 Oh, so here we are. I watched them work. Okay, so we're gonna start out what we watched them work. And some people are here for Watchmen. I just don't wanna be like, please, I forgot your name. But fine, but I know you're a thing, so I can't do that. Are you, are you, you're sitting good. Yeah. You're not like floating. No. Yeah. I'm just mad. Come on, so as we go way back, like last year. Thank you, so we're here, anybody not know what Watchmen work is? You know, down here, first time here, first time here. Okay, so it's playing really fast. So like, six years ago, now I'm kidding. The six years that we've been doing this for six years. So we're like really, really good at it, right? Because Carol's been like every single Watchmen work since 2009 or 2010, right? Okay, so this is basically what we do. This was six years ago, seven years ago, this was my answer to somebody who wanted me to write a play for their festival. And I was like, lazy. I was like lazy, so I was like, no, I ain't writing that. But I'm gonna stand on stage and write something on stage. And then, so we're gonna write for 20 minutes, we're gonna do it together. We're gonna do the action of a play, it's a play. As you can see, see, this means it's a play. Yeah. So, really, yeah, really, that's what it means. So, we're gonna make a play together. So the action of the play is that we do the action for 20 minutes together. We're gonna write for 20 minutes together. Okay, you can do whatever, Watchmen work is actually about you. And then we're gonna do the dialogue of the play together which means after the 20 minutes, the time will go on and you will ask me questions about your creative process. Got it? You ask me questions about your creative process and everybody knows, we've been doing it before, that if you ask me questions about my creative process, I'm gonna make it about you. Okay, so it's gonna be a question about your work and your creative process. There are people online, we know you're out there and maybe you're gonna tweet in and ask us some questions about your creative process and you're just gonna tell us how to do that. Oh, look out. Hello, so if you're joining us from home, the Twitter handle that you wanted to be asked is at Watchmen Work SLP and the hashtag is hashtag, howl around. So that's hashtag, H-O-W-L-R-O-U-M-D. Howl, what? Howl, round. Exactly, right, okay. So that's all, everything you need to know or beauty is truth and truth is meaning. That's all you know, all you need to know, something like that. That's Jayne, please add a mic up. And what else? Anybody else? Anything else? I don't know. You have something someone's texting you. Oh, you got the time? Are you gonna time with me? All right, so Salma's gonna be on her phone timer and I'm gonna use this. And I have to sell her no one moment. Okay, okay, okay. Okay, I'm just gonna answer you. Okay, great. All right, I'm gonna use a typewriter for those of you who've never seen one. Don't worry, it's not the sound of a machine gun fire. Okay, ready? You got to turn around. Don't look at me. Okay, here it is, that's right. Yeah, right. I'm gonna call you Tybalt. No, I won't call you Tybalt. How many were you sure? Oh, you did? Oh, good luck. Okay, here we go, ready? Okay. Ah, here we go. So that was the action part of the play. And now we're gonna look at the dialogue. So if anybody has questions, as I try to put back together my typewriters. It's, you know, typewriters are funny. You have to like, you get the ribbon go and all this kind of stuff, you know. So if anybody has questions about your work, your creative process. Now is the time. Someone's guess. Someone's comment. Oh yeah, okay. I'll have a hard time. Okay, so, Adi Aga. Adi Aga? I'll have a great name. Thank you. I'm having a hard time. I'm frustrated with myself in this whole process because I'll have these wonderful characters and I'll have these moments of, these moments between characters. I have no idea what the hell this is going. I asked my friend, do you have like an end point before you start? And then you just, and so people have been telling me, just write. Just write. Just keep writing. And that's frustrating to me. I need to know where I'm going. So the question for you is, do you have an end point? Like, do you already have the plot in your mind as to what it's going to end up being? And then you write towards that. So we use the, we use the, so Adi Aga says, did you just get here? He's like, right. So her friend just says her friend, her friend. Okay. I'm gonna tell her what I'm gonna say. And then I'm like judging on your four wonderful friend who gave you some beautiful advice. And that is advice that is often given. He said, oh, just write, just write and worry about it. That is good advice, actually. Because, there's a two-part answer, sorry. So the good advice is just write, just write, get into it, show up every day, put in the time. I've never been saying that a lot, right? So you're gonna show up every day, you're gonna put in the time. You're not gonna just write when like inspiration comes. You should be waiting. Right, right, right. So you show up and the music will go, oh, Adi Aga, she's serious, I'm gonna come by her house, okay? She show up every day, you do that already. But then, see this is one of her people, just write, just write, and we go, the story, it will just happen. I know, Savannah's