 So, I'm just gonna start by shaking things a little bit in the music industry. So David Bowie, Björk and the Beatles, what do they have in common? They actually reinvented the way that they portrayed themselves to the world, and they never got satisfied with the good enough. They always looked at themselves and asked a very key question, which is, what if? What if, as David Bowie killed Ziggy Stardust, what if I created a whole new album for my new music, which is all based on VR that Björk did last year? What if we turn out not to be the good boys anymore and became the psychedelics, as Beatles did? So these guys, they were never satisfied with the status quo. They were always challenging themselves, their music, and the things they were creating. Boston Studios was created in 2010, and in that moment, there was a massive revolution in the games industry. If you guys know a little bit about how the games industry works, it was traditionally you would have developers creating games, and you would have publishers publishing the games, or the consoles actually helping to publish the games as well, which means that they would do all the marketing and they would connect to the audiences. But what happened in 2010, around that time, was that two things happened that changed a lot of the way the games were created and marketed, and one of them was Unity, and the second one was Facebook. So with Unity, game designers and game developers were now able to create games in their bedrooms and have something playable in a very, very quick way. And with Facebook, as you know, it's like people were actually being able to connect with others and spend hours in a platform and engaging with others, but also engaging with games. And those two big things resulted in games like social games, which are the farm views of this world. So your mom, your uncle, my sister, everyone was telling me, okay, I'm building my little farm in Farmville, or I'm blowing up some candies in Candy Crush. Candy Crush was already very big on Facebook before it became to mobile. And it was a time where everyone was kind of challenging and asking ourselves, are the publishers and are the consoles still that relevant? Because as games developers, we can go direct to consumers and we can actually engage with them. And for us, it was, I mean, I talk about us because it's me and my two co-founders, we were working in very large organizations and marketing products and I worked in television before back in Brazil, I worked in Nokia here in the UK, and we were marketing and creating games and we were asking ourselves, what does that mean for the whole creative machine of games? Is there a way that we can reinvent the creative machine of games, of creating games, not only from a delivery perspective, but from concepts to execution and to marketing? And we left our jobs of kind of very good and secure and highly paid jobs, and we ventured into creating bossa studios. And we asked those questions to ourselves, what if, right? What if we created a game studios that actually was inside the largest platform out there, where people were spending millions, well, not millions, but many minutes per month, as opposed to going to PlayStation where they were spending less time per month. What if we created games that actually connected directly with the audiences as we created them? And what if we created a very good and transparent monetization that allowed people not just to buy virtual goods, they're little farms that sometimes are not that connected to the gameplay, but a very transparent monetization where they would buy things in game that actually had direct impact on the gameplay. Oops, I'm going to fast here. So in the first year of bossa, it was such a massive ride, right? Because we were like five people in a very tiny space, in a circus space here in Shoreditch, and then we built a company of 20 people in just one year. And that was possible because instead of going through the traditional seed stage, VC, whatever, we actually got acquired by a company called Shine Group. And Shine Group, I don't know if you guys know, do you know Shine Group at Yes, no, yeah. So Shine Group was set up by Elizabeth Murdoch, who's the daughter of Rupert Murdoch. And she's actually one of the smartest women in business I ever met. And she decided that she wanted to acquire a games company because that was very important for television to learn how interactive entertainment would work. And so it was an amazing ride for us because, yeah, let's join forces here. You guys have IPs like MasterChef that we could tap into, big audiences, but also there's money in the bank for us to create the company from scratch. And we were 20 people after a year, and we also launched our game most of the month, first game on Facebook after a year. And things were not getting good enough that happened. So we won a BAFTA award for our first game after 18 months that we had started our company. And it was like thrilling moment, right? We were like, over the moon, amazing, let's continue to do that. But not so much because most of my mind actually was a financial disaster. So creatively, we were like, amazing, we're doing great BAFTA recognition. Financial wise, nothing, literally we had created a flop. And it was a very tough moment for us to go to this realization, but also there was a huge pressure for us to create something that would actually make money. And I think I would say that probably there was the darkest times for us at Bossa because we went in such a big high and suddenly we were like, oh my God, can we really do that? Can we pull this off? A lot of questions about everything and high turnover in the company, and in terms of employee engagement. And so we found ourselves actually trying to spend money