Scott Pilgrim vs the World

Mark breaks out the L-word as he tries to figure out why Scott Pilgrim vs the World rocks, how its ending gets caught between two stools, and which screenwriter invented the term "sexalicious slow motion".

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Transcript

Hi everybody, and welcome to Mark Overanalyses Film! Today I will be overanalysing 2010’s Scott Pilgrim Vs The World. 

Before I begin, allow me to remind you that I am available for reading, script editing, and story coaching at Markoveranalysesstory.com. And also, if you enjoy this podcast, please do share and/or recommend it. It really would be a great help. 

Scott Pilgrim Vs The World is based on the series of Scott Pilgrim comic books written by Bryan Lee O’Malley, it was directed by the only director who could have made this movie, Edgar Wright, and the screenplay was written by Wright and Michael Bacall. 

Now, before I get into my usual structural breakdown, this one’s going to be a bit tricky, so there’s something I really have to note up top. Well, two things really. One: I love this film. I love the genre, the music, the humour, the general sensibility, and in terms of individual scenes and overall style, it is incredibly well made. But, two: This film is deeply flawed. This is a comedy, so it’s completely normal for Scott to begin our story as kind of a terrible human being. The problem is that because his character arc is pretty undefined, the film tells us but never really convinces us that he actually changes.

So, why is his arc pretty undefined then? Well, helpfully for me, there is actually a deleted scene where Scott, returning from the dead, explains his journey to Wallace []. He says “Wallace, when my journey began, I was living in an ordinary world. Ramona skated through my dreams and it was like a call to adventure, a call I considered refusing. But my Mentor, that’s you, told me if I want something bad enough I have to fight for it. So I did. There were tests, allies, enemies. I approached a deep cave and went through a crazy ordeal, during which I totally seized the sword. Sadly, I died. Then I resurrected! Now I realise what I should have been fighting for all along.”

Now, if that sounds familiar, it’s because it is a highly meta reference to the hero’s journey as laid out by general granddaddy of story structure, Joseph Campbell. And you can hear the stages of the story in it. But also notice how passive that hero’s journey is in its description. Ramona appeared in his world, and then Wallace told him what to do. And, eventually, in the 3rd act of the film, he did it.

So, keeping that in mind, first, I’ll look at the fundamental features of the protagonist, and then I’ll go through the main story beats by looking at the sequences of the film. As I do that, I will be pointing out where these issues of passivity are popping up. Finally, I’ll talk about the main things I learned along the way.

So, let’s begin with the 5 Questions about the protagonist. 

Q1: Whose story is it? 

Or, who is the protagonist? Scott Pilgrim is 22 years old, and he’s awesome. At least, that’s what the film tells us, and the film is most likely a solipsistic representation of events through Scott’s media-addled mind. He’s also unemployed, crashing in his friends apartment and bed, and attempting to date a highschooler. So, ah… awesome…

Q2: What is his life dream?
Life dream here refers to what it is that the protagonist wants or is aiming to do when the film begins and the story has yet to properly start. Now, this is an interesting one. What is it exactly that Scott wants or that he is chasing before he meets Ramona? Well, he is attempting to date Knives and you could argue he’s trying to get over his big break up. But mostly, I would say Scott is living his current, extremely limited life dream. So, mostly, he’s hiding from the painful realities of his life. Namely, that he’s going to have to grow up at some point and also move on from his ex-girlfriend Natalie / Envy Adams.  

Q3: What is his Want?

Want here is what the character is trying to achieve in Act II of the film, from the moment they really begin their journey until the moment they are at their most defeated. It’s really the central, tangible mission of the story and gives the story its shape. As such, it is a SMART goal, in that it is Specific, Measurable, Achievable, Relevant, and Time bound. Now, you could probably make an argument for this being Sex Bob-omb trying to win the Toronto International Battle of the Bands competition, but really, Scott is fairly disengaged from that for large chunks of our story. And, if you know anything about Scott Pilgrim, you know that his main objective is to fight and defeat the 7 evil exes of his dream girl Ramona Flowers so that he can date her. So, I think it’s safe to say this is the Want, and the objective that drives the story forward and gives it shape. 

Q4: What is his need?

