourdain. Can you explain the show and where it came from and why you even made the show?

[Kareem Rahma]

Well, first of all, I don't take it lightly, and it is shocking when I hear it. And I didn't even know what I was getting into when I started that show. Again, 80% format, I. You know, the show is I hail a cab and I tell the taxi driver, take me to your favorite place and keep the meter running. And then we go on wild adventures. I've been in the basement of an African mosque. I've been salsa dancing. I've been at the Russian bathhouse. I've been in a New Jersey helicopter flying near the Empire State Building. Like, I've been through it all. It's amazing with the cabbie and the idea stemmed from this place of, like, missing my father, who passed away when I was 21 years old. And I always found myself, like, connecting to cabbies in the sense that they're like adult men, usually with families, usually immigrants, usually working so hard. And there's something about them that I'm like, you have a secret, because you're doing this difficult, difficult job. And most of the time, they're, like, in fairly decent spirits. And if you want to have a conversation about politics, they're ready. If you want to talk about religion, they're ready. If you want to talk about life advice, they're ready. Like these therapists kind of. Or like, gurus or, you know, whatever. Monks.

[Colin]

Yeah.

[Kareem Rahma]

You know, like, I had this cab ride where I was going through a really tough time. And I remember the guy was going over the Williamsburg Bridge, and he was giving me, like, all of this advice on my love life. And I was like, this is really good advice. And we got to my apartment, and I was like, man, if you want to keep hanging out, like, I would love to just keep hanging out. And he was like, I'm going to have to keep the meter running. And I was like, oh, bang. Put in my notes. Wow. And I had this idea for so long, and I really wanted to do it, but I just. I was not. Again, I came from a background working at Vice and the New York Times and in media and not really on camera talent and not really producing. I was, like, doing content development and content marketing, but I wasn't the one making the shows. And so I knew it was a good idea, but I didn't know how to make it. And I also wasn't, like, ready to commit. And then my friend Adam. Adam Faze, who's amazing and such a pioneer in the space and was really the first one to get me into the driver's seat, because he was like, you're really funny. Like, have you ever thought about making a show? And I was like, not really. You know, I was like. I was like, I'm making videos, but I haven't thought about, like. And at the time, I really wanted to. I remember I was like, I want to have a thing. But I was. Look, I was not looking at shows, but I was like, you know, I saw, like, people, like, you know, I was like, oh, there's the guy that eats sandwiches, and that's his thing. There's another person that, like, talks in their car. That's their thing. Like, I was thinking about format in a way that it's, like, something I could do every day. And that's when I started the stupid studies, which is the talk show right in my kitchen. I built a studio in my kitchen so that I would not have to have an excuse of, like, I don't have a space. So they're like, I can't get to the studio. So I was like, I'm gonna put it next to my bed. I'd roll out of bed into the studio. It was amazing. But then that failed, and I was like, oh, you know, maybe that's not what I can do. Like, it has to be less produced. I need to, like, eat sandwiches. And he was like, what's the one idea that you've always wanted to make? And I was like, this is it. He was like, that's literally a brilliant idea. And so we. You know, I was like, how are we gonna do it? He was like, we're just gonna do it. And so we went out the next day, and I hailed a cab, held

[Colin]

20 cabs, and Adam just held the camera.

[Kareem Rahma]

Adam held the camera. Another guy, because there's one in the front, one in the back. Ari Kagan is the other guy. YouTuber. I was like, take me to your favorite place and keep the meter running. I. He was like, you know, I said that to the first guy that said yes, and his name was Abdul Rauf Khan. And he chose this Pakistani restaurant in Queens called Dara. And that's the moment where the 20% got filled in, and it became a food show. I never set out to make any sort of food show. And again, that's why I'm like, fill in the format with 80% of the way and then make it. And then the 20 that's missing will fill itself in. And it was like, while we were making it, it was magic because he was like scolding me for getting divorced. He was showing me this amazing restaurant that I would have never gone to. He was, you know, spiritually guiding me. And it was all the things that a father would do. Like, it was a good example of a male role model. And that's really what the show is about. It's about me finding good male role models and also exploring different cultures through the lens of cab drivers who kind of not only hold the secrets to the universe, but also hold these amazing secrets of the cities that they're working in. And we started as a short form show. You know, we would shoot eight to 12 hours. And I was so stupid at the time because we would hold the cameras like this because we were making it for short form. Guess what? Big mistake.

[Colin]

Yeah.

[Kareem Rahma]

Because now, you know, we're shooting eight to 12 hours and we're. We're releasing six minutes of content on a small screen.

[Colin]

Right.

