As I am finally free to tweet about this masterpiece called #Ammonite, I shall now tweet my way through the film, trying to present the meanings found on screen to the extent of my research and perception. MAJOR spoilers ahead. Proceed with caution.

Hunched over, a woman with dirty skin and dressed in worn clothes polishes, quadrant by quadrant, a wooden floor. Methodical work. Careful. A gentlemen orders her to move and right away refers to his equals as gentlemen. His voice, like the floor, is polished, but hard on women.

He scoffs at the audacity of the tag. He replaces it with the “official” name, Ichthyosaurus, and his own, a man-of-science. Esqre is some sort of man-of-law title related to science at the time.

In a room with rattling windows, a small side table and a single bed, feminine hands light a candle. She finally gets comfortable under the sheets. A very authoritative mother-sounding voice lets us learn her name.

It’s very early and she is already dressed. Sigh. She feeds the fire with some coal. Some heavy sighing. This is just another day. Not an exciting life. As the mother starts making demands, she moves across the room towards the door. Leaves without discussion. It’s a hard life.

Nature is a look into the emotions of Mary. Grass and branches, dry. Deafening strong wind. The sea in turmoil. Uncomfortable pebbles to step on.

Worn work shoes over the pebbles. The coat resembles one of a fisherman’s. Near her neck, even the collar, once white, is grimy. From the side, her hairdo resembles the tentacles of an ammonite. She examines and discards rocks. This work takes time and is physically demanding.

She spots a possible fossil out of reach. Skirt up reveals trousers that make these explorations easier. The climbing is experienced. She gets dirty and hurt in the process of retrieving the rock, only to break it in the way down. Frustrating but not surprising.

Climbing stairs, carrying weight. Very well-dressed neighbours are chatting, but they don’t see her. She rushes inside. Bells jingle. The women walk merrily together. It’s a Sunday. Mary had left indeed very early.

Mary cleans herself in the kitchen. Hands are her tools of work. Two eggs and a not-so-attractive vegetable soup. Mother aligns the miniatures, maybe the only true white thing in the house. Mary changes from blue clothes into blue clothes. Sameness.

They take their places at the table. Mother’s egg is bad and she’s frustrated. She sighs and leaves the table to burn it. Mary stops eating as if she could have any control over the egg roulette.

In the shop, Mary arranges the broken fossil on the table and opens a notebook. She works with her hands, and has the right tools.

The door opens to the sound of the bell on the door and seagulls. The man opens the door and leads the way, but it's Charlotte that calls Mary's attention. He states that his objective is solely to watch Mary work, oblivious to the fact that his very presence is unignorable.

It’s Sunday, he is informed that the shop is closed, but he keeps on making conversation about the fossil: an ammonite. As a man, doesn’t know how to take no for an answer. Roderick Murchison is his name. Charlotte is his wife.

Even though he speaks highly of Mary, expressing his admiration, she is looking up at him from her desk, and him down at her. He wants to learn from her, but in reality, she remains beneath him. She knows about the Geographical Society of men and that she’s now welcome there.

Roderick recognizes the ichthyosaurus drawing on the wall. He is really a fan. As he speaks of money, Mother joins them. She exerts a pressure on Mary to accept the gentleman’s offer. They need the money. Mary isn’t happy.

At night, Mary cleans Mother’s miniatures with neglect under the dim candlelight. while the Murchisons are dining in a quiet (!) room, as per request of Rodrick, who rejects Charlotte’s suggestion even before she makes it. She wanted the fuss. Two strained relationships.

Roderick’s meal is sumptuous. He orders her some boring fish. She’s so conformed with the situation she doesn’t even blink, and now not even her meal will have any taste.

Mary’s house is now very dark and Mary is still working, drawing the Plesiosaurus, her second big discovery. The Murchisons don’t work, and are getting ready for bed. Rodrick changes into a night gown and rejects Charlotte’s advance, referring to sex as baby-purposed only.

Even while working until very late, Mary is up earlier than Rodrick and is already at the beach when he arrives, in his gentlemen attire, inadequate for the environment. He struggles to reach Mary. It’s not that easy to walk on stones and he is not at all adapted.

Working with her hands put her again beneath him. They mention “Mother” for the first time, but we already knew she wasn’t an aunt, for the power she has over Mary can only be that of a mother.

