it's, it's so important to be able to work from a place of acceptance. Because when we when we can be okay, with how we are, who we are, be okay with what we've done, you know, we find a regret the past, there's no need to shut the door. But it's over, it's past, now. It's this have to be okay with that. If we can, then change becomes practice. And we have a way of working, then we're not swirling with regret and self criticism, resentment. We have a we have a good shot at developing faith and confidence, which are really probably the keys to beginning a strong practice. It takes a while to develop, you have to have experience you can't just believe it because someone says so. But gradually you realize, okay, change is possible I can do this. There is a there's a really good example of acceptance in life. And that's improv, improvisation improvisational comedy. So I'm going to indulge myself and read a little something from a article it was taken from the book, Bossy Pants by Tina Fey. And it's Tina Fey is rules of improvisation that will change your life and reduce belly fat. That's an asterisk after that, and then down at the bottom, it says improv will not reduce belly fat. So she says, The first rule of improvisation is agree, always agree and say yes. When you're improvising, this means you are required to agree with whatever your partner has created. So if we're improvising and I say freeze, I have a gun. And you say, that's not a gun, that's your finger. You're pointing your finger at me are improvised scene has ground to a halt. But if I say freeze, I have a gun and you say, the gun I gave you for Christmas, you bastard. Then we have started a scene because we have agreed that my finger is in fact a Christmas gun. What better gift, though, obviously, in real life, you're not always going to agree with what everyone says. But one of the rule, but the rule of agreement reminds you to respect what your partner has created. And at least start from an open minded place. Start from a yes, and see where that takes you. As an improviser, I always find it jarring when I meet someone in real life. Let's first answer is no, no, we can't do that. No, that's not in the budget. No, I will not hold your hand for $1. What kind of way is that to live? The second rule of improvisation is not only to say yes, but yes. And yes, comma, and you're supposed to agree and then add something of your own. If I start a scene with I can't believe it's so hot in here. And you just say, Yeah, we're kind of at a standstill. But if I say I can't believe it's so hot in here, and you say, what did you expect? Or in hell? Or if I say, I can't believe it's so hot in here and you say, Yes, this can't be good for the wax figures are fine. I say I can't believe it's so hot in here. And you say, I told you we shouldn't have crawled into this dog's mouth. Now we're getting somewhere. To me, yes. And means don't be afraid to contribute. It's your responsibility to contribute. Always make sure you're adding something to the discussion. Your initiations are worthwhile. It's, yeah, it's it's kind of wonderful. To just learn to, to the extent we can and it's a practice it's practice, learn to take what you're given and just go with it. You know, the, the, the course correction doesn't have to be Holding your hand up, you know, it's not always talked to the hand. We can we can work with other people, we can find a way. And we can work with ourselves. There's so often what comes up is emotional pain is fear or anxiety. And then we have the question of how are we going to deal with that? The the unconscious thing that most people do is to try to put a lid on it, try to push it off to the side, not face it head on. But if we turn towards it and say, you know, why is it that I don't want to give this talk and just look at, you know, whatever anxiety or discomfort is coming up, and bring some curiosity about it into the equation, then then things have room to move. Marsha Linehan makes a point in some of the skills, she teaches her patients, that when you have a strong emotion resisting, say, doing something difficult, the first thing to do is to see well is that emotion valid, for instance, you may be afraid to go into a room because you think there's a snake in there. Well, if there is a snake in there, don't go in the room. But if there is no snake, then the technique she teaches is do exactly the opposite of what you want to do. Go into the room, and see what happens. And so often, that's the way through emotional difficulties, is just finding the courage to do the simple thing that you're unwilling to do. I had a friend once who said I could pay my taxes, if I had the right drugs. Well, sometimes you don't have the right drugs, or sometimes you don't really want to take those drugs. And then you just have to pay your taxes.