Need is the human quality or piece of wisdom that the character lacks at the beginning of the story. In other words, this is ‘the’ change that the protagonist needs to make. It is the lesson they learn or how they will be fundamentally different at the end of our story. Now, here I believe we are on shakier ground and this is where the film's real issues derive from. The film itself tells us that Scott earns the power of self-respect. But what exactly does that mean in this context? And how is it tracked across our story? How does it decide where our hero ends up? That’s something I’ll be considering as we go through the stages of the film.

Q5: Does he get what he wants and/or what he needs?

Scott does defeat Ramona’s 7 evil exes, and however you want to define Scott’s Need, it’s clear that the story certainly considers it achieved as well.

Ok, now that I’ve attempted to answer the 5 key questions, let’s have a look at Scott Pilgrim Vs The World’s sequences. 

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The Sequences

There are traditionally, but not always, 3 acts and 8 sequences, or stages, in a film. A sequence is a combination of scenes that are tied together by having a single overriding dramatic question or tension, and they tend to be between 10 and 15 minutes in length. A good way to think about it is that every 10-15 minutes, the audience should be on some level asking themselves a different dramatic question. Now, Scott Pilgrim is very fast paced, so while it still has these straightforward 8 story stages, it actually crams I’d say 11 sequences into them. 

Act I has our first two sequences, and the first one is always pretty much “life as it is”. And I think this first sequence is absolutely delightful. I love the fact that we start a comedy like this with just a bunch of 20-somethings hanging out in a kitchen chatting. But, this sequence does 3 things incredibly well. First, in our very first scene, our protagonist is defined clearly for us by how he deals with a problem. Namely, Scott pretends his ex-girlfriend Kim’s hostility is not a clear and present issue, he absent-mindedly dumps his new girlfriend’s coat on the floor as soon as she gives it to him, and he immediately starts playing music over any conversation. In other words, he’s completely self-involved and neither thinking about others nor dealing much with reality. Two: This is a big swing of a film, especially in terms of style, and it conveys that immediately. Three: something I really love to observe as a writer, within 11 minutes we meet 8 important characters who are all completely distinct: Scott himself, the talent Steven Stills, the drummer Kim Pine, Young Neil, Knives Chau, Wallace, Scott’s sister Stacey, and the most Aubrey Plaza role imaginable: Julie. I will never stop being impressed by films that can tell you immediately who 8 different characters are in a first sequence, even when the likes of Stacey and Julie initially only have seconds on screen. The other thing to note here is that the film uses a clear device to introduce us to Scott and his world. When we first meet him, Scott is doing the rounds and informing people that he is dating a highschooler. And to be fair to him, we see when he talks to his sister, he does have at least some kind of self-awareness. But, just as everything appears to be going nicely with Knives, Scott has a dream about feeling alone until a literal dream woman skates past him and wakes him up. Now everything with Knives is different. The realities of the age gap are really sinking in. And then, in what the script calls “sexalicious slow motion”, we have our inciting incident — or the event without which our story as it is would not happen. Scott sees his dream woman in the flesh, realises that she is real, and promptly becomes obsessed with finding out who she is. So, we have our first real tension of the film. Now, if this was a regular, slower paced film, we’d probably be wondering “Will Scott find out who his Dream Woman is?”, but this is Scott Pilgrim Vs The World, so the tension is at 4x speed, and we wonder “Will Scott get to date his Dream Woman?” Either way, we begin sequence II.

Like in most Sequence II’s, the status quo has been interrupted, and the protagonist has to respond accordingly before they can properly start out on their journey. So, obsessed Scott, being the Scott that he is, totally forgets that he is already dating someone and pursues his Dream Woman, Ramona, at a party. He learns that she works for Amazon.ca. So, Scott orders something online, briefly skims an email warning him that he will soon be fighting 7 evil somethings, and chickens out of breaking up with Knives. He also distractedly learns that Sex Bob-omb will be taking part in the Battle of the Bands. But soon, none of that matters, because he persuades Ramona to hang out with him, they bond over the fact that they both evidently have baggage, and they’re soon kissing and spooning together. But, they’re not really dating yet, so the following morning, she agrees to a second date, and gives him her number… with 7 Xs underneath. So, with the information we already have, we now know the big question of the middle of our movie: “Will Scott fight and defeat Ramona’s 7 evil exes so that they can date?” And so, at an exemplary 25 minutes, we end Act I and we enter Act II.

