 with, you know, I mean, obviously prompted a lot by TikTok, but with Reels and all that, and where that's gonna settle. And whether, you know, at some point in the future, yeah, where in the future- Or this could be very dramatic or upside down. I mean, I imagine we'll still have problems. Wow. Yeah. Somehow I, yeah, I, that you've just come up with the only solute, the only eventuality that I think is, I can guarantee is not going to happen. Yeah, yeah. But, but with the, you know, thinking about the increasing, I don't think we're ever gonna end up with TVs that are hanging on our walls that are portrait format as opposed to landscape, but I do imagine that we're gonna have to be accommodating it more. And there was one series, like about, like two years ago, I mean, I watched an episode or two of it and I can't remember what it was called, but I think Julia Roberts was in it, where they shot it square format. You know, it was on a streaming service, it was on Netflix or something like that, but it was an interesting thing. It was a too early venture into like, we know that a lot of people are gonna be watching this on phones, let's make it, you know, or Instagram, I guess. I mean, square format almost seems like the worst of both worlds because you don't get any expansiveness in any direction, but yeah, the aspect ratio wars that aren't even wars. But where's that going? Apparently, I think it's homecoming. And part of the rationale, it shows two different time periods and one time period is four by three and the other one is 60 by nine. Okay. There's, Google did a tablet a couple of years ago that had like a four by five format, some really kind of odd format. And I don't know, the tablets haven't done that well, but I thought it was kind of interesting. They were doing that. April's hitting a little bit of a problem with portrait or landscape because we're doing some B-roll and stuff like that for she's doing a show reel, basically a speaking reel. And I actually followed her, I dropped her off at PDX, but then I followed her and sort of was the guy filming somebody bopping through an airport kind of thing. And then we had to go back and film it in landscape because the first time we did it was portrait and they were like, no, we actually need the landscape for this, oh my God. Okay. And then whenever I watch, so all the YouTube shorts are short and very awkward on screen because I can't make them big. And then when you see landscape shot on regular YouTube, they fuzz it, they blow it up, they fuzz it on the sides which is like a weird viewing experience. So I'm unsatisfied as well. Is this something that is going to disturb us for the rest of our known lines? All video will end up being 360 video and you'll have people that come along and curate the aspect ratio and the shot and the framing and all that kind of stuff. Does that mean we'll be wearing goggles? Probably not. We'll probably have retinal implants. Oh my God. That's the worst of all possible. Yeah, yeah. I agree. Man. I just think you're reeling Pete. I just feel you kind of... contemplating that. On that page about homecoming, there's one cool GIF where it doesn't sound like the whole thing worked. For the whole series, but there was one point where they got to go from four, three to 16, nine and you know, Jilly Robert's world changed and it was like a visceral thing for the viewers. So interesting. So what kind of fellowship with the linky things are on your minds today? I'm still thinking about Flancy and me talking and whoever else talking about Git and actually I'm also giving the Git plus markdown or markdown plus Git class. We had our first session last Thursday we're having another session this Thursday tomorrow. Excuse me. Cool. And I'm hoping Flancy and mix it here but it doesn't look like it so far as well. I am thinking practical thoughts about some work I'm doing with the CTA and adjacent entities and ESC about pulling together links related to ethical tech, reading, watching, listening, things you should know, people you should follow, et cetera, et cetera, et cetera. And as always, you know, struck by like the forms that each of us have, the material we could contribute to such an effort, you know, that's in your brain, that's in my, you know, factor streams, that's in somebody else's bookmark list, that's in your massive Wikipedia, you know, whatever. And even for a kind of finite product like that, whether these things can be, I mean, they're all links in this case, so, you know, it's probably fairly easy to off-dump them, is that, sorry, I just saw that Jonathan Rosen thing, that's a different Jonathan Rosen, okay. There's no illustrative aspect to this, is there? It's prose. The link I just popped in? Yeah. It's got a nice picture of the, of the Talmud. Which is, which is one of the most hypertexts, which is one of the most photogenic of hypertexts. Yep. And which is remarkable given how old it is. I, you know, one of the, one of the immediate reactions you have to that is like, huh, they invented that long, long, long before Doug Engelbart and Ted Nelson and, you know, all that, all that kind of jazz. And then I'm like, you know, it's a survivorship bias thing, you know, it's like people try to do this lots of different ways and all the other ones got forgotten. And this is the one that, you know, is kind of useful and practical and works. And that's because it had a community of practice that insisted on doing that and reinforced it over time. And it's magical. Yeah. Yeah. You know, minimally