And Géraud, I actually sort of thought of you when really thinking about the sound aspects of this show, 'cause of your work on CODA certainly, and even Shōgun as well, about, you know, subjective sound and how it affects point of view, and I just wondered how you utilized silence and subjective sound design to anchor Ben Reilly, Nicolas Cage's perspective in this show.

It depended in some places, and I think some of it wa- is really like to the credit of the sound crew as well, who actually I didn't meet, so [laughs] I don't wanna answer for them.

But in the conception of it, I think there was always the idea that the Spider would have a slightly different voice than Ben Reilly had.

And, um, when we switch from one to the other was like interesting.

Like, like even to find it, I don't think it was always played out this way.

And then in some places, in, in some of my episode, I know it was necessary sometime to play with the perspective because the point of view was changing in some of the sequences.

I had some episode where it was starting as a musical number, and then we s- drift into some kind of flashback, and then it drift again into a conversation between Ben Reilly and Silverman, and then back onstage.

if there's anything specific you would've changed or, or, or, or is it just, like, the, the effect, the emotion of it is different?