like, it might just happen, it might just happen. You might just walk outside on the piano and we fall up in the sky and you just happen to see it in time and happen to move out of the way and then happen to fall right beside you. And then the box, you know, whatever it's called, the gober variations happen to begin to be playing on it. Yeah, it couldn't happen, sure. Or you could sort of think about it a little bit and allow it to emerge, but this is the thing. People, and I've heard people say there's wonderful people who are wonderful writers, they go, I love my characters, but then I have to like figure out some plot, like that. And that's, no, no, no, no, right, right, right, right. So this is what you do, you show up every day. You're doing that already? Okay, check, okay. You're writing like, hello, characters, check, okay. Now, you ask your characters a question. It's like dating, like you show up on the first date, you'd like coffee, maybe this is what I suggest, not alcohol, you do coffee. Hey, hey, how you doing, what's your name, what's your side? How you doing, you're like, yeah, okay, cool, right. And then I have to look at the third date. You go, so what are your intentions? It's the same thing, we're playwriting, right? It's the same thing. So what do you want out of this relationship? What do you want out of this relationship? You ask the character, what do you want? What do you want, right? Because if you say, hey, let's just get in a car and drive around after three dates of doing that, I'm like, hey, where are we going? And you're like, we're going to California. And I'm like, I'm outta here, I got stuff to do. Or I'm like, yeah, get it, let's go on a road trip. So ask your characters, what do they want? What do you want more than anything? And as we said, I just made this up. But I think it worked. In geometry, there's this geometric, there's like a rule or something. A truth, whatever they call it, in geometry. Two points make a line. What's it called? It's a proof or a formula or something like that. Yeah, yeah, yeah, like that, like that, yeah, like that. Yeah. Two points make a line, right? That's true, in geometry. So you can say that the same in like dramatic writing. Two points make a line. So here they are, like in three sisters, you don't play with three sisters, check off. So here they are, and they want to go to Moscow. Point A, point B. And you just fill in the middle stuff. See? You just ask them what they want, what do you want. But you don't have to do that right away. Again, you develop a kind of rapport with them. Like on date and dating, you don't have to. What are your titchets on the first date? You know what I mean? You can say like, oh, take some time with them. To know them, okay, it's all right. So it's a combination thing. And the plot emerges organically from the character. Plot and character are actually two ways of saying the same thing. Plot is a character, character is plot. They're actually the same thing. We get confused when we think they're two different things. That's what I think. But again, I didn't go to grad school, so I just make a shoot up. I'm just joking. Oh, so then you just, okay. No, I'm good, I'm good. But right now, I'm hoping the play will, like, pivot into something that makes sense. But right now it's just a mess. Yeah. It's sort of, I can sort of see something is happening. It's just a fireman who got in, who was passed away in real life. Yeah, okay. I ran around Lower Manhattan doing a 5K two some days ago. You ran? I ran around the site. They should run for like, no, it was a 5K. For help. Oh, great, okay. So, but I remember I ran around and there were all these like incredibly old historic places and it's sort of 9-11 has layered on top of that. Right. And I'm just like, how do I, I'm getting caught up in like how do I honor that I want to make sure that, you know, when I go that I have something to leave behind. So I'm feeling like all this, I'm putting a lot of silly pressure on myself. God. I'm like, I really don't want this responsibility. How do I make sure that when I pass away, I'll lose them? Yeah. That's a lot. That's a lot. Yeah. Yes. I'm like, it was on fire and that's what was going on after the Twin Towers fell. It was on fire. And then I got to, you know, cursed or privileged with being there and seeing that firsthand. Right. And I'm just like, I think when I'm doing, I'm trying to make it palatable. And I think it's turning into this, like I'm making it a bigger issue than it is. And I'm trying to sit and do it. And there's just so many layers of everything. Or maybe you're responding appropriately to the ginormous issue that it is. Yes. You can separate your response from what you're going to do as a writer. You are a first responder, are you know? Yeah. I was there. So great. So you've got a first responder in you. Yeah. Your response. And then you can have like a second responder who is your writer. Okay. So just think that you have two people inside you. Okay. The first responder and this person. And this person is just both eyes on the story. Hear the voice of your friend that you said is the great character in the story. Ask him what he wants. And then on that journey, be with him. Listen to him. Write down what he says. When you get, when you get in that first responder, oh my God, it's huge. Go back to your friend. Make sure, when you feel