This transcript was automatically generated and might contain errors.

[0:00] Jeff Malone: Welcome to Half Hour with Jeff and Richie, the podcast where we explore the latest shows we see, sharing our insights and opinions on the performance of storylines and everything in between.

[0:08] Richie Grasso: In today's episode, we're discussing the Broadway production of School Girls; Or, The African Mean Girls Play. Whether you cannot catch the show in person, or you want to expand your thoughts after seeing it, this episode is for you.

[0:19] Jeff Malone: And as always, we want to inform you that this episode will contain spoilers, so if you're ready to dive into this production, stick around with us. I'm Jeff.

[0:27] Richie Grasso: And I'm Richie, and we're thrilled to be your hosts for today's episode. But before we start the conversation about School Girls; Or, The African Mean Girls Play, here are a few words from our advertisers.

[0:37] Jeff Malone: Welcome everyone to a new episode of Half Hour with Jeff and Richie. Today we're discussing School Girls; Or, The African Mean Girls Play.

[0:43] Richie Grasso: School Girls; Or, The African Mean Girls Play takes us to Aburi Girls Boarding School in Ghana in 1986, where the biggest dream is being crowned Miss Ghana. Queen Bee Paulina and her crew are sure the title is hers when the pageant recruiter comes to campus, until Erika, a new transfer student from America, turns the competition into something far more personal.

[1:03] Jeff Malone: Written by Tony nominee Jocelyn Bioh, and directed by Tony nominee Whitney White, the team behind Jaja's African Hair Braiding, this bright, biting comedy premiered off-Broadway at MCC Theatre in 2017, and makes its Broadway debut with Manhattan Theatre Club at the Samuel J. Friedman Theatre.

[1:20] Richie Grasso: Alright, well let's get into our bold statements for School Girls; Or, The African Mean Girls Play.

[1:25] Jeff Malone: Yes, okay, so I'll start with my bold statement. My bold statement is, this felt like Mean Girls until it wasn't Mean Girls, and I think that the journey of this, going from this comedy and this silly, fun show, that kind of then goes serious and serious and has this wide eye-opening experience. For me, I learned so much, I felt all the emotions the piece was conveying in just 80 short minutes, and I was blown away by how meticulously well-crafted this whole thing is. The drama, the comedy, and everything in between.

[1:57] Richie Grasso: I couldn't agree more. And my bold statement here is that Denée Benton is coming for that Tony, y'all.

[2:04] Jeff Malone: Oh, yes.

[2:05] Richie Grasso: So, she is starting the season off right in School Girls, and you need to go see this to see her in it, for sure. And the whole ensemble, totally.

[2:13] Jeff Malone: Totally. It's a great, great start so far to the fall 2026 season. So, let's get into it.

[2:20] Richie Grasso: Diving in. So, we're talking a little bit about just the concept here. So, this had an off-Broadway run. This has been done a lot regionally. It was done in London. It had never made its way to Broadway. I didn't even know that history of this with MTC. I just always, though, put so much trust and faith into MTC that they're just doing such great stuff. So, every time I see a show, I'm like, awesome, can't wait, right?

[2:39] Jeff Malone: Jocelyn and Whitney work very well together. We saw that at Jaja's African Hair Braiding, which we also loved. Now, this is, I believe, the second play I've seen written by Jocelyn. I don't believe I've seen others besides these two. What I find fascinating about Jocelyn's writing is, I said this to you, Richie, as we were leaving the theater, it's this extremely specific place and a specific time period. And when you think about where we're going with that specificity, you think, oh, this is going to be really niche, or this is going to be really specific to a certain audience. But it then has this extremely world view to it.

[3:12] Richie Grasso: So, we're talking about a time period and location. I mean, the whole play is set in this one location. You think, oh, okay. And then, as the rope kind of unravels through the story, and it's not a three-hour play, we're talking about something that's kind of moving along pretty quickly here, and we're going on that rollercoaster of, oh, oh, oh, and it's comedic, and then it's not, and then it's comedic, and then it's not. And that ebb and flow energy is what I appreciate so much about Jocelyn's writing. Same thing with Jaja. It was comedic. It was this very specific locale and a specific time. And as it kind of went on and on, it was like, wow, we are dealing with worldly topics here, even though it is set in such a specific place. And I kind of love that about the way that she writes.

