Mark Bowden

So, yeah, I think and you're absolutely right.

Still images are tough because we don't know exactly the context of the other movement around it.

Maybe they've just come out of it.

a really close, you know, cheek to cheek moment.

We don't quite know.

But yeah, the optic here is not one of the closeness that they might be able to get by getting a better photograph, let's just say.

Yes, you're right.

Again, we would expect more framing.

Now, this is a tragic situation as well.

So, you know, they've been, I don't know whether this is before or after the interview.

So I don't know where they're coming from there.

But with really good friends, we might expect better, more equal framing between the two to say, hey, look who I'm with.

I'm with my, you know, a great friend here, somebody who is my equal here.

Yeah, look, and you can test that for sure because there's the shot of Savannah and it's the same lighting situation and you see the glistening in her eyes and we know she's been tearing throughout, in fact, and she hasn't been dabbing them away, although Hoda does have a paper handkerchief at the ready in case that's needed, but she hasn't been dabbing those tears away.

So we know what...

tears actually look like under that lighting.

Because we could go, hey, she's crying, but you can't see it because of the lighting.

You know you can see tears under that lighting because we see it in Savannah.

There's no tears for her at all, and yet she is showing a wipe away there.

So, yeah, it seems performed well.