He is not wearing the same clothes he was the day before, but Mary is. Probably her official field work attire. They sit and the knowledge she shares with him comes purely from experience. She identifies the coprolite and gets up. He stays down, aware now of his ignorance.

The butterfly trapped in the beautiful decorated glass cup represents Charlotte’s situation. Roderick comes in and forces her out of her funk. The sound of the trapped butterfly is present throughout the whole scene.

They walk along the harbour and Roderick informs her of his decisions over her condition and what’s best for her. She responds briefly to his statements. It’s not a conversation.

Back in the shop, the lesson is over and the ammonite is packed. Murchison had received the worth of his money, but he comes up with a new proposition, for Mary to take Charlotte on her expeditions. He assures Mary it will be an easy task. Again, money.

With Roderick gone, Charlotte decides to sleep in, but his orders live on through the maid. The maid insists on the husband’s order when she expresses her will. She responds to him, not to her.

Nature. A bird. And a shell. Things with wings represent Charlotte, perhaps? The bird is on the floor, though, not flying. It’s feeding off the shell and it’s black, like Charlotte’s clothes. It’s a Black-Billed Magpie. Saorsie is Lady Bird, after all.

Mary hands her the adequate shoes for walking on the shore: boots. Music starts for the first time when Mary opens the door. The song now overlaps the loud sound of waves.

They are together, but remain separate.

The pee scene. What a delight. Conflict of class is screaming here. Charlotte would never! The pee, cleaning the hands on the dirty skirt, pastry for lunch. The look of disdain. Precious.

A dark crab walks Charlotte’s shoe. She brings animal life along with her, although darkl, still in mourning. While for Charlotte the beach is a place for healing, it's still Mary's workplace, technically a man in skirts.

Mary finds a tiny ammonite fossil, not broken this time. It represents Charlotte, an animal who was fossilized young.

Mary finally expresses her lack of patience with the higher class’s lack over or underrating or her work, none of which really serve her in any way. While Roderick calls her a deity, Charlotte compares her to a navvy, simply a worker who digs.

Following Mary’s advice, Charlotte attempts to bathe in a very revolt and cold sea. How that is supposed to help anyone overcome melancholia is a mystery. She can’t be in a noisy dining room but can certainly be in a hostile environment like this?

Mary falls asleep in the shop and Mother covers her. Coughing in the 19th century is never a good sign. We know now how that feels.

Roderick is gone, but Charlotte is still restricted by the rules of society over her. The maid pulls the strings without any care. It is supposed to be uncomfortable.

Charlotte holds the dirty boots by the fingertips. She has different black mourning clothes, but Mary comes to the door with the same clothes which she has been wearing for 4 days in a row, only a different sweater this time.

Mary’s hands touch Charlotte for the first time when she falls by the door. Mother finds herself in the right to enquire the doctor with mistrust. Even being a poor woman, the social hierarchy puts her over anyone who’s foreign, or so she feels.

Doctor is very tall. A doctor is the highest of men. Mary is seated and looks up at him. He reminds her that no one other than a woman would take care of a sick woman in that society. Since she was alone in the city, the closest woman should take the duty.

Mother is again concerned with money, since Mary won’t be able to be out every day looking for shells and ammonites for the tourists. She’s already cleaning the miniatures again and it’s only been 2 days. Seems like a very frequent task. Maybe because of the stove’s soot?

Mary prepares the warm compresses for the fever, her hands all over Charlotte. Mary is still working. Busy hands.

In a feverish state, Charlotte talks about not seeing a girl in the ground. Hints at her lost baby. In this vulnerable state, Mary's hands come to the rescue of comforting her again.

Flowers. Colour. And a swing. Leisure. Luxuries that are not present in Mary’s life. She enters the gate and looks inside the house with some familiarity. The windows here are clean and there’s a leaflet on the window.

The door is much taller than Mary, painted a pastel pink colour. Feminine and nice, but faded, like their relationship. There’s history here. The door knock has the face of a feminine figure. Art. Another luxury. And it’s golden, like the doorknob, but not bright.

There’s hesitation in knocking on the door. A single bird sings when she makes active moves. She goes around to the garden. As she opens the door, many bird sounds are heard. It’s a big generous garden. It’s alive. In Mary’s house, there’s nothing but dead fossils.