[Kareem Rahma]

That show is so important to me. I don't think any other creator would have done this, but, like, you know, I have the hottest show in the world, Subway Takes, with the biggest stars in the world if I want them. Subway Takes. Making a really good living on Subway Takes. And rather than forgetting about this working class, super gritty show, after four years, I'm really excited to do it again and go back to that original idea. Even though it's less glamorous, it's less Hollywood, it's less everything. It's harder, more difficult for me to make, more expensive to produce. And I'm like, can't stop thinking about it. You know what I mean? And that's why I'm doing it. I can't stop thinking about. I have a great time doing it. I love watching the episodes and in the moment I'm really happy and free. So I think it just goes to show that, like, some ideas are just, you gotta do them even if they don't make a ton of sense, you

[Alex]

know, I really believe it's like one of the most beautiful shows on the Internet right now, truly. And I was a massive fan of Bourdain because of that feeling of him being the everyman and feeling like he gets to travel the world and be accepted and welcomed into people's homes. And you get that sense with you. And I think the respect that you give actually to the intricacies of what it means to be a cab driver are also super important to that show. It's not just like, be my de facto therapist, take me to your favorite spot. It's as you're watching, guest to guest, you're learning about the medallion and the debt of purchasing one of these medallions and getting to drive a taxicab. You're learning about how they have to go to the bathroom. There's actually an arc across episode to episode, which I find very unique. You don't really see that on short form. Like, I don't necessarily have to watch Subway Takes in order at all. Yeah, I don't have to with keep the meter running. But if I am watching in order, I'm actually learning about this subculture of what it means to be a cab driver, which feels like obviously a very hard job. And a lot of times at the end of the episode, it feels like you're giving these cab drivers a moment to be fully heard. And it takes a lot of investment of the audience to get to that last sort of segment that you release. And like you saying before, it kind of asks a lot of the audience, but it hopefully my experience that it's worth it. You get to the end and like, you know, the Irish Catholic cab driver who reads his poem at the end of that episode, it's like such a cathartic experience. He's in the snow outside of his cab reading a poem about, like, how he feels about how New York has changed. And I feel like it's one of the few shows on the Internet that is allowed to get very nuanced and doesn't have to be celebrity based.

[Kareem Rahma]

I really miss the show, which is why we, we made it. Like, I've missed it over the past four years. I've been thinking about it constantly. It's always there. And so it's one of those things, you know, when you just have to make it. Yeah, like I just have to make it.

[Alex]

And I.

[Kareem Rahma]

There was so many things that happened, you know, when I put it down, I was like, okay, let's develop it into a TV show. There were so many moments, like I put it down four years ago and I was like, okay, this is a TV show. We're going to pitch this to tv. We're going to package it, we're going to develop it and we're going to go to streamers and somebody's for sure going to buy it. Look at the Vanity Fair article. Look at all the press. Look at the numbers, like I said, faster growing show than Subway Takes. We were able to get to, like, 400,000 followers on TikTok in, like, 10 episodes. Whereas Subway takes, that took like, 400, right? Or something. You know, like, I got so many no's that it really just turned me off from the. From Hollywood for, you know, Hollywood is not a place, it's a feeling. And I was like, what is this? Like, you know. And then I finally got a deal to make six episodes, and the contract negotiation was. Took four months. And every time I got the contract back, there were more limitations on what Kareem Rahma could do, not only as a person, but with keep the meter running and with Subway Takes. Somehow Subway Takes had made itself into the contract. Like a contract about keep the meter running.

[Alex]

What type of restrictions?

[Kareem Rahma]

Like, we need to control where Subway Takes will air. Like, if you decide that you want to put Subway Takes uncut on Pluto or Roku or Tubi, like, we would need to approve that. Or if you start a Snapchat channel for Subway Takes, we would need to approve that. And I was like, this is. This is a different show. And also, you don't understand that the bigger Subway Takes get. Like, this is a marketing channel for keeping meter running. Every positive thing that happens to Subway Takes will lead to a positive thing. Keep the meter running. So it was like all of these things, and then, you know, in the process of pitching, there were streamers that were like, okay, cool, we'll take the show. But you have to, like, you raise a million dollars, and we will also put in a million dollars. So it needs to be a $2 million budget, and you bring us a million dollars, and we'll put in a million dollars, and then we'll distribute the show. And I'm like, okay, so you want me to go out, raise a million dollars, which is enough to make the show. Yeah, yeah. And then you also make the show give you the million dollars so that you can give it to a. A production company that you like. And then I can get paid a talent fee, which will probably be, like, less than 5% of that million dollars.

[Colin]

Yeah. Yeah. What?

[Kareem Rahma]

Like what? You know, so confusing and so weird. And, you know, other ones were like, yeah, maybe you could, like, turn this into a competition show. Yeah, I was like, you want me to have cabbies compete for, like, my love and attention so that I can buy one of them a house?

[Colin]

Right?

[Kareem Rahma]

Like, Beast games, like Shadow. That's a totally different, like, squid games. Like, this is dark stuff. Like, you know, and or like, is it, like, is there, like a matchmaking element? Like, dude, super wild stuff. And just turned me off in a way that I was like, you know what, man? Unfortunately, I've wasted four years, like, developing a show that was already fully baked, and I just couldn't do it. And so at the last minute, I walked away from the deal. Immediately picked up the. So many independent, like, production companies and financiers were interested. And I was saying, no, no, no. My ego. My ego was like, you must get a traditional deal.