Act II begins with Sequence III: the first attempts to solve the problem, and It should be noted that when we were given our overall Act II tension, we were also given our smaller, tighter sequence tension, because for a second date, Scott asks Ramona to come to Sex Bob-omb’s first Battle of the bands gig. And so, we’re now wondering “Can Scott and his bandmates win their first round?” Now, the first attempts to solve the problem are generally the default coping mechanism of the protagonist before he begins to change. And so, in this sequence, we can say that the protagonist refuses the call to their need, cos they’re trying to do the same old, same old. They are called to change, and they are trying not to. 

So, Scott being Scott, he has invited Ramona to Sex Bob-omb’s gig without even thinking about the fact that Knives is planning on coming too. And when Ramona and Knives end up meeting, what does Scott do? He runs away from the problem and starts playing music. But of course, this would never keep things at bay forever, so the past, in the form of Matthew Patel, literally blasts through the ceiling to confront Scott. Now, it is worth noting that, like a videogame, the fights get progressively tougher for Scott. But for now, he is strong enough to defeat Matthew Patel, Ramona quickly whisks him away, and Sex Bob-omb win the night by some kind of default. On the bus home, Ramona tells Scott that if they are to continue to date, he will have to defeat her seven evil exes. And loved-up Scott is more than happy to sign up without thinking too hard about it. So, you might notice, Scott has gone from running away to fighting head on. In other words, he has stopped rejecting the call, and he has now accepted it. Anyways, our sequence tension has been answered: Sex Bob-omb did win their first round, and Scott has answered the call, so, at minute 36, we move into stage IV, which has sequences IV and V: the greater attempts to solve the problem.

Now, so far so good right? Up until this point, Scott has clear flaws, clear motivations, clear objectives, and pretty clear obstacles to those objectives. Also, his choices and decisions are driving the story forward. Buuut, this scene, on the bus, is where the first volume of the comic book ends, and the story of the film so far is pretty beat for beat with that first volume. But it’s from here on where the film and the comics increasingly diverge, and where we really begin to see the problems gradually emerge. So, from this point on, notice how passive Scott is and how, beyond a strong but vague desire to date Ramona, his objectives and behaviours become pretty stagnant.

Anyways, as we begin sequence IV, Wallace, preparing for a Lucas Lee marathon, gives Scott an ultimatum to break up with Knives. This means that even though Scott doesn’t want to, he now has to. And, in some ways, you can see how this kinda works quite well in character development. In sequence III, Scott basically avoided Knives. Now, he does the hard thing and breaks up with her. But, it’s also not really his decision, and he is shown to be incredibly callous about it immediately after, when he tells his bandmates that he now has a new-new girlfriend. So, it’s hard to say whether or not Scott has made any progress at all. 

But, once that’s out of the way, we quickly move onto sequence V and its main tension. While we’re just waiting for that Lucas Lee shoe to drop, we’re wondering some version of the question “Can Scott have a successful 3rd date with Ramona?”. Now, I think this scene is really funny. The bread makes you fat realisation, the concern for his shaggy hair, Scott’s obvious relationship PTSD, it’s great stuff. But Ramona is pretty much ornamental. While the obstacle here is really Scott and his self-esteem, and that’s fine, there’s no sense that it is really imperilling his future with Ramona. 

So, once again running away from his problems, the pair go to meet Wallace, and they encounter ex number 2: Lucas Lee. And I have to say: I think Chris Evans is amazing, and I really wish he was in more good non-MCU films. But, again, Scott fights Lucas Lee because Lucas Lee fights Scott. So, again, Scott just doesn’t really have any choice in the matter. In addition, after the last fight, Ramona whisked Scott off with her. After this one, she disappears by herself. Why? It’s just not totally clear beyond presenting a problem for Scott. And this is especially becoming an issue because we have answered our sequence V tension: Scott’s date was not successful. And that means, at minute 51 of a 108 minute runtime, we now enter the film’s all important midpoint.