The woman’s tone towards Mary is warm and inviting. She opens a smile. She is also working with her hands, but they’re protected by leather, and she’s wearing a corset, much more feminine. She makes reference to Molly, Mother’s name. Intimacy.

She makes invitations inside and compliments, received with silence, avoiding eyes and tense lips. She refers to not seeing Mary in church, and that’s in the scene when she comes back from the beach and rushes inside to avoid the neighbours.

Mary stands in front of her, clearly uncomfortable, as her hands don’t stop moving with the little bag of coins. Buying a jar of salve is proving to be way more emotionally expensive than the economical price, with all the questions and demands.

When the woman leaves, Mary touches her hair, acquiring again conscience that she has hair, a little bit of vanity, her nails dirty with earth. The coins pay for the salve, are given back to Mary with an attitude of charity and a tap, and finally given back to Elizabeth.

Mary never mentions her name. She refuses one last very warm invitation to come in. Maybe have a cup of tea and talk, socialize. She keeps her silence and leaves. Lightning refers to the incident on Mary as a child. Plus sa change is French: high education.

Her house is very big, with big clean windows, all with curtains. The garden is very well cared for, even some topiary, which means available time and knowledge on the subject. All of this means education and privilege. Still, she still works with her hands. In leather gloves.

Many birds sing throughout the scene. The director @strawhousefilms said all of them have meanings. I failed to identify a pattern in the sounds or the species, so I can’t help but wonder what those would be.

On the pot, we learn the salve woman’s name: Elisabeth. And that it’s her business. Much more successful than Mary’s. The hands with dirty nails that break rock and climb are also capable of giving very gentle care.

Mary drags herself and sits on the chair, exhausted. The bed wasn’t dispensable in her routine. Mary’s hands now include Charlotte in her notebook, through a drawing, a space where there were only fossils before. As she's included, Charlotte heals.

Mary stands uncomfortably while the Doctor commends her on her task. Behind her, a framed drawing of flowers, the only kind of nature present thus far in the interior the house.

The doctor shakes her hands and as he stares into her eyes, she lets go of his hand, but when Charlotte smiles at her, her expression softens a little.

Now that Charlotte is once again healthy, on top of the drawn flowers there’s a ladybug. Now there’s moving life not only on the outside, but in Mary’s house. Could this be the last part of a lady-bird pun?

Under the black attire, green. Hope and rebirth. No more black for Charlotte, for she is no longer mourning. Now that she's healthy, she's inside Mary's house, her world, and starts exploring.

Whose piano would the one Charlotte plays be? Neither Mary or the mother play, or play anymore. She brings life to a forgotten house item, and fills the otherwise silent house. I wonder what the melody’s name is.

Moved by the song, Mary’s first attempt at a smile, still hidden from everyone, in a dark corner of the house. She leaves silently, doesn’t disturb the movement that’s been created.

Mary looks into Charlotte’s eyes as she suggests they go out together. The conversation flows, their voices are soft. It’s the beginning of their intimacy. Mary’s reaction to touch here isn’t reactive or avoidant anymore. They go out and I have a feeling Molly knows what’s up.

Life as a dark beetle is now as close as possible to Mary. It touches her skin. And she sets it free, mourning is over. That’s the beetle on the beach. They seat closer together, watching the breaking waves of a calmer sea. Foot fetish alert. A smile under the daylight.

From the darkness of the interior of shop, Mary watches Charlotte’s relationship with her idea of motherhood, something that wasn’t optional at the time. Mary’s hands rest on produce, material for labour. Charlotte’s rest on her uterus, place of love.

Mary’s hands are skilled for cooking. Even Charlotte’s clothes, with the tight corset, make it difficult for her to help. Her delicate dress pattern contrasts with the brute environment of the house’s exterior, where the coal is kept.

Meal is, once again, soup. Charlotte’s laughter turns into crying almost immediately. She’s once again vulnerable, now emotionally, and Mary’s hands wrap her, while she clings on Mary for comfort. The delicate dress covers the coal, as if it's making it more beautiful.

Charlotte doesn’t have any abilities with house work, another sign of her class, but she could be more skilled for the craft with seashells. Mary’s now comfortably sitting beside the bed: a smile and a nod, then soft facial expression.

Their intimacy has opened up space for questions from Charlotte, which bother Mary at first, but Charlotte’s innocence makes her change her tone. She then exposes a view on death and generating life that’s very different from Charlotte’s at the shop scene.