those feelings, know that number one, they're appropriate. And number two, you have a different job now. That job is over. It's the second responder job now. Right? Okay. Okay. So I don't think it's gonna help you to tell yourself that you're a man to make too much of this. Right? You're making you appropriate much of it. But you got a second, you got another job to do now. Okay. To younger kids who just old enough to know something happened and saw old pictures and now they're looking at new pictures. Okay. It's kind of an interesting place to be, to be an age where I'm explaining, like there was New York then and there's New York now and what happened. Right, right. So it's a, I'm walking kind of an interesting type of. Well, does your character have to explain the skyline? He, I don't, yeah, I should ask him. Tie it to your character. I should ask him. Because that's your job now. Yeah. You're a writer. And your characters are your fuel, right? They're the ones that you have to stay connected to. Otherwise, you're kind of doing this like, you might as well write an op-ed piece or something. You know what I'm saying? Right, and that's not what you do. So stay with your characters. Does he need to explain the skyline? Okay. Then have it come out of his need to explain something to somebody, right? Just again, stay with your characters, stay with your characters, stay with your characters. If you feel overwhelmed or all this thing, go back to your characters, okay? Yes. Good question. That's a big question. Keep coming back, because it's like so great that you can talk about it. Can I call? Carolyn, can I call? Yeah, Adam. I was, I noticed an interesting problem that I didn't realize that I have in tip. I'll write stories and characters and all that kind of thing. And I'll realize, like adult characters. And I'll realize that they don't have jobs, like not jobs within the plot, I mean like career jobs. They don't have career jobs. Yeah, and obviously they need to because they're living in their own house and supporting themselves and all that kind of thing. Like they need jobs, but it just kind of only occur, unless it's a story driven by it. Unless they're on friends or something. Yeah. And unless it's a story driven by their job. So I was wondering like what's a good way of coming up with an occupation for a character? Well, I don't know. I mean, that's a good question. I'm glad that you think they should have jobs because they're living in their homes and you want to create your stories, your dramas, your things that you're writing on the kind of grounded and some kind of... It's not a job, Adam. Do they like it? You know what I mean? And ask them also, what does your character want out of his or her job? One woman might say, I know I just got to pay the rent. And my rent is, so you say, well, why don't you work at Starbucks or whatever. She's like, that's not gonna pay my rent. Why don't you work at Starbucks and at think cafe? She's like, that's not gonna pay my rent. Okay, maybe you want to be a pole dancer. Nah, you're talking about pay the rent. You should have made, so she just wants to pay her rent. Something else might want some kind of, you know, to do good for the people. Great, you want to do good for the people. Yeah, I'm gonna be a teacher second grade. Great. So what do you mean, you know, ask them what they want. Again, what they want, what they need, the same thing. As a part of the character, like use the job to develop a character. Oh yeah, otherwise, again, you're having an out of body experience where you shift and don't got nothing to do with shit. Like we don't want that. It just hard sometimes because like some type of story doesn't, like their job isn't necessarily relevant. It just feels like they should have a job just as like a detail. Well, like, like, like let's see. I mean, let's see what we can think of. I can't think of Shakespeare. Maybe nobody had jobs in Shakespeare. They were princesses. Well, princesses were both like, they were like members of the court. You know, they're right, right. Like a snug, the joiner. I don't remember any of those. Snug the joiner. Right, they had a lot of jobs, right? And they took time off from work to put on this play. It was also amazing. You know, they had all kinds of jobs. Okay, you could say they're not relevant to it. Why did Bonham do the difficulty? He's a carpenter. He's a carpenter, okay? He's a carpenter, yeah. Okay, Bonham, okay, you know, you know, Mercutio, I'm gonna call you Mercutio now. Not to the, I know, you're Mercutio. Mercutio knows. Okay, so you're right. You could say they're irrelevant or you could say how interesting because here are these mechanicals doing this play and they're trying to do this. Oh, it's me, it's me. What do they do in Paris with me? Oh! And they were so bad, you know. So you could say it has something to do with their room, we can't. Why don't you say like, oh, I don't know, it'll have something to do with the story. And it might leave you somewhere that your conscious mind is bad. Yeah, I can. You're welcome. Thank you. That was very good. All right. The jobs they do. The jobs they do. It seems like an important character. Yeah. In Midsummer Township, yeah. Okay, okay, see. And they play like, you hear opinions on each one. Right. And then I always envision them as like a older fellow. Right. The man who hangs the