sufficient, sufficiently usable. And you know, actually I guess the, so it had time to gestate for probably centuries at least. It must have been fun in the era of scribes because normally scribes were doing linear texts without punctuation or spaces often before we figured that stuff out. And then with the occasional illustration or embellishment and then all of a sudden you get like a hypertext before you have printmaking and you've got to replicate that hypertext and you've got to do it faithfully over and over. Maybe not replicate, you have to represent it. That's probably part of the fun, right? Yeah, but I think that the margin for changing anything was really, really low. Like the punishment for errors was probably pretty high. So it would be really fun if you could riff. That'd be really awesome. But I'm not sure those communities had room for that much riffing. So if the Talmud goes that far back why aren't we speaking in hypertexts now easily other than Wikipedia, which is kind of the thing that ate that world? Why is this not more common? Even Wikipedia, I think most people don't consume it in hypertext. They think of it as a encyclopedia with pages. Yeah. That, oh, look, there's the link here and then they might follow the link but they're not conceiving of it as a woven work all the way. I agree, unfortunately. I have a hypothesis and it goes along with the hypothesis I shared with a friend yesterday. He was talking about the challenges of communicating ideas visually and with things like diagrams and diagrams and quick drawings and stuff like that. So we actually started with mid-journey and I'm like, yeah, mid-journey doesn't do that. Chat2pt does that a little bit. So we played around a little bit with Chat2pt and actually I was trying to get it to describe an infographic and instead it made a matplotlib source code thing that drew it instead. But anyway, the big thing I wanted to say here was kind of a lamentation about our visual literacy. As a culture, we get taught how to read linear text. As a culture, we do not get taught how to read visual diagrams or maps or things like that. And we don't get taught how to represent those things much, anything that has to do with drawing is like, okay, well, that's the art department. I don't know why you're doing that in this class. So it's like we've lopped off all the all the titillage and thinking and creativity around visual representation because we don't do that here. We don't do that in pedagogy. I agree. And the Alphabeta versus the goddess had one particular thesis about that, which I liked. That book influenced me a bunch. Yeah. Yeah, that's a good connection. My brain and my notes for this call. You're about to say something. This is a cool image search. Tell me before printing images. And mostly it's not before printing, I think, but you still get cool. Yeah, these all look like printing books, but it's very cool stuff. Yeah, this is interesting. I didn't know about this before. Medieval commentaries on the Talmud and the out-of-margin and opposite Rashi's notes. How would you like to have Tosifist on your resume? I would be pretty proud to have that, I think. It would be a small group of people who would know what that meant. Yep. I really, looking at this, I'm fascinated by the text blocks. I'm just looking at the, you know, scrolling through the image search. And particularly that very, well, a lot of them have these sort of wraparound text blocks, which is something that didn't exist without a whole lot of trouble. Certainly didn't exist on old hand type setting could exist with a lot of trouble in machine setting of the 20th century and exploded with desktop publishing because suddenly you could do things like that. But the fact that it pre-existed desktop publishing in a significant way is news to me and makes me really wonder if things like what I don't see here is a curved margin for gutter. But you certainly could have done that. And I wonder if it was done by anyone. I'd be interested to, like right before printing and right after printing to see kind of how that not got negotiated for the Talmud and for illustrated manuscripts. Also, I'm wondering how much scribing was part of memorizing. Yeah. Meaning, and I think in Madrasa's a part of the memorization of the Quran involves transcribing it, writing it, but I'm not sure. But I think you learn to write Arabic and then you learn to repeat the Quran. And I'm thinking that in Judaism there was very likely a similar sort of thing but I don't know the correlation between Tosafists and scribes or whatever. I don't know if that's a one-to-one thing where you sort of went through a scribal tutorial stage in order to memorize and become a rabbi or a scholar. I don't know. That'd be interesting though. One thing that I would guess, sorry, this is not related to what you were just saying but more to what you were just saying in response to me, that in that transition from to printing, I would imagine having just observed the transition from printing to digital that the early attempts were so crude that you would never think to try and duplicate what was going on scribally just the same way that an early word processing document and early websites and stuff had no means for graphic sophistication of any kind. And it was probably a couple of decades which might have been even longer with the printing press before people developed the ability to do something that would be anywhere near. I guess, so there must have been woodcut printing that replicated fancy manuscripts. That's