Now, midpoints have a number of characteristics. Some people would regard it as the point of no return, and so, it’s at this point where Wallace reveals that Scott is going to have to move out. Ok, fine. It’s also a moment where stakes are raised, so it’s also at this point where Scott’s ex, Envy Adams, calls and reveals that she is back in town. Ok, that makes things messier at least. But to my mind, the most important aspect is that the midpoint of a film is where the protagonist makes their first conscious step towards their need. Put simply, they consciously take an active step towards the change that they need to make. And so here, Wallace tells Scott that he needs to fight for Ramona and tell her he loves her. Hang on, what?! How is that Scott consciously taking a step towards his need? Well, it isn’t. He is completely passive here. Whatsmore, it doesn’t even really make sense. They’ve been on 3 dates so the love thing seems awkward. But more importantly, Ramona left while Scott was literally fighting for her, and he has been calling her since trying to speak to her. He’s just being told to do the thing he’s already doing. That means that the story has become flat, and more importantly, so has Scott’s character arc. 

Anyways, we’ve had our midpoint, and so Scott Pilgrim enters Stage 5, with Sequence VI: the honeymoon sequence. 

The honeymoon sequence is so called because, having taken this step towards their need (or the change that they need to make), the protagonist is generally rewarded in some way. Now, this is not always obvious on the face of it, and Scott is first miserable because Ramona has disappeared, then he’s attacked by Roxie, then he gets sworn at by Julie, then he encounters his ex-girlfriend, Envy. So, not a great string of events. But, to be fair, he soon bumps into Ramona, they once again bond over their shared baggage; and he finally swears to think of Envy no more. So things are looking up. But again, notice how much is happening to Scott here. He happens to bump into Ramona, and he doesn’t have to say he loves her, all he has to do is say “yes, I would still like to continue going out please”. 

But this sequence soon ends as Scott is told his band is playing support for his much more successful ex-girlfriend. So, less than ideal. Things are taking a turn for the emotionally complicated, and we wonder “Can Scott survive his encounter with Envy and her new boyfriend Todd?” So at minute 58, we leave our honeymoon sequence, and we enter sequence VII, which is our first of three sequences in our bridge from the honeymoon to the low point. 

And things sure do get complicated. Not only is Scott meeting Envy’s new boyfriend Todd, but Envy’s boyfriend Todd is meeting his ex Ramona’s new boyfriend Scott, and Knives becomes aware of Scott’s new girlfriend Ramona. And soon Scott will have to deal with the fact that Knives also has a new boyfriend Young Neil. Thank God I’ll never be in my 20s again. Perhaps because Scott has been distracted and blowing off practice, Sex Bob-omb are mediocre while his exes band blow everyone away. But hey, it’s probably just because she’s way better than him. Also, in a film filled with great music, Black Sheep is a goddamn banger. At that, Scott is invited backstage (again, notice the passivity), and it’s time for him to face Todd, evil ex #3. And even though he outsmarts him, and answers the sequence tension by beating him in combat, the interaction has left Scott physically and emotionally drained.  

At that, we enter sequence VIII, as we wonder “can this battered and bruised Scott be grown up enough to not lash out at Ramona?” The tension is palpable as they go to the afterparty, and either side of a big fight with bi-furious Roxie, Scott insults Ramona in time-honoured asshole boyfriend fashion by implying she’s a slut. Now, I think Roxie is great. The fight scene is great, and she is a repository of one-liners, but the script really needs her to be here, because this sequence is pretty weak otherwise. Scott is pretty much just being moody and bitchy, but I mean, why? How does it fit his character arc? Now, you could say that he is trying to pretend that everything is ok when it’s obviously not, which is his classic modus operandi, but again, Ramona is like an ornament here just saying “I’m ok with whatever” until Scott drives her away. And how does any of this relate to fighting for love or struggling with self-respect? In the script, it suggests that Scott is embarrassed about this fight breaking out in front of everyone, and in the film he says that he feels they washed their sexy laundry in public. But since when has Scott cared about, y’know, shame? It really feels like he only cares now because, well, the story shape needs them to have a fight.

Now, you’ll notice the pace is picking up here, so we quickly head into sequence IX, which is the last of our Act II. And so, you might notice here that Scott stops being so passive. This is not surprising, it happens in lots of scripts, because well, we’re beginning to approach the end, so the story, not just the plot, really starts progressing again.