moon. Right, right, right. He has to correct the guy and just like how practical they are in their nature and the language used to. So it might, it probably does inform the way they speak and what they're concerned with. Oh, that's good. So, yeah, okay. You've got your work cut out for you. All right. Your name's not really, I mean, hold it. Okay, but I can't call you Mercutio. You can. Okay. And that's because that's why. I am Mercurio in other ways. So, yeah. Yeah, yeah, I'm gonna stand over here. No, no, not threatening, not threatening. Oh, okay. I know who I am. Okay, anybody else? Everyone just sit here in Georgia this company. I'm just looking at you. That's a day with nothing. You know, we don't get nothing. Yeah, well, so I started out with no muse today. Don't know what to say. That's when I knew I was in trouble. I got paper and pen, but no words, no zen. What will I write about today? Sometimes you just start writing about. Not writing about. Right. How do I feel? I gotta get real. That'll be useful to me. I'll sit down right now, think of a character to wake up my imagination, who will it be? It's so appropriate what she's talking about. I don't know. Is he or she, that's the fascination, someone I like or I don't. I'll definitely be here to find out. Ready to listen to all these about. Ready to hear if she'll whisper or shout. It's like taking dictation from a ghost. I pick out the lines I like the most. Then I shop and I stare. I figure out where the scene is and when a villager, a farmer, a room or a barn long ago or today, the story will find the way to the page. I'll engage another character to join in. That's my imagination at play. I'll toss out a problem their way. I'll listen while they work it out. I totally hear what they're saying. That's all I got. I don't know. But I just have what you're talking about. What you're showing up. You know, you've written a person, a lot of books. So you know. You know that. You know that. Right, you do have days of your life. And do you do this at home in your own country? It's a show up. Just show up, yeah. See what you got today. See what you got today. And the cool thing is, it doesn't matter that the quality of it doesn't matter. The fact that you just show up and do your work is the thing that matters. So we're not, you know, what you've read is really cool. It's something to listen to. But say, you know, I write something. I wrote something. I don't know if it's cool or interesting to listen to. It doesn't matter. The quality of it doesn't matter. The fact that you show up and put the time in is the thing that matters. And eventually, over time, you'll have time to improve all the quality. But if you're sitting around waiting for the quality to be great and freeze it down, you're gonna be great. You know, the world will be turning. It's like you have to get out of your own way. And that kind of keeps you stuck because you're, I'm sorry. No, you're supposed to be talking out. No, it's like, you know, for me, when I first started, it was like, I felt like I was in my own way. And the questions I would say to myself that would be a barrier for me is, will this be interesting for someone else? Will someone else care what the hell I'm writing about? Will it matter to somebody? And I think, for me, I had to get over that hurdle. That it's, my story is gonna matter to somebody. It might not be relevant to everyone, but there will be an audience for it that cares about what the hell you're writing about. So I think once I just accepted that, then that got me ready to start writing. You know what they say, that's a really good point. You know what they say when people are trying to, wanting to feel good about yourself, they say, you are enough. You can say the same thing about your work. You're enough. You are enough. You are enough audience. You're enough. And if you care, if you care, that's enough. That's enough to get it written right there. If you care, if I care about my work, that's enough. I just sit around going, oh, I hope somebody cares about this. I care. I care, that's enough. And that's enough to get you sitting now and put the time in. No matter if it upsets someone else. That's another point. Yeah. Yeah. Chachina, no, time to chat, chat, chat, chat, chat. China, yeah? I got, okay, I'll think of a chia pet now. So you can. All right, go. Yeah, I'll do memories. I'm having a challenge with one character and I want to help insert a bullet point for creating waves. Like in terms of like, you know, when you're, okay, so my inspiration for the woman show is back to Broadway. And a lot of whoopies characters were like, there was always like a high and a low and a high and a low of this character. And my character, we get high since I'm the most, that is funky. I mean, it's cool because I did, but it's not, I don't feel like I'm sharing, I don't have the personal moment. So I'm stuck with like, high, low, high, low. Does that make sense? Like adding some extra seasonings where everyone kind of gives the feel of what I'm trying to express in this character. Yeah, how much of it do you have written? It's like, I'm like, okay, I'm like, all I would probably say is like 50 pages, but it's not, a lot of relationships are different, so I don't write it as a play. I'm still kind of like, okay, today I'm gonna spend the day with this character. Today I'm gonna spend the day with that