true. And then it was actually movable type that gave you the strictures, right? Right. So, I mean, there were probably combinations of the two pretty early on. And I mean, I know there were, I know that you had, you know, woodcuts as illustrations for type documents. But I mean, getting to the point where anything could wrap around anything else, probably even, well, I mean, laborious column justification happened pretty early. Yeah, that's incredible. But also before we had pages in folios, we had scrolls and irregularly shaped parchment and other sorts of things. So it was more free-formed for a while or at least like more like a comic strip than a book. More like a vertical, no. I mean, it was a horizontal scroll but I think most of the scrolls ran wide. And here we are circling back around to portrait versus landscape. We're right back there. It's astonishing. I love that. That was good. See, and you're talking about wrap around. Yeah. That's very cool how that worked. Wrap around, which is sort of picture in picture. Oh, but that's a different dimension now. Yeah, I know. It's interesting how like on the iPad and stuff like that, you can do a variety of pretty sophisticated either split screen, picture in picture or whatever to manage real estate. I don't really know them or use them. Like, you know, copy and paste, no problem. They're buried somewhere in the limbic system. But then as you get finer grained, it's like features I don't avail myself of. And I can never make, in macOS, I can never make alternate desktops work. They just don't work in my head at all. Yeah, I've not tried much. I mean, I think I've done it occasionally. I tried to simplify my life that way during the pandemic. I was like, okay, okay, I'm gonna do alternate desktops. And I was like, no, not sticking. I mean, I think there's a future there. And I think, I mean, this to me is interesting about what's envisioned by the Apple, well, in the demos for the Apple goggles is this sense of, you know, okay, enough with my gaming space. I'm switching to my workspace or I'm switching to my domestic space. I mean, I built, you know, building on the, you know, to me sort of the biggest virtue of factor is the notion that you're creating spaces and streams and sharing around particular aspects of your life. And when you're not in that and you're in something else, there's no peppering the feed that you're seeing with stuff that we know you'd be interested in because it's related to this other part of your life because you're only in that space. And the desktops, the alternate desktops, if they get to the point where it seemed like Apple was going in those demos where you really are saying, okay, now I'm in my space where I'm focused on this, whether it's, you know, meditation or spreadsheets or like immersive gaming and that's an easy swipe. That does seem like a place you'd wanna go. In the Knowledge Navigator demo, one of the things I liked that would still make sense and it would feel, what you just said is they had some avatars basically sitting in the margin. And as you were doing things, the different, I hope this was the Knowledge Navigator demo, but the avatars would basically kind of raise their hand if they had something to say to you in the middle of what you were doing. And they might represent different parts of your life or different research projects that you're on or something like that. And so they would try to catch your attention in some way and then you could diverge from whatever it is you're doing now and go pursue that. I mean, sort of a notification alert of a kind, right? Oh, totally. Without, and you could, I mean, ideally with something like that, you could say, nope, don't wanna see that. You know, I'm totally immersed in my meditation or whatever or more likely the immersive gaming and alerts can't show, but maybe when you're in your workspace, you do allow somebody to alert either with that little wave or with something more disruptive. And the wave could translate into any other kind of attention-getting mechanism. Yeah, yeah. It seems weird to me that we're still so backwards in how we communicate and how we co-create. Like when we decide, hey, let's do something together, it's like, is it Google Docs or what? And then the what question is like this Pandora's box still. And that should not be that way. It should not. That's why we're here. That's right. Partly. Yeah. I think I brought it up at a fellowship of the link meeting, but have you guys checked out a board? Spell? A, B, The bookmark sharing thing that Paul Ford created? Yep. It's in my brain, but I haven't really looked at it. I mean, the best thing about it is it's very, it's even, you know, less tech-centric than anything that any of us have been. All right, it creates stacks, right? Yeah, just little stacks of things. That's a part of this. Fairly flexible. Good idea. Yep. I mean, it's kind of factor, but even it's the MVP that factors should have had before it got into RSS feeds and groups and stuff. I like it. Which is a little frustrating because I went and talked to Paul about, early on about doing it with post-light. And, you know, I mean, not that this isn't an obvious idea in other ways, but. Why not then? I like the idea that, well, I guess, forgive me for thinking this, but I think a factor is bookmarking important links I wanna share and read again, kind of like delicious, if you're into delicious and Pimborgen stuff like that. And their, you know, their front page, it's more like, yeah, you know, make a card out of any