So, we have a couple of tensions here. We wonder if Scott can win Ramona back after their fight. But also, in more tangible terms, Sex Bob-omb are going amp vs amp against Ramona’s 5th and 6th exes: the Katayanagi twins. Now, every ex has their number present in their scenes: for example, there are twos all over the place in the sequence with Lucas Lee, and of course Todd wears a t-shirt with a big 3 on it. But here, Edgar Wright really outdoes himself. In the briefest of shots, and written in Japanese characters, evil exes 5 and 6 turn their amps up to 11, which is both a Spinal Tap reference and 5 and 6 combined. However, fuelled by learning that Ramona is hanging out with Douche-tastic Gideon “G-man” Graves, Scott inspires Sex Bob-omb to victory. 

So, Scott has finally encountered Ramona’s most recent and most evil ex, Gideon, and he just so happens to be the indie producer of the millennium, G-Man Graves. As luck would have it, our twin plots have intertwined fully at the end of Act II, which is textbook story structure. But as luck would not have it, Gideon has seemingly won Ramona back and he signs Sex Bob-ombs to a 3 album deal without Scott on board. So, Scott has lost everything even though he finally manned up and tried to tell Ramona he was in love with her, even though that didn’t go so well. As with so many low points, the protagonist no longer believes the counterargument but the argument seems impossible. So, Scott didn’t run away from his problems, but there’s no real way for him to fight for Ramona either. And so, at minute 87, with 21 minutes to go, we end Act II and we enter Act III.

Act III has a false resolution and a true resolution. So, Scott has a typical long night of the soul before coming home to walk in on Wallace having sex, and to find out that he really needs to move out once he finishes his hot cocoa. It really seems like all is lost. But Lord of Douchetown Gideon can’t leave well enough alone, and so Scott resolves to go take him down. Again, you can hear it right? He’s suddenly way more active again! And so, we enter Scott Pilgrim Vs The World’s true resolution. Scott’s got beef, so he decides to fight Gideon for Ramona, and in doing so, he earns the power of love. Unfortunately, all of that knotty undealt with past is still knocking around, so just as Ramona’s exes have been trying to kill Scott, now Scott’s ex Knives tries to kill Ramona. Distracted by trying to dodge the blame for all this, Scott fails to dodge Gideon’s blade. All of a sudden, it looks like it’s game over for our hero. 

Now, I’m happy that Scott is more active again, but this is really where things go fully off the rails because of all that wonky story structure stuff earlier. In the comic book, this part makes way more sense, but I’ll come back to that in a few minutes. Here, Ramona appears in Scott’s head, reveals that Gideon has a literal way into her head, and dispenses the wisdom that maybe she’s not who Scott should have been fighting for. Now, this turn of language is vague on purpose. In the script, it’s completely clear that she is talking about Knives, because the original ending had Scott getting back together with the 17 year old highschooler. Here, it’s been edited after the fact to, I guess, suggest she means Scott himself. But it feels like a quick fix. Anyways, Scott uses his extra life, fights for himself now, takes responsibility directly for being shitty to Kim, Knives, and Ramona. And, now with everyone onside, they finally defeat Gideon and his horde of evil hipsters. It should be noted though that it really is Scott and Knives fighting together throughout this scene. The film really seems to be landing on these two as the pair that should be together. Outside, once Scott has befriended Negascott, it appears that Scott and Knives might be back together. And so, Ramona starts to walk away, but Knives tells Scott to go after her. So, again, notice how all of a sudden, Scott is super passive again, and at the moment where he should be making his biggest decision. So, Scott does go after Ramona, because that’s what he’s been told to do. She immediately agrees to try again, and they walk through a door and into the future together.

Epilogue

Now, I want to reiterate. I love this film. I don’t like bad mouthing it! But, it is clearly deeply flawed. So, I’d like to talk about the real core reason why I think this is the case, and then remind myself why this film is genuinely special. 

Obviously Edgar Wright is aware of story structure. His script literally has Scott outline the hero’s journey. But, I especially find with a lot of directors who write — but also Rian Johnson, Greta Gerwig, Christopher Nolan — that they sometimes seem to have a kind of superficial understanding of how a story should be shaped. As Robert McKee puts it in his book Story, I think they end up writing from the outside in. Or they think of surface or exteriority of the film and not enough about the internal journey of the protagonist. So, often with these films, the protagonist can become passive and disappear into the story because the story is just kinda happening around them.  

