As you picked up, partnership working, that’s incredibly valuable. It can also be a bit tricky at times. Finding partners in the first place is not always the easiest thing, especially when you are being quite specific about wanting to engage certain types of group. It's not always easy to find those groups. And, you know, as I keep saying, it's - we assume that people want to engage with us as museums, and sometimes they don't. We need to put in that hard work to make it worthwhile for them, and not just for us. So yes, forming those partnerships, keeping those relationships going, although I do three festivals a year, how do you then keep those relationships? It's, you know, it's not right at all to build up relationships and then just drop them and kind of not have anywhere for them to develop and to grow after a festival. So that's a real challenge, and I think, not just for my programme, but for many programmes within museums and many situations is how do you actually keep those relationships going? Also, because some of the festivals that I do organise working with specific cultural groups or developing content, which is linked to more sensitive topics, they're still family festivals, they're still large scale events, and they need to be appealing because they need to attract a lot of people. So matching up those sensitivities, but also packaging it in a very exciting, attractive festival can be quite a challenge. And there are certain themes, which I personally feel, you know, a family festival is actually not the best way to deal with it. So it's also trying to figure out, you know, those kinds of what are the lines, what are the boundaries, where is a big celebratory festival appropriate, and where other types of engagement are more appropriate. And then also just in terms of the logistics of organising a really big event, there's always going to be challenges, things are always going to get thrown up, especially when I first started in the role, which was, it's coming up to four years ago now. Because the programme was completely new, so we were pushing the museum to do things which were very different, and whether that's, you know, being able to use certain materials out in the galleries without people freaking out that they're going to ruin the collections, or making a lot of noise, like, you know, I'm a big fan of noise in museums, steel pan drums outside and singing in the galleries. Sometimes you can face a little bit, you know, sometimes people can be a bit unsure or a bit nervous about disrupting other visitors' experiences, which is a completely valid thing that needed to be thought about as well. So developing those kinds of systems that fit in with the rest of your organisation, but that still really push your organisation to do things that are a bit different and to step a bit out of their comfort zone, I think has been a bit of a challenge for me up to this point as well.