link, brown leather couch at Polly and Bark. Yeah, okay. Yeah, I mean, it's taking it much more like you're kind of what you were just saying and the analogs you were drawing with delicious and stuff like that is like you're thinking of the end product of this, like you're gonna have all this organized bookmark, universe, which sounds both amazing if you're into it and daunting and they're trying to make the speed bump, you know, to kind of eliminate that speed bump of thinking of the threatening eventuality and just say, hey, there's this, you wanna put somewhere. Okay, done. Yeah. The problem, go ahead. I like extending from like also information, kind of text-based information to just like objects, things, whatever. Yeah. Part of the problem seems to be like, okay, you wanna put something somewhere, the where do you put it bit? And part of the reason we like markdown files on a GitHub repo is that the where is at least in some public space that's findable and linkable and open to others. But in most of these cases, the where is somebody's proprietary whiteboard or chalkboard or whatever zoomable whiteboard metaphor that is not shared space in any particular way. And mostly not public, mostly it's private whiteboard. In some cases it's made public, but not very. I mean, the beauty of the card as an ocean extending from the link as an ocean, the link is a totally, you know, portable. A link can exist in your brain and, you know, on a board and all the places. And a card as a representation of the link or as a representation of anything seems like the kind of lingua franca that could extend all over the place. And, you know, that looks like one thing on X and another thing on Mastodon and another thing on. And it's almost true for that, you know, the degree to which it's an understood piece of formatting to say, this is how my link will populate you know, this graphic, this headline, this description is what my link turns into. That's already understood, you know. Sorry, I'm thinking as I'm saying this, you know, Git is obviously not for everyone and the places that are for everyone, as you say, Jerry, are like the private spaces. But there is already this sort of ease of like if I share the link from my, that came to me via Twitter, Bex, and I put it on Instagram or, you know, that it's going to populate okay in an illegible form that is essentially a card. Yeah, sorry, that's as far as that thought goes for me, but it seems like that's a place to concentrate. Christopher Allen was experimenting for a while with a form of writing that was more cartoon-like. I've forgotten what he called it, but following panels and ideas around, it was called, huh, I thought it was him, but I'm not finding it here. And then Scott McLeod in Understanding Comics and other things and other places, he was doing a whole lot of thinking about the forms of rhetoric or forms of semiotics or he wasn't using any of those words, but he was busy exploring the space of how we express ourselves. In part, Understanding Comics was exploring why do comics work? Like, when he describes how Tintin, one of my favorite cartoons, works, and he says, the background is realistic, but the faces are comic and pretty blank. Like, Tintin's face doesn't change very much. It's almost like a smiley face. It's a little bit better than a smiley face, but the rest of it's drawn very lifelike and I'm like, my head exploded because how do you do that? Because Charlie Brown is fully cartoon and the same level of abstraction, the whole drawing. But in Tintin, it's different and it works and it works partly because you can project yourself into it and our mind loves that. And that was just really, really interesting space for me because he then had the triangle, the very famous sort of triangle that included realistic abstract and I forgot what the other dimension was. And then he placed historic comics in that triangle according to where they fell and it was really, really interesting. I wish when he sold the cells or the drawings, the originals I had bought that one because at some point later on, he made a little bit of money by selling off the drawings. This is Scott McLeod one talking about, cool. Yeah, understanding comics. Are you guys, we've never particularly talked about comics. Are you comic fans? I'm somewhere in between. Like I have zero collection of comic books. I bought some comic books when I was little but never collected. So I don't have a collection but I'm fascinated by different comics. There are a few that I've cared about really deeply like Calvin and Hobbes. My spirit animal is Spaceman Spiff, Conqueror of the Cosmos. And my first handle online was Spiff at Panix. I'm pretty sure that was my first handle. Might have been Spiff at Well. Might have been Spiff at Well. Or both. Yeah. Comics and the big triangle. And you Pete? I'm actually a big cartoon person like Warner Brothers cartoons. And then although I have to say part of that for me I didn't realize until later is part of it is the music actually. I forget the guy. But I... The Chuck Jones counterpart. The Chuck Jones was the visuals and then somebody else who was the... I mean not the Chuck Jones was the only one but there is a guy. Chuck Jones was actually not my favorite. There was one of the other people who was. But I had, I finally, they've made a CD of Warner Brothers music and that's interesting. But I'm not really a comics person but I love visual representation. So that's where it's like Scott McCloud's book. It's like a Bible kind of to me. And it's