[Colin]

Yeah, I totally get that ego.

[Kareem Rahma]

Fully ego based. Like, I have to. This is what the old kind of signal of success is. And I need that. And I still. I still do. Even though I watch.

[Alex]

Not that one.

[Kareem Rahma]

Yeah. It could be a different thing, but there's still this desire, like that to know I've made it like that I've been approved by Hollywood in this way. But, like, I guess on the list

[Colin]

of priorities, you're in the center of the Vanity Fair picture wearing a different color jacket. You gotta associate that.

[Kareem Rahma]

Still not on tv, you know, And I guess you're probably right from the outside looking in, but, you know, you have these.

[Colin]

I totally get it. Yeah. It's hard to. Especially, I think, when you're in our age bracket.

[Kareem Rahma]

Yeah. Older.

[Colin]

Very different feeling. Because we want the feeling of, like, the Netflix stamp of approval or the traditional stamp of approval. Like, we want that.

[Alex]

Otherwise we're just validating ourselves.

[Colin]

Yeah. Otherwise we just have to live in the abyss.

[Kareem Rahma]

Just all of us going.

[Colin]

Yeah. Which actually sometimes happens.

[Kareem Rahma]

But it's great because you guys are thought leaders and you're telling me I'm doing a great job and I'm on your show because I value you. Thought leaders. Yeah.

[Alex]

This all feels good.

[Kareem Rahma]

But where's the other, you know, the old guy? I want the old guy to go.

[Colin]

You want the show business committee to be like, you got it.

[Kareem Rahma]

But that is one of my big regrets, is that I wasted so much time trying with that show. Maybe that shows.

[Colin]

The thing is, you're a different guy now, four years later, who gets to make this show, probably with a different level of even confidence to make the show. I mean, correct me if I'm wrong, but like. And a different level of exposure. But I would say that from that story, like, the couple things, even as Hollywood has come for creators, Right. Like, Netflix is filled now with creator shows and will be for the next couple years. The one thing that Hollywood really does not have, that I think we have, is momentum. Meaning when Adam and you Decide to go make the show. You just go the next day and make the show.

[Kareem Rahma]

Literally.

[Colin]

And I think momentum and creativity is one of the most important things in the world, because all of our ideas are crazy and irrational and make no sense. So as much time and space as you give between idea and making the thing, it continues to make less sense. And you can convince yourself out of it. Out of it very easily.

[Alex]

Right.

[Colin]

And then you start getting into, like, contracts and stuff. And, like, you're like, months in and you're like, what are we? Was I excited about this? I didn't even know if I was excited about this.

[Alex]

Releasing something with the energy that it was made with is so important. And I feel like you, as a creator, feel it, and I think the audience feels it.

[Kareem Rahma]

That's such a good point. Yeah.

[Colin]

And I think that's where we will continue to have struggles with what is Hollywood or traditional networks and how we operate, where it's like, no, we're excited. Let's just make the thing. And then.

[Kareem Rahma]

And I also realized the thing that I wanted, which was this, like, you know, I. I see, like, I have so many guests on Subway takes, and they pull up in the black car, you know, that's paid for by Hulu or hbo.

[Colin]

Right.

[Kareem Rahma]

And then, you know, and then they go, oh, by the way, we're also having a party tonight at Metrograph.

[Colin]

Right?

[Kareem Rahma]

And I go, oh, of course I'll be there. Like, red carpet, blah, blah, blah. All these people are there celebrating them. They're on Fallon and Kimmel and all this stuff. And I'm like, that's really. Actually what I want, is I want that moment in the limelight, you know, because so much of being a creator is like, you're grinding, you're always on. You never stop. There's no, like, season two. It's just like, one long season. Like, subway takes us 650 episodes. One long season for eternity.

[Colin]

Yeah. With no plans.

[Kareem Rahma]

Who knows when it's gonna stop? And when is the party? We haven't had a party.

[Alex]

Who throws the party?

[Kareem Rahma]

Million views. No party.

[Colin]

Right.

[Kareem Rahma]

Or not. Views, Followers.

[Colin]

Yeah.

[Kareem Rahma]

So when do I get to, like, do the thing?

[Colin]

Is this an ask?

[Alex]

You want us to throw you a party?

[Kareem Rahma]

We are in this beautiful. Yeah. And this was a breakthrough moment for me. And what got me really exciting, excited is I was like, I'm going to shoot this show in seasons. I'm gonna do a 10 episode. I'm not gonna, like, shoot, publish, shoot, publish. I'm gonna shoot 10 episodes. I'm going to take care. I'm going to sound mix. I'm gonna sound design. I'm gonna color. I'm gonna do a TV show. I'm literally going to do a TV show. And then when I launch the show, I'm going to do a press tour, and I'm going to come on Colin and Samir. And then tonight I'm going to go on Kimmel. And then tomorrow I'm going to get an Uber XL for the day, and I'm going to make press appearances in my Uber. I'm going to go on Subway Takes, literally.