character. So I haven't really put them all together. Put them together and see the wave. I mean, the wave, I mean, we're talking, she was talking about a one moment show, right? And you wanna get this comedic moments and more introspective serious moments. Is that what you're talking about? The wave, okay, I like that. Okay, what you wanna do, you gotta put it all together to see if it's gonna move like that, because that's, I remember her characters were the funny moment, a sad moment, a funny moment, a sad moment, and the juxtaposition is what we lose. Yeah, I would say, go does it, get to the end and take a look at it. I know, everybody's like, oh, I gotta get to the end. Oh, you've been in my room. I was just, so be it. Oh, so, can you see, can you see that? No, I can't, I got her glass. Oh, yeah, because people are like, oh, I don't wanna get to the end. How do I get to the end? Am I just said, get to the end? You're like, you gave me the, the. But I feel like I haven't really savored the rest of the dish yet. No, no, no, the end, the last part of the good dish, my friend, is the standing ovation and the cheers when they say, oh, wow, I sweat, you're awesome. That's the last part of the good dish. This is just, girl, you're still working on it. You, you deserve, you just, but you do deserve to let yourself right to the end. You deserve to do the work. That's not a, I mean, that's a treat, but it's not like, you know what I mean? So go to the end and see what you got. Then you got the whole thing, and you'll be able to, yeah, I can, your face is going, and so I know that you're not anticipating the last bite of the delicious dish. Reprogram my brain and say, this is not the dish you're still cooking the meal. Enjoy the cooking. So you gotta finish it. Enjoy the cooking, yeah. Yeah. Yeah. And trust that what I'm baking is gonna be, yeah. And I might have to cook it again. Sure. But at least I finished, I get it on with you now. Yeah. I see it in a different way, I'm not sure. Enjoy, like you said, enjoy the cooking. Enjoy it. That's the fun, that's, you know, one aspect of the joy of working, you know, is the work. Right. Right? Okay. And you're reading it out loud as much as you can, right? No. Oh gosh, it's a one moment show, I don't know. I mean, you know what I was waiting for. Waiting for what? Well, yeah, waiting for Santa Claus. Maybe it's going to be the summer, if you're lucky, if you're lucky. Okay, I'm going to read it out loud. I want my Santa now. I just, read it out loud to yourself now, now. Today, you know, it's a one moment show, right? And you're going to be performing it, right? So don't you like read it out loud and try it out and stuff? No. I feel like I have to write it and then I go. They, get them married. Or if they're not married, get them, get them cohabitating. Get them sharing, you know, the juices. Okay, get them sure you're allowed to do that. That's the fun part. I act out my stuff all the time, man. I'm not even an actor. I do it really poorly and horribly in my apartment. I don't know how I can act. You have a want, the heroine needs to be in this journey. You have a want. When the mentor shows up in this story, I'm having this challenge because I feel like my main character is figuring out what she wants and the role of the mentor, I don't know if it, in my personal experience with a mentor, it's a subliminal message type thing where they guide you, it's not quite clear. But in the text, the mentor is clearly putting out crumbs to guide the character towards self-realization. But does that weaken the character, make the character's choices less active, to have that happening? How do you keep the character still active and still have that mentor there? I'm gonna be a smile when I just win. Ha! Oh, oh. How has a new interview? I'm Magani, I forgot to introduce myself. Okay, welcome, welcome. So here we are back, welcome back. So the mentor, does the appearance of a mentor in your story, or does the use or the employment of the mentor in your story weaken the story? No, that's not true. We can make a character. Oh, okay. Self-realized because. It gives the character room a self-realization. Because at that point in the story, the character is shut down emotionally, psychologically, and she's just kind of like, allowing herself to follow and discover by watching the mentor, and she starts to wake up as a result of observing the mentor, but I feel that the choice to wake up, I feel like the mentor is triggering it, and I don't know if that weakens the story of the mentor is triggering, the choice is to wake up. So, okay, I'll tell you a very quick story about Susan Lloyd Parks. So once in a while, I was a writer, but I don't want to write novels. And then I took a class with James Goldheim, and I was very animated, and he said, this Parks, you should try it out in the theater. And I said, okay, then I started that game. I don't know, maybe my choice was weak. Maybe it was because I didn't think of it myself, but hey, you know what I'm saying? Sometimes somebody's saying, wake up. All they're saying is wake up. You're choosing to wake up. It's your choice, all right? All the mentor can do is this. You're choosing to take the step. A lot of people do this too, and they go, ah, and they walk the other way. So that's about choosing. Right, you're choosing to take the step. That's the character's choice, right? That's