we like to create experiences that are very controlled. We want to be able to control your experience and your emotional arc through a particular story, just like a good writer to a book, or a good writer to a movie can control your interest and the drama that's inside a particular uh, novel or a movie; so, too, do we control the interest and the drama and the excitement, and the spectacle of a theme park attraction, right. And that's why I think so much of the - uh, so much of the more successful things that we've done is on a ride track because we have absolute control over your speed. We have absolute control over the lighting. We have absolute control over the lighting. We have absolute control over how you move through a space. And with that, we can then control the excitement, and we can control the - you know, in the academic term, the interest curve, right. There's the idea interest curve that a lot of people talk about, right, where you have kind of rising action; there's a climax; there's denouement; there - that's a very well understood thing, right. And we do that in theme parks as well. But there's a lot of new experiences out there, and this is where kind of interactivity throws somewhat of a wrench into it, right. The more interactivity you have, the more control you give a player, the more agency someone has, the more they will feel gypped that you are taking control away from them. And in so doing, you don't have as much control over that interest curve anymore. And if you don't have that, then all of a sudden, how do you control - how do you control the story? So, one of the things that uh, that I think is very exciting is - and that's done in games a lot is that the story reacts, or the game reacts to the player, or to the guests or to you, right, through - through either changing - changes in music, by dropping and spawning enemies in specific places, you can control all of that.