[Colin]

Really?

[Kareem Rahma]

Yeah.

[Colin]

How are you going to do that?

[Kareem Rahma]

Don't worry about it. You'll see.

[Colin]

Amazing.

[Kareem Rahma]

You'll see. I have ideas.

[Colin]

And then. Are you actually going in Kimmel?

[Kareem Rahma]

No, not yet. I mean, this is my Fallon.

[Colin]

Understood.

[Alex]

Like, if anything, he'll be in the

[Kareem Rahma]

Uber xl, if anything. I realized if I can make the show independently, like a television show independently, I can do the press tour independently,

[Colin]

of course, and just do, of course,

[Kareem Rahma]

all of the things that I want to do in the same way that I've always done that, which is to just do that.

[Colin]

Yeah.

[Kareem Rahma]

You know what I mean?

[Colin]

Yeah.

[Kareem Rahma]

Like, I'm just going to do it. I'm going to do all the things that I want to do. I have enough. And that is where the pro of doing this four years later is that I've built a name, I've built a career, I've built Subway Takes, and I can. You know, this new show coming out is news. Like, Subway Takes creator launches a new show that's actually old show, but it's like, I can. I do have the ability to call a publicist and say, hey, I'm launching a new show. I want to do this and that and this and that, and I want to have the party and I want to invite these people and they will probably come, and I will feel like I have my day in the spotlight, which is really what I was like. Essentially what I realized is I want to celebrate my content and my achievement in the traditional way of selling. Like, I don't want it to feel like I'm just doing, like, the perpetual content thing.

[Colin]

I think the other thing about making the show now four years later is that it's a. Actually, it's a very different time in America. And making a show about the cultural diversity of America right now feels important in a way that it's always been important, but it feels like we're talking about the relationship to Bourdain. Bourdain was out in the world, you're in America and you're in New York City. But showing us cultural diversity and I think that is like a very, a very important thing right now.

[Kareem Rahma]

Hey, you can travel the world without leaving New York City. Right. That's what I've really learned through the show is I can be in Ghana, be in Pakistan, I can be in India.

[Colin]

Right.

[Kareem Rahma]

It's really incredible. Like, if you really. I can be in Russia.

[Colin]

Right. Like, that's one of my favorite episodes when they're taking shots.

[Kareem Rahma]

But there's a new one, there's a new great that we just shot that's like, it's just insane. Like I'm.

[Alex]

This is the photo I saw of you in the bathhouse. Yeah, yeah, yeah.

[Kareem Rahma]

Little hats.

[Alex]

Yeah.

[Kareem Rahma]

So cool and so fun. Like just old world feels like the old world, you know, home country.

[Colin]

Yeah.

[Kareem Rahma]

And mother Russia, you know, it was cool.

[Colin]

So what's your hopes for the show? Like that as this season comes out,

[Kareem Rahma]

that it's just, it's like a popular TV show and that people tune in and watch it on their TVs and want more and that somebody says here, let's do season two. What's amazing is that I have removed the goal. Like this has also been really freeing. My goal in the past would have been like, I'm gonna put it on YouTube so that XYZ can call me, streamer can call me, but I've removed that part. There's no, like the focus is making the best TV show possible on YouTube. To me, that is the future of television and I want to be one of the first people to make TV quality formats on YouTube because it's going like this, you know what I mean? And young people are going home and they're turning on the TV and they're putting on YouTube and if they find me, that's awesome, you know, and if they learn how to watch long form programming, if I become their Bourdain. That's sick.

[Colin]

Yeah.

[Kareem Rahma]

Like, I hope that they have the desire for that, but maybe they've never seen anything like it.

[Alex]

Totally.

[Kareem Rahma]

You know, they've seen travel shows, they've seen food shows, but maybe they haven't seen this like really empathetic perspective that requires a commitment from both the host, the subject and the audience.

[Alex]

Yeah, they haven't seen someone who's deeply empathetic but also not afraid to have a take in an opinion. I think that was the wonderful thing about Bourdain is he would go to like a war torn country and be Deeply empathetic, but also deeply opinionated about how he felt leaving that country. I mean, I remember he went to Detroit in the Detroit episode, and at the end of the episode, he leaves, and he's, like, honest. He's like, I think there's no hope for Detroit.

[Kareem Rahma]

Fuck. So good.

[Alex]

He's like, it's long gone. But he's like, but it's not up to me. He's like, I'm not living here, and I'm not the one who's gonna define Detroit. But he left it on that note of, like, from what I've seen.

[Kareem Rahma]

That's a brave note.

[Alex]

Yeah, it's a brave note to say that. And of course, Detroit was like, all right, go to hell.

[Colin]

Yeah.

[Kareem Rahma]

You know what I mean?

[Alex]

But I think it was like he was deeply empathetic to what was happening there while at the same time giving his opinion. And I think that's what younger generations, I don't know, but I feel, like, have not seen as much.