[3:56] Jeff Malone: Yeah, I like that too. I find that, you know, we were talking about that when we left, on that this is a shorter 80-minute, you're in, you're out, one-act play, which is really strong. It doesn't have a lot of filler in there. And could it be expanded a bit more? Sure. We talked about that as well, that, like, oh, maybe we would have a little bit more development with some of the roles in this show. And you kind of, like, sit on that teeter-totter, though, on this and say, does it need it or does it not? And meaning, like, can you kind of expand on the plot of that role and character a bit more on your own or does it need to be told to you? So I kind of enjoyed that with her writing. It's more of this, like, quicker, episodic moment. Like, this could be so many different episodes if it was a TV show.

[4:48] Richie Grasso: Which is why I think if I, if there was five or 10 minutes more of this play to flush out a little bit more of these characters, a little bit, I would say, okay. But I don't, and that's just a very, very small critique because I do feel like we were kind of moving pretty fast throughout this. If there was more scenes of them, but I, maybe just getting to know core character development, but I definitely also feel like we got enough character development out of this and I was able to really see the full plot come through.

[5:14] Jeff Malone: I mean, we're talking about this, again, this school and they're getting excited and it, you know, it is a lot like Mean Girls when you think about it. There's a lot of similarities in the beginning, like, oh, there's the Regina George, there's the Katie Herron, there's the clique of girls, there's the head of the school. Right. And then you kind of see a lot of that unravel. And the way Mean Girls, as we know, it kind of ends is like, they've learned some life lessons. They kind of move on. This is more like, no, we're going to tell you that this was actually a little bit more serious because we have some really serious themes here to talk about. We have race, gender, equality. There's so many of those themes to talk through.

And I think that you don't really get that from the very beginning. I think you're like, oh, this is going to be a comedy. Right. And then the themes of, we talked about this wealth and class, Ghana. What does Ghana mean to them? Someone who says that her father owns a business in Ghana. I'd left and come back. People who live in Ghana in all different ways. It's a cultural piece of that area. And then we also talked a lot about the educational access of that and who is getting education where what they know about America, what they don't. This is pre-internet, pre-cell phone. So it's what they're learning through word of mouth that and that had a comedic flair to it, too, with White Castle and all that, you know, that they were talking about.

[6:30] Richie Grasso: So I just think that this was written in a way that made you think, yeah, this is not the modern day. We're going to go back to 1986 here. The references of music. Right. What was the impact of music in this? I think that was so impactful, too. And what the 80s songs that they loved and found, you know, successful was also the scene change music a lot of the times, too. And how so much of like America was actually overflowing into other parts of the world. I think, you know, what Jocelyn did really well with that in the beginning was she did try to add comedy. She did try to kind of show how others were receiving American culture around the world and, you know, added comedy into that by saying like how they received it versus how Americans were receiving at that time, what was going on, why Bobby Brown was so big and how easy also for someone who did have access like Paulina, who is the queen bee of this crew in the school, how she was able to kind of tell the other girls, oh, I know everything about America and you don't know anything. And it added that kind of like class and wealth system to even how things were going on in Ghana, the same way it happens in other parts of the world as well.

[7:45] Jeff Malone: Totally. And not to mention there's this whole underlying theme of skin tone and race and how the lightening of the skin that they wanted to use the cream for and the different moments where Patina Miller's character was talking about lighter skin versus darker skin and what that meant in the pageant world and of the time. That was fascinating to me. I was really, really open to learning more about that. And I loved that the play taught that to you through the dialogue. I think Jocelyn writes so well and is able to just say, let me get this message across, but I'm going to do it through these two characters talking and then these two characters talking and then these two characters talk. And that's what a playwright does, right? They get the message through dialogue. Jocelyn does that so well. And I just, that's why when we talk a little later about Tony nominations, I just hope that this gets the accolade that it deserves in the Tony world space too.

[8:37] Richie Grasso: And to make this like have such a strong topic though around colorism and skin tone issues, even within the black community. I think, you know, we're watching this and we're, we start with four girls that are native to the land before the American comes in, which is Erika. And they're talking about each other in such a nitpicky way. They're saying, oh, well my hair is better or my, I'm a little bit lighter than you. And, oh, but you're beautiful because you're skinny. And I found it so interesting that they all were having these moments of because of why a beauty pageant, a beauty pageant that's being told to you on how you are supposed to look, what is beautiful. And when you, these girls are seeing this and they're saying like, oh, well that country wins and that country wins and that country wins and that country wins.

