[chuckles]

It's great.

Um, yeah, it, it actually straddles the line between horror and comedy.

So those are disparate in terms of, like, genres, but more similar than you might think.

So we wanna have, like, jump scares, but not tropes.

So, like, the episode that we submitted, it was a drug trip, and we kinda did, you know, unique kind of treatments rather than the usual what was expected.

Uh, and then in terms of comedy, uh, we never wanna drown out the dialogue.

We got a really good solid version of it doing it several times, and then they used some of, some of your techniques in here to, to be able to make it, uh, much fatter and a l- and a lot creepier.

Sure.

Matt touched on it before, but I want to talk a little bit about the sausage making on that.

All departments gave their contribution or their best version of what that should be.

First, it started with music.

The music department actually had a choral element of voices that were a little bit Gregorian chant-like and demonic.

And it almost sounded too friendly, believe it or not.

And we were stripping out different elements, pitching them and swirling them around and panning and things like that.

But Larry, I also wonder, in the final mix, what typically wins the battle for space? Is it always dialogue or sometimes are you prioritizing foley or score or effect? Particularly David Fleming's incredible score on the

Larry, your favorite moment?

You know, I would have to concur.

Five was really gratifying from my perspective as well.

I won't tip the hat too much because I don't want to be a spoiler, but I will say, I just want to insert here, Matt, this is our first time working together.

It was such a great collaborator and really was in sync with Katie and and had, you know, really her sensibilities and is such a great filmmaker.

I would say, you know, the sound design was subtle.

It wasn't a cliched trope.

Don't