[Kareem Rahma]

Yeah, I'm. I'm excited, man. I don't know. I want to be, like, at the forefront. It's always been this, like, punk attitude that I think I lost for a bit because I wanted the acceptance, but I've always been kind of a punk. I've always done whatever I wanted to do. I've always went with my gut and not wanting to be in a system or, you know, this is how, like, I used to hate when people said, this is how we always do it. Like, in my corporate jobs, this is how we've always done it. It'd be like, well, who cares how you've always done it? You know? And I think I became one of those people that wanted to join the. This is how it's always done. This is the process. This is what you do. And then when I was in it, I was like, this makes no sense. And I can't keep pretending that it does. There's a new way. You gotta be brave. You gotta trust. You gotta commit. You gotta. Like.

[Colin]

Success will change that, though, a little bit. Yeah, the punk attitude, right? Cause, like, I mean, you tell me how the feeling of. Cause I'm assuming, like, Subway Takes is a. Like, it's a massive hit. It's not like, all right, I got a thing that kind of works. It's like, you made a thing that's, like, globally, culturally relevant, that brought fame, money.

[Kareem Rahma]

A Vanity Fair article.

[Colin]

A Vanity Fair article. Success in ways, that is the thing you wanted. Right? I imagine that that changes a bit of the relationship with like the punk feeling. Cause you're like, yeah, tell me.

[Kareem Rahma]

But it was done through the punk feeling.

[Colin]

Yeah.

[Kareem Rahma]

You know, I've never felt like an insider ever. Even now, I don't feel like an insider. Even now, I don't feel successful. That's the matter. That's like my own problem.

[Colin]

Yeah, it's a big problem.

[Kareem Rahma]

But, like, I. I'm always pushing myself to, like, honestly, it's about surprising myself. Like, I'm. I love the idea of someone going, that goddamn son of a bitch did it again. And that person. Yeah. Who's saying that is me.

[Colin]

Right.

[Kareem Rahma]

That's what I want. Like, that. I love that feeling. And every time I get there, I go, holy shit, I can't believe I did that. Like, I'm, like, shocked. Yeah. And it's really not a great feeling to chase because, like, yeah, you're always. The carrot is always a little too far away, but it's like a really fulfilling sort of thing, you know? And I think that is what makes me work so hard, is that I just. Just don't have any goal beside entertaining myself, having a good time, inspiring other people, kind of, you know, whether that means inspiring a creator to get off the couch and just do it, or inspiring a taxi driver to be like, you know what? Maybe I should try stand up comedy. You know, like. Yeah, like there's. There's just so many levels of it to it, and just. I mean, it's the cheesiest, corniest thing to say, but, like, leave the world a little bit better every single day, you know?

[Colin]

Yeah.

[Kareem Rahma]

Contribute to the optimism and positivity and hope that we see in the smallest gestures, whether it's looking locking eyes with the barista and saying thank you, you know, or like thanking the flight attendant on the way off the flight, or giving the server a 30% tip instead of a 20% tip for absolutely no reason. Just these little things that kind of, like, leave people feeling a little better than. Yeah, they might be.

[Colin]

You've talked about a couple times in this episode this, like, 80, 20 thing about building a format. And I was curious to actually dig into the 80% for a second. And you've made formats that are, like, universally interesting. And actually that's pretty hard right now on the Internet to make something that a lot of people will be interested in. How do you think about a format that is 80% there?

[Kareem Rahma]

Well, I think you got to start with the premise, and that needs no explanation. I get in a cab, I tell the driver, take me to their favorite place, and that's what we do. And we go on these crazy adventures.

[Alex]

That first line needs to define the entire format.

[Kareem Rahma]

You see it in your head. You're like, I know exactly what this guy's talking about. It's a live talk show on the subway take where people give or the subway take. It's a live talk show on the subway take. It's a live talk show on the subway take where people give their hottest takes. Zero questions. You go, I get, you know, you see it. And so I think part of it is, is coming up with that very clear idea. And I think that is like pretty much, at least that's like 50% of. Of the thing.

[Colin]

Right?

[Kareem Rahma]

And then it's like, how are you going to shoot it? What's it going to look like? Keep the meter running, Camera in the front, camera in the back. No lighting, super raw zooms and just like handicaps, no stability. Essentially point a camera at something interesting and follow it. That's what that is. So now you're like, you've learned how you figured out how you're going to shoot it. I think now you're at 80%, I really think. Or at least 70. So, you know, is it like. And then actually maybe that's 70%. 10% is like, is it made for Instagram? Is it made for YouTube? Figure out your distribution. Like that means aka is it going to be long? It's going to be short. Now you're 80%. So to me, that's enough to go figure out what the show is like. That's enough for me to shoot the show.

[Colin]

Clear premise is really good.

[Kareem Rahma]

The clear premise. I think figuring out how you're going to do it and how you want it to look like. I want all my shows to look super professional, which is why I don't use a phone. Right. But there's a version of keep the meter running that's shot on the phone. Yeah, it's a different show.

[Colin]

Right.