to create games that would make money in the short term as opposed to the long vision that we had in the beginning. And that was actually worse, right? Because what you can do is just look at short term and say, OK, we need to make money now. How do we do that? And then panic mode and et cetera. So we did a lot of side projects with large advertising companies in London to kind of keep ourselves kind of floating. And we actually realized that we were not connecting to our beliefs anymore because we were doing just for the sake of the money but not for the sake of revolutionizing the creative industry that we wanted to do. And so I don't know if you guys watched The Apprentices. This is a place where the losing team go. And it's very depressing because it's entertainment, right? So it needs to be very depressing that they lost the task and they go to the Bridge Café to talk about the horrible things they did during the task. So at the time, shortage was not that gentrified. So my co-founders and I went to this type of café. We spent a day there. Very emotional day, like, OK, we need to test our going down, money is running out, what are we going to do? It's like, what is our plan A? Or what is our plan B, plan C? We need to figure out how to get out of this situation. And again, we kind of realized something very, very important, which is the mindset of the entrepreneur and the mindset of making great things and great products, which is we were not connected to our beliefs anymore. We were not totally vested into continuously change the state of school. We kind of became boring, right? So it's like, yeah, we got probably a little bit irrelevant and boring. And after that was like the beginning of January. And every, I think usually mid-end of January, there's an event called Global Game Jam. And Global Game Jam is basically a bunch of game developers going to big warehouses all over the world and they spend a whole weekend there, 48 hours literally. They just don't sleep to create a new game. And it's a massive, you know, worldwide competition because everyone wants to make an amazing game to show to the world after the Global Game Jam. So we said to ourselves, OK, Game Jam is coming right now. Why don't we select our four best people and send to there and see if they can create an amazing game? And, you know, maybe we get lucky there. And we sat there and said, look, there's an opportunity here. Why do you guys go there and nearly see what happens? And we did that. And that was during the weekend. On Monday morning, I remember that I sat on my desk and I started to play a surgeon simulator. And I was like, oh, my God, I don't know if I have a... Yeah, OK, I'm not sure if I can play that video, but I'll say in a minute. Do you guys know surgeon simulator at all? Yes, OK. So, yeah, OK, so I sat on my desk and I started to play this. And I was like, oh, my God, we're going down. That's over. It's so gory. Actually, people removing organs from... If you cannot deal with gory, just don't look at this for a minute. I'm just going to try to play here. And there's some swear word as well. Here. Let's see. Ah, is it not going to play? Oh, no. OK. No. OK, media not found. Do you want to put it on YouTube? It's on YouTube, yeah. Yeah, just on YouTube. The thing is, OK, I need to... It was just a small... Just a bit. Yeah, it's fine. Don't worry. I can show it to you later. It's very nice, it's very swary. And, yeah, it's fine. Anyway, so basically, you remember the words we don't know, surgeons and later. You remember operation, the board game, where you kind of remove organs from the very nice patient. So basically, this is the patient. And this is your hand. In the game, you have to control a very clumsy hand. You are a very clumsy surgeon. And you have to use all of those tools here to break the ribs and do a heart transplant. Simple, right? And you can do a brain transplant as well. And when I looked at that game in the morning, oh my God, who's going to play that? That's horrible, that's horrible. And at the end of that day, our servers went down, like massively down. Everyone was like trying to play the game and no game anymore. And we rapidly put on congregate, which is another very, very good, well, at the time it was a very good kind of portal for games online. And then that was the first day, the first week. At the end of the first week, we actually had probably dozens of the biggest YouTubers playing Surgeon Simulator. And millions of views combined, like millions. Like in one week, we had millions of people watching people playing Surgeon Simulator. And it was like a transformative moment at the company, right, as you guys can imagine. We were all like, okay, how can we go into overdrive? How can we change everything? Like urgent meeting, let's just go into a room and decide what we're gonna do with this IP because clearly, right, people love that. And so Surgeon Simulator was born. And what is interesting is that we created in 2013. It's been five years that we launched the first time. Right now Surgeon is on mobile, iPad, VR, PlayStation, et cetera. But if you go right now to YouTube and you search for Surgeon Simulator, you're probably gonna find a couple of hundred videos that were posted in the last 24 hours. It's that connection, that type of connection that people have with this game. And since then, I mean, it was very important for us that we kind of, oh, this is important, okay, I missed that part. So when that happened, we said, how can we make this onto Steam? And Steam had something called Greenlight, which is a voting system, a little bit like Instalter, that indie developers would put their games there and then it would get votes. And the top-voted games would get into Steam. And this was Surgeon Simulator, this