all about visual representation. It's party time for people curious about that. And it would be interesting to sort of spiral out from understanding comics and see what's come since because I'm kind of nosing around a little bit. And I'm not, not a lot has caught my attention sort of since then. There's another guy who cares about this stuff is Bruce Mao but he's more commercial artistic design or something like that. Yeah, and there's so much. Have you looked, there's a new anthology series. I mean, this is, you know, animation but comic-ish animation. God, what is the name of it? It's a sci-fi, pretty sure it's on Netflix to find it. That's got some just amazing illustration. I mean, the thing that you talk about about Tintin and which is true of Van Desenet in general, you know the sort of line drawing from a photograph. I mean, there's sort of photorealistic background and then the simplistic faces and sometimes figures has like gotten to the point where there's this, I'll have to find a link to it. There's this one thing that I saw where faces were line drawings but obviously that sort of rotoscope like realism of, I mean, you know, like, you know, somebody had been filmed and you know, lips were totally synced and then, but it was still line drawing and the backgrounds were like paintings. I mean, fantasy. So now the backgrounds have been replaced? Well, the backgrounds, I mean, the backgrounds were as much more realistic as you know as the Van Desenet Tintin backgrounds were than the faces but the line drawing of the faces was more realistic and the amazingly detailed rendering of the backgrounds was hyper realistic except that it was hyper realism about, you know, extra planetary locations and not yet existing technology and stuff like that. I'll see if I can find it because it really, my jaw dropped. I really enjoyed watching the rotoscoped series on, I just put it there. I miss it, there we go, undone. Yeah, it was really fun. It was really, really nice and it's got Bob, what's his name, who shows up fricking everywhere. He's astonished. What is it? Odin Kirk's name. Odin Kirk, yes, yes. As soon as he has it, Bob who shows up everywhere, I thought, Odin Kirk, have you guys watched The Bear? No. Oh man, it is, oh, it is, it's the most amazing thing I've ever seen. Bob Odin Kirk shows up there slightly. I mean, I realize it's about, you know, food and restaurants ostensibly, but it's really about human dynamics and teamwork and personality types and deep history versus modern gloss and just all kinds of stuff, race relations, age. I think it's on Hulu or something strange like that. It's on Hulu. And I don't do Hulu, so that's what made me not watch it. I mean, it's worth doing Hulu for. And the other great thing about it is the episodes, even though it's a drama, the episodes are only a half an hour for the most part. I mean, it's worth doing Hulu for. And the other great thing about it is the episodes, so you can, you know. And on Hulu, you also get the only murders in the building, which is fun. Which I have not yet seen yet. It's really well done. And it's not incredibly deep, but it's super fun. Steve Martin and Martin Short and now Meryl Streep and Paul Rudd, Selena Gomez, yeah. And Selena Gomez, Selena Gomez is really good. It was genius to put three people together and one of them is Selena Gomez and the other two are the old men. It's really genius. You'll have to check it out. Our most recent fun thing was, shoot, I forget what it's called. Turn into famous animated thing for you guys. Deadlock, L-O-C-H. Oh, Deadlock, L-O-C-H, yes. It's set in Tasmania, which is the Australian version of Alaska, an incredible amount of swearing. And a lot of crude sexual terms, but it's almost all women, lesbians. That isn't a part of the conceit kind of, I guess it kind of is, but anyway, just brilliant, super funny. I have to look up a lot of Tasmanian slang though, which is interesting. Yeah, that doesn't sound like an obstacle so much. Strangely. One of the things about it, I recommend it to you, Jerry Rilland, was wondering afterwards, it's one of the, it actually, it takes a long time to resolve the mystery. And they keep getting really close and you go, okay, this must be the resolution, the mystery, because everything fits. And then it's like, nope, that didn't fit. Oh man. Actually, you wanna look at more pieces. And it's like, okay guys, come on. Yeah. But the end, like, totally paid off. So, unlike some series where it's like, Severance was like that, even more so, where the end was like, worth anything that you had to do to get to the end. Oh really? And it's not over, is it? Severance, I think they're coming back. I'm pretty sure they're coming back. Yeah, no, it was great. It's great. The end episode was just mind blowing. I haven't watched it because I sort of saw the premise and I'm like, well, okay. It's one of those things. And then even when you're watching it, it feels like, it's kind of like guilty watching it and it's like, this is kind of creepy. Yeah, that's kind of the feeling. It was a little bit like a black mirror, kind of in a sense. And I stopped black mirror when it got too close to reality. Yeah. I was like, oh, I can see that happening. Oh, I don't want that feature. A little too realistic. So we haven't resolved the portrait versus landscape problem, have we? Although we did make a nice loop around it. It's definitely one of those that is not, it's not to be resolved. It's only to, I mean, what's interesting about like 360, like let's pretend that a