 So, you are the author of SDH for Stranger Things Season 4. I worked there as a key seer together with Jeff, your colleague. And I'm wondering, was this show a very high-level title, obviously? Was this show different in your experience from others you worked on? Did you get more specific feedback, or did the clients stress the creative aspect of the job? No, not really. And I think this is why it's funny, because it's high-profile people know about it, but this is the way I've been working for years. And so some of the other titles that I've worked on have had the same thought through the scripters and the same widespread use of those things. But it was just funny to me, because when we were approached to do interviews and things, I thought to myself, but this is just my job. Like, this is the way I work. And so it was nothing different from my usual tasks. Yes, perhaps I realised that this specific series is based on its sentence gate. Like, it's very particular, and it really does work in a way that it presents mood and tone and switch of mood and tone and atmosphere. Like, we're going from proper 80s, upbeat, happy music to proper horror-type, scary vibes. And not everything's the same. Like you say, I could have worked on a documentary that there's not really much going on in the sentence gate, and it might be a very different task. But for this one, I thought to myself, like, this show deserves the creative aspect. And that's because we're trying to take the viewers on the same journey, not the same journey, but a similar of a journey as the hearing community are going on. And I think the only way to do that with SDH is by doing it in that way.