And is it actually missing the fact it's got a unique opportunity, which is actually it could create a premium towards the benefits of the top events, but not lose any of the small events? It's just a challenge.

Yeah, and I think that's the opportunity in terms of the pyramid of tennis has a viable business model because of that betting revenue and the structure of the sport that supports that and the fact that there is such strong integrity safeguards around that versus what we're sort of reading in the newspapers about what's happening in North America, if you see what I mean.

So it has that, and it is delivered with those sort of safeguards around it.

The narrative question has perennially been that challenge.

It's something which...

It takes the whole family to fix that, I think, rather than one part of it, which again comes back to that cooperation and understanding between the slams and the tours.

When we did the Netflix show a few years ago, there was a sort of a naive part of me which thought, oh, well, we've got an Oscar winning filmmaker director here.

Looking back, what would you have done differently with those directors that you maybe gave too much autonomy to? What would you do differently now?