While Charlotte experiences the death of her baby, but still feels the desire to keep having children, Mary’s experience with death was more intense, and she has abdicated from that to work, and to care for her emotionally fragile mother.

Their dialogue is now intimate, it flows. There’s no hesitation or resistance. Both of them speak in a soft tone. There’s also care and freedom of choice. There’s respect. Physically, though, Mary is still defensive.

Charlotte leaves for Mary the same side of the bed that used to be occupied by Roderick. She has simbolically taken his place.

Mary’s back to work, vigorously polishing fossils. Charlotte has finished her craft work with the mirror frame, and tries her hand at cleaning the miniatures, an activity that’s way too intimate for Molly to share with her.

Faced with the invitation for Dr. Lieberson’s recital, while once silent and uncomfortable, Mary is now more confident. She looks into his eyes, takes control over the situation and makes her point of taking Charlotte with her. She has learned to stand her ground.

Poor doctor went through the trouble of inviting the whole neighbourhood just to get a date with Mary. But he’s a man and we don’t really care about him here.

Mary’s hands tighten carefully the lace of Charlotte’s dress. From this close, she can certainly smell the lotion Charlotte was putting on. Desire is clear. The hands that work around in the dirt, now smell good - a new luxury. A bigger smile and then, reality: Molly calls.

Mary’s sitting at the table, in her best attire. The same dress from when she bought the salve. Looks with despise to Molly who eats loudly beside her. Charlotte’s beautiful. They look directly into each other’s eyes. Mary is in love.

Doctor’s door is tall (like himself) and so dark we can barely see it. As they wait side by side, the increasing sound of the passing carriage resembles those of a beating heart while Charlotte grabs Mary’s hand, a gesture which is accepted.

A fancy pie on a wooden table. Proper cutlery. A decorated plate and a decorated glass with champagne. We’re in an equipped house. And we have guests, as shown by the fan from a guest also on the table. Chatter. It’s a party. The straight couple are like statues.

Just like in the quieter dinner room situation, Charlotte is attracted to the social situation avaliable at the party, but stands with Mary in a corner. Social anxiety hits Mary and she goes for a smoke in the dark. In her absence, Charlotte meets the other guests.

This chair behind the door. Another sign of the Doctor's acquisitive power.

Mary sits first in the music room. There are 6 dinner chairs, and 3 more simple ones in the back. She chooses one of the chairs in the back, avoids sitting in the fancier ones.

Charlotte fits perfectly in this environment. She sits beside Elizabeth, someone from background much closer to Charlotte's than Mary. They’re both blonde and share a similar sense of humour: Mary has a type.

Her emotional openness suffers a setback. The melody plays to the rhythm of her jealousy, heavy and escalating. Her anger sets the boats in the landscape on fire. She feels that Charlotte's scaping through her fingers.

Her hands speak. Volumes.

She exists the house and now the whole sky is crying. Party is over. She had taken a big step by going out in public with Charlotte and now she's in emotional distress.

Charlotte comes back home and it’s still raining. Mary's party clothes are off. She’s sitted, alone, wrapped in a shawl, protected, expressing her thoughts through the poem Solitude, by Henry Kirke White (1785-1806) https://allpoetry.com/poem/8596119-Solitude-by-Henry-Kirke-White

Reluctantly, she allows Charlotte to step into this very vulnerable and profound place. Not even her mother had read her notebook up until this point. Charlotte approaches the situation with care and empathy, but Mary has already retrieved back into her shell.

A grey sky (Mary) with flying away birds (Charlotte) is what we have for this beach day. And some water flowing. There's still some internal crying happening. Resentment.

They are now sitting further away on the beach. Charlotte is now the one who ties her own laces, an attitude of independence. Charlotte's love for Mary has put men out of focus in her life.

She turns her skirt into pants, and also carries a leather bag. Her attire resemble Mary’s, although more feminine.

Charlotte has gained confidence. She won’t stop even when Mary’s experience warns her that she can’t move the big fossil rock. The duties of being a wife don’t allow a woman to work for herself, so the wedding ring has to come off, never to be seen again.

They bond again over helping each other carry the big fossil back home. They’re strong enough to handle the heavy work. Independent, capable and equal. Music comes on again and becomes loudest when they manage to lift the rock out of the ground. All is well again.