Now, sometimes it’s suggested that Scott Pilgrim would always be inherently flat as a story, because of its videogame-esque structure. But, I just don’t think that’s true. I mean, there’s no question that it could be less flat than it is. For one thing, you have to find a way to make Scott active at the midpoint. You just have to. For another, I think it would immediately help if you switched the Todd fight with the Roxie fight. Roxie doesn’t feel like that much of an emotional threat for Scott, and the two lovers literally work hand-in-hand during the fight. By contrast, Envy dumped Scott for Todd, he’s a better bass player than Scott, he literally looks like Superman, and he’s vegan so just better than most people. Much more threatening to Scott’s sense of self-respect. 

But of course the big thing is the ending. Now, if you read the Hero’s Journey too literally, it is all about returning to the same place you were at the start, but with new knowledge. So, again, it makes sense that Edgar Wright wrote a circular story where Scott begins and ends with dating Knives. But that was just never going to work in my view. Did Scott really dump Knives and become obsessed with Ramona because he lacked self-respect? And then on his journey, he realised that he didn’t need Ramona, he needed self-respect. I just don’t see it. 

By contrast, instead of going inside Scott’s head, the end of Bryan Lee O’Malley’s comic series ends with Scott and Ramona fighting together inside Ramona’s head to expel Gideon from there. And you can feel it right? It just immediately makes emotional or thematic sense. It feels right. In a film where the protagonist is attacked by manifestations of his girlfriend’s romantic baggage, this is expressive of the theme that you might have to fight to help your partner recover from previous bad relationships.    

But again, let me be clear: I frickin’ love this movie. And while there’s lots to love here, what really inspires me everytime I watch Scott Pilgrim Vs The World, is the quality, density, and sheer imagination of the humour. Scott Pilgrim was made smack bang in the Judd Apatow / Seth Rogan era of comedy. All the films felt like guys walking around talking to each other, and they were famous for the actors improvising on set. Fine, but it’s so limited in what you can do if everything isn’t planned in advance. You just can’t compound comedy in the same way. Curb Your Enthusiasm could never have had as many jokes as Arrested Development. But also, my favourite comedies are the ones where it’s kinda hard to describe why it’s funny, because generally speaking the jokes are so compounded and the story has taken you into another world or way of thinking. And you essentially need that context to explain why it’s funny. You can’t really describe the comedy of how after the gig, Julie’s mouth is bleeped out in a callback and a pay-off when she says “Did I fucking stutter?!” Or that the Universal logo and jingle appears in 8-bit. Or that Scott has a pee bar when he goes to the bathroom. Or that an 8-year-old girl drummer gives Kim a death stare. Or the fact that Comeau is saying a different yet equally hipster-y line of dialogue when Scott powers past him for the second time entering the Chaos Theatre for the final fight. Or the fact that so much in this film looks like it came straight out of a comic. This is conceptual, cinematic, audio-visual comedy. It’s not just using dialogue, basic cut-away editing, or — the worst — lazy soundtracking to convey humour and energy, and you can’t get comedy this compounded or evocative with just those tools. Comedies allow you to go big with your protagonist and your film, and films should pretty much always be an extension of the mind of their protagonist. If you think about The General, Bringing Up Baby, Singin In The Rain, The Apartment, Airplane, When Harry Met Sally, Wayne’s World, Rushmore, Zoolander, or Anchorman, all of those comedies look totally different from each other. They all have iconic scenes and shots, not just because they’re brilliantly funny, but because there’s a real style to them. They are all super-distinctive looking, and they all reflect the perspective of our comedic protagonist. The world is an extension of their minds, and generally especially reflective of their flaw. I miss this truly evocative, truly imaginative form of cinematic comedy storytelling. I think that’s why Barbie, also despite its flaws, and also despite not being so dense or layered, still felt so refreshing in the cinema. But no comedy film is more evocative and more expressive of a protagonist’s sensibility than Scott Pilgrim Vs The World. 

It’s the fact that that sensibility is so familiar and distinct, the fact that there’s so much evident love and care in expressing it, and the fact that the film and comedy is so expressive of this that makes Scott Pilgrim Vs The World so quotable, such a cult classic, and why despite its flaws, it’s a film I will never stop loving. 

This has been Mark Overanalyses Film on Scott Pilgrim Vs The World. If you enjoyed this episode or like the podcast in general, please do recommend it to anyone you know who might like it too! It really would be a great help! A special thanks to Mary Kate O’Flanagan who taught me everything I know about film, including these methods. Thanks for listening. Take care of yourselves, and see you soon.