 I like to think that we've impacted the theater in a way of, in terms of vision and longer lobbed projects, and even in terms of having sort of playwrights dropping in and out, they've always had the MyEWritersLab as like a playwrights group, but in terms of us kind of going out into the world and putting MyE out there and just kind of traveling around and putting the theater as like sort of our home base, I think a lot of people are now associating us as part of MyE, as ambassadors to MyE, and sort of connecting a lot of young Asian American artists to us in terms of like, hey, you guys know MyE, can you sit down with this student in college and talk to them a little bit about playwriting, about the world, about theater, and about MyE? And so I think actually in terms of just that aspect of it, it's we've really impacted the theater. Yeah, I think that in a way like there's a continuity to this experiment because the MyE lab started in like 2004, and we gathered up a bunch of Asian American playwrights and we sort of keep on asking ourselves like, what does Asian American plays look like and like, why do you need a lab and we have to sort of keep on finding new answers to that. So I think that this is a huge experiment in kind of how do you keep artists engaged over a long term, and how does your work like evolve within a community and get disseminated out of just sort of our circle. And so even over the course of this year and a half, we've been indifferent to do that by our sheer existence and this has helped us to exist. For me, I mean, Mike and Rohana are not just individual playwrights, they're also married and they're also parents. And so all of that sort of happened while they were at MyE. In fact, they met because of MyE. So it's a unique, really unique relationship. And I feel like this residency has allowed these two to sort of, to sort of relax and feel more grounded and be able to work in a way that they would not have been able to do that to do and to tackle large scale projects, which is Asian American writers don't get to do. I don't know of any Asian American writers gotten this kind of residency, maybe except for David. But this is like a really big, big change for these two. And I'm, and I'm learning along with them. So that that's that I think they're, they're able to spread their wings a little bit more. And in a couple of two years, I've seen that. And I think Mike is has really softened as a playwright, mostly because of Zayden. I would also say that you're really a champion of like artists driven programming and very open about, like, this is how our funding works. And this is how our workshopping works and sort of like, what are you going to take? How are you going to take that and sort of model things yourself? And so this gives us the ability to do that and it's manifested in different ways. Yeah, and I think just even we brought Zayden, like toted up to meetings and brought him around and done a lot of things as an artist couple with a child. But I think at this juncture in our lives without the theater support, we probably wouldn't be like one of us would kind of have to take some time off and not be playwriting. And also, you know, I think they they they were able to ask for a more agency in their work, not just with me, but with other theaters, because they sort of have have experience with it. And so that the future, whatever they do in other theaters is not simply transactional, that there should be something else. I think that's what the evolving lesson is of this residence. Actually, for the HowlRound article two that we did, one theater said that they read it and then instituted a stipend for childcare for the directors for a program based off of that article. Or they found like an internet to watch a kid. By the way, it worked. Great. Thank you.