And no one that looks like me ever wins, even though they had a Miss Ghana that made it to the global pageant. And then nothing happened. She even had to come back and tell them, like she had to tell Patina's character had to tell the head mistress that, oh, you know, yeah, I won the pageant, but when I got to the global part of this, no one even looked at it. And then when they announced the top 10 at the end of this play and they're gathered around the TV, there is this incredible sense of, oh my gosh, we want Miss Ghana to win and doesn't, but the amount of countries missing from that top 10 and the representation because.

[10:07] Jeff Malone: I'm paraphrasing whatever the TV announcer line is at the end. It's like, here are the most beautiful, the top 10 or 10 of the most beautiful women in the world. And you just see these girls' faces so gut-punched hurt. And then it's just, they're just like sad and then blackout end of play. I'm like, oh my gosh, like that got me. I just felt what they were going through there. I thought that that was such a smart way to end this in a sense of like, let's just bring this to reality for a second about what was going on. And is the pageant world the same all these years later or not? And that's a whole other conversation. Some things maybe have changed. A lot of things maybe have not changed in the representation and in what the pageantry world really means and the representation in that.

[10:47] Richie Grasso: Oh, for sure. Because I'm pretty sure Jocelyn is making us ask the question when we're watching the show like, oh, I'm not giving you a happy ending, everyone. Because why? So much has still not changed even from 1986. And we're in 2026 now. So do your own homework on this, everyone. Like there are still major things on what people see as beautiful. So I think she leaves that question for us to ask. It's smart. It's very smart writing. Awesome.

[11:19] Jeff Malone: So, all right. Well, I think this is a great time to take a quick break. And when we get back, we'll get into the direction and actor performances and design of School Girls.

[11:28] Richie Grasso: Okay. And we're back. So let's get into the direction first off here. Where do you want to go with Whitney White? So I think Whitney does a lot with the space that she's working with. When you look at Jaja and when you look at School Girls, we're dealing with like one room. And sometimes in one unit sets like that, where there's not a lot of moving pieces and we're not changing locales a lot, you have to use that space to the fullest. And I always first start with direction and say, was the space used? Was everything front and center the whole time, or was it used? We were up in that back hallway. We were using both doors. We were using stage left and stage right and center. We moved the benches a little bit when the singing scene happened, which we'll get to that because that was so great.

But I think the direction of this flowed nice. I thought the scene changes were nice. I loved the incorporation of different styles of music in the scene change. It sounded like there was some African music in there and then they would play 80s pop music. And there was that juxtaposition of those two throughout that I thought was really great. I think the way that Whitney has worked with the design team is wonderful. These costumes, the lighting, it just seemed really seamless and nice. And even though you see one room, like this takes place in a school. We could have had this in the dorm and then in the principal's office and then in the, and we could have had so many locations. But no, it was like the cafeteria was their place to come together.

The cafeteria is a big room in Mean Girls as we know it, right? So I almost wonder if there was some mirroring there, like the, you can't sit with us. What are you eating? The whole thing was so reflective of the Mean Girls as we know. And I think not, it wasn't copying it exactly, but it was realizing like the cafeterias where a lot of stuff happens.

[13:05] Jeff Malone: Yeah, because in a similar relatable way, they're talking about the cafeteria and what happens in the very beginning, the, where do you belong? Even in the film and the musical, it's both like, find your tribe and be part of it in school. They've always kind of like installed that into you from a young age, find where you belong in a social setting. And when we come to school girls here, we're doing the same thing. And I think what Whitney did really well was she did bring it in to the cafeteria every time. We didn't need to leave and go to the other rooms or like the dorm or the pageant. It was all led for you to kind of feel it outside of what was happening in that cafeteria. And I thought she did that really well, very similar to how she did it in Zsa Zsa's African Hair Braiding.

I think everything belonged in that space. You didn't leave the hair salon, you know, and anything that happened outside, you learned about it later. And that was one of the things that we talked about, even in the writing and the production overall, you didn't need those moments outside of it because it would have gave it away. It was so much more impactful to have it come back to the space that it was going to get talked about, you know? So I think that's what worked really well.

