As far as greenlighting, it really starts with the storytellers and somebody coming in with a really passionate vision for the series they want to create or the piece of content they want to create, and our belief that they have the ability to execute against that vision. It could be anything from anyone, from Jenji Kohan, who had proven success on Weeds, and came to us with a memoir about a woman in prison and told us how she wanted to expand that world and really focus on all of the characters in that world; to somebody like Raphael Bob-Waksberg, who was a well known TV writer but hadn’t run a series of his own. But he came in and he pitched Bojack Horseman, season one, all 12 episodes of that season in minute detail, and about halfway through the meeting, we said, “Wow. This is something we’ve never experienced before and never heard before.” It was such a different approach—an adult, half-hour animation series, that we were really—we kind of knew it in the room. So many times, that kind of magic happens. And you know pretty quickly that it’s there, and really that comes from the spirit and the enthusiasm of the creators themselves.