The delicate work of cleaning the fossil is now collective. They are physically closer than ever. Charlotte is interested in learning more and Mary is happy to teach her, far from her initial attitude about an apprentice.

Mary shares her frustration with the money-ichthyosaurus condition. Opens up a little bit more to Charlotte about her past. Charlotte is grateful for the newfound fossil. Hard manual work has brough them closer.

Charlotte's nails are now also dirty like Mary's. She sees the value of her work. Their communication is now soft, open and caring. The kiss on the cheek from Charlotte is met with electricity of a Mary that is yearning for her touch again.

What follows is hungry intimate touch.

Molly keeps handling dead babies. We all know what blood in the handkerchief means. Coughing means we’re emotionally overwhelmed, and it ceases once the mail has arrived.

Meanwhile, at the beach, waters (feelings) couldn’t be more still. The day is bright and they're sitting close together.

The beach now becomes also a place of leisure for Mary, who now can hold Charlotte's hands to help her overcome her fear of the water.

The ammonite fossil by the window is now completely open, to the sound of birds. Charlotte wears Mary's swater. They are completely comfortable with each other, vulnerable and very, very close.

Under the candlelight Charlotte now births her own nature onto the fabric with embroidery. The same tune of before is played on the piano to completion. Charlotte is happy, but Mary smokes with a worried expression.

Charlotte changes the environment around her. She puts up the sign in front of the shop, wearing Mary’s sweater. She is integrated into Mary’s emotional and work life. Only when she describes Mary’s fossil in high-class words, can the gentleman appreciate its value.

Mary keeps smoking as someone who tries to come up with a plan. Her situation is still the same. Anxious hands. Charlotte has managed to transform the meal from boring soup to mushrooms. Fancy. With flowers on the table, in the empty jar of salve.

Molly refuses to join them. Charlotte is sitting on her chair at the table. They wear the same clothes from their first peaceful day at the beach. Even though the letter has a gentle tone, the news from the mail end their appetite.

Charlotte hands Mary what has now become a farewell gift, the representation of life, flowers, in fine fabric, product of her feelings in the past weeks. They are doomed to be apart and they know it.

The souvenirs of their time together, the handkerchief, the salve jar and the flowers, now belong in their bedroom. Charlotte lights up two candles where there was only one in the first scene of the movie.

Their farewell sex is completely intimate and full of desire.

Charlotte puts away the tiny ammonites from her first day with Mary at the beach. Out with the relationship with Mary, in with the Murchison duties, as replaced on screen by her initials. Her hands don't have a wedding ring anymore, and they speak of her uneasiness.

Beasts are, in men’s world, under control or dead, but always made useful. So are women. Mary wears her comforting shawl. A bird is heard singing while flying away. Mary’s comment on the weather refers to her own emotional state last year and now, since Charlotte has arrived.

As the carriage moves away, the sound of birds gives place to a melancholic melody. Mary is left empty, emotionally unavailable. Molly has to care for the babies on her own.

Nature is now dead. The memories of Charlotte are kept alive in the house by Mary’s effort. Mary doesn’t pay any attention to Molly, who has lost her last baby. Only when she falls does Mary again shift her attention to her mother.

Mary dresses her with care. The hand over her foot will be the only time she has touched Molly. Their brief intimacy is interrupted by men. Ants come wherever there’s death. They’re recyclers.

Elizabeth is now the only close person left. In a sweet tone, she tries to make small talk, and only manages to gets a response when she mentions their past relationship. Mary is all dressed in black, in mourning and completely closed off emotionally.

Elizabeth helps Mary realise her responsibility over her own relationships and loneliness. They get some closure, as Mary accepts Elizabeth's touch and care for the first time. She allows herself to be vulnerable, and cries in a very contained way. Elizabeth still cares for Mary.

As the mail arrives, a ladybug walks over old fossils. From old to hope, positive change. The shop is a mess, closed. Mary wears not one but two comfort shawls over underwear. She puts the letter on the table initially, fearing more bad news, then smells it before opening it.

Mary was sad, dragging herself, but now runs along the harbour, covered in passion and/or red clothes, towards the boat that will take her to see Charlotte in London.

In London, women still are as they were when the ichthyosaurus arrived: scrubbing the floor that men walk on. As she approaches the house, carriage sounds mimic the sound of her racing heart.