[Kareem Rahma]

But there is a version of it that is like pov. You know, I'm never on camera. Right. Always a driver. There's no crew, it's just me. Like, there is a version of that show that works on a phone.

[Colin]

Right?

[Kareem Rahma]

Different show. But like, I think that is what you said about momentum.

[Colin]

Yeah.

[Kareem Rahma]

You will lose momentum trying to figure out every step. Right. At least in unscripted shows, maybe scripted a little bit different. But even then I would say, like, figure out 90% of the format on scripted shows and then go figure out the rest out there. Because I think losing the Momentum. And what you said, publishing the idea while it's still hot and you're excited about it. Both of these things, I think those are worth going out and doing it.

[Colin]

Yeah.

[Kareem Rahma]

And. And you will figure it out. You know, like, I think about it like a test kitchen, like McDonald's or Doritos or whatever. Like, they're constantly putting these ideas out and they're. And then when they hit, they're huge, you know? And, like, you might get Cool Ranch very close to it. You're like, what is. What the. Is Cool ranch? Somebody went 80 and was like, it's a ranch. And then they were like, well, how do we make it a little bit better? And like, they had all these ones and they were like, what if it's cool? Yeah.

[Colin]

What if it's just cooler ranch?

[Alex]

No, no, I have no idea. I'm pretty sure I would know.

[Kareem Rahma]

It's called Cool Ranch.

[Alex]

It's Cool Ranch.

[Kareem Rahma]

Good. And no one knows what it is. It doesn't taste like ranch. I don't know what it is, but

[Alex]

not tast anything like ranch, that's for sure.

[Kareem Rahma]

It's so good.

[Alex]

Yeah.

[Kareem Rahma]

Or like Mountain Dew. What is that?

[Alex]

Yeah. What flavor even is that?

[Kareem Rahma]

What is that?

[Colin]

Yeah, totally.

[Kareem Rahma]

It doesn't taste like Mountain Dew now. It does, but actually, I don't even know if this is a good analogy, but it is a good analogy.

[Colin]

I actually don't even remember what the analogy was for.

[Kareem Rahma]

It was about getting 80% of the way.

[Alex]

I would assume someone took Mountain Dew to 80% and they were like, it's lemon lime cola. And then someone was like, it's Mountain Dew.

[Kareem Rahma]

And they. Well, they added something. Yeah.

[Alex]

Like, what if it was a little more green?

[Kareem Rahma]

Yeah. Or like, doesn't taste like lemon lime at all. Yeah. Or like, I don't know. Maybe they added orange. Who knows what they did? But. But there's just like. I don't know. I think so many people contact me and they're like, I have this idea for a show. I have this idea for a show. I go, what's your advice? My advice is go do it. They're like, would love to get your thoughts. Guess who? I never get thoughts from anyone. Literally. There's no need for thoughts.

[Colin]

There's actually no need for thoughts because actually, the world will tell you if it's good or not pretty immediately. And you'll know when you make it. You'll just know. You'll know, is this good?

[Kareem Rahma]

Or. And the other thing about thoughts is that everyone has a different opinion, right? And I think it's just going to confuse you more. I know a lot of people that before they do something, they get everyone's advice. I'm not one of those people. I think it served me sometimes well, sometimes not well. Like, I've definitely had regrets in my life, but those regrets are not about the content I'm making. They're about, like, should I have purchased an apartment in this neighborhood? Or, you know, like, my. And not consulted a real estate expert and be like, now my gut says, right, it's going up. And my gut was wrong. But yeah, I don't know. There's. There's just like, again, there are so many forces at play. Your brain is designed to make you be safe and to make you be comfortable and to make you not do the risky thing. And it's hard to fight perfectionism. But I also think that the audience appreciates seeing the seams, seeing the behind the scenes, like, seeing the looseness of it. And I think that's why young people like creators so much. Because, like, we're sitting here, we're talking. They all relate to us in a way. They might see themselves in us in a way. Whereas traditional entertainment, they, like, there's still some sort of level of, like, the veil is not lifted. Like, you know what I mean? And you don't even.

[Colin]

It's manicured.

[Kareem Rahma]

I don't share a ton about my personal life, but, like, the veil isn't fully. Like, there's still, like, some stuff, like, I speak freely and candidly.

[Colin]

Yeah.

[Kareem Rahma]

And I'm not like, beholden to anyone or anything.

[Colin]

Yeah.

[Kareem Rahma]

Aside from my own vibe for the

[Alex]

creators who are watching or listening and thinking, okay, I'm already in this world of punk distribution of, like, yeah, I published a TikTok Instagram. I might make what I would think of as a TV show for YouTube. But what does it actually look like to go from the format that is now 100% with keep the Meter Running like it's fully baked. It's on Instagram and TikTok and go, okay, now I want to make this for tv. Because my assumption when I watch Keep the Meter Running is like, you kind of just roll up to the restaurant, you've got two camera ops, and you're just like, is it cool if we film here? All good. Does that change when you think, let's make it for TV.

