 I'd like the help of the audience on this. I show of hands if you just raise your hand if you own an iPhone or an Android phone. Don't be afraid. And raise your hand if you own an iPad, if you own a laptop, if you have broadband in your home. If you raise your hand when Africa won, the 15% of Africa that shops in places like this, they are Cramall and Ghana. I'm going to talk about Africa 2, the shops in places like this, Osho De Market in Lagos. They don't own smartphones, much less computers, but they do have enough disposable income to have driven Africa from fewer than 10 million mobile phones 10 years ago to over 600 million phones today. To be clear, on the left is a battery charging station for Africa 1. On the right is a battery charging station for Africa 2. On the left is a snack bar for Africa 1. On the right is a snack bar for Africa 2. Now, this is a cinema for Africa 1. But before I show you a cinema for Africa 2, I'd like to go over some numbers with you. 75% of Africa's population is under the age of 30. And 75% of African households do not have a television. What these numbers don't show you is that Africa has an insatiable appetite for African film, for Hollywood, Gollywood, for Riverwood here in Kenya, for Gollywood in Ghana. This is mostly guerrilla film, shot digitally. Essentially, technology has enabled filmmakers to go out and make movies, make African movies, African stories, often in African languages. But there is a challenge. Basically, Africa has too few cinema screens. While the US has one screen for every 8,000 citizens, and India has one screen for every 100,000 citizens, Africa has just one screen for every 6 million citizens. Now, that graph shows a huge gap in the market. But it also shows an enormous opportunity for entertainment and information in Africa. A picture tells an even stronger story. This picture was taken a couple weekends ago in Mukur, which is an informal settlement here in Nairobi. It's a video shack. In this video shack, the same scene is replicated millions of times across Africa. 200 people in a dark, airless room gathered around a 19-inch TV, watching a rap lead. We thought there should be a better way. The video shacks have a couple of challenges. Number one, they don't scale. Two, they don't take advantage of the explosion in advertising in Africa over the last decade. And three, and perhaps most importantly, they don't pay filmmakers. What we wanted to do was create a sustainable ecosystem for African filmmakers, and at the same time, create more options for Africa too. Give them a broader range of compelling content. Give them a 20-foot screen instead of a 19-inch TV. Give them good sound, comfortable seats, a safe environment, and all at the price of a bottle of Coke. Now over the last three years, we've run about 30 pilots in Kenya and Nigeria, and we've learned a lot through that process. We've validated the fact that there's enormous demand for African film. But we've also learned some interesting things. We've learned that we're able to support social enterprises, companies looking to bring solar energy, innovative products like clean cook stoves. We're able to use our screens to demonstrate to Africa too why these products matter and persuade people to use them. Now I'd like to end with this man, Usman Sambene. He's known as the father of African film. Usman Sambene is a Sainte-Golise writer who 50 years ago just realized that he probably would make more of an impact on the masses of Africa, making movies than writing novels that only a small elite would read. Sadly, Usman Sambene did not live to see this vision. But it is our hope that through this platform we will realize Usman Sambene's vision. Because creating a platform for African filmmakers to deliver African stories to African audiences is revolutionary. Thank you.