[14:20] Richie Grasso: Totally smart. Yes. And then when you look at some of these designers, I mean, we have Queen Jean who just won a Tony award doing the costumes. The costumes to me were so standout. I love the school uniforms. I love the headmistress's outfits were wonderful. And then Patina Miller's character comes in. I keep saying Patina Miller's character because Eloise was the character's name. And she's wonderful and beautifully dressed in like a more modern way, right? And then when they all come out and they're like 80s gowns and looks to this, I was like, this is so 80s and I love that too. I just thought the costume design was very smart and stunning too in this whole piece. Because as a choice, you're looking at this and you're saying, we have the headmistress that's trying to teach these girls and keep a lot of native tradition to where they are in Ghana and keeping that alive.

That's why I think if you go back to one of the choices here and keeping a lot of the music from them in the moment, but that these younger girls are kind of like, oh no, I want to listen to Bobby Brown. And oh no, I want, I'm listening to Janet Jackson or, oh, I'm listening to different American artists that are coming out into this pop music world. That's what was in their headphones. That's what was playing on the stereo systems. And then in the scene change moments, we were getting more of the native music to Ghana that we were hearing there. And it was so funny because you have this moment of the headmistress that she is bringing culture back to them. But when she starts talking to them, she has her whole moment too, where she's like, oh, I love Bobby Brown.

And it's funny that it's like, you can have both. And one of the things we were talking about them too was like, oh, we have this older generation that knows each other and the younger generation that is also having the same fight that it seemed they both were having even from long ago, but one kind of left and went into this like American modernized look. And she kind of stayed back and is teaching the girls about that.

[16:25] Jeff Malone: And that's why I think when Paulina is just broken down and hurt at the end, and the headmistress goes over and lifts her chin up and tells her, it tells her it's going to be okay to stand. It's like, that was a camaraderie moment too. Like we're going to be okay. And I'm going to help you. That was such a strong, powerful moment for me. I found that to be so strong. And kind of leaning into some of these cast performances, I truly found this to be such an ensemble piece. I think I leaned over to you at one point and I said, this is great chemistry. Like these women are working together so professionally and having such fun and enjoying it. And they're understanding that these characters have to have good energy and chemistry. I was blown away by that in this whole piece. So truly every single one of them was amazing, but I do have a couple of standouts to me personally as one you had mentioned in your hot take.

[17:14] Richie Grasso: Yeah, because I feel like the acting talent was so strong on this stage. And I feel like this is really setting the tone. Like we've had Paranormal Activity already as the first show of this season. And now we're moving into School Girls. And I feel like the acting is really strong starting off with Denée Benton. She's playing Paulina. That's the queen bee of the school right now. And Denée is giving this acting masterclass on the stage, which is why I'm saying she's coming for that Tony because I'm watching her in certain scenes, especially between the scene of her and Jasmine Amy Rogers, who plays Erica. And they have to have this volleying back and forth, which is very catty new girl versus established.

I'm here. I'm the queen bee. And who welcomes who into this space? And it's really neither of them. And it's really, you know, Paulina saying, oh, I'm perfect. I belong here. And it almost has that moment. And Denée really gives it to us of like, is she actually confident? Or is she using all of these other things around her as creating confidence that's not there? Right. And Erica walking in, who's Jasmine Rogers, who I think was also an amazing standout in this role. And it was so great to see her in an acting role outside of the musical space. She is like walking into just as confident, but you learn later that neither of them have the confidence. Neither of them are as strong as they actually are on the outside.

And I think they both did a great job. And going back to Denée, she gives these acting moments of like facial expression. She is consistently acting through scene throughout the whole piece, even when the other ensemble members in this play are having their own moments on the stage. She is listening, she is watching, she is observing, and she is entering when she needs to. And I think she did a fantastic job.

[19:19] Jeff Malone: I totally agree that Denée Benton is such a standout here. I think she's very, very strong in this. Jasmine Rogers as well too. I will say also, Patina Miller, fun. Love her. I love seeing her on stage. She's gorgeous. She's up there doing her thing. She walks in, she commands the stage. She got an applause at her entrance. We know she's a Tony winner. She's very well respected in the space. We love it. I will say Heather Alicia Simms to me, always have loved what she's done on the stage. Her character is vital to this production and is so smartly written and incredibly acted. I'm blown away by Heather in this too. Her moment where she's telling all the kids to stop and think about what you did. That was just really impactful. And I just loved her in this too. Good. She has to also come in and give this like motherly headmistress moment with them. She is helping and creating and teaching these girls on how to thrive in this world.

