But but nothing is ever perfect. It's not an exact mirror is this mutated mirror, right? Or it's also telling me that I'm the audience, you know, like I'm reflected in the backdrop. It's like I'm standing right here. And then when Joel Gray pops up and he starts singing Welcome in, which we should play because I love that song so much. I've been singing in my house nonstop lately, even though there's nobody in my house but me and my cat that he's greeting us, you know, it felt like he was if he was welcoming me into the musical. Well, he looks like straight down the barrel of the lens, which is something that is so kind of rare, you know, very rarely do you have a character speaking to the audience. And for that first, I don't know, 20, 30 seconds, it's to us. And then it's to the audience. But there is a deliberate switch there. And I think we are we are being welcomed at the show. I've seen the show on Broadway twice. I love it. It's great. But you're very much a part of that cabaret audience. I think that Fossey does an amazing job at putting you as an audience member in that club, but also treating this film as he's the MC for the movie, if that makes sense. You know, and I think that's a really clever thing. He isn't leaning into it too much, just a little bit. But that first little bit of eye, you know, contact is powerful.

Well, I

mean, a couple things that I just love about that

song and the world that it sets up. I love that he is singing this song in three languages, you know, because you get this sense of how Cosmopolitan the city felt like right away, you know, how eclectic this audience is. And it just establishes that so quickly of what what a town Berlin is, you know, it's not this hermetic angry city that it's going to become. Well, it's interesting on two levels because you show this Cosmopolitan city that is full of culture and people and at the end, you look at the audience and the audience is mostly German soldiers, mostly Nazis at the end. So you've seen how the town has changed.