i have to give praise particularly to a couple of our producers, arthur sarkissian and cathy konrad, for being so exacting and precise about the way they produce and the people they've put in place. this is the first time i've ever walked on the set of a show and found that every department knew what they were doing. they must have put like 3,000 years worth of collective experience on this set. usually when you first start a television series, this guy's a little lame and someone's got to - you know what i mean? there's people who -- tavis: yeah, i know. >> there's the weak. tavis: no, just teasing, just teasing. >> there's always some weak links, you know, that you have to work through the kinks. but this was the smoothest running set i've ever seen from the get and there's this sort of collective excitement that we're doing something special. i'd say the least sort of inspired part of the show is the title, frankly, but it's appropriate. i mean, it's vegas, baby, so we went with "vegas." tavis: we had one of these before. robert ulrich was in this one. >> yeah, yeah. tavis: that w