severance was done in 360. The problem with 360 in doing this drama. It's a scary concept, right, Pete? Yeah. The problem with it is that the filmmaker needs you to see certain things for you to catch what's going on in the plot. And if you're not oriented in a particular direction and you just miss action that happened over here that wasn't audio, you're just not on board with what's been happening with the plot. I don't game enough to know whether that's like something where there's a means. I mean, I would think that there could be some way where you, it's an understood aspect of the immersive experience that your attention can be drawn to something by like a sound and or literally having the axis rotate or something. Yeah. I think it would be fine to grab the camera and point it in a direction. Yeah. And actually even there might, there will end up being tropes where it's like, okay, the director pointed me here. And then I know that I have to look back there, you know. It's the equivalent of panning and, you know, panning and jump cuts or whatever it's the vocabulary of 360. Yeah. Hmm. I think we'll resolve all that. And I think the other thing is you end up with multiple cuts, right? You get the, you know, this, people get to kind of redirect it. And hopefully there's still pause and rewind. Yeah. Yeah, yeah, yeah. And I actually, as we were talking about that, I was really thinking like, this is where sound and ultimately other senses, depending on how sophisticated some of the experiences get, come into play where like, if there's something you're supposed to notice that's outside where you're looking, there's a sound, there's a scent, there's a presence that makes you turn. And that's part of the director's work. Cool. I am failing to share this amazing animation with you, but I'll find it somewhere. You think it was Netflix? I thought it was Netflix. It might have been, it was a series. It was an anthology series of animations that, it could have been, actually I should look and see, there's a new comedy sci-fi series that's about this guy who gets stationed on Mars and is trying to maintain his relationship with his girlfriend who's back on earth and it's not going so well. And, but it's a little bit on the order. Did you ever see there was a series about five years ago called American Alien, something that was like a city where just walking around, like, you know, there was one human looking guy, his roommate was sort of an octopod of some kind and there were other people, you just walked around and it's just like there were- Superman, American Alien. Is that it? There were alien races. Anyway, I got a bunch of links to send you guys, I don't know if we're hard stopping here, but- We often go past, but probably a good time to wander back in your life. Michael, you're not thinking of love, death and robots, are you? No, I'm trying to remember what, this is a problem with networks. When we had a brain in services, yeah, it's like searching for them broadly is not always easy. And if I go to my, the Just Watch app is often and IMDB are often ways to cut across. And it's getting a little worse. First, there's too many offers, too many over the top offers. Second, some things leave one property. So Netflix loses and gains a bunch of different media. So what you thought you saw in Netflix is no longer available, oops. I just watched Tom Hanks, Charlie Wilson's War, which I thought I had seen, but seemed all new when I watched it. It was really, really good. It was a nice snapshot of that point in time and the politics of it and everything else. And now apparently August 31 is its last day on Netflix. So, hurry up if you wanna see it. By the way, I'll share, are you guys familiar with Anna Lilly, Amirpur and the movie A Girl Walks Home in the Dark? Or no, sorry, A Girl Walks Home Alone at Night? No, really, really good film, about six years old. But my means of discovery there was the fact that she Airbnb'd our apartment. Whoa. And so discovered her work, discovered like I was like, I watched it and was sharing with Ivy and Ivy said to her sister, you know, have you ever seen this movie and her sister says, oh, that's one of my favorite movies of all time. And so, you know, an underrated discovery mechanism. And I'll go on to say that the last Airbnb guest we had is was Glenn Fleschler, I think his name is, who is in Barry and Billions. You'd recognize him. Cool. And so it's just a- You should write a screenplay about your Airbnb guests and create a plot, like- You know, I actually did have an idea for a plot many, many years ago. I was subletting a fascinating apartment for a year from somebody who was away and the idea of doing a story where a tenant you know, a subletting tenant is discovering who somebody is and solving some kind of mystery without any interaction, without any foreknowledge of what they're walking into. They're just in a place and the mysteries of the place reveal a greater mystery as they discover stuff. And also, you know, have the moral tug of war with themselves of what they can and should do to discover more. Now you have to install a dimensional portal in your Airbnb flat. Right. And yeah, and it becomes a reality show. It becomes a brother and people just have to sign away over when they come in. Right, that's it. You're done. Yeah. Except in 360 video. So circling us back around to Portrait versus Landscape. Excellent. So we wrap the call. Sounds good. Sure. I'll send you guys some links. Yeah, thank you. Thanks. Thank you. It's fine. Appreciate it. Bye. Bye.