Well, I mean, you can, I think it's okay to talk about maybe what the ending means. Um, the ending was definitely not in the original draft. It came from some feedback. At that time, I had an agent who sent it out to a few publishers. And sometimes you can get really lucky where a publisher might not take your book, but they're intrigued enough, would it actually sit down and write you, you know, a few pages of feedback. That's actually really lucky to get that sort of free feedback from someone who's publishing out in the field. Usually, obviously, you know, you don't you get a standard rejection, but it does happen sometimes, and this editor had, sort of, he had seen the book, and actually, this her definition. She called it feminist horror, which, of course, I never saw it as a horror, horror book. I remember one of my kids was looking over my shoulder, and he saw that note, and my son, and he was like, Emma, you're writing horror books. I'm like, no, no, not writing horror. It's not horror. But she she had kind of that was sort of this very, I don't know if it's a new definition or a super broad definition, but this kind of definition, if anything, the closest I could have come to that was maybe what they used to call I don't even know if they use this term anymore, but they used to call it domestic Noir. I don't know if they still use the term domestic noir, but maybe that's the closest. But I think today it's really just family drama, especially with everything we're all going through. So it's family drama. And she had suggested that I had sort of that that was one of the elements that had intrigued her throughout, but yet I had lost it at the end, because it had actually originally ended one chapter back, and I really thought about that like the second last chapter was pretty much the end. I mean, I'm sure there were, you know, a few edits there, but it was pretty much, and I really appreciate, I appreciate anyone who sits down and gives me that kind of feedback, even if they're not accepting the book, because that's really rare, and it was very thoughtful feedback. And so I really thought about that, and I really thought, yeah, maybe I kind of cheated Luna. Like, did I cheat Luna by letting that thread go? Because I was more intrigued at the time of sort of this Mary Gaitskill, I had taken a workshop with her years ago in Montreal, this kind of concept of justice and levels of justice that you have to have in a novel, whether it's physical justice, spiritual justice, material justice, some kind of Justice has to be served sort of to satisfy your reader. Because you're not just writing yourself. You're writing for your audience, right? They're investing. They took the time of spending time with you. You want to give them a story and something to think about. So I thought about it, and then I thought, you know, maybe she's right. Maybe I let that thread go in this interest of having Luna receive some justice. So maybe I'll just tweak that. And the result was that even though it was only a few pages, that last chapter is short, there was actually a lot of thought, How can I not let that go? If she thought it was so sort of "haval" [a shame], like, oh, this, this was such a good thread. And, like, where did it go? Where did that lack of better, what she called feminist horror, go? So I, I hope I did both. I got the sort of justice that I had wanted, and I kept that thread, but that was definitely, you know, sometimes that's what's so important about feedback. This is just, can make it so much better.