 I think in a lot of ways. I think one of the biggest ways that it's changed the theatre is helping it to align more closely with the Settlement House, which is our parent organization, and really focusing on how to develop new work for young audiences that are dealing directly with markers of generational poverty. And it's changed our processes, it's changed the way we think about our seasons, and it's changed some of the methodologies of production, so it's been really exciting. And how has the residency changed Carlos' work? I think Carlos up to this point in time has been largely involved in what he just described, more I would say, like vision and operational challenges and being outside eyes that have been incredibly helpful in the transformation of the organization. So, his writing, the piece that we've been building towards is actually going to be moving from this point forward. But there have been opportunities for him to, I think, I think we've asked him on a couple of instances to maybe work really fast, and I think that's probably been something new. I think we've introduced him to a different audience, and I think that's probably challenged his way of thinking about how to approach the work. I'm really excited about what's on the horizon in terms of the writing, so I think the changes have yet to be discovered ultimately.