I mean, Manga really started, I think, again, as going back to this idea of telling a story, of having, you know, the process of when you grow up, you start to understand how not in control of your life you can be, and how much life is a struggle for you. And sort of this idea of struggle came into being, and I sort of was attracted to the idea of these characters that come in to play in Manga, rebelling against the forces. So it's really a story, Manga's really a story about, not just downstairs, it's a story about ten servants in the basement of a house, struggling against a very cruel mistress, trying to set themselves free. That was the basis of it, but the way that I build the movement really is like a script. I try to build gestural language that fits the story, that fits the character, that is really kind of like a dialogue that you have in theater. That's how I build most of my works. And the music, you know, it's a long process of research, of taking an idea, and trying to really bring the different scenes and story with the scenes to come to a full evening. I think, you know, it's really the moral of Manga is not to accept your fate, and to always fight and never give up fighting for what you believe is right. And that's really what most of my pieces are about on some level, but it's really kind of at the heart of Manga itself. And that's, you know, on the level of kind of a message, on the level of the dance, it's really about treating from, for me, the importance of Manga's work is to try and, at least when I'm teaching it, to really try and treat the dancers as actors, not as bodies on the stage, but as full human beings that bring every part of their being into the character that they're playing on stage. So that, for me, is what I try to achieve there, and I hopefully will repeat it in the future works. But it's been really great, so thank you. I hope it was okay. Awesome. Thank you.