spike here. So we wrote the chart. So basically in five days, we got more votes than the top five items on the list got in 30 days. And yeah, there's no chance we would not do something about this IP, right? And it was very interesting because that taught us a really, really important lesson to be super fast, of course, on making stuff happen and to validate with audiences very quickly. And since then, we implemented this game jam in five also. So every other month, even nowadays, with 75 people, we stopped the whole company for two days, no weekends, during the week, and we promote the game jam. And people just jam. They can organize themselves however they want. They can choose their pairs and people who they want to work with. And there are only two rules. One rule is you cannot work on your own. So you have to persuade someone else that your idea is great, or join someone else. The second rule I cannot talk about. Actually, no, I can't. So the second rule is basically the game needs to be playable at the end of the second day because on the following week, usually we do like Thursdays and Fridays, and then on the following week, there's a presentation. So you have to go in front of the whole, all the bossings and present your game. And by doing that, we actually arrived in a very important kind of rule of thumb in the way that we make our creative machine work, which basically we fail 200 times to get to 10 validations to get to four games. And that means that if I count all of the games that we created in the last five years, in game jams was probably around 200, out of those 10, we did some sort of validation. And what I mean by validation could be that we put a video on YouTube and see how many views we got, or we can have something playable on the iPad and the guys go into the tube and show to people, see how people react to that. Or it could be that we do internal play tests. So we do validations in very different ways. And we fail a lot, we fail 200 times and then 10 times to get to the four ones that we believe are gonna be successful. And these four games will happen is that the people who created that in the ground during the game jam, they are fully vested. They really believe in that because they created, it was not me as a founder saying, hey, you should do this because I believe this game is amazing. They created with their own initiative and their own autonomy. That's a small group of us last year before we became 75. So we typically say that it's like it gives them pride, autonomy and speed. Because they know that they might fail but in the process of failing they might find a great beat again. And we want that to be fine. There you go, that's the community as well. Which is sort, yes. Are you gonna talk about revenue growth and number of subscribers of Surgeoning Game in that purpose as it goes? No, but I can tell you that we sold Surgeon, we sold around six million copies. But it's a premium game, so we don't do enough purchase for Surgeon. I cannot, I am red, I don't have the top of my head, but yeah, I can follow up with you later. Well, I'm just curious. Yeah, so in the process of making that, of making the games, we also, because we're doing validation, we're connecting to the audiences and we're connecting to communities. And they want to either see us succeeding or failing. So we canceled the game last year called Dexflash. There was all of our skates and et cetera, skateboard. And we canceled because at some point the people who were created the game, they did not believe in the game so much anymore. But also, we did a second validation with the audience and they did not say yes to that. So we're like, okay, that's the reality of things. It's really tough, it's a failure, we have to move on and dedicate time to things we believe are gonna succeed. I think that brings me back to reinvention, right? So if you ask me, are we happy with that? Are we succeeding revenue-wise? Yes. So we are in a very, very different situation where we were in the darkest times. Are we happy with this process? No. We want better, we want better process. We want to keep reinventing that, keep improving that. Can we do better with the game gems? Can we change the themes? Can we do prototypes? Can we get all the studios involved in that? It's like, we're always asking this question, how do we improve this process of creating games? And I think above all, we want to kind of make sure that we create a legacy, you know? We want to probably be better, bigger than Beatles. If we can be bigger than Beatles, that would be amazing, right? And we want to create games that in 10 years time, 20 years time, people look back and say, wow, I remember that time that that game was launched and how much I enjoyed playing that. And how much I enjoyed playing with others as well, with my friends. Just like, you know, when you go to your favorite artists to see the music festivals, you want them to sing the old songs, right? Because the old songs are the ones that connect to your heart in a different manner. But we want also to keep creating things that are daring and that are new and revolutionary, because that's what we believe that the audience are expecting from us. Yeah, so we want to give this a damn. That's it. Thank you very much, Roberta. So we're gonna do a Q&A session and I guess I'll kick off with the question, so I don't need the mic. Can you hear me at the back, yeah? Good. My first question was gonna be about, obviously, Roberta, you've been very successful in a very short space of time. Can I say how much you've raised in series A? It's public knowledge. You say you've raised like 20 million. 