huge, that's huge. What they say in India, I do a lot of yoga. They say in India, the guru, the guru, it's not like the person with all the answers. It's the person with the light. The guru has a light, and all the guru does, or the teacher, is she or he holds the light so the student can see. And once the student sees, then the student makes a choice. And so it's not, you're not any weaker because you couldn't hold the light and take the step, all right? Right, right, right. You're not weaker, okay? God, does that help? Just make sure that the main character is active. And not, you know, not passive. Make sure she or he is doing something. Taking steps. Taking steps. What's that close to? Sometimes that's all we can do. Sometimes all you can show up. Sit there and say, I haven't gotten up in the day. You know, the views likes that. She likes you to just go, I'm here. You know, one last question. That's all right. Yes. So listening to some of the process, the approach, it reminds me of acting absolutely. And I'm wondering if there's value in approaching something, not so much from like the character but maybe a little more abstract to find a character, like by asking yourself, asking yourself themes, like I like betrayal or I like sex or I like this going on right now. And then in saying them, if that assembles in you something, perhaps. Sure, that could work, that could work. I just move from, I would suggest, if that gets you moving and excited, great. Just, I would say, as soon as you can, attach the side of somebody, somebody. Just imagine, before you're born, your spirit was like fly around. Attached to my body so I can be born, you know what I'm saying? Because without that, I feel, in my opinion, we get writing that's a lot about ideas. Just ideas and themes and you want it. Someone says, I want to write a play about homelessness. Man, homelessness is wrong. And all you get for two hours is homelessness is wrong. And I know we got that in the first three minutes. You know what I'm saying? Maybe you have a character who is struggling with difficulties finding a home and all that kind of stuff. Think we're invested, right? As you would say. So, shoot. Just attach it to somebody, shoot. In land, invest in somebody. Like the God, the great God, at least become God and like, hmm. Yeah, you have to plant it. That's a question you plant of plant. Yeah, water. Right, you can't just be tearing it around, right? Plant it, yeah. So sure, the idea is that the themes, get you excited, that's great. But move in, don't be afraid to like, oh, I don't know what you're trying to pick. You know what I mean? Dive in, commit to somebody. Yeah, yeah. Three minutes, a little bit. Your nutrition is coming up. Chris Barlow's just brushing back his hair. How you doing, Chris Barlow? You know, iPhone sales kind of went down this week. I know it's not your fault, huh? He's like a, he's like an Apple genius person, but it's not your fault. It is all your fault. All right, Michael. Tell the question you're allowed, you can ask, just because you work on the show, I mean, you can't talk. You can't talk. Okay, how do you avoid not wanting to give away the end, like that, you know the end in mind. You're leading up to it, but you're scared that by you leading up to it, you're already giving it away and sort of like prematurely saying the conclusion before you want to say it. Right, two questions, Salma says, how do you avoid giving the end away? Yeah. Right, make the right interesting. Another way of saying this, how do you stay ahead of the audience? Right, so we turn into something positive already. Right, how do you, yeah, how do you not give the end away? Instead, how do you stay ahead of the audience? Right, how do you stay ahead of the audience? I would say a couple times, and it might take, like you might write a couple of drafts and then in a reading, notice some things you have to work on, but you basically want to invest in the characters, suck the juice out of the characters. I love, read a lot of brief tragedy. Like read Ethos, you know what I'm saying? Or Agamemnon, right? Cause everybody going to the theater back in the old days, they knew what the end was, right? You know what the end is? Oh Agamemnon, they ain't gonna like get killed by his wife and blah, blah, blah, blah, blah, right? But you're watching how it happens. So we don't get ahead of the play, but the play stays ahead of us because you're so excited about the characters that you just are watching and you totally forget the end. That's a joke about, you know what's gonna happen at the end? But you forget, by the end of the play, you've forgotten what's gonna happen at the end and you go like, oh shit, right, I don't know, I don't know. You know what I'm saying? So you invest in the characters. It is so interesting in those people. People, great, people versus OJ. How many people, I know you watch it, I know. Right, it's like, shit, I'm, I'm, I'm, I'm, you're, you're all the way up in my room. Ah, man, right? We're good, so we'll be back next week. Are you okay? We're on time. We're gonna be back next week on the 9th of May at five o'clock. But not on the 16th, because I will be working on my tan. Yeah, yeah, yeah, okay. So thank you very much. And you know, you guys, and thank you guys for coming. You guys are great. Thank you. Okay, yes, let's always say we're all the same.