What about John, do you have some other ones that really you like in terms of maybe more of the fidelity to use that word Jason was just using with what came through strong for you?

Yeah, absolutely.

The Cyclops.

I mean, that's going to be in my brain forever.

You know, like that's it's just such a well done piece of filmmaking.

You know, a lot of people were upset that they didn't have the whole nobody sequence, which, you know, I actually heard in an interview he tried to.

It just couldn't fit tonally with what needed to happen.

Now we're, now we're talking about the work we actually do because you have your, your entire set of suggestions for people.

I'll stop talking for a second, and, uh, John, give the audience a little bit of an introduction to who you are.

Yeah.

Uh, thanks Jacob.

Appreciate it.

Uh, that is truly how we met.

Uh, it was fun to watch you wrapping up that date.

Uh, anyway, so I am John.

... of, uh, the different rabbit holes they can go down with your own work?

just what's going on in this story and how do these two sides of Poseidon and Athena that sort of map onto what you're talking about, about this integration and balance that needs to be found.

Yeah, this is great.

I mean, there's just so many ways in, but there's so many ways in.

It's overwhelming.

You know, one thing you reminded me of is there's this great scene in the beginning of the Iliad where the Greek warriors show up to Ithaca and they're like, all right, Odysseus, join up.

Like, it's time.

We're going to Troy.

We're so saturated by it even if you've never heard of this story you've probably somehow heard of that or know about that whole scene yeah