[Kareem Rahma]

Yeah. Yeah. So the first 20 episodes, which were all short form six minute episodes, I would literally just go outside and hail cabs until someone said yes. So I didn't know anything about what we were going to do, where we were going to go, who I was going to be talking to. Zero with the TV version. I think it's really important that every driver is a star and bring something new to the table. Because I'm thinking about it as a season and in the season, in the season arc. In the same way that Bourdain walks away from every episode, having reflections and changing, I want that to happen for myself. So if I go out and I just like do it the old way, I might get five Pakistani cab drivers who have very similar stories. You know, I work really hard, my family's back home, blah, blah, blah, blah, blah, blah. Like that's a very common story and I got fucked over by the medallion. Like, that's a sad story. And it's a common story and it's not a story that should be ignored. But I don't want to make 10 episodes of that story. When doing this season, we did a casting process and I wasn't involved in that because I do want to come in fresh and like not know anything other than their name, where they're from and what they like. But we had this amazing woman, Harley Shaw, she went out and she literally has taken over 100 cabs and made videos, like casting videos with at least 60 of them. And has, you know, said, this is what I like about this person. This is what, like, this is why he would be a great episode, like ideas. And that was something I've never done in my life because I haven't done that for Subway takes or anything else. I've never done casting. So we did a casting process and the plant, like, we upgraded our equipment, you know, we went from fx3s to fx6s. Sound stays the same. Actually, we never had a sound person. So we did, you know, all the short form episodes, no sound person. So now we have sound. There's some BTS photography that happens and there's a loose plan because we don't have like now that the shoots are so much more expensive because you have to factor in the casting costs, the equipment costs, the additional crew members costs, the follow car that we rent, all the stuff that now makes the shoot day go from 2000 to a lot more.

[Alex]

Do you also have to like alert the restaurants, make sure they're aware?

[Kareem Rahma]

Because we don't have time to lose. So if a restaurant, because we've been turned now in the old version and it's okay, we just go to another one. But now it's like, if we get turned down. Then we've just lost four hours and we got to find a new restaurant. And they're like, we might have to push the shoot. So there's a lot more planning, producing. But again, I keep myself pure. I don't know anything about the driver. I do know what they are. I have an idea of what I want to get out of it. So, like, Homero is super romantic and in love with his fiance and loves dancing. So I kind of know what we got to do. Yeah, I'm like, you know, I'm not romantic and my wife probably thinks I'm a boring loser. Every time a 7pm comes around, I just, you know, I put the baby to bed and then I watch television. And that's the opposite of Homero, who's like taking his fiance salsa dancing and going to the Dominican Republic. And he's a. And he's also the opposite of a sob story. He's like, I'm happy and I'm spending all the money I make. Like, I love spending money. I have the ability to spend money. So, like in that episode, I'm like, okay, so I can learn how to be a better lover. Like, that is what I want to get out of this. Like, and I actually genuinely want to understand how Homero, the Ecuadorian cab driver, is such a good lover. Like, what the hell? Why am I not like this? This is a dad. This is a father that is giving me advice on love and relationships and the pursuit of happiness. So, like, before going into it, I was like, okay, that's what I want to get out of home. Arrow. And then you've got Cakandra who's like, has this super entrepreneurial spirit and I'm an entrepreneur, but, like, he has way more difficult circumstances and more projects than I have going on. So I'm like, how are you balancing all these projects? You're an author, you play the flute, you have like these YouTube, like, what can I learn from you about multitasking, about pursuing creative pursuits? And also, what can I do for you? Like, you have this desire to do stand up comedy. Like, I can make that happen really easily. Like, that's something that might be hard for you to do, but it's something that's easy for me to do. And so, you know, what phone call can I make to get you on stage? So it is, it's more complicated and. But it's not that much more complicated. You know what I mean? It's really not that much.

[Alex]

Yeah, because if you overcomplicate it too much. Then like that momentum fades and you're back in the same spot.

[Kareem Rahma]

We're doing the bare minimum, essentially. You know what I mean? Not overproducing. Of course, we could have interviewed more cab drivers. Of course we could have found, like, more perfect subjects. Of course, we wouldn't be making decisions the day before the night of the shoot as to, like, this restaurant hasn't confirmed yet.

[Colin]

Right.

[Kareem Rahma]

Like, it's not that produced. Like, there's still. There's still like a lot of unpredictability and spontaneity and pivoting, you know, that happens within the show.

[Colin]

I wanted to ask you about your role as well as generally, you think creators role in politics. Especially like, you were very involved with Zoran Mumdani here in New York City. You had Tim Waltz on the show. Correct. You had Kamala on, but didn't air her show. Just curious about as the country gets more divisive in the world of politics, our role as creators when it comes to the political landscape and even engaging with politicians.