10 million dollars, yeah. 10 million dollars. And you've gone from 20 people to 70 people and you've won a BAFTA and so on and there's a long string of accolades here in a very short space of time. And I think for a CXO audience, everyone here probably has their own team. There may be constraints on how they run the team, processes and how they recruit. And I think there was something we spoke about before about your team and the diversity of your team and how important is that to Bossa. That'd be my, is that a question? Yeah, yeah, it is. So I'm one of those probably rare women in games. We are a total of 23% of the workforce, not a Bossa, but kind of globally games, games companies. If I look at developers, women developers in games, it's one digit percent, but across the board 23%. And it's interesting that the audiences nowadays, people who play games actually is 50-50. So you have 50-50 men and women playing games, regardless of the genre and whether it's casual or hardcore. So for us, since the beginning of Bossa, was very conscious about bringing the right level of talent to the company, but also changing the unconscious bias. And I believe that by doing that, we naturally create games and products and campaigns that are way more appealing to other people and to everyone in the world. So the UK is not a top-selling country. We actually have a very kind of granular, fragmented top 10 countries in the world who buy our games from. And so diversity of gender is so important because you bring this different perspective. It's important also because people see that games is not exclusive. It's not like, oh my God, that's a boys' club. I'm not gonna belong to that, right? And so having someone like me in the founding team is very important, but also in our CXO group, we are seven in total, counting myself, and three of them are women. So four and three, and that is deliberate. We don't hire for the gender, of course not. We hire the best person for the job, but we do make an extra effort to get everything balanced. So I think it's well documented that diverse teams are more creative, more efficient, just generally outperform teams that are more uniform in the short, medium, and long-term. Is there anything else that like that diversity brings? Are there statistics like at CXO level, at manager level, at developer level, or across the workplace around the diversity that, you know? Yeah, there's statistics shared by, I believe it was Cherico too in the scale up reports recently that let me see if I can remember exactly the numbers, but companies that have women as part of the leadership in the startup scale up segment, they usually make double the revenues than the ones who don't. So it's quite impressive. It's not bad. It's not bad, yeah. So 100%. Yeah, I was not expecting that at all. But it's just a direct impact on how you make decisions, right? It's just a little bit more balanced. And naturally, I mean, I'm a very risk taker kind of profile. And I'm gonna make a massive generalization now, right? But generally, the women are a little bit less risk takers and men are a little bit more. So I think the combination works. Interesting, interesting. I think Sarah Wood last year said some similar things about the diversity of her workforce. And I think it was an important point then just reinforcing it again after chatting to you and seeing it's been said to. Any questions? We've got quite a few. So our glamorous assistant will come round with a mic. I went to, sorry, just to add to the whole question thing. I went to talk to some kids between 12 to 15 the other day in the school. And I had prepared, I had one hour and I prepared, I don't know, 40 minutes of talk and then halfway through I saw they were like, we need to ask things. And it was a short and everything because they wanted to ask so many questions. So I'm glad that you guys are already raising your hands. Go ahead. Cool. Yeah, I hope that was, it was obviously 15-year-olds. No, no, that was not it. I think I might have dropped you there. No. But anyway, my question is, obviously influence and marketing is a big thing for you guys in gaming and also YouTube. Have you had any situations where you've had to deal with publicity around certain YouTubers? How have you managed that going forward and how have you ensured that the brand is stable in the positive light? And what kind of impact has that had on your sales? That's a very good question, especially with PewDiePie, right? Yeah. So we, okay, there's one thing that we've never done and we're very proud of that. We'd never paid any YouTuber or any influencer to play our games. No Twitchers, no YouTubers, no journalists, no one to kind of play and review our games. We never did that. Because we always wanted them to pick it up and to be something genuine, that they actually enjoy that and then they share with their audience. Now, it's funny because weirdly enough, we never had to deal with something of a big backlash from YouTubers. And I think because they do the nature of what they do, which is mainly just less play, right? It's just playing the game. There was never a time that they did something weird or wrong with the games that actually made it worse for us. But what we do is we track a lot of things, including attribution, right? So it's a little bit implied because you cannot get the right super accurate attribution from each YouTuber or each video or each whatever. So, but we know the ones who actually convert into better sales. And so we actually over the time became a little bit clever on the ones that we reach. We push a little bit more to do more let's play than others. And as you can imagine, guys like PewDiePie, et cetera, they appear entertainment. So sometimes people are watching them because it's them, not because of the game. So we need to be careful with that. So influencing marketing is super, super key for us. Yeah. Two questions. First one, you mentioned how you got the award for a factor. And the judges put that approaching like to monster, monster, monster market to a single view. Yeah. So the game had some really big issues with retention. So the, it was most of mine different to surgeon was within our purchase. So you played for free. And then you paid for virtual goods inside the game. And we did not crack the retention, right? So despite us having a good conversion of players to payers, people were just not staying long enough in the game. They were dropping after just, just so you know a little bit about the game. So the game is a, you, you have, you have, you control B movie type of monsters and you destroy your friend's city. And they do the same thing back to you. So by the nature of the game, so by the nature of the game, every time that you would go back to the game, your city would be destroyed by your friends. So, and that's like just gameplay. That was the way that the game was designed. And so some people, you know, more people than we thought got not so, so amazingly rewarded experiences every time they came back to the game. So retention levels was like, so yeah, so it just did not make money. And the second question is, you mentioned how you went away to the games next for a couple of days, you said that you saw, so is the impression that the surgery was good enough for you? Yeah, it was made in couple, in two days. Yes. Exactly. You must make a lot of games, perhaps, at a high total when they were using your purchase and they were able to retain half your presence. Yeah, so, okay. First playable was made in two days. After we went through the green light and we go, okay, seems like, you know, there's a massive platform like Steam that would support us in everything we do. Now let's invest another four months into the game. So that was January and then we launched, like properly launched the game at the end of April. Again, super fast, right? Considering that it was a full game. So that, so I think the key thing of how we made games is that we are able to create a small playable version that is the representation of how fun you're gonna have with the game. And then that we can test very early on, literally after two days. And then we can say, okay, that has legs. It's fun enough, people are laughing or people are playing, whatever. Let's invest another X amount of time to get into shape, to monetize, to be in the right platform, to be bug-free. It was very buggy after two days. So yeah, so I think that's what we mastered to create something tiny that represents the fun of the game. I'm just gonna chip in. Sorry, I tend to talk a bit. But one of the things when I first, when we chatted for this event was a lot of, I think the CXOs in this room have gone through different software engineering processes from waterfall to agile. And one of the things speaking to Roberta about this process, it was like agile on steroids. It was like, you get the whole cliche about fail soon, fail early, do a lot of user testing and drill down and then find what worked for the user. And your process was like hyper-accelerated through that. That was why I thought it'd be really interesting for the CXO audience to see and this has really been working in practice. It has been working. So we did that, same thing with Iron Brad. So usually what we do in the game jams, people can organize themselves and et cetera, but we usually give them a theme. So because surgeon was such a big thing for us, we're like, okay, can we create another clump simulator out of another idea. So one of the game jams we did, which is where Iron Brad came from, was a clump simulator. And then we said, okay, this is a theme and people went there and they created a piece of bread which is mission is to be toasted. That's where the game is. So you like a little piece of bread and then you walk around in the kitchen and then it's like you avoid the butter, you avoid the jam until you get to the toast and then you're toasted. Yeah, you win, right? So we managed to create that very short amount of time then we decided to validate via just a very simple gameplay of a video of the gameplay we put on YouTube in our channel. We didn't even talk to so many influencers at the time. And we're like, okay, can we get at least 100,000 views on that without doing much just organically within a week? Yeah, we got it. So we're like, okay, next stage now, how long it's gonna take for us to take this piece of bread walking around the kitchen into something that is hours of play for people. And then I think we invested another two months into the game with a team of probably I am Brad was probably a team of six people during two months. And then we did another validation. We're like, okay, is it good enough? And then we invited a bunch of people to do play tests inside the company. And then that's the point that we went to the tube and we're like, we put on the iPad and said, okay, would anyone in the tube be able to play there and laugh? And yeah, thumbs up, another four months of investment and then we launched on Early Access which is a method on Steam right now that you can already monetize even though the game is still in development. So we do very, very faced making sure that we financially successful before the disaster, exactly, yeah. So I'm gonna just ask a completely, not entirely, but slightly different tack. This morning, one of the presentations was about the future of truth or future of tech. And one of the key paths or scenarios or just futures was around AI. And I know you're doing something with AI. Do you wanna talk a little bit about that platform? Can you talk about that? Yeah, yeah, I can talk a little bit. Yes, we have not announced yet officially our next game. So right now we fully focus on World of Drift. And World of Drift is a big MMO, a different take on MMO, which some magazines, Edge Magazine, oh, it was here somewhere, Edge Magazine said that it's the Minecraft for the next generation, which is no pressure. So it's, yeah, the Minecraft for the new generation. So yeah, so that's our focus right now, no AI, but it's improbable. So I don't know if you guys heard of improbable. It's a company created by some grads from Cambridge University and their ideas to create a whole new virtual world where simulations happen on a going basis in real time. So we're using that technology to make this big, big game. And then the next one, which we're probably gonna launch in about two years time or so, is the one that we're exploring in AI. So we hired a guy called Chet Palisac, who is actually, he was the writer of Half-Life 2 and Team Fortress, no, it's the other one. He worked at Valve for 12 years basically. So he's a really, really top guy and he's fascinated about AI and storytelling. So he's helping us to create a very awesome game that it's all on top of AI. Can you say a bit more about AI? I can't push you on that one. Yeah, so we're still building, it's very early stage right now, but our vision, our assumption is that there must be a way for us to use deep tech in AI to create storytelling in a way that it's scalable. So that basically the process of creating the game becomes even more optimized than we're doing right now, but also the stories are much more relevant because the machine is learning from the players but also from the machines inside the game. That's all I can say. Sorry, we'll take that one off. Very cryptic, but yeah. Did you want to show the video of the surgeon on YouTube? Let's see if I can do that. Yeah, I'll let you find it. Has anyone got any other questions? You got a question, okay. Sorry, go ahead. Yes. I'm just gonna go back to this a little certain way. I just think of that maybe I've got quite a lot of myself before and quite a few years, but I've made an educational game about massive kids and I'm just wondering how would you market that? Basically, no, no, no, just a little family fun and things like that. How do you make that sell in this way? Yeah, that's the thing, there's a perception that just because it's easy for you to reach people in social media nowadays, then it's easy, right? Just put it out there and people will discover it's a massive misconception because just for you to have an idea right now, out of 75 people, 10 people working marketing community in PR at Bossa, and we always kept a very good ratio between marketing and game development. And so we're very deliberate. So we talk to influencers, but we also do a lot of PR. A lot of PR is so, so important, especially for games because having those guys, Edge Magazine and others saying IGN saying this is good actually creates much more SEO for you and for your website as well. But also we build over the time a very good relationship with Steam, with Valve. So they, as a platform, they always help us to feature our games when we launch it. So it's a, I would say it's a three way thing. We do very, very little of customer position paid. But we do influence marketing, we do a lot of PR, and we do a lot of relationship with platforms. I can tell you one thing as well, it's like first to launch on PC first, PC Mac first is very crucial because when you try to market your game on the app store, unless you get like an amazing feature from Apple, it's gonna be hard work, it's gonna be buried in like so like zillions of apps that are launched every day, right? So it's very deliberate, we start on PC because we can get the maximum exposure. Did it answer your question? You basically go to me, go to PC, no, I won't. So your game is on mobile? iOS, yeah. iOS, yeah, yeah, yeah. So try to get in contact with Apple to see, and build a relationship. Nowadays we have relationship with Apple as well, but it's something that it took us a while until we got there. And the way all platforms work, Apple and all the others is you want to share with them as early as possible, the game that you're creating, and the proper marketing plan. We usually have like a full 20 slides, very traditional, this is how we're gonna launch the game, and we see this to all the platform holders, so they know what we're all about. Okay, let's see. See if that worked. I'm not sure the audio, see what I did to put up the audio. I'll go to that, so. Maybe. Check this out, 61 million views. I'm not sure if that was the first one, maybe it was. My name is really Pat, and welcome to Science and Simulator 2019. Clicked up here. Control with a, maybe, your friend's space. Let's move it around and run it to load. This was the game that we created in 48 hours. Be pretty fucking interesting. Perform a heart transplant. Whoa, look at my hat. Smell it, Ruben. There's a fucking helicopter. What about that? All right, the surgery. Jason, right, wait, there we go. Actually, I can't have this. There we go, perfect. Get out of my space. I'm gonna sit, I'm gonna start, get out of my fucking moron. There we go. Super buggy, right? As well. Which of these tools? So fucking hard to grab some, seriously. Get away, glass tube, I don't need you. I want this saw, and I shall have it. This might hurt a little bit. Yes, it's just his lungs. It won't need them very long anyway. Oh wait, we're doing a heart transplant. Oh god, no, it was one of our designers who created a voice over. Oh, shut up. That's pretty, oh shut, shut, shut. Time to use brutal force on you, Ruben. I would see that you would not cooperate. Oh, there we go, perfect, perfect. Cautious from this point. It's bleeding. It's gonna bleed to death, Dr. Pills. There you go. You can watch more, there.