 In my thesis, it looks at three forms of humor, satire, parody, and carnival. And my argument is that satire and parody constitute this aggressive, kind of not aggressive, innocence of violence, but more coercive form of nonviolent action. So it is okay to, you know, to attack, you know, the opponent. So in the literature of nonviolent resistance, there's a lot of emphasis on, you know, attacking, you know, your opponent without using arms. So that's one aspect to it. But I think what has been missing is this nonviolent action used for reconciliation. So that's where I think carnivals are important. How carnivals can be a space for a dialogue, meaning that in a protest site, if you have festive activities, and these are part of carnival's features, you would have different people from different walks of life, be it, you know, the authorities, security forces, supporters of the government, protesters, joining these festivities. So for example, in the case of the protest in Belgrade in 1996, 1997, there were a lot of carnival-esque activities used in the protest site. And I remember there were a few actions where protesters deliberately staged them in order to build this image of being friendly and having people from the other side to join the activity together. So these activities could be, you know, they ranged from concerts, party, using music, dancing, beauty contest. That actually, they asked protesters, asked, you know, other protest participants to select police officers who were the best looking. So that's the idea, you know, to get people that may be in conflict at the time or they may, you know, they carry out that duty because they have to, but then that put them in a situation that, you know, in opposite to protesters, they may not dislike protesters, but they have to do their jobs, right? So that sort of provides space for, you know, convincing the other side to change side. So that's the idea.