As her clothes, red will also be the door of Charlotte’s home, as in there is the object of her passion. The house has a doorbell, while all the other ones so far only had door knocks in Lyme. Wealth.

The conflict of class starts when the maid identifies her immediately as a working-class person, and continues when Mary fails to understand the cues for keeping her hat and coat. Mary’s dress, with the loose sleeves, resembles more the maid’s than any of Charlotte’s.

The door is almost twice Mary's height, taller than any other door shown so far. The room is decorated, but has no life. The green on the walls is dark and faded. The butterflies are dead. Mary has no choice but to feel stiff. Her hands and the clocks speak of her anxiety.

She approaches the artifacts and finds her name on the ammonite Roderick bought, as a correction made by Charlotte over his name. One of her fossils finally has her name on it.

Charlotte also wears red as she rushes down the stairs to meet Mary. The hesitance of Mary while being watched and the look on the Maid’s face are reminders that society does not approve of their relationship, but Charlotte ignores the rules, as she has done all this time.

What must be going on in this maid's mind...

Even back at Roderick’s, Charlotte has no wedding ring. Mary is swept by the rhythm of Charlotte, who jumps on to the next step on the schedule, the surprise she had prepared for Mary.

Charlotte has arranged a new address, new higher-class clothes, planned a whole new life for Mary, without considering her attachment to her origins, work, city and culture, while still very sure that was the right and best thing to be done. This is class conflict at its best.

Instead of accepting Mary as she is, Charlotte is saying symbolically with this gesture that her city, her house and her clothes, are all not good enough. The whole thing has a charity feel to it.

Mary reacts badly to the surprise. With reason. She isn’t ready to move from Lyme Regis. In here, unlike before in their relationship, she wasn’t given a choice. Charlotte has taken control according to her interpretation of Mary’s life.

Mary is rightfully hurt. She retreats emotionally, initially. Then, after not being able to run from confrontation, states clearly the reasons for her indignation. This is only possible after the process of growth she went through because of her relationship with Charlotte.

When Mary is explaining her reasons, Charlotte begs her pardon, just like every man character had thus far. She has, unknowingly, done the same thing they did: tried to, with their money, take Mary’s power away from her.

Mary is aware that the relationship arrangement in Charlotte’s house isn’t theoretically possible within society’s rules. Mary is not a rebel, for she has spent her life constrained, too limited to allow herself to break the rules, as those of higher class are used to.

Even after all their involvement and intimacy, Charlotte sees Mary’s in the same way everyone else in her societal class seems to: either like a navvy, for her poverty or something precious, for her talent. In this case, it's both. And from someone so intimate.

When Charlotte refers to Mary’s work as suffering, even though she helped her out and had a good time, her idea of physical labour becomes clear: it’s inferior. According to her, important scientific work isn’t physical. It’s the Descartes’ mind-body hierarchy.

Here, Mary cries for the second time. She feels that all the effort put in opening herself up has only led to this betrayal. Charlotte still doesn’t understand what she did wrong. She tries to gain back Mary’s love by physical affection, but that is no longer enough.

In Mary’s London room all life is now dead. The cigarette shows emotional struggle and the embroidered handkerchief shows the reason. The room is what she was be able to afford without external help, and has the same comfort level as her house in Lyme.

The British Museum is swarming with men, all dressed the same, with their top hats and black coats. Mary walks past a hall of paintings of anonymous men. Her contributions to science were certainly more important than theirs. She finally gets her deserving place.

In the museum, all gods are men, elevated to a place of honour, even when broken.

She recognizes the ichthyosaur that’s under some man’s name. That is her work, the one who started it all. Her life’s pursuit. Unrecognized.

On the other side of the glass, Charlotte is dressed in red, but covered in black. She’s somewhat again back in mourning for the loss of Mary’s affection. Separating them, Mary’s work, her passion, which Charlotte may never be able to grasp completely.

Their eyes express desire, their passion and attraction for one another are undeniable. The final scene is one of conflict: paleoethology brought them together, now separates them and is the key to the success of their relationship.

I have now watched Ammonite too many times to count, and I can say that I absolutely love it. As a researcher who obsesses over legitimacy, I keep finding new layers on class, care, power, work and money every time I watch it again. The work here is exceptional. Genius.