 Jag har en Mic Guy här, så vad vi gör är att du röjer handen. Jag tror att vi har rum för två och kanske tre frågor, röjer handen, städer namnet och där du är från, och din fråga. Vi har en fråga över där, och om du är poppande på en fråga, du kan sända mig, men vi är Mic Guy. Hej, min namn är Pärströmbäck. Jag jobbar för Swedish Games. Industrin. Min fråga är för Henrik. Har du se det roll av the author, changing when the content opens up to user interaction? Do you see something like what Alex from King described where you can use metrics and analytics to change the content? Will there be novels in the future? Absolut liv. I mean, I think there's been a lot of more data driven decisions in publishing the last kind of two to three years and ever before if you sum it up. I think the best example that is speculation, but that's kind of the industry is in, in, in kind of saying that is true, is that the Amazon release something called Kindle singles, which is a shorter book that they are, that they're releasing as kind of a special type of content. And this decision to focus on that was made because if they could see in the metrics that people were not finishing a lot of the books that they were buying. So that was kind of the kind of one of the first kind of projects that were that were based on kind of a data driven decision. And I mean, the role of the author is changing a lot. We're seeing a huge democratisation in, in, in, in how people are reaching new audience, audiences of readers across the world with self publishing and so on. So I mean, will the world data have a very important play, a very important role for authors in the future? Definitely. And we'll just add off the back of that 50 shades of grey is a really interesting case study for that question, because that was released digitally first and then the conventional book deal happened second. Yeah, so it exploded on people's kindles and then it became a conventional book in the stores that you could, that there was 90 percent of book buyers by and don't read. But yeah, and it's also a fan fiction. I mean, it's written as a kind of a side story to the vampire movies. So that was the origin, originating kind of story, what are they called? I forget what they are called again. But yeah, so, so it's definitely interesting case study to check out. Is it start to continue on that? Is it affecting how people are creating music? Yeah, I think in music it's slightly different from books and games. One of the things that's fascinating with games is if you're a developer of a game and Apple is going to take 30 percent of your revenue off the top to get there. Do you need the publisher? What does that do to the role of the publisher? Similar story in books, similar questions being asked in music. There's a lot of hype and stereo about how to answer that. But I think it simply comes down to a classic make or buy question. What can I do myself and what do I need another service provided to do for me? And I think, you know, authors, musicians, games developers are just asking that question in their own unique way. I mean, a lot of these online situations you've got a very strong network economics at play. So you have one or two dominant distribution channels where, you know, getting that viral impetus is incredibly important and therefore you need to work through third parties, even though theoretically you could publish directly on the web, which is then ends up being a very expensive route. And before I continue asking, we have a question down here. And we have one here. S. So we need you on the mic. So so we get it on this on the screen streaming as well. So your name and where you're from. OK, my name is Johan Marnfold and I've been working with e-books as well. So I have a question for readmeal here. How is your economical model? How do you earn money? Right. So it was extra interesting to do this presentation because our economical model is data. How do we deliver an extra value to publishers and authors around the world with interesting insights on actually how people are consuming books? I think the statistics about like 90 percent of the books purchase is not read by the person who buys them is super interesting. It means that the whole model of tracking who is actually your consumer when it comes to books is totally out the door. We need not to track who is buying books, but who's actually reading them. Thank you. Well, he's asking how readmeal is making. Yeah, so it could be to deliver insights and the license insights to publishers and authors around the world. I mean a point point on this is that the economic models for traditional publishing are changing. I mean, if you look at the games industry, you see console sales going down revenue from play to play games going up. We've had the same experience in the music industry where traditional retail sales primarily through piracy have collapsed, a digital sales going up. A question of whether the industry will reach in terms of gross revenue where it was in the 70s and 80s. So, you know, the change is definitely very, very strong and will want to add to that. Yeah, I mean, well, two very quick points. One, I invented a very sexy term for what Henrik was describing called exhaust economics, which is all the data that comes out of the exhaust pipe of incumbent firms. New firms like yours can grab and put little nickels and dimes on them. I think it's an exhaust economics business model in terms of data is where the monetization happens. The second point to what you just heard there is when industries expand, the wheels start turning again. So when I go back to that Swedish example of more Swedish bands getting some more Swedish fans in Swedish, which is a very encouraging story. One of the drivers there is that Spotify is allowed to Swedish music industry to expand year on year, whereas most markets are shrinking. This one is growing and if it's growing, those labels can invest in more talent, that more talent can get to more fans. And it's just that self reinforcing principle. That depends how you define the music industry. So if you include live music, yes, but if you're talking about recorded music, I'm not sure, but certainly for the UK, that's that's not the case. Sure, and I'll just add to that as well. What makes, and this is a bit of an exclusive, and what makes Sweden particularly fascinating is not only did the music industry expand by almost 20 percent last year, but it's live industry and it's not great economic times that we live in, expanded by 12 percent as well. So, you know, a rising tide is lifting all boats. And I think with this, you leave me with an impression that you're all quite positive against or against about the development within each of your feels. Is that the? I mean, sure, it opens up a lot of new opportunities for, I mean, especially these guys are a bit older than I am. You can see that, but I mean for new for new entrances in a market. For old entrances is also very good to like the behaviors that going and we're actually out of time, and I think some people want to have lunch, but we have the pleasure of having you staying around for a while. So your targets to be addressed if you have more questions and thank you very much and enjoy lunch.