[20:14] Jeff Malone: Denée Benton, Patina Miller, and the Race for Miss Ghana, and the Race for Miss Ghana, and the Race for Miss Ghana, and the Race for Miss Ghana, and the Race for Miss Ghana, and the Race for Miss Ghana, and the Race for Miss Ghana, and the Race for Miss Ghana, and the Race for Miss Ghana, and the Race for Miss Ghana, and the Race for Miss Ghana, and the Race for Miss Ghana, and the Race for Miss Ghana, and the Race for Miss Ghana, and the Race for Miss Ghana, and the Race for Miss Ghana, and the Race for Miss Ghana, oh, the only way we're ever gonna get by is if we become part of the group, who is the strong person in there? And who is not? Who do we follow? Who do we believe in? And then they all start, kind of, becoming their own throughout the piece, saying, like, Oh, I could be queen B if I really wanted to. And I think they all did a fantastic job in being that as well. Totally, totally. Amazing stuff. It was really great.

[22:14] Richie Grasso: All right, well, let's take another quick break. And when we get back, we'll move into our own experience at the show, some Tony talk, and what we might think is next for the production of Schoolgirls. All right.

[22:25] Jeff Malone: Okay, and we're back. So, we should get into Tony talk first, right?

[22:29] Richie Grasso: Yes, I mean, you know, when plays open this early in the season, I always like to say it's hard for them to kind of get stay remembered until April and May and June of next year. But there's always shows from the fall that are remembered. This should be, and I think will be remembered for Tony nominations, no doubt. Best play or best play revival, depending on how they weigh this, because it was off Broadway before. I'm not sure how the Tony nomination committee will vote on that. So we'll have to wait and see when they start making decisions. Either way, whether it's best play or best play revival, definitely deserving of a nomination. I'm pretty sure if I remember correctly from our fall preview episode, it is getting considered for revival, but they haven't voted on it yet. So we'll see what happens there. But I definitely would suggest it definitely gets a nomination for a best play.

[23:17] Jeff Malone: I also think Queen Jean could be nominated for those costumes. I was very, very impressed with that. I would also say it could definitely get a Denae and Jasmine and maybe Patina and Heather and some, whether they're leading or supporting, I'm not sure, but they could all be up for some nominations in some way, because that's how incredibly strong I thought this whole thing was.

[23:36] Richie Grasso: Yeah, I think it will be another thing on how they are ruled on is it for leading or supporting. This is, in a way, kind of similar to Liberation. It feels like a very big ensemble piece and could either lead in either way for some of the roles in this show on if it's a leading or supporting role. But I'm putting my money on it that Denae could definitely get a Tony nomination on here and that Heather has a very strong chance for a nomination as well. And there was one other designer that I wanted to mention that we didn't mention in the first segment, which unfortunately there's not really a Tony category for, there should be, for wig, hair, and makeup design, Nakia Mathis. Those wigs were incredible.

[24:22] Jeff Malone: Oh yeah. I was like, oh my gosh. And then the whole part with her bleeding on her face and the makeup and having to do that effect, I mean, that's a lot of work. And I just thought all the wigs and hair and makeup were so well done in this piece. I just wanted to do a shout out to her. I don't know why we don't have that category in the Tonys. It really is deserving. We are seeing so many wigs. Nine out of 10 times we see a show that's a wig and half the time you would never know because they're just so masterfully designed. We've interviewed wig designers on our podcast before and I just want them to get the accolades. It's so much work.

[24:54] Richie Grasso: Yeah, I really don't understand. Why is that not a category?

[24:57] Jeff Malone: I don't know. Or why it's not part of the costume win as well.

[25:02] Richie Grasso: Well, it's also like, should projection designers be under the category of scenic designers or are those two different categories?

[25:08] Jeff Malone: Well, I'm saying if it was either, I'm just saying why it's not nominated at all. And we also talk about why do music directors not have a category for best music director of a show or conductor of, you know, like there's orchestration but there's not the music director teaching all the music. Or we've talked about that with other categories. Sound design went away for a little while and then came back, right? So there's so many categories. They've talked about best ensemble. Why don't we have a best ensemble Tony award, you know? So another conversation for another day, maybe. But yeah, I definitely think that this play, Schoolgirls could be remembered and definitely should be remembered in a few months from now when we're at the Tony nominations time.

