So the kind of time frame that we can still feel effective emotional resonance with the kind of my child's child, how will global politics look like then? It has a very different resonance with you as the writer. This is where we come back to Isabella's point, that it is so much more difficult to write science fiction than it is academic prose. And that's maybe one of the last assumptions I would like to consider frames that I would like to bring in here. What we realized in the collective process of writing this book is that academic writing comes in so many different genres. It's a wonderful, fantastic, beautiful ecology that goes way beyond just the book or the journal article. So we have this fantastic spectrum of ways in which academic work takes place that you can find in the book. And it really goes to show that our assumptions about academia really need to be rethought because the way analysis can be brought in, the way argumentation and engagement with data, whether it's fictive or real, can be so much more than just the kind of fetishization of journal article. Isabella, in your chapter, speaking of what Laura tells us on the conceptual level, like bringing it down to the actual storytelling, you create a scenario which plays around the concept of utopia and dystopia. I would say not only mixing them up but trying to overcome those concepts. What is the global politics future that you describe and which kind of challenges it poses?