I think by conjuring the names of Claire Denis and a pitch upon, you do something interesting, which is that you put him in a class with largely foreign, I guess, sort of art house, true artist filmmakers. And lynch is for sure that he is for sure in that tradition, and I'm sure he inspired both of those filmmakers in ways. But he's also a mainstream American filmmaker. He is a person who is he is a legitimately famous person who has made movies that have been watched and rewatched and picked over time and again that are a part of the canon. He's a person who's been nominated for three Academy Awards. He's not this oblique standoffish, you know, outsider. He is in an odd way, a part of the fabric of American movies, and that is highly unlikely when you really dig into his work. But it also makes sense because he's working in a tradition as well. It is unlikely and I mean, we don't want to be too discursive and jump around, but I'll throw something out for you because you're a guy who likes ideas. And I try never to have takes on this show. I'm like, if I ever have takes, I need to arrest myself, but Chris Chris is going to take. I don't have takes, but here's a semi take for you, which is that his fame, the true fame you are talking about, is more of a byproduct about what he did to television the first time than anything else, right? I think blue velvet makes you seriously famous as a filmmaker. Sure. But I think Twin Peaks makes you seriously famous in a moment when everyone's watching the same things on prime time, where it's limited options and all of a sudden there's a bunch of eyeballs on one television show and that television show in the form of Twin Peaks is just so strange. That's where I think his fame metastasizes into something else. And he becomes the go to adjective for that, which is not mainstream. In American movie making. I don't know how that sits with you because we were both there for that, but we were young when Twin Peaks was on, but that's how I remember him becoming really famous.