[26:42] Richie Grasso: Yeah. And one thing I want to kind of bring up too about our own experience at the show, I feel like this may have been one of the first times in like a really long time that the audience was so engaged with what was happening on the stage. And believe me not, there was zero cell phones that went off. There was no talking. There was no crinkling wrappers. It was just like, everyone was so engaged in the piece that was happening on the stage and I loved it. It felt like a true audience that was just there to really see this piece. I feel that about so many Manhattan Theater Club shows. I felt that about Bug. I felt that about Ballisters. I feel like they're just putting pieces up. We're like, buckle in, here we go. And we're telling a story. And there's not a lot of filler. And I like that. And I think the audience is really engaged in that. And it's very, very, very impressive. So I love that.

[27:35] Jeff Malone: So question for you, Jeff. After Jaja and now Schoolgirls, what should Jocelyn Beo and Whitney White do next?

[27:42] Richie Grasso: I really feel like after seeing both of these plays that I am, and I would love to kind of know Jocelyn's feeling on this, but I think she could write a musical. And I feel like Whitney could direct it with her. I think they are becoming a power team for us in this Broadway space and off-Broadway space. So I would kind of love to see what they would kind of brew up in a musical world.

[27:59] Jeff Malone: I love that. I think that'd be great, yeah. And if that means they have to bring another music writer on but I think Jocelyn could write the book or the lyrics or whatever. I don't know what her musical writing capabilities are, but I think that she is just writing so well for the stage, agreed.

[28:19] Richie Grasso: Yeah. And for you, I have a question. Now that Schoolgirls has made it to Broadway, who do you think should see this play and why?

[28:28] Jeff Malone: Well, as I always say, I think everyone should see all plays on Broadway. But for this one, I do think the younger generation should see this. I think high school students, college students, I think people who are going through school right now can maybe see this and say, oh, wow, look at what was happening in the 80s. And how does that relate to what's happening today with the cell phone internet age? Is it the same? Is it different? Why or why not? It could be a whole conversation. And I know that this is only running until the fall, at the end of the fall, but I would love for as many schools to be able to go to this as possible. I think it would be really, really impressive for so many younger generation of people to see. I think it's a really strong piece to definitely bring the younger generations to see it.

[28:59] Richie Grasso: I totally agree with that. And I feel like this really has the big chance to be a film.

[29:05] Jeff Malone: Oh, totally. I would love to see that. I think that'd be amazing. Like a true film, not just a pro shot. I mean, I would love a pro shot of this production as well.

[29:14] Richie Grasso: Oh, pro shots too, because then we could be showing that to the masses because I love when pro shots come out, especially when the show's concluding. But like a full feature film on this, I think this would be a really strong piece.

[29:25] Jeff Malone: Yep, yep, totally, totally, good. Oh my gosh, we're almost out of time. What are your final thoughts, Jeff, on Schoolgirls or the African Mean Girls play?

[29:34] Richie Grasso: Again, we're like two for two in this Tony season already that I'm really, really happy with the pieces that we've seen. I highly recommend seeing this this fall. It's definitely on my must list. And it's an important story to definitely lock in and see what is being said in this play overall.

[29:58] Jeff Malone: Totally agree. Everyone should go try to see this. I always try to tell people about shows that have strictly limited engagements to get your tickets and go. I want people to go because then they close. A lot of times they get extended maybe a week or two, but then they have to get ready for the next show when you're in these places like Roundabout and the Night in Theater Club and Second Stage where they have multiple shows to get into one season. So go to this as soon as possible. I was just blown away by the whole thing. It's got such a message. But also you're gonna laugh and you're gonna feel so many different emotions throughout this whole piece. So definitely get your tickets and go see this. I really, really enjoyed this. And yes, as you said, Paranormal Activity and Schoolgirls are the first two shows of this season and they're two for two. As far as I'm concerned, it's been great. And I think we're very hungry to have Jocelyn Beo on this podcast now.

[30:40] Richie Grasso: Jocelyn, yes, exactly. We saw her work with Jajas and now after seeing Schoolgirls, I think we need to have a full conversation. Come on, Jocelyn. We need a full conversation on this piece. We wanna talk to you all about this.