[Kareem Rahma]

Look, I think everything is political, and I think one side of the aisle is very good at content, and I would say that's the right. They're good at memes, they're good at podcasts, they're good at sensationalism, they're good at Twitter. They're good at. They're very good. And I would say the left is not so good at it now because everything is political. Every choice we make, the things that we buy, the things that we say, the guests that we book, the platforms that we choose to distribute on, I think that we do have a. A responsibility to at least, at the very least, be responsible. So if you don't agree with Nick Fuentes, you probably shouldn't have Nick Fuentes on your show. And that's because he's literally like a Nazi. Like, it's truly like there's just no justification. Yeah. You know, both sides. I'm like, yeah, but that side is really bad. Like, you can't have a Nazi on your show. I'm sorry, I don't care who you are. So we have a responsibility to at least be responsible so we can say things without saying anything. That's how I think about it. Like, I have a responsibility with Subway takes to book who I book. And I want a diversity of voices. I want a variety of opinions, but I don't need to platform someone who is hateful or misogynistic or Islamophobic or anti Semitic or any of the things that is being political in my Opinion that is engaging in politics, having a line now, do we have to voice our opinions or participate in boycotts or even digital movements and petitions and all that stuff? I would say that there is. I think, as a citizen, you should get involved. So now, how that translates, like, how are Colin and Samir as citizens versus creators? You have to gauge your own level of, like, what you're comfortable sharing.

[Colin]

Yeah.

[Kareem Rahma]

You know what I mean? Because it is also, like, a choice. And then all of a sudden, you are lumped into a category. And, you know, like, with Subway Takes, ever since Zoran, who I felt strongly about personally. Yeah, that was Kareem. And I was like, I'm gonna use my platform to support this. And that was a decision I made and position I made because it's the fucking mayor of New York, the city I live in, the city I love and the city that I believe in and want to raise my family in. And that's who I choose as. That's who I voted for. Ever since that win, like, I've been called by every congressperson in New York, every senator in New York, mayor from Michigan, governors from other states, political organizations, and I'm like, I have made the decision to just say no right now for at least that small portion of my political life, which is, who do I book on Subway Takes? I think it's almost like the genie's out of the bottle, and I am trying to put it back in, and I think I'm succeeding at putting it back in by being like, look, yes. They're like, you know, you had Zoron on, and I would love to be on, too. And I'm like. And I explained I had Zoron on because he's the mayor of New York. Like, you're running for something in New Jersey. I don't live in New Jersey. And I understand that you see me as an ally, and I want to be an ally, but I don't. I'm not a political pundit. And, like, there's only so many slots on the show, and the show is an entertainment show. That's what it is. So I think it's like, we do have a responsibility to at least be responsible. And I would say that if you are engaged in politics on a personal level, I don't think it hurts to engage with politics on a. On a public level, but you don't have to be involved in everything. That's another thing that I'm learning is that, like, I'm consuming everything, and I have an opinion on everything, but I Can't publicly engage in every political decision in this country.

[Colin]

Right.

[Kareem Rahma]

That's not my job. So. Yeah, I mean, it is. It is really like, that is kind of. I guess the answer is that, like, we do have a responsibility and to engage in various ways, whether that means silently or proactively. And I do think that because the right is so good at the Internet, that creators, especially on the left or in the middle or whatever you want to call it, moderates even, should figure out how to use these platforms in a way that can combat extremists. And when I say the right, I really mean extremists. I don't even mean, like, Mitt Romney. Yeah, I miss Mitt Romney.

[Colin]

Yeah.

[Kareem Rahma]

God, that guy.

[Colin]

I mean, it's interesting just on the note of late night, even with Colbert, you know, in CBS and, you know, a bit ago, not being able to air James Talrico, his. His interview with. With Democratic candidate James Talrico because of a rule.

[Kareem Rahma]

Yeah. The Fair Air Act.

[Colin]

That's the Fair Air Act.

[Alex]

Yeah.

[Colin]

Which is such an interesting thought. Meaning, like, they have to give equal time to both sides. That in this modern world of late night does not apply.

[Kareem Rahma]

Yeah. And it made me super grateful.

[Colin]

Yeah. It does not apply to your shadow.

[Kareem Rahma]

I'm like, great. Even more reason to never want to be on TV. Literally. I saw that and then it ripped on YouTube.

[Colin]

Yeah.

[Kareem Rahma]

Yeah, they put on YouTube.

[Colin]

But anyway, I mean, like, more people would watch. Watch Colbert on YouTube than on TV.

[Kareem Rahma]

Yeah, but. But it just.

[Colin]

Yes, I understand.

[Kareem Rahma]

It's not. He's not missing out on anything.

[Alex]

Yeah.

[Kareem Rahma]

I'm saying because it's free and available worldwide.

[Colin]

Yeah, yeah.

[Kareem Rahma]

You know, and so, but. But it made me be like, if

[Colin]

anything, the story made it just Crush.

[Kareem Rahma]

Yeah. On YouTube. But the new world, I'm just like, I'm in the right place, man.

[Colin]

Yeah.

[Kareem Rahma]

I'm not trying to get to that side anymore. That is the biggest thing. I don't want anyone to control me and tell me what I can I can't do. And. Yeah. I just